Aurea Vidyā Collection*

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*  For a complete list of titles see page 190.

This book was originally published in Italian as Cinque Upaniṣad by Associazione Ecoculturale Parmenides (formerly Edizioni Āśram Vidyā), Rome, Italy.

First Published in English in 2018 by

Aurea Vidyā

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The proceeds from this book – to which there are no Contributor's rights – will be used for reprints. The contents of this book may not be reproduced in any form without the written permission of the publisher, except for the quotation of brief passages in criticism, by citing the source.

eBook ISBN 978-1-931406-29-1

ISBN 978-1-931406-26-0

Library of Congress Control Number 2018940676

Cover: A lady picking flowers. Punjab Hills (Guler), c. 1800. ‘Indian Miniatures’ by Silvana Editoriale d'Arte. Milan, Italy.

FIVE UPANIṢADS

Īśa Kaivalya Sarvasāra Amṛtabindu Atharvaśira

Translated and Annotated by

Raphael

(Āśram Vidyā Order)

AUREA VIDYĀ

Oṁ. That is Fullness this is fullness

Fullness derives from Fullness

Drawing fullness from Fullness

What remains is still Fullness

Oṁ śāntiḥ śāntiḥ śāntiḥ

Īśa Upaniṣad Invocation

TABLE OF CONTENTS

Notes to the Text

Foreword

Īśa Upaniṣad

Kaivalya Upaniṣad

Sarvasāra Upaniṣad

Amṛtabindu Upaniṣad

Atharvaśira Upaniṣad

Sanskrit Text

Appendix

Structure of the Śruti and of the Smṛti

Glossary

Raphael: Unity of Tradition

NOTES TO THE TEXT

The English Text

1. Square brackets [ ] are ours. They enclose terms and phrases that are understood in the text, as well as supplementary material that is considered helpful for a better understanding of the work.

2. Round brackets ( ) enclose the original transliterated Sanskrit of words and phrases in the Upaniṣads; translation into English of Sanskrit terms: short explanatory phrases.

3. Single inverted commas ‘ ’ enclose quotations from particular scriptural sources, while double inverted commas indicate speech within quotations.

4. Except for proper names of people and locations, roman type is used in the sūtras for Sanskrit words (Brahman, ātman, Hiraṇyagarbha, māya, etc.), which otherwise appear in italic type. Italic type is also used for the English terms of particular interest in a given context.

5. The same noun will have an upper-case initial if it refers to a divine Form (Vāyu) and a lower-case initial if it refers to an element or form (vāyu).

6. Any discrepancies relating to scriptural references arise from the lack of uniformity in different editions and the different ways of dividing the texts from which they have been drawn.

The Sanskrit Text

1. The transliteration of the Sanskrit text from the original devanāgarī follows the currently accepted criteria and, apart from a few exceptions, does not separate the words.

2. References to verses in the Upaniṣads and other texts are given in accordance with the traditional numbering system used in the texts, such as Muṇḍaka Upaniṣad II.II.8-9.

The Phonetic Formation of the Letters

According to their mouthpositions

Guide to Pronunciation.

* With the tip of the tongue raised to the roof of the mouth.

FOREWORD

The Upaniṣads are an integral part of Vedas, they represent a branch of primordial Tradition and constitute the essence of Vedānta itself. The expression Vedānta (end of the Vedas) should be understood in the double meaning of ‘conclusion’, as the Upaniṣads are the last part of the Vedic texts, and of ‘purpose’, because what is being taught is the ultimate goal of Traditional Knowledge.

One can say without exaggeration – writes T.M.P. Mahadevan – that the Upaniṣads are the main source of Indian thought and culture. In fact, they have inspired not only the orthodox schools of Indian philosophy, but also some of the so-called heterodox schools, such as those of Buddhism.

The central theme of the Upaniṣads is the quest for the Ultimate Reality, they therefore represent Metaphysics in its real sense. This type of research is not an end to itself, for the Upaniṣads represent ways of contact and tools of realization; to this end, they indicate a concise and complete sequence that concedes little or nothing the analytical mind.

There are five Upaniṣads presented in this text.

The Īśa is one of the oldest Upaniṣads. Its simple and masterful language has not failed to arouse commentaries, exegesis and doctrinal ideas. In it Śaṅkara, the codifier of the Advaita Vedānta, found the concise formulation of his teaching.

The Kaivalya teaches how by means of intuitive discernment (viveka) and detachment (vairāgya) one attains the state of ‘Isolation’ (kaivalya) or ‘total Abstraction’ from the world of becoming (saṁsāra).

The Sarvasāra reflects the fundamental theme of the older Upaniṣads. The most ardent philosophical questions that the human mind can formulate are entertained here. The Sarvasāra is often cited for its importance.

The Amṛtabindu contains a purely metaphysical and resolving teaching that allows the being or jīva to recognize its deepest and true nature and to realize the identity with the Absolute or nirguṇa Brahman.

The Atharvaśira, which is of monistic leaning and therefore Shaiva, contains a dialogue propounding a teaching that presents some very precise sequences for the realizational opus.

It should be noted that the five Upaniṣads are commented by Raphael extensively, and in this respect we can say that these are unique compared to other editions. This is noteworthy because as the Upaniṣads are expressed in their own synthetic language, if one does not have the ‘key’ to the right understanding, they stay obscure and incomprehensible.

Always in adherence to the text, Raphael frames and broadens all the various points in the context of the traditional Advaita (Non-duality) teaching, and thus provides the western mind with the key to the comprehension of their symbolic, figurative, and analogical language.

Aurea Vidyā

Īśa Upaniṣad

INTRODUCTION

It is recognized that the Īśa is one of the most ancient, major Upaniṣads. It belongs to Chapter XIV of the ‘white’ Yajur Veda and falls within the Mantra (ritual) part of the same Veda. Its date can be traced back to 700 B.C.

The Upaniṣad is conceived in five well-delineated themes and represents a very profound synthesis of the Vedānta. It would seem as if it is the summary of a more extensive teaching which was given orally.

The simple and masterly language of the Īśa has not failed to arouse exegeses and doctrinal cues. Śaṅkara, the Teacher, found in it the concise formulation of his teaching. Others with lesser depth of thought have limited themselves to simple annotations. There is no doubt anyway that the Upaniṣad presents difficulties in interpretation.

It begins with an invocation that seems to be an integral part of the text and brings into evidence two fundamental themes of the Vedānta: That and ‘This’. That is the ultimate metaphysical Reality. To say That is to say Brahman nirguṇa, the Uncaused, the Absolute, always identical to itself. All the beings, in their essence, do not differ from Brahman, although the latter does not possess form, structure, dimension and properties. The entire universe, in its principial state and its formal development, finds its support in That.

In considering manifestation it can be said that it is pervaded by three aspects: Existence (sat), Consciousness (cit) and Bliss (ānanda). There is no form which does not in fact manifest these three aspects: existence, consciousness, and bliss.

Brahman is beyond any qualification; it escapes any intellective understanding. It cannot be contained in mental categories, it can neither be the object of any cult nor of any veneration. Brahman as it resides in the heart of all individuals is called ātman. That is Fullness because not even one thing exists without It.

The universe emerges according to a process which is incomprehensible to the finite intellect and in describing it one is generally obliged to recognize an indefinite hierarchy of divine beings: from the primordial Power to the various complex functions and individual forces.

Such a universe, denominated as ‘This’ to distinguish it from That/Brahman, is a synthesis, a unity (the human being with its vehicles being an integral part of it) and it balances itself in extremely strict laws which at the same time are not absolute. The unity represents its ontological state.

‘That is Fullness, this is fullness

Fullness derives from Fullness

Drawing fullness from Fullness

What remains is still Fullness.’¹

The innumerable universal forms in whatever dimension they can exist, are the phenomenon/ideas that are born, grow and vanish but the Idea/essence remains as Fullness.

The angst and the worry arise when the entity thinks of being form/body and, due to metaphysical ignorance, tries to hold on to it and to crystallize it, pretending – in other terms – to render eternal that which can never be eternal, as the intrinsic nature of the objects is characterized by instability. Hence the conflict of the entity that sees its desires, its riches, its ideals, its very corruptible body, and its dearest affections, etc., vanish.

Everything is unstable in a universe represented by passing vortices, in a world in which, when one has just finished defining an object, it has already fled to its annihilation.

The invocation places the accent on the universal aspect or totality; the continuation of the Upaniṣad on the other hand, is a research into the Real in itself. In order to carry out the research, poetic and at times apparently contradictory formulations are used; which is a typical example of the Indian method of approach.

Ātman is not a psychological concept or an intellective category, nor does it become impoverished by sensory representations. Ātman is a metaphysical Reality.

In the first sūtra there is enunciated the principle of the Being as unity, which provides the phenomenal world with being. The latter must be comprehended and contemplated with detachment. What matters is not to annul the experience,