Ch. 12 Yoga of the steps of Bhakti (part 1)

This article is part 73 of 123 in the series Jīvana-dharma-yoga

Introduction

dhyānābhyāsa-vaśīkṛtena manasā tannirguṇaṃ niṣkriyaṃ
jyotiḥ kiñcana yogino yadi paraṃ paśyanti paśyantu te ।
asmākaṃ tu tadeva locana-camatkārāya bhūyāc-ciraṃ
kālindī-pulinodare kimapi yan-nīlaṃ maho dhāvati ॥

dhyānāhbyāsadè tattvamaṃ hṛdayadoḻ tāṃ-ā nirākāramaṃ
kāṇalk-appoḍè kāṇge yogivarar-āṃ sāmānyar-èmmakṣig-ā ।
veṇu-svāna-sudhā-prasādi yamunā-kuñjodara-āmodi me-
ghānīla-dyuti nāṭyavāḍuge sadā nāṃ dhanyar-ā līleyiṃ ॥

|| Śrī Madhusūdana-sarasvatī ||
The yogis see the formless in their hearts, let them if they can.
Ordinary we are, dances that blue effulgence in front of our eyes
Gladdening us with his mellifluous flute, rejoicing in the gardens
On the banks of the Yamuna. We are blessed by it.

Note

Ekan-anākāraṃ vibhu
lokānugrahakè divya vividhākāraṃ ।
sākalya śakaladòḻaṃ
svīkarisalkahudu bhakti-śama-vinayam-iral ॥

The Supreme is one, formless
But takes many divine forms to bless the world.
One can discern the infinite
in a nugget, if there is devotion, tranquility and humility.

Summary

Giving up the fruit of our actions means that we experience the world with the notion that all felicity and happiness we experience is a favour from Īśvara, and that adversities are training to the jīva. This needs the jīva to make mindful choices of karma to be performed, unwavering devotion to dharma, equanimity in the experience of the fruit of karma, and finally complete surrender to Īśvara. Here, Śrīkṛṣṇa instructs Arjuna on how to gradually diminish one’s affinity with ego and experience first hand the relationship with Divine.

Section 13 / Chapter 12 Bhakti-yoga / Bhakti-sopāna-yoga

(The Yoga of the steps of Bhakti)

At the end of the eleventh chapter, we analysed a significant concept. The supreme reality or sadvastu is of two kinds: One is viśvarūpa  — the form that encompasses the entire universe, and the other supra-universal. Viśvarūpa is tangible reality and it is evident. That is Īśvara-yoga. The supra-universal  is intangible truth and has to be inferred indirectly. That is Parabrahma. Arjuna asks which of these two he has to meditate upon. The Svāmī answers his question in this chapter. There are four important points here.

  1. The difficulties in meditating upon the formless - nirguṇopāsana.
  2. Ease of worshipping the divine that has a form - saguṇopāsana
  3. Stepwise worship of the divine
  4. The wealth of qualities that has to be earned by the worshipper.

Arjuna asked: “O Great one, what should I believe? You say ’mat-karma-kṛt mat-paramaḥ’ — one who does the work ordained by me and engrossed in me — Who is ’me’ here? Should I seek you and your form that is visibly manifest in the universe, or the invisible, unmanifest and intangible, pure and Supreme Brahma? You have instructed me in the worship of both of these. Which of them is better?"

"teṣāṃ ke yoga-vit-tamāḥ"

BG 12.1

Svāmī’s answer is thus: "O Arjuna, when there are many ways to reach a destination, shouldn’t a traveller choose one that is right for his body and mind? One road might be uneven and bumpy, and additionally difficult to traverse because of sharp stones and thorns. It might, however, be shorter. A strong man in a hurry might choose this path because it is short. Another, weaker man would say that it is more important to not fatigue himself. With time on his side, the circuitous route would be better for him though it takes more time, because it does not harm his body. The journey that a jīva undertakes towards better worlds is similar. The worship of the intangible Brahma is more suited for those who are stronger and can sustain strain. The worship of the manifest form is more suited for weaker people. Both will attain the same supreme state — one directly and the other gradually.

mayyāveśya mano ye māṃ nitya-yuktā upāsate ।
śraddhayā parayo-petās-te me yukta-tamā matāḥ ॥

BG 12.2

“Those who rest their minds upon any one form of Īśvara, and continuously meditate upon the Brahma with a form (sākāra-brahma) are closest to him”.
Ye tvakṣaram-anirdeśyam avyaktaṃ paryupāsate ।
ṭe prāpnuvanti māmeva sarva-bhūta-hite ratāḥ ॥

BG 12.3

“Those who are friendly towards the whole world, who meditate upon the indestructible, indescribable, intangible and formless Brahma, reach Īśvara Himself”.

The followers of both paths attain the same end; there is a slight difference only in the speed with which it is attained. The quicker way is more difficult; the other way is circuitous but easier. Why should we not choose the faster one?

kleśo’dhikataras-teṣām avyaktā-sakta-cetasāṃ ।
avyaktā hi gatir-duḥkhaṃ dehavadbhir-avāpyate ॥

BG 12.4

The journey towards better worlds is anyway difficult. Both paths require the practice of self-control and giving up carnal pleasures. Till we reside in a body that consumes salt and spices, it is difficult to subdue our senses. Therefore, it is a given that it is difficult to indulge in worshiping Bhagavān. Further, worshipping the unmanifest and formless Brahma is much more difficult than worshipping the tangible Brahma with a form. The difficulties are of two kinds. The first is that of intellectual capability. Ordinary intellect cannot grasp the indescribable and unthinkable. The supreme tattva is described thus in the Vedas -

Yato vāco nivartante । aprāpya manasā saha ॥

Tai.U, Brahmānandavallī

yanmanasā na manute yenāhurmano matam ॥

Kenopaniṣaḍ 5

Brahma is described as that very mysterious thing — “ from where speech and mind return without being able to grasp it; that which cannot be held by the mind, but causes the mind to understand”.  The intellect has to put great effort to understand this concept clearly. Even if we think that the  intellect is able to grasp this, there is a second difficulty — that of experience. Brahma should be experienced. It becomes truthful knowledge only then. “saṃniyamyendriya-grāmam” — ’Subduing the collective influence of the senses’, “sarvatra sama-buddhayaḥ” — ’displaying equanimity everywhere’, “sarva-bhūta-hite ratāh” — indulging in the well-being of all creation’. To whom is this easy? Each second, the body has to grapple with arising desire, love and infatuation. The enchanting beauty and glamour of Nature captivates our eyes and deviates our minds from the thought of true knowledge. If a man who has not yet escaped the clutches of māyā thinks that he is as capable as the people who have, his plight will be similar to that of a lame person trying to climb a hill. Therefore, the humility of worshipping Brahma with a form is safer than the strenuous exercise of meditating upon the formless Brahma

ye tu sarvāṇi karmāṇi mayi saṃnyasya matparāḥ ।
ananyena-eva yogena māṃ dhyāyanta upāsate ॥

BG 12.6

teṣām ahaṃ samuddhartā mṛtyu-saṃsāra-sāgarāt ।
bhavāmi na cirāt pārtha mayy-āveśita-cetasām ॥

BG 12.7

Bhagavān quickly holds and draws towards him those who give up the fruit of all their actions in him, seek his direction in everything, not indulging in anything else other than meditating upon him and rest their minds firmly in him”.

Is this method of upāsanā easy for everyone? Śrīkṛṣṇa did not think so.

ātha cittaṃ samādhātuṃ na śaknoṣi mayi sthiraṃ ।
abhyāsa-yogena tato mām-icchāptuṃ dhanañjaya ॥

BG 12.9

“If you cannot establish your mind in Īśvara firmly and constantly, do it as much as you can, whenever you can. With practice comes focus”.

Is practice easy, though? In our houses, those who wear maḍi and sit for worship know that it is an arduous practice. It is difficult to focus for long on something that cannot respond to us, something that does not react to our actions. Young people can concentrate on their loved ones for a little time. The reason for that is born from the natural reaction of the limbs. There is an echo to a sound, a sign in answer to another. Is Bhagavān so wondrous and attractive? Blessed are they whom he attracts of his own accord. We are not talking about them. Let us look at the plight of those who are not so lucky. They have to go in search of Bhagavān of their own volition. It is true that our mind does turn towards the Divine when worldly adversities arise. But the very next second, it turns back from there and focuses on something else. How can we discipline something that is so fickle? One way is to engage it in karma — some good work. When the body and hands are engaged in a work, the mind is engrossed in it and does not flit here and there. The minds of carpenters, engineers, masons, and farmers are settled and rested in their work. Therefore, Arjuna, “matkarma-paramo bhava” — “perform karma as service to Bhagavān”. Perform karma with the view that you are only doing it for the love of Bhagavān.

ṃadartham-api karmāṇi kurvan siddhim avāpsyasi ॥

BG 12.10

“Perform laukika and vaidika karmas as an offering to Īśvara. You will then achieve the supreme state".

The world is a carpenter’s shop. You are a carpenter working there. Do your work diligently, to please the owner. From such work you will earn for life in this world, and blessing for the afterlife. This is the training of karma, the biggest and best of all trainings.

To be continued...

The present series is a modern English translation of DVG’s Kendra Sahitya Akademi Award-winning work, Bhagavad-gītā-tātparya or Jīvana-dharma-yoga. The translators wish to express their thanks to Śatāvadhāni R Ganesh for his valuable feedback and to Hari Ravikumar for his astute edits.

Author(s)

About:

Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.

Translator(s)

About:

Engineer. Lapsed blogger. Abiding interest in Sanskrit, religion, and philosophy. A wannabe jack-of-all.

About:

Mother of two. Engineer. Worshiper of Indian music, poetry, and art.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...