Aitareya Upanishad Lecture 06 on 20 August 2023

Full Transcript(Not Corrected)

We have been studying the Ayatareya Upanishad. So far, we have seen three mantras. The very first mantra tells us that everything is Atman or Brahman: 'Om Atmava Idam Ekaha Eva Agre Asir Na Anyat Kinchana Mishat.' Besides Atman, there was nothing before the creation of this universe. Which means that even after the creation, it is Atman only. Why? Because for the creation of any object, we require a material. We also require an intelligent conscious being to think about what I would like to create. But here, Atman alone created. The very word 'it created' means he is intelligent. This is called Nimitta Karana. But what about the material? There was no other material; therefore, he himself became the universe. Abhinna Nimitta Upadana Karanam. And he thought, 'Let me create the worlds.' 'Sai Ikshata Lokannu Shrujaithi.' May I create the worlds. Why? For that, Bhagawan Shankaracharya gives two reasons. One reason is the creation of the world is exclusively meant to exhaust all our karma phalas. But then the doubt comes that the world itself is not created. Where from have we then created our past karma? To that, the answer is Bhagawan doesn't create this world; it is ever going on. Nobody creates; it is Anadi, beginningless. But what does he do? Occasionally, he makes all of us, the whole universe, go to sleep. Every individual, we go to sleep several times a day to get rest and recoup. Similarly, Bhagawan being Virat Purusha, the universal being, he makes every created thing go into itself for some time so that it can rest and recuperate. So we have had many past lives, so we have done a lot of good and bad things. Accordingly, we require to experience karma phala in the form of Sukha and Dukha, in the form of Jati, Ayush, and Bhoga, Sukha Dukha. For that purpose, the worlds are created. This is the first meaning. The second purpose is so that we can wake up and do sadhana and realize who we are. So he created. Creation means he merely visualized. And because he is Satya Sankalpa, Satya Kamaha, whatever he visualized immediately comes out as a created thing. So 'Iman Lokan Asrujata.' The second mantra continues. He, that Atman, created all these worlds. And according to our Vedic Rishis, the entire creation can be divided into 14 Lokas, worlds. And yesterday, we discussed those worlds. But here the Upanishad tells or rather divides all the 14 worlds into four types: five, the uppermost worlds called Ambaha, and then the Antariksha. Below those five worlds and below our earthly world, there is an intermediary space, Antariksha, and it is called Mariji; he created.

Then he created our earth, which is called Mara. The meaning of Mara is where everything that is created is sustained for some time and then it goes back—birth and death. Where people die, they go back to their origin, that is called Mara. Then below the earth, seven worlds are there. For those who have done progressively evil deeds, more evil than an ordinary human being, he goes to one Loka below, still more evil, that means some amount of suffering, more suffering, still more suffering. The ultimate suffering comes in the Patala Loka. That is how we have seen creation.

Having created the worlds, we have to understand that he also created all the materials. As I gave the example, when parents are expecting a baby, they make a lot of things, prepare a lot of things, store a lot of things, so that their whole attention is on the baby. So, having created all these worlds, he equipped them for the forthcoming.

Then he thought everything is okay, but then there are no law enforcers. God has given laws in the form of Vedas—Rig Veda, Yajur Veda, Sama Veda, Tharva Veda. But there must be some people to uphold those laws, make people do them. If they don't do, punish them. And if they do, reward them. They are called Lokapalas. So he has created one Virat Purusha. You can call him our Pauranic Brahma. It is not that Brahma is an old man with a white beard sitting there and he takes some material and then he creates something like a potter creating something. No, I told you earlier that the whole thing is what we call he himself thought, let me become the world. Let me become the things in the world. Let me also be the rulers or the protectors or the upkeepers of the world. The best example of it is a dream. We create our own selves in the dream. We create the entire external world.

Supposing you are dreaming that a person is driving a car and he is driving on the wrong side of the road and he is not stopping at the red light nor starting at the green light. Immediately, the police—you yourself will dream that everybody is looking at him and very soon, police come there with a motorcycle or a jeep and arrest the person and take him away. Exactly like that, a divine being has himself become the worlds, every object in the world, and also Lokapala.

Here something very interesting comes. So what did he do? The third mantra tells us, 'So he thought, I have Lokaha, Lokas Sruja. I created the worlds. Now Lokapalanu Sruja. Let me create Lokapalas.' So what did he do? First, he created from where the Adhyatmika, Adhibhautika, Adhidaivika creation must come. So he created a Purusha. From where? From waters. What do you mean by water? I told you these Vedas, Upanishads, and even Gaudapada use peculiar words, and we should not take the normal meaning.

Here Adhya means the very material out of which Panchabhutas have been created. So he took that original material from which he created an entire Virat Purusha, or you can say Prajapati or Hiranyagarbha. Let us call him the Virat Purusha. So he is called Purusham. He is shaped. He took the raw material called the Panchabhutas, both subtle as well as gross, and Amurchayat, shaped. He formed like a sculptor. He takes a bit and then first he requires a huge stone and that stone is comparable to this. The only difference is the stone created—the images created by the sculptor because the stone is without any consciousness—the images also will be inert. But here he is Atman himself. He is both the living as well as the non-living, the inert as well as the conscious. So he first took that original Purusha, Virat Purusha. And then what did he do? Now he thought that now I must see that this drama called this world should go on and how should it go on. Here comes one of the most fantastic, marvelous, inimitable schemes of life.

First, I will give you a bit of an illustration, and this is called Adhyatmika, Adhibhautika, and Adhidaivika. The whole world is nothing but Adhyatmika, Adhibhautika, and Adhidaivika. This triangle is called Ishwara. So earlier, I said Virat Purusha. Now, let us call the familiar name Ishwara. Ishwara subdivided himself into three parts: Adhyatmika, Adhibhautika, and Adhidaivika.

What does that exactly mean? I did explain many times. Many of you who are listening consistently should be familiar, but it is good to recollect also for the sake of new people. Let us take a human with this world. In this world, I will give you a small illustration so that it will be easier, and we can apply it to all the other things also, what we call in the English language, etc.

So first, we take the example that there is the sun. Without the sun, that means light of the sun, heat of the sun—both light and heat—the world cannot exist. And then because of that, let us say there is a tree, a beautiful tree bearing some beautiful flowers and fruits. And then here is a human being. So the human being has got five sense organs of knowledge, also five sense organs of action, also four parts of the mind called Manaha, Chitta, Buddhi, and Ahankara. This combination of the physical body consisting of ten Indriyas and the four parts called together the mind, this is what is called the personality of every living being.

I am taking the example of the living being. So I said there is a sun, and he is shining. And there is a tree, a beautiful tree, etc., full of flowers, very beautiful flowers and also fruits. And then there is this human being. Now, the human being has got so many sense organs. I am only taking the illustration because I mentioned the name of Aditya, the sun. So the I, the sense organ called I, which is capable of experiencing the form, the colors, that is the speciality, special power of the I, is called Adhyatma. That is purely the physical body.

And then there is Adhibhautika. Bhautika means the tree, etc. Trees, hills, forests, rivers, other beings living as well as non-living—what we call the entire world is called Adhibhautika. Adhi, Atmika, Adhyatmika. Adhibhautika, Adhi plus Bhautika, Adhibhautika. Adhi plus Daivika, Adhidaivika. So that Adhi is Bhagwan, Ishwara. He divided himself into Atmika, Bhautika, and Daivika. So this is the illustration.

So here is a tree, and a human being has an I; it is functioning. And that Indriya, the I, is capable of seeing. So the I is there, capable I, healthy I. The tree is there, the sun is there. And for an experience, for this person to be able to experience that tree, all three must be there. For example, if the sun is absent, that means no light, I is there, tree is there. No experience. The I is there, tree is not there, sun is there. That is not experienceable. Sun is there, tree is there, I is not there. I is there, tree is there, sun is not there. Any one of these three is absent, experience cannot take place.

Now, you see, this is how Ishwara, he divided himself into three—Adhyatmika, Adhibhautika, and Adhidaivika. This is how the whole world is going on merrily. World means, remember, experiencing. It is going on merrily.

Now the I is called Adhyatmika, the individual organ. And God has endowed it. Ishwara is manifesting in the form of the I. And we have to do, etc., in the form of the ear, etc. I will give you another illustration, then move forward. Very easy for us to understand.

So, here is this person and his I, and it is very capable of perceiving whatever form, the colors of whatever is in front of that person. And the tree is also there, with beautiful blossoms, flowers and fruits. And the sun is also there. Now, as I said, each of these depends upon the other two. If there is one absent, then it is not a triangle, and experience is not possible.

Now, what is the relationship between the I and the Aditya or the Sun? The I has got the capacity to gather that light, and with the help of that light, it is able to experience the tree. Remember, it is just an example. Now, the second person comes. He also sees. A dog comes. It also sees. A bird comes. It also sees the tree. All of them are able to see because all of them have got that organ called I. What is the I? The ability to perceive a form. Form means usually colors, and that is called an I. The ability to hear is called the ear. This is called the Indriya.

So now, collectively, Aditya is manifesting in the form of the light in each I, and that is why we are able to use that individual light in the I and able to perceive any object. I gave the example of the tree. So this is the idea.

So, the combination of every 'I,' which is capable of seeing, all those 'I' powers, the power of seeing combined together, is called Aditya. Similarly, there is the ear. The ear is able to hear, and everybody has the capacity to hear, but there must be a sound. That sound is Adhibhautika. But that sound should reach me so that I can experience it. For that, a Devata is necessary. A combination of all the powers of hearing is necessary, and that combination of all powers of hearing is called Dishaha. The combination of all powers of seeing is called Aditya. The combination of all powers of tasting is called Sanendriya or Varuna. The combined powers of thinking in every living creature are called Chandra. In Vedantic language, this combined power—I just mentioned the Sun, he gives light to everybody, he gives the capacity of seeing and utilizing that light to everybody, and so he is the Adhishtana Devata, the presiding deity of the power of seeing. And individually, he is manifesting in each one of our eyes, and he is also manifesting in the power of an object which is seen. So, the individual capacity to see, and the objects which we want to see, and the power which makes us see or hear, etc., that is called Adhishtana Devata.

So for each one of these Indriyas, one Devata is mentioned. This Triputi, this triangle, Adhishtatra Devata, the presiding deity, is called Adhidaivika, and the objects to be experienced are called Adhibhautika, and the individuals who experience are called Adhyatmika. This is the marvelous concept. As I mentioned, if one is absent, then experiences are impossible. All three must come together in the right proportion, then only it is possible.

Now, in this fourth mantra, it is telling. Another point we have to understand: you look at a person and you see he has got an eye. Has he got the capacity to see? No, unfortunately. Even blind people, some of them you can see very beautiful eyes, and there are people who can't hear, but they have got ears. There are some people who cannot smell, but they have got perfectly shaped nostrils. There are some people who cannot taste. In fact, you know, when you get a cold, then your tasting power will reduce dramatically, drastically. So also, some people do not have a perfect body, perfect skin, but the capacity to experience that touch, soft, hard, heat, cold, is not there, absent.

So, what is the point I wanted to tell you? The eyes, etc., we experience are called golakas. Golaka means like windows. So they are there, but their purpose is to keep the real indriya. We cannot see the indriya; we can only see the golaka. Just as when a person is sitting behind a window, and the window is completely up, only one side it allows us to see, the person inside can see, person outside cannot see. Many cars are also like that. Like that, a golaka is which houses the indriya. Golaka is the house for each indriya. But indriya belongs, the golaka belongs to the gross body. But the indriya, the capacity to see, to hear, to smell, to taste, to touch, belongs to the sukshma sharira. So, this is the distinction between indriya and golaka. Why am I talking about it? But the fourth mantra, it only outlines three things. Golaka, how golaka came, or how Ishwara became the golaka, Ishwara became the indriya, Ishwara became the adheshthatru devata, residing deity. Then only experience is possible.

I hope that this makes sense before I go into the fourth mantra. This is the last mantra in the first part of the first chapter. I will read out the fourth mantra.

Niravidhyatam karnabhyam srotram srotratisah tvak Niravidhyatah tvacheho lomani lomabhyah oshadi vanaspatayah Hridayam niravidhyatah hridayam manah manasah chandramah Nabhih niravidhyatah nabhyah apanah apanat pratyah shishnam Niravidhyatah shishnat retah retasah apah

A little bit difficult word, not really very difficult. He has got this Rishi, Aitareya Rishi, he is talking about. He is also called Mahidasa because the mother earth, the mother of the Aitareya Rishi, he was perhaps being looked down as not of great intellect. So his mother prayed on his behalf, even when he was a child, to mother earth and mother earth blessed him with tremendous intellect, the greatest intellect. It is only God's grace which can give us physical strength, intellectual strength or aesthetic sense, etc. Let us never forget it. That is why the greatest Indian poet Kalidasa is called Kalidasa because mother Kali blessed him with that capacity. Henceforward he was known as Kalidasa.

Returning to the topic, let's delve into the analogy of Ishwara as a sculptor:

Ishwara, like a sculptor, began with an amorphous human form. The choice of a human form is significant as humans are considered the pinnacle of biological evolution, endowed with the potential to realize God. In the sculptor's art, the raw material, in this case, the shapeless human form, is gradually refined, much like the spiritual journey involves chipping away layers of Anatma (non-self) to reveal the true nature of Atman (self).

Envisioning this formless human figure, Ishwara, the cosmic artist, proceeded much like a sculptor working on a block of marble. The analogy emphasizes the process of creation as a form of subtraction, a process of chipping away what is not needed.

Consider a sculptor creating an image of Krishna from a square piece of marble. The initial step involves removing everything that does not contribute to the manifestation of Krishna. Similarly, in spiritual growth, the removal of layers of ignorance and false identification with the non-self is essential. The role of the Guru and the practice of Sadhana lie in aiding this process, gradually revealing the true nature of Atman.

The analogy extends further, illustrating that creation involves shaping with intent. The sculptor chips away what is not needed, focusing on the essence of the divine form. If the artist desires to create Krishna, they eliminate what is not Krishna. This mirrors the spiritual journey, where the aspirant, guided by the Guru and through personal practice, discards the non-self, revealing the divine essence within.

In this artistic process, Ishwara shaped a rudimentary human form, devoid of sensory organs (Indriyas) or specific bodily features. Picture a shape without hands, feet, head, stomach, or legs. To refine this form, Ishwara, the cosmic sculptor, metaphorically wields a chisel and hammer.

Imagining this creative scene, the Upanishad employs vivid imagery. Ishwara, like a sculptor, carefully crafts the features. Imagine the sculptor making holes, forming eyes, nose, and mouth – the Golakas or windows symbolizing the senses. The mouth, humorously noted in the narrative, becomes "holy" when it is chiseled to perfection.

It's crucial to note that the Upanishad provides a few examples, leaving room for interpretation and expansion. This emphasizes the vast and intricate nature of creation, allowing us to contemplate the limitless aspects of Ishwara's craftsmanship.

Before initiating the creative process, Ishwara engaged in a profound act of visualization, a mental preparation akin to artistic contemplation. This pre-creation phase is described as Tapas, signifying deep and creative thinking. Ishwara's "Tapatapasya" involves envisioning the specific attributes – the size, shape, and features – of the entity he intends to fashion. This thoughtful visualization is the essence of artistic creation, making Ishwara the ultimate artist.

The Upanishad uses the term "Tam abhyatapat," signifying that Ishwara engaged in deep contemplation, indicating a form of Tapas that involves concentrated visualization. The word "Tapas" here refers to an intense, focused mental process, reflecting the creative power of deep thought.

Having meticulously visualized the form, attributes, and characteristics of the entity he intended to create – the Virat Purusha – Ishwara set the stage for the actualization of this vision. The term "abhyatapat" suggests not just abstract thinking but a purposeful and deliberate act of conceptualization.

The Upanishad employs a poetic analogy to convey the unfolding of this creative process. It likens the creative act to the way a bird lays an egg, incubates it for a specified duration, and witnesses the gradual development of the chick within. Eventually, the egg breaks, and the fully formed chick emerges. This metaphor illustrates the transformative power inherent in the act of creation.

Applying this imagery to Ishwara's creative endeavor, the Upanishad emphasizes that Ishwara, acting as the doer, creator, and raw material, embarked on a process similar to the bird laying the egg. Ishwara is both the sculptor and the substance being sculpted, the Virat Purusha. The analogy extends to the concept of Golaka (window), Indriya (senses), and Adhishtatru Devata (presiding deity) as integral components of this cosmic creation.

With his visualization complete, Ishwara initiated the actualization of the Virat Purusha. The Upanishad vividly describes this commencement with the phrase "mukham niravidhyata," symbolizing the piercing or formation of the mouth. This signifies the beginning of the sculpting process, focusing on a specific aspect of the envisioned form. The mouth, as a central feature, represents the initiation of the intricate creation of the Virat Purusha.

Continuing with the description of the creative process, Ishwara, as the divine sculptor, pierced the nostrils (Nashika), leading to the emergence of Prana (the power of breathing) and its residing deity, Vayu Devata. This illustrates the interconnectedness of breath and life, with Vayu Devata being the presiding deity responsible for the vital force within the breath.

Next, Ishwara fashioned the eyes (Chakshu), giving rise to the power of seeing (Chakshu Indriya), and simultaneously, the universal combined power of sight, represented by Aditya, the sun.

Following this, Ishwara pierced the ears (Karnau), leading to the development of the power of hearing (Shrotra Indriya), with its residing deity being the Shaha, symbolizing the directional space that allows for auditory experiences.

The creation extended to the skin (Twak), representing the Golaka for experiencing touch, and the emergence of the power of touch (Sparsha Indriya). The residing deity for this aspect is Vayu Devata or, in this context, Oshadi Vanaspatayah, emphasizing the connection between touch and the plant kingdom.

The process continued with the creation of the physical heart (Hridayam), serving as an organ for circulation, and its subsequent transformation into an instrument of thinking (Manaha). The residing deity for the mind is identified as Chandrama, the moon, symbolizing the ever-changing and reflective nature of emotions and thoughts.

This intricate and interconnected web of creation underscores the unity of the individual with the cosmos, with each organ, sense, and deity contributing to the holistic experience of life. The Upanishad employs this detailed description to elucidate the divine artistry involved in the formation of the Virat Purusha, emphasizing the seamless integration of physical, sensory, and spiritual dimensions in the cosmic creation.

On the day of Poornima, the full moon day, the tides rise higher due to the gravitational pull exerted by the moon on Earth. This phenomenon is a natural occurrence that aligns with the emotional turbulence within human beings during Poornima, correlating with the heightened emotional waves in the mind.

On the day of Amavasya, which is the new moon day, a unique natural phenomenon occurs, particularly noticeable in the Ganges River. During low tide or ebb tide, when the sea exerts its influence, the Ganges experiences a powerful reversal of flow. Waves from the sea collide with the river's current, creating a mountainous surge of water. This impressive display is both awe-inspiring and potentially dangerous.

The gravitational pull of the moon plays a crucial role in this phenomenon, influencing the tides and creating an ebb tide that clashes with the river's flow. The intensity of this event is such that it can lead to significant tidal waves, captivating onlookers and daring individuals who engage in water sports amid the tumultuous waves.

The term "lunatic" finds its origin in the word "lunar," signifying the moon's influence. The moon's impact on the Earth's waters is analogous to its effect on human emotions, often depicted as waves of varying intensity. The word "lunatic" is used to describe individuals who struggle to control their minds, drawing a parallel between the moon's sway and emotional instability.

Swami Tejomayananda then delves into the detailed creation process as described in the Upanishads. Ishwara, the divine sculptor, visualizes the form of Virat Purusha, akin to a shapeless human figure. The sculptor analogy emphasizes the deliberate and conscious creation orchestrated by Ishwara.

The Upanishad describes the sequential creation of various body parts, sensory organs, and their presiding deities. Each element, such as the eyes, ears, skin, and navel, is meticulously crafted with a specific function and corresponding presiding deity. The goal is to emphasize that this creation is not random but a conscious act guided by the divine intelligence of Ishwara.

The process includes the formation of Golakas (windows), Indriyas (senses), and Adhishtatru Devatas (presiding deities). Swami Tejomayananda explains that this narrative counters the belief of those who deny the involvement of conscious intelligence in the creation of the universe. It emphasizes that Ishwara, as a conscious being, consciously fashioned each aspect of creation.

The piercing of the navel symbolizes the creation of the Apana function, associated with the power of elimination. The presiding deity of Apana is identified as Mrityu (death), highlighting the cyclical nature of life and death.

Continuing the creative process, Ishwara pierces another part, leading to the emergence of the organ of generation. The Golaka, in this case, represents the organ, and the procreative power inside is termed Retas (semen). The presiding deity of Retas is Ahapaha or Varuna Devata, symbolizing the waters.

The detailed description aims to convey the intentional and conscious nature of creation by Ishwara. It reinforces the idea that the universe is not a random occurrence but a result of deliberate, intelligent design. The connection between the physical and the subtle, the presiding deities, and the various functions serves to highlight the interconnected and purposeful nature of creation.

Swami Tejomayananda emphasizes the concept of dharma and adharma, moral and immoral actions, which individuals come to understand through their experiences in the world. People engage in actions, some righteous (Punya Karma) and some unrighteous (Papa Karma), leading to the accumulation of merits and demerits.

He explains that individuals create their destiny through their actions, and the consequences of these actions, both positive and negative, are experienced in further worlds. The idea is that those who have accumulated a significant amount of Punya (merit) cannot fully experience their deserved happiness on Earth due to the limitations of their capacity. The capacity to enjoy is restrained by one's own limitations.

To illustrate this point, Swami Tejomayananda gives the example of a music concert. Even if the finest musician is performing, the capacity to enjoy the music depends on the individual's ability to appreciate it. If someone lacks an ear for music, they may miss the nuances, intricacies, and beauty of the performance. The analogy underscores the importance of having the right instruments, the right object of enjoyment, and the capacity to enjoy—all of which are considered as blessings from the Divine.

The Swami stresses that intelligence and the ability to enjoy are gifts from the Divine. To fully appreciate and enjoy life, individuals need to recognize the role of Divine Grace in providing the necessary capacities and instruments for enjoyment. This recognition leads to a sense of humility and gratitude, prompting individuals to turn towards prayer and seek Divine Grace, acknowledging that deservingness comes from a higher source.

In essence, the message is that individuals need to be conscious of the limitations of their own capacities and attribute their abilities and joys to the Divine. This understanding forms the basis for a humble and prayerful approach to life, recognizing the role of Divine Grace in every aspect of existence.

Swami Tejomayananda concludes by emphasizing the role of Divine Grace in the creation and sustenance of the world. He refers to the Bhagavad Gita, where Lord Krishna states that everything in the universe is created by His Maya (divine power), and He, as the consciousness behind it, lends His power to the process. Without God, nature (Prakruti) remains blind and inert.

The concept of Puja (worship) is discussed, where the first stage involves purifying oneself, and the second stage is becoming conscious of God's presence. Puja, in its essence, is an acknowledgment that everything in the world, including one's own body and mind, is a manifestation of the Pancha Bhutas (five elements) and ultimately belongs to God. This recognition is symbolized in the act of Aratrika, where ownership is transferred from the individual to the Divine.

Swami Tejomayananda addresses the modern scientific perspective that often disregards the need for God in the creation and functioning of the universe. He counters this viewpoint by highlighting the wisdom of the Upanishads, asserting that it is only God who can create and sustain the world. The teachings affirm the significance of Prajnanam Brahma, the great Vedic statement declaring that the ultimate reality is pure consciousness.

In the next class, he anticipates delving into the experience of the Mahavakya "Prajnanam Brahma," exploring the profound understanding that arises when one realizes their identity with the Atman (the individual self) and the ultimate reality.