Introduction
The Sarasvati-rahasya Upanishad, meaning “the Secret Knowledge of the Wisdom Goddess,” is a Sanskrit text from the late medieval era and is one of the minor Upanishads in Hinduism. This Upanishad falls under the category of the eight Shakta Upanishads and is embedded in the Krishna Yajurveda.
This Upanishad is remarkable for its exaltation of the feminine aspect as Shakti, representing energy and power, as well as the metaphysical principle of Brahman. It combines elements of Bhakti (devotion) and Vedanta terminology. According to Annette Wilke and Oliver Moebus, the underlying philosophical foundation of this text aligns with Advaita Vedanta, making it significant in the Goddess traditions of Hinduism.
The authorship and the century in which the Sarasvati-rahasya Upanishad was composed remain unknown. It is a late Upanishad, likely originating between the 12th and 15th centuries CE. While the text is relatively late, the worship of Sarasvati as a goddess can be traced back to Vedic literature from the 2nd millennium BCE.
This text has played a crucial role in the Shaktism (Goddess worship) tradition of Hinduism. Many of its verses are incorporated into later Shakti texts like the Vakyasudha, a treatise on the non-dualistic Vedanta school of Hindu philosophy. The connection between the Sarasvati-rahasya Upanishad and Vakyasudha has led some scholars to date it to the 1st millennium. However, there is uncertainty regarding whether Adi Shankara, credited with composing Balabodhani (possibly titled as Vakyasudha), was the author of these texts, and their existence before the 8th century CE is unclear.
Manuscripts of this text also bear titles like Sarasvati Upanisad, Saraswati Rahasyopnisad, Sarasvatyupanishad, and Sarasvatirahasyopanisad. In the Telugu-language anthology of 108 Upanishads in the Muktika canon, narrated by Rama to Hanuman, it is listed as number 106.
The Sarasvati-rahasya Upanishad comprises two chapters, each with a distinct format. The first chapter uses litany hymns reminiscent of the Rigveda to praise Devi, specifically goddess Sarasvati. The second chapter is composed in Shloka (metered verse) format. The text is layered to allow two interpretations: one of dualistic Bhakti (devotional worship) and the other as a discourse between the devotee and the goddess, representing the devotee’s journey toward Vedanta philosophy. The final verses of the text culminate in non-dualistic premises, a style referred to as “code switching” by Wilke and Moebus.
The text begins with a benediction to goddess Saraswati, a common opening found in other Upanishads of the Krishna Yajurveda. It invokes her protection and praises her as the essence of truth, the universal empress who manifests in all aspects of existence. Sarasvati is depicted as the goddess of wisdom, radiant and resplendent, who takes form as syllables, words, sentences, meaning, and understanding. She purifies and enriches the soul of humanity and embodies various aspects of creativity, including music, poetry, language, art, and imagination. Chapter 1 expresses the devotee’s entreaty for blessings from Sarasvati, with invocations such as “Oh Goddess, increase my understanding,” “Sarasvati! make me like yourself,” and “Sarasvati, may we remain immersed in you!”
The second chapter presents a conversation between Sarasvati and the devotee. It portrays her as the source of power, inspiration, and knowledge for Brahma, who is credited with composing the Vedas. The text then delves into the concept of Maya as the changing reality and Brahman as the unchanging reality. Sixteen verses from this chapter, also found in Vakyasudha, discuss the nature of Brahman as the ultimate ground of the objective world and the innermost self of subjective consciousness, highlighting spiritual unity.
In the closing verses, the text emphasizes that dualism is a false concept and that realizing the oneness of the individual soul and goddess Sarasvati leads to liberation (Mukti).