Upaniṣads · Chāndogya 1,3.4
॥
Devanāgarī
या वाक् सा ऋक् तस्मात् अप्राणन् अनपानन् ऋचम् अभिव्याहरति या ऋक् तत् साम तस्मात् अप्राणन् अनपानन् साम गायति यत् साम सः उद्गीथः तस्मात् अप्राणन् अनपानन् उद्गायति
Transliteración (IAST)
yā vāk sā ṛk tasmāt aprāṇan anapānan ṛcam abhivyāharati yā ṛk tat sāma tasmāt aprāṇan anapānan sāma gāyati yat sāma saḥ udgīthaḥ tasmāt aprāṇan anapānan udgāyati
Palabra por palabra
SánscritoIASTSignificado
याyāyā; the syllable yā
वाक्vākspeech; the word
साsāshe; that one
ऋक्ṛkthe ṛc; a hymn of the Ṛg-veda
तस्मात्tasmāttherefore; for that reason
अप्राणन्aprāṇannot breathing in; without in-breath
अनपानन्anapānannot breathing out; without out-breath
ऋचम्ṛcamthe ṛc; the hymn
अभिव्याहरतिabhivyāharatihe utters (abhi-vi-ā-√hṛ); he articulates; he pronounces
याyāyā; the syllable yā
ऋक्ṛkthe ṛc; a hymn of the Ṛg-veda
तत्tatthat; this
सामsāmathe sāman; the chant
तस्मात्tasmāttherefore; for that reason
अप्राणन्aprāṇannot breathing in; without in-breath
अनपानन्anapānannot breathing out; without out-breath
सामsāmathe sāman; the chant
गायतिgāyatihe sings (from √gai); he chants out; he chants
यत्yatwhich; that which
सामsāmathe sāman; the chant
सःsaḥhe; that one
उद्गीथःudgīthaḥudgītha; the exalted chant
तस्मात्tasmāttherefore; for that reason
अप्राणन्aprāṇannot breathing in; without in-breath
अनपानन्anapānannot breathing out; without out-breath
उद्गायतिudgāyatihe sings the udgītha; he raises the chant
Traducción
Speech is the ṛc: therefore the ṛc is uttered neither breathing in nor breathing out. The ṛc is the sāman: therefore the sāman is sung neither breathing in nor breathing out. The sāman is the udgītha: therefore the udgītha is sung neither breathing in nor breathing out.
Versión
850cff7932b1 · publicado 26 jul 2026, 22:28:09 UTC
Disponible enRUENPasa de verso en verso con
The chain of substitutions climbs the familiar ladder (verse 2): speech → ṛc → sāman → udgītha, and at every rung the same physiological refrain: "neither breathing in nor breathing out": all sacred sounding — from a plain word to the crowning udgītha — is performed in the vyāna, in the gap between breaths.
The sense of the refrain accumulates: the higher the song, the more wholly it lives in the middle current: the udgītha is the utmost art of the pause, a sound standing entirely on the crest between in-breath and out-breath. The Sāma-veda's singer is a master of the interval; and his mastery is an image of every spiritual summit: it is taken neither on the inhalation of acquiring nor on the exhalation of spending, but in a third state where both have stilled — in the poise out of which the offering is born.