ajapati--who (probably
for practical considerations, as better representing the sacrificer, the
earthly ruler, or "lord of the creatures") here takes the place of the
Purusha, the world-man or all-embracing personality--is offered up anew
in every sacrifice; and inasmuch as the very dismemberment of the lord
of creatures, which took place at that archtypal sacrifice, was in
itself the creation of the universe, so every sacrifice is also a
repetition of that first creative act. Thus the periodical sacrifice is
nothing else than a microcosmic representation of the ever-proceeding
destruction and renewal of all cosmic life and matter. The ritualistic
theologians, however, go an important step further by identifying
Prajapati with the performer, or patron, of the sacrifice, the
sacrificer; every sacrifice thus becoming invested--in addition to its
cosmic significance--with the mystic power of regenerating the
sacrificer by cleansing him of all guilt and securing for him a seat in
the eternal abodes.

Whilst forming the central feature of the ritualistic symbolism, this
triad--Prajapati, sacrifice (oblation, victim), sacrificer--is extended
in various ways. 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_. For this reason the altar, as
representative of the universe, is built in five layers, representing
earth, air and heaven, and the intermediate regions; and in the centre
of the altar-site, below the first layer, on a circular gold plate (the
sun), a small golden man (_purusha_) is laid down with his face looking
upwards. This is Prajapati, and the sacrificer, who when regenerated
will pass upwards through the three worlds to the realms of light,
naturally perforated bricks being for this purpose placed in the middle
of the three principal altar-layers. One of the fourteen sections of the
Satapatha-brahmana, the tenth, called _Agni-rahasya_ or "the mystery
of Agni (the god and altar)," is entirely devoted to this feature of the
sacrificial symbolism. Similarly the sacrificer, as the human
representatiye of the Lord of Creatures, is identified with Soma (as the
supreme oblation), with Time, and finally with Death: by the sacrificer
thus becoming Death himself, the fell god ceases to have power over him
and he is assured of everlasting life. And now we ge