EconlibThe LibraryOther Sites |
Front Page  Titles (by Subject) SECOND PRAPĀṬHAKA The significance of the Chant in various forms - The Thirteen Principal Upanishads
Return to Title Page for The Thirteen Principal UpanishadsThe Online Library of LibertyA project of Liberty Fund, Inc.Search this Title:Also in the Library:
SECOND PRAPĀṬHAKA The significance of the Chant in various forms - Misc (Upanishads), The Thirteen Principal Upanishads [1921]Edition used:The Thirteen Principal Upanishads, translated from the Sanskrit with an outline of the philosophy of the Upanishads and an annotated bibliography, by Robert Ernest Hume (Oxford University Press, 1921).
About Liberty Fund:Liberty Fund, Inc. is a private, educational foundation established to encourage the study of the ideal of a society of free and responsible individuals. Copyright information:The text is in the public domain. Fair use statement:This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.
SECOND PRAPĀṬHAKA
First KhaṇḍaThe Chant, good in various significances1.Om! Assuredly, the reverence of the Sāman entire (samasta) is good (sādhu). Assuredly, anything that is good, people call sāman (abundance); anything that is not good, a-sāman (deficiency). 2. So also people say: ‘He approached him with sāman (kindliness2 )’; that is, they say: ‘He approached him with good manner (sādhu).’—‘He approached him with no sāman’; that is, they say: ‘He approached him with no good manner.’ 3. So also, further, people say: ‘Oh! we have sāman (goods3 )!’ if it is something good (sādhu); that is, they say: ‘Oh! good!’—‘Oh! we have no sāman!’ if it is not good; that is, they say: ‘Oh! no good!’ 4. He who, knowing this, reverences the Sāman as good—truly the prospect is that good qualities will come unto him and attend him. Second KhaṇḍaSome analogies to the fivefold Chant1. In the worlds one should reverence a fivefold Sāman (Chant).
—Thus in their ascending order. 2. Now in their reverse order.—
3. The worlds, both in their ascending order and in their reverse order, serve him who, knowing this thus, reverences a fivefold Sāman in the worlds. Third Khaṇḍa1. In a rain-storm one should reverence a fivefold Sāman.
2. It lifts—that is a Nidhana.2 It rains for him, indeed, he causes it to rain, who, knowing this thus, reverences a fivefold Sāman in a rain-storm. Fourth Khaṇḍa1. In all waters one should reverence a fivefold Sāman.
2. He perishes not in water, he becomes rich in water, who, knowing this thus, reverences a fivefold Sāman in all waters. Fifth Khaṇḍa1. In the seasons one should reverence a fivefold Sāman.
2. The seasons serve him, he becomes rich in seasons, who, knowing this thus, reverences a fivefold Sāman in the seasons. Sixth Khaṇḍa1. In animals one should reverence a fivefold Sāman.
2. Animals come into his possession, he becomes rich in animals, who, knowing this thus, reverences a fivefold Sāman in animals. Seventh Khaṇḍa1. In the vital breaths (prāṇa) one should reverence the most excellent fivefold Sāman.
Verily, these are the most excellent. 2. The most excellent becomes his, he wins the most excellent worlds, who, knowing this thus, reverences the most excellent fivefold Sāman in the vital breaths. —So much for the fivefold. Eighth KhaṇḍaSome analogies to the sevenfold Chant1. Now for the sevenfold.— In speech one should reverence a sevenfold Sāman. Whatsoever of speech is hum—that is a Hiṅkāra (Preliminary Vocalizing). Whatsoever is pra—that is a Prastāva (Introductory Praise). Whatsoever is ā—that is an Ādi (Beginning). 2. Whatsoever is ud—that is an Udgītha (Loud Chant). Whatsoever is prati—that is a Pratihāra (Response). Whatsoever is upa—that is an Upadrava (Approach to the End). Whatsoever is ni—that is a Nidhana (Conclusion).1 3. Speech yields milk—that is, the milk of speech itself—for him, he becomes rich in food, an eater of food,2 who, knowing this thus, reverences a sevenfold Sāman in speech. Ninth Khaṇḍa1. Now, verily, one should reverence yonder sun as a sevenfold Sāman. It is always the same (sama); therefore it is a Sāman. It is the same with everyone, since people think: ‘It faces me! It faces me!’ Therefore it is a Sāman. 2. One should know that all beings here are connected with it. When it is before sunrise—that is a Hiṅkāra (Preliminary Vocalizing). Animals are connected with this [part] of it. Therefore they perform preliminary vocalizing. Truly, they are partakers in the Hiṅkāra of that Sāman. 3. Now, when it is just after sunrise—that is a Prastāva (Introductory Praise). Men are connected with this [part] of it. Therefore they are desirous of praise (prastuti), desirous of laudation. Truly, they are partakers in the Prastāva of that Sāman. 4. Now, when it is the cowgathering-time—that is an Ādi (Beginning). The birds are connected with this [part] of it. Therefore they support (ādāya) themselves without support (an-ārambaṇa) in the atmosphere and fly around. Truly, they are partakers in the Ādi of that Sāman. 5. Now, when it is just at mid-day—that is an Udgītha (Loud Chant). The gods are connected with this [part] of it. Therefore they are the best of Prajāpati’s offspring. Truly, they are partakers in the Udgītha of that Sāman. 6. Now, when it is past mid-day and before [the latter part of] the afternoon—that is a Pratihāra (Response). Fetuses are connected with this [part] of it. Therefore they are taken [or, held] up (pratihrta) and do not drop down. Truly, they are partakers in the Pratihāra of that Sāman. 7. Now, when it is past afternoon and before sunset—that is an Upadrava (Approach to the end). Wild beasts are connected with this [part] of it. Therefore when they see a man, they approach (upadravanti) a hiding-place as their hole. Truly, they are partakers in the Upadrava of that Sāman. 8. Now, when it is just after sunset—that is the Nidhana (Conclusion). The fathers are connected with this [part] of it. Therefore people lay aside (ni + √dhā) the fathers. Truly, they are partakers in the Nidhana of that Sāman. Tenth KhaṇḍaThe mystical significance of the number of syllables in the parts of a sevenfold Chant1. Now then, one should reverence the Sāman, measured (sammita) in itself, as leading beyond death. hiṅkāra has three syllables. prastāva has three syllables. That is the same (sama). 2.ādi has two syllables. pratihāra has four syllables. One from there, here—that is the same. 3.udgītha has three syllables. upadrava has four syllables. Three and three—that is the same, one syllable left over. Having three syllables—that is the same. 4.nidhana has three syllables. That is the same, too. These are twenty-two syllables. 5. With the twenty-one one obtains the sun. Verily, the sun is the twenty-first from here.1 With the twenty-two one wins what is beyond the sun. That is heaven (nākam). That is the sorrowless.2 6. He obtains the victory of the sun, indeed, a victory higher than the victory of the sun is his, who, knowing this thus, reverences the sevenfold Sāman, measured in itself, as leading beyond death—yea, who reverences the Sāman! Eleventh KhaṇḍaThe analogical bases of the ten species of the fivefold Chant
This is the Gāyatrī Sāman as woven upon the vital breaths (prāṇa). 2. He who knows thus this Gāyatrī Sāman as woven upon the vital breaths becomes possessor of vital breaths, reaches a full length of life, lives long, becomes great in offspring and in cattle, great in fame. One should be great-minded. That is his rule. Twelfth Khaṇḍa
Thirteenth Khaṇḍa
Fourteenth Khaṇḍa
Fifteenth Khaṇḍa
Sixteenth Khaṇḍa
Seventeenth Khaṇḍa
Eighteenth Khaṇḍa
Nineteenth Khaṇḍa
Twentieth Khaṇḍa
Twenty-first KhaṇḍaThe Sāman itself based on the world-all
3. On this point there is this verse:—
One should reverence the thought ‘I am the world-all!’ That is his rule. That is his rule! Twenty-second KhaṇḍaSeven different modes of singing the chant, characteristic of different gods1. ‘I choose the roaring, animal-like form of the Sāman’—such is the Udgītha belonging to Agni. The indistinct form belongs to Prajāpati; the distinct, to Soma; the soft and smooth, to Vāyu; the smooth and strong, to Indra; the heron-like, to Bṛihaspati; the ill-sounding, to Varuṇa. One may practise all these, but one should avoid that belonging to Varuṇa. Various desired results of chanting2. ‘Let me obtain immortality for the gods by singing’—thus should one obtain with his singing. ‘Let me obtain oblation for the fathers by singing, hope for men, grass and water for cattle, a heavenly world for the sacrificer, food for myself (ātman)’—one should sing the Stotra carefully, meditating these things in mind. The various sounds in the chant under the protection of different gods3. All vowels are embodiments (ātman) of Indra. All spirants are embodiments of Prajāpati. All [other] consonants are embodiments of Mṛityu (Death). If one should reproach a person on his vowels, let him say to that one: ‘I have been a suppliant to Indra for protection. He will answer you.’ 4. So, if one should reproach him on his spirants, let him say to that one: ‘I have been a suppliant to Prajāpati for protection. He will thrash you.’ So, if one should reproach him on his [other] consonants, let him say to that one: ‘I have been a suppliant to Mṛityu (Death) for protection. He will burn you up.’ 5. All the vowels should be pronounced strong and sonant, with the thought: ‘To Indra let me give strength.’ All the spirants should be pronounced well open, without being slurred over, without being elided, with the thought: ‘To Prajāpati let me entrust myself.’ All the [other] consonants should be pronounced slowly, without being merged together, with the thought: ‘From Mṛityu (Death) let me withdraw myself (ātman).’ Twenty-third KhaṇḍaDifferent modes of religious life1. There are three branches of duty. Sacrifice, study of the Vedas, alms-giving—that is the first. (2) Austerity, indeed, is the second. A student of sacred knowledge (brahmacārin) dwelling in the house of a teacher, settling himself permanently in the house of a teacher, is the third. All these become possessors of meritorious worlds. He who stands firm in Brahma attains immortality. The syllable ‘Om,’ the acme of the cosmogony2 (3). Prajāpati brooded upon the worlds. From them, when they had been brooded upon, issued forth the threefold knowledge.1 He brooded upon this. From it, when it had been brooded upon, issued forth these syllables: bhūr, bhuvaḥ, svar.2 3 (4). He brooded upon them. From them, when they had been brooded upon, issued forth the syllable Om. As all leaves are held together by a spike, so all speech is held together by Om. Verily, Om is the world-all. Verily, Om is this world-all. Twenty-fourth KhaṇḍaEarth, atmosphere, and sky the reward for performers of the morning, noon, and evening oblations1. The expounders of sacred knowledge (brahmavādin) say: ‘Since to the Vasus belongs the morning Soma-libation, to the Rudras the mid-day Soma-libation, to the Ādityas and the Viśvadevas the third Soma-libation, [2] where, then (tarhi), is the sacrificer’s world?’ If one knows not, how can he perform [the sacrifice with success]? So let him who knows perform. 3. Before the commencement of the morning litany he sits down behind the Gārhapatya fire, facing the north, and sings forth the Sāman to the Vasus:—
5. So he offers the oblation and says: ‘Adoration to Agni, earth-inhabiting, world-inhabiting! Find a world for me, the sacrificer! Verily, that is the sacrificer’s world! I will go [6] thither, I, the sacrificer, after life. Hail! Thrust back the bar!’ Thus having spoken, he rises. At the same time the Vasus bestow upon him the morning Soma-libation. 7. Before the commencement of the mid-day Soma-libation he sits down behind the Āgnīdhrīya fire, facing the north, and sings forth the Sāman to the Rudras:—
9. So he offers the libation and says: ‘Adoration to Vāyu, atmosphere-inhabiting, world-inhabiting! Find a world for me, the sacrificer! Verily, that is the sacrificer’s world! I will go [10] thither, I, the sacrificer, after life. Hail! Thrust back the bar!’ Thus having spoken, he rises. At the same time the Rudras bestow upon him the mid-day Soma-libation. 11. Before the commencement of the third Soma-libation he sits down behind the Āhavanīya fire, facing the north, and sings forth the Sāman to the Ādityas and the Viśvadevas:—
13. Thus the [Sāman] to the Ādityas. Now the [Sāman] to the Viśvadevas:—
14. So he offers the oblation and says: ‘Adoration to the Ādityas and to the Viśvadevas, sky-inhabiting, world-inhabiting! Find a world for me, the sacrificer! [15] Verily, that is the sacrificer’s world! I will go thither, I, the sacrificer, after life. Hail! Thrust back the bar!’ Thus having spoken, he rises. At the same time the Ādityas and the Viśvadevas bestow upon him the third Soma-libation. Verily, he knows the fulness of the sacrifice who knows this—yea, who knows this! [2 ]Still another meaning of the word sāman. [3 ]A third distinct meaning of the word sāman. [1 ]These are the five divisions of the fivefold Sāman. [2 ]Compare the similar identifications at AV. 9. 6. 47. [1 ]These are the names of the members of a sevenfold Sāman chant. [2 ]The preceding words of this section are a recurrent stereotyped expression found also at 1. 3. 7 and 1. 13. 4. [1 ]The commentator gives the explanation through the following curious calculation of the distance separating the sun from the earth: 12 months, 5 seasons, 3 world-spaces—then the sun is the twenty-first. [2 ]The word nākam is made to yield the epithet ‘sorrowless’ by an etymological pun, na-a-kam, ‘no lack of desire.’ [1 ]For a somewhat different, but less probable, rendering see Whitney, AJP. 11. 413. [2 ]That is, Rig-Veda, Sāma-Veda, and Yajur-Veda. [3 ]That is, earth, atmosphere, and sky. [4 ]Fire, Wind, and Sun, regarded as regents of the three worlds. For another example of the collocation of this triad see 3. 15. 6. [1 ]That is, the three Vedas. [2 ]Representing earth, atmosphere, and sky. [3 ]The four stanzas contained in this Khaṇḍa are adapted to the purposes of the chant by the special prolongation (plutation) of some of the vowels and the occasional insertion of the interjectional words hum and ā. |
