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III ADHYAYA, 3 PÂDA, 9.
sarily extends to the Udgitha, which is the object of the activity of singing, the latter also helps to bring about the result, viz. the mastering of enemies.-There is thus no unity of vidyâ, although there may be non-difference of injunction, and so on.-'As in the case of the attribute of being higher than the high,' &c. In one and the same sâkhâ there are two meditations, in each of which the highest Self is enjoined to be viewed under the form of the pranava (Kh. Up. I, 6; I, 9), and in so far the two vidyâs are alike. But while the former text enjoins that the pranava has to be viewed under the form of a golden man, in the latter he has to be viewed as possessing the attributes of being higher than the high, and owing to this difference of attributes the two meditations must be held separate (a fortiori, then, those meditations are separate which have different objects of meditation).
8. If that be declared on account of name; (we object, since) that is also (where the objects of injunction differ).
If the oneness of the vidyâs be maintained on the ground that both have the same name, viz. udgîtha-vidya, we point out that oneness is found also where the objects enjoined are different. The term agnihotra is applied equally to the permanent agnihotra and to that agnihotra which forms part of the sacrifice called 'Kundapâyinâm ayanam'; and the term udgîtha is applied equally to the many different meditations described in the first prapâthaka of the Khândogya.
9. And (this is) appropriate, on account of the extension.
Since the pranava, which is a part of the udgîtha, is introduced as the subject of meditation in the first prapathaka of the Khandogyą, and extends over the later vidyâs also, it is appropriate to assume that also in the clause 'the gods took the udgitha '-which stands in the middle-the term udgîtha denotes the pranava. Expressions such as 'the cloth is burned' show that frequently the whole denotes
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