' The paragraphs from ro to 14 are differently explained by Indian commentators. By treating the nominatives angir4s, br¢haspatis, and aydsyas (here the printed text reads aydsyam) as accusatives, or by admitting the omission of an iti after them they connect paragraphs g, 10, and rr with paragraph 12, and thus gain the meaning that Vaka Dalbhya meditated on the breath in the mouth as Angiras, Brzhaspati, and Aydasya, instead of those saints having themselves thus meditated; and that he, knowing the secret names and qualities of the breath, obtained, when acting as Udgatr? priest, the wishes of those for whom he sacrificed. Tena is diffi- cult to explain, unless we take it in the sense of tendnusish/ah, taught by him.
* Adhydtma means with reference to the body, not with refer- ence to the self or the soul. Having explained the symbolical
I Prapathaka, 3 Khanda, 4. 7
-THIRD KHANDA.
1. Now follows the meditation on the udgitha
with reference to the gods. Let a man meditate
on the udgitha (Om) as he who sends warmth (the
sun in the sky). When the sun rises it sings as
Udgatrz for the sake of all creatures, When it rises
it destroys the fear of darkness. He who knows this,
is able to destroy the fear of darkness (ignorance).
2. This (the breath in the mouth) and that (the
sun) are the same. This is hot and that is hot.
This they call svara (sound), and that they call pra-
tydsvara! (reflected sound). Therefore let a man
meditate on the udgitha (Om) as this and that (as
breath and as sun).
3. Then let a man meditate on the udgitha
(Om) as vydna indeed. If we breathe up, that is
praza, the up-breathing. If we breathe down, that
is apana, the down-breathing. The combination of
prava and apdana is vyana, back-breathing or holding
in of the breath. This vyana is speech. ‘Therefore
when we utter speech, we neither breathe up nor
down.
4. Speech is Azé, and therefore when a man utters a Rzk verse he neither breathes up nor down.
meaning of Om as applied to the body and its organs of sense, he now explains its symbolical meaning adhidaivatam, i.e. as applied to divine beings.
1 As applied to breath, svara is explained by the commentator in the sense of moving, going out; pratyAsvara, as applied to the sun, is explained as returning every day. More likely, however, svara as applied to breath means sound, Om itself being called svara (KA. Up. I, 4, 3), and prasvara in the Rig-veda-pratisakhya, 882. As applied to the sun, svara and pratydsvara were probably taken in the sense of light and reflected light.
8 KHANDOGYA-UPANISHAD.
Rik is SAman, and therefore when a man utters a SA4man verse he neither breathes up nor down.
SAman is udgitha, and therefore when a man
sings (the udgitha, Om) he neither breathes up
nor down.
5. And other works also which require strength,
such as the production of fire by rubbing, running
a race, stringing a strong bow, are performed with-
out breathing up or down. Therefore let a man
meditate on the udgitha (Om) as vy4ana.
6. Let a man meditate on the syllables of the
udgitha, i.e. of the word udgitha. Ut is breath
(praza), for by means of breath a man rises (ut-
tish¢hati). Gi is speech, for speeches are called
girak, Tha is food, for by means of food all
subsists (sthita).
7. Ut is heaven, gt the sky, tha the earth. Ut
is ‘the ‘sun, gi the air, tha ‘the fire. Ut is the
S4ma-veda, gi the Yagur-veda, tha the Rig-veda!.
1 The commentator supplies explanations to all these fanciful etymologies. The heaven is ut, because it is high; the sky is gi, because it gives out all the worlds (girazat); earth is tha, because it is the place (sthana) of living beings. The sun is ut, because‘it is high. The wind is gif, because it gives out fire, &c. (giramat); fire is tha, because it is the place (sthana) of the sacrifice. The Saéma- veda is ut, because it is praised as svarga; the Yagur-veda is gi, because the gods take the oblation offered with a Yagus; the Rig-veda is tha, because the Sama verses stand in it. All this is very childish, and worse than childish, but it is interesting as a phase of human folly which is not restricted to the Brahmans of India. I take the following passage from an interesting article, ‘On the Ogam Beithluisnin and on Scythian Letters,’ by Dr. Charles Graves, Bishop of Limerick. ‘An Irish antiquary,’ he says, ‘ writing several hundred years ago, proposes to give an account of the origin of the names of the notes in the musical scale.
‘“Tt is asked here, according to Saint Augustine, What is chant- ing, Or why is it so called? Answer. From this word canéalena ;
I Prapathaka, 3 Khanda, 7. 9
Speech yields the milk, which is the milk of speech itself 1, to him who thus knowing meditates on those
and canialena is the same thing as /enzs canlus, i.e. a soft, sweet chant to God, and to the Virgin Mary, and to all the Saints. And the reason why the word puzncc (puncia) is so called is be- cause the points (or musical notes) wé, re, mz, fa, sol, la, hurt the devil and puncture him. And it is thus that these points are to be understood: viz. When Moses the son of Amram with his people in their Exodus was crossing the Red Sea, and Pharaoh and his host were following him, this was the chant which Moses had to protect him from Pharaoh and his host—these six points in praise of the Lord :—
‘“The first point of these, i.e. w/: and w/ in the Greek is the same as /bera¢ in the Latin; and that is the same as saer in the Gaelic; i.e. O God, said Moses, deliver us from the harm of the devil.
‘“The second point of them, i.e. ve: and re is the same as saer; i.e. O God, deliver us from everything hurtful and malignant.
‘“The third point, i.e. mz: and m7 in the Greek is the same as milttum in the Latin; and that is the same as rzdere (a knight) in the Gaelic ; i.e. O God, said Moses, deliver us from those knights who are pursuing us,
‘“The fourth point, i.e. fa: and fa in the Greek is the same as Jamulus in the Latin; and that is the same as mug (slave) in the Gaelic; i.e. O God, said Moses, deliver us from those slaves who are pursuing us.
‘«“The fifth point, i.e. sol: and sol is the same as grzan (sun); and that is the same as righteousness; because righteousness and Christ are not different; i.e. O Christ, said Moses, deliver us.
‘The sixth point, i.e. Ja, is the same as /av,; and that is the same as zudaz/ (wash); i.e. O God, said Moses, wash away our sins from us.
‘“ And on the singing of that laud Pharaoh and his host were drowned,
‘«Understand, O man, that in whatever place this laud, i.e. this chant, is sung, the devil is bound by it, and his power is extirpated thence, and the power of God is called in.”
‘We have been taught that the names of the first six notes
1 The milk of speech consists in rewards to be obtained by the Rig-veda, &c. Or we may translate, Speech yields its milk to him who is able to milk speech.
ice) KHANDOGYA-UPANISHAD.
syllables of the name of udgitha, he becomes rich in food and able to eat food.
8. Next follows the fulfilment of prayers. Let
a man thus meditate on the Upasaramas, i.e. the
objects which have to be approached by meditation :
Let him (the Udgatvz) quickly reflect on the Sdman
with which he is going to praise;
9. Let him quickly reflect on the Az&é in which
that Saman occurs; on the Azshi (poet) by whom
it was seen or composed; on the Devata (object)
which he is going to praise ;
10. On the metre in which he is going to praise; on the tune with which he is going to sing for himself;
11. On the quarter of the world which he is going
to praise. Lastly, having approached himself (his
name, family, &c.) by meditation, let him sing the
hymn of praise, reflecting on his desire, and avoiding
all mistakes in pronunciation, &c. Quickly? will the
desire be then fulfilled to him, for the sake of which he
may have offered his hymn of praise, yea, for which
he may have offered his hymn of praise
in the gamut were suggested by the initial syllables of the first six hemistichs in one of the stanzas of a hymn to St. John:
Ut queant laxis
Resonare fibris
Mira gestorum
Famuli tuorum,
Solve polluti
Labii reatum,
Sancte Joannes,’
1 Abhyaso ha yat, lit. depend on it that it will be fulfilled, but always explained by quickly. See Ah. Up. II, 1, 4; III, ro, 4; V,10, 7. Frequently, but wrongly, written with a dental s.
* The repetition of the last sentence is always an indication that a chapter is finished. This old division into chapters is of great importance for a proper study of the Upanishads.
I Prapathaka, 4 Khanda,' 5. Fi
FourtH KHANDA.
1. Let a man meditate on the syllable Om, for
the udgitha is sung beginning with Om. And this
is the full account of the syllable Om :—
2. The Devas, being afraid of death, entered
upon (the performance of the sacrifice prescribed
in) the threefold knowledge (the three Vedas). They
covered themselves with the metrical hymns. Be-
cause they covered (#4ad) themselves with the
hymns, therefore the hymns are called £/andas.
3. Then, asa fisherman might observe a fish in
the water, Death observed the Devas in the 24,
Yagus, and SAaman-(sacrifices). And the Devas seeing
this, rose from the 774, Yagus, and SAman-sacrifices,
and entered the Svara’, i.e. the Om (they meditated
on the Om).
4. When a man has mastered the Rig-veda, he
says quite loud Om; the same, when he has mas-
tered the Sdman and the Yagus. This Svara is the
imperishable (syllable), the immortal, free from fear.
Because the Devas entered it, therefore they be-
came immortal, and free from fear.
5. He who knowing this loudly pronounces (pra-
nauti)? that syllable, enters‘the same (imperish-
able) syllable, the Svara, the immortal, free from
fear, and having entered it, becomes immortal, as
the Devas are immortal.
GEL, ay 2 ? Prazauti, he lauds, i.e. he meditates on. Comm,
12 KHANDOGYA-UPANISHAD.
FirtH KHAWDA.
1. The udgitha is the prawava}, the prazava is
the udgitha. And as the udgitha is the sun?, so is
the prazava, for he (the sun) goes sounding Om.
2. ‘Him I sang praises to, therefore art thou my
only one,’ thus said Kaushitaki to his son. ‘Do thou
revolve his rays, then thou wilt have many sons.:
So much in reference to the Devas.
3. Now with reference to the body. Let a man
meditate on the udgitha as the breath (in the mouth),
for he goes sounding Om.
4. ‘Him I sang praises to, therefore art thou my
only son,’ thus said Kaushitaki to his son. ‘Do thou
therefore sing praises to the breath as manifold, if
thou wishest to have many sons.’
5. He who knows that the udgitha is the pra-
mava, and the prazava the udgitha, rectifies from
the seat of the Hotv?z priest any mistake committed
by the Udgatrz priest in performing the udgitha,
yea, in performing the udgitha.
SixtH KuaAnbDa.
1. The Azz (veda) is this earth, the Saman (veda)
is fire. This Saman (fire) rests on that /tz& (earth) 4.
Therefore the SAman is sung as resting on the 77s.
? Pramava is the name used chiefly by the followers of the Rig- veda, udgitha the name used by the followers of the Sama-veda. Both words are intended for the syllable Om.
Cf AAA Up, 1) .80%
* The breath in the mouth, or the chief breath, says Om, i.e. gives permission to the five senses to act, just as the sun, by saying Om, gives permission to all living beings to move about.
* The Sama verses are mostly taken from the Rig-veda.
I Prapathaka, 6 Khanda, 8. 13
Sa is this earth, ama is fire, and that makes Sama.
2. The Azk is the sky, the Sdman air. This
Saman (air) rests on that A7z& (sky). Therefore the
Saman is sung as resting on the Azz. Sa is the sky,
ama the air, and that makes SAma.
3. zk is heaven, SAdman the sun. This Sdman
(sun) rests on that Azé (heaven). Therefore the
Saman is sung as resting on the Ak. SA is heaven,
ama the sun, and that makes S4ma.
4. Aik is the stars, SAman the moon. This
S4man (moon) rests on that /z& (stars). Therefore
the Sdman is sung as resting on the Azé, Sa is the
stars, ama the moon, and that makes Sama.
5. “zk is the white light of the sun, Sdman the
blue exceeding darkness! (in the sun). This SAman
(darkness) rests on that /z& (brightness). There-
fore the Sdman is sung as resting on the A7z£.