The Apastamba Gṛhya Sūtra is one of the Gr̥hya Sūtras that lay down procedures for domestic rites, including marriage. Among followers of the Taittirīya branch of the Kṛṣṇa Yajurveda, it is the most widely followed and best-preserved Gr̥hya Sūtra in practice today, and it serves as the dominant authority for Tamil Brahmin wedding rituals. Maharshi Bodhāyana, is traditionally regarded Apastamba’s predecessor, and where Apastamba does not specify a particular rite or detail, Tamil Brahmin tradition follows Bodhāyana’s instructions, as seen in rites such as Udakaśānti and Madhuparkam.

Apastamba also acknowledges that ritual practice is preserved not only through written texts but through established household tradition. The sūtra आवृतश्चास्त्रीभ्यः प्रतीयेरन् states that prevailing customs are to be learned and transmitted alongside scriptural rules. It is in this spirit that the Tamil Brahmin wedding rituals today follow the Apastamba wedding sequence in a largely unchanged form, while organically incorporating cultural components such as Kāśī Yātrā, Mālai Māṭral, Ūñjal, and Maṅgalya Dhāraṇam into the wedding rituals.

It is also important to distinguish between the sources of procedure and recitation for the wedding. The Apastamba Gṛhya Sūtra specifies the sequence and performance of the rites, while the mantras chanted during each step are given in the Apastamba Mantra Praśna, also known as the Ekāgni Kāṇḍa. Many of these mantras ultimately trace back to the Ṛgveda, particularly Maṇḍala 10, Sūkta 85, which is traditionally associated with marriage.

In this article, we focus on the Vedic wedding rites as prescribed by the Apastamba Gṛhya Sūtra, and, where explicitly applicable, by the Baudhāyana Gṛhya Sūtra (e.g. Madhuparkam), as followed in prevailing Tamil Brahmin practice today. Cultural components of the wedding are not covered except where they directly intersect with the Vedic sequence, even though such cultural practices are equally significant and form an important part of the living tradition in Tamil Brahmin weddings.

Pre-Wedding Vedic Rituals

Before the wedding rites prescribed by Āpastamba begin, a set of pre-wedding vaidika rituals is performed. These rites are not part of the main wedding sequence, but they are required pre-wedding ceremonies. Some of these rituals are performed not only before marriage, but also before other samskāras such as Sīmantonnayanam and Upanayanam. The mantras used for these rituals are also Vedic, and the rituals follow established Dharmaśāstra and Gṛhya Sūtras.

Vratham and Samāvartana: The groom’s Veda-vrata and Samāvartana rites mark the conclusion of his period of Vedic study before entering household life. In practice, unless the groom has undergone Vedic education in traditional Gurukul, Vratham is observed on the previous day or early on the wedding day itself.

Ankurarpanam: This is the ritual of sowing seeds, often performed a day before the wedding day, involves placing seeds in pots and nurturing them as they germinate. The significance of Ankurarpana dates back to the time of Valmiki Ramayana, where this ritual was conducted during the wedding of Rama and Sita under guidance of Sages Viswamitra and Vashishta.

Pratisara Bandha: This rite, performed the day before or on the day of the wedding, involves tying a protective thread around the bride and groom. This thread serves as a symbol of protection, warding off any negative influences and ensuring the safety and well-being of the couple throughout the wedding rituals

Nandī-Mukha / Abhyudaya Śrāddham: Nandī-Mukha Śrāddham, also referred to as Abhyudaya Śrāddham, is performed before the wedding to invoke the ancestors prior to the performance of auspicious household rites.

Puṇyāhavācanam: Puṇyāhavācanam is performed on the wedding day before the start of the main sequence of rites, to prepare and purify the place where the wedding will be conducted.

As these rites (Ankurārpaṇam, Pratisara Bandhanam, Nandī-Mukha Śrāddham, and Puṇyāhavācanam) along with Udaka Śānti, are essential preliminaries for multiple household samskāras in the Tamil Brahmin tradition, we will address these in detail in separate articles.

Main Apastamba Wedding Rituals

Typically, after the completion of Veda-Vratam, Samāvartanam, Nandī Śrāddham, and, depending on family tradition, Udaka Śānti on the previous day, the wedding day begins with Kāśī Yātrā. This is followed by the exchange of garlands (Mālai Māṭral), after which the bride and groom are seated on the Ūñjal, with family members singing traditional songs. Once everyone return to the wedding hall, other pre-wedding Vedic rites such as Puṇyāhavācanam, Ankurārpaṇam, and Pratisara Bandha are performed. Depending on family tradition, a Gaṇapati Pūjā or Viśvaksena Pūjā may also be conducted. After these preliminary rituals are completed, the core Apastamba Vedic wedding rites begin with Varapreśaṇam.

Varapreshanam

In the Apastamba Sutra, the official wedding journey begins with Vara-preṣaṇam (वरप्रेषणम्), when the groom sends learned Brāhmaṇas as emissaries for kanyā-varaṇam, i.e., for the purpose of identifying and fixing a suitable bride (Apastamba Sutra 2.4.1).

In current practice, this ritual is usually performed symbolically on the day of the wedding. The ceremony begins with the groom taking a solemn vow, or Saṅkalpam, stating his intention to seek the help of learned Brāhmaṇas to find a suitable bride.

श्री गोविन्द गोविन्द गोविन्द ……. + शुभतिथौ धर्मप्रजार्थं स्त्रियम् उद्वोढुं वरान् प्रेषयिष्ये|

The groom then ceremonially requests the Brāhmaṇas to seek a suitable bride by offering tāmbūla (betel leaves and areca nuts) and dakṣiṇā (monetary honorarium) as tokens of respect.

Groom to Brahmins: यूयं स्वकुलात् मह्यं कन्यां वृणीध्वम्
Please find me a bride from a noble family.

The groom then chants the two mantras beginning with “प्र॒सु॒ग्मन्ता॑ धि॒यसा॒नस्य॑” from the Ekāgni Kāṇḍa and dispatches the Brāhmaṇas (Apastamba Sutra 2.4.2).

प्र॒सु॒ग्मन्ता॑ धि॒यसा॒नस्य॑ स॒क्षणि॑ व॒रेभि॑र्व॒राꣳ अ॒भि षु॒ प्रसी॑दत
अ॒स्माक॒मिन्द्र॑ उ॒भयं॑ जुजोषति॒ यथ्सौ॒म्यस्यान्ध॑सो॒ बुबो॑धति॥
अ॒नृ॒क्ष॒रा ऋ॒जव॑स्सन्तु॒ पन्था॒ येभि॒स्सखा॑यो॒ यन्ति॑ नो वरे॒यम्।
सम॑र्य॒मा सं भगो॑ नो निनीया॒थ्सं जा᳚स्प॒त्यꣳ सु॒यम॑मस्तु देवाः॥

Upon finding a suitable match, the Brāhmaṇas present the proposal to the bride’s father with a formal statement:

To the Bride’s Father: ___गोत्रोद्भवाय ___शर्मणेवराय्, ___गोत्रोद्भवां ___नाम्नीं भवदीयां कन्यां धर्मप्रजार्थं वृणीमहे।
We request the hand of your daughter, — [Bride’s name] born in the — [Bride’s Gotra], for — [Groom’s name] born in the — [Groom’s Gotra], for the purpose of fulfilling the duties of righteousness and procreation.

The bride’s father traditionally responds with: शोभनम्। दास्यामि। (So be it. I will give her.)

Upon receiving this consent, the Brāhmaṇas return to the groom and announce the successful completion of their mission: सिद्धार्था वयम् (We have achieved the goal.)

Kanyadaanam

Kanyādānam is the rite in which the bride’s father formally gives the bride to the groom. While this rite is not laid out as a distinct procedure in the Āpastamba Gṛhya Sūtra, it is an established and ancient component of the wedding sequence and is performed as part of the main ceremony in Tamil Brahmin practice.

In this rite, the groom is ritually received and honored as Mahāviṣṇu, and the bride is treated as Mahālakṣmī. The act of Kanyādānam is therefore framed as an offering to Mahāviṣṇu himself, and the bride herself is addressed as Lakṣmī. The mantras used in Kanyādānam and Pratigrahaṇam presuppose this identification as part of the ritual context.

The father of the bride first takes Saṅkalpa as follows:

श्री गोविन्द गोविन्द गोविन्द ……. + शुभतिथौ दशनां पूर्वेषां दशनां परेषाम् आत्मनश्च एकविंशति-कुलोत्तारण-द्वारा नित्य-निरतिशयानन्द-शाश्वतब्रह्मलोकावाप्त्यर्थं श्रीमहाविष्णुप्रीत्यर्थं कन्यकादानाख्य-महादानं करिष्ये|
For the pleasure of Lord Mahavishnu, on this auspicious day, for the liberation of my ancestors, I offer this supreme gift of Kanyadaanam, so that 21 generations in our lineage may attain eternal bliss in Brahmaloka.

The father of the bride then offers arghyam (water for washing hands), pādyam (water for washing feet), and ācamanīyam (water for sipping). While washing the groom’s feet (who is assumed to be Mahāviṣṇu himself), he chants:

तद्विष्णोः᳚ पर॒मं प॒दꣳ सदा॑ पश्यन्ति सू॒रयः॑ । दि॒वीव॒ चक्षु॒रात॑तम् ॥
तद्विप्रा॑सो विप॒न्यवो॑ जागृ॒वांꣳ स॒स्समि॑न्धते । विष्णो॒र्यत्प॑र॒मं प॒दम् ॥

Following the ceremonial welcome, the priests from both families chant the ancestral lineages (pravara) three times. This chant emphasizes the continuity and connection between both families:

Bride’s Lineage

____आर्षेय प्रवरान्वित ____ गोत्रोद्भवाम्, ____ शर्मणो नप्त्रीम्, ____ शर्मणः पौत्रीम्, ____ शर्मणः पुत्रीम्, ____ नाम्नीम्, सर्वाभरणभूषिताम्, महालक्ष्मीस्वरूपिणीम्, भवदीयाम् इमां कन्यां
[Bride’s name], adorned as Mahalakshmi, from the lineage of the [Rishis], belonging to [gotra], great-granddaughter of [name], granddaughter of [name], daughter of [name].

Groom’s Lineage:

____आर्षेय प्रवरान्वित ____गोत्रोद्भवाय, ____ शर्मणो नप्त्रे, ____ शर्मणः पौत्राय, ____ शर्मणः पुत्राय, ____ शर्मणे ____शाख अध्यायिने, श्रीमहाविष्णु-स्वरूपिणे वराय (तुभ्यम्) ||
To [Groom’s name], in the lineage of the [Rishis], of [gotra], learned in [Vedic Shaakha], great-grandson of [name], grandson of [name], son of [name], an embodiment of Lord Vishnu.

With the lineages acknowledged, the father of the bride holds the hands of both the bride and groom, while the bride is seated on her father’s lap, and the mother pours water over their joined hands, a gesture that seals the union. He then recites the shlokas below:

कन्यां कनकसम्पन्नां सर्वाभरण भूषिताम्।
दास्यामिविष्णवे तुभ्यं ब्रह्मलॊकजिगीषया ॥
विश्वम्भरास्सर्वभूतास्साक्षिण्यस्सर्व देवता:।
इमां कन्यां प्रदास्यामि पितॄणां तारणाय च॥
कन्ये ममाग्रतो भूया: कन्ये मे देवि: पार्श्वत:।
कन्ये मे सर्वतो भूया: त्वद्दानान्मोक्षमाप्नुयाम्॥
हिरण्यगर्भ-गर्भस्थं हेम बीजं विभावसोः।
अनन्तं पुण्यफलदमतः शान्ति प्रयच्छ मे॥

इमां कन्यां प्रजासहत्व-कर्मभ्यः प्रतिपादयामि।
I offer this bride for the noble cause of creating a virtuous lineage.

The groom then chants the following Pratigrahaṇa mantras, signifying his acceptance of the bride formally.

दे॒वस्य॑ त्वा सवि॒तुः प्र॑स॒वे । अ॒श्विनो᳚र्बा॒हुभ्या᳚म् । पू॒ष्णो हस्ता᳚भ्यां॒ प्रति॑गृह्णामि ॥
राजा᳚ त्वा॒ वरु॑णो नयतु देवि दक्षिणे प्र॒जाप॑तये॒ पुरु॑षम् । (क॒न्यां) तेना॑मृत॒त्वम॑श्याम् वयो॑ दा॒त्रे ॥
मयो॒ मह्य॑मस्तु प्रतिग्रही॒त्रे। क इ॒दं अस्मा॑ अदात्। का॒मः कामा॑य। कामो॑ दा॒ता॥
कामः॑ प्रतिग्रही॒ता। कामꣳ॑ समु॒द्रमावि॑श। कामे॑न त्वा॒ प्रति॑गृह्णामि॥

Paraspara Sameekshanam

The bride and groom (formally) see each other for the first time ritually (परस्पर समीक्षणम्). The groom chants the following mantra after chanting the third mantra Ekāgni Kāṇḍa (Apastamba Sutra 2.4.3). Then, continuing to look at each other intently, the groom chants the fourth mantra (Apastamba Sutra 2.4.4).

अभ्रा॑तृघ्नीं॒ वरु॒णाप॑तिघ्नीं बृहस्पते ।
इन्द्रापु॑त्रघ्नीं ल॒क्ष्म्य॑न्ताम॒स्यै स॑वितस्सुव ॥

अघो॑रचक्षु॒रप॑तिघ्न्येधि शि॒वा प॒तिभ्य॑स्सु॒मना॑स्सु॒वर्चाः॑ ।
जी॒व॒सूर्दे॒वका॑मा स्यो॒ना शन्नो॑ भव द्वि॒पदे॒ शञ्चतु॑ष्पदे ॥

Kanya Samskaram

In Kanyā-Saṃskāram (कन्या संस्कारः), the groom performs a sequence of preparatory rites to ritually ready the bride for the wedding.

Many well-known cultural practices of Tamil Brahmins have been incorporated into the Apastamba sequence without altering its order, reflecting a natural evolution of practice while preserving the underlying ritual order. This includes the bride changing into a nine-yard sari after the prescribed mantra for new dress (परि॑ त्वा गिर्वणो॒..), the maṅgala sūtra being used as the gold during ritual bathing, and this entire ritual performed with the bride is seated on her father’s lap.

First, the groom takes darbha grass, holding it between his thumb and fourth finger, and wipes the space between the bride’s eyebrows while chanting (इ॒दम॒हं या त्वयि॑..) mantra. After wiping, he throws the darbha away towards the west (Apastamba Sutra 2.4.5). If any inauspicious sign appears at this time, such as weeping or other disturbance, the groom chants (जी॒वाꣳरु॑दन्ति॒) mantra to ward it off (Apastamba Sutra 2.4.6).

इ॒दम॒हं या त्वयि॑ पति॒घ्न्य॑ल॒क्ष्मिस्तां निर्दि॑शामि ॥

जी॒वाꣳरु॑दन्ति॒ विम॑यन्ते अध्व॒रे दी॒र्घामनु॒ प्रसि॑तिं दीधियु॒र्नरः॑ ।
वा॒मं पि॒तृभ्यो॒ य इ॒दꣳ स॑मेरि॒ रे मयः॒ पति॑भ्यो॒ जन॑यः परि॒ष्वजे᳚ ॥

After this, the groom instructs an even number of people present, who are learned in mantras, to fetch water (Apastamba Sutra 2.4.7) while chanting the mantra below.

व्यु॑क्षत्क्रू॒रमुद॑च॒न्त्वाप॒ आऽस्यै ब्रा᳚ह्म॒णास्स्नप॑नꣳ हरन्तु । अवी॑रघ्नी॒रुद॑च॒न्त्वापः॑ ॥

The groom then proceeds with a sequence of actions performed with darbha, wooden yoke with a hole, gold, water, new garments, and a cord (yoktra), each accompanied by the appropriate mantras (Apastamba Sutra 2.4.8).

1. Groom first places a circular cords of darbha on the bride’s head and chants the mantra (अ॒र्य॒म्णो अ॒ग्निं..).
2. Upon this, chanting (खेऽनसः॒ खे रथः॒..), he places a right-oriented yugacchidra, or the yoke hole (युगच्छिद्र).
3. Into this opening, with the next mantra (शं ते॒ हिर॑ण्य॒..), he places a piece of gold.
4. Using the subsequent five mantras (हिर॑ण्यवर्णाः॒ शुच॑यः पाव॒काः..), the groom ritually bathes the bride, allowing the water to flow over the gold (the Mangala Sutra in current traditions) and through the yugacchidra.
5. With the next mantra (परि॑ त्वा गिर्वणो॒..), he presents the bride with a new garment. In current Tamil Brahmin tradition, this is when the bride is presented with the nine-yard saree.

अ॒र्य॒म्णो अ॒ग्निं परि॑ यन्तु क्षि॒प्रं प्रती᳚क्षन्ता॒ग्॒ श्वश्र्वो॑ दे॒वरा᳚श्च ॥

खेऽनसः॒ खे रथः॒ खे युग॑स्य शचीपते । अ॒पा॒लामि॑न्द्र॒ त्रिः पू॒र्त्व्य॑कर॒थ्सूर्य॑वर्चसम् ॥

शं ते॒ हिर॑ण्य॒ꣳ॒शमु॑ स॒न्त्वापः॒ शं ते॑ मे॒धी भ॑वतु॒ शं यु॒गस्य॒ तृद्म॑ । शं त॒ आपः॑ श॒तप॑वित्रा भव॒न्त्वथा॒ पत्या॑ त॒न्वꣳ॑ सꣳ सृ॑जस्व ॥

हिर॑ण्यवर्णाः॒ शुच॑यः पाव॒काः प्रच॑क्रमुर् हि॒त्वाऽव॒द्यमापः॑ । श॒तं प॒वित्रा॒ वित॑ता॒ ह्या॑सु॒ ताभि॑ष्ट्वा दे॒वः स॑वि॒ता पु॑नातु ॥ हिर॑ण्यवर्णाः॒ शुच॑यः पाव॒का यासु॑ जा॒तः क॒श्यपो॒ यास्व॒ग्निः । या अ॒ग्निं गर्भं॑ दधि॒रे सु॒वर्णा॒स्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ यासा॒ꣳ॒ राजा॒ वरु॑णो॒ याति॒ मध्ये॑ सत्यानृ॒ते अ॑व॒पश्य॒ञ्जना॑नाम् । या अ॒ग्निं गर्भं॑ दधि॒रे सु॒वर्णा॒स्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ यासां᳚ दे॒वा दि॒वि कृ॒ण्वन्ति॑ भ॒क्षं या अ॒न्तरि॑क्षे बहु॒धा निवि॑ष्टाः । या अ॒ग्निं गर्भं॑ दधि॒रे सु॒वर्णा॒स्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ शि॒वेन॑ त्वा॒ चक्षु॑षा पश्यन्त्वापः शि॒वया॑ त॒न्वोप॑स्पृशन्तु॒ त्वचं॑ ते । घृ॒त॒श्चुतः॒ शुच॑यो॒ याः पा॑व॒कास्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥

परि॑ त्वा गिर्वणो॒ गिर॑ इ॒मा भ॑वन्तु वि॒श्वतः॑ । वृ॒द्धायु॒मनु॒ वृद्ध॑यो॒ जुष्टा॑ भवन्तु॒ जुष्ट॑यः । आ॒शासा॒नेत्ये॒षा ॥

Mangalya-Dharanam and Yoktra-Bandhanam

This is the moment in the wedding when the groom ties the maṅgala sūtra around the bride’s neck. Although not originally a Vedic rite, Maṅgalya-Dhāraṇam holds immense significance in practice.

The bride, having completed the preceding rites and returned after changing into the nine-yard saree, is seated on her father’s lap while facing the groom. The groom takes the maṅgala sūtra and ties it around the bride’s neck while chanting the mantra below.

माङ्गल्यं तन्तुनानेन मम जीवनहेतुना। कण्ठे बध्नामि सुभगे त्वं संजीव शरदं शतम्।।

In Tamil Brahmin traditions, the groom ties the first knot of the maṅgala sūtra. The remaining two knots are then tied by the groom’s sister. In certain sampradāyams, such as Vadakalai Iyengar tradition, two maṅgala sūtras are tied in succession, with the same mantra being repeated for each tying.

Immediately after the Maṅgalya-Dhāraṇam, with the following mantra (आ॒शासा॑ना सौमन॒सं..), the groom girds her with a cord (yoktra), like a belt while chanting the mantra below (Apastamba Sutra 2.4.8).

आ॒शासा॑ना सौमन॒सं प्र॒जाँꣳ सौभा᳚ग्यं त॒नूम् । अ॒ग्नेरनु॑व्रता भू॒त्वा सं न॑ह्ये सुकृ॒ताय॒ कम् ॥

Agnimukham, Ajyabhagam, and Abhimantranam

After the yoktra-bhandana, the groom holds the bride by her right hand while chanting the next verse, leads her towards Agni, spreads a mat to its west with its tips pointing northward, and both sit down upon it, with the groom seated to the north (Apastamba Sutra 2.4.9).

पू॒षा त्वे॒तो न॑यतु॒ हस्त॒गृह्या॒श्विनौ᳚ त्वा॒ प्रव॑हता॒ꣳ॒ रथे॑न । गृ॒हान्ग॑च्छ गृ॒हप॑त्नी॒ यथाऽसो॑ व॒शिनी॒ त्वं वि॒दथ॒माव॑दासि ॥

After the bride and groom have approached the fire and seated themselves on the mat as prescribed earlier, the groom performs the preliminary oblations into the fire. These include the establishment of the fire (upasamādhāna) and the offering of the oblations (ājya-bhāgas).

Once these offerings are complete, the groom chants the first 2 mantras (of the next anuvaka of the Ekāgni Kāṇḍa) as a consecration (abhimantraṇam) for the bride (Apastamba Sutra 2.4.10).

सोमः॑ प्रथ॒मो वि॑विदे गन्ध॒र्वो वि॑विद॒ उत्त॑रः । तृ॒तीयो॑ अ॒ग्निष्टे॒ पति॑स्तु॒रीय॑स्ते मनुष्य॒जाः ॥सोमो॑ऽददद्गन्ध॒र्वाय॑ गन्ध॒र्वोऽद॑दद॒ग्नये᳚ । र॒यिं च॑ पु॒त्राग्श्चा॑दाद॒ग्निर्मह्य॒मथो॑ इ॒माम् ॥

Panigrahanam and Saptapadi

Pāṇigrahaṇam and Saptapadī together form the core of the Vedic marriage rite. These two rites are among the very few elements of vivāha that are found consistently across the Gṛhya-sūtras of all major Vedic śākhās, irrespective of regional or later customary variations.

During Pāṇigrahaṇam, the bride holds together all five fingers of her right hand, with the palm facing upward. The groom takes her right hand with his right hand, enclosing and circling around her fingers as he grasps them (Apastamba Sutra 2.4.11) while chanting the 4 mantras below (Apastamba Sutra 2.4.14). (Optional variations are described for holding only the fingers or only the thumb, if one desires specifically a boy or a girl child (Apastamba Sutra 2.4.12-13), but these variations are seldom practiced today).

गृ॒भ्णामि॑ ते सुप्रजा॒स्त्वाय॒ हस्तं॒ मया॒ पत्या॑ ज॒रद॑ष्टि॒र्यथाऽसः॑ । भगो॑ अर्य॒मा स॑वि॒ता पुर॑न्धि॒र्मह्यं॑ त्वाऽदु॒र्गार्ह॑पत्याय दे॒वाः ॥
ते ह॒ पूर्वे॒ जना॑सो॒ यत्र॑ पूर्व॒वहो॑ हि॒ताः । मू॒र्ध॒न्वान्, यत्र॑ सौभ्र॒वः पूर्वो॑ दे॒वेभ्य॒ आत॑पत् ॥
सर॑स्वति॒ प्रेदम॑व॒ सुभ॑गे॒ वाजि॑नीवति । तां त्वा॒ विश्व॑स्य भू॒तस्य॑ प्र॒गाया॑मस्यग्र॒तः ॥
य एति॑ प्र॒दिशः॒ सर्वा॒ दिशोऽनु॒ पव॑मानः । हिर॑ण्यहस्त ऐर॒म्मस्स त्वा॒ मन्म॑नसं कृणोतु ॥

After the completion of Panigrahanam, the groom continues to hold the bride’s right hand and proceeds to Saptapadī. The groom bends down and assumes a squatting posture while continuing to hold the bride’s right hand with his right. From this position, he causes the bride to take seven steps forward in eastward or northward direction, one step at a time. Each step is taken deliberately, and for each step the groom chants the corresponding Saptapadī mantras below (Apastamba Sutra 2.4.15).

एक॑मि॒षे विष्णु॒स्त्वाऽन्वे॑तु॒ ॥ (First Step)
द्वे ऊ॒र्जे विष्णु॒स्त्वाऽन्वे॑तु॒ ॥ (Second Step)
त्रीणि॑ व्र॒ताय॑ विष्णु॒स्त्वाऽन्वे॑तु॒ ॥ (Third Step)
च॒त्वारि॒ मायो॑भवाय॒ विष्णु॒स्त्वाऽन्वे॑तु॒ ॥ (Fourth Step)
पञ्च॑ प॒शुभ्यः॒ विष्णु॒स्त्वाऽन्वे॑तु॒ ॥ (Fifth Step)
षड् ऋ॒तुभ्यः॑ विष्णु॒स्त्वाऽन्वे॑तु॒ ॥ (Sixth Step)
स॒प्त स॒प्तभ्यो॒ होत्रा᳚भ्यो॒ विष्णु॒स्त्वाऽन्वे॑तु ॥ (Seventh Step)

With the completion of the seventh step, the groom rises to a standing position, still holding the bride’s hand. Standing before her and facing her, he then chants the concluding Saptapadī mantras (सखा॑ स॒प्तप॑दा भव॒…)

सखा॑ स॒प्तप॑दा भव॒ सखा॑यौ स॒प्तप॑दा बभूव स॒ख्यं ते॑ गमेयꣳ स॒ख्यात्ते॒ मा यो॑षꣳ स॒ख्यान्मे॒ मा यो᳚ष्ठाः॒ सम॑याव॒ संक॑ल्पावहै॒ संप्रि॑यौ रोचि॒ष्णू सु॑मन॒स्यमा॑नौ । इष॒मूर्ज॑म॒भि सं॒वसा॑नौ॒ सं नौ॒ मनाꣳ॑सि॒ सं व्र॒ता समु॑ चि॒त्तान्याक॑रम् ।

सा त्वम॒स्यमू॒हम॑मू॒हम॑स्मि॒ सा त्वं द्यौर॒हं पृ॑थि॒वी त्वꣳ रेतो॒ऽहꣳ रे॑तो॒भृत्त्वं मनो॒ऽहम॑स्मि॒ वाक्त्वꣳ सामा॒हम॒स्म्यृ॑क्त्व॒ꣳ॒ सा मामनु॑व्रता भव पु॒ꣳ॒से पु॒त्राय॒ वेत्त॑वै श्रि॒यै पु॒त्राय॒ वेत्त॑व॒ एहि॑ सूनृते ॥

The Saptapadī mantras state that the bride and groom take seven steps together, each step taken for a specific purpose, with the repeated invocation “विष्णुस्त्वाऽन्वेतु”, asking that Viṣṇu accompany her. The steps are explicitly named as being for food (एकमिषे), strength (द्वे ऊर्जे), observance (त्रीणि व्रताय), well-being (चत्वारि मायोभवाय), cattle and material resources (पञ्च पशुभ्यः), the seasons (षड् ऋतुभ्यः), and sacrificial functions (सप्त सप्तभ्यो होत्राभ्यः).

After the seven steps, the mantras repeatedly use the word सखा and सख्य, stating “सखा सप्तपदा भव” and “सखायौ सप्तपदा बभूव”, indicating that through the seven steps the two have become friends. The mantras then express that this friendship should not be broken from either side (“सख्यात्ते मा योषम् … सख्यान्मे मा योष्ठाः”). They further state shared agreement and resolve (“समयाव संकल्पावहै”) and unity of mind, vows, and purpose (“सं नौ मनांसि … सं व्रता”).

Owing to the significance of these commitments made in the presence of Agni and the gods invoked through the mantras, Pāṇigrahaṇam and Saptapadī together are regarded as the core and most essential components of the Vedic marriage rite.

Pradhana Homam

After the completion of Saptapadi, the bride and groom perform Pradhāna Homam. They go around Agni in a clockwise manner (pradakṣiṇam), ensuring that their right sides face the fire throughout. Having completed this circumambulation, they return and sit down in their prescribed positions near the fire. The bride then takes hold of the groom, and while she is holding him, the groom performs the Pradhāna Homam with 16 āhutis while chanting the 16 mantras below.

सोमा॑य जनि॒विदे॒ स्वाहा᳚ ॥
गन्ध॒र्वाय॑ जनि॒विदे॒ स्वाहा᳚ ॥
अ॒ग्नये॑ जनि॒विदे॒ स्वाहा᳚ ॥
क॒न्य॒ला पि॒तृभ्यो॑ य॒ती प॑तिलो॒कमव॑ दी॒क्षाम॑दास्थ॒ स्वाहा᳚ ॥
प्रेतो मु॒ञ्चाति॒ नामुतः॑ सुब॒द्धाम॒मुत॑स्करत् । यथे॒यमि॑न्द्र मीढ्वः सुपु॒त्रा सु॒भगाऽस॑ति ॥
इ॒मां त्वमि॑न्द्र मीढ्वः सपु॒त्राꣳ सु॒भगां᳚ कृणु । दशा᳚स्यां पु॒त्रानाधे॑हि॒ पति॑मेकाद॒शं कृ॑धि ॥
अ॒ग्निरै॑तु प्रथ॒मो दे॒वता॑ना॒ꣳ॒ सो᳚ऽस्यै प्र॒जां मु॑ञ्चतु मृत्युपा॒शात् । तद॒यꣳ राजा॒ वरु॒णोऽनु॑मन्यतां॒ यथे॒य२ꣳ स्त्री पौत्र॑म॒घं न रोदा᳚त्॥
इ॒माम॒ग्निस्त्रा॑यतां॒ गार्ह॑पत्यः प्र॒जाम॑स्यै नयतु दी॒र्घमायुः॑ । अशू᳚न्योपस्था॒ जीव॑तामस्तु मा॒ता पौत्र॑मान॒न्दम॒भि प्रबु॑ध्यतामि॒यम् ॥
मा ते॑ गृ॒हे नि॒शि घोष॒ उत्था॑द॒न्यत्र॒ त्वद्रु॑द॒त्यः॑ संवि॑शन्तु । मा त्वं वि॑के॒श्युर॒ आवधि॑ष्ठा जी॒वप॑त्नी पतिलो॒के विरा॑ज॒ पश्य॑न्ती प्र॒जाꣳ सु॑मन॒स्यमा॑नाम् ॥
द्यौस्ते॑ पृ॒ष्ठꣳ र॑क्षतु वा॒युरू॒रू अ॒श्विनौ॑ च॒ स्तनं॒ धय॑न्तꣳ सवि॒ताऽभि र॑क्षतु । आवास॑सः परि॒धाना॒द्बृह॒स्पति॒र्विश्वे॑ दे॒वा अ॒भि र॑क्षन्तु प॒श्चात् ॥
अ॒प्र॒ज॒स्तां पौ᳚त्रमृ॒त्युं पा॒प्मान॑मु॒त वा॒ऽघम् । शी॒र्॒ष्णः स्रज॑मिवो॒न्मुच्य॑ द्वि॒षद्भ्यः॒ प्रति॑ मुञ्चामि॒ पाश᳚म् ॥
इ॒मं मे॑ वरुण श्रुधी हव॑म॒द्या च॑ मृडय । त्वाम॑व॒स्युरा च॑के ॥
तत्त्वा॑ यामि॒ ब्रह्म॑णा॒ वन्द॑मान॒स्तदा शा᳚स्ते॒ यज॑मानो ह॒विर्भिः᳚ । अहे॑डमानो वरुणे॒ह बो॒द्ध्युरु॑शꣳस॒ मा न॒ आयुः॒ प्रमो॑षीः॥
त्वं नो॑ अग्ने॒ वरु॑णस्य वि॒द्वान्दे॒वस्य॒ हेडोऽव॑ यासिसीष्ठाः। यजि॑ष्ठो॒ वह्नि॑ तम॒ः शोशु॑चानो॒ विश्वा॒ द्वेषाꣳ॑ सि॒ प्र मु॑मुग्ध्य॒स्मत्॥
स त्वं नो॑ अग्ने॒ऽव॒मो भ॑वो॒ती नेदि॑ष्ठो अ॒स्या उ॒षसो॒ व्यु॑ष्टौ । अव॑यक्ष्व नो॒ वरु॑ण॒ꣳ॒ ररा॑णो वी॒हि मृ॑डी॒कꣳ सु॒हवो॑ न एधि ॥
त्वम॑ग्ने अ॒याऽसि॑ । अ॒या सन्मन॑सा हि॒तः । अ॒या सन् . ह॒व्यमू॑हिषे॒ । अ॒या नो॑ धेहि भेष॒जम् ॥

Ashmarohanam and Laaja Homam

After the completion of the preceding homas, the groom leads the bride to the north of the fire. Holding her, he places her right foot on the stone while chanting the mantra beginning with “आतिष्ठ”. This act constitutes Aśmarohaṇam or “stepping on stone” (Apastamba Sutra 2.5.2).

आ ति॑ष्ठे॒ममश्मा॑न॒मश्मे॑व॒ त्व२ꣳ स्थि॒रा भ॑व । अ॒भि ति॑ष्ठ पृतन्य॒तः सह॑स्व पृतनाय॒तः ॥

After this, the groom prepares for Lājā Homa. The bride joins her hands together (añjali), and puffed rice (lājā) is placed into her hands twice (Apastamba Sutra 2.5.3). In Apastamba Sutra 2.5.4, Apastamba explicitly states that in some traditions, the bride’s brother pours the grains into her hands. This role of the brother is still explicitly preserved in practice today. With the next mantra, the bride and groom offer the laaja into the fire (Apastamba Sutra 2.5.5).

इ॒यं ना॒र्युप॑ ब्रूते॒ कुल्पा᳚न्यावपन्ति॒का । दी॒र्घा॒युर॑स्तु मे॒ पति॒र्जीवा॑तु श॒रदः॑ श॒तम् ॥

After this offering, the couple again circumambulates the fire and groom chants the mantras below:

तुभ्य॒मग्रे॒ पर्य॑वहन्थ्सू॒र्यां व॑ह॒तुना॑ स॒ह । पुनः॒ पति॑भ्यो जा॒यां दा अ॑ग्ने प्र॒जया॑ स॒ह ॥
पुनः॒ पत्नी॑म॒ग्निर॑दा॒दायु॑षा स॒ह वर्च॑सा । दी॒र्घा॒युर॑स्या॒ यः पति॒स्स ए॑तु श॒रदः॑ श॒तम् ॥
विश्वा॑ उ॒त त्वया॑ व॒यं धारा॑ उद॒न्या॑ इव । अति॑गाहेमहि॒ द्विषः॑ ॥

The groom then causes the bride to again place her right foot on the stone, again chanting the mantra आ ति॑ष्ठे॒म (Apastamba Sutra 2.5.6).

आ ति॑ष्ठे॒ममश्मा॑न॒मश्मे॑व॒ त्व२ꣳ स्थि॒रा भ॑व । अ॒भि ति॑ष्ठ पृतन्य॒तः सह॑स्व पृतनाय॒तः ॥

Following this, the second laaja homa is performed in the same manner as before while chanting the mantra below (Apastamba Sutra 2.5.7):

अ॒र्य॒मणं॒ नु दे॒वं क॒न्या॑ अ॒ग्निम॑यक्षत । स इ॒मां दे॒वो अ॑ध्व॒रः प्रेतो मु॒ञ्चाति॒ नामुतः॑ सुब॒द्धाम॒मुत॑स्करत् ॥

Following the second Lājā Homa, they again circumambulate the fire and chant the same 3 mantras as before starting तुभ्य॒मग्रे॒ पर्य॑वहन्थ्सू॒र्यां and ending with अति॑गाहेमहि॒ द्विषः॑ (Apastamba Sutra 2.5.8). The groom then causes the bride to again place her right foot on the stone (for the 3rd time) while chanting the same mantra starting with आ ति॑ष्ठे॒म (Apastamba Sutra 2.5.9).

The bride and groom then perform Lājā Homa for the 3rd time (Apastamba Sutra 2.5.10), chanting the mantra below:

त्वम॑र्य॒मा भ॑वसि॒ यत्क॒नीनां॒ नाम॑ स्व॒धाव॒थ्स्व॑र्यं बि॒भर्षि॑ । अ॒ञ्जन्ति॑ वृ॒क्षꣳ सुधि॑तं॒ न गोभि॒र्यद्दम्प॑ती॒ सम॑नसा कृ॒णोषि॑ ॥

Following the third Laaja Homa, the couple circumambulate the fire for the 3rd (and last) time and chant the same 3 mantras as before starting तुभ्य॒मग्रे॒ पर्य॑वहन्थ्सू॒र्यां and ending with अति॑गाहेमहि॒ द्विषः॑ (Apastamba Sutra 2.5.11).

With this, Aśmarohaṇam and Lājā Homam are completed.

Jayadi Homam and Yoktra Vimochanam

After the completion of the above rites, the groom performs the Jayādi Homam (starting with चित्तं च स्वाहा) (Apastamba Sutra 2.5.12). Having completed the rites up to pariṣecana (Apastamba Sutra 2.5.13), the groom removes the yoktra tied around the bride’s hips while chanting the mantras below.

प्र त्वा॑ मुञ्चामि॒ वरु॑णस्य॒ पाशा॒द्येन॒ त्वाऽब॑ध्नाथ्सवि॒ता सु॒केतः॑ । धा॒तुश्च॒ योनौ॑ सुकृ॒तस्य॑ लो॒के स्यो॒नं ते॑ स॒ह पत्या॑ करोमि ॥
इ॒मं विष्या॑मि॒ वरु॑णस्य॒ पाशं॒ यमब॑ध्नीत सवि॒ता सु॒शेवः॑ । धा॒तुश्च॒ योनौ॑ सुकृ॒तस्य॑ लो॒केऽरि॑ष्टां त्वा स॒ह पत्या॑ कृणोमि ॥

With this rite, the wedding ceremonies prescribed by Āpastamba for the day of the marriage come to an end. What follows are mantras recited for safe travel as the bride is led to the groom’s house. Thereafter, a series of post-wedding rites are prescribed, including Gṛha Praveśam, Praveśa Homa, and the viewing of Dhruva and Arundhatī, followed by rites such as Sthālī Pākam. In present-day practice, many of these post-wedding rites are performed on the wedding day itself, and these will be described in the next section.

Post-Wedding Vedic Rituals

Travel to the Groom’s Home: With the completion of Jayādi Homam and the removal of the yoktra, the wedding rites prescribed by Āpastamba for the wedding day are considered complete. Traditionally, the bride and groom then proceed to the groom’s home, carrying Agni in a vessel. Mantras are prescribed for the journey, including verses recited at specific moments such as mounting the conveyance and crossing important points along the way. In present-day practice, this journey ritual is often omitted, as weddings are typically performed in a single location and the physical transfer of Agni is no longer observed.

Gṛha Praveśam and Praveśa Homam: Upon arrival at the groom’s home, Gṛha Praveśam is performed, in which the bride is formally led into the household. This is followed by Praveśa Homam, consisting of thirteen āhutis, welcoming the bride into her new home and household life. Ideally, this homa is performed at the groom’s residence. In contemporary practice, however, it is frequently conducted in the wedding hall itself, using the same sacred fire as the wedding rites. As part of this ritual, a child is placed on the bride’s lap, and the bride offers a fruit to the child, in keeping with traditional prayoga.

Dhruva–Arundhatī Darśanam: After the completion of the homa, the couple observes Dhruva–Arundhatī Darśanam. Traditionally, this rite is performed at night, when the couple is shown Dhruva (the Pole Star) and Arundhatī, symbolizing steadiness and fidelity in married life. Due to practical constraints, this is often performed symbolically during the daytime in present-day weddings, without altering the prescribed mantras or sequence.

Sthālī-pākam and Conclusion: The post-wedding rites conclude with Sthālī-pākam, marking the formal commencement of household life. From this point onward, the couple undertakes daily domestic rites such as Aupāsanam. In families following the Śrauta tradition, this stage also includes the establishment of the Tretāgni, enabling the performance of rites such as Agnihotra, Darśa-Pūrṇamāsa, and Cāturmāsya yajñas.

Apastamba Sutras

Apastamba Sutra 2.4.1: सुहृदस्समवेतान्मन्त्रवतो वरान्प्रहिणुयात् ।
He (the groom) shall send forth learned men, well-versed in mantras, from his circle of friends to search for a bride.

Apastamba Sutra 2.4.2: तानादितो द्वाभ्यामभिमन्त्रयेत
He shall recite two mantras (to send them off).

प्र॒सु॒ग्मन्ता॑ धि॒यसा॒नस्य॑ स॒क्षणि॑ व॒रेभि॑र्व॒राꣳ अ॒भि षु॒ प्रसी॑दत
अ॒स्माक॒मिन्द्र॑ उ॒भयं॑ जुजोषति॒ यथ्सौ॒म्यस्यान्ध॑सो॒ बुबो॑धति॥ (ए.का.१.१.१)
अ॒नृ॒क्ष॒रा ऋ॒जव॑स्सन्तु॒ पन्था॒ येभि॒स्सखा॑यो॒ यन्ति॑ नो वरे॒यम्।
सम॑र्य॒मा सं भगो॑ नो निनीया॒थ्सं जा᳚स्प॒त्यꣳ सु॒यम॑मस्तु देवाः॥ (ए.का.१.१.२)

Apastamba Sutra 2.4.3: स्वयं दृष्ट्वा तृतीयां जपेत्
Having seen her himself, he shall chant the third mantra.

अभ्रा॑तृघ्नीं॒ वरु॒णाप॑तिघ्नीं बृहस्पते ।
इन्द्रापु॑त्रघ्नीं ल॒क्ष्म्य॑न्ताम॒स्यै स॑वितस्सुव॥ (ए.का.१.१.३)

Apastamba Sutra 2.4.4: चतुर्थ्या समीक्षेत
He shall view her with the fourth mantra.

अघो॑रचक्षु॒रप॑तिघ्न्येधि शि॒वा प॒तिभ्य॑स्सु॒मना॑स्सु॒वर्चाः॑।
जी॒व॒सूर्दे॒वका॑मा स्यो॒ना शन्नो॑ भव द्वि॒पदे॒ शञ्चतु॑ष्पदे॥ (ए.का.१.१.४)

Apastamba Sutra 2.4.5: अङ्गुष्ठेनोपमध्यमया चाङ्गुल्या दर्भ संगृह्योत्तरेण यजुषा तस्या भ्रुवोरन्तरँ संमृज्य प्राचीनं निरस्येत्
Holding the darbha grass between his thumb and fourth finger, let him wipe the space between her eyebrows while chanting the next mantra and let him throw it in the western direction.

इ॒दम॒हं या त्वयि॑ पति॒घ्न्य॑ल॒क्ष्मिस्तां निर्दि॑शामि ॥ (ए.का.१.१.५)

Apastamba Sutra 2.4.6: प्राप्ते निमित्त उत्तरां जपेत्
If any inauspicious sign appears at this time, such as weeping or other disturbance, the groom chants the next mantra to ward it off.

जी॒वाꣳरु॑दन्ति॒ विम॑यन्ते अध्व॒रे दी॒र्घामनु॒ प्रसि॑तिं दीधियु॒र्नरः॑ ।
वा॒मं पि॒तृभ्यो॒ य इ॒दꣳ स॑मेरि॒ रे मयः॒ पति॑भ्यो॒ जन॑यः परि॒ष्वजे᳚ ॥ ॥ (ए.का.१.१.६)

Apastamba Sutra 2.4.7: युग्मान्समवेतान् मन्त्रवत उत्तरयाऽद्भ्यः प्रहिणुयात्
After this, the groom instructs an even number of people present, who are learned in mantras, to fetch water with the next mantra.

व्यु॑क्षत्क्रू॒रमुद॑च॒न्त्वाप॒ आऽस्यै ब्रा᳚ह्म॒णास्स्नप॑नꣳ हरन्तु । अवी॑रघ्नी॒रुद॑च॒न्त्वापः॑॥ ॥ (ए.का.१.१.७)

Apastamba Sutra 2.4.8: उत्तरेण यजुषा तस्याश्शिरसि दर्भेण्वं निधाय तस्मिन्नुत्तरया दक्षिणं युगच्छिद्रं प्रतिष्ठाप्य छिद्रे सुवर्णमुत्तरयान्तर्धायोत्तराभिः पञ्चभिस्स्नापयित्वोत्तरयाऽहतेन वाससाच्छाद्योत्तरया योक्त्रेण सन्नह्यति
He places a circular arrangement of darbha on the bride’s head and chants the next mantra. Upon this, with the following mantra, he positions a right-oriented yugacchidra. Into this opening, with the next mantra, he places a piece of gold. Using the subsequent five mantras, the groom bathes the bride, allowing the water to flow over the gold and through the yugacchidra. With the next mantra, he presents her to wear a fresh garment. With the following mantra, he girds her with a cord.

अ॒र्य॒म्णो अ॒ग्निं परि॑ यन्तु क्षि॒प्रं प्रती᳚क्षन्ता॒ग्॒ श्वश्र्वो॑ दे॒वरा᳚श्च ॥ (ए.का.१.१.८)
खेऽनसः॒ खे रथः॒ खे युग॑स्य शचीपते । अ॒पा॒लामि॑न्द्र॒ त्रिः पू॒र्त्व्य॑कर॒थ्सूर्य॑वर्चसम् ॥ (ए.का.१.१.९)
शं ते॒ हिर॑ण्य॒ꣳ॒शमु॑ स॒न्त्वापः॒ शं ते॑ मे॒धी भ॑वतु॒ शं यु॒गस्य॒ तृद्म॑ । शं त॒ आपः॑ श॒तप॑वित्रा भव॒न्त्वथा॒ पत्या॑ त॒न्वꣳ॑ सꣳ सृ॑जस्व ॥ (ए.का.१.१.१०)
हिर॑ण्यवर्णाः॒ शुच॑यः पाव॒काः प्रच॑क्रमुर् हि॒त्वाऽव॒द्यमापः॑ । श॒तं प॒वित्रा॒ वित॑ता॒ ह्या॑सु॒ ताभि॑ष्ट्वा दे॒वः स॑वि॒ता पु॑नातु ॥ हिर॑ण्यवर्णाः॒ शुच॑यः पाव॒का यासु॑ जा॒तः क॒श्यपो॒ यास्व॒ग्निः । या अ॒ग्निं गर्भं॑ दधि॒रे सु॒वर्णा॒स्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ यासा॒ꣳ॒ राजा॒ वरु॑णो॒ याति॒ मध्ये॑ सत्यानृ॒ते अ॑व॒पश्य॒ञ्जना॑नाम् । या अ॒ग्निं गर्भं॑ दधि॒रे सु॒वर्णा॒स्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ यासां᳚ दे॒वा दि॒वि कृ॒ण्वन्ति॑ भ॒क्षं या अ॒न्तरि॑क्षे बहु॒धा निवि॑ष्टाः । या अ॒ग्निं गर्भं॑ दधि॒रे सु॒वर्णा॒स्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ शि॒वेन॑ त्वा॒ चक्षु॑षा पश्यन्त्वापः शि॒वया॑ त॒न्वोप॑स्पृशन्तु॒ त्वचं॑ ते । घृ॒त॒श्चुतः॒ शुच॑यो॒ याः पा॑व॒कास्तास्त॒ आपः॒ श२ꣳ स्यो॒ना भ॑वन्तु ॥ (ए.का.१.२.१ – १.२.५)

परि॑ त्वा गिर्वणो॒ गिर॑ इ॒मा भ॑वन्तु वि॒श्वतः॑ । वृ॒द्धायु॒मनु॒ वृद्ध॑यो॒ जुष्टा॑ भवन्तु॒ जुष्ट॑यः । आ॒शासा॒नेत्ये॒षा ॥ (ए.का.१.२.६)

आ॒शासा॑ना सौमन॒सं प्र॒जाँꣳ सौभा᳚ग्यं त॒नूम् । अ॒ग्नेरनु॑व्रता भू॒त्वा सं न॑ह्ये सुकृ॒ताय॒ कम् ॥ (ए.का.१.२.७)

Apastamba Sutra 2.4.9: अथैनामुत्तरया दक्षिणे हस्ते गृहीत्वाग्निमभ्यानीयापरेणाग्निमुदगग्रं कटमास्तीर्य तस्मिन्नुपविशत उत्तरो वरः
He then takes the bride by her right hand while chanting the next verse, leads her towards Agni, spreads a mat to its west with its tips pointing northward, and both sit down upon it, with the groom seated to the north.

पू॒षा त्वे॒तो न॑यतु॒ हस्त॒गृह्या॒श्विनौ᳚ त्वा॒ प्रव॑हता॒ꣳ॒ रथे॑न । गृ॒हान्ग॑च्छ गृ॒हप॑त्नी॒ यथाऽसो॑ व॒शिनी॒ त्वं वि॒दथ॒माव॑दासि ॥ (ए.का.१.२.८)

Apastamba Sutra 2.4.10: अग्नेरुपसमाधानाद्याज्यभागान्तेऽथैनामादितो द्वाभ्यामभिमन्त्रयेत
After completing the establishment of the fire and concluding the offering of the ājya portions, he then consecrates her at the outset with two mantras.

सोमः॑ प्रथ॒मो वि॑विदे गन्ध॒र्वो वि॑विद॒ उत्त॑रः । तृ॒तीयो॑ अ॒ग्निष्टे॒ पति॑स्तु॒रीय॑स्ते मनुष्य॒जाः ॥ (ए.का.१.३.१)
सोमो॑ऽददद्गन्ध॒र्वाय॑ गन्ध॒र्वोऽद॑दद॒ग्नये᳚ । र॒यिं च॑ पु॒त्राग्श्चा॑दाद॒ग्निर्मह्य॒मथो॑ इ॒माम् ॥ (ए.का.१.३.२)

Apastamba Sutra 2.4.11: अथास्यै दक्षिणेन नीचा हस्तेन दक्षिणमुत्तानँ हस्तं गृह्णीयात्
The groom takes the bride’s right hand with his right hand, the bride’s palm facing upward.

Apastamba Sutra 2.4.12: यदि कामयेत स्त्रीरेव जनयेयमित्यङ्गुलीरेव गृह्णीयात्
If he desires that female offspring be born, he should take only her fingers.

Apastamba Sutra 2.4.13: यदि कामयेत पुंस एव जनयेयमित्यङ्गुष्ठमेव सोऽभीवाङ्गुष्ठमभीव लोमानि गृह्णाति
If he desires that male offspring be born, he should take only her thumb; he takes the thumb from above, grasping the thumb along with the hair on it.

Apastamba Sutra 2.4.14: गृभ्णामि त इत्येताभिश्चतसृभिः
With these four mantras beginning with “गृभ्णामि ते”, he should take her hand.

गृ॒भ्णामि॑ ते सुप्रजा॒स्त्वाय॒ हस्तं॒ मया॒ पत्या॑ ज॒रद॑ष्टि॒र्यथाऽसः॑ । भगो॑ अर्य॒मा स॑वि॒ता पुर॑न्धि॒र्मह्यं॑ त्वाऽदु॒र्गार्ह॑पत्याय दे॒वाः ॥ (ए.का.१.३.३)
ते ह॒ पूर्वे॒ जना॑सो॒ यत्र॑ पूर्व॒वहो॑ हि॒ताः । मू॒र्ध॒न्वान्, यत्र॑ सौभ्र॒वः पूर्वो॑ दे॒वेभ्य॒ आत॑पत् ॥ (ए.का.१.३.४)
सर॑स्वति॒ प्रेदम॑व॒ सुभ॑गे॒ वाजि॑नीवति । तां त्वा॒ विश्व॑स्य भू॒तस्य॑ प्र॒गाया॑मस्यग्र॒तः ॥ (ए.का.१.३.५)
य एति॑ प्र॒दिशः॒ सर्वा॒ दिशोऽनु॒ पव॑मानः । हिर॑ण्यहस्त ऐर॒म्मस्स त्वा॒ मन्म॑नसं कृणोतु ॥ (ए.का.१.३.६)

Apastamba Sutra 2.4.15: अथैनामुत्तेरणाग्निं दक्षिणेन पदा प्राचीमुदीचीं वा दिशमभि प्रक्रमयत्येकमिष इति
Then, leading her beyond the fire, he causes her to step forward with the right foot, either towards the east or towards the north, chanting “एकमिषः”.

एक॑मि॒षे विष्णु॒स्त्वाऽन्वे॑तु॒ द्वे ऊ॒र्जे त्रीणि॑ व्र॒ताय॑ च॒त्वारि॒ मायो॑भवाय॒ पञ्च॑ प॒शुभ्य॒ष्षडृ॒तुभ्य॑स्स॒प्त स॒प्तभ्यो॒ होत्रा᳚भ्यो॒ विष्णु॒स्त्वाऽन्वे॑तु ॥ (ए.का.१.३.७-१३)

Apastamba Sutra 2.4.15: सखेति सप्तमे पदे जपति
At the seventh step, he chants the next mantras (सखा॑ स॒प्तप॑दा भव॒).

सखा॑ स॒प्तप॑दा भव॒ सखा॑यौ स॒प्तप॑दा बभूव स॒ख्यं ते॑ गमेयꣳ स॒ख्यात्ते॒ मा यो॑षꣳ स॒ख्यान्मे॒ मा यो᳚ष्ठाः॒ सम॑याव॒ संक॑ल्पावहै॒ संप्रि॑यौ रोचि॒ष्णू सु॑मन॒स्यमा॑नौ । इष॒मूर्ज॑म॒भि सं॒वसा॑नौ॒ सं नौ॒ मनाꣳ॑सि॒ सं व्र॒ता समु॑ चि॒त्तान्याक॑रम् ॥ (ए.का.१.३.१४)
सा त्वम॒स्यमू॒हम॑मू॒हम॑स्मि॒ सा त्वं द्यौर॒हं पृ॑थि॒वी त्वꣳ रेतो॒ऽहꣳ रे॑तो॒भृत्त्वं मनो॒ऽहम॑स्मि॒ वाक्त्वꣳ सामा॒हम॒स्म्यृ॑क्त्व॒ꣳ॒ सा मामनु॑व्रता भव पु॒ꣳ॒से पु॒त्राय॒ वेत्त॑वै श्रि॒यै पु॒त्राय॒ वेत्त॑व॒ एहि॑ सूनृते ॥ (ए.का.१.३.७-१५)

Apastamba Sutra 2.5.1: प्राग्घोमात्प्रदक्षिणमग्निं कृत्वा यथास्थानमुपविश्यान्वारब्धायामुत्तरा आहुतीर्जुहोति सोमाय जनिविदे स्वाहेत्येतैः प्रतिमन्त्रम्
Before the homa, having circumambulated the fire in a clockwise direction, he sits down in the proper place. While she is holding him, he offers the subsequent (16) oblations into the fire, with each mantra, saying “सोमा॑य जनि॒विदे॒ स्वाहा᳚”

सोमा॑य जनि॒विदे॒ स्वाहा᳚ ॥
गन्ध॒र्वाय॑ जनि॒विदे॒ स्वाहा᳚ ॥
अ॒ग्नये॑ जनि॒विदे॒ स्वाहा᳚ ॥
क॒न्य॒ला पि॒तृभ्यो॑ य॒ती प॑तिलो॒कमव॑ दी॒क्षाम॑दास्थ॒ स्वाहा᳚ ॥
प्रेतो मु॒ञ्चाति॒ नामुतः॑ सुब॒द्धाम॒मुत॑स्करत् । यथे॒यमि॑न्द्र मीढ्वः सुपु॒त्रा सु॒भगाऽस॑ति ॥
इ॒मां त्वमि॑न्द्र मीढ्वः सपु॒त्राꣳ सु॒भगां᳚ कृणु । दशा᳚स्यां पु॒त्रानाधे॑हि॒ पति॑मेकाद॒शं कृ॑धि ॥
अ॒ग्निरै॑तु प्रथ॒मो दे॒वता॑ना॒ꣳ॒ सो᳚ऽस्यै प्र॒जां मु॑ञ्चतु मृत्युपा॒शात् । तद॒यꣳ राजा॒ वरु॒णोऽनु॑मन्यतां॒ यथे॒य२ꣳ स्त्री पौत्र॑म॒घं न रोदा᳚त्॥
इ॒माम॒ग्निस्त्रा॑यतां॒ गार्ह॑पत्यः प्र॒जाम॑स्यै नयतु दी॒र्घमायुः॑ । अशू᳚न्योपस्था॒ जीव॑तामस्तु मा॒ता पौत्र॑मान॒न्दम॒भि प्रबु॑ध्यतामि॒यम् ॥
मा ते॑ गृ॒हे नि॒शि घोष॒ उत्था॑द॒न्यत्र॒ त्वद्रु॑द॒त्यः॑ संवि॑शन्तु । मा त्वं वि॑के॒श्युर॒ आवधि॑ष्ठा जी॒वप॑त्नी पतिलो॒के विरा॑ज॒ पश्य॑न्ती प्र॒जाꣳ सु॑मन॒स्यमा॑नाम् ॥
द्यौस्ते॑ पृ॒ष्ठꣳ र॑क्षतु वा॒युरू॒रू अ॒श्विनौ॑ च॒ स्तनं॒ धय॑न्तꣳ सवि॒ताऽभि र॑क्षतु । आवास॑सः परि॒धाना॒द्बृह॒स्पति॒र्विश्वे॑ दे॒वा अ॒भि र॑क्षन्तु प॒श्चात् ॥
अ॒प्र॒ज॒स्तां पौ᳚त्रमृ॒त्युं पा॒प्मान॑मु॒त वा॒ऽघम् । शी॒र्॒ष्णः स्रज॑मिवो॒न्मुच्य॑ द्वि॒षद्भ्यः॒ प्रति॑ मुञ्चामि॒ पाश᳚म् ॥
इ॒मं मे॑ वरुण श्रुधी हव॑म॒द्या च॑ मृडय । त्वाम॑व॒स्युरा च॑के ॥
तत्त्वा॑ यामि॒ ब्रह्म॑णा॒ वन्द॑मान॒स्तदा शा᳚स्ते॒ यज॑मानो ह॒विर्भिः᳚ । अहे॑डमानो वरुणे॒ह बो॒द्ध्युरु॑शꣳस॒ मा न॒ आयुः॒ प्रमो॑षीः॥
त्वं नो॑ अग्ने॒ वरु॑णस्य वि॒द्वान्दे॒वस्य॒ हेडोऽव॑ यासिसीष्ठाः। यजि॑ष्ठो॒ वह्नि॑ तम॒ः शोशु॑चानो॒ विश्वा॒ द्वेषाꣳ॑ सि॒ प्र मु॑मुग्ध्य॒स्मत्॥
स त्वं नो॑ अग्ने॒ऽव॒मो भ॑वो॒ती नेदि॑ष्ठो अ॒स्या उ॒षसो॒ व्यु॑ष्टौ । अव॑यक्ष्व नो॒ वरु॑ण॒ꣳ॒ ररा॑णो वी॒हि मृ॑डी॒कꣳ सु॒हवो॑ न एधि ॥
त्वम॑ग्ने अ॒याऽसि॑ । अ॒या सन्मन॑सा हि॒तः । अ॒या सन् . ह॒व्यमू॑हिषे॒ । अ॒या नो॑ धेहि भेष॒जम् ॥ (ए.का.१.४.१ – १.४.१६)

Apastamba Sutra 2.5.2: अथैनामुत्तरेणाग्निं दक्षिणेन पदाऽश्मानमास्थापयत्यातिष्ठेति
Then, to the north of the fire, he causes her to place her right foot upon the stone, chanting “आतिष्ठ”.

आ ति॑ष्ठे॒ममश्मा॑न॒मश्मे॑व॒ त्व२ꣳ स्थि॒रा भ॑व । अ॒भि ति॑ष्ठ पृतन्य॒तः सह॑स्व पृतनाय॒तः ॥ (ए.का.१.५.१)

Apastamba Sutra 2.5.3: अथास्या अञ्जलावुपस्तीर्य द्विर्लाजानोप्याभिघारयति
Then, spreading (the hands) in her joined palms, he places puffed rice twice and pours ghee over it.

Apastamba Sutra 2.5.4: तस्यास्तोदर्यो लाजानावपतीत्येके
Some state that her brother pours the ghee over the puffed rice.

Apastamba Sutra 2.5.5: जुहोति यं नारीति
He offers (the oblation), chanting the mantra beginning with “इयं नारी”.

इ॒यं ना॒र्युप॑ ब्रूते॒ कुल्पा᳚न्यावपन्ति॒का । दी॒र्घा॒युर॑स्तु मे॒ पति॒र्जीवा॑तु श॒रदः॑ श॒तम् ॥ (ए.का.१.५.२)

Apastamba Sutra 2.5.6: उत्तराभिस्तिसृभिः प्रदक्षिणमग्निं कृत्वाऽश्मानमास्थापयति यथा पुरस्तात्
With the next three mantras, having circumambulated the fire clockwise, he causes her to place her foot upon the stone again, as before.

तुभ्य॒मग्रे॒ पर्य॑वहन्थ्सू॒र्यां व॑ह॒तुना॑ स॒ह । पुनः॒ पति॑भ्यो जा॒यां दा अ॑ग्ने प्र॒जया॑ स॒ह ॥
पुनः॒ पत्नी॑म॒ग्निर॑दा॒दायु॑षा स॒ह वर्च॑सा । दी॒र्घा॒युर॑स्या॒ यः पति॒स्स ए॑तु श॒रदः॑ श॒तम् ॥
विश्वा॑ उ॒त त्वया॑ व॒यं धारा॑ उद॒न्या॑ इव । अति॑गाहेमहि॒ द्विषः॑ ॥ (ए.का.१.५.३-१.५.५)

आ ति॑ष्ठे॒ममश्मा॑नम् ॥ (ए.का.१.५.६)

Apastamba Sutra 2.5.7: होमश्चोत्तरया
And an oblation is performed with the next mantra.

अ॒र्य॒मणं॒ नु दे॒वं क॒न्या॑ अ॒ग्निम॑यक्षत । स इ॒मां दे॒वो अ॑ध्व॒रः प्रेतो मु॒ञ्चाति॒ नामुतः॑ सुब॒द्धाम॒मुत॑स्करत् ॥ (ए.का.१.५.२)

Apastamba Sutra 2.5.8: पुनः परिक्रमणम्
Again, circumambulation (of the fire).

तुभ्य॒मग्रे॒ पर्य॑वहन्थ्सू॒र्यां व॑ह॒तुना॑ स॒ह । पुनः॒ पति॑भ्यो जा॒यां दा अ॑ग्ने प्र॒जया॑ स॒ह ॥
पुनः॒ पत्नी॑म॒ग्निर॑दा॒दायु॑षा स॒ह वर्च॑सा । दी॒र्घा॒युर॑स्या॒ यः पति॒स्स ए॑तु श॒रदः॑ श॒तम् ॥
विश्वा॑ उ॒त त्वया॑ व॒यं धारा॑ उद॒न्या॑ इव । अति॑गाहेमहि॒ द्विषः॑ ॥(ए.का.१.५.८-१.५.१०)

Apastamba Sutra 2.5.9: आस्थापनम्
Placing (the foot upon the stone again).

मा ति॑ष्ठे॒ममश्मा॑नम् ॥ (ए.का.१.५.११)

Apastamba Sutra 2.5.10: होमश्चोत्तरया
And an oblation is performed with the next mantra.

त्वम॑र्य॒मा भ॑वसि॒ यत्क॒नीनां॒ नाम॑ स्व॒धाव॒थ्स्व॑र्यं बि॒भर्षि॑ । अ॒ञ्जन्ति॑ वृ॒क्षꣳ सुधि॑तं॒ न गोभि॒र्यद्दम्प॑ती॒ सम॑नसा कृ॒णोषि॑ ॥ (ए.का.१.५.१२)

Apastamba Sutra 2.5.11: पुनः परिक्रमणम्
Again, circumambulation (of the fire).

तुभ्य॒मग्रे॒ पर्य॑वहन्थ्सू॒र्यां व॑ह॒तुना॑ स॒ह । पुनः॒ पति॑भ्यो जा॒यां दा अ॑ग्ने प्र॒जया॑ स॒ह ॥
पुनः॒ पत्नी॑म॒ग्निर॑दा॒दायु॑षा स॒ह वर्च॑सा । दी॒र्घा॒युर॑स्या॒ यः पति॒स्स ए॑तु श॒रदः॑ श॒तम् ॥
विश्वा॑ उ॒त त्वया॑ व॒यं धारा॑ उद॒न्या॑ इव । अति॑गाहेमहि॒ द्विषः॑ ॥ (ए.का.१.५.१३-१.५.१५)

Apastamba Sutra 2.5.12: जयादि प्रतिपद्यते
He proceeds with the rites beginning with the Jaya (victory) homa.

Apastamba Sutra 2.5.13: परिषेचनान्तं कृत्वोत्तराभ्यां योक्त्रं विमुच्य तां ततः प्र वा वाहयेत् प्र वा हारयेत्
Having completed the rites up to the pariṣecana, he removes the yoktra with the next two mantras, and thereafter causes her to depart, or leads her away.

प्र त्वा॑ मुञ्चामि॒ वरु॑णस्य॒ पाशा॒द्येन॒ त्वाऽब॑ध्नाथ्सवि॒ता सु॒केतः॑ । धा॒तुश्च॒ योनौ॑ सुकृ॒तस्य॑ लो॒के स्यो॒नं ते॑ स॒ह पत्या॑ करोमि ॥ (ए.का.१.५.१६)
इ॒मं विष्या॑मि॒ वरु॑णस्य॒ पाशं॒ यमब॑ध्नीत सवि॒ता सु॒शेवः॑ । धा॒तुश्च॒ योनौ॑ सुकृ॒तस्य॑ लो॒केऽरि॑ष्टां त्वा स॒ह पत्या॑ कृणोमि ॥ (ए.का.१.५.१७)