Om

Gurubhyo Namah

The Mind (Sukshma Sarira)

According to the scriptures, a human being is a living entity composed of two fundamental aspects. The first is the Brahman (Paramatma) aspect, and the second is the Jivatma. (The nature of the Jivatma will be studied in detail in the later lessons.)

A human being is the aggregate of the physical body, the mind, the life-force (Prana), and the Atma.

Generally, a human being has become accustomed to identifying himself with the individual being, that is, with the mind and the physical body. Both the body and the mind are comparable to a shadow; they are not ultimately real and are subject to constant change. However, the Atma within man alone is the Reality. It is never different from the Supreme Lord. When a person identifies himself with that divine aspect, he abides in his own true glory. On the other hand, when he identifies himself with the experiences brought about by the non-Self, namely the body and the mind, he becomes subject to pleasure and pain and continues to wander through the endless cycle of birth and death.

The human personality consists of three bodies. These are:

1. The Gross Body (Sthula Sarira)
2. The Subtle Body (Sukshma Sarira)
3. The Causal Body (Karana Sarira)

The Sthula Sarira (Gross Body) is composed of the five great elements: space (Akasa), air (Vayu), fire (Agni), water, and earth (Prithvi). It is subject to the Shad Vikaras, the six modifications. These six modifications are:

1. Asti – existence in the womb (conception).
2. Jayate – birth.
3. Vardhate – growth.
4. Viparinamate – transformation through stages such as childhood, youth, adulthood, and old age.
5. Apakshiyate – gradual decline and weakening due to old age.
6. Vinasyati – death.

This Gross Body, being subject to these six modifications, can be perceived both by oneself and by others. Its lifespan is approximately one hundred years.

The Sukshma Sarira (Subtle Body) will be discussed in detail shortly. This body cannot be perceived either by oneself through the physical senses or by others. It continues to exist until the time of cosmic dissolution (Pralaya).

The Karana Sarira (Causal Body) is not truly a separate body. Rather, it is the causal or seed state that exists before the manifestation of both the Gross Body and the Subtle Body. Just as a tree exists in an unmanifest form within a seed and later emerges from it, similarly, the Gross Body and the Subtle Body emerge from the Causal Body. During cosmic dissolution, both the Gross and Subtle Bodies resolve back into the Causal Body. This Causal Body is destroyed only upon the attainment of Liberation (Mukti). It cannot be perceived either by oneself or by others.

Let us now examine the nature of the Sukshma Sarira.

Our present discussion concerns the Subtle Body of the human being. Although all living creatures possess a Subtle Body, the number and nature of its constituent faculties differ among various species. Therefore, our enquiry here is confined specifically to the human Sukshma Sarira.

The definition of the Sukshma Sarira is expressed in the following scriptural statement:

“Sukshma Sarirani Sapta Dasa Avayavani Linga Sarirani.”

The meaning of Sapta Dasa is:

Sapta = Seven

Dasa = Ten

Seven plus ten equals seventeen.

Avayavani means limbs or constituent parts.

Linga means a sign, mark, or indicator—something that points to or reveals another reality.

Sarirani means bodies.

Therefore, the Sukshma Sarira is the Linga Sarira, consisting of seventeen constituent parts.

The Gross Body is very easy for us to understand. Once a person dies, the body is clearly recognized as inert matter. Even while we are alive, the body appears conscious only because consciousness is reflected through it. During deep sleep, the physical body itself remains inert. However, the Sukshma Sarira, together with the mind, continues to function as the medium through which conscious experience is possible.

This conscious awareness is called Chaitanyam.

It is the mind that reflects the Chaitanyam of the Atma and thereby enables us to experience consciousness. Without the mind, it would not be possible to speak about, understand, or recognize the principles of Atma, Chaitanyam, or Chit Svarupa. We do not directly perceive the Consciousness of the Atma before us; nevertheless, when we speak of Chit Svarupa, it is the mind that serves as the medium revealing it.

The mind itself has originated from the subtle five elements (Pancha Sukshma Bhutas), which arise from the predominance of Tamo Guna and are themselves insentient (Jada). If the five subtle elements are insentient, then the mind that arises from them is likewise insentient. Similarly, the gross five elements that arise from the subtle elements are also insentient, and consequently the Gross Body composed of those elements is likewise insentient.

The reason why this inherently insentient mind appears to be conscious is that it continuously reflects the Chaitanyam of the Atma. Because of this constant reflection of Consciousness, the mind appears sentient and enables us to experience awareness. Thus, it is through the mind that the presence of Chaitanyam is revealed to us.

This Sukshma Sarira, together with the mind, is also known as the Linga Sarira. The expression Linga Sarira is the philosophical term used from the standpoint of Vedantic analysis, whereas Sukshma Sarira is the term commonly used from the standpoint of experience. Both refer to the same subtle body, viewed from two different perspectives.

Let us now examine what the seventeen constituents of the Sukshma Sarira are.

The scriptures define the Sukshma Sarira in the following manner:

“Apanchikruta Pancha Maha Bhutaih Krutam, Satkarma Janyam, Sukha Dukkhadi Bhoga Sadhanam, Pancha Jnanendriyani, Pancha Karmendriyani, Pancha Pranadayah, Manas Cha Ekam, Buddhis Cha Eka; Evam Saptadasa Kalabhih Saha Yat Tishthati Tat Sukshma Sariram.”

The meaning of this statement is as follows:

Apanchikruta Pancha Maha Bhutaih Krutam means that the Sukshma Sarira is formed from the subtle five elements, that is, the five elements in their subtle state before they become the gross five elements.

Satkarma Janyam means that it is obtained according to one’s accumulated karma.

Sukha Dukkhadi Bhoga Sadhanam means that it is the instrument through which one experiences the dualities of life such as pleasure and pain.

Pancha Jnanendriyani means the five organs or faculties of knowledge. Here, “Pancha” means five, and “Jnanendriyas” are the faculties through which knowledge of external objects is obtained.

Pancha Karmendriyani refers to the five organs of action that enable various activities to be performed.

Pancha Pranadayah refers to the five vital forces (Pranas) that supply energy and vital power to the organs and the body.

Manas Cha Ekam means one mind.

Buddhis Cha Eka means one intellect.

Evam means “thus.”

Saptadasa means seventeen.

Kalabhih means constituent parts or limbs.

Thus, there are seventeen constituent parts.

Saha Yat Tishthati means “that which exists together with these seventeen constituents.”

Tat Sukshma Sariram means “that is the Sukshma Sarira.”

Thus, the Sukshma Sarira is that subtle body which is formed from the subtle five elements existing prior to the gross five elements, obtained according to one’s karma, serving as the instrument for experiencing the dualities of pleasure and pain, and consisting of the five organs of knowledge through which knowledge of external objects is acquired, the five organs of action through which activities are performed, the five vital forces that provide energy to these organs, together with the mind and the intellect. These together constitute the seventeen components of the Sukshma Sarira.

Let us now understand the Jnanendriyas, the organs of knowledge.

The scriptures state:

“Jnanendriyani Srotra Tvak Chakshu Jihva Ghranakhyani.”

Before examining them individually, we must first understand what is meant by an Indriya.

Suppose we see an object. There exists within us a faculty that enables us to perceive the form and colour of that object. Likewise, there are faculties within us that enable us to perceive sound, taste, smell, and touch.

Let us understand this more clearly.

When we say that we see an object, we usually say, “We see it through the eyes.” If someone immediately asks, “What is the eye?” we naturally point to the physical eye located on the face. However, the scriptures teach us that this physical eye is merely the gross organ through which the faculty of seeing is expressed. Similarly, the physical ear is only the gross organ through which the faculty of hearing is expressed. The physical nose is merely the gross organ through which the faculty of smell is expressed. The physical tongue is the gross organ through which the faculty of taste is expressed. The skin, which extends throughout the body, is the gross organ through which the faculty of touch is expressed.

These physical organs are known in the scriptures as Golakas. The subtle faculties or powers that manifest through these Golakas are called the Indriyas.

Among the seventeen invisible constituents of the Sukshma Sarira, these five subtle faculties are known as the Jnanendriyas, or the five organs of knowledge.

The scriptural statement,

“Jnanendriyani Srotra Tvak Chakshu Jihva Ghranakhyani,”

means:

Srotra – the faculty of hearing (expressed through the ear)

Tvak – the faculty of touch (expressed through the skin)

Chakshu – the faculty of sight (expressed through the eye)

Jihva – the faculty of taste (expressed through the tongue)

Ghrana – the faculty of smell (expressed through the nose)

These are called the Jnanendriyas because it is through them that knowledge of external objects is obtained.

Now let us consider another important point.

Suppose a person’s eyesight becomes defective, or he loses his vision altogether. Similarly, suppose a person’s hearing becomes impaired or he becomes deaf. According to the scriptures, such defects arise because of a defect in the Golaka, the physical organ, namely the eye or the ear. The faculty of seeing itself or the faculty of hearing itself does not undergo any defect, diminution, or variation whatsoever. The problem lies only in the physical organ through which that faculty is expressed.

Whenever the Golaka functions properly without any defect, the corresponding faculty of seeing or hearing manifests fully.

If there is a defect in one of our physical organs, a physician can only correct the defect in that particular Golaka. He can never create or bestow the faculty of seeing or the faculty of hearing itself, nor is there any need for him to do so, because those faculties already exist in the Jnanendriyas of the Sukshma Sarira.

For example, suppose the nose suddenly becomes blocked because of a cold. During those one or two days, a person is unable to perceive the smell of any object. This inability is not due to any defect in the faculty of smell itself. It is caused only by the obstruction in the physical nose, which prevents the faculty of smell from expressing itself. The moment the obstruction is removed, the faculty of smell immediately manifests itself once again through the nose.

Therefore, every defect belongs only to the Golaka, the physical organ through which the faculty is expressed, and never to the Indriya, the subtle faculty itself.

The five Karmendriyas are described in the scriptures as follows:

“Vak Pani Pada Payu Upasthani Iti Pancha Karmendriyani.”

Vak means speech.

Pani means the hands.

Pada means the feet.

Payu means the organ of excretion (anus).

Upastha means the organ of generation (reproductive organ).

Speech, the hands, the feet, the organ of excretion, and the organ of generation are known as the Karmendriyas, or the organs of action.

It is from the Karmendriyas that the power enabling the physical organs of the body to perform their respective functions is derived. Without these five Karmendriyas, no action whatsoever could be performed.

Vak is the faculty of speech. The tongue, as a physical organ, serves two different Indriyas. When it functions as a Jnanendriya, it expresses the faculty of taste. When it functions as a Karmendriya, it expresses the faculty of speech. Likewise, Pani refers to the hands, Pada refers to the feet, Payu refers to the organ through which waste matter is expelled from the body, and Upastha refers to the organs responsible for the elimination of urine and for reproduction. These five Karmendriyas function as the subtle powers that enable the corresponding physical organs of the body to carry out their respective actions.

We have already seen that the Sukshma Sarira consists of seventeen constituent parts, namely the five Jnanendriyas, the five Karmendriyas, the five Pranas, the mind, and the intellect. We have already studied the five Jnanendriyas and the five Karmendriyas. Let us now proceed to understand the five Pranas.

Let us first understand what is meant by Prana.

The Vedas present various explanations concerning the nature and function of Prana. At present, we shall study only that much which is necessary for understanding the Sukshma Sarira. In the lessons that follow, this subject will be explained in greater depth and with increasing clarity.

What, then, is Prana?

Prana is power, or the principle of activity. In other words, the vital energy that operates within the body is called Prana. Since this one vital energy manifests itself in five distinct modes of functioning, it is known collectively as the five Pranas (Pancha Pranas).

The word Prana also carries the meaning of air or vital wind. When this air exists outside the body, it is simply called Vayu (air). When that very air functions within the living body as the principle of life, it is called Prana.

Before studying the five Pranas individually, the Upanishads explain the importance of Prana through an instructive story.

Once, a dispute arose among the senses, the mind, and Prana. Each claimed to be the most important. Since they were unable to arrive at a conclusion among themselves, they approached Lord Brahma, the Creator, seeking a final decision.

Lord Brahma replied, “Whichever among you departs, causing the body to become completely inactive like a corpse, that alone should be regarded as the most important.”

First, the faculty of speech departed. As a result, the person became mute, yet he continued to live. Therefore, speech accepted its defeat and returned to perform its function once again.

Next, the faculty of sight departed. Even without vision, the person continued to live. In the same way, each of the remaining senses departed one after another, and each was compelled to acknowledge its inability to prove itself as the most essential.

Finally, when Prana prepared to depart, all the senses suddenly experienced that they themselves were being drawn out along with Prana. They immediately realized that if Prana were to leave the body, none of them would be capable of functioning any longer.

Accepting their defeat, all the senses addressed Prana with humility, saying, “O Noble One, you alone are the greatest among us. Please do not abandon us.”

Thus, through this story, the Upanishads teach the supreme importance of Prana.

At this point, however, we should be careful not to misunderstand the teaching.

According to one view found in the Sankhya system of philosophy, Prana is regarded merely as the combined activity of the senses. If this interpretation were correct, then during deep sleep, when the senses—including the mind—become inactive, Prana should also cease to function. If Prana truly ceased, then every bodily function, including the beating of the heart and all other vital physiological activities, would come to a complete stop.

But this is clearly not what actually happens.

Therefore, Prana cannot simply be identified as the activity of the senses.

Rather, Prana is the vital energy that empowers the organs and enables every activity to take place. All the movements and functions of both the body and the mind are made possible only because of Prana. The Prana functioning within a particular body conforms to the dimensions of that body itself.

Just as the Prana within the individual body governs all the various activities of that body, the Cosmic Prana governs the movements and functions of the entire universe.

Let us now understand how Prana functions through five distinct modes of activity. These five modes of functioning are collectively known as the Pancha Pranas, the five vital forces of the Sukshma Sarira.

The scriptures state:

“Vayavah Prana Apana Vyana Udana Samanah.”

These are the five vital airs: Prana, Apana, Vyana, Udana, and Samana.

Among these five functions, the first itself is called Prana. The word Prana has both a general meaning and a specific meaning. In its general sense, it refers to the total vital force. In its specific sense, it refers to the outgoing breath—that is, the air that is exhaled after inhalation.

Let us now examine each of these five individually.

The scriptures declare:

“Prano Nama Prak Manavan Nasagrasthana Vartti.”

Prak Manavan means that which moves outward or upward.

Nasagrasthana Vartti means that which is experienced at the tip of the nose.

Therefore, the vital air that moves outward and is perceptible at the tip of the nose is called Prana.

Although the scriptures state that the true seat of Prana is the heart, it is described as residing at the tip of the nose because its movement can be directly perceived there through breathing.

The scriptures further state:

“Apano Nama Avak Manavan Payvadi Sthana Vartti.”

Avak Manavan means the air that pushes downward or moves in a downward direction.

Payvadi Sthana Vartti means that which functions in regions such as the anus and similar organs.

Therefore, the downward-moving vital air that operates in the organs of excretion and reproduction is called Apana.

Apana is responsible for the elimination of waste products from the body. It governs the functioning of the organs connected with excretion and reproduction.

The scriptures next describe:

“Vyano Nama Visvak Manavan Akhila Sarira Vartti.”

Visvak Manavan means that which moves throughout the entire body.

Akhila Sarira Vartti means that which pervades every part of the body.

This vital force called Vyana is often understood as the body’s circulatory power. Just as blood circulates throughout the body, Vyana pervades every part of the body. It is through the support of Vyana that blood circulates to every organ and tissue.

Whenever we perform actions requiring great physical effort, such as lifting heavy objects or exerting ourselves intensely while temporarily holding the breath, it is the power of Vyana that enables such actions.

The scriptures then describe:

“Udano Nama Kantha Sthaniyah Urdhva Gamanavan Utkramana Vayuh.”

Udana is the upward-moving vital force situated in the region of the throat.

Under certain extraordinary circumstances, Udana causes the normal functioning of the body to reverse its direction. Normally, the food we consume is digested and converted into nourishment for the body. However, when food remains undigested in the stomach and becomes harmful to health, Udana reverses the normal direction of movement, acting from below upward, and expels the undigested food through vomiting.

The most important function of Udana, however, occurs at the time of death. It is Udana that carries the Jiva out of the physical body. The departure of the Jiva from the body at death is known as Utkramana or Utkranti.

Its principal seat is the throat region.

The scriptures further state:

“Samano Nama Sarira Madhyagata Asita Pita Annadi Samikarana Karah.”

Samana is the vital force located in the central region of the body, particularly in the stomach.

It is responsible for properly digesting and assimilating the food that is eaten and the water that is consumed.

Samana transforms the digested food into nutritive essence, blood, reproductive fluids, and other bodily tissues, while also separating and preparing waste materials for elimination.

These five distinct modes of functioning together constitute the Pancha Pranas of the Sukshma Sarira.

Certain philosophical schools, particularly the Sankhya system, additionally describe five subsidiary vital airs. These are:

Naga, Kurma, Krikala, Devadatta, and Dhananjaya.

Naga is responsible for belching and vomiting.

Kurma controls the opening and closing of the eyelids.

Krikala produces sneezing and stimulates hunger.

Devadatta causes yawning.

Dhananjaya is responsible for nourishing and sustaining the growth of the body.

However, these five subsidiary vital airs are included within the functions of the primary five Pranas.

Naga is included within Udana.

Kurma is included within Vyana.

Krikala is included within Samana.

Devadatta is included within Apana.

Dhananjaya is included within Samana.

Therefore, the Sukshma Sarira is traditionally described as possessing only the five principal Pranas.

Our Sukshma Sarira consists of seventeen constituent parts: the five Karmendriyas, the five Jnanendriyas, the five Pranas, the mind, and the intellect. We have now completed our study of the five Karmendriyas, the five Jnanendriyas, and the five Pranas. Our present discussion now turns to the mind and the intellect.

The Indriyas are also known as instruments. Among these, the five Jnanendriyas together with the mind and the intellect are collectively called the faculties of cognition. These cognitive faculties are referred to in Vedanta as the Karanas (instruments of knowledge).

The Karanas are further divided into two categories: Bahya Karana and Antah Karana.

Bahya Karana refers to the external instruments that establish contact with external objects and bring about knowledge of them. Thus, the five Jnanendriyas—the faculties of seeing, hearing, smelling, tasting, and touching—are called the Bahya Karanas.

Antah Karana, on the other hand, refers to the internal instrument that remains behind the external faculties, coordinates all their activities, and produces knowledge within us. Just as waves arise on the surface of water, the various thought modifications that arise within the Antah Karana are called Vrittis.

According to the nature and function of these Vrittis, the Antah Karana assumes four different aspects, namely Chitta, Buddhi, Manas, and Ahamkara.

Some traditional commentators, however, explain that these four functions may be understood as being included within only two principal divisions—Mind (Manas) and Intellect (Buddhi). According to this explanation, Chitta is included within Buddhi, while Ahamkara is included within Manas.

However, we shall examine all four separately.

The scriptures define the mind as follows:

“Mano Nama Sankalpa Vikalpatmika Antah Karana Vrittih.”

The mind is that mode of the Antah Karana whose nature is Sankalpa and Vikalpa.

Sankalpa means thinking, contemplating, imagining, or forming an idea. Vikalpa means doubting, hesitating, wavering, or being uncertain.

Whenever we think about a particular matter, two kinds of thoughts generally arise. One thought says, “It must be this,” while another immediately asks, “Or could it perhaps be something else?”

The thought, “It must be this,” is called Sankalpa.

The thought, “Could it perhaps be something else?” is called Vikalpa.

Similarly, when we think about performing an action, the first thought that arises is, “I can do it in this way.” Immediately another thought follows, “Could it perhaps be done in some other way?”

Among these two streams of thought, the idea, “I shall do it this way,” is Sankalpa, while the thought, “Could it be done differently?” is Vikalpa.

Whenever such thoughts of Sankalpa and Vikalpa arise in the Antah Karana (the internal instrument consisting of the four functions—Mind, Chitta, Buddhi, and Ahamkara—which together constitute the inner aspect of the Sukshma Sarira) concerning any particular object or subject, that mode of the Antah Karana is called the Mind (Manas).

The scriptures define the intellect as follows:

“Buddhir Nama Nischayatmika Antah Karana Vrittih.”

Among the various thoughts of Sankalpa and Vikalpa that arise in the Antah Karana regarding a particular subject, the modification of the Antah Karana that gives rise to firm and definite knowledge—“This alone is so; it is not otherwise”—is called the Buddhi, or the intellect.

One important point must be clearly understood here. Every conclusion reached by the intellect is not necessarily correct. The intellect may arrive at a right conclusion, or it may arrive at a wrong conclusion. Such erroneous certainty is called Viparita Jnana, or erroneous knowledge.

The function of the Buddhi is to arrive at a final decision by choosing one among the various possibilities presented by Sankalpa and Vikalpa. The conclusion thus reached may be true knowledge or false knowledge.

Furthermore, every kind of emotion arises only in the mind. Positive emotions such as love, compassion, affection, and devotion, as well as negative emotions such as anger, sorrow, jealousy, and irritation, all arise only in the mind.

No emotion ever arises independently of experience. Every emotion is preceded by corresponding experiential thought patterns. It is only after those experiences have been registered that the related emotions arise.

This is why we describe one person as loving, another as short-tempered, another as compassionate, and yet another as kind-hearted.

The reason for this will become much clearer when we study the function of the Antah Karana known as Chitta.

The scriptures define Chitta as follows:

“Anusandhanatmika Antah Karana Vrittih Chittam.”

Anusandhana means recollecting or bringing back to memory something that has previously been experienced.

Chitta is that aspect of the Antah Karana in which all our experiences are preserved as memories. In modern language, it may be described as the place where all experiences are stored.

In other words, Chitta is the repository in which all experiences are retained as memory.

Let us understand this through a simple example.

Suppose we eat certain food items for breakfast in the morning. Several hours later, at midday, someone asks us where we had breakfast or what food we ate. Immediately, the entire morning experience, together with the forms of the various food items we consumed, returns to our memory.

This shows that all those experiences, together with the forms of the objects experienced, had already been preserved somewhere within the Sukshma Sarira.

That repository is called Chitta.

Let us now understand how impressions become recorded in Chitta.

Suppose we see an object.

In the Gross Body, the faculty of sight functions through the physical organ called the eye. Through this gross organ, the subtle faculty of seeing—the Jnanendriya—works together with the Antah Karana. The Antah Karana extends itself toward the external object and assumes the form corresponding to that object. This mental modification, or Vritti, records the object.

It is this Vritti that gives rise to knowledge of the object.

Only then does the object become clearly visible before us in its particular form.

Only when all these processes occur in proper sequence does knowledge of an object arise. Otherwise, even though the object may be directly before us, we shall not know that it is there.

The Vritti thus formed in the Antah Karana is preserved within a particular aspect of the Antah Karana itself.

That aspect in which these impressions are stored is called Chitta.

The impressions stored in Chitta later reappear as memories whenever they are recalled.

Chitta possesses not only the capacity to store impressions but also the equally important capacity to remove unnecessary impressions.

This capacity may be called the power of forgetting.

The ability to forget is, in fact, a great blessing. Had human beings not been endowed with this power, it would be impossible for anyone to live happily.

Likewise, if one wishes to retain a particular impression in Chitta for a long period, it can be strengthened through constant repetition, memorization, or by repeatedly performing the same action over and over again. Such repeated effort firmly establishes that impression within Chitta.

Suppose a child grows up from early childhood in an atmosphere filled with love, affection, care, and tenderness. Those experiences become deeply recorded in his Chitta as experiential Vrittis.

Whatever becomes firmly established in Chitta is reflected in both the mind and the intellect.

Therefore, if the Vritti of love predominates in a person’s Antah Karana, that individual naturally behaves lovingly toward others.

Society then praises such a person as one who possesses a loving heart.

The same principle applies to every other character trait. Thus we describe one person as angry, another as compassionate, another as gentle, and another as harsh.

Therefore, whether a person becomes good or bad depends upon the experiential Vrittis that have become firmly established within his Chitta.

The scriptures refer to these deeply rooted impressions as Vasana Vrittis.

It is this entire truth that is expressed in the brief scriptural definition:

“Anusandhanatmika Antah Karana Vrittih Chittam.”

This is the defining characteristic of Chitta.

Next, let us study Ahamkara.

The Antah Karana functions in four distinct modes, namely Manas (Mind), Buddhi (Intellect), Chitta (Memory), and Ahamkara (Ego-sense). We have already studied the nature of the Mind, the Intellect, and Chitta. Let us now turn to the fourth aspect, Ahamkara.

The scriptures define it as follows:

“Abhimanatmika Antah Karana Vrittih Ahamkarah.”

The word Ahamkara is commonly used in two different senses.

The first is in the context of a person’s character or conduct. When we say, “One should not have Ahamkara,” we are using the word in the sense of pride, arrogance, or conceit.

The second meaning belongs to the field of Vedantic analysis. Here, Ahamkara refers to that particular modification (Vritti) of the Antah Karana in which the notion of “I” is identified with something.

Every thought has an object or a subject to which it refers. In the case of the Ahamkara Vritti, the object is the thought “I.”

To explain this more clearly, whenever the notion of “I” becomes identified with any aspect, part, or organ belonging to the Gross Body (Sthula Sarira), the Subtle Body (Sukshma Sarira), or the Causal Body (Karana Sarira), that identification itself is called Ahamkara.

This becomes very easy to understand through a few simple examples.

Suppose we see an object. The actual act of seeing is performed through the faculty of sight, namely the eye as the Jnanendriya. Yet, how do we ordinarily express this experience? We say, “I see.” In doing so, we place the notion of “I” upon the faculty of sight.

Similarly, when we hear a sound, it is the faculty of hearing that actually functions. Nevertheless, we do not say, “The ear hears.” Instead, we say, “I hear.” Here again, the notion of “I” is superimposed upon the faculty of hearing.

Likewise, when we perform an action with our hands, which are the organs of action (Karmendriyas), we naturally say, “I am doing this action.” When we walk using our feet, we say, “I am walking.” Thus, the sense of “I” is identified with the organs of action, namely the hands and the feet.

Consider another example.

When we enter deep sleep, all the Karmendriyas, the Jnanendriyas, and even the entire Antah Karana, including the mind, become resolved into the Causal Body. Yet, upon waking, we immediately say, “I slept well.”

It is this persistent sense of “I,” this identification or self-reference, that is called Ahamkara.

In the next lesson, we shall study another important subject. There is a particular locus within our being into which all the activities of the Karmendriyas, the Jnanendriyas, and the entire Antah Karana, including the mind, become resolved. The scriptures introduce this sacred locus as the Hridaya (the spiritual Heart). We shall examine this profound subject in detail.

Our Karmendriyas (organs of action), Jnanendriyas (organs of knowledge), and the entire Antah Karana, including the mind, all resolve into a particular locus within our being. The scriptures introduce this sacred locus as the Hridaya.

The Hridaya (Heart) referred to here is not the physical heart that beats continuously within the body. Everyone is familiar with the existence of the physical heart. However, the Hridaya that is the subject of our present enquiry is the subtle spiritual space within the physical heart, the very abode of the Atma. This is the spiritual Heart.

The Narayana Sukta describes this spiritual Heart by giving three distinguishing characteristics.

First, it is located approximately a span above the navel. The physical heart also happens to be situated in that region.

Second, it is surrounded by a series of radiant flames or luminous effulgence.

Third, that Heart itself shines with its own radiance.

These three characteristics do not properly apply to the physical heart. Rather, they describe the subtle spiritual space mentioned above.

Let us now examine what the Upanishadic mantras teach regarding this Hridaya and the Supreme Reality that abides therein.

The Katha Upanishad, Chapter Two, Valli One, Mantras Twelve and Thirteen, declares:

“Angushtha Matrah Purushah Madhya Atmani Tishthati |
Isanam Bhuta Bhavyasya Na Tato Vijugupsate ||
Etat Vai Tat ||”

(Katha Upanishad 2.2.12)

“Angushtha Matrah Purushah Jyotir Iva Adhumakah |
Isano Bhuta Bhavyasya Sa Eva Adya Sa U Svah |
Etat Vai Tat ||”

(Katha Upanishad 2.2.13)

The essential meaning of these mantras is this:

The Lord, who pervades everything and is the ruler of both the past and the future, abides in the cave of the heart, in the centre of the body, shining like a smokeless flame, appearing as though of the size of a thumb.

The twelfth mantra is especially suitable for meditation.

The Atma, or the Supreme Reality, is infinite and all-pervading. Since It is present everywhere, one may naturally ask: Where can It be known? Where should one meditate upon It?

Although the Supreme Reality pervades everything, the mind is unable to comprehend or meditate upon that all-pervading Reality without a definite point of focus. Therefore, a specific locus is necessary.

Consider the example of the sacred river Ganga. Although the river flows continuously, one cannot safely enter the water at every point along its course. Proper bathing ghats are specially prepared, enabling one to approach and enter the river with ease.

Similarly, although the Supreme Reality pervades the entire universe, the Upanishads reveal a specific locus through which It may be known and meditated upon.

The scriptures declare that the Atma, the Supreme Reality, is realized through the mind. It is only with the mind as the instrument that the Atma can be recognized.

Therefore, the scriptures identify the Hridaya as the Upalabdhi Sthana—the locus where the Atma is realized. The word Upalabdhi means “that which is known or realized.”

The lotus of the heart is described as being approximately the size of a thumb. Within that lotus of the heart is a subtle space, comparable to an inner expanse of ether. The Supreme Reality abides there as self-luminous Consciousness, shining by Its own inherent light.

we shall examine in detail the meaning of the two important expressions occurring in these mantras: “Angushtha Matrah Purushah” and “Jyotir Iva Adhumakah.”

The word Purusha means the One who pervades everything completely, leaving nothing outside Himself.

The expression Angushtha Matra (of the size of a thumb) describes the Lord as He shines within the heart as the Atma. These mantras speak of the Atma as though It were of the size of a thumb. This description is not intended to indicate the actual size of the Atma. Rather, it is given solely as a support for meditation, enabling the mind to contemplate the all-pervading Reality through a definite locus.

The Chandogya Upanishad declares:

“Om. Atha Yad Idam Asmin Brahmapure Daharam Pundarikam Vesma Daharo’smin Antarakasah Tasmin Yad Antas Tad Anveshtavyam Tad Vava Vijijnasitavyam.”

The meaning is as follows:

Atha – Now.

Asmin – In this.

Brahmapure – Divine city.

Daharam – Small.

Pundarikam – Lotus.

Vesma – Mansion or abode.

Asmin – Within it.

Dahara Antarakasa – The small inner space.

Tasmin Antah – Within that.

Tat – That.

Anveshtavyam – Is to be sought.

Tat Vava – That alone.

Vijijnasitavyam – Is to be realized or known.

The mantra declares:

Within this divine city there is a small lotus-like mansion. Within that mansion there is a subtle inner space. Whatever exists within that subtle space is what must be sought. That alone is what one should strive to know.

This mantra describes the human body as the “Divine City.” It is not merely an ordinary city, but the city in which the Divine dwells.

Within this divine city there exists a beautiful palace, namely the Heart (Hridaya). It is described as being in the form of a lotus. Thus, the mantra teaches that the Lord resides within this human body, which is itself the Divine City.

The Taittiriya Aranyaka, particularly the Narayana Sukta, explains more clearly how the Lord abides there.

The Narayana Sukta, Mantra 8, declares:

“Santatam Silabhis Tu Lambaty Akosa Sannibham |
Tasyante Sushiram Sukshmam Tasmin Sarvam Pratishthitam ||”

The meaning is:

Akosa Sannibham – Resembling a lotus bud.

Santatam – Surrounded on all sides.

Silabhih – By subtle channels (Nadis).

Lambati – Hanging or suspended.

Tasya – Its.

Ante – Within.

Sukshmam – Subtle.

Sushiram – Space or cavity.

Sarvam – Everything.

Tasmin – In that.

Pratishthitam – Is established.

The meaning of the mantra is:

The heart, resembling the bud of a lotus, hangs suspended and is surrounded on every side by the subtle channels known as Nadis. Within it there exists a subtle inner space, and within that subtle space everything is established.

The statement in this mantra that “everything is established within the space of the heart” is further confirmed by the Chandogya Upanishad.

The Chandogya Upanishad, Chapter Eight, Section One, Mantra Three, declares:

“Yavan Va Ayam Akasah Tavan Esho’ntar Hridaya Akasah Ube Asmin Dyava Prithivi Antareva Samahite Ubhav Agnish Cha Vayush Cha Surya Chandramasav Ubhau Vidyun Nakshatrani Yac Chasyehasti Yac Cha Nasti Sarvam Tad Asmin Samahitam.”

The meaning is:

Ayam Akasah – This external space.

Yavan – However vast.

Antar Hridaya – The space within the heart.

Tavan – Is equally vast.

Dyava – Heaven.

Prithivi – Earth.

Antare Eva – Within it.

Samahite – Are contained.

Iha – Here.

Yat Cha – Whatever.

Asti – Exists.

Na Asti – Or does not exist.

Tat – That.

Sarvam – Everything.

Asmin – In this.

Samahitam – Is contained.

The meaning of the mantra is:

As vast as the external space is, so too is the space within the heart. Within that heart-space are contained heaven and earth, fire and air, the sun and the moon, lightning and the stars. Indeed, whatever exists in this universe, and whatever does not exist, all of it is contained within the space of the heart.

This mantra reveals the profound Vedantic truth that whatever exists in the macrocosm (the universe) is also present in the microcosm (the individual).

The Narayana Sukta, Mantra 9, next teaches that Prana, the vital force, abides within this inner space.

It declares:

“Tasya Madhye Mahan Agnir Visvarchir Visvato Mukhah |
So’grabhug Vibhajan Kavih ||”

The meaning is:

Tasya – Within that.

Madhye – In the centre.

Visvarchih – Radiating light everywhere.

Visvato Mukhah – Extending in every direction.

Mahan – Great.

Agnih – Fire.

Sah – That.

Agrabhuk – The first enjoyer.

Aharam – Food.

Vibhajan – Distributing.

Tishthan – Remaining established.

Ajarah – Undecaying.

Kavih – The all-knowing, the all-seeing.

The meaning of the mantra is:

At the centre of that inner space abides a great fire, radiating its light in every direction. This Pranic Fire first receives the food, distributes its nourishment throughout the body, remains ever established, never decays, and knows all.

Within the space of the heart exists this Pranic Fire. It is the vital power responsible for all bodily activity. It digests food, distributes the nourishment obtained from food throughout the body, eliminates waste, and performs every physiological function necessary for the maintenance of life. Because this Prana pervades the entire body, it is poetically described as seeing everything.

The Narayana Sukta, Mantra 10, further teaches that within Prana shines the Jivatma itself.

It declares:

“Tiryag Urdhvam Adhah Sayi Rasmayas Tasya Santatah |
Santapayati Svam Deham Apada Tala Mastakam |
Tasya Madhye Vahni Sikha Aniyordhva Vyavasthitah ||”

The meaning is:

Tasya – Of that Prana.

Rasmayah – Rays.

Tiryak – Horizontally.

Adhah – Downward.

Urdhvam – Upward.

Sayi – Spread.

Santatah – Pervading everywhere.

Apada Tala Mastakam – From the soles of the feet to the crown of the head.

Svam Deham – One’s own body.

Santapayati – Keeps warm.

Tasya – Within it.

Madhye – At the centre.

Aniyah – Extremely subtle.

Vahni Sikha – Flame of fire.

Urdhva – Upward.

Vyavasthitah – Established.

The meaning is:

The rays of Prana spread throughout the body in every direction—horizontally, upward, and downward. From the soles of the feet to the crown of the head, they keep the body warm. At the centre of this Prana shines an exceedingly subtle upward-pointing flame.

The departure of Prana from the body is what is ordinarily called death. When Prana departs, the body loses its warmth, becomes cold and rigid, and is recognized as lifeless. Thus, it is Prana that imparts warmth to the body. The subtle flame that shines within this Prana is the Jivatma.

The Narayana Sukta, Mantra 11, describes the Jivatma further:

“Nila Toyada Madhyasthad Vidyullekheva Bhasvara |
Nivara Sukavat Tanvi Pita Bhasvaty Anupama ||”

The meaning is:

Nila Toyada Madhyasthad – Like the midst of a dark rain cloud.

Vidyullekha Iva – Like a streak of lightning.

Bhasvara – Brilliantly shining.

Nivara Sukavat – Like the fine tip of a grain of paddy.

Tanvi – Extremely slender.

Pita – Golden in colour.

Anu Upama – Comparable to an atom in subtlety.

Bhasvati – Ever shining.

The meaning of the mantra is:

The Jivatma shines like a brilliant streak of lightning flashing within a dark rain cloud. It is exceedingly subtle, like the delicate tip of a grain of paddy, golden in radiance, minute like an atom, and ever self-effulgent.

The Jivatma is extremely subtle. The Upanishads describe its subtlety and luminosity in various ways. The Svetasvatara Upanishad, for example, declares that the Jivatma is subtler than one hundredth of the hundredth part of the tip of a single hair divided again and again. This description emphasizes not physical measurement but the extraordinary subtlety of the individual self.

The Svetasvatara Upanishad, Chapter Five, Mantra Nine, declares:

“Valagra Sata Bhagasya Satadha Kalpitasya Cha |
Bhago Jivah Sa Vijneyah Sa Chanantyaya Kalpate ||” (5.9)

The meaning of this mantra is that if the tip of a single hair were divided into one hundred parts, and then one of those parts were again divided into another hundred parts, the resulting fraction would illustrate the extreme subtlety of the Jiva. Thus, the Jiva is to be understood as being exceedingly subtle.

The Narayana Sukta, Mantra Twelve, next teaches that the Supreme Lord shines within the Jivatma itself.

It declares:

“Tasya Sikaya Madhye Paramatma Vyavasthitah |
Sa Brahma Sa Sivah Sa Harih Sa Indrah So’ksharah Paramah Svarat ||” (12)

The meaning is as follows:

Tasya – Within that.

Sikaya Madhye – In the centre of that flame.

Paramatma – The Supreme Self.

Vyavasthitah – Is established.

Sah – He Himself.

Brahma – Is Brahma.

Sivah – Is Siva.

Harih – Is Vishnu.

Indrah – Is Indra.

Aksharah – The Imperishable One.

Svarat – Self-luminous and self-governing.

Paramah – The Supreme, above whom there is none.

The mantra teaches that within the very centre of that subtle flame abides the Supreme Lord. He alone is Brahma, He alone is Siva, He alone is Vishnu, and He alone is Indra. He is the Imperishable Reality, self-luminous by His own nature, and the Supreme Being above whom there exists none.

The Chandogya Upanishad, Chapter Eight, Section Six, Mantra One, next describes the subtle channels of the heart.

It declares:

“Atha Ya Eta Hridayasya Nadyas Tah Pingalasya Animnah Tishthanti Suklasya Nilasya Pitasya Lohitasya Iti; Asau Va Adityah Pingalah Esha Suklah Esha Nilah Esha Pitah Esha Lohitah.”

The meaning is as follows:

Etah – These.

Hridayasya – Of the heart.

Nadyah – Subtle channels (Nadis).

Tah – They.

Pingalasya – Yellow tinged with red.

Animnah – Extremely subtle.

Tishthanti – Exist.

Suklasya – White.

Nilasya – Blue.

Pitasya – Yellow.

Lohitasya – Red.

Asau Adityah – That sun.

The meaning of the mantra is:

The subtle channels of the heart are exceedingly fine. They appear in various colours—reddish yellow, white, blue, yellow, and red. Likewise, the sun also appears in these very colours.

The heart is described as the seat of Prana. From this centre arise all sensations, functions, and activities of the body. Although modern science generally identifies the brain as the principal centre governing bodily functions, the scriptures consistently identify the Hridaya, the spiritual heart, as the central locus. Within this heart lies the subtle inner space known as the Hridaya Akasa, the Space of the Heart.

The conclusions reached by modern scientific research are always subject to revision as knowledge advances. The statements of the scriptures, however, are regarded as Apta Vakya—authoritative revelations perceived directly by the ancient Rishis through the power of their spiritual realization and their union with the all-knowing Isvara. Therefore, these scriptural declarations are accepted as eternal truths. For this reason, the scriptures should always be approached with reverence and deep faith. Even today, modern science has not been able to determine with certainty the true locus of the human mind, whereas the scriptures declared many centuries ago that the locus of the mind is the subtle space within the heart, the Hridaya Akasa.

From this spiritual heart arise one hundred and one Nadis. Through these subtle channels all commands are transmitted and all experiences are received. These Nadis are too subtle to be perceived by the ordinary physical eye.

The mantra further teaches that these Nadis possess various colours. Sri Sankaracharya explains that these colours are due to the extremely subtle fluids flowing through them. The rays of the sun also exhibit these very colours. Thus, the mantra indicates an intimate relationship between the rays of the sun and the subtle Nadis within the human body.

The Chandogya Upanishad, Chapter Eight, Section Six, Mantra Two, further declares:

“Tad Yatha Mahapatha Atata Ubhau Gramau Gacchati Imam Cha Amum Cha Evam Eva Etah Adityasya Rasmayah Ubhau Lokau Gacchanti Imam Cha Amum Cha; Amushmat Adityat Pratayante Ta Asu Nadishu Sriptah; Abhyo Nadibhyah Pratayante Te Amushmin Aditye Sriptah.”

The meaning of the mantra is:

Just as a great highway connects two villages by passing through both of them, so also the rays of the sun connect the various worlds. Those rays enter the Nadis within the human body, and from the Nadis they again extend back toward the sun. Thus, the rays of the sun and the Nadis within the human body remain intimately interconnected and woven together.

The Chandogya Upanishad, Chapter Eight, Section Six, Mantra Three, next explains the state of deep sleep.

It declares:

“Tad Yatra Etat Suptah Samastah Samprasannah Svapnam Na Vijanati; Yasu Tada Nadishu Sripto Bhavati; Tam Na Kashchana Papma Sprusati; Tejasa Hi Tada Sampanno Bhavati.”

The meaning is as follows:

Whenever a person enters deep sleep, all the senses become completely quiet and peaceful. He experiences no dreams. At that time he enters these Nadis. There no sin can touch him, for he becomes filled with divine radiance.

Between the waking state and deep sleep lies the dream state. During deep sleep the senses become inactive and merge into the mind. The mind resolves into the Jivatma, and the Jivatma abides within the Nadis. In that condition neither sin nor merit affects the individual. Just as sin cannot touch him, merit also does not approach him. None of the thoughts or experiences belonging to the external world reach him in that state.

The Katha Upanishad, Chapter Two, Section Three, Mantra Sixteen, next teaches the attainment of immortality.

It declares:

“Satam Cha Eka Cha Hridayasya Nadyah Tasam Murdhanam Abhinihsruta Eka |
Tayordhvam Ayan Amritatvam Eti Vishvang Anyah Utkramane Bhavanti ||” (2.3.16)

The meaning is:

Hridayasya – Of the heart.

Nadyah – Nadis.

Satam Cha Eka Cha – One hundred and one.

Tasam – Among them.

Eka – One.

Murdhanam Abhinihsruta – Passes upward through the crown of the head.

Taya – Through that.

Urdhvam Ayan – One who ascends upward.

Amritatvam Eti – Attains immortality.

Anyah – The others.

Utkramane – During departure from the body.

Vishvak – In various directions.

Bhavanti – Proceed.

The meaning of the mantra is:

From the heart arise one hundred and one Nadis. Among them, one ascends upward and passes through the crown of the head. Whoever departs through that Nadi attains immortality. Those who depart through the other Nadis proceed toward various worlds according to their destiny.

The human heart is said to give rise to one hundred and one Nadis. Among them is the Sushumna Nadi, which ascends to the Brahmarandhra, the subtle aperture situated at the crown of the head. Including the Brahmarandhra, the human body is traditionally described as possessing eleven openings. While the Sushumna terminates at the Brahmarandhra, the remaining Nadis terminate at the other bodily openings.

At the time of death, one whose life-force departs through the Sushumna Nadi and exits through the Brahmarandhra is said to attain the supreme immortal state. This state of immortality is known as the Amara State, the deathless condition.

The subjects of Amara State (Immortality), Jivanmukti (Liberation while living), and Videha Mukti (Liberation after the fall of the body) are profound topics in Vedanta. They will be examined in detail in the lessons that follow.