48. On account of connexions and the rest, as in the case of the separateness of other cognitions

48. On account of connexions and the rest, as in the case of the separateness of other cognitions. And this is seen (elsewhere also); as declared (in the Pûrva Mîmâmsâ).

That the text enjoins a meditative performance different from the actual performance of which the brick-altar is a constituent element, follows from the reasons proving separation, viz. the connexions. i.e. the things connected with the sacrifice, such as the Soma cups, the hymns, the recitations, and so on. What is meant is that the special mention of the cups, and so on, made in the passage 'by the mind the Soma cups were drawn thereat,' proves the difference of the performance.--The 'and the rest' of the Sûtra comprises the previously stated arguments, viz. direct statement, and so on. 'As other meditations,' i.e. the case is analogous to that of other meditations such as the meditation on the small ether within the heart, which are likewise proved by textual statement, and so on, to be different and separate from actual outward sacrificial performances.--The existence of a separate meditative act having thus been ascertained, the requisite injunction has to be construed on the basis of the text as it stands.

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Such construction of injunctions on the basis of texts of arthavâda character is seen in other places also; the matter is discussed in Pû. Mî. Sûtras III, 5, 21.--The result of the meditative performance follows from the passage 'of these (altars made of mind, and so on) each is as great as that former one (i.e. the altar built of bricks)'--for this implies that the same result which the brick-altar accomplishes through the sacrifice of which it forms an element is also attained through the altars made of mind, and so on, through the meditations of which they form parts.--The next Sûtra disposes of the argumentation that, as this formal transfer of the result of the brick-altar to the altars built of mind, and so on, shows the latter to possess the same virtues as the former, we are bound to conclude that they also form constituent elements of an actual (not merely meditative) performance.