The Philosophy of the Upanishads c6.s2.13

c6.s2.13

IV. THE LATER ATHARVA UPANISHADS.—Later theological treatises retain still the form of Upanishads as a convenient method of literary composition that carries with it a degree of sanctity; while the thought concerns itself partly with the continuous development of older themes, or refrains from deviating from the beaten tracks (*Garbha, Prâṇâgnihotra, Piṇḍa, Âtma, Sarvopanishat-sâra, Gâruḍa*), partly turns its attention to the glorification of the Yoga (*Brahmavidyâ, Kshurikâ, C'ûlikâ, Nâdabindu, Brahmabindu, Amṛitabindu, Dhyânabindu, Tejobindu, Yogas'ikhâ, Yogatattva, Haṃsa*), or of the Sannyâsa (*Brahma, Sannyâsa, Âruṇeya, Kaṇthas'ruti, Paramahaṃsa, Jâbâla, Âs'rama*). The difference between the two tendencies shows itself also in the fact that almost without exception the Yoga Upanishads are composed in verse, those of the Sannyâsa in prose with occasional verses inserted. A further class of Upanishads is devoted to the worship of S'iva (*Atharvas'iras, Atharvas'ikhâ, Nîlarudra, Kâlâgnirudra, Kaivalya*), or of Vishnu (*Mahâ, Nârâyaṇa, Âtmabodha, Nṛisiṃhatâpanîya, Râmatâpanîya*), and endeavours to interpret these in the light of the âtman doctrine. They are composed for the most part in prose with an intermixture of verse. All of these Upanishads were received into the Atharvaveda, but met with no recognition from the leading theologians of the Vedânta.