soundarya lahari 17

 

 

.From :- krishnarao (lanka.krishnarao1@gmail.com)

Subject :-  Soundarya lahari verse 17

                                             SrIguruh sarvakAraNBhUtA saktih |

                                                   SrImahA gaNAdhipatayE namah ||

   savitrIBhir vAchAm SaSimaNi SilA

“savirIBhirvAchAm SaSimaNi SilA Bhanga ruchiBhih

  vaSinyAdyABhis twAm saha janani sanchintayati yah |

  sa kartA kAvyAnAm Bhavati mahatma Bhangi suBhagaIr

  vachOBhir vAgdEvI vadana kamalAmOda madhuraih ||”

 

The literal meaning of this verse is —

            O` mother!  by the grace of the three mothers, He who meditates upon your associates VaSini etc., vAgdEvatAs, along with you in the form of lustrous moonstone cubes, will become the author of exquisite kAvyAs and be able to propound diligent and melodious enunciations resembling to the fragrance of the lotus face of the goddess of speech (saraswatI)

            The ‘aShTAra chakra’ is generally considered as “navayOni chakram”.  It is not correct to say that in the beginning, the “bindu” manifested out and then the “trikONa” and afterwards the ‘aShTAra chakra’, then following all other chakras one after another.  While drawing navayOni chakra, the bindu and trikoNa both are automatically appearing in the middle of it.  So we have to say, that the ashTAra chakra is inherently inseparable with bindu and trikONA.  All the three are a single unit.  That is why aShTAra chakra in total is being dealt with the name “navayOni chakra”.

            The tantrarAja vyAKya says,  

            “sapta vimSat AvayavEShu triBhistriBhir avayavair EkaikA

             yOnis tAsAm kONa trayEShu punah punar bIja trayam nyasEt ||”

            The bindu itself has taken the form of trikONa and created another two triangles to designate ‘sR^iShTi’ and ‘samhAra’.  In this way the bindu has displayed itself as ‘navayOnichakra’.

            “baindavam chakram Etasya tri rUpatwam punar BhavEt

             Dharma dharmau tathA22tmAno mAtR^I mEyau tathA pramA||

             navayOnyAtmakam idam chidAnanda Ganam mahat

             chakram navAtmakam idam navathA Bhinna mantrakam ||

             baindavAsana samrUDha samvartAnala chitkalam

             ambikA rUpam EvEdam aShTAram swar AvR^itam ||”

            puNyam, pApam, AtmA, antarAtmA, paramAtmA, j~nAnAtmA, mAtA and mEyam are situated in all the eight angles and in the center “pramA” (which means the knowledge acquired through experience).  Consistent of all these is ‘navayOni chakram’.  This ‘navayOni chakra will have much inherency with all the chakras of SrIyantra and also got relegation over all other chakras.  

            “niruddha vAyu samGatta sphurita grandhi mUlatah |

             hR^idayAntara samvitti SUnya puryaShTakAtmanA ||

             bIja rUpa swarakalA spR^iShTa vargAnusAratah |

             rahasya yOginIr dEvi samsAra daLanOjjwalE ||

             sarva rOgaharE chakram samsthitA vIra vanditE |

             vaSinyAdyA raktavarNA varadABhaya mudritAh ||

             pustakam japamAlAncha dadhAnAh siddha yOginIh |

             Suddha vidyA viSuddhan cha Bhuktisiddhim mahESwari|

             ISwarIm tripurAsiddhim pUjayEd bindu tarpaNaih ||

            In this way, nityA ShODaSikArNava says, that the samvitkala of the hR^itpadma itself in the name of “puryaShTaka”, is existing in a very very subtle form like nullity, in the name of “rahasya yOgini”.  Not perceptible to the external senses like eyes, ears etc., but to the mental imaginativeness only.

            This puryaShTaka is in two types.  One is SthUla puryaShTkam and the other is sUkShma puryaShTakam.

            “karmEndriyANi Kalu pancha tathA parANi

             buddhIndriyANi mana Adi chatuShTayAncha

             prANAdi panchakam adhO viyadAdi kancha

             kAmaS cha karma cha tamah punaraShTamIyuh ||”

The above said as sthUla puryaShTakam and,

            Chitis chittam cha chaitanyam chEtanA dwayam Eva cha

             jIvah kalA SarIrancha sUkShmam puryaShTakam matham ||”

and this above is called SUkShma puryaSTakam.  The sUkShma (subtle) of the self itself is this puryaShTakam.  This  chakra has got the dominance of Suddha vidyA tattwa.  “ahantEdantayOr aikya buddhih Suddha vidyA”.

            The twin bindu (visarga) (that exist under the central bindu) has divided into nine chakras in the name of “AdhAra navakam”,  assumed the image of nAda rUpa “navachakrESwari“  in nine forms.

            “icchA Sakti tritayam paSOh sattwAdi samj~nicam |

             mahA tryasram chintayAmi guruvaktrAd anuttarAt ||

             aShTAra  vyapadESO 2yam chinnirvANaiShaNAdikam |

             sUkShmam puryaShTakam dEvyA matirEShA hi gauravI ||

             antardaSAra vasudhA j~nAna karmEndriyANi cha |

             mahAtripura sundaryA iti sanchintayAmyaham ||

             bAhyO daSAra BhAgO 2yam buddhi karmAkSha gOcharah |

             chaturdaSAra vasudhA karaNAni chturdaSa ||

             vasucchdana padmAnka dESO yas cha go viBhuh |

            avyaktAdyA prakR^itayO BhUtAntA niScinOmyaham ||

             ShODaSacchda padmAnka dESO BhUtAkSha mAnasam |

             vikArAtmakam Apannam dEvyAh samBhAvayAm yaham ||”

So says suBhagOdaya vAsanam.  The summary of all these says that the nine chakras from bindu to chaturasra are the basis for all our j~nanendriya and karmendriyas.

            This is the mediatorial stage between the swapnAvastha and suShupti avastha. It means that it is an oscillating stage between the aBhEda swapna and aBhEda suShupti.  From this place only we always describe the gross form of our paradEvata, uttering “hrIm SrIm sauh”.  This is the abode for all imagination.  When one who could get along with the swarUpa bhAvana of SrImahAtripura sundari, can`t he make any number of poetic creations?

            The tantra says that the eight presiding deities in this chakra viz., vaSinI, kAmESwarI, mOdinI, vimalA, aruNA, jayinI, sarvESwarI and kaulinI named vAgdEvatAs are all in red colour. (vaSinyAdyA raktavarNA varadABhaya mudritAh |).  Then how can we meditate on them as in the form of lustrous moonstone cubes?

            “Madhya prapUjanAd dEvi vAkpatir jAyatE narah

             tathaivApara kandarpO bAhya madhyAnta pUjanAt ||”

So praised yOginI hR^dayam.  The meaning of “Madhya prapUjanam” is worship in the seventh, eighth and ninth AvarNAs of SrIvidya.

            Worshipping in saptamAvaraNa is indicative of worshipping of one`s own thinking faculty, which is in the form of puryaShTakam.  This is the swapnAvastha belonging to the jAgrat avastha. Hense, “swapnAntE ucchAvacham IyamAnO rUpANi dEvah kurutE bahUni”. Acquiring the ability to imagine many kinds of ‘rUpa BhAvana’.  “apara kandarpah (kam+darpah) means “besides the aparA pUja, ‘kam’=brahma, ‘darpah’ =brahmAham BhAvah.  “japAcChrAntah punardhyAyEt, dhYAnAcChrAntah punar japEt”.  For some time to meditate upon the figure of the dEvata and for some time to immerse in one`s own self.

            Dissecting a hair follicle in a thousand parts longitudinally, in the size of one of those tiny parts, there are some “nADis” in our body, by name “hita”, spreading all over the body. Basing upon the food we take, differences in vAta, pitta and SlEShma will occur. With these differences and added with Sukla etc., vital essences the colours of these nADIs will be changing variably.  Five elements, five j~nanEndriyAs, five karmEndriyAs, prANa and the four antahkaraNAs, consisting of all these seventeen limbs, is called ‘linga SarIra’.  it would be very clear like a crystal.  When this ‘linga SarIra’ takes shelter in these hitA nADIs, due to its subsistent existence, basing upon one`s own deeds of dharma and adharma, it acquires some images accordingly like elephants, chariots, forests rivers etc., and notions of enjoying with fair sex or fretful apprehensions.

            When one`s ‘antaranga’ is immaculate and clear the experience of his dreams would be polite and pleasant.  But when it is malefic they appear in adverse.  In the same way the vagdEvtAs who are always related to the mind and intellect, will be changing their colours also.  The red colour of rajO guNA of the ‘vidya’ concept, can be changed in to sAttvika white colour also.  When we conjoin these saptamAvaraNa dEvatAs with the paramAtma, who exists in the form of “bindu and trikONA” and look united, these vagdEvatAs will certainly shine effulgently like lustrous moonstone cubes.

“AnandamayO2BhyAsAt| brahma pucCham pratiShThA ||”

In the service of the mother,

Krishnarao

           

 

 

 

 

 

 

           

 

 

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