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Verse 23

Sita

तत्र त्रयीमयं शास्त्रमाद्यं सर्वार्थदर्शनम् । ऋग्यजुःसामरूपत्वात् त्रयीति परिकीर्तिता । कार्यसिद्धेन चतुर्धा परिकीर्तिता । ऋचो यजूंषि सामानि अथर्वाङ्गिरसस्तथा । चातुर्होत्रप्रधानत्वाल्लिङ्गादित्रितयं त्रयी । अथर्वाङ्गिरसं रूपं सामऋग्यजुरात्मकम् ॥२१–२३॥

तत्र । त्रयी-मयम् । शास्त्रम् । आद्यम् । सर्व-अर्थ-दर्शनम् । ऋक्-यजुः-साम-रूपत्वात् । त्रयी इति । परिकीर्तिता । कार्य-सिद्धेन । चतुर्धा । परिकीर्तिता । ऋचः । यजूंषि । सामानि । अथर्व-अङ्गिरसः । तथा । चातुः-होत्र-प्रधानत्वात् । लिङ्ग-आदि-त्रितयम् । त्रयी । अथर्व-अङ्गिरसम् । रूपम् । साम-ऋग्-यजुः-आत्मकम् ।

tatra trayīmayaṃ śāstram ādyaṃ sarvārthadarśanam | ṛgyajuḥsāmarūpatvāt trayīti parikīrtitā | kāryasiddhena caturdhā parikīrtitā | ṛco yajūṃṣi sāmāni atharvāṅgirasas tathā | cāturhotrapradhānatvāl liṅgāditritayaṃ trayī | atharvāṅgirasaṃ rūpaṃ sāmaṛgyajurātmakam ||21–23||

ထိုနေရာ၌ ‘သုံးပါးတည်း’ (trayī) ဟူသော မူလရှာස්တရသည် အဓိပ္ပါယ်နှင့် ရည်ရွယ်ချက်အားလုံးကို ထင်ရှားစေသော သမ္မာကျမ်းဖြစ်သည်။ ၎င်းသည် Ṛg၊ Yajus၊ Sāman တို့၏ ပုံသဏ္ဍာန်ဖြစ်သောကြောင့် trayī ဟု ခေါ်ကြသည်။ သို့ရာတွင် ယဇ္ဉာကိစ္စများ ပြည့်စုံစေရန်အတွက် လေးမျိုးဟူ၍လည်း ဆိုကြသည်—Ṛc ပုဒ်များ၊ Yajus မန္တရများ၊ Sāman သီချင်းများနှင့် Atharvaṅgiras တို့ဖြစ်သည်။ ယဇ္ဉာတွင် ပုရောဟိတ် လေးမျိုး၏ တာဝန်များက အဓိကဖြစ်သဖြင့် အမှတ်အသားသုံးပါး စသည့် လက္ခဏာများမှ trayī ကို ခန့်မှန်းသိနိုင်ပြီး Atharvaṅgiras ပုံစံသည်လည်း Sāman၊ Ṛg၊ Yajus တို့၏ သဘာဝတူညီမှုကို ဆောင်ထားသည်။

There, the primordial scripture consisting of the ‘threefold’ (trayī) is that which reveals all aims and meanings. Because it has the form of Ṛg, Yajus, and Sāman it is called ‘trayī’. Yet, for the accomplishment of ritual purposes it is also spoken of as fourfold: the Ṛc-verses, the Yajus-formulas, the Sāman-chants, and likewise the Atharvaṅgiras. Since the four priestly functions are primary, the threefold (trayī) is inferred by the triad of indicators and the like; and the Atharvaṅgiras form is of the nature of Sāman, Ṛg, and Yajus.

Śruti taxonomy; unity of Vedic revelation across apparent divisionsAtharvaChandas: Prose/Anuṣṭubh-mixed (late Upaniṣadic style)