{"id":677,"date":"2013-07-13T01:29:39","date_gmt":"2013-07-13T01:29:39","guid":{"rendered":"http:\/\/localhost\/?p=677"},"modified":"2013-07-13T01:29:39","modified_gmt":"2013-07-13T01:29:39","slug":"28-a-note-on-the-chhandogya-upanishad-vol-12-the-upanishad-volume-12","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/01-sabcl\/12-the-upanishad-volume-12\/28-a-note-on-the-chhandogya-upanishad-vol-12-the-upanishad-volume-12","title":{"rendered":"-28_A Note on The Chhandogya Upanishad.htm"},"content":{"rendered":"<table border=\"0\" cellpadding=\"6\" style=\"border-collapse: collapse\" width=\"100%\">\n<tr>\n<td>\n<p><p class=\"MsoNormal\" align=\"center\" style=\"margin:0;text-align:center;text-indent:-20.0pt;line-height:150%\"><b><br \/>\n<span lang=\"EN-US\" style=\"font-size: 13.5pt;line-height: 125%\"><br \/>\nA NOTE ON THE CHHANDOGYA UPANISHAD<\/span><\/b><\/p>\n<p class=\"MsoNormal\" align=\"center\" style=\"margin:0;text-align:center;text-indent:-20.0pt;line-height:150%\">&nbsp;<\/p>\n<p class=\"MsoNormal\" align=\"center\" style=\"margin:0;text-align:center;text-indent:-20.0pt;line-height:150%\"><b><br \/>\n<span lang=\"EN-US\">f<span style=\"font-variant:small-caps\">irst<br \/>\n<\/span>a<span style=\"font-variant:small-caps\">dhyaya<\/span><\/span><\/b><\/p>\n<p class=\"MsoNormal\" style=\"margin:0;text-align:justify;line-height:150%\">\n    <img loading=\"lazy\" decoding=\"async\" border=\"0\" src=\"\/elibrarytest\/-01 Works of Sri Aurobindo\/-01_SABCL\/-12_The Upanishad_Volume-12\/_images\/chhandogya-note.jpg\" width=\"302\" height=\"45\"><\/p>\n<\/p>\n<p class=\"MsoNormal\" style=\"margin:0;text-align:justify;line-height:150%\"><span lang=\"EN-US\">OM is the syllable<br \/>\n(the Imperishable One); one should follow after it as the upward song<br \/>\n(movement); for with OM one sings (goes) upwards; of which this is the<br \/>\nanalytical explanation.<\/span><\/p>\n<p class=\"MsoNormal\" style=\"margin:0;text-align:justify;line-height:150%\">&nbsp;<\/p>\n<p class=\"MsoNormal\" style=\"margin:0;text-align:justify;line-height:150%\"><span lang=\"EN-US\">So literally translated in its double<br \/>\nmeaning, both its exoteric, physical and symbolic sense and its esoteric<br \/>\nsymbolised reality, runs the initial sentence of the Upanishad. These opening<br \/>\nlines or passages of the Vedanta are always of great importance; they are always<br \/>\nso designed as to suggest or even sum up, if not all that comes afterwards, yet<br \/>\nthe essential and pervading idea of the Upanishad. The <i>&#299;s<\/i><\/span><i><span lang=\"VI\">&#803;<\/span><span lang=\"EN-US\">&#257;<br \/>\nv&#257;syam<\/span><\/i><span lang=\"EN-US\"> o\/the Vajasaneyi, the <i>kenes<\/i><\/span><i><span lang=\"VI\">&#803;<\/span><span lang=\"EN-US\">itam<br \/>\n&#8230;manas<\/span><\/i><span lang=\"EN-US\"> of the Talavakara, the Sacrificial Horse<br \/>\nof the Brihad Aranyaka, the solitary Atman with its hints of the future world<br \/>\nvibrations in the Aitareya are of this type. The Chhandogya, we see from its<br \/>\nfirst and introductory sentences, is to be a work on the right and perfect way<br \/>\nof devoting oneself to the Brahman; the spirit, the methods, the formulae are to<br \/>\nbe given to us. Its subject is the Brahman, but the Brahman as symbolised in the<br \/>\nOM, the sacred syllable of the Veda; not, therefore, the pure state of the<br \/>\nuniversal existence only, but that existence in all its parts, the waking world<br \/>\nand the dream self and the sleeping, the manifest, half-manifest and hidden,<br \/>\nBhurloka, Bhuvar and Swar, \u2014 the right means to win all of them, enjoy all of<br \/>\nthem, transcend all of them, is the subject of the Chhandogya. OM is the symbol<br \/>\nand the thing symbolised. It is this symbol, <i>aks<\/i><\/span><i><span lang=\"VI\">&#803;<\/span><span lang=\"EN-US\">aram,<\/span><\/i><\/p>\n<p class=\"MsoNormal\" align=\"center\" style=\"margin:0;text-align:center;text-indent:-20.0pt;line-height:150%\">\n<span lang=\"EN-US\" style=\"font-size: 10.0pt;line-height: 125%\"><br \/>\nPage &#8211; 393<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>A NOTE ON THE CHHANDOGYA UPANISHAD &nbsp; first adhyaya OM is the syllable (the Imperishable One); one should follow after it as the upward song&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-677","post","type-post","status-publish","format-standard","hentry","category-12-the-upanishad-volume-12","wpcat-14-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/677","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=677"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/677\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=677"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=677"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=677"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}