Footnote 109:[(return)]
Yadi labdhâ na labdhavyah katham tarhi paramâtmano vastutobhinnena jîvâtmanâ paramâtmâ labhyata ity arthah. Bhâmatî.
Footnote 110:[(return)]
Yathâ paramesvarâd bhinno jîvâtmâ drashtâ na bhavaty evam gîvâtmanozpi drashtur na bhinnah paramesvara iti, jîvasyânirvâkyarve paramesvarozpy anirvâkyah syâd ity ata âha paramesvaras tv avidyâkalpitâd iti. Ananda Giri.
Footnote 111:[(return)]
The explanation of the ânandamaya given hitherto is here recalled, and a different one given. The previous explanation is attributed by Go. Ân. to the vrittikâra.
Footnote 112:[(return)]
In which sense, as shown above, the word ânandamaya must be taken if understood to denote Brahman.
Footnote 113:[(return)]
I.e. the word translated hitherto by abundance.
Footnote 114:[(return)]
See I, 1, 15-19.
Footnote 115:[(return)]
The preceding adhikarana had shown that the five Selfs (consisting of food, mind, and so on), which the Taitt. Up. enumerates, are introduced merely for the purpose of facilitating the cognition of Brahman considered as devoid of all qualities; while that Brahman itself is the real object of knowledge. The present adhikarana undertakes to show that the passage about the golden person represents the savisesha Brahman as the object of devout meditation.
Footnote 116:[(return)]
So that the real giver of the gifts bestowed by princes on poets and singers is Brahman.
Footnote 117:[(return)]
Or else 'that which is within forms and names.'
Footnote 118:[(return)]
Viz. as intimating it. Thus Ân. Gi. and Go. Ân. against the accent of rikáh. Sâyana explains rikáh as genitive.