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The Vedanta-Sutras with the Commentary by Sankaracarya - Sacred Books of the East, Volume 1 by Unknown
page 39 of 653 (05%)
remarks, to come in at this place owing to the preceding adhikara/n/a;
for if it could not be proved that one of the two is the highest Self, a
doubt would attach to the explanation given above of the 'eater' since
the 'two entered into the cave,' and the 'eater' stand under the same
prakara/n/a, and must therefore be held to refer to the same
matter.--The fourth adhikara/n/a is again occupied with a Chândogya
passage.--The fifth adhikara/n/a, whose topic is the Ruler within
(antaryâmin), manifestly owes its place, as remarked by Râmânuja also,
to the fact that the Vedic passage treated had been employed in the
preceding adhikara/n/a (I, 2, 14) for the purpose of strengthening the
argument [11].--The sixth adhikara/n/a, again, which discusses 'that
which is not seen' (adre/s/ya; Mu/nd/. Up. I, 1, 6), is clearly
introduced in this place because in the preceding adhikara/n/a it had
been said that ad/ri/sh/t/a, &c. denote the highest Self;--The reasons
to which the last adhikara/n/a of the second pâda and the first and
third adhikara/n/as of the third pâda owe their places are not apparent
(the second adhikara/n/a of the third pâda treats of a Chândogya
passage). The introduction, on the other hand, of the passage from the
Pra/s/na Upanishad treating of the akshara. O/m/kâra is clearly due to
the circumstance that an akshara, of a different nature, had been
discussed in the preceding adhikara/n/a.--The fifth and sixth
adhikara/n/as investigate Chândogya passages.--The two next Sûtras (22,
23) are, as remarked above, considered by /S/a@nkara to constitute a new
adhikara/n/a treating of the 'being after which everything shines'
(Mu/nd/. Up. II, 2, 10); while Râmânuja looks on them as continuing the
sixth adhikara/n/a. There is one circumstance which renders it at any
rate probable that Râmânuja, and not /S/a@nkara, here hits the intention
of the author of the Sûtras. The general rule in the first three pâdas
is that, wherever a new Vedic passage is meant to be introduced, the
subject of the discussion, i.e. that being which in the end is declared
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