मुक्तसङ्गोऽनहंवादी धृत्युत्साहसमन्वितः ।
सिद्ध्यसिद्ध्योर्निर्विकारः कर्ता सात्त्विक उच्यते ॥ १८.२६ ॥

mukta-saṅgo’nahamvādī dhṛty-utsāha-samanvita: |
siddhy-asiddhyor-nirvikāra: kartā sāttvika ucyate || 18.26 ||

Three-fold classification of kartā, the doer

Having described the three categories of jñāna (knowledge) and karma (action) Krishna now explains the three kinds of kartā, the doer.

While taking up any task, the knowledge about the action and the materials with which the task is to be performed, are factors everyone has to know. But these will not by themselves complete the course of performance. One, who owns the knowledge and has employed the materials in the way of a process or pursuit, has to own up the action and its completion.

This source, the person, is in fact an individual with a mind that thrives on emotions, sentiments, thoughts and memories, which have a great role in guiding or governing his performance. If he, the performer, is able to generate healthy and sublime feelings and emotions in performing various activities, the effects would be greatly different. They can be marvelous indeed. If, on the other hand, his feelings and emotions tend to constrict or cloud his own mind, the performance is bound to be adversely affected.

How to instill the right inspiration, joy and persuasion into this actor, his personality, so that whatever is done would have the most benevolent effects? This becomes a very important consideration. Krishna throws light on the subject, using his three-fold categorization.

Sāttvika kartā

The actor must have ceaseless enthusiasm while performing his actions. A mere knowledge of the specific acts and their objective results would not be sufficient to involve the subject-personality of the actor. A study of the actor or performer, in this light, will be a topic by itself, focusing on the human personality – the mind, emotions and outlook.

The subject offers full scope for analysis and findings. Our spiritual thinkers had taken this up right from the Vedic days and had evolved their thoughts. That is how the epic narrations, presenting exemplary personalities, with characteral and behavioural excellences got ingrained into our culture. These became traditional legends and role models for the people of the land, shaping their thoughts, aspirations, ideals and values. This reflects clearly how epic thinkers succeeded in their efforts.

Unfortunately, the relevance and application of these epic discussions have not been sufficiently assessed, especially in modern days. This has brought a gap between our immortal spiritual wisdom and the people of the present. It is the role of the ascetic renunciates to fill the gap by providing the necessary guidance to the society from time to time. In this, is their spiritual fulfillment.

Krishna has been elaborating right from the 2nd chapter about the kartā aspect and how the actor should be elevated, refined and enlightened. Siddhy-asiddhyoḥ samo bhūtvā (by being equanimous in success and failure) is the first tenet Krishna presented after explaining the indestructible nature of the Soul. From then on, he has been emphasizing it as a consistent formula to be incorporated in one’s life and interactions. Samatva-buddhi (sense of equanimity) is the one factor that makes the seeker fit for spiritual enlightenment and redemption. Saḥ amṛtatvāya kalpate (such a one is qualified for spiritual freedom) – these are the words Krishna used in the second chapter (2.15).

Thereafter, Krishna has been speaking about the need to eschew attachment (saṅgaḥ). Rise above desire, fear and hatred (vīta-rāga-bhayakrodhaḥ), be even towards sukha and duḥkha, have dis-attachment, accomplish ego-extinction, be free from the disturbing emotional ripples of the mind, look always to inner contentment – these have been the watchwords of Krishna’s exposition throughout the dialogue. All these denote and imply spiritual qualities, excellences and expression. To be spiritually enlightened is to embody these.

When one has these elevating and edifying thoughts and feelings in doing any work, he is called the sāttvika performer.

Is there so much to think about and categorize the doer or performer? One may wonder! What is meant by the ‘doer’? Any action, as explained already, is first to be thought of in one’s mind. The mind must first of all give effect to the saṅkalpa about what is to be taken up and done. Only then one thinks of himself as an actor and proceeds to act in the physical or oral level.

“I want to do this act and shall do it in this manner. I would like a certain standard to be preserved in my performance. My attitude while doing the act will be such. By doing it I propose to achieve this end. By this act, apart from the objective results it achieves, I, in my inner level, must have a definite enrichment, elevation. How to ensure this?” Thoughts and considerations like these shape the personality of the “doer” or “performer”.

To categorize the actor will be to take into account these subtle inner ingredients. When closely studied, these can be either merely secular and worldly or very lofty and spiritual. In the secular kind, external, gross factors alone will dominate. In the spiritual kind, loftier thoughts and emotions will reign, leading to the emergence of spiritual wisdom.

Remember: the Bhagavad Gita dialogue transpired keeping millions of fighters in Kurukṣetra waiting impatiently. The war was to commence any moment. This adds great significance to the relevance of the discussion.

The external challenge and involvement before and after the dialogue remained the same. But Arjuna’s ‘sense of doership’, the attitude and objective emerging from his mind and intelligence, changed fundamentally. What was supposed to be a mere secular administrative venture, transformed into a determined, overwhelming spiritual endeavour, sādhanā. How potent was the discussion and how startlingly immediate its effect, become evident from this. This is how one has to gauge the effect of spiritual exposition.

Spiritual wisdom always focuses on the subject part of the human personality. It frees the mind, intelligence and ego of all unwelcome constrictions and stains, to imbue them with far greater expanse, elevation and strength.

The difference in performance between a narrow or constricted and broad or expansive mind is quite significant. In fact, it is so exemplary that it cannot be amply described. At any time, the quality of performance differs not because of the change in the bodily limbs of the performer and their potential, but because of the difference in his mind, intelligence and ego that employ these limbs.

Thus Krishna’s discussion on the three categories of doer or performer assumes great relevance and importance:

Free of attachment and ego, imbued with will (inner strength) and fervour, whoever remains unaffected by the fruition and non-fruition of actions, is said to be the sāttvika doer.

Attachment or wrong identification is a basic defect that constricts the mind and its potential. Asāttvika kartā, qualitative performer, will be free of this constriction and taint. Likewise, he will be free from the constricting ego. To do things with ego is like enclosing the vast and free air in a bottle.

Consciousness in us is far more pervasive! If we try to contain or constrict it with the ego-feeling, its vastness and pervasiveness do not come into display at all. Freed from the ego-binding, it will be greatly effective.

Dhṛti (will) and utsāha (enthusiasm) will be considerably more, if the mind is relieved from the clutches of attachment and ego. The fervour arising from a narrow mind is obviously far less than that of a much broader one.

To be unruffled by the fruition as well as the non-fruition of the act is another distinct quality of the sāttvika performer. The ordinary performer will be so obsessed by the expected result, that his mind becomes restless, fearful and agitated. When a work is well done and completed, it cannot but bring its result. Every action is a specific means to a certain end. Between completing an action and its bringing the result, there is no need for any extra factor, except the pañcama (the Fifth) Krishna spoke about earlier.

That pañcama, being beyond the human province, there is no use worrying about it. Usually it will be favourable to the actor, his action and its fruition. But if it becomes otherwise, that has to be accepted as inevitable. Even then, the subject does not call for any undue agitation or affliction.

A performer embodying all these inner enrichments is the sāttvika performer.

When Krishna pictures such a performer, the instant message with its inevitable lesson is that it is possible for anyone to strive for such a sāttvika performance and actualize it. Else, why should Krishna discuss it at all? To be a sāttvika performer is very much within the human reach. It is a question of whether the seeker wants to accomplish that benign status or will resign to remain deluded and ignorant.