अहङ्कारमेवाप्येति योऽहङ्कारमेवास्तमेत्यहङ्कर्तव्यमेवाप्येति योऽहङ्कर्तव्यमेवास्तमेति रुद्रमेवाप्येति यो रुद्रमेवास्तमेत्यसुरामेवाप्येति योऽसुरामेवास्तमेति श्वेतमेवाप्येति यः श्वेतमेवास्तमेति विज्ञानमेवाप्येति तदमृतमभयमशोकमनन्तनिर्बीजमेवाप्येतीति होवाच
ahaṅkāramevāpyeti yo'haṅkāramevāstametyahaṅkartavyamevāpyeti yo'haṅkartavyamevāstameti rudramevāpyeti yo rudramevāstametyasurāmevāpyeti yo'surāmevāstameti śvetamevāpyeti yaḥ śvetamevāstameti vijñānamevāpyeti tadamṛtamabhayamaśokamanantanirbījamevāpyetīti hovāca
Into selfhood enters that which sets in selfhood; into the appropriated enters that which sets in the appropriated; into Rudra enters that which sets in Rudra; into Asurā enters that which sets in Asurā; into śveta enters that which sets in śveta; into knowledge it enters; and into that immortal, fearless, sorrowless, endless, seedless — into it it enters. So he said.
fafc3bae4890 · published Jul 29, 2026, 4:12:03 AM UTC
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The thirteenth step: selfhood, the appropriated, Rudra, the channel Asurā, the breath śveta.
The names chosen are dark ones: asurā — “demonic”, śveta — “white”. The first is set beside selfhood and Rudra, and this is intelligible: ahaṅkāra, “the making of I”, is constantly linked in the śāstras with what is called asuric — with pretension, rivalry, separation.
But something else matters more, and here it is worth pausing. Of the whole list, selfhood is the only thing whose setting is, for a man, liberation. The eye, the ear, speech, the hands — their setting is simply an end; the setting of selfhood is that for whose sake the Upaniṣads are written.
The book, however, does not single it out even here. Selfhood is listed on a par with the rest, in the same turn and with the same conclusion. In this is its evenness: nowhere does it denounce or exhort; it simply shows the order in which everything sets.
One step remains — consciousness; and on it the row begun in the first mantra will be closed in full.