4 States of Speech in Occult Science of Sound

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I Wanted to write on 4 states of the speeches, yogic science has identified these 4 states, these are the key's to message the next person in a convincing manner.

Few people unknowingly emit words from heart(pashyanti) and they are supposed to be very very impressive. With para, one can spread his thoughts into the universe and spread the mass awakening.

Yogi Arvindo and Baba Mahavataar used this type of messaging during the period of british rule to inspire people to fight for the freedom. I collected good information which matches with my experience.

The four states of speeches are para, pashyanti, madhyama and vaikhari. The place of para is deep down inside the region of naval.

The place of pashyanti is in the heart .

The 'Madhyanma' is the throat and 'Vaikhari' is the movement of tongue and lips.

The manifestation of sound takes place from para-vak down to vaikhari-vak (our daily talks), in explaining these stages we will begin from the external vaikhari-vak, as that is the sound we all have most experience of.

Vaikhari-vak is the grossest level of speech, and it is heard through the external senses. When sound comes out through the mouth as spoken syllables it is called as vaikhari.

 

Madhyama-vak is the intermediate unexpressed state of sound, whose seat is in the heart. The word Madhyama means "in between" or "the middle". The middle sound is that sound which exists between the states of susupti and jagrat. Madhyama-vak refers to mental speech, as opposed to external audible speech.

 

It is on this level that we normally experience thought. Some hold that wakeful thought is still on the level of vaikhari.

 

In the manifestation process, after sound has attained the form of pashyanti-vak, it goes further up to the heart and becomes coupled with the assertive intelligence, being charged with the syllables a, ka, cha, tha, ta, etc.

 

At this point it manifests itself in the form of vibratory nada rupa madhyama-vak. Only those who are endowed with discriminative intelligence can feel this.

 

On the levels of madhyama and vaikhari, there is a distinction between the sound and the object. The object is perceived as something different from the sound, and sound is connected to an object mostly by convention.

 

Pashyanti-vak is the second level of sound, and is less subtle than para-vak. Pashyanti in Sanskrit means "that which can be seen or visualized". In the pashyanti stage sound possesses qualities such as color and form.

 

Yogis who have inner vision can perceive these qualities in sound. On this stage the differences between language do not exist, as this sound is intuitive and situated beyond rigidly defined concepts. On the stage of pashyanti-vak, speech is intuitively connected to the object. There is near oneness between the word and the experience described.

 

Pashyanti-vak is the finest impulse of speech. The seat of pashyanti is in the navel or the Manipura Chakra. When sound goes up to the naval with the bodily air in vibratory form without any particular syllable (varna), yet connected with the mind, it is known as pashyanti-vak.

Para-vak is the transcendent sound. Para means highest or farthest, and in this connection it indicates that sound which is beyond the perception of the senses.

Para-vak is also known as "rava-shabda" - an unvibratory condition of sound beyond the reach of mind and intelligence (avyakta), only to be realized by great souls, parama-jnanis.

On the stage of para-vak there is no distinction between the object and the sound. The sound contains within it all the qualities of the object.

 

In terms of the universal cosmology, vaikhari, madhyama and pashyanti correspond respectively to bhuh, bhuvah, and svah. The para-shabda ultimately corresponds to the Lord's tri-pada-vibhuti.

 

Within the pashyanti-vak exists the nature's iccha-shakti, or the power of will. Within the madhyama-vak exists the nature's jnana-shakti, or the power of knowledge. And within the vaikhari-vak exists the nature's kriya-shakti, or power of action.

 

The pranava, or the syllable "om", is the complete representation of the four stages of sound and their existential counterparts. The existential realities are the physical (sthula) which is connected to the vaikhari-shabda, the subtle (sukshma) which is connected to the madhyama-shabda, the causal (karana) which is connected with the pashyanti-shabda, and the transcendental (para) which is related to the para-shabda.

 

These four existential realities further correspond to the four states of consciousness.

The sthula sarira, or physical body, operates in the state of jagrat (wakeful state). It is in this realm of consciousness, and through this body, that the vaikhari-vak is manifested.

The sukshma-sarira, subtle or psychic body, operates in the state of svapna.

 

It is in this realm of consciousness, and through this body, that the madhyama-vak is manifested.

 

The karana-sarira, or causal body, operates in the state of susupti, or deep sleep. It is in this realm of consciousness, and through this body, that the pashyanti-vak is manifested.

The para-vak is manifested through the fourth state of consciousness, known as turiya.

our speech is intimately connected with our thought process, and even deeper psychological makeup.Sound is that which conveys the idea of an object. The exact word used in this connection is "artha-ashraya" or "the shelter of the meaning". In the Vedic conception the aksharas (letters) are bijas, or seeds of existence. The audible sound is categorized into alphabets of Sanskrit starting from "a" and ending with "ksha". Hence the alphabet is called "akshara", which literally means "infallible" or "supreme".

In the Tantras the aksharas are traced back to their material source level which is a particular deity of Shakti. Each of her stages of manifestation are phases in the evolution of the universe. Thus the aksharas are potent sound, constitutionally connected to objects as sound (shabda) and its meaning (artha).

This is interesting in that it draws a distinction between sound and noise. Noise, as distinct from sound, is not the artha-ashraya, or the shelter of meaning.

regards,

Lalit.

 

[Guest guest]

Hello Lalit, You have provided us such a wonderful information,by adopting it would help us to resolve many unwated disputes in our daily life,hope you will send such types of informations in near future. Regds-javedlitsol <mishra.lalit wrote: I Wanted to write on 4 states of the speeches, yogic science has identified these 4 states, these are the key's to message the next person in a convincing manner.

Few people unknowingly emit words from heart(pashyanti) and they are supposed to be very very impressive. With para, one can spread his thoughts into the universe and spread the mass awakening. Yogi Arvindo and Baba Mahavataar used this type of messaging during the period of british rule to inspire people to fight for the freedom. I collected good information which matches with my experience. The four states of speeches are para, pashyanti, madhyama and vaikhari. The place of para is deep down inside the region of naval. The place of pashyanti is in the heart . The 'Madhyanma' is the throat and 'Vaikhari' is the movement of tongue and lips. The manifestation of sound takes place from para-vak down to vaikhari-vak (our daily talks), in explaining these stages we will begin from the external vaikhari-vak, as that is the sound we all have most experience of. Vaikhari-vak is the grossest level of speech, and it is heard through the external senses. When sound comes out through the mouth as spoken syllables it is called as vaikhari. Madhyama-vak is the intermediate unexpressed state of sound, whose seat is in the heart. The word Madhyama means "in between" or "the middle". The middle sound

is that sound which exists between the states of susupti and jagrat. Madhyama-vak refers to mental speech, as opposed to external audible speech. It is on this level that we normally experience thought. Some hold that wakeful thought is still on the level of vaikhari. In the manifestation process, after sound has attained the form of pashyanti-vak, it goes further up to the heart and becomes coupled with the assertive intelligence, being charged with the syllables a, ka, cha, tha, ta, etc. At this point

it manifests itself in the form of vibratory nada rupa madhyama-vak. Only those who are endowed with discriminative intelligence can feel this. On the levels of madhyama and vaikhari, there is a distinction between the sound and the object. The object is perceived as something different from the sound, and sound is connected to an object mostly by convention. Pashyanti-vak is the second level of sound, and is less subtle than para-vak. Pashyanti in Sanskrit means "that which can be seen or visualized". In the pashyanti stage sound possesses qualities such as color and form. Yogis who have inner vision can perceive these qualities in sound. On this stage the differences between language do not exist, as this sound is intuitive and situated beyond rigidly defined concepts. On the stage of pashyanti-vak, speech is intuitively connected to the object. There is near oneness between the word and the experience described. Pashyanti-vak is the finest impulse of speech. The seat of pashyanti is in the navel or the Manipura Chakra. When sound goes up to the naval with the bodily air in vibratory form without any particular syllable (varna), yet connected with the mind, it is known as pashyanti-vak. Para-vak is the transcendent sound. Para means highest or farthest, and in

this connection it indicates that sound which is beyond the perception of the senses. Para-vak is also known as "rava-shabda" - an unvibratory condition of sound beyond the reach of mind and intelligence (avyakta), only to be realized by great souls, parama-jnanis. On the stage of para-vak there is no distinction between the object and the sound. The sound contains within it all the qualities of the object. In terms of the universal cosmology, vaikhari, madhyama and pashyanti correspond respectively to bhuh, bhuvah, and svah. The para-shabda ultimately corresponds to the Lord's tri-pada-vibhuti. Within the pashyanti-vak exists the nature's iccha-shakti, or the power of will. Within the madhyama-vak exists the nature's jnana-shakti, or the power of knowledge. And within the vaikhari-vak exists the nature's kriya-shakti, or power of action. The pranava, or the syllable "om", is the complete representation of the four stages of sound and their existential counterparts. The existential realities are the physical (sthula) which is connected to the vaikhari-shabda, the subtle (sukshma) which is connected to the madhyama-shabda, the causal (karana) which is connected with the pashyanti-shabda, and the transcendental (para) which is related to the para-shabda. These four existential realities further correspond to the four states of consciousness. The sthula sarira, or physical body, operates in the state of jagrat (wakeful state). It is in this realm of consciousness, and through this body, that the vaikhari-vak is manifested. The sukshma-sarira, subtle or psychic body, operates in the state of svapna. It is in this realm of consciousness, and through this body, that the madhyama-vak is manifested. The karana-sarira, or causal body, operates in the state of susupti, or deep sleep. It is in this realm of consciousness, and through this body, that the pashyanti-vak is manifested. The para-vak is manifested through the fourth state of consciousness, known as turiya. our speech is intimately connected with our thought process, and even deeper psychological makeup.Sound is that which conveys the idea of an object. The exact word used in this connection is "artha-ashraya" or "the shelter of the meaning". In the Vedic conception the aksharas (letters) are bijas, or seeds of existence. The audible sound is categorized into alphabets of Sanskrit starting from "a" and ending with "ksha". Hence the alphabet is called "akshara", which literally means "infallible" or "supreme". In the Tantras the aksharas are traced back to their material source level which is a particular deity of Shakti. Each of her stages of manifestation are phases in the evolution of the universe. Thus the aksharas are potent sound, constitutionally connected to objects as sound (shabda) and its meaning (artha). This is interesting in that it draws a distinction between sound and noise. Noise, as distinct from sound, is not the artha-ashraya, or the shelter of meaning. regards, Lalit. Send instant messages to your online friends http://uk.messenger.