# Sacred Books of the East/Volume 1/Khândogya-upanishad/First Prapâthaka

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KHÂNDOGYA-UPANISHAD.
FIRST PRAPÂTHAKA.
First Khanda.
1. Let a man meditate on the syllable Om, called the udgîtha; for the udgîtha (a portion of the Sâma-veda) is sung, beginning with Om.
The full account, however, of Om is this:—
2. The essence of all beings is the earth, the essence of the earth is water, the essence of water ​the plants, the essence of plants man, the essence of man speech, the essence of speech the Rig-veda, the essence of the Rig-veda the Sâma-veda, the essence of the Sâma-veda the udgîtha (which is Om).
3. That udgîtha (Om) is the best of all essences, the highest, deserving the highest place, the eighth.
4. What then is the Rik? What is the Sâman? What is the udgîtha? This is the question.
5. The Rik indeed is speech, Sâman is breath, the udgîtha is the syllable Om. Now speech and breath, or Rik and Sâman, form one couple.
6. And that couple is joined together in the syllable Om. When two people come together, they fulfil each other's desire.
7. Thus he who knowing this, meditates on the syllable (Om), the udgîtha, becomes indeed a fulfiller of desires.
8. That syllable is a syllable of permission, for whenever we permit anything, we say Om, yes. Now permission is gratification. He who knowing this meditates on the syllable (Om), the udgîtha, becomes indeed a gratifier of desires.
9. By that syllable does the threefold knowledge (the sacrifice, more particularly the Soma-sacrifice, as founded on the three Vedas) proceed. When the Adhvaryu priest gives an order, he says Om. When the Hotri priest recites, he says Om. When the Udgâtri priest sings, he says Om, ​—all for the glory of that syllable. The threefold knowledge (the sacrifice) proceeds by the greatness of that syllable (the vital breaths), and by its essence (the oblations).
10. Now therefore it would seem to follow, that both he who knows this (the true meaning of the syllable Om), and he who does not, perform the same sacrifice. But this is not so, for knowledge and ignorance are different. The sacrifice which a man performs with knowledge, faith, and the Upanishad is more powerful. This is the full account of the syllable Om.
Second Khanda.
1. Whent he Devas and Asuras struggled together, both of the race of Pragâpati, the Devas took the udgîtha (Om), thinking they would vanquish the Asuras with it.
2. They meditated on the udgîtha (Om) as the breath (scent) in the nose, but the Asuras pierced it (the breath) with evil. Therefore we smell by the breath in the nose both what is good-smelling and what is bad-smelling. For the breath was pierced by evil.
3. Then they meditated on the udgîtha (Om) as speech, but the Asuras pierced it with evil. Therefore we speak both truth and falsehood. For speech is pierced by evil.
4. Then they meditated on the udgîtha (Om) as the eye, but the Asuras pierced it with evil. ​Therefore we see both what is sightly and unsightly. For the eye is pierced by evil.
5. Then they meditated on the udgîtha (Om) as the ear, but the Asuras pierced it with evil. Therefore we hear both what should be heard and what should not be heard. For the ear is pierced by evil.
6. Then they meditated on the udgîtha (Om) as the mind, but the Asuras pierced it with evil. Therefore we conceive both what should be conceived and what should not be conceived. For the mind is pierced by evil.
7. Then comes this breath (of life) in the mouth. They meditated on the udgîtha (Om) as that breath. When the Asuras came to it, they were scattered, as (a ball of earth) would be scattered when hitting a solid stone.
8. Thus, as a ball of earth is scattered when hitting on a solid stone, will he be scattered who wishes evil to one who knows this, or who persecutes him; for he is a solid stone.
9. By it (the breath in the mouth) he distinguishes neither what is good nor what is bad-smelling, for that breath is free from evil. What we eat and drink with it supports the other vital breaths (i. e. the senses, such as smell, &c.) When at the time of death he does not find that breath (in the ​mouth, through which he eats and drinks and lives), then he departs. He opens the mouth at the time of death (as if wishing to eat).
10. Angiras meditated on the udgîtha (Om) as that breath, and people hold it to be Angiras, i. e. the essence of the members (angânâm rasah);
11. Therefore Brihaspati meditated on udgîtha (Om) as that breath, and people hold it to be Brihaspati, for speech is brihatî, and he (that breath) is the lord (pati) of speech;
12. Therefore Ayâsya meditated on the udgîtha (Om) as that breath, and people hold it to be Ayâsya, because it comes (ayati) from the mouth (âsya);
13. Therefore Vaka Dâlbhya knew it. He was the Udgâtri (singer) of the Naimishîya-sacrificers, and by singing he obtained for them their wishes.
14. He who knows this, and meditates on the syllable Om (the imperishable udgîtha) as the breath of life in the mouth, he obtains all wishes by singing. So much for the udgîtha (Om) as meditated on with reference to the body.
Third Khanda.
1. Now follows the meditation on the udgîtha with reference to the gods. Let a man meditate on the udgîtha (Om) as he who sends warmth (the sun in the sky). When the sun rises it sings as Udgâtri 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 pratyâsvara (reflected sound). Therefore let a man meditate on the udgîtha (Om) as this and that (as breath and as sun).
3. Then let a man meditate on the udgîtha (Om) as vyâna indeed. If we breathe up, that is prâna, the up-breathing. If we breathe down, that is apâna, the down-breathing. The combination of prâna and apâna is vyâna, back-breathing or holding in of the breath. This vyâna is speech. Therefore when we utter speech, we neither breathe up nor down.
​Rik is Sâman, and therefore when a man utters a Sâman verse he neither breathes up nor down.
Sâman is udgîtha, and therefore when a man sings (the udgîtha, 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 without breathing up or down. Therefore let a man meditate on the udgîtha (Om) as vyâna.
6. Let a man meditate on the syllables of the udgîtha, i. e. of the word udgîtha. Ut is breath (prâna), for by means of breath a man rises (uttishthati). Gî is speech, for speeches are called girah. Tha is food, for by means of food all subsists (sthita).
7. Ut is heaven, gî the sky, tha the earth. Ut is the sun, gî the air, tha the fire. Ut is the Sâma-veda, gî the Yagur-veda, tha the Rig-veda. ​Speech yields the milk, which is the milk of speech itself, to him who thus knowing meditates on those ​syllables of the name of udgîtha, he becomes rich in food and able to eat food.
8. Next follows the fulfilment of prayers. Let a man thus meditate on the Upasaranas, i. e. the objects which have to be approached by meditation: Let him (the Udgâtri) quickly reflect on the Sâman with which he is going to praise;
9. Let him quickly reflect on the Rik in which that Sâman occurs; on the Rishi (poet) by whom it was seen or composed; on the Devatâ (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.
Fourth Khanda.
1. Let a man meditate on the syllable Om, for the udgîtha 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. Because they covered (khad) themselves with the hymns, therefore the hymns are called khandas.
3. Then, as a fisherman might observe a fish in the water, Death observed the Devas in the Rik, Yagus, and Sâman-(sacrifices). And the Devas seeing this, rose from the Rik, Yagus, and Sâman-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 mastered the Sâman and the Yagus. This Svara is the imperishable (syllable), the immortal, free from fear. Because the Devas entered it, therefore they became immortal, and free from fear.
5. He who knowing this loudly pronounces (pranauti) that syllable, enters the same (imperishable) syllable, the Svara, the immortal, free from fear, and having entered it, becomes immortal, as the Devas are immortal.
Fifth Khanda.
1. The udgîtha is the pranava, the pranava is the udgîtha. And as the udgîtha is the sun, so is the pranava, for he (the sun) goes sounding Om.
2. 'Him I sang praises to, therefore art thou my only one,' thus said Kaushîtaki 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 udgîtha 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 Kaushîtaki 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 udgîtha is the pranava, and the pranava the udgîtha, rectifies from the seat of the Hotri priest any mistake committed by the Udgâtri priest in performing the udgîtha, yea, in performing the udgîtha.
Sixth Khanda.
1. The Rik (veda) is this earth, the Sâman (veda) is fire. This Sâman (fire) rests on that Rik (earth). Therefore the Sâman is sung as resting on the Rik. ​Sâ is this earth, ama is fire, and that makes Sâma.
2. The Rik is the sky, the Sâman air. This Sâman (air) rests on that Rik (sky). Therefore the Sâman is sung as resting on the Rik. Sâ is the sky, ama the air, and that makes Sâma.
3. Rik is heaven, Sâman the sun. This Sâman (sun) rests on that Rik (heaven). Therefore the Sâman is sung as resting on the Rik. Sâ is heaven, ama the sun, and that makes Sâma.
4. Rik is the stars, Sâman the moon. This Sâman (moon) rests on that Rik (stars). Therefore the Sâman is sung as resting on the Rik. Sâ is the stars, ama the moon, and that makes Sâma.
5. Rik is the white light of the sun, Sâman the blue exceeding darkness (in the sun). This Sâman (darkness) rests on that Rik (brightness). Therefore the Sâman is sung as resting on the Rik.
6. Sâ is the white light of the sun, ama the blue exceeding darkness, and that makes Sâma.
Now that golden person, who is seen within the sun, with golden beard and golden hair, golden altogether to the very tips of his nails,
7. Whose eyes are like blue lotus's, his name is ut, for he has risen (udita) above all evil. He also who knows this, rises above all evil.
8. Rik and Sâman are his joints, and therefore he is udgîtha. And therefore he who praises him ​(the ut) is called the Ud-gâtri (the out-singer). He (the golden person, called ut) is lord of the worlds beyond that (sun), and of all the wishes of the Devas (inhabiting those worlds). So much with reference to the Devas.
Seventh Khanda.
1. Now with reference to the body. Rik is speech, Sâman breath. This Sâman (breath) rests on that Rik (speech). Therefore the Sâman is sung as resting on the Rik. Sâ is speech, ama is breath, and that makes Sâma.
2. Rik is the eye, Sâman the self. This Sâman (shadow) rests on that Rik (eye). Therefore the Sâman is sung as resting on the Rik. Sâ is the eye, ama the self, and that makes Sâma.
3. Rik is the ear, Sâman the mind. This Sâman (mind) rests on that Rik (ear). Therefore the Sâman is sung as resting on the Rik. Sâ is the ear, ama the mind, and that makes Sâma.
4. Rik is the white light of the eye, Sâman the blue exceeding darkness. This Sâman (darkness) rests on the Rik (brightness). Therefore the Sâman is sung as resting on the Rik. Sâ is the white light of the eye, ama the blue exceeding darkness, and that makes Sâma.
5. Now the person who is seen in the eye, he is Rik, he is Sâman, Uktha, Yagus, Brahman. The form of that person (in the eye) is the same as the ​form of the other person (in the sun), the joints of the one (Rik and Sâman) are the joints of the other, the name of the one (ut) is the name of the other.
6. He is lord of the worlds beneath that (the self in the eye), and of all the wishes of men. Therefore all who sing to the vînâ (lyre), sing him, and from him also they obtain wealth.
7. He who knowing this sings a Sâman, sings to both (the adhidaivata and adhyâtma self, the person in the sun and the person in the eye, as one and the same person). He obtains through the one, yea, he obtains the worlds beyond that, and the wishes of the Devas;
8. And he obtains through the other the worlds beneath that, and the wishes of men.
Therefore an Udgâtri priest who knows this, may say (to the sacrificer for whom he officiates);
9. "What wish shall I obtain for you by my songs?" For he who knowing this sings a Sâman is able to obtain wishes through his song, yea, through his song.
Eighth Khanda.
1. There were once three men, well-versed in udgîtha, Silaka Sâlâvatya, Kaikitâyana Dâlbhya, and Pravâhana Gaivali. They said: 'We are well-versed in udgîtha. Let us have a discussion on udgîtha.'
2. They all agreed and sat down. Then Pravâhana Gaivali said: 'Sirs, do you both speak first, ​for I wish to hear what two Brâhmanas have to say.'
3. Then Silaka Sâlâvatya said to Kaikitâyana Dâlbhya: 'Let me ask you.'
'Ask,' he replied.
4. 'What is the origin of the Sâman?' 'Tone (svara),' he replied.
'What is the origin of tone?' 'Breath,' he replied.
'What is the origin of breath?' 'Food,' he replied.
'What is the origin of food?' 'Water,' he replied.
5. 'What is the origin of water?' 'That world (heaven),' he replied.
'And what is the origin of that world?'—
He replied: 'Let no man carry the Sâman beyond the world of svarga (heaven). We place (recognise) the Sâman in the world of svarga, for the Sâman is extolled as svarga (heaven).'
6. Then said Silaka Sâlâvatya to Kaikitâyana Dâlbhya: 'O Dâlbhya, thy Sâman is not firmly established. And if any one were to say, Your head shall fall off (if you be wrong), surely your head would now fall.'
7. 'Well then, let me know this from you, Sir,' said Dâlbhya.
'Know it,' replied Silaka Sâlâvatya.
'What is the origin of that world (heaven)?' 'This world,' he replied.
'And what is the origin of this world?'—
He replied: 'Let no man carry the Sâman beyond this world as its rest. We place the Sâman ​in this world as its rest, for the Sâman is extolled as rest.'
8. Then said Pravâhana Gaivali to Silaka Sâlâvatya: 'Your Sâman (the earth), O Sâlâvatya, has an end. And if any one were to say, Your head shall fall off (if you be wrong), surely your head would now fall.'
'Well then, let me know this from you, Sir,' said Sâlâvatya.
'Know it,' replied Gaivali.
Ninth Khanda.
1. 'What is the origin of this world?' 'Ether,' he replied. For all these beings take their rise from the ether, and return into the ether. Ether is older than these, ether is their rest.
2. He is indeed the udîttha (Om=Brahman), greater than great (parovarîyas), he is without end. He who knowing this meditates on the udgîtha, the greater than great, obtains what is greater than great, he conquers the worlds which are greater than great.
3. Atidhanvan Saunaka, having taught this udgîtha to Udara-sândilya, said: 'As long as they will know in your family this udgîtha, their life in this world will be greater than great.
4. 'And thus also will be their state in the other world.' He who thus knows the udgîtha, and meditates on it thus, his life in this world will be greater than great, and also his state in the other world, yea, in the other world.
Tenth Khanda.
1. When the Kurus had been destroyed by (hail) stones, Ushasti Kâkrâyana lived as a beggar with his virgin wife at Ibhyagrâma.
2. Seeing a chief eating beans, he begged of him. The chief said: 'I have no more, except those which are put away for me here.'
3. Ushasti said: 'Give me to eat of them.' He gave him the beans, and said: 'There is something to drink also.' Then said Ushasti: 'If I drank of it, I should have drunk what was left by another, and is therefore unclean.'
4. The chief said: 'Were not those beans also left over and therefore unclean?'
'No,' he replied; 'for I should not have lived, if I had not eaten them, but the drinking of water would be mere pleasure.'
5. Having eaten himself, Ushasti gave the remaining beans to his wife. But she, having eaten before, took them and put them away.
6. Rising the next morning, Ushasti said to her: 'Alas, if we could only get some food, we might gain a little wealth. The king here is going to offer a sacrifice, he should choose me for all the priestly offices.'
​ ​3. 'But now, Sir, take all the sacrificial offices.'
Ushasti said: "Very well; but let those, with my permission, perform the hymns of praise. Only as much wealth as you give to them, so much give to me also.'
The sacrificer assented.
4. Then the Prastotri approached him, saying: 'Sir, you said to me, "Prastotri, if you, without knowing the deity which belongs to the prastâva, are going to sing it, your head will fall off,"—which then is that deity?'
5. He said: 'Breath (prâna). For all these beings merge into breath alone, and from breath they arise. This is the deity belonging to the prastâva. If, without knowing that deity, you had sung forth your hymns, your head would have fallen off, after you had been warned by me.'
6. Then the Udgâtri approached him, saying: 'Sir, you said to me, "Udgâtri, if you, without knowing the deity which belongs to the udgîtha, are going to sing it, your head will fall off,"—which then is that deity?'
7. He said: 'The sun (âditya). For all these beings praise the sun when it stands on high. This is the deity belonging to the udgîtha. If without knowing that deity, you had sung out your hymns, your head would have fallen off, after you had been warned by me.'
8. Then the Pratihartri approached him, saying: 'Sir, you said to me, "Pratihartri, if you, without knowing the deity belonging to the pratihâra, are going to sing it, your head will fall off,"—which then is that deity?'
9. He said: 'Food (anna). For all these beings ​live when they partake of food. This is the deity belonging to the pratihâra. If, without knowing that deity, you had sung your hymns, your head would have fallen off, after you had been warned by me.'
Twelfth Khanda.
1. Now follows the udgîtha of the dogs. Vaka Dâlbhya, or, as he was also called, Glâva Maitreya, went out to repeat the Veda (in a quiet place).
2. A white (dog) appeared before him, and other dogs gathering round him, said to him: 'Sir, sing and get us food, we are hungry.'
3. The white dog said to them: 'Come to me to-morrow morning.' Vaka Dâlbhya, or, as he was also called, Glâva Maitreya, watched.
4. The dogs came on, holding together, each dog keeping the tail of the preceding dog in his mouth, as the priests do when they are going to sing praises with the Vahishpavamâna hymn. After they had settled down, they began to say Hin.
5. 'Om, let us eat! Om, let us drink! Om, may the divine Varuna, Pragâpati, Savitri bring us food! Lord of food, bring hither food, bring it, Om!'
Thirteenth Khanda.
1. The syllable Hâu is this world (the earth), the syllable Hâi the air, the syllable Atha the moon, the syllable Iha the self, the syllable Î is Agni, fire.
2. The syllable Û is the sun, the syllable E is the Nihava or invocation, the syllable Auhoi is the Visve Devas, the syllable Hin is Pragâpati, Svara (tone) is breath (prâna), the syllable Yâ is food, the syllable Vâg is Virâg.
3. The thirteenth stobha syllable, viz. the indistinct syllable Huṅ, is the Undefinable (the Highest Brahman).
4. Speech yields the milk, which is the milk of speech itself to him who knows this Upanishad (secret doctrine) of the Sâmans in this wise. He becomes rich in food, and able to eat food,—yea, able to eat food.
* ↑ The Khândogya-upanishad begins with recommending meditation on the syllable Om, a sacred syllable that had to be pronounced at the beginning of each Veda and of every recitation of Vedic hymns. As connected with the Sâma-veda, that syllable Om is called udgîtha. Its more usual name is pranava. The object of the Upanishad is to explain the various meanings which the syllable Om may assume in the mind of a devotee, some of them being extremely artificial and senseless, till at last the highest meaning of Om is reached, viz. Brahman, the intelligent cause of the universe.
* ↑ Akshara means both syllable and the imperishable, i.e. Brahman.
* ↑ Essence, rasa, is explained in different ways, as origin, support, end, cause, and effect. Rasa means originally the sap of trees. That sap may be conceived either as the essence extracted from the tree, or as what gives vigour and life to a tree. In the former case it might be transferred to the conception of effect, in the latter to that of cause. In our sentence it has sometimes the one, sometimes the other meaning. Earth is the support of all beings, water pervades the earth, plants arise from water, man lives by plants, speech is the best part of man, the Rig-veda the best part of speech, the Sâma-veda the best extract from the Rik, udgîtha, or the syllable Om, the crown of the Sâma-veda.
* ↑ Because most of the hymns of the Sâma-veda are taken from the Rig-veda.
* ↑ Parârdhya is here derived from para, highest, and ardha, place. The eighth means the eighth or last in the series of essences.
* ↑ These are allusions to sacrificial technicalities, all intended to show the importance of the syllable Om, partly as a mere word, used at the sacrifices, partly as the mysterious name of the Highest Self. As every priest at the Soma-sacrifices, in which three classes of priests are always engaged, has to begin his part of the ceremonial with Om, therefore the whole sacrifice is said to be dependent on the syllable Om, and to be for the glory of that syllable, as an emblem of the Highest Self, a knowledge of whom is the indirect result of all sacrifices. The greatness of the syllable Om is explained by the vital breaths of the priest, the sacrificer, and his wife; its essence by rice, corn, &c, which constitute the oblations. Why breath and food are due to the syllable Om is explained by the sacrifice, which is dependent on that syllable, ascending to the sun, the sun sending rain, rain producing food, and food producing breath and life.
* ↑ He who simply pronounces the syllable Om as part of his recitation at a sacrifice, and he who knows the hidden meaning of that syllable, both may perform the same sacrifice. But that performed by the latter is more powerful, because knowledge is better than ignorance. This is, as usual, explained by some comparisons. It is true that both he who knows the quality of the harîtakî and he who does not, are purged alike if they take it. But on the other hand, if a jeweller and a mere clod sell a precious stone, the knowledge of the former bears better fruit than the ignorance of the latter.
* ↑ Upanishad is here explained by yoga, and yoga by devatâdivishayam upâsanam, meditation directed to certain deities. More likely, however, it refers to this very upanishad, i.e. to the udgîthavidyâ, the doctrine of the secret meaning of Om, as here explained.
* ↑ A very similar story is told in the Brîhad-âranyaka I, 1, 3, 1. But though the coincidences between the two are considerable, amounting sometimes to verbal identity, the purport of the two seems to be different. See Vedânta-sûtra III, 3, 6.
* ↑ Devas and Asuras, gods and demons, are here explained by the commentator as the good and evil inclinations of man; Pragâpati as man in general.
* ↑ Udgîtha stands, according to the commentator, for the sacrificial act to be performed by the Udgâtri, the Sâma-veda priest, with the udgîtha hymns; and as these sacrificial acts always form part of the Gyotishtoma &c, these great Soma-sacrifices are really intended. In the second place, however, the commentator takes udgîtha in the sense of Udgâtri, the performer of the udgîtha, which is or was by the Devas thought to be the breath in the nose. I have preferred to take udgîtha in the sense of Om, and all that is implied by it.
* ↑ They asked that breath should recite the udgîtha. Comm.
* ↑ Mukhya prâna is used in two senses, the principal or vital breath, also called sreshtha, and the breath in the mouth, also called âsanya.
* ↑ According to the commentator, the assemblage of the other vital breaths or senses is here meant. They depart when the breath of the mouth, sometimes called sarvambhari, all-supporting, does no longer, by eating and drinking, support them.
* ↑ The paragraphs from 10 to 14 are differently explained by Indian commentators. By treating the nominatives angirâs, brihaspatis, and ayâsyas (here the printed text reads ayâsyam) as accusatives, or by admitting the omission of an iti after them, they connect paragraphs 9, 10, and 11 with paragraph 12, and thus gain the meaning that Vaka Dâlbhya meditated on the breath in the mouth as Angiras, Brihaspati, and Ayâsya, instead of those saints having themselves thus meditated; and that he, knowing the secret names and qualities of the breath, obtained, when acting as Udgâtri priest, the wishes of those for whom he sacrificed. Tena is difficult to explain, unless we take it in the sense of tenânusishtah taught by him.
* ↑ Adhyâtma means with reference to the body, not with reference to the self or the soul. Having explained the symbolical 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.
* ↑ As applied to breath, svara is explained by the commentator in the sense of moving, going out; pratyâsvara, 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 {Kh. Up. I, 4, 3), and prasvâra in the Rig-veda-prâtisâkhya, 882. As applied to the sun, svara and pratyâsvara were probably taken in the sense of light and reflected light.
* ↑ The commentator supplies explanations to all these fanciful etymologies. The heaven is ut, because it is high; the sky is gî, because it gives out all the worlds (giranât); earth is tha, because it is the place (sthâna) of living beings. The sun is ut, because it is high. The wind is gî, because it gives out fire, &c. (giranât); fire is tha, because it is the place (sthâna) of the sacrifice. The Sâma-veda is ut, because it is praised as svarga; the Yagur-veda is gî, because the gods take the oblation offered with a Yagus; the Rig-veda is tha, because the Sâma 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. ' "It is asked here, according to Saint Augustine, What is chanting, or why is it so called? Answer. From this word cantalena; and cantalena is the same thing as lenis cantus, i. e. a soft, sweet chant to God, and to the Virgin Mary, and to all the Saints. And the reason why the word puincc (puncta) is so called is because the points (or musical notes) ut, re, mi, 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. ut: and ut in the Greek is the same as liberat 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. re; and re is the same as saer; i.e. O God, deliver us from everything, hurtful and malignant. ' "The third point, i. e. mi: and mi in the Greek is the same as militum in the Latin; and that is the same as ridere (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 famulus 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 grian (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. la, is the same as lav; and that is the same as indail (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 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 Ioannes.'
* ↑ 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.
* ↑ Abhyâso ha yat, lit. depend on it that it will be fulfilled, but always explained by quickly. See Kh. Up. II, 1, 4; III, 19, 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.
* ↑ Cf. I, 3, 2.
* ↑ Pranauti, he lauds, i. e. he meditates on. Comm.
* ↑ Pranava is the name used chiefly by the followers of the Rig-veda, udgîtha the name used by the followers of the Sâma-veda. Both words are intended for the syllable Om.
* ↑ Cf. Kh. Up. I, 3, 1.
* ↑ 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 Sâma verses are mostly taken from the Rig-veda.
* ↑ The darkness which is seen by those who can concentrate their sight on the sun.
* ↑ Bright as gold.
* ↑ The colour of the lotus is described by a comparison with the Kapyâsa, the seat of the monkey (kapiprishthânto yena upavisati). It was probably a botanical name.
* ↑ Name of the principal priest of the Sâma-veda.
* ↑ Breath in the nose, sense of smelling. Comm.
* ↑ The shadow-self, the likeness or image thrown upon the eye; see Kh. Up. VIII, 9, 1.
* ↑ A set of hymns to be recited, whereas the Sâman is sung, and the Yagus muttered.
* ↑ Cf. Kh. Up. I, 6, 6.
* ↑ Cognisant of the deeper meanings of udgîtha, i. e. Om.
* ↑ He, though not being a Brâhmana, turns out to be the only one who knows the true meaning of udgîtha, i. e. the Highest Brahman.
* ↑ In V, 3, 5, Pravâhana Gaivali is distinctly called a râganyabandhu.
* ↑ Ether, or we might translate it by space, both being intended, however, as names or symbols of the Highest Brahman. See Vedânta-sûtra I, 1, 22.
* ↑ When they had been killed either by stone weapons, or by a shower of stones, which produced a famine in the land. Comm.
* ↑ Atikî is not the name of the wife of Ushasti, nor does it mean strong enough to travel. Sankara explains it as anupagâtapayodharâdistrîvyañganâ, and Ânandagiri adds, Svairasamkâre 'pi na vyabhikârasanketi darsayitum âfikyeti viseshanam. She was so young that she was allowed to run about freely, without exciting any suspicion. Another commentator says, Grihâd bahirgantumarhâ anupagâtapayodharâ.
* ↑ Or, according to the commentator, 'water I can get whenever I like.'
* ↑ There are certain etymological fancies for assigning each deity to a certain portion of the Sâma-veda ceremonial. Thus prâna is assigned to the prastâva, because both words begin with pra. Âditya is assigned to the udgîtha, because the sun is ut. Anna, food, is assigned to the pratihâra, because food is taken, pratihriyate, &c.
* ↑ This alludes to a ceremony where the priests have to walk in procession, each priest holding the gown of the preceding priest.
* ↑ The commentator explains Varuna and Pragâpati as epithets of Savitri, or the sun, meaning rain-giver and man-protector.
* ↑ The syllables here mentioned are the so-called stobhâksharas, sounds used in the musical recitation of the Sâman hymns, probably to fill out the intervals in the music for which there were no words in the hymns. These syllables are marked in the MSS. of the Sâma-veda, but their exact character and purpose are not quite clear.
* ↑ A stobha syllable used in the Rathantara Sâman.
* ↑ Used in the Vâmadevya Sâman.
* ↑ The Sâman addressed to Agni takes the syllable î as nidhana.
* ↑ The stobha syllables used in the Sâman addressed to the Visve Devas.
* ↑ See Kh. Up. I, 4, 4.
* ↑ The commentator takes vâg as a stobha, as a syllable occurring in hymns addressed to Virâg, and as implying either the deity Virâg or food.
* ↑ I.e. wealthy and healthy.
Footnotes