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Though narratives from the Purāṇas and epics are far more prevalent in Hindu imaginings, the Upaniṣads also provide a series of enduring stories. Since these are typically framed as dialogues in which one character receives teachings from another, the content of these teachings is often what is emphasized. Nonetheless, the narrative framework of these dialogues—from conversations between Yajñavalkya and Gārgī to Uddālaka Āruṇi and Satyakāma—are significant.
This paper focuses on modern refigurations of the didactic dialogue between Naciketas and Yama in the Kaṭha Upaniṣad. Some have suggested that this represents an expansion of an earlier story of a boy in the realm of Yama presented in Ṛgveda 10.135. A subsequent version in the Mahābhārata’s Anuśāsana Parvan similarly tells the story of Naciketas and Yama’s conversation. However, it is the Kaṭha Upaniṣad’s version that this most well-known. In this version, the narrative is relatively straightforward: when Naciketas criticizes his father’s sacrificial offerings, he himself is offered to Yama. Waiting for three days at death’s door without a proper welcome, Naciketas is then offered three wishes by Yama. The three wishes become increasingly complex: first, Naciketas asks for his dad’s anger to subside; next, he asks to learn about a fire-altar leading to heaven; and finally, he asks to learn what happens after death. Yama tries to dissuade Naciketas from the final question, offering material alternatives instead. When Naciketas remains firm, the narrative dimensions of the story come to a close and a series of complex teachings begin.
Both the narrative and its teachings—which include the famous chariot analogy—have long invited reflection and interpretation. Śaṃkara presents a thorough exegesis in his commentary on the Kaṭha Upaniṣad, as do other Vedānta exegetes in other forms. In this paper, however, I focus on three modern formations: in Vivekananda’s storytelling, in a 1979 issue of the illustrated series Amar Chitra Katha, and in a 45-minute water and light show in Gandhinagar, Gujarat. In the process, I attend to how the chosen form of the retelling factors into differential emphases aimed at diverse target audiences. Though each of these retellings places a large emphasis on Naciketas’s determination to learn about death despite Yama’s suggestions, each telling does so in unique ways.
The first retelling I analyze is an oral storytelling by Vivekananda, who in 1901 remarked that a dozen children “with the faith of Nachiketa…can turn the thoughts and pursuits of this country in a new channel.” [1] This echoes a more extended narration of the Naciketas story from 1896. Vivekananda’s telling of the story is indebted to Śaṃkara’s commentary, and yet is adapted to connect to a contemporary audience. He uses the narrative structure to emphasize Naciketas as a model to be emulated. However, I will demonstrate that the bulk of his explication is centered on presenting Yama’s teachings to his London audience.
Next, I turn to issue 201 of Anant Pai’s Amar Chitra Katha illustrated series, titled Nachiketa and Other Tales from the Upanishads. Given the limitations of the medium, the comic’s focus is entirely different. In an already brief eighteen pages, Yama’s teaching on death takes up only about four pages, most of which centers on the explication of the chariot analogy. The rest of the comic elaborates on Nachiketa’s childhood and upbringing, providing a narrative explanation for why he is so interested in learning about death. I suggest that this exposition is aimed at developing Nachiketa as a character that the young readership of the series could relate to. Though the teaching on death is important, the narrative frame is central.
Finally, I attend to the “Sat-Chit-Anand” water show at the Swaminarayan Akshardham complex in Gandhinagar, Gujarat. Inaugurated in 2010, the 45-minute outdoor show is put on at least once daily so long as the complex is open. It combines live performers, pyrotechnics, and lights projected onto a water screen. I demonstrate that this format provides a hybrid of the two preceding examples. The viewers watch an enactment of the full narrative details, including a sustained depiction of all of Yama’s temptations to deter Naciketas. At the same time, the show lingers on Yama’s teachings of ātman and Brahman. Further, in line with Swaminarayan understandings of Vedānta, there is a distinct emphasis on a devotional orientation towards God.
[1] Vivekananda, Swami. Complete Works of Swami Vivekananda vol 7. Mayavati: Advaita Ashrama, 1947.
Abstract for Online Program Book (maximum 150 words)
Though narratives from the Purāṇas and epics are far more prevalent in Hindu imaginings, the Upaniṣads also provide a series of enduring stories. This paper focuses on modern refigurations of the didactic dialogue between Naciketas and Yama in the Kaṭha Upaniṣad. The narrative itself is relatively straightforward: a young child made to wait at Death’s doorstep is granted three wishes, one of which is to learn about death itself. However, its complex teachings, including the famous chariot analogy, have long invited reflection and interpretation. Exploring three different formations—in Advaita Vedānta storytelling, in a 1979 issue of the illustrated series Amar Chitra Katha, and in a 45-minute water and light show in Gandhinagar, Gujarat—I attend to how the chosen form of the retelling factors into differential emphases aimed at diverse target audiences.