DEIVATHIN KURAL # 131
(Vol # 6) Dated 21 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 middle of page
No 897 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
was telling you about the sloka in Soundarya Lahari (No 11) that describes the
Sri Chakra aka Sri Yantra. Those nine
triangles which cut each other to make 44 triangles of six ÃvaraNãs (that is concentric areas) are situated
as so many garlands. Amongst these nine
triangles four are said to be Siva Chakras and five are said to be Shakti
Chakras. The central triangle is also
part of the Shakti Chakras. At the time
of doing pooja whether it is Yantra or Idol, it should be facing the direction
of East. In the case of Sri Chakra the
centre triangle should be towards East as well as the one doing pooja. That means, the person doing the pooja should
be facing west.
depict the Aikyam, that is Adwaitic oneness of the Siva and Shakti Tatvams that
is principles, they are shown as intersecting or rather intermeshing each other.
The 44 triangles so created due to such entwining and inter mingling, as well
as the eight lotus petals in the inner circular perimeter and the 16 lotus
petals in the outer circular perimeter, the circles and squires of three lines
are all being accounted for in the 11th sloka.
These are not to be treated like reading some novel or something to be
known in academic interest. These are to
be received from a Guru and to be kept as a secret, not to be flaunted about. I told you only a little bit as I did not
want to leave it totally uncovered! That
does not mean however, that you are to take it lightly.
உவமிக்கவொண்ணாத உருவழகு; காண்பதற்கொண்ணாத காட்சி!
Incomparable Beauty and Scene Never Seen Before!
495. Having spoken about the Sri Chakra, as though
over taken by a thought suddenly, "This whole work is Soundarya Lahari and
I should be talking about AmbãL's
innate beauty and not be talking about other subjects", the poet bursts
out with "त्वदीयं
the very next sloka meaning, "Yours this beauty!" "I described you in the form of so many
angles, triangles, circles and squires with all details, didn't I? But I am not able to describe your incomparable
beauty. So far, no poet has been able to
do justice to this one subject", says the poet.
496. Brahma is the first poet, as the Bhagawatam
says in the very outset, "आदि कवये"!
When Saraswathi, the Goddess of all knowledge is Brahmas' power, who can
be a greater poet than Brahma? That he
has written stotras on all deities is noticed when we read the PurãNãs. Normally when faced with difficulties or
problems, all the Devas will go to Brahma and complain. Then he will take them all to Vishnu or Siva
or any one particular deity and request that deity to do the needful to
ameliorate the situation. On such occasions
he will do a stotra on that deity. So
has he done a stotra on AmbãL
also, for example in Durga Saptasati when the whole lot of Devas were troubled
by Madhu-Kaitaba Asuras, he has sung a stotra on AmbãL. Even he Brahma aka Virinchi is incapable of
properly describing her essential beauty.
497. Let us look at the sloka (No 12) as it says
tvadeeyam soundaryam tuhinagiri-kanye
कल्पन्ते कथमपि विरिञ्चि-प्रभृतय: |"
kaveendrã: kalpante kathamapi Virinchi-prabhrutaya:
| This phrase विरिञ्चि-प्रभृतय: means Brahma et al. They
tried to describe your beauty. 'Tulayitum'
means to weigh. 'Tula' means the
Balance. How do we weigh things in the
balance? Directly we are not able to
weigh and find out its weight (except in some modern gadgets). So on one side we place a known measure of
weight and against that measure whatever the thing we wish to weigh. But to weigh AmbãL's beauty,
they are not able compare it with any one known object on earth! That is the simile aka Upamãnam. When we compare, a face like a moon, eyes
like a lotus, and hair like waves of bees, it is as though we have been able to
think of comparisons. But about AmbãL we
are not able to even make such comparisons.
Despite thinking of similes, metaphors and symbolism, after much
searches and deeply thinking about it, even recognised poets like Virinchi are
unable to think of true comparisons – 'कथमपि कल्पन्ते'! He says, 'somehow they
are trying to think of' and stops there, just short of saying, 'that they are
not able to'! It is like saying, "I
tried my level best to reach there in time", instead of openly saying that
498. "Having described the form and figure of
the Yantra, when I attempted to describe her (Soundarya Roopam) beautiful form,
it was found to be beyond the confines of the words – 'varNana ateetam'. Since direct description was beyond my reach,
when I tried to draw comparison and parallels, in doing so even poets from Brahma
onwards have failed"! By such
descriptions, he has proved as to how her beauty is beyond comparison and is
unparalleled! Let descriptions be set
aside; first is there any poet or devotee, who has himself seen that beauty
fully and known about it? There is none
like that! When nobody has seen her themselves,
how to describe her to others?
499. Why are you saying that nobody has seen her
before? We cannot say that nobody has
seen her at all. Many poets have
described the fact of having had her darsan. But instead of giving a complete audience
as V.I.Ps do nowadays, she will give a revelation for a fraction of a second
like a flash and vanish! Even for those
who had completely surrendered to her, after having had a darsan only a part of
the complete scene – such as her eyes or a corner of the eye showering
compassion and love, or her mouth with the suggestion of a smile – mandasmitham
– 'मन्दस्मितं', of her will remain etched in
their memories and not the whole figure from the hair style on top of the head
to the feet!
500. She reveals her entire body beautiful only to
one other person that is her husband – Parameswara, with whom she is
inseparably one. So as to involve him in
herself and thereby get him absorbed in the Leela of the world, that she
assumed this extremely beautiful form of Tripura Sundari. That body is totally offered in obeisance to
only to him in total surrender as a faithful consort. She may show herself to others in flashes
even when giving darsan, not revealing all her beauty. To her devotees she will be full of love and
compassion, but when it comes to her Soundaryam, it is all for her Other Half
501. When I say this, it may mean that later in the
second half of the Soundarya Lahari, when ÃchãryãL describes what he has seen
and observed a little more in detail, may also be considered as an incomplete
description. A Mother does not have to
display all her beauty as she would her love for the child. All the decoration that she may do to herself
is for the pleasure of the husband only and not the baby. In fact without any need to make herself look
beautiful, naturally she has taken a body as she is verily beauty personified! When such is the case, how can anybody really
describe her as she is? First of all,
they do not have a complete understanding of her beauty. Then when they try to do justice to what they
have seen and known, being beyond the powers of words to describe, they find it
difficult to say anything. Then when you
think of drawing parallels, or give simile of example, again they find
themselves in a 'log-jam' of sorts, as her beauty is simply beyond compare, as
there is nothing in the world of which any part of it can be compared with any
part of her – she is simply beyond compare!
502. The poet has put across with very subtle delicacy
will reveal all her beauty only to her husband Parameswara. Let us look at the next two lines of the
अमरललना यान्ति मनसा
Yat ãloka outsukyãt
amara lalanã yãnti manasã
गिरिश सायुज्य पदवीं ||"
dush prãpãmapi girisha sãyujya padaveem ||" The phrase 'amara lalanã' means celestial damsels. Names like Rambã, Tilottamã,
Urvasi, Menaka and such comes to our minds as we have read about them in PurãNãs
/ Ithihãsa as great beauties among the celestial damsels. Even they, having had just a glimpse of the
beauty of AmbãL
feel, "In front of her beauty, what is ours? What we have seen after all is very little! We should be seeing more of her!" Normally when a musician hears another's
music who is popular will feel only "What is great about it? Let me know that!" Almost in all walks of life such is the
reaction. Similarly those divine damsels
wish to see the AmbãL's
beauty in full. The phrase 'yath
means 'because of a natural desire to see that beauty in full'. That beauty is the 'tvadeeyam soundaryam'
quoted in the first line.
503. Wishing to see the full beauty of AmbãL, what do the celestial damsels
do? "What is the use of our wishing
to do so? She has sacrificed her entire
being including her body to Easwara and so only he can have a wholesome darsan
of hers. So, now if we become one with
him, attaining 'Siva Sãyujya
Padavi', then we can also enjoy her wholesome beauty in totality!" That is what they think, as per the meaning
conveyed by the sloka. Some devotees out
of their Bhakti for Siva have an uncontrollable thirst for 'Siva Sãyujya Padavi', for which they are
ready to go to any lengths of trouble.
There Siva Sãyujyam
is an end in itself. Such a great status
these celestial damsels wish to have, not as an end in itself, but as a means
of viewing the complete beauty of AmbãL! Thus even the great 'Siva
Sãyujyam' is only a Sãdanam for attaining to the Sãdhyam aka objective, the full
darsan of AmbãL's wholesome
504. So, OK!
Rambã and Menaka et al are wishing so. Does it mean that they can get 'Siva Sãyujya Padavi'? Is it something that can be obtained like 2 Kilos
of potato or something from the corner shop?
That is what is mentioned as 'tapobhir dush prãpãmapi', impossible even after much Tapasya! Normally these celestial damsels are given a
job of distracting Rishis who are deeply in penance and austerity, as we have
seen in the case of Vishwãmitra! They
cannot be having the 'Indriya Nigraha' to do Tapasya. So what do they do? Is there is any limit to imagination? We can have any amount of aspirations. What cannot you do by building forts
mentally? Thus those girls Rambã, Tilottamã, Urvasi, and Menaka are, 'yãnti manasã girisha Sãyujya padaveem', becoming Siva, themselves mind
505. But that state is unattainable, however much
you may imagine. Kenopanishad says,
मनसा न मनुते" – 'yan manasa na manute', meaning
'that which cannot be imagined'! That
means that, they are only dreaming and have neither become Siva nor have they
seen her complete beauty! When in the
first half of the sloka it is said that, to the extent they know, they are
trying to find comparison and parallels, using all their imagination, what does
it mean, except that they are unable to do so, isn't it? So also in the second half of the sloka, when
it is said that those celestial damsels are trying to mentally imagine becoming
Siva, it only means that they are doing so in vain. The poet does not wish to say that all the
Devas from Virinchi downwards and these celestial damsels have all failed in
their aspirations! This sloka in the Ãnanda Lahari portion virtually
lifts the greatness of AmbãL's
beauty to the high heavens and beyond!
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