The third discourse (iv. 3–4) is another dialogue between Janaka and Yājnavalkya. It presents a picture of the soul in the conditions of waking, dreaming, deep sleep, dying, transmigration, and salvation. For wealth of illustration, fervour of conviction, beauty and elevation of thought, this piece is unequalled in the Upanishads or any other work of Indian literature. Its literary effect is heightened by the numerous stanzas with which it is interspersed. These are, however, doubtless later additions. The dreaming soul is thus described: —
Leaving its lower nest in breath’s protection,
And upward from that nest, immortal, soaring,
Where’er it lists it roves about immortal,
The golden-pinioned only swan of spirit (IV. iii. 13).
It roves in dream condition up and downward,
Divinely many shapes and forms assuming (ib. 14).
Then follows an account of the dreamless state of the soul: —
As a falcon or an eagle, having flown about in the air, exhausted folds together its wings and prepares to alight, so the spirit hastes to that condition in which, asleep, it feels no desire and sees no dream (19).
This is its essential form, in which it rises above desire, is free from evil and without fear. For as one embraced by a beloved woman wots not of anything without or within, so also the soul embraced by the cognitional Self wots not of anything without or within (21).
With regard to the souls of those who are not saved, the view of the writer appears to be that after death they enter a new body immediately and without any intervening retribution in the other world, in exact accordance with their intellectual and moral quality.
As a caterpillar, when it has reached the point of a leaf, makes a new beginning and draws itself across, so the soul, after casting off the body and letting go ignorance, makes a new beginning and draws itself across (IV. iv. 3).
As a goldsmith takes the material of an image and hammers out of it another newer and more beautiful form, so also the soul after casting off the body and letting go ignorance, creates for itself another newer and more beautiful form, either that of the Fathers or the Gandharvas or the Gods, or Prajāpati or Brahma, or other beings (IV. iv. 4).
But the vital airs of him who is saved, who knows himself to be identical with Brahma, do not depart, for he is absorbed in Brahma and is Brahma.
As a serpent’s skin, dead and cast off, lies upon an ant-hill, so his body then lies; but that which is bodiless and immortal, the life, is pure Brahma, is pure light (IV. iv. 7).
The fourth discourse is a dialogue between Yājnavalkya and his wife Maitreyī, before the former, about to renounce the world, retires to the solitude of the forest. There are several indications that it is a secondary recension of the same conversation occurring in a previous chapter (II. iv.).
The first chapter of the third or supplementary part consists of fifteen sections, which are often quite short, are mostly unconnected in matter, and appear to be of very different age. The second chapter, however, forms a long and important treatise (identical with that found in the Chhāndogya) on the doctrine of transmigration. The views here expressed are so much at variance with those of Yājnavalkya that this text must have originated in another Vedic school, and have been loosely attached to this Upanishad owing to the peculiar importance of its contents. The preceding and following section, which are connected with it, and are also found in the Chhāndogya, must have been added at the same time.
Not only is the longest Upanishad attached to the White Yajurveda, but also one of the very shortest, consisting of only eighteen stanzas. This is the Īçā, which is so called from its initial word. Though forming the last chapter of the Vājasaneyi Saṃhitā, it belongs to a rather late period. It is about contemporaneous with the latest parts of the Bṛihadāraṇyaka, is more developed in many points than the Kāṭhaka, but seems to be older than the Çvetāçvatara. Its leading motive is to contrast him who knows himself to be the same as the Ātman with him who does not possess true knowledge. It affords an excellent survey of the fundamental doctrines of the Vedānta philosophy.
A large and indefinite number of Upanishads is attributed to the Atharva-veda, but the most authoritative list recognises twenty-seven altogether. They are for the most part of very late origin, being post-Vedic, and, all but three, contemporaneous with the Purāṇas. One of them is actually a Muhammadan treatise entitled the Alla Upanishad! The older Upanishads which belong to the first three Vedas were, with a few exceptions like the Çvetāçvatara, the dogmatic text-books of actual Vedic schools, and received their names from those schools, being connected with and supplementary to the ritual Brāhmaṇas. The Upanishads of the Atharva-veda, on the other hand, are with few exceptions like the Māṇḍūkya and the Jābāla, no longer connected with Vedic schools, but derive their names from their subject-matter or some other circumstance. They appear for the most part to represent the views of theosophic, mystic, ascetic, or sectarian associations, who wished to have an Upanishad of their own in imitation of the old Vedic schools. They became attached to the Atharva-veda not from any internal connection, but partly because the followers of the Atharva-veda desired to become possessed of dogmatic text-books of their own, and partly because the fourth Veda was not protected from the intrusion of foreign elements by the watchfulness of religious guilds like the old Vedic schools.
The fundamental doctrine common to all the Upanishads of the Atharva-veda is developed by most of them in various special directions. They may accordingly be divided into four categories which run chronologically parallel with one another, each containing relatively old and late productions. The first group, as directly investigating the nature of the Ātman, has a scope similar to that of the Upanishads of the other Vedas, and goes no further than the latter in developing its main thesis. The next group, taking the fundamental doctrine for granted, treats of absorption in the Ātman through ascetic meditation (yoga) based on the component parts of the sacred syllable om. These Upanishads are almost without exception composed in verse and are quite short, consisting on the average of about twenty stanzas. In the third category the life of the religious mendicant (sannyāsin), as a practical consequence of the Upanishad doctrine, is recommended and described. These Upanishads, too, are short, but are written in prose, though with an admixture of verse. The last group is sectarian in character, interpreting the popular gods Çiva (under various names, such as Īçāna, Maheçvara, Mahādeva) and Vishṇu (as Nārāyaṇa and Nṛisiṃha or “Man-lion”) as personifications of the Ātman. The different Avatārs of Vishṇu are here regarded as human manifestations of the Ātman.
The oldest and most important of these Atharvan Upanishads, as representing the Vedānta doctrine most faithfully, are the Muṇḍaka, the Praçna, and to a less degree the Māṇḍūkya. The first two come nearest to the Upanishads of the older Vedas, and are much quoted by Bādarāyaṇa and Çankara, the great authorities of the later Vedānta philosophy. They are the only original and legitimate Upanishads of the Atharva. The Muṇḍaka derives its name from being the Upanishad of the tonsured (muṇḍa), an association of ascetics who shaved their heads, as the Buddhist monks did later. It is one of the most popular of the Upanishads, not owing to the originality of its contents, which are for the most part derived from older texts, but owing to the purity with which it reproduces the old Vedānta doctrine, and the beauty of the stanzas in which it is composed. It presupposes, above all, the Chhāndogya Upanishad, and in all probability the Bṛihadāraṇyaka, the Taittirīya, and the Kāṭhaka. Having several important passages in common with the Çvetāçvatara and the Bṛihannārāyaṇa of the Black Yajurveda, it probably belongs to the same epoch, coming between the two in order of time. It consists of three parts, which, speaking generally, deal respectively with the preparations for the knowledge of Brahma, the doctrine of Brahma, and the way to Brahma.
The Praçna Upanishad, written in prose and apparently belonging to the Pippalāda recension of the Atharva-veda, is so called
because it treats, in the form of questions (praçna) addressed by six students of Brahma to the sage Pippalāda, six main points of the Vedānta doctrine. These questions concern the origin of matter and life (prāṇa) from Prajāpati; the superiority of life (prāṇa) above the other vital powers; the nature and divisions of the vital powers; dreaming and dreamless sleep; meditation on the syllable om; and the sixteen parts of man.
The Māṇḍūkya is a very short prose Upanishad, which would hardly fill two pages of the present book. Though bearing the name of a half-forgotten school of the Rigveda, it is reckoned among the Upanishads of the Atharva-veda. It must date from a considerably later time than the prose Upanishads of the three older Vedas, with the unmethodical treatment and prolixity of which its precision and conciseness are in marked contrast. It has many points of contact with the Maitrāyaṇa Upanishad, to which it seems to be posterior. It appears, however, to be older than the rest of the treatises which form the fourth class of the Upanishads of the Atharva-veda. Thus it distinguishes only three morae in the syllable om, and not yet three and a half. The fundamental idea of this Upanishad is that the sacred syllable is an expression of the universe. It is somewhat remarkable that this work is not quoted by Çankara; nevertheless, it not only exercised a great influence on several Upanishads of the Atharva-veda, but was used more than any other Upanishad by the author of the well-known later epitome of the Vedānta doctrine, the Vedānta-sāra.
It is, however, chiefly important as having given rise to one of the most remarkable products of Indian philosophy, the Kārikā of Gauḍapāda. This work consists of more than 200 stanzas divided into four parts, the first of which includes the Māṇḍūkya Upanishad. The esteem in which the Kārikā was held is indicated by the fact that its parts are reckoned as four Upanishads. There is much probability in the assumption that its author is identical with Gauḍapāda, the teacher of Govinda, whose pupil was the great Vedāntist commentator, Çankara (800 A.D.). The point of view of the latter is the same essentially as that of the author of the Kārikā, and many of the thoughts and figures which begin to appear in the earlier work are in common use in Çankara’s commentaries. Çankara may, in fact, be said to have reduced the doctrines of Gauḍapāda to a system, as did Plato those of Parmenides. Indeed, the two leading ideas which pervade the Indian poem, viz., that there is no duality (advaita) and no becoming (ajāti), are, as Professor Deussen points out, identical with those of the Greek philosopher.
The first part of the Kārikā is practically a metrical paraphrase of the Māṇḍūkya Upanishad. Peculiar to it is the statement that the world is not an illusion or a development in any sense, but the very nature or essence (svabhāva) of Brahma, just as the rays, which are all the same (i.e. light), are not different from the sun. The remainder of the poem is independent of the Upanishad and goes far beyond its doctrines. The second part has the special title of Vaitathya or the “Falseness” of the doctrine of reality. Just as a rope is in the dark mistaken for a snake, so the Ātman in the darkness of ignorance is mistaken for the world. Every attempt to imagine the Ātman under empirical forms is futile, for every one’s idea of it is dependent on his experience of the world.
The third part is entitled Advaita, “Non-duality.” The identity of the Supreme Soul (Ātman) with the individual soul (jīva) is illustrated by comparison with space, and that part of it which is contained in a jar. Arguing against the theory of genesis and plurality, the poet lays down the axiom that nothing can become different from its own nature. The production of the existent (sato janma) is impossible, for that would be produced which already exists. The production of the non-existent (asato janma) is also impossible, for the non-existent is never produced, any more than the son of a barren woman. The last part is entitled Alāta-çānti, or “Extinction of the firebrand (circle),” so called from an ingenious comparison made to explain how plurality and genesis seem to exist in the world. If a stick which is glowing at one end is waved about, fiery lines or circles are produced without anything being added to or issuing from the single burning point. The fiery line or circle exists only in the consciousness (vijnāna). So, too, the many phenomena of the world are merely the vibrations of the consciousness, which is one.
Chapter IX
The Sūtras
(Circa 500–200 B.C.)
As the Upanishads were a development of the speculative side of the Brāhmaṇas and constituted the textbooks of Vedic dogma, so the Çrauta Sūtras form the continuation of their ritual side, though they are not, like the Upanishads, regarded as a part of revelation. A sacred character was never attributed to them, probably because they were felt to be treatises compiled, with the help of oral priestly tradition, from the contents of the Brāhmaṇas solely to meet practical needs. The oldest of them seem to go back to about the time when Buddhism came into being. Indeed it is quite possible that the rise of the rival religion gave the first impetus to the composition of systematic manuals of Brahmanic worship. The Buddhists in their turn must have come to regard Sūtras as the type of treatise best adapted for the expression of religious doctrine, for the earliest Pāli texts are works of this character. The term Kalpa Sūtra is used to designate the whole body of Sūtras concerned with religion which belonged to a particular Vedic school. Where such a complete collection has been preserved, the Çrauta Sūtra forms its first and most extensive portion.
To the Rigveda belong the Çrauta manuals of two Sūtra schools (charaṇas), the Çānkhāyanas and the Āçvalāyanas, the former of whom were in later times settled in Northern Gujarat, the latter in the South between the Godāvarī and the Kṛishṇā. The ritual is described in much the same order by both, but the account of the great royal sacrifices is much more detailed in the Çānkhāyana Çrauta Sūtra. The latter, which is closely connected with the Çānkhāyana Brāhmaṇa, seems to be the older of the two, on the ground both of its matter and of its style, which in many parts resembles that of the Brāhmaṇas. It consists of eighteen books, the last two of which were added later, and correspond to the first two books of the Kaushītaki Āraṇyaka. The Çrauta Sūtra of Āçvalāyana, which consists of twelve books, is related to the Aitareya Brāhmaṇa. Āçvalāyana is also known as the author of the fourth book of the Aitareya Āraṇyaka, and was according to tradition the pupil of Çaunaka.
Three Çrauta Sūtras to the Sāmaveda have been preserved. The oldest, that of Maçaka, also called Ārsheya-kalpa, is nothing more than an enumeration of the prayers belonging to the various ceremonies of the Soma sacrifice in the order of the Panchaviṃça Brāhmaṇa. The Çrauta Sūtra composed by Lāṭyāyana, became the accepted manual of the Kauthuma school. This Sūtra, like that of Maçaka, which it quotes, is closely connected with the Panchaviṃça Brāhmaṇa. The Çrauta Sūtra of Drāhyāyaṇa, which differs but little from that of Lāṭyāyana, belongs to the Rāṇāyanīya branch of the Sāmaveda.
To the White Yajurveda belongs the Çrauta Sūtra of Kātyāyana. This manual, which consists of twenty-six chapters, on the whole strictly follows the sacrificial order of the Çatapatha Brāhmaṇa. Three of its chapters (xxii.–xxiv.), however, relate to the ceremonial of the Sāmaveda. Owing to the enigmatical character of its style, it appears to be one of the later productions of the Sūtra period.
No less than six Çrauta Sūtras belonging to the Black Yajurveda have been preserved, but only two of them have as yet been published. Four of these form a very closely connected group, being part of the Kalpa Sūtras of four subdivisions of the Taittirīya Çākhā, which represented the later sūtra schools (charaṇas) not claiming a special revelation of Veda or Brāhmaṇa. The Çrauta Sūtra of Āpastamba forms the first twenty-four of the thirty chapters (praçnas) into which his Kalpa Sūtra is divided; and that of Hiraṇyakeçin, an offshoot of the Āpastambas, the first eighteen of the twenty-nine chapters of his Kalpa Sūtra. The Sūtra of Baudhāyana, who is older than Āpastamba, as well as that of Bhāradvāja, has not yet been published.
Connected with the Ma
itrāyaṇī Saṃhitā is the Mānava Çrauta Sūtra. It belongs to the Mānavas, who were a subdivision of the Maitrāyaṇīyas, and to whom the law-book of Manu probably traces its origin. It seems to be one of the oldest. It has a descriptive character, resembling the Brāhmaṇa parts of the Yajurveda, and differing from them only in simply describing the course of the sacrifice, to the exclusion of legends, speculations, or discussions of any kind. There is also a Vaikhānasa Çrauta Sūtra attached to the Black Yajurveda, but it is known only in a few MSS.
The Çrauta Sūtra of the Atharva-veda is the Vaitāna Sūtra. It is neither old nor original, but was undoubtedly compiled in order to supply the Atharva, like the other Vedas, with a Sūtra of its own. It probably received its name from the word with which it begins, since the term vaitāna (“relating to the three sacrificial fires”) is equally applicable to all Çrauta Sūtras. It agrees to a considerable extent with the Gopatha Brāhmaṇa, though it distinctly follows the Sūtra of Kātyāyana to the White Yajurveda. One indication of its lateness is the fact that whereas in other cases a Gṛihya regularly presupposes the Çrauta Sūtra, the Vaitāna is dependent on the domestic sūtra of the Atharva-veda.
Though the Çrauta Sūtras are indispensable for the right understanding of the sacrificial ritual, they are, from any other point of view, a most unattractive form of literature. It will, therefore, suffice to mention in briefest outline the ceremonies with which they deal. It is important to remember, in the first place, that these rites are never congregational, but are always performed on behalf of a single individual, the so-called Yajamāna or sacrificer, who takes but little part in them. The officiators are Brahman priests, whose number varies from one to sixteen, according to the nature of the ceremony. In all these rites an important part is played by the three sacred fires which surround the vedi, a slightly excavated spot covered with a litter of grass for the reception of offerings to the gods. The first ceremony of all is the setting up of the sacred fires (agni-ādheya), which are kindled by the sacrificer and his wife with the firesticks, and are thereafter to be regularly maintained.
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