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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1This is the perfection of the (vital) self. Eight syllables remain in each. He who knows them, obtains whatever he desires. Eicutu Kuawpa. 1. He extends (these verses) by (interpolating) the sound‘. Verily, breath (praza) is sound. Therefore every breath when it sounds, sounds loud, as it were. 2. The verse (VIII, 69, 2) nadam va odattndm, &c., is by its syllables an Ushzih5, by its feet an Anush¢ubh*. Ushzwih is life, Anush¢ubh, speech. He thus places life and speech in him (the sacrificer.) 3. By repeating the first verse three times, they 1 Because Virag, a foot of ten syllables, is food. a Rv. X, 120, ra=. . 10 Rv. VIII, 69, 2a= . q Syllable pu= . . 1 18 * Seven in the head and two in the body; sapta vai sirshany4s prana dvAv avaiAav iti. ‘ Cf. I, 3, 5, 1. * Each pada has seven syllables, the third only six; but a seventh syllable is gained by pronouncing the y as i. Comm. * Because it has four padas. 1 ARANYAKA, 3 ADHYAYA, 8 KHANDA, 8. 1185 become twenty-five. The trunk is the twenty-fifth, and Prag4pati is the twenty-fifth, There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk as the twenty-fifth. Now this day consists of twenty-five, and the Stoma hymn of that day consists of twenty-five: it becomes the same through the same. Therefore the two, the day and the hymn, are twenty-five. This is the twenty-fifth with regard to the body. 4. Next, with regard to the deities: The eye, the ear, the mind, speech, and breath, these five deities (powers) have entered into that person (purusha), and that person entered into the five deities. He is wholly pervaded there with his limbs to the very hairs and nails. Therefore all beings to the very insects are born as pervaded (by the deities or senses) !. 5. This has been declared by a Avshi (Rv. X, 114, 8):— 6. ‘A thousandfold are these fifteen hymns ;’—for five arise from ten 2. 7. ‘As large as heaven and earth, so large is it ; —verily, the self (givatman) is as large as heaven and earth. 8. ‘A thousandfold are the thousand powers ® ;’— 1 The commentator takes this in a different sense, explaining atra, there, as the body pervaded by the person, yet afterwards stating that all beings are born, pervaded by the senses. 3 The commentator explains ukth4, hymns, as members or organs. They are the five, and they spring from the ten, i.e. from the five elements (earth, water, fire, wind, and ether), forming part of the father and mother each, and therefore called ten, or a decade. Dasatah is explained by bhftadasakat. * The application of the senses to a thousand different objects. 186 AITAREYA-ARANYAKA. by saying this the poet pleases the hymns (the senses), and magnifies them. g. ‘As far as Brahman reaches, ‘so far reaches speech ;’—wherever there is Brahman, there is a word; and wherever there is a word, there is Brahman, this was intended.
2186 AITAREYA-ARANYAKA. by saying this the poet pleases the hymns (the senses), and magnifies them. g. ‘As far as Brahman reaches, ‘so far reaches speech ;’—wherever there is Brahman, there is a word; and wherever there is a word, there is Brahman, this was intended. 10. The first of the hymns among all those hymns has nine verses. Verily, there are nine prazas (openings), and it serves for their benefit. 11. Then follows a hymn of six verses. Verily, the seasons are six, and it serves to obtain them. 12. Then follows a hymn of five verses. Verily, the Pankti consists of five feet. Verily, Pankti is food, and it serves for the gaining of proper food. 13. Then follows a tristich, Three are these threefold worlds, and it serves to conquer them. 14. These verses become Brzhatis!, that metre being immortal, leading to the world of the Devas. That body of verses is the trunk (of the bird represented by the whole sastra), and thus it is. He who knows this comes by this way (by making the verses the trunk of the bird) near to the immortal Self, yea, to the immortal Self? Each foot of the Trishfubh has eleven syllables, to which seven are added from the Nada hymn. This gives eighteen syllables for each pada. Two padas therefore give thirty-six syllables, and this is a Brzhatf. In this manner the twenty-three verses of the hymns yield forty-six Brzhatis. Comm. ® He obtains a birth among the gods by means of this Mahavrata ceremonial, if performed with meditation and a right understanding of its hidden meaning. 1 ARANYAKA, 4 ADHYAYA, I KHANDA, 4. 187 FOURTH ADHYAYA. First Kuawpa. 1. Next comes the Sidadohas! verse. Sidadohas is breath, and thereby he joins all joints with breath. 2. Next follow the neck verses. They recite them as Ushzih, according to their metre * 3. Next comes (again) the Sfidadohas verse. Sddadohas is breath, and thereby he joins all joints with breath. 4. Next follows the head. That is in GAyatrt verses. The Gayatri is the beginning of all metres’; the head the first of all members. It is in Arkavat verses (Rv. I, 7, 1-9)4. Arka is Agni. They are nine verses. The head consists of nine pieces. He recites the tenth verse, and that is the skin and the hairs on the head. It serves for reciting one verse more than (the nine verses contained in) the Stoma’®. 1 The Nishkevalya-sastra is represented in the shape of a bird, consisting of trunk, neck, head, vertebrae, wings, tail, and stomach. Before describing the hymns which form the neck, another hymn has to be mentioned, called Sfdadohas, which has to be recited at the end of the hymns, described before, which form the trunk. S(dadohas is explained as ‘ yielding milk,’ and because that word occurs in the verse, the verse is called Sfdadohas. It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5,1, 7. 2 They occur in another sakh4, and are to be recited such as they are, without any insertions. They are given by Saunaka, Ait. Ar. V, 2, 1.
3It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5,1, 7. 2 They occur in another sakh4, and are to be recited such as they are, without any insertions. They are given by Saunaka, Ait. Ar. V, 2, 1. 5 It was created from the mouth of Prag4pati. * They are called so, because the word arka occurs in them. 5 The chanters of the S&ama-veda make a Trivrit Stoma of this hymn, without any repetitions, leaving out the tenth verse. The reciters of the Rig-veda excel them therefore by reciting a tenth verse. This is called atisamsanam (or -na). 188 AITAREYA-ARANYAKA. These form the Trivzzt Stoma and the Gayatrt metre, and whatever there exists, all this is produced after the production of this Stoma and this metre. Therefore the recitation of these headhymns serves for production. 5. He who knows this, gets offspring and cattle. 6. Next comes the Sfidadohas verse. Verily, Sddadohas is breath, and thereby he joins all joints with breath. 7. Next follow the vertebrae! (of the bird). These verses are Virag (shining). Therefore man says to man, ‘Thou shinest above us;’ or to a stiff and proud man, ‘ Thou carriest thy neck stiff’ Or because the (vertebrae of the neck) run close together, they are taken to be the best food. For Virag is food, and food is strength. 8. Next comes the Sidadohas verse. Sfidadohas is breath, and thereby he joins all joints with breath. 1 Vigavas may be a singular, and the commentator seems to take it as such in his first explanation. The text, t4 virdgo bhavanti, proves nothing, because it could not be sa virégo bhavanti, nor even sa virad bhavati. Possibly the word may occur in both forms, vigu, plural vigavak, and vigavak. In a somewhat similar way we find griva and griv4A, folia and la feuille. On p. 109, the commentator speaks of vigavabhaga, and again, p. 110, pakshamflarfipa vigava abhihité#. He, however, explains its meaning rightly, as the root of the wings, or rather the lower bones of the neck. Griva’, plural, were originally the vertebrae of the neck. The paragraph, though very empty, contains at least some interesting forms of language. First vigu, vertebrae, then the participles duta and samb&/hatama, and lastly the verb pratyaé, the last probably used in the sense of to bring near, to represent, with the superlative adverb annatam4m (P4z. V, 4, 11), i.e. they are represented as if they brought the best food. 1 ARANYAKA, 4 ADHYAYA, 2 KHANDA, 3. 189 SECOND Kuanpa. 1. Next follows the right wing. It is this world (the earth), it is this Agni, it is speech, it is the Rathantara’, it is Vasish¢ka, it is a hundred *. These are the six powers (of the right wing)*. The Sampata hymn (Rv. IV, 20) serves indeed for obtaining desires and for firmness. The Pankti verse (Rv. I, 80, 1) serves for proper food. 2. Next comes the Sadadohas verse. Sddadohas is breath, thereby he joins all joints with breath.
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.
1This is the perfection of the (vital) self. Eight syllables remain in each. He who knows them, obtains whatever he desires. Eicutu Kuawpa. 1. He extends (these verses) by (interpolating) the sound‘. Verily, breath (praza) is sound. Therefore every breath when it sounds, sounds loud, as it were. 2. The verse (VIII, 69, 2) nadam va odattndm, &c., is by its syllables an Ushzih5, by its feet an Anush¢ubh*. Ushzwih is life, Anush¢ubh, speech. He thus places life and speech in him (the sacrificer.) 3. By repeating the first verse three times, they 1 Because Virag, a foot of ten syllables, is food. a Rv. X, 120, ra=. . 10 Rv. VIII, 69, 2a= . q Syllable pu= . . 1 18 * Seven in the head and two in the body; sapta vai sirshany4s prana dvAv avaiAav iti. ‘ Cf. I, 3, 5, 1. * Each pada has seven syllables, the third only six; but a seventh syllable is gained by pronouncing the y as i. Comm. * Because it has four padas. 1 ARANYAKA, 3 ADHYAYA, 8 KHANDA, 8. 1185 become twenty-five. The trunk is the twenty-fifth, and Prag4pati is the twenty-fifth, There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk as the twenty-fifth. Now this day consists of twenty-five, and the Stoma hymn of that day consists of twenty-five: it becomes the same through the same. Therefore the two, the day and the hymn, are twenty-five. This is the twenty-fifth with regard to the body. 4. Next, with regard to the deities: The eye, the ear, the mind, speech, and breath, these five deities (powers) have entered into that person (purusha), and that person entered into the five deities. He is wholly pervaded there with his limbs to the very hairs and nails. Therefore all beings to the very insects are born as pervaded (by the deities or senses) !. 5. This has been declared by a Avshi (Rv. X, 114, 8):— 6. ‘A thousandfold are these fifteen hymns ;’—for five arise from ten 2. 7. ‘As large as heaven and earth, so large is it ; —verily, the self (givatman) is as large as heaven and earth. 8. ‘A thousandfold are the thousand powers ® ;’— 1 The commentator takes this in a different sense, explaining atra, there, as the body pervaded by the person, yet afterwards stating that all beings are born, pervaded by the senses. 3 The commentator explains ukth4, hymns, as members or organs. They are the five, and they spring from the ten, i.e. from the five elements (earth, water, fire, wind, and ether), forming part of the father and mother each, and therefore called ten, or a decade. Dasatah is explained by bhftadasakat. * The application of the senses to a thousand different objects. 186 AITAREYA-ARANYAKA. by saying this the poet pleases the hymns (the senses), and magnifies them. g. ‘As far as Brahman reaches, ‘so far reaches speech ;’—wherever there is Brahman, there is a word; and wherever there is a word, there is Brahman, this was intended.
2186 AITAREYA-ARANYAKA. by saying this the poet pleases the hymns (the senses), and magnifies them. g. ‘As far as Brahman reaches, ‘so far reaches speech ;’—wherever there is Brahman, there is a word; and wherever there is a word, there is Brahman, this was intended. 10. The first of the hymns among all those hymns has nine verses. Verily, there are nine prazas (openings), and it serves for their benefit. 11. Then follows a hymn of six verses. Verily, the seasons are six, and it serves to obtain them. 12. Then follows a hymn of five verses. Verily, the Pankti consists of five feet. Verily, Pankti is food, and it serves for the gaining of proper food. 13. Then follows a tristich, Three are these threefold worlds, and it serves to conquer them. 14. These verses become Brzhatis!, that metre being immortal, leading to the world of the Devas. That body of verses is the trunk (of the bird represented by the whole sastra), and thus it is. He who knows this comes by this way (by making the verses the trunk of the bird) near to the immortal Self, yea, to the immortal Self? Each foot of the Trishfubh has eleven syllables, to which seven are added from the Nada hymn. This gives eighteen syllables for each pada. Two padas therefore give thirty-six syllables, and this is a Brzhatf. In this manner the twenty-three verses of the hymns yield forty-six Brzhatis. Comm. ® He obtains a birth among the gods by means of this Mahavrata ceremonial, if performed with meditation and a right understanding of its hidden meaning. 1 ARANYAKA, 4 ADHYAYA, I KHANDA, 4. 187 FOURTH ADHYAYA. First Kuawpa. 1. Next comes the Sidadohas! verse. Sidadohas is breath, and thereby he joins all joints with breath. 2. Next follow the neck verses. They recite them as Ushzih, according to their metre * 3. Next comes (again) the Sfidadohas verse. Sddadohas is breath, and thereby he joins all joints with breath. 4. Next follows the head. That is in GAyatrt verses. The Gayatri is the beginning of all metres’; the head the first of all members. It is in Arkavat verses (Rv. I, 7, 1-9)4. Arka is Agni. They are nine verses. The head consists of nine pieces. He recites the tenth verse, and that is the skin and the hairs on the head. It serves for reciting one verse more than (the nine verses contained in) the Stoma’®. 1 The Nishkevalya-sastra is represented in the shape of a bird, consisting of trunk, neck, head, vertebrae, wings, tail, and stomach. Before describing the hymns which form the neck, another hymn has to be mentioned, called Sfdadohas, which has to be recited at the end of the hymns, described before, which form the trunk. S(dadohas is explained as ‘ yielding milk,’ and because that word occurs in the verse, the verse is called Sfdadohas. It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5,1, 7. 2 They occur in another sakh4, and are to be recited such as they are, without any insertions. They are given by Saunaka, Ait. Ar. V, 2, 1.
3It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5,1, 7. 2 They occur in another sakh4, and are to be recited such as they are, without any insertions. They are given by Saunaka, Ait. Ar. V, 2, 1. 5 It was created from the mouth of Prag4pati. * They are called so, because the word arka occurs in them. 5 The chanters of the S&ama-veda make a Trivrit Stoma of this hymn, without any repetitions, leaving out the tenth verse. The reciters of the Rig-veda excel them therefore by reciting a tenth verse. This is called atisamsanam (or -na). 188 AITAREYA-ARANYAKA. These form the Trivzzt Stoma and the Gayatrt metre, and whatever there exists, all this is produced after the production of this Stoma and this metre. Therefore the recitation of these headhymns serves for production. 5. He who knows this, gets offspring and cattle. 6. Next comes the Sfidadohas verse. Verily, Sddadohas is breath, and thereby he joins all joints with breath. 7. Next follow the vertebrae! (of the bird). These verses are Virag (shining). Therefore man says to man, ‘Thou shinest above us;’ or to a stiff and proud man, ‘ Thou carriest thy neck stiff’ Or because the (vertebrae of the neck) run close together, they are taken to be the best food. For Virag is food, and food is strength. 8. Next comes the Sidadohas verse. Sfidadohas is breath, and thereby he joins all joints with breath. 1 Vigavas may be a singular, and the commentator seems to take it as such in his first explanation. The text, t4 virdgo bhavanti, proves nothing, because it could not be sa virégo bhavanti, nor even sa virad bhavati. Possibly the word may occur in both forms, vigu, plural vigavak, and vigavak. In a somewhat similar way we find griva and griv4A, folia and la feuille. On p. 109, the commentator speaks of vigavabhaga, and again, p. 110, pakshamflarfipa vigava abhihité#. He, however, explains its meaning rightly, as the root of the wings, or rather the lower bones of the neck. Griva’, plural, were originally the vertebrae of the neck. The paragraph, though very empty, contains at least some interesting forms of language. First vigu, vertebrae, then the participles duta and samb&/hatama, and lastly the verb pratyaé, the last probably used in the sense of to bring near, to represent, with the superlative adverb annatam4m (P4z. V, 4, 11), i.e. they are represented as if they brought the best food. 1 ARANYAKA, 4 ADHYAYA, 2 KHANDA, 3. 189 SECOND Kuanpa. 1. Next follows the right wing. It is this world (the earth), it is this Agni, it is speech, it is the Rathantara’, it is Vasish¢ka, it is a hundred *. These are the six powers (of the right wing)*. The Sampata hymn (Rv. IV, 20) serves indeed for obtaining desires and for firmness. The Pankti verse (Rv. I, 80, 1) serves for proper food. 2. Next comes the Sadadohas verse. Sddadohas is breath, thereby he joins all joints with breath.
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.
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