Chhandogya

Verse 1

ओमित्येतदक्षरमुद्गीथमुपासीत। ओमिति ह्युद्गायति तस्योपव्याख्यानम् ॥

One should worship the syllable Om as the Udgītha. For one sings beginning with Om. This is its explanation.

Verse 2

एषां भूतानां पृथिवी रसः पृथिव्या अपो रसः। अपामोषधयो रस ओषधीनां पुरुषो रसः पुरुषस्य वाग्रसो वाच ऋग्रस ऋचः साम रसः साम्न उद्गीथो रसः ॥

Of these beings, the earth is the essence; of the earth, waters are the essence; of waters, herbs are the essence; of herbs, the human person is the essence; of the human person, speech is the essence; of speech, Ṛg Veda is the essence; of Ṛg Veda, Sāma Veda is the essence; of Sāma Veda, the Udgītha is the essence.

Verse 3

स एष रसानां रसतमः परमः परार्ध्योऽष्टमो यदुद्गीथः ॥

This Udgītha is the essence of essences, the supreme, the highest, the eighth.

Verse 4

कतमा कतमर्क् कतमत्कतमत् साम कतमः कतम उद्गीथ इति विमृष्टं भवति ॥

Which is the Rk? Which is the Sāma? Which is the Udgītha? Thus it becomes investigated.

Verse 5

वागेवर्क् प्राणः सामोमित्येतदक्षरमुद्गीथः। तद्वा एतन्मिथुनं यद्वाक्च प्राणश्चर्क्च साम च ॥

Speech indeed is the Rk, Prāṇa is the Sāma, and this syllable Om is the Udgītha. Now this is a couple, that which is speech and Prāṇa, the Rk and the Sāma.

Verse 6

तदेतन्मिथुनमोमित्येतस्मिन्नक्षरे संसृज्यते यदा वै मिथुनौ समागच्छत आपयतो वै तावन्योन्यस्य कामम् ॥

Now this couple becomes united in this syllable Om. For whenever a couple comes together, they indeed fulfill each other's desire.

Verse 7

आपयिता ह वै कामानां भवति य एतदेवं विद्वानक्षरमुद्गीथमुपास्ते ॥

He becomes one who fulfills desires, who knowing thus, meditates upon the syllable as the Udgeetha.

Verse 8

तद्वा एतदनुज्ञाक्षरं यद्धि किंचानुजानात्योमित्येव तदाहैषो एव समृद्धिर्यदनुज्ञा समर्धयिता ह वै कामानां भवति य एतदेवं विद्वानक्षरमुद्गीथमुपास्ते ॥

Now, this is the syllable of assent - for whenever one grants permission, one says 'Om'. This indeed is prosperity, that assent. He becomes one who brings desires to fruition, who knowing thus, meditates upon the syllable as the Udgeetha.

Verse 9

तेनेयं त्रयीविद्या वर्तते ओमित्याश्रावयत्योमिति शꣳसत्योमित्युद्गायत्येतस्यैवाक्षरस्यापचित्यै महिम्ना रसेन॥

By this, the threefold Vedic knowledge proceeds. With 'Om' one calls, with 'Om' one praises, with 'Om' one sings aloud - in reverence to this very syllable, with its greatness and essence.

Verse 10

तेनोभौ कुरुतो यश्चैतदेवं वेद यश्च न वेद। नाना तु विद्या चाविद्या च यदेव विद्यया करोति श्रद्धयोपनिषदा तदेव वीर्यवत्तरं भवतीति खल्वेतस्यैवाक्षरस्योपव्याख्यानं भवति ॥

Therefore, both perform [the ritual], the one who knows this thus and the one who does not know. However, knowledge and ignorance are different. Whatever one performs with knowledge, faith, and Upanishadic insight, that alone becomes more potent. Thus indeed is the exposition of this syllable (Om).

Verse 1

देवासुरा ह वै यत्र संयेतिरे उभये प्राजापत्यास्तद्ध देवा उद्गीथमाजह्रुरनेनैनानभिभविष्याम इति ॥

The Devas and Asuras, both descended from Prajāpati, contended with each other. Then the Devas took up the Udgītha (Om), thinking, 'With this we shall overcome them.'

Verse 2

ते ह नासिक्यं प्राणमुद्गीथमुपासांचक्रिरे तꣳ हासुराः पाप्मना विविधुस्तस्मात्तेनोभयं जिघ्रति सुरभि च दुर्गन्धि च पाप्मना ह्येष विद्धः ॥

They worshipped the vital breath in the nose as the Udgītha. The Asuras pierced it with evil. Therefore, one smells both fragrant and foul odors with it, for it has been pierced by evil.

Verse 3

अथ ह वाचमुद्गीथमुपासांचक्रिरे तां हासुराः पाप्मना विविधुस्तस्मात्तयोभयं वदति सत्यं चानृतं च पाप्मना ह्येषा विद्धा ॥

Then they worshipped speech as the Udgeetha. The Asuras pierced it with evil. Therefore, it speaks both truth and untruth, for it is pierced by evil.

Verse 4

अथ ह चक्षुरुद्गीथमुपासांचक्रिरे तद्धासुराः पाप्मना विविधुस्तस्मात्तेनोभयं पश्यति दर्शनीयं चादर्शनीयं च पाप्मना ह्येतद्विद्धम् ॥

Then they worshipped the eye as the Udgeetha. The Asuras pierced it with evil. Therefore, it sees both the visible and the invisible, for it is pierced by evil.

Verse 5

अथ ह श्रोत्रमुद्गीथमुपासांचक्रिरे तद्धासुराः पाप्मना विविधुस्तस्मात्तेनोभयं शृणोति श्रवणीयं चाश्रवणीयं च पाप्मना ह्येतद्विद्धम् ॥

Then they worshipped hearing as the Udgeetha. The Asuras pierced it with evil. Therefore, it hears both the worthy of hearing and the unworthy of hearing, for it is pierced by evil.

Verse 6

अथ ह मन उद्गीथमुपासांचक्रिरे तद्धासुराः पाप्मना विविधुस्तस्मात्तेनोभयं संकल्पते संकल्पनीयं च चासंकल्पनीयं च पाप्मना ह्येतद्विद्धम्

Then they worshipped the mind as the Udgītha. The Asuras pierced it with evil. Therefore, through it one resolves both what should be resolved and what should not be resolved. For this mind is pierced by evil.

Verse 7

अथ ह य एवायं मुख्यः प्राणस्तमुद्गीथमुपासांचक्रिरे तं हासुरा ऋत्वा विदध्वंसुर्यथाश्मानमाखणमृत्वा विध्वंसेतैवम्

Then they worshipped the principal vital breath (mukhya prāṇa) as the Udgītha. The Asuras, having struck it, destroyed it, just as one would destroy a stone by striking it with a stone.

Verse 8

यथाश्मानमाखणमृत्वा विध्वंसत एवं हैव स विध्वंसते य एवंविदि पापं कामयते यश्चैनमभिदासति स एषोऽश्माखणः

Just as one destroys a stone by striking it with a stone, even so he destroys, the one who, knowing this, desires evil or curses another. He is indeed a stone-crusher.

Verse 9

नैवैतेन सुरभि न दुर्गन्धि विजानात्यपहतपाप्मा ह्येष तेन यदश्नाति यत्पिबति तेनेतरान्प्राणानवति एतमु एवान्ततोऽवित्त्वोत्क्रमति व्याददात्येवान्तत इति॥

By this [Vāyu], one knows neither pleasant fragrance nor foul odor. This one is indeed free from sin. By that which one eats and drinks, one supports the other vital breaths. Having realized this one alone, one departs from the body. At the very end, it [Vāyu] protects alone.

Verse 10

तं हाङ्गिरा उद्गीथमुपासांचक्र एतमु एवाङ्गिरसं मन्यन्तेऽङ्गानां यद्रसः॥

Angiras meditated upon this [Vāyu] as Udgītha. They consider this alone as Angiras - it is the essence of the limbs.

Verse 11

तेन तं ह बृहस्पतिरुद्गीथमुपासांचक्र एतमु एव बृहस्पतिं मन्यन्ते वाग्घि बृहती तस्या एष पतिः॥

Therefore, Bṛhaspati meditated upon this as Udgītha. They consider this alone as Bṛhaspati - speech indeed is great (bṛhatī), and this is its lord (pati).

Verse 12

तेन तं हायास्य उद्गीथमुपासांचक्र एतमु एवायास्यं मन्यन्त आस्याद्यदयते ॥१.२.१२॥

With that (knowledge of the Akshara), he approached Ayasya for the Udgitha. They thought that this very Ayasya would sing for them, for he would obtain what he desired.

Verse 13

तेन तंह बको दाल्भ्यो विदांचकार। स ह नैमिशीयानामुद्गाता बभूव स ह स्मैभ्यः कामानागायति ॥१.२.१३॥

With that, Baka Dalbhya came to know (the Akshara). He became the Udgata (chanter) for the Naimishiyas. He used to sing forth their desired objects for them.

Verse 14

आगाता ह वै कामानां भवति य एतदेवं विद्वानक्षरमुद्गीथमुपास्त इत्यध्यात्मम् ॥१.२.१४॥

Indeed, one who knowing thus meditates upon the Akshara as the Udgitha becomes an obtain-er of desires. This is the Adhyatma (spiritual) explanation.

Verse 1

अथाधिदैवतं य एवासौ तपति तमुद्गीथमुपासीतोद्यन्वा एष प्रजाभ्य उद्गायति। उद्यन्स्तमो भयमपहन्त्यपहन्ता ह वै भयस्य तमसो भवति य एवं वेद ॥

Now, regarding the divine aspect: one should meditate upon the Sun that shines as the Udgeetha. Indeed, rising, it sings forth for all beings. Rising, it dispels darkness and fear. He who knows thus becomes a dispeller of darkness and fear.

Verse 2

समान उ एवायं चासौ चोष्णोऽयमुष्णोऽसौ स्वर इतीममाचक्षते स्वर इति प्रत्यास्वर इत्यमुं तस्माद्वा एतमिमममुं चोद्गीथमुपासीत ॥

This one here and that one there are equal. This one is warm, that one is warm. They call this one 'Svara' (sound/light) and that one 'Pratyasvara' (echo/reflected sound). Therefore, one should meditate on this and that as the Udgeetha.

Verse 3

अथ खलु व्यानमेवोद्गीथमुपासीत यद्वै प्राणिति स प्राणो यदपानिति सोऽपानः। अथ यः प्राणापानयोः संधिः स व्यानो यो व्यानः सा वाक्। तस्मादप्राणन्ननपानन्वाचमभिव्याहरति ॥

Now, one should meditate upon Vyana as the Udgitha. That by which one breathes forth is Prana; that by which one breathes in is Apana. Now, that which is the junction between Prana and Apana is Vyana. That which is Vyana is speech. Therefore, without breathing forth or breathing in, one speaks.

Verse 4

या वाक्सर्क्तस्मादप्राणन्ननपानन्नृचमभिव्याहरति यर्क्तत्साम तस्मादप्राणन्ननपानन्साम गायति यत्साम स उद्गीथस्तस्मादप्राणन्ननपानन्नुद्गायति ॥

That speech which is the Rig Veda, from that, breathing out and breathing in, one recites the Rich verses. That which is Rig, that is Sama; from that, breathing out and breathing in, one sings the Sama. That which is Sama, that is Udgitha; from that, breathing out and breathing in, one sings the Udgitha.

Verse 5

अतो यान्यन्यानि वीर्यवन्ति कर्माणि यथाग्नेर्मन्थनमाजेः सरणं दृढस्य धनुष आयमनमप्राणन्ननपानꣳस्तानि करोत्येतस्य हेतोर्व्यानमेवोद्गीथमुपासीत्॥

Therefore, whatever other vigorous actions there are, such as the kindling of fire by friction, the running of a race, the stretching of a strong bow, one performs them breathing out and breathing in. For this reason, one should worship Vyana alone as the Udgitha.

Verse 6

अथ खलूद्गीथाक्षराण्युपासीतोद्गीथ इति प्राण एवोत्प्राणेन ह्युत्तिष्ठति वाग्गीर्वाचो ह गिर इत्याचक्षतेऽन्नं थमन्ने हीदꣳसर्वꣳस्थितम्॥

Now, one should worship the syllables of the Udgitha. 'Udgitha', Prana alone is 'ut' (the syllable 'ut'), for by Prana one rises up. Speech is 'gi', for speech is called 'gira'. Food is 'tham', for in food all this is established.

Verse 7

द्यौरेवोदन्तरिक्षं गीः पृथिवी थमादित्य एवोद्वायुर्गीरग्निस्थं सामवेद एवोद्यजुर्वेदो गीरृग्वेदस्थं दुग्धेऽस्मै वाग्दोहं यो वाचो दोहोऽन्नवानन्नादो भवति य एतान्येवं विद्वानुद्गीथाक्षराण्युपास्त उद्गीथ इत...

Heaven indeed is the Ut, the intermediate region is the Gīḥ, the earth is the Tham. The sun indeed is the Ut, the wind is the Gīḥ, fire is the Tham. The Sāmaveda indeed is the Ut, the Yajurveda is the Gīḥ, the Ṛgveda is the Tham. For him, speech yields milk, the milk of speech. One who possesses the milk of speech becomes possessed of food and an eater of food. Thus, one who knows these syllables of the Ud-gītha in this manner should worship them as Ud-gītha.

Verse 8

अथ खल्वाशीःसमृद्धिरुपसरणानीत्युपासीत येन साम्ना स्तोष्यन्स्यात्तत्सामोपधावेत्॥१.३.८॥

Now, verily, the fulfillment of desires, these are the means of approach, thus one should worship. With whichever Sāman one intends to praise, one should approach that Sāman.

Verse 9

यस्यामृचि तामृचं यदार्षेयं तमृषिं यां देवतामभिष्टोष्यन्स्यात्तां देवतामुपधावेत् ॥१.३.९॥

Whatever Ṛc (verse from Ṛgveda) one intends to praise with, that Ṛc one should approach. Whichever Ṛṣi (seer) is associated with it, that Ṛṣi one should approach. Whichever deity one intends to praise, that deity one should approach.

Verse 10

येन छन्दसा स्तोष्यन् स्यात् तच्छन्द उपधावेत् । येन स्तोमेन स्तोष्यमाणः स्यात् तं स्तोमम् उपधावेत् ॥१.३.१०॥

With whatever metre (chandas) he would be about to praise, he should approach that metre; with whatever stoma (hymnic arrangement) he would be being praised, he should approach that stoma.

Verse 11

यां दिशम् अभिष्टोष्यन् स्यात् तां दिशम् उपधावेत् ॥१.३.११॥

Toward whichever direction he would be about to praise, toward that direction he should approach.

Verse 1

आत्मानम् अन्ततः उपसृत्य स्तुवीत, कामं ध्यायन्, अप्रमत्तः । अभ्याशो ह यदस्मै स कामः समृध्येत, यत्कामः स्तुवीतेति, यत्कामः स्तुवीतेति ॥१.३.१२॥ ॐ इत्येतदक्षरम् उद्गीथमुपासीत । ॐ इति ह्युद्गायति । तस्योप...

Having at last drawn near to the Self (Ātman), he should praise, meditating upon a desire, vigilant and unheedless of negligence. Truly, near is it that for him that desire may prosper—the desire for which he praises, the desire for which he praises. One should meditate on this syllable “Om” as the udgītha; for the udgītha is sung as “Om”. This is its subsidiary explanation.

Verse 2

देवा वै मृत्योर्बिभ्यतस्त्रयीं विद्यां प्राविशन् । ते छन्दोभिरच्छादयन् यदेभिरच्छादयन् तच्छन्दसां छन्दस्त्वम् ॥१.४.२॥

The gods, fearing Death, entered the threefold sacred knowledge—the Veda. They covered themselves with the metres; and that by which they covered themselves—this is the metre-ness of the metres.

Verse 3

तानु तत्र मृत्युर्यथा मत्स्यमुदके परिपश्येदेवं पर्यपश्यदृचि साम्नि यजुषि। ते नु विदित्वोर्ध्वा ऋचः साम्नो यजुषः स्वरमेव प्राविशन्॥

There Death watched them there, as one watches a fish in water; thus he watched them in the Ṛc, in the Sāman, and in the Yajus. Knowing this, they rose above the Ṛc, the Sāman, and the Yajus, and entered into the Svara alone.

Verse 4

यदा वा ऋचमाप्नोत्योमित्येवातिस्वरत्येवं सामैवं यजुरेष उ स्वरो यदेतदक्षरमेतदमृतमभयं तत्प्रविश्य देवा अमृता अभया अभवन् ॥१.४.४॥

Whenever one attains the Ṛc, one sounds beyond it with “Om”; thus with the Sāman, thus with the Yajus. This indeed is that Svara—this syllable—immortal and fearless. Entering into that, the gods became immortal and fearless.

Verse 5

स य एतदेवं विद्वानक्षरं प्रणौति, एतदेवाक्षरं स्वरममृतमभयं प्रविशति। तत्प्रविश्य यदमृता देवास्तदमृतो भवति॥१.४.५॥

He who, knowing thus, chants the imperishable syllable, enters that very imperishable syllable—the sound, immortal and fearless. Having entered it, he becomes immortal, even as the immortal gods are immortal.

Verse 1

अथ खलु य उद्गीथः स प्रणवः। यः प्रणवः स उद्गीथः। इत्यसौ वा आदित्य उद्गीथः। एष प्रणवः—ओमिति ह्येष स्वरन्नेति॥१.५.१॥

Now, indeed, the Udgītha is the Praṇava; the Praṇava is the Udgītha. Thus, that yonder Sun is the Udgītha; this is the Praṇava—‘Om’, for he sounds forth (resounds) thus.

Verse 2

एतमु एवाहमभ्यगासिषं, तस्मान्मम त्वमेकोऽसीति ह कौषीतकिः पुत्रमुवाच। रश्मींस्त्वं पर्यावर्तय; बहवो वै ते भविष्यन्तीति—अधिदैवतम्॥१.५.२॥

“This very one indeed I approached,” thus Kauṣītaki said to his son; “therefore you are my one and only. Turn back the rays; many indeed will be yours”—this is spoken with reference to the deity (adhidaivata).

Verse 3

अथाध्यात्मं य एवायं मुख्यः प्राणस्तमुद्गीथमुपासीत । ओमिति ह्येष स्वरन्नेति ॥ १.५.३ ॥

Now, with reference to the Self: one should contemplate this chief vital-breath (prāṇa) as the Udgītha; for it indeed, as it resounds, is “Om”.

Verse 4

एतमु एवाहमभ्यगासिषं तस्मान्मम त्वमेकोऽसीति ह कौषीतकिः पुत्रमुवाच प्राणाꣳस्त्वं भूमानमभिगायताद्बहवो वै मे भविष्यन्तीति ॥

This indeed have I attained; therefore you alone are mine. Thus Kauṣītaki said to his son: “Chant to the prāṇas as Bhūman, the Plenitude; then many will be mine.”

Verse 1

इयमेव ऋगग्निः साम। तदेतदेतस्याम् ऋच्यध्यूढं साम। तस्माद् ऋच्यध्यूढं साम गीयते। इयमेव साग्निरम् अस् तत्साम॥१.६.१॥

This indeed is the Ṛc (ṛk) and Agni is the Sāman. This very Sāman is mounted upon (set upon) this Ṛc. Therefore the Sāman that is mounted upon the Ṛc is sung. This indeed is that Sāman: Agni is its ‘am’.

Verse 2

अन्तरिक्षमेव ऋग्वायुः साम। तदेतदेतस्याम् ऋच्यध्यूढं साम। तस्माद् ऋच्यध्यूढं साम गीयते। अन्तरिक्षमेव स वायुरम् अस् तत्साम॥१.६.२॥

The midspace (atmosphere) indeed is the Ṛc; Vāyu (Wind) is the Sāman. This very Sāman is mounted upon this Ṛc. Therefore the Sāman mounted upon the Ṛc is sung. This indeed is that Sāman: Vāyu is its ‘am’.

Verse 3

द्यौरेव ऋगादित्यः साम। तदेतदेतस्याम् ऋच्यध्यूढं साम। तस्माद् ऋच्यध्यूढं साम गीयते। द्यौरेव स आदित्योऽमस् तत्साम॥१.६.३॥

Heaven indeed is the Ṛc; Āditya (the Sun) is the Sāman. This very Sāman is mounted upon this Ṛc. Therefore the Sāman mounted upon the Ṛc is sung. This indeed is that Sāman: Āditya is its ‘amas’.

Verse 4

नक्षत्राण्येव ऋक्, चन्द्रमाः साम। तदेतदेतस्यामृच्यध्यूढं साम। तस्मादृच्यध्यूढं साम गीयते। नक्षत्राण्येव सा, चन्द्रमा अमः; तत्साम॥१.६.४॥

The stars indeed are the Ṛc (the Ṛg-verse); the moon is the Sāman (chant). This is the Sāman mounted upon this Ṛc; therefore a Sāman is sung as mounted upon a Ṛc. The stars are the “sā” (the opening syllable), the moon is the “ama” (the concluding syllables): that is the Sāman.

Verse 5

अथ यदेतदादित्यस्य शुक्लं भाः सैव ऋक्। अथ यन्नीलं परः कृष्णं तत्साम। तदेतदेतस्यामृच्यध्यूढं साम। तस्मादृच्यध्यूढं साम गीयते॥१.६.५॥

Now, that white radiance of the sun is indeed the Ṛc; and that which is dark-blue, very black, is the Sāman. This is the Sāman mounted upon this Ṛc. Therefore a Sāman is sung as mounted upon a Ṛc.

Verse 6

अथ यदेवैतदादित्यस्य शुक्लं भाः सैव सा। अथ यन्नीलं परः कृष्णं तद् अमः; तत्साम। अथ य एषोऽन्तरादित्ये हिरण्मयः पुरुषो दृश्यते, हिरण्यश्मश्रुः हिरण्यकेशः, आप्रणस्वात् सर्व एव सुवर्णः॥१.६.६॥

Now, that very white radiance of the sun is indeed the “sā”; and that which is dark-blue, very black, is the “ama”: that is the Sāman. And that golden Person who is seen within the sun—golden-bearded, golden-haired—down to the tips of his nails, he is wholly golden.