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Induismo · Advaita Vedanta · Tradizione vedica

Ashtavakra

अष्टावक्र

Figura leggendaria

Saggio della tradizione sanscrita il cui nome significa «storto in otto parti». Il Mahābhārata racconta che, maledetto dal padre prima di nascere, sconfisse ancora bambino il polemista Bandin alla corte del re Janaka e riscattò il padre dalle acque. La tradizione gli attribuisce l'Aṣṭāvakra Gītā, dialogo con Janaka in venti capitoli e uno dei testi più radicali della non dualità, di autore e data ignoti (fra l'VIII e il XIV secolo, secondo Brockington).

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Aṣṭāvakra, acuarela de principios del siglo XIX

Aṣṭāvakra, acuarela de principios del siglo XIX · Public domain

Con le sue parole

«You are not earth, nor water, nor fire, nor air, nor space. For liberation, know yourself as the witness of all these, whose form is consciousness.»

Aṣṭāvakra Gītā 1.3 (texto sánscrito de Wikisource); versiones española e inglesa del investigador

La sua idea centrale

The witness (sākṣin): This is the central notion of the Aṣṭāvakra Gītā.

Biografia

5 min di lettura

Traduzione assistita dall'originale spagnolo, in attesa di revisione da parte di un traduttore madrelingua.

Un nome che è una ferita

Aṣṭāvakra significa «colui che è storto in otto parti». Pochi saggi dell'India antica portano nel nome una deformità, e nessuno la trasforma con tanta efficacia in argomento: tutta la tradizione che ruota intorno a lui ripete che il corpo non è la misura del saggio, che l'età non è la misura del sapere e che il sé non è la figura che si vede. Occorre però separare fin dall'inizio due piani che la devozione tende a confondere. Da una parte c'è il personaggio dell'epica sanscrita, il cui racconto più completo si conserva nel Mahābhārata; dall'altra il poema filosofico che circola con il suo nome, l'Aṣṭāvakra Gītā o Aṣṭāvakra Saṃhitā, testo di autore ignoto che nessun passo antico collega a quel personaggio. Nessuna data, nessun luogo, nessuna testimonianza consente di trattare Aṣṭāvakra come figura storica: è una figura della tradizione.

Il bambino che corresse il padre

Il racconto canonico occupa tre capitoli dell'Āraṇyakaparvan (3.132–134 nell'edizione critica), dove il saggio Lomaśa lo narra a Yudhiṣṭhira durante il pellegrinaggio dei Pāṇḍava. Kahoḍa, discepolo del maestro vedico Uddālaka, sposa Sujātā, figlia del suo maestro. Quando lei è incinta, il bambino parla dal ventre materno e rimprovera al padre di recitare tutta la notte senza recitare correttamente. Umiliato davanti ai suoi allievi, Kahoḍa lo maledice: nascerà storto in otto parti. Poco dopo, spinto dalla povertà, Kahoḍa si reca alla corte del re Janaka di Videha in cerca di ricchezze; lì viene sconfitto in una disputa dal polemista Bandin (o Vandin) e, secondo la regola della gara, gettato in acqua. Uddālaka ordina che il bambino non lo sappia, e Aṣṭāvakra cresce credendo che il nonno sia suo padre e che Śvetaketu, lo zio suo coetaneo, sia suo fratello.

Il torneo dei numeri

A dodici anni, quando Śvetaketu lo allontana dal grembo di Uddālaka con la frase «non è il grembo di tuo padre», Aṣṭāvakra scopre la verità e parte con lo zio verso il sacrificio di Janaka. Il guardiano gli sbarra il passo perché entrano soltanto brahmani anziani e dotti, e il fanciullo risponde con una sentenza che il poema renderà celebre: non è vecchio colui al quale incanutisce il capo, ma colui che conosce, e i saggi non hanno fondato il merito sugli anni, sui capelli bianchi, sulla ricchezza o sui parenti. Davanti al re sfida Bandin. Il duello è un brano singolare della letteratura sanscrita: ciascun contendente deve comporre all'istante versi sui numeri dall'uno al tredici, e quando Bandin riesce a dire soltanto la prima metà della strofa del tredici, Aṣṭāvakra la completa e vince. Lo sconfitto rivela allora di essere figlio del dio Varuṇa e di aver inviato i brahmani annegati a un sacrificio di dodici anni in fondo alle acque; li restituisce, Kahoḍa fra loro, e il padre ordina al figlio di bagnarsi nel fiume Samaṅgā, da cui esce con le membra raddrizzate.

Altre tracce nell'epica e nei Purāṇa

Il nome ricompare altrove. Il Rāmāyaṇa di Vālmīki lo usa come emblema del figlio che riscatta il padre: nel libro della guerra (6.119.17 nella numerazione della vulgata), il defunto Daśaratha dice a Rāma di essere stato salvato da lui come il brahmano Kahoḍa lo fu da Aṣṭāvakra. L'Anuśāsanaparvan del Mahābhārata (sezioni 19–21 nella traduzione di Ganguli) narra un'altra prova: per ottenere la mano di Suprabhā, figlia del saggio Vadānya, Aṣṭāvakra viaggia verso il Nord e resiste alla seduzione di un'anziana che si rivela la divinità di quella regione, Diś. Il Viṣṇu Purāṇa (5.38) gli attribuisce invece un gesto d'ira: alcune apsaras che lo stavano lodando risero vedendolo uscire dall'acqua, deforme, ed egli le maledisse a cadere nelle mani dei briganti, il che spiega, secondo Vyāsa, il rapimento delle spose di Kṛṣṇa dopo la morte del dio.

Un poema senza data

L'Aṣṭāvakra Gītā è un'altra cosa. Sono circa trecento versi in venti capitoli che assumono la forma di un dialogo fra Janaka e Aṣṭāvakra, anche se il dialogo si dissolve presto in una dichiarazione quasi ininterrotta di identità con la coscienza. Né il testo né l'epica stabiliscono il legame fra il bambino della gara e il maestro del poema; lo stabilisce la tradizione, attraverso il nome e la figura di Janaka. Le datazioni proposte divergono enormemente. Radhakamal Mukerjee, in uno studio uscito postumo nel 1971, la collocava intorno ai secoli V–IV a.C.; J. L. Brockington, nella prefazione alla traduzione di Thomas Byrom (1990), la considera opera di un advaitin posteriore a Śaṅkara, dell'VIII o del XIV secolo, in un momento di rinnovamento della sua scuola. L'edizione critica di Richard Hauschild (Berlino, 1967) resta lo studio filologico di riferimento.

Che cosa dice il testo

Il poema si apre con tre domande del re: come si raggiunge la conoscenza, come la liberazione, come il distacco. La risposta è brusca: non sei terra, acqua, fuoco, aria né spazio, ma il testimone cosciente di tutto ciò; se ti separi dal corpo e riposi nella coscienza, sarai felice e libero fin da ora. Il testo non prescrive riti, doveri di casta né stadi della vita, e giunge ad affermare che la schiavitù consiste proprio nel continuare a praticare la concentrazione per raggiungere ciò che già si è. La sua celebre sentenza, «chi si ritiene libero è libero, chi si ritiene legato è legato: come si pensa, così si diventa», condensa un insegnamento che esclude ogni gradualità. Il capitolo XVIII, il più lungo, descrive il liberato in vita, indifferente al successo e all'insuccesso, che agisce senza sentirsi autore dell'azione.

Lettori moderni

L'opera giunse ai lettori europei nell'Ottocento: l'italiano Silvio Pagani ricordava nel 1912 la traduzione in prosa di Carlo Giussani pubblicata sulla Rivista Orientale di Angelo De Gubernatis nel 1867–1868, che egli volse in versi; nel 1904 Lala Baij Nath pubblicò la prima versione inglese conosciuta. Nell'India moderna divenne un libro di capezzale del movimento vedantico: Vivekananda citava il suo verso sulla libertà per dire che tutto dipende dall'opinione che si ha di sé, e Ramana Maharshi rievocava davanti ai visitatori la storia di Aṣṭāvakra e Janaka e ricopiò a mano il testo sanscrito del poema, che Sri Ramanasramam ha riprodotto in facsimile insieme alla traduzione di Swami Nityaswarupananda (1940). Osho le dedicò in hindi una lunga serie di discorsi pubblicata come Ashtavakra Mahageeta, e le versioni di Thomas Byrom (1990) e di John Richards, che rese la sua di pubblico dominio nel 1994, ne hanno fatto uno dei testi più letti della non dualità contemporanea.

Fonti: Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407. · Mahābhārata, Anuśāsanaparvan, secciones XIX–XXI de la traducción de Kisari Mohan Ganguli (The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Anusasana Parva», Calcuta, Pratap Chandra Roy, 1883–1896): diálogo de Aṣṭāvakra con la dama Diś. · Wilson, Horace Hayman (trad.). The Vishnu Purana: A System of Hindu Mythology and Tradition. Londres: Oriental Translation Fund / John Murray, 1840, libro V, cap. XXXVIII, pp. 617–618. · Byrom, Thomas (trad.). The Heart of Awareness: A Translation of the Ashtavakra Gita. Prólogo de J. L. Brockington. Boston y Londres: Shambhala, 1990. ISBN 9780877735748. · Hauschild, Richard (ed. y trad.). Die Aṣṭāvakra-Gītā. Berlín: Akademie-Verlag, 1967 (reimpresión De Gruyter, ISBN 9783112742679).

Cronologia

La vita, anno per anno

Ogni punto è un evento documentato. Fai clic per leggerlo, con la sua fonte e il suo grado di certezza.

  1. ca. 300 a.C.

    The story in the Āraṇyakaparvan

    The Mahābhārata, composed and expanded over several centuries around the turn of the era, includes in its forest book (3.132–134) the story of Aṣṭāvakra, Kahoḍa and Bandin. The date is only an order of magnitude: the epic does not allow individual episodes to be dated.

    Probabile

  2. VIII secolo

    Composition of the Aṣṭāvakra Gītā (hypothesis)

    J. L. Brockington ascribes the poem to a follower of Śaṅkara in the eighth or the fourteenth century. Other authors propose much earlier dates (Mukerjee: fifth to fourth centuries BCE); there is no consensus.

    Discusso

  3. 1840

    Wilson translates the Viṣṇu Purāṇa

    Horace Hayman Wilson publishes in London his translation of the Viṣṇu Purāṇa, which includes (5.38) Aṣṭāvakra's curse on the apsarases who laughed at his body.

    Documentato

  4. ca. 1867

    First Italian translation

    Carlo Giussani publishes a prose translation of the Aṣṭāvakra Gītā in Angelo De Gubernatis's Rivista Orientale (Milan, 1867–1868), as Silvio Pagani recalled in 1912.

    Documentato

  5. 1884

    Ganguli translates the forest book

    Kisari Mohan Ganguli publishes in Calcutta the English translation of the Vana Parva, with the full story of the contest of numbers.

    Documentato

  6. 1904

    First English translation of the poem

    Lala Baij Nath publishes The Ashtavakra Gita: A Treatise on Adwaita Philosophy, with notes and an introduction.

    Documentato

  7. 1912

    Pagani's verse version

    Silvio Pagani publishes in Milan (Sonzogno) an Italian version in hendecasyllables based on Giussani's prose.

    Documentato

  8. 6 febbraio 1937

    Ramana Maharshi comments on the story of Aṣṭāvakra and Janaka

    In talk 350 Ramana explains to a devotee that the point of the story of Aṣṭāvakra and Janaka is the disciple's complete surrender, and warns that "the anecdotes differ in different books".

    Documentato

  9. 1940

    Nityaswarupananda's translation

    Advaita Ashrama publishes Swami Nityaswarupananda's Aṣṭāvakra Saṃhitā, with word-by-word translation and commentary; it would become the reference version of the Ramakrishna movement.

    Documentato

  10. 1967

    Hauschild's critical edition

    Richard Hauschild publishes in Berlin the edition and German translation Die Aṣṭāvakra-Gītā.

    Documentato

  11. 1990

    The Heart of Awareness

    Shambhala publishes Thomas Byrom's free rendering with a foreword by J. L. Brockington, one of the most widely read in the West.

    Documentato

Opere

Opere essenziali

Le opere senza le quali non si comprende la sua eredità.

Aṣṭāvakra Gītā (The Song of Aṣṭāvakra) — Ashtavakra

Attribuzione tradizionale ·

Aṣṭāvakra Gītā (The Song of Aṣṭāvakra)

अष्टावक्रगीता (Aṣṭāvakragītā), también अष्टावक्रसंहिता (Aṣṭāvakrasaṃhitā)

A Sanskrit poem of some three hundred verses in twenty chapters, cast as a dialogue between King Janaka of Mithilā and Aṣṭāvakra. After the king's opening questions on knowledge, liberation and dispassion, the teacher asserts that the self is the conscious witness, formless and actionless, and that bondage is merely a mistaken identification with body and mind. Janaka answers with songs of wonder at his own nature, and the text culminates in a long chapter (XVIII) on the one liberated while living. It dispenses with rites, duties and stages of life, and even regards the practice of concentration itself as bondage.

16 edizioni

Attribuzione tradizionale

The number debate with Bandin (Mahābhārata 3.132–134)

अष्टावक्रीय (Aṣṭāvakrīya), Mahābhārata 3.132–134

Aṣṭāvakra's answers to the gatekeeper, to King Janaka and to the disputant Bandin. They include the maxim on true old age, which lies in knowledge and not in grey hair, and the tournament of improvised stanzas on the numbers from one to thirteen, in which each figure evokes ritual, cosmological and philosophical groups (two friends, Indra and Agni; twelve months of the year; thirteen metres). Commentators read in it a controversy between doctrines about the unity of the Self.

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2 edizioni

Citazioni

Citazioni localizzate in un'opera precisa. Ciascuna porta con sé la sua provenienza e il suo grado di affidabilità.

You are not earth, nor water, nor fire, nor air, nor space. For liberation, know yourself as the witness of all these, whose form is consciousness.

न पृथ्वी न जलं नाग्निर्न वायुर्द्यौर्न वा भवान्। एषां साक्षिणमात्मानं चिद्रूपं विद्धि मुक्तये॥

VerificataAṣṭāvakra Gītā 1.3 (texto sánscrito de Wikisource); versiones española e inglesa del investigador

1 / 6

Ultime parole

Non esistono testimonianze verificabili delle sue ultime parole.

There is no record of his death or of his last words. The epic and Purāṇic texts present him in isolated episodes (his birth, the contest, his marriage, the curse on the apsarases) and none narrates his end.

Chiedi

Ciò a cui risponde la sua opera

Dodici grandi domande dell'umanità e ciò che i suoi testi permettono di rispondere, con riferimenti. Non gli mettiamo mai parole in bocca.

  • Che cos'è l'Assoluto? Dio esiste?

    The Absolute is the witnessing consciousness, one, full and actionless

    Un Assoluto impersonaleLo dice espressamente

    The Aṣṭāvakra Gītā does not speak of a God to be addressed but of a consciousness that the disciple already is. In the first chapter the teacher describes the Self as witness, all-pervading, full, one, free, pure consciousness and actionless (1.12), and compares it to space, which is at once inside and outside a jar: so the eternal brahman is in the multitude of beings (1.20). The whole world appears in it like the snake in the rope (1.10) or the waves in the ocean (2.4), adding nothing to it and taking nothing away. The text does not expressly deny a personal God, but grants him no role: the ultimate is not someone who creates or judges, but the conscious ground of all experience, identical with the one who asks.

    Confronta questa domanda con altri maestri
  • Chi sono io? Esiste un vero sé?

    You are not the elements: you are the witness, whose form is consciousness

    Il Sé è l'AssolutoLo dice espressamente

    The Aṣṭāvakra Gītā answers the question from its third verse: the disciple is not earth, water, fire, air or space, but the witness of them all, whose form is consciousness (1.3). That witness belongs to no caste or stage of life, neither acts nor enjoys (1.5–1.6), and is one with the brahman that is in all beings as space is in jars (1.20). Bondage consists in seeing the seer as if it were another, that is, in taking oneself for an object (1.7). That is why the poem does not propose building a higher self, but recognising what one already is: whoever considers himself free is free, and whoever considers himself bound is bound (1.11).

    Confronta questa domanda con altri maestri
  • Perché soffriamo?

    The bite of the serpent of ego: believing oneself the doer

    L'ignoranza di ciò che siamoLo dice espressamente

    The Aṣṭāvakra Gītā places the root of suffering in a mistaken identification. The disciple, says the teacher, has been bitten by the great black serpent of the pride of thinking «I am the doer», and the antidote is to drink the nectar of the conviction «I am not the doer» (1.8). Bondage consists in taking the seer for another, that is, for an object (1.7), and in identifying for a long time with the body (1.14). Desire, aversion, pleasure and pain belong to the mind, not to the Self; whoever separates from the body and rests in consciousness is happy and serene right now (1.4). Suffering is neither punishment nor trial: it is the price of not knowing what one is.

    Confronta questa domanda con altri maestri
  • Che cosa accade dopo la morte?

    The witness is neither born nor dies; the sage neither craves life nor fears death

    Ciò che sono non nasce e non muoreLo dice espressamente

    The Aṣṭāvakra Gītā does not describe what happens after death, because for it death affects something the disciple is not. From the first chapter it asks him to recognise himself as the witness of the elements (1.3) and to stop identifying with the body, the rope by which he has long been bound (1.14). Body and world arise and dissolve in consciousness like waves in the ocean (2.4); consciousness neither comes nor goes. Chapter XVIII, devoted to one liberated in life, describes someone who neither desires life nor fears death, indifferent to pleasure and pain. The text neither discusses rebirth nor expressly denies it: it simply leaves it on the side of what is not the Self.

    Confronta questa domanda con altri maestri
  • Come si raggiunge la liberazione o la salvezza?

    You are already free: your bondage is that you keep practising concentration

    Con la conoscenza direttaLo dice espressamente

    The Aṣṭāvakra Gītā understands liberation as recognition, not achievement. The teacher asks Janaka to burn the forest of ignorance with the fire of the conviction «I am the one pure consciousness» (1.9), and assures him that if he rests in consciousness, separating from the body, he will be free right now (1.4). The most radical feature of the poem is its distrust of discipline: Janaka is already free, actionless and luminous, and his bondage consists precisely in continuing to practise concentration (1.15). Hence the text states that a disciple of pure mind reaches his goal through a mere instruction, while the other seeks all his life (15.1). In chapter II Janaka does indeed awaken at the first dialogue.

    Confronta questa domanda con altri maestri
  • Serve un maestro?

    One instruction suffices for the ripe disciple; in the end there is no teacher or disciple

    Utile ma non indispensabileSi deduce dalla sua dottrina

    The Aṣṭāvakra Gītā is a dialogue between teacher and disciple, and its very form grants a role to the sage's word: Janaka asks, Aṣṭāvakra answers, and in the second chapter the king declares that he has awakened. The text explains why: the disciple of pure mind reaches his goal through a mere instruction, while the other goes on seeking all his life (15.1). But the instruction conveys nothing the disciple does not already have; it only points to what he already is. Hence the poem distrusts learning (16.1) and, in its last chapter, lists among the things that no longer exist for the liberated one the scriptures, knowledge and the distinction between the one who teaches and the one who learns. The teacher is an occasion, not a condition.

    Confronta questa domanda con altri maestri
  • Il mondo è reale?

    The world appears through not knowing the Self, like the snake in the rope

    Apparenza sull'unica realtàLo dice espressamente

    The Aṣṭāvakra Gītā treats the world as a superimposition on consciousness. It appears through not knowing the Self and ceases to appear when the Self is known, as the snake appears through not recognising the rope and vanishes once it is recognised (2.7). The poem also uses other classical Vedānta images: the silver seen in mother-of-pearl, the water of a mirage (2.9). But alongside them it offers a more conciliatory one: as waves, foam and bubbles are not different from water, the universe that has arisen from the Self is not different from it (2.4). The world is unreal as an independent reality and, at the same time, nothing but the Self appearing. That is why the liberated one need not flee it: it is enough not to take it for what it is not.

    Confronta questa domanda con altri maestri
  • Che cos'è l'amore?

    It does not speak of love: it describes the sage free from attachment and aversion

    Non si è pronunciato

    The Aṣṭāvakra Gītā contains no teaching on love. Its vocabulary is that of detachment: desire and aversion belong to the mind, not to the Self (15.5), and the liberated one of chapter XVIII is indifferent to pleasure and pain, praise and blame, with neither affection nor hatred towards anything. It would be a mistake to read coldness there: the text describes someone who has stopped dividing the world into what is his and what is another's, and who acts without feeling himself the doer. But it does not call that state love, nor develop it as compassion towards others. If anything follows from its doctrine, it is that the sage's equanimity arises from seeing himself in all beings and all beings in himself (6.4).

    Confronta questa domanda con altri maestri
  • Siamo liberi o è tutto determinato?

    Drink the nectar of the conviction «I am not the doer» and be happy

    Non c'è un agenteLo dice espressamente

    The Aṣṭāvakra Gītā answers the question by displacing it. The problem is not whether the self chooses freely or is determined, but the very belief in a self that acts: the disciple has been bitten by the great black serpent of the pride of thinking «I am the doer», and the antidote is the nectar of the conviction «I am not the doer» (1.8). The Self is witness, actionless (1.12); merit and demerit, pleasure and pain, belong to the mind (1.6). Chapter XVIII describes the liberated one as someone who does what comes without feeling himself the author, gaining nothing by acting and losing nothing by not acting. The freedom that concerns the poem is not that of the will, but that of not being identified with any agent.

    Confronta questa domanda con altri maestri
  • Perché meditare o pregare?

    Your bondage is precisely that you practise concentration

    La meditazione non è una tecnicaLo dice espressamente

    The Aṣṭāvakra Gītā is one of the texts most critical of meditative practice in all Indian literature. In the first chapter the teacher tells Janaka that he is already free, actionless, self-luminous and stainless, and that his bondage consists precisely in continuing to practise concentration (samādhi) (1.15). The idea recurs throughout the poem: whoever strives to still the mind still presupposes a self that strives and a goal to be reached, and the sage neither meditates nor ceases to meditate. This is not a recommendation of laxity: what the text points out is that what is sought is not a produced state. All it asks is to rest in the consciousness one already is (1.4).

    Confronta questa domanda con altri maestri
  • Può la ragione conoscere l'ultimo?

    Though you read and hear many scriptures, you will find no rest until you forget all

    L'ultimo è al di là della menteLo dice espressamente

    The Aṣṭāvakra Gītā distrusts study as much as practice. In chapter XVI the teacher tells Janaka that he may expound or hear many scriptures, again and again, but that he will not attain rest in himself until he forgets everything (16.1). Reason and learning belong to the mind, and what is sought is that to which the mind appears: the witness, which is not an object of the senses or of thought (1.5). The poem does not despise instruction —it is what awakens Janaka— but it understands it as a pointer that is exhausted once understood. In the last chapter, the liberated one no longer has any scripture or knowledge to defend.

    Confronta questa domanda con altri maestri
  • Ritirarsi dal mondo o trasformarlo?

    King or ascetic, it matters not: the liberated one acts without feeling the author

    Contemplazione nell'azioneLo dice espressamente

    The Aṣṭāvakra Gītā is a dialogue with a king, Janaka, whom tradition considers liberated without leaving his throne, and its answer to the question is consistent with that frame. Chapter XVIII describes the sage liberated in life as someone not distinguished by outward conduct: he may act or not act, live at court or in the forest, because he no longer feels himself the author of what he does. He neither seeks solitude nor flees it: in the fool, the poem observes, even abstention turns into activity, while in the sage activity itself bears the fruit of abstention (18.61). Nor is there in the text any programme for reforming the world: the sage's action happens, but pursues nothing. What changes is not where one lives, but who one believes is living.

    Confronta questa domanda con altri maestri

Aneddoti e racconti

Aneddoti e racconti

Racconto agiograficotiempo legendario

The reproach from the womb

Kahoḍa, Uddālaka's favourite disciple, had married Sujātā, his teacher's daughter, and spent his nights reciting the Vedas before his pupils. One night the son Sujātā was carrying in her womb spoke up: "Father, you have been reading all night, but what comes out of your mouth is not correct; by your favour, even in the womb, I have learned the Vedas and their branches." Wounded in his authority before his disciples, Kahoḍa cursed the child: since he spoke thus before being born, he would be born crooked in eight parts of his body. And so it happened, and the sage was known for ever by that deformity. The episode founds the character's two themes: a knowledge that does not depend on age and a body that does not coincide with what its bearer is.

Origine del racconto: Mahābhārata 3.132 (critical edition), narrated by the sage Lomaśa to Yudhiṣṭhira; English translation by Ganguli (1884), pp. 396–397. H. H. Wilson summarises it in a note to his translation of the Viṣṇu Purāṇa (1840).

Fonte: Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407.

Racconto agiograficotiempo legendario

The boy before Janaka's gatekeeper

At twelve, Aṣṭāvakra comes with his uncle Śvetaketu to King Janaka's great sacrifice. The gatekeeper stops them: by Bandin's order only old and learned brahmins may enter, not boys. Aṣṭāvakra argues with him like a teacher. True growth, he says, is not inferred from the size of the body, just as the age of the śālmali tree is not measured by its knots: the tree that bears fruit is called full-grown, even if it is short and slender. And he adds the maxim that would become famous: a man is not old because his head is grey, but because, though a child in years, he possesses knowledge; the sages did not found merit on years, grey hair, wealth or kinsmen. The disarmed gatekeeper promises to find a way to let him in, and the boy addresses the king directly.

Origine del racconto: Mahābhārata 3.133; Ganguli's translation (1884), pp. 398–399. The maxim on grey hair has parallels in normative Sanskrit literature.

Fonte: Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407.

Racconto agiograficotiempo legendario

The contest of numbers

Before Janaka's assembly, Aṣṭāvakra challenges Bandin, the disputant who had defeated brahmins thrown into the water, his father among them. The contest has a unique form: each must improvise a stanza on a number, rising from one to thirteen. Bandin opens: a single fire blazes in many forms, a single sun lights the world. Aṣṭāvakra answers with two: two friends, Indra and Agni, always go together; the Aśvins are two; husband and wife live as a couple. So they advance, stanza after stanza, through the ritual and cosmic groups of the tradition, until, on reaching thirteen, Bandin manages only the first half of the verse. Aṣṭāvakra completes it, the assembly erupts and the brahmins surround him to honour him. The loser then reveals that he is a son of Varuṇa and that the drowned men had been attending a twelve-year sacrifice at the bottom of the sea; they all return, and Kahoḍa with them.

Origine del racconto: Mahābhārata 3.134; Ganguli's translation (1884), pp. 402–407, with notes interpreting each number as the thesis of a philosophical school.

Fonte: Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407.

Racconto agiograficotiempo legendario

The bath in the Samaṅgā

Back at the hermitage, in the mother's presence, Kahoḍa asks his son to enter the river. Aṣṭāvakra plunges in and, when he comes out, his crooked limbs have been straightened. Since then, the narrator Lomaśa tells the Pāṇḍavas, the river has been called Samaṅgā, "the one with even limbs", and whoever bathes in it is cleansed of faults. The story thus closes the circle opened by the curse: the father who deformed his son out of pride is rescued by him and gives him back the wholeness of his body. Lomaśa tells it beside the place, and the story serves both to explain the river's name and to invite the listeners to bathe in it.

Origine del racconto: Mahābhārata 3.134, end of the episode; Ganguli's translation (1884), p. 407. It is an aetiology of a sacred site (tīrtha) within the book of pilgrimages.

Fonte: Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407.

Racconto agiograficotiempo legendario

The trial of the North

Aṣṭāvakra, now grown, asks for the hand of Suprabhā, daughter of the sage Vadānya. The father agrees on one condition: that he first travel to the North, beyond the realms of Kubera and the Himalaya. There, in a splendid dwelling, seven maidens and an old woman receive him; when the others withdraw, the old woman tries again and again to seduce him, with arguments about desire and women's freedom. Aṣṭāvakra stands firm and answers with arguments about the fidelity he has promised. In the end the old woman reveals herself as Diś, the deity of the North, and confesses that it was all a trial agreed with Vadānya. Aṣṭāvakra returns, marries Suprabhā and lives in his hermitage "free from every fever". Bhīṣma tells the story to Yudhiṣṭhira to answer his question about the meaning of marriage.

Origine del racconto: Mahābhārata, Anuśāsanaparvan, sections XIX–XXI of Ganguli's translation.

Fonte: Mahābhārata, Anuśāsanaparvan, secciones XIX–XXI de la traducción de Kisari Mohan Ganguli (The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Anusasana Parva», Calcuta, Pratap Chandra Roy, 1883–1896): diálogo de Aṣṭāvakra con la dama Diś.

Racconto agiograficotiempo legendario

The apsarases who laughed

After Kṛṣṇa's death, Arjuna escorts the women of Dvārakā and some armed herdsmen carry them off. Dejected, he tells Vyāsa, who explains the origin of the misfortune. Long ago, Aṣṭāvakra was doing penance immersed up to his neck in water when Rambhā, Tilottamā and thousands of nymphs passed by on their way to a festival on Meru. They praised him, and he, pleased, offered them a boon; some asked for the best of men as husband. "So be it," he answered, and came out of the water. On seeing his misshapen body, the nymphs could not hold back their laughter. The angry sage cursed them: they would have the first of males as husband, but afterwards fall into the hands of robbers. Appeased, he promised them that in the end they would return to the world of the gods. They are, says Vyāsa, Kṛṣṇa's wives abducted by the herdsmen.

Origine del racconto: Viṣṇu Purāṇa 5.38; H. H. Wilson's translation (1840), pp. 617–618. It is a Purāṇic story that does not appear in the Mahābhārata.

Fonte: Wilson, Horace Hayman (trad.). The Vishnu Purana: A System of Hindu Mythology and Tradition. Londres: Oriental Translation Fund / John Murray, 1840, libro V, cap. XXXVIII, pp. 617–618.

Non verificabiletiempo legendario (circulación moderna)

The king with one foot in the stirrup

It is the most frequently told anecdote today about Aṣṭāvakra and Janaka. In its usual form, the king has read that knowledge of the Self can be attained in the time it takes to mount a horse and demands that the sages of his court prove it; only Aṣṭāvakra accepts, asks the king to hand over his body, mind and possessions as the teacher's fee, and leaves him motionless, with one foot in the stirrup, absorbed in himself until he awakens liberated. The story illustrates complete surrender to the teacher, and that is how Ramana Maharshi read it in 1937, although he warned that "the anecdotes differ in different books" and that what matters is its teaching, not the names or the embellishments.

Origine del racconto: It has not been located in the Mahābhārata, in the Purāṇas consulted or in the Aṣṭāvakra Gītā. It circulates in oral versions and in modern devotional literature, with variants; Ramana Maharshi refers to "the story of Aṣṭāvakra and Janaka" and to its differences between books in talk 350 (6 February 1937), without citing a source.

Fonte: Venkataramiah, Munagala (comp.). Talks with Sri Ramana Maharshi. Tiruvannamalai: Sri Ramanasramam, 1955; charlas 104 y 350 (6 de febrero de 1937).

Insegnamenti

Insegnamenti

Le nozioni che articolano il suo pensiero, spiegate nel loro contesto.

The witness (sākṣin)sakshin
This is the central notion of the Aṣṭāvakra Gītā. From the third verse onwards the teacher denies that Janaka is any of the elements (earth, water, fire, air, space) and asks him to recognise himself as their witness, whose form is consciousness. The witness is not one more observer within the world but that to which everything appears: it does not act, does not enjoy, belongs to no caste or stage of life and is not an object of the senses (1.5–1.6). Bondage, says 1.7, consists in seeing the seer as if it were someone else, that is, in taking oneself for an object. The text does not propose building this witness through a discipline: it states that one already is it, and that it is enough to rest in it.

The notion of sākṣin, the unchanging witness, is common to Advaita Vedānta and has precedents in Sāṃkhya (puruṣa as spectator) and in the Upaniṣads.

Fonte: अष्टावक्रगीता (Aṣṭāvakragītā), texto sánscrito completo en veinte capítulos, Wikisource en sánscrito.

Bondage and liberation as convictionbandha-moksha
Verse 1.11 sums up an idea that runs through the poem: he who considers himself free is free, he who considers himself bound is bound. Bondage is not a substance to be removed but an identification (abhimāna): believing oneself to be the body, the doer, the sufferer. Liberation is therefore not attained by accumulating merits or practices, but by undoing that conviction. The text says so with classic Vedāntic images: the world is superimposed on the Self as the snake on the rope or silver on mother-of-pearl (2.7, 2.9). Vivekananda quoted this verse to insist that weakness begins with thinking oneself weak.

It corresponds to the Advaita doctrine of superimposition (adhyāsa) and of liberation through knowledge, not through action.

Fonte: अष्टावक्रगीता (Aṣṭāvakragītā), texto sánscrito completo en veinte capítulos, Wikisource en sánscrito.

Practice as bondagesamadhi-como-atadura
One of the poem's most radical features is its distrust of spiritual discipline itself. In 1.15 the teacher tells Janaka that he is already free of attachment, actionless, self-luminous and stainless, and that his bondage consists precisely in still practising concentration (samādhi). The idea recurs throughout the text: whoever strives to still the mind still presupposes a self that strives and a goal to be reached. This does not amount to recommending negligence, but to pointing out that what is sought is not a produced state. Modern commentators have seen here the boundary between a gradual path and a "direct" teaching, and it is one of the reasons for the text's appeal to contemporary non-duality.

It contrasts with Patañjali's yoga, which defines yoga as the stilling of the movements of the mind and organises it into eight limbs.

Fonte: अष्टावक्रगीता (Aṣṭāvakragītā), texto sánscrito completo en veinte capítulos, Wikisource en sánscrito.

Liberation while living (jīvanmukti)jivanmukti
Chapter XVIII, with about a hundred verses, the longest of the poem, describes the sage liberated while living. He is not distinguished by his outward conduct: he may act or not act, live at court or in the forest, because he no longer feels himself the author of what he does. He is indifferent to pleasure and pain, praise and blame, and neither desires life nor fears death. The text presents him as someone who has stopped seeking rather than someone who has conquered something, and stresses that his state cannot be imitated from outside. The ideal has a model in the figure of Janaka, the king whom tradition regards as liberated without leaving the throne.

Jīvanmukti is a classic theme of post-Śaṅkara Advaita (Vidyāraṇya's Jīvanmuktiviveka) and of texts such as the Yogavāsiṣṭha.

Fonte: Baij Nath, Rai Bahadur Lala (trad.). The Ashtavakra Gita: A Treatise on Adwaita Philosophy, translated into English with brief notes and introduction. Meerut: oficina del Vaishya Hitkari (impreso en Allahabad, Liddell's Printing Works), 1904.

The contest of sages at Janaka's courtvada-certamen
Janaka of Videha's court is, in Vedic and epic literature, the setting par excellence of contests of knowledge (brahmodya, vāda): public competitions in which brahmins confront each other with riddling questions and the winner gains prizes and prestige. Aṣṭāvakra's episode takes the genre to its extreme: the loser's punishment is the water, and the content of the duel is a series of numerical riddles referring to ritual and cosmological groups. Ganguli, following the commentators, reads it as a philosophical debate on the unity of the Self. The story makes the misshapen boy the champion of knowledge against professional erudition.

The Bṛhadāraṇyaka Upaniṣad (book 3) presents another famous contest at Janaka's court, that of Yājñavalkya.

Fonte: Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407.

Video

Video

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Galleria

Galleria

Immagini con licenza verificata. Ciascuna conserva la sua paternità e la sua attribuzione.

Relazioni

Relazioni

Influenze, discepolati e affinità. Si distingue la relazione documentata dalla somiglianza individuata per analisi.

  • Famiglia di

    Uddalaka Aruni

    According to the Mahābhārata (3.132), Aṣṭāvakra is the son of Sujātā, Uddālaka's daughter, and of Kahoḍa, Uddālaka's disciple; he grows up believing his grandfather to be his father.

    Relazione documentata

  • Influenzò

    Ramana Maharshi

    Ramana commented on the story of Aṣṭāvakra and Janaka (Talks, talk 350, 1937) and copied by hand the Sanskrit text of the Aṣṭāvakra Gītā, published in facsimile by Sri Ramanasramam.

    Relazione documentata

  • Influenzò

    Swami Vivekananda

    Vivekananda quotes Aṣṭāvakra Saṃhitā 1.11 ("he who considers himself free is free") in the conversations recorded by Sharat Chandra Chakravarty.

    Relazione documentata

  • Influenzò

    Osho

    Osho devoted an extensive series of Hindi discourses to the Aṣṭāvakra Gītā, published as Ashtavakra Mahageeta.

    Relazione documentata

  • Idee affini a

    Yajnavalkya

    In tradition both are protagonists of contests of knowledge at the court of Janaka of Videha (Yājñavalkya's in the Bṛhadāraṇyaka Upaniṣad, book 3).

    Somiglianza individuata per analisi

  • Idee affini a

    Adi Shankara

    The Aṣṭāvakra Gītā sets out a radical Advaita; Brockington ascribes it to a follower of Śaṅkara (eighth or fourteenth century).

    Somiglianza individuata per analisi

  • Idee affini a

    Gaudapada

    Some commentators (Swami Shantananda Puri) see in the poem a seed of the doctrine of non-origination (ajātivāda) that Gauḍapāda develops in the Māṇḍūkya Kārikā.

    Somiglianza individuata per analisi

  • Idee affini a

    Vasishtha

    The Aṣṭāvakra Gītā and the Yogavāsiṣṭha share the ideal of the one liberated while living; Ramana Maharshi engaged with both (he copied the Gītā's Sanskrit by hand, and a selection of the Yogavāsiṣṭha was published at his ashram).

    Somiglianza individuata per analisi

  • Idee affini a

    Dattatreya

    The Aṣṭāvakra Gītā and the Avadhūta Gītā, ascribed to Dattātreya, are often published together (Alexandra David-Néel translated them in a single volume) because of their uncompromising non-dualism.

    Somiglianza individuata per analisi

  • Idee affini a

    Nisargadatta Maharaj

    The insistence on the self as witness and on the futility of gradual seeking brings his teaching close to that of the poem.

    Somiglianza individuata per analisi

Fonti

Fonti

Bibliografia e cataloghi consultati per questa scheda.

  1. Mahābhārata, Āraṇyakaparvan 3.132–134 (ed. crítica de Poona: V. S. Sukthankar et al., Bhandarkar Oriental Research Institute, 1942). Traducción inglesa: Kisari Mohan Ganguli (trad.), The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Vana Parva», Calcuta, Bharata Press (Pratap Chandra Roy), 1884, secciones CXXXII–CXXXIV (Tirtha-yatra Parva), pp. 396–407.
  2. Mahābhārata, Anuśāsanaparvan, secciones XIX–XXI de la traducción de Kisari Mohan Ganguli (The Mahabharata of Krishna-Dwaipayana Vyasa, vol. «Anusasana Parva», Calcuta, Pratap Chandra Roy, 1883–1896): diálogo de Aṣṭāvakra con la dama Diś.
  3. Wilson, Horace Hayman (trad.). The Vishnu Purana: A System of Hindu Mythology and Tradition. Londres: Oriental Translation Fund / John Murray, 1840, libro V, cap. XXXVIII, pp. 617–618.
  4. Byrom, Thomas (trad.). The Heart of Awareness: A Translation of the Ashtavakra Gita. Prólogo de J. L. Brockington. Boston y Londres: Shambhala, 1990. ISBN 9780877735748.
  5. Hauschild, Richard (ed. y trad.). Die Aṣṭāvakra-Gītā. Berlín: Akademie-Verlag, 1967 (reimpresión De Gruyter, ISBN 9783112742679).
  6. Mukerjee, Radhakamal. Aṣṭāvakragītā (The Song of the Self Supreme). Delhi: Motilal Banarsidass, 1971 (póstumo). Datación citada según la entrada «Ashtavakra Gita» de la Wikipedia en inglés (consultada el 26-10-2026); no se ha visto el libro.
  7. Baij Nath, Rai Bahadur Lala (trad.). The Ashtavakra Gita: A Treatise on Adwaita Philosophy, translated into English with brief notes and introduction. Meerut: oficina del Vaishya Hitkari (impreso en Allahabad, Liddell's Printing Works), 1904.
  8. Nityaswarupananda, Swami (trad.). Aṣṭāvakra Saṃhitā. Mayavati: Advaita Ashrama, 1940. Edición facsímil con el texto sánscrito copiado a mano por Ramana Maharshi: Tiruvannamalai, Sri Ramanasramam, 2001 (ficha del distribuidor Society of Abidance in Truth).
  9. Venkataramiah, Munagala (comp.). Talks with Sri Ramana Maharshi. Tiruvannamalai: Sri Ramanasramam, 1955; charlas 104 y 350 (6 de febrero de 1937).
  10. Vivekananda, Swami. The Complete Works of Swami Vivekananda, vol. 7, «Conversations and Dialogues», V (notas de Sharat Chandra Chakravarty). Mayavati: Advaita Ashrama. Cita de la Aṣṭāvakra Saṃhitā 1.11.
  11. Wikidata: «Ashtavakra» (Q2722992, sabio védico) y «Ashtavakra Gita» (Q780145).
  12. Osho. Ashtavakra Mahageeta, bhāg 1 (discursos en hindi). Nueva Delhi: Diamond Books, 2021. ISBN 9788189605773 (serie en varios volúmenes).
  13. Vālmīki, Rāmāyaṇa, Yuddhakāṇḍa 6.119.17 (numeración de la vulgata), texto y traducción inglesa de Desiraju Hanumanta Rao y K. M. K. Murthy, Valmiki Ramayan.
  14. अष्टावक्रगीता (Aṣṭāvakragītā), texto sánscrito completo en veinte capítulos, Wikisource en sánscrito.
  15. Pagani, Silvio (versión en verso). Asht'avakragìtà o il canto di Asht'àvakra. Poemetto filosofico indiano. Milán: Sonzogno (Biblioteca Universale), 1912. Prefacio sobre la traducción en prosa de Carlo Giussani (Rivista Orientale, 1867–1868).
Titolare dei diritti
Texto sánscrito anónimo en dominio público. Las traducciones modernas tienen derechos propios: Shambhala (Byrom), Advaita Ashrama (Nityaswarupananda), Shanti Sadan (Shastri), José J. de Olañeta, Luis Cárcamo, Éditions du Rocher (David-Néel), Éditions de l'Éclat (Porte), De Gruyter (Hauschild), Diamond Books (Osho). La versión de John Richards fue cedida por su autor al dominio público (1994); las de Baij Nath (1904) y Pagani (1912) son de dominio público.

In attesa di conferma

Ciò che questa scheda non ha ancora potuto chiarire. Preferiamo dirlo piuttosto che riempirlo.

  • Fechas: no existen fechas de nacimiento ni muerte; la línea de tiempo usa la recepción de los textos.
  • Comprobar en el libro de Radhakamal Mukerjee (1971) la datación que le atribuye la Wikipedia (siglos V–IV a. C.); no se ha visto el volumen.
  • Comprobar en la edición de Hauschild (1967) su propuesta de datación, los manuscritos utilizados y la serie exacta (Abhandlungen de la Academia Sajona de Ciencias); registrar después los manuscritos en manuscripts[].
  • Traducción de Janaki Nath Mukerjee: no se ha localizado en ningún catálogo (Open Library, Internet Archive, búsqueda general). No se registra.
  • Comprobar en el catálogo del British Museum (objeto 1880,0.2073) el título y la identificación de la figura de la acuarela; la identificación como Aṣṭāvakra procede de la ficha de Commons.
  • Confirmar el año de publicación del fascículo del Anuśāsana Parva de Ganguli y la numeración de la edición crítica (13.19–21) del diálogo con Diś.
  • Edición de Sri Ramanasramam con la caligrafía de Ramana (2001): confirmar el ISBN (el distribuidor da 8188018570).
  • Osho: no se ha encontrado un canal oficial (OSHO International) con los discursos de la Ashtavakra Mahageeta; las subidas encontradas son de terceros y no se registran.
  • Sala de lectura: la traducción de Baij Nath y la versión de Pagani tienen OCR deficiente; buscar transcripciones limpias. No se ha encontrado ningún texto español en dominio público.
  • Vídeo ivZ9kPLxMqA: confirmar que la clase es en español.
  • Project Gutenberg no tiene ninguna edición de estas obras (búsqueda en gutenberg.org el 2026-10-26: «No records found»).

Ricerca effettuata il 2026-10-26