An important collateral identification is that of Prajapati (and the sacrificer) with Agni, the god of fire, embodied not only in the offering-fire, but also in the sacred Soma-altar, the technical name of which is agni.
One of the fourteen sections of the Satapathabrahmana, the tenth, called Agni-rahasya or "the mystery of Agni (the god and altar)," is entirely devoted to this feature of the sacrificial symbolism.
He is servant of Agni the god of light and of Varuna the divine judge.
AGNI, the Hindu God of Fire, second only to Indra in the power and importance attributed to him in Vedic mythology.
The sacrifices made to Agni pass to the gods, for Agni is a messenger from and to the gods; but, at the same time, he is more than a mere messenger, he is an immortal, for another hymn runs: "No god indeed, no mortal is beyond the might of thee, the mighty One...
In pictorial art Agni is always represented as red, two-faced, suggesting his destructive and beneficent qualities, and with three legs and seven arms.
The Assinis are of Ashanti origin, and chiefly of the Ochin and Agni tribes.
The Baule, who occupy the central part of the colony, are of Agni-Ashanti origin.
Villamur, and Les Coutumes Agni, by R.
For purposes of ritual, however, the Pleiades, with Agni or " Fire " as their presiding deity, continued to be the first sign.
In Vedic poetry Agni, the fire-god, is footless; and the ancients themselves attributed this lameness to the crooked appearance of flame (Servius on Aen.
He is celebrated as a dual divinity with Indra, Agni, Pushan or Rudra, in other books.
In the Rigveda he is represented as the god of prayer, aiding Indra in his conquest of the cloud-demon, and at times appears to be identified with Agni, god of fire.
After Indra, Agni and Soma, they are the most prominent divinities in the Rig-Veda, and have more than fifty entire hymns addressed to them.
P. 410), he says, " we have a right to explain all that is told of him " (Agni, " fire ") " as originally meant for fire."
Therefore, though we may ascertain that Zeus means " sky " and Agni " fire," we cannot assert, with Max Muller, that all the myths about Agni and Zeus were originally told of fire and sky.
Thus the ghost of the hero or medicine man of a kin or tribe may be raised to divine rank, while again - the doctrine of spirits once developed, and spirits once allotted to the great elemental forces and phenomena of nature, sky, thunder, the sea, the forests - we have the beginnings of departmental deities, such as Agni, god of fire; Poseidon, god of the sea; Zeus, god of the sky - though in recent theories Zeus appears to be regarded as primarily the god of the oak tree, a spirit of vegetation.
Thus Indra is mainly concerned with thunder and other atmospheric phenomena; but Vayu is the wind, the Maruts are wind-gods, Agni is fire or the god of fire, and so connected with lightning.
Space does not permit us to recount the equally puerile and barbarous legends of Vishnu, Agni, the loves of Vivasvat in the form of a horse, the adventures of Soma, nor the Vedic amours (paralleled in several savage mythologies) of Pururavas and Urvasi.2 Divine Myths of Greece.
In Hindu mythology the Maruts, Indra, Agni and Vishnu wage war with the serpent Ahi to deliver the celestial cows or spouses, the waters held captive in the caverns of the clouds.
But Matarigvan was feigned to have brought Agni, fire, and "the fetching of the god was designated by the same verb mathnami as the proper earthly boring" of the firestick.
6 Steinthal goes on: "Thus the fetching of Agni became a robbery of the fire, and the pramatha (fire-stick) a robber.
Of a far more complicated nature than these offerings are the Soma-sacrifices, which, besides the simpler ceremonies of this class, such as the Agnishtoma or "Praise of Agni," also include great state functions, such as the Rajasuya or consecration of a king, and the Asvamedha or horse-sacrifice, which, in addition to the sacrificial rites, have a considerable amount of extraneous, often highly interesting, ceremonial connected with them, which makes them seem to partake largely of the nature of public festivals.