The Katha Upanishad (कठोपनिषद् or कठ उपनिषद्) is one of the mukhya (primary) Upanishads, embedded in the last eight short sections of the Kaṭha school of the Krishna Yajurveda. It is also known as Kāṭhaka Upanishad and is listed as number 3 in the Muktika canon of 108 Upanishads. The Katha Upanishad consists of two chapters (Adhyāyas), each divided into three sections (Vallis). The first Adhyaya is considered to be of older origin than the second. The Upanishad is the legendary story of a little boy, Nachiketa – the son of Sage Vajasravasa, who meets Yama (the deity of death). Their conversation evolves into a discussion of the nature of man, knowledge, Atman (Self), and moksha (liberation).

What is Katha Upanishad?

The Katha Upanishad (Sanskrit: कठोपनिषद् or कठ उपनिषद्) (Kaṭhopaniṣad) is one of the mukhya (primary) Upanishads, embedded in the last eight short sections of the Kaṭha school of the Krishna Yajurveda. It is also known as Kāṭhaka Upanishad and is listed as number 3 in the Muktika canon of 108 Upanishads.

Katha Upanishad Etymology

Katha (कठ) literally means “distress”, which. is also the name of a sage, credited as the founder of a branch of the Krishna Yajur-veda, as well as the term for a female pupil or follower of Kathas school of Yajurveda. Paul Deussen notes that the Katha Upanishad uses words that symbolically embed and creatively have multiple meanings. For example, a closely pronounced word Katha (कथा) literally means “story, legend, conversation, speech, tale”. All of these related meanings are relevant to the Katha Upanishad.

Nachiketa, the boy and a central character in the Katha Upanishad legend, similarly, has closely related words with roots and meanings relevant to the text. Paul Deussen suggests Na kṣiti and Na aksiyete, which are word plays of and pronounced similar to Nachiketa, means “non-decay, or what does not decay”, a meaning that is relevant to the second boon portion of the Nachiketa story. 

Katha Upanishad Chronology

The chronology of the Katha Upanishad is unclear and contested by scholars. All opinions rest on scanty evidence, an analysis of archaism, style, and repetitions across texts, driven by assumptions about the likely evolution of ideas, and on presumptions about which philosophy might have influenced which other Indian philosophies.

Richard King and A.L. Basham date the Katha Upanishad’s composition roughly to the 5th century BCE, chronologically placing it after the first Buddhist Pali canons. 

Katha Upanishad Structure

The Katha Upanishad has two chapters, each with three sections (valli), thus a total of six sections. The first section has 29 verses, the second section 25 verses and the third presents 17. The second chapter opens with the fourth section of the Katha Upanishad which has 15 verses, while the fifth valli also has 15 verses. The final section has 17 verses.

The first chapter with the first three vallis is considered older because the third section ends with a structure in Sanskrit that is typically found at the closing of other Upanishads, and also because the central ideas are repeated though expanded in the last three sections, is the second chapter. This, however, does not imply a significant gap between the two chapters, both chapters are considered ancient, and from the 1st millennium BCE.

The origin of the story of the little boy named Nachiketa contained in Katha Upanishad is of a much older origin. Nachiketa is mentioned in the verses of chapter 3.11 of Taittiriya Brahmana, both as a similar story, and as the name of one of five fire arrangements for rituals, along with Savitra, Caturhotra, Vaisvasrja, and Aruna Agni.

Katha Upanishad Content

1. The son questions his father – First Valli of Katha Upanishad

The Upanishad opens with the story of Vajasravasa, also called Aruni Auddalaki Gautama, who gives away all his worldly possessions. However, his son Nachiketa (नचिकेता) sees the charitable sacrifice as a farce, because all those worldly things have already been used to exhaustion, and are of no value to the recipients. The cows given away, for example, were so old that they had ‘drank-their-last-water’ (पीतोदकाः), ‘eaten-their-last-grass’ (जग्धतृणाः), ‘don’t give milk’ (दुग्धदोहाः), ‘who are barren’ (निरिन्द्रियाः). Concerned, the son asks his father:

“Dear father, to whom will you give me away?”
He said it a second, and then a third time.
The father, seized by anger, replied: “To Death, I give you away.” — Nachiketa, Katha Upanishad, 1.1.1-1.1.4

Nachiketa does not die but accepts his father’s gifting him to Death, by visiting the abode of Yama – the deity of death in the Indian pantheon of deities. He arrives, but Yama is not in his abode. Nachiketa as a guest goes hungry for three nights, states verse 9 of the first Valli of Katha Upanishad. Yama arrives and is apologetic for this dishonor to the guest, so he offers Nachiketa three wishes.

First wish

Nachiketa’s first wish is that Yama discharges him from the abode of death, and back to his family and that his father be calm, well-disposed, not resentful, and the same as he was before when he returns. Yama grants the first wish immediately, states verse 1.1.11 of Katha Upanishad.

Second wish

For his second wish, Nachiketa prefaces his request with the statement that heaven is a place where there is no fear, no anxiety, no old age, no hunger, no thirst, and no sorrow. In verse 1.1.13 of Katha Upanishad, he then asks Yama to be instructed as to the proper execution of the fire ritual that enables a human being to secure heaven.

Yama responds by detailing the fire ritual, including how the bricks should be arranged, and how the fire represents the building of the world. Nachiketa remembers what Yama tells him, repeats the ritual, a feat which pleases Yama, and he declares that this fire ritual will thereafter be called the “Nachiketa fires”. Yama adds that along with “three Nachiketa fires”, anyone who respects three bonds (with mother, father, and teacher), does three kinds of karma (rituals, studies, and charity), and understands the knowledge therein, becomes free of sorrow.

Third wish

Nachiketa then asks for his third wish, asking Yama in verse 1.1.20, about the doubt that human beings have about “what happens after a person dies? Does he continue to exist in another form? or not?” The remaining verse of the first Valli of Katha Upanishad is an expression of reluctance by Yama in giving a straight “yes or no” answer.

Yama states that even Gods doubt and are uncertain about that question, and urges Nachiketa to pick another wish. Nachiketa says that if Gods doubt that, then he “Yama” as the deity of death ought to be the only one who knows the answer. Yama offers him all sorts of worldly wealth and pleasures instead. Still, Nachiketa says human life is short, asks Yama to keep the worldly wealth and pleasures to himself, declares that pompous wealth, lust, and pleasures are fleeting and vain, then insists on knowing the nature of Atman (Self) and sticks to his question, “what happens after death?”

2. The theory of good versus dear – Second Valli

Yama begins his teaching by distinguishing between Preya (प्रेय, प्रिय, dear, pleasant, gratifying), and Shreya (श्रेय, good, beneficial excellence).

Different is the good and different is the dear,
they both, having different aims, fetter you men;
He, who chooses for himself the good, comes to wellbeing,
he, who chooses the dear, loses the goal.

The good and the dear approach the man,
The wise man, pondering over both, distinguishes them;
The wise one chooses the good over the dear,
The fool, acquisitive and craving, chooses the dear. — Yama, Katha Upanishad, 1.2.1-1.2.2

Verses 1.2.4 through 1.2.6 of Katha Upanishad then characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasure.

Atman exists in the theory of Yoga and the essence of Vedas

Katha Upanishad, in verses 1.2.12 asserts Atman – Self – exists, though it is invisible and full of mystery. It is ancient, and recognizable by Yoga (meditation on oneself), states Katha Upanishad. This is one of the earliest mentions of Yoga in ancient Sanskrit literature, in the context of Self-development and meditation.

In verses 1.2.14 through 1.2.22, the Katha Upanishad asserts that the essence of Veda is to make man liberated and free, look past what has happened and what has not happened, free from the past and the future, refocus his attention past Ignorance to Knowledge, to the means of blissful existence beyond joy and sorrow. This is achievable through the realization of Atman-Brahman, asserts Katha Upanishad, and this essence is reminded in the Vedas through the word Om (ॐ, Aum), state verses 1.2.15-1.2.16. That syllable, Aum, is in Brahman, means Brahman, means the Highest, means the Blissful within.

Yama is the spokesman in the second Valli of the Katha Upanishad. He asserts that man must not fear anyone or anything (not even death) as the true essence of man (Atman) is neither born nor dies; he is eternal, and he is Brahman. 

3. The parable of the chariot – Third Valli

The third Valli of Katha Upanishad presents the parable of the chariot, to highlight how Atman, body, mind, senses, and empirical reality relate to a human being.

Know that the Atman is the rider in the chariot,
and the body is the chariot,
Know that the Buddhi (intelligence, ability to reason) is the charioteer,
and Manas (mind) is the reins.

The senses are called the horses,
the objects of the senses are their paths,
Formed out of the union of the Atman, the senses and the mind,
him they call the “enjoyer”. — Katha Upanishad, 1.3.3-1.3.4

The Katha Upanishad asserts that one who does not use his powers of reasoning, whose senses are unruly and mind unbridled, his life drifts in chaos and confusion, his existence entangled in samsara. Those who use their intelligence, have their senses calm, and under reason, live a life of bliss and liberation, which is the highest place of Vishnu. Whitney clarifies that “Vishnu” appears in Vedas as a form of the Sun, and “Vishnu’s highest place” is a Vedic phrase that means “zenith”. Madhvacharya, the Dvaita Vedanta scholar interprets this term differently, and bases his theistic interpretation of Katha Upanishad on stating that the term refers to the deity Vishnu.

The nature of Atman, the need for ethics, and the hierarchy of Reality

The Katha Upanishad, in verses 1.3.10 through 1.3.12 presents a hierarchy of Reality from the perspective of a human being. It asserts that Artha (objects, means of life) are above Indriya (senses), that Manas (mind) is above Artha in this hierarchy, above the Manas is Buddhi (intellect, his ability to discern), above the Buddhi, is Atman (his Self, great Self). Beyond the Atman, states Katha Upanishad, is the Avyaktam (unmanifested Reality), and Purusha (cosmic Self) is beyond the Avyaktam, and beyond the Purusha, there is nothing – for it is the goal, for it is the highest road. 

Self (Atman) is soundless, touchless, formless, tasteless, scentless, without beginning, without end, imperishable, beyond great, blissful, and when one reveres one’s own Self, he is liberated. Such Self-realization is not easy according to Katha Upanishad,

4. The theory of Atman, Oneness, and Plurality – Fourth Valli

The fourth Valli starts by asserting that inner knowledge is that of unity, eternal calmness, and spiritual Oneness, while external knowledge is that of plurality, perishable “running around” and sensory objects. The Katha Upanishad in fifteen verses of the fourth Valli, as well as those of the fifth Valli, explains what is Atman, how it can be known, the nature of Atman, and why it ought to be known. For a definition, it deploys an epistemic combination of “positive assertions” as well as “exposition by elimination”, the latter repeated with,

किमत्र परिशिष्यते । एतद्वै तत् ॥ ४ ॥

What is left here? Truly, this is that (Atman). — Katha Upanishad, 2.4.3

Atman, asserts Katha Upanishad, is the subject of Self-knowledge, the bearer of spiritual reality, that which is all-pervading, inside every being, which unifies all human beings as well as all creatures, the concealed, eternal, immortal, pure bliss. It exists and is active when a man is in the awake state, it exists and is active when a man is in a dream state. 

There is no plurality and separateness between the essence (Atman) of I and others, between the essence of nature and spirit, asserts Katha Upanishad in verses 2.4.10 and 2.4.11. The Self-driven individual ignores the superficial individuality of others and accepts their essential identity. Paul Deussen suggests that verses 2.4.6 and 2.4.7 posit a nondualistic (Advaita) position, where both Purusha and Prakriti are only Atman. This position contrasts with one of the fundamental premises of the dualistic schools of Hinduism. Shankara agrees with this interpretation. Ramanuja doesn’t and offers a theistic dualism-based interpretation instead.

5. Life is the highest joy, and what happens after death – Fifth Valli

Katha Upanishad’s fifth Valli is an eschatological treatise. It begins by stating that the human body is like a Pura (Sanskrit: पुर, town, city) with eleven gates that connect him to the universe. The individual, asserts Katha Upanishad, who understands and reveres this town of eternal, non-changing spirit, is never crooked-minded and is always free. The Self dwells in swan, in the atmosphere, in man, in Varasad (wide spaces), in the eternal law, everywhere in the universe; it is born of water, it is born of kine, it is born of Ṛta (right, truth, ethics, morals, eternal law), it is born of stone (mountains) as the great Ṛta, as ought to be. This Self is worshipped by all the gods. The body dies, Self doesn’t.

In verses 2.5.6 and 2.5.7, the Katha Upanishad discusses what happens to the Self after death, stating a variant of the premise of Karma theory that underlies major Indian religions,

योनिमन्ये प्रपद्यन्ते शरीरत्वाय देहिनः ।
स्थाणुमन्येऽनुसंयन्ति यथाकर्म यथाश्रुतम् ॥ ७ ॥

Some of these Selfs enter into the womb, in order to embody again into organic beings,
others assemble unto what is Sthānu (immovable things),
according to their karma, according to their shrutam (श्रुतम्, knowledge, learning). — Katha Upanishad, 2.5.7

The Self is always awake and active, while one is asleep, shaping wishful dreams. It is one with Brahman. It is everywhere, within and without, it is immortal. This universal, oneness theme is explained by the Katha Upanishad by three similes, which Paul Deussen calls as excellent.

6. The theory of Yoga – Sixth Valli

The sixth Valli continues the discussion of Karma and rebirth theory, sections of which Max Muller states are possibly interpolated and inserted in a later period. The first five verses of the last section of the Upanishad assert that those who do not know or do not understand Atman return to the world of creation, and those who do are free, and liberated. Some unaware of Brahman’s essence is naturally inclined to fear God and its manifestation such as nature (fire, lightning, sun), state verses 2.6.2 and 2.6.3 of Katha Upanishad. Those who are aware of Brahman’s essence, are awakened to the knowledge, fear no one and nothing, and become immortal as with Brahman.

The Katha Upanishad, in verses 2.6.6 through 2.6.13 recommends a path to Self-knowledge, and this path is calls Yoga.

Realize you are perfect now and here – Sixth Valli of Katha Upanishad

The Katha Upanishad concludes its philosophical presentation in verses 14-15 of the sixth Valli. The state of perfection, according to the last section of the Upanishad, explains Paul Deussen, consists “not in the attainment of a future or yonder world, but it is already just now and here for one who is Self-realized, who knows his Self as Brahman (Cosmic Self)”. This teaching is also presented in the other ancient scriptures of Hinduism, such as Brihadaranyaka Upanishad’s Chapter 4.4.6.

Verse 15 of the sixth Valli declares that the Upanishad concludes its teaching therein. Yet, the Valli contains three additional verses in modern-era manuscripts. Scholars suggest that these remaining verses 2.6.16 – 2.6.18 are possibly modern additions as appendixes and have been interpolated. This is due to the declaration of Upanishad’s end in verse 15, and the additional three verses that are structured in a prose-like manner, rather than the poetic, metric-perfection that Katha Upanishad is primarily written in.

Katha Upanishad Reception

Charles Johnston has called Katha Upanishad one of the highest spiritual texts, with layers of metaphors embedded therein. To Johnston, the three nights and three boons in the first Valli of Katha Upanishad, for example, are among the text’s many layers, with the three connoting the past, the present, and the future.

The Irish poet William Butler Yeats dedicated several essays and sonnets to themes in Katha Upanishad and related ancient Upanishads of India. George William Russell similarly esteemed the Katha and other Upanishads. The American poet Ralph Waldo Emerson held Katha Upanishad highly and wrote several poems and essays paralleling the themes in it.

The various themes contained in Katha Upanishad have been the subject of many scholarly works. For example, Elizabeth Schiltz has compared “the parable of the chariot” in Katha Upanishad and Platonic dialogue “Phaedrus”, noting the “remarkable similarities give rise to a great many tantalizing historical and literary questions”, and adding the comment, “each provides an image of the self as the chariot, they each offer a complex moral psychology and point toward an effective justification of the best life”. Radhakrishnan notes that Katha Upanishad’s discussion of “good versus pleasant” is evidence of ethical theories and philosophical longings of ancient human beings in India by the 1st millennium BCE, much like those in Greek city-states in Europe.

In popular culture

A verse in the Upanishad inspired the title and the epigraph of W. Somerset Maugham’s 1944 novel The Razor’s Edge, later adapted, twice, into films of the same title (see articles on 1946 and 1984 films). Maugham had visited India in 1938 and met Ramana Maharishi at his ashram in Tamil Nadu.

Filmmaker Ashish Avikunthak made a film based on this Upanishad called “Katho Upanishad” which was first shown as a video installation at Gallery Chatterjee & Lal in Mumbai in 2012. 

Roger Zelazny included a quote from the Katha Upanishad as a dialogue between two characters in his novel, Lord of Light.

Conclusion

Because of the above, I am confident that you have learned in-depth about Katha Upanishad.  Its chronology, structure, contents, etymology, the six Valli, reception, etc. Now, that you have become self-sufficient in knowing the importance of Katha Upanishad. Henceforth, I believe that you will be adopting the values of such unique knowledge.

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Reference: https://en.wikipedia.org/wiki/Katha_Upanishad