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The Upanishads, Part I — SBE Vol. 1 (trans. F. Max Müller, 1879)

English·1879–1910·trans. Georg Bühler & James Legge·271 passages

The text · part 10 of 13

Thus it is fit for the day?

13. He recites the verse gdtavedase sunavama somam (Rv. I, 99, 1), addressed to Gatavedas, before the (next following) hymn. That verse addressed to GAtavedas is verily welfare, and leads to welfare. Thus (by reciting it) he fares well*

14. The hymn imam stomam arhate gatavedase (Rv. I, 94), addressed to GAtavedas, is one in which many verses have the same ending. Verily, this day also (the mahavrata) is one in which many receive the same reward. Thus it is fit for the day, yea, it is fit for the day.

1Ch§ 4. 2 CEI, 5, 2, 8

SECOND ARANYAKA.
FIRST ADHYAYA.

7 us f
4 |r First Kuawpa.

5, XC vit ! Wiru the second Aranyaka the Upanishad begins. It comprises - -<> the second and third Arasyakas, and may be said to consist of ‘ = .., { three divisions, or three Upanishads. Their general title is Bahvrzta- ;+-’“ ‘ ypanishad, sometimes Mahaitareya-upanishad, while the Upanishad generally known as Aitareya-upanishad comprises the 4th, 5th, and 6th adhy4yas only of the second Aranyaka. The character of the three component portions of the Upanishad can best be described in Sankara’s own words (Ar. III, 1, 1, Introd. p- 306): ‘There are three classes of men who want to acquire knowledge. The highest consists of those who have turned away from the world, whose minds are fixed on one subject and collected, and who yearn to be free at once. For these a knowledge of Brahman is intended, as taught in the Ait. Ar. II, 4-6. The middle class are those who wish to become free gradually by attaining to the world of Hirazyagarbha. For them the knowledge and worship of Pr&aza (breath and life) is intended, as explained in the Ait. Ar, II, 1-3. The lowest class consists of those who do not care either for immediate or gradual freedom, but who desire nothing but offspring, cattle, &c. For these the meditative worship of the Samhit& is intended, as explained in the third Aramyaka. They cling too strongly to the letter of the sacred text to be able to surrender it for a knowledge either of Pr4ma (life) or of Brahman.’ The connexion between the Upanishad or rather the three Upanishads and the first Aranyaka seems at first sight very slight. Still we soon perceive that it would be impossible to understand the first Upanishad, without a previous knowledge of the Mahévrata ceremony as described in the first Aranyaka. On this point too there are some pertinent remarks in Sankara’s commentary on the Aramyaka II, 1,2. ‘Our first duty,’ he says, ‘consists in performing sacrifices, such as are described in the first portion of the Veda, the Samhités, Brahmamas, and, to a certain extent, in the Aranyakas also. Afterwards arises a desire for knowledge, which cannot be satisfied except a man has first attained on

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Afterwards arises a desire for knowledge, which cannot be satisfied except a man has first attained on

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complete concentration of thought (ek4grat4). In order to acquire that concentration, the performance of certain up4sanas or meditations is enjoined, such as we find described in our Upanishad, viz. in Ar. II, 1-3.’

This meditation or, as it is sometimes translated, worship is of two kinds, either brahmop4sana or prattkopfsana. Brahmopasana or meditation on Brahman consists in thinking of him as distinguished by certain qualities, Pratikopasana or meditation on symbols consists in looking upon certain worldly objects as if they were Brahman, in order thus to withdraw the mind from the too powerful influence of external objects.

These objects, thus lifted up into symbols of Brahman, are of two kinds, either connected with sacrifice or not. In our Upanishad we have to deal with the former class only, viz. with certain portions of the MahAvrata, as described in the first Aranyaka. In order that the mind may not be entirely absorbed by the sacrifice, it is lifted up during the performance from the consideration of these sacrificial objects to a meditation on higher objects, leading up at last to Brahman as pr4ma or life. |

This meditation is to be performed by the priests, and while they meditate they may meditate on a hymn or on a single word of it as meaning something else, such as the sun, the earth, or the sky, but not vice vers4. And ifin one Sakhé, as in that of the Aitareyins, for instance, a certain hymn has been symbolically explained, the same explanation may be adopted by another Sakh4 also, such as that of the Kaushftakins. It is not necessary, however, that every part of the sacrifice should be accompanied by meditation, but it is left optional to the priest in what particular meditation he wishes to . engage, nor is even the time of the sacrifice the only right time for him to engage in these meditations,

1. This is the path: this sacrifice, and this Brahman. This is the true?

2. Let no man swerve from it, let no man transgress it.

1 Comm. The path is twofold, consisting of works and knowledge. Works or sacrifices have been described in the Samhit4, the Brahmasa, and the first Aranyaka. Knowledge of Brahman forms the subject of the second and third Aranyakas. The true path is that of knowledge.

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3. For the old (sages) did not transgress it, and those who did transgress, became lost.

4. This has been declared by a Rishi (Rv. VIII,
101, 14): ‘Three (classes of) people transgressed,
others settled down round about the venerable
(Agni, fire); the great (sun) stood in the midst of
the worlds, the blowing (V4yu, air) entered the
Harits (the dawns, or the ends of the earth).’

5. When he says: ‘Three (classes of ) people transgressed,’ the three (classes of) people who transgressed are what we see here (on earth, born again) as birds, trees, herbs, and serpents}.

When he says: ‘Three (classes of ) people transgressed,’ the three (classes of) people who transgressed are what we see here (on earth, born again) as birds, trees, herbs, and serpents}.

6. When he says: ‘Others settled down round about the venerable,’ he means those who now sit down to worship Agni (fire).

7. When he says : ‘ The great stood in the midst of the worlds,’ the great one in the midst of the world is meant for this Aditya, the sun.

8. When he says: ‘The blowing entered the
Harits,’ he means that V4yu, the air, the purifier,
entered all the corners of the earth *.

Sreconp KHANDA.

1. People say: ‘Uktha, uktha,’ hymns, hymns!
(without knowing what uktha, hymn’, means.) The

1 Vangah is explained by vanagat4 vriksh4s ; avagadh4Z is explained by vrihiyavadya oshadhayah; trapad4A is explained by uraspada’ sarpa4. Possibly they are all old ethnic names, like Vanga, Kera, &c. In Anandatirtha's commentary vaydmsi are explained by Pisika, Vahgavagadhas by R&kshasa, and frapfdas by Asuras.

* Three classes of men go to Naraka (hell); the fourth class, full of faith and desirous of reaching the highest world, worships Agni, Vayu, and other gods. Comm,

® The Comm. explains uktha as that from whence the favour of the gods arises, uttish/Aaty anena devatapras&da iti vyutpattez.

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hymn is truly (to be considered as) the earth, for from it all whatsoever exists arises.

2. The object of its praise is Agni (fire), and the eighty verses (of the hymn) are food, for by means of food one obtains everything.

3. The hymn is truly the sky, for the birds fly along the sky, and men drive following the sky. The object of its praise is Vayu (air), and the eighty verses (of the hymn) are food, for by means of food one obtains everything.

4. The hymn is truly the heaven, for from: its gift (rain) all whatsoever exists arises. The object of its praise is Aditya (the sun), and the eighty verses are food, for by means of food one obtains everything.

5. So much with reference to the gods (mythological); now with reference to man (physiological).

6. The hymn is truly man. He is great, he is
Pragdpati. Let him think, I am the hymn.

7. The hymn is his mouth, as before in the case of the earth.

8. The object of its praise is speech, and the eighty verses (of the hymn) are food, for by means of food he obtains everything.

9. The hymn is the nostrils, as before in the case of the sky.

10. The object of its praise is breath, and the eighty verses (of the hymn) are food, for by means of food he obtains everything.

11. The slight bent (at the root) of the nose is, as it were, the place of the brilliant (Aditya, the sun).

The object is now to show that the uktha or hymn used at the
Mahf4vrata ceremony has a deeper meaning than it seems to have,
and that its highest aim is Brahman; not, however, the highest
Brahman, but Brahman considered as life (prama).

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12. The hymn is the forehead, as before in the case of heaven. The object of its praise is the eye, and the eighty verses (of the hymn) are food, for by means of food he obtains everything.

13. The eighty verses (of the hymn) are alike food with reference to the gods as well as with reference to man. For all these beings breathe and live by means of food indeed. By food (given in alms, &c.) he conquers this world, by food (given im sacrifice) he conquers the other. Therefore the eighty verses (of the hymn) are alike food, with reference to the gods as well as with reference to man.

14. All this that is food, and all this that consumes food, is only the earth, for from the earth arises all whatever there is.

15. And all that goes hence (dies on earth),
heaven consumes it all; and all that goes thence
(returns from heaven to a new life) the earth consumes it all.

16. That earth is thus both food and consumer.

He also (the true worshipper who meditates on himself as being the uktha) is both consumer and consumed (subject and object!). No one possesses that which he does not eat, or the things which do not eat him?

? As a master who lives by his servants, while his servants live by him. Comm.

* Thave translated these paragraphs, as much as possible, according to the commentator. I doubt whether, either in the original or in the interpretation of the commentator, they yield any very definite sense. They are vague speculations, vague, at least, to us, though intended by the Brahmans to give a deeper meaning to certain ceremonial observances connected with the Mah4vrata. The uktha, or hymn, which is to be meditated on, as connected with the sacrifice, is part of the Mahavrata, an important ceremony, to be

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TuHirpD KHawpa.

1. Next follows the origin of seed. The seed of Pragdpati are the Devas (gods). The seed of the Devas is rain. The seed of rain are herbs. The seed of herbs is food. The seed of food is seed. The seed of seed are creatures. The seed of creatures is the heart. The seed of the heart is the mind. The seed of the mind is speech (Veda). The seed of speech is action (sacrifice). The action done (in a former state) is this man, the abode of Brahman.

2. He (man) consists of food (ira), and because he consists of food (iramaya), he consists of gold (hirazmaya?). He who knows this becomes golden in the other world, and is seen as golden (as the sun) for the benefit of all beings.

performed on the last day but one (the twenty-fourth) of the Gav4mayana sacrifice. That sacrifice lasts a whole year, and its performance has been fully described in the Brahmanas and Aranyakas. But while the ordinary performer of the Mah4vrata has simply to recite the uktha or nishkevalya-sastra, consisting of eighty verses (tri#a) in the G4yatri, Brzhatf, and Ushzih metres, the more advanced worshipper (or priest) is to know that this uktha has a deeper meaning, and is to meditate on it as being the earth, sky, heaven, also as the human body, mouth, nostrils, and forehead. The worshipper is in fact to identify himself by meditation with the uktha in all its senses, and thus to become the universal spirit or Hirazyagarbha. By this process he becomes the consumer and consumed, the subject and object, of everything, while another sacrificer, not knowing this, remains in his limited individual sphere, or, as the text expresses it, does not possess what he cannot eat (perceive), or what cannot eat him (perceive him). The last sentence is explained differently by the commentator, but in connexion with the whole passage it seems to me to become more intelligible, if interpreted as I have proposed to interpret it. 1 Play on words. Comm.

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FourTH Kuanpa.

1. Brahman (in the shape of praza, breath) entered into that man by the tips of his feet, and because Brahman entered (prapadyata) into that man by the tips of his feet, therefore people call them the tips of the feet (prapada), but hoofs and claws in other animals.

2. Then Brahman crept up higher, and therefore they were (called)! the thighs (ard).

3. Then he said: ‘Grasp wide,’ and that was
(called) the belly (udara).

4. Then he said: ‘Make room for me,’ and that was (called) the chest (uras).

5. The Sarkarékshyas meditate on the belly as Brahman, the Aruwis on the heart®, Both (these places) are Brahman indeed $,

6. But Brahman crept upwards and came to the head, and because he came to the head, therefore the head is called head ¢,

7. Then these delights alighted in the head, sight, hearing, mind, speech, breath.

8. Delights alight on him who thus knows, why the head is called head.

9. These (five delights or senses) strove together, saying: ‘I am the uktha (hymn), I am the uktha >’ ‘ Well,’ they said, ‘let us all go out from

1 These are all plays on words. Comm,

3 This does not appear to be the case either in the KA’. Up. V,
15; 17, or in the Satapatha-brahmana X, 6, 1.

* The pluti in t&3i is explained as sAstriyaprasiddhyartha.

* All puns, as if we were to say, because he hied up to the head, therefore the head was called head.

Comm,

3 This does not appear to be the case either in the KA’. Up. V,
15; 17, or in the Satapatha-brahmana X, 6, 1.

* The pluti in t&3i is explained as sAstriyaprasiddhyartha.

* All puns, as if we were to say, because he hied up to the head, therefore the head was called head.

5 Each wished to be identified with the uktha, as it was said before that the human body, mouth, nostrils, forehead were to be identified with the uktha. Cf. Kaush. Up. III, 3.

ap. 207 this body ; then on whose departure this body shall fall, he shall be the uktha among us?’

10. Speech went out, yet the body without speaking remained, eating and drinking.

Sight went out, yet the body without seeing remained, eating and drinking.

Hearing went out, yet the body without hearing remained, eating and drinking.

Mind went out, yet the body, as if blinking, remained, eating and drinking.

Breath went out, then when breath was gone out, the body fell.

11. It was decayed, and because people said, it
decayed, therefore it was (called) body (sartra).
That is the reason of its name.

12. If a man knows this, then the evil enemy who hates him decays, or the evil enemy who hates him is defeated.

13. They strove again, saying: ‘I am the uktha, I am the uktha.’ ‘Well,’ they said, ‘let us enter that body again; then on whose entrance this body shall rise again, he shall be the uktha among us.’

14. Speech entered, but the body lay still. Sight entered, but the body lay still. Hearing entered, but the body lay still. Mind entered, but the body lay still, Breath entered, and when breath had entered, the body rose, and it became the uktha.

15. Therefore breath alone is the uktha.

16. Let people know that breath is the uktha indeed.

17. The Devas (the other senses) said to breath:
‘Thou art the uktha, thou art all this, we are thine,
thou art ours.’

1 Cf. KA. Up. V, 1; Brith. Up. VI, 1; Kaush. Up. II, 12-14;
II, 2; Prasna Up. II, 1.

/ /

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18. This has also been said by a Aeshi (Rv.
VIII, 92, 32): ‘Thou art ours, we are thine.’

Firty KuHawpa.

1. Then the Devas carried him (the breath) forth, and being carried forth, he was stretched out, and when people said, ‘ He was stretched out,’ then it was in the morning ; when they said, ‘ He is gone to rest,’ then it was in the evening. Day, therefore, is the breathing up, night the breathing down ?.

2. Speech is Agni, sight that Aditya (sun), mind the moon, hearing the Dis (quarters): this is the prahit4m samyoga*, the union of the deities as sent forth. These deities (Agni, &c.) are thus in the body, but their (phenomenal) appearance yonder is among the deities—this was intended.

3. And Hiraszyadat Vaida also, who knew this (and who by his knowledge had become Hirazyagarbha or the universal spirit), said: ‘Whatever they do not give to me, they do not possess themselves.” I know the prahit4m samyoga, the union of the deities, as entered into the body*. This is it.

1 All these are plays on words, pratar being derived from pratayi, sdyam from samfg&t. The real object, however, is to show that breath, which is the uktha, which is the worshipper, is endowed with certain qualities, viz. time, speech, &c.

* The meaning is, that the four deities, Agni, Aditya, Moon, and the Dis proceed from their own places to dwell together in the body of man, and that this is called the prahitam samyogah. Prahit is explained as prahita, placed, sent. It is probably formed from hi, not from dh. Prahito# samyoganam is the name of a Séman, Ind. Stud. III, 225. As Devas or gods they appear each in its own place. The whole passage is very obscure.

* All this is extremely obscure, possibly incorrect. For yam, unless it refers to some other word, we expect yan. For dadyus one expects dady&t. What is intended is that Hirazyadat had

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4. To him who knows this all creatures, without being constrained, offer gifts.

5. That breath is (to be called) sattya (the true), for sat is breath, ti is food, yam is the sun’. This is threefold, and threefold the eye also may be called, it being white, dark, and the pupil. He who knows why true is true (why sattya is sattya), even if he should speak falsely, yet what he says is true.

Sixtu Kuawpa.

1. Speech is his (the breath’s) rope, the names the knots*. Thus by his speech as by a rope, and by his names as by knots, all this is bound. For all this are names indeed, and with speech he calls everything.

2. People carry him who knows this, as if they were bound by a rope.

3. Of the body of the breath thus meditated on, the Ushzih verse forms the hairs, the Gayatri the skin, the Trish¢ubh the flesh, the Anush¢ubh the muscles, the Gagatt the bone, the Pankti the marrow, the Brzhatt the breath® (praza). He is covered with the verses (é4andas, metres). Because he is thus covered with verses, therefore they call them khandas (coverings, metres).

4. If a man knows the reason why é/andas are
- called £4andas, the verses cover him in whatever place he likes against any evil deed.

through meditation acquired identity with the universal spirit, and that therefore he might say that whatever was not surrendered to him did not really belong to anybody. On Hirasyadat, see Ait. Brahm. III, 6.

Cf. Kh. Up. VIII, 3, 5.

* The rope is supposed to be the chief rope to which various smaller ropes are attached for fastening animals.

* Here conceived as the air breathed, not as the deity. Comm,

[3] P

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5. Thisis said by a Azshi (Rv. I, 164, 13):—

Brahm. III, 6.

Cf. Kh. Up. VIII, 3, 5.

* The rope is supposed to be the chief rope to which various smaller ropes are attached for fastening animals.

* Here conceived as the air breathed, not as the deity. Comm,

[3] P

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5. Thisis said by a Azshi (Rv. I, 164, 13):—

6. ‘I saw (the breath) as a guardian, never tiring, coming and going on his ways (the arteries). That breath (in the body, being identified with the sun among the Devas), illuminating the principal and intermediate quarters of the sky, is returning constantly in the midst of the worlds.’

He says: ‘I saw a guardian,’ because he, the breath, is a guardian, for he guards everything.

7. He says: ‘Never tiring,’ because the breath never rests. .

8. He says: ‘Coming and going on his ways,’ because the breath comes and goes on his ways.

9. He says: ‘Illuminating the principal and intermediate,’ because he illuminates these only, the principal and intermediate quarters of the sky.

to. He says: ‘ He is returning constantly in the midst of the worlds, because he returns indeed constantly in the midst of the worlds.

11. And then, there is another verse (Rv. I, 55,
81): ‘They are covered like caves by those who
make them,’

12. For all this is covered indeed by breath.

13. This ether is supported by breath as Brzhatt, and as this ether is supported by breath as Brzhatt, so one should know that all things, not excepting ants, are supported by breath as Bvvhatt.

SEVENTH KHaAwnpA,

1. Next follow the powers of that Person '.
2. By his speech earth and fire were created.

1 The purusha, as described before in the second chapter, is the Prag4pati or universal spirit with whom the worshipper is to identify himself by meditation. The manifestations of his power consist in creating the earth, fire, the sky, the air, heaven, the sun.

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Herbs are produced on the earth, and-Agni (fire) makes them ripe and sweet. ‘Take this, take this,’ thus saying do earth and fire serve their parent, speech.

3. As far as the earth reaches, as far as fire reaches, so far does his world extend, and as long as the world of the earth and fire does not decay, so long does his world not decay who thus knows this power of speech.

4. By breath (in the nose) the sky and the air were created. People follow the sky, and hear along the sky, while the air carries along pure scent. Thus do sky and air serve their parent, the breath. -

As far as the sky reaches, as far as the air reaches, so far does his world extend, and as long as the world of the sky and the air does not decay, so long does his world not decay who thus knows this power of breath.

5. By his eye heaven and the sun were created, Heaven gives him rain and food, while the sun causes his light to shine. Thus do the heaven and the sun serve their parent, the eye.

As far as heaven reaches and as far as the sun reaches, so far does his world extend, and as long as the world of heaven and the sun does not decay, so long does his world not decay who thus knows the power of the eye.

6. By his ear the quarters and the moon were created. From all the quarters they come to him, and from all the quarters he hears, while the moon produces for him the bright and the dark halves for the sake of sacrificial work. Thus do the quarters and the moon serve their parent, the ear.

As far as the quarters reach and as far as the

P 2

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moon reaches, so far does his world extend, and as long as the world of the quarters and the moon does not decay, so long does his world not decay who thus knows the power of the ear.

7. By his mind the water and Varuva were created, Water yields to him faith (being used for sacred acts), Varuma keeps his offspring within the law. Thus do water and Varuma serve their parent, the mind.

As far as water reaches and as far as Varuza reaches, so far does his world extend, and as long as the world of water and Varuva does not decay, so long does his world not decay who thus knows the power of the mind.

EicutH Kuawnpal.

1. Was it water really? Was it water? Yes, all this was water indeed. This (water) was the root (cause), that (the world) was the shoot (effect). He (the person) is the father, they (earth, fire, &c.) are the sons. Whatever there is belonging to the son, belongs to the father ; whatever there is belonging to the father, belongs to the son. This was intended*.

2. Mahidasa Aitareya, who knew this, said: ‘I know myself (reaching) as far as the gods, and I know the gods (reaching) as far as me. For these gods receive their gifts from hence, and are supported from hence.’

1 Having described how Praza, the breath, and his companions or servants created the world, he now discusses the question of the material cause of the world out of which it was created. Water, which is said to be the material of the world, is explained by the commentator to mean here the five elements.

* Cause and effect are not entirely separated, therefore water, as the elementary cause, and earth, fire, &c., as its effect, are one ; likewise the worshipper, as the father, and the earth, fire, &c. as his sons, as described above. Mfila and tila, root and shoot, are evidently chosen for the sake of the rhyme, to signify cause and effect.

11 ARANYAKA, I ADHYAyA, 8 KHANDA, 12. 213

3. This is the mountain!, viz. eye, ear, mind,
speech, and breath. They call it the mountain of
Brahman.

4. He who knows this, throws down the evil enemy who hates him; the evil enemy who hates him is defeated.

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gods receive their gifts from hence, and are supported from hence.’

3. This is the mountain!, viz. eye, ear, mind,
speech, and breath. They call it the mountain of
Brahman.

4. He who knows this, throws down the evil enemy who hates him; the evil enemy who hates him is defeated.

5. He (the Praza, identified with Brahman) is the life, the breath; he is being (while the gtvatman remains), and not-being (when the gitvatman departs).

6. The Devas (speech, &c.) worshipped him (praza) as Bhidti or being, and thus they became great beings. And therefore even now a man who sleeps, breathes like bhirbhud.

7. The Asuras worshipped him as Abhati or notbeing, and thus they were defeated.

8. He who knows this, becomes great by himself, while the evil enemy who hates him, is defeated.

9. He (the breath) is death (when he departs), and immortality (while he abides).

10. And this has been said by a Ashi (Rv. I,
164, 38) :—

11. ‘ Downwards and upwards he (the wind of the breath) goes, held by food ;’—for this up-breathing, being held back by the down-breathing, does not move forward (and leave the body altogether).

12. ‘The immortal dwells with the mortal ;’—for through him (the breath) all this dwells together, the bodies being clearly mortal, but this being (the breath), being immortal.

1 Prana is called the giri#, because it is swallowed or hidden by the other senses (giran4t). Again a mere play of words, intended to show that Brahman under the form of Pr&ma, or life, is to be meditated on.

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13. ‘These two (body and breath) go for ever in different directions (the breath moving the senses of the body, the body supporting the senses of the breath : the former going upwards to another world, the body dying and remaining on earth). They increase the one (the body), but they do not increase the other, i.e. they increase these bodies (by food), but this being (breath) is immortal.

14. He who knows this becomes immortal in that world (having become united with Hirazyagarbha), and is seen as immortal (in the sun) by all beings, yea, by all beings.

SECOND ADHYAYA?

First KHawpa,

1. He (the sun), who shines, honoured this world (the body of the worshipper, by entering into it), in the form of man? (the worshipper who meditates on breath). For he who shines (the sun) is (the same as) the breath. He honoured this (body of the worshipper) during a hundred years, therefore there are a hundred years in the life of aman. Because he honoured him during a hundred years, therefore there are (the poets of the first Mazdala of the Rigveda, called) the Satar#in, (having honour for a

He honoured this (body of the worshipper) during a hundred years, therefore there are a hundred years in the life of aman. Because he honoured him during a hundred years, therefore there are (the poets of the first Mazdala of the Rigveda, called) the Satar#in, (having honour for a

1 In the first adhyaya various forms of meditating on Uktha, conceived as Préza (life), have been declared. In the second some other forms of meditation, all extremely fanciful, are added. They are of interest, however, as showing the existence of the hymns of the Rig-veda, divided and arranged as we now possess them, at the time when this Aranyaka was composed.

* The identity of the sun and of breath as living in man has been established before. It is the same power in both, conceived either adhidaivatam (mythological) or adhyatmam (physiological).

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hundred years.) Therefore people call him who is really Praza (breath), the SatarZin poets!

2. He (breath) placed himself in the midst of all whatsoever exists. Because he placed himself in the midst of all whatsoever exists, therefore there are (the poets of the second to the ninth Mazdala of the Rig-veda, called) the Madhyamas. Therefore people call him who is really Pravza (breath), the Madhyama poets.

3. He as up-breathing is the swallower (grztsa), as down-breathing he is delight (mada). Because as up-breathing he is swallower (g7ztsa) and as downbreathing delight (mada), therefore there is (the poet of the second Mazdala of the Rig-veda, called) Gvitsamada. Therefore people call him who is really Préza (breath), Gvztsamada.

4. Of him (breath) all this whatsoever was a friend. Because of him all (visvam) this whatsoever was a friend (mitram), therefore there is (the poet of the third Mazdala of the Rig-veda, called) Visvamitra. Therefore people call him who is really Prama (breath), Visvamitra.

5. The Devas (speech, &c.) said to him (the breath) : ‘ He is to be loved by all of us.’ Because the Devas said of him, that he was to be loved (vdma) by all of them, therefore there is (the poet of the fourth Mazdala of the Rig-veda, called) Vamadeva. Therefore people call him who is really Praza (breath), Vamadeva.

6. He (breath) guarded all this whatsoever from evil. Because he guarded (atrayata) all this whatso-

1 The real ground for the name is that the’ poets of the first Mazdala composed on an average each about a hundred Rik verses. . .

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ever from evil, therefore there are (the poets of the fifth Mazdala of the Rig-veda, called) Atrayad. Therefore people call him who is really Praza (breath), Atrayad.

SECOND KHAWDA.

1. He (breath) is likewise a Bibhradv4ga (bringer of offspring). Offspring is vaga, and he (breath) supports offspring. Because he supports it, therefore there is (the poet of the sixth Mamdala of the Rig-veda, called) Bharadvaga. Therefore people call him who is really Praza (breath), Bharadvaga.

He (breath) is likewise a Bibhradv4ga (bringer of offspring). Offspring is vaga, and he (breath) supports offspring. Because he supports it, therefore there is (the poet of the sixth Mamdala of the Rig-veda, called) Bharadvaga. Therefore people call him who is really Praza (breath), Bharadvaga.

2. The Devas (speech, &c.) said to him: ‘He it is who chiefly causes us to dwell on earth.’ Because the Devas said of him, that he chiefly caused them to dwell on earth, therefore there is (the poet of the seventh Mandala of the Rig-veda, called) Vasish¢ha. Therefore people call him who is really Praza (breath), Vasish//a 1}.

3. He (breath) went forth towards? all this whatsoever. Because he went forth toward all this whatsoever, therefore there are (the poets of the eighth Mandala of the Rig-veda, called) the PragAthas. Therefore people call him who is really Prawa (breath), the Pragathas.

4. He (breath) purified all this whatsoever. Because he purified all this whatsoever, therefore there

1 T translate in accordance with the commentator, and probably with the intention of the author. The same etymology is repeated in the commentary on II, 2, 4, 2. It would be more natural to take vasish/fa in the sense of the richest.

* This is the interpretation of the commentator, and the preposition abhi seems to show that the author too took that view of the etymology of pragatha.

p. 217

are (the hymns and also the poets! of the ninth
Mandala of the Rig-veda, called) the Pavamanis.
Therefore people called him who is really Praza
(breath), the Pavamanis.

5. He (breath) said: ‘Let me be everything whatsoever, small (kshudra) and great (mahat), and this became the Kshudrasiktas and MahAsiktas.’ Therefore there were (the hymns and also the poets of the tenth Mazdala of the Rig-veda, called) the Kshudrasiktas (and Mahasiktas). Therefore people call him who is really Préza (breath), the Kshudrasiktas (and Mah4sdktas).

6. He (breath) said once: ‘You have said what is well said (su-ukta) indeed. This became a Sikta (hymn).’ Therefore there was the Sakta. Therefore people call him who is really Praza (breath), Sdkta *,

7. He (breath) is a Az& (verse), for he did honour® to all beings (by entering into them). Because he did honour to all beings, therefore there was the Azé verse. Therefore people call him who is really Praza (breath), Rzé.

8. He (breath) is an Ardharéa (half-verse), for he did honour to all places (ardha)*. Because he did honour to all places, therefore there was the Ardharéa. Therefore people call him who is really Prasa (breath), Ardharéa.

1 It seems, indeed, as if in the technical language of the Brahmans, the poets of the ninth Mandala were sometimes called Pavamanis, and the hymns of the tenth Mandala Kshudrasfiktas and Mahfsfktas (masc.) Cf. Arsheya-brahmaaa, ed. Burnell, p. 42.

* The poet also is called Sikta, taddrash/pi siktanamako ’bhit. Comm.

5 T translate according to the commentator.

Arsheya-brahmaaa, ed. Burnell, p. 42.

* The poet also is called Sikta, taddrash/pi siktanamako ’bhit. Comm.

5 T translate according to the commentator.

* Ardha means both half and place.

p. 218

9. He (breath) is a Pada (word) ', for he got into all these beings. Because he got (padi) into all these beings, therefore there was the Pada (word). Therefore people call him who is really Prava (breath), Pada.

10. He (breath) is an Akshara (syllable), for he pours out (ksharati) gifts to all these beings, and without him no one can pour out (atiksharati) gifts. Therefore there was the Akshara (syllable). Therefore people call him who is really Praza (breath), Akshara *.

11. Thus all these Azé verses, all Vedas, all sounds* are one word, viz. Praza (breath). Let him know that Praza is all Az&é verses.

TuirpD Kuanpa.

1. While Visv4mitra was going to repeat the hymns of this day (the mah4vrata), Indra sat down near him‘, Visv4mitra (guessing that Indra wanted food) said to him, ‘ This (the verses of the hymn) is food, and repeated the thousand Brzhatt verses °.

* It may also be intended for p4da, foot of a verse.

* The Prana (breath) is to be meditated on as all hymns, all poets, all words, &c. Comm.

* All aspirated sonant consonants. Comm.

* Upanishasasfda, instead of upanishasfda. The mistake is probably due to a correction, sa for sha; the commentator, however, considers it as a Vedic license. Sak4ro 'dhikas £hindasah.

5 These are meant for the Nishkevalya hymn recited at the noon-libation of the Mahfvrata. That hymn consists of ten parts, corresponding, as we saw, to ten parts of a bird, viz. its body, neck, head, root of wings, right wing, left wing, tail, belly, chest, and thighs. The verses corresponding to these ten parts, beginning with tad id asa bhuvaneshu gyeshéham, are given in the first Arasyaka, and more fully in the fifth Aranyaka by Saunaka.

p. 219

By means of this he went to the delightful home of
Indra (Svarga).

2. Indra said to him: ‘ Rishi, thou hast come to my delightful home. shi, repeat a second hymn}.’ Visvamitra (guessing that Indra wanted food) said -to him, ‘ This (the verses of the hymn) is food,’ and repeated the thousand Brvzhatt verses. By means of this he went to the delightful home of Indra (Svarga).

3. Indra said to him: ‘ Ashi, thou hast come to my delightful home. Ashi, repeat a third hymn.’ Visvamitra (guessing that Indra wanted food) said to him, ‘ This (the verses of the hymn) is food,’ and repeated the thousand Bvzhatt verses. By means of this he went to the delightful home of Indra (Svarga).

Ashi, repeat a third hymn.’ Visvamitra (guessing that Indra wanted food) said to him, ‘ This (the verses of the hymn) is food,’ and repeated the thousand Bvzhatt verses. By means of this he went to the delightful home of Indra (Svarga).

4. Indra said to him: ‘ Aishi, thou hast come to my delightful home. I grant thee a boon.’ Visvamitra said: ‘May I know thee.’ Indra said: ‘I am Praza (breath), O Ashi, thou art Prdaa, all things are Praza. For it is Praza who shines as the sun, and I here pervade all regions under that form. This food of mine (the hymn) is my friend and my support (dakshiva). This is the food prepared by Visvamitra. I am verily he who shines (the sun).’

Though they consist of many metres, yet, when one counts the syllables, they give a thousand Brzhatf verses, each consisting of thirty-six syllables.

1 Although the Nishkevalya is but one hymn, consisting of eighty trzRas, yet as these eighty trifas were represented as three kinds of food (see Ait. Ar. Il, 1, 2, 2~4), the hymn is represented as three hymns, first as eighty Gayatri tri#as, then as eighty Brehattf trikas, lastly as eighty Ushzih trzkas.

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FourtuH KuHawpa.

1. This then becomes perfect as a thousand of Brzhatt verses. Its consonants! form its body, its voice* (vowels) the soul’, its sibilants‘ the air of the breath.

2. He who knew this became Vasish¢fa, he took this name from thence.

3. Indra verily declared this to Visvamitra, and Indra verily declared this to Bharadvaga. Therefore Indra is invoked by him as a friend °.

4. This becomes perfect as a thousand of Brzhatt verses’, and of that hymn perfect with a thousand Brzhatt verses, there are 36,000 syllables®. So many are also the thousands of days of a hundred years (36,000). With the consonants they fill the nights, with the vowels the days.

5. This becomes perfect as a thousand of Brzhatt verses. He who knows this, after this thousand of Brzhatits thus accomplished, becomes full of knowledge, full of the gods, full of Brahman, full of the immortal, and then goes also to the gods.

6. What I am (the worshipper), that is he (sun) ; what he is, that am I.

1 Vyafiganani, explained by k4dini.

* Ghosha, explained by aspirated sonant consonants.

Atmé, explained by madhyasarfram.

* Sashasahaz. Comm.

5 He became Prana, and because PrAma causes all to dwell, or
covers all (vasayati), therefore the Azshi was called Vasish/ha.
Comm. Cf. Ait. Ar. II, 2, 2, 2.

¢ At the Subrahmanya ceremony in the Soma sacrifices, the invocations are, Indra 4 gakkha, hariva 4 gakkha.

7 cf. Ait. Ar. IL, 3, 8, 8.

® Each Brzhatt has thirty-six syllables.

Ir ARANYAKA, 3 ADHYAYA, I KHANDA, 4. 221

7. This has been said by a Azshi (Rv. I, 115, 1): ‘ The sun is the self of all that moves and rests.’
8. Let him look to that, let him look to that!

THIRD ADHYAYA}!

First Kuaypa.

7 cf. Ait. Ar. IL, 3, 8, 8.

® Each Brzhatt has thirty-six syllables.

Ir ARANYAKA, 3 ADHYAYA, I KHANDA, 4. 221

7. This has been said by a Azshi (Rv. I, 115, 1): ‘ The sun is the self of all that moves and rests.’
8. Let him look to that, let him look to that!

THIRD ADHYAYA}!

First Kuaypa.

1. He who knows himself as the fivefold hymn (uktha), the emblem of Praa (breath), from whence all this springs *, he is clever. These five are the earth, air, ether, water, and fire (gyotis). This is

- the self, the fivefold uktha. For from him all this springs, and into him it enters again (at the dissolution of the world). He who knows this, becomes the refuge of his friends.

2. And to him who knows the food (object) and the feeder (subject) in that uktha, a strong son is born, and food is never wanting. Water and earth are food, for all food consists of these two. Fire and air are the feeder, for by means of them? man eats all food. Ether is the bowl, for all this is poured into the ether. He who knows this, becomes the bowl or support of his friends.

3. To him who knows the food and the feeder in that uktha, a strong son is born, and food is never wanting. Herbs and trees are food, animals the feeder, for animals eat herbs and trees.

4. Of them again those who have teeth above

1 In this adhy4ya some more qualities are explained belonging to the Mah4vrata ceremonial and the hymns employed at it, which can be meditated on as referring to PrAza, life.

* Because the world is the result or reward for performing a meditation on the uktha. Comm.

5 The digestive fire is lighted by the air of the breath. Comm.

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and below, shaped after the likeness of man, are feeders, the other animals are food. Therefore these overcome the other animals, for the eater is over the food.

5. He who knows this is over his friends,

Seconp Kuanpa},

1. He who knows the gradual development of the self in him (the man conceived as the uktha), obtains himself more development.

2. There are herbs and trees and all that is animated, and he knows the self gradually developing in them. For in herbs and trees sap only is seen’, but thought (Aitta) in animated beings.

3. Among animated beings again the self develops gradually, for in some sap (blood) is seen (as well as thought), but in others thought is not seen.

4. And in man again the self develops gradually, for he is most endowed with knowledge. He says what he’ has known, he sees what he has known. He knows what is to happen to-morrow, he knows heaven and hell. By means of the mortal he desires the immortal—thus is he endowed.

5. With regard to the other animals hunger and thirst only are a kind of understanding. But they do not say what they have known, nor do they see

1 This treats of the gradual development of life in man, particularly of the development of a thinking soul (4aitanya).

3 In stones there is not even sap, but only being, satta. Comm.

But they do not say what they have known, nor do they see

1 This treats of the gradual development of life in man, particularly of the development of a thinking soul (4aitanya).

3 In stones there is not even sap, but only being, satta. Comm.

® What he has known yesterday he remembers, and is able to say before men, I know this. And when he has known a thing he remembers it, and goes to the same place to see it again. Comm.

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what they have known. They do not know what is to happen to-morrow, nor heaven and hell. They go so far and no further, for they are born according to their knowledge (in a former life).

Tuirp Kuawpa.

1. That man (conceived as uktha) is the sea, rising beyond the whole world’. Whatever he reaches, he wishes to go beyond *. If he reaches the sky, he wishes to go beyond.

2. If he should reach that (heavenly) world, he would wish to go beyond.

3. That man is fivefold. The heat in him is fire; the apertures (of the senses) are ether; blood, mucus, and seed are water ; the body is earth; breath is air.

4. That air is fivefold, viz. up-breathing, downbreathing, back-breathing, out-breathing, on-breathing. The other powers (devatas), viz. sight, hearing, mind, and speech, are comprised under up-breathing and down-breathing. For when breath departs, they also depart with it.

5. That man (conceived as uktha) is the sacrifice, which is a succession now of speech and now of thought. That sacrifice is fivefold, viz. the Agnihotra, the new and full moon sacrifices, the fourmonthly sacrifices, the animal sacrifice, the Soma sacrifice. The Soma sacrifice is the most perfect of sacrifices, for in it these five kinds of ceremonies are seen: the first which precedes the libations (the Diksha, &c.), then three libations, and what follows (the Avabhzztha, &c.) is the fifth.

1 Bhiloka. Comm. * Should it not be aty enan manyate?

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Fourtuy Kuanpa.

1. He who knows one sacrifice above another, one day above another, one deity above the others, he is clever. Now this great uktha (the nishkevalya-sastra) is the sacrifice above another, the day above another, the deity above others’.

2. This uktha is fivefold. With regard to its being performed as a Stoma (chorus), it is Trivrct, Panadasa, Saptadasa, Ekavimsa, and Pajfi#avimesa. With regard to its being performed as a Séman (song), it is G4yatra, Rathantara, Bvzhat, Bhadra, and Ragana. With regard to metre, it is Gayatri, Ushzih, Brzhatt, Trish¢ubh, and Dvipad&. And the explanation (given before in the Arazyaka) is that it is the head, the right wing, the left wing, the tail, and the body of the bird”.

1 The uktha is to be conceived as pr4ma, breath or life, and this priza was shown to be above the other powers (devatas), speech, hearing, seeing, mind. The uktha belongs to the Mahavrata day, and that is the most important day of the Soma sacrifice. The Soma sacrifice, lastly, is above all other sacrifices.

The uktha belongs to the Mahavrata day, and that is the most important day of the Soma sacrifice. The Soma sacrifice, lastly, is above all other sacrifices.

3 All these are technicalities connected with the singing and reciting of the uktha. The commentator says: The stoma is a collection of single Rzé verses occurring in the tré#as which have to be sung. The Trivrct stoma, as explained in the Samabréhmaaa, is as follows: There are three Siktas, each consisting of three verses, the first being up&smai g4yata, S. V. Uttarartika I, 1,1=Rv. IX, 11. The Udgatr? first sings the first three verses ® in each hymn. This is the first round. He then sings the three middle verses in each hymn. This is the second round. He lastly sings the last three verses in each hymn. This is the third round. This song is called Udyatt.

The Pafitadasa stoma is formed out of one Sfkta only, consisting of three verses. In the first round he sings the first verse

® Hinkv? with dative is explained as gai with accusative.

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3. He performs the Prastava in five ways, he performs the Udgitha in five ways, he performs the three times, the second and third once. In the second round he sings the middle verse three times, in the third round he sings the last verse three times. This song is called Vishéuti.

The Saptadasa stoma is formed in the same manner, only that in the first round he sings the first verse three times, in the second the middle verse three times, in the third round the middle and last verses three times. This song is called Dasasapta.

The Ekavimsa stoma is formed in the same manner, only that in the first round he sings the last verse once, in the second the first verse once, in the third the middle verse once, while the other verses are each repeated three times. This song is called Saptasaptinf.

The Paftkavimsa stoma is formed in the same manner, only that in the first round he sings the first verse three times, the second four times, the last once; in the second round the first once, the second three times, the third four times; in the third round the first five times, the second once, the last three times; or he sings in the third round the first verse four times, the second twice, the last three times.

S4yana in his commentary on the Ait. Ar. takes the Trivrit stoma to be formed out of three hymns, each consisting of three verses, while he says that the other stomas are formed out of one hymn only. B. and R., s.v. trivrit, state that this stoma consists of verses 1, 4, 7; 2, 5, 8; and 3, 6, 9 of the Rig-veda hymn IX, 11, but, according to Sayama, the stoma consists (1) of the first verses of the three Sfktas, upasmai g4yata, davidyutatya, and pavamfnasya at the beginning of the SAma-veda-Uttar4réika, (2) of the second, (3) of the third verses of the same three hymns. Mahfdh4ra (Yv. X, 9) takes the same view, though the MSS. seem to have left out the description of the second pary4aya, while Séyanza in his commentary to the T4Adya-bréahmana seems to support the opinion of B. and R. There is an omission, however, in the printed text of the commentary, which makes it difficult to see the exact meaning of Sfyama.

The Pafitadasa stoma is well described by Sdyana, Tandya Br.
II, 4. Taking the Sfkta agna 4 y4hi (Uttararfika I, 1, 4=Rv. VI,
16, 10-12), he shows the stoma to consist of (1) verse 1 x 3, 2, 33
(2) verse 1, 2X 3, 33 (3) verse 1, 2, 3X3.

The five Samans are explained by the commentator. The

[3] Q

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Pratihara in five ways, he performs the Upadrava in five ways, he performs the Nidhana in five ways?. All this together forms one thousand Stobhas, or musical syllables 2,

4. Thus also are the Rzé verses, contained in the
Nishkevalya, recited (by the Hotv) in five orders.
What precedes the eighty tvzéas, that is one order,
then follow the three sets of eighty trzéas each, and
what comes after is the fifth order’.

GAyatra is formed out of the Re (III, 62, ro) tat savitur varenyam.
The Rathantara is formed out of the Rr& (VII, 32, 22) abhi tv
sira nonuma. The Brihat is formed out of the Rré (VI, 46, 1)
tvam id dhi havamahe. The Bhadra is formed out of the Rié
(X, 157, 1) ima nu kam. The R4gana is formed out of the
Rek (VII, 27, 1) indram naro nemadhit&.

The metres require no explanation.

In identifying certain portions of the Nishkevalya hymn with a bird, the head of the bird corresponds to the hymns indram id githinah, &c.; the right wing to the hymns abhi tv4 sfira, &c.; the left wing to the hymns tv4m id dhi, &c.; the tail to the hymns im& nu kam, &c.; the body to the hymns tad id dsa, &c. All this was explained in the first Aranyaka.

1 The Samagas sing the Ragana at the Mah4vrata, and in that S4man there are, as usual, five parts, the Prastéva, Udgitha, Pratihara, Upadrava, and Nidhana. The Prastotr:, when singing the Prastéva portions, sings them five times. The Udgdtr? and Pratihartr? sing their portions, the Udgitha and Pratihara, five times. The Udgatri again sings the Upadrava five times. And all the Udg4tr7s together sing the Nidhana five times.

The Prastotr:, when singing the Prastéva portions, sings them five times. The Udgdtr? and Pratihartr? sing their portions, the Udgitha and Pratihara, five times. The Udgatri again sings the Upadrava five times. And all the Udg4tr7s together sing the Nidhana five times.

2 The Stobha syllables are syllables without any meaning, added when verses have to be sung, in order to have a support for the music. See XA’. Up. 1,13. In singing the five S&mans, each five times, one thousand of such Stobha syllables are required.

® There are in the Nishkevalya hymn, which the Hotr? has to recite, three sets of eighty tr#as each. The first, consisting of GAyatrts, begins with mah4# indro ya ogasa. The second, consisting of Brzhatis, begins with ma 4id anyad. The third, consisting of Ushnihs, begins with ya indra somap&tama. These three sets form the food of the bird, as the emblem of the sastra. The hymns

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5. This (the hymns of this Sastra) as a whole (if properly counted with the Stobha syllables) comes to one thousand (of Brzhatf verses). That (thousand) is the whole, and ten, ten is called the whole. For number is such (measured by ten). Ten tens are a hundred, ten huridreds are a thousand, and that is the whole. These are the three metres (the tens, pervading everything). And this food also (the three sets of hymns being represented as food) is threefold, eating, drinking, and chewing. He obtains that food by those (three numbers, ten, hundred, and thousand, or by the three sets of eighty tvzkas).

FirtH Kuawpa.

1. This (nishkevalya-sastra) becomes perfect as a thousand of Brzhatt verses.

2. Some teachers (belonging to a different Sakh4) recognise a thousand of different metres (not of Bvehatts only). They say: ‘Is another thousand (a thousand of other verses) good? Let us say it is good.’

3. Some say, a thousand of Trish¢ubh verses, others a thousand of Gagatt verses, others a thousand of Anush¢ubh verses.

4. This has been said by a Rzshi (Rv. X,124,9):—

5. ‘ Poets through their understanding discovered Indra dancing an Anushtubh.’ This is meant to say: They discovered (and meditated) in speech (called Anush¢ubh)—at that time (when they worwhich precede these, form the body, head, and wings of the bird. This is one order. Then follow the three sets of eighty tritas each; and lastly, the fifth order, consisting of the hymns which form the belly and the legs of the bird.

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shipped the uktha)—the Préwa (breath) connected with Indra.

6. He (who takes the recited verses as Anushtubhs) is able to become celebrated and of good report.

7. No! he says; rather is such a man liable to die before his time. For that self (consisting of Anushtéubhs) is incomplete. For if a man confines himself to speech, not to breath, then driven by his mind, he does not succeed with speech ?.

8. Let him work towards the Byvzhatt, for the
Brzhatt (breath) is the complete self.

For that self (consisting of Anushtéubhs) is incomplete. For if a man confines himself to speech, not to breath, then driven by his mind, he does not succeed with speech ?.

8. Let him work towards the Byvzhatt, for the
Brzhatt (breath) is the complete self.

9. That self (gtvatman) is surrounded on all sides by members. And as that self is on all sides surrounded by members, the Bvzhatt also is on all sides surrounded by metres *.

10. For the self (in the heart) is the middle of these members, and the Brvzhatt is the middle of the metres.

11. ‘Heis able to become celebrated and of good

1 This passage is obscure, and probably corrupt. I have followed the commentator as much as possible. He says: ‘If the Hotri priest proceeds with reciting the sastra, looking to the Anush/subh, which is speech, and not to the thousand of Brthatts which are breath, then, neglecting the Brzshatf (breath), and driven by his mind to the Anushfubh (speech), he does not by his speech obtain that sastra. For in speech without breath the Hotrt cannot, through the mere wish of the mind, say the sastra, the . activity of all the senses being dependent on breath.’ The commentator therefore takes vagabhi for vasam abhi, or for some old locative case formed by abhi. He also would seem to have read prize na. One might attempt another construction, though it is very doubtful. One might translate, ‘For that self, which is speech, is incomplete, because he understands if driven to the mind by breath, not (if driven) by speech.’

* Either in the sastra, or in the list of metres, there being some that have more, others that have less syllables.

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report, but (the other) able to die before his time,’ thus he said. For the Brzhatt is the complete self, therefore let him work towards the Brzhatt (let him reckon the sastra recitation as a thousand Brzhatts).

SixtH Kuawpa.

1. This (nishkevalya-sastra) becomes perfect as a thousand of Byzhatt verses. In this thousand of Brzhatis there are one thousand one hundred and twenty-five Anushéubhs. For the smaller is contained in the larger.

2. This has been said by a A’shi (Rv. VIII, 76,
12):—

3. ‘A speech of eight feet ;’—because there are eight feet of four syllables each in the Anush¢ubh.

4. ‘Of nine corners ;’—because the Brzhatt becomes nine-cornered (having nine feet of four syllables each).

5. ‘Touching the truth ;’—because speech (Anushtubh) is truth, touched by the verse (Brzhatt) }.

6. ‘He (the Hotvz) makes the body out of Indra ;’— for out of this thousand of Brvzhatt verses turned into Anush¢ubhs, and therefore out of Praza as connected with Indra?, and out of the Brzhati (which is Praza), he makes speech, that is Anush¢ubh, as a body *. .

7. This Mahaduktha is the highest development

1 Vk, speech, taking the form of Anush/ubh, and being joined with the Az, or the Brzhati, touches the true, i.e. Prana, breath, which is to be meditated on under the form of the Brzhatf. Comm.

7. This Mahaduktha is the highest development

1 Vk, speech, taking the form of Anush/ubh, and being joined with the Az, or the Brzhati, touches the true, i.e. Prana, breath, which is to be meditated on under the form of the Brzhatf. Comm.

2 Cf, Ait. Ar. II, 2, 3, 4.

8 Because the Anush/ubh is made out of the Brzhat?, the Brzhatt being breath, therefore the Anush/ubh is called its body.

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of speech, and it is fivefold, viz. measured, not measured, music, true, and untrue.

8. A zk verse, a gatha!, a kumby4? are measured (metrical). A Yagus line, an invocation, and general remarks 5, these are not measured (they are in prose). A Saman, or any portion (parvan) of it, is music. Om is true, Na is untrue.

9. What is true (Om) is the flower and fruit of speech. He is able to become celebrated and of good report, for he speaks the true (Om), the flower and fruit of speech.

10. Now the untrue is the root‘ of speech, and as a tree whose root is exposed dries up and perishes, thus a man who says what is untrue exposes his root, dries up and perishes. Therefore one should not say what is untrue, but guard oneself from it.

11. That syllable Om (yes) goes forward (to the first cause of the world) and is empty. Therefore if a man says Om (yes) to everything, then that (which he gives away) is wanting to him here®. If he says Om (yes) to everything, then he would empty himself, and would not be capable of any enjoyments.

12, That syllable Na (no) is full for oneself*. If a man says No to everything, then his reputation

’ A gf&tha is likewise in verse, for instance, pratah pr&tar anritam te vadanti.

* A kumby4 is a metrical precept, such as, brahmaédryasy4posanam karma kuru, diva m4 sv4psif, &c.

* Such as arthav4das, explanatory passages, also gossip, such as is common in the king’s palace, laughing at people, &c.

* As diametrically opposed to the flowers and fruits which represent the true. Comm.

® Then that man is left empty here on earth for that enjoyment. Comm.

* He who always says No, keeps everything to himself.

11 ARANYAKA, 3 ADHYAYA, 7 KHANDA, I. 231

would become evil, and that would ruin him even here.

13. Therefore let a man give at the proper time only, not at the wrong time. Thus he unites the true and the untrue, and from the union of those two he grows, and becomes greater and greater.

14. He who knows this speech of which this (the mahaduktha) is a development, he is clever. A is the whole of speech, and manifested through different kinds of contact (mutes) and of wind (sibilants), it becomes manifold and different.

15. Speech if uttered in a whisper is breath, if spoken aloud, it is body. Therefore (if whispered) it is almost hidden, for what is incorporeal is almost hidden, and breath is incorporeal. But if spoken aloud, it is body, and therefore it is perceptible, for body is perceptible.

SEVENTH KHAwpa.