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 5 of 13
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'.
2. He who thus knows this GAyatra interwoven in the prazas, keeps his senses, reaches the full life, he lives long?, becomes great with children and cattle, great by fame. The rule of him who thus meditates on the G4yatra is, ‘Be not high-minded.’
TWELFTH KHaAwpaA.
1. The hinkdra is, he rubs (the fire-stick); the prastava, smoke rises; the udgttha, it burns; the pratih4ra, there are glowing coals; the nidhana, it goes down; the nidhana, it is gone out. This is the Rathantara Saman as interwoven in fire %.
2. He who thus knows this Rathantara interwoven in fire, becomes radiant‘ and strong. He reaches the full life, he lives long, becomes great with children and cattle, great by fame. The rule is, ‘Do not rinse the mouth or spit before the fire.’
‘THIRTEENTH KHAWDA.
1, 2. Next follows the Vamadevya as interwoven in generation °, veda ceremonial, as it is to be understood by meditation only (dhyana), he proceeds to explain the secret meaning of the same ceremonial, giving to each its proper name in proper succession (gayatra, rathantara, &c.), and showing the hidden purport of those names.
1 Cf. Kh. Up. II, 7, 1, where préza is explained differently. The GAyatri itself is sometimes called prana.
3 The commentator generally takes gyok in the sense of bright.
’ The Rathantara is used for the ceremony of producing fire.
“ Brahmavarsasa is the ‘glory of countenance’ produced by higher knowledge, an inspired look. Annéada, lit. able to eat, healthy, strong.
° Upamantrayate sa hink4ro, gfiapayate sa prastévas, striya saha
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FourTEENTH KHAwDA.
1. Rising, the sun is the hink4ra, risen, he is the prastava, at noon he is the udgttha, in the afternoon he is the pratihara, setting, he is the nidhana. That is the Byzhat SAman as interwoven in the sun}.
2. He who thus knows the Brzhat as interwoven in the sun, becomes refulgent? and strong, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ‘ Never complain of the heat of the sun.’
FIFTEENTH KuHaAwpa.
1. The mists gather, that is the hinkara; the cloud has risen, that is the prast4va; it rains, that is the udgttha; it flashes and thunders, that is the pratihara; it stops, that is the nidhana. That is the Vairdpa Saman, as interwoven in Parganya, the god of rain.
2. He who thus knows the Vairfipa as interwoven in Parganya, obtains all kinds of cattle (virdpa), he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ‘Never complain of the rain.’
SIXTEENTH KuHawpa,
1. The hink4ra is spring, the prastava summer, the udgttha the rainy season, the pratihara autumn,
His rule is, ‘Never complain of the rain.’
SIXTEENTH KuHawpa,
1. The hink4ra is spring, the prastava summer, the udgttha the rainy season, the pratihara autumn, sete sa udgithad, pratistri saha sete sa pratiharak, kalam gasshati tan nidhanam, param gasshati tan nidhanam. Etad vamadevyam mithune protam. 2. Sa ya evam etad vamadevyam mithune protam veda, mithuni bhavati, mithunan mithunt pragdyate, sarvam yur eti, gycg givati, mah4n pragay& pasubhir bhavati, mah4n kirttya. Na kaméana pariharet tad vratam.
* The sun is br#hat. The Brthat SAman is to be looked upon as the sun, or the Brzhat has Aditya for its deity.
? The same as brahmavaréasin.
Il PRAPATHAKA, 18 KHANDA, 2. 3I
the nidhana winter. That is the Vairaga SAman, as interwoven in the seasons.
2. He who thus knows the Vairaga, as interwoven in the seasons, shines (virdgati) through children, cattle, and glory of countenance. He reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ‘ Never complain of the seasons,’
SEVENTEENTH KHAWDA,
1. The hink4ra is the earth, the prast4va the sky, the udgttha heaven, the pratihara the regions, the nidhana the sea. These are the Sakvart Sdmans, as interwoven in the worlds!.
2. He who thus knows the Sakvarts, as interwoven in the worlds, becomes possessed, of the worlds, he reaches the full life, he lives long, .becomes great with children and cattle, great by fame. His rule is, ‘ Never complain of the worlds.’
EIGHTEENTH KHANDA.
1. The hinkara is goats, the prastdva sheep, the udgttha cows, the pratihara horses, the nidhana man. These are the Revatt SAmans, as interwoven in animals.
2. He who thus knows these Revatts, as interwoven in animals, becomes rich in animals’, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ‘Never complain of animals.’
1 The Sakvaris are sung with the Mah&namnts. These are said to be water, and the worlds are said to rest on water. ® Revat means rich.
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NINETEENTH KHaAwDA.
1. The hinkara is hair, the prast4va skin, the udgitha flesh, the pratihdra bone, the nidhana marrow. That is the Yagfidyagitya Sd4man, as interwoven in the members of the body.
2. He who thus knows the Yagfidyagiitya, as interwoven in the members of the body, becomes possessed of strong limbs, he is not crippled in any limb, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ‘Do not eat marrow for a year,’ or ‘Do not eat marrow at all.’
TWENTIETH KHANDA.
1. The hinkdra is fire, the prast4va air, the udgitha the sun, the pratihdra the stars, the nidhana the moon. That is the Ragana SAman, as interwoven in the deities.
His rule is, ‘Do not eat marrow for a year,’ or ‘Do not eat marrow at all.’
TWENTIETH KHANDA.
1. The hinkdra is fire, the prast4va air, the udgitha the sun, the pratihdra the stars, the nidhana the moon. That is the Ragana SAman, as interwoven in the deities.
2. He who thus knows the RaAgana, as interwoven in the deities, obtains the same world, the same happiness, the same company as the gods, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ‘Do not speak evil of the Brahmamas.’
TWENTy-FIRST Kuawnpa.
1. The hink4ra is the threefold knowledge, the prastava these three worlds, the udgitha Agni (fire), Vayu (air), and Aditya (sun), the pratihara the stars, the birds, and the rays, the nidhana the serpents, Gandharvas, and fathers. That is the S4man, as interwoven in everything.
2. Hewho thus knows this SAman, as interwoven in everything, he becomes everything.
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3. And thus it is said in the following verse: ‘There are the. fivefold three (the three kinds of sacrificial knowledge, the three worlds &c. in their fivefold form, i.e. as identified with the hink4ra, the prast4va, &c.), and the other forms of the Saman. Greater than these there is nothing else besides.’
4. He who knows this, knows everything. All regions offer him gifts. His rule is, ‘Let him meditate (on the Saman), knowing that he is everything, yea, that he is everything?’
TTWENTY-SECOND KHAwpDA 2,
1. The udgitha, of which a poet said, I choose the deep sounding note of the SAman as good for cattle, belongs to Agni; the indefinite note belongs to Pragdpati, the definite note to Soma, the soft and smooth note to Vayu, the smooth and strong note to Indra, the heron-like note to Brzhaspati, the dull note to Varuza. Let a man cultivate all of these, avoiding, however, that of Varuza.
2. Let a man sing’, wishing to obtain by his song immortality for the Devas. ‘May I obtain by my song oblations (svadha) for the fathers, hope for men, fodder and water for animals, heaven for the sacrificer, food for myself, thus reflecting on these in his mind, let a man (Udgatvz priest) sing praises, without making mistakes in pronunciation, &c.
! Here ends the Samopdsana.
* These are lucubrations on the different tones employed in singing the Saman hymns, and their names, such as vinardi, anirukta, nirukta, mridu slakshza, slakshva balavad, kraufiéa, apadhvanta.
* It would be better if the first ity 4gdyet could be left out. The commentator ignores these words.
[3] D
’
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3. All vowels (svara) belong to Indra, all sibilants (Ashman) to Prag&pati, all consonants (sparsa) to Mrztyu (death). If somebody should reprove him for his vowels, let him say, ‘I went to Indra as my refuge (when pronouncing my vowels): he will answer thee.’
[3] D
’
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3. All vowels (svara) belong to Indra, all sibilants (Ashman) to Prag&pati, all consonants (sparsa) to Mrztyu (death). If somebody should reprove him for his vowels, let him say, ‘I went to Indra as my refuge (when pronouncing my vowels): he will answer thee.’
4. And if somebody should reprove him for his sibilants, let him say, ‘I went to Pragdpati as my refuge: he will smash thee. And if somebody should reprove him for his consonants, let him say, ‘I went to Mvztyu as my refuge: he will reduce thee to ashes.’
5. All vowels are to be pronounced with voice (ghosha) and strength (bala), so that the Udgatrz may give strength to Indra. All sibilants are to be pronounced, neither as if swallowed (agrasta)?, nor as if thrown out (nirasta)?, but well opened? (vivz‘ta), so that the Udgdtvz may give himself to Pragapati. All consonants are to be pronounced slowly, and without crowding them together‘, so that the Udgatrz may withdraw himself from Mvztyu.
1 Grasa, according to the Rig-veda-pratisakhya 766, is the stiffening of the root of the tongue in pronunciation.
* Nirdsa, according to the Rig-veda-pratisikhya 760, is the withdrawing of the active from the passive organ in pronunciation.
* The opening, vivrita, may mean two things, either the opening of the vocal chords (kha), which imparts to the fishmans their surd character (Rig. Prat. 709), or the opening of the organs of pronunciation (karaza), which for the fshmans is asprish/am Ce (Rig. Prat. 719), or vivrita (Ath. Prat. I, 31; Taitt. Prat. Il, 5).
“ Anabhinihita, for thus the commentaries give the reading, is
_ explained by anabhinikshipta. On the real abbinidh4na, see Rig.
Prat. 393. The translation does not follow the commentary. The genitive pragdpateA is governed by paridadani.
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TWENTY-THIRD KHANDA.
1. There are three branches of the law. Sacrifice, study, and charity are the first’,
2. Austerity the second, and to dwell as a Brahmaférin in the house of a tutor, always mortifying the body in the house of a tutor, is the third. All these obtain the worlds of the blessed; but the Brahmasamstha alone (he who is firmly grounded in Brahman) obtains immortality.
3. PragApati brooded on the worlds. From them, thus brooded on, the threefold knowledge (sacrifice) issued forth. He brooded on it, and from it, thus brooded on, issued the three syllables, BhiZ, BhuvaZ, Sva.
4. He brooded on them, and from them, thus brooded on, issued the Om. As all leaves are attached to a stalk, so is all speech (all words) attached to the Om (Brahman). Om is all this, yea, Om is all this.
‘TWENTY-FOURTH KuHAnpa.
1. The teachers of Brahman (Veda) declare, as the Prdta#-savana (morning-oblation) belongs to the Vasus, the Madhyandina-savana (noon-libation) to
Om is all this, yea, Om is all this.
‘TWENTY-FOURTH KuHAnpa.
1. The teachers of Brahman (Veda) declare, as the Prdta#-savana (morning-oblation) belongs to the Vasus, the Madhyandina-savana (noon-libation) to
1 Not the first in rank or succession, but only in enumerating the three branches of the law. This first branch corresponds to the second stage, the 4srama of the householder. Austerity is meant for the Vanaprastha, the third 4srama, while the third is intended for the BrahmaA4rin, the student, only that the naish/Aika or perpetual Brahmaf4rin here takes the place of the ordinary student. The Brahmasamstha would represent the fourth 4srama, that of the Sanny4sin or parivrag, who has ceased to perform any works, even the tapas or austerities of the V4naprastha.
D2
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the Rudras, the third Savana (evening-libation) to the Adityas and the Visve Devas,
2. Where then is the world of the sacrificer? He who does not know this, how can he perform the sacrifice ? He only who knows, should perform it?.
3. Before the beginning of the Prataranuvaka (matin-chant), the sacrificer, sitting down behind the household altar (garhapatya), and looking towards the north, sings the Sdaman, addressed to the Vasus : .
4. ‘Open the door of the world (the earth), let us see thee, that we may rule (on earth).’
5. Then he sacrifices, saying: ‘Adoration to Agni, who dwells on the earth, who dwells in the world! Obtain that world for me, the sacrificer! That is the world for the sacrificer!’
6. ‘I (the sacrificer) shall go thither, when this life is over. Take this! (he says, in offering the libation.) Cast back the bolt!’ Having said this, he rises. For him the Vasus fulfil the morningoblation.
7. Before the beginning of the MA&dhyandinasavana, the noon-oblation, the sacrificer, sitting down behind the Agnidhrtya altar, and looking towards the north, sings the Saman, addressed to the Rudras :
8. ‘Open the door of the world (the sky), let us see thee, that we may rule wide (in the sky).’
9. Then he sacrifices, saying: ‘Adoration to
1 The commentator is always very anxious to explain that though it is better that a priest should know the hidden meaning of the sacrificial acts which he has to perform, yet there is nothing to prevent a priest, who has not yet arrived at this stage of knowledge, from performing his duties.
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Vayu (air), who dwells in the sky, who dwells in the world. Obtain that world for me, the sacrificer! That is the world ‘for the sacrificer !’
10. ‘I (the sacrificer) shall go thither, when this life is over. Take this! Cast back the bolt!’ Having said this, he rises. For him the Rudras fulfil the noon-oblation. ,
“11. Before the beginning of the third oblation, the sacrificer, sitting down behind the Ahavantya altar, and looking towards the north, sings the. S4man, addressed to the Adityas and Visve Devas:
Cast back the bolt!’ Having said this, he rises. For him the Rudras fulfil the noon-oblation. ,
“11. Before the beginning of the third oblation, the sacrificer, sitting down behind the Ahavantya altar, and looking towards the north, sings the. S4man, addressed to the Adityas and Visve Devas:
12. ‘Open the door of the world (the heaven), let us see thee, that we may rule supreme (in heaven).’ This is addressed to the Adityas.
13. Next the SAaman addressed to the Visve Devas: ‘Open the door of the world (heaven), let us see thee, that we may rule supreme (in heaven).
14. Then he sacrifices, saying: ‘Adoration to the Adityas and to the Visve Devas, who dwell in heaven, who dwell in the world. Obtain that world for me, the sacrificer !’
15. ‘That is the world for the sacrificer! I (the sacrificer) shall go thither, when this life. is over. Take this! Cast back the bolt!’ Having said this, he rises.
16. For him the Adityas and the Visve Devas fulfil the third oblation. He who knows this, knows the full measure of the sacrifice, yea, he knows it.
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THIRD PRAPAZHAKA.
First Kuanpa},
1. “The sun is indeed the honey? of the Devas. The heaven is the cross-beam (from which) the sky (hangs as) a hive, and the bright vapours are the eggs of the bees *.
2. The eastern rays of the sun are the honey- -cells in front. The Az&é verses are the bees, the Rig-veda (sacrifice) is the flower, the water (of the sacrificial libations) is the nectar (of the flower).
3. Those very Az& verses then (as bees) brooded over the Rig-veda sacrifice (the flower); and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health‘.
4. That (essence) flowed forth and went towards the sun®, And that forms what we call the red (rohita) light of the rising sun.
1 After the various meditations on the S&ma-veda sacrifice, the sun is next to be meditated on, as essential t othe performance of all sacrifices.
* Everybody delights in the sun, as the highest reward of all sacrifices.
5 I am not certain whether this passage is rightly translated. Rajendralal Mitra speaks of an arched bamboo, whence the atmosphere hangs pendant like a hive, in which the vapours are the eggs. Apfipa means a cake, and may mean a hive. In order to understand the simile, we ought to have a clearer idea of the construction of the ancient bee-hive.
* Annddya, explained as food, but more likely meaning power to eat, appetite, health. See III, 13, 1.
® The commentator explains: The Rr verses, on becoming part of the ceremonial, perform the sacrifice. The sacrifice (the flower), when surrounded by the R7& verses (bees), yields its essence, the nectar. That essence consists in all the rewards to be obtained through sacrifice, and as these rewards are to be enjoyed in the
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SEcoND Kuawpa.
The sacrifice (the flower), when surrounded by the R7& verses (bees), yields its essence, the nectar. That essence consists in all the rewards to be obtained through sacrifice, and as these rewards are to be enjoyed in the
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SEcoND Kuawpa.
1. The southern rays of the sun are the honeycells on the right. The Yagus verses are the bees, the Yagur-veda sacrifice is the flower, the water (of the sacrificial libations) is the nectar (of the flower).
2. Those very Yagus verses (as bees) brooded over the Yagur-veda sacrifice (the flower) ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health.
3. That flowed forth and went towards the sun.
And that forms what we call the white (sukla) light of the sun.
Tuirp Kuanpa.
1. The western rays of the sun are the honeycells behind. The Sdman verses are the bees, the SAma-veda sacrifice is the flower, the water is the nectar.
2. Those very Saman verses (as bees) brooded over the SA4ma-veda sacrifice; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health.
3. That flowed forth and went towards the sun. And that forms what we call the dark (kvzshza) light of the sun.
FourtH Kuawpa.
1. The northern rays of the sun are the honeycells on the left. The (hymns of the) Atharvangiras are the bees, the Itih4sa-pur4va ! (the reading of the old stories) is the flower, the water is the nectar.
next world and in the sun, therefore that essence or nectar is said to ascend to the sun.
1 As there is no Atharva-veda sacrifice, properly so called, we have corresponding to the Atharva-veda hymns the so-called fifth
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2. Those very hymns of the Atharvangiras (as bees) brooded over the Itih4sa-puraza ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health.
3. That flowed forth, and went towards the sun. And that forms what we call the extreme dark (parak kvishvam) light of the sun.
FirtH Kuawnpa.
1. The upward rays of the sun are the honeycells above. The secret doctrines are the bees, Brahman (the Om) is the flower, the water is the nectar. *
2. Those secret doctrines (as bees) brooded over Brahman (the Om); and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, brightness, vigour, strength, and health.
3. That flowed forth, and went towards the sun. And that forms what seems to stir in the centre of
* the sun.
4. These (the different colours in the sun) are the essences of the essences. For the Vedas are essences (the best things in the world); and of them (after they have assumed the form of sacrifice) these (the colours rising to the sun) are again the essences. They are the nectar of the nectar. For the Vedas are nectar (immortal), and of them these are the nectar.
For the Vedas are essences (the best things in the world); and of them (after they have assumed the form of sacrifice) these (the colours rising to the sun) are again the essences. They are the nectar of the nectar. For the Vedas are nectar (immortal), and of them these are the nectar.
Veda, the Itihasa-puraza. This may mean the collection of legends and traditions, or the old book of traditions. At all events it is taken as one Purfza, not as many. These ancient stories were repeated at the Asvamedha sacrifice during the so-called Pariplava nights. Many of them have been preserved in the Braéhmazas ; others, in a more modern form, in the Mah4bharata. See Weber, Indische Studien, I, p. 258, note.
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Sixty Kuawpa,
1. On the first of these nectars (the red light, which represents fame, glory of countenance, vigour, strength, health) the Vasus live, with Agni at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.
2. They enter into that (red) colour, and they rise from that colour},
3. He who thus knows this nectar, becomes one of the Vasus, with Agni at their head, he sees the nectar and rejoices. And he, too, having entered that colour, rises again from that colour.
4. So long as the sun rises in the east and sets in the west*, so long does he follow the sovereign supremacy of the Vasus.
SEvENTH Kuanpa.
1. On the second of these nectars the Rudras live, with Indra at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.
2. They enter into that white colour, and they rise from that colour.
3. He who thus knows this nectar, becomes one of the Rudras, with Indra at their head, he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour.
1 This is differently explained by the commentator. He takes it to mean that, when the Vasus have gone to the sun, and see that there is no opportunity for enjoying that colour, they rest; but when they see that there is an opportunity for enjoying it, they exert themselves for it. I think the colour is here taken for the colour of. the morning, which the Vasus enter, and from which they go forth again.
4. So long as the sun rises in the east and sets in the west, twice as long does it rise in the south and set in the north; and so long does he follow the sovereign supremacy of the Rudras.
EicgutuH Kuawpa.
1. On the third of these nectars the Adityas live, with Varuza at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.
2. They enter into that (dark) colour, and they rise from that colour.
EicgutuH Kuawpa.
1. On the third of these nectars the Adityas live, with Varuza at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.
2. They enter into that (dark) colour, and they rise from that colour.
3. He who thus knows this nectar, becomes one of the Adityas, with Varuza at their head, he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour.
4. So long as the sun rises in the south and sets in the north, twice as long does it rise in the west and set in the east; and so long does he follow the sovereign supremacy of the Adityas.
Ninty Kuawopa.
1. On the fourth of these nectars the Maruts live, with Soma at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.
2. They enter in that (very dark) colour, and they rise from that colour.
3. He who thus knows this nectar, becomes one of the Maruts, with Soma at their head, he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour.
4. So long as the sun rises in the west and setsp. 43 in the east, twice as long does it rise in the north and set in the south; and so long does he follow the sovereign supremacy of the Maruts.
Trento Kuawpa.
1. On the fifth of these nectars the SAdhyas live, with Brahman at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.
2. They enter into that colour, and they rise from that colour.
3. He who thus knows this nectar, becomes one of the Sadhyas, with Brahman at their head; he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour.
4. So long as the sun rises in the north and sets in the south, twice as long does it rise above, and set below; and so long does he follow the sovereign power of the Sadhyas’.
1 The meaning of the five Khazdas from 6 to 1o is clear, in so far as they are intended to show that he who knows or meditates on the sacrifices as described before, enjoys his reward in different worlds with the Vasus, Rudras, &c. for certain periods of time, till at’ last he reaches the true Brahman. Of these periods each succeeding one is supposed to be double the length of the preceding one. This is expressed by imagining a migration of the sun from east to south, west, north, and zenith. Each change of the sun marks a new world, and the duration of each successive world is computed as double the duration of the preceding world. Similar ideas have been more fully developed in the Purasas, and the commentator is at great pains to remove apparent contradictions between the Paurazik and Vaidik accounts, following, as Anandag#anagiri remarks, the Dravidasarya (p. 173, 1. 13).
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ELeventTH KHAanpaA.
1. When from thence he has risen upwards, he neither rises nor sets. He is alone, standing in the centre. And on this there is this verse:
173, 1. 13).
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ELeventTH KHAanpaA.
1. When from thence he has risen upwards, he neither rises nor sets. He is alone, standing in the centre. And on this there is this verse:
2. ‘Yonder he neither rises nor sets at any time. If this is not true, ye gods, may I lose Brahman.’
3. And indeed to him who thus knows this Brahma-upanishad (the secret doctrine of the Veda) the sun does not rise and does not set. For him there is day, once and for all?.
4. This doctrine (beginning with III, 1, 1) Brahman (m. Hirazyagarbha) told to Pragdpati (Virag), Pragdpati to Manu, Manu to his offspring (Ikshvaku, &c.) And the father told that (doctrine of) Brahman (n.) to Uddalaka Aruzi.
5. A father may therefore tell that doctrine of Brahman to his eldest son *, or to a worthy pupil.
But no one should tell it to anybody else, even if he gave him the whole sea-girt earth, full of treasure, for this doctrine is worth more than that, yea, it is worth more.
TWELFTH KHANDA.
1. The GAyatrt® (verse) is everything whatsoever here exists. GAyatrt indeed is speech, for speech
1 Cf. XA. Up. VIII, 4, 2.
* This was the old, not the present custom, says Anandagiri. Not the father, but an 444rya, has now to teach his pupils.
5 The GAyatrt is one of the sacred metres, and is here to be meditated on as Brahman. It is used in the sense of verse, and as the name of a famous hymn. The GAyatrf is often praised as the most powerful metre, and whatever can be obtained by means of the recitation of Gayatri verses is described as the achievement of the Gayatri. The etymology of gayatrf from gai and tr4 is, of course, fanciful.
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sings forth (gaya-ti) and protects (traya-te) everything that here exists.
2. That GAyatrt is also the earth, for everything that here exists rests on the earth, and does not go beyond.
3. That earth again is the body in man, for in it the vital airs (prazas', which are everything) rest, and do not go beyond.
4. That body again in man is the heart within man, for in it the prazas (which are everything) rest, and do not go beyond.
5. That GAyatri has four feet* and is sixfold % And this is also declared by a Az& verse (Rig-veda X, 90, 3) :— .
6. ‘Such is the greatness of it (of Brahman, under the disguise of Gayatri‘); greater than it is the Person® (purusha). His feet are all things. The immortal with three feet is in heaven (i.e. in himself),’
1 The prazas may be meant for the five senses, as explained in Kh. 1, 2, 1; Il, 7, 1; or for the five breathings, as explained immediately afterwards in III, 13, 1. The commentator sees in them everything that here exists (KA. Up. III, 15, 4), and thus establishes the likeness between the body and the Gé4yatrf. As GAyatri is the earth, and the earth the body, and the body the heart, GAyatrt is in the end to be considered as the heart.
The commentator sees in them everything that here exists (KA. Up. III, 15, 4), and thus establishes the likeness between the body and the Gé4yatrf. As GAyatri is the earth, and the earth the body, and the body the heart, GAyatrt is in the end to be considered as the heart.
* The four feet are explained as the four quarters of the GAyatrt metre, of six syllables each. The GAyatri really consists of three feet of eight syllables each.
* The Gayatrf has been identified with all beings, with speech, earth, body, heart, and the vital airs, and is therefore called sixfold. This, at least, is the way in which the commentator accounts for the epithet ‘ sixfold.’
‘ Of Brahman modified as G4yatrf, having four feet, and being sixfold.
5 The real Brahman, unmodified by form and name.
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7. The Brahman which has been thus described (as immortal with three feet in heaven, and as Gayatri) is the same as the ether which is around us ;
8. And the ether which is around us, is the same as the ether which is within us. And the ether which is within us, g. That is the ether within the heart. That ether in the heart (as Brahman) is omnipresent and unchanging. He who knows this obtains omnipresent and unchangeable happiness.
THIRTEENTH KHaANDA},
1. For that heart there are five gates belonging to the Devas (the senses). The eastern gate is the Praza (up-breathing), that is the eye, that is Aditya (the sun). Let a man meditate on that as brightness (glory of countenance) and health. He who knows this, becomes bright and healthy.
2. The southern gate is the Vy4na (backbreathing), that is the ear, that is the moon. Let a man meditate on that as happiness and fame. He who knows this, becomes happy and famous.
3. The western gate is the Ap&na (downbreathing), that is speech, that is Agni (fire). Let a man meditate on that as glory of countenance and health. He who knows this, becomes glorious and healthy.
4. The northern gate is the Sam4na (onbreathing), that is mind, that is Parganya (rain). Let-a man meditate on that as celebrity and beauty.
* The meditation on the five gates and the five gate-keepers of the heart is meant to be subservient to the meditation on Brahman, as the ether in the heart, which, as it is said at the end, is actually seen and heard by the senses as being within the heart.
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He who knows this, becomes celebrated and beautiful.
5. The upper gate is the Udana (out-breathing), that is air, that is ether. Let a man meditate on that as strength and greatness. He who knows this, becomes strong and great.
6. These are the five men of Brahman, the doorkeepers of the Svarga (heaven) world. He who knows these five men of Brahman, the door-keepers of the Svarga world, in his family a strong son is born. He who thus knows these five men of Brahman, as the door-keepers of the Svarga world, enters himself the Svarga world.
He who knows these five men of Brahman, the door-keepers of the Svarga world, in his family a strong son is born. He who thus knows these five men of Brahman, as the door-keepers of the Svarga world, enters himself the Svarga world.
7. Now that light which shines above this heaven, higher than all, higher than everything, in the highest world, beyond which there are no other worlds, that is the same light which is within man. And of this we have this visible proof:
8. Namely, when we thus perceive by touch the warmth here in the body*. And of it we have this audible proof: Namely, when we thus, after stopping our ears, listen to what is like the rolling of a carriage, or the bellowing of an ox, or the sound of a burning fire ® (within the ears). Let a man meditate on this as the (Brahman) which is seen and heard.
1 The presence of Brahman in the heart of man is not to rest on the testimony of revelation only, but is here to be established by the evidence of the senses. Childish as the argument may seem to us, it shows at all events how intently the old Brahmans thought on the problem of the evidence of the invisible.
* That warmth must come from something, just as smoke comes from fire, and this something is supposed to be Brahman in the heart.
® Cf. Ait. Ar, III, 2, 4, 11-13.
cers foul
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He who knows this, becomes conspicuous and celebrated, yea, he becomes celebrated.
FourTEENTH Kuawpa.
1. All this is Brahman (n.) Let a man meditate on that (visible world) as beginning, ending, and breathing! in it (the Brahman).
Now man is a creature of will. According to what his will is in this world, so will he be when he has departed this life. Let him therefore have this will and belief:
2. The intelligent, whose body is spirit, whose form is light, whose thoughts are true, whose nature is like ether (omnipresent and invisible), from whom all works, all desires, all sweet odours and tastes proceed; he who embraces all this, who never speaks, and is never surprised,
3. He is my self within the heart, smaller than a corn of rice, smaller than a corn of barley, smaller than a mustard seed, smaller than a canary seed or the kernel of a canary seed. He also.is my self within the heart, greater than the earth, greater than the sky, greater than heaven, greater than all these worlds.
4. He from whom all works, all desires, all sweet odours and tastes proceed, who embraces all this, who never speaks and who is never surprised, he, my self within the heart, is that Brahman (n.) When I shall have departed from hence, I shall obtain him (that Self). He who has this faith? has no doubt ; thus said Sandilya*, yea, thus he said.
1 Galan is explained by ga, born, la, absorbed, and an, breathing. It is an artificial term, but fully recognised by the Vedanta school, and always explained in this manner.
2 Or he who has faith and no doubt, will obtain this.
has no doubt ; thus said Sandilya*, yea, thus he said.
1 Galan is explained by ga, born, la, absorbed, and an, breathing. It is an artificial term, but fully recognised by the Vedanta school, and always explained in this manner.
2 Or he who has faith and no doubt, will obtain this.
* This chapter is frequently quoted as the Sandilya-vidya, Vedéntas4ra, init; Vedanta-sfitra III, 3, 31.
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FIFTEENTH KHaAwpA},
1. The chest which has the sky for its circumference and the earth for its bottom, does not decay, for the quarters are its sides, and heaven its lid above. That chest is a treasury, and all -things are within it.
2. Its eastern quarter is called Guhd, its southern SahamAn4, its western Ragii, its northern Subhita?. The child of those quarters is Vayu, the air, and he who knows that the air is indeed the child of the quarters, never weeps for his sons. ‘I know the wind to be the child of the quarters, may I never weep for my sons,’
3. ‘I turn to the imperishable chest with such and such and such’, ‘I turn to the Pr&dwa (life) with such and such and such.’ ‘I turn to Bhas with such and such and such.’ ‘I turn to Bhuvak with such and such and such.’ ‘I turn to Svak with such and such and such.’
4. ‘When I said, I turn to Prawa, then Praza means all whatever exists here—to that I turn.’
5. ‘When I said, I turn to Bhd’, what I said is, I turn to the earth, the sky, and heaven.’
1 The object of this section, the Kosavigiiana, is to show how the promise made in III, 13, 6, ‘that a strong son should be born in a man’s family,’ is to be fulfilled.
* These names are explained by the commentator as follows:
* Because people offer libations (guhvati), turning to the east, therefore it is called GuhQ. Because evil doers suffer (sahante) in the town of Yama, which is in the south, therefore it is called Saham4n4. The western quarter is called R4gii, either because it is sacred to king Varuaa (ragan), or on account of the red colour (r4ga) of the twilight. The north is called Subhfita, because wealthy beings (bhfitimat), like Kuvera &c., reside there.
® Here the names of the sons are to be pronounced,
(3) E
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6. ‘When I said, I turn to Bhuvad, what I said is, I turn to Agni (fire), Vayu (air), Aditya (sun),’
7. ‘When I said, I turn to Sva%, what I said is, I turn to the Aig-veda, Yagur-veda, and SAma-veda. That is what I said, yea, that is what I said.’
SIXTEENTH Kuawpa },
1. Man is sacrifice. His (first) twenty-four years are the morning-libation. The GAyatrt has twentyfour syllables, the morning-libation is offered with Gayatrt hymns. The Vasus are connected with that part of the sacrifice. The Pramas (the five senses) are the Vasus, for they make all this to abide (vdsayanti).
His (first) twenty-four years are the morning-libation. The GAyatrt has twentyfour syllables, the morning-libation is offered with Gayatrt hymns. The Vasus are connected with that part of the sacrifice. The Pramas (the five senses) are the Vasus, for they make all this to abide (vdsayanti).
2. If anything ails him in that (early) age, let him say: ‘Ye Pramas, ye Vasus, extend this my morninglibation unto the midday-libation, that I, the sacrificer, may not perish in the midst of the Prazas or Vasus.’ Thus he recovers from his illness, and becomes whole.
3. The next forty-four years are the middaylibation. The Trish¢ubh has forty-four syllables, the midday-libation is offered with Trish¢ubh hymns. The Rudras are connected with that part of it. The Prazas are the Rudras, for they make all this to cry (rodayanti).
4. If anything ails him in that (second) age, let him say: ‘Ye Prdzas, ye Rudras, extend this my midday-libation unto the third libation, that I, the sacrificer, may not perish in the midst of the Prazas or Rudras.’ Thus he recovers from his illness, and becomes whole.
5. The next forty-eight years are the third
1 The object of this Khanda is to show how to obtain long life, as promised before.
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libation. The Gagatt has forty-eight syllables, the third libation is offered with Gagatt hymns. The Adityas are connected with that part of it. The Prazas are the Adityas, for they take up all this (adadate).
6. If anything ails him in that (third) age, let him say: ‘Ye Pramas, ye Adityas, extend this my third libation unto the full age, that I, the sacrificer, may not perish in the midst of the Prazas or Adityas.’ Thus he recovers from his illness, and becomes whole.
7. Mahidd4sa Aitareya (the son of Itara), who knew this, said (addressing a disease): ‘ Why dost thou afflict me, as I shall not die by it?’ He lived a hundred and sixteen years (i.e. 24+44+48). He, too, who knows this lives on to a hundred and sixteen years,
SEVENTEENTH KHANDA}
1. When a man (who is the sacrificer) hungers, thirsts, and abstains from pleasures, that is the Dtksha (initiatory rite).
2. When a man eats, drinks, and enjoys pleasures, he does it with the Upasadas (the sacrificial days on which the sacrificer is allowed to partake of food).
3. When a man laughs, eats, and delights himself, he does it with the Stuta-sastras (hymns sung and recited at the sacrifices).
4. Penance, liberality, righteousness, kindness, truthfulness, these form his Dakshisds (gifts bestowed on priests, &c.)
5. Therefore when they say, ‘There will be a
1 Here we have a representation of the sacrifice as performed without any ceremonial, and as it is often represented when performed in thought only by a man living in the forest.
E 2
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Therefore when they say, ‘There will be a
1 Here we have a representation of the sacrifice as performed without any ceremonial, and as it is often represented when performed in thought only by a man living in the forest.
E 2
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birth,’ and ‘there has been a birth’ (words used at the Soma-sacrifice, and really meaning, ‘He will pour out the Soma-juice, and ‘he has poured out the Soma-juice’), that is his new birth. His death is the Avabhvztha ceremony (when the sacrificial vessels are carried away to be cleansed).
6. Ghora Angirasa, after having communicated this (view of the sacrifice) to Kyzshaa, the son of Devakt '—and he never thirsted again (after other knowledge)—said: ‘Let a man, when his end ap-
1 The curious coincidence between Krishna Devaktputra, here mentioned as a pupil of Ghora Angirasa, and the famous Krishaa, the son of Devakt, was first pointed out by Colebrooke, Miscell. Essays, II, 177. Whether it is more than a coincidence, is difficult to say. Certainly we can build no other conclusions on it than those indicated by Colebrooke, that new fables may have been constructed elevating this personage to the rank of a god. We know absolutely nothing of the old Krishna Devakfputra except his having been a pupil of Ghora Angirasa, nor does there seem to have been any attempt made by later Brahmans to connect their divine Krishna, the son of Vasudeva, with the Krishna Devakfputra of our Upanishad. This is all the more remarkable because the author of the Sandilya-sfitras, for instance, who is very anxious to find a srauta authority for the worship of Krishza Vasudeva as the supreme deity, had to be satisfied with quoting such modern compilations as the Narayamopanishad, Atharvasiras, VI, 9, brahmazyo devakiputro brahmanyo madhusfidanak (see SAndilya-sQtras, ed. Ballantyne, p. 36, translated by Cowell, p. 51), without venturing to refer to the Krishna Devaktputra of the Khandogya-upanishad. The occurrence of such names as Krishna, VAsudeva, Madhusfidana stamps Upanishads, like the Atmabodhaupanishad, as modern (Colebrooke, Essays, I, ror), and the same remark applies, as Weber has shown, to the Gop4lat4pant-upanishad (Bibliotheca Indica, No. 183), where we actually find such names as Srikrishna Govinda, Gopfganavallabha, Devaky&m gatahk (p- 38), &c. Professor Weber has treated these questions very fully, but it is not quite clear to me whether he wishes to go beyond Colebrooke and to admit more than a similarity of name between the pupil of Ghora Angirasa and the friend of the Gopts,p. 53 proaches, take refuge with this Triad!: “Thou art the imperishable,” “Thou art the unchangeable,” “Thou art the edge of Praza.”’ On this subject there are two Azé verses (Rig-veda VIII, 6, 30) :—
7. ‘Then they see (within themselves) the everpresent light of the old seed (of the world, the Sat), the highest, which is lighted in the brilliant (Brahman). Rig-veda I, 50, 10 :—
‘Then they see (within themselves) the everpresent light of the old seed (of the world, the Sat), the highest, which is lighted in the brilliant (Brahman). Rig-veda I, 50, 10 :—
‘Perceiving above the darkness (of ignorance) the higher light (in the sun), as the higher light within the heart, the bright source (of light and life) among the gods, we have reached the highest light, yea, the highest light *’
EIGHTEENTH KuHAwpaA 3,
1. Let a man meditate on mind as Brahman (n.), this is said with reference to the body. Let a man meditate on the ether as Brahman (n.), this is said with reference to the Devas. Thus both the meditation which has reference to the body, and the meditation which has reference to the Devas, has been taught.
2. That Brahman (mind) has four feet (quarters).
1 Let him recite these three verses.
* Both these verses had to be translated here according to their scholastic interpretation, but they had originally a totally different meaning. Even the text was altered, diva being changed to divi, svak to sve. The first is taken from a hymn addressed to Indra, who after conquering the dark clouds brings back the light of the sun. When he does that, then the people see again, as the poet says, the daily light of the old seed (from which the sun rises) which is lighted in heaven. The other verse belongs to a hymn addressed to the sun. Its simple meaning is: ‘Seeing above the darkness (of the night) the rising light, the Sun, bright among the bright, we came towards the highest light.’
8 This is a further elucidation of AA. Up. III, 14, 2.
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Speech is one foot, breath is one foot, the eye is one foot, the ear is one foot—so much with reference to the body. Then with reference to the gods, Agni (fire) is one foot, Vayu (air) is one foot, Aditya (sun) is one foot, the quarters are one foot. Thus both the worship which has reference to the body, and the worship which has reference to the Devas, has been taught.
3. Speech is indeed the fourth foot of Brahman. That foot shines with Agni (fire) as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance.
4. Breath is indeed the fourth foot of Brahman. That foot shines with V4yu (air) as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance.
5. The eye is indeed the fourth foot of Brahman. That foot shines with Aditya (sun) as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance.
6. The ear is indeed the fourth foot of Brahman. That foot shines with the quarters as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance.
NINETEENTH KHAWDA.
1, Aditya (the sun?) is Brahman, this is the doctrine, and this is the fuller account of it :— In the beginning this was non-existent*, It be-
He who knows this, shines and warms through his celebrity, fame, and glory of countenance.
NINETEENTH KHAWDA.
1, Aditya (the sun?) is Brahman, this is the doctrine, and this is the fuller account of it :— In the beginning this was non-existent*, It bep. 55came existent, it grew. It turned into an egg}. The egg lay for the time of a year. The egg broke open. The two halves were one of silver, the other of gold.
1 Aditya, or the sun, had before been represented as one of the four feet of Brahman. He is now represented as Brahman, or as to be meditated on as such.
* Not yet existing, not yet developed in form and name, and therefore as if not existing.
2. The silver one became this earth, the golden one the sky, the thick membrane (of the white) the mountains, the thin membrane (of the yoke) the mist with the clouds, the small veins the rivers, the fluid the sea.
3. And what was born from it that was Aditya, the sun. When he was born shouts of hurrah arose, and all beings arose, and all things which they desired. Therefore whenever the sun rises and sets, shouts of hurrah arise, and all beings arise, and all things which they desire.
4. If any one knowing this meditates on the sun as Brahman, pleasant shouts will approach him and will continue, yea, they will continue.
FOURTH PRAPAZTAAKA.
First KuHanpa 2,
1, There lived once upon a time GAnasruti Pautrdyaza (the great-grandson of Ganasruta), who was a pious giver, bestowing much wealth upon the
1 Anda instead of anda is explained as a Vedic irregularity. A similar cosmogony is given in Manu’s Law Book, I, 12 seq. See Kellgren, Mythus de ovo mundano, Helsingfors, 1849.
3 Vayu (air) and Praza (breath) had before been represented as feet of Brahman, as the second pair. Now they are represented as Brahman, and as to be meditated on as such. This is the teaching of Raikva. The language of this chapter is very obscure, and I am not satisfied with the translation.
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people, and always keeping open house. He built places of refuge everywhere, wishing that people should everywhere eat of his food.
2. Once in the night some Hamsas (flamingoes) flew over his house, and one flamingo said to another: ‘Hey, Bhallaksha, Bhallaksha (short-sighted friend). The light (glory) of GAnasruti Pautrayaza has spread like the sky. Do not go near, that it may not burn thee.’
3. The other answered him: ‘How can you speak of him, being what he is (a raganya, noble), as if he were like Raikva with the car? ?’
4. The first replied: ‘ How is it with this Raikva with the car of whom thou speakest ?’ °
The other answered: ‘As (in a game of dice) all the lower casts? belong to him who has conquered with the Kvzta cast, so whatever good deeds other people perform, belong to that Raikva. He who knows what he knows, he is thus spoken of by me.’
belong to him who has conquered with the Kvzta cast, so whatever good deeds other people perform, belong to that Raikva. He who knows what he knows, he is thus spoken of by me.’
5. G&nasruti Pautrayaza overheard this conversation, and as soon as he had risen in the morning, he said to his door- keeper (kshattvz): ‘Friend, dost thou speak of (me, as if I were) Raikva with the car?’
He replied : ‘ How is it with this Raikva with the car?’
6. The king said: ‘As (in a game of dice), all the lower casts belong to him who has conquered with the Kvzta cast, so whatever good deeds other people perform, belong to that Raikva. He who knows what he knows, he is thus spoken of by me.’
1 Sayugvan is explained as possessed of a car with yoked horses or oxen. Could it have meant originally, ‘ yoke-fellow, equal,’ as in Rig-veda X, 130, 4? Andquetil renders it by ‘semper cum se ipso camelum solutum habens.’
® Instea1 of adharey44, we must read adhare ‘yas.
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7. The door-keeper went to look for Raikva, but returned saying, ‘I found him not.’ Then the king said: ‘Alas! where a Brahmama should be searched for (in the solitude of the forest), there go for him.’
8. The door-keeper came to a man who was lying beneath a car and scratching his sores. He addressed him, and said: ‘ Sir, are you Raikva with the car ?’
He answered: ‘ Here I am.’
Then the door-keeper returned, and said: ‘I have found him.’
SECOND KHAWDA.
1. Then GAnasruti Pautrayaza took six hundred cows, a necklace, and a carriage with mules, went to Raikva and said :
2. ‘Raikva, here are six hundred cows, a necklace, and a carriage with mules; teach me the deity which you worship.’
3. The other replied: ‘Fie, necklace and carriage be thine, O S(dra, together with the cows.’
Then GAnasruti Pautrdyaza took again a thousand cows, a necklace, a carriage with mules, and his own daughter, and went to him.
4. He said to him: ‘ Raikva, there are a thousand cows, a necklace, a carriage with mules, this wife, and this village in which thou dwellest. Sir, teach me!’
5. He, opening her mouth*, said: ‘You have
’ It is curious that in a hymn of the Atharva-veda (V, 22, 5, 8) takman, apparently a disease of the skin, is relegated to the Mahavrishas, where Raikva dwelt. Roth, Zur Literatur des Veda, p. 36.
2 To find out her age. The commentator translates, ‘ Raikva, knowing her mouth to be the door of knowledge, i.e. knowing that for her he might impart his knowledge to Ganasruti, and thatp. 58 brought these (cows and other presents), O Sddra, but only by that mouth did you make me speak.’
These are the Raikva-parza villages in the country of the Mahdvvishas (mahapusyas) where Raikva dwelt under him?. And he said to him:
Turrp KHanpa.
1. ‘Air (vayu) is indeed the end of all*, For when fire goes out, it goes into air. When the sun goes down, it goes into air. When the moon goes down, it goes into air.
And he said to him:
Turrp KHanpa.
1. ‘Air (vayu) is indeed the end of all*, For when fire goes out, it goes into air. When the sun goes down, it goes into air. When the moon goes down, it goes into air.
2. ‘When water dries up, it goes into air. Air indeed consumes them all. So much with reference to the Devas.
3. ‘Now with reference to the body. Breath (praza) is indeed the end of all. When a man sleeps, speech goes into breath, so do sight, hearing, and mind. Breath indeed consumes them all.
4. ‘These are the two ends, air among the Devas, breath among the senses (pra74Z).’
5. Once while Saunaka K4peya and Abhipratérin Kakshaseni were being waited on at their meal, a religious student begged of them. They gave him nothing.
6. He said; ‘One god—who is he ?—swallowed the four great ones’, he, the guardian of the world.
GAnasruti by bringing such rich gifts had become a proper receiver of knowledge, consented to do what he had before refused.’
1 The commentator supplies ad&t, the king gave the villages to him,
* Samvarga, absorption, whence samvargavidy, not samsarga. It is explained by samvargana, samgrahama, and samgrasana, in the text itself by adana, eating.
* This must refer to Vayu and Praéza swallowing the four, as explained in IV, 3, 2, and IV, 3, 3. The commentator explains
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O K4peya, mortals see him not, O Abhipratarin, though he dwells in many places. He to whom this food belongs, to him it has not been given".
7. Saunaka K4peya, pondering on that speech, went to the student and said: ‘ He is the self of the Devas, the creator of all beings, with golden tusks, the eater, not without intelligence. His greatness is said to be great indeed, because, without being eaten, he eats even what is not food?. Thus do we, O Brahmaéarin, meditate on that Being.’ Then he said: ‘Give him food.’
8. They gave him food. Now these five (the eater Vayu (air), and his food, Agni (fire), Aditya (sun), Kandramas (moon), Ap (water)) and the other five (the eater Prawa (breath), and his food, speech, sight, hearing, mind) make ten, and that is the Krvzta (the highest *) cast (representing the ten, the eaters and the. food). Therefore in all quarters those ten are food (and) Kvzta (the highest cast), These are again the Virdg‘ (of ten syllables)
it by Pragapati, who is sometimes called Ka. In one sense it would be Brahman, as represented by Vayu and Prana.
1 The food which you have refused to me, you have really refused to Brahman.
? Saunaka wishes the student to understand that though ‘ mortals see him not,’ he sees and knows him, viz. the god who, as Vayu, swallows all the gods, but produces them again, and who, as priza, swallows during sleep all senses, but produces them again at the time of waking.
? Saunaka wishes the student to understand that though ‘ mortals see him not,’ he sees and knows him, viz. the god who, as Vayu, swallows all the gods, but produces them again, and who, as priza, swallows during sleep all senses, but produces them again at the time of waking.
5 The words are obscure, and the commentator does not throw much light on them. He explains, however, the four casts of the dice, the Krita= 4, the Tretd=3, the Dvapara=2, the Kali=1, making together 10, the Krita cast absorbing the other casts, and thus counting ten.
* Virag, name of a metre of ten syllables, and also a name of food. One expects, ‘which is the food and eats the food.’
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which eats the food. Through this all this becomes seen. He whoknows this sees all this and becomes an eater of food, yea, he becomes an eater of food.
FourtH Kuawpa’,
1, Satyak4ma, the son of Gab&la, addressed his mother and said: ‘I wish to become a Brahmaérin (religious student), mother. Of what family am‘I?’
2. She said to him: ‘I do not know, my child, of what family thou art. In my youth when I had to move about much as a servant (waiting on the guests in my father’s house), I conceived thee. I do not know of what family thou art. I am Gabala by name, thou art Satyakama (Philalethes). Say that thou art Satyakama G4bala.’
3. He going to Gautama Haridrumata said to him, ‘I wish to become a Brahmaf4rin with you, Sir. May I come to you, Sir ?’
4. He said to him: ‘Of what family are you, my friend?’ He replied: ‘1 do not know, Sir, of what family I am. I asked my mother, and she answered: “In my youth when I had to move about much as a servant, I conceived thee. I do not know of what family thou art. I am Gabalé by name, thou art Satyak4ma,” I am therefore Satyakama GaAbala, Sir.’
5. He said to him: ‘No one but a true Brdhmaza would thus speak out. Go and fetch fuel, friend, I shall initiate you. You have not swerved from the truth.’
Having initiated him, he chose four hundred lean and weak cows, and said: ‘ Tend these, friend.’
1 This carries on the explanation of the four feet of Brahman, as first mentioned in III, 18, 1. Each foot or quarter of Brahman is represented as fourfold, and the knowledge of these sixteen parts is called the ShodasakalAvidy4.
p. 61
He drove them out and said to himself, ‘I shall not return unless I bring back a thousand.’ He dwelt a number of years (in the forest), and when the cows had become a thousand, e
FirtH KHawpa.
1. The bull of the herd (meant for Vayu) said to him: ‘Satyakama!’ He replied: ‘Sir!’ The bull said: ‘We have become a thousand, lead us to the house of the teacher ;
2. ‘And I will declare to you one foot of Brahman.’