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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 4 of 13

The Aitareya-upanishad, properly so called, has been edited and translated in the Bibliotheca Indica by Dr. Réer. The whole of the Aitareya-Arazyaka with Sayana’s commentary was published in the same series by Rajendralal Mitra.

Though I have had several MSS. of the text and commentary at my disposal, I have derived little aid from them, but have throughout endeavoured to restore that text which Sankara (the pupil of Govinda) and Sayana had before them. Sdyama, for the Upanishad portion, follows Sankara’s commentary, of which we have a gloss by Anandagfiana.

Colebrooke in his Essays (vol. ii, p. 42) says that he

1 This may have been the origin of a Rishi Mahaitareya, by the side of the Rishi Aitareya, mentioned in the Asvalayana Grihya-sfitras III, 4 (ed. Stenzler). Professor Weber takes Aitareya and Mahaitareya here as names of works, but he admits that in the Saikh4yana Grihya-s(tras they are clearly names of Rishis (Ind. Stud. I, p. 389).

* He translates II, 1-II, 3, 4, leaving out the rest of the third adhyaya ; afterwards II, 4-II, 7.

® Bibliotheca Indica, the Atharvaza-upanishads, p. 394.

{3] g

Xcvili UPANISHADS.

possessed one gloss by N4rayazendra on Sankara’s commentary, and another by Anandatirtha on a different gloss for the entire Upanishad. The gloss by Narayazendra’, however, is, so Dr. Rost informs me, the same as that of Anandagiiana, while, so far as I can see, the gloss contained in MS. E. I. H. 2386 (also MS. Wilson 401), to which Colebrooke refers, is not a gloss by Anandatirtha at all, but a gloss by Visvesvaratirtha on a commentary by Anandatirthabhagavatpadaéarya, also called Pirzapragiiaarya, who explained the whole of the Mahaitareya-upanishad from a Vaishzava point of view.

IV.

THE KAUSHITAKI-BRAHMANA-UPANISHAD.

THE Kaushitaki-upanishad, or, as it is more properly called, the Kaushitaki-brahmama-upanishad, belongs, like the Aitareya-upanishad, to the followers of the Rig-veda. It was translated into Persian under the title of Kokhenk, and has been published in the Bibliotheca Indica with Sankarananda’s commentary and an excellent translation by Professor Cowell.

Though it is called the Kaushitaki-brahmaza-upanishad, it does not form part of the Kaushitaki-brahmaza in 30 adhy4dyas which we possess, and we must therefore account for its name by admitting that the Arazyaka, of which it formed a portion, could be reckoned as part of the Brahmava literature of the Rig-veda (see Aitareya-aranyaka, Introduction, p. xcii), and that hence the Upanishad might be called the Upanishad of the Brahmamza of the Kaushitakins *, L.

From a commentary discovered by Professor Cowell it appears that the four adhy4yas of this Upanishad

xcii), and that hence the Upanishad might be called the Upanishad of the Brahmamza of the Kaushitakins *, L.

From a commentary discovered by Professor Cowell it appears that the four adhy4yas of this Upanishad

+ AMS. in the Notices of Sanskrit MSS., vol. ii, p. 133, ascribed to Abhinavanrfyanendra, called Atmashaskabhashyasika, begins like the gloss edited by Dr. Roer, and ends like Sayana's commentary on the seventh adhydya, as edited by Rajendralal Mitra. The same name is given in MS. Wilson 94, Stimatkaivalyend rasarasvatip{igyapAdasishya- srimadabhinavanarfyanendrasarasvatt.

* A Mah4-kaushitaki-brahmana is quoted, but has not yet been met with.

INTRODUCTION. XCix

were followed by five other adhy4yas, answering, so far’ as we can judge from a few extracts, to some of the adhyAyas of the Aitareya-4razyaka, while an imperfect MS. of an Aranyaka in the Royal Library at Berlin (Weber, Catalogue, Pp. 20) begins, like the Aitareya-4razyaka, with a description of the Mahavrata, followed by discussions on the uktha in the second adhydya; and then proceeds in the third adhyaya to give the story of Xitra Gaagy4yani in the same words as the Kaushitaki-upanishad in the first adhy4dya. Other MSS. again adopt different divisions. In one MS. of the commentary (MS. A), the four adhydyas of the Upanishad are counted as sixth, seventh, eighth, and ninth (ending with ity4razyake navamo ‘dhydya%); in another (MS. P) the third and fourth adhydyas of the Upanishad are quoted as the fifth and sixth of the Kaushitakydrazyaka, possibly agreeing therefore, to a certain extent, with the Berlin MS. In a MS. of the Sankhdayana Aranyaka in the Royal Library at Berlin, there are 15 adhydyas, 1 and 2 corresponding to Ait. Ar. 1 and 5; 3-6 containing the Kaushitaki-upanishad ; 7 and 8 corresponding to Ait. Ar. 31. Poley seems to have known a MS. in which the four adhyd4yas of the Upanishad formed the first, seventh, eighth, and ninth adhydyas of a Kaushitaki-brahmava.

As there were various recensions of the Kaushitaki-brahmaza (the Sankh4yana, Kauthuma, &c.), the Upanishad also exists in at least two texts. The commentator, in some of its MSS., refers to the various readings of the Sakhas, explaining them, whenever there seems to be occasion for it. I have generally followed the text which is presupposed by Sankardnanda’s Dipik4, and contained in MSS. F, G (Cowell, Preface, p. v), so far as regards the third and fourth adhy4yas. According to Professor Cowell, Vidydrazya in his Sarvopanishadarthanubhitiprakasa followed the text of the commentary, while Sankarazarya, if we may trust to extracts in his commentary on the Vedanta-sitras, followed the other text, contained in MS. A (Cowell, Preface, p. v).

1 See Weber, History of Sanskrit Literature, p. 50. g2 c UPANISHADS.

A (Cowell, Preface, p. v).

1 See Weber, History of Sanskrit Literature, p. 50. g2 c UPANISHADS.

The style of the commentator differs in so marked a manner from that of Sankardzarya, that even without the fact that the author of the commentary on the Kaushitakiupanishad is called Sankarananda, it would have been difficult to ascribe it, as has been done by some scholars, to the famous Sankaré#arya. Sankarananda is called the teacher of Madhava#arya (Hall, Index, p. 98), and the disciple of Anandatma Muni (Hall, Index, p. 116).

I have had the great advantage of being able to consult for the Kaushitaki-upanishad, not only the text and commentary as edited by Professor Cowell, but also his excellent translation. If I differ from him in some points, this is but natural, considering the character of the text and the many difficulties that have still to be solved, before we can hope to arrive at a full understanding of these ancient philosophical treatises.

THE VAGASANEYI-SAMHITA-UPANISHAD.

THE VA4gasaneyi-samhita-upanishad, commonly called ” from its beginning, fs4 or fsAvAsya, forms the fortieth and concluding chapter of the Samhita of the White Yagur-veda. If the Samhités are presupposed by the Brahmamas, at least in that form in which we possess them, then this Upanishad, being the only one that forms part of a Samhita, might claim a very early age. The SamhitA of the White Yagur-veda, however, is acknowledged to be of modern origin, as compared with the Samhita of the Black Yagur-veda, and it would not be safe therefore to ascribe to this Upanishad a much higher antiquity than to those which have found a place in the older Brahmazas and Aranyakas.

There are differences between the text, as contained in the Yagur-veda-samhita, and the text of the Upanishad by itself. Those which are of some interest have been mentioned in the notes.

In some notes appended to the translation of this Upanishad I have called attention to what seems to me

INTRODUCTION. ci

its peculiar character, namely, the recognition of the necessity of works as a preparation for the reception of the highest knowledge. This agrees well with the position occupied by this Upanishad at the end of the Samhita, in which the sacrificial works and the hymns that are to accompany them are contained. The doctrine that the moment a man is enlightened, he becomes free, as taught in other Upanishads, led to a rejection of all discipline and a condemnatian of all sacrifices, which could hardly have been tolerated in the last chapter of the Yagur-vedasamhitd, the liturgical Veda par excellence.

Other peculiarities of this Upanishad are the name fs, lord, a far more personal name for the highest Being than Brahman; the asurya (demoniacal) or asdrya (sunless) worlds to which all go who have lost their self; MAtarisvan, used in the sense of praza or spirit; asnd4viram, without muscles, in the sense of incorporeal; and the distinction between sambhiti and asambhiti in verses 12-14.

The editions of the text, commentaries, and glosses, and the earlier translations may be seen in the works quoted before, p. Ixxxiv. .

KHANDOGYA-UPANISHAD.

FIRST PRAPA7HAKA.

First Kuawpal.

1. Let a man meditate on the syllable? Om,
called the udgttha; for the udgitha (a portion of the
Sama-veda) is sung, beginning with Om.

The full account, however, of Om is this:—

2. The essence® of all beings is the earth, the essence of the earth is water, the essence of water

1 The XAAndogya-upanishad begins with recommending meditation on the syllable Om, a sacred syllable that had to be pronounced at the beginning of each Veda and of every recitation of Vedic hymns. As connected with the Séma-veda, that syllable Om is called udgitha. Its more usual name is prazava. The object of the Upanishad is to explain the various meanings which the syllable Om may assume in the mind of a devotee, some of them being extremely artificial and senseless, till at last the highest meaning of Om is reached, viz. Brahman, the intelligent cause of the universe.

* Akshara means both syllable and the imperishable, i.e. Brahman.

5 Essence, rasa, is explained in different ways, as origin, support, end, cause, and effect. Rasa means originally the sap of trees. That sap may be conceived either as the essence extracted from the tree, or as what gives vigour and life to a tree. In the former case it might be transferred to the conception of effect, in the latter to that of cause. In our sentence it has sometimes the one, sometimes the other meaning. Earth is the support of all beings, water pervades the earth, plants arise from water, man lives by plants, speech is the best part of man, the Rig-veda the best part of speech, the Sima-veda the best extract from the Rz&, udgitha, or the syllable Om, the crown of the Sama-veda.

[5] B anp. 2 the plants, the essence of plants man, the essence of man speech, the essence of speech the Rig-veda, the essence of the Rig-veda the S4ma-veda?, the essence of the Sdma-veda the udgitha (which is Om).

3. That udgitha (Om) is the best of all essences, the highest, deserving the highest place ?, the eighth.

4. What then is the Az? What is the SAman?
What is the udgitha ? This is the question.

5. The z& indeed is speech, SAman is breath, the udgitha is the syllable Om. Now speech and breath, or Azé and SA4man, form one couple.

6. And that couple is joined together in the syllable Om. When two people come together, they fulfil each other’s desire.

7. Thus he who knowing this, meditates on the syllable (Om), the udgitha, becomes indeed a fulfiller of desires.

8. That syllable is a syllable of permission, for whenever we permit anything, we say Om, yes. Now permission is gratification. He who knowing this meditates on the syllable (Om), the udgitha, becomes indeed a gratifier of desires.

9. By that syllable does the threefold knowledge (the sacrifice, more particularly the Somasacrifice, as founded on the three Vedas) proceed. When the Adhvaryu priest gives an order, he says Om. When the Hotvz priest recites, he says Om. When the Udgatv? priest sings, he says Om,

1 Because most of the hymns of the SAma-veda are taken from the Rig-veda.

* ParArdhya is here derived from para, highest, and ardha, place. The eighth means the eighth or last in the series of essences.

p. 3

—all for the glory of that syllable. The threefold knowledge (the sacrifice) proceeds by the greatness of that syllable (the vital breaths), and by its essence (the oblations) }.

10. Now therefore it would seem to follow, that both he who knows this (the true meaning of the syllable Om), and he who does not, perform the same sacrifice?, But this is not so, for knowledge and ignorance are different. The sacrifice which a man performs with knowledge, faith, and the Upanishad? is more powerful. This is the full account of the syllable Om.

1 These are allusions to sacrificial technicalities, all intended to show the importance of the syllable Om, partly as a mere word, used at the sacrifices, partly as the mysterious name of the Highest Self. As every priest at the Soma-sacrifices, in which three classes of priests are always engaged, has to begin his part of the ceremonial with Om, therefore the whole sacrifice is said to be dependent on the syllable Om, and to be for the glory of that syllable, as an emblem of the Highest Self, a knowledge of whom is the indirect result of all sacrifices. The greatness of the syllable Om is explained by the vital breaths of the priest, the sacrificer, and his wife ; its essence by rice, corn, &c., which constitute the oblations. Why breath and food are due to the syllable Om is explained by the sacrifice, which is dependent on that syllable, ascending to the sun, the sun sending rain, rain producing food, and food producing breath and life.

% He who simply pronounces the syllable Om as part of his © recitation at a sacrifice, and he who knows the hidden meaning of that syllable, both may perform the same sacrifice. But that performed by the latter is more powerful, because knowledge is better than ignorance. This is, as usual, explained by some comparisons. It is true that both he who knows the quality of the haritakf and he who does not, are purged alike if they take it. But on the other hand, if a jeweller and a mere clod sell a precious stone, the knowledge of the former bears better fruit than the ignorance of the latter.

* Upanishad is here explained by yoga, and yoga by devat&divishayam updsanam, meditation directed to certain deities. More

But on the other hand, if a jeweller and a mere clod sell a precious stone, the knowledge of the former bears better fruit than the ignorance of the latter.

* Upanishad is here explained by yoga, and yoga by devat&divishayam updsanam, meditation directed to certain deities. More

p. 4

SEconD Kuawpa},

1. Whent he Devas and Asuras? struggled together, both of the race of Pragdpati, the Devas took the udgitha® (Om), thinking they would vanquish the Asuras with it.

2. They meditated on the udgitha* (Om) as the breath (scent) in the nose‘, but the Asuras pierced it (the breath) with evil. Therefore we smell by the breath in the nose both what is goodsmelling and what is bad-smelling. For the breath was pierced by evil.

3. Then they meditated on the udgttha (Om) as speech, but the Asuras pierced it with evil. Therefore we speak both truth and falsehood. For speech is pierced by evil.

4. Then they meditated on the udgttha (Om) as the eye, but the Asuras pierced it with evil. Therelikely, however, it refers to this very upanishad, i.e. to the udgfthavidya, the doctrine of the secret meaning of Om, as here explained.

1 A very similar story is told in the Brzhad-aranyaka I, 1, 3, 1 But though the coincidences between the two are considerable, amounting sometimes to verbal identity, the purport of the two seems to be different. See Vedanta-sftra III, 3, 6.

* Devas and Asuras, gods and demons, are here explained by the commentator as the good and evil inclinations of man; Pra- ” g&pati as man in general.

* Udgitha stands, according to the commentator, for the sacri- ‘ficial act to be performed by the Udg4tr?, the Sama-veda priest, with the udgitha hymns; and as these sacrificial acts always form part of the Gyotishfoma &c., these great Soma-sacrifices are really intended. In the second place, however, the commentator takes udgftha in the sense of Udg4tr?, the performer of the udgitha, which is or was by the Devas thought to be the breath in the nose. I have preferred to take udgitha in the sense of Om, and all that is implied by it.

* They asked that breath should recite the udgitha. Comm.

p. 5

fore we see both what is sightly and unsightly. For the eye is pierced by evil.

5. Then they meditated on the udgttha (Om) as the ear, but the Asuras pierced it with evil. Therefore we hear both what should be heard and what should not be heard. For the ear is pierced by evil.

6. Then they meditated on the udgitha (Om) as the mind, but the Asuras pierced it with evil. Therefore we conceive both what should be conceived and what should not be conceived. For the mind is pierced by evil.

7. Then comes this breath (of life) in the mouth’.
They meditated on the udgitha (Om) as that breath.
When the Asuras came to it, they were scattered,
as (a ball of earth) would be scattered when hitting
a solid stone.

For the mind is pierced by evil.

8. Thus, as a ball of earth is scattered when hitting on a solid stone, will he be scattered who wishes evil to one who knows this, or who persecutes him ; for he is a solid stone.

9. By it (the breath in the mouth) he distinguishes neither what is good nor what is bad-smelling, for that breath is free from evil. What we eat and drink with it supports the other vital breaths (i.e. the senses, such as smell, &c.) When at the time of death he? does not find that breath (in the

1 Mukhya pra#a is used in two senses, the principal or vital breath, also called sresh/ha, and the breath in the mouth, also called Asanya.

® According to the commentator, the assemblage of the other vital breaths or senses is here meant. They depart when the breath of the mouth, sometimes called sarvambhari, all-supporting, does no longer, by eating and drinking, support them.

p. 6

mouth, through which he eats and drinks and lives), then he departs. He opens the mouth at the time of death (as if wishing to eat).

10. Angiras? meditated on the udgitha (Om) as that breath, and people hold it to be Angiras, i.e. the essence of the members (angan4m rasaZ) ;

11. Therefore Brvzhaspati meditated on udgitha (Om) as that breath, and people hold it to be Brzhaspati, for speech is byzhati, and he (that breath) is the lord (pati) of speech ;

12. Therefore Ayasya meditated on the udgttha (Om) as that breath, and people hold it to be Aydsya, because it comes (ayati) from the mouth (sya);

13. Therefore Vaka Dalbhya knew it. He was the Udgatv7 (singer) of the Naimishtya-sacrificers, and by singing he obtained for them their wishes.

14. He who knows this, and meditates on the syllable Om (the imperishable udgitha) as the breath of life in the mouth, he obtains all wishes by singing. So much for the udgttha (Om) as meditated on with reference to the body ?.

1 The paragraphs from ro to 14 are differently explained by Indian commentators. By treating the nominatives angirds, brzhaspatis, and ayasyas (here the printed text reads ay 4syam) as accusatives, or by admitting the omission of an iti after them, they connect paragraphs 9, 10, and rz with paragraph 12, and thus gain the meaning that Vaka Dalbhya meditated on the breath in the mouth as Angiras, Brihaspati, and Ay4dsya, instead of those saints having themselves thus meditated; and that he, knowing the secret names and qualities of the breath, obtained, when acting as Udg4tr? priest, the wishes of those for whom he sacrificed. Tena is difficult to explain, unless we take it in the sense of tenAnusish/aZ, taught by him.

® Adhyatma means with reference to the body, not with reference to the self or the soul. Having explained the symbolical

priest, the wishes of those for whom he sacrificed. Tena is difficult to explain, unless we take it in the sense of tenAnusish/aZ, taught by him.

® Adhyatma means with reference to the body, not with reference to the self or the soul. Having explained the symbolical

p. 7

Tuirp KuHanpa.

1. Now follows the meditation on the udgitha with reference to the gods. Let a man meditate on the udgitha (Om) as he who sends warmth (the sun in the sky). When the sun rises it sings as Udgatz for the sake of all creatures. When it rises it destroys the fear of darkness. He who knows this, is able to destroy the fear of darkness (ignorance).

2. This (the breath in the mouth) and that (the sun) are the same. This is hot and that is hot. This they call svara (sound), and that they call praty4svara! (reflected sound). Therefore let a man meditate on the udgttha (Om) as this and that (as breath and as sun).

3. Then let a man meditate on the udgitha (Om) as vy4na indeed. If we breathe up, that is praza, the up-breathing. If we breathe down, that is apana, the down-breathing. The combination of praaa and apana is vy4na, back-breathing or holding in of the breath. This vy4na is speech. Therefore when we utter speech, we neither breathe up nor down.

4. Speech is Az, and therefore when a man utters a Jzk verse he neither breathes up nor down.

meaning of Om as applied to the body and its organs of sense, he now explains its symbolical meaning adhidaivatam, i.e. as applied to divine beings.

1 As applied to breath, svara is explained by the commentator in the sense of moving, going out; praty4svara, as applied to the sun, is explained as returning every day. More likely, however, svara as applied to breath means sound, Om itself being called svara (Kh. Up. I, 4, 3), and prasvéra in the Rig-veda-pratisdkhya, 882. As applied to the sun, svara and pratyasvara were probably taken in the sense of light and reflected light.

p. 8

Aik is Saman, and therefore when a man utters a
S4man verse he neither breathes up nor down.

S4man is udgitha, and therefore when a man sings (the udgitha, Om) he neither breathes up nor down.

5. And other works also which require strength, such as the production of fire by rubbing, running a race, stringing a strong bow, are performed without breathing up or down. Therefore let a man meditate on the udgitha (Om) as vyAna.

6. Let a man meditate on the syllables of the udgttha, i.e. of the word udgitha. Ut is breath (praza), for by means of breath a man rises (uttish¢hati). Gi is speech, for speeches are called girak, Tha is food, for by means of food all subsists (sthita).

7. Ut is heaven, gt the sky, tha the earth. Ut is the sun, gt the air, tha the fire. Ut is the Sa4ma-veda, gi the Yagur-veda, tha the Rig-veda!.

Gi is speech, for speeches are called girak, Tha is food, for by means of food all subsists (sthita).

7. Ut is heaven, gt the sky, tha the earth. Ut is the sun, gt the air, tha the fire. Ut is the Sa4ma-veda, gi the Yagur-veda, tha the Rig-veda!.

1 The commentator supplies explanations to all these fanciful etymologies. The heaven is ut, because it is high; the sky is gi, because it gives out all the worlds (giram4t); earth is tha, because it is the place (sthana) of living beings. The sun is ut, because it is high. The wind is gt, because it gives out fire, &c. (giran4t); fire is tha, because it is the place (sth4na) of the sacrifice. The S4maveda is ut, because it is praised as svarga; the Yagur-veda is gi, because the gods take the oblation offered with a Yagus; the Rig-veda is tha, because the Sama verses stand in it. All this is very childish, and worse than childish, but it is interesting as a phase of human folly which is not restricted to the Brahmans of India. I take the following passage from an interesting article, ‘On the Ogam Beithluisnin and on Scythian Letters,’ by Dr. Charles Graves, Bishop of Limerick. ‘An Irish antiquary,’ he says, ‘ writing several hundred years ago, proposes to give an account of the origin of ‘the names of the notes in the musical scale.

‘«Tt is asked here, according to Saint Augustine, What is chant- - - ing, or why is it so called? Answer. From this word canialena;

p. 9

Speech yields the milk, which is the milk of speech itself!, to him who thus knowing meditates on those and canéialena is the same thing as Jens cantus, i.e. a soft, sweet chant to God, and to the Virgin Mary, and to all the Saints, And the reason why the word puince (puncta) is so called is be cause the points (or musical notes) ué, re, mi, fa, sol, /a, hurt the devil and puncture him. And it is thus that these points are to be understood: viz. When Moses the son of Amram with his people in their Exodus was crossing the Red Sea, and Pharaoh and his host were following him, this was the chant which Moses had to protect him from Pharaoh and his host—these six points in praise of the Lord :—

‘“The first point of these, ie. uf: and uf in the Greek is the same as /rbera¢ in the Latin; and that is the same as saer in the Gaelic; i.e. O God, said Moses, deliver us from the harm of the devil.

‘“The second point of them, i.e. re: and re is the same as saer; i.e. O God, deliver us from everything hurtful and malignant.

‘“The third point, i.e. mz’: and mz in the Greek is the same as militum in the Latin; and that is the same as ridere (a knight) in the Gaelic; i.e. O God, said Moses, deliver us from those knights who are pursuing us.

‘““The fourth point, i.e. /a: and_/a in the Greek is the same as Jamulus in the Latin; and that is the same as mug (slave) in the Gaelic; i.e. O God, said Moses, deliver us from those slaves who are pursuing us.

O God, said Moses, deliver us from those knights who are pursuing us.

‘«“The fifth point, i.e. sol: and sol is the same as grian (sun);
and that is the same as righteousness; because righteousness and
Christ are not different; i.e. O Christ, said Moses, deliver us.

‘“The sixth point, i.e. /a, is the same as /av; and that is the same as indazl (wash); i.e. O God, said Moses, wash away our sins from us.

‘“And on the singing of that laud Pharaoh and his host were drowned.

“«“Understand, O man, that in whatever place this laud, i.e. this chant, is sung, the devil is bound by it, and his power is extirpated thence, and the power of God is called in.”

‘We have been taught that the names of the first six notes

1 The milk of speech consists in rewards to be obtained by the Rig-veda, &c. Or we may translate, Speech yields its milk to him who is able to milk speech.

Io KHANDOGYA-UPANISHAD.

syllables of the name of udgitha, he becomes rich in food and able to eat food.

8. Next follows the fulfilment of prayers. Let a man thus meditate on the Upasaramas, i.e. the pbjects which have to be approached by meditation : Let him (the Udgat77) quickly reflect on the Saman with which he is going to praise ;

9. Let him quickly reflect on the Azk in which that SAman occurs; on the Azshi (poet) by whom it was seen or composed; on the Devatd (object) which he is going to praise;

10. On the metre in which he is going to praise; on the tune with which he is going to sing for himself;

11. On the quarter of the world which he is going to praise. Lastly, having approached himself (his name, family, &c.) by meditation, let him sing the hymn of praise, reflecting on his desire, and avoiding all mistakes in pronunciation, &c. Quickly? will the desire be then fulfilled to him, for the sake of which he may have offered his hymn of praise, yea, for which he may have offered his hymn of praise.

in the gamut were suggested by the initial syllables of the first six hemistichs in one of the stanzas of a hymn to St. John:

Ut queant laxis

Resonare fibris

Mira gestorum

Famuli tuorum,

Solve polluti

Labii reatum,

Sancte Joannes,’

1 Abhy4so ha yat, lit. depend on it that it will be fulfilled, but
always explained by quickly. See A’. Up. II, 1, 4; III, 19, 4;
V,10, 7. Frequently, but wrongly, written with a dental s.

3 The repetition of the last sentence is always an indication that a chapter is finished. This old division into chapters is of great importance for a proper study of the Upanishads.

I PRAPATHAKA, 4 KHANDA, 5. II

FourtH Kuawpa.

1. Let a man meditate on the syllable Om, for the udgitha is sung beginning with Om. And this is the full account of the syllable Om :—

This old division into chapters is of great importance for a proper study of the Upanishads.

I PRAPATHAKA, 4 KHANDA, 5. II

FourtH Kuawpa.

1. Let a man meditate on the syllable Om, for the udgitha is sung beginning with Om. And this is the full account of the syllable Om :—

2. The Devas, being afraid of death, entered upon (the performance of the sacrifice prescribed in) the threefold knowledge (the three Vedas). They covered themselves with the metrical hymns. Because they covered (£/ad) themselves with the hymns, therefore the hymns are called £/andas..

3. Then, asa fisherman might observe a fish in the water, Death observed the Devas in the 2&4, Yagus, and S4man-(sacrifices), And the Devas seeing this, rose from the zé, Yagus, and S4man-sacrifices, and entered the Svara’, i.e. the Om (they meditated on the Om).

4. When a man has mastered the Rig-veda, he says quite loud Om; the same, when he has mastered the Sdman and the Yagus. This Svara is the imperishable (syllable), the immortal, free from fear. Because the Devas entered it, therefore they became immortal, and free from fear.

5. He who knowing this loudly pronounces (pranauti)* that syllable, enters the same (imperishable) syllable, the Svara, the immortal, free from fear, and hating entered it, becomes immortal, as the Devas are immortal.

1 Cf. I, 3, 2.
3 Pranauti, he lauds, i.e. he meditates on. Comm,

p. 12

FiurtH KHanpa.

1. The udgttha is the prazava}, the prazava is the udgttha. And as the udgttha is the sun’, so is the prazava, for he (the sun) goes sounding Om.

2. ‘Him I sang praises to, therefore art thou my only one,’ thus said Kaushttaki to his son. ‘Do thou revolve his rays, then thou wilt have many sons.’ So much in reference to the Devas.

3. Now with reference to the body. Let a man meditate on the udgttha as the breath (in the mouth), for he goes sounding Om’.

4. ‘Him I sang praises to, therefore art thou my only son,’ thus said Kaushttaki to his son. ‘Do thou therefore sing praises to the breath as manifold, if thou wishest to have many sons.’

5. He who knows that the udgttha is the pramava, and the pramava the udgitha, rectifies from the seat of the Hotz priest any mistake committed by the Udgatz7 priest in performing the udgitha, yea, in performing the udgttha.

SixtH KHANDA.

1. The Ak (veda) is this earth, the Saman (veda)
is fire. This Saman (fire) rests on that Azé (earth) *.
Therefore the Saman is sung as resting on the Reé.

1 Pranava is the name used chiefly by the followers of the Rigveda, udgitha the name used by the followers of the Sdéma-veda. Both words are intended for the syllable Om.

* Cf. KA. Up. I, 3, 1.

’ The breath in the mouth, or the chief breath, says Om, i.e. gives permission to the five senses to act, just as the sun, by saying Om, gives permission to all living beings to move about.

* The Sama verses are mostly taken from the Rig-veda.

p. 13

KA. Up. I, 3, 1.

’ The breath in the mouth, or the chief breath, says Om, i.e. gives permission to the five senses to act, just as the sun, by saying Om, gives permission to all living beings to move about.

* The Sama verses are mostly taken from the Rig-veda.

p. 13

Sa is this earth, ama is fire, and that makes . t

Sama.

2. The &z& is the sky, the Saman air. This
Saman (air) rests on that Az&é (sky). Therefore the
Saman is sung as resting on the Az&. S4 is the sky,
ama the air, and that makes SAma.

3. Atk is heaven, SAman the sun. This SAman
(sun) rests on that Az&é (heaven). Therefore the
Saman is sung as resting on the Az&. Sa is heaven,
ama the sun, and that makes S4ma.

4. Rie is the stars, SAman the moon. This SA4man (moon) rests on that Aé (stars). Therefore the Saman is sung as resting on the Az. SA is the stars, ama the moon, and that makes SA4ma.

5. Ak is the white light of the sun, Sdman the blue exceeding darkness" (in the sun). This SAdman (darkness) rests on that Az& (brightness). Therefore the Saman is sung as resting on the z£.

6. S4 is the white light of the sun, ama the blue exceeding darkness, and that makes S4ma.

Now that golden? person, who is seen within the sun, with golden beard and golden hair, golden altogether to the very tips of his nails,

7. Whose eyes are like blue lotus’s*, his name is ut, for he has risen (udita) above all evil. He also who knows this, rises above all evil.

8. ARzk and SAman are his joints, and therefore he is udgitha. And therefore he who praises him

1 The darkness which is seen by those who can concentrate their sight on the sun.

2 Bright as gold.

5 The colour of the lotus is described by a comparison with the

Kapyd4sa, the seat of the monkey (kapiprish/AAnto yena upavisati).
It was probably a botanical name.

fue

p. 14

(the ut) is called the Ud-gtv7! (the out-singer). He (the golden person, called ut) is lord of the worlds beyond that (sun), and of all the wishes of the Devas (inhabiting those worlds). So much with reference to the Devas.

SEVENTH KHAwDA.

1. Now with reference to the body. Azé is speech,
SAman breath *» This SAman (breath) rests on that
Rik (speech). Therefore the S&man is sung as
resting on the Az& SA is speech, ama is breath,
and that makes S4ma.

2. Rk is the eye, Saman the self’. This Saman (shadow) rests on that Azé (eye). Therefore the Saman is sung as resting on the Rz&, Sa is the eye, ama the selfjand that makes S4m a.

3. AR7é is the ear, SAman the mind. This SAman (mind) rests on that Azé (ear). Therefore the Saman is sung as resting on the Azz, SA is the ear,ama the mind, and that makes SAma.

4. Rik is the white light of the eye, SAman the blue exceeding darkness. This SAman (darkness) rests on the Azé (brightness). Therefore the Saman is sung as resting on the Azé. SA is the white light of the eye, ama the blue exceeding darkness, and that makes S4ma.

5. Now the person who is seen in the eye, he is Rik, he is Saman, Uktha‘, Yagus, Brahman. The form of that person (in the eye) is the same® as the

} Name of the principal priest of the Sama-veda.

? Breath in the nose, sense of smelling. Comm.

® The shadow-self, the likeness or image thrown upon the eye; see Kh. Up. VIII, 9, 1.

‘ A set of hymns to be recited, whereas the Saman is sung, and the Yagus muttered.

° Cf. KA. Up. I, 6, 6.

p. 15

form of the other person (in the sun), the joints of the one (#tz& and Séman) are the joints of the other, the name of the one (ut) is the name of the other.

6. He is lord of the worlds beneath that (the self in the eye), and of all the wishes of men. Therefore all who sing to the viva (lyre), sing him, and from him also they obtain wealth.

7. He who knowing this sings a SAman, sings to both (the adhidaivata and adhydtma self, the person in the sun and the person in the eye, as one and the same person). He obtains through the one, yea, he obtains the worlds beyond that, and the wishes of the Devas;

8. And he obtains through the other the worlds beneath that, and the wishes of men.

Therefore an Udgatr? priest who knows this, may say (to the sacrificer for whom he officiates) ;

g. ‘What wish shall I obtain for you by my songs?’ For he who knowing this sings a Saman is able to obtain wishes through his song, yea, through his song.

Eicutu Kuawpa.

1. There were once three men, well-versed in udgitha?, Silaka Salavatya, Kaikitayana Dalbhya, and Pravahawa Gaivali. They said: ‘We are wellversed in udgttha. Let us have a discussion on udgitha.’

2. They all agreed and sat down. Then Pravahaza Gaivali? said: ‘Sirs, do you both speak first,

' } Cognisant of the deeper meanings of udgitha, i.e. Om.

* He, though not being a Braéhmaza, turns out to be the only one who knows the true meaning of udgitha, i.e. the Highest Brahman.

p. 16

for I wish to hear what two Brahmamzas! have to say.’

3. Then Silaka Salavatya said to Kaikitdyana
Daélbhya: ‘Let me ask you.’

‘ Ask,’ he replied.

4. ‘What is the origin of the Saman?’ ‘ Tone
(svara),’ he replied.

‘What is the origin of tone?’ ‘Breath,’ he replied.

‘What is the origin of breath?’ ‘Food,’ he replied.

‘What is the origin of food?’ ‘Water,’ he replied.

5. ‘What is the origin of water?’ ‘ That world
(heaven),’ he replied.

‘And what is the origin of that world ?’—

He replied: ‘Let no man carry the Saman beyond the world of svarga (heaven). We place (recognise) the Séman in the world of svarga, for the S4man is extolled as svarga (heaven).’

5. ‘What is the origin of water?’ ‘ That world
(heaven),’ he replied.

‘And what is the origin of that world ?’—

He replied: ‘Let no man carry the Saman beyond the world of svarga (heaven). We place (recognise) the Séman in the world of svarga, for the S4man is extolled as svarga (heaven).’

6. Then said Silaka Salavatya to Kaikitdyana Dalbhya: ‘O Dalbhya, thy SA4man is not firmly established. And if any one were to say, Your head shall fall off (if you be wrong), surely your head would now fall.’

7. ‘Well then, let me know this from you, Sir,’ said Dalbhya.

‘Know it,’ replied Silaka SalAvatya.

‘What is the origin of that world (heaven) ?’
‘This world,’ he replied.

‘And what is the origin of this world ?’—

He- replied: ‘Let no man carry the Sdman beyond this world as its rest. We place the SAman

1 In V, 3, 5, Pravahana Gaivali is distinctly called a raganyabandhu.

p. 17

in this world as its rest, for the SAman is extolled as rest.’

8. Then said Pravahaza Gaivali to Silaka Salavatya: ‘Your Saman (the earth), O Salavatya, has an end. And if any one were to say, Your head shall fall off (if you be wrong), surely your head would now fall.’

‘Well then, let me know this from you, Sir,’ said
Salavatya.

‘ Know it,’ replied Gaivali.

Nintu Kuawpa.

1. ‘What is the origin of this world?’ ‘Ether?,’ he replied. For all these beings take their rise from the ether, and return into the ether. Ether is older than these, ether is their rest.

2. He is indeed the udgttha (Om= Brahman), greater than great (parovartyas), he is without end.

He who knowing this meditates on the udgttha, the greater than great, obtains what is greater than great, he conquers the worlds which are greater than great.

3. Atidhanvan Saunaka, having taught this udgttha to Udara-sdzdilya, said: ‘As long as they will know in your family this udgttha, their life in this world will be greater than great.

4. ‘And thus also will be their state in the other world.” He who thus knows the udgttha, and meditates on it thus, his life in this world will be greater than great, and also his state in the other world, yea, in the other world.

1 Ether, or we might translate it by space, both being intended,
however, as names or symbols of the Highest Brahman. See
Ved4nta-sfitra I, 1, 22.

[3] c

p. 18

TrentH KHawpa.

1. When the Kurus had been destroyed by (hail) stones', Ushasti Kakrayama lived as a beggar with his virgin? wife at Ibhyagrama.

2. Seeing a chief eating beans, he begged of him. The chief said: ‘I have no more, except those which are put away for me here.’

3. Ushasti said: ‘Give me to eat of them.’ He gave him the beans, and said: ‘There is something to drink also’ Then said Ushasti: ‘If I drank of it, I should have drunk what was left by another, and is therefore unclean.’

4. The chief said: ‘Were not those beans also left over and therefore unclean ?’

The chief said: ‘Were not those beans also left over and therefore unclean ?’

‘No,’ he replied; ‘for I should not have lived, if I had not eaten them, but the drinking of water would be mere pleasure *.’

5. Having eaten himself, Ushasti gave the remaining beans to his wife. But she, having eaten before, took them and put them away.

6. Rising the next morning, Ushasti said to her: ‘Alas, if we could only get some food, we might gain a little wealth. The king here is going to offer a sacrifice, he should choose me for all the priestly offices.’

1 When they had been killed either by stone weapons, or by a shower of stones, which produced a famine in the land. Comm.

* A/ikt is not the name of the wife of Ushasti, nor does it mean strong enough to travel. Sankara explains it as anupagdtapayodharAdistrivyaiigan4, and Anandagiri adds, Svairasaméire ‘pi na vyabhikfrasanketi darsayitum Afkyeti viseshanam. She was so young that she was allowed to run about freely, without exciting any suspicion. Another commentator says, Gr#h4d bahirgantumarh4 anupagAtapayodhar4.

* Or, according to the commentator, ‘ water I can get whenever I like.’

p. 19

7. His wife said to him: ‘ Look, here are those beans of yours.’ Having eaten them, he went to the sacrifice which was being performed.

8. He went and sat down on the orchestra near the Udgatvzs, who were going to sing their hymns of praise. And he said to the Prastotrz (the leader) :

9. ‘ Prastotv?, if you, without knowing! the deity which belongs to the prastéva (the hymns &c. of the Prastotr2), are going to sing it, your head will -fall off.’

10. In the same manner he addressed the Udgat7z: ‘ Udgatrz, if you, without knowing the deity which belongs to the udgitha (the hymns of the Udgatvz), .are going to sing it, your head will fall off.’

11. In the same manner he addressed the Pratihartr2: ‘ Pratihartsz, if you, without knowing the deity which belongs to the pratihdra (the hymns of the Pratihart77), are going to sing it, your head will fall off.’

They stopped, and sat down in silence.

ELEVENTH KHanpa,

1. Then the sacrificer said to him: ‘I should like to know who you are, Sir.’ He replied: ‘I am Ushasti Aakrayana.’

2. He said: ‘I looked for you, Sir, for all these sacrificial offices, but not finding you’, 1 chose others.’ ~

? The commentator is at great pains to show that a priest may officiate without knowing the secret meanings here assigned to certain parts of the sacrifice, and without running any risk of punishment. Only, if another priest is present, who is initiated, then the uninitiated, taking his place, is in danger of losing his head.

® Should it be avittv4, as in I, 2, 9?

p. 20

3. ‘But now, Sir, take all the sacrificial offices.’

Ushasti said: ‘Very well; but let those, with my permission, perform the hymns of praise. Only as much wealth as you give to them, so much give to me also.’

The sacrificer assented.

p. 20

3. ‘But now, Sir, take all the sacrificial offices.’

Ushasti said: ‘Very well; but let those, with my permission, perform the hymns of praise. Only as much wealth as you give to them, so much give to me also.’

The sacrificer assented.

4. Then the Prastotvz approached him, saying: ‘Sir, you said to me, “ Prastotrz, if you, without knowing the deity which belongs to the prastava, are going to sing it, your head will fall off,’—which then is that deity?’

5. He said: ‘Breath (praza). For all these beings merge into breath alone, and from breath they arise. This is the deity belonging to the prastava. If, without knowing that deity, you had sung forth your hymns, your head would have fallen off, after you had been warned by me.’

6. Then the Udgatrz approached him, saying : ‘Sir, you said to me, “ Udgats7, if you, without knowing the deity which belongs to the udgttha, are going to sing it, your head will fall off,’— which then is that deity ?’

7. He said: ‘The sun (Aditya). For all these beings praise the sun when it stands on high. This is the deity belonging to the udgttha. If, without knowing that deity, you had sung out your hymns, your head would have fallen off, after you had been warned by me.’

8. Then the Pratihartyz approached him, saying : ‘Sir, you said to me, “ Pratihart7z, if you, without knowing the deity belonging to the pratihdra, are going to sing it, your head will fall off,’—which then is that deity ?’

9. He said: ‘Food (anna). For all these beingsp. 21 live when they partake of food. This is the deity belonging to the pratihara. If, without knowing that deity, you had sung your hymns, your head would have fallen off, after you had been warned by me.’

, TWELFTH Kuanpa.

1. Now follows the udgitha of the dogs. Vaka
Dalbhya, or, as he was also called, Glava Maitreya,
went out to repeat the Veda (in a quiet place).

2. A white (dog) appeared before him, and other dogs gathering round him, said to him: ‘Sir, sing and get us food, we are hungry.’

3. The white dog said to them: ‘Come to me to-morrow morning.’ Vaka Dalbhya, or, as he was also called, Glava Maitreya, watched.

4. The dogs came on, holding together, each dog keeping the tail of the preceding dog in his mouth, as the priests do when they are going to sing praises with the Vahishpavamana hymn* After they had settled down, they began to say Hin.

5. ‘Om, let us eat! Om, let us drink! Om, may
the divine Varuaa, PragApati, Savitrz? bring us food!
Lord of food, bring hither food, bring it, Om!’

1 There are certain etymological fancies for assigning each deity to a certain portion of the Sama-veda ceremonial. Thus praza is assigned to the prastava, because both words begin with pra. Aditya is assigned to the udgitha, because the sun is ut. Anna, food, is assigned to the pratihara, because food is taken, pratihrzyate, &c.

Thus praza is assigned to the prastava, because both words begin with pra. Aditya is assigned to the udgitha, because the sun is ut. Anna, food, is assigned to the pratihara, because food is taken, pratihrzyate, &c.

2 This alludes to a ceremony where the priests have to walk in procession, each priest holding the gown of the preceding priest. .

* The commentator explains Varuza and Pragapati as epithets of Savitri, or the sun, meaning rain-giver and man-protector.

p. 22

THIRTEENTH KuHANDA 1

t. The syllable Hau? is this world (the earth), the syllable H4i* the air, the syllable Atha the moon, the syllable Iha the self, the syllable {¢ is Agni, fire.

2. The syllable U is the sun, the syllable E is the Nihava or invocation, the syllable Auhoi® is the Visve Devas, the syllable Hin is Pragdpati, Svara ® (tone) is breath (praza), the syllable YA is food, the syllable Vag? is Virag.

3. The thirteenth stobha syllable, viz. the indistinct syllable Hun, is the Undefinable (the Highest Brahman).

4. Speech yields the milk, which is the milk of speech itself to him who knows this Upanishad (secret doctrine) of the SAmans in this wise. He becomes rich in food, and able to eat food *—yea, able to eat food.

1 The syllables here mentioned are the so-called stobh4ksharas, sounds used in the musical recitation of the Séman hymns, probably to fill out the intervals in the music for which there were no words in the hymns, These syllables are marked in the MSS. of the Sama-veda, but their exact character and purpose are not quite clear.

* A stobha syllable used in the Rathantara SAman.

* Used in the VAmadevya Saman.

‘ The SAman addressed to Agni takes the syllable f as nidhana.

* The stobha syllables used in the SAéman addressed to the Visve Devas.

* See Kh. Up. I, 4, 4.

* The commentator takes vig as a stobha, as a syllable occurring in hymns addressed to VirAg, and as implying either the deity Virag or food.

* Te. wealthy and healthy.

Il PRAPATHAKA, 2 KHANDA, 2. 23

SECOND PRAPA7#HAKA.

First KuHawpa.

1. Meditation on the whole! of the Sd4man is good, and people, when anything is good, say it is SAman ; when it is not good, it is not SAman.

2. Thus they also say, he approached him with Saman, i.e. becomingly; and he approached him without S4man, i. e. unbecomingly.

3. And they also say, truly this is Saman for us, i.e. it is good for us, when it is good; and truly that is not Saman for us, i.e. it is not good for us, when it is not good.

4. If any one knowing this meditates on the S4man as good, depend upon it all good qualities will approach quickly, aye, they will become his own *,

SECOND KHANDA.

1. Let a man meditate on the fivefold S&man ° as the five worlds. The hink4ra is the earth, the prast4va the fire, the udgitha the sky, the pratihara the sun, the nidhana heaven; so in an ascending line.

2. In a descending line, the hinkara is heaven,

1 Hitherto meditation on certain portions only of the Samaveda and the SAma-sacrifice had been enjoined, and their deeper meaning explained. Now the same is done for the whole of the S4man.

* Cf. Kh. Up. III, 19, 4.

* The five forms in which the Sdman is used for sacrificial purposes. The S4man is always to be understood as the Good, as Dharma, and as Brahman.

p. 24

the prastava the sun, the udgitha the sky, the pratihara the fire, the nidhana the earth.

3. The worlds in an ascending and in a descending line belong to him who knowing this meditates on the fivefold SAman as the worlds ?.

Tuirp KHANDA.

1. Let a man meditate on the fivefold S&aman as rain, The hinkdéra is wind (that brings the rain); the prast4va is, ‘the cloud is come;’ the_ udgitha is, ‘it rains;’ the pratihdra, ‘it flashes, it thunders ;’

2. The nidhana is, ‘it stops. There is rain for him, and he brings rain for others who thus knowing meditates on the fivefold SAman as rain.

FourtH Kuanopa.

1. Let a man meditate on the fivefold S&man in all waters. When the clouds gather, that is the hinkara; when it rains, that is the prastava; that which flows in the east ?, that is the udgitha; that which flows in the west’, that is the pratihara; the sea is the nidhana.

2. He does not die in water‘, nay, he is rich in

1 The commentator supplies some fanciful reasons why each of the five Sdmans is identified with certain objects. Earth is said to be the hink4ra, because both always come first. Agni is prastava, because sacrifices are praised in the fire (prastQyante). The sky is udgitha, because it is also called gagana, and both words have the letter g in common. The sun is pratihara, because everybody wishes the sun to come towards him (prati). Heaven is nidhana, because those who depart from here are placed there (nidhiyante), &c.

2 The Ganges, &c. Comm.

3 The Narmada, &c. Comm.

‘ The commentator adds, ‘unless he wishes to die in the
Ganges,’

p. 25

water who knowing this meditates on the fivefold Saman as all waters.

FirtH Kuawpa.

1. Let a man meditate on the fivefold SAaman as the seasons. The hink4ra is spring, the prastéva — summer (harvest of yava, &c.), the udgttha the rainy season, the pratihara autumn, the nidhana winter. ‘

2. The seasons belong to him, nay, he is always in season (successful) who knowing this meditates on the fivefold Saman as the seasons.

SrxtH Kuawpa.

1. Let a man meditate on the fivefold SAman in animals. The hinkdra is goats, the prast4va sheep, the udgttha cows, the pratihara horses, the nidhana man.

2. Animals belong to him, nay, he is rich in animals who knowing this meditates on the fivefold SA4man as animals.

SEVENTH KHANDA.

1. Let a man meditate on the fivefold SAman in animals. The hinkdra is goats, the prast4va sheep, the udgttha cows, the pratihara horses, the nidhana man.

2. Animals belong to him, nay, he is rich in animals who knowing this meditates on the fivefold SA4man as animals.

SEVENTH KHANDA.

1. Let a man meditate on the fivefold Sdman, which is greater than great,'as the prdwas (senses). The hinkdra is smell? (nose), the prastava speech (tongue), the udgttha sight (eye), the pratihdra hearing (ear), the nidhana mind. These are one greater than the other.

2. What is greater than great belongs to him, nay, he conquers the worlds which are greater than

1 Prana is explained by ghraza, smell; possibly ghréza may have been the original reading. Anyhow, it cannot be the mukhya praza here, because it is distinctly represented as the lowest sense.

p. 26

great, who knowing this meditates on the fivefold S4man, which is greater than great, as the pramas (senses).

E1cHTH KHANDA.

1. Next for the sevenfold Sdman. Let a man meditate on the sevenfold Saman in _ speech. Whenever there is in speech the syllable hun}, that is hinkara, pra is the prast4va, 4 is the adi, the first, i.e. Om,

2. Ud is the udgitha, pra the pratihara, upa the upadrava, ni the nidhana.

3. Speech yields the milk, which is the milk of speech itself, to him who knowing this meditates on the sevenfold SAaman in speech. He becomes rich in food, and able to eat food.

Nintu Kuawnpa.

1. Let a man meditate on the sevenfold Sdman as the sun. The sun is Sdman, because he is always the same (sama); he is SAman because he is the same, everybody thinking he looks towards me, he looks towards me ?.

2. Let him know that all beings are dependent on him (the sun). What he is before his rising, that is the hinkéra. On it animals are dependent. Therefore animals say hin (before sunrise), for they share the hinkara of that SAman (the sun).

3. What he is when first risen, that is the prastava. On it men are dependent. Therefore men love praise (prastuti) and celebrity, for they share the prastava of that Saman.

1 These are again the stobhAksharas, or musical syllables used in the performance of the SAman hymns ; see p. 22. * Cf. Kh. Up. Il, 2, 2. Comm.

Il PRAPATHAKA, 9 KHANDA, 8, 27

4. What he is at the time of the sangava’, that is the Adi, the first, the Om. On it birds are dependent. Therefore birds fly about in the sky without support, holding themselves, for they share the Adi? (the Om) of that Saman.

5. What he is just at noon, that is the udgitha. On it the Devas are dependent (because they are brilliant). Therefore they are the best of all the descendants of Pragdpati, for they share the udgttha of that Saman. ;

6. What he is after midday and before afternoon, that is the pratihdra. On it all germs are dependent. Therefore these, having been conceived (pratihyzta), do not fall, for they share the pratihara of that Saman.

;

7. What he is after the afternoon and before sunset, that is the upadrava. On it the animals of the forest are dependent. Therefore, when they see a man, they run (upadravanti) to the forest as a safe hiding-place, for they share the upadrava of that SAman.

8. What he is when he first sets, that is the nidhana. On it the fathers are dependent. Therefore they put them* down (nidadhati), for they share the nidhana of that S4man. Thus a man meditates on the sevenfold Sdman as the sun.

* When the sun puts forth his rays, and when the cows are together with their calves, i.e. as Rajendralal Mitra says, after the cows have been milked and are allowed by the cowherds to suckle their young.

3 The tertium comparationis is here the 4 of Adi and the
4 of Adaya, i.e. holding. The d might have been added.

’ The cakes for the ancestral spirits, or the spirits themselves.

p. 28

TentTH Kuanopa.

1. Next let a man meditate on the sevenfold Saman which is uniform in itself! and leads beyond death. The word hink4ra has three syllables, the word prast4va has three syllables: that is equal (sama).

2. The word 4di (first, Om) has two syllables, the word pratihara has four syllables. Taking one syllable from that over, that is equal (sama).

3. The word udgttha has three syllables, the word upadrava has four syllables. With three and three syllables it should be equal. One syllable being left over, it becomes trisyllabic. Hence it is equal.

4. The word nidhana has three syllables, therefore it is equal. These make twenty-two syllables.

5. With twenty-one syllables a man reaches the sun (and death), for the sun is the twenty-first? from here; with the twenty-second he conquers what is beyond the sun: that is blessedness, that is freedom from grief.

6. He obtains here the victory over the sun (death), and there is a higher victory than the victory over the sun for him, who knowing this meditates on the sevenfold SAman as uniform in itself, which leads beyond death, yea, which leads beyond death.

EveventH Kuawpa’. 1. The hink4ra is mind, the prastava speech, the udgitha sight, the pratihara hearing, the nidhana

1 Atmasammita is explained by the commentator either as having the same number of syllables in the names of the different SAmans, or as equal to the Highest Self.

2? There are twelve months, five seasons, three worlds, then follows the sun as the twenty-first. Comm. .

* After having explained the secret meaning of the whole Sdma-

Il PRAPATHAKA, 13 KHANDA, 2. 29

breath. That is the Gdyatra Sdman, as interwoven in the (five) prazas'.