[re kuzhal isai]

[Guest guest]

Dear Shree M.G. Vasudevan,

(this is a lengthy mail-please read it fully)

I have not responded to the recent posting by you quoting a "quotable quote"

for a magazine Sri Ranganaatha paadhukaa [sRP] vikrama aadi issue because, I

had not seen the context in which the quote occurs in it. Now I have got the

context of the same. I would like to strongly refute it and condemn the

presentation of the verse with careless translation in that magazine. I doubt

the knowledge of the person who translated the verse in that magazine. Please

note the following points.

 

Any authored work cannot be taken as Pramaanam. It can be accepted only if it

is fully based on the Apourusheya Sruthi (Veda). If any authored work

contradicts the Sruthi, it has to be understood and synchronised with the

meaning of the Veda such that there is no deviation of its meaning from the

purport of Sruthi in that context. If it is not possible to do so, then the

authored work has to be rejected as non-authoritative.

 

The verse mentioned in your mail (as given in the magazine)

<<<< "veeNaa vaadhana thathvagna: sruthi jaathi visaaradha: !

dhaasagagnja: aprayaasEna mOksha maargam sa gachchathi !!" -

yaagnyavalkyar >>>>

This occurs only at the end of PAduka magazine. It is not a part of any

article. At the end, they have just printed certain (around 5 or 6) "Quotable

Quotes" sort of verses from various Smrutis. Just the sanskrit verse and its

plain tamil translation has been given ("sruthi layam thaaLam oththuch cheyyum

veNaa gaanam arinthavan eLithil mOksham selgiraan") (What will happen to

those who do such a "Naadopaasana" using Violin, Guitar, key board etc?) This

is not the purport of the verse.

 

You have rendered its English translation as

<<<<"To translate this in English (may be rough and does not give the essence

correctly): He goes to moksham easily (aprayaasEna), he-that person -one who

knows playing music on the instrument veeNa mingled with sruthi (basic tune),

layam (basic counts of music?), and thaalam (beats)." >>>>

 

The translation is contradicting the "Hitam" (Upaayam) as told by the

Prastaana Trayam. Therefore the translation is not valid and not substantial.

Further this translation does not clarify anything but only confuses. The

"VeeNaa Vaadhanam" as told here is not in any way a Saadyopaayam for Mokhsam.

If you read the verse carefully, you will find that it is only telling that

the person who knows Music (through Veena-a stringed instrument) goes for the

Upaayam (maargam) for Moksha and not for Moksha itself. Therefore Veenai

Gaanam is NOT equal to Mokshopaayam.

 

One point, which I would like to state here, is, the Saadyopaayam for Moksha

as per the Prastaana Trayam is either Bhakti or Prapatthi only. Nothing other

than these two can be considered as Saadyoopaayam. Probably, if you mean that

naadoopaaana makes bhakti easier, then it is right but it can never be a

saadyoopaaya in itself. Also, when I say "Brahmopaasana" it means that

"continuous contemplation (as told in Upanishads with its prescribed

accessories) on Brahman who is Purushotthama: Shreeman NarayaNa:" When I say

"Naadoopaasan" I just mean that using music as a mere tool to cultivate the

interest on "Brahmopaasana". Otherwise, what purpose does contemplation on

"Naadam" serve? A person doing "Brahmopaasana" reaches "Brahman". If

"Naadoopaasa" is to be taken equally to mean "Brahmopaasana", then should the

upaasaka reach "Naada"? What is that "Naada"? Is it Brahman? Is it possible to

just equate "Brahman" to "Naada" which means "Sound" by "Swaroopa Iykyam"?

Therefore considering "Brahmopaasana" and "Naadoopaasa" as "equal" is not only

contradicting the Veda but also the logic.

 

 

Please note what Bhakti is as follows: (I have reproduced the following

because I have already wrote in this regard clearly in Bhakti-list

ascertianing that the Prastaana-trayam and our poorva-aacharyas have stated

that the Saadyopaayam is either bhakthi or prapatthi only and the Siddhopaayam

is the Lotus feet of Shreeman NarayaNa Paramaatman) One needs to have jIvaatma

sAkshAtkAram before ParamAtma sAkshAtkAram. The procedure is thus to go

through Karma-jn~yAna yOga, culminating with dhyAna yOga for jIvAtma

sAkshAtkAram and then to Bhakti-yOga for ParamAtma sAkshAtkAram. Thus,

ashThAnga-yOga is inevitable and has to be followed, since dhyAna yOga and

bhakti-yOga have the angAs as what is involved in ashThAnga yOga (Right from

control of breath etc till the last stage). NAdOpAsana is certainly a very

big aiding factor to the practise of ashThAnga yOga. But, "nAdOpAsana" as such

is not a separate Brahma vidya (sAdhyOpAya) in itself. Through nAdOpAsana,

one is very easily able to fix one's mind on SrIman nArAyaNa. That is its

only strength. Thus, it aids in fixing the mind towards Brahman. But, a

upAsaka has to take up a Brahma Vidya at one stage or another (after

attaining the pre-requisites like jIvAtma sAkshAtkAram) as a sAdhyOpAya. By

the way, recitation of vyApaka mantras like ashtAksharam is a component in

bhakti yOga. Since the upAsaka will reflect upon its meanings (esp.as per his

Brahma Vidya), involvement of

Sabda/nAdam is also there. But, the mantras have their own significance and

importance, for which high powers has been especially bestowed by Brahman. The

point is that, one's own way of meditating upon Brahman will not become an

upAsana as a sAdhyOpAya. It has to be a "vidhi" ie. Injunction from SAstras.

Also the person has to be qualified and capable for doing Bhakthi as per

Saastra.

 

Prapathi is complete surrender at the lotus feet of Shreeman NarayaNa. It has

five "Angaas" namely "Aanukoolya Sankalpam", "Praathikoolya Varjanam", "Maha

Vishvaasam", "GoptrutvavaraNam" and "Kaarpanyam". The Jeevaataman who has

realised Aakhinchaniyatvam and Ananayagathitvam has to do Prapathi.

 

Thus I conclude that the "Veena Vaadanam", "Knowledge in Music",

"Naadopaasanam" etc., are not in any way to be considered equal to Bhakthi and

Prapathi. Prejudices get shattered to pieces before Pramaanams.

 

Thanks & Regards

M.S.HARI Ramanuja Daasan.

 

 

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