Sa ya eṣontarhṛdaya ākāśaḥ tasminnayaṃ puruṣo manomayaḥ amṛto hiraṇmayaḥ antareṇa tāluke ya eṣa stana ivāvalaṃbate sendrayoniḥ yatrāsau keśānto vivartate vyapohya śīrṣakapāle ……. This takes us directly to verse 1.6.1 which contains a very decisive exposition of the seating of the Puruṣa in the inner Heart. For example, third verse of second passage in the first chapter is written as 1.2.3.Īs you know, we are concerned with only the rational thoughts which bear consistency with the spiritual philosophy universally propounded in the Upaniṣads. A verse is identified by the chapter number, passage, number and verse number. The text of this Upaniṣad is divided into three chapters (Valli) which are again divided into passages (Anuvāka) and verses.
In this article which is ninth in the series ‘The Science of Upaniṣads’, we study the explications on these two topics, namely, the nature of Brahma and the instructions on the rules of conduct. Popular instructions like ‘Satyaṃ vada, dharmaṃ cara mātṛdevo bhava, pitṛdevo bhava etc. The focal areas in this Upaniṣad are rules of conduct and nature of Brahma. The Chāndogya Upanishad talks about meditation.Taittirīya Upaniṣad consists of three discourses of Taittirīya Āraṇyaka which belongs to Kṛṣṇa Yajurveda. The Śvetāśvatara Upanishad deals with many different things, including yoga techniques. The Taittiriya Upanishad deals with Nāṭya (drama, dance, cinema), and the very short Kena Upanishad deals with Nṛtta (dance). The Aitareya Samhita talks about yoga techniques, while the Kaushitaki Samhita talks about various karmas or actions. For example, one sub-group of the Samhitas is called Aitareya Samhita. These groups are further divided into sub-groups. The Upanishads are divided into three categories: Others discuss different methods of meditation that can be used by yogis.
For instance, there are some that talk about the nature of reality, while others talk about the nature of the self, while some are concerned with how to live a good life. The Upanishads are concerned with many subjects. Chapters 4 and 5: These two chapters discuss various acting techniques, such as: 1) practicing like a god (paraṇa-bhūtam, literally: practicing like a god who is presenting himself), 2) how to avoid confusion when practicing nāṭya or when teaching someone else how to do it, 3) observing reality in action, 4) distinguishing between lies and lies that are part of one's character (there is not just an objective truth but also an objective lie). Chapter 3: This chapter explains how to take on the role of a role (nāṭya), and how to make one's self the character in the play. Chapters 1 and 2: These two chapters focus on the words and gestures of acting. Introduction: This section explains how powerful and awesome Nāṭya (drama) and Nṛtta (dance) are, and how they can be used to work towards spiritual attainment. Each of these sections has its own title: This book is written in a poetic style, and is made up of five chapters (or sections). It is also the only one which is completely dedicated to a discussion on acting techniques. Of these four short books, the Ṣaḍ-nāṭya Upanishad is the shortest and most beautiful of them all. Among these sacred teachings are four short books called upanishads. Written in Sanskrit sometime between 800 BCE and 600 BCE, this collection includes the Ṛg Veda (or Ṛṣi Veda), which was likely compiled around 1200 BCE. **The Sacred Teachings of The Upanishads** is a collection of Hindu texts that are considered by some to be one of the most important texts for understanding Hindu philosophy. The English translation is in the post, in case you want to read it, but if not - here's what the introduction would be.