Ch 18 Yoga of Single-pointed Surrender (Part 3)

This article is part 98 of 143 in the series Jīvana-dharma-yoga

Managing the family is a vrata. Marriage is a dharmic ritual. The transactions with the world that is done for these are opportunities for performing dharma. Household chores that are performed with this feeling are akin to tapas. It can also be thought of as yajña. We have already seen that the Vedas extol the entire life and all the worldly transactions of a jñāni as a great yajña

tasyaivaṃ viduṣo yajñasyātmā yajamānaḥ ।

Mahānārāyaṇa-upaniṣad  80

and so on.

etānyapi tu karmāṇi saṅgaṃ tyaktvā phalāni ca ।
kartavyānīti me pārtha niścitaṃ matam-uttamam ॥

BG 18.6

“The best way is to perform yajña, dāna and tapas as they are one’s duties. However, there is a rule : They should not be tainted by ego and there should not be any desire for the result”.

In the word “kartavyāni”, we can see that the suffix “tavyat” is used. It means that it has to be compulsorily performed. The only condition is that the feeling “I am doing it, I will enjoy the results of it” should not be there. The skill that has to be present in karma-yoga is the resigning of ego and any attachment to the rewards of an action. That is the desired skill. That itself is —

yogaḥ karmasu kauśalam ॥

BG 2-50

Śraddhā and enthusiasm while performing an action; indifference and disregard for its fruit.
As in all other fields in the worldly realm, karma is also affected by sattva, rajas and tamas

niyatasya tu saṃnyāsaḥ karmaṇo nopa-padyate ॥

BG 18.7

No one should ever stop performing niyata-karmas. This applies not only to karmas such as sandhyāvandana that are ascribed based on one’s varṇa and āśrama, but also to worldly duties such as one’s profession and socially beneficial activities. The karma of svadharma is compulsory for everyone, always. If that is given up as mere ritual, or as unimportant, it is tamasic renunciation.

mohāttasya parityāgaḥ tāmasaḥ parikīrtitaḥ ।

BG 18.7

Of late, we are becoming more and more abstemious towards satkarmas such as visiting temples, traveling on pilgrimages, etc. It is tamasic; and it is a work of delusion and stupidity.
Not just content with that, we give up rituals such as purificatory baths, concerned about weariness and fatigue. This is rajasic renunciation. We can see that often in our elites.

duḥkham-ityeva yat-karma kāya-kleśa-bhayāt tyajet ॥

BG 18.8

A sāṣṭāṅga-namaskāra is tiring. If there is devotion within, can we not just fold our palms and express it? Why expend even that effort? Isn’t a hand-signal enough? Why a hand-signal? Isn’t a grin enough ? Isn’t curling the lips enough? Or even raising one’s eyebrows is enough? Bhagavān is omniscient, he knows everything about us. Why does he need our namaskāras and hand-signs? Such is the mindset of our times. Seize svarga as easily as possible. As they say in Telugu, “sūkṣmaṃlo mokṣam” - earn mokṣa with as little effort as possible.

Bhagavān, it appears, does not agree to this!

kāryam-ityeva yat-karma niyataṃ kriyate’rjuna ।
saṃgaṃ tyaktvā phalaṃ caiva sa tyāgaḥ sāttviko mataḥ ॥

BG 18.9

Na dveṣṭy-akuśalaṃ karma kuśale nānuṣajjate ।
tyāgī sattva-samāviṣṭo medhāvī chinna-saṃśayaḥ ॥

BG 18.10

“Sāttvic renunciation is that, where one’s ego and the desire for reward are given up while performing duties that are necessary to be performed because they are one’s prescribed karma, or circumstances demand that they be performed. Such a sāttvic renunciate does not hate the karma prescribed to him because it is difficult or disgusting, nor does he get attached to it because it is pleasing. He neither wanes on Ekādaśi nor waxes on Dvādaśi. He does not fear duties at a hospital, or jump with joy at the duties at a drama company. He neither runs away from the duty of carrying a corpse nor does he stand at the front of a wedding procession. He is equanimous towards auspicious and inauspicious — that is, he is far from the consequences of dualities, and is impartial. He is free of all doubts and is established in objectivity.

Our belief that the Gītā is a book of dharmic life will be firmly established if we see the importance given to karma performed with sāttvic renunciation in this chapter and the previous chapters. Karma is inevitable to some extent for all human beings.

ṇa hi dehabhṛtā śakyaṃ tyaktuṃ karmāṇy-aśeṣataḥ ॥

BG 18.11

Karma is indeed inevitable for everyone. Then how can we escape the possibility of pāpa while performing it? By renouncing only the fruit of the karma. Let us finish doing what we have to do. We are not concerned with its use. We are mere servants following instructions on how to perform actions. We only do what we are told. In the satra of Bhagavān, there is a feast being served everyday. If the supervisor says “Hey you, clean the dirty plates”, it is not our place to ask “How many people ate?”. 

Let us apply this instruction to the political duties of our age. Suppose it is election day. It is tāmasic tyāga to think that it is a holiday and spend the day sleeping or playing cards and completely forget about the election. It is rājasic tyāga to think “Who will go that far in the sun and suffer in the queue” and not go to the election and give up one’s duty out of fear of exertion. Sāttvic tyāga is to go to the election booth, choose a candidate who is agreeable to one’s conscience and vote for him and not worry about the results of the elections — whether his candidate wins or loses. This is the tyāga where one is not anxious about the result. He is established in objectivity.

Let us come to the filth and pollution in our city. It is tāmasic tyāga to give up any action to correct it and shrug it off saying “Who can do anything about it? I couldn’t care less”. It is rājasic tyāga to stand in the city squares and grumble against the municipality and leave it at that. Their nationalistic fervour ends there. There is another class of gentlemen. Their sāttvic tyāga is seen when they give up fear of exertion and fear of rubbing officials on the wrong side, when they write well-researched and detailed reports, publish them and poke to wake up the concerned officers.

Whatever karma we perform, there is definitely a result associated with it. But who is it for? It is for those who are attached to it; not for the ones who give it up.

aniṣṭamiṣṭaṃ miśraṃ ca trividhaṃ karmaṇaḥ phalaṃ ।
bhavaty-atyāgināṃ pretya na tu saṃnyāsināṃ kvacit ॥

BG 18.12

Thus sorrow, happiness and a mixture of the two are always present for a human if he performs karma with an eye for its rewards, whether it is in this world or others. For a tyāgi — a saṃnyāsi — it is not there.

This is because they have given up their desires and anxiousness for the result of their karma. What they have declined is not allotted to them.
Are we so courageous? No. Bhagavān’s instruction is required for worldly people like us. We are concerned about the result of our actions. Therefore, we have to understand the structure of karma and its results. Who is responsible for karma? Who or what are responsible for the consequences of karma? The doer? The influencer? The regent? The one who approves? Those who help? The method of work? We need an explanation for results — good or bad. Any karma cannot be performed by a man alone, without the help of anyone else. It happens only with the help of other people and others’ wealth. Whether it is big, easy, small, difficult or whatever else, there are many people who are deserving of the rewards of karma. They can be divided into five groups.

adhiṣṭhānaṃ tathā kartā karaṇaṃ ca pṛthag-vidhaṃ ।
vividhāśca pṛthak-ceṣṭā daivaṃ caivātra paṃcamam ॥

BG 18.14

To understand this verse, I feel that we have to tread a slightly different path from the explanations offered by earlier commentators. This is because of the difference in our views. In the eyes of the gurus of yore, mokṣa was the most important attainment and karma in daily life was unimportant. In our case, karmas in our daily lives are of paramount importance and for now, mokṣa is irrelevant. Before climbing the stairs, we have to first take firm steps on the ground. Can those who cannot climb to the loft jump to the sky? Mokṣa is near and karma is far for religious gurus. Whereas, for us, karma is near and mokṣa is far off. What applies to them might not apply to us. The immediate objective of saṃnyāsis is giving up karma and that of saṃsāris is in performing satkarma. Saṃsāra is itself just karma — a bundle of many vaidika and laukika karmas.

To be continued...

The present series is a modern English translation of DVG’s Kendra Sahitya Akademi Award-winning work, Bhagavad-gītā-tātparya or Jīvana-dharma-yoga. The translators wish to express their thanks to Śatāvadhāni R Ganesh for his valuable feedback and to Hari Ravikumar for his astute edits.

Author(s)

About:

Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.

Translator(s)

About:

Engineer. Lapsed blogger. Abiding interest in Sanskrit, religion, and philosophy. A wannabe jack-of-all.

About:

Mother of two. Engineer. Worshiper of Indian music, poetry, and art.

Prekshaa Publications

Karnataka’s celebrated polymath, D V Gundappa brings together in the eighth volume of reminiscences character sketches of his ancestors teachers, friends, etc. and portrayal of rural life. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and offer...

Karnataka’s celebrated polymath, D V Gundappa brings together in the seventh volume of reminiscences character sketches of prominent scholars, businessmen, hoteliers, as well as of the laity. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and...

Poets on Poetics: Literary Aesthetics Envisioned by Sanskrit Poets uncovers the tenets of literary theory conceptualized by masters from Bharata to Jagannātha that are embedded in the works of poets from Vālmīki to Nīlakaṇṭha-dīkṣita. Poets typically present their insights in the form of suggestive verses and rarely as an organized body of facts. Their exposition, inchoate though it might seem...

India is a land of stories. It is a fountainhead of various story-telling traditions of Greater India, Asia, and Europe. The now lost Bṛhat-kathā of Guṇāḍhya was an inexhaustible treasure-trove of stories that influenced generations of listeners. Somadeva’s Kathā-sarit-sāgara is a twelfth century Sanskrit retelling of this grand compendium. To read this work is to understand the heart of the...

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...