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The Bhagavad Gita — Sanskrit Overview

The Bhagavad Gita as a Sanskrit text — its setting in the Mahabharata, its eighteen chapters, its yogic teachings, and its literary form.

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The Bhagavad Gītā (भगवद्गीता, "the Song of the Blessed One") is a Sanskrit poem of seven hundred verses embedded in the Bhīṣma Parva of the Mahābhārata. It is at once a dialogue, a philosophical treatise, and a devotional hymn and it has become perhaps the most widely read text of Indian philosophy in the modern world.

Setting

On the eve of the battle of Kurukṣetra, the warrior Arjuna asks his charioteer Kṛṣṇa to drive his chariot into the middle of the battlefield. Seeing his cousins, teachers, and kinsmen arrayed on both sides, ready to kill and die, Arjuna is overcome by grief and refuses to fight. Kṛṣṇa revealed in the course of the dialogue to be an incarnation of the Supreme responds, and his teachings make up the Gītā.

The Gītā is therefore a battlefield conversation, but its concerns range far beyond war. It addresses the fundamental questions of how to act in the world, what the self is, what the relation of the human to the divine might be, and how one finds liberation from sorrow.

Structure

The Gītā has eighteen chapters (adhyāya), traditionally grouped into three sets of six. Each chapter is titled by the form of it discusses:

  1. Arjuna-viṣāda-yoga Arjuna's despondency
  2. Sāṃkhya-yoga the of knowledge
  3. Karma-yoga the of action
  4. Jñāna-karma-sannyāsa-yoga renunciation through knowledge of action
  5. Sannyāsa-yoga renunciation
  6. Dhyāna-yoga meditation
  7. Jñāna-vijñāna-yoga knowledge and discernment
  8. Akṣara-brahma-yoga the imperishable Brahman
  9. Rāja-vidyā-rāja-guhya-yoga the royal knowledge, the royal secret
  10. Vibhūti-yoga divine manifestations
  11. Viśva-rūpa-darśana-yoga vision of the cosmic form
  12. Bhakti-yoga devotion
  13. Kṣetra-kṣetrajña-vibhāga-yoga the field and the knower of the field
  14. Guṇa-traya-vibhāga-yoga the three guṇas
  15. Puruṣottama-yoga the supreme person
  16. Daivāsura-sampad-vibhāga-yoga divine and demonic natures
  17. Śraddhā-traya-vibhāga-yoga the three kinds of faith
  18. Mokṣa-sannyāsa-yoga liberation and renunciation

Form and Metre

Almost the entire Gītā is composed in the anuṣṭubh metre (eight syllables per quarter, four quarters per verse), with occasional shifts to longer metres at moments of intensity notably the cosmic vision of Chapter 11, where Kṛṣṇa reveals his universal form in the elevated triṣṭubh metre. The simplicity of the basic metre allows the verses to be memorised and chanted, a fact that has contributed enormously to the Gītā's reach.

Three Paths

The Gītā famously presents three integrated paths to spiritual realisation:

  • Karma-yoga the of action, in which one performs one's duty without attachment to its fruits
  • Jñāna-yoga the of knowledge, in which one realises the true nature of the self
  • Bhakti-yoga the of devotion, in which one surrenders to the divine in love

These three are not competing but mutually informing. The Gītā's distinctive contribution is to insist that selfless action in the world is itself a path to liberation that renunciation is internal, not external.

Famous Verses

Many verses have become widely quoted in their own right:

  • Karmaṇy evādhikāras te mā phaleṣu kadācana (2.47) "Your right is to action alone, never to its fruits."
  • Yadā yadā hi dharmasya glānir bhavati bhārata (4.7) "Whenever there is decline of , O Bhārata, I manifest myself."
  • Sarva-dharmān parityajya mām ekaṃ śaraṇaṃ vraja (18.66) "Abandoning all dharmas, take refuge in me alone."

Reception

The Gītā has been commented on by every major school of Vedānta Śaṅkara's Advaita, Rāmānuja's Viśiṣṭādvaita, Madhva's Dvaita, and many others. In modern times, it has shaped figures as diverse as Bal Gangadhar Tilak, Mahatma Gandhi, Sri Aurobindo, and Vinoba Bhave, and it has been translated into nearly every world language. Its compactness, its dialogical openness, and its synthesis of action, knowledge, and devotion explain its singular place in Sanskrit literature.

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