Ch. 16 Yoga of Distinction Between āsurī and daivī qualities (Part 2)

This article is part 88 of 128 in the series Jīvana-dharma-yoga

All the above are sāttvika qualities. “Abhijāta” means one who is born after performing puṇya. Such a person is blessed with daivī qualities. Whoever thinks he is born in a good family and acts accordingly — one who has earned the qualification to worship the Divine — he will be blessed with the wealth of these above qualities. It releases the jīva from bondage. All this is divine wealth.
The qualities opposite to the above are āsurī qualities.

dambho darpo’timānaśca krodhaḥ pāruṣyam eva ca ।
ajñānaṃ cābhijātasya pārtha saṃpadam āsurīm ॥

BG 16.4

Dambha is the display of pride, and conceit that one possesses something that others do not. Darpa is vanity, hardness of the manas. It is the feeling that others are inferior to oneself. Excessive infatuation, malice, cruelty, lack of knowledge, lack of discernment — all these are tāmasic qualities. They are the result of pāpas committed in past lives. They tighten the bonds of the jīva
Svāmī now elucidates the results of these two kinds of qualities.

daivī saṃpad-vimokṣāya nibandhāyāsurī matā ।
mā śucaḥ saṃpadaṃ daivīm abhijāto’si pāṇḍava ॥

BG 16.5

Daivī qualities are those that help in attaining mokṣa. Āsurī qualities are those that cause bondage. Arjuna, do not grieve thinking whether you are qualified to strive for mokṣa. You are born with daivī qualities. You are eligible to tread the path towards mokṣa”.

There is one thought here. Bhagavān listed daivī qualities; he listed āsurī qualities as well; he will describe them further. Why did he not mention human qualities? Are there no such qualities as human qualities? The purport here is that all the above qualities are human only. There is no human trait that does not fall into either daivī or āsurī category. Humans are a mix of divine and demonic aspects. This is what the Vedas say:

puṇyena puṇyaṃ lokaṃ nayati । pāpena pāpam । ubhābhyām eva manuṣyalokam ॥

Praśnopaniṣat

When both kinds of traits commingle, he comes to the mortal world. This is an opportunity for him; he can either ascend to better states, or plummet to viler states. In his management of this universe, Bhagavān has given this freedom to humans. The Bṛhadāraṇyaka says the following -

sa vā … kāmamayo’kāma-mayaḥ krodhamayo’krodhamayo dharmamayo’dharmamayaḥ sarvamayas-tadyad-etat-idaṃmayo’domaya iti yathākārī yathācārī tathā bhavati ॥

Since we cannot give a finite list of human traits, the upaniṣat says “idammayaḥ adomayaḥ”. A jīva is full of all necessary and unnecessary qualities. He becomes what he does and how he conducts himself.
Since a human is thus a mix of both good and bad qualities, he cannot be steady where he is, and should continuously move up or down every second.
Plato gives the same instruction:

“In the human soul, there is a better and also a worse principle; and when the better has the worse under control, then a man is said to be master of himself (which is a term of praise); but when, owing to evil education or association, the better principle, which is also the smaller, is overwhelmed by the greater mass of the worse — in this case he is blamed and is called the slave of self and unprincipled.”

(The Republic, Book IV) 

The same feeling is echoed in the poem “A Death in the Desert” by Browning.

Man is not God, but hath God’s end to serve —
A master to obey, a course to take, —
Somewhat to cast off, somewhat to become.
Grant this, that man must pass from old to new,
From vain to real, from mistake to fact,
From what once seemed good to what now proves best.
How could man have progression otherwise?
Progress, man’s distinctive mark alone,
Not God’s and not the beasts’; God is, they are;
Man partly is and wholly hopes to be.

What the Gīta calls ‘āsura’, Browning calls beastly or animalistic. Every second, daivī aspects keep pulling man upward, or āsurī aspects keep pulling him down. There is progress if he ascends; if he descends, he will deteriorate. He cannot keep quiet even for a second and say that he wants neither progress nor deterioration. He cannot remain where he is. Indeed, prakṛti does not leave him alone! She keeps poking him with the trident that is the three guṇas and troubles him constantly. Daivī and asurī are both the energies of prakrti.

dvau bhūtasargau loke’smin daiva āsura eva ca ॥

BG 16.6

Prakṛti has placed man on a greasy pole. He cannot embrace it and remain where he is. He should fold his hands in front of it and keep moving upwards with fortitude. Even if he forgets himself for a moment, he will slide down. Our daily life is this dangerous game.
Divine beings do not face this instability. They reside perpetually in the higher worlds. They do not get down from there. If they do climb down, the balance of the universe will go haywire. The sun, moon, clouds and lightning, air and water should perform their assigned tasks constantly, without fail. That is what prakṛti has decreed. They cannot make mistakes there. They do not slip down.
On the other hand, Asuras do not have even an iota of an idea of progress. They do not understand the difference between high and low, honorable and contemptible. They do not even worry that they are inferior and that they might fall further. Such is āsurī delusion or beastly confusion. They are born again and again in low forms and thus spend their accumulated pāpa. They might be born as humans at some point of time and then they might qualify to discern the difference between progress and regress. It is an uncertain future.
Humans have the freedom to examine progress and retreat wilfully and with full volition and use of one’s buddhi . It is not required for divine beings; and not possible for āsurī beings. In this creation, the opportunity to progress towards better states is possible only for humans.
After suggesting this principle, Bhagavān explains the grimness of āsurī qualities — we might choose to think that it is to create dread and alarm in common people and awaken them. Bhagavān did not need to create fear in Arjuna. He had not displayed āsurī qualities. There was absolutely no doubt that he was rich with the wealth of daivī qualities. Didn’t Śrikṛṣna himself say this? Love for truth, devotion to dharma, sympathy towards all beings — all these are clearly manifest in Arjuna. Therefore it is possible that this instruction is for other common people of this world. I feel that Śrikṛṣna had the people of 1963 CE (or 2023 CE perhaps) in his mind when he spoke this. I believe you would think the same if you see these sentences from the Gita.

asatyam- apratiṣṭhaṃ te jagad-āhur-anīśvaram ।
aparaspara-sambhūtaṃ kimanyat-kāma-haitukam ॥

BG 16.8

“What is Truth? There is nothing called Truth. If there is Truth, who has seen it? Where is the Īśvara who rules the universe? This is anarchy. It is haphazardly placed (apratiṣṭhaṃ); the establishment of dharma is fake.  All things in the universe are born out of randomness; there is no relationship between them — they are not related to one another in accordance with precepts like “Ākāśād-vāyuh”, etc., or from other lives. If you say there are so many life-forms, they are all the results of lust between male and female” — this is what asuras say. That is atheism. That is the theory of cārvākas.
They do not agree that jīvas are born out of interaction between various karmas, by set rules, and obligations between jīvas and that they are thus related to one another. They do not agree that the rope of karma binds the whole universe within a single sack.
“aparaspara-saṃbhūtaṃ” can mean two things. First meaning is “from the union of male and female”: “aparaḥ+ca+paraḥ+ca” — when one joins another. Since there is “kāmahaitukam” next to this word, we can understand it as a union between male and female. Another meaning could be the union of two completely unrelated things that have randomly and arbitrarily somehow come together.
In ancient Greece, there were philosophers called Atomists. They had not accepted the existence of Īśvara. They believed that interactions between atoms was the reason for the birth, death, and rebirth of the universe. They believed that the nature of these atoms drove them to behave in this way. The energy that makes them move or stops them from movement does not come from the external environment. They unite with other atoms and divide from them, of their own volition. They do not have an authority that makes them do this.
We see that many animate and inanimate things constantly collude together and disperse from one another. What is the reason for this? The atheist says that it is by chance, and that it does not have a reason. The theist says that it is because of impressions from the past. From the point of view of a theist, nothing happens without reason.

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...