fbpx
Wikipedia

Chandogya Upanishad

January 01, 1970

The Chandogya Upanishad (Sanskrit: छान्दोग्योपनिषद्, IAST: Chāndogyopaniṣad) is a Sanskrit text embedded in the Chandogya Brahmana of the Sama Veda of Hinduism.[1] It is one of the oldest Upanishads.[2] It lists as number 9 in the Muktika canon of 108 Upanishads.[3]

Chandogya
The Chandogya Upanishad verses 1.1.1-1.1.9 (Sanskrit, Devanagari script)
Devanagariछान्दोग्य
IASTChāndogya
Date8th to 6th century BCE
TypeMukhya Upanishad
Linked VedaSamaveda
ChaptersEight
PhilosophyOneness of the Atman
Commented byAdi Shankara, Madhvacharya
Popular verseTat tvam asi

The Upanishad belongs to the Tandya school of the Samaveda.[1] Like Brihadaranyaka Upanishad, the Chandogya is an anthology of texts that must have pre-existed as separate texts, and were edited into a larger text by one or more ancient Indian scholars.[1] The precise chronology of Chandogya Upanishad is uncertain, and it is variously dated to have been composed by the 8th to 6th century BCE in India.[2][4][5]

It is one of the largest Upanishadic compilations, and has eight Prapathakas (literally lectures, chapters), each with many volumes, and each volume contains many verses.[6][7] The volumes are a motley collection of stories and themes. As part of the poetic and chants-focussed Samaveda, the broad unifying theme of the Upanishad is the importance of speech, language, song and chants to man's quest for knowledge and salvation, to metaphysical premises and questions, as well as to rituals.[1][8]

The Chandogya Upanishad is notable for its lilting metric structure, its mention of ancient cultural elements such as musical instruments, and embedded philosophical premises that later served as foundation for Vedanta school of Hinduism.[9] It is one of the most cited texts in later Bhasyas (reviews and commentaries) by scholars from the diverse schools of Hinduism. Adi Shankaracharya, for example, cited Chandogya Upanishad 810 times in his Vedanta Sutra Bhasya, more than any other ancient text.[10]

Etymology edit

The name of the Upanishad is derived from the word Chanda or chandas, which means "poetic meter, prosody".[6][11] The nature of the text relates to the patterns of structure, stress, rhythm and intonation in language, songs and chants. The text is sometimes known as Chandogyopanishad.[12]

Chronology edit

Chandogya Upanishad was in all likelihood composed in the earlier part of 1st millennium BCE, and is one of the oldest Upanishads.[4] The exact century of the Upanishad composition is unknown, uncertain and contested.[2]

The chronology of early Upanishads is difficult to resolve due to scant evidence, an analysis of archaism, style, and repetitions across texts, driven by assumptions about likely evolution of ideas, and on presumptions about which philosophy might have influenced which other Indian philosophies.[2] Patrick Olivelle states, "in spite of claims made by some, in reality, any dating of these documents (early Upanishads) that attempts a precision closer than a few centuries is as stable as a house of cards".[4]

The chronology and authorship of Chandogya Upanishad, along with the Brihadaranyaka and Kaushitaki Upanishads, is further complicated because they are compiled anthologies of literature that must have existed as independent texts before they became part of these Upanishads.[13]

Scholars have offered different estimates ranging from 800 BCE to 600 BCE, all preceding Buddhism. According to a 1998 review by Patrick Olivelle. Chandogya was composed by 7th or 6th century BCE, give or take a century or so.[4] Phillips states that Chandogya was completed after Brihadaranyaka, both probably in early part of the 8th century CE.[2]

Structure edit

The text has eight Prapathakas (प्रपाठक, lectures, chapters), each with varying number of Khandas (खण्ड, volume).[7]

Each Khanda has varying number of verses. The first chapter includes 13 volumes each with varying number of verses, the second chapter has 24 volumes, the third chapter contains 19 volumes, the fourth is composed of 17 volumes, the fifth has 24, the sixth chapter has 16 volumes, the seventh includes 26 volumes, and the eight chapter is last with 15 volumes.[7]

The Upanishad comprises the last eight chapters of a ten chapter Chandogya Brahmana text.[14][15] The first chapter of the Brahmana is short and concerns ritual-related hymns to celebrate a marriage ceremony[16] and the birth of a child.[14]

The second chapter of the Brahmana is short as well and its mantras are addressed to divine beings at life rituals. The last eight chapters are long, and are called the Chandogya Upanishad.[14]

A notable structural feature of Chandogya Upanishad is that it contains many nearly identical passages and stories also found in Brihadaranyaka Upanishad, but in precise meter.[17][18]

The Chandogya Upanishad, like other Upanishads, was a living document. Every chapter shows evidence of insertion or interpolation at a later age, because the structure, meter, grammar, style and content is inconsistent with what precedes or follows the suspect content and section. Additionally, supplements were likely attached to various volumes in a different age.[19]

Klaus Witz[who?] structurally divides the Chandogya Upanishad into three natural groups. The first group comprises chapters I and II, which largely deal with the structure, stress and rhythmic aspects of language and its expression (speech), particularly with the syllable Om (ॐ, Aum).[17]

The second group consists of chapters III-V, with a collection of more than 20 Upasanas and Vidyas on premises about the universe, life, mind and spirituality. The third group consists of chapters VI-VIII that deal with metaphysical questions such as the nature of reality and Self.[17]

Content edit

First Prapāṭhaka edit

The chant of Om, the essence of all edit

The Chandogya Upanishad opens with the recommendation that "let a man meditate on Om".[20] It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is udgitha.[21]

Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song.[20][21] The highest song is Om, asserts volume 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[21]

In section 1.4, the text highlights the importance of Om in the High Chant.[22]

Good and evil may be everywhere, yet life-principle is inherently good edit

Om symbol
 
 
 
 
The significance of Om syllable is discussed in the Chandogya Upanishad, as well as other principal Upanishads. Chandogya's exposition of syllable Om in its first chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[23][24]

The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons) – both being races derived from one Prajapati (creator of life).[25] Max Muller states that this struggle between deities and demons is considered allegorical by ancient scholars, as good and evil inclinations within man, respectively.[26] The Prajapati is man in general, in this allegory.[26] The struggle is explained as a legend, that is also found in a more complete and likely original ancient version in the Brihadaranyaka Upanishad (chapter 1.3).[25]

The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".[27] The gods revered the Udgitha as sense of smell, but the demons cursed it and ever since one smells both good-smelling and bad-smelling, because it is afflicted with good and evil.[25] The deities thereafter revered the Udgitha as speech, but the demons afflicted it and ever since one speaks both truth and untruth, because speech has been struck with good and evil.[26] The deities next revered the Udgitha as sense of sight (eye), but the demons struck it and ever since one sees both what is harmonious, sightly and what is chaotic, unsightly, because sight is afflicted with good and evil.[27] The gods then revered the Udgitha as sense of hearing (ear), but the demons afflicted it and ever since one hears both what is worth hearing and what is not worth hearing, because hearing is afflicted with good and evil.[25] The gods thereafter revered the Udgitha as Manas (mind), but the demons afflicted it and therefore one imagines both what is worth imagining and what is not worth imagining, because mind is afflicted with good and evil.[27] Then the gods revered the Udgitha as Prāṇa (vital breath, breath in the mouth, life-principle), and the demons struck it but they fell into pieces. Life-principle is free from evil, it is inherently good.[25][26] The deities inside man – the body organs and senses of man are great, but they all revere the life-principle because it is the essence and the lord of all of them. Om is the Udgitha, the symbol of life-principle in man.[25]

Space: the origin and the end of everything edit

The Chandogya Upanishad, in eighth and ninth volumes of the first chapter, describes the debate between three men proficient in Udgitha, about the origins and support of Udgitha and all of empirical existence.[28] The debaters summarize their discussion as,

What is the origin of this world?[29]
Space, said he. Verily, all things here arise out of space. They disappear back into space, for space alone is greater than these, space is the final goal. This is the most excellent Udgitha [Om, ॐ]. This is endless. The most excellent is his, the most excellent worlds does he win, who, knowing it thus, reveres the most excellent Udgitha.

— Chandogya Upanishad 1.9.1-1.9.2[28]

Max Muller notes the term "space" above, was later asserted in the Vedanta Sutra verse 1.1.22 to be a symbolism for the Vedic concept of Brahman.[29] Paul Deussen explains the term Brahman means the "creative principle which lies realized in the whole world".[30]

A ridicule and satire on egotistic nature of priests edit

The tenth through twelfth volumes of the first "Prapathaka" of Chandogya Upanishad describe a legend about priests and it criticizes how they go about reciting verses and singing hymns without any idea what they mean or the divine principle they signify.[31] The 12th volume in particular ridicules the egotistical aims of priests through a satire, that is often referred to as "the Udgitha of the dogs".[31][32][33]

The verses 1.12.1 through 1.12.5 describe a convoy of dogs who appear before Vaka Dalbhya (literally, sage who murmurs and hums), who was busy in a quiet place repeating Veda. The dogs ask, "Sir, sing and get us food, we are hungry".[32] The Vedic reciter watches in silence, then the head dog says to other dogs, "come back tomorrow". Next day, the dogs come back, each dog holding the tail of the preceding dog in his mouth, just like priests do holding the gown of preceding priest when they walk in procession.[34] After the dogs settled down, they together began to say, "Him" and then sang, "Om, let us eat! Om, let us drink! Lord of food, bring hither food, bring it!, Om!"[31][35]

Such satire is not unusual in Indian literature and scriptures, and similar emphasis for understanding over superficial recitations is found in other ancient texts, such as chapter 7.103 of the Rig Veda.[31]

John Oman, in his review of the satire in section 1.12 of the Chandogya Upanishad, states, "More than once we have the statement that ritual doings only provide merit in the other world for a time, whereas the right knowledge rids of all questions of merit and secures enduring bliss".[35]

Structure of language and cosmic correspondences edit

The 13th volume of the first chapter lists mystical meanings in the structure and sounds of a chant.[36] The text asserts that hāu, hāi, ī, atha, iha, ū, e, hiṅ among others correspond to empirical and divine world, such as Moon, wind, Sun, oneself, Agni, Prajapati, and so on. The thirteen syllables listed are "Stobhaksharas", sounds used in musical recitation of hymns, chants and songs.[37] This volume is one of many sections that does not fit with the preceding text or text that follows.

The fourth verse of the 13th volume uses the word Upanishad, which Max Muller translates as "secret doctrine",[37][38] and Patrick Olivelle translates as "hidden connections".[39]

Second Prapāṭhaka edit

The significance of chant edit

The first volume of the second chapter states that the reverence for entire Sāman (साम्न, chant) is sādhu (साधु, good), for three reasons. These reasons invoke three different contextual meanings of Saman, namely abundance of goodness or valuable (सामन), friendliness or respect (सम्मान), property goods or wealth (सामन्, also समान).[39][40][41] The Chandogya Upanishad states that the reverse is true too, that people call it a-sāman when there is deficiency or worthlessness (ethics), unkindness or disrespect (human relationships), and lack of wealth (means of life, prosperity).[41][42]

Everything in Universe chants edit

 
The Chandogya Upanishad describes natural phenomena such as a thunderstorm as a form of chant.

Volumes 2 through 7 of the second Prapathaka present analogies between various elements of the Universe and elements of a chant.[43] The latter include Hinkāra (हिङ्कार, preliminary vocalizing), Prastāva (प्रस्ताव, propose, prelude, introduction), Udgītha (उद्गीत, sing, chant), Pratihāra (प्रतिहार, response, closing) and Nidhana (निधन, finale, conclusion).[44] The sets of mapped analogies present interrelationships and include cosmic bodies, natural phenomena, hydrology, seasons, living creatures and human physiology.[45] For example, chapter 2.3 of the Upanishad states,

The winds blow, that is Hinkāra
A cloud is formed, that is Prastāva
It rains, that is an Udgītha
The lightning that strikes and thunder that rolls, that is Pratihāra
The rains stop and clouds lift, that is Nidhana.

— Chandogya Upanishad 2.3.1[43][46]

The eighth volume of the second chapter expands the five-fold chant structure to seven-fold chant structure, wherein Ādi and Upadrava are the new elements of the chant. The day and daily life of a human being is mapped to the seven-fold structure in volumes 2.9 and 2.10 of the Upanishad.[47]

Thereafter, the text returns to five-fold chant structure in volumes 2.11 through 2.21, with the new sections explaining the chant as the natural template for cosmic phenomena, psychological behavior, human copulation, human body structure, domestic animals, divinities and others.[48][49] The metaphorical theme in this volume of verses, asserts Paul Deussen, is that the Universe is an embodiment of Brahman, that the "chant" (Saman) is interwoven into this entire Universe and every phenomenon is a fractal manifestation of the ultimate reality.[48][50] The 22nd volume of the second chapter discusses the structure of vowels (svara), consonants (sparsa) and sibilants (ushman).[49]

The nature of Dharma and Ashramas (stages) theory edit

The Chandogya Upanishad in volume 23 of chapter 2 provides one of the earliest expositions on the broad, complex meaning of Vedic concept dharma. It includes as dharma – ethical duties such as charity to those in distress (Dāna, दान), personal duties such as education and self study (svādhyāya, स्वाध्याय, brahmacharya, ब्रह्मचर्य), social rituals such as yajna (यज्ञ).[51] The Upanishad describes the three branches of dharma as follows:

त्रयो धर्मस्कन्धा यज्ञोऽध्ययनं दानमिति प्रथम
स्तप एव द्वितीयो ब्रह्मचार्याचार्यकुलवासी तृतीयो
ऽत्यन्तमात्मानमाचार्यकुलेऽवसादयन्सर्व एते पुण्यलोका भवन्ति ब्रह्मसँस्थोऽमृतत्वमेति ॥ १ ॥[52]

There are three branches of Dharma (religious life, duty): Yajna (sacrifice), Svādhyāya (self study) and Dāna (charity) are the first,
Tapas (austerity, meditation) is the second, while dwelling as a Brahmacharya for education in the house of a teacher is third,
All three achieve the blessed worlds. But the Brahmasamstha – one who is firmly grounded in Brahman – alone achieves immortality.

— Chandogya Upanishad 2.23.1[51][53][54]

This passage has been widely cited by ancient and medieval Sanskrit scholars as the fore-runner to the asrama or age-based stages of dharmic life in Hinduism.[54][55] The four asramas are: Brahmacharya (student), Grihastha (householder), Vanaprastha (retired) and Sannyasa (renunciation).[56][57] Olivelle disagrees however, and states that even the explicit use of the term asrama or the mention of the "three branches of dharma" in section 2.23 of Chandogya Upanishad does not necessarily indicate that the asrama system was meant.[58]

Paul Deussen [who?] notes that the Chandogya Upanishad, in the above verse, is not presenting these stages as sequential, but rather as equal.[54] Only three stages are explicitly described, Grihastha first, Vanaprastha second and then Brahmacharya third.[55] Yet the verse also mentions the person in Brahmasamstha – a mention that has been a major topic of debate in the Vedanta sub-schools of Hinduism.[53][59]

The Advaita Vedanta scholars state that this implicitly mentions the Sannyasa, whose goal is to get "knowledge, realization and thus firmly grounded in Brahman". Other scholars point to the structure of the verse and its explicit "three branches" declaration.[54] In other words, the fourth state of Brahmasamstha among men must have been known by the time this Chandogya verse was composed, but it is not certain whether a formal stage of Sannyasa life existed as a dharmic asrama at that time. Beyond chronological concerns, the verse has provided a foundation for Vedanta school's emphasis on ethics, education, simple living, social responsibility, and the ultimate goal of life as moksha through Brahman-knowledge.[51][54]

The discussion of ethics and moral conduct in man's life re-appears in other chapters of Chandogya Upanishad, such as in section 3.17.[60][61]

Third Prapāṭhaka edit

Brahman is the sun of all existence, Madhu Vidya edit

The Chandogya Upanishad presents the "Madhu Vidya" ("Honey Knowledge") in first eleven volumes of the third chapter.[62] Sun is praised as source of all light and life, and stated as worthy of meditation in a symbolic representation of Sun as "honey" of all Vedas.[63] The Brahman is stated in these volume of verses to be the sun of the Universe, and the 'natural sun' is a phenomenal manifestation of the Brahman.[64]

The simile of "honey" is extensively developed, with Vedas, the Itihasa and mythological stories, and the Upanishads are described as flowers.[64] The Rig hymns, the Yajur maxims, the Sama songs, the Atharva verses and deeper, secret doctrines of Upanishads are represented as the vehicles of rasa (nectar), that is the bees.[65] The nectar itself is described as "essence of knowledge, strength, vigor, health, renown, splendor".[66] The Sun is described as the honeycomb laden with glowing light of honey. The rising and setting of the Sun is likened to man's cyclic state of clarity and confusion, while the spiritual state of knowing Upanishadic insight of Brahman is described by Chandogya Upanishad as being one with Sun, a state of permanent day of perfect knowledge, the day which knows no night.[64]

Gayatri mantra: symbolism of all that is edit

Gayatri Mantra[67] is the symbol of the Brahman - the essence of everything, states volume 3.12 of the Chandogya Upanishad.[68] Gayatri as speech sings to everything and protects them, asserts the text.[68][69]

The Ultimate exists within oneself edit

The first six verses of the thirteenth volume of Chandogya's third chapter state a theory of Svarga (heaven) as human body, whose doorkeepers are eyes, ears, speech organs, mind and breath. To reach Svarga, asserts the text, understand these doorkeepers.[70] The Chandogya Upanishad then states that the ultimate heaven and highest world exists within oneself, as follows,

अथ यदतः परो दिवो ज्योतिर्दीप्यते विश्वतः पृष्ठेषु सर्वतः पृष्ठेष्वनुत्तमेषूत्तमेषु लोकेष्विदं वाव तद्यदिदमस्मिन्नन्तः पुरुषो ज्योतिस्तस्यैषा

Now that light which shines above this heaven, higher than all, higher than everything, in the highest world, beyond which there are no other worlds, that is the same light which is within man.

— Chandogya Upanishad 3.13.7[71][72]

This premise, that the human body is the heaven world, and that Brahman (highest reality) is identical to the Atman (Self) within a human being is at the foundation of Vedanta philosophy.[70] The volume 3.13 of verses, goes on to offer proof in verse 3.13.8 that the highest reality is inside man, by stating that body is warm and this warmth must have an underlying hidden principle manifestation of the Brahman.[71] Max Muller states, that while this reasoning may appear weak and incomplete, but it shows that Vedic era human mind had transitioned from "revealed testimony" to "evidence-driven and reasoned knowledge".[71] This Brahman-Atman premise is more consciously and fully developed in section 3.14 of the Chandogya Upanishad.

Individual Self and the infinite Brahman is same, one's Self is God, Sandilya Vidya edit

The Upanishad presents the Śāṇḍilya doctrine in volume 14 of chapter 3.[73] This, states Paul Deussen,[74] is with Satapatha Brahmana 10.6.3, perhaps the oldest passage in which the basic premises of the Vedanta philosophy are fully expressed, namely – Atman (Self inside man) exists, the Brahman is identical with Atman, God is inside man.[75] The Chandogya Upanishad makes a series of statements in section 3.14 that have been frequently cited by later schools of Hinduism and modern studies on Indian philosophies.[73][75][76] These are,

Brahman, you see, is this whole world. With inner tranquillity, one should venerate it as Tajjalan (that from which he came forth, as that into which he will be dissolved, as that in which he breathes). Now, then, man is undoubtedly made of his Kratumaya (क्रतुमयः, resolve, will, purpose). What a man becomes on departing from here after death is in accordance with his (will, resolve) in this world. So he should make this resolve:

This [S]elf (atman) of mine that lies deep within my heart — it is made of mind; the vital functions (prana) are its physical form; luminous is its appearance; the real is its intention; space is its essence (atman); it contains all actions, all desires, all smells, and all tastes; it has captured this whole world; it neither speaks nor pays any heed. This [S]elf (atman) of mine that lies deep within my heart—it is smaller than a grain of rice or barley, smaller than a mustard seed, smaller even than a millet grain or a millet kernel; but it is larger than the [E]arth, larger than the intermediate region, larger than the sky, larger even than all these worlds put together. This [S]elf (atman) of mine that lies deep within my heart—it contains all actions, all desires, all smells, and all tastes; it has captured this whole world; it neither speaks nor pays any heed. It is Brahman. On departing from here after death, I will become that. A man who has this resolve is never beset at all with doubts. This is what Shandilya used to say.

— Chandogya Upanishad 3.14.1 - 3.14.5[77]

The teachings in this section re-appear centuries later in the words of the 3rd century CE Neoplatonic Roman philosopher Plotinus in "Enneads 5.1.2".[74]

The Universe is an imperishable treasure chest edit

The Universe, states the Chandogya Upanishad in section 3.15, is a treasure-chest and the refuge for man.[78] This chest is where all wealth and everything rests states verse 3.15.1, and it is imperishable states verse 3.15.3.[79] The best refuge for man is this Universe and the Vedas, assert verses 3.15.4 through 3.15.7.[78][80] This section incorporates a benediction for the birth of a son.[79]

Life is a festival, ethics is one's donation to it edit

 
Ahimsa - non-violence in action, words and thoughts - is considered the highest ethical value and virtue in Hinduism.[81] The Chandogya Upanishad makes one of the earliest mentions of this ethical code in section 3.17.[82] Above: non-violence sculpture by Carl Fredrik Reutersward.

The section 3.17 of Chandogya Upanishad describes life as a celebration of a Soma-festival, whose dakshina (gifts, payment) is moral conduct and ethical precepts that includes non-violence, truthfulness, non-hypocrisy and charity unto others, as well as simple introspective life.[83] This is one of the earliest[84] statement of the Ahimsa principle as an ethical code of life, that later evolved to become the highest virtue in Hinduism.[85][86]

अथ यत्तपो दानमार्जवमहिँसा सत्यवचनमिति ता अस्य दक्षिणाः ॥ ४ ॥[87]

Now Tapas (austerity, meditation), Dāna (charity, alms-giving), Arjava (sincerity, uprightness and non-hypocrisy), Ahimsa (non-violence, don't harm others) and Satya-vacanam (telling truth), these are the Dakshina (gifts, payment to others) he gives [in life].

— Chandogya Upanishad 3.17.4[82][88]

The metaphor of man's life as a Soma-festival is described through steps of a yajna (fire ritual ceremony) in section 3.17.[82][83] The struggles of an individual, such as hunger, thirst and events that make him unhappy, states the Upanishad, is Diksha (preparation, effort or consecration for the ceremony/festival).[89] The prosperity of an individual, such as eating, drinking and experiencing the delights of life is Upasada (days during the ceremony/festival when some foods and certain foods are consumed as a community).[83] When an individual lives a life of laughs, feasts and enjoys sexual intercourse, his life is akin to becoming one with Stuta and Sastra hymns of a Soma-festival (hymns that are recited and set to music), states verse 3.17.3 of the text.[82][89] Death is like ablution after the ceremony.[82]

The volumes 3.16 and 3.17 of the Chandogya Upanishad are notable for two additional assertions. One, in verse 3.16.7, the normal age of man is stated to be 116 years, split into three stages of 24, 44 and 48 year each.[90] These verses suggest a developed state of mathematical sciences and addition by about 800-600 BCE. Secondly, verse 3.17.6 mentions Krishna Devakiputra (Sanskrit: कृष्णाय देवकीपुत्रा) as a student of sage Ghora Angirasa. This mention of "Krishna as the son of Devaki", has been studied by scholars[91] as potential source of fables and Vedic lore about the major deity Krishna in the Mahabharata and other ancient literature. Scholars have also questioned[91] whether this part of the verse is an interpolation, or just a different Krishna Devikaputra than deity Krishna,[92] because the much later age Sandilya Bhakti Sutras, a treatise on Krishna,[93] cites later age compilations such as Narayana Upanishad and Atharvasiras 6.9, but never cites this verse of Chandogya Upanishad. Others[94] state that the coincidence that both names, of Krishna and Devika, in the same verse cannot be dismissed easily and this Krishna may be the same as one found later, such as in the Bhagavad Gita.[citation needed]

The verse 3.17.6 states that Krishna Devikaputra after learning the theory of life is a Soma-festival, learnt the following Vedic hymn of refuge for an individual on his death bed,[91]

Thou art the Aksitamasi (indestructible, imperishable, undecaying),
Thou art the Acyutamasi (imperturbable, unchangeable, imperishable),
Thou art the Prana-samsitamasi (fountainhead, crest of life-principles, fortified by breath).

— Chandogya Upanishad 3.17.6[82][95]

Fourth Prapāṭhaka edit

Samvargavidya edit

The fourth chapter of the Chandogya Upanishad opens with the story of king Janasruti and "the man with the cart" named Raikva. The moral of the story is called, Samvarga (Sanskrit: संवर्ग, devouring, gathering, absorbing) Vidya, summarized in volume 4.3 of the text.[96] Air, asserts the Upanishad, is the "devourer unto itself" of divinities because it absorbs fire, [S]un at sunset, [M]oon when it sets, water when it dries up.[97] In reference to man, Prana (vital breath, life-principle) is the "devourer unto itself" because when one sleeps, Prana absorbs all deities inside man such as eyes, ears and mind.[98] The Samvarga Vidya in Chandogya is found elsewhere in Vedic canon of texts, such as chapter 10.3.3 of Shatapatha Brahmana and sections 2.12 - 2.13 of Kaushitaki Upanishad. Paul Deussen states that the underlying message of Samvarga Vidya is that the cosmic phenomenon and the individual physiology are mirrors, and therefore man should know himself as identical with all cosmos and all beings.[96]

The story is notable for its characters, charity practices, and its mention and its definitions of Brāhmaṇa and Ṡūdra. King Janasruti is described as pious, extremely charitable, feeder of many destitutes, who built rest houses to serve the people in his kingdom, but one who lacked the knowledge of Brahman-Atman.[97] Raikva, is mentioned as "the man with the cart", very poor and of miserable plight (with sores on his skin), but he has the Brahman-Atman knowledge that is, "his self is identical with all beings".[98] The rich generous king is referred to as Ṡūdra, while the poor working man with the cart is called Brāhmaṇa (one who knows the Brahman knowledge).[96][97] The story thus declares knowledge as superior to wealth and power. The story also declares the king as a seeker of knowledge, and eager to learn from the poorest.[97] Paul Deussen notes that this story in the Upanishad, is strange and out of place with its riddles.[96]

Satyakama's education edit

The Upanishad presents another symbolic conversational story of Satyakama, the son of Jabala, in volumes 4.4 through 4.9.[99] Satyakama's mother reveals to the boy, in the passages of the Upanishad, that she went about in many places in her youth, and he is of uncertain parentage.[100] The boy, eager for knowledge, goes to the sage Haridrumata Gautama, requesting the sage's permission to live in his school for Brahmacharya. The teacher asks, "my dear child, what family do you come from?" Satyakama replies that he is of uncertain parentage because his mother does not know who the father is. The sage declares that the boy's honesty is the mark of a "Brāhmaṇa, true seeker of the knowledge of the Brahman".[100][101] The sage accepts him as a student in his school.[102]

The sage sends Satyakama to tend four hundred cows, and come back when they multiply into a thousand.[101] The symbolic legend then presents conversation of Satyakama with a bull, a fire, a swan (Hamsa, हंस) and a diver bird (Madgu, मद्गु), which respectively are symbolism for Vayu, Agni, Āditya and Prāṇa.[99] Satyakama then learns from these creatures that forms of Brahman is in all cardinal directions (north, south, east, west), world-bodies (earth, atmosphere, sky and ocean), sources of light (fire, Sun, Moon, lightning), and in man (breath, eye, ear and mind).[102] Satyakama returns to his teacher with a thousand cows, and humbly learns the rest of the nature of Brahman.[100]

The story is notable for declaring that the mark of a student of Brahman is not parentage, but honesty. The story is also notable for the repeated use of the word Bhagavan to mean teacher during the Vedic era.[100][103]

Penance is unnecessary, Brahman as life bliss joy and love, the story of Upakosala edit

The volumes 4.10 through 4.15 of Chandogya Upanishad present the third conversational story through a student named 'Upakosala'. The boy Satyakama Jabala described in volumes 4.4 through 4.9 of the text, is declared to be the grown up Guru (teacher) with whom Upakosala has been studying for twelve years in his Brahmacharya.[104]

Upakosala has a conversation with sacrificial fires, which inform him that Brahman is life, Brahman is joy and bliss, Brahman is infinity, and the means to Brahman is not through depressing, hard penance.[105] The fires then enumerate the manifestations of Brahman to be everywhere in the empirically perceived world.[100][106] Satyakama joins Upakosala's education and explains, in volume 4.15 of the text,[107]

The person you see here in the eye — he is the [S]elf (atman)" he told him. "He is the immortal free from fear; he is Brahman.

— Chandogya Upanishad 4.15.1[108]

The Upanishad asserts in verses 4.15.2 and 4.15.3 that the Atman is the "stronghold of love", the leader of love, and that it assembles and unites all that inspires love.[100][104] Those who find and realize the Atman, find and realize the Brahman, states the text.[106]

Fifth Prapāṭhaka edit

The noblest and the best edit

The fifth chapter of the Chandogya Upanishad opens with the declaration,[109]

यो ह वै ज्येष्ठं च श्रेष्ठं च वेद ज्येष्ठश्च ह वै श्रेष्ठश्च भवति

When a man knows the best and the greatest, he becomes the best and the greatest.

— Chandogya Upanishad 5.1.1[110]

The first volume of the fifth chapter of the text tells a fable and prefaces each character with the following maxims,

He who knows excellence,[111] becomes excellent.
He who knows stability,[112] becomes stable.
He who knows success,[113] becomes successful.
He who knows home,[114] becomes home for others.

— Chandogya Upanishad 5.1.1[115][116]

The fable, found in many other principal Upanishads,[117] describes a rivalry between eyes, ears, speech, mind.[116] They all individually claim to be "most excellent, most stable, most successful, most homely".[115] They ask their father, Prajapati, as who is the noblest and best among them. Prajapati states, "he by whose departure, the body is worst off, is the one".[118] Each rivaling organ leaves for a year, and the body suffers but is not worse off.[116] Then, Prana (breath, life-principle) prepares to leave, and all of them insist that he stay. Prana, they acknowledge, empowers them all.[115]

The section 5.2 is notable for its mention in a ritual the use of kañsa (goblet-like musical instrument) and chamasa (spoon shaped object).[119][120][121]

The five fires and two paths theory edit

Volumes 5.3 through 5.10 of Chandogya Upanishad present the "Pancagnividya", or the doctrine of "five fires and two paths in after-life".[122][123] These sections are nearly identical to those found in section 14.9.1 of Sathapatha Brahmana, in section 6.2 of Brihadaranyaka Upanishad, and in chapter 1 of Kaushitaki Upanishad.[122][124] Paul Deussen [who?] states that the presence of this doctrine in multiple ancient texts suggests that the idea is older than these texts, established and was important concept in the cultural fabric of the ancient times.[122][123] There are differences between the versions of manuscript and across the ancient texts, particularly relating to reincarnation in different caste based on "satisfactory conduct" and "stinking conduct" in previous life, which Deussen posits may be a supplement inserted only into the Chandogya Upanishad later on.[122]

The two paths of after-life, states the text, are Devayana – the path of the Devas (gods), and Pitryana – the path of the fathers.[125] The path of the fathers, in after-life, is for those who live a life of rituals, sacrifices, social service and charity – these enter heaven, but stay there in proportion to their merit in their just completed life, then they return to Earth to be born as rice, herbs, trees, sesame, beans, animals or human beings depending on their conduct in past life.[125][126] The path of the Devas, in after-life, is for those who live a life of knowledge or those who enter the forest life of Vanaprastha and pursue knowledge, faith and truthfulness – these do not return, and in their after-life join unto the Brahman.[122]

All existence is a cycle of fire, asserts the text, and the five fires are:[124][125] the cosmos as altar where the fuel is Sun from which rises the Moon, the cloud as altar where the fuel is air from which rises the rain, the Earth as altar where the fuel is time (year) from which rises the food (crops), the man as altar where the fuel is speech from which rises the semen, and the woman as altar where the fuel is sexual organ from which rises the fetus.[122][126] The baby is born in the tenth month, lives a life, and when deceased, they carry him and return him to the fire because fire is where he arose, whence he came out of.[122][126]

The verse 5.10.8 of Chandogya Upanishad is notable for two assertions. One, it adds a third way for tiny living creatures (flies, insects, worms) that neither take the Devayana nor the Pitryana path after their death. Second, the text asserts that the rebirth is the reason why the yonder-world never becomes full (world where living creatures in their after-life stay temporarily). These assertions suggest an attempt to address rationalization, curiosities and challenges to the reincarnation theory.[122][125]

Who is our Atman (Self), what is the Brahman edit

The Chandogya Upanishad opens volume 5.11 with five adults seeking knowledge. The adults are described as five great householders and great theologians who once came together and held a discussion as to what is our Self, and what is Brahman?[127]

The five householders approach a sage named Uddalaka Aruni, who admits his knowledge is deficient, and suggests that they all go to king Asvapati Kaikeya, who knows about Atman Vaishvanara.[116] When the knowledge seekers arrive, the king pays his due respect to them, gives them gifts, but the five ask him about Vaisvanara Self.

The answer that follows is referred to as the "doctrine of Atman Vaishvanara", where Vaisvanara literally means "One in the Many".[17] The entire doctrine is also found in other ancient Indian texts such as the Satapatha Brahmana (section 10.6.1).[115] The common essence of the theory, as found in various ancient Indian texts, is that "the inner fire, the Self, is universal and common in all men, whether they are friends or foe, good or bad". The Chandogya narrative is notable for stating the idea of unity of the Universe, of realization of this unity within man, and that there is unity and oneness in all beings.[127] This idea of universal oneness of all Selfs, seeing others as oneself, seeing Brahman as Atman and Atman as Brahman, became a foundational premise for Vedanta theologians.[127][128]

Sixth Prapāṭhaka edit

Atman exists, Svetaketu's education on the key to all knowledge - Tat Tvam Asi edit

The sixth chapter of the Chandogya Upanishad contains the famous "Tat Tvam Asi" ("That Thou Art") precept, one regarded by scholars[129][130][131] as the summation or as the foundational maxim of all Upanishadic teachings. The precept is repeated nine times at the end of sections 6.8 through 6.16 of the Upanishad, as follows,

स य एषोऽणिमैतदात्म्यमिदँ सर्वं तत्सत्यँ स आत्मा तत्त्वमसि श्वेतकेतो

Translation 1: This [U]niverse consists of what that finest essence is, it is the real, it is the Self, that thou art, O Śvetaketu![129]
Translation 2: That which is the finest essence – this whole world has that as its Self. That is Reality. That is Atman (Self). That art thou, Śvetaketu.[132]
Translation 3: That which is this finest essence, that the whole world has as its self. That is the truth. That is the self. In that way are you, Śvetaketu.[133]
Translation 4: The finest essence here — that constitutes the self of this whole world; that is the truth; that is the self (atman). And that's how you are, Śvetaketu.[134]

— Chandogya Upanishad, 6.8 - 6.16

The Tat Tvam Asi precept emerges in a tutorial conversation between a father and son, Uddalaka Aruni and 24-year-old Śvetaketu Aruneya respectively, after the father sends his boy to school saying "go to school Śvetaketu, as no one in our family has ever gone to school", and the son returns after completing 12 years of school studies.[135][136] The father inquires if Śvetaketu had learnt at school that by which "we perceive what cannot be perceived, we know what cannot be known"? Śvetaketu admits he hasn't, and asks what that is. His father, through 16 volumes of verses of Chandogya Upanishad, explains.[137]

Uddalaka states in volume 1 of chapter 6 of the Upanishad, that the essence of clay, gold, copper and iron each can be understood by studying a pure lump of clay, gold, copper and iron respectively.[135][137] The various objects produced from these materials do not change the essence, they change the form. Thus, to understand something, studying the essence of one is the path to understanding the numerous manifested forms.[136]

The text in volume 2, through Uddalaka, asserts that there is disagreement between people on how the Universe came into existence, whether in the beginning there was a Sat (सत्, Truth, Reality, Being) without a second, or whether there was just A-sat (असत्, Nothingness, non-Being) without a second.[137] Uddalaka states that it is difficult to comprehend that the Universe was born from nothingness, and so he asserts that there was "one Sat only, without a second" in the beginning.[138] This one then sent forth heat, to grow and multiply. The heat in turn wanted to multiply, so it produced water. The water wanted to multiply, so it produced food.[135][137]

In the verses of volume 3, Uddalaka asserts that life emerges through three routes: an egg, direct birth of a living being, and as life sprouting from seeds.[136] The Sat enters these and gives them individuality, states the Upanishad. Heat, food and water nourish all living beings, regardless of the route they are born. Each of these nourishment has three constituents, asserts the Upanishad in volumes 4 through 7 of the sixth chapter. It calls it the coarse, the medium and the finest essence.[137] These coarse becomes waste, the medium builds the body or finest essence nourishes the mind. Section 6.7 states that the mind depends on the body and proper food, breath depends on hydrating the body, while voice depends on warmth in the body, and that these cannot function without.[135][136]

After setting this foundation of premises, Uddalaka states that heat, food, water, mind, breath and voice are not what defines or leads or is at the root (essence) of every living creature, rather it is the Sat inside. This Eternal Truth is the home, the core, the root of each living being.[135][136] To say that there is no root, no core is incorrect, because "nothing is without a root cause", assert verses 6.8.3 through 6.8.5 of the Upanishad. Sat (Existence, Being[139]) is this root, it is the essence (atman), it is at the core of all living beings. It is True, it is Real, it is the Self (atman), and Thou Art That, Śvetaketu.[135][140]

The "Tat Tvam Asi" phrase is called a Mahavakya.[141][142]

Oneness in the world, the immanent reality and of Man edit

The Chandogya Upanishad in volume 6.9, states that all Selfs are interconnected and one. The inmost essence of all beings is same, the whole world is One Truth, One Reality, One Self.[135][136]

Living beings are like rivers that arise in the mountains, states the Upanishad, some rivers flow to the east and some to the west, yet they end in an ocean, become the ocean itself, and realize they are not different but are same, and thus realize their Oneness. Uddalaka states in volume 6.10 of the Upanishad, that there comes a time when all human beings and all creatures know not, "I am this one, I am that one", but realize that they are One Truth, One Reality, and the whole world is one Atman.[136][137]

Living beings are like trees, asserts the Upanishad, that bleed when struck and injured, yet the tree lives on with its Self as resplendent as before. It is this Atman, that despite all the suffering inflicted on a person, makes him to stand up again, live and rejoice at life. Body dies, life doesn't.[135][137][143]

The Self and the body are like salt and water, states the Upanishad in volume 6.13. Salt dissolves in water, it is everywhere in the water, it cannot be seen, yet it is there and exists forever no matter what one does to the water.[144] The Sat is forever, and this Sat is the Self, the essence, it exists, it is true, asserts the text.[135][136]

Man's journey to self-knowledge and self-realization, states volume 6.14 of Chandogya Upanishad, is like a man who is taken from his home in Gandharas, with his eyes covered, into a forest full of life-threatening dangers and delicious fruits, but no human beings.[135] He lives in confusion, till one day he removes the eye cover. He then finds his way out of the forest, then finds knowledgeable ones for directions to Gandharas.[136][144] He receives the directions, and continues his journey on his own, one day arriving home and to happiness.[135][137] The commentators[135] to this section of Chandogya Upanishad explain that in this metaphor, the home is Sat (Truth, Reality, Brahman, Atman), the forest is the empirical world of existence, the "taking away from his home" is symbolism for man's impulsive living and his good and evil deeds in the empirical world, eye cover represent his impulsive desires, removal of eye cover and attempt to get out of the forest represent the seekings about meaning of life and introspective turn to within, the knowledgeable ones giving directions is symbolism for spiritual teachers and guides.[136][143]

Seventh Prapāṭhaka edit

From knowledge of the outer world to the knowledge of the inner world edit

The seventh chapter of the Chandogya Upanishad opens as a conversation between Sanatkumara and Narada.[145] The latter asks, "teach me, Sir, the knowledge of Self, because I hear that anyone who knows the Self, is beyond suffering and sorrow".[146]

Sanatkumara first inquires from Narada what he already has learned so far. Narada says, he knows the Rig Veda, the Sama Veda, the Yajur Veda, the Atharva Veda, the epics and the history, the myths and the ancient stories, all rituals, grammar, etymology, astronomy, time keeping, mathematics, politics and ethics, warfare, principles of reasoning, divine lore, prayer lore, snake charming, ghosts lore and fine arts.[146][147] Narada admits to Sanatkumara that none of these have led him to Self-knowledge, and he wants to know about Self and Self-knowledge.[148]

Sanatkumara states that Narada, with the worldly knowledge, has so far focussed on name. Adore and revere the worldly knowledge asserts Sanatkumara in section 7.1 of the Upanishad, but meditate on all that knowledge as the name, as Brahman.[149] Narada asks Sanatkumara to explain, and asks what is better than the worldly knowledge. In volumes 2 through 26 of the seventh chapter, the Upanishad presents, in the words of Sanatkumara, a hierarchy of progressive meditation, from outer worldly knowledge to inner worldly knowledge, from finite current knowledge to infinite Atman knowledge, as a step-wise journey to Self and infinite bliss.[149] This hierarchy, as per Paul Deussen, is strange, convoluted possibly to incorporate divergent prevailing ideas in the ancient times. Yet in its full presentation, Deussen remarks, "it is magnificent, excellent in construction, and commands an elevated view of man's deepest nature".[149]

Narada's education on progressive meditation edit

 
The Chandogya Upanishad (7th chapter) discusses progressive meditation as a means to Self-knowledge.

In its exposition of progressive meditation for Self-knowledge, the Chandogya Upanishad starts by referring to the outer worldly knowledges as name.[147][149]

Deeper than this name, is speech asserts verse 7.2.1, because speech is what communicates all outer worldly knowledge as well as what is right and what is wrong, what is true and what is false, what is good and what is bad, what is pleasant and what is unpleasant.[147] Without speech, men can't share this knowledge, and one must adore and revere speech as manifestation of Brahman.[146][148]

More elevated than Speech, asserts section 7.3 of the Upanishad, is Manas (मनस्, mind) because Mind holds both Speech and Name (outer worldly knowledges).[148] One must adore and revere Mind as Brahman.[147] Deeper than Mind, asserts section 7.4 of the Upanishad, is Sankalpa (सङ्कल्प, will, conviction, intention) because when a man Wills he applies his Mind, when man applies his Mind he engages Speech and Name. One must adore and revere Will as manifestation of Brahman.[145] Higher than Will, states section 7.5 of the Upanishad, is Chitta (चित्त, thought, consciousness) because when a man Thinks he forms his Will.[148] One must adore and revere Thought as manifestation of Brahman. Greater than Thought, asserts section 7.6 of the Upanishad, is Dhyanam (ध्यान, meditation, reflection, contemplation) because when a man Meditates he Thinks.[147] One must adore and revere Meditation as the manifestation of Brahman. Deeper than Meditation, states section 7.7 of the Upanishad, is Vijñana (विज्ञान, knowledge, understanding, discernment) because when a man Understands he continues Meditating. One must adore and revere Understanding as the Brahman.[146][148]

Thereafter, for a few steps,[149] the Upanishad asserts a hierarchy of progressive meditation that is unusual and different from the broader teachings of the Upanishads. The text states in section 7.8, that higher than Understanding is Bala (बल, strength, vigor) because a Strong man physically prevails over the men with Understanding.[147][148] "By strength does the world stand", states verse 7.8.1 of Chandogya Upanishad.[145][146] One must adore and revere Strength as the manifestation of Brahman.[147] Higher than Strength, states section 7.9 of the Upanishad, is Anna (अन्नं, food, nourishment) because with proper Food, man becomes Strong. One must adore and revere Food as manifestation of Brahman.[146] Greater than Food, states section 7.10 of the Upanishad, is Āpah (आप, water) because without Water one cannot grow Food, famines strike and living creatures perish. One must adore and revere Water as the Brahman.[147] Higher than Water, asserts section 7.11 of the Upanishad, is Tejas (तेजस्, heat, fire) because it is Heat combined with Wind and Atmosphere that bring Rain Water. One must adore and revere Heat as the manifestation of Brahman.[145] Higher than Heat, states section 7.12 of the Upanishad, is Ākāsa (आकाश, space, ether) because it is Space where the Sun, Moon, stars and Heat reside. One must adore and revere the Space as the Brahman.[146][148]

The Upanishad thereafter makes an abrupt transition back to inner world of man.[149] The text states in section 7.13, that deeper than Space is Smara (स्मरो, memory) because without Memory [U]niverse to man would be as if it did not exist.[147] One must adore and revere Memory as the manifestation of Brahman, states the text. Deeper than Memory is Asha (आशा, hope), states section 7.14 of the Upanishad, because kindled by Hope the Memory learns and man acts.[145] One must adore and revere Hope as the Brahman.[146] Still deeper than Hope is Prāna (प्राणो, vital breath, life-principle), because life-principle is the hub of all that defines a man, and not his body. That is why, asserts the text, people cremate a dead body and respect a living person with the same body.[147][148] The one who knows life-principle, states the Upanishad, becomes Ativadin (speaker with inner confidence, speaker of excellence).[149]

From Ativadin to self-knowledge edit

The Chandogya Upanishad, in sections 7.16 through 7.26 presents a series of connected statements relayed from Sage Sanatkumara to Narada, as follows[150] (a paraphrase below)

Now, a man talks only when he talks with truth, hence you should seek to perceive the truth (Satya, सत्य).
A man must first perceive before he speaks the truth, so it is perception/comprehension (Vijñana, विज्ञान) that you should seek to understand.
A man must first think before he perceives, so it is thinking/thought (Mati, मति) that you should seek perceive.
A man must first have faith before he thinks, so it is faith (Śraddhā, श्रद्दधा) that he should seek to perceive.
A man must first produce before he has faith, so it is production/growing forth (Nististhati, निस्तिष्ठति) that you should seek to perceive.
A man must first act before he produces, so it is action (Krti, कृति) that you should seek to perceive.
A man must first attain well-being before he acts, so it is well-being (Sukham, सुखं) that you should seek to perceive.
Now, well-being is nothing but plenitude/limitlessness (Bhuman, भूमानं). There is no prosperity in scarcity. So, it is plenitude that you should seek to perceive.
Where a man sees, hears, or discerns no other thing — that is plenitude. Plenitude is based on one's own greatness or maybe it's not based on greatness. Cattle, slaves, farms & houses, etc - these are what people here call greatness. But I don't consider them that way, for they are all based on each other. Plenitude and 'I' are indeed the same, and is the north, south, east, west & extends over the whole world. A man who sees it this way, thinks about it this way, and perceives it this way; a man who finds pleasure in the Self, who dallies with the Self, who mates with the Self, and who attains bliss in the Self — he becomes completely his own master; he obtains complete freedom/autonomy (Svaraj, स्वराज्) of movement in all the worlds.

— Chandogya Upanishad 7.16-7.26[151]

To one who sees, perceives and understands Self as Truth, asserts the Upanishad in section 7.26, the life-principle springs from the Self, hope springs from the Self, memory springs from the Self, as does mind, thought, understanding, reflection, conviction, speech, and all outer worldly knowledges.[152][153][154]

Eighth Prapāṭhaka edit

The nature of knowledge and Atman (Self) edit

The eighth chapter of the Chandogya Upanishad opens by declaring the body one is born with as the "city of Brahman", and in it is a palace that is special because the entire Universe is contained within it. Whatever has been, whatever will be, whatever is, and whatever is not, is all inside that palace asserts the text, and the resident of the palace is the Brahman, as Atman – the Self, the Self.[155] Those who do not discover that Self within themselves are unfree, states the text, those who do discover that Self-knowledge gain the ultimate freedom in all the worlds.[156][157] The Upanishad describes the potential of self-knowledge with the parable of hidden treasure, as follows,

[Where Brahman-Atman dwells], there are all our true desires, but hidden by what is false. As people who do not know the country, walk again and again over undiscovered gold that is hidden below inside the earth, thus do people live with Brahman and yet do not discover it because they do not seek to discover the true Self in that Brahman dwelling inside them.

— Chandogya Upanishad 8.3.2[156][157][158]

Man has many desires of food and drink and song and music and friends and objects, and fulfillment of those desires make him happy states the Chandogya Upanishad in sections 8.2 and 8.3; but those desires are fleeting, and so is the happiness that their fulfillment provides because both are superficial and veiled in untruth.[157] Man impulsively becomes a servant of his unfulfilled superficial desires, instead of reflecting on his true desires.[157] Serenity comes from knowing his true desire for Self, realizing the Self inside oneself, asserts the text.[157][159]

Theosophist Charles Johnston calls this section to be a Law of Correspondence, where the macrocosm of the Universe is presented as microcosm within man, that all that is infinite and divine is within man, that man is the temple and God dwells inside him.[158]

The means to knowledge and Atman edit

The Upanishad in section 8.5 and 8.6 states that the life of student (Brahmacharin, see Brahmacharya) guided by a teacher is the means to knowledge, and the process of meditation and search the means of realizing Atman.[160][161] The verse 8.5.1 asserts that such life of a student is same as the yajna (fire ritual), the istam (oblations offered during the fire ritual), the sattrayanam (community fire ritual festival), the maunam (ritual of ascetic silence), the anasakayanam (fasting ritual), and the aranyayanam (a hermit life of solitude in the forest).[162] The section thus states all external forms of rituals are equivalently achievable internally when someone becomes a student of sacred knowledge and seeks to know the Brahman-Atman.[160] The section is notable for the mention of "hermit's life in the forest" cultural practice, in verse 8.5.3.[160][162]

The false and true in relation to the Atman edit

The sections 8.7 through 8.12 of the Chandogya Upanishad return to the question, "what is true Self, and what is not"?[163] The opening passage declares Self as the one that is eternally free of grief, suffering and death; it is happy, serene being that desires, feels and thinks what it ought to.[164] Thereafter, the text structures its analysis of true and false Atman as four answers.[163] The three Self, which are false Self, asserts the text are the material body,[165] corporeal self in dreams, individual self in deep sleep, while the fourth is the true Self – the self in beyond deep sleep state that is one with others and the entire Universe.[166][167]

This theory is also known as the "four states of consciousness", explained as the awake state, dream-filled sleep state, deep sleep state, and beyond deep sleep state.[154][168][169]

A paean for the learning, a reverence for the Self edit

With the knowledge of the Brahman, asserts the text, one goes from darkness to perceiving a spectrum of colors and shakes off evil.[170] This knowledge of Self is immortal, and the one who knows his own self joins the glory of the Brahman-knowers, the glory of Rajas (kings) and the glory of the people. The one who knows his Self, continues to study the Vedas and concentrates on his Self, who is harmless towards all living beings, who thus lives all his life, reaches the Brahma-world and does not return, states the Chandogya Upanishad in its closing chapter.[170]

Reception edit

Several major "Bhasyas" (reviews, commentaries) on Chandogya Upanishad have been written by Sanskrit scholars of ancient and medieval India. These include those by Adi Shankaracharya, Madhvacharya, Dramidacharya, Brahmanandi Tankacharya, and Ramanujacharya.

Max Muller has translated, commented and compared Chandogya Upanishad with ancient texts outside India.[9] For example, the initial chapters of the Upanishad is full of an unusual and fanciful etymology section, but Muller notes that this literary stage and similar etymological fancy is found in scriptures associated with Moses and his people in their Exodus across the Red Sea, as well as in Christian literature related to Saint Augustine of 5th century CE.[171]

Klaus Witz [who?] in his review of the Chandogya Upanishad states, "the opulence of its chapters is difficult to communicate: the most diverse aspects of the [U]niverse, life, mind and experience are developed into inner paths. (...) Chapters VI-VII consist of vidyas of great depth and profundity".[172]

John Arapura states, "The Chandogya Upanishad sets forth a profound philosophy of language as chant, in a way that expresses the centrality of the Self and its non-duality".[173]

The philosopher Arthur Schopenhauer admired and often quoted from Chandogya Upanishad, particularly the phrase "Tat tvam asi", which he would render in German as "Dies bist du", and equates in English to “This art thou.”[174][175] One important teaching of Chandogya Upanishad, according to Schopenhauer is that compassion sees past individuation, comprehending that each individual is merely a manifestation of the one will; you are the world as a whole.[176][177] Each and every living creature is understood, in this Chandogya Upanishad-inspired fundamental doctrine of Hinduism, to be a manifestation of the same underlying nature, where there is a deep sense of interconnected oneness in every person and every creature, and that singular nature renders each individual being identical to every other.[174][177]

See also edit

References edit

  1. ^ a b c d Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 166-169
  2. ^ a b c d e Stephen Phillips (2009), Yoga, Karma, and Rebirth: A Brief History and Philosophy, Columbia University Press; ISBN 978-0231144858, Chapter 1
  3. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 2, Motilal Banarsidass, ISBN 978-8120814691, pages 556-557
  4. ^ a b c d Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 12-13
  5. ^ Rosen, Steven J. (2006). Essential Hinduism. Westport, CT: Praeger Publishers. p. 125. ISBN 0-275-99006-0.
  6. ^ a b Klaus Witz (1998), The Supreme Wisdom of the Upaniṣads: An Introduction, Motilal Banarsidass, ISBN 978-8120815735, page 217
  7. ^ a b c Robert Hume, "Chandogya Upanishad", The Thirteen Principal Upanishads, Oxford University Press, pp. 177-274
  8. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 2, Motilal Banarsidass, ISBN 978-8120814691, pages 61-65
  9. ^ a b Max Muller, Chandogya Upanishad, The Upanishads, Part I, Oxford University Press, pages LXXXVI-LXXXIX, 1-144 with footnotes
  10. ^ Paul Deussen, The System of Vedanta; ISBN 978-1432504946, pp. 30-31
  11. ^ M Ram Murty (2012), Indian Philosophy, An introduction, Broadview Press, ISBN 978-1554810352, pages 55-63
  12. ^ Hardin McClelland (1921), Religion and Philosophy in Ancient India, The Open Court, Vol. 8, No. 3, page 467
  13. ^ Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 11-12
  14. ^ a b c Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 63-64
  15. ^ Max Muller, "Chandogya Upanishad", The Upanishads, Part I, Oxford University Press, pp. LXXXVI-LXXXIX
  16. ^ For example, the third hymn is a solemn promise the bride and groom make to each other as, "That heart of thine shall be mine, and this heart of mine shall be thine".
    See: Max Muller, Chandogya Upanishad, The Upanishads, Part I, Oxford University Press, page LXXXVII with footnote 2.
  17. ^ a b c d Klaus Witz (1998), The Supreme Wisdom of the Upaniṣads: An Introduction, Motilal Banarsidass; ISBN 978-8120815735, pp. 217-219
  18. ^ Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 166-167
  19. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 64-65
  20. ^ a b Max Muller, Chandogya Upanishad, The Upanishads, Part I, Oxford University Press, pp. 1-3 with footnotes.
  21. ^ a b c Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 68-70
  22. ^ Olivelle, Patrick (24 September 1998). The Early Upanisads. Oxford University PressNew York, NY. pp. 175–176. ISBN 978-0-19-512435-4.
  23. ^ Max Muller, "Chandogya Upanishad", The Upanishads, Part I, Oxford University Press, pp. 4-19 with footnotes
  24. ^ Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 171-185
  25. ^ a b c d e f Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 70-71 with footnotes
  26. ^ a b c d Max Muller, "Chandogya Upanishad", The Upanishads, Part I, Oxford University Press, pp. 4-6 with footnotes.
  27. ^ a b c Robert Hume, "Chandogya Upanishad", The Thirteen Principal Upanishads, Oxford University Press, pp. 178-180
  28. ^ a b Robert Hume, "Chandogya Upanishad 1.8.7 - 1.8.8", The Thirteen Principal Upanishads, Oxford University Press, pp. 185-186
  29. ^ a b Max Muller, "Chandogya Upanishad 1.9.1", The Upanishads, Part I, Oxford University Press, p. 17 with footnote 1.
  30. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, p. 91
  31. ^ a b c d Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 80-84
  32. ^ a b Robert Hume, "Chandogya Upanishad 1.12.1 - 1.12.5", The Thirteen Principal Upanishads, Oxford University Press, pp. 188-189
  33. ^ Bruce Lincoln (2006), "How to Read a Religious Text: Reflections on Some Passages of the Chāndogya Upaniṣad", History of Religions, Vol. 46, No. 2, pp. 127-139
  34. ^ Max Muller, "Chandogya Upanishad 1.12.1 - 1.12.5", The Upanishads, Part I, Oxford University Press, p. 21 with footnote 2.
  35. ^ a b John Oman (2014), The Natural and the Supernatural, Cambridge University Press; ISBN 978-1107426948, pp. 490-491
  36. ^ Robert Hume, Chandogya Upanishad 1.13.1 - 1.13.4, The Thirteen Principal Upanishads, Oxford University Press, pages 189-190
  37. ^ a b Max Muller, "Chandogya Upanishad 1.13.1 - 1.13.4", The Upanishads, Part I, Oxford University Press, p. 22
  38. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, p. 85
  39. ^ a b Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, p. 185
  40. ^ Chandogya Upanishad with Shankara Bhashya Ganganath Jha (Translator), pp. 70-72
  41. ^ a b Robert Hume, "Chandogya Upanishad 2.1.1 - 2.1.4", The Thirteen Principal Upanishads, Oxford University Press, p. 190
  42. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass;ISBN 978-8120814684, pp. 85-86.
  43. ^ a b Robert Hume, "Chandogya Upanishad 2.2.1 - 2.7.2", The Thirteen Principal Upanishads, Oxford University Press, pp. 191–193
  44. ^ Monier-Williams, Sanskrit English Dictionary, Cologne Digital Sanskrit Lexicon
  45. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 86–88
  46. ^ Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, page 187 verse 3
  47. ^ Robert Hume, "Chandogya Upanishad 2.8.1 - 2.9.8", The Thirteen Principal Upanishads, Oxford University Press, pp. 193–194
  48. ^ a b Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 91-96
  49. ^ a b Max Muller, "Chandogya Upanishad 2.11.1 - 2.22.5", The Upanishads, Part I, Oxford University Press, pp. 28-34
  50. ^ Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 191–197
  51. ^ a b c Chandogya Upanishad with Shankara Bhashya Ganganath Jha (Translator), pp. 103-116
  52. ^ Chandogya Upanishad (Sanskrit) Wikisource
  53. ^ a b Max Muller, "Chandogya Upanishad Twenty Third Khanda", The Upanishads, Part I:, Oxford University Press, p. 35 with footnote.
  54. ^ a b c d e Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 97-98 with preface and footnotes.
  55. ^ a b Patrick Olivelle (1993), The Āśrama System: The History and Hermeneutics of a Religious Institution, Oxford University Press; OCLC 466428084, pp. 1-30, 84-111
  56. ^ RK Sharma (1999), Indian Society, Institutions and Change, ISBN 978-8171566655, page 28
  57. ^ Barbara Holdrege (2004), Dharma, in The Hindu World (Editors: Sushil Mittal and Gene Thursby), Routledge; ISBN 0-415-21527-7, p. 231
  58. ^ Patrick Olivelle (1993), The Āśrama System: The History and Hermeneutics of a Religious Institution, Oxford University Press; OCLC 466428084, p. 30
  59. ^ Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 197-199
  60. ^ PV Kane, "Samanya Dharma", History of Dharmasastra, Vol. 2, Part 1, p. 5
  61. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, p. 115 with preface note.
  62. ^ Klaus Witz (1998), The Supreme Wisdom of the Upaniṣads: An Introduction, Motilal Banarsidass; ISBN 978-8120815735, p. 218
  63. ^ "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 122-138
  64. ^ a b c Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 101-106 with preface and footnotes.
  65. ^ Robert Hume, "Chandogya Upanishad 3.1.1 - 3.11.1", The Thirteen Principal Upanishads, Oxford University Press, pp. 203-207
  66. ^ Max Muller, "Chandogya Upanishad 3.1.1 - 3.11.5", The Upanishads, Part I, Oxford University Press, pp. 38-44 with footnotes.
  67. ^ 3 padas of 8 syllables containing 24 syllables in each stanza; considered a language structure of special beauty and sacredness
  68. ^ a b Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 106-108 with preface
  69. ^ Robert Hume, "Chandogya Upanishad 3.12.1 - 3.12.9", The Thirteen Principal Upanishads, Oxford University Press, pp. 207-208
  70. ^ a b Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 108-110 with preface
  71. ^ a b c Max Muller, "Chandogya Upanishad 3.13.7", The Upanishads, Part I, Oxford University Press, pp. 46-48 with footnotes.
  72. ^ Robert Hume, "Chandogya Upanishad 3.13.7", The Thirteen Principal Upanishads, Oxford University Press, pp. 208-209
  73. ^ a b Robert Hume, "Chandogya Upanishad 3.14.1-3.14.4", The Thirteen Principal Upanishads, Oxford University Press, pp. 209-210
  74. ^ a b Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 110-111 with preface and footnotes
  75. ^ a b "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 150-157
  76. ^ For modern era cites:
    • Anthony Warder (2009), A Course in Indian Philosophy, Motilal Banarsidass; ISBN 978-8120812444, pp. 25-28;
    • DD Meyer (2012), Consciousness, Theatre, Literature and the Arts, Cambridge Scholars Publishing; ISBN 978-1443834919, p. 250;
    • Joel Brereton (1995), Eastern Canons: Approaches to the Asian Classics (Editors: William Theodore De Bary, Irene Bloom), Columbia University Press; ISBN 978-0231070058, p. 130;
    • S Radhakrishnan (1914), "The Vedanta philosophy and the Doctrine of Maya", International Journal of Ethics, Vol. 24, No. 4, pp. 431-451
  77. ^ Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf 19 December 2022 at the Wayback Machine
  78. ^ a b Robert Hume, "Chandogya Upanishad 3.15.1-3.15.7", The Thirteen Principal Upanishads, Oxford University Press, pp. 210-211
  79. ^ a b Max Muller, "Chandogya Upanishad 3.15", The Upanishads, Part I, Oxford University Press, p. 49 with footnotes.
  80. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 111-112 with preface and footnotes.
  81. ^ Stephen H. Phillips et al. (2008), in Encyclopedia of Violence, Peace, & Conflict (Second Edition), ISBN 978-0123739858; Elsevier Science, pp. 1347–1356, 701-849, 1867.
  82. ^ a b c d e f Robert Hume, "Chandogya Upanishad 3.17", The Thirteen Principal Upanishads, Oxford University Press, pp. 212-213
  83. ^ a b c Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 114-115 with preface and footnotes.
  84. ^ Henk Bodewitz (1999), Hindu Ahimsa, in Violence Denied (Editors: Jan E. M. Houben, et al), Brill, ISBN 978-9004113442; p. 40
  85. ^ Christopher Chapple (1990), "Ecological Nonviolence and the Hindu Tradition", in Perspectives on Nonviolence (Editor: VK Kool), Springer; ISBN 978-1-4612-8783-4, pp. 168-177
  86. ^ S. Sharma and U. Sharma (2005), Cultural and Religious Heritage of India: Hinduism, Motilal Banarsidass; ISBN 978-8170999553, pp. 9-10
  87. ^ Chandogya Upanishad (Sanskrit) Verse 3.17.4, Wikisource
  88. ^ "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 165-166
  89. ^ a b "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 164-166
  90. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 113-114 with preface and footnotes.
  91. ^ a b c Max Muller, "Chandogya Upanishad 3.16-3.17", The Upanishads, Part I, Oxford University Press, pp. 50-53 with footnotes.
  92. ^ Edwin Bryant and Maria Ekstrand (2004), The Hare Krishna Movement, Columbia University Press; ISBN 978-0231122566, pp. 33-34 with note 3.
  93. ^ "Sandilya Bhakti Sutra" SS Rishi (Translator), Sree Gaudia Math (Madras)
  94. ^ W. G. Archer (2004), The Loves of Krishna in Indian Painting and Poetry, Dover; ISBN 978-0486433714, p. 5
  95. ^ "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 166-167
  96. ^ a b c d Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 118-122 with preface and footnotes.
  97. ^ a b c d Robert Hume, "Chandogya Upanishad 4.1 - 4.3", The Thirteen Principal Upanishads, Oxford University Press, pp. 215-217
  98. ^ a b Max Muller, "Chandogya Upanishad 4.1 - 4.3", The Upanishads, Part I, Oxford University Press, pp. 55-59 with footnotes.
  99. ^ a b Robert Hume, "Chandogya Upanishad 4.4 - 4.9", The Thirteen Principal Upanishads, Oxford University Press, pp. 218-221
  100. ^ a b c d e f Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 122-126 with preface and footnotes
  101. ^ a b Max Muller, "Chandogya Upanishad 4.4 - 4.9", The Upanishads, Part I, Oxford University Press, pp. 60-64 with footnotes.
  102. ^ a b "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 189-198
  103. ^ for example, verse 4.9.2 states: ब्रह्मविदिव वै सोम्य भासि को नु त्वानुशशासेत्यन्ये मनुष्येभ्य इति ह प्रतिजज्ञे भगवाँस्त्वेव मे कामे ब्रूयात् ॥ २ ॥; see, Chandogya 4.9.2 Wikisource; for translation, see Paul Deussen, page 126 with footnote 1
  104. ^ a b Robert Hume, "Chandogya Upanishad 4.10 - 4.15", The Thirteen Principal Upanishads, Oxford University Press, pp. 221-224
  105. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 126-129 with preface and footnotes.
  106. ^ a b Max Muller, "Chandogya Upanishad 4.10 - 4.15", The Upanishads, Part I, Oxford University Press, pp. 64-68 with footnotes.
  107. ^ "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 198-212
  108. ^ Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf
  109. ^ Robert Hume, Chandogya Upanishad 5.1 - 5.15, The Thirteen Principal Upanishads, Oxford University Press, pages 226-228
  110. ^ Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf 19 December 2022 at the Wayback Machine
  111. ^ variSTha, वरिष्ठ
  112. ^ pratiSThA, प्रतिष्ठां
  113. ^ sampad, सम्पदं
  114. ^ ayatana, आयतन
  115. ^ a b c d Max Muller, "Chandogya Upanishad 5.1", The Upanishads, Part I, Oxford University Press, pp. 72-74 with footnotes.
  116. ^ a b c d Robert Hume, "Chandogya Upanishad 5.1", The Thirteen Principal Upanishads, Oxford University Press, pp. 226-228
  117. ^ See Brihadaranyaka Upanishad section 6.1, Kaushitaki Upanishad section 3.3, Prasna Upanishad section 2.3 as examples; Max Muller on page 72 of The Upanishads, Part 1, notes that versions of this moral fable appear in different times and civilizations, such as in the 1st century BCE text by Plutarch on Life of Coriolanus where Menenius Agrippa describes the fable of rivalry between stomach and other human body parts.
  118. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, ISBN 978-8120814684, pages 134-136
  119. ^ Gopal, Madan (1990). K.S. Gautam (ed.). India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 81.
  120. ^ Rājendralāla Mitra, The Chhándogya Upanishad of the Sáma Veda, p. 84, at Google Books
  121. ^ However, this is not unusual, as musical instruments are also mentioned in other Upanishads, such as Brihadaranyaka Upanishad (section 5.10) and in the Katha Upanishad (section 1.15); See E Roer, The Brihad Āraṇyaka Upanishad at Google Books, pp. 102, 252
  122. ^ a b c d e f g h Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 138-146 with preface
  123. ^ a b David Knipe (1972), "One Fire, Three Fires, Five Fires: Vedic Symbols in Transition", History of Religions, Vol. 12, No. 1 (August 1972), pp. 28-41
  124. ^ a b Dominic Goodall (1996), Hindu Scriptures, University of California Press; ISBN 978-0520207783, pp. 124-128
  125. ^ a b c d Max Muller, "Chandogya Upanishad 5.1", The Upanishads, Part I, Oxford University Press, pp. 76-84 with footnotes.
  126. ^ a b c Robert Hume, "Chandogya Upanishad 5.3-5.10", The Thirteen Principal Upanishads, Oxford University Press, pp. 230-234
  127. ^ a b c Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 146-155 with preface.
  128. ^ "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 273-285
  129. ^ a b Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 155-161
  130. ^ Raphael, Edwin (1992). The pathway of non-duality, Advaitavada: an approach to some key-points of Gaudapada's Asparśavāda and Śaṁkara's Advaita Vedanta by means of a series of questions answered by an Asparśin. Iia: Philosophy Series. Motilal Banarsidass; ISBN 978-81-208-0929-1 (Back Cover)
  131. ^ AS Gupta (1962), The Meanings of "That Thou Art", Philosophy East and West, Vol. 12, No. 2 (July 1962), pp. 125-134
  132. ^ Robert Hume, "Chandogya Upanishad 5.1", The Thirteen Principal Upanishads, Oxford University Press, pp. 240-250
  133. ^ Joel Brereton (1986), Tat Tvam Asi in Context, Zeitschrift der deutschen morgenlandischen Gesellschaft, Vol, 136, pp. 98-109
  134. ^ Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf
  135. ^ a b c d e f g h i j k l Max Muller, 'Chandogya Upanishad 6.1-6.16", The Upanishads, Part I, Oxford University Press, pp. 92-109 with footnotes.
  136. ^ a b c d e f g h i j Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass;ISBN 978-8120814684, pp. 162-172
  137. ^ a b c d e f g h Robert Hume, "Chandogya Upanishad 6.1 - 6.16", The Thirteen Principal Upanishads, Oxford University Press, pp. 240-240
  138. ^ Mehta, pp. 237-239
  139. ^ Shankara, "Chandogya Upanisha Basha, 6.8.7"
  140. ^ Dominic Goodall (1996), Hindu Scriptures, University of California Press; ISBN 978-0520207783, pp. 136-137
  141. ^ MW Myers (1993), "Tat tvam asi as Advaitic Metaphor", Philosophy East and West, Vol. 43, No. 2, pp. 229-242
  142. ^ G. Mishra (2005), 'New Perspectives on Advaita Vedanta: Essays in Commemoration of Professor Richard de Smet", Philosophy East and West, Vol. 55 No. 4, pp. 610-616
  143. ^ a b "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 342-356
  144. ^ a b Dominic Goodall (1996), Hindu Scriptures, University of California Press; ISBN 978-0520207783, pp. 139-141
  145. ^ a b c d e Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 176-189
  146. ^ a b c d e f g h Robert Hume, "Chandogya Upanishad 7.1 - 7.16", The Thirteen Principal Upanishads, Oxford University Press, pp. 250-262
  147. ^ a b c d e f g h i j Max Muller, "Chandogya Upanishad 7.1-7.16", The Upanishads, Part I, Oxford University Press, pp. 109-125 with footnotes.
  148. ^ a b c d e f g h Dominic Goodall (1996), Hindu Scriptures, University of California Press; ISBN 978-0520207783, pp. 141-151
  149. ^ a b c d e f g Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 172-176
  150. ^ Max Muller, "Chandogya Upanishad 7.16-7.26", The Upanishads, Part I, Oxford University Press, pp. 120-125 with footnotes.
  151. ^ Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf 19 December 2022 at the Wayback Machine
  152. ^ Dominic Goodall (1996), Hindu Scriptures, University of California Press; ISBN 978-0520207783, pp. 149-152
  153. ^ Max Muller, "Chandogya Upanishad 7.25-7.26", The Upanishads, Part I, Oxford University Press, pp. 124-125 with footnotes.
  154. ^ a b "Chandogya Upanishads" S Radhakrishnan (Translator), pp. 488-489
  155. ^ Dominic Goodall (1996), Hindu Scriptures, University of California Press; ISBN 978-0520207783, pp. 152-153
  156. ^ a b Max Muller, "Chandogya Upanishad 8.1", The Upanishads, Part I, Oxford University Press, pp. 125-127 with footnotes.
  157. ^ a b c d e Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 189-193
  158. ^ a b Charles Johnston, "Chandogya Upanishad", Part VIII, Theosophical Quarterly, pp. 142-144
  159. ^ Robert Hume, "Chandogya Upanishad 8.1-8.3", The Thirteen Principal Upanishads, Oxford University Press, pp. 262-265
  160. ^ a b c Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 190-196
  161. ^ "Chandogya Upanishads" S Radhakrishnan (Translator), pp. 498-499
  162. ^ a b Robert Hume, "Chandogya Upanishad 8.5-8.6", The Thirteen Principal Upanishads, Oxford University Press, pp. 266-267
  163. ^ a b Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass;ISBN 978-8120814684, pp. 196-198
  164. ^ "Chandogya Upanishad with Shankara Bhashya" Ganganath Jha (Translator), pp. 447-484
  165. ^ Paul Deussen explains the phrase 'seen in the eye' as, "the seer of seeing, the subject of knowledge, the soul within"; see page 127 preface of Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684
  166. ^ Max Muller, "Chandogya Upanishad 8.7 - 8.12", The Upanishads, Part I, Oxford University Press, pp. 134-142 with footnotes.
  167. ^ Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass; ISBN 978-8120814684, pp. 198-203
  168. ^ PT Raju (1985), Structural Depths of Indian Thought, State University New York Press; ISBN 978-0887061394, pp. 32-33
  169. ^ Robert Hume, "Chandogya Upanishad - Eighth Prathapaka, Seventh through Twelfth Khanda", Oxford University Press, pp. 268-273
  170. ^ a b Robert Hume, "Chandogya Upanishad 8.13 - 8.15", The Thirteen Principal Upanishads, Oxford University Press, pp. 273-274
  171. ^ Max Muller, "Chandogya Upanishad 1.3.7", The Upanishads, Part I, Oxford University Press, pp. 8-9 with footnote 1.
  172. ^ Klaus Witz (1998), The Supreme Wisdom of the Upaniṣads: An Introduction, Motilal Banarsidass; ISBN 978-8120815735, pp. 218-219
  173. ^ J.G. Arapura (1986), Hermeneutical Essays on Vedāntic Topics, Motilal Banarsidass; ISBN 978-8120801837, p. 169
  174. ^ a b DE Leary (2015), Arthur Schopenhauer and the Origin & Nature of the Crisis, William James Studies, Vol. 11, p. 6
  175. ^ W McEvilly (1963), "Kant, Heidegger, and the Upanishads", Philosophy East and West, Vol. 12, No. 4, pp. 311-317
  176. ^ D. Cartwright (2008), "Compassion and solidarity with sufferers: The metaphysics of mitleid", European Journal of Philosophy, Vol. 16, No. 2, pp. 292-310
  177. ^ a b Christopher Janaway (1999), Willing and Nothingness: Schopenhauer as Nietzsche's Educator; Oxford University Press; ISBN 978-0198235903, pp. 3-4

Sources edit

Primary sources edit

  • Chandogya Upanishad in ITRANS

Secondary sources edit

External links edit

 
Sanskrit Wikisource has original text related to this article:
Chandogya Upanishad (Sanskrit)
 
Wikisource has original text related to this article:
Chandogya Upanishad (English translation)
  • Chandogya Upanishad Max Muller (Translator), Oxford University Press
  • Chandogya Upanishad Robert Hume (Translator), Oxford University Press
  • Chandogya Upanishad S Radhakrishnan (Translator), George Allen & Unwin Ltd, London
  • Chandogya Upanishad with Shankara Bhashya Ganganath Jha (Translator), Oriental Book Agency, Poona
  • Chandogya Upanishad Multiple translations (Johnston, Nikhilānanda, Swahananda)
  • Commentary on Chandogya Upanishad Charles Johnston
  • The Mandukya, Taittiriya and Chandogya Upanishads Section 6.3, M Ram Murty (2012), Queen's University
Recitation

Resources

  • Video/Audio classes, Reference texts, Discussions and other Study material on Chandogya Upanishad at Vedanta Hub

January 01, 1970
chandogya, upanishad, sanskrit, पन, षद, iast, chāndogyopaniṣad, sanskrit, text, embedded, chandogya, brahmana, sama, veda, hinduism, oldest, upanishads, lists, number, muktika, canon, upanishads, chandogyathe, verses, sanskrit, devanagari, script, devanagariछ,. The Chandogya Upanishad Sanskrit छ न द ग य पन षद IAST Chandogyopaniṣad is a Sanskrit text embedded in the Chandogya Brahmana of the Sama Veda of Hinduism 1 It is one of the oldest Upanishads 2 It lists as number 9 in the Muktika canon of 108 Upanishads 3 ChandogyaThe Chandogya Upanishad verses 1 1 1 1 1 9 Sanskrit Devanagari script Devanagariछ न द ग यIASTChandogyaDate8th to 6th century BCETypeMukhya UpanishadLinked VedaSamavedaChaptersEightPhilosophyOneness of the AtmanCommented byAdi Shankara MadhvacharyaPopular verseTat tvam asi The Upanishad belongs to the Tandya school of the Samaveda 1 Like Brihadaranyaka Upanishad the Chandogya is an anthology of texts that must have pre existed as separate texts and were edited into a larger text by one or more ancient Indian scholars 1 The precise chronology of Chandogya Upanishad is uncertain and it is variously dated to have been composed by the 8th to 6th century BCE in India 2 4 5 It is one of the largest Upanishadic compilations and has eight Prapathakas literally lectures chapters each with many volumes and each volume contains many verses 6 7 The volumes are a motley collection of stories and themes As part of the poetic and chants focussed Samaveda the broad unifying theme of the Upanishad is the importance of speech language song and chants to man s quest for knowledge and salvation to metaphysical premises and questions as well as to rituals 1 8 The Chandogya Upanishad is notable for its lilting metric structure its mention of ancient cultural elements such as musical instruments and embedded philosophical premises that later served as foundation for Vedanta school of Hinduism 9 It is one of the most cited texts in later Bhasyas reviews and commentaries by scholars from the diverse schools of Hinduism Adi Shankaracharya for example cited Chandogya Upanishad 810 times in his Vedanta Sutra Bhasya more than any other ancient text 10 Contents 1 Etymology 2 Chronology 3 Structure 4 Content 4 1 First Prapaṭhaka 4 1 1 The chant of Om the essence of all 4 1 2 Good and evil may be everywhere yet life principle is inherently good 4 1 3 Space the origin and the end of everything 4 1 4 A ridicule and satire on egotistic nature of priests 4 1 5 Structure of language and cosmic correspondences 4 2 Second Prapaṭhaka 4 2 1 The significance of chant 4 2 2 Everything in Universe chants 4 2 3 The nature of Dharma and Ashramas stages theory 4 3 Third Prapaṭhaka 4 3 1 Brahman is the sun of all existence Madhu Vidya 4 3 2 Gayatri mantra symbolism of all that is 4 3 3 The Ultimate exists within oneself 4 3 4 Individual Self and the infinite Brahman is same one s Self is God Sandilya Vidya 4 3 5 The Universe is an imperishable treasure chest 4 3 6 Life is a festival ethics is one s donation to it 4 4 Fourth Prapaṭhaka 4 4 1 Samvargavidya 4 4 2 Satyakama s education 4 4 3 Penance is unnecessary Brahman as life bliss joy and love the story of Upakosala 4 5 Fifth Prapaṭhaka 4 5 1 The noblest and the best 4 5 2 The five fires and two paths theory 4 5 3 Who is our Atman Self what is the Brahman 4 6 Sixth Prapaṭhaka 4 6 1 Atman exists Svetaketu s education on the key to all knowledge Tat Tvam Asi 4 6 2 Oneness in the world the immanent reality and of Man 4 7 Seventh Prapaṭhaka 4 7 1 From knowledge of the outer world to the knowledge of the inner world 4 7 2 Narada s education on progressive meditation 4 7 3 From Ativadin to self knowledge 4 8 Eighth Prapaṭhaka 4 8 1 The nature of knowledge and Atman Self 4 8 2 The means to knowledge and Atman 4 8 3 The false and true in relation to the Atman 4 8 4 A paean for the learning a reverence for the Self 5 Reception 6 See also 7 References 8 Sources 8 1 Primary sources 8 2 Secondary sources 9 External linksEtymology editThe name of the Upanishad is derived from the word Chanda or chandas which means poetic meter prosody 6 11 The nature of the text relates to the patterns of structure stress rhythm and intonation in language songs and chants The text is sometimes known as Chandogyopanishad 12 Chronology editChandogya Upanishad was in all likelihood composed in the earlier part of 1st millennium BCE and is one of the oldest Upanishads 4 The exact century of the Upanishad composition is unknown uncertain and contested 2 The chronology of early Upanishads is difficult to resolve due to scant evidence an analysis of archaism style and repetitions across texts driven by assumptions about likely evolution of ideas and on presumptions about which philosophy might have influenced which other Indian philosophies 2 Patrick Olivelle states in spite of claims made by some in reality any dating of these documents early Upanishads that attempts a precision closer than a few centuries is as stable as a house of cards 4 The chronology and authorship of Chandogya Upanishad along with the Brihadaranyaka and Kaushitaki Upanishads is further complicated because they are compiled anthologies of literature that must have existed as independent texts before they became part of these Upanishads 13 Scholars have offered different estimates ranging from 800 BCE to 600 BCE all preceding Buddhism According to a 1998 review by Patrick Olivelle Chandogya was composed by 7th or 6th century BCE give or take a century or so 4 Phillips states that Chandogya was completed after Brihadaranyaka both probably in early part of the 8th century CE 2 Structure editThe text has eight Prapathakas प रप ठक lectures chapters each with varying number of Khandas खण ड volume 7 Each Khanda has varying number of verses The first chapter includes 13 volumes each with varying number of verses the second chapter has 24 volumes the third chapter contains 19 volumes the fourth is composed of 17 volumes the fifth has 24 the sixth chapter has 16 volumes the seventh includes 26 volumes and the eight chapter is last with 15 volumes 7 The Upanishad comprises the last eight chapters of a ten chapter Chandogya Brahmana text 14 15 The first chapter of the Brahmana is short and concerns ritual related hymns to celebrate a marriage ceremony 16 and the birth of a child 14 The second chapter of the Brahmana is short as well and its mantras are addressed to divine beings at life rituals The last eight chapters are long and are called the Chandogya Upanishad 14 A notable structural feature of Chandogya Upanishad is that it contains many nearly identical passages and stories also found in Brihadaranyaka Upanishad but in precise meter 17 18 The Chandogya Upanishad like other Upanishads was a living document Every chapter shows evidence of insertion or interpolation at a later age because the structure meter grammar style and content is inconsistent with what precedes or follows the suspect content and section Additionally supplements were likely attached to various volumes in a different age 19 Klaus Witz who structurally divides the Chandogya Upanishad into three natural groups The first group comprises chapters I and II which largely deal with the structure stress and rhythmic aspects of language and its expression speech particularly with the syllable Om ॐ Aum 17 The second group consists of chapters III V with a collection of more than 20 Upasanas and Vidyas on premises about the universe life mind and spirituality The third group consists of chapters VI VIII that deal with metaphysical questions such as the nature of reality and Self 17 Content editFirst Prapaṭhaka edit The chant of Om the essence of all edit The Chandogya Upanishad opens with the recommendation that let a man meditate on Om 20 It calls the syllable Om as udgitha उद ग थ song chant and asserts that the significance of the syllable is thus the essence of all beings is earth the essence of earth is water the essence of water are the plants the essence of plants is man the essence of man is speech the essence of speech is the Rig Veda the essence of the Rig Veda is the Sama Veda and the essence of Sama Veda is udgitha 21 Rik ऋच Ṛc is speech states the text and Saman स मन is breath they are pairs and because they have love and desire for each other speech and breath find themselves together and mate to produce song 20 21 The highest song is Om asserts volume 1 1 of Chandogya Upanishad It is the symbol of awe of reverence of threefold knowledge because Adhvaryu invokes it the Hotr recites it and Udgatr sings it 21 In section 1 4 the text highlights the importance of Om in the High Chant 22 Good and evil may be everywhere yet life principle is inherently good edit Om symbol nbsp nbsp nbsp nbsp The significance of Om syllable is discussed in the Chandogya Upanishad as well as other principal Upanishads Chandogya s exposition of syllable Om in its first chapter combines etymological speculations symbolism metric structure and philosophical themes 23 24 The second volume of the first chapter continues its discussion of syllable Om explaining its use as a struggle between Devas gods and Asuras demons both being races derived from one Prajapati creator of life 25 Max Muller states that this struggle between deities and demons is considered allegorical by ancient scholars as good and evil inclinations within man respectively 26 The Prajapati is man in general in this allegory 26 The struggle is explained as a legend that is also found in a more complete and likely original ancient version in the Brihadaranyaka Upanishad chapter 1 3 25 The legend in section 1 2 of Chandogya Upanishad states that gods took the Udgitha song of Om unto themselves thinking with this song we shall overcome the demons 27 The gods revered the Udgitha as sense of smell but the demons cursed it and ever since one smells both good smelling and bad smelling because it is afflicted with good and evil 25 The deities thereafter revered the Udgitha as speech but the demons afflicted it and ever since one speaks both truth and untruth because speech has been struck with good and evil 26 The deities next revered the Udgitha as sense of sight eye but the demons struck it and ever since one sees both what is harmonious sightly and what is chaotic unsightly because sight is afflicted with good and evil 27 The gods then revered the Udgitha as sense of hearing ear but the demons afflicted it and ever since one hears both what is worth hearing and what is not worth hearing because hearing is afflicted with good and evil 25 The gods thereafter revered the Udgitha as Manas mind but the demons afflicted it and therefore one imagines both what is worth imagining and what is not worth imagining because mind is afflicted with good and evil 27 Then the gods revered the Udgitha as Praṇa vital breath breath in the mouth life principle and the demons struck it but they fell into pieces Life principle is free from evil it is inherently good 25 26 The deities inside man the body organs and senses of man are great but they all revere the life principle because it is the essence and the lord of all of them Om is the Udgitha the symbol of life principle in man 25 Space the origin and the end of everything edit The Chandogya Upanishad in eighth and ninth volumes of the first chapter describes the debate between three men proficient in Udgitha about the origins and support of Udgitha and all of empirical existence 28 The debaters summarize their discussion as What is the origin of this world 29 Space said he Verily all things here arise out of space They disappear back into space for space alone is greater than these space is the final goal This is the most excellent Udgitha Om ॐ This is endless The most excellent is his the most excellent worlds does he win who knowing it thus reveres the most excellent Udgitha Chandogya Upanishad 1 9 1 1 9 2 28 Max Muller notes the term space above was later asserted in the Vedanta Sutra verse 1 1 22 to be a symbolism for the Vedic concept of Brahman 29 Paul Deussen explains the term Brahman means the creative principle which lies realized in the whole world 30 A ridicule and satire on egotistic nature of priests edit The tenth through twelfth volumes of the first Prapathaka of Chandogya Upanishad describe a legend about priests and it criticizes how they go about reciting verses and singing hymns without any idea what they mean or the divine principle they signify 31 The 12th volume in particular ridicules the egotistical aims of priests through a satire that is often referred to as the Udgitha of the dogs 31 32 33 The verses 1 12 1 through 1 12 5 describe a convoy of dogs who appear before Vaka Dalbhya literally sage who murmurs and hums who was busy in a quiet place repeating Veda The dogs ask Sir sing and get us food we are hungry 32 The Vedic reciter watches in silence then the head dog says to other dogs come back tomorrow Next day the dogs come back each dog holding the tail of the preceding dog in his mouth just like priests do holding the gown of preceding priest when they walk in procession 34 After the dogs settled down they together began to say Him and then sang Om let us eat Om let us drink Lord of food bring hither food bring it Om 31 35 Such satire is not unusual in Indian literature and scriptures and similar emphasis for understanding over superficial recitations is found in other ancient texts such as chapter 7 103 of the Rig Veda 31 John Oman in his review of the satire in section 1 12 of the Chandogya Upanishad states More than once we have the statement that ritual doings only provide merit in the other world for a time whereas the right knowledge rids of all questions of merit and secures enduring bliss 35 Structure of language and cosmic correspondences edit The 13th volume of the first chapter lists mystical meanings in the structure and sounds of a chant 36 The text asserts that hau hai i atha iha u e hiṅ among others correspond to empirical and divine world such as Moon wind Sun oneself Agni Prajapati and so on The thirteen syllables listed are Stobhaksharas sounds used in musical recitation of hymns chants and songs 37 This volume is one of many sections that does not fit with the preceding text or text that follows The fourth verse of the 13th volume uses the word Upanishad which Max Muller translates as secret doctrine 37 38 and Patrick Olivelle translates as hidden connections 39 Second Prapaṭhaka edit The significance of chant edit The first volume of the second chapter states that the reverence for entire Saman स म न chant is sadhu स ध good for three reasons These reasons invoke three different contextual meanings of Saman namely abundance of goodness or valuable स मन friendliness or respect सम म न property goods or wealth स मन also सम न 39 40 41 The Chandogya Upanishad states that the reverse is true too that people call it a saman when there is deficiency or worthlessness ethics unkindness or disrespect human relationships and lack of wealth means of life prosperity 41 42 Everything in Universe chants edit nbsp The Chandogya Upanishad describes natural phenomena such as a thunderstorm as a form of chant Volumes 2 through 7 of the second Prapathaka present analogies between various elements of the Universe and elements of a chant 43 The latter include Hinkara ह ङ क र preliminary vocalizing Prastava प रस त व propose prelude introduction Udgitha उद ग त sing chant Pratihara प रत ह र response closing and Nidhana न धन finale conclusion 44 The sets of mapped analogies present interrelationships and include cosmic bodies natural phenomena hydrology seasons living creatures and human physiology 45 For example chapter 2 3 of the Upanishad states The winds blow that is Hinkara A cloud is formed that is Prastava It rains that is an Udgitha The lightning that strikes and thunder that rolls that is Pratihara The rains stop and clouds lift that is Nidhana Chandogya Upanishad 2 3 1 43 46 The eighth volume of the second chapter expands the five fold chant structure to seven fold chant structure wherein Adi and Upadrava are the new elements of the chant The day and daily life of a human being is mapped to the seven fold structure in volumes 2 9 and 2 10 of the Upanishad 47 Thereafter the text returns to five fold chant structure in volumes 2 11 through 2 21 with the new sections explaining the chant as the natural template for cosmic phenomena psychological behavior human copulation human body structure domestic animals divinities and others 48 49 The metaphorical theme in this volume of verses asserts Paul Deussen is that the Universe is an embodiment of Brahman that the chant Saman is interwoven into this entire Universe and every phenomenon is a fractal manifestation of the ultimate reality 48 50 The 22nd volume of the second chapter discusses the structure of vowels svara consonants sparsa and sibilants ushman 49 The nature of Dharma and Ashramas stages theory edit The Chandogya Upanishad in volume 23 of chapter 2 provides one of the earliest expositions on the broad complex meaning of Vedic concept dharma It includes as dharma ethical duties such as charity to those in distress Dana द न personal duties such as education and self study svadhyaya स व ध य य brahmacharya ब रह मचर य social rituals such as yajna यज ञ 51 The Upanishad describes the three branches of dharma as follows त रय धर मस कन ध यज ञ ऽध ययन द नम त प रथम स तप एव द व त य ब रह मच र य च र यक लव स त त य ऽत यन तम त म नम च र यक ल ऽवस दयन सर व एत प ण यल क भवन त ब रह मस स थ ऽम तत वम त १ 52 There are three branches of Dharma religious life duty Yajna sacrifice Svadhyaya self study and Dana charity are the first Tapas austerity meditation is the second while dwelling as a Brahmacharya for education in the house of a teacher is third All three achieve the blessed worlds But the Brahmasamstha one who is firmly grounded in Brahman alone achieves immortality Chandogya Upanishad 2 23 1 51 53 54 This passage has been widely cited by ancient and medieval Sanskrit scholars as the fore runner to the asrama or age based stages of dharmic life in Hinduism 54 55 The four asramas are Brahmacharya student Grihastha householder Vanaprastha retired and Sannyasa renunciation 56 57 Olivelle disagrees however and states that even the explicit use of the term asrama or the mention of the three branches of dharma in section 2 23 of Chandogya Upanishad does not necessarily indicate that the asrama system was meant 58 Paul Deussen who notes that the Chandogya Upanishad in the above verse is not presenting these stages as sequential but rather as equal 54 Only three stages are explicitly described Grihastha first Vanaprastha second and then Brahmacharya third 55 Yet the verse also mentions the person in Brahmasamstha a mention that has been a major topic of debate in the Vedanta sub schools of Hinduism 53 59 The Advaita Vedanta scholars state that this implicitly mentions the Sannyasa whose goal is to get knowledge realization and thus firmly grounded in Brahman Other scholars point to the structure of the verse and its explicit three branches declaration 54 In other words the fourth state of Brahmasamstha among men must have been known by the time this Chandogya verse was composed but it is not certain whether a formal stage of Sannyasa life existed as a dharmic asrama at that time Beyond chronological concerns the verse has provided a foundation for Vedanta school s emphasis on ethics education simple living social responsibility and the ultimate goal of life as moksha through Brahman knowledge 51 54 The discussion of ethics and moral conduct in man s life re appears in other chapters of Chandogya Upanishad such as in section 3 17 60 61 Third Prapaṭhaka edit Brahman is the sun of all existence Madhu Vidya edit The Chandogya Upanishad presents the Madhu Vidya Honey Knowledge in first eleven volumes of the third chapter 62 Sun is praised as source of all light and life and stated as worthy of meditation in a symbolic representation of Sun as honey of all Vedas 63 The Brahman is stated in these volume of verses to be the sun of the Universe and the natural sun is a phenomenal manifestation of the Brahman 64 The simile of honey is extensively developed with Vedas the Itihasa and mythological stories and the Upanishads are described as flowers 64 The Rig hymns the Yajur maxims the Sama songs the Atharva verses and deeper secret doctrines of Upanishads are represented as the vehicles of rasa nectar that is the bees 65 The nectar itself is described as essence of knowledge strength vigor health renown splendor 66 The Sun is described as the honeycomb laden with glowing light of honey The rising and setting of the Sun is likened to man s cyclic state of clarity and confusion while the spiritual state of knowing Upanishadic insight of Brahman is described by Chandogya Upanishad as being one with Sun a state of permanent day of perfect knowledge the day which knows no night 64 Gayatri mantra symbolism of all that is edit Gayatri Mantra 67 is the symbol of the Brahman the essence of everything states volume 3 12 of the Chandogya Upanishad 68 Gayatri as speech sings to everything and protects them asserts the text 68 69 The Ultimate exists within oneself edit The first six verses of the thirteenth volume of Chandogya s third chapter state a theory of Svarga heaven as human body whose doorkeepers are eyes ears speech organs mind and breath To reach Svarga asserts the text understand these doorkeepers 70 The Chandogya Upanishad then states that the ultimate heaven and highest world exists within oneself as follows अथ यदत पर द व ज य त र द प यत व श वत प ष ठ ष सर वत प ष ठ ष वन त तम ष त तम ष ल क ष व द व व तद यद दमस म न नन त प र ष ज य त स तस य ष Now that light which shines above this heaven higher than all higher than everything in the highest world beyond which there are no other worlds that is the same light which is within man Chandogya Upanishad 3 13 7 71 72 This premise that the human body is the heaven world and that Brahman highest reality is identical to the Atman Self within a human being is at the foundation of Vedanta philosophy 70 The volume 3 13 of verses goes on to offer proof in verse 3 13 8 that the highest reality is inside man by stating that body is warm and this warmth must have an underlying hidden principle manifestation of the Brahman 71 Max Muller states that while this reasoning may appear weak and incomplete but it shows that Vedic era human mind had transitioned from revealed testimony to evidence driven and reasoned knowledge 71 This Brahman Atman premise is more consciously and fully developed in section 3 14 of the Chandogya Upanishad Individual Self and the infinite Brahman is same one s Self is God Sandilya Vidya edit The Upanishad presents the Saṇḍilya doctrine in volume 14 of chapter 3 73 This states Paul Deussen 74 is with Satapatha Brahmana 10 6 3 perhaps the oldest passage in which the basic premises of the Vedanta philosophy are fully expressed namely Atman Self inside man exists the Brahman is identical with Atman God is inside man 75 The Chandogya Upanishad makes a series of statements in section 3 14 that have been frequently cited by later schools of Hinduism and modern studies on Indian philosophies 73 75 76 These are Brahman you see is this whole world With inner tranquillity one should venerate it as Tajjalan that from which he came forth as that into which he will be dissolved as that in which he breathes Now then man is undoubtedly made of his Kratumaya क रत मय resolve will purpose What a man becomes on departing from here after death is in accordance with his will resolve in this world So he should make this resolve This S elf atman of mine that lies deep within my heart it is made of mind the vital functions prana are its physical form luminous is its appearance the real is its intention space is its essence atman it contains all actions all desires all smells and all tastes it has captured this whole world it neither speaks nor pays any heed This S elf atman of mine that lies deep within my heart it is smaller than a grain of rice or barley smaller than a mustard seed smaller even than a millet grain or a millet kernel but it is larger than the E arth larger than the intermediate region larger than the sky larger even than all these worlds put together This S elf atman of mine that lies deep within my heart it contains all actions all desires all smells and all tastes it has captured this whole world it neither speaks nor pays any heed It is Brahman On departing from here after death I will become that A man who has this resolve is never beset at all with doubts This is what Shandilya used to say Chandogya Upanishad 3 14 1 3 14 5 77 The teachings in this section re appear centuries later in the words of the 3rd century CE Neoplatonic Roman philosopher Plotinus in Enneads 5 1 2 74 The Universe is an imperishable treasure chest edit The Universe states the Chandogya Upanishad in section 3 15 is a treasure chest and the refuge for man 78 This chest is where all wealth and everything rests states verse 3 15 1 and it is imperishable states verse 3 15 3 79 The best refuge for man is this Universe and the Vedas assert verses 3 15 4 through 3 15 7 78 80 This section incorporates a benediction for the birth of a son 79 Life is a festival ethics is one s donation to it edit nbsp Ahimsa non violence in action words and thoughts is considered the highest ethical value and virtue in Hinduism 81 The Chandogya Upanishad makes one of the earliest mentions of this ethical code in section 3 17 82 Above non violence sculpture by Carl Fredrik Reutersward The section 3 17 of Chandogya Upanishad describes life as a celebration of a Soma festival whose dakshina gifts payment is moral conduct and ethical precepts that includes non violence truthfulness non hypocrisy and charity unto others as well as simple introspective life 83 This is one of the earliest 84 statement of the Ahimsa principle as an ethical code of life that later evolved to become the highest virtue in Hinduism 85 86 अथ यत तप द नम र जवमह स सत यवचनम त त अस य दक ष ण ४ 87 Now Tapas austerity meditation Dana charity alms giving Arjava sincerity uprightness and non hypocrisy Ahimsa non violence don t harm others and Satya vacanam telling truth these are the Dakshina gifts payment to others he gives in life Chandogya Upanishad 3 17 4 82 88 The metaphor of man s life as a Soma festival is described through steps of a yajna fire ritual ceremony in section 3 17 82 83 The struggles of an individual such as hunger thirst and events that make him unhappy states the Upanishad is Diksha preparation effort or consecration for the ceremony festival 89 The prosperity of an individual such as eating drinking and experiencing the delights of life is Upasada days during the ceremony festival when some foods and certain foods are consumed as a community 83 When an individual lives a life of laughs feasts and enjoys sexual intercourse his life is akin to becoming one with Stuta and Sastra hymns of a Soma festival hymns that are recited and set to music states verse 3 17 3 of the text 82 89 Death is like ablution after the ceremony 82 The volumes 3 16 and 3 17 of the Chandogya Upanishad are notable for two additional assertions One in verse 3 16 7 the normal age of man is stated to be 116 years split into three stages of 24 44 and 48 year each 90 These verses suggest a developed state of mathematical sciences and addition by about 800 600 BCE Secondly verse 3 17 6 mentions Krishna Devakiputra Sanskrit क ष ण य द वक प त र as a student of sage Ghora Angirasa This mention of Krishna as the son of Devaki has been studied by scholars 91 as potential source of fables and Vedic lore about the major deity Krishna in the Mahabharata and other ancient literature Scholars have also questioned 91 whether this part of the verse is an interpolation or just a different Krishna Devikaputra than deity Krishna 92 because the much later age Sandilya Bhakti Sutras a treatise on Krishna 93 cites later age compilations such as Narayana Upanishad and Atharvasiras 6 9 but never cites this verse of Chandogya Upanishad Others 94 state that the coincidence that both names of Krishna and Devika in the same verse cannot be dismissed easily and this Krishna may be the same as one found later such as in the Bhagavad Gita citation needed The verse 3 17 6 states that Krishna Devikaputra after learning the theory of life is a Soma festival learnt the following Vedic hymn of refuge for an individual on his death bed 91 Thou art the Aksitamasi indestructible imperishable undecaying Thou art the Acyutamasi imperturbable unchangeable imperishable Thou art the Prana samsitamasi fountainhead crest of life principles fortified by breath Chandogya Upanishad 3 17 6 82 95 Fourth Prapaṭhaka edit Samvargavidya edit The fourth chapter of the Chandogya Upanishad opens with the story of king Janasruti and the man with the cart named Raikva The moral of the story is called Samvarga Sanskrit स वर ग devouring gathering absorbing Vidya summarized in volume 4 3 of the text 96 Air asserts the Upanishad is the devourer unto itself of divinities because it absorbs fire S un at sunset M oon when it sets water when it dries up 97 In reference to man Prana vital breath life principle is the devourer unto itself because when one sleeps Prana absorbs all deities inside man such as eyes ears and mind 98 The Samvarga Vidya in Chandogya is found elsewhere in Vedic canon of texts such as chapter 10 3 3 of Shatapatha Brahmana and sections 2 12 2 13 of Kaushitaki Upanishad Paul Deussen states that the underlying message of Samvarga Vidya is that the cosmic phenomenon and the individual physiology are mirrors and therefore man should know himself as identical with all cosmos and all beings 96 The story is notable for its characters charity practices and its mention and its definitions of Brahmaṇa and Ṡudra King Janasruti is described as pious extremely charitable feeder of many destitutes who built rest houses to serve the people in his kingdom but one who lacked the knowledge of Brahman Atman 97 Raikva is mentioned as the man with the cart very poor and of miserable plight with sores on his skin but he has the Brahman Atman knowledge that is his self is identical with all beings 98 The rich generous king is referred to as Ṡudra while the poor working man with the cart is called Brahmaṇa one who knows the Brahman knowledge 96 97 The story thus declares knowledge as superior to wealth and power The story also declares the king as a seeker of knowledge and eager to learn from the poorest 97 Paul Deussen notes that this story in the Upanishad is strange and out of place with its riddles 96 Satyakama s education edit The Upanishad presents another symbolic conversational story of Satyakama the son of Jabala in volumes 4 4 through 4 9 99 Satyakama s mother reveals to the boy in the passages of the Upanishad that she went about in many places in her youth and he is of uncertain parentage 100 The boy eager for knowledge goes to the sage Haridrumata Gautama requesting the sage s permission to live in his school for Brahmacharya The teacher asks my dear child what family do you come from Satyakama replies that he is of uncertain parentage because his mother does not know who the father is The sage declares that the boy s honesty is the mark of a Brahmaṇa true seeker of the knowledge of the Brahman 100 101 The sage accepts him as a student in his school 102 The sage sends Satyakama to tend four hundred cows and come back when they multiply into a thousand 101 The symbolic legend then presents conversation of Satyakama with a bull a fire a swan Hamsa ह स and a diver bird Madgu मद ग which respectively are symbolism for Vayu Agni Aditya and Praṇa 99 Satyakama then learns from these creatures that forms of Brahman is in all cardinal directions north south east west world bodies earth atmosphere sky and ocean sources of light fire Sun Moon lightning and in man breath eye ear and mind 102 Satyakama returns to his teacher with a thousand cows and humbly learns the rest of the nature of Brahman 100 The story is notable for declaring that the mark of a student of Brahman is not parentage but honesty The story is also notable for the repeated use of the word Bhagavan to mean teacher during the Vedic era 100 103 Penance is unnecessary Brahman as life bliss joy and love the story of Upakosala edit The volumes 4 10 through 4 15 of Chandogya Upanishad present the third conversational story through a student named Upakosala The boy Satyakama Jabala described in volumes 4 4 through 4 9 of the text is declared to be the grown up Guru teacher with whom Upakosala has been studying for twelve years in his Brahmacharya 104 Upakosala has a conversation with sacrificial fires which inform him that Brahman is life Brahman is joy and bliss Brahman is infinity and the means to Brahman is not through depressing hard penance 105 The fires then enumerate the manifestations of Brahman to be everywhere in the empirically perceived world 100 106 Satyakama joins Upakosala s education and explains in volume 4 15 of the text 107 The person you see here in the eye he is the S elf atman he told him He is the immortal free from fear he is Brahman Chandogya Upanishad 4 15 1 108 The Upanishad asserts in verses 4 15 2 and 4 15 3 that the Atman is the stronghold of love the leader of love and that it assembles and unites all that inspires love 100 104 Those who find and realize the Atman find and realize the Brahman states the text 106 Fifth Prapaṭhaka edit The noblest and the best edit The fifth chapter of the Chandogya Upanishad opens with the declaration 109 य ह व ज य ष ठ च श र ष ठ च व द ज य ष ठश च ह व श र ष ठश च भवत When a man knows the best and the greatest he becomes the best and the greatest Chandogya Upanishad 5 1 1 110 The first volume of the fifth chapter of the text tells a fable and prefaces each character with the following maxims He who knows excellence 111 becomes excellent He who knows stability 112 becomes stable He who knows success 113 becomes successful He who knows home 114 becomes home for others Chandogya Upanishad 5 1 1 115 116 The fable found in many other principal Upanishads 117 describes a rivalry between eyes ears speech mind 116 They all individually claim to be most excellent most stable most successful most homely 115 They ask their father Prajapati as who is the noblest and best among them Prajapati states he by whose departure the body is worst off is the one 118 Each rivaling organ leaves for a year and the body suffers but is not worse off 116 Then Prana breath life principle prepares to leave and all of them insist that he stay Prana they acknowledge empowers them all 115 The section 5 2 is notable for its mention in a ritual the use of kansa goblet like musical instrument and chamasa spoon shaped object 119 120 121 The five fires and two paths theory edit Volumes 5 3 through 5 10 of Chandogya Upanishad present the Pancagnividya or the doctrine of five fires and two paths in after life 122 123 These sections are nearly identical to those found in section 14 9 1 of Sathapatha Brahmana in section 6 2 of Brihadaranyaka Upanishad and in chapter 1 of Kaushitaki Upanishad 122 124 Paul Deussen who states that the presence of this doctrine in multiple ancient texts suggests that the idea is older than these texts established and was important concept in the cultural fabric of the ancient times 122 123 There are differences between the versions of manuscript and across the ancient texts particularly relating to reincarnation in different caste based on satisfactory conduct and stinking conduct in previous life which Deussen posits may be a supplement inserted only into the Chandogya Upanishad later on 122 The two paths of after life states the text are Devayana the path of the Devas gods and Pitryana the path of the fathers 125 The path of the fathers in after life is for those who live a life of rituals sacrifices social service and charity these enter heaven but stay there in proportion to their merit in their just completed life then they return to Earth to be born as rice herbs trees sesame beans animals or human beings depending on their conduct in past life 125 126 The path of the Devas in after life is for those who live a life of knowledge or those who enter the forest life of Vanaprastha and pursue knowledge faith and truthfulness these do not return and in their after life join unto the Brahman 122 All existence is a cycle of fire asserts the text and the five fires are 124 125 the cosmos as altar where the fuel is Sun from which rises the Moon the cloud as altar where the fuel is air from which rises the rain the Earth as altar where the fuel is time year from which rises the food crops the man as altar where the fuel is speech from which rises the semen and the woman as altar where the fuel is sexual organ from which rises the fetus 122 126 The baby is born in the tenth month lives a life and when deceased they carry him and return him to the fire because fire is where he arose whence he came out of 122 126 The verse 5 10 8 of Chandogya Upanishad is notable for two assertions One it adds a third way for tiny living creatures flies insects worms that neither take the Devayana nor the Pitryana path after their death Second the text asserts that the rebirth is the reason why the yonder world never becomes full world where living creatures in their after life stay temporarily These assertions suggest an attempt to address rationalization curiosities and challenges to the reincarnation theory 122 125 Who is our Atman Self what is the Brahman edit The Chandogya Upanishad opens volume 5 11 with five adults seeking knowledge The adults are described as five great householders and great theologians who once came together and held a discussion as to what is our Self and what is Brahman 127 The five householders approach a sage named Uddalaka Aruni who admits his knowledge is deficient and suggests that they all go to king Asvapati Kaikeya who knows about Atman Vaishvanara 116 When the knowledge seekers arrive the king pays his due respect to them gives them gifts but the five ask him about Vaisvanara Self The answer that follows is referred to as the doctrine of Atman Vaishvanara where Vaisvanara literally means One in the Many 17 The entire doctrine is also found in other ancient Indian texts such as the Satapatha Brahmana section 10 6 1 115 The common essence of the theory as found in various ancient Indian texts is that the inner fire the Self is universal and common in all men whether they are friends or foe good or bad The Chandogya narrative is notable for stating the idea of unity of the Universe of realization of this unity within man and that there is unity and oneness in all beings 127 This idea of universal oneness of all Selfs seeing others as oneself seeing Brahman as Atman and Atman as Brahman became a foundational premise for Vedanta theologians 127 128 Sixth Prapaṭhaka edit Atman exists Svetaketu s education on the key to all knowledge Tat Tvam Asi edit The sixth chapter of the Chandogya Upanishad contains the famous Tat Tvam Asi That Thou Art precept one regarded by scholars 129 130 131 as the summation or as the foundational maxim of all Upanishadic teachings The precept is repeated nine times at the end of sections 6 8 through 6 16 of the Upanishad as follows स य एष ऽण म तद त म यम द सर व तत सत य स आत म तत त वमस श व तक त Translation 1 This U niverse consists of what that finest essence is it is the real it is the Self that thou art O Svetaketu 129 Translation 2 That which is the finest essence this whole world has that as its Self That is Reality That is Atman Self That art thou Svetaketu 132 Translation 3 That which is this finest essence that the whole world has as its self That is the truth That is the self In that way are you Svetaketu 133 Translation 4 The finest essence here that constitutes the self of this whole world that is the truth that is the self atman And that s how you are Svetaketu 134 Chandogya Upanishad 6 8 6 16 The Tat Tvam Asi precept emerges in a tutorial conversation between a father and son Uddalaka Aruni and 24 year old Svetaketu Aruneya respectively after the father sends his boy to school saying go to school Svetaketu as no one in our family has ever gone to school and the son returns after completing 12 years of school studies 135 136 The father inquires if Svetaketu had learnt at school that by which we perceive what cannot be perceived we know what cannot be known Svetaketu admits he hasn t and asks what that is His father through 16 volumes of verses of Chandogya Upanishad explains 137 Uddalaka states in volume 1 of chapter 6 of the Upanishad that the essence of clay gold copper and iron each can be understood by studying a pure lump of clay gold copper and iron respectively 135 137 The various objects produced from these materials do not change the essence they change the form Thus to understand something studying the essence of one is the path to understanding the numerous manifested forms 136 The text in volume 2 through Uddalaka asserts that there is disagreement between people on how the Universe came into existence whether in the beginning there was a Sat सत Truth Reality Being without a second or whether there was just A sat असत Nothingness non Being without a second 137 Uddalaka states that it is difficult to comprehend that the Universe was born from nothingness and so he asserts that there was one Sat only without a second in the beginning 138 This one then sent forth heat to grow and multiply The heat in turn wanted to multiply so it produced water The water wanted to multiply so it produced food 135 137 In the verses of volume 3 Uddalaka asserts that life emerges through three routes an egg direct birth of a living being and as life sprouting from seeds 136 The Sat enters these and gives them individuality states the Upanishad Heat food and water nourish all living beings regardless of the route they are born Each of these nourishment has three constituents asserts the Upanishad in volumes 4 through 7 of the sixth chapter It calls it the coarse the medium and the finest essence 137 These coarse becomes waste the medium builds the body or finest essence nourishes the mind Section 6 7 states that the mind depends on the body and proper food breath depends on hydrating the body while voice depends on warmth in the body and that these cannot function without 135 136 After setting this foundation of premises Uddalaka states that heat food water mind breath and voice are not what defines or leads or is at the root essence of every living creature rather it is the Sat inside This Eternal Truth is the home the core the root of each living being 135 136 To say that there is no root no core is incorrect because nothing is without a root cause assert verses 6 8 3 through 6 8 5 of the Upanishad Sat Existence Being 139 is this root it is the essence atman it is at the core of all living beings It is True it is Real it is the Self atman and Thou Art That Svetaketu 135 140 The Tat Tvam Asi phrase is called a Mahavakya 141 142 Oneness in the world the immanent reality and of Man edit The Chandogya Upanishad in volume 6 9 states that all Selfs are interconnected and one The inmost essence of all beings is same the whole world is One Truth One Reality One Self 135 136 Living beings are like rivers that arise in the mountains states the Upanishad some rivers flow to the east and some to the west yet they end in an ocean become the ocean itself and realize they are not different but are same and thus realize their Oneness Uddalaka states in volume 6 10 of the Upanishad that there comes a time when all human beings and all creatures know not I am this one I am that one but realize that they are One Truth One Reality and the whole world is one Atman 136 137 Living beings are like trees asserts the Upanishad that bleed when struck and injured yet the tree lives on with its Self as resplendent as before It is this Atman that despite all the suffering inflicted on a person makes him to stand up again live and rejoice at life Body dies life doesn t 135 137 143 The Self and the body are like salt and water states the Upanishad in volume 6 13 Salt dissolves in water it is everywhere in the water it cannot be seen yet it is there and exists forever no matter what one does to the water 144 The Sat is forever and this Sat is the Self the essence it exists it is true asserts the text 135 136 Man s journey to self knowledge and self realization states volume 6 14 of Chandogya Upanishad is like a man who is taken from his home in Gandharas with his eyes covered into a forest full of life threatening dangers and delicious fruits but no human beings 135 He lives in confusion till one day he removes the eye cover He then finds his way out of the forest then finds knowledgeable ones for directions to Gandharas 136 144 He receives the directions and continues his journey on his own one day arriving home and to happiness 135 137 The commentators 135 to this section of Chandogya Upanishad explain that in this metaphor the home is Sat Truth Reality Brahman Atman the forest is the empirical world of existence the taking away from his home is symbolism for man s impulsive living and his good and evil deeds in the empirical world eye cover represent his impulsive desires removal of eye cover and attempt to get out of the forest represent the seekings about meaning of life and introspective turn to within the knowledgeable ones giving directions is symbolism for spiritual teachers and guides 136 143 Seventh Prapaṭhaka edit From knowledge of the outer world to the knowledge of the inner world edit The seventh chapter of the Chandogya Upanishad opens as a conversation between Sanatkumara and Narada 145 The latter asks teach me Sir the knowledge of Self because I hear that anyone who knows the Self is beyond suffering and sorrow 146 Sanatkumara first inquires from Narada what he already has learned so far Narada says he knows the Rig Veda the Sama Veda the Yajur Veda the Atharva Veda the epics and the history the myths and the ancient stories all rituals grammar etymology astronomy time keeping mathematics politics and ethics warfare principles of reasoning divine lore prayer lore snake charming ghosts lore and fine arts 146 147 Narada admits to Sanatkumara that none of these have led him to Self knowledge and he wants to know about Self and Self knowledge 148 Sanatkumara states that Narada with the worldly knowledge has so far focussed on name Adore and revere the worldly knowledge asserts Sanatkumara in section 7 1 of the Upanishad but meditate on all that knowledge as the name as Brahman 149 Narada asks Sanatkumara to explain and asks what is better than the worldly knowledge In volumes 2 through 26 of the seventh chapter the Upanishad presents in the words of Sanatkumara a hierarchy of progressive meditation from outer worldly knowledge to inner worldly knowledge from finite current knowledge to infinite Atman knowledge as a step wise journey to Self and infinite bliss 149 This hierarchy as per Paul Deussen is strange convoluted possibly to incorporate divergent prevailing ideas in the ancient times Yet in its full presentation Deussen remarks it is magnificent excellent in construction and commands an elevated view of man s deepest nature 149 Narada s education on progressive meditation edit nbsp The Chandogya Upanishad 7th chapter discusses progressive meditation as a means to Self knowledge In its exposition of progressive meditation for Self knowledge the Chandogya Upanishad starts by referring to the outer worldly knowledges as name 147 149 Deeper than this name is speech asserts verse 7 2 1 because speech is what communicates all outer worldly knowledge as well as what is right and what is wrong what is true and what is false what is good and what is bad what is pleasant and what is unpleasant 147 Without speech men can t share this knowledge and one must adore and revere speech as manifestation of Brahman 146 148 More elevated than Speech asserts section 7 3 of the Upanishad is Manas मनस mind because Mind holds both Speech and Name outer worldly knowledges 148 One must adore and revere Mind as Brahman 147 Deeper than Mind asserts section 7 4 of the Upanishad is Sankalpa सङ कल प will conviction intention because when a man Wills he applies his Mind when man applies his Mind he engages Speech and Name One must adore and revere Will as manifestation of Brahman 145 Higher than Will states section 7 5 of the Upanishad is Chitta च त त thought consciousness because when a man Thinks he forms his Will 148 One must adore and revere Thought as manifestation of Brahman Greater than Thought asserts section 7 6 of the Upanishad is Dhyanam ध य न meditation reflection contemplation because when a man Meditates he Thinks 147 One must adore and revere Meditation as the manifestation of Brahman Deeper than Meditation states section 7 7 of the Upanishad is Vijnana व ज ञ न knowledge understanding discernment because when a man Understands he continues Meditating One must adore and revere Understanding as the Brahman 146 148 Thereafter for a few steps 149 the Upanishad asserts a hierarchy of progressive meditation that is unusual and different from the broader teachings of the Upanishads The text states in section 7 8 that higher than Understanding is Bala बल strength vigor because a Strong man physically prevails over the men with Understanding 147 148 By strength does the world stand states verse 7 8 1 of Chandogya Upanishad 145 146 One must adore and revere Strength as the manifestation of Brahman 147 Higher than Strength states section 7 9 of the Upanishad is Anna अन न food nourishment because with proper Food man becomes Strong One must adore and revere Food as manifestation of Brahman 146 Greater than Food states section 7 10 of the Upanishad is Apah आप water because without Water one cannot grow Food famines strike and living creatures perish One must adore and revere Water as the Brahman 147 Higher than Water asserts section 7 11 of the Upanishad is Tejas त जस heat fire because it is Heat combined with Wind and Atmosphere that bring Rain Water One must adore and revere Heat as the manifestation of Brahman 145 Higher than Heat states section 7 12 of the Upanishad is Akasa आक श space ether because it is Space where the Sun Moon stars and Heat reside One must adore and revere the Space as the Brahman 146 148 The Upanishad thereafter makes an abrupt transition back to inner world of man 149 The text states in section 7 13 that deeper than Space is Smara स मर memory because without Memory U niverse to man would be as if it did not exist 147 One must adore and revere Memory as the manifestation of Brahman states the text Deeper than Memory is Asha आश hope states section 7 14 of the Upanishad because kindled by Hope the Memory learns and man acts 145 One must adore and revere Hope as the Brahman 146 Still deeper than Hope is Prana प र ण vital breath life principle because life principle is the hub of all that defines a man and not his body That is why asserts the text people cremate a dead body and respect a living person with the same body 147 148 The one who knows life principle states the Upanishad becomes Ativadin speaker with inner confidence speaker of excellence 149 From Ativadin to self knowledge edit The Chandogya Upanishad in sections 7 16 through 7 26 presents a series of connected statements relayed from Sage Sanatkumara to Narada as follows 150 a paraphrase below Now a man talks only when he talks with truth hence you should seek to perceive the truth Satya सत य A man must first perceive before he speaks the truth so it is perception comprehension Vijnana व ज ञ न that you should seek to understand A man must first think before he perceives so it is thinking thought Mati मत that you should seek perceive A man must first have faith before he thinks so it is faith Sraddha श रद दध that he should seek to perceive A man must first produce before he has faith so it is production growing forth Nististhati न स त ष ठत that you should seek to perceive A man must first act before he produces so it is action Krti क त that you should seek to perceive A man must first attain well being before he acts so it is well being Sukham स ख that you should seek to perceive Now well being is nothing but plenitude limitlessness Bhuman भ म न There is no prosperity in scarcity So it is plenitude that you should seek to perceive Where a man sees hears or discerns no other thing that is plenitude Plenitude is based on one s own greatness or maybe it s not based on greatness Cattle slaves farms amp houses etc these are what people here call greatness But I don t consider them that way for they are all based on each other Plenitude and I are indeed the same and is the north south east west amp extends over the whole world A man who sees it this way thinks about it this way and perceives it this way a man who finds pleasure in the Self who dallies with the Self who mates with the Self and who attains bliss in the Self he becomes completely his own master he obtains complete freedom autonomy Svaraj स वर ज of movement in all the worlds Chandogya Upanishad 7 16 7 26 151 To one who sees perceives and understands Self as Truth asserts the Upanishad in section 7 26 the life principle springs from the Self hope springs from the Self memory springs from the Self as does mind thought understanding reflection conviction speech and all outer worldly knowledges 152 153 154 Eighth Prapaṭhaka edit The nature of knowledge and Atman Self edit The eighth chapter of the Chandogya Upanishad opens by declaring the body one is born with as the city of Brahman and in it is a palace that is special because the entire Universe is contained within it Whatever has been whatever will be whatever is and whatever is not is all inside that palace asserts the text and the resident of the palace is the Brahman as Atman the Self the Self 155 Those who do not discover that Self within themselves are unfree states the text those who do discover that Self knowledge gain the ultimate freedom in all the worlds 156 157 The Upanishad describes the potential of self knowledge with the parable of hidden treasure as follows Where Brahman Atman dwells there are all our true desires but hidden by what is false As people who do not know the country walk again and again over undiscovered gold that is hidden below inside the earth thus do people live with Brahman and yet do not discover it because they do not seek to discover the true Self in that Brahman dwelling inside them Chandogya Upanishad 8 3 2 156 157 158 Man has many desires of food and drink and song and music and friends and objects and fulfillment of those desires make him happy states the Chandogya Upanishad in sections 8 2 and 8 3 but those desires are fleeting and so is the happiness that their fulfillment provides because both are superficial and veiled in untruth 157 Man impulsively becomes a servant of his unfulfilled superficial desires instead of reflecting on his true desires 157 Serenity comes from knowing his true desire for Self realizing the Self inside oneself asserts the text 157 159 Theosophist Charles Johnston calls this section to be a Law of Correspondence where the macrocosm of the Universe is presented as microcosm within man that all that is infinite and divine is within man that man is the temple and God dwells inside him 158 The means to knowledge and Atman edit The Upanishad in section 8 5 and 8 6 states that the life of student Brahmacharin see Brahmacharya guided by a teacher is the means to knowledge and the process of meditation and search the means of realizing Atman 160 161 The verse 8 5 1 asserts that such life of a student is same as the yajna fire ritual the istam oblations offered during the fire ritual the sattrayanam community fire ritual festival the maunam ritual of ascetic silence the anasakayanam fasting ritual and the aranyayanam a hermit life of solitude in the forest 162 The section thus states all external forms of rituals are equivalently achievable internally when someone becomes a student of sacred knowledge and seeks to know the Brahman Atman 160 The section is notable for the mention of hermit s life in the forest cultural practice in verse 8 5 3 160 162 The false and true in relation to the Atman edit The sections 8 7 through 8 12 of the Chandogya Upanishad return to the question what is true Self and what is not 163 The opening passage declares Self as the one that is eternally free of grief suffering and death it is happy serene being that desires feels and thinks what it ought to 164 Thereafter the text structures its analysis of true and false Atman as four answers 163 The three Self which are false Self asserts the text are the material body 165 corporeal self in dreams individual self in deep sleep while the fourth is the true Self the self in beyond deep sleep state that is one with others and the entire Universe 166 167 This theory is also known as the four states of consciousness explained as the awake state dream filled sleep state deep sleep state and beyond deep sleep state 154 168 169 A paean for the learning a reverence for the Self edit With the knowledge of the Brahman asserts the text one goes from darkness to perceiving a spectrum of colors and shakes off evil 170 This knowledge of Self is immortal and the one who knows his own self joins the glory of the Brahman knowers the glory of Rajas kings and the glory of the people The one who knows his Self continues to study the Vedas and concentrates on his Self who is harmless towards all living beings who thus lives all his life reaches the Brahma world and does not return states the Chandogya Upanishad in its closing chapter 170 Reception editSeveral major Bhasyas reviews commentaries on Chandogya Upanishad have been written by Sanskrit scholars of ancient and medieval India These include those by Adi Shankaracharya Madhvacharya Dramidacharya Brahmanandi Tankacharya and Ramanujacharya Max Muller has translated commented and compared Chandogya Upanishad with ancient texts outside India 9 For example the initial chapters of the Upanishad is full of an unusual and fanciful etymology section but Muller notes that this literary stage and similar etymological fancy is found in scriptures associated with Moses and his people in their Exodus across the Red Sea as well as in Christian literature related to Saint Augustine of 5th century CE 171 Klaus Witz who in his review of the Chandogya Upanishad states the opulence of its chapters is difficult to communicate the most diverse aspects of the U niverse life mind and experience are developed into inner paths Chapters VI VII consist of vidyas of great depth and profundity 172 John Arapura states The Chandogya Upanishad sets forth a profound philosophy of language as chant in a way that expresses the centrality of the Self and its non duality 173 The philosopher Arthur Schopenhauer admired and often quoted from Chandogya Upanishad particularly the phrase Tat tvam asi which he would render in German as Dies bist du and equates in English to This art thou 174 175 One important teaching of Chandogya Upanishad according to Schopenhauer is that compassion sees past individuation comprehending that each individual is merely a manifestation of the one will you are the world as a whole 176 177 Each and every living creature is understood in this Chandogya Upanishad inspired fundamental doctrine of Hinduism to be a manifestation of the same underlying nature where there is a deep sense of interconnected oneness in every person and every creature and that singular nature renders each individual being identical to every other 174 177 See also editIsha Upanishad Katha Upanishad MahavakyasReferences edit a b c d Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 166 169 a b c d e Stephen Phillips 2009 Yoga Karma and Rebirth A Brief History and Philosophy Columbia University Press ISBN 978 0231144858 Chapter 1 Paul Deussen Sixty Upanishads of the Veda Volume 2 Motilal Banarsidass ISBN 978 8120814691 pages 556 557 a b c d Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 12 13 Rosen Steven J 2006 Essential Hinduism Westport CT Praeger Publishers p 125 ISBN 0 275 99006 0 a b Klaus Witz 1998 The Supreme Wisdom of the Upaniṣads An Introduction Motilal Banarsidass ISBN 978 8120815735 page 217 a b c Robert Hume Chandogya Upanishad The Thirteen Principal Upanishads Oxford University Press pp 177 274 Paul Deussen Sixty Upanishads of the Veda Volume 2 Motilal Banarsidass ISBN 978 8120814691 pages 61 65 a b Max Muller Chandogya Upanishad The Upanishads Part I Oxford University Press pages LXXXVI LXXXIX 1 144 with footnotes Paul Deussen The System of Vedanta ISBN 978 1432504946 pp 30 31 M Ram Murty 2012 Indian Philosophy An introduction Broadview Press ISBN 978 1554810352 pages 55 63 Hardin McClelland 1921 Religion and Philosophy in Ancient India The Open Court Vol 8 No 3 page 467 Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 11 12 a b c Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 63 64 Max Muller Chandogya Upanishad The Upanishads Part I Oxford University Press pp LXXXVI LXXXIX For example the third hymn is a solemn promise the bride and groom make to each other as That heart of thine shall be mine and this heart of mine shall be thine See Max Muller Chandogya Upanishad The Upanishads Part I Oxford University Press page LXXXVII with footnote 2 a b c d Klaus Witz 1998 The Supreme Wisdom of the Upaniṣads An Introduction Motilal Banarsidass ISBN 978 8120815735 pp 217 219 Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 166 167 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 64 65 a b Max Muller Chandogya Upanishad The Upanishads Part I Oxford University Press pp 1 3 with footnotes a b c Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 68 70 Olivelle Patrick 24 September 1998 The Early Upanisads Oxford University PressNew York NY pp 175 176 ISBN 978 0 19 512435 4 Max Muller Chandogya Upanishad The Upanishads Part I Oxford University Press pp 4 19 with footnotes Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 171 185 a b c d e f Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 70 71 with footnotes a b c d Max Muller Chandogya Upanishad The Upanishads Part I Oxford University Press pp 4 6 with footnotes a b c Robert Hume Chandogya Upanishad The Thirteen Principal Upanishads Oxford University Press pp 178 180 a b Robert Hume Chandogya Upanishad 1 8 7 1 8 8 The Thirteen Principal Upanishads Oxford University Press pp 185 186 a b Max Muller Chandogya Upanishad 1 9 1 The Upanishads Part I Oxford University Press p 17 with footnote 1 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 p 91 a b c d Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 80 84 a b Robert Hume Chandogya Upanishad 1 12 1 1 12 5 The Thirteen Principal Upanishads Oxford University Press pp 188 189 Bruce Lincoln 2006 How to Read a Religious Text Reflections on Some Passages of the Chandogya Upaniṣad History of Religions Vol 46 No 2 pp 127 139 Max Muller Chandogya Upanishad 1 12 1 1 12 5 The Upanishads Part I Oxford University Press p 21 with footnote 2 a b John Oman 2014 The Natural and the Supernatural Cambridge University Press ISBN 978 1107426948 pp 490 491 Robert Hume Chandogya Upanishad 1 13 1 1 13 4 The Thirteen Principal Upanishads Oxford University Press pages 189 190 a b Max Muller Chandogya Upanishad 1 13 1 1 13 4 The Upanishads Part I Oxford University Press p 22 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 p 85 a b Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 p 185 Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 70 72 a b Robert Hume Chandogya Upanishad 2 1 1 2 1 4 The Thirteen Principal Upanishads Oxford University Press p 190 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 85 86 a b Robert Hume Chandogya Upanishad 2 2 1 2 7 2 The Thirteen Principal Upanishads Oxford University Press pp 191 193 Monier Williams Sanskrit English Dictionary Cologne Digital Sanskrit Lexicon Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 86 88 Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 page 187 verse 3 Robert Hume Chandogya Upanishad 2 8 1 2 9 8 The Thirteen Principal Upanishads Oxford University Press pp 193 194 a b Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 91 96 a b Max Muller Chandogya Upanishad 2 11 1 2 22 5 The Upanishads Part I Oxford University Press pp 28 34 Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 191 197 a b c Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 103 116 Chandogya Upanishad Sanskrit Wikisource a b Max Muller Chandogya Upanishad Twenty Third Khanda The Upanishads Part I Oxford University Press p 35 with footnote a b c d e Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 97 98 with preface and footnotes a b Patrick Olivelle 1993 The Asrama System The History and Hermeneutics of a Religious Institution Oxford University Press OCLC 466428084 pp 1 30 84 111 RK Sharma 1999 Indian Society Institutions and Change ISBN 978 8171566655 page 28 Barbara Holdrege 2004 Dharma in The Hindu World Editors Sushil Mittal and Gene Thursby Routledge ISBN 0 415 21527 7 p 231 Patrick Olivelle 1993 The Asrama System The History and Hermeneutics of a Religious Institution Oxford University Press OCLC 466428084 p 30 Patrick Olivelle 2014 The Early Upanishads Oxford University Press ISBN 978 0195124354 pp 197 199 PV Kane Samanya Dharma History of Dharmasastra Vol 2 Part 1 p 5 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 p 115 with preface note Klaus Witz 1998 The Supreme Wisdom of the Upaniṣads An Introduction Motilal Banarsidass ISBN 978 8120815735 p 218 Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 122 138 a b c Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 101 106 with preface and footnotes Robert Hume Chandogya Upanishad 3 1 1 3 11 1 The Thirteen Principal Upanishads Oxford University Press pp 203 207 Max Muller Chandogya Upanishad 3 1 1 3 11 5 The Upanishads Part I Oxford University Press pp 38 44 with footnotes 3 padas of 8 syllables containing 24 syllables in each stanza considered a language structure of special beauty and sacredness a b Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 106 108 with preface Robert Hume Chandogya Upanishad 3 12 1 3 12 9 The Thirteen Principal Upanishads Oxford University Press pp 207 208 a b Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 108 110 with preface a b c Max Muller Chandogya Upanishad 3 13 7 The Upanishads Part I Oxford University Press pp 46 48 with footnotes Robert Hume Chandogya Upanishad 3 13 7 The Thirteen Principal Upanishads Oxford University Press pp 208 209 a b Robert Hume Chandogya Upanishad 3 14 1 3 14 4 The Thirteen Principal Upanishads Oxford University Press pp 209 210 a b Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 110 111 with preface and footnotes a b Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 150 157 For modern era cites Anthony Warder 2009 A Course in Indian Philosophy Motilal Banarsidass ISBN 978 8120812444 pp 25 28 DD Meyer 2012 Consciousness Theatre Literature and the Arts Cambridge Scholars Publishing ISBN 978 1443834919 p 250 Joel Brereton 1995 Eastern Canons Approaches to the Asian Classics Editors William Theodore De Bary Irene Bloom Columbia University Press ISBN 978 0231070058 p 130 S Radhakrishnan 1914 The Vedanta philosophy and the Doctrine of Maya International Journal of Ethics Vol 24 No 4 pp 431 451 Translation by Patrick Olivelle http www ahandfulofleaves org documents the 20early 20upanisads 20annotated 20text 20and 20translation olivelle pdf Archived 19 December 2022 at the Wayback Machine a b Robert Hume Chandogya Upanishad 3 15 1 3 15 7 The Thirteen Principal Upanishads Oxford University Press pp 210 211 a b Max Muller Chandogya Upanishad 3 15 The Upanishads Part I Oxford University Press p 49 with footnotes Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 111 112 with preface and footnotes Stephen H Phillips et al 2008 in Encyclopedia of Violence Peace amp Conflict Second Edition ISBN 978 0123739858 Elsevier Science pp 1347 1356 701 849 1867 a b c d e f Robert Hume Chandogya Upanishad 3 17 The Thirteen Principal Upanishads Oxford University Press pp 212 213 a b c Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 114 115 with preface and footnotes Henk Bodewitz 1999 Hindu Ahimsa in Violence Denied Editors Jan E M Houben et al Brill ISBN 978 9004113442 p 40 Christopher Chapple 1990 Ecological Nonviolence and the Hindu Tradition in Perspectives on Nonviolence Editor VK Kool Springer ISBN 978 1 4612 8783 4 pp 168 177 S Sharma and U Sharma 2005 Cultural and Religious Heritage of India Hinduism Motilal Banarsidass ISBN 978 8170999553 pp 9 10 Chandogya Upanishad Sanskrit Verse 3 17 4 Wikisource Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 165 166 a b Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 164 166 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 113 114 with preface and footnotes a b c Max Muller Chandogya Upanishad 3 16 3 17 The Upanishads Part I Oxford University Press pp 50 53 with footnotes Edwin Bryant and Maria Ekstrand 2004 The Hare Krishna Movement Columbia University Press ISBN 978 0231122566 pp 33 34 with note 3 Sandilya Bhakti Sutra SS Rishi Translator Sree Gaudia Math Madras W G Archer 2004 The Loves of Krishna in Indian Painting and Poetry Dover ISBN 978 0486433714 p 5 Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 166 167 a b c d Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 118 122 with preface and footnotes a b c d Robert Hume Chandogya Upanishad 4 1 4 3 The Thirteen Principal Upanishads Oxford University Press pp 215 217 a b Max Muller Chandogya Upanishad 4 1 4 3 The Upanishads Part I Oxford University Press pp 55 59 with footnotes a b Robert Hume Chandogya Upanishad 4 4 4 9 The Thirteen Principal Upanishads Oxford University Press pp 218 221 a b c d e f Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 122 126 with preface and footnotes a b Max Muller Chandogya Upanishad 4 4 4 9 The Upanishads Part I Oxford University Press pp 60 64 with footnotes a b Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 189 198 for example verse 4 9 2 states ब रह मव द व व स म य भ स क न त व न शश स त यन य मन ष य भ य इत ह प रत जज ञ भगव स त व व म क म ब र य त २ see Chandogya 4 9 2 Wikisource for translation see Paul Deussen page 126 with footnote 1 a b Robert Hume Chandogya Upanishad 4 10 4 15 The Thirteen Principal Upanishads Oxford University Press pp 221 224 Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 126 129 with preface and footnotes a b Max Muller Chandogya Upanishad 4 10 4 15 The Upanishads Part I Oxford University Press pp 64 68 with footnotes Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 198 212 Translation by Patrick Olivelle http www ahandfulofleaves org documents the 20early 20upanisads 20annotated 20text 20and 20translation olivelle pdf Robert Hume Chandogya Upanishad 5 1 5 15 The Thirteen Principal Upanishads Oxford University Press pages 226 228 Translation by Patrick Olivelle http www ahandfulofleaves org documents the 20early 20upanisads 20annotated 20text 20and 20translation olivelle pdf Archived 19 December 2022 at the Wayback Machine variSTha वर ष ठ pratiSThA प रत ष ठ sampad सम पद ayatana आयतन a b c d Max Muller Chandogya Upanishad 5 1 The Upanishads Part I Oxford University Press pp 72 74 with footnotes a b c d Robert Hume Chandogya Upanishad 5 1 The Thirteen Principal Upanishads Oxford University Press pp 226 228 See Brihadaranyaka Upanishad section 6 1 Kaushitaki Upanishad section 3 3 Prasna Upanishad section 2 3 as examples Max Muller on page 72 of The Upanishads Part 1 notes that versions of this moral fable appear in different times and civilizations such as in the 1st century BCE text by Plutarch on Life of Coriolanus where Menenius Agrippa describes the fable of rivalry between stomach and other human body parts Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pages 134 136 Gopal Madan 1990 K S Gautam ed India through the ages Publication Division Ministry of Information and Broadcasting Government of India p 81 Rajendralala Mitra The Chhandogya Upanishad of the Sama Veda p 84 at Google Books However this is not unusual as musical instruments are also mentioned in other Upanishads such as Brihadaranyaka Upanishad section 5 10 and in the Katha Upanishad section 1 15 See E Roer The Brihad Araṇyaka Upanishad at Google Books pp 102 252 a b c d e f g h Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 138 146 with preface a b David Knipe 1972 One Fire Three Fires Five Fires Vedic Symbols in Transition History of Religions Vol 12 No 1 August 1972 pp 28 41 a b Dominic Goodall 1996 Hindu Scriptures University of California Press ISBN 978 0520207783 pp 124 128 a b c d Max Muller Chandogya Upanishad 5 1 The Upanishads Part I Oxford University Press pp 76 84 with footnotes a b c Robert Hume Chandogya Upanishad 5 3 5 10 The Thirteen Principal Upanishads Oxford University Press pp 230 234 a b c Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 146 155 with preface Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 273 285 a b Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 155 161 Raphael Edwin 1992 The pathway of non duality Advaitavada an approach to some key points of Gaudapada s Asparsavada and Saṁkara s Advaita Vedanta by means of a series of questions answered by an Asparsin Iia Philosophy Series Motilal Banarsidass ISBN 978 81 208 0929 1 Back Cover AS Gupta 1962 The Meanings of That Thou Art Philosophy East and West Vol 12 No 2 July 1962 pp 125 134 Robert Hume Chandogya Upanishad 5 1 The Thirteen Principal Upanishads Oxford University Press pp 240 250 Joel Brereton 1986 Tat Tvam Asi in Context Zeitschrift der deutschen morgenlandischen Gesellschaft Vol 136 pp 98 109 Translation by Patrick Olivelle http www ahandfulofleaves org documents the 20early 20upanisads 20annotated 20text 20and 20translation olivelle pdf a b c d e f g h i j k l Max Muller Chandogya Upanishad 6 1 6 16 The Upanishads Part I Oxford University Press pp 92 109 with footnotes a b c d e f g h i j Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 162 172 a b c d e f g h Robert Hume Chandogya Upanishad 6 1 6 16 The Thirteen Principal Upanishads Oxford University Press pp 240 240 Mehta pp 237 239 Shankara Chandogya Upanisha Basha 6 8 7 Dominic Goodall 1996 Hindu Scriptures University of California Press ISBN 978 0520207783 pp 136 137 MW Myers 1993 Tat tvam asi as Advaitic Metaphor Philosophy East and West Vol 43 No 2 pp 229 242 G Mishra 2005 New Perspectives on Advaita Vedanta Essays in Commemoration of Professor Richard de Smet Philosophy East and West Vol 55 No 4 pp 610 616 a b Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 342 356 a b Dominic Goodall 1996 Hindu Scriptures University of California Press ISBN 978 0520207783 pp 139 141 a b c d e Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 176 189 a b c d e f g h Robert Hume Chandogya Upanishad 7 1 7 16 The Thirteen Principal Upanishads Oxford University Press pp 250 262 a b c d e f g h i j Max Muller Chandogya Upanishad 7 1 7 16 The Upanishads Part I Oxford University Press pp 109 125 with footnotes a b c d e f g h Dominic Goodall 1996 Hindu Scriptures University of California Press ISBN 978 0520207783 pp 141 151 a b c d e f g Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 172 176 Max Muller Chandogya Upanishad 7 16 7 26 The Upanishads Part I Oxford University Press pp 120 125 with footnotes Translation by Patrick Olivelle http www ahandfulofleaves org documents the 20early 20upanisads 20annotated 20text 20and 20translation olivelle pdf Archived 19 December 2022 at the Wayback Machine Dominic Goodall 1996 Hindu Scriptures University of California Press ISBN 978 0520207783 pp 149 152 Max Muller Chandogya Upanishad 7 25 7 26 The Upanishads Part I Oxford University Press pp 124 125 with footnotes a b Chandogya Upanishads S Radhakrishnan Translator pp 488 489 Dominic Goodall 1996 Hindu Scriptures University of California Press ISBN 978 0520207783 pp 152 153 a b Max Muller Chandogya Upanishad 8 1 The Upanishads Part I Oxford University Press pp 125 127 with footnotes a b c d e Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 189 193 a b Charles Johnston Chandogya Upanishad Part VIII Theosophical Quarterly pp 142 144 Robert Hume Chandogya Upanishad 8 1 8 3 The Thirteen Principal Upanishads Oxford University Press pp 262 265 a b c Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 190 196 Chandogya Upanishads S Radhakrishnan Translator pp 498 499 a b Robert Hume Chandogya Upanishad 8 5 8 6 The Thirteen Principal Upanishads Oxford University Press pp 266 267 a b Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 196 198 Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator pp 447 484 Paul Deussen explains the phrase seen in the eye as the seer of seeing the subject of knowledge the soul within see page 127 preface of Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 Max Muller Chandogya Upanishad 8 7 8 12 The Upanishads Part I Oxford University Press pp 134 142 with footnotes Paul Deussen Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 pp 198 203 PT Raju 1985 Structural Depths of Indian Thought State University New York Press ISBN 978 0887061394 pp 32 33 Robert Hume Chandogya Upanishad Eighth Prathapaka Seventh through Twelfth Khanda Oxford University Press pp 268 273 a b Robert Hume Chandogya Upanishad 8 13 8 15 The Thirteen Principal Upanishads Oxford University Press pp 273 274 Max Muller Chandogya Upanishad 1 3 7 The Upanishads Part I Oxford University Press pp 8 9 with footnote 1 Klaus Witz 1998 The Supreme Wisdom of the Upaniṣads An Introduction Motilal Banarsidass ISBN 978 8120815735 pp 218 219 J G Arapura 1986 Hermeneutical Essays on Vedantic Topics Motilal Banarsidass ISBN 978 8120801837 p 169 a b DE Leary 2015 Arthur Schopenhauer and the Origin amp Nature of the Crisis William James Studies Vol 11 p 6 W McEvilly 1963 Kant Heidegger and the Upanishads Philosophy East and West Vol 12 No 4 pp 311 317 D Cartwright 2008 Compassion and solidarity with sufferers The metaphysics of mitleid European Journal of Philosophy Vol 16 No 2 pp 292 310 a b Christopher Janaway 1999 Willing and Nothingness Schopenhauer as Nietzsche s Educator Oxford University Press ISBN 978 0198235903 pp 3 4Sources editPrimary sources edit Chandogya Upanishad in ITRANS Secondary sources edit Deussen Paul Sixty Upanishads of the Veda Volume 1 Motilal Banarsidass ISBN 978 8120814684 Goodall Dominic Hindu Scriptures University of California Press 1996 ISBN 9780520207783 Introduction by Sri Adidevananda Chhandyogapanishads Kannada translation External links edit nbsp Sanskrit Wikisource has original text related to this article Chandogya Upanishad Sanskrit nbsp Wikisource has original text related to this article Chandogya Upanishad English translation Chandogya Upanishad Max Muller Translator Oxford University Press Chandogya Upanishad Robert Hume Translator Oxford University Press Chandogya Upanishad S Radhakrishnan Translator George Allen amp Unwin Ltd London Chandogya Upanishad with Shankara Bhashya Ganganath Jha Translator Oriental Book Agency Poona Chandogya Upanishad Multiple translations Johnston Nikhilananda Swahananda Commentary on Chandogya Upanishad Charles Johnston The Mandukya Taittiriya and Chandogya Upanishads Section 6 3 M Ram Murty 2012 Queen s University Recitation Audio on The Chhandogya Upanishad Swami Krishnananda Divine Life Society nbsp Chandogya Upanishad public domain audiobook at LibriVox Resources Video Audio classes Reference texts Discussions and other Study material on Chandogya Upanishad at Vedanta Hub Retrieved from https en wikipedia org w index php title Chandogya Upanishad amp oldid 1205388954, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.