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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1We should distinguish therefore between the large Maitrayaza-brahmaza-upanishad and the smaller Maitreyopanishad. The title of Maitreyi-brahmava has, of course, a totally different origin, and simply means the Brahmaza which tells the story of Maitreyi ». As Professor Cowell, in the Preface to his edition and translation of the Maitrayava-brahmaza-upanishad, has discussed its peculiar character, I have little to add on that subject. I agree with him in thinking that this Upanishad has grown, and contains several accretions. The Sanskrit commentator himself declares the sixth and seventh chapters to be Khilas or supplementary. Possibly the Maitreya-upanishad, as printed above, contains the earliest framework. Then we have traces of various recensions. Professor Cowell (Preface, p. vi) mentions a MS., copied ? Maitr. Up. II, 6; p. 32. ? kramishyan, m. 3 Yadha, m. * Maitr. Up. VI, 34; p. 178. 5 lipyate. ® lipyante. 7 Hiyyate. * Iiyyate. 9 liyante. 10 liyyate. 1 lipyate. 12 liyyate. 13 liyyate. 1 tanasanna. 15 See Avhand. Up. p. 623.
2INTRODUCTION. xl vil nO! for Baron Eckstein, apparently from a Telugu original. which contains the first five chapters only, numbered as four. The verses given in VI, 34 (p. 177), beginning with atreme sloka bhavanti, are placed after IV, 3. In my own MS. these verses are inserted at the beginning of the fifth chapter". Then follows in Baron Eckstein’s MS. as IV, “i what is given in the printed text as V, 1, 2 (pp. 69-76). In my own MS., which likewise comes from the South, the Upanishad does not go beyond VI, 8, which is called the sixth chapter and the end of the Upanishad. We have in fact in our Upanishad the first specimen of that peculiar Indian style, so common in the later fables and stories, which delights in enclosing one story within another. The kernel of our Upanishad is really the dialogue between the Valakhilyas and Pragapati Kratu. This is called by the commentator (see p. 331, note) a Vyakhy4ana. i.e. a fuller explanation of the Sfitra which comes before, and which expresses in the few words, ‘ He is the Self, this is the immortal, the fearless, this is Brahman,’ the gist of the whole Upanishad. This dialogue, or at all events the doctrine which it was meant to illustrate, was communicated by Maitri (or Maitra) to Sakayanya, and by Sakayanya to King Brzhadratha Aikshvaka, also called Marut (II, 1; VI, 30). This dialogue might seem.to come to an end in VI, 29, and likewise the dialogue between SakdAyanya and Brzhadratha; but it is carried on again to the end of VI, 30, and followed afterwards by a number of paragraphs which may probably be considered as later additions. But though admitting all this, I cannot bring myself to follow Professor Cowell in considering, as he does, even the earlier portion of the Upanishad as dating from a late period, while the latter portions are called by him comparatively modern, on account of frequent Vaishvzava quotations. What imparts to this Upanishad, according to my opinion, an exceptionally genuine and ancient character, is the preservation in it of that peculiar Sandhi which,
3thanks to the labours of Dr. von Schroeder, we now know to be characteristic of the Maitrayawa-sakha. In that Sakha final unaccented as and e are changed into 4, if the next word begins with an accented vowel, except a. Before initial a, however, e€ remains unchanged, and as becomes o, and the initial a is sometimes elided, sometimes not. Some of these rules, it must be remembered, run counter to Pazini, and we may Safely conclude therefore that texts in which they are observed, date from the time before Pazini. In some MSS., as, for instance, in my own MS. of the Maitrayazabrahmava-upanishad, these rules are not observed, but this makes their strict observation in other MSS. all the more important. Besides, though to Dr. von Schroeder belongs, no doubt, the credit of having, in his edition of the Maitrayami Samhita, first pointed out these phonetic peculiarities, they were known as such to the commentators, who expressly point out these irregular Sandhis as distinctive of the Maitrayavi sékha. Thus we read Maitr. Up. II, 3 (p. 18), that tigmategasA ardhvaretaso, instead of tigmategasa, is evamvidha etakkhakhasanketapathas khandasa& sarvatra, i.e. is throughout the Vedic reading indicatory of that particular Sakha, namely the Maitrayazi. A still stranger peculiarity of our Sakha is the change of a final t before initial s into #. This also occurs in our Upanishad. In VI, 8, we read sv4&# sarirad ; in VI, 27, ya - sarirasya. Such a change seems phonetically so unnatural, that the tradition must have been very strong to perpetuate it among the Maitrayamas. Now what is important for our purposes is this, that these phonetic peculiarities run through all the seven chapters of our Upanishad. This will be seen from the following list : I. Final as changed into 4 before initial vowel !: II, 3, tigmategasa drdhvaretaso (Comm. etakhhakhasanketapachas khandasah sarvatra). II, 5, vibodha evam. II, 7, avasthita iti.
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.
1We should distinguish therefore between the large Maitrayaza-brahmaza-upanishad and the smaller Maitreyopanishad. The title of Maitreyi-brahmava has, of course, a totally different origin, and simply means the Brahmaza which tells the story of Maitreyi ». As Professor Cowell, in the Preface to his edition and translation of the Maitrayava-brahmaza-upanishad, has discussed its peculiar character, I have little to add on that subject. I agree with him in thinking that this Upanishad has grown, and contains several accretions. The Sanskrit commentator himself declares the sixth and seventh chapters to be Khilas or supplementary. Possibly the Maitreya-upanishad, as printed above, contains the earliest framework. Then we have traces of various recensions. Professor Cowell (Preface, p. vi) mentions a MS., copied ? Maitr. Up. II, 6; p. 32. ? kramishyan, m. 3 Yadha, m. * Maitr. Up. VI, 34; p. 178. 5 lipyate. ® lipyante. 7 Hiyyate. * Iiyyate. 9 liyante. 10 liyyate. 1 lipyate. 12 liyyate. 13 liyyate. 1 tanasanna. 15 See Avhand. Up. p. 623.
2INTRODUCTION. xl vil nO! for Baron Eckstein, apparently from a Telugu original. which contains the first five chapters only, numbered as four. The verses given in VI, 34 (p. 177), beginning with atreme sloka bhavanti, are placed after IV, 3. In my own MS. these verses are inserted at the beginning of the fifth chapter". Then follows in Baron Eckstein’s MS. as IV, “i what is given in the printed text as V, 1, 2 (pp. 69-76). In my own MS., which likewise comes from the South, the Upanishad does not go beyond VI, 8, which is called the sixth chapter and the end of the Upanishad. We have in fact in our Upanishad the first specimen of that peculiar Indian style, so common in the later fables and stories, which delights in enclosing one story within another. The kernel of our Upanishad is really the dialogue between the Valakhilyas and Pragapati Kratu. This is called by the commentator (see p. 331, note) a Vyakhy4ana. i.e. a fuller explanation of the Sfitra which comes before, and which expresses in the few words, ‘ He is the Self, this is the immortal, the fearless, this is Brahman,’ the gist of the whole Upanishad. This dialogue, or at all events the doctrine which it was meant to illustrate, was communicated by Maitri (or Maitra) to Sakayanya, and by Sakayanya to King Brzhadratha Aikshvaka, also called Marut (II, 1; VI, 30). This dialogue might seem.to come to an end in VI, 29, and likewise the dialogue between SakdAyanya and Brzhadratha; but it is carried on again to the end of VI, 30, and followed afterwards by a number of paragraphs which may probably be considered as later additions. But though admitting all this, I cannot bring myself to follow Professor Cowell in considering, as he does, even the earlier portion of the Upanishad as dating from a late period, while the latter portions are called by him comparatively modern, on account of frequent Vaishvzava quotations. What imparts to this Upanishad, according to my opinion, an exceptionally genuine and ancient character, is the preservation in it of that peculiar Sandhi which,
3thanks to the labours of Dr. von Schroeder, we now know to be characteristic of the Maitrayawa-sakha. In that Sakha final unaccented as and e are changed into 4, if the next word begins with an accented vowel, except a. Before initial a, however, e€ remains unchanged, and as becomes o, and the initial a is sometimes elided, sometimes not. Some of these rules, it must be remembered, run counter to Pazini, and we may Safely conclude therefore that texts in which they are observed, date from the time before Pazini. In some MSS., as, for instance, in my own MS. of the Maitrayazabrahmava-upanishad, these rules are not observed, but this makes their strict observation in other MSS. all the more important. Besides, though to Dr. von Schroeder belongs, no doubt, the credit of having, in his edition of the Maitrayami Samhita, first pointed out these phonetic peculiarities, they were known as such to the commentators, who expressly point out these irregular Sandhis as distinctive of the Maitrayavi sékha. Thus we read Maitr. Up. II, 3 (p. 18), that tigmategasA ardhvaretaso, instead of tigmategasa, is evamvidha etakkhakhasanketapathas khandasa& sarvatra, i.e. is throughout the Vedic reading indicatory of that particular Sakha, namely the Maitrayazi. A still stranger peculiarity of our Sakha is the change of a final t before initial s into #. This also occurs in our Upanishad. In VI, 8, we read sv4&# sarirad ; in VI, 27, ya - sarirasya. Such a change seems phonetically so unnatural, that the tradition must have been very strong to perpetuate it among the Maitrayamas. Now what is important for our purposes is this, that these phonetic peculiarities run through all the seven chapters of our Upanishad. This will be seen from the following list : I. Final as changed into 4 before initial vowel !: II, 3, tigmategasa drdhvaretaso (Comm. etakhhakhasanketapachas khandasah sarvatra). II, 5, vibodha evam. II, 7, avasthita iti.
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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