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3. And thus it is said in the following verse: "There are the fivefold three (the three kinds of sacrificial knowledge, the three worlds &c. in their fivefold form, i.e. as identified with the hinkâra, the prastâva, &c), and the other forms of the Sâman. Greater than these there is nothing else besides."

4. He who knows this, knows everything. All regions offer him gifts. His rule is, "Let him meditate (on the Sâman), knowing that he is everything, yea, that he is everything[1]."


TWENTY-SECOND Khanda[2]


1. The udgîtha, of which a poet said, I choose the deep sounding note of the Sâman as good for cattle, belongs to Agni; the indefinite note belongs to Pragâpati, the definite note to Soma, the soft and smooth note to Vâyu, 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.

2. Let a man sing[3], wishing to obtain by his song immortality for the Devas. "May I obtain by my song oblations (svadhâ) 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 (Udgâtri priest) sing praises, without making mistakes in pronunciation, &c.


  1. Here ends the Sâmopâsana.
  2. These are lucubrations on the different tones employed in singing the Sâman hymns, and their names, such as vinardi, anirukta, nirukta, mridu slakshna, slakshna balavad, krauñka, apadhvànta.
  3. It would be better if the first ity âgâyet could be left out. The commentator ignores these words.