The Illustrated Encyclopedia of Hindusim vol 2
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Shvetashvatara Upanishad<br />
Shumbha and Nishumbha are able to<br />
conquer the gods and assume control <strong>of</strong><br />
heaven, but they are unable to resist the<br />
power <strong>of</strong> the Goddess.<br />
Shurpanakha<br />
([having] “nails [like] winnowing-fans”)<br />
In the Ramayana, the earlier <strong>of</strong> the two<br />
great Indian epics, Shurpanakha is the<br />
sister <strong>of</strong> Ravana, the demon-king <strong>of</strong><br />
Lanka. Although she is a minor character<br />
in the epic, she plays a pivotal role in<br />
advancing the action <strong>of</strong> the story. As<br />
Ravana’s sister, Shurpanakha is a demon<br />
woman <strong>of</strong> high status, and is free to<br />
choose her own husband according to<br />
her inclinations. As she roams through<br />
the forest one day, she happens to see<br />
Rama, the epic’s protagonist, and is<br />
immediately smitten by his handsome<br />
form. Assuming the shape <strong>of</strong> a beautiful<br />
woman, she approaches him and<br />
expresses her desire for him. Rama tells<br />
her that since he is already married, his<br />
brother Lakshmana will be a more<br />
appropriate match for her. When<br />
Lakshmana gives her reasons why he<br />
too cannot marry her, Shurpanakha<br />
becomes angry. Realizing that Rama’s<br />
wife Sita is the real impediment to her<br />
desires, Shurpanakha tries to harm her,<br />
and in the struggle that follows,<br />
Lakshmana mutilates her by cutting <strong>of</strong>f<br />
her ears and her nose. Shrieking with<br />
pain and humiliation, Shurpanakha<br />
returns to her brother Ravana’s court,<br />
who swears that her insult will be<br />
avenged. After their brothers Khara and<br />
Dushana are killed in a direct attack on<br />
Rama, Ravana decides to get revenge by<br />
kidnapping Sita, an action that eventually<br />
causes his own death.<br />
Shvetaketu<br />
A character in the Chandogya Upanishad,<br />
one <strong>of</strong> the speculative texts that<br />
form the latest stratum <strong>of</strong> the Vedas.<br />
In the upanishad, Shvetaketu is the<br />
son <strong>of</strong> Uddalaka Aruni, and a paradigm<br />
for a seeker <strong>of</strong> knowledge.<br />
Shvetaketu’s education also symbolizes<br />
the conception <strong>of</strong> true knowledge found<br />
in the Upanishads and the way that this<br />
differs from earlier conceptions.<br />
According to a story in the upanishad’s<br />
sixth chapter, Shvetaketu is sent away by<br />
his father to study the Vedas, and when<br />
he returns twelve years later having<br />
mastered all the Vedas, he incorrectly<br />
considers himself learned. Shvetaketu’s<br />
father punctures his arrogance, showing<br />
him the difference between memorization<br />
and true knowledge, by asking<br />
Shvetaketu questions about the nature<br />
<strong>of</strong> the cosmos. When Shvetaketu cannot<br />
answer these, he admits his ignorance<br />
and accepts instruction from his father<br />
on the nature <strong>of</strong> the Self (atman). This<br />
instruction contains the teaching “That<br />
thou art” (tat tvam asi). This is one <strong>of</strong><br />
the “great statements” (mahavakya) in<br />
Indian philosophy, and asserts the<br />
ultimate nondifference between Brahman<br />
and atman, the cosmos and the individual<br />
Self.<br />
Shvetashvatara Upanishad<br />
A text generally regarded as one <strong>of</strong> the<br />
latest upanishads, the speculative religious<br />
texts that themselves form the<br />
most recent stratum <strong>of</strong> the Vedas. This<br />
judgment is based on both the Shvetashvatara<br />
Upanishad’s form and on its<br />
content. Stylistically, the earliest upanishads<br />
tend to be written in prose, or<br />
prose mixed with verse, whereas the<br />
later upanishads, including the Shvetashvatara,<br />
are completely in verse. In<br />
terms <strong>of</strong> content, the earlier upanishads<br />
tend to be long and rambling, whereas<br />
in the later ones the ideas are far more<br />
concise and clearly developed. <strong>The</strong><br />
Shvetashvatara Upanishad’s most original<br />
idea is its description <strong>of</strong> the<br />
Supreme Being in completely theistic<br />
terms, in contrast to the abstract,<br />
impersonal representations in the earlier<br />
upanishads. It identifies Ultimate<br />
Reality as the god Rudra, who was later<br />
identified with the god Shiva, one <strong>of</strong> the<br />
most important modern Hindu deities.<br />
<strong>The</strong> text is also notable for an explicit<br />
description <strong>of</strong> the process and results <strong>of</strong><br />
649