sundara kanda is nothing but kundalini yoga

Sri Sundara Kanda is nothing
but Kundalini yoga
( Shodasi : Secrets of the Ramayana )
From “ Shodasi : Screts of The Ramayana by Seshendra Sharma
( Tranlsation of “ Shodasi : Ramayana Rahasyamulu , Telugu Original) Published in 2015)
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- Seshendra Sharma
Visionary Poet of the millennium
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Many great secrets that are most venerable are given in Srimad Ramayana. Therefore, it became a sacred text which is daily read as a ritual. It would not have been elevated to such level if it were only a narration of a story. We do not read Manu Charitra* daily as a ritual. We do not consider that book as a means of achieving salvation. That is the difference between these two books. The great secrets in Ramayana are the most helpful to all seekers of salvation. It is so because Ramayana has Gayatri Mantra and Kundalini Yoga which are revealed in the Sundara Kanda. The very first verse of this Kaanda gives indication of that subject. The initial seven verses are like the head of this Kanda. The first verse is: ‘Tato Raavananeetaayaah Seetaayaah satrukarsanah iyesha padam anweshtum chaaranaa charite pathi’. It means;’ (Hanuman) who is a terror to the enemy decided to travel along the path which is followed by Charanas in search of Sita who was taken away by Ravana’. That is the meaning. But there arises a question. Angada and other monkeys were sent southward in search of Sita. Hanuman is only one of them. Sampaathy informed them that Sita is in Lanka. Hence plans were made to cross the ocean. Hanuman was selected for that errand. All of them know whereabouts of Sita. In that context, what is the meaning of saying that Hanuman chose a particular path – ‘chaarana charitha’? The meaning of chaaranaa charite pathi is: ‘the path followed by celestial singers, implying the sky which is frequented by Gods’. This is the conclusion acceptable if we understand the significance of ‘frequented by Gods’. But, why is there a qualifier that speaks of celestial singers? We find such examples only in Ramayana. Similar expressions were found here and there also. Vyasa used such examples in Maha Bharata, It is unknown in the past literature. The word chaarana is not found in Amarakosa. Since charanas are also classified as Gods, we may reconcile that the path followed by Hanuman is the path of Gods. However, the entire secret underlies the word charana. In the Sri Lalitha- sahasranamaavali, the name, Bisatantu taneeyasi’ was commented on by Sri Bhaskararaya and in that context he also wrote as follows: ‘Evam lokasya dwaaram archimat pavitram, jyotishmat bhrajamaanam mahanwat amrithasya dhaaraa bamudhaa dohamaanam charanaanloke Shodasi Seshendra Sharma 83 sudhithaam dadaatu;, He also gave its explanation, ‘Lokasya brahma lokasya dwaaram saadhanam archirjyothi rbrahma sabdaa agni suuryachandra kalaa vaachakaah- charana sabda scharati yaathayaatham karotheethi vyutpathyaa kundalineeparah-saamaanye napunsakam’ and so on. That implies that there is a synonym for Kundalini Sakhi which is called charanam. This word charana became chaarana in our verse. Hence ‘chaaranaa charithe patthi’- becomes, ‘kundalinyaa aanamantat charitah panthaah’. It means ‘the way that is pervaded by Kundalini’. The reason for the use of ‘anumantat charitah’ is given in the following explanation. Kundalini is awakened at Muladhara Sakti enters into Sushumna naadi and sequentially enters into Swadhisthana, Manipura, Anaahata, Visuddha, Aajnaa and crosses them and enters into Sahasraara Lotus and merges into Siva. In brief this is known as Kundalini Yoga. In this way it travels through the six Chakras and at each Chakra it pervades all the petals covering the whole region and moves to the next one. Hence that ‘movement’ is called ‘path’. Thus chaaranaa charithe pathi is the way of the Six Chakras. It is also called Kula Marga. Based on the characteristics, it is the path of Sushumna. In essence it is Kundalini Yoga. However, it is not customary to use the word chaarana as an alternative word for Kundalini Sakti in the authentic texts of Mantra Sastra. It was already said that it is not common to use the meaning of Deva gaayaka (Celestial Singer) as equivalent of Kundalini Sakti and so this word charana aggravates the difficulty in understanding the correct meaning. Such doubt may be entertained. Sri Bhaskara Raya gave clues to clear this doubt. “ ‘Thadi damupabrumbhitam sukra samhithaayaam – paavakasyarchishaa bhaanorjyothishaa mahasaavidhoh dohamaanaa suddhadhaaraa dvisapthati sahasradhaa – gupthaachaaraa kundalinee tripthaa nasmaamstanotusaa’ iti atra guptham yathaa thathaa charateeti charanapadasyaardhah – evam vasisthaadi tantrepi upabrumhanani drastavyaani”. It means: authoritative evidence is given: ‘The meaning of the word charan is given as Kundalini Sakti in the Sukra Samhita.’ And further, other Tantras like Vasistha Tantra also accepted such meaning. In the light of such authentic ancient sources, we need not entertain any doubts. Since Valmiki is a Maha Rishi he must have been fully aware of all aspects of Kunalini Yoga Sakti. Every detail of this subject contained in scriptures is readily available to him. Hence we should accept it. Shodasi Seshendra Sharma 84 It is apparent that Kundalini Yoga was well known at the time of Valmiki. There might not have been text books on the subject. Later on, by the time it appeared as an established subject, there must have been modifications adopted by the followers and served the needs of dedicated practitioners whose goal of life was salvation. Hence we see now that the well-established means of the ancient methods were consolidated in the form of Vedanta Sastra with its prescription of Sravana and Manana and the eightfold path; Yoga Sastra with its principles Yama and Niyama and so on; Tantra Sastra with its prescription of Mantra and Kundalini Vidya. All these were reflected in Ramayana. We can see some examples for Yoga in Sundara Kanda: (Killing of Akshayakumara, 47th Sarga, 14th Verse) – ‘Thathah sa veeh sumukhaan patha thrinah; suvarna pumkhaan savishaa nivoragaan; samaadhi samyogavimoksha thathvavit saraa natha threen kapi muurdhnyapaathayat’. Another example is in the description of how Akshayakumaara rejected the burnt chariot and rose into the sky: ‘Thatobhiyogaadrishi rugraveeryavaan vimaaya deham marutaamivaalayam’. (47th Sarga 34th verse). In between Hanuma and Indrajit, ‘Jagaama chintaam mahateem mahaatmaa samaadhi samyoga samaahithaathmaa, was the description of Indrajit.(48th Sarga 34th verse’). The message (dhwani) of the Valmiki’s words ‘chaarana charithe pathi’ does not seem to have been effective in the literature of later period. However, it seems to have been accepted as container of a secret truth. This inference is based on the fact that Bhoja employed the same phrase in his Champu Ramayana: ‘Thato Hanuman dasakantha neetaa Sitaam vichetum pathi chaarananaam’. (Sundara Kaanda. 1st verse) The meaning of this phrase chaarana charithe pathi has to be accepted as ‘sky’ based on its direct meaning, even though some other questions may arise. The meaning is justifiable. The Paraakaasa is the goal of Brahmna Jnaana. Paraakaasaayai namah. Gaganaanthasthaayai namah, (Lalithasahasranaama. Hence ‘searching the sky’ is valid. There is no name ‘Hanuma’, in this verse. In its place, we find Satrukarsanah, which means ‘one who eliminates enemies’. (In the story so far in Ramayana, there is no instance in which Hanuma overpowered any enemy.) There are well known analogies in the scriptures. The word Jiva is replaced by Rathi. The senses are compared to horses. The world is represented as a Tree, etc. Similarly the qualities Kama, Krodha and Shodasi Seshendra Sharma 85 others are called ‘Six Enemies’. If Hanuma is called Satru Karsana, he is described as one who overcame the influence of the ‘Six Enemies’. In fact the name Hanuma is curious. In the entire Sundara Kanda, no other name was used other than Hanuma. This is a special feature. In Ramayana the name Maarutaatma or its equivalent was occasionally used for Hanuma. Anjaneya was never used. In the Taittireeyam we read: ‘Antarena taaluke ya eshastana ivaalambate sendra yonih’. It means that the Sushumna Nadi which begins from the heart and goes up to uvula. The internal parts of cheeks, the uvula and external parts of cheeks are all called jaw. Hence, instead of saying ‘Antarena taaluke’, it can also be said, ‘Antarena Hanu’ or ‘Antarena hanvou’. That lends beauty to the word taalukvat, and also we get its meaning as Sushumna. Thus Hanumat implies the meaning of Sushumna. The choice of the name Hanumat in this Kanda is Yogic use with a special meaning. The author of the book like Kaasikhanda, has other epithets such as Kavisaarvabhauma, Veerapanditaachaarya, Deekshitanaatha in addition to Srinaatha, he is known as Srinaatha. Similarly. Anjaneya, who is a yogi can be named Hanumat which is a synonym of Sushumna Nadi. Therefore, the very first verse of Sundara Kanda began with the description of the facts that he is following Kundalini Yoga, and Sita is Kundalini Herself. This message (Dhwani) was interwoven into the whole Kaanda by the Sage. The second verse is: Dushkaram nishprati dwandwam chikeershan karma vaanarah | samudagra sirogreevo gavaampati rivaa babhau|| This Kundalini Yoga is a difficult task.The phrase ‘nishprati dwandwam’ refers to details of lifting Kundalini which is asleep in Muladhaara by regulating breathing while stressing the lower portions of intestines. The details are to be seen in the techniques such as Saraswati Chalana and etc. by referring to suitable texts. The practitioner must be seated without any discomfort while keeping the body upright after performing the daily duties such as Sandhya vandanam and chanting the prayers of the chosen Deity. The verse emphasizes on being seated without discomfort. In the Kanda it is said ‘Gavam patih’. This does not mean a bull. It means one who has full control of the senses. The subsequent verses are very wonderful. The Sage is telling in them about Gayatri Japam, which is the daily duty. It was stated that Shodasi Seshendra Sharma 86 Hanuma was on the Mahendragiri. That mountain is described in two verses only. ‘Neelalohita maanjishta patravarnaih sitaasitaih svabhaava vihitaih chitraih dhaatubhih samalamkritam kaamaruupabhi raavishtam abheekshnam saparichchadaih yakshakinnera gandharvaih devakalpitaih scha pannagaih.’ It means: ‘That Mountain was decorated by minerals that are variously colored like, dark blue, yellow, and bright white. It was pervaded by divine beings like Kinneras and Gandharvas, who are capable of assuming any form of their choice. The description of the mountain ends here - this part of the description indicates the body!!! The word dhaatu does not mean a mineral only. It means also according to Amarakosa - ‘Sleshmaadi rasaraktaadi mahaa bhuutaani tadgunaa indrihyaani asma vikriti sabda yonischa dhaatavah’ – ‘phlegm, blood, flesh, lymph, bone and marrow; the five natural elements, sky, air, fire, water and earth; the five Tanmatras; and the five means of knowledge such as sound, touch, shape, taste and smell. These correspond to the physical body. In the present verse, the word dhaatu applies more to the five natural elements sky, air, fire, water and earth, than others. The names Neelalohita maanjishta sitaasita’ in the verse also apply to the the five natural elements according to scriptures. Govinda Raaja uses in his commentary a combination of patra varnaih patra syamaih where we see an additional varna making a total of six varnas. But in the commentary of Maheswara Tirtha, it is found that only five varnas are described by the words neelaadi patrasamaana varnaih. This seems to be straight forward. The five varnas of the five natural elements correspond to the five chakras in the body known as muulaadhaara, swaadhisthana, manipuura, anaahata and visuddha. There are, however, some differences of opinion. I shall discuss some of them. The (five) colors described in Lalitha sahasra namavali are dhuumra (blackish red), peeta (yellow), rakta (red), syaama (blue), aarakta or paatala (pale red). There is no description of muuladhara in La.Sa.Na. But there is mention of dhuumra varna which was accepted by Tantric texts. In the Yoga Sastra there is mention of aparanji (fine gold color), sweta (white), rakta (red), harita (Green), neela (blue). Since Kundalini is a Tantrik Yoga, I will accept the choice of dhuumra varna. Now coming back to the verse of neelalohita, if we identify the five varnas with the five elements of nature, the secret will be revealed. We can identify in the following the correspondence between two descriptions: maanjishta = aarakta; neela = syama; lohita = rakta; sita = peeta; asita = dhuumra. The Akasa tattva decribed as manjishta is a mixture of red and Shodasi Seshendra Sharma 87 yellow. Aarakta varna is a mixture of red and white colors. The difference exists only in yellow and white. Their main color seems to be red. As a matter of fact there is no real difference in them. With regard to Swadhisthana, the sita varna and the peeta varnas are taken, In addition there exist differences in the texts, The gist of all this is: Mahendragiri is comprised of five natural elements. In the scriptures it is customary to refer to the body in different ways like pura, and giri. Sruti refers to the body as Brahmagiri. Hence the heart is called a cave. ‘Yo veda nihitam guhaayaam parame vyomni’. Here giri means body. It is common in scriptures to indicate the ‘principle’ of body by the colors. The prayer to Gayatri Devi describes the five faces of Gayatri by the five colors: ‘Mukta vidruma hema neela dhavalai- rmukaih’ refer to the five elements. Paraa Sakti is made to reverbarate in five sakti chakras, representing collective feature of six chakras, in Gayatri Dhyana Shloka. The same subject is also found in Lalitha sahasra naama stotram: thwaksthayai namah, rudhira samsthitaayai namah, maamsanishthaayai namah, medhonishtaayai namah, asthisamsthitaayai namah, majjasamsthitaayai namah: | Similarly we find the same feature in Siva dhyana sloka: ‘Muktaapeeta payoda mauktika japaavarnaih rmukhaih’. Harshabhattu, who understood these underlying features, wrote in his Naishadha: ‘Dravyanaam sita peeta rohita harinnaamaanwayam lumpathu’, while describing the disappearance of the body. The detailed explanation of these truths, was given in my essays in Naishadha. It was established that there exists a close correspondence in the description of varnas in Sundara Kanda and Lalitha sahasranama stotram and Gayatri Mantra 1. (Su.Ka) asita, (La.Sa.Na) Dhumra, (Gayatri) Mukta, 2. (Su.Ka) sita, (La.Sa.Na) Pita (Gayatri) Dhavala 3. (Su.Ka) Lohita, (La.Sa.Na) Rakta (Gayatri) vidruma 4. (Su.Ka) Nila (La.Sa.Na) Syama (Gayatri) 5. (Su.ka) Manjishta, (La.Sa.Na) Arakta (Gayatri) Hema. It is an established tradition that a mountain is an abode of Gods. ‘Twamagnedyubhih twamasmanahapari’ (in Taittireeya), similarly the body is also an abode of God of Fire and others. There is a link between these two. Therefore, the Sage described the peak by beginning the verse with ‘Kaamaruupibhih aavishtah’. These are none other than the basic materials that consist of the five elements of nature that made the body of twenty four constituents presided over by their respective Gods. (The back bone is the Meru which is an abode of Gods.) Shodasi Seshendra Sharma 88 Hanuman was seated on that mountain! It is stated by Sage in the words: ‘Sa thasya girivarasyathale naagavaraayuthe thishttan kapivarah thathra hradhe naaga ivaa babhau’. It means: ‘Hanuma was seated on a mountain filled with many or infinite number of elephants and shone brilliantly like an elephant (naaga) in the heart (hrada)’. See how many contradictions are in this sentence. Are there only elephants on the mountain and nothing else? If they are also on the mountain, why are they not mentioned? Is the statement that there are only elephants (naaga) intended to indicate an elegant feature of the Kavya? If one eliminates the word naagavaraayuthaa, will there be a loss of beauty in the Kavya? There is neither any such beauty nor its loss.. If so why did the Sage write those words? The real secret lies in the phrase naagavaraayuthaa, which must be understood properly. The word naaga must be taken as the genus only. One must add aa for feminine gender making it naagaa and then add the particle yuthe. We get thus the meaning of naaginee sreshtaa samyuthe. The Sage himself used a sentence ‘Ruupena pratimaaloke varaa vidyaadhara striyah’ in the 112th Sarga. He employed the feminine form varaa. (The word Varaa is also used for Parvati. See dictionary of Apte. This is another special feature.) However, who is this Naaginee? Further, it is said that Hanuma who is on the peak of the mountain shone like an elephant in the heart! What kind of analogy is this? Where are the necessary qualities in this that would reveal the object with which a comparison is made? Just as the word naagavaraa is interpreted as naaginee in the precious example, it is possible to understand the word hrade. We need not even go that far, because the Sage himself suggested later that naagamu means a serpent. In the 14th verse of 5th Sarga, we read:’ ‘Hrado bhujamgaih iva niswasadbhih’. This is the basis of my conjecture. But, what is that serpent on the mountain peak? What is the serpent in the heart? What is the peak of the mountain? What is the heart? I have described that the body is the mountain. The peak is therefore the head and the female serpent is Para Sakti only. ‘Bhoginyai namah’ is one of the mantras taken from the thousand names of Goddess. Bhaskara Raya commented on this verse: ‘Bhogah sukha saakshaatkaarah - tadwatee bhoginee naagakanyaatmika vaa’. There is a mantra in ‘Thousand names of Lalita’: ‘Sira sthitaayai namah’. She is called Kundalini. In Vamakeswara Tantra we read: ‘Bhujagaakaara ruupena mulaadhaara samaasritaa sakthih Shodasi Seshendra Sharma 89 kundalinee naama bisatantunibhaa subhaa’. But, she is known as Uurdhwa Kundalinee when she moves from mulaadhaara to the head. Now, about ‘hrade naaga iwaa babhau:’ This hrade is a customary word used in the scriptures in the context of sudhaa sindhu. Bhaskara Raya writes its meaning in his commentary:: ‘Sudhaa saagarah peeyuushaarnavah – sa chordhwastha ekah - pindaande bindusthaane sahasraara karnikaa Chandra madhye anyah – aparaajitaakhye saguna brahmopaasanaa praapye nagare aranaama kanvanaamakau hradau saaagara pratimau - ityaadi’. It means that there are two ‘sudhaa sindhus’. One is known by amritenaavritam pureem’ indicating the supreme sudhaa sindhu in the universe (Bramhaanda), and the other present in each body (Pindaanda). The one in the body is located at the center of the Sahasrara in the lunar domain. When the Kundalini lying dormant in the lower part of the body is awakened to move upwards, it enters into the sudhaa sindhu and releases the flow of sudhaa through seventy two thousand channels to the entire body. (This corresponds to God’s enjoyment of Nectar). Hence the two words hrade naaga bring out the scriptural subject. Therefore, the description by the words ‘girivarasya thale thishttan kapivarah thathra hrade naaga iva ababhau’ have to be understood as stating the equivalence of the Nagini in the microcosm and the Nagini in the macrocosm. Further the phrase ‘girivarasya thale thishttan’ means that the realization of this identity was established. Such realization is essential for any spiritual success. The essence of all this is that the Yogi has realized the underlying identity of Lingatma, Sutratma and Paramatma. How does this become meditation on Gayatri? There are two reasons for this. The first is the verse, ‘Sa suryaya mahendraya pavanaya swayambhuve | bhutebhyah pranjalim kritva chakaara gamane mathim’. This verse is prayer to Gods. The rest of the verses can be interpreted to be consistent with Gayatri. The second is that the phrases, ‘charana charite pathi, naagavaraayute, hrade naaga’ can also be interpreted to be consistent with Gayatri. See 6th Adhyaya of 12th Skandha of Devi Bhagavatam. I will cite examples to support this conclusion from Gayatri sahasranama stotram which was taught by Sriman Narayana to Narada. It is seen in 129th verse: ‘muladhara sthitau mugdhaa ……mahishaasura mardinee’. Further in 122nd verse, it is said: ‘Bhujamga valayaa bheemaa’. Hence Gayatri is Kundalini only. Shodasi Seshendra Sharma 90 The understanding of the phrase, ‘chaarana charite pathi’ as representing Gayatri is because Gayatri pervades the entire sky. The phrase ‘Vinata vyoma madhyasthaa’ occurs in the 141st verse, and the phrase ‘khecharee khaga vaahanaa’ occurs in 38th verse. The qualifying word chaarana corresponds to Gayatri defined as gaayantam traayate gayatri means ‘Gayatri protects those who chant Gayatri Mantra. The throat is the seat of chanting. The throat is also the visuddha chakra and a seat of principle of sky and a source of sound. There is unity underlying throat, singing, sky, and Gayatri. This must be realized. In the 40th verse, it is said ‘Gaandhaari gaana lolupaa’ . The significance of naagavaraayute has to be seen in 120th verse ‘bhaaminee bhoginee bhaashaa’ where Gayatri is described. It means that bhoginee is the same as naaginee. The 144th verse described her as varaa. ‘vaasavee vaamajananee vaikuntanilayaa varaa’. The phrase ‘Hrade naaga iva’ indicates the meaning of hrada is also sudha sindhu. Gayatri stays there. The 10th verse says: ‘Amritarnava madhyasthaa pyajithaa chaaparaajitha’. The secret form of Gayatri is Sri Mahatripurasundari, the presiding deity of the Panchadasi Mantra. Hence the mantra ‘gaayatrai namah’ is included in Lalitha sahasranama stotram. This is the chapter on ‘Gayatri Japa’ of Sundara Kanda. Shodasi Seshendra Sharma 91 I It is the opinion of several people that Valmiki’s style of writing is one of repetition of the message, repetition of verse and repetition of story following the tradition of Puranas. The absence of brevity, the absence of terseness, the adoption of ungrammatical language creates a feeling that it is Puranic style, while the poets like Kalidasa and others have removed the drawbacks of the Sage and brought refinements. This is an illusion. When one is unable to grasp the supreme truth, it is sure to lead to such mistaken understanding. When one realizes the supreme truth, it becomes clear why repetition is needed and that there is nothing which is irrelevant in writings of the Sage. Please ponder whether there is any instance of irrelevant repetition, or unnecessary extension or improper use of word in Sruti? The entire Veda is full of Mantras. Let us accept that the writing of the Sage is a Veda and then examine it from that point of view. Everything will be clear. There are six basic qualities in the writings of the Sage. The first one is: the use of any word is intimately related to its origin. The second is that all verses are largely filled with a message. The third is: the word is chosen befitting a message. The fourth is: Some verses are so composed that more than one interpretation is possible, thus creating a network of wonderful meanings. The fifth is: The word intended to convey a message is repeated three or four times. The sixth is: A sentence need not end only in two lines. I do not propose to elaborate them here. Those who read my essays on the Ramayana with rapt attention, it would be proven on the whole that these qualities are present in the Ramayana. But among the six qualities, the third and the fourth are more prominent. This is the way to comprehend the supreme truth in the Ramayana. It is universally recognized that Kalidasa is an intellectual descendent of Valmiki. There could be several reasons for such an opinion. It is enough if one knows a few reasons. However, there could be several unknown reasons too! I intend to point out at present two hitherto unknown reasons. These two are essentially the third and the fourth qualities I pointed out before as more prominent in Valmiki. There is no general view that Kalidasa is famous for writing with multiple meaning. Similarly it is not known that Valmiki is an adept in such Shodasi Seshendra Sharma 92 writing. I will show that Kalidasa learnt this art from Valmiki. Please see how it is true. We know the famous book Raghuvamsa of Kalidasa. There is one verse: ‘Athaadharwa nidhessthasya vijithaaripurah purah | arthyaam arthapatir vaacham aadade vadataam narah|| This verse is a wonderful network of words and interpretations. This is a description of the meeting of Dileepa and his family Teacher, Vasishta at the Ashram of Vasishta. There are commentaries of this verse by Mallinaatha and others. Ordinarily this is translated as follows: ‘Dileepa, who is a conqueror of all enemies and adept in speaking and the best among speakers spoke very significantly before Vasishta who is foremost among the vedic scholars. In other words he spoke using appropriate words. Here both of them are great scholars. Therefore it is obvious that there can be no meaningless discussion. One of them is a great ascetic and the other is also an ascetic of kingdom, (The poet’s view is ‘raajyaasrama munim munih’.) Here, Kalidasa is saying that both of them are intelligent and there is no difference between them. He is also indicating that this is not understood by men of ordinary intelligence. This feature is seen in all verses written in that context. It is shown in a very prominent manner in the verse under discussion. ‘Athatasya adharavanidheha purah vijitaaripurah vadataam varah arthapatih arthyaam vaacham aadade’ | The words atharwa nidhih mean: There are many mantras in the Adharva Veda which are recited for performing spiritual offerings by the learned persons and Vasista is the greatest of all of them, This is the meaning of atharwa nidhih. Let us keep this aside for the present. The word Adharwan is an epithet of Siva. (See Apte’s dictionary.) Just as atharwa nidheh can mean Vasishtasya, the word Adharwan can mean Sivasya. Thus, accepting the meaning of Sivasya purah, the interpretation of ‘Thasya vijitaripurah adharwanidheh purah arthapatih vadataam varah ardhyaam vaacham aaddhdhe:’ is: “Kubera who is an adept among the speakers spoke words with deep meaning, before Lord Sankara who is called Tripurari.’ (In the phrase, vijitaaripurah, the word purah can be taken in two ways. One is ‘purah’ is considered as variation of puh which is feminine gender to sixth case singular form. It also means ‘a town’. Alternatively it can take a neuter gender form of Puram which takes the masculine gender when it qualifies masculine subject. Both the roots Shodasi Seshendra Sharma 93 puram and puh mean a township only. In the verse, the latter use of purah is an infinitive meaning ‘in front of’. Here the meaning is not the same for Kubera and Siva. If we look closely, there will be several possibilities to interpret. The phrase, ‘Arthapatih vadataam varah’ means the ‘Lord of Meaning’, who is Lord Siva because of the phrase. ‘Vaagarthaaviva samprukthau’. In such an understanding, we see the equality of raajyasrama and muni. How many more secrets exist like this among the poets? It is very difficult to find. The verb Aadade implies that there is ‘a giver’. In the context of two words, Vasistha and Dileepa, the word vijitaaripurah becomes a qualifier of arthapatih. In the case of Siva and Kubera, it becomes qualifier of adharwanidheh. In this way, the qualifier vijitaaripurah becomes a link between the two sides. It implies that this verse is an extempore poetry. The assertion that the poetry of Kalidasa is understandable easily and it is difficult to understand Harsha, betrays only a delusion. Those who feel that tough words are incomprehensible are but ignorant. Who can make it an absolute conclusion? The complexity in the words is like something which appears to be very complex but it is not so in reality. It can be understood with the help of Dictionaries. The poetry of Kalidasa is elegant. The words are tender. Are there any harsh words in the verse ‘Athaadharwa vidheh….’ ? His poetry is entirely tender. There is no need for any lexicon. But what did you understand? There is no error greater than your conviction that you understood his poetry! His literature does not contain the meaning which can be obtained with the help of a dictionary. It is always beyond the words and the meaning in the dictionary. ‘Paroksha priyaa vai devaah’ is the scriptural truth. Hence it follows the path of Gods, Can the tenderness or the harshness of a language display the depth of poetry. While Kalidasa speaks softly, he hides behind a vast ocean of concepts. (Please see the appendix article: Benedictory verse of Saankuntala is eulogy of Devi at page no. 234) How is the verse ‘Athaa atharwa nidheh’? It is like a Misterious network.But it appears to be simple to look at. The words of great people are like that. Hanuman, who was born with an aspect of Rudra, sat quietly as if he knew nothing, before he embarked on the task of crossing the large ocean and seeing Sita in Lanka and burning Lanka before Shodasi Seshendra Sharma 94 coming back. The words spoken by Jambavan to Hanuman come to the mind. ‘Veera vaanara mukhyasya sarva sastra visaradah tuushneem ekaanta maasritya hanumat kim na jalpasi?’ (See how effective the verb jalpasi is!) The poetry of Kalidasa is like that. Kalidasa acquired this quality only from Valmiki. If Kalidasa is a mild tiger cub, Valmiki is like his grandfather. The skill of Valmiki in employing such a network of ideas in poetry is unparalleled. Kalidasa acquired only a little of it. In Sundara Kaanda, Hanuman suggests to Sita that he can take her on his back and place her before Rama. He says to her: ‘Prushta maaroha mae devi, maa vikaamkshaswa sobhane yoga manvichcha ramena sasankena rohinee’. ‘Kathayanteeva chandrena suuryena cha mahaarchishaa, mat prushta madhiruhyatwam tarakaase maharnavam’ (37th Sa, Verses 27th and 28th). This pair of verses is to be taken as one unit. They mean: ‘Please be seated on my back and desire to meet Rama as Rohini meets Moon’. ‘Having been seated on my back, move in the sky as if you are speaking to illustrious Sun and Moon and cross over the ocean to meet Rama’. In this pair of verses which have four lines, we will leave the first line, and take only the other three lines. These three are very wonderful. It is difficult to express in words the depth of imagination in composing this poetry. These lines serve as an example to grasp the previously described special qualities, the ability to choose words that have deep meaning and the art of using words that have several interpretations. The direct meaning is obvious. See the skill of suggestion. Let us take the fourth line to analyze: ‘Matprishta madhiruhya tu antaraakaase mahaarnavam’. If we take separately each word, the meaning of the verse will be changed and each word reaches its intrinsic meaning. In that manner the Sage reaches his goal. The goal of the Sage in this verse is Kundalini Yoga!!! Seeing again in that manner, the verse is rearranged as: matprushtam maharnavam adhirudhyatu antaraakaase chandrena suuryena cha mahaarchishaa kathayanteeva raamena yoga manvichha, sasaankeneva rohinee’.The meaning is: ‘My back is like a large ocean. Be seated there and travel in the inner space as if speaking to Fire, Moon and Sun, seeking yoga with Rama as Rohini did for Sasaanka’. The obvious meaning gives the external Yoga. But the higher meaning gives the internal Yoga. As a matter of fact, Yoga is essentially an internal phenomenon. It takes place in the internal space alone. ‘Na yogo Shodasi Seshendra Sharma 95 na bhavah prishte na bhuumau na rasaatale aikyam jeevaatmano raahu ryogam yogavisaaradaah’(Devi Bhagavatam 7th Sk. 35th Adh. 2nd verse). It means: ’Yoga does not take place in the sky, or on the earth, or in Rasatala. It is essentially the integration of Jeeva and Eswara. Where are they? ‘Dwaa suparnaa sayujaa sakhaayaa, samaanam vriksham parishaswa jaate’ (Swetaswatara Upanishad). It means: ‘Jeeva and Eswara are two birds and both of them are in the same body’. Hence the Sage used the word ‘antarakaase’. If Kundalini Sakti merges in Siva, then Jeeva is liberated. We will go through the words to examine their meaning. Here, the word prishta does not mean the ‘back side’. Can we translate the words na bhasah prishte quoted earlier to mean ‘the back side of the sky’? No. Here the word prushtam has the role of suggestive meaning. The word mahaarnava is a qualifier of prishtam. The word arnah means water and it is also used to mean varna, a syllable. It is often used in Mantra Sastra with that meaning. Hence the word mahaarnava means ‘the place of all syllables’. The ‘suggestive power’ of the word prishtam is indicated in the suggestion given to Sita, identified with Kundalini Sakti, to be seated on the back along with the use of the word Yoga. In this context, the word prishtam indicates prishta vamsa. One point has to be noted here. A word becomes essential when it has to specify an object, but it is not so in all cases. In the present case the phrase prishta vamsa does not need any specific object. Here prishta vamsa means the back bone. The word vamsa means flute that which produces sound with the flow of air. Similarly all sounds made by human beings are produced in the back bone. That is the conclusion of science. How? There is a conduit known as Sushumna which runs along the backbone. ‘Pradhaanaa meru dandetra Chandra surya agni rupinee…sarva tejomayee paatu sushumna.’ (Devi Bagavatam 7th Sk, 35th Adh.w29- 30-31 Verses). The commentary of Neelakantha on these verses is: ‘Pradhaanaa sushumnaa naadee merudhande prishtasya vamse sthitaa muulaadhaara maarabhya prishta vamsa maargena brahma randhranta paryantam gate thyarthah’. It means: ‘The sushumna naadi extends from mulaadhaara upto Sahasrara along the back bone. It is energized by breath at mulaadhaara Kundalini as inaudible sound form of Brahman. It is known as Para vak (Transcendental Sound) also called sushumna oriented to upward motion. The sound also moves upwords along with Shodasi Seshendra Sharma 96 it and associates with the mind. It is then called Pasyanti (vak). Later it associates with buddhi (discriminative faculty) and is called Madhyama (vak). It reaches the region of throat becomes suitable to be grasped by the instrument of listening. It is then called Vaikhari (vak) and manifests in the form syllables beginning from the first letter ‘A’. As the Sushumna is essentially the energy of Moon, Sun and Fire, the sounds that are generated from it have also the nature of Moon, Sun and Fire and grouped into three categories called, Saumya, Saura and Uushma. Thus, it is to be understood that Sushumna is a form of twenty five Seed (Matruka) syllables and that it extends along the backbone and that the Sage referred to it by the word Prushtam. Hence the meaning of ‘Mat prishtam mahaarnavam’ is: ‘The Sushumna associated with my ‘back’ which is essentially the ‘seat’ of twenty five syllables’, (to be used as a Seat for Sita). Kundalini ascends through Sushumna and crosses the six Chakras to enter Sahasrara where it merges into Siva. We read in Gayatri panjara stotram: ‘Aarohaa davarohana kramagati sree kundalini samsthitaa’. She is called Uurdhwa. In Devi Bhagavatam, it is written (12th Sk, 6th Adh): ‘Uurdhwacha pyuurdhvakesee chaapyurdhwa adhogatibhedinee’. Since Kundalini is basically oriented upwards, the Sage wrote: ‘Yoga manvichcha ramena sasaankeneva rohinee’ and thus pointed out Kundalini by the word rohinee. The word rohinee is explained as ya rohati saa rohinee, which befits Kundalini. This is not an accidental coincidence of analogy. There can be nothing that is accidental in whatever Valmiki does. We cannot reach his heart unless we have this conviction. Everything is done by him after discriminative decision and with deliberate choice. It is not merely decoration. There is a message to be conveyed. Just as Rohini is Kundalini, so Sasaanka is Paramatma only. According to the scriptural language, Sahasrara is known as Chandra Mandala. Chandra is associated with Shodasa Kalas (sixteen qualities). The Sruti also says: ‘Shodasakalah purushah’. (Chandodgya Upanishad). So Purusha is also associated with sixteen Kalas. Another special feature is that the name Rohini is also applicable to Devi. ‘Rohinee Raajyadaa Revaa Ramaa Rajeeva lochanaa’ are the names of Devi (in Devi Bhagavatam 12th Sk, 6th Adh.134th verse). In the Gayatri Panjara Stotram, we read: ‘Dhaninaa, Yaaminee, Padmaa. Rohinee, Ramanee, Rishih’. This is the message of the Sage when he says “.. sasaankenena Rohinee.”. Is this not a subtle metaphorical suggestion? Or, is it only a metaphor? Shodasi Seshendra Sharma 97 Now let us see: ‘Kathayanteeva chandrena suryena cha mahaarchishaa’. What is this? It shows here that the meaning of archi is not only brightness but also the God of Fire because of the phrase archishaa agnyaa. In the phrase ‘Speaking to such Chandra Surya and Agni, the word kathayantee is a qualifier of Sita. According to the principle, saha yukte apradhaane, and the word chandrena and others are in the third case, it should be understood that saha means united. Here speaking is not primary. To go along with Chandra and Surya is primary. The word saha is omitted in the sentence ‘Chandrena suryena maharchishaa saha kathayanteeva vinaapi tadyogam’. The association of Kundalini with Chandra,Surya and Agni is a scriptural subject. The body consists of three parts. The top and the bottom are called Chandra Khanda and Agni Khanda respectively. The middle one is called Surya Khanda. The sage followed the same order in the verse as indicated by the words Chndrena, Suryena and Mahaarchishaa. This is one of the key factors for the secret message. The association of Kundalini with these is described in the scriptures in two ways. There are three principal conduits (Nadis) in the body. They are Chandra, Surya and Agni Nadis. The same are called alternatively Ida, Pingala and Sushumna Nadis. It is Sushumna that leads to Brahma Loka. ‘Sendra yonih’ says Taittireeyam. Ida and Pingala merge with Sushumna at the Ajna Charkam. The idea is that Kundalini moving through Ida and Pingala merges at the Ajna Chakra with Sushumna. Moreover, when Kundalini in Agni Khanda reaches Surya Khanda, the Kundalini of Agni Khanda merges with Kundalini of Surya Khanda. Later when they reach Chandra Khanda, the former two merge with the third. Thereby the Kundalini of the Chandra Khanda at Sahasraara is ‘pierced’ resulting in the flow of nectar. Bhaskara Raya described in his commentary of bisatantu taneeyasi of Lalita sahasra naama as follows: ‘Tripyata agni kundalanee muththaapya suurya kundalinyaa samyojya taabhyaam Chandra mandalam siva sakti saamarasyena draavayitwaa ….. ‘ etc.. In our body, the confluence of Chandra, Surya and Agni take place in Sushumna in this manner. The same is described in the verse under consideration: ‘Chandrena suuryena mahaarchishaa sahayoga manvichcha ramena kathayanteeva’. This is to be coordinated with the generation of alphabet explained in the previous discussion. Among the scholars who explained the topic of Chandra etc., Maheswara Tirtha only said: ‘Tathaa atyunnata Shodasi Seshendra Sharma 98 patham tvaam gruheetvaa gachchaameeti bhaavah’. It tends to be an indirect way of explanation. Let us read again the pair of verses we started with. The secret form will be seen comprehensively. I had to say so much to bring out the supreme truth. But anyone who has in his heart this scriptural knowledge will be able to grasp the entire truth in a couple of minutes. I can say that the verses of the Maha Rishi are filled with messages behind every word that is chosen carefully. The repetitions are the keys for messages. I bow down before that Valmiki, who wrote Ramayana containing an extensive collection of twenty four thousand verses, whether he is a Sage or actually Parameswara.
- Seshendra Sharma
Translated by
Dr. Gurajada Suryanarayana Murthy
Physicist
BARC
Mumbai: India
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Copyright:
G. Saatyaki, S/o G. Seshendra Sharma
saatyaki@gmail.com
Fone : 77029 64402, 94410 70985
Important Note
This book was published in the form of a series of articles in Telugu, in Andhra
Prabha, Telugu Daily, in 1965. The 1st edition was published in 1967 by the author
himself. 2nd edition was published by Tirumala Tirupathi Devasthanams, Tirupathi
in 1981. 3rd and 4th editions were published by Saatyaki S/o Seshendra Sharma in
2000, 2013, e published (e book is online) on 3rd October 2014. English Translation
e published (e book is online) on 30th May 2015. First Edition of Shodasi: Secrets of
the Ramayana was printed in August 2015.