From :- krishnarao (email@example.com)
Subject :- soundaryalahari verse 16
chetah kamalavana bAlAtapa ruchih
“kavIndrANAm chetah kamalavana bAlAtapa ruchim
BhajantE yE santah katichidaruNAmEva BhavatIm |
Virinchi prEyasyA staruNatara SR^ingAra laharI
gaBhIraBhir vAgBhir vidadhati satAm ranjanamamI ||”
Common literary meaning is – “For those who meditate upon the red effulgence of the rising sun, reflected in the hub of the cardiac lotuses of the creative savants, you manifest yourself in red hue. Such people, acquiring grace of the spouse of Brahma, will obtain the ability to delight the audience with the profound flow of lyrical oration as if gushing from the crown of sagacity.
But in my opinion, Adi SankarAchArya should have something another meaning in his mind, when he is initiating it for a person who is seeking for emancipation, subduing all the elemental interests. Otherwise, it would infringe the very spirit of adwaita in toto, if he says about the audience. Since there would be six meanings for each and every word or diction, viz.,
1. BhAvArthah 2, sampradAyArthah 3.nigarBhArthah 4. kaulikArthah 5. Sarva rahasyArthah and the 6. mahA tattwArthah. I wish to try to bring out that esoteric meaning of the above verse, as useful for our sAdhana.
“viSwa pratiShThA BhUmitwA dati mahat sthAnam hR^idayam |” The form meditated in the lotus of heart is the dEvata. “hR^idaya sphuraNa swaBhAvo dEvata |” This is the display of the blissful form of one`s own self. For certain and certain objective it is being manifested as “chaturBhujE Chandra kalAvatamsE …” etc., in gross form and in subtle form in an order of alphabets and in the causal form as ‘nAdAtmaka tEjO’ form.
“mantra mandira maddhyasthA sadasad BhUti BhAskarA
anantA SASwatAnandA sthirANI yA2dwayA SivA ||
mantranAda samudBhUta vigrahA cha swarABhidhA |
mantrArthA llayanAd grAhyA mantragamyA cha lakShaNagA ||
mantravAchyA cha sankEtA prakR^itir vAgaBhimAninI |
yA2dhiShThAtrI japaprItA manO ssA dEvatA matA ||”
The sAdhaka by conducting that illumination from mUlAdhAra up to the dwAdaSAnta of sahasrAra and there identify it with SrIguru and gaining more brilliance by doing R^iShinnyAsa, obtains guruupadESa and himself becoming mantramaya, and then with the chhando nyAsa transforming into akShara rUpa speech form, from there reaches the court of the dEvata in the heart region and there identifies himself with it.
“yasmin karmaNi sA dEvi yathA smarati sAdhakah
tathA tasyAgratO BhUtwa pAlayanti tam AdarAt”||
It would be so lovely panoramic scene of that paranjyOti of daharAkASa which instigates one for the brahmOpAsana, and it being the witness of that paranjyOti, which is the instigator of everything. “rUpam rUpam maghvAn bOBhavIti” All the forms belong to it only. “tasya BhAsA sarvam idam viBhAti”
“aruNAKyAn BhagavatI maruNABAm vicintayEt |
pASAnkuSadharAm dEvIm dhanur bANadharAm SivAm ||
varadABhaya hastAn ca pustakAkSha sraganvitAm |
aShtabAhum trinayanAm KElantIm amR^itAmbudhau ||
sa karOtyEva SR^ingAra rasAswAdana lampaTAn |
saBhAsadah sadA sarvAn sAdhakEndrah saBAsthalE ||”
So said about the dhyAna of caturdaSAra cakra in ‘vAmakESwara tantra’. Here ‘SR^ingAra rasam’ should be understood as the flow of nectar from the brahmarandhra and ‘saBhAsadah’ as one who has brahma tEjas. ‘saBhAsthali’ should be taken as mahat tattwa vikAsa BhUmi.
In the nityA ShODaSikArNava which is a part of the same tantra, it says as,
“kunkumAruNa dEhastu rakta vastrAdi samyutah |
tAmbUlapUrita muKO nah namchEdi tarAdam ||
karpUra kShOda digdhAngO raktABharaNa manditah |
rakta puShpAvR^itO yOgI rakta gandhAnu lEpanah ||
raktAntarOpaviShTastu lAkShAruNa gR^ihE sthitah |
sarva sR^IngAra vEShADhya stripurIkR^ita vigrahah ||
So saying with slightly distorted language (vyAkulAkSara) while saying about the dhyAna SlOka, summarily this is all about the Atma pUjA only. All this ‘raktavarNa SObhanam” is indicative of ‘anurakti’. “aruNa varNaam’ indicates ‘karuNa’ and ‘sarva SR^ingAra vEShADhya’ indicates about the aggregate unit of iccha,j~nana and kriya in the form of “SAntaavastha”, “tripurIkR^ita vigraham” means the aggragate of the three avasthAs – jAgrat, swapna and suShupti ie., turIya avastha. It says that the sadhaka should remain in that turIya avastha while doing sAdhana. “avasthA trayaBhAvABhAva sAkShi chaitanyam”, This is just a witness for the existence and also for the nonexistence of the jAgrat, swapna and suShupti avasthAs. It means that one should remain beyond these three avasthAs, which all relates to the body consciousness and go introvert to the core of himself. “kaschid dhIrah pratyagAtmAnam aikShat”
The space between the prANa and apAna is the place to submerge the mind and the senses. In that space there would be two lotuses, one downward and the other upward blooming. The space in between the two lotuses is called ‘hR^idaya AkASa’. Considering that the downward blooming lotus is ‘pramEya’ and the upward lotus is ‘pramAna’. The sAdhaka has to place his ‘chit pramAtAtmaka swarUpam’ into that space with the aid of ananya chitta yOga. For such a yogi, the scenery before him is charmingly beautiful and exemplary.
“antah pavanam samspR^iShTE su sUkShmAmbara SOBhitE
mUrdhanya Chandra vigalat sudhA sEkAti SItalE ||
buddhIndriya nava dwArE bOdha dIpE hR^idAlayE
padmapIThE samAsInam chillingam Siva vigraham ||
‘kavIndra’ means ‘krAnta darSi’. Ie., one who has ‘brahma BhAva’. Such a kavIndra (sAdhaka) when meditate upon anAhata padma, the flow of nectar from the Chandra manDala is melted and flown into the heart region and uninterruptedly performing the aBhiShEkam upon the hR^idayakamala chit+lingam which is the Siva vigraham. The drops of nectar remaining upon that chillingam was described as “kavIndrANAm cheetah kamala vanam”. ‘vanam’ means water.
The hR^dayam is a part belonging to the sUrya manDalam. When the sUryanADi named “pUShA” comes in contact with the “suShumnA nADI” it is emerging out with flashes of electrical lightning radiance and blossoming the “mUrdhanya nADi”. Adi Sankara has beautifully described this as,
“hR^idgatam vimalam manOj~na viBhAsitam paramANukam
nIla madhya sunIla sanniBha mAdi bindu viBhAsitam ||”
The volatile (Ardra) tint of the cloudy blue coloured light which belongs to “rudra” when interacted with the radiance of a cobweb`s red string like kunDalini, it takes the form of that radiant lightning’s in the heart region.
The ten swaras of alphabets between “EE” and “OO” are called by name as “sUrya rEKa”. The masculine gender of the feminine ‘EEm” is “Om”. This very same ‘EEmkAra’ of the last ‘SrImkAra nAda’ of ShODaSI mantra is being converted as ‘OmkAra” In our daily ShODaSAkShrI nyAsa, This very mixed radiance is described in our verse as “katichid aruNAm Eva BhavatIm”
“viSEShEna rinchati vidadhAti lOkAnandam” The term ‘virinchi’ is applicable to ‘Siva’ only. “sadAnandah paramah Sivah” The idea behind this is “bindu”of ‘sarvAnandamaya chakra’. “bindu rUpah Sivah”. The meaning for “prEyasyA staruNatara SR^ingAram” is the ‘prEyO rUpam’ combined with the ‘bindu’, ie., the SR^ingAra’ (the crest triangle) which remains ever fresh and inseparable with the ‘bindu’ like ‘Eka Atma’. “lahari” means the elevated wave in a stream. ”gaBIrABhir vAgBhih” means the sounds with abstruse profundity. “vidadhAti’ means to hold one firmly with those sounds (nAda).
Overall summary of my reading for this verse is, — The mantra initiated by one`s SrIguru is the kunDalini. It rises upwards upto the brahmarandhra. There it will experience the bliss of the nectar (Siva Sakti sAmarasya) and then come down to the heart region (from mahat tattwa again to the Bhoutika tattwa)
The mUrdhanya nADi which is activated by the mantra japa, blossoms up to the bindu chakra.. This nADi is the promoter to take one to the abode of Siva and make him recognize bindu and trikoNa. From there it also exhibits the streaming flow of “AnandaamR^ita jhari” in the form of lovely ‘visual nAda’ in the mirror of ‘daharAkASa’.
“suShumnAyai kunDalinyai sudhAyai Chandra manDalAt
manOnmanyai namastuBhyam mahASaktyai chidAtmanE ||”