Uddhava Gita (Sanskrit) (also referred to as Hamsa Gita) consists of Krishna's final discourse to Uddhava before Krishna draws his worldly 'descent' (Sanskrit: avatar ) and 'pastimes' (Sanskrit: lila) to completion. Though the Uddhava Gita is often published singularly as a stand-alone work, it is also evident in the Eleventh Canto of the Bhagavata Purana commencing from verse 40 section 6 through to the end of section 29, comprising total of 1100 'verses' (Sanskrit: shloka ) and is considered part of the Purana literature proper. [1] This discourse importantly contains the story of an Avadhuta and though it does not state explicitly the name of this personage within the section or the Bhagavata Purana as a whole, Vaishnava tradition and the greater Sanatana Dharma auspice ascribe this agency to Dattatreya.
The names Uddhava Gita and Hamsa Gita are popularly interchangeable but Hamsa Gita also specifically denotes (xi. 13- 16) a subset of the Uddhava Gita and the Bhagavata Purana proper. [2]
Hamsa Gita (Sanskrit) (also referred to as Uddhava Gita) where the hamsa is a metaphor for the Paramahamsa as well as a natural teacher of grace evident in nature. The hamsa (हंस, in Sanskrit and often written hansa) is a swan, often considered to be the mute swan (Cygnus olor).[ citation needed ] It is used in Indian culture as a symbol and a decorative element. The term ' gītā ' (literally "song" in Sanskrit; Devanagari: गीता). The swan is metaphorical representation of one's discriminative capabilities referring to the swan's ability to sieve out its nourishment from the composite material around.
Tigunait (2002: pp. 39–45) render the narrative of the 24 teachers of Dattatreya in the Uddhava Gita into English. [3] Though the consensus of scholars hold the Bhagavata Purana to be a composite work of the oral tradition of many mouths, the Vaishnava tradition as well as the Bhagavata Purana itself uphold that it was scribed by Vyasadeva. [4] That said, the narrator of the Hamsa Gita is the sage Shuka, son of Vyasadeva. [5] It is important to note that even if the work is composite, that it "...does not show the lack of cohesion or compactness that must mark the work handled by many writers..." says Upadhyaya in the Foreword to Brown & Saraswati (2000: p. 8) and then Upadhyaya moreover opines that whosoever the poet of the Hamsa Gita and the Bhagavata Purana may be that "[h]ere is a poet who uses pattern and metaphor in a complex craftsmanship to create a ritual of celebration." [6] Haigh (2007: p. 127) in his opening paragraph to his work on the Uddhava Gita frames its import as a model of environmental education:
Sri Dattatreya, who Lord Krishna quotes in The Uddhava Gita, has been evoked as a guru for environmental education. Sri Dattatreya gained enlightenment by observing the world, which provided Him with 24 instructors. These taught Him the futility of mundane attachments, the benefits of contemplation and forebearance [sic], and a path towards the spiritual self-realization of the Supreme. Sri Dattatreya, an incarnation of Trimurti, features in several Puranas where His teachings involve direct challenges to the pretensions and prejudices of the learner. His core message is "never judge by surface appearances but always seek a deeper Truth": the Earth is sacred, an aspect of God, and a puzzle that challenges the spiritual self to awaken to its true nature. [7]
Paramahamsa (undated: p.65) arrays a suite of Gita literature enshrined and subsumed within the auspice of the Mahapuranas and holds that they are all songs of Monism:
"The Gitas that find place in the Maha-puranas such as the Uddhava-Gita, the Rudra-Gita, the Bhikshu-Gita, the Sruti-Gita, the Hamsa-Gita, etc. propound Monism as the essence of their philosophy." [8]
Upadhyaya, in the Foreword to Brown & Saraswati (2000: p. 8) holds that Saraswati (that is Ambikananda) who herself is a sannyasin and took this ashrama from a very young age, writes thus:
Swami Ambikananda's success in rendering the work into metrical composition is a tribute to the versatility of Sanskrit and the lucidity of the original writing. The method of her translation is marked by two considerations. She has sought to find close equivalents, keeping in view both the formal and dynamic aspects of the language; and her interpretative translation aims at complete naturalness of expression, pointing the reader to the modes of behaviour within the context of his or her own culture. [9]
Sarasvati in Brown and Sarasvati (2000: p. 14) holds that it was both Venkatesananda (1921 - 1982) and his guruji Sivananda (1887 - 1963) that opened her heart to this work:
It was Swami Sivananda and Swami Venkatesananda who opened my heart to this sacred text, and their teaching that enabled me to undertake this translation, which attempts to convey its message to all spiritual seekers. [10]
The following outline is provided as an overview of and topical guide to Hinduism:
Avatar is a concept within Hinduism that in Sanskrit literally means 'descent'. It signifies the material appearance or incarnation of a powerful deity, or spirit on Earth. The relative verb to "alight, to make one's appearance" is sometimes used to refer to any guru or revered human being.
Bhakti yoga, also called Bhakti marga, is a spiritual path or spiritual practice within Hinduism focused on loving devotion towards any personal deity. It is one of the three classical paths in Hinduism which lead to moksha, the other paths being jnana yoga and karma yoga.
Gopi or Gopika in Hinduism are commonly referred to the group of milkmaids of Braj. They are regarded as the consorts and devotees of Krishna and are venerated for their unconditional love and devotion (Bhakti) to him as described in Bhagavata Purana and other Puranic literature. Gopis are often considered as the expansion of Radha, the chief consort of Krishna. The Raslila of gopis with Krishna has inspired various traditional performance art forms and literatures.
The Bhagavata Purana, also known as the Srimad Bhagavatam, Srimad Bhagavata Mahapurana or simply Bhagavata (Bhāgavata), is one of Hinduism's eighteen great Puranas (Mahapuranas). Composed in Sanskrit and traditionally attributed to Veda Vyasa, it promotes bhakti (devotion) towards Krishna, an avatar of Vishnu, integrating themes from the Advaita (monism) philosophy of Adi Shankara, the Vishishtadvaita of Ramanujacharya and the Dvaita (dualism) of Madhvacharya. It is widely available in almost all Indian languages.
Avadhūta is a Sanskrit term from the root 'to shake' that, among its many uses, in some Indian religions indicates a type of mystic or saint who is beyond egoic-consciousness, duality and common worldly concerns and acts without consideration for standard social etiquette. Avadhūta is a Jivanmukta who gives his insight to others and teaches them about his realisation of the true nature of the ultimate reality (Brahman) and self (Ātman) and takes the role of a guru to show the path of moksha to others. Some Avadhūta also achieve the title of Paramahamsa.
Dattatreya, Dattā or Dattaguru, is a paradigmatic Sannyasi (monk) and one of the lords of yoga, venerated as a Hindu god. He is considered to be an avatar and combined form of the three Hindu gods Brahma, Vishnu, and Shiva, who are also collectively known as the Trimurti, and as the manifestation of Parabrahma, the supreme being, in texts such as the Bhagavata Purana, the Markandeya Purana, and the Brahmanda Purana, though stories about his birth and origin vary from text to text. Several Upanishads are dedicated to him, as are texts of the Vedanta-Yoga tradition in Hinduism. One of the most important texts of Hinduism, namely Avadhuta Gita is attributed to Dattatreya. Over time, Dattatreya has inspired many monastic movements in Shaivism, Vaishnavism, and Shaktism, particularly in the Deccan region of India, Maharashtra, Gujarat, Madhya Pradesh, Rajasthan and Himalayan regions where Shaivism is prevalent. His pursuit of simple life, kindness to all, sharing of his knowledge and the meaning of life during his travels is reverentially mentioned in the poems by Tukaram, a saint-poet of the Bhakti movement.
Paramahamsa, also spelled paramahansa or paramhansa, is a Sanskrit religio-theological title of honour applied to Hindu spiritual teachers who have become enlightened. The title literally means "supreme swan". The swan is equally at home on land and on water; similarly, the true sage is equally at home in the realms of matter and of spirit. To be in divine ecstasy and simultaneously to be actively wakeful is the paramahamsa state; the 'royal swan' of the soul floats in the cosmic ocean, beholding both its body and the ocean as manifestations of the same Spirit. The word 'Paramahamsa' signifies one who is Awakened in all realms. Paramahamsa is the highest level of spiritual development in which a union with ultimate reality has been attained by a sannyasi.
The Hansa is an aquatic migratory bird, referred to in ancient Sanskrit texts which various scholars have interpreted as being based on the goose, the swan, or even the flamingo. Its image is used in Indian and Southeast Asian culture as a spiritual symbol and a decorative element. It is also used in a metaphorical sense with the bird attributed with the mythical ability to extract milk from a mixture of milk and water or good from evil. In Hindu iconography, hamsa is the vahana of Brahma, Gayatri, Saraswati, and Vishvakarma.
Kala is a Sanskrit term that means 'time' or 'death'. As time personified, destroying all things, Kala is a god of death, and often used as one of the epithets of Yama. In Shaivism, Kala is known as the fiery avatar of Shiva, Kala Bhairava or Kalagni Rudra; and in Vaishnavism Kala is also associated with Narasimha and Pralaya. As applied to gods and goddesses, Kālá is not always distinguishable from kāla, meaning 'black'.
Uddhava is a character from the Puranic texts of Hinduism, described to be the friend and counsellor of Krishna. He plays a significant role in the Bhagavata Purana, being taught the processes of yoga and bhakti directly by Krishna. The principle of these discussions is often referred to as the Uddhava Gita, similarly to the Bhagavad Gita wherein Krishna instructs Arjuna.
Govind Chandra Pande was a well-known Indian scholar, philosopher and historian of the Vedic and the Buddhist periods. He served as professor of ancient history and vice-chancellor at Jaipur and Allahabad universities. He was also the chairman of the Indian Institute of Advanced Study, Simla for several years, the Chairman of Allahabad Museum Society and the Chairman of Central Tibetan Society, Sarnath Varanasi.
Goloka or Goloka Vrindavan is the celestial abode of the Hindu god Krishna and his chief consort Radha. In the Bhagavata Purana and Garga Samhita, Krishna is portrayed as the highest person who resides in Goloka along with his three wives - Radha, Virija and Bhudevi.
The Devi Bhagavata Purana, also known as the Devi Purana or simply Devi Bhagavatam, is one of the eighteen Mahapuranas as per Shiva Purana of Hinduism. Composed in Sanskrit by Veda Vyasa, the text is considered a major purana for Devi worshippers (Shaktas). It promotes bhakti (devotion) towards Mahadevi, integrating themes from the Shaktadvaitavada tradition. While this is generally regarded as a Shakta Purana, some scholars such as Dowson have also interpreted this Purana as a Shaiva Purana.
Ravi M. Gupta, also known as Radhika Ramana Dasa, is a notable Vaishnava scholar, author, and editor. Gupta holds the Charles Redd Chair of Religious Studies at Utah State University, and serves as director of its Religious Studies program. He is a member of the International Society for Krishna Consciousness.
Avadhuta Gita is a Sanskrit text of Hinduism whose title means "Song of the free soul". The text's poetry is based on the principles of Advaita and Dvaita schools of Hindu philosophy.
The Devi Gita is an ancient Hindu philosophical text from the Devi-Bhagavata Purana, a major text of the Shakta devotees, in the form of dialogue between Mahadevi and king Himavan. It is also one of the sixty-four Gitas commonly referred to in Hindu scriptures.
Vrishabhanu, also spelled as Brushabhanu, is a Yadava chieftain featured in Hindu scriptures. He is described as the father of the goddess Radha, who is the chief consort of god Krishna and also regarded as the incarnation of the goddess Lakshmi in Dvapara Yuga.
A phalashruti is a meritorious verse in Hindu literature, appearing at the end of a text or one of its constituent sections. Such a verse offers a description of the benefits that could be accrued by an adherent from the recitation or listening to a given text. It may also extol the prominence of a work, as well as provide the appropriate context for its perusal.