3. This has been said by a Azshi (Rv. X, 71, 1)?:—
4. ‘O Brzhaspati, the first point of speech ;'—-for this is the first and highest point of speech.
5. ‘That which you have uttered, making it a name ;—for names are made by speech.
+ Tata and tata are used both by children in addressing their parents, and by parents in addressing their children. If tat is called the very same word, eva is used in the sense: of iva.
* The verse is cited to confirm the meaning of tat, the first word of the first hymn (tad id 4sa) as explained before. It was said that tat was the first name applied to a child. Now, according to Asvalayana Grzhya-sfitra I, 16, 8, a name is given to a child at the time of its birth,a name which no one knows except father and mother, till the time when he is initiated by a Guru. This is called the abhivadantya name. In allusion to this custom it is said here that tata is the secret name of the child, which becomes publicly known at a later time only. Of course the interpretation of the verse in that sense is unnatural, but quite in keeping with the general character of the Arany aka. I doubt whether even the com- mentator understood what was intended by the author, and whether the gods who enter the body are supposed to know the name, or whether the name refers to these gods, or, it may be, to tad, the Brahman.
I Aranyaka, 3 Adhyaya, 4 Khanda, 9. 179
6. ‘That (name) which was the best and without a flaw ;'—for this is the best and without a flaw.
7. ‘That which was hidden by their love, is made
manifest;’—for this was hidden in the body, viz. those
deities (which enter the body, Agni as voice, entering
the mouth, &c.); and that was manifest among the
gods in heaven. This is what was intended by the
verse.
FourtH Kuanpa}l,
1. He begins with: ‘ That indeed was the oldest
in the worlds?;’—for that (the Brahman) is verily the
oldest in the worlds.
2. ‘Whence was born the fierce one, endowed
with brilliant force ;—for from it was born the fierce
one, who is endowed with brilliant force.
3. ‘When born he at once destroys the enemies ;’— for he at once when born struck down the evil one.
4. ‘He after whom all friends rejoice ;'\—verily all
friends are the creatures, and they rejoice after him,
saying, ‘ He has risen, he has risen *.’
5. ‘Growing by strength, the almighty *;’—for he (the sun) does grow by strength, the almighty.
6. ‘ He, as enemy, causes fear to the slave ;’—for everything is afraid of him.
7. ‘Taking the breathing and the not-breathing ;’— this means the living and the lifeless.
8. ‘Whatever has been offered at feasts came to thee ;—this means everything is in thy power.
9. ‘All turn their thought also on thee’ ;’—this
1 He now explains the first hymn of the Nishkevalya, which is
called the Ragana.
ARV, £20, 1 $ The sun and the fire.
‘ Reyisth, 220-2) 5 RVs dhs 1 20p 9.
N32
180 AITAREYA-ARANYAKA.
means all these beings, all minds, all thoughts also turn to thee.
10. ‘When these two become three protectors ; — i.e. when these two united beget offspring.
11. He who knows this, gets offspring and cattle.
12. ‘Join what is sweeter than sweet (offspring)
with the sweet (the parents);'—for the couple (father
and mother) is sweet, the offspring is sweet, and he
thus joins the offspring with the couple.
13. ‘And this (the son, when married) being very
sweet, conquered through the sweet ;’—1i.e. the couple
is sweet, the offspring is sweet, and thus through
the couple he conquers offspring '.
14. This is declared by a Azshi?: ‘Because he
(Pragdpati) raised his body (the hymn tad id 4sa
or the Veda in general) in the body (of the sacri-
ficer)’ (therefore that Nishkevalya hymn is praised);
—i.e. this body, consisting of the Veda, in that cor-
poreal form (of the sacrificer).
15. ‘Then let this body indeed be the medicine
of that body;’—i.e. this body, consisting of the Veda,
of that corporeal form (of the sacrificer).
16. Of this (the first foot of Rv. X, 120, 1) the
eight syllables are Gayatri, the eleven syllables are
Trish¢éubh, the twelve syllables are Gagati, the ten
syllables are Virag. The Virdg, consisting of ten
syllables, rests in these three metres °.
17. The word purusha, consisting of three sylla- bles, that indeed goes into the Virag +.
* All these are purely fanciful interpretations.
® Not to be found in our Sakha of the Rig-veda.
* These metres are obtained by a purely arbitrary counting of syllables in the hymn tadiddsa, which really consists of Tri- shé/ubh verses.
* If we simply count syllables, the first and second feet of the
1 Aranyaka, 3 Adhyaya, 5 Khanda, 2. ‘181
18. Verily, these are all metres, these (GAyatri,
Trish¢ubh, Gagati) having the Virag as the fourth.
In this manner this day is complete in all metres to
him who knows this.
FirtH KHAwnpDA.
1. He extends these (verses) by (interpolating)
the sound!. Verily, the sound is purusha, man.
Therefore every man when he speaks, sounds loud,
as it were.
2. At the end of each foot of the first verse of
the hymn tad id 4sa, he inserts one foot of the
second verse of hymn Rv. VIII, 69, nadam va
odatindm, &c. Thus the verse is to be recited as
follows :
Tad id asa bhuvaneshu gyesh¢4am pu nada va odatindm,
Yato gagiia ugras tveshanyzmzo ru nadam yoyuvatinam,
Sadyo gagfiano ni rivati satrdin patizz vo aghnydnam,
Anu yam visve madanti imas sho dhenainadm ishudhyasi.
first verse consist of ten syllables only, the fourth of nine or ten. In order to bring them to the right number, the word purusha is to be added to what is a Virag, i.e. to the first, the second, and fourth feet. We thus get:
tad id asa bhuvaneshu gyesh/Aam pu
yato gagfla ugras tveshanrzmmo = ru
sadyo gaghano ni ri#ati satrfin
anu yam visve madanti fima/ shah. Cf. Ait. Ar. V, 1, 6.
* The sound, nada, is really a verse beginning with nadam,
and which is interpolated after the syllables pu ru shah.
182 AITAREYA-ARANYAKA.
In nadam va odatinam (Rv. VIII, 69, 2), odati’
are the waters in heaven, for they water all this ;
and they are the waters in the mouth, for they
water all good food.
3. In nadam yoyuvatinim (Rv. VIII, 69, 2), yo-
yuvatt are the waters in the sky, for they seem to
inundate; and they are the waters of perspiration, for
they seem to run continually.
4. In patim vo aghnyaéném (Rv. VIII, 69, 2),
aghny4 are the waters which spring from the smoke
of fire, and they are the waters which spring from
the organ.
5. In dhendindm ishudhyasi (Rv. VIII, 69, 2),
the dhefiu (cows) are the waters, for they de-
light all this; and ishudhyasi means, thou art
food.
6. He extends a Trishéubh and an Anush¢ubh ?.
Trish¢ubh is the man, Anush¢éubh the wife, and
they make a couple. Therefore does a man,
after having found a wife, consider himself a more
perfect man. |
7. These verses, by repeating the first three times,
become twenty-five. The trunk is the twenty-fifth,
and Pragapati 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 con-
sists of twenty-five, and the Stoma hymn of that
day consists of twenty-five: it becomes the same
' The nasal pluta on iti is explained as padapratikagrahame ‘tyantamadararthah. Cf. Ait. Ar. II, 1, 4, 3.
? Tad id asa is a Trish¢ubh, nadam va an Anush/ubh.
Ch Lyte as ara
I Aranyaka, 3 Adhyaya, 7 Khanda, 5. 183
through the same. Therefore the two, the day and the hymn, are twenty-five '.
SixTH KHANDA.
This is an exact repetition of the third khazda.
According to the commentator, the third khazda
was intended for the glory of the first word tad,
while the sixth is intended for the glory of the
whole hymn.
SEVENTH KHAwNDA.
1. He begins with the hymn, Tad id Asa bhuva-
neshu gyesh¢Zam (Rv. X, 120). Verily, gyeshd/a,
the oldest, is mahat, great. Endowed with mahat
the form of this day is perfect.
2. Then follows the hymn, Fam su te kirtim
maghavan mahitva (Rv. X, 54), with the auspicious
word mahitva.
3. Then follows the hymn, Bhfiya id vavrzdhe
viryaya (Rv. VI, 30), with the auspicious word
virya.
4. Then follows the hymn, Nvzz4im u tva nvz-
tamam gobhir ukthaiz (Rv. I, 51, 4), with the aus-
picious word uktha.
5. He extends the first two pddas, which are too
small, by one syllable (Rv. X, 120, 1 a, and Rv. VIII,
69, 2a)*. Into the small heart the vital spirits are
placed, into the small stomach food is placed. It
1 The number is obtained as follows:
1. Tad id asa (Rv. X, 120)= ; g verses
2. Tam su te kirtim (Rv. X, 54)=. Gone
3. Bhfya id vavrzdhe (Rv. VI, 30)= 5»
4. Nrinadm u tva (Rv. 1, 51, 4)= . : zy
23 +2=25
Ph Te. 6:
184 AITAREYA-ARANYAKA.
serves for the attainment of these desires. He who knows this, obtains these desires.
6. The two feet, each consisting of ten syllables
(Rv. X, 120, 1a, b), serve for the gaining of both
kinds of food’, of what has feet (animal food), and
what has no feet (vegetable food).
7. They come to be of eighteen syllables each *.
Of those which are ten, nine are the prazas (openings
of the body), the tenth is the (vital) self. This
is the perfection of the (vital) self. Eight syllables
remain in each. He who knows them, obtains what-
ever he desires.
1. He extends (these verses) by (interpolating)
the sound‘. Verily, breath (praza) is sound. There-
fore every breath when it sounds, sounds loud, as it
were.
2. The verse (VIII, 69, 2) nadaw va odatinam,
&c., is by its syllables an Ushzih'®, by its feet an
Anushéubh®. Ushzih 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 Viradg, a foot of ten syllables, is food.
> Ry, 205120, 1 30%
RV, Vil 008 oem
Syllable pu=
bon v—_ COol}m = O
* Seven in the head and two in the body; sapta vai sirshazyaz prama dvav avafikav iti.
ae OAL a ae
® Each pada has seven syllables, the third only six; bu: a seventh syllable is gained by pronouncing the y asi. Comm.
* Because it has four padas.
I ARANYAKA, 3 ADHYAYA, 8 KHAwDA, 8. 185
become twenty-five. The trunk is the twenty-fifth,
and Pragapati 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 af 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 Azshi (Rv. X, 114, 8):—
6. ‘A thousandfold are these fifteen hymns ;—for five arise from ten”.
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 *;’—
* 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,
? The commentator explains uktha, 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. Dasataf 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.
9. ‘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 Brah-
man, 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.