The Online Library of Liberty

A project of Liberty Fund, Inc.

• Preface
• Remarks Concerning the Translation Its Method and Arrangement
• List of Abbreviations
• Errata
• An Outline of the Philosophy of the Upanishads
• Chapter I: The Place of the Upanishads In the History of Philosophy
• Chapter II: The Upanishads and Their Place In Indian Philosophy
• Chapter III: First Attempts At the Conception of a Unitary World-ground
• Chapter IV: The Development of the Conception of Brahma
• Chapter V: The Development of the Conception of the Atman and Its Union With Brahma
• Chapter VI: The Realistic Conception of the Ultimate Unity, and the Doctrine of Illusion
• Chapter VII: Idealism and the Conception of Pure Unity
• Chapter VIII: The Outcome On Religion and On the Doctrine of Karma
• Chapter IX: The Outcome On Practical Life and On Morals
• Chapter X: The Artificial Method of Unity In Renunciation and In Yoga
• Chapter XI: Concluding Estimate
• BṚihad-ĀraṆyaka Upanishad
• First AdhyĀya
• Second AdhyĀya
• Third AdhyĀya
• Fourth AdhyĀya
• Fifth AdhyĀya
• Sixth AdhyĀya
• ChĀndogya Upanishad
• First PrapĀṬhaka a Glorification of the Chanting of the Sāma-veda 1
• Second PrapĀṬhaka the Significance of the Chant In Various Forms
• Third PrapĀṬhaka Brahma As the Sun of the World-all
• Fourth PrapĀṬhaka Conversational Instructions
• Fifth PrapĀṬhaka Concerning Breath, the Soul, and the Universal Soul
• Sixth PrapĀṬhaka the Instruction of Śvetaketu By Uddālaka Concerning the Key to All Knowledge
• Seventh PrapĀṬhaka the Instruction of Nārada By Sanatkumāra
• Eighth PrapĀṬhaka Concerning the Nature of the Soul
• TaittirĪya Upanishad
• First VallĪ (Śikshā Vallī, ‘chapter Concerning Instruction’)
• Second VallĪ (brahmānanda Vallī, ‘bliss-of-brahma Chapter’)
• Third VallĪ (bhṛigu Vallī, ‘chapter Concerning Bhṛigu’)
• Aitareya Upanishad
• First AdhyĀya
• Second AdhyĀya
• Third AdhyĀya
• KaushĪtaki Upanishad 1
• First AdhyĀya the Course of Reincarnation, and Its Termination Through Metaphysical Knowledge 2
• Second AdhyĀya the Doctrine of Prāṇa, Together With Certain Ceremonies
• Third AdhyĀya Doctrine of Prāṇa (the Breathing Spirit)
• Fourth AdhyĀya a Progressive Definition of Brahma 2
• Kena Upanishad 1
• (first KhaṆḌa)
• (second KhaṆḌa)
• (third KhaṆḌa) 3
• (fourth KhaṆḌa)
• KaṬha Upanishad
• First VallĪ 1
• Second VallĪ
• Third VallĪ
• Fourth VallĪ
• Fifth VallĪ
• Sixth VallĪ
• ĪŚĀ Upanishad 1
• MuṆḌaka Upanishad
• First MuṆḌaka Preparation For the Knowledge of Brahma
• Second MuṆḌaka the Doctrine of Brahma-Ātman
• Third MuṆḌaka the Way to Brahma
• PraŚna Upanishad 1
• First PraŚna
• Second PraŚna
• Third PraŚna
• Fourth PraŚna
• Fifth PraŚna
• Sixth PraŚna
• MĀṆḌŪkya Upanishad
• ŚvetĀŚvatara Upanishad
• First AdhyĀya
• Second AdhyĀya
• Third AdhyĀya
• Fourth AdhyĀya
• Fifth AdhyĀya
• Sixth AdhyĀya
• Maitri Upanishad
• First PrapĀṬhaka
• Second PrapĀṬhaka
• Third PrapĀṬhaka
• Fourth PrapĀṬhaka
• Fifth PrapĀṬhaka
• Sixth PrapĀṬhaka
• Seventh PrapĀṬhaka
• A Bibliography of the Upanishads Selected, Classified, and Annotated

FIRST PRAPĀṬHAKA

A Glorification of the Chanting of the Sāma-Veda1

First Khaṇḍa

The Udgītha identified with the sacred syllable ‘Om’

1.Om! One should reverence the Udgītha (Loud Chant) as this syllable, for one sings the loud chant (ud + √gī) [beginning] with ‘Om.’2

The further explanation thereof [is as follows]:—

2. The essence of things here is the earth.

The essence of the earth is water.

The essence of water is plants.

The essence of plants is a person (puruṣa).

The essence of a person is speech.

The essence of speech is the Rig (‘hymn’).

The essence of the Rig3 is the Sāman (‘chant’).

The essence of the Sāman4 is the Udgītha (‘loud singing’).

3. This is the quintessence of the essences, the highest, the supreme, the eighth—namely the Udgītha.

4. ‘Which one is the Rig? Which one is the Sāman? Which one is the Udgītha?’—Thus has there been a discussion.

5. The Rig is speech. The Sāman is breath (prāṇa). The Udgītha is this syllable ‘Om.’

Verily, this is a pair—namely speech and breath, and also the Rig and the Sāman.

6. This pair is joined together in this syllable ‘Om.’

Verily, when a pair come together, verily, the two procure each the other’s desire.

7. A procurer of desires, verily, indeed, becomes he who, knowing this thus, reverences the Udgītha as this syllable.

8. Verily, this syllable is assent; for whenever one assents to anything he says simply ‘Om.’1 This, indeed, is fulfilment—that is, assent is.

A fulfiller of desires, verily, indeed, becomes he who, knowing this thus, reverences the Udgītha as this syllable.

9. This threefold knowledge2 proceeds with it: saying ‘Om,’ one3 calls forth; saying ‘Om,’ one4 recites; saying ‘Om,’ one5 sings aloud, to the honor of that syllable, with its greatness, with its essence.

10. He who knows this thus and he who knows not, both perform with it. Diverse, however, are knowledge and ignorance. What, indeed, one performs with knowledge, with faith (śraddhā), with mystic doctrine (upaniṣad)—that, indeed, becomes the more effective.

—Such is the further explanation of this syllable.

Second Khaṇḍa

The Udgītha identified with breath

1. Verily, when the gods (Devas) and the devils (Asuras), both descendants of Prajāpati, contended with each other, the gods took unto themselves the Udgītha, thinking: ‘With this we shall overcome them!’6

2. Then they reverenced the Udgītha as the breath in the nose. The devils afflicted that with evil. Therefore with it one smells both the sweet-smelling and the ill-smelling, for it is afflicted with evil.

3. Then they reverenced the Udgītha as speech. The devils afflicted that with evil. Therefore with it one speaks both the true and the false, for it is afflicted with evil.

4. Then they reverenced the Udgītha as the eye. The devils afflicted that with evil. Therefore with it one sees both the sightly and the unsightly, for it is afflicted with evil.

5. Then they reverenced the Udgītha as the ear. The devils afflicted that with evil. Therefore with it one hears both what should be listened to and what should not be listened to, for it is afflicted with evil.

6. Then they reverenced the Udgītha as the mind. The devils afflicted that with evil. Therefore with it one imagines both what should be imagined and what should not be imagined, for it is afflicted with evil.

7. Then they reverenced the Udgītha as that which is the breath in the mouth. When the devils struck that, they fell to pieces, as one would fall to pieces in striking against a solid stone.

8. As a lump of clay would fall to pieces in striking against a solid stone, so falls to pieces he who wishes evil to one who knows this, and he, too, who injures him. Such a one is a solid stone.

9. With this [breath] one discerns neither the sweet-smelling nor the ill-smelling, for it is free from evil. Whatever one eats with this, whatever one drinks with this, he protects the other vital breaths. And, not finding this [breath in the mouth], one finally deceases; one finally leaves his mouth open.

10. Aṅgiras reverenced this as the Udgītha. People think that it is indeed Aṅgiras, because it is the essence (rasa) of the limbs (aṅga)—for that reason.

11. Bṛihaspati reverenced this as the Udgītha. People think that it is indeed Bṛihaspati, because speech is great (bṛhatī) and it is the lord (pati) thereof—for that reason.

12. Ayāsya reverenced this as the Udgītha. People think that it is indeed Ayāsya, because it goes (ayate) from the mouth (āsya)—for that reason.

13. Baka Dālbhya knew it. He became Udgātṛi priest of the people of Naimisha. He used to sing to them their desires.

14. An effective singer of desires, verily, indeed, becomes he who, knowing this thus, reverences the syllable as the Udgītha.

—Thus with reference to the self.

Third Khaṇḍa

Various identifications of the Udgītha and of its syllables

1. Now with reference to the divinities.—

Him who glows yonder [i.e. the sun] one should reverence as an Udgītha. Verily, on rising (ud-yan), he sings aloud (ud-gāyati) for creatures. On rising, he dispels darkness and fear. He, verily, who knows this becomes a dispeller of fear and darkness.

2. This [breath in the mouth] and that [sun] are alike. This is warm. That is warm. People designate this as sound (svara), that as sound (svara)1 and as the reflecting (pratyāsvara). Therefore, verily, one should reverence this and that as an Udgītha.

3. But one should also reverence the diffused breath (vyāna) as an Udgītha. When one breathes in—that is the in-breath (prāṇa). When one breathes out—that is the out-breath (apāna). The junction of the in-breath and the out-breath is the diffused breath. Speech is the diffused breath. Therefore one utters speech without in-breathing, without out-breathing.

4. The Ṛic is speech. Therefore one utters the Ṛic without in-breathing, without out-breathing. The Sāman is the Ṛic. Therefore one sings the Sāman without in-breathing, without out-breathing. The Udgītha is the Sāman. Therefore one chants the Udgītha without in-breathing, without out-breathing.

5. Whatever other actions than these there are that require strength, like the kindling of fire by friction, the running of a race, the bending of a stiff bow—one performs them without in-breathing, without out-breathing. For this reason one should reverence the diffused breath as an Udgītha.

6. But one should also reverence the syllables of the Udgītha—ud, gī, tha. ud is breath, for through breath one arises (ut-tiṣṭhati); gī is speech, for people designate speeches as words (giras); tha is food, for upon food this whole world is established (sthita).

7.ud is heaven; gī is atmosphere; tha is the earth.

ud is the sun; gī is wind; tha is fire.

ud is Sāma-Veda; gī is Yajur-Veda; tha is Rig-Veda.

Speech yields milk—that is, the milk of speech itself—for him, he becomes rich in food, an eater of food, who knows and reverences these syllables of the Udgītha thus: ud, gī, tha.

8. Now then, the fulfilment of wishes.—

One should reverence the following as places of refuge.

One should take refuge in the Sāman with which he may be about to sing a Stotra.1

9. One should take refuge in the Ṛic in which it was contained, in the Ṛishi who was the poet, in the divinity unto whom he may be about to sing a Stotra.

10. One should take refuge in the meter with which he may be about to sing a Stotra. One should take refuge in the hymn-form with which he may be about to sing a Stotra for himself.

11. One should take refuge in the quarter of heaven toward which he may be about to sing a Stotra.

12. Finally, one should go unto himself and sing a Stotra, meditating carefully upon his desire. Truly the prospect is that the desire will be fulfilled for him, desiring which he may sing a Stotra—yea, desiring which he may sing a Stotra!

Fourth Khaṇḍa

‘Om,’ superior to the three Vedas, the immortal refuge

1.Om! One should reverence the Udgītha as this syllable, for one sings the loud chant [beginning] with ‘Om.’

The further explanation thereof [is as follows].—

2. Verily, the gods, when they were afraid of death, took refuge in the threefold knowledge [i.e. the three Vedas]. They covered (acchādayan) themselves with meters. Because they covered themselves with these, therefore the meters are called chandas.

3. Death saw them there, in the Ṛic, in the Sāman, in the Yajus, just as one might see a fish in water. When they found this out, they arose out of the Ṛic, out of the Sāman, out of the Yajus, and took refuge in sound.

4. Verily, when one finishes an Ṛic, he sounds out ‘Om’; similarly a Sāman; similarly a Yajus. This sound is that syllable.1 It is immortal, fearless. By taking refuge in it the gods became immortal, fearless.

5. He who pronounces the syllable, knowing it thus, takes refuge in that syllable, in the immortal, fearless sound. Since the gods became immortal by taking refuge in it, therefore he becomes immortal.

Fifth Khaṇḍa

The Udgītha identified with the sun and with breath

1. Now then, the Udgītha is Om; Om is the Udgītha. And so, verily, the Udgītha is yonder sun, and it is Om, for it is continually sounding ‘Om.’

2. ‘I sang praise unto it alone; therefore you are my only [son],’ spake Kaushītaki unto his son. ‘Reflect upon its [various] rays. Verily, you will have many [sons].’

—Thus with reference to the divinities.

3. Now with reference to the self.—

One should reverence the Udgītha as that which is the breath in the mouth, for it is continually sounding ‘Om.’

4. ‘I sang praise unto it alone; therefore you are my only [son],’ spake Kaushītaki unto his son. ‘Sing praise unto the breaths as a multitude. Verily, you will have many [sons].’

5. Now then, the Udgītha is Om; Om is the Udgītha. With this thought, verily, from the seat of a Hotṛi priest one puts in order again the Udgītha which has been falsely chanted—yea, puts it in order again.

Sixth Khaṇḍa

The cosmic and personal interrelations of the Udgītha

1. The Ṛic is this [earth]; the Sāman is fire. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic.1sā is this [earth]; ama is fire. That makes sāma.

2. The Ṛic is the atmosphere; the Sāman is the wind. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is the atmosphere; ama is the wind. That makes sāma.

3. The Ṛic is heaven; the Sāman is the sun. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is heaven; ama is the sun. That makes sāma.

4. The Ṛic is the lunar mansions; the Sāman is the moon. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is the lunar mansions; ama is the moon. That makes sāma.

5. Now, the Ṛic is the white shining of the sun; the Sāman is the dark, the ultra-black. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic.

6. Now, sā is the white shining of the sun; ama is the dark, the ultra-black. That makes sāma.

Now, that golden Person who is seen within the sun has a golden beard and golden hair. He is exceedingly brilliant, all, even to the finger-nail tips.

7. His eyes are even as a Kapyāsa lotus-flower. His name is High (ud). He is raised high above all evils. Verily, he who knows this rises high above all evils.

8. His songs (geṣṇau) are the Ṛic and the Sāman. Therefore [they are called] the Udgītha. Therefore also the Udgātṛi priest [is so called], for he is the singer (gātṛ) of this [High (ud)]. He is lord of the worlds which are beyond yonder sun, and also of the gods’ desires.

—Thus with reference to the divinities.

Seventh Khaṇḍa

1. Now with reference to the self.—

The Ṛic is speech; the Sāman is breath. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is speech; ama is breath. That makes sāma.

2. The Ṛic is the eye; the Sāman is the soul (ātman). This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is the eye; ama is the soul. That makes sāma.

3. The Ṛic is the ear; the Sāman is the mind. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is the ear; ama is the mind. That makes sāma.

4. Now, the Ṛic is the bright shining of the eye; the Sāman is the dark, the ultra-black. This Sāman rests upon that Ṛic. Therefore the Sāman is sung as resting upon the Ṛic. sā is the bright shining of the eye; ama is the dark, the ultra-black. That makes sāma.

5. Now, this person who is seen within the eye is the hymn (ṛc), is the chant (sāman), is the recitation (uktha), is the sacrificial formula (yajus), is the prayer (brahman).

The form of this one is the same as the form of that [Person seen in the sun]. The songs of the former are the songs of this. The name of the one is the name of the other.

6. He is lord of the worlds which are under this one, and also of men’s desires. So those who sing on the lute sing of him. Therefore they are winners of wealth.

7. Now, he who sings the Sāman, knowing it thus, sings of both; through the former he wins the worlds which are beyond the former, and also the gods’ desires.

8. Through the latter he wins the worlds which are under the latter, and also men’s desires. Therefore an Udgātṛi priest who knows this may say: [9] ‘What desire may I win for you by singing?’ For truly he is lord of the winning of desires by singing, who, knowing this, sings the Sāman—yea, sings the Sāman!

Eighth Khaṇḍa

The Udgītha identified with the ultimate, i. e. space

1. There were three men proficient in the Udgītha: Śilaka Śālāvatya, Caikitāyana Dālbhya, and Pravāhaṇa Jaivali. These said: ‘We are proficient in the Udgītha. Come! Let us have a discussion on the Udgītha!’

2. ‘So be it,’ said they, and sat down together. Then Pravāhaṇa Jaivali said: ‘Do you two, Sirs, speak first. While there are two Brahmans speaking, I will listen to their word.’1

3. Then Śilaka Śālāvatya said to Caikitāyana Dālbhya: ‘Come! Let me question you.’

‘Question!’ said he.

4. ‘To what does the Sāman go back?’

‘To sound,’ said he.

‘To what does sound go back?’

‘To breath,’ said he.

‘To what does breath go back?’

‘To food,’ said he.

‘To what does food go back?’

‘To water,’ said he.

5. ‘To what does water go back?’

‘To yonder world,’ said he.

‘To what does yonder world go back?’

‘One should not lead beyond the heavenly world,’ said he. ‘We establish the Sāman upon the heavenly world, for the Sāman is praised as heaven.’

6. Then Śilaka Śālāvatya said to Caikitāyana Dālbhya: ‘Verily, indeed, your Sāman, O Dālbhya, is unsupported. If some one now were to say “Your head will fall off,” your head would fall off.’

7. ‘Come! Let me learn this from you, Sir.’

‘Learn,’ said he.

‘To what does yonder world go back?’

‘To this world,’ said he.

‘To what does this world go back?’

‘One should not lead beyond the world-support,’ said he. ‘We establish the Sāman upon the world as a support, for the Sāman is praised as a support.’

8. Then Pravāhaṇa Jaivali said to him: ‘Verily, indeed, your Sāman, O Śālāvatya, comes to an end. If some one now were to say “Your head will fall off,” your head would fall off.’

‘Come! Let me learn this from you, Sir.’

‘Learn,’ said he.

Ninth Khaṇḍa

1. ‘To what does this world go back?’

‘To space,’ said he. ‘Verily, all things here arise out of space. They disappear back into space, for space alone is greater than these; space is the final goal.

2. This is the most excellent Udgītha. This is endless. The most excellent is his, the most excellent worlds does he win, who, knowing it thus, reverences the most excellent Udgītha.

3. When Atidhanvan Śaunaka told this Udgītha to Udaraśāṇḍilya, he also said: “As far as they shall know this Udgītha among your offspring, so far will they have the most excellent life in this world, [4] and likewise a world in yonder world.” He who knows and reverences it thus has the most excellent life in this world, and likewise a world in yonder world—yea, a world in yonder world.’

Tenth Khaṇḍa

The divinities connected with the three parts of the Chant

1. Among the Kurus, when they were struck by hailstorms, there lived in the village of a rich man a very poor man, Ushasti Cākrāyaṇa, with his wife Āṭikī.

2. He begged of the rich man while he was eating beans. The latter said to him: ‘I have no others than these which are set before me.’

3. ‘Give me some of them,’ said he.

He gave them to him and said: ‘Here is drink.’

‘Verily, that would be for me to drink leavings!’ said he.

4. ‘Are not these [beans] also leavings?’

‘Verily, I could not live, if I did not eat those,’ said he. ‘The drinking of water is at my will.’

5. When he had eaten, he took what still remained to his wife. She had already begged enough to eat. She took these and put them away.

6. On the morrow he arose and said: ‘Oh, if we could get some food, we might get a little money! The king over there is going to have a sacrifice performed for himself. He might choose me to perform all the priestly offices.’

7. His wife said to him: ‘Here, my lord, are the beans.’ He ate them and went off to that sacrifice, which had already been begun.

8. There he approached the Udgātṛi priests as they were about to sing the Stotra in the place for the singing. Then he said to the Prastotṛi priest: [9] ‘Prastotṛi priest, if you shall sing the Prastāva (Introductory Praise) without knowing the divinity which is connected with the Prastāva, your head will fall off.’

10. Similarly also he said to the Udgātṛi priest: ‘Udgātṛi priest, if you shall chant the Udgītha (Loud Chant) without knowing the divinity which is connected with the Udgītha, your head will fall off.’

11. Similarly also he said to the Pratihartṛi priest: ‘Pratihartṛi priest, if you shall take up the Pratihāra (Response) without knowing the divinity which is connected with the Pratihāra, your head will fall off.’

Then they ceased and quietly seated themselves.

Eleventh Khaṇḍa

1. Then the institutor of the sacrifice said to him: ‘Verily, I would wish to know you, Sir.’

‘I am Ushasti Cākrāyaṇa,’ said he.

2. Then he [i.e. the institutor] said: ‘Verily, I have been searching around for you, Sir, for all these priestly offices. Verily, not finding you, Sir, I have chosen others. [3] But do you, Sir, perform all the priestly offices for me.’

‘So be it,’ said he (iti). ‘But in this matter (tarhi) let these, indeed, being permitted, sing the Stotra; but you should give me as much money as you would give them.’

‘So be it,’ said the institutor of the sacrifice.

4. Then the Prastotṛi priest approached him and said: ‘You, Sir, said unto me: “Prastotṛi priest, if you shall sing the Prastāva without knowing the divinity which is connected with the Prastāva, your head will fall off.” Which is that divinity?’

5. ‘Breath (prāṇa),’ said he. ‘Verily, indeed, all beings here enter [into life] with breath and depart [from life] with breath. This is the divinity connected with the Prastāva. If you had sung the Prastāva without knowing it, your head would have fallen off, after you had been told so by me.’

6. Then the Udgātṛi priest approached him and said: ‘You, Sir, said unto me: “Udgātṛi priest, if you shall chant the Udgītha without knowing the divinity which is connected with the Udgītha, your head will fall off.” Which is that divinity?’

7. ‘The Sun,’ said he. ‘Verily, indeed, all beings here sing (gāyanti) of the sun when he is up (uccais). This is the divinity connected with the Udgītha. If you had chanted the Udgītha without knowing it, your head would have fallen off, after you had been told so by me.’

8. Then the Pratihartṛi priest approached him and said: ‘You, Sir, said unto me: “Pratihartṛi priest, if you shall take up the Pratihāra without knowing the divinity which is connected with the Pratihāra, your head will fall off.” Which is that divinity?’

9. ‘Food,’ said he. ‘Verily, indeed, all beings here live by taking up to themselves (pratiharamāṇa) food. This is the divinity connected with the Pratihāra. If you had taken up the Pratihāra without knowing it, your head would have fallen off, after you had been told so by me.’

Twelfth Khaṇḍa

A satire on the performances of the priests (?)

1. Now next, the Udgītha of the Dogs.—

So Bāka Dālbhya—or Glāva Maitreya—went forth for Veda-study.

2. Unto him there appeared a white dog. Around this one other dogs gathered and said: ‘Do you, Sir, obtain food for us by singing. Verily, we are hungry.’

3. Then he said to them: ‘In the morning you may assemble unto me here at this spot.’ So Bāka Dālbhya—or Glāva Maitreya—kept watch.

4. Then, even as [priests] here, when they are about to chant with the Bahishpavamāna Stotra, glide hand in hand, so did they glide on. Then they sat down together and performed the preliminary vocalizing (hiṅkāra).

5. They sang: ‘Om! Let us eat. Om! Let us drink. Om! May the god Varuṇa, Prajāpati, and Savitṛi bring food here! O Lord of food, bring food here!—yea, bring it here! Om!’

Thirteenth Khaṇḍa1

The mystical meaning of certain sounds in the Chant

1. Verily, the sound hā-u is the world, [for this interjectional trill occurs in the Rathantara Sāman, which is identified with the earth].

The sound hā-i is wind. [for this interjectional trill occurs in the Vāmadevya Sāman, which has for its subject the origin of wind and water].

The sound atha is the moon, [for on food (anna) everything is established (sthita), and the moon consists of food].

The sound iha is oneself, [for oneself is here (iha)].

The sound ī is Agni, [for all Sāmans sacred to Agni end with the sound ī].

2. The sound ū is the sun, [for people sing of the sun when it is up (ū-rdhvam)].

The sound e is the Invocation, [for people call with ‘Come! (e-hi)’].

The sound au-ho-i is the Viśvadeva gods, [for this interjectional trill occurs in the Sāman to the Viśvadeva gods].

The sound hiṅ is Prajāpati, [for Prajāpati is undefined, and the sound hiṅ also is indistinct].

svara (sound) is breath, [for that is the source of sound].

yā is food, [for everything here moves (yati) through the help of food].

vāc is Virāj, [for this interjectional trill occurs in the Sāman to Virāj].

3. The sound hum, the variable thirteenth interjectional trill, is the Undefined.

4. Speech yields milk—that is, the milk of speech itself—for him, he becomes rich in food, an eater of food,1 who knows thus this mystic meaning (upaniṣad) of the Sāmans—yea, who knows the mystic meaning!

[1 ]The Sāma-Veda is the Veda to which this Chāndogya Upanishad is attached.

[2 ]The word Om, with which every recital of the Vedas begins, is here set forth as a symbol representing the essence and acme of the entire ‘loud singing’ (udgītha).

[3 ]Specifically, the Rig-Veda, the ‘Veda of Hymns.’

[4 ]Specifically, the Sāma-Veda, the ‘Veda of Chants.’

[1 ]With its meaning of ‘yes’ compare ‘Amen.’

[2 ]Concerning the sacrificial procedure, which is conducted by three orders of priests employing selections from the three Vedas.

[3 ]That is, the Adhvaryu priest of the Yajur-Veda.

[4 ]That is, the Hotṛi priest of the Rig-Veda.

[5 ]That is, the Udgātri priest of the Sāma-Veda. With the general reference to the sacrificial ritual here compare the more definite description at Tait. 1. 8.

[6 ]A similar story, but with a different purport, occurs at Bṛih. 1. 3. There are numerous other episodes in the strife of the gods and the devils, e.g. Śat. Br. 3. 4. 4. 3 and Ait. Br. 1. 23.

[1 ]An approximation to svar, ‘light.’

[1 ]A Hymn of Praise in the Hindu ritual.

[1 ]Perhaps a double meaning is intended here, for the word akṣara, which means ‘syllable,’ also means ‘imperishable.’

[1 ]The fact that the Sāma-Veda is composed chiefly of extracts from the Rig-Veda is held in mind throughout this and the following sections which deal with the Ṛic and the Sāman.

[1 ]The implication is that Pravāhana was not a Brahman. In 5. 3. 5 he is spoken of as one of the princely class (rājanya).

[1 ]In order that this section may convey some meaning, the commentator Śaṅkara’s explanation of the basis of this series of identifications is added in brackets.

[1 ]The preceding words of this section are a recurrent stereotyped expression found also at 1. 3. 7 and 2. 8. 3.