Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1For 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. 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. 6 KHANDOGYA-UPANISHAD. 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
2priest, 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 I PRAPATHAKA, 3 KHANDA, 4. 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. 8 EKHANDOGYA-UPANISHAD. 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!.
3Gi 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; « I PRAPATHAKA, 3 KHANDA, 7. 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.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1For 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. 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. 6 KHANDOGYA-UPANISHAD. 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
2priest, 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 I PRAPATHAKA, 3 KHANDA, 4. 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. 8 EKHANDOGYA-UPANISHAD. 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!.
3Gi 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; « I PRAPATHAKA, 3 KHANDA, 7. 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.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
No commentary for this page.