Silviu Lupaşcu
THE RITUAL CENSORSHIP.
THE ANCIENT INDIAN SACRIFICIAL ESTABLISHMENT –
THE EVIDENCE PROVIDED BY SRAUTAKOSA
Abstract: The study focuses on the rethorics embodied in the Ancient Indian sacrifice ritual as depicted in Srautakosa, the ritual sum of the sacrificial norms from the Kalpasutras belonging to various Vedic schools.
Keywords: Antiquity; India; sacrificial ritual; Srautakosa
The Indian tripartite theology, formulated according to the treaty discovered at Bogazkoy (concluded between Mativaza, leader of the Hourrite Empire – situated in the bend of the upper Euphrates, with its capital city at Mitani -, and a Hittite king, his neighbour) and to the Vedic hymns, is implied by the threefold structure Mitra-Varuna / Ind(a)ra / Nasatya or Asvin. The complementarity and solidarity uniting the two “celestial consuls” (the Ouranian deity, concerned with the immensity of the cosmic ensemble, and the so-called “personified Contract”. interested in everything pertaining to the human beings) is completed by the warrior god and by the twin deities of peace, welfare, fertility and liturgical fulfillment. It is worth nothing, for the purpose of our research, that the Hindu ritual canon assigns the perfect offerings to Mitra, while the blemished ones appertain to Varuna. If the mythological architecture of the social hierarchy (brahmanas -ksatriyas -vaisyas or priests-warriors-common people) follows the triune sequence of the godhead, it must be noted that the ritual dialogue engaged between the human society and the divine realm has, as is the case with all the other Indo-European nations, a sacrificial nature (cf. Georges Dumezil, L’ideologie tripartie des Indo-Europeens, p. 8, 34-39, 62-64; also Les dieux souverains des Indo-Europeens, p. 59).
The sacrificial injunctions from the Brahmanas, as re-elaborated in the Srauta-sutras, generated in the corpus of the sacred scriptures the codification of the Hindu animal-sacrifice, called n i r u d h a p a s u b a n d h a (where pasu-bandha can be translated as “animal-binding”) in Sanskrit. In this appendix we will present and comment some of the informations contained in the Srautakosa (Encyclopedia of Vedic Sacrificial Ritual, I, P. II, p. 770-876), priestly and the ritual sum of the sacrificial norms from the Kalpasutras belonging to the various Vedic schools. (According to Katyayana-Srautasutra, Haviryajnavidha -animal-sacrifice consisting in the acomplishment of the rites “from the commencement of the vow up to the stepping of the Visnu-steps” -must be distinguished from Savavidha -animal-sacrifice performed as “ancillary to the Soma-sacrifice”).
To begin with, the scripture carefully enumerates the sacrificial ustensils which, one by one, will be called to ceremonial life during the ritual event, a sort of indispensable “stage requisites” which allow the happening of the sacred slaughter: sticks from the putudru tree (pinus deodara), bdellium, sugandhitejana, a bunch of white wool which has grown between the two horns of a ram, two cords -one with two strands and the other with three strands, two forks (vapasrapani) -one two- pronged and the other one-pronged, heart-pike (hrdayasula), sticks from the karsmarya tree (gmalina arborea), a staff for the maitravaruna from the udumbara tree, sacrificial grass and faggot, a faggot for carrying forth the fire, twig of the plaksa tree (ficus infectoria), idasuna or wooden plank, two darbha –blades, barley, flour, curds and gold (cf. Srautakosa, I, P. II, p. 774).
The nirudhapasubandha is integrated in the cosmological whole, being an essential act in the life of the universe and a central element in the sacrificer’s (or yajnamana, from yajna, “sacrifice”) personal “history of redemption” (major feature and religious significance of yajna-anta or “sacrifice-end”), fact manifest in canonical statements such as: “After having performed the New-moon sacrifice or under some suitable constellation one should perform the animal-sacrifice.” (cf. Baudhayana, 20.25); “One should perform the animal-sacrifice for Indra-Agni once every six months or at the commencement of every course of the sun or once every year.” (cf. Satyasadha, 4.1); “One should perform the animal-sacrifice on the full-moon day or on the new-moon day or under any auspicious constellation in the bright part of the month.” (cf. Vaikhanasa, 10.1-5); “One should perform the animal-sacrifice in the rainy season every year on the new-moon day or on the full-moon day or on the day of the commencement either of the southern course or of the northern course of the sun.” (cf. Katyayana, 6.1.1.); “The time for the animal-sacrifice to be performed in the northern course of the sun does not pass over until the time for the performance of the animal-sacrifice in the southern course of the sun. The time for the animal-sacrifice to be performed in the southern course of the sun does not pass over until the time of the performed of the animal-sacrifice in the northern course of the sun. Thus is the animal-sacrifice concluded.” (cf. Baudhayana, 28.12); “The animal which is offered in a sacrifice endows a sacrificier with long life and surrenders itself for him.” (cf. Apastamba, 7.28.8); “It is said in the scripture that by performing the animal-sacrifice one buys himself off from the death, and one has all his desires fulfilled.” (cf. Vaikhanasa, 10.1-5); “One who performs the animal-sacrifice wins all the worlds.” (cf. Apastamba, 7.1.1).
The scripture (Vaikhanasa, 10.1-5) also prescribes that six priests should officiate in the animal-sacrifice: two brahmans –the brahman and the agnidhra; two hotrs -the hotr and the maitravaruna; two adhvaryus -the adhvaryu and the pratiprasthatr.
As in Ancient Greece, the ritual slaughter, the sacramental culmination expressed in the immolation itself, is preceded by a cultic “construction” of the sacrifice and followed by its “deconstruction”. When running over the stages of the nirudhapasubandha, the analyst has the impression of visualising the “assembling” and the “disassembling” of a material-spiritual-seen-unseen “device” which is minutely prepared for the mysterious purpose of the release of a religious “shot” and afterwards gradually dismantled: the cutting out of the sacrificial post and the preparation of the uttaravedi, the measurement of the altar (with its “navel”), the carrying forth of the fire and the raisingup of the sacrificial post, the formal dedication of the animal, the churning out of the fire and the carrying round of the fire, the immolation (sacrificial act), the offering of the omentum, the offering of the pasupurodasa and the animal’s organs, the anuyajas and the expiation-rites (cf. Srautakosa, I, P. II, p. 770-876).
All the actions accomplished by the priests during the sacrificial time are determined by the mantras or sacred formulas. After the animal had been bathed, the adhvaryu makes it stand in front of the sacrificial post, facing towards the west. Keeping two darbha -blades in his hand, he utters the words for the dedication of the animal (the ritual touch of the blade represents the formal offering of the animal to the divinity).
Afterwards, the adhvaryu must address to the hotr the three injunctions concerning the sacrificial fire: “Do you recite the verses for the fire being churned out.” ; ” Do you recite the fire which has been generated.” ; “Do you recite the verses for the fire being deposited into the ahavaniya fireplace.”
The animal (it must be one out of twins, belonging to a flock, and having mother, father, brother and friend; it must not be impotent, unsteady or deaf –Satyasadha 4.3) is caught with the cord, fastened to the sacrificial post and sprinkled with water on all the parts of he body (“Verily on all sides should one render it sacred.”) before the adhvaryu begins to anoint it with the clarified butter (ghnita). Concerning the anointment, Baudhayana (20.27-28) states that the priest should not dissect the animal with that edge of the knife by means of which he has applied the clarified butter, nor should he cut out portions from the cooked animal by means of that edge of the knife. The agnidhra must go round three times by the right of the animal with a fire-brand taken from the ahavaniya fire, after the adhvaryu addressed the maitravaruna with the command “Do you recite the verses for the fire being carried round.” The ritual dedication of the animal to the divinity consists in its touching by the priest with a darbha -blade, gesture accompanied by the formulas upavir asi and upa devan (cf. Katyayana, 6.3.17-5.4). In the priestly ritual dialogue, the sacrificial knife is introduced by the injunctions “Do you bring hear the knife.” and “Let this edge be known to you.”
For the climax of the sacrificial drama the animal is carried in the sounds of the mantras (nana prano yajamanasya pasuna … and revatir yajnapatim …) and placed upon a
darbha -blade, in the samitra -chamber, to the east or to the north of the sacrificial spot, with its head towards the west and the legs towards the north. The ritual killing must occur in silence (there is no equivalent of the Greek Ololyge) and the animal, when immolated, should be announced. Usually the death by strangulation is followed by the dismemberment of the body. As the moment of the slaughter is imminent, the other priests direct the samitr with the words: “Do you immolate the animal in such a way that it does not make any sound.” and they withdraw in proccesion by the same route which they followed previously in the opposite direction. When the animal is dead, the cord is released and thrown away (cf. Baudhayana, 4.6-7, 20.28-29; Satyasadha, 4.3-4). Katyayana (6.5.5-6.27) prescrobes that the priest should close the animal’s mouth tightly and obstruct its breathing, while it is lying upon the darbha -blade, without allowing any sound to issue from it. The adhvaryu addresses the samitr with the words: “Do you immolate the animal; it has gone to the gods.” After an oblation is offered with the formula svaha devebhyah, the samitr announces: “The animal is immolated” and the adhvaryu answers: “Let it lie for a moment.” (except for the savavidha). The brahman should recite, with reference to the animal being immolated, the half-verse, ye no dvisanty … (cf. Vaitana, 10.14-16.19).
The appeasing of the sacrificial crisis is connected with the entrance on the ritual stage of the sacrificer’s wife. While she is holding a vessel filled with water, the pratiprasthatr introduces her in the cultic area (” O pratiprasthatr, bring forth the sacrificer’s wife.”). With the formula namas ta atana, she looks up at the sun. Directed by the mantras, she moves towards the north and towards the east. When she has reached the samitra -chamber, the adhvaryu commands her to look into the water, at her face reflected in the water, with the formula apo devih suddhayuvah. She must make the various limbs of the animal swell in the following order: the mouth, the nose, the eye, the ear, the navel and the anus, before washing the four legs of the animal joined together. The remaining water must be poured towards the south along the back of the animal (cf. Baudhayana, 20.28-29). The invocation of the elements and the purification with water of the animal’s organs where the four senses are located can be interpreted as a ritual help given to the animal’s soul in order to reach “the other” life, in the divine realm. After the offering of the omentum, all the priests, the sacrificer and his wife should step across and sprinkle themselves with the words: “Come, o sacrificer.”, before all of them may touch water again and take their respective seats (cf. Baudhayana, 24.36). The hotr and the maitravaruna should turn about by the right, while the brahman and the sacrificer should turn about by the left (cf. Asvalayana, 1.4.4-3.7.13). The offering of the omentum is followed by the offering of the pasupurodasa and of the animal’s organs.
We can read in Baudhayana Srautasutra (24.11): “Now will be mentioned the sacrifices to be performed by kings. They are: rajasuya (consecration of a king), asvamedha (horse-sacrifice for territorial expansion), purusamedha (sacrifice of purusa or “primordial man”), sarvamedha, somasava, prthisava, mrtyusava, kanandhayajna and sunaskarnayajna.” Rad-yajna must be remembered in the same context, as a sacrifice performed in order to restore a deposed king to his throne. It is also stated (28.38) that the animal-offerings in the asvamedha should be characterized by mantras recited in low tone (cf. Srautakosa, I, P. II, p.877-952). The renewal of the political power implies, we may presume, not only the sacrificial gain of everlasting power drawn out from the divine sources, but also the stillness of the sacred formulas. The royal sacrifices, therefore, had a manifest political purpose: to gain dominion, to confirm the monarchical authority (cf. Benjamin Walker, The Hindu World, II, p.316-321).
Together with the sacrifice of Yajna (the deer-headed son of Ruchi and husband of Daksina, goddess of the rewards given to the sacrificial priests, Yajna was slain by the monster Virabhadra and afterwards raised to the heavens by Brahma, and transformed into the constellation Mrigasiras or “deer-head”) and with the sacrifice performed by Vaivasvata after the Flood, purusamedha represents a major paradigm of the Hindu ritual. In Samkhya philosophy, purusa is the first principle, the eternal, uncaused and causeless Cosmic Spirit, counterpart of prakriti (cosmic, primordial substance, unevolved matter), theological edifice which reelaborates the Vedic myth (Rig-Veda) according to which from the limbs of the “sacrificed man” emerge all the constituent parts of the universe (cf. B. Walker, II, p. 316; also R.L.Turner, A Comparative Dictionary of the Indo-Aryan Languages, p. 601, where yajniya is translated as “pertaining to the sacrifice” or “suitable for sacrifice”).
The asvamedha, as sacrificial foundation of the royal power, unites and transfigures in the ritual the essential features of warfare, manliness and fertility. The visible ceremonial power displayed by the king is identified with the political power as a whole, with the welfare of the entire people as expression of a wise, strong and well-omened art of governing.
The hymns contained in Rig-Veda (I, 162, 163) seem to describe the two divine hypostasis of the eartly royal power: the sacrificial horse lying on the altar (which is reffered to by the officiant priests with the formula “In heaven you envelop yourselves, for that indeed is heaven where they immolate the victim.”, answered by the mahishi or Queen Consort with the words: “May the vigurous male, the layer of seed, lay seed!”) and the great bird (ritual metamorphosis of the asva) who, according to Satapatha Brahmana (V, p. 315), takes the king-sacrificer to heaven (cf. Margaret and James Stutley, Harper’s Dictionary of Hinduism, p. 24-27). It is interesting to note in this respect that, the horse not being indigenous to India, probably a bull constituted initially the focus of the cult, fact which brings the asvamedha close to the Greek bouphonia as a fundamental of the archaic Indo-European sacrificial worship.
Asvamedha can be understood as a ritual of a military undertaking, with its preliminaries, with (sometimes) the real engagement in the fighting and with the celebration of the victory. From this point of view it presents features of the mannerbunde type, being a sort of feasting of the king’s vigour by the elite of the warriors society. The asva (a white young male) was released in a north-easterly direction (the way towards the gods), the place where the unconquered territory is situated. The wanderings of the horse were considered to define the new frontier of the aggrandized royal feoff. The monarchical authority could thus have been imposed on a forlorn section of the “unknown” land or against the authority of a neighbour king, “clash” between “powers” which could not have occurred without real encounters between the armies of the two kingdoms. The ritual aggressiveness was turned into battle. The eventual defeat of the asva –king had the choice between affirming the preeminence of his own sovereignty on the field or submitting to the “vigour” of the invading king. If everything went well for the asva –monarch, he returned in triumph before the ritual year expired, together with the sacrificial horse and with his followers. According to Taittiriya Brahmana (III, 8.9, 4), a weakling who attempted to perform undeservedly the asvamedha, was doomed to annihilation. The escort was composed of a hundred princes (“born in wedlock”), a hundred sons of chiefs and heralds, and a hundred sons of attendents and charioteers, “all armed according to their rank”. Only those members of the royal entourage who were able to endure all the hardships implied by the enlargement of the king’s estate were allowed to share in the divine –political power procured by the asvamedha. The hieros gamos between the mahishi and the immolated horse represented the conclusion of the king’s consecration, the public proof of his intact and powerful virtues, able to safeguard the well-being of his country and subjects. The religious and political ideals connected with the sacrifice of the horse merged into a sort of theological-sacrificial utopia, implying that the accomplishment of one hundred asvamedhas would enable a mortal king to gain supreme power over Indra, the gods and the entire universe (cf. B.Walter, I, p. 458-459; M.&J.Stutley, p. 24-27).
The religious-political power embodied in the leaders (kings, brahmanas and ksatryas) was regarded as a divine gift, a sort of sacred everlasting substance (earthly hypostasis of the divine power) which had to be ritually guided back to gods in the most cautious way after the decease of the prominent individual who hosted it during his life time. As a consequence, the funeral rite accomplished in these circumstances was assimilated with a sacrifice (cremation) of the dead body to Agni and to the major figures of the Hindu pantheon, ceremony integrated in the Brahmamedha and conducted by the so-called caturhotr –formulas.
Baudhayana Pitrmedha (2.2) recalls the legend about the sleep of Prajapati, as he fell exhausted after the accomplishment of creation. In order to awake him, the gods and the brahmanas collected the essence (the lustre) of the beings, which is lodged in the caturhotr –formulas, also called “the most sacred utterances” or param brahma. The scripture warns against the use of the formulas in the funeral rites performed commonly or in the funeral rites for a deceased “who was not a perceptor or one well-versed in the Veda or a teacher”. The recovery of the essential power of life (embodied in the “pilars” of the earthly establishment) and its return into the divine realm must be regarded as the main feature of the Brahmamedha.
The bhartr –hymn commended the ritual trajectory of the dead body, before he was brought to the sacrificial post, where the wife of the deceased had to lie near it (as in the hieros gamos of the asvamedha) with the patni –formulas. After pieces of gold are placed upon the various limbs of the deceased (for example, the mouth) with the hrdaya –formulas, the sacrificial ustensils must be piled up upon the dead body with the sambhara –formulas. Finally, the dead body is cremated with the jyotismati –formulas.
Vaikhanasa (7.1, 2) expresses with a sort of ecstatic lucidity the ineluctable code of the funeral sacrifice: “There are two sacraments –one pertaining to birth and the other to death. As the result of the first, one wins this world; and as a result of the second, he wins the other world. The cremation of the dead body is said to constitute the sacrement pertaining to death. The offering of a faultless body is very dear to Agni. As the result of this offering, the deceased person goes to the world of gods.” (cf. Srautakosa, I, P. II, p. 1115-1116, p. 1128).
BIBLIOGRAPHY
Georges Dumézil, Les dieux souverains des Indo-Européens, Gallimard, Paris, 1986
Georges Dumézil, L’idéologie tripartie des Indo-Européens, Colléction Latomus, vol. XXXI, Latomus – Revue d’études latines, Bruxelles, 1958
Srautakosa – Encyclopaedia of Vedic Sacrificial Ritual, 4 vol., Vaidika samsodhana mandala, Poona, 1958-1973
Margaret Stutley, James Stutley, Harper’s Dictionary of Hinduism, Harper & Row, New York, Hagerstown, San Francisco & London, 1977
R. L. Turner, A Comparative Dictionary of the Indo-Aryan Languages, Oxford University Press, London & New York, 1966
Benjamin Walker, The Hindu World, 2 vol., Frederick A. Praeger Publishers, New York & Washington D. C., 1968