The Yogavasistha of Valmiki (Volume I and II)

The Yoga-Vasistha is a popular text on AdvaitaVedanta, though it is more like the Puranas in form and style. It is greatly valued for the wisdom it contains and enjoys a popularity rivaled only by the Bhagavadgita and Srimadbhagavatam.

The work is in the form of a dialogue between Sri Rama and the sage Vasistha and covers a variety of subjects including the philosophical problems of life, death, human suffering and final release.

It is also known as Arsaramayana, Jnana Vasistha, Maharamayana, Vasistha Ramayana or merely Vasistha and is traditionally ascribed to the sage Valmiki. This extensive philosophical poem contains as many as 23, 734 verses characterized by exquisite poetic qualities.

This work is divided into Six Prakaranas or Sections, Viz., Vairagya, Mumuksu, Utpatti, Sthiti, Upasama, and Nirvana dealing respectively with topics of philosophical importance like indifference to worldly things, longing for liberation, origin of the universe and jiva, preservative aspect of the mind and the universe, quiescence of the mind after its sport in the universe and the final merger into the Absolute.

Part I: Containing Vairagya, Mumuksu, Utpatti, Sthiti and Upasama

Part II: Containing Nirvana – Purvardha and Uttarardha

This beautiful epic of Indian Philosophy with ‘almost every verse full of finest imagery expressed in words exceedingly pleasing to the ear” has been hailed as ‘one of the greatest books... ever written under the sun’,2 ‘the crest-jewel of all the works of Vedanta’3 and ‘a work of Siddhavastha4’.

It has been widely read or heard either in original Sanskrit or in translations and sermons (Pravacanas) by thousands of men and women in different strata of the socially, for mental solace and/or spiritual advancement. We, in Maharashtra, have special regard for the YV, as it has strongly influenced the philosophy of our greatest philosopher saint Jnanadeva (A.D. 1275-1296) and other saints down the centuries.5

The importance of YV (Yoga-Vasistha) and its digest LYV (Laghu Yoga Vasistha by Abhinanda) was recognised by Moghul emperors Akbar, Jehangir & Prince Dara Shikoh. The following selected list of Persian renderings of the YV & LYV and the patrons for whom they were translated will be enough to show its historical importance.

Patron Name of the Persian Translation
Akbar

(1) Basishtha-jug (An abridged translation of YV—A.D. 1597).
(2) Jug-bashasht—by Farmali (?)
(3) Shariq al-ma ‘rifat—Undated. Based on YV—Vedantic ideas explained with Quar’anic verses. Attributed to Faidi.

Jehangir
(1) LYV translated by Nizam al-Din Panipati; Mir Findiriskii wrote notes on it and composed its praise in verse.
Later compilation on the above work of Panipati:
(1) Muntakhab-i-jug. Selections from (1) The above translation compared with Sufi Parallel.
(2) Tarjuma-i-Jug-basasht is also an abridgement of (1) above in A.D. 1764.

Dara Shikok

Jug-bashast at the instance of Dara Shikoh, in 1656 A.D. A number of Persian and Hindi verses of the Hindu poet Wall Ram (Dara Shikoh’s Secretary) are incorporated in this translation (Edited by Tara Chand). In the introduction we are told that Dara Shikoh decided to get YV translated as Vasistha and Rama came in his vision. Vasistha told Rama that as seekers after Truth both Rama and Dara were brothers. Rama embraced Dara and shared with him some sweets given by Vasistha.

(Abridged from F. Mujtabai—Hindu Muslim Cultural Relations, pp. 81-84, National Book Bureau, New Delhi, 1983)

THE TITLE (5)

As stated in the colophon of every chapter or canto (sarga),1 YV is variously called Arsa (Ramayana), Vasistha Ramayana, Maha-Ramayana, written by Valmiki. The term ‘Arsa’ in the first title can be interpreted as ‘composed by a sage (rsi) ‘or ‘ancient’, as its authorship is attributed to sage Vasistha or Valmiki. And as both these sages belong to hoary antiquities, YV is ipso facto ‘ancient’. The rote of Vasistha as a family priest of the solar dynasty of Ayodhya and as a spiritual preceptor of Rama in this work is so predominant that the association of Vasistha’s name to this poem is the most appropriate tide whether it is called ‘ Vasistha Ramayana’ as in the colophon or “Yoga Vasistha” as in common parlance. The word ‘Yoga’ however is to be interpreted in the sense of ‘end’ or ‘means’2 as explained in YV iv (Sthiti). 62.1-2.

Traditionally it is believed that YV was written by Valmiki. The semblance of Valmiki’s authorship is maintained throughout the text. King Aristanemi enquires of Valmiki about the spiritual knowledge leading to Moksa (Liberation) and to satisfy his query, Valmiki narrates this dialogue between Vasistha and Rama. It is also Valmiki who seems to conclude YV.’

Though the colophon to the end of canto 107 of Book iii of YV does not mention ‘Moksopaya’ as the title of the text, there is positive evidence in cantos 1-3 that it was called Mokopaya, i.e. ‘Means (to attain) Moka’, vide for example, YV ii .53, i.2.3, ii. 10.4, 7; ii.l8.60. In ii.l7.6, YV is called “A digest of the text called Mokopaya consisting of thirty two thousand verses”5. Instances after Book iii need not be given as the title “Mokopaya” is incorporated in the colophon of every sarga (canto).

The adjective mocha ‘great’ in the title ‘Maha Ramayana’ can be explained as refer ring to the philosophical importance as well as the traditionally regarded larger bulk (32000 verses) of YV as compared with Valmiki Ramayana.

The current title ‘Yoga Vasistha’ refers to both the author and its content and has been now accepted by all for its meaningfulness.

Though the colophon claims that the present text consists of 32,000 verses1, it actually contains 23734 verses. YV ii. 17 gives the names of each book (Prakarana) and the number of verses in each of them as follows:

Serial No. of the Prakarana 4: The Title of the Prakarana- No. of Verses
i Vairagya 1,500
ii Mumusku Vyavahara 1,000
iii Utpatti 7,000
iv Sthiti 3,000
v Upasama 5,000
vi Nirvana 14,500
Total no. of verses 32,000

The epic starts with an obeisance to the Ultimate Reality as a Mangalacarana.

The story begins with a question by a Brahmin Sutiksna to sage Agasti as to whether the cause of liberation (from samsarara) is knowledge (Jnana) or work (karma) or both. Agasti replies that just as a bird necessarily requires two wings for flying up in the sky, so one requires both jnana and karma to attain the highest end2 (i.e. Moka). As in epics, Agasti assumes the position of a reporter of the dialogue on this point between two interlocutors Karunya and Agnivesya and the chain of interlocutors reaches to Valmiki’ who recounts the background of YV as follows:

One day, the sage Visvamitra approached king Dasaratha and requested him to send his son Rama for the protection of hi proposed sacrifice. After a great deal of persuasion, Dasaratha sends, for Rama who has recently returned from ‘pilgrimage’. When Rama came, all were wonderstruck to find him so overpowered with a complete sense of despondency and nonattachment. When asked about the cause of hi strange behaviour, Rama broke out in a long harangue on the defects of the body and its various stages from childhood to old age and the evanescent nature of the world and finally declares:

“As I am unrelated to everyone and everything, I shall get extinguished like a lamp short of oil. Abandoning everything I shall shuffle off this mortal coil”. Book ii, Mumuksu- Vyavahara: Visvamitra surmised that Rama had become eligible to understand spiritual knowledge like Suka and requested Vasistha to guide him spiritually:

Vasistha explained the unreality of the phenomenal world and, the non-distinction between liberation while alive and ‘liberation after death. He strongly refuted fatalism and established the superiority of action (Karma) over Fate. It is not understood why the table of contents of YV should be inserted at the end of this book (cantos 17-20.)

Book iii, Utpatti, of 122 cantos repeatedly explains the absolute non-existence of the phenomenal world which is a creation of Brahma’s mind. To illustrate this ultimate ideality of the universe, the philosophy of death, after-death experience and relativity of time and space, equality of men and women in acquiring supernatural powers, he tells a lengthy legend of Lila (cantos 14-60). Though philosophic in content, it reads like a beautiful classical poem. Vasistha narrates another story of demoness Karkati to emphasize that the knower of the Reality shall have no fear of Samsara.

He further states how fourteen categories of jivas are evolved from Brahman and are hence identical with him. Then follows a discussion on the mind, its various synonyms and the need to concentrate on the supreme soul. In the course of this discussion, Vasistha tells the story of a magician to illustrate the ideality and relativity of all things, Time and Space. The book ends with the description of the seven stages of jiva’s spirituality, knowledge and avidya.

Book iv, Sthiti, consists of 62 cantos. This picture called the phenomenal world is caused by the mind and with the realization of Brahman, the mind gets nullified and the world appears as Brahman. Vasistha tells the story of Sukra to illustrate the marvellous effects of desires on one’s life and how even a passing wish necessitates a new birth for its fulfilment (cantos 5-16). He then narrates the episode of demon Sambara to illustrate how failures in life are due to the identification of body with self. The Buddhist influence is felt in the story of Dasura (cantos 48-56) which describes the futility performance of 4/edic sacrifices and penance. At the end of that session, Vasistha blesses Rama to be stable in the seven stages of jivanmuktas (liberated during life time).

Book v (of 93 cantos) called Upasama consists of a number of interesting tales like that of Janaka, Bali, Gadhi and others, each story teaching new truths.

Janaka, king of Videha, happened to overhear some Gathas sung by Siddhas about the real nature of the self. They led to his realization of the self and he ruled wisely even after such realization. The story of Punya and Pavana shows the absurdity of grief over the death of a relative as we have been having such relatives in every birth. The story of Bali shows how nirvikalpa samadhi is attained by meditating that everything is consciousness. The story of Prahlada emphasizes the need of self-effort instead of grace in realizing self. The interesting story of Gadhi demonstrates the wonderful power of Maya, as what he experienced in a dip of a few seconds had actually happened elsewhere in his time. The story of Suraghu shows how equanimity even amidst the routine of daily duties is possible.

It being evening, Vasistha concluded by stating that a person endowed with spiritual knowledge is unperturbable.

The vi and the last book, Nirvana, is so bulky (14500 verses) that it is divided into parts—Purvardha and Uttarardha. The influence of Trika Saivism (in addition to that of Buddhism) is predominant here. Some scholars think it to be a later compilation after the Moksopaya stage).

The next morning when the meeting was held after the prelimnaries, Vasistha advised breath control as the means to wipe out Vasanas. He described his visit to Bhusunda, the crow, to illustrate the possibility of an infinitely long life through masterly breath control (cantos 14-28). The next episode called Sivapuja (cantosio-51) is powerfully influenced by Trika. That the knowledge of the self is the best way of worshipping the self is also Vedantic.

Arjunopakhyana (cantos 52-61) is obviously under the influence of the Mbh or rather 8G. The most interesting and important episode is that of queen CU4aIa (cantos 77-110)-— really an independent work though incorporated in YV. It establishes the equality of men and women in spiritual life. It is the renunciation of internal desires or cravings rather than the renunciation of externalities that is essential for self-realization. The story of Bhrngisa teaches how to be a great doer, enjoyer and renouncer. A detailed discussion of the seven stages of Yoga is given in the remaining cantos (115-126).

The Uttarardha of Book vi, Nirvana, consists of 216 cantos. It opens with a description of the life of jivan-muktas? It tells how self-control is essential for the fruits of the study of Sastras (the story of Vidyadhara, cantos 6-16). But more interesting is the story of a Block of stone (pasana) which illustrates the possibility of a whole universe within a point in space. Similarly important and interesting is the story of king Vipascit which illustrates the creative power of thought and the effect of desire on our transmigratory process. The story of corpse (a Vyadha) illustrates that every individual is a cosmic Deity of his universe. We find a repeated glorification of the power of thought or desire in many stories, e.g. the story of an ascetic (Tapasa) illustrating the possibility of multiplication of worlds by thought-power.

After discussing various philosophical problems, the final conclusion is that Brahman is the only Reality. At the end of the discussion, Rama uses the words of Arjuna spoken at the end of BG xviii. 73 and confesses that his delusion has vanished and he would abide by Vasistha’s order.

After vi. ii. 214, the story winds up smoothly and systematically, the student-member of each of the pair of interlocutors expresses satisfaction, the last being Brahmin Sutiksna who approached sage Agasti with his doubt.

The epic concludes with the famous salutations to spiritual guides:
Brahmanandam parama-sukhadam etc.
But here the salutation is offered to sage Vasistha.

Vedas and Upanisads
As a Brahmanical work YV has imbibed the essentials of Vedic literature (including older Upanisads) in its fundamental philosophy-obviously the echoes, nay even the wordings of Vedic texts are found throughout the work. Thus:

Manascandramaso jatam
Manasascandra utthitah
- YV vi.ii (Uttarardha) 2.9

Is an obvious echo of RV x.90.13;
Candrama manaso jatah/
YV concludes its teaching with the following verse:
Yat sarvam khalvidam Brahma/
Tajjaln iti ca sphutam//
- YV vi.ii (Uttarardha) 216.25

It is nothing but a versified form of Chandogya Up. Iii. 14-1:
Sarvam khalvidam Brahma
Tajjalan iti santa upasita.

Some of the verses are bodily incorporated from the Upanisads. For example, the S vetasvatara Up. Iii. 16 is the same as YV vi. Ii (Uttarardha) 14.9.

About later Upanisads, B.L. Atreya has made a strong case to prove that the following minor Upanisads are either entirely or partially borrowed from YV.

He has further named seven more minor Upanisads such as the Jabala Darsana, the Maitrayani and other which have some textual portion common with YV. Dr. Atreya has also noted some of the verses from the minor Upanisads which are not traceable in YV but are found in its digest LYV (Laghu Yoga Vasistha). For example, the Maha. Up. v. 55-58 missing from YV is found in LYV iv. 14.2, 4-6.

Dr. Atreya has put in enormous labour to show that YV is the source of these minor Upanisads. But on the basis of the same data Dr. Mainkar comes to the opposite conclusion that YV is the borrower as it expresses the crude, simple Upanisadic expressions into better, more poetic yet appropriate words.

I believe that both the minor Upanisads and YV have used the enormous traditional ascetic literature (mainly gathas and anustubh verses) current in ancient India in Sanskrit, Pall and Prakrits. We must give due credit to the last redactor of YV for presenting that valuable oral tradition of ascetic poetry in a refined form.

YV’s self-designation of being the ‘digest’ Sara-Samhita, ‘Moksopaya’ (iii. 10.4, ii. 18.10) and Moksopayabhidhana-Samhita (11.17.6) is significant. It shows that it borrowed from other tracts of philosophy.