DEIVATHIN KURAL # 155 (Vol #
6) Dated 12 Apr 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 second paragraph on page No 1061 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
743. Let us start with the re-paraphrased
sloka No 41 and look at the meaning. तवाधारे मूले = In your Moola Aadhaara Chakra, (that is located at the lower
end of the spinal cord), लास्यपरया = interested in the dance
form of women folk known as Lãsya ; समयया सह = with his equal नवरस महातान्डव नटनम् = who is interested in the dance form meant for
the male folk known as 'Thãndavam' नवात्मानं मन्ये = I value the nine forms of Siva as Ãnanda Bhairava; with nine
different ethos and pathos, and meditate upon उदयविधिम = the
order by which the act of creation proceeds; दयया उद्धिस्य = by
kindness addressed सनाथाभ्यां एताभ्यां उभाभ्यां = these two as mutually
interdependent couples, इदं जगत = this world; is जनक जननीमत endowed with a rightful father and mother जज्ञे = it
744. This is the sloka in which both
Swami and AmbãL are adored together.
Here the Swami is referred as 'navãtmãnam'. In the first sloka in which that divine couple
were together venerated, starting with 'sareeram tvam sambo' (in the 34th
sloka), this name 'navãtmanam' occurred. Now in the last of such slokas in
which the divine couple are addressed together the same name has come
about. Here it has a reference to
Easwara's name in Moola Ãdhãra Chakra – as Ãnanda Bhairava. With this since the Chakra matter is over, 'navãtma'
in addition to meaning of having nine different formations such as 'Kãla Vyuha'
also means that he is the basis of six Chakras and three knots in them. Ãnanda Bhairava has his counter-part as
Ãnanda Bhairavi as an equal and hence the name 'samaya'!
745. तवाधारे मूले in prose order would become 'तव मूलाधारे', as addressed by our ÃchãryãL, 'Amma in your Moola Ãdhãra Chakra',
'samayayã saha' means 'with an equal', who is 'lãsya parã', is like an
adjective. If someone is involved in
dhyãna we may say, 'dhyãna parã'. Like
that she is fully involved in the art of 'lãsya', which is a type of dance more
suitable for females. Nataraja's dance
is Thãndavam which is more suitable for males being more vigorous and dynamic and
Siva Kãma Sundari does Lãsyam. The
changes in the speed, steps and beat are more pronounced in Thãndavam. In Lãsyam the facial and bodily expressions
and Abhinaya are more important. So
according to the natural inclination the dance forms were known as the
masculine Thãndavam and more feminine Lãsyam!
746. Parameswara is 'Maha Natan', the great
dancer! Even in the Amara Kosam the
Sanskrit dictionary he is defined as, 'Mahãkãlo Mahãnata:'. If he does not dance or move, the world will
stop moving! Even if the world is to be
destroyed, he has to dance the 'Samhãra Thãndavam' or what is known as the 'Oozhikkooththu'
Since in the first sloka itself it has been said that it is she who
makes him move, his Natanam, Nãtyam and Thãndavam are all due to her influence
only! Letting him dance more rough and violent
dances, she retains the right to do the very tender and delicate Lãsya
movements! Our actions of bodily
movements of love, anger, desire, sadness of competitiveness, excitement and or
passion are all due to these Lãsyam and Thãndavam by this heavenly couple only! When we are intensely sad, why should the eyes
twitch? When we are angry, why are our lips
and lower jaw be shivering uncontrollably?
These are all part of the expressions in Lãsyam!
747. Without feelings and expressions of
emotions, there are a lot of other movements in nature. There are illimitable numbers of stars and
galaxies of stars rotating on their own axis, expanding or contracting,
spiralling out or in of each other's influences! The planets are anyhow rotating on their axis
as well as going around their Sun dancing!
The electron clouds inside individual atoms are going round and round
their centre nucleus. The wind blowing gently as a breeze or as a
tornado is also a dance! Water flowing
as an uncontrolled flood in the rivers after a sudden rain is another type of
dance, while the ebbs and tides caused by the moon in the oceans are another
type of dance. These are all dances,
of ethos or pathos! But, when people are
affected by these natural events such as floods or ebbs and tides;
automatically such adjectives such as furious, violent, cruel, pleasant and
calamitous; get added to their description!
The fire with its hair akimbo as though it will gobble-up everything in
its way, spreading uncontrolled is another dance! The southerly wind known in South India as
the pleasing 'தென்றல்' – 'thenral', when it becomes intensified in magnitude and
power causes people to cry and panic!
Though the moon is just pleasantly pouring out its cool light, the moon
is said to cause much distress amongst separated lovers! Thus Thãndavam and Lãsyam of Siva and Shakti do
affect the life of all and sundry! That
is what is conveyed by this sloka that Ãnanda Bhairava Murthy is dancing the
Maha Thãndava Natanam with his equal Samayã who is keen on the Lãsya type of
dance full of the nine different varieties of ethos, pathos and bathos!
748. There is a name for AmbãL in Lalitha Sahasranãma
as, 'maheswara mahakalpa maha thãndava sãkshini' – 'महेस्वर महाकल्प महाताण्डव साक्षिणी'! But there the reference is
to the 'Maha Samhãra Thãndavam' of the end stages of Armageddon! Here what is mentioned is the Dance of
Creation! There when Swami is dancing
the Dance of Samhãra, she as the kind Mother is only watching the proceedings
as 'sãkshini' only. Here she is joining
this dance of creation! Even though she
is the 'sãkshini', as mentioned in the Lalitha Sahasranãma, when his is letting
flow a molten fire like in a volcano, she cools the situation down by a
down-poring of a rain of compassion. It
does not mean however that she is a hindrance in the way of destruction and
re-absorption, which has to anyhow carry on!
But like administration of anaesthesia during surgery and administration
of pain killers, she only alleviates the situation! Even planned offensive by an army is called
an 'operation', isn't it? So also is
Rudra's Operation of Samhãra! After all
Rudra is one of her appointees, isn't it?
749. Then the cycle has to turn around
again to 'Srushti' – 'Stiti' and – 'Samhãra', isn't it? He again becomes the Ãnanda Bhairava and with
AmbãL as Ãnanda Bhairavi, (that is the name of a Rãga in Carnatic classical
music), with her co-operation dancing the Thãndava – Lãsyam combination, with
music and dance! The poet is meditating on such a scene of music and
dance. Only when you are happy, you
think of singing and dancing as the white man does after drinking! We who do not know as to how to be happy are
only clearing our nose and throat most of the time! Easwara and AmbãL in blissful effervescence
are dancing. Because they are so, we
should not be taking too much liberty!
That is why they are combining their playfulness with the seriousness of
'Bhiaravam', which means an indication of anger, fierceness and
ferociousness. That is so that we may
keep within limits!
750. The Bhairava GuNa is only
temporary. Blissfulness is their
permanent nature. What is the biggest blissfulness
of theirs? To be loving and kind towards
all living forms is their biggest defining quality – 'sarva bhoota dayã' is
this couple's happiness. At the end of
the third line it says 'dayayã' meaning by their kindness! What do they do by their kindness? By their kindness they reconstruct and
recreate this world once again after the last act of 'Samhãra'! "That is very nice indeed! What is this kindness? We know that all the problems of existence
are due to the very act of creation, as we very well know already! So to be reborn in to the world of yet
another creation is not kindness but, cruelty, in my opinion!"
751. But that is not how it is. Even if they do not get involved in anymore
creation, before this sometime in the past there has been a creation, isn't
it? You are welcome to think this very
moment that there is no creation and get out of the cycle just now, like an
Atlas unchained! The Gnãnis
do look at the world as 'sarvam brhma mayam jagat' – 'सर्वं ब्रह्म मयं जगत', meaning the same as one of
the famous Maha Vãkhyas
– 'sarvamkhalvidam brhma' – 'सर्वं खल्विदं ब्रह्म'! But we are talking about all those who are
still involved. After one cycle of
creation is over, during Pralaya, everybody gets rest. Then again the cycle has to go on! "My Dear Sir, that is alright! Our only question is, as to why can't we call
it quits? We are only suggesting that we may not have
this cycle going on for ever, as it is given in Baja Govindam, 'punarapi
jananam punrapi maranam, punarapi Janani jatare sayanam'!" If you hold that opinion, let me point out
the mistake in that contention. Like
there are seven days in a week and 30 days in a month, the period of 'Srushti'
goes on for some million numbers of years, for which there is a fixed
calculation at the end of which there has to be a Pralaya. Will all the individuals of existence be fit
enough and worthy of Moksham at that precise moment? That is just not possible. Each individual
thinks no end to him or herself in whatever form and go on accumulating, yet
some more positive and negative Karma balances, which remain yet to be
accounted for, when the Pralaya occurs. The
period of Pralaya and the period before the next cycle of creation begins there
is a long period of rest compulsorily given to all and sundry! This compulsory rest uniformly given to all
is an act of kindness only! Though it
looks cruel to re-involve everybody once again in the business of worldly
affairs; in fact it is giving another opportunity for them to redeem
themselves. So this is also an act of
kindness only. It also proves that Easwara
as the creator firmly believes that every bit of his creation has the
wherewithal in itself to find the way through this maze! For the Human race, isn’t this belief of the
creator, something to be really proud of?
Without understanding the trust the creator has in us; we go on
accumulating the baggage of negative balances!
So, as a substitute for the unearned Moksham he gives us rest compulsorily
after the Pralaya, as an act of extreme compassion. Then again he gives us another opportunity by
being born yet again. Thus, these
repeated opportunities are very much an act of Kindness of the divinity towards
us human beings, undoubtedly!
752. With this aim in view, Ãnanda Bhairava
and Bhairavi, by their dance of Thãndavam / Lãsyam recreate the next Srushti out
of their extreme kindness and compassion and hence the poet added the word,
'dayayã'. Since they are the couple who re-create the world, they are the
Janaka – Janani, as a parent for all of us!
Thus our ÃchãryãL ties all of us in a knot of Love with our parents,
whichever nation or country or religion we may think we belong to, we are all
children of the same divine parent!
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