In the previous lessons, we were discussing about ‘Shadvidha Lingas’. It was mentioned that ‘Arthavada’ (eulogy), one among the six Lingas was of seven types, namely, 1.Srishti, 2. Sthiti, 3. Laya, 4. Pravesha, 5. Niyamana, 6. Tattvam Padartha Shodhana and 7. Phala Pratipaadaka. Let us now understand them in detail.

1.Srishti Arthavada: In the Upanishads, there is description of the process of Srishti (Creation). For example, in the Taittireeya Upanishad, it is said that from Atma came Akasha, from Akasha came Vayu, from Vayu came Agni, from Agni came Jala and from Jala came the Prithvi and from these five elements came the fourteen worlds.

By this description, it can be deduced that during Pralaya (opposite of creation), the process becomes reversed. That is, the manifest world merges in the five elements, and, among the five elements, Prithvi merges in Jala, Jala merges in Agni, Agni merges in Vayu, Vayu merges in Akasha and Akasha merges in Atma.

For better understanding of this phenomenon, let us consider the example of an earthen pot. From clay comes the wet form of the pot, and from the wet form comes the dried pot. In both the states, the mud is always there. When it is broken it first becomes pieces and by further crushing, it assumes its original form – clay.

By this, it can be understood that the pot came from mud, remained as mud and finally merged in mud. Similarly, by analysing the Upanishadic statements about Srishti-Sthiti-Laya, it can be deduced that the Srishti comes from the Atma, it remains (Sthiti) in Atma and it merges (Laya) in Atma. Such description of the Atma Tattva, which is the primordial cause is called Srishti Roopa Arthavada.

2.Sthiti Arthavada: Method of describing the phenomena by explaining the process of Sthiti in similar lines is called Sthiti Arthavada.

3. Laya Arthavada: The method of describing the phenomena by explaining the process of Laya (merging) is called Laya Arthavada. The example of the pot cited above can be applied to Sthiti and Laya Arthavadas.

4. Pravesha Arthavada: In the Chandogya Upanishad, we come across statements such as "look, the Atma pierced (the body) at this place and through passage, it entered the body" and "Atma created it and then entered in to it" and, "the Atma decided that It would assume the form of Jeevatma to increase the number of forms and names in this Creation". What do we understand from these statements?

Let us consider an example. A person enters in to a vacant house. After sometime, he dresses up like a king and comes out of the house. What we deduce from this is something like this – "this person has only dressed up like a king. In reality, he is not a king. He is an ordinary person. We can tell that for sure because we saw him entering the house and, no one else was in that house before".

Similarly, because the Upanishads, with the help of stories, say ‘Parabrahma itself entered the Creation’, we can deduce that one who appears as Jeevatma is none other than Paramatma; there is no difference. Such a eulogy is called Pravesha Arthavada.

5. Niyamana Arthavada: In the Antaryami Brahmana part of Brihadaranyaka Upanishad (III.vii.3 to 23), the following description is found. "He who inhabits the earth, but is within it, whom the earth does not know, whose body is the earth, and who controls the earth from within, is the Internal Ruler, your own immortal self"…… . There is a series of verses like this. If Jeevatma and Paramatma were to be different from one another, it can not be said " … is the internal ruler, your own immortal self". Therefore, it should be understood that the Tatparya (summary, contention) of these verses is to stress the oneness of Jeevatma and Paramatma.

This method of first narrating the existence of a controller and then saying ‘you yourself are that controller’ – thereby establishing the oneness of Jeevatma and Paramatma is called Niyamana Arthavada.

6. Tattvam Padartha Shodhana Arthavada: "Tat" means Paramatma. "Tvam" means Jeevatma. Analysing the meanings of these two terms and then understanding and establishing that there is no difference between them is called Tattvam Padartha Shodhana Arthavada.

For example, in the Taittireeya Upanishad, we find the quotation "This Purusha is Annarasamaya (consists of the essence of food; is a transformation of the essence of food)". By this, it can be understood that there is no difference between Purusha (Paramatma) and Annarasamaya (Jeevatma).

Similarly, in the Chandogya Upanishad, after examining Agni (fire), Surya (the Sun), Chandra (the Moon), Vidyut (lightening) etc., it has been said that among them, that which is red is the aspect of Agni (fire); that which is white is the aspect of Jala (water), that which appears dark is the aspect of Prithvi (earth). It has also been said that the "Sat" material pervades equally in all the three (Agni, Jala and Prithvi) and therefore, Surya, Chandra, Agni, Stars etc., are only modifications and therefore, one should contemplate on the "Sat Material" pervading them. From this it can be understood that the "Sat Material" itself has manifested as Jeevatma. Here, "Sat Material" corresponds to ‘tat’ and Jeevatma refers to ‘Tvam’.

This process of understanding the meanings of the words ‘Tat’ and ‘Tvam’ in various methods and establishing their oneness is called ‘Tattvam Padartha Shodhana Arthavada’.

7. Phala Pratipadaka Arthavada: Taittireeya Upanishad says ‘the knower of Brahman attains the highest’. In other words, he who knows that supreme Brahman becomes Brahman indeed. In another context, it is said that a Brahmavit (the knower of Brahman) attains immortality. By these statements, it can be understood that the ultimate fruit of Brahma Jnana (knowledge of Brahman) is the merger of Jeeva and Brahma. Because it is said that merging of Jeeva-Brahma is the highest fruit, we can deduce that the Tatparya of the Upanishads is establishment of oneness of Jeevatma and Brahma. This method of corroborating (pratipadana) the basic idea through the eulogy of the fruit (Phala) is called ‘Phala Pratipadaka Arthavada.

It can be observed from the above seven types of eulogy that the Tatparya (purport) of the Upanishads is to establish the oneness of Jeeva and Brahma.

6. Upapatti (reasoning)
This is the sixth and the last of the Shadvidha Lingas (six characteristic signs) by which the correct import of the scriptures is determined. It is the logic and reasoning which is used to support the concept or subject that has been stated. In the Chandogya Upanishad it is said, - "by knowing the clay, we will come to know that the different objects made of it – such as pot, plate, dolls, lamps etc., - are essentially clay and nothing but clay. Pot, plate etc., are only names. The reality is clay only". With the help of this example it can be understood that though innumerable modifications are seen in the manifest world, Karana (cause) alone is real and all the Karyas (resultants) are unreal.

This method of establishing the subject matter through examples is called Upapatti.

One should try to understand the purport of the Vedas by using all the six characteristic signs (Shadvidha Lingas).

(to be continued)