Shad-Linga Six Indicators

Whenever we read a particular section of the Vedas, we find various ideas mentioned in them. There might be do-s, dont-s, statements of facts, stories, eulogies etc. All these could be found within one section itself. How then do we decide as to what is the essence of the teaching or what is that particular section committed to reveal? Knowing or deciding the theme of essential message is called tAtparya nirNaya. In Vedic tradition, there are six indicators called shad-lingA-s that are used to identify the essence (purpose) of a section of the Vedas. Linga means that which points to or that which identifies or that which gives knowledge. They are: upakramOpasamhArau abhyAsOpUrvatA phalam | arthavAdOpapatti cha lingam tAtparya nirNayE || 1. upakrama-upasamhAra - beginning (upakrama) and conclusion (upasamhAra) of a particular section can be looked at to identify the theme. The beginning and the conclusion should deal with the same subject matter, in which case we can get an idea about the tAtparya. 2. abhyAsa - repetition. Sometimes a particular thought is repeated many times in a section. That gives a clear idea about the tAtparya. If its purpose is not to teach that, it would not repeat the same idea many times. For ex: tat tvam asi is repeated 9 times in the sixth chapter of chAndogya. 3. apUrvatA - unprecedented, or unknown before or original. Vedas have to convey something that is not knowable otherwise. If they convey only what is known by other means then Vedas become redundant. So if there is a thought that is present in the section that is original and unique to the Vedas, even though it be cushioned amidst various other known facts, that could be identified as the tAtparya. 4. phalam - fruit or result. The train of thought should lead to a result or should point to a benefit. If there is no benefit or result like a statement the crows in heaven are white, then it is not considered a SAstra at all. It is accepted by all that SAstras indicate a phalam. By knowing the phalam we can get an idea as to what tAtparya is. 5. arthavAda - eulogy or arguments/narratives supporting/encouraging a particular idea/act. By knowing what is being eulogized and for what purpose we again gather information about the tAtparya. arthavAda is not meant for taking it at face value but to focus on what is being eulogized. Mostly stories are used to induce or support a particular idea. The focus is on the idea and the stories are only a support. This is another means of knowing the tAtparya. 6. upapatti - (Here I have heard/read two explanations and I present both here) One is to look at what is being demonstrated by examples or analogies. The other is to follow the train of thought logically and find out what is implied by it. By that again we can come to a conclusion about the tAtparya. Additionally, here are the answers to some of the questions that may arise in ones mind after reading the above: Q. Are the shad-lingA-s applicable to all sections of the SAstra? A. No. Most times one or more, but not all, indicators may be available to identify the tAtparya. Q. When there is more than one indicator available and if they point to different tAtparya-s, then how do we decide? A. That cannot happen. SAstras are consistent. For ex: there cannot be situations when the beginning and conclusion talk of one subject but the entire contents refer to something totally different. Q. Example? A. The sixth canto of chAndogya is supposed to have all the indicators. I have not done the exercise myself and hence I am not elaborating. Anybody who already knows or is interested can try it out and can post and I will learn too! Q. If SAstras always have to have a phalam (result), then what about statements of fact like tatvamasi where it is prAptasya prApti (accomplishing the accomplished)? A. moksha is the phalam. 1