Ch 18 Yoga of Single-pointed Surrender (Part 4)

This article is part 99 of 127 in the series Jīvana-dharma-yoga

Since saṃsāris are thus different from saṃnyāsis, the interest and regard of saṃsāris towards karma is different from that of saṃnyāsis. However,the meaning that we derive from the above śloka from the point of view of saṃsāra is not conflicting with or incongruous with that derived from the point of view of saṃnyāsa. This new path will set a context for people in the present age and time.

Let us see the individual words of the above verse, one by one.

  1. Adhiṣṭhānam : Our ancients have called this the body. However, there is not much appeal in interpreting it as body, because in the next verse, the phrase “śarīra-vaṅ-manobhih” is explicitly called out. There is no necessity here for reiteration. Therefore, it is more proper to interpret “adhiṣṭhānam” as situations that influence a person to act in a certain way - circumstance or situation. A man’s karma is influenced by the circumstance. “Adhiṣṭhānam” is a collective name for situations that become the basis for performing a karma, the circumstances due to which karma is performed.
  2. Kartā : The ancients and us do not differ in the interpretation of this word. Kartā is one who does, the man who performs the karma.He consumes the fruit of good or bad deeds that he performs. When we say kartā, we should remember that it is the sum total of the qualities of the jīva, the remnants of puṇya and pāpa from his past lives, associations due to past obligations, the  impressions on the manas because of them, the combinations of the three guṇas and so on. Kartā is not the pure ātmā, but a jīva that is shackled by the impressions of karma. Hence the responsibility of consuming their good or bad result. The pure ātmā neither performs karma nor consumes its fruit.The jīva along with collected past impressions and obligations is “kartā”.
  3. karaṇaṃ ca pṛthag-vidhaṃ : Different means used to perform karmas. Earlier commentators have interpreted “karaṇa” as indriyas. However, as we saw above, indriyas are alluded to in “śarīra-vāṅ-manobhiḥ” . Therefore, there is the possibility of a different interpretation here. The people and instruments that assist in performing an activity are collectively called upakaraṇa. They are the wealth that aid in performing karma
  4. vividhāśca pṛthak-ceṣṭāḥ : Earlier commentators interpret this as the changes that air causes in our body — such as inhalation,exhalation,yawning, sneezing, etc. It makes more sense to interpret this differently — as it seems difficult for us to believe that the results of a karma are dependent on yawns and dozing. The effects of the five prāṇas are seen in one of the next words, “sarīravāk”. It is proper to interpret ceṣtā as the manner in which a task is carried out. It is apt to understand it as a plan of action, programme, policy, strategy, tactic etc. It is like the skill displayed by a pawn in a game of chess. “vividhāśca pṛthak-ceṣṭāḥ” therefore means the four strategies — sāma, dāna, bheda, daṇḍa, and many other means of performing a task, the manner in which it is performed.
  5. Daivam : Earlier commentators have construed this as the ruling deities of sense-organs — such as the Sun and the Moon, or the energy that is internally present in the jīva. It is not possible to demonstrate any special property of karma by just this much. There is no doubt that divine powers such as the Sun and the Moon and the internal energy exist. It is also well-known that they are also party to the performance of a karma. By saying “the body, speech and mind”, we do not mean a dead body, but a living and thriving one. When there is a jīva, there are senses and the deities ruling those senses and the ātmā that is present inside it. There is another thing that has to be explained apart from these. That is Fate. That itself is daiva.

The Yoga-vāsiṣṭha says :

prāktanaṃ pauruṣaṃ tad-vai daiva-śabdena kathyate ॥

Yoga-vāsiṣṭha 6.35

Daiva is that which has the power to allocate good or bad outcomes to people who take part in a karma and who have to consume its result, according to what they have earned in the past. That is fate. That is the controlling agent of the universe. In the eleventh chapter, Bhagavān said -

mayaivete nihatāḥ pūrvameva ॥

BG 11.33

Daiva is that supreme authority who had already decided the outcome of the war that was yet to be fought and said “If you do not fight, the battle will not stop; do not think that if you exit the war, those who are supposed to be killed by you will remain alive; they have all been slayed already”. Daiva is that omnipotent entity that has been praised by the Vedas as

yāthātathyato’rthān vyadadhāt śāśvatībhyaḥ samābhyaḥ |

Īśāvāsya Upaniṣad, 8 

“he allotted different tasks to the years”.

And,

dhātā yathāpūrvam-akalpayat ॥

Ṛgveda, 10.190.3

“In the beginning, Dhātṛ created”.

We call it adṛṣṭa, vidhi, prācina, prāpti, niyati, yoga, fate, past karma, etc. Daiva is the controlling force, the ruling authority of the universe.  In other words, it is destiny, providence. That is daiva.

Though there are different interpretations of the word “Daiva”, they all converge towards the meaning “Fate”. The performance of karma and the blessing of the divine are both two forms of fate. Both are not directly perceptible. The following verse from the Ādiparva of the Mahābhārata should be recalled here:

daive puruṣakāre ca loko’yaṃ saṃpratiṣṭhitaḥ ।
ṭatra daivaṃ tu vidhinā kālayuktena labhyate ॥

Mahābhārata Ādiparva 122.21

The time taken to obtain results from our past karmas or divine blessings cannot be gauged by us. Their fruition might happen at some time. It is not meant to be understood by us. It works independently according to its timetable.
Let us apply the above five principles to an example. In the Kurukṣetra war,

  • Adhiṣṭhāna: The dispute between Pāṇḍavas and the Kauravas about dharma. The just claim of the Pāṇḍavas for the kingdom, and the enmity of the Kauravas that didn’t allow them to part with it. This situation of dharmic conflict is the adhiṣṭhāna for the war.
  • Kartā : Dharmarāya
  • Karaṇa : Bhīma and Arjuna, Drupada and other warriors who helped them, Kaurava warriors such as Bhīṣma and Drona are all numerous karaṇas.
  • Ceṣṭa, upāya : Yudhiṣṭhira requesting Bhīṣma’s blessings, letting Drona know of Aśvatthāma’s slaying, different vyūhas of the armies, the deliverance of various śastras (weapons without mantras) and astras (weapons with mantras), Arjuna acquiring weapons like Pāśupata — all such deeds are “pṛthak-ceṣṭah”.
  • Daiva : Śrīkṛṣṇa’s attempts at bringing peace, Mahādeva bestowing the pāśupata weapon on Arjuna and appearing as Bhairavarudra on the battlefield — this is daiva. Both Śrīkṛṣṇa and Mahādeva are not concerned with the results of the war. They only came for the sake of protecting dharma. They came only with the noble objective to establish dharma in the world. The work of daiva is in accordance with that of dharma.

What is the meaning of the above? It means that all thoughts and plans of man are subject to the rule of a superhuman rubric; it means that the human work is under the authority of the superhuman.

Let us apply the theory of five organs of karma to a wedding. A girl being of marriageable age and the father being prepared to perform the ritual of a marriage — these are the adhiṣṭhāna. The father is the kartā. The bridegroom is the karaṇa. The marriage brokers and mutual friends and relatives are the other karaṇas. The various acts of service and civility — such as perfume, feasts, the honorarium given to the bridegroom are the ceṣṭās. Then comes the daiva. It is daiva’s blessing if the wedding happens without the bride or the bridegroom falling sick at the time of the lagna or no obstacles in the form of bad news are encountered.

Let us look at a meal from the same perspective. The hunger of the stomach and the desire of the palate are the adhiṣṭhānas. Kartā is the hungry man. Cooks and vessels are the karaṇas. Struggling in shops to buy the items on credit and exhorting the workers and cooks are upāya-ceṣṭās. It is the blessing of daiva to be able to finish the meal without stomach ache, or without hearing appetite-killing bad news or to be harangued by time-eating visitors.

There are more examples of the wrath of daiva than its blessings in the experience of people.

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...