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Introduction to Our Theatre
A famous Odia poet Kabibara Radhanath Ray describes the world as a raṅgabhūmi or a theatre, and man’s life as a limited-period performance. Imagine being in a theatre. When the actors are fully engrossed in their roles, they forget their original identities. They act as per the script, props, and the drama’s artifacts. For example, a horse-shaped wooden structure becomes a real horse that they ride for a war.
The horse is untrue for us but not for the audience, the actors, and the entire ecosystem which is in complete immersion. The wooden horse is a symbol for the set to explain the abstraction of the qualities of a real horse away from its actual plane of existence. It then holds the truth of the horse.
Now think of this world as a stage and all the men and women as mere players. They need props and scripts to navigate. Every artifact in this world is a symbol, with multiple layers of meaning embedded. These symbols are real. The proponents of the Nyāya Vaiśeṣika school of Indian philosophy call out the entities of this theatre, the world, as padārthaḥ (padasya arthaḥ) or referents of a term (1). We understand the world, the theatre, through names and forms, nāma-rūpa. Language describes these names and forms. The terms of language are real for us for they hold the thought-meaning of these forms and names. Everything is real here.
In contrast, Śaṅkarācārya’s Advaita Vedānta speaks of the theatre-like world as apparent or relative reality - vyavahārika sattā. Everything is apparent - transactional, temporal. “Brahma satyaṃ jaganmithyā”. Truth (alone) is, the world is not. Mithyā is not falsehood, but rather phenomenal - to be and not to be, that which exists and exists not. Śrī Aurobindo disagrees with the description of mithyā for jagat, the world. The world is as real as the Brahman. Kashmir Shaivism also accepts the world as real as Śiva since the world emerges from Śiva.
My aim here is not to do a comparative study or a synthesis, but to showcase the complexity. The complexity of the philosophies and making sense of reality - Absolute or apparent. How does one comprehend of which he is a part? How does one comprehend that which is not comprehensible? How does one comprehend the existence and the negation of existence simultaneously? How does one comprehend the multiple layers, the interplay of these layers?
The Chariot as a Metaphor
Well, what do you do if the world is a theatre? You use the props - the symbols, the allegories herein, for the actor and audience to make sense of their world. Just like the wooden horse. Whether it’s a wooden horse or a chariot in our world, it’s all symbols. Let us look at a symbolism used in Kaṭhopaniṣad from Kṛṣṇa Yajurveda (2).
आत्मानँ रथितं विद्धि शरीरँ रथमेव तु ।
बुद्धिं तु सारथिं विद्धि मनः प्रग्रहमेव च ॥ 1:3:3
इन्द्रियाणि हयानाहुर्विषयाँ स्तेषु गोचरान् ।
आत्मेन्द्रियमनोयुक्तं भोक्तेत्याहुर्मनीषिणः ॥ 1:3:4ātmānaɱ rathitaṁ viddhi śarīraɱ rathameva tu |
buddhiṁ tu sārathiṁ viddhi manaḥ pragrahameva ca || 1:3:3
indriyāṇi hayānāhurviṣayāɱ steṣu gocarān |
ātmendriyamanoyuktaṁ bhoktetyāhurmanīṣiṇaḥ || 1:3:4
The ātman or the Self is the master or rider of a chariot- ratha, while the body is the chariot. The discriminating intellect or viveka buddhi is the charioteer, while the mind is the reins. The senses or indriyas are the horses. The objects of this world that the senses comprehend are the roads on which the chariot treads. The intelligent say that the ātman attached to the body, mind and senses is a bhoktā or enjoyer of things and other beings. We may understand that it runs after the pleasurable.
The successive verses explain that just like a good charioteer should hold the reins and navigate the horses steadily for the chariot to tread properly on the roads, the intellect must hold steady the fluctuating nature of the mind and command the horse-like senses. This helps the chariot of the body navigate the sensory world of objects.
If the charioteer-like intellect is incompetent, then there is complete mayhem in the chariot; as the reins of the mind go slack or are not in control, and the horse-like senses go wayward in the indulgence of what might be pleasurable (preyas) instead of what is preferable (śreyas), i.e., the firmness and steadiness to navigate the chariot are lost. This symbolism in the Upaniṣad helps explain the body-mind complex and unravel the several layers of our being.
Now let’s attempt to connect this knowledge from the Upaniṣads with Arjuna’s chariot at Kurukṣetra. The ātman/jīva that is Arjuna- the rider, the warrior - was a bhoktā, when the armies of the two sides came face-to-face. His mind was overwhelmed with emotions of many kinds- escapism, fear, delusion. It needed the discriminating intellect (viveka buddhi) of Śrī Kṛṣṇa for an effective resolution.
This consecration of Śrī Kṛṣṇa within Arjuna’s chariot caused a veritable shift of a battle-ridden Kurukṣetra into a sacred and liberating Dharmakṣetra for Arjuna. Śrī Kṛṣṇa as the charioteer could rein in the mind and horse-like senses of Arjuna’s chariot-like body in the sensory world of Kurukṣetra.
This evolution of Arjuna, the rider, from a bhoktā (enjoyer) to a draṣṭā (observer) should be our preferred story, of every actor of the theatre or every warrior of Kurukṣetra.
Again, let us connect this Upaniṣad with a grand ritual of our times- The Ratha Jātrā (Chariot festival) of Puri Jagannātha temple. Mahāprabhu Jagannātha or Śrī Puruṣottama descends from the Vaikuṇṭha, i.e. the Śrī Mandira every year, and sits in the chariot with horses and reins, to travel down to the phenomenal world or the world of padārtha-s.
The road in front of Puri Śrī Mandira on which the chariots are pulled is literally called ‘Baḍa Dānḍa’ or the grand road. The temple is veritably Vaikuṇṭha from which Mahāprabhu Jagannātha descends, to sit on a body-like chariot with sensory horses, and walk on the mortal phenomenal sensory world of ours - the grand road. He takes a journey, an exemplary one indeed, to regularly reinstate The Eternal Truth.
This Truth is the independent existence of the Rider of the chariot, and that the mind-body complex exists to serve the realization of this supreme knowledge.
The Story of Naciketā*
Thus far we have seen how symbols and allegories help in our comprehension and embodying of knowledge. The Upaniṣads have more of such episodes. Let us look at the central story of the Kaṭhopaniṣad to know more.
The story goes like this: Once a king named Vājaśravasa, desirous of svarga, was conducting a viśvajīt yajña in which he was supposed to give away his belongings as dāna to the brāhmaṇas. His son named Naciketā, possessing great śraddhā, observed his father giving away old and destitute cows instead of young, sturdy ones.
He thought to himself, if one presents such poor and destitute cows then, he would reach a world of destitution post leaving the mortal plane. As Naciketā too belonged to his father, he went and asked his father, “To whom shall you offer your son?” When asked this question thrice, an irritated Vājaśravasa said, “Go, I offer you to Death.”
Naciketā, as a virtuous son, then travels to the palace of Yama- the Lord of Death, and waits for three days as Yama was away. Yama on returning is surprised at the young boy’s courage and grants him three boons in lieu for keeping a young brāhmaṇa waiting for three days. Naciketā first asks that his father achieve tranquility and serenity of mind and recognize him after his return from the realm of Death.
In the second boon he asks for the fire that leads one to svarga. Yama grants him both the boons and also grants a fourth boon saying that henceforth the fire would be named as Naciketā-agni. Finally, Naciketā asks for the last boon. Yama tests Naciketā’s eligibility before expounding on the Knowledge sought in the last boon. This discussion on the final boon forms the crux of this Upaniṣad, quantitatively and qualitatively.
The Fire as Symbol
Let us take a deeper look at the symbolism of fire or agni which seems to come up repeatedly in the text (3):
- Naciketā is described as fire - Vaiśvānaraḥ, by the attendants of Yama, when Yama returns after three days (1:1:7).
- Yama is addressed as the son of the luminous Sun - Vivasvān (1:1:7).
- In his second boon, Naciketā seeks the fire that leads to svarga (1:1:13).
- In reply, Yama refers to agni as the foundation of all existence, as that which leads to the infinite and remains hidden in the secret cave of our being (1:1:14).
- Yama describes agni as the beginning of existence (1:1:15).
- Next, a pleased Yama proclaims that the agni which shall lead one to svarga will be named after Naciketā henceforth. He also gifts him a precious multiform necklace (1:1:16).
- Yama proclaims that whosoever lights the fire, now named after Naciketā, thrice and performs three specific rites, comes to union with the Three and gets to know the Being, born from Brahma (1:1:17). He surpasses all sorrows and rejoices in svarga (1:1:18).
Let’s make an attempt to analyze these statements. The fire sought as the second boon here is “the celestial force concealed subconsciously in man’s mortality; by the kindling of which, and its right ordering, man transcends his earthly nature; not the physical flame of the external sacrifice to which these profound phrases are inapplicable”(4). Thus, this agni is nothing but the universal consciousness shining within us. It is that knowledge which liberates us from an individualized notion of consciousness. It is an eternal and internal flame we are talking about, of which the physical flame is only a representation.
Agni is also a “devatā, one of the most brilliant and powerful of the masters of the intelligent mind”(5). The intelligent mind is the highest state of the manomaya kośa- the third sheath of our human self (6). Also this manomaya kośa has principles/domains corresponding to all kośas(sheaths) of human self.
For example, the domain of the intelligent mind corresponding to the second sheath, i.e. vital body (prāṇamaya kośa) is the agent of desire. This is fractal design in operation in the kośas of being. Every sheath is intertwined with other sheaths and the system operates on the idea of integrality.
Śrīi Aurobindo says about manomaya kośa or the intelligent mind:
“In man, as he is at present developed, the intelligent mind is the most important psychological faculty and it is with a view to the development of the intelligent mind to its highest purity and capacity that the hymns of the Veda are written.”(7)
From this we derive that the fire when describing a waiting Naciketā is “sahaituka tapas in the mind”(8). Sahaituka tapas is the motivated conscious force or the pure “Will in action — not desire, but Will embracing desire and exceeding it. It is not even choice, wish or intention. Will, in the Vedic idea, is essentially knowledge taking the form of force. Agni, therefore, is purely mental force, necessary to all concentration ”(9). Thus, when Naciketā is glowing like a fire, it means the yogic force and aspiration that seeks the jñāna- agni or flame of self-knowledge.
Agni seeks Agni. Fire breathes Fire.
For this agni, i.e. ‘a concentrated will in action’, to be channelized, the prerequisite is the śraddhā, or a complete dedication and surrender to the cause of knowledge. Complementary to complete surrender is the rejection of falsehood or impurities of one’s self. Therefore, we may understand that Naciketā acted from a space of śraddhā when he witnessed his father giving away old and destitute cows. At this stage, we observe surrender to the cause of knowledge.
His questioning of this act shows a rejection of the impurities, inherent or acquired, within us. Further, his burning like fire in Yamaloka is a channelizing of his ‘will in action’ towards a higher, nobler aspiration.
The triple acts of aspiration, rejection and surrender for evolution and ascent of the force are thus explained here.
The Sun as Symbol
Sūryadeva, also known as Vivasvān, is the devatā of satyam or vijñānamaya kośa, the ideal mind, which is the fourth sheath of the manifestation of being (10). Similarly Viṣṇu is the devatā of the ānandamaya koṣa, which is the purely blissful fifth sheath of the manifestation of being. But both Sūrya and Viṣṇu can only manifest through Agni. Or in other words for the development of intelligent mind (manomaya kośa- which is the domain of Agni) to its highest purity, the Sūrya(prakāśa) and the Viṣṇu (vaidyutam) must descend from their corresponding higher planes of vijñāna and ānanda, respectively.
This is a fractal design in operation - where Agni as the presiding deity attains primacy before Sūrya and Viṣṇu. To better understand the fractal design - the worship of one deity or development of one faculty doesn’t negate the others. In fact reinforcement occurs from other deities for integral manifestation. The principle is same for all faculties of being.
“The prakāśa and vaidyutam can only become active when they enter into Agni and work under the conditions of his being” as “Agni himself is the supplier of Surya”(11).
Alternatively, “this means that Agni, commanding as he does heat and cold, is the fundamental active energy behind all phenomena of light and heat; the Sun is merely a reservoir of light and heat”(12). Also it is to be noted that “the peculiar luminous blaze of the sun being only one form of tejas and what we call sunlight is composed of the static energy of prakasha or essential light”(13). The former Sun is a cosmic principle (a devatā) while the latter sun is the physical sun of our solar system. Yet the latter is an integral part of the former.
Now we comprehend what it means when Yama(son of Sūrya) meets Naciketā, the glowing fire. The principle in action is the descent of Sūrya towards Agni. It is the descent of vijñāna for the evolution and full development of the intelligent mind (manomaya kośa). Naciketā represents the ascending force - the focused, individual ‘will in action’. Yama as son of Vivasvān(Sūrya) represents the descending force of the universal Truth.
The Triple Beings
Let us go back to verses (1:1:14) and (1:1:15) of the Kaṭhopaniṣad. We saw how fire is described by Yama as the foundation of existence and path to the infinite. It is symbolic of the embodied knowledge that is essential for evolution of finite consciousness. This Knowledge is accessed when the pure ‘will in action’ is channelised. This can be accessed from the hidden cave of our being, meaning this agni is already present within us.
This embodying of knowledge is the naming of the fire as Naciketā, the meeting of the ascending and the descending forces, the embedding of fractal principle and the development of the intelligent mind. The act of lighting the Naciketā fire thrice and performing the three prescribed rites in verse (1:1:17) symbolises “the divine force utilised to raise to divinity the triple being of man”(14). The triple beings are the physical body (annamaya kośa), the vital body (prāṇamaya kośa) and the mental body (manomaya kośa).
- The physical body or the “physical consciousness is that part which directly responds to physical things and physical Nature, sees the outer only as real, is occupied with it” (15).
- The vital body is the seat of desires, emotions, passions, sensations, feelings, longings, reactions etc (16).
- The mental body refers to human cognition and intelligence (17).
The three states of a man - physical, vital and mental are individualised or localised in nature. They pose limits to the realisation of the universal nature of microcosm i.e., the man in this case. Hence, the need for raising to divinity, the triple ignorant beings of man. Let’s now have a look at the universal personalities of The Being - Puruṣa.
The Three Syllabi - A U M
This act of evolution or raising to divinity results in union with the three states of the Puruṣa which is represented by the three symbols of A U M(18). There are four parts, personalities or quarters of the Cosmic Being. Correspondingly, so of the individual being. Just as in microcosm so as in macrocosm. Let’s look at each one by one.
“The first quarter of the Self is Vaiśvānara whose sphere of activity is the waking state”(19). This is represented by the sound A. Here one’s consciousness is directed towards external objects. This is the sthūla śarīra or gross body. The gross body of the cosmic being, macrocosm, is viśva and the individual being, microcosm, is vaiśvānara. The goal of evolution for this state can be understood as an identification or attainment of oneness with the Cosmic Body - Viśva.
“The second quarter is Taijasa whose sphere of activity is the dream state”(20). This is represented by the sound U. Here consciousness is directed towards internal objects (objects nonetheless). This is the sūkṣma śarīra or the subtle body. The actions from the waking state create impressions. These impressions reflect in the dream state. It is these creative reflections that build internal objects. The impressions, known as saṃskāras, are subtle. These impressions in mind are the cause for the cycle of births and deaths.
The Cosmic Mind, macrocosm, is known as Hiraṇyagarbha prajāpati while the individual mind, microcosm, is taijasa. Taijasa translates to ‘light of self’ and self here is the antaḥkaraṇa- namely the manaḥ(mind), buddhi(discretionary intellect), ahaṃkāra(the I-sense) and citta(reflections of sub and unconscious). The light here refers to the self-reflective actions of the saṃskāras or impressions. For example, the inner consciousness creates subtle internal images by reflecting on the impressions stored in citta(sub and unconscious). It is just like a mirror image. Just like a dream! The goal for evolution here can be understood as an identification with the Cosmic Mind - Hiraṇyagarbha prajāpati.
“The third quarter is Prājña whose sphere is deep sleep”(21). This is represented by the sound M. Here there is no enjoyment of external or internal objects. There are no impressions or reflections. This is the kāraṇa śarīra or the causal body. Consciousness is undifferentiated here. The duality of object and subject vanishes. The object, subject and the relationship between them becomes one. In the world of padarthas, the pada(term), the artha (the meaning embedded) and the referent relationship also become one.
There is no multiplicity. There is no ‘I’ here. So how could there be external objects or internal impressions! Because there is no manifestation or creation in this state. This is a state of unmanifest (avyakta). The Cosmic Causal Body, macrocosm, is known as prāṇa, the first descendant of the Absolute, while the individual causal body is prājña. The evolution here is to identify with or attain union with undifferentiated Consciousness, i.e. Cosmic Prāṇa.
The entire play is embedded within a fractal design. One can enter a dream-like state while in the waking state. Don’t we reflect on our thoughts in the waking state? One can also enter the deep sleep state from the waking state. This, however, is difficult for most to relate.
A person in deep meditation or a dancer completely engrossed in the art may momentarily relate to this. Imagine you are concentrating on a light source from a lamp. There are three things - you, the light and the relationship between both, i.e. your vision. This is the waking state. In the deep sleep state, the three become one. You, the light source and the vision are one - undifferentiated.
Back to Naciketā
Anyways, if we remember the attendants of Yama referred to Naciketā as vaiśvānara when he was waiting at the gates of the palace. Why? Because Naciketā’s consciousness at that state was still directed towards external objects. He was identified with his gross body. And the grant of the second boon brought about a transformation in him.
The identification with the Cosmic Body - Viśva, then with Cosmic Mind - Hiraṇyagarbha prajāpati, and finally with Cosmic Prāṇa. This is a journey that Naciketā took. The journey of AUM. It was possible due to the burning agni- the concentrated will in action. And this was preceded by śraddhā- complete surrender and rejection of impurities of the mind.
Anyone who rekindles the triple forces of aspiration, rejection and surrender will be able to ignite an ascent of the force from below which in turn will lead to a descent of the force from above. The former ascending force is a human effort while the latter descending is a divine mystical force.
If you possess śraddhā and tapa-agni then Śrī Kṛṣṇa will consecrate in your chariot and Mahāprabhu Jagannātha will descend from Puri Śrī Mandira to conduct your ratha jātrā, the journey in the sensory world. The Divine Mother, Mā Durgā, will descend down sitting on a lion to kill the demon king Mahiṣāsura. Ahh, another story from Devī Mahātmya! Another set of allegories! Maybe we decode some other time. For now, this is the knowledge spoken of by Yama to Naciketā.
The knowledge about the several layers, states, personalities and fragmentation of our being and how to become integral. It is after Naciketā’s transformation of consciousness that Yama gives him a multiform necklace, representative of the workings of Prakriti (22) or the laws of karma (23). Naciketā now understands the fractal coils of nature, the law behind births and deaths, and the ignorance is gone. He has known all the Devatās- the cosmic forces or the commanders of psychic realms (24). He knows the three syllabi of AUM.
Yet the Kaṭha Upaniṣad has hardly begun. Yama is reluctant to grant him the third boon. Naciketā is adamant but he has to pass the tests of Yama. He has to prove his eligibility for such sacred knowledge. It is not free for all. Why is it so? Who is the rider of the chariot we spoke about? Who is that warrior in the Kurukṣetra? Can we still remain in the theatre and understand the third boon? The pertinent question remains - What is That?
We shall find out in the second part of the article.
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This article is a thought discussion of ideas coming together from the individual author, an exercise undertaken to learn more about and apply concepts from śāstra as seen in the references.
*Diacritics for Naciketā are used in this article as per Swami Gambhiranandaji’s usage. Naciketas and Naciketa are also considered valid variants per IAST standard.
References
Pg 3, Tarkasaṅgraha of Annambhaṭṭa: English Translation with Notes by V N Jha
Pg 67, Kaṭha Upaniṣad Translated by Swami Gambhirananda
Part 1, Canto 1, Kaṭha Upaniṣad Translated by Swami Gambhirananda
The Katha Upanishad of the Black Yajurveda - CWSA - Kena and Other Upanishads - The Incarnate Word
RV I.1.1–3 - CWSA - Hymns to the Mystic Fire - The Incarnate Word
Sri Aurobindo talks about 7 kośas(sheaths of human-self) instead of the usual panchakośa. They are annam, prāṇa, manaḥ , buddhi, ānaṅda, cit and sat. The last two are cit and sat and he writes on them- “only the first five sheaths or panchakosha are yet sufficiently developed to be visible except to the men of the Satya Yuga and even by them the two others are not perfectly seen.” RV I.1.1–3 - CWSA - Hymns to the Mystic Fire - The Incarnate Word
RV I.1.1–3 - CWSA - Hymns to the Mystic Fire - The Incarnate Word
ibid
The Katha Upanishad of the Black Yajurveda - CWSA - Kena and Other Upanishads - The Incarnate Word
The Physical Consciousness - CWSA - Letters on Yoga - I - The Incarnate Word
The Vital Being and Vital Consciousness - CWSA - Letters on Yoga - I - The Incarnate Word
The Katha Upanishad of the Black Yajurveda - CWSA - Kena and Other Upanishads - The Incarnate Word
Pg 223-226, Kriya yoga: The Science of Life Force by Swami Nityananda Giri
ibid
ibid
The Katha Upanishad of the Black Yajurveda - CWSA - Kena and Other Upanishads - The Incarnate Word
Pg 20, Kaṭha Upaniṣad Translated by Swami Gambhirananda
Sri Aurobindo says this on on Devatās or Gods- “It must not be thought that the Veda uses these names merely as personifications of psychological and physical forces; it regards these gods as realities standing behind the psychological and physical operations, since no energy can conduct itself, but all need some conscious centre or centres from or through which they proceed.” RV I.1.1–3 - CWSA - Hymns to the Mystic Fire - The Incarnate Word