On the Structure and Effects of Mantras Part - 4

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Dear ALL

 

*The viniyoga of each

**mantra*<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffe\

ctsMantras/>

* has five components – (i) Rishi, (ii) Chhanda, (iii) Devata, (iv) Bija and

(v) Tatva. *The first component contains the names of the rishi(s) or the

sages – seers, who had discovered, compiled and/or completely mastered that

particular

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>and

who therefore are regarded authorities on all the knowledge associated

with the spiritual practice of that mantra. Such spiritual masters are the

ideal gurus (guides) for the disciples who endeavor a

sadhana<http://www.akhandjyoti.org/?Akhand-Jyoti/2003/Jan-Feb/ArtofSadhana/>of

that mantra. Recalling this first component of the – viniyoga of a

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>also

implies that revered devotion for those rishis and adept guidance of a

noble living

guru<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/Mar-Apr/SpontaneousIlluminati\

onGuru/>is

essential for practising (the

japa<http://www.akhandjyoti.org/?Akhand-Jyoti/2003/Mar-Apr/GayatriMantraJapa/>of\

)

that mantra.

 

The chhanda indicates the rhythmic composition for the enunciation or

chanting of the mantra. As described earlier, each

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>can

be practised with different combinations of swaras (musical accents)

and

gati (speed). Manasika, Vachika, Upanshu, Udatta-Anudatta, Swarita...., etc

are some of the many modes of

japa<http://www.akhandjyoti.org/?Akhand-Jyoti/2003/Mar-Apr/GayatriMantraJapa/>th\

at

are also described in the chanda for a mantra. The specific pattern of

sonic waveforms generated by the mantra–japa depends upon the syllables of

the

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>and

the type of chanda used. The assignment of appropriate chhanda for the

spiritual

sadhana<http://www.akhandjyoti.org/?Akhand-Jyoti/2003/Jan-Feb/ArtofSadhana/>proc\

esses

of practising a

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>is

called – yati. The selection of a yati and hence of a chhanda for a

given

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>is

decided with reference to the purpose of the sadhana, the

configuration

of the mantra-syllables and the mental and spiritual level of the sadhaka.

 

The third component, the

devata<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>represents

the specific cosmic field (– of the subliminal energy of shabda)

in the limitless expression of the supreme

consciousness<http://www.akhandjyoti.org/?Akhand-Jyoti/2003/Mar-Apr/Consciousnes\

sForceInHuman/>–

that is aimed to be realized by the japa-sadhana of the associated

mantra.

We all know that out of the different programmes being broadcast via the

radio waves, a radio set can receive only the ones whose frequencies it is

tuned for. Similarly, from the different streams of the conscious power of

shabda present in the universe, a

mantra<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>can

be used to link the individual

consciousness<http://www.akhandjyoti.org/?Akhand-Jyoti/2003/Mar-Apr/Consciousnes\

sForceInHuman/>with

the

devata<http://www.akhandjyoti.org/?Akhand-Jyoti/2004/May-June/OnStructureEffects\

Mantras/>of

that mantra.

 

 

To be continued ....

 

Source : www.awgp.org www.awgpsouth.org

Author : Pt. Shriram Sharma Acharya