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{{Infobox Upanishad
| image = Chandogya Upanishad verses 1.1.1-1.1.9, Samaveda, Sanskrit, Devanagari script, 1849 CE manuscript.jpg
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{{Upanishads}}
The '''''Chandogya Upanishad''''' ([[Sanskrit]]: {{lang|sa|छान्दोग्योपनिषद्}}, [[IAST]]: ''Chāndogyopaniṣad'') is a Sanskrit text embedded in the Chandogya Brahmana of the [[Sama Veda]] of [[Hinduism]].<ref name=patrickolivellepreface>Patrick Olivelle (2014), ''The Early Upanishads'', [[Oxford University Press]]; {{ISBN|978-0195124354}}, pp. 166-169</ref> It is one of the oldest Upanishads.<ref name=stephenphillips/>
The Upanishad belongs to the ''Tandya'' school of the Samaveda.<ref name=patrickolivellepreface/> Like ''[[Brihadaranyaka Upanishad]]'', the Chandogya 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.<ref name=patrickolivellepreface/> The precise chronology of ''Chandogya Upanishad'' is uncertain, and it is variously dated to have been composed by the 8th to 6th century BCE in India.<ref name=stephenphillips/><ref name=olivelleintro/><ref>{{cite book|last=Rosen|first=Steven J.|title=Essential Hinduism|year=2006|publisher=Praeger Publishers|___location=Westport, CT|isbn=0-275-99006-0|page=125}}</ref>
''Chandogya Upanishad'' is one of the most cited texts in later ''Bhasyas'' (reviews and commentaries) by scholars from the diverse schools of Hinduism, with chapter six verse 8-16 containing the famous dictum ''Tat Tvam Asi'', "that('s how) you are."{{sfn|Olivelle|2008|p=152, 349 n.8.7-16.3}} According to Deutsch and Dalvi, "the entire sixth chapter is no doubt the most influential of the entire corpus of the Upanishads."{{sfn|Deutsch|Dalvi|2004|p=8}}
==Etymology==
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==Chronology==
''Chandogya Upanishad'' was in all likelihood composed in the earlier part of 1st millennium BCE, and is one of the oldest Upanishads.<ref name=olivelleintro/> The exact century of the Upanishad composition is unknown, uncertain and contested.<ref name=stephenphillips/>
The chronology of early Upanishads is difficult to resolve due to scant 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.<ref name=stephenphillips/> [[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".<ref name=olivelleintro/>
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==Structure==
{{Hindu scriptures}}
The text has eight ''Prapathakas'' (प्रपाठक, lectures, chapters), each with varying number of ''Khandas'' (खण्ड, volume).<ref name=humefull>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n197/mode/2up "Chandogya Upanishad"], ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 177-274</ref>
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.<ref name=humefull/>
The Upanishad comprises the last eight chapters of a ten chapter Chandogya [[Brahmana]] text.<ref name=pauldeussencbcu/><ref name=maxmullerintro>Max Muller, [https://archive.org/stream/upanishads01ml#page/n93/mode/2up "Chandogya Upanishad"], ''The Upanishads, Part I'', Oxford University Press, pp. LXXXVI-LXXXIX</ref> The first chapter of the Brahmana is short and concerns ritual-related hymns to celebrate a marriage ceremony<ref>For example, the third hymn is a solemn promise the bride and groom make to each other as, "That heart of thine shall be mine, and this heart of mine shall be thine".<br>See: Max Muller, [https://archive.org/stream/upanishads01ml#page/n93/mode/2up Chandogya Upanishad], ''The Upanishads, Part I'', Oxford University Press, page LXXXVII with footnote 2.</ref> and the birth of a child.<ref name=pauldeussencbcu/>
The second chapter of the Brahmana is short as well and its mantras are addressed to divine beings at life rituals. The last eight chapters are long, and are called the ''Chandogya Upanishad''.<ref name=pauldeussencbcu>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 63-64</ref>
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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.<ref>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 64-65</ref>
Klaus Witz{{Who|date=August 2022}} structurally divides the ''Chandogya Upanishad'' into three natural groups. The first group comprises 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 ({{large|ॐ}}, Aum).<ref name=klauswitzstr/>
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 Self.<ref name=klauswitzstr/>
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|caption = The significance of Om syllable is discussed in the ''Chandogya Upanishad'', as well as other principal Upanishads. Chandogya's exposition of syllable ''Om'' in its first chapter combines etymological speculations, symbolism, metric structure and philosophical themes.<ref>Max Muller, [https://archive.org/stream/upanishads01ml#page/n111/mode/2up "Chandogya Upanishad"], ''The Upanishads, Part I'', Oxford University Press, pp. 4-19 with footnotes</ref><ref>Patrick Olivelle (2014), ''The Early Upanishads'', Oxford University Press; {{ISBN|978-0195124354}}, pp. 171-185</ref>}}
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between ''[[Deva (Hinduism)|Devas]]'' (gods) and ''[[Asura
The legend in section 1.2 of ''Chandogya Upanishad'' states that gods took the ''Udgitha'' (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".<ref name=hume12>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n199/mode/2up "Chandogya Upanishad"], ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 178-180</ref> 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.<ref name=pauldeussen12/> The deities 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.<ref name=maxmuller12/> The deities 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.<ref name=hume12/> 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.<ref name=pauldeussen12/> 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.<ref name=hume12/> Then the gods revered the Udgitha as ''[[Prana|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.<ref name=pauldeussen12/><ref name=maxmuller12/> 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.<ref name=pauldeussen12/>
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====Space: the origin and the end of everything====
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.<ref name=roberthume19>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n205/mode/2up "Chandogya Upanishad] 1.8.7 - 1.8.8", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 185-186</ref> The debaters summarize their discussion as,
{{
<poem>
What is the origin of this world?<ref name=maxmuller19>Max Muller, [https://archive.org/stream/upanishads01ml#page/n127/mode/2up "Chandogya Upanishad 1.9.1"], ''The Upanishads, Part I'', Oxford University Press, p. 17 with footnote 1.</ref>
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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 quiet place repeating Veda. The dogs ask, "Sir, sing and get us food, we are hungry".<ref name=roberthume112/> 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.<ref>Max Muller, [https://archive.org/stream/upanishads01ml#page/n131/mode/2up "Chandogya Upanishad 1.12.1 - 1.12.5"], ''The Upanishads, Part I'', Oxford University Press, p. 21 with footnote 2.</ref> 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!"<ref name=pauldeussen112/><ref name=johnoman/>
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.<ref name=pauldeussen112/>
[[John Wood Oman|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".<ref name=johnoman>John Oman (2014), ''The Natural and the Supernatural'', Cambridge University Press; {{ISBN|978-1107426948}}, pp. 490-491</ref>
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===Second Prapāṭhaka===
====The significance of chant====
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>[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n85/mode/2up Chandogya Upanishad with Shankara Bhashya] Ganganath Jha (Translator), pp. 70-72</ref><ref name=hume211>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n211/mode/2up "Chandogya Upanishad] 2.1.1 - 2.1.4", ''The Thirteen Principal Upanishads'', Oxford University Press, p. 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}}, pp. 85-86.</ref>
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Volumes 2 through 7 of the second Prapathaka present analogies between various elements of the Universe and elements of a chant.<ref name=hume221>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n211/mode/2up "Chandogya Upanishad] 2.2.1 - 2.7.2", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 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>[http://www.sanskrit-lexicon.uni-koeln.de/scans/MWScan/tamil/index.html Monier-Williams], ''Sanskrit English Dictionary'', Cologne Digital Sanskrit Lexicon</ref> The sets of mapped analogies present interrelationships and include cosmic bodies, natural phenomena, hydrology, seasons, living creatures and human physiology.<ref>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 86–88</ref> For example, chapter 2.3 of the Upanishad states,
{{
<poem>
The winds blow, that is ''Hinkāra''
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|Chandogya Upanishad 2.3.1<ref name=hume221/><ref>Patrick Olivelle (2014), ''The Early Upanishads'', Oxford University Press; {{ISBN|978-0195124354}}, page 187 verse 3</ref>}}
The eighth volume of the second chapter expands 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.<ref>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n213/mode/2up "Chandogya Upanishad] 2.8.1 - 2.9.8", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 193–194</ref>
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.<ref name=pauldeussen21121/><ref name=maxmuller21122>Max Muller, [https://archive.org/stream/upanishads01ml#page/n139/mode/2up "Chandogya Upanishad 2.11.1 - 2.22.5"], ''The Upanishads, Part I'', Oxford University Press, pp. 28-34</ref> The metaphorical theme in this volume of verses, asserts [[Paul Deussen]], is that the Universe is an embodiment of Brahman, that the "chant" (Saman) is interwoven into this entire Universe and every phenomenon is a fractal manifestation of the ultimate reality.<ref name=pauldeussen21121>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 91-96</ref><ref>Patrick Olivelle (2014), ''The Early Upanishads'', Oxford University Press; {{ISBN|978-0195124354}}, pp. 191–197</ref> The 22nd volume of the second chapter discusses the structure of vowels (''[[svara]]''), consonants (''sparsa'') and sibilants (''ushman'').<ref name=maxmuller21122/>
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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 those in distress ([[Dāna]], दान), personal duties such as education and self study ([[svādhyāya]], स्वाध्याय, brahmacharya, ब्रह्मचर्य), social rituals such as [[yajna]] (यज्ञ).<ref name=gjha223>[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n117/mode/2up ''Chandogya Upanishad'' with Shankara Bhashya] Ganganath Jha (Translator), pp. 103-116</ref> The Upanishad describes the three branches of dharma as follows:
{{
<poem>
त्रयो धर्मस्कन्धा यज्ञोऽध्ययनं दानमिति प्रथम
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This passage has been widely cited by ancient and medieval Sanskrit scholars as the fore-runner to the ''[[Ashrama (stage)|asrama]]'' or age-based stages of dharmic life in Hinduism.<ref name=pauldeussen223/><ref name=patrick>Patrick Olivelle (1993), ''The Āśrama System: The History and Hermeneutics of a Religious Institution'', Oxford University Press; {{oclc|466428084}}, pp. 1-30, 84-111</ref> The four ''asramas'' are: [[Brahmacharya]] (student), [[Grihastha]] (householder), [[Vanaprastha]] (retired) and [[Sannyasa]] (renunciation).<ref name=rks>RK Sharma (1999), Indian Society, Institutions and Change, {{ISBN|978-8171566655}}, page 28</ref><ref>Barbara Holdrege (2004), ''Dharma, in The Hindu World'' (Editors: Sushil Mittal and Gene Thursby), Routledge; {{ISBN|0-415-21527-7}}, p. 231</ref> Olivelle disagrees however, and states that even the explicit use of the term ''asrama'' or the mention of the "three branches of dharma" in section 2.23 of ''Chandogya Upanishad'' does not necessarily indicate that the ''asrama'' system was meant.<ref>Patrick Olivelle (1993), ''The Āśrama System: The History and Hermeneutics of a Religious Institution'', Oxford University Press; {{oclc|466428084}}, p. 30</ref>
Paul Deussen {{Who|date=August 2022}} notes that the ''Chandogya Upanishad'', in the above verse, is not presenting these stages as sequential, but rather as equal.<ref name=pauldeussen223/> Only three stages are explicitly described, Grihastha first, Vanaprastha second and then Brahmacharya third.<ref name=patrick/> Yet the verse also mentions the person in ''Brahmasamstha'' – a mention that has been a major topic of debate in the [[Vedanta]] sub-schools of Hinduism.<ref name=maxmuller223/><ref>Patrick Olivelle (2014), ''The Early Upanishads'', Oxford University Press; {{ISBN|978-0195124354}}, pp. 197-199</ref>
The Advaita Vedanta scholars state that this implicitly mentions the Sannyasa, whose goal is to get "knowledge, realization and thus firmly grounded in Brahman". Other scholars point to the structure of the verse and its explicit "three branches" declaration.<ref name=pauldeussen223/> In other words, the fourth state of ''Brahmasamstha'' among men must have been known by the time this Chandogya verse was composed, but it is not certain whether a formal stage of ''Sannyasa'' life existed as a ''dharmic asrama'' at that time. Beyond chronological concerns, the verse has provided a foundation for [[Vedanta]] school's emphasis on ethics, education, simple living, social responsibility, and the ultimate goal of life as [[moksha]] through Brahman-knowledge.<ref name=gjha223/><ref name=pauldeussen223/>
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===Third Prapāṭhaka===
====Brahman is the sun of all existence, Madhu Vidya====
The ''Chandogya Upanishad'' presents the "Madhu Vidya" ("Honey Knowledge" or "Nectar of Knowledge") in first eleven volumes of the third chapter.<ref>Klaus Witz (1998), ''The Supreme Wisdom of the Upaniṣads: An Introduction'', Motilal Banarsidass; {{ISBN|978-8120815735}}, p. 218</ref> Sun is praised as source of all light and life, and stated as worthy of meditation in a symbolic representation of Sun as "honey" of all Vedas.<ref name=gjha311>[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n117/mode/2up "Chandogya Upanishad with Shankara Bhashya"] Ganganath Jha (Translator), pp. 122-138</ref> The Brahman is stated in these volume of verses to be the sun of the Universe, and the 'natural sun' is a phenomenal manifestation of the Brahman.<ref name=pauldeussen311>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 101-106 with preface and footnotes.</ref>
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The first six verses of the thirteenth volume of Chandogya's third chapter state a theory of ''[[Svarga]]'' (heaven) as human body, whose doorkeepers are eyes, ears, speech organs, mind and breath. To reach ''Svarga'', asserts the text, understand these doorkeepers.<ref name=pauldeussen313/> The ''Chandogya Upanishad'' then states that the ultimate heaven and highest world exists within oneself, as follows,
{{
<poem>
अथ यदतः परो दिवो ज्योतिर्दीप्यते विश्वतः पृष्ठेषु सर्वतः पृष्ठेष्वनुत्तमेषूत्तमेषु लोकेष्विदं वाव तद्यदिदमस्मिन्नन्तः पुरुषो ज्योतिस्तस्यैषा
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*S Radhakrishnan (1914), "The Vedanta philosophy and the Doctrine of Maya", ''International Journal of Ethics, Vol. 24, No. 4'', pp. 431-451</ref> These are,
{{
Brahman, you see, is this whole world. With inner tranquillity, one should venerate it as ''[[Tajjalan]]'' (that from which he came forth, as that into which he will be dissolved, as that in which he breathes). Now, then, man is undoubtedly made of his ''Kratumaya'' (क्रतुमयः, resolve, will, purpose). What a man becomes on departing from here after death is in accordance with his (will, resolve) in this world. So he should make this resolve:
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[[File:Non violence sculpture by carl fredrik reutersward malmo sweden.jpg|thumb|[[Ahimsa]] - non-violence in action, words and thoughts - is considered the highest ethical value and virtue in Hinduism.<ref name=evpc>Stephen H. Phillips et al. (2008), in ''Encyclopedia of Violence, Peace, & Conflict'' (Second Edition), {{ISBN|978-0123739858}}; Elsevier Science, pp. 1347–1356, 701-849, 1867.</ref> The ''Chandogya Upanishad'' makes one of the earliest mentions of this ethical code in section 3.17.<ref name=hume317/> Above: non-violence sculpture by [[Carl Fredrik Reutersward]].]]
The section 3.17 of ''Chandogya Upanishad'' describes life as a celebration of a Soma-festival, whose ''dakshina'' (gifts, payment) is moral conduct and ethical precepts that includes non-violence, truthfulness, non-hypocrisy and charity unto others, as well as simple introspective life.<ref name=pauldeussen317>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 114-115 with preface and footnotes.</ref> This is one of the earliest<ref>[[Henk Bodewitz]] (1999), ''Hindu Ahimsa, in Violence Denied'' (Editors: Jan E. M. Houben, et al), Brill, {{ISBN|978-9004113442}}; p. 40</ref> statement of the [[Ahimsa]] principle as an ethical code of life, that later evolved to become the highest virtue in Hinduism.<ref>Christopher Chapple (1990), "Ecological Nonviolence and the Hindu Tradition", in ''Perspectives on Nonviolence'' (Editor: VK Kool), Springer; {{ISBN|978-1-4612-8783-4}}, pp. 168-177</ref><ref>S. Sharma and U. Sharma (2005), ''Cultural and Religious Heritage of India: Hinduism'', Motilal Banarsidass; {{ISBN|978-8170999553}}, pp. 9-10</ref>
{{
<poem>
अथ यत्तपो दानमार्जवमहिँसा सत्यवचनमिति ता अस्य दक्षिणाः ॥ ४ ॥<ref>[https://sa.wikisource.org/wiki/छान्दोग्योपनिषद्_१ Chandogya Upanishad (Sanskrit)] Verse 3.17.4, Wikisource</ref>
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The [[metaphor]] of man's life as a Soma-festival is described through steps of a [[yajna]] (fire ritual ceremony) in section 3.17.<ref name=hume317/><ref name=pauldeussen317/> The struggles of an individual, such as hunger, thirst and events that make him unhappy, states the Upanishad, is [[Diksha]] (preparation, effort or consecration for the ceremony/festival).<ref name=gjha317/> The prosperity of an individual, such as eating, drinking and experiencing the delights of life is ''Upasada'' (days during the ceremony/festival when some foods and certain foods are consumed as a community).<ref name=pauldeussen317/> When an individual lives a life of laughs, feasts and enjoys sexual intercourse, his life is akin to becoming one with ''Stuta'' and ''Sastra'' hymns of a Soma-festival (hymns that are recited and set to music), states verse 3.17.3 of the text.<ref name=hume317/><ref name=gjha317>[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n179/mode/2up "Chandogya Upanishad with Shankara Bhashya"] Ganganath Jha (Translator), pp. 164-166</ref> Death is like ablution after the ceremony.<ref name=hume317/>
The volumes 3.16 and 3.17 of the ''Chandogya Upanishad'' are notable for two additional assertions. One, in verse 3.16.7, the normal age of man is stated to be 116 years, split into three stages of 24, 44 and 48 year each.<ref>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 113-114 with preface and footnotes.</ref> These verses suggest a developed state of mathematical sciences and addition by about 800-600 BCE. Secondly, verse 3.17.6 mentions ''Krishna Devakiputra'' (Sanskrit: कृष्णाय देवकीपुत्रा) as a student of sage Ghora Angirasa. This mention of "[[Krishna]] as the son of [[Devaki]]", has been studied by scholars<ref name=maxmuller316/> as potential source of fables and Vedic lore about the major deity Krishna in the [[Mahabharata]] and other ancient literature. Scholars have also questioned<ref name=maxmuller316>Max Muller, [https://archive.org/stream/upanishads01ml#page/48/mode/2up "Chandogya Upanishad 3.16-3.17"], ''The Upanishads, Part I'', Oxford University Press, pp. 50-53 with footnotes.</ref> whether this part of the verse is an interpolation, or just a different Krishna Devikaputra than deity Krishna,<ref>Edwin Bryant and Maria Ekstrand (2004), ''The Hare Krishna Movement'', Columbia University Press; {{ISBN|978-0231122566}}, pp. 33-34 with note 3.</ref> because the much later age ''Sandilya Bhakti Sutras'', a treatise on Krishna,<ref>[https://archive.org/stream/ShandilyaBhaktiSutra/shandilya_bhakti_sutras#page/n0/mode/2up "Sandilya Bhakti Sutra"] SS Rishi (Translator), Sree Gaudia Math (Madras)</ref> cites later age compilations such as [[Narayana Upanishad]] and [[Ganapati Atharvaśīrṣa|Atharvasiras]] 6.9, but never cites this verse of ''Chandogya Upanishad''. Others<ref>W. G. Archer (2004), ''The Loves of Krishna in Indian Painting and Poetry'', Dover; {{ISBN|978-0486433714}}, p. 5</ref> state that the coincidence that both names, of Krishna and Devika, in the same verse cannot be dismissed easily and this Krishna may be the same as one found later, such as in the [[Bhagavad Gita]].{{
The verse 3.17.6 states that Krishna Devikaputra after learning the theory of life is a Soma-festival, learnt the following Vedic hymn of refuge for an individual on his death bed,<ref name=maxmuller316/>
{{
<poem>
Thou art the ''Aksitamasi'' (indestructible, imperishable, undecaying),
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===Fourth Prapāṭhaka===
====Samvargavidya====
The fourth chapter of the ''Chandogya Upanishad'' opens with the story of king ''Janasruti'' and "the man with the cart" named [[Raikva]]. The moral of the story is called, ''Samvarga'' (Sanskrit: संवर्ग, devouring, gathering, absorbing) ''Vidya'', summarized in volume 4.3 of the text.<ref name=pauldeussen41>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 118-122 with preface and footnotes.</ref> Air, asserts the Upanishad, is the "devourer unto itself" of divinities because it absorbs fire, [S]un at sunset, [M]oon when it sets, water when it dries up.<ref name=hume41>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n235/mode/2up "Chandogya Upanishad] 4.1 - 4.3", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 215-217</ref> In reference to man, ''Prana'' (vital breath, life-principle) is the "devourer unto itself" because when one sleeps, ''Prana'' absorbs all deities inside man such as eyes, ears and mind.<ref name=maxmuller41>Max Muller, [https://archive.org/stream/upanishads01ml#page/54/mode/2up "Chandogya Upanishad 4.1 - 4.3"], ''The Upanishads, Part I'', Oxford University Press, pp. 55-59 with footnotes.</ref> The ''Samvarga Vidya'' in Chandogya is found elsewhere in Vedic canon of texts, such as chapter 10.3.3 of ''[[Shatapatha Brahmana]]'' and sections 2.12 - 2.13 of ''[[Kaushitaki Upanishad]]''. Paul Deussen states that the underlying message of ''Samvarga Vidya'' is that the cosmic phenomenon and the individual physiology are mirrors, and therefore man should know himself as identical with all cosmos and all beings.<ref name=pauldeussen41/>
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Upakosala has a conversation with sacrificial fires, which inform him that Brahman is life, Brahman is joy and bliss, Brahman is infinity, and the means to Brahman is not through depressing, hard penance.<ref name=pauldeussen410>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 126-129 with preface and footnotes.</ref> The fires then enumerate the manifestations of Brahman to be everywhere in the empirically perceived world.<ref name=pauldeussen44/><ref name=maxmuller410>Max Muller, [https://archive.org/stream/upanishads01ml#page/64/mode/2up "Chandogya Upanishad 4.10 - 4.15"], ''The Upanishads, Part I'', Oxford University Press, pp. 64-68 with footnotes.</ref> Satyakama joins Upakosala's education and explains, in volume 4.15 of the text,<ref name=gjha410>[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n213/mode/2up "Chandogya Upanishad with Shankara Bhashya"] Ganganath Jha (Translator), pp. 198-212</ref>
{{
The person you see here in the eye — he is the [S]elf (atman)" he told him. "He is the immortal free from fear; he is [[Brahman]].
|Chandogya Upanishad 4.15.1<ref>Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf</ref>}}
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===Fifth Prapāṭhaka===
====The noblest and the best====
The fifth chapter of the Chandogya Upanishad opens with the declaration,<ref name=hume51>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n247/mode/2up Chandogya Upanishad] 5.1 - 5.15, The Thirteen Principal Upanishads, Oxford University Press, pages 226-228</ref>
{{
<poem>
यो ह वै ज्येष्ठं च श्रेष्ठं च वेद ज्येष्ठश्च ह वै श्रेष्ठश्च भवति
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The first volume of the fifth chapter of the text tells a fable and prefaces each character with the following maxims,
{{
<poem>
He who knows excellence,<ref>variSTha, [http://spokensanskrit.de/index.php?tinput=variSTha&direction=SE&script=HK&link=yes&beginning=0 वरिष्ठ]</ref> becomes excellent.
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====Atman exists, Svetaketu's education on the key to all knowledge - Tat Tvam Asi====
* This [U]niverse consists of what that finest essence is, it is the real, it is the Self, '''that thou art''', O Śvetaketu!<ref name=pauldeussen6intro/>▼
* That which is the finest essence – this whole world has that as its Self. That is Reality. That is Atman (Self). '''That art thou''', Śvetaketu.<ref name=hume6>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n261/mode/2up "Chandogya Upanishad] 5.1", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 240-250</ref>▼
The statement is repeated nine times at the end of sections 6.8 through 6.16 of the Upanishad,
Yet, the correct translation is "That's how you are":▼
{{blockquote|स य एषोऽणिमैतदात्म्यमिदँ सर्वं तत्सत्यँ स आत्मा '''तत्त्वमसि''' श्वेतकेतो}}
Translation 3: That which is this finest essence, that the whole world has as its self. That is the truth. That is the self. '''In that way are you''', Śvetaketu.<ref name="Brereton">Joel Brereton (1986), ''Tat Tvam Asi in Context, Zeitschrift der deutschen morgenlandischen Gesellschaft, Vol, 136'', pp. 98-109</ref>▼
Translation 4: The finest essence here — that constitutes the self of this whole world; that is the truth; that is the self (atman). '''And that's how you are''', Śvetaketu.<ref name="Olivelle">Translation by Patrick Olivelle, http://www.ahandfulofleaves.org/documents/the%20early%20upanisads%20annotated%20text%20and%20translation_olivelle.pdf</ref>▼
The ''Tat Tvam Asi'' precept emerges in a tutorial conversation between a father and son, [[Aruni|Uddalaka Aruni]] and 24-year-old [[Shvetaketu|Śvetaketu Aruneya]] respectively, after the father sends his boy to school saying "go to school Śvetaketu, as no one in our family has ever gone to school", and the son returns after completing 12 years of school studies.<ref name=maxmuller61/><ref name=pauldeussen61/> The father inquires if Śvetaketu had learnt at school that by which "we perceive what cannot be perceived, we know what cannot be known"? Śvetaketu admits he hasn't, and asks what that is. His father, through 16 volumes of verses of ''Chandogya Upanishad'', explains.<ref name=hume61/>▼
▲* "This [U]niverse consists of what that finest essence is, it is the real, it is the Self,
▲* "That which is the finest essence – this whole world has that as its Self. That is Reality. That is Atman (Self).
Yet, according to Brereton, followed by Olivelle and Doniger, the correct translation is "That's how you are":
▲
▲
▲The ''Tat Tvam Asi''
Uddalaka states in volume 1 of chapter 6 of the Upanishad, that the essence of clay, gold, copper and iron each can be understood by studying a pure lump of clay, gold, copper and iron respectively.<ref name=maxmuller61/><ref name=hume61>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n261/mode/2up "Chandogya Upanishad] 6.1 - 6.16", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 240-240</ref> The various objects produced from these materials do not change the essence, they change the form. Thus, to understand something, studying the essence of one is the path to understanding the numerous manifested forms.<ref name=pauldeussen61>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass;{{ISBN|978-8120814684}}, pp. 162-172</ref>
In the verses of volume 3, Uddalaka asserts that life emerges through three routes: an egg, direct birth of a living being, and as life sprouting from seeds.<ref name=pauldeussen61/> The ''Sat'' enters these and gives them individuality, states the Upanishad. Heat, food and water nourish all living beings, regardless of the route they are born. Each of these nourishment has three constituents, asserts the Upanishad in volumes 4 through 7 of the sixth chapter. It calls it the coarse, the medium and the finest essence.<ref name=hume61/> These coarse becomes waste, the medium builds the body or finest essence nourishes the mind. Section 6.7 states that the mind depends on the body and proper food, breath depends on hydrating the body, while voice depends on warmth in the body, and that these cannot function without.<ref name=maxmuller61/><ref name=pauldeussen61/>
The translations and interpretations diverge on the famous dictum ''tat tvam asi'' in 6.8.7.{{sfn|Olivelle|2008|p=349 n.8.7-16.3}} While ''tat'' is traditionally interpreted as referring to either 'the existent' (''sat'') or 'finest essence' (''animan''), Brereton has argued that this is grammatically incorrect, and that the phrase, as explained by Olivelle, "does not establish the identity between the individual and the ultimate being (''sat'') but rather shows that Svetaketu lives in the same manner as all other creatures, that is, by means of an invisible and subtle essence," which is also the cause of his existence.{{sfn|Olivelle|2008|p=349 n.8.7-16.3}} In the traditional interpretation, 6.8.7 then states that Sat, Existence, Being<ref>Shankara, [http://shankarabhashya.com/index.php?PHPSESSID=343e9e12ffd6b71c499e1722e8813e90&topic=87.0 "Chandogya Upanisha Basha, 6.8.7"]</ref> is this root, it is the essence (''atman''), it is at the core of all living beings. It is True, it is Real, it is the Self (''atman''), and Thou Art That, Śvetaketu.<ref name=maxmuller61>Max Muller, [https://archive.org/stream/upanishads01ml#page/92/mode/2up 'Chandogya Upanishad 6.1-6.16"], ''The Upanishads, Part I'', Oxford University Press, pp. 92-109 with footnotes.</ref><ref>Dominic Goodall (1996), ''Hindu Scriptures'', University of California Press; {{ISBN|978-0520207783}}, pp. 136-137</ref> In Brereton's interpretation, followed by Olivelle and Doniger, Uddalaka states that "that's how you are,"<ref name="Brereton"/>{{sfn|Olivelle|2008|p=152, 349 n.8.7-16.3}} Śvetaketu.
The "Tat Tvam Asi" phrase is
====Oneness in the world, the immanent reality and of Man====
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The Self and the body are like salt and water, states the Upanishad in volume 6.13. Salt dissolves in water, it is everywhere in the water, it cannot be seen, yet it is there and exists forever no matter what one does to the water.<ref name=goodall613/> The ''Sat'' is forever, and this ''Sat'' is the Self, the essence, it exists, it is true, asserts the text.<ref name=maxmuller61/><ref name=pauldeussen61/>
Man's journey to self-knowledge and self-realization, states volume 6.14 of ''Chandogya Upanishad'', is like a man who is taken from his home in ''[[Gandhara
===Seventh Prapāṭhaka===
====From knowledge of the outer world to the knowledge of the inner world====
The seventh chapter of the ''Chandogya Upanishad'' opens as a conversation between [[Sanatkumara]] and [[Narada]].<ref name=pauldeussen71>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 176-189</ref> The latter asks, "teach me, Sir, the knowledge of Self, because I hear that anyone who knows the Self, is beyond suffering and sorrow".<ref name=hume71>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n271/mode/2up "Chandogya Upanishad] 7.1 - 7.16", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 250-262</ref>
Sanatkumara first inquires from Narada what he already has learned so far. Narada says, he knows the Rig Veda, the Sama Veda, the Yajur Veda, the Atharva Veda, the epics and the history, the myths and the ancient stories, all rituals, grammar, etymology, astronomy, time keeping, mathematics, politics and ethics, warfare, principles of reasoning, divine lore, prayer lore, snake charming, ghosts lore and fine arts.<ref name=hume71/><ref name=maxmuller71>Max Muller, [https://archive.org/stream/upanishads01ml#page/108/mode/2up "Chandogya Upanishad 7.1-7.16"], ''The Upanishads, Part I'', Oxford University Press, pp. 109-125 with footnotes.</ref> Narada admits to Sanatkumara that none of these have led him to Self-knowledge, and he wants to know about Self and Self-knowledge.<ref name=goodall71>Dominic Goodall (1996), ''Hindu Scriptures'', University of California Press; {{ISBN|978-0520207783}}, pp. 141-151</ref>
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====Narada's education on progressive meditation====
[[File:Bronze figure of Kashmiri in Meditation by Malvina Hoffman Wellcome M0005215.jpg|thumb|The ''Chandogya Upanishad'' (7th chapter) discusses progressive meditation as a means to Self-knowledge.]]
In its exposition of progressive meditation for Self-knowledge, the ''Chandogya Upanishad'' starts by referring to the outer worldly knowledges as name.<ref name=maxmuller71/><ref name=pauldeussen71intro/>
Deeper than this name, is speech asserts verse 7.2.1, because speech is what communicates all outer worldly knowledge as well as what is right and what is wrong, what is true and what is false, what is good and what is bad, what is pleasant and what is unpleasant.<ref name=maxmuller71/> Without speech, men can't share this knowledge, and one must adore and revere speech as manifestation of Brahman.<ref name=hume71/><ref name=goodall71/>
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====From Ativadin to self-knowledge====
The ''Chandogya Upanishad'', in sections 7.16 through 7.26 presents a series of connected statements relayed from Sage Sanatkumara to [[Narada]], as follows<ref name=maxmuller716>Max Muller, [https://archive.org/stream/upanishads01ml#page/120/mode/2up "Chandogya Upanishad 7.16-7.26"], ''The Upanishads, Part I'', Oxford University Press, pp. 120-125 with footnotes.</ref> (a paraphrase below)
{{
<poem>
Now, a man talks only when he talks with truth, hence you should seek to perceive the ''truth ([[Satya]], '''सत्य''''').
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A man must first produce before he has faith, so it is ''production/growing forth (Nististhati, '''निस्तिष्ठति''''') that you should seek to perceive.
A man must first act before he produces, so it is ''action (Krti, '''कृति''''') that you should seek to perceive.
A man must first attain well-being before he acts, so it is ''well-being ([[Sukha
Now, well-being is nothing but ''plenitude/limitlessness (Bhuman, '''भूमानं'''''). There is no prosperity in scarcity. So, it is plenitude that you should seek to perceive.
Where a man sees, hears, or discerns no other thing — that is plenitude. Plenitude is based on one's own greatness or maybe it's not based on greatness. Cattle, slaves, farms & houses, etc - these are what people here call greatness. But I don't consider them that way, for they are all based on each other. Plenitude and 'I' are indeed the same, and is the north, south, east, west & extends over the whole world. A man who sees it this way, thinks about it this way, and perceives it this way; a man who finds pleasure in the Self, who dallies with the Self, who mates with the Self, and who attains bliss in the Self — he becomes completely his own master; he obtains complete freedom/autonomy (''[[Swaraj (disambiguation)|Svaraj]]'', स्वराज्) of movement in all the worlds.
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of the ''Chandogya Upanishad'' opens by declaring the body one is born with as the "city of Brahman", and in it is a palace that is special because the entire Universe is contained within it. Whatever has been, whatever will be, whatever is, and whatever is not, is all inside that palace asserts the text, and the resident of the palace is the Brahman, as Atman – the Self, the Self.<ref name=goodall81>Dominic Goodall (1996), ''Hindu Scriptures'', University of California Press; {{ISBN|978-0520207783}}, pp. 152-153</ref> Those who do not discover that Self within themselves are unfree, states the text, those who do discover that Self-knowledge gain the ultimate freedom in all the worlds.<ref name=maxmuller81>Max Muller, [https://archive.org/stream/upanishads01ml#page/124/mode/2up "Chandogya Upanishad 8.1"], ''The Upanishads, Part I'', Oxford University Press, pp. 125-127 with footnotes.</ref><ref name=pauldeussen81/> The Upanishad describes the potential of self-knowledge with the parable of hidden treasure, as follows,
{{
[Where Brahman-Atman dwells], there are all our true desires, but hidden by what is false. As people who do not know the country, walk again and again over undiscovered gold that is hidden below inside the earth, thus do people live with Brahman and yet do not discover it because they do not seek to discover the true Self in that Brahman dwelling inside them.
|Chandogya Upanishad 8.3.2<ref name=maxmuller81/><ref name=pauldeussen81>Paul Deussen, ''Sixty Upanishads of the Veda, Volume 1'', Motilal Banarsidass; {{ISBN|978-8120814684}}, pp. 189-193</ref><ref name=charlesjohnston/>}}
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[https://archive.org/stream/thirteenprincipa028442mbp#page/n293/mode/2up "Chandogya Upanishad] 8.13 - 8.15", ''The Thirteen Principal Upanishads'', Oxford University Press, pp. 273-274</ref> This knowledge of Self is immortal, and the one who knows his own self joins the glory of the Brahman-knowers, the glory of ''Rajas'' (kings) and the glory of the people. The one who knows his Self, continues to study the Vedas and concentrates on his Self, who is harmless towards all living beings, who thus lives all his life, reaches the Brahma-world and does not return, states the ''Chandogya Upanishad'' in its closing chapter.<ref name=hume814/>
==
According to Max Muller, the ''Chandogya Upanishad'' is notable for its lilting 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]].{{sfn|Muller|pp=LXXXVI-LXXXIX, 1-144}} According to Deutsch and Dalvi, "the entire sixth chapter is no doubt the most influential of the entire corpus of the Upanishads."{{sfn|Deutsch|Dalvi|2004|p=8}}
''Chandogya Upanishad'' is one of the most cited texts in later ''Bhasyas'' (reviews and commentaries) by scholars from the diverse schools of Hinduism. Several major "Bhasyas" (reviews, commentaries) on ''Chandogya Upanishad'' have been written by Sanskrit scholars of ancient and medieval India. These include those by [[Adi Shankara]]charya, [[Madhvacharya]], Dramidacharya, Brahmanandi Tankacharya, and [[Ramanuja]]charya. [[Adi Shankara]]charya, for example, cited ''Chandogya Upanishad'' 810 times in his ''Vedanta Sutra Bhasya'', more than any other ancient text.<ref>Paul Deussen, ''The System of Vedanta''; {{ISBN|978-1432504946}}, pp. 30-31</ref>
Max Muller has translated, commented and compared ''Chandogya Upanishad'' with ancient texts outside India.<ref name=maxmullerfull/> For example, the initial chapters of the Upanishad is full of an unusual and fanciful etymology section, but Muller notes that this literary stage and similar etymological fancy is found in scriptures associated with [[Moses]] and his people in their Exodus across the Red Sea, as well as in Christian literature related to [[Augustine of Hippo|Saint Augustine]] of 5th century CE.<ref>Max Muller, [https://archive.org/stream/upanishads01ml#page/n119/mode/2up "Chandogya Upanishad 1.3.7"], ''The Upanishads, Part I'', Oxford University Press, pp. 8-9 with footnote 1.</ref>▼
▲Max Muller has translated, commented and compared ''Chandogya Upanishad'' with ancient texts outside India.
Klaus Witz {{Who|date=August 2022}} in his review of the ''Chandogya Upanishad'' states, "the opulence of its chapters is difficult to communicate: the most diverse aspects of the [U]niverse, life, mind and experience are developed into inner paths. (...) Chapters VI-VII consist of ''vidyas'' of great depth and profundity".<ref>Klaus Witz (1998), ''The Supreme Wisdom of the Upaniṣads: An Introduction'', Motilal Banarsidass; {{ISBN|978-8120815735}}, pp. 218-219</ref>
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*[[Katha Upanishad]]
*[[Mahāvākyas]]
==Notes==
{{notelist}}
==References==
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* {{cite book | last =Deussen | first =Paul | year =2017 | title =Sixty Upanishads of the Veda, Volume 1 | publisher =Motilal Banarsidass | isbn =978-8120814684}}
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* {{cite book | last =Goodall | first =Dominic | year =1996 | title =Hindu Scriptures | publisher =University of California Press | isbn =9780520207783}}
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* {{cite book | last =Muller | first =Max | title =The Upanishads, Part I | publisher =Oxford University Press | url =https://archive.org/stream/upanishads01ml#page/n93/mode/2up}}
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* {{cite book | last =Olivelle | first =Patrick | year =2008 | orig-year =1996 | title =Upanishads. A New Translation by Patrick Olivelle | publisher =Oxford University Press}}
{{refend}}
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*[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n15/mode/2up Chandogya Upanishad with Shankara Bhashya] Ganganath Jha (Translator), Oriental Book Agency, Poona
*[http://www.universaltheosophy.com/legacy/movements/ancient-east/vedic-india/chandogya-upanishad/ Chandogya Upanishad] Multiple translations (Johnston, Nikhilānanda, Swahananda)
*[http://www.universaltheosophy.com/pdf-library/Chandogya%20Upanishad_Johnston.pdf Commentary on Chandogya Upanishad] Charles Johnston
*[http://www.mast.queensu.ca/~murty/ind6.pdf The Mandukya, Taittiriya and Chandogya Upanishads] Section 6.3, M Ram Murty (2012), Queen's University
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