Panchadashi Chapter 10 Nataka Dipa

Nataka Dipa here means a dancing theatre lamp kept on the stage in the olden days. In this chapter the method adopted is adhyaropa (superimposition) and its apavada (negation). To begin with Jiva, Jagat and Isvara are accepted as the features of Brahman, only to reveal Brahman is free from them. The theatre in this context is a royal one which is meant for the king, his family members and invited dignitaries. The only lamp on the stage illumines the dancer, her movements, the king and the rest of the spectators. Similarly the non-dual Sakshi-atma illumines simultaneously the ahamkara, buddhi, mind and all thoughts. The lamp continues to illumine even in the absence of the dancer and the rest of the people. Likewise Sakshi-atma continues to remain as all illuminating knowledge principle even when the ahamkara, buddhi etc. are absent. This gives an effective mode of meditation. When you put all the thoughts of perceived jagat out of the range of your mind, you remain what you are in reality free from samsara. If this is not possible, then focus your attention on Sakshi chaitanya and not on the thoughts having names and forms of perceived jagat. By such nididhyasana the mind can be made to get absorbed in atma.

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