[2] It asserts that the efficient cause of all the gods, symbolically envisioned as forces of nature, is Brahman.

[2] This has made it a foundational scripture to Vedanta school of Hinduism, both the theistic and monistic sub-schools after varying interpretations.

[9][10] Phillips dates Kena Upanishad as having been composed after Brihadaranyaka, Chandogya, Isha, Taittiriya and Aitareya (pre-6th century BCE), but before Katha, Mundaka, Prasna, Mandukya, Svetasvatara and Maitri Upanishads, as well as before the earliest Buddhist Pali and Jaina canons.

[9] Ranade[11] posits a view similar to Phillips, with slightly different ordering, placing Kena chronological composition in the third group of ancient Upanishads.

Paul Deussen considers Kena Upanishad to be bridging a period of prose composition and fusion of poetic creativity with ideas.

It is, for example, the ninth chapter of Talavakara Brahmana in south Indian manuscripts and as mentioned in the Bhasya (commentary) by Shankara,[14] while the Burnell manuscript of sections of Sama Veda[15] places it in the tenth Anuvaka of the fourth chapter (inside Jaiminia Brahmana).

[16] The Kena Upanishad is accepted as part of Sama Veda, but it is also found in manuscripts of Atharva collection.

Pure, abstract concepts are learnt and realized instead wherein it mentions that the highest reality is Brahman.

In verse 4, Kena Upanishad asserts that Brahman cannot be worshipped, because it has no attributes and is unthinkable, indescribable, eternal, all present reality.

It is that which "hears" the sound in ears, "sees" the view in eyes, "beholds" the words of speech, "smells" the aroma in breath, "comprehends" the meaning in thought.

[19] The second khanda of Kena Upanishad starts with prose paragraph 9 that inserts a theistic theme, asserting that the worshipping of Brahman, described in the first khanda, is deception[20] because that is phenomenal form of Brahman, one among gods.

[24] The allegory is, states the theosophist Charles Johnston, a "delicious piece of Sanskrit prose, fascinating in its simple style, and one of the deepest passages in all of Upanishads".

Goddess Uma replied, "that is the Brahman; that is the one who obtained victory, though gods praise themselves for it".

The tradition holds that Agni, Vayu and Indra are elevated above all other gods, respected first in ceremonies and rituals, because these three "met" and "experienced" the Brahman first.

Vayu embodies space that envelops empirical existence, symbolizes "mental self, akin to thoughts about everything".

It asserts the timelessness and awareness of Brahman to be similar to moments of wondrous "Ah!!"

[24] The goal of spiritual knowledge, of self awareness, is wonderful, characterized by an "intense longing" for it in all creatures, states Kena Upanishad.

[31] In the final paragraphs, Kena Upanishad asserts ethical life as the foundation of self-knowledge and of Atman-Brahman.

Till the late 19th century, the commentary of Shankara and Anandagnana were the only implied source of the existence of Kena Upanishad, as original manuscripts of Upanishad were believed to have been lost, after Dara Shikoh published a Persian translation of it.

[37] Edward Washburn Hopkins states that the aphoristic mention of "tapo dammah karma" in closing prose parts of Kena Upanishad suggests that ethical precepts of Yoga were well accepted in Indian spiritual traditions by the time Kena Upanishad was composed.

[38] Similarly, Shrimali cites Kena Upanishad, among other ancient Sanskrit texts, to state that knowledge-seeking and education system was formalized by 1st millennium BCE in India, highlighting among many examples, the question-answer structure of first khanda of Kena Upanishad.

David Stoll composed "Sonata for 2 Pianos" in 1990 inspired by the opening verses of Kena Upanishad.

[42] Victor Hugo, French poet and novelist wrote in 1870 a poem entitled Suprématie (Supremacy), part of La Légende des siècles (The Legend of the Ages), Nouvelle série (New Series), a collection of poems, conceived as a depiction of the history of humanity (published in 1877).

He gives free rein to his imagination and use a rich and colourful vocabulary to add more details, in the spirit of the Romantic movement.

Hugo's ending differs significantly: Indra is said to triumph over the "Light" (Brahman), since he is able to "see" the strand of straw that Vayu and Agni could neither "make fly away" nor "burn".

Here are the last verses of the poem, translated into English (followed by the original French text):[43] Indra addresses the Light (=Brahman), who answers him: ― I know everything!

Lumière, je te dis que j'embrasse tout l'être ;) Thyself, do you hear, you cannot disappear (Toi-même, entends-tu bien, tu ne peux disparaître) From my gaze, never eclipsed nor faded!

No sooner had he spoken than it (the light) had disappeared (À peine eut-il parlé qu'elle (la lumière) avait disparu.).

[43]) Ultimately, we can see that despite the differences that have been mentioned, one aspect of the Vedic text is perfectly expressed, i.e. : the absolute Supremacy of Brahman (hence the title) over all that exists, including the gods, even the greatest ones - ref;lecting the shared Indo-European heritage of cultures.

However the crucial role of the Goddess in revealing the truth to the male gods has been suppressed, reflecting the more male-dominated historical orientation of European culture.