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Chāndogyopaniṣat

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Chāndogyopaniṣat
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Click to Expand/Collapse OptionPrapāṭhaka 1
Click to Expand/Collapse OptionPrapāṭhaka 2
Click to Expand/Collapse OptionPrapāṭhaka 3
Click to Expand/Collapse OptionPrapāṭhaka 4
Click to Expand/Collapse OptionPrapāṭhaka 5
Click to Expand/Collapse OptionPrapāṭhaka 6
Click to Expand/Collapse OptionPrapāṭhaka 7
Click to Expand/Collapse OptionPrapāṭhaka 8
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vinardi sāmno vṛṇe paśavyam ity agner udgīthaḥ |
aniruktaḥ prajāpateḥ |
niruktaḥ somasya |
mṛdu ślakṣṇaṃ vāyoḥ |
ślakṣṇaṃ balavad indrasya |
krauñcaṃ bṛhaspateḥ |
apadhvāntaṃ varuṇasya |
tān sarvān evopaseveta |
vāruṇaṃ tv eva varjayet || 
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1. TWENTY-SECOND KHANDA
The udgitha, of which a poet said, I choose the deep sounding note of the Saman as good for cattle, belongs to Agni; the indefinite note belongs to Pragapati, the definite note to Soma, the soft and smooth note to Vayu, 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. 
sāmopāsanaprasaṅgena gānaviśeṣādisampadudgāturupadiśyate | phalaviśeṣasambandhātṣa vinardi viśiṣṭo nardaḥ svaraviśeṣa ṛṣabhakūjitasamo ’syāstīti vinardi gānamiti vākyaśeṣaḥ | tacca sāmnaḥ sambandhi paśubhyo hitaṃ paśavyamagneragnidevatyaṃ codgītha udgānam | tadahamevaṃviśiṣṭaṃ vṛṇe prarthaya iti kaścidyajamāna udgātā vā manyate | anirukto ’mukasama ityaviśeṣitaḥ prajāpateḥ prajāpatidevatyaḥ sa na gānaviśeṣaḥ | āniruktyātprajāpaterniruktaḥ spaṣṭaḥ somasya, somadevatyaḥ sa udgītha ityarthaḥ | mṛdu ślakṣaṇaṃ ca gānaṃ vāyorvāyudevatyaṃ tat | ślakṣṇaṃ balavacca prayatnādhikyopetaṃ cendrasyaindraṃ tadgānam | krauñcaṃ krauñcapakṣininādasamaṃ bṛhaspaterbārhaspatyaṃ tat | apadhvāntaṃ bhinnakāṃsyasvarasamaṃ varuṇasyaitadgānam | tānsarvānevopaseveta prayuñjīta vāruṇaṃ tvevaikaṃ varjayet || 1 || 
amṛtatvaṃ devebhya āgāyānīty āgāyet |
svadhāṃ pitṛbhya āśāṃ manuṣyebhyas tṛṇodakaṃ paśubhyaḥ svargaṃ lokaṃ yajamānāyānnam ātmana āgāyānīty etāni manasā dhyāyann apramattaḥ stuvīta || 
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2. Let a man sing, wishing to obtain by his song immortality for the Devas. 'May I obtain by my song ablations (svadha) 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 (Udgatri priest) sing praises, without making mistakes in pronunciation, &c. 
amṛtatvaṃ devebhya āgāyāni sādhayāni | svadhāṃ pitṛbhya āgāyānyāśāṃ manuṣyebhya āśāṃ prārthanāṃ prārthitamityetat | tṛṇodakaṃ paśubhyaḥ svargaṃ lokaṃ yajamānāyānnamātmane mahyamāgāyānītyetāni manasā cintayandhyāyannapramattaḥ svaroṣmavyañjanādibhyaḥ stuvīta || 2 || 
sarve svarā indrasyātmānaḥ |
sarva ūṣmāṇaḥ prajāpater ātmānaḥ |
sarve sparśā mṛtyor ātmānaḥ |
taṃ yadi svareṣūpālabheta |
indraṃ śaraṇaṃ prapanno ’bhūvaṃ sa tvā prati vakṣyatīty enaṃ brūyāt || 
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3. All vowels (svara) belong to Indra, all sibilants (ushman) to Pragapati, 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.' 
sarve svarā akārādaya indrasya balakarmaṇaḥ prāṇasyā’tmāno dehāvayavasthānīyāḥ sarva ūṣmāṇaḥ śaṣasahādayaḥ prajāpatervirājaḥ kaśyapasya vā’tmānaḥ | sarve sparśāḥ kādayo vyañjanāni mṛtyorātmānastamevaṃvidamudgātāraṃ yadi kaścitsvareṣūpālabheta svarastvayā duṣṭaḥ prayukta ityevamupālabdha indraṃ prāṇamīśvaraṃ śaraṇamāśrayaṃ prapanno ’bhūvaṃ svarān prayuñjāno ’haṃ sa indro yattava vaktavyaṃ tvā tvāṃ prati vakṣyati sa eva deva uttaraṃ dāsyatītyenaṃ brūyāt || 3 || 
atha yady enam ūṣmāsūpālabheta |
prajāpatiṃ śaraṇaṃ prapanno ’bhūvaṃ sa tvā prati pekṣyatīty enaṃ brūyāt |
atha yady enaṃ sparśeṣūpālabheta |
mṛtyuṃ śaraṇaṃ prapanno ’bhūvaṃ sa tvā prati dhakṣyatīty enaṃ brūyāt || 
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4. And if somebody should reprove him for his sibilants, let him say, 'I went to Pragipati 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.' 
atha yadyenamūṣmasu tathaivopālabheta prajāpatiṃ śaraṇaṃ prapanno ’bhūvaṃ sa tvā pratipekṣyati sañcūrṇayiṣyatītyenaṃ brūyāt | atha yadyenaṃ sparśeṣūpālabheta mṛtyuṃ śaraṇaṃ prapanno ’bhūvaṃ sa tvā prati dhakṣyati bhasmīkariṣyatītyenaṃ brūyāt || 4 || 
sarve svarā ghoṣavanto balavanto vaktavyā indre balaṃ dadānīti |
sarva ūṣmāṇo ’grastā anirastā vivṛtā vaktavyāḥ prajāpater ātmānaṃ paridadānīti |
sarve sparśā leśenānabhinihitā vaktavyā mṛtyor ātmānaṃ pariharāṇīti || 
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5. All vowels are to be pronounced with voice (ghosha) and strength (bala), so that the Udgatri may give strength to Indra. All sibilants are to be pronounced, neither as if swallowed (agrasta), nor as if thrown out (nirasta), but well opened (vivrita), so that the Udgatri may give himself to Pragapati. All consonants are to be pronounced slowly, and without crowding them together, so that the Udgatri may withdraw himself from Mrityu. 
yata indrādyātmānaḥ svarādayo ’taḥ sarve svarā ghoṣavanto balavanto vaktavyāḥ | tathāhamindre balaṃ dadāni balamādadhānīti | tathā sarva ūṣmāṇo ’grastā antarapraveśitā anirastā bahiraprakṣiptā vivṛtā[vivṛttā] vivṛtaprayatnopetāḥ prajāpaterātmānaṃ paridadāni prayacchānīti | sarve sparśā leśena śanakairanabhinihitā anabhinikṣiptā vaktavyā mṛtyorātmānaṃ bālāniva śanakaiḥ pariharan mṛtyorātmānaṃ pariharāṇīti || 5 ||

iti chāndogyopaniṣadi dvitīyādhyāyasya dvāviṃśaḥ khaṇḍaḥ 
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