Chandogya Upanishad

अथ खल्वाशीःसमृद्धिरुपसरणानीत्युपासीत येन साम्ना स्तोष्यन्स्यात्तत्सामोपधावेत्

Now, one should meditate upon blessing, prosperity, and approach; whichever sāman one intends to praise with, to that sāman one should resort.

यस्यामृचि तामृचं यदार्षेयं तमृषिं यां देवतामभिष्टोष्यन्स्यात्तां देवतामुपधावेत्

Whichever ṛc one intends to use, to that ṛc one should resort; whichever seer, to that seer; whichever deity one intends to praise, to that deity one should resort.

येन च्छन्दसा स्तोष्यन्स्यात्तच्छन्द उपधावेद्येन स्तोमेन स्तोष्यमाणः स्यात्तꣳ स्तोममुपधावेत्

With whichever metre one intends to praise, to that metre one should resort; with whichever stoma one intends to praise, to that stoma one should resort.

यां दिशमभिष्टोष्यन्स्यात्तां दिशमुपधावेत्

Whichever direction one intends to praise, to that direction one should resort.

आत्मानमन्तत उपसृत्य स्तुवीत कामं ध्यायन्नप्रमत्तोऽभ्याशो ह यदस्मै स कामः समृध्येत यत्कामः स्तुवीतेति यत्कामः स्तुवीतेति

Having approached oneself at the end, one should praise, contemplating one's desire, vigilant; for when that desire is fulfilled for him, it is because he praised for that desire—he praised for that desire.

ओमित्येतदक्षरमुद्गीथमुपासीतोमिति ह्युद्गायति तस्योपव्याख्यानम्

One should meditate upon this syllable 'Om' as the udgītha; for indeed, when one sings, it is 'Om' that is sung. Now, here is its explanation.

देवा वै मृत्योर्बिभ्यतस्त्रयीं विद्यां प्राविशꣳस्ते छन्दोभिरच्छादयन्यदेभिरच्छादयꣳस्तच्छन्दसां छन्दस्त्वम्

The gods, fearing death, entered into the threefold knowledge; they covered themselves with the metres, as with veils. That which is the essence of the metres is the essence of the metres.

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

There, death watched them as a fish watches in water; in the Ṛc, the Sāman, and the Yajus, it observed them. Knowing this, they ascended beyond the Ṛc, the Sāman, and the Yajus, and entered into the sound.

यदा वा ऋचमाप्नोत्योमित्येवातिस्वरत्येवꣳ सामैवं यजुरेष उ स्वरो यदेतदक्षरमेतदमृतमभयं तत्प्रविश्य देवा अमृता अभया अभवन्

Whenever one reaches the Ṛc, one surpasses it with 'Om'; thus with the Sāman, thus with the Yajus. This sound, this syllable, is immortal and fearless. Entering into it, the gods became immortal and fearless.

स य एतदेवं विद्वानक्षरं प्रणौत्येतदेवाक्षरꣳ स्वरममृतमभयं प्रविशति तत्प्रविश्य यदमृता देवास्तदमृतो भवति

Whoever, knowing thus, chants this syllable, enters into this immortal, fearless sound. Having entered it, just as the gods became immortal, so does he become immortal.

अथ खलु य उद्गीथः स प्रणवो यः प्रणवः स उद्गीथ इत्यसौ वा आदित्य उद्गीथ एष प्रणव ओमिति ह्येष स्वरन्नेति

Now, the udgītha is the praṇava; the praṇava is the udgītha. That sun, indeed, is the udgītha; this is the praṇava, for it sounds as 'Om'.

एतमु एवाहमभ्यगासिषं तस्मान्मम त्वमेकोऽसीति ह कौषीतकिः पुत्रमुवाच रश्मीꣳस्त्वं पर्यावर्तयाद्बहवो वै ते भविष्यन्तीत्यधिदैवतम्

I have approached this very one; therefore, you alone are mine, said Kauṣītaki to his son. Turn back your rays, for you will have many, thus is the explanation with regard to the deities.

अथाध्यात्मं य एवायं मुख्यः प्राणस्तमुद्गीथमुपासीतोमिति ह्येष स्वरन्नेति

Now, in relation to the self: this chief vital breath is to be meditated upon as the udgītha; for indeed, it sounds as 'Om'.

एतमु एवाहमभ्यगासिषं तस्मान्मम त्वमेकोऽसीति ह कौषीतकिः पुत्रमुवाच प्राणाꣳ स्त्वं भूमानमभिगायताद्बहवो वै मे भविष्यन्तीति

I have approached this very one; therefore, you alone are mine, said Kauṣītaki to his son. Sing forth the vital breaths in abundance, for I shall have many.

अथ खलु य उद्गीथः स प्रणवो यः प्रणवः स उद्गीथ इति होतृषदनाद्धैवापि दुरुद्गीथमनुसमाहरतीत्यनुसमाहरतीति

Now, the udgītha is the praṇava; the praṇava is the udgītha. If the hotṛ recites from the wrong place, he gathers up the udgītha again and again, thus he gathers it up.

साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयत इयमेव साग्निरमस्तत्साम

That Sāman is indeed woven upon this Ṛc; therefore, the Sāman is sung upon the Ṛc. This is Agni, and that is the Sāman.

साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयतेऽन्तरिक्षमेव सा वायुरमस्तत्साम

That Sāman is indeed woven upon this Ṛc; therefore, the Sāman is sung upon the Ṛc. This is the atmosphere, and that is the Sāman.

साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते द्यौरेव सादित्योऽमस्तत्साम

That Sāman is indeed woven upon this Ṛc; therefore, the Sāman is sung upon the Ṛc. This is the sky, and the sun is that Sāman.

साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते नक्षत्राण्येव सा चन्द्रमा अमस्तत्साम

That Sāman is indeed woven upon this Ṛc; therefore, the Sāman is sung upon the Ṛc. These are the stars, and the moon is that Sāman.

अथ यदेतदादित्यस्य शुक्लं भाः सैवर्गथ यन्नीलं परः कृष्णं तत्साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते

Now, that which is the white brilliance of the sun is the Sāman; that which is blue or dark is the Sāman. That Sāman is indeed woven upon this Ṛc; therefore, the Sāman is sung upon the Ṛc.

अथ यदेवैतदादित्यस्य शुक्लं भाः सैव साथ यन्नीलं परः कृष्णं तदमस्तत्सामाथ य एषोऽन्तरादित्ये हिरण्मयः पुरुषो दृश्यते हिरण्यश्मश्रुर्हिरण्यकेश आप्रणखात्सर्व एव सुवर्णः

Now, that which is the white brilliance of the sun is the Sāman; that which is blue or dark is the Sāman. And that golden person who is seen within the sun—golden-bearded, golden-haired, from toenail to tip entirely golden.

तस्य यथा कप्यासं पुण्डरीकमेवमक्षिणी तस्योदिति नाम स एष सर्वेभ्यः पाप्मभ्य उदित उदेति ह वै सर्वेभ्यः पाप्मभ्यो य एवं वेद

His eyes are like lotuses just opened by the sun; his name is Uditi. He rises above all evils; indeed, he rises above all evils, whoever knows this.

तस्यर्क्च साम च गेष्णौ तस्मादुद्गीथस्तस्मात्त्वेवोद्गातैतस्य हि गाता स एष ये चामुष्मात्पराञ्चो लोकास्तेषां चेष्टे देवकामानां चेत्यधिदैवतम्

For him, the Ṛc and the Sāman are in the two cheeks; therefore, the udgītha, therefore, the singer sings for him. He is the one who acts for all those worlds beyond, and for the desires of the gods—thus is the explanation with regard to the deities.

अथाध्यात्मं वागेवर्क्प्राणः साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते वागेव सा प्राणोऽमस्तत्साम

Now, as to the self: speech is the Rik, breath is the Sāman. This Sāman is indeed woven upon that Rik. Therefore, the Sāman is sung as woven upon the Rik; speech is truly that, breath is its essence—such is the Sāman.

चक्षुरेवर्गात्मा साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते चक्षुरेव सात्मामस्तत्साम

The eye is the essence of the Rik, the Sāman is that. This Sāman is indeed woven upon that Rik. Therefore, the Sāman is sung as woven upon the Rik; the eye is truly that, its essence is the Sāman.

साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते श्रोत्रमेव सा मनोऽमस्तत्साम

The Sāman is that which is woven upon the Rik. Therefore, the Sāman is sung as woven upon the Rik; the ear is truly that, the mind is its essence—such is the Sāman.

अथ यदेतदक्ष्णः शुक्लं भाः सैवर्गथ यन्नीलं परः कृष्णं तत्साम तदेतदेतस्यामृच्यध्यूढꣳ साम तस्मादृच्यध्यूढꣳ साम गीयते अथ यदेवैतदक्ष्णः शुक्लं भाः सैव साथ यन्नीलं परः कृष्णं तदमस्तत्साम

Now, that which is the white brightness in the eye, that is the Rik; that which is blue or dark, that is the Sāman. This Sāman is indeed woven upon that Rik. Therefore, the Sāman is sung as woven upon the Rik. Now, that which is the white brightness in the eye, that is the Rik; that which is blue or dark, that is the Sāman, its essence.

अथ य एषोऽन्तरक्षिणि पुरुषो दृश्यते सैवर्क्तत्साम तदुक्थं तद्यजुस्तद्ब्रह्म तस्यैतस्य तदेव रूपं यदमुष्य रूपं यावमुष्य गेष्णौ तौ गेष्णौ यन्नाम तन्नाम

Now, the person who is seen in the eye, he is the Rik, that is the Sāman, that is the Uktha, that is the Yajus, that is Brahman. That is his form, whatever his form is, as large as the shadow, so is his shadow; whatever his name, that is his name.

स एष ये चैतस्मादर्वाञ्चो लोकास्तेषां चेष्टे मनुष्यकामानां चेति तद्य इमे वीणायां गायन्त्येतं ते गायन्ति तस्मात्ते धनसनयः

He, and those worlds that are below this, he rules over them, and the desires of men as well. Those who sing to the vīṇā, they sing of him; therefore, they are called singers of wealth.