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C H A P T E R -111
CONTENTS AND CHARACTERISTICS OF THESATAPATHA BRAHMANA
*
P a r t - 1
The Satapatha Brahmana belongs to the While Yajurveda. Scholars are of
opinion that this Brahmana is so called because it consists o f hundred chapters. The
etymology o f this word runs as-follows : satam panthano marga namadhyaya yasya
tacchatapatham} While explaining the sutra viz. satapathavattandyabiidllavinani
brahmanasvarah2, occurring in the Bhdsikasutra the commentator remarked that/ <■ __ ____ 0
Satapatha here means Sata adhyaydh i.e. hundred chapters. Katyayana the great
authority on the Srauiasutra speaks o f patha in the sense o f chapters. It is clear from the
use o f words such as sastipatho sitipatho'navacfyah sammitah pancadasapathah etc. Even
a reader of the Satapatha is known as Satapathika, reader o f hundred chapters. Panini
formulated one aphorism kratukthyadisutrantatthak? According to this sutra, the affix
thak is added in the sense o f one who studies or one who understands, after the name o f a
sacrifice, after ulctha and after a stem ending with the word sutra. Under this sutra there8is a varltika, which states that the affix sikan comes diversely in the same sense after the
compound words Satapatha and Sastipatha. Thus in the sense o f one who studies or
understand there are twofold uses such as, satapathikah, sastipathikah and satapathah or
sastjpathah. The White Yajurveda is said to have atleast fifteen recensions. As this
7 ? I Z .1. Sharma Srtdhara : Satapathabrahmanayopodghatah, pg. 22, appended 10 the
Satapatha Brahmanam published by Jnan Publishing House, Delhi.2. Sharma Sridhara, loc-cit.3. Panini, IV-2-60.
» ‘
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Brahmana belongs to the White Yajurveda, therefore this Brahmana text is originally
found in fifteen recensions. Out o f these only few recensions are available now a days i.e.
the Kama and Madhyandina. Both these recensions possess the chapter division into
Kanda, Adhyaya, Brahmana, Kandika in common. The Madhyandina recension contains
one extra division and that is Prapathaka. While the Sat. Br. in the Madhyandina
recension starts with the Haviryajna, the Sat. Br. in the Kama starts with the Adhana
ceremony only. The Kama Sat. Br. contains 104 chapters while the Sat. Br. in the Ma-
dhyandina recension contains 100 chapters only. Some scholars view that although the
Kama recension possesses more than 100 chapters yet by following the maxim 'chatrino-
— * mm "yantf the excess chapters o f the Sat. Br. in the Kayva recension, cannot be taken as✓
useless and hence the name Sat. Br. belonging to the Kama recension seems to be valid.
For the study o f the myths, the Sat. Br. o f the Madhyandina recension is used mainly.✓ #
The Sat. Br. consists o f fourteen Kandas or great chapters followed by
Prapathakus and again these Prapathakas have their own Brahmanas. These Brahmanas
have their unique passages known as Kaiidikas. Under this special division o f the text o f
this Brahmana, the contents o f this Brahmana is given below :
Kanda-It I
✓The Satapatha Brahmaim starts with the description o f the great Newmoon and
Fullmoon sacrifices (Darsapurnamasayaga). The entire first Kanda which is known asM _.
the Haviryajna kanda consists o f chapters in which this great sacrifice is very elaborately
dealt with. Here it is described that before the performance o f this sacrifice the sacrificer
shall perform the act o f vow, he shall bring water to cleanse the sacrificial vessels to in
stall the krsnajina, shall arrange the kapalas to be used for offering oblations to the
_
presiding deities, to grind the grains, to collect the sacrificial waters and so on so forth.
The description o f the utterance o f different verses quoted from the White Yajurveda are
found accordingly. The praise o f this sacrifice also found in detail in this Kanda. The
determination o f the rules regarding the Samndjya sacrifice is found in the VII chapter o f
this Kanda. Here in this chapter the description o f the Svistakrtyaga is also met with
1-7-3. The description o f Ida ceremony is found in the VIII chapter o f this Brahmana. It
is followed by Anuyagas or after offering. The IX chapter gives in detail the formulas to
be recited by the Hoir during the ceremonies narrated in the preceding Brahmana.
Besides the treatment o f Suktavaka and the Samyavaka and the description o f the
Patnisamyajas are also found in this chapter. Here the Kanda I comes to an end.
Kanda-II* v
The second Kanda begins with Agnyadhana or establishment o f fire. This is also
known as Ekapadika kanda that consists o f six chapters, five Prapathakas and twenty
four Brahmanas. The normal performance o f Agnyadhana requires two days. Here a
round circle for Garhapatya fire, a semicircle for Daksina fire and a square hearth for
AhavanJya fire and their performances take place. The second Kanda centres round the
ceremony o f Punamdhana. Punaradhana means the establishment o f new fire and the
performance involves similar rites and rituals as that o f Agnyadhana. It is followed by the
description o f Agnihoira. Agnihotra literally means the morning and evening milk
offerings. The subsequent chapters deal with the ceremony o f Pindapitryajna. It refers to
the oblation o f cakes to the deceased ancestors mainly. It is followed by the ritual o f
Agrqyanestj. It is a ritual in which consecration o f first fruit is performed. The
Caturmasya or seasonal sacrifice is dealt with in chapter V. The second Kanda concludes
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with the oblation known as Tryamvakahoma. It is a sacrifice in which chief deity is/ _ _ _
Rudra. This chapter holds a description o f the rituals o f the Sakamedha and Swidsiriya in
which offerings are made to Sunasira and with this the Kanda II comes to an end.
Kanda-lII* *
/The third Kanda o f the Sat. Br. deals with the great Soma sacrifice. The contents • \
_ /
of the third and the fourth Kanda o f Sat. Br. form an important part in the great sacrificial9 *
paraphernalia o f Vedas. The Soma ritual also includes an account o f the animal offering.
The entire third Kanda is known as Adhvara that consists o f nine chapters, seven
Prapathakas and thirty seven Brahmanas in which this great sacrifice is very elaborately* 9
described. Agnistoma sacrifice is the model o f all Soma sacrifices. It is the simplest of all
the Soma sacrifice and occupies one sutya day in which Soma is pressed and offered
thrice. The preparation o f the Soma juice to be offered here takes several days. The same
Kanda deals with the initiation ceremony called Dlksa or consecration. The Prayaniyesti
(opening sacrifice) is described in the chapter II. The chapter IV gives the description of
the Atithyesti. The preparation for Soma-altar and details o f the pressing place are found
in the chapter V here. The animal sacrifice to Agni and Soma, setting up o f sacrificial
stake, slaying o f victim are described in the chapter VII. The chapter VIII deals with the
oblations o f cake and omentum. The chapter IX mainly holds a discussion on the day o f_ /
Soma feast. With this the third Kanda of the Sat. Br. comes to an end.* *
Kanda IV• *
The fourth Kanda is nothing but a continuation o f the Soma sacrifice. This Kanda
consists of six chapters, five Prapathakas and thirty nine Brahmanas. The first chapter
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gives the description o f Grahayagah such as Antaryamagrahah > Maitravarunagraha- / s
Asvinagrahah^A indravayavagraha} etc. The chapter II deals with Sukramanthigraha,
Agrayana graha, Ukthyagraha, and Dhruvagraha etc. This is followed by Ritugrahah,
Vaisvadevagraha, Mahendra graha, Daksinadanam, Adityagraha, Dadhigraha or4 *
libation to the seasons. The chapter IV deals with the description o f the Savitragraha,s' _
Vaisvadevagraha }Saumyascaru, Patnivatagraha, Hariyojanagraha,Samista yajuh, and
Avahhrithasnanam. The chapter V deals with the Udayaniyesti, Anubandhyayaga,- - _
Udavasaniyesii, Sodasigraha, Jyotistoumika etc. The last chapter o f the fourth Kanda
mainly deals with Amsugraha, Gavamayana and ends with the description o f the Diksd orf •
consecration for sacrificial session.
The third and the fourth Kandas are chiefly dealt with a detailed discussion o f the
simplest form of complete Soma sacrifice. The Agnistoma serves as a model for all other
kinds o f Ekaha Soma sacrifices. The Ekaha sacrifices are those which have a single
pressing day, consisting o f three libations ....................... .......... ... .
Kanda-V► #
/ '
The entire fifth Kanda o f the Sat. Br. known as Sava, consists o f five chapters,* *
four Prapathakas and twenty five Brahmanas. The fifth Kanda deals with two important
sacrifices viz. Vajapeya and Rajasuya. The Vajapeya is open to Brahmana, the Rajanya
and to the Vaisya. Rajasuya is purely a Ksatriya ceremony.
The fifth Kanda starts with the description o f the Vajapeya sacrifice. It is
followed by consecration, animal victims, the mounting o f sacrificial post and victory
formulas etc. The Vajapeya is recognised as one o f the different forms o f Soma sacrifice.
The chapter II deals with the Rajasuya or "Inauguration" o f a king. In this chapter the
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description o f prelim inary offerings are found. T he offerings called Rainahavimsi are
offered to the houses o f the je w els o f the king, his w ive s etc. Then com es Kesavapaniya
rites. T he preparation o f Dasapeya offerings for w h ich the D iksa consists o f ten is
described in the last chapter o f the Kanda V . There are also number o f minor offerings to
propitiate the quarter to win the season for Adili, M aruts and A ll G ods etc.
KandaVI* #.
T his Kanda starts w ith the description o f Agnicayana o r building o f the fire altar.
The main object o f this cerem ony is the super exaltation o f A gn i, the Fire, who is
identified w ith Prajapati, the lord o f creation and source o f life in this w orld. T h e name
o f this K anda is Ukliasambharanam. T his Kanda consists o f eight chapters five
Prapathakas and thirty nine Brahmanas. T h e creation o f this universe is described in the
chapter I. The chapter II contains the description o f anim al sacrifices, layers and bricks o f
the altar. This is follow ed b y Savitra libation. T h e chapter I V g ives the description o f the
m aking o f the Fire-pan and d iggin g w h ich is fo llow ed b y D iksa o r initiation in the
chapter V , T he V II chapter describes the Visnustrides and the last chapter describes the
Ukthya A gni and here the Kanda V I com es to an end.
Kanda-VII* * ■
The seventh Kanda is a continuation o f the chapter V I w here the building o f the
fire altar is narrated. T his Kanda is kn ow n as Hasiighatanama Kanda. It consist o f five
chapters, four Prapathakas and tw enty five Brahmanas. In the chapter I the description
o f the Garhapatya A gni is found. That is the householder's fire, whidb represent the
sacrificer's dom estic hearth. The third chapter contains the preparation o f the Ahavaniya
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fire altar, ploughing, watering and sowing o f grounds. Bricks o f the first layer o f the fire
altar is described in the chapter IV. The four sets o f bricks are placed in the middle o f the
four sides o f the square body of the fire altar. The altar is built in the shape o f a bird
flying eastwards. This Kanda is concluded with the description o f the building o f the fire
altar by the sacrificer with a view to securing for himself a place in heaven.
Kanda-VIII* *
The eighth Kanda, known as Citih Kanda consists o f seven chapters, four
Prapalhakas and twenty seven Brahmanas. This Kanda is also a continuation o f the
previous Kanda. We here get the description o f the fire altar. The process o f building the
fire altar is found here in this Kanda very extensively. In the chapter I we get the
description o f the construction o f bricks meant for the altar. It is followed by the
enumeration o f different names for the bricks used in the fire altar. Some o f these are
named as Asvini, Ritavya Vaisvadevi etc. The names o f the bricks used in the third layers
also Disya, Visvajyotih, Lokamprna etc. Chapter VI deals with the uses o f gold. Here we
found the scattering o f hundred chips o f gold on altar. In the same way, here we get the
symbolical meaning o f layers used in the alfSr and the eighth Kanda comes to an end.
Kanda-IX* »
The ninth Kanda is known as Samcitih. This Kanda consists o f five chapters, four
Prapalhakas and fifteen Brahmanas. The first chapter deals with Satarudriya karma. It isa
followed by the preparation for Soma sacrifice. Then it follows the description of
consecration. The chapter IV deals with preparatory rites o f Soma sacrifice. The
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description o f rules for a repeated Agnicayana is found and the ninth Kanda com es to an
end w ith the propitiatory hym ns to Indra and Agtti.
Kanda-X* t
The tenth Kanda is know n as Agni-Rahasya. It consists o f s ix chapters, four
Prapathakas and thirty one Brdhmanas. In this chapters w e get the description o f layers
o f the altar bird. It is here laid dow n the fixation o f tim e for building the fire altar. The
layers o f the altar are arranged to represent the earth, air and heaven, so the fire-pan is a
co p y o f the three worlds. T h e description o f Prajapati (the year), the king Som a (the
moon) are also found in the chapter IV . There are also description o f gold plate i.e. a gold
man (i.e. Sun) in this chapter. The chapter V m ainly deals w ith the narration o f mind in
the context o f building the fire altar. It is fo llow ed b y the description o f s e l f and here this
Kanda com es to and end.*
Kanda-XI• *
/
T h e eleventh Kanda deals w ith sacrifices treated in the previous K anda o f the Sat.
Br. T his Kanda is know n as Astadhyayi. It consists o f eight chapters, fou r Prapathakas
and forty tw o Brahmanas. T he first chapter deals w ith the N e w and F ull M o o n sacrifices,
the seasonal offerings, the Agnihotra and the A n im al sacrifices. It is fo llow ed b y the
description o f the duties o f the Brahm atpcal students. It is here w e find the fam ous m yth
o f Pururavas and Urvasi in the chapter V . The chapter V I contains important cosm ogonic
legend o f the golden eg g from w h ich Prajapati w as bom at the beginning o f the
evolution o f this universe. T he last chapter g ives the description o f the anim al sacrifice
and here the Kanda X I com es to an end.« »
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Kanda-XIIi
T h e t w e l f t h K a n d a i . e . M a d h y a m a K a n d a c o n s i s t s o f n i n e c h a p t e r s , f o u r
P r a p a l h a k a s a n d t w e n t y n i n e B r a h m a n a s . T h i s K a n d a t r e a t s o f t h e G a v a m a y a n a o r m o s t
c o m m o n s a c r i f i c i a l s e s s i o n s l a s t i n g f o r a y e a r . I t i s f o l l o w e d b y e x p i a t o r y c e r e m o n i e s o f
t h e A g n i h o t r a a n d a l s o t h e d e a t h o f A g n i h o t r i n , t h e b u r i a l o f t h e d e a d b o d y o f t h e
p e r f o r m e r o f t h e A g n i h o t r a . T h e n t h e d e s c r i p t i o n o f S a u t r a m a n i y a g a , c o n s e c r a t i o n o f t h e
s a c r i f i c e s a n d t h e A v a b h r t h a o r p u r i f i c a t o r y r i t e s a r e f o u n d h e r e .
Kanda-XIII* +
T h e t h i r t e e n t h K a n d a b e g i n s w i t h t h e d e s c r i p t i o n o f t h e A s v a m e d h a s a c r i f i c e . T h i s
K a n d a i s k n o w n a s A s v a m e d h a K a n d a . I t c o n s i s t s o f e i g h t c h a p t e r s , f o u r P r a p a t h a k a s
a n d f o r t y t h r e e B r a h m a n a s . T h e c h a p t e r s I t o V m a i n l y d e a l w i t h t h e s a c r i f i c e s l i k e
A s v a m e d h a , P r a y a s c i t t a e t c . T h e s e a r e f o l l o w e d b y P u r u s a m e d h a . T h e P u r u s a m e d h a o r
t h e h u m a n s a c r i f i c e i s a l s o a v a r i a t i o n o f S o m a s a c r i f i c e a n d i s b a s e d o n " H o r s e -
s a c r i f i c e " . I n s t e a d o f a n i m a l s h u m a n b e i n g s a r e o f f e r e d a s o b l a t i o n s b u t t h e o f f e r i n g i s
o n l y s y m b o l i c a l . T h e c h a p t e r V I I d e a l s w i t h a n o t h e r s a c r i f i c e k n o w n a s S a r v a m e d h a o r
" A l l s a c r i f i c e " . I t i s a l s o a v a r i e t y o f S o m a s a c r i f i c e c o v e r i n g t e n d a y s o n l y . T h i s s a c r i f i c e
w a s p e r f o r m e d w i t h a d i f f e r e n t e n d i n v i e w . H e r e t h i s K a n d a c o m e s t o a n e n d .
Kanda-XIV• #
T h e l a s t K a n d a o f t h e S a t . B r . i . e . t h e f o u r t e e n t h K a n d a c o n s i s t s o f n i n e c h a p t e r s ,
s e v e n P r a p a t h a k a s a n d f i f t y B r a h m a n a s . T h e f i r s t t h r e e c h a p t e r s m a i n l y d e a l w i t h t h e
i m p o r t a n t c e r e m o n y k n o w n a s P r a v a r g y a w h i c h i s p e r f o r m e d o n t h e U p a s a d d a y s o f
S o m a s a c r i f i c e s . I t i s f o l l o w e d b y t h e d e s c r i p t i o n o f M a h d v i r a , G h a r m a , B r a h m a v i d y a e t c .
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The last six chapters are purely speculative and o f legendary character. These six
chapters are known as the famous Brhadaranyakopanisat. This Upanisad is deliberated
under three heads viz. Madhu Kanda, Yajnavalkya Kanda and lastly the Khila Kanda.
Each o f these three Kandas contain two chapters i.e. adhyayas.
The chapter IV here in this Kanda deals, with Prana as a symbol o f soul and then
with the creation o f the world out o f the Atman or Brahman and existence o f the supreme
soul which appears in every individual as his self. The next chapter deals with nature of
Atman and its manifestations as Purusa and Prana. Brahman pervades the universe.
Atman according to this Upanisatt\s manifested in man. Then the praise o f Eternal is held
here beautifully.
The second part consists o f four philosophical discussions in which Yajnavalkya
is the chief speaker. Brahman is theoretically unknowable but can be comprehended
practically. The second deliberation is found in the form o f a dialogue between king
Janaka and Yajnavalkya on the nature o f Brahman. That the Atman is indestructible
independent, immovable is described here in this chapter. The third discourse too is a
famous dialogue between Janaka and Yajnavalkya. It presents a picture o f soul in
dreaming, waking, deep sleep, transmigration and salvation etc. The fourth discourse here
in this chapter is another well known dialogue between Yajnavalkya and his wife
Maitreyi. This dialogue occurred when the sage was ready to renounce the earthly life
and enter into Sanyasa Dharma. Replying to a question o f his wife Maitreyi, he delivered
that the knowledge o f the self is the only way to get immortality and nothing else.
The last part deals with a long deliberation on the doctrine o f transmigration of
self. Here the Sat. Br. ends.
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Part- II
CHARACTERISTICS OF THE SATAPATIIA BRAHMANA
The ^atapatha. Brahmana is next to the kg.veda the most important production in
the whole range o f vedic literature. This Brahmana is a running commentary on the
Vajasaneyi Samhila. According to Wintemitz, "this is the best known, the most
extensive and on account o f its contents the most important o f a llthe Bmhmanas* The~
Sal. Br. is the source book o f important data, noteworthy event and narratives. The main
topic of this Brahmana is the sacrifice. Almost all the vedic sacrifices are here dealt with
such as the Darsdpuriiamasesii, Agrayanesti, Pasiiyaga, Somayaga, Jyotistoma,
Vajapeya, Rajasuya, Asvamedha, Purusamedha, Sarvamedha sacrifices and so on so
forth. According to W in tem itz /’the Brahmanas are as invaluable authorities to the
student of religion for the history o f sacrifice and priesthood, as the Samhita of the
Yajurveda are for the histoiy o f prayer." 4 5 According to Pt. Yogiraj Basu "the sacrifice is
described as the safe boat, the strong vessel which takes the sacrificer across the troubled
waters to the peaceful shore. The sacrifice is the vessel where one can easily cross."6 7 In
many places sacrifice is identified with Visnu and creator Prajapati. The ritual
explanation o f the white Yajurveda is found in complete form in the Sal. Br?
This Brahmana also throws light on the earliest speculations on metaphysics and
linguistics. Here is a passage from this Brahmana which points out the metaphysics, i.e.
suryo ha; va a g n ih o tra m / iadyadetasya agre ahu terudait, ta stnd tsuryo '
4. Wintcrnitz, M., History of Indian Literature, pg. 168.5. Winlernitz, M., History of Indian Literature, pg. 164.6. Basu Jogiral, India of the age of the Brahmana, pg. 140.7. Sat. Br, I-I- 4-9. yajno vai visnuh,
30
agnihotram / . .........sa yathdhistvaco nirmucyeta evam ratreh papmano nirmucyate /
yattia ha va ahistvaco nirmucyeta evam sarvasmatpapniano nirmucyate - ya evam
vidvanagnihotram juhoti / tadetasyaivanu prajapatimimah sarvah praja-,anuprajayante /
vi hi spy ante yathart ham, 8 i.e. While describing the Agnihotra sacrifice the seer
compares this sacrifice with the shining sun. He says, Agnihotra doubtless is the sun. It
is because he rose in front o f that offering, that the Agnihotra is the sun. Even as a
snake frees itself from its skin, so does it (the sunchild) free itself from the night, from
evil and verily whosoever knowing this, offers the Agnihotra he frees himself from all
evil, and after his birth all these creatures are bom; for they are set free according to they
are inclination.
Linguistics/
The seers o f the Sat. Br. are very much concerned about the correct pronunciation
o f word. Thus the Vedic ortheopy was found fast developing during this age. An example
may be cited here showing the correct pronunciation o f words in the ritual e.g. in the•-J __
Haviryajnakanda, on one occasion, the Agnidhra is narrated as having a dialogue with
the Adhvryu relating to correct pronunciation such as - athaha- samvadasva iti /
samvddayainam devairityevaitadaha / aganagrit, iti agan khalvityevaitadalm /
aganititarah / pratyaha sravaya iti, tafn vai devaih sravaya,
tamanubodhayetyevaitadaha / srausad iti — vidurva enain, anu -va enamabhutsat- —
ityevaitadaha / evamdhvaryuscdgnicca devalokam yajamanamapinayatah / 9 i.e. "He (the
Agnidhra) then says (to the Adhvaryu) 'Discourse together1 - he thereby says, make him--------------------7--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- ----------— ---------------------------- *
8. Sat. Br. 11-3-1-1,6.
9. Sat. Br. 1-8-3-20.
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(the sacrifice!-) discourse with the gods (he Adhvaryu asks) 'Has he gone (to the gods)
Agnidh ? Whereby he says, Has he really gone? He has gone' replies the other 'Bid (the
gods) hear.' By these words he (the Adhvaryu) means to say, "Make him (the sacrifice^
be heard, make him be noticed by the gods." May (one or they) hear (sraushat) thereby
he (the Agnidhra) means to say, 'They know him, they have recognised him. Thus the
Adhvaryu and the Agnidhra lead the sacrificer to the world o f the gods."
To these are added symbolical interpretation and speculative discourses on the
prominent ceremonies. The sacrifice is called a power which overwhelms all indeed a
creative force o f nature.
Myths and Legends
The beginning o f epic poetry reaches back to the period of the Sat. Br. The two
legends, in the Sat. Br. for example appear to furnish the great classical poet Kalidasa
with the plots o f two of his most famous dramas i.e. Vikramorvasiyam and Abhijnana-/ -
Sakuntalam. Vikramorvasiyam is based on the story o f the love and separation of
Pururavas and Urvasi (Sat. Br. XI. 5.1) and the other that o f Dusyanta and Sakuntala
r(Sal. Br. XI1I-5-15). Here we also find the most interesting legend that o f the Deluge or
the flood (1.8,1-6). The Deluge story narrated in this Brahmana may be said as the first
o f its type in Indian literature. It appears to be derived from a Semitic source. This legend
shows how the human race was renewed through Manu the Primeval Being. The
numerous narratives such as that o f Vak lioness (III. 5.1), the story of Indram d Vrtra
(1 .1. 3), the story of sacrifice assuming the form o f black antelope (I. I. 4.1), the story of
Mamt'S hull (I. I. 4), Dwarf incarnation o f Visnu (1.1. 5), the story o f Prajdpati (l. 7, 4.1),
the story o f bird that fetched Soma from the Heaven (III. 2. 4. 1), the story o f the boar and
32
the earth (XIV 1.2), the story o f Prajapati taking the form of a horse (VII 3.2) etc. are /
found in the Sat Br. These stories show how metaphysical thought gets united with the
explanation of sacrificial direction and these narratives are o f great importance since they
are the oldest source o f many classical Sanskrit literature. Indian prose literature owes its
origin to this Brahmana literature in particular. Bana's prose appears to have a close
similarity with that o f the Sat. Br. Here citations o f prose style o f both these literatures
are given below viz. Sat. B r - sayadipurd manusim vacaih vyaharet iairovaisnavimrcam* r • *
---- ---- ^ t-y
va yajarva japet / yajno vai visnuh / tadyajnam punararabhate / tasyo haisa
prayascittih.*
tatah prabhrli sutaram devataradhanesu brahmampujasu gurujanasaparyasu
cadaravati babhuva / yadyacca kimcitkuluiasciechusrdva garbhatrsnaya tat tatf « ii
sarvamcakara ,
Historical
Many historical data are traced to this Brahmana. It is found that although the
Samhitd literature does not mention the countries like Kosala and Vide ha, yet we come/ •
across the names o f these two states in the Sat. Br. (I. 4. 1). Here it is laid down as -
Yidegha Mathava, the king of the Videha along with his priest Gotama Rahugana is
described as carrying the sacred fire eastward from the banks o f the Sarasvati over
Kosala across the river Sadanira and finally settling at Videha. Besides, we find king
Ajatasatru and king Janaka reigning over Kasi and Videha who were leaders of Aryan
thought and great patron o f learning such as etaya vai bhadrasendmajatasatravamaruni-
10. Sal. Br., I-1-4-9.11. Kale. MLR., Kadambari written by Sri Bana, Motilal Banarasidass, 1968, pg. 108.12. Sat Br.. 1.4.1.1.vutegho ha mathavovai/vanara mukhe bahlfara tasya gotama
rahiTgana purohita a sa /
33
rabhicacara13 etc. Kurus and Srinjayas were also referred to in this Brahmana.l4 This✓
Brahmana is unique in showing the development o f criticism in India. The Sat. Br.*
clearly states that "there are four castes viz. -Brahmana, Rajanya, Vaisya and Sudra,"15 It
is stated here that only the higher three castes Brahmana, Rajanya and Vaisya are eligible
to perform sacrifices. Sudras were not allowed to sit in the line o f Brahmanas./
The conception of Brahman as the imperishable and absolute appears in the Sat
Br. The Brhadaranyakopanisat is the greatest o f all Upanisads. It is said that this Upanisat
is not4onely one o f the greatest Upanisat but also laden with deep structure which proves
its magnitude in form and meaning. It is highly an informative Upanisat introducing the
different philosophical ideas. For instance ideas on morality, creativity etc. may be
mentioned. The fundamental doctrine o f this Upanisat is that, universe is Brahman and
Brahman Is Atman.17*
✓Etymologies are abounds in the Sat Br. As for instance the name o f Indra is
derived from Indh, 'to kindle' and therefore he is called Indra.18 The word Ulukhala is
derived from Uru karat19 i.e. it shall make wide.
13. s it Br. V-5-5-14. _14. Sat Br. 11-4-4-5. teno ha tala ije devabhago srautarsah / sa ubhayegsam kurunam
ca srtijay&nam ca purohita ~asa.
15. Sat. Br. V-5-4-9 catvaro vai vartiah brahmanah rajanya vaisah sudra/ca.
16. Sat Br. lll-l-l-9brah m an o va rajanyo va vaifyo va te hi yajniyah.
17. Sat Br. XIV-2-5-1, yah ay am at ma idam amrtamidath brahmedaih sarvam./ ’ * ___
18. Sat Br. VI-1-2, esa evendrah/ tanesa pranan madhyatah indriyenaindha /yadaindhe tasniadindhah / indho ha vai ianindra ityacaksate paroksam/
paroksakama hi devah/ lo'sapta nana purufanasrjaia.19. Sat. Br. V1I-5-1-22 yadabravidudabharsitnmetitasmadudumbharah / udumbaraho
ha vai tamudumbara ityacaksate paroksam / paraksakama hi devah /
urumekaradiiti tasmadurukaram / urukaram havai tadulukhalamityacaksate /
34
It is in this Brahmana that we find the beginning of science of mathamatics.20
The geometrical 21 ideas are evident from the fire alter. As for example - lam va^ . t i ..................L
angulibhirmimite puruso vai yajnah / (eiiedam sarvamitam / tasyaisavama matra
yadangulagnayah / tadayasyavama matra tdmasya tadapnoti / tayainam tanmimite i.e.,
he measures it (the fire altar) by finger breaths for the sacrifice being a man it is by means
of him that everything is measured here. Now these, to wit, the fingers are the lowest
measure, he thus secures for him (the sacrificial man) that lowest measure of his and
therewith he thus measures. Another citation belonging to this Brahmana (X-2-1-3) runs
as follows : caturvimsatyangulibhirmimite caturvimsatyaksara vai gayatri / gayatrognih
yavanagnryavatyasya matra tavaiaivaimm tanmimite i.e., he measures by twenty four
fingers breaths the Gayatri verse consists of twenty four syllables and Agni is of Gayatri
nature, as great as Agni is, as great as is his measure, by so much he thus measures him.
The geomatrical ideas are too evident from the direction of Brahmana as given to
construct the various types of Vedis i.e. Ah'avaniya, Garhapatya and Daksindgni.
Symbolism22 plays an important role in the speculations on the sacrifice in this
Brahmana. The sacrificial altar has been symbolised as a beautiful woman. It gives us
information upon the ancient ideas of feminine beauty.
/ _ /20. Sat. Hr. VI-8-2-7. caturbhirapadatte tad ye catuspadah pasavah
tairevainametatsambharati aihoannarh vai pasavah canne naivainametat* * *
samhharati iribhirahhyabaharatitat sapta. saptacitikognih saptartfyvahsamhaisarah sambvatsarognih yananayninyanatryasya matra tavat tadbhavali /
/ ' *21. Sat Hr. X-2-1-2.22 . Sat Br. I-3-3-8. yosa vai vedih / tametaddevascaparyasate, ye ceme bfahmanah
/u/ruvamso' imcanah/ tesvevainametat paryasinesvanagnam karoti-ahagnataya* . ^ * *
evajlaMiiadharhi.sIrnati/
35
Pt. Y o g ira j V asu holds, "the m ystic interpretation o f the fire altar recorded in the
/Sat. Br. discussed under the 'Theory o f sacrifice' merits great importance as it is sym bolic
o f creation and effects com plete identification o f the Prajapati, sacrifice^ sacrifice, fire,
altar, the sun-god, year and the perform ing priests w ith one another. The structure o f the
fire altar with ten thousand eight hundred bricks is a standing testim ony to the
architecture o f the later V edic age . " 23
The Satapatha Brahmana is the best among a ll the Brahmana literatures available
in our tradition. A ll the six principal features o f this typ e o f literature such as Vidhi,
Arihavdda, Ninda, Prasamsa, Purakalpa and Parakrti are beautifully held here among
the com plex sacrificial paraphernalia. Citations o f these features from tht-Sat. Br. are
m ade here for better assessment.
Vidhi or Injunction
Relating to the speculations on the sacrifices in the Brahmana literatures, the term
Vidhi stands for rules or injunctions on the perform ance o f V ed ic rites. T o this category
all these sentences in this Brahmaya as are referred w hich contain an order expressed in
the potential mood, such as yajeta, he ought to sacrifice, samsyet, he ought to repeat,
kuryat, he ought to proceed etc. This is the principal part o f the Brahmana and it is
/sim ply authoritative. T o quote a passage from the Sat. B r., w here the rules to be follow ed
by consecrated persons are put forwarded such as - aparahne dikseta / pura kesasma/ror
vapanad - yatkam ayeta- tadasniyad/ yadva sampadyeta / vratam hyevasyato'sanam
- f t - - S ~ ~bhavati / ydya' nasisised - api kamam nasrtiyat / i . e . , "let him perform the rite o f
consecration (diksha) in the afternoon. Previously to the shaving o f his hair and beard he
23. Basil Yogiraj, ibid., pg. 246.
36
ma> eat of what he likes or whatever comes to hand for hereafter his food consists of
fast-milk (vrata) only. But if he does not care to eat, he need not eat anything."24
Arthavada
A Vidhi is always followed by an Arthavada. Arthavada is nothing but the
explanatory remarks on the meaning o f mantras and particular rites. This speculative part
of the Brahmam literature contains the germs o f almost all the Indian philosophy and is
therefore o f great importance. As for example- sa vai s'rucah sammarsti f ladyatsrucah
sammarsti yalha vai devanam caranam ladva anu manusydndmf / tasinadyadd~
manusyanam parivesauamupakliptam bhavatij Sat. Br. 1.3.1. I i.e. "he (the Agnidhra)
now brushes the spoons (with the grass ends). The reason why he brushes the spoons is
that the course pursued among the gods is in accordance with that pursued among men."
Ninda
Ninda’ or censure refers to the controversial remarks contained in the Brahmam0
texts. There was difference of opinion almost the divines and priest o f antiquity as to the
performance of certain rite or the choice of a particular mantra or their meaning. One
criticised the practice o f the other and condemned it in the strongest terms. As for
example - at ha to 'sanas drysyai va / tadu hasadah savayasdnasanameva vrataih mene /
m am hai vai deva manusyasyajamnli, ta enametad vratamupayaniam viduh-
pratarnohyaksate iti. / te'sya visvedevcf grhanagacchanti, le'sya grhesupavasdnti sa* • * *
/upavasathah (Sal. Br. I-l-I-7,9) i.e. Now then o f the eating or fasting and on this point
Ashadha Savayasa on the one hand, was of opinion that the vow consisted in fasting . For
24. Sat. Br. HM-2-1.
37
assuredly, (he argued) the gods see through the mind of man:' they know that, when he
enters on this vow, he means to sacrifice to them the next morning. Therefore all the godsc-
betake themselves to his house, and abide by (him or the fires, upavas) in his house,
when this (day) is called upavasatha.
PrasainsaPrasamsa means praise or recommendation such as - "yajno vai visnuh"2S means
Visnu is the sacrifice. The sacrifice is Visnu for the reason that Visnu by striding he
obtained for the gods this all pervading power which belongs to them. This is the reason
why the sacrifice is Visnu.* «
PurakalpaUnder the heads o f Purakalpa comes numerous stories o f Itihasa, Akhyana and
Upakhyana etc. As for instance the Indra Vrtra M yth.26 This interesting part forms the
historical background of the sacrificial art. According to this part, the gods are the
originators of all rites.
Parakrti*
Parakrti comprises the stories o f particular performance o f renowned srotriyas or
sacrificial priests o f gift presented by the yajamana or sacrifieer to the Brdhmana. As for
Example- athaitam sa hiranyapatrameva madhugraham brahmane dadat 'F i.e. the cup
of honey he presents to the Brahman together with the golden vessel.r _
25. Sat. Hr. I,I. 2.13. yajno vai visnuh / sa devebhyah imam vikrantim vicakrame/vatsamiyam vikranlih/ idameva prathamena padena paspara, athedamantariksam
* mdvihyena, divamuttamena //
2(>. Sat Hr. U . 3 .4 27. Sat Hr. V-I-5-28
38
The Satapatha Brahmana is the invaluable document on Indian astronomy too.
The seers of this Brahmana seem to be inspired passages o f the Regveda and they thus
carryout and inscribed in detail the idea o f the intercalary month in this work. There are/
numerous passages in the Sat. Br. where astronomy has been discussed and intercalary
month mentioned.28 Agriculture seems to have been developed fully at the time of Sat-
Br. In the Kanda VH there are discussions on the minutes o f agriculture in India. As for
- — _ — sexample - pratyetya prayoniyena pracarati / prayaniyena pracarya siram yunakti /
etadva enath devah samskarisyantah purastadeva samardhyan / tathaivainamayam
etatsamskarisyan purasiad atmena samardhayati / siram bhavati / seram haitad-yat / * *
siram/ iramevasmimietaddadhalij29 i.e. having returned he proceeds with the opening
sacrifice. Having performed the opening sacrifice he yokes plough. For the gods at the
time being about to heal him first supplied him with food, and in like manner does this,
he is about to heal him first supply him with food it is the plough (sira) for sira the same
as sera he does puts food into him.✓
In this way an overview on the varied contents and characteristics o f the Sat. Br.
proves that this Brahmapa is really anc^ important source book for ancient Indian religion
culture language and community in general.
28. Sat. Br. 1-6-4-12,13.vartraghnam vai paurnamasam / indro hyetena vrtramahan / athaiiadevavrtrahatyam, yadamavasyam / vrtramhyasma etajjadhnusa apyayanamakurvan/
tadva eladeva vartraghnam yat paurna masam/ aihaisa eva vrtjra yaccandramah sa
vatraisa etam rdirim na purostanna pasvaddadrse tad enametena sarvarii hanti,* / *
nasva klmcana parisinasti. f '
29. Sat Br. VU-2-2-2.