Sunday, December 09, 2012

DEIVATHIN KURAL # 96 (Vol # 6) Dated 10 Dec 2012




DEIVATHIN KURAL # 96 (Vol # 6) Dated 10 Dec 2012

(These e-mails are translations of talks given by PeriyavaaL of Kanchi Kaamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are going ahead from the page No 652 of Volume 6 of the Tamil original. The readers may note that herein ‘man/he’ includes ‘woman/she’ too mostly. These e-mails are all available at   http://Advaitham.blogspot.com updated constantly)

117.  Other than this first part of Soundarya Lahari being called the Ãnanda Lahari, there is one more Ãnanda Lahari a totally different poem that is also about AmbãL only, as I had told you earlier.  Unlike Sivãnanda Lahari, both the Ãnanda Lahari poems are sans any mention of AmbãL's name in the title.  That the complete bliss is from the Chit is discerned from the use of the phrase 'chidãnanda lahareem' – 'चिदानन्द लहरीं', in the 8th sloka of the first part.  Even without mentioning 'Chit', since just the mention of 'Ãnandam' would anyhow indicate AmbãL, that part remained to be known as Ãnanda Lahari only.

118.  To completely forget oneself and remain absorbed in Nishta is considered as 'Brhma Anubhava' and that is the state of 'Sat' – 'सत्'. In one way if it is to totally to forget oneself, in another perspective, it is total self-awareness also!  In the 'Jiva Bhãvam' that is, when we are conscious of our being an individual amongst the multitude as yet another person, we are full of 'body consciousness'.  When this self is forgotten or ignored or set aside; then only we will become aware of the real Self!  That stage is one in which the subject knower, the object that is known and the knowledge; instead of being three different things, become one experiencing bliss.  If the being is 'Sat' – 'सत्', that is Siva; the knowing Chit and experiencing Ãnandam is AmbãL.  The 'Sat' – 'सत्' without awareness is as good as dead wood, isn't it?  So, the presence of Chit makes it alive with the power of Shakti, so the being knows itself to be blissful!  That is 'Sat – Chit – Ãnandam' / 'सच्चिदानन्दं' / 'சச்சிதானந்தம்', when it is happily aware.  This is one state.  In another state of being, this 'सच्चिदानन्दं' by itself, with the power of Maya is creating, sustaining and destroying – 'सृष्टि स्थिति संहार' all the worlds and its contents of living and inanimate matter!    

119.  All that means so much work, for the 'Sat' only Siva to become Sivam as Easwara or Nataraja or Parameswara and enact all those dramas.  They are all manifestation of the power of AmbãL as Shakti only.  So, when our ÃchãryãL says in Sivãnanda Lahari that the cause of that Ãnandam is Siva's escapades in so many different stories of his Leela; then also, it is all the handy-work of AmbãL only, isn't it?  This 'kãrya –prapancham' (that is, all the works of the dynamic universe) are all hers, as Siva, Vishnu, as so many other Gods, static and mobile beings, including all of us deep in delusion, birds, animals, insects, the whole works are hers only, as the driving force of the entire Universe!  So we come to the conclusion that even for the Sivãnanda Lahari which talks about the happiness that flows out of stories of Siva's escapades and adventures, the credit should go to AmbãL for activating Siva to flow as a flood, instead of remaining inert!  Everything about AmbãL is all a flow, flood and Lahari!  She is Soundarya Lahari, also Ãnanda Lahari, 'Sringãra Lahari' (flow of pretty decorative finery as given in the 16th sloka) and 'Ãhlãda Lahari' (flow of cheerful and delightful mirth as given in 21st sloka).

120.  Getting involved in running the world affairs and getting release from such involvement; are the two desires that AmbãL instils in the Parabrhmam; which is symbolically depicted as the married life of the Kãmeswara and Kãmeswari.  That Kãmeswari is the Sri Vidya Atidevata Lalitha Tripura Sundari.   As she creates the Kãmam in Easwara, she becomes the Sringãra Lahari.  Like Easwara obtained the ability to create, the poets have the imagination and ability to create their compositions, isn't it?  So, saying, that it is by AmbãL's Grace that the poets are able to let flow the feeling of amorousness in their compositions, the phrase 'Sringãra Lahari' has been used in that context.  The word Ãhlãda also means cheerfulness, joy and delight.  So, it is also Ãnanda Lahari only.   Those who are rid of their Maya of delusion, by Kundalinee Yoga, when they come to realise the AmbãL's Grace, are thrilled in supreme bliss; and it is there that he has used the phrase 'Parama Ãhlãda Lahari', meaning 'the flow of blissfulness par excellence'!

The Pleasure of Appreciation of Beauty is the Return in Itself – "அழகு ரசனையே அதற்குப் பலனும்"

121.  That the flood of 'Sivãnanda' emerged from the history of various escapades of Siva, cleansed us of the dirt of our past sins, quenched our thirsts and filled the pond of our Chittam; as told in 'Sivãnanda Lahari'; is not to be found 'Soundarya Lahari', (in the 44th sloka where this title has been mentioned).  Yes it is mentioned that the straight line from the top of forehead going across the head to the nape of the neck, formed by the parting of hair is like a draining rivulet for the beauty of her face!  It is as though the author decided not to interrupt the flow of literary style and verve of the narrative, by too much of explanations, interpretations and allegory; as it is enough if people can appreciate beauty as an end in itself!

122.  Even the flow of AmbãL's beauty is very much capable of washing off our sins and quenching all our thirsts and fill up our hearts to the brim with contentment causing it to overflow with mirth and cheerfulness.  So there is no need to tell all this just to boost the beauty of AmbãL.  Its greatness is in the beauty itself.  When you take a dip in the Ganges, instantaneously all the sins are gone and our cravings are taken care of.  But do we get up and walk off?  Do we not want to keep wallowing in the flow of the water and wish to prolong the experience?  We could not care less for satisfying our thirsts and removal of the effect of sins.  Without looking for any gains or returns, don't we wish to just enjoy the pleasure of bathing in the Ganges?  So also, we will wish to keep enjoying the pleasure of appreciating the flow of Beauty of AmbãL, as depicted by our ÃchãryãL.

123.  There in 'Sivãnanda Lahari' he said that the flow of pleasure was from those stories of Siva's Leela.  Here though he says "वदन सोउन्दर्य लहरि", that the flow of beauty is from her face; she is a flood of beauty from head to foot.  In another sloka (the 12th) the whole of her figure and form is "त्वदीयं सोउन्दर्यं", meaning that her form is the source of beauty.  Like the stories of Siva's escapades being the source in 'Sivãnanda Lahari', she does not have to play or enact any scene.  Just by being herself, she is the fountain head of so much beauty!  There is no description of her vanquishing of Bandasura or any such thing.  Just he has drawn her picture with words and that will do most sufficiently, Thank You!  There in 'Sivãnanda Lahari' there is no description of the figure part by part, as done here.  There, for the inert 'सत' of Siva, his actions are the source of Ãnandam; here for the dynamic 'चित शक्ति' of Sivã, her very being is the source of bliss!  Thus the author seems to have used different techniques in the two compositions of his.

124.  In describing the bodies of male deities and female deities there are two different order or 'Krama'.  The description of male deities, start from the feet and goes to the top of the head, up to the hair, known as 'पादादि केशान्तं' or 'आपात मस्तकं'.  For female deities the order is reversed.  Starting from their hair, the head, forehead, eyes, nose, mouth and the description goes on till the feet.  In the early part of Lalitha Sahasranãma and Soundarya Lahari, this is the order followed.  In Sivãnanda Lahari, there is no description of the body parts of Siva.  Our ÃchãryãL has also written separately another composition known as 'Siva Pãdãdi Keshãnta VarNana Stotram'.  Then he was not satisfied with that.  As Siva is said to be 'Ardha Nãreeswara', a combined form of male on the right and female on the left, he wrote another description of Siva 'Keshãdi Pãdãnta VarNana Stotram' as a special justified consideration.

125.  In Soundarya Lahari in the 34th sloka, our ÃchãryãL has said that AmbãL is not only half of the body of Siva, but the whole, as he says, "सरीरं त्वं शंबो"So, it means that for the inert, immobile and formless Siva, AmbãL is not only half but the whole.  His Charithram that is history and Sãreeram that is the body are both by her only.  So in the Lahari about him he has described the various stories of his actions and in the Lahari about her, he has restricted himself to a description of her form only; and by both he has let flow the pleasure and beauty!  Just by imbibing the beauty of AmbãL we get fulfilled.  Unlike description of escapades of Leela, there is no need for any commentary here as just a 'Darsan' will suffice.  Just the eyes and mind will do the needful in seeing and getting fulfilled abundantly, without any sweat. 

126.  To catch hold of the elusive God, there are two easy means, namely Swaroopa Dhyãna and Nãma UchcharaNam, meaning meditation on the form and chanting of the name of God!  These two are known as 'Nãma – Roopa'.  There is no hard sweat in chanting the name.  That is done by the mouth and mind.  To observe, that is to have a 'darsan' of God by the outer eyes or the inner eyes of the mind, is another method.  Great Saints and Mahatmas are able to see the divine forms of God directly with their eyes.  We are able to see the idols and statues in temples only.  But to see a dynamic and lively form of God we have to depend on our capacity for visualization only.  But in the temple as the statues have been energised by a procedure for invocation and installation known as 'PrãNa Prathishta', it is as good as God in the live form.  In fact the VaishNavas call their idols installed in the temples by a special name, 'Archãvatãraram' to mean an Avatara of God for the purpose of worship.  So we go to temples and doing a darsan of God there and are able to melt in devotion!

127.  Though much has been said about the value of the 'Nãma' or name, for simple people like us, especially in the state of delusion that we are in, only when related to a form the name enables us to concentrate and focus.  When we chant 'Rama, Rama', automatically we think of Sri Ram in green colour of emerald standing tall, dark and handsome; with the bow 'Kodandam' in the hand, with Sita and Lakshmana on either side and Hanuman in the kneeling position comes before our eyes.  Without that form, name alone seems and feels arid.  When we do 'Nãma Japa' formally, we are required to chant the 'Dhyãna Sloka' and instil the form in our minds deeply imbedded.  So it seems that 'Nãma SmaraN' is more difficult than 'Roopa Darsan'.  To think of a beautiful form seems to be easier and better.  That is why in Soundarya Lahari, there is no mention of the starting point, the way and the end, it seems. 

128.  If we get quality 'RasãLu' mango, do we waste time on investigation of wherefrom it was obtained or when did it become ripened, or what will happen to it in the stomach?   We have obtained the Soundarya Lahari as a 'RasãLu' mango marinated in divine nectar.  The very description of AmbãL's form is like Her standing in front of us.  The thing being worshipped, the Author and the Stotram is all one and the same.  Let us bathe, immerse and marinade in it and do PãrãyaNam, ourselves becoming one with it as AmbãL's Swaroopa and merge in oneness of Moksham!

(To be continued.)

Sambhomahadeva

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