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Bactria silver cup and other artifacts with animal motifs are wealth ledgers with Indus Script hieroglyphs

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This is an addendum to:

https://tinyurl.com/rcurjut


Bactrian silver cup narrative
खरडा kharaḍā 'A leopard' Rebus: karaḍā 'hard metal alloy'
miṇḍāl 'markhor' (Tōrwālī) meḍho a ram (G.) rebus:  mẽṛhẽt, meḍ 'iron' 
pōladu 'black drongo bird' rebus: पोलाद [ pōlāda] n (or P) Steel.
āhan gar, 'blacksmith', maker of asaṇi, vajrāśani 'Indra's thunderbolt' signified by श्येन 'm. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man)' RV. &c. It is veneration of the thunderbolt maker, blacksmith, āhan gar -- an expression derived from श्येन 'hawk' 1) attested in R̥gveda. .श्येन is name of a ऋषि (having the patr. आग्नेय and author of RV. x , 188; and 2) double eagles celebrated in Rāmāyaṇa: सम्-पाति m. N. of a fabulous bird (the eldest son of अरुण or गरुड and brother of जटायुMBh. R. &c and जटायु m. N. of the king of vultures (son of अरुण and श्येनी MBh. ; son of गरुड R. ; younger brother of सम्पाति ; promising his aid to राम , out of regard for his father दश-रथ , but defeated and mortally wounded by रावण on attempting to rescue सीताMBh. i , 2634 ; iii , 16043ff. and 16242ff R. i , iii f.
 kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelter'

bahia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: bahi 'worker in wood and iron' (Santali)  'carpenter' (Bengali) bari 'merchant' barea  'merchant' (Santali) , 'one who helps a merchant (Hemacandra Desinamamamala).



vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపనివడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటమువడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదమువడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste.





See: 

 https://tinyurl.com/y8qnj9gu


Hammer decorated with heads of two birds and feathers
Image result for Louvre Museum Sb 5634"
  • Marteau orné de deux têtes et d'un plumage d'oiseau
  • Bronze
    H. 12. 3 cm; L. 11 cm
  • Fouilles R. de Mecquenem, tell de l'Acropole
    Inscription du roi Shulgi "héros puissant, roi d'Ur, roi de Sumer et d'Akkad"
    Sb 5634
  • This votive bronze weapon is characteristic of Iranian metalwork, of which many examples have been found at the Susa site. Decorated with birds' heads and feathers, this hammer carries an inscription in Sumerian referring to King Shulgi: "Powerful hero, king of Ur, king of Sumer and Akkad."

    A work inscribed with the name of a Mesopotamian king

    Shulgi, second king of the 3rd Ur Dynasty, is one of the sovereigns who marked the Neo-Sumerian period, half of which was covered by his long forty-eight-year reign.
    During this period, Susa and Elam were returned to Mesopotamia. Shulgi took control of Mesopotamia and conquered Susa, thus putting an end to the attempts of the Elamite sovereign Puzur-Inshushinak to achieve autonomy.
    Epigraphic figurines and foundation tablets in the name of Shulgi (Louvre Museum, Sb 2879 and Sb 2880) record the king's building of the temples of Ninhursag and Inshushinak on the acropolis at Susa.
    The inscription on this bronze hammer dedicated to him is in Sumerian, once more the official language in the Neo-Sumerian period, and uses the official title adopted by Shulgi's predecessor: "King of Sumer and Akkad."

    A ceremonial weapon in the Iranian tradition

    This ceremonial bronze hammer is decorated with the heads of two birds on either side of the hammer collar and curled plumage on the heel. This model has not been found in Mesopotamia, but is well documented in Luristan. A similar example (Louvre Museum, AO 24794) from this region dates from the early years of the 2nd millennium BC. Though animal motifs are a very ancient form of decoration in Iran, it was in the late 3rd and the 2nd millenniums BC that Iranian metalworkers excelled in this type of weapon, often decorated with animals.
    These bronze hammers and axes featuring animal motifs were often ceremonial weapons presented by Elamite sovereigns to their dignitaries. An illustration of this custom can be seen on the seal of Kuk-Simut, an official under Idadu II, an Elamite prince in the early years of the 2nd millennium BC (Louvre Museum, Sb 2294). This votive weapon was thus preserved for eternity in its owner's grave.

    Bibliography

    Amiet Pierre, Élam, Auvers-sur-Oise, Archée, 1966, p. 243, n 176.
    La Cité royale de Suse, Exposition, New York, Metropolitan Museum of Art, 17 novembre 1992-7 mars 1993, Paris, Éditions de la Réunion des musées nationaux, 1994, p. 92, n 56.

A Magnificent and Highly Important Gold and Silver Bactrian Ceremonial Axe

Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.
L. 12.68 cm.

A Magnificent and Highly Important Gold and Silver Bactrian Ceremonial Axe

Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.
L. 12.68 cm.

The whole cast by the lost wax process. The boar covered with a sheet of gold annealed and hammered on, some 3/10-6/10 mm in thickness, almost all the joins covered up with silver. At the base of the mane between the shoulders an oval motif with irregular indents. The lion and the boar hammered, elaborately chased and polished. A shaft opening - 22 holes around its edge laced with gold wire some 7/10-8/10 mm in diameter - centred under the lion's shoulder; between these a hole (diam: some 6.5 mm) front and back for insertion of a dowel to hold the shaft in place, both now missing.

Condition: a flattening blow to the boar's backside where the tail curled out and another to the hair between the front of his ears, his spine worn with traces of slight hatching still visible, a slight flattening and wear to his left tusk and lower left hind leg. A flattening and wear to the left side of the lion's face, ear, cheek, eye, nose and jaw and a flattening blow to the whole right forepaw and paw. Nicks to the lion's tail. The surface with traces of silver chloride under the lion's stomach and around the shaft opening.

The closest parallel stylistically is the famous silver axe in New York [1] with an almost identical shaft opening, but laced with silver wire, and hole for the dowel. The boar is less realistic, a hanging posture somewhat unnatural with a distortion to the front section of the upper part of its spine, to fit the function of the axe head and blend in with the rest. On our example the posture is naturalistic as would befit a dead boar. The eyes of both bear a similarity and their tails end in two separate tufts [2].

The New York axe is ritualistic and clearly thematic as it illustrates some myth, saga or religious belief which may explain a certain stiffness. For another wild boar, but with a tiger, his stripes inlaid in silver, and a goat, there is the bronze axe in London [3], very different for the shaft opening and mode of attachment with its multiple rivet holes and rivets. The eyes are shaped as round holes and were possibly once inlaid.

There is a fourth axe [4] with a boar in similar posture, in bronze - attacked from below by two lions, their hindquarters attached to a cylindrical shaft with a projection on its other side.

Shaft hole axes were made throughout the Near East over a long period. P. Amiet fully describes the considerable exchange of metalwork that took place towards the end of the 3rd millennium B.C. throughout vast expanses of Greater Iran. T. Potts tells us that the Sumerian examples are consistently plain whereas the more elaborate types are from the Luristan, Kerman/Lut and Bactrian regions. Luristan examples and others further east have animals in high relief along the butt, whereas Bactrian hammers and axes have an animal protome projecting from it. He further adds that there is very little evidence of exchange between Mesopotamia and the highland regions; however, if influence there was, it would have been with Susa and Luristan as they were close neighbours. However, there is "clear indication of an active and widespread exchange network stretching the entire breadth of the Iranian plateau from Bactria through south-east and south-central Iran as far as Susa" [5].

Where did our particular type of axe originate? This author feels that it was in Bactria. There is an interesting bronze hammer in Paris [6] with an inscription of Shulgi, from Susa, T. Potts [7] says it is typologically Bactrian with lock-like curls on the butt and birds' heads rising from the top, and is surely an exotic item. A very similar hammer [8] of purer stylization, finer workmanship, and in silver with the tail plumage partially gilt is also said to be from North Afghanistan.

The understanding of the nature of a wild boar would be in keeping with a Western-Central Asian provenance where the beast thrived in the lands around the Oxus. The distinctive mark of oval shape between the shoulders is neither a solar emblem nor a tuft of hair; may we suggest that it could be a clan identification [9]? The boar's juxtaposition with a lion - the latter possibly expressing the victory of the ruler over the dark forces of nature - would be well suited to ceremony and prestige.


1 Metropolitan Museum, Harris Brisbane Dick Fund, James N. Spear and Schimmel Foundation, Inc. Gifts, 1982.5 (L: 15 cm): Pittman, H.: Art of the Bronze Age, Southeastern Iran, Western Central Asia and the Indus Valley. The Metropolitan Museum of Art (New York, 1984), p. 66 ff., fig. 36. Amiet, P.: L'âge des échanges inter-iraniens 3500-1700 avant J.-C. (Paris, 1986),
pp. 195 ff., 317 fig. 173. Potts, T.: Mesopotamia and the East. An Archaeological and Historical Study of Foreign Relations 3400-2000 BC. Oxford Committee for Archaeology Monograph 37 (Oxford, 1994), p. 170 ff., fig 27.

2 Misdescribed in the above example as a split tail: Pittman, H.: op. cit., p. 67.

3 British Museum 123268 (L: 17.8 cm, misdated 5th-4th century B.C.): Dalton, O.M.: The Treasure of the Oxus with other examples of early Oriental Metal-work (London, 1964), no. 193, pp. 47-49, pl. XXIV. Amiet, P.: op. cit., pp. 195, 317 fig. 172.

4 Christie's, New York, 15 December, 1994, lot 68 ill. (L: 15.2 cm): its condition after extensive cleaning from what must have been a lump of chloride renders comparison of details difficult; however the shape of the eye seems to be as with the New York and present example.

5 Potts, T.: op. cit., p. 172.

6 Louvre Museum Sb 5634 (N 883; L: 11 cm; H: 9.3 cm), the inscription reads "Shulgi, powerful hero, king of Ur, king of Sumer and Akkad". Shulgi was a king of the Third Dynasty of Ur, he reigned in Mesopotamia in the last century of the 3rd millennium B.C.: Amiet, P.: Elam (Auvers-sur-Oise, 1966), no. 176, p. 243.

7 Potts, T.: op. cit., p. 176.

8 In the author's collection and said to be from the same region as this ceremonial axe, a very strong new indication of their provenance and manufacture.

9 In China, jades from Hongshan (Shanghai region) carried clan marks from c. 3500-1800 B.C. and bronzes from Erligang (name of site and period) at Zhengzhou, Honan, from 1800 B.C. onwards. This does not necessarily suggest a connection.


A Magnificent and Highly Important Bactrian Silver and Gold Foil Shaft-hole Axhead with a Bird-headed Demon, Boar, and Dragon

Silver and gold foil; Late 3rd-early 2nd Millennium B.C.E.; From Central Asia (Bactria-Margiana)

1982.5


Western Central Asia, now known as Turkmenistan, Uzbekistan, and northern Afghanistan, has yielded objects attesting to a highly developed civilization in the late third and early second millennium B.C. Artifacts from the region indicate that there were contacts with Iran to the southwest. Tools and weapons, especially axes, comprise a large portion of the metal objects from this region.

This shaft-hole axhead is a masterpiece of three-dimensional and relief sculpture. Expertly cast in silver and gilded with gold foil, it depicts a bird-headed hero grappling with a wild boar and a winged dragon. The idea of the heroic bird-headed creature probably came from western Iran, where it is first documented on a cylinder seal impression. The hero's muscular body is human except for the bird talons that replace the hands and feet. He is represented twice, once on each side of the ax, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. The posture of the boar is contorted so that its bristly back forms the shape of the blade. With his other talon, the bird-headed hero grasps the winged dragon by the neck. The dragon, probably originating in Mesopotamia or Iran, is represented with folded wings, a feline body, and the talons of a bird of prey.

Source: Shaft-hole axhead with a bird-headed demon, boar, and dragon [Central Asia (Bactria-Margiana)] (1982.5) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art



Text from the website of George Ortiz.

Silver, late 3rd-early 2nd millennium B.C.E. 

H. ? Image from the website of the Miho Museum.

Cylindrical cup with animals


  • Western Central Asia
Late 3rd‐early 2nd millennium B.C.
Silver
H. 11.0 cm, Dia. 9.5 cm


The torso surface of this silver cup is decorated with a leopard with legs spread as if running and a seated ibex. Plant forms are shown between these animals and designs which look like stars. Circles can be seen carved in the midst of the tree forms. At first glance this looks like a scene of a leopard hunting the ibex, and yet the seated ibex and leopard with mellow expression do not seem to construe a death attack scene. Ancient west Asia astronomy included both a leopard constellation and an ibex constellation, and around 4th millennium BC, these two constellations could be seen clearly in the spring equinoctial sky just before dawn. Thus it is thought that a combination of leopard and ibex probably symbolized the arrival of the new year. Further, in the Iranian highlands designs of the god spirit of the ibex grasping a snake have appeared since antiquity on seals, and this is thought to symbolize the god of the ibex ruling over the source of life, water. The combination of ibex, tree, and star design frequently can be seen on seals from Elam in southern Iran ca. 3,000 BC, and thus may have existed as an artistic expression in eastern Iran and western Central Asia under the influence of Elamite culture. In Mesopotamia in the 3rd millennium BC, the ibex constellation was divided into the Aquarius constellation and the Capricorn constellation, while in ancient western Asia, the Taurus and Leo constellations could be seen right after the sun set at the spring equinox and came to symbolize the new year. A cylindrical seal from ca. 3,000 BC excavated at the Tell Agrab site on the Diyala River region of Iraq has this same motif combining a tree with a circular form, there combined with other plant motifs and a battle scene between a lion and a bull. Thus we can imagine that these symbolic designs had some important role in the culture of that period.
http://www.miho.or.jp/booth/html/artcon/00002110e.htm

दध्य्-अञ्च् = दधि+अञ्च् 'sprinkling अंशु, ancu (Tocharian) iron', वज्र 'thunderrbolt' metaphor of madhu vidyā

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https://tinyurl.com/r6bxt7uImageEarly Bronze Age two-handled drinking cup (A27836, on display) from the OI excavations at the site of Tell Tayinat ! This cup is of a type that is found in both Anatolia and Greece. @orientalinst Jan. 1, 2020


--  Why is horse-head the head of yajna?
-- दध्य्-अञ्च् = आङ्गिरस, son of अथर्वन्  

Krishna Yajurveda provides clear identification of Dadhyanc as the son of Atharvan:

[3] the sage, Dadhyanc, Son of Atharvan, doth kindle, Slayer of Vrtra, destroyer of forts.
h Thee the sage, Dadhyanc, Son
Thee the sage, Dadhyanc he says; Dadhyanc, son of Atharvan, was full of brilliance; verily he bestows brilliance upon him.
c Atharvan is Prajapati; Dadhyanc Atharvana is the fire, his bones are the bricks; as to that the seer says, Indra with the bones of Dadhyanc

दध्यञ्च् Dadhyanc is an abiding Rgveda metaphor who signifies the head of a yajna. I suggest that this metaphor is the framework of narratives related to transformation of the bones of the body of sacrificer to produce the vajra, thunderbolt weapon. I also suggest that the pun is on the suffix -anc in the expresssion which is cognate अंशु 'Soma filament'. Thus, दध्यञ्च् Dadhyanc, son of Atharvan 'sprinkles Soma (iron pyrite filament)' to create the vajra, thunderbolt. वज्र mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath " RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c RV. &c (Monier-Williams)

See: 

 


Materialistic interpretation of मधु-विद्या
Yajña is issuance, liberation of Soma. Soma is rock, Soma is wealth. Soma is मधु माक्षिकम् = मधुधातु सुवर्णमाक्षिक 'a kind of yellow pyrites'. 

Why did Indra use bones of sage Dadhica (RV 1.116.12) to make his weapon, thunderbolt? Maybe, he used the bones and bone ashes to make cupels to obtain purified metals from ores (pyrites).
Brass moulds for making cupels. Cupellation, using cupels, is a refining process in metallurgy to separate metals like gold and silver from base metals like lead, coper, zinc, arsenic, antimoy or bismuth present in the ore (pyrites). “Cupels were manufactured in a very careful way. They used to be small vessels shaped in the form of an inverted truncated cone, made out of bone ashes. According to Georg Agricola, the best material was obtained from burned antlers of deer although fish spines could work as well. Ashes have to be ground into a fine and homogeneous powder and mixed with some sticky substance to mould the cupels. Moulds were made out of brass with no bottoms so that the cupels could be taken off. A shallow depression in the centre of the cupel was made with a rounded pestle. Cupel sizes depend on the amount of material to be assayed.” https://en.wikipedia.org/wiki/Cupellation ...मधु madhu Ved. Soma juice -धातुः a kind of yellow pyrites (सुवर्णमाक्षिक). -मधु माक्षिकम् = मधुधातु 

Dadhi-krā is the name of a divine horse or bird, personification of the morning Sun, which is addressed in the Rigveda.He is invoked in the morning along with AgniUshas and the Asvins. Although the etymological origin is not certain, it has been suggested that the name is derived from dadhi meaning thickened milk and kri meaning to scatter. This scattering could attributed to the effect of the morning sun on dew or hoar frost. 
https://en.wikipedia.org/wiki/Dadhikra (Alternative reading renders dadhi as 'sprinkling', without the megtaphor of thickened milk.)
RV (1.84) narrates how Indra uses D’s bones to fashion a thunderbolt and slay 99 Vrtras, vanquishing ignorance.

RV 1.116.12 I proclaim, leaders (of sacriifce), for the sake of acquiring wealth, that inimitable deed which you performed, as the thunder (announces) rain, when provided by you with the head of a horse. Dadhyan~c, the son of Atharvan, taught you the mystic science. [Legend: Vana Parva, Maha_bha_rata: gods, being oppressed by the Ka_lakeya asuras, solicited from the sage Dadhica his bones, which he gave them, and from which Tvas.t.a_ fabricated the thunderbolt with which Indra slew Vr.tra and routed the asuras. The text: Indra, having taught the science called pravargya vidya_ and madhu-vidya_ to Dadhyan~c, threatened that he would cut off his head if ever he taught them to any one else; the As'vins prevailed upon him, nevertheless, to teach them the prohibited knowledge, and, to evade Indra's threat, took off the head of the sage, replacing it by that of a horse; Indr, apprised of Dadhyan~c's breach of faith, struck off his equine head with the thunderbolt; on which, the As'vins restored to him his own. The pravargya vidya_ is said to imply certain verses of the r.k, yajur and sa_ma vedas, and the madhu-vidya_ the Bra_hman.a].
Dadhyañc Ātharvana knew this pure essence, viz. the Madhu ('honey') or sweet doctrine of the Pravargya, or pot of boiled milk and ghee.(SBr. 14:1:1:18)
Materialistic interpretation of Agni, Indra, Surya in Rigveda are related to process Soma, metal in pyrites. 2857, 1858, 1483, 457 ri-cas of Rigveda adore Indra, Agni, Soma and Surya. 

Indra, Agni, Surya are key components in the processing of Soma.
I suggest that Indra is a pun on the expressions indhastha ʻ fuel -- place ʼ and angāra 'carbon' inflused into metal to harden it (carburization) in fire is realized by the godhuma 'wheat chaff' caSAla on the Yupa, the signature tune of Soma Yāga. Asvinā as charioteers mediate with Surya to achieve the desired metalwork out of the dhātu 'minerals'. This central theme is signified by the chariot of the Sun drawn by aquatic birds.
"Duplijaja chariot" now in the museum in Belgrade. The swan is a Meluhha hieroglyph read rebus: 

The bird hieroglyph: karaḍa

करण्ड  m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka — m. lex. [Cf. karaṭu — , karkaṭu — m. ʻ Numidian crane ʼ, karēṭu — , °ēṭavya — , °ēḍuka — m. lex., karaṇḍa2 — m. ʻ duck ʼ lex: see kāraṇḍava — ]Pk. karaḍa — m. ʻ crow ʼ, °ḍā — f. ʻ a partic. kind of bird ʼ; S. karaṛa — ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) Rebus: karaḍā ‘hard alloy’.

Rebus: karandi 'fire-god' (Remo) kolmo 'three' rebus: kolimi 'smithy, forge' Thus, the three swans drawing the Sun chariot are an adoration of the fire-god.

Two chariots were discovered in Dupljaja city, signifying Bronze Age in the Serbian Danube and south Banat. The Indus Script hieroglyphs on the artifacts are: 1. aquatic bird (three); 2. dotted circles; 3. svastika hieroglyph; 4. twisted curles as torc.5. Nave of wheel The aquatic bird signifies karandi 'fire-god'. The dotted circles signify dhAu 'minerals'. The svastika signifies jasta 'zinc'. The twisted curls as torc on the Sun charioteer signify: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽhẽt, meḍ  'iron' (Munda). Rebus: medha 'yajna'.मेध [p= 832,3] an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.ib. MBh. &c मेधाa symbolical N. of the letter ध् Up.= धन Naigh. ii , 10. any valued object , (esp.) wealth , riches , (movable) property , money , treasure , gift RV. &c. eraka 'nave of wheel' rebus: erako 'moltencast, arka, 'copper'. arka 'sun'. (Dotted circles adorn the shawl worn by the priest statue, Mohenjo-daro). Consistent with Naighantuka, the word medhA also means 'कविधानम्' according to s'abdakalpadruma: I assume that medhA = dhAnam means (in the context of the hieroglyph on Dhruva II inscription): धानम् dhānam नी nī धानम् नी [धा भावे-ल्युट्] 1 A receptacle, seat; as in मसीधानी, राजधानी, यमधानी; रविं दधाने$प्यरविन्दधाने Śi.4.12. -2 Nourishing, nourishment. -नी 1 The site of a habitation. See: 

http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html 

Priest of dhā̆va 'iron-smelters' with Indus script hieroglyphs signifies पोतृ,'purifier' of dhāū, dhāv 'red stone minerals' 

.
 Two views of Dupljaja Chariot 1.
 Municipal Museum in Vrsac .Dupljaja chariot 2. National Museum.Belgrade. Bronze Age in the Serbian Danube and south Banat . https://at37.wordpress.com/2012/12/31/

See: https://www.academia.edu/1670618/_Queer_dress_of_the_sun_god_The_Dupljaja_cart_engendered_and_cross-dressed



https://www.academia.edu/1337535/From_Dupljaja_to_Delphi_the_ceremonial_use_of_the_wagon_in_later_prehistory

Matić, Uroš. 2010. Dupljajska kolica i tela koja nešto znače. Genero: časopis za feminističku teoriju i studije kulture 14 (2010): 129-159. https://www.academia.edu/1188804/Mati%C4%87_Uro%C5%A1._2010._Dupljajska_kolica_i_tela_koja_ne%C5%A1to_zna%C4%8De._Genero_%C4%8Dasopis_za_feministi%C4%8Dku_teoriju_i_studije_kulture_14_2010_129-159
ādhyātmikā interpretation of मधु-विद्या
Madhu Khanda of Br̥hadāraṇyaka Up. comprises the 4th and 5th chapter of the fourteenth khanda of Satapatha Brahmana).

Madhu is composite fruit of numerous actions on the field of flowers. (Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, pages 437-443)
"Atman exists" (soul exists), that all organic beings (plants, animals, human beings and gods) are wandering souls yet One with each other and the Brahman (Cosmic Soul); it further asserts that inorganic nature (fire, air, earth, water, space) is the field where the beings act, and where their numerous actions create fruits that they separately and together experience. The Upanishad then states that everything is connected, beings affect each other, organic beings affect the inorganic nature, inorganic nature affects the organic beings, one is the "honey" (result, fruit, food) of the other, everyone and everything is mutually dependent, nourishing and nurturing each other, all because it came from one Brahman, because it is all one Brahman, because all existence is blissful oneness. (Brihadaranyaka Upanishad, Chapter 2 Section IV, Translator: S Madhavananda, pages 377-404.)

Dadhyañc Ātharvaa is mentioned in RV in the context of Pravargya (lost head of the then incomplete yajna. The legend is narrated in Jaiminiya Brahmana 3.64 9in fusion with Cyavana legnd in JBr. 3.120-128) and ŚatBr. 14.1.1.1 ff. The JBr. Account is:
Dadhyañc Ātharvaa knew the sweet doctrine of the Pravargya which is Mahāvīra pot of boiled milk and ghee. Indra knew it and asked Dadhyañc not to reveal it to anyone else. Aśvins offered to fix a horse’s head on D’s shoulders and with this head he could reveal the secret. When Indra would cut off the horse’s head, Aśvins would restore to D his own head. To prove their point, Aśvins replaced their own heads by horse’s heads and sang Rks and Samans before D. and subsequently, assumed their own heads. D revealed the secret doctrine from the horse’s head. Indra cut this horse’s head. Aśvins restored to D his own head and won a share of the Soma in Pravargya. The head of the yajna was restored to Pravargya. RV narrates the Aśvin legend  Madhu of Aśvins comprises tvāṣṭra (the Sun who is the son of Tvaṣṭr) and kakṣya. Thus, Aśvin were able to restore the head of the yajna – the fullness of the yajna-- because worship could be offered to the Sun.
ŚatBr. Account of the legend (appended (14.1.1.1 to 33) elucidate the mystic significance of RV 1.116.12, the origin of Pravargya, wondrous powers of Aśvins (RV 1.117.22) who cured the defective yajña. The madhu vidyā  is that Brahman is present everywhere --  essence of sweetness in all flowers, is transformed by bees into honey Dadhyañc Ātharvaa says (SBr. 6.4.2.3) says that speech is the true vehicle of yajna; speech has the power to transform the speaker. Thus, having spoken, the speaker loses the original head. The horse is head, the source of transcendent knowledge, symbolic of time.

Bṛhadāraṇyaka Upaniṣad 2.5.16 to 2.5.19



इदं वै तन्मधु दध्यङ्ङाथर्वणोऽश्विभ्यामुवाच । तदेतद् ऋषिः पश्यन्नवोचत् ।
तद्वां नरा सनये दंस उग्रमाविस्कृणोमि तन्यतुर्न वृष्टिम् ।
दध्यङ् ह यन्मध्वाथर्वणो वामश्वस्य शीर्ष्णा प्र यदीमुवाच ॥ इति ॥ १६ ॥
idaṃ vai tanmadhu dadhyaṅṅātharvaṇo'śvibhyāmuvāca | tadetad ṛṣiḥ paśyannavocat |
tadvāṃ narā sanaye daṃsa ugramāviskṛṇomi tanyaturna vṛṣṭim |
dadhyaṅ ha yanmadhvātharvaṇo vāmaśvasya śīrṣṇā pra yadīmuvāca || iti || 16 ||
16. This is that meditation on things mutually helpful which Dadhyac, versed in the Atharva-Veda, taught the Aśvins. Perceiving this the Ṛṣi (Mantra) said, ‘O Aśvins in human form, that terrible deed called Daṃsa which you did out of greed, I will disclose as a cloud does rain—(how you learnt) the meditation on things mutually helpful which Dadhyac, versed in the Atharva-Veda, taught you through a horse’s head.’
इदं वै तन्मधु दध्यङ्ङाथर्वणोऽस्विभ्यामुवाच । तदेतदृषिः पश्यन्नवोचत् ।
आथर्वणायाश्विना दधीचेऽश्व्यं शिरः प्रत्यरयतम् ।
स वां मधु प्रवोचदृतायन् त्वाष्ट्रं यद् दस्रावपि कक्ष्यं वाम् ॥ इति ॥ १७ ॥
idaṃ vai tanmadhu dadhyaṅṅātharvaṇo'svibhyāmuvāca | tadetadṛṣiḥ paśyannavocat |
ātharvaṇāyāśvinā dadhīce'śvyaṃ śiraḥ pratyarayatam |
sa vāṃ madhu pravocadṛtāyan tvāṣṭraṃ yad dasrāvapi kakṣyaṃ vām || iti || 17 ||
17. This is that meditation on things mutually helpful which Dadhyac, versed in the Atharva-Veda, taught the Aśvins. Perceiving this the Ṛṣi said, ‘O Aśvins, you set a horse's head on (the shoulders of) Dadhyac, versed in the Atharva-Veda. O terrible ones, to keep his word he taught you the (ritualistic) meditation on things mutually helpful connected with the sun, as also the secret (spiritual) meditation on them.'
इदं वै तन्मधु दध्यङ्ङाथर्वणोऽश्विभ्यामुवाच । तदेतदृषिः पश्यन्नवोचत् ।
पुरश्चक्रे द्विपदः, पुरश्चक्रे चतुष्पदः ।
पुरः स पक्षी भूत्वा पुरः पुरुष आविशत् ॥ इति ।
स वा अयं पुरुषः सर्वासु पूर्सु पुरिशयः; नैनेन किंचनानावृतम्, नैनेन किंचनासंवृतम् ॥ १८ ॥
idaṃ vai tanmadhu dadhyaṅṅātharvaṇo'śvibhyāmuvāca | tadetadṛṣiḥ paśyannavocat |
puraścakre dvipadaḥ, puraścakre catuṣpadaḥ |
puraḥ sa pakṣī bhūtvā puraḥ puruṣa āviśat || iti |
sa vā ayaṃ puruṣaḥ sarvāsu pūrsu puriśayaḥ; nainena kiṃcanānāvṛtam, nainena kiṃcanāsaṃvṛtam || 18 ||
18. This is that meditation on things mutually helpful which Dadhyac, versed in the Atharva-Veda, taught the Aśvins. Perceiving this the Rṣi said, ' He made bodies with two feet and bodies with four feet. That Supreme Being first entered the bodies as a bird (the subtle body). ' He on account of his dwelling in all bodies is called the Puruṣa. There is nothing that is not covered by him, nothing that is not pervaded by Him.
इदं वै तन्मधु दध्यङ्ङाथर्वनोऽश्विभ्यामुवाच । तदेतदृषिः पश्यन्नवोचत् ।
रूपं रूपं प्रतिरूपो बभूव, तदस्य रूपं प्रतिचक्षणाय ।
इन्द्रो मायाभिः पुरुरूप ईयते, युक्ता ह्यस्य हरयः शता दश ॥ इति ।
अयं वै हरयः, अयं वै दश च सहस्राणि, बहूनि चानन्तानि च; तदेतद्ब्रह्मापूर्वमनपरमनन्तरमबाह्यम्, अयमात्मा ब्रह्म सर्वानुभूः, इत्यनुशासनम् ॥ १६ ॥
इति पञ्चमं ब्राह्मणम् ॥
idaṃ vai tanmadhu dadhyaṅṅātharvano'śvibhyāmuvāca | tadetadṛṣiḥ paśyannavocat |
rūpaṃ rūpaṃ pratirūpo babhūva, tadasya rūpaṃ praticakṣaṇāya |
indro māyābhiḥ pururūpa īyate, yuktā hyasya harayaḥ śatā daśa || iti |
ayaṃ vai harayaḥ, ayaṃ vai daśa ca sahasrāṇi, bahūni cānantāni ca; tadetadbrahmāpūrvamanaparamanantaramabāhyam, ayamātmā brahma sarvānubhūḥ, ityanuśāsanam || 16 ||
iti pañcamaṃ brāhmaṇam ||
19. This is that meditation on things mutually helpful which Dadhyac, versed in the Atharva-Veda, taught the Aśvins. Perceiving this the Rṣi said, ‘(He) transformed Himself in accordance with each form; that form of Hi$ was for the sake of making Him known. The Lord on account of Māyā (notions superimposed by ignorance) is perceived as manifold, for to Him are yoked ten organs, nay hundreds of them. He is the organs; He is ten, and thousands— many, and infinite. That Brahman is without prior or posterior, without interior or exterior. This self, the perceiver of everything, is Brahman. This is the teaching.
The oblation is an immeasurable exaltation.

No terrestrial being partakes of Soma
This is the clearest statement that Soma is a metaphor. It is NOT an eatable or drinkable substance. The metaphor of 'drink' is indeed the metaphor of sweet, life-sustaining 'wealth'.

RV 10.085.03 He who has drunk thinks that the herb which men crush is the Soma; (but) that which the Bra_hman.as know to be Soma,, of that no one partakes. {i.e., no one partakes of it unless he has sacrificed; if the Soma be taken as the moon, 'no one' will mean 'no one but the gods'].

RV 10.085.04 Concealed by means of coverings, protected by the Ba_rhats, O Soma, you abide listening to the grinding-stones; no terrestrial being partakes of you. [Ba_rhats: the guardians of the Soma, Sva_na, Bhra_ja, A_n:gha_rya etc.: Taittiri_ya Sam.hita_ 6.1.10.5].

The god flows to the gods:

9.003.08 As it drops, completing the sacrifice, it passes across the worlds  inviolable to heaven. [astr.tah replaces aspr.tah in Sa_maveda].
अ-स्पृत [p= 123,2] mfn. not forcibly carried off (as the सोमRV. viii , 82 , 9 and ix , 3 , 8.
अ-स्तृत [p= 122,2] mfn. not overcome , invincible , indestructible RV. AV. xix , 46; (said of the gold) KaushUp. and A1s3vGr2. ([v.l. -स्रुत्/ S3Br. xiv and Pa1rGr2. ])id. AV. i , 20 , 4 and v , 9 , 7.
So, Soma is NOT for the mortals. It is for those in heaven.
अंशु a kind of सोम libation S3Br. cognate ancu 'iron' (Tocharian). I suggest that the Tocharian word ancu 'iron' is the Proto-Indo-European form of the Rgveda term, variant pronunciation, अंशु a kind of सोम libation.

दध्य्--च् m. (nom. -/अङ् acc. -/अञ्चम् ; dat. °धीच्/ए gen. °धीच्/अस् ; cf. Pa1n2. 6-1 , 170) " sprinkling द्/अधि " (cf. °धि-क्र्/आ and घृत्/आ*चीN. of a mythical ऋषि or sacrificer ( RV. i , 80 , 16 and [called अङ्गिरस्139 , 9 [आङ्गिरसTa1n2d2yaBr. xii , 8 ; son of अथर्वन् [cf. आथर्वण्/अRV. vi , 16 , 14 BhP. iv , 1 , 42 ; having the head of a horse and teaching the अश्विन्s to find in त्वष्टृ's house the म्/अधु or सोम RV. i , 116 f. and 119 ; ix , 108 , 4 ; favoured by इन्द्र [x , 48 , 2] who slays 99 वृत्रs or foes with a thunderbolt made of his bones i. 84 , 13 BhP. vi , 11 , 20 ; viii , 20 , 7 ; propounder of the ब्राह्मण called म्/अधु S3Br. iv , xiv BhP. vi , 9 , 50ff.)

दधि mfn. (2 , 171 Va1rtt. 3) " giving " RV. x , 46 , 1; preserving (with acc.Vop.; n. a house L.(Monier-Williams)   dadh दध् 1 Ā. (दधते) 1 To hold. -2 To have, possess. -3 To give, present.  dadha दध a. Holding, possessing, giving &c. -n. share, portion; दधशब्दो भागधेयवचनः । त्रद्यथा कण्टकाय दधं नापिताय दधमिति । देवदधानि देवभागा इत्यर्थः । ŚB. on MS.1.8.32.; dadhi दधि n. [दध्-इन्] कुल्या a stream of दधि; Rām.1.53.3.-क्रा, -क्रावन् N. of a divine horse (personification of the morning sun); दधिक्रामग्निमुषसं च देवीम् Rv.1.11.1; दधिक्राव्णो अकारिषं जिष्णोरश्वस्य वाजिनः Rv.4.39.6.  -धेनुः f. a cow represented by दधि (offered to priests); Bhāva. P.2 168. 

अच् (connected with √ अञ्च् q.v.cl.1 P. A1. /अचति , /अञ्चति , °ते , आनञ्च , °चे , to go , move , tend; (also) to adorn, Dharmas3.; a technical term for all the vowels Pa1n2. (Monier-Williams)   अञ्च्   añc अञ्च् 1 U. (अञ्चु) (अञ्चति-ते, आनञ्च-ञ्चे, -अञ्चितुम, अच्यात् or अञ्च्यात्, अक्त or अञ्चित) 1 To bend, incline, curl, curve; शिरो$ञ्चित्वा Bk.9.4. -2 To go, move, tend towards; स्वतन्त्रा कथमञ्चसि Bk.4.22; also in अवाञ्च्; tending downward; प्राञ्च्, उदञ्च्; विश्वगञ्चति, सहाञ्चति, तिरो$ञ्चति &c. तस्मिन्नद्य रसालशाखिनि दशां दैवात् कृशामञ्चति Bv.1.48. having gone, being reduced to, &c.; त्वं चेदञ्चसि लोभम् 46, art greedy; संकोचमञ्चति सरः 17. -3 To worship, honour, reverence; भीमो$यं शिरसाञ्चति Ve.5.28. salutes; to adorn, grace; See अञ्चित below. -4 To request, ask or call for, desire. -5 To murmur, speak indistinctly. -Caus. or 1 U. To manifest, unfold; मुदमञ्चय Gīt.1. [cf. Zend anku. Gr.ankulos; L. uncus.] With अप to put away, drive away; (intr.) to run away. -आ to bend; दक्षिणं जान्वाच्य; जान्वाक with bent knees. -उप to draw or raise (water). -परि to cause to revolve, whirl; twist. -वि to draw or bend asunder; to extend, stretch out. -सम् to crowd or drive together, to bend together, See समक्न also; to go properly. अञ्चित   añcita अञ्चित pp. 1 (a) Curved, bent; ˚उचित Dk.125, bent and raised; किंचिदञ्चितां दृष्टिं संचारयन्ती 143. bent or oblique look; दोर्लीलाञ्चितचन्द्रशेखरधनुः Mv.1.54. bent; ˚सव्यजानुः R.18.51. अञ्चितदक्षिणोरुः Bk.2.31,9.4; ˚लाङ्गूलः (कपिः), ˚स्कन्धः (वृक्षः). (b) Arched and handsome (as eyebrows); ˚अक्षिपक्ष्मन् R.5.76; crisped, curled (as hair); स्वसिताञ्चितमूर्धजा Mb. -2 Gone. -3 Honoured; adorned, graced, graceful, handsome, दोर्दण्डाञ्चितमहिमा अञ्चितामादधानः Mv.7.8 graced, adorned; गतेषु लीलाञ्चित- विक्रमेषु Ku.1.34. cf. also कनकाचलसंकाशदेवतायतनाञ्चिते Śivabhārata IX.53. sportively handsome; ˚ताभ्यां गता- भ्याम् R.2.18, लीलाञ्चितभ्रूलता Dk.124,151; समधुरं मधुरञ्चित- विक्रमः R.9.24 of esteemed or adorable prowess; (अङ्गानि) रोमाञ्चमञ्चिततरं बिभराम्बभूवुः Ki.15.53. (Apte)

दधीचः चिः दध्यच्   dadhīcḥ ciḥ dadhyac दधीचः चिः दध्यच् N. of a celebrated sage, who became ready to die, and offered his bones to the gods; with these bones the architect of the gods made a thunderbolt with which Indra defeated Vṛitra and other demons. -Comp. -अस्थि n. 1 the thunderbolt of Indra. -2 a diamond.(Apte)

दधीच m. = °ध्य्-/अच् (devoted himself to death that इन्द्र might slay वृत्र with the thunderbolt fabricated by त्वष्टृ out of his bones) MBh. i , iii , ix (father of सारस्वत by सरस्वती 2929 ff., xii; ; (blamed दक्ष q.v.) Va1yuP. i , 30 , 103 ff. Ku1rmaP. i , 15 , 6 ff. (v.l. °); author with the patr. पाथ्न्य Anukr. on Ka1t2h. xvi , 4.; दधीचि m. = ° MBh. xii , 10283 ff (blaming दक्ष) VarBr2S. lxxx , 3.

दधि--क्र m. N. of a man Pravar. vi , 3 ( Ka1ty. ); दधि--क्रा  m. ( Naigh. i , 14 Nir. ii , 27 f. and x , 31N. of a divine horse (personification of the morning Sun ; addressed in RV. iv , 38-40 ; vii , 44), iii , 20 ; x , 101 , 1

अश्व-मेध 'is a yajna for accumulation, to master' -- derived from उणादि-सूत्र अश् 'to master', अंशु, ancu 'Soma, iron' pyrites

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-- उणादि-सूत्र derives अश्व 'horse' from, & hence, metaphor for अश् 'to become master of, to offer, to accumulate'. I submit that अश्व--मेध is a metaphor, 'is a yajna for accumulation, to master.'

अंश् cl.10 P. अंशयति , to divide , distribute L. ; also occasionally A1. अंशयते L. ; also अंशापयति L.

अश् (in classical Sanskrit only) A1. अश्नुते (aor. 3. pl. आशिषत Bhat2t2. ; perf. आनशे 
Pa1n2. 7-4 , 72. Vedic forms are: अश्नोति , &c ; Subj. अश्नवत् , &c ; aor. P. आनट् (2. & 3. sg. , frequently in RV. ) and A1. अष्ट or /आष्ट , 3. pl. आशत (frequently in RV. ) or /आक्षिषुर् [ RV. i , 163 , 10] Subj. /अक्षत् [ RV. x , 11 , 7] Pot. 1. pl. अशेम Prec. अश्यास् (2. & 3. sg.) &c Pot. A1. 1. sg. अशीय and pl. अशीमहि , Imper. अष्टु [ VS. ] ; perf. आनंश (thrice in RV. ) or आनाश [ RV. vi , 16 , 26] or आश [ RV. viii , 47 , 6] , 2. pl. आनश्/अ 3. pl. आनश्/उह् (frequently in RV. ) or आशुह् [ RV. iv , 33 , 4] A1. आनश्/ओ Subj. 1. pl. a अनशामहै
[ RV. viii , 27 , 22] Pot. 1. sg. आनस्याम् , p. आनशान्/अ [ AV. ] ; Inf. अष्टवे RV. iv , 30 , 19) to reach , come to , reach , come to , arrive at , get , gain , obtain RV. &c  ; (said of an evil , अंहति , /अंहस् , ग्र्/आहि) to visit RV. AV. vi , 113 , 1  ; to master , become master of. RV.  ; to offer RV.  ; to enjoy MBh. xii , 12136  ; to pervade , penetrate , fill Naigh. Bhat2t2. ii , 30  ; toaccumulate L. : Desid. अशिशिषते Pa1n2. 7-2 , 74 Intens. अशाश्यते Pa1n2. 3-1 , 22 Pat.(Monier-Williams)

अश्व m. (2. rarely 3 RV. ) ( √1. अश् --उणादि-सूत्रifc. f. a horse , stallion RV. &c (Monier-Williams) Thus, the expression अश्व--मेध m. the horse-yajna (a celebrated ceremony is a metaphor for accumulation.

The antiquity of the अश्व--मेध yajna reaches back to the Vedic period ; the hymns RV. i , 162 and 163 [= VS. xxii seqq.] , referring to it , are however of comparatively late origin ; in later times its efficacy was so exaggerated , that a hundred such sacrifices entitled the sacrificer to displace इन्द्र from the dominion of स्वर्ग ; kings who engaged in it spent enormous sums in gifts to the Brahmans ; it is said that the horse was sometimes not immolated , but kept bound during the ceremony) VS. xviii , 22 TS. Ragh. &c , (cf. अर्का*श्वमेध्/अ). (Monier-Williams)

Itihāsa. An etymological excursus on how the expression Hindu-tva precisely signifies Hindu identity

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This note suggests the use of the word hindu-tva based on the etymological reasoning. This note provides philological evidence to prove that the suffix -tva is an appropriate indicator of 'identity'. On the contrary, the suffix-ism often used in English parlance tends to assume the behaviour of 'taking sides' and hence presents a distorted or biased connotation.

Hindutva is a quintessential Indian expression composed of the word 'hindu' PLUS the suffix -tva.

The suffix -tva is an abbreviation of the word tattva, 'identity'. Thus, hindu-tva means 'hindu identity'.

Distortions created by using a borrowed suffix -ism

The suffix -ism has an etymological history connecting it with the semantics of 'behaviours, taking sides': "...originally derived from the Ancient Greek suffix -ισμός (-ismós), and reaching English through the Latin -ismus, and the French -isme. It means "taking side with" or "imitation of", and is often used to describe philosophies, theories, religions, social movements, artistic movements and behaviors." https://en.wikipedia.org/wiki/-ism


I submit that the suffix -ism is NOT an indicator of identity.

For an indicator of identity, let us stay with the suffix -tva. This means that we should stay with the words such as Bauddham, Jaina, Khalsa, S'aakta, GaaNapatya, KaumAra instead of using the western academic practices of adding the suffix -ism to words creating expressions such as Buddh-ism, Jain-ism, Sikh-ism, Shakt-ism. The alien nature of the suffix -ism in the context of identities such as GaaNapatya, KaumAra becomes clear when adding the suffix to these expressions results in divisive, distorted connotations.

To summarise, the suffix -ism results in 'taking sides' while the suffix -tva results in 'defining identity'.

Some lexical elaborations

त्व (त्वद्). one , several RV.; त्व-त्व , one-the other RV. AV. viii , 9 , 9; त्वद् , partly RV. x , 72 , 9 S3a1n3khBr. xvii , 4; तत्--त्व true or real state , truth , reality S3vetUp. Mn. Bhag. &c;
 (in phil.a true principle (in सांख्य phil. 25 in number , viz. अ-व्यक्त , बुद्धि , अहं-कार , the 5 तन्-मात्रs , the 5 महा-भूतs , the 11 organs including मनस् , and , lastly , पुरुष , qq.vv.) MBh. xii , 11840 ; xiv , 984 R. iii , 53 , 42 Tattvas. ; 24 in number MBh. xii , 11242 Hariv. 14840 (m.) ; 23 in number BhP. iii , 6 , 2 ff....in वेदा*न्त phil. तत्त्व is regarded as made up of तद् and त्वम् , " that [art] thou " , and called महा-वाक्य , the great word by which the identity of the whole world with the one eternal ब्रह्म [तद्] is expressed)

sāṅkhya सांख्य ... -ख्यः, -ख्यम् N. of one of the six systems of Hindu philosophy, attributed to the sage Kapila; (this philosophy is so called because it 'enu- merates' twentyfive Tattvas or true principles; and its chief object is to effect the final emancipation of the twenty-fifth Tattva, i.e. the Puruṣa or soul, from the bonds of this worldly existence-the fetters of pheno- menal creation -by conveying a correct knowledge of the twenty-four other Tattvas and by properly discri- minating the Soul from them. It regards the whole universe as a development of an inanimate principle called Prakṛiti q. v, while the Puruṣa is altogether passive and simply a looker-on. It agrees with the Vedānta in being synthetical and so differs from the analytical Nyāya or Vaiśeṣika; but its great point of divergence from the Vedānta is that it maintains two principles which the Vedānta denies, and that it does not admit God as the creator and controller of the universe, which the Vedānta affirms)... (Apte)

“The superficial similarity between Hindutva and Hinduism is responsible for this regrettable estrangement that, at times, alienates well-meaning people. The distinction between these two terms would be made clear…if there be really any word of alien growth, it is this word ‘Hinduism’“ Kumar starts the book quoting Hindutva icon Veer Savarka’s Essentials of Hindutva“.-- News report, TOI Chennai Edition, 1 Jan. 2019
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by J.Nandakumar (Author), David Frawley (Foreword)


 See all formats and editions Rs. 399

Itihāsa of ca. 4th m. BCE reconstructed from Rgveda, दशराज्ञ युद्ध – an outline of the Battle of Ten Kings

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https://tinyurl.com/rrbfvcj

This is perhaps one of the earliest battles documented in the story of civilization, in an Indo-European (RgVedic) language. This narrative of the battles is distinct from the recurrent warfares in many areas of Ancient Near East as recorded in Sumerian or Akkadian on cuneiform texts.
The keynote of this monograph is provided by Shrikan Talageri's presentation which is well-evidenced that the combatants in the Battle of Ten Kings had later migrated westwards from the Sarasvati Civilization area ( I suggest that this civilization area included Hariyupiya, Harappa on the Ravi river -- of the Early Bronze Age times).
Migrations are attested in Baudhāyana-Śrautasūtra Chapter XVIII.44 which contains an important reference attesting to the migrations of two groups of people away from Kurukshetra region (Sarasvati River basin).
The reference to migration of Amavasu people to Gandhari and Parsu evokes the following migrations westwards from Kurukshetra (Sarasvati River Basin area) indicated in reference to the Battle of Ten Kings: 1. Dṛuhyu (some align these people with Gandhari – RV 1.126.7 2. Parśus or Parśvas (RV 7-83-1) Persians.
The series of events constitute the earliest documented human memory recollected as narratives in the Rgveda and may relate to the days of Early Bronze Age, perhaps ca. 4th millennium BCE.
RV 7.18, 7.33 and 7.83, 4-8 detail a set of historical events related to the battles and combatants who were mainly Puru-s and Bharata-s, together with their allies. 
The principal Bharata was Sudas who led the Ttsu people. (cf. Schmidt, H.P. Notes on Rgveda 7.18.5–10. Indica.Organ of the Heras Institute, Bombay. Vol.17, 1980, 41–47).
In RV 8.4.1 the battle was with the Turvaśa. कुलुङ्ग kuluṅga "antelope" कुरुङ्ग Kuruṅga was the name of a chieftain of theTurvaśa.

Bharats gained victory against Anu, in the battle on River Paruṣṇī (Ravi).An ally of Anu, Purukutsa of the Puru kingdom died.

Sudas fought another battle on the banks of Yamuna with Ajas and Yakus (united under King Bheda).

Pre-battle groupings of combatants: Turvaśu and Yakṣu (Yadu) people ally with Bhrgu and Druhyus. The formation of this combatant group leading up to the battle is described in RV 7.18.6. (Re: Matsya, cf.  Macdonell and Keith, Vedic Index, 1912, II 122.)
On the banks of Vipasa and Sutudri, Viśvāmitra leads Sudas (Bharata kingdom, tsu family in campaigns.) After Vasishtha replaced Viśvāmitra as the family priest, Viśvāmitra leads ten kings against the Bharata kingdom.

The ten kings led by Viśvāmitra were from the kingdoms of



1. Puru (Confederation of kings, constitute the Vedic Aryans; “the Pūru-s dwell, Beauteous One, on thy (Sarasvati) two grassy banks” (VII.96.2).); Bharata Pūru-s are also Vedic Aryans. Anu-s and Druhyu-s among the Puru-s migrated westwards.

2. Yadu (the pun for Yadu are Yaku)

3. Turvaśa (Matsya – RV 7.18.6; later associated with ŚlvaBhṛgu (composer of parts of Atharva Veda as Bhṛgv-Āṅgirasa; Aja and Sigru – RV 7.18.19; Śimyu – RV 7.18.5 is the name of an individual King; Pṛthu/Pārthav -- RV 7.83.1;Kavasa – RV 7.18.12 is also the name of an individual king; 21 men of both Vaikarna people – RV 7.18.11; are also counted as groups, perhaps janapada-s without a King; Bheda is mentioned in RV 7.18.19, 7.33.3 and 7.83.4; he is the main leader killed by Sudas). One contrary view is:  Sudas was himself a Bharata; Aja, Sigru and Yakṣu were not his enemies
Aja (We do not know if the refeence is to Aja was the 38th king in the Solar Dynasty, descent from the sun god Surya. He was the son of king Raghu , one of the most famous kings of the Ikshvaku dynasty. His paternal grandfather was the pious king Dileepa.King Aja ruled the kingdom of Kosala on the southern banks of the river Sarayu in the northern part of India, with Ayodhya as his capital. https://en.wikipedia.org/wiki/Aja_of_Kosala
4. Anu (or Anavas mentioned in RV 7.18.14; who lived in the Paruṣṇī (Ravi) area (cf. Macdonell and Keith, Vedic Index I 22); Parśu/Parśava are connected with ancient Persians; Pani are connected with Scythians) [cf. Macdonell and Keith, Vedic Index. Based on the evidence of an Assyrian inscription of 844 BCE referring to the Persians as Paršu, and the Behistun Inscription of Darius I of Persia referring to Parsa (Pārsa) as the area of the Persians. Radhakumud Mookerji (1988). Chandragupta Maurya and His Times (p. 23). Motilal Banarsidass Publ.] Anu groupings (or allies) included: VII.18.5 Śimyu. VII.18.6 Bhṛgu.VII.18.7 Paktha, Bhalāna, Alina, Śiva, Viṣāṇin.VII.83.1 Parśu/Parśava, Pṛthu/Pārthava, Dāsa. Anu is a synonym for Bhṛgu-s (who also figure as enemies in RV VII.18).


5. Dṛuhyu (some align these people with Gandhari – RV 1.126.7

6. Alina (group defeated by Sudas; cf.  Macdonell, A. A. and Keith, A. B. (1912). Vedic Index of Names and Subjects, I, 39; group who lived to the northeast of Nuristan, as mentioned by Chinese pilgrim Xuanzang; cf. Macdonell and Keith, Vedic Index, 1912, I, 39)

7. Bhalāna (some argue that these people lived in the Bolan Pass area – cf.  Macdonell and Keith, Vedic Index, 1912, II 122.)


8. Śiva (Links to? -- Sibi (Balochi and Urduسِبی‎; Pashtoسيوۍ‎) or Siwei is a city situated in the Balochistan province of Pakistan. The city is the headquarters of the district and tehsil of the same name. https://en.wikipedia.org/wiki/Sibi)

9. Viṣāṇin (Associated with areas in the north and west of Punjab)
10. Paktha [cf. RV 7.18.7 refer to Paktha who fought against Sudas. Pakthas are an ancient people that find reference in Sanskrit and allegedly in Greek sources as a people living in the region which includes south-eastern province (Loya Paktia) in Afghanistan and northern parts of Pakistan. In the Rigveda, the Kurram is mentioned as "Kruma". Pachytyans were in charge of all "elephants" used in battle fields. Elephant hoarders or boarders or they took care of elephants. Today, the Kurram Valley is mostly inhabited by the Bangash and Turi 
Pashtun people, and because of that the ancient Pakhtas are believed to be part of the modern-day Pashtun confederation. (cf. Comrie, Bernard (1990). The World's Major Languages. Oxford University Press. p. 549.)"The Pakthas, Bhalanases, Vishanins, Alinas, and Sivas were the five frontier tribes. The Pakthas lived in the hills from which the Kruma originates. Zimmer locates them in present-day eastern Afghanistan, identifying them with the modern Pakthun." (Ancient Pakistan: Volume 3, University of Peshawar. Dept. of Archaeology - 1967, Page 23)] Heinrich Zimmer connects them with a tribe already mentioned by Herodotus (Pactyans), and with Pashtuns in Afghanistan and Pakistan.
The Greek historian Herodotus mentioned a people called Pactyan living on the eastern frontier of the Achaemenid Arachosia Satrapy as early as the 1st millennium BCE.( cf.The History of Herodotus Chapter 7, Written 440 B.C.E, Translated by George Rawlinson". Piney.com)
Paktha are shown as Arachotus on this map. (Schmitt, Rüdiger (August 10, 2011). "Arachosia". United States: Encyclopædia Iranica.Arachosia /ærəˈksiə/ is the Hellenized name of an ancient satrapy in the eastern part of the AchaemenidSeleucidParthianGreco-Bactrian, and Indo-Scythian empires. Arachosia was centred on the Arghandab valley in modern-day southern Afghanistan, although its influence extended east to as far as the Indus River. The main river of Arachosia was called Arachōtós, now known as the Arghandab River, a tributary of the Helmand River.https://en.wikipedia.org/wiki/Arachosia)


Shrikant Talageri in his The Rig Veda- A Historical Analysis lists the following migrations of people groups after the Battle of Ten Kings:-

Iranian:


Prthus or Parthavas (RV 7-83-1) Parthians
Parśus or Parśvas (RV 7-83-1) Persians
Pakthas (RV 7-18-7) Paktoons
Bhalanas (RV 7-18-7) Baluchis
Sivas (RV 7-18-7) Kivas
Viṣāṇins  (RV 7-18-7) Pisachas/Dards
Simyus (RV 7.18.5) Sarmatians (ancient Albanians)
Alinas (RV 7-18.7) Alans/Hellennes/Ancient Greeks
The following quote from the blog of Shrikant Talageri  demonstrates that the migrations of people involved in the Battle of Ten Kings migrated out of India. 

[quote]...(Rgveda) book 7 (which refers to the Yamunā in VII.18.19) describes (in VII.18, and also 19,33 and 83) the dāśarājña battle (the Battle of the Ten Kings) in which Sudās, fighting from the east on the banks of the third easternmost river of the Punjab, the Paruṣṇī, fights the coalition of ten Anu tribes who are described (in RV VII.5.3) as the Asiknī people (as they are fighting from the west, from the direction of the fourth easternmost river of the Punjab, the Asiknī).


These tribal names are primarily found only in two hymns, VII.18 andVII.83, of the Rigveda, which refer to the Anu tribes who fought against Sudās in the dāśarājña battle or "the Battle of the Ten Kings". But see where these same tribal names are found in later historical times (after their exodus westwards referred to in VII.5.3 and VII.6.3).  Incredibly, they cover, in an almost continuous geographical belt, the entire sweep of areas extending westwards from the Punjab (the battleground of the dāśarājña battle) right up to southern and eastern Europe:

(Avestan) Afghanistan: Proto-Iranian: Sairima (Śimyu), Dahi (Dāsa).
NE Afghanistan: Proto-Iranian: Nuristani/Piśācin (Viṣāṇin).  
Pakhtoonistan (NW Pakistan), South Afghanistan: Iranian: Pakhtoon/Pashtu (Paktha).
Baluchistan (SW Pakistan), SE Iran: Iranian: Bolan/Baluchi (Bhalāna).
NE Iran: Iranian: Parthian/Parthava (Pṛthu/Pārthava).
SW Iran: Iranian: Parsua/Persian (Parśu/Parśava).
NW Iran: Iranian: Madai/Mede (Madra).
Uzbekistan: Iranian: Khiva/Khwarezmian (Śiva).
W. Turkmenistan: Iranian: Dahae (Dāsa).
Ukraine, S, Russia: Iranian: Alan (Alina), Sarmatian (Śimyu).
Turkey: Thraco-Phrygian/Armenian: Phryge/Phrygian (Bhṛgu).
Romania, Bulgaria: Thraco-Phrygian/Armenian: Dacian (Dāsa).
Greece: Greek: Hellene (Alina).
Albania: Albanian: Sirmio (Śimyu).

Further:
a) The leader of the enemy alliance is Kavi Cāyamāna: Kauui is an Iranian (Avestan) name.
b) The priest of the enemy alliance is Kavaa: Kaoša is an Iranian (Avestan) name.
c) Kavi Cāyamāna  of the battle hymn was a descendant of Abhyāvartin Cāyamāna, who is described in the Rigveda (VI.27.8) as a Pārthava. The later Iranian (Avestan) dynasty (after the Iranians migrated westwards from the Rigvedic Greater Punjab into Afghanistan, and composed the Avesta), the oldest Iranian dynasty in historical record (outside the Rigveda) to which belongedZarathushtra's patron king and foremost disciple Vištāspa, is theKavyān (Pahlavi Kayanian) dynasty descended from this sameKavi/Kauui. In later historical times, it is the Parthians (Parthava) who maintained a strong tradition that the kings of the Kavyāndynasty of the Avesta belonged to their tribe. [unquote]

References to the Battle of Ten Kings occur in the following texts: RV VII, hymns 18, 33 and 83.4-8). The full texts of RV VII.18, 33 and 83 are presented below.




Translation (Sayana/Wilson):
7.018.01 Our forefathers, Indra, glorifying you, have obtained all desirable (riches); in your gift are cows easy to be milked, and horses, and you are the liberal donor of wealth to the devout. [tve = tvayi, in you].
7.018.02 You dwell with your glories like a ra_ja_ with his wives; Maghavan, who are wise and experienced, (reward our) praises with the precious metals, with cows, with horses; conduct us who are dependent on your riches. [With the precious metals: pis'a_, silver or gold, and the like; ru_pen.a hiran.ya_dina_ va_; ru_pa may also mean beauty].
7.018.03 These gratifying and pious hymns, emulous (in earnestness), are addressed on this occasion to you, may the path of your riches lead downwards; may we, Indra, (diligent) in your praise, enjoy felicity.
7.018.04 Desirous of milking you like a milch cow at pasture, Vasis.t.ha has let loose his prayers to you; every one of my people proclaims you the lord of cattle; may Indra be present at our praises.
7.018.05 The adorable Indra made the well-known deep waters (of the Parus.n.i) fordable for Suda_sa, and converted the vehement awakening imprecation of the sacrificer into the calumnation of the rivers. [Converted the vehement: sardhantam s'imyum uchahasya s'a_pam sindhu_na_m akr.n.od as'asti_h = utsahma_na_m bodhma_na_m stotuh s'a_pam abhis'asti_h sindhu_na_m akarot, he made the exerting awakening curse of the praiser the imprecations of the rivers; vis'varu_podbhavam a_tmano abhis'a_pam, the imprecation on his (Indra) has its birth in vis'varu_pa].
7.018.06 Turvas'a, who was presiding (at solemn rites), diligent in sacrifice, (went to Suda_sa) for wealth; but like fishes restricted (to the element of water), the Bhrigus and Druhyus quickly assailed them; of these two everywhere going the friend (of Suda_sa, Indra) rescued his friend. [The legend: Indra saves one of the two, Suda_sa (and perhaps slays the other), turvas'am avadhi_t; matsyaso nis'itah, fishes limited to water; the people of the country Matsya were attacked by Turvas'a, tena matsyajanapada ba_dhitah; s'rus.t.im cakruh (applied to the Bhrigus) = as'upra_ptim cakruh; sukham turvas'asys cakruh-- making the Bhrigus and Druhyus the allies of Turvas'a].
7.018.07 Those who dress the oblation, those who pronounce auspicious words, those who abstain from penance, those who bear horns (in their hands), those who bestow happiness (on the world by sacrifice), glorify that Indra, who recovered the cattle of the Arya from the plunderers, who slew the enemies in battle. [Those who dress: Denominations of the persons assisting at religious rites are: 1. paktha_sah, havis.am pa_cakah, cooks of the butter offered in oblation; 2. bhala_nasah, bhadra va_cinah, speakers of that which is lucky; 3. alina_sah, tapobhir apravr.ddhah, not eminent by austerities; 4. vis.a_n.inah, having black horns in their hands for the purpose of scratching kan.d.uyana_rtham, the same as di_ks.itah, having undergone the preliminary purification called di_ks.a; 5. s'iva_sah, ya_ga_dina_ sarvasya lokasya s'ivakarah, the makers happy of all people by sacrifice and the like].
7.018.08 The evil-disposed and stupid (enemies of Suda_sa), crossing the humble Parus.n.i river, have broken down its banks; but he by his greatness pervades the earth, and Kavi, the son of Ca_yamana, like a falling victim, sleeps (in death). [Sleeps in death: killed Suda_sa].
7.018.09 The waters followed their regular course to the Parus.n.i, nor (wandered) beyond it; the quick courser (of the king) came to the accessible places, and Indra made the idly-talking enemies, with their numerous progeny, subject among men (to Suda_sa). [Indra is said to have repaired the banks of the river so that the waters -- iyur artham na nyartham-- went to their object, that is, their former bed, not below or beyond it; the enemies Amitra_n are called vadhriva_cah or jalpaka_n].
7.018.10 They who ride on particoloured cattle, (the Maruts), despatched by Pr.s.n.i and recalling the engagement made by them with their friend (Indra), came like cattle from the pasturage, when left without a herdsman; the exulting Niyut steeds brought them quickly (against the foe).
7.018.11 The hero Indra created the Maruts (for the assistance of the ra_ja_), who, ambitious of fame, slew one-and-twenty of the men on the two banks (of the Parus.n.i), as a well-looking priest lops the sacred grass in the chamber of sacrifice.
7.018.12 You, the bearer of the thunderbolt, did drown S'ruta, Kavas.a, Vr.ddha and afterwards Druhyu, in the waters; for they, Indra, who are devoted to you, and glorify you, preferring your friendship, enjoy it.
7.018.13 Indra, in his might, quickly demolished all their strongholds, and their seven (kinds of) cities; he has given the dwelling of the son of Anu to Tr.tsu; may we, (by propitiating Indra), conquer in battle the ill-speaking man. [Seven kinds of cities: purah sapta, seven cities; nagai_h sapta praka_rah or pra_ka_ra_h, seven-walled; conquer in battle: jes.ma pu_rum manus.yam mr.dhrava_cam, speaking imperfectly or barbarously; or baddhava_cam, whose speech is threatening, obstructing or adverse].
7.018.14 The warriors of the Anus and Druhyus, intending (to carry off the) cattle, (hostile) to the pious (Suda_sa) perished to the number of sixty-six thousand six hundred and sixty; such are all the glorious acts of Indra. [Sixty-thousand: s.as.t.ih s'ata s'at. sahasra s.as.t.ir adhi s'at. = sixty hundreds, six thousands, sixty, with six more; s'ata_ni = thousands, sahasra_ni_tyartham].
7.018.15 These hostile, Tr.tsus, ignorantly contending with Indra, fled routed as rapidly as rivers on a downward course, and being discomfited, abandoned all their possessions to Suda_sa.
7.018.16 Indra has scattered over the earth the hostile rival of the hero (Suda_sa), the senior of Indra, the appropriator of the oblation; Indra has baffled the wrath of the wratfhful enemy, and the (foe) advancing on the way (against Suda_sa) has taken the path of flight.
7.018.17 Indra, has effected a valuable (donation) by a pauper; he has slain an old lion by a goat; he has cut the angles of the sacrificial post with a needle; he has given all the spoils (of the enemy) to Suda_sa. [Indra has effected: the three impossible acts are illustrative of the wonderful power of Indra].
7.018.18 Your numerous enemies, Indra, have been reduced to subjection, effect at some time or other the subjugation of the turbulent Bheda, who holds men praising you as guilty of wickedness; hurl, Indra, your sharp thuderbolt against him. [Bheda: one who breaks or separates; may mean an unbeliever, a na_stika; or, the name of the enemy of Suda_sa].
7.018.19 The dwellers on the Yamuna and the Tr.tsus glorified Indra when he killed Bheda in battle; the Ajas, the S'igrus, the Yak
ṣus, offered him as a sacrifice the heads of the horses (killed in the combat). [Offered to him: balim s'i_rs.a_n.i jabhrur as'vya_ni : they represented the best horses, taken; bali may also have the import of a sacrifice]. 
7.018.20 Your favours, Indra, and your bounties, whether old or new, cannot be counted like the (recurring) dawn; you have slain Devaka, the son of Ma_nyama_na, and of thine own will, has cast down S'ambara from the vast (mountain).
7.018.21 Para_s'ara, the destroyer of hundreds (of ra_ks.asas), and Vasis.t.ha they who, devoted to you, have glorified you in every dwelling, neglect not the friendship of you (their) benefactor; therefore prosperous days dawn upon the pious. [The destroyer: s'ataya_tu, that is, s'akti, the son of Vasis.t.ha, the father of Para_s'ara (Vis.n.u Pura_n.a 8.4)].
7.018.22 Praising the liberality of Suda_sa, the grandson of Devavat, the son of Paijavana, the donor of two hundred cows, and of two chariots with two wives, I, worthy (of the gift), circumambulate you, Agni, like the ministrant priest in the chamber (of sacrifice).
7.018.23 Four (horses), having golden trappings, going steadily on a difficult road, celebrated on the earth, the excellent and acceptable gifts (made) to me by Suda_sa, the son of Paijavana, bear me as a son (to obtain) food and progeny. [The excellent: smaddis.t.ayah, an epithet of as'vah: prasa'sta_tisarjana_ s'raddha_dida_na_n:gayukta_, being or having part of a donation made in the belief of presenting what is excellent].
7.018.24 The seven worlds praise (Suda_sa) as if he were Indra; him whose fame (spreads) through the spacious heaven and earth; who, munificent, has distributed (wealth) on every eminent person, and (for him) the flowing (rivers) have destroyed Yudhyamadhi in war.
7.018.25 Maruts, leaders (of rites), attend upon this (prince) as you did upon Divoda_sa, the father of Suda_sa; favour the prayers of the devout son of Pijavana, and may his strength be unimpaired, undecaying].

Alternative translation (Grifffith): HYMN XVIII. Indra. 18

1. ALL is with thee, O Indra, all the treasures which erst our fathers won who sang thy praises.
With thee are milchkine- good to milk, and horses: best winner thou of riches for the pious.
2 For like a King among his wives thou dwellest: with glories, as a Sage, surround and help us.
Make us, thy servants, strong for wealth, and honour our songs wirth kine and steeds and
decoration.
3 Here these our holy hymns with joy and gladness in pious emulation have approached thee.
Hitherward come thy path that leads to riches: may we find shelter in thy favour, Indra.
Vasistha hath poured forth his prayers, desiring to milk thee like a cow in goodly pasture.
All these my people call thee Lord of cattle: may Indra. come unto the prayer we offer.
5 What though the floods spread widely, Indra made them shallow and easy for Sudas to traverse.
He, worthy of our praises, caused the Simyu, foe of our hymn, to curse the rivers' fury.
6 Eager for spoil was Turvasa Purodas, fain to win wealth, like fishes urged by hunger.
The Bhrgus and the Druhyus quickly listened: friend rescued friend mid the two distant peoples.
7 Together came the Pakthas, the Bhalanas, the Alinas, the Sivas, the Visanins.
Yet to the Trtsus came the AryasComrade, through love of spoil and heroes' war, to lead them.
Fools, in their folly fain to waste her waters, they parted inexhaustible Parusni.
Lord of the Earth, he with his might repressed them: still lay the herd and the affrighted
herdsman.
9 As to their goal they sped to their destruetion: they sought Parusni; even the swift returned
not.
Indra abandoned, to Sudas the manly, the swiftly flying foes, unmanly babblers.
10 They went like kine unherded from the pasture, each clinging to a friend as chance directed.
They who drive spotted steeds, sent down by Prsni, gave ear, the Warriors and the harnessed horses.
11 The King who scattered oneandtwenty— people of both Vaikarna tribes through lust of glory-
As the skilled priest clips grass within the chamber, so hath the Hero Indra, wrought their
downfall.
12 Thou, thunderarmed-, overwhelmedst in the waters famed ancient Kavasa and then the Druhyu.
Others here claiming friendship to their friendship, devoted unto thee, in thee were joyful.
13 Indra at once with conquering might demolished all their strong places and their seven castles.
The goods of Anus' son he gave to Trtsu. May we in sacrifice conquer scorned Puru.
14 The Anavas and Druhyus, seeking booty, have slept, the sixty hundred, yea, six thousand,
And sixandsixty— heroes. For the pious were all these mighty exploits done by Indra.
15 These Trtsus under Indras' careful guidance came speeding like loosed waters rushing downward.
The foemen, measuring exceeding closely, abandoned to Sudas all their provisions.
16 The heros' side who drank the dressed oblation, Indras' denier, far over earth he scattered.
Indra brought down the fierce destroyers' fury. He gave them various roads, the paths' Controller.
17 even with the weak he wrought this matchless exploit: even with a goat he did to death a lion.
He pared the pillars' angles with a needle. Thus to Sudas Indra gave all provisions.
18 To thee have all thine enemies submitted: even the fierce Bheda hast thou made thy subject.
Cast down thy sharpened thunderbolt, O Indra, on him who harms the men who sing thy praises.
19 Yamuna and the Trtsus aided Indra. There he stripped Bheda bare of all his treasures.
The Ajas and the Sigrus and the Yak
us brought in to him as tribute heads of horses.
20 Not to be scorned, but like Dawns past and recent, O Indra, are thy favours and thy riches.
Devaka, Manyamanas' son, thou slewest, and smotest Sambara from the lofty mountain.
21 They who, from home, have gladdened thee, thy servants ParasaraVasisthaSatayatu,
Will not forget thy friendship, liberal Giver. So shall the days dawn prosperous for the princes.
22 Priestlike-, with praise, I move around the altar, earning Paijavanas' reward, O Agni,
Two hundred cows from Devavans' descendant, two chariots from Sudas with mares to draw them.
23 Gift of Paijavana, four horses bear me in foremost place, trained steeds with pearl to deck them.
Sudass' brown steeds, firmlystepping-, carry me and my son for progeny and glory.
24 Him whose fame spreads between wide earth and heaven, who, as dispenser, gives each chief his
portion,
Seven flowing Rivers glorify like Indra. He slew Yudhyamadhi in close encounter.
25 Attend on him O ye heroic Maruts as on Sudass' father Divodasa.
Further Paijavanas' desire with favour. Guard faithfully his lasting firm dominion.

7.033.01 The white-complexioned accomplishers of holy ceremonies, wearing the lock of hair on the right side, have afforded me delight, when, rising up I call the leaders (of rites) to the sacred grass; the Vasis.t.has, (my sons) should never be far from me. [White-complexioned: s'vity an~cah = s'vetavarn.ah, white-coloured (applied to the vasis.t.has); wearing the lock of hair on the right side: daks.in.atas kaparda_h: kaparda = cu_d.a or single lock of hair left on the top of the head at tonsure; Vasis.t.has wear it on the right of the crown of the head, daks.in.e s'iraso bha_ge].
7.033.02 Disgracing (Pa_s'adyumna), they brought from afar the fierce Indra, when drinking the ladle of Soma at his sacrifice, to (receive) the libation (of Suda_sa); Indra hastened from the effused Soma of Pa_s'adumna, the son of Va_yata, to the Vasis.t.has. [They brought: A legend is related. The sons of Vasis.t.ha had undertaken a soma sacrifice to Indra on behalf of Suda_sa. They found that he was present at a similar solemnity instituted by the ra_ja_ Pa_s'adyumna, the son of Va_yata, on which they abused the ra_ja_, broke off his sacrifice, and by their mantras, compelled Indra to come to that of their patrons].
7.033.03 In the same manner was he, (Suda_sa) enabled by them easily to cross the Sindhu river; in the same manner, through them he easily slew his foe; so in like manner, Vasis.t.has, through your prayers, did Indra defend Suda_sa in the war with the ten kings. [He easily sle his foe: bhedam jagha_na: bheda may also be a proper name; in the war with ten kings: da_s'ara_jn~e = das'abhi_ ra_ja_bhih saha yuddhe].
7.033.04 By your prayers, leaders (of rites), is effected the gratificcation of your progenitors; I have set in motion the axle (of the chariot); be no you intert, for by your sacred metres, Vasis.t.has, (chanted) with a loud voice, you sustain vigour in Inda. [Of your rogenitors: pitr.n.a_m, in the gen., pl. used honorifically, implying father, i.e. Vasis.t.ha; I have set in motion: aks.am avyayam = rathasya aks.am avyaya_mi, ca_laya_mi, I cause to move the axle of the car, ascribing the words to Vasis.t.ha, as announcing his intention to return to his hermitage].
7.033.05 Suffering from thirst, soliciting (rain), supported (by the Tr.tsus) in the war with the ten ra_ja_s, (the Vasis.t.has) made Indra radiant as the sun; Indra heard (the praises) of Vasis.t.ha glorifying him, and bestowed a spacious region on the Tr.tsus.
7.033.06 The Bharatas, inferior (to their foes), were shorn (of their possessions), like he staves for driving cattle, (stripped of their leaves and branches); but Vasis.t.ha became their family priest, and the people of the Tr.tsus prospered. [People of the Tr.tsus: Tr.tsus are the same as the Bharatas. Sam.varan.a, the son of R.ks.a, the fourth in descent from Bharata, the son of Dus.yanta, was driven from his kingdom by the Pa_n~ca_las, and obliged to take refuge with his tribe among the thickets on the Sindhu until Vasis.t.ha came to them and consented to be the ra_ja_'s purohit, when they recovered their territory].
7.033.07 Three shed moisture upon the regions, three are their glorious progeny, of which the chief is night; three communicators of warmth accompany the dawn; verily the Vasis.t.has understand all these. [Three shed moisture: S'a_tya_ana is cited: the three who send rain on the three regions of earth, mid-air, and heaven, are Agni, Va_yu and A_ditya; they also diffuse warmth; thei offspring are the Vasus, the Rudras, the A_dityas, the latter of whom are the same as Jyotis., light].
7.033.08 The glory of these Vasi.s.t.has is like the splendour of the sun; their greatness as profound as (the depth of) the ocean; your praise, Vasis.t.has, has the velocity of the wind; by no other can it be surpassed.
7.033.09 By the wisdom seated in the heart the Vasis.t.has traverse the hidden thousand branched world, and the Apsarasas sit down wearing the vesture spread out by Yama. [The hidden thousand-branched world: nin.yam sahasravals'am abhisan~caranti, they completely go over the hidden, tirohitam, or durjn~a_nam, ignorant, sahasra vals'am, thousand-branched, that is, sam.sa_ram, the revolving world of various living beings, or the succession of many births; the allusion is to the repeated births of Vasis.t.ha, who is the first of the Praja_patis, or mind-born sons of Brahma_, who is the son of Urvas'i_; hr.dayasya praketaih prajn~a_naih, internal convictions or knowledge; this may imply the detachment of Vasis.t.ha or his sons from the world. The apsaras sit down: yamena tatam paridhim vayanto apsarasa upasedur vasis.t.ha_h: te vasis.tha_h, those vasis.t.has or that vasis.t.ha; yamena = sarvaniyantra_, by the restrainer or regulator of all; ka_ran.a_tmana_, identical with cause, that is, by acts, as the causes of vital condition; the garb paridhim, vastram, spread, tatam, by him, is he revolution of life and death; janma_diprava_ha_h, weavin, vayantah; connecting this with apsarasah, the myphs, or, the nymph Urvas'i_, who sat down or approached in the capacity of a mother, jananitvena, wearing that vesture which he was destined by former nets to wear].
7.033.10 When Mitra and Varun.a beheld you, Vasis.t.ha, quitting the lustre of the lightning (for a different form), then one of your births (took place), inasmuch as Agastya bore you from your (former) abode. [Agasya bore you: agastyo yat tva_ vis'a_ a_jabha_ra = yada_ purvavastha_na_t tva_m a_jaha_ra, when Agastya took you from the former condition; mitra_varun.au a_va_m janayisya_va, we two Mitra and Varun.a, will beget; or, a_va_bhya_m ayam ja_yeta iti samakalpata_m, the two divinities determined this Vasis.t.ha shall be begotten by us].
7.033.11 Verily, Vasis.t.ha you are the son of Mitra and Varun.a, born, Brahma_, of the will of Urvas'i_, after the seminal effusion; all the gods have sustained you, (endowed) with celestial and Vedic vigour in the lake. [Born of the will of Urvas'i_: Urvas'i_, on seeing the birth of the R.s.i, said to herself, let this be my son; Endowed with celestial and vedic vigour: brahman.a_ daivyena; adding an epithet: yuktam, joined with; devasambandhina vedara_s'ina_hambhuva yuktam; pus.kara = kumbha, pitcher used at sacrifice, or the vasati_vara, the pool of water prepared for the same. Vasis.t.ha was born when the vessel, pus.kara, was over-filled and some contents fell upon the earth. Agastya was born of the contents in the vessel; the overflowing fluid being collected together, Vasis.t.ha remained in the lake, tato apsu gr.hyama_n.a_su vasis.t.ha_h pus.kare sthitah; Pus.kara is also the name of a lake in Ajmer; Padma Pura_n.a cites it as the hermitage of Agastya (Sr.s.t.i khan.d.a)].
7.033.12 He, the sage, cognizant of both worlds, was the donor of thousands; he was verily donation; wearing the vesture spread spread by Yama, Vasis.t.ha was born of the Apsaras.
7.033.13 Consecrated for the sacrifice, propitiated by praises, they, Mitra and Varun.a, poured a common effusion into the water-jar, from the midst of which Ma_na arose, and from which also, they say, Vasis.t.ha was born. [Consecrated: satre ja_tau = ya_ge di_ks.itau, prepared by preliminary purifications for the ceremony; Ma_na: a name of Agastya with reference to his being of the measure of a span at his birth; udiya_ya tato agastyah s'amyama_tro mahitapah ma_nena sammito yasma_d ma_nya ihocyate, thence arose the great asceic Agastya of the measure of a span, as measured by a measure (ma_na); he is therefore, caled upon earth Ma_nya. Another legend: Agastya was, in a preceding birth, the son of Pulastya].
7.033.14 Pratr.ts, Agastya comes to you; welcome him with devoted minds, and he in the foremost station directs the reciter of the prayer, the chanter of the hymn, the grinder of the stone, and repeats (what is to be repeated). [Pratr.ts = Tr.tsus; in the foremost station: agre, in front, that is, as their Purohita].

Alternative translation (Griffith): HYMN XXXIII Vasistha. 33

1. THESE who wear hairknots- on the right, the movers of holy thought, whiterobed-, have won me over.
I warned the men, when from the grass I raised me, Not from afar can my Vasisthas help you.
2 With Soma they brought Indra from a distance, Over Vaisanta, from the strong libation.
Indra preferred Vasisthas to the Soma pressed by the son of VayataPasadyumna.
3 So, verily, with these he crossed the river, in company with these he slaughtered Bheda.
So in the fight with the Ten KingsVasisthas! did Indra help Sudas through your devotions.
4 I gladly, men I with prayer prayed by our fathers have fixed your axle: ye shall not be injured:
Since, when ye sang aloud the Sakvari verses, Vasisthas! ye invigorated Indra.
5 Like thirsty men they looked to heaven, in battle with the Ten Kings, surrounded and imploring.
Then Indra heard Vasistha as he praised him, and gave the Trtsus ample room and freedom.
6 Like sticks and staves wherewith they drive the cattle, Stripped bare, the Bharatas were found defenceless:
Vasistha then became their chief and leader: then widely. were the Trtsus' clans extended.
7 Three fertilize the worlds with genial moisture: three noble Creatures cast a light before them.
Three that give warmth to all attend the morning. All these have they discovered, these Vasisthas.
8 Like the Suns' growing glory is their splendour, and like the seas' is their unflathomed
greatness.
Their course is like the winds'. Your laud, Vasisthas, can never be attained by any other.
9 They with perceptions of the heart in secret resort to that which spreads a thousand branches.
The Apsaras brought hither the Vasisthas wearing the vesture spun for them by Yama.
10 A form of lustre springing from the lightning wast thou, when Varuna and Mitra saw thee.
Thy one and only birth was then, Vasistha, when from thy stock Agastya brought thee hither.
11 Born of their love for UrvasiVasistha thou, priest, art son of Varuna and Mitra;
And as a fallen drop, in heavenly fervour, all the Gods laid thee on a lotusblossorn-.
12 He thinker, knower both of earth and heaven, endowed with many a gift, bestowing thousands,
Destined to wear the vesture spun by Yama, sprang from the Apsaras to life, Vasistha.
13 Born at the sacrifice, urged by adorations, both with a common flow bedewed the pitcher.
Then from the midst thereof there rose up Mana, and thence they say was born the sage Vasistha.
14 He brings the bearer of the laud and Saman: first shall he speak bringing the stone for
pressing.
With grateful hearts in reverence approach him: to you, O PratrdasVasistha cometh.

7.083.01 Indra and Varun.a, leaders (of rites), contemplating your affinity, and desirous of cattle, the worshippers, armed with large sickles, have proceeded to the east (to cut the sacred grass); destroy, Indra and Varun.a, your enemies, whether Da_sa_s or A_rya_s and defend Suda_sa with yor protection. [Sickles: pr.thupars'avah = visti_rn.a s'vapars'u hasta, holding large rib-bones of horses; as'vapars'u = an implement for cutting the kus'a grass (as'vapars'va_ barhiracchaiti: Taittiri_ya Bra_hman.a 3.2.2.1), either the rib of a horse, or an instrument like it; it is frequently alluded to in the Bra_hman.as and Su_tras; Taittiri_ya Sam.hita_ 1.1.2: ghos.ad asi: Baudha_yana says that this is addressed to the As'vapars'u; you are the implement, the priest having taken it in his hand; as'vapars'u as'vapars'vasthi, the rib-bone of a horse, the edge of which is as sharp as a sword, and fit for cutting; tac ca khad.gavat ti_ks.n.adbaratvat lavane samarthah].
7.083.02 Where men assemble with uplifted banners, in whatever conflict, there is something unfavourable; where living beings, looking to heaven, are in fear, there, Indra and Varun.a, speak tous (encouragement). [There is something unfavourable: 'everything is evil'; yatra ca yuddhe bhuvana_, bhuvana_ni, bhu_taja_ta_ni svardr.s'ah, s'ari_rapatad u_rdhvam svargasya dras.t.a_ro vitas' ca bhayante, bibhyati, tatra, tadris'e san:gra_me he indra_varun.au no'sman adhivocatam, asmatpaks.apa_tavacanau bhavata_m = in whatever (battle) living beings and those seeing heaven (i.e. gone to heaven, departed) are in fear, there, Indra and Varun.a, plead our cause].
7.083.03 The ends of the earth are beheld laid waste; the clamour has ascended, Indra and Varun.a, to heaven; the adversaries of my people approach me; having heard my invocation, come for my defence.
7.083.04 Indra and Varun.a, you protected Suda_sa, overwhelming the yet unassailed Bheda with your fatal weapons; here the prayers of threse Tr.tsus in time of battle, so that my ministration may have borne them fruit.
7.083.05 Indra and Varun.a, the murderous (weapons) of my enemy distressme; foes among the malignant (assail me); you two are sovereigns over both (celestial and terrestrial) wealth; protect us therefore, onthe day of battle.
7.083.06 Both (Suda_sa and the Tr.tsus) call upon you two (Indra and Varun.a), in combats for the acquisition of wealth, when you defend Suda_sa, together with Tr.tsus, when attacked bythe ten ra_ja_s.
7.083.07 The ten confederated irreligious ra_ja_s did not prevail, Indra and Varun.a, against Suda_sa; the praise of the leaders (of rites), the offerers of sacrificial food, was fruitful; the gods were present at their sacrifices.
7.083.08 You gave vigour, Indra and Varun.a, to Suda_sa when surrounded on all sides by the ten ra_ja_s (in the country) where the pious Tr.tsus, walking in whiteness, and wearing braided hair, worshipped with oblations and praise. [Walking in whiteness: s'vit yan~cah kapardinas tr.tsavah: the epithes are explained: svaityam nairma_lyam gacchantah, going in, or to, whiteness, or freedom from soil; and jat.ilah, having braided hair. The Tr.tsus are the pupils of Vasis.t.ha, Vasis.t.has'is.ya_h etasanjn~a_h r.tvija_h].
7.083.09 One of you destroys enemies inbattle, the other ever protects religious observances; we invoke you, showerers (of benefits), with praises; bestow upon us, Indra and Varun.a, felicity.
7.083.10 May Indra, Varun.a, Mitra, Aryaman grant us wealth and a large and spacious mansion; may the lustre of Aditi, the augmentress (of sacrifice), be innoxious to us; we recite the praise of the divine Savita_.

Alternative translation (Griffith): HYMN LXXXIII. IndraVaruna-. 83

1. LOOKING to you and your alliance, O ye Men, armed with broad axes they went forward, fain for spoil.
Ye smote and slew his Dasa and his Aryan enemies, and helped Sudas with favour, IndraVaruna-.
2 Where heroes come together with their banners raised, in the encounter where is naught for us to love,
Where all things that behold the light are terrified, there did ye comfort us, O IndraVaruna-.
3 The boundaries of earth were seen all dark with dust: O IndraVaruna-, the shout went up to heaven.
The enmities of the people compassed me about. Ye heard my calling and ye came to me with help.
4 With your resistless weapons, IndraVaruna-, ye conquered Bheda and ye gave Sudas your aid.
Ye heard the prayers of these amid the cries of war: effectual was the service of the Trtsus'
priest.
5 O IndraVaruna-, the wickedness of foes and mine assailants' hatred sorely trouble me.
Ye Twain are Lords of riches both of earth and heaven: so grant to us your aid on the decisive day.
6 The men of both the hosts invoked you in the fight, Indra and Varuna, that they might win the wealth,
What time ye helped Sudas, with all the Trtsu folk, when the Ten Kings had pressed him down in their attack.
7 Ten Kings who worshipped not, O IndraVaruna-, confederate, in war prevailed not over Sudas.
True was the boast of heroes sitting at the feast: so at their invocations Gods were on their side.
8 O IndraVaruna-, ye gave Sudas your aid when the Ten Kings in battle compassed him about,
There where the whiterobed- T
tsus with their braided hair, skilled in song worshipped you with homage and with hymn.
9 One of you Twain destroys the Vrtras in the fight, the Other evermore maintains his holy Laws.
We call on you, ye Mighty, with our hymns of praise. Vouchsafe us your protection, IndraVaruna-.
10 May IndraVarunaMitra, and Aryaman vouchsafe us glory and great shelter spreading far.
We think of the beneficent light of Aditi, and Savitars' song of praise, the God who strengthens Law.

"Sudas’ battle with the ten tribes Hymn 7.18 Translated by Kant SinghThe hymn is famous as an account of the famous dasrajanya battle (the battle of ten kings). As my translation shows below, this is a misunderstanding. Sudas’ war was with 21 kings. It may be that they belonged to ten tribes in all (and these ten tribes are named in the hymn). A number of their misunderstandings based on previous faulty translations are also cleared in the below work. For example,it’s clear that there was no matsya tribe involved in this battle; Sudas was himself a Bharata; Aja, Sigru and Yakṣu were not his enemies; (The war is over. A celebration has been organized to felicitate Indra and Sudas. People have come from far, to pay tribute.)"

For a translation of RV VIII.18 by Kant Singh see: 

(Note: Druhyu-s, Anu-s, Pūru-s, Yadu-s, Turvasu-s, cf. RVI.108.8; at times the five groups are either allies or rivals).


RV 1.108,8 If with, the YadusTurvasas, ye sojourn, with DruhyusAnusPurus, IndraAgni-!
Even from thence, ye mighty Lords, come hither, and drink libations of the flowing Soma.

Shrikant Talageri reconstructs the early migrations of Vedic Aryans and recommends it as a narraive to be used by fiction writers, as follows: [quote] (Aila lineage) descended from the five sons of an Aiḷa king named Yayāti: Yadu and Turvasu/Turvaṣa, sons by his wife Devayānī , and Druhyu, Anu and Pūru, sons by his wife Śarmiṣṭhā. These are located as follows: a) To begin with, the Pūrus are located in the Central areas around Kurukṣetra, (Haryana and western Uttar Pradesh), the Anus to their north (Kashmir and the areas to their immediate west in northernmost parts of the Khyber Pakhtunkhwa province of Pakistan), the Druhyus to the west (present-day northern and central Pakistan), the Yadus to their south (Rajasthan, Gujarat, Madhya Pradesh, Maharashtra)  and the Turvasus (to the east of the Yadus). b) A series of battles in the pre-Rigvedic period leads to a realignment in the northwest: the Druhyus are pushed further out into Afghanistan, while a major section of the Anus expands southwards and occupies the major part of the former areas of the Druhyus. c) The dāśarājña battle in the period of the Old Rigveda leads to a further realignment: the Pūrus expand westwards into the same (northern and central Pakistan) areas and a major section of the Anus expands outwards into Afganistan leading to a further northwards push to the Druhyus who spill out into Central Asia....To the north in Central Asia, we have the Druhyu people, including:a) the Uttara-Madras in the west (the proto-Hittites, with sections of them migrating westwards towards the Caspian Sea in their historical movement towards Anatolia),b) the Uttara-Kurus  in the east (the proto-Tocharians, who remained in the region till they became extinct a thousand or so years ago), and, between the two,c) remnants of the other Druhyus (ancestral speakers of the proto-Italic, proto-Celtic, proto-Germanic, proto-Baltic and proto-Slavic languages), the main body of whom were already migrating westwards 
through northern Eurasia on their way towards eastern Europe. The migrating Druhyus were also accompanied or followed by small sections of Anus and Pūrus who carried Iranian and Indo-Aryan linguistic elements into the Uralic areas (leaving traces of their ancient presence in the present-day Finno-Ugric languages). [unquote] 




Al Mahdi sentenced to nine years at ICC: Explanation and reaction to Timbuktu destruction trial

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Al Mahdi is sentenced to nine years imprisonment for attacking historic and religious buildings in Timbuktu, Mali. ©ICC
In a historic first before the International Criminal Court (ICC) last week, Malian Islamist Ahmad al-Faqi al-Mahdi was found guilty and sentenced to nine years in prison for the destruction of religious and historic buildings in TimbuktuThe landmark trial saw the first international prosecution for the destruction of protected cultural heritage.  The verdict has been welcomed in Mali and throughout the international community. But justice must not stop here says civil society.

A first for the ICC

On 27 September, the judges of ICC Trial Chamber VIII unanimously found Ahmad al-Faqi al-Mahdi guilty of being a co-perpetrator of the war crime consisting in intentionally directing attacks against religious and historic buildings in Timbuktu, Mali, in June and July 2012.
The decision was made following al-Mahdi’s admission of guilt in August 2016 that he helped organised and participate in the destruction and damage of 10 historic and religious monuments in Timbuktu. Al-Mahdi also admitted to being a member of Ansar Dine, a group closely aligned to Al-Qaeda in the Islamic Maghreb (AQIM).
In their rendering their decision, ICC judges outlined how, from April 2012 until January 2013, Ansar Dine and AQIM took control of Timbuktu and imposed strict religious and political governance.
Al-Mahdi joined Ansar Dine as a religious expert and was given command of the Hisba, which enforced strict religious morals on the population.
The religious and cultural imposition of Al-Mahdi’s Hisba contradicted many of the local customs and beliefs of Timbuktu’s population.
Timbuktu was home to thousands of precious manuscripts, mausoleums of local saints and historic structures that were widely used and revered by the local population.
Al-Mahdi and the militants saw the historic structures, shrines and manuscripts of Timbuktu as idolatrous and proceeded to destroy 10 historic and religious monuments between June and July 2012.

A deterrent effect

Following al-Mahdi’s admission of guilt and sentence to 9 years in prison, the presiding judge, Raul Cano Pangalangan said that the sentence of al-Mahdi would have “a deterrent effect on others tempted to carry out similar acts in Mali or elsewhere.”
The prosecution of al-Mahdi is the first time the ICC has prosecuted someone for the destruction of cultural sites. Director-General of UNESCO, Irina Bokova wrote in The Guardian that:
“The deliberate destruction of heritage has become a weapon of war, part of a broader strategy of cultural cleansing that includes murder and persecution of people in the short term, and the annihilation of identities and destruction of social fabric in the longer term.”

Civil Society reacts

“The trial has to be useful for something, showing to everyone that in the same way that we cannot kill another person with impunity, we cannot just destroy a world heritage site with impunity either,” said El-Boukhari Ben Essayouti, head of the Cultural Mission of Timbuktu.
“This verdict is a victory for the victims of crimes committed in Mali since 2012, especially for the people of Timbuktu. It sends a strong signal to the perpetrators of war crimes involving the destruction of the cultural heritage, war crimes that seek to destroy the soul of the people, as the judges have acknowledged. This victory does leave something to be desired, however, as we would have liked the charges against Al Mahdi to have been expanded to include crimes committed against people,” said Drissa Traoré, lawyer and vice president of  the International Federation for Human Rights. 
“Going beyond the case itself, we recognise the symbolic importance of this verdict: this is the first time that the perpetrator of crimes committed in Mali since 2012 is found guilty and is convicted. This decision thus marks the first important step in the fight against impunity in Mali, where legal proceedings struggle to advance. It is urgent for the Malian authorities to make greater efforts to prosecute the perpetrators of crimes against civilians, and particularly crimes of sexual violence,” said Bakary Camara, secretary general of the Moroccan Association of Human Rights (AMDH).
“This verdict is a clear recognition that attacks on religious and historical monuments can destroy the culture and identity of a population and constitute crimes under international law. This positive development should not let us lose sight of the fact that hundreds of civilians were murdered, tortured and raped during the 2012 conflict in Mali. The ICC should therefore continue to investigate crimes committed by all sides to the conflict,” said Erica Bussey, senior legal advisor at Amnesty International. 
“The decision of the International Criminal Court is a landmark in gaining recognition for the importance of heritage for humanity as a whole and for the communities that have preserved it over the centuries. It also supports UNESCO’s conviction that heritage has a major role to play in reconstruction and peace building,” said Irina Bokova, director-general of UNESCO. 

Further reading:

Deutsche Welle: The people of Timbuktu react to Al Mahdi’s guilty plea
https://ciccglobaljustice.wordpress.com/2016/10/03/al-mahdi-sentenced-to-nine-years-at-icc-explanation-and-reaction-to-timbuktu-destruction-trial/

Cholinergic neurons and control. How the Brain Enables Us to Rapidly Focus Attention

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Enthralled by this work on Cholinergic neurons. Congratulations.

It appears to me that we are on the path of defining consciousness in neurosciences. May explain apasmaara 'epilepsy' subdued by the cosmic dancer, metaphored at CERN.
Inline image


Neuroscience NewsNEUROSCIENCE NEWS
Summary: Researchers have identified a mechanism within the cholinergic system that underlies our ability to rapidly focus attention.
Source: University of Queensland.
University of Queensland researchers have discovered a key mechanism in the brain that may underlie our ability to rapidly focus attention.
Our brains are continuously bombarded with information from the senses, yet our level of vigilance to such input varies, allowing us to selectively focus on one conversation and not another.
Professor Stephen Williams of the Queensland Brain Institute at UQ explains, “If we want to give our full concentration, something happens in the brain to enable us to focus and filter out distractions.”
“There must be a mechanism that signals the thing we want to focus on.”
However, this mechanism is not well understood, he says.
Research has shown that the electrical activity of the neocortex of the brain changes, when we focus our attention. Neurons stop signalling in sync with one another and start firing out of sync.
This is helpful, says Williams, because it allows individual neurons to respond to sensory information in different ways. Thus, you can focus on a car speeding down the road or on what a friend is saying in a crowded room.
It’s known that the cholinergic system in the brain plays an important role in triggering this desynchronization.
The cholinergic system consists of clusters of special neurons that synthesise and release a signalling molecule called acetylcholine, he explains, and these clusters make far reaching connections throughout the brain.
Not only does this cholinergic system act like a master switch, but mounting evidence suggests it also enables the brain to identify which sensory input is the most salient – i.e. worthy of attention – at any given moment and then shine a spotlight on that input.
“The cholinergic system broadcasts to the brain, ‘this thing is really important to be vigilant to’,” says Williams.
He adds that the cholinergic system has been proposed to have a far-reaching impact on our cognitive abilities.
“Destruction of the cholinergic system in animals profoundly degrades cognition, and the formation of memory,” he says.
“Importantly, in humans a progressive degeneration of the cholinergic system occurs in devastating diseases that blunt cognition and memory, such as Alzheimer’s disease.”
But precisely which neurons in the cortex are being targeted by this master switch and how it’s able to influence their function was unknown.
neurons
A spotlight brings into focus the distal dendrites of a neocortical layer 5 pyramidal neuron (gold) amongst a sea of cholinergic axons (green), an allegory of the transformation of dendritic computations in the output neurons of the neocortex produced by the optogenetic activation of the cholinergic modulatory system. NeuroscienceNews.com image is credited to Lee Fletcher, Queensland Brain Institute, The University of Queensland.
Williams and QBI researcher Lee Fletcher wondered if layer 5 B-pyramidal neurons, the ‘output’ neurons of the neocortex, might be involved, because they are intimately involved in how we perceive the world.
“The output neurons of the neocortex perform computations that are thought to underlie our perception of the world,” says Williams.
Williams and Fletcher wanted to know if the cholinergic system is able to influence the activity of these output neurons.
Using a technique called optogenetics, they modified neurons in the cholinergic system in the brains of mice so that they could be activated with a flash of blue light, triggering a sudden release of acetylcholine.
This allowed the researchers to closely monitor the interaction between the cholinergic system and the output neurons. They discovered that if the output neurons were not currently active, not much happened.
But when those neurons received excitatory input to their dendrites, the cholinergic system was able to massively increase their activity.
“It’s as if the cholinergic system has given a ‘go’ signal,” says Fletcher, enabling the output neurons of the neocortex to powerfully respond.
Importantly, this change was selective, and only apparent when excitatory input was being processed in the dendrites of the ‘output’ neurons.
“We have known for some time that the dendrites of the output neurons of the neocortex only become active when animals are actively performing a behaviour, and that this activity is correlated with perception and task performance,” says Williams.
This new work demonstrates that the cholinergic system is critical to this transition in mice and rats, allowing the output neurons to perform computations in a state-dependent manner.
“We suggest that this switch also occurs in the human neocortex, allowing us to rapidly switch our state of vigilance and attention,” says Williams.
“Our work therefore provides important insight into how the progressive degeneration of the cholinergic system in disease blunts human cognition.”

Funding: Australian Research Council, National Health and Medical Research Council of Australia, Hand Heart Pocket Foundation funded this study.
Source: Stephen Williams – University of Queensland
Publisher: Organized by NeuroscienceNews.com.
Image Source: NeuroscienceNews.com image is credited to Lee Fletcher, Queensland Brain Institute, The University of Queensland.
Original Research: Abstract for “A Dendritic Substrate for the Cholinergic Control of Neocortical Output Neurons” by Stephen R. Williams and Lee N. Fletcher in Neuron. Published December 27 2018.
doi:10.1016/j.neuron.2018.11.035
University of Queensland”How the Brain Enables Us to Rapidly Focus Attention.” NeuroscienceNews. NeuroscienceNews, 28 December 2018.
<http://neurosciencenews.com/brain-attention-10399/>.

Abstract
A Dendritic Substrate for the Cholinergic Control of Neocortical Output Neurons

The ascending cholinergic system dynamically regulates sensory perception and cognitive function, but it remains unclear how this modulation is executed in neocortical circuits. Here, we demonstrate that the cholinergic system controls the integrative operations of neocortical principal neurons by modulating dendritic excitability. Direct dendritic recordings revealed that the optogenetic-evoked release of acetylcholine (ACh) transformed the pattern of dendritic integration in layer 5B pyramidal neurons, leading to the generation of dendritic plateau potentials which powerfully drove repetitive action potential output. In contrast, the synaptic release of ACh did not positively modulate axo-somatic excitability. Mechanistically, the transformation of dendritic integration was mediated by the muscarinic ACh receptor-dependent enhancement of dendritic R-type calcium channel activity, a compartment-dependent modulation which decisively controlled the associative computations executed by layer 5B pyramidal neurons. Our findings therefore reveal a biophysical mechanism by which the cholinergic system controls dendritic computations causally linked to perceptual detection.

Ganweriwala Indus Script khōṇḍa/kōḍe singa 'young bull' rebus kō̃da 'furnace' koḍ 'workshop' kunda singī 'fine gold, ornament gold'

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-- singa 'young bull', singhin, siṅgin'horned'singī'ornament gold' Indus Inscriptions of Ganweriwala on Sarasvati River Basin 

This monograph presents decipherment of unicorn (one-spiny-horned young bull) protomes and a tablet with Indus Script Inscription found in Ganweriwala. The decipherment is consistent with the decipherment of a tablet found in Ganweriwala with Indus Script Inscription of a goldsmith guild, merchants (pattarbattuḍu) shown in front of a person in kamadha 'penance' Rebus: kammata 'coiner, mint'.

The spiny-horned young bull is read as: khōṇḍa/kōḍe singa (semantic determinative) 'young bull'; the spiny-horn is singhin, singin rebus: singī'ornament gold'. Thus, the rebus reading of the composition of the pictorial motif vividly orthographed is an artisan working with ornament gold kō̃da'furnace', ko 'workshop' kunda'fine gold'; kunda'lathe'. The message is: young lapidary working with ornament and fine gold furnace. Such a portable furnace is shown in front of the one-horned young bull.

The two parts are: kunda 'lathe' PLUS kammata'portable furnace'. Rebus readings are: kō̃da 'furnace' Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236). Thus, mint with lathe. Dotted circles shown on the bottom register (portable furnace) signify pota 'pierced gold bead' rebus: potadāra, poddār'assayer of metals'; pot 'purifier' (Rgveda).

The Ganweriwala tablet with Indus Script inscriptin is deciphered.

Pictorial motif: 

manḍa 'arbour,canopy' mã̄ḍ ʻarray of instruments'.

[Telugu. mēḍa.] Platform, raised floor' rebus:  
मृदु mṛdu, mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) med 'copper' (Slavic)
kamadha 'penance' Rebus: kammata'coiner, mint'.

బత్తుడు battuḍu 'worshipper'బత్తుడు battuḍu, baḍaga'a professional title of five artificers' of Sarasvati Civilization' bhaa'worshipper' Rebus: bhaa'furnace' baa'iron'pattar 'goldsmith guild'. பத்தர்¹ pattar , n. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257). 3. Cocoanut shell or gourd used as a vessel; குடுக்கை. கொடிக்காய்ப்பத்தர் (கல்லா. 40, 3).  பத்தர்² pattar , n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்³ pattar , n. < bhakta. 1. Devotees, votaries; அடியார். பத்தர் சிக்கெனப் பிடித்த செல் வமே (திருவாச. 37, 8). 2. Persons who are loyal to God, king or country; அன்புடையார். தேசபத்தர். 3. A caste of Vīrašaiva vegetarians; வீரசைவரில் புலாலுண்ணாத வகுப்பினர். Loc. பத்தர்⁴ pattar , n. < baddha. Persons subject to bondage, and pursuing worldly pleasures; இருவினைப்பந்தமுள்ள ஆன்மாக்கள். (அஷ்டா தச. தத்வத். பக். 16.) பத்தர்⁵ pattar , n. perh. vartaka. Merchants; வியாபாரிகள். (W.)






Text message:

kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.)

kárṇaka m. ʻ projection on the side of a vessel, handle ʼ karanikamu. Clerkship: the office of a Karanam or clerk. karaNaka 'steersman' karaNika 'supercargo'

khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’  kharaḍa 'daybook'

 खरड   kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. खरडघाशा   kharaḍaghāśā m (खरड & घासणें) A term of abuse for a bad writer, barber, carpenter &c.; quill-driver, scraper, chips. खरडणें   kharaḍaṇēṃTo shave roughly, to scrape: also to write roughly, to scrawl: also to jot or note down; to make brief memoranda: also to draw roughly; to plough roughly; to grind roughly &c. &c. खरडनिशी   kharaḍaniśī f Scrawling, scribbling, bad writing. खरडनीस   kharaḍanīsa c खरडनिशा a (खरड & P) A scrawler or bad writer. खरडपट्टी   kharaḍapaṭṭī f (See under पट्टी) Vehement reviling, abusing, scolding, rating, vociferous vituperation. v काढ, निघ, g. of o. or s. 2 Inflicting a loss or damage upon. v काढ, निघ g. of o. or s. खरडा   kharaḍā m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या &c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book. 5 A spotted and rough and ill-shaped pearl: also the roughness or knobbiness of such pearls. 6 A variety of musk-melon. 7 Heat in stomach and bowels during small-pox, measles &c. 8 A leopard. 9 C Small but full heads of rice. 10 Grass so short as to require grubbing or rubbing up. 11 A medicament consisting of levigated or pounded (nutmeg, or anise-seed, or मुरडशेंगा &c.) fried in clarified butter. It is given to check diarrhœa. 12 Reduced state, i. e. such scantiness as to demand scraping. v लाग, पड. Ex. पाण्याचा ख0 लागला or पडला The water (of the well &c.) is so scanty that it must be scraped up (with a नरेटी &c.) धान्याला ख0 लागला; पैक्याला ख0 लागला. खरडें घासणें To fag at the desk; to drive the quill. 2 (With implication of indifference.) To write: answering to To pen it; to scribble away &c.  खरडी   kharaḍī f (खरडणें) Vehement and coarse scolding or abusing. v काढ g. of o. v निघ g. of s. 2 A sort of drum. 3 A fibre of काथा (fibrous integuments of the cocoanut). खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper.

Hieroglyph: खरड्या   kharaḍyā m or खरड्यावाघ m A leopard.

http://tinyurl.com/jfbeo7j


Rebus: śṛṅgiḥ शृङ्गिः Gold for ornaments (Apte) Singī & singi (f.) [cp. Sk. śṛngī] 1. gold Vin i.38; S ii.234; J i.84. -- 2. "ginger" in sense of "dainties, sweets" J iv.352 (=singiver'ādika uttaribhanga C.; cp. Tamil iñji ginger).-- nada gold Vv 6428; VvA 284. -- loṇa ( -- kappa) license as to ginger & salt Vin ii.300, 306. -- vaṇṇa gold-coloured D ii.133. -- suvaṇṇa gold VvA 167.(Pali) 

Rebus:    Singhāṭaka [cp. Sk. śṛngāṭaka; fr. śṛnga] (m. and n.) 1. a square, a place where four roads meet Vin i.237, 287, 344; iv.271; D i.83; A ii.241; iv.187, 376; S i.212; ii.128; iv.194; Miln 62, 330, 365; DhA i.317. aya -- s˚ perhaps an iron ring (in the shape of a square or triangle) M i.393; J v.45. -- 2. a water plant (Trapa bispinosa?) J vi.530, 563.(Pali)

Hieroglyph: calf, young of an animal: Singa the young of an animal, calf J v.92; cp. Deśīnāma- mālā viii.31.(Pali)

Horned, Spiny-horned: śr̥ṅgín ʻ horned ʼ RV. [śŕ̊ṅga -- Pa. siṅgin -- , siṅgika -- ʻ horned ʼ, Pk. siṁgi -- , N. siṅe, G. sĩgī; -- ext. -- l -- : Pa. siṅgila -- m. ʻ a kind of horned bird ʼ; S. siṅiru ʻ horned ʼ. Addenda: śr̥ṅgín -- : OMarw. (Vīsaḷa) sīṁgī f.adj. ʻ horned (of cow) ʼ.(CDIAL 12595)  Singin (adj.) [Vedic śṛngin] having a horn Vin ii.300; J iv.173 (=cow); clever, sharp -- witted, false Th 1, 959; A ii.26; It 112; cp. J.P.T.S. 1885, 53. Singika (adj.) [fr. singa1] having horns J vi.354 (āvelita -- ˚ having twisted horns).Singika (adj.) [fr. singa1] having horns J vi.354 (āvelita -- ˚ having twisted horns).  Singa1 (nt.) [Vedic śṛnga, cp. Gr. ka/rnon, kraggw/n; Lat. cornu=E. horn] a horn J i.57, 149, 194; iv.173 (of a cow); Vism 106; VvhA 476.-- dhanu horn -- bow DhA i.216. -- dhamaka blowing a horn Miln 31.(Pali) śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned. -2 Crested, peaked. -m.(Apte) śŕ̊ṅga n. ʻ horn ʼ RV. [See *śrū -- , *śruṅka -- ]Pa. siṅga -- n., Pk. siṁga -- , saṁga -- n.; Gy. eur. šing m. (hung. f.), ʻ horn ʼ, pal. šíngi ʻ locust -- tree ʼ (so -- called from the shape of its pods: with š -- <  -- < śr -- ); Ash. Kt. ṣĭ̄ṅ ʻ horn ʼ, Wg. ṣīṅŕiṅ, Dm. ṣiṅ, Paš.lauṛ. ṣāṅg (or < śārṅga -- ), kuṛ. dar. ṣīṅ, nir. ṣēṅ, Shum. ṣīṅ, Woṭ. šiṅ m., Gaw. Kal.rumb. ṣiṅ, Bshk. ṣīṅ, Phal. ṣiṅ, pl. ṣíṅga; Sh.gil. ṣĭṅ m. ʻ horn ʼ, jij. ṣiṅ, pales. c̣riṅga ʻ temples ʼ (← Kaf. AO xviii 229); K. hĕng m. ʻ horn ʼ, S. siṅu m., L. siṅg m., awāṇ. sìṅg, P. siṅg m., WPah.bhad.bhal.khaś. śiṅg n., (Joshi) śī˜g m., Ku. sīṅ, N. siṅ, A. xiṅ, B. siṅ, Or. siṅga, Bhoj. sī˜gi, Aw.lakh. H. sī˜g m., G. sĩg n., M. śī˜g n., Ko. śī˜ṅga, Si. han̆gaan̆ga, pl. aṅ (sin̆gu ← Pa.). śārṅga -- , śr̥ṅgín -- , śr̥ṅgī -- ; *śr̥ṅgadrōṇa -- , *śr̥ṅgapaṭṭa -- , *śr̥ṅgamāta -- , *śr̥ṅgayukta -- , *śr̥ṅgāsana -- ; *ut -- śr̥ṅga -- ; karkaṭaśr̥ṅgī -- , cátuḥśr̥ṅga -- , mēḍhraśr̥ṅgī -- ; -- śr̥ṅgāra -- ? Addenda: śr̥ṅga -- : WPah.kṭg. (kc.) śīˊṅg m. ʻ horn ʼ, J. śīṅg m., Garh. 'siṅg. (CDIAL 12583) 

Unicorn:  खोंड   khōṇḍa m A young bull, a bullcalf (Marathi) కారుకోడె  kāru-kōḍe. [Tel.] n. A bull in its prime.కోడియ kōḍiya Same as కోడె. కోడె  kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు"రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు.(Telugu). 

Rebus: Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725)

Rebus:  kŏnḍ क्वंड् or kŏnḍa क्वंड । कुण्ड m. a kind of large bowl or basin made of metal or earthenware (Gr.Gr. 145); a deep still spring (El., Gr.Gr. 145); (amongst Hindūs) a hole dug in the ground for receiving consecrated fire; cf. ạgana-kŏnḍ (p. 16b, l. 34) (Rām. 631). Cf. kọ̆nḍu kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used. kō̃da khārüñü, to raise a kiln; met. to raise or make a really good kiln in which only perfect bricks are baked (Śiv. 1033; cf. kō̃da khasüñü, p. 384b, l. 28).   kọ̆nḍu क्वं॑डु॒or konḍu 1 कं॑डु॒ । कुण्डम् m. a large bowl or basin, a cauldron for cooking or other use (cf. liwan-kọ̆nḍu, s.v. liwun; maĩzi-ko, s.v. maĩz); (amongst Hindūs) a hole dug in the ground for receiving consecrated fire; i.q. kŏnḍ, q.v. -kās -कास् । कार्यसमाप्तिपूर्वको ऽवकाशः m. 'removal of the (dirty) pots and pans after a feast'; hence, leisure after the completion of a work; cf. the next. -kāṭh -काठ् । कुण्डकाष्ठादि m. the litter of dirty cauldrons and bits of firewood left after a great feast, used in phrases like konḍu-kāṭh kösith, having cleared up the litter (he did so-and-so); used met. when a person gives up laziness, and takes to serious work (quasi, he clears up the litter after his feast, and sets to work). Cf. the preceding. --manḍulu --मंडुलु॒ । मार्जन(लेपन)विशेषः m. scouring round a cooking pot after use with scouring earth, water, etc., in order to clean the inside from the remains of food or the outside from smoke, etc.; met. disgracing a person by covering his face with mud (Śiv. 128). Cf. dah, p. 198b, l. 7. kȧnḍi-lë˘ji कं॑डि॒-ल्य॑जू॒ । स्थाल्यादिसंशोधनार्थमल्पं मृत्पात्रम् f. the small vessel in which are kept the scouring-earth, water, etc., used for scouring cooking pots, etc., as ab. -wā̃-ḍulu -वाँ-डुलु॒ । स्थालीस्थालादि- संशोधको मृत्पात्रभेदः m. the large bowl or tub in which water is kept for scouring purposes, as ab. -wā̃-manḍulu -वाँ-मंडुलु॒ । स्थाल्यादिसंमार्जनशोधनादि । m., i.q. konḍu-manḍulu, ab. -wôñu वोञु॒ । स्थाल्यादिसंमार्जनप्रक्षालनजलम् m. the dirty water with which vessels have been scoured, as ab. 

Log: kunda कुंद । स्थाणुः m. a billet, a log; a trunk or stump of a tree; a kind of clog or wooden fetter (for prisoners).(Kashmiri) Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ?(DEDR 1723)

Pannier: खोंडा   khōṇḍā m A कांबळा of which one end is formed into a cowl or hood.खोंडी   khōṇḍī f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) खुंडी   khuṇḍī f A cloth doubled over and sewn at one end, forming a घोंगता, खोपा, or खोळ (an open or outspread shovel-form sack). Used in exposing grain in the market.  (Marathi)

Locating Ganweriwala on the banks of River Sarasvati by reconstructing Old Course of Sutlej ca. 8k ago (This hypothesis is gleaned from the article of Ajit Singh et al (2017), Nature Communications, embedded for ready reference).

Sarasvati River Basin (so-called Ghaggar-Hakra-Nara channels) has evidenced over 2000 out of the total 2600+ sites of Sarasvati Civilization.

One of these 2000 sites is Ganweriwala. Efforts are ongoing to delineate the ancient (palaeo) channels of River Sutlej which emanates from the Manasarovar in the Himalayas. The presence of a large number of sites in NW India clearly indicate that a navigable river existed from Himalayas to the Indian Ocean (Arabian Sea) which linked with the Persian Gulf navigable waterways and the Tigris-Euphrates rivers of Ancient Near East.

Ganweriwala as a Sarasvati Civilization site is evidenced by the presence of figurines of spiny-horned young bull (so-called unicorn) and also a tablet with an Indus Script Inscription. 






Contour map of Ganweriwala

Road cut on Mound A

Images and line drawings of four unicorn figurines (photograph and drawing by Farzand Masih)

 Clay tablet with yogi and three graphemes of the Indus script (photograph and drawing by Farzand Masih)

[quote]The least excavated of the five large known ancient Indus cities – Mohenjo-daro and Dholavira, Harappa and Rakigarhi – is Ganweriwala, discovered in the late 1980s by Rafique Mughal. Deep in the desert, far from any towns and close to the Indian border, it has hardly ever been written about until Farzand Masih's article Ganweriwala – A new Perspective published in Walking with the Unicorn (2018). "In recent years," writes Masih, "a four-meter wide road was constructed though the middle of Ganweriwala to facilitate the movement of hunting parties from the UAE. Although this is highly unfortunate, it did provide ready-made sections across the upper portions of the mounds" (Unicorn, p. 381, Figure 2, the road is also shown as the line through Mounds A and B in Figure 1).
Some remarkable finds have been coughed up from Ganweriwala, but first: how big is it really? Mughal estimated over 80 hectares, which would make it one of the largest Indus sites. A survey ten tears later had it at about half that size, though Masih writes: "it is possible that some areas of the site are now covered by sand dunes and, perhaps, will be located during future explorations" (p. 381). In any case, Ganweriwala was much larger than the dozens of other sites measured along the old Hakra riverbed by Mughal (see Ancient Cholistan, 1997)Perhaps the most astounding discovery was four unicorn figurines (Fig. 3), the most from any Indus site (they are only also found at Harappa, Mohenjo-daro and Chanhu-daro). Then there is a clay tablet with a seated yogi-type figure (Fig. 4), as well as a nearly pure copper seal with boss not found elsewhere.
Ganweriwala also lies along the old Hakra riverbed that once flowed through here (the Saraswati? even if it flowed perennially as recent work seems to show till 1900 BCE). It is also roughly equidistant between Harappa, to the north on the Ravi River, and Mohenjo-daro, to the south on the Indus River, which might have made it a regional capital well downstream of Rakigarhi. Of course we will not know until it is properly excavated and some real trenches are dug deeply into the two known mounds, and the surrounding region is better explored. When that might be, no one know, the site has been untouched for thousands of years – until a sheikh got his road, and Indus archaeologists were tossed another tantalizing puzzle (we may lament the road construction, but the truth is that rapid construction throughout the subcontinent is unearthing many new sites which, sadly, are momentarily visible and then paved over and lost to scholarship for who knows how long).
The article is part of Walking with the Unicorn (2018).[unquote]
https://www.harappa.com/blog/glimpses-ganweriwala

Iconography of the Indus Unicorn: Origins and Legacy

A detailed look at the unicorn icon on Indus objects, incorporating the latest findings, even incomplete tantalizing ones like these unicorn figurines from Ganweriwala.
All Figures from the article are shown here.
Originally published as Chapter 6 in Connections and Complexity, New Approaches to the Archaeology of South Asia, Left Coast Press, Walnut Creek, California, 2013.

 


http://tinyurl.com/jfbeo7jGanweriwala tablet. Ganeriwala or Ganweriwala (Urduگنےریوالا‎ Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

Hypertext on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a  person seated on a stool and a kneeling adorant below.

manḍa 'arbour,canopy' mã̄ḍ ʻarray of instruments'.
[Telugu. mēḍa.] Platform, raised floor' rebus:  मृदु mṛdu, mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) med 'copper' (Slavic)

Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.
Prakritam gloss: kamad.hakamat.hakamad.hakakamad.hagakamad.haya= a type of penance.

The venerated, person seated in a type of penance has been rendered in Indus Script cipher as kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'. What did the kneeling adorant as Signs 45 and 46 signifY? I have suggested the cipher: bhaTa 'worshipper' rebus: bhaTa 'furnace'.
Prakritam lexis.

Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 

2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)

3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.) 


bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.
  Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic 

The hypertext on m478a tablet are read rebus:

kuTi 'tree'Rebus: kuThi 'smelter'

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'.  Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa. 

bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.

Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'. 

Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.


khareo = a currycomb (G.) Rebus: kharādī turner (Gujarati)determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance,  a bhaTa 'worshipper in a temple' Rebus: bhaTa 'furnace'. For him the kole.l 'temple' is kole.l 'smithy, forge' (Kota language).

http://bharatkalyan97.blogspot.in/2016/01/je-tiens-mon-affaire-orthography-of.html 

"Je tiens mon affaire!" Orthography of penance signifies kammaṭa 'mint, coiner' on 10 Indus Script inscriptions

m478a tablet

m1186

Offering and adorant glyphs of Indus script




There are two seals of Indus script (m1186 and m0488) depicting a kneeling person with some offerings on a stool/tray. In a vivid orthographic analysis, John C. Huntington identifies the nature of the offering on m1186: it is a bowl with ladles. The offering kept on a stool on m0488 is likely to be a similar glyph, though analysis of a higher resolution image is not possible because the tablet with this glyph is worn-out.


m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533). 
Rebus: kol ‘pancaloha’ (Tamil)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)
heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

dhatu 'scarf' Rebus: dhatu 'mineral ore' (Santali)

The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet:
clip_image061h177Bclip_image062[4]4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)

 miṇḍ 'ram' rebus: mẽṛhet iron (metal), meD 'iron' (Ho.) med 'copper' (Slavic)


See: 
http://www.rafiquemughal.com/mughal_1990_twin-capitals_jo-of-central-asia.pdf Rafique Mughal argues about major 'cities' of the civilization (including Ganweriwala).

The Ghaggar-Hakra Paleochannel Controversy

One of the nice thing about archaeology is the surprises. Surprises like finding the Ghaggar-Hakra aka Sarasvati River according to some was not flowing in any big way during the Indus period (3500 BCE-1800 BCE). "It was the departure of the river, rather than its arrival that triggered the growth of Indus urban settlements there" (p. 12) conclude the authors, from a consortium of universities including IIT Kanpur. "Our OSL-derived chronologies firmly establish that a major Himalayan river was not contemporaneous with Indus settlements in the Ghaggar–Hakra region and did not sustain the Indus Civilisation in this region."
But the article does not have to undermine the riverine origins of civilizations. For one thing, during Indus times, to flourish very near massive flowing rivers like the Indus [Mohenjo-daro, Lakhanjo-daro], Sutlej, Ravi [Harappa], Jhelum and Chenab - well, that's a lot of support in the neighborhood. And even if civilizations had their origins along this riverbed, the most interesting conclusion drawn might be from Rita P. Wright, not affiliated with the study: ""As an archaeologist, when I read this, I thought, 'Oh, maybe that's why there are so many documented settlements there. Maybe they were ephemeral." In other words, people may have tracked the intermittent river flows and paths through the landscape carved by the monsoons and seasonal flows, which means they moved around a lot. We are not sure by any means, as so much more work needs to be done in the area [the largest settlement, Ganweriwala, remains unexcavated].
The study also shows, once again, that people during, before and after the Indus period have been remarkably resourceful with water and adaptable to riverine conditions and varied their crops accordingly. Its no wonder, if we look at the sanitary sophistication of the cities, but it can be hard to imagine such sophistication spreading in other ways through agricultural practices. But sophistication was present there as well. The remnants of what we see in Balochistan, on the other flank of the Indus [Mehrgarh dates to 6500 BCE], of water stored and distributed when it too was greener and more fertile – it all makes sense that there were many modes of water exploitation and settlement patterns. Cultures emerge in part to develop these resources successfully and sustainably.

Counter-intuitive influence of Himalayan river morphodynamics on Indus Civilisation urban settlements is well-worth a read; the scientific techniques used are multiple (fluvial sediments have a lot of say); there are a dozen authors from India, UK, Denmark; and the results while dense are also beautifully illustrated in maps like the one above Corresponding TM colour composite image (detail of Fig. 2) showing correspondence of Ghaggar–Hakra palaeochannel and incised valley. Locations of urban-phase Indus settlements along Ghaggar–Hakra palaeochannel are indicated.
















Standard device of Indus Script is pictorial Rgveda yajna, signifies potr 'purifier' kũdār turner's fire-altar workshop

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-- Decipherment of Indus Script standard device kunda 'lathe' kunḍa 'bowl for coals' (with dotted circles); rebus readings: potr 'purifier priest' (Rgveda), kũdār 'turner, lapidary' working with अग्निकुण्ड 'fire-altar with live coals'
-- I submit that Indus Script is continuum of Rgveda tradition evidenced on the silver cup with 8 Rtvij priests. See: 

https://tinyurl.com/rcurjut



This is an addendum to: 

 

This monograph expounds on the orthography of the standard device normally shown in front of a spiny-horned young bull and posits the Meluhha rebus readings of hieroglyph components as signifiers of potr 'purifier'  kũdār turner's fire-altar workshop.

The top register is lathe. kunda 'lathe'. Rebus:Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725) kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.kundakara -- .(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297)

The bottom register is a vessel for coals (Ramayana); fire-bowl (for consecrated fire).kunḍa 'bowl for coals'. अग्निः [अङ्गति ऊर्ध्वं गच्छति अङ्ग्-नि,नलोपश्च Uṇ.4.5., or fr. अञ्च् 'to go.'] 1 Fire Sacrificial altar, अग्निकुण्ड cf. Rām. 1.14.28.    कुण्ड्   kuṇḍ कुण्ड् I. 1 Ā. 1 To burn. -2 To eat, -3 To heap. कुण्डः डी डम्   kuṇḍḥ ḍī ḍam कुण्डः डी डम् [cf. Uṇ.1.112] 1 A bowl-shaped vessel, a basin, bowl. -2 A round hole in the ground for receiving and preserving water. बलं नागसहस्रस्य यस्मि- न्कुण्डे प्रतिष्ठितम् Mb.1.128.68. -3 A hole in general; अग्निकुण्डम्. -4 A pool, well; especially one consecrated to some deity or holy purpose. -5 The bowl of a mendicant. -6 A water-jar (कमण्डलु). (Apte)

I suggest that the rebus readings in Meluhha demonstrate that the 'standard device' signifies 'turner's lathe'.କୁନ୍ଦକର Kundakara ସଂ. ବି. (କୁନ୍ଦ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅ)— କୁନ୍ଦିବା ୟନ୍ତ୍ରରେ କାମ କଲାବାଲା କାରିଗର— A turner.କୁନ୍ଦକାରକ Kundakāraka ସଂ. ବି. (କୁନ୍ଦ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅକ)— କୁନ୍ଦକର (ଦେଖ) Kundakara (See)  କୁନ୍ଦଗର Kundagara [synonym(s): কুন্দকী कुंदमसाज] ଦେ. ବି. (ସଂ. କୁନ୍ଦକର)— 1। କୁନ୍ଦକରିବା କାରିଗର— 1. A turner. 2। କୁନ୍ଦନ କାମ କରିବା ବଣିଆ—2. A goldsmith adept in the art of setting precious stones on gold leaves.(Oriya) কুন্দ  kunda a (turner's) lathe. ̃কার n. a turner. ̃

The hieroglyphs composing the hypertext pictorial motif are:

1. flag-post
2. dotted circles
3. lathe
4. bowl for live-coals

1. Post: kunda कुंद । स्थाणुः m. a billet, a log; a trunk or stump of a tree; a kind of clog or wooden fetter (for prisoners).(Kashmiri) Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. 
kunda block, log. ?(DEDR 1723)  কুঁদ2  kun̐da a stump or trunk (of a tree); a log (of wood) (Bengali)

2. Dotted circles ligatured on the bottom register bowl is a semantic determinative of the functions of the kunda'lathe' to create perforated gold beads. pota 'gold bead', pottal 'hole, perforation'rebus: pota'assayer of metals'.

3. kunda 'lathe' PLUS kammata 'portable furnace'. Rebus readings are: kō̃da 'furnace' Ta. kampaṭṭam
coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236). Thus, mint with lathe. Dotted circles shown on the bottom register (portable furnace) signify pota 'pierced gold bead' rebus: potadāra, poddār 'assayer of metals'; pot 'purifier' (Rgveda). kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m. kundakara -- .(CDIAL 3295)  kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297)

Hieroglyph: seed-bed: On some orthographic variants of the top register, the pattern of seed-bed is shown (See figure e and f ). Seed-bed: Kui gunda (gundi-) to sprout, bud, shoot forth into bud or ear; n. a sprouting, budding. ? Kuwi (Isr.) kunda a very small plot of ground (e.g. for seed-bed). Kur. kundnā to germinate, bud, shoot out; kundrnā to be born; kundrkā birth; kundrta'
<-> ānā to generate, beget, produce. Malt. kunde to be born, be created. (DEDR 1729)

4.Bowl for live coals: kŏnḍ क्वंड् or kŏnḍa क्वंड । कुण्ड m. a kind of large bowl or basin made of metal or earthenware (Gr.Gr. 145); a deep still spring (El., Gr.Gr. 145); (amongst Hindūs) a hole dug in the ground for receiving consecrated fire; cf. ạgana-kŏnḍ (p. 16b, l. 34) (Rām. 631). Cf. kọ̆nḍukōnda कोंद, see kō̃da. kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used. कुण्ड n. [अस् m. L. ] , a bowl-shaped vessel , basin , bowl , pitcher , pot , water-pot Ka1tyS3r. MBh. &c; a vessel for coals R. v , 10 , 16 &c; a round hole in the ground (for receiving and preserving water or fire cf. अग्नि-कुण्ड) , pit , well , spring or basin of water (especially consecrated to some holy purpose or person) MBh. R. &c (Monier-Williams)    కుండము  kunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పుల గుండము. కుండ  kunḍa. [Tel.] n. An earthern pot. A pot. కుంచుకుంట a bell metal pot. A gilt ball on the crest of a tent, &c. కలశము. A bush in a carriage wheel ఇరుసుతగిలించే బండికంటి నడిమిగుబ్బ. కుండగోకరి kunḍa-gōkari. [కుండగోకు+అరి.] n. A cook. వంటవాడు (వల. ద్విపద, 2. భా.) కుండపోగులు Same as కుండలములు. కుండమార్చు kunḍa-mārṭsu. v. t. To exchange one thing for another. ఒకటినిచ్చి మరొకటిని పుచ్చుకొను. (Telugu)    कुंडला   kuṇḍalā m (कुंडल S) A bowl of stone or earth (for grinding snuff &c.)  कुंडा kuṇḍā m (Enhancing form of कुंडी) A large openmouthed jar; as a flowerpot, a leather-worker's steeping pot, a dyer's vat, a मांदण or receiver of the expressed juice of sugarcanes, a vessel for levigating or comminuting snuff, bháng &c. 2 The gourd-receiver of the exudation of Palm trees.   कुंडवेदिका or कुंडवेदी   kuṇḍavēdikā or kuṇḍavēdī f S The excavated or enclosed plat and its raised border (for sacrifices or offerings). Ex. कुं0 विध्वंसून समग्र ॥ यज्ञमंडप मोडिला ॥.(Marathi)  kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh. (semant. cf. kumbhá -- 1), ˚ḍaka -- m.n. ʻ pot ʼ Kathās., ˚ḍī -- f. Pāṇ., ˚ḍikā -- f. Up. 2. *gōṇḍa -- . [← Drav., e.g. Tam. kuṭam, Kan. guṇḍi, EWA i 226 with other ʻ pot ʼ words s.v. kuṭa -- 1]
1. Pa. kuṇḍi -- , ˚ḍikā -- f. ʻ pot ʼ; Pk. kuṁḍa -- , koṁ˚ n. ʻ pot, pool ʼ, kuṁḍī -- , ˚ḍiyā -- f. ʻ pot ʼ; Kt. kuṇi ʻ pot ʼ, Wg. kuṇḍäˊi; Pr. künǰǘ ʻ water jar ʼ; Paš. weg. kuṛã̄ ʻ clay pot ʼ < *kũṛā IIFL iii 3, 98 (or poss. < kuṭa -- 1), lauṛ. kuṇḍalīˊ ʻ bucket ʼ; Gaw. kuṇḍuṛīˊ ʻ milk bowl, bucket ʼ; Kal. kuṇḍṓk ʻ wooden milk bowl ʼ; Kho. kúṇḍuk˚ug ʻ milk bowl ʼ, (Lor.) ʻ a kind of platter ʼ; Bshk. kūnḗċ ʻ jar ʼ (+?); K. kŏnḍ m. ʻ metal or earthenware vessel, deep still spring ʼ, kọ̆nḍu m. ʻ large cooking pot ʼ, kunāla m. ʻ earthenware vessel with wide top and narrow base ʼ; S. kunu m. ʻ whirlpool ʼ, ˚no m. ʻ earthen churning pot ʼ, ˚nī f. ʻ earthen cooking pot ʼ, ˚niṛo m.; L. kunnã̄ m. ʻ tub, well ʼ, ˚nī f. ʻ wide -- mouthed earthen cooking pot ʼ, kunāl m. ʻ large shallow earthen vessel ʼ; P. kū̃ḍā m. ʻ cooking pot ʼ (← H.), kunāl˚lā m., ˚lī f., kuṇḍālā 
m. ʻ dish ʼ; WPah. cam. kuṇḍ ʻ pool ʼ, bhal. kunnu n. ʻ cistern for washing clothes in ʼ; Ku. kuno ʻ cooking pot ʼ, kuni˚nelo ʻ copper vessel ʼ; B. kũṛ ʻ small morass, low plot of riceland ʼ, kũṛi ʻ earthen pot, pipe -- bowl ʼ; Or. kuṇḍa ʻ earthen vessel ʼ, ˚ḍā ʻ large do. ʼ, ˚ḍi ʻ stone pot ʼ; Bi. kū̃ṛ ʻ iron or earthen vessel, cavity in sugar mill ʼ, kū̃ṛā ʻ earthen vessel for grain ʼ; Mth. kũṛ ʻ pot ʼ, kū̃ṛā ʻ churn ʼ; Bhoj. kũṛī ʻ vessel to draw water in ʼ; H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, kū̃ḍā m. ʻ earthen vessel to knead bread in ʼ, kū̃ṛī f. ʻ stone cup ʼ; G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, kũḍā m. ʻ large openmouthed jar ʼ, ˚ḍī f. ʻ small do. ʼ; Si. ken̆ḍiyakeḍ˚ ʻ pot, drinking vessel ʼ.2. N. gũṛ ʻ nest ʼ (or ← Drav. Kan. gūḍu ʻ nest ʼ, &c.: see kulāˊya -- ); H. gõṛā m. ʻ reservoir used in irrigation ʼ.*gōkuṇḍikā -- , taílakuṇḍa -- , *madhukuṇḍikā -- , *rakṣākuṇḍaka -- ; -- kuṇḍa -- 2?Addenda: kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., ˚ṛī f. ʻ pot ʼ.(CDIAL 3264)    Kuṇḍi (f.) [=kuṇḍikā] a pail or pot, in phrase kuṇḍi- paddhana giving a pailful of milk J vi.504 (Kern, Toev. s. v. compares phrase Sk. kāŋsy'ôpadohana & proposes reading kuṇḍ' opadohana. See also kaŋsupadhāraṇa). Kuṇḍikā (f.) a water -- pot J i.8, 9, ii.73 (=kamaṇḍalu), 317; v.390; DhA i.92 (cp. kuṭa).   Kuṭa a pitcher Vv 509; J i.120; DhA ii.19, 261; iii.18. Kuṭa is to be read at J i.145 for kūṭa (antokuṭe padīpo viya; cp. ghaṭa). Note. Kuṭa at DhsA 263 stands for kūṭa3 sledge -- hammer.(Pali)Ta. kuṭam waterpot, hub of a wheel; kuṭaṅkar waterpot; kuṭantam pot; kuṭantai Kumbakonam (old name); kuṭukkai coconut or other hard shell used as vessel, pitcher; kuṭikai ascetic's pitcher; kuṭuvai vessel with a small narrow mouth, pitcher of an asectic. Ma. kuṭam waterpot; kuṭukka shells (as of gourds) used as vessels, small cooking vessel with narrow mouth; kuṭuka, kuṭuva small vessel. Ko. koṛm (obl. koṛt-) waterpot with small mouth; ? kuck small clay pot used to drink from (? < *kuṭikkay). To. kuṛky small pot. Ka. koḍa earthen pitcher or pot; kuḍike small earthen, metal, or wood vessel; guḍuvana, guḍāṇa large water-vessel, used also for storing grain; earthen pot used for churning. Koḍ. kuḍike pot in which food (esp. rice) is cooked. Tu. kuḍki, kuḍkè, guḍke small earthen vessel. Te. kuḍaka, kuḍuka cup, bowl, scoop, any cup-like thing; guḍaka a coconut or other similar shell; (B) guḍaka, kuḍaka shell of a fruit prepared to serve as a snuff-box, etc., small metal box; (Inscr.) kuḍalu small earthen vessels. Kuwi (Su.) ḍōka, (S.) ḍoka, (F.) dōkka pot (Te. kuḍaka > *kḍōka > ḍōka). / Cf. Skt. kūṭa- waterpot; Turner, CDIAL, no. 3227. (DEDR 1651)

 

Rebus readings are: 
1. konda 'fire-altar, furnace, kiln'; koḍ 'workshop' kō̃da 'kiln, furnace'
2. kunda 'fine gold'  


Rann of Kutch and drying up of a river (Sarasvati) near Dholavira -- Torsa Sengupta et al (Dec. 2019)

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IIT Kharagpur study reveals, decline of Harappan city Dholavira was caused by drying up of river and drought

These researchers have for the first time connected the decline of Harappan city Dholavira to the disappearance of a Himalayan snow-fed river which once flowed in the Rann of Kutch.

By 
Prachi Verma  
ET Bureau|
Jan 02, 2020, 12.08 PM IST

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The research team that also include researchers from Archaeological Survey of India.
NEW DELHI: A recent study conducted by the Indian Institute of Technology (IIT) Kharagpur reveals that the decline of Harappan city Dholavira was caused by drying up of river like Saraswati river and Meghalayan drought.

These researchers have for the first time connected the decline of Harappan city Dholavira to the disappearance of a Himalayan snow-fed river which once flowed in the Rann of Kutch. They have been able to connect the dots between the growth and decline of the Dholavira
located in the Rann with this river which resembles the Himalayan river Saraswati. The study has just been published online in prestigious Wiley Journal of Quaternary Science, according to information shared by the institute. The research team that also include researchers from Archaeological Survey of India, Deccan College PGRI Pune, Physical research laboratory, and Department of Culture, Gujarat, besides researchers from IIT Kharagpur, dated archaeological remains from all the stages and also inferred climate shifts through time which led to the rise and fall of the Harappan city.
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“Our data suggest that prolific mangroves grew around the Rann and distributaries of Indus or other palaeochannels dumped water in the Rann near southern margin of Thar Desert. This is the first direct evidence of glacial fed rivers quite like the supposedly mythological Saraswati, in the vicinity of Rann” said IIT Kharagpur's Anindya Sarkar and the lead researcher.
Dr. Ravi Bhushan and Navin Juyal from PRL, Ahmedabad dated the carbonates from human bangles, fish otolith and molluscan shells by accelerator mass spectrometer and found that the site was occupied from pre-Harappan period to ~3800 years before present i.e. Late Harappan period. The Dholavirans were probably the original inhabitants in the region, had a fairly advanced level of culture even at its earliest stage. They built spectacular city and survived for nearly 1700 years by adopting water conservation suggested the researchers.

Mystery of Harappan civilisation’s decline: Researchers find link with lost Kutch river

By:  | 
Updated: January 2, 2020 9:38:36 PM

The data suggests that mangroves grew around the Rann and distributaries of Indus or other palaeochannels (remnant of an active river filled by sediments) dumped water in the Rann near the southern margin of Thar desert, the IIT-KGP statement said on Thursday.


He said Dholavira presents a “classic case for understanding how climate change can increase future drought risk” as predicted by the IPCC (Intergovernmental Panel on Climate Change) working group. (Representational Image)
Indian researchers have for the first time connected the decline of a Harappan city to the disappearance of a Himalayan snow-fed river which once flowed in the Rann of Kutch, according to a study. An IIT Kharagpur statement said that a research team “connected the dots between the growth and decline of Dholavira, the most spectacular and largest excavated Harappan city in India located in the Rann with a river which resembles the mythical Himalayan river Saraswati”. The team consists of researchers from IIT Kharagpur, Archaeological Survey of India (ASI), Deccan College PGRI Pune, Physical Research Laboratory (PRL) and the Department of Culture, Gujarat.
The data suggests that mangroves grew around the Rann and distributaries of Indus or other palaeochannels (remnant of an active river filled by sediments) dumped water in the Rann near the southern margin of Thar desert, the IIT-KGP statement said on Thursday. “This is the first direct evidence of glacial-fed rivers which are quite like the mythological Saraswati, flowing in the vicinity of Rann,” IIT Kharagpur’s Prof. Anindya Sarkar who led the research, said.
Dr. Ravi Bhushan and Navin Juyal from PRL, Ahmedabad dated the carbonates from human bangles, fish otolith and found that the site was occupied from 5,500 years back i.e. pre-Harappan period to late Harappan period, the statement said. The city expanded till 4400 years followed by an abrupt decline nearly 4000 years back – as per the findings of ASI’s researchers Dr. R.S. Bisht and Y.S. Rawat who were part of the team, it said. “Though the Dholavirans adopted excellent water conservation strategy by building dams, reservoirs and pipelines, they were pushed to the limit by a catastrophic mega-drought collapsing the city due to the drying up of the river,” Sarkar said.

He said Dholavira presents a “classic case for understanding how climate change can increase future drought risk” as predicted by the IPCC (Intergovernmental Panel on Climate Change) working group. The study has just been published online in the ‘Wiley Journal of Quaternary Science’.

On the existence of a perennial river in the Harappan heartland

Abstract

The legendary river Saraswati of Indian mythology has often been hypothesized to be an ancient perennial channel of the seasonal river Ghaggar that flowed through the heartland of the Bronze Age Harappan civilization in north-western India. Despite the discovery of abundant settlements along a major paleo-channel of the Ghaggar, many believed that the Harappans depended solely on monsoonal rains, because no proof existed for the river’s uninterrupted flow during the zenith of the civilization. Here, we present unequivocal evidence for the Ghaggar’s perennial past by studying temporal changes of sediment provenance along a 300 km stretch of the river basin. This is achieved using 40Ar/39Ar ages of detrital muscovite and Sr-Nd isotopic ratios of siliciclastic sediment in fluvial sequences, dated by radiocarbon and luminescence methods. We establish that during 80-20 ka and 9-4.5 ka the river was perennial and was receiving sediments from the Higher and Lesser Himalayas. The latter phase can be attributed to the reactivation of the river by the distributaries of the Sutlej. This revived perennial condition of the Ghaggar, which can be correlated with the Saraswati, likely facilitated development of the early Harappan settlements along its banks. The timing of the eventual decline of the river, which led to the collapse of the civilization, approximately coincides with the commencement of the Meghalayan Stage.

‘The First Direct Evidence Of Saraswati River’: Here’s What Latest IIT Kharagpur Study Reveals

Dholavira in Kutch, Gujarat (Source: Rahul Zola/Wikimedia Commons <a href="https://commons.wikimedia.org/wiki/File:Dholavira.jpg">commons.wikimedia.org/wiki/File:Dholavira.jpg</a>)
Dholavira in Kutch, Gujarat (Source: Rahul Zola/Wikimedia Commons commons.wikimedia.org/wiki/File:Dholavira.jpg)
A recent study by the researchers at Indian Institute of Technology Kharagpur (IIT-Kgp) points to the fact that the decline of Dholavira - a Harappan site - might be linked to drying up of a mighty Himalayan river flowing through the Rann of Kutch.
As per the release by the institute, the study has just been published online in prestigious Wiley Journal of Quaternary Science.
The statement said that a research team “connected the dots between the growth and decline of Dholavira, the most spectacular and largest excavated Harappan city in India located in the Rann with a river which resembles the mythical Himalayan river Saraswati”.
The multi-disciplinary study included the researchers from from the Archaeological Survey of India, Deccan College PGRI Pune, Physical research laboratory, and Department of Culture, Gujarat, apart from the researchers from IIT Kharagpur.
The study dated archaeological remains from all the stages and also inferred climate shifts through time which led to the rise and fall of the Harappan city.
The study concluded that a mighty river like Saraswati - as mentioned in the Rig Veda - flowing from the Himalayas to the sea - might have been the life source of the Harappan civilisation.
“Our data suggest that prolific mangroves grew around the Rann and distributaries of Indus or other palaeochannels dumped water in the Rann near southern margin of Thar Desert. This is the first direct evidence of glacial fed rivers quite like the supposedly mythological Saraswati, in the vicinity of Rann” said IIT Kharagpur's Anindya Sarkar and the lead researcher.
“Though the Dholavirans adopted excellent water conservation strategy by building dams, reservoirs and pipelines, they were pushed to the limit by a catastrophic mega-drought collapsing the city due to the drying up of the river,” he said.
The team from the PRL Ahmadabad dated the carbonates from human bangles, fish otolith and molluscan shells by accelerator mass spectrometer and found that the site was occupied from pre-Harappan period to ~3800 years before present i.e. Late Harappan period.
Recently, another study investigated the changes in sediment provenance over time along a 300 km stretch of the Ghaggar river basin. It concluded that 9,000 to 4,500 years ago (9-4.5 ka) the river was perennial and was receiving sediments from the Higher and Lesser Himalayas.
It is worth noting that the Rig Veda mentions Saraswati as ‘one of the seven sisters’, ‘unbroken’, ‘pure in her course from mountain to sea’, ‘breaks through the ridges of the mountains with her strong waves’. Several teerthas at its banks are also mentioned.
The Nadu Sukta hymn of the Rig Veda which mentions 19 rivers starting from the Ganges, moving westward to Indus and three of its tributaries flowing from Sulaiman ranges in Afghanistan, places Saraswati between Yamuna and Sutlej.
The later Hindu literature also mentions the drying up and receding of the river.
The archaeological evidence in favour of the Saraswati river provides a serious challenge to the settled chronology based in the assumption of ‘Aryan invasion’.
Given that the Rig Veda mentions Saraswati in full might, meeting the sea from the mountains; based on geological evidence, its composition would coincide (in the latest) with the Mature phase of the Indus Valley civilisation.
Based on the above mentioned paper, Rig Veda should have been composed between 9-4.5 ka. This gives a serious blow to the Aryan Invasion theory.
Scholars, even those who accept the invasionist view, have agreed that instead of the labels given by Max Muller to Rig Veda - ‘primitive’, ‘nomadic’, ‘pastoral’ etc - Rig Vedic society was “highly complex and in the full blaze of the civilisation”.
Also, not only the timeline of Rig Veda matches with that of the Harappan civilisation, but also the geographical area - north-west region of the Indian subcontinent.
And in this region, no archaeological evidence separating ‘Aryan’ from ‘Harappan’ is found. There is only one culture - Harappan. There is also biological continuity witnessed at this time.
While by an accident of fate, the first site of the Harappan civilisation was discovered in what is today the territory of Pakistan, the latest research - not just regarding the existence of Saraswati river, but number of mature Harappan sites, average size of the sites etc - has made it clear that Indus Valley civilisation should be more aptly called ‘Indus/Sindhu-Saraswati civilisation’.

IIT Kharagpur study reveals how drying of Saraswati-like river caused decline of Harappan city Dholavira

A recent study by IIT Kharagpur has for the first time connected the decline of Harappan city Dholavira to a disappearance of a Saraswati-like river that once flowed through the Rann of Kutch.

India Today Web Desk
New Delhi
January 2, 2020
UPDATED: January 2, 2020 15:36 IST
Harrapa, dholavira, iit kharagpur, iit kharagpur research, saraswati river, saraswati-like river, meghalayan drought, harappan city dholavira, harrapan civilisation
A recent study by IIT Kharagpur has for the first time connected the decline of Harappan city Dholavira to a disappearance of a Saraswati-like river that once flowed through the Rann of Kutch. (Photo: IIT Kharagpur)
Indian researchers from IIT Kharagpur researchers have for the first time connected the decline of Harappan city Dholavira to the disappearance of a Himalayan snow-fed river which once flowed in the Rann of Kutch. The study has just been published online in prestigious Wiley Journal of Quaternary Science.
The research team comprised of researchers from IIT Kharagpur, the Archaeological Survey of India, Deccan College PGRI Pune, Physical research laboratory, and Department of Culture, Gujarat.

What is Dholavira?

Dholavira is the most spectacular and largest excavated Harappan city in India located in the Rann of Kutch.

Decline of Dholavira connected with drying of snow-fed river like Saraswati

The IIT Kharagpur researchers have connected the dots between the growth and decline of the Dholavira with this river which resembles the mythical Himalayan River Saraswati.
Studies so far made were indirect attempts to find out the river courses, its connection to climate and civilization in areas far away from these ancient cities.
But this research team dated archaeological remains from all the stages and also inferred climate shifts through time which led to the rise and fall of the Harappan city.

IIT Kharagpur's research shows first evidence of Himalayan rivers near Rann of Kutch

"Our data suggest that prolific mangroves grew around the Rann and distributaries of Indus or other palaeochannels dumped water in the Rann near southern margin of Thar Desert," said IIT Kharagpur's Prof. Anindya Sarkar who led the research.
"This is the first direct evidence of glacial fed rivers quite like the supposedly mythological Saraswati, in the vicinity of Rann," he dded.
Dr. Ravi Bhushan and Navin Juyal from PRL, Ahmedabad dated the carbonates from human bangles, fish otolith and molluscan shells by accelerator mass spectrometer and found that the site was occupied from ~5500 years back i.e. Pre-Harappan period to ~3800 years before present i.e. Late Harappan period.
The Dholavirans were probably the original inhabitants in the region, had a fairly advanced level of culture even at its earliest stage. They built spectacular city and survived for nearly 1700 years by adopting water conservation suggested the researchers.
The study indicates that the city expanded till 4400 years followed by an abrupt decline nearly ~4000 years back, onset of the newly proposed Meghalayan geological stage.
Researchers Dr. RS Bisht and YS Rawat from the Archaeological Survey of India who originally excavated the site concluded this based on degeneration of architecture, craftsmanship, and material culture.

Climate impact evidence found in snail shells

Dr. Arati Deshpande Mukherjee of Deccan College pointed out at the climate evidence coming from high resolution oxygen isotopes in snail shells Terebralia palustris which typically grow in mangroves and was a source of food for the Dholavirans.
The lead author of the paper and a PhD student at IIT Kharagpur, Torsa Sengupta said, "The early to Mature Harappan snail isotopes suggested that the mangrove was fed by Glacier River debouching in the Rann of Kutch."
"However, during late Harappan period, the meltwater contribution and seasonality reduced, coinciding with the fall of Dholavira," she added.
"Though the Dholavirans adopted excellent water conservation strategy by building dams, reservoirs and pipelines, but they were pushed to the limit by a catastrophic Meghalayan mega-drought collapsing the city," said Prof. Anindya Sarkar.
"Indeed Dholavira presents a classic case for understanding how climate change can increase future drought risk as predicted by the IPCC working group," he said.

Harappan city Dholvira collapsed alongside other major old civilisations

The research indicates that the collapse of Harappan Dholavira was near-synchronous to the decline at all the Harappan sites in India as well as societal collapse of Mesopotamia, Greece, China and the Old Kingdom of Egypt.
"This was due to the disruption of the westerlies and Indian and East Asian monsoons at 4200 years back leading to ~250 year widespread drought," said Prof. Mike Walker of University of Wales who discovered the Meghalayan Stage.
"The collapse of Dholavira is very important evidence for reconstructing these global archaeological and climate events," he added.
(Photos by IIT Kharagpur)
Research Article

Did the Harappan settlement of Dholavira (India) collapse during the onset of Meghalayan stage drought?

First published: 26 December 2019
 

ABSTRACT

Radiocarbon dating of archaeological carbonates from seven cultural stages of Dholavira, Great Rann of Kachchh (GRK), the largest excavated Harappan settlement in India, suggests the beginning of occupation at ~5500 years BP (pre‐Harappan), and continuation until ~3800 years BP (early part of the Late Harappan period). The settlement rapidly expanded under favourable monsoonal climate conditions when architectural elements such as the Citadel, Bailey, Lower and Middle Town were added between the Early and mid‐Mature Harappan periods. Abundant local mangroves grew around the GRK sustaining prolific populations of the edible gastropod Terebralia palustris. Oxygen isotope (δ18O) sclerochronology of Early Harappan gastropod shell suggests seasonal mixing of some depleted (δ18O ~ −12‰) river water in summer/monsoon months (through ancient Saraswati and/or Indus distributary channels) with seawater that periodically inundated the GRK. Evaporation from this semi‐enclosed water body during the non‐monsoon months enriched the δ18O of water/shell carbonates. The humid fluvial landscape possibly changed due to a catastrophic drought driving the final collapse of the settlement of Dholavira exactly at the onset of the Meghalayan (Late Holocene) stage (~4300–4100 years BP). Indeed, Dholavira presents a classic case for understanding how climate change can increase future drought risk as predicted by the IPCC working group.

वाचस्पत्यम् Tradition of आरत or ती ārata or tī traced to Sarasvati Civilization, evidence of two bronze dancing girls waving lamps

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A process of worship is  यज्   yaj यज् 1 U. (यजति-ते, इयाज, ईजे; अयाक्षीत्-अयष्ट, यक्ष्यति-त, यष्टुम्, इष्ट; pass. इज्यते; desid. यियक्षति-ते) 1 To perform yajna, worship with yajna-s (often with instr. of words meaning 'a yajna'); यजेत राजा क्रतुभिः Ms.7.79;5. 53;6.36;11.4; Bk.14.9; so अश्वमेधेनेजे, पाकयज्ञेनेजे &c. -2 To make an oblation to (with acc. of the deity and instr. of the means of yajna or oblation); पशुना रुद्रं यजते Sk.; यस्तिलैर्यजते पितॄन् Mb.; Ms.8.15;11.119. -3 To worship, adore, honour, revere. -4 To conse- crate, dedicate. -5 To give, bestow. -Caus. (याजयति-ते) (Apte)
In this process (यजति, यजतेआरत or ती ārata or tī or नी-° राजन is offered.
आरत or ती ārata or tī f (आर्तिक्य S) The ceremony of waving (Marathi)आरति स्त्रो आ + रम--क्तिन् ।१ उपरमे, २ निवृत्तौ च ।--वाचस्पत्यम् आरतिः विरतिः । नि-वृत्तिः । इत्यमरः ॥ (उपरमः, नीराजनम् ।) -- शब्दकल्पद्रुमः
ஆரத்தி āratti , n. < ā-rati. 1. One of sixteen acts of worship, consisting in the waving of a light or lighted camphor before an idol; தீபாராதனை. See the dancing girl in bronze offering आरत or ती (1)
Bronze dancing girls waving lamps. The tradition started with cleaning arms and armour on the eve of going to war. This is quintessential exemplat of Tin-Bronze Revolution.

ārātrika n. ʻ the ceremony of waving a lamp in front of an image at night ʼ AVPariś., ʻ the lamp so waved ʼ Śaṁkara [*ārātri -- ] Pk. ārattiya -- n.; K. āra f. ʻ a special kind of address to a god ʼ; S. āratī f. ʻ the ārātrika ceremony ʼ, P. ārtī, Ku. ārti; N. ārati ʻ the song sung at this ceremony ʼ; A. B. ārati ʻ the ceremony ʼ, Or. āratīāḷati; Bi. ārtī ʻ a lamp with four or five wicks used in a temple ʼ; Aw. ārati ʻ the ceremony ʼ, H. ārtī f., ārtā m. ʻ marriage ceremony in which a lamp is waved ʼ; G. M. ārtī f. ʻ the ceremony ʼ, M. ārat f.(CDIAL 1315)

Synonyms: 

  নীরাজন, নীরাজনা  nīrājana, nīrājanā: cleaning arms and armour on the eve of going to war; worshipping an idol by waving lamps, fly-whisks etc. before it.(Bengali)

ପଞ୍ଚ ନିରାଜନ Pan̄cha nirājana ସଂ. ବି. (ପଞ୍ଚ+ନିରାଜନ=ଆରତି)— ପ୍ରଦୀପ, ପଦ୍ମ ବସ୍ତ୍ର, ତାମ୍ର ବା ତାମ୍ବୁଳପତ୍ର ଏହି ଚତୁର୍ବିଧ ଦ୍ରବ୍ଯ ଓ ସାଷ୍ଟାଙ୍ଗ ପ୍ରଣିପାତଦ୍ବାରା ଦେବତାଙ୍କର ଆରତି— The worship of a deity with a lamp lotus, cloth and betel leaf and with recumbent posture. ନୀରାଜନ Nīrājana ସଂ. ବି. (ବହୁବ୍ରୀହି; ନୀର=ଶାନ୍ତି ଜଳ+ଅଜନ=କ୍ଷେପଣ; ୟେଉଁ ସମଯରେ ଶାନ୍ତି ଜଳ କ୍ଷେପଣ ହୁଏ)— 1। ଆରତ୍ରିକ; ଆରତି; ଦେବତାଙ୍କୁ ଓ ନବବିବାହିତ ବରକନ୍ଯାଙ୍କୁ ଦୀପ ଦେଖାଇବା ପୂର୍ବକ ଆରାଧନା; ବନ୍ଦାପନା—1. The ritual of waving lighted or a newly marrud couple wicks before an idol. [ଦ୍ର—ଦୀପମାଳା; ସଜଳ ପଦ୍ମ, ଧୋତ ବସ୍ତ୍ର, ତୁଳସୀ ବା ବିଲ୍ବଦଳାଦି ଓ ସାଷ୍ଟାଙ୍ଗ ପ୍ରଣାମ ଏହି ପଞ୍ଚ ଉପଚାରଦ୍ବାରା ଆରାଧନାକୁ ନିରାଜନ ବା ନିରାଜନା ବୋଲା ୟାଏ ।] 2। (ନିର୍=ସମ୍ଯକ୍ରୂପେ+ରାଜ୍ ଧାତୁ=ଦୀପ୍ତି ପାଇବା+ ଭାବ. ଅନ)—ଅସ୍ତ୍ରଶସ୍ତ୍ରାଦି ପରିଷ୍କାରକରଣ— 2. Cleansing of arms and weapons; polishing of weapons. 3। ପ୍ରତିମା ବିସର୍ଜନ— 3. The ceremonial casting off of an image. 4। ଶାନ୍ତି ଜଳ ସେଚନ କର୍ମ—4. The ceremony of sprinkling consecrated water for purification. 5। ଆଶ୍ବିନ ବା କାର୍ତ୍ତିକ ମାସରେ ରାଜା ଓ ସେନାପତିଙ୍କ ଦ୍ବାରା ୟୁଦ୍ଧାସ୍ତ୍ରାଦିର ମନ୍ତ୍ର ଦ୍ବାରା ପବିତ୍ରୀକରଣ— 5. Lustration or consecrated polishing of arms; a kind of military and religious ceremony perfomed by kings or generals of armies in the month of Āṡwina or Kārttika before they took the field (Apte). [ଦ୍ର—ରାଜା ଓ ସେନାପତିମାନେ ପୂର୍ବେ ୟୁଦ୍ଧୟାତ୍ରା କରିବାକୁ ଅନୁକୂଳ କରିବା ପୂର୍ବରୁ ଆଶ୍ବିନ ବା କାର୍ତ୍ତିକ ମାସରେ ସମସ୍ତ ଅସ୍ତ୍ର— ଶସ୍ତ୍ରାଦିକୁ ପୁରୋହିତଙ୍କଦ୍ବାରା ଅଭିମନ୍ତ୍ରିତ ଓ ପରିଷ୍କୃତ କରୁଥିଲେ । ଏହି ବିଧିକୁ ନିରାଜନ ବୋଲାୟାଉଥିଲା ।]   ନୀରାଜନା Nīrājanā ସଂ. ବି. ସ୍ତ୍ରୀ. (ନୀରାଜନ+ଆ)— ନୀରାଜନ (ଦେଖ) Nīrājana (See) ସମ୍ପାଦିଲେ ଦିଲ୍ଲୀ ରାଣୀ ନୀରାଜନା ବିଧି। ରାଧାନାଥ. ମହାୟାତ୍ରା।   ନୀରାଜିତ Nīrājita ସଂ. ବିଣ. (ନୀର+ଅଜ୍ ଧାତୁ+କର୍ମ. ତ)— 1। ବନ୍ଦାପନା କରା ୟାଇଥିବା (ଦେବତା)— 1. (a Deity) Worshipped with the waving of lights. 2। ମନ୍ତ୍ରାଦି ଦ୍ବାରା ପବିତ୍ରୀକୃତ ଓ ପରିଷ୍କୃତ (ଅସ୍ତ୍ରଶସ୍ତ୍ରାଦି)— 2. Lustrated (weapons).(Oriya)

नी-° राजन n. lustration of arms (a ceremony performed by kings in the month आश्विन or in कार्त्तिक before taking the field) Var. Hariv. Ka1v. &c; waving lights before an idol as an act of adoration (Monier-Williams)

नीराज   nīrāja नीराज (निस्-राज्) Caus. 1 To cause to shine, illuminate, make brilliant. adorn, irradiate; दिव्यास्त्रस्फुर- दुग्रदीधितिशिखानीराजितज्यं धनुः U.6.18; नीराजयन्ति भूपालाः पादपीठान्तभूतलम् Prab.2; Śi.17.17; N.11.96; प्रत्यग्रज्वलितैः पतङ्गमणिभिः नीराजिता भानवः A. R.2.1. -2 To perform the ceremony called नीराजन (q. v. below) over a person or thing (wave lights before one as a mark of respect or by way of worship); नानायोधसमाकीर्णो नीराजितहयद्विपः Kām.4.66. नीराजनम् ना   nīrājanam nā नीराजनम् ना 1 Lustration of arms, a kind of military and religious ceremony performed by kings or generals of armies in the month of Āśvina before they took the field; (it was, so to say, a general purification of the king's Purohita, the ministers, and all the various component parts of the army, together with the arms and implements of war, by means of sacred Mantras); तम्मै सम्यग् हुतो वह्निर्वाजिनीराजनाविधौ R. 4.25;17.12; चक्रे स चक्रनिभचङ्क्रमणच्छलेन नीराजनां जनयतां निजबान्धवानाम् N.1.144. -2 Waving lights before an idol as an act of adoration; नीराजनाभिः सुभगाः सुभ्रुवः समभावयन् Śiva B.6.62; तुरङ्गमस्येव रणे निवृत्ते नीराजनाकौतुकमङ्गलानि Pratijñā 1.12. नीराजित   nīrājita नीराजित a. Shone upon, illuminated; समुन्मीलन्नीलाम्बुजनिकरनीराजितरुचाम् Lakṣmīlaharī Strotra.1.(Apte)
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शब्दकल्पद्रुमः
नीराजनं, क्ली, (राज दीप्तौ + ल्युट् । नितरां राजनं यत्र ॥ निर्+ राज् + णिच् + “ण्यासश्रन्थो युच् ।” ३ ।३ । १०७ । इति भावे युच् ।) वाहनायुधादे-र्निःशेषेण राजनं यत्र सा नीराजना । नीरस्यशान्त्युदकस्य अजनं क्षेपो यत्र सा नीराजनावा । इत्यमरटीकायां भरतः ॥ * ॥नीराजना, स्त्री, (राज दीप्तौ + ल्युट् ।नितरां राजनं यत्र ॥ निर्+ राज् + णिच् + “ण्यासश्रन्थो युच् ।” ३ ।३ । १०७ । इति भावे युच् ।) वाहनायुधादे-र्निःशेषेण राजनं यत्र सा नीराजना । नीरस्यशान्त्युदकस्य अजनं क्षेपो यत्र सा नीराजनावा । इत्यमरटीकायां भरतः ॥ * ॥तद्बिधानं यथा, --“शरत्काले महाष्टम्यां दुर्गायाः परिपूजनम् ।नीराजनं दशम्यान्तु कुर्य्याद्वै बलवृद्धये ॥विधिं नीराजनस्य त्वं शृणु पार्थिवसत्तम ! ।कृतेन येन चाश्वानां गजानामपि चेष्टनम् ॥आश्विने शुक्लपक्षे या तृतीया स्वातियोगिनी ।ऐशान्यां स्वपुरस्यैव गृह्णीयात् स्थानमुत्तमम् ॥नीराजनं ततः कुर्य्यात् संप्राप्ते दिवसेऽष्टमे ।नीराजनस्य कालस्तु पूर्ब्बमुक्तस्तु ते मया ॥विधानमत्र शृणु मे कृतकृत्यो भविष्यसि ।एकं हयं महासत्वं सुमनोहरमेव वा ॥पूजयेत् सप्तदिवसान् गन्धपुष्पादिकांशुभिः ।तृतीयादौ पूजयित्वा नयेत्तं यज्ञमण्डपम् ॥चेष्टां निरूपयंस्तस्य जानीयाच्च शुभाशुभम् ।परराष्ट्रविमर्द्दः स्यादश्वो यदि पलायते ॥म्रियते राजपुत्त्रस्तु यदि चाश्रूणि मुञ्चति ।नीयमानो न गच्छेच्चेन्महिषीमरणं तदा ॥तथैव मुखनासाक्षिशब्दं कुर्य्याद्धयो यदि ।यत्काष्ठाभिमुखः कुर्य्यात्तत्काष्ठायां जयेद्रिपून् ॥उत्क्षिप्य दक्षिणाग्रन्तु पदमश्वो भवेत् पुरा ।तदा जयेत् समस्तांश्च नृपतिर्व्विजयेद्रिपून् ॥प्रातर्नीराजनं कुर्य्याद्दशम्यां नृपसत्तम ! ।तदप्राप्तौ तु द्वादश्यां तस्यामेव समाचरेत् ॥कार्त्तिके पञ्चदश्यां वा तत्राभावे तु पार्थिवः ।ऐशान्यां स्वपुरस्योच्चैर्हस्तमानेन षोडश ॥दशहस्तन्तु विपुलं कुर्य्याद्वै तत्र तोरणम् ।द्वात्रिंशद्धस्तमात्रन्तु हस्तषोडशविस्तृतम् ॥यज्ञार्थं मण्डपं कुर्य्यात् मध्ये वेदिं विनिर्णयेत् ।वेद्याश्चोत्तरतश्चाश्ववेदिं कुर्य्यादनुत्तमाम् ॥यत्र संस्थाप्य चाश्वश्च पूजितव्यः पुरोहितैः ।सज्जडिम्बरशाखानामर्ज्जुनस्याथवा नृपः ॥मत्स्वशङ्खाङ्कितैश्चक्रैर्ध्वजैश्चापि विभूषयेत् ।तोरणं कनकै रत्नैस्तथा नानाविधैर्म्मतैः ॥भल्लातकं शालिकुष्ठं सिद्धार्थं सैन्धवस्य तु ।कण्ठदेशे निबध्नीयात् पुष्टिशान्त्यर्थमेव च ॥वैष्णवं मण्डलं कृत्वा दिक्पालांश्च नवग्रहान् ।विश्वेदेवांस्तु मन्त्रेण विष्णुमुख्यान् प्रपूजयेत् ॥आज्यैस्तिलैश्च पुष्पैश्च मिश्रीकृत्य पुरोहितः ।रवेस्तु वरुणस्यैव प्रजेशस्य तथैव च ॥पुरुहूतस्य विष्णोश्च होमं सप्ताहमाचरेत् ।एकैकस्य सहस्रं वा अष्टोत्तरशतञ्च वा ॥कुर्य्यात्तु प्रत्यहं होमं चतुर्व्वर्गस्य सिद्धये ।समिधश्चापि होतव्याः पलाशं खदिरं तथा ॥औडुम्बरञ्च काश्मर्य्यमश्वत्थञ्च पुरोहितः ।सौवर्णान् राजतान् वापि मार्त्तिकान् वा यथे-च्छया ॥कुर्य्यात्तु कलसानष्टौ फलपल्लवयोजितान् ।क्षिपेत्तेषु घटेष्वेव समङ्गां हरितालकम् ॥चन्दनञ्च तथा कुष्ठं प्रियङ्गुञ्च मनःशिलाम् ।अञ्जनञ्च हरिद्राञ्च श्वेतां दन्तीं तथैव च ॥भल्लातकं पूर्णकोषं सहदेवां शतावरीम् ।वचां सनागकुसुमां सोमराजीं स्वगुप्तिकाम् ॥तुत्थञ्च करवीरञ्च तुलसीदलमेव च ।एतानि निःक्षिपेन्मध्ये कलसानां पुरोहितः ॥कनकैरम्बुजैर्यज्ञदारुभिः स्रुक्स्रुवौ तथा ।कर्त्तव्यौ शान्तिकामेन नीराजनविधौ नृप ! ॥एवं सप्ताहपर्य्यन्तं पूजाभिर्हवनैस्तथा ।पूर्ब्बोक्तान् पूजयित्वा तु नृपः सप्ताहमाचरेत् ॥यावन्नीराजनं कुर्य्यात्तावद्राजा वसेद्गृहे ।रात्रौ न यज्ञभूमौ तु निवसेच्छान्तिमिच्छुकः ॥नारोहयेत्तु तुरगं गजं वा तत्र पार्थिवः ।यावत् सप्ताहपर्य्यन्तं यानेनान्येन वै व्रजेत् ॥भक्ष्यैर्नानाविधैश्चैव मधुपायसयावकैः ।मोदकैर्व्वा बलिं कुर्य्याच्चान्नव्यञ्जनसम्भवैः ॥पूर्ब्बोक्तानान्तु देवानां सप्ताहं यावदुत्तमम् ।सप्तमेऽह्नि तु रेमन्तं पूजयेत्तोरणान्तरे ॥सूर्य्यपुत्त्रं महाबाहुं द्विभुजं कवचोज्वलम् ।ज्वलन्तं शुक्लवस्त्रेण केशानुद्ग्रथ्य वाससा ॥कशां वामकरे बिभ्रद्दक्षिणन्तु करं पुनः ।सखड्गं न्यस्य वल्गायां सितसैन्धवसंस्थितम् ॥एवंविधन्तु रेमन्तं प्रतिमायां घटेऽपि वा ।सूर्य्यपूजाविधानेन पूजयेत्तोरणान्तरे ॥ * ॥पूजयित्वा तु रेमन्तं द्विरदं तुरगन्तथा ।आहताम्बरसंवीतं स्रक्चन्दनसमन्विलम् ॥सुवर्णाबद्धनिस्त्रिंशं विचित्रकवचादिभिः ।युक्तन्तु होमकुण्डस्य ऐशान्यामश्ववेदिकाम् ॥पूर्ब्ब कृत्वा नयेदश्वगजपालः पृथक् पृथक् ।नीयमाने गजे चाश्वे पूर्ब्बोक्तञ्च निमित्तकम् ।यत्नाद्वीक्षेत नृपतिः फलं चैवावधारयेत् ।होमकुण्डस्योत्तरस्यां वैयाघ्रे चर्म्मणि स्यितः ॥दैवविदा चाश्वविदा सहितो वीक्ष्य सैन्धवम् ।नीताय तुरगायाशु भक्तपिडीं सुगन्धिनीम् ॥दद्यात् पुरोहितस्तत्र संमन्त्र्य शान्तिमन्त्रकैः ।तत्क्षणाद्यदि जिघ्रेत्तदश्नीयाद्बा हयः स च ॥तदा स्यात् सर्व्वकल्याणं विपरीतमतोऽन्यथा ॥शाखामौडम्बरीमाभ्रीं सकुशाञ्च घटोदके ।आप्लाव्याप्लाव्य तुरगान् गजान् भूपञ्च सैनिकान् ।रथांश्च संस्पृशेन्मन्त्रैः शान्तिकैः पौष्टिकैस्तथा ॥सेचयन् सहितैर्विप्रैश्चतुरङ्गं पुरोहितः ।दिक्पालानां ग्रहाणाञ्च मन्त्रैश्चैव सवैष्णवैः ॥बहुधा चाभिषिच्याथ ततः सौवर्णदर्पणम् ।वीक्षयित्वा नृपञ्चर्त्विक् ततो मन्त्रिणमेव च ॥राजपुत्त्रांस्तथामात्यानन्यानपि च पौरवान् ।कल्पयन् द्बिजशार्द्दूलः सर्व्वानेव तु दर्शयेत् ॥ * ॥चतुरङ्गबलस्यापि कृत्वैवं शान्तिपौष्टिके ।मृण्मयं शात्रवं कृत्वा ह्यभिचारकमन्त्रकैः ॥हृदि शूलेन विद्ध्वा तं शिरः खड्गेन छेदयेत् ॥आचार्य्यः कविकां पश्चादभिमन्त्र्य हयाय वै ॥ऐन्द्रैः प्राभाकरैर्म्मन्त्रैर्दव्याद्वक्त्रे स्वयं पुनः ।तमनेन तु मन्त्रेण समारुह्य नृपस्तदा ॥गच्छेदुत्तरपूर्ब्बान्तु दिशं सर्व्वबलैर्युतः ।ऋत्विक्पुरोहिताचार्य्याः सर्व्व एव नृपन्तथा ॥अनुगच्छेयुरव्यग्रा निमित्तानि व्यलोकयन् ।वादित्रघौषैस्तुमुलैरातपत्रैर्वृतस्तथा ॥गच्छेन्नीराजने राजा दारयन्निव मेदिनीम् ।मणिविद्रुममुक्तादस्वर्णरत्नैरलङ्कुतः ।क्रोशमात्रं ततो गत्वा पूर्ब्बद्बारेण पार्थिवः ॥स्वपुरं प्रविशेद्विप्रैर्यज्ञं यायात् पुरोहितः ।तत्र गत्वा दक्षिणान्तु हिरण्यं गां तथा तिलम् ।दत्वा पश्चाद्द्विजेभ्यस्तु दद्याद्दानानि शक्तितः ॥एवं नीराजनं कृत्वा बलानाञ्च महीक्षितः ।प्रेत्येह च स्थितां लक्ष्मीं नृपतिः प्राप्नुयात्तथा ॥त्वमश्वामृतसंजात सागरोद्भव सैन्धव ।येन सत्येन वहसे शक्रं तेनेह मां वह ॥येन सत्येन रेमन्तं येन सत्येन भास्करम् ।वहसं तेन सत्येन विजयाय वहस्व माम् ॥आभ्यान्तु नृपमन्त्राभ्यामश्वारोहणमाचरेत् ।आरुह्याग्रे महिष्यास्तु शुद्धान्ते लम्बयेत्ततः ॥महिषी च ततो भूपं पर्य्यङ्कोपरिसंस्थितम् ।दूर्व्वाक्षतः ससिद्धार्थैः स्त्रीभिः सह समर्च्चयेत् ॥कृते तु भूमिग्रहणे तृतीयायां नीराजने ।सूतकं यदि जायेत तन्न दुष्यति केवलम् ॥सूतके मृतके वापि पार्थिवस्तु यथा तथा ।बलं नीराजनं कुर्य्यात्तन्माचञ्च विशेषतः ॥सद्यःशौचं भवेद्राज्ञां व्यवहारविलोकने ।तथा विवासिते यज्ञे परराष्ट्रविमर्द्दने ।अयन्ते कथितो राजन्नीराजनक्रमो मया ॥”इति कालिकापुराणे ८६ अध्यायः ॥ * ॥(निर् + राज + भावे ल्युट् ।) निर्म्मञ्छनम् ।आरति इति भाषा ॥ तत्र पञ्चनीराजनं यथा,“पञ्चनीराजनं कुर्य्यात् प्रथमं दीपमालया ।द्बितीयं सोदकाब्जेन तृतीयं धौतवाससा ॥चूताश्वत्थादिपत्रैश्च चतुर्थं परिकीर्त्तितम् ।पञ्चमं प्रणिपातेन साष्टाङ्गेन यथाविधि ॥”इति कालोत्तरतन्त्रम् ॥तस्य वर्त्तिकादिप्रमाणं यथा, --“कुङ्कुमागुरुकर्पूरघृतचन्दबनिर्म्मिताः ।वर्त्तिकाः सप्त वा पञ्च कृत्वा वन्दापनीयकम् ॥कुर्य्यात् सप्तप्रदीपेन शङ्खघण्टादिवाद्यकैः ।हरेः पञ्चप्रदीपेन वहुशो भक्तितत्परः ॥”इति पाद्मोत्तरखण्डे १०७ अध्यायः ॥ * ॥अथ नीराजनमाहात्म्यम् ।स्कान्दे ब्रह्मनारदसंवादे ।“वहुवर्त्तिसमायुक्तं ज्वलन्तं केशवोपरि ।कुर्य्यादारात्रिकं यस्तु कल्पकोटिं वसेद्दिवि ॥कर्पूरेण तु यः कुर्य्याद्भक्त्या केशवमूर्द्धनि ।आरात्रिकं मुनिश्रेष्ठ ! प्रविशेद्बिष्णुमव्ययम् ॥”तदेवान्यत्र ।“दीप्तिमन्तं सकर्पूरं करोत्यारात्रिकं नृप ! ।कृष्णस्य वसते लोके सप्तकल्पानि मानवः ॥”तत्रैव शिवोमासंवादे ।“मन्त्रहीनं क्रियाहीनं यत् कृतं पूजनं हरेः ।सर्व्वं सम्पूर्णतामेति कृते नीराजने शिवे ! ॥”हरिभक्तिसुधोदये ।“कृत्वा नीरत्जनं विष्णोर्दीपावल्या सुदृश्यया ।तमोविकारं जयति जिते तस्मिंश्च को भवः ॥”अन्यत्र च ।“कोटयो ब्रह्महत्यानामगम्यागमकोटयः ।दहत्यालोकमात्रेण विष्णोः सारात्रिकं मुखम् ॥यच्च दीपस्य माहात्म्यं पूर्ब्बं लिखितमस्ति तत् ।द्रष्टव्यं सर्व्वमत्रापि प्रायेणाभेदतोऽनयोः ॥अतः सादरमुत्थाय महानीराजनन्त्विदम् ।द्रष्टव्यं दीपवत् सर्व्वैर्व्वन्द्यमारात्रिकञ्च यत् ॥”तदुक्तं श्रीपुलस्त्येन विष्णुधर्म्मे ।“धूपं चारात्रिकं पश्येत् कराभ्याञ्च प्रवन्दते ।कुलकोटिं समुद्धृत्य याति विष्णोः परं पदम् ॥”मूलागमे च ।“नीराजनञ्च यः पश्येत् देवदेवस्य चक्रिणः ।सप्तजन्मनि विप्रः स्यादन्ते च परमं पदम् ॥”इति हरिभक्तिविलासः ॥अवशिष्टं आरात्रिकशब्दे द्रष्टव्यम् ॥ -- शब्दकल्पद्रुमः

वाचस्पत्यम्
नीराज पु० नीरमजति अञ--अच् ष्यभावः । जलविडाले हारा० ।नीराजन(ना) निर्--राज--भावे ल्युट् युच् वा रलोपेपूर्वाणो दीर्घः । दीपादिना प्रतिमादेरारार्त्तिके ।युजन्तः स्त्री । “नीराजनां जनयतां निजबान्धवानाम्”नैष० । तत्प्रकारश्च ति० त० देवीपु० उक्तो यथा“यवप्रिष्टप्रदीपाद्यैश्चूताश्वत्थादिपल्लवैः । औषधीभिश्च मेध्या-भिः सर्ववीजैर्यवादिभिः । नवम्यां पर्वकाले तु यात्राकालेविशेषतः । यः कुर्य्यात् श्रद्धया वीर! देव्या नीराजनंनरः । शङ्खभेर्य्यादिनिनदैर्जयशब्दश्च पुष्कलैः । यावतोदिवसान् वीर! देव्या नीराजनं कृतम् । तावत् कल्प-सहस्राणि दुर्गालोके महीयते” । “यस्तु कुर्य्यात् प्रदीपेनसूर्थ्यलोके महीयते” । पर्वकाले उत्सवकाले । देव्या इतिस्त्रीत्वमविवक्षितं विष्ण्वादिप्रतिमायां तथाचारात्” रघु० ।पञ्च नीराजनानि यथा “पञ्चनीराजनं कुर्य्यात् प्रथमंदीपमालया । द्वितीयं सोदकाब्जेन तृतीयं धौतवा-ससा । चूताश्वत्थादिपत्रैश्च चतुर्थं परिकीर्तितम् । पञ्चमंप्रणिपातेन साष्टाङ्गेन यथाविधि” कालोत्तरतन्त्रम् । तस्यवर्त्तिकादिप्रमाणं यथा “कुङ्कुमागुरुकर्पूरघृतचन्दननि-र्मिताः । वर्त्तिकाः सप्त वा पञ्च कृत्वा वन्दापनीयकम् ।कुर्य्यात् सप्तप्रदीपेन शङ्खघण्टादिवाद्यकैः । हरेः पञ्च-प्रदीपेन बहुशो भक्तितत्षरः” पद्मीत्तरखण्डे १०७ अ० ।राज्ञां । २ शान्तिभेदे तद्विधानादि अग्निपु० २६७ अ० यथा“नीराजनविधिं वक्ष्ये ऐशान्यां मन्दिरे चरेत् । तोरण-त्रितयं तत्र गृहे देवान् यजेत् सदा । चित्रां त्यक्त्वा यदास्वातिं सविता प्रतिपद्यते । ततः प्रभृति कर्त्तव्यं यावत्स्वातौ रविः स्थितः । ब्रह्मा विष्णुश्च शम्भुश्च शक्रश्चैवा-नलानिलौ । विनायकः कुमारश्च वरुणी धनदो यमः ।विश्वे देवा वैश्रवणो गजाश्चाष्टौ च तान् यजेत् ।कुमुदैरावणौ पद्मः पुष्पदन्तश्च वामनः । सुप्रतीकोऽञ्जनोनीलः पूजा कार्य्या गृहादिके । पुरोधा जुहुयादग्नौसमित्सिद्धार्थकं तिलाः । कुम्भा अष्टौ पूजिताश्च तैःस्नाप्याश्च गजोत्तमाः । अश्वाः स्वाप्याः ददेत् पिण्डान्ततो हि प्रथमं नजान् । निष्कामयेत्तोरणैस्तु गोपु-रादि न लङ्घयेत् । विक्रमेयुस्ततः सर्वे राजलिङ्गंगृहे यजेत् । वारुणे वरुणं प्रार्च्य रात्रौ भूतवलिंददेत् । विशाखायां गते सूर्य्ये आश्रमे निवसेन्नृपः ।अलङ्कुर्य्यात् दिने तस्मिन् वाहनन्तु विशेषतः । पूजिताराजलिङ्गाश्च कर्त्तव्या नरहस्तगाः । हस्तिनं तुरगंछत्रं खड्गं चापञ्च दुन्दुभिम् । ध्वजं पताकां धर्मज्ञःकालज्ञस्त्वभिमन्त्रयेत् । अभिमन्त्र्य ततः सर्वान् कुर्य्यात्कुञ्जरधूर्गतान् । कुञ्जरोपरिगौ स्यातां सांवत्सरपुरोहितौ । मन्त्रितांश्च समारुह्य तोरणेन विनिर्गमेत् ।निष्कम्य नागमारुह्य तोरणेनाथ निर्गमेत् । बलिंविभज्य विधिवद्राजा कुञ्जरधूर्गतः । उल्मूकानान्दुनिचयमादीपितदिगन्तरम् । राजा प्रदक्षिणं कुर्य्यात्-त्रीन् वारान् सुसमाहितः । चतुरङ्गवलोपेतः सर्वसैन्येननादयन् । एवं कृत्वा गृहं गच्छेद्विसर्जितजलाञ्जलिः ।शान्तिर्न्नीराजनाख्येयं वृद्धये रिपुमर्दनी” ।अन्योऽपि हेमाद्रिव्रतखण्डे विष्णुधर्मोत्तरोक्तो दृश्यः ।“भगवति जलधरपक्ष्मक्षपाकरार्केक्षणे कमलनाभे । उन्मी-लयति तुरङ्गमकरिनरनीराजनं कुर्य्यात् । द्वादश्या-मष्टम्यां कार्त्तिकशुक्लस्य पञ्चदश्यां वा । आश्वयुजे वाकुर्य्यान्नीराजनसञ्ज्ञितां शान्तिम् । नगरोत्तरपूर्वादिप्रशस्तभूमौ प्रशस्तदारुमयम् । षोड़शहस्तोच्छ्रायंदशविपुलं तोरणं कार्य्यम् । सर्जोदुम्बरशाखाककुभवयंशान्तिसद्म कुशबहुलम् । यंशविनिर्मितमत्स्यध्वजचक्रा-लङ्कृतद्वारम् । प्रतिसरणे तुरगाणां भल्लातकशालिकुष्ठ-सिद्धार्थान् । कण्ठेषु निगध्नीयात् पुष्ट्यर्थं शान्तिगृह-गानाम् । रविवरुणविश्वदेवप्रजेशपुरुहूतवैष्णवैर्मन्त्रैः ।सप्ताहं शान्तिगृहे कुर्य्याच्छान्तिं तुरङ्गाणाम् । अभ्य-र्चिता न परुषं वक्तव्या नापि ताड़नीयास्ते । पुण्या-हशङ्खतूर्य्यध्वनिगीतरवैर्विमुक्तमयाः । प्राप्तेऽष्टमेऽह्निकर्य्यादुदङ्मुखं तोरणस्य दक्षिणतः । कुशचीरावृत-माश्रममग्निं पुरतोऽस्य वेद्यां च । चन्दनकुष्ठसमङ्गा-हरितालमनःशिलाप्रियङ्गुवचाः । दन्त्यमृताञ्जनरजनी-सुवर्णपुष्पाग्निमन्थाश्च । श्वेतामपूर्णकोशां कटम्भरात्रा-यमाणसहदेवीः । नागकुसुममात्मगुप्तां शतावरींसोमराजीं च । कलशेष्वेतान् कृत्वा सम्भारानुपहरेद्बलिंसम्यक् । भक्ष्यैर्नानाकारैर्मधुपायसयावकप्रचुरैः । खदिर-पलाशोदुम्बरकाश्मर्यश्वत्थनिर्मिताः समिधः । स्रुक्कनका-द्रजताद्वा कर्त्तव्या भूतिकामेन । पूर्वाभिमुखः श्रीमान्वैयाघ्रे चर्मणि स्थितो राजा । तिष्ठेदनलसमीपे तुरन-भिषग्दैववित्सहितः । यात्रायां यदभिहितं ग्रहयज्ञ-विधौ महेन्द्रकेतौ च । वेदीपुरोहितानललक्षणमस्तिं-स्तदवधार्यम् । लक्षणयुक्तं तुरगं द्विरदवरं चैव दीक्षितंस्नातम् । अहतसिताम्बरगन्धस्रग्धूपाभ्यर्चितं कृत्वा ।आश्रमतोरणमूलं मुपनयेत्मान्त्वयञ्छनैर्वाचा । वादित्र-शङ्खपुण्याहनिःस्वनापूरितदिगन्तम् । यद्यानीतस्तिष्ठेद्दक्षिणचरणं हयः समुत्क्षिप्य । स जयति तदा नरेन्द्रशत्रूनचिराद्विना यत्नात् । त्रस्यन्नेष्टो राज्ञः परिशेषंचेष्टितं द्विपहयानाम् । यात्रायां व्याख्यातं तदिहविचिन्त्यं यथायुक्ति । पिण्डममिनन्त्र्य दद्यात् पुरो-हितो वाजिने स यदि जिघ्रेत् । अश्नीयाद्वा जयकृ-द्विपरीतोऽतोऽन्यथाऽभिहितः । कलशोदकेषु शाखा-माप्लाव्यौदुम्बरीं स्पृशेत्तुरनान् । शान्तिकपौष्टिकमन्त्रै-रेवं सेनां सनृपनागाम् । शान्तिं राष्ट्रविवृद्ध्यै कृत्वाभूयोऽभिचारकैर्मन्त्रैः । मृण्मयमरिं विभिन्द्याच्छूले-नोरःस्थले विप्रः । खलिनं हयाय दद्यादभिमन्त्र्यपुरोहितस्ततो राजा । आरुह्योदक्पूर्वां यायान्नीरा-जतः मबलः । मृदङ्गशङ्खध्वनिहृष्टकुञ्जरस्रवन्मदामोद-सुगन्धिमारुतः । शिरोपणिव्रातचलत्प्रभाचयैर्ज्वलन्विवस्रानिव तोयदात्यये । हंसपङ्क्तिभिरितस्ततोऽद्रिराट्सम्पतद्भिरिव शुक्लचामरैः । मृष्टगन्धपवनानुवाहि-भिर्धूयमानरुचिरस्रगम्बरः । नैकवर्णमणिवज्रभूषितै-र्भूषितो मुकुटकुण्डलाङ्गदैः । भूरिरत्नकिरणौघरञ्जितःशक्रकार्मुकरुचं समुद्वहन् । उत्पतद्भिरिव खं तुरङ्गमै-र्दारयद्भिरिव दन्तिभिर्धराम् । निर्जितारिभिरिवामरै-र्नरैः शक्रवत्परिवृतो व्रजेन्नृपः । सवजृमुक्ताफलभूषणोऽ-थ वा सितम्रगुष्णीषबिलेपनाम्बरः । धृतातपत्रोगजपृष्ठमाश्रितो घनोपरीवेन्दुतले भृगोः सुतः । सम्प्रसृष्ट-नरवाजिकुञ्जरं निर्मलप्रहरणांशुभासुरम् । निर्विकार-मरिपक्षगीषणं यस्य सैन्यमचिरात्स गां जयेत्!” वृ० सं०४४ अ० । “स्नाने धूपे च नैवेद्ये दीपे वस्त्रे च भूषणे ।घण्टानादं प्रकुर्वीत तथा नीराजनेऽपि च” विधान-पाजातधृतवाक्यम् । -- वाचस्पत्यम्

saṁghātá,saṁghāya ʻcloseness, collectionʼ--सांगड, चित्र, मुद्रा, वाक्, design principles of म्लेच्छित वि-कल्प Indus Script Cipher

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-- sāṅgaḍa 'body formed with parts joined together', an organizing principle of Indus Script Cipher

-- सांगड sāṅgaḍa  'body formed of two or more (fruits, animals, men) linked or joined together' (Marathi)   saṁgraha m. ʻ collection ʼ Mn., ʻ holding together ʼ MBh. [√grah]
Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852) sáṁgr̥hṇāti ʻ seizes ʼ RV. 2. *saṁgrahati. 3. saṁgrāhayati ʻ causes to be taken hold of, causes to be comprehended ʼ BhP. [√grah]1. Pa. saṅgaṇhāti ʻ collects ʼ, Pk. saṁgiṇhaï; Or. saṅghenibā ʻ to take with, be accompanied by ʼ.2. Pa. fut. saṅgahissati, pp. saṅgahita -- ; Pk. saṁgahaï ʻ collects, chooses, agrees to ʼ; Si. han̆ginavā ʻ to think ʼ, hän̆genavāän̆g˚ ʻ to be convinced, perceive ʼ, han̆gavanavāan̆g˚ ʻ to make known ʼ.
3. Or. saṅgāibā ʻ to keep ʼ.(CDIAL 12850)

This monograph demonstrates identified organizing principles which define the forms and functions of Indus Script Cipher. 

Three significant principles of the Indus Writing system are:


1. sāṅgaḍa .Combination of hieroglyphs resulting in the creation of a unique orthographic representations such as 'combined or composite animals' or 'composite signs or hieroglyphs used as hypertexts'. 


2. Hieroglyphs/Hypertexts. Hieroglyph a stylized picture of an object representing a word, syllable, or sound, as found in ancient Egyptian and Indus Script. Combinations of hieroglyphs yield hypertexts. चित्र n. a picture , sketch , delineation MBh. Hariv. 4532 

(स-चित्र mfn. = -गR. S3ak. &c (ifc. f(). Megh. 64); n. various modes of writing or arranging verses in the shape of mathematical or other fanciful figures (syllables which occur repeatedly being left out or words being represented in a shortened form) Sarasv. ii , 16 Kpr. ix , 8 Sa1h. (Monier-Williams)

3. Rebus cipher. Defining 'meanings' through.Identification of similar sounding words/expressions as a rebus method to match hieroglyphs and combinations of hieroglyphs called ciphertexts and plaintexts. Non verbis, sed rebus, Latin expressions signify "not by words but by things" (res, rei (f), a thing, object, matter; rebus being ablative plural). Rebus cipher is picture-writing identifying similar-sounding words (homonyms) to result in plain text, hence, 'meaning'. 

An example, in English, is: H + Ear = Hear, or Here. Source: https://en.wikipedia.org/wiki/Rebus मुद्रा (in rhet.) the natural expression of things by words , calling things by their right names (कुवलयानन्द); a seal or any instrument used for sealing or stamping , a seal-ring , signet-ring (cf. अङ्गुलि-म्°) , any ring MBh. Ka1v. &c (Monier-Williams)

4. Parole or Lingua franca, spoken forms of word/expressions.Messaging using: Meluhha language (Indian sprachbund, 'speech union) words/expressions to signify readings and meanings of hieroglyphs; वाच्, वाक् in comp. for वाच्, speech , voice , talk , language (also of animals) , sound (also of inanimate objects as of the stones used for pressing , of a drum &c RV. &c (वाचम्- √ , ईर् , or इष् , to raise the voice , utter a sound , cry , call);a word , saying , phrase , sentence , statement , asseveration Mn. MBh. &c (वाचं- √वद् , to speak words ; वाचं व्या- √हृ , to utter words ; वाचं- √दा with dat. , to address words to ; वाचा सत्यं- √कृ , to promise verbally in marriage , plight troth); Speech personified (in various manners or forms e.g. as वाच् आम्भृणी in RV. x , 125 ; as the voice of the middle sphere in Naigh. and Nir. ; in the वेद she is also represented as created by प्रजा-पति and married to him ; in other places she is called the mother of the वेदs and wife of इन्द्र ; in VP. she is the daughter of दक्ष and wife of कश्यप ; but most frequently she is identified with भारती or सरस्वती , the goddess of speech ; वाचः साम and वाचो व्रतम् N. of सामन्A1rshBr. वाचः स्तोमः , a partic. एका* S3rS. )(Monier-Williams)



 वि-कल्प contrivance , art Ragh.; mental occupation , thinking; a collateral form VarBr2S.; वि-कल्पेन ind. , »विकल्प 194108, " optionally ";  म्लेच्छित mfn. = म्लिष्ट Pa1n2. 7-2 , 18 Sch. mfn. spoken indistinctly or barbarously Pa1n2. 7-2 , 18; म्लेच्छित वि-कल्प 'cryptography, cipher writing' (Vātsyāyana). Mlecchita Vikalpa is one of the 64 arts listed in Vatsyayana's Kamasutra. The list appears in Chapter 3 of Part I of Kamasutra and Mlecchita Vikalpa appears as the 44th item in the list. The term Mlecchita Vikalapa has been translated into English as "the art of understanding writing in cypher, and the writing of words in a peculiar way".https://en.wikipedia.org/wiki/Mlecchita_vikalpa


-- saṁghātá, saṁghāyaʻcloseness, collectionʼ--सांगड, चित्र, मुद्रा, वाक्, design principles of म्लेच्छित वि-कल्प Indus Script Cipher. I suggest that the semantics of 'joining together' and 'closeness' indicate the significance of सांगड 'part of a lathe' to create new alloys of metals and new wealth products in lapidary work using Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725)

These two meanings of 1) joining together and 2) holding firmly during a work process explain the unique joining together of hieroglyphs in Indus Script to create hypertexts. An example is Sign15 as hypertext composed of hieroglyphs Sign12 and Sign342. The wealth signified by the hypertext Sign15 is: iron smelter factory (of) steersman, scribe account.
Sign 15 reads: Sign 12 kuṭi 'water-carrier' (Telugu) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546) PLUS Sign 342 kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karika 'scribe, account'  karṇī 'supercargo',कर्णिक helmsman'.
Thus, the composite hypertext of Sign 15 reads: kuṭhi karika 'smelter helmsman/scribe/supercargo'. कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus: karṇī 'supercargo', 'engraver' (Marathi) .


 https://tinyurl.com/y6qb3wk7


Similarly, the image of a bull joined together with the protome of a spiny-horned young bull creates a hypertext of a composite of metals in the following example of a seal: 
Image result for bharatkalyan97 young bull rim of jar ficusSeal.National Museum, Delhi. No.135 konda 'young bull' rebus: konda 'smelter furnace' kundana 'fine gold' kunda 'a nidhi of Kubera' PLUS singhin 'spiny-horned' rebus: singi 'ornament gold'. barat, barad, 'ox' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi). Text of inscription: ayo 'fish' rebus: ayas 'alloy metal' aya 'iron' (Gujarati) PLUS khambhaṛā 'fin' (Lahnda) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).



Thus, the message is: Products from mint: fine gold and mixed alloys. The goods from the smelter are documented for invoicing on jangaḍ 'approval basis'. 

Fire-pan: san:ghāḍo, saghaḍī  (G.) = firepan; saghaḍī, śaghaḍi = a pot for holding fire (G.)[cula_ sagaḍi_ portable hearth (G.)] aguḍe = brazier (Tu.) Thus, the two allographs are: Meluhha speech variants of san:gaḍa, ‘lathe, portable furnace’.

जांगड  jāṅgaḍa f ( H) Goods taken from a shop, to be retained or returned as may suit: also articles of apparel taken from a tailor or clothier to sell for him. 2 or जांगड वही The account or account-book of goods so taken. 3 Linking together (of beasts): joining or attaching (as a scholar to a superior one, in order to learn). v घाल, कर. Also the state, linkedness, co-yokedness, attachment, association. जांगड jāṅgaḍa ad Without definitive settlement of purchase--goods taken from a shop. sanghāḍiyo, a worker on a lathe (Gujarati). jangadiyo 'military guards carrying treasure into the treasury' (Gujarati)  The mercantile agents who were jangadiyo received goods on jangad 'entrusted for approval'. An ancient Near East accounting system was jangaḍ. The system of jangaḍ simply meant 'goods on approval' with the agent -- like the Meluhhan merchant-agents or brokers living in settlements in ancient near East -- merely responsible for showing the goods to the intended buyers.

सांगड   sāṅgaḍa m f (संघट्ट S)  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.(Marathi) In the following examples of the tuner's apparatus PLUS portable furnace, the member in between the gimlet and the bead or other object to be perforated clearly signifies सांगड   sāṅgaḍa which holds firmly the glass or other beads subject to perforation using the action of the lathe.

Thus, the two principal semantics of the word सांगड   sāṅgaḍa relate to 1) joining together and 2) firmly holding a wealth resource or object during the drilling, turning process of the gimlet of a lathe by a lapidary. The word is derived from सं-घट्ट m. rubbing or clashing together , friction , collision , conflict , rivalry MBh. Ka1v. &c; a stroke (in हृदय-स्° q.v.saṁghaṭayati ʻ strikes (a musical instrument) ʼ R., ʻ joins together ʼ Kathās. [√ghaṭ]Pa. saṅghaṭita -- ʻ pegged together ʼ; Pk. saṁghaḍia<-> ʻ joined ʼ, caus. saṁghaḍāvēi; M. sã̄gaḍṇẽ ʻ to link together. Addenda: saṁghaṭayati: A. sāṅoriba
 (phonet. x -- ) ʻ to yoke together ʼ AFD 333, sāṅor (phonet. x -- ) ʻ yoking together ʼ 223.(CDIAL 12845)


ଧର୍ମ ସଙ୍ଗତ Dharma saṅgata (ଧର୍ମ ସମ୍ମତ—ଅନ୍ଯରୂପ) ସଂ. ବି. (ଧର୍ମ+ ସଙ୍ଗତ)— 1। ଧର୍ମାନୁମୋଦିତ— 1. Approved by the dictates of religion; pious. 2। ନ୍ଯାଯନୁମୋଦିତ; ଆଇନ୍ ସଙ୍ଗତ— 2. According to justice; lawful; legal. Saī saṅgāta ସଈ ସଙ୍ଗାତ Saī saṅgāta [synonym(s): সই সাঙ্গাত सखी सहेली] [ସଇ (ଈ) ସଙ୍ଗାତୁଣୀ—ସ୍ତ୍ରୀ] ଦେ. ବି. ପୁଂ— ସହ ସଙ୍ଗାତ (ଦେଖ) Sahi saṅgāta (See).ସହି ସଙ୍ଗାତ Sahi saṅgāta [synonym(s): সই সঙ্গাত संगीसं घात] ଦେ. ବି (ସହଚର)— ସହି ବା ସଙ୍ଗୀତ ସମ୍ବନ୍ଧୟୁକ୍ତ ବନ୍ଧୁ—Friends realted to each other as Sahi and Saṅgāta.ସହି Sahi [synonym(s): সহি, সই सहि] ବୈଦେ. ବି (ଆ. ସହୀ=ସ୍ବାକ୍ଷର)— 1। ଦଲିଲରେ ବା ଲେଖାରେ ସ୍ବାକ୍ଷର—1. Signature in a document. 2। (ସ୍ବାକ୍ଷର କରିବା ବ୍ଯକ୍ତି ଉକ୍ତ କାର୍ୟ୍ଯରେ ସମ୍ମତି ଦେବା ଅର୍ଥରୁ—ସ୍ବୀକାର; ରାଜି; ସମ୍ମତି— 2. Consent; agreement. [ଉ—କହିଲା ହରି— କର ଦେବେ ସହି କଲେ ତା ପୁଣି ନକୁଳ ସେଠାରୁ ବାହାରିଲେ। କୃଷ୍ଣସିଂହ. ମହାଭାରତ. ସଭା।] ଦେ. ବିଣ (ଅନ୍ଯ ଶବ୍ଦସଙ୍ଗେ ଲାଗେ, ୟଥା—ଚଳନସହି; ମାପସହି) 1। ଉପୟୁକ୍ତ; ୟୋଗ୍ଯ; ୟଥେଷ୍ଟ—1. Fitor sufficient for. 2। ସଦୃଶ—2. Similar. ପ୍ରାଦେ. (ବାଲେଶ୍ବର) ଅ— ସରି; ସମାନ—Like. (ୟଥା— ତ ସହିରେ ମୁଁ ଲୋକ ଦେଖି ନାହିଁ।) ଦେ. ବି— ସଙ୍ଗାତ (ଦେଖ)—Sangāta (See) Saṅgāta marjyādā ସଙ୍ଗାତ ମର୍ୟ୍ଯାଦା Saṅgāta marjyādā [synonym(s): সংগাতের মান(মর্যাদা) दोस्तकि मान मर्यादा] ଦେ. ବି— ବିବାହାଦି ଉପଲକ୍ଷରେ ନିମନ୍ତ୍ରିତ ସଙ୍ଗାତଙ୍କୁ ଦିଆୟିବା ବସ୍ତ୍ରୋପହାର— Present of cloth made to a god-friend on festive occasions. Saṅgāta bebhāra ସଙ୍ଗାତ ବେଭାର Saṅgāta bebhāra [synonym(s): সাঁগাত তত্ दोस्त्रीब्यबहार] ଦେ. ବି— ଦୁଇ ସଙ୍ଗାତଙ୍କ ମଧ୍ଯରେ ଦିଆଦେଇ ହେବା ବେଭାର ବା ଉପଢୌକନ— Gifts or presents exchanged between two god-friends. Saṅgāta bāpā ସଙ୍ଗାତ ବାପା Saṅgāta bāpā [synonym(s): সাঁগাতের বাবা मित बाप] ପ୍ରାଦେ (ଗଡଜାତ) ବି— ଅପଣା ସଙ୍ଗାତଙ୍କ ପିତା— Father of one's god-friend. [ଦ୍ର—ଓଡିଶାରେ ଏହାଙ୍କୁ 'ମଉସା'ବୋଲି ଡାକନ୍ତି।]Saṅgāta basibā ସଙ୍ଗାତ ବସିବା Saṅgāta basibā [synonym(s): সাঙ্গাত পাতান मित्र होना, दोस्तहोना] ଦେ. କ୍ରି— (ଦୁଇ ଜଣ) ପରସ୍ପର ମଧ୍ଯରେ ମହାପ୍ରସାଦ ଦିଆଦେଇ ହୋଇ 'ସଙ୍ଗାତ''ମିତ୍ରତା'ସ୍ଥାପନ କରିବା—To open a solemn god- relationship between each other.Saṅgāta ସଙ୍ଗାତ Saṅgāta [synonym(s): সা(সে)ঙ্গাত मित्र] (ସଙ୍ଗାତୁଣୀ—ସ୍ତ୍ରୀ) ଦେ. ବି ପୁଂ ଓ ସ୍ତ୍ରୀ. (ସଂ. ସଙ୍ଗ= ସାହଚର୍ୟ୍ଯ; ସଙ୍ଗତ= ମିତ୍ରତା; ସଂଘାତ=ମିଳନ; କିମ୍ବା ସମଗାତ୍ର=ୟେ ଦୁହେଁ ପରସ୍ପରର ଗାତ୍ରକୁ ଅପରର ବୋଲି ବିଚାରନ୍ତି ନାହିଁ)— 1। ପରସ୍ପରର ସଙ୍ଗେ ଘନିଷ୍ଠ ବନ୍ଧୁତା ଦ୍ବାରା ଧର୍ମତଃ ଆବଦ୍ଧ ବ୍ଯକ୍ତି—1. A person connected with another; a close friend- by the establishment of a solemn friend ship; a sort of god-relationship or relationship of warm friends; god- brother. 2। ଘନିଷ୍ଠ ବନ୍ଧୁ; ମିତ୍ର; ସୁହୃଦ୍— 2. A very close and intimate friend. [ଦ୍ର—ଜ୍ଞାତିତ୍ବ, ରକ୍ତସଂପର୍କ ବା ବିବାହ ଦ୍ବାରା ସଂବନ୍ଧୟୁକ୍ତ ହୋଇ ନ ଥିବା ବ୍ଯକ୍ତିମାନେ ଧର୍ମକୁ, ଇଷ୍ଟ ଦେବତାଙ୍କ ବା ପ୍ରସାଦକୁ କିମ୍ବା ତୁଳସୀ ଆଦି ପବିତ୍ର ବସ୍ତୁଙ୍କୁ ସାକ୍ଷୀ ରଖି ପରସ୍ପର ମଧ୍ଯରେ ନାନାପ୍ରକାର ମିତ୍ରତା ସ୍ଥାପନ କରନ୍ତି। ତହିଁମଧ୍ଯରୁ 'ସଙ୍ଗାତ'ମିତ୍ରତା ଏକତମ। ୟେଉଁ ଦୁଇ ଜଣଙ୍କର ନାମ ଏକ, ସେମାନେ ପରସ୍ପର ସଙ୍ଗେ 'ମିତ'ବସନ୍ତି। ଏହା ଛଡା ସହୀ, ସଙ୍ଗାତ ଆଦି ମଧ୍ଯ ବସନ୍ତି। ଆମ ଦେଶରେ 'ସଙ୍ଗାତ'ବସିବାଟା ଅନ୍ଯାନ୍ଯ ମିତ୍ରତା ସ୍ଥାପନ ଅପେକ୍ଷା ବେଶି। ସାଧାରଣତଃ ବାଲ୍ଯକାଳରେ ଦୁଇ ଜଣଙ୍କ ମଧ୍ଯରେ (ଦୁଇ ଜଣ ବାଳକଙ୍କ ମଧ୍ଯରେ କିମ୍ବା ଦୁଇ ଜଣ ବାଳିକାଙ୍କ ମଧ୍ଯରେ) 'ସଙ୍ଗାତ'ମିତ୍ରତାର ସୂତ୍ରପାତ କରାୟାଏ। ପୁଣି ବଉଳ ଅମାବାସ୍ଯାଦିନ ବଉଳ, ଅଶୋକାଷ୍ଟମୀ ଦିନ ଓଶକା ବଢି, କୁମାରପୂର୍ଣ୍ଣିମା ଦିନ ଚନ୍ଦ୍ର ନୈବେଦ୍ଯ ଚାନ୍ଦ, ଗଙ୍ଗାଜଳ, ଗୋଦାବରୀଜଳ, ତୁଳସୀ, ପହିଲି ଭୋଗ, ପ୍ରସାଦ, ଅଭଡା, ସରପୁଳି, ମହାପ୍ରସାଦ ପରସ୍ପର ଖୁଆଖୋଇ ହୋଇ ଦୁଇ ବ୍ଯକ୍ତି ୟଥାକ୍ରମେ ବଉଳ, ଓଶକା, ଚାନ୍ଦ, ଗଙ୍ଗାଜଳ, ଗୋଦାବରୀ, ତୁଳସୀ, ପହିଲିଭୋଗ, ଅଭଡା, ସରପୁଳି, ମହାପ୍ରସାଦ ବସନ୍ତି। ଆଜି କାଲି ଲୋକେ ମହୁଲ, ଗୁଜରାତି, ଫୁଲ, ଗୋଲାପ ଆଦି ମଧ୍ଯ ଦିଆଦେଇ ହୋଇ ସେହି ନାମରେ ପରସ୍ପରକୁ ଡକାଡକି ହେବା ଦେଖାୟାଏ। ସଙ୍ଗାତ ବସିଥିବା ସ୍ତ୍ରୀ ଓ ପୁରୁଷମାନେ ପରସ୍ପରକୁ ସଙ୍ଗତ, ସମ୍ବୋଧନ କରନ୍ତି; କିନ୍ତୁ ସଙ୍ଗାତଙ୍କ ସ୍ତ୍ରୀଙ୍କୁ 'ସଙ୍ଗାତୁଣୀ'ବୋଲି ଡକାୟାଏ, ମଧ୍ଯ ଉଲ୍ଲେଖ କରାୟାଏ। ସଙ୍ଗାତ ବସିବା ବନ୍ଧୁମାନଙ୍କ ମଧ୍ଯରେ ବିବାହ ଆଦି ଉତ୍ସବରେ ବେଭାର ନିମନ୍ତ୍ରଣ ଆଦି ଚଳେ। ମୋ ସଙ୍ଗାତଙ୍କ ପୁଅ ମୋର ପୁତୁରା ଅଟେ ଏବଂ ମୋତେ ମୋ ସଙ୍ଗାତଙ୍କ ପୁଅ 'ମଉସା'ବୋଲି ଡାକିବ। 'ସଙ୍ଗାତ'ଆଦି ବସିଥିବା ବନ୍ଧୁମାନେ ପରସ୍ପରର ନାମ ଧରି ଡକାଡକି ହୁଅନ୍ତି ନାହିଁ।] ପ୍ରାଦେ (ବାମଣ୍ଡା) ବି— କୌଣସି ପୁରୁଷର ଆପଣା ଶାଳୀକି ସମ୍ବୋଧନ କଲାବେଳେ ବ୍ଯବହୃତ ଡାକ— A term used by a male in addressing his wife's younger sister.Saṅgāta maitra ସଙ୍ଗାତ ମଇତ୍ର Saṅgāta maitra [synonym(s): সংগাত মিতা दोस्त्री मैत्री] (ସଙ୍ଗାତ ମିତ—ଅନ୍ଯରୂପ) ଦେ. ବି (ଏକାର୍ଥକ ସହଚର)— ମହାପ୍ରସାଦ ବନ୍ଧୁତା— Sworn friendship. Saṅg-ti ସଙ୍ଗତି Saṅg-ti ପ୍ରାଦେ. (ସମ୍ବଲପୁର) ବି— ସାଥି; ସାହଚର୍ୟ୍ଯ—Companionship. [ଉ—କୁସଙ୍ଗତିର ସଙ୍ଗ ହେଲେ ଲୁହାର ଘଣ୍ଟି ବାଜେ; ସୁସଙ୍ଗତିର ସଙ୍ଗ ହେଲେ ସୁନାର ଘଣ୍ଟି ବାଜେ—ଢଗ।]   সাঙাত  sāṅāta: (use. dero.) a friend, a companion; an accomplice. (Bengalli)

caṅkāṭṭam சங்காட்டம் caṅkāṭṭam , n. < saṅ-ghaṭṭa. Union, intercourse; சேர்க்கை. சங்காட்டந்தவிர்த்து (தேவா. 655, 1).

ചല്ലം čallam (Tu.  —) 1. Pole of boatmen. ഇല്ലവും ച'വും വല്ലവും വര്‍ദ്ധിക്കും SiPu. will be blessed. 2. a ferry, or raft suspended by a rope, to pass mountain brooks, ച. കുത്തുക to steer it over. വള്ളം vaḷḷam T. M. (Tu. C. large corn-measure). 1. A canoe, boat of one trunk, in size between തോണി & മഞ്ചി; വള്ളക്കാരന്‍,— ത്തുടര്‍‍, — പ്പടി, — പ്പലക, — പ്പാട്ടു etc. — വ'ത്തടി B. timber roughly out in shape of a canoe.    പാറു pār̀ụ T. M. aC. (പാറുക) 1. A small boat കപ്പലും പ'൦ തോണി PT.; a swift shallop കൊ ന്പന്‍ പാ. (No. also വാറു), വന്‍പാ. 'Bombara', a larger vessel. 2. a boat made of one piece V2. (= almadia), catamaran B. (Malayalam)

saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -- ]Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga˚gī, H. saṅgī m., M. sãgyāsāgyā m.*saṅghati ʻ tells ʼ see *saṁhati.SAC ʻ follow ʼ: sáścati.Addenda: saṅgin -- : WPah.kṭg. (kc.) sɔ́ṅgi m. ʻ friend ʼ, kṭg. sɔ́ṅgəṇ, kc. sɔṅgiṇ f., J. saṅgīsaṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084) saṁghá m. ʻ association, a community ʼ Mn. [√han1]Pa. saṅgha -- m. ʻ assembly, the priesthood ʼ; Aś. saṁgha -- m. ʻ the Buddhist community ʼ; Pk. saṁgha -- m. ʻ assembly, collection ʼ; OSi. (Brāhmī inscr.) saga, Si. san̆ga ʻ crowd, collection ʼ. -- Rather < saṅga -- : S. saṅgu m. ʻ body of pilgrims ʼ (whence sã̄go m. ʻ caravan ʼ), L. P. saṅg m.(CDIAL 12854)  saṁghapati m. ʻ chief of a brotherhood ʼ Śatr. [saṁghá -- , páti -- ]G. saṅghvī m. ʻ leader of a body of pilgrims, a partic. surname ʼ.(CDIAL 12857) sāṁghika m. ʻ member of a community of monks Buddh. [saṁghá -- ]Pa. saṅghika -- ʻ belonging to the Saṅgha ʼ; L.poṭh. sã̄ghī m. ʻ partner, friend ʼ; H. saṅghiyā m. ʻ companion ʼ; Si. sän̆gä ʻ relating to the brotherhood ʼ.(CDIAL 13313)


ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. ച. പോരുക to accompany as such. ച. പോന്ന വാരിയര്‍, എന്നെ ച'വും കൂട്ടി അയച്ചു TR. 2. income of Rājas from granting such guides; grant of land to persons liable to such service ച. കൊടുക്ക. 3. companion പന്നിയും കാട്ടിയും ച'മായി CG.—met. കംസനെ കൊന്ന ഗോപാലനെ കംസനു ച'മാ ക്കുവാന്‍ CG. to send him along, to kill likewise. ചങ്ങാതി (C. Te.  —) companion, തുണക്കാ രന്‍; friend വീണാല്‍ ചിരിക്കാത്ത ച. ഇല്ല, ച. നന്നെങ്കില്‍ കണ്ണാടി വേണ്ട prov. ച. യായുള്ളു പണ്ടുപണ്ടേ CC.—also fem. ച ങ്ങാതിമാരായുള്ള അംഗനമാര്‍ CG.; vu. എ ന്‍റെ ചങ്ങായിച്ചീ TP. (Voc.)

ചങ്ങാടം čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. ച. കെ ട്ടുക; ച'ത്തില്‍ കേററി TR. തോണികള്‍ ച'ങ്ങള്‍ വഞ്ചികള്‍ പടവുകള്‍ Bhr. also rafts.
சங்குவடம் caṅkuvaṭam , n. < Port. jangada. [M. caṅṅāṭam.] Ferry-boat; தோணி வகைLoc. (Tamil) Cangavāra [cp. Tamil canguvaḍa a dhoney, Anglo -- Ind. ḍoni, a canoe hollowed from a log, see also doṇi] a hollow vessel, a bowl, cask M i.142; J v.186 (in similes).(Pali)

ചങ്ങാടം čaṇṇāḍam (Malayalam) சங்குவடம் caṅkuvaṭam (Tamil) which refers to a ferry-boat is an expression made up of two words: śaṅkú 'post' PLUS vaṭam 'rope'. I suggest that the ancient expression of both Tamil and Malayalam is borrowed into Portuguese as jangada.

śaṅkú1 m. ʻ peg, spike ʼ RV., ʻ stake, post ʼ MBh., ʻ stick, arrow ʼ Hariv.Pa. saṅku -- , ˚uka -- m. ʻ stake, spike, javelin ʼ, Pk. saṁku -- m.; Dm. šaṅ ʻ branch, twig ʼ, šã̄kolīˊ ʻ small do. ʼ, Gaw. šāṅkolīˊ; Kal.rumb. šoṅ (st. šoṅg -- ), urt. šaṅ ʻ branch ʼ; Kho. šoṅg ʻ a kind of shrub with white twigs (?) ʼ; Phal. šōṅ ʻ branch ʼ; P. saṅglā m. ʻ a plank bridge in the hills ʼ; A. xãkāli ʻ a kind of fishing spear ʼ; Si. aku -- va ʻ stake ʼ. -- X śāˊkhā -- : Gaw. šã̄khášã̄ká ʻ branch ʼ, Sv. šã̄khe; OG. sāṁkha m. ʻ beam ʼ. -- Connexion of the following is doubtful: S. sã̄ga f. ʻ one fork of a forked stick ʼ, sã̄gi f. ʻ spear ʼ; L. sāṅg, pl. ˚gã f. ʻ spear ʼ, sãgolā m. ʻ spear carried by a watchman ʼ; P. sã̄g f. ʻ prong, fork, point ʼ, sāṅgī f. ʻ pitchfork ʼ; H. sã̄g f. ʻ spear, instrument for digging wells ʼ, sã̄gī f. ʻ small spear ʼ; G. M. sã̄g f. ʻ iron spear ʼ.*śalyaśaṅku -- .śaṅku -- 2 ʻ a partic. tree ʼ see śāka -- 1.Addenda: śaṅkú -- [Shgh. x̌ï/ūng ʻ stick ʼ not ← IA. e.g. Kho. šoṅg EVSh 102 where ref. to CDIAL is given wrongly as 12262](CDIAL 12260)  ശങ്കു šaṇgu S. A stake, pale, trunk അത എ നിക്കു മനശ്ശ. വായി തീര്‍ന്നു sticking fast = ശല്യം.(Malayalam) சங்கு⁵ caṅku , n. < šaṅku. 1. Stake, peg, spike; முளை. சங்கு ஸ்தாபனம். 2. Gnomon or perpendicular column for measuring the altitude of the sun by the length of its shadow; நிழலினாற் பொழுதறிதற்காக நேராக நடப்பெறுங் கோல். (W.) 3. A kind of weapon; மட்டிப்படைக்கலம். (திவா.) கழுக்கடை சங்கொடு . . . விழுப்படை யாவும் (கந்தபு. சகத்திரவாகு. 7)(Tamil) PLUS vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭivaṭara, &c. DED 4268] N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ(CDIAL 11212)Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212. (DEDR 5220)

I submit that the rebus reading of this word results in: śaṅgaḍam 'double-canoe' சங்கடம்² caṅkaṭam , n. < Port. jangada. Ferry-boat of two canoes with a platform thereon; இரட்டைத்தோணி. (J.)(Tamil) Jangada is a traditional fishing boat (in fact a sailing raft) made of wood used in the northern region of Brazil.


  கட்டை kaṭṭai , n. < Pkt. kaṭṭha < kāṣṭha. [T. kaṭṭe.] 1. Firewood; விறகு. (சூடா.) 2. Funeral pyre; ஈமவிறகு. நடுக்கட்டையிலே கிடத்து மட்டும் (தனிப்பா. i, 195, 10). 3. Block, small stump, piece of timber; குற்றி. 4. Stake; கடாவுமுளை. (W.) 5. Wooden float of a big sea-fishing net; கடலுள் வலையிருக்குமிடங் காட்டும் குற்றிLoc.


கட்டு¹-தல் kaṭṭu- , 5 v. [T. K. M. Tu. kaṭṭu.] tr. 1. To tie, bind, fasten, shackle; பிணித்தல். நாரினாற் கட்டி (நாலடி, 153). 2. To build, construct, fix, erect; அமைத்தல். வீட்டைக் கட்டிக் னான். 3. To establish, as a theory; தாபித்தல் கட்டிய மெய்ந்நிலை காணா வெகுளியும் (திரிகடு. 65).   கட்டு² kaṭṭu , n. < கட்டு-. 1. Tie, band, fastening, ligature; பந்தம். கட்டவிழ்தார் வாட்கலியன் (அஷ்டப். நூற்றெட். காப்பு)

  கட்டுமரம் kaṭṭu-maram , n. < id. +. 1. Catamaran, used for deep sea fishing; raft made of logs of wood lashed or joined together; மீன்பிடிப்பதற்காக மரங்களாற் பிணைக்கப் பட்ட மிதவை. 2. Post to which is bound Arāvāṉ to be offered as a sacrifice in the festival of kūttāṇṭai held to commemorate certain incidents in the Mahabharata; கூத்தாண்டை என்ற பாரதக்கதைபற்றிய விழாக்கொண்டாட்டத்தில், அரவானைப் பலியாகக்கொணர்ந்து கட்டும் மரம்Cm.
Jangada on the coast off Mossoró city. Model of a Jangada. "The word jangada brings this Asiatic origin. It comes from "jangada", a word from Malayalam and South Asian languages. In Southern India, the Portuguese saw a small local boat named jang, three or four wood timbers tied with vegetal fibers. The Portuguese describen such boat as jangáchanggh, or xangaJangada (or Chabgadam) was its augmentative, a big janga, built with five or six timbers." (Maria do Carmo Andrade. "Jangada":Fundação Joaquim Nabuco.)
https://en.wikipedia.org/wiki/Jangada
https://nmmc.co.uk/wp-content/uploads/2016/05/Jangada-101-3-e1565100376524.jpg
[quote]Simple fishing rafts made from available materials, with designs adapted to local conditions, have been found across the globe: from their use in Polynesia, by Aboriginal Australians, via the Tamil coast of India, to the north east coast of Brazil.
When the Portuguese arrived in Brazil in the sixteenth century they encountered very simple square rigged rafts which they called jangas after similar examples they had seen in India. The name evolved over time into jangada and the fishermen using such craft came to be called jangadeiros. The Portuguese modified the design to add a mast and Bermudan style sail but otherwise the jangada has remained essentially unchanged since that time.A jangada is constructed from logs of the piuba tree, whose wood, like balsa, is both light and naturally very buoyant. Typically six logs between five and eight metres in length are laid side by side and pinned together with hardwood pegs and fibre ropes – in the traditional version of the craft no metal fastenings are used anywhere – and the logs at the bow are trimmed into shape and upturned to create a prow. There is a single triangular sail of cotton or hemp set on a curved mast fastened against a bench seat with an adjustable foot, with usually five different foot positions which can be used depending on wind direction. The foot of the sail fastens to a very long boom often extending well aft of the stern. A deep dagger board or hinged centre plate counters sideways drift, and the whole craft is steered by a broad bladed oar lashed at the stern, handled by the helmsman from another athwartship’s bench. The flat bottomed raft is stored on logs on the beach, over which it is rolled to launch by the crew of between two and five.With the centre plate raised the shallow draft not only facilitates launching and recovery but also allows easy navigation over the reefs which are common both close inshore and indeed further out to sea. Although the sea can penetrate between the logs and waves can wash freely over them, conditions in inshore breakers and offshore that would swamp a hulled boat, nevertheless the jangada is prone to capsizing, and sailing what looks like a very simple craft is actually a very skilled operation: jangadas can reach speeds up to 10 knots. Fishing is by hook and line with the catch of smaller fish stored live in a basket at water level, while larger fish are brought aboard with a pronged spear.Despite the apparent frailty of such craft they were not only used for inshore fishing, when they relied on the morning breeze to carry them out and the afternoon sea breeze to bring them back, but also for voyages up to 40 miles offshore. Such voyages could last up to four days with the fishermen lashing themselves to uprights to take brief naps.The logs become water logged during each trip and the craft have to be hauled out of the water and allowed to dry out before being taken out again. After about a year a raft becomes so water logged that it needs to be replaced. This has placed a high demand on suitable piuba trees, which became scarce, so other woods had to be used. Since the 1940s construction has favoured planks, which are stronger and easier to maintain than logs.This traditional method of fishing has struggled to survive in the modern world. The jangada has been unable to compete with modern powered boats serving the growing urban markets and better able to operate all year around. In addition, for a time, piracy by bandits on powered craft who also ignored fishery regulations, plus exploitation by rapacious middle men, combined to drive many jangadeiros out of business.Meanwhile the process of urbanisation and the growth of tourism have turned many former fishing villages into urban sprawls or tourist resorts. Some enterprising jangadeiros have turned their hand to taking tourists for short trips on their simple craft, but many have forsaken the sea and their subsistence level of fishing for better paid jobs ashore.Nevertheless the jangada and the jangadeiros retain a particular place in Brazilian folklore, literature and culture, with poetry, novels and songs dedicated to their way of life. This is not only because of their traditional craft and methods of fishing and all that they represent in terms of a struggle for survival, but also as a result of their involvement in various civil rights issues. In the 1880s a severe drought hit north east Brazil which impinged heavily on the slave-dependent agriculture of the region. Plantation owners began to sell their slaves and looked to the jangadeiros to ferry them out to ships to transport them south where demand remained stronger.The jangadeiros however were opposed to this unjust activity, standing firm against the land owners and the threats of the emperor and the military: their activity was instrumental in the beginnings of the abolition of slavery. In 1941 they were active again, with four jangadeiros undertaking a 61 day voyage to Rio de Janeiro to protest against the poor conditions in their communities and to petition for their inclusion in the country’s social security system. Their story so inspired the film maker Orson Welles that he broke his contract with the RKO studios to go and film the men as a tribute to their courage and way of life. Tragically, however, the leading jangadeiro was drowned during a re-enactment. The film project was abandoned and only completed decades later.The museum’s example, thought to have been built in the 1970s, was presented to the National Maritime Museum by Varig Brazilian Airlines in 1978. [unquote]https://nmmc.co.uk/object/boats/jangada-fishing-raft/
Oldest Boat Unearthed
Chinese archaeologists have unearthed a wooden boat dating back at least 7,500 years in Xiaoshan City of east China's Zhejiang Province.
It is the oldest boat ever discovered in China.

"The discovery of a boat this ancient is a rare event in the archaeological history of the world," said Jiang Leping, a researcher with the Zhejiang Institute of Cultural Relic Archaeology.

The United Kingdom discovered a wooden oar used 7,500 years ago, but archaeologists failed to find any remnants of a boat.

The dugout canoe, two meters long and 70 centimeters broad at its widest place with a 15-centimeter-deep hold, has two spiles, or wooden pegs, shaped like tree stumps on each side.

Mao Zhaoxi, a professor in the History Department of Zhejiang University, said the discovery of the canoe will assist research on the history of boat-building in the Neolithic Age.

According to Mao, a boat dating back about 5,000 years was excavated earlier this year in Suzhou, Jiangsu Province. The newly discovered canoe confirms that the country's boat-building history extends back an additional 2,500 years.

A four meter-wide ravine, once a silt-filled river, was also excavated near the site where the canoe was found.

The canoe excavation site, also known as the Kuahuqiao ruins, contains the most ancient neolithic cultural relics in Zhejiang. Over the past decade, numerous pieces of precious pottery, stoneware and jade articles dating back 7,000 to 8,000 years have been discovered there.
(eastday.com December 2, 2002)
https://web.archive.org/web/20090102183359/http://lanzhou.china.com.cn/english/travel/50131.htm
saṁghāṭa
 m. ʻ fitting and joining of timber ʼ R. [√ghaṭ]
Pa. nāvā -- saṅghāṭa -- , dāru -- s˚ ʻ raft ʼ; Pk. saṁghāḍa -- , ˚ḍaga -- m., ˚ḍī -- f. ʻ pair ʼ; Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅār, siṅhār ʻ threshold ʼ; Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ; Bi. sĩghārā ʻ triangular packet of betel ʼ; H. sĩghāṛā m. ʻ piece of cloth folded in triangular shape ʼ; G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner's apparatus ʼ, m.f. ʻ float made of two canoes joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ), sã̄gāḍā m. ʻ frame of a building ʼ, ˚ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g˚ ʻ double canoe, raft ʼ.Addenda: saṁghāṭa -- : Md. an̆goḷi ʻ junction ʼ? (CDIAL 12859)

12860 saṁghāṭayati ʻ joins together ʼ Sarvad., ʻ causes to collect ʼ Kathās. [√ghaṭ]
Or. saṅghāṛibā ʻ to mix up many materials, stir boiling curry, tie two cattle together and leave to graze ʼ.(CDIAL 12860). saṁghāṭī f. ʻ a kind of garment ʼ Suśr., ʻ monk's waistcloth ʼ BHS ii 549. [√ghaṭ]
Pa. saṅghāṭī -- f. ʻ one of the three garments of a monk ʼ; Pk. saṁghāḍī -- f. ʻ outer garment ʼ; Si. san̆gaḷaha˚ ʻ double cloth of monks ʼ.(CDIAL 12861) saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -- ghāta -- ]Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghāsaṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ? (CDIAL 12862)
saṁghātayati ʻ strikes together, kills ʼ MW. [ghāta -- ] Pa. saṅghātanika -- in cmpd. ʻ binding together ʼ; Pk. saṁghāyaï ʻ strikes together, joins ʼ; S. saṅghāhaṇu ʻ to kill ʼ; Or. saṅghāibā ʻ to cause to meet or be joined, put a cow to bull ʼ (whence ʻ (of a bull) to copulate ʼ).(CDIAL 12863)

-- Saṁghāṭa is such a popular expression in parole (in French, the word means 'by voice of by one's word' and hence, signifies 'speech') or common parlance of the lingua franca (a language that is adopted as a common language between speakers whose native languages are different of the times that the expression is the title of an early Sutra in Mahāyāna Bauddham. The book is called Ārya Sanghāta Sūtraआर्य सङ्घाट सूत्र available in many early language versions such as Sogdian, Khotanese, Chinese, Tibetan 

https://en.wikipedia.org/wiki/Sanghata_Sutra The Sūtra expounds on dharmaparyāya or dharma, dhammaSaṃghāṭasūtra (संघाटसूत्र).—n. of a work: Mvy 1386. The meaning of saṃghāṭa here is uncertain. There is a Prakrit (AMg. etc.) word saṃghāḍa, pair, couple; Tibetan on Mvy seems to have had this in mind with its dge ḥdun (= saṃgha!) zuṅ (pair) gi mdo, book of a pair of (monastic) assemblies? One Chin. renders collection or fusion
(compare Sanskrit saṃghāta), the other transliterates the word and adds a term which [Page549-b+ 71] otherwise renders Arthavargīya, q.v. Japanese cites the full title, Āryasaṃghāṭadharmaparyāya-sūtra.
SourceCologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit Dictionary https://www.wisdomlib.org/definition/samghatasutra--  संघट्   saṅghaṭ संघट् 1 Ā. To meet, assemble together. -Caus. 1 To join or fasten together, bring together. -2 To strike (a musical instrument), sound, play upon. संघटना   saṅghaṭanā संघटना 1 Joining together, union, combination; देवस्यान्यकलत्रसंघटनया दुःखं परं स्थापिता Ratn.4.19. -2 Combination of words or sounds.संघट्ट्   saṅghaṭṭ संघट्ट् 1 Ā. 1 To strike. -2 To bring together, unite. -3 To gather, collect. -4 To rub, rub against or press against; संघट्टयन्नङ्गदमङ्गदेन R.6.73. -5 To strike against, touch.  संघट्टः   saṅghaṭṭḥ संघट्टः 1 Friction, rubbing together; सरलस्कन्धसंघट्टजन्मा (दवाग्निः) Me.55; Māl.5.3;9.1; संघट्टैर्वल्गुभिः स्तनैः Bu. Ch.4.29; Ve.1.22. -2 Collision, clashing together, encounter; फलसंघट्टविकीर्णविस्फुलिङ्गः Śi.2.26. -3 Encounter, conflict. -4 Meeting, joining, collision or rivalry (as of wives); वक्षस्यसंघट्टसुखं वसन्ती रेजे सपत्नी- रहितेव लक्ष्मीः R.14.86. -5 Embracing. -ट्टा A large creeper. संघट्टनम् ना   saṅghaṭṭanam nā संघट्टनम् ना 1 Rubbing together, friction. -2 Collision, clash. -3 Close contact, adherence to. -4 Contact, union, cohesion. -5 The intertwining of wrest- lers. -6 Meeting, encounter in general. -7 The em- brace of lovers. संघट्टिन्   saṅghaṭṭin संघट्टिन् m. An adherent, follower; कृष्णसंघट्टिनः केचिदासन्नामस्य चापरे Bhāg.1.18.2;5.1.6.संघाटः   saṅghāṭḥ संघाटः Fitting and joining of timbers, joinery, carpentry; तौ काष्ठसंघाटमथो चक्रतुः सुमह्लाप्लवम् Rām.2. 55.14. संघाटिका   saṅghāṭikā संघाटिका 1 A pair, couple.(Apte) सं-घाट m. fitting and joining of timber , joinery , carpentry (रामायण); (ifc.) = सं-घात (in पद- and वर्ण-स्° , qq.vv.)सं-घात m. (rarely n. ; ifc. f(आ).) striking or dashing together , killing , crushing MBh. Sus3r.; close union or combination , collection , cluster , heap , mass , multitude TS. MBh. &c; a company of fellow-travellers , caravan VP.; (in gram.) a compound as a compact whole (opp. to its single parts) Ka1s3. on Pa1n2. 2-3 , 56; any aggregate of matter , body Bhag. Pur. (Monier-Williams)     சங்காதம் caṅkātam , n. < saṅ-ghāta. 1. Assembly, multitude, company, association, combination; கூட்டம். (சி. சி. 1, 14, சிவாக்.) (Tamil)সংহত  saṃhata: thoroughly united or integrated or organized; (loos.) mobilized; compact; very firm. সংহত করা v. to unite or organize (into a compact body); to mobilize. সংহত বর্তনী a closed circuit. সংহতি n. complete union or integration or organization; mobilization; compactness; great firmness; (phys.) molecular attracting; (phys.) agglomeration. সংহতি নষ্ট করা v. to disintegrate, to cause disintegration. (Bengali)   সংগঠক  saṅgaṭhaka: an organizer. সংগঠন  saṅgaṭhana: formation into an organic whole; organization; an organized body, an organization. সংগঠন করা v. to organize.সংগঠিত  saṅgaṭhita: organized. সংগঠিত করা v. to organize. সংগত1  saṅgata1: consistent (with); conforming (to); reasonable, proper, just. সংগতি n. consistency; unity; justness; propriety; (loos.) riches, wealth. সংগতিসম্পন্ন a. rich, well-to-do; moneyed. সংগতিহীন a. poor; broke; resourceless; inconsistent. (Bengali)Hieroglyph: creeper: ସଂଘଟା Saṁghaṭā [ସଙ୍ଘ (ଙ୍ ଘ) ଟା(ଟ୍ଟା)—ଅନ୍ଯରୂପ] ସଂ. ବି—(ସଂଘଟ+ଆ)— ଲତା; ବଲ୍ଲୀ— Creeper.ସଂଘଟ୍ଟା Saṁghaṭṭā [ସଙ୍ଘ (ଙ୍ ଘ) ଟା(ଟ୍ଟା)—ଅନ୍ଯରୂପ] ସଂ. ବି—(ସଂଘଟ+ଆ)— ଲତା; ବଲ୍ଲୀ— Creeper. Rebus: ସଂଘଟିତ Saṁghaṭita [ସଙ୍ (ଙ୍ ଘ)ଟିତ—ଅନ୍ଯରୂପ] ସଂ. ବିଣ—(ସମ+ଘଟଧାତୁ+କର୍ମ. ତ)— 1। ସଂୟୋଜିତ— 1. Joined together; united; connected. 2। ନିର୍ମିତ—2. Built. 3। ଘଟିଥିବା—3. Happened; taken place. *ghāṭa ʻ connexion ʼ. [√ghaṭ]Rebus: Pk. ghāḍa -- m. ʻ friendship ʼ (whence ghāḍiya -- m. ʻ companion ʼ); N. ghāro ʻ bar, rod, crossbeam ʼ (semant. cf. Pa. ghaṭikā -- f. ʻ stick used as a bolt ʼ). *mukhaghāṭā -- .ghāṭayati see gháṭatē.Addenda: *ghāṭa -- : WPah.kṭg. ghāˋṛ f. (obl -- a) ʻ share of crop due to the owner from tenant ʼ (Him.I 47)?(CDIAL 4458)

Hieroglyph: ghāṭā1 f. ʻ nape of neck ʼ Suśr., ˚ṭa -- m. lex. 2. *ghaṭṭā -- . [Morgenstierne EVP 27 compares Ir. *gart -- in Psht. gāṛa ʻ neck ʼ, Pers. gardan. The semant. development in Psht. waz. gwōṛa ʻ neck, bank of river ʼ suggests poss. connexion with ghaṭṭa -- 1; but cf. *ghaṇṭa -- , *gāṭṭa<-> and see list s.v. kaṇṭhá -- ]1. Pa. ghāṭā -- f. ʻ nape of neck ʼ E. H. Johnston JRAS 1931, 582; Pk. ghāḍa -- m. ʻ lower part of the skull ʼ; Ash. geṛūˊkguṛik ʻ throat ʼ, Kt. gəŕék, Pr. gəkgəx, Dm. gə́ŕu NTS ii 257, vii 92; A. ghār ʻ nape of neck ʼ; B. ghāṛ ʻ neck ʼ, Or. ghāṛa; Mth. ghāṛ ʻ back of neck ʼ (< *ghāḍḍa<-> or ← H. B.? ABORI xxi 109); H. ghāṛ f. ʻ nape of neck ʼ; Si. gela ʻ neck, throat ʼ.2. H. ghāṭ f. ʻ nape of neck ʼ.*ghāṭā -- 2 ʻ mass ʼ see ghaṭā -- .Addenda: ghāṭā -- 1 [< IE. *gholtā -- T. Burrow BSOAS xxxviii 55, but dial. a < o would have become *ghaṭā -- , not *ghaṭṭā -- ]2. *ghaṭṭā -- : OP. ghaṭṭu m. ʻ throat ʼ, P. ghaṭ.(CDIAL 4459)

Rebus: saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -- ghāta -- ]Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghāsaṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ? (CDIAL 12862) 
Image result for lion unicorn ancient near eastImage result for lion unicorn ancient near eastImage result for lion unicorn biting into throat oriental institute"

I submit that these narratives are in Indus Script. Hieroglyph: ciṅkam சிங்கம்¹ ciṅkam , n. < siṃha. 1. Lion; மிக்கவன்மையுள்ள ஒரு விலங்கு. மாற்றுச் சிங்கத்து மறக்குரல் (பெருங். உஞ்சைக். 47, 111). 2. Leo, the fifth sign of the zodiac; சிங்கராசி. (பிங்.) 3. A title, chiefly among Vēḷāḷas, as in பாலசிங்கம்; வேளாளரின் ஒரு பட்டப்பெயர். (J.) siṁhá m. ʻ lion ʼ, siṁhīˊ -- f. RV.Pa. sīha -- m. ʻ lion ʼ, sīhī -- f., Dhp. siha m., Pk. siṁha -- , siṁgha -- , sīha -- m., sīhī -- f.; Wg.  ʻ tiger ʼ; K. sahsüh m. ʻ tiger, leopard ʼ; P. sī˜hsihã̄ m. ʻ lion ʼ, bhaṭ. sīh ʻ leopard ʼ; WPah.khaś. sīˋ ʻ leopard ʼ, cur. jaun. sīh ʻ lion ʼ; Ku. syū̃syū ʻ tiger ʼ; Mth. sī˜h ʻ lion ʼ, H. sī˜ghsīh m., OG. sīha m.; -- Si. siha ← Pa. -- L. śĩh, khet. śī ʻ tiger ʼ with ś -- from Pers. lw. śer ʻ tiger ʼ. -- Pa. sīhinī<-> f. ʻ lioness ʼ; K. sīmiñ f. ʻ tigress, leopard ʼ; P. sīhaṇī f. ʻ tigress ʼ; WPah.bhal. se_hiṇi f. ʻ leopard withcubs ʼ, jaun. sī˜haṇ ʻ tigress ʼ; H. sĩghnī f. ʻ lioness ʼ. Addenda: siṁhá -- : WPah.kṭg. sīˊ m. ʻ lion, leopard, brave man ʼ, sĩˊəṇsī˜ṇ (with high level tone) f. ʻ lioness ʼ (also sī˜ṇ Him.I 214 misprint with i?).(CDIAL 13384) Rebus: singa 'ornament gold'. 

சிங்கம்³ ciṅkam , n. < sṛṅga. 1. Horn; கொம்பு. Distance of seven or sometimes ten sticks in the game of tip-cat, measured from where the cat falls to the goal; கிட்டிப்புள் விளையாட்டில் வழங்கும் ஏழு அல்லது பத்துக் கிட்டி நீளங்கொண்ட அளவு. (J.) khonda singhin 'spiny-horned young bull' rebus: kunda 'fine gold' singi 'ornament gold'.  சிங்கச்சுவணம் ciṅka-c-cuvaṇam , n. prob. siṃhala + svarṇa. A kind of superior gold; ஒருவகை உயர்தரப் பொன். தீதுதீர் சிறப்பிற் சிங்கச் சுவணமென் றோசைபோகிய வொண்பொன் (பெருங். வத்தவ. 11, 23).
--ସଂଗତ Saṁgata  Joined; attached.Saṁghaṭita ସଂଘଟିତ Saṁghaṭita [ସଙ୍ (ଙ୍ ଘ)ଟିତ—ଅନ୍ଯରୂପ] ସଂ. ବିଣ—(ସମ+ଘଟଧାତୁ+କର୍ମ. ତ)— 1। ସଂୟୋଜିତ— 1. Joined together; united; connected. 2। ନିର୍ମିତ—2. Built. 3। ଘଟିଥିବା—3. Happened; taken place.ସଂଘଟ Saṁghaṭa [synonym(s): ঘন্ট खिचरी যথেষ্ট बस] ସଂଘଟ, ସଙ୍ ଘଟ, ସଙ୍ଘଟନ (ନା),ସଙ୍ ଘଟନ (ନା), ସଂଘଟନ(ନା) ଅନ୍ଯରୂପ ଦେ. ବି— ଓଡ଼ଚଷାମାନଙ୍କର ବିବାହାଦିରେ ଚାଉଳ; ଡ଼ାଲି ପରିବା ଆଦି ମିଶି ସିଝାୟାଇ ସେମାନଙ୍କର ଘାଣ୍ଟିଆ ଖାଦ୍ଯବିଶେଷ, ୟାହା ସେମାନଙ୍କର ଜାତିଆଣ ପଙ୍ଗତରେ ନିମନ୍ତ୍ରିତ ଜାତିଭାଇମାନଙ୍କ ପତ୍ରରେ ଦିଆୟାଏ—A hotchpot prepared on the occasion of caste dinner amongst the Oṟḍ̠a chashās of Orissa. ବିଣ— ୟଥେଷ୍ଟ; ପର୍ୟ୍ଯାପ୍ତ—Sufficient; enough. ସଂ. ବି— (ସମ୍+ଘଟ ଧାତୁ=ଚେଷ୍ଟା କରିବା+ଭାବ. ଅ) 1। ମେଳନ; ନିୟୋଜନ—1. Meeting; coming together; joining together. 2। ମିଶ୍ରଣ—2. Combination. 3। ଗଠନ—3. Formation. 4। ଘଟନା—4. Event. 5। ଘଟିବା—5. Happening. 6। ବିବରଣ; ବୃତ୍ତାନ୍ତ—6. Description. [ଉ—ତାହାର ସଂଘଟନ ୟେତେ, ବୁଝାଇ କହ ମୋ ଅଗ୍ରତେ। ଜଗନ୍ନାଥ—ଭାଗବତ।]  ସଂଘଟ୍ଟ Saṁghaṭṭa ସଙ୍ଘଟ୍ଟ, ସଙ୍ ଘଟ୍ଟ, ସଂଘଟ୍ଟନ (ନା), ସଙ୍ଘ(ଙ୍ ଘ)ଟନ (ନା) ଅନ୍ଯରୂପ (ସଙ୍ଘଟ୍ଟିତ—ବିଣ) ସଂ. ବି. (ସମ୍+ଘଟ୍ଟ ଧାତୁ=ଘର୍ଷଣ କରିବା+ଭାବ. ଅ) — 1। ସଂଘର୍ଷ— 1. Adherence; cohesion. 2। ପରସ୍ପର ଘର୍ଷଣ—2. Rubbing; together; friction. 3। ଘୋଟିବା; ମର୍ଦନ—3. Act of rubbing or pounding. 4। ପରସ୍ପର ଆଘାତ ଲାଗିବା—4. Clashing together; collision. 5। ବାନ୍ଦବିବାଦ—5. Conflict; encounter. 6। ମିଳନ; ନିୟୋଜନ—6. Meeting; joining. 7। ଆଲିଙ୍ଗନ—7. Enabracing. 8। ନିକଟ; ସଂପର୍କ—8. Close contact. 9। ଚାଳନ—9. Causing to move; moving. 1। ମାଲମାନଙ୍କର କୁସ୍ତିକାଳୀନ ପଞ୍ଝା ପକାପକି ବା ବାହା ଭିଡ଼ାଭିଡ଼ି—10. Intertwining of two wrestlers in a bout of wrestling 11। ହାବୁଡ଼ାହାବୁଡ଼ି; ଭେଟାଭେଟି—11. Encounter.ସଂଘାତ ବଳ Saṁghāta baḻa [synonym(s): সংঘাত ব संघात बल] ଦେ. ବି (ପଦାର୍ଥବିଜ୍ଞାନର ପାରିଭାଷିକ ଶବ୍ଦ)— ଏକ ବସ୍ତ୍ର ପ୍ରତି ଭିନ୍ନ ଭିନ୍ନ ଦିଗର ଦୁଇ ବା ତତୋଽଧିକ ବଳ ପ୍ରଯୋଗ କରାଇଲେ ସେହି ଉଭଯ ବଳର ଫଳସ୍ବରୂପ ଉତ୍ପନ୍ନ ନୂତନ ବଳ—(physics) The resultant of two or more forces acting on a thing at one point. (Oriya)    Sanghaṭita [saŋ+ghaṭita, for ˚ghaṭṭita, pp. of ghaṭṭeti] 1. struck, sounded, resounding with ( -- ˚) J v.9 (v. l. ṭṭ); Miln 2. -- 2. pierced together, pegged together, constructed Miln 161 (nāvā nānā -- dāru˚).   Sanghaṭṭa1 (adj.) [fr. saŋ+ghaṭṭ] knocking against, offending, provoking, making angry J vi.295.   Sanghaṭṭa2 (?) bangle Sn 48 (˚yanta): thus Nd2 reading for ˚māna (ppr. med. of sanghaṭṭeti).   Sanghaṭṭana (nt.) & ˚ā (f.) [fr. sanghaṭṭeti] 1. rubbing or striking together, close contact, impact S iv.215; v.212; J vi.65; Vism 112; DA i.256 (anguli˚). <-> 2. bracelet (?) SnA 96 (on Sn 48).   Sanghaṭṭeti [saŋ+ghaṭṭeti] 1. to knock against Vin ii.208. -- 2. to sound, to ring Mhvs 21, 29 (˚aghaṭṭayi). -- 3 to knock together, to rub against each other J iv.98 (aŋsena aŋsaŋ samaghaṭṭayimha); Dāvs iii.87. -- 4. to provoke by scoffing, to make angry J vi.295 (paraŋ asanghaṭṭento, C. on asanghaṭṭa); VvA 139 (pres. pass. ˚ghaṭṭiyati). -- pp. sanghaṭ(ṭ)ita.(Pali)

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Cuttle fish (n'r) and awl (m'r) are Egyptian hieroglyphs (syllables) on First Dynasty King Narmer palette ca. 3150-3100 BCE  The reading, combining the two syllables N'r + m'r  results in "Narmer" (using the rebus principle). (Wilkinson, TAH (1999), Early Dynastic Egypt, London, New York: Routlege., p.67)
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detail of part of the Narmer Palette
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A traditionally built Jangada is in the collection of the National Maritime Museum Cornwall.

https://nmmc.co.uk/?%2Fcollections%2Ffeatured_boats%2Fjangada_fishing_raft



Jangada

Maria do Carmo Andrade
Bibliotecária da Fundação Joaquim Nabuco


Pode-se dizer que jangada é uma armação feita com madeiras de um navio para salvamento dos náufragos; construção em forma de grade de madeira para transporte sobre a  água; embarcação típica dos pescadores do Norte e Nordeste do Brasil, feita geralmente de cinco paus roliços, solidamente ligados entre si e com um mastro.

Foi na Índia que os portugueses viram uma pequena embarcação chamada de janga. Eram três ou quatro paus amarrados com fibras vegetais ou seguros com madeira em forma de grade.

Os portugueses escreveram jangá e ainda changgh e xanga. Jangada (chabgadam) é o aumentativo, ou seja, a janga grande, com cinco e seis paus.

Nos idos de 1500, quando os portugueses chegaram ao Brasil, viram que apiperi ou a igapeba usada pelos indígenas era igual à jangada vista por eles na Índia, então começaram a chamar a piperi de jangada, que era o nome já conhecido por eles e registrado em livros da época.

As piperis dos indígenas brasileiros eram feitas de cinco ou seis paus redondos  e bem amarrados com cipós. O remo era chamado de jacumã.

Com o passar do tempo, foram surgindo, de acordo com as necessidades, vários tipos de jangada, a exemplo das jangadas à vela, com maior capacidade de navegação e as destinadas a pescaria mais produtiva.

Os tipos mais populares no Nordeste brasileiro, que é uma região tradicional no uso de jangadas, são o bote, o piquête e a jangada grande. A maior delas é a de sete paus e, excepcionalmente, há algumas de dez. A mais popular é a de seis, embora o modelo histórico fosse de quatro paus.

Vários tipos de madeira são usados na construção da jangada, destacando-se o pau-de-jangada ou mulungu, tiliácea, apeíba, tibourbou e outros. A jangada deve ser construída na água, para que os paus não se desunam com a imersão, Não é permitido uso de pregos, eles podem enferrujar e estragar a madeira podendo causar acidentes.

A tripulação das jangadas pequenas é formada pelo mestre e pelo ajudante. Nas maiores, a tripulação chega a quatro homens: o mestre, que comanda a embarcação; o proeiro, que sustenta a corda da jangada e molha a vela quando vai da terra para o alto mar; bico-de-proa, que molha a vela quando a jangada vem do mar para a terra; e o contra-bico,  (que é chamado de rebique, no Ceará) é o pescador que fica na parte mais anterior da jangada durante as pescarias.

  Para dividir o pescado os tripulantes costumam marcar os peixes. Os peixes sem marca (inteiros) são do mestre, os cortados em uma ponta da cauda são do proeiro, os cortados a cauda inteira são do bico-de-proa, e os peixes riscados na cabeça são do contra-bico.

  A expressão botar pra maré significa ir, viajar, ir pescar e dar de vela,significa voltar.

  A jangada, embora seja considerada a embarcação mais antiga, existe até hoje com a mesma finalidade e guarda as mesmas características da jangada primitiva.


Recife, 26 de abril de 2004.
(Atualizado em 9 de setembro de 2009).


FONTES CONSULTADAS:

CASCUDO, Luís da Câmara. Dicionário do folclore brasileiro. Rio de Janeiro: Instituto Nacional do Livro, 1954.

______. Jangada: uma pesquisa etnográfica. 2.ed. Rio de Janeiro: Ed. Letras e Artes, 1964.

GRANDE Enciclopédia Larousse Cultural.[São Paulo]: Nova Cultural, 1998.


COMO CITAR ESTE TEXTO:

Fonte: ANDRADE, Maria do Carmo. Jangada. Pesquisa Escolar Online, Fundação Joaquim Nabuco, Recife. Disponível em: <http://basilio.fundaj.gov.br/pesquisaescolar/>. Acesso em: dia  mês ano. Ex: 6 ago. 2009.

Translated into English from Portuguese:

It can be said that raft is a wooden frame made from a ship to rescue the castaways; wooden grid construction for water transport; Typical fisherman's boat from the North and Northeast of Brazil, usually made of five plump sticks, solidly linked together and with a mast.   It was in India that the Portuguese saw a small boat called a raft. It was three or four sticks tied with vegetable fibers or secured with grid-shaped wood. The Portuguese wrote jangá and also changgh and xanga. Raft (chabgadam) is the augmentative, ie the large raft with five and six sticks.   In the 1500s, when the Portuguese arrived in Brazil, they saw that the apiperi or igapeba used by the natives was the same as the raft they saw in India, so they began to call the piperi raft, which was the name they already knew and recorded. in books of the time.   

The piperis of the Brazilian Indians were made of five or six round sticks and well tied with vines. The oar was called jacumã. Over time, various types of rafts have emerged as needed, such as sailing rafts with higher sailing capacity and those intended for more productive fishing.

The most popular types in northeastern Brazil, which is a traditional region in the use of rafts, are the dinghy, the picket and the large raft. The largest of these is seven clubs and, exceptionally, there are some of ten. The most popular is six, although the historical model was four clubs.

Several types of wood are used in the construction of the raft, especially the raft or mulungu, tiliacea, apeiba, tibourbou and others. The raft should be built in the water so that the sticks do not fall apart with soaking. No nails are allowed, they can rust and ruin the wood and cause accidents.

The crew of the small rafts is made up of the master and the helper. In the largest, the crew reaches four men: the master, who commands the vessel; the forester, which holds the raft rope and wets the sail as it goes from land to the high seas; prow, which wets the sail when the raft comes from sea to land; and the counterbill (which is called the rebique in Ceará) is the fisherman that is in the most anterior part of the raft during the fisheries.

To divide the fish the crew usually mark the fish. The unmarked fish (whole) are from the master, the ones cut at one end of the tail are from the proeiro, the ones cut off the entire tail are from the prow, and the streaked fish on the head are from the counterbeak.

The expression put to tide means to go, to travel, to go fishing and to sail, means to return.

Although the raft is considered the oldest vessel, it still exists today with the same purpose and keeps the same characteristics as the primitive raft.

Itihāsa. World's largest flower, Rafflesia, +100 centimetres (39 in) dia.10 kg. (22 lb) weight

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Rafflesia kerrii flower near LangkatSouth Sumatra - Indonesia
Three Rafflesia pricei growing in close proximity near Mount KinabaluSabahMalaysia
New hypothesis of Rafflesiaceae derived from within Euphorbiaceae: Rafflesiaceae in red, Euphorbiaceae in black (redrawn from Davis et al., 2007)[citation needed]
Comparison of mitochondrial DNA (mtDNA) sequences of Rafflesia with other angiosperm mtDNA indicated this parasite evolved from photosynthetic plants of the order Malpighiales. Another study from that same year confirmed this result using both mtDNA and nuclear DNA sequences, and showed the three other groups traditionally classified in Rafflesiaceae were unrelated. A more recent study more specifically found Rafflesia and its relatives to be embedded within the family Euphorbiaceae, which is surprising, as members of that family typically have very small flowers.According to their analysis, the rate of flower size evolution was more or less constant throughout the family except at the origin of Rafflesiaceae, where the flowers rapidly evolved to become much larger before reverting to the slower rate of change.

Verified species

Rafflesia sumatra.jpgRafflesia arnoldii flower and seeds , captured in Bengkulu - Indonesia













































































https://en.wikipedia.org/wiki/Rafflesia


Where to see Rafflesia in Thailand – the biggest flower in the world

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The Giant Rafflesia, the biggest flower in the world, is a rare sight that can be spotted in just a few countries in Southeast Asia: Thailand, Borneo, Indonesia, Malaysia and the Philippines. If you are in Thailand, head to Khao Sok National Park and ask at the local tourist agencies if the flower has been seen blooming recently. Here’s more information about the Rafflesia and how to find it in the wild in Thailand.

Why is the Giant Rafflesia so special?

The Giant Rafflesia, which weighs up to 7 kg, boasts the biggest bloom in the world (the world record is 107 cm in diameter, and the average is around 1 m). What makes the flower even more special is that it takes 8-9 months to grow from bud to bloom, and the dark red petals are alive for a few days to a week only. Afterwards they decay to a black mass and you have to wait another year to see the magical spectacle. The Rafflesia is a parasite with no stem, leaves or roots, growing instead on a tropical vine.
Bud
Almost ready
In bloom
Rotten

When does the Rafflesia bloom?

Nobody knows when the flower will bloom, as the season changes from year to year depending on conditions. It’s a good idea to contact a local agency a few days prior to arriving – they can tell you if it’s the right time to see the Rafflesia. December and January seem to be the most likely months, but the bloom could happen any time.

Can you reach the Rafflesia in Khao Sok National Park without a guide?

The trails leading to the Rafflesia are in a way well marked, but the starting points are small, innocuous-looking paths by the roadside, which are kind of hidden on purpose. If you don’t know the starting point, you can’t get any farther.
At first, I was kind of annoyed that you must hire a guide (500-1500 baht for two hours depending on the agency and how big the group is) instead of getting there yourself. I initially thought they arranged it like this as a way of making money from foreigners, but I was proven wrong. The park rangers from Khao Sok take good care of the rare flowers – every bud is numbered and monitored through the year, and your guide makes sure you behave responsibly around the flower. You are not allowed to touch or, god forbid, pick the Rafflesia. If everyone could find the flowers on their own, the beautiful Rafflesia would undoubtedly suffer more damage.

How does the Rafflesia smell?

Before I visited the Rafflesia, I had read on the internet about how dreadful, life-endangering and dead-corpse-like the stench of the rotten flower was. Eager to try this lethal weapon on my own nose, I almost screamed out of excitement when I saw a dead Rafflesia on the way. But what a disappointment! There was nothing! I couldn’t understand why, as our guide spoke only Japanese (which I don’t speak), but after reading many blogs on the topic, I think I might be the first person in the world who has been spared the rotten-meat smell of this incredible plant.
Pin it for later:

sã̄gah 'collections of materials' listed in saṁghāya cipher communications of Poddār 'goldsmith, assayer of metals'

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https://tinyurl.com/ydvt9up4


On thousands of Indus Script inscriptions, the most frequently used ciphertexts are pictorial narratives of 1) standard device and 2) spiny-horned young bull  These two orthographic compositions are ciphertexts.The common design principle of both the ciphertexts is: Hieroglyph: सांगडणें sāṅgaḍaṇēṃ (सांगड) 'to link, join, or unite together (boats, fruits, animals)' Vajra Sanghāta 'binding together' (Varahamihira) Rebus: *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). 


Thus, for e.g., the standard device joins together a flagpost, portable furnace or bowl with live coals, lathe and gimlet together with the junction showing सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied;  Similarly, the spiny-horned young bull is composed with orthographic emphasis on the joined together parts: the spiny horn, one ear, rings on neck, pannier on shoulder, belly, youth of the animal leg & thigh, and penis, 


This monograph presents the decipherment of the two ciphertexts as Meluhha plaintext expressions in two sections: 1) standard device and 2) spiny-horned young bull  


Section 1 Standard device which joins together a) lathe b) सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied; c) gimlet d) portable furnace; e) flames emanating from the surface f) flagpost; f) gold beads or dotted circles.


--Hieroglyphs joined together form Indus Script hypertexts; decipherment yields plaintexts of wealth-accounting ledgers of wealth products such as metalwork, gems and jewels, lapidary work.


-- kunda,'lathe' Agnikuṇḍa, 'bowl with live coals' PLUS pottu'hole'potti'gold bead' rebus: 

pō̃ta'metal casting' PLUS kaṇḍa 'flagpost' rebus: khaṇḍa 'equipment'


-- singa'young bull' (Pali) rebus singi 'ornament gold'; Singa1 (nt.) [Vedic śṛnga, cp. Gr. ka/rnon, kraggw/n; Lat. cornu=E. horn] a horn J i.57, 149, 194; iv.173 (of a cow); Vism 106; VvhA 476.   -- dhanu horn -- bow DhA i.216. -- dhamaka blowing a horn Miln 31.   Singa2 the young of an animal, calf J v.92; cp. Deśīnāma- mālā viii.31.  Singika (adj.) [fr. singa1] having horns J vi.354 (āvelita -- ˚ having twisted horns).   Singin (adj.) [Vedic śṛngin] having a horn Vin ii.300; J iv.173 (=cow); clever, sharp -- witted, false Th 1, 959; A ii.26; It 112; cp. J.P.T.S. 1885, 53.   Singila a kind of horned bird J iii.73; DhA iii.22 (v. l. singala).Singī & singi (f.) [cp. Sk. śṛngī] 1. gold Vin i.38; S ii.234; J i.84. -- 2. "ginger" in sense of "dainties, sweets" J iv.352 (=singiver'ādika uttaribhanga C.; cp. Tamil iñji ginger).-- nada gold Vv 6428; VvA 284. -- loṇa ( -- kappa) license as to ginger & salt Vin ii.300, 306. -- vaṇṇa gold-coloured D ii.133. -- suvaṇṇa gold VvA 167.(Pali) (See annexed note on singh, simha).


-- pōta'young bull, calf' rebus पोतृ 'purifier',potadāra'village silversmith, assayer of metals' - ପୋଦାର୍ Podār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ଯକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ଯବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ଯବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦ୍ଦାର୍ Poddār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ଯକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ଯବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ଯବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦାରୀ Podārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.ପୋଦ୍ଦାରୀ Poddārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.


-- singhin, 'having spiny horns,projecting in front' Rebus: singin'gold for ornaments' PLUS 
karā 'ear' PLUS kunda 'young bull' together signify singikār kũdār,'ornament goldsmith who works a lathe or a lapidary'. 

-- Organizing principle of 'joining together parts' in Indus Writing System is called Hieroglyph: सांगड sāṅgaḍa m f (संघट्ट S) 'That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.'; सांगडणी   sāṅgaḍaṇī f (Verbal of सांगडणें) Linking or joining together.सांगडणें   sāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals) 2 Freely. To tie or bind up or unto.  

I submit that saṁghāya 'closeness in enterprise'; and 2. 'intimate, familiar communication' is the organizing principle for the functions of Indus Script Cipher to communicate intimately to close associates in trade and wealth-production transactions. These intimate communications relate to sã̄gah 'collections of metalwork, metalcasting work, gems-jewels and lapidary work products'.

The semantics of similar sounding expressions in Meluhha signify the semantics of 1. saṁghāya 'closeness in enterprise'; and 2. intimate, familiar communication; 3. sã̄gah 'collections of materials' or manufactured metal, gem-jewel products which yield wealth in business transactions. 

Rebus 1: Pk. saṁghāya -- m. ʻcloseness, collectionʼ (CDIAL 12862) संघट्टण 'Close connection and intercourse; intimate and familiar communication' (Marathi)  

Rebus 2: -- saṁgraha m. ʻ collection ʼ Mn., ʻ holding together ʼ MBh. [√grah]Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852)  sáṁgr̥hṇāti ʻ seizes ʼ RV. 2. *saṁgrahati. 3. saṁgrāhayati ʻ causes to be taken hold of, causes to be comprehended ʼ BhP. [√grah]1. Pa. saṅgaṇhāti ʻ collects ʼ, Pk. saṁgiṇhaï; Or. saṅghenibā ʻ to take with, be accompanied by ʼ.2. Pa. fut. saṅgahissati, pp. saṅgahita -- ; Pk. saṁgahaï ʻ collects, chooses, agrees to ʼ; Si. han̆ginavā ʻ to think ʼ, hän̆genavāän̆g˚ ʻ to be convinced, perceive ʼ, han̆gavanavāan̆g˚ ʻ to make known ʼ.3. Or. saṅgāibā ʻ to keep ʼ.(CDIAL 12850)

Rebus 3: Yet another rebus reading is: the ancient accounting system used for invoicing precious commodities on approval basis called: The jangad/Challan made out by the defendant and stated to be signed by the plaintiff as receiver of the goods shown therein evidences the written contract between the parties... 

In Gujarati, the word jangadiyo means 'a military guard carryiingaccompanies treasure stored in the treasury/warehouse of the state'. See: 

 https://tinyurl.com/y7o7wf9t

Section 1 Standard device

The arrow points to सांगड sāṅgaḍa, सांगाडी sāṅgāḍī 'That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.' (Marathi) सांगड 'lathe apparatus to firmly hold together the perforated bead' rebus: sãgahā ʻcollection of materials'. 


Note the piece numbered 6 on this drawing provided by the late Iravatham Mahadevan. This part of the turner's apparatus is सांगाडी sāṅgāḍī to hold and steady the turned object. Could be a stone slab with a slight depression. The piece to steady turned objects, shown between the gimlet and the top of the portable furnace is सांगाडी sāṅgāḍī.  'f The machine within which a turner confines and steadies the piece he has to turn. ' (Marathi) The part of the turner's apparatus which holds the turned 'bead' and holds it steady is seen in the following seal of Mohenjo-daro(See the plate just below the gimlet of the lathe). This is सांगाडी sāṅgāḍī of  kunda 'lathe'.

The drawing is courtesy the late Iravatham Mahadevan. The numbered parts are interpreted by me, NOT as a filter but a lathe ligatured to a portable furnace: Hence, the parts 1 to 12 are explained in Meluhha words/expressions as follows: kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297)

Image result for indus script lathe gimlet work dennys frenez"1. Top hook (handle); kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790). 
2. gimlet; स्फोटनी   sphōṭanī स्फोटनी The boring tool, an auger, a gimlet. sphōṭana1 n. ʻ act of breaking ʼ Āpast., sphōṭanī -- f. ʻ gimlet ʼ lex. [√sphuṭ]Pk. phōḍaṇa -- n. ʻ splitting ʼ; Or. phoṛaṇī ʻ instrument for boring ʼ.(CDIAL 13855)Ta. purai tubular hollow, tube, pipe, windpipe. This is possibly a rebus for pota'assayer of metals'.

Tu. perevuni to be bored, perforated; perepini to bore, perforate; burma, burmu a gimlet; berpuri a borer. (DEDR 4297) bhrama m. ʻ giddiness ʼ Suśr., ʻ mistake ʼ Hariv. (bhramá -- m. ʻ flame ʼ RV. < ʻ flickering ʼ cf. bhramara -- 1 in Paš.). [√bhram]Pk. bhama -- m. ʻ wandering, error ʼ; L. P. bhaũ m. ʻ giddiness ʼ; A. bhuwā ʻ deceit ʼ; Or. bhuã̄ ʻ wrong way taken by mistake ʼ; H. bhawã̄ m. ʻ turning, circling round ʼ; M. bhãvãḍ f. ʻ giddiness ʼ, Si. bama.(CDIAL 9646) 

துருவு¹-தல் turuvu- ...cf. உருவு-. [K. turuvu.] To bore, drill, perforate; தொளைத்தல். Colloq. Ta. tura (-pp-, -nt-) to tunnel, bore; turappu tunnel; turappaṇam auger, drill, tool for boring holes; turuvu (turuvi-) to bore, drill, perforate, scrape out as the pulp of a coconut; n. hole, scraping, scooping; turuval scrapings as of coconut pulp, boring, drilling. Ma. turakka to bury, undermine; turappaṇam carpenter's drill, gimlet; turappan a bandicoot rat; turavu burrowing, mine, hole; tura hole, burrow. Ka. turi, turuvu to hollow, bore, drill, make a hole, grate, scrape as fruits, scrape out as a kernel out of its shell; n. grating, scraping out, etc. Tu. turipini, turipuni, turupuni to bore, perforate, string as beads; turiyuni, turuvuni to be bored, perforated, be strung. Te. tuṟumu to scrape with a toothed instrument as the kernel of a coconut; ? truṅgu to break, fall in pieces, perish, die; ? t(r)uncu to cut to pieces, tear, break, kill (or truṅgu, truncu with 3305 Ta. tuṇi). Pa. turu soil dug out in a heap by rats. Konḍa (BB, 1972) tṟuk- (-t-) (pig) to root up earth with snout. Kui trupka (< truk-p-; trukt-) to bore, pierce; truspa (trust-), tuspa (tust-), to pierce a hole, breach; trūva (trūt-) to be pierced, holed; trunga (trungi-) to become a hole, be pierced. Kur. tūrnā to pierce through, perforate. Malt. túre to scratch out; turge to bury the ashes of the dead; ? tuṉga, tuṉgṛa hollow of a bamboo or bridge, tube, tunnel.(DEDR 3339)Ta. tamar hole in a plank, commonly bored or cut; gimlet, spring awl, boring instrument; tavar (-v-, -nt-) to bore a hole; n. hole in a board. Ma. tamar hole made by a gimlet; a borer, gimlet, drill. ? Ko. tav- (tavd-) to butt with both horns, gore. Tu. tamirů gimlet. Te. tamire, (VPKtagire the pin in the middle of a yoke.(DEDR 3078)*trōpa ʻ piercing, hole ʼ. [√trup]L. P. ṭoā m. ʻ hole, pit ʼ; M. ṭov m. ʻ little hole ʼ. (CDIAL 6082) குயினர் kuyiṉar , n. < குயில்²-. 1. Those who polish and perforate gems; இரத்தினந் துளை யிடுவோர். திருமணி குயினரும் (மதுரைக். 511). 2. Tailors; தையற்காரர். (பிங்.)குயில்⁴ kuyil , n. < குயில்²-. Hole, perforation; துளை. (பிங்.) குயில்²(லு)-தல் kuyil- , 3 v. tr. [1-4 cf. kuc.] 1. To make, execute, shape, construct; செய்தல். (பிங்.) 2. To weave; நெய்தல். ஊசியொடு குயின்ற தூசும் பட்டும் (தொல். சொல். 74, உரை). 3. To plait, braid, intwine; பின்னுதல். (W.) 4. cf. kuth. To bore, perforate, tunnel; துளைத்தல். (பிங்.) குன்று குயின்றன்ன வோங்குநிலைவாயில் (நெடு நல். 88). 5. cf. kuṭh. To enchase, set, as precious stones; இரத்தினம் முதலியவை பதித்தல். சுடர்மணியின் பத்திகுயின்றிட்ட பழுப்பேணியில் (கந்தபு. வள்ளி. 50). குயிற்று²-தல் kuyiṟṟu- , 5 v. tr. < குயில்²-. 1. To make, construct, form, perform; செய்தல். அருநடங் குயிற்று மாதி வானவனே (பதினொ. பட்டினத். கோயினான். 32). 2. To enchase, set, as gems; இரத்தினம் பதித்தல். மணியொடு வயிரங் குயிற்றிய (சிலப். 5, 147).

3. wavy lines signify turning lathe; 
4. slanted lines signify circular motion of the gimlet; bhaũra ʻ turning lathe ʼ, bhaãra ʻ auger, gimlet 
5. the sharp drill-point of the gimlet; बरमा or म्हा [ baramā or mhā ] 'gimlet'; turappaṇam carpenter's drill, gimlet
6. bead or other objects being drilled by lathe-action; सांगाडी sāṅgāḍī part to hold and steady the turned object. 
7. smoke emanating from the portable furnace bowl; 
8. bottom bowl of the portable furnace; కమటము (p. 246) kamaṭamu kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii. కమ్మటము kammaṭamu Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. Rebus:Ta. kampaṭṭam
coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner.  (DEDR 1236) सगडी sagaḍī f (Commonly शेगडी) A pan of live coals or embers. शेगडी  śēgaḍī f A pan of live-coals or embers, a chafing dish. सगडी sagaḍī f (Commonly शेगडी) A pan of live coals or embers.

9. Perforations as dotted circles are two signifiers: a. perforated beads; b.strands of fiber or rope. dhāī 'strands or fibers (of rope)' rebus: dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(CDIAL6773); *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, putipũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1. (CDIAL 8403) See: 

 https://tinyurl.com/y66ru3o9

Detail of terracotta bangle with red and white trefoil on a green background (H98-3516/8667-01 from Trench 43). Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia.

Detail of terracotta bangle with red and white trefoil on a green background (H98-3516/8667-01 from Trench 43). Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia. Source: https://www.harappa.com/blog/jewelry-mohenjo-daro

Trefoils painted on steatite beads, Harappa (After Vats, Pl. CXXXIII, Fig.2)


Trefoil Decorated bead. Pl. CXLVI, 53 (Marshall, opcit.)

Hieroglyph-multiplex of dotted circles as 'beads': kandi 'bead' Rebus: kanda 'fire-altar' khaNDa 'metal implements'. Alternative: dotted circles as dice: dhāv, dāya 'one in dice' + vaṭṭa 'circle' rebus 
धावडdhāvaa 'red ferrite ore smelter'

 

Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l kanda 'temple fire-altar'. Alternative: kole.l धावड dhāvaḍa 'temple PLUS red ferrite ore smelter'.

 

 

Sumerian marble calf with inlaid trefoils of blue stone. From the late Uruk era, cira 3000 B.C.

Sumerian marble calf with inlaid trefoils of blue stone. From the late Uruk era, Jemdet Nasr cira 3300 - 2900 B.C.E 5.3 cm. long; Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213. Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. 

Trefoils are cut into stone surface and inlaid with lapis lazuli and carnelian. These are found on several small amulets from Sumer, having the shape of reclining bulls; they are from Uruk dated to te Jemdet Nasr period, ca. 3100-2900 BCE.

 

kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge); kundaṇa 'fine gold'.

 

damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali)

 

Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l  kanda 'temple fire-altar'. Alternative: kole.l धावड dhāvaḍa 'temple PLUS red ferrite ore smelter'.


 10.  Small circles signifying globules of burning charcoal; 

11. stafff or flagpost; 12. base for the two hieroglyph-structure atop the flagpost.kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , ˚aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, ãdotdot; Pr. kə̃, Dm. kā̆n; Paš. lauṛ. kāṇḍkāṇ, ar. kōṇ, kuṛ. kō̃, dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō̃ṛkō̃ ʻ arrow ʼ, Gaw. kāṇḍkāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa, Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, ˚no m. ʻ reed ʼ, ˚nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, ˚nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, ˚ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, ˚ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍakã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, ˚ḍũ n. ʻ wrist ʼ, ˚ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, ˚ḍẽ n. ʻ joint, knot, stem, straw ʼ, ˚ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.kāˊṇḍīra -- ; *kāṇḍakara -- , *kāṇḍārā -- ; *dēhīkāṇḍa -- Add.Addenda: kāˊṇḍa -- [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55]S.kcch. kāṇḍī f. ʻ lucifer match ʼ? (CDIAL 3023)  Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post.(DEDR 1723)


 




Orthographic composition uses the following hieroglyphs: a) lathe; b) gimlet; c) part of the apparatus to hold the perforated object firmly and steadily during the turning process by the lapidary; d) bowl with live coals; e) pole; f) perforated gold beads or dotted circles.

Lathe: kunda 'lathe' rebus: kunda 'fine gold'
Steadying apparatus to hold firmly the object to be perforated: सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied; 
Gimlet: bhramá -- m. ʻflameʼ; Or. bhaũra ʻ turning lathe ʼ,  bhaãra ʻ auger, gimlet ʼ,(CDIAL 9650) Ta. purai tubular hollow, tube, pipe, windpipe. Tu. perevuni to be bored, perforated; perepini to bore, perforate; burma, burmu a gimlet; berpuri a borer. (DEDR 4297)

Bowl with live coals: ଅଗ୍ନିକୁଣ୍ଡ Agnikuṇḍa ସଂ. ବି. (6ଷ୍ଠୀ ତତ୍)— 1। ହୋମକୁଣ୍ଡ; ୟେଉଁ ଆଧାରରେ ହୋମାଗ୍ନି ସ୍ଥାପିତ ହୁଏ—1. The receptacle where the sacrificial fire is lit. 2। ଦହକ ଅଙ୍ଗାରର ଉମ୍ଭେଇ— 2. A pan with live coals; firepan. (Oriya) অগ্নি  agni . ̃কুণ্ডু n. a pit in which a fire is made or a pit full of fire, a firepit; a furnace.(Bengali.Samsad) अग्निकुण्ड n. a pan with live coals R.; a hole or enclosed space for the consecrated fire Katha1s.(Monier-Williams) agniḥ अग्निः 'fire', Gold Sacrificial altar, अग्निकुण्ड cf. Rām. 1.14.28.(Apte) Ta. kuṭam waterpot, hub of a wheel; kuṭaṅkar waterpot; kuṭantamkuṭantai Kumbakonam (old name); kuṭukkai coconut or other hard shell used as vessel, pitcher; kuṭikai ascetic's pitcher; kuṭuvai vessel with a small narrow mouth, pitcher of an asectic. Ma. kuṭam waterpot; kuṭukka shells (as of gourds) used as vessels, small cooking vessel with narrow mouth; kuṭuka, kuṭuva small vessel. Ko. koṛm (obl. koṛt-) waterpot with small mouth; ? kuck small clay pot used to drink from (? < *kuṭikkay). To. kuṛky small pot. Ka. koḍa earthen pitcher or pot; kuḍike small earthen, metal, or wood vessel; guḍuvana, guḍāṇa large water-vessel, used also for storing grain; earthen pot used for churning. Koḍ. kuḍike pot in which food (esp. rice) is cooked. Tu. kuḍki, kuḍkè, guḍke small earthen vessel. Te. kuḍaka, kuḍuka cup, bowl, scoop, any cup-like thing; guḍaka a coconut or other similar shell; (B) guḍaka, kuḍaka shell of a fruit prepared to serve as a snuff-box, etc., small metal box; (Inscr.) kuḍalu small earthen vessels. Kuwi (Su.) ḍōka, (S.) ḍoka, (F.) dōkka pot (Te. kuḍaka > *kḍōka > ḍōka). / Cf. Skt. kūṭa- waterpot; Turner, CDIAL, no. 3227(DEDR 1651) కమటము  kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii. Rebus:  కమ్మటము  Same as కమటము. కమ్మటీడు kammaṭīḍu. కమ్మరము  kammaramu. [Tel.] n. Smith's work, iron work. కమ్మరవాడు, కమ్మరి or కమ్మరీడు kammara-vāḍu. n. An iron-smith or blacksmith. బైటికమ్మరవాడు an itinerant blacksmith.[Tel.] A man of the goldsmith caste.(Telugu) Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)agniḥ अग्निः  Sacrificial altar, अग्निकुण्ड cf. Rām. 1.14.28.(Apte) అగ్నిగుండము a fire-pit.  kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh. (semant. cf. kumbhá -- 1), ˚ḍaka -- m.n. ʻ pot ʼ Kathās., ˚ḍī -- f. Pāṇ., ˚ḍikā -- f. Up. 2. *gōṇḍa -- . [← Drav., e.g. Tam. kuṭam, Kan. guṇḍi, EWA i 226 with other ʻ pot ʼ words s.v. kuṭa -- 1]1. Pa. kuṇḍi -- , ˚ḍikā -- f. ʻ pot ʼ; Pk. kuṁḍa -- , koṁ˚ n. ʻ pot, pool ʼ, kuṁḍī -- , ˚ḍiyā -- f. ʻ pot ʼ; Kt. kuṇi ʻ pot ʼ, Wg. kuṇḍäˊi; Pr. künǰǘ ʻ water jar ʼ; Paš. weg. kuṛã̄ ʻ clay pot ʼ < *kũṛā IIFL iii 3, 98 (or poss. < kuṭa -- 1), lauṛ. kuṇḍalīˊ ʻ bucket ʼ; Gaw. kuṇḍuṛīˊ ʻ milk bowl, bucket ʼ; Kal. kuṇḍṓk ʻ wooden milk bowl ʼ; Kho. kúṇḍuk˚ug ʻ milk bowl ʼ, (Lor.) ʻ a kind of platter ʼ; Bshk. kūnḗċ ʻ jar ʼ (+?); K. kŏnḍ m. ʻ metal or earthenware vessel, deep still spring ʼ, kọ̆nḍu m. ʻ large cooking pot ʼ, kunāla m. ʻ earthenware vessel with wide top and narrow base ʼ; S. kunu m. ʻ whirlpool ʼ, ˚no m. ʻ earthen churning pot ʼ, ˚nī f. ʻ earthen cooking pot ʼ, ˚niṛo m.; L. kunnã̄ m. ʻ tub, well ʼ, ˚nī f. ʻ wide -- mouthed earthen cooking pot ʼ, kunāl m. ʻ large shallow earthen vessel ʼ; P. kū̃ḍā m. ʻ cooking pot ʼ (← H.), kunāl˚lā m., ˚lī f., kuṇḍālā m. ʻ dish ʼ; WPah. cam. kuṇḍ ʻ pool ʼ, bhal. kunnu n. ʻ cistern for washing clothes in ʼ; Ku. kuno ʻ cooking pot ʼ, kuni˚nelo ʻ copper vessel ʼ; B. kũṛ ʻ small morass, low plot of riceland ʼ, kũṛi ʻ earthen pot, pipe -- bowl ʼ; Or. kuṇḍa ʻ earthen vessel ʼ, ˚ḍā ʻ large do. ʼ, ˚ḍi ʻ stone pot ʼ; Bi. kū̃ṛ ʻ iron or earthen vessel, cavity in sugar mill ʼ, kū̃ṛā ʻ earthen vessel for grain ʼ; Mth. kũṛ ʻ pot ʼ, kū̃ṛā ʻ churn ʼ; Bhoj. kũṛī ʻ vessel to draw water in ʼ; H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, kū̃ḍā m. ʻ earthen vessel to knead bread in ʼ, kū̃ṛī f. ʻ stone cup ʼ; G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, kũḍā m. ʻ large openmouthed jar ʼ, ˚ḍī f. ʻ small do. ʼ; Si. ken̆ḍiyakeḍ˚ ʻ pot, drinking vessel ʼ.2. N. gũṛ ʻ nest ʼ (or ← Drav. Kan. gūḍu ʻ nest ʼ, &c.: see kulāˊya -- ); H. gõṛā m. ʻ reservoir used in irrigation ʼ.*gōkuṇḍikā -- , taílakuṇḍa -- , *madhukuṇḍikā -- , *rakṣākuṇḍaka -- ; -- kuṇḍa -- 2?Addenda: kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., ˚ṛī f. ʻ pot ʼ.(CDIAL 3264)  

kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297)kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m. (CDIAL 3295)

Hieroglyphs ligatured to the bottom bowl of the standard: Dotted circles, gold beads: -पोत pōta 'gold bead', rebus 'metal casting' of dhatu 'mineral ores'  पोतदार  pōtadāra 'assayer of metals into the treasury' is purifier priest of Rgveda, पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. RV. Br. S3rS. Hariv. working with dhatu 'mineral ores' including  śṛṅgiḥ शृङ्गिः, śṛṅgī शृङ्गी  'Gold used for ornaments' signified by spiny-horned young bull (so-called 'unicorn' which is a composite hypertext composed of hieroglyphs). He is a turner, lapidary who works with ornament gold. The suffix -kara in kundakara is signified by the single ear of the young bull (so-called unicorn): The Sign||| signifies kolom 'three' rebus: kolimi 'smithy, forge'. The young bull is singhin, 'spiny-horned'.

I suggest that the ancient Meluhha phonetic form for the semantica of the following etyma is: gaḍa pole, staff, rod, stick, stalk, mast (Telugu) kantu கந்து³ kantu , n. < skandha. 1. Post, pillar; தூண். கந்துமாமணித் திரள்கடைந்து (சீவக. 155). 2. Post to tie an elephant to; யானைக்கட்டுந் தறி. கந்திற்பிணிப்பர் களிற்றை (நான்மணி. 12). 3. Post for cows to rub against, an ancient charity; ஆதீண்டுகுற்றி. கந்துடை நிலையினும் (திரு முரு. 226). 4. Post representing a deity which is worshipped; தெய்வமுறையுந் தறி. வம்பலர் சேக்குங் கந்துடைப் பொதியில் (பட்டினப். 249). 5. Staff, crutch, support; பற்றுக்கோடு. காதன்மை கந்தா (குறள், 507). (Tamil) skandhá m. ʻ shoulder, upper part of back ʼ AV., ʻ trunk of tree, mass (esp. of an army) ʼ MBh., skándhas<-> n. ʻ branching top of a tree ʼ RV. [Absence of any trace of initial s -- in Kafiri and Dardic supports possibility of IA. *kandha -- beside sk˚ (unnecessarily assumed in ODBL 438 for NIA. k -- which is dissim. from kh<-> before dh as prob. in Aś. agi -- k(h)aṁdha -- )]Pa. khandha -- m. ʻ shoulder, back, tree -- trunk ʼ, ˚aka<-> m. ʻ division, chapter ʼ; Pk. khaṁdha -- , ka˚ m. ʻ shoulder, tree trunk, wall ʼ; Ash. kándä ʻ stem, trunk ʼ, Bhoj. kandh m. ʻ tree trunk, thick branch ʼ; M. khã̄d˚dā f. ʻ large bough ʼ; Si. kan̆da ʻ shoulder, tree trunk, collection, mass ʼ (CDIAL 13627) Ta. kar̤ai pole used for propelling boats, elephant-goad, stem of sugar-cane, shaft of a bamboo, bamboo bottle, spiny bamboo; kar̤i rod, staff, stick, handle of tool, peg to keep a yoke in place, lath; kar̤āy acrobat's pole, spiny bamboo; kar̤āyar poledancers, tumblers; kār̤ post, pillar, oar, iron rod, elephant-goad, bolt, handle, rafter, firewood. Ma. kar̤a bamboo, pole for carrying burdens; kar̤i staff of hoe, pin of yoke. To. koł̣ag churnstick (word used at ti· dairy and at kog foł̣y dairy of To·ṟo·ṛ clan; ordinary word is modDBIA 287); koł̣em id. (TS 92.16, pïn goł̣em golden churnstick, with reference to the ti· dairy); ? ka·w forked stick. Ka. gar̤, gar̤a, gar̤u, gar̤uvu, gar̤e, gaḍe, gaḍi bamboo rod or stake, bamboo, pole, staff, bamboo pole on which Kollaṭigas or Dombas tumble, churning stick. Koḍ. gaḷe long stick. Tu. kari bar with which a door is fastened, pole fastened to a load by which it is carried on the shoulders; karè, garè the pole to which a bucket is attached in a country water-lift; garu, (B-K. also) karu, gaḷu rafter. Te. gaḍa pole, staff, rod, stick, stalk, mast. Pa. kaṛcid (pl. kaṛcil) wood for fuel; kaṛpa thin stick, twig, bean stick (or both with 1165 Ko. kaṇk). Ga. (Oll.) kaṛsid (pl. kaṛsil), (S.) kaḍcil (pl.) wood for fuel; kaṛmeṭ stick; kanḍven (pl. kanḍvēl) id. (or all these with 1165 Ko. kaṇk). Konḍa gaṛa pole, long stick. For other possible items, see App. 24 Ka. kaḍḍi. (DEDR 1370)

Section 2 Spiny-horned young bull (Unicorn) which सांगड sāṅgaḍa joins or links together a) young bull, calf; b) spiny-forward turning horn; c) ear; d) eye; e) rings on neck; f) pannier; g) penis


संघट्टणें   saṅghaṭṭaṇēṃ v i (Poetry. संघट्टन) To come into contact or meeting; to meet or encounter. Ex. अर्ध योजन आसपास ॥ वास घ्राण देवीसीं संघटे ॥.संघट्टन   saṅghaṭṭana n S संघट्टना f S corruptly संघठण, संघट्टण, संघष्टण, संघष्टन, संघृष्टन, संघट्ठणें n Close connection and intercourse; intimate and familiar communication. Ex. तुका म्हणे जिणें ॥ भलें संत संघट्टणें ॥. 2 Coming into contact with, encountering, meeting. 3 Close contact;--as the intertwining of wrestlers, the clinging and cleaving of lovers in their embraces &c. 4 Rubbing together, confrication. (Marathi) Pk. saṁghāḍa -- , ˚ḍaga -- m., ˚ḍī -- f. ʻ pair ʼ; G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ part of a turner's apparatus ʼ, sã̄gāḍī f. ʻlatheʼ; Md. an̆goḷi ʻ junction ʼ?; Si. san̆gaḷa ʻ pair ʼ,(CDIAL 12859) saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ]Pa. nāvā -- saṅghāṭa -- , dāru -- s˚ ʻ raft ʼ;  Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅārsiṅhār ʻ threshold ʼ;M. sãgaḍ m.f. ʻ float made of two canoes joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻdouble -- canoeʼ), sã̄gāḍā m. ʻ frame of a building ʼ, Si. han̆guḷaan̆g˚ ʻ double canoe, raft ʼ(CDIAL 12859)
Rebus: Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ(CDIAL 12859)  
 (Santali) Rebus: singin 'gold for ornaments'

singhin'spiny horn, projecting in front' PLUS karā 'ear'  PLUS kunda 'young bull' together signify singikākũdār,'ornament goldsmith who works a lathe or a lapidary'. he is also singikār potadāra 
'village silversmith, works with ornament gold, assayer of metals,'.

The standard in front of this artificer signifies kunda 'lathe' PLUS agnikuṇḍa 'yajna altar' PLUS pō̃ta 'metal casting' PLUS kaṇḍa 'flagpost' rebus: 
 (Santali) thus, the lapidary, artisan blacksmith produces metal implements and produces lapidary work using kunda 'fine gold', gems and precious stones.
karā 'ear' rebus: khār 'blacksmith'. کار کنده kār-kundaʿh, 'adroit blacksmith, manager of a business'This semantics is signified by the ligatured hieroglyph: karā 'ear' rebus khār 'blacksmith' PLUS young bull:  P کار kār, s.m. (2nd) Business, action, affair, work, labor, profession, operation. Pl. کارونه kārūnah. (E.) کار آرموده .چار kār āzmūdah. adj. Experienced, practised, veteran. کار و بار kār-o-bār, s.m. (2nd) Business, affair. Pl. کار و بارونه kār-o-bārūnahکار خانه kār- ḵẖānaʿh, s.f. (3rd) A manufactory, a dock- yard, an arsenal, a workshop. Pl. يْ eyکاردیده kār-dīdah, adj. Experienced, tried, veteran. کار روائي kār-rawā-ī, s.f. (3rd) Carrying on a business, management, performance. Pl. ئِي aʿīکار زار kār-zār, s.m. (2nd) Battle, conflict. Pl. کار زارونه kār-zārūnahکار ساز kār-sāz, adj. Adroit, clever; (Fem.) کار سازه kār-sāzaʿhکار ساري kār-sāzī, s.f. (3rd) Cleverness, adroitness. Pl. ئِي aʿīکار کند kār-kund (corrup. of P کار کن) adj. Adroit, clever, experienced. 2. A director, a manager; (Fem.) کار کنده kār-kundaʿh.    S لوهار lo-hār, s.m. (5th) A blacksmith. Pl. لوهاران lo-hārān.(Pashto) khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस्त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब॑ठू॒ । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु॒ । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग॑जि॒ or -güjü -ग॑जू॒ । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा॑जू॒), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू॒ । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क॑टु॒ । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क॑टू॒ । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më̆ʦü 1 -म्य॑च़ू॒ । लोहकारमृत्तिका f. (for 2, see khāra 3), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु॒ । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see khārun), the trough into which the blacksmith allows melted iron to flow after smelting. añĕ -च़्ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 30). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)

He is also engaged in setting gems and jewels in metal ornaments: 

Hieroglyph: kunda 'lathe' rebus: Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold(DEDR 1725) 

Two associated characteristics of 'blacksmith, lapidary' signified by the hieroglyphs relate to: 1) khara खर excellence, genuineness; and 2) khara खर upright posture with the desire to be of help to others:

 khara 1 खर adj. c.g. good, excellent; genuine, real, true; just, fair, right; upright, sincere (Gr.M.); clear, manifest, permanently bright (Śiv. 1642, 1774); cf. khoru 6. --karun --करुन् । सुज्ञातीकरणम् m.inf. to make clearly intelligible, to make clearly understood. -sara karun -सर करुन् । सम्यङ्गिर्णयविधानम् m.inf. to make a clear enquiry; hence, after due investigation to decide correctly.
   khara 2 खर adj. c.g. standing up, erect, upright; standing, stationary; (of something which may be liquid, etc.) solid, undissolved (Śiv. 336); solid, substantial, firm (Śiv. 330, 340, 625); ready, prepared (Śiv. 1586). --gaʦhun --गछ़ुन् m.inf. to stand up, become erect; (of one asleep) to rise from sleep, to be aroused, to be awakened, to awake (K. 232). --rōzun --रोज़ुन् । स्थिरोभवनम् m.inf. to remain standing, to stand, stay, wait; esp. to stand in attendance, or in order to help.

Rings on neck: kaṇṭhaka m. ʻ necklace ʼ Kathās., ˚ṭhikā -- f. lex. [kaṇṭhá -- ]
Pk. kaṁṭhiā -- f., S. P. kaṇḍhī f.; B. kã̄ṭhī˚ṭī ʻ ring round the neck (of bird, snake &c.) ʼ; Or. kaṇṭhā ʻ necklace ʼ, ˚ṭhi ʻ one -- stringed necklace, horse's halter ʼ; H. kaṇṭhā m. ʻ gold necklace ʼ (→ P. kaṇṭhā m., S. kaṇṭho m. ʻ necklace ʼ), kaṇṭhī f. ʻ small do. ʼ, poet. kã̄ṭhā m. ʻ red and blue ring round a parrot's throat ʼ; OM. kāṁṭhā m. ʻ necklace ʼ. -- Ext. with -- ll -- : S. kaṇḍhilo m. ʻ a kind of necklace for children ʼ; P. kaṇḍhlī f. ʻ necklace ʼ; H. kaṇṭhlākaṭh˚ m. ʻ gold or silver necklace worn as an amulet against evil ʼ.Addenda: kaṇṭhaka -- : WPah.kṭg. kaṇḍhi f. ʻ hairy ring on neck of some birds ʼ.(CDIAL 2681) Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re(B) {V}(pot, etc.) to ^overflow''. See`to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper. Hieroglyph: lo 'penis' Go<luGguj>(Z) [lUGguy']  {NB} ``male ^genitals, ^penis, ^scrotum''.(Munda etyma) loe 'penis' (Ho.) Hieroglyph: ``^penis'':So. laj(R)  ~ lij  ~ la'a'j  ~ laJlaj ~ kaD`penis'.Sa. li'j `penis, esp. of small boys'.Sa. lO'j `penis'.Mu. lOe'j  lOGgE'j `penis'.! lO'jHo loe`penis'.
Ku. la:j `penis'.@(C289) ``^penis'':Sa. lOj `penis'.Mu. lOj `penis'.KW lOj@(M084) <lO?Oj>(D),,<AlAj>(L)//<lAj>(DL)  {N} ``^penis''.  #43901.<ului>(P),,<uluj>(MP)  {NB} ``^penis, male organ, male^genitals''.  Cf. <kOlOb>(P),<susu>(M) `testicle'; <kuLij>(M), <kuRij>(P) `vulva'.  *Sa., MuN<lO'j>, MuH, Ho<lo'e>,So.<laj-An>, U.Tem.<lo'> ??. %33271.  #33031.So<lO?Oj>(D),,<AlAj>(L)//<lAj>(DL)  {N} ``^penis''.<lohosua>(D)  {NI} ``^dance''.  #20141. lo-khaṇḍa, penis + gaṇḍa, 4 balls; Rebus: lokhaṇḍa 'iron, metalware.'Rebus: loh 'copper, iron, metal' (Indian sprachbund, Meluhha) लोह [p= 908,3]
mfn.(prob. fr. a √ रुह् for a lost √ रुध् , " to be red " ; cf. रोहि , रोहिण &c ) red , reddish , copper-coloured S3rS. MBh.made of copper S3Br. (Sch.)made of iron Kaus3.m. n. red metal , copper VS. &c Rebus: <loha>(BD)  {NI} ``^iron''.  Syn. <luaG>(D).  *@.  #20131)  laúha -- ʻ made of copper or iron ʼ Gr̥Śr., ʻ red ʼ MBh., n. ʻ iron, metal ʼ Bhaṭṭ. [lōhá -- ] Pk. lōha -- ʻ made of iron ʼ; L. lohā ʻ iron -- coloured, reddish ʼ; P. lohā ʻ reddish -- brown (of cattle) ʼ.lōhá 11158 lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho.loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam.lohā, Ku. luwā, N. lohu°hā, A. lo, B. lono, Or. lohāluhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. lohlohā m., G. M. loh n.; Si. loho ʻ metal, ore, iron ʼ; Md.ratu -- lō ʻ copper ʼ.WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md.  ʻ metal ʼ. (CDIAL 11172).lōhakāra m. ʻ iron -- worker ʼ, °rī -- f., °raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1]Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohārluh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ.WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m. (CDIAL 11159).lōhaghaṭa 11160 *lōhaghaṭa ʻ iron pot ʼ. [lōhá -- , ghaṭa -- 1]Bi. lohrā°rī ʻ small iron pan ʼ.*lōhaphāla -- ʻ ploughshare ʼ. [lōhá -- , phāˊla -- 1]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl m. ʻ an agricultural implement ʼ Him.I 197; -- or < †*lōhahala -- .(CDIAL 11160) lōhala ʻ made of iron ʼ W. [lōhá -- ]G. loharlohariyɔ m. ʻ selfwilled and unyielding man ʼ.(CDIAL 11161).*lōhaśālā ʻ smithy ʼ. [lōhá -- , śāˊlā -- ]Bi. lohsārī ʻ smithy ʼ. (CDIAL 11162).lōhahaṭṭika 11163 *lōhahaṭṭika ʻ ironmonger ʼ. [lōhá -- , haṭṭa -- ] P.ludh. lōhṭiyā m. ʻ ironmonger ʼ.†*lōhahala -- ʻ ploughshare ʼ. [lōhá -- , halá -- ]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl ʻ an agricultural instrument ʼ; rather < †*lōhaphāla -- .(CDIAL 11163).

kotiyum 'rings on neck' kṓṣṭha1 m. ʻ any one of the large viscera ʼ MBh. [Same as kṓṣṭha -- 2? Cf. *kōttha -- ]Pa. koṭṭha -- m. ʻ stomach ʼ, Pk. koṭṭha -- , kuṭ˚ m.; L. (Shahpur) koṭhī f. ʻ heart, breast ʼ; P. koṭṭhā, koṭhā m. ʻ belly ʼ, G. koṭhɔ m., M. koṭhā m.(CDIAL 3545) Rebus: kṓṣṭha2 n. ʻ pot ʼ Kauś., ʻ granary, storeroom ʼ MBh., ʻ inner apartment ʼ lex., ˚aka -- n. ʻ treasury ʼ, ˚ikā f. ʻ pan ʼ Bhpr. [Cf. *kōttha -- , *kōtthala -- : same as prec.?] Pa. koṭṭha -- n. ʻ monk's cell, storeroom ʼ, ˚aka<-> n. ʻ storeroom ʼ; Pk. koṭṭha -- , kuṭ˚, koṭṭhaya -- m. ʻ granary, storeroom ʼ (CDIAL 3546)  rebus: kod 'workshop' 3500 kōṭṭa1 m. (n. lex.) ʻ fort ʼ Kathās., kōṭa -- 1 m. Vāstuv. Aś. sn. koṭa -- ʻ fort, fortified town ʼ, Pk. koṭṭa -- , kuṭ˚ n.; Kt. kuṭ ʻ tower (?) ʼ NTS xii 174; Dm. kōṭ ʻ tower ʼ, Kal. kōṭ; Sh. gil. kōṭ m. ʻ fort ʼ (→ Ḍ. kōṭ m.), koh. pales. kōṭ m. ʻ village ʼ; K. kūṭh, dat. kūṭas m. ʻ fort ʼ, S. koṭu m., L. koṭ m.; P. koṭ m. ʻ fort, mud bank round a village or field ʼ; A. kõṭh ʻ stockade, palisade ʼ; B. koṭkuṭ ʻ fort ʼ, Or. koṭakuṭa, H. Marw. koṭ m.; G. koṭ m. ʻ fort, rampart ʼ; M. koṭkoṭh m. ʻ fort ʼ, Si. koṭuva (Geiger EGS 50 < kōṣṭhaka -- ).kōṭṭapāla m. ʻ commander of a fort ʼ Pañcat. [kōṭṭa -- 1, pāla -- ]Pk. koṭṭavāla -- , kuṭ˚ m. ʻ police officer ʼ; K. kuṭawāl m. ʻ captain of a fort, chief of police, city magistrate ʼ; S. koṭāru m. ʻ district officer who watches crops, police officer ʼ; L. kuṭvāl m. ʻ a kind of village constable ʼ; WPah. bhal. kuṭwāl m. ʻ hon. title of a Ṭhakkur ʼ; B. koṭāl ʻ watchman, constable ʼ (ODBL 329 < *kōṣṭhapāla -- ); Or. kaṭuāḷa ʻ town policeman ʼ; H. koṭwār˚wāl m. ʻ police officer ʼ (→ L. koṭvāl m., S. koṭvālu m.), G. koṭvāḷ m.(CDIAL 3500, 3501)   2207 (a) Ta. kōṭṭai fort, castle; kōṭu stronghold. Ma. kōṭṭa fort, residence; kōṭu fort. Ko. ko·ṭ castle, palatial mansion. To. kwa·ṭ bungalow. Ka. kōṭe fort, rampart; (PBh.) kōṇṭe fort. Koḍ. ko·ṭe palace
Tu. kōṭè fort. Te. kōṭa, (Inscr.) koṭṭamu id. Kuwi (S.) kōṭa palace, fort. / Cf. Skt. koṭṭa-, koṭa- fort, stronghold. DED 1831.(b) Ko. go·ṛ  (obl. go·ṭ-) wall. Ka. gōḍe id. Tu. gōḍè id. Te. gōḍa id. 
Kol. (SR.) goḍā id. Kuwi (S.) kōḍa wall, prison; (Isr.) kōḍa wall.  (DEDR 2207)

Pannier: खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth). 

खोंड khōṇḍa 'young bull'; khōṇḍa 'sack, pannier'; See the pannier on the shoulder, rings on neck. lo 'overflow', kāṇḍa 'sacred water'.Overflowing pot is lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans'. koḍ 'young boy' is artisan is a lapidary, smith. In Telugu the word for a young bull is kōḍedūḍa కోడె kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. Rebus: kō̃daकोँद 'kiln; kunda 'a treasure of Kubera'; kundaṉa 'fine gold'. खोंड [khōṇḍam A young bull, a bullcalf; kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda)Rebus: kõdā ‘to turn in a lathe’ (Bengali)  Te. kōḍiya, kōḍe young bull; adj. male (e.g. kōḍe dūḍa bull calf), young, youthful; kōḍekã̄ḍu a young man. Kol. (Haig) kōḍē bull. Nk. khoṛe male calf. Konḍa kōḍi cow; kōṛe young bullock. Pe. kōḍi cow. Manḍ. kūḍi id. Kui kōḍi id., ox. Kuwi (F.) kōdi cow; (S.) kajja kōḍi bull; (Su. P.) kōḍi cow.(DEDR 2199)

Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, °ku ʻ thigh, buttock ʼ. 2. B. ṭāṅ, ṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄g, ṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅ, ṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ(CDIAL 5428) टांग or टांगडी ṭāṅga or ṭāṅgaḍī f (टंग S through H) A low or light term for the leg. 2 esp. टांग A stride: also the stride as a measure of land; as टांगा टा- कून शेत मोजलें. ज्याच्या टांगड्या त्याच्याच गळ्यांत घालणें To catch a man in his own trap; to involve or embarrass one with his own words. टांग बांधणें (To tie up the legs.) To obtain some secret ground of sway over. टांगें तिंबणें (A vulgar and opprobrious phrase.) To get married. 2 To bathe. टांगड्या तोडणें To tiudge; to tramp.(Marathi)
Rebus: stamped coin, mint: टंक [ ṭaṅka ] m S A stone-cutter's chisel. 2 A weight equal to four माष &c. टंकारी [ ṭakārī or ṭaṅkārī ] m (टंक) A caste or an individual of it. They are workers in stone, makers of handmills &c. ṭaṅkaśālā -- , ṭaṅkakaś° f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl, °ār, B. ṭāksāl, ṭã̄k°, ṭek°, Bhoj. ṭaksār, H. ṭaksāl, °ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk°, ṭãk°, ṭak°. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m. Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, °sārī m. ʻ mint -- master ʼ.(CDIAL 5433, 5434). శాల ṣāla. [Skt.] n. A house, edifice; a hall, room, place. గృహము, సభ, చావడి. అశ్వశాల a stable. ఆయుధశాల an arsenal, an armoury. ముద్రాక్షరశాల a printing office. టంకశాల a mint. సాల sāla. [from Skt. శాల.] n. A house, edifice; a hall, room, place. గృహము, సభ, చ ావడి, చెరసాల a prison. టంకసాల a mint. टंकशाला ṭaṅkaśālā f (S) pop. टंकसाळ or टकसाळ f A mint टांकेकरी ṭāṅkēkarī m (टांकी & करी) One who works with a टांकी; who chisels or rechisels handmills and grinding stones.टाकसाळ or टांकसाळ ṭākasāḷa or ṭāṅkasāḷa f (टंकशाला S) A mint. टाकसाळथर ṭākasāḷathara m Worn and battered coin fit to be returned for new coinage into the mint. टाकसाळी or टांकसाळी ṭākasāḷī or ṭāṅkasāḷī a (टाकसाळ) Pertaining or relating to the mint--money, a person.टाकसाळी or टांकसाळी ṭākasāḷī or ṭāṅkasāḷī f A cess upon a mintestablishment, टाकसाळ्या ṭākasāḷyā m (टांकसाळ) The master of a mint.(Marathi)

Hieroglyph: Horn, two horns: Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl. ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwï·ṛ (obl. kwï·ṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl. kōrgul) id. Go. (Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska) horn, antler.(DEDR 2200)

Hieroglyph: eye:    1159 (a) Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string. Ka. kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Tu. kaṇṇů eye, nipple, star in peacock's feather, rent, tear. Te. kanu, kannu eye, small hole, orifice, mesh of net, eye in peacock's feather. Kol. kan (pl. kanḍl) eye, small hole in ground, cave. Nk. kan (pl. kanḍḷ) eye, spot in peacock's tail. Nk. (Ch.) kan (pl. -l) eye. Pa. (S. only) kan (pl. kanul) eye. Ga. (Oll.) kaṇ (pl. kaṇkul) id.; kaṇul maṭṭa eyebrow; kaṇa (pl. kaṇul) hole; (S.) kanu (pl. kankul) eye. Go. (Tr.) kan (pl. kank) id.; (A.) kaṛ (pl. kaṛk) id. Konḍa kaṇ id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi (F.) kannū (pl. karňka), (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. Kur. xann eye, eye of tuber; xannērnā (of newly born babies or animals) to begin to see, have the use of one's eyesight (for ērnā, see 903). Malt. qanu eye. Br. xan id., bud. Cf. 1443 Ta. kāṇ and 1182 Ta. kaṇṇāṭi.
(b) Ta. kaṇ ṇīr tears. Ma. kaṇ ṇīr. Ko. ka(ṇ) ṇi·r. To. keṇi·r. Ka. kaṇ ṇīr. Tu. kaṇṇů nīr. Te. kan nīru. Pa. (S.) kan nīr. Ga. (Oll.) kanīr. Go. (Mu.) kanner, (A.) kaṛel, (Tr. Ph.) kānēr (pl. kānehk), (Ko.) kanḍēr, (Ma. Ko.) kannīr (Voc. 506). Konḍa kaṇer(u)Pe. kaṇer, kāṇel. Kui kanḍru (pl. -ka). Kuwi (F.) kandrū (pl. -ŋa), (S. Su.) kanḍru, (Mah.) kanˀ eri. Kur. xańjalxō. Malt. qan amu. Br. xaṛīnk.(DEDR 1159)

Rebus: கன்¹ kaṉ , n. perh. கன்மம். 1. Workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. Copper work; கன்னார் தொழில். (W.) 3. Copper; செம்பு. (ஈடு, 5, 8, 3.) 4. See கன்னத்தட்டு. (நன். 217, விருத்.) கன்² kaṉ , n. < கல். 1. Stone; கல். (சூடா.) 2. Firmness; உறுதிப்பாடு. (ஈடு, 5, 8, 3.)

Ear: *kāra6 ʻ ear ʼ. [Connexion with kárṇa -- is not clear] Wg. kār ʻ ear ʼ (← Kho. kār), Kt. kōr, Dm. ar Morgenstierne FestskrBroch 150, NTS xii 173; -- Ash. karmuṭäˊ ʻ ear ʼ, Kt. karmútə ʻ lobe of ear ʼ, Gaw. kumtak ʻ ear ʼ NTS ii 261 (or poss. all three < karṇapattraka -- ).Addenda: *kāra -- 6: Kho. kār ʻ ear ʼ certainly not ← Wg. BKhoT 69 (CDIAL 3056)

Rebus: *kāra ʻ live coal ʼ. [Cf. *skāra -- , kṣārá -- 1]Sh. gil. kã̄rṷ m. ʻ charcoal ʼ, (Lor.) kāre (m. pl.?)(CDIAL 3055)

Ma. kantu membrum muliebre. To. kod pubic hair.(DEDR 1210)
Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214)

 कूळघडणी   kūḷaghaḍaṇī f The record annually prepared by the कुळकरणी for each कूळ or Ryot, exhibiting his lands and means and tillage and dues &c. in his relation to Government.घडणी   ghaḍaṇī f (Verbal of घडणें) Forging, forming, fashioning, making. 2 Form, fashion, make (of a forged article). 3 Forming or modeling skill. 4 The paper kept by the कुळकरणी in account with the families of the village.घडणें ghaḍaṇēṃ v c (घटन S) To form, fashion, forge; to shape or make by hammering, chiseling, chipping &c. 2 To draw up, make out, frame (an account).कूळ kūḷa n (कुल S) A family, a race, a tribe. Pr. कुळास खोड संतानास वेड (नसावें). 2 A lessee or tenant or the contracting farmer with reference to the Surkár or lessor; a debtor with reference to the Banker.


Section 1 Standard device; 

Section 2 Spiny-horned young bull (Unicorn). 


Rebus Meluhha readings of these two part narratives of the pictorial motifs of 'standard device composed of lathe + portable furnace' and  'spiny-horned young bull' are detailed in this monograph. The sãgahā ʻcollection of materials'  presented in two parts in the vivid pictorial narratives of Indus Script inscriptions are consistent with the decipherment of over 8000 inscriptions as wealth-accounting ledgers.  


सांगाडा sāṅgāḍā m The skeleton, box, or frame (of a building, boat, the body etc.), the hull, shell, compages. 2 Applied, as Hulk is, to any animal or thing huge and unwieldy. सांकाटा sāṅkāṭā 
m (Commonly सांगाडा) The skeleton, box, or frame (of a building, boat, cart, the body). 2 A frame or texture of sticks (as for the covering of a मंडप or shed, for the flooring of a loft etc.); a crate, a hurdle, or similar thing. सांगडणें sāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals). 2 Freely. To tie or bind up or unto. Rebus 1: sãgahā ʻcollection of materials'. 

Rebus 2 Intimate & familiar communication: संघट्टन   saṅghaṭṭana n S संघट्टना f S corruptly संघठण, संघट्टण, संघष्टण, संघष्टन, संघृष्टन, संघट्ठणें n Close connection and intercourse; intimate and familiar communication. Ex. तुका म्हणे जिणें ॥ भलें संत संघट्टणें


Note on Singh, Simha, a title of Kshatriya warriors

I suggest that the title Singh, Simha relates to the Indus Script tradition of singa 'young bull' (Pali) rebus singi 'ornament gold' (perhaps, silversmith) signified as a wealth-creator in Sarasvati Civilization tradition. A synonym for singa 'young bull' is dhangar 'bull' N. ḍāṅro ʻ term of contempt for a blacksmith ʼ, L. P. ḍiṅgā; Ku. ḍĩglo ʻ lean, emaciated ʼ; N. ḍĩgoḍiṅo ʻ abusive word for a cow ʼ; N. ḍiṅgar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. ḍiṅgar ʻ vile ʼ; Or. ḍiṅgara ʻ rogue ʼ, ˚rā ʻ wicked ʼ; H. ḍiṅgar m. ʻ rogue ʼ; M. ḍĩgar m. ʻ boy ʼ...8. L. (Shahpur) ḍhag̠g̠ā ʻ small weak ox ʼ, ḍhag̠g̠ī f. ʻ cow ʼ, ḍhag̠ṛā m. ʻ paramour ʼ.9. Pk. ḍhaṁkhara -- m.n. ʻ branch without leaves or fruit ʼ; S. ḍhaṅgaru m. ʻ lean emaciated beast ʼ; Ku. ḍhã̄go ʻ lean ʼ, m. ʻ skeleton ʼ; M. ḍhã̄k, n., ḍhã̄kaḷ f. ʻ old decaying stump ʼ, ḍhã̄kẽ n. ʻ stout stake ʼ, ḍhã̄kaḷ˚kūḷ ʻ old and decaying, bare of leaves &c. ʼ10. S. ḍhiṅgaru m. ʻ lean emaciated beast ʼ.11. Or. dhāṅgaṛ ʻ young servant, herdsman, name of a Santal tribe ʼ, dhāṅgaṛā ʻ unmarried youth ʼ, ˚ṛī ʻ unmarried girl ʼ, dhāṅgarā ʻ youth, man ʼ; H. dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ˚ar m. ʻ a non -- Aryan tribe in the Vindhyas, digger of wells and tanks ʼ;(CDIAL 5524) Bi. ṭhākur ʻ barber ʼ; Mth. ṭhākur ʻ blacksmith ʼ; ṭhakkura m. ʻ idol, deity (cf. ḍhakkārī -- ), ʼ lex., ʻ title ʼ Rājat. [Dis- cussion with lit. by W. Wüst RM 3, 13 ff. Prob. orig. a tribal name EWA i 459, which Wüst considers nonAryan borrowing of śākvará -- : very doubtful]Pk. ṭhakkura -- m. ʻ Rajput, chief man of a village ʼ; Kho. (Lor.) takur ʻ barber ʼ (= ṭ˚ ← Ind.?), Sh. ṭhăkŭr m.; K. ṭhôkur m. ʻ idol ʼ ( ← Ind.?); S. ṭhakuru m. ʻ fakir, term of address between fathers of a husband and wife ʼ; P. ṭhākar m. ʻ landholder ʼ, ludh. ṭhaukar m. ʻ lord ʼ; Ku. ṭhākur m. ʻ master, title of a Rajput ʼ; N. ṭhākur ʻ term of address from slave to master ʼ (f. ṭhakurāni), ṭhakuri ʻ a clan of Chetris ʼ (f. ṭhakurni); A. ṭhākur ʻ a Brahman ʼ, ṭhākurānī ʻ goddess ʼ; B. ṭhākurāniṭhākrān˚run ʻ honoured lady, goddess ʼ; Or. ṭhākura ʻ term of address to a Brahman, god, idol ʼ, ṭhākurāṇī ʻ goddess ʼ; Bhoj. Aw.lakh. ṭhākur ʻ lord, master ʼ; H. ṭhākur m. ʻ master, landlord, god, idol ʼ, ṭhākurāinṭhā̆kurānī f. ʻ mistress, goddess ʼ; G. ṭhākor˚kar m. ʻ member of a clan of Rajputs ʼ, ṭhakrāṇī f. ʻ his wife ʼ, ṭhākor ʻ god, idol ʼ; M. ṭhākur m. ʻ jungle tribe in North Konkan, family priest, god, idol ʼ; Si. mald. "tacourou"ʻ title added to names of noblemen ʼ (HJ 915) prob. ← Ind.Addenda: ṭhakkura -- : Garh. ṭhākur ʻ master ʼ; A. ṭhākur also ʻ idol ʼ AFD 205.(CDIAL 5488)

siṁhá m. ʻ lion ʼ, siṁhīˊ -- f. RV.Pa. sīha -- m. ʻ lion ʼ, sīhī -- f., Dhp. siha m., Pk. siṁha -- , siṁgha -- , sīha -- m., sīhī -- f.; Wg.  ʻ tiger ʼ; K. sahsüh m. ʻ tiger, leopard ʼ; P. sī˜hsihã̄ m. ʻ lion ʼ, bhaṭ. sīh ʻ leopard ʼ; WPah.khaś. sīˋ ʻ leopard ʼ, cur. jaun. sīh ʻ lion ʼ; Ku. syū̃syū ʻ tiger ʼ; Mth. sī˜h ʻ lion ʼ, H. sī˜ghsīh m., OG. sīha m.; -- Si. siha ← Pa. -- L. śĩh, khet. śī ʻ tiger ʼ with ś -- from Pers. lw. śer ʻ tiger ʼ. -- Pa. sīhinī<-> f. ʻ lioness ʼ; K. sīmiñ f. ʻ tigress, leopard ʼ; P. sīhaṇī f. ʻ tigress ʼ; WPah.bhal. se_hiṇi f. ʻ leopard withcubs ʼ, jaun. sī˜haṇ ʻ tigress ʼ; H. sĩghnī f. ʻ lioness ʼ.Addenda: siṁhá -- : WPah.kṭg. sīˊ m. ʻ lion, leopard, brave man ʼ, sĩˊəṇsī˜ṇ (with high level tone) f. ʻ lioness ʼ (also sī˜ṇ Him.I 214 misprint with i?).(CDIAL 13384)

Meitei, or Meetei is a Sino-Tibetan language and the predominant language and lingua franca in the southeastern Himalayan state of Manipur, in northeastern India. It is the one of the official languages of the Government of India. In Meitei, the name is written and pronounced as Singh , although many meitei communities are shifting back to the traditional naming system. The Bishnupuri Manipuri people use Sinha (সিনহা) or Singha(সিংহ).In Tamil, the name is Singham written as சிங்கம்.
·         In Sinhalese, the name is written as සිංහ and pronounced as Sinha.
·         In Burmese, it is spelled သီဟ (thiha), derived from the Pali variant siha.
·         In Thailandsingha is known as sing (สิงห์), meaning "lion".
·         In Indonesia and Malaysia, Singa or Singha, means lion.
·         In Kannada the name is simha and written as ಸಿಂಹIn Punjabi (Gurmukhi script/Shahmukhi script), the name is written as ਸਿੰਘ/سِنگھ and pronounced as Singh.
·         In Odia , the name is written as 'ସିଂ' (Pronounced as sing) or 'ସିଂହ' (Pronounced as Singha).
·         In Bengali, the name is written as সিংহ (Sing-ho) which also means lion, however the name is pronounced as Shingh.
·         In Hindi and Nepali, the name is written सिंह, and pronounced IPA: [sɪŋɡʱ].
·         In Urdu, it is written as سِنگھ with the same pronunciation. Variations include Simha and Sinha in Bihar.
·         In Maithili, the name is written as सिंह and both Singh and Sinha are used interchangeably.
·         In Marathi, the name is written and pronounced as सिंह (Sinha).
·         In Gujarati, it is spelled as સિંહ (Sinh). Another variant is Sinhji, the form of Singh used in Gujarat, where the 'g' is dropped and the suffix of respect 'ji' is added.
·         In Shina, it is spelled as سِنگھ.
·         In Chinese, Shīzi (狮子) means lion..

Originally, the Sanskrit word for lion, variously transliterated as Simha or Singh was used as a title by Kshatriya warriors in northern parts of India. The earliest recorded examples of the names ending with "Simha" are the names of the two sons of the Saka ruler 
Rudraraman in the second century CE. Jayasimha, the first ruler of the Chalukya dynasty to bear the title Simha, ruled around 500 CE. The Vengi branch of the Chalukyas continued using Simha as the last name till the eleventh century. The Rajputs started using Singh in preference to the classical epithet of "Varman". Among the Rajputs, the use of the word Simha came into vogue among the Paramaras of Malwa in 10th century CE, among the Guhilots and the Kachwahas of Narwar in the 12th century CE, and the Rathores of Marwar after the 17th century” (Qanungo, Kalika Ranjan (1960). Studies in Rajput HistoryDelhiS. Chand. pp. 138–140.)
Coin of the Western Kshatrapa ruler Rudrasimha I (178 to 197 CE).
Obv: Bust of Rudrasimha, with corrupted Greek legend "..OHIIOIH.." (Indo-Greek style).
Rev: Three-arched hill or Chaitya, with river, crescent and sun, within Prakrit legend in Brahmi script:Rajno Mahaksatrapasa Rudradamnaputrasa Rajna Mahaksatrapasa Rudrasihasa "King and Great Satrap Rudrasimha, son of King and Great Satrap Rudradaman".
Rudrasimha I used "Simha" as suffix.
Coin of Rudrasimha I, dated 114 Saka Era (192 CE).

Archaeological & RV 10.85 evidence for writing in Rgveda times of hymns written on robes

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RV Wilson translation: 10.085.06 Raibhi was her companion; Na_ra_s'am.si_ her slave; Su_rya's lovely dress was adorned by Ga_tha. [Raibhi, Na_ra_s'am.si_ and Ga_tha_ are personifications of son and praise. Raibhi from rebh, to sound: Aitareya Bra_hman.a 6.32].

परि-ष्-कृत mfn. (प्/अरि-) prepared , adorned , embellished , furnished with , surrounded or accompanied by (instr. or comp.RV. &c

Anvaya, syntax reading is: (mama) suuryaaya = of me, Surya; bhadram = beneficial (munificent); Vaasah it = the dress also; gaathayaa = by the hymns; parishkrtam eti = was adorned. Thus, the expression signifies that the munificent dress of Surya was adorned by the hymns. This indicates that the gaatha-s were 'WRITTEN' on the robe or dress of Surya.

One example of such writing is provided on Bactrian cup which shows 8 Rtvij wearing robes with the Indus Script hieroglyphs of trefoils. On trefoils as hieroglyphs, see:Venerated Trefoil. Mohenjo-daro and Bactrian priests wear तार्प्य Sky Garment of Varuṇa Indus Script signifiers of dhā̆vaḍ potr̥, 'smelter, purifier priest' https://tinyurl.com/ycpghhse
Indus Script priest with trefoil-decorations on shawl: kolimi pottha-kara 'smithy-forge modeller in clay (metalcaster)', pō̃ta 'casting in metal' 

http://tinyurl.com/na2bglu

रेभ &c » √रिभ् ,cl.1 P. र्/एभति (accord. to Dha1tup. x , 22 A1. °ते ; pf. रिरेभ RV. ; aor. 
अरेभीत् Gr. ; fut. रेभिता , रेभिष्यति ib.) , to crackle (as fire) RV.  ; to creak (as a car) TS.  ; to murmur (as fluids) RV.  ; to chatter , talk aloud AitBr.  ; to shout , sing , praise RV. (Monier-Williams)   रेभ्   rēbh रेभ् 1 Ā. (रेभते) 1 To sound, make a noise. -2 To low (as cows). रेभ   rēbha रेभ a. Ved. 1 Crackling. -2 Sounding loudly; cf. Ki.15.16. -भः 1 A praiser. -2 A talker.(Apte)






HYMN LXXXV. Suryas' Bridal. 85

RV_10,085.01a satyenottabhitā bhūmiḥ sūryeṇottabhitā dyauḥ |
RV_10,085.01c ṛtenādityās tiṣṭhanti divi somo adhi śritaḥ ||
RV_10,085.02a somenādityā balinaḥ somena pṛthivī mahī |
RV_10,085.02c atho nakṣatrāṇām eṣām upasthe soma āhitaḥ ||
RV_10,085.03a somam manyate papivān yat sampiṃṣanty oṣadhim |
RV_10,085.03c somaṃ yam brahmāṇo vidur na tasyāśnāti kaś cana ||
RV_10,085.04a ācchadvidhānair gupito bārhataiḥ soma rakṣitaḥ |
RV_10,085.04c grāvṇām ic chṛṇvan tiṣṭhasi na te aśnāti pārthivaḥ ||
RV_10,085.05a yat tvā deva prapibanti tata ā pyāyase punaḥ |
RV_10,085.05c vāyuḥ somasya rakṣitā samānām māsa ākṛtiḥ ||
RV_10,085.06a raibhy āsīd anudeyī nārāśaṃsī nyocanī |
RV_10,085.06c sūryāyā bhadram id vāso gāthayaiti pariṣkṛtam ||
RV_10,085.07a cittir ā upabarhaṇaṃ cakṣur ā abhyañjanam |
RV_10,085.07c dyaur bhūmiḥ kośa āsīd yad ayāt sūryā patim ||
RV_10,085.08a stomā āsan pratidhayaḥ kurīraṃ chanda opaśaḥ |
RV_10,085.08c sūryāyā aśvinā varāgnir āsīt purogavaḥ ||
RV_10,085.09a somo vadhūyur abhavad aśvināstām ubhā varā |
RV_10,085.09c sūryāṃ yat patye śaṃsantīm manasā savitādadāt ||
RV_10,085.10a mano asyā ana āsīd dyaur āsīd uta cchadiḥ |
RV_10,085.10c śukrāv anaḍvāhāv āstāṃ yad ayāt sūryā gṛham ||
RV_10,085.11a ṛksāmābhyām abhihitau gāvau te sāmanāv itaḥ |
RV_10,085.11c śrotraṃ te cakre āstāṃ divi panthāś carācāraḥ ||
RV_10,085.12a śucī te cakre yātyā vyāno akṣa āhataḥ |
RV_10,085.12c ano manasmayaṃ sūryārohat prayatī patim ||
RV_10,085.13a sūryāyā vahatuḥ prāgāt savitā yam avāsṛjat |
RV_10,085.13c aghāsu hanyante gāvo 'rjunyoḥ pary uhyate ||
RV_10,085.14a yad aśvinā pṛcchamānāv ayātaṃ tricakreṇa vahatuṃ sūryāyāḥ |
RV_10,085.14c viśve devā anu tad vām ajānan putraḥ pitarāv avṛṇīta pūṣā ||
RV_10,085.15a yad ayātaṃ śubhas patī vareyaṃ sūryām upa |
RV_10,085.15c kvaikaṃ cakraṃ vām āsīt kva deṣṭrāya tasthathuḥ ||
RV_10,085.16a dve te cakre sūrye brahmāṇa ṛtuthā viduḥ |
RV_10,085.16c athaikaṃ cakraṃ yad guhā tad addhātaya id viduḥ ||
RV_10,085.17a sūryāyai devebhyo mitrāya varuṇāya ca |
RV_10,085.17c ye bhūtasya pracetasa idaṃ tebhyo 'karaṃ namaḥ ||
RV_10,085.18a pūrvāparaṃ carato māyayaitau śiśū krīḷantau pari yāto adhvaram |
RV_10,085.18c viśvāny anyo bhuvanābhicaṣṭa ṛtūṃr anyo vidadhaj jāyate punaḥ ||
RV_10,085.19a navo-navo bhavati jāyamāno 'hnāṃ ketur uṣasām ety agram |
RV_10,085.19c bhāgaṃ devebhyo vi dadhāty āyan pra candramās tirate dīrgham āyuḥ ||
RV_10,085.20a sukiṃśukaṃ śalmaliṃ viśvarūpaṃ hiraṇyavarṇaṃ suvṛtaṃ sucakram |
RV_10,085.20c ā roha sūrye amṛtasya lokaṃ syonam patye vahatuṃ kṛṇuṣva ||
RV_10,085.21a ud īrṣvātaḥ pativatī hy eṣā viśvāvasuṃ namasā gīrbhir īḷe |
RV_10,085.21c anyām iccha pitṛṣadaṃ vyaktāṃ sa te bhāgo januṣā tasya viddhi ||
RV_10,085.22a ud īrṣvāto viśvāvaso namaseḷā mahe tvā |
RV_10,085.22c anyām iccha prapharvyaṃ saṃ jāyām patyā sṛja ||
RV_10,085.23a anṛkṣarā ṛjavaḥ santu panthā yebhiḥ sakhāyo yanti no vareyam |
RV_10,085.23c sam aryamā sam bhago no ninīyāt saṃ jāspatyaṃ suyamam astu devāḥ ||
RV_10,085.24a pra tvā muñcāmi varuṇasya pāśād yena tvābadhnāt savitā suśevaḥ |
RV_10,085.24c ṛtasya yonau sukṛtasya loke 'riṣṭāṃ tvā saha patyā dadhāmi ||
RV_10,085.25a preto muñcāmi nāmutaḥ subaddhām amutas karam |
RV_10,085.25c yatheyam indra mīḍhvaḥ suputrā subhagāsati ||
RV_10,085.26a pūṣā tveto nayatu hastagṛhyāśvinā tvā pra vahatāṃ rathena |
RV_10,085.26c gṛhān gaccha gṛhapatnī yathāso vaśinī tvaṃ vidatham ā vadāsi ||
RV_10,085.27a iha priyam prajayā te sam ṛdhyatām asmin gṛhe gārhapatyāya jāgṛhi |
RV_10,085.27c enā patyā tanvaṃ saṃ sṛjasvādhā jivrī vidatham ā vadāthaḥ ||
RV_10,085.28a nīlalohitam bhavati kṛtyāsaktir vy ajyate |
RV_10,085.28c edhante asyā jñātayaḥ patir bandheṣu badhyate ||
RV_10,085.29a parā dehi śāmulyam brahmabhyo vi bhajā vasu |
RV_10,085.29c kṛtyaiṣā padvatī bhūtvy ā jāyā viśate patim ||
RV_10,085.30a aśrīrā tanūr bhavati ruśatī pāpayāmuyā |
RV_10,085.30c patir yad vadhvo vāsasā svam aṅgam abhidhitsate ||
RV_10,085.31a ye vadhvaś candraṃ vahatuṃ yakṣmā yanti janād anu |
RV_10,085.31c punas tān yajñiyā devā nayantu yata āgatāḥ ||
RV_10,085.32a mā vidan paripanthino ya āsīdanti dampatī |
RV_10,085.32c sugebhir durgam atītām apa drāntv arātayaḥ ||
RV_10,085.33a sumaṅgalīr iyaṃ vadhūr imāṃ sameta paśyata |
RV_10,085.33c saubhāgyam asyai dattvāyāthāstaṃ vi paretana ||
RV_10,085.34a tṛṣṭam etat kaṭukam etad apāṣṭhavad viṣavan naitad attave |
RV_10,085.34c sūryāṃ yo brahmā vidyāt sa id vādhūyam arhati ||
RV_10,085.35a āśasanaṃ viśasanam atho adhivikartanam |
RV_10,085.35c sūryāyāḥ paśya rūpāṇi tāni brahmā tu śundhati ||
RV_10,085.36a gṛbhṇāmi te saubhagatvāya hastam mayā patyā jaradaṣṭir yathāsaḥ |
RV_10,085.36c bhago aryamā savitā purandhir mahyaṃ tvādur gārhapatyāya devāḥ ||
RV_10,085.37a tām pūṣañ chivatamām erayasva yasyām bījam manuṣyā vapanti |
RV_10,085.37c yā na ūrū uśatī viśrayāte yasyām uśantaḥ praharāma śepam ||
RV_10,085.38a tubhyam agre pary avahan sūryāṃ vahatunā saha |
RV_10,085.38c punaḥ patibhyo jāyāṃ dā agne prajayā saha ||
RV_10,085.39a punaḥ patnīm agnir adād āyuṣā saha varcasā |
RV_10,085.39c dīrghāyur asyā yaḥ patir jīvāti śaradaḥ śatam ||
RV_10,085.40a somaḥ prathamo vivide gandharvo vivida uttaraḥ |
RV_10,085.40c tṛtīyo agniṣ ṭe patis turīyas te manuṣyajāḥ ||
RV_10,085.41a somo dadad gandharvāya gandharvo dadad agnaye |
RV_10,085.41c rayiṃ ca putrāṃś cādād agnir mahyam atho imām ||
RV_10,085.42a ihaiva stam mā vi yauṣṭaṃ viśvam āyur vy aśnutam |
RV_10,085.42c krīḷantau putrair naptṛbhir modamānau sve gṛhe ||
RV_10,085.43a ā naḥ prajāṃ janayatu prajāpatir ājarasāya sam anaktv aryamā |
RV_10,085.43c adurmaṅgalīḥ patilokam ā viśa śaṃ no bhava dvipade śaṃ catuṣpade ||
RV_10,085.44a aghoracakṣur apatighny edhi śivā paśubhyaḥ sumanāḥ suvarcāḥ |
RV_10,085.44c vīrasūr devakāmā syonā śaṃ no bhava dvipade śaṃ catuṣpade ||
RV_10,085.45a imāṃ tvam indra mīḍhvaḥ suputrāṃ subhagāṃ kṛṇu |
RV_10,085.45c daśāsyām putrān ā dhehi patim ekādaśaṃ kṛdhi ||
RV_10,085.46a samrājñī śvaśure bhava samrājñī śvaśrvām bhava |
RV_10,085.46c nanāndari samrājñī bhava samrājñī adhi devṛṣu ||
RV_10,085.47a sam añjantu viśve devāḥ sam āpo hṛdayāni nau |
RV_10,085.47c sam mātariśvā saṃ dhātā sam u deṣṭrī dadhātu nau ||


Griffith translation

1. TRUTH is the base that bears the earth; by Surya are the heavens sustained.
By Law the Adityas stand secure, and Soma holds his place in heaven.
2 By Soma are the Adityas strong, by Soma mighty is the earth.
Thus Soma in the midst of all these constellations hath his place.
3 One thinks, when they have brayed the plant, that he hath drunk the Somas' juice;
Of him whom Brahmans truly know as Soma no one ever tastes.
4 Soma, secured by sheltering rules, guarded by hymns in Brhati,
Thou standest listening to the stones none tastes of thee who dwells on earth.
5 When they begin to drink thee then, O God, thou swellest out again.
Vayu is Somas' guardian God. The Moon is that which shapes the years.
6 Raibhi was her dear bridal friend, and Narasamsi led her home.
Lovely was Suryas' robe: she came to that which Gatha had adorned.
7 Thought was the pillow of her couch, sight was the unguent for her eyes:
Her treasury was earth and heaven. When Surya went unto her Lord.
8 Hymns were the crossbars- of the pole, Kurirametre- decked the car:
The bridesmen were the Asvin Pair Agni was leader of the train.
9 Soma was he who wooed the maid: the groomsmen were both Asvins, when
The SunGod- Savitar bestowed his willing Surya on her Lord.
10 Her spirit was the bridal car; the covering thereof was heaven:
Bright were both Steers that drew it when Surya approached her husbands', home.
11 Thy Steers were steady, kept in place by holy verse and Samahymn-:
All car were thy two chariot wheels: thy path was tremulous in the sky,
12 Clean, as thou wentest, were thy wheels wind, was the axle fastened there.
Surya, proceeding to her Lord, mounted a spiritfashioried- car.
13 The bridal pomp of Surya, which Savitar started, moved along.
In Magha days are oxen slain, in Arjuris they wed the bride.
14 When on your threewheeled- chariot, O Asvins, ye came as wooers unto Suryas' bridal,
Then all the Gods agreed to your proposal Pusan as Son elected you as Fathers.
15 O ye Two Lords of lustre, then when ye to Suryas' wooing came,
Where was one chariot wheel of yours? Where stood ye for die Sires' command?
16 The Brahmans, by their seasons, know, O Surya, those two wheels of thine:
One kept concealed, those only who are skilled in highest truths have learned.
17 To Surya and the Deities, to Mitra and to Varuna.
Who know aright the thing that is, this adoration have I paid.
18 By their own power these Twain in close succession move;
They go as playing children round the sacrifice.
One of the Pair beholdeth all existing things; the other ordereth seasons and is born again.
19 He, born afresh, is new and new for ever ensign of days he goes before the Mornings
Coming, he orders f6r the Gods their portion. The Moon prolongs the days of our existence.
20 Mount this, allshaped-, goldhued-, with strong wheels, fashioned of Kimsuka and Salmali,
lightrolling-,
Bound for the world of life immortal, Surya: make for thy lord a happy bridal journey.
21 Rise up from hence: this maiden hath a husband. I laud Visvavasu with hymns and homage.
Seek in her fathers' home another fair one, and find the portion from of old assigned thee.
22 Rise up from hence, Visvavasu: with reverence we worship thee.
Seek thou another willing maid, and with her husband leave the bride.
23 Straight in direction be the paths:, and thornless, whereon our fellows travel to the wooing.
Let Aryaman and Bhaga lead us: perfect, O Gods, the union of the wife and husband.
24 Now from the noose of Varuna I free thee, wherewith Most Blessed Savitar hath bound thee.
In Laws' seat, to the world of virtuous action, I give thee up uninjured with thy consort.
25 Hence, and not thence, I send these free. I make thee softly fettered there.
That, Bounteous Indra, she may live blest in her fortune and her sons.
26 Let Pusan take thy hand and hence conduct thee; may the two Asvins on their car transport thee.
Go to the house to be the households' mistress and speak as lady ito thy gathered people.
27 Happy be thou and prosper witlh thy children here: be vigilant to rule thy household in this
home.
Closely unite thy body with this; man, thy lord. So shall ye, full of years, address your company.
28 Her hue is blue and red: the fienod who clingeth close is driven off.
Well thrive the kinsmen of this bride the husband is bourid fast in bonds.
29 Give thou the woollen robe away: deal treasure to the Brahman priests.
This female fiend hath got her feet, and as a wife attends her lord.
30 Unlovely is his body when it glistens with this wicked fiend,
What time the husband wraps about his limbs the garment of his wife.
31 Consumptions, from her people, which follow the brides' resplendent train,
These let the Holy Gods again bear to the place from which they came.
32 Let not the highway thieves who lie in ambush find the wedded pair.
By pleasant ways let them escape the danger, and let foes depart.
33 Signs of good fortune mark the bride come all of you and look at her.
Wish her prosperity, and then return unto your homes again.
34 Pungent is this, and bitter this, filled, as it were, with arrowbarbs-, Empoisoned and not fit
for use.
The Brahman who knows Surya well deserves the garment of the bride.
35 The fringe, the cloth that decks her head, and then the triply parted robe,
Behold the hues which Surya wears these doth the Brahman purify.
36 I take thy hand in mine for happy fortune that thou mayst reach old age with me thy husband.
Gods, Aryaman, Bhaga, Savitar, Purandhi, have given thee to be my households' mistress.
37 O Pusan, send her on as most auspicious, her who shall be the sharer of my pleasures;
Her who shall twine her loving arms about me, and welcome all my love and mine embraces.
38 For thee, with bridal train, they, first, escorted Surya to her home.
Give to the husband in return, Agni, the wife with progeny.
39 Agni hath given the bride again with splendour and with ample life.
Long lived be he who is her lord; a hundred autumns let him live.
40 Soma obtained her first of all; next the Gandharva was her lord.
Agai was thy third husband: now one bornof woman is thy fourth.
41 Soma to the Gandharva, and to Agni the Gandharva gave:
And Agni hath bestowed on me riches and sons and this my spouse.
42 Be ye not parted; dwell ye here reach the full time of human life.
With sons and grandsons sport and play, rejoicing in your own abode.
43 So may Prajapati bring children forth to us; may Aryaman adorn us till old age come nigh.
Not inauspicious enter thou thy husbands' house: bring blessing to our bipeds and our quadrupeds.
44 Not evileyed-, no slayer of thy husband, bring weal to cattle, radiant, gentlehearted;
Loving the Gods, delightful, bearing heroes, bring blessing to our quadrupeds and bipeds.
45 O Bounteous Indra, make this bride blest in her sons and fortunate.
Vouchsafe to her ten sons, and make her husband the eleventh man.
46 Over thy husbands' father and thy husbands' mother bear full sway.
Over the sister of thy lord, over his brothers rule supreme.
47 So may the Universal Gods, so may the Waters join our hearts.
May Matarisvan, Dhatar, and Destri together bind us close.

References

  1. A good Article on Surya's Bridal Hymn - From the astronomical data present in the hymn itself, it is clear this hymn was composed before 3000 BCE, confirming our analysis that Rig Veda is authored around 4000 BCE to 3000 BCE period.
  2. Sanskrit source text of the hymn
  3. English meaning of the hymn




Bactria silver cup shows 8 Rtvij with trefoils which are Indus Script hieroglyphs, signify Meluhha-RV rebus readings. See Discovery of a Rosetta stone for अवि 'golden fleece', a Rgveda Potr̥, 'purifier priest' pōtadāra, পোদ্দার pōddāra 'assayer of metals'tinyurl.com/rcurjut
Image
Quote Tweet
Shrinivas Tilak
@tshrinivas
·
Richa # 6 of Vivahasukta of Rigveda (10:85), which allegorically describes marriage of Surya (सूर्या), daughter of the Sun (सवितृ) to Ashvin kumars (अश्विन कुमारs), suggests that writing was known then. सूर्या is wearing a robe with गाथाs (mantras praising valor) embossed on it. twitter.com/adrianfcm/stat
Quote Tweet
Adrian Francis
@adrianfcm
·
Replying to @merlinwmeister @ArunPra01638451 and 2 others
Is there any suggestion in the Rigveda that the people who composed the Rigveda were aware of the existence of writing? We know that Homer was illiterate but at least he mentions such things as letters and correspondence in his Iliad and Odyssey.

Gaṇeśa is tri-dhātu, explained by Indus Script Cipher as alloy of mineral ores

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https://tinyurl.com/ydlko8qt

This monograph posits that the trefoil hypertext of Indus Script is evidenced archaeologically in sacred contexts and is venerated in Sarasvati Civilization tradition because the hypertext trefoil signifies tri-dhātu Gaṇeśa
Potr̥'s pota 'cloth, shawl' is decorated with potti 'gold beads', trefoils; he is a purifier, later poddār, potadāra 'goldsmith, assayer of metals'. 

Venerated Trefoil. Mohenjo-daro and Bactrian priests wear तार्प्य Sky Garment of Varuṇa Indus Script signifiers of dhā̆vaḍ potr̥, 'smelter, purifier priest' https://tinyurl.com/ycpghhse


अमरकोशः,Amarakośa or नामलिङ्गानुशासनम्, Nāmaliṅgānuśāsanam) is a thesaurus in 

Sanskrit written by the ancient Indian scholar Amarasimha

Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'. शब्दकल्पद्रुमः explains the expression as त्रयाणांघातूनांसमाहारः, i.e., an aggregation of three mineral ores. सम्-ाहार aggregation , summing up , sum , totality , collection , assemblage , multitude MBh.

अमरकोशः,Amarakośa or नामलिङ्गानुशासनम्, Nāmaliṅgānuśāsanam) is a thesaurus in 

Sanskrit written by the ancient Indian scholar Amarasimha

Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'. शब्दकल्पद्रुमः explains the expression as त्रयाणां घातूनां समाहारः, i.e., an aggregation of three mineral ores. सम्-ाहार aggregation , summing up , sum , totality , collection , assemblage , multitude MBh. 


I suggest that the extraordinary importance Gaṇeśa as divinity invoked (RV 2.23) before any process of the Rgveda yajna, is related to the semantics of a personified divinity who has gained the knowledge of material sciences: गणि m. (for °णिन् , only at the end of names) one who is familiar with the sacred writings and the auxiliary sciences Jain. (Monier-Williams)

This metallurgical connotation of one of the epithets attributed to Gaṇeśa is consistent with the Indus Script hypertext tradition. See:

 https://tinyurl.com/yyoo5dfn

See: 

 https://tinyurl.com/y2hbzoqn

Catherine Jarrige presents a sculpture in the round which exemplifies the hypertext tradition.The sculpture is a composition of two or three animal protomes:elephant, buffalo, tiger. The combination in rebus readings of deciphered hieroglyphs yields a metal alloy formed by a combination of mineral ores.
Combined animal figurine: elephant, buffalo, feline in sculptured form. Why are these three distinct animals combined? Because, they signify distinct wealth categories of metalwork.

Rebus renderings signify solder, pewter, tin, tinsel, tin foil: Hieroglyph: Ku. N. rã̄go ʻ buffalo bull ʼ(CDIAL 10559) Rebus: 10562 raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.*raṅgapattra -- .10567 *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ] B. rāṅ(g) ʻ tinsel, copper -- foil ʼ.(CDIAL 10562, 10567)

ranku 'antelope' rebus:rã̄k,ranku 'tin'

melh,mr̤eka 'goat or antelope' rebus: milakkhu 'copper' mleccha 'copper'

ډنګر ḏḏangar, s.m. (5th) A bullock or buffalo. Pl. ډنګر ḏḏangœrډنګره ḏḏangaraʿh, s.f. (3rd). Pl. يْ ey. 2. adj. Thin, weak, lean, meagre, emaciated, scraggy, attenuated. rebus: dangar 'blacksmith'.

Gaṇeśa is invoked in the R̥gveda (RV 2.23.1) as leader of gaņa, the retinue of Śiva. (Wilson, H. H. Ŗgveda Saṃhitā. Sanskrit text, English translation, notes, and index of verses. Parimal Sanskrit Series No. 45. Volume II: Maṇḍalas 2, 3, 4, 5. Second Revised Edition; Edited and Revised by Ravi Prakash Arya and K. L. Joshi. (Parimal Publications: Delhi, 2001)गण is a guild of artisans;'a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c' (Monier-Williams)

गणानां त्वा गणपतिं हवामहे कविं कवीनामुपमश्रवस्तमम् । ज्येष्ठराजं ब्रह्मणां ब्रह्मणस्पत आ नः शृण्वन्नूतिभिः सीद सादनम् ॥१॥ gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnāmupamaśravastamam | RV 2.23.1; "We invoke the Brahmaṇaspati, chief leader of the (heavenly) bands; a sage of sages."

Two verses in texts provide a description of the iconographic features of Gaṇeśa: 1. Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) ( "tát karāţāya vidmahe | hastimukhāya dhîmahi | tán no dántî pracodáyāt||"and 2. Taittirīya Āraṇyaka(10.1) ("tát púruṣâya vidmahe vakratuṇḍāya dhîmahitán no dántî pracodáyāt||")

In these texts, two iconographic features recognized are: hastimukha 'elephant face' and vakratuṇḍa 'curved tusk'. A third iconographic feature recognized is that Gaeśa is surrounded by Maruts as attested in  R̥gveda: RV 10.112.9 (10092) ni ṣu sīda gaṇapate gaṇeṣu tvāmāhurvipratamaṃ kavīnām; "Lord of the companies (of the Maruts), sit down among the companies (of the worshippers), they call you the most sage of sages".

त्रि tri-धातुः an epithet of Gaṇeśa; -तुम् 1 the triple world. -2 the aggregate of the 3 minerals or humours. (Apte lexicon)  त्रि--धातु mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote excessive) RV. S3Br. v , 5 , 5 , 6; m. (scil. पुरोड्/आश) N. of an oblation TS. ii , 3 , 6. 1 ( -त्व्/अ n. abstr.); n. the triple world RV.; n. the aggregate of the 3 minerals or of the 3 humours W.; m. गणे*श L.

hēramb हेरम्बः [हे शिवे रम्बति रम्ब्-अच् अलुक् समा˚ Tv.] 1 N. of Gaṇeśa; जेता हेरम्बभृङ्गिप्रमुखगणचमूचक्रिणस्तारकारेः Mv. 2.17; हे हेरम्ब, किमम्ब, रोदिषि कथं, कर्णौ लुठत्यग्निभूः Subhāṣ. लुठत् [p= 904,1] mfn. rolling , falling down W.; flowing , trickling (?) ib.





Griffith translation: RV 2.23
Brahmanaspati. 23
1. WE call thee, Lord and Leader of the heavenly hosts, the wise among the wise, the famousest of
all,
The King supreme of prayers, O Brahmanaspati: hear us with help; sit down in place of sacrifice.
Brhaspati, God immortal! verily the Gods have gained from thee, the wise, a share in holy rites.
As with great light the Sun brings forth the rays of morn, so thou alone art Father of all sacred
prayer.
3 When thou hast chased away revilers and the gloom, thou mountest the refulgent car of sacrifice;
The awful car, Brhaspati, that quells the foe, slays demons, cleaves the stall of kine, and finds
the light.
4 Thou leadest with good guidance and preservest men; distress overtakes not him who offers gifts
to thee.
Him who hates prayer thou punishest, Brhaspati, quelling his wrath: herein is thy great mightiness.
5 No sorrow, no distress from any side, no foes, no creatures doubletongued- have overcome the
man,
Thou drivest all seductive fiends away from him whom, careful guard, thou keepest Brahmanaspati.
6 Thou art our keeper, wise, preparer of our paths: we, for thy service, sing to thee with hymns
of praise.
Brhaspati, whoever lays a snare for us, him may his evil fate, precipitate, destroy.
7 Him, too, who threatens us without offence of ours, the evilminded, arrogant, rapacious man,
Him turn thou from our path away, Brhaspati: give us fair access to this banquet of the Gods.
8 Thee as protector of our bodies we invoke, thee, saviour, as the comforter who loveth us.
Strike, O Brhaspati, the Gods revilers down, and let not the unrighteous come to highest bliss.
9 Through thee, kind prosperer, O Brahmanaspati, may we obtain the wealth of Men which all desire:
And all our enemies, who near or far away prevail against us, crush, and leave them destitute.
10 With thee as our own rich and liberal ally may we, Brhaspati, gain highest power of life.
Let not the guileful wicked man be lord of us: still may we prosper, singing goodly hymns of
praise.
11 Strong, never yielding, hastening to the battlecry-, consumer of the foe, victorious in the
strife,
Thou art sins' true avenger, Brahmanaspati, who tamest even the fierce, the wildly passionate.
12 Whoso with mind ungodly seeks to do us harm, who, deeming him a man of might mid lords, would
slay,
Let not his deadly blow reach us, Brhaspati; may we humiliate the strong illdoers-' wrath.
13 The mover mid the spoil, the winner of all wealth, to be invoked in fight and reverently adored,
Brhaspati hath overthrown like cars of war all wicked enemies who fain would injure us.
14 Burn up the demons with thy fiercest flaming brand, those who have scorned thee in thy
manifested might.
Show forth that power that shall deserve the hymn of praise: destroy the evil speakers, O
Brhaspati.
15 Brhaspati, that which the foe deserves not which shines among the folk effectual, splendid,
That, Son of Law I which is with might refulgentthat- treasure wonderful bestow thou on us.
16 Give us not up to those who, foes in ambuscade, are greedy for the wealth of him who sits at
ease,
Who cherish in their heart abandonment of Gods. Brhaspati, no further rest shall they obtain.
17 For Tvastar, he who knows each sacred song, brought thee to life, preeminent over all the
things that be.
Guiltscourger-, guiltavenger- is Brhaspati, who slays the spoiler and upholds the mighty Law.
18 The mountain, for thy glory, cleft itself apart when, Angiras! thou openedst the stall of kine.
Thou, O Brhaspati, with Indra for ally didst hurl down waterfloods- which gloom had compassed
round.
19 O Brahmanaspati, be thou controller of this our hymn and prosper thou our children.
All that the Gods regard with love is blessed. Loud may we speak, with heroes, in assembly.


Image result for Kung-hsien ganesa
Candi-Sukuh Gaṇeśa is shown in a dance-step, in the context of smelting, forging of sword by Bhima and by the bellows-blower Arjuna.

Forge scene stele.  Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaNDa. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia.  lingga hieroglyph, the deity of Candi Sukuh. 

karibha 'elephant's trunk' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' PLUS me 'step' rebus: me 'iron, metal, copper'.

त्रिधातुः, पुं, (त्रीन् धर्म्मार्थकामान् दधाति पुष्णा-तीति । धा + तुन् ।) गणेशः । इति त्रिकाण्ड-शेषः ॥ (त्रयाणां घातूनां समाहारः ।) धातु-त्रये, क्ली ॥

गणपतिः, पुं, (गणानां गणसंज्ञकानां देवानांपतिः अधीश्वरः स्वामी वा ।) गणेशः । इतिहलायुधः ॥ (यथा, पञ्चतन्त्रे । १ । १७० ।“अत्तुं वाञ्छति शाम्भवो गणपतेराखुं क्षुधार्त्तःफणीतं च क्रौञ्चरिपोः शिखी गिरिसुतासिंहोऽपिनागाशनम् ॥”अग्रपूजनीयप्रधानदेवताविशेषः । यथा, यजु-र्वेदीयवाजसनेयसंहितायाम् । १६ । २५ । “नमोगणेभ्यो गणपतिभ्यश्च वो नमो नम इति ॥”बृहस्पतिः । यथा, ऋग्वेदे । २ । २३ । १ ।“गणानां त्वा गणपतिं हवामहेकविं कवीनामुपमश्रवस्तमम् ॥”शिवः । यथा, महाभारते । १३ । १७ । ४१ ।“गणकर्त्ता गणपतिर्दिग्वासाः काम एव च ।मन्त्रवित् परमो मन्त्रः सर्व्वभावकरो हरः ॥”आथर्व्वणोपनिषद्विशेषः । यथा, मौक्तिकोप-निषदि प्रथमाध्याये ।“त्रिपुरातपनदेवीभावनाभस्मजावालगणपति-महावाक्यगोपालतपनकृष्णहयग्रीवेति ॥”)

गणेशः, पुं, (गणानां प्रमथसमूहानां यद्वागणानां जीवजातानां ईशः ईश्वरः ।) शिवः ।इति हारावली । ८ ॥ (यथा, महाभारते । ३ ।कैराते । ३९ । ७८ ।“प्रसादये त्वां भगवन् ! सर्व्वभूतमहेश्वर ! ।गणेशं जगतः शम्भुं लोककारणकारणम् ॥”गणानां गणाख्यदेवविशेषाणां विघ्नाख्यदेवानांवा ईशः नियन्ता ।) शिवपुत्त्रः । (यथा, महा-भारते । १ । १ । ७३ ।“काव्यस्य लेखनार्थाय गणेशः स्मर्य्यतां मुने ! ॥”)तत्पर्य्यायः । विनायकः २ विघ्नराजः ७ द्वैमा-तुरः ४ गणाधिपः ५ एकदन्तः ६ रम्बः ७लम्बोदरः ८ गजाननः ९ । इत्यमरः । १ । १ । ४० ॥विघ्नेशः १० पर्शुपाणिः ११ गजास्यः १२आखुगः १३ । इति हेमचन्द्रः । २ । २१ ॥शूर्पकर्णः १४ । इति ब्रह्मवैवर्त्तपुराणम् ॥ * ॥तस्योत्पत्तिः । तत्र पार्व्वतीं प्रति वृद्धब्राह्मण-रूपश्रीकृष्णवाक्यम् । यथा, --“न वेद्विष्णुभक्तिश्च विष्णुमाये ! त्वया विना ।त्वद्व्रतं लोकशिक्षार्थं त्वत्तपस्तव पूजनम् ॥सर्व्वेज्याफलदात्री त्वं नित्यरूपा सनातनी ।गणेशरूपः श्रीकृष्णः कल्पे कल्पे तवात्मजः ॥त्वत्क्रोडमागतः क्षिप्रमित्युक्त्वान्तरधीयत ।कृत्वान्तर्द्धानमीशश्च बालरूपं विधाय सः ॥जगाम पार्व्वतीतल्पं मन्दिराभ्यन्तरस्थितम् ।तल्पस्थे शिवबीर्य्ये च मिश्रितः स बभूव ह ॥ददर्श गेहशिखरं प्रसूतबालको यथा ।शुद्धचम्पकवर्णाभः कोटिचन्द्रसमप्रभः ॥सुखदृश्यः सर्व्वजनैश्चक्षूरश्मिविवर्द्धकः ।अतीवसुन्दरतनुः कामदेवविमोहनः ॥मुखं निरुपमं भ्रत् शारदेन्दुविनिन्दकम् ।सुन्दरे लोचने बिभ्रत् चारुपद्मविनिन्दके ॥ओष्ठाधरपुटं बिभ्रत् पक्वविम्बविनिन्दकम् ।कपालञ्च पोलन्तदतीव सुमनोहरम् ॥नासाग्रं रुचिरं बिभ्रत् खगेन्द्रचञ्चुनिन्दकम् ।त्रैलोक्येषु निरुपमं सर्व्वाङ्गं विभ्रदुत्तमम् ॥शयानः शयने म्ये प्रेरयन् हस्तपादकम् ॥”तस्य शनैश्चरदर्शनात् मस्तकविनाशः विष्णु-कर्त्तृकगजमस्तकसंयोगश्च यथा, --“सा च देववशीभूता शनिं वाच कौतुकात् ।पश्य मां मत्शिशुमिति नियतिः केन वार्य्यते ॥पार्व्वतीवचनं श्रुत्वा सोऽनुमेने हृदा स्वयम् ।पश्यामि किं न पश्यामि र्व्वतीसुतमित्यहो ॥बालं द्रष्टुं मनश्चक्रे न बालमातरं शानि ।विषण्णमानसः पूर्ब्बं शुष्ककण्ठौष्ठतालुकः ॥सव्यलोचनकोणेन ददर्श च शोर्मुखम् ।शनिश्च दृष्टिमात्रेण चिच्छेद मस्तकं मुने ! ॥विस्मितास्ते सुराः सर्व्वे चित्रपुत्तलिका यथा ।देव्यश्च शैला गन्धर्व्वाः शिवः लासवासिनः ॥तान् सर्व्वान् मूर्च्छितान् दृष्ट्वा चारुह्य गरुडं हरिः ।जगाम पुष्पभद्रां स उत्तरस्यां दिशि स्थिताम् ॥पुष्पभद्रानदीतीरे दर्श काननस्थितम् ।गजेन्द्रं निद्रितं तत्र शयानं हस्तिनीयुतम् ॥शीघ्रं सुदर्शनेनैव चिच्छेद तच्छिरो मुदा ।स्थापयामास गरुडे धिराक्तं नोहरम् ॥आगत्य पार्व्वतीस्थानं बालं कृत्वा स्ववक्षसि ।रुचिरं तच्छिरः कृत्वा योजयामास बालके ॥ब्रह्मस्वरूपो भगवान् ब्रह्मज्ञानेन लया ।जीवनं जीवयामास हूंकारोच्चारणेन च ॥”इति ब्रह्मवैवर्त्तपुराणम् ॥ * ॥अस्य ध्यानम् ।“खर्व्वं स्थूलतनुं गजेन्द्रवदनं लम्बोदरं न्दरंप्रस्यन्दन्मदगन्धलुब्धमधुपव्यालोलगण्डस्थलम् ।दन्ताघातविदारितारिरुधिरैः सिन्दूरशोभाकरंबन्देशैलसुतासुतं गणपतिं द्धिप्रदं मदम् ॥”इति पुराणम् ॥ * ॥ध्यानान्तरं यथा, --“सिन्दूराभं त्रिनेत्रं पृथतरजठरं हस्तपद्मैर्दधानंदन्तं शाङ्कुशेष्टान्युरुकरविलसद्बीजपूराभिरामम् ।बालेन्दुद्योतमौलिं करिपतिवदनं दानपूरार्द्रगण्डंभोगीन्द्राबद्धभूषं भजत गणपतिं क्तवस्त्राङ्ग-रागम् ॥”इति तन्त्रसारः ॥(तस्य नमस्कारमन्त्रो यथा, --“देवेन्द्रमौलिमन्दारमकरन्दकणारुणाः ।विघ्नं हरन्तु रम्बचरणाम्बुजरेणवः ॥”इति पूजापद्धतिः ॥)एकपञ्चाशद्गणेशाः । यथा, --“विघ्नेशो विघ्नराजश्च विनायकशिवोत्तमौ ।विघ्नकृत् घ्नहर्त्ता गणैकद्बिसुदन्तकाः ॥गजवक्त्रनिरञ्जनौ कपर्द्दी दीर्घजिह्वकः ।शङ्ककर्णश्च वृषभध्वजश्च गणनायकः ॥गजेन्द्रः सूर्पकर्णश्च त्त्रिलोचनसंज्ञकः ।लम्बोदरमहानन्दौ चतुर्म्मूर्त्तिसदाशिवौ ॥आमोददुर्म्मुखौ चैव सुमुखश्च प्रमोदकः ।एकपादो द्विजिह्वश्च सुरवीरः षण्मुखः ॥वरदो वामदेवश्च वक्रतुण्डो द्विरण्डकः ।सेनानीर्ग्रामणीर्म्मत्तो विमत्तो मत्तवाहनः ॥जटौ मुण्डी तथा खड्गी वरेण्यो षकेतनः ।भक्षप्रियो गणेशश्च मेघनादकसंज्ञकः ॥व्यापी गणेश्वरः प्रोक्ताः पञ्चाशद्गणपा इमे ।तरुणारुणसङ्काशा जवक्त्रास्त्रिलोचनाः पाशाङ्कुशवराभीतिहस्ताः शक्तिसमन्विताः ॥” * ॥तेषामेकपञ्चाशच्छक्तयश्च यथा, --“ह्रीः श्रीश्च पुष्टिः शान्तिश्च स्वस्तिश्चैव सरस्वती स्वाहामेधाकान्तिकामिन्यो मोहिन्यपि वैनटी ॥पार्व्वती ज्वलिनी नन्दा सुयशाः कामरूपिणी ।उमा तेजोवती सत्या विघ्नेशानी रूपिणी ॥कामदा मदजिह्वा च भूतिः स्याद्भौतिका सिता ।रमा च महिषी प्रोक्ता शृङ्गिणी च विकर्णपा ॥भ्रुकुटिः स्यात्तथा लज्जा र्घघोणा धनुर्द्धरा ।यामिनी रात्रिसंज्ञा च कामान्धा च शशिप्रभा ॥लोलाक्षी चञ्चला दीप्तिः सुभगा दुर्भगा शिवा ।भर्गा च भगिनी चैव गिनी सुभगा मता ॥कालरात्रिः कालिका च पञ्चाशच्छक्तयः स्मृताः ।सर्व्वालङ्करणोद्दीप्ताः प्रियाङ्कस्थाः सुशोभनाः ॥रक्तोत्पलकरा या रक्तमाल्याम्बरारुणाः ॥”इति शारदातिलकटीकायां राघवभट्टः ॥  
गणनायकः, पुं, (गणानां नायकः ।) गणेशः ।इति शब्दरत्नावली ॥ (यथा, महाभारते ।१ । १ । ७७ ।“लेखको भारतस्यास्य भव त्वं गणनायक ! ॥”गणानां देवसङ्घानां नायकः । यथा, भागवते ।५ । १७ । १३ । “यत्र ह देवपतयः स्वैः स्वैर्गण-नायकैर्विहितमहार्हणाः ॥” इति ॥ * ॥ गणानांप्रमथानां नायकः । शिवः ॥)
-- sa.wikisource.org/wiki/शब्दकल्पद्रुमः

त्रिधातु पु० त्रीन् र्मार्थकामान् दधाति पुष्णाति धा--तुन् ।१ गणेशे त्रिका० । समा० द्विगुः । २ धातु त्रये न० ।

गणपति पु० ६ त० । गणेशे तस्याविर्भावकथा इभाननशब्दे९८१ पृ० गजाननशब्दे २४९५ पृ० च उक्ता तस्य गणाधि-पतित्वं याज्ञवल्क्येनोक्तं तच्च बाक्यं गणपतिकल्पशब्देदृश्यम् २ शिवे ३ समूहपतौ च “गणानां त्वा गणपतिम्”यजु० १६ । १८ ।

गणेश पु० गणानामीशः । १ स्वनामख्याते वे २ शिवे च ।गणेशोत्पत्तिः इभाननशब्दे ९८१ पृ० उक्ता तस्य वक्रतुण्डकपि-लचिन्तामणिविनायकादिरूपेण प्रादुर्भावकथा न्धपु०गणेशस्य० उक्ता । तत एवावसेया विस्तरभयान्नोक्ता ।गणेशस्य परब्रह्मरूपत्वं नामभेदात् तद्भेदाश्च गणपतितत्त्वग्रन्थे स्तरेणोक्ता दिग्मात्रमुदाह्रियते । “एष सर्वेश्वरः एष सर्वज्ञः एष भूतपतिरेष भूतलय एष सेतुर्विधरणःप्रधानक्षत्रज्ञपतिर्गणेशः इति” तिप्रसिद्धसर्वेश्वरादिपद-वद्गणेशपदस्य नित्यसिद्धेश्वरपरत्वम् दृश्यते इत्युप-कम्य “तस्मात् प्रधानक्षेत्रज्ञपतिर्गणेशः” इति श्रुतेः“गुणत्रयस्येश्वरोऽसि न नाम्रा त्वं गणेश्वरः” इति विना-यामसंहितावचनाच्च गणशब्दाभिहितस्य सत्वादिगुणसं-वातस्य पतिर्गणेश ति सिद्धमित्युक्तम्” । अन्ते च नमःस हमानायेत्याद्यनुवाकैस्तस्य सर्व्वेर्षां नाम्नां सङ्कल-नेन एकोननवत्यधिकशतद्वयम् इत्युक्तम् । णपतिभेदाश्चआगममन्त्रैर्व्वेदमन्त्रैर्बाराधनीया इत्यप्युक्तम् । तन्त्रेतु अन्यथा संख्योक्ता यथा शारदतिलकराघवटीका-याम् “विघ्नेशो घ्नराजश्च विनायकशिवोत्तमौ ।विघ्नकृत् विघ्नहर्त्ता च गणैकदददन्तकाः । गजवक्त्र-निरञ्जनौ कपर्द्दी दीर्घजिह्वकः । शङ्कुकर्णश्चवृषभध्वजश्च गणनायकः । गजेन्द्रः सूर्पकर्णश्च स्यात्त्रि-लोचनसंज्ञकः । लम्बोदरमहानन्दौ चतुर्म्मूर्त्तिसदा-शिवौ । माददुर्मुखौ चैव सुमुखश्च प्रमोदकः ।एकपादो द्विजिह्वश्च सुरवीरः सषण्मुखः । वरदोवामदेवश्च वक्रतुण्डो द्विरण्डकः । नानीर्ग्रामणी-र्म्मत्तो विमत्तो मत्तवाहनः । जटी मुण्डी तथा खङ्गीवरेण्यो वृषकेतनः । भक्ष्यप्रियो गणेशश्च मेघनादकसंज्ञकः ।व्यापी गणेश्वरः प्रोक्ताः ञ्चाशद्गणपा इमे । तरुणारुण-सङ्काशा गजवक्त्रास्त्रिलोचनाः । पाशाङ्कुशवराभीतिहस्ताःशक्तिसमन्विताः” । तेषाञ्च ञ्चाशच्छक्तयस्तत्रोक्ता यथा“ह्रीः श्रीश्च पुष्टिः शान्तिश्च स्वस्तिश्चैव सरस्वती । स्वाहामेधा कान्तिकामिन्यौ मोहिन्यपि वैनटी । पार्वती लिनी नन्दा सुयशाः कामरूपिणी । उमा तेजीवती सत्यविघ्नेशानी सुरूपिणी । कामदा मदजिह्वा च भूतिःस्याद्भौतिकासिता । रमा महिषी प्रोक्ता मञ्जुला चविकर्णपा । भ्रुकुटिः स्यात्तथा लज्जा दीर्घघोणाधनुर्द्वरा । यामिनी रात्रिसंज्ञा च कामान्धा च शशिप्रभा ।लोलाक्षी चञ्चला दीप्तिः सुभगा दुर्भगा शिवा । भर्गा चभगिनी चैव भोगिनी शुभदा मता । कालरात्रिःकालिका च पञ्चाशच्छक्तयः ताः  सर्वालङ्करणोद्दीप्ताःप्रियाङ्कस्थाः सुशोभनाः । रक्तोत् लकरा ध्येया रक्त-गाल्याम्बरारुणाः” ।
--sa.wikisource.org/wiki/वाचस्पत्यम्

"Je tiens mon affaire!" I have got it !! Breakthrough !! Decipherment of Indus Script trefoil surprisingly unravels अश्वमेध metaphor as 'metals wealth accumulation'

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https://tinyurl.com/yhgrautc

--A tribute to Eggerling; Indus Script unravels Rgveda metaphor of traidhātavī इष्टि  with three minerals, copper, silver, gold 

-- I echo "Je tiens mon affaire!" proclamation of Champollion. See:


-- Indus Script is परि-ष्-कृत 'embellished' on tārpya तार्प्य Rgveda garment of Mohenjo-daro priest with trefoils which unravel the metaphor of Rgveda metaphor of traidhātavī इष्टि 

-- Indus Script as deciphered relates to wealth accounting ledgersandis a continuum of Rgveda tradition of creation of wealth, through मेधा 'yajna' metaphor for 'wealth of a nation'.


-- This decoding of the Rgveda metaphor also explains why 

 

https://tinyurl.com/ydlko8qt The invocatory Rgveda sukta is addressed to DevatA BrhmaNaspati, BRhaspati 
-- This decoding of Rgveda metaphor also explains why 1) मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &c; is  metaphor for मेधा धन Naigh. ii , 10.
-- 2) As'vamedha metaphor relates to  अश् 'accumulation of wealth (for the nation, a commonwealth': Inf. अष्टवे RV. iv , 30 , 19) to reach , come to , reach , come to , arrive at , get , gain , obtain RV. &c  ; to master , become master of. RV.  ; to offer RV.  ; to enjoy MBh. xii , 12136  ; to pervade , penetrate , fill Naigh. Bhat2t2. ii , 30  ; to accumulate L. : Desid. अशिशिषते Pa1n2. 7-2 , 74 Intens. अशाश्यते Pa1n2. 3-1 , 22 Pat.; PLUS मेधा धन Naigh. ii , 10; thus, accumulation of commonwealth, wealth acquired by trade transactions in metals, thus metals wealth accumulation.
--3)अश्व--मेध detailed in RV. i , 162 and 163 [= VS. xxii seqq. relate to this process elaborated in over 8000 Indus Script inscriptions which account for metalwork, gems & jewels ledgers of lapidary, smithy work using smelters, furnaces.


This is a tribute to Eggerling who has presented an extraordinarily lucid translation of the ancient text which bristles with multi-layered metaphors of Rgvedic times, the शतपथ-ब्राह्मण. 

traidhātavī इष्टि is a process of a sacred investiture of पोतृ 'Purifier',who purifies three minerals -- copper, silver and gold -- in the yajna process. This is the sacred significance of the trefoil garment of the Mohenjo-daro priest. This argument is validated by references to the details provided in शतपथ-ब्राह्मण which details that, to sew-in the त्रि--पर्णी, three leaves, to embroider on the priest's garment, three kinds of needles are used: 13.2.10.3 "Three kinds of needles are (used), copper ones, silver ones, and gold ones;--those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches 1) they are many-formed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form."

The needle is an Indus Script hieroglyph: ib 'needle' rebus: ib 'iron'. The ferrous oxide in Kernoi rings is the writing fluid used by the Sarasvati Civilization golden needle to write on metal as demonstrated by an Indus Script Inscription on a golden needle..Writing or embroidering Rgveda narratives on Surya's garment is described as परि-ष्-कृत mfn. (प्/अरि-) prepared , adorned , embellished , furnished with , surrounded or accompanied by (instr. or comp.RV. See:

 

The embroidered garments of Rtvij is archaeologically atteste on the Bactrian Silver Cup now in Miho Museum, Japan..
 


The needles as writing devices have been attested in Sarasvati Civilization. One gold needle also has an Indus Script inscription. See: 

It has been demonstrated that kernoi rings are ink holders (ferrite oxide) to write on metal. See: Indus Script writing instruments, Kernoi rings are ink-stands for iron-oxide liquid pigment, gold pectorals with nibs are styluses https://tinyurl.com/y4fjvrsl



Note on cursive writing of Indus Script hypertext on a gold pendant

This 2.5 inch long gold pendant has a 0.3 inch nib; its ending is shaped like a sewing or netting needle. It bears an inscription painted in Indus Script. This inscription is deciphered as a proclamation of metalwork competence.
Hieroglyph: ib 'needle' Ta. irumpu iron, instrument, weapon. Ma. irumpu, irimpu iron. Ko. ib id. To. ib needle. Koḍ. irïmbï iron. Te. inumu id. Kol. (Kin.) inum (pl. inmul) iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285).(DEDR 556) Rebus: ib 'iron'

3 Gold pendants: Jewelry Marshall 1931: 521, pl. CLI, B3

The comments made by John Marshall on three curious objects at bottom right-hand corner of Pl. CLI, B3: “Personal ornaments…Jewellery and Necklaces…Netting needles (?) Three very curious objects found with the studs and the necklace appear to be netting needles of gold. They are shown just above the ear-studs and also in the lower right-hand corner of Pl. CLI, B, 3-5 and 12-14. The largest of these needles (E 2044a) is 2.5 inches long. The handle is hollow and cylindrical and tapers slightly, being 0.2 inch in diameter at the needle-end. The needle point is 0.5 inch long and has a roughly shaped oval eye at its base. The medium sized needle (E 2044b) is 2.5 inches long and of the same pattern: but the cap that closed the end of the handle is now missing. The point which has an oval eye at its base is 0.3 inch long. The third needle (E 2044c) is only 1.7 inches long with the point 0.3 inch in length. Its handle, which is otherwise similar to those of the other two needles, is badly dented. The exact use of these three objects is open to question, for they could have been used for either sewing or netting. The handles seem to have been drawn, as there is no sign of a soldered line, but the caps at either end were soldered on with an alloy that is very little lighter in colour than the gold itself. The two smaller needles have evidently been held between the teeth on more than one occasion.” (p.521)

Evidently, Marshall has missed out on the incription written in paint, as a free-hand writing, over one of the objects: Pl. CLI, B3.

This is an extraordinary evidence of the Indus writing system written down, with hieroglyphs inscribed using a coloured paint, on an object.

Gold pendant with Indus script inscription. The pendant is needle-like with cylindrical body. It is made from a hollow cylinder with soldered ends and perforated joint. Museum No. MM 1374.50.271; Marshall 1931: 521, pl. CLI, B3 (After Fig. 4.17 a,b in: JM Kenoyer, 1998, p. 196).

ib 'needle' rebus: ib 'iron'

kanac
 'corner' Rebus: kancu 'bronze'; sal 'splinter' Rebus: sal 'workshop'; dhatu 'cross road' Rebus: dhatu'mineral'; gaNDa 'four' Rebus: khanda 'implements'; kolmo 'three' Rebus: kolami 'smithy, forge'; 
Vikalpa: ?ea ‘seven’ (Santali); rebus: ?eh-ku ‘steel’ (Te.)

aya 'fish' Rebus: aya 'iron'(Gujarati) ayas 'metal' (Rigveda)
Thus, the inscription is: ib kancu sal (iron, bronze workshop), dhatu aya kaṇḍ kolami mineral, metal, furnace/fire-altar smithy. The hypertext message is: artisan with iron, bronze workshop, (competence in working with) minerals,metals, furnace/fire-altar, smithy/forge.

The inscription is a professional calling card -- describing professional competence and ownership of specified items of property -- of the wearer of the pendant.

What could these three objects be? Sewing needles? Netting needles?

Image result for ancient indus mesopotamia gold pendant needle worn on neck as ornament

सूची a f. (prob. to be connected with सूत्र , स्यूत &c fr. √ सिव् , " to sew " cf. सूक्ष्म ; in R. once सूचिना instr.) , a needle or any sharp-pointed instrument (e.g. " a needle used in surgery " , " a magnet " &c ) RV. &c. See: http://bharatkalyan97.blogspot.in/2017/09/a-short-note-on-iconography-of-sindhu.html 

त्रैधातवी f. (scil. इष्ट्/) N. of a closing ceremony (fr. त्रि-ध्/आतु(शतपथ-ब्राह्मण v ,xiii )(कात्यायन-श्रौत-सूत्रशाङ्खायन-श्रौत-सूत्र)(Monier-Williams) 

This monograph posits that traidhātavī इष्टि involves sewing three minerals, copper, silver, gold into tārpya तार्प्य Rgveda garment of Mohenjo-daro priest, as a processof investiture of the पोतृ 'Purifier', as a part of the writing system, which is described as परि-ष्-कृत mfn. (प्/अरि-) prepared , adorned , embellished , furnished with , surrounded or accompanied by (instr. or comp.RV. &c See:

 

This is the reason why Prajapati is venerated as  who is called 
पोतदार, village silversmith, पोतृ'Purifier', assayer of Sarasvati-Sindhu civilization evidenced on Indus Script 


https://tinyurl.com/y5r4npba
 
Evidence from Mari of तार्प्य vegetable garment of Ishtar, Mari priest, scribe, traidhātavī tārpya 'sky garment having 3 elements, layers' पाण्ड्व garment of Mohenjo-daro Potr̥, purifier priest

The garment is associated with the investiture of a monarch in a process called unction, the action of anointing someone with oil or ointment as a religious rite or as a symbol of investiture as a monarch.cf. Heeslernan 1957: 90 ff.) HeestermanJ. C.: The ancient Indian royal consecration: the rājasūya described according to the Yajus texts and annoted [sic]. (Disputationes Rheno-Trajectinae, II.) viii, 235 pp. 's-Gravenhage: Mouton & Co., 1957. (Distributed in G.B. by International University Booksellers.) - Volume 22 Issue 1 

"Traidhãtav(Ï)yã iSTi "rite Having Three layers or Elements (cf.Caland 1908:
No.178 and Heesterman 1957:168F. And 171F.; this rite is Performed at the End Of several royal rituals,
Such As the Royal-consecration And The Horse Sacrifice): KS12,3-42 165,2 ff.,166,4Ff.;MS2,4,5: 43,6-11;MSS5,2,5,1QiTS?,4,11,5-6; Baudhss13,42: 149,14f.;
Ãpés19,27,21=Hss22,6,27IKss15,7,28-3444... तार्प्य ...since there is uncertainty about its meaning in one cf the ol-dest s'rautasütras, that of Baudhãyana (cf . Caland '1908: "126 n. 340). It is here, in the Karmãntasütra (25,342 27o,4 Íf.), that we find the oldest explanations of the word tãrpya (repeated by l-ater commentators): rrthis is a clolh satiated v¡ith metted Þulter (ãjyenaivaitat tRptam vãso bhavati); but it is also said that this is made of (the bark of) tne trees called tRpA (athãpy udãharanti: tfpã nãma v¡kgãs, tegãm evaitad bhavatf). The correctness of the first explanation is attested by the numerous Rgvedic references to VaruNa's (and Mitra's) fatty garment (cf . # 7), which the tãrpya garment in my opinion represents; it is significant that the verb tRp- 'to satiate' is used in one such context...the word tri-parNI which means 'having trefoil leaves...'" (Asko Parpola, 1985: pp. 44-47).

Discussing traidhAtavya yajna, KS 12,3 refers to tarpya as that of Asura origin.The sacrifice ran away from the Asuras. After having put the (sacrificial) vessels into the pouched fold (of his garment) and (thereby) having made (for himself) that form into which they embroider the tArpya garments (utsange pAtrANy opyaitadruupamkRtvA yat tArpyANi viSIvyanti), it came back to Indra; Indra sacrificed with it, from that the gods came into being, the asuras disappeared.

AV 18.4.31  On thee doth Savitar the God bestow this vesture for thy wear. Clothe thee herein, and find meet robe in Yama s realm to cover thee.

Heesterman calls him 'consecrated warrior', or the ancient ancestor of the dīkṣita.

Referring to AVS 17.5 which mentions a sattra, Heesterman notes: 'they form a sworn band bound by the vow of sacrifice', and they operate as consecrated warriors under a sthapati. This is a chosen leader who was renowned for his wisdom. In this composition, the ṛṣis are reunited for the sattra to celebrate Indra as their leader and protector. One cannot avoid the impression that we are presented here with descriptions — on a mythological level — of an assembly of vrātyas (the consecrated warriors) with their Ekavrātya as the leader. 
"(Heesterman, J. Cornelius. 1995. Warrior, peasant and brahmin. Modern Asian Studies 29 (3): 637-654, p.643).  

तार्प्य n. a garment made of a particular vegetable substance (तृपा Sa1y. on S3Br. AV. xviii , 4 , 31 (°प्य्/TS. ii TBr. i , iii S3Br. v , 3 , 5 , 20 Ta1n2d2yaBr. xxi Ka1tyS3r. xv S3a1n3khS3r. (Monier-Williams) तृपा f. N. of a plant S3Br. v , 3 , 5 , 20 Sa1y. (Monier-Williams)

SBr. 5.3.5.20. He then makes him (the king) put on garments. There is that one called târpya 1; therein are wrought 1 all forms of sacrifice: that he makes him put on, with (Vâg. S. X, 8), 'Thou art the inner caul of knighthood (kshatra)!' He thus causes him to be born from out of what is the inner caul (amnion) of knighthood. (According to the commentators, figures of sacrificial spoons, cups, &c., are sewn in by means of a needle.) târpya is variously explained, by Kâtyâyana and Sâyana, as a linen one, or simply one soaked in ghee, or a tripâna one--i.e. one made of triparna plants, or a thrice saturated one (with ghee)--or one woven out of materials derived from the tripâ plant. It is quite evident that they did not exactly know what to make of it. Indeed, it would almost seem as if the author of the Brâhmana himself was already doubtful as to the meaning of the term. Goldstücker (s.v. abhishekanîya) perhaps rightly takes it to mean a silk under-garment.

त्रपु n. (1 , 177 Ka1s3. ) tin AV. xi , 3 , 8 VS. xviii Kapisht2h. ChUp. Mn. &c (Monier-Williams)    त्रपु   trapu त्रपु n. [अग्निंदृष्ट्वात्रपतेलज्जतेइव, त्रप्-उन् Tv.] 1 Tin; Av.11.3.8; Ch. Up.4.17.7; यदिमणिस्त्रपुणिप्रतिबध्यते Pt.1.75; -2 Lead.(Apte)









Related image
Figure 6.7 Ardeleanu-Jansen’s reconstruction of the Priest King (after Ardeleanu-ansen 1991) 
"Seated male sculpture, or "Priest King" from Mohenjo-daro. Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress. Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.Material: white, low fired steatite 
Seated Man L-950 is Priest-King DK-1909, Bearded Man HR-910 Figure 6.6

Dimensions: 17.5 cm height, 11 cm widthMohenjo-daro, DK 1909National Museum, Karachi, 50.852Marshall 1931: 356-7, pl. XCVIII" (Jonathan Mark Kenoyer) https://www.harappa.com/slide/priest-king-mohenjo-daro  


The Bactrian vase shows floating figures of seated men wearing rpya garment which signifies the seated men to be manes. The presence of a fire-altar and an octagonal pillar in Binjor (Anupgarh) on the banks of River Sarasvati signifies the performance of a yajna. The presence of a seal with Indus Script signifying metalwork catalogues, wealth-accounting ledger attests to this archaeological site to be a Veda cultural site of ca. 2500 BCE. (तृपा  f. N. of a plant (शतपथ-ब्राह्मण v , 3 , 5 , 20 Sāyaṇa)


The priests shown on the Bactrian vase are 'floating figuress' because they were the Sky Garment of Varuṇa.

तार्प्य n. a garment made of a particular vegetable substance (तृपा Sa1y. on S3Br. AV. xviii , 4 , 31 (°प्य्/अ)(तैत्तिरीय-संहिता ii, तैत्तिरी,य-ब्राह्मण i , iii शतपथ-ब्राह्मण v , 3 , 5 , 20,ताण्ड्य-ब्राह्मण xxi, कात्यायन-श्रौत-सूत्र xv, शाङ्खायन-श्रौत-सूत्र.) The term tarpa is associated with sackcloth and boat.The verb tarpayati signifies offeering of an oblation to divinities or manes. tarpáyati ʻ satisfies, gladdens ʼ RV. [√tr̥p] Pk. tappēi ʻ gladdens ʼ; H. tapānā ʻ to present a libation to the gods or manes ʼ, tapāwan m. ʻ libation ʼ.(CDIAL 5728)  *tarpa1 ʻ matting, sacking ʼ. [Cf. tálpa -- 1 m. ʻ bed (i.e. framework with woven string?) ʼ AV., ʻ seat of a carriage ʼ MBh.: same as *tarpa -- 2?] N. ṭāpo ʻ basket to carry poultry in ʼ, Bi. ṭāp˚pā˚pī; Mth. ṭāpī ʻ bamboo fishing net ʼ, Bhoj. ṭāpā; H. ṭāp˚pā m. ʻ bamboo trap for fish ʼ. -- Ext. --  -- : S. ṭrapaṛu m. ʻ sackcloth ʼ; L. trappaṛ m. ʻ mat, cloth of goat's or camel's hair ʼ; P. tappaṛ m. ʻ coarse cloth of goat's hair ʼ; G. tāpṛũ ʻ coarse jute cloth ʼ; -- -- r -- : S. ṭrapura f. ʻ saddlecloth ʼ; P. ṭappar m. ʻ sackcloth, mat ʼ, ṭapparā m., ˚rī f. ʻ thatch, shed ʼ; WPah. (Joshi) ṭaprī f. ʻ hut ʼ; Ku. ṭapariyo ʻ hut ʼ, ṭaparyūṇo ʻ to thatch, roof ʼ; N. ṭaparo ʻ plate made of leaves ʼ; H. ṭāprā m. ʻ thatch, thatched house ʼ; M. ṭāpar f. ʻ muffler ʼ.Addenda: *tarpa -- 1 [tálpa -- 1 in talpaśīˊvan -- RV.] WPah.Wkc. ṭapre f. ʻ hut ʼ, J. ṭaprī f. (CDIAL 5725)*tarpa2 ʻ raft ʼ. [Cf. talpa -- 2 m. ʻ raft ʼ lex.: perh. same as *tarpa -- 1 i.e. ʻ a raft of interwoven or crossed timbers ʼ]Periplus tra/ppaga n. pl. ʻ rafts ʼ; Pk. tappa -- m.n. ʻ small boat ʼ; G. trāpɔtarāpɔ m. ʻ raft of crossed timbers ʼ; M. tāpātāphā m. ʻ float or raft of timbers tied together ʼ (tarāphā m. ʻ larger do. ʼ ← G.). (CDIAL 5726)

Ardeeeleanu-Jansen’s Reconstruction. Ardeleanu-Jansen has recreated an interesting reconstruction of the priest-king as a statue of a seated man with his left leg raised and bent at the knee (Figure 6.7). This is a posture assumed by other statuary found at Mohenjo-daro; one of which I have named the ‘Seated Man’, another, the ‘Sad Man’, as well as figures from Bactria (Figure 6.8). Parpola's thoughts. A. Parpola attempts to demonstrate that the robe of the priest-king is something called the tārpya, found in Vedic ritual and said to be the garment of the divine king Varuna. Parpola postulates that this statue is a representation of a seated deity, which had an elaborate, changeable headdress of the type he proposes is found on the Mahayogi seal...The Seated Man (L-950). A headless seated male statue made of gray alabaster was found by Mackay at L Area on the southern half of the mound of the Great Bath. It has been attributed to the Late Period (Figure 6.5)…This is the one statue from Mohenjo-daro that clearly is seated and costumed in the same manner as those seen in Bactrian art (Figure 8), and the pose has been proposed by Ardeleanu-Jansen for the priest-king. This admits the possibility that the Mohenjo-daro representations are of Bactrians. The men on the Bactrian vase are ‘floating’ in the sky above other men behind plows being pulled by Bos Taurus, not the Indian zebu. Everyone looks perfectly at home. Of course, the dress could be Harappan and the Bactrian vase could represent ‘Harappans’ floating in the sky above the plowmen. But nowhere else in the art of the Mature Harappan do we find this form of dress, so the balance tips a bit toward the notion that the Seated Man from L Area, and the priest-king, if Ardeleanu-Jansen is correct, represent Bactrians at Mohenjo-daro in the Late Period there. This might be late enough to somehow figure in the contacts between the Indus Civilization and the Bactria-Margiana-Archaeological Complex, and the Middle Asian Interaction sphere.” (Gregory L. Possehl, 2002,The Indus CivilizationA Contemporary PerspectiveRowman Altamira11-Nov-2002, pp.115-116). 

See:Parpola, Asko, 1985. The Sky-Garment: A study of the Harappan religion and its relation to the Mesopotamian and later Indian religions. (Studia Orientalia 57.) Helsinki: The Finnish Oriental Society. 25 cm, 216 pp. + 35 figs.
https://www.academia.edu/18966478/Parpola_Asko_1985._The_Sky-Garment_A_study_of_the_Harappan_religion_and_its_relation_to_the_Mesopotamian_and_later_Indian_religions._Studia_Orientalia_57._Helsinki_The_Finnish_Oriental_Society._25_cm_216_pp._35_figs

Satapatha Brahmana Part V (SBE44), Julius Eggeling tr. [1900], at sacred-texts.com





THE ASVAMEDHA, OR HORSE-SACRIFICE. 

THE ASVAMEDHA, OR HORSE-SACRIFICE. 
PRELIMINARY CEREMONIES FIRST ADHYÂYA. FIRST BRÂHMANA.

13.1.1. He (the Adhvaryu) cooks the priests’ mess of rice 2: it is seed he thereby produces. Having greased a rope with the ghee which is left over 3, he takes it; for ghee is (a type of) fiery spirit, and the horse is sacred to Pragâpati 4: he thus endows Pragâpati with fiery spirit. Impure, and unfit for sacrifice, indeed, is that (animal), to wit, the horse.
2. The rope consists of darbha grass (poa cynosuroides);--for darbha stalks 5 are a means of purification: he thus purifies that (horse), and immolates it as one purified and meet for sacrifice.
3. Now, when the horse 6 was immolated, its seed went from it and became gold 1: thus, when he gives gold (to the priests) he supplies the horse with seed.
4. Pragâpati produced the sacrifice 2. His greatness departed from him, and entered the great sacrificial priests 3. Together with the great priests he went in search of it, and together with the great priests he found it: when the great priests eat the priests’ mess of rice, the Sacrificer thereby secures for himself the greatness of the sacrifice. Along with the priests’ mess of rice he presents gold (to the priests); for the mess of rice is seed, and gold is seed: by means of seed he thus lays seed into that (horse, and Sacrificer). It (the gold 4) weighs a hundred (grains); for man has a life of a hundred (years), and a hundred energies: it is life, and energy, vigour, he lays into his own self. At midday he takes Vasatîvarî 5 water of four kinds; it is brought together from the (four) quarters, for food is in (all) the (four) quarters, and water is food: by means of food he thus secures food for him.

Footnotes

274:1 The ceremonies treated of in the first six chapters (brâhmanas) refer to the setting apart of the horse for its sacred office, a year before the sacrifice, and to the intervening period during which the horse is allowed to roam about, though under careful supervision.
274:2 For further particulars regarding this opening ceremony of the sacrifice see XIII, 4, 1, 1 seqq.
274:3 Viz. from the ghee used for greasing the four dishes of cooked rice.
274:4 Or, the horse is of the nature of Pragâpati.
274:5 See above, p. 195, note 1.
274:6 That is, as would seem, Pragâpati in the form of a horse, see part iv, introd., p. xiv seqq.
275:1 Pragâpati is Agni, and gold is Agni's seed, cf. II, 1, 1, 5; III, 3, 1, 3 &c.
275:2 That is, the Asvamedha sacrifice, and thus the immolation (or emptying out) of his own self, so to speak.
275:3 That is, the four principal officiating priests, Brahman, Hotri, Adhvaryu, and Udgâtri. Cf. VIII, 4, 3, 1 seqq., where it is the vital airs that, in their capacity as Rishis, assist Pragâpati in the first sacrifice.
275:4 That is to say, each piece of gold weighs as much. According to Kâty. XX, 1, 6 he is to give to the priests 4000 cows and as many Satamâna coins.
275:5 For this water used for the Soma-sacrifice where, however, it is taken from a cistern, or some course of flowing water, see part ii, p. 222 seqq.

13.1.2

SECOND BRÂHMANA.

13.1.2.1. Now, unsuccessful in the sacrifice, assuredly, is what is performed without a formula. (With Vâg. S. XXII, 2,) 'This rope did they take, at the first age of the truth, [the sages, at the rites: it hath been with us at this Soma-sacrifice, declaring the course in the gaining of the truth],' he takes the halter of the horse in order to supply a formula for the success of the sacrifice. It (the rope) is twelve cubits long,--twelve months make a year: it is the year, the sacrifice 1, he secures.

2. Concerning this they say, 'Is the rope to be made twelve cubits long, or thirteen cubits long?' Well, that year is the bull among the seasons, and the thirteenth (or intercalary) month is an excrescence of the year; and this Asvamedha is the bull among sacrifices; and inasmuch as the bull has an excrescence (hump), one may add on a thirteenth cubit to the rope as an excrescence to this (Asvamedha): even as the bull's hump is attached 2 (to his back), suchlike would this be.

3. [He puts the halter on the horse, with Vâg. S. XXII, 3, 4,] 'Encompassing 3 thou art,'--therefore the offerer of the Asvamedha conquers all the quarters 1;--'the world thou art,'--the world he thus conquers;--'a ruler thou art, an upholder,'--he thus makes him a ruler and upholder;--'go thou unto Agni Vaisvânara,'--he thus makes him go to Agni Vaisvânara (the friend of all men);--'of wide extent,'--he thus causes him to extend in offspring and cattle;--'consecrated by Svâhâ (hail!),'--this is the Vashat-call 2 for it;--'good speed (to) thee for the gods!'--he thus makes it of good speed for the gods;--'for Pragâpati,'--the horse is sacred to Pragâpati: he thus supplies 3 it with his own deity.

4. But, verily, he who fetters the horse without announcing it to the Brahman and the gods is liable to incur injury. He addresses the Brahman (the superintending priest) by saying, 'O Brahman, I will fetter the horse for the gods, for Pragâpati: may I prosper therewith!' and having made the announcementto the Brahman, he ties up the horse, and thus incurs no injury. 'Fetter it for the gods, for Pragâpati: prosper thou therewith!' thus the Brahman urges him, and supplies it (the horse) with its own deity. He then sprinkles it (with water): the (symbolic) meaning of this is the same as before 1.

5. He sprinkles 2 it, with (Vâg. S. XXII, 5), 'I sprinkle thee (so as to be) acceptable to Pragâpati,'--for Pragâpati is the most vigorous of the gods: it is vigour he bestows on it, whence the horse is the most vigorous of animals.

6. 'I sprinkle thee, acceptable to Indra and Agni,'--for Indra and Agni are the most powerful of the gods: it is power he bestows on it, whence the horse is the most powerful of animals.

7. 'I sprinkle thee, acceptable to Vâyu,'--for Vâyu is the swiftest of gods: it is speed he bestows on it, whence the horse is the swiftest of animals.

8. 'I sprinkle thee, acceptable to the All-gods,'--for the All-gods are the most famous of gods: it is fame he bestows on it, whence the horse is the most famous of animals,---'I sprinkle thee, acceptable 

9. Concerning this they say, 'Seeing that the horse is sacred to Pragâpati, wherefore (does he say), "I sprinkle thee" for other deities also?' Well, all the gods are concerned in the horse-sacrifice; when he says, 'I sprinkle thee for all the gods,' he makes all the gods take a concern in the horse-sacrifice; whence all the gods are concerned in the horse-sacrifice. But his wicked enemy seeks to lay hold of him who performs the horse-sacrifice, and the horse is a thunderbolt;--having killed the four-eyed dog, he--with 'Undone 1 is the man! undone is the dog!'--plunges 2 it under the horse's feet: it is by means of the thunderbol the thus stamps him down; and the wicked enemy does not lay hold of him.

Footnotes

276:1 Or, possibly, it is for the space of a year that he secures the sacrifice, but see part iv, introduction, p. xxiii.
276:2 Lit., spread out.
276:3 Some such meaning as this (or perhaps 'encompassed, encircled') seems to be assigned by the author to 'abhidhâh,' with evident reference to 'abhidhânî,' halter,' from 'abhi-dhâ,''to fasten, enclose.' The St. Petersburg Dict., on the other hand, takes it in the sense of 'naming, denoting' (? inasmuch as the horse gives the name to the horse-sacrifice); whilst Mahîdhara explains it by 'that which is named or praised.'
277:1 In epic times the Asvamedha is commonly performed by kings who have been successful in the 'digvigaya,' or conquest in all quarters.
277:2 'Vashat' is the sacrificial call uttered by the Hotri at the end of the 'yâgyâ,' or offering-verse of a regular oblation (âhuti) as distinguished from minor libations, such as homas and âghâras, which require no 'yâgyâ' and for which the sacrificial call--marking the pouring out of the libation into the fire--is 'svâhâ!' The meaning of 'vashat' is doubtful; but it would seem to be connected either with the root 'vaksh,' to grow, to wax, or with 'vah,' to bear; and would thus mean either 'may it prosper!' or 'may he (Agni) bear it (to the gods)!' By the mention of the Svâhâ in our formula the horse is, as it were, marked as dedicated to the gods.
277:3 Or, perhaps, he causes it to succeed by means, or with the help, of its own deity.
278:1 For the sprinkling of (the material for) oblations see I, 1, 3, 6 seq.; and an animal victim in particular, III, 7, 4, 3.
278:2 According to Kâty. XX, 1, 37, he goes with the horse to stagnant water, and there sprinkles it. It would seem that the horse stands in the water during this ceremony.
279:1 Mahîdhara explains 'parah' by 'parâbhûtah, adhaspadam nîtah,' i.e. defeated, laid low. Perhaps it may mean, 'Away is the man, away the dog!' As given in the Vâg. Samh., this is only the last part of the formula, pronounced by the Sacrificer; whilst during the killing of the dog, he is made to say, 'Whosoever seeketh to slay the steed, him Varuna besetteth.'--According to Kâty. XX, 1, 38 seqq., the priest says to an Âyogava (the offspring of a Sûdra father and a Vaisya mother)--or, to a lewd man, according to others--'Kill the four-eyed dog!' whereupon the man kills a dog by means of a club of Sidhraka wood; and (the priest?), by means of a rattan hoop (? or mat, kata, comm. kataka), makes the dead dog float beneath the horse. According to the comment. on Kâty. XX, 1, 38, in case a four-eyed dog--i.e. a (two-faced) one 'yasya dve mukhe' and hence looking in the four (intermediate) directions (vidis), Sây.--is not available (!), a dog with marks about the eyes should be used. The mention of the 'four-footed' dog in the formula is, however, doubtless meant merely symbolically, as representing evil threatening the Sacrificer from every quarter.
279:2 Harisvâmin seems to connect this with the sprinkling of the horse itself--prokshanam suna upaplâvanam ukyate--perhaps in the sense that the water flowing down from the sprinkled horse would soak the dog, in which case the horse would apparently be supposed to stand on the dry ground. See, however, comm. on Kâty. XX, 2, 2, 'Svânam asvasyâdhahpradesgalamadhye plâvayati târayati.' The 'offerings of drops' to be performed immediately after this ceremony might seem to be offered with reference to the drops of water flowing from the horse, and as it were falling outside the sacrifice; but see paragraph 5.


13.1.3 

THIRD BRÂHMANA.

13.1.3.1. Even as some of the havis (offering-material) may be spilled before it is offered, so also (part) of the victim is here spilled in that they let loose the sprinkled (horse) before it is slain. When he offers the Stokîyâs (oblations of drops), he offers that (horse) as a complete offering 1--so as to make good any spilling 2; for unspilled is any (part) of the offered (material) that is spilled. A thousand (oblations of drops) he offers for the obtainment of the heavenly world, for the heavenly world is equal in extent to a thousand.

2. Concerning this they say, 'Were he to offer measured (a specified number of oblations), he would gain for himself something limited:' he offers unspecified (oblations) for the obtainment of the unlimited. And indeed Pragâpati spake, 'Verily, upon the oblations of drops I establish the Asvamedha, and by it, when established, I pass upward from hence.'

3. [He offers, with Vâg. S. XXII, 6,] 'To Agni, hail!'--to Agni he thus offers it (the horse 3);--'to Soma, hail!'--to Soma he thus offers it;--'to the joy of the waters, hail!'--to the waters he thus offers it;--'to Savitri, hail!'--to Savitri he thus offers it;--'to Vâyu, hail!'--to Vâyu (the wind) he thus offers it;--'to Vishnu, hail!'--to Vishnu he thus offers it to;--'Indra, hail!'--to Indra he thus offers it;--'to Brihaspati, hail!'--to Brihaspati he thus offers it;--'to Mitra, hail!'--to Mitra he thus offers it;--'to Varuna, hail!'--to Varuna he thus offers it:--so many, doubtless, are all the gods: it is to them he offers it. He offers them straight away 1 for the obtainment of the heavenly world, for straight away, as it were, is the heavenly world.

4. But, verily, he who offers the oblations straight away, would be liable to fall (pass) right away 2: he turns back again 3, and establishes himself in this (terrestrial) world. And this 4 indeed he (Pragâpati) has declared to be the perfection of the sacrifice, so as to prevent falling away (spilling), for unspilled is what is spilled of the offered (material).

5. And even as some of the offering-material may be spilled before it is offered, so also (part) of the
victim is here spilled in that they let loose the sprinkled (horse) before it is slaughtered. When he offers (the oblations relating to) the Forms 1 (rûpa), he offers that (horse) as one that is wholly offered, so as to make good any spilling; for unspilled is what is spilled of the offered (material). With (Vâg. S. XXII, 7-8 2),'To the Hiṅ-call, hail! to the (horse) consecrated by Hiṅ, hail! . . .'


(he offers them); for these are the forms (qualities) of the horse: it is them he now obtains.

6. Concerning this they say, 'The Forms are no offering: they should not be offered.' But, indeed, they also say, 'Therein assuredly the horse-sacrifice becomes complete that he performs (the oblations relating to) the Forms: they should certainly be offered.' And, indeed, one puts that (Sacrificer) out of his resting-place, and raises a rival for him when one offers for him oblations elsewhere than in the fire 1, where there is no resting-place.

7. Prior to the (first) oblation to Savitri 2, he (the Adhvaryu) offers, once only, (the oblations relating to) the Forms 3 in the Âhavanîya, whilst going rapidly over (the formulas): he thus offers the oblations at his (the Sacrificer's) resting-place, and raises no rival for him. He offers at each opening of sacrifice 4, for the continuity and uninterrupted performance of the sacrifice.

8. Concerning this they say, 'Were he to offer at each opening of sacrifice, he would be deprived of his cattle, and would become poorer.' They should be performed once only: thus he is not deprived of his cattle, and does not become poorer. Forty-eight (oblations) he offers;--the Gagatî consists of forty-eight syllables, and cattle are of Gâgata (movable) nature: by means of the Gagatî he (the Adhvaryu) thus wins cattle for him (the Sacrificer). One additional (oblation) he offers, whence one man is apt to thrive amongst (many) creatures (or subjects).

Footnotes

280:1 Cf. I, 2, 4, 3; 3, 3, 16 seqq.; IV, 2, 5, 1 seqq.
280:2 Lit., for non-spilling, i.e. to neutralise any spilling that may have taken place.
280:3 Harisvâmin seems rather to lay the stress on the direct object:--agnaye param evâsvam guhoti na kevalam âgyam. The context, however, does not admit of this interpretation.
281:1 According to Kâty. XX, 2, 3-5, he offers either a thousand oblations, or as many as he can offer till the dripping of the water from the horse has ceased. For every ten oblations he uses the formulas here given, after which he begins again from the beginning. The 'straight on' apparently means that he is neither to break the order of the deities, nor to offer more than one oblation at a time to the same deity.
281:2 That is, he would die; 'praitîty arthah,' Comm. The St. Petersburg Dict., on the other hand, takes 'îsvarah pradaghah' in the sense of 'liable to fall down headlong' (abstürzen).
281:3 That is, by commencing the ten oblations again from the beginning.
281:4 Viz. repetition of performance,--etâm eva ka sa pragâpatir âvrittimattâm yagñasya samsthitim (uvâka). On repetitions in the chanting of stotras, see III, 2, 5, 8; cf. also XII, 2, 3, 13.
282:1 These forty-nine oblations performed after the letting loose of the horse, are called Prakramas (i.e. steps, or movements); cf. XIII, 4, 3, 4; Kâty. XX, 3, 3.--Harisvâmin remarks, asvarûpânâm hiṅkârâdînâm nishkramanâtmikâ (!) rûpâkhyâ âhutaya ukyante, tâ evâtra prakramâ iti vakshyante.
282:2 These (rather pedantic) formulas, all of them ending in 'svâhâ,' occupy two Kandikâs of the Samhitâ, consisting of 24 and 25 formulas respectively:--1. To the hiṅkâra, svâhâ! 2. To the one consecrated by 'hiṅ,' hail! 3. To the whinnying one, hail! 4. To the neighing, hail! 5. To the snorting one, hail! 6. To the snort, hail! 7. To smell, hail! 8. To the (thing) smelled, hail! 9. To the stabled one, hail! 10. To the resting one, hail! 11. To the clipped one, hail! 12. To the prancing one, hail! 13. To the seated one, hail! 14. To the lying one, hail! 15. To the sleeping one, hail! 16. To the waking one, hail! 17, To the groaning one, hail! 18, To the awakened one, hail! 19. To the yawning one, hail! 20. To the untethered one, hail! 21. To the upstarting one, hail! 22. To the standing one, hail! 23. To the starting one, hail! 24. To the advancing one, hail!-25. To the trotting one, hail! 26. To the running one, hail! 27. To the bolting one, hail! 28. To the flighty one, hail! 29. To the geeho, hail! 30. To the one urged on by geeho, hail! 31. To the prostrate one, hail! 32. To the risen one, hail! 33. To the swift one, hail! 34. To the strong one, hail! 35. To the turning one, hail! 36. To the turned one, hail! 37. To the shaking one, hail! 38. To the shaken one, hail! 39. To the obedient one, hail! 40. To the listening one, hail! 41. To the looking one, hail! 42. To the one looked at, hail! 43. To the out-looking one, hail! 44. To the winking one, hail! 45. To what it eats; hail! 46. To what it drinks, hail! 47. To the water it makes, hail! 48. To the working one, hail! 49. To the wrought one, hail!
283:1 According to Kâty. XX, 3, 3, the Prakramas are to be offered in the Dakshinâgni; but our Brâhmana, whilst mentioning, at XIII, 4, 3, 4, both that fire, and the horse's footprint as optional places of offering, there as well as here decides in favour of the Âhavanîya; whence Harisvâmin remarks:--anyatrâgner iti anvâhâryapakane vâsvapade vâ parilikhite vakshyamânakalpântaranindâ.
283:2 See XIII, 1, 4, 2.
283:3 That is to say, without repeating them, when he has come to the end, as he did in the case of the 'oblations of drops.' Nor are they to be repeated day after day throughout the year, as some of the other offerings and rites are.
283:4 Viz., according to Harisvâmin, at (the beginning of) the dîkshanîyâ, prâyanîyâ, âtithyâ, pravargya; the upasads, agnîshomîya, sutyâ, avabhritha, udayanîyâ, and udavasânîyâ offerings (ishti). This view is, however, rejected by the author.

https://www.sacred-texts.com/hin/sbr/sbe44/sbe44076.htm

13.1.4

FOURTH BRÂHMANA.

13.1.4.1. Pragâpati poured forth the life-sap of the horse (asva-medha) 1. When poured forth, it went straight away from him and spread itself over the regions. The gods went in quest of it. By means of offerings (ishti) they followed it up, by offerings they searched for it, and by offerings they found it. And when he performs ishtis, the Sacrificer thereby searches for the horse (asva) meet for sacrifice 2 (medhya).
2. They (the ishtis 3) belong to Savitri; for Savitri is this (earth): if any one hides himself thereon, if any one goes elsewhere 4, it is on this (earth) that they find him; for no one (creature), whether walking erect or horizontally (like an animal), is able to go beyond it. Their belonging to Savitri thus is in order to find the horse.

3. Concerning this they say, 'Surely the horse disappears when it goes straight away; for they do not turn (drive) it back 1.' Now when he performs the Dhriti offerings 2 in the evening--dhriti (keeping) meaning peaceful dwelling, and the night also meaning peaceful dwelling--it is by means of peaceful dwelling that he keeps it; whence both men and beasts rest peacefully at night. And when he performs offerings in the morning, he seeks that (horse); whence it is in daytime that one goes to seek for what is lost. And again when he offers the Dhritis in the evening, and the (Savitri) ishtis in the morning, it is security of possession the Sacrificer thereby brings about, whence security of possession is brought about for the subjects where this sacrifice is performed.

Footnotes

284:1 Or, as it might also be translated. Pragâpati produced (created) the Asvamedha.
284:2 Or, for the horse full of life-sap; or, simply, the sacrificial horse.
284:3 Viz. three oblations of cakes on twelve kapâlas to Savitri Prasavitri, Savitri Âsavitri; and Savitri Satyaprasava respectively. For particulars see XIII, 4, 2, 6 seqq.
284:4 Harisvâmin seems to take this in the sense of 'who moves about elsewhere (in another sphere),' and mentions, as an instance, a bird which flies in (? up into) the air--pakshyâdir antarikshe gakkhati--but is ultimately caught on earth.
285:1 See XIII, 4, 2, 16.
285:2 The four Dhritis are performed on the Âhavanîya after sunset on the first day; cf. XIII, 4, 3, 5. For the four formulas used with these oblations ('here is joy,'&c.), see XIII, 1, 6, 2.

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13.1.5

FIFTH BRÂHMANA.

13.1.5.1. 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.

2. 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).

3. ‘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.

4. 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.

5. '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 1, and the Râganya at night 2; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility 3.

6. 'Such sacrifices he offered,--such gifts he gave!' such (are the topics about which) the Brâhmana sings 1; for to the Brâhmana belongs the fulfilment of wishes 2: 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.


Footnotes

286:1 Viz. at the fore-offerings of the three cake-offerings (ishtis) to Savitri; whilst staying in the south part of the sacrificial ground.
286:2 Viz. during the performance of the Dhritis after sunset.
286:3 The 'iti' at the end belongs to the following paragraph.
287:1 Cf. XIII, 4, 2, 8.

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13.1.6

SIXTH BRÂHMANA.

13.1.6.1. [The Adhvaryu and Sacrificer whisper in the right ear of the horse, Vâg. S. XXII, 19 3,] 'Plenteous by the mother, strengthful by the father,'--its mother, doubtless, is this (earth), and its father yonder (sky): it is to these two he commits it;--'a horse thou art, a steed thou art,'--he thereby instructs it, whence clever subjects (or children) are born to him;--'a courser (atya) thou art, a charger thou art,'--he therewith leads it beyond (ati), whence the horse goes beyond (surpasses) other animals, and whence the horse attains to pre-eminence among animals;--'a runner thou art, a racer thou art, a prize-winner thou art,'--in accordance with the text is (the meaning of) this;--'a male thou art, well-disposed towards man thou art,'--this is with a view to its (or, his) being supplied with a mate;--'Speedy thou art called, Child thou art called,'--this is the horse's favourite name: by its favourite name he thus addresses it; whence even if two enemies 1, on meeting together, address one another by name, they get on amicably together.
2. 'Go thou along the way of the Âdityas!'--to the Âdityas he thus makes it go.--'Ye divine guardians of the quarters, protect this horse, sprinkled for sacrifice to the gods!'--the guardians of the quarters are a hundred princes born in wedlock: to them he commits it;--'here is joy: here let it rejoice!--here is safe keeping, here is its own safe keeping, hail!' For a year he offers the (four Dhriti) oblations 2--(amounting to) sixteen nineties, for they are the horse's chain 3, and it is therewith alone that he chains it; whence the horse when let loose returns to its chain: (they amount to) sixteen nineties 4; for these (oblations of safe keeping) are the horse's chain, and it is therewith alone that he chains it, whence the horse, when let loose, does not (entirely) abandon its chain.
3. Verily, the Asvamedha means royal sway: it is after royal sway that these strive who guard the horse. Those of them who reach the end become (sharers in) the royal sway, but those who do not reach the end are cut off from royal sway. Wherefore let him who holds royal sway perform the horse-sacrifice; for, verily, whosoever performs the horse-sacrifice, without possessing power, is poured (swept) away.--Now, were unfriendly, men to get hold of the horse, his sacrifice would be cut in twain, and he would become the poorer for it. A hundred men clad in armour guard it for the continuity and uninterrupted performance of the sacrifice; and he will not become the poorer for it; (but if it be lost) they should fetch another (horse), and sprinkle it: this is the expiation in that case.

Footnotes

287:2 The author apparently takes 'ishtâpûrta' in the sense of either 'sacrifice and fulfilment,' or 'the fulfilment of (the objects of) sacrifice.' Cf. Weber, Ind. Stud. IX, p. 319; X, p. 96.
287:3 See XIII, 4, 2, 15.
288:1 Harisvâmin, perhaps rightly, takes 'âmitrau' in the sense of 'amitrayoh putrau,''the sons of two enemies.'
288:2 See note on XIII, 4, 3, 5.
288:3 Or, place of confinement, stable,--'bandhanasthânam.' Harisv.
288:4 That is, four times 360.

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13.1.7

SEVENTH BRÂHMANA.

THE INITIATION OF THE SACRIFICER.

1. Pragâpati desired, 'Might I perform a horse-sacrifice 1?' He toiled and practised fervid devotion. From the body of him, when wearied and heated, the deities departed in a sevenfold way: therefrom the Dîkshâ (initiation) was produced. He perceived those Vaisvadeva 2 (oblations). He offered them, and by means of them he gained the Dîkshâ: and when the Sacrificer offers the Vaisvadeva (oblations) it is the Dîkshâ he thereby gains. Day after day he offers them: day after day he thus gains the Dîkshâ 1. Seven of them he offers; for seven were those deities that departed (from Pragâpati); it is by means of them that he (the priest) gains the Dîkshâ for him.

2. But, indeed, the vital airs depart from those who exceed (the duration of) the Dîkshâ. For seven days they observe it; for there are seven (outlets of) vital airs in the head, and the Dîkshâ is the vital airs: it is by means of the vital airs he gains the Dîkshâ, the vital airs, for him. He makes offering by dividing (each) deity into three parts 1; for the gods are of three orders 2, and of three orders are these worlds: he thus establishes himself in these worlds in prosperity and vital power.

3. They amount to one and twenty (single invocations and oblations),--there are twelve months, five seasons, these three worlds, and yonder sun as the twenty-first,--that is the divine ruling-power, that is the glory: that supreme lordship, that summit of the fallow one (the Sun), that realm of light he attains.

4. Thirty Audgrabhanas 3 he offers,--of thirty syllables the Virâg (metre) consists, and the Virâg means all food: thus (he offers) for the obtainment of all food. Four Audgrabhanas he offers (on each day), and three Vaisvadevas;--they amount to seven; for there are seven vital airs of the head, and the Dîkshâ is the vital airs: by means of the vital airs he thus gains the Dîkshâ, the vital airs, for him. A full (-spoon)-oblation 1 he offers last for the sake of invigoration and union.


Footnotes

289:1 Or, 'might I make offering with the life-sap of the horse?' the natural, as well as the technical, meaning of the term 'asvamedha' being generally understood in these speculations.
289:2 The oblations offered prior to the initiation--here, as at any Soma-sacrifice--are called Audgrabhana (elevatory) oblations. On the present occasion he, in the first place, performs, on each of the first six days of the Dîkshâ, the four oblations of this kind offered at the ordinary Soma-sacrifice (for which see III, 1, 4, 1 seqq.); whilst on the seventh day he offers, instead of these, the six corresponding oblations of the Agnikayana (which forms a necessary element of the Asvamedha), see VI, 6, 1, 15-20; for a further and final oblation offered on all these occasions, see p. 292, note 1. He then performs on each day three additional oblations p. 290 (increased to four on the last day) which are peculiar to the Asvamedha, and vary from day to day in respect of the deities to whom they are offered. But whilst, in the Srautasûtras, these special oblations are likewise called Audgrabhana (Katy. XX, 4, 2-10), the author here applies to them the term Vaisvadeva, owing apparently to the fact of their being offered, not to the Visve Devâh properly speaking, but to different deities. In the dogmatic explanation of the Audgrabhanas of the ordinary sacrifice, reference was also made (at III, 1, 4, 9) to the Visve Devâh, but only incidentally. Harisvâmin, indeed, points out that the designation Vaisvadeva refers in the first place to the invocations (Vâg. S. XXII, 20) used with these special oblations (as is, indeed, evident from paragraph 2; cf. also part ii, p. 20, note 1); and the total of seven applied to them does not therefore refer here (as it does in paragraph 4) to the four ordinary and the three special Audgrabhana oblations, but to the series of dedicatory formulas relating to the latter oblations, as explained p. 291, note 1; and, of course, by implication, to the oblations themselves.
290:1 Though the Initiation only becomes perfect by the Sacrificer being girded with a hempen zone, whilst kneeling on a double black-antelope skin, and by a staff being handed to him (III, 2, 1, 1-32); on the present occasion, the Sacrificer is on each day, after the performance of the Audgrabhana oblations, at least to sit down on the antelope skin; whilst on the seventh and last day of the Dîkshanîyeshti, the remaining ceremonies take place, after which those of the Agnikayana, viz. the placing of the Ukhâ, or fire-pan, on the fire and the putting of thirteen fire-sticks in the pan (VI, 6, 2, 1 seqq.), &c.
291:1 The kandikâ XXII, 20 is made up of seven parts, each of which consists of three distinct invocations addressed to the same deity; the seven deities addressed in the whole formula being Ka, Pragâpati, Aditi, Sarasvatî, Pûshan, Tvashtri, and Vishnu; whilst the three invocations to Ka, for instance, are 'Kâya svâhâ! Kasmai svâhâ! Katamasmai svâhâ!' Cf. XIII, 1, 8, 2 seqq.
291:2 Viz. either the Vasus, Rudras, and Âdityas (cf. IV, 5, 7, 2); or those of the sky, the air, and the earth, headed by Sûrya, Vâyu, and Agni respectively.
291:3 That is, the four Audgrabhanas of the ordinary Soma-sacrifice offered on each of the seven days of the Dîkshâ, and two more added thereto on the seventh day.
292:1 For a full discussion of this final Audgrabhana oblation, the only one, it would seem, offered with the regular offering-spoon (guhû) filled by means of the dipping-spoon (sruva), see III, 1, 4, 2; 16-23; cf. also VI, 6, 1, 21.

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13.1.8

EIGHTH BRÂHMANA.

1. Pragâpati poured forth the life-sap of the horse 2. When poured forth, it weighed down the rik (hymn-verse) and the sâman (hymn-tune). The Vaisvadeva (offerings) upheld that (Asvamedha): thus, when he offers the Vaisvadevas, it is for the upholding of the Asvamedha.

2. With (Vâg. S. XXII, 20), 'To Ka hail! To the Who hail! To the Whoever hail!' he makes the one relating to Pragâpati the first (or chief one), and thus upholds (the Asvamedha) by means of the deities with Pragâpati as their chief.

3. 'Hail, meditation (we give) unto him meditated upon! Hail, the mind unto the Lord of creatures! Hail, thought unto him, the known 3!' what the mystic sense of the former (utterances 4) was that it is here.

4. 'To Aditi hail! To Aditi, the mighty, hail! To Aditi, the most merciful, hail!' Aditi, doubtless, is this (earth): it is by her that he upholds it.

5. 'To Sarasvatî hail! To Sarasvatî, the pure, hail! To Sarasvatî, the great, hail!' Sarasvatî, doubtless, is speech: by speech he thus upholds it.

6. 'To Pûshan hail! To Pûshan, the protector of travellers, hail! To Pûshan, the watcher of men, hail!' Pûshan, doubtless, is cattle: by means of cattle he thus upholds it.

7. 'To Tvashtri hail! To Tvashtri, the seminal, hail! To Tvashtri, the multiform hail!' Tvashtri, doubtless, is the fashioner of the couples of animals: by means of forms he thus upholds it.

8. 'To Vishnu hail! To Vishnu, the protector of what grows 1, hail! To Vishnu, the bald 2, hail!' Vishnu, doubtless, is the sacrifice: by sacrifice he thus upholds it. With (Vâg. XXII, 21), 'Let every mortal espouse the friendship of the divine guide, . . . 3,' he offers last of all a full (-spoon)-oblation; for the full-offering is this (earth): he thus finally establishes himself on this (earth).




Footnotes

292:2 See p. 289, note 1. It is here taken to be represented by the Yagus:--asvamedham yagurâtmakavigrahavantam srishtavân, Harisv.--the larger number of sacrificial formulas used at the performances being too heavy for the recited and chanted texts.
292:3 Mahîdhara takes 'âdhim âdhîtâya' in the sense of 'âdhânam prâptâya' (who has obtained a consecrated fire); and 'manah pragâtaye' in the sense of 'manasi vartamânâya p.' (to P. who is in our mind); and 'kittam vigñâtâya' in the sense of 'sarveshâm kittasâkshine' (to the witness, or knower, of all men's thoughts).
292:4 Harisvâmin probably is right in supplying 'vyâhritînâm;' though possibly 'devatânâm' (deities) may be understood.
293:1 The meaning of 'nibhûyapa' is doubtful; Mahîdhara explains it by 'nitarâm bhûtvâ matsyâdyavatâram kritvâ pâti.' Perhaps it may mean 'condescending protector,' though one expects a direct object with 'pa.'
293:2 The word 'sipivishta,' as applied to Vishnu, is likewise of doubtful meaning. The native dictionaries assign both the meaning 'bald' and 'leprous' (or, affected with skin-disease) to it; whilst the first part 'sipi' is taken variously by commentators as meaning 'cattle,' or 'ray,' or 'water,' or 'living being.'
293:3 See III, 1, 4, 18; VI, 6, 1, 21; and p. 294, note 1.

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13.1.9

NINTH BRÂHMANA.

1. [Vâg. S. XXII, 22 1], 'In the priestly office (brahman) may the Brâhmana be born, endowed with spiritual lustre (brahmavarkasa):' on the Brâhmana he thereby bestows spiritual lustre, whence of old the Brâhmana was born as one endowed with spiritual lustre 2.

2. 'In the royal order may the Râganya be born, heroic, skilled in archery, sure of his mark, and a mighty car-fighter:' on the Râganya he thereby bestows the grandeur of heroism 3, whence of old the Râganya was born as one heroic, skilled in archery, certain of his mark, and a mighty car-fighter.

3. 'The milch cow:' on the cow he thereby bestows milk; whence of old the cow was born as one yielding milk.

4. 'The draught ox:' on the ox he thereby bestows strength, whence of old the ox was born as a draught (animal).

5. 'The swift racer:' on the horse he thereby bestows speed, whence of old the horse was born as a runner.

6. 'The well-favoured woman:' on the woman he thereby bestows beautiful form, whence the beautiful maiden is apt to become dear (to men).

7. 'The victorious warrior:' on the Râganya he thereby bestows the grandeur of victoriousness 1, whence of old the Râganya was born as one victorious.

8. 'The blitheful youth:' he, indeed, is a blitheful (or, sociable) youth who is in his prime of life; whence one who is in his prime of life is apt to become dear to women.

9. 'May a hero be born unto this Sacrificer!' on the Sacrificer's family he thereby bestows manly vigour, whence of old a hero was born to him who had performed the (Asvamedha) sacrifice.

10. 'May Parganya rain for us whensoever we list!'--where they perform this sacrifice, there Parganya, indeed, rains whenever they list;--'may our fruit-bearing plants ripen!'--there the fruit-bearing plants indeed ripen where they perform this sacrifice;--'may security of possession be assured for us!'--where they perform this sacrifice there security of possession indeed is assured; whence wherever they perform this (Asvamedha) sacrifice, security of possession becomes assured to the people.


Footnotes

294:1 These formulas are muttered after the thirteen samidhs have been put in the ukhâ, or fire-pan. See p. 290, note 1.
294:2 'Whence formerly a Brâhmana was at once born as Brahmavarkasin (whilst now he must study),' Delbrück, Altindische Syntax, p. 287. Perhaps, however, 'purâ' has here (as it certainly has in the following paragraphs) the force of 'agre'--at the beginning, from the first, from of old.
294:3 I take 'sauryam mahimânam' here (and 'gaitram mahimânam' in paragraph 7) to stand in apposition to one another, with something of the force of a compound word. See above, p. 66, note 4.
295:1 See note 3p. 294.

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13.2.1

SECOND ADHYÂYA. FIRST BRÂHMANA.

THE FIRST SOMA-DAY (AGNISHTOMA) 

1. Pragâpati assigned the sacrifices to the gods; the Asvamedha he kept for himself. The gods said to him, 'Surely, this--to wit, the Asvamedha--is a sacrifice: let us have a share in that also.' He contrived these Anna-homas (food-oblation).
2. With ghee he makes offering, for ghee is fiery mettle: by means of fiery mettle he thus lays fiery mettle into him (the horse and Sacrificer). With ghee he offers; for that--to wit, ghee--is the gods’ favourite resource: it is thus with their favourite resource he supplies them.
3. With parched groats he makes offering; for that--to wit, parched groats--are a form of the gods 1: it is the gods he thus gratifies.
4. With grain he makes offering; for this--to wit, grain--is a form of the days and nights 2: it is the days and nights he thus gratifies.
5. With parched grain he makes offering; for this--to wit, parched grain--is a form of the Nakshatras 3 (lunar asterisms): it is the Nakshatras he thus gratifies. He offers whilst mentioning names, with (Vâg. XXII, 23-33), 'To the in- (and out-) breathing hail! to the off-breathing hail 1!' . . . he thus gratifies them by mentioning their names. [Vâg. S. XXII, 34], 'To one hail! to two hail! . . . to a hundred hail! to a hundred and one hail!' He offers in the proper order: in the proper order he thus gratifies them (the gods). He performs oblations successively increasing by one 2, for single, indeed, is heaven: singly he thus causes him (the Sacrificer) to reach heaven. Straight away 3 he offers in order to the winning of heaven; for straight away, as it were, is heaven.
6. But, verily, he who offers the oblations straight away 1, is liable to fall (pass) right away. He does not go beyond a hundred and one: were he to go beyond a hundred and one, he would deprive the Sacrificer of his vital power. He offers a hundred and one, for man has a life of a hundred (years), and his own self is the one hundred and first: he thus establishes himself in a self (or body), in vital power. With 'To the Dawn hail! to Heaven hail!' he offers the two last oblations; for the dawn is the night, and heaven (the realm of light) is the day: it is day and night he thus gratifies.
7. As to this they say, 'Were he to offer both either by day or by night, he would confound day and night with one another 2.' With 'To the Dawn hail!' he offers before the sun has risen, and with 'To Heaven hail' when it has risen, to avoid confusion between day and night.



Footnotes

295:2 There are three Sutyâs, or Soma-days, at the Asvamedha--viz. an Agnishtoma, an Ukthya, and an Atirâtra--the most important p. 296 of which is the central day. The first day offers no special features, as compared with the ordinary Agnishtoma; except that the stotras are chanted on the 'katushtoma' model (see note to XIII, 3, 1, 4); and that the animal sacrifice of this day requires twenty-one sacrificial stakes, with twice eleven victims, two of which are tied to the central stake; see note on XIII, 2, 5, 2. The offerings referred to in the present Brâhmana, are performed, not during the day itself, but during the following night, as a preliminary to the important features of the second Soma-day.
296:1 Viz., according to the commentary, because of the (particles of) groats being connected with each other.
296:2 The commentary does not explain this comparison. It would seem to suit better the parched grain.
296:3 Viz. on account of the capability (samarthatvât) of the (raw) grains; but whether this is meant to refer to their power of germinating and growing is not explained.
297:1 These eleven anuvâkas consist of altogether 149 such short dedicatory formulas--addressed to the vital airs, the regions, the waters, wind, fire, &c.--each ending with 'svâhâ (hail).' These are followed, in anuvâka 34, by formulas addressed to the cardinal numbers from 1 to 101; succeeded by two formulas addressed to the dawn and to heaven respectively,--all of these again ending with 'svâhâ.' The Annahomas themselves, offered by the Adhvaryu's assistant, the Pratiprasthâtri, are not, however, limited to any number; but their performance is to be continued throughout the night in such a way that each of the four three-hours’ watches of the night is to be taken up with as many oblations of one of the four kinds of offering materials--in the order in which they are enumerated in the text--as can be got into the space of three hours. The formulas addressed to the cardinal numbers--(which are on no account to extend beyond 101)--are apparently supposed amply to suffice to fill up the time till dawn, when the Adhvaryu makes an oblation of ghee to the Dawn, followed by one to Heaven (or the realm of light) after sunrise.
297:2 That is, in offering with the formulas addressed to the cardinal numbers.
297:3 That is to say, without repeating any formula, or commencing again from the beginning, when the whole series is exhausted.
298:1 That is, without stopping.
298:2 There is no 'iti' here; and the quotation, therefore, may perhaps extend to the end of the paragraph.

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13.2.2

SECOND BRÂHMANA.

THE SECOND SOMA-DAY (UKTHYA)

1. Verily, this--to wit, the Asvamedha--is the king of sacrifices. But, indeed, the Asvamedha is the Sacrificer, (for) the sacrifice is the Sacrificer: when he (the priest) binds victims to the horse (or, at the horse-sacrifice), he then, indeed, takes hold 3 of the sacrifice at the sacrifice.
2. 'A horse, a hornless he-goat, and a Gomriga 4' these they bind to the central stake: thereby, indeed, he (the priest) sharpens the front of his (the Sacrificer's) army 1, whence the front of the king's army is sure to become terrible.
3. A black-necked (he-goat), sacred to Agni, in front (of the horse) to its forehead 2: the original (hall) fire he makes it, whence the king's hall-fire is sure to be (efficient) 3.
4. An ewe, for Sarasvatî, beneath the (horse's) jaws: he thereby makes women to be dependent, whence women are sure to be attendant upon man.
5. Two (he-goats), black on the lower part of the body 1, for the Asvins, (he ties) to the front legs: he thereby lays strength into the front legs, whence the king is sure to be strong in the arm 2
6. A dark-grey (he-goat) for Soma and Pûshan at the (horse's) navel: a foothold he makes this one; for Pûshan is this (earth): it is thereon he establishes himself.
7. A white one and a black one, for Sûrya and Yama, on the flanks: a suit of armour he makes those two: whence the king, clad in mail, performs heroic deeds.
8. Two, with shaggy hind thighs, for Tvashtri, to the hind legs: he lays strength into the thighs, whence the king is sure to be strong in his thighs.
9. A white one, for Vâyu, to the tail,--an elevation he makes this one, whence people in danger betake themselves to an elevated place 3;--a cow wont to cast her calf, for Indra, the ever active, in order to associate the sacrifice with Indra;--a dwarfish one for Vishnu; for Vishnu is the sacrifice: it is in the sacrifice he (the Sacrificer) thus finally establishes himself.
10. These, then, are the fifteen 'paryaṅgya' (body-encircling) 4 animals,--for fifteenfold is the thunderbolt, and the thunderbolt means manly vigour: with that thunderbolt, manly vigour, the Sacrificer now repels evil from in front 1 (of the sacrifice).
11. And fifteen (victims), indeed, are (bound) to each of the other (stakes);--for fifteenfold is the thunderbolt, and the thunderbolt means manly vigour: with that thunderbolt, manly vigour, the Sacrificer now repels evil on both sides 2 (of the sacrifice).
12. As to this they say, 'Does he really repel evil by these?' And, indeed, he does not make up the complete Pragâpati, and does not here gain everything.
13. Let him rather bind seventeen animals to the central stake 3; for seventeenfold is Pragâpati, and the Asvamedha is Pragâpati,--thus for the obtainment of the Asvamedha. And sixteen (victims he binds) to each of the other (stakes), for of sixteen parts (kalâ) consists all this 1 (universe); all this (universe) he thus gains. 
14. 'How is he to appease 2 these?' they ask. 'Let him appease them with the Bârhaduktha verses 3, "Enkindled, anointing the lap of the faithful(f.) . . .;" for Brihaduktha, the son of Vâmadeva, or Asva, son of Samudra, saw these very (verses) to be the âprî-verses of the horse: it is by means of these we appease it,' so they say. But let him not do so; let him appease it with the Gâmadagna verses; for Gamadagni is Pragâpati, and so is the Asvamedha: he thus supplies it with its own deity; let him therefore appease (the victims) with the Gâmadagna verses 4.
15. Now some make the invitatory-formulas and the offering-formulas (to be pronounced) separately for the 'paryaṅgyas,' saying, 'For these we find (formulas)--for the others, on account of not finding any, we do not use them 5.' Let him not do so; for the horse is the nobility (chieftain), and the other animals are the peasantry (clan); and those who do this really make the peasantry equal and refractory to the nobility; and they also deprive the Sacrificer of his vital power. Therefore the horse alone belongs to Pragâpati 1, and the others are sacred to the gods: he thus, indeed, makes the peasantry obedient and subservient to the nobility; and he also supplies the Sacrificer with vital power.
16. The slaughtering-knife of the horse is made of gold, those of the 'paryaṅgyas' of copper, and those of the others of iron; for gold is (shining) light, and the Asvamedha is the royal office: he thus bestows light upon the royal office. And by means of the golden light (or, by the light of the gold), the Sacrificer also goes to the heavenly world; and he, moreover, makes it a gleam of light shining after him, for him to reach the heavenly world.
17. But, indeed, the horse is also the nobility; and this also--to wit, gold--is a form (symbol) of the nobility: he thus combines the nobility with the nobility.
18. And as to why there are copper (knives) for the 'paryaṅgyas,'--even as the non-royal kingmakers, the heralds and headmen, are to the king, so those 'paryaṅgyas' are to the horse; and so, indeed, is this--to wit, copper--to gold: with their own form he thus endows them.
19. And as to why there are iron ones for the others,--the other animals, indeed, are the peasantry, and this--to wit, iron--is a form of the peasantry: he thus combines the peasantry with the peasantry. On a rattan mat (lying) north (of the Âhavanîya) they cut the portions of the horse(-flesh); for the horse is of anushtubh nature, and related to the Anushtubh is that (northern) quarter: he thus places that (horse) in its own quarter. And as to (his doing so) on a rattan mat,--the horse was produced from the womb of the waters 1, and the rattan springs from the water: he thus causes it to be possessed of its own (maternal) womb.


Footnotes

298:3 Ârabhate prâpnoti, comm.; it might also be rendered by 'he enters upon the sacrifice.'
298:4 This (and the identical passage XIII, 5, 1, 13) looks like a quotation, as if quoted from Vâg. S. XXIV, 1; where are p. 299 likewise found the references to the other victims and their places, in paragraphs 2-9. Possibly, however, the 'iti' may be used here with a kind of 'deiktic' force (cf. the similar use in XIII, 2, 8, 1); if, indeed, it does not simply refer to 'gomriga,' i.e. 'the animal called Gomriga.' (lit. 'bovine deer'), regarding which see note on XIII, 3, 4, 3.--Though the victims to be immolated on this day are first dealt with in this and the following Brâhmanas, their slaughter only takes place at the usual time at every Soma-sacrifice, viz. after the Sarpanam (XIII, 2, 3, 1 seqq.), the chanting of the Bahishpavamâna Stotra, and the drawing of the Âsvina-graha. On the present occasion these ceremonies are preceded by the drawing of the Mahiman cups of Soma (see XIII, 2, 11, 1 seqq.); whilst the chant is followed by the driving up of the victims, and the putting to of the horse, and the driving to the water, treated of in XIII, 2, 6, 1 seqq.
299:1 Harisvâmin takes this to mean that he makes the (sacrificial) horse, i.e. the king, alone the head of the army,--râgabhûtam apy asvam senâmukham ekam karotîty arthah.
299:2 According to the comments on Vâg. S. XXIV, 1, and Kâty. XX, 6, 4, a rope is wound round the horse's body in the same way as it is done with a bottle-gourd (lagenaria vulgaris), and it is to this rope that these so-called 'paryaṅgyâh (circumcorporal),' or victims surrounding the (horse's) body, would then be tied.
299:3 The commentator explains 'bhâvuka' by 'sâdhur bhavati;' and he adds that this is important inasmuch as numerous magic rites, such as rites for insuring success and averting evil (sântikapaushtika), and incantations (âbhikârika) are performed thereon. It is the name here assigned to this, the Âvasathya, fire, viz. 'pûrvâgni' or, original fire--with its secondary meaning 'front-fire'--which is seized upon by the author for symbolically identifying it with the victim fastened in front (or to the front) of the horse.
300:1 Mahîdhara takes 'adhorâma' to mean 'white-coloured on the lower part of the body.'
300:2 The word 'bâhu' means both 'arm' and 'front leg.'
300:3 That is, a mountain, a palace, high ground, &c., comm. ('vâyur hi skandhasyokkhrita ity abhiprâyah').
300:4 Here the encircled horse itself, and the other two victims p. 301 tied directly to the central stake, are improperly included in the term 'paryaṅgya.'
301:1 Viz. inasmuch as the sacrificial stake to which the horse is tied (and hence the victims fastened thereto) is the so-called 'agnishtha' stake, or the one standing opposite to (directly in front of) the Âhavanîya fire.
301:2 Viz. inasmuch as these other stakes stand in a line to the north (left) and south (right) of the central stake. Whilst, in the case of a simple 'ekâdasinî' (cf. III, 7, 2, 1 seqq.) there would be five stakes on each side of the central one, at the Asvamedha there are to be twenty-one stakes, or ten on either side of the central stake. See XIII, 4, 4, 5 seqq.
301:3 These seventeen victims do not include the twelve paryaṅgyas which are tied to different parts of the horse's body, but only to those which are actually tied to the central stake,--viz. the horse and its two immediate neighbours (paragraph 2), then twelve victims (enumerated Vâg. S. XXIV, 2, beginning with three victims of different shades of red, rohita), and lastly two beasts belonging to two sets of eleven victims finally superadded to the sets of fifteen victims tied in the first place to the stakes. Cf. note on XIII, 2, 5, 2.
302:1 Regarding this division into sixteen parts, as applied to man, the animal, and the universe, see Weber, Ind. Stud. IX, p. 111 with note.
302:2 Or, 'what Âprîs (appeasing verses) is he to pronounce over them?' These verses are pronounced as the offering-formulas (yâgyâ) at the fore-offerings of the animal sacrifice. See part ii, p. 185, note 1.
302:3 Viz. Vâg. S. XXIX, 1-11.
302:4 Viz. Vâg. S. XXIX, 25-36, beginning, 'Enkindled in the house of man this day, a god, thou worshippest the gods, O Gâtavedas.'
302:5 The commentator takes this to mean that, inasmuch as these paryaṅgyas--here improperly including the horse itself and the two other victims of Pragâpati at the central stake--are assigned to commonly invoked deities, formulas relating to these would easily p. 303 be found; whilst in the case of the other twelve victims tied to the central stake (see p. 301, note 3), as well as those of the other stakes--though they, too, are assigned to definite deities--some of their deities (as in the case of three a year and a half old heifers assigned to Gâyatrî, Vâg. S. XXIV, 21), are such as to make it difficult to find suitable formulas for them:--eteshâm asvâdînâm pragâpatvâdikâ yâgyânuvâkyâs tâh kim iti na prithak kurmah; itareshâm rohitâdînâm na vindâmah, tryavayo gâyatryâdayo devatâs taddevatyâs ka durlabhâ lakshanopetâ yâgyânuvâkyâ ity abhiprâyah.
303:1 The invitatory-formula and offering-formula are, however, pronounced once for the 'paryaṅgyas' (including the horse) in common, whilst a second pair of formulas are used for the other victims in common.
304:1 See VI, 1, 1, 11 (V, 1, 4, 5).

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13.2.3

THIRD BRÂHMAN

1. Now, the gods did not know the Pavamâna 2 at the Asvamedha to be the heavenly world, but the horse knew it. When, at the Asvamedha, they glide along 1 with the horse for the Pavamâna (-stotra), it is for getting to know (the way to) the heavenly world; and they hold on to the horse's tail, in order to reach the heavenly world; for man does not rightly know (the way to) the heavenly world, but the horse does rightly know it.
2. Were the Udgâtri to chant the Udgîtha 2, it would be even as if one who does not know the country were to lead by another (than the right) way. But if, setting aside the Udgâtri, he chooses the horse for (performing) the Udgîtha, it is just as when one who knows the country leads on the right way: the horse leads the Sacrificer rightly to the heavenly world. It makes 'Hiṅ 1,' and thereby makes the. Sâman itself to be 'hiṅ': this is the Udgîtha. They pen up mares, (and on seeing the horse) they utter a shrill sound: as when the chanters sing, such like is this. The priests’ fee is gold weighing a hundred (grains): the mystic import of this has been explained 2.


Footnotes

304:2 Pavamâna is the name of the pressed Soma while it is 'clarifying.' Hence the first stotra of each of the three Savanas of a Soma-day--chanted after the pressing of the Soma and the drawing of the principal cups--is called Pavamâna-stotra. Whether by the term 'Pavamâna' here the clarifying Soma is alluded to, as well as the stotra--which alone the commentator takes it to mean, and to which the second mention certainly refers--must remain p. 305 doubtful. The commentator, it would seem, accounts for this identification of the Pavamâna-stotra with heaven by the fact that the second day of the Asvamedha is an ekavimsa day (see XIII, 3, 3, 3; Tândya-Br. XXI, 4, 1), i.e. one on which all the stotras are performed in the twenty-one-versed hymn-form; and that the Sun is commonly called 'ekavimsa,' the twenty-first, or twenty-one-fold. The particular chant intended is that of the morning pressing, viz. the Bahishpavamâna, or outside-Pavamâna-stotra, so-called because at the ordinary one-day's Soma-sacrifice, it is chanted outside the Sadas. But, on the other hand, in the case of Ahîna-sacrifices, or those lasting from two to twelve days, that stotra is chanted outside only on the first day, whilst on the others it is done inside the Sadas. An exception is, however, made in the case of the Asvamedha, which requires the morning Pavamâna, on all three days, to be performed in its usual place on the north-eastern part of Vedi, south of the Kâtvâla.
305:1 For the noiseless way of sliding or creeping from the Sadas, and returning thither, and approaching the different Dhishnyas, or fire-hearths, see part ii, p. 299, note 2. As has already been stated, it is only after the chanting of the Bahishpavamâna that the victims are driven up to the offering place.
305:2 It is from this, the principal part of the Sâman, or chanted verse (cf. part ii, p. 310, note), that the Udgâtri takes his name; this particular function of his being, on the present occasion, supposed to he performed by the whinnying of the horse. After this they make the horse step on the chanting-ground, apparently either as a visible recognition of the part it has been made to play, or because the horse thereby is made to go to heaven with which the Bahishpavamâna was identified.
306:1 On the mystic significance of this ejaculation (here compared with the neighing of the horse) in the sacrifice, and especially in the Sâman, see I, 4, 1, 1 seqq.; II, 2, 4, 12.
306:2 XII, 7, 2, 13.

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13.2.4

FOURTH BRÂHMAN

1. Pragâpati desired, 'Would that I might gain both worlds, the world of the gods, and the world of men.' He saw those beasts, the tame and the wild ones; he seized them, and by means of them took possession of these two worlds: by means of the tame beasts he took possession of this (terrestrial) world, and by means of the wild beasts of yonder (world); for this world is the world of men, and yonder world is the world of the gods. Thus when he seizes tame beasts he thereby takes possession of this world, and when wild beasts, he thereby (takes possession) of yonder (world).

2. Were he to complete (the sacrifice) with tame ones, the roads would run together 3, the village-boundaries of two villages would be contiguous 1, and no ogres 2, man-tigers, thieves, murderers, and robbers would come to be in the forests. By (so doing) with wild (beasts) the roads would run asunder 3, the village-boundaries of two villages would be far asunder 4; and there would come to be ogres, man-tigers, thieves, murderers, and robbers in the forests.
3. As to this they say, 'Surely that--to wit, the forest (beast)--is not a beast (or cattle), and offering should not be made thereof: were he to make offering thereof, they would ere long carry away the Sacrificer dead to the woods, for forest (or wild) beasts have the forest for their share; and were he not to make offering thereof, it would be a violation of the sacrifice.' Well, they dismiss them after fire has been carried around them 5: thus, indeed, it is neither an offering nor a non-offering, and they do not carry the Sacrificer dead to the forest, and there is no violation of the sacrifice.
4. He completes (the sacrifice) with tame (beasts),--father and son part company 1, the roads run together, the village-boundaries of two villages become contiguous, and no ogres, man-tigers, thieves, murderers, and robbers come to be in the forests.


Footnotes

306:3 The commentary remarks that by 'roads' here is meant those walking on them--as, in that case, peace and security would reign, men would range all the lands:--adhvabhir atrâdhvasthâ lakshyante; ksheme sati manushyâh sarvân desân samkareyur ity abhiprâyah.
307:1 Harisvâmin takes 'samantikam' in the sense of 'near' and construes it with 'grâmayoh' (as he does 'vidûram' in the next paragraph)--'the two village-boundaries would be near (far from) the two villages;' but see I, 4, 1, 22, where samantikam (and IX, 3, 1, 11, where 'samantikataram') is likewise used without a complement; as is 'vidûram' in I, 4, 1, 23.
307:2 Harisvâmin takes 'rikshîkâ' to 'mean 'a bear;'--rikshâ eva rikshîkâh.
307:3 Hardly as the commentary takes it, 'they would become blocked up,' and people would have to stay in their own country:--adhvânah pûrvadesâdayo vikrameyur, viruddham krâmayeyuh (!), svadesa eva manushyâh samkareyur na desântarepy antarâlânâm . . bhinnatvâd akshematvâk ka vidûram grâmayor grâmântau syâtâm.
307:4 Viz. because, for want of security and peace, the villages would be few and far between,--aksheme hi sati praviralâ grâmâ bhavanti, comm.
307:5 On the 'paryagnikaranam' or circumambulation of an oblation in accordance with the course of the sun, whilst holding a firebrand in one's hand, see part i, p. 45, note; part ii, p, 187, note.
308:1 Or, they exert themselves in different directions,--that is, as the commentator explains, because in peace they would not be forced to keep together, as they would have to do in troublous times. He, however, seems somehow to connect 'vy avasyatah' with the root 'vas':--ksheme hi sati pitâputrâv atra vi prithag vasatah; aksheme tu sambaddhâv apy etâv atra vasatah.--Whilst in this passage the verb would hardly suggest an estrangement between father and son, this is distinctly the case in the parallel passage, Taitt. Br. III, 9, I, 2, where, however, this contingency is connected with the completion of the sacrifice, not, as here, with tame, but with wild beasts.

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13.2.5

FIFTH BRÂHMAN

1. Pragâpati poured forth the life-sap of the horse (asva-medha); when poured forth it went from him. Having become fivefold 2 it entered the year, and they (the five parts) became those half-months 3. He followed it up by means of the fifteenfold (sets of victims 4), and found it; and having found it, he took possession of it by means of the fifteenfold ones; for, indeed, they--to wit, the fifteenfold (sets)--are a symbol of the half-months, and when he seizes the fifteenfold ones, it is the half-months the Sacrificer thereby takes possession of. 
2. Concerning this they say, 'But, surely, the year is not taken possession of by him who spreads out (performs sacrifice for) a year in any other way than by means of the Seasonal sacrifices 1.' The Seasonal sacrifices, doubtless, are manifestly the year; and when he seizes the Seasonal victims 2, he then manifestly takes possession of the year. ‘And, assuredly, he who spreads out the year in any other way than with the (victims) of the set of eleven 3 (stakes) is deprived of his offspring (or subjects) and cattle, and fails to reach heaven. This set of eleven (stakes), indeed, is just heaven 1, and the set of eleven (stakes) means offspring (or people) and cattle and when he lays hands on the (victims) of the (two) sets of eleven (stakes) he does not fail to reach heaven, and is not deprived of his offspring and cattle. 
3. Pragâpati created the Virâg; when created, it went away from him, and entered the horse meet for sacrifice. He followed it up with sets of ten  2 (beasts). He found it, and, having found it, he took possession of it by means of the sets of ten: when he seizes the sets of eleven (beasts), the Sacrificer thereby takes possession . of the Virâg. He seizes a hundred, for man has a life of a hundred (years) and a hundred energies: vital power and energy, vigour, he thus takes to himself.
4. Eleven decades 1 he seizes, for the Trishtubh consists of eleven syllables, and the Trishtubh means energy, vigour: thus it is for the obtainment of energy, vigour. Eleven decades he seizes, for in an animal there are ten vital airs, and the body: (trunk) is the eleventh: he thus supplies the animals with vital airs. They belong to all the gods for the completeness of the horse (sacrifice), for the horse belongs to all the gods. They are of many forms, whence beasts are of many forms; they are of distinct forms, whence beasts are of distinct forms.


Footnotes

308:2 Or the Paṅkti metre, consisting of five octosyllabic pâdas.
308:3 Viz. as consisting of thrice five days.
308:4 See above, XIII, 2, 2, 11.
309:1 On this point, cp. II, 6, 3, 1.--'Verily, imperishable is the righteousness of him who offers the Seasonal sacrifices; for such a one gains the year, and hence there is no cessation for him. He gains it in three divisions, he conquers it in three divisions. The year means the whole, and the whole is imperishable (without end). Moreover, he thereby becomes a Season, and as such goes to the gods; but there is no perishableness in the gods, and hence there is imperishable righteousness for him.'
309:2 The Kâturmâsyas are the victims enumerated Vâg. S. XXIV, 14-19. The first six of them are the last (of the set of fifteen) bound to the thirteenth stake; whilst the remaining victims make up all the seven sets of fifteen victims bound to remaining stakes (14-21)--thus amounting to 121 domesticated animals, cf. XIII, 5, 1, 13, seq. In counting the stakes the central one is the first, then follows the one immediately south, and then the one immediately north of it, and thus alternately south and north. The reason why the name 'Kâturmâsya' is applied to the victims here referred to is that the deities for whose benefit they are immolated are the same, and follow the same order, as those to whom (the chief) oblations are made at the Seasonal sacrifices (viz. the constant ones--Agni, Soma, Savitri, Sarasvatî, Pûshan, and special ones, see II, 5, 1, 8-17; 5, 2, 7-16; 5, 3, 2-4; 5. 4, 2-10; 6, 1, 4-6; 6, 2, 9; 6, 3, 4-8).
309:3 That is to say, he who seeks to gain the year by immolating only the Seasonal victims, and the sets of fifteen victims, and does not offer likewise the victims of the set (or rather two sets) of eleven p. 310 stakes. These two sets of eleven victims, tied to the twenty-one stakes (two being tied to the central stake), are to constitute the regular 'savanîyâh pasavah' of the pressing-days of the Asvamedha; and in XIII, 5, 1, 3, and 5, 3, 11, the author argues against those who (on the first, and third days) would immolate only twenty-one such victims, all of them sacred to Agni. As regards the second day, the author does not mention these particular victims, but this an scarcely be interpreted as an approval of twenty-one such victims, even though the number twenty-one certainly plays an important part on that day--seeing that Kâtyâyana, XX, 4, 25, makes the two sets of eleven victims the rule for all three days. For the third day, on the other hand, the author of the Brâhmana (XIII, 5, 3, 11) actually recommends the immolation of twenty-four bovine victims as 'savanîyâh pasavah.' The deities of the first set of eleven victims (as perhaps also of the second set of the first day) are the same as those of the ordinary 'ekâdasinî' (see III, 9, 1, 62 1; and Vâg. S. XXIX, 58), whilst the second set (of the second day, at all events) has different deities (Vâg. S. XXIX, 60). On the central day these victims are added to the sets of fifteen victims bound there to each of the twenty-one stakes; the mode of distribution being the same as on the other two days, viz., so that the first victim of each set--that is the one devoted to Agni--is bound to the central stake, whilst of the remaining twenty victims one is assigned to each stake.
310:1 Viz. inasmuch as the stakes stand right in front (to the east) of the sacrificial fire and ground, and the Sacrificer would thus miss the way to heaven if he were not to pass through the 'ekâdasinî.'
310:2 The Virâg metre consists of (three) decasyllabic pâdas.
311:1 After the (349) domesticated animals have been secured to the stakes, sets of thirteen wild beasts are placed on the (twenty) spaces between the (twenty-one) stakes, making in all 260 wild beasts. From the 150th beast onward (enumerated Vâg. S. XXIV, 30-40) these amount to 111 beasts which here are called eleven decades; the odd beast not being taken into account, whilst in paragraph 3 above the first ten decades are singled out for symbolic reasons. These beasts are spread ever the twelfth (only the last seven Beasts of which belong to the first decade) and following spaces.

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13.2.6

SIXTH BRÂHMAN

1. [He puts the horse to the chariot 2 with Vâg. S. XXIII, 5], 'They harness the ruddy bay, moving (round the moveless: the lights shine in the heavens);'--the ruddy bay, doubtless, is yonder sun: it is yonder sun he harnesses for him, for the gaining of the heavenly world. 
2. Concerning this they say, 'Surely, the sacrifice goes from him whose beast, when brought up, goes elsewhere than the vedi (altar-ground).' [Let him, therefore, mutter Vâg. S. XXIII, 7,] 'Singer of praise, make that horse come back to us by that path!'--the singer of praise, doubtless, is Vâyu (the wind) it is him he thereby places for him (the Sacrificer) on the other side, and so it does not go beyond that.
3. But, indeed, fiery mettle and energy, cattle, and prosperity depart from him who offers the Asvamedha.
4. With (Vâg. S. XXIII, 8), 'May the Vasus anoint thee with the Gâyatra metre!' the queen consort anoints (the forepart of the unharnessed horse);--ghee is fiery mettle, and the Gâyatrî also is fiery mettle: two kinds of fiery mettle he thus bestows together on him (the Sacrificer). 
5. With, 'May the Rudras anoint thee with the Traishtubha metre!' the (king's) favourite wife anoints (the middle part):--ghee is fiery mettle, and the Trishtubh is energy: both fiery mettle and energy he thus bestows together on him.
6. With, 'May the Âdityas anoint thee with the Gâgata metre!' a discarded wife 1 (of the king) anoints (the hindpart);--ghee is fiery mettle, and the Gagatî is cattle: both fiery mettle and cattle he thus bestows together on him. 
7. It is the wives 2 that anoint (the horse), for they to wit, (many) wives--are a form of prosperity (or social eminence): it is thus prosperity he confers on him (the Sacrificer), and neither fiery spirit, nor energy, nor cattle, nor prosperity pass away from him.
8. But even as some of the offering-material may get spilled before it is offered, so (part of) the victim is here spilled in that the hair of it when wetted comes off. When they (the wives) weave pearls (into the mane and tail) they gather up its hair. They are made of gold: the significance of this has been explained. A hundred and one pearls they weave into (the hair of) each part 3; for man has a life of a hundred (years), and his own self (or body) is the one hundred and first: in vital power, in the self, he establishes himself. They weave them in (each) with (one of) the (sacred utterings) relating to Pragâpati, 'Bûh! bhuvah! svar (earth, air,heaven)!' for the horse is sacred to Pragâpati: with its own deity he thus supplies it. With, 'Parched grain, or parched groats?--in grain-food and in food from the cow'--he takes down the remaining food 1 (from the cart) for the horse: he thereby makes the (king's) people eaters of food (prosperous);--'eat ye, gods, this food! eat thou, Pragâpati, this food!' he thereby supplies the people with food.
9. Verily, fiery spirit and spiritual lustre pass away from him who performs the Asvamedha. The Hotri and the Brahman engage in a Brahmodya 2 (theological discussion); for the Hotri relates to Agni, and the Brahman (priest) to Brihaspati, Brihaspati being the Brahman (n.): fiery spirit 3 and spiritual lustre he thus bestows together on him. With the (central) sacrificial stake between them, they discourse together; for the stake is the Sacrificer 4: he thus encompasses the Sacrificer on both sides with fiery spirit and spiritual lustre.
10. [The Brahman asks,  Vâg. S. XXIII, 9,] 'Who is it that walketh singly?'--it is yonder sun, doubtless, that walks singly 5, and he is spiritual lustre: spiritual lustre the two (priests) thus bestow on him.
11. 'Who is it that is born again?'--it is the moon, doubtless, that is born again (and -again): vitality they thus bestow on him.
12. 'What is the remedy for cold?'--the remedy for cold, doubtless, is Agni '(fire): fiery spirit they thus bestow on him.
13. 'And what is the great vessel?'--the great vessel, doubtless, is this (terrestrial) world: on this earth he thus establishes himself.
14. [The Hotri asks the Brahman, Vâg. S. XXIII, 11,] 'What was the first conception?'--the first conception, doubtless, was the sky, rain: the sky, rain, he thus secures for himself.
15. 'Who was the great bird 1?'--the great bird, doubtless, was the horse:. vital power he thus secures for himself.
16. 'Who was the smooth one?'--the smooth one (pilippilâ), doubtless, was beauty (srî 2): beauty he thus secures for himself.
17. 'Who was the tawny one?'--the two tawny ones, doubtless, are the day and the night 1: in the day and night he thus establishes himself.

Footnotes

311:2 Along with the sacrificial horse three other horses are put to the chariot, with the formula Vâg. S. XXIII, 6. Previously to this, however, the Hotri recites eleven verses in praise of the horse (cf. XIII, 5, 1, 16). Both the horses and the chariot are decorated p. 312 with gold ornaments. The Adhvaryu then drives with the Sacrificer to a pond of water to the east of the sacrificial ground (an indispensable feature in choosing the place of sacrifice), and having driven into the water he makes him pronounce the formula XXIII, 7, 'When the wind hath entered the waters, the dear form of Indra, do thou, singer of praise, make that horse come back to us by that path;' whereupon they return to the sacrificial ground.
313:1 That is, a former favourite, but now neglected; or, according to others, one who has borne no son.
313:2 The fourth and lowest wife of the King the Pâlâgalî (cf. XIII, 4, 1, 85, 2, 8), though present at the sacrifice, does not take part in this ceremony, probably on account of her low-caste origin, as the daughter of a messenger, or courier.
313:3 Viz. either the mane on both sides, and the tail, or the hair of the head, the neck (mane) and the tail; each of the ladies apparently taking one of these parts.
314:1 Viz. the material left over after what was taken for the Annahomas, XIII, 2, 1, 1 seqq.
314:2 For a similar discussion between the four priests, prior to the offering of the omenta, see XIII, 5, 2, 11 seq.
314:3 'Tegas' is pre-eminently the quality assigned to Agni.
314:4 It must be remembered that the sacrificial horse here represented by the stake is identified with both Pragâpati and the Sacrificer.
314:5 The actual replies to the questions in Vâg. S. XXIII, 9 and 11, are contained in the corresponding verses ten and twelve; being given here in an expository way, with certain variations and p. 315 occasional explanatory words (such as 'vrishti,' rain, in paragraph 14). The answers to the first four questions are supposed to be given by the Hotri, and the last four by the Brahman.
315:1 This is the meaning assigned here to 'vayas' by Mahîdhara; but the other meaning of 'vayas,' viz. 'youthful vigour, or age, (generally),' would seem to suit much better, or at least to be implied. And Harisvâmin accordingly takes it in the sense of 'vârdhakam' (old age, or long life). Mahîdhara, moreover, identifies the horse with the horse-sacrifice, which, in the shape of a bird, carries the Sacrificer up to heaven. On this notion cp. part iv, introduction, pp. xxi-xxii.
315:2 Instead of 'sh,' the answer given to this question in Vâg. S. XXIII, 12 was 'avih' which would either mean 'the gentle, kindly one,' or 'the sheep (f.),' but which Mahîdhara (in the former sense) p. 316 takes as (an epithet of) the earth which he also takes 'srî' to mean in the above passage of the Brâhmana; whilst to the ἅπαξ λεγόμενον 'pilippilâ' he assigns the meaning 'slippery' (kikkana) as applying to the earth after rain (? deriving it from the root 'lip,' to smear, anoint). Harisvâmin, on the other hand, takes 'pilippilâ' to be an onomatopoetic word, in the sense of '(glossy), beautiful, shining':--rûpânukaranasabdoyam bahurûpâvilâ (? bahurûpânvitâ) uddyotavatî; and he adds:--srîmîmtratuh (? srîr mantre tu) avih pippaloktau (?) sâ tu srîr eveti brâhmane vivritam, katham, iyam vâ avih prithivî, sâ kshsrîr vâ iyam iti vakanât. Cf. VI, 1, 2, 33.

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13.2.7

SEVENTH BRÂHMAN

1. When the victims have been bound (to the stakes), the Adhvaryu takes the sprinkling-water in order to sprinkle the horse. Whilst the Sacrificer holds on to him behind, he (in sprinkling the horse) runs rapidly through the formula used at the Soma-sacrifice 2, and then commences the one for the Asvamedha.
2. [Vâg. S. XXIII, 13,] 'May Vâyu favour thee with cooked kinds of food 3,'--Vâyu (the wind) indeed cooks it 4;--'the dark-necked one with he-goats,'--the dark-necked one, doubtless,
is Agni (the fire); and the fire indeed cooks it (the horse) together with the he-goats.
3. 'The Nyagrodha with cups,'--for when the gods were performing sacrifice, they tilted over those Soma-cups, and, turned downwards, they took root, whence the Nyagrodhas (ficus indica), when turned downwards (nyak), take root (roha 1).
4. 'The cotton-tree with growth,'--he confers growth on the cotton-tree (salmalia malabarica), whence the cotton-tree grows largest amongst trees 2.
5. 'This male, fit for the chariot,'--he supplies the chariot with a horse, whence the horse draws nothing else than a chariot.
6. 'Hath come hither on his four feet,'--therefore the horse, when standing, stands on three feet, but, when harnessed, it pulls with all its feet at one and the same time.
7. 'May the spotless Brahman protect us!'--the spotless 3 Brahman (m.), doubtless, is the moon:to the moon he thus commits it;--'Reverence to Agni!'--to Agni he thus makes reverence.
8. [Vâg. S. XXIII, 14,] 'Trimmed up is the car with the cord,'--with cord one indeed completes the car 1, whence a car, when enveloped (with cords 2), is very handsome.
9. 'Trimmed up is the steed with the rein,'--with the rein one indeed completes the horse, whence the horse, when curbed by the rein, looks most beautiful.
10. 'Trimmed up in the waters was the water-born,'--the horse, indeed, has sprung from the womb of the waters 3: with its own (mother's) womb he thus supplies it;--'Brahman (m.), with Soma for his leader,'--he thus makes it go to heaven with Soma for its leader.
11. [Vâg. S. XXIII, 15,1 'Thyself, fit out thy body, O racer,'--'Take thyself the form which thou wishest,' he thereby says to him;--'make offering thyself,'--sovereign rule (independence) he thereby confers on it;--'rejoice thou thyself,'--'enjoy (rule) thou thyself the world as far as thou wishest,' he thereby says to him;--'thy glory is not to be equalled by any one!'--with glory he thereby endows the horse.
12. [Vâg: S. XXIII, 16 4,] 'Thou shalt not die here, neither suffer harm,'--he thereby cheers it;--'on easy paths thou goest to the gods,'--he thereby shows him the paths leading to the gods;--'where dwell the pious, whither they have gone,'--he thereby makes it one who shares the same world with the pious;--'thither the god Savitri shall lead thee,'--it is, indeed, Savitri that leads him to the heavenly world.--Whilst whispering 1 'I sprinkle thee, acceptable unto Pragâpati,' he then holds (the sprinkling water) under (its mouth).
13. [Vâg. S. XXIII, 17,] 'Agni was an animal; they sacrificed him, and he gained that world wherein Agni (ruleth): that shall be thy world, that thou shalt gain,--drink thou this water!'--'As great as Agni's conquest was, as great as is his world, as great as is his lordship, so great shall be thy conquest, so great thy world, so great thy lordship,' this is what he thereby says to him.
14. 'Vâyu was an animal; they sacrificed him, and he gained that world wherein. Vâyu (ruleth): that shall be thy world, that thou shalt gain,--drink thou this water!'--'As great as Vâyu's conquest was, as great as is his world, as great as is his lordship, so great shall be thy conquest, so great thy world, so great thy lordship,' this is what he thereby says to him.
15. 'Sûrya was an animal; they sacrificed him, and he gained that world wherein Sûrya (ruleth): that shall be thy world, that thou shalt gain,--drink thou this water!'--'As great as Sûrya's conquest was, as great as is his world, as great as is his lordship, so great shall be thy conquest, so great thy world, so great thy lordship,' this is what he thereby says to him. Having satisfied the horse, and consecrated again the sprinkling water, he sprinkles the other victims: thereof hereafter.

Footnotes

316:1 Here the original text in Vâg. S. XXIII, 12, has simply 'the pisaṅgilâ was the night.' Mahîdhara explains 'pisaṅgilâ' by 'pisamgila,''beauty-devouring,' inasmuch as the night swallows, or conceals, all beauty (or form). Neither this nor the other explanation (= pisaṅga, ruddy-brown) suits the day; but Harisvâmin, who does not explain the name, remarks that the night here is taken to include the day. Cf. XIII, 5, 2, 18.
316:2 Viz. Vâg. S. VI, 9; see III, 7, 4, 4-5.
316:3 The author seems to take 'pakataih' in the sense of 'cooking.'
316:4 Viz. inasmuch as it causes the fire to blaze up, comm.
317:1 Or, whence the Nyagrodhas grow downwards. This refers to the habit of the Indian fig-tree, of sending down from the branches numerous slender roots which afterwards become fresh stems. Cp. the corresponding legend in Ait. Br. VII, 30, told there by way of explaining why Kshatriyas, being forbidden to drink Soma, should drink the juice extracted from the descending roots of the Indian fig-tree. Another reason why the Indian fig-tree (also called 'vata') is here connected with the priests’ Soma-cups (kamasa), is that this is one of the kinds of wood used in making those cups (cf. Katy, I, 3, 36 comm.).
317:2 According to Stewart and Brandis, Forest Flora, p. 31, the cotton-tree (or silk-cotton tree) is a very large tree of rapid growth, attaining a height of 150 ft., and a girth of 40 ft.
317:3 Lit. 'the non-black Brahman,' explained as one who has no black spots; though it is difficult to see why the moon should be favoured with this epithet.
318:1 In Indian vehicles the different parts are held together by cords. For a drawing see Sir H. M. Elliot, The Races of the N.W. Provinces. of India, II, p. 342. The word for 'cord' and 'rein' is the same in Sanskrit.
318:2 Paryutah = pariveshtito raggubhih, comm.; hardly 'hung all round (with ornaments),' as the St. Petersb. Dict. takes it.
318:3 See V, 1, 4, 5; VI, 1, 1, 11.
318:4 The first two pâdas of this verse form the first half-verse of Rig-veda S. I, 162, 21.
319:1 Cp. I, 4, 5, 12: 'Hence whatever at the sacrifice is performed for Pragâpati, that is performed in a low voice (under the breath); for speech would not act as oblation-bearer for Pragâpati.' Pragâpati, as representing generation, is often spoken of as 'undefined' or 'unexpressed (secret)'; and so is what is muttered in a low voice.

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13.2.8

EIGHTH BRÂHMANA

1. Now the gods, when going upwards, did not know (the way to) the heavenly world, but the horse knew it: when they go upwards with the horse, it is in order to know (the way to) the heavenly world. 'A cloth, an upper cloth, and gold,' this 1 is what they spread out for the horse 2:thereon they quiet (slay) it, as (is done) for no other victim; and thus they separate it from the other victims.

2. When they quiet a victim they kill it. Whilst it is being quieted, he (the Adhvaryu) offers (three) oblations 1, with (Vâg. S. XXIII, 18), 'To the breath hail! to the off-breathing hail! to the through-breathing hail!' he thereby lays the vital airs into it, and thus offering is made by him with this victim as a living one 2.

3. With, 'Ambâ! Ambikâ! Ambâlikâ 3! there is no one to lead me,'--he leads up the (four)wives 1: he thereby has called upon them (to come), and, indeed, also renders them sacrificially pure.
4. With (Vâg. S. XXIII, 19), 'We call upon thee, the host-leader of (divine) hosts, O my true lord!' the wives walk round (the horse), and thus make amends to it for that (slaughtering 2): even thereby they (already) make amends to it; but,indeed, they also fan 1 it. Thrice they walk round 2; for three (in number) are these worlds: by means of these worlds they fan it. Thrice again they walk round 3,--that amounts to six, for there are six seasons: by means of the seasons they fan it.
5. But, indeed, the vital airs depart from those who perform the fanning at the sacrifice. Nine times they walk round 4; for there are nine vital airs: vital airs they thus put into their own selves, and the vital airs do not depart from them. 'I will urge the seed-layer, urge thou the seed-layer!' (the Mahishî says 5);--seed, doubtless, means offspring and cattle: offspring and cattle she thus secures for herself. [Vâg. S. XXIII, 20,] 'Let us stretch our feet,' thus in order to secure union. 'In heaven ye envelop yourselves' (the Adhvaryu says),--for that is, indeed, heaven where they immolate the victim: therefore he speaks thus.--'May the vigorous male, the layer of seed, lay seed!' she says in order to secure union.

Footnotes

320:1 The 'iti' seems superfluous; Harisvâmin explains it by 'etat trayam.' For a similar use of the particle, see XIII, 2, 2, 1.
320:2 That is, they spread them on the ground for the horse to lie upon. Differently St. Petersb. Dict., 'they spread over the horse;' but see Kâty. XX, 6, 10 comm.; and Harisvâmin:--vâso yad antardhânâyâlam, adhivâso yad âkkhâdanâyâlam, tak ka vâsasa upari staranîyam, tayor upari hiranyam nidheyam, tasmims traye enam adhi upari samgñapayanti;--and he then remarks that these three objects here do not take the place of the stalk of grass which, in the ordinary animal sacrifice, is thrown on the place where the victim is to be killed and cut up (III, 8, 1, 14; Kâty. VI, 5, 15-16), but that the stalk is likewise put down on this occasion. Similarly the comm. on Kâtyâyana, where it is stated that the stalk of grass (or straw) is first laid down, and then the others thereon. Indeed, as was the case in regard to the stalk of grass--representing the barhis, or layer of sacrificial grass on the vedi--so here the fourfold underlayer is intended to prevent any part of the sacrificial material (havis)--the victim in this case--from being spilt. The p. 321 upper garment (or cloth) must be sufficiently large to allow its being afterwards turned up so as to cover the horse and the queen consort.
321:1 Prior to these, however, he offers the two 'Paripasavya,' i.e. 'oblations relating to the victim,'--or, perhaps, 'oblations performed in connection with the carrying of fire round the victim,' for this last ceremony is performed for all the victims (whereupon the wild beasts placed between the stakes are let loose) before the killing of the horse. See III, 8, 1, 6-16.
321:2 For the symbolic import of this, see III, 8, 2, 4.
321:3 These are just three variants used in addressing a mother (Mutter, Mütterchen, Mütterlein), or, indeed, as here, any woman (good lady! good woman!. Acc. to Kâty. XX, 6, 12, this is the formula which the assistant priest (the Neshtri, or, according to others, the Pratiprasthâtri, cf. Kâty. VI, 5, 27-28) makes the king's wives say whilst leading them up to the slain horse to cleanse it. It is, moreover, to be preceded by the formula used, at this juncture, at the ordinary animal sacrifice, viz. 'Homage be to thee, O wide-stretched one, advance unresisted unto the rivers of ghee, along the paths of sacred truth! Ye divine, pure waters, carry ye (the sacrifice) to the gods, well-prepared! may ye be well-prepared preparers!' (III, 8, 2, 2-3). The words 'Ambâ!'&c. are, according to Mahîdhara, addressed by the women to one another. The latter part of the formula as given in the Vâg . Samh. (viz. 'the horse sleeps near Subhadrikâ, dwelling in Kâmpîla') is apparently p. 322 rejected (? as antiquated, or inauspicious) by the author of the Brâhmana. The ceremony of lying near the dead horse being looked upon as assuring fertility to a woman, the formula used here is also doubtless meant to express an eagerness on the part of the women to be led to the slaughtered horse, representing the lord of creatures, Pragâpati. On this passage compare the remarks of Professor Weber (Ind. Stud. I, p. 183), who takes the formula to be spoken by the queen consort to her three fellow-wives; and who also translates the words 'na mâ nayati kas kana' (nobody leads me) by 'nobody shall lead me (by force to the horse; but if I do not go) the (wicked) horse will lie near (another woman such as) the (wicked) Subadhrâ living in Kâmpîla.'--Harisvâmin's commentary on this passage is rather corrupt, but he seems at all events to assume that each of the four wives apostrophizes the others with the above formula (probably substituting their real names for the words 'ambâ,'&c.):--lepsam (? lipsâm) tâvad esha patnîvaktrakah (? patnîvakiratah) prâpnoti, katham, ekaikâ hi patnî itarâs tisra âmantrya seshâh paridevayamânâ drisyate, he ambe he ambike he ambâlike yûyam apunyâ nîshpâdotv asya (?) samîpam, sa ka pakshapâtî kutsitosvako mayi yushmâkam sasasti meva (!) subhadrikâm kâmpîlavâsinîm ida (? iha) surûpâm na tu mâm kaskit tatra nayatîti; sasastîty eva vartamânasâmîpye vartamânavad (Pân. III, 3, 131) ity âsannasevane drashtavyah.--This barbarous ceremony was evidently an old indigenous custom too firmly established in popular practice to be easily excluded from the sacrificial ritual. That it had nothing to do with Vedic religion and was distasteful to the author of the Brâhmana is evident from the brief way in which he refers to it, and from the far-fetched symbolic explanations attached to the formulas and discourses.
322:1 Viz. from their ordinary place near the Gârhapatya he leads them whilst holding jars of water in their hands.
322:2 Apahnuvate vismaranty evâsmai etat pradakshinâvartanena samgñapanam unnayanti, comm.
323:1 Thus Harisvâmin:--dhuvate dhûnane(na) upavâgayanti, evam asvam râgânam iva vyaganair etat,--'they shake themselves,' St. Petersb. Dict.; and, indeed, it is doubtless by the flutter of the garments produced in walking round first one way and then another, that the fanning is supposed to be produced.
323:2 Viz. in sunwise fashion (pradakshinâ), that is so as to keep the object circumambulated on one's right side.
323:3 Viz. in the opposite, the 'apradakshinam' way, as is done in the sacrifice to the departed ancestors. They do so with the text, 'We call upon thee, the dear Lord of the dear ones, O my true lord!'
323:4 Viz. another three times in the sunwise way. Having completed their circumambulation, the king's wives cleanse the horse's apertures of the vital airs (mouth, nostrils, eyes, &c.), as the Sacrificer's wife did at the ordinary animal sacrifice (III, 8, 2, 4), which they do with the text, 'We call upon thee, the treasure-lord of treasures, O my true lord!'
323:5 Cf. III, 5, 2, 1 seqq.

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13.2.9

NINTH BRÂHMAN

1. But, indeed, that glory, royal power, passes away from him who performs the Asvamedha.
2. [The Udgâtri 1 says concerning the king's favourite wife, Vâg. S. XXIII, 26,] 'Raise her upwards 2,'--the Asvamedha, doubtless, is that glory, royal power: that glory, royal power, he thus raises for him (the Sacrificer) upward.
3. 'Even as one taking a burden up a mountain,'--glory (pomp), doubtless, is the burden of royal power: that glory, royal power, he thus fastens on him (as a burden); but he also endows him with that glory, royal power.
4. 'And may the centre of her body prosper,'--the centre of royal power, doubtless, is glory: glory (prosperity), food, he thus lays into the very centre of royal power (or, the kingdom).
5. 'As one winnowing in the cool breeze,'--the cool of royal power, doubtless, is security of possession: security of possession he procures for him.
6. [The Adhvaryu addresses one of the attendant maids, Vâg. S. XXIII, 22,] 'That little bird,'--the little bird, doubtless, is the people (or clan),--'which bustles with (the sound) "ahalak,"'--for the people, indeed, bustle for (the behoof of) royal power,--'thrusts the "pasas" into the cleft, and the "dhârakâ" devours it,'--the cleft, doubtless, is the people, and the 'pasas' is royal power; and royal power, indeed, presses hard on the people; whence the wielder of royal power is apt to strike down people.
7. [The Brahman addresses the queen consort, Vâg. S. XXIII, 24,] 'Thy mother and father,'--the mother, doubtless, is this (earth), and the father yonder (sky): by means of these two he causes him to go to heaven;--'mount to the top of the tree,'--the top of royal power, doubtless, is glory: the top of royal power, glory, he thus causes him to attain;--'saying, "I pass along," thy father passed his fist to and fro in the cleft,'--the cleft, doubtless, is the people; and the fist is royal power; and royal power, indeed, presses hard on the people; whence he who wields royal power is apt to strike down people 1.
8. [The chamberlain addresses the king's fourth wife, Vâg. S. XXIII, 30,] 'When the deer eats the corn,'--the grain (growing in the field), doubtless, is the people, and the deer is royal power: he thus makes the people to be food for the royal power, whence the wielder of royal power feeds on the people;--'it thinks not of the fat cattle,'--whence the king does not rear cattle;--'when the Sûdra woman is the Arya's mistress, he seeks not riches that he may thrive 1,'--hence he does not anoint the son of a Vaisya woman.
9. But, indeed, the vital airs pass from those who speak impure speech at the sacrifice. [The queen consort having been made to rise by her attendants, the priests and chamberlain say, Vâg. S. XXIII, 32, Rig-v. S. IV, 39, 6,] 'The praises of Dadhikrâvan have I sung, (the victorious, powerful horse: may he make fragrant our mouths, and prolong our lives!),'--thus they finally utter a verse containing the word 'fragrant': it is (their own) speech they purify 2, and the vital airs do not pass from them.



Footnotes

324:1 The colloquy between the men and women, referred to in paragraphs 1-8, would seem to go on simultaneously. The verse addressed by the Hotri to the king's discarded wife, Vâg. S. XXIII, 28, is omitted by the Brâhmana, as are also the verses spoken in reply by the women (with their attendants), and closely resembling those of the men in tone and wording. According to some authorities it is the attendant women alone who reply, not the king's wives. Katy. XX, 6, 20.
324:2 Mahîdhara takes the objective pronoun to refer to the Vâvâtâ, whilst Harisvâmin, on the other hand, supplies some such word as 'sâtikam.'
325:1 The Mahishî: Thy mother and father are playing on the top of the tree like thy mouth when thou wilt talk: do not talk so much, Brahman!
326:1 Mahîdhara interprets,--then he (her husband), the Sûdra, does not wish for wealth, but is unhappy.
326:2 That is to say, they make amends for any breaches of decorum committed in the preceding colloquy.

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13.2.10

TENTH BRÂHMAN

1. When they prepare the knife-paths, the Sacrificer makes for himself that passage across, a bridge, for the attainment of the heavenly world.
2. They prepare them by means of needles; the needles, doubtless, are the people 3 (clans), and the Asvamedha is the royal power: they thus supply him with people and royal power combined. They are made of gold: the meaning of this has been explained.
3. Three kinds of needles are (used), copper ones, silver ones, and gold ones;--those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches 1) they are many-formed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form.


Footnotes

326:3 Viz. because of the large number and the small size (insignificance) of the needles, or wires, (and the common people), comm.
327:1 It is doubtful what word, if any, has to be supplied here,--perhaps it means, by way of their being (in sewing) horizontal and vertical. The commentary is silent on this passage.
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13.2.11

ELEVENTH BRÂHMAN

1. Pragâpati desired, 'Would that I were great, and more numerous!' He perceived those two Mahiman (greatness) cups of Soma at the Asvamedha; he offered them; and thereby, indeed, became great and more numerous: hence whosoever should desire to become great, and more numerous, let him offer up those two Mahiman cups of Soma at the Asvamedha; and he indeed becomes great and more numerous.
2. He offers them on both sides (before and after) the omentum;--the Asvamedha, doubtless, is the Sacrificer, and that Mahiman (cup) is the king: it is with royal dignity he thus encompasses him on both sides. Some gods have the svâhâ-call ('hail') in front, and the other gods have the svâhâ-call behind 2: it is them he thus gratifies. With 'Hail to the gods!' and 'To the gods hail!' he makes offering by means of the king (Soma) on both sides of the omentum: he thereby gratifies those gods who are in this world, and those who are in the other, and thus gratified, both these kinds of gods lead him to the heavenly world.

Footnotes

327:2 The formula uttered whilst the first Mahiman cup is offered runs thus (Vâg. S. XXIII, 2): 'What greatness of thine there hath p. 328 been in the day and the year; what greatness of thine there hath been in the wind and the air; what greatness of thine there hath been in the heavens and the sun, to that greatness of thine, to Pragâpati, hail, to the gods!' whilst that of the second Mahiman cup runs thus (XXIII, 4): 'What greatness of thine there hath been in the night and the year; what greatness of thine there hath been in the earth and the fire; what greatness of thine there hath been in the Nakshatras (lunar asterisms) and the moon, to that greatness of thine, to Pragâpati, to the gods, hail!' cf. XIII, 5, 2, 233, 7.

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13.3.1

THIRD ADHYÂYA. FIRST BRÂHMANA

1. Pragâpati's eye swelled; it fell out: thence the horse was produced; and inasmuch as it swelled (asvayat), that is the origin and nature of the horse (asva). By means of the Asvamedha the gods restored it to its place; and verily he who performs the Asvamedha makes Pragâpati complete, and he (himself) becomes complete; and this, indeed, is the atonement for everything, the remedy for everything. Thereby the gods redeem all sin, yea, even the slaying of a Brahman 1 they thereby redeem; and he who performs the Asvamedha redeems all sin, he redeems the slaying of a Brahman.
2. It was the left eye of Pragâpati that swelled: hence they cut off the (meat) portions from the left.side of the horse, and from the right side of other victims.
3. There is a rattan mat, for the horse was produced from the womb of the waters, and the rattan springs from the water: he thus brings it in connection with its own (maternal) womb.
4. The Katushtoma 1 is the form of chanting (on the first day); for a bee tore out 1 (a piece of) the horse's thigh, and by means of the Katushtoma form of chanting the gods restored it: thus when there is the Katushtoma mode of chanting, it is for the completeness of the horse. The last day is an Atirâtra with all the Stomas 2--with a view to his obtaining and securing everything, for an Atirâtra with all the Stomas is everything, and the Asvamedha is everything.



Footnotes

328:1 See XIII, 3, 5, 3 seq.
329:1 The term Katushtoma originally apparently means a sacrificial performance, or succession of chants, in which four different Stomas, or hymn-forms, are used. Hence, in Tândya-Br. VI, 3, 16, the name is applied to the ordinary Agnishtoma, for its twelve Stotras, or chants, require the first four normal Stomas (Trivrit, Pañkadasa, Saptadasa, Ekavimsa). The term has, however, assumed the special meaning of a hymnic performance, the different Stomas of which (begin with the four-versed one, and) successively increase by four verses (cf. XIII, 5, 1, 1). In this sense, two different forms of Katushtoma are in use, one being applicable to an Agnishtoma, the other to a Shodasin, sacrifice. Whilst this latter form requires only four different Stomas (of 4, 8, 12, 16 verses resp.) and thus combines the original meaning of 'katushtoma' with its special meaning, the Agnishtoma form, used on the first of the three days of the Asvamedha, requires six Stomas, ascending from the four-versed up to the twenty-four-versed one. In regard to this latter occasion, Sâyana on Tândya-Br. XXI, 4, 1, curiously enough, seems to take 'katushtoma' in its original senses, since he speaks of this first day of the Asvamedha as an Agnishtoma with four Stomas, beginning with Trivrit; whilst on ib. XIX, 5, 1 seq. he gives the correct explanation. As to the distribution of the six Stomas over the chants of the first day, see XIII, 5, 1, 1. The katushtoma has, however, another peculiarity, which, in Lâty. S. VI, 8, 1 (or at least by the commentator Agnisvâmin thereon), is taken as that which has given its name to this form of chanting, viz. that each stotra performed in it is chanted in four, instead of the ordinary three, paryâyas or turns of verses (see part ii, p. 350 note). The Bahishpavamâna-stotra is to be performed on three anushtubh verses (consisting each of four octosyllabic pâdas) which, however, by taking each time three pâdas to make up a verse, are transformed into four verses, constituting at the same time the four paryâyas of the Stotra. As regards the exact p. 330 text to be used there seems to be some doubt, Sâmav. S. II, 366-8 (pavasva vâgasâtaye) being mentioned by Sâyana on Tândya-Br. XXI, 4, 5; whilst on XIX, 5, 2 he gives S. V. II, 168-70 (ayam pûshâ rayir bhagah) as the text to be used--but apparently only when the performance is that of an ekâha (one day's sacrifice) proper, instead of one of the days of an âhîna sacrifice, as is the case in the three days’ Asvamedha. As regards the Âgya-stotras to be chanted on the eight-versed Stoma, the text of each of them consists of three gâyatrî-verses: these are to be chanted in four turns (paryâya) of two verses each, viz. either 1 and 2, 2 and 3, 1 and 2, 2 and 3;--or 1 and 1, 1 and 2, 2 and 2, 3 and 3;--(or 1 and 1, 1 and 1, 2 and 2, 3 and 3;--or 1 and 1, 2 and 2, 2 and 2, 3 and 3). By similar manipulations the subsequent Stomas are formed.
330:1 Or, wounded, as Sâyana takes 'â brihat,' on Tândya-Br. XXI, 4, 4 (vranam kakâra).
330:2 The Atirâtra sarvastoma is arranged in such a way that the six principal Stomas are used successively first in the ascending, and then again in the descending, or reversed, order as is explained in XIII, 5, 3, 10.

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13.3.2

SECOND BRÂHMAN

1. Now this (Sacrificer), having- conquered by means of the supreme Stoma--the Katushtoma, the Krita among dice 3,--on the next day establishes himself on the Ekavims1, as a firm foundation: from the Ekavimsa, as a firm foundation, he subsequently ascends to the next day, the seasons; for the Prishtha (-stotras) are the seasons, and the seasons are the year: it is in the seasons, in the year, he establishes himself.
2. The Sakvarî 2 (verses) are the Prishtha (-stotra of the second day): there is a different metre for each (verse), for different kinds of animals, both domestic and wild ones, are immolated here on each (day). As to the Sakvarî (verses) being the Prishtha, it is for the completeness of the horse (sacrifice) 3; and different kinds of animals are immolated on different (days), because different stomas are performed on the different (days of the Asvamedha).
3. As to this they say, 'These--to wit, goats and sheep and the wild (beasts)--are not all animals 1; but those--to wit, the bovine (victims)--are indeed all animals.' On the last day he immolates bovine (victims), for they--to wit, bovine (victims)--are all animals: he thus immolates all animals. They are sacred to the All-gods 2, for the completeness of the horse, for the horse is sacred to the All-gods. They are many-formed (or, many-coloured), whence animals are many-formed; and they are of distinct forms (or colours), whence animals are of distinct forms.


Footnotes

330:3 For this and the other names of the dice, see part iii, p. 106, note 1.
331:1 Though applying in the first place to the second day of the Asvamedha, as an Ukthya sacrifice which is at the same time an Ekavimsa day, i.e. one the stotras of which are all chanted in the twenty-one-versed hymn-form, Ekavimsa, the twenty-first or twenty-one-fold, as is clear from XIII, 3, 3, 3, here also refers to the sun, of which it is a common epithet (cf. part iii, p. 265, note 2, also XIII, 4, 4, 11). This solar name seems to be derived from the fact that the sun is also identified with the central day of the year, the Vishuvant day, which is considered the central day of a twenty-one days’ sacrificial performance--having one prishthya-shadaha, an Abhigit (or Visvagit day resp.) and three svarasâman days before and after it;--see p. 139, note *1*; and A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seqq.
331:2 That is to say, the so-called Mahânâmnî verses (Sâm. V. ed. Bibl. Ind. II, p. 371), chanted on the sâkvara-sâman (see part iii, of this transl., introd. p. xx, note 2), are to be used for the Hotri's Prishtha-stotra. For this purpose the Rathantara-sâman is ordinarily used in the Agnishtoma, and the Brihat-sâman in the Ukthya, form of sacrifice.
331:3 The commentator takes this as an allusion to the 'potent' (sakvara = sakta) nature of the verses.
332:1 That is to say, they do not fitly represent all kinds of animals, as the highest kind of animals, the bovine cattle, may be said to do. The argument as to the 'sarve pasavah' is, of course, suggested by the 'asvasya sarvatvâya' of the preceding paragraph; and to bring out the parallelism, one might translate,--these . . . . are not complete animals.
332:2 See XIII, 5, 3, 11.


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13.3.3

THIRD BRÂHMAN

1. Inasmuch as there are three Anushtubh verses 3 (on the first day), therefore the horse, when standing, stands on three (feet); and inasmuch as (they are made into) four Gâyatrî verses, therefore the horse, when stepping out, scampers off on all (four) feet. For that Anushtubh, doubtless, is the highest metre, and the horse is the highest of animals; and the Katushtoma is the highest of Stomas: by means of what is highest he thus causes him (the Sacrificer) to reach the highest position.
2. The Sakvarî verses are the (Hotri's) Prishtha (of the second day): there is a different metre for each (verse), for different Stomas are performed on each (day). And as to the Sakvarî verse being the Prishtha (-stotra), it is for the completeness of the horse (sacrifice).
3. The central day is an Ekavimsa one, for the Ekavimsa is yonder sun, and so is the Asvamedha by means of its own Stoma he thus establishes it in its own deity.
4. The Vâmadevya is the Maitrâvaruna's Sâman 1; for the Vâmadevya is Pragâpati, and the horse is of Pragâpati's nature: he thus supplies it with its own deity.
5. The Pârthurasma is the Brahma-sâman 2; for the horse is restrained by means of reins 3 (rasmi), but when unrestrained, unchecked, and unsteadied, it would be liable to go to the furthest distance: thus when the Pârthurasma is the Brahma-sâman, it is for the safe keeping of the horse.
6. The Samkriti 4 is the Akhâvâka's Sâman;--that Asvamedha, indeed, is, as it were, a disused sacrifice, for what is performed thereof, and what is not 1? When the Samkriti is the Akhâvâka's Sâman, it is for (bringing about) the completeness of the horse (sacrifice). The last day is an Atirâtra with all the (six) Stomas, in order to his (the Sacrificer's) obtaining everything, for an Atirâtra with all the Stomas is everything, and the Asvamedha is everything.
7. The fire-altar is the twenty-one-fold one 2, the Stoma the twenty-one-fold one, and there are twenty-one sacrificial stakes; even as bulls or stallions 3 would clash together, so do these Stomas 4, the twenty-one-versed, run counter to one another: were he to bring them together, the Sacrificer would suffer harm, and his sacrifice would be destroyed.
8. There may, indeed, be a twelvefold altar, and eleven stakes. When the altar is a twelvefold one--twelve months being a year--it is the year, the sacrifice, he obtains. When there are eleven stakes, then that Virâg (metre), the Ekâdasinî 1, is contrived; and that which is its eleventh (stake) is its teat: thereby he milks it.
9. As to this they say, 'If there were a twelvefold altar, and eleven stakes, it would be as if one were to drive on a cart drawn by one beast.' There are the twenty-one-fold altar, the twenty-one-fold Stoma, and twenty-one stakes: that is as when one drives with side-horses.
10. That twenty-one-fold one, indeed, is the head of the sacrifice; and, verily, he who knows three heads on the Asvamedha, becomes the head of kings. There are the twenty-one-fold altar, the twenty-one-fold Stoma, and twenty-one stakes: these are the three heads on the Asvamedha; and, verily, he who thus knows them becomes the head of kings. And, indeed, he who knows the three tops on the Asvamedha, becomes the top of kings;--there are the twenty-one-fold altar, the twenty-one-fold Stoma, and twenty-one stakes: these, indeed, are the three tops on the Asvamedha; and, verily, he who thus knows them becomes the top of kings.


Footnotes

332:3 That is, for the Bahishpavamâna-stotra of the Katushtoma, see p. 329, note.
333:1 That is, the hymn-tune of the second Prishtha-stotra chanted for the Maitrâvaruna (who responds thereto by the recitation of the second Nishkevalya-sastra): the Mahâ-Vâmadevya on the text 'kayâ nas kitra bhuvat' (S. V. II, 32-34; figured for chanting in Bibl. Ind. ed. III, p. 89) is ordinarily used for this stotra both in the Agnishtoma, and in the Ukthya, form of sacrifice.
333:2 That is, the tune of the third, or Brâhmanâkhamsin's, Prishthastotra. For the sâmans commonly used for this stotra see part ii, p. 434, note 1. The Pârthurasma-sâman may be chanted on either of the texts Sâmav. II, 352-4 (figured ed. Bibl. Ind. vol. V, p. 395) or II, 355-7 (figured vol. V, p. 483). It is the latter text which is to be used on the present occasion. On the legendary origin of this sâman (which is said to represent 'strength,' and therefore to be appropriate to a Râganya) see Tândya-Br. XIII, 4, 17.
333:3 Or, is fastened by means of a rope.
333:4 The Samkriti-sâman is used with the texts Sâmav. II, 663-4 (figured ed. Bibl. Ind. V, p. 407), II, 669-70 (ib. p. 482, wrongly p. 334 called Samgati), and II, 679-82 (ib. p. 515). It is probably the second of these texts that is to be used here, as it is also used for the same stotra on the second day of the Garga-trirâtra.
334:1 Cp. the corresponding passage, Taitt. S. V, 4, 12, 3, 'that Asvamedha, indeed, is a disused sacrifice, for, say they, who knows if the whole of it is performed or not?' Perhaps, however, 'utsanna-yagña' rather means 'a decayed sacrifice,' i.e. one which has lost (or in the usual performance is apt to lose) some of its original elements; whence the 'Samkriti' tune is to be used for the purpose of 'making up' the lost parts. Part of the commentary in this passage is not clear to me:--ukkaihkalâpagrâmâdau siddhasthâne satrasthito granthatorthatas ka yat yagña utsannayagña esha yah asvamedhah katham utsanna ity ata âha, kim vâ hîti, yasya dharmâh pûrvayonau (? pûrvayuge) prayugyante teshâm kimkit kalau kriyate kimkin na kriyate, tatas ka samkritir akhâvâkasâma bhavati.
334:2 That is, an altar measuring twenty-one man's lengths on each of the four sides of its body.
334:3 The commentary seems to take both 'rishabha' and 'vrishan' here in the sense of 'bulls,' but cp. Taitt. Br. III, 8, 22, 1, 'yathâ vâ asvâ varshabhâ vâ vrishânah sam sphureran'--'even as if male horses or bulls were to clash together.'
334:4 That is, not only the twenty-one-fold Stoma, but also the other two twenty-one-fold objects, looked upon as Stomas (lit. 'means of praise').
335:1 Viz. the set of eleven (stakes), here represented as a cow; but in order to assimilate it to the Virâg, or metre consisting of ten syllables, the eleventh stake is made the teat or udder of the cow.

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13.3.4

FOURTH BRÂHMANA

1. Verily, the horse is slaughtered for all the deities: were he to make it one belonging to Pragâpati (exclusively), he would deprive the deities who are co-sharers of their share. Having made ghee (to take the part of) portions (of the horse's body) he makes oblations 1 to the deities in mentioning them one by one with (Vâg. S. XXV, 1-9), 'The Grass (I gratify) with the teeth, the Lotus with the roots of the hair, . . . :' the deities who are co-sharers he thus supplies with their share. When he has offered the Aranyekya (oblations) 2, he offers the last oblation to Heaven and Earth; for all the gods are established in heaven and on earth: it is them he thereby gratifies. Now the gods and the Asuras were contending together.
2. They (the gods) spake, 'We are the Agnayah Svishtakritah 1 of the horse (sacrifice); let us take out for ourselves a special share: therewith we shall overcome the Asuras.' They took the blood for themselves in order to overcome their rivals; when he offers the blood to the Svishtakrits, it is in order to overcome (his own) rivals; and the spiteful rival of him who knows this is undone by himself.
3. The first oblation (of blood) he offers 2 in the throat (gullet) of the Gomriga 1; for Gomrigas are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
4. The second oblation 1 he offers on a horse-hoof; for the one-hoofed (animals) are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
5. The third oblation he offers in an iron bowl; for the people (subjects) are of iron 2, and the Svishtakrit is Rudra: he thus shields the people from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.



Footnotes

336:1 These oblations of ghee, apparently amounting to 132, are made, after the principal flesh-portions have been offered, viz. in the interval between the ghee oblation to Vanaspati (the lord of the forest, or the plant, Soma) and the Svishtakrit oblation, for which see part ii, pp. 208-9; each formula, as a rule, containing the name of some divinity, and that of some part of the body of the horse supposed to be represented by the ghee (by four ladlings of which the offering spoon is filled each time). Mahîdhara, apparently in accordance with the Brâhmana, supplies 'prinâmi (I gratify)' with each (complete) formula which then concludes with 'svâhâ (hail)!' According to other authorities, however, these formulas are each to be divided into two separate dedicatory formulas:--'To the Grass hail! To the Teeth hail!'&c.--The last of the 132 oblations (with the formula, To Gumbaka, hail!') is, however, withheld for the present to be offered (or perhaps the formula alone is to be muttered) at the end of the purificatory bath (avabhritha) towards the end of the sacrifice on the third day.
336:2 The term 'aranyekya' ('to be recited in the forest') we met before (IX, 3, 1, 24) as applying to the last of seven cakes offered to the Maruts immediately after the installation of Agni (the sacred fire) on the newly-built altar The formula used for that cake is the so-called Vimukha-verse, Vâg. S. XXXIX, 7. This p. 337 verse is followed in the Samhitâ by a series of twenty formulas (ib. 8-9) of a similar nature to those referred to in the preceding note (i.e. consisting each of a deity and a part of the body of the horse--'Agni I gratify with the heart,'&c.), and these again by forty-two expiatory formulas ('To the hair, hail!'&c., ib. 10-13), ending with, 'To Yama, hail! To Antaka (the Ender), hail! To Death, hail! To (the) Brahman, hail! To Brahman-slaying, hail! To the All-gods, hail! To Heaven and Earth, hail!' These sixty-two formulas are used with as many ghee-oblations, which are to be performed immediately after the 131st of the previous set of oblations. Prior, however, again to the last of the forty-two expiatory oblations, (viz. the one made with 'To Heaven and Earth, hail!') there is another set of sixteen oblations (XIII, 3, 6, 1 seqq.), the so-called 'Asvastomîyâ âhutayah' or 'oblations relating to the Stomas of the horse (sacrifice),' each of which has a complete couplet for its offering-formula (Vâg. S. XXV, 24-39). At the end of the three sets of oblations the term 'aranyekya' is here extended by the author. At the end of the third set this succession of ghee-oblations is concluded with the last expiatory oblation, that to Heaven. and Earth; whereupon the ordinary flesh-oblation to Agni Svishtakrit is performed.
337:1 I.e. the (three) fires, the makers of good offering.
337:2 The formula for each of these three special blood-oblations--p. 338 offered immediately after the ordinary Svishtakrit oblation, and being, in fact, the special Svishtakrit of the Asvamedha--is 'Agnibhyah svishtakridbhyah svâhâ, i.e. to the (three) Agnis, the makers of good offering, hail!'
338:1 'Gomriga' is usually taken by the commentators, and in our dictionaries, as another name of the 'Gavaya,' variously called Gayâl, Bos Gavaeus, Bos frontalis, or Bos cavifrons, a species of wild cattle found in various mountain districts of India (especially on the eastern boundaries of Bengal, and in Malabar, as also in Ceylon), and frequently domesticated amongst the hill-tribes, by whom it is valued for its flesh and milk (cf. Colebrooke's paper, As. Res. VIII, p. 511 seqq.). The Gavaya itself is, however, as Colebrooke remarks, confounded by some Sanskrit writers with the 'Risya,' which he takes to be the buck of the painted, or white-footed (or slate-coloured) Antelope, the Portax pictus (or Antelope picta), also called by the vernacular names of Nîlgau or (Mahr.) Nîlgây, whilst the female is called 'rohit' in Sanskrit. All these three animals occur amongst the wild animals to be used as quasi-victims, but ultimately released on the second day of the Asvamedha; and I am inclined to think that they are three different animals. To show that the Risya and the Gavaya cannot be the same animals, Colebrooke already refers to the fact that three Risyas (consecrated to the Vasus) and three Gavayas (to Brihaspati) occur as victims side by side in Vâgasaneyi-samhitâ XXIV (27 and 28); and in the same way a Gomriga, sacred to Pragâpati and Vâyu, is mentioned immediately after, ib. 30; whilst another, sacred to Pragâpati, was, as we saw, one of the two animals tied along with the horse to the central stake (see XIII, 2, 2, 2). Taitt. S. II, 1, 10, 2, treating of the sacrifice of a Gomriga to Vâyu, remarks that it is neither a domestic animal (or cattle, pasu) nor a wild one; and Sâyana explains it as a cross between a female deer (or antelope, mrigî) and a hull that has gone with his cows to graze in the forest; whilst, on Taitt. Br. III, 8, 20, 5, he leaves one to choose between its being a vicious bull (dhûrto balîvardah), dangerous to men, or an animal 'of mixed breed, sprung from a cow and a male gazelle or antelope (goharinayoh, or possibly, from parent beasts of the bovine and antelope species).' In this latter passage, the editor p. 339 of the Brâhmana (in the list of contents, p. 53) takes it to mean 'wild cattle (Nîlagâo gomriga, erroneously explained as a cross between a deer and a cow),' which would be a probable enough explanation, if the Risya were not the Nîlgau; whilst otherwise the animal might belong to some other species of bovine antelopes no longer found in India.
339:1 Whilst the first of these oblations must take place immediately after the ordinary Svishtakrit of the animal sacrifice, the second may be postponed till after the 'after-offerings'; and the third till after the 'Patnîsamgas.' See also XIII, 5, 3, 8 seq.
339:2 That is, their value--as compared with that of the king or nobles, and the Brâhmanas--is that of iron, compared with that of gold and silver; cp. XIII, 2, 2, 19.

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13.3.5

FIFTH BRÂHMAN

1. Verily, there are deaths 3 connected with all the worlds; and were he not to offer oblations to them, Death would get hold of him in every world:when he offers oblations to the Deaths 1, he wards off Death in every world.
2. Concerning this they say, 'If, in offering, he were to name them all, saying, "To such 2 (a death) hail! To such (a death) hail!" he would make that manifold death his enemy 3, and would give himself over to Death.' Only one oblation he offers to one of them, with, 'To Death, hail!' for there is indeed but one Death in yonder world, even Hunger 4: it is him he wards off in yonder world.
3. A second oblation he makes with, 'To Brahman-slaying, hail!' for, doubtless, a murder other than the slaying of a Brahman is no murder; but that--to wit, the slaying of a Brahman--is manifestly murder: he thus manifestly wards off Death 5.
4. Mundibha Audanya 1 it was who discovered this atonement for the slaying of a Brahman; and when one offers the oblation to the Brahmahatyâ he prepares a remedy for the slayer of a Brahman by satisfying Death himself with an oblation, and making a protection 2 for him (the slayer). At whosoever's Asvamedha, therefore, this oblation is offered, even if in after-times 3 any one in his family kills a Brahman, he thereby prepares a remedy (expiation) for him.


Footnotes

339:3 That is, according to Sâyana, on Taitt. Br. III, 9, 15, 1, causes of death, such as diseases, &c.
340:1 The oblations referred to in this Brâhmana (§§ 1-4) occur towards the end of the second set of 'aranyekya' oblations mentioned above, p. 336, note 2, where the formulas are given. According to Taitt. Br., l.c., however, these final oblations are to be performed--like that to Gumbaka (Varuna)--at the time of the purificatory bath, which, indeed, may also be intended by our Brâhmana, though Kâtyâyana and Mahîdhara seem to offer no indications to that effect. It is clear that these final oblations must have formed the subject of considerable discussion among the early ritualists.
340:2 That is, according to Sâyana (Taitt. Br.), 'To death in the shape of disease, to death in the shape of poverty, &c.' Harisvâmin, on our passage, has merely, 'Amushmai pitrilokâya mrityave'--'To death (in the shape of) the world of the Fathers,' which is not very clear.
340:3 Or, perhaps, he would make himself many a death-enemy (bahum mrityum amitram kurvîta), the two nouns being taken as in apposition to each other; cf. p. 146, note 1.
340:4 See X, 6, 5, 1.
340:5 Or, he thus wards off what is manifestly Death (Death in person).
341:1 That is, according to Harisvâmin, the son of Udanya (Odana. St. Petersb. Dict.), Taitt. Br. III, 9, 15, 3, has Mundibha Audanyava (i.e. the son of Udanyu, Sây.) instead. The Taitt. Br., besides, makes the crime to be expiated here to be, not 'brahmahatyâ,' but 'bhrûnahatyâ,' the killing of an embryo. Sâyana, however, there allows to 'bhrûna' optionally its later meaning of 'a Brâhmana versed in the three Vedas and the sacrificial art (kalpa),' and the Taitt. Br. itself, at all events, takes this oblation to 'bhrûnahatyâ' to atone likewise for the slaying of a Brâhmana.
341:2 Harisvâmin explains 'paripânam' by 'parisishtam vânantam pânam' (?); whilst Sâyana, in Taitt. Br., takes it in the sense of 'sarvatah pâtram,' i.e. having made the Sacrificer 'a thoroughly worthy person.'
341:3 Harisvâmin here unwarrantably takes 'aparîshû' in the sense of 'in past times.'

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13.3.6

SIXTH BRÂHMAN

1. When the horse was slaughtered, the life-sap 4 went out of it; it became the Asvastomîya (set of oblations 5): when he offers the Asvastomîya (oblations) he indeed supplies the horse with life-sap.
2. He performs it with ghee; for ghee is life-sap, and the Asvastomîya is life-sap: by means of life-sap he thus puts life-sap into it. He performs with ghee, for that--to wit, ghee--is the favourite resource of the gods: he thus supplies them with their favourite resource. 
3. Having performed the Asvastomîya (set of) oblations, he offers the Dvipadâs 1; for the Asvastomîya is the horse, and the Dvipadâ is man, for man is two-footed (dvipâd), supported on two (feet): he thus supplies him with a support.
4. Concerning this they say, 'Is the Asvastomîya to be offered first, or the Dvipadâ?' The Asvastomîya, surely, is cattle, and the Dvipadâ is man: inasmuch as he performs the Dvipadâs after performing the Asvastomîya, man subsequently establishes himself amongst cattle.
5. Sixteen Asvastomîya oblations he performs, for animals (cattle) consist of sixteen parts 2: that is the measure of cattle, and he thus supplies cattle with their (right) measure; Were he to offer either less or more, he would deprive cattle of their (right) measure. Sixteen he offers, for cattle consist of sixteen parts: that is the measure of cattle, and he thus supplies cattle with their (right) measure. He offers no other as a final oblation 3: were he to offer another as a final oblation, he would lose his support. The Dvipadâs he offers last, for Dvipadâs are a support: he thus finds a support (establishes himself). With, 'To Gumbaka hail!' he offers, at the purificatory bath, the last oblation 1; for Gumbaka is Varuna: by sacrifice he thus manifestly redeems himself from Varuna. He offers it on the head of a white-spotted 2, baldheaded (man) with protruding teeth 3 and reddish brown eyes; for that is Varuna's form: by (that) form (of his) he thus redeems himself from Varuna. 
6. Having stepped out (of the water) he prepares twelve messes of cooked rice for the priests, or performs twelve ishtis. Concerning this they say, 'These to wit, ishtis--are a form of sacrifice: were he to perform ishtis, the sacrifice would be ready to incline towards him; but he would become the worse for it, for, surely, of exhausted strength now are the metres (offering formulas) of him who has performed the Soma-sacrifice;--how could he make use of them so soon? For when the sacrifice is complete, Vâk (speech and sacred writ 4) is wholly gained, and, being gained, it now is exhausted in strength, and, as it were, wounded and mangled; but sacrifice is speech: hence he should not make use of it.' 
7. Having stepped out (of the water) he should certainly prepare twelve messes of rice for the priests; for cooked rice is Pragâpati, and Pragâpati is the year, Pragâpati is the sacrifice: it is the year, the sacrifice, he thus gains, and the sacrifice becomes ready to incline towards him, and he does not become the worse for it.

Footnotes

341:4 Or, sacrificial essence.
341:5 See p. 336, note 2.
342:1 The formulas of the six dvipâdâs--i.e. (verses) consisting of two pâdas--are found Vâg. S. XXV, 46-47.
342:2 See XII, 8, 3, 13; for a highly artificial explanation of the sixteen parts of the man Pragâpati, probably intended here, X, 4, 1, 17. Elsewhere those of animals are explained as including head, neck, trunk, tail, the four legs and eight claws; see Weber, Ind. Stud. IX, p. 111, note.
342:3 This would seem to be directed against the practice of performing the oblation to Heaven and Earth immediately after the Asvastomîyâs, see p. 336, note 2.
343:1 See p. 336, note 1.
343:2 ? Or, pale. Sâyana, on Taitt. Br. III, 9, 15, 3, explains 'sukla' by 'kitrin' (? having white spots, or affected with white leprosy). Harisvâmin does not explain the word.
343:3 Harisvâmin explains 'viklidha' by 'dantura,' i.e. one who has projecting teeth; whilst Sâyana, l.c., explains it by either 'given to perspiring (svedanasîlasarîra),' or 'moist-bodied (? leprous, or, old, in bodily decay, viklinnadeha).'
343:4 Cf. V, 5, 5, 12 'that triple Veda is the thousandfold progeny of Vâk.'
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13.3.7

SEVENTH BRÂHMAN

1. Verily, this is the sacrifice called Strengthful: wherever they worship with this sacrifice, everything indeed becomes strong.
2. Verily, this is the sacrifice called Plenteous: wherever they worship with this sacrifice, everything indeed becomes plentiful.
3. Verily, this is the sacrifice called Obtainment: wherever they worship with this sacrifice, everything indeed becomes obtained.
4. Verily, this is the sacrifice called Distinction: wherever they worship with this sacrifice, everything indeed becomes distinct 1.
5. Verily, this is the sacrifice called Severance: wherever they worship with this sacrifice, everything indeed becomes severed 2.
6. Verily, this is the sacrifice called Food-abounding: wherever they worship with this sacrifice, everything indeed becomes abounding in food.
7. Verily, this is the sacrifice called Sapful: wherever they worship with this sacrifice, everything indeed becomes rich in sap (or drink).
8. Verily, this is the sacrifice called Abounding in holiness: wherever they worship with this sacrifice, the Brâhmana is born as one rich in holiness.
9. Verily, this is the sacrifice called Excelling in hitting: wherever they worship with this sacrifice, the Râganya is born as one excelling in hitting (the mark).
10. Verily, this is the sacrifice called the Long (wide) one: wherever they worship with this sacrifice, a wide tract of forest-land will be provided 1.
11. Verily, this is the sacrifice called Fitness: wherever they worship with this sacrifice, everything indeed becomes fit and proper.
12. Verily, this is the sacrifice called Support (foundation): wherever they worship with this sacrifice, everything indeed becomes supported (firmly established).


Footnotes

344:1 Svakarmasu bhâgena sthâpitam (? confined respectively to its own functions), comm.
344:2 Harisvâmin supplies 'akâryebhyah'--is kept away from what it is forbidden to do, or from what is not one's business.
345:1 That is, as would seem, either as a protection from neighbouring countries, or as room for spreading, and as pasture-land. Cf., however, XIII, 2-4, 2, 4, where, as in Ait. Br. III, 44; VI, 23, such a belt of jungle is referred to as a source of danger to the inhabitants of a country.

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13.3.8

EIGHTH BRÂHMANA

EXPIATORY OFFERINGS 

1. Now, then, of the expiations. If the sacrificial horse were to couple with a mare, let him in addition prepare a milk (oblation) to Vâyu;--Vâyu doubtless is the transformer of seeds, for Vâyu (the wind) is the vital air, and the vital air is the transformer of seeds: by means of seed he thus puts seed into it.
2. And if disease were to befal it, let him in addition prepare a pap to Pûshan, for Pûshan rules over beasts (cattle); and, indeed, he thereby gratifies him who owns cattle and rules over cattle; and it (the horse) thereby indeed becomes free from disease.
3. And if sickness without (visible) injury 1 were to befal it, let him in addition prepare for (Agni) Vaisvânara a cake on twelve potsherds, with the earth serving for potsherds 2; for Vaisvânara is this (earth): he thereby gratifies this (earth), and it (the horse) becomes free from disease.
4. And if an eye-disease were to befal it, let him in addition prepare a pap to Sûrya;--the Sun, doubtless, is the eye of creatures, for when he rises everything here moves: by means of the eye (of the world) he thus bestows the eye upon it. And as to why it is a pap (karu), it is because by means of the eye this self (body or mind) moves (kar). 
5. And if it were to die in water, let him in addition prepare a barley pap to Varuna, for Varuna seizes him who dies in water: he thereby thus gratifies that very deity who seizes it, and, thus gratified, he approves his slaughtering another (horse), and he slaughters it as one approved by that (deity). And as to why it is (prepared) of barley, it is because barley belongs to Varuna.
6. And if it were to get lost, let him in addition perform an ishti with three sacrificial dishes--a cake on one potsherd for Heaven and Earth, a milk (oblation) for Vâyu, and a pap for Sûrya;--for whatsoever is lost, is lost within heaven and earth; and the wind blows upon it, and the sun shines upon it; and nothing whatever is lost out of (the reach of) these deities. And even by itself 1 this (ishti) is the recoverer of what is lost; and even if any other thing of his were to get lost let him perform this very offering, and he verily finds it. And if enemies were to obtain the horse, or if it were to die (either in any other way) or in water 2, let them bring another (horse) and consecrate it by sprinkling: this, indeed, is the expiation in that case.



Footnotes

346:1 Viz. such as fever, comm.
346:2 That is, spreading them on the earth, or on clods of earth, comm.
347:1 That is, even independently of the horse-sacrifice.
347:2 That is to say, if it were to die by getting drowned, or in any other way.
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13.4.1

FOURTH ADHYÂYA. FIRST BRÂHMAN

1. Pragâpati desired, 'Would that I obtained all my desires! would that I attained all attainments!' He beheld this three days’ Soma-sacrifice, the Asvamedha, and took possession of it, and sacrificed with it: by sacrificing therewith he obtained all his desires, and attained all attainments; and, verily, whosoever performs the Asvamedha sacrifice obtains all his desires, and attains all attainments.
2. Concerning this they say, 'In what season is the beginning (to be made)?'--'Let him begin it in summer,' say some, 'for summer is the Kshatriya's season, and truly this--to wit, the Asvamedha--is the Kshatriya's sacrifice.'
3. But let him rather begin it in spring; for spring is the Brâhmana's season, and truly whosoever sacrifices, sacrifices after becoming, as it were, a Brâhmana: let him therefore by all means begin it in spring.
4. And six days, or seven days, before that full-moon of Phâlguna, the officiating priests meet together--to wit, the Adhvaryu, the Hotri, the Brahman, and the Udgâtri; for under these 1 the other priests are. 
5. The Adhvaryu prepares for them a priest's mess of rice sufficient for four persons: the meaning of this has been explained 2. Four bowlfuls, four double handfuls, four handfuls: twelvefold this is--twelve months are a year, and the year is everything, and the Asvamedha is everything--thus it is in order to his gaining and securing everything. 
6. Those four priests eat it: the meaning of this has been explained. He (the Sacrificer) gives to them four thousand (cows) in order to his gaining and securing everything, for a thousand means everything, and the Asvamedha is everything. And (he gives them) four gold plates weighing a hundred (grains): the meaning of this has been explained 3 
7. The Adhvaryu then, hanging a gold ornament (nishka) round him, makes him mutter (Vâg. S. XXII, 1), 'Fire thou art, light and immortality,'--for gold, indeed, is fire, light 4, and 
immortality: fire (fiery mettle), light (brilliance), and immortality he thus bestows upon him;--'protector of life, protect my life!' he thereby bestows life (vital strength) upon him. With a view to commencing the sacrifice, he then says to him, 'Restrain thy speech!' for the sacrifice is speech. 
8. Four (of the king's) wives are in attendance--the consecrated queen, the favourite wife, a discarded wife, and the Pâlâgalî 1, all of them adorned and wearing gold ornaments (neck-plates)--with the view of the completeness of conjugal union. With them he enters the hall of the sacrificial fires--the Sacrificer by the eastern, the wives by the southern, door.
9. When the evening-offering 2 has been performed, he lies down with his favourite wife behind the Gârhapatya hearth, with his head towards the north. At the same place 3 the other (wives) also lie down. He lies in her lap without embracing her 4, thinking, 'May I, by this self-restraint, reach successfully the end of the year!'
10. When the morning offering has been performed, the Adhvaryu performs a full-offering 5 with a view to his (the Sacrificer's) gaining and securing everything, for the full means everything, and the Asvamedha is everything. At this (offering) he releases speech by (bestowing) a boon, saying, 'I grant a boon to the Brahman (priest):' (this he does) with a view to his gaining and securing everything, for a boon is everything, and the Asvamedha is everything.
11. The gold ornament which is attached to his (neck) he then gives to the Adhvaryu: in giving it to the Adhvaryu he secures to himself immortal life, for gold means immortal life.
12. For the object of (gaining) the road, and in order not to lose the mouth (mukha) of the sacrifice, he then prepares an ishti-offering 1 to Agni. For, indeed, all the deities have Agni for their mouth, and in the Asvamedha are (contained) all objects of desire: 'Having, at the outset (mukhatah), gratified all the gods, may I obtain all my desires!' so he thinks.
13. For this (offering) there are fifteen kindling-verses 2; for fifteenfold is the thunderbolt, and the thunderbolt means vigour: with the thunderbolt (of) vigour the Sacrificer thus from the first repels evil. The two butter-portions relate to the slaying of Vritra 3, with a view to the repelling of evil, for Vritra is evil. [The verses, Vâg. S. XIII, 14, 15,] 'Agni, the head, the summit of the sky . . . 1,' and 'Be thou the leader of the sacrifice and the realm of space (whither thou strivest with auspicious teams: thy light-winning head hast thou raised to the sky, and thy tongue, O Agni, hast thou made the bearer of the offering),' pronounced in a low voice, are the anuvâkyâ and yâgyâ of the chief oblation. The one contains (the word) 'head,' the other (the verb) 'to be,'--for the head, assuredly, is he that shines yonder: thus it is in order to secure him (the Sun); and as to why (the other) contains (the verb) 'to be,'--he thereby secures that which is (the real, truly existent). The Samgyâs 2 are two virâg-verses 3; for that--to wit, the Virâg--is the metre belonging to all the gods, and all objects of desire are (contained) in the Asvamedha: 'Having gratified all the gods, may I obtain all my desires!' so he thinks. The sacrificial fee is gold weighing a hundred (grains): the meaning of this has been explained.
14. He then prepares a (pap) for Pûshan, for Pûshan is the overlord of roads: he thus secures successful progress to the horse. But Pûshan is also this (earth): he thus makes this (earth) its guardian, for neither injury nor failure befals him whom this (earth) guards on the way; and this (earth) he thus makes its guardian.
15. For this (offering) there are seventeen kindling-verses 1, for the obtainment of the Asvamedha, for Pragâpati is seventeenfold, and the Asvamedha is Pragâpati. The two butter-portions are possessed of 'growth 2,' even for the growth of the Sacrificer. [The verses, Vâg. S. XXXIV, 41, 42,] 'Pûshan, in thy sway we [shall never suffer harm, we (who) here are singers of thy praises],' and 'The hymn (?) lovingly composed by desire of praise hath reached the guardian of every path: (may he, Pûshan, grant unto us draughts of light (?), and fulfil our every prayer!'), pronounced in a low voice, are the anuvâkyâ and yâgyâ of the chief oblation. The one contains (the word) 'sway,' the other (the word) 'path'; for sway is vigour: (thus it is) in order to his gaining and securing vigour; and as to why (the other) contains (the word) 'path,' he thereby secures successful progress to the horse. The invitatory and offering formulas of the Svishtakrit are two anushtubh verses 1; for the Anushtubh is speech, and Pragâpati is speech, and the Asvamedha is Pragâpati: thus it is for the obtainment of the Asvamedha. The priests’ fee consists of a hundred garments, for that--to wit, the garment--is man's outward appearance, whence people (on seeing) Any well-clad man, ask, 'Who can this be? for he is perfect in his outward appearance: with outward appearance he thus endows him. There are a hundred of them, for man has a life of a hundred (years), and a hundred energies: life, and energy, vigour, he thus gains for himself.

Footnotes

348:1 Or, along with these, included in them (are the assistant priests).
348:2 See XIII; 1, 1, 14 (cf. II, 1, 4, 4).
348:3 XII, 7, 2, 13.
348:4 Perhaps Mahîdhara is right in taking 'sukram' here in the sense of 'seed' (Agner vîrvam); cf. II, 1, 1, 5; XIII, 1, 1, 4.
349:1 See p. 323, note 2.
349:2 That is the evening performance of the Agnihotra.
349:3 Tad eva tatraiva, comm.
349:4 Sontarorû asamvartamânah sete.
349:5 For particulars regarding the 'pûrnâhuti,' or oblation of a spoonful of ghee, see part i, p. 302, note 2.
350:1 Viz. a cake (on eight kapâlas) to Agni Pathikrit, 'the path-maker'--or, according to Âsv. Sr. X, 6, 3, to Agni Mûrdhanvat ('forming the head,' so called from the formulas used containing the word 'head).' For a similar special offering to the same deity see XII, 4, 4, 1 (cf. XI, 1, 5, 5).
350:2 See part i, p. 95 seqq. (especially I, 3, 5, 5-7).
350:3 The two Âgyabhâgas, or butter-portions to Agni and Soma, are said to be 'Vritra-slaying' (vârtraghna), or to relate to the slaying of Vritra, when their anuvâkyâs, or invitatory formulas, are the two verses Rig-veda VI, 16, 34 (agnir vritrâni gaṅghanat, 'May Agni slay the Vritras'), and I, 91, 5 (tvam somâsi satpatis tvam râgota vritrahâ, 'Thou, O Soma, art the true lord, thou art the king and the slayer of Vritra,'&c.). This is the case at the Full-moon sacrifice, whilst at the New-moon sacrifice the two butter-portions p. 351 are said to be 'vridhanvant,' or 'relating to growth,' because the anuvâkyâs used on that occasion are two verses containing forms of the root vridh, 'to grow,' viz. VIII, 44, 12 (agnih pratnena manmanâ . . . kavir viprena vâvridhe, 'Agni has grown strong by the old hymn,--as the wise one by the priest') and I, 91, 11 (Soma gîrbhish tvâ vayam vardhayâmo vakovidah . . ., 'O Soma, we magnify thee (make thee grow) by our songs, skilful in speech'). In the same way the one or the other form is used in different ishtis. At I, 6, 2, 12, the translation, 'the two butter-portions should be offered to the Vritra-slayer (Indra)' should therefore be altered to 'the two butter-portions relate to the slaying of Vritra' (or, 'are Vritra-slaying').
351:1 See VII, 4, 1, 41.
351:2 That is, the two formulas used with the oblation to Agni Svishtakrit.
351:3 Whilst the normal performance of an ishti requires two trishtubh-verses (Rig-veda X, 2, I; VI, 15, 14; cf. part i, p. 202, notes 2 and 3) for the invitatory and offering formulas of the oblations to Agni Svishtakrit, two virâg-verses are frequently prescribed, certain verses of the Virâg-hymn Rig-veda VII, 1, being chiefly used for this purpose; e. g. v. 3 as the anuvâkyâ, and v. 18 as the yâgyâ for the Svishtakrit of the oblation to Aditi at the p. 352 Âdhâna (see part i, p. 307, note 3). and the Dîkshanîyeshti; and vv. 14, 15 as yâgyâ and anuvâkyâ of the Svishtakrit of the Prâyanîyeshti. It is doubtless the two former verses, commonly employed at special ishtis (cf. part i, p. 164, note 3), which are to be used on the present occasion.
352:1 See part i, p. 112, note 1.
352:2 That is, they are performed with two invitatory formulas containing the verb 'to grow,' see p. 350, note 3. Whilst our Brâhmana thus prescribes the two invitatory formulas used for the butter-portions of the New-moon sacrifice, Âsvalâyana (Sr. X, 6, 6) prescribes two verses containing the verb 'as' (or 'bhû'), viz. Rig-veda V, 13, 4, tvam agne saprathâ asi; and I, 92, 9, soma yâs to mayobhuva ûtayah santi dâsushe tâbhir novitâ bhava.
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13.4.2

SECOND BRÂHMAN

1. Whilst this (offering to Pûshan) is being performed, the horse, having been cleansed, is led up--being one which is marked with all colours, or which is perfect in speed, worth a thousand (cows), in its prime, and without its match under the right-side yoke 2
2. And as to its being one marked with all colours, it is for the sake of his (the Sacrificer's) obtaining and securing everything, for colour (outward appearance) is everything, and the Asvamedha is everything. And as to its being perfect in speed, it is for the sake of his obtaining and securing vigour, for speed is vigour. And as to its being worth a thousand (cows), it is for the sake of his obtaining and securing everything, for a thousand means everything, and the Asvamedha is everything. And as to its being in its prime, it is for the sake of his obtaining unlimited vigour, for such a one that is in the prime (of youth) increases to unlimited vigour. And as to its being without its match under the right-side yoke, it is for the sake of his obtaining yonder (sun), for that (horse) indeed is he that shines yonder, and assuredly there is no one to rival him. 
3. As to this, Bhâllaveya, however, said, 'That horse should be of two colours, black-spotted 1, for that (horse) was produced from Pragâpati's eye, and this eye is of two colours, white and black: he thus endows it with its own colour.' 
4. But Sâtyayagñi said, 'That horse should be of three colours, its forepart black, its hindpart white, with a wain for its mark in front;--when its forepart is black it is the same as this black of the eye; and when its hindpart is white it is the same as this white of the eye; and when it has a wain for its mark in front, that is the pupil: such a one, indeed, is perfect in colour 1.' Whichever of these, then, should be ready at hand, either a many-coloured one, or one of two colours, or one of three colours with a wain for its mark, let him slaughter it: but in speed it should certainly be perfect. 
5. In front (of the sacrificial ground) there are those keepers of it ready at hand,--to wit, a hundred royal princes, clad in armour; a hundred warriors armed with swords; a hundred sons of heralds and headmen, bearing quivers filled with arrows 2; and a hundred sons of attendants 3 and charioteers, bearing staves;--and a hundred exhausted, worn out horses 4 amongst which, having let loose that (sacrificial horse), they guard it.
6. He then prepares an (ishti) offering to Savitri 5--a cake on twelve potsherds to Savitri Prasavitri--thinking, May Savitri impel this my sacrifice!' for Savitri (the sun), indeed, is the impeller (prasavitri).
7. For this (offering) there are fifteen kindling-verses; and the two butter-portions relate to the slaying of Vritra 1. [The verses, Rig-veda V, 82, 9; VII, 45, 1], 'He who calleth forth all these beings (with his call, may he, Savitri, quicken us)!' and 'May the divine Savitri come hither, treasure-laden, (filling the air whilst driving with his steeds; holding in his hand many things meet for man; and laying to rest and awakening the world),' pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishtakrit are two virâg-verses 2. The priests’ fee is gold weighing a hundred (grains): the meaning of this has been explained. 
8. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrâ (tune 3), sings three strophes composed by himself (on topics 4 such as), 'Such a sacrifice he offered,--Such gifts he gave:' the meaning of this has been explained 5.
9. He then prepares a second (offering)--a cake on twelve potsherds to Savitri Âsavitri--thinking, 'May Savitri propel this my sacrifice!' for Savitri, indeed, is the propeller (âsavitri). 
10. For this (offering) there are seventeen kindling-verses; and the two butter-portions are possessed of that which is 1: the (truly) existent he thereby obtains. [The verses, Rig-veda V, 82, 5; VII, 45, 31 'All troubles, O divine Savitri, (keep from us, do thou send us that which is good)!' and 'May that mighty god Savitri (the lord of treasure, send us treasure; shedding wide-spread lustre, may he bestow upon us the joys of mortal life)!' pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishtakrit are two anushtubh verses 2. Silver is the priests’ fee,--for the sake of variety of colour, and also for the sake of (the horse's) going outside 3 and not going away. It weighs a hundred (grains), for man has a life of a hundred (years), and a hundred energies: it is life, and energy, vigour, he thus secures for himself. 
11. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrâ (tune), sings three strophes composed by himself (on topics such as), 'Such a sacrifice he offered,--Such gifts he gave:' the meaning of this has been explained. 
12. He then prepares a third (offering)--a cake on twelve potsherds to Savitri Satyaprasava ('of true impulse'); for that, indeed, is the true impulse which is Savitri's: 'May he impel with true impulse this my sacrifice!' so he thinks.
13. For this (ishti) there are again seventeen kindling-verses. The two butter-portions are possessed of 'wealth 1,' with a view to his obtaining and securing vigour, for wealth is vigour (strength). [The verses, Rig-veda V, 82, 7; IV, 54, 4,] 'The all-divine, true lord (we hope to gain this day by our hymns, Savitri of true impulsion),' and 'Indestructible is that (work) of the divine Savitri, (that he will ever sustain the whole world: whatever he, the fair-fingered, bringeth forth over the extent of the earth and the expanse of the sky, that is truly his own),' pronounced in a low voice, are the invitatory and offering formulas of the chief offering. Those of the Svishtakrit (he makes) the regular ones 2, thinking, 'Lest I should depart from the path of sacrifice:' he thus finally establishes himself in the well-ordered sacrifice. Trishtubh-verses they are for the sake of his gaining and securing (Indra's) energy, vigour, for the Trishtubh is the vigour in Indra. The priests’ fee is gold weighing a hundred (grains): the meaning of this has been explained 3
14. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrâ (tune), sings three strophes composed by himself (on topics such as), 'Such a sacrifice he offered,--Such gifts he gave:' the meaning of this has been explained.
15. When this (offering) is completed, the Adhvaryu and the Sacrificer rise, and whisper in the horse's right ear (Vâg. S. XXII, 19), 'Plenteous by thy mother, strengthful by dry father . . .!' the meaning of this has been explained 1. They then set it free towards the north-east, for that--to wit, the north-east--is the region of both gods and men: they thus consign it to its own region, in order to its suffering no injury, for one who is established in his own home suffers no injury. 
16. He says, 'O ye gods, guardians of the regions, guard ye this horse, consecrated for offering unto the gods!' The (four kinds of) human guardians of the (four) regions have been told, and these now are the divine ones, to wit, the Âpyas, Sâdhyas, Anvâdhyas 2 and Maruts; and both of these, gods and men, of one mind, guard it for a year without turning (driving) it back. The reason why they do not turn it back, is that it is he that shines yonder,--and who, forsooth, is able to turn him back? But were they to turn it back, everything here assuredly would go backward (go to ruin): therefore they guard it without turning it back.
17. He says, 'Ye guardians of the quarters, those who go on to the end of this (horse-sacrifice) will become (sharers of) the royal power, they will become kings worthy of being consecrated; but those who do not go on to the end of this (sacrifice) will be excluded from royal power, they will not become kings, but nobles and peasants, unworthy of being consecrated: do not ye therefore be heedless, and keep it (the horse) from water suitable for bathing and from mares! And whenever ye meet with any kind of Brâhmanas, ask ye them, "O Brâhmanas, how much know ye of the Asvamedha?" and those who know naught thereof ye may despoil; for the Asvamedha is everything, and he who, whilst being a Brâhmana, knows naught of the Asvamedha, knows naught of anything, he is not a Brâhmana, and as such liable to be despoiled. Ye shall give it drink, and throw down fodder for it; and whatever prepared food there is in the country all that shall be prepared for you. Your abode shall be in the house of a carpenter of these (sacrificers 1), for there is the horse's resting-place.'


Footnotes

353:1 Viz. according to Âsv. Sr. X, 6, 7,--Rig-veda I, 45, 6 (tvâm kitrasravastama) and V, 25, 7 (yad vâsishtham yad agnaye).
353:2 Thus Harisvâmin,--'anyebhyo dakshinadhuryebhya utkrishtah;' p. 354 hardly 'one which finds no (worthy) yoke-fellow' (St. Petersb. Dict.).
354:1 Or, black with some other colour.
355:1 One would expect an 'iti' here.
355:2 Or, furnished with bundles of arrows,--ishuparshinah, for which Kâty. XX, 2, 11, has 'kalâpinah' (=sarâvapanabhastrâvantah schol.). Harisvâmin explains it as if it were equivalent to 'ishuvarshinah,''showering arrows.'
355:3 Harisvâmin takes 'kshâttra' as the body of revenue-officers (tax-gatherers, &c.), 'âyavyayâdhyakshasamûhah.'
355:4 That is, according to Harisvâmin, over twenty-four years old; his explanation being based on the etymology of 'nirashtam' as 'outside the eight' (viz. characteristics of age in horses, each of which is supposed to hold good for three years).
355:5 The three ishtis to Savitri, treated of in paragraphs 6-17, as well as the proceedings subsequent thereto, are repeated every day during the twelvemonth during which the sacred horse is allowed to roam about.
356:1 See p. 350, note 3.
356:2 See p. 351, note 3.
356:3 Or, touching the uttaramandrâ lute,--literally, the 'upper deep' one, i.e. perhaps one the chords of which are pitched in the upper notes of the lower key. Cf. Scholl. on Katy. XX, 2, 8 uttaramandrâ ka gâyanaprasiddhâ;--uttaramandrâ-samgñâyâm vînâyâm. Harisvâmin does not explain the term.
356:4 Taitt. Br. III, 9, 14, 3 mentions three topics--one for each stanza,--viz. 'thus (such and such gifts) thou gavest, thus (by such and such sacrifices) thou didst sacrifice, thus thou didst cook (i.e. with such and such food thou didst regale the priests).'
356:5 See XIII, 1, 5, 6.
357:1 That is, their anuvâkyâs contain forms of the root 'as' (or 'bhû'), to be; cf. p. 352, note 2.
357:2 See XIII, 4, 1, 15p. 353, note 1.
357:3 Viz. going outside the sacrificial ground, and yet not running away from its keepers,--this, according to the text, would be symbolically expressed by the gold (which was given as the priests’ fee for the first offering) giving place to silver at the second offering, but coming in again at the third.
358:1 That is, their invitatory formulas contain the word 'rayi' (wealth). What particular verses are intended here, I do not know.
358:2 Viz. the trishtubh-verses Rig-veda X, 2, 1; VI, 15, 14; see p. 351, note .
358:3 XII, 7, 2, 13.
359:1 See XIII, 1, 6, 1 seqq., 3, 7. 1-2 seqq.
359:2 On these divine beings see Weber, Ind. Stud. IX, p. 6, note.
360:1 Thus Harisvâmin,--teshâm ka yagamânânâm madhye rathakâro yas tasya grihe yushmâkam vasatah. The plural is probably meant as including the subjects of the king (cf. XI, 8, 4, 1), and the villages within reach of which the horse will roam.

https://www.sacred-texts.com/hin/sbr/sbe44/sbe44103.htm

13.4.3

THIRD BRÂHMAN

1. Having set free the horse, he (the Adhvaryu) spreads a cushion wrought of gold (threads) south of the Vedi: thereon the Hotri seats himself. On the right (south) of the Hotri, the Sacrificer on a gold stool 2; on the right of him, the Brahman and Udgâtri on cushions wrought of gold; in front of them, with his face to the west, the Adhvaryu on a gold stool, or a slab of gold. 
2. When they are seated together, the Adhvaryu calls upon (the Hotri), saying, 'Hotri, recount the beings: raise thou this Sacrificer above the beings 1!' Thus called upon, the Hotri, being about to tell the Pâriplava 2 Legend, addresses (the Adhvaryu), 'Adhvaryu!'--'Havai 3 hotar!' replies the Adhvaryu. 
3. 'King Manu Vaivasvata,' he says;--'his people are Men, and they are staying here 4;'
householders, unlearned in the scriptures, have come thither 1: it is these he instructs;--'The Rik (verses) are the Veda 2: this it is;' thus saying, let him go over a hymn of the Rik, as if reciting it 3. Masters of lute-players have come thither: these he calls upon, 'Masters of lute-players,' he says, 'sing ye of this Sacrificer along with righteous kings of yore 1!' and they accordingly sing of him; and in thus singing of him, they make him share the same world with the righteous kings of yore. 
4. Having called (on the masters of lute-players), the Adhvaryu performs the Prakrama oblations 2, either on the southern fire, or on a footprint of the horse, after drawing lines round it--whichever is the practice there; but the former 3 is the established rule. 
5. Prior to the (first) offering to Savitri he offers, once only, the (oblations relating to the) Forms 1 in the Âhavanîya fire, whilst going rapidly over (the formulas). And in the evening, whilst the Dhritis 2 (oblations for the safe keeping of the horse) are being offered, a Râganya lute-player, striking up the uttaramandrâ (tune) south (of the vedi), sings three stanzas composed by himself (on topics 3 such as), 'Such war he waged,--Such battle he won:' the meaning of this has been explained. 
6. And on the morrow, the second day, after those (three) offerings to Savitri have been performed in the same way, there is that same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Yama Vaivasvata 1,' he (the Hotri) says, 'his people are the Fathers, and they are staying here;'--old men have come thither: it is these he instructs;--'The Yagus-formulas are the Veda: this it is;' thus saying, let him go over a chapter (anuvâka) of the Yagus 2, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
13:4:3:77. And on the third day, after those (three) offerings have been performed in the same way, there is that same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Varuna Âditya,' he says; 'his people are the Gandharvas, and they are staying here;'--handsome youths have come thither: it is these he instructs;--'The Atharvans are the Veda: this it is;' thus saying, let him go over one section (parvan) of the Atharvan 3, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
8. And on the fourth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Soma Vaishnava 1,' he says; 'his people are the Apsaras, and they are staying here;'--handsome maidens have come thither: it is these he instructs 2;--'The Aṅgiras are the Veda: this it is;' thus saying, let him go over one section of the Aṅgiras 3, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Arbuda Kâdraveya 1,' he says; 'his people are the Snakes, and they are staying here;'--both snakes and snake-charmers 2 have come thither: it is these he instructs--'The Sarpavidyâ (science of snakes) is the Veda: this it is;' thus saying, let him go over one section of the Sarpavidyâ 3 as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
10. And on the sixth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Kubera Vaisravana,' he says; 'his people are the Rakshas, and they are staying here;'--evil-doers, robbers 4, have come thither: it is these he instructs;--'The Devaganavidyâ 1 (demonology) is the Veda: this it is;' thus saying, let him go over one section of the Devaganavidyâ, as if he were reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
11. And on the seventh day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Asita Dhânva 2,' he says; 'his people are the Asura; and they are staying here;'--usurers have come thither: it is these he instructs;--'Magic 3 is the Veda: this it is;' thus saying, let him perform some magic trick. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
12. And on the eighth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Matsya Sâmmada 1,' he says; 'his people are the water-dwellers, and they are staying here;'--both fish and fishermen 2 have come thither: it is these he instructs;--'the Itihâsa 3 is the Veda: this it is;' thus saying, let him tell some Itihâsa. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
13. And on the ninth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Târkshya Vaipasyata 4,' he says; 'his people are the Birds, and they are staying here;'--both birds and bird-catchers 5 have come thither: it is these he instructs;--'the Purân3 is the Veda: this it is;' thus saying, let him tell some Purân6. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
14. And on the tenth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Dharma Indra 1,' he says, 'his people are the Gods, and they are staying here;'--learned srotriyas (theologians), accepting no gifts 2, have come thither: it is these he instructs; 'the Sâman (chant-texts) are the Veda: this it is;' thus saying, let him repeat 3 a decade of the Sâman. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 
15. [In telling] this revolving (legend), he tells all royalties, all regions, all Vedas, all gods, all beings; and, verily, for whomsoever the Hotri, knowing this, tells this revolving legend, or whosoever even knows this, attains to fellowship and communion with these royalties, gains the sovereign rule and lordship over all people, secures for himself all the Vedas, and, by gratifying the gods, finally establishes himself on all beings. This very same legend revolves again and again for a year; and. inasmuch as it revolves again and again, therefore 
it is (called) the revolving (legend). For thirty-six ten-days’ periods he tells it,--the Brihatî (metre) consists of thirty-six syllables, and cattle are related to the Brihatî metre: by means of the Brihatî he thus secures cattle for him.

Footnotes

360:2 At XI, 5, 3, 47 'kûrka' seems to mean a bunch or pad of grass, used as a seat. In the present instance it is explained as p. 361 a seat with feet (sapâdam âsanam, Schol. on Kâty. XX, 2, 19), or as a seat or stool which has the appearance of a pad (pîtham kûrkâkriti,? i.e. with a pad on it). According to Âsv. Sr. X, 6, 19) the king is surrounded by his sons and ministers.
361:1 Or, perhaps, 'raise this Sacrificer above (or, up to) the things of the past;' but see paragraph 15.
361:2 That is, the 'revolving, recurrent, or cyclic legend,' so called because it is renewed every ten days during the year.
361:3 Harisvâmin explains this interjection, as if it were 'hvayai' = pratihvayai, 'I will respond, I am ready to respond;' and, though this is probably a fanciful explanation, the arrangements made on this occasion are clearly such as to suggest a studied resemblance to the call and counter-call of the two priests on all occasions of a solemn utterance of sacrificial formulas, or the recitation of hymns, as at the Prâtaranuvâka (part ii, p. 226 seqq.). Kâty. XX, 3, 2, accordingly, calls it the Adhvaryu's 'pratigara,' or response. Âsv. Sr. X, 6, 13 makes the Adhvaryu's answer 'ho hotar'; and Sâṅkh. Sr. XVI, 1 'hoyi hotar.'
361:4 The Hotri's utterances on the ten days of the revolving period (as set forth in passages 2-14) occur also, with some variations of detail, in the manuals defining the Hotri's duties, viz. the Âsvalâyana (X, 7) and Sâṅkhâyana (XVI, 2) Sûtras (whilst the works of the Taittirîyakas seem to have nothing corresponding to this performance). Both Sûtras omit 'râgâ' each time. Âsvalâyana, moreover, omits also the 'iti' along with it, because he does not interrupt the formula by an insertion, as is done here (ity âha) p. 362 and in the Sâṅkh. S. (iti prathame, &c.). Gârgya Nârâyana, on Âsv. X, 7, 1, takes the opening words 'prathame (&c.) hani' to form part of the formulas:--'on the first day Manu Vaivasvata (is king); but it is clear from the other two authorities that this cannot have been intended by the author of that Sûtra.--The commentator on Sâṅkh. S. XVI, 2 remarks, 'Manur Vaivasvato râgety-evam-âdikam âkhyânam pariplavâkhyam prathamâhany âkashte . . . tasya râgño manushyâ visah pragâs ta ima âsatedyâpi svadharmân na kalanti,' thus apparently taking 'râgâ' to form part of the formula, or rather of the topic of which the legend to be recited was to treat. This commentary thus apparently assumes that the legend begins with 'Manur Vaivasvato râgâ'; and that the subsequent clause leads on to the recitation of the Vedic text that is to follow (cf. note on paragraph 8);--though. possibly this latter clause (as Professor M. Müller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Müller, Hist. of Anc. Sansk. Lit., p. 37 seqq.
362:1 'Householders should be brought thither' (i.e. should be made to join this performance); Âsv.-sûtra. Sâṅkh. has merely 'thereby he instructs householders.' Grihamedhinah are those who regularly perform the five great domestic sacrifices (mahâyagña).
362:2 Or, more closely, the Veda is the, or consists of, Rik (verses). Sâṅkh. S. reads 'riko vedah' (the Veda of the Rik, gen. sing.) instead of 'rikah' (nom. pl.), and in the subsequent paragraph also, it repeats the word 'veda' (Yagurveda, Atharvaveda, Aṅgiraso vedah).
362:3 That is, as would seem,--as if he were to recite it (or, as when he recites it) in the course of the ordinary sacrificial performance--as in Sastras, the Prâtaranuvâka, &c. The text would, however, also admit of the translation--'thus saying, let him go over (the legend) as if he were reciting a hymn of the Rik,' but it is not quite easy to see how a similar interpretation would suit subsequent paragraphs (11-14). Moreover, both Âsv. and Sâṅkh. omit 'vyâkakshâna iti,' and read 'nigadet,''let him recite (a hymn),' p. 363 instead of 'anudravet (let him run, or go, over = anupûrvam ukkârayet, Harisv.).' Yet, the commentary on Sâṅkh. supplies the 'iva,' explaining as he does, 'sûktam kimkid âkakshâna ivânuvadet;' from which (if it is not simply quoted from our Brâhmana) it would almost seem as if he, too, thought of the legend rather than a hymn of the Rik. The verb 'vyâ-kaksh,' as against 'ni-gad,' seems to imply a clear articulation--perhaps even with all the stops or pauses, at the end of every half-verse, or pâda, as the case might be. Sâyana (on Taitt. Br. II, 2, 1, 4; 2, 6) explains 'vyâkakshîta' by 'vispashtam ukkârayet (or, pathet).' The available MS. of Harisvâmin's commentary on our text is, as usual, incorrect, but as far as it goes, it seems to favour the recitation of the legend at this place,--'vyâkakshâna iti vâkyasas kidan (r. khindan) agais kâbhidad (?) ity arthah,'--which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
363:1 That is, according to Harisvâmin,--'Compare this Sacrificer in song with the old righteous kings.' Katy. XX, 3, 8 refers to these latter as 'râgarshis,' or royal sages--in which case the recitation of the legend itself would only come in here.
363:2 For the formulas used with this series of forty-nine oblations, see XIII, 1, 3, 5 with notes thereon.
363:3 That is to say, according to Harisvâmin, the course of procedure laid down in XIII, 1, 3, 7, according to which these oblations are to be made on the Âhavanîya, and not either on the southern fire, or on a footprint of the horse.
364:1 That is to say, the Prakramas which are only performed on the first day of the year, whilst the three oblations to Savitri are repeated each day.
364:2 See XIII, 1, 4, 3; 6, 2. These oblations are made just prior to the evening performance of the Agnihotra, when the Âhavanîya has been got ready for the latter. The Taittirîyakas seem to make these four oblations on the horse's feet at the place where the keepers pass the night (viz. the carpenter's house) during the greater part of the year; and only in the last month, when a stable of Asvattha wood has been put up for the horse near (or on) the offering-ground, these oblations take place on the Âhavanîya. See comm. on Taitt. Br. III, 8, 12 (p. 609; cp. p. 700). At III, 9, 14 (p. 703), on the other hand, it is stated that the Râganya's singing is to take place in the evening at the time of the Dhriti-homas.
364:3 Taitt. Br. III, 9, 54, 4, again mentions three topics, one for each stanza--viz. 'thus (i.e. in the same way as Prithu, Bharata, Bhagîratha, Yudhishthira &c., comm.) didst thou overpower (the enemies), thus (i.e. surrounded by heroic warriors, fighting on elephants, steeds, chariots, and on foot, with bows and arrows, spears, swords, &c.) didst thou battle, thus didst thou fight such and such battle (i.e. like Yudhishthira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).'
365:1 When the comm. on Sâṅkh. S. remarks, 'Yamo Vaivasvato râgety âheti divitîya evâhani Satapathe darsanât,' this would seem to refer to the addition of either 'râgâ,' or 'ahani,' but not to any legend of Y. V., since such a one does not occur in this work; though various passages in the Rik might no doubt have sufficed to construct some such legend as would have served on this occasion.
365:2 The same commentator refers to the 'Âsvamedhika' as the section to be recited,--'prakaranât,' because of the treatment (therein of this subject).
365:3 Instead of 'atharvanâm ekam parva,' the Sâṅkh. S. has 'bheshagam (medicine),' which the commentator--against the opinion of those who take it to mean the hymn Rig-veda X, 97 (treating of the magic powers of herbs)--makes a special work of the Âtharvanikas; whilst the Âsv. S. reads 'yad bheshagam nisântam p. 366 syât tan nigadet'--'let him tell some approved medicine (i. e: some specific, or charm against disease).'
366:1 The comm. on Sâṅkh. S. remarks, 'Somo Vaishnava iti katurthe; Somo Vaishnavo râgeti Satapathasruteh; pratîkagrahanâny etâni.' This seems to show clearly that he takes this as merely the opening words of the legend. Here, again, his words can hardly be taken to refer to a legend regarding Soma in the Satapatha-Brâhmana.
366:2 'Yuvatîh sobhanâ upadisati, tasyaitâh (? tasyaitâbhyah) sabhâyâm anyâsâm apravesât,' comm. on Sâṅkh. S., --? because no other (Apsaras) but these come to his court.
366:3 The Sâṅkh. S. has 'let him recite the Ghora'--which the commentator again takes to be the title of a special work of the Atharvans--whilst the Âsv. S. reads 'let him recite some approved ghora (magic spell or operation).'
367:1 'Arbudah Kâdraveyo râgety âheti sruteh (thus also on the name of the next king),' comm. on Sâṅkh. S.
367:2 Lit. '(men) knowing about snakes'--which the comm. on Âsv. S. explains by 'those knowing the Kâsyapîya and other treatises (tantra) on venoms.' Instead of the conjunctive double 'ka,' the Sâṅkh. S. has a single 'vâ'--the snakes, or (rather) snake-charmers--and Âsv. S. an explanatory 'iti'--the snakes, i.e. snake-charmers.
367:3 The Sâṅkh. S. has, 'let hire recite the Sarpavidyâ' (i.e. either the Gârudâ or Kaṅkaniyâ sarpavidyâ, as the comm. explains); the Âsv. S. 'let him recite the Vishavidyâ (science of venoms).'
367:4 The etymology and exact meaning of 'selaga' is doubtful:--here, again, whilst 'pâpakritah' is added either appositionally, or attributively (wicked selagas), the Sâṅkh. S. adds it by means of 'vâ,' and the Âsv. S. by 'iti'--both apparently meant in an explanatory sense. The Ait. Br., on the other hand, has VII, 1, 'selagâ vâ pâpakrito vâ;' and VIII, 11, 'nishâdâ vâ selagâ vâ pâpakrito vâ.' The comm. on Âsv. S. explains 'selaga' by 'maddened by a snake;' the comm. on Sâṅkh. S. by 'selagâh senyâgâyanyah (?) pâpakrito vâ mlekhâh.'
368:1 That is, the science, or knowledge of the divine (or supernatural) beings. The Sâṅkh. S. has, 'the Rakshovidyâ is the Veda, . . . let him recite the Rakshovidyâ'--on which the commentator remarks 'prasiddhaiva kuhukurûpâ rakshovidyeti.' (? = 'kuhakarûpâ,' cheats, or deceitful imps). Âsv. S. has 'yat kimkit pisâkasamyuktam nisântam,''some approved (spell or operation?) connected with the Pisâkas, or demons.'
368:2 Sâṅkh. S. has 'Asita Dhânvana.'
368:3 The two Sûtras read 'Asuravidyâ'--asuravidyendragâlâdinâ tannirdesân mâyâm api kâmkit kuryâd aṅgulinyâsarûpâm ('a trick by sleight of hand,' M. Müller), comm. on Sâṅkh. S. On 'indragâlavidyâ' ('magic art, trickery'), cf. Dasakum., p. 25, 1. 12. The association of the black art with the usurer or money-lender (kusîdin) is rather curious.
369:1 'Matsyah Sâmmada ity ashtame, Matsyah Sâmmado râgeti sruteh pratîkagrahanam etat,' comm. on Sâṅkh. S.
369:2 'Gâtisambandhena matsyavido vâ, mainikân pâthînâdiviseshavikalpân vidanti ye tan vâ,' comm. on Sâṅkh. S.
369:3 Regarding the Itihâsa (cosmogonic account) and Purâna (ancient legend), see p. 98, note 4. The Âsv. S. connects the Itihâsa with the ninth, and the Purâna with the eighth day. 'Itihâsam âkakshîta, itihâsavedasya prithagbhâvena darsanât,' comm. on Sâṅkh. S.
369:4 Âsv. S. has Târkshya Vaipaskita.--'Târkshyo Vaipasyato râgety âheti pratîka(msruteh,' comm. on Sâṅkh. S.
369:5 Lit., men acquainted with the science of birds (vâyovidyika). The two Sûtras, on the other hand, here identify the birds with 'brahmakârinah,' or religious students.
369:6 According to the comm. on Sâṅkh. S., it is the Vâyupurâna (purânam vâyuproktam) that is to be recited (from), and not the hymn Rig-veda X, 130 ('tasya vedaikadesatvât'). This hymn is probably referred to in this connection chiefly on account of the passage 'yagñgâte purâne' in verse 6.
370:1 'Dharma Indra iti dasame, Dharma Indro râgety âheti Satapathe pratikadarsanât,' comm. on Sâṅkh. S.
370:2 The two Sûtras still further qualify them as 'young srotriyas who accept no gifts,''manu(shya)devâ hi ta ity abhiprâyât,' comm. on Saab.; cp. Sat. Br. II, 2, 2, 6, 'ye brâhmanâh susruvâmsokânâs te manushyadevâh.'
370:3 The text has 'brûyât,''let him say;' whilst the two Sûtras read 'sâma gâyât,''let him sing a Sâman' ('yat kimkid anindyam evâsvâmedhikam vâ prakaranât,' comm. on Sâṅkh. S.).
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13.4.4

FOURTH BRÂHMAN

1. When the year has expired 1, the Dîkshâ (initiation) takes place. After the slaughtering of the victim sacred to Pragâpati 2, the (ishti) offerings 3 come to an end. Some, however, say, ‘Let him offer (them) on the fires of his Purohita (court-chaplain). But why should one who is initiated make offering? There are twelve Dîkshâ (days), twelve Upasad (days) and three Sutyâs (Soma-days), that amounts to the thrice-ninefold (stoma); but the thrice-ninefold, indeed, is a thunderbolt, and the horse is the nobility (kshatra), and the Râganya is the nobility; and political power (kshatra) is won by the thunderbolt: thus he wins 4 political power by means of the thunderbolt.

2. When the Initiation-offering has been completed, and Speech released in the evening, masters of lute-players have come thither: these the Adhvaryu calls upon, 'Masters of lute-players,' he says, 'sing ye of this Sacrificer along with the gods!' and they accordingly sing of him in that manner--
3. Day by day, after speech has been released, when, on the completion of the Agnîshomîya (animal sacrifices), the Vasatîvarî (water) has been carried round 1 (the sacrificial ground). The reason why they thus sing of him along with the gods is that they thereby make him share the same world with the gods.
4. On the Sutyâ-days (they sing of him) along with Pragâpati in the same way day by day, after the Vasatîvarî (water) has been carried round 2, and the Udavasânîyâ (offering) has been finally completed. The reason why they thus sing of him along with Pragâpati is that they thereby finally make him share the same world with Pragâpati. 
5. There are twenty-one sacrificial stakes, all of them twenty-one cubits long. The central one 1 is of raggudâla 2 wood; on both sides thereof stand two 3 pîtudâru (deodar) ones, six of bilva wood (Aegle Marmelos)--three on this side, and three on that,--six of khadira (Acacia Catechu) wood--three on this side, and three on that,--six of palâsa (Butea frondosa) wood--three on this side, and three on that. 
6. Then as to why these stakes are suchlike. When Pragâpati's vital airs had gone out of him, his body began to swell; and what phlegm there was in it that flowed together and burst forth from inside through the nose, and it became this tree, the raggudâla, whence it is viscid, for it originated from phlegm: with that form (quality) he thus endows it (the stake). And as to why it is the (stake) standing by the fire, it is because that one is the centre of the stakes, and that nose is the centre of the (channels of the) vital airs: he thus puts it in its own place. 
7. And what watery (liquid) fire, and what fragrance there was, that flowed together and burst forth from the eye, and became that tree, the pîtudâru; whence that (wood) is sweet-smelling, since it originated from fragrance, and whence it is inflammable, since it originated from fire: with that quality he thus endows it. And because these two (pîtudâru stakes) are on the two sides of the central one, therefore these two eyes are on the two sides of the nose: he thus puts those two in their own place. 
8. And what 'kuntâpa 1,' what marrow there was, that flowed together, and burst forth from the ear, and became that tree, the bilva; whence all the fruit of that (tree) is eatable 2 inside, and whence it (the tree, or wood) is yellowish, for marrow is yellowish: with that quality he thus endows it. The two (sets of) pîtudâru (stakes) stand inside, and the bilva ones outside, for the eyes are inside, and the ears outside: he thus puts them in their own place. 
9. From his (Pragâpati's) bones the khadira, was produced, whence that (tree) is hard and of great strength 3, for hard, as it were, is bone: with that quality he thus endows it. The bilva (stakes) are inside, and the khadira ones outside, for inside is the marrow, and outside the bones: he thus puts them in their own place. 
10. From his flesh the palâsa was produced, whence that (tree) has much juice, and (that) red juice 1, for red, as it were, is flesh: with that quality he thus endows it. The khadira (stakes) are inside, and the palâsa ones outside, for inside are the bones, and outside is the flesh: he thus puts them in their own place. 
11. And as to why there are twenty-one (stakes), twenty-one cubits long,--twenty-one-fold, indeed, is he that shines yonder 2--there are twelve months, five seasons, these three worlds, and yonder sun is the twenty-first, and he is the Asvamedha, and this Pragâpati. Having thus completely restored this Pragâpati, the sacrifice, he therein seizes twenty-one Agnîshomîya victims: for these there is one and the same performance, and this is the performance of the day before (the first Sutyâ).

Footnotes

371:1 Viz. from the day of the setting free the horse, not from that of the mess of rice cooked for the four priests.
371:2 That is, according to the comm., the he-goat offered to Pragâpati (along with one, or five, to Vâyu) in connection with the building of the fire-altar (which is required for the Asvamedha), see part iii, pp. 165 seqq., 171 seqq. The building of the altar, generally occupying the space of a year, is apparently compressed on this occasion within the time of the Dîkshâ and Upasads.
371:3 Viz. the three ishtis to Savitri performed daily throughout the year.
371:4 One would expect here the middle (sprinute) instead of the active (sprinoti); cf. Delbrück, Altind. Syntax, p. 259.
372:1 See part ii, p. 222 seqq. Whilst there the offering of a he-goat to Agni and Soma took place on the Upavasatha, or day before the Sutyâ or Soma-day, on the present occasion these preliminary animal sacrifices would also seem to be performed on each day from the completion of the Dîkshâ up to the Upavasatha day inclusive (? i.e. on the Upasad days, cf. Kâty. Sr. XX. 3, 9; 4, 21). Moreover, though technically called Agnîshomîya, the sacrifice--on the Upavasatha day, at all events (XIII, 4, 4, 11)--is not one of a single he-goat sacred to Agni and Soma, but a set of eleven victims distributed over the central eleven stakes (of which twenty-one are required on the Soma-days) in the manner explained in III, 9, 1, 1 seqq.
372:2 That is, at the end of each of the three Soma-sacrifices, see part ii, p. 454. The Udavasânîyâ (completing offering) takes place before the carrying round of the sacred water (ib. p. 389 seqq.). According to Kâty. XX, 3, 10-11, however, this singing of the Sacrificer's praises along with those of Pragâpati is to take place not only at the juncture specified in the text, but also at the beginning of the animal sacrifice of the Soma-days, that is, as would seem, prior to the slaying of the victims, at the morning pressing. The wording of our text seems hardly to admit of this interpretation.
373:1 That is, the so-called 'agnishtha,''standing by (or opposite) the (Âhavanîya) fire.' Cp. p. 301, note 1.
373:2 The raggudâla (or râggudâla, Sây. on Taitt. Br. III, 8, 19, 1) or 'sleshmâtaka' is the Cordia Myxa or C. latifolia, from the bark of which (according to Stewart and Brandis, Forest Flora of N.W. and Centr. India) ropes (raggu) are made, whence doubtless the above, as well as its scientific name, is derived; whilst 'the adhesive viscid pulp is used as bird-lime.'
373:3 That is, one on each side, right and left.
374:1 See p. 264, note 1. It would certainly seem to be something connected with the spinal cord.
374:2 According to Stewart and Brandis, the Aegle Marmelos is cultivated throughout India, and valued for its fruit, which is 'globose, oblong, or pyriform, 2 to 5 in. diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.' The flowers are stated to be greenish white, and 'the wood light-coloured, mottled with darker wavy lines and small light-coloured dots.'
374:3 The wood of Acacia Catechu is described as dark red, and extremely hard and durable, and hence not liable to be attacked by white ants, and not touched by Teredo navalis; being much used for pestles, seed-crushers, cotton-rollers, wheel-wright's work, ploughs, bows, spear and sword-handles.

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13.5.1

FIFTH ADHYÂYA. FIRST BRÂHMANA.

THE STOTRAS AND SASTRAS OF THE SOMA-DAYS 

1. Then, on the morrow, there is (used) Gotama's Stoma (form of chanting) successively increasing by four (verses) 3: the Bahishpavamâna thereof is on four, the Âgya (stotras) on eight, the Mâdhyandina Pavamâna on twelve, the Prishtha (stotras) on sixteen, the Ârbhava Pavamâna on twenty, and the Agnishtoma-sâman on twenty-four (verses).
2. Now, some make its Agnishtoma-sâman a Sâman of four (verses), saying, 'It is neither an Agnishtoma, nor an Ukthya 1.' If they do so, let hire (the Hotri), after reciting the Stotriya 1 (strophe) together, recite the Anurûpa (strophe) together: the Rathantara Prishtha-sâman 2, the Sastra containing the Rathantara (text), and the Agnishtoma sacrifice--thereby he makes sure of this world. 
3. 'There are twenty-one Savanîya 3 victims, all of them sacred to Agni: for these there is one and the same performance,' so say some; but, indeed, he should immolate two sets of eleven (victims), with the view of his obtainment of whatever desired object there may be in (victims) belonging to a set of eleven. 
4. When the Agnishtoma is completed, and the Vasatîvarî water carried round, the Adhvaryu performs the Annahomas 4 (oblations of food): the import of these has been explained. With twelve Anuvâkas (Vâg. S. XXII, 23-34), 'To the in-breathing hail! To the off-breathing hail!' (he offers)--twelve months are a year, and the year is everything, and the Asvamedha is everything: thus it is for his obtaining and securing everything.
5. The central day is an ekavimsa day 1; for the twenty-one-fold is yonder sun, and he is the Asvamedha: by means of his own Stoma he thus establishes him in his own deity,--therefore it is an ekavimsa day.
6. And, again, as to why it is an ekavimsa day;--man is twenty-one-fold--ten fingers, ten toes, and the body (self) as the twenty-first: by means of that twenty-one-fold self he thus establishes him in the twenty-one-fold (day) as on a firm foundation,--therefore it is an ekavimsa day.
7. And, again, as to why it is an ekavimsa day;--the ekavimsa, assuredly, is the foundation of Stomas, and manifold is that ever-varying performance which takes place on this day,--and it is because he thinks that that manifold and ever-varying performance which takes place on this day, shall take place so as to be established on the ekavimsa as a firm foundation, that this is an ekavimsa day.
8. Now, as to the morning-service of this day. The Hotri, having recited as the Âgya (hymn 2) in the Paṅkti (metre) 'Agni I think on, who is good . . .,' recites thereto the one of a one-day's Soma-sacrifice 1. And the Bârhata Praüga and the Mâdhukhandasa one he recites both together 2 in triplets--(this being done) for the obtainment of the objects of desire which (may be contained) both in the Bârhata and the Mâdhukhandasa Praüga. The morning-service is (thus) set right. 
9. Then as to the midday-service. For the obtainment of the Asvamedha, the atikhandas (verse, II, 22, 1), 'In the three troughs the buffalo drank the barley-draught,' is the opening verse of the Marutvatîya (sastra); for outstanding, indeed, is this atikhandas (hypercatalectic verse) amongst metres, and outstanding is the Asvamedha amongst sacrifices. This (verse), being recited thrice, amounts to a triplet, and thereby he obtains the object of desire which (may be contained) in the triplet. 'Here, O good one, is the pressed plant' (Rig-veda VIII, 2, 1-3) is the 'anukara' (sequent triplet): this same (triplet) is the constant connecting link of the one-day's sacrifice 1. Having recited both the paṅkti (verses, I, 80, 1-16) 'Here in the Soma-draught alone (the Brahman gave thee strength),' and the six-footed ones (VIII, 36, 1-7) 'The patron thou art of the offerer of Soma,' he inserts the Nivid in the (hymn) of the one-day's sacrifice. Thus as to the Marutvatîya (-sastra).
10. Then as to the Nishkevalya (-sastra 2). The Mahânâmnî (verses) are the Prishtha (-stotra); and he recites them along with the anurûpa (verses) and pragâtha (-strophes), for the obtainment of all the objects of his desire, for in the Mahânâmnîs, as well as in the Asvamedha, are contained all objects of desire. Having recited the paṅkti verses (I, 81, 1-9) 'Indra hath grown in ebriety and strength,' and the six-footed ones (VIII, 37, 1-7) 'This sacred work didst thou protect in fights with Vritra,' he inserts the Nivid in the (hymn) of the one-day's sacrifice 1. The midday-service is (thus) set right. 
11. Then as to the evening-service. The atîkhandas verse (Vâg. S. IV, 25), 'Unto that god Savitri within the two bowls (do I sing praises 2),' is the opening verse 3 of the Vaisvadeva(-sastra 4): the mystic import thereof is the same as of the former (atikhandas verse). The Anukara 5 (Rig-veda I, 24, 3-5), 'Unto (abhi) thee, (the lord of treasures), O god Savitri, (ever helpful we come for our share . . .),' contains (the word) 'abhi,' as a form (sign) of victory (abhibhûti). Having recited the Sâvitra (triplet, VI, 71, 4-6), 'Up rose this god Savitri, the friend of the house . . .,' he inserts the Nivid in the (hymn) of the one-day's sacrifice 6. Having recited the four verses to Heaven and Earth (IV, 56, 1-4), 'The mighty Heaven and Earth, the most glorious, here . . .,' he inserts the Nivid in the (hymn I, 159) of the one-day's sacrifice. Having recited the Ârbhava (hymn, IV, 34), 'Ribhu, Vibhvan, Indra, Vâga, come ye to this our sacrifice . . .,' he inserts the Nivid in the (hymn, I, 111) of the one-day's sacrifice. Having recited the (hymn, V, 41) to the All-gods, 'Who is there righteous unto you, Mitra and Varuna? . . .,' he inserts the Nivid in the (hymn, I, 89) of the one-day's sacrifice. Thus as to the Vaisvadeva (-sastra). 
12. Then as to the Âgnimâruta 1. Having recited the (hymn, VI, 7) to (Agni) Vaisvânara, 'The head of the sky, and the disposer of the earth . . .,' he inserts the Nivid in the (hymn, III, 3) of the one-day's sacrifice. Having recited the (hymn, V, 57) to the Maruts, 'Hither, O Rudras, come ye united with Indra . . .,' he inserts the Nivid in the (hymn, I, 87) of the one-day's sacrifice. Having recited the nine verses (VI, 15, 1-9) to Gâtavedas, 'This guest of yours, the early-waking . . .,' he inserts the Nivid in the (hymn, I, 143) of the one-day's sacrifice. And as to why the (hymns) of the one-day's sacrifice are used for inserting the Nivid, it is for the sake of his (the Sacrificer's) not being deprived of a firm foundation, for the Gyotishtoma is a foundation. 
13. For this (day) there are those sacrificial animals--'A horse, a hornless he-goat, and a Gomriga 2,' fifteen 'paryaṅgyas': the mystic import of these has been explained. Then these wild ones--for spring he seizes (three) kapiñgalas 3, for summer sparrows, for the rainy season partridges: of these (wild animals) also (the mystic import) has been told 1
14. Then those (victims) for the twenty-one (stakes). He seizes twenty-one animals for each of the (eleven) deities of the Seasonal offerings 2; for as many as there are gods of the Seasonal offerings so many are all the gods; and all objects of desire are in the Asvamedha: 'by gratifying all the deities I shall gain all my desires,' so he thinks. But let him not proceed in this way.
15. Let him seize seventeen victims for the central stake 3, in order that he may gain and secure every-thing, for the seventeenfold is Pragâpati, and the seventeenfold (stoma) is everything, and the Asvamedha is everything;--and sixteen at each of the other (stakes) in order that he may gain and secure everything, for everything here consists of sixteen parts, and the Asvamedha is everything. Thirteen wild (beasts) he seizes for each intermediate space, in order that he may gain and secure everything, for the year consists of thirteen months, and the Asvamedha is everything. 
16. Now, prior to the (chanting of the) Bahishpavamâna, they (the assistants of the Adhvaryu) bring up the horse, after cleansing it; and with it they glide along for the Pavamâna: the mystic import of this has been explained 1. When the Bahishpavamâna has been chanted, they make the horse step on the place of chanting: if it sniffs, or turns away, let him know that his sacrifice is successful. Having led up that (horse), the Adhvaryu says, 'Hotri, sing praises!' and the Hotri sings its praises 2 with eleven (verses, Rig-veda I, 163, 1-11)--
17. 'When, first born, thou didst neigh . . .'--thrice (he praises) with the first, and thrice with the last (verse), these amount to fifteen,--fifteenfold is the thunderbolt, and the thunderbolt means vigour: with that thunderbolt, vigour, the Sacrificer thus from the very first repels evil: thus 3, indeed, it is to the Sacrificer that the thunderbolt is given in order to smite for him whoever is to be smitten.--[Rig-veda I, 163, 12. 13], The swift racer hath gone forward to the slaying. . . .'--'The racer hath gone forward to the highest place. . .'-- 
18. Having omitted these two (verses), he inserts the hymn (I, 162), 'Never (shall forget us) Mitra, Varuna, Aryaman, Âyu . . .,' in the Adhrigu 1 (litany). Some, however, insert this verse (I, 162, 18), 'Thirty-four (ribs) of the steed, akin to the gods, (doth the knife hit) . . .,' before the (passage,--'twenty-six are its) ribs,' thinking lest they should place the holy syllable 'om' in the wrong place 2, or lest they should suggest the plural by a singular 3. Let him not proceed thus, but let him insert the hymn as a whole.--'The swift racer hath gone forward to the slaying . . .'--'The racer hath gone forward to the highest place . . .'--




Footnotes

375:1 'From natural fissures and incisions made in the bark (of Butea frondosa) issues during the hot season a red juice, which soon hardens into a ruby-coloured, brittle, astringent gum, similar to kino, and sold as Bengal kino.' Stewart and Brandis.
375:2 See p. 331, note 1.
375:3 Regarding the Katushtoma, see p. 329, note 1.
376:1 According to the practice here referred to, the Agnishtomasâman would not consist merely of the one triplet (usually Sâmav. II, 53-4 i.e. the so-called yagñâyagñîya triplet) ordinarily used for it, but of four different Sâmans, inasmuch as three of the triplets which may be used for the Uktha-stotras (of the Ukthya and other sacrifices) are added to that yagñâyagñîya triplet. In that case, however, the latter is not chanted to its own 'yagñâyagñîya' tune, but the Vâravantîya tune is used for all the four triplets. This practice is somewhat vaguely referred to in Tândya-Br. XIX, 5, 10-11. 'One Sâman (tune), many metres (texts): therefore one (man) feeds many creatures. Verily, the Agnishtoma (sâman) is the self, and the metres (hymn-texts) are cattle: he thus secures cattle for his own self. It is neither an Ukthya nor an Agnishtoma (sacrifice), for cattle are neither (entirely) domestic nor wild (viz. because though kept "in the village," they also freely graze "in the forest").' Here the passage 'One Sâman, many metres,' according to the commentary, refers to the Vâravantîya tune as being employed, on this occasion, for the texts of the Yagñâyagñîya, the Sâkamasva (II, 55-57, here the Calc. ed., by mistake, calls the second tune figured for chanting, like the first, Sâkamasva, instead of Vâravantîya), the Saubhara (II, 230-2, where the Calc. ed., by mistake, omits the name Vâravantîya), and the Tairaska (II, 233-5; curiously enough, the Tairaska is not mentioned, in Lâty. Sr. VIII, 9-10, amongst the Sâmans that may be used for the third--or the Akkhâvâka's--Uktha, but Sâyana, on Sâmav. II, 233, states distinctly, 'tairaskam tritîyam uktham'). Whilst, as Uktha-stotras, the last three texts would usually he chanted in the ekavimsa, or twenty-one-versed form, in the present instance, as part of the katushtoma, they would be chanted (along with the Yagñâyagñîya) in the twenty-four-versed form. Thus, though an Agnishtoma sacrifice, inasmuch as it has twelve stotras, yet it is not a regular one; neither is it an Ukthya, because the Ukthas are not chanted as so many Stotras, followed by the recitation of separate Sastras. In the Âsv. Sr. X, 6, different alternatives are proposed for the chanting of the Agnishtoma-sâman p. 377 in the 'Gotamastoma (i.e. Katushtoma) antarukthya' and the corresponding Sastra, including apparently the employment of the Yagñâyagñîya-sâman either for all the four triplets, or for the Yagñâyagñîya triplet alone with the respective Sâmans used for the other triplets; different modes of recitation being thereby implied with regard to the Stotriya and Anurûpa pragâthas.
377:1 For the Âgnimâruta-sastra, recited by the Hotri after the chanting of the Agnishtoma-sâman, and containing, amongst various hymns and detached verses, the triplet which forms the text of the Stotra, i.e. the 'Stotriya pragâtha,' as well as a corresponding antistrophe, the 'Anurûpa pragâtha,' see part ii, p. 369 note. On the present occasion, however, this constituent element of the Sastra would have to include the triplets of all the four Sâmans, as well as four 'antistrophes' which are thus 'recited together.'
377:2 Or, Prishtha-stotra, viz. the first stotra of that name at the midday-service, for which that Sâman is used in the Agnishtoma sacrifice (part ii, p. 339, note 2).
377:3 That is, victims sacrificed on the Sutyâs, or Soma-days. Two complete sets of eleven such victims are, however, required on each of the three days, see p. 309, note 2.
377:4 See XIII, 2, 1, 1 seqq., and p. 297, note 1.
378:1 That is one on which all Stotras are chanted in the 'ekavimsa' Stoma, or twenty-one-versed hymn-form.
378:2 Viz. Rig-veda V, 6, forming the special feature of the Âgyasastra at the Asvamedha.
379:1 Viz. the Âgya-sûkta, Rig-veda III, 13, forming the chief part of the Hotri's Âgya-sastra, or first Sastra of the Agnishtoma, for which see part ii, p. 327 note.
379:2 The Bârhata Praüga, or Praüga-sastra in the Brihatî metre,--being the one recited on the fifth day of the Prishthya-shadaha (Âsv. Sr. VII, 12, 7), and consisting of the seven different triplets, addressed to as many different deities,--is to be recited also on this occasion; and along with it (or rather, intertwined with it, triplet by triplet) the ordinary Praüga-sastra of the Agnishtoma, made up of the two hymns Rig-veda I, 2 and 3 which are ascribed to Madhukhandas, and consist of nine and twelve verses, or together seven triplets. I do not understand why Harisvâmin mentions 'Vâyur agregâh' (? Vâg. S. XXVII, 31) as being the first triplet of the Mâdhukhandasa Praüga, instead of I, 2, 1-3 'vâyav â yâhi darsata.' The Praüga is the Hotri's second Sastra of the morning-service, being preceded by the chanting of the first Âgya-stotra; see part ii, p. 325.
380:1 See part ii, p. 337, where the same triplet forms the anukara of this Sastra at the Agnishtoma. It is followed there by the Pragâthas VIII, 53, 5-6; I, 40, 5-6 (read thus! each two counting as one triplet); three Dhâyyâ verses, and the Marutvatîya Pragâthas VIII, 89, 3-4 (!), These are to be followed up, on the present occasion, by the two hymns I, 80, and VIII, 36, after which the Indra hymn X, 73, the chief part of the normal Marutvatîya Sastra, is to be recited, with the Nivid formula inserted after the sixth verse.
380:2 That is, the Sastra succeeding the chanting of the first, or Hotri's, Prishtha-stotra (see part ii, p. 339). Whilst, however, in the one-day's sacrifice, the Rathantara (or the Brihat) sâman is used for that stotra, the Mahânâmni verses (see part iii, introd. p. xx, note 2), with the Sâkvara tune, are to be used as the Stotriyâs on this occasion, and are therefore likewise to be recited by the Hotri as Stotriya-pragâthas (cf. Âsv. VII, 12, 10 seqq.), to be followed up by the antistrophe (anurûpa)--here consisting of the triplets I, 84, 10-12; VIII, 93, 31-3; I, 11, 1-3--and the Sâma-pragâtha, VIII, 3, 1-2.
381:1 Viz. after the eighth verse of the hymn Rig-veda I, 32, the chief part of the normal Nishkevalya-sastra.
381:2 For the complete verse see III, 3, 2, 1 2.
381:3 This verse is again recited thrice, and thus takes the place of the ordinary opening triplet.
381:4 For this Sastra, recited after the Ârbhava-Pavamâna-stotra, see part ii, p. 361.
381:5 Âsv. Sr. X, 10, 6 prescribes the ordinary anukara V, 82, 4-7; whence Sâyana on I, 24, 3 (-5) offers no indication of the ritualistic use of that triplet on this occasion.
381:6 Viz. IV, 54, before the last verse of which the Nivid is inserted.
382:1 Viz. the final Sastra of the evening-service, preceded by the chanting of the Agnishtoma-sâman; see part ii, p. 369.
382:2 See p. 298, note 4p. 338, note 1.
382:3 The 'Kapiñgala' is a kind of wildfowl, apparently of the quail or partridge species--a hazel-cock, or francoline partridge. Some of the later authorities, however, identify it with the 'kâtaka' p. 383 ('cuculus melanoleucus'). With regard to some of the wild animals referred to in the corresponding section of the Vâg. S., the commentator Mahîdhara significantly remarks (Vâg. S. XXIV, 29; cf. Kâty. XX, 6, 6 scholl.) that the meaning of such names as are not understood must be made out with the help of quotations (nigama), Vedic vocabularies (nighantu) and their comments (nirukta), grammar (vyâkarana), the Unâdivritti, and dictionaries.
383:1 Viz. XIII, 2, 4, 1 seqq. It is not easy to see why the text should break off abruptly with the birds representing the rainy season. For autumn there are to be (three) quails, for winter 'kakara,' and for the dewy season 'vikakara.' Then follow, to the end of the 260 wild animals, a long series of divinities to each of which (or sometimes to allied deities) three animals are consigned. Thirteen of these wild animals are placed on each of the twenty spaces between the twenty-one stakes.
383:2 Or, perhaps, for the (eleven) deities of the Seasonal offerings he seizes twenty-one animals for each (stake); which would certainly simplify the distribution of those animals. Regarding the victims actually consecrated to the deities of the Kâturmâsya offerings, see p. 309, note 2.
383:3 This does not include the twelve 'paryaṅgyas' tied to the horse's limbs, but only the horse and two other victims sacred to Pragâpati, and twelve of a long series of beasts, of which three are dedicated to each successive deity (or allied group of deities). To these are afterwards added Agni's two victims belonging to the two sets of eleven victims (of the other twenty of which one is assigned to each of the other stakes).
384:1 XIII, 2, 3, 1.
384:2 The mode of recitation is similar to that of the kindling-verses (likewise eleven, brought up, by repetitions of the first and last, to fifteen), viz. by making a pause after each half-verse, but without adding the syllable 'om' thereto. Âsv. Sr. X, 8, 5.
384:3 Harisvâmin explains 'tad vai' as standing for 'sa vai' (liṅgavyatyayena)--viz. that fifteenfold thunderbolt.
385:1 On this recitation, consisting of a lengthy set of formulas, addressed to the slaughterers, see part ii, p, 188, note 2. The whole of the formulas are given Ait. Br. II, 6-7. The hymn, according to Âsv. X, 8, 7; is to be inserted either before the last formula of the litany, or somewhat further back--viz. before the formula 'shadvimsatir asya vaṅkrayas,''twenty-six are its ribs'--whilst our Brâhmana rather allows the alternative of the eighteenth verse of I, 162 being inserted at the latter place,--unless, indeed, the insertion in that case is to be made immediately before the word 'vaṅkrayah' which is scarcely likely.
385:2 Harisvâmin seems to take this to mean that as this verse is of the same nature as the formulas of the Adhrigu litany, he is to treat it as such, as otherwise, in reciting he would have to pronounce 'om' after that verse, which is not done after those formulas.
385:3 Or, the plurality by the individual. Owing to the corrupt state of the MS., the commentator's explanation of this passage is not clear. He seems, however, at any rate, to take the 'plural' to refer to the formula 'shadvimsatir asya vaṅkrayas,' where apparently 'eshâm' has to be substituted for 'asya' on this occasion, as many victims are immolated, and the ribs of a plurality of beasts are thus indicated, whilst in verse eighteen of the hymn, on the p. 386 contrary, only the ribs of one horse (thus forming a kind of unit) are referred to; and if that verse were recited, along with the whole hymn, before the final formula which refers to all the victims, the necessary connection would be interrupted.

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13.5.2

SECOND BRÂHMAN

1. Having uttered these two (verses), he pronounces what remains of the Adhrigu. 'A cloth, an upper cloth, and gold,' this is what they spread out for the horse 1: thereon they 'quiet' (slaughter) it. When the victims have been 'quieted,' the (king's) wives come up with water for washing the feet,--four wives; and a young maiden as the fifth, and four hundred female attendants. 
2. When the foot-water is ready, they cause the Mahishî to lie down near the horse, and cover her up with the upper cloth, with 'In heaven ye envelop yourselves,'--for that indeed is heaven where they immolate the victim, . . ., 'May the vigorous male, the layer of seed, lay seed!' she says 2 for the completeness of union. 
3. Whilst they are lying there, the Sacrificer addresses the horse (Vâg. S. XXIII, 21), 'Utsakhyâ ava gudam dhehi!' No one replies to him, lest there should be some one to rival the Sacrificer.
4. The Adhvaryu then addresses the maiden, 'Hey hey maiden, that little bird . . .'--The maiden replies to him, 'Adhvaryu! that little bird . . .'
5. And the Brahman addresses the Mahishî, 'Mahishî, hey hey Mahishî, thy mother and father mount to the top of the tree . . .'--She has a hundred daughters of kings attending upon her: these reply to the Brahman, 'Brahman, hey hey Brahman, thy mother and father play on the top of the tree. . .'
6. And the Udgâtri addresses the favourite, 'Vâvâtâ, hey hey Vâvâtâ, turn upwards!' She has a hundred noble-women (râganyâ) attending upon her: these reply to the Udgâtri, 'Hey hey Udgâtri, turn upwards!'
7. And the Hotri says to the discarded wife, 'Parivriktâ, hey hey Parivriktâ, when large meets small in this amhubhedî . . .'--She has a hundred daughters of heralds and head-men of villages attending upon her: these reply to the Hotri, 'Hotri, hey hey Hotri, when the gods favoured the lalâmagu . . .'
8. Then the chamberlain addresses the fourth wife, 'Pâlâgalî, hey hey Pâlâgalî, when the deer eats the corn, one thinks not of the fat cattle . . .'--She has a hundred daughters of chamberlains and charioteers attending upon her: these reply to the chamberlain, 'Chamberlain, hey hey chamberlain, when the deer eats the corn, one thinks not of the fat cattle. . .'
9. These speeches, the derisive discourses, indeed are every kind of attainment, and in the Asvamedha all objects of desire are contained: 'By every kind of speech may we obtain all objects of our desire' thus thinking, they cause the Mahishî to rise, Those (women) then walk back in the same way as they had come; and the others finally utter the verse containing (the word) 'fragrant' (Rig-v. IV, 39, 6), 'To Dadhikrâvan have I sung praises. . .'
10. For, indeed, life and the deities depart from those who at the sacrifice speak impure speech: it is their speech they thereby purify so that the deities may not depart from the divine service.Now (some) put the omentum of the Gomriga and that of the hornless he-goat upon the horse and then take it (to the Âhavanîya), saying, 'The horse has no omentum.' Let him not do so: of the horse he should certainly take the fat; the (omenta of the) others are normal.
11. When the omenta have been roasted, and when they have performed (the oblations) with the Svâhâs 1, and returned to the back (of the sacrificial ground), they hold a Brahmodya 2 (theological discussion) in the Sadas. Having entered by the front door, they sit down at their several hearths.
12. The Hotri asks the Adhvaryu (Vâg. S. XXIII, 45), 'Who is it that walketh singly 3?. . .' He replies to him (ib. 46), 'Sûrya (the sun) walketh singly. . .'
13. The Adhvaryu then asks the Hotri (Vâg. S. XXIII, 47), 'Whose light is there equal to the sun?. . .' He replies to him (ib. 48), 'The Brahman (n.) is the light equal to the sun. . .'
14. The Brahman then asks the Udgâtri (Vâg. S. XXIII, 49), 'I ask thee for the sake of knowledge, O friend of the gods [if thou hast applied thy mind thereto: hath Vishnu entered the whole world at those three places at which offering is made unto him?]' and he replies (ib. 50), 'I too am at those three places [at which he entered the whole world:daily do I, with the one body 1, go round the earth, the sky, and the back of yonder sky].'
15. The Udgâtri then asks the Brahman (Vâg. S. XXIII, 51), 'Into what (things) hath the Spirit 2 entered, [and what (things) are established in the spirit? this, O Brahman, we crave of thee: what answer dost thou give unto us thereon?]' and he replies (ib. 52), 'Into five (things) hath the spirit entered, and they are established in the spirit: this I reply unto thee thereon; not superior in wisdom art thou (to me).'
16. When this (verse) has been uttered, they rise and betake themselves from the Sadas eastwards to the Sacrificer. Haying come to him, seated in front of the Havirdhâna 3 (shed), they sit down in their several places.
17. The Hotri then asks the Adhvaryu (Vâg. S. XXIII, 53), 'What was the first conception 4?. . .' and he replies (ib. 54), 'The sky was the first conception. . .'
18. The Adhvaryu then asks the Hotri (ib. 55), 'Who, pray, is the tawny one (pisaṅgilâ)? [who is the kurupisaṅgilâ? who moveth in leaps? who creepeth along the path?]' and he replies (ib. 56), 'The tawny one is the uncreated (night) 5; [the kurupisaṅgilâ is the porcupine; the hare moveth in leaps; the snake creepeth along the path].' 
19. The Brahman then asks the Udgâtri (Vâg. S. XXIII, 57), 'How many kinds are thereof this (sacrifice), how many syllables?--[how many oblations? how often is (the fire) enkindled? The ordinances of sacrifice have I now asked of thee: how many priests offer in due form?]' and he replies (ib. 58), 'Six kinds there are of this (sacrifice), a hundred syllables, [eighty oblations, and three kindling-sticks; the ordinances of sacrifice do I declare unto thee: seven priests offer in due form].'
20. The Udgâtri then asks the Brahman (Vâg. S. XXIII, 59), 'Who knoweth the navel of this world? [who heaven and earth and the air? who knoweth the birth-place of the great Sun? who knoweth the Moon, whence it was born?]' and he replies (ib. 60), 'I know the navel of this world, [I know heaven and earth and the air; I know the birth-place of the great Sun, and I know the Moon, whence it was born]' 
21. The Sacrificer then asks the Adhvaryu (Vâg. S. XXIII, 61), 'I ask thee about the farthest end of the earth, [I ask where is the navel of the world; I ask thee about the seed of the vigorous steed; I ask thee about the highest seat of speech];' and he replies (ib. 62), 'This altar-ground is the farthest end of the earth; [this sacrifice is the navel of the world; this Soma-juice is the seed of the vigorous steed; this Brahman (priest) is the highest seat of speech].'
22. Verily, this is the complete attainment of speech, to wit the Brahmodya, and in the Asvamedha all desires are contained: 'By means of all speech may we obtain all our desires!' so (they think).
23. When the colloquy has been held, the Adhvaryu enters the (Havirdhâna), and draws Pragâpati's (first) Mahiman cup (of Soma) in a gold vessel. The Puroruk formula 1 thereof is (Vâg. S. XXIII, 1; Rig-v. X, 121, 1), 'The golden germ was first produced . . .' And its Puronuvâkyâ is (Vâg. S. XXIII, 63), 'Of good nature, self-existent at first (within the great ocean: I verily place the right germ whence is born Pragâpati).'--'May the Hotri offer to Pragâpati: [of the Mahiman Soma (cup); may he relish, may he drink the Soma! Hotri, utter the offering-formula!]' is the Praisha (ib. 64). The Hotri utters the offering-formula (ib. 65), 'O Pragâpati, none other than thee hath encompassed all these forms 2 . . . ;' and as the Vashat is pronounced, he (the Adhvaryu) offers with (Vâg. S. XXIII, 2), 'What greatness of thine there hath been in the day, and the year, [what greatness of thine there hath been in the wind and the air; what greatness of thine there hath been in the heavens and the sun, to that greatness of thine, to Pragâpati, hail, to the gods 3!]' He does not repeat the Vashat, for he offers the cup of Soma all at once.




Footnotes

386:1 See XIII, 2, 8, 1.
386:2 Nirâyatyâsvasya sisnam mahishy upasthe nidhatte 'vrishâ vâgî retodhâ reto dadhâtv' iti mithunasyaiva sarvatvâya.
388:1 See III, 8, 2, 21-23.
388:2 For a similar discussion between the Brahman and Hotri, prior to the binding of the victims to the stakes, see XIII, 2, 6, 9 seqq.
388:3 For the complete verse, comprising four questions, see XIII, 2, 6, 10-13; the answers being given there in the form of explanations.
389:1 Or, with the one limb (ekenâṅgena) which Mahîdhara takes to mean 'with the mind, in mind.' Possibly 'asya' may have to be taken together with it--'with the one body of his (Vishnu's).'
389:2 Or, man (purusha). The five things, according to Mahîdhara, are the vital airs, or breathings.
389:3 That is, behind the uttaravedi, according to Kâty. XX, 7, 22.
389:4 See XIII, 2, 6, 14 seqq.
389:5 Mahîdhara takes 'agâ' (the eternal) here as meaning either the p. 390 night, or Mâyâ; cf. XIII, 2, 6, 17. Perhaps, however, 'agâ' may mean 'goat' here.
391:1 That is, the preliminary formula, or formulas, preceding the upayâma' ('Thou art taken with a support . . .').
391:2 See V, 4, 2, 9.
391:3 See XIII, 2, 11, 2 with note.

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13.5.3

THIRD BRÂHMANA.

THE VAPÂ-OFFERINGS

1. Now as to the offering of the omenta. 'They should proceed with them singly up to the omentum of the Vaisvadeva (victim) 1; and when the omentum of the Vaisvadeva has been offered, they should thereupon offer the others,' said Satyakâma Gâbâla; 'for, doubtless, the All-Gods (Visve Devâh) are all (sarve) the gods: it is in this way he gratifies them deity after deity.'
2. 'When the omentum of the Aindrâgna (victim) has been offered, they should thereupon offer the others,' said the two Saumapa Mânutantavya;'for, doubtless, Indra and Agni are all the gods: it is in this way he gratifies them deity after deity.'
3. 'When the omentum of the (victim) sacred to Ka has been offered, they should thereupon offer the others,' said Sailâli; 'for, doubtless, Ka is Pragâpati, and behind Pragâpati are all the gods: it is in this way he gratifies them deity after deity.' 
4. 'Having gone through the twenty-one deities of the Seasonal 1 (victims), let them proceed by dividing (the omenta) into twenty-one parts 2,' said Bhâllaveya; 'for as many as there are Seasonal deities so many are all the gods: it is in this way he gratifies them deity after deity.'
5. 'Let them proceed (with the omenta) singly and not otherwise,' said Indrota Saunaka; 'why, indeed, should they hasten? It is in this way he gratifies them deity after deity.' This, then, is what these have said, but the established practice is different therefrom.
6. Now Yâgñavalkya said, 'They should proceed simultaneously with the (omenta) of Pragâpati's 3 (victims), and simultaneously with those consecrated to single gods: it is in this way that he gratifies them deity after deity, that he goes straightway to the completion of the sacrifice, and does not stumble.'
7. When the omenta have been offered, the Adhvaryu enters (the Havirdhâna shed) and draws Pragâpati's second Mahiman cup of Soma in a silver vessel. The Puroruk thereof is (Vâg. XXIII, 3), 'He who by his greatness hath become the one king of the breathing and blinking world, [and who here ruleth over the two-footed and the four-footed: to the god Ka (Who?) will we pay homage by offering].' The Anuvâkyâ and Yâgyâ are interchanged so as to (ensure) unimpaired vigour 1, and the Praisha (direction to Hotri) is the same (as that of the first cup). As the Vashat is uttered, he offers with (Vâg. S. XXIII, 4), 'What greatness of thine there hath been in the night, and the year, [what greatness of thine there hath been in the earth and the fire; what greatness of thine there hath been in the Nakshatras and the moon, to that greatness of thine, to Pragâpati, to the gods, hail 2].' He does not repeat the Vashat: the significance of this has been explained. 
8. Of the blood of the other victims they make no sacrificial portions; of (that of) the horse they do make portions 3. Of (the blood of) the others they make portions 4 on the south side, of (that of) the horse on the north side (of the altar); of (the blood of) the others he makes portions on (a mat of) plaksha (ficus infectoria) twigs, of (that of) the horse on rattan twigs. 
9. But concerning this, Sâtyayagñi said, 'They may indeed do it in either way, only one must not depart from the (right) path.' But the former, indeed, is the established practice. The sacrifice (of the second day) is an Ukthya: thereby he causes the air-world to prosper. The last day is an Atirâtra with all the Stomas, for him to obtain and secure everything, for the Atirâtra with all the Stomas is everything, and the Asvamedha is everything.
10. Its Bahishpavamâna (stotra) is in the Trivrit (9-versed Stoma), the Âgya (stotras) in the Pañkadasa (15-versed), the Mâdhyandina-pavamâna in the Saptadasa (17), the Prishthas in the Ekavimsa (21), the Tritîya Pavamâna in the Trinava (27), the Agnishtoma-sâman in the Trayastrimsa (33), the Ukthas in the Ekavimsa (21), the Shodasin in the Ekavimsa, the night (chants) in the Pañkadasa, the Sandhi (twilight chant) in the Trivrit (9). Whatever Sastra is (recited) for the second day of the Prishthya Shadaha that is (used at) the Atirâtra sacrifice 1; thereby he causes yonder (heavenly) world to prosper.
11. 'There are twenty-one Savanîya victims, all of them consecrated to Agni, and there is one and the same performance for them,' so say some; but let him rather immolate those twenty-four bovine (victims 2) for twelve deities,--twelve months are a year, and the year is everything, and the Asvamedha is everything: thus it is for the sake of his obtaining and securing everything.

Footnotes
392:1 Whilst there are amongst the victims immolated on the second day, several others consecrated to the Visve Devâh, Indra and Agni, and Ka,--the Vaisvadeva, Aindrâgna, and Kâya victims, referred to in this and the following two paragraphs, belong to the Kâturmâsya, or Seasonal victims, being amongst those tied to the fourteenth and sixteenth stakes. Though the text speaks only of one Vaisvadeva &c. victim, there are really three such victims in each case. According to the views referred to in these paragraphs (cf. comm. on Kâty. XX, 7, 23), the omenta of all the preceding victims (from the 'paryaṅgya' onwards) up to the beginning of the Kâturmâsyas, would be offered together after (or along with) the vapâs of those of the respective victims (Vaisvadeva &c.) specified in these paragraphs; and along therewith the vapâs of all the subsequent Seasonal victims. The deities to which this heap of omenta would be offered, would thus be either the Visve Devâh, or Indra and Agni, or Ka, as representing all the deities. Âsv. S. X, 9, 7, assigns the omenta of all the victims, except the three Prâgâpatya ones, to the Visve Devâh.
393:1 See p. 309, note 2.
393:2 According to this view, the omenta of all the victims after the three first (Prâgâpatya) ones,--i.e. beginning from the 'paryaṅgya' animals (see p. 299, note 2) up to the end of the Kâturmâsya, or Seasonal victims, which are the last of the domesticated animals--would be put together in one heap and divided into twenty-one portions, which would then be offered to the first twenty-one deities of the Seasonal offerings, that is to say, to those of the Vaisvadeva, Varunapraghâsa, Sâkamedha, and Mahâhavis offerings, thus omitting the deities of the Pitryeshti and the Sunâsîriya offerings.
393:3 That is the first three victims, viz. the horse, the hornless he-goat, and the Gomriga.
394:1 By simple repetition this would be impaired.
394:2 See XIII, 2, 11, 2 with note.
394:3 See XIII, 3, 4, 2-5.
394:4 This would be an alternative view. According to the scholl. on Katy. XX, 8, 1-3, this would seem to refer to the other Prâgâpatya victims, in which case one would, however, expect the dual here, as there are only two of them besides the horse.
395:1 In the same way Âsv. S. X, 4, 8 lays down the rule that the Sastras of the second day are those of the fifth day of the Vyûdha Prishthya-shadaha; cf. above, XIII, 5, 1, 7 seqq.
395:2 See XIII, 3, 2, 3.
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13.5.4

FOURTH BRÂHMANA.

DIFFERENT ARRANGEMENTS OF THE CHANTS OF THE ASVAMEDHA

1. Now, Indrota Daivâpa Saunaka once performed this sacrifice for Ganamegaya Pârikshita, and by performing it he extinguished all evil-doing, all Brahman-slaughter; and, verily, he who performs the Asvamedha extinguishes (the guilt incurred by) all evil-doing, all Brahman-slaughter. 
2. It is of this, indeed, that the Gâthâ (strophe) sings,--'In Âsandîvat 1Ganamegaya bound for the gods a black-spotted, grain-eating horse, adorned with a golden ornament and with yellow garlands.'
3. [There are] those same first two days 2, and a Gyotis 3 Atirâtra: therewith (they sacrificed) for Bhîmasena;--those same first two days, and a Go Atirâtra: therewith (they sacrificed) for Ugrasena;--those same first two days, and an Âyus Atirâtra: therewith (they sacrificed) for Srutasena. These are the Pârikshitîyas 4, and it is of this that the Gâthâ sings,--'The righteous Pârikshitas, performing horse-sacrifices, by their righteous work did away with sinful work one after another.' 
4. Those same first two days, and an Abhigit 1 Atirâtra,--therewith Para Âtnâra, the Kausalya king, once sacrificed: it is of this that Gâthâ sings,--'Atnâra's son, the Kausalya Para, Hairanyanâbha, caused a horse, meet for sacrifice, to be bound, and gave away the replete regions.'
5. Those same first two days, and a Visvagit 1 Atirâtra,--therewith Purukutsa, the Aikshvâka king, once on a time performed a horse (daurgaha)-sacrifice, whence it is of this that the Rishi sings (Rig-v. IV, 42, 8),--'These, the seven Rishis, were then our fathers when Daurgaha 2 was bound.'
6. Those same first two days, and a Mahâvrata 3 Atirâtra,--therewith Marutta Âvikshita, the Âyogava king, once performed sacrifice; whence the Maruts became his guards-men, Agni his chamberlain, and the Visve Devâh his counsellors: it is of this that the Gâthâ sings,--'The Maruts dwelt as guards-men in Marutta Âvikshita's house, Agni as his chamberlain, and the Visve Devâh as his counsellors.' And, verily, the Maruts become the guards-men, Agni the chamberlain, and the Visve Devâh the counsellors of him who performs the horse-sacrifice.
7. Those same first two days, and an Aptoryâma 4 Atirâtra,--it was therewith that Kraivya, The Pâñkâla king, once performed sacrifice,--for Krivis they formerly called the Pañkâlas: it is of this that the Gâthâ sings,--'At Parivakrâ, the Pâñkâla overlord of the Krivis seized a horse, meet for sacrifice, with offering-gifts of a hundred thousand (head of cattle).'8. And a second (Gâthâ),--'A thousand myriads there were, and five-and-twenty hundreds, which the Brâhmanas of the Pañkâlas from every quarter divided between them.'
9. The Agnishtoma in the Trivrit (stoma); the Ukthya in the Pañkadasa; and the third day, with the Uktha (stotras), in the Saptadasa; the Shodasin (stotra) in the Ekavimsa, the night (stotras) in the Pañkadasa, and the Sandhi (stotra) in the Trivrit,--this is the (sacrifice) resulting in the Anushtubh 1: it is therewith that sacrifice was performed by Dhvasan Dvaitavana, the king of the Matsyas, where there is the lake Dvaitavana; and it is of this that the Gâthâ sings,--'Fourteen steeds did king Dvaitavana, victorious in battle, bind for Indra Vritrahan, whence the lake Dvaitavana (took its name).'
10. The (three) Pavamâna (stotras) in the Katurvimsa (stoma), and (those performed) by repetitions 2 in the Trivrit; the Pavamânas in the Katuskatvârimsa (44-versed stoma), and (those performed) by repetition 3 in the Ekavimsa; the Pavamânas in the Ashtâkatvârimsa (48), and (those performed) by repetition in the Trayastrimsa (33) up to the Agnishtoma-sâman, the Uktha (stotras) in the Dvâtrimsa (32), the Shodasin in the Ekavimsa, the night (stotras) in the Pañkadasa, and the Sandhi (stotra) in the Trivri
11. Suchlike is Vishnu's striding 1,--it was therewith that Bharata Dauhshanti once performed sacrifice, and attained that wide sway which now belongs to the Bharatas: it is of this that the Gâthâ sings,--'Seventy-eight steeds did Bharata Dauhshanti bind for the Vritra-slayer on the Yamunâ, and fifty-five near the Gaṅgâ.'
12. And a second (Gâthâ),--'Having bound a hundred and thirty-three horses, meet for sacrifice, king Saudyumni, more shifty, overcame the other shiftless ones.'
13. And a third,--'At Nâdapit 2, the Apsaras Sakuntalâ conceived Bharata, who, after conquering the whole earth, brought to Indra more than a thousand horses, meet for sacrifice.'
14. And a fourth 3,--'The greatness of Bharata neither the men before nor those after him attained, nor did the five (tribes of) men, even as a mortal man (does not touch) the sky with his arms.'
15. With the Ekavimsa-stoma 4 Rishabha Yâgñatura, king of the Sviknas, performed sacrifice: it is of this that the Gâthâ sings,--'When Rishabha Yâgñatura was sacrificing, the Brahman-folk, having received wealth at the Asvamedha, divided the offering-gifts between them.' 
16. With the Trayastrimsa-stoma Sona Sâtrâsâha, the Pâñkâla king, performed sacrifice: it is of this that the Gâthâ sings,--'When Sâtrâsâha performs the horse-sacrifice, the Trayastrimsa (stomas) come forth as (Taurvasa) horses, and six thousand mail-clad men 1.
17. And a second (Gâthâ),--'At the sacrifice of thee, Koka's father, the Trayastrimsa (stomas) come forth, each as six times six thousand 2 (horses), and six thousand mail-clad men.'
18. And a third,--'When Sâtrâsâha, the Pâñkâla king, was sacrificing, wearing beautiful garlands, Indra revelled in Soma, and the Brâhmanas became satiated with wealth.'
19. Satânîka Sâtrâgita performed the Govinata (form of Asvamedha), after taking away the 
horse of the Kâsya (king); and since that time the Kâsis do not keep up the (sacrificial) fires, saying, 'The Soma-drink has been taken from us.'
20. The mode (of chanting) for this (Govinata form) is:--the Pavamâna (stotras) in the Katurvimsa (stoma), and (those chanted) by repetitions in the Trivrit;--the Pavamânas in the Katuskatvârimsa, the Âgya (stotras) in the Ekavimsa, the Ukthas 1 In the Trinava, the Prishthas in the Ekavimsa;--the Pavamânas in the Shattrimsa (36-versed), and (those chanted) by repetitions in the Trayastrimsa (33) up to the Agnishtoma-sâman, the Ukthas in the Ekavimsa, the Shodasin in the Ekavimsa, the night (stotras) in the Pañkadasa, and the Sandhi (stotra) in the Trivrit.
21. It is of this that the Gâthâ sings,--'Satânîka Sâtrâgita seized a sacrificial horse, in the neighbourhood, the sacrifice of the Kâsis, even as Bharata (seized that) of the Satvats.' 
22. And a second,--'The mighty Satânîka, having seized, in the neighbourhood, Dhritarâshtra's white sacrificial horse, roaming at will in its tenth month, Satânîka 2 performed the Govinata-sacrifice.'
23. And a fourth 3,--'The greatness of the Bharatas neither the men before nor those after them attained, nor did the seven (tribes of) men, even as a mortal man (does not touch) the sky with his flanks.' 
24. Now as to the sacrificial gifts. Whatever there is towards the middle of the kingdom other than the land, the men, and the property of the Brâhmana, of that the eastern region belongs to the Hotri, the southern to the Brahman, the western to the Adhvaryu, the northern to the Udgâtri; and the Hotrikas share this along with them.
25. When the Udayanîyâ (completing offering) is finished, he seizes twenty-one barren cows, sacred to Mitra-Varuna, the Visve Devâh, and Brihaspati, with the view of his gaining those deities. And the reason why those sacred to Brihaspati come last is that Brihaspati is the Brahman (n.), and he thus establishes himself finally in the Brahman.
26. And as to their being twenty-one of them,--the twenty-one-fold is he who shines yonder: twelve months, five seasons, these three worlds, and yonder sun as the twenty-first--this consummation (he thereby obtains).
27. When the Udavasânîyâ (closing offering) is completed, they give, for a sacrificial gift, four women, with a maiden as the fifth, and four hundred female attendants according to agreement.
28. And during the following year he performs the animal sacrifices of the seasons,--six (victims) sacred to Agni in the spring, six to Indra in the summer, six to Parganya, or to the Maruts, in the rainy season, six to Mitra and Varuna in the autumn, six to Indra and Vishnu in the winter, and six to Indra and Brihaspati in the dewy season,--six seasons are a year: in the seasons, in the year, he thus establishes himself. These amount to thirty-six animals,--the Brihatî (metre) consists of thirty-six syllables, and the heavenly world is established upon the Brihatî: and thus he finally establishes himself, by means of the Brihatî metre, in the heavenly world.

Footnotes

396:1 Lit., (in the city, nagare, Harisvâmin) possessed of a throne. Cf. Ait. Br. VIII, 2 1.
396:2 Viz., as stated before, an Agnishtoma and an Ukthya.
396:3 As to the difference between the Gyotis, Go, and Âyus forms of the Agnishtoma sacrifice, see part iv, p. 287, note 2.
396:4 That is, according to Harisvâmin (and the Gâthâ), the brothers of (Ganamegaya) Pârikshita, though one would rather have thought of his sons, the grandsons of Parikshit.
397:1 Regarding the Abhigit and Visvagit, see part iv, p. 320, note 2.
397:2 Sâyana, differently from our Brâhmana, takes Daurgaha as the patronymic of Purukutsa (son of Durgaha).
397:3 See part iv, p. 282, note 5.
397:4 See part iii, introd. p. xx.
398:1 Viz. inasmuch as, according to Harisvâmin, all the Stotras amount together to 798 verses, which make twenty-five anushtubh verses (of 32 syllables each) or thereabouts.
398:2 That is to say, all the remaining nine stotras of this, the Agnishtoma, day, the so-called Dhuryas, viz. the Âgya-stotras, the Prishtha-stotras, and the Agnishtoma-sâman, in all of which the respective Stoma is obtained by repetitions of the three stotriyâ-verses.
398:3 In this, the Ukthya, day, this includes also the three Uktha-stotras, as being, as it were, the Dhuryas of the Hotri's assistants p. 399 (cf. part iii, introd. p. xiv seqq.); whilst in the directions regarding the next day they are not included, as requiring a different Stoma.
399:1 Just as there are here wide intervals between the Stomas, so Vishnu, in his three strides, passes over wide distances, comm.
399:2 This, according to Harisvâmin, is the name of Kanva's hermitage. Cf. Leumann, Zeitsch. d. D. M. G., XLVIII, p. 81.
399:3 Cf. Ait. Br. VIII, 23; Weber, Ind. Stud. I, p. 202.
399:4 That is, using the 21-versed form throughout the three days.
400:1 This seems to be Harisvâmin's interpretation of the verse:--torvasâ asvâ gyeshthe tam api srigyeran iti (?) trayastrimsâ stomâ udgakkhanti, sa hi Sonas trayastrimsân eva stomân trishv api divaseshu prayuṅkte nânyân iti to udgakkhantîty âha, shat tu sahasrâni varminâm râgaputrânâm kavakinâm asvapâlânâm udîrata iti vartate varshe prâptâ eva drashtavyâh. The St. Petersb. Dict., on the other hand, construes 'trayastrimsâh' along with 'shat sahasrâni' = 6033 (? horses of mail-clad men). This interpretation seems to me to involve serious difficulties. The use of those Stomas doubtless is supposed to result in the advantages here enumerated.
400:2 Koko nâma nâthah, ke te asvâ udîrata iti prathamâyâm gâthâyâm uktam tad atrâpy anuvartate; teshâm tatra parimânam noktam atra shattrimsad asvasahasrâni rakshinâm anukarabhntâny udgakkhantîty âha; trayastrimsâs kodîrate shad dhi(?) varminâm padânetâsu (?) gakkhantîti. Harisvâmin.
401:1 Why these are here put before the Prishthas, is not clear.
401:2 Perhaps we ought here to read 'Sâtrâgita.'
401:3 Unless the Gâthâ in the preceding paragraph (being in the Trishtubh metre) is really counted as two, the author seems here purposely to have omitted a verse. Possibly, however, it may mean, 'the fourth,' viz. referring to paragraph 14.

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13.6.1

SIXTH ADHYÂYA. FIRST BRÂHMANA.

THE PURUSHAMEDHA, OR HUMAN SACRIFICE

1. Purusha Nârâyana desired, 'Would that I overpassed all beings! would that I alone were everything here (this universe)!' He beheld this five-days’ sacrificial performance, the Purushamedha, and took it 1, and performed offering therewith; and having performed offering therewith, he overpassed all beings, and became everything here. And, verily, he who, knowing this, performs the Purushamedha, or who even knows this, overpasses all beings, and becomes everything here. 
2. For this (offering) there are twenty-three Dîkshâs, twelve Upasads, and five Sutyâs (Soma-days). This, then, being a forty-days’ (performance), including the Dîkshâs and Upasads, amounts to a Virâg 2, for the Virâg consists of forty syllables: [Vâg. S. XXXI, 5.] 'Thence 3 Virâg (f.) was born, and from out of Virâg the Pûrusha.'  This, then, is that Virâg, and from out of that Virâg he (the Sacrificer) generates the Purusha, the Sacrifice. 
3. Now these (forty days) are four decades; and as to there being these four decades, it is for the obtainment of these worlds, as well as of the regions: by the first decade they 1 obtained even this (terrestrial) world, by the second the air, by the third the sky, and by the fourth the regions (quarters); and in like manner does the Sacrificer, by the first decade, obtain even this (terrestrial) world, by the second the air, by the third the sky, and by the fourth the regions--and, indeed, as much as these worlds and the regions are, so much is all this (universe); and the Purushamedha is everything: thus it is for the sake of his obtaining and securing everything.
4. On the Upavasatha 2 (day) there are eleven victims sacred to Agni and Soma: the performance for these is one and the same. There are eleven stakes,--the Trishtubh (verse) consists of eleven syllables, and the Trishtubh is a thunderbolt, and the Trishtubh is vigour: with the thunderbolt, with vigour, the Sacrificer thus from the first repels evil.
5. On the Sutyâ (days) there are the (Savanîya) victims of the set of eleven 3 (stakes),--the Trishtubh consists of eleven syllables, and the Trishtubh is a thunderbolt, and the Trishtubh is vigour: with the thunderbolt, with vigour, the Sacrificer thus from the first repels evil. 
6. And, again, as to why there are (the victims) of the set of eleven (stakes): it is for the sake of his obtaining and securing everything, for the set of eleven (stakes) is everything, since the set of eleven (stakes) is Pragâpati, and Pragâpati is everything, and the Purushamedha is everything. 
7. Now this Purushamedha is a five-days’ sacrificial performance--the sacrifice is fivefold, the victim is fivefold, and five seasons are a year: whatsoever of five kinds there is, either concerning the deity or the self (body), all that he thereby obtains.
8. The first day thereof is an Agnishtoma; then (follows) an Ukthya, then an Atirâtra, then an Ukthya, then an Agnishtoma: this (sacrifice) thus has light (gyotis 1) on both sides, and an Ukthya on both sides (of the central Atirâtra).
9. It is a five-days’ (sacrifice), like a barley-corn in the middle 2; for the Purushamedha is these worlds, and these worlds have light on both sides--through Agni (the sacrificial fire) on this side, and through Âditya (the Sun) on the other: therefore it has light on both sides. And the Ukthya is food, and the Atirâtra the body (self); and because there are these Ukthyas on both sides of the Atirâtra, therefore this body is surrounded by food. And that Atirâtra which is the largest of them is in. the middle, it is thereby that it (the body, or sacrifice) is like a barley-corn (yava) in the middle; and, verily, whosoever knows this repels (yu) his hateful enemy: 'He alone exists, not his hateful enemy,' thus they say of him.10. The first day is for it this same (terrestrial) world, and the spring season 1 also is this its (terrestrial) world; and the second day is what there is above this (terrestrial) world and below the air, and the summer season also is that (part) of it; and the central day is its air, and the rainy and autumn seasons also are its air; and the fourth day is what is above the air, and below the sky, and the winter season also is that (part) of it; and its fifth day is the sky, and the dewy season also is its sky: thus as to the deities. 
11. Then as to the body 2. The first day is its feet, and the spring season also is its feet; and the second day is what is above the feet, and below the waist, and the summer season also is that (part) of it; and the central day is its waist, and the rainy and autumn seasons also are its waist; the fourth day is what is above the waist and below the head, and the winter season also is that (part) of it; and the fifth day is its head, and the dewy season also is its head:--thus these worlds, as well as the year and the (sacrificer's) self, pass into the Purushamedha for the obtainment and securing of everything, for, indeed, these worlds are everything, and the year is everything, and the self is everything, and the Purushamedha is everything.



Footnotes

403:1 That is, according to Harisvâmin, he brought its powers into play, and accomplished all his desires:--tatsâdhanâny upâpâdayat, tenâyam yaganena samîhitam sakalam sâdhitavân ity arthah.
403:2 The Virâg-verse consists of decasyllabic pâdas, the most common form of the verse being one of three pâdas (or thirty syllables), whilst here the one consisting of four pâdas is alluded to, and Virâg-verses of one and two pâdas likewise occur. There is also a parallel form of the Virâg-metre consisting of (usually three) hendeca-syllabic pâdas.
403:3 That is, from the Purusha; cf. Rig-v. S. X, 90, 5.
404:1 Harisvâmin supplies 'pûrve purushâh' (? former men, or the first seven purushâh, the seven Rishis).
404:2 That is, the day before the Soma-sacrifice.
404:3 See III, 7, 2, 1 seqq.
405:1 Viz. an Agnishtoma form of the Gyotishtoma order of sacrifice. Cf. part iv, p. 287, note 2.
405:2 That is, becoming larger towards the middle, inasmuch as the Ukthya is--as far as Stotras and Sastras, and cups of Soma are concerned--a larger sacrifice than the Agnishtoma; and the Atirâtra is the largest form of all.
406:1 It should be borne in mind here that the sacrifice (Pragâpati) is identical with the Sacrificer on the one hand, and with the year on the other.
406:2 Or, as to the self, viz. of Pragâpati (and the Sacrificer), which the sacrifice is supposed to reproduce.

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13.6.2

SECOND BRÂHMANA

1. And as to why it is called Purushamedha:--The stronghold (pur) doubtless is these worlds, and the Purusha (spirit) is he that blows here (the wind), he bides (sî) in this stronghold (pur): hence he is the Purusha. And whatever food there is in these worlds that is its 'medha,' its food; and inasmuch as this is its 'medha,' its food, therefore (it is called) Purushamedha. And inasmuch as at this (sacrifice) he seizes 1 men (purusha) meet for sacrifice (medhya), therefore also it is called Purushamedha.
2. He seizes them on the central day, for the central day is the air, and the air is the abode of all beings; and, indeed, these victims are also food, and the central day is the belly: he thus puts food in the belly.
3. He seizes them by decades 2 for the obtainment of all food, for the Virâg consists of ten syllables, and the Virâg is all food 1.
4. Eleven decades 2 he seizes;--the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour: with the thunderbolt, with vigour, the Sacrificer thus repels evil from within him.
5. Forty-eight he seizes at the central stake;--the Gagatî consists of forty-eight syllables, and cattle are of Gâgata (movable) nature: by means of the Gagatî he (the priest) secures cattle for him.
6. Eleven at each of the others;--the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour: with the thunderbolt, with vigour, the Sacrificer thus repels evil from about him.
7. Last of all he seizes eight;--the Gâyatrî consists of eight syllables, and the Gâyatrî is the Brahman (n.): he thus makes the Brahman to be the ultimate thing of this universe, whence they say that the Brahman is the ultimate thing of this universe.
8. These (eight) are sacred to Pragâpati, Pragâpati assuredly is the Brahman, for Pragâpati is of the nature of the Brahman 1: therefore they are sacred to Pragâpati.
9. When about to bring up the victims, he offers those three oblations to Savitri, with (Vâg. S. XXX, 1-3), 'God Savitri, (speed the sacrifice, speed the lord of sacrifice unto his share)!'--'May we obtain that glorious light of the God Savitri, (who shall inspire our prayers)!'--'All troubles remove thou from us, O God Savitri: bestow unto us what is auspicious!' He thus pleases Savitri, and thus pleased with him, he (Savitri) impels (speeds) those (sacrificial) men, and he seizes them impelled by that (Savitri). 
10. For the priesthood he seizes a Brâhmana, for the Brâhmana is the priesthood: he thus joins priesthood to priesthood 2;--for the nobility he seizes a Râganya, for the Râganya is the nobility: he thus joins nobility to nobility;--for the Maruts (he seizes) a Vaisya, for the Maruts are the clans (peasants): he thus joins peasantry to peasantry;-- for (religious) toil (he seizes) a Sûdra, for the Sûdra is toil: he thus joins toil to toil;--according to their particular form he thus supplies these divinities with victims, and, thus supplied, they supply him with all his objects of desire.
11. He makes offering with ghee, for ghee is fiery mettle: by means of fiery mettle he thus endows him (the Sacrificer) with fiery mettle. He makes offering with ghee, for that--to wit, ghee--is the dear resource of the gods: he thus supplies them with their dear resource, and, thus supplied, they supply him with all his objects of desire.
12. By means of the Purusha Nârâyana (litany), the Brahman priest (seated) to the right (south) of them, praises the men bound (to the stakes) with this sixteen-versed (hymn, Rig-v. X, 90, Vâg. S. XXXI, 1-16), 'The thousand-headed Purusha, thousand-eyed, thousand-footed 1 . . .;'--thus (he does) for the obtainment and the securing of everything, for everything here consists of sixteen parts, and the Purushamedha is everything: in thus saying, 'So and so thou art, so and so thou art,' he praises and thereby indeed magnifies him (Purusha); but he also thereby speaks of him, such as he is. Now, the victims had had the fire carried round them, but they were not yet slaughtered,--
13. Then a voice 2 said to him, 'Purusha, do not consummate (these human victims 1): if thou wert to consummate them, man (purusha) would eat man.' Accordingly, as soon as fire had been carried round them, he set them free, and offered oblations to the same divinities 2, and thereby gratified those divinities, and, thus gratified, they, gratified him with all objects of desire. 
14. He makes offering with ghee, for ghee is fiery mettle: with fiery mettle he thus bestows fiery mettle upon him. 
15. He concludes with those of the set of eleven (stakes),--the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour: with the thunderbolt, with vigour, the Sacrificer thus repels evil from within. 
16. The Udayanîyâ (concluding oblation) having been completed, he seizes eleven barren cows, sacred to Mitra-Varuna, the Visve Devâh, and Brihaspati 3, with the view of winning these deities. And as to those of Brihaspati being last,--Brihaspati truly is the Brahman (n.), and thus he finally establishes himself in the Brahman. 
17. And as to why there are eleven of them,--the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour: with the thunderbolt, with vigour, the Sacrificer thus repels evil from within. The Traidhâtavî is the final offering (Udavasânîyâ): the mystic import is the same (as before 1).
18. Now as to the sacrificial fees. What there is towards the middle of the kingdom other than the land and the property of the Brâhmana, but including the men, of that the eastern quarter belongs to the Hotri, the southern to the Brahman, the western to the Adhvaryu, and the northern to the Udgâtri; and the Hotrikas share this along with them.
19. And if a Brâhmana performs the sacrifice, he should bestow all his property in order to obtain and secure everything, for the Brâhmana is everything, and all one's property is everything, and the Purushamedha is everything.
20. And having taken up the two fires within his own self 2, and worshipped the sun with the Uttara-Nârâyana (litany, viz. Vâg. S. XXXI, 17-22), let him betake himself to the forest without looking round; and that (place), indeed, is apart from men. But should he wish to live in the village, let him take up again the two fires in the churning-sticks, and having worshipped the sun with the Uttara-Nârâyana (litany) let him dwell at his home, and let him offer such sacrifices as he may be able to afford. But, indeed, this (sacrifice) is not to be imparted to any and every one, lest one should impart everything to any and every one, for the Purushamedha is everything; but one may only impart it to one who is known to him, and who is versed in sacred writ, and who may be dear to him, but not to any and every one.

THE (SYMBOLICAL) VICTIMS OF THE PURUSHAMEDHA 1.

I. 1. To the priesthood (he consecrates) a Brâhmana--2. To the nobility a Kshatriya--3. To the Maruts a Vaisya--4. To penance (hardship, tapas) a Sidra--5. To darkness a thief--6. To hell a man-slayer--7. To evil a eunuch--8. To barter an unchaste woman (ayobhû 2)--9. To desire a harlot (pumskalû)--10. To the shriek (atikrushta) a minstrel (mâgadha)--11. To dancing a herald (bard, sûta)--12. To singing an actor (sailûsha)--13. To the law a counsellor (sabhâkara)--14. To joking a timorous man--15. To fun (narma) a chatterer--16. To laughter (hasa) an artizan (kâri,? singer of praises)--17. To pleasure (ânanda) a woman's friend--18. To enjoyment a maiden's son--19. To skill a wheelwright--20. To perseverance a carpenter--21. To heat (tapas) a potter--22. To craft a mechanic--23. To handsome form a jeweller--24. To beauty a barber 3--25. To the arrow-shot an arrow-maker--26. To the weapon a bow-maker--27. To work a bowstring-maker--28. To fate a rope-maker--29. To death a huntsman--30. To the end (antaka) a dog-keeper--31. To rivers a fisherman (pauñgishtha)--32. To the ogress (of waste lands) a Nishâda 1--33. To the man-tiger (? werwolf) a mono-maniac--34. To the Gandharvas and Apsaras a roving outcast (vrâtya)--35. To the teams (? prayug) a madman--36. To serpents and demons a blockhead (? apratipad)--37. To dice a gambler--38. To impassibility 2 a non-gambler--39. To the devils (pisâkas) a female cane-worker (basket-maker)--40. To the hobgoblins (yâtudhâna) a female worker in thorns--41. To intercourse a gallant--42. To the house a paramour--43. To trouble an unmarried elder brother whose younger brother is married--44. To calamity a younger brother married before his elder brother--45. To failure 3 the husband of a younger sister whose elder sister is unmarried--46. To reparation an artiste in embroidery--47. To agreement a female practiser of love-spells--48. To garrulity (prakâmodya) an attendant. 
II. 1. To colour a devoted adherent--2. To strength a giver of gifts--3. To excrescences 4 hunchback--4. To merriment a dwarf--5. To the doors a lame one 5--6. To sleep a blind one--7. To injustice a deaf one--8. To the means of purification (? purging) a physician--9. To knowledge a star-gazer--10. To desire of learning one who asks questions--11. To the desire of adding to one's knowledge one given to ask questions about (everything).
III. 1. To the bounds (of land or propriety) an arbitrator--2. To ruins an elephant-keeper--3. To speed a groom--4. To thrift a cowherd--5. To vigour a shepherd--6. To fiery mettle a goatherd--7. To refreshment (? food) a cultivator of the soil--8. To the sweet beverage (? nectar) the distiller of liquor--9. To happiness the guardian of a house--10. To prosperity a possessor of wealth--11. To superintendence an assistant doorkeeper 6.IV. 1. To the light a gatherer of fire-wood--2: To brilliance a fire-kindler--3. To the sun's sphere a sprinkler (anointer of a king)--4. To the highest heaven a distributer (of portions)--5. To the world of the gods a carver (of portions)--6. To the world of men a scatterer (? seasoner 1)--7. To all the worlds a pourer out (of drink 2)--8. To decay and murder a churner 3--9. To the (animal) sacrifice (or, sacrificial essence) a washer-woman--10. To concupiscence a female dyer--11. To quarrelling one of a thievish disposition.
V. 1. To manslaughter an informer--2. To discrimination a doorkeeper--3. To oversight an assistant doorkeeper 4--4. To strength (cf. II, 2) an attendant--5. To plenty a servant--6. To the pleasant one speaking pleasantly--7. To security one mounted on a horse--8. To heaven (svarga loka) a dealer out of portions (cf. IV, 5)--9. To the highest heaven a distributer (of portions; cf. IV, 4)--10. To wrath one who makes iron red-hot--11. To anger an absconder (? a yielder, coward).
VI. 1. To application a yoker--2. To grief one ready to attack--3. To peaceful dwelling an unyoker--4. To up-hills and down-hills one standing on three legs (of firm character)--5. To bodily form a haughty one (?)--6. To virtue a woman who prepares unguents--7. To calamity (cf. I, 44) a woman who makes scabbards--8. To Yama (the god of death) a barren woman--9. To Yama 5 one who bears twins--10. To Atharvan one who has miscarried--11. To the samvatsara (the first year of the five years’ cycle) one in her courses.VII. 1. To the parivatsara (the second year) tine who has not yet borne children--2. To the idâvatsara (the third year) one who transgresses (the matrimonial bonds)--3. To the idvatsara (the fourth year) one who oversteps (the bounds of propriety)--4. To the vatsara (the fifth year) one who is worn out--5. To the year a gray-haired one--6. To the Ribhus a furrier--7. To the Sâdhyas a tanner--8. To the lakes a fisherman (dhaivara)--9. To stagnant (waters) a boatsman--10. To pools a Bainda 6--11. To reed-marshes one living on dried meat (or fish). 

VIII. 1. To the opposite bank a 'mârgâra 1'--2. To the near bank a fisherman (kevarta)--3. To shallows an Ânda 2--4. To uneven (? deep) places a fisher (mainâla)--5. To sounds (svana) a Parnaka 3--6. To caverns a Kirâta (woodman)--7. To mountain-ridges a Gambhaka 4--8. To the mountains a Kimpurusha 5--9. To loathing a Paulkasa 6--10. To colour a worker in gold (cf. I, 23)--11. To the balance (pair of scales) a merchant.
IX. 1. To the latter part of the evening one exhausted--2. To all beings (spirits) a leper (sidhmala)--3. To good fortune a wakeful one--4. To ill-fortune a sleepy one--5. To trouble (cf. I, 43) a newsmonger--6. To adversity a spiritless one--7. To collapse a waster 7--8. To the king of dice a gambler (cf. I, 37)--9. To the Krita (-die) one who takes advantage of mistakes in the game 8--10. To the Tretâ (-die) one who plays on a (regular) plan 9--11. To the Dvâpara (-die) one who plans to over-reach 9 (his fellow-player).X. 1. To the Âskanda 10 (-die) a post of the gaming-room 11--2. (cf. I, 29) one who 'approaches' a cow--3. To the end (antaka, cf. I, 30) a cow-slayer--4. To hunger one who goes begging of one cutting up a cow--5. To evil-doing a Karaka-teacher--6. To evil (cf. I, 7) a robber--7. To the echo a reviler--8. To the noise a growler--9. To the end (anta) a babbler--10. To the endless a dumb one--11. To articulate sound (sabda) a drum-beater.
XI. 1. To festive joy a lute-player--2. To the cry a flute-player--3. To the confused (noise) a conch-blower--4. To the forest a forester--5. To broken woodlands one who watches woods on fire--6. To fun (narma I, 15) a harlot (I, 9)--7. To laughter an artizan (I, 16)--8. To the sea-monster (?) a mottled woman 1 (?)--9-11. To power a village-headman, an astrologer, and a herald (? abhikrosaka).XII. (Added to those at the second post):--1-3. To dancing (I, 11) a lute-player (XI, I), a hand-clapper, and a flute-player (XI, 2)--4. To pleasure (I, 17) a musician--5. To fire a fat man--6. To the earth a cripple--7. To the wind a Kândâla (outcast)--8. To the air a staff-dancer 2--9. To the sky a bald-headed one-to. To the sun a yellow-eyed one-11. To the stars one of variegated colour--12. To the moon a leprous one (kilâsa, cf. IX, 2)--13. To the day a light-coloured one with yellow eyes--14. To the night a black one with yellow eyes.--He then seizes these eight misshapen ones--15. One who is too tall--16. One too short--17. One too stout--18. One too lean--19. One too light-coloured--20. One too black--21. One too bald--22. One with too much hair:--these (are to be) neither Sûdras nor Brâhmanas, and are sacred to Pragâpati;--23. A minstrel (mâgadha, I, 10)--24. A harlot (pumskalî, cf. I, 9)--25. A gambler (I, 37)--26. A eunuch (I, 7):--these (also are to be) neither Sûdras nor Brâhmanas, and are sacred to Pragâpati.



Footnotes

407:1 That is, he (symbolically) immolates them.
407:2 The statement in paragraphs 3 and 4, according to which there are eleven decades of human victims, does not refer to the actual distribution of victims over the eleven stakes, but it is apparently made purely for symbolical reasons (viz. with reference to the Virâg and Trishtubh metres), and is probably based on the way in which the victims are enumerated in the Vâgasaneyi-samhitâ, XXX, 5-22 (see the Translation at the end of this chapter, where they are, however, numbered according to the stakes). There the first eleven Kandikâs (5-15) are made up of the names and deities of ten victims each, hence together of eleven decades; whilst of the subsequent Kandikâs--k. 16 consists of twelve, ks. 17-22 of ten each, and k. 22 of twelve victims. The actual mode of distribution over the several stakes is that referred to in paragraphs 5-8, viz. the first forty-eight victims are tied to the central stake, after which eleven victims are tied to each of the other ten stakes. After these, amounting to 258 victims, the Samhitâ p. 408 enumerates twenty-six additional victims, which, according to Mahîdhara (cf. Kâty. XXI, 1, so), are to be added to the eleven victims of the second stake,--viz. fourteen victims dedicated to various so-called deities; eight victims, sacred to Pragâpati and belonging neither to the Sûdra nor to the Brâhmana castes; and finally four more victims, characterised in exactly the same way as the eight preceding ones. It will be seen that of these twenty-six victims only the first set of (eight) Prâgâpatya victims are referred to in the Brâhmana, and that as the victims seized last of all. This circumstance clearly characterises the last four victims of the Samhitâ as not recognised by the Brâhmana; and seeing that all four of these are such as have already occurred amongst the previously enumerated victims (though there assigned to different divinities) they must be considered (as they are by Prof. Weber, Ind. Streifen, I, p. 68) as having been added to the list of the Samhitâ subsequently to the composition of the Brâhmana. A similar inference will probably apply to the fourteen victims preceding the eight Prâgâpatya ones, though all that can be urged against them is that they are not referred to in the Brâhmana.
408:1 Hardly,--and all food is virâg (widely ruling or shining). In double clauses with a middle term, such as this, the position of subject and predicate seems often reversed in the second clause (cf. for instance, XIII, 8, 1, 4),
408:2 See note 2 on p. 407.
409:1 That is, of the divine spirit, the world-soul, of which Pragâpati is, as it were, the personification, or phenomenal representative.
409:2 Or, he perfects, completes, the priesthood by (adding to it a member of) the priesthood.
410:1 For a complete translation of this hymn, the Purusha-sûkta, see J. Muir, Orig. Sanskrit Texts, vol. i, p. 9 seqq. Cp. also part iv, introduction, p. xiv.
410:2 'A bodiless voice,' comm.; cf. XI, 4, 2, 16 where likewise 'an invisible voice' is introduced censuring the priest who burns the oblations. Perhaps, however, Vâk may be intended from whom Pragâpati, in the beginning, produced the waters; cf. VI, 1, 1, 9.
411:1 Thus (i.e. do not go through with this human sacrifice) the commentator, probably correctly, interprets 'samsthâpaya' (instead of 'do not kill,' St. Petersb. Dict., though, practically, it would, of course, come to the same thing),--Purusha, etân purushapasûn mâ samtishtipah, udaṅnayâdikâny aṅgâny eshâm mâ krithâ ityarthah; yadi samsthâpayishyasi tatah seshabhakshânukârena lokepi purushah purusham bhakshayishyati tak kâyuktam ity abhiprâyah. In the same way the verse ought accordingly to have been translated in III, 7, 2, 8.
411:2 That is, he offers with the formulas 'To the Brahman, hail! to the Kshatra, hail!' &c., running through the whole series of so-called divinities of the released victims.
411:3 Viz. three for each of the first two deities, and five for Brihaspati.
412:1 Viz. as set forth V, 5, 5, 6 seqq.
412:2 Viz. by thrice inhaling the heat (or smoke) emitted by the fires, Cf. Mânava-Dh. VI, 38; Baudhâyana-Dharmas. II, 17, 26.
413:1 Comp. Prof. Weber's German translation (Zeitschr. D. M. G., XVIII, p. 262 seqq.; Indische Streifen, I, p. 76 seqq.), where the variants from the Taitt. Br. and the explanations of the commentaries are given. Not a few of the terms used (some of which are, indeed, explained in a different way by the commentators) are, however, still of doubtful meaning. Vâg. S. XXX, 5-22.
413:2 ? The patronymic, or matronymic, of this, 'âyobhava' is said to be the son of a Sûdra from a Vaisya woman.
413:3 Or, as Mahîdhara takes 'subhe vapam,' to well-being the seed-sower--einen Sämann dein Gedeihen, Weber.
414:1 One of the wild aboriginal tribesmen.
414:2 ? îryatâ, lit. the state of one requiring to be roused.
414:3 ? 'envy' St. Petersb. Dict. (arâddhi),
414:4 The meaning of 'utsâda' is doubtful; it might be 'removal,' only the etymological meaning of 'ut-sad' having probably suggested the combination.
414:5 Mahîdhara takes 'srâma' in the sense of one affected with ophthalmia (cf. srâva): in both senses the association of ideas is intelligible, though apparently (as in other cases) of a jocular nature.
414:6 Or, the assistant of a charioteer, according to Mah. and Sây. (cf. V, 3).
415:1 Mahîdhara takes 'prakaritri' in the sense of 'viksheptri'; Sây. in that of 'sower of discord.'
415:2 ? Sây. makes 'upasektri' a composer of feuds (!).
415:3 ? 'a stirrer up of discord,' Sây.
415:4 Thus also Mahîdhara; charioteer, Sây.; cf. III, 11.
415:5 Yamî, Taitt. Br.
415:6 According to Mahîdhara, a wild tribesman (inhabitant of the jungle); 'one living by the net,' Sây.
416:1 'The son of a mrigâri (? huntsman),' Mahîdhara; 'one who catches fish with his hands,' Sây.
416:2 According to Mahîdhara, the maker of 'bandhanâni (? strings, or dams);'--according to Sây., one who catches fish by means of dikes.
416:3 ? A Bhilla (Bheel, mountaineer, woodman);--one catching fish by means of feathers (parna), Sây.
416:4 Apparently a man of a voracious, flesh-eating tribe.
416:5 Apparently a low, despicable man.
416:6 Explained as one of very low birth, or more particularly, as the son of a Nishâda from a Kshatriya woman.
416:7 Lit. a cutter away (? a spendthrift).
416:8 Thus Mahîdhara explains 'âdinavadarsa'; 'one who works for his fellow-player's ruin,' St. Petersb. Dict.
416:9 The terms 'kalpin' and 'adhikalpin' are of doubtful meaning--'arranger' and 'head-arranger,' Weber.
416:10 Lit. 'the assailer,' apparently another name for the die usually called Kali. On these dice see part iii, p. 106, note 1.
416:11 Explained as a jocular expression for the habitual frequenter of the gambling-house.
417:1 St. Petersb. Dict. conjectures 'To lust a sportive woman (? dancer or singer).'
417:2 'Vamsanartin' explained by Mahîdhara as one who practises dancing by means of a bamboo-staff (vamsena nartanasîla); by Sây. as one who makes his living by dancing on the top of a bamboo-staff (vamsâgranrittagîvin); hardly a 'family-dancer,' Monier-Williams.
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13.7.1

SEVENTH ADHYÂYA. FIRST BRÂHMANA.

THE SARVAMEDHA, OR ALL-SACRIFICE

1. Brahman Svayambhu (the self-existent, n.) was performing austerities 3. He said this much,-- 'Verily, there is no perpetuity in austerities; well, then, I will offer up mine own self in the creatures, and the creatures in mine own self.' And, accordingly, by offering up his own self in the creatures, and the creatures in his own self, he compassed the supremacy, the sovereignty, and the lordship over all creatures; and in like manner does the Sacrificer, by thus offering all sacrificial essences 1 in the Sarvamedha, compass all beings, and supremacy, sovereignty, and lordship. 
2. Now this Sarvamedha is a ten-days’ (Soma-) sacrifice, for the sake of his gaining and winning every kind of food, for the Virâg consists of ten syllables, and the Virâg is all food. At this (sacrifice) he builds the greatest possible fire-altar, for this--to wit, the Sarvamedha--is supreme amongst all sacrificial performances: by means of the supreme (sacrifice) he thus causes him (the Sacrificer) to attain supremacy. 
3. The first day thereof is an Agnishtut Agnishtoma 2, for the sake of his gaining and winning all the gods, for the Agnishtut Agnishtoma is Agni; and all the gods have Agni (the sacrificial fire) for their mouth, The cups of Soma thereat pertain to Agni, and so do the Puroruk 3 formulas pertain to Agni, in order that everything should pertain to Agni. 
4. The second day is an Indrastut Ukthya, for the sake of his gaining and winning all the gods, for Indra is all the gods. The cups of Soma thereat pertain to Indra, and so do the Puroruk formulas pertain to Indra, in order that everything should pertain to Indra.
5. The third day is a Sûryastut, Ukthya, for the sake of his gaining and winning all the gods, for Sûrya is all the gods. The cups of Soma pertain to Sûrya, and so do the Puroruk formulas pertain to Sûrya, in order that everything should pertain to Sûrya.
6. The fourth day is a Vaisvadeva, for the sake of his gaining and winning all the gods, for the All-gods (Visve Devâh) are all the gods. The cups of Soma pertain to the All-gods, and so do the Puroruk formulas pertain to the All-gods, in order that everything should pertain to the All-gods.
7. The fifth day is a central Âsvamedhika 1 one: at this (sacrifice) he seizes a horse meet for sacrifice, for the sake of his gaining the sacrificial essence of the horse.
8. The sixth day is a central Paurushamedhika 2 one: at this (sacrifice) he seizes men meet for sacrifice, for the sake of his gaining the sacrificial essence of man.
9. The seventh day is an Aptoryâma, for the sake of his gaining all kinds of Soma-sacrifices: at this (sacrifice) he seizes all kinds of (victims) meet for sacrifice, both what is animate and what is inanimate. Of those with omenta he offers the omenta, and of those without omenta they throw down pieces cut out of the skin 1, and of herbs and trees they do so after cutting them up,--every kind of food of both the dry and the fresh he offers, in order to gain every kind of food. Everything he offers; and, to every one he offers in order to gain and to win everything. The omenta having been offered at the morning-service, and in the same way the oblations at the evening-service,--
10. The eighth day is a Trinava one 2, for the Trinava (stoma) is the thunderbolt, and by means of the thunderbolt, indeed, lordship (kshatra) is gained: by means of the thunderbolt he thus gains lordship.
11. The ninth day is a Trayastrimsa one 3, for the sake of his gaining a foothold, for the Trayastrimsa (stoma) is a foothold.
12. The tenth day is a Visvagit Atirâtra with all the Prishthas 4, for the sake of his gaining and winning everything, for the Visvagit Atirâtra with all the Prishthas is everything, and the Sarvamedha is everything.
13. Now as to the sacrificial fees: whatever there is towards the middle of the kingdom other than the property of the Brâhmana, but including land and men, of that the eastern quarter belongs to the Hotri, the southern to the Brahman, the western to the Adhvaryu, and the northern to the Udgâtri; and the Hotrikas share this along with them. 
14. Visvakarman Bhauvana once performed this sacrifice, and having performed it he overpassed all beings, and became everything here; and verily he who, knowing this, performs the Sarvamedha, or who even knows this, overpasses all beings, and becomes everything here. 
15. It was Kasyapa who officiated in his sacrifice, and it was concerning this that the Earth 1 also sang the stanza;--'No mortal must give me away; thou wast foolish, Visvakarman Bhauvana: she (the earth) will sink into the midst of the water; vain is this thy promise unto Kasyapa.'


Footnotes

417:3 Cf. J. Muir, Orig. Sanskrit Texts, vol. v, p. 372.
418:1 Or, all kinds of victims (medha).
418:2 That is, a one-day's Soma-sacrifice (ekâha) of the Agnishtoma order, arranged so as specially to promote the praise of Agni, In the same way the next three ekâhas are intended to honour special deities.
418:3 That is, the formulas preceding the 'upayâma' ('Thou art taken with a support, &c.,' cf. part ii, p. 259, note s) or formula with which the cup of Soma is drawn.
419:1 That is, an Ukthya sacrifice, cf. p. 259, note 2XIII, 5, 1, 5 seqq.
419:2 That is, an Atirâtra, cf. XIII, 6, 1, 9.
420:1 Lit., 'after cutting (pieces) out of the skin they throw down.'
420:2 That is, one on which the Trinava (thrice-nine-versed) Stoma is used in chanting.
420:3 That is, one on which the thirty-three-versed hymn-form is used.
420:4 For a Soma-sacrifice with all the Prishtha-sâmans, see part iii, introd. p. xx seqq. On the two kinds of Visvagit ekâhas, the Agnishtoma and the Atirâtra Visvagit, see part iv, p. 320, note 2.
421:1 Or, the ground, which Visvakarman Bhauvana gave away as sacrificial fee. On this legend cp. Ait. Br. VIII, 21; J. Muir, Orig. Sanskrit Texts, vol. i, p. 456; vol. iv, p. 369.
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13.8.1

EIGHTH ADHYÂYA. FIRST BRÂHMANA.

FUNERAL CEREMONIES

1. They now 2 do what is auspicious for him. They now prepare a burial-place (smasâna 3) for him, (to serve him) either as a house or as a monument; for when any one dies, he is a corpse (sava), and for that (corpse) food (anna) is thereby prepared, hence 'savanna,' for, indeed, 'savanna' is what is mystically called 'smasâna.' But 'smasâh' also are called the eaters amongst the Fathers, and they, indeed, destroy in yonder world the good deeds of him who has had no sepulchre prepared for him: it is for them that he prepares that food, whence it is 'smasânna,' for 'smasânna' is what is mystically called 'smasâna.'
2. Let him 1 not make it too soon (after the deceased man's death) lest he should freshen up his sin; but let him make it a long time after, as thereby he obscures the sin;--and when people do not even remember the years (that have passed 2), as thereby one causes the sin to pass into oblivion. If they do remember 3,-- 
3. Let him make it in uneven years, since the uneven belongs to the Fathers; and under a single Nakshatra 1, since the single Nakshatra belongs to the Fathers; and at new-moon, since the new-moon is a single Nakshatra;--for he (the Sacrificer) is a single (person); and in that all the beings dwell together during that night, thereby he obtains that object of desire which is (contained) in all Nakshatras.
4. Let him make it in autumn, for the autumn is the Svadhâ, and the Svadhâ is the food of the Fathers: he thus places him along with food, the Svadhâ;--or in (the month of) Mâgha, thinking, 'Lest (mâ) sin (agha) be in us;'--or in summer (nidâgha), thinking, 'May thereby be removed (nidhâ) our sin (agha)!'
5. Four-cornered (is the sepulchral mound). Now the gods and the Asuras, both of them sprung from Pragâpati, were contending in the (four) regions (quarters). The gods drove out the Asuras, their rivals and enemies, from the regions, and, being regionless, they were overcome. Wherefore the people who are godly make their burial-places four-cornered, whilst those who are of the Asura nature, the Easterns and others 2, (make them) round, for they (the gods) drove them out from the regions. He arranges it so as to lie between the two regions, the eastern and the southern 1, for in that region assuredly is the door to the world of the Fathers: through the above he thus causes him to enter the world of the Fathers; and by means of the (four) corners he (the deceased) establishes himself in the regions, and by means of the other body 2 (of the tomb) in the intermediate regions: he thus establishes him in all the regions.
6. Now as to the choosing of the ground. He makes it on ground inclining towards the north, for the north is the region of men: he thus gives him (the deceased) a share in the world of men; and in that respect, indeed, the Fathers share in the world of men that they have offspring; and his (the deceased man's) offspring will, indeed, be more prosperous.
7. 'Let him make it on ground inclining towards the south,' they say, 'for the world of the Fathers inclines towards the south: he thus gives him a share in the world of the Fathers.' Let him not do so, however, for, indeed, such a one is an opening tomb, and certainly another of these (members of the dead man's family) quickly follows him in death.
8. And some, indeed, say, 'Let him make it on a counter-cutting 1 in ground inclined towards the south, for such (a tomb) indeed becomes rising sin 2.' But one must not do so, for indeed such (a burial place) alone becomes rising sin which one makes, on ground inclining towards the north.
9. On any level (ground) where the waters, flowing thither from a south-easterly direction 3, and coming to a stand-still, will, on reaching that (north-westerly) quarter, without pressing forward 4, join imperishable water 5, on that (ground) one may make (the tomb); for, water being food, one thereby offers food to him from the front towards the back; and, water being the drink of immortality, and that region between the rising of the seven Rishis 6 and the setting of the sun being the quarter of the living, one thereby bestows the drink of immortality upon the living:--and such a one, indeed, is a closing tomb; and verily what is good for the living that is also good for the Fathers. 
10. Let him make it in a pleasant (spot), in order that there should be pleasure for him; and in a peaceful (spot), in order that there should be peace for him. He must not make it either on a path, or in an open space, lest he should make his (the deceased's) sin manifest.
11. Whilst being secluded it should have the sun shining on it from above 1: in that it is secluded one hides his sin; and in that it has the sun shining on it from above---yonder sun being the remover of evil--he, indeed, removes the evil from him, and he also causes him to be endowed with the radiance of the sun.
12. Let him not make it where it would be visible from here 2, for assuredly it is beckoning, and another of these (members of his family) quickly follows (the deceased) in death.
13. Let there be beautiful objects 3 at the back,--for beautiful objects mean offspring: beautiful objects, offspring, will thus accrue to him. If there be no beautiful objects, let there be water either at the back or on the left (north) side, for water is indeed a beautiful object; and beautiful objects, offspring, will indeed accrue to him.
14. He makes it on salt (barren) soil, for salt means seed; the productive thus makes him partake in productiveness, and in that respect, indeed, the Fathers partake in productiveness that they have offspring: his offspring assuredly will be more prosperous.
15. On such (ground) as is filled with roots, for to the Fathers belongs the (sod) filled with roots;--it is (sod) of vîrina (Andropogon muricatus) and other grasses, for thus the Fathers’ share in this (earth) is not excessive 1; and he also thereby makes (the deceased's) sin to be restricted 2.
16. Let him not put it near (where grows) Bhûmipâs3, or reeds, or Asmagandhâ 4, or Adhyândâ, or Prisniparnî ('speckled-leaf,' Hemionitis cordifolia); nor let him make it near either an Asvattha (Ficus religiosa), or a Vibhîtaka (Terminalia bellerica), or a Tilvaka (Symplocos racemosa), or a Sphûrgaka (Diospyros embryopteris), or a Haridru (Pinus deodora), or a Nyagrodha (Ficus indica), or any other (trees) of evil name 1, so as to avoid (such) names from a desire of good luck.
17. Now as to the order of procedure. For an Agnikit (builder of a fire-altar) one makes the tomb after the manner of the fire-altar; for when a Sacrificer builds a fire-altar he thereby constructs for himself by sacrifice a (new) body for yonder world; but that sacrificial performance is not complete until the making of a tomb; and when he makes the tomb of the Agnikit after the manner of the fire-altar, it is thereby he completes the Agnikityâ.
18. One must not make it (too) large lest he should make the sin (of the deceased) large. 'Let him make it as large as the fire-altar without wings and tail,' say some, 'for like that of the fire-altar is this his (the Sacrificer's) body.'
19. But let him rather make it just of man's size: he thus leaves no room for another;--broader (varîyas) behind 2, for what is (left) behind is offspring: he thus makes the (dead man's) offspring more excellent 3 (varîyas);--and broader on the left (north 4 or higher, uttara) side, for the later (uttara) are offspring: he thus makes the offspring more excellent. Having attended to this, he encloses it with cords twisted (and extended) in the non-sunwise way 1; for the (sacrificial) performance connected with the Fathers is done in the non-sunwise way. 
20. He then bids them cut out (the earth). He should cut it out to whatever extent he intends to raise (the sepulchral mound), but let him rather cut it out so as to be just of man's size: he thus leaves no room for another. For, on the one hand 2, the Fathers are the world of plants, and amongst the roots of plants they (are wont to) hide; and, on the other 2, (he does so) lest he (the deceased) should be separated from this (earth).



Footnotes

421:2 The commentator is at pains to show that 'atha' here has not the force of 'thereupon'--that is after the performance of the Sarvamedha--but that of introducing a new topic ('Now, they do . . .'); and that therefore the directions about to be given are by no means intended to apply only to one who has performed the Sarvamedha, or even to the Agnikit, or builder of a fire-altar, but also to others.
421:3 Yâska (Nir. III, 5) resolves this word into 'sman' (body) + 'sayana' (couch); whilst Prof. Weber, Ind. Stud. I, p. 189, proposes 'asman' (stone) + 'sayana' (couch). The smasâna; or burial-place, sepulchre, is constructed in the form of a tumulus, or grave-mound.
422:1 Viz. the Sacrificer, the performer of the funeral rites, being the next of kin.
422:2 This is the way in which the scholiasts interpret the corresponding rule, Kâty. Sr. XXI, 3, 1 (pitrimdhah samvatsarâsmritau), instead of 'when they do not remember it (even once) for years, he brings it about that the sin is forgotten, even in case they should remember it,' as Prof. Delbrück, Altind. Syntax, p. 351 translates the passage. For the subject of the verb 'they remember it,' Prof. Delbrück supplies 'pitarah,' i.e. the dead man's deceased ancestors, instead of the living people, which seems rather improbable. The comment is very corrupt, but it makes at least some allusion to 'people's talk':--na srutih srutyabhâvas (tam) tena kirakaranena agham pâpakaranam gamayati, kirât smasânam kurvasraranam (? kurvatah sravanamganavâdopi na srinotîty (!) arthah.
422:3 In this way Harisvâmin, as well as the scholiasts on Kâty. XXI, 3, 2, construes the clause with the next paragraph, and it is difficult to see how otherwise any satisfactory sense could be extracted from it. At the same time, it can evidently only qualify the first specification of time, as the others will apply in any case.
423:1 That is, a lunar mansion consisting of a single star, such as Kitrâ and Pushya (in contradistinction to such in the dual, as Punarvasû and Visâkhe, and to those in the plural number, as the Krittikâs). As regards the symbolic connection of the uneven number with the deceased ancestors, the commentator reminds us of the fact that it is the father, grandfather, and great-grandfather who represent the Fathers.--The only available MS. of the commentary (Ind. Off. 149) terminates at this place.
423:2 Yâ âsuryah prâkyâs tvad ye tvat parimandalâni (smasânâni kurvate),--Prof. Weber, Ind. Stud. I, p. 189, takes this in the sense of 'part of the prâkya, the âsuryah pragâh of them (hence probably p. 424 the non-Âryan portion of them), have round smasâna.' J. Muir, Orig. Sansk. Texts, vol. ii, p. 485, takes no account of the words 'tvad ye tvat.' For our rendering of these words, cp. V, 3, 2, 2 sûdrâms tvad yâms tvat, 'Sûdras and others,' or 'Sûdras and suchlike people.'
424:1 That is to say, its front side is towards the south-east. Cp. p. 428, note 4.
424:2 That is, by means of the sides of the grave which are to face the intermediate points of the compass.
425:1 This is meant as a literal rendering of 'pratyarsha.' What is intended thereby would seem to be either a cutting made into southward sloping ground, in such a way as to make the cut piece of ground rise towards the south, or perhaps such a part of the southward inclined ground as naturally rises towards the south. The St. Petersburg Dict. suggests 'steep bank (escarpment), or side (of a hill).' Kâty. XXI, 3, 15 (kakshe) seems also to imply some kind of hollow ground, surrounded by bushes and trees.
425:2 That is, apparently, lightened, or improving, sin.
425:3 It might also mean, in a south-easterly direction, but the comparison with food introduced into the mouth from the front (east) and the specification of the opposite direction evidently point to the above meaning.
425:4 That is, without urging forward the standing water which they join, but quickly flowing into it.
425:5 That is, apparently, such a lake as never dries up.
425:6 That is, Ursa major, the Great Bear, or Charles's Wain.
426:1 That is, it should be in a place where at midday the rays of the sun do not fall obliquely on it, Kâty. XXI, 3, 15 comm.
426:2 That is, from the village, cf. Kâty. XXI, 3, 18.
426:3 Or, beautiful ground (kitra). According to the comments on Kâty. XXI, 3, 23 this means that the site of the grave should be so chosen that there are at the back (or west) of it, either woods of various kinds, or ground diversified by woods, hills, temples (!) &c.
427:1 Whilst their share would have been excessive, if all the ground covered with vegetation were assigned to them. It is also worthy of note that Kâty. Sr. XXV, 7, 17, in enumerating the plants which are to be removed from the site of the funeral pile, mentions (apparently in the place of our Bhûmipâsâ) the Visâkha, explained by the commentator as identical with 'dûrvâ'; and Sir H. M. Elliott, Races of the N. W. Province of India, II, p. 303, remarks, on the Dûb grass (Agrestis linearis, or Cynodon dactylon), that 'its tenacity whenever it once fixes its roots has caused it to be used in a common simile when the attachment of Zamiṅdârs to their native soil is spoken of.'
427:2 Apparently lit. 'binding (itself),'? i.e. either restricted in quantity, or limited to his own person, not transmitted to his son. Cf. XIII, 8, 3, 10. It can hardly be taken in the sense of 'binding the sin.'
427:3 Literally, 'Earth-net,' apparently some troublesome creeping plant corresponding to our rest-harrow (Ononis arvensis or spinosa), or couch-grass (Triticum repens), but of tropical dimensions.
427:4 Lit. 'rock-smell,' perhaps identical with Asvagandhâ (lit. 'horse-smell,' Physalis flexuosa).
428:1 The commentator, on Kâty. XXI, 3, 20, and Vâg. S. XXXV, 1, instances the sleshmântaka ('antiphlegmatic,' i.e. Cordia latifolia or myxa) and the kovidâra ('bad for splitting,' Bauhinia variegata; which, according to Stewart and Brandis, shows vertical cracks in the bark).
428:2 The grave being constructed in such a way that the four corners lie in the direction of the four quarters, the back, or west side of the grave would really mean the side facing the north-west.
428:3 Or, perhaps, more extended, more numerous or prosperous.
428:4 In reality, the north means here the side facing the north-east. The side of the tumulus is to form a quadrilateral, of which the two sides intersecting each other at the north corner, are to be longer than the two which intersect at the south corner; viz. each of the p. 429 former is to measure one man's length plus 9¼ aṅgulas (thumb's breadths), and each of the latter one man's length minus 9¼ aṅgulas. See comm. on Vâg. S. XXXV, 1.
429:1 That is, by twisting or spinning the strands from right to left, or contrary to the sun's course. The cord is extended round the grave from right to left (east, north, west, south) by means of pegs driven into the ground at the four corners; see XIII, 8, 4, 1.
429:2 I do not see how the usual force of 'atho'--viz. that of introducing a new element or argument either analogous, or not quite conformable, to what precedes (cf. Delbrück, Altind. Syntax, p. 513)--can apply to this double use of the particle. The two 'atho' seem to introduce the reasons for his digging up the ground, and for his not digging up more than a man's size.
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13.8.2

SECOND BRÂHMANA

1. Now, some bank up (the sepulchral mound) after covering up (the site). The gods and the Asuras, both of them sprung from Pragâpati, were contending for (the possession of) this (terrestrial) world. The gods drove out the Asuras, their rivals and enemies, from this world; whence those who are godly people make their sepulchres so as not to be separate (from the earth), whilst those (people) who are of the Asura nature, the Easterns and others, (make their sepulchral mounds) so as to be separated (from the earth), either on a basin 1 or on some such thing. 
2. He then encloses it by means of enclosing-stones: what those enclosing-stones (round the fire-hearths) are, that they are here 2. With a formula he sets up those, silently these: he thus keeps separate what refers to the gods and what refers to the Fathers. With (an) undefined (number of stones he encloses it), for undefined is yonder world.
3. He then sweeps that (site) with a palâsa (Butea frondosa) branch--what the sweeping (signified) on that occasion 3, that (it does) here--with (Vâg. S. XXXV, I), 'Let the niggards avaunt from hence, the perverse scorners of the gods!'--he thereby expels from this world the niggards, the perverse haters of the gods, the Asura-Rakshas;--'it is the place of this Soma-offerer,' for he who has performed a Soma-sacrifice is a Soma-offerer;--'(an abode) distinguished by lights, by days, by nights,'--he thereby makes him to be of the world of the seasons, the days and nights;--
4. 'May Yama grant him an abode;'--for Yama has power over the abode in this (earth), and it is him he solicits for an abode therein for this (dead man). He throws out this (branch) to the right (south), the other 1 to the left (north) side: he thus keeps the divine separate from what belongs to the Fathers.
5. He (the Adhvaryu) then yokes (the team) to the plough on the south side,--some say on the north side: he may do as he chooses. Having given the order, saying, 'Yoke!' he (the Sacrificer) utters the formula (Vâg. S. XXXV, 2), 'May Savitri vouchsafe for thy bones a place in the earth!'--Savitri now indeed vouchsafes a place in the earth for his (the deceased man's) bones;--'Let the oxen be yoked therefore!' for it is indeed for this work that the oxen are yoked.
6. It is (a team) of six oxen,--six seasons are a year: on the seasons, on the year, as a firm foundation, he thus establishes him. Having turned round (the plough) from right to left 2, he ploughs the first furrow with (Vâg. S. XXXV, 3), 'May Vâyu purify!' along the north side (along the cord) towards the west 3; with, 'May Savitri purify!' along the west side towards the south; with, 'With Agni's lustre!' along the south side towards the east; with, 'With Sûrya's brilliance!' along the front side towards the north.
7. Four furrows he ploughs with a formula: he thereby establishes him in whatever food there is in the four quarters. And (as to why it is done) with a formula,--certain, assuredly, is the sacrificial formula (yagus), and certain are these quarters.
8. He then ploughs across the body (of the sepulchral site)--he thereby establishes him in whatever food there is in the year 1--silently with (an) undefined (number of furrows), for undefined is yonder world.
9. Having performed the work for which he has put the team to that (plough), he now unfastens it: 'Let the oxen be unyoked!' he says, for it is for that work that the oxen were yoked. To the right (south) side 2 he removes this (plough and team), to the left (side) arty other: he thus keeps the divine separate from what' belongs to the Fathers.



Footnotes

430:1 I take the 'kamû' to be a shallow stone basin or trough, either solid or consisting of masonry (bricks) in the manner of our stone-lined graves.
430:2 Cf. VII, 1, 1, 12 seq. 'The enclosing-stones are the womb: he thus encloses the seed here sown in a womb. . . And, again, the Gârhapatya hearth is this (terrestrial) world, and the enclosing-stones are the waters: he thus surrounds this world with water.'
430:3 Viz. in building the Gârhapatya hearth (VII, 1, 1, 11 seqq.); no such sweeping taking place in preparing the site for the Âhavanîya (VII, 3, 1, 7).
431:1 Viz. that used in sweeping the Gârhapatya, VII, 7, 1, 5.
431:2 That is, having driven the plough round from the south side to the north, in the non-sunwise direction (i.e. keeping the sepulchral site on the left hand side).
431:3 In ploughing the site of the fire-altar, the first furrow was drawn along the south side from west to east; and then, in sunwise fashion, from the south-west corner round along the west, north, and east sides; see VII, 2, 2, 9 seqq.
432:1 The Sacrificer's body (trunk) or self, like that of Pragâpati, is as usual identified with the year (Father Time).
432:2 Or rather to the south-west side, whilst at the Agnikayana (VII, 2, 2, 21) it was done towards the north-east.
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13.8.3

THIRD BRÂHMANA

1. He then sows (seed) of all (kinds of) herbs: what the all-herb (seed signified) on that occasion 3, that (it does) here. With many (verses 4) he sows that (former seed), with a single one this,--he thus keeps the divine separate from what belongs to the Fathers,--with 1.
2. He then pours out that (jarful of bones 2); for this earth is the foundation: on this (earth), as a foundation, he thus establishes him. Before sunrise (he does so), for, in secret, as it were, are the Fathers, and in secret, as it were, is the night;--in secret, indeed, he does this, (but) so that (the sun) should rise over him doing it: on both day and night he thus establishes him.
3. [He does so, with Vâg. S. XXXV, 5-6,] 'May Savitri deposit thy bones in the mother's lap,'--Savitri thus deposits his bones in the lap of the mother, this earth;--'O Earth, be thou propitious unto him!' he thus says this in order that this (earth) may be propitious to him.--'In the deity Pragâpati I place thee, in the world nigh unto the water 3, O N.N.,' therewith he mentions the name (of the deceased); for nigh to the water, indeed, is this (terrestrial) world: he thus places him in the deity Pragâpati, in the world nigh unto the water.
4. He then says to some one, 'Proceed in that (southern) direction without drawing breath, and, having thrown down the jar, return hither without looking behind thee!' He then mutters (Vâg. S. XXXV, 7), 'O Death, go away another way, what second way there is of thine other than the path of the gods 1; I call unto thee that hast eyes and hearest: hurt not our family nor our men!' for long life he thereby prays for these, and accordingly each subsequent one of them dies of old age.
5. He then arranges him (the dead man) limb by limb, with (Vâg. S. XXXV, 8-9), 'Propitious be the wind unto thee, propitious the heat of the sun; propitious be the bricks; propitious be the fires unto thee, and may the earthly ones not scorch thee!--May the regions fit themselves to thee, and may the waters be most kind unto thee, and the rivers; and kind. also the air: may all the regions fit themselves to thee!'--he thereby makes everything fit itself to him, and be auspicious for him.
6. Now thirteen unmarked 2 bricks, measuring a foot (square), have been made: they are just like those bricks in the fire-altar. Those (altar bricks) he lays down with a formula, silently these: he thus keeps the divine separate from what belongs to the Fathers. 
7. There are thirteen of them,--thirteen months are a year: on the seasons, on the year, he thus establishes him, as on a firm foundation. 
8. They measure a foot (square),--the foot is a foundation: a foundation he thus prepares for him. Unmarked they are, for in secret, as it were, are the Fathers; and in secret, as it were, is what is unmarked: he thus secretes what is in secret.
9. One of them he places in the middle, with the front side towards the east: this is the body (trunk);--three in front, fitted to (the position of) the head: that is the head;--three on the right; that is the right wing (side);--three on the left: that is the left wing;--three behind: that is the tail. Thus this his body, furnished with wings and tail, is just like that of Agni (the fire-altar).
10. He then bids them bring some soil from a cleft in the ground, for thus the Fathers’ (share) in this (earth) is not excessive; and he also thereby makes the (dead man's) sin to be restricted 1. And some, now, dig in that intermediate (south-eastern) quarter, and fetch it from there; and others, again, do so towards the south-west, and fetch it northwards from there: he may do as he chooses.
11. Let him not make it (the sepulchral mound) too large, lest he make the (deceased's) sin large. For a Kshatriya he may make it as high as a man with upstretched arms, for a Brâhmana reaching up to the mouth, for a woman up to the hips, for a Vaisya up to the thighs, for a Sûdra up to the knee; for suchlike is their vigour.
12. But let him rather make it so as to reach below the knee: he thus leaves no room for another. While that (mound) is being made, they hold a bundle (of reed grass) to the left (north, uttaratah) of it,--that is offspring: they thus hold the (deceased's) offspring upwards (uttaratah). Do not let him throw it down either after holding it up, or after bringing it; but let him set it up in the house 1: he thus sets up offspring in the house. 
13. Having prepared it, he sows barley grain (yava), thinking, 'May they ward off (yavaya) sin from me!' He covers it over with Avakâ-plants 2 in order that there may be joy (or moisture, ka) for him; and with Darbha grass (Poa cynosuroides) he covers it for the sake of softness.



Footnotes

432:3 Viz. that it means food of every kind, see VII, 2, 4, 14.
432:4 Viz. with fifteen verses (VII, 2, 4, 15 seqq.) of which the one here used formed part (part iii, p. 340, note 2, verse,).
433:1 That is, they die of old age; just as do the herbs now sown to which the verse is, of course, addressed in the first place. Cf. Mahîdhara on Vâg. S. XII, 79.
433:2 On burning the dead body, immediately after death, the calcined bones were carefully collected and kept in an earthen vessel; cf. p. 117, note 3.
433:3 Or, in a place near water. The Samhitâ adds (either before or after the dead man's name), 'May he (Pragâpati) burn away our sin!'
434:1 Viz. the 'pitriyâna,' or path of the Fathers. See I, 9, 3, 2.
434:2 That is, not marked with lines, as those of the fire-altar are. As to the use of pebbles, instead of bricks, in the case of one who has not performed the Agnikayana, see XIII, 8, 4, 11.
435:1 See XIII, 8, 1, 15.
436:1 That is, fix it so as to stand upright, by means of a bambû stick to which it is tied. Cf. Kâty. XXI, 3, 27 comm.
436:2 Blyxa (or Vallisneria) octandra (Roxburghii), a grass-like plant with sword-shaped leaves (A. K. Nairne, The Flowering Plants of Western India, p, 318), growing freely on the margins of tanks. Cf. VII, 5, 1, 11; IX, 1, 2, 22 (where read 'Avakâ-plant' instead of 'lotus-flower').
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13.8.4

FOURTH BRÂHMANA

1. They now fix pegs round it 3,--a Palâsa (Butea frondosa) one in front,--for the Palâsa is the Brahman (n.): he thus makes him go to the heavenly world with the Brahman for his leader;--a Samî (Prosopis spicigera) one on the left (north corner), in order that there may be peace (sam) for him;--a Varana (Crataeva Roxburghii) one behind, in order that he may ward off (vâraya) sin from him;--and a Vritra-peg 1 on the right (south corner) for sin not to pass beyond.
2. On the right (south) side they then dig two somewhat curved (furrows 2), and fill them with milk and water,--these, indeed, are two inexhaustible streams (that) flow to him in the other world;--and seven (they dig) on the left (north) side, and fill them with water, for sin not to pass beyond, for indeed sin cannot pass beyond seven rivers 3.
3. They 4 throw three stones each (into the northern furrows), and pass over them, with (Vâg. S. XXXV, 10; Rig-v. X, 53, 8): 'Here floweth the stony one: hold on to each other, rise, and cross over, ye friends: here will we leave behind what unkind spirits there be, and will cross over to auspicious nourishments;'--as the text so its import.
4. They cleanse themselves with Apâmârga plants 5--they thereby wipe away (apa-marg) sin--with (Vâg. S. XXXV, 11), 'O Apâmârga, drive thou away from us sin, away guilt, away witchery, away infirmity, away evil dreams!'--as the text so its import.
5. They bathe at any place where there is water. With (Vâg. S. XXXV, 12), 'May the waters and plants be friendly unto us!' he takes water with his joined hands,--for water is a thunderbolt: with the thunderbolt he thus makes friendship,--and with, 'Unfriendly may they be unto him who hateth us, and whom we hate!' he throws it in the direction in which he who is hateful to him may be, and thereby overthrows him.
6. And if it be standing water, it makes their (the bathers’) evil stop; and if it flows, it carries away their evil. Having bathed, and put on garments that have never yet been washed, they hold on to the tail of an ox 1, and return (to their home),--for the ox is of Agni's nature: headed by Agni they thus return from the world of the Fathers to the world of the living. And Agni, indeed, is he who leads one over the paths (one has to travel), and it is he who leads these over.
7. They proceed (towards the village) muttering this verse (Vâg. S. XXXV, 14), 'From out of the gloom have we risen 1 . . .'--from the gloom, the world of the Fathers, they now indeed approach the light, the sun. When they have arrived, ointments for the eyes and the feet are given them: such, indeed, are human means of embellishment, and therewith they keep off death from themselves.
8. Then, in the house, having made up the (domestic) fire, and laid enclosing-sticks of Varana wood round it, he offers, by means of a sruva-spoon of Varana wood, an oblation to Agni Âyushmat 2, for Agni Âyushmat rules over vital power: it is of him he asks vital power for these (the Sacrificer's family). [Vâg. S. XXXV, 16,] 'Thou, Agni, causest vital powers to flow: (send us food and drink, and keep calamity. far from us),' serves as invitatory formula.
9. He then offers, with (Vâg. S. XXXV, 17), 'Long-lived be thou, O Agni, growing by offering, ghee-mouthed, ghee-born: drinking the sweet, pleasant cow's ghee, guard thou these, as a father does his son, hail!' he thus says this so that he (Agni) may guard and protect these (men).
10. The sacrificial fee for this (ceremony) consists of an old ox, old barley, an old arm-chair with head-cushion--this at least is the prescribed Dakshinâ, but he may give more according to his inclination. Such, indeed, (is the performance) in the case of one who had built a fire-altar. 
11. And in the case of one who has not built a fire-altar, there is the same mode of selecting the site (for the sepulchral mound) and the same performance save that of the fire-altar. 'Let him use pebbles (instead of bricks 1) in the case of one who keeps up a sacrificial fire,' say some, 'they are just what those pebbles used at the Agnyâdheya are 2.''Let him not use them,' say others; 'surely they would be liable to weigh heavily upon one who has not built a fire-altar.' Let him do as he pleases.
12. Having fetched a clod from the boundary, he 3 deposits it (midway) between (the grave and the village), with (Vâg. S. XXXV, 15), 'This I put up as a bulwark for the living, lest another of them should go unto that thing: may they live for a hundred plentiful harvests, and shut out death from themselves by a mountain!'--he thus makes this a boundary between the Fathers and the living, so as not to commingle; and therefore, indeed, the living and the Fathers are not seen together here.

Footnotes

436:3 According to Kâty. Sr. XXI, the pegs are driven in immediately after the measuring, and prior to the sweeping, of the site of the tumulus; and this must certainly be the case, seeing that the cords by which the site is enclosed (XIII, 8, 1, 19) are fastened to the pegs.
437:1 The exact meaning of 'vritra-saṅku' is doubtful. Kâty. Sr. XXI, 3, 31 has 'deha-saṅku' instead, to which the commentary assigns the rather improbable meaning of 'stone-pillar,' in favour of which he refers to IV, 2, 5, 15 of our Brâhmana--'Soma, in truth, was Vritra: the mountains and stones are his body; 'whence he makes 'vritra' = 'asman' (stone).
437:2 Or narrow trenches or ditches--kutile karshû, Kâty. XXI, 4, 20. They are apparently semicircular, probably with their open part towards the grave.
437:3 These seven furrows are straight, running from west to east; thus separating the grave from the north, the world of men.
437:4 That is, the Adhvaryu and the members of the Sacrificer's family.
437:5 Lit. 'cleansing-plants' or 'wiping-plants,' Achyranthes aspera; also called the burr-plant (Birdwood), a common hairy weed found all over India, and much used for incantations and sacrificial purposes.
438:1 That is to say, one of them takes hold of the tail, whilst the others follow in single file, each holding on to the one walking in front of him. Prof. Weber, Ind. Stud. IX, p. 21, note, refers to the somewhat analogous practice of tying to the left arm of a dead man the tail of the anustaranî-cow slain at the funeral sacrifice, whereby the deceased is supposed to be led safely--across the river Vaitaranî (Styx); see Sây. on Shadv. Br., as quoted Ind. Stud. I, p. 39; cf. also Colebrooke, Misc. Essays, second ed., p. 192--to the world of the Fathers. According to Katy. XXI, 4, 24 the ceremony of taking hold of the tail is performed with the verse, Vâg. S. XXXV, 53, 'For our well-being we hold on to the ox, sprung from Surabhi: even as Indra to the gods, so be thou a saving leader unto us!'
439:1 See XII, 9, 2, 8.
439:2 I.e. imbued with vital power, long-lived.
440:1 See XIII, 8, 3, 6.
440:2 See II, 1, 1, 8 seqq.
440:3 Viz. the Adhvaryu, according to Mahîdhara on Vâg. S. XXXV, 15. According to Katy. XXI, 4, 25, this ceremony takes place whilst they are on their way back from the grave to the village; as indeed appears from the order in which the formula used appears in the Vâg. Samhitâ. It is difficult to see why the author should not have given it in its right place, unless it was done with a view to a good conclusion to the Kânda, or because he really wished it to he done after the performance of the offering. It is scarcely necessary to assume that this Kandikâ is a later addition, perhaps based on the Kânva recension.
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5.5.5

FIFTH BRÂHMANA

1. He prepares a cake on twelve potsherds for Indra and Vishnu. Now as to why he makes this offering. Of old, everything here was within Vritra, to wit, the Rik, the Yagus, and the Sâman. Indra wished to hurl the thunderbolt at him.
2. He said to Vishnu, 'I will hurl the thunderbolt at Vritra, stand thou by me!'--'So be it!' said Vishnu, 'I will stand by thee: hurl it!' Indra aimed the thunderbolt at him. Vritra was afraid of the raised thunderbolt.
3. He said, 'There is here a (source of) strength: I will give that up to thee; but do not smite me!' and gave up to him the Yagus-formulas. He (Indra) aimed at him a second time.
4. He said, 'There is here a (source of) strength: I will give that up to thee; but do not smite me!' and gave up to him the Rik-verses. He aimed at him a third time.
5. 'There is here a (source of) strength: I will give that up to thee; but do not smite me!' and gave up to him the Sâman-hymns (or tunes). Therefore they spread the sacrifice even to this day in the same way with those (three) Vedas, first with the Yagus-formulas, then with the Rik-verses, and then with the Sâman-hymns; for thus he (Vritra) at that time gave them up to him.
6. And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it out 1: it became this offering. And because the science (the Veda) that lay in that retreat was, as it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavî (ishti).
7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the thunderbolt, and Vishnu stood by him.
8. And why it is (a cake) on twelve potsherds,--there are twelve months in the year, and the offering is of equal measure with the year: therefore it is one of twelve potsherds.
9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses; then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the triple science: and this same (offering) becomes the Udavasânîyâ-ishti (completing oblation) for the performer of the Râgasûya.
10. For, verily, he who performs the Râgasûya gains for himself (the benefit of) all sacrificial rites, all offerings, even the spoonful-oblations; for him the sacrifice becomes as it were exhausted, and he, as it were, turns away from it. Now the whole sacrifice is just as great as that triple Veda; and this (offering) now is made a form of that (Veda, or sacrifice); this is its womb, its seat: thus he commences once more the sacrifice by means of that triple Veda; and thus his sacrifice is not exhausted, and he does not turn away from it.
11. And, verily, he who performs the Râgasûya gains for himself all sacrificial rites, all offerings, even the spoonful-oblations; and this offering, the Traidhâtavî (ishti), is instituted by the gods: 'May this offering also be performed by me, may I be consecrated by this one also!' thus he thinks, and therefore this is the completing offering for him who performs the Râgasûya.
12. And also for him who would give (to the priests) a thousand (cows) or more 1, let this be the completing offering. For he who gives a thousand or more becomes as it were emptied out; and that triple Veda is the thousandfold progeny of Vâk (speech): him who was emptied out he thus fills up again with a thousand; and therefore let it be for him also the completing offering.
13. And also for those who would sit through (perform) a long sacrificial session 2, for a year or more, let this be the completing offering. For by those who sit through a long sacrificial session, for a year or more, everything is obtained, everything conquered; but this (offering) is everything: let it therefore be for them also the completing offering.
14. And indeed one may also practise magic by this (offering); for it was thereby that Ârani bewitched Bhadrasena Âgâtasatrava 1: 'Quick, then, spread (the barhis)!' thus Yâgñavalkya used to say. And by this (offering) indeed Indra also shattered Vritra's retreat; and, verily, he who therewith practises magic shatters thereby the retreat (of his enemy): therefore one may also practise magic with this (offering).
15. And, indeed, one may also heal thereby; for, verily, whomsoever one would heal by a single rik, by a single yagus, by a single sâman, him he would indeed render free from disease; how much more so by the triple Veda! Therefore one may also heal by this (offering).
16. Three gold pieces of a hundred mânas 2 each are the sacrificial fee for this (offering). He presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants (like the Udgâtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold they do nothing 3, and yet it is an object of respect: therefore he presents to the Brahman three gold pieces of a hundred mânas each. 
17. Three milch cows (he gives) to the Hotri;--for three milch cows mean abundance, and the Hotri means abundance: therefore (he gives) three milch cows to the Hotri.
18. Three garments (he gives) to the Adhvaryu;--for the Adhvaryu 'spreads' the sacrifice, and the garments spread themselves (over the body) 1: therefore (he gives) three garments to the Adhvaryu. A bullock (he gives) to the Agnîdh 2.
19. Now there are here either twelve, or thirteen gifts 3, and there are either twelve or thirteen months in the year;--the offering thus is of equal measure with the year: that is why there are either twelve or thirteen sacrificial gifts.

Footnotes

139:1 Cf. III, 2, 1, 28.
140:1 For a (three days’) Soma-sacrifice with a sacrificial fee of a thousand cows, the Trirâtra Sahasradakshina, see part ii, p. 424.
140:2 See part ii, pp. 426, 440 seq.
141:1 Apparently the son of Agâtasatru, king of Kâsî, who is mentioned as having been very proficient in speculative theology, and jealous, in this respect, of king Ganaka of Videha.
141:2 According to Sâyana, these 'satamânas' are similar to the round plate worn by the king during the Consecration-ceremony; see p. 104, note 2. These plates (as the 'rukmas' generally, VI, 7, 1, 2 seq.) were apparently used for ornament only, not as coins.
141:3 Sâyana explains this to mean that gold is not used for actual consumption, but only indirectly, as for vessels on which food is served, or in traffic, as a medium of barter;--the gold thus never losing its appearance, its 'glory.' See II, 2, 1, 5, 'Hence also one does not cleanse oneself with it (?), nor does one do anything else with it.'
142:1 Or, people spread the clothes (either in weaving them, or in putting them on). 'To spread the sacrifice' is the regular term for the ceremonial practice of spreading the sacrificial fire from the Gârhapatya (or household fire) over the other two hearths, and thus for the performance of the sacrifice generally.
142:2 See p. 119, note 2.
142:3 That is, taking the calves of the three milch cows into account: and optionally counting the gift to the Âgnîdhra.
https://www.sacred-texts.com/hin/sbr/sbe41/sbe4127.htm

3.2.1

SECOND ADHYÂYA. FIRST BRÂHMANA

1. South of the Âhavanîya he spreads two black antelope skins on the ground, with the neck parts towards the east: thereon he consecrates him. If there are two (skins), they are an image of these two worlds (heaven and earth), and thus he consecrates him on these two worlds. 
2. They are joined (fitted) together along their edge 1, for these two worlds are also, as it were, joined together at their edge. At the hind part they are fastened together through poles: thus, after uniting (mithunîkritya) these two worlds, he consecrates him thereon.
3. But if there be only one (skin), then it is an image of these (three) worlds; then he consecrates him on these (three) worlds. Those (hairs) which are white are an image of the sky; those which are black are (an image) of this (earth);--or, if he likes, conversely: those which are black are an image of the sky, and those which are white are (an image) of this (earth). Those which are of a brownish yellow colour 2, are an image of the atmosphere. Thus he consecrates him on these (three) worlds.
4. And let him, in that case, turn in the hind end (of the skin) 3: thus, after uniting these worlds with each other, he consecrates him thereon.
5. He then squats down behind the two skins, with his face towards the east and with bent (right) knee; and while touching them thus 4 at a place where the white and black (hair) join, he mutters (Vâg. S. IV, 9), 'Ye are the images of the Rik and Sâman;'--an image doubtless is what is conformable 1: 'Ye are conformable to, the riks and sâmans' he thereby means to say. 
6. 'I touch you.' Now, he who is consecrated becomes an embryo, and enters into the metres: hence he has his hands closed, since embryos have their hands closed.
7. And when he says, 'I touch you,' he means to say, 'I enter into you.''Do ye guard me up to the goal of this sacrifice!' whereby he says, 'Do ye protect me until the completion of this sacrifice!' 
8. He then kneels down with his right knee (on the skin), with the text, 'Thou art a refuge: afford me refuge!' for the skin (karma) of the black deer it is indeed among men, but among the gods it is a refuge (sarma): therefore he says, 'Thou art a refuge: afford me refuge.''Homage be to thee: injure me not!' Now he who raises himself upon the sacrifice 1 doubtless raises himself to one that is his better; for the black deer skin is a (means of) sacrifice. Hereby, now, he propitiates that sacrifice, and thus that sacrifice does not injure him: for this reason he says, 'Homage be to thee: injure me not!' 
9. He must indeed sit down first on the hind part (of the skin). Were he, on the other hand, to sit down at once in the middle (of the skin), and were any one there to curse him, saying, 'He shall either become demented or fall down headlong!' then that would indeed come to pass. Let him therefore first sit down on the hind part (of the skin). 
10. He then girds himself with the zone. For once upon a time when the Aṅgiras were consecrated, they were seized with weakness, for they had prepared no other food but fast-milk. They then perceived this (source of) strength (viz. the zone), and this (source of) strength they put in (or round) the middle of their body as a (means of attaining) completion: and thereby they attained completion. And so does he now put that (source of) strength in the middle of his body and thereby attain completion. 
11. It is made of hemp. Hempen it is in order to be soft. Now when Pragâpati, having become an embryo, sprung forth from that sacrifice, that which was nearest to him, the amnion, became hempen threads: hence they smell putrid. And that which was the outer membrane (and placenta) became the garment of the consecrated. Now the amnion lies under the outer membrane, and hence that (zone) is worn under the garment. And in like manner as Pragâpati, having become an embryo, sprung forth from that sacrifice, so does he become an embryo and spring forth from that sacrifice. 
12. It (the cord) is a triple one, because food is threefold, food being cattle. (Moreover) the father and mother (are two), and that which is born is a third: hence it is a triple (cord). 
13. It is intertwined with a shoot of reed (muñga) grass, for the sake of chasing away the evil spirits, the reed being a thunderbolt. It is plaited after the manner of a braid of hair. For were it to be twisted 1 sunwise (from left to right) as any other cords, it would be human; and were it twisted contrary to the course of the sun, it would be sacred to the Fathers: hence it is plaited after the manner of a braid of hair. 
14. He girds himself with it, with the text (Vâg. S. IV, 10), 'Thou art the strength of the Aṅgiras,'--for the Aṅgiras perceived this (source of) strength; 'soft as wool, bestow thou strength on me!' there is nothing obscure in this. 
15. He then tucks up the end of his (nether) garment, with the text, 'Thou art Soma's tuck.' For heretofore it was the tuck of him, the unconsecrated; but now that he is consecrated, it is that of Soma 2: therefore he says, 'Thou art Soma's tuck.' 
16. He then wraps up (his head) 3. For he who is consecrated becomes an embryo; and embryos are enveloped both by the amnion and the outer membrane: therefore he covers (his head). 
17. He covers himself, with the text, 'Thou art Vishnu's refuge, the refuge of the sacrificer.' He who is consecrated indeed becomes both Vishnu and a sacrificer; for when he is consecrated, he is Vishnu; and when he sacrifices, he is the sacrificer: therefore he says, 'Thou art Vishnu's refuge, the refuge of the sacrificer.' 
18. Thereupon he ties a black deer's horn to the end (of his garment 1). Now the gods and the Asuras, both of them sprung from Pragâpati, entered upon their father Pragâpati's inheritance: the gods came in for the Mind and the Asuras for Speech. Thereby the gods came in for the sacrifice and Asuras for speech; the gods for yonder (heaven) and the Asuras for this (earth). 
19. The gods said to Yagña (m., the sacrifice), 'That Vâk (f., speech) is a woman: beckon her, and she will certainly call thee to her.' Or it may be, he himself thought, 'That Vâk is a woman: I will beckon her and she will certainly call me to her.' He accordingly beckoned her. She, however, at first disdained him from the distance: and hence a woman, when beckoned by a man, at first disdains him from the distance. He said, 'She has disdained me from the distance.' 
20. They said, 'Do but beckon her, reverend sir, and she will certainly call thee to her.' He beckoned her; but she only replied to him, as it were, by shaking her head: and hence a woman, when beckoned by a man, only replies to him, as it were, by shaking her head. He said, 'She has only replied to me by shaking her head.' 
21. They said, 'Do but beckon her, reverend sir, and she will certainly call thee to her.' He beckoned her, and she called him to her; and hence a woman at last calls the man to her. He said, 'She has indeed called me.' 
22. The gods reflected, 'That Vâk being a woman, we must take care lest she should allure him 1.--Say to her, "Come hither to me where I stand!" and report to us her having come.' She then went up to where he was standing. Hence a woman goes to a man who stays in a well-trimmed (house). He reported to them her having come, saying, 'She has indeed come. 
23. The gods then cut her off from the Asuras; and having gained possession of her and enveloped her completely in fire, they offered her up as a holocaust, it being an offering of the gods 2. And in that they offered her with an anushtubh verse, thereby they made her their own; and the Asuras, being deprived of speech, were undone, crying, 'He ’lavah! he ’lavah 3!
24. Such was the unintelligible speech which they then uttered,--and he (who speaks thus) is a Mlekkha (barbarian). Hence let no Brahman speak barbarous language, since such is the speech of the Asuras. Thus alone he deprives his spiteful enemies of speech; and whosoever knows this, his enemies, being deprived of speech, are undone.
25. That Yagña (sacrifice) lusted after Vâk (speech 1), thinking, 'May I pair with her!' He united with her.
26. Indra then thought within himself, 'Surely a great monster will spring from this union of Yagña and Vâk: [I must take care] lest it should get the better of me.' Indra himself then became an embryo and entered into that union. 
27. Now when he was born after a year's time, he thought within himself, 'Verily of great vigour is this womb which has contained me: [I must take care] that no great monster shall be born from it after me, lest it should get the better of me!' 
28. Having seized and pressed it tightly, he tore it off and put it on the head of Yagña (sacrifice 2);for the black (antelope) is the sacrifice: the black deer skin is the same as that sacrifice, and the black deer's horn is the same as that womb. And because it was by pressing it tightly together that Indra tore out (the womb), therefore it (the horn) is bound tightly (to the end of the garment); and as Indra, having become an embryo, sprang from that union, so is he (the sacrificer), after becoming an embryo, born from that union (of the skin and the horn). 
29. He ties it (to the end of the garment) with the open part upwards, for it is in this way that the womb bears the embryo. He then touches with it his forehead close over the right eyebrow, with the text, 'Thou art Indra's womb,'--for it is indeed Indra's womb, since in entering it he enters thereby 1, and in being born he is born therefrom: therefore he says, 'Thou art Indra's womb.' 
30. Thereupon he draws (with the horn) the ('easterly') line, with the text, 'Make the crops full-eared!' Thereby he produces the sacrifice; for when there is a good year, then there is abundant (material) for sacrifice; but when there is a bad year, then there is not even enough for himself: hence he thereby produces the sacrifice. 
31. And let not the consecrated henceforth scratch himself either with a chip of wood or with his nail. For he who is consecrated becomes an embryo; and were any one to scratch an embryo either with a chip of wood or his nail, thereby expelling it, it would die 2. Thereafter the consecrated would be liable to be affected with the itch; and--offspring (retas) coming after the consecrated--that offspring would then also be liable to be born with the itch. Now his own womb 1 does not injure its offspring, and that black deer's horn being indeed his own womb, that (horn) does not injure him; and therefore the consecrated should scratch himself with the black deer's horn and with nothing but the black deer's horn. 
32.. He (the Adhvaryu) then hands to him a staff, for driving away the evil spirits,--the staff being a thunderbolt.
33. It is of Udumbara wood (Ficus Glomerata), for him to obtain food and strength,--the Udumbara means food and strength: therefore it is of Udumbara wood.
34. It reaches up to his mouth,--for so far extends his strength: as great as his strength is, so great it (the staff) is when it reaches up to his mouth.
35. He makes it stand upright, with the text, 'Stand up, O tree, erect; guard me from injury on to the goal of this sacrifice!' whereby he means to say, 'Standing erect, protect me till the completion of this sacrifice!'
36. It is only now that some bend the fingers inward 2 and restrain their speech, because, they argue, only from now will he not have to mutter anything. But let him not do so; for in like manner as if one were to try to overtake some one who runs away, but could not overtake him, so does he not overtake the sacrifice. Let him therefore turn in his fingers and restrain his speech on that (former) occasion.
37. And when the consecrated (after restraining his speech) utters either a rik, or a sâman, or a yagus 3,he thereby takes a firmer and firmer hold of the sacrifice: let him therefore turn in his fingers and restrain his speech on that (former) occasion.
38. And when he restrains his speech--speech being sacrifice--he thereby appropriates the sacrifice to himself 1. But when, from speech restrained, he utters any sound (foreign to the sacrifice), then that sacrifice, being set free, flies away. In that case, then, let him mutter either a rik or a yagus addressed to Vishnu, for Vishnu is the sacrifice: thereby he again gets hold of the sacrifice; and this is the atonement for that (transgression).
39. Thereupon some one 2 calls out, 'Consecrated is this Brâhman, consecrated is this Brâhman:' him, being thus announced, he thereby announces to the gods: 'Of great vigour is this one who has obtained the sacrifice; he has become one of yours: protect him!' this is what he means to say. Thrice he says it, for threefold is the sacrifice.
40. And as to his saying, 'Brâhman,' uncertain, as it were, is his origin heretofore 3; for the Rakshas, they say, pursue women here oil earth, and so the Rakshas implant their seed therein. But he, forsooth, is truly born, who is born of the Brahman (neut.), of the sacrifice: wherefore let him address even a Râganya, or a Vaisya, as Brâhman, since he who is born of the sacrifice is born of the Brahman (and hence a Brâhmana). Wherefore they say, 'Let no one slay a sacrificer of Soma; for by (slaying) a Soma-sacrificer he becomes guilty of a heinous sin 4!

Footnotes

25:1 Saishâ mîmâmsaiva, 'This, however, is mere speculation,' Kânva recension.
25:2 See I, 2, 5, 14, with note. The sacrifice represents the sacrificer himself, and thus he makes sure of his offering up his entire Self, and obtaining a new divine Self, and a place among the immortals.
26:1 The two skins are fitted together at the inner sides, and stretched along the ground by means of wooden pins driven into the ground and passed through holes all round the edge of the skins; the hairy sides of the latter remaining outside (above and below). At their hind parts they are tacked together by 'means of a thong passed through the holes and tied together in a loop.'
26:2 Yâny eva babhrûniva harîni. The Kânva text reads, Yâny eva madhye babhrûni vâ harîni vâ, 'those in the centre (or between the black and white) which are either brown or yellow (grey).'
26:3 According to Kâty. VII, 3, 21 it would seem that the two hind feet, or one of them, should be doubled up (at the joint) and sewed under. According to the Sûtras of the Black Yagus, on the other hand, the right fore-foot is turned under.
26:4 According to the Sûtras of the Black Yagus, he is to touch at p. 27 the same time the white hair with his thumb and the black with his fore-finger. Sây. on Taitt. S. I, 2, 2 (vol. i, p. 297).
27:1 Sreyâmsam vâ esha upâdhirohati yo manushyah san yagñam upâdhirohati. Kânva recension.
29:1 Twisted and plaited is here expressed by the same term 'srishta.'
29:2 Literally, but now (it being that) of (him) the consecrated, (it is that) of Soma.
29:3 With his upper garment, or, according to others, with a turban. Kay. VII, 3, 28 scholl.
30:1 The Mâdhyandinas tied the horn to the unwoven end (thrum, dasâ) of the nether garment which was tucked through (par. 13) and then allowed to hang down in front. The Kânvas, on the other hand, tied it to the hem of the upper garment (uttarasike! Kânva text); cf. Kâty. VII, 3, 29 scholl.
31:1 Yoshâ vâ iyam vâg yad enam na yuvitâ. The St. Petersburg Dict. (s. v. yu) takes it differently, 'That Vâk is indeed a woman, since she does not wish to draw him towards herself (i.e. since she does not want him to come near her).' Sâyana, on the other hand, explains it elliptically, 'Since she has not joined him (no confidence can be placed in her).' The Kânva text reads: Ta u ha devâ bibhayâm kakrur yoshâ vâ iyam iti yad vâ enam na yuvîteti. Perhaps in our passage also we should read 'yuvîta' (as proposed by Delbrück, Syntact. Forschungen III, p. 79), and translate, 'Verily that Vâk is a woman: (it is to be feared) that she will [or, it is to be hoped that she will not] allure him [viz. so. that Yagña also would fall to the share of the Asuras];''Dass sie ihn nur nicht an sich fesselt!' For similar elliptic constructions with yad and the optative, see paragraphs 26 and 27; and II, 2, 4, 3 ['Dass er mich nur nicht auffrisst!']; IV, 3, 5, 3 ('Dass uns nur die Rakshas nichts zu Leide thun!'); IV, 6, 9, 1. One would expect an 'iti' here.
31:2 And therefore requiring no priests’ portion &c. to be taken from it.
31:3 According to Sâyana, 'He ’lavo' stands for 'He ’rayo (i.e. ho, the spiteful (enemies))!' which the Asuras were unable to pronounce correctly. The Kânva text, however, reads, te hâttavâko ’surâ hailo haila ity etâm ha vâkam vadantah parâbabhûvuh; (? i, e. He p. 32 ilâ, 'ho, speech.') A third version of this passage seems to be referred to in the Mahâbhâshya (Kielh.), p. 2.
32:1 Compare the corresponding legend about Yagña and Dakshinâ (priests’ fee), Taitt. S. VI, 1, 3, 6.
32:2 'Yagñasya sîrshan;' one would expect 'krishna(sâra)sya sîrshan.' The Taitt. S. reads 'tâm mrigeshu ny adadhât.'
33:1 In the Kânva text 'atah (therewith)' refers to the head of the sacrificer,--sa yak khirasta upasprisaty ato vâ enâm etad agre pravisan pravisaty ato vâ agre gâyamâno gâyate tasmâk khirasta upasprisati.
33:2 Apâsyan mrityet = apagakkhan mritim prâpnuyât, Sây.--? apâsyet, 'he would force it out and it would die.' The Kânva text has merely 'ayam mrityet (!).'
34:1 That is, the womb from which he (the sacrificer) is born.
34:2 II, 1, 3, 25.
34:3 Viz. in muttering the formulas mentioned above, III, 2, 1, 5 seq.
35:1 Or, puts it in himself, encloses it within himself.
35:2 That is, some one other than the Adhvaryu, viz. the Pratiprasthâtri or some other person, Kâty. VII, 4, 11 scholl.
35:3 That is, inasmuch as he may be of Rakshas origin
35:4 Viz. of the crime of Brâhmanicide (brahmahatyâ).

https://www.sacred-texts.com/hin/sbr/sbe26/sbe2607.htm

A guild-master's daybook seal from Kish and dentical seal impressions from Kish and Mohenjo-daroof temple warehouse scribe, goldsmith

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This seal impression signifies a guild-master in-charge of the ironwork daybook of smithy/warehouse. The spiny-horned young bull signifies: shingin 'spiny-horned' rebus: singin 'ornament gold' PLUS khoNDa, kODe 'young bull' rebus: konda 'furnace' kunda 'fine gold' PLUS kunda 'lathe' rebus: kunda 'fine gold' PLUS kuNDa 'bowl for live coal' rebus: agnikuNDa 'sacred fire-altar'; kamaTamu 'portable furnace of goldsmith' rebus: kammaTa 'mint';A perfectly cut unicorn seal with a sign right above the horn. The seal was found in ancient Kish, Iraq, during excavations between 1922 and 1933 by the Oxford-Field Museum (Chicago) Expedition. The year is given at approximately 2000 BCE, when craftsmanship in seal manufacture was probably at its height.

This artifact is one of many unicorn seals from the Indus Valley people: https://www.harappa.com/content/4-unicorns
Sign 176Variants of Sign 176 khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati). 
मेंढा mēṇḍhā 'A crook or curved end (of a stick)' Rebus: meḍ 'iron'. Thus, the hieroglyph Sign 130 crook is a semantic determinative meḍ 'iron' to reinforce associated semantics of the guild-master of iron workers.
The guild master is signified by Indus Script hypertext 'squirrel' hieroglyph 'khāra, šē̃ṣṭrĭ̄' Rebus: plaintext: khār 'blacksmith'  śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa).
  
The guild-master signs off by affixing his hieroglyph: 
palm squirrel,Sciurus palmarum' Hieroglyph: squirrel:  *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri)*śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ°ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh°ṭhīśeṭ°ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭuhi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhīśeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)
  The squirrel 'sign' has many variants with an accent on the upswung tail..


 

Seal impression and seal with identical texts from (a) Kish (IM 1822); cf. Mackay 1925 and(b) Mohenjodaro (M-228)

Example of a seal impression from Kish identical to a seal impression of a seal from Mohenjo-daro, the meanings intended are discussed in tantra yukti method which enunciates a principle called Vākyaśea (supply of ellipsis -- the omission from speech or writing of a word or words that are superfluous or able to be understood from contextual clues.) Some inscriptions signify ‘fish’ as a hieroglyph. 

In the context of Supercargo’s responsibility, the ‘fish’ hieroglyph may have orthographic accent on ‘fins’ of fish which signify:  khambhaā ‘fish fin’ rebus: kamaa ‘portable furnace to melt metals',kammaa  ‘mint, coiner, coinage’ PLUS ayo, aya ‘fish’ rebus: aya ‘iron’ ayas ‘metal’.

kunda 'young bull' is NOT what is packaged but kunda 'fine gold' (metaphor for wealth'.  ayo 'fish' is NOT what is packaged but aya 'iron, alloy metal' PLUS khambhaṛā rebus: kammaṭa 'mint', i.e. the packaged goods include alloy metal from mint. kole.l 'temple' is NOT what is packaged but kole.l 'smithy, forge' product of sal 'splinter' rebus: sal 'workshop'. karṇika 'rim of jar' is NOT what is packaged but rebus rendering karṇika ‘accounting ledger of wealth’.  kunda kamaṭamu 'lathe, portable furnace' are NOT what are included in the package, but products --kunda kammaṭa 'wealth (from) mint'.Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)

Hieroglyph: Portable furnace:   కుండము  kunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పుల గుండము.  కుండ  kunḍa. [Tel.] n. An earthern pot. A pot.  अग्नि--कुण्ड n. a pan with live coals R. Rebus 1: a hole or enclosed space for the consecrated fire Katha1s. agnikunḍa 'sacred fire altar'. Rebus 2: कुन्द a treasure of Kubera; kunda 'fine gold' Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold(DEDR 1725) కమటము  kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii. Rebus:  కమ్మటము  Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste

Hieroglyph: Rim of jar: Sign 342 kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karika 'scribe, account'  karṇī 'supercargo',कर्णिक helmsman'.
Thus, the composite hypertext of Sign 15 reads: kuṭhi karika 'smelter helmsman/scribe/supercargo'. कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus: karṇī 'supercargo', 'engraver' (Marathi) .

Hieroglyph: A smithy which is a temple:

This 'sign' may be a variant of Sign 244 and Sign 236

The sign apepars to be a building structure. It may signify either a temple or a storeroom/warehouse: thus, the rebus reading is either kole.l 'temple,smithy' or  koṭhā 'warehouse'

 Ko. kole·l smithy, temple in Kota village.Ta. kol working in iron, blacksmith; kollaṉ 
blacksmith. Ma. kollan blacksmith, artificer.  To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme firepit, furnace; (Bell.; U.P.U.) konimi blacksmith(Gowda) 
kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge. (DEDR 2133)

kṓṣṭha2 n. ʻ pot ʼ Kauś., ʻ granary, storeroom ʼ MBh., ʻ inner apartment ʼ lex., ˚aka -- n. ʻ treasury ʼ, ˚ikā f. ʻ pan ʼ Bhpr. [Cf. *kōttha -- , *kōtthala -- : same as prec.?]Pa. koṭṭha -- n. ʻ monk's cell, storeroom ʼ, ˚aka<-> n. ʻ storeroom ʼ; Pk. koṭṭha -- , kuṭ˚koṭṭhaya -- m. ʻ granary, storeroom ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; Sh. (Lor.) kōti (ṭh?) ʻ wooden vessel for mixing yeast ʼ; K. kōṭha m. ʻ granary ʼ, kuṭhu m. ʻ room ʼ, kuṭhü f. ʻ granary, storehouse ʼ; S. koṭho m. ʻ large room ʼ, ˚ṭhī f. ʻ storeroom ʼ; L. koṭhā m. ʻ hut, room, house ʼ, ˚ṭhī f. ʻ shop, brothel ʼ, awāṇ. koṭhā ʻ house ʼ; P. koṭṭhākoṭhā m. ʻ house with mud roof and walls, granary ʼ, koṭṭhīkoṭhī f. ʻ big well -- built house, house for married women to prostitute themselves in ʼ; WPah. pāḍ. kuṭhī ʻ house ʼ; Ku. koṭho ʻ large square house ʼ, gng. kōṭhi ʻ room, building ʼ; N. koṭho ʻ chamber ʼ, ˚ṭhi ʻ shop ʼ; A. koṭhākõṭhā ʻ room ʼ, kuṭhī ʻ factory ʼ; B. koṭhā ʻ brick -- built house ʼ, kuṭhī ʻ bank, granary ʼ; Or. koṭhā ʻ brick -- built house ʼ, ˚ṭhī ʻ factory, granary ʼ; Bi. koṭhī ʻ granary of straw or brushwood in the open ʼ; Mth. koṭhī ʻ grain -- chest ʼ; OAw. koṭha ʻ storeroom ʼ; H. koṭhā m. ʻ granary ʼ, ˚ṭhī f. ʻ granary, large house ʼ, Marw. koṭho m. ʻ room ʼ; G. koṭhɔ m. ʻ jar in which indigo is stored, warehouse ʼ, ˚ṭhī f. ʻ large earthen jar, factory ʼ; M. koṭhā m. ʻ large granary ʼ, ˚ṭhī f. ʻ granary, factory ʼ; Si. koṭa ʻ storehouse ʼ. -- Ext. with -- ḍa -- : K. kūṭhürü f. ʻ small room ʼ; L. koṭhṛī f. ʻ small side room ʼ; P. koṭhṛī f. ʻ room, house ʼ; Ku. koṭheṛī ʻ small room ʼ; H. koṭhrī f. ʻ room, granary ʼ; M. koṭhḍī f. ʻ room ʼ; -- with -- ra -- : A. kuṭharī ʻ chamber ʼ, B. kuṭhrī, Or. koṭhari; -- with -- lla -- : Sh. (Lor.) kotul (ṭh?) ʻ wattle and mud erection for storing grain ʼ; H. koṭhlā m., ˚lī f. ʻ room, granary ʼ; G. koṭhlɔ m. ʻ wooden box ʼ.kōṣṭhapāla -- , *kōṣṭharūpa -- , *kōṣṭhāṁśa -- , kōṣṭhāgāra -- ; *kajjalakōṣṭha -- , *duvārakōṣṭha -- , *dēvakōṣṭha -- , dvārakōṣṭhaka -- .Addenda: kṓṣṭha -- 2: WPah.kṭg. kóṭṭhi f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ, J. koṭhā m. ʻ granary ʼ, koṭhī f. ʻ granary, bungalow ʼ; Garh. koṭhu ʻ house surrounded by a wall ʼ; Md. koḍi ʻ frame ʼ, <-> koři ʻ cage ʼ (X kōṭṭa -- ). -- with ext.: OP. koṭhārī f. ʻ crucible ʼ, P. kuṭhālī f., H. kuṭhārī f.; -- Md. koṭari ʻ room ʼ.kōṣṭhapāla m. ʻ storekeeper ʼ W. [kṓṣṭha -- 2, pāla -- ]
M. koṭhvaḷā m.*kōṣṭharūpa ʻ like a room ʼ. [kṓṣṭha -- 2, rūpá -- ]B. kuṭru ʻ tent ʼ. *kōṣṭhāṁśa ʻ share of store ʼ. [kṓṣṭha -- 2, áṁśa -- ]Pa. koṭṭhāsa -- m. ʻ share, portion ʼ, adj. ʻ divided into ʼ (ā felt as contraction of a -- a and preserved before ṁs; consequent āṁs > ās: cf. re -- establishment of prefix ā before MIA. double consonant, e.g. Pk. āṇavēdi < *āṇṇ˚ replacing aṇṇ -- < Sk. ājñ -- ); Si. koṭasakohoṭa ʻ share, part, piece ʼ.kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. [kṓṣṭha -- 2, agāra -- ]
Pa. koṭṭhāgāra -- n. ʻ storehouse, granary ʼ; Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- ˚rī f. ʻ small one ʼ; Si. koṭāra ʻ granary, store ʼ.kōṣṭhāgārika -- .Addenda: kōṣṭhāgāra -- : WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhārkṭhār m.; -- Md. kořāru ʻ storehouse ʼ ← Ind. kōṣṭhāgārika m. ʻ storekeeper ʼ BHSk. [Cf. kōṣṭhā- gārin -- m. ʻ wasp ʼ Suśr.: kōṣṭhāgāra -- ] Pa. koṭṭhāgārika -- m. ʻ storekeeper ʼ; S. koṭhārī m. ʻ one who in a body of faqirs looks after the provision store ʼ; Or. koṭhārī ʻ treasurer ʼ; Bhoj. koṭhārī ʻ storekeeper ʼ,H. kuṭhiyārī m.Addenda: 
kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ.kōṣṭhin -- see kuṣṭhin -- Add2. (CDIAL 3546 to 3551


Keeladi carnelian ring & early Grantha writing tradition of Veda-Malayalam-Tulu-Kannada-Telugu-Tamil spread across Asia

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https://tinyurl.com/t2u2tyh

-- I posit that 1) the early semantics of grantha signify a writing system; 2) the adoption of Grantha script for writing spoken Tamil came from Tigalari or Tulu and Malayalam traditions of ന്ഥ ലിപി since spoken form Tulu, Malayalam, Kannada, Telugu continued to use almost all the phonemes of the Pratyāhāra Sūtras

Argument

Carnelian ring found at Keeladi.पोत्रिन् m. "snouted", a wild boar (विक्रमाङ्कदेव-चरित , by बिल्हण) Rebus: Potr 'purifier priest', potadara 'assayer of metals'. Dating this ring in an archaeological context will be of great historical significance unifying the interactions between and traditions of Sarasvati Civilization and traditions of South India. പോത്രം pōtram S. The snout of a hog. പോത്രിയായവതാരം ചെയ്തു Bhr. Varāhamūrti. പോത്രാന്‍ N. pr. m. (= പൊഴുതരായന്‍?). (Malayalam)
The hypothesis is based on 1) the Tamil text which attests migration of Velir from Dwaraka (Gujarat), ca. 1900 BCE and 2) the presence of carnelian varaha ring found in Keeladi; varaha is an Indus script hieroglyh which signifies badhi 'boar' rebus: badhi 'artisan, worker in iron and wood', badiga 'artificer'. It is remarkable that the image of a boar also evokes the functions of Potr 'purifier priest' (Rgveda), potadara, poddar 'assayer of metals' sigified by the hieroglyph potrin 'boar'. The presence of carnelian in Keeladi is indicative of interactions between the west coast south of Tulu-speaking areas and Gujarat (of Sarasvati Civilization and Indus Script).

Reference to Dwaraka as Tuvarai in an ancient Sangam text

Ayasipur is a Vedic expression. अयस् n. iron , metal RV. &c अयस्मय (अयोमय) a. (-यी f.) Ved. Made of iron or of any metal. -यी N. of one of the three habita- tions of Asuras. pur पुर् f. (Nom. sing. पूः; instr. du. पूर्भ्याम्) 1 A town, fortified town; thus ayasipur refers to a fortification made of stone or metal. (पूरण्यभिव्यक्तमुखप्रसादा R.16.23)

துவரை² tuvarain. See துவாரகை. உவரா வீகைத் துவரை யாண்டு (புறநா. 201). துவாரகை tuvārakain. < dvārakā. The capital of Kṛṣṇa on the western side of Gujarat, supposed to have been submerged by the sea, one of catta-puri, q. v.; சத்தபுரியுளொன் றாயதும் கடலாற்கொள்ளப்பட்ட தென்று கருதப்படுவதும் கண்ணபிரான் அரசுபுரிந்ததுமான நகரம்.

This Vedic expression ayasipur is consistent with the description of Dwaraka in Purananuru as a fortification with walls made of copper (metal).

இவர்யார்என்குவைஆயின்இவரே
ஊருடன்இரவலர்க்குஅருளித்தேருடன்
முல்லைக்குஈத்தசெல்லாநல்லிசை
படுமணியானைப்பறம்பின்கோமான்
நெடுமாப்பாரிமகளிர்யானே
தந்தைதோழன்இவர்என்மகளிர்
அந்தணன்புலவன்கொண்டுவந்தனனே
நீயேவடபால்முனிவன்தடவினுள்தோன்றிச்
செம்புபுனைந்துஇயற்றியசேண்நெடும்புரிசை
உவராஈகைத்துவரையாண்டு
நாற்பத்துஒன்பதுவழிமுறைவந்த
வேளிருள்வேள விறல்போர்அண்ணல்
தார்அணியானைச்சேட்டுஇருங்கோவே
ஆண்கடன்உடைமையின்பாண்கடன்ஆற்றிய
ஒலியற்கண்ணிப்புலிகடிமாஅல்
யான்தரஇவரைக்கொண்மதிவான்கவித்து
இரும்கடல்உடுத்தஇவ்வையகத்துஅரும்திறல்
பொன்படுமால்வரைக்கிழவவென்வேல்
உடலுநர்உட்கும்தானைக்
கெடல்அரும்குரையநாடுகிழவோயே !

If you ask who they are, they are his daughters,
he who granted cities to those who came in need
and earned great fame for gifting
a chariot to the jasmine vine to climb,
he who owned elephants with jingling bells,
the lord of Parampu, the great king Pāri.
They are my daughters now.
As for me, I am their father’s friend, a Brahmin,
a poet who has brought them here.

You are the best Vēlir of the Vēlir clan,
with a heritage of forty nine generations of Vēlirs
who gave without limits,
who ruled Thuvarai with its long walls that
seemed to be made of copper, the city that
appeared in the sacrificial pit of a northern sage (Yaja).
King who is victorious in battles!

Great king with garlanded elephants!
Pulikatimāl with a bright garland
who knows what a man’s responsibility is,
and what you can do for bards!
I am offering them. Please accept them.
Lord of the sky high mountain that yields gold!
You whose strength cannot be equaled on the earth
that is covered by an arched sky and surrounded
by the ocean, you whose army puts fear into
enemies with victorious spears!
O ruler of a land that can never be ruined!

Irunkovel is supposed to be 49th generation of a king from (Thuvarai) Dwaraka. It can mean two things. Assuming about 30 years per generation, 1500 years earlier Dwaraka which had walls made of copper. Dating the early phase of Sarasvati-Sindhu civilization to ca. 3500 BCE, and the submergence of Dwaraka to ca. 1900 BCE (a date indicative of the drying up of Vedic River Sarasvati due to migrations of Sutlej and Yamuna rivers which were tributaries bringing in glacier waters), which necessitated the movements of Sarasvati's children down the coastline to Kerala, this text places Sangam literature text of Purananuru to ca. 400 BCE.

Migration from Tuvarai (Dwaraka) is attested in a 12th century inscription (Pudukottai State inscriptions, No. 
120) cited by Avvai S. Turaicaami in Puranaanuru, II (SISSW Publishing Soc., Madras, 1951). 
துவரை மாநகர் நின்ருபொந்த தொன்மை பார்த்துக்கிள்ளிவேந்தன் நிகரில் தென் கவரி நாடு தன்னில் நிகழ்வித்த நிதிவாளர் 

Archaeo-metallurgical and seafaring traditions of the Civilization are attested in regions of southern Bharat 

The archaeo-metallurgical and seafaring traditions of the Civilization are attested in Southern Bharat as exemplified by the following:
https://www.scribd.com/doc/289709143/Metal-casting-Traditions-South-Asia-PT-Craddock-2014
http://www.insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol50_2015_1_Art05.pdf Indian Journal of Hisory of Science, 50.1 (2015), 55-82 PT Craddock, Metal casting traditions of South Asia: Continuity and Innovation

Legend has it that the Pandava princes ...left on a pilgrimage of India, and in Kerala, each of these brothers installed Vishnu on the banks of the Pampa and nearby places and offered worship. (Chengannur - Yuddhishtra, Tiruppuliyur - Bheema, Aranmula - Arjuna, Tiruvamundur - Nakula and Tirukkadittaanam - Sahadeva). It is said that Arjuna built this temple at Nilackal near Sabarimalai. and the image was brought here in a raft made of six pieces of bamboo to this site, and hence the name Aranmula (six pieces of bamboo). Legend has it that Arjuna built this temple, to expiate for the sin of having killed Karna on the battlefield, against the dharma of killing an unarmed enemy. It is also believed that Vishnu (here) revealed the knowledge of creation to Brahma, from whom the Madhukaitapa demons stole the Vedas.” See: 

 


-- Malayalam Grantha script is of ca. 5th cent. and pre-dates the adoption of Vaṭṭeḻuttu (ca. 6th cent.), also spelled Vattezhutthu (literally "Round Script", Tamilவட்டெழுத்துvaṭṭeḻuttu;
Malayalamവട്ടെഴുത്ത് vaṭṭeḻuttŭ); Vaṭṭeḻuttu perhaps evolved from Tamil Brahmi (Richard Salomon (2004), Review: Early Tamil Epigraphy: From the Earliest Times to the Sixth Century A.D. By IRAVATHAM MAHADEVAN. Harvard Oriental Series Volume 62, The Journal of the American Oriental Society, Vol. 124, Issue 3, pp. 565-569,) Use of Grantha script in Malayalam ഗ്രന്ഥ ലിപി) ലിപി libi S. (ലിപ്, G. /?/leiphō). Writing.  (ɡ)ഗ (n) ന (tha)ഥ ; Grantha alphabet Tigalari or Tulu (Tigaḷāri lipiTuḷu lipi) is a southern Brahmic script which was used to write Tulu and Sanskrit languages. It evolved from the Grantha script. It bears high similarity and relationship to its sister script Malayalam, which also evolved from the Grantha. 
https://en.wikipedia.org/wiki/Tigalari_script Grantha also influenced Sinhala and Thai scripts. Kannada script (ಅಕ್ಷರಮಾಲೆ akṣaramāle or ವರ್ಣಮಾಲೆ varṇamāle) is a phonemic abugida of forty-nine letters, and is written from left to right. The character set is almost identical to that of other Brahmic scriptsTelugu script (Teluguతెలుగు లిపిromanizedTelugu lipi), an abugida from the Brahmic family of scripts, is used to write the Telugu language  All the three languages, Malayalam, Kannada and Telugu used early form of Grantha script. https://www.omniglot.com/writing/grantha.htm
9th to 10th century Vatteluttu script, Kochi land grant copper plate inscription to Jewish immigrants Israelites by King Sthanu Ravi Varma.jpgA Vatteluttu script inscription on copper plate. Issued by the Tamil Chera King Sthanu Ravi Varma, it grants land to Jewish settlers in Kerala (Nathan Katz; Ellen S. Goldberg (1993). The last Jews of Cochin: Jewish identity in Hindu India. University of South Carolina Press. pp. 41–45.)
Name of the scriptPrevalent inReferences to their roots
Arya Ezhuttu / Grantha MalayalamKerala, Parts of Tamil NaduMalayalam Speakers, Manipravala, Tamil Grantha
Western Grantha / Tulu-MalayalamFew academic publications19th Century Western Scholars
TigalariMalanadu (hilly) & Karavali (coastal) regions of KarnatakaKannada speakers, Havyaka Brahmins, National Manuscript Mission Catalogues
Grantha LipiCoastal KarnatakaTulu speakers, A C Burnell
The Grantha script is one of the earliest Southern script to emerge from the Brahmi script. It further evolved to the Malayalam script. It also greatly influenced the Tamil and Sinhala scripts.
The following is the basic Grantha script.
A variant of the Grantha script called the Pallava script (as it was used in the ancient Pallava kingdom of southern India) was taken by Indian merchants to Indonesia where it became the Kawi which would eventually blossom into many varieties of scripts in Insular Southeast Asia.http://www.ancientscripts.com/grantha.html
--Grantha script grant ca. 8th cent. of Nedunjadaiyan descendant of Palyaga Mudukudimi Peurvaluti; the grant contains both Samskrtam and Tamil portions.

Johann Ernst Hanxleden was a German missionary who was the first ever European to write the grammar book for Grantha Malayalam called Grantha Bhashayude Vyakaranam in the 1700s. (cf. Grantha, Vattezhuthu, Kolezhuthu, Malayanma, Devanagiri, Brahmi and Tamil alphabets https://www.c-radhakrishnan.info/alphabet.html)

"In its Pallava script origins, the Grantha script is related to the Tamil and the Vatteluttu
scripts. The modern Malayalam script of Kerala is a direct descendant of the Grantha script....In Sanskritgrantha is literally 'a knot'. It is a word that was used for books, and the script used to write them. This stems from the practice of binding inscribed palm leaves using a length of thread held by knots. Grantha was widely used to write Sanskrit in the Tamil-speaking parts of South Asia from about the 5th-century CE into the modern times." (https://en.wikipedia.org/wiki/Grantha_script loc.cit. Richard Salomon (1998). Indian Epigraphy: A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the other Indo-Aryan Languages. Oxford University Press. pp. 40–42.The Southeast Asian and Indonesian scripts such as Thai and Javanese respectively, as well as South Asian Tigalari and Sinhala scripts are also derived or closely related to the Grantha through the early Pallava script. (Pierre-Yves Manguin; A. Mani; Geoff Wade (2011). Early Interactions Between South and Southeast Asia: Reflections on Cross-cultural Exchange. Institute of Southeast Asian Studies. pp. 283–285, 306–309.)

Māheśvara Sūtrāṇi are fourteen verses that organize the phonemes of Sanskrit as referred to in the Aṣṭādhyāyī of Pāṇini, the foundational text of Sanskrit grammar. In Akṣarasamāmnāya, "recitation of phonemes," they are also called Pratyāhāra Sūtras.

प्रत्य्-ाहार withdrawal (esp. of the senses from external objects) , abstraction MBh. Mn. Pur. 
Veda7ntas.; (in gram.) the comprehension of a series of letters or roots &c into one syllable by combining for shortness the first member with the अनुबन्ध (s.v.) of the last member; a group of letters &c so combined (as अच् or हल् in the शिवसूत्रs) (पाणिनि 1-1 , 1) &c; speaking to , address (°रं- √कृ , with gen. , to speak to a person) (कारण्ड-व्यूह) (prob. w.r. for प्रव्याह्°);
sound ib.(Monier-Williams) Thus, प्रत्य्-ाहार is a process of abstraction relating a series of sounds of alphabets or roots (phonemes) into one syllable; each such combined sound of a syllable is signified by a symbol in an writing system, for e.g. Grantha.

Fourteen Pratyāhāra Sūtras in देवनागरी (Devanāgari) script

१. अ इ उ ण्।
२. ऋ ऌ क्।
३. ए ओ ङ्।
४. ऐ औ च्।
५. ह य व र ट्।
६. ल ण्।
७. ञ म ङ ण न म्।
८. झ भ ञ्।
९. घ ढ ध ष्।
१०. ज ब ग ड द श्।
११. ख फ छ ठ थ च ट त व्।
१२. क प य्।
१३. श ष स र्।
१४. ह ल्।


Image result for staal frits sounds vedicSounds of language are organized with reference to place of articulation of the sounds in the vocal chord. (Picture courtesy Frits Staal)ecture given during the Inaugural Session of the International Conference on“Sanskrit in Asia” to celebrate the Golden Jubilee of Her Royal Highness Princess Mahachakri Sirindhorn at Silpakorn University,Bangkok, June 23, 2005.Subsequently published in Sanskrit Studies Central Journal. Journal of the Sanskrit Studies Centre, Silpakorn University, 2 (2006) 193-200. "Toward the end of the Vedic period and at the western extremity of Vedic India, in Kośala or Videha, – not far in time and place from the Buddha’s birth – reciters of the Veda made a major discovery (Figure 1). They found that the consonants of a language are produced by constricting the vocal tract at a particular point along its stationary portion -- the palate or upper lip. If we move from the larynx or throat to the lips, we pronounce ka, ca, ṭa, ta, pa. Each of these syllables may be unvoiced or voiced, provided with more or less breath, which may be made to pass through the nasal cavity as well. Thus we produce, in the case of ka, the sequence ka, kha, ga, gha, ṅa; and similarly for the other four consonantal stops. The two directions are combined in the two-dimensional square or varga that is depicted here. In order to complete the picture, a few other syllables have to be added along with semi-vowels and vowels.The Vedic system of the sounds of language exhibits and embodies what is nowadays called phonetics, but is close to phonology which studies features of those same sounds as parts of a system. The system exhibits what I refer to as the sound pattern of Vedic, Sanskrit or language. I do not imply that it is the same for all languages, but most of the sounds of human speech may be accommodated in some such scheme. During the Late Vedic period, the Vedic scheme was expounded in the śikṣâ, the Prātiśākhya and other compositions...The resulting syllabaries were naturally arranged in accordance with the earlier and superior, but orally-based system. That system was rational, because it reflected the places of articulation in their natural order; and practical, especially for languages in which syllables consist of a consonant followed by a vowel. Japanese is such a language and Sanskrit to some extent."

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Image result for spread of monkhmer of southeast asia
Image result for spread of monkhmer of southeast asia


Fourteen Pratyāhāra Sūtras in Grantha Script



The Velvikudi inscription is an 8th-century bilingual copper-plate inscription from the Pandya kingdom of southern India. Inscribed in Sanskrit and Tamil languages, it records the Pandya king Nedunjadaiyan's renewal of a grant of the Velvikudi village to a brahmana.


Portions of the 8th Century Velvikudi Grant. The inscription features Sanskrit language inscribed in Grantha script (lines 1-30 and 142-150), and Tamil language inscribed in Vatteluttu script (lines 31-141 and 151-155). Each copper plate measures:27.5 x 8 cm 8th cent. 

Vatteluttu script sample

Genealogy of the Pandya kings according to the Velvikudi inscription
Sanskrit portion (IAST transliteration)Tamil portion (Tamil Lexicon transliteration)
Kaṭuṅkōṉ
Avani Sulamani (Avaṉi Cūḷāmaṇi Māṟavarmaṉ)
Ceḻiyaṉ Vāṉavaṉ Cēntaṉ
MāṟavarmanArikesari Asamasamaṉ Māṟavarmaṉ
RaṇadhīraCaṭaiyaṉ
Māṟavarman II alias RājasiṃhaTēr Māṟaṉ
Jaṭila alias ParāntakaNeṭuñcaṭaiyaṉ
(Herman Tieken (2001). Kāvya in South India: Old Tamil Caṅkam Poetry. Egbert Forsten., p.136)

Tamil portion records Nedunjadaiyan's renewal of a grant made by his purported ancestor, the ancient Pandya king Palyaga Mudukudimi Peurvaluti.[quote] Narkorran (Tamil Lexicon: Naṟkoṟṟan), a brahmana of the Paganur-kurram and a headman of Korkai, completed a Vedic sacrifice with the help of the Pandya king Palyaga Mudukudimi Peurvaluti (Palyāka Mutukuṭumi Peruvaḻuti). The spot of the sacrifice was named Velvikudi (Vēḷvikkuṭi, modern identity uncertain). Based on a petition from the brahmanas of Paganur-kurram, the king granted the village to Narkorran. Subsequently, a Kali king named Kalabhran (identified with the Kalabhras) conquered the whole Pandya country, including Velvikudi. After some time, the Pandya king Kadungon recaptured his ancestral territory from the enemies. Kadungon's son was Avani Sulamani Maravarman, whose son was Seliyan Vanavan Sendan.The next king in the line, Arikesari Asamasaman Maravarman, won a battle at Pali by driving into a herd of war elephants; defeated the ocean-like army of Vilveli at Nelveli; destroyed the Paravar who did not seek refuge with him; annihilated the race of the people of Kurunadu; won a battle at Sennilam by driving into a herd of war elephants; defeated the king of Kerala several times at the strongly-fortified town of Puliyur; performed hiranyagarbha and tulabhara gift-giving ceremonies; and protected the brahmanas and the infirm.Seliyan Sendan's son Sadaiyan (Caṭaiyaṉ), the lord of Konga, bore the titles Tenna-Vanavan, Sembiyan, Solan and Madura-Karunatakan. Sadaiyan won a battle at Marudur; defeated Ayavel in the battles at Sengodi and Pudankodu; and destroyed the maharathis at Mangalapuram. He stamped the symbols of bow, tiger and fish on Mount Meru (these are the symbols of the Chera, Chola and Pandya countries; thus, the inscription suggests that he held supreme authority over the Chera, Chola and Pandya territories).Sadaiyan's son Ter-Maran defeated the enemies at Neduvayal, Kurumadai, Manni-Kurichchi, Tirumangai, Puvalur, and Kodumbalur. He defeated the Pallava king at Kulumbur, capturing the enemy's elephants and horses. He defeated his enemies at Periyalur, crossed the Kaviri (Kaveri River), and subdued the Mala-Kongam country. He reached Pandi-Kodumudi, and worshipped Pashupati (Shiva). He established a marital alliance with the Gangaraja. He performed the gift-giving ceremonies gosahasra (gift of cows), hiranyagarbha, and tulabhara. He relieved the distress of those who studied the Vedas, and repaired the fortifications at Kudal, Vanji and Koli.  Ter Maran's son Parantaka Nedunjadaiyan (the issuer king) was a respected, merciful and militarily powerful king, who loved the learned people (pandita-vatsala), and equalled Manu. He was like death to his enemies (parantaka), like Partha in wielding the bow, like Kinnara in music.[12] He defeated the Kadava ruler at Pennagadam, forcing the enemy king to flee to the forest. He also won a battle at Nattukkurumbu, forcing the Ayavel and the Kurumbas to flee to the forest.[unquote] (H. K. Sastri (1983). "Velvikudi Grant of Nedunjadaiyan". Epigraphia Indica17. Archaeological Survey of India.)


ग्रन्थ m. tying , binding , stringing together; = °थ्/इ , a knot TS. vi , 2 , 9 , 4 (v.l.)(Monier-Williams) ग्रन्थिः   granthiḥ ग्रन्थिः 1 A knot, bunch, protuberance in general; स्तनौ मांसग्रन्थी कनककलशावित्युपमितौ Bh.3.2; so मेदोग्रन्थि. -2 A tie or knot of a cord, garment &c; इदमुपहितसूक्ष्म- ग्रन्थिना स्कन्धदेशे Ś.1.19; Mk.1.1; Ms.2.4; Bh.1. 57. -3 A knot tied in the end of a garment for keeping money; hence, purse, money, property; कुसीदाद् दारिद्य्रं परकरगतग्नन्थिशमनात् Pt.1.11. -4 The joint or knot of a reed, cane &c. Mv.3.32. -5 A joint of the body. -6 Crookedness, distortion, falsehood, perversion of truth. -7 Swelling and hardening of the vessels of the body. -8 A difficult portion; ग्रन्थग्रन्थिं तदा चक्रे मुनिर्गूढं कुतूहलात् Mb.1.1.8. -9 A bell, gong; गृहीत्वा ग्रन्थिमुसलं मूढो भिक्षुरवादयत् Ks.65.135. -Comp. -छेदकः, -भेदः, -मोचकः a cut-purse, a pick pocket; अङ्गुलीग्रन्थिभेदस्य छेदयेत् प्रथमे ग्रहे Ms.9.277; Y.2.274; Ś.6. -पर्णः, -र्णम् 1 N. of a fragrant tree; न ग्रन्थिपर्णप्रणयाश्चरन्ति कस्तूरिकागन्धमृगा- स्तृणेषु Vikr.1.17.  -बन्धनम् 1 tying together the garments of the bride and the bridegroom at the marriage ceremony. -2 tying a knot. -3 a ligament. -वज्रकः a kind of steel. -हरः a minister.(Apte)

ग्रन्थ honeycomb Pa1n2. 4-3 , 116 Va1rtt. (Monier-Williams) ग्रन्थ् 1, 9 P., 1 U., 1 Ā. (ग्रन्थति, ग्रथ्नाति, ग्रन्थयतिते, also ग्रथति, ग्रथते) 1 To fasten, tie or string together; ग्रन्थित्वेव स्थितं रुचः Bk.7.15; स्रजो ग्रथयते &c. -2 To arrange, class together, connect in a regular series. -3 To wind round.(Apte)

ग्रथनम्   grathanam ग्रथनम् 1 Coagulation, thickening, becoming obstructed or clogged with knotty lumps. -2 Stringing together. -3 Composing, writing; (ना also in these senses). ग्रन्थनम् ना   granthanam nā ग्रन्थनम् ना [ग्रन्थ भावे ल्युट्] 1 Stringing or tying together. -2 Composing, writing. ग्रन्थः   granthḥ A verse consisting of 32 syllables, written in the Anuṣṭubh metre. -Comp. -कर्तृ, m. -कारः -कृत् m. a writer, an author; ग्रन्थारम्भे समुचितेष्टदे- वतां ग्रन्थकृत्परामृशति K. P.1. -कुटी, -कूटी 1 a library. -2 a studio. -विस्तरः, विस्तारः voluminousness, diffuse style; Bṛi S.1.2. -संधिः a section or chapter of a work; (for the several names by which sections, or chapters of works in Sanskṛit, are called, see under अध्याय).(Apte) ग्रन्थ्   granth To write, compose; ग्रथ्नामि काव्य- शशिनं विततार्थरश्मिम् K. P.1. -5 To form, make, pro- duce; ग्रथ्नन्ति बाष्पबिन्दुनिकरं पक्ष्मपङ्क्तयः K.6; Bk.17.69. -6 To set or strew with. (Apte) ग्रन्थ an artificial arrangement of words (esp. of 32 syllables = श्लोक Jain. ) , verse , composition , treatise , literary production , book in prose or verse , text (opposed to अर्थ " meaning " VarBr2S. Va1kyap. Sarvad. Nir. i , 20 Pa1n2. MBh. Up. &c; wealth , property Jain. Sch. (cf. उत्तर- , निर्- , षड्-.)(Monier-Williams)  ग्रन्थः [ग्रन्थ् संदर्भे भावे घञ्] 1 Binding, stringing together (fig. also). -2 A work, treatise, composition, literary production, book; ग्रन्थारम्भे, ग्रन्थकृत्, ग्रन्थसमाप्ति &c. -3 Wealth, property. (Apte)   

Madhav.M. DESHPANDE, in his paper, "From Orality to Writing: Transmission and Interpretation of Pāṇini’s Aṣṭādhyāyī " refers to Pāṇini’s use of the term grantha adhikṛtya kṛte granthe (4:3.87), as referring to written texts.(“Veda-Vedāṅga and Avesta between Orality and Writing” Section of "Proceedings of THE INTERNATIONAL SYMPOSIUM on THE BOOK”, Bucharest, ROMANIA. 20–24 September 2010).

Positing the role of cholinergic neurons in 'consciousness' in organisms

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Consciousness is an unresolved phenomenon in neuroscience. In the Indian cultural tradition, the cosmic dancer (image kept at CERN, Switzerland) is shown controlling apasmaara, 'epilepsy'. See: https://i1.wp.com/detechter.com/wp-content/uploads/2018/03/Shiva-Nataraja-at-CERN.jpg?resize=662%2C410&ssl=1 I suggest that cholinergic neurons control apasmaara and ensure consciousness in an organism. This can be tested clinically to make a breakthrough in understanding the role of acetylcholine in 'consciousness'. I request institutes studying epilepsy to use this model to define the role of cholinergic neurons in 'consciousness'. S. Kalyanaraman, Ph.D., D. Litt. Sarasvati Research Centre. 
Image result for cern nataraja

WHAT IS ACETYLCHOLINE? AN EXPLORATION OF THE CHOLINERGIC SYSTEM — FUNCTIONS, NEUROCHEMISTRY AND SUPPORT

What is Acetylcholine? An Exploration of the Cholinergic system — Functions, Neurochemistry and Support

INTRODUCTION TO CHOLINE 

Key parts of choline-related signaling include: (1) augmenting the choline pool; (2) choosing choline sources and other nutrients that give full choline pathway support; (3) optimizing acetylcholine turnover (i.e., recycling and breakdown); and (4) supporting balanced signaling and neuroprotection. Supporting pathways and processes that overlap with choline-related signaling is the foundation of a great nootropic stack.* Without adequate levels of choline in the brain (and the ability to use it well), other nootropics are unlikely to work well.*

WHAT IS ACETYLCHOLINE?

Acetylcholine is a neurotransmitter and neuromodulator (i.e., a messenger molecule released by nerve cells to signal and regulate other nerve cells). It plays important roles in cognitive function, most notably, in the neural mechanisms of memory.1 In addition to this memory function, acetylcholine is involved in supporting alertness, attention, and learning. It is also responsible for the neuromuscular junction. It helps skeletal muscle contract and has many health benefits. It plays a huge part in central nervous system, peripheral nervous system and autonomic nervous system.

WHAT DOES ACETYLCHOLINE DO?

Acetylcholine release supports and modulates different types of memory, from working memory to long-term memory, and different phases of memory, from memory formation to consolidation and retrieval. Cholinergic activation in brain areas associated with memory retention and consolidation, such as the hippocampus, the amygdala, and the cerebral cortex, is necessary for these memory processes to unfold.2,3 Deficits in cholinergic function are a major feature of age-related declines in memory, with loss of cholinergic neurons (i.e., the nerve cells that make and release acetylcholine) and decreased ability to make acetylcholine contributing to the poorer memory and attention.4
Acetylcholine also promotes memory formation and consolidation by supporting hippocampal and cortical synaptic plasticity—the ability for strengthening or weakening of signaling between neurons over time to shape learning and memory. Acetylcholine can increase glutamatergic synaptic transmission and enhance the induction and the magnitude of the subset of plasticity called long-term potentiation (LTP).5,6 LTP is the strengthening of synapses based on patterns of neuronal activity and a key cellular mechanism of memory and learning. 
“Groups of nerve cells form neural circuits to carry out small scale functions. Neural circuits interconnect to form large scale brain networks, which carry out more complex functions (e.g., hearing, vision). Acetylcholine is used to get individual nerve cells to work together across these networks.”
The cholinergic system also has an important modulatory effect on executive function, the set of higher-order cognitive processes that underlie our performance of goal-directed behaviors—impulse control, response inhibition, attention, working memory, cognitive flexibility, planning, judgment, and decision-making.7,8 The cholinergic system regulates executive function either by direct action, or by modulating other neurotransmitter systems (e.g., dopamine, norepinephrine, and serotonin signaling). By increasing dopamine release in the prefrontal cortex, it supports task-shifting and attention. Acetylcholine mediates attentional focusing and filtering, which relate to selective attention processes. And it plays a role in the central visual processing necessary to perform any visual attentional task.8,9

ACETYLCHOLINE SYNTHESIS, SIGNALING, AND CLEANUP

Neurotransmitters have several characteristics in common. The first is that they are synthesized (i.e., made) in neurons. After that, they are moved into areas near the end of neurons (synaptic vesicles) where they are stored until needed. This occurs in preparation for signaling, which involves release of the neurotransmitter from the message-sending neuron (presynaptic) into the space between neurons (synaptic cleft), so it can activate (i.e., bind to) receptors on message-receiving neurons (postsynaptic). After this signal is sent, the space between neurons needs to be cleaned up, so it can be made ready for the next time a message needs to be sent. This can be achieved by re-absorbing the neurotransmitter (i.e., reuptake) so it can be reused (recycling), and/or by degrading (inactivating) the neurotransmitter. Let’s explore how these occur with acetylcholine.
Acetylcholine is produced in nerve terminals of cholinergic neurons. This synthesis process uses the enzyme choline acetyltransferase (ChAT) to catalyze the transfer of the acetyl group from acetyl-coenzyme A (acetyl-CoA) to choline (choline synthesis will be discussed in the next section).10 ChAT is the rate-limiting enzyme step (i.e., the slowest step in the pathway, so akin to a bottleneck) in acetylcholine synthesis.
[Note: Enzymes are catalysts used to produce specific biochemical reactions: They usually have names that end in “ase.” Coenzymes are parts of certain enzymes. Many coenzymes are derived from vitamins.]
CoA is synthesized from the essential nutrient vitamin B5 (pantothenic acid).11 CoA is then acetylated to form acetyl-CoA, predominantly via the mitochondrial pyruvate dehydrogenase complex, and then translocated to the cytoplasm.
“The pyruvate dehydrogenase complex consists of 3 enzymes that convert pyruvate (a key intermediate in several metabolic pathways) into acetyl-CoA—vitamins B1 (thiamin) and B3 (niacin) are needed for this complex.”
The availabilities of both acetyl-CoA and choline are determinants of the rate of acetylcholine synthesis in the brain. Choline is taken up by cholinergic neurons from the extracellular fluid by the high-affinity choline uptake transporter (ChT) and accumulates in the synaptic terminal (where it can be combined with acetyl molecules).10 The activity of ChT shows substantial plasticity and can be increased by activation of cholinergic neurons.12 
Neurotransmitters, including acetylcholine, convey information from one neuron (presynaptic or message sender) to other "target" neurons (postsynaptic or message recipients) within neural circuits. After acetylcholine is synthesized, the vesicular acetylcholine transporter (VAChT) transfers acetylcholine into synaptic vesicles, where it is stored in preparation for signaling. Acetylcholine signaling is triggered by calcium (Ca2+) influx into the synaptic terminal caused by an action potential (also called a nerve impulse). This causes release of acetylcholine into the synaptic cleft. 
Once in the synaptic cleft, acetylcholine will bind to and activate its receptors on the postsynaptic neuron (or its presynaptic autoreceptors). This receptor activation elicits a postsynaptic neuron response.13
Acetylcholine exerts its effects by activating two main classes of receptors. The first type are nicotinic acetylcholine receptors (nAChR). These are ligand-gated ion channels (i.e., ionotropic; opening to let charged minerals called ions pass through cell membranes) permeable to sodium (Na+), potassium (K+), and calcium (Ca2+) ions, whose activation causes a fast depolarization and excitation.14
The second type are muscarinic acetylcholine receptors (mAChR). These are G protein-coupled receptors (i.e., metabotropic; acting through intracellular signaling molecules called second messengers) that activate signaling pathways inside cells, whose responses are slower, and may be either excitatory (increased odds that message will be spread through the neural circuit) or inhibitory (decreased odds that message will be spread through the neural circuit), depending on which G-proteins they are coupled to, and, consequently, which signaling pathways they activate.15
Both classes of acetylcholine receptors participate in the mechanisms of memory. Their activation by agonists—compounds that activate receptor to produce a biological response—can support memory formation. Whereas the disruption of their activity by using antagonists —compounds that block the action of the agonist—can negatively affect short- and long-term memory consolidation and retrieval.3,16
The next phase of neurotransmission is cleanup. Signaling is based on relative changes, not absolute amounts. In a dark room the human ear might detect a whisper. In a loud nightclub it might not hear a shout. Neurotransmitters work on a similar principle. Short bursts of acetylcholine produce responses. Between these bursts the space between neurons is turned back into a quiet room by cleaning up the signaling molecules.
Neurotransmitter cleanup is commonly accomplished by (1) transporting some of the neurotransmitter back into cells (reuptake), and (2) inactivating the neurotransmitter that’s left floating in the space between cells. In contrast to most other neurotransmitters, the synaptic action of acetylcholine is not terminated by reuptake. Instead, cleanup is done exclusively using option 2—acetylcholine is quickly eliminated from synapses through enzymatic hydrolysis (i.e., inactivation) by acetylcholinesterase (AChE) to yield choline and acetate.13 The free choline can then be taken up again by the synaptic terminal and recycled to acetylcholine (i.e., starting the synthesis process again).
“Acetylcholinesterase (AChE) enzyme activity plays a large role in acetylcholine signaling because it is the only way to empty the synaptic cleft of acetylcholine.”

CHOLINE SYNTHESIS

Acetylcholine synthesis is dependent on the availability of choline. The Institute of Medicine (IOM) has classified choline as an essential nutrient. While humans can make a small amount of choline in the liver,  it’s primarily provided by the diet. Choline (and its metabolites) serve three main roles in the body. One of these is neurotransmission (as acetylcholine). Another is its use in cell membrane structure and signaling (as phosphatidylcholine). And the third is its use in methylation pathways (as trimethylglycine). 
The main fate of dietary choline is the synthesis of phosphatidylcholine. This occurs via the cytidine diphosphate-choline (CDP-choline) pathway (or Kennedy pathway).17 Phosphatidylcholine accounts for around 95% of the total choline pool in most tissues. The remaining 5% includes free choline, phosphocholine, glycerophosphocholine (GPC), CDP-choline, and acetylcholine, as well as other choline-containing phospholipids.
In the CDP-choline pathway, choline is initially converted to phosphocholine by choline kinase (CK), using ATP (the energy currency of cells) as a phosphate donor. Magnesium is a cofactor for this enzyme reaction. Next comes the rate-limiting step of the pathway. An enzyme called CTP: phosphocholine cytidylyltransferase (CCT) uses cytidine triphosphate (CTP) to convert phosphocholine into CDP­-choline (also known as Citicoline). The CTP used in this step is synthesized from uridine triphosphate, which is produced by phosphorylation of uridine monophosphate. In the last step in the pathway, CDP­-choline is esterified with diacylglycerol (DAG) by cholinephosphotransferase (also called choline/ethanolamine-phosphotransferase [CEPT]) to produce phosphatidylcholine.17 Essential fatty acids (e.g. eicosapentaenoic acid (EPA) and docosahexaenoic acid (DHA)) are involved in the creation of DAG.
Since most choline in the body and brain are in the form of phosphatidylcholine, it serves as a reservoir or pool for choline. Free choline and choline metabolites can be regenerated by the controlled breakdown of phosphatidylcholine.10,17 The main routes for phosphatidylcholine breakdown are via phospholipases that hydrolyze the two acyl chains of phosphatidylcholine to yield free fatty acids and glycerylphosphorylcholine (GPC).10 The subsequent hydrolysis of GPC into glycerol 3-phosphate and choline is catalyzed by glycerophosphodiesterase (GDE) according to cellular needs.
The phosphatidylcholine pool is dynamic and represents a balance between synthesis and degradation. Under low CDP-choline-mediated phosphatidylcholine biosynthesis, the choline moiety of GPC is reused for phosphatidylcholine biosynthesis,18 decreasing its availability for acetylcholine synthesis. On the other hand, when the Kennedy pathway is properly supported, the availability of choline for acetylcholine synthesis is enhanced.
A key point is that choline balance is determined by supply and utilization. The phosphatidylcholine and acetylcholine pathways sit at the crossroads, being involved in the recycling/redistribution of choline. When choline balance is insufficient to meet demands, flows of choline-related molecules through these pathways are regulated in manners that attempt to restore the needed levels of choline and its metabolites, particularly in the liver and brain.19 Because acetylcholine synthesis is highly dependent on choline balance, it can be enhanced by increasing plasma choline levels.20  
“While the brain (and body) will attempt to do the best with available resources, inadequate choline availability is a “Robbing Peter to Pay Paul” scenario, where one choline pathway can be relatively neglected to meet the needs of another. Increasing choline availability can solve this issue.”  

CHOLINE SIGNALING STACK

Key parts of designing a choline stack are: (1) augmenting the choline pool to increase resources needed to make phosphatidylcholine and acetylcholine; (2) giving full pathway support; (3) supporting enzyme functions involved in synthesis pathways, signaling, and cleanup; and (4) promoting balanced signaling and receptor function. Let’s put these pieces together now.
An enhancement of cholinergic activity can be achieved by increasing the synaptic levels and the turnover of acetylcholine. Since acetylcholine does not cross the blood-brain barrier, brain levels of acetylcholine are highly dependent on choline balance and choline availability in the brain, and can therefore be enhanced by increasing plasma and brain choline levels.*20-22
Alpha-glycerophosphocholine (Alpha-GPC), CDP-choline and Uridine Monophosphate support the goals of augmenting choline pools and providing full pathway support. They have different entry points in the CDP-choline (or Kennedy) pathway, which has a central role in choline homeostasis.19 Choline in the Alpha-GPC form enters and augments the choline pool after phosphatidylcholine. Since enzyme reactions in the choline pathways tend to be bidirectional (i.e., they can flow in either direction), increased availability of this intermediate, may allow phosphatidylcholine to be used for other purposes (rather than being broken down to augment choline pools).* CDP-choline is the choline intermediate formed after the rate-limiting step in the CDP-choline pathway. Choline in this form bypasses the bottleneck and supplies choline one step away from the final product in the CDP-choline pathway—phosphatidylcholine.* Uridine Monophosphate is used to make the CTP molecule used as a substrate in the rate-limiting step. Oral uridine monophosphate can increase the brain levels of CDP-choline, so is an indirect (i.e., non-choline) way to support the pathway.* 
Centrophenoxine can contribute to the choline pool and pathways by increasing choline levels in the brain.*23 Centrophenoxine is hydrolyzed to dimethylaminoethanol (DMAE) and p-chlorophenoxyacetic acid (pCPA).24 DMAE can be metabolized to phosphatidylcholine in the liver, which is then hydrolyzed to choline.25
Given the different pharmacokinetics (i.e., absorption and metabolism) and different places these ingredients interact with choline pathways, including Alpha-GPC, CDP-choline, Uridine Monophosphate, and Centrophenoxine for choline signaling support allows for the upregulation of the Kennedy pathway and an increased turnover of the choline/phosphatidylcholine cycle, ultimately producing a higher availability of choline for acetylcholine synthesis.*
Phosphatidylserine—a phospholipid used to promote healthy cell membranes*— can be synthesized from phosphatidylcholine.26 Phosphatidylserine supplementation may decrease the use of phosphatidylcholine for its synthesis, and increase phosphatidylcholine availability for choline regeneration and, consequently, acetylcholine production.* Phosphatidylserine appears to increase acetylcholine release and influence ionotropic acetylcholine receptor function.*27,28
Increased levels of choline are part of the upregulation, but acetylcholine synthesis also requires an availability of acetyl groups. Vitamin B5 (pantothenic acid) is used as a cofactor in CoA synthesis,11 so it contributes to the formation of acetyl-CoA.* In vitro evidence suggests that acetyl groups from compounds such as Acetyl-L-Carnitine or N-Acetyl-L-Tyrosine might contribute to acetylcholine synthesis.*29
The production of acetylcholine can be limited because of the rate of choline uptake by the high-affinity choline uptake transporter in cholinergic synaptic terminals.10 This step can be enhanced by Docosahexaenoic Acid (DHA), a main structural component of neuronal cell membranes, which improves the capacity of the high-affinity choline uptake system to transport choline into neurons, thereby increasing its availability for acetylcholine synthesis.*30 This might be part of the reason that dietary DHA increases acetylcholine levels.*31
Increasing the availability of neuronal choline and acetyl groups is crucial to support acetylcholine synthesis.* It’s also important that choline acetyltransferase (ChAT), the enzyme that synthesizes acetylcholine, be able to keep pace with demands. Bacopa monnieri might increase the activity of ChAT, and consequently, the output of acetylcholine.*32 Bacopa monnieri also may help enhance the effects of acetylcholine by slowing the activity of acetylcholinesterase (AChE), the enzyme that inactivates acetylcholine and terminates signal transmission,32 leaving acetylcholine available to produce greater receptor stimulation.*13 Celastrus paniculatus and Coleus forskohlii might also  influence the activity of AChE.*33,34
"Choline signaling is a big part of our body clock’s daytime neurochemistry. It promotes alert wakefulness. The flip side is sleep. Pathways and enzymes that augment wakefulness (and oppose sleepiness) can indirectly influence choline signaling."
Cholinergic signaling might also be enhanced by other mechanisms. For example, adenosine (a sleep-inducing factor) is a neuromodulator that decreases cholinergic activity.35 Blocking adenosine receptors with antagonist molecules can counter adenosine ’s effects, resulting in increased activity of acetylcholine. Caffeine is a non-selective and high-affinity adenosine receptor antagonist (wakefulness promoting activity of coffee is believed to be related to this effect) and might indirectly enhance cholinergic activity.*35,36 Theobromine (a compound found in chocolate) is also an adenosine receptor antagonist, albeit with lower affinity, slower onset and longer duration of effects than caffeine.*36,37 Quercetin is another adenosine receptor antagonist. Although it is more potent than caffeine under in vitro conditions, its lower bioavailability would be expected to result in much lower effects in the body.*38
Other ingredients that support aspects of choline signaling include:
(1) Vitamin B1 (thiamin or its analog Benfotiamine) and Vitamin B3 (niacinamide) are used in the pyruvate dehydrogenase complex that produces acetyl-CoA;39
(2) Magnesium is a cofactor for the first enzyme (choline kinase [CK]) in the CDP-choline pathway,40 so it is important for supporting conversion of choline into phosphatidylcholine. Magnesium, in its ion form Mg2+, is also involved in balancing ion flows into cell membranes through the nicotinic acetylcholine receptors (nAChR) ionotropic receptors;41
(3) Ginkgo biloba (a neuroadaptogen) appears to have protective and regulatory effects on aspects of acetylcholine signaling;*42,43
(4) Huperzine A (a nootropic compound) has improved acetylcholine levels in animal and human studies and influences cholinesterase enzyme activity.*44-47

WHY SHOULD YOU SUPPORT CHOLINE PATHWAYS AND PROCESSES?

The brain relies on choline for production of (1) phosphatidylcholine, needed for cell membrane structure and signaling, and (2) acetylcholine, a neurotransmitter used processes underlying in memory and attention. Because of these and other roles, choline signaling is critical for brain development, memory,  and cognitive performance. 
Choline is an essential nutrient. It's possible to meet typical needs through a great diet, but research on choline suggests that actual needs can exceed what diet provides in circumstances such as pregnancy and aging. Research also suggests that augmenting the choline pool can have positive effects on attention and memory.*48 While choline nootropic compounds play an important part, other compounds (vitamin and mineral cofactors, neurolipid compounds, etc.) also play roles in acetylcholine signaling. When combined, these ingredients can synergistically enhance cholinergic action through multiple, complementary and interdependent mechanisms. The brain will do its best to regulate choline pools and pathways to meet demands. It has tremendous capabilities to adapt, but these capabilities are not infinite. If forced to it will rob Peter to pay Paul. The goal is to do our best to support it, so it does not have to make this type of a trade-off. 
Nutrients to support choline signaling infographic:
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