DEIVATHIN KURAL # 158 (Vol # 6) Dated 18 Apr 2013

DEIVATHIN KURAL # 158 (Vol # 6) Dated 18 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 last paragraph in page No 1084 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)

775.            I was talking about a variety of relationships between AmbãL and Swami, in which contrary to the normal opinion that she is the more active and dynamic entity while he is the dormant one; there is an occasion like at the time of Maha Samhãra, when he is more active and she is only the witness, he is the actor and she the spectator – that is how the words have formed around the idea – 'mahã samhãresmin viharati sati tvatpatirasou' – "महा संहारेस्मिन विहरति सति त्वत्पतिरसौ".  In yet another place in sloka No 9, the poet uses the word 'viharasi', to mean that she is playing around.  Then the poet very clearly says that she is enjoying playing around in the company of her husband when he says – 'sahasrãre padme saha rahasi patyã viharase' – "सहस्रारे पद्मे सह रहसि पत्या विहरसे".

776.            A Yogi when he awakens the KuNdalini Shakti and progressively moves from the Moola Ãdhãra to the Sahasrãra, AmbãL who is of the form of that power revealing herself completely plays with her husband; that is, the fact of union of Siva and Shakti is made clear there.  That is the last stage of involution.  With that there is integration of Jivãtma with Paramãtma that happens, resulting in Moksham / Release / Re-absorption / Experiencing of Ãnanda Anubhava and also Samhãra – without any cruelty!  Then it is not a flow of Amrita but becoming eternal with loss of mortality and gaining of immortality!  Then it is the Mother who is the very personification of Love is pleasure fully –'viharasi', while the action of 'Samhãra' is that of Swami!

777.            Amongst their relationships there is also the Guru –Sishya relation.  Mostly Swami will be the Guru and AmbãL the disciple.  (Amongst the scriptures devotional procedures meant for Siva are known as 'Ãgamãs', those meant for AmbãL are known as 'Tantras' and the methods related to Vishnu are known as 'Samhitas'.)  Though she is Gnãnãmbika, that is in other words omniscient, to enable world to know the fact that for a woman, the husband is in the position of a Guru – friend, guide and philosopher; remaining in the position of a disciple demonstrates how she learns the subtle points from her husband!  This relationship between AmbãL and Swami has been brought out in sloka No 31, in an indirect manner.  That is the speciality of Soundarya Lahari, in that it excels in varied forms of presentation of information, using yet another novel method, the next time around!  Let me explain.

778.            Swami was teaching the methods of Tantras, which are 64 in number, which are capable of giving a different 'Siddhi' for each of the Tantras.  Having taught them all the 64 Tantras, the preceptor was silent and had closed his eyes!  The poet says here, "Then you were wondering as to why the teacher had closed his eyes and is keeping quiet!  That though each of the 64 Tantras are capable of giving the Sãdhak a different fruitful effect, you were wondering as to why the preceptor had not revealed the Sri Vidya Upãsana which can give all the fruits in one go!  Though it has all the Dharma, Artha and Kãma effects; turning all the outer pooja into an inner process of ennoblement; it is one route by which all our tendencies and predilections can be channelized into Self-Realization / Ãtma Sãkshãtkãrã; why is he not talking about that?" You considered this to be injustice to the people of the world, who are after all virtually, your children.  So you forced him to teach your Sri Vidya Tantram, which can independently give all the benefits in one go!  The poet has used the word 'nirbandam' to mean 'forced' – "punstvan nirbandaat…svatantram te tantram" – "पुनस्त्वन् निर्बन्दात्...स्वतन्त्रं ते तन्त्रं".  Here, 'te tantram' means 'this your tantram' meaning 'Sri Vidya'.  The word 'svatantram' means, that which can give all the benefits independently of the 64 Tantras!

779.            He used to be like a photograph on a calendar, which she pulled out and pressed in to all the involvement in the affairs of the world in which he got too engrossed.  From the state of inertia that he was in that none could match, he got so powerfully energetic that the whole universe was shaking by his over active dancing!  That is the 'pancha kritya parama ãnanda thãndavam'!  Then he had the samhãra thãndavam also up his sleeve, that too making the Maha Parã Shakti only a witness, he kept dancing away to glory!  Then there were seven different types of dances such as the 'Ajapã Natanam', 'Kukuta Natanam' and so many more!  Then there was one totally different as 'Nava ThãNdavam' of nine varieties!  Then there was 'Bikshadanam', 'Tripura Dahanam' and 'Jalandara Vadam'!  In just one place known as Madurai, he has play-acted 64 different roles known as 'Thiru ViLai ÃdalgaL'.  He, who could be so dynamic, has stopped short of telling people as to how to leave all the dualities of the world and proceed to Adwaita Moksha in one go!  Then what is the use of talking about the 64 Tantras which would give those 64 different benefits, which are like marbles as compared to the gem of what is Sri Vidya Tantra!

780.            Then she told him, "OK, My dear Sir, You play around as much as you wish!  Remaining cool and collected inside, you can afford to be so dynamic outwardly!  But what can my poor children do?  So, even if you make them dance to your tunes up to a certain stage, making all that action useful for cancelling past negative Karma and useful for 'Chitta Shuddhi' of getting clear headed; you have to guide them to total inner peacefulness and stability, for which you have to teach them 'Sri Vidya Upãsana'!"  Raising her voice, she said, "Are you going to do that or not, lest I start working on you!"  Thus she forced the issue on him that, what he was not ready to reveal to the innocent world, he had to part with and give instructions on!  It is the method of devotional procedure for the people of the world to approach AmbãL only!  Instead of talking about it herself, she wished to demonstrate her duties as a loyal wife as well as a good disciple of the Guru.  Simultaneously she wished to benefit all of us who are her children and demonstrate that more than the devotion for her husband and respect for her Guru; it is the 'Vãtsalyam' – the Love for her children that wins over the situation, to force her husband to teach the people of the world the intricacies of Sri Vidya Upãsana!

781.            Out of the many special qualities of Samaya Tantras, one important quality is that, it is very commensurate with the Vedic methods and procedures.    Of course all Tantras are amenable to Vedic methods.  Vedic and Tantric are not to be thought of as two opposing approaches at all, but at the same time not all practices of the Tantric are completely acceptable to Vedic ways and means.    Our ÃchãryãL it was, who re-established the clean Vedic Pooja traditions vibrantly, with the mantras that could be common for both.  Like the Siva Pancha Akshari mantra, there are some mantras which clearly occur in Vedas.  Even those that are not so clear are indirectly indicated.   Hence while establishing the Sri Vidya Upãsana our ÃchãryãL has made use of 'Samaya Achãram' traditions and Paddati only!  That is what he points out as, 'your Tantra' – 'ते तन्त्र', that is "you forced the issue that Swami must publicise your Tantra of Sri Vidya for the whole world to know and got your way", he says in the 31st sloka.  Amongst the 64 Tantras, in many of them, all importance is given to AmbãL and Swami is second or third or even ignored.  Only in this 'Samaya Achãram', (though is considered as entirely that of AmbãL), Swami and AmbãL are considered at par, with equal importance!  Instead of giving too much importance to what is solely about her devotional procedures, that she has given more weightage to Sri Vidya, which gives equal weightage to Swami and AmbãL; clearly brings out her faithfulness and fidelity for her husband as well as her 'Vãtsalyam' – her love for her children!

782.            He is high above her as the Lord, the husband, equal, just like that name-sake husband, her Guru, her appointee, officer deputed by her, her devotee, son, grand-son, donor of half of his body to her as she is 'ardhãnganã', and when he is the donor of the whole of his body, she is the aggressor occupier, she is also assurance of his wellbeing, his insurance policy, his very life, motivating force; are some of the ways by which they are related to each other as depicted in the 41 slokas of Ãnanda Lahari, the first part of Soundarya Lahari!  Despite all that, the special points of Sri Vidya Tantra are more important to that part of Ãnanda / Soundarya Lahari!  The two Mantras that occur in Sri Vidya Tantra are given in the 32nd and 33rd slokas, which are considered as the very life line of the whole lot of 100 poems!  If the later part of 59 slokas are descriptive of her form and figure, these two slokas depict the same AmbãL in the form of 'Aksharãs'!  You know already the word 'Aksharãs' have one meaning as 'Letters' and another meaning is as 'imperishable-s'!

783.            The deities have a physical body or the gross body that is seen by the eyes and have the subtle body that is the Akshara Sareera of sounds of Mantra, heard by the ears (Sravya Roopam) that is spoken about by the mouth (Vãchya Roopam)!  We can go on discussing as to which is more important, till the cows come home and never come to an agreement!  Chanting the Mantra Roopa, if we arrive at the more easy to comprehend physical form, the Mantra Roopa becomes the means for grasping the physical form isn't it?  Now, you make up your mind as to what is the aim and which is the approach for that!  When we take it as Soundarya Lahari, then that is the latter half of 59 slokas and the first part is the means for that.  The mantra Sareera is so that we may chant and keep chanting till we see AmbãL face to face, which is the fruit of our efforts!  I do not know as to what I am likely to say in some other occasion.  But taking it as 'Soundarya Lahari' I am going to give the full marks for her physical beauty only.

784.            Talking about all the esoteric points of philosophic importance, we have been brought to the point of correctly identifying our parents – 'Janaka – Janani', bringing us face to face with our Mother, where all Tatva, Tantra and Mantra finish!  For a child the Mother's face is the 'be-all and end-all'!  The first thing that we learn as a child after our birth is the face of the Mother!  More than the colours of the V I B G Y O R, it is the mother's face that sends the child into raptures!  So, she is the Janani, the mother!  You can pack up all philosophy and abstruse ideas and concepts!  Here after the 41st sloka commences the Soundarya Lahari, waves and waves of her beauty is to flood us all, in the days to come!

(To be continued.)

Sambhomahadeva