orse than useless.
See Chand. Up. I. 10. 11.]

[Footnote 167: See the various narratives in the Chandogya, Br.-Aran.
and Kaushitaki Upanishads. The seventh chapter of the Chandogya relating
how Narada, the learned sage, was instructed by Sanatkumara or Skanda,
the god of war, seems to hint that the active military class may know
the great truths of religion better than deeply read priests who may be
hampered and blinded by their learning. For Skanda and Narada in this
connection see Bhagavad-gita x. 24, 26.]

[Footnote 168: For the necessity of a teacher see Kath. Up. II. 8.]

[Footnote 169: See especially the bold passage at the end of Taitt.
Upan. II. "He who knows the bliss of Brahman ... fears nothing. He does
not torment himself by asking what good have I left undone, what evil
have I done?"]

[Footnote 170: The word Upanishad probably means sitting down at the
feet of a teacher to receive secret instruction: hence a secret
conversation or doctrine.]

[Footnote 171: Some allusions in the older Upanishads point to this
district rather than the Ganges Valley as the centre of Brahmanic
philosophy. Thus the Brihad-Aranyaka speaks familiarly of Gandhara.]

[Footnote 172: Cat. Adyar Library. The Rig and Sama Vedas have two
Upanishads each, the Yajur Veda seven. All the others are described as
belonging to the Atharva Veda. They have no real connection with it, but
it was possible to add to the literature of the Atharva whereas it was
hardly possible to make similar additions to the older Vedas.]

[Footnote 173: Debendranath Tagore composed a work which he called the
Brahmi Upanishad in 1848. See Autobiography, p. 170. The sectarian
Upanishads are of doubtful date, but many were written between 400 and
1200 A.D. and were due to the desire of new sects to connect their
worship with the Veda. Several are Saktist (e.g. Kaula, Tripura, Devi)
and many others show Saktist influence. They usually advocate the
worship of a special deity such as Ganesa, Surya, Rama, Nri Simha.]

[Footnote 174: Br.-Aran. VI. 1, Ait. Aran. II. 4, Kaush. III. 3, Prasna,
II. 3, Chand. V. 1. The apologue is curiously like in form to the
classical fable of the belly and members.]

[Footnote 175: Br.-Aran. VI. 2, Chand. V. 3]

[Footnote 176: Br.-Aran. II. 1, Kaush. IV. 2.]

[Footnote 177: The composite structure of these works is illustrated
very clearly by the Brihad-Aranyaka. It consists of three sections each
concluding with a list of tea