Tuesday, April 29, 2014

25. Structure and Implications of Mantras


Swami Ramatirtha had once stated that -'One may become a God but one can never see or show thee…' The same is true of the subtle elements; they can be experienced or felt-in but can't be seen or shown in a laboratory. Flow of radio waves through the ether is well known though no instrument has been able to measure or demonstrate the 'appearance' or 'existence' of ether. We do feel the effects of chill, heat, happiness, sorrow……., etc in our day-to-day life but we can never see or show these effects in visible or otherwise perceivable forms.
Recitation of the mantras is only a means for arousing the omnipresent subtle power of Sabda. When we awake somebody by pushing him by our hand, the hand simply plays the role of a tool; it is not a part of the process of awakening. Similarly, the specific configuration of syllables and the sound (including the sublime sound) produced by the japa of a mantra is only a means for activating specific field of the cosmic energy of Sabda. Which mantra is suitable for awakening what kind of subliminal energy center - is described in the viniyoga (structural classification) of that mantras. All of the Vaidika and the Tantrika Mantras have distinct viniyoga. The ancient scriptures of Agama and Nigama describe the viniyoga part along with the details on the methods (and Sadhana) of the japa of the mantras. Before reciting a mantra one must read and understand its viniyoga.
The viniyoga of each mantra has five components - (1) Risi, (2) Chanda, (3) Devata, (4) Bija and (5) Tatva. The first component contains the names of the risi(s) or the spiritual saints who had discovered, compiled and/or completely mastered that particular mantra and who therefore are regarded authorities on all the knowledge associated with the spiritual practice of that mantra. Such skpiritual saints are the ideal gurus (guides) for the disciples who endeavor a Sadhana of that mantra. Recalling this first component of the -vinigoga of a mantra also implies that revered devotion for those risis and adept guidance of a a noble guru is essential for practicing (the japa of) that mantra.
The chanda indicates the rhythmic composition for the enunciation or chanting of the mantra. As described earlier, each mantra can be practiced with different combinations of swaras (musical accents) and gati (amplitudes), manasika, vacika, upansu, udatta-anudatta, swarita……, etc are some of the many modes of japa that 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 and the type of chanda used. The assignment of appropriate chanda for the spiritual Sadhana processes of practicing a mantra is called - yati. The selection of a yati and hence of a chanda for a given mantra is decided with respect 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 represents the specific cosmic field (- of the subliminal energy of Sabda) in the limitless expression of the supreme thy consciousness - that is aimed to be reached (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 catch (receive) only the ones whose frequencies it is tuned for. Similarly, from the different streams of the conscious power of Sabda present in the universe, a mantra can be used to link the individual consciousness with the devta of that mantra.

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