Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1His (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. III PRAPATHAKA, 17 KHANDA, 5. 51 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 52 KHANDOGYA-UPANISHAD.
2Therefore 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 52 KHANDOGYA-UPANISHAD. 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, III PRAPATHAKA, 18 KHANDA, 2. 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 :—
3‘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. 54 KHANDOGYA-UPANISHAD. 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-
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.
1His (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. III PRAPATHAKA, 17 KHANDA, 5. 51 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 52 KHANDOGYA-UPANISHAD.
2Therefore 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 52 KHANDOGYA-UPANISHAD. 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, III PRAPATHAKA, 18 KHANDA, 2. 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 :—
3‘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. 54 KHANDOGYA-UPANISHAD. 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-
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.