DEIVATHIN KURAL # 134
(Vol # 6) Dated 27 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 last paragraph
on page No 917 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
524. In Sanskrit if the words have to
be in an order in prose, as in any other languages too, in poetry, especially
in Sanskrit there is greater freedom in changing the order in which the words
occur. By changing the order the poet
may claim varying interpretations, to be equally applicable as meanings, some
evident, some not so very apparent and some deeply imbedded! What happens when people prostrate before
AmbãL and do Namaskãra to her, is described in the next sloka, (Sloka No 16) as
I told you that all your doubts will be removed:-
cheta: kamala-vana bãlã
ये संत: कतिचिद
ye santa:katichid aruNãmeva
सतां रन्जनममी ||"
= 'Poet's, चेत:
= mind which is like a forest of lotuses, (the thing that makes them bloom) बाल
– who is like the light of a young Sun in the morning;
you who are so red that could be called as 'AruNa'; ये
some good people, because of worshipping
by Brahma's love that is, Saraswathi's grace; तरुणतर
– by words that are both youthful and deeply meaningful; सतां
give a lot of pleasure to discerning audience.]
526. Immediately after describing the all pure
white Vãk Devi as an embodiment of Satva GuNa, in the very next sloka the poet is
describing the crimson red Swaroopa of AmbãL
representative of the Rajo GuNa. In the
early morning the eastern sky becomes red with the indications of the arrival
of Sunlight. The Charioteer of Sun is
known as AruNa of that crimson red colour.
First he is visible and that is, AruNodayam and then the Sun sitting in
the chariot is seen and that is, Suryodayam.
Here the poet is alluding to the variation of the red complexion of
Saraswathi Devi, who grants the special ability to her devotees, to pour out
beautiful, decorative and amorous flow of words of Sringãra. For people who worship her in these reddish
hues, are automatically endowed with such powers of expression more related to
the thrill of decorations, cosmetic make-up, trills and frills.
527. But this is not just the worldly ways of love,
lust, hankering, jealousy and one-up-man-ship.
This is more on spiritual principles of the natural beauty of attraction
and togetherness of Kãmeswara
and Kãmeswari. The ones to correctly understand such union of
divine beings are those who are pious and saintly beings themselves. In the previous sloka, the poet said that Sãdhus
by doing namaskãr
to the fair hued Saraswathi clad in all white, even once, become capable of
composing such songs which are also of the fair variety that will fetch the devotees
and aspirants to Gnãna. There is one stage in the mental and
spiritual development of the aspirants, when their clarity of existence itself
can be titillating, exciting and invigorating!
This is a special attribute of such Sãdhus. For their thrill, the devotees of this red
hued Saraswathi compose and sing. In the
previous sloka, the poet had spoken about how they have been endowed with such
voice as being equal to, 'madhu, ksheera and draksha' – 'honey, milk and
grapes'! Now in this sloka, these
devotees of this red hued Saraswathi, 'vidhadati satãm
ranjanam amee' – by their poetry thrill those 'Sãdhu
Jana', which means that – the poets of the previous sloka are the fans – Rasikãs
528. So, the poets here are – what can be called –
super refined Sãdhus. From the fair and white hued Saraswathi,
those who obtain the literary abilities are the generally good people referred
in the previous sloka as, 'satãm'. From within them – that general lot – when it
comes to some who sing with the slant on 'Sringãra'
– are 'katichit santã:'
– some rare saintly persons. That is,
from within those saintly persons, those who have reached the Nayaki bhãva –
those who have started loving God – uncaring for all views, opinions, status
and identities; but Love God for the sake of Love alone! There is rhyme, reason and logic in calling
their pleasure as 'ranjanam'. The letter
'R' here is indicative of the colour 'red', the redness of fire and the heat of
love! So, 'rum + janam = ranjanam' means
to cause the sense of satisfaction in people that is said in Tamil as, 'ஜன ரஞ்ஜனமாக இருந்தது'
and in English we refer to our Love as, 'My flame'! It is the redness of maturity and
ripening. We note that a ripened fruit is
red in colour, isn't it?
529. To bring forth maturity means repair,
refurbishing and refinement. The poetry
by devotees of this red-hued Saraswathi, enable other Sãdhus
to enjoy the pleasure of refinement and self-improvement. Their poetry is also full of red hue, as it
is about the love between the devotee as the Love and God as the Lover! Such poems of passion are, '
the poet says, meaning that 'they are poems with a depth of inner
purport'. On a cursory glance, they will
seem to be only amorous and sensuous – a Sringãra
Lahari. But on deeper analysis, they
will be seen to be full of hidden gems of wonderful principles! Kãmeswari
herself has a name as AruNa, as her Dhyãna
sloka itself starts off with, "अरुणां
here the poet is describing the eight armed 'AruNa Saraswathi', who is having Kãmeswari's
and Ankusa', and Saraswathi's 'Aksha mala, Pustaka, Varada and Abhaya' mudras
and is thus called as 'AruNa Saraswathi'!
530. In the next sloka (Sloka No 17), the poet
talks about the sort of benefits (சாரஸ்வதமான சித்திகள் – the sort of endowments as one would relate to
Saraswathi, in terms of their being oriented towards brain, knowledge, intelligence,
intuition and Gnãna),
that will be accruing to the devotees who worship, Lalitha Tripura Sundari
herself! When we refer to Saraswathi in
the singular as 'Vãk
Devi', then it refers to only Saraswathi.
But in the plural the Vãk
are eight in numbers. Those eight are
known as, 'वसिन्यादि
meaning eight such deities starting from Vasin, who on orders of AmbãL
are said to have sung the famous Lalitha Sahasranãma. From 'अ'
the 16 vowels have one Devata, 'क,
ख, ग, घ, ज्ञ'
ठ, ड, ढ, ण'
थ, द, ध, न'
फ, ब, भ, म'
र, ल, व'
ष, स, ह, क्ष'
the eighth; thus there are totally eight 'Vasinyãdi
Devatãs'. In the Sri Chakra, in the seventh ÃvaraNa,
will be seated in the eight directions around AmbãL.
531. Since they are the Mothers of Speech, the next
sloka is started with the words, 'savithreebhi: vaachaam' – "सवित्रीभिर्वाचां". There is a type of Sphatika Crystal stone
known as 'Chandra Kãnta'
on which when the moon light falls it oozes some water like fluid. (KTSV adds:- I have noticed that in Goa there is a Siva Temple where the
Siva Ling is made of such a stone and have literally seen the phenomena of the stone
melting as though when the moon light happened to fall on the Siva Ling statue in
the city of Marmagoa.) In that Sphatika stone
Devatas are located. In one sloka (the
15th), the poet said, 'sharat jyotsnã
and then in another he said 'aruNãm'. But here AmbãL
is in the red hue of 'AruNãm'
seated in the centre like the Queen that she is, while being surrounded by all
fair white hued Vãk
Devatas like the 'sharat jyotsna shuddham'.
The devotee who virtually gets immersed in visualization of such a
scenery – 'sanchintayati ya:' – 'संचिन्तयति
inheres such poetical brilliance to be author of epic poems – 'महतां
भङ्गिरुचिभि:', 'mahataam bhnagi ruchibhi:'
'பெரியவர்களின் சொல் ஒட்டத்துக்கு உள்ள சுவை'; automatically accrues! Words of appreciation
in culinary expertise such as 'Ruchi – रुचि', taste and 'சுவை', have been uniformly used for literature also, since
'if one is food for the stomach and tongue, the other is food for thought and
mind', I suppose!
532. Instead of
the taste recognizable by the tongue only, here the poet is also including the
fragrance and smell recognizable by the nose too. As he had earlier said that the Vãk is as sweet as the 'honey, milk and grapes', he mulled
over which smell to compare with. If AmbãL as Saraswathi is surrounded by the Vãk Devatas, what will be the sort of smell arising from
the lotus of her face, he must have wondered.
Then the poet decided that it is better to do the comparison in reverse
instead of comparing the divine fragrance from Mother's breath with anything of
the world! So he ended up saying,
"the fragrance of the words of devotees of AmbãL by her Anugraha will be as divinely fragrant as
Mother's breath – "वचोभि:
वाक्देवी वदन कमला मोद मधुरै:" – 'vachibhi: vãkdevi vadana kamalã modha madhurai:'!
Saraswathi is Suddha Satva Murthy as a refuge of all education,
knowledge, arts, crafts including literature and culinary expertise! Without any 'Jintan' tablet or mouth wash or
any such contrivance; her breath will be naturally fragrant. Her hair without flowers will be full of fragrance. In fact in a subsequent sloka (the 43rd) he
touches this very aspect as to how the flowers of heaven look forward to at
least a transitory stay in her hair, so that some of the fragrance of AmbãL's hair will rub off on them! So the natural fragrance of the breath of AmbãL and the smell from her mouth will get reflected in all
the writings of her devotees, as the fragrance of Saraswathi's Aksharãs will be
in every letter of her devotee's writings!.
Even the readers of such poems will be entitled to enjoy that fragrance
by inference! In the process their mouth
and breath will also smell sweet and nice! That is how a poet cum devotee known
as VaLLalãr has sung about his God, "வள்ளால்! உன்னைப் பாடப் பாட வாய் மணக்குதே", meaning, "You giver of boons, as I keep
singing about you, I notice that my speech, mouth and breath are all becoming
533. That AmbãL sanctions your power of expression has also been
mentioned in many other places in the later Soundarya Lahari portion also. Being breast fed by her imparts a tremendous
literary power of expression is quoted in Sloka No 75. This actually happened in the case of Thiru
Gnãna Sambandar as a baby was crying for milk on the banks
of the temple pond when the father had gone in the water to bathe when he was
only three years of age and was breast fed by AmbãL the Mother of the whole world! Later he went on to make a mark as one in the
holy trinity of Appar, Sambandar and Sundarar!
In another sloka, Sloka No 98, it is said that even a dumb from birth
gets the power to compose and write poems!
This happened in the case of Mooka, who was deaf and dumb from birth, by
the Grace of Kãmãkshi AmbãL, that he went on to sing 500 poems of exceptional
beauty and intensity of devotion, known as Mooka Panchasatee, songs from which have
been quoted in this narrative before this. Then in 99th Sloka the poet says that even
Brhma becomes jealous of the recipient of AmbãL's Grace that he has been showered with more of
Saraswathi's Katãksha, though Saraswathi is his own wife!
Labels: posted by Lt Col KTSV Sarma