{"collection":"Hinduism","html_url":"https://unchartedknowledge.5gfusion.net/browse/hin/sbe01/sbe01056.htm","path":"hin/sbe01/sbe01056.htm","source_url":"https://sacred-texts.com/hin/sbe01/sbe01056.htm","text":"The Upanishads, Part 1 (SBE01), by Max M\u00fcller, [1879]\n1. The udg\u00eetha, of which a poet said, I choose the deep sounding note of the S\u00e2man as good for cattle, belongs to Agni; the indefinite note belongs to Prag\u00e2pati, the definite note to Soma, the soft and smooth note to V\u00e2yu, the smooth and strong note to Indra, the heron-like note to Brihaspati, the dull note to Varuna. Let a man cultivate all of these, avoiding, however, that of Varuna.\n2. Let a man sing 3, wishing to obtain by his song immortality for the Devas. 'May I obtain by my song oblations (svadh\u00e2) for the fathers, hope for men, fodder and water for animals, heaven for the sacrificer, food for myself,' thus reflecting on these in his mind, let a man (Udg\u00e2tri priest) sing praises, without making mistakes in pronunciation, &c.\n3. All vowels (svara) belong to Indra, all sibilants (\u00fbshman) to Prag\u00e2pati, all consonants (sparsa) to Mrityu (death). If somebody should reprove him for his vowels, let him say, 'I went to Indra as my refuge (when pronouncing my vowels): he will answer thee.'\n4. And if somebody should reprove him for his sibilants, let him say, 'I went to Prag\u00e2pati as my refuge: he will smash thee.' And if somebody should reprove him for his consonants, let him say, 'I went to Mrityu as my refuge: he will reduce thee to ashes.'\n5. All vowels are to be pronounced with voice (ghosha) and strength (bala), so that the Udg\u00e2tri may give strength to Indra. All sibilants are to be pronounced, neither as if swallowed (agrasta) 1, nor as if thrown out (nirasta) 2, but well opened 3 (vivrita), so that the Udg\u00e2tri may give himself to Prag\u00e2pati. All consonants are to be pronounced slowly, and without crowding them together 4, so that the Udg\u00e2tri may withdraw himself from Mrityu.\n33:2 These are lucubrations on the different tones employed in singing the S\u00e2man hymns, and their names, such as vinardi, anirukta, nirukta, mridu slakshna, slakshna balavad, krau\u00f1ka, apadhv\u00e2nta.\n33:3 It would be better if the first ity \u00e2g\u00e2yet could be left out. The commentator ignores these words.\n34:1 Gr\u00e2sa, according to the Rig-veda-pr\u00e2tis\u00e2khya 766, is the stiffening of the root of the tongue in pronunciation.\n34:2 Nir\u00e2sa, according to the Rig-veda-pr\u00e2tis\u00e2khya 760, is the withdrawing of the active from the passive organ in pronunciation.\n34:3 The opening, vivrita, may mean two things, either the opening of the vocal chords (kha), which imparts to the \u00fbshmans their surd character (Rig. Pr\u00e2t. 709), or the opening of the organs of pronunciation (karana), which for the \u00fbshmans is asprishtam sthitam (Rig. Pr\u00e2t. 719), or vivrita (Ath. Pr\u00e2t. I, 31; Taitt. Pr\u00e2t. 5).\n34:4 Anabhinihita, for thus the commentaries give the reading, is explained by anabhinikshipta. On the real abhinidh\u00e2na, see Rig. Pr\u00e2t. 393. The translation does not follow the commentary. The genitive prag\u00e2pateh is governed by paridad\u00e2ni.","title":"The Upanishads, Part 1 (SBE01): Kh\u00e2ndogya Upanishad: II, 22","type":"page"}