DEIVATHIN KURAL # 124
(Vol # 6) Dated 04 Feb 2013
(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 849 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 consonantly)
415. Pãrvati as Parvata Raja Kumari getting married with Easwara after 'Manmata
Dahanam' is a later story. Prior to that
all the Devas together exhorted and requested Manmata to distract this Tapasvi
Easwara as DakshiNa Murthy, deeply engrossed in Ãtma Nishta, and
create a mood of amorousness in Easwara.
The very task given to him created a sense of pride in Manmata that he
could stir, agitate and disturb even the mind of Easwara from his deep
meditation! His name 'Manmata' or 'मन्मथ' itself
means the one who 'churns the mind'. He felt mighty thrilled that he is the one to
disturb, stir, agitate and churn the mind of Easwara himself, who was sitting like
an immoveable rock! Then what
happened? Easwara just opened his eyes and
Manmata was scorched, burnt and erased out of existence! It was later that AmbãL gave him a fresh lease of life.
But by then his 'aham bhãvam' that is, the sense of pride and
conceit had been wiped out. Then he did win
over Easwara. But that victory is more
that of AmbãL Kãmãkshi known as a PurãNa with the name of 'Kãmãkshi Vilãsam'. That story of the PurãNa clearly brings out
that it is all the power of Kãmãkshi and it is also said therein that Manmata
with great humility learnt this lesson.
So now he did not go to the Swami Siva with the idea that he is going to
vanquish Siva but, it is the power of the Mother which will have the necessary effect
and achieved his task! That is, when he
was scorched in the fire of Siva's eyes, his 'aham bhavam' had also been burnt
to ashes. With that, his supercilious
attitude about his own physical beauty had also been obliterated. When AmbãL gave him back his life, she did
not give him his body but, made him formless as 'Ananga'!
416. There is an adage in Tamil which
says that, 'for a man of abilities even a straw is a weapon' – 'வல்லவனுக்கு புல்லும் ஆயுதம்'. This 'darba' used in religious
ceremonies is also a grass only. As that
grass is clean and pure, it is called the 'தூய + புல் = தூப்புல்'. In Kanchipuram there is place where there is plenty of 'darba grass'
available, that the place itself has the name of 'Tooppul'. Vedanta Desika, one
of the most important Ãchãryãs of the VaishNava tradition belonging to the 13th
Century, was born in Tooppul in Kanchipuram.
To destroy Kãkãsura, Sri Rama
used a blade of darba grass only as a weapon.
Not being able to withstand that missile Kãkãsura surrendered to Sri Rama and he gave him Abhaya and exoneration. Though Sri Rama is well qualified in many
fields, here is an indication of his expertise in Mantra Vidya and proved the
adage that – 'வல்லவனுக்கு
புல்லும் ஆயுதம்'. By the very power of AmbãL, for Manmata even flowers were acceptably good weapons!
Manmata who had been reduced to ashes, it is that glance of AmbãL that restored his life back. Her
husband had reduced Manmata by a look of fire (agni netra – अग्नि नेत्र) and she restored him back to life by look
of nectar (amrita netra – अमृत नेत्र).
very name of Kãmãkshi means 'the one who recreated
Kãma by her sight'.
Not Mentioning that Kãman Won Over Siva
418. This sloka fairly reveals to quite an extent
that it is all about Kãmeswari
that is LalithãmbãL,
who gave power and position to Kãma. Still it does not
make it very clear openly. Generally it
says that despite such flimsy equipments in his repertoire, he is able to win
all over the world – "जगदिदं अनंगो विजयते"; but
does make no mention of the fact that he did win over Siva. To enable him to do so was Kãmeswari's main Leela and that is
not mentioned at all. At the time of Kãma Dahanam, that is when he lost to
Easwara in his efforts to make Siva amorous, he lost his life and was burnt to
ashes; at that time AmbãL had
taken an Avatara as Pãrvati,
which is indicated by the name, 'Himagiri Sute'. Then Swami developed a liking for Pãrvati and married her; but that
is not being mentioned as a victory of sorts of Kãma's. That AmbãL's pure love and perseverance and
her Tapasya under the Single Mango tree (Ekãmra tree) in Kanchipuram and her praying to Siva as a Peahen in
Mylapore; have been adopted in various folklore and classics such as KãLidãsã's
Kumara Sambhava. In the previous sloka
also, it is mentioned that Manmata entraps even great saints, but does not say
that he defeated Easwara.
419. In one these slokas of course it is mentioned
that Maha Vishnu took the Mohini Avatara and win over the affection of
Siva. In fact that Maha Vishnu is his
father and this Kãma is
Putran', that is a 'mind born child' and so has a name as 'Manasija'. When Maha Vishnu took Krishna Avatara, this
son of his was born as Pradyumna, again as his son. So it seems as though, the father as Mohini
Avatara could directly get Siva enamoured of him in the form of a female and
the son Manmata could similarly affect the Rishis and Munis and not
Easwara. In the latter half of Soundarya
Lahari, it is mentioned that Manmata directly by himself could win over
Easwara. There are two ear studs of AmbãL. They are being reflected by the mirror like
cheeks of hers. So these four form the
wheels of the chariot of her beautiful face, on which Manmata is riding to
fight it out with Easwara as given in the 59th sloka of Soundarya Lahari. The gaze of AmbãL when she looks at Easwara so full of love is equivalent to shooting
of his arrows by Manmata, as described in the 52nd and 58th slokas.
420. In addition to starting out on the chariot,
shooting arrows at Easwara; finally after vanquishing Parameswara, he is
shouting victory, it looks as though in the 86th sloka. There the description is that of Easwara
playfully calling his wife lovingly by some other girl's name and then as
though he has suddenly realised his blunder brings his face near her feet. Ambal in an equal mood for flirtation lightly
kicks his face with her feet like dabbing with a cotton puff and the small
bells in her golden anklet make the sound of 'gili gili', which is the 'Jaya
Gosham' by Manmata on getting his revenge after waiting long for the same! So in the earlier part of the Soundarya
Lahari, the fact of victory of Manmata over Easwara has not been
mentioned. Probably it was retained for the
latter part of Soundarya Lahari where the literary nuances of the poet are more
abundantly explicit! What I intended to
say was that so far, till the sixth sloka, without explicitly saying so, the
poet had so far left it to our imagination and now he is clearly saying that these
slokas are addressed to Kãmeswari
leaving no chance for any doubt.
சிவ சக்திகளாக இன்றி சிவசக்தி ஒன்றாகவே
Instead of Separately as Siva and Shakti, as One Sivasakti
421. When depicting in drawings or sculptures,
showing both Kãmeswara and Kãmeswari, as
though she is seated on his left lap would be correct. But in sculpture and drawing we never come
across such presentation. If we try to visualise
it in our imagination, it seems that AmbãL has lost her importance and more
than half the space is occupied by Kãmeswara.
If in Kanchipuram only AmbãL is seated as Kãmãkshi, there is some other
logic of it. But if you seat Kãmeswara as
the central figure, it just cannot be helped that AmbãL will have to have a
secondary role. That is why including in
Raja Ravi Varma's painting of Rãjarãjeswari, only AmbãL is depicted. For a change I wonder as to why not some
artist try and depict both of them in one painting or sculpture, without edging
out each other, both of them having similar looking four weapons? Even as I describe, I see the problem in
doing so! That will be a challenge for
the artists abilities I feel!
422. While taking the name
of one, we cannot help remembering the other, between Kãmeswara and Kãmeswari. Showing one in the picture taking the name of
just Kãmeswari being not appropriate I suppose, we refer to her as Kãmãkshi, Rãjarãjeswari,
LalithãmbãL, or Tripurasundari or Vadivudai Amman I suppose! If we
carefully look into the Mantra Sãstrã, Rãjarãjeswari with bow, arrows, tying
rope and the goad, (Dhanur, BhaNa, Pãsa and Ankusa धनुर-भाण-पाश-अन्कुश), then in four more hands, we have two
hands holding a book, and Akshamala; with two hands showing the Varada and
Abhaya Hasta mudras! Then you have a
VeeNa resting on one shoulder with one of the hands already described, around
it. Lalitha Tripura Sundari will be
having both her legs folded while Rãjarãjeswari will be having her right leg
folded and her left leg hanging; as per tradition. When she is depicted as Kãmeswari, she will
be having only धनुर-भाण-पाश-अन्कुश in four hands sitting on his folded left lap will be having her
right lap folded and left leg hanging.
423. If you look at it as the Dhyãna Sloka, both Lalitha Tripura Sundari
and Rãjarãjeswari, instead of being part of or seated on the left side, have
been depicted as by themselves only.
When we sit down for Dhyãna or doing Japa for long periods of time,
focussing and concentrating our minds at the Atidevata for the Mantra, having two
figures is likely to be against Aikãgrata being aimed at, isn't it? To show AmbãL only as a single figure, ÃchãryãL
has cleverly given the logic in the 23rd sloka, that having not been satisfied
with appropriating the left half of Parama Siva, she seems to have stolen the right
side of his also and so retaining the red colour of the early morning Sun which
is her normal complexion, she is sporting the definite signs of Easwara, such
as the third eye between the eye brows and the crescent moon on her hair.
424. In one of the Upãsana Marga of AmbãL (known as Uttara Kowla) the
logic of this is given that, "Easwara has neither form or figure nor work. They are what AmbãL has
given him. So there is no form or figure
of his for us to do Pooja or Dhyãna.
Even if we do pooja there is no chance that he will respond with any
Anugraha! So we do not have to do Pooja to
Easwara at all and it is enough to do all that with AmbãL as
our goal and aim and Upãsana Murthy for Dhyãna, Pooja and all our devotional
activities. Keeping such varied opinions
in mind, the poet author has described only AmbãL instead of being with Kãmeswara.
425. Yes, at the start of Soundarya Lahari it was started only as
addressing two, the Murthy-s of Siva and Shakti, but with the aim of
concentrating on her attributes, qualities and power. So as the Universal Father and Mother of all
existence, the couple were both mentioned.
To start with it was necessary that due importance was given to her
being devoted to her husband, and so the pride of place was given to him. Then a few slokas were given preparatory to
her being venerated as the soul power of our attention, coming to the sixth
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