Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1But they do not say what they have known, nor do they see 1 This treats of the gradual development of life in man, particularly of the development of a thinking soul (4aitanya). 3 In stones there is not even sap, but only being, satta. Comm. ® What he has known yesterday he remembers, and is able to say before men, I know this. And when he has known a thing he remembers it, and goes to the same place to see it again. Comm. 11 ARANYAKA, 3 ADHYAYA, 3 KHANDA, 5. 223 what they have known. They do not know what is to happen to-morrow, nor heaven and hell. They go so far and no further, for they are born according to their knowledge (in a former life). Tuirp Kuawpa. 1. That man (conceived as uktha) is the sea, rising beyond the whole world’. Whatever he reaches, he wishes to go beyond *. If he reaches the sky, he wishes to go beyond. 2. If he should reach that (heavenly) world, he would wish to go beyond. 3. That man is fivefold. The heat in him is fire; the apertures (of the senses) are ether; blood, mucus, and seed are water ; the body is earth; breath is air. 4. That air is fivefold, viz. up-breathing, downbreathing, back-breathing, out-breathing, on-breathing. The other powers (devatas), viz. sight, hearing, mind, and speech, are comprised under up-breathing and down-breathing. For when breath departs, they also depart with it. 5. That man (conceived as uktha) is the sacrifice, which is a succession now of speech and now of thought. That sacrifice is fivefold, viz. the Agnihotra, the new and full moon sacrifices, the fourmonthly sacrifices, the animal sacrifice, the Soma sacrifice. The Soma sacrifice is the most perfect of sacrifices, for in it these five kinds of ceremonies are seen: the first which precedes the libations (the Diksha, &c.), then three libations, and what follows (the Avabhzztha, &c.) is the fifth. 1 Bhiloka. Comm. * Should it not be aty enan manyate? 224 AITAREYA-ARANY AKA. Fourtuy Kuanpa. 1. He who knows one sacrifice above another, one day above another, one deity above the others, he is clever. Now this great uktha (the nishkevalya-sastra) is the sacrifice above another, the day above another, the deity above others’. 2. This uktha is fivefold. With regard to its being performed as a Stoma (chorus), it is Trivrct, Panadasa, Saptadasa, Ekavimsa, and Pajfi#avimesa. With regard to its being performed as a Séman (song), it is G4yatra, Rathantara, Bvzhat, Bhadra, and Ragana. With regard to metre, it is Gayatri, Ushzih, Brzhatt, Trish¢ubh, and Dvipad&. And the explanation (given before in the Arazyaka) is that it is the head, the right wing, the left wing, the tail, and the body of the bird”. 1 The uktha is to be conceived as pr4ma, breath or life, and this priza was shown to be above the other powers (devatas), speech, hearing, seeing, mind. The uktha belongs to the Mahavrata day, and that is the most important day of the Soma sacrifice. The Soma sacrifice, lastly, is above all other sacrifices.
2The uktha belongs to the Mahavrata day, and that is the most important day of the Soma sacrifice. The Soma sacrifice, lastly, is above all other sacrifices. 3 All these are technicalities connected with the singing and reciting of the uktha. The commentator says: The stoma is a collection of single Rzé verses occurring in the tré#as which have to be sung. The Trivrct stoma, as explained in the Samabréhmaaa, is as follows: There are three Siktas, each consisting of three verses, the first being up&smai g4yata, S. V. Uttarartika I, 1,1=Rv. IX, 11. The Udgatr? first sings the first three verses ® in each hymn. This is the first round. He then sings the three middle verses in each hymn. This is the second round. He lastly sings the last three verses in each hymn. This is the third round. This song is called Udyatt. The Pafitadasa stoma is formed out of one Sfkta only, consisting of three verses. In the first round he sings the first verse ® Hinkv? with dative is explained as gai with accusative. 11 ARANYAKA, 3 ADHYAYA, 4 KHANDA, 3. 225 3. He performs the Prastava in five ways, he performs the Udgitha in five ways, he performs the three times, the second and third once. In the second round he sings the middle verse three times, in the third round he sings the last verse three times. This song is called Vishéuti. The Saptadasa stoma is formed in the same manner, only that in the first round he sings the first verse three times, in the second the middle verse three times, in the third round the middle and last verses three times. This song is called Dasasapta. The Ekavimsa stoma is formed in the same manner, only that in the first round he sings the last verse once, in the second the first verse once, in the third the middle verse once, while the other verses are each repeated three times. This song is called Saptasaptinf. The Paftkavimsa stoma is formed in the same manner, only that in the first round he sings the first verse three times, the second four times, the last once; in the second round the first once, the second three times, the third four times; in the third round the first five times, the second once, the last three times; or he sings in the third round the first verse four times, the second twice, the last three times.
3S4yana in his commentary on the Ait. Ar. takes the Trivrit stoma to be formed out of three hymns, each consisting of three verses, while he says that the other stomas are formed out of one hymn only. B. and R., s.v. trivrit, state that this stoma consists of verses 1, 4, 7; 2, 5, 8; and 3, 6, 9 of the Rig-veda hymn IX, 11, but, according to Sayama, the stoma consists (1) of the first verses of the three Sfktas, upasmai g4yata, davidyutatya, and pavamfnasya at the beginning of the SAma-veda-Uttar4réika, (2) of the second, (3) of the third verses of the same three hymns. Mahfdh4ra (Yv. X, 9) takes the same view, though the MSS. seem to have left out the description of the second pary4aya, while Séyanza in his commentary to the T4Adya-bréahmana seems to support the opinion of B. and R. There is an omission, however, in the printed text of the commentary, which makes it difficult to see the exact meaning of Sfyama. The Pafitadasa stoma is well described by Sdyana, Tandya Br. II, 4. Taking the Sfkta agna 4 y4hi (Uttararfika I, 1, 4=Rv. VI, 16, 10-12), he shows the stoma to consist of (1) verse 1 x 3, 2, 33 (2) verse 1, 2X 3, 33 (3) verse 1, 2, 3X3. The five Samans are explained by the commentator. The [3] Q 226 AITAREYA-ARANYAKA. Pratihara in five ways, he performs the Upadrava in five ways, he performs the Nidhana in five ways?. All this together forms one thousand Stobhas, or musical syllables 2, 4. Thus also are the Rzé verses, contained in the Nishkevalya, recited (by the Hotv) in five orders. What precedes the eighty tvzéas, that is one order, then follow the three sets of eighty trzéas each, and what comes after is the fifth order’. GAyatra is formed out of the Re (III, 62, ro) tat savitur varenyam. The Rathantara is formed out of the Rr& (VII, 32, 22) abhi tv sira nonuma. The Brihat is formed out of the Rré (VI, 46, 1) tvam id dhi havamahe. The Bhadra is formed out of the Rié (X, 157, 1) ima nu kam. The R4gana is formed out of the Rek (VII, 27, 1) indram naro nemadhit&. The metres require no explanation. In identifying certain portions of the Nishkevalya hymn with a bird, the head of the bird corresponds to the hymns indram id githinah, &c.; the right wing to the hymns abhi tv4 sfira, &c.; the left wing to the hymns tv4m id dhi, &c.; the tail to the hymns im& nu kam, &c.; the body to the hymns tad id dsa, &c. All this was explained in the first Aranyaka. 1 The Samagas sing the Ragana at the Mah4vrata, and in that S4man there are, as usual, five parts, the Prastéva, Udgitha, Pratihara, Upadrava, and Nidhana. The Prastotr:, when singing the Prastéva portions, sings them five times. The Udgdtr? and Pratihartr? sing their portions, the Udgitha and Pratihara, five times. The Udgatri again sings the Upadrava five times. And all the Udg4tr7s together sing the Nidhana five times.
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.
1But they do not say what they have known, nor do they see 1 This treats of the gradual development of life in man, particularly of the development of a thinking soul (4aitanya). 3 In stones there is not even sap, but only being, satta. Comm. ® What he has known yesterday he remembers, and is able to say before men, I know this. And when he has known a thing he remembers it, and goes to the same place to see it again. Comm. 11 ARANYAKA, 3 ADHYAYA, 3 KHANDA, 5. 223 what they have known. They do not know what is to happen to-morrow, nor heaven and hell. They go so far and no further, for they are born according to their knowledge (in a former life). Tuirp Kuawpa. 1. That man (conceived as uktha) is the sea, rising beyond the whole world’. Whatever he reaches, he wishes to go beyond *. If he reaches the sky, he wishes to go beyond. 2. If he should reach that (heavenly) world, he would wish to go beyond. 3. That man is fivefold. The heat in him is fire; the apertures (of the senses) are ether; blood, mucus, and seed are water ; the body is earth; breath is air. 4. That air is fivefold, viz. up-breathing, downbreathing, back-breathing, out-breathing, on-breathing. The other powers (devatas), viz. sight, hearing, mind, and speech, are comprised under up-breathing and down-breathing. For when breath departs, they also depart with it. 5. That man (conceived as uktha) is the sacrifice, which is a succession now of speech and now of thought. That sacrifice is fivefold, viz. the Agnihotra, the new and full moon sacrifices, the fourmonthly sacrifices, the animal sacrifice, the Soma sacrifice. The Soma sacrifice is the most perfect of sacrifices, for in it these five kinds of ceremonies are seen: the first which precedes the libations (the Diksha, &c.), then three libations, and what follows (the Avabhzztha, &c.) is the fifth. 1 Bhiloka. Comm. * Should it not be aty enan manyate? 224 AITAREYA-ARANY AKA. Fourtuy Kuanpa. 1. He who knows one sacrifice above another, one day above another, one deity above the others, he is clever. Now this great uktha (the nishkevalya-sastra) is the sacrifice above another, the day above another, the deity above others’. 2. This uktha is fivefold. With regard to its being performed as a Stoma (chorus), it is Trivrct, Panadasa, Saptadasa, Ekavimsa, and Pajfi#avimesa. With regard to its being performed as a Séman (song), it is G4yatra, Rathantara, Bvzhat, Bhadra, and Ragana. With regard to metre, it is Gayatri, Ushzih, Brzhatt, Trish¢ubh, and Dvipad&. And the explanation (given before in the Arazyaka) is that it is the head, the right wing, the left wing, the tail, and the body of the bird”. 1 The uktha is to be conceived as pr4ma, breath or life, and this priza was shown to be above the other powers (devatas), speech, hearing, seeing, mind. The uktha belongs to the Mahavrata day, and that is the most important day of the Soma sacrifice. The Soma sacrifice, lastly, is above all other sacrifices.
2The uktha belongs to the Mahavrata day, and that is the most important day of the Soma sacrifice. The Soma sacrifice, lastly, is above all other sacrifices. 3 All these are technicalities connected with the singing and reciting of the uktha. The commentator says: The stoma is a collection of single Rzé verses occurring in the tré#as which have to be sung. The Trivrct stoma, as explained in the Samabréhmaaa, is as follows: There are three Siktas, each consisting of three verses, the first being up&smai g4yata, S. V. Uttarartika I, 1,1=Rv. IX, 11. The Udgatr? first sings the first three verses ® in each hymn. This is the first round. He then sings the three middle verses in each hymn. This is the second round. He lastly sings the last three verses in each hymn. This is the third round. This song is called Udyatt. The Pafitadasa stoma is formed out of one Sfkta only, consisting of three verses. In the first round he sings the first verse ® Hinkv? with dative is explained as gai with accusative. 11 ARANYAKA, 3 ADHYAYA, 4 KHANDA, 3. 225 3. He performs the Prastava in five ways, he performs the Udgitha in five ways, he performs the three times, the second and third once. In the second round he sings the middle verse three times, in the third round he sings the last verse three times. This song is called Vishéuti. The Saptadasa stoma is formed in the same manner, only that in the first round he sings the first verse three times, in the second the middle verse three times, in the third round the middle and last verses three times. This song is called Dasasapta. The Ekavimsa stoma is formed in the same manner, only that in the first round he sings the last verse once, in the second the first verse once, in the third the middle verse once, while the other verses are each repeated three times. This song is called Saptasaptinf. The Paftkavimsa stoma is formed in the same manner, only that in the first round he sings the first verse three times, the second four times, the last once; in the second round the first once, the second three times, the third four times; in the third round the first five times, the second once, the last three times; or he sings in the third round the first verse four times, the second twice, the last three times.
3S4yana in his commentary on the Ait. Ar. takes the Trivrit stoma to be formed out of three hymns, each consisting of three verses, while he says that the other stomas are formed out of one hymn only. B. and R., s.v. trivrit, state that this stoma consists of verses 1, 4, 7; 2, 5, 8; and 3, 6, 9 of the Rig-veda hymn IX, 11, but, according to Sayama, the stoma consists (1) of the first verses of the three Sfktas, upasmai g4yata, davidyutatya, and pavamfnasya at the beginning of the SAma-veda-Uttar4réika, (2) of the second, (3) of the third verses of the same three hymns. Mahfdh4ra (Yv. X, 9) takes the same view, though the MSS. seem to have left out the description of the second pary4aya, while Séyanza in his commentary to the T4Adya-bréahmana seems to support the opinion of B. and R. There is an omission, however, in the printed text of the commentary, which makes it difficult to see the exact meaning of Sfyama. The Pafitadasa stoma is well described by Sdyana, Tandya Br. II, 4. Taking the Sfkta agna 4 y4hi (Uttararfika I, 1, 4=Rv. VI, 16, 10-12), he shows the stoma to consist of (1) verse 1 x 3, 2, 33 (2) verse 1, 2X 3, 33 (3) verse 1, 2, 3X3. The five Samans are explained by the commentator. The [3] Q 226 AITAREYA-ARANYAKA. Pratihara in five ways, he performs the Upadrava in five ways, he performs the Nidhana in five ways?. All this together forms one thousand Stobhas, or musical syllables 2, 4. Thus also are the Rzé verses, contained in the Nishkevalya, recited (by the Hotv) in five orders. What precedes the eighty tvzéas, that is one order, then follow the three sets of eighty trzéas each, and what comes after is the fifth order’. GAyatra is formed out of the Re (III, 62, ro) tat savitur varenyam. The Rathantara is formed out of the Rr& (VII, 32, 22) abhi tv sira nonuma. The Brihat is formed out of the Rré (VI, 46, 1) tvam id dhi havamahe. The Bhadra is formed out of the Rié (X, 157, 1) ima nu kam. The R4gana is formed out of the Rek (VII, 27, 1) indram naro nemadhit&. The metres require no explanation. In identifying certain portions of the Nishkevalya hymn with a bird, the head of the bird corresponds to the hymns indram id githinah, &c.; the right wing to the hymns abhi tv4 sfira, &c.; the left wing to the hymns tv4m id dhi, &c.; the tail to the hymns im& nu kam, &c.; the body to the hymns tad id dsa, &c. All this was explained in the first Aranyaka. 1 The Samagas sing the Ragana at the Mah4vrata, and in that S4man there are, as usual, five parts, the Prastéva, Udgitha, Pratihara, Upadrava, and Nidhana. The Prastotr:, when singing the Prastéva portions, sings them five times. The Udgdtr? and Pratihartr? sing their portions, the Udgitha and Pratihara, five times. The Udgatri again sings the Upadrava five times. And all the Udg4tr7s together sing the Nidhana five times.
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.