- athanow
- gaṇeśapūrvatāpinyupaniṣatthe Ganesha Purva Tapini Upanishad
anvaya atha gaṇeśapūrvatāpinyupaniṣat
chandas Prose, the title
tāpinī Tapini — A class of late Upanishads, each built around one deity's mantra. Purva, the first, is the half that sets out the mantra; this one is Ganesha's.
note The Upanishad teaches one mantra, the Ganesha Anushtubh, in three parts: how it was first seen, how its six feet map onto the worlds and the Vedas, and how it is set out in a diagram for worship.
yogino yatpadaṃ yānti taṃ gaurīnandanaṃ bhaje ||
- gaṇeśamGanesha
- pramathādhīśamlord of the pramathas
- nirguṇamwithout qualities
- saguṇamwith qualities
- vibhumpresent everywhere
- yoginaḥthe yogis
- yatpadamwhose place
- yāntireach
- tamthat
- gaurīnandanamson of Gauri
- bhajeI worship
anvaya pramathādhīśam nirguṇam saguṇam vibhum gaṇeśam yoginaḥ yatpadam yānti tam gaurīnandanam bhaje
chandas Anuṣṭubh (śloka), 8 syllables in each of 4 pādas
pramatha the pramathas — Shiva's rough host of followers, over whom his son is set as lord.
brahmā devānām Brahma among the gods — The opening takes a Rigveda verse that names the best of each kind, the seer among sages and the buffalo among beasts, and gives each title to Ganesha.
atharvaputra son of Atharvan — Atharvan is the seer of the Atharva Veda, and this Upanishad belongs to that Veda. Calling Ganesha his son claims the whole Veda for him.
note The first section. It opens, as Atharva Veda texts do, by praising Brahman under many names before the story begins.
annāda an eater of food — The question the whole Upanishad sets out to answer: how the creatures, once made, are to be fed and kept alive. The answer turns out to be a mantra.
yato vā imāni bhūtāni from which these beings are born — The words are taken from the Taittiriya Upanishad's definition of Brahman, and the list of breath, mind and the elements from the Mundaka. The text is saying that what those Upanishads meant by Brahman has an elephant's face.
note Prajapati looks inward for the answer and finds Ganesha there.
turīya the fourth — The state beyond waking, dream and deep sleep. It is named here next to food and cattle, so the praise runs from the plainest good to the highest.
annapati the lord of food — The praise is shaped to the question asked: the creatures want food, and he is the lord of it.
mantrarāja the king of mantras — The Ganesha Anushtubh mantra, whose six pieces the next sections name one by one. The Upanishad's answer to the question of food is this mantra.
anuṣṭubh Anushtubh — The metre of four lines of eight syllables, in which most of the epics and hymns are written. The text says the world itself is built in it.
mahāhastī great-handed one — A line from the Rigveda addressed to Indra. Hastin means one with a hand, and also an elephant, and the Upanishad quotes it for that second sense.
note Bhrigu's son is Shukra. It is he, in the story, who first sees the mantra and hands it on.
atha tasya ṣaḍaṅgāni prādurbabhūvuḥ | sa hovāca japadhvamānuṣṭubhaṃ mantrarāja ṣaṭpadaṃ saṣaḍakṣaram | iti yo japati sa bhūtimān bhavatīti yūyamannādyā bhaveyuriti | tadetannidarśanam ; gaṇānāṃ tvā gaṇanāthaṃ surendraṃ kaviṃ kavīnāmatimedhavigraham | jyeṣṭharājaṃ vṛṣabhaṃ ketumekaṃ sā naḥ śṛṇvannūtibhiḥ sīda śāśvat || 5 ||
gaṇānāṃ tvā Ganapati of the hosts — The Rigveda hymn to Brahmanaspati that is chanted at the start of every Ganesha worship. The Upanishad quotes it as its proof text.
anāthanātha the master of those who have none — Anatha is one with nobody to look after him. The god names himself their master.
ṣaṭpada six-footed — The mantra has six pieces: rayasposhasya data, nidhidata, annado matah, rakshohanah, balagahanah, and vakratundaya hum. Each is set against one world, from the earth to Brahman.
vakratuṇḍāya hum vakratundaya hum — The last and shortest piece, the six-syllable mantra that is recited on its own in several other hymns.
note Each foot of the mantra is a rung: whoever knows it rules the world that foot stands for, from the earth up to Brahman.
- ṛgyajuḥsāmātharvāḥthe Rig, Yajus, Saman and Atharva
- catvāraḥfour
- pādāḥfeet
- bhavantiare
- rāyaspoṣasya dātā carayasposhasya data ca, the giver of the growth of wealth
- itiso
- prathamaḥthe first
- pādaḥfoot
- bhavatiis
- ṛkthe Rig
- vaiindeed
- nidhidātā'nnado mataḥnidhidata annado matah, the giver of treasure, held to be the giver of food
- dvitīyaḥthe second
- yajuḥthe Yajus
- rakṣohaṇo vo balagahanaḥrakshohano vo balagahana, the slayer of rakshasas, deep in strength
- tṛtīyaḥthe third
- sāmathe Saman
- vakratuṇḍāya humvakratundaya hum
- caturthaḥthe fourth
- atharvaḥthe Atharva
anvaya ṛgyajuḥsāmātharvāḥ catvāraḥ pādāḥ bhavanti rāyaspoṣasya dātā ca iti prathamaḥ pādaḥ bhavati ṛk vai [prathamaḥ] [pādaḥ] nidhidātā'nnado mataḥ [iti] dvitīyaḥ [pādaḥ] yajuḥ [vai] [dvitīyaḥ] [pādaḥ] rakṣohaṇo vo balagahanaḥ [iti] tṛtīyaḥ [pādaḥ] sāma [vai] [tṛtīyaḥ] [pādaḥ] vakratuṇḍāya hum [iti] caturthaḥ [pādaḥ] atharvaḥ [caturthaḥ] [pādaḥ] [atharvaḥ] [caturthaḥ] [pādaḥ] [iti]
chandas Prose
note Here the same mantra is counted in four quarters instead of six, one to each Veda. The last line is said twice, which is how an Upanishad marks the end of a section.
- itihere ends
- gaṇeśapūrvatāpinyupaniṣatsuof the Ganesha Purva Tapini Upanishads
- prathamāthe first
- upaniṣatUpanishad
anvaya iti gaṇeśapūrvatāpinyupaniṣatsu prathamā upaniṣat
chandas Prose, the colophon
- dvitīyāthe second
- upaniṣatUpanishad
anvaya dvitīyā upaniṣat
chandas Prose, a heading
virāṭ svarāṭ samrāṭ the Virat, the Svarat and the Samrat — Three old titles of sovereignty: the one who shines out, the one who rules himself, and the one who rules all. Here they name the whole world as the first foot.
note A second mapping of the six feet, this time onto fire, sun, moon, Brahma, Vishnu and Shiva. The rule about who may receive it is the usual restriction on a secret mantra.
unnataprapadāṅguṣṭhaṃ gūḍhagulphaṃ sapārṣṇikam | pīnajaṅghaṃ gūḍhajānuṃ sthūloruṃ pronnamatkaṭim ||
nimnanābhiṃ kaṃbukaṇṭhaṃ laṃboṣṭhaṃ laṃbanāsikam | siddhibuddhyubhayāśliṣṭaṃ prasannavadanāṃbujam ||
iti saṃsargaḥ || 2 ||
ṣaḍaṅga the six limbs — The six placings on heart, head, crown, body, eyes and hands, each with its own closing syllable. The six pieces of the mantra are laid on them one to one.
hrasva dīrgha pluta short, long or drawn out — The three lengths a vowel can be given in recitation. The Upanishad lets each length bring a different gift.
vaināyakī māyā the Maya of Vinayaka — The power that makes, keeps and ends the world is named here as his own, the same role the goddess plays in Shakta texts.
note The verse beginning sa īṃ pāhi is obscure in this printing and the rendering of it is tentative.
sarveṣāṃ vā etadbhūtānāmākāśaḥ parāyaṇam | sarvāṇi ha vā imāni bhūtānyākāśādeva jāyante jātāni jīvantyākāśaṃ prayantyabhisaṃviśanti | tasmādākāśabījaṃ śivo vidyāt | tadetannidarśanam ; haṃsaḥ śuciṣadvasurantarikṣasaddhotā vediṣadatithirduroṇasat | nṛṣadvarasadṛtasadvyomasadabjā gojā ṛtajā adrijā ṛtaṃ bṛhaditi || 3 ||
haṃsaḥ śuciṣat the swan that sits in the light — A Rigveda verse also quoted in the Katha Upanishad, naming the one self in everything it lives in. Hamsa is both a swan and the breath going out and in.
prakṛtipuruṣa nature and person — The two principles of Samkhya. Here nature is identified with Uma as Maya and person with Shiva, and Ganesha is the two together.
adhiṣṭhāna the seat — The yantra, the drawn diagram in which the deity and his attendants are placed for worship, ring by ring from the centre out.
ṛtugaṇa vasudala the six corners, the eight petals — Numbers are named by things there are that many of: the seasons are six, so ritu means six; the Vasus are eight, so vasu means eight.
prasāra the spreading out — The uses the mantra is put to once it is established. Like other tantric texts, the Upanishad lists the kinds of rite and the offering for each, and does not describe the rites themselves.
caturthī the fourth day — The fourth day of each fortnight, which is Ganesha's day.
note The passage is given here as the text states it. It belongs to the old tantric list of the six acts, which a number of Ganesha texts name.
- itihere ends
- gaṇeśapūrvatāpinyupaniṣatsuof the Ganesha Purva Tapini Upanishads
- dvitīyāthe second
- upaniṣatUpanishad
anvaya iti gaṇeśapūrvatāpinyupaniṣatsu dvitīyā upaniṣat
chandas Prose, the colophon
- tṛtīyāthe third
- upaniṣatUpanishad
anvaya tṛtīyā upaniṣat
chandas Prose, a heading
tāra māyā ramā māra Tara, Maya, Rama, Mara — Code names for seed syllables: tara is Om, maya is hrim, rama is shrim and mara, the syllable of desire, is klim.
ṣoḍaśakala of sixteen parts — The Prashna Upanishad speaks of the Person as having sixteen parts, as the moon has sixteen digits. The sixteen petals stand for them.
note The third section explains how the diagram of the second is drawn, each ring standing for a set of things in the world.
- saḥhe
- haindeed
- uvācasaid
- bhṛguputraḥBhrigu's son
- etamthis
- ānuṣṭubhamAnushtubh
- mantrarājamking of mantras
- sāṅgamwith its limbs
- saprasṛtikamwith its spreading out
- samāyamwith its Maya
- sādhiṣṭhānamwith its seat
- satantramwith its tantra
- yaḥwhoever
- jānātiknows
- bhūtimānprosperous
- bhavatibecomes
- amṛtatvamthe deathless
- caand
- gacchatireaches
- itiso
anvaya saḥ bhṛguputraḥ ha uvāca yaḥ etam sāṅgam saprasṛtikam samāyam sādhiṣṭhānam satantram ānuṣṭubham mantrarājam jānāti [saḥ] bhūtimān bhavati [saḥ] amṛtatvam ca gacchati [saḥ] [amṛtatvam] [ca] [gacchati] iti
chandas Prose
note The five things named are the five sections of the teaching in order. The last clause is said twice to close the Upanishad.
- itihere ends
- gaṇeśapūrvatāpinyupaniṣatsuof the Ganesha Purva Tapini Upanishads
- tṛtīyāthe third
- upaniṣatUpanishad
anvaya iti gaṇeśapūrvatāpinyupaniṣatsu tṛtīyā upaniṣat
chandas Prose, the colophon
