(1) The Rik (veda) is this earth, the Sâman (veda) is fire. This Sâman (fire) rests on that Rik (earth) . Therefore the Sâman is sung as resting on the Rik. Sâ is this earth, ama is fire, and that makes Sâma.

(2) The Rik is the sky, the Sâman air. This Sâman (air) rests on that Rik (sky). Therefore the Sâman is sung as resting on the Rik. Sâ is the sky, ama the air, and that makes Sâma.

(1) Now with reference to the body. Rik is speech, Sâman breath . This Sâman (breath) rests on that Rik (speech). Therefore the Sâman is sung as resting on the Rik. Sâ is speech, ama is breath, and that makes Sâma.

(3) Rik is heaven, Sâman the sun. This Sâman (sun) rests on that Rik (heaven). Therefore the Sâman is sung as resting on the Rik. Sâ is heaven, ama the sun, and that makes Sâma.

(3) Rik is the ear, Sâman the mind. This Sâman (mind) rests on that Rik (ear). Therefore the Sâman is sung as resting on the Rik. Sâ is the ear, ama the mind, and that makes Sâma.

(7) He who knowing this sings a Sâman, sings to both (the adhidaivata and adhyâtma self, the person in the sun and the person in the eye, as one and the same person). He obtains through the one, yea, he obtains the worlds beyond that, and the wishes of the Devas;

(4) Rik is the stars, Sâman the moon. This Sâman (moon) rests on that Rik (stars). Therefore the Sâman is sung as resting on the Rik. Sâ is the stars, ama the moon, and that makes Sâma.

(2) Rik is the eye, Sâman the self . This Sâman (shadow) rests on that Rik (eye). Therefore the Sâman is sung as resting on the Rik. Sâ is the eye, ama the self, and that makes Sâma.

(2) Those very Sâman verses (as bees) brooded over the Sâma-veda sacrifice; and from it, thus brooded on, sprang as its (nectar) essence, fame, glory of countenance, vigour, strength, and health.

(1) Next let a man meditate on the sevenfold Sâman which is uniform in itself and leads beyond death. The word hiṅkâra has three syllables, the word prastâva has three syllables: that is equal (sama).

(4) 'What is the origin of the Sâman?' 'Tone (svara),' he replied. 'What is the origin of tone?' 'Breath,' he replied. 'What is the origin of breath?' 'Food,' he replied. 'What is the origin of food?' 'Water,' he replied.

(10) Of the Sāman hymns I am the Brihat-Sāman, and of metres I am the Gāyatri. Of months I am Mārga-śirsha, and of seasons I am the flowery spring.

(4) Rik is the white light of the eye, Sâman the blue exceeding darkness. This Sâman (darkness) rests on the Rik (brightness). Therefore the Sâman is sung as resting on the Rik. Sâ is the white light of the eye, ama the blue exceeding darkness, and that makes Sâma.

(5) He who knowing this loudly pronounces (pranauti) - that syllable, enters the same (imperishable) syllable, the Svara, the immortal, free from fear, and having entered it, becomes immortal, as the Devas are immortal.

(7) Ut is heaven, gî the sky, tha the earth. Ut is the sun, gî the air, tha the fire. Ut is the Sâma-veda,, gî the Yagur-veda, tha the Rig-veda . Speech yields the milk, which is the milk of speech itself , to him who thus knowing meditates on those syllables of the name of udgîtha, he becomes rich in food and able to eat food.

(7) 'When I said, I turn to Svah, what I said is, I turn to the Rig-veda, Yagur-veda, and Sâma-veda. That is what I said, yea, that is what I said.'

(1) Let a man meditate on the syllable Om, for the udgîtha is sung beginning with Om. And this is the full account of the syllable Om--

(9) 'What wish shall I obtain for you by my songs?' For he who knowing this sings a Sâman is able to obtain wishes through his song, yea, through his song.

(4) The chanting of the Psalms, being co-essential with almost all the Hierarchical mysteries, was not likely to be separated from the most Hierarchical of all. For every holy and inspired Scripture sets forth for those meet for deification, either the originated beginning and ordering of things from God; or the Hierarchy and polity of the Law; or the distributions and possessions of the inheritances of the people of God; or the understanding of sacred judges, or of wise kings, or of inspired Priests: or philosophy of men of old time, unshaken in endurances of the things let loose in variety and multitude; or the treasures of wisdom for the conduct of life; or songs and inspired pictures of Divine Loves; or the declaratory predictions of things to come; or the Theandric works of Jesus; or the God-transmitted and God-imitating polities and holy teachings of His Disciples, or the hidden and mystic gaze of the beloved and divinely sweet of the disciples, or the supermundane theology of Jesus; and implanted them in the holy and Godlike instructions of the mystic rites. Now the sacred description of the Divine Odes, whose purpose is to sing the words and works of God throughout, and to praise the holy words and works of godly men, forms an universal Ode and narrative of things Divine, and makes, in those who inspiredly recite it, a habit suitable for the reception and distribution of every Hierarchical mystery.

(7) 'Well then, let me know this from you, Sir,' said Dâlbhya. 'Know it,' replied Silaka Sâlâvatya. 'What is the origin of that world (heaven)?' 'This world,' he replied. 'And what is the origin of this world?'-- He replied: 'Let no man carry the Sâman beyond this world as its rest. We place the Sâman in this world as its rest, for the Sâman is extolled as rest.'