Moksha is a Sanskrit word meaning “free, release, liberate“. This word is related to the Sanskrit word mukti meaning “liberation”.The root word of both is muc meaning “to be free”*.
In his commentary on the Upanishads, 8th century CE philosopher and theologian Adi Shankara speaks of Moksha.Shankara tells us that the Upanishads, the Gita, and the scriptures establish a path to Moksha. Sankara says:
“The Upanishads exhaust themselves simply by determining the true nature of the Self, and the Gita and the scriptures dealing with moksha have only this end in view” [Intro to the Isa Upanishad].
The Upanishads ‘liberate’ the soul through the removal of spiritual ignorance. Shankara explains:
The heart of the Upanishads is the Self, expressed as both a path of Self-knowledge and a realization of the fullness and potential of an eternal Truth discovered within the innermost Self (Atman). In the Isha Upanishad, Isha is the eternal Truth of the Self.
The first mantra of the Isha Upanishad expresses, within its compressed form, a profound insight into the nature of the Self. The eternal truth is expressed in a few mantric syllables, as is a complete path to enlightenment. One only need meditate on the words, recite the words, come into a full understanding of the meaning of the mantras. The Self reveals itself within these sacred syllables, inviting us to inhabit the mantra: OmIsha vāsyam idam sarvam…
Mohandas K. Gandhi said, “if only the first verse in the Ishopanishad were left in the memory of the Hindus, Hinduism would live for ever.” The first verse expresses a fundamental insight not only of Hinduism, but of a universal awareness. The verse offers a religion, a philosophy, a psychology, and a transformation in our very modes of seeing and perceiving, our means and modes of being.
Carl Jung says that “the goddesses… are libido-symbols.” He adds: “The libido expresses itself in images of sun, light, fire, sex, fertility, and growth” (para 324).
The image above beautifully expresses the powerful feminine form of Durga as libido, or the creative force. Durga, दुर्गा means “the inaccessible”(wikipedia). She is a form of the Goddess Shakti. In this image she rides a lion to battle a buffalo possessed by a demon. Her four arms are armed with weapons. I see a conch, a bow and arrows, a sword, a lasso, and a lotus, each holding symbiotic significance. The Hindu Society of Berbice offers an interpretation of the symbols:
In Symbols of Transformation, Carl Jung says that the hero myth “symbolizes the ideas, forms, and forces which grip and mold the soul.” (para. 259) The hero is an image or form of the living soul, expressing trials and tribulations as encountered upon the path of soul. While we often think of the hero in terms of idealized images of triumph and even of immortality, getting at the soul of the hero takes a more subtle insight. Such insight includes an understanding of the subtle realms of psychic life: perceptions that extend beyond idealized images, perceptions of the movements in the life of the soul.
At the time that Jung wrote Symbols of Transformation, Freud and Jung were engaged in a stormy debate regarding the nature of psychic life, each seeing the psyche from a different perspective. Their two perspectives formed two basic viewpoints on psychic life: the egoic and the transpersonal. This schism played out in their perspectives on myth interpretation, and particularly their interpretation of the Oedipus myth. Freud’s understanding was focused on the development of the ego, reflecting ego development taking place within the first half of life. Jung’s psychology was focused on archetypal elements, and his reading of the myths focused on the movement beyond ego, into transpersonal and archetypal motifs. Jung often took the perspective that the transpersonal aspects of psychic life were collective and biological, arising from evolutionary determinants. My aim is to read Jung’s writings from a spiritual perspective, understanding that archetypal images express the telos of the soul– the aims and instincts of the soul.