Author Topic: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:  (Read 12495 times)

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #30 on: October 10, 2013, 11:58:52 AM »
6. CHINNAMASTA:

continues...

The Mantra of the Goddess is the seed sound hUm.  It is known as dhEnu bija.  It is a powerful seed sound to get
mastery over the senses and to annihilate the mind completely.  Only when what we call mind, is annihilated, we can
get in touch with the secret principle of mind, the mind of the Mind, as the Upanishads call it.
 
One effective way of Sadhana is to see the light instead of the object. That is, whatever a person perceives, he should
not concentrate on the object of perception. He should concentrate on the Light that makes the object perceivable.
( Vasishta Ganapati Muni, in Prachandachandi trisati.). 

Then one can says with the Seer-Poet:

In his wide sky she built her world anew;
She gave to mind's calm peace the motor's speed ,
To thinking a need to live what the soul saw,
To living an impetus to know and see.
His splendor grasped her, her puissance to him clung;
She crowned the Idea of a King in purple robes,
Put her magic serpent scepter in Thought's grip,
Made forms his inward vision's rhythmic shapes
And  her acts the living body of his will.
A flaming thunder, a creator's flash,
His victor Light rode on her deathless Force:
A centaur's mighty gallop bore the god.
Life throned with mind, a double majesty.

- Sri Aurobindo : Savitri II.3.


*****

Arunachala Siva.
   
       

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #31 on: October 11, 2013, 11:01:36 AM »
7. DHUMAVATI:

'In the beginning Darkness was hidden by darkness, all this was an ocean of inconscience.  declares the Veda. (Rig Veda X 129.3).
'In the beginning all this was Non-Being.  It was thence that Being was born.' (Taitt.Up. 2.7).  'Only the Non-Being was this in the
beginning.  That was the Being, That became.' (Ch.Up. 3.19.1).  'Here in the beginning there was nought.' (Br.Up. 1.1.2).  These
are the various affirmations of the Upanishads.  Out of the Non-Being, Being appeared and the Being dissolves back again into
the Non-Being.  This primal state before the creation is is also the ultimate state after the creation is withdrawn.  And that becomes
the primal state for the next creation.  This state, the Tantrics give the great name Dhumavati.  As she represents the first and foremost
state before creation, as she is one in the very beginning, anterior to the age of gods, devAnam pUrvye yuge', she is acclaimed as
jyeshta, the eldest. As she is also the ultimate darkness of Dissolution, she is known  as dhUma varAhi, the smoky swallower of the
universes. 

Now, what is this asat, Non Being?  It is the Nihil, sunya, the Void?  Is it nirvAna, the extinction of the existence?  How can
Being come from Non Being?

abhAva, Non Being is classified as prAgabhAva pradhyamsAbhAva and sadabhAtva or atyantabhAva.   pragabhAva is the Non
Being prior to a thing coming into existence.  Because Non Being is always with reference to a counterpart, pratiyogi.  The non
existence of the tree in the seed is an instance in a point.  A non existence after the existence is demolished is noted by the term
pradhvamAbhAva.  sadAbhAva or atyantAbhAva, perpetual non existence or an absolute non existence comes about when the
existence is completely incompatible.  The horns of a hare, sasavisAna, the son of a barren woman, vandhyAsuta, flower in the
sky gagakusuma are the classical examples.  They can never exist.  But what is not possible in a measure of time, or in a plane
of existence may become possible in some other plane or dimension.  Therefore, the classification as Sadabhava will not be valid
when we are dealing with eternal principles not subject to time and place.  Therefore, we are left with the first two classifications.

Dhumavati is both prAgabhAva and pradhvamsAbhAva, as she represents the Non Being anterior to Being and also the Non Being
posterior to Being as a result of dissolution, pralaya.  She is the interregnum of inconscience, between successive manifestations.
Be it noted that when the tree is non existent in the seed, it appears to be like that in the seed form.  The potentiality of the tree,
the seed holds inside itself.  The Non Being is a non being only when we are speaking in terms of time.  After a time, the tree
emerges from the seed. The Non Being is really the Being in its potential form.  The Supreme Being has a state of rest, let us
say, a quiescent poise, free from all cosmic existence which is nothing but a conscious formulation of itself.

contd.,

Arunachala Siva.                                             

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #32 on: October 11, 2013, 11:58:32 AM »
7. DHUMAVATI:

continues...


Dhumavati is the primal darkness hidden by darkness.  But she is not absolutely dark, the Tantra indicates. She is of smoky
hue, dhUmavati, darkness impregnated with the embryo of light, the smoke carrying hidden in its particles the heat of flame.
Thus Being and Non Being, sat and asat are different states of the Reality which is constantly asserted by affirmations ad well
as negations, neti neti. 

In the Veda, Non Existence as we have pointed out, is represented as darkness concealed in darkness. It is the Vedic Night,
rAtri jagato nivesani - which holds the world and all its unrevealed potentialties in its obscure bosom.  It is also represented
as the deluge, the great flood, that covers all things, the inconsicent ocean aparaketam salilam.  (Rig Veda X.129. 3).  In Tantra,
Dhumavati is the dark night, the great night, the terrible night of delusion, kAlarAtrir mahArAtrir, moharAtrischa daruna.  In the
Purana, she is also the nidrA, sleep of Vishnu.  Inconscience is superconscience in sleep.  Vishnu, the all pervading primordial
principle gets free from his manifestation at the end of dissolution, spreads his couch of infinity, ananta, on the ocean of eternal
sweet bliss, and withdraws himself in superconscient sleep, yoganidrA. 

Dhumavati hollds in her womb, all the creation and helps the world towards manifestation.  She is the base and support of all
unmanifested worlds.   When God created the world, he also entered into it.  He is he material as well as the instrument, upAdAna
and nimitta. 

With the Non Being comes forces of darkness and division, the offsprings of ignorance, falsehood, evil, sin, suffering come as
the byeproducts in the process of creation.

The Veda, when it describes the Non Existence as Night, makes it clear that it is a symbol of our obscure consciousness fumbling
and stumbling and so full of evil, duritam, sin and suffering.  To bring home this fact, the Tantra vies a striking description of
Dhumavati, the great Goddess of inconscience.  She is power of perversion, the force of distortion. As such she is depicted as
utterly ugly and abominable.  Pale in face, long in limbs, sparse in teeth, breasts sagging, decrepit, uncouth, fickle, bad with dirty
clothes and disheveled hair, she bestrides on a cart with a raven for its banner.  The widow, with a harsh look in her eyes, has
a winnow in her hand; the other hand, she throws up in the act of granting a boon. 

It is a general principle, in the Tantra that Sakti always implies a Sakta.  Mahakali has her consort Mahakala, Tara her Akshobhya,
Bhairavai her Bhairava.  In the cult of Tripurasundari, the Sakti and the Sakta are so inseprable that they are considered two in
one.  But Dhumavati is the only Sakti bereft of a Sakta.  She is a widow, vidhavA, the Tantra declares.

To quote Sri Aurobindo, 'The inconscience is an inverse reproduction of the supreme superconscience. It has the same absoluteness
of being and automatic action., but in vast involved trance.  It is being lost in itself, plunged into its own abyss of infinity'.  ( The Life
Divine Book II, Ch. X).                                             

It is due to this reason, prayer rises to lead one from the Non Existence Being into the Being, from the darkness to light, from
death to immortality.  (Br. Up.  I.3.28)

The Tantra does not believe in the negation of the world by calling it as an illusion, neither does it advocate an escape from
the world by plunging into Void.  It prescribes the worship of Dhumavati, the Mother of Inconscience.  The seed sound used in
the Mantra of the Goddess is dhUm.  One is asked to choose a lonely spot or a dilapidated hose devoid of human habitation, still
one's mind and the activity of the senses, and then contemplate on Dhumavati, the Non Existence.  In this the Tantra only 
follows the path laid out by the Vedic and Vedantic wisdom.

contd.,

Arunachala Siva.   

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #33 on: October 11, 2013, 02:19:12 PM »
7. DHUMAVATI:

continues....

The purpose of Sadhana is to manifest the Existence concealed in the Non Existence, the Consciousness hidden in the
Inconscience, the Bliss, Ananda, lying dormant in suffering and pain, the God masked in the costume of evil and sin.
'Manifested, he grows in the lap of their crookedness and becomes high, beautiful and glorious.' says the Rig Veda. 
(Rig Veda I.95.5).  The Upanishad declares that 'he who knows That as both in one, the knowledge and the ignorance,
by the ignorance crosses beyond death and by knowledge enjoys immortality.'  (Isa Up.).  Also, 'he who knows that as both
in one, birth and the dissolution of birth, by the dissolution crosses beyond death and by birth enjoys immortality.  (Isa. Up.)

The power of Dhumavati is reflected in the terrestrial existence as sleep, lassitude, inertness, and inactivity.  But to the
worshipper of Dhumavati, torpor state is turned into trance, sleep into Samadhi and lassitude, a state of calm repose.
In fact, corresponding to the mahApralaya, the great dissolution, there is a pralaya on each day of terrestrial life. Day is
followed by night, and the waking state, is followed by sleep which resembles in many respects death and dissolution.
Half of terrestrial life is spent in sleep in which happens a definite fall in general consciousness.  The being sinks into
subconsciousness. This endless struggle is mitigated by the grace of Dhumavati.

Sleep need not be a break in the process of life.  Dhumavati makes sleep a period of assimilation of what has been gained
in the waking state, a ground for preparing what has yet to be achieved.  Sleep becomes luminous and conscious and the
continuity of Sadhana is maintained in sleep as well.  Also, it is the common experience of Yogis that there are in Sadhana,
like night and day, alternations of states of darkness and depression and states of light and cheer.  At times the periods
are prolonged when there is no progress in Sadhana, one feels as though one has come to a dead end. One feels despondent,
dejected and depressed.  These periods are turned into gestation periods by the grace of Dhumavati.  Whatever is achieved
in the course of Sadhana is consolidated during this period.

There in the slumber of the cosmic Will
He saw the secret key of Nature's change.

-- Sri Aurobindo: Savitri II. 8.

******

Arunachala Siva.
                       

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #34 on: October 12, 2013, 11:08:08 AM »
8. BAGALAMUKHI:

'Impeded by the resisting power, the loquacious becomes dumb, the lord of the earth becomes a lowly pauper, the fire
turns cold, the angry is appeased, the wicked person turns good, the fast trotter limps, the arrogant is humbled, the all-
knower becomes an ignoramus, O Bhagalamukhi, the eternal auspicious mother, daily our obeisance to thee.'.  Thus the
prowess of Bagalamukhi is lauded by the Tantric.

In this land, the pursuit of knowledge has always occupied the prime place in human endeavor.  In  meetings, assemblies,
and concourses, one is honored for the knowledge one possesses.  And the possession of knowledge is inferred from its
display in public.  Votaries of the Goddess Tara have always excelled in their dramatic displays of learning.  The tradition has
been for the scholars to vie with each other, in displaying their feats of learning.  This has led to the browbeating, outwitting
one another, arguments and counter arguments vAda prativAda.  In learned circles, these displays are always welcomed
and encouraged as they improve the skill in debating, the power to put across one's point of view and the faculty of clear
thinking.  Much to the delectation of the old scholars, philosophical treatises were written in a style suggesting that they
could as well enacted as lively discussions.

Many a time these displays of knowledge took an ugly turn, degenerated into acrimonious debates, futile wranglings -
vitandA vAda and became bitter wordy warfares.  It was the tradition to invoke the power of Bagalamukhi for emerging
out victorious in these battles of wits.

Bhagalamukhi is the goddess who stupefies the opponent and paralyzes his speech - vAk stambanakari.  She blocks
the flow of speech and the acrimonious debater is dumbfounded. 

The derivation of the world bagalAmukhi is lost in obscurity.  Some say valgA, meaning a bridle, has become vagalA and then
bagalA.  This is a happy derivation as then Bagalamukhi would mean one who puts a bridle in the mouth, signifying the
arresting of of the flow of speech of the opponent. She is also known as bakamukhi, the one makes the opponent duck faced.
She is the striking force, the paralyzing power, the stupefying sakti.

contd.,

Arunachala Siva.                 
         

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #35 on: October 12, 2013, 11:36:31 AM »
8. Bagalamukhi:

continues.....

Her Mantra is made up of the single seed sound hrim.  She has to be thought in contemplation as all yellow.  Her complexion
is yellow, her garment is yellow, her ornaments, garlands are all yellow in color, pitambarAana mAlya vibhUsitAngi.  The
worshipper of Bagalamukhi is asked to be clad in yellow and perform the japa of the Mantra with the help of beads made out
of turmeric.  What is the significance of the color yellow and why is it associated with Bhagalamukhi and her worship?  The
Veda talks of golden light hiranya varna of the Supreme Truth, Sat or Satya.  When the Supreme who is Sat Chit Ananda descends
down in creation, he becomes the triple universe of physical, vital, mental, annam, prAna and manas.  Sat, we have already
indicated limits itself in creation as the mind, manas.  The golden color appears in creation in its stifled form of yellow, which
is the color of the thinking mind, in occult tradition .

Yellow in turn deadens the glow of other colors.  It is common knowledge that yellow is mixed with other colors to mitigate
their bright effects.  And the Sanskrit term for yellow, pita, is significant - the color which has drunk pita, sapped the effect of
others.  Thus there is every reason for associating yellow with Bagalamukhi.  Not only with Bagalamukhi, in all occult acts of
stambana - stoppage, the Tantra prescribes the use of yellow color.  For instance in the worship of Sri Chakra, the occult form-
pattern of Tripurasundari, when a person  wants to stop all arguments of the opponents, for paralyzing their speech, the
jnAnArnava Tantra prescribes the drawing of Sri Chakra with yellow materials and the worshipping of it in yellow flowers.                       

Yes, Bagalamukhi has close connection with the Sri Vidya tradition. She corresponds to Dandanatha, the Commander of
Armed Forces, of Rajarajeswari.  She is the striking force of the Mother, stifling all movement and activity.  She induces sudden
immobility in action. While Dhumavati is the immovable inconscient, Bagalamukhi is the immobile consciousness. Then, what is
the differences between her and Tripura Bhairavi?  Tripura Bhairavai is consciousness concentrated  in immobility at the very
outset of action.  Bagalamukhi is the suppression of action after it had begun. 

What is the significance of Bagalamukhi in cosmic play?  What is achieved by this sudden stoppage of movement?  When
a movement of activity is suppressed, the pressure increases the force of activity.  In fact, the activity is sustained and the
momentum of movement maintained by alternate currents of status and dynamis. 

When we discover the stable Reality underlying all this movement of energy, and this creation of forms, we do indeed
perceive, that the status of created forms, is only temporary.  There is a stability of repetition of kinesis in a same
persistent action and figure of movement, which maintains substance of being in stable form of itself.  But this stabilty
is created and the one permanent and self existence status is that of the eternal Being whose Energy erected the forms.
(Sri Aurobindo, The Life Divine, Book II, ch. VI.)   

For example, when a rushing current of water, stemmed, two things may happen.  The water, suddenly stopped, whirls
and eddies gathering great momentum or it changes its course and flows swiftly into new channels.  This is the action
of Bagalamukhi, the stunning force in universal nature.  In fact, this is the principle on which the whole edifice of Hatha
Yoga and Raja Yoga is raised.           

contd.,

Arunachala Siva.

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #36 on: October 12, 2013, 11:58:44 AM »
8. BAGALAMUKHI:

continues....

Asanas and Pranayama play the key roles in Hatha Yoga.  In Raja Yoga, Asanas and Pranayama occupy a subordinate
position, the prime place being given to the mind and its functions.  Patanjali defined yoga as the stilling of the mind,
yogah chittavrtti nirodha.  Raja Yoga stresses on preliminary purification by prescribing five yamas and five niyamas
disciplines such as abstinence from uttering falsehood, from injury or killing, from stealing etc.,  Then mental activities are
stilled, the consummation being the mind losing itself in communion with the Divine, samadhi.

Thus the Tantra declares that one experiences the play of the Goddess Bagalamukhi by practicing Hatha Yoga and
Raja Yoga. The method of Sadhana is to sit in a convenient posture, still the mental activities, practice kumbhaka and
concentrate on the seed sound hrim.  The sadhakas attain siddhis like animA etrc., and get absolute control and absolute
mastery over the elements.  He can stop an impending rain, walk on fire by suspending the burning quality of fire, remain
under water for any length of time, etc., (Ganapati Muni. Uma Sahasram).  In all these activities of stambhana,  stoppage,
the intention is to suspend temporarily the activities of Nature, and not to annul its Laws.

We said that when a movement is arrested, it may change its course and flow through other channels. One worships the
great Goddess, the paralyzing power of the cosmic forces, Bagalamukhi to alter the course of one's destiny. Destiny
indicates the ultimate destination, no doubt.  But the ways of arriving at the destiny need not be predetermined.  The
ultimate destiny of all created beings is to attain oneness with the Creator, from whom they are not different.  This
ultimate destiny is decreed.  Whether this happens in one birth or in myriad of births depends upon the evolving soul.

But how to exercise this freewill so that one may arrive at the destination  by the shortest route possible?  One's will
should not be contrary to the will of the Creator in the scheme of things.

In the midst of hectic activity, one learns to pause and step aside in the recess of repose, in the midst of speech one
habituates oneself to hold back and sink in silence, in the midst of pain and suffering one learns to withdraw and glide
into the gladness within oneself. Then a person is able to get in touch with his true being, know what the Divine has
intended for him and allow the Divine's Will act through. All these are also by the grace of Bagalamukhi.

They follow the unseen leader in the heart,
Their lives obey the inner nature's law,
There is kept grandeur's store, the hero's mold;
The soul is the watchful builder of its fate.

---- Sri Aurobindo : Savitri. II. 6.

****

Arunachala Siva.
                                 

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #37 on: October 13, 2013, 09:58:44 AM »
9. MATANGI:

The primordial throb Adya spanda which originates by the self volition of the Transcendent Absolute, starts a series of
vibrations that take the form of sound nAda.  This is the word, the Word Eternal nityA vAk of the Veda which itself became
all the worlds, vAgeva visva bhuvanAni jajne.  Vak is the Creatrix descending with her four cosmic steps in manifestations.
The Veda says that all speech is measured out in four steps or planes and these are known to the knowers of Brahman,
impelled by mind. The three are hidden in the secrecy while the fourth step is the human speech that is the ordinary word.
(Rig Veda I. 164-65).

What are these steps?  The step that is visible and palpable to us in the gross, sthUla, the physical substance of the matter.
Sustaining and circumfusing it is the subtle sUkshma, the vital life-force.  Supporting and cherishing it is the causal kArana,
the mind principle. The basis of all these three is the great causal, mahAkArana, the High  Supernal where abides the Word
with all the original rhythms.   These steps correspond to the the four states of consciousness: jagrat, the waking consciousness
operating in the world of matter; svapna, the dream state having its play in the field of life forces; sushupti, deep sleep having
its sway over the divine illumined mind principle and turiya, the fourth that transcends these three states of consciousness.

The Tantriks while admitting the principle of division, apply it for practical purposes, dealing with the subject from a psycho
physical and psycho spiritual point of  view.

They name it parA, pashyanti, madhyama and vaikhari.  The first and the supreme source - the primordial parA vAk is beyond.
It is unmanifest, but turned towards manifestations; it is the great causal mahA kArana and as such its center it at the bottom
of the spinal column that supports the nervous system.  This bottom is mulAdhAra, the root center of the physical being. Next
is the pasyanti vAk, the word that perceives, and this is the causal located in the navel center.  Then is the madhyamA vAk
the middle, the word in the intermediate subtle region between the navel and throat which last is the region for the express
speech called vaikhari vAk.  (Sri Kapali Sastri: The Vak of the Veda and the Throb of the Tantra.)

continued....

Arunachala Siva.                             

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #38 on: October 13, 2013, 10:51:27 AM »
9. MATANGI:

continues....

This vaikhari vAk, the Word expressed  as speech, the Tantrics acclaim as the ninth in the Dasa Maha Viydas, the great
Goddess mAtangi.  As Sri Aurobindo says: 'The words which we use in our speech, seem to be, if we look only at their
external formation, mere physical sounds, which a device of the mind has made to represent certain objects and ideas
and perceptions, --  a machinery nervous perhaps in origin, but developed for a constantly finer and more intricate use
by the growing intelligence; but if we look at them in their inmost psychological and not solely at their more external aspect,
we shall see that what constitutes speech and gives in its life and appeal and significance is a subtle conscious force, which
informs and is the soul of the body of sound.  It is a superconscient Nature Force raising its material out of our subconscience,
but growingly conscious in its operations in the human mind that develops itself in one fundamental way and yet variously
in language.  It is the Force, this Sakti to which the old Vedic thinkers gave the name Vak, the goddess of creative speech,
and the Tantric psychists supposed that this Power acts in us through subtle different nervous centers on the higher and higher
levels of its force and that thus the word has a graduation of its expressive power of truth and vision.'  (Sri Aurobindo -
The Future Poerty.);

The unmanifest Word turned towards manifestation, parA vAk, is the pent up energy, the concentrated tapas in the mulAdhara
center in the subtle body, denoted by Tripura Bhairavi.  The seeing Word, the word that perceives and brings into being the
manifestation, pashyanti vAk is Tara, abiding in the center manipUraka.  And the expressed Word, the articulated Speech,
vaikhari vAk is Matangi posited in the throat center, visuddhi. 

To find expression, the primordial Word from the high supernal has to descend into the the tenebrous womb of matter, and so the
Goddess Matangi is known as ShyAmalA, the dark one.  She is greenish dark in complexion, marakata syAma, dark as an emerald.
She is also extolled as bluish dark in hue.  mAhendra nIla dyuti komalAngi, her tender limbs have the glow of sapphire, sings the poet.
(Vasishta Ganaparti Muni.  Uma Sahasram.)

The Tanrtra does not stop with calling the goddess dark. It accosts her as chandAli and that too ucchishta chanDali.

In the Mahabharata is mentioned the story of a Sage Matanga who was a Chandala by birth, but aspired for brahminhood
and prayed to Indra.  The goddess of expressed speech manifested herself as the daughter of the sage Matanga and thus
got her name mAtangi matanga muni kanyaka.  (Shaymala Dandakam).  As the daughter took birth as a daughter of a Chandala
she became a Chandali.  This is a satisfactory explanation of the appellation of the goddess, no doubt. 

mati is the thinking mind  and mata is thought or idea. Matanga means that which goes to the thought matam gacchati iti.
This stage of word is matanga.  When the word fashioned by the heart and formulated by the mind is expressed, articulated,
it is mAtangi. From the mighty height of paramam vyoma, the Word in the course of expression descends to the lowest
physical level of articulation.             

What is then the significance of the term Ucchishta?  Here we can do no better than quote luminous words of Sri Kapali
Sastri.  'The Atharva Veda contains a short section of verses in which the Abode of Supreme Being from which creation
proceeds is named with great significance.  It is an irony that the term it employs to denote the Supreme Source and
mainstay of all creation has come to mean in later Sanskrit, "leavings of food" ucchishta.  In the Vedic text it is used in the
sense of 'the Residual above.'  ut-shista.  Obviously it is termed because any number of creations cannot diminish the
infinitude of the Supreme Being that for ever remains above the creation which descends from it.  Matangi leads to the
realization of the Residual Above.  This is the import of the profound appellation, ucchishta chAndAli.

The term ucchistha chandali calls to the discerned mind a similar term famous in the Mantric lore, "Ucchishta Ganapati."
Is there any connection between the ways of worship of Ganapati and Matangi?  Ganapati is the foremost of Gods
to be worshipped. The proof conclusive is the Mantra to invoke the God Ganapati before beginning of any worship,
which is the same Rik pronounced by the Vedic Seer Grisamada of yore to call the godhead Brahmanaspati.

contd.,

Arunachala Siva.                                 

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #39 on: October 13, 2013, 01:24:23 PM »
9. MATANGI:

continues....

The Tantra calls the godhead, borrowing from the Vedic name Ganapati.  He is vinAyaka, special leader, dvaimAtura, having two
mothers, (earth and heaven in the Veda).  He is the breaker of barriers, having mastery over them, vigneshwara, vignaraja,
corresponding to his function in the Veda of shattering the rocks of inconscience with his luminous cry and winning the sources
of knowledge.  It has to be borne in mind that the Tantra, while taking the concept from Veda, clothes it in its own imagery.
Ganapati is depicted as a god with an elephant's head.  If we study the common Sanskrit terms used to denote the elephant
and its species, we find that they are connected with the concept of Brahmanaspati.

And the elephant is noted for its sagacity, for its thinking power, and memory.  The words matanga, mAtanga, matangaja (attaining
what is thought) are well known synonyms for the elephant.  Thus we see Ganapati and Matangi denote the same concept that is
expressed by the Vedic Brahmanaspati.

Corresponding to Brihaspati being the Minister to the God Indra, Matangi is worshipped as the Minsiter to the great Goddess
Lalita Rajarajeshwari.  She is Mantrini, the Counselor to Her Imperial Majesty parA bhattArika and shares her regal power
and splendor.  So, she is called Raja Matangi, Rajashyamala.  The Srividya tradition attaches much importance to her worship.
Her favor leads the aspirant to the august presence of Lalita Tirupurasundari.  As counselor to Lalita, as Mantrini, immense
are her powers and there is nothing which she does not control.  Hence she is acclaimed as sarva vasankari.

Her mantra is mainly made up of seed sound aim and the accostations, ucchishta chandali, mAtangi, sarvavasankari.

Vagvadini and Nakuli are her personalities.  'Speak, speak, vada, vada O Vagvadini' exhorts the aspirant with the Mantra.
She is the goddess who gives the vAgvilAsa, the fluency and felicity in speech.  While Bagalamukhi is the stifling Sakti,
Vagvadini is the Power as Expression.  Nakuli is described as the thunderous Word covered by the lips and encircled by
the teeth.  Sovereign of all speech, she confers charm and finish on one's expression. 

The Sushumna channel is encased in the human body by the backbone, which is picturesquely described in the Tantra
as veenA danda, the stem of the musical instrument Veena while the network of the nerves is compared to the strings.
So at times, Matangi is contemplated as having a Veena in her hand.  Her deft fingers move swiftly on the strings
enthralling the whole being in the divine melody.  She is the Mother of Music, sangeeta mAtrkA, the harbinger of harmonious
opening the occult ear to the inaudible cadences.  In the being of the aspirant who takes refuge in her there is no discord,
no disharmony,  He becomes a joyous instrument in the hands of the Divine Player. 

Matangi is lauded as keera karA, having the parrot in her hand. What is the significance of the parrot?  All birds, like all
animals make sound. They chirp, twitter, warble etc.,  They do not speak.  Only the human being the sound expressed in
the ordered form of speech.  But a parrot can be trained to imitate human speech.  It is appropriate therefore, that the
Goddess Matangi who is the ultimate expression of para vAk is depicted as playfully donning a parrot in her hand.  It is to
indicate that it is also possible for human beings to express in speech the highest intuitions without the employment of any
of their known mental faculties.  (Goddess Meenakshi in Madurai is also called Matangi and she is having a parrot in her
hand in the temple idol.). 

In the upasana of Matangi, one should not be content with doing the japa of the Mantra or contemplating on her form as
prescribed in the Tantra.  One should be actively expressing oneself so as to afford a field for Matangi's manifestation. The
person interested in music, while seeking her favor, should be assiduously practicing his music lesson.  He who aspires to
become a writer should be engaged in writing.  All those who take up the Sadhana of this Mahavidya should be constantly
engaged in self expression as a part of their Sadhana.  Then,

Attention to an unseen Truth they seize
A sound as of invisible augur wings
Voices of an unplumbed significance,
Mutterings that brood in the core of Matter's sleep.
In the heart's profound audition hey can catch
The murmurs lost by life's uncaring ear,
A prophet speech in thought omniscient trance.

----- Sri Aurobindo - Savitri I. 4.

******

Arunachala Siva.                                     

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #40 on: October 14, 2013, 09:31:50 AM »
10. KAMALATMIKA:

Kamalatmika or simply Kamala is the last of the Dasa Maha Vidyas.  This deity has a close connection, almost an identity with
the the other deity exalted as the third of Dasa Maha Vidya, Tripurasundari.  The knowledge leading to Kamalatmika is also
known as Sri Vidya and the crowning bijAkshara in the sacred sixteen lettered Mantra of Sundari is the seed sound of Kamala -
srim.  The consort of Sundari is Siva Kameswara, the auspicious Lord of Love while the consort of Kamala is Vishnu, the all
pervasive principle of preservation.

As per the later Puranic idealogies and polemics, can we say that Siva and Vishnu  represent two opposing principles,
destruction and preservation -- at least two different schools of thought?  But, if we look closely, we find an intimate connection,
almost an identity between these two deities.  The words hara and hari are derived from the same root hr., only the terminations
are different.  In the Veda especially, these two deities represent the coordinating principles so essential for ordered creation.

Rudra is the father of the vehemently battling Maruts.  Vishnu is hymned in the last Sukta of the fifth Mandala under the
name of evayA marut as the source from which they sprang, that which they become, and himself identical with the unity
and totality of their embattled forces.  Rudra is the Deva or Deity ascending in the cosmos, Vishnu, the same Deva or Deity
helping and evoking the powers of the ascent (Sri Aurobindo: On the Veda.

The benign side of Rudra is that after breaking all defective formations, he heals all wounds and all sufferings with the balm
of love.  He is Siva Kameswara, the auspicious Master of Love.   As Sakti of Kameswara, she is Kamakala, Kameswari,
Tripurasundari, beauty incarnate.

For the action of Rudra's forces, Vishnu supplies space, the necessary field for operation.  Siva's force, Tripurasundari,
is the beauty immanent in and transcending the triad.  But it is Vishnu's force Kamala who provides the necessary field
for the expression of Beauty and Bliss in the universe.

As the consort of Vishnu, the all pervasive godhead, she is Lakshmi, the divine mark lakshma, impressed on all the things
in the cosmos and the degree of whose presence kalA marks out one from other. Even the most slurring object will become
a thing of disgust if her vivifying kalA were not there.

contd.,

Arunachala Siva.                               

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #41 on: October 14, 2013, 10:57:52 AM »
10. KAMALATMIKA:

continues...

Thus Kamala is the Goddess of exquisite beauty, sushmA, blossoming in everything.  What is the significance of the name,
Kamala?  ka in Sanskrit denotes the head, the summit, the waters; malA comes from the root mala malla dhArane, which
means 'to wear'.  So Kamala denotes on who wears the waters as robe.  The Veda has a significant appellation apovasAnA,
robed in waters.  What are these waters?  Waters apah in the Veda, denote the movement, the initial movement of the
creative activity, the vivifying force, the life giving essence.  So the Goddess is aptly called Kamala, clothed in waters of
the creative consciousness or Kamalatmika, the soul force immanent in all creative activity, manifesting itself.  The Purana
picturesquely describes her as arriving from the milky ocean when it was churned to yield the nectar of immortality and accosts
her as the daughter of milky ocean, kshira sAgara kanyakA.  Evidently the milky ocean is the symbol of the vast stretch of
all enveloping consciousness, the plane of immortality.  She is the play of consciousness, its display outside, the sport of
Supreme Lord, ramA.  As the refuge and support of all existence, as the underlying current of consciousness, she is sri.

Likewise the lotus flower sprouting from the waters was seen as a living symbol denoting the product of the creative
consciousness.  As the flower is surrounded by the waters, the terms Kamala, robed in waters, is used to denote it. 'Born of
water', ambuja, ambhoja, jalaja, etc., are the appellations employed for the flower.  It is a flower which raises its head along
with the rising sun and droops down with the setting of the sun. It eminently responds to the play of light, symbolizing the
knowledge of solar Truth.  That is why lotus motif is largely employed in all creative activity, in art, in architecture, in sculpture,
in poetry, in philosophy and yoga as well.  The Purana says that Brahma from whom all these worlds are born is born from
the lotus, padma sambhava. 

contd.,

Arunachala Siva.
                                             

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #42 on: October 14, 2013, 11:06:30 AM »
10. KAMALATMIKA:

continues.....

Now the significance of the Goddess Kamalatmika being closely associated with the lotus flower in the Tantra will be clear.
She is described as the Lady of the Lotus. She stands on a lotus flower, with her two hands holding aloft two lotus flowers.
Her other two hands are are engaged in the acting of warding off fear and granting boon. 

We have said that the Mantra of the Goddess is the seed sound srim.  She is well propiated by the Srisukta, a khila hymn
in the Rig Veda.  It is well to notice that the Srisukta contains fifteen Riks and the Goddess is no other than Sri Vidya,
the fifteen lettered  Panchadasi mantra.  Kamala on the other hand is the consciousness in manifestation, the beauty and
bliss in expression, in creation.  But the Goddess is fleeting in nature, and exacting in her Sadhana.  Nevertheless, of all
the divine powers, she is the most alluring to men.  And if he succeeds in establishing her constant presence, he will realize
that ---

The world's senseless beauty mirrors God's delight
That rapture's smile is secret everywhere;
It flows in the wind's breath, in the tree's sap
Its hued magnificence blooms in leaves and flowers.

---- Sri Aurobindo:  Savitri.

****

Dasa Maha Vidya - concluded.

Arunachala Siva.               

Jyoti

  • Sr. Member
  • ****
  • Posts: 250
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #43 on: October 22, 2013, 06:55:08 PM »
On Bagalamukhi:

Is it true that she is called Brahma-astra-rupini because she can put mind to silence?
Ganapati Muni sometimes asked Bhagavan questions but always first requested that He should not use His Brahma-astra.
Can someone shed some light on this?

Subramanian.R

  • Hero Member
  • *****
  • Posts: 17366
    • View Profile
Re: Dasa Maha Vidyas - The Ten Great Cosmic Forces: Navaratri Thoughts:
« Reply #44 on: October 22, 2013, 07:06:02 PM »
Dear Jyoti,

What Ganapati Muni meant by Brahamstram is the return question of Sri Bhagavan, 'Who is asking this question?' For
who is the doubt?  Doubt the doubter!   This means that all questions arise out of the mind. If one examines the nature
of mind and does self inquiry, then the mind would become quiescent.  No doubts, no questions will arise forth from the
mind which is quiescent in Self. 

I am not sure that this has anything to do with Bhgalamukhi upasana.


Arunachala Siva.