Tantra-Veda thread: Mantra Sastra

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Mantra Sastra

 

Part I – Overview of Mantra Sastra

 

Mantra Sastra is the foundation

of spiritual practices and is central to all schools. It is the study of sound,

how each sound is produced, the effect of each sound form, how to elevate one’s

consciousness through these sounds to strike a rhythm with the cosmic vibration.

 

 

Sound is produced through

contact, vibration and obstruction. This is called Ahata. However cosmic hiss

if one can hear is eternal and existent. This is called Anahata. It is not

produced by us but only heard. A yogi can hear this. In sadhana one makes the

sound oneself (by doing mantra japa), in a rhythm, resonant with the vibrations

of his nadis and his breath. Through this one will be able to discover the deeper

vibration. This way of merging individual with cosmic is called mantra yoga.

 

The study of sounds to be used

for the vibrations of different nadis, their rhythm and the timing/chanting

methods that effectively activate those, is Mantra Sastra.

 

It is based on the principle – Sabda

is Brahman. And uttering sound in a methodical way is the way to realize the

eternal sound.

 

Mantra

Mantra has two primary aspects –

dhvani and varna

or sound and the form/alphabet.

 

Brahman

|

|

Sabda – Akasa

|

|____ Dhvani

| |____ Dhvani (vibration)

| | |____ Beeja

(Mantra – Energy)

| |____ Swara

| |____ Swara (Siksha)

| |____ Nada (Sangeeta)

|____ Varna

|____ Akshara (Alphabet/syllable)

|____ Artha (Nirukta)

|____ Vyakarana

|____ Chandas

 

The actual sound or vibration and

its effect are grouped under dhvani. This includes the science of pronunciation

and chanting (Siksha), and the energy associated with sounds/beejas.

 

The basic study of varna or sound-roots is

the next part. The combination of varnas to form words, their sequencing and

ordering in sentences is called vyakarana or grammar. The study of meanings

associated to words is nirukta. It is based on the psychological effect or

reaction to various natural phenomena, and the sounds corresponding to those

effects. Chandas is the study of meter, arrangement of syllable groups, with

different lengths.

 

Dhvani

Dhvani is the acoustic aspect of

Sabda.

 

Varna mala

Varna, as it means color, is basically the

shade of sound that is produced. Varna

mala is the set of basic elements of sound, from which all kinds of sounds

emanate. There are seven basic varnas, “a”, “e”, “u”, “ae”, “o”, “am”, “aH”.

These seven flavors are the primal variations of the nada that originates from

muladhara as para vak. Of these “a” is the beginning, and is called “varnadi”

or first of varnas. “H” form originates from above the others, and gets mixed

with the “a” produced at muladhara, to make it “aH”. Hence these are called

Sapta Matrikas. (They are Brahmi, Vaishnavi, Mahesvari, Indrani, Varahi, Kaumari

and Camundi.) These are the basis for all forms of sounds. These do not need

any intervention of tongue to be produced. The other vowel forms “ai”, “ou” are

a combination of these.

 

Then various sound-roots are

arranged in groups or “gana”s. These are based on how they are produced, when

the tongue touches the different parts of the palette or teeth (dantika) or

lips (ostha) or through movement of cheeks (talu). “ka”, “ca”, “Ta”, “ta”, “pa”

are the sounds produced with tongue touches the front part of lobe above the

tongue. “ga”, “ja”, “Da”, “da”, “ba” respectively, are produced right behind

the above sequence. For instance “ga” is produced at a spot right behind “ka”

and so on. Of all these, “ga” originates from the deepest part of the mouth from

the back part of the lobe. Hence it is called “ganadi” or the first of all ganas.

The leaders of different ganas are like “ka”, “kha”, “ga”, “gha”, “ya”.

 

The total varnas with all the

ganas count to 64. These are called the 64 kalas or 64 yoginis that serve the

Mother or Para Vak.

 

Bhasha

Language or Bhasha, is the

composition of grammar and a set of words. Word-roots are representatives of

natural phenomena, their names, and are inseparable from their meanings. Thus

each sound is a representative of a natural phenomenon and vocabulary describes

the universe. However unlike in the common usage of language, it is not the

etymological meaning of the word that is important, but the sound itself is

said to represent the phenomenon as well as imply meaning of that word.

 

Sound and the meaning are

inseparable, and one is invariably accompanied by the other. There is a verse

that describes this – “vaagartha vipa sampruttau, vaagartha pratipattayet,

jagataH pitarau vande parvati parameswarau”. Vak and artha are inseparable as

Siva and Sakti are.

 

Vak-suddhi is about purifying

language in a way that sound and meaning always go together. This is possible

only when pronunciation, thought and speech all are perfected.

 

Mantra Yoga

The same yoga, is practiced and

called Mantra yoga, Laya yoga, Kundalini yoga. They are inseparable and lead

into each other. Mantra yoga concentrates on nada to strike rhythm between

individual and cosmic vibration, to activate the right nadis, to expose one

into the cidakasa or daharakasa. Sabda is the tanmatra of mahabhuta Akasa. And

through sabda one tries to turn his vision inwards from akasa to daharakasa,

through chanting the mantra, by producing sound to slowly listening the anahata

sound without producing it.

 

This is the reason why japa is

graded in three steps: bahya, upamsu and antar japa. Chanting aloud, trying to

do it with minimal sound and movement of lips, then doing it totally inwards

mentally. However we should remember that this applies to individual sadhana

and not vedic chanting. Vedic chanting

is done aloud, and that will ensure its results.

 

Thus eventually when mantra yoga

is achieved, one achieves laya yoga also, since his consciousness is directed

to daharakasa where his devata resides.

 

There are three levels, gross,

subtle and causal. While doing mantra sadhana, one will get mantra siddhi and

will be able to see taijasic world – the devata will appear in subtle form, one

will be able to enjoy subtle world instead of gross ones. Over time one will

enter the karana-akasa or chidakasa. There the causal world is seen. And the

causal being of the universe, Isvara will be realized. So basically it is the

same devata, once seen as a taijasic being, is now realized as a causal being.

Devata is in fact Brahman – only the sadhaka is realizing devata as subtle or

causal as he is elevating in consciousness. Eventually, beyond this, he will

achieve advaita-siddhi, and realize devata as Brahman.

 

The steps are more or less

similar in laya yoga too.

 

Devata

Each devata is associated with a

beeja. The nature of the devata, powers, are known through the mantra of the

devata, and especially the beejas.

 

In general all beejas of devatas

end with anusvara(“M’) or visarga(“H”).

 

Ganapati

Ganapati is the primal devata and

is worshiped ahead of any other devata in every occasion. “Gam”, is the beeja

for Ganapati, much symbolic of His name. “Ga” is Ganadi, “a” is varnadi and “m”

is anusvara. Thus He is the leader of all pramatha Ganas and qualifies to be worshiped

first.

 

Pranava

Pranava or Omkara, is said to be

the para nada, the essence of Veda, and verily Brahman. It is formed with three

matrikas, “a”, “u” and “m”. These three

are said to be symbolic of creation, sustenance and dissolution, and “aum” as a

whole is Turiya or unmanifest Brahman. While chanting “aum” one begins nada

with “a”, sustains it through “u” and concludes it with “m”, and this is said

to be symbolic of creation, sustenance and dissolution of the universe too.

 

These three syllables variedly

represent the three states – waking, dreaming and dreamless sleep, three

functions, and three levels of consciousness and so on.

 

The variant of this, Devi

pranava, is “Uma”, which is basically a reorder of the same roots as

sustenance, dissolution and creation. Thus Devi’s primary role is sustenance and

pervasion, much similar to Her sibling Vishnu.

 

Trimurty

Trimurty is a famous concept, where

Brahma, Vishnu and Rudra preside over creation, sustenance and dissolution of

the universe.

 

Triplet is a common theme of many

concepts. The triputi of Sakta sadhana, three gunas, and three dehas, three

avasthas, etc.

 

Triputi is visible in Veda, in

the form of Agni-Aditya-Vayu representing Rajas-Satva-Tamas. This triplet is

visible directly in older Sakta schools like Candi. In the more recent and

refined version Sri Vidya, we find Vayu to be replaced with Soma. Both Vayu and

Soma are aspects/epithets of Rudra. Vayu/Marut signifies power and this is

visible in the combinations of Vayu-Rudra: Hanuman. Sri Rudram has 49 stanzas

with Namakam and Camakam put together – these correspond to the 49 Maruts. Soma

signifies beauty, bliss. And correspondingly, Candi whose triputi has Vayu, is

an Ugra Rupa, and Lalita whose triputi has Soma, is a pleasant form. There is

another reason why Soma formed a part in Sri Vidya triputi – Devi is said to

possess all the Candra Kalas.

 

The three functions – creation,

sustenance and dissolution can be seen in the context of triputi too. Triputi

is common to mantra and kundalini yoga. The six centers are divided into three

groups of two cakras each.

 

The bottom two – muladhara and

swadhisthana associate with one granthi, the Brahma granthi. This will be Agni

mandala. This is where kundalini, the Mother starts moving upwards – and this

is the reason she is called Agni kunda samudbhava or Agni Sikha or Agni mandala

vasini. This will be the beginning of the sadhaka’s spiritual life. These

centers represent bhu and bhuvah lokas, or the anna maya and prana maya kosas –

the gross and its link with subtle.

 

Manipura and anahata associate

with Vishnu granthi. This will be Aditya/Surya mandala. Bulk of the sadhaka’s

spiritual life is spent here, sustaining it. These centers represent swarga and

mahar lokas, the mano maya and vijnana maya kosas – the subtle and its link

with causal. At Anahata one can transcend the mind-life-matter triplet and reach

the knowledge plane, and can see the cosmic instead of individual. This is the

place where he can hear the cosmic hiss too.

 

Then visuddha and ajna cakras

associate with Rudra granthi. This will be Soma mandala. This is the

culmination of sadhana, and one achieves laya yoga here. The causal begins from

here. Visuddha is the center of jana loka, or the ananda maya kosa. This is the

world of existential bliss, or maaya. Ananda maya is still not beyond maaya.

 

(Isvara has two additional functions,

apart from these three functions - tirodhana and anugraha or veiling and

unveiling from maya respectively. They

are not disjoint from the three functions – tirodhana is the cause for creation

and anugraha causes complete laya. But these are separated more for clarity and

for sadhaka’s convenience. So five functions in all – srsti, sthiti, laya,

tirodhana and anugraha are the functions of divine, and in Saiva-Sakta parlance

the presiding deities for these are Brahma, Vishnu, Rudra, Isvara and Sadasiva.

Here Sadasiva is Brahman. Since the Mother rules over all the five, She is

called Panca Krtya parayana. Panca brahmas or panca pretas that form Her seat

are these five, with four as the legs of the chair and Sadasiva as the actual

seat. Which is why She is called Panca brahmasana sthita, Panca pretasanaseena)

 

 

One will have the glimpse of what

is driving the universe but not the reason for it. It is at ajna, when the

consciousness totally gets merged in and one is roaming freely in daharakasa, that

one gets to see the causal being or Isvara. This is tapo-loka. Isvara is in two

forms, Sakala and Nishkala. Kala is His consort, the Mother. She is variedly

called Kala, Kalavati. Maya emerges from Brahman and is inseparable. For the

sadhaka, it is the Mother who subjects him and releases him from Her Maya. When

the universe dissolves in the absolute, or when one can realize Brahman without

Maya, it is called Para Nishkala. It is suddha pranava. Eventually between ajna

and brahma randhra, one realizes this. In other words, at this stage one sees

Maya to be dissolving into Brahman or the Mother uniting with the Lord. Thus at

sahasrara one gets to see Siva-Sakti as eka rupa, and one gets advaita-siddhi

or complete sayujya. This is satya loka. Depending on the taste of the sadhaka,

he sees this as Satya loka or Kailasa or Vaikuntha.

 

The Family Representation

Sakti-Siva dualism derives from

Agni-Indra dualism of the Veda. In Veda, Indra is the head deity while Agni is

the central deity. And Agni tatva takes the form of Sakti in subsequent

traditions – Tantra and Purana. And Indra, the “head” or Lordship, takes the

form of Isvara – described as Siva in Saiva-Sakta and as Vishnu in Vaishnava.

 

Just the way husband is head of

the family and wife is the center of the family, Siva and Sakti take the “head”

and “center” role of the Universe. While He is the inspiration, She is the

will, the pervasive power, the cause of all action. For any need in the family,

kids approach the mother. For an external need, they approach father. Both can

do both functions, but one is designated to one. So for bhava harana, approach

the Lord. For bhava taarana, approach the Mother. Though both have the same

goal, they differ greatly in approach. It is one thing to cut the riddle/knot

of life, and another to open it loose, to live through it, while sailing in a

ship instead of swimming. That is why the Mother is called “naveva sindhum

duritatyagniH”. She is Bhava taarini.

 

The head of the family is usually

nominal but for when a need comes. And with such a central person in the family

to connect, manage and run it as Amba, the head can rest at peace. That is what

He does blissfully. And anyone who worships Him, gets the same blissful state

too.

 

Family concept is profound, and

derives from divine definitions. The fundamental of a family is this:

complementariness is spouse relation and similarity is sibling relation. Owing

to the innumerable similarities between Devi and Vishnu, they are called

siblings. And owing to complementary nature, Devi-Siva are wife-husband.

 

However Vishnu, is basically the

tatva of Sakala Siva. He has same attributes as Siva, being vast, absolute,

snake-adorned, etc. Then, He is not Nishkala but Sakala – Maya is not outside

but inside Him. He is Himself Sakti too, and not the ruler of Sakti.

 

While Saiva-Saktas have worshiped

Kala and Nishkala aspects, Vaishnava has not differentiated them much – and

basically in total agreement with Saiva-Sakta traditions that Sakti and Brahman

are inseparable, undifferentiated. While Saiva-Sakta show it in Ardha

nareeswara, Vaishnavas show it differently – by putting both in the same being

and not as deva-devi. That is the reason why in Vaishnava Lakshmi does not

assume much of importance. She is there, but Lord is all-important.

 

While the Krita Yuga notion was

of worshiping Vishnu, today Vishnu is not worshiped as Suddha tatva, the Para tatva at a popular level. His Sakti aspect is worshiped

more than His Brahman aspect. And Vaishnavas do not hide this fact: they

expressly say that the Lord is a personal deity and must be worshiped as Saguna

and NOT as Nirguna. Thus, out of the Para-Antaryami-Arca-Vibhava-Vyuha forms,

Para is the least worshiped. Antaryami is worshiped popularly, after Arca. This

shows how strikingly similar Vaishnava and Sakta traditions are, since Sakti is

worshiped in those same exact forms. We have already seen how Taraka beeja is

common in Vaishnava and Sakta. And similar to Devi, Vishnu is worshiped as

Bhava Taraka (Samsara Sagara Samuttaranaika…) more than Bhava Hara.

 

When one does upasana of Suddha

Pranava, one observes that it begets detachment and not the immediate kind of

bliss when one does upasana of mantras with Maya/Ananda beejas. Vishnu and His

major forms Rama and Krishna, all have Maya

beejas in them – and that makes Him Sakala.

 

The similarities in tatva between

Devi and Vishnu can be seen more with more detail on Mantra Sastra, but just a

quick list:

Both are pervasive and sthiti karakas – infinite and

hence black in color Both have Sakti-Maya-Ananda aspect Both are incarnation deities – they incarnate to

eliminate Adharma Both have ten major forms of worship – avataras for

Vishnu and maha vidyas for Devi. Both have 51 minor incarnations. Both have intimate relation with Manmatha. While Devi

is Kama kala, Vishnu is the father of

Manmatha. And so on.

 

We frequently come across the

family representation of Siva – Siva, Sakti, Ganapati and Kumaraswamy. From the

yoga margas of Kundalini and Mantra, Sakti is seen in two forms – Vak and

Kundalini. These are the two sons of the Mother Ganapati and Skanda. This is

clear from the fact that Ganapati is praised as “Catvaari vaak padaani”,

“paraadi catvaari vagaatmakam”, “pranava swaroopa vakra tundam”. And Skanda is

Shanmukha – the direct representation of Kundalini and shatcakras. He is the

son of Sakti, fed and raised by Krittikas – the six matrikas or forms of Agni.

And He is Subrahmanya the great serpent. These symbols are more elaborate, but

it suffices here to see that they are the two forms of Sakti and subsets, hence

Her sons.

 

Kumaraswamy is pravritti marga in

the sense that He represents the growing consciousness, from muladhara to ajna

cakra. Ganapati is nivritti marga, in the sense that He resides at muladhara in

the form of para vak. Realizing Him is the other way round, from Vaikhari at

vagbhava (throat center) to Para at muladhara.

Thus, Skanda is pravritti and Ganapati is nivritti marga – these two are the

two children of Siva and Para Sakti. Thus for a mantra yogi or nada yogi

Ganapati is revered, and for a kundalini yogi Skanda is revered.

 

A bright example we have in the

previous century was the pair Ramana Maharshi and Vasistha Ganapati Muni.

Ramana is said to be an amsa of Skanda and Vasistha of Ganapati. And the

correspondence is visible – Vasistha was a maha mantra vetta and Ramana was a

yogi. Vasistha represents vak in many forms, through his panditya, mantra

siddhi and the great mass of literature he produced.

 

Trimurty, Smarta and Tantra

The primary difference between

smarta and tantra is that in smarta concentrating on muladhara is discouraged. Concentration

begins from manipura or heart-center. In tantra, especially vamacara, they encourage

concentration on the place where the journey starts – muladhara. Smarta

discourages it because that is the origin and it is prone to travel in either

direction – upwards or downwards. If the sadhaka cannot hold the downward

movement it basically manifests as kama or

mithuna. To be on the safe side smarta encourages concentration from manipura,

so that by the time one realizes activated kundalini one is already sufficiently

advanced.

 

This is the reason why out of

Brahma, Vishnu, Rudra the worship of Brahma is prohibited. The story in Purana

where Brahma and Vishnu compete, Siva turns into a jyoritlinga, Brahma tries to

travel upwards and fails, then takes a false witness and is cursed, symbolizes

this. Basically explicit concentration on Brahma granthi is not encouraged.

 

However this is indirectly

encouraged through mantra sastra, the worship of Ganapati. The sadhaka is asked

to concentrate on the origin of Nada or Vak (which is basically muladhara) and

not of kundalini. This is because, realizing the origin of Vak is the same as

achieving the higher state, while concentrating on the beginning of opening of

kundalini can happen even before one elevates to the required states of

consciousness.

 

However in tantra it is not

discouraged. Vamacara tantra is also called Kaula, belonging to kula. Kula is

basically coiled kundalini at muladhara. Kula marga is Her path through Brahma

randhra. The Mother is both Kula and Akula. In fact Matangi is called Nakuli,

which is basically Na-Kula.

 

The tantric interpretation is

that the Mother is kamakala. The smarta explanation is that She is kamakala in

Her ultimate form, beyond Manipura as She goes to unite with the Lord and not

at muladhara. Siva is called “urdhva retas” for the same reason.

 

Kaulacara takes a different

approach. It says that since atman=Brahman, the manifestation of different

tendencies in man is basically the fulfillment of the Mother. So the panca

makaras, including maithuna or sexual union are, if one is doing with due

consecration, basically forms of worship.

 

(However, history offers

sufficient evidence, that these tendencies are more prone in case of un-evolved

beings as perversions than as divine practices. When man takes to socially

unviable practices, about relations with people or about his practices like

bali or sitting in burial grounds, it has not always done social good. To take

one example, there is a village named “manava padu” by Alampuram, where it is

said that the Goddess/Yogini used to roam and eat people of the village. Adi Sankara

pacified Her and installed Sri Cakra. If we study the tantric practices of Kashmir or North-east we will get a fair idea of this. This

is not relevant to the subject of mantra sastra but just a gloss over).

 

Smriti and Agama

The subjects of Smriti and Agama

are different. While smriti is about practices for life, Agama is about

practices for worship. Though this basic difference exists, they should have

many common aspects in different languages – because in Hinduism all life is

worship.

 

We can consider the quote

relevant to the subject here. Agama says “kalau candi vinayakau”. The whole

sloka if read, says that Vishnu gives best results if worshiped in Krita Yuga,

Mahesvara in Treta, Indra-Agni devatas in Dvapara, Candi and Vinayaka in Kali

Yuga. While there are many who interpret this according to theologies and their

devotional loyalties, we should not forget that Agama is based on Mantra

Sastra. Thus, what the text says has to be studied from that perspective.

 

If we look at what Hanuman tells Bhimasena

in their meeting in Mahabharata, man gets liberation through natural yoga and

tapas in krita, through tapas, sacrifices and austerities in treta (kamya is

introduced), through austerities in dvapara (with Veda divided and knowledge

available only in parts), and through mere remembrance in Kali. In Krita,

everyone gets Mukti as they do their rites without any specific desire. In

treta it needs tapas, since there is kamya. In dwapara it is sacrifice (isti,

done for ista purti) as it is totally kamya. In Kali, remembering God will

ensure mukti. Which is manana. Mananat-trayate is the definition of mantra.

Thus it is mantra that gets mukti in kali.

 

Now looking at the Agamic

instruction, we can understand that it is no different really – Para form of Vishnu in Krita gets mukti, as men are

already in that state. In treta it requires sacrifices and tapas – the lord of

sacrifices or Yajus is Siva. In dvapara it is basically isti, not yajna in the

sense in which it applied in treta yuga. They are granted by Indra-Agni. In

kali, it is Candi and Vinayaka, the Mother and the God who preside over mantra

(as we have already seen). One form of mantra is nama, and nama smarana is thus

recommended. In fact it is the subset of what is mentioned in a subtler way.

 

This is totally in accordance

with what smriti says. Manusmriti says that though he cannot do panca yajnas

and karmas, a dvija can become a dvija by doing mantra japa alone.

 

Thus in different languages, one

of vidhi-vidhana and another of mantra sastra, smriti and Agama basically say

the same thing.

 

Advaita and Sakta

Sri Vidya is a refined form of

Sakta Tantra, both in Mantra and procedural aspects. This is courtesy Adi

Sankara who popularized it. Sakta is primarily Advaitic in nature. There is a

difference between Sankara Advaita and Advaita of Sakta Tantra.

 

There are three main schools that

explain the relation between universe and Brahman. One is Arambha vada, which

says universe has a beginning and an end. Nyaya and Vaiseshika follow this. The

other schools hold that universe is eternal, its dissolution and next cycle of

creation are linked with the continuity of the seed of creation. The second

school is Parinama Vada, which says that the universe is a transformation of

Brahman, emerges and dissolves in Brahman. The way a spider’s web comes from

it, the universe comes from Brahman. Brahman is the essential substantial

(upadana) cause for the universe. Sankhya, Yoga, Karma Mimamsa follow this. The

third is Vivarta vada, which says that universe is a manifestation, an

appearance over Brahman. Sankara Advaita comes under this. According to him,

Brahman is the nominal (nimitta), substantial (upadana) and undifferentiated

(abhinna) cause for the world. Sankara Advaita holds that Maya bounds and

releases the being. World as it appears, appears because of Maya, and it is not

what the world really is. The world, in reality, is Brahman only. Thus when one

realizes Brahman and gets beyond the veil of Maya, then only Brahman remains,

not the world. Sakta Tantra holds that Atman is same as Brahman, like other

versions of Advaita, but the universe is real and eternal. It is not just an

appearance that gets dissolved with realization. The Mother is primal rhythmic

energy, Sakti and not Maya.

 

Sri Vidya is popularized by

Sankara. The Vedic followers (who follow smritis and dharma sastras) of Sri

Vidya go by Sankara Advaita. Atman is always liberated, but appears to be bound

because of ignorance caused by Maya over the individual soul. Here Atman is to

be called self. Soul is actually the subtle body that is constituted of subtle

senses, mind and intellect. The Causal being of the universe, Isvara,

associated with His consort Maya, rules the universe. The veil of Maya, is

lifted through the grace of Sadasiva – and the individual being identifies its

oneness with Atman which is beyond Maya.

 

The primary difference between

Vedic and Sakta Tantra philosophies lies in the fact that in Vedic philosophy

desire is seen to be transcended. Though desire is not sought to be suppressed

by force, it is not seen as a means to transcendence – it is sees as something

that is to be outgrown .

 

In Sakta, Nature, whether it is

desire or natural tendency or instinct, is seen as a divine manifestation of

the Mother Sakti. It is through fulfillment of it, with the sense that it is

divine, as a form of worship of the Mother, that one seeks to please the

Mother.

 

The Vedic practitioners of Sakta

Tantra take a middle path, by praising the Mother as Maya who creates these

tendencies to bind the being, seek to be liberated from these by Her grace.

 

 

Part II – Some of the Primary Beejas

 

The objective of this section is

not to exhaustively explain about the different beejas, but to indicate how a

beeja forms the base of an entire Vidya and its philosophy.

 

Maya and Sakti Beejas

Devi represents the feminine

force. There are two beejas that represent Stri sakti – “ee” and “aa”. But more

so, “ee”. Some of the names of Devi like Vamakshi refer directly to “ee” beeja.

That is why Sri Suktam praises the mother as “eem”, apart from “sreem”. Sri

Sukta is a part of RigVeda Khila, and not the core samhita. And unlike Samhita

we can see the mantra sastra and beejas being directly mentioned.

 

As Saktas take pride in saying,

“i” in “Siva” is said to be Devi, without who the Lord is a corpse. This

follows directly from the beeja for Sakti being “ee”. This is also why

Vaishnavas take pride in saying that worshiping Vishnu is equal to worshiping

Devi and Siva together: Hara + “i” = Hari. However, both Hara, Hari seem to be

derived from the Bhuvaneswari beeja “Hreem”.

 

Bhuvaneswari is the primal model

of Sakta, with Vedic origin. She is the Aditi of Veda, the Mother of Aditya

loka. This is also how She is a sibling of Vishnu/Aditya. Bhuvaneswari is the

Mother and ruler of all the worlds. But by Bhuvaneswari beeja one means the one

that corresponds to Aditya loka.

 

“Hreem” beeja can be found in the

earliest of Vedic literature. Purusha Sukta of Rig Veda says “Hreesca te

Lakshmeesca patnyau” – “hreem” and Lakshmi (sreem) are the wives of Purusha. Hreem

is also called lajja beeja.

 

Hreem is the Bhuvaneswari beeja and

has many names, like Maha Maya, Hrillekha, Taraka, Akasa. This has four

matrikas or seeds – “ha”, “ra”, “ee” and “m”. The “ha” is akasa beeja, and She

is thus of the form of Akasa, both bahya and daharakasa. The Mother is called

the Moon of daharakasa. “Ra” is Agni beeja. She is Agni Sikha and Agni kunda

samudbhava. “ee” is Maya beeja, She is Maha Maya thus. “m” is the anuswara,

samhara beeja.

 

The qualities of a devata can be

seen from the beejas of the devata. Each matrika/beeja’s qualities can be seen

in the attributes of dhyana sloka. For instance, Bhuvaneswari is one of the

most pleasant forms. This is because Bhuvaneswari beeja has Maya beeja, and

Maya corresponds to Ananda maya kosa. She is bound to be a personification of

bliss. (The same reason holds why Lalita is also a blissful being – Pancadasi

has three occurrences of “hreem”, and then repititions of “ha” and “ee”.) Then,

Akasa – She is daharakasa rupini for this reason, and hence trinetra – third

eye stands for vision of the Causal. Then She is a shining vast, indicating

Agni and Aditya both. Varada and abhaya mudras derive from the fact that She is

bhava tarini. (this is how Kalika Devi’s black color, lolling tongue, skulls

etc also derive – from the beejas of the mantra. Same with every devata – Rama

or Krishna. We can see that subsequently).

 

Specifically, the four matrikas of

the beeja are said to be the head, two breasts and yoni of the Mother. There is

not a lot of praise about other limbs – feet etc. That is why Her picture is

drawn as if She is folding both Her legs in padmasana. Same with Lalita.

Whereas Raja Rajeswari is said to be in Veerasana – with one leg folded and one

leg down on a pedestal. Though Lalita and Raja Rajeswari are basically Tripura

Sundari, there are differences like this, that follow from Mantra Sastra.

 

Then, “hreem” is also called

hrillekha – since it is the letter of hridaya or Vishnu granthi. But it is not limited

to it – three hrillekhas of pancadasi are said to be three granthis themselves.

Alternately in Pancadasi the remaining letters are to be meditated on the six

cakras while hrillekha at sahasrara. There is a variety of practices, but hrillekha

is the central beeja and occupies huge importance in mantra sastra.

 

“Hreem” is called taraka beeja,

the one that let us cross the ocean of causation and karma-janma cycle. The

vidya with single beeja is called Tarakamba or Paramba. This is the combination

of the Mother and the Lord, the “Sakala”. (The Lord alone, Para Nishkala, is

Aum.) The three Bhuvaneswari beejas “aim”, “hreem” and “sreem” that correspond

to Vak, Aditya and Sri are called taara traya. Bhuvaneswari maha vidya does not

have many nama mantras, as it corresponds to lokas more than devatas. The

Devata of the Vidya, is the tatva beyond all lokas. She is the Bhuvaneswari

Loka vasini and Mani dweepa vasini as described in Devi Bhagavata. No one can

enter it except with Her grace. Any one who enters it, becomes a female and

enters. There is no place for men in that world, indicating that one cannot

enter Her abode unless one transcends gender consciousness or gender-caused

duality. The “nama”s that correspond to Bhuvaneswari are like Durga, Bhavani,

Amba.

 

The four matrikas – “ha”, “ra”,

“ee” and “m” are akasa, agni, maya and samhara beejas respectively. And if we

look at the corresponding theology, “ha” is Siva beeja and “ee” is Sakti beeja.

“ra” is Agni, so it is clear that it is Kumara swamy. (That Vedic Agni is

Puranic Skanda is a well known fact). Now “m”or anusvara, is samhara beeja.

Samhara in a way is nivritti, and thus it is Ganapati. Kumaraswamy and

Ganapati, the two siblings, represent pravritti and nivritti margas

respectively. And the four, Ganapati, Skanda, Sakti and Siva form the four

matrikas in Bhuvaneswari beeja.

 

This is how, from one single

beeja, one single mantra one eventually can progress, experience and realize

the entire tatva. The essence of entire universe, the cosmic play, can be

understood through one single beeja. Realizing any one mantra is as good as

realizing the entire universe, and Brahman.

 

It is not a Sakta-specific

connotation though – hrillekha, like many other primary beejas, is common to

all vidyas. It is central in Rama Taraka mantra, is a part of Panca Mukha

Anjaneya mula and so on. “Hreem Hari markata”, the mula of Anjaneya, derives

from primary beejas and for this reason, in Madhva School of Vaishnava,

Anjaneya is the most important deity immediately after Vishnu. Lalita,

Bhuvaneswari are pleasant and beautiful forms for the reason that their Vidyas have

maya/ananda beejas. It is for the same reason, that Hanuman is called “Sundara”

in Manta Sastra.

 

Pancaratras - the Vaishnava

Agamas are a mine of Mantra Sastra and we can acquire a lot of knowledge from

there. But the reason we do not see a lot of Mantra Sastra aspects explained in

Vaishnava while they are still in Sakta, is that Vaishnavas have come a long

way from Mantra Sastra to different Bhava-pradhana worship forms. So their

links with Mantra Sastra are kind of obscure and only people who study and practice

Vaishnava to a good depth will trace their links/origins. This is the reason

why we are approaching the subject from Sakta perspective. But as we will see

subsequently, in Mantra Sastra we find the secret that all religions in

Hinduism speak of the same eternal.

 

Kamaraja Beeja

Another important beeja in mantra

sastra, is Kama raja or Manmatha beeja –

“Kleem”. This pervades many vidyas and maha vidyas in all the major religions

in Sanatana Dharma – Sakta, Vaishnava…

 

It has four matrikas, “ka” “la”

“ee” and “m”. “ka” is kama. “la” is prithvi

beeja, it also thus stands for creation. As seen, “ee” is Maya and “m” is

anusvara. One attains fulfillment of all desires with the siddhi of this beeja.

Among the yogini ganas or matrikas, those like “ka” are called asuddha or

impure ones. Usually “ka” is appended with some Suddha beeja. The

suddha-asuddha nature of the beeja determines whether the Devata is worshiped

in a pleasant or terrible form – whether adorned with gold and beautiful

jewels, dressed well and pleasant, seated on a throne in a beautiful city, or whether

adorned with skulls, naked and roaming in burials. It has nothing to do with

the beauty or mercy or the capability to give moksha or approachability of the

devata.

 

“Ka” when appended with “la” or

prithvi beeja, becomes Kama raja beeja. If in

the same sequence Agni beeja “ra” is used instead of prithvi, it becomes

“Kreem” – the Kali beeja. And it makes all the difference between a beautiful

form and a terrible form. And the preparations, dhyana, nyasa, everything one

does preparing for a pleasant devata, end up inviting a different force

altogether – leading him in a different direction in mantra yoga and even

harming him. This is the reason why, even one matrika should not be messed with

in the mantra. And this is why extreme care is needed in mantra yoga. In kamya,

one’s expectation can be reversed with errors in chanting. Even in para vidya

sadhana, the qualities he thinks he is invoking and what he invokes differ

altogether. And without proper redirection from guru, the seeker will end up in

a different place.

 

Manmatha is another concept,

after taraka, which is very similar between Sakta and Vaishnava. Manmatha is

Vishnu’s son. He occupies important position in Saiva-Sakta stories. He is

turned into ashes by Siva. Then Bhandasura emerges from the ash, who is killed

by Lalita. Subsequently he is made the king of Kama, and Isvara allows Himself

to be defeated by Kama, thereby uniting with

Devi (this is how Kumara swamy is born).

 

The essence of all this is that

Kamaraja beeja has significant place in both Vidyas. It is the middle beeja in Bala

Tripura Sundari Vidya. Bala is the “daughter” of Lalita, the way Manmatha is

the “son” of Vishnu. Bala is Maha Tripura Sundari Herself too. Vaishnava Vidyas

have Kamaraja beeja too. In fact it is the primary and central beeja of Sri Krishna

mula mantra – “Kleem Sri Krishnaya Gopi Jana Vallabhaya swaha”. The various

names of Krishna, such as Syama Sundara and Madana Mohana, indicate the importance

of the kama raja beeja in Krishna Vidya.

 

Kama

or desire – iccha has primary role to play in entire creation. The cycle of

universe is said to start from the desire of the Lord and the Mother’s cosmic

play to please Him. This is the reason why, love for God, His creation and

cosmic play, have more important role to play in Sakta and Vaishnava

traditions, than Vairagya. The upasana of Suddha Tatva of Vishnu, or Nishkala

Siva involve more Vairagya than bhakti.

 

Saraswati Beeja

Vak, is of four forms – Para, Pasyanti, Madhyama and Vaikhari. Para is eternal

form, pasyanti is when seers “see” it, madhyama is when it translates as

sound-form, anahata, and vaikhari is in spoken form. Saraswati Sukta of RigVeda

explains this – “Catvari vak parimita padani…”. Saraswati is the presiding

deity of Vak, in all the forms.

 

[ Devi is not only triputi, but

trikuta also. She is praised as “trikuta”. Triputi and trikuta, are anuloma -

viloma. That is, Brahma – Vishnu - Rudra or Lakshmi – Kali – Saraswati. When we

talk of trikuta, it is Vagbhava, Madhya and Sakti kuta – with Vagbhava at

throat center, Madhya at heart and Sakti kuta below. We see that the order

changes when we talk of consorts. This is because of the rule of similarity. It

is said that trimurties came from three golden eggs (brahmandas) – Brahma and

Lakshmi from one (rajo guna pradhana, red in hue), Siva and Saraswati from the

second (crystal white in hue), Vishnu and Parvati from the third (black in

color). Thus when we talk of kutas instead of granthis, the order changes - Brahma-Vishnu-Rudra

in upward direction, or Saraswati – Kali - Lakshmi in downward direction.

 

Vagbhava beeja that represents

Vagbhava kuta, originates at the throat center. This is the place from where vaikhari

or external sound emanates. Sakti at this center is also called, for the same

reason, kriya sakti – the power of action. In Madhya kuta, vak is of madhyama

form or anahata. Devi in Madhya kuta is Jnana sakti, the power of knowledge. In

Sakti kuta, vak is in para and pasyanti forms. Devi in sakti kuta is Iccha

sakti, the power of divine will. Through the power of will, knowledge and

action, the entire cosmic sport is performed by Her. (Again, divine will is

Agni and She is thus Agni khanda there). In Lalita upakhyana, the Mother is

said to have slain Bhanda – She goes with Her minister Raja Syamala (also

called Mantrini, Nakuli, Matangi) and general Varahi. These three, the ruler,

minister and general are the three powers of will, knowledge and action –

corresponding to their roles. Ruler makes the decision, minister devises the

strategy and general implements it. However, the Mother has put the

responsibility of ruling also, on Her minister Syamala – so She is called Raja

Syamala or Raja Matangi too. ]

 

Vag-bija or Saraswati beeja is

“aim”. It is meditated on and chanted at Vagbhava kuta. It is formed from three

out of the Sapta matrikas – “a”, “e”, “m”. None of these involve movement of

tongue. It is easiest to do this internally, without movement of lips or tongue

– at the throat center. So this is the foremost and the best beeja to do, for internalizing

japa, develop inward vision. There are many mudras and bandhas in yoga sastra. There

is one bandha applied at the throat center, called jalandhara bandha. This is

extremely useful in doing prolonged kumbhaka (phase of pranayama in which we

hold the breath). When japa of Vagbija is done along with this, it gives the

best results. Eventually this will become anahata, then pasyanti and so on. [The

Mother is called jaalandhara sthita, for the same reason. Control over the

throat center is a very good step in yoga, mantra as well as laya].

 

Every Sadhana begins, after

bowing to Ganapati and then Saraswati, then Guru. Either by nama or by beeja. Saraswati

is one of the major deities, Vedic as well as non-Vedic. As a Vedic deity,

there are multiple aspects of Her:

She presides over Vak She is the vast, called Arnava She stands for inspiration – the originator of divine

consciousness in man and hence called the Goddess of knowledge. There are

four faculties of divine consciousness – inspiration, intuition,

revelation and discrimination represented by Saraswati, Sarama, Ila and

Dakshina respectively. Many of these qualities are combined in Saraswati

subsequently.

In Tantra, Saraswati is worshiped

in different forms. One is Neela Saraswati, or Tara Maha Vidya. In that She is

Bhava Tarini Herself. Besides, Saraswati beeja is extensively used in all

vidya-pradhana mantras like Sangeeta Matangi, Sahitya Matangi, and even other

vidyas like Laghu Matangi, Sri Vidya (esp. Bala), Candi Vidya, Ganapati and so

on. In Nava Durga/Candi, She is Kala Ratri – the ruler of infinite world of truth.

She rules over Satya loka, the world of Truth consciousness. While the six

cakras represent six worlds, the seventh at sahasrara represents three worlds –

Satya loka, Kailasa and Vaikuntha. They are ruled by Saraswati, Gauri and

Lakshmi respectively. In Nava Candi, they are called Kala Ratri, Maha Gauri and

Siddhi Dhatri.

 

It might appear paradoxical that

while She is worshiped as pure and as white in hue, She is also called as Neela

Saraswati and Kala Ratri. They are two aspects of Truth – purity and infinity

are represented by white and black respectively. And every major deity has both

these forms like Saraswati. Vishnu is black, but he has a crystal white form –

Hayagriva. Siva is crystal white, but has black forms also. In fact His left

half, Devi is black, which stands for both aspects in the same. It is because

He represents the absolute and She represents the pervasive form, that He is

white and She is black. And since Vishnu is the pervasive form, He is said to

be black in general.

 

While Saraswati, the

knowledge-form of Devi, is worshiped as Sarada and Rudra bhagini/sahodari, She

is also worshiped in the form of Jnana Prasuna as Parvati, the consort of Siva.

It should be understood that human scales and relations are insufficient to

represent cosmic and spiritual phenomena. Saraswati and Parvati are not

exclusive tatvas and run into each other. Vak is Sakti Herself. At the same

time, consort relation can sufficiently explain all the relations. Consort is

every thing - offspring, parent, sibling and consort. And thus all the aspects

of Devi, are related to Siva.

 

Saraswati, the knowledge-form, is

associated with all devatas – because jnana is the ultimate purpose and

possession. Saraswati is Rudra bhagini. And She is the face of Brahma, She

emerged from and is the consort of Brahma. This is because existence and

consciousness are inseparable. And consciousness emerges from existence. Again,

applying human relation and scale fails us here. In the form of Ila Devi,

Saraswati is the consort of Krishna/Vishnu too. Sarasawti is also a close

associate of the Vedic Isvara, Indra. Buddhi, Her aspect, is the consort of

Ganapati.

 

Sri Beeja

Lakshmi beeja, Sreem is another

important beeja. There are very few beejas that are Vidyas themselves. While

Para Nishkala is one, Bhuvaneswari beeja is another. Lakshmi beeja too, belongs to the same class.

Lakshmi beeja represents the Kamalatmika Maha vidya.

 

While Bhuvaneswari beeja is

central to Sri Vidya and Bala beejas are the sides or aspects, Sri beeja is the

Sri Vidya itself. While every Maha Vidya has a name, after the deity, Sri Vidya

does not. Every aspect of the Vidya is known by name Sri – the vidya/tantra is

Sri Vidya, the devata is Sri Devi, the yantra is Sri Cakra, the abode is Sri

Nagara. Sri stands for auspiciousness, plentitude, bliss, and everything noble.

 

 

This is why Sri Suktam praises

Her as “Srirma” – the Sri Mother. So also does Lalita Sahasra nama start – Sri

Mata. “Sreem” has four matrikas, “Sa”, “ra”, “ee” and “m”. “Sa” is Lakshmi or

aupsiciousness. From the same beeja, the word “Siva” derives auspiciousness.

 

In general Sri represents fulfillment

and bliss. This is indicated in Nava Candi, the ninth form of Durga is called Siddhi

Datri, who is Mahalakshmi. Therefore the worship of Sri is also called Madhu

vidya or the worship of nectar/bliss. The worship of Lakshmi begets happiness.

 

While different beejas indicate

different devatas and their corresponding nadis/cakras, Sri beeja indicates the

complete opening of all cakras (also, the upasana of Sri opens all the six

cakras much quicker). This is precisely the reason She is called Siddhi datri,

one who gives completeness and all siddhis. She is the personification of

fulfillment of sadhana, of tapas, of the result of all noble efforts, of

sampatti. She is Yoga Siddhi Herself. Hence She is praised as “subha karma

phala prasuti” in Kanaka dhara. While Durga is Karma phala prada (who

ascertains and gives the fruits of all the actions of all the creatures), Lakshmi

is specifically subha karma phala prada. She acts when one is near the

fulfillment of his purpose. She represents only the auspicious aspect of divine,

and not the terrible.

 

Because of Her nature of quick

blessing, She is said to be of rajo guna. However there are different forms in

which Lakshmi is worshiped, She is said to be red in hue in general. In

Kamalatmika vidya, She is worshiped as having golden color. In fact Sri Sukta

too, worships Her as golden in hue – Hiranya Varnaam. Like Bhuvaneswari, She is

golden and shining, ever blissful.

 

Sri is the daughter of the Ocean of Milk, Ksheera Sagara tanayaa. She is

born as the result of great churning of the ocean of bliss, by all the powers

of the universe – positive and negative. And She is the personification of

infinite bliss. And She is the consort, and resides in the heart of Sri Maha Vishnu

who sleeps in the ocean of bliss. The resident of the Lord sleeping in the

ocean of bliss, on the coils of Ananta in yoga nidra, in extreme bliss, is the

symbol of all the bliss of His heart. She is all the beauty, bliss of the

universe and the Lord personified.

 

There is another thing worth

observing – the lords have their abode in the cities of their fathers-in-law. While

Siva lives in Kailasa, His consort is Parvati the daughter of Parvata raja.

While Vishnu resides in the Ksheera Sagara, His consort is the daughter of

Ksheera Sagara.

 

Lakshmi too, like Saraswati, is

associated with many deities. As Sri She is the consort of Vishnu. As Siddhi

She is a consort of Ganapati. She is also associated with Siva, and shares with

Him the aspect of auspiciousness.

 

Tara

Tara

beeja is “streem”, or “treem”. Tara mantras

have many beejas, but these are the primary beejas in Taresi Maha Vidya. Both

are used in Sakta schools. Tara is from “tar”,

to float. Alternately, it is from “tra”, to protect. (Tar does not become tra,

but “taar” is a derivative or “tr”. The way Pritha’s son is Partha.) Tarini is

one who takes us through the ocean of happening. The epithets Bhava Tarini,

Taraka, Taresi are all from the root Tara.

 

There are multiple vidyas in Tara

maha vidya, meaning multiple forms in which Tara

is worshiped. Neela Saraswati, Smasana Tara, Ugra Tara are some of them. Tara is not a “Satvic” form. She is portrayed as naked,

standing on a corpse and terrible.

 

In Vaishnava parlance, Rama is

called Taraka. According to some scholars who map Dasa Maha Vidyas of Sakta to

Dasavataras of Vishnu, Tara is Rama. There are

different versions in those mappings. While such one-one mapping is not very

appropriate and looks improper in some places, the basic premise of beejas

defining the nature of devatas, devatas having resemblances based on that

nature is perfectly valid. Rama is a Satvic Devata and Ugra too. The

resemblance with Tara is on the basis that

both are Taraka. Some scholars equate Rama to Gayatri, some to Lalita and some

to Tara. All these are valid in different

premises – from Vedic perspective Rama is basically derivative of Gayatri, from

Sakta perspective Tara resembles Rama, from the

perspective that He rules the universe He resembles Lalita.

 

The Tara

beeja too, is compared to pranava. The five matrikas “s”, “t”, “r”, “ee” and

“m” are compared to “a”, “u”, “m”, bindu and nada of pranava, which are the

five activities of the Mother (Panca kritya parayana – sristi, sthiti, laya,

tirodhana and anugraha).

 

Tara

is said to be mainly a Bauddha vidya imported by Hindus. In fact in Tantra

Bauddha borrows heavily from Hinduism and vice versa. Siddhi of Tara is said to

be easier in China.

There is a story that says Vasistha did not have easy siddhi of Tara and he had

siddhi when he went to China

and practiced. Also, Tara sadhana is done in

Vamacara marga.

 

There are some devatas like

Bhuvaneswari that are to be worshiped in Vedic method alone. Many other forms

of Sakti can be worshiped in either method. Vamacara involves 5 makaras –

matsya, mamsa, mudra, madya and maithuna.

 

Part III – Nama Mantras

Durga

Among the names of Sakti, “Durga”

is said to be the greatest and most effective. In fact there are two forms as

they say – Bhavani is the loveable form and Durga is said to be the ferocious

form “Samareshu Durga”.

 

As such, there are no proper

nouns in Sanskrit, and every name is either a verb or an adjective. Going down

to the etymology, there are two roots in the word – “DuH” and “Ga”, which mean

impossible/extremely difficult and go/reach respectively. Thus “Durga” means impossible

to reach/conquer/surpass. However depending on the context the “ga” takes

different levels and kinds of meanings. “Samareshu Durga” follows from the meaning

that She is impossible to conquer. The word durga settled as the word for fort,

for the same reason. Naga and Aga are the words for mountains for the same

reason. Durgama, Durga are also epithets of Vishnu.

 

But that is not the only meaning.

“Durga” also means impossible to reach. As She is beyond all upadhis like body,

senses, mind and intellect. She is Cidrupi. There is no way to reach Her except

Her grace.

 

Coming to Tantra, there is a

different meaning. There are two kinds of women – gamya and agamya. Gamya is a

woman who can be copulated with - for instance consort, or a call girl, and in

case of Kaulacara one fit for maithuna. Agamya is a woman who cannot be

copulated with – sister, mother etc. “Durga” in one sense means Aga or Agamya.

 

“Dum” is called Durga beeja. Instead

of visarga as in the name Durga, the beeja ends with anusvara. It is said that

there is nothing like impossible if one attains siddhi of this beeja or Durga

Vidya. Also as said “Durga Durgati Harini”, there will be no bad state that can

come to such a person.

 

There is a very significant point

about some names/forms of Vishnu and Devi. With the same beejas as the name of

Devi/Vishnu has, there will be another name of an Asura. For example Madhava

and Asura Madhu, Hayagreeva and Asura Hayagreeva, Durgama and Durgamasura, like

that. This is not unique just to names but forms too. Similarly, the dual form

of snake – there are two forms, one the Asura-Patala and another divine.

Takshaka on one side and Vasuki, Adi Sesha on the other. While Kumaraswamy and

Vishnu have vehicles that are basically enemies of snakes, they themselves are

in turn closely associated with snakes – Subrahmanya Himself is the great

Serpent and Vishnu is Sesha Sayi. This explains the dual nature of manifestation.

 

 

This is why doing the beeja

meaning impossible, one actually achieves impossible and becomes invincible. In

fact Durga Sukta if one does will not have any lows or disturbances in life.

 

Durga is the foremost of the

names of the Mother, along with Amba/Mata. It is done as a nama mantra, either

with “Sri”, “yai” and “Namah” (making the mantra – sri durgayai namah) or just

as a nama. Nirantara or continuous japa of this nama is said to ensure bhava

tarana.

 

“Yai” is called varada beeja – the

granter of boons. In general any Sakti nama is appended with this in namavali.

 

Rama

Rama is one of the most effective

nama mantras. The name itself is said to be Taraka. The significance of nama is

explained through different stories, such as this: during setu bandhana the

stones having Rama nama etched on them were floating on the sea because of the greatness

of the name. When Sri Rama Himself put a stone in the ocean, it did not float! Thus

the name has more mystic power than the incarnation Rama! There are similar

stories that explain how the mystic Vidya of Rama Taraka Para Brahman goes beyond

the personal aspect and concept of Rama the historic hero.

 

In the verse from Mahabharata that

is often quoted to extol the greatness of Rama nama, chanting the nama is said

to be equal to chanting the Vishnu Sahasra nama (sahasra nama tattulyam raama

naama varaanane).