Upanishads (12 principal, Sacred Books of the East)

'^ ^Aandogya-upanishad, translated by Rajendralal Mitra, Calcutta, 1862, Introduction, p. 17. tation,' he adds, ' the work embraces ten chapters, of which the first two are reckoned to be the Brahmawa, and the rest is known under the name of A'Mndogya-upanishad. In their arrangement and style the two portions differ greatly, and judged by them they appear to be productions of very different ages, though both are evidently relics of pretty remote antiquity. Of the two chapters of the iT/^andogyabrahma/za \ the first includes eight suktas (hymns) on the ceremony of marriage, and the rites necessary to be observed at the birth of a child. The first sukta is intended to be recited when offering an oblation to Agni on the occasion of a marriage, and its object is to pray for prosperity in behalf of the married couple. The second prays for long life, kind relatives, and a numerous progeny. The third is the marriage pledge by which the contracting parties bind themselves to each other. Its spirit may be guessed from a single verse. In talking of the unanimity with which they will dwell, the bridegroom addresses his bride, " That heart of thine shall be mine, and this heart of mine shall be thine ^." The fourth and the fifth invoke Agni, Vayu, A'andramas, and Surya to bless the couple and ensure healthful progeny. The sixth is a mantra for offering an oblation on the birth of a child; and the seventh and the eighth are prayers for its being healthy, wealthy, and powerful^ not weak, poor, or mute, and to ensure a profusion of wealth and milch-cows. The first sukta of the second chapter is addressed to the Earth, Agni, and Indra, with a prayer for wealth, healthy and prosperity ; the second, third, fourth, fifth, and sixth are mantras for offering oblations to cattle, the manes, Surya, and divers minor deities. The seventh is a curse upon worms, insects, flies, and other nuisances, and the last, the concluding mantra of the marriage ceremony, in which a general blessing is invoked for all concerned.'

After this statement there can be but little doubt that ' It begins, Om, deva savita/i, pra suva yao-flam pra suva ya^'napatim bhagaya. The second begins, yah pra^yaw disi sarparao-a esha te baliA. * Yad etad dhridaya/n tava tad astu hr/dayam mama, Yad idain hr/da; am mama tad astu hridaya?« tava. this Upanishad originally formed part of a Brahma/^a. Tliis may have been called either by a general name, the Brahma;/a of the A'Z-andogas, the followers of the Sama-veda, or, on account of the prominent place occupied in it by the Upanishad, the Upanishad-brahma;/a ^. In that case it would be one of the eight Brahma;/as of the Sama-veda, enumerated by Kumarila Bha//a and others-, and called simply Upanishad, scil. Brahma/^a. The text of the Upanishad with the commentary of ^"arikara and the gloss of Anandagiri has been published in the Bibliotheca Indica. The edition can only claim the character of a manuscript, and of a manuscript not always very correctly read. A translation of the Upanishad was published, likewise in the Bibliotheca Indica, by Rajendralal Mitra. It is one of the Upanishads that was translated into Persian under the auspices of Dara Shukoh ^, and from Persian into French by Anquetil Duperron, in his Oupnekhat, i. e. Secretum Tegendum. Portions of it were translated into English by Colebrooke in his ]\Iiscellaneous Essays, into Latin and German by F. W. Windischmann, in his Saiikara, seu de theologumenis Vedanticorum (Bonn, 1S33), and in a work published by his father^, K. J. H. Windischmann, Die Philosophic im Fortgang der Weltgeschichte (Bonn, 1827-34). Professor A. Weber has treated of this Upanishad in his Indische Studien I, 254 ; likewise M. P. Regnaud in his Materiaux pour servir a I'histoire de la philosophic de ITnde (Paris, 1876) and Mr. Gough in several articles on ' the Philosophy of the Upanishads/ in the Calcutta Review, No. CXXXI.

I have consulted my predecessors whenever there was a serious difficulty to solve in the translation of these ancient texts. These difficulties are very numerous, as those know ' The same name seems, however, to be given to the adhyaya of the Talavakara-brfihrnawa, which contains the Kena-iipanishad. ^ M. M., History of Ancient Sanskrit Literature, p. 348. Most valuable information on the literature of the Sama-veda may be found in Dr. Burnell's editions of the smaller Brahmawas of that Veda. ^ M. M., History of Ancient Sanskrit Literature, p. 325. best who have attempted to give complete translations of these ancient texts. It will be seen that my translation differs sometimes very considerably from those of my predecessors. Though I have but seldom entered into any controversy with them, they may rest assured that I have not deviated from them without careful reflection. This Upanishad is best known by the name of Kenaupanishad, from its first word. The name of brahmiupanishad (IV, 7) can hardly be considered as a title. It means 'the teaching of Brahman,' and is used with reference to other Upanishads also ^. vSahkara, in his commentary, tells us that this Upanishad forms the ninth adhyaya of a Brahmawa, or, if we take his words quite literally, he says, ' the beginning of the ninth adhyaya is " the Upanishad beginning with the words Keneshitam, and treating of the Highest Brahman has to be taught." ' In the eight preceeding adhyayas, he tells us, all the sacred rites or sacrifices had been fully explained^ and likewise the meditations (upasana) on the prawa (vital breath) which belongs to all these sacrifices, and those meditations also which have reference to the fivefold and sevenfold Samans. After that followed Gayatra-saman and the Vaw^a, the genealogical list. All this would naturally form the subject of a Sama-veda-brahma;/a, and we find portions corresponding to the description given by ^aiikara in the K/ia.ndogya-upanishadj e.g. the fivefold Saman. II, 2 ; the sevenfold Saman, II, 8 ; the Gayatra-saman, III, 12, i.

Ananda^uana tells us that our Upanishad belonged to the 5akha of the Talavakiras. All this had formerly to be taken on trust, because no Brahmawa was known containing the Upanishad. Dr. Burnell, however, has lately discovered a Brahma;^a of the Sama-veda which comes very near the description given by 5arikara. In a letter dated Tanjore, 8th Dec. 1878, he ^ See before, p. Ixxxiii. writes : ' It appears to me that you would be glad to know the following about the Kena-upanishad, as it occurs in my MS. of the Talavakara-brahma;/a. 'The last book but one of this Brahma;/a is termed Upanishad-brahma/za. It consists of 145 khawd^as treating of the Gayatra-saman, and the 134th is a Vawj-a. The Kena-upanishad comprises the 135-145 ]<ha>ida.s, or the tenth anuvaka of a chapter. The 139th section begins : asa va idam agra asit, &c. ' My MS. of the Talavakara-brahmaz/a agrees, as regards the contents, exactly with what 6"arikara says, but not in the divisions. He says that the Kena-upanishad begins the ninth adhyaya, but that is not so in my MS. Neither the beginning nor the end of this Upanishad is noticed particularly. ' The last book of this Brahma;/a is the Arsheya-brahma7/a, which I printed last February.

'Among the teachers quoted in the Brahmawa I have noticed both Ta;/(T'ya and ^a/yayani. I should not be surprised to find in it the difficult quotations which are incorrectly given in the MSS. of Sayawa's commentary on the Rig-veda. The story of Apala, quoted by Saya;/a in his commentary on the Rig-veda, VIII, 80, as from the »Sa^yayanaka, is found word for word, except some trivial var. lectiones, in sections 220-221 of the Agnish/oma book of the Talavakara-brahmawa. The 6"a/yayanins seem to be closely connected with the Talavakara-j-akha.' From a communication made by Dr. Burnell to the Academy (i Feb. 79), I gather that this Talavakara-brahmaz/a is called by those who study it ' (^aiminiya-brahma/za,' after the 5akha of the Sama-veda which they follow. The account given in the Academy differs on some particulars Slightly from that given in Dr. Burnell s letter to me. He writes : ' The largest part of the Brahma;<'a treats of the sacrifices and the Samans used at them. The first chapter is on the Agnihotra, and the Agnish/oma and other rites follow at great length. Then comes a book termed Upanishad-brahmawa. This contains 145 sections in four chapters. It begins with speculations on the Gayatra-

saman, followed by a Vaw^a ; next, some similar matter and another Va/z/j-a. Then (§§ 135-13^) comes the Kenaupanishad (Talavakara). The last book is the Arsheya. The Upanishad forms the tenth anuvaka of the fourth chapter, not the beginning of a ninth chapter, as vSahkara remarks.' The Kena-upanishad has been frequently published and translated. It forms part of Dara Shukoh's Persian, and Anquetil Duperron's Latin translations. It was several times published in English by Rammohun Roy (Translations of Several Principal Books, Passages, and Texts of the Veda, London, 1832, p. 41), in German by Windischmann, Poley, and others. It has been more or less fully discussed by Colebrooke, Windischmann, Poley, Weber, Roer, Gough, and Regnaud in the books mentioned before. Besides the text of this Upanishad contained in the Brahma7,?a of the Sama-veda, there is another text, slightly differing, belonging to the Atharva-veda, and there are commentaries on both texts (Colebrooke, Misc. Essays, 1873, II, p. 80). In giving a translation of the Aitareya-upanishad, I found it necessary to give at the same time a translation of that portion of the Aitareya-ara/zyaka which precedes the Upanishad. The Ara/zyakas seem to have been from the beginning the proper repositories of the ancient Upanishads, though it is difficult at first sight to find out in what relation the Upanishads stood to the Ara;/yakas. The Ara;/yakas are to be read and studied, not in the village (grame), but in the forest, and so are the Upanishads. But the subjects treated in the Upanishads belong to a very different order from those treated in the other portions of the Araz/yakas, the former being philosophical, the latter liturgical.

The liturgical chapters of the Aranyakas might quite as well have formed part of the Brahma;,;as, and but for the restriction that they are to be read in the forest, it is difficult to distinguish between them and the Brahma/^as. The first chapter of the Aitareya-^ra;/yaka is a mere continuation of the Aitareya-brahma;/a, and gives the description of the Mahavrata, the last day but one of the Gavamayana, a sattra or sacrifice which is supposed to last a whole year. The duties which are to be performed by the Hot;'/ priests are described in the Aitareya-ara^^yaka ; not all, however, but those only which are peculiar to the Mahavrata day. The general rules for the performance of the Mahavrata are to be taken over from other sacrifices, such as the Viiva^it, Katurv'wisa., &c., which form the type (prakr/ti) of the Mahavrata. Thus the two jastras or recitations, called a^ya-praiiga, are taken over from the Vijva^it, the jastras of the Hotrakas from the A'aturviz/wa. The Mahavrata is treated here as belonging to the Gavamayana sattra, which is described in a different 6"akha, see Taittiriya Sawhita VI I, 5, 8, and partly in other Vedas. It is the day preceding the udayaniya, the last day of the sattra. It can be celebrated, however, by itself also, as an ekaha or ahina sacrifice, and in the latter case it is the tenth day of the Ekadai-aratra (eleven nights sacrifice) called Pu;^(^arika.

Saya;/a does not hesitate to speak of the Aitareyaara/zyaka as a part of the Brahmawa^; and a still earlier authority, Sahkara, by calling the Aitareya-upanishad by the name of Bahvr/X'a-brahma/za-upanishad ^, seems to imply that both the Upanishad and the Ara//yaka may be classed as Brahmawa. The Aitareya-ara;/yaka appears at first sight a miscellaneous work, consisting of liturgical treatises in the first, fourth, and fifth Ara;/yakas, and of three Upanishads, in the second and third Arawyakas. This, however, is not the case. The first Ara;/yaka is purely liturgical, giving a description of the Mahavrata. so far as it concerns the Hutri priest. It is written in the ordinary Brahma;/a style. Then follows the first Upanishad, Ara;^yaka II, 1—3, showing ' Aitareyabrahma^e 'sti ka«c?am ara«yakabhidham (introduction), a remark which he repeats in the fifth Ara/zyaka. He also speaks of the Ara«yakavratampam brahmawam ; see p. cxiv, 1. 24. ^ In the same manner the Kaushitaki-upanishad is properly called Kaushttakibrahmana-upanishad, though occurring in the Ara«yaka ; see Kaushitaki-brahma'ia-upanishad, ed. Cowell, p. 30. how certain portions of the Mahavrata, as described in the first Arawyaka, can be made to suggest a deeper meaning, and ought to lead the mind of the sacrificer away from the purely outward ceremonial to meditation on higher subjects. Without a knowledge of the first Ara;^yaka therefore the first Upanishad would be almost unintelligible, and though its translation was extremely tedious, it could not well have been omitted.

The second and third Upanishads are not connected with the ceremonial of the Mahavrata, but in the fourth and fifth Ara;^yakas the Mahavrata forms again the principal subject, treated, however, not as before in the style of the Brahma/zas, but in the style of Sutras. The fourth Ara;/yaka contains nothing but a list of the Mahanamni hymns \ but the fifth describes the Mahavrata again, so that if the first Arawyaka may be looked upon as a portion of the Aitareya-brahma;/as, the fifth could best be classed with the Sutras of Ajvalayana. To a certain extent this fact, the composite character of the Aitareya-arawyaka, is recognised even by native scholars, who generally do not trouble themselves much on such questions. They look both on the Aitareya-brahma/za and on the greater portion of Aitareya-ara;/yaka as the works of an inspired Rishi, Mahidasa Aitareya^, but they consider the fourth and fifth books of the Ara/zyaka as contributed by purely human authors, such as Aj-valayana and vSaunaka, who, like other Sutrakaras, took in verses belonging to other 5akhas, and did not confine their rules to their own vSakha only. There are many legends about Mahidasa, the reputed author of the Aitareya-brahmawa and Arawyaka. He is

> See Boehtlingk and Roth, s.v. 'Neun Vedische Verse die in ilirem voUstandigenWortlaut abernoch nicht nachgewiesen sind.' Weber, Indische Studien VIII, 68. How these hymns are to be employed we learn from the Asvalayanasutras VII, 12, 10, where we are told that if the Udgatr/s sing the i'akvara Saman as the Pr/shcAastotra, the nine verses beginning with Vida maghavan, and known by the name of Mahanamni, are to be joined in a peculiar manner. The only excuse given, why these Mahanamnis are mentioned here, and not in the Brahma;za, is that they are to be studied in the forest. * M. M., History of Ancient Sanskrit Literature, pp. 177, 335. quoted several times as Mahidasa Aitareya in the Arawyaka itself, though not in the Brahma;/a. We also meet his name in the A'/?andogya-upanishad (III, i6, 7), where we are told that he lived to an age of 116 years \ All this, however, would only prove that, at 'the time of the composition or collection of these Ara;^yakas and Upanishads, a sage was known of the name of Mahidasa Aitareya, descended possibly from Itara or Itara, and that one text of the Brahma;/as and the Ara;/yakas of the Bahvnka.s was handed down in the family of the Aitareyins.

Not content with this apparently very obvious explanation, later theologians tried to discover their own reasons for the name of Aitareya. Thus Saya;/a, in his introduction to the Aitareya-brahma;^a ^, tells us that there was once a Rzshi who had many wives. One of them was called Itara, and she had a son called Mahidasa. His father preferred the sons of his other wives to Mahidasa, and once he insulted him in the sacrificial hall, by placing his other sons on his lap, but not Mahidasa. Mahidasa's mother, seeing her son with tears in his eyes, prayed to her tutelary goddess, the Earth (sviyakuladevata BhdmUi), and the goddess in her heavenly form appeared in the midst of the assembly, placed Mahidasa on a throne, and on account of his learning, gave him the gift of knowing the Brahma;/a, consisting of forty adhyayas, and, as Sayawa calls it, another Brahma;,'a, 'treating of the Ara;zyaka duties' (ara;/yakavratarupam brahma7/am). Without attaching much value to the legend of Itara, we see at all events that Saya;/a considered what we call the Aitareyara;/yaka as a kind of Brahmawa, not however the whole of it, but only the first, second, and third Arawyakas (atha mahavratam ityadikam a/^arya akirya. ityantam). How easy it was for Hindu theologians to invent such legends we see from another account of Mahidasa, given by Anandatirtha in his notes on the Aitareya-upani-

' Not 1600 years, as I printed by mistake; for 24 + 44 + 48 make 116 years. Rajendralal Mitra should not have corrected his right rendering 116 into 1600. Ait. Ar. Introduction, p. 3. ' M. M., History of Ancient Sanskrit Literature, p. 336. shad. He, as Colebrooke was the first to point out, takes Mahidasa ' to be an incarnation of Naraya//a, proceeding from Vi^ala, son of Ab^a,' and he adds, that on the sudden appearance of this deity at a solemn celebration, the whole assembly of gods and priests (suraviprasaiigha) fainted, but at the intercession of Brahma, they were revived, and after making their obeisance, they were instructed in holy science. This avatara was called Mahidasa, because those venerable personages (mahin) declared themselves to be his slaves (dasa) ^. In order properly to understand this legend, we must remember that Anandatirtha, or rather Vij-vei-varatirtha, whose commentary he explains, treated the whole of the Mahaitareya-upanishad from aVaishwava point of view, and that his object was to identify Mahidasa with Naraya;/a. He therefore represents Naraya;/a or Hari as the avatara of Vij-ala, the son of Brahman (ab^asuta), who appeared at a sacrifice, as described before, who received then and there the name of Mahidasa (or Mahidasa), and who taught this Upanishad. Any other person besides Mahidasa would have been identified with the same ease by Vij-vej-varatirtha with Vish?m or Bhagavat.

A third legend has been made up out of these two by European scholars who represent Mahidasa as the son of Vij-ala and Itara, two persons who probably never met before, for even the Vaishwava commentator does not attempt to take liberties with the name of Aitareya, but simply states that the Upanishad was called Aitareyi, from Aitareya. Leaving these legends for what they are worth, we may at all events retain the fact that, whoever was the author of the Aitareya-brahmawa and the first three books of the Aitareya-ara//yaka, was not the author of the two concluding Araz/yakas. And this is confirmed in different ways. Saya/za, when quoting in his commentary on the Rig-veda from the last books, constantly calls it a Sutra of vSaunaka, while the fourth Arawyaka is specially ascribed Colebrooke, Miscellaneous Essays, 1873, II, p. 42. to Aj-valayana, the pupil and successor of 5aunaka^ These two names of 5aunaka and Aj-valayana are frequently intermixed. If, however, in certain MSS. the whole of the Aitareya-arawyaka is sometimes ascribed either to Ajvalayana or ^aunaka, this is more probably due to the colophon of the fourth and fifth Arawyakas having been mistaken for the title of the whole work than to the fact that such MSS. represent the text of the Ara;^yaka, as adopted by the school of Ajvalayana.

The Aitareya-arawyaka consists of the following five Arawyakas : The first Ara;i?yaka has five Adhyayas : 1. First Adhyaya, Atha mahavratam, has four Khandas, 1-4. 2. Second Adhyaya, A tva ratham, has four Kha7j(fas, 5-8. 3. Third Adhyaya, Hinkare«a, has eight ^ Kha«f/as, 9-16. 4. Fourth Adhyaya, Atha sudadoha/j, has three Khandas, 17-19. 5. Fifth Adhyaya, Vasaw samsati, has three Kha.nda.s, 20-22. The second Arawyaka has seven Adhyayas : 6. First Adhyaya, Esha panthaA, has eight Kha^cfas, 1-8. 7. Second Adhyaya, Esha imaw lokam, has four Kha«c?as, 9-12. -a 8. Third Adhyaya, Yo ha va atmanam, has eight (not three) ■^ Khand&s, 13-20. I r 9. Fourth Adhyaya, Atma va idam, has three Kha^Jas, 21-23. §" <j 10. Fifth Adhyaya, Purushe ha va, has one Kha«rfa, 24. ^ L II. Sixth Adhyaya, Ko 'yam atmeti, has one Kha.nda, 25. j3 12. Seventh Adhyaya, Van me manasi, has one Kha«c?a, 26. ^ The third Ara;/yaka has two Adhyayas : 13. First Adhyaya, AthitaA samhitaya upanishat, has six Khawrfas, 14. Second Adhyaya, Prawo vawsa iti sthaviraA 5akalyaA, has six The fourth Ara«yaka has one Adhyaya : 15. First Adhyaya, Vida maghavan, has one Kha^afa (the Maha- The fifth Ara;/yaka has three Adhyayas :

16. First Adhyaya, Mahavratasya panA'avi/Ksatim, has six Kha«c?as, 1 7. Second Adhyaya, (GrivaA) Yasyedam, has five Kha«(fas, 7-1 1 . 18. Third Adhyaya, (Orii) Indragni, has four Kha«(/as, 11-14. * M.'.M., History of Ancient Sanskrit Literature, p. 235. ^ Not six, as in Rajendralal Mitra's edition. With regard to the Upanishad, we must distinguish between the Aitareya-upanishad, properly so-called, which fills the fourth, fifth, and sixth adhyayas of the second Ara«yaka, and the Mahaitareya-upanishad ^, also called by a more general name Bahvr//^a-upanishad, which comprises the whole of the second and third Ara/^yakas. The Persian translator seems to have confined himself to the second Ara;/yaka^, to which he gives various titles, Sarbsar, Asarbeh, Antrteheh. That Antrteheh si/::Jl is a misreading of iup.1 was pointed out long ago by Burnouf, and the same explanation applies probably to i>~>j^\ asarbeh, and if to that, then to Sarbsar also. No explanation has ever been given why the Aitareya-upanishad should have been called Sarvasara, which Professor Weber thinks was corrupted into Sarbsar. At all events the Aitareyaupanishad is not the Sarvasara-upanishad, the Oupnek'hat Sarb, more correctly called Sarvopanishatsara, and ascribed either to the Taittiriyaka or to the Atharva-veda ^. The Aitareya-upanishad, properly so called, has been edited and translated in the Bibliotheca Indica by Dr. Roer. The whole of the Aitareya-arawyaka with Sayawa's commentary was published in the same series by Rajendralal Mitra.

Though I have had several MSS. of the text and commentary at my disposal, I have derived little aid from them, but have throughout endeavoured to restore that text which vSahkara (the pupil of Govinda) and Saya;/a had before them. Saya;/a, for the Upanishad portion, follows vSankara's commentary, of which we have a gloss by Ananda^ana. Colebrooke in his Essays (vol. ii, p. 42) says that he * This may have been the origin of a Rhh\ Mahaitareya, by the side of the Rishi Aitareya, mentioned in the Aivalayana Gr/hya-sutras III, 4 (ed. Stenzler). Professor Weber takes Aitareya and Mahaitareya here as names of works, but he admits that in the 5'ankhayana Gr/hya-sutras they are clearly names of /?/shis (Ind. Stud. I, p. 389). * He translates II, i-II, 3, 4^ leaving out the rest of the third adhyaya ; afterwards II, 4-II, 7. * Bibliotheca Indica, the Atharvawa-upanishads, p. 394. possessed one gloss by Naraya;^endra on ^aiikara^s commentary, and another by Anandatirtha on a different gloss for the entire Upanishad. The gloss by Naraya;,;endra ^, however, is, so Dr. Rost informs me, the same as that of Ananda^iiana, while, so far as I can see, the gloss contained in MS. E. I. H. 2386 (also MS. Wilson 401), to which Colebrooke refers, is not a gloss by Anandatirtha at all, but a

gloss by Vi^vej-varatirtha on a commentary by Anandatirthabhagavatpada/^arya, also called Pur//apra^ua/^arya, who explained the whole of the Mahaitareya-upanishad from a Vaish;<!ava point of view. The Kaushitaki-upanishad, or, as it is more properly called, the Kaushitaki-brahmawa-upanishad, belongs, like the Aitareya-upanishad, to the followers of the Rig-veda. It was translated into Persian under the title of Kokhenk, and has been published in the Bibliotheca Indica with ^ahkarananda's commentary and an excellent translation by Professor Cowell. Though it is called the Kaushitaki-brahma;/a-upanishad, it does not form part of the Kaushitaki-brahma;/a in 30 adhyayas which we possess, and we must therefore account for its name by admitting that the Arawyaka, of which it formed a portion, could be reckoned as part of the Brahma;/a literature of the Rig-veda (see Aitareya-ara;^yaka, Introduction, p. xcii), and that hence the Upanishad might be called the Upanishad of the Brahma;/a of the Kaushitakins ^. From a commentary discovered by Professor Cowell it appears that the four adhyayas of this Upanishad * A MS. in the Notices of Sanskrit MSS., vol. ii, p. 133, ascribed to Abhinavanaraya^iendra, called AtmashaAabhashya^ika, begins like the gloss edited by Dr. Rber, and ends like Saya^ia's commentaiy on the seventh adhyaya, as edited by Rajendralal Mitra. The same name is given in MS. Wilson 94, iS'rimatkaival)'endrasarasvatipUj^apada«ishya-srimadabhinavanaraya«endrasarasvati.

* A Maha-kaushitaki-brahma«a is quoted, but has not yet been met with. were followed by five other adhyayas, answering, so far as we can judge from a few extracts, to some of the adhyayas of the Aitareya-ara;/yaka, while an imperfect MS. of an Ara;/yaka in the Royal Library at Berlin (Weber, Catalogue, p. 20) begins, like the Aitareya-ara;/yaka, with a description of the Mahavrata, followed by discussions on the uktha in the second adhyaya ; and then proceeds in the third adhyaya to give the story of /fitra Gahgyayani in the same words as the Kaushitaki-upanishad in the first adhyaya. Other MSS. again adopt different divisions. In one MS, of the commentary (MS. A), the four adhyayas of the Upanishad are counted as sixth, seventh, eighth, and ninth (ending with ityarawyake navamo 'dhyaya//) ; in another (MS. P) the third and fourth adhyayas of the Upanishad are quoted as the fifth and sixth of the Kaushitakyarawyaka, possibly agreeing therefore^ to a certain extent, with the Berlin MS. In a MS. of the vSahkhayana Ara//yaka in the Royal Library at Berlin, there are 15 adhyayas, i and 2 corresponding to Ait. Ar. i and 5 ; ^-6 containing the Kaushitaki-upanishad ; 7 and 8 corresponding to Ait. Ar. 3 \ Foley seems to have known a MS. in which the four adhyayas of the Upanishad formed the first, seventh, eighth, and ninth adhyayas of a Kaushitaki-brahmawa.

As there were various recensions of the Kaushitaki-brahma;/a (the vSahkhayana, Kauthuma, &c.), the Upanishad also exists in at least two texts. The commentator, in some of its MSS., refers to the various readings of the 6"akhas, explaining them, whenever there seems to be occasion for it. I have generally followed the text which is presupposed by 5ahkarananda's Dipika, and contained in MSS. F, G (Cowell, Preface, p. v), so far as regards the third and fourth adhyayas. According to Professor Cowell, Vidyara;/ya in his Sarvopanishadarthanubhiitiprakaj-a followed the text of the commentary, while vSahkara-^arya, if we may trust to extracts in his commentary on the Vedanta-sutras, followed the other text, contained in MS. A (Cowell, Preface, p. v). ^ See Weber, History of Sanskrit Literature, p. 50. g2 The style of the commentator differs in so marked a manner from that of vSankara/^arya, that even without the fact that the author of the commentary on the Kaushitakiupanishad is called vSahkarananda, it would have been difficult to ascribe it, as has been done by some scholars, to the famous ^"ahkaraX'arya. vS"ankarananda is called the teacher of Madhava/^arya (Hall, Index, p. 98), and the disciple of Anandatma Muni (Hall, Index, p. 116). I have had the great advantage of being able to consult for the Kaushitaki-upanishad, not only the text and commentary as edited by Professor Cowell, but also his excellent translation. If I differ from him in some points, this is but natural, considering the character of the text and the many difficulties that have still to be solved, before we can hope to arrive at a full understanding of these ancient philosophical treatises.

The Vao-asaneyi-sa;;zhita-upanishad, commonly called from its beginning, tsk or Ijavasya, forms the fortieth and concluding chapter of the Sawhita of the White Ya^ur-veda. If the Sawhitas are presupposed by the Brahmawas, at least in that form in which we possess them, then this Upanishad, being the only one that forms part of a Sawhita, might claim a very early age. The Sawhita of the White Ya^ur-veda, however, is acknowledged to be of modern origin, as compared with the Sawhita of the Black Ya^ur-veda, and it would not be safe therefore to ascribe to this Upanishad a much higher antiquity than to those which have found a place in the older Brahma;/as and There are differences between the text, as contained in the Ya^ur-veda-sa;«hitaj and the text of the Upanishad by itself. Those which are of some interest have been mentioned in the notes. In some notes appended to the translation of this Upanishad I have called attention to what seems to me its peculiar character, namely, the recognition of the necessity of works as a preparation for the reception of the highest knowledge. This agrees well with the position occupied by this Upanishad at the end of the Sa;//hita, in which the sacrificial works and the hymns that are to accompany them are contained. The doctrine that the moment a man is enlightened, he becomes free, as taught in other Upanishads, led to a rejection of all discipline and a condemnatiqn of all sacrifices, which could hardly have been tolerated in the last chapter of the Ya^ur-vedasa;/^hita, the liturgical Veda par excellence.

Other peculiarities of this Upanishad are the name Is, lord, a far more personal name for the highest Being than Brahman ; the asurya (demoniacal) or asurya (sunless) worlds to which all go who have lost their self; Matari^-van, used in the sense of prawa or spirit ; asnaviram, without muscles, in the sense of incorporeal ; and the distinction between sambhiiti and asambhuti in verses 12-14. The editions of the text, commentaries, and glosses, and the earlier translations may be seen in the works quoted before, p. Ixxxiv. 1. Let a man meditate on the syllable ^ Om, called the udgitha; for the udgitha (a portion of the Sama-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 A7^andogya-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 Sama-veda, that syllable Om is called udgitha. Its more usual name is pra^/ava. 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 oingin, 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 Sama-veda the best extract from the J^t^, udgitha, or the syllable Om, the crown of the Sama-veda, 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 Sama-veda \ the essence of the Sama-veda the udgitha (which is Om). 3. That udgitha (Om) is the best of all essences, the highest, deserving the highest place ^, the eighth, 4. What then is the Rik ? What is the Saman ? What is the udgitha ? This is the question,

5. The Rik indeed is speech, Saman is breath, the udgitha is the syllable Om, Now speech and breath, or Rik and Saman, 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 udgitha, 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 udgitha, becomes indeed a gratifier of desires, 9. By that syllable does the threefold knowledge (the sacrifice, more particularly the Somasacrifice, as founded on the three Vedas) proceed. When the Adhvaryu priest gives an order, he says Om, When the Hotrz priest recites, he says Om. When the Udgatrz priest sings, he says Om, ^ Because most of the hymns of the Sama-veda are taken from the Rig-veda, ^ Parardhya is here derived from para, highest, and ardlia, place. The eighth means the eighth or last in the series of essences. I rRAPAr//AKA, I KHAiVDA, lO. — 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) ^

lo. 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 2. 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. ^ 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 haritaki 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 devatadivishayam upasanam, meditation directed to certain deities. More 1. Whent he Devas and Asuras ^ struggled together, both of the race of Pra^apati, the Devas took the iidgttha ^ (Om), thinking they would vanquish the Asuras with it. 2. They meditated on the udgitha ^ (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 goodsmellinof and what is bad-smelling-. For the breath was pierced by evil.

3. Then they meditated on the udgitha (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 udgitha (Om) as the eye, but the Asuras pierced it with evil. Therelikely, however, it refers to this very upanishad, i.e. to the udgithavidya, the doctrine of the secret meaning of Om, as here explained. ^ A very similar story is told in the Br/had-ara^^yaka I, i, 3, i. But though the coincidences between the two are considerable, amounting sometimes to verbal identity, the purport of the two seems to be different. See Vedanta-sutra III, 3, 6. ^ Devas and Asuras, gods and demons, are here explained by the commentator as the good and evil inclinations of man ; Pra- ^apati as man in general. * Udgitha stands, according to the commentator, for the sacrificial act to be performed by the Udgatr/, the Sama-veda priest, w'th the udgitha hymns ; and as these sacrificial acts always form part of the (7yotish/oma &c., these great Soma-sacrifices are really intended. In the second place, however, the commentator takes udgitha in the sense of Udgatr?', the performer of the udgitha, which is or was by the Devas thought to be the breath in the nose. I have preferred to take udgitha in the sense of Om, and all that is implied by it.

* They asked that breath should recite the udgitha. Comm. I PRAPArHAKA, 2 KHANDA, Q. fore we see both what is sightly and unsightly. For the eye is pierced by evil. 5. Then they meditated on the udgitha (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 udgitha (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 mouths They meditated on the udgitha (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

^ Mukhya pi"a;/a is used in two senses, the principal or vital breath, also called jreshMa, and the breath in the mouth, also called asanya. ^ 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.

mouth, through which he eats and drinks and Hves), then he departs. He opens the mouth at the time of death (as if wishing to eat). TO. Aiigiras ^ meditated on the udgitha (Om) as that breath, and people hold it to be Ahgiras, i. e. the essence of the members (angana;;/ rasa/^) ; 11. Therefore Br/haspati meditated on udgitha (Om) as that breath, and people hold it to be Brzhaspati, for speech is br/hati, and he (that breath) is the lord (pati) of speech ; 12. Therefore Ayasya meditated on the udgitha (Om) as that breath, and people hold it to be Ayasya, because it comes (ayati) from the mouth (asya) ; 13. Therefore Vaka Dalbhya knew it. He was the Udgatr^ (singer) of the Naimishiya-sacrificers, and by singing he obtained for them their wishes. 14. He who knows this, and meditates on the syllable Om (the imperishable udgitha) as the breath of life in the mouth, he obtains all wishes by singing. So much for the udgitha (Om) as meditated on with reference to the body ^. ^ The paragraphs from 10 to 14 are differently explained by Indian commentators. . By treating the nominatives ahgiras, br/haspatis, and ayasyas (here the printed text reads ayasyam) 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 Dalbhya meditated on the breath in the mouth as Ahgiras, Br^Tiaspati, and Ayasya, 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. Ten a is difficult to explain, unless we take it in the sense of tenanujish/a//, taught by him.

* Adhyatma means with reference to the body, not with reference to the self or the soul. Having explained the symbolical I PRAPAriTAKA, 3 KHAiVDA, 4. 1. Now follows the meditation on the udottha 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 Udg3.tr I 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 pratyasvara ^ (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 vyana indeed. If we breathe up, that is pra//a, the up-breathing. If we breathe down, that is apana, the down-breathing. The combination of pra;^a and apana 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 Ri^, and therefore when a man utters a J^z/k 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 appHed to divine beings. ^ 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 {J^/i. Up. I, 4, 3), and prasvara in the Rig-veda-pratijakhya, 882. As applied to the sun, svara and pratyasvara were probably taken in the sense of light and reflected light. Rik is Saman, and therefore when a man utters a Saman 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 without breathing up or down. Therefore let a man meditate on the udgitha (Om) as vyana. 6. Let a man meditate on the syllables of the udgitha, i. e. of the word udgitha. Ut is breath (pra;<ja), for by means of breath a man rises (uttish//^ati). Gi is speech, for speeches are called gira/^. Tha is food, for by means of food all subsists (sthita).

7. Ut is heaven, gi the sky, tha the earth. Ut is the sun, gi the air, tha the fire. Ut is the Sama-veda, gi the Ya^r-veda, tha the Rig-veda^ ^ The commentator supplies explanations to all these fanciful etymologies. The heaven is ut, because it is high ; the sky is gt, because it gives out all the worlds (gira«at); earth is tha, because it is the place (sthana) of living beings. The sun is ut, because it is high. The wind is gi, because it gives out fire, &c. (gira^at) ; fire is tha, because it is the place (sthana) of the sacrifice. The Samaveda is ut, because it is praised as svarga; the Ya^ur-veda is gi, because the gods take the oblation off'ered with a Ya^us; 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 p'lase 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; I PRAPATZfAKA, 3 KHAiVDA, 7. Speech yields the milk, which is the milk of speech itself^, to him who thus knowing meditates on those 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 putncc {ptincta) is so called is because the points (or musical notes) tii, 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 tii in the Greek is the same as liber at 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._/a; and/s 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 IMoses, 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 ^ 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. 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 Upasara;^as, i. e. the objects which have to be approached by meditation : Let him (the Udgatr/) quickly reflect on the Saman with which he is going to praise ; 9. Let him quickly reflect on the Rik in which that Saman occurs ; on the 7?/shi (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; 1 1. 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 : -5'ancte /oannes.' ^ Abhyaj'O ha yat, lit. depend on it that it will be fulfilled, but always explained by quickly. See Kh. Up. II, i, 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. I PRAPAr^AKA, 4 KHANDA, 5. II 1. Let a man meditate on the syllable Om, for the uclgitha 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 (/V^ad) themselves with the hymns, therefore the hymns are called /'/^andas. 3. Then, as a fisherman might observe a fish In the water, Death observed the Devas in the Ri'l', Ya^s, and Saman-(sacrifices). And the Devas seeing this, rose from the 7?//^, Ya^s, and Saman-sacrlfices, 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 Saman and the Ya^iis. 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 (pra- ;/auti) ^ 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. ' Cf. I, 3, 2. ^ Pra«auti, he lauds, i. e. he meditates on. Comm. 1. The udgitha is the pra;^ava\ the pra;/ava is the udoritha. And as the udoritha is the sun 2, so is the pra/mva, 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- ?2ava, and the pra;^ava the udgitha, rectifies from the seat of the Hotrz priest any mistake committed by the Udgatrz priest in performing the udgitha, yea, in performing the udgitha. I, The Rik (veda) is this earth, the Saman (veda) • is fire. This Saman (fire) rests on that Rik (earth) ^. Therefore the Saman is sung as resting on the Rik. ^ Pra«ava is the name used chiefly by the followers of the Rigveda, udgitha the name used by the followers of the Sama-veda. Both words are intended for the syllable Om. '' Cf. Kh. Up. I, 3, I. 2 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 PRAPArfl-AKA, 6 KUANDA, 8. 1 3 Sa is this earth, a ma is hre, and that makes Sama, 2. The 7?//^ is the sky, the Saman air. This Saman (air) rests on that J^i^ (sky). Therefore the Saman is sung as resting on the J^i^. S a is the sky, a ma the air, and that makes Sama.

3. 7??X' is heaven, Saman the sun. This Saman (sun) rests on that J^i^ (heaven). Therefore the Saman is sung as resting on the 7?//^. Sa is heaven, a ma the sun, and that makes Sama. 4. i?//C' is the stars, Saman the moon. This Saman (moon) rests on that J^i'/c (stars). Therefore the Saman is sung as resting on the J^i)^. Sa is the stars, a ma the moon, and that makes Sama. 5. J^//c is the white hght of the sun, Saman the bhie exceeding darkness ^ (in the sun). This Saman (darkness) rests on that i?//^ (brightness). Therefore the Saman is suns: as restingf on the J^i^. 6. Sa is the white hght of the sun, a ma the blue exceeding darkness, and that makes Sama. 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. jRi^ and Saman are his joints, and therefore he is udgitha. And therefore he who praises him

^ 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 Kapyasa, the seat of the monkey (kapipr?sh//^anto yena upavi^-ati). It was probably a botanical name. (the ut) is called the Ud-gatr^'^ (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. 1. Now with reference to the body. J^i/c is speech, Saman breath ^. This Saman (breath) rests on that J^i^ (speech). Therefore the Saman is sung as resting on the R//^. Sa is speech, ama is breath, and that makes Sam a. 2. jRi/e is the eye, Saman the self ^. This Saman (shadow) rests on that J^ik (eye). Therefore the Saman is sung as resting on the Ril'. Sa is the eye, ama the self,and that makes Sam a. 3. J^i'^ is the ear, Saman the mind. This Saman (mind) rests on that Ri^ (ear). Therefore the Saman is sung- as resting^ on the J^i/c. Sa is the ear, ama the mind, and that makes Sama.

4. J^i/c is the white light of the eye, Saman the blue exceeding darkness. This Saman (darkness) rests on the J^i^ (brightness). Therefore the Saman is sung as resting on the Rz/e. Sa is the white light of the eye, ama the blue exceeding darkness, and that makes Sama. 5. Now the person who is seen in the eye, he is 7?//^, he is Saman, Uktha*, Ya^us, Brahman. The form of that person (in the eye) is the same ^ as the ^ Name of the principal priest of the Sama-veda. ^ Breath in the nose, sense of smelling. Comm. ' The shadow-self, the likeness or image thrown upon the eye ; see ir/i. Up. VIII, 9, I. * A set of hymns to be recited, whereas the Saman is sung, and the Ya^us muttered. 6 Cf. A7/. Up. I, 6, 6. I PRAPAri^AKA, 8 KHAiVDA, 2. I 5 form of the other person (in the sun), the joints of the one {Rik and Saman) 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 vi//a (lyre), sing him, and from him also they obtain wealth.

7. He who knowing this sings a Saman, sings to both (the adhidaivata and adhyatma 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 Udgatr/ 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 Saman is able to obtain wishes through his song, yea, through his song. 1. There were once three men, well-versed in udgitha \ .5'ilaka ^'alavatya, A'aikitayana Dalbhya, and Pravaha/^^a 6^aivali. They said : ' We are wellversed in udgitha. Let us have a discussion on udgitha.' 2. They all agreed and sat down. Then Pravaha;^a C^aivali ^ said : ' Sirs, do you both speak first, ^ Cognisant of the deeper meanings of udgitha, i. e. Om. "^ He, though not being a Brahmawa, turns out to be the only one who knows the true meaning of udgitha, i. e. the Highest Brahman.

for I wish to hear what two Brahma;2as^ have to say.' 3. Then ^S^ilaka 6alavatya said to A^aikltayana Dalbhya : ' Let me ask you.' ' Ask,' he rephed. 4. 'What is the origin of theSaman?' 'Tone (svara),' he rephed. ' What is the origin of tone ? ' ' Breath,' he rephed. ' What is the origin of breath ? ' ' Food,' he rephed. ' What is the origin of food ? ' ' Water,' he rephed. 5. ' What is the origin of water ? ' ' That world (heaven),' he rephed. ' And what is the origin of that world ? ' — He replied : ' Let no man carry the Saman beyond the world of svarga (heaven). We place (recognise) the Saman in the world of svarga, for the Saman is extolled as svarga (heaven).' 6. Then said ^'ilaka K^alavatya to A^'aikitayana Dalbhya : ' O Dalbhya, thy Saman Is not firmly established. And if any one were to say, Your head shall fall oif (if you be wrong), surely your head would now fall.' 7. ' Well then, let me know this from you, Sir,' said Dalbhya. ' Know it,' replied .Silaka 6alavatya.

' 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 Saman beyond this world as its rest. We place the Saman ^ In V, 3, 5, Pravahawa Gaivali is distinctly called a ra^anyabandhu. I PRAPATjffAKA, 9 KllANDA, 4. I 7 in this world as its rest, for the Saman is extolled as rest.' 8. Then said Pravaha;2a 6^aivali to KS'ilaka ^Salavatya : ' Your Saman (the earth), O ^'alavatya, 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 6alavatya. ' Know it,' replied 6^alvali. 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 udgitha (Om = Brahman), greater than great (parovariyas), he is without end. He who knowing this meditates on the udgitha, the greater than great, obtains what is greater than great, he conquers the worlds which are greater than great.

3. Atidhanvan ^'aunaka, having taught this udgitha to Udara-^a;2<3filya, said : ' As long as they will know in your family this udgitha, 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 udgitha, 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. ^ Ether, or we might translate it by space, both being intended, however, as names or symbols of the Highest Brahman. See Vedanta-sutra I, i, 22. 1. When the Kurus had been destroyed by (hail) stones ^, Ushasti A'akrayawa Hved as a beggar with his virgin^ wife at Ibhyagrdma. 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.' ^ When they had been killed either by stone weapons, or by a shower of stones, which produced a famine in the land. Comm. ^ A/iki is not the name of the wife of Ushasti, nor does it mean strong enough to travel, ^'aiikara explains it as anupa^atapayodharadistrivyani,'ana, and Anandagiri adds, SvairasawMre 'pi na vyabhikara^ahketi dar^ayitum a/ikyeti vi^eshawam. She was so young that she was allowed to run about freely, without exciting any suspicion. Another commentator says, Gr/had bahirgantumarha anupa^atapayodhara. ' Or, according to the commentator, ' water I can get whenever I like.'

I PRAPAr77AKA, II KHAiVKA, 2. 1 9 7. His wife said to him : ' Look, here are those beans of yours.' Having eaten them, he went to the sacrifice which was being performed. 8. He went and sat down on the orchestra near the Udgatr/s, who were going to sing their hymns of praise. And he said to the Prastot?'^ (the leader) : 9. ' Prastotrz, if you, without knowing ^ the deity which belongs to the prastava (the hymns &c. of the Prastotrz), are going to sing it, your head will fall off.' 10. In the same manner he addressed the Udgatr^' ; ' Udgatr?, if you, without knowing the deity which belongs to the udgitha (the hymns of the Udgatr/), are going to sing it, your head will fall off.' 11. In the same manner he addressed the Pratihartr/; ' Pratihartr/, if you, without knowing the deity which belongs to the pratihara (the hymns of the Pratihartrz), are going to sing it, your head will fall off.' They stopped, and sat down in silence. 1. Then the sacrificer said to him: *I should like to know who you are. Sir.' He replied : ' I am Ushasti A'akrdya;/a.'

2. He said : ' I looked for you, Sir, for all these sacrificial offices, but not finding you ^, I chose others.' ^ The commentator is at great pains to show that a priest may oflflciate without knowing the secret meanings here assigned to certain parts of the sacrifice, and without running any risk of punishment. Only, if another priest is present, who is initiated, then the uninitiated, taking his place, is in danger of losing his head. ^ Should it be avittva, as in I, 2, 9 .? 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.' 4. Then the Prastotr/ approached him, saying : ' Sir, you said to me, " Prastotr/, if you, without knowing the deity which belongs to the prastava, are going to sing it, your head will fall off," — ^which then is that deity?' 5. He said: ' Breath (pra/za). For all these beings merge into breath alone, and from breath they arise. This is the deity belonging to the prastava. 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 Udgatr^ approached him, saying: * Sir, you said to me, " Udgatr/, if you, without knowing the deity which belongs to the udgttha, are going to sing it, your head will fall off," — which then is that deity ? ' 7. He said : 'The sun (aditya). For all these beings praise the sun when it stands on high. This is the deity belonging to the udgitha. 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 Pratihartrz' appr"oached him, saying : ' Sir, you said to me, " Pratihartrz', if you, without knowing the deity belonging to the pratihara, 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 pratihara. If, without knowing that deity, you had sung your hymns, your head would have fallen off, after you had been warned by me ^' 1. Now follows the udgitha of the dogs. Vaka ^ Dalbhya, or, as he was also called, Glava Maitreya, j 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 Dalbhya, or, as he was also called, Glava 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 Vahishpavamana hymn I After they had settled down, they began to say Hiri. 5. 'Om, let us eat! Om, let us drink! Om, may the divine Varima., Pra^apati, Savitr/^ bring us food! Lord of food, bring hither food, bring it, Om ! ' ^ There are certain etymological fancies for assigning each deity to a certain portion of the Sama-veda ceremonial. Thus prawa is assigned to the prastava, because both words begin with pra. Aditya is assigned to the udgitha, because the sun is ut. Anna, food, is assigned to the pratihara, because food is taken, pratihr/yate, &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 Varu«a and Pra^apati as epithets of Savitr/, or the sun, meaning rain-giver and man-protector. T. The syllable Hau - is this world (the earth), the syllable Hai ^ the air, the syllable Atha the moon, the syllable I ha the self, the syllable l'^ is Agni, fire. 2. The syllable 0 is the sun, the syllable E is the Nihava or invocation, the syllable Auhoi ^ is the Vi^ve Devas, the syllable Hih is Pra^ipati, Svara ^ (tone) is breath (pra;/a), the syllable Ya is food, the syllable Vag ^ is Vira^. 3. The thirteenth stobha syllable, viz. the indistinct syllable Hun, 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 Samans in this wise. He becomes rich in food, and able to eat food ^ — yea, able to eat food. ^ The syllables here mentioned are the so-called stobhaksharas, sounds used in the musical recitation of the Saman 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 Sama-veda, but their exact character and purpose are not quite clear.

2 A stobha syllable used in the Rathantara Saman. ' Used in the Vamadevya Saman. * The Saman addressed to Agni takes the syllable 1 as nidhana. ^ The stobha syllables used in the Saman addressed to the Vijve Devas. « See i:/i. Up. I, 4, 4. ^ The commentator takes vag as a stobha, as a syllable occurring in hymns addressed to Vira^, and as implying either the deity Vira^ or food. ^ I.e. wealthy and healthy. II PRAPAr^AKA, 2 KHAA^da, 2. 23 1. Meditation on the whole ^ of the Saman is good, and people, when anything is good, say it is Saman ; when it is not good, it is not Saman. 2. Thus they also say, he approached him with Saman, i. e. becomingly ; and he approached him without Saman, i. e. unbecomingly. 3. And they also say, truly this is Saman for us, i.e. it is good for us, when it is good; and truly that is not Saman for us, i. e. it is not good for us, when it is not good. 4. If any one knowing this meditates on the Saman as good, depend upon it all good qualities will approach quickly, aye, they will become his own '\

1. Let a man meditate on the fivefold Saman ^ as the five worlds. The hihkara is the earth, the prastava the fire, the udgitha the sky, the pratihara the sun, the nidhana heaven ; so in an ascendingline. 2. In a descending line, the hihkara is heaven, ^ Hitherto meditation on certain portions only of the Samaveda and the Sama-sacrifice had been enjoined, and their deeper meaning explained. Now the same is done for the whole of the Saman. 2 Cf. A7i. Up. Ill, 19, 4. ^ The five forms in which the Saman is used for sacrificial purposes. The Saman is always to be understood as the Good, as Dharma, and as Brahman. the prastava the sun, the udgitha the sky, the pratihara the fire, the nidhana the earth, 3. The worlds in an ascending and in a descending hne belong to him who knowing this meditates on the fivefold Saman as the worlds ^ 1. Let a man meditate on the fivefold Saman as rain. The hirikara is wind (that brings the rain) ; the prastava is, ' the cloud is come ; ' the udgitha is, 'it rains;' the pratihara, 'it flashes, it thunders ;' 2. The nidhana is, ' it stops.' There is rain for him, and he brings rain for others who thus knowing meditates on the fivefold Saman as rain.

T. Let a man meditate on the fivefold Saman in all w^aters. When the clouds gather, that is the hirikara ; when it rains, that is the prastava ; that which flows in the east ^ that is the udgitha ; that which flows in the west '\ that is the pratihara ; the sea is the nidhana. 2. He does not die in water-*, nay, he is rich in ^ The commentator supplies some fanciful reasons why each of the five Samans is identified with certain objects. Earth is said to be the hihkara, because both always come first. Agni is prastava, because sacrifices are praised in the fire (prastfiyante). The sky is udgitha, because it is also called gagana, and both words have the letter g in common. The sun is pratihara, because everybody wishes the sun to come towards him (prati). Heaven is nidhana, because those who depart from here are placed there (nidhiyante), &c. 2 The Ganges, &c. Comm. " The Narmada, &c. Comm. * The commentator adds, ' unless he wishes to die in the Ganges.' II PRAPArT/AKA, 7 KHAiVZiA, 2. 25 water who knowing this meditates on the fivefold Saman as all waters. 1. Let a man meditate on the fivefold Saman as the seasons. The hiiikara is spring, the prastava summer (harvest of yava, &c.), the udgitha the rainy season, the pratihara autumn, the nidhana winter.

2. The seasons belong to him, nay, he is always in season (successful) who knowing this meditates on the fivefold Saman as the seasons. 1. Let a man meditate on the fivefold Saman in animals. The hiiikara is goats, the prastava sheep, the udgitha cows, the pratihara horses, the nidhana man. 2. Animals belong to him, nay, he is rich in animals who knowing this meditates on the fivefold Saman as animals. 1. Let a man meditate on the fivefold Saman, which is greater than great, as the pra/^as (senses). The hinkara is smell ^ (nose), the prastava speech (tongue), the udgitha sight (eye), the pratihara hearing (ear), the nidhana mind. These are one greater than the other. 2. What is greater than great belongs to him, nay, he conquers the worlds which are greater than ' Franz is explained by ghrawa, smell; possibly ghra;/a may have been the original reading. Anyhow, it cannot be the mukhya pra«a here, because it is distinctly represented as the lowest sense. great, who knowing this meditates on the fivefold Saman, which is greater than great, as the pra;^as (senses). 1. Next for the sevenfold Saman. Let a man meditate on the sevenfold Saman in speech. Whenever there is in speech the syllable huh S that is hihkara, pra is the prastava, a is the adi, the first, i. e. Om,

2. Ud is the udgttha, pra the pratihara, iipa the upadrava, ni the nidhana. 3. Speech yields the milk, which is the milk of speech itself, to him who knowing this meditates on the sevenfold Saman in speech. He becomes rich in food, and able to eat food. 1. Let a man meditate on the sevenfold Saman as the sun. The sun is Saman, because he is always the same (sama) ; he is Saman because he is the same, everybody thinking he looks towards me, he looks towards me ^. 2. Let him know that all beings are dependent on him (the sun). What he is before his rising, that is the hihkara. On it animals are dependent. Therefore animals say hih (before sunrise), for they share the hihkara of that Saman (the sun). 3. What he is when first risen, that is the prastava. On it men are dependent. Therefore men love praise (prastuti) and celebrity, for they share the prastava of that Saman. ^ These are again the stobhaksharas, or musical syllables used in the performance of the Saman hymns ; see p. 22. 2 Cf. Kh. Up. II, 2, 2. Comm. II PRAPArJ^AKA, 9 KHAA^DA, 8. 1"]

4. What he is at the time of the saiigava \ that is the adi, the first, the Om. On it birds are dependent. Therefore birds fly about in the sky without support, holding themselves, for they share the adi "^ (the Om) of that Saman. 5. What he is just at noon, that is the udgitha. On it the Devas are dependent (because they are brilliant). Therefore they are the best of all the descendants of Pra^apati, for they share the udgitha of that Saman. 6. What he is after midday and before afternoon, that is the pratihara. On it all germs are dependent. Therefore these, having been conceived (pratihr/ta), do not fall, for they share the pratihara of that Saman, 7. What he is after the afternoon and before sunset, that is the upadrava. On it the animals of the forest are dependent. Therefore, when they see a man, they run (upadravanti) to the forest as a safe hiding-place, for they share the upadrava of that Saman. 8. What he is when he first sets, that is the nidhana. On it the fathers are dependent. Therefore they put them ^ down (nidadhati), for they share the nidhana of that Saman. Thus a man meditates on the sevenfold Saman as the sun.

^ When the sun puts forth his ra3's, and when the cows are together with their calves, i.e. as Rajendralal Mitra says, after the cows have been milked and are allowed by the cowherds to suckle their young. ^ The tertium comparationis is here the a of adi and the a of adaya, i. e. holding. The d might have been added. ^ The cakes for the ancestral spirits, or the spirits themselves. Tenth Khanda. ^ / I. Next let a man meditate on the sevenfold "''^VSaman which is uniform in itself^ and leads beyond death. The word hiiikara has three syllables, the word prastava has three syllables : that is equal (sama). 2. The word adi (first, Om) has two syllables, the word pratihara has four syllables. Taking one syllable from that over, that is equal (sama). 3. The word udgitha has three syllables, the word upadrava has four syllables. With three and three syllables it should be equal. One syllable being left over, it becomes trisyllabic. Hence it is equal. 4. The word nidhana has three syllables, therefore it is equal. These make twenty-two syllables. 5. With twenty-one syllables a man reaches the sun (and death), for the sun is the twenty-first ^ from here ; with the twenty-second he conquers what is beyond the sun : that is blessedness, that is freedom from grief.

6. He obtains here the victory over the sun (death), and there is a higher victory than the victory over the sun for him, who knowing this meditates on the sevenfold Saman as uniform in itself, which leads beyond death, yea, which leads beyond death. Eleventh KnAiVDA^. I. The hiiikara is mind, the prastava speech, the udgitha sight, the pratihara hearing, the nidhana ^ Atmasammita is explained by the commentator either as having the same number of syllables in the names of the different Samans, or as equal to the Highest Self. '^ There are twelve months, five seasons, three worlds, then follows the sun as the twenty-first. Comm. ^ After having explained the secret meaning of the whole Sama- II PRAPArffAKA, 13 KHAA^DA, 2. 29 breath. That is the Gayatra Saman, as interwoven in the (five) pra;^as \ 2. He who thus knows this Gayatra interwoven in the pra;/as, keeps his senses, reaches the full life, he lives long^, becomes great with children and cattle, great by fame. The rule of him who thus meditates on the Gayatra is, ' Be not high-minded.' 1. The hiiikara is, he rubs (the fire-stick); the prastava, smoke rises ; the udgitha, it burns ; the pratihara, there are glowing coals ; the nidhana, it goes down ; the nidhana, it is gone out. This is the Rathantara Saman as interwoven in fire ^

2. He who thus knows this Rathantara interwoven in fire, becomes radiant^ and strong. He reaches the full life, he lives long, becomes great with children and cattle, great by fame. The rule is, ' Do not rinse the mouth or spit before the fire.' Thirteenth Khaa^da. I, 2. Next follows the Vdmadevya as interwoven in generation ^. veda ceremonial, as it is to be understood by meditation only (dhyana), he proceeds to explain the secret meaning of the same ceremonial, giving to each its proper name in proper succession (gayatra, rathantara, &c.), and showing the hidden purport of those names. ^ Cf. Kh. Up. II, 7, I, where prawa is explained differently. The Gayatri itself is sometimes called pra«a. 2 The commentator generally takes ^yok in the sense of bright. ^ The Rathantara is used for the ceremony of producing fire. * Brahmavar-^asa is the 'glory of countenance' produced by higher knowledge, an inspired look. Annada, lit. able to eat, healthy, strong. ^ Upamantrayate sa hihkaro, ^iiapayate sa prastava-^, striya saha 1. Rising, the sun is the hihkara, risen, he is the prastiva, at noon he is the udgttha, in the afternoon he is the pratihira, setting, he is the nidhana. That is the Br/hat Saman as interwoven in the sun \

2, He who thus knows the Br/hat as interwoven in the sun, becomes refulgent ^ and strong, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, * Never complain of the heat of the sun.' 1. The mists gather, that is the hiiikara ; the cloud has risen, that is the prastava ; it rains, that is the udgitha ; it flashes and thunders, that is the pratihira ; it stops, that is the nidhana. That is the Vairupa Saman, as interwoven in Par^anya, the god of rain. 2. He who thus knows the VairApa as interwoven in Par^anya, obtains all kinds of cattle (virilpa), he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ' Never complain of the rain.' Sixteenth Kuanda. I. The hinkira is spring, the prastava summer, the udgitha the rainy season, the pratlhara autumn, jete sa udgithav^, pratistri saha sete sa pratihara^, kdlam gakkksiti tan uidhanam, paraw ga>^^^ati tan nidhanam. Etad vamadevyam mithune protam. 2. Sa ya evam etad vamadevyam mithune protaw veda, mithuni bhavati, mithunan mithunat pra^ayate, sarvam ayur eti, gyc^ ^ivati, mahan pra^aya pajubhir bhavati, mahan kirttya. Na ka;///^ana pariharet tad vratam.

^ The sun is hri'hzt. The Brihat Saman is to be looked upon as the sun, or the Br/Tiat has Aditya for its deity. * The same as brahmavar-^asin. II PRAPA2"/fAKA, 1 8 KHANDA, 2. 3 I the nidhana winter. That is the Vaira^a Saman, as interwoven in the seasons. 2. He who thus knows the Vaira^a, as interwoven in the seasons, shines (vira^ati) through children, cattle, and glory of countenance. He reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ' Never complain of the seasons.' 1. The hinkdra is the earth, the prastava the sky, the udgitha heaven, the pratihara the regions, the nidhana the sea. These are the ^'akvari Samans, as interwoven in the worlds \ 2. He who thus knows the ^Sakvaris, as interwoven in the worlds, becomes possessed of the worlds, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ' Never complain of the worlds.* 1. The hirikara is goats, the prastava sheep, the udgitha cows, the pratihara horses, the nidhana man. These are the Revati Samans, as interwoven in animals. 2. He who thus knows these Revatls, as interwoven in animals, becomes rich in animals ^ he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ' Never complain of animals.'

^ The -S'akvans are sung with the Mahanamnts. These are said to be water, and the worlds are said to rest on water. ' Revat means rich. 1. The hiiikara is hair, the prastava skin, the udgitha flesh, the pratihara bone, the nidhana marrow. That is the Ya^naya^hiya Saman, as interwoven in the members of the body. 2. He who thus knows the Ya^naya^niya, as interwoven in the members of the body, becomes possessed of strong Hmbs, he is not crippled in any Hmb, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ' Do not eat marrow for a year,' or ' Do not eat marrow at all.' 1. The hiiikara is fire, the prastava air, the udgitha the sun, the pratihara the stars, the nidhana the moon. That is the Ra^ana Saman, as interwoven in the deities. 2. He who thus knows the Rac^ana, as interwoven in the deities, obtains the same world, the same happiness, the same company as the gods, he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, ' Do not speak evil of the Brahma?ms.'

1. The hihkdra is the threefold knowledge, the prastava these three worlds, the udgitha Agni (fire), Vayu (air), and Aditya (sun), the pratihara the stars, the birds, and the rays, the nidhana the serpents, Gandharvas, and fathers. That is the Saman, as interwoven in everything. 2. He who thus knows this Saman, as interwoven in everything, he becomes everything. II PRAPArHAKA, 2 2 KHAiVDA, 2. 33 3. And thus it is said in the following verse : * There are the fivefold three (the three kinds of sacrificial knowledge, the three worlds &c. in their fivefold form, i. e. as identified with the hinkara, the prastava, &c.), and the other forms of the Saman. Greater than these there is nothing else besides.' 4. He who knows this, knows everything. All regions offer him gifts. His rule is, 'Let him meditate (on the Saman), knowing that he is everything, yea, that he is everything ^' 1. The udgitha, of which a poet said, I choose the deep sounding note of the Saman as good for cattle, belongs to Agni; the indefinite note belongs to Pra^pati, the definite note to Soma, the soft and smooth note to Vayu, the smooth and strong note to Indra, the heron-like note to Br/haspati, the dull note to Varu;/a. Let a man cultivate all of these, avoiding, however, that of Varu;^a.

2. Let a man sing^, wishing to obtain by his song immortality for the Devas. ' May I obtain by my song oblations (svadha) for the fathers, hope for men, fodder and water for animals, heaven for the sacrificer, food for myself,' thus reflecting on these in his mind, let a man (Udgatre priest) sing praises, without making mistakes in pronunciation, &c. ' Here ends the Samopasana. "- These are lucubrations on the different tones employed in singing the Saman hymns, and their names, such as vinardi, anirukta, nirukta, mrzdu jlakshwa, jlakshwa balavad, krauu/^a, apadhvanta. ^ It would be better if the first ity agayet could be left out. The commentator ignores these words. All vowels (svara) belong to Indra, all sibilants (lashman) to Pra^apati, all consonants (sparm) to Mrztyu (death). If somebody should reprove him for his vowels, let him say, ' I went to Indra as my refuge (when pronouncing my vowels) : he will answer thee.' 4. And if somebody should reprove him for his sibilants, let him say, * I went to Pra^apati as my refuge : he will smash thee.' And if somebody should reprove him for his consonants, let him say, ' I went to Mmyu as my refuge : he will reduce thee to ashes.'

5. All vowels are to be pronounced with voice (ghosha) and strength (bala), so that the Udgatr? may give strength to Indra. All sibilants are to be pronounced, neither as if swallowed (agrasta) ^ nor as if thrown out (nirasta)^ but well opened^ (vivrzta), so that the Udgat?^^ may give himself to Pra^apati. All consonants are to be pronounced slowly, and without crowding them together ^ so that the Udgatr/ may withdraw himself from Mr/tyu. ^ Grasa, according to the Rig-veda-prati^akhya 766, is the stiffening of the root of the tongue in pronunciation. ^ Nirasa, according to the Rig-veda-prati^akhya 760, is the withdrawing of the active from the passive organ in pronunciation. ^ The opening, vivrzta, may mean two things, either the opening of the vocal chords (kha), which imparts to the ushmans their surd character (Rig. Prat. 709), or the opening of the organs of pronunciation (karawa), which for the ushmans is aspnsh/am sthitam (Rig. Prat. 719), or vivr/ta (Ath. Prat. I, 31 ; Taitt. Prat. ^ Anabhinihita, for thus the commentaries give the reading, is explained by anabhinikshipta. On the real abhinidhana, see Rig. Prat. 393. The translation does not follow the commentary. The genitive pra^apate>^ is governed by paridadani.

II PRAPAr/fAKA, 24 KHANDA, I. 35 1. There are three branches of the law. Sacrifice, study, and charity are the first ^, 2. Austerity the second, and to dwell as a Brahma/J-arin in the house of a tutor, always mortifying the body in the house of a tutor, is the third. All these obtain the worlds of the blessed ; but the Brahmasa7;2stha alone (he who is firmly grounded in Brahman) obtains immortality. 3. Pra^lpati brooded on the worlds. From them, thus brooded on, the threefold knowledge (sacrifice) issued forth. He brooded on it, and from it, thus brooded on, issued the three syllables, BhM, Bhuva//, Sva./i. ■ 4. He brooded on them, and from them, thus brooded on, issued the Om. As all leaves are attached to a stalk, so is all speech (all words) attached to the Om (Brahman). Om is all this, yea, Om is all this. I. The teachers of Brahman (Veda) declare, as the Prata/^-savana (morning-oblation) belongs to the Vasus, the Madhyandina-savana (noon-libation) to ^ Not the first in rank or succession, but only in enumerating the three branches of the law. This first branch corresponds to the second stage, the axrama of the householder. Austerity is meant for the Vanaprastha, the third ajrrama, while the third is intended for the Brahma/('arin, the student, only that the naishMika or perpetual Brahma/J'arin here takes the place of the ordinary student. The Brahmasawstha would represent the fourth ajrama, that of the Sannyasin or parivra^, who has ceased to perform any works, even the tapas or austerities of the Vanaprastha.

the Rudras, the third Savana (evening-libation) to the Adityas and the Vii-ve Devas, 2. Where then is the world of the sacrificer? He who does not know this, how can he perform the sacrifice ? He only who knows, should perform it\ 3. Before the beginning of the Prataranuvaka (matin-chant), the sacrificer, sitting down behind the household altar (garhapatya), and looking towards the north, sings the Saman, addressed to the Vasus : 4. ' Open the door of the world (the earth), let us see thee, that we may rule (on earth).' 5. Then he sacrifices, saying : * Adoration to Agni, who dwells on the earth, who dwells in the world! Obtain that world for me, the sacrificer! That is the world for the sacrificer ! ' 6. ' I (the sacrificer) shall go thither, when this life is over. Take this ! (he says, in offering the libation.) Cast back the bolt ! ' Having said this, he rises. For him the Vasus fulfil the morninoroblation. 7. Before the beginning of the Madhyandinasavana, the noon-oblation, the sacrificer, sitting down behind the Agnidhriya altar, and looking towards the north, singes the Saman, addressed to the Rudras : 8. * Open the door of the world (the sky), let us see thee, that we may rule wide (in the sky).'

9. Then he sacrifices, saying : ' Adoration to ^ The commentator is always very anxious to explain that though it is better that a priest should know the hidden meaning of the sacrificial acts which he has to perform, yet there is nothing to prevent a priest, who has not yet arrived at this stage of knowledge, from performing his duties. Vayu (air), who dwells in the sky, who dwells in the world. Obtain that world for me, the sacrificer ! That is the world for the sacrificer ! ' 10. ' I (the sacrificer) shall go thither, when this life is over. Take this! Cast back the bolt!' Having said this, he rises. For him the Rudras fulfil the noon-oblation. 11. Before the beginning of the third oblation, the sacrificer, sitting down behind the Ahavaniya altar, and looking towards the north, sings the Sariian, addressed to the Adityas and Vi^ve Devas : 12. ' Open the door of the world (the heaven), let us see thee, that we may rule supreme (in heaven).' This is addressed to the Adityas. 13. Next the Saman addressed to the Vij-ve Devas : ' Open the door of the world (heaven), let us see thee, that we may rule supreme (in heaven).'

14. Then he sacrifices, saying: 'Adoration to the Adityas and to the Vi^ve Devas, who dwell in heaven, who dwell in the world. Obtain that world for me, the sacrificer ! ' 15. 'That is the world for the sacrificer! I (the sacrificer) shall go thither, when this life is over. Take this ! Cast back the bolt ! ' Having said this, he rises. 16. For him the Adityas and the Vii"ve Devas fulfil the third oblation. He who knows this, knows the full measure of the sacrifice, yea, he knows it. 1. The sun is indeed the honey ^ of the Devas. The heaven is the cross-beam (from which) the sky (hangs as) a hive, and the bright vapours are the eggs of the bees ^. 2. The eastern rays of the sun are the honeycells in front. The J^ik verses are the bees, the Rig-veda (sacrifice) is the flower, the water (of the sacrificial libations) is the nectar (of the flower). 3. Those very J^t^ verses then (as bees) brooded over the Rig-veda sacrifice (the flower) ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and healths 4. That (essence) flowed forth and went towards the sun^ And that forms what we call the red (rohita) light of the rising sun.

^ After the various meditations on the Sama-veda sacrifice, the sun is next to be meditated on, as essential t othe performance of all sacrifices. 2 Everybody delights in the sun, as the highest reward of all 2 I am not certain whether this passage is rightly translated. Rajendralal Mitra speaks of an arched bamboo, whence the atmosphere hangs pendant like a hive, in which the vapours are the eggs. Apupa means a cake, and may mean a hive. In order to understand the simile, we ought to have a clearer idea of the construction of the ancient bee-hive. * Annadya, explained as food, but more likely meaning power to eat, appetite, health. See III, 13, i. ^ The commentator explains: The J?tk verses, on becoming part of the ceremonial, perform the sacrifice. The sacrifice (the flower), when surrounded by the J^i^ verses (bees), yields its essence, the nectar. That essence consists in all the rewards to be obtained through sacrifice, and as these rewards are to be enjoyed in the Ill PRAPArZfAKA, 4 KUANDA, I. 39 1. The southern rays of the sun are the honeycells on the rioht. The Ya<rus verses are the bees, the Ya^ur-veda sacrifice is the flower, the water (of the sacrificial libations) is the nectar (of the flower).

2. Those very Ya^us verses (as bees) brooded over the Ya^ur-veda sacrifice (the flower) ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health. 3. That flowed forth and went towards the sun. And that forms what we call the white (i-ukla) light 1. The western rays of the sun are the honeycells behind. The Saman verses are the bees, the Sama-veda sacrifice is the flower, the water is the nectar. ' 2. Those very Saman verses (as bees) brooded over the Sama-veda sacrifice ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health. 3. That flowed forth and went towards the sun. And that forms what we call the dark (krtsh^ia) light of the sun. Fourth Khanda. I. The northern rays of the sun are the honeycells on the left. The (hymns of the) Atharvaiigiras are the bees, the Itihasa-pura;/a ^ (the reading of the old stories) is the flower, the water is the nectar. next world and in the sun, therefore that essence or nectar is said to ascend to the sun. 1 As there is no Atharva-veda sacrifice, properly so called, we have corresponding to the Atharva-veda hymns the so-called fifth

2. Those very hymns of the Atharvaiigiras (as bees) brooded over the Itlhasa-pura;/a ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health. 3. That flowed forth, and went towards the sun. And that forms what we call the extreme dark (para/^ kr/sh;^am) light of the sun. 1. The upward rays of the sun are the honeycells above. The secret doctrines are the bees, Brahman (the Om) is the flower, the water is the nectar. 2. Those secret doctrines (as bees) brooded over Brahman (the Om) ; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, brightness, vigour, strength, and health. 3. That flowed forth, and went towards the sun. And that forms what seems to stir in the centre of the sun. 4. These (the different colours in the sun) are the essences of the essences. For the Vedas are essences (the best things in the world) ; and of them (after they have assumed the form of sacrifice) these (the colours rising to the sun) are again the essences. They are the nectar of the nectar. For the Vedas are nectar (immortal), and of them these are the nectar.

Veda, the Itihasa-purawa. This may mean the collection of legends and traditions, or the old book of traditions. At all events it is taken as one Purawa, not as many. These ancient stories were repeated at the A^vamedha sacrifice during the so-called Pariplava nights. Many of them have been preserved in the Brahma«as ; others, in a more modern form, in the Mahabharata. See Weber, Indische Studien, I, p. 258, note. Ill PRAPArT/AKA, 7 KHAA^DA, 3. 4 1 1. On the first of these nectars (the red hght, which represents fame, glory of countenance, vigour, strength, heakh) the Vasus hve, with Agni at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar. 2. They enter into that (red) colour, and they rise from that colour ^. 3. He who thus knows this nectar, becomes one of the Vasus, with Agni at their head, he sees the nectar and rejoices. And he, too, having entered that colour, rises again from that colour. 4. So long as the sun rises in the east and sets in the west^ so long does he follow the sovereign supremacy of the Vasus. 1. On the second of these nectars the Rudras live, with Indra at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar.

2. They enter into that white colour, and they rise from that colour. 3. He who thus knows this nectar, becomes one of the Rudras, with Indra at their head, he sees the ^ This is differently explained by the commentator. He takes it to mean that, when the Vasus have gone to the sun, and see that there is no opportunity for enjoying that colour, they rest ; but when they see that there is an opportunity for enjoying it, they exert themselves for it. I think the colour is here taken for the colour of the morning, which the Vasus enter, and from which they go forth again. 2 I. East: Vasus: red: Agni. 2. South: Rudras: white: Indra. 3. West : Aditya : dark : Varu«a. 4. North : Marut : very •dark : Soma. 5. Upward : Sadhya : centre : Brahm.an, nectar and rejoices. And he, having entered that colour, rises again from that colour. 4. So long as the sun rises in the east and sets in the west, twice as long does it rise in the south and set in the north ; and so long does he follow the sovereign supremacy of the Rudras.

1. On the third of these nectars the Adityas live, with Varu//a at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar. 2. They enter into that (dark) colour, and they rise from that colour. 3. He who thus knows this nectar, becomes one of the Adityas, with Varu;^a at their head, he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour. 4. So long as the sun rises in the south and sets in the north, twice as long does it rise in the west and set in the east ; and so long does he follow the sovereign supremacy of the Adityas. 1. On the fourth of these nectars the Maruts live, with Soma at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar. 2. They enter in that (very dark) colour, and they rise from that colour. 3. He who thus knows this nectar, becomes one of the Maruts, with Soma at their head, he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour. 4. So long as the sun rises in the west and sets

Ill PRAPAr^AKA, lO KHAiVDA, 4. 43 in the east, twice as long does it rise in the north and set in the south; and so long does he follow the sovereign supremacy of the Maruts. 1. On the fifth of these nectars the Sadhyas live, with Brahman at their head. True, the Devas do not eat or drink, but they enjoy by seeing the nectar. 2. They enter into that colour, and they rise from that colour. 3. He who thus knows this nectar, becomes one of the Sadhyas, with Brahman at their head ; he sees the nectar and rejoices. And he, having entered that colour, rises again from that colour. 4. So long as the sun rises in the north and sets in the south, twice as long does it rise above, and set below ; and so long does he follow the sovereign power of the Sadhyas \ ^ The meaning of the five Kha;/fl'as from 6 to 10 is clear, in so far as they are intended to show that he who knows or meditates on the sacrifices as described before, enjoys his reward in different worlds with the Vasus, Rudras, &c. for certain periods of time, till at last he reaches the true Brahman. Of these periods each succeeding one is supposed to be double the length of the preceding one. This is expressed by imagining a migration of the sun from east to south, west, north, and zenith. Each change of the sun marks a new world, and the duration of each successive world is computed as double the duration of the preceding world. Similar ideas have been more fully developed in the Pura«as, and the commentator is at great pains to remove apparent contradictions between the Paura;nk and Vaidik accounts, following, as Ananda^^nanagiri remarks, the Dravi^/a/C-arya (p. 173, 1. 13).

1. When from thence he has risen upwards, he neither rises nor sets. He is alone, standing in the centre. And on this there is this verse : 2. ' Yonder he neither rises nor sets at any time. If this is not true, ye gods, may I lose Brahman.' 3. And indeed to him who thus knows this Brahma-upanishad (the secret doctrine of the Veda) the sun does not rise and does not set. For him there is day, once and for all \ 4. This doctrine (beginning with III, i, i) Brahman (m. Hira;^yagarbha) told to Pra^apati (Vira^), Pra^apati to Manu, Manu to his offspring (Ikshvaku, &c.) And the father told that (doctrine of) Brahman (n.) to Uddalaka Aru;/i. 5. A father may therefore tell that doctrine of Brahman to his eldest son ^, or to a worthy pupil. But no one should tell it to anybody else, even if he gave him the whole sea-girt earth, full of treasure, for this doctrine is worth more than that, yea, it is worth more. I. The Gayatri^ (verse) is everything whatsoever here exists. Gayatri indeed is speech, for speech 1 Cf. A'/^. Up. VIII, 4, 2. 2 This was the old, not the present custom, says Anandagiri. Not the father, but an aMrya, has now to teach his pupils.

^ The Gayatri is one of the sacred metres, and is here to be meditated on as Brahman. It is used in the sense of verse, and as the name of a famous hymn. The Gayatri is often praised as the most powerful metre, and whatever can be obtained by means of the recitation of Gayatri verses is described as the achievement of the Gayatri, The etymology of gayatri from gai and tra is, of course, fanciful. Ill PRAPAri/AKA, 12 KHAiVDA, 6. 45 sings forth (gaya-ti) and protects (traya-te) everything that here exists. 2. That Gayatri is also the earth, for everything that here exists rests on the earth, and does not go beyond. 3. That earth again is the body in man, for in it the vital airs (pra/^as \ which are everything) rest, and do not go beyond. 4. That body again in man is the heart within man, for in it the pra;/as (which are everything) rest, and do not go beyond. 5. That Gayatri has four feet ^ and is sixfold ^ And this is also declared by a Rik verse (Rig-veda X, 90, 3) :— 6. ' Such is the greatness of it (of Brahman, under the disguise of Gayatri ^) ; greater than it is the Person^ (purusha). His feet are all things. The immortal with three feet is in heaven (i. e. in himself).'

^ The pra«as may be meant for the five senses, as explained in Kh. I, 2, I ; II, 7, I ; or for the five breathings, as explained immediately afterwards in III, 13, i. The commentator sees in them everything that here exists {Kh. Up. Ill, 15, 4), and thus establishes the likeness between the body and the Gayatri. As Gayatri is the earth, and the earth the body, and the body the heart, Gayatri is in the end to be considered as the heart. ^ The four feet are explained as the four quarters of the Gayatrt metre, of six syllables each. The Gayatri really consists of three feet of eight syllables each. * The Gayatri has been, identified with all beings, with speech, earth, body, heart, and the vital airs, and is therefore called sixfold. This, at least, is the way in which the commentator accounts for the epithet ' sixfold.' * Of Brahman modified as Gayatri, having four feet, and being sixfold. ^ The real Brahman, unmodified by form and name. 7. The Brahman which has been thus described (as immortal with three feet in heaven, and as G^yatri) is the same as the ether which is around us ;

8. And the ether which is around us, is the same as the ether which is within us. And the ether which is within us, 9. That is the ether within the heart. That ether in the heart (as Brahman) is omnipresent and unchanging. He who knows this obtains omnipresent and unchangeable happiness. 1. For that heart there are five g-ates beloneine to the Devas (the senses). The eastern gate is the Frana (up-breathing), that is the eye, that is Aditya (the sun). Let a man meditate on that as brightness (glory of countenance) and health. He who knows this, becomes bright and healthy. 2. The southern gate is the Vyana (backbreathing), that is the ear, that is the moon. Let a man meditate on that as happiness and fame. He who knows this, becomes happy and famous. 3. The western gate is the Apana (downbreathing), that is speech, that is Agni (fire). Let a man meditate on that as glory of countenance and health. He who knows this, becomes glorious and healthy. 4. The northern gate is the Samana (onbreathing), that is mind, that is Par^anya (rain). Let a man meditate on that as celebrity and beauty. ' The meditation on the five gates and the five gate-keepers of the heart is meant to be subservient to the meditation on Brahman, as the ether in the heart, which, as it is said at the end, is actually seen and heard by the senses as being within the heart.

Ill PRAPAr^AKA, 13 KHAiVDA, 8. 47 He who knows this, becomes celebrated and beautiful. 5. The upper gate is the Udana (out-breathing), that is air, that is ether. Let a man meditate on that as strength and greatness. He who knows this, becomes stronof and ereat. 6. These are the five men of Brahman, the doorkeepers of the Svarga (heaven) world. He who knows these five men of Brahman, the door-keepers of the Svarga world, in his family a strong son is born. He who thus knows these five men of Brahman, as the door-keepers of the Svarga world, enters himself the Svarga world. 7. Now that light which shines above thi^ heaven, higher than all, higher than everything, in the highest world, beyond which there are no other worlds, that is the same light which is within man. And of this we have this visible proof ^: 8. Namely, when we thus perceive by touch the warmth here in the body-. And of it we have this audible proof: Namely, when we thus, after stopping our ears, listen to what is like the rolline of a carriage, or the bellowing of an ox, or the sound of a burning fire ^ (within the ears). Let a man meditate on this as the (Brahman) which is seen and heard.

^ The presence of Brahman in the heart of man is not to rest on the testimony of revelation only, but is here to be established by the evidence of the senses. Childish as the argument may seem to us, it shows at all events how intently the old Brahmans thought on the problem of the evidence of the invisible. ^ That warmth must come from something, just as smoke comes from fire, and this something is supposed to be Brahman in the heart. 2 Cf. Ait. Ar. Ill, 2, 4, 11-13. He who knows this, becomes conspicuous and celebrated, yea, he becomes celebrated. 1. All this is Brahman (n.) Let a man medi- -A tate on that (visible world) as beginning, ending, and breathing ^ in it (the Brahman). Now man is a creature of will. According to what his will is in this world, so will he be when he has departed this life. Let him therefore have this will and belief: 2. The intelligent, whose body is spirit, whose form is light, whose thoughts are true, whose nature is like ether (omnipresent and invisible), from whom all works, all desires, all sweet odours and tastes proceed ; he who embraces all this, who never speaks, and is never surprised,

3. He is my self within the heart, smaller than a corn of rice, smaller than a corn of barley, smaller than a mustard seed, smaller than a canary seed or the kernel of a canary seed. He also is my self within the heart, greater than the earth, greater than the sky, greater than heaven, greater than all these worlds. 4. He from whom all works, all desires, all sweet odours and tastes proceed, who embraces all this, who never speaks and who is never surprised, he, my self within the heart, is that Brahman (n.) When I shall have departed from hence, I shall obtain him (that Self). He who has this faith- has no doubt; thus said SaudWysi^, yea, thus he said. ^ (?alan is explained by ga, born, la, absorbed, and an, breathing. It is an artificial term, but fully recognised by the Vedanta school, and always explained in. this manner. 2 Or he who has faith and no doubt, will obtain this. ^ This chapter is frequently quoted as the .Sa«t/ilya-vidya, Vedantasara, init; Vedanta -slltra III, 3, 31. Ill PRAPAriJAKA, 15 KHAiVDA, 5. 49 1. The chest which has the sky for its circumference and the earth for its bottom, does not decay, for the quarters are its sides, and heaven its Hd above. That chest is a treasury, and all things are within it.

2. Its eastern quarter is called 6^uhu, its southern Sahamana, its western Ra^ni, its northern Subhuta-. The child of those quarters is Vayu, the air, and he who knows that the air is indeed the child of the quarters, never weeps for his sons. ' I know the wind to be the child of the quarters, may I never weep for my sons.' 3. ' I turn to the imperishable chest with such and such and such ^' ' I turn to the Pra^^a (life) with such and such and such.' ' I turn to Bhu/t with such and such and such.' ' I turn to Bhuva/^ with such and such and such.' ' I turn to Sva// with such and such and such.' 4. 'When I said, I turn to Pri;za, then Pra/^a means all whatever exists here — to that I turn.' 5. 'When I said, I turn to BhM, what I said is, I turn to the earth, the sky, and heaven.' ^ The object of this section, the Kojavi^nana, is to show how. the promise made in III, 1 3, 6, ' that a strong son should be born in a man's family,' is to be fulfilled.

2 These names are explained by the commentator as follows : Because people offer libations (^hvati), turning to the east, therefore it is called Guhu. Because evil doers suffer (sahante) in the town of Yama, which is in the south, therefore it is called Sahamana. The western quarter is called Ra^iii, either because it is sacred to king Varuwa (ra^an), or on account of the red colour (raga) of the twilight. The north is called Subhiita, because wealthy beings (bhutimat), like Kuvera &c., reside there. ^ Here the names of the sons are to be pronounced. 6. ' When I said, I turn to Bhuva//, what I said Is, I turn to Agni (fire), Vayu (air), Aditya (sun).' 7. ' When I said, I turn to Sva/i, what I said is, I turn to the i?/g-veda, Ya^ur-veda, and Sama-veda. That is what I said, yea, that is what I said.' 1. Man is sacrifice. His (first) twenty-four years are the morning-hbation. The Gayatri has twentyfour syllables, the morning-libation is offered with Gayatri hymns. The Vasus are connected with that part of the sacrifice. The Pra;^as (the five senses) are the Vasus, for they make all this to abide (vasayanti). 2. If anything ails him in that (early) age, let him say: 'Ye Pr^;/as, ye Vasus, extend this my morninglibation unto the midday-libation, that I, the sacrificer, may not perish in the midst of the Pra/^as or Vasus.' Thus he recovers from his illness, and becomes whole.

3. The next forty-four years are the middaylibation. The Trish/ubh has forty- four syllables, the midday-libation is offered with Trish/ubh hymns. The Rudras are connected with that part of it. The Pra//as are the Rudras, for they make all this to cry (rodayanti). 4. If anything ails him in that (second) age, let him say : * Ye Pra;^as, ye Rudras, extend this my midday-libation unto the third libation, that I, the sacrificer, may not perish in the midst of the Pra;^as or Rudras.' Thus he recovers from his illness, and becomes whole. 5. The next forty-eight years are the third ^ The object of this Kha;/^a is to show how to obtain long life, as promised before. Ill PRAPArFAKA, 17 KHAiVZ>A, 5. 5 1 libation. The 6^agati has forty-eight syllables, the third libation is offered with C'agati hymns. The Adityas are connected with that part of it. The Pra;/as are the Adityas, for they take up all this (adadate). 6. If anything ails him in that (third) age, let him say: " ^ Ye Pra//as, ye Adityas, extend this my third libation unto the full age, that I, the sacrificer, may not perish in the midst of the Pra;^as or Adityas.' Thus he recovers from his illness, and becomes whole.

7. Mahidasa Aitareya (the son of Itara), who knew this, said (addressing a disease) : ' Why dost thou afflict me, as I shall not die by it ?' He lived a hundred and sixteen years (i.e. 24 + 44 + 48). He, too, who knows this lives on to a hundred and sixteen years. 1. When a man (who is the sacrificer) hungers, thirsts, and abstains from pleasures, that is the Diksha (initiatory rite). 2. When a man eats, drinks, and enjoys pleasures, he does it with the Upasadas (the sacrificial days on which the sacrificer is allowed to partake of food). 3. When a man laughs, eats, and delights himself, he does it with the Stuta-i"astras (hymns sung and recited at the sacrifices). 4. Penance, liberality, righteousness, kindness, truthfulness, these form his Dakshi;^as (gifts bestowed on priests, &c.) 5. Therefore when they say, ' There will be a ^ Here we have a representation of the sacrifice as performed without any ceremonial, and as it is often represented when performed in thought only by a man living in the forest. birth,' and 'there has been a birth' (words used at the Soma-sacrifice, and really meaning, ' He will pour out the Soma-juice,' and ' he has poured out the Soma-juice'), that is his new birth. His death is the Avabhr/tha ceremony (when the sacrificial vessels are carried away to be cleansed).

6. Ghora Angirasa, after having communicated this (view of the sacrifice) to Krz'sh;^a, the son of Devaki ^ — and he never thirsted again (after other knowledge) — said : ' Let a man, when his end ap- ^ The curious coincidence between Kr/sh^za Devakiputra, here mentioned as a pupil of Ghora Angirasa, and the famous Kr/shwa, the son of Devaki, was first pointed out by Colebrooke, Miscell. Essays, II, 177. Whether it is more than a coincidence, is difficult to say. Certainly we can build no other conclusions on it than those indicated by Colebrooke, that new fables may have been constructed elevating this personage to the rank of a god. We know absolutely nothing of the old Kr/sh«a Devakiputra except his having been a pupil of Ghora Angirasa, nor does there seem to have been any attempt made by later Brahmans to connect their divine Kr?sh;za, the son of Vasudeva, with the Kr/sh«a Devakiputra of our Upanishad. This is all the more remarkable because the author of the ^S'awrtTilya-sutras, for instance, who is very anxious to find a jrauta authority for the worship of K/'/sh«a Vasudeva as the supreme deity, had to be satisfied with quoting such modern compilations as the Narayawopanishad, Atharvai-iras, VI, 9, brahma«yo devaklputro brahmawyo madhusudana-^ (see i5'a«^ilya-sfitras, ed. Ballantyne, p. 36, translated by Cowell, p. 51), without venturing to refer to the Kr/sh«a Devakiputra of the -A'y^andogya-upanishad. The occurrence of such names as Kri'shwa,

Vasudeva, Madhusudana stamps Upanishads, like the Atmabodhaupanishad, as modern (Colebrooke, Essays, I, loi), and the same remark applies, as Weber has shown, to the Gopalatapani-upanishad (Bibliotheca Indica, No. 183), where we actually find such names as SvWri^hnz Govinda, Gopi^anavallabha, Devakyani ^ta^ (p. 38), &c. Professor Weber has treated these questions very fully, but it is not quite clear to me whether he wishes to go beyond Colebrooke and to admit more than a similarity of name between the pupil of Ghora Angirasa and the friend of the Gopis. Ill PRAPAr^AKA, 1 8 KHAiVDA, 2, 53 proaches, take refuge with this Triad ^ : '' Thou art the imperishable," " Thou art the unchangeable," " Thou art the edge of Pra;^a." ' On this subject there are two J^i^ verses (Rig-veda VIII, 6, 30) : — 7. ' Then they see (within themselves) the everpresent light of the old seed (of the world, the Sat), the highest, which is lighted in the brilliant (Brahman).' Rig-veda I, 50, 10 : — ' Perceiving above the darkness (of ignorance) the higher light (in the sun), as the higher light within the heart, the bright source (of light and life) among the gods, we have reached the highest light, yea, the highest light ^Z

1. Let a man meditate on mind as Brahman (n.), this is said with reference to the body. Let a man meditate on the ether as Brahman (n,), this is said with reference to the Devas. Thus both the meditation which has reference to the body, and the meditation which has reference to the Devas, has been taught. 2. That Brahman (mind) has four feet (quarters). ^ Let him recite these three verses. 2 Both these verses had to be translated here according to their scholastic interpretation, but they had originally a totally different meaning. Even the text was altered, diva being changed to divi, svah to sve. The first is taken from a hymn addressed to Indra, who after conquering the dark clouds brings back the light of the sun. When he does that, then the people see again, as the poet says, the daily light of the old seed (from which the sun rises) which is lighted in heaven. The other verse belongs to a hymn addressed to the sun. Its simple meaning is: 'Seeing above the darkness (of the night) the rising light, the Sun, bright among the bright, we came towards the highest light.' ^ This is a further elucidation of ^-^. Up. Ill, 14, 2.

Speech is one foot, breath is one foot, the eye is one foot, the ear is one foot — so much with reference to the body. Then with reference to the gods, Agni (fire) is one foot, Vayu (air) is one foot, Aditya (sun) is one foot, the quarters are one foot. Thus both the worship which has reference to the body, and the worship which has reference to the Devas, has been taught. 3. Speech is indeed the fourth foot of Brahman, That foot shines with Agni (fire) as its Hght, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance. 4. Breath is indeed the fourth foot of Brahman. That foot shines with Vayu (air) as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance. 5. The eye is indeed the fourth foot of Brahman. That foot shines with Aditya (sun) as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance. 6. The ear is indeed the fourth foot of Brahman. That foot shines with the quarters as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance.

Nineteenth Kb and a. I, Aditya (the sun^) is Brahman, this is the doctrine, and this is the fuller account of it : — In the beginning this was non-existent-. It be- ^ Aditya, or the sun, had before been represented as one of the four feet of Brahman. He is now represented as Brahman, or as to be meditated on as such. ^ Not yet existing, not yet developed in form and name, and therefore as if not existing. IV PRAPAr/fAKA, I KHAiVDA, I. 55 came existent, it grew. It turned into an Ggg^. The egg lay for the time of a year. The egg broke open. The two halves were one of silver, the other of gold. 2. The silver one became this earth, the golden one the sky, the thick membrane (of the white) the mountains, the thin membrane (of the yoke) the mist with the clouds, the small veins the rivers, the fluid the sea. 3. And what was born from it that was Aditya, the sun. When he was born shouts of hurrah arose, and all beings arose, and all things which they desired. Therefore whenever the sun rises and sets, shouts of hurrah arise, and all beings arise, and all things which they desire.

4. If any one knowing this meditates on the sun as Brahman, pleasant shouts will approach him and will continue, yea, they will continue. I. There lived once upon a time Canai^ruti Pau- Jt traya;^a (the great-grandson of Ga.n3.srutSi), who was a pious giver, bestowing much wealth upon the ^ Afida instead of a.nda. is explained as a Vedic irregularity. A similar cosmogony is given in Manu's Law Book, I, 12 seq. See Kellgren, Mythus de ovo mundano, Helsingfors, 1849. ^ Vayu (air) and Pra«a (breath) had before been represented as feet of Brahman, as the second pair. Now they are represented as Brahman, and as to be meditated on as such. This is the teaching of Raikva. The language of this chapter is very obscure, and I am not satisfied with the translation. people, and always keeping open house. He built places of refuge everywhere, wishing that people should everywhere eat of his food. 2. Once in the night some Hamsas (flamingoes) flew over his house, and one flamingo said to another : 'Hey, Bhallaksha, Bhallaksha (short-sighted friend). The light (glory) of 6^anai'ruti Pautraya/^a has spread like the sky. Do not go near, that it may not burn thee.'

3. The other answered him : ' How can you speak of him, being what he is (a ra^anya, noble), as if he were like Raikva with the car ^ ? ' 4. The first replied : ' How is it with this Raikva with the car of whom thou speakest ? ' The other answered : ' As (in a game of dice) all the lower casts ^ belong to him who has conquered with the Krz'ta cast, so whatever good deeds other people perform, belong to that Raikva. He who knows what he knows, he is thus spoken of by me.' 5. 6^anai'ruti Pautraya;/a overheard this conversation, and as soon as he had risen in the morning, he said to his door-keeper (kshattr/) : ' Friend, dost thou speak of (me, as if I were) Raikva with the car.'*' He replied : ' How is it with this Raikva with the car?' 6. The king said : * As (in a game of dice), all the lower casts belong to him who has conquered with the Kma cast, so whatever good deeds other people perform, belong to that Raikva. He who knows what he knows, he is thus spoken of by me.'

^ Sayugvan is explained as possessed of a car with yoked horses or oxen. Could it have meant originally, 'yoke-fellow, equal,' as in Rig-veda X, 130,4? Anquetil renders it by 'semper cum se ipso camelum solutum habens.' ^ Instead of adhareya//, we must read adhare 'yah. IV PRAPAT/fAKA, 2 KUANDA, $. 57 7. The door-keeper went to look for Raikva, but returned saying, ' I found him not.' Then the king said : 'Alas! where a Brahma/^a should be searched for (in the solitude of the forest), there go for him.' 8. The door-keeper came to a man who was lying beneath a car and scratching his sores \ He addressed him, and said : ' Sir, are you Raikva with the car } ' He answered : ' Here I am.' Then the door-keeper returned, and said : * I have found him.' 1. Then Cana^ruti Pautraya;2a took six hundred cows, a necklace, and a carriage with mules, went to Raikva and said : 2. ' Raikva, here are six hundred cows, a necklace, and a carriage with mules ; teach me the deity which you worship.' 3. The other replied : 'Fie, necklace and carriage be thine, O ^'udra, together with the cows.'

Then 6^anai'ruti Pautraya;^a took again a thousand cows, a necklace, a carriage with mules, and his own daughter, and went to him. 4. He said to him : ' Raikva, there are a thousand cows, a necklace, a carriage with mules, this wife, and this village in which thou dwellest. Sir, teach me ! ' 5. He, opening her mouth ^, said: 'You have ^ It is curious that in a hymn of the Atharva-veda (V, 22, 5, 8) takman, apparently a disease of the skin, is relegated to the Mahav/Vshas, where Raikva dwelt. Roth, Zur Literatur des Veda, p. 36. ^ To find out her age. The commentator translates, ' Raikva, knowing her mouth to be the door of knowledge, i. e. knowing that for her he might impart his knowledge to G^ana^ruti, and that brought these (cows and other presents), O vS'udra, but only by that mouth did you make me speak.' These are the Raikva-par;m villages in the country of the Mahavr/shas (mahapu;^yas) where Raikva dwelt under him \ And he said to him : 1. 'Air (vayu) is indeed the end of all-. For when fire goes out, it goes into air. When the sun goes down, it goes into air. When the moon goes down, it goes into air.

2. ' When water dries up, it goes into air. Air indeed consumes them all. So much with reference to the Devas. 3. ' Now with reference to the body. Breath (pra/^a) is indeed the end of all. When a man sleeps, speech goes into breath, so do sight, hearing, and mind. Breath indeed consumes them all. 4. ' These are the two ends, air among the Devas, breath among the senses (prd;^a//).' 5. Once while ^'aunaka Kapeya and Abhipratarin K^kshaseni were being waited on at their meal, a religious student begged of them. They gave him nothing. 6. He said : ' One god — who is he ? — swallowed the four great ones ^, he, the guardian of the world. (^ana-STUti by bringing such rich gifts had become a proper receiver of knowledge, consented to do what he had before refused.' ^ The commentator supplies adat, the king gave the villages to him. ^ Sawvarga, absorption, whence sa»/vargavidya, not sa;;/sarga. It is explained by sawvar^ana, sawgraha;/a, and sawgrasana, in the text itself by adana, eating. ^ This must refer to Vayu and Prawa swallowing the four, as explained in IV, 3, 2, and IV, 3, 3. The commentator explains

IV PRAPAr/^AKA, 3 KllANDA, 8. 59 O Kapeya, mortals see him not, O Abhipratarin, though he dwells in many places. He to whom this food belongs, to him it has not been given \' 7. 6'aunaka Kapeya, pondering on that speech, went to the student and said : ' He is the self of the Devas, the creator of all beings, with golden tusks, the eater, not without intelligence. His greatness is said to be great indeed, because, without being eaten, he eats even what is not food ^. Thus do we, O BrahmaMrin, meditate on that Being.' Then he said : ' Give him food.' 8. They gave him food. Now these five (the eater Vayu (air), and his food, Agni (fire), Aditya (sun), A'andramas (moon), Ap (water)) and the other five (the eater Pra;^a (breath), and his food, speech, sight, hearing, mind) make ten, and that is the K7'/ta (the highest ^) cast (representing the ten, the eaters and the food). Therefore in all quarters those ten are food (and) K^/ta (the highest cast). These are again the Vira^^ (often syllables) it by Pra^apati, who is sometimes called Ka. In one sense it would be Brahman, as represented by Vayu and Praz/a.

^ The food which you have refused to me, you have really refused to Brahman. 2 ^aunaka wishes the student to understand that though ' mortals see him not,' he sees and knows him, viz. the god who, as Vayu, swallows all the gods, but produces them again, and who, as pra7;a, swallows during sleep all senses, but produces them again at the time of waking. ^ The words are obscure, and the commentator does not throw much light on them. He explains, however, the four casts of the dice, the Kr/ta=4, the Treta = 3, the Dvapara=2, the Kali= i, making together 10, the Kr/ta cast absorbing the other casts, and thus counting ten. * Vir%, name of a metre of ten syllables, and also a name of food. One expects, ' which is the food and eats the food.' which eats the food. Throuorh this all this becomes seen. He who knows this sees all this and becomes an eater of food, yea, he becomes an eater of food. 1. Satyakama, the son of 6^abala, addressed his mother and said : ' I wish to become a Brahma/^^arin (religious student), mother. Of what family am I ? '