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	===The significance of chant – Second Prapāṭhaka===		===The significance of chant – Second Prapāṭhaka===
	The first volume of the second chapter states that the reverence for entire ''Sāman'' (साम्न, chant) is ''sādhu'' (साधु, good), for three reasons. These reasons invoke three different contextual meanings of ''Saman'', namely abundance of goodness or valuable (सामन), friendliness or respect (सम्मान), property goods or wealth (सामन्, also समान).<ref name=olivelle185/><ref name=hume211>Robert Hume, 2.1.1 - 2.1.4, The Thirteen Principal Upanishads, Oxford University Press, pages 190</ref> The Chandogya Upanishad states that the reverse is true too, that people call it ''a-sāman'' when there is deficiency or worthlessness (ethics), unkindness or disrespect (human relationships), and lack of wealth (means of life, prosperity).<ref name=hume211/><ref>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, ISBN 978-8120814684, pages 85-86 Second Chapter First Part</ref>		The first volume of the second chapter states that the reverence for entire ''Sāman'' (साम्न, chant) is ''sādhu'' (साधु, good), for three reasons. These reasons invoke three different contextual meanings of ''Saman'', namely abundance of goodness or valuable (सामन), friendliness or respect (सम्मान), property goods or wealth (सामन्, also समान).<ref name=olivelle185/><ref> Ganganath Jha (Translator), pages 70-72</ref><ref name=hume211>Robert Hume, 2.1.1 - 2.1.4, The Thirteen Principal Upanishads, Oxford University Press, pages 190</ref> The Chandogya Upanishad states that the reverse is true too, that people call it ''a-sāman'' when there is deficiency or worthlessness (ethics), unkindness or disrespect (human relationships), and lack of wealth (means of life, prosperity).<ref name=hume211/><ref>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, ISBN 978-8120814684, pages 85-86 Second Chapter First Part</ref>

	===Everything in universe chants – Second Prapāṭhaka===		===Everything in universe chants – Second Prapāṭhaka===
	Volumes 2 through 7 of the second Prapathaka presents analogies between various elements of the universe and elements of a chant.<ref name=hume221>Robert Hume, 2.2.1 - 2.7.2, The Thirteen Principal Upanishads, Oxford University Press, pages 191-193</ref> The latter include ''Hinkāra'' (preliminary vocalizing), ''Prastāva'' (~~introductory~~ ~~praise~~), ''Udgītha'' (~~loud~~ chant), ''Pratihāra'' (response) and ''Nidhana'' (conclusion). The sets of mapped analogies present interrelationships and include cosmic bodies, natural phenomenon, hydrology, seasons, living creatures and human physiology.<ref>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, ISBN 978-8120814684, pages 86-88</ref> For example, chapter 2.3 of the Upanishad states,		Volumes 2 through 7 of the second Prapathaka presents analogies between various elements of the universe and elements of a chant.<ref name=hume221>Robert Hume, 2.2.1 - 2.7.2, The Thirteen Principal Upanishads, Oxford University Press, pages 191-193</ref> The latter include ''Hinkāra'' (हिङ्कार, preliminary vocalizing), ''Prastāva'' (प्रस्ताव, propose, prelude, introduction), ''Udgītha'' (उद्गीत, sing, chant), ''Pratihāra'' (प्रतिहार, response, closing) and ''Nidhana'' (निधन, finale, conclusion).<ref>, Sanskrit English Dictionary, Cologne Digital Sanskrit Lexicon, search each word and SAman</ref> The sets of mapped analogies present interrelationships and include cosmic bodies, natural phenomenon, hydrology, seasons, living creatures and human physiology.<ref>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, ISBN 978-8120814684, pages 86-88</ref> For example, chapter 2.3 of the Upanishad states,

	{{Quote\|		{{Quote\|
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	The 22nd volume of the second chapter discusses the structure of vowels (''svara''), consonants (''sparsa'') and sibilants (''ushman'').<ref name=maxmuller21122/>		The 22nd volume of the second chapter discusses the structure of vowels (''svara''), consonants (''sparsa'') and sibilants (''ushman'').<ref name=maxmuller21122/>

	===The nature of ~~religious life~~ and Ashramas (stages) theory – Second Prapāṭhaka===		===The nature of Dharma and Ashramas (stages) theory – Second Prapāṭhaka===
	{{expand section\|date=April 2015}}		{{expand section\|date=April 2015}}
			The Chandogya Upanishad in volume 23 of chapter 2 provides one of the earliest expositions on the broad, complex meaning of Vedic concept ''dharma''. It includes as dharma - ethical duties such as charity to the needy (दान), personal duties such as education and self study (स्वाध्याय, ब्रह्मचर्य), social rituals such as yajna (यज्ञ).<ref name=gjha223> Ganganath Jha (Translator), pages 103-116</ref> The

			{{Quote\|
			<poem>
			त्रयो '''धर्म'''स्कन्धा यज्ञोऽध्ययनं दानमिति प्रथम
			स्तप एव द्वितीयो ब्रह्मचार्याचार्यकुलवासी तृतीयो
			ऽत्यन्तमात्मानमाचार्यकुलेऽवसादयन्सर्व एते पुण्यलोका भवन्ति ब्रह्मसँस्थोऽमृतत्वमेति <nowiki>॥ १ ॥</nowiki><ref> Wikisource</ref>

			There are three branches of ] (religious life): ] (sacrifice), ] (self study) and ] (charity) are the first,
			] (austerity, meditation) is the second, while dwelling as a ] in the house of a teacher is third,
			All three achieve the blessed worlds. But the ''Brahmasamstha'' alone (who is firmly grounded in Brahman) achieves immortality.
			</poem>
			\|Chandogya Upanishad 2.23.1<ref name=maxmuller223>Max Muller, , The Upanishads, Part I, Oxford University Press, page 35 with footnote</ref><ref name=gjha223/><ref name=pauldeussen223>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, ISBN 978-8120814684, pages 97-98 with preface and footnotes</ref>}}

	===Brahman is the sun of all existence, Madhu Vidya – Third Prapāṭhaka===		===Brahman is the sun of all existence, Madhu Vidya – Third Prapāṭhaka===

Revision as of 02:15, 5 April 2015

Chandogya
Devanagari	छान्दोग्य
IAST	Chāndogya
Date	Uncertain, 8th to 6th century BCE
Type	Mukhya Upanishad
Linked Veda	Samaveda
Chapters	Eight
Philosophy	Oneness of the Atman
Popular verse	Tat tvam asi

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The Chandogya Upanishad (Sanskrit: छान्दोग्योपनिषद्, Chāndogyopaniṣad) is a Sanskrit text embedded in the Chandogya Brahmana of the Sama Veda of Hinduism. It is one of the oldest Upanishads. It lists as number 9 in the Muktika canon of 108 Upanishads.

The Upanishad belongs to the Tandya school of the Samaveda. Like Brhadaranyaka Upanishad, the Chandogya Upanishad is an anthology of texts that must have pre-existed as separate texts, and were edited into a larger text by one or more ancient Indian scholars. The precise chronology of Chandogya Upanishad is uncertain, and it is variously dated to have been composed by 8th to 6th century BCE in India.

It is one of the largest Upanishadic compilations, and has eight Prapathakas (literally lectures, chapters), each with many volumes, and each volume contains many verses. The volumes are a motley collection of stories and themes. As part of the poetic and chants-focussed Samaveda, the broad unifying theme of the Upanishad is the importance of speech, language, song and chants to man's quest for knowledge and salvation, to metaphysical premises and questions, as well as to rituals.

The Chandogya Upanishad is notable for its lifting metric structure, its mention of ancient cultural elements such as musical instruments, and embedded philosophical premises that later served as foundation for Vedanta school of Hinduism. It is one of the most cited texts in later Bhasyas (reviews and commentaries) by scholars from the diverse schools of Hinduism. Adi Shankara, for example, cited Chandogya Upanishad 810 times in his Vedanta Sutra Bhasya, more than any other ancient text.

Etymology

The name of the Upanishad is derived from the word Chanda, which means "poetic meter, prosody". The name implies that the nature of the text relates to the patterns of structure, stress, rhythm and intonation in language, songs and chants.

The text is sometimes known as Chandogyopanishad.

Chronology

Chandogya Upanishad was composed in the earlier part of 1st millennium BCE, and is one of the oldest Upanishads. The exact century of the Upanishad composition is unknown, uncertain and contested. The chronology of early Upanishads is difficult to resolve, states Stephen Phillips, because all opinions rest on scanty evidence, an analysis of archaism, style and repetitions across texts, driven by assumptions about likely evolution of ideas, and on presumptions about which philosophy might have influenced which other Indian philosophies. Patrick Olivelle states, "in spite of claims made by some, in reality, any dating of these documents (early Upanishads) that attempts a precision closer than a few centuries is as stable as a house of cards".

The chronology and authorship of Chandogya Upanishad, along with Brihadaranyaka and Kaushitaki Upanishads, is further complicated because they are compiled anthologies of literature that must have existed as independent texts before they became part of these Upanishads.

Scholars have offered different estimates ranging from 800 BCE to 600 BCE, all preceding Buddhism. According to a 1998 review by Olivelle, Chandogya was composed by 7th or 6th century BCE, give or take a century or so. Phillips states that Chandogya was completed after Brihadaranyaka, both probably in early part of the 1st millennium BCE.

Structure

Hindu scriptures and texts
Part of a series on

Shruti Smriti List
Vedas Rigveda Samaveda Yajurveda Atharvaveda Divisions Samhita Brahmana Aranyaka Upanishads
UpanishadsRig vedic Aitareya Kaushitaki Sama vedic Chandogya Kena Yajur vedic Brihadaranyaka Isha Taittiriya Katha Shvetashvatara Maitri Atharva vedic Mundaka Mandukya Prashna
Other scriptures Agamas Bhagavad Gita Tantras
Related Hindu texts
Vedangas Shiksha Chandas Vyakarana Nirukta Kalpa Jyotisha
PuranasBrahma puranas Brahma Brahmānda Brahmavaivarta Markandeya Bhavishya Vaishnava puranas Vishnu Bhagavata Naradiya Garuda Padma Vamana Varaha Purana Kurma Matsya Shaiva puranas Shiva Linga Skanda Vayu Agni Shakta puranas Devi Bhagavata
Itihasa Ramayana Historicity Mahabharata Historicity
Sangam literature Saiva Tirumurai Divya Prabandham Tirumurukāṟṟuppaṭai Thiruppugazh Tirukkuṟaḷ Kamba Ramayanam Five Great Epics Eighteen Greater Texts Eighteen Lesser Texts Aathichoodi Iraiyanar Akapporul Abhirami Anthadhi Thiruvilaiyadal Puranam Vinayagar Agaval
Shastras and sutras Dharma Shastra Artha Shastra Kamasutra Brahma Sutras Samkhya Sutras Mimamsa Sutras Nyāya Sūtras Vaiśeṣika Sūtra Yoga Sutras Pramana Sutras Charaka Samhita Sushruta Samhita Natya Shastra Vastu Shastra Panchatantra Divya Prabandha Tirumurai Ramcharitmanas Yoga Vasistha Swara yoga Shiva Samhita Gheranda Samhita Panchadasi Vedantasara Stotra
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The text has eight Prapathakas (प्रपाठक, lectures, chapters), each with varying number of Khandas (खण्ड, volume). Each Khanda has varying number of verses. The first chapter includes 13 volumes each with varying number of verses, the second chapter has 24 volumes, the third chapter contains 19 volumes, the fourth is composed of 17 volumes, the fifth has 24, the sixth chapter has 16 volumes, the seventh includes 26 volumes, and the eight chapter is last with 15 volumes.

The Upanishad comprises the last eight chapters of a ten chapter Chandogya Brahmana text. The first chapter of the Brahmana is short and concerns rituals-related hymns to celebrate a marriage ceremony and the birth of a child. The second chapter of the Brahmana is short as well and are mantras addressed to divine beings at life rituals. The last eight chapters are long, and are called the Chandogya Upanishad.

A notable structural feature of Chandogya Upanishad is that it contains many nearly identical passages and stories also found in Brihadaranyaka Upanishad, but in precise meter.

The Chandogya Upanishad, like other Upanishads, was a living document. Every chapter shows evidence of insertion or interpolation at a later age, because the structure, meter, grammar, style and content is inconsistent with what precedes or follows the suspect content and section. Additionally, supplements were likely attached to various volumes in a different age.

Klaus Witz structurally divides the Chandogya Upanishad into three natural groups. The first group comprises of chapters I and II, which largely deal with the structure, stress and rhythmic aspects of language and its expression (speech), particularly with the syllable Om (ॐ, Aum). The second group consists of chapters III-V, with a collection of more than 20 Upasanas and Vidyas on premises about the universe, life, mind and spirituality. The third group consists of chapters VI-VIII that deal with metaphysical questions such as the nature of reality and soul.

Content

The chant of Om, the essence of all – First Prapāṭhaka

The Chandogya Upanishad opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings in earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is udgitha.

Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts volume 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of three fold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.

Good and evil may be everywhere, yet life-principle is inherently good – First Prapāṭhaka

Template:Infobox image The second volume of the first chapter continues its discussion of syllable Om (ॐ, Aum), explaining its use as a struggle between Devas (gods) and Asuras (demons) – both being race derived from one Prajapati (creator of life). Max Muller states that this struggle between gods and demons is considered allegorical by ancient scholars, as good and evil inclinations within man, respectively. The Prajapati is man in general, in this allegory. The struggle is explained as a legend, that is also found in a more complete and likely original ancient version in the Brihadaranyaka Upanishad's chapter 1.3.

The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this we shall overcome the demons". The gods revered the Udgitha as sense of smell, but the demons cursed it and ever since one smells both good-smelling and bad-smelling, because it is afflicted with good and evil. The gods thereafter revered the Udgitha as speech, but the demons afflicted it and ever since one speaks both truth and untruth, because speech has been struck with good and evil. The gods next revered the Udgitha as sense of sight (eye), but the demons struck it and ever since one sees both what is harmonious, sightly and what is chaotic, unsightly, because sight is afflicted with good and evil. The gods then revered the Udgitha as sense of hearing (ear), but the demons afflicted it and ever since one hears both what is worth hearing and what is not worth hearing, because hearing is afflicted with good and evil. The gods thereafter revered the Udgitha as Manas (mind), but the demons afflicted it and therefore one imagines both what is worth imagining and what is not worth imagining, because mind is afflicted with good and evil. Then the gods revered the Udgitha as Prāṇa (vital breath, breath in the mouth, life-principle), and the demons struck it but they fell into pieces. Life-principle is free from evil, it is inherently good. The deities inside man – the body organs and senses of man are great, but they all revere the life-principle because it is the essence and the lord of all of them. Om is the Udgitha, the symbol of life-principle in man.

Space: the origin and the end of everything – First Prapāṭhaka

The Chandogya Upanishad, in eighth and ninth volumes of the first chapter describes the debate between three men proficient in Udgitha, about the origins and support of Udgitha and all of empirical existence. The debaters summarize their discussion as,

What is the origin of this world?
Space, said he. Verily, all things here arise out of space. They disappear back into space, for space alone is greater than these, space is the final goal.
This is the most excellent Udgitha. This is endless. The most excellent is his, the most excellent worlds does he win, who, knowing it thus, reveres the most excellent Udgitha .
— Chandogya Upanishad 1.9.1-1.9.2

Max Muller notes that the term "space" above, was later asserted in the Vedanta Sutra verse 1.1.22 to be a symbolism for the Vedic concept of Brahman. Paul Deussen explains the term Brahman means the "creative principle which lies realized in the whole world".

A ridicule and satire on egotistic nature of priests – First Prapāṭhaka

The tenth through twelfth volumes of the first Prapathaka of Chandogya Upanishad describe a legend about priests and it criticizes how they go about reciting verses and singing hymns without any idea what they mean or the divine principle they signify. The 12th volume in particular ridicules the egotistical aims of priests through a satire, that is often referred to as "the Udgitha of the dogs".

The verses 1.12.1 through 1.12.5 describe a convoy of dogs who appear before Vaka Dalbhya (literally, sage who murmurs and hums), who was busy in a quite place repeating Veda. The dogs ask, "Sir, sing and get us food, we are hungry". The Vedic reciter watches in silence, then the head dog says to other dogs, "come back tomorrow". Next day, the dogs come back, each dog holding the tail of the preceding dog in his mouth, just like priests do holding the gown of preceding priest when they walk in procession. After the dogs settled down, they together began to say, "Him" and then sang, "Om, let us eat! Om, let us drink! Lord of food, bring hither food, bring it!, Om!".

Such satire is not unusual in Indian literature and scriptures, and similar emphasis for understanding over superficial recitations is found in other ancient texts, such as chapter 7.103 of the Rig Veda. John Oman, in his review of the satire in section 1.12 of the Chandogya Upanishad, states, "More than once we have the statement that ritual doings only provide merit in the other world for a time, whereas the right knowledge rids of all questions of merit and secures enduring bliss".

Structure of language and cosmic correspondences – First Prapāṭhaka

The 13th volume of the first chapter lists mystical meanings in the structure and sounds of a chant. The text asserts that hāu, hāi, ī, atha, iha, ū, e, hiṅ among others correspond to empirical and divine world, such as moon, wind, sun, oneself, Agni, Prajapati, and so on. The thirteen syllables listed are Stobhaksharas, sounds used in musical recitation of hymns, chants and songs. This volume is one of many sections that does not fit with the preceding text or text that follows.

The fourth verse of the 13th volume uses the word Upanishad, which Max Muller translates as "secret doctrine", and Patrick Olivelle translates as "hidden connections".

The significance of chant – Second Prapāṭhaka

The first volume of the second chapter states that the reverence for entire Sāman (साम्न, chant) is sādhu (साधु, good), for three reasons. These reasons invoke three different contextual meanings of Saman, namely abundance of goodness or valuable (सामन), friendliness or respect (सम्मान), property goods or wealth (सामन्, also समान). The Chandogya Upanishad states that the reverse is true too, that people call it a-sāman when there is deficiency or worthlessness (ethics), unkindness or disrespect (human relationships), and lack of wealth (means of life, prosperity).

Everything in universe chants – Second Prapāṭhaka

Volumes 2 through 7 of the second Prapathaka presents analogies between various elements of the universe and elements of a chant. The latter include Hinkāra (हिङ्कार, preliminary vocalizing), Prastāva (प्रस्ताव, propose, prelude, introduction), Udgītha (उद्गीत, sing, chant), Pratihāra (प्रतिहार, response, closing) and Nidhana (निधन, finale, conclusion). The sets of mapped analogies present interrelationships and include cosmic bodies, natural phenomenon, hydrology, seasons, living creatures and human physiology. For example, chapter 2.3 of the Upanishad states,

The winds blow, that is Hinkāra
A cloud is formed, that is Prastāva
It rains, that is an Udgītha
The lightning that strikes and thunder that rolls, that is Pratihāra
The rains stop and clouds lift, that is Nidhana.
— Chandogya Upanishad 2.3.1

The eighth volume of the second chapter expand the five-fold chant structure to seven-fold chant structure, wherein Ādi and Upadrava are the new elements of the chant. The day and daily life of a human being is mapped to the seven-fold structure in volumes 2.9 and 2.10 of the Upanishad. Thereafter, the text returns to five-fold chant structure in volumes 2.11 through 2.21, with the new sections explaining the chant as the natural template for cosmic phenomena, psychological behavior, human copulation, human body structure, domestic animals, divinities and others. The metaphorical theme in this volume of verses, states Paul Deussen, is that the universe is an embodiment of Brahman, that the "chant" (Saman) is interwoven into this entire universe and every phenomena is a fractal manifestation of the ultimate reality.

The 22nd volume of the second chapter discusses the structure of vowels (svara), consonants (sparsa) and sibilants (ushman).