Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1O 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 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 :—
2This 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, 12 KHANDOGYA-UPANISHAD. 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. I PRAPATHAKA, 6 KHANDA, 8. 13
3KA. 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. I PRAPATHAKA, 6 KHANDA, 8. 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 Ae 14 KHANDOGYA-UPANISHAD. (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.
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.
1O 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 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 :—
2This 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, 12 KHANDOGYA-UPANISHAD. 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. I PRAPATHAKA, 6 KHANDA, 8. 13
3KA. 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. I PRAPATHAKA, 6 KHANDA, 8. 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 Ae 14 KHANDOGYA-UPANISHAD. (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.
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.