Upanishads (12 principal, Sacred Books of the East)

Now Viro/C'ana, satisfied in his heart, went to the Asuras and preached that doctrine to them, that the self (the body) alone is to be worshipped, that the ^ I take atmana^ as a genitive, governed by yad, not as an accusative plural. ^ The commentator reads yatare for yata-^. VIII PRAPArFAKA, 9 KHANDA, 2. I 37 self (the body) alone is to be served, and that he who worships the self and serves the self, gains both worlds, this and the next. 5. Therefore they call even now a man who does not give alms here, who has no faith, and offers no sacrifices, an Asura, for this is the doctrine (iipanishad) of the Asuras. They deck out the body of the dead with perfumes, flowers, and fine raiment by way of ornament, and think they will thus conquer that world ^ T. But Indra, before he had returned to the Devas, saw this difficulty. As this self (the shadow in the water) ^ is well adorned, when the body is well adorned, well dressed, when the body is well dressed, well cleaned, if the body is well cleaned, that self will also be blind, if the body is blind, lame, if the body is lame ^, crippled, if the body is crippled, and will perish in fact as soon as the body perishes. Therefore I see no good in this (doctrine).

2. Taking fuel in his hand he came again as a pupil to Pra^apati. Pra^apati said to him : ' Maghavat (Indra), as you went away with ViroZ'ana, satisfied in your heart, for what purpose did you come back ? ' ^ This evidently refers to the customs and teaching of tribes not entirely conforming to the Brahmanic system. Whether the adorning of the dead body imphes burial instead of burning, seems doubtful. ^ The commentator remarks that though both Indra and Viro- /(•ana had mistaken the true import of what Pra^apati said, yet while Viro/^ana took the body to be the Self, Indra thought that the Self was the shadow of the body. ^ Srama, lame, is explained by the commentator as one-eyed, ekanetra. He said : ' Sir, as this self (the shadow) is well adorned, when the body is well adorned, well dressed, when the body is well dressed, well cleaned, if the body is well cleaned, that self will also be blind, if the body is blind, lame, if the body is lame, crippled, if the body is crippled, and will perish in fact as soon as the body perishes. Therefore I see no good in this (doctrine).'

3. ' So it is indeed, Maghavat,' replied Pra^apati ; ' but I shall explain him (the true Self) further to you. Live with me another thirty-two years.' He lived with him another thirty-two years, and then Pra^apati said : 1. ' He who moves about happy in dreams, he is the Self, this is the immortal, the fearless, this is Brahman.' Then Indra went away satisfied in his heart. But before he had returned to the Devas, he saw this difficulty. Although it is true that that self is not blind, even if the body is blind, nor lame, if the body is lame, though it is true that that self is not rendered faulty by the faults of it (the body), 2. Nor struck when it (the body) is struck, nor lamed when it is lamed, yet it is as if they struck him (the self) in dreams, as if they chased him \ ^ I have adopted the reading vi-('/('/zayayanti, because it is the most difficult, and therefore explains most easily the various corruptions, or it may be emendations, that have crept into the text, ^'ahkara explains vi/'/'/;adayanti by vidravayanti, and this shows that he too must have read viX'/(7;ayayanti, for he could not have explained vi/('/t/^adayanti, which means they uncover or they deprive of their clothing, by vidravayanti, they drive away. It is true that vi/('X'/;ayayanti may be explained in two ways ; it may be the causative of AM, to cut, but this meaning is not very appropriate here,

VIII PRAPAr/fAKA, lO KHAA^ZJA, 4. 1 39 He becomes even conscious, as it were, of pain, and sheds tears. Therefore I see no good in this. 3. Taking fuel in his hands, he went again as a pupil to Pra^apati. Pra^apati said to him : ' Maghavat, as you went away satisfied in your heart, for what purpose did you come back ? ' He said : * Sir, although it is true that that self is not blind even if the body is blind, nor lame, if the body is lame, though it is true that that self is not rendered faulty by the faults of it (the body), 4. Nor struck when it (the body) is struck, nor lamed when it is lamed, yet it is as if they struck him (the self) in dreams, as if they chased him. He becomes even conscious, as it were, of pain, and sheds tears. Therefore I see no good in this.' * So it is indeed, Maghavat,' replied Pra^^apati ; 'but I shall explain him (the true Self) further to you. Live with me another thirty-two years.' He lived with him another thirty-two years. Then Pra^apati said : and quite inadmissible in another passage where viM//ayayati occurs, whereas, if derived from y\kh {o'lypi'-ai) in a causative sense, xSankara could hardly have chosen a better explanation than vidravayanti, they make run away. The root v\kh, viH'/;ayayati is recognised in Pacini III, i, 28, and in the Dhatupa///a 28, 129, but it has hitherto been met with in this passage only, and in B/7liadara«yaka Up. IV, 3, 20. Here also the author speaks of a man who imagines that people kill him or do him violence, or that an elephant chases him or that he falls into a pit. Here we have hastiva viX'/f/;ayayati, and -Sahkara, at least as printed by Dr. Roer, explains this by viX'/(V/apayati, vi/^^'/^adayati, vidravayati; dhavatity artha/z. INIuch better is Dvivedaganga's commentary, as published by Dr. Weber, -Satap. Brahm. p. 1145, Kada/fid enaw hasti viX'/^'/zayayativa vidravayativa ; viZV/a gatau, gupudhupavi/J/npa«ipanibhya aya iti (Pa;/. Ill, i, 28) svartha ayapratyaya/^. In the Dictionary of Boehtlingk and Roth the derivation from kJA, to cut, is preferred ; see Nachtrage, s. v. X'//a.

1. 'When a man being asleep, reposing, and at perfect rest \ sees no dreams, that is the Self, this is the immortal, the fearless, this is Brahman.' Then Indra went away satisfied in his heart. But before he had returned to the Devas, he saw this difficulty. In truth he thus does not know himself (his self) that he is I, nor does he know anything that exists. He is gone to utter annihilation, I see no good in this. 2. Taking fuel in his hand he went again as a pupil to Pra^apati. Pra^apati said to him : ' Maghavat, as you went away satisfied in your heart, for what purpose did you come back ? ' He said : ' Sir, in that way he does not know himself (his self) that he is I, nor does he know anything that exists. He is gone to utter annihilation. I see no good in this.' 3. ' So it is indeed, Maghavat,' replied Pra^apati ; 'but I shall explain him (the true Self) further to you, and nothing more than this ^. Live here other five years.' He lived there other five years. This made in all one hundred and one years, and therefore it is said that Indra Maghavat lived one hundred and one years as a pupil with Pra^apati. Pra^apati said to him :

I. * Maghavat, this body is mortal and always held by death. It is the abode of that Self which is ^ See A7i. Up. VIII, 6, 3. ^ .Sahkara explains this as meaning the real Self, not anything different from the Self. VIII PRAPAT'fl'AKA, 12 KHAiVDA, 3. I4T immortal and without body ^ When hi the body (by thinking this body is I and I am this body) the Self is held by pleasure and pain. So long as he is in the body, he cannot get free from pleasure and pain. But when he is free of the body (when he knows himself different from the body), then neither pleasure nor pain touches him ^. 2. * The wind is without body, the cloud, lightning, and thunder are without body (without hands, feet, &c.) Now as these, arising from this heavenly ether (space), appear in their own form, as soon as they have approached the highest light, 3. ' Thus does that serene being, arising from this body, appear in its own form, as soon as it has approached the highest light (the knowledge of Self"). He (in that state) is the highest person (uttama purusha). He moves about there laughing (or eating), playing, and rejoicing (in his mind), be it with women, carriages, or relatives, never minding that body into which he was born *.

^ According to some, the body is the result of the Self, the elements of the body, fire, water, and earth springing from the Self, and the Self afterwards entering them. ^ Ordinary, worldly pleasure. Comm. ^ The simile is not so striking as most of those old similes are. The wind is compared with the Self, on account of its being for a time lost in the ether (space), as the Self is in the body, and then rising again out of the ether and assuming its own form as wind. The chief stress is laid on the highest light, which in the one case is the sun of summer, in the other the light of knowledge. * These are pleasures which seem hardly compatible with the state of perfect peace which the Self is supposed to have attained. The passage may be interpolated, or put in on purpose to show that the Self enjoys such pleasures as an inward spectator only, without identifying himself with either pleasure or pain. He sees them, as he says afterwards, with his divine eye. The Self per- * Like as a horse attached to a cart, so is the spirit ^ (pra;2a, pra^fiatman) attached to this body.

4. ' Now where the sight has entered into the void (the open space, the black pupil of the eye), there is the person of the eye, the eye itself is the instrument of seeing. He who knows, let me smell this, he is the Self, the nose is the instrument of smelling. He who knows, let me say this, he is the Self, the tongue is the instrument of saying. He who knows, let me hear this, he is the Self, the ear is the instrument of hearing. 5. ' He who knows, let me think this, he is the Self, the mind is his divine eye^. He, the Self, seeing these pleasures (which to others are hidden like a buried treasure of gold) through his divine eye, i. e. the mind, rejoices. ' The Devas who are in the world of Brahman meditate on that Self (as taught by Pra^apati to Indra, and by Indra to the Devas). Therefore all worlds belong to them, and all desires. He who knows that Self and understands it, obtains all worlds and all desires.' Thus said Pra^apati, yea, thus said Praj^apati. ceives in all things his Self only, nothing else. In his commentary on the Taittiriya Upanishad (p. 45) -Sahkara refers this passage to Brahman as an effect, not to Brahman as a cause.

^ The spirit, the conscious self, is not identical with the body, but only joined to it, like a horse, or driving it, like a charioteer. In other passages the senses are the horses; buddhi, reason, the charioteer; man as, mind, the reins. The spirit is attached to the cart by the /('etana ; cf Ananda_§-nanagiri. ^ Because it perceives not only what is present, but also what is past and future. VIII PRAPAr/fAKA, 14 KUANDA, I. 1 43 I. From the dark (the Brahman of the heart) I come to the nebulous (the world of Brahman), from the nebulous to the dark, shaking off all evil, as a horse shakes his hairs, and as the moon frees herself from the mouth of Rahu '\ Having shaken off the body, I obtain, self made and satisfied, the uncreated world of Brahman, yea, I obtain it. I. He who is called ether ^ (aka^a) is the revealer of all forms and names. That within which these forms and names are contained is the Brahman, the Immortal, the Self I come to the hall of Pra^apati, to the house ; I am the glorious among Brahmans, glorious among princes, glorious among men *. I obtained that glory, I am glorious among the glorious. May I never go to the white, toothless, yet devouring, white abode ^; may I never go to it.

^ This chapter is supposed to contain a hymn of triumph. ^ Rahu, in later times a monster, supposed to swallow the sun and moon at every solar or lunar eclipse. At first we only hear of the mouth or head of Rahu. In later times a body was assigned to him, but it had to be destroyed again by Vishwu, so that nothing remained of him but his head. Rahu seems derived from rah, to separate, to remove. From it raksh, to wish or strive to remove, to keep off, to protect, and in a different application rakshas, a tearing away, violence, rakshas, a robber, an evil spirit. ^ Aka,ya, ether or space, is a name of Brahman, because, like ether, Brahman has no body and is infinitely small. * Here the three classes, commonly called castes, are clearly marked by the names of brahma;za, ra^an, and wis. I. Brahma (Hira?^yagarbha or Parame^vara) told this to Pra^apati (Ka^yapa), Pra^apati to Manu (his son), Manu to mankind. He who has learnt the Veda from a family of teachers, according to the sacred rule, in the leisure time left from the duties to be performed for the Guru, who, after receiving his discharge, has settled in his own house, keeping up the memory of what he has learnt by repeating it regularly in some sacred spot, who has begotten virtuous sons, and concentrated all his senses on the Self, never giving pain to any creature, except at the tirthas^ (sacrifices, &c.), he who behaves thus all his life, reaches the world of Brahman, and does not return, yea, he does not return.

^ The commentator says that even travelling about as a mendicant causes pain, but that a mendicant is allowed to importune people for alms at tirthas, or sacred places. Others explain this differently.

1. The Pupil asks: 'At whose wish does the mind sent forth proceed on its errand ? At whose command does the first breath oo forth ? At whose wish do we utter this speech ? What god directs the eye, or the ear ? ' 2. The Teacher repHes : ' It is the ear of the ear, the mind of the mind, the speech of speech, the breath of breath, and the eye of the eye. When freed (from the senses) the wise, on departing from this world, become immortal ^. 3. ' The eye does not go thither, nor speech, nor mind. We do not know, we do not understand, how any one can teach it. 4. ' It is different from the known, it is also above the unknown, thus we have heard from those of old, who taught us this I 5. ' That which is not expressed by speech and ^ This verse admits of various translations, and still more various explanations. Instead of taking va/l'am, like all the other words, as a nominative, we might take them all as accusatives, governed by atimu/^ya, and sa u pra«asya pra«a^ as a parenthetical sentence. What is meant by the ear of the ear is very fully explained by the commentator, but the simplest acceptation would seem to take it as an answer to the preceding questions, so that the ear of the ear should be taken for him who directs the ear, i. e. the Self, or Brahman. This will become clearer as we proceed.

^ Cf. Ija Up. 11; 13. by which speech Is expressed, that alone know as Brahman, not that which people here adore. 6. ' That which does not think by mind, and by which, they say, mind is thought ^, that alone know as Brahman, not that which people here adore. 7. ' That which does not see by the eye, and by which one sees (the work of) the eyes, that alone know as Brahman, not that which people here adore., 8. ' That which does not hear by the ear, and by which the ear is heard, that alone know as Brahman, not that which people here adore. 9. * That which does not breathe by breath, and by which breath is drawn, that alone know as Brahman, not that which people here adore.' 1. The Teacher says: 'If thou thinkest I know it well, then thou knowest surely but little, what is that form of Brahman known, it may be, to thee'-?' 2. The Pupil says : ' i do not think I know it well, nor do I know that I do not know it. He ' The varia lectio manaso matam (supported also by tlie commentary) is metrically and grammatically easier, but it may be, for that very reason, an emendation.

^ In order to obtain a verse, we must leave out the words tvam yad asya deveshv atha nu mimawsyam eva. They were probably inserted, as an excuse for the third khaw^a treating of the relation of Brahman to the Devas. There is considerable variety in the text, as handed down in the Sama-veda and in the Atharva-veda, which shows that it has been tampered with. Daharam for dabhram may be the older reading, as synezesis occurs again and again in the Upanishads. Ill KHAJVDA, I. 149 among us who knows this, he knows it, nor does he know that he does not know it \ 3. ' He by whom it (Brahman) is not thought,. by him it is thought ; he by whom it is thought, knows it not. It is not understood by those who understand it, it is understood by those who do not understand it, 4. ' It is thought to be known (as if) by awakening, and (then) we obtain immortality indeed. By the Self \ve obtain strength, by knowledge we obtain immortality. 5. 'If a man know this here, that is the true (end of life) ; if he does not know^ this here, then there is great destruction (new births). The wise who have thought on all things (and recognised the Self in them) become immortal, when they have departed from this world.'

I. Brahman obtained the victorv for the Devas. The Devas became elated by the victory of Brah- •^ This verse has again been variously explained. I think the train of thought is this : We cannot know Brahman, as we know other objects, by referring them to a class and pointing out their differences. But, on the other hand, we do not know that we know him not, i. e, no one can assert that we know him not, for we want Brahman in order to know anything. He, therefore, who knows this double peculiarity of the knowledge of Brahman, he knows Brahman, as much as it can be known ; and he does not know, nor can anybody prove it to him, that he does not know Brahman. ^ This kha«fl^a is generally represented as a later addition, but its prose style has more of a Brahmawa character than the verses in the preceding khandas, although their metrical structure is irregular, and may be taken as a sign of antiquity. man, and they thought, this victory is ours only, this greatness is ours only, 2. Brahman perceived this and appeared to them. But they did not know it, and said : ' What sprite (yaksha or yakshya) is this ?'

3. They said to Agni (fire) : ' O (9atavedas, find out what sprite this is.' ' Yes,' he said. 4. He ran toward it, and Brahman said to him: 'Who are you?' He replied: 'I am Agni, I am (S'atavedas.' 5. Brahman said: 'What power is in you?' Agni replied : ' I could burn all whatever there is on earth.' 6. Brahman put a straw before him, saying : ' Burn this.' He went towards it with all his might, but he could not burn it. Then he returned thence and said : ' I could not find out what sprite this is.' 7. Then they said to Vayu (air) : ' O Vayu, find out what sprite this is.' ' Yes,' he said. 8. He ran toward it, and Brahman said to hirn : 'Who are you?' He replied: 'I am Vayu, I am Matarij-van.' 9. Brahman said: 'What power is in you?' Vayu replied : ' I could take up all whatever there is on earth.' 10. Brahman put a straw before him, saying: ' Take it up.' He went towards it with all his might, but he could not take it up. Then he returned thence and said : ' I could not find out what sprite this is.'

11. Then they said to Indra : ' O Maghavan, find out what sprite this is.' He went towards it, but it disappeared from before him. 12. Then in the same space (ether) he came IV KHAiVDA, 4. 151 towards a woman, highly adorned : it was Uma, the daughter of Himavat^ He said to her: 'Who is that sprite ?' 1. She repHed : 'It is Brahman. It is through the victory of Brahman that you have thus become great' After that he knew that it was Brahman. 2. Tlierefore these Devas, viz. Agni, Vayu, and Indra, are, as it were, above the other gods, for they touched it (the Brahman) nearest ^. 3. And therefore Indra is, as it were, above the other gods, for he touched it nearest, he first knew it. 4. This is the teaching of Brahman, with regard to the gods (mythological) : It is that which now ^ Uma may here be taken as the wife of Siva, daughter of Himavat, better known by her earlier name, Parvati, the daughter of the mountains. Originally she was, not the daughter of the mountains or of the Himalaya, but the daughter of the cloud, just as Rudra was originally, not the lord of the mountains, girua, but the lord of the clouds. We are, however, moving here in a secondary period of Indian thought, in which we see, as among Semitic nations, the manifested powers, and particularly the knowledge and wisdom of the gods, represented by their wives. Uma means originally flax, from va, to weave, and the same word may have been an old name of wife, she who weaves (cf. duhitr/, spinster, and possibly wife itself, if O. H. G. wib is connected with O. H. G. weban). It is

used almost synonymously with ambikS, Taitt. Ar. p. 839. If we wished to take liberties, we might translate uma haimavati by an old woman coming from the Himavat mountains ; but I decline all responsibihty for such an interpretation. ^ The next phrase was borrowed from § 3, without even changing the singular to the plural. As Indra only found out that it was Brahman, the original distinction between Indra and the other gods, who only came near to it, was quite justified. Still it might be better to adopt the var. lect. sa hy etat in § 2. flashes forth in the Hghtning, and now vanishes 5. And this is the teaching of Brahman, with regard to the body (psychological) : It is that which seems to move as mind, and by it imagination remembers again and again ^ 6. That Brahman is called Tadvana ^, by the name of Tadvana it is to be meditated on. All beinpfs have a desire for him who knows this. 7. The Teacher: 'As you have asked me to tell you the Upanishad, the Upanishad has now ^ I have translated these paragraphs very differently from Sihkara and other interpreters. The wording is extremely brief, and Ave can only guess the original intention of the Upanishad by a reference to other passages. Now the first teaching of Brahman, by means of a comparison with the gods or heavenly things in general, seems to be that Brahman is what shines forth suddenly like lightning. Sometimes the relation between the phenomenal world and Brahman is illustrated by the relation between bubbles and the sea, or lightning and the unseen heavenly light (Mait. Up. VI, 35). In another passage, J^h. Up. VIII, 12, 2, lightning, when no longer seen, is to facilitate the conception of the reality of things, as distinct from their perceptibility. I think, therefore, that the first simile, taken from the phenomenal world, was meant to show that Brahman is that which appears for a moment in the lightning, and then vanishes from our sight.

The next illustration is purely psychological. Brahman is proved to exist, because our mind moves towards things, because there is something in us which moves and perceives, and because there is something in us which holds our perceptions together (sahkalpa), and revives them again by memory. I give my translation as hypothetical only, for certainty is extremely difficult to attain, when we have to deal with these enigmatical sayings which, when they were first delivered, were necessarily accompanied by oral explanations. ^ Tadvana, as a name of Brahman, is explained by ' the desire of it,' and derived from van, to desire, the same as vink/i. been told you. We have told you the Br ah mi Upanishad. 8. 'The feet on which that Upanishad stands are penance, restraint, sacrifice ; the Vedas are all its limbs ^ the True is its abode. 9. 'He who knows this Upanishad, and has shaken off all evil, stands in the endless, unconquerable^ world of heaven, yea, in the world of heaven.' ^ It is impossible to adopt -6'ankara's first rendering, ' the Vedas and all the Ahgas,' i. e. the six subsidiar}^ doctrines. He sees himself that sarvangani stands in opposition to pratish///a and ayatana, but seeing Veda and Ahga together, no Brahman could help thinking of theVedahgas.

2 Might we read a^yeye for ^yeye ? cf. -Satap. Brahm. XI, 5, 7, i. r. Now follows the Mahavrata ceremony. 2. After having killed Vmra, Indra became great. When he became great, then there was the Mahavrata (the great work). This is why the Mahavrata ceremony is called Mahavrata. 3. Some people say: ' Let the priest make two (recitations with the offering of the) a^ya (ghee) on that day,' but the right thing is one ^ 4. He who desires prosperity should use the hymn, pra vo devayagnaye (Rv. Ill, 13, i). 5. He who desires increase should use the hymn, vii-o vli-o atithim (Rv. VIII, 74, i). ^ That it should be one only is proved from the types, i. e. from other sacrifices, that have to be followed in the performance of the Mahavrata. The first type is the Agnish/oma, where one jastra is enjoined as ag-yai'astra, viz. pra vo devayagnaye. In the Vij-va^it, which has to follow the Agnish/oma, another hymn is put in its place, viz. agniw naro didhitibhi//. In the Mahavrata, which has to follow the Vi^va^it, some people recommend the use of both these hymns. But that is wrong, for there must be in the sacrifices which follow the Agnish/oma twelve jastras altogether; and if there were two here, instead of one, we should get a total of thirteen.

6. The people {y'lSdik) indeed are increase ^ and therefore he (the sacrificer) becomes increased. 7. But (some say), there is the word atithim (in that hymn, which means a guest or stranger, asking for food). Let him not therefore take that hymn. Verily, the atithi (stranger) is able - to go begging. 8. ' No,' he said, ' let him take that hymn. 9. ' For he who follows the good road and obtains distinction, he is an atithi (guest) ^. 10. 'They do not consider him who is not so, worthy to be (called) an atithi (guest). 11. 'Therefore let him by all means take that hymn.' 12. If he takes that hymn, let him place the (second) tristich, aganma vmrahantamam, 'we came near to the victorious,' first. 13. For people worship the whole year (performing the Gavamayana sacrifice) wishing for this day (the last but one) — they do come near. 14. The (next following) three tristichs begin with an Anush/ubh *. Now Brahman is Gayatri, speech is Anush/ubh. He thus joins speech with Brahman. 15. He who desires glory should use the hymn, abodhy agni/^ samidha ^ananam (Rv. V, i, i). ' The word vi^a,^, which occurs in the hymn, means people. The commentator says that because the Vaijyas or tradespeople increase their capital, therefore they are called increase.

2 Able, or liable; cf. Ait. Ar. II, 3, 5, 7. * Atithi is here explained by yo bhavati, and bhavati is explained as walking on the good road. One expects yo va atati. The obtaining of distinction is probably derived from ati, above, in atithi. * In the first and second the Anush/ubh is followed by two Gayatris. I ARAiVYAKA, I ADHYAYA, 2 KHANDA, 5. 1 59 16. He who desires offspring and cattle should use the hymn, hota^anish/a /^etana/^ {Rv. II, 5, i). 1. He who desires proper food ^ should use the hymn, agnim naro didhitibhi/^ (Rv. VII, i, i)^. 2. Verily, Agni (fire) is the eater of food. In the other (recitations accompanying the) offerings of ac^^a (where Agni is likewise mentioned) the worshippers come more slowly near to Agni (because the name of Agni does not stand at the beginning of the hymn). But here a worshipper obtains proper food at once, he strikes down evil at once. 3. Through the words (occurring in the second foot of the first verse), hasta/'yuti ^anayanta, ' they caused the birth of Agni by moving their arms,' the hymn becomes endowed with (the word) birth. Verily, the sacrificer is born from this day of the sacrifice, and therefore the hymn is endowed with (the word) birth.

4. There are four metrical feet (in the Trish/ubh verses of this hymn). Verily, cattle have four feet, therefore they serve for the gaining of cattle. 5. There are three metrical feet (in the Vira^ verses of this hymn). Verily, three are these three- ^ Annadyam is always explained as food, here as znnam tad adyaw ka. It must be so translated here and elsewhere (I, 2, 10), though it is often an abstract of annada, an eater of food, a healthy man. ^ This hymn is prescribed in the Vijva^it sacrifice, and taken over to the Mahavrata, according to rule. It is used, however, both as obligatory and as optional at the same time, i. e. it is an essential part of the sacrifice, and at the same time to be used by those who wish for proper food. fold worlds. Therefore they serve for the conquest of the worlds. 6. These (the Trish/ubh and Vira^ verses of the hymn) form two metres, which form a support (pratish///a). Verily, man is supported by two (feet), cattle by four feet. Therefore this hymn places the sacrificer who stands on two feet amone cattle which stand on four, 7. By saying them straight on there are twentyfive verses in this hymn. Man also consists of twenty-five. There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk (atman) the twenty-fifth. He adorns that trunk, the twenty-fifth, by this hymn,

8. And then this day (of the sacrifice) consists of twenty-five, and the Stoma hymn of that day consists of twenty-five^ (verses); it becomes the same through the same. Therefore these tw^o, the day and the hymn, are twenty-five ^. 9. These twenty-five verses, by repeating the first thrice and the last thrice, become thirty less one. This is a Vira^ verse (consisting of thirty syllables), too small by one. Into the small (heart) the vital spirits are placed, into the small stomach food is placed ^, therefore this Vira^, small by one, serves for the obtainment of those desires. 10. He who knows this, obtains those desires. 11. The verses (contained in the hymn agnim naio didhitibhi/^) become the B/Vhati ■* metre and ^ Cf. Ait. Ar. I, I, 4, 2 1 ; II, 3, 4, 2. "^ The plural after the dual is explained by the fact that the hymn means the twenty-five verses. ' Cf. I, 3, 7, 5. * The hymn consists of eighteen Vira^ and seven Trish/ubh I ARAiVYAKA, I ADHYAYA, 3 KH AND A, 2. 161 the Vira^ metre, (they become) the perfection which belongs to that day (the mahavrata). Then they also become Anush/ubh \ for the offerings of a^ya (ghee) dwell in Anush/ubhs^,

1. Some say: ' Let him take a Gayatrt hymn for the Pra-uga. Verily, Gayatri is brightness and glory of countenance, and thus the sacrificer becomes bright and glorious.' 2. Others say: 'Let him take a Ush;^ih hymn for the Pra-uga. Verily, Ush/^ih is life, and thus the sacrificer has a long life.' Others say : ' Let him take an Anush/ubh hymn verses. Therefore the eighteen Vira^ verses remain what they are, only that the first is repeated three times, so that we have twenty Vira^ verses. The seven Trish/ubhs, by repeating the last three times, become nine. We then take eight syllables away from each verse, thus changing them into nine Brzliati verses. The nine times eight syllables, which were taken off, give us seventytwo syllables, and as each Brz'hati consists of thirty-six syllables, two Brzliatis. ^ The change of the first verse, which is a Vira^ of thirty-three syllables, into an Anush/ubh is produced by a still easier process. The first Virao- consists here of thirty-ihree syllables, the Anush/ubh should have thirty-two. But one or two syllables more or less does not destroy a metre, according to the views of native metricians. The Vir% itself, for instance, should have thirty syllables, and here has thirty-three. Therefore if changed into an Anush/ubh, it simply has one syllable over, which is of no consequence. Comm.

2 Cf. Ait. Ar. I, I, I, 4. ^ Thus far the hymn which has to be recited by the Hoirt priest, after the eating of the r/tugrahas, has been considered. What follows next is the so-called Pra-uga hymn, consisting of seven tr/>^as, which the Hotr/ has to recite after the Vijvedevagraha. Different -Sakhas recommend hymns of different metres, cur ^'akha fixes on the Gayatri. 1 6 2 AITAREY A-ARAiV^AK A. for the Pra-uga. Verily, Anush^'ubh is valour, and it serves for obtaininor valour.' Others say : ' Let him take a Brzhati hymn for the Pra-uga. Verily, Br/hati is fortune, and thus the sacrificer becomes fortunate.' Others say: 'Let him take a Paiikti hymn for the Pra-uga. Verily, Pankti is food, and thus the sacrificer becomes rich in food.' Others say: ' Let him take a Trish/ubh hymn for the Pra-uga. Verily, Trish/ubh is strength, and thus the sacrificer becomes strong.' Others say: ' Let him take a 6'agati hymn for the Pra-uga, Verily, cattle is 6^agati-like, and thus the sacrificer becomes rich in cattle.' 3. But we say: 'Let him take a Gayatri hymn only. Verily, Gayatri is Brahman, and that day (the mahavrata) is (for the attainment of) Brahman. Thus he obtains Brahman by means of Brahman.

4. ' And it must be a Gayatri hymn by MadhuM/iandsLS, 5. * For MadhuM/^andas is called MadhuZWzandas, because he wishes (/C'/^andati) for honey (madhu) for the 7?2shis. 6. ' Now food verily is honey, all is honey, all desires are honey, and thus if he recites the hymn of Madhu/^Mandas, it serves for the attainment of all desires. 7. 'He who knows this, obtains all desires.' This (Gayatri pra-uga), according to the one-day (ekaha) ceremonial \ is perfect in form-. On that day (the mahavrata) much is done now and then which ^ It is copied from the Vijvag-it, and that from the Agnish/oma. ^ Nothing is wanting for its performance, if one only follows the rules given in the Agnish/oma. I ARAiVYAKA, I ADHYAYA, 4 KHAiVDA, 4. 1 63 has to be hidden \ and has to be atoned for (by recitation of hymns). Atonement (i^anti) is rest, the one-day sacrifice. Therefore at the end of the year (on the last day but one of the sacrifice that lasts a whole year) the sacrificers rest on this atonement as their rest. 8. He who knows this rests firm, and they also for whom a Hotr/ priest who knows this, recites this hymn.

1. Rv. I, 2, 1-3. Vayav a yahi dar^ateme soma ara/;^ Vrixkh, ' Approach, O Vayu, conspicuous, these Somas have been made ready.' Because the word ready occurs in these verses, therefore is this day (of the sacrifice) ready (and auspicious) for the sacrificer and for the gods. 2. Yes, this day is ready (and auspicious) to him who knows this, or for whom a Hotri priest who knows this, recites. 3. Rv. I, 2, 4-6. Indravayu ime suta, a yatam upa nishkr/tam, ' Indra and Vayu, these Somas are prepared, come hither towards what has been prepared.' By mshkrzta., prepared, he means what has been well prepared {sa.mskrita.). 4. Indra and Vayu go to what has been prepared by him who knows this, or for whom a Hotri priest who knows this, recites. ^ Dasinrz'tya-bahubhutamaithuna-brahmaMripuwj/^alisampravadadikam. See Rajendralal Mitra, Introduction to his edition of the Aitareya-arawyaka, p. 25. It might be better to join ekaha,^ with >fantyam, but even then the argumentation is not quite clear. ^ Next follows a list of the verses which form the seven tn'kdiS (groups of three verses) of the Pra-uga hymn, with occasional remarks on certain words. 5. Rv. I, 2, 7. MItra;;/ huve pCitadaksham, dhiya;;^ ghrztMbu sadhanta, ' I call Mitra of holy strength ; (he and Varu/^a) they fulfil the prayer accompanied with clarified butter.' Verily, speech is the prayer accompanied with clarified butter.

6. Speech is given to him who knows this, or for whom a Hotr? priest w^ho knows this, recites. 7. Rv. I, 3, I. Ai"vina ya^varir isha-^, *0 Ai'vinau, (eat) the sacrificial offerings.' Verily, the sacrificial offerings are food, and this serves for the acquirement of food. 8. Rv. I, 3, 3. A yata;;^ rudravartani, ' Come hither, ye Rudravartani.' 9. The A-fvinau go to the sacrifice of him who knows this, or for whom a Hotri priest who knows this, recites. 10. Rv. I, 3, 4-6. Indra yihi y^itrabhano, indra yahi dhiyeshita/^, indra yahi tutu^ana, ' Come hither, Indra, of bright splendour. Come hither, Indra, called by prayer, Come hither, Indra, quickly!' Thus he recites, Come hither, come hither! 11. Indra comes to the sacrifice of him who knows this, or for whom a Hotri priest who knows this, recites. 12. Rv. I, 3, 7. Omasai' /^arsha;^tdhmo v'lsve devasa a gata, ' Vi^ve Devas, protectors, supporters of men, come hither!' 13. Verily, the Vii-ve Devas come to the call of him who knows this, or for whom a Hotri priest who knows this, recites. 14. Rv. I, 3, 7. D3.sva.ms0 damsha/? sutam, ' Come ye givers to the libation of the giver ! ' By da>fusha/2: he means dadusha/^, i. e. to the libation of every one that gives.

I ARAin'AKA, I ADHYAYA, 4 KUANDA, 21. 165 15. The gods fulfil his wish, with whatever wish he recites this verse, 16. (The wish of him) who knows this, or for whom a Hotri priest who knows this, recites. 17. Rv. I, 3, 10. Pavaka na// sarasvati ya^na;;^ vash/u dhiyavasu/^, ' May the holy Sarasvati accept our sacrifice, rich in prayer ! ' Speech is meant by ' rich in prayer.' 18. Speech is given to him who knows this, or for whom a Hotrz priest who knows this, recites. 19. And when he says, 'May she accept our sacrifice !' what he means is, 'May she carry off our sacrifice ! ' 20. If these verses are recited straight on, they are twenty-one. Man also consists of twenty-one. There are ten fingers on his hands, ten toes on his feet, and the trunk the twenty-first. He adorns that trunk, the twenty-first, by this hymn. 21. By repeating the first and the last verses thrice, they become twenty-five. The trunk is the twenty-fifth, and Pra^apati is the twenty-fifth. There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk, the twenty-fifth, by this hymn^.

Now this day consists of twenty-five, and theStoma hymn of that day consists of twenty-five : it becomes the same through the same. Therefore these two, the day and the hymn, are twenty-five, yea, twenty-five. ' Cf. I, 1,2, 7; I, 3. 5, 7. 1. The two tr/ias, Rv. VIII, 68, 1-3, d tva vatham yathotaye, and Rv. VIII, 2, 1-3, ida.?;i vaso sutam andha/^, form the first (pratipad) and the second (anu/C'ara) of the Marutvatiya hymn. 2. Both, as belonging to the one-day ceremonial^, are perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotr^ priest who knows this, recites this hymn ^ 3. In the second verse of (the Pragatha^), indra nediya ed ihi, pra su tira i'a/^ibhir ye ta ukthina// (Rv. VIII, 53, 5, 6), there occurs the word ukthina/^, reciters of hymns ^. Verily, this day (the mahavrata) is an uktha (hymn), and as endowed with an uktha, the form of this day is perfect.

4. In the first verse (of another Pragatha) the word vira, strong, occurs (Rv. I, 40, 3), and as endowed with the word vira, strong, the form of • this day is perfect. ^ In the first adhyaya the two hymns to be recited by the Hotn' priest at the morning-Hbation (the a^ya and pra-uga i-astra) have been considered. Now follows the Marutvatiya hymn, to be recited by the Hot;V priest at the noon-libation. 2 Taken from the Agnish/oma. 3 Cf. I, I, 3, 7-8. " All these Pragathas consist of two verses expanded into a tn'ka.. ^ Hotradaya ukthina/; jastriwa//. I ARAiVYAKA, 2 ADHYAYA, I KHAiVDA, 12. 167 5. In the second verse (of another Pragatha) the word suvtryam, strength, occurs (Rv. I. 40, i), and as endowed with the word suvirya, strength, the form of this day is perfect. 6. In the first verse (of another Pragitha) the word ukthyam, to be hymned, occurs (Rv. I, 40, 5). Verily, this day is an uktha, and as endowed with an uktha, the form of this day is perfect. 7. In the (Dhayya) verse agnir neta (Rv. Ill, 20, 4) the word vr/traha, killer of Vr/tra, occurs. The killing of Vmra is a form (character) of Indra, this day (the mahavrata) belongs to Indra, and this is the (perfect) form of that day.

8. In the (Dhayya) verse tva?;^ soma kratubhi// sukratur bhM (Rv. I, 91, 2) the word vr/sha\ powerful, occurs. Powerful is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day. 9. In the (Dhayya) verse pinvanty apa// (Rv. I, 64, 6) the word va^inam, endowed with food, occurs. Endowed with food is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day. 10. In the same verse the word stanayantam, thundering, occurs. Endowed with thundering is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day. 11. In (the Pragatha) pra va indraya br/hate (Rv. VIII, 89, 3) (the word br/hat occurs). Verily, hrihat is mahat (great), and as endowed with mahat, great, the form of this day (mahavrata) is perfect. 12. In (the Pragatha) br/had indraya gayata (Rv. ^ Cf. I, 2, 2, 14, VIII, 89, i) (the word br/hat occurs). Verily, hrihat is mahat (great), and as endowed with mahat, the form of this day is perfect. 13. In (the Pragatha) n^kl/i sudaso ratham pary asa na riramad (Rv. VII, 32, 10) the words paryasa (he moved round) and na riramad (he did not enjoy) occur, and as endowed with the words paryasta and ranti the form of this day is perfect \

He recites all (these) Pragathas, in order to obtain all the days (of the sacrifice), all the Ukthas^, all the Frish//ia.s ^ all the ^'astras ^, all the Pra-ugas ^ and all the Savanas (libations). I. He recites the hymn, asat su me ^anta/i sabhivega/i (Rv. X, 27, i), (and in it the word) satyadhvmam, the destroyer of truth. Verily, that day ^ Because the performance of the Mahavrata sacrifice moves the worshipper round to another world and gives him enjoyment. Comm. It is difficult to surpass the absurdity of these explanations. Na riramat means no one stopped the chariot of Sudas. But even if it meant that no one rejoiced through the chariot of Sudas, it would be difficult to see how the negative of enjoyment, mentioned in the hymn, could contribute to the perfection of a sacrifice which is to confer positive enjoyment on the worshipper. ^ The stotras following after the Yao-naya^-niya Saman, serving for the ukthya-kratus. ^ The stotras of the noon-libation, to be performed with the Rathantara, Bnhat, and other Samans. * The jastras, recitations, accompanying the oblations of a^ya. ° The pra-ugas, a division of ^astras, described above. •^ The type after which the Marutvatiya-jastra is to be performed is the A'^aturviwisa day. Hitherto (from a tva ratham to naki/i sudasa/z), all that is taken over from the type to the modification, i. e. the Marutvatiya, has been explained. Now follow the verses which are new and peculiar to the Marutvattya of the Mahavrata.

I ARAATYAKA, 2 ADHYAYA, 2 KUANDA, 8. I 69 Is truth, and as endowed with the word satya, truth, the form of this day is perfect ^ 2. That hymn is composed by Vasukra. Verily, Vasukra is Brahman, and that clay is Brahman. Thus he obtains Brahman by means of Brahman ^ 3. Here they say: 'Why then is that Marutvatiya hymn completed by the hymn of Vasukra ?' Surely because no other J^ish'i but Vasukra brought out a Marutvatiya hymn, or divided it properly ^ There fore that Marutvatiya hymn is completed by the hymn of Vasukra. 4. That hymn, asat su me. Is not definitely addressed to any deity, and is therefore supposed to be addressed to Pra^apati. Verily, Pra^apati Is indefinite, and therefore the hymn serves to win Pra^apati. 5. Once in the hymn (Rv. X, 27, 22) he defines Indra (indraya sunvat) ; therefore it does not fall off from its form, as connected with Indra. 6. He recites the hymn (Rv. VI, 17, i) piba somam abhi yam ugra tarda/z. 7. In the verse urvam gavyam mahi g7''/V/ana Indra the word mahi, great, occurs. Endowed with the word mahat, the form of this day is perfect.

8. That hymn is composed by Bharadva^a, and Bharadva^a was he who knew most, who lived longest, and performed the greatest austerities among the i?2"shis, and by this hymn he drove away evil. Therefore if he recites the hymn of Bharadva^a, ^ The commentator endeavours to make the meaning more natural by taking in the word prahanta, he who kills the destroyer of truth. But considering the general character of these remarks, this is hardly necessary. ^ Cf. I, I, 3, 3. ' By separating the first tri'ka. from the second, and so forth. then, after having driven away evil, he becomes learned, long-lived, and full of austerities. 9. He recites the hymn kaya i"ubha savayasa^ sanila/^ (Rv. I, 165, i). 10. In the verse a J^asate prati haryanty uktha (Rv. I, 165, 4) the word uktha occurs. Verily, that day (the mahavrata) is uktha (hymn). Endowed with the word uktha, the form of this day becomes perfect. 11. That hymn is called Kayajubhiya ^ Verily, that hymn, which is called Kayai"ubhiya, is mutual understanding and it is lasting. By means of it Indra, Agastya, and the Maruts came to a mutual understanding. Therefore, if he recites the Kaya- .yubhiya hymn, it serves for mutual understanding.

12. The same hymn is also long life. Therefore, if the sacrificer is dear to the Hotri, let him recite the Kayai"ubhiya hymn for him. 13. He recites the hymn marutva;/ indra v^zshabo ra;2aya (Rv. HI, 47, i). 14. In it the words indra vr/shabha (powerful) occur. Verily, powerful is a form of Indra ^, this day belongs to Indra, and this is the perfect form of that day. 15. That hymn is composed by Vi^yvamitra. Verily, Vii-vamitra was the friend (mitra) of all (vii"va). 16. Everybody is the friend of him who knows this, and for whom a Hotrz priest who knows this, recites this hymn. 1 7. The next hymn, ^anish/M ugraA sahase turaya (Rv. I, 73, i), forms a Nividdhana^ and, 1 Cf. Ait. Brahm. V, 16. ' Cf. Ait. Ar. II, 2, i, 8. ^ The hymn consists of eleven verses. In the middle, after the sixth verse, nivids or invocations, such as indro marutvan, are inserted, and therefore it is called a nividdhana hymn. I ARAiVYAKA, 2 ADHYAYA, 2 KIIAiVDA, 1 8. 17I according to the one-day (ekaha) ceremonial, is perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for (by recitation of hymns). Atonement is rest, the one-day sacrifice. Therefore at the end of the year (on the last day but one of the sacrifice that lasts a whole year) the sacrificers rest on this atonement as their rest.

He who knows this rests firm, and they also for whom a Hotri priest who knows this, recites this hymn ^. 1 8. These, if recited straight on, are ninety-seven verses-. The ninety are three Vira^, each consisting of thirty, and then the seven verses which are over. Whatever is the praise of the seven, is the praise of ninety also. ^ With this hymn the Marutvatiya-jastra is finished. All the hymns from a tva ratham to asat su me ^aritar are simply taken over from the A'aturviwz^a ceremonial, the rest are peculiar to the Mahavrata day, the day preceding the Udayaniya or final day of the Gavamayana sattra. All this is more fully described in the fifth Ara;/yaka (V, i, i, 8), containing the Siatras or rules of -Saunaka, while the earlier Ara«yakas are reckoned as Brahmawas, and are therefore mixed up with matters not actually required for the performance of the sacrifice. ^ The first Stotriya and Anurupa trika.s = . . . . 6 (I, 2, I, i). The six Pragathas, each of 2 verses raised to 3 (but the text gives Three Dhayyas = Asat su = . Piba somam = Kaya jubha = Marutvaw indra = G^anish//^a ugra^ =

24 (I, 2, 2, l). 5(1, 2, 2, 13). ji (I, 2, 2,17). 19. By repeating the first and last verses three times each, they become one hundred and one verses. 20. There are five fingers, of four joints each, two pits (in the elbow and the arm), the arm, the eye, the shoulder-blade; this makes twenty-five. The other three parts have likewise twenty-five each \ That makes a hundred, and the trunk is the one hundred and first. 21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness. 22. These verses become Trish/ubh ^ for the noonday-libation consists of Trish/ubh verses. 1. They say: 'What is the meaning of prenkha, swing .'*' Verily, he is the swing, who blows (the wind). He indeed goes forward (pra + iiikhate) in these worlds, and that is why the swing is called prenkha. 2. Some say, that there should be one plank, because the wind blows in one way, and it should be like the wind. 3. That is not to be regarded. 4. Some say, there should be three planks, because there are these three threefold worlds, and it should be like them.

^ The left side as well as the right, and then the left and right side of the lower body. Thus we have twenty joints of the five toes, a thigh, a leg, and three joints, making twenty-five on each side. 2 Approach the Trish/ubh metre of the last hymn. Comm. ^ After having considered the INIarutvatiya, he proceeds to consider the Nishkevalya. This has to be recited by the Hotr/ while sittmg on a swmg. I ARAiVYAKA, 2 ADHYAYA, 4 KHANDA, 3. I 73 5. That is not to be regarded. 6. Let there be two, for these two worlds (the earth and heaven) are seen as if most real, while the ether (space) between the two is the sky (antariksha). Therefore let there be two planks. 7. Let them be made of Udumbara wood. Verily, the Udumbara tree is sap and eatable food, and thus it serves to obtain sap and eatable food. 8. Let them be elevated in the middle (between the earth and the cross-beam). Food, if placed in the middle, delights man, and thus he places the sacrificer in the middle of eatable food. 9. There are two kinds of rope, twisted towards the right and twisted towards the left. The right ropes serve for some animals, the left ropes for others. If there are both kinds of rope, they serve for the attainment of both kinds of cattle.

10. Let them be made of Darbha (Kui^a grass), for among plants Darbha is free from evil, therefore they should be made of Darbha grass. 1. Some say: * Let the swing be one ell (aratni) above the ground, for by that measure verily the Svarga worlds are measured.' That is not to be regarded. 2. Others say : * Let it be one span (pradei"a), for by that measure verily the vital airs were measured.' That is not to be regarded ^ 3. Let it be one fist (mush/i), for by that measure verily all eatable food is made, and by that measure ^ They rise one span above the heart, and they proceed one span from out the mouth. Comm. all eatable food is taken ; therefore let it be one fist above the ground. 4. They say: 'Let him mount the swing from east to west, like he who shines ; for the sun mounts these worlds from east to west,' That is not to be regarded. 5. Others say : ' Let him mount the swing sideways, for people mount a horse sideways \ thinking that thus they will obtain all desires.' That is not to be regarded.

6. They say: 'Let him mount the swing ^ from behind, for people mount a ship from behind, and this swing is a ship in which to go to heaven.' Therefore let him mount it from behind. 7. Let him touch the swing with his chin {/^/lubuka). The parrot (i"uka) thus mounts a tree, and he is of all birds the one who eats most food. Therefore let him touch it with his chin. 8. Let him mount the swing with his arms^ The hawk swoops thus on birds and on trees, and he is of all birds the strongest. Therefore let him mount with his arms. 9. Let him not withdraw one foot (the right or left) from the earth, for fear that he may lose his hold. 10. The Hotrz mounts the swing, the Udgatrz the seat made of Udumbara wood. The swine is masculine, the seat feminine, and they form a union. Thus he makes a union at the beginning of the uktha in order to get offspring. ^ Here we have clearly riding on horseback. ^ While the swing points to the east, let him stand west, and thus mount. * The fore-arms, from the elbow to the end, the aratni. Comm.

I ARAiVYAKA, 2 ADHYAYA, 4 KHANDA, I "J. I 75 11. He who knows this, gets offspring and cattle. 12. Next the swing is food, the seat fortune. Thus he mounts and obtains food and fortune. 13. The Hotrakas (the FT3.sa.stri, Brahma;zaA'k/ia.77is'm, Fotr?, Nesh/ri, Agntdhra, and A/^'/^//avaka) together with the Brahman sit down on cushions made of grass, reeds, leaves, &c. 14. Plants and trees, after they have grown up, bear fruit. Thus if the priests mount on that dayaltogether (on their seats), they mount on solid and fluid as their proper food. Therefore this serves for the attainment of solid as proper food ^. 15. Some say: 'Let him descend after saying vasha^ ^.' That is not to be regarded. For, verily, that respect is not shown which is shown to one who does not see it ^ 16. Others say: 'Let him descend after he has taken the food in his hand.' That is not to be regarded. For, verily, that respect is not shown which is shown to one after he has approached quite close. 17. Let him descend after he has seen the food. For, verily, that is real respect which is shown to one when he sees It. Only after having actually

^ One expects isha-^ before urga./i, but it is wanting in both text and commentary, and in other MSS. also. ^ The word by which the Hotr/ invites the Adhvaryu to offer the oblation to the gods. The descending from the swing belongs, of course, to a later part of the sacrifice. ^ It is supposed that the Hotr/ rises from the swing to show respect to the sacrificial food, when it is brought near. But as it is not brought near, immediately after the Hot;-/ has finished his part with the word vasha/, the food could not see the Hot/7' rise, and this mark of respect, intended for the food, would thus be lost. seen the food (that is brought to the sacrifice), let him descend from the swine. 1 8. Let him descend turning towards the east, for in the east the seed of the gods springs up^ Therefore let him rise turning towards the east, yea, turning towards the east. 1. Let him begin this day^ with singing 'Him,' thus they say. 2. Verily, the sound Him is Brahman, that day also is Brahman. He who knows this, obtains Brahman even by Brahman. 3. As he begins with the sound Him, surely that masculine sound of Him and the feminine Rik (the verse) make a couple. Thus he makes a couple at the beginning of the hymn in order to get offspring ^ He who knows this, gets cattle and offspring.

4. Or, as he begins with the sound Him, surely like a wooden spade, so the sound Him serves to dig up Brahman (the sap of the Veda). And as a man wishes to dig up any, even the hardest soil, with a spade, thus he digs up Brahman. 5. He who knows this digs up, by means of the sound Him, everything he may desire. 6. If he begins with the sound Him, that sound is the holding apart of divine and human speech. ^ Should it be devareta-^ sampra^ayate, or devaretasam pra^ayate ? "^ The Nishkevalya-jastra, of the noon-libation; cf. I, 2, 2, i. ^ Cf. I, 2, 4, 10. I ARAiVYAKA, 3 ADHYAYA, 2 KHAiVDA, 9. I 77 Therefore, he who begins, after having uttered the sound Him, holds apart divine and human speech \ 1. And here they ask : 'What is the beginning of this day?' Let him say: 'Mind and speech ^' 2. All desires dwell in the one (mind), the other yields all desires. 3. All desires dwell in the mind, for with the mind he conceives all desires. 4. All desires come to him who knows this. 5. Speech yields all desires, for with speech he declares all his desires.

6. Speech yields all desires to him who knows this. 7. Here they say: 'Let him not begin this day with a 7?//^, a Ya^us, or a Saman verse (divine speech), for it is said, he should not start with a Jiz^, a Ya^cnjs, or a Saman ^' 8. Therefore, let him say these Vyihmis (sacred interjections) first. 9. These interjections Bhiis, Bhuvas, Svar are the three Vedas, BhCis the 7?/g-veda, Bhuvas the Ya^r-veda, Svar the Sama-veda. Therefore (by ^ Human speech is the ordinary speech, divine speech that of the Veda. Thus between the hymns, or the divine speech, and the ordinary language of conversation the sound Him is interposed as a barrier. ^ Mind,' to think about the hymns which have to be recited ; speech, to recite them without a flaw. ^ It is doubtful whether neyad nkah and apaga/^/('//et can have this meaning. However, what is intended is clear, viz. that the priest, even after having uttered the sound Him, should not immediately begin with verses from the Vedas, but should intercalate the three syllables bhiar bhuva/^ svar, or, if taken singly, bhus, bhuvas, svar. intercalating these) he does not begin simply with a Rik, Ya^s, or Saman verse, he does not start with a Rik, Ya^is, or Saman verse.

1. He begins with tad, this, (the first word of the first hymn, tad id asa). Verily 'this, this' is food, and thus he obtains food. 2. Pra^apati indeed uttered this as the first word, consisting of one or two syllables, viz. tata and tata (or tat)^ And thus does a child, as soon as he begins to speak, utter the word, consisting of one or two syllables, viz. tata and tata (or tat). With this very word, consisting of tat or tatta, he begins. 3. This has been said by a T^/shi (Rv. X, 71, i)^ : — ■ 4. ' O Br/haspati, the first point of speech ;' — for this is the first and highest point of speech. 5. ' That which you have uttered, making it a name ;' — for names are made by speech. * Tata and tata are used both by children in addressing their parents, and by parents in addressing their children. If tat is call d the very same word, eva is used in the sense of iva. - The verse is cited to confirm the meaning of tat, the first word of the first hymn (tad id asa), as explained before. It was said that tat was the first name applied to a child. Now, according to

Ajvalayana Gr/hya-sutra I, 16, 8, a name is given to a child at the time of its birth, a name which no one knows except father and mother, till the time when he is initiated by a Guru. This is called the abhivadaniya name. In allusion to this custom it is said here tha>. tata is the secret name of the child, which becomes publicly known at a later time only. Of course the interpretation of the verse in that sense is unnatural, but quite in keeping with the general character of the Arawyaka. I doubt whether even the commentator understood what was intended by the author, and whether the gods who enter the body are supposed to know the name, or whether the name refers to these gods, or, it may be, to tad, the Brahman. I ARAiVYAKA, 3 ADHYAYA, 4 KHANDA, 9. I 79 6. ' That (name) which was the best and without a flaw ;' — for this is the best and without a flaw. 7. ' That which was hidden by their love, is made manifest;' — for this was hidden in the body, viz. those deities (which enter the body, Agni as voice, entering the mouth, &c.) ; and that was manifest among the gods in heaven. This is what was intended by the verse.

1. He begins with : ' That indeed was the oldest in the worlds ^;' — for that (the Brahman) is verily the oldest in the worlds. 2. 'Whence was born the fierce one, endowed with brilliant force ; ' — for from it was born the fierce one, who is endowed with brilliant force. 3. 'When born he at once destroys the enemies;' — for he at once when born struck down the evil one. 4. * He after whom all friends rejoice;' — verily all friends are the creatures, and they rejoice after him, saying, ' He has risen, he has risen ^' 5. ' Growing by strength, the almighty*;' — for he (the sun) does grow by strength, the almighty. 6. 'He, as enemy, causes fear to the slave;' — for everything is afraid of him. 7. ' Taking the breathing and the not-breathing;' — this means the living and the lifeless. 8. ' Whatever has been offered at feasts came to thee;' — this means everything is in thy power. 9. 'All turn their thought also on thee^;' — this ^ He now explains the first hymn of the Nishkevalya, which is called the Ra^ana. ^ Rv. X, 120, I. ^ The sun and the fire.

* Rv. X, 120, 2. ^ Rv. X, 120, 3. means all these beings, all minds, all thoughts also turn to thee. 10. ' When these two become three protectors;' — i. e. when these two united beget offspring. 11. He who knows this, gets offspring and cattle. 12. 'Join what is sweeter than sweet (offspring) with the sweet (the parents) ;' — for the couple (father and mother) is sweet, the offspring is sweet, and he thus joins the offspring with the couple. 13. 'And this (the son, when married) being very sweet, conquered through the sweet;' — i.e. the couple is sweet, the offspring is sweet, and thus through the couple he conquers offspring \ 14. This is declared by a J^ish'i^: 'Because he (Pra^apati) raised his body (the hymn tad id asa or the Veda in general) in the body (of the sacrificer)' (therefore that Nishkevalya hymn is praised); — i. e. this body, consisting of the Veda, in that corporeal form (of the sacrificer). 15. 'Then let this body indeed be the medicine of that body;' — i. e. this body, consisting of the Veda, of that corporeal form (of the sacrificer). 16. Of this (the first foot of Rv. X, 120, i) the eight syllables are Gayatri, the eleven syllables are Trish/abh, the twelve syllables are C'agati, the ten syllables are Vira^. The Vira^, consisting of ten syllables, rests in these three metres ^.

17. The word purusha, consisting of three syllables, that indeed goes into the Vira^^ ^ All these are purely fanciful interpretations. * Not to be found in our 6'akha of the Rig-veda. ^ These metres are obtained by a purely arbitrary counting of syllables in the hymn tadidasa, which really consists of Trish/ubh verses. ^ If we simply count syllables, the first and second feet of the I ARAiVYAKA, 3 ADHYAYA, 5 KHANDA, 2. 181 18. Verily, these are all metres, these (Gayatri, Trish/ubh, C'agati) having the Vira^ as the fourth. In this manner this day is complete in all metres to him who knows this. 1. He extends these (verses) by (interpolating) the sound ^ Verily, the sound is purusha, man. Therefore every man when he speaks, sounds loud, as it were. 2. At the end of each foot of the first verse of the hymn tad id asa, he inserts one foot of the second verse of hymn Rv. VIII, 69, nada;;^ va odatinam, &c. Thus the verse is to be recited as follows : Tad id asa bhuvaneshu ^esh//^am pu na.da.m va odatinam, Yato ^a^na ugras tvesha.nrim7io ru nada/;? yoyuvatinam, Sadyo ^a^niano ni ri//ati j-atrun pati;;/ vo aghnyanam, Anu ya;;^ vii"ve madanti uma/^ sho

first verse consist of ten syllables only, the fourth of nine or ten. In order to bring them to the right number, the word purusha is to be added to what is a Vira^, i. e. to the first, the second, and fourth feet. We thus get : tad id asa bhuvaneshu gyeshf/iam pu yato ^a^fia ugras tveshan/vmwo ru sadyo ^a^ilano ni riwati jatrun anu yam vijve madanti uma/z sha^. Cf. Ait. Ar.V, I, 6. ^ The sound, nada, is really a verse beginning with nadam, and which is interpolated after the syllables pu ru shz/i. 1 82 AITAREYA-ARAiVYAKA. ~ In nadaw va odatinam (Rv. VIII, 69, 2), odati ^ are the waters in heaven, for they water all this ; and they are the waters in the mouth, for they water all good food. 3. In nada;;^ yoyuvatinam (Rv. VIII, 69, 2), yoyuvati are the waters in the sky, for they seem to inundate ; and they are the waters of perspiration, for they seem to run continually. 4. In pati?;? vo aghnyanam (Rv. VIII, 69, 2), aghnya are the waters which spring from the smoke of fire, and they are the waters which spring from the organ. 5. In dhenunam ishudhyasi (Rv. VIII, 69, 2), the dhenu (cows) are the waters, for they delight all this ; and ishudhyasi means, thou art food.

6. He extends a Trish^ibh and an Anush/ubh ^. Trish/ubh is the man, Anush/ubh the wife, and they make a couple. Therefore does a man, after having found a wife, consider himself a more perfect man. 7. These verses, by repeating the first three times, become twenty-five. The trunk is the twenty-fifth, and Pra^apati is the twenty-fifths There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk as the twenty-fifth. Now this day consists of twenty-five, and the Stoma hymn of that day consists of twenty-five : it becomes the same ' The nasal pluta on iti is explained as padapratikagraha?2e 'tyantamadarartha/^. Cf. Ait. Ar. II, i, 4, 3. 2 Tad id asa is a Trish/ubh, nada/;/ va/^ an Anush/ubh. => Cf. I, I, 2, 7; I, I, 4, 21. I ARAiVYAKA, 3 ADHYAYA, 7 KHANDA, 5. 1 83 through the same. Therefore the two, the day and the hymn, are twenty-five ^ This is an exact repetition of the third kha/^^a. According to the commentator, the third khajida, was intended for the glory of the first word tad, while the sixth is intended for the glory of the whole hymn.

1. He begins with the hymn. Tad id asa bhuvaneshii ^yesh//^am (Rv. X, 120). Verily, ^yesh^//a, the oldest, is mahat, great. Endowed with mahat the form of this day is perfect. 2. Then follows the hymn, Ta;;^ su te kirtim maghavan mahitva (Rv. X, 54), with the auspicious word mahitva. 3. Then follows the hymn, Bhuya id vavr/dhe viryaya (Rv. VI, 30), with the auspicious word virya. 4. Then follows the hymn, NrzV/am u tva nritamajn gobhir ukthai/^ (Rv. I, 51, 4), with the auspicious word uktha. 5. He extends the first two padas, which are too small, by one syllable (Rv. X, 120, i a, and Rv. VHI, 69, 2 a)^. Into the small heart the vital spirits are placed, into the small stomach food is placed. It ^ The number is obtained as follows : 1. Tad id asa (Rv. X, 120) = 2. Ta,m su te kirtim (Rv. X, 54) = 3. Bhuya id vavn'dhe (Rv. VI, 30):= 4. Nnwam u tva (Rv. I, 51, 4)= . ^' Cf. I, I, 2, 9. serves for the attainment of these desires. He who knows this, obtains these desires. 6. The two feet, each consisting of ten syllables (Rv. X, 120, I a, b), serve for the gaining of both kinds of food\ of what has feet (animal food), and what has no feet (vegetable food).

7. They come to be of eighteen syllables each 2. Of those which are ten, nine are the pra;^as (openings of the body)-\ the tenth is the (vital) self This is the perfection of the (vital) self Eight syllables remain in each. He who knows them, obtains whatever he desires. 1. He extends (these verses) by (interpolating) the sound *. Verily, breath (pra.na) is sound. Therefore every breath when it sounds, sounds loud, as it were. 2. The verse (VHI, 69, 2) nada?;/ va odatinam, &c., is by its syllables an Ush;^ih^, by its feet an Anush/ubh^ Ush/^ih is life, Anush/ubh, speech. He thus places life and speech in him (the sacrificer.) 3. By repeating the first verse three times, they ' Because Vira,^, a foot of ten syllables, is food. ^ Rv. X, 120, I a= . . 10 Rv. VIII, 69, 2 a= . 7 Syllable pu= . . i •'' Seven in the head and two in the body ; sapta vai sirshawya// pra^/a dvav avafiMv iti. ' Cf. I, 3, 5, I. '^ Each pada has seven syllables, the third only six ; but a seventh syllable is gained by pronouncing the y as i. Comm.

" Because it has four padas. I ARAiVYAKA, 3 ADHYAYA, 8 KHAiVDA, 8. I 85 become twenty-five. The trunk is the twenty-fifth, and Pra^apati is the twenty-fifth. There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk as the twenty-fifth. Now this day consists of twenty-five, and the Stoma hymn of that day consists of twenty-five : it becomes the same through the same. Therefore the two, the day and the hymn, are twenty-five. This is the twenty-fifth with regard to the body. 4. Next, with regard to the deities : The eye, the ear, the mind, speech, and breath, these five deities (powers) have entered into that person (purusha), and that person entered into the five deities. He is wholly pervaded there with his limbs to the very hairs and nails. Therefore all beings to the very insects are born as pervaded (by the deities or senses) ^ 5. This has been declared by a i^/shi (Rv. X, 114,8):— 6. 'A thousandfold are these fifteen hymns ;' — for five arise from ten ^ 7. ' As large as heaven and earth, so large Is it;' — verily, the self (^tvatman) is as large as heaven and earth.

8. 'A thousandfold are the thousand powers ^ ; ' — ' The commentator takes this in a different sense, explaining atra, there, as the body pervaded by the person, yet afterwards stating that all beings are born, pervaded by the senses. 2 The commentator explains uktha, hymns, as members or organs. They are the five, and they spring from the ten, i. e. from the five elements (earth, water, fire, wind, and ether), forming part of the father and mother each, and therefore called ten, or a decade. Dajata^ is explained by bhutadajakat. ^ The application of the senses to a thousand different objects. by saying this the poet pleases the hymns (the senses), and magnifies them. 9. ' As far as Brahman reaches, so far reaches speech ; ' — wherever there is Brahman, there is a word ; and wherever there is a word, there is Brahman, this was intended. 10. The first of the hymns among all those hymns has nine verses. Verily, there are nine pra;ms (openings), and it serves for their benefit. 11. Then follows a hymn of six verses. Verily, the seasons are six, and it serves to obtain them. 12. Then follows a hymn of five verses. Verily, the Paiikti consists of five feet. Verily, Paiikti is food, and it serves for the gaining of proper food.

13. Then follows a tristich. Three are these threefold worlds, and it serves to conquer them. 14. These verses become Brzhatis \ that metre being immortal, leading to the world of the Devas. That body of verses is the trunk (of the bird represented by the whole i'astra), and thus it is. He who knows this comes by this way (by making the verses the trunk of the bird) near to the immortal Self, yea, to the immortal Selfl ^ Each foot of the Trish/ubh has eleven syllables, to which seven are added from the Nada hymn. This gives eighteen syllables for each pada. Two padas therefore give thirty-six syllables, and this is a Brihditi. In this manner the twenty-three verses of the hymns yield forty-six Brz'hatis. Comm. ^ He obtains a birth among the gods by means of this Mahavrata ceremonial, if performed with meditation and a right understanding of its hidden meaning. I ARAiVYAKA, 4 ADHYAYA, I KHAA^iJA, 4. 187 1. Next comes the Sudadohas ^ verse. Sudadohas is breath, and thereby he johis all joints with breath. 2. Next follow the neck verses. They recite them as Ush/^ih, according to their metre '\ 3. Next comes (again) the Sudadohas verse. Sudadohas is breath, and thereby he joins all joints with breath.

4. Next follows the head. That is in Gayatri verses. The Gayatri is the beginning of all metres''; the head the first of all members. It is in Arkavat verses (Rv. I, 7, 1-9)''. Arka is Agni. They are nine verses. The head consists of nine pieces. He recites the tenth verse, and that is the skin and the hairs on the head. It serves for reciting one verse more than (the nine verses contained in) the Stoma''. ' The Nishkevalya-jastra is represented in the shape of a bird, consisting of trunk, neck, head, vertebrae, wings, tail, and stomach. Before describing the hymns which form the neck, another hymn has to be mentioned, called Siadadohas, which has to be recited at the end of the hymns, described before, which form the trunk. Sudadohas is explained as ' yielding milk,' and because that word occurs in the verse, the verse is called Sudadohas. It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5, i, 7. ^ They occur in another ^akha, and are to be recited such as they are, without any insertions. They are given by -5"aunaka, Ait. Ar. V, 2, I. ^ It was created from the mouth of Pra^apati.

* They are called so, because the word arka occurs in them. ® The chanters of the Sama-veda make a Trivr/t Stoma of this hymn, without any repetitions, leaving out the tenth verse. The reciters of the Rig-veda excel them therefore by reciting a tenth verse. This is called atirawsanam (or -na). These form the Trivr/t Stoma and the Gayatri metre, and whatever there exists, all this is produced after the production of this Stoma and this metre. Therefore the recitation of these headhymns serves for production. 5. He who knows this, gets offspring and cattle. 6. Next comes the Sudadohas verse. Verily, Sudadohas is breath, and thereby he joins all joints with breath. 7. Next follow the vertebrae ^ (of the bird). These verses are Vira^ (shining). Therefore man says to man, 'Thou shinest above us;' or to a stiff and proud man, ' Thou carriest thy neck stiff,' Or because the (vertebrae of the neck) run close together, they are taken to be the best food. For Vira^ is food, and food is strength. 8. Next comes the Sudadohas verse. Sudadohas is breath, and thereby he joins all joints with breath. ^ Vi^avas may be a singular, and the commentator seems to take it as such in his first explanation. The text, ta virago bhavanti, proves nothing, because it could not be sa virago bhavanti, nor even sa vira^ bhavati. Possibly the word may occur in both forms, vi^u, plural vi^ava//, and vi^avay^. In a somewhat similar way we find griva and griva//, folia and la feuille. On p. 109, the commentator speaks of vi^avabhaga, and again, p. no, pakshamularupa vi^ava abhihita/z. He, however, explains its meaning rightly, as the root of the wings, or rather the lower bones of the neck. Griva/^, plural, were originally the vertebrae of the neck. The paragraph, though very empty, contains at least some interesting forms of language. First vi^u, vertebrae, then the participles duta and samba/^atama, and lastly the verb pratya/(', the last probably used in the sense of to bring near, to represent, with the superlative adverb annatamam (Pan. V, 4, 11), i. e. they are represented as if they brought the best food.

i araivyaka, 4 adhyaya, 2 khanda, 3. 1 89 1. Next follows the right wing. It is this world (the earth), it is this Agni, it is speech, it is the Rathantara \ it is Vasish//^a, it is a hundred ^. These are the six powers (of the right wing) ^ The Sampata hymn (Rv. IV, 20) serves indeed for obtaining desires and for firmness. The Parikti verse (Rv. I, 80, i) serves for proper food. 2. Next comes the Sudadohas verse. Sudadohas is breath, thereby he joins all joints with breath. 3. Next follows the left wing. It is that world (heaven), it is that sun, it is mind, it is the Br/hat, it ^ Rathantara is the name of the whole number of hymns to be recited at this part of the sacrifice. It was made by Vasish//^a, and consists of one hundred verses. '■^ I. Stotriya, abhitva juranonuma// (Rv, VII, 32, 22) 2(3) 2. Anurupa, abhi tva purvapitaye (Rv. VIII, 3, 7) 2 (3) 3. Indrasya nu (Rv. I, 32) .... 15 4. Tveha(Rv. VII, 18, 1-15) . . . 15 5. Yas tigma (Rv. VII, 19) . . . . 11 6. Ugro ^a^Se (Rv. VII, 20) . . . . 10

7. Udu(Rv.VII, 23) 6 8. A te maha// (Rv. VII, 25) . . . .' 6 9. Na soma// (Rv. VII, 26) . . . . 5 10. Indraz/z nara/^ (Rv. VII, 27) ... 5 11. Brahma «ay^ (Rv. VII, 28) .... 5 12. Ayaw soma/z (Rv. VII, 29) . . . 5 13. A na indra// (Rv. IV, 20) . . . . 11 14. Itthahi (Rv. I, 80, i) These hymns and verses are given Ait. Ar. V, 2, 2, i. Here we also learn that hymn Rv. IV, 20, is called Sampata, and that the last verse is a Pahkti. ^ The six powers are earth, Agni, speech, Rathantara, Vasish/>^a, and a hundred. is Bharadva^a, it is a hundred \ These are the six powers (of the left wing). The Sampata hymn (Rv. IV, 23) serves indeed for obtaining desires and for firmness. The Paiikti verse (Rv. I, 81, i) serves for proper food. 4. These two (the right and the left wings) are deficient and excessive ^. The Brzhat (the left wing) is man, the Rathantara (the right wing) is woman. The excess belongs to the man, the deficiency to the woman. Therefore they are deficient and excessive.

5. Now the left wing of a bird is verily by one feather better, therefore the left wing is larger by one verse. ^ The hundred verses are given Ait. Ar. V, 2, 2, 5. I. Stotriya, tvam id dhi (Rv. VI, 46, i) . 2. Anurupa, tvaw hy ehi (Rv. VIII, 61, 7) 3. Tarn u sh/uhi (Rv. VI, 18) 4. Suta it tvam (Rv. VI, 23) . 5. Vr/sha mada^ (Rv. VI, 24) 6. Ya ta Mk (Rv. VI, 25) 7. Abhur eka/^ (Rv.VI, 31) . 8. Apurvya (Rv. VI, 32) 9. Ya ogish/kah (Rv. VI, 33) 10. Sara ^a tve (Rv. VI, 34) 11. Kada bhuvan (Rv. VI, 35) . 12. Satra madasa// (Rv. VI, 36) 13. Arvag ratham (Rv. VI, 37) 14. Apad(Rv. VI, 38) . 15. Katha mahan (Rv. IV, 23) 16. Indro madaya (Rv. I, 81, i) Though there are said to be 100 verses before the Pahkti (No. 16), I can get only 99 or loi. See the following note. ^ The right wing is deficient by one verse, the left wing exceeds by one verse. I count 99 or loi verses in the right, and 100 or 102 in the left wing.

6. Next comes the Siidadohas verse. Sudadohas is breath, and thereby he joins all joints with breath. 7. Next follows the tail. They are twenty-one Dvipada verses ^ For there are twenty-one backward feathers in a bird. 8. Then the Ekaviw-ya is the support of all Stomas, and the tail the support of all birds ^. 9. He recites a twenty-second verse. This is made the form of two supports. Therefore all birds support themselves on their tail, and having supported themselves on their tail, they fly up. For the tail is a support. 10. He (the bird and the hymn) is supported by two decades which are Vira^. The man (the sacrificer) is supported by the two Dvipadas, the twentyfirst and twenty-second. That which forms the bird serves for the attainment of all desires ; that which forms the man, serves for his happiness, glory, proper food, and honour. 11. Next comes a Stadadohas verse, then a Dhayya, then a Sudadohas verse. The Sudadohas is a man, the Dhayya a woman, therefore he recites the Dhayya as embraced on both sides by the Sudadohas. Therefore does the seed of both, when it is effused, obtain oneness, and this with regard to the

^ These verses are given Ait. Ar. V, 2, 2, 9. 1. Ima nu kam (Rv. X, 157) .... 5 2. A yahi (Rv. X, 172) 4 3. Pra va indraya &c, (not in the ^Sakalya-sa/z/hita) 9 4. Esha brahma &c. (not in the -Sakalya-sawhita) 3 ^ The other Stomas of the Agnish/oma are the Trivrz't, Vd.nka,- daja, Saptada^a, the Ekaviw^a being the highest. Cf. I, 5, i, 3- I 9 2 AITAREYA-AR AiVY AK A. woman only. Hence birth takes place in and from the woman. Therefore he recites that Dhayya in that place ^ 1. He recites the eighty tristichs of Gayatris -. Verily, the eighty Gayatri tristichs are this world (earth). Whatever there is in this world of glory, greatness, wives, food, and honour, may I obtain it, may I win it, may it be mine. 2. Next comes the Sudadohas verse. Sudadohas verily is breath. He joins this world with breath. 3. He recites the eighty tristichs of B/Vhatis. Verily, the eighty B/'zhati tristichs are the world of the sky. Whatever there is in the world of the sky of glory, greatness, wives, food, and honour, may I obtain it, may I win it, may it be mine.

4. Next comes the Sudadohas verse. Sudadohas verily is breath. He joins the world of the sky with breath. 5. He recites the eighty tristichs of Ush;^ih. Verily, the eighty Ush;?ih tristichs are that world, the heaven. Whatever there is in that world of glory, greatness, wives, food, and honour, also the divine being of the Devas (Brahman), may I obtain it, may I win it, may it be mine. 6. Next comes the Sudadohas verse. Sudadohas verily is the breath. He joins that world with breath, yea, with breath. ^ Asmin vi^o-avabhage. Comm. ^ These and the following verses form the food of the bird. Comm. The verses themselves are given by .S'aunaka in the fifth Arawyaka. I ARA.\YAKA, 5 ADHYAVA, I KHANDA, 7. 1 9 1. He recites the Vaj'a hymn^, wishing, May everything be in my power. 2. They (its verses) are twenty-one^, for twentyone are the parts (the lungs, spleen, &c.) in the belly. 3. Then the F^kavwisa is verily the support of all Stomas, and the belly the support of all food. 4. They consist of different metres. Verily, the intestines are confused, some small, some large. 5. He recites them with the pra/^ava^ according to the metre ^, and according to rule ^. Verily, the intestines are according to rule, as it were ; some shorter, some longer.

6. Next comes the Sildadohas verse. Sudadohas verily is breath. He joins the joints with breath. 7. After having recited that verse twelve times he ^ Having recited the verses vi^hich form the body, neck, head, wings, and tail of the bird, also the food intended for the bird, he now describes the Vaja hymn, i. e. the hymn composed by Vaja, Rv. VIII, 46. That hymn takes the place of the stomach, which receives the food intended for the bird. Cf. Ait. Ar. V, 2, 5. In I, 5, 2, 4 it is called a Nivid. '■^ Verses 1-20 of the Va^a hymn, and one Sudadohas. ^ Prawavam means ' with prawava,' i. e. inserting Om in the proper places. * According as the metres of the different verses are fixed by iS'aunaka, Ait. Ar, V, 2, 5, who says that verse 15 is Dvipada, and that the last four words, nunam atha, form an Ekapada. ® According to rule, i. e. so that they should come right as Ajvalayana has prescribed the recitation of Dvipada and Ekapada verses. In a Dvipada there should be a stop after the first foot, and Om at the end of the second. In an Ekapada there should be Om at the beginning and at the end.

leaves it off there. These pra;zas are verily twelvefold, seven in the head, two on the breast, three below. In these twelve places the pra;^as are contained, there they are perfect. Therefore he leaves it off there ^ 8. The hymn indragni yuva?;^ su na-^ (Rv. VIII, 40) forms the two thighs (of the bird) belonging to Indra and Agni, the two supports with broad bones. 9. These (verses) consist of six feet, so that they may stand firm, Man stands firm on two feet, animals on four. He thus places man (the sacrificer), standing on two feet, among four-footed cattle. 10. The second verse has seven feet, and he makes it into a Gayatri and Anush/ubh. Gayatri is Brahman, Anush/ubh is speech ; and he thus puts together speech with Brahman. 1 1. He recites a Trish^ibh at the end. Trish/ubh is strength, and thus does he come round animals by strength. Therefore animals come near where there is strength (of command, &c.); they come to be roused and to rise up, (they obey the commands of a strong shepherd.) 1. When he recites the Nishkevalya hymn addressed to Indra (Rv. X, 50), pra vo mahe, he inserts a Nivid^ (between the fourth and fifth verses). Thus he clearly places strength in himself (in the jrastra, in the bird, in himself).

2. They are Trish/ubhs and 6^agatis. ^ He repeats the Sudadohas verse no more. Comm. '^ Sentences like indro deva^ somam pibatu. I ARAiVYAKA, 5 ADHYAYA, 2 KHAiVDA, 8. 1 95 3. There they say: * Why does he insert a Nivid among mixed Trish/ubhs and 6^agatis^ ?' But surely one metre would never support the Nivid of this day, nor fill it : therefore he inserts the Nivid among mixed Trish/ubhs and G'agatis. 4. Let him know that this day has three Nivids : the Vaj"a hymn is a Nivid, the Valakhilyas ^ are a Nivid, and the Nivid itself is a Nivid. Thus let him know that day as having three Nivids. 5. Then follow the hymns vane na va (Rv. X, * 29) and yo ^ata eva (Rv. II, 12), In the fourth verse of the former hymn occur the words anne samasya yad asan manisha//, and they serve for the winning of proper food. 6. Then comes an insertion. As many Trish^ubh and 6^agatt verses^, taken from the ten Maw^falas and addressed to Indra, as they insert (between the two above-mentioned hymns), after changing them into Brz'hatis, so many years do they live beyond the (usual) age (of one hundred years). By this insertion age is obtained.

7. After that he recites the Sa^aniya hymn, wishing that cattle may always come to his offspring. 8. Then he recites the Tarkshya hymn*. Tarkshya is verily welfare, and the hymn leads to welfare. Thus (by reciting the hymn) he fares well ^ ^ According to the Prakr/ti of the Agnish/oma they ought to be all Trish/ubhs. Comm. ^ These hymns occur in the eighty Bn'hati tristichs. ^ From the Sawzhita, which consists of ten thousand verses. Comm. * Rv. X, 178. Tarksha Garu</a being the deity of the hymn, it is called Tarkshya. ' Cf. I, 5, 3; 13- g. Then he recites the Ekapada (iiidro vi^va;;^ vi ra^ati), wishing, May I be everything at once, and may I thus finish the whole work of metres \ 10. In reciting the hymn indraw vi^-va avivndhan (Rv. I, 11) he intertwines the first seven verses by intertwining their feet 2. There are seven pra/ms (openings) in the head, and he thus places seven pra/^as in the head. The eighth verse (half-verse) he does not intertwined The eighth is speech, and he thinks, May my speech never be intertwined with the other pra/^as. Speech therefore, though dwelling in the same abode as the other prd;^as, is not intertwined with them.

11. He recites the Vira^ verses ■*. Verily, Vira^ verses are food, and they thus serve for the gaining of food. 12. He ends with the hymn of Vasish//^a^ wishing, May I be Vasish///a! 13. But let him end with the fifth verse, esha stomo maha ugraya v^he, which, possessing the word mahat, is auspicious. 14. In the second foot of the fifth verse the word dhuri occurs. Verily, dhu/^ (the place where the horse is fastened to the car) is the end (of the car). This day also is the end (of the sacrifice which lasts a whole year) *^. Thus the verse is fit for the day. ^ The Ekapada forms the last metre in this ceremony. ^ The first and last half-verses of the hymn are not to be intertwined. Of the remaining fourteen half-verses he joins, for instance, the fourth foot of the first verse with the second foot of the second verse, and so on. Comm. ^ Because nothing more follows. Comm. ' Rv.VII, 22,1-6. 6 Rv.VII, 24. ^ The last day is the udayaniyatiratra. Comm. I ARAiVYAKA, 5 ADHYAYA, 3 KHANDA, 3. I97 15. In the third foot the word arka Is auspicious. 16. The last foot is: 'Make our glory high as heaven over heaven.' Thus wherever Brahmanic speech is uttered, there his glory will be, when he who knows this finishes with that verse. Therefore let a man who knows this, finish (the Nishkevalya) with that verse.

1. Tat savitur vr/;dmahe (Rv. V, 82, 1-3) and adya no deva savitar (Rv. V, 82, 4-6) are the beginning (pratipad) and the next step (anu/'ara) of the Vaii^vadeva hymn, taken from the Ekaha ceremonial and therefore proper ^. 2. On that day ^ much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotr/ priest who knows this, recites this hymn. 3. Then (follows) the hymn addressed to Savitr/, tad devasya savitur varyam mahat (Rv. IV, 53). Verily, mahat, great, (in this foot) is the end^. This day too is the end. Thus the verse is fit for the day. ^ After finishing the Nishkevalya of the noon-libation, he explains the vaijvadeva>fastra of the third libation. ^ The norm of the Mahavrata is the Vijva^it, and the norm of that, the Agnish/oma Ekaha. The verses to be used for the Vai^vadeva hymn are prescribed in those normal sacrifices, and are here adopted. ' Cf. Ait. Ar. I, 2, I, 2.

* Nothing higher than the great can be wished for or obtained. Comm, 4. The hymn katara piirva katara parayo/^ (Rv. T, 185), addressed to Dyavapmhivi, is one in which many verses have the same ending. Verily, this day also (the mahavrata) is one in which many receive the same reward ^ Thus it is fit for the day. 5. The hymn ana^vo^ato anabhi^ur ukthya/^ (Rv. IV, 36) is addressed to the 7?/bhus. 6. In the first verse the word tri (/'akra//) occurs, and trivat ^ is verily the end. This day also is the end (of the sacrifice). Thus the verse is fit for the day . 7. The hymn asya vamasya palitasya hotu/^ (Rv. I, 164), addressed to the Vii'vedevas, is multiform. This day also is multiform -^ Thus the verse is fit for the day. 8. He recites the end of it, beginning with gaurir mimaya (Rv. I, 164, 41). 9. The hymn a no bhadra/^ kratavo yantu vli"vata/^ (Rv. I, 89), addressed to the Vii'vedevas, forms the Nividdhana, taken from the Ekaha ceremonial, and therefore proper. 10. On that day much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotr/ priest who knows this, recites this hymn.

11. The hymn vaii^vanaraya dhisha;^am r/ta- ' All who perform the ceremony obtain Brahman. Cf. § 12. ^ The third wheel, in addition to the usual two wheels, forms the end of a carriage, as before the dhu/i, cf. I, 5, 2, 14. This day also is the end. * Consisting of Vedic hymns and dances, &c. Comm. I ARAA^VAKA, 5 ADHYAYA, 3 KHAiVDA, 1 4. 1 99 vr/dhe (Rv, III, 2) forms the beginning of the Agnimaruta. Dhisha;^a, thought, is verily the end, this day also is the end. Thus it is fit for the day. 12. The hymn praya^yavo maruto bhra^adr/sh/aya/^ (Rv. V, 55), addressed to the Maruts, is one in which many verses have the same ending. Verily, this day also is one in which many receive the same reward. Thus it is fit for the day \ IT,. He recites the verse ^atavedase sunavama somam (Rv. I, 99, i), addressed to 6"atavedas, before the (next following) hymn. That verse addressed to Gatavedas is verily welfare, and leads to welfare. Thus (by reciting it) he fares well ^. 14. The hymn imaw stomam arhate ^atavedase (Rv. I, 94), addressed to 6^atavedas, is one in which many verses have the same ending. Verily, this day also (the mahavrata) is one in which many receive the same reward. Thus it is fit for the day, yea, it is fit for the day.

' Cf. § 4. 2 Cf. I. 5, 2, 8. With the second Ara«yaka the Upanishad begins. It comprises the second and third Arawyakas, and may be said to consist of three divisions, or three Upanishads. Their general title is Bahvr/X'aupanishad, sometimes Mahaitareya-upanishad, while the Upanishad generally known as Aitareya-upanishad comprises the 4th, 5th, and 6th adhyayas only of the second Ara7zyaka. The character of the three component portions of the Upanishad can best be described in 6'ahkara's own words (Ar. Ill, i, i, Introd. p. 306) : ' There are three classes of men who want to acquire knowledge. The highest consists of those who have turned away from the world, whose minds are fixed on one subject and collected, and who yearn to be free at once. For these a knowledge of Brahman is intended, as taught in the Ait. Ar. II, 4-6. The middle class are those who wish to become free gradually by attaining to the world of Hirawyagarbha. For them the knowledge and worship of Pra«a (breath and life) is intended, as explained in the Ait. Ar. II, 1-3. The lowest class consists of those who do not care either for immediate or gradual freedom, but who desire nothing but offspring, cattle, &c. For these the meditative worship

of the Sa;«hita is intended, as explained in the third Ara«yaka. They cling too strongly to the letter of the sacred text to be able to surrender it for a knowledge either of Pra7/a (life) or of Brahman.' The connexion between the Upanishad or rather the three Upanishads and the first Arawyaka seems at first sight very slight. Still we soon perceive that it would be impossible to understand the first Upanishad, without a previous knowledge of the Mahavrata ceremony as described in the first Ara«yaka. On this point too there are some pertinent remarks in 6'ahkara's commentary on the Arawyaka II, i, 2. ' Our first duty,' he says, ' consists in performing sacrifices, such as are described in the first portion of the Veda, the Sa7«hitas, Brahmawas, and, to a certain extent, in the Arawyakas also. Afterwards arises a desire for knowledge, which cannot be satisfied except a man has first attained II ARAiVYAKA, I ADHYAYA, I KHAiVDA, 2. 201 complete concentration of thought (ekagrata). In order to acquire that concentration, the performance of certain upasanas or meditations is enjoined, such as we find described in our Upanishad, viz. in Ar. II, 1-3/ This meditation or, as it is sometimes translated, worship is of two kinds, either brahmopasana or pratikopasana. Brahmopasana or meditation on Brahman consists in thinking of him as distinguished by certain qualities. Pratikopasana or meditation on symbols consists in looking upon certain worldly objects as if they were Brahman, in order thus to withdraw the mind from the too powerful influence of external objects.

These objects, thus lifted up into symbols of Brahman, are of two kinds, either connected with sacrifice or not. In our Upanishad we have to deal with the former class only, viz. with certain portions of the Mahavrata, as described in the first Arawyaka. In order that the mind may not be entirely absorbed by the sacrifice, it is lifted up during the performance from the consideration of these sacrificial objects to a meditation on higher objects, leading up at last to Brahman as prawa or life. This meditation is to be performed by the priests, and while they meditate they may meditate on a hymn or on a single word of it as meaning something else, such as the sun, the earth, or the sky, but not vice versa. And if in one ^Sakha, as in that of the Aitareyins, for instance, a certain hymn has been symbolically explained, the same explanation may be adopted by another ^akha also, such as that of the Kaushitakins. It is not necessary, however, that every part of the sacrifice should be accompanied by meditation, but it is left optional to the priest in what particular meditation he wishes to engage, nor is even the time of the sacrifice the only right time for him to engage in these meditations.

1, This is the path : this sacrifice, and this Brahman. This is the true ^ 2. Let no man swerve from it, let no man transgress it. ^ Comra. The path is twofold, consisting of works and knowledge. Works or sacrifices have been described in the Sa?«hita, the Brahmawa, and the first Ara?2yaka. Knowledge of Brahman forms the subject of the second and third Ara«yakas. The true path is that of knowledge. For the old (sages) did not transgress it, and those who did transgress, became lost. 4. This has been declared by a Ri'sKi (Rv. VIII, loi, 14): 'Three (classes of) people transgressed, others settled down round about the venerable (Agni, fire) ; the great (sun) stood in the midst of the worlds, the blowing (Vayu, air) entered the Harits (the dawns, or the ends of the earth).' 5. When he says : 'Three (classes of) people transgressed,' the three (classes "*of ) people who transgressed are what we see here (on earth, born again) as birds, trees, herbs, and serpents ^ 6. When he says : ' Others settled down round about the venerable,' he means those who now sit down to worship Agni (fire). 7. When he says : ' The great stood in the midst of the worlds,' the great one in the midst of the world is meant for this Aditya, the sun.

8. When he says : ' The blowing entered the Harits,' he means that Vayu, the air, the purifier, entered all the corners of the earth -. I. People say: ' Uktha, uktha,' hymns, hymns! (without knowing what uktha, hymn^, means.) The ' Vanga^ is explained by vanagata vrikshak ; avagadha/^ is explained by vrihiyavadya oshadhaya// ; irapada/^ is explained by ura>^- pada-^ sarpa^. Possibly they are all old ethnic names, like Vanga, JCera., &c. In Anandatirtha's commentary vaya;«si are explained by Pi.?a/^a, Vahgavagadhas by Rakshasa, and Irapadas by Asuras. ^ Three classes of rnen go to Naraka (hell) ; the fourth class, full of faith and desirous of reaching the highest world, worships Agni, Vayu, and other gods. Comm. ^ The Comni. explains uktha as that from whence the favour of the gods arises, uttish//mty anena devataprasada iti vyutpatte//. II ARAiVYAKA, I ADHYAYA, 2 KllANDA, II. 203 hymn Is truly (to be considered as) the earth, for from it all whatsoever exists arises. 2. The object of its praise is Agni (fire), and the eighty verses (of the hymn) are food, for by means of food one obtains everything. 3. The hymn is tridy the sky, for the birds fly along the sky, and men drive following the sky. The object of its praise is Vayu (air), and the eighty verses (of the hymn) are food, for by means of food one obtains everything.

4. The hymn is truly the heaven, for from its gift (rain) all whatsoever exists arises. The object of its praise is Aditya (the sun), and the eighty verses are food, for by means of food one obtains everything. 5. So much with reference to the gods (mythological) ; now with reference to man (physiological). 6. The hymn is truly man. He is great, he is Pra^apati. Let him think, I am the hymn. 7. The hymn is his mouth, as before in the case of the earth. 8. The object of its praise is speech, and the eighty verses (of the hymn) are food, for by means of food he obtains everything, 9. The hymn is the nostrils, as before in the case of the sky. 10. The object of its praise is breath, and the eighty verses (of the hymn) are food, for by means of food he obtains everything. 11. The slight bent (at the root) of the nose is, as it were, the place of the brilliant (Aditya, the sun). The object is now to show that the uktha or hymn used at the Mahavrata ceremony has a deeper meaning than it seems to have, and that its highest aim is Brahman ; not, however., the highest Brahman, but Brahman considered as Hfe (pra;/a).

12. The hymn is the forehead, as before In the case of heaven. The object of its praise is the eye, and the eighty verses (of the hymn) are food, for by means of food he obtains everything. 13. The eighty verses (of the hymn) are ahke food with reference to the gods as well as with reference to man. For all these beings breathe and live by means of food indeed. By food (given in alms, &c.) he conquers this world, by food (given in sacrifice) he conquers the other. Therefore the eighty verses (of the hymn) are alike food, with reference to the gods as well as with reference to man. 14. All this that is food, and all this that consumes food, is only the earth, for from the earth arises all whatever there is. 15. And all that goes hence (dies on earth), heaven consumes it all ; and all that goes thence (returns from heaven to a new life) the earth consumes it all. 16. That earth is thus both food and consumer. He also (the true worshipper w^ho meditates on himself as being the uktha) is both consumer and consumed (subject and object ^). No one possesses that which he does not eat, or the things which do not eat him -.

^ As a master who lives by his servants, while his servants live by him. Comm, ^ I have translated these paragraphs, as much as possible, according to the commentator. I doubt whether, either in the original or in the interpretation of the commentator, they yield any very definite sense. They are vague speculations, vague, at least, to us, though intended by the Brahmans to give a deeper meaning to certain ceremonial observances connected with the INIahavrata. The uktha, or hymn, which is to be meditated on, as connected with the sacrifice, is part of the Mahavrata, an important ceremony, to be 1. Next follows the origin of seed. The seed of Pracr^pati are the Devas (gods). The seed of the Devas is rain. The seed of rain are herbs. The seed of herbs is food. The seed of food is seed. The seed of seed are creatures. The seed of creatures is the heart. The seed of the heart is the mind. The seed of the mind is speech (Veda). The seed of speech is action (sacrifice). The action done (in a former state) is this man, the abode of Brahman. 2. He (man) consists of food (ira), and because he consists of food (iramaya), he consists of gold (hira72maya ^). He who knows this becomes golden in the other world, and is seen as golden (as the sun) for the benefit of all beings.

performed on the last day but one (the twenty-fourth) of the Gavamayana sacrifice. That sacrifice lasts a whole year, and its performance has been fully described in the Brahma/zas and Ara;?yakas. But while the ordinary performer of the Mahavrata has simply to recite the uktha or nishkevalya-jastra, consisting of eighty verses (tr//Ja) in the Gayatri, Brzhati, and Ush«ih metres, the more advanced worshipper (or priest) is to know that this uktha has a deeper meaning, and is to meditate on it as being the earth, sky, heaven, also as the human body, mouth, nostrils, and forehead. The worshipper is in fact to identify himself by meditation with the uktha in all its senses, and thus to become the universal spirit or Hirawyagarbha. By this process he becomes the consumer and consumed, the subject and object, of everything, while another sacrificer, not knowing this, remains in his limited individual sphere, or, as the text expresses it, does not possess what he cannot eat (perceive), or what cannot eat him (perceive him). The last sentence is explained differently by the commentator, but in connexion with the whole passage it seems to me to become more intelligible, if interpreted as I have proposed to interpret it.

^ Play on words. Comm. 1 . Brahman (in the shape of pra;^a, breath) entered into that man by the tips of his feet, and because Brahman entered (prapadyata) into that man by the tips of his feet, therefore people call them the tips of the feet (prapada), but hoofs and claws in other animals. 2. Then Brahman crept up higher, and therefore they were (called)^ the thighs (Dru). 3. Then he said : ' Grasp wide,' and that was (called) the belly (udara). 4. Then he said : ' Make room for me,' and that was (called) the chest (uras). 5. The ^'arkarakshyas meditate on the belly as Brahman, the Arums on the heart ^. Both (these places) are Brahman indeed ^. 6. But Brahman crept upwards and came to the head, and because he came to the head, therefore the head is called head ^. 7. Then these delights alighted in the head, sight, hearing, mind, speech, b.eath. 8. Delights alight on him who thus knows, why the head is called head. 9. These (five delights or senses) strove together, saying : ' I am the uktha (hymn), I am the uktha ^.' ' Well,' they said, ' let us all go out from

' These are all plays on words. Comm. ^ This does not appear to be the case either in the I^A. Up. V, 15; 17, or in the -Satapatha-brahmawa X, 6, i. •■' The pluti in tasi is explained as jastriyaprasiddhyartha. * All puns, as if we were to say, because he hied up to the head, therefore the head was called head. ^ Each wished to be identified with the uktha, as it was said before that the human body, mouth, nostrils, forehead were to be identified with the uktha. Cf. Kaush. Up. Ill, 3. II ARAiVYAKA, I ADHYAYA, 4 KHAiVDA, I 7. 207 this body ; then on whose departure this body shall fall, he shall be the uktha among us \' 10. Speech went out, yet the body without speaking remained, eating and drinking. Sight went out, yet the body without seeing remained, eatingf and drinkinof. Hearing went out, yet the body without hearing remained, eating and drinking. Mind went out, yet the body, as if blinking, remained, eating and drinking. Breath went out, then when breath was gone out, the body fell. 11. It was decayed, and because people said, it decayed, therefore it was (called) body (j-arira). That is the reason of its name.

12. If a man knows this, then the evil enemy who hates him decays, or the evil enemy who hates him is defeated. 13. They strove again, saying: ' I am the uktha, I am the uktha.' ' Well,' they said, ' let us enter that body again ; then on whose entrance this body shall rise again, he shall be the uktha among us.' 14. Speech entered, but the body lay still. Sight entered, but the body lay still. Hearing entered, but the body lay still. Mind entered, but the body lay still. Breath entered-, and when breath had entered, the body rose, and it became the uktha, 15. Therefore breath alone is the uktha. 16. Let people know that breath is the uktha indeed. 1 7. The Devas (the other senses) said to breath : ' Thou art the uktha, thou art all this, we are thine, thou art ours.' 1 Cf. Kb. Up. V, i; Br^-h. Up. VI, i; Kaush. Up. II, 12-14; III, 2; Prajna Up. II, i. 1 8. This has also been said by a Rish'i (Rv. VIII, 92, 32): 'Thou art ours, we are thine.' 1. Then the Devas carried him (the breath) forth, and being carried forth, he was stretched out, and when people said, ' He was stretched out,' then it was in the morning ; when they said, ' He is gone to rest,' then it was in the evening. Day, therefore, is the breathing up, night the breathing down \

2. Speech is Agni, sight that Aditya (sun), mind the moon, hearing the Di^ (quarters) : this is the prahitaw sa7;/yoga ^ the union of the deities as sent forth. These deities (Agni, &c.) are thus in the body, but their (phenomenal) appearance yonder is among the deities — this was intended. 3. And Hira?/yadat Vaida also, who knew this (and who by his knowledge had become Hira;^yagarbha or the universal spirit), said : ' Whatever they do not give to me, they do not possess themselves.' I know the prahita;;^ sa;;2yoga, the union of the deities, as entered into the body^ This is it. ^ All these are plays on words, pratar being derived from pratayi, sayam from samagat. The real object, however, is to show that breath, which is the uklha, which is the worshipper, is endowed with certain qualities, viz. time, speech, &c.^ 2 The meaning is, that the four deities, Agni, Aditya, Moon, and the Bis proceed from their own places to dwell together in the body of man, and that this is called the prahitaw^ s^myoga/i. Prahit is explained as prahita, placed, sent. It is probably formed from hi, not from dha. Vrahho/i sa?«yo^^anam is the name of a Saman, Ind. Stud. Ill, 225. As Devas or gods they appear each in its own place. The whole passage is very obscure.

^ All this is extremely obscure, possibly incorrect. For yam, unless it refers to some other word, we expect van. For dadyu/^ one expects dadyat. What is intended is that Hira«yadat had II ARAiVYAKA, I ADHYAYA, 6 KRANDA, 4. 209 4. To him who knows this all creatures, without being- constrained, offer gifts, 5. That breath is (to be called) sattya (the true), for sat is breath, ti is food, yam is the sun\ This is threefold, and threefold the eye also may be called, it being white, dark, and the pupil. He who knows why true is true (why sattya is sattya), even if he should speak falsely, yet what he says is true. 1. Speech is his (the breath's) rope, the names the knots '\ Thus by his speech as by a rope, and by his names as by knots, all this is bound. For all this are names indeed, and with speech he calls everything. 2. People carry him who knows this, as if they were bound by a rope. 3. Of the body of the breath thus meditated on, the Ush;Ah verse forms the hairs, the Gayatri the skin, the Trish/ubh the flesh, the Anush/ubh the muscles, the 6'agati the bone, the Paiikti the marrow, the Br/hatt the breath^ (pra;^a). He is covered with the verses (/7^andas, metres). Because he is thus covered with verses, therefore they call them /(V^andas (coverings, metres).

4. If a man knows the reason why /7/andas are called /(Pandas, the verses cover him in whatever place he likes against any evil deed. through meditation acquired identity with the universal spirit, and that therefore he might say that whatever was not surrendered to him did not really belong to anybody. On Hira«yadat, see Ait. Brahm. Ill, 6. ^ Cf. A^/i. Up. VIII, 3, 5. ^ The rope is supposed to be the chief rope to which various smaller ropes are attached for fastening animals. ^ Here conceived as the air breathed, not as the deity. Comm. 5. This is said by a 7?/shi (Rv. I, 164, 13): — 6. ' I saw (the breath) as a guardian, never tiring, coming and going on his ways (the arteries). That breath (in the body, being identified with the sun among the Devas), iUuminating the principal and intermediate quarters of the sky, is returning constantly in the midst of the w^orlds.' He says : * I saw a guardian,' because he, the breath, is a guardian, for he guards everything. 7. He says : ' Never tiring,' because the breath never rests. 8. He says : ' Coming and going on his ways,' because the breath comes and goes on his ways.

9. He says : ' Illuminating the principal and intermediate,' because he illuminates these only, the principal and intermediate quarters of the sky. 10. He says : ' He is returning constantly in the midst of the worlds,' because he returns indeed constantly in the midst of the worlds. 11. And then, there is another verse (Rv. I, 55, 81): 'They are covered like caves by those who make them,' 12. For all this is covered indeed by breath. 13. This ether is supported by breath as Br/hati, and as this ether is supported by breath as Brz'hati, so one should know that all things, not excepting ants, are supported by breath as Br/hati. 1. Next follow the powers of that Person \ 2. By his speech earth and fire were created. ^ The purusha, as described before in the second chapter, is the Pra^g'apati or universal spirit with whom the worshipper is to identify himself by meditation. The manifestations of his power consist in creating the earlh, fire, the sky, the air, heaven, the sun. II ARAiVYAKA, I ADHYAYA, 7 KHAiVDA, 6. 211 Herbs are produced on the earth, and Agni (fire) makes them ripe and sweet. ' Take this, take this/ thus saying do earth and fire serve their parent, speech.

3. As far as the earth reaches, as far as fire reaches, so far does his world extend, and as long as the world of the earth and fire does not decay, so long does his world not decay who thus knows this power of speech. 4. By breath (in the nose) the sky and the air were created. People follow the sky, and hear along the sky, while the air carries along pure scent. Thus do sky and air serve their parent, the breath. As far as the sky reaches, as far as the air reaches, so far does his world extend, and as long as the world of the sky and the air does not decay, so long does his world not decay who thus knows this power of breath. 5. By his eye heaven and the sun were created. Heaven gives him rain and food, while the sun causes his light to shine. Thus do the heaven and the sun serve their parent, the eye. As far as heaven reaches and as far as the sun reaches, so far does his world extend, and as long as the world of heaven and the sun does not decay, so long does his world not decay who thus knows the power of the eye.

6. By his ear the quarters and the moon were created. From all the quarters they come to him, and from all the quarters he hears, while the moon produces for him the bright and the dark halves for the sake of sacrificial work. Thus do the quarters and the moon serve their parent, the ear. As far as the quarters reach and as far as the 2 I 2 AITAREYA-ARAiVYAKA. moon reaches, so far does his world extend, and as long as the world of the quarters and the moon does not decay, so long does his world not decay who thus knows the power of the ear. 7. By his mind the water and Varu;/a were created. Water yields to him faith (being used for sacred acts), Varu;^a keeps his offspring within the law. Thus do water and Varu;2a serve their parent, the mind. As far as water reaches and as far as Varu/^a reaches, so far does his world extend, and as long as the world of water and Varu;^a does not decay, so long does his world not decay who thus knows the power of the mind. 1. Was it water really ? Was it water ? Yes, all this was water indeed. This (water) was the root (cause), that (the world) was the shoot (effect). He (the person) is the father, they (earth, fire, &c.) are the sons. Whatever there is belonging to the son, belongs to the father ; whatever there is belonging to the father, belongs to the son. This was intended^.

2. Mahidasa Aitareya, who knew this, said : ' I know myself (reaching) as far as the gods, and I know the gods (reaching) as far as me. For these ^ Having described how Pi-a«a, the breath, and his companions or servants created the world, he now discusses the question of the material cause of the world out of which it was created. Water, which is said to be the material of the world, is explained by the commentator to mean here the five elements. ^ Cause and effect are not entirely separated, therefore water, as the elementary cause, and earth, fire, &c., as its effect, are one ; likewise the worshipper, as the father, and the earth, fire, &c. as his sons, as described above. Mula and tiala, root and shoot, are evidently chosen for the sake of the rhyme, to signify cause and eff'ect. II ARAJVYAKA, I ADHYAYA, 8 KHAiVDA, 12. 2T3 gods receive their gifts from hence, and are supported from hence.' 3. This is the mountain ^ viz. eye, ear, mind, speech, and breath. They call it the mountain of Brahman. 4. He who knows this, throws down the evil enemy who hates him ; the evil enemy who hates him is defeated.

5. He (the Pra;^a, identified with Brahman) is the life, the breath ; he is being (while the ^ivatman remains), and not-being (when the^ivatman departs). 6. The Devas (speech, &c.) worshipped him (pra;2a) as Bhiiti or being, and thus they became great beings. And therefore even now a man who sleeps, breathes like bhilrbhu/^. 7. The Asuras worshipped him as Abhuti or notbeing, and thus they were defeated. 8. He who knows this, becomes great by himself, while the evil enemy who hates him, is defeated. 9. He (the breath) is death (when he departs), and immortality (while he abides). 10. And this has been said Hy a Rish'i (Rv. I, 11. ' Downwards and upwards he (the wind of the breath) goes, held by food ; ' — for this up-breathing, being held back by the down-breathing, does not move forward (and leave the body altogether). 12. ' The immortal dwells with the mortal;' — for through him (the breath) all this dwells together, the bodies being clearly mortal, but this being (the breath), being immortal. ^ Pra;/a is called the giri/z, because it is swallowed or hidden by the other senses (girawat). Again a mere play of words, intended to show that Brahman under the form of Pra«a, or life, is to be meditated on.

13. ' These two (body and breath) go for ever hi different directions (the breath moving the senses of the body, the body supporting the senses of the breath : the former going upwards to another world, the body dying and remaining on earth). They increase the one (the body), but they do not increase the other,' i. e. they increase these bodies (by food), but this being (breath) is immortal. 14. He who knows this becomes immortal in that world (having become united with Hira;^yagarbha), and is seen as immortal (in the sun) by all beings, yea, by all beings. I. He (the sun), who shines, honoured this world (the body of the worshipper, by entering into it), in the form of man - (the worshipper who meditates on breath). For he who shines (the sun) is (the same as) the breath. He honoured this (body of the worshipper) during a hundred years, therefore there are a hundred years in the life of a man. Because he honoured him during a hundred years, therefore there are (the poets of the first Ma;z^ala of the Rigveda, called) the ^'atari'in, (having honour for a ^ In the first adhyaya various forms of meditating on Uktha, conceived as Pra«a (life), have been declared. In the second some other forms of meditalion, all extremely fanciful, are added. They are of interest, however, as showing the existence of the hymns of the Rig-veda, divided and arranged as we now possess them, at the time when this Arawyaka was composed.

^ The identity of the sun and of breath as living in man has been established before. It is the same power in both, conceived either adhidaivatam (mythological) or adhyatmam (physiological). II ARAiVYAKA, 2 ADHYAYA, I KHANDA, 6. 24 5 hundred years.) Therefore people call him who is really Pra;^a (breath), the ^'atarZ'in poets \ 2. He (breath) placed himself in the midst of all whatsoever exists. Because he placed himself in the midst of all whatsoever exists, therefore there are (the poets of the second to the ninth Ma;/^ala of the Rig-veda, called) the Madhyamas. Therefore people call him who is really Pra;/a (breath), the Madhyama poets. 3. He as up-breathing is the swallower (gmsa), as down-breathing he is delight (mada). Because as up-breathing he is swallower (gritsa.) and as downbreathing delight (mada), therefore there is (the poet of the second Ma;^rt'ala of the Rig-veda, called) Grztsamada. Therefore people call him who is really Fra.ua, (breath), Gr/tsamada. 4. Of him (breath) all this whatsoever was a friend. Because of him all (vii"vam) this whatsoever was a friend (mitram), therefore there is (the poet of the third Ma.nda.\a. of the Rig-veda, called) Vi^-vamitra. Therefore people call him who is really Pra;2a (breath), Vii-vamitra.

5. The Devas (speech, &c.) said to him (the breath) : ' He is to be loved by all of us.' Because the Devas said of him, that he was to be loved (vama) by all of them, therefore there is (the poet of the fourth Ma/^rf'ala of the Rig-veda, called) Vamadeva. Therefore people call him who is really Pra/^a (breath), Vamadeva. 6. He (breath) guarded all this whatsoever from evil. Because he guarded (atrayata) all this whatso- ^ The real ground for the name is that the poets of the first Ma.nda.\a. composed on an average each about a hundred Jii^ verses. 2 1 6 AITAREYA-ARAiVYAKA. ever from evil, therefore there are (the poets of the fifth Mandala. of the Rig-veda, called) Atraya/z. Therefore people call him who is really Pra/^a (breath), Atraya/^. 1. He (breath) is likewise a Bibhradva^a (bringer of offspring). Offspring is va^a, and he (breath) supports offspring. Because he supports it, therefore there is (the poet of the sixth Ma/^^T'ala of the Rig-veda, called) Bharadva^a. Therefore people call him who is really Pra/^a (breath), Bharadva^a. 2. The Devas (speech, &c.) said to him: 'He it is who chiefly causes us to dwell on earth.' Because the Devas said of him, that he chiefly caused them to dwell on earth, therefore there is (the poet of the seventh Ma7ida.\3. of the Rig-veda, called) VasishMa. Therefore people call him who is really Pra;/a (breath), Vasish/Zza^

3. He (breath) went forth towards ^ all this whatsoever. Because he went forth toward all this whatsoever, therefore there are (the poets of the eighth Mandala. of the Rig-veda, called) the Pragathas. Therefore people call him who is really Pra;za (breath), the Pragathas. 4. He (breath) purified all this whatsoever. Because he purified all this whatsoever, therefore there ^ I translate in accordance with the commentator, and probably with the intention of the author. The same etymology is repeated in the commentary on II, 2, 4, 2. It would be more natural to take vasish//;a in the sense of the richest. ^ This is the interpretation of the commentator, and the preposition abhi seems to show that the author too took that view of the etymology of pragatha. II ARAiVYAKA, 2 ADHYAYA, 2 KUANDA, 8, 21 7 are (the hymns and also the poets ^ of the ninth Ma;^rt^ala of the Rig-veda, called) the Pavamanis. Therefore people called him who is really Pra;^a (breath), the Pavamanis. 5. He (breath) said : ' Let me be everything whatsoever, small (kshudra) and great (mahat), and this became the Kshiidrasuktas and Mahasuktas.' Therefore there were (the hymns and also the poets of the tenth Ma;^<^ala of the Rig-veda, called) the Kshudrasdktas (and Mahasfiktas). Therefore people call him who is really Pra/^a (breath), the Kshiidrasuktas (and Mahasuktas).

6. He (breath) said once : ' You have said what is well said (su-ukta) indeed. This became a Sukta (hymn).' Therefore there was the Sukta. Therefore people call him who is really Pra;/a (breath), Sukta ^. 7. He (breath) is a i?//C' (verse), for he did honour " to all beings (by entering into them). Because he did honour to all beings, therefore there was the J^/^ verse. Therefore people call him who is really Pra;^a (breath), 7?//^. 8. He (breath) is an ArdharZ'a (half- verse), for he did honour to all places (ardha) *. Because he did honour to all places, therefore there was the Ardhar/{'a. Therefore people call him who is really Pra/za (breath), Ardhar/^a. ^ It seems, indeed, as if in the technical language of the Brahmans, the poets of the ninth Mawi/ala were sometimes called Pavamanis, and the hymns of the tenth ]Maw(2'ala Kshudrasuktas and Mahasuktas (masc.) Cf. Arsheya-brahma7ia, ed. Burnell, p. 42. - The poet also is called Sukta, taddrash/api suktanamako 'bhut. Comm. ^ I translate according to the commentator. * Ardha means both half and place. 9. He (breath) is a Pada (word) \ for he got into all these beings. Because he got (padi) into all these beings, therefore there was the Pada (word). Therefore people call him who is really Pra;^a (breath), Pada.

10. He (breath) is an Akshara (syllable), for he pours out (ksharati) gifts to all these beings, and without him no one can pour out (atiksharati) gifts. Therefore there was the Akshara (syllable). Therefore people call him who is really Pra/^a (breath), Akshara ^. 11. Thus all these Rik verses, all Vedas, all sounds ^ are one word, viz. Pra;^a (breath). Let him know that Pra;^a is all Rik verses. I. While Vii'vamitra was going to repeat the hymns of this day (the mahavrata), Indra sat down near him^ Vi^vamitra (guessing that Indra wanted food) said to him, ' This (the verses of the hymn) is food,' and repeated the thousand B;^/hati verses '. ^ It may also be intended for pada, foot of a verse. ^ The Pra«a (breath) is to be meditated on as all hymns, all poets, all words, &c. Comm. ^ All aspirated sonant consonants. Comm. * Upanishasasada, instead of upanishasada. The mistake is probably due to a correction, sa for sha ; the commentator, however, considers it as a Vedic license. Sakaro 'dhika.r -^/^andasa^. ^ These are meant for the Nishkevalya hymn recited at the noon-libation of the Mahavrata, That hymn consists of ten parts, corresponding, as we saw, to ten parts of a bird, viz. its body, neck, head, root of wings, right wing, left wing, tail, belly, chest, and thighs. The verses corresponding to these ten parts, beginning with tad id asa bhuvaneshu ^yeshMam, are given in the first Arawyaka, and more fully in the fifth Ara/zyaka by ^aunaka.