Ch. 15 Yoga of meditation on the root of the aśvattha (part 3)

This article is part 85 of 128 in the series Jīvana-dharma-yoga

We saw in the previous Bhāgavata śloka a mention of two birds in the primordial tree - dvikhago hyādivṛkṣaḥ. When there is a tree, there is usually a bird in it. The metaphor of the two birds comes to us again from the Veda. The Muṇḍakopaniṣad describes the two birds of the saṃsāra tree thus.

dvā suparṇā sayujā sakhāyā samānaṃ vṛkṣaṃ pariṣasvajāte ||

Muṇḍakopaniṣad 3.1.1

The mention of these two birds is seen elsewhere in the Vedas as well. Two birds; from afar they appear identical. However, their inner characteristics are entirely different. Their external looks are the same. Sayujā (appearing similar). Who are those two birds? Bhagavān says that here.

dvāv imau puruṣau loke kṣaraścākṣara eva ca
kṣaraḥ sarvāṇi bhūtāni kūṭastho’kṣara ucyate ||

uttamaḥ puruṣastvanyaḥ paramātmetyudāhṛtaḥ
yo loka-trayam-āviśya bibhartyavyaya īśvaraḥ ||

BG 15.16-17

  1. Kṣara refers to the jīva. It means something that is perishable. Bearing a body that is perishable, performing works good and bad, enjoying their desirable and undesirable results, lamenting frequently, crying with joy, adventuring exuberantly - the jīva is a fragment of the Universal consciousness. It is kṣara - something that can be eroded and exhausted. Though it exists momentarily, it is eventually cast off. The ātmā that exists in this temporary changing state is the jīvatmā. It is a sentience that has entered the insentient. The jīva-consciousness that permeates and animates the body’s limbs, sense organs, manas, buddhi and ahaṅkāra is known as kṣara.
  2. Akṣara is the unattached state of the same universal consciousness. It is the indestructible consciousness latent in the destructible body and is therefore known as kūṭastha (unchangeable). The kṣara can act only because of the presence of the akṣara. As the basis of the kṣara, the akṣara is beyond the kṣara-jīva’s experiences of puṇya and pāpa and is a changeless witness known as the sūtrātmā (the Self that is the common thread in all jīvas). It is also known as the kūṭātmā (the chief Self). The self that is embodied in the body and is the kṣetrajña (knower of the field/body) in the kṡetra (field/body) is akṣara which is in turn "used" by the kṣara-jīva. The function of an electric power company is to just supply power. The power company or outlet does not restrict the use of power to specified uses only. Electricity could be used for good or bad. The use of electricity is the responsibility of the user. The power company is not concerned with that. Similar is akṣara. Both the jīvatmā and the kūṭātmā are vyaṣṭi (individual) experiences - considerations that are necessary when viewing each being separately.
  3. The Paramātmā is the samaṣṭi (collective aggregate) of all separate sentiences of the jīvātmās. When a rupee is counted separately as each paisa, each paisa is considered individually - as vyaṣṭi. The combined value of a hundred such paisas is samaṣṭi. When all the characteristics that are unique to a jīva are separated and discarded, a remainder is left. When all such remainders are viewed as an aggregate, it is considered Paramātmā. We should understand that the characteristics of the vyaṣṭi and the samaṣṭi are quite different.

The features of a hundred separate single paisa coins are completely different from that of a single rupee note. However, the purchasing value of both is the same. As the saying in English goes, “Twelve of the one and a dozen of the other", both are the same in a marketplace. However, a hundred paisas are different from a single rupee in these cases - timewise - when we have to count each of those coins out; weightwise - when we have to carry a hundred coins around; and in terms of satisfaction when we present dakṣiṇā to brāhmaṇas. Similarly, Paramātmā and kṣara-akṣara are quite different in transactional or relative reality. But from the perspective of the Absolute, they are all the same. The one who exists changelessly as a whole during all times and circumstances is the one beyond both kṣara and akṣara - known as puruṣottama (best among puruṣas). The best among puruṣas is Paramātmā. He permeates, sustains, and protects all the three worlds. 
To use an analogy from physics, Paramātmā can be likened to potential energy and the jīvātmā to kinetic energy. While the former is like the ocean, the latter is like the wave. The substance is the same but forms are different.
Bhagavān has clarified that the jīva is a part of Brahma-consciousness.

mamaivāṃśo jīva-loke jīva-bhūtaḥ sanātanaḥ |
manaḥ-ṣaṣṭhānīndriyāṇi prakṛtisthāni karṣati ||

BG 15.7

“It is my (Brahma’s) aspect that exists in the world of beings as the eternal jīva. That rules over the five sense organs and the sixth instrument of manas that reside in prakṛti.”

It is the caitanya (sentience) of the jīva that animates all bodily and mental organs. This caitanya of the jīva belongs to paramātmā. When the primordial Brahma-consciousness expresses itself by flowing through transient bodily instruments, it becomes known as kṣara.

Why does Brahma have to become the jīva? Does Brahma have any goal? Because it is impelled by another? Or because of fear? Or a desire? No. Without Brahma, it is impossible for anything to even exist. All of what is - is Brahma. When there is nobody else anywhere, why should there be fear? When one is all-powerful, what is the reason for desire? What could the reason for world creation be? The Bṛhadāraṇyakopaniṣad informs us.

sa vai naiva reme। ekākī na ramate।
sa dvitīyamaicchat॥

-Bṛhadāraṇyaka 1.4.3

“(When Brahma was all by itself) It was not happy. There is no happiness for one who is lonely. Therefore It sought another as a companion.”

Thus the world is a companion that Brahma created by itself. The Taittirīyopaniṣad states -

so’kāmayata | bahu syāṃ prajāyeyeti …. tadātmānaṃ svayamakuruta |
tasmāt tatsukṛtamucyata iti |

Taittirīya 2.6.1

Brahma was all alone. It desired thus - “May I be many”. Then it created itself manifold as the world. The seers say that it did well thus”.

devasyaiṣa svabhāvo’yam ॥

Māṇḍūkya Kārikā 1.9

“That is Bhagavān’s self-expression. Though he neither has any lacunae nor fear, though he is not impelled by any other’s desire or need, he creates the world and plays the drama of a jīva as a sport”.

lokavattu līlākaivalyam ||

Brahmasūtra 2.1.33

Just as the people of the world engage in sport for amusement, Īśvara does not have any other motive and has created the entire world as his līlā (sport/pastime).

The baby in the cradle enjoys itself by laughing and kicking its limbs in sheer joy. For whom is this activity? A healthy and strong baby, unaware of another’s existence, does it for its own happiness. Līlā is an activity done for one’s own joy without any thought about others.
A beautiful damsel when alone sees herself in the mirror. When we are alone, we enjoy ourselves by singing a verse or tune in our own ordinary voices. The rich man, while his family members are asleep, closes the door of his room to relish the sight of his valuables. Parents delight in lovingly gazing at their children asleep. Thus, contemplating one’s own beauty, valuables and accomplishments without any need for another or without other desire, for one’s own joy is something we observe in human behaviour. The Supreme Brahma too sports in līlā in seeing the majesty of its own potency. What is līlā? It is an activity done for one’s own joy without involving others, without asking for external help, and without any extraneous goal. In this way, the universe is Brahma’s līlā. The consciousness expressed in this līlā can be thought of in three aspects. 1. The jīvatmā that animates bodily organs. 2. The Kūṭātmā or the internal witness-self. 3. Paramātmā or the Supreme Ātmā. Of these three, the contact with saṃsāra and therefore the world is only for the jīva.

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...