{"collection":"Hinduism","html_url":"https://unchartedknowledge.5gfusion.net/browse/hin/sbe01/sbe01185.htm","path":"hin/sbe01/sbe01185.htm","source_url":"https://sacred-texts.com/hin/sbe01/sbe01185.htm","text":"The Upanishads, Part 1 (SBE01), by Max M\u00fcller, [1879]\n1. He recites the hymn, asat su me garitah s\u00e2bhivegah (Rv. X, 27, 1), (and in. it the word) satyadhvritam, the destroyer of truth. Verily, that day\nis truth, and as endowed with the word satya, truth, the form of this day is perfect 1.\n2. That hymn is composed by Vasukra. Verily, Vasukra is Brahman, and that day is Brahman. Thus he obtains Brahman by means of Brahman 2.\n3. Here they say: 'Why then is that Marutvat\u00eeya, hymn completed by the hymn of Vasukra?' Surely because no other Rishi but Vasukra brought out a Marutvat\u00eeya hymn, or divided it properly 3. Therefore that Marutvat\u00eeya hymn is completed by the hymn of Vasukra.\n4. That hymn, asat su me, is not definitely addressed to any deity, and is therefore supposed to be addressed to Prag\u00e2pati. Verily, Prag\u00e2pati is indefinite, and therefore the hymn serves to win Prag\u00e2pati.\n5. Once in the hymn (Rv. X, 27, 22) he defines Indra (indr\u00e2ya sunvat); therefore it does not fall off from its form, as connected with Indra.\n6. He recites the hymn (Rv. VI, 17, 1) pib\u00e2 somam abhi yam ugra tardah.\n7. In the verse \u00fbrvam gavyam mahi grin\u00e2na indra the word mahi, great, occurs. Endowed with the word mahat, the form of this day is perfect.\n8. That hymn is composed by Bharadv\u00e2ga, and Bharadv\u00e2ga was he who knew most, who lived longest, and performed the greatest austerities among the Rishis, and by this hymn he drove away evil. Therefore if he recites the hymn of Bharadv\u00e2ga,\nthen, after having driven away evil, he becomes learned, long-lived, and full of austerities.\n9. He recites the hymn kay\u00e2 subh\u00e2 savayasah san\u00eel\u00e2h (Rv. I, 165, 1).\n10. In the verse \u00e2 s\u00e2sate prati haryanty ukth\u00e2 (Rv. I, 165, 4) the word uktha occurs. Verily, that day (the mah\u00e2vrata) is uktha (hymn). Endowed with the word uktha, the form of this day becomes perfect.\n11. That hymn is called Kay\u00e2subh\u00eeya 1. Verily, that hymn, which is called Kay\u00e2subh\u00eeya, 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 Kay\u00e2subh\u00eeya hymn, it serves for mutual understanding.\n12. The same hymn is also long life. Therefore, if the sacrificer is dear to the Hotri, let him recite the Kay\u00e2subh\u00eeya hymn for him.\n13. He recites the hymn marutv\u00e2n indra vrishabo ran\u00e2ya (Rv. III, 47, 1).\n14. In it the words indra vrishabha (powerful) occur. Verily, powerful is a form of Indra 2, this day belongs to Indra, and this is the perfect form of that day.\n15. That hymn is composed by Visv\u00e2mitra. Verily, Visv\u00e2mitra was the friend (mitra) of all (visva).\n16. Everybody is the friend of him who knows this, and for whom a Hotri priest who knows this, recites this hymn.\n17. The next hymn, ganishth\u00e2 ugrah sahase tur\u00e2ya (Rv. I, 73, 1), forms a Nividdh\u00e2na 3, and,\naccording to the one-day (ek\u00e2ha) 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.\nHe who knows this rests firm, and they also for whom a Hotri priest who knows this, recites this hymn 1.\n18. These, if recited straight on, are ninety-seven verses 2. The ninety are three Vir\u00e2g, 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.\n19. By repeating the first and last verses three times each, they become one hundred and one verses.\n20. 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 1. That makes a hundred, and the trunk is the one hundred and first.\n21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness.\n22. These verses become Trishtubh 2, for the noonday-libation consists of Trishtubh verses.\n168:6 The type after which the Marutvat\u00eeya-sastra is to be performed is the Katurvimsa day. Hitherto (from \u00e2 tv\u00e2 ratham to nakih sud\u00e2sah), all that is taken over from the type to the modification, i. e. the Marutvat\u00eeya, has been explained. Now follow the verses which are new and peculiar to the Marutvat\u00eeya of the Mah\u00e2vrata.\n169:1 The commentator endeavours to make the meaning more natural by taking in the word prahant\u00e2, he who kills the destroyer of truth. But considering the general character of these remarks, this is hardly necessary.\n169:2 Cf. I, 1, 3, 3.\n169:3 By separating the first trika from the second, and so forth.\n170:1 Cf. Ait. Br\u00e2hm. V, 16.\n170:2 Cf. Ait. \u00c2r. II, 2, 1, 8.\n170:3 The hymn consists of eleven verses. In the middle, after the sixth verse, nivids or invocations, such as indro marutv\u00e2n, are inserted, and therefore it is called a nividdh\u00e2na hymn.\n171:1 With this hymn the Marutvat\u00eeya-sastra is finished. All the hymns from \u00e2 tv\u00e2 ratham to asat su me garitar are simply taken over from the Katurvimsa ceremonial, the rest are peculiar to the Mah\u00e2vrata day, the day preceding the Udayan\u00eeya or final day of the Gav\u00e2mayana sattra. All this is more fully described in the fifth \u00c2ranyaka (V, 1, 1, 8), containing the S\u00fbtras or rules of Saunaka, while the earlier \u00c2ranyakas are reckoned as Br\u00e2hmanas, and are therefore mixed up with matters not actually required for the performance of the sacrifice.\n| The first Stotriya and \u00c2nur\u00fbpa trikas = | 6 (I, 2, 1, 1). | \n| The six Prag\u00e2thas, each of 2 verses raised to 3 (but the text gives seven Prag\u00e2thas) = | 18 (I, 2, 1, 3; 4; 5; 6; 11; 12; 13). | \n| Three Dh\u00e2yy\u00e2s = | 3 (I, 2, 1, 7; 8; 9). | \n| Asat su = | 24 (I, 2, 2, 1). | \n| Pib\u00e2 somam = | 15 (I,2,2,6). | \n| Kay\u00e2 subh\u00e2 = | 15 (I, 2,2,9). | \n| Marutv\u00e2n indra = | 5 (I, 2, 2, 13). | \n| Ganishth\u00e2 ugrah = | 11 (1, 2, 2, 17). | \n| (TOTAL) | 97 | \n172:1 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.\n172:2 Approach the Trishtubh metre of the last hymn. Comm.","title":"The Upanishads, Part 1 (SBE01): Aitareya-\u00c2ranyaka: I, 2, 2","type":"page"}