The master of Mantra-vidya knows that
words are uttered by different parts of the mouth such as, throat (larynx),
tongue, teeth, lips and the root of the tongue. During speech, the nerve-fibers
of the particular parts of the mouth form which sound emits stretch up to
different parts of the body and put pressure on the corresponding glands. If
particular glands of the persons concerned are diseased or dysfunctional he
starts stammering while uttering the specific words. There are many large and
small, visible and invisible glands in the body. Yogis know that some specific
energy lies hidden in these glands, Shat-chakras (six energy centres) related
to the shushumana are quite well-known but there are several other such glands
in the body. The utterance of different words has its impact on different
glands and by such impact the energy of these glands gets stimulated. Mantras
have been composed on this basis. There are twenty -four letters in Gayatri
Mantra which are related to twenty-four such glands located in the body which
on getting stimulated, activate and awaken the powers of righteous wisdom. By
uttering Gayatri Mantra the sitar of the subtle (sookshma) body of the Sadhak
starts playing, tinkling at twenty-four points, creating sound waves which
impact important elements of the invisible world. It is this impact which
becomes more and more pronounced and tangible through Gayatri Sadhana.
The flow of sound of these twenty-four
letters of the Maha Mantra is of deep significance. The experts of the science
of sound know the powers hidden in sound and the results which can be achieved
by its subtle vibrations. Sound is synonymous with Brahma. It is Brahma from
whom the original first creative vibration issues forth resulting in seven time
chanting of OM. Just as the pendulum of a clock keeps on moving by swinging to
and fro, in the same way the sound waves of Om create vibrations which regulate
this creation. Later, three main waves of Sat, Raj, Tam relating to Hreem, Shreem
and Kleem elements respectively flow in this current. It is further divided
into branches and sub-branches which are known as Beej-Manteras. The letters,
words and clauses of Gayatri Mantra have been seen by a seer vision and emanate
from the unified field of creative energy, arranged in a specific and special
sequence and inter-relationship. Chanted with sincere devotion, they plug the
Sadhak's soul into the supreme and inexhaustible fount of spiritual energy.
Singing of Deepak-raj light up
extinguished lamps. It starts raining when megh-malhar tune is sung. The melody
created by playing flute makes the snakes wave their hoods in synchronicity,
deer gets swooned and cows stat yielding more milk. The warbling of cuckoo
incites passion. Even strong iron bridges may collapse by the sound created by
the in-step, coordinated and rhythmic marching of a troop soldiers. The army
is, therefore, forbidden to march rhythmically, in-step, while crossing a
bridge. Dr. Hutchinson of America has achieved success and fame in curing
several patients suffering from incurable and painful diseases by different
musical sounds. In Nepal, Tantriks keep a Thali (large metallic plate) on a pot
and play it in a special rhythm and are capable of curing persons bitten by
poisonous snakes, scorpions etc. and those suffering from thyroid goiter,
Vishvel (poisonous creeper), ghosts, mania etc. The vibration of a specific
sound spread in the ether and attracts atoms of similar type and return to
their origin within few moments, duly charged with appropriate energy which
exercises curative impact in the appropriate areas. This is how Mantras
accomplish miraculous effects. The chanting of Gayatri Mantra activities the
network of nerves in the mouth and stimulates specific glands. No sooner do
they get stimulated, a Vedic symphony is created which spreads in the either,
takes a round of the entire universe, coming back to the source with its energy
augmented manifold, capable of fulfilling the desired purpose. Gayatri Sadhana,
thus, becomes a spiritual as well as a material boon for the Sadhak.
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