Category Archives: tathaa

Bhagavad Gita Verse 29, Chapter 13

30 Wednesday Jan 2013

Posted by in 13.29, aatmaanam, chapter 13 verse 29, http://schemas.google.com/blogger/2008/kind#post, karmaani, kriyamaanaani, pashyati, prakityaa, saha, sarvashaha, tathaa, yaha

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prakityaiva cha karmaani kriyamaanaani sarvashaha |
yaha pashyati tathaatmaanamakartaaram sa pashyati || 29 ||
 
One who sees all actions as performed by Prakriti alone, and the self as actionless, he sees (clearly).
 
prakityaa : by Prakriti
eva : alone
cha : and
karmaani : actions
kriyamaanaani : performed
sarvashaha : all
yaha : one who
pashyati : sees
tathaa : and
aatmaanam : self
akartaaram : actionless
saha : he
pashyati : sees
 
Imagine that a toddler sees a phone for the first time. He is fascinated each time it rings, and
mistakenly thinks that by raising his hand, he makes the phone ring. But, if an adult has a never-ending fascination with a phone ringing, or has a mistaken notion about why it rings, we will think that there is something wrong with him. If an adult is overly fascinated by machines, it is because he lets the three gunaas of Prakriti still entice him, attract him. In general, once we know how a machine works, we are not overly fascinated or concerned with it.
 
Shri Krishna says that one who has truly assimilated the teaching of the Gita knows that actions, reactions, emotions, thought, logic, all these happen in the realm of Prakriti. Just like we lose fascination for machines once we know how they work, we should gradually stop being fascinated by Prakriti which is nothing but a machine that belongs to Ishvara. If this understanding seeps in, the shocks of world that we face daily will slowly lose their ability to shake us. We will perform our duties with our full attention and dedication so that we can exhaust our selfish desires, but leave the reactions and results to Ishvara because it is all happening in his Prakriti, his machine.
 
How do we go about doing this? The path to reduce our fascination with Prakriti is to increase our fascination with Ishvara. We do this by hearing stories of Ishvara, by attending satsanga, by associating with people who are devotees of Ishvara. The Gita itself contains chapters on the glory of Ishvara’s vibhootis, which can be read as daily meditations. Eventually, we begin to see the entire universe as part of Ishvara’s vishvaroopa, his universal form.
 
Now, even if we develop detachment towards the actions of Prakriti, our senses still get fascinated by variety, colour, form, diversity created by it. How do we deal with this aspect of Prakriti? Shri Krishna covers this next.

Bhagavad Gita Verse 18, Chapter 13

19 Saturday Jan 2013

Posted by in 13.18, chapter 13 verse 18, http://schemas.google.com/blogger/2008/kind#post, jneyam, jnyaanam, kshetram, madbhaavaaya, madbhaktaha, tathaa, uktam, upapadyate, vijnyaaya

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iti kshetram tathaa jnyaanam jneyam choktam samaasataha |
madbhakta etadvijnyaaya madbhaavaayopapadyate || 18 ||
 
In this manner, the field, as well as knowledge, and that which is to be known, has been described in brief. By understanding this, my devotee becomes qualified to attain my state.
 
iti : in this manner
kshetram : the field
tathaa : as well as
jnyaanam : knowledge
jneyam : which is to be known
cha : and
uktam : has been described
samaasataha : in brief
madbhaktaha : my devotee
etat : this
vijnyaaya : understanding
madbhaavaaya : my state
upapadyate : qualified
 
Shri Krishna concludes the current topic in this shloka. He spoke about “kshetra”, the field, in shlokas five and six. The field comprises twenty four aspects which are the building blocks of the universe. This includes the five great elements, the intellect and others. The field also comprises seven modifications by which the individual comes into contact with the world. These include desire, hatred and others. The field works like a machine, but is devoid of awareness in itself and is inert. It need to borrow awareness from some other source. This source is the eternal essence, it is “jneyam”, that which is to be known. The field acts as an upaadhi, something which as though limits and conditions the eternal essence.
 
If we are attracted by the dance of an ocean’s waves, we will never be able to appreciate the grandeur and beauty of the entire ocean, because our attention will be on the waves which are upaadhis that as though limit our understanding of the ocean. Similarly, if we need to understand the eternal essence, we have to learn how to gradually minimize the impact of the upaadhis of the field, and shift our attention to the eternal essence. “Jnyaanam”, the means of knowledge that enables us to mentally remove these upaadhis, is elaborated in shlokas seven to eleven.
 
Once we have learnt how to mentally remove upaadhis, we are ready to understand the eternal essence. From shlokas twelve to seventeen, Shri Krishna uses paradoxes and contradictions to explain the nature of the eternal essence. Our intellect is a product of the field, and will never grasp what the eternal essence is. Paradoxical statements like “it is near, yet it is far” are used so that our intellect doesn’t mistakenly turn the eternal essence into yet another concept.
 
Shri Krishna says that those who have inquired into the eternal essence in the manner prescribed above are qualified to attain the state of Ishvara, which is liberation. But this state cannot be attained unless we become devotees of Ishvara. A devotee means one who knows that whatever he sees, hears or touches is nothing but Ishvara, and that Ishvara is residing in him as his self. Only one who has such a firm conviction through meditation that everything, including himself, is ultimately Ishvara, will attain liberation.
 
Now, does all this explanation help me understand what ultimately causes me to experience sorrow in my life? In the next shloka, Shri Krishna begins a new topic to explain this issue in detail.

Bhagavad Gita Verse 18, Chapter 12

28 Friday Dec 2012

Posted by in 12.18, chapter 12 verse 18, maanaapamaanayoho, mitre, samaha, sangavarjitaha, shatrau, sheetoshnasukhaduhkheshu, tathaa

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samaha shatrau cha mitre cha tathaa maanaapamaanayoho |
sheetoshnasukhaduhkheshu samaha sangavarjitaha || 18 ||
 
He who is alike to friend and foe, in honour and dishonour, and also alike in cold and heat, in joy and sorrow, without attachment…
 
samaha : alike
shatrau : foe
cha : and
mitre : friend
cha : and
tathaa : also
maanaapamaanayoho : in honour and dishounour
sheetoshnasukhaduhkheshu : in cold and heat as well as joy and sorrow
samaha : alike
sangavarjitaha : without attachment
 
In this shloka and the next, Shri Krishna begins to summarize the signs of a perfected devotee. By using the word “samaha” twice, he emphasizes equanimity and stability of the devotee’s antahakarana or inner instrument that is made possible through intense devotion to Ishvara. Right from the second chapter, we have repeatedly heard about the importance of bringing equanimity to the inner instrument, which is made up of our intellect, our mind and senses, our ego and our memory. Just like an astronomer can see extremely faint light from stars that are millions of miles away using his telescope, we can experience the eternal essence only if our inner instrument is free of desires and agitations caused by the reactions mentioned in this and the next shloka.
 
Our inner equipment contacts the world through the sense organs. The skin, for example, experiences heat and cold. This reporting of hotness or coolness is akin to a thermometer in that it is extremely objective and factual. When this sensation travels to the mind, however, it can be interpreted either as joy or sorrow based on inputs from other sense organs and from the memory. If the skin sends a message of hotness, the mind feels joy in winter and sorrow in summer. Similarly, sounds are picked up by the ear, sent to the mind which compares them against its memory to generate words. If the words enhance the ego, the “doer” notion in the intellect, registers a sense of honour. If the words bring down the ego, the intellect registers dishonour.
 
What causes the intellect and the mind to attach all these positive and negative reactions to simple messages that come from the skin and the ears and so on? It is the degree of attachment or identification of the ego. If the ego is heavily attached to the body, for example, then any comment about the body will generate a strong positive or negative reaction in the mind, disturbing its sense of equanimity in the process.
 
But one who has removed his attachment from the body/mind/intellect and attached himself to the service of Ishvara does not generate strong positive or negative reactions. He considers his body as a part of Ishvara’s creation, therefore there is very little sense of egoism when it comes to the body, mind or intellect. When someone criticizes a devotee’s body, it is like someone is criticizing a random object that the devotee has no connection with, and hence, no strong positive or negative reaction is generated.
 
The message of this shloka concludes in the following shloka.

Bhagavad Gita Verse 50, Chapter 11

03 Monday Dec 2012

Posted by in 11.50, aashvaasayaamaasa, arjunam, bheetam, bhootvaa, bhooyaha, chapter 11 verse 50, darshayaamaasa, iti, mahaatmaa, punaha, roopam, saumyavapuhu, svakam, tathaa, uktvaa, vaasudevaaha

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Sanjaya uvaacha:
ityarjunam vaasudevastathoktvaa svakam roopam darshayaamaasa bhooyaha |
aashvaasayaamaasa cha bheetamenam bhootvaa punaha saumyavapoormahaatmaa || 50 ||
 
Sanjaya said:
Then, having said this to Arjuna, Vaasudeva showed his form, and again assuming his pleasant form, reassured the scared one.
 
iti : this
arjunam : to Arjuna
vaasudevaaha : Vaasudeva
tathaa : in that manner
uktvaa : saying
svakam : his
roopam : form
darshayaamaasa : showed
bhooyaha : then
aashvaasayaamaasa : reassured
cha : and
bheetam : scared one
enam : this
bhootvaa : becoming
punaha : again
saumyavapuhu : pleasant form
mahaatmaa : great one
 
The eighth chapter in the tenth canto (book) of the Srimad Bhaagavatam describes the ceremony where the sage Garga, in the village of Gokula, gave Shri Krishna the name “Vaasudeva” to indicate that he was the son of Vasudeva. This ceremony was conducted in a low-key manner so as not to arouse the suspicion of the king Kamsa, who had vowed to finish the progeny of Vasudeva. Vaasudeva also means “one who pervades the universe”.
 
The eight chapter further describes a story of Shri Krishna’s pranks. Several children approached Yashoda to complain that her son, the baby Shri Krishna, was eating dirt. Angrily, she asked Shri Krishna to open his mouth so that she can know whether he was eating dirt. When he opened his mouth, Yashoda saw a glimpse of the cosmic form inside, with all the planets, galaxies, all of time and space in that tiny mouth. She did not see the fearful version of the cosmic form shown to Arjuna. Immediately afterwards, Shri Krishna erased her memory of this incident.
 
In this shloka, Sanjaya introduced himself in the commentary to indicate that Shri Krishna ended the fearful cosmic form, then assumed his four armed form, and then the pleasant two armed form that Arjuna knew and loved. Shri Krishna held a whip in one hand and the reins of the chariot in another. Just like a father scolds his children and immediately pacifies them, he pacified Arjuna and ensured that his state of mind returned to normal. This is reflected in the next shloka where the chanting meter also reverts back to the “anushtubh chandha”, the default meter for chanting the Gita.

Bhagavad Gita Verse 29, Chapter 11

12 Monday Nov 2012

Posted by in 11.29, api, chapter 11 verse 29, eva, jvalanam, lokaaha, naashaaya, patangaahaa, pradeeptam, samriddhavegaahaa, tathaa, tava, vaktraani, vishanti, yathaa

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yathaa pradeeptam jvalanam patangaa vishanti naashaaya samriddhavegaahaa |
tathaiva naashaaya vishanti lokaastavaapi vaktraani samriddhavegaahaa || 29 ||
 
Like moths enter a blazing fire with great speed for their destruction, so also do these people enter your mouths with great speed for their destruction.
 
yathaa : like
pradeeptam : blazing
jvalanam : fire
patangaahaa : moths
vishanti : enter
naashaaya : for destruction
samriddhavegaahaa : with great speed
tathaa : so do
eva : only
naashaaya : for destruction
vishanti : enter
lokaaha : these people
tava : your
api : also
vaktraani : mouths
samriddhavegaahaa : with great speed
 
In the previous shloka, Arjuna gave the example of rivers flowing into the ocean to indicate the ultimate dissolution of all names and forms back to their source, Ishvara. Some may raise a doubt here. They may say, water is inert so naturally it goes wherever the flow takes it. In order to dispel this doubt, Arjuna gives the example of moths that rush towards a flame, and are eventually destroyed. Sant Jnyaneshwar gives the example of water droplets evaporating on a hot iron rod in his commentary.
 
By showing the process of destruction at such a grand scale, Shri Krishna also wants to remove Arjuna’s fear of death. Since the physical body goes away after death, there is no question of pain once we die. We are scared not about the pain of death, but about losing all of our identity as a so-and so, with all his possessions and attachments. The name and form that we have become attached, and its network of relationships with other names and forms, is what ultimately gets dissolved.
 
But when we know that death is nothing but a return of our name and form into that of Ishvara’s, our fear of death will go away, or at least, diminish to a great extent. In fact, when we become a devotee of Ishvara, death loses its unpleasantness because now it means a return to the original source of the universe. We begin to lead our lives with a great degree of courage and fearlessness, because we know how it will all end.

Bhagavad Gita Verse 28, Chapter 11

11 Sunday Nov 2012

Posted by in 11.28, abhimukhaa, abhivijvalanti, ambuvegaahaa, amee, bahavaha, chapter 11 verse 28, dravanti, eva, nadeenaam, naralokaveeraa, samudram, tathaa, tava, vaktraani, vishanti, yathaa

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yathaa nadeenaam bahavombuvegaahaa samudramevaabhimukhaa dravanti |
tathaa tavaamee naralokaveeraa vishanti vaktraanyabhivijvalanti || 28 ||
 
Like torrents of several rivers rush towards the ocean, so do those brave men of this earth run to your blazing mouths.
 
yathaa : like
nadeenaam : rivers
bahavaha : several
ambuvegaahaa : torrents
samudram : ocean
eva : only
abhimukhaa : towards
dravanti : rush
tathaa : so do
tava : to you
amee : those
naralokaveeraa : brave men of the earth
vishanti : run
vaktraani : mouths
abhivijvalanti : blazing
 
Putumayo, Caqueta, Vaupes, Guainea, Morona, Pastaza, Nucuray, Urituyacu, Chambira, Tigre, Nanay, Napo, and Huallaga. These are names of just a handful of 1100 rivers that feed the Amazon, the largest river in the world by volume. It covers almost 7 million square kilometres of land in South America, and empties 300,000 cubic metres per second into the Atlantic Ocean. The most distant source of the Andes is a glacier on the western edge of South America, near the Pacific Ocean, on the other side of the continent.
 
Arjuna, on seeing the hordes of warriors rushing into Ishvara’s mouths, compares them to the water in a river rushing with great speed into the ocean. It reminds him of Shri Krishna’s description of the water cycle as a sacrifice when he was explaining karma yoga. A drop of water which originated from the ocean evaporates into the sky, falls down as rain into a water body, and eventually finds its way into a flowing river that goes right back into its source, the ocean. At one point it thinks that it is rain, or it is a pond, a lake, a stream and so on, forgetting its true nature as water.
 
Similarly, we tend to think of ourselves as children, students, engineers, executives, rich people, poor people at different points in our lives, and forgetting that our journey is just a cycle that begins from Ishvara, the source, and ends back into that same source. So even though Arjuna was scared of Ishvara’s monstrous form, he understood that there was nothing to be scared about destruction. It was a bona fide part of Ishvara’s creative process.
 
Arjuna illustrates another aspect of this scene in the next shloka.

Bhagavad Gita Verse 26, Chapter 11

09 Friday Nov 2012

Posted by in 11.26, amee, api, asau, asmadeeyahi, avanipaala, bheeshmaha, chapter 11 verse 26, dhritaraashtrasya, dronaha, putraahaa, saha, sanghai, sarve, sootaputraha, tathaa, tvaam, yodhamukhyaihi

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amee cha tvaam dhritaraashtrasya putraahaa sarve sahaivaavanipaalasanghai |
bheeshmo dronaha sootaputrastathaasau sahaasmadeeyairapi yodhamukhyaihi || 26 ||
 
And all the sons of Dhritaraashtra, with bands of warrior kings, and also Bheeshma, Drona, and also that son of Soota, along with our prime warriors..
 
amee : these
cha : and
tvaam : you
dhritaraashtrasya : of Dhritaraashtra
putraahaa : sons
sarve : all
saha : with
eva : only
avanipaala : warrior kings
sanghai : bands of
bheeshmaha : Bheeshma
dronaha : Drona
sootaputraha : son of Soota
tathaa : also
asau : that
saha : with
asmadeeyahi : our
api : also
yodhamukhyaihi : prime warriors
 
Shri Krishna had a surprise in store for Arjuna, even though Arjuna wanted him to stop showing his terrible form. Among all the scenes shown on the canvas of the cosmic form, Arjuna began to see the Mahabhaarata war. However, he saw things that had not happened so far. In other words, Shri Krishna was showing him the future.
 
Maaya, Ishvara’s great power, creates space and time. Space and time create the sense of separateness between us and the universe. Both space and time are interrelated. The larger the space, the more time it takes to go from one corner to another. A fish can traverse a bowl much faster than it can traverse a giant aquarium tank. Only Ishvara, who is beyond the notion of space and time, could show a scene that was to occur in the future, like a movie director who solely knows the outcome of a script.
 
Earlier, Shri Krishna had destroyed all notion of space, since it appeared that everyone and everything had congealed together in his cosmic form. Now, he began eliminating the notion of time. Arjuna could see the past, present and future all at once in the cosmic form. He now saw the Paandava and the Kaurava armies in that scene. He had a special place of dislike for Karna, calling him “that son of a Suta”. Suta refers to one whose mother is a brahmin and
father is a kshatriya.
 
So then, what was happening to all these warriors? This shloka continues further.\

Bhagavad Gita Verse 6, Chapter 11

20 Saturday Oct 2012

Posted by in 11.6, aashcharyaani, adityaan, adrishta, ashvinau, bahooni, bhaarata, chapter 11 verse 6, marutaha, pashya, poorvaani, rudraan, tathaa, vasoon

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pashyaadityaanvasoonrudraanaashvinau marutastathaa |
bahoonyadrishtapoorvaani pashyaashcharyaani bhaarata || 6 ||
 
Behold the Aadityaas, the Vasus, the Rudraas, the Ashvinis as well as the Maruts, O Bhaarata. Behold the many astonishing (sights) that were invisible until now.
 
pashya : behold
adityaan : the Aadityaas
vasoon : the Vasus
rudraan : the Rudraas
ashvinau : the Ashvinis
marutaha : the Maruts
tathaa : as well as
bahooni : many
adrishta : invisible
poorvaani : until now
pashya : behold
aashcharyaani : astonishing
bhaarata : O Bhaarata
 
Shri Krishna continues to describe the Vishwa-roopa, the universal form of Ishvara. He now points to the deities and the demi-gods that are seen in his form, but were also mentioned as his divine expressions in the previous chapter. These were the twelve Aadityaas, the eight Vasus, the eleven Rudraas, the two Ashvinis and the forty-nine Maruts.
 
Arjuna would only have read about these deities in the scriptures. Now, he was fortunate enough to see those deities with those own eyes. Shri Krishna calls this fact to his attention by saying that these sights were invisible or inaccessible to everyone else but Arjuna. Also, Shri Krishna repeatedly says “pashya” or behold, to underscore this point.
 
If a teenager who is an ardent fan of Spiderman somehow manages to meet him in person, what would his reaction be? It is astonishment, “aascharya”, which is defined as “that which makes us go aah”, that which makes our mouth wide open for a very long time. Shri Krishna, further describing his form, says that these sights are nothing short of pure astonishment.

Bhagavad Gita Verse 35, Chapter 10

05 Friday Oct 2012

Posted by in 10.35, aham, brihatsaama, chapter 10 verse 35, gaayatraa, http://schemas.google.com/blogger/2008/kind#post, kusumaakaraha, maasaanaam, margasheershaha, ritoonaam, saamnaa, tathaa

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brihatsaama tathaa saamnaa gaayatraa chandasaamaham |
maasaanaam margasheershohamritoonaam kusumaakaraha || 35 ||
 
Among the Saamas I am Brihat-saama, also, among the poetic metres I am Gaayatri. Among the months I am Maargasheersha, and among the seasons I am spring.
 
brihatsaama : Brihat-saama
tathaa : also
saamnaa : among the Saamas
gaayatraa : Gaayatri
chandasaam : among the lyrical metres
aham : I am
maasaanaam : among the months
margasheershaha : Maargasheersha
aham : I am
ritoonaam : among the seasons
kusumaakaraha : spring
 
Previously, we came across the Saama Veda as one of Ishvara’s manifestations. Within the Saama Veda, there is a chant called the Brihat-Saama mantra, an invocation that is sung for praising Lord Indra. Since it is Brihat, the most potent and powerful among the Saama Veda mantras, Shri Krishna terms it as a foremost expression of Ishvara.
 
In prior chapters of the, we have seen the use of the poetic metre as a tool to emphasize the change in topic. Let us delve deeper into this. The Gita is composed in the “Anushtup chandas” . Chandas means metre. It is made up of 4 lines or padas, each comprising 8 syllables. For example, let us see a famous shloka: “ya-da-ya-da-hi-dharm-as-ya”. It contains 8 syllables. There are 3 more lines like this. So we get 8 times 4 equals 32 syllables.
 
The Gaayatri mantra is considered to be the root and essence of all Vedic mantras. It is composed in a metre of the same name. The Gaayatri metre is made up of 4 lines each comprising 6 syllables. The first line is “tat-sa-vi-tur-vareni-yam”. Therefore the Gaayatri mantra as well as the associated metre, foremost among all the mantras, are Ishvara’s expression.
 
Next, Shri Krishna elaborates upon weather and seasons. He says that among all the months, Ishvara is the month of Maargasheersha of the Indian calendar. It corresponds to the November-December time period and culminates in the festival of Makara Sankranti. He then goes on to say that among the seasons, Ishvara is Kusumaakara, which refers to spring, the flower-bearing season. Both Margasheersha and Kusumaakara are not too hot and not too cold. They are conducive to generating serenity in the mind, and that is why they are considered foremost expressions of Ishvara.

Bhagavad Gita Verse 13, Chapter 10

13 Thursday Sep 2012

Posted by in 10.13, aahuhu, asitaha, braveeshi, cha, chapter 10 verse 13, devalaha, devarshihi, eva, me, naaradasha, rishayaha, sarve, svyayam, tathaa, tvaam, vyaasaha

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aahustvaamrishayaha sarve devarshinaaradastathaa |
asito devalo vyaasaha svyayam chaiva braveeshi me || 13 ||
 
All the great sages and royal sages such as Naarada, Asita, Devala and Vyaasa speak this, and also you have said it to me.
 
aahuhu : speak
tvaam : to you
rishayaha : sages
sarve : all
devarshihi : divine sages
naaradasha : Naarada
tathaa : also
asitaha : Asita
devalaha : Devala
vyaasaha : Vyaasa
svyayam : yourself
cha : and
eva : also
braveeshi : said
me : to me
 
Further praising Ishvara, Arjuna added that several eminent individuals, over the course of history, have also praised Ishvara. He listed the names of the renowned sages Naarada, Asita, Devala and Vyaasa in this regard.
 
The Srimad Bhagavatam speaks of Naarada as the son of a maid-servant who served several priests. He grew up in an environment of spirituality and decided to seek the absolute truth in a forests after his mother passed away. His meditation bore fruit when he had a vision of Ishvara. After his death, he was reborn as the sage Naarada that many of us are familiar with. Naarada was learned in all the arts and sciences. He could travel anywhere in the universe, and talk to any deity that he wished.
 
Another sage mentioned here is Devalaha who was the son of a great sage named Asita, who was born as a result of Asita’s prayer to Lord Shiva. It is said that Devalaha was cursed by a celestial maiden named Rambha for not agreeing to marry her. He was reborn as Sage Ashtavakra, who is famous for writing the Ashtavakra Gita. And of course, Sage Krishna Dvaipayana Vyaasa is the author of the great Indian epic Mahabhaarata.
 
So therefore, Arjuna accepted the authority of Shri Krishna to convey the true nature of Ishvara. But did he have any doubts or objections?