Friday, June 07, 2013

DEIVATHIN KURAL # 183 (Vol # 6) Dated 07 June 2013

DEIVATHIN KURAL # 183 (Vol # 6) Dated 07 June 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 page No 1268 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)

தாமரையும் ஒப்பாது!
Even a Lotus Cannot Match!
1052.      If we say that the feet are like the lotus flower, that comparison will not be very appropriate either.  Actually there is no need for comparing of AmbãL's feet with anything in the world, so as to give some enhanced value for those feet at all!  In fact ÃchãryãL has written this sloka No 87, in which he has clearly brought out as to how those feet of AmbãL aka in Tamil as 'திருவடி' are far superior to the lotus flower in more ways than one!  Let us make a quick comparison.  The lotus flower starts wilting in snow-bound areas and not seen much in mountains, whereas AmbãL's feet thrive in such environment being the daughter of the King of Himalayas and the wife of Kailãsa Pati!  The Lotus is wilting in cold areas - 'himãni hantavyam' – 'हिमानी हन्तव्यं', while AmbãL's feet are efficient in mountainous abodes – 'himagiri nivãsaika chaturou' – 'हिमगिरि निवासैक चतुरौ'!  No wilting or waning for her feet in those environs whatsoever as it is her home-ground.  Then this lotus flower closes its petals in the night time as though it is sleeping – 'nishãyam nidrãNãm'- 'निशायां निद्राणां', whereas the feet of AmbãL are ever ready to run to the devotee's help whether it is day or night or morning or evening – 'nishi charama bhãghe cha vishadou' – 'निशि चरम भागे च विशदौ'.   Then while the lotus considers it an honour to host Lakshmi, Lakshmi herself values her stay in AmbãL's feet as they make available 'Lakshmi' / 'Sri' / 'Thiru' to her devotees instantly!   If the lotus keeps Lakshmi within its confines – 'varam lakshmi pãtram' – 'वरं लक्ष्मी पात्रं', these feet make Lakshmi meaning Wealth and Well-being plentifully to all the devotees – 'shriyam ati-shrujantou samayinãm' – 'श्रियं अति-श्रुजन्तौ समयिनां'!  So all said and done, your feet are hands-down winners over the lotus flowers, there is nothing surprising in this, since after all your feet are beyond compare – 'sarojam tvat pãdou Janani jayata: chitram iha kim?' – 'सरोजं त्वत पादौ जननि जायत: चित्रं इह किं?'! 

செம்மையின் பெருமை
The worth of Redness

1053.      All body-parts – all the waves of the ocean of beauty – have been described in divine words.  Then in sloka No 92, there is description of the 'Asana' on which this form is seated, describing the combined effect of the effulgence of all the body parts.  In Lalitha Sahasranãma there is this name – 'udyad bhãNu sahasrãbhã' – 'उद्यद् भानु सहस्राभा', meaning the net-effect of redness of a thousand early morning raising Suns, which is followed by the 'keshãdi pãda varNana', there in Lalitha Sahasranãma.  While here in Soundarya Lahari, as a difference, after description of all the body-parts, he has come to the total colour effect of AmbãL's personage!

1054.      I have already spoken to you about the Asana that has four of the Pancha Kritya Murthys as the four legs and the fifth one Sadasiva as the top-board.  (Please refer to Paragraph 214 onwards in Deivathin Kural # 104 (Vol # 6) Dated 26 Dec 2012, for details.)  On top of it is AmbãL seated as Raja Rajeswari, who by her dominating red colouration is causing the colourless / white crystal like Sadasiva to get super-imposed by the redness of AmbãL so much that he becomes Kãmeswara of the hue of Kãvya Nãyaka appealing to AmbãL as very desirable!  Since they both have to become Kãmeswara and Kãmeswari – the Father and Mother of all would be world; the poet has made a mix of poetry, colour theory and principles of genesis.  If by one glance of hers if that recondite Yogi can turn passionately erotic; we should understand that by an opposite stroke she is capable of removing the paralysing effect of all sensuality, passion and lust!  While the stotra is talking about evolution, we should understand that we should be giving our minds to the other side of the coin that is, towards involution.  Like the redness of the morning Sun, so is the AruNa of the setting Sun in the evening too. So while the attractiveness of the rising Sun with its décor is capturing our imagination, let us give our minds to the preferability of Samadhi.

1055.      The red colour indicates activity and dynamism.  The whiteness is indicative of peace and Shanti.  In this human body also when there are greater healthy inputs there is reddish hue.  When we defeat the opponent we say that we roundly defeated him red and blue or that we caused him to pick up the white flag!  AmbãL is causing the whiteness of Siva to become red, so as to organize, manage and run the Kãrya Prapancham along with her.  Let the redness of Sringãra be aside, what we need is the redness of kindness and compassion.  The very logic of creation of Sringãra Rasa is due to the first urge in the undivided oneness of Brhmam to show love or demonstrate love.  But to whom is this love to be shown to or directed towards?  So there had to be an object, towards whom that love can be directed. Hence the decision to play the game of Love and play the game of Daddy-Mummy for the whole of creation!  So from the wholeness and oneness of white, the first colour that separates is this Red and then the other colours of Red à Orange à Yellow à Greenà Blue à Indigo à Violet à Ultra-Violet and it goes on!  As Siva and Shakti as husband and wife; it is conjugal love and as towards children and various forms of living beings and animate and inanimate life; it is kindness, compassion, 'Grace', 'करुणा', 'அருள்', 'वात्सल्यं', 'அன்பு'   and 'Redness of maturity and ripeness'! 

1056.      Please do not think that I am just creating some world of mine own here and that I have jumped or made a paradigm shift from the different hues of the red indicating the various related aspects of the whole range of Love and Passion to the red hues of kindness and compassion!.  From the sweetest of the Mango fruit to the bitterest of the bitter gourd; with ripeness and maturity come redness and some sweetness too!  The science teacher and the instructor in survival techniques will tell us that redness is both a danger signal as well as 'not to be ignored' sign so that our own minds may also be ripened and matured!  That is what our ÃchãryãL has said in the next sloka, 'jayati karuNa kachid AruNa jagat-tratum sambhor-jayati KaruNa kachid aruNa' – 'जयति करुणा अरुणा; जगत त्रातुं-संभोर-जयति करुणा काचिदरुणा''संभो:' – the non-moving inert Siva's, 'करुणा' – compassion and love; 'जगत त्रातुं' – for protecting the world काचिदरुणा – becoming an indescribable redness (as AmbãL), is जयति – is victorious!  It is Siva's kindness that is AmbãL, "Whose hair is twisted (while nothing else is twisted!), her smile is so easy and natural; whose mind is soft like the Sireesha flower; whose breast area is hard like a rock; whose mid-riff is slim; filled and wholesome in the chest and back and that is red all over, Siva's indescribable beauty of kindness is successfully victorious so as to save and protect the worlds! That is the message of sloka No 93, which also is a message of the oneness of Siva and Shakti – 'Shiva- shaktaikya roopiNi' – 'शिवशक्त्एैक्य रूपिणी', bringing in the Siva – Shakti Adwaitam!

சந்திரன் ஒரு வாசனைப் பெட்டி
The Moon as a Box of Cosmetics & Scents!

1057.      This next sloka is a change in the perspective, in all fun!  Between wedded couples, a wife needs some cosmetic essentials in support.  This is the main idea in sloka No 94.  So this moon is in fact the utensil or box of cosmetics and scents in which some of the essential items such as Rose-Water, a fragrant turmeric powder known as 'Kasturi ManjaL'.  Then there is some refined camphor known as – 'pachchai kalpooram' – 'பச்சைக் கற்பூரம்' or green-camphor in Tamil, which can also be used to add fragrance to sweet dishes like Sweet porridge with milk known as Pãyãsam / Kheer!  That item looks like colourless pieces of flakes.  The poet says that this Moon is basically a box in which this lady keeps her cosmetic materials.  When full, it contains Rose Water, Green-camphor and 'Kasturi ManjaL'.  The smudge like thing seen on the surface of the moon is actually a piece of musk deer's excreta (let us call it M.D.E.) from its naval, which in very small quantities is wonderfully fragrant! It is either this 'Kasturi Manjal' or M.D.E. that, looks like the smudge on the face of the moon.  Moon itself is only a small emerald receptacle from which AmbãL is using up these unguents such as Rose Water, Pachchai Kalpooram, Kasturi ManjaL.  In a fortnight it is totally empty and then Brhma replenishes it during the next fortnight, till it is restored fully.  This cyclic process of usage and replenishment goes on once every alternate fortnight. 

1058.      Brhma was most concerned about seeing Parvathy and Parameswara married.  That is why, the celebration that comes immediately with their marriage is known as Brhma Utsavam.  So coming to the end of Soundarya Lahari, with AmbãL and Easwara coming together as the first act of creation/evolution, our ÃchãryãL was keen that Brhma should also be brought in, as the Special Officer on Duty for Creation!   Then Moon was also essential as the description from the very beginning had started describing AmbãL as Chandra Shekari and she is also supposed to be living in the Chandra Mandala.  Thus there was a requirement to give a whole sloka to Moon.  Then a married woman whose husband is living is known as 'Suvãsini' meaning a sweet and fragrant smelling person, who is also not a widow! So now putting all these ideas together, giving importance to the Moon, giving fortnight long continuous duty to Brhma; this sloka was made.  After all that, one can visualise how great AmbãL is if Moon is only cosmetic-box for her!

ஆசார்யாள் விடும் எச்சரிக்கை!
Warning Notice by ÃchãryãL!

1059.      ÃchãryãL is particular that people's mind should not go astray, by the description of Sringãra Rasa, more than even the concern of a Mother possibly.  It is evident that this was a major constraint in the mind of our ÃchãryãL especially about the rules, regulations and procedural Do's and Don'ts, with regard to Sri Chakra Pooja.  Though people involved in such practices are likely to be rather strict, at the main critical juncture in it, AmbãL seated in Pancha Brhma Asana is said to be enjoying with her husband and is also kindly towards us all as her children!  So instead of maintaining strict discipline in the procedures, if people start taking some liberties, then the main point is that Mantra / Yantra pooja procedures should be given the go by and one can do a very informal, saying some slokas, some Bhajans, offer some flowers and do a very simple and informal expression of Love and Regards.  But when you do not have strict discipline the effect of such efforts are also equally peripheral!

1060.      So there are two possible errors that can take place.  One is some people taking up 'Yantra Ãrãdhanã', and failing in the required level of strictness in observation of rules.  The second possible error is to take the divine relationship between Easwara and AmbãL like what is depicted in the cinema and drama on stage or Tele-vision, thereby watering down the value systems that you went to have a bath and ended up by smearing yourself with muck!

(To be continued.)
Sambhomahadeva


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