Yajnavalkya Kanda. Adhyaya 4, Brahmana 5. Yajnavalkya and Maitreyi, again
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Each mantra is given four ways: the Sanskrit in its Devanagari script, the same sounds in Roman letters, an English translation set in our own voice, and then the line once more in plain words, for a first and unhurried reading.
Not every passage is opened to the same depth. A few central mantras carry the full cross-school commentary, where the schools are set side by side. The rest are kept here whole and faithful, set in their place but not expounded, so the book stays entire and nothing is dropped for being thought minor.
Where the schools read a line differently, the difference is kept open. None is crowned and none is corrected. Each is met on its own terms, and where they contradict, the contradiction is left standing for you to sit with.
The lute
As, when a lute is being played, one cannot grasp the sounds as they go outward, but by grasping the lute, or the player of the lute, the sound is grasped:
Just as, when a lute (vina) is being played, you cannot catch the separate sounds as they go out; but by taking hold of the lute itself, or of the player, the sound is caught. So too the many are grasped only through the one in which they rest.
In the commentaries
Sankara completes the triad with the lute: the three instruments together drive home that particular effects are apprehended only through their cause, as all names and forms are apprehended only through the Self.