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
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?'!
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 –
The Moon as a Box of Cosmetics &
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
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
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