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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1? Guda, being in the plural, is explained by nadi, channel, and sirah; for we ought to read sira or hirégrahame for sira, p. 22, 1. 16. * Klomanad is explained as a plurale tantum (nityam bahuvakanam ekasmin), and being described as a lump below the heart, on the opposite side of the liver, it is supposed to be the lungs. ’ « When it yawns.’ Anandagiri. “ Voice is sometimes used as a personified power of thunder and other aerial sounds, and this is identified with the voice of the horse. ° Two vessels, to hold the sacrificial libations, are placed at the Asvamedha before and behind the horse, the former made of gold, the latter made of silver. They are called Mahiman in the technical language of the ceremonial. The place in which these vessels are set, is called their yoni. Cf. Vagas. Samhita XXIII, 2. * Called the Agni-bréhmaza, and intended to teach the origin of
2I ADHYAYA, 2 BRAHMANA, 3. 75 Fe || eRe ceived) here whatsoever. By Death indeed all this was concealed,—by hunger; for death is hunger. Death (the first being) thought, ‘Let me have a body.’ Then he moved about, worshipping. From him thus worshipping water was produced. And he said: ‘Verily, there appeared to me, while I worshipped (argate), water (ka).’ This is why water is called ar-ka'. Surely there is water (or pleasure) for him who thus knows the reason why water is called arka. 2. Verily water is arka. And what was there as the froth of the water, that was hardened, and became the earth. On that earth he (Death) rested, and from him, thus resting and heated, Agni (Virdg) proceeded, full of light. 3. That being divided itself threefold, Aditya (the sun) as the third, and Vayu (the air) as the third 2. That spirit (praza) * became threefold. The head was the Eastern quarter, and the arms this and that quarter
3Agni, the fire, which is here used for the Horse-sacrifice. It is found in the Satapatha-brahmama, Madhyandina-sakha X, 6. 5, and there explained as a description of Hiramyagarbha. ‘ We ought to read arkasyarkatvam, as in Poley’s edition, or ark-kasyarkkatvam, to make the etymology still clearer. The commentator takes arka in the sense of fire, more especially the sacrificial fire employed at the Horse-sacrifice. It may be so, but the more natural interpretation seems to me to take arka here as water, from which indirectly fire is produced. For water springs the earth; on that earth he (Mrztyu or Pragapati) rested, and from him, while resting there, fire (Virag) was produced. That fire assumed three forms, fire, sun, and air, and in that threefold form it is called praa, spirit. 2 As Agni, Vayu, and Aditya. ’ Here Agni (Virdg) is taken as representing the fire of the altar at the Horse-sacrifice, which is called Arka. The object of the whole Brahmama was to show the origin and true character of that fire (arka). 76 BRIHADARANYAKA-UPANISHAD.
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.
1? Guda, being in the plural, is explained by nadi, channel, and sirah; for we ought to read sira or hirégrahame for sira, p. 22, 1. 16. * Klomanad is explained as a plurale tantum (nityam bahuvakanam ekasmin), and being described as a lump below the heart, on the opposite side of the liver, it is supposed to be the lungs. ’ « When it yawns.’ Anandagiri. “ Voice is sometimes used as a personified power of thunder and other aerial sounds, and this is identified with the voice of the horse. ° Two vessels, to hold the sacrificial libations, are placed at the Asvamedha before and behind the horse, the former made of gold, the latter made of silver. They are called Mahiman in the technical language of the ceremonial. The place in which these vessels are set, is called their yoni. Cf. Vagas. Samhita XXIII, 2. * Called the Agni-bréhmaza, and intended to teach the origin of
2I ADHYAYA, 2 BRAHMANA, 3. 75 Fe || eRe ceived) here whatsoever. By Death indeed all this was concealed,—by hunger; for death is hunger. Death (the first being) thought, ‘Let me have a body.’ Then he moved about, worshipping. From him thus worshipping water was produced. And he said: ‘Verily, there appeared to me, while I worshipped (argate), water (ka).’ This is why water is called ar-ka'. Surely there is water (or pleasure) for him who thus knows the reason why water is called arka. 2. Verily water is arka. And what was there as the froth of the water, that was hardened, and became the earth. On that earth he (Death) rested, and from him, thus resting and heated, Agni (Virdg) proceeded, full of light. 3. That being divided itself threefold, Aditya (the sun) as the third, and Vayu (the air) as the third 2. That spirit (praza) * became threefold. The head was the Eastern quarter, and the arms this and that quarter
3Agni, the fire, which is here used for the Horse-sacrifice. It is found in the Satapatha-brahmama, Madhyandina-sakha X, 6. 5, and there explained as a description of Hiramyagarbha. ‘ We ought to read arkasyarkatvam, as in Poley’s edition, or ark-kasyarkkatvam, to make the etymology still clearer. The commentator takes arka in the sense of fire, more especially the sacrificial fire employed at the Horse-sacrifice. It may be so, but the more natural interpretation seems to me to take arka here as water, from which indirectly fire is produced. For water springs the earth; on that earth he (Mrztyu or Pragapati) rested, and from him, while resting there, fire (Virag) was produced. That fire assumed three forms, fire, sun, and air, and in that threefold form it is called praa, spirit. 2 As Agni, Vayu, and Aditya. ’ Here Agni (Virdg) is taken as representing the fire of the altar at the Horse-sacrifice, which is called Arka. The object of the whole Brahmama was to show the origin and true character of that fire (arka). 76 BRIHADARANYAKA-UPANISHAD.
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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