DIALOGUES ON JAPA
Q. What is Japa?
A. Repeated recitation of a word or words, Mantra or
name of God in particular is called Japa.
It has to be remembered that only mechanical repetitions of mantra or name is
not Japa. In Yoga Sutra (Aphorisms on
Yoga) of Patanjali it is said “Tatjjapam tadartha bhāvanam” [Tat= that
(Mantra); japam= Japa; tat=that (Mantra); artha=meaning; bhāvanam=
contemplation] i.e. Japa should be
done along with contemplation on the meaning of the words/mantra/name. In Kulārnav Tantra (one of the core
books on Tantra) it is said that the letter Ja
means Janmāntara sahareshu krita pāpa pranāshanāt
(for the destruction of sins committed in thousands of births) and Pa means parādeva prakāshāćća
(for the manifestation of the ultimate Godhead). Japa is practiced to reach
spiritual goal.
Q. Is Japa specific for any particular school of
Indian spirituality?
A. No. Almost all the schools of religious practice
in Sanātan Dharma (eternal
Dharma; here religion and Dharma are not equated by the author, this will be
discussed in some other context) advocate Japa
as a tool of spiritual practice and use it.
Q. Do other religions adopt Japa as a tool of
practice?
A. In Christianity and Sufism constant remembrance
of God plays major role in spiritual practice. Japa is another name of constant remembrance. In Shikhism and Tāntric Buddhism Japa
is also adopted as a spiritual tool.
Q. Are there any references to Japa in the Vedas?
A.
As such though there are scanty references to Japa in the Vedas, practice of
Japa in Vedic rituals is not uncommon. In Vedic way of Yajna (sacrificial rites
in fire) oblations are offered to the fire by repeated utterance of Mantras.
This in a way can also be called Japa.
Q. What is the difference between Japa and Yajna?
A.
A simple definition of Yajna is to
offer something to God forsaking the propriety on the object offered. Yajna is a spiritual rite whereas Japa is a spiritual practice.
Q. In chapter 10, Shloka 25, of the Gita lord Krishna said, “Yajnānām
japayajnasmi” i.e. of the Yajnas I am Japa Yajna. If by definition Japa differs
from Yajna, how can you explain the above quotation?
A.
A good question indeed. In Yajna
oblations are offered to the sacrificial fire in the name of God reciting a
Mantra with the words swāhā
and na mama at the end. For example, when an oblation is
offered to God Indra the Mantra goes
like “Om Indrāya swāhā,
idam Indrāya na mama” which
means – “I offer (the oblation) to Indra,
this belongs to Indra not mine (na=not; mama=mine). The aims of all Yajnas
are to please the god. The same is with Japa
also. Mantras play a most important role in Yajna as well as in Japa.
Yajnas are elaborate and rituals intensive. Even any inadvertent lapses in
performing the rites will make a Yajna futile whereas in Japa as such no strict rites and rituals are required for its
effectiveness. There are strict scriptural ordains regarding eligibility to
perform a Yajna whereas Japa has universal eligibility.
In
the Gitā the above saying of Lord Krishna is to glorify simple Japa practice over complicated Yajna
rituals, having no differences as far as ultimate results of both are
concerned.
Q. People call Japa as Japayoga. Is Japa a Yoga? If yes, how can one
equate Japa with Yoga?
A.
Before answering the question let us first try to define the term Yoga. The
root verb Yuj from which the word
Yoga is derived have several meanings: - (1) Yuj = samādhi(ultimate
dissolution of mind in the supreme consciousness), (2) Yuj=yujir{to add or connect (one with the ultimate reality)}, (3) Yuj= sanyam [ to restrain (the mind from
the various objectivities of the world)]. According to Patanjali the author of
Yoga Sutra (aphorisms on Yoga) “Yogasćittavrittinirodhah”
(ćittavritti=thought contrast; nirodhah=confinement) i.e. Yoga is the
ultimate cessation of thought contrast. The result of Japa goes well with all the meanings of Yoga. Naturally, Japa can well be defined as Yoga. Japa is a tool to be in union with the
Godhead. Japa helps in restraining
mental diversions and attaining the state of uni-focal awareness.
Q. What is the difference between Nāma-Japa and Mantra-Japa?
A.
Repetition of a name of God is Nāma-Japa
and repetition of a Mantra related to God is Mantra-Japa. There are no restrictions regarding eligibility of Nāma-Japa but according to
scriptural ordain a person initiated to a Mantra by his Guru is only eligible
for Mantra-Japa.
Q. Which of these two is more efficacious?
A.
No spiritual practice is futile if performed properly and sincerely. Success of
spiritual endeavor depends on the aspirant, not on the paths. Ma used to say “Ămi jāni nāmei sab hoi” i.e. “I know that all spiritual
aspirations can be fulfilled only by chanting the name of God.” Both Nāma-Japa and Mantra-Japa are equally important and efficacious spiritual
practice. All the great saints like Ćaitanya
Mahāprabhu of Bengal,
Eknāth, Tukārām and Rāmdās
of Maharastra and Kabir were all
praise for Nāma-Japa. Amongst
the contemporary saints of Bengal, Sri
Rāmakrishna, Rāmthakur,
Mahāprabhu Jagatbandhu, Sitārāmdās Omkārnāth and Ma
Anandamayee always advocated Nāma-japa as a simple and effective
spiritual practice. A scriptural Shloka
(Sanskrit couplet) goes like that: -
Harernāma
harernāma harernāmaiva kevalam
Kalou
nāstaiva nāstaiva nāstaiva gatiranyathā.
In Kaliyuga (The Iron Age) there is no
other ways but only the name of Hari
(the Lord) which can give salvation.
Q. What is the
difference between Nāma-Japa and Nāma-kirtan?
A.
In both the cases the name of God is repeated. Nāma-Kirtan is repeatedly singing the name of God whereas Nāma-Japa is repeated recitation of
the name of God vocally or mentally. In the Iron Age (Kaliyuga) according to the scripture Kirtan has special importance. It has been a common saying among
the Vaishnavite-schools of spirituality that “Kalou Keshava kirtanāt” (Kalou=in Kaliyuga, Keshava=name of
Lord Keahava, Kirtanāt=from
singing) i.e. In Kaliyuga salvation
comes from singing the name of Keshava
the Lord. Among the followers of Ma Anandamayee a special Nāma-Kirtan called as Nāma-Yajna
is very popular. The names of God “Hare
Krishna Hare Krishna Krishna Krishna Hare Hare/ Hare Rama Hare Rama Rama rama
Hare Hare” are sang uninterruptedly by batches of singers from sunset to
sunset. During her lifetime Ma used to participate physically in singing the
names of the Lord which was most inspiring to the devotees. The Vaishnavites very often speak of Navadhā Bhakti (Navadhā=nine folds, bhakti=devotion) i.e. nine folds
practices of devotion of which Kirtan
comes as the second. (1.Shravanam=hearing,
2.Kirtanam=singing, 3.Smaranam=remembering, 4.Padasevanam=prostration or bowing at the
feet, 5.Arćanam=worship, 6.Vandanam=prayer, 7.Dāsyam=to become like a servant, 8.Sakhyam=to become like a friend, 9.Ătmanivedanam=surrendering the self.)
Q. How can
Nāma-Japa lead one to his spiritual goal?
A.
The ultimate spiritual goal of an aspirant is to be one with his beloved
Godhead. In the worldly ways one finds pleasure in constant remembrance of
one’s beloved even in physical absentia. The name is the first instrument of
remembrance. Along with name comes the form or image in the mind and then come
the qualities sequentially. With time and repeated remembrance one enjoys
mentally the company of the beloved. This is true in case of God’s remembrance
also but with a difference. By definition God is the incarnation of all
positive and appreciable beauties and goodness whereas in case of human beings
there are negative aspects also. These may at times have negative influences in
the relation of love. A name is generally used for a person or an object for
the purpose of particularization. But a name of God besides particularization
is significant for its divine aspects. A blind man with a name Padmaloćan (Padma=lotus; loćan=eye) can well be identified
but when this name applies to God, besides particularization, it also means the
God having beautiful eyes comparable to a lotus. It can be said that a name of
God always accompanies the underlying meaning of the word. There is possibility
of improper use of a Proper Noun for a person or thing as far as the underlying
meaning of the word is concerned but in case of a name of God a Proper Noun has
its proper application and meaning. Ma used to say, “Nām o nāmi abhed” (Nām= name; o=and; nāmi=the
named; abhed=indistinguishable/same)
i.e. a name and the named are indistinguishable. In Kankālmālini Tantra it is said “Kalikāle varārohe japamātram prashasyate”i.e. O’
beautiful one, in the Iron Age only Japa is superior (to all other spiritual
practices).Meru Tantra says, “Japa eva Kalou
shreyan” i.e. In the Iron Age only Japa
is preferable. Gandharva Tantra
quotes, “Kevalam japamātrena
siddhayah siddhikānskinām” (Kevalam=only;
japamātrena=only by doing Japa; siddhayah=attainment of perfections; Siddhikānskinām= those who aspire for spiritual
perfections).
Q. God is
called in so many names. What are the criteria in selecting name of God for
Nāma-Japa?
A. Different names of God signify His
different forms, aspects and attributes. It is for the aspirant to select the
name he is inclined to or interested in. It reminds me of the few occasions
when devotees asked Ma to select a name of God for Nāma-Japa. Ma in turn would ask the devotee which name and
form of God he loves most and accordingly he was being given the name for Japa.
Q. How many
types of Japa are there?
A. Japa is classified into so many
categories of which (1) Bāhya
(external) and (2) Abhyantar
(internal) are the main two. Bāhya
Japa is also called Vaikhari Japa.
This is the initial stage of Japa
practice. Abhyantar Japa is subtle
and superior to Bāhya Japa.
Some
schools classified Japa as (1) Vyakta (manifested), (2) Avyakta (unmanifested) and (3) Sukshma (subtle). Vyakta Japa is called as Vāćik
or Vaikhari (uttered vocally/with
sound), Avyakta as Upāngsu (uttered with inaudible
voice) and Mānas (mental).
Vaikhari Japa
The word Vaikhari
has been explained in different ways by various authors. According to Padmapādāćārya (one
of the main four disciples of
Shankarāćārya, the exponent of non-dualistic monism) Vi means specially and Khar means harshness or hardness and
that is why vocally uttered words are called Vaikhari. Bhāskarroy
in his Soubhāgyabhāskar commentary
on Lalitā Sahasranām
(thousand names of Goddess Lalitā
Mahā Tripurāsundari)
opined that because words are uttered vocally with the help a Prānvāyu (vital air of
respirations) called Khar it is named
as Vaikhari. In Soubhāgyasudhoday, another commentary on Lalitā Sahasranām it is said that Vai (certainly), Kha (ear
channel) and Ra/ Rāti
(traverses/ goes) make the word Vaikhari which
means that sound of word is heard because it certainly goes through the ear
channel. Repeated utterance of the name of God or Mantra so that others can
hear also is called Vaikhari Japa.
Upāngshu Japa
Being
mentally engrossed in thinking of God and with little movements of tongue and
lips repeated utterance of a name or Mantra inaudible to others is called Upāngshu Japa. According to Vrihat Tantrasār (a core book on Tantra) Upāngshu Japa may only be audible to the person doing it.
Mānas Japa
Repeated
mental recitation of a name or Mantra along with contemplation on the meaning
inherent in it is called Mānas Japa.
In Mānas Japa there is complete
absence of any physical organic movements and audible sound. In this Japa there is total union of the mind,
Mantra and the Godhead representing the Mantra.
Japa
is also classified as (!) Nitya (daily
or routine), (2)Naimittik ( special
occasion or purpose) and (3) Kāmya (with
worldly desires).
Nitya Japa
An
aspirant is supposed to perform routine Japa
practice daily. It is ordained in the scripture that after proper initiation
from Guru it is obligatory to do Sandhyā
Upāsanā three times a day along with Japa of the Mantra of initiation. Sandhyā is derived from the word Sandhi which means time-junction and Upāsanā (Upā= near; āsan=seat; i.e. to sit near God or to be in company of God)
is the other name of prayer or worship. The junctions between night and day
(dawns), between forenoon and afternoon (midday) and between day and night
(dusk) are prescribed for Sandhyā
Upāsanā. In some cases
midnight (Mahānishā) Sandhyā is also prescribed.
Naimittik Japa
Besides
routine practice Japa performed in
special occasions, auspicious times and days (such as during Solar and Lunar
eclipses, full-Moon, new-Moon, the Sun’s passage to the next sign at the
equinoxes etc.) are called Naimittik
Japa.
Kāmya Japa
Kāmya is derived from the word Kām (lust/desire/expectation). In
addition to routine ones Japa performed with a resolve for attainment of
worldly expectations is called Kāmya
Japa.
Q. What is
Ajapā Japa?
A.
The definition of Ajapā japa is
quite different from that of usual Japa.
Before going into scriptural technicalities let us consider the simple
phenomenon of propagation of sound in terms of science of Physics. Sound
propagates in wave patterns following the Simple Harmonic Motion with air as
the medium. The waves created in the air reach the eardrum which in turn sends
signals to the audio centers in the brain and sounds are perceived. It can be
said that any displacement of air carries sound waves. During inhalation and
exhalation there are displacements of air. The movements of air during
inhalation and exhalation carry the sound Ham
and Sah respectively. The Mantra Hamsah is being repeated automatically
along with each respiration. This is called Ajapā
Japa. It is an effortless and
involuntary continuous process for the lifetime of a person. A Jiva (sentient being) recites Hamsah Mantra 21600 times a day (15
respiration/minute X 60 minutes X 24 hours/day = 21600). Ajapā is of two types Vyakta
i.e. manifested and Gupta i.e.
unmanifested/hidden. Vyakta again
manifests in two forms as Sound and Light. Gupta Ajapā is the reverse of Hamsah
i.e. Saha or the union of Shiva and Shakti (Shiva’s energy). In the
scriptures on Swaroday (science of Swar= respiration/ vital energy of life
processes) it is said, “Hangkārang
Shivarupena Sakārah Shaktiruććyate” (Hangkārang=sound Ham;
Shivarupena= form of Shiva; Sakārah=sound Sah; Shakti=energy; uććyate=being said). In Surendra Samhitā it is said that “Hnagsātmikāng Bhagavati Jivo Japati Sarvadā.” ( Hangsātmikang=Hangsah as the self; Bhagavati=the female presiding deity; Jiva=sentient being; Japati= is reciting; Sarvadā=all
the time) i.e. Jiva always is reciting the Mantra Hangsah which is the supreme Goddess herself. Others equate it with
Kundalini the creative power of Shiva
that lies coiled up in three and a half fold in the lowest plexus called Mulādhāra-Ćhakra at the
base of Vertebral Column.
In
general, an aspirant is not aware of such a continuous process that is going on
within. As the mind is not directly or consciously linked with such a process
it can not be activated, and the fruit remains unobtainable. An aspirant can
get the knowledge and the ways to do it only from an able teacher or Guru.
Bookish knowledge about this is of no use practically.
Q. What are
the fundamental differences between Japa and Dhyana?
A. In the words of Ma, “Jap
karte kartei dhyana hoi” i.e. the state of dhyana occurs automatically during japa practice. In other words it
can be said that Japa is the practice and the result is Dhyana.
Q. What is a
Mantra?
A.
Before going directly into the definition of Mantra let us consider a few
preliminaries about the word. According to Indian spiritual beliefs The Veda is
divided in four parts as Rik, Sām,
Yaju and Atharva by the great
seer and saint Vyāsadeva and
taught these to his four main disciples. He taught Rigved to Pail, Yajurved to Vaishampāyan, Sāmved
to Jaimini and Atharvaved to Sumanta.
Each Veda again is divided into two sections Mantra and Brahman. “Mantra brāhmanayor vedanāmadheyam.”
i.e. Mantra and Brāhman together is called The Veda. Samhitā is the other name of the Mantra part. Sam means together and Hit means placed or compiled. The part
which deals with the undisclosed meanings and applications of Samhitā or Mantra is called Brāhman.
A
simple definition of Mantra is the sacred word or formula to be chanted as
spiritual practice.
Yāska the author of Nirukta (Special Vedic etymology)
defined Mantra as “Mantra mananāt”i.e. with which
contemplation can be done is called Mantra. This is the oldest available
definition of Mantra.
The
word Mantra is the combination of two parts Man
and Tra. Man is derived from the root verb man means to ponder over, to ruminate mentally and Tra from the root verb trai means to protect or to liberate. “Mananāt trāyate” (mananāt=
on pondering over, trāyate=to
liberate) that which liberates on pondering over or on ruminating mentally is
called Mantra. Gāyatri Tantra in
its detail definition said, “By contemplation of which a human being protects himself from sins, enjoys heavenly
pleasures, gets liberated and achieves the four chief objects of human pursuit
viz. virtue or piety, wealth or riches, sensual enjoyments and final beatitude
is called Mantra.
Mantra
is the sacred word or formula by which the nature of the Supreme reality is
reflected on as identical with the self. It is called Mantra because it induces
manana or reflection on the Supreme
self and because it provides trāna or
protection from the whirling of transmigratory life.
Section
II, Sutra1of Shiva Sutra (Aphorisms
on Kāshmir Shaivism) the core
book on non-dualistic Shiva philosophy of Kashmir is “Ćittam mantrah.” Here citta
means that which ponders over the highest Reality. In other words, it is the
consciousness that ponders over mantras which constitute the essential
characteristic of the perfect I-consciousness. Ćitta is equated with Mantra. In Vāmakeshwar Tantra it is said, “The intelligence principle is
evolved out of non-manifested sound-form of the Ultimate Reality or Sabda-Brahma. Mana (mind), Buddhi (intelligence),
Ćitta (consciousness) and Ahangkār (I-ness) are evolved from
that principle” Naturally Jiva-intelligence also is Mantra. Ksemarāja the great commentator on Kāshmir Shaivism in his Vimarsini commentary on Shiva Sutra
wrote, “The mind of the Sādhaka (Aspirant)
focused on intensive alertness of the Godhead implied in a Mantra identifies
with that Godhead and consequently becomes Mantra itself.( At that point of
time) The state of mind itself which is Mantra, not the mere conglomeration of
various letters of the alphabet.” In Srikānthi-Samhita,
it has been said, “Prithangmantra
prithangmantri na siddhayati kadāćana”
i.e. if the practiser is different from the Mantra, then this Mantra will never
give results. Spanda Kārikā
(one of the core books on Kāshmir
Shaivism) says, “Sādhakena
ćittena tenaiva Shivadharmina” i.e. the mind of the practiser along
with the mantra has characteristics of Shiva.
From
the above discussions it can be said that Mantra is consciousness itself.
Sounds or words are the body of Mantra.
Q. If sound
and word are inert objects then how can Mantra be conscious?
A.
A bodied sentient being is conscious, even when the body is inert. Likewise
Mantra is not inert in spite of its body (sound or word) being inert.
Q. It seems
that consciousness is the other name of Mantra and Jiva is a conscious being.
Should we take a Jiva as representation of all Mantras’?
A.
All the mantras have their origin as the Kundalini
(the latent serpent-power/consciousness/ supreme reality) in the body of a
sentient being. If Jiva is Shiva in
principle and Mantra is Shivadharmina
(Characteristics of Shiva) so it can well be inferred that all the Mantras have
their existence in dormancy in the body of a Jiva. With an appropriate way of spiritual practice the meaning of
Mantra shines in the mind of the practiser. It has to be remembered
that here non-individualistic all pervading consciousness is taken into consideration.
Q. What is the
relation between a deity and Mantra?
A. In Shaktisangam Tantra it is said, “Mantrarupo bhaveddeva”(rupa =
form, mantrarupo means form of mantra
bhavet=becomes; deva=deity) deity becomes the form of Mantra. Gandharva Tantra said, “sarveshāmeva
devānām mantramādyam
sharirakam” (sarveshām=of
all, eva=verily, devānām=deities, ādyam=primarily,
sharirakam=body) verily Mantra is the
primary body or form of all deities. A deity is represented by three bodies,
gross, subtle and subtlest or causal.
Gross
body is of name and form (nāma and
rupa=image/statue) called Vigraha. Subtle body is the symbolic or
geometrical representation of the deity called Yantra. And the subtlest or the causal body is represented by word
or sound called Mantra. The relation between Mantra and deity is the same as
between expression and expressed.
Q. Why a
Mantra is called Shabda-Brahma?
A. Shabda-Brahma means the Qualified
Ultimate Reality in the form of sound. Now let us consider the origin of sound.
The
Ultimate Reality or the Eternal Shiva (sanātan
Shiva) has two forms: - non-qualified and qualified. The former is
independent of Nature ( Prakriti ) or
Shakti (energy) whereas the later is
coupled with Shakti eager to be
manifested as creation. It has to be remembered that, in fact, at no point in
time is Shiva without Shakti. But at
times as Shakti remains one with
Shiva with no signs of expression it seems that Shiva is without Shakti. The Qualified Shiva always has
Self-awareness or independent divine Will which is a subtle activity or
spiritual dynamism. This dynamism is yet to have any expression like physical,
psychological or Prānic (vital
force of life) activities.
During
Mahāpralaya (Cosmic night or
dissolution of creation) this divine Will remains concealed within the great
Lord himself like the memories of a person in deep sleep. He was the Sat- principle (Existence) only. The
Veda said, “Ătmā vā
idameka evāgra āsit. Nānyat
kinćan mishat. Sa ikshata lokānnu srijā iti” [Aitareya Upanishad 1.1.] that means (Ătmā eva=only Ătmā (the ultimate reality), evāgra=in the beginning (of
creation),idam= the creation, eka=one, āsit=existed) in the beginning of creation the Ultimate reality
alone existed. (Nā=no, anyat=others, kinćan=some, mishat=
activity like blinking of eyes) i.e. no other things like blinking of eyes were
there. That means the total absence of
creation. (SA=He, ikshata= saw/
considered/introspect/willed, lokān
nu=divisions of the universe according to the fruits of actions of sentient
beings, srijai= I shall create.) He
willed to create the divisions of the universe according to the fruits of
actions of sentient beings. The desire for vision, again of the world lost or
dissolved during cosmic night, is associated with a sense of void which is Māyā,
of which the Lord himself is the controller. The vision of void is
accompanied by an indistinct sound called
parā-nāda which fills the void. Nāda is of nature of light. The first self-expression of the
supreme Will is the origination of void and the indistinct sound and diffused
light filling this void. Next there is concentration of this light and sound
into a focus called parā-Bindu.
Here the power of action starts unfolding itself distinctly. Para-Bindu now breaks into three parts
as bindu, bija and nāda or the great-sound. Here we
have two sets of nada and Bindu. The
first one being causal and the second is the manifestation. The nāda which comes into being at the
split of parā-Bindu is known as Sabda-brahma. All the sounds have their
origin in that nada or Sabda-brahma. Naturally a Mantra can be
called as Sabda-brahma.
Q. If all
sounds originate from Nāda then why are all sounds not treated as a
Mantra?
A.
Sound is of two forms, with meaning and without meaning. The former is
represented by alphabets. Mantra is a conglomeration of alphabets or word/words
with meanings, which are to be pondered
over.
Q. A Mantra is
the body of a deity and the sound or word/words represented by letters of
alphabets are the body of a Mantra. Unless these are divine a Mantra will loose
its divinity. How can one put divinity
in the letters of the alphabet?
A.
One need not put any extra divinity into the letters of the alphabet (Varna) because these are divine by
themselves. It is said in Tantrasadbhāva
(a Tantra scripture) that all Mantras are composed of letters of the
alphabet and all letters of the alphabet are the representations of Shakti (energy) called Mātrikā. As this Mātrikā remains dormant as one
with Shiva before manifestations of creation, it also has the Shiva principle.
At the onset of creation it pervades the entire space. In Sanskrit fifty
alphabet letters uttered or written are the gross representations of this all
pervading energy. Mātrikā means
one who produces. The energy, which is the causative factor of all gross and
subtle creations, is Mātrikā.
Letters are of two classes, Swaravarna (16
vowels) and Byanjanvarna (36 consonants).
The former represents Shiva-Shakti couple.
(According to Varnoddhār Tantra,
(a Tantra treaty on letters of alphabets) a consonant always needs a vowel to
be expressed as Dhwani (sound) and
also represents Shiva-Shakti couple.
It is interesting to note that the letters are classified in terms of gender.
Q. What is the
relation between sound (Dhwani) and letter (Varna)?
A.
There is a very close relationship between the two. A Dhwani is a sound without a letter. A Letter can not be represented
without sound. To put a meaning to the sound letter is a necessity. Sounds when
produced are expressed in different notes and scales independently. It is to be
noted that each letter has its presiding deity.
Q. Words are
composed of letters. If each letter has a separate deity then a word is
supposed to represent more than one deity and likewise a Mantra comprising of
one or more words should also represent more than one deity. In that case how
can a Mantra be deity- specific?
A. Shāradā Tilak (a well known text
on Tantra) says, “Sarvadevamayi Devi sarvamantramayi Shiva.” (Sarva=all, devamayi=form of god, Devi=Supreme
goddess, mantramayi=form of Mantra, Shiva= consort of lord Shiva or the
presiding deity of the universe.) That means the Supreme goddess represents all
gods and all Mantras are the forms of the Supreme goddess. The above text also
says that the Supreme goddess is the other name of Kundalini. Naturally all Mantras are the different forms of the
Ultimate Reality expressed as sound energy or Shabda-Brahma.
Suppose
two bunches of candles, each bunch composed of ten assorted candles, are
kindled in a dark room. Light from individual candle in both bunches
contributes to the total illumination. Each candle and each bunch has a
different intensity of light but in respect of total illumination neither one
can perceive the individual contribution of a candle nor of a bunch. Apparently
though a Mantra seems deity-specific but in principle it represents the
Ultimate Reality.
Q. Should one
take all sounds and words as Mantras?
A.
According to Tantra philosophy all letters of alphabets, words and sounds are
Mantras because, all these are the different forms of the Shabda-Brahma. The Gandharva
Tantra says, “Ćaitanyam
sarvabhutānām shabdabrahma swarupakam/ Varnarupen tad vyaktam mantravidyādi
bhedata”. (Ćaitanyam=supreme
consciousness, sarva=all, bhutānām=creation, sabda-brahma=ultimate reality in the
form of sound, swarupakam=form of, varna=letter, rupen=as a form, tad=it, vyaktam=manifested,
mantra=Mantra, vidyā=conglomeration of mantras depicting a deity in
particular, adi=etc., bhedata=differentiations)
That means the Supreme consciousness pervading all the creations is the Shabda-brahma. Its manifestations differ
because of differences in expressions as letters and forms of deities. It can
be said that the energy in the form of Mantra expresses itself with the help of
letters, words and sentences. Mantra can be expressed as any sound irrespective
of languages provided a particular meaning is imparted in it during
applications in worships, rituals and Japa.
Of course, all sound are Mantras in principle.
Q. Are Mantras
the products of human intelligence?
A.
If a Mantra is the representation of God how can that be the product of human
intelligence? A Mantra is of divine origin and is only perceived or received in
the intelligence which was purified by penance, austerities and intensive
spiritual practices, of a seer. That is why sages are called as Rishah Mantra-drashtārah (Drashtā=seer or perceiver of Mantra)
not Mantra-srashtā (Srashtā=creator).
Q. What are
the common factors between Veda-Mantra and other Mantra?
A.
Like Veda-Mantras all other Mantras also are associated with four factors as Rishi, Ćhanda, Devatā and Viniyoga.
Rishi:- He is the person
who by penance, austerities and spiritual practices has purified both his inner
and outer-being so that the divinity in the form of a Mantra with its full
glory and meaning, descended on his heart. The name of the first seer or
perceiver of the particular Mantra always remains associated it.
Ćhanda:- Each Mantra has its particular
metrical composition. That means dissention of the divine in the form of
Mantra follows the rhythm of poetical meter. In the Vedas there are mentions of
seven poetical meters viz. Gāyatri,
Tristup, Jagati, Anustup, Ushnik, Pankti
and Vrihati. It is a common
experience that any orderly reception in the mind has its sustaining impression
and effect, which is not easily erasable. Literal meaning of the word Ćhanda in Sanskrit is that which covers
or veils. Nirukta (etymology of Vedic
words) says, “Ćhandānsi
ćhādanāt” (ćhandānsi=the
ćhandas or meters, ćhādanāt=for covering) that
means ćhandas or meters are for
covering. In Shāradā Tilak it is said, “In olden time the
gods scared of death (from the demons) invoked ćhandas to cover themselves.”
Devatā:- Each Mantra has its particular presiding deity. It has been
discussed before that a Mantra is the body of the deity. There can be no Mantra
without a Deity and vice verse.
Viniyoga:- A Mantra serves multiple
purposes of an aspirant. An aspirant engages himself in spiritual endeavors
with the view to fulfillment of one or all the following human goals, Dharma (inspirations to tread the path
to the ultimate objective of life), Artha
(riches or effluence in life), Kāma
(desires related to sensual and other worldly enjoyments) and Moksha (the ultimate beatitude). Viniyoga means the adoption of a Mantra
for particular purpose in a particular spiritual rite or practice. (Vi= special/particular, niyoga= adoption).
Q. Unlike
Veda-mantra what are the other essential limbs of a Mantra?
A.
In the scriptures on Tantra there are references of other essential limbs of a
Mantra. These are Rishi, Ćhhanda,
Devatā (deity related to the Mantra), Bij (seed of Mantra), Shakti
(power or energy of Mantra), and Kilak
(peg/pin or a bolt. Here Kilak means
any hindrance that blocks the efficacy of a mantra). In Dipika commentary of Shrividyāratnasutram
(a core book on Shri-Yantra)
there is mention of seven limbs of a Mantra, viz. Rishi, Ćhhanda, Bij, Kilak, Shakti, Anganyās (Anga=limbs of body, nyās=placement. Anganyās
means the placement of a Mantra or its divisions in different limbs/parts of
the body of the aspirant or the statue of a deity) and Dhyāna (mental reflection on the meaning of the Mantra). Gāyatri Tantra mentions of five
limbs of a mantra as Ăvāhan
(invocation of the presiding deity of the Mantra in the statue/ Yantra/ mind) Dhyān, Smaran (remembrance), Samarpan (surrendering the results of the application of the Mantra
to the deity) and Visarjan (immersion
of the deity within the self of the aspirant).
Q. Are there
any categorical divisions of Mantra?
A.
Mantras are broadly categorized as Vedic-Mantra,
Purānic-Mantra and Tāntric-Mantra.
Vedic-mantra: - Mantras contained in the
Vedas are called Vedic-Mantras.
Purānic-Mantra: - Purānas are the scriptural texts written in verses (Shlokas) elucidating the intricate
religious mysteries and philosophies with examples and anecdotes. All the Shlokas in the Purānas are thought to be of divine origin and esteemed as
Mantras.
Tāntric-Mantra: - Although Vedic and Purānic Mantras also have heir place in Tāntric literature, there are some Mantras found exclusively
with reference to Tantra.
Since
all the religious traditions and philosophies have their origin in the Vedas,
these classifications are somewhat tentative.
In
Tantra traditions Mantras are categorized in different ways. Mantras are
classified as male, female and eunuch like in the case of Varnas (letters of the alphabet). According to Rāghavabhatta (a great commentator on Tantra) this
classification is based on the considerations of application and efficacy of
the Mantras. In fact, a Mantra being the representation of the Ultimate Reality
cannot have any gender differentiation. A Mantra for a male deity is called Pung-Mantra (pung=male), for a female deity called String-Mantra (string=female)
and all other Mantras are called Napungsak-Mantra
(napungsak=eunuch). Vidyā is the other name of female
Mantra. According to Meru Tantra a
Female Mantra brings in enjoyments, a male Mantra results in liberation.
In Shāradā Tilak (a treaty on
Tantra) Mantras are categorized as Soumya
and Soura. Soumya is derived from the
word Som means the Moon and Soura
from Surya means the Sun. Soura-Mantra is also called Ăgneya-Mantra
(Agni=fire).
In Varāha Samhitā we find a
different classification. Mantras are classified as Siddha, Sādhya, Susiddha
and Ari. Siddha Mantra comes to fruition by Japa, Sādhya by fire oblation, Susiddha
effective immediately after reception from a Guru or divine source and Ari brings in disasters.
During
initiation (Dikshā) Mantras are
classified as Rini (debtor) and Dhani (creditor). This classification is
of elaborate details. However, in simple it can be said that if the number of
letters in the name of the recipient exceeds the number of letters in the
Mantra it is called Rini-Mantra and
in the reverse case it is called Dhani-Mantra.
Rini-Mantra is considered to be auspicious and should be accepted and if
the Mantra falls in the Dhani
category it should be discarded.
Another
classification is based on the number of letters contained in a Mantra.
Mono-syllable Mantra is named as Pinda,
bi-syllable Mantra is Kartari ,
Mantra with three to nine syllables is called Bijak, Mantra with ten to twenty syllables is called Mantrak and if the number of letters
exceeds twenty it is called Mālā-Mantra.
Q. What is a
Bij-Mantra?
A.
In fact, any letter of alphabets conjoined with a note of nada is a Mantra. We have discussed earlier that Mātrikās are Mantras.
Literal
meaning of the word Bij is seed.
Banyan tree is manifested in its full forms as an effect from the tiniest seed
as the cause; likewise a Mantra and the deity related to it are manifested (the
effect) from the Bij-Mantra (the cause).
A cultivator first has to sow the seeds in the field, nurtures the growth of
plants and finally reaps the crops. In the similar way, an initiate after
receiving a Bij-mantra of his beloved
Godhead should put all his efforts into practice so that the deity in his full
glory appears before him. Everything in the creation is of name and form and a
projection of Kundalini. (The
creative power of the Ultimate Reality) A name is expressed in sound-form. And
this sound is the inherent criterion of an object. The specific energy of Kundalini is the causative factor for
the formation of a particular object. The vibrations of that specific energy
are the inherent sound form of the object which is its subtle manifestation
called the Bij or seed of the object.
For example, the vibration of the
specific energy of Kundalini, which
is the causative factor for the creation of water, is expressed in its sound
form or Bij is “Bam”. Each deity had its Bij-Mantra and the subtle power of the
deity remains latent in it. Klim for Krishna, Krim for goddess Kāli, Aim for goddess Saraswati,
Houm for lord Shiva and Shrim for
goddess Laxmi and so on etc.
Apparently it seems like a mono-syllable sound. With proper spiritual exercise
when this latent power is awakened the divine force pertaining to the specific
Godhead starts working. Shri Ma Anandamayee said, “From whoever you get the Bij-Mantra, keeping it as a secret in
your mind work on it then definitely in time from that seed the tree will grow,
bloom and bear fruits. Keep on watering in secrecy. At the proper time the tree will germinate.” In the
Yāmal (a group of texts on
Tantra) it is said, “Verily from the Bij-Mantras
issue forth the bodies of the deities. An aspirant by doing Japa of the Bij-Mantra related to the specific deity
will be one with Brahma or the
Ultimate Reality.
Q. Sometimes
it appears that there are exceptions regarding specificity of a Bij-Mantra for
a deity. Please explain.
A.
It is true that certain Bij-Mantras are
related to more than one deity. For instance, Klim (called as Kāma-Bij)
related to god Krishna or Gopāl is also applied to goddess Guhya-Kāli (an incarnation of
goddess Kāli) and Aim (called as Vāgbhava-Bij) the Saraswati-Bij
is also applied to the Guru. In linguistics we find that a basic word can have
different meanings. Particular context or the way the word is used determines
its meaning. The same argument also applies in case of above exceptions
regarding Bij-mantra.
For
example, in the Mantra “Klim
Krishnāya Namah” Klim-Bij
stands for Krishna. The same Bij-Mantra
is also used in case of goddess Tripurāsundari.
With the change of context the meaning of a Bij-Mantra
is changed. A Krishna worshiper when he gets this Bij_Mantra during initiation, to him it stands for Krishna only.
For another aspirant it may mean goddess Tripurāsundari.
Q. Can there
be more than one Bij-Mantra or Mantra for a particular deity?
A.
A single deity can have more than one Mantra and Bij-Mantra. In general Mantras differ with respect to number of
letters or syllables. But it is not uncommon that different Mantras for one
deity may have the same number of letters or syllables. For instance, both the
Mantras “Klim Hrishikeshāya Namah”
and Shrim Hrim Klim Krishnāya
Swāhā” having the same number of syllables (eight Sanskrit
syllable in each) but different Bij-Mantras,
stand for Krishna. This may be due to difference in the eligibility, aim and
school which the aspirant belongs to.
Q. Can a
Mantra of a deity be without Bij-Mantra?
A.
There are Mantras without Bij-Mantras.
For instance, “bada bada
vāgbādini swāhā” is called Vāgishwari-Mantra which has no Bij-Mantra. When the Bij
“Hrim” is put in the beginning and end it becomes Mahāsaraswat-Mantra. Some Dāmar-Mantras
(Dāmar is a group of text on
Tantra) which are composed of colloquial words and do not contain a Bij-Mantra.
Q. Is there
any Mantra composed of Bij-Mantras only?
A.
Only Bij can also make a Mantra. The
Mantra “Shrim Hrim Hum” containing
only three Bij-Mantras stands for
goddess Mahākāli.
Q. Is Aum a
Bij-Mantra?
A.
It has been discussed before that all sounds originated from Shabda-Brahma. Aum/Om or Pranava is its
sonic manifestation. In the Yoga-Sutra of Patanjali
it is said that “Tasya vāćaka
Pranava”. (Tasya=of that, means
the Ultimate Reality; Vāćaka=expression
(its manifestation); Pranava= Aum/Om).
This is called as Mahā-Bij
(Mahā=great; Bji=seed). All
the Bij-Mantras are the derivatives of Mātrikās and Pranava is the source of all Mātrikās. Aum/Om is also termed as Brahma-Bij.
Deities are the specific representations of different forms of qualified Brahma
or the Ultimate Reality.
In
the Vedas no other Bij-Mantras were
used except Aum/Om. All Bij-Mantras are found in the texts on
Tantra only.
Q. Where and
how is Om/Aum being used in Tantra?
A. Pranava is called as “Mantrādya” (ādya=ādi=starting or beginning) i.e.
all Mantras start with Pranava.
According to Bhāskarroy Mantrādya
means that which should be uttered at the beginning of Mantra. The Vedic
quotation “Omkārena sarvā
vāk santrinnā” (Omkāren=
by the sound Om, sarvā=all, vāk=Mantra, santrinnā=bracketed) means all Mantras are bracketed by Om. In
other words it can be said that Om should be put both at the beginning and at
the end of all Mantras. Although Om is purely a Vedic Bij-Mantra there are many
Tāntric-Mantras which start with
this.
Q. What is
Tāntric Pranava?
A.
In Mahānirvān Tantra(a text
on Tantra) it is said, “Kalou tu
……………Māyādyai sarva
karmāni kuryu Shankarashāsanāt” (kalou=in Kali Yuga=Iron
Age, tu=verily, Māyā= Māyā-Bij
i.e.the Bij Hrim, ādya= at the start, sarva=all, karmāni=spiritual
rites, kuryu=should be performed, Shankara=lord Shiva, Shāsanāt=by order or ordain)
that means all Mantras should start with the Māyā-Bij Hrim. This is also called Tāntric- Pranava.
Q. Are there
any utilities of Vedic Mantras in the practice of Tantra?
A.
It has been observed that in some routine and special spiritual practices in Sanātan Dharma (Sanātan=eternal, Dharma=religion) i.e. Traditional Indian
religious practices, both Vedic and Tantric ways are adopted. But there are
purely Tāntric practices where Vedic Mantras are also used but not the reverse.
Q. What are
the fields of application of Mantras?
A.
There are innumerable applications for Mantras. To name a few: - (1) For
conditional liberation, (2) Worship of
God and various other incarnations, (3) Achievement of Super-natural powers,
(4) To pay homage to forefathers, (5) To take control of the power of spirits,
(6)To achieve and take control of the Power
of gods and demi-gods, (7) To drive away the power of evil spirits, (8)
Performance of solemn rites for propitiating the planets and deities to secure
prosperity or to avert evil effects. (9) Cure of diseases, (10) To bring harm
to human, cattle and crops, (11) Relieving from effects of poisons, (12) To
influence thoughts and activities of others, (13) Purification of the body by
doing special rites. (14) Ultimate Liberation by way of Ćitta-Shuddhi (purification of the inner
being) which is the primary requirement of all spiritual endeavors as the first
step. A Mantra brings about inner purification that is why it is considered as
sacred.
Q What is the relation
between Puja and Japa?
A. Shaktisangam Tantra says, “Pujāyuktam japet Mantra na Mantra
kevalam japet”. (Pujāyuktam=along
with Puja, japet=Japa should be
performed, na=no, kevalam=only) That means Japa should
always be performed along with Pujā not alone. Of course, Japa without
Pujā is not futile but considered to be less efficacious. It may be
considered as Nāma-Japa.
Q. It has been
said that one should contemplate the
meaning of the Mantra (Mantrārtha) during Japa. What is the way to know
it?
A. A practiser should contemplate the meaning
of a Mantra along with Japa. Besides the literal meaning each Mantra has its
mystical meaning which has to be understood from the lips of Guru as advised in
Purashćaran Tantra. (“Mantrārtha gurumukhād bodhya” i.e. Mantrārtha= meaning of Mantra, gurumukhād=from the mouth of Guru, bodhya=to be understood) It is worth mentioning that a practiser
should also know about Mantra-Ćaitanya
(Consciousness of Mantra) and Yoni-Mudrā
along with the meaning of the Mantra while using it in spiritual practice.
Q. What is
Mantra-Ćaitanya (Mantra-consciousness)?
A.
The origin of all Mantras is the all pervading divine consciousness. It is the
same that exists in Mantra, deity, Guru and aspirant. But in the aspirant and
Mantra it remains as latent or dormant. A realized Guru by his awakened
consciousness empowers the Mantra and passes it on to the disciple during Dikshā (initiation).
Mantra
(dormant) = Deity = Guru = self = Mantra (conscious). Without induction of
potency in a Mantra it is only a conglomeration of letters.
Q. Can an
aspirant empower a Mantra by himself?
A.
For this there are different methods described in Tantra texts such as (1) to
contemplate on the Mantra to be in the solar orb or disc and repeat it 108
times. Presence of Eternal Shiva and his Eternal Shakti (energy/power) should
be thought of in the solar disc, (2) to recite the Mantra by putting the Iim-Bij at the beginning and end of it.
It should be mentioned here that the secret or mystical significance of all
these processes should be heard from the lips of the Guru, not from books.
Q. What is
Yoni-Mudrā?
A.
It is technical term having different meanings in relation to its different
applications in spiritual practices. As such it is a kind of Yoga practice
detailed descriptions of which are found in the texts of Hatha-Yoga or Rāja-Yoga.
So far its application to empower a Mantra is concerned an aspirant should
learn its secret meaning from the Guru. In Prāntoshini
Tantra (compilations on Tantra texts) it is said that an aspirant should
think of the letters of the Mantra embedded like a garland in the space of
consciousness which is saturated with Eternal-
nectar.
Some
say that an aspirant should think of his individual consciousness as identical
with the all pervading consciousness or Kundalini
which in its upward movement from the Mulādhār-Ćakra
(lowest plexus at the base of vertebral column), by penetrating other Ćakras gets united with Ultimate Shiva.
And this union results in the appearance of Eternal Nectar which has the
effulgence of ten millions Suns and soothing like ten millions Moons.
In
another place it s said that contemplation on “Soham” (I am That) is the best of Yoni-Mudrās’.
Q. Is it
necessary to have Dikshā (initiation) for doing any spiritual practice
with Mantra?
A. Before answering the question let us try to understand
in brief something about Dikshā.
In all Indian spiritual traditions from the Vedic period a
Guru/preceptor/teacher/mentor plays the pivotal role. Moved by inner urge to
know and understand the secrets of creation and life an inquisitive aspirant
should approach a wise Guru with reverence and submission. The Guru in turn
after assessing the capability of the aspirant first initiates him so that he
becomes eligible to tread the specific and suitable path of practice to reach
his goal. Propagation of life follows parents’-progeny lineage whereas
propagation of wisdom and knowledge follows Guru-disciple lineage.
In
all the texts on Tantra Dikshā is
considered to be the first step in spiritual endeavors. So it can well be said
that Dikshā is a must for taking
up any spiritual practice.
Q. What are
the various types of Dikshā?
A.
Broadly there are two types of Dikshā,
(1) Vedic Dikshā and (2) Tāntric Dikshā.
Vedic
Dikshā: Initiation of first three of the four social caste orders {Brāhmin=priest class, Kshatriya=ruler class, Vaisya= trader and agriculturist class
and Shudra=servile class} in Vedic Gāyatri Mantra is called Vedic Dikshā. This is obligatory
for these three castes. These three castes are called Dwija (twice born). Dikshā
is the second birth for these three castes. Besides, before performing any
special Vedic sacrificial rites such as fire oblations a Yajaman (worshipper through priest) needed to be initiated.
Tantric
Dikshā: A Dwija after taking Vedic Dikshā of the Gāyatri-Mantra should be initiated
in Ishta-Mantra (Ishta=most beloved image of deity to an aspirant) in the Tāntric
way. Tantric Dikshā is commonly
prescribed for all castes. In Vishwasār
Tantra four types of Dikahās’
are mentioned.
1.
Kriyāvatii Dikshā: This is ritual intensive.
Here purification of the body (gross, subtle and causal) of the disciple,
induction of Guru’s consciousness in the disciple and washing of the disciple
with consecrated water are done by the Guru. This type is widely practiced.
2.
Kalāvatii Diksha: Here a Guru meditates on
different Kalās as ordained in
the scripture in different parts of the body of the disciple in ascending order
from feet to crown and places the Kalās
in respective parts of the body in descending order from crown to feet.
3.
Varnamayii Dikshā: Here a Guru places the
letters of the mantra in different parts of the body of the disciple as
ordained in the scriptures. He then merges the letters and the consciousness of
the disciple in the all pervading consciousness in ascending order and again
takes the letters and the consciousness out and places them in the respective
parts of the body of the disciple in descending order. By this method of Dikshā the disciple feels divine
bliss in him.
4.
Bedhamayii Dikshā: This is also called Mānas Dikshā (mental
initiation). Here a Guru initiates his disciple through meditation. It is very
rare to find such a Guru capable of giving such Dikshā. Of course an eligible disciple is the rarest to find.
In Kulārnava
Tantra seven types of Dikshās’
are named such as 1.Kriyā
Dikshā, 2.Kalā Dikshā,
3.Varna Dikshā, 4. Mānas Dikshā (mental Dikshā) 5.Vāk Dikshā (Dikshā by speech), 6.
Drik Dikshā (Diksha by look),
and 7. Sparsha Dikshā (Dikshā by touch). Kriyā Dikshās’
are classified into eight and Varna
Dikshās’ are classified into three categories. First four types are
the same as Kriyāvatii,
Kalāvatii, Varnamayii and Bedhamayii
Dikshās’ respectively.
In Rudra
Yāmal (Yāmals’ are a group of Texts on Tantra) we find three
types of Dikshā viz. Ănavi,
Shāktii and Shāmbhavii.
1.
Ănavii Dikshā: The ceremony initiation
which is performed with Mantra, Worship of deities, Nyāsa (placement of Mantra in different parts of body is
called Nyāsa), Asana (a
particular posture of the body), Dhyāna
(here dhyāna means meditation),
and other paraphernalia is Ănavi
Dikshā. This again are of different types viz. I. Smārtii
(derived from the word Smaran=remembrance)
here guru initiates from a faraway place in the physical absence of the
disciple, II. Mānasikii (mānas=mental) here Guru looks at the disciple
sitting nearby and initiates him mentally, III. Yougi (derived from the
word Yoga) here guru enters into the body of disciple by a Yogic method and
conjoins his self with the self of disciple, IV. Ćākshush (
ćakshu= eye) here guru thinks himself as “I am the ultimate lord
Shiva” and looks at the disciple compassionately, V.Sparshinii (sparsha= touch)here Guru touches the disciple
compassionately, VI. Vāćikii
(vāk=word) here Guru identifies his mouth with that of his Guru and
gives the divine Mantra to the disciple orally, VII. Māntrikii (derived
from the word Mantra) here Guru places
the Mantra in different parts of his body and makes himself Mantra incarnate
and initiates the disciple in that very Mantra, VIII. Hotrii (derived
from the word Hom=fire sacrifice)
here the Guru will perform the rites of fire sacrifice for purification of the
body and mind of the disciple and initiates the disciple, IX. Shāstrii
(shāstra=scriptures) here the Guru
initiates a disciple engaged in serving the Guru and fond of worshipping
deities, in accordance with scriptural ordains, and X. Abhishećikii (Abhiskek= ablution with consecrated water) here
Guru will perform Pujā of Shiva with his consort on a pitcher
filled with water and sprinkle this consecrated on the disciple
2.
Shāktii Diksha: In Vāyaviya Samhitā (a division of Shiva Purān. This scriptural text on Lord Shiva describes his lilas
and glories in several cantos’) this type of Dikshā is called Jnānavatii (Jnān= wisdom). Here the wisdom-incarnate Guru enters the body
of the disciple by Yogic-Power and transfuses him with wisdom. This Dikshā requires no ceremonial rites
and rituals.
3.
Shāmbhavii Dikshā: In Nityotsav (a text which
deals in detail with the processes of Pujā of Goddess Lalitā or Mahā Tripurā Sundari) Umānandanātha, the great exponent of Kāshmir Shaivism wrote that the Guru will contemplate on the
red and white feet of Kāmeshwari-Kāmeshwara
(the ultimate lord Shiva and his consort) couple on the crown of the disciple.
Then he will further think that from these feet the exuding of nectar onto the
disciple is washing out his both inner and outer impurities. The placement of
the feet of the great lord and his consort on the crown of disciple is called Shāmbhavii Dikshā.
Q. Is Nyāsa (placement of Mantra in different
parts of body) necessary for Japa practice?
A. The ultimate goal of Japa is to be one with the
Mantra and the deity. In fact, a Jiva (sentient
being) is Shiva. Ma Anandamayee said,
“Yatra Jiva tatra Shiva.” and “Yatra nāri tatra Gouri.” That means
where there is Jiva there is Shiva
and where there is woman there is Gouri or
the consort of Shiva. This attitude gets a firm hold in the mind of an aspirant
by the process of Nyāsa. That is
why Nyāsa is ordained to be
obligatory in practice of Mantra.
Q. What are the other obligations in Japa practice?
A. Dhyāna
(meditation) and Prānāyāma are the two most important
obligations to be performed before doing Japa. Prānāyāma is also prescribed at the end of Japa. In Saraswati Tantra the following sequences
are prescribed before Japa. First of all a Sādhaka
(Aspirant) should remember his Guru. Worship and pay obeisance to him. Then
sequentially he should perform the following processes as ordained in the
scriptures such as- Mantra-shikhā
(flame of Mantra), Mantra-ćaitanya
(Mantra consciousness), Mantrārtha
Bhāvanā (contemplation on the meaning of Mantra), Meditation on the
Guru at the thousand petals lotus at the crown of the head, Meditation on the
deity at the heart, Kullukā (special
Mantra specific for a deity used to sanctify the Japa-Mantra), Mahāsetu (
great bridge) ( a specific mantra for a deity linking the mantra with the deity
like a great bridge), Yoni-Mudrā
Bhāvanā (as described earlier), Anganyāsa (placement of the Mantra in parts at the different
limbs of body), Prānāyāma,
Jihavā-Shodhan (purification of
tongue or mouth which remains generally in an impure state due to lying and
improper use of words), Prānayoga
(uniting the vital life force with the Mantra), Dipanii(lighting up of the Mantra), Ashouć-Bhanga (ashouć
means period of defilement due to birth or death, Bhanga means to break), Nasagra-Drishti
(fixing the gaze at the tip of nose), Setu-Japa
(like in Maha-Setu) , again Setu-Japa, again Ashouć-Bhanga and Prānāyāma.
All these processes have special meanings and mystical significance, which are
to be learnt and understood from the Guru only. These may vary according to the
different schools of practice.
Q. What are the general rules and restrictions in
doing Japa?
A. An aspirant interested in the practice of Japa is
supposed to observe some rules and restrictions to achieve the cherished goal.
As Japa is a spiritual practice of a high order, the practiser should undertake
it seriously with utmost alertness, sincerity and faith. The following factors should
be taken care of.
Ăsana (posture) and
seat: These
are common to all spiritual practices. Yoga-Sutra says, “Sthira sukhāsanam” (sthira=
fixed, sukhāsanam= comfortable
body posture).
The aspirant should get used to a particular posture
so that he can sit for a prolonged period of time without feeling any physical
strain and discomfort. The seat should be three feet by three feet in size,
made of successive layers of Kusha-Grass,
skin of naturally dead animal and cotton cloth. It should be at least two
inches higher from the ground level. These are the general specifications
prescribed in Meru Tantra. The composition of the seat may
vary in accordance with the purpose of Japa. For wisdom Black - deer skin, for
general purpose - tiger skin, for recovery from ailments - sheep skin, for
nourishment - Kusha-grass and for wealth
- cane seats are recommended. For various incantations with harmful designs
skins of elephant, buffalo, sheep, rhinoceros, cow and jackal are used.
Place of Japa: In the Gita (Ch.6, Shl. 11) it said, “Shućou deshe pratisthāpya sthiram
āsanam……..) i.e. the seat should
be placed there in a clean and sanctified place. Without going into details of
innumerable selections of places it can simply be said that the clean and
sanctified place where the mind feels composed and cheerful is the best for
spiritual practice.
Time of Japa: This has been discussed
previously in connection with Nitya
and Naimittik Japa. In addition to
routine obligations for an initiated aspirant, as such, there are no other time
restrictions because; one of the purposes of Japa is constant remembrance of
God. In Rudra Yāmal it is said
that Japa of Shakti Mantra (Mantra
related to Goddess) at night is more fruitful.
Rhythm of Japa: Japa should not be too
fast or too slow. There should be clarity of the sound of the Mantra and a fixed
rhythm.
Number of Japa: Routine Sandhyā Upāsanā after
initiation is a commitment for the lifetime of an aspirant. The firm resolves
as to the number of routine Japa taken after initiation by an aspirant by
himself or ordained by the Guru should be fulfilled at all costs. Naimittik Japa that means Japa on
special occasions or during auspicious moments should be undertaken after
having a firm resolve regarding the number of Japa. In Purashćaran (ceremonial Japa-ritual observed with strict rules
and disciplines accompanied by Pujā,
(a) Hom ( fire oblations), (b) Abhishek(ablutions)and (c) Tarpan(sprinklings)
with consecrated water and (d) Brāhman
Bhojan ( feeding Brāhmins), as directed in scriptures, in order to
awaken/energize the potency of a Mantra) numbers play very important roles.
Here the number of Japa is determined by the number of letters/syllables
contained in a Mantra. Generally one hundred thousand times the numbers of
letter/syllable are prescribed for Japa followed by steps (a), (b), (c) and (d)
respectively. Number of fire oblations should be 1/10 the number of japa
Number of ablutions……………….1/10…………… fire
ablutions
Number of
sprinkling……………….1/10……………ablutions
Number of Brāhmin
feeding…………1/10……………sprinkling.
For example, the Vedic Gāyatri Mantra (having 24 letters) 2.4 million Japa followed
by the successive steps with prescribed numbers are required for Purashćaran.
Routine Japa is classified into three categories,
ten thousand as Uttam (superior), one
thousand as Madhyam (Medium) and one
hundred eight as Adham( inferior). It
is not advisable to do Japa less than 108.
Q. What is the use of the rosary (Mala) in Japa?
A. Rosaries or
Mālās help in keeping the number. Use of rosaries in different
religions like Suifsm, Tāntric
Buddhism, Shikhism’ and even in Christianity are not uncommon. Rosary is
considered to be a sacred tool for doing Japa. Proper use and maintenance of
sanctity of the rosary should be taken care of. There are certain rules and
restrictions regarding uses of rosaries. Usually there are 108 beads (Mani) stringed together in silk or
cotton thread like a garland. There is an extra bead situated at the joint of
two ends of the thread called the Meru
(pole). A typical three and a half round coiled knot called Granthi separates each bead from the
next one. During Japa the Meru should
not be crossed . After completion of 108 recitations the Meru is reached. Without crossing it the Mālā is to be turned around and next turn of Japa should
start from the 108th bead.
Q. What are the types of rosary generally used in
Japa?
A. In Sanātan
Indian traditions three types of rosaries are being used viz. Varnamālā, Ćaramālā
and Karamālā.
Varnamālā:
Here the
letters of Sanskrit alphabet represent the beads, the compound syllable “Ksha” makes the Meru and Kundalini is the
thread of this rosary. The practiser is supposed to add the sound of Anuswar (nasal sound) to each of the
letters of alphabet starting from “à” and recite the Mantra and continue up to
the last letter “la”. For once he should utter “ksha” and again recite backwards to end up with “à” again. By this
process one hundred recitations of the Mantra will be completed. Then he will divide
the letters of alphabets into eight Vargas’
(categories) and adding Anuswar to
the last letter of each category he should recite the Mantra. By this way his
108 recitations will be complete.
Ćaramālā: This is also called as Ćala
or Ćanćala. The beads may be of any one of the materials like Rudrāksha, Conch shell, Ivory,
Lotus seed, Pearl, Quartz, Gold, Silver, Coral, Sandalwood (both red and
white), Tulsi (Basil) wood, Root of Kusha-grass, Gunjā-seed, Turmeric, Mahāshankha (forehead bone of human
skull), Teeth of a donkey, horse and
man etc. Number of beads, bead materials and colour and type of threads are
selected in accordance with specific purpose of Japa or as directed by the
Guru.
Karamālā:
(Kar=hand,
mālā=rosary) Ten segments
of fingers of hand are used as counting tools for Japa. There is a difference
of opinion as to which of the segments are to be used in counting. Aspirants
are supposed to follow the direction given by Guru after initiation.
There is another type of rosary called Samsmaran–mālā (Samsmaran=remembrance) generally
composed 27 beads and a Meru used for
continuous practice of Japa.
Q. Are there any prescribed rules and restrictions
regarding the use of Mālā?
A. Mālā
is not merely a tool for counting Japa. It considered as sacred and its
sanctity should be maintained while using it. Scriptural texts (Texts on Tantra
in particular) prescribed certain rules and restrictions regarding the use of Mālā. To mention a few:-
1.
It
should be properly knotted and subsequently consecrated as ordained before use
2.
Bead
material is to be selected in accordance with specific Mantra and purpose of
Japa.
3.
Same
Mālā cannot be used for
different Mantras. For instance, in Vaishnav-Mantra,
Mālās made of Tulsiwood, White Sandalwood, Lotus seed
etc. are prescribed whereas in Shiva and Shakti-Mantra,
Mālās made of Rudrāhsha and other materials are
to be used. Of course Quartz Mālā
can be used in both cases.
4.
Utmost
care should be taken so that movements of beads do not make any sound, Mālā should not slip away from
finger grip during Japa and the thread should not be broken. A Mālā should not touch the
ground or any other parts of the body during Japa.
5.
A
broken Mālā should again be
freshly and properly knotted and consecrated before reuse. Extra 1008 or 108
recitations of the Mantra are suggested before reuse of the Mālā.
6.
Movement
of the beads should be guided by thumb and middle finger and the fore finger
should be unused. In some incantations aiming
to do harm the forefinger is used.
7.
One
is not supposed to be on the move with Mālā
while doing Nitya, Naimittik and Kāmya Japa. For constant
remembrance there is no such restrictions and a separate Mālā should be used for this.
8.
An aspirant should not use anybody else’s Mālā or should not allow anybody else to use his Mālā.
9.
A
Mālā should never be kept unused
i.e. once an aspirant starts using a Mālā
he should at least use it once a day. Otherwise the Mālā should be freshly re-consecrated or extra Japa
should be done for deliberate or inadvertent lapses.
10. Generally a Japa-Mālā should not to be
used as a necklace.
Q. You have said before that in Kali-Yuga Japa is
most efficacious and simple spiritual practice. But after the brief discussions
so far it seems that to achieve the desired results one has to go through many
steps and fulfill rules which are not
so easy. How do you explain that?
A. In a particular context Ma once said, “Path
towards God is straight/simple (saral)
and easy (sahaja)”. But our
experiences are the opposite. In the history of spirituality irrespective of
any religion we find that all the prophets and saints spoke about the
hindrances and difficulties an aspirant has to face during his endeavor. Even
the Veda says that the path of spirituality is like, “Skhurasya dhāra nishit duratyayā durgam pathastāt kavoyo badanti.” (Skurasya=of a razor, dhārā=edge,
nishit= sharp, duratyayā=impassable/far reaching, durgam=difficult to tread, pathah=path,
kavoyo=the seers, tat= that, badanti=say, that means, the path of spirituality is like the
sharpened edge of a razor impassable to tread on and full of obstacles. This
has been said by the seers of olden days.) This ties in with our actual
experience but is opposed to what Ma had said.
Let us try to understand the meanings of the words
‘easy’, ‘straight’ and ‘simple’. Ma used the Bengali term ‘Sahaja’ (saha= along
with; ja=jāta= born) that means
to tread the path of spirituality is an in-born faculty of a person. Once he is
convinced about this, he can go for it with ease. Behind every action lies the
intention of the doer. Again the intention has its root in desire which is the
objective manifestation of love within for the particular action. The doer
first fixes a hypothetical goal and with knowledge, experiences gained so far
and predetermined methods starts doing it. At the onset he may encounter
difficulties but with practice he gets used to overcoming those with ease and
efficiency and achieves the cherished goal.
Apparently the activities of life of a person start
at birth. (For the time being activity starting from conception with prenatal
growth are not taken into consideration to avoid further arguments and
complexities) and difficulties come along until the apparent death ends life.
To a new- born child even the first breath is a difficult task, which turns
into an involuntary and effortless natural activity for the rest of its life.
In Ma’s life we notice that the spiritual practices
of various disciplines attained fulfillment on their own with ease without any
external aids like a Guru, scriptures, philosophical understanding and primary
preparation. She termed these as “Sādhanār
khelā” (Sādhanār=
of spiritual practice, khelā=play)
that means, play of sādhanā. Sādhanā played through her
physical and inner being, or sādhanā
seemed to be a play to her. This again is apparently contradicting our usual understanding of spiritual
practice. First of all a Guru, or the scriptures, caution an aspirant at the
very onset of spiritual practice not to take it as a play. A practitioner is
supposed to take up spiritual endeavor earnestly and with all seriousness and
sincerity. Perhaps, Ma is the first in the spiritual history of the world to
coin the term “Play of sādhanā”.
Now let us try to understand what we mean by the
word play. Play is to amuse oneself, or the expression of inner happiness in
action. In other words it can be said that play is the expression of the inner
love for the self. In play there is continuation of happiness throughout, from
the beginning to the end irrespective of the final result. Play and competition
are not the same. In competition happiness depends on the end result,
when one wins, whereas in play there is happiness throughout. In competition
one gives out energy, expertise and sincerity, but when one looses one feels
pain and thinks that all efforts were futile. When happiness comes at the cost
of someone else’s pain it is not real happiness. In a competition the joy of
victory causes the loser pain. In spiritual practice one should feel happy
while pursuing it. Happiness in achieving the goal will come as a bonus as in
the case of true play. In addition to love for the imaginary achievement or
goal one needs to have love for the practice as well. Almost all our physical
and mental faculties are acquired through the experience of interactions with
the world outside. The only faculty everyone is born with is love. This is
called Sahaja.
Q. How can one be in love with Japa practice? At
times one feels bored in repeating the same word or Mantra. Is there any way to
get rid of this boredom?
A. Of course, there is a way. What one needs is to
look at one’s actual life experience and try to apply it in his spiritual
practice. Japa is another name for constant remembrance of the most beloved
godhead. A child with very few experiences or interactions with the diversified
outside world has its love focused on the mother only and constantly remembers
her. A young person spends hours, days, months and years together in constant
remembrance of the date of the first love. A young mother in the midst of all her
worldly actions and household chores has her attention focused on her new-born
baby. In all these cases constant remembrance is an effortless action. But with
time on the one hand the object of love changes and on the other hand more
objects of love infiltrate into the mind. The single-minded attention or love becomes
diversified. An exclusive relation is transformed into several relative
relations.
Human mind is in constant search for the changeless
love. But the changes both in the beloved and the lover in the temporal and the
spatial frame of the world, come in the way of this changeless love. Now the
question is, whether it is possible to stop these changes. The answer as such
is negative. To find the way out, one needs to examine his experience of
interactions with the objective world around and see whether there is any
apparently changeless object or thought that he is in love with. The changes
registered both in the subject and objects are of the names and forms only. At
the surface it seems that love also changes with the changes in names and
forms. But the fact is deeper than this. Take for example the love for dresses.
One buys dresses of different colours and designs of ones choice. Apparently
there are changes in the objective love but the fact is that the love for dress
remains the same. Now let us consider love in a subjective way. You can find
changes in yourself with the passage of time. These changes are noticed only
when you put yourself in the spatial and temporal frame of the world
objectively. To be more precise, changes are noticed only in the subject-object
relationship. With time and situation your love seems to change with changes of
objects but your love for object remains unchanged.
Now let us have a deeper look at boredom. Why do we
feel bored? At the background of all boredom there lies an underlying sense of
changeless self-love. In the pursuit of feeling the changeless love the mind is
constantly probing different sense objects and has acquired the habit of
seeking change. Therefore anything changeless apparently has its impact on mind
compared with its developed shape, and this is called the feeling of boredom.
It is a transient world. All the objects (material
and mental) are in the process of change both in temporal and spatial frames of
conception. Sometimes these changes are so minute that the workable and gross
sense organs cannot perceive them and the object seems to be changeless. But
the fact is that, both the perceiver and perceived are undergoing changes with
respect to temporal and spatial frames. The lack of right mindfulness brings
about the sense of changelessness.
Behind any action whatsoever (mental or physical)
there lies the inner urge of the doer to have a taste of happiness. In other
words it can be said that this inner urge is the indirect expression of
self-love of the doer. To be rid of boredom one should try to go to the root of
boredom -and it will be removed.
Q. Sometimes it happens that a seeker receives a
mantra either in a dream or vision and he/she starts doing Japa of the mantra
thus obtained. What do you say about that?
A. Yes, it is not uncommon
that at times an aspirant receives a mantra in dream or vision and this creates
doubts in his mind as to whether or not to practice this Japa. If the mantra in
dream/vision does not tally with the mantra he had already received during
initiation the person should first consult the Guru before doing anything with
the mantra. Dreams are the outcome of Sanskars
(Mind-set) within. The Guru only knows which of these sanskars are to be given prominence during the course of spiritual
practice of his disciple. Besides, the sound thus obtained may not be complete
in all respects so that it can be termed a mantra.
It has been said earlier that mantra is not mere
sounds. A practiser is supposed to know and understand a mantra with all its
limbs and meaning before working on it. I had been the witness to many such
cases of seekers who received mantras in a dream and came to Ma asking for her
guidance. In almost all the cases Ma would ask the person to get the mantra
authenticated and sanctified by the respective Guru or an able person in his
guru lineage in the physical absence of the Guru.
It may so happen that the mantra obtained in a dream
is not at all related to the Ista (most beloved God-head) of an already
initiated seeker. But an aspirant is supposed to have one-pointed attention on
his Ista-mantra during spiritual
practice. In that case the seeker will
not be in a position to ascertain how to deal with this situation without the
guidance of his preceptor or guru. Self suggestive spiritual practice may not
give the desired result and at times the efforts may prove to be futile.
Q. What about a mantra ina dream or vision
given by the Guru himself?
A. In that case too the mantra needs to be
authenticated and sanctified either by the Guru personally or by an able person
in the guru lineage in the physical absence of the guru.
Q. It is not uncommon to notice that a seeker
practices a mantra received from a guru for sometime, then leaves both the guru
and mantra and goes for alternatives. What is your comment in that case?
A. It has already been said that spiritual practices
can be classified broadly into three categories such as, (1) Nitya (Daily routine), (2) Naimityik (Special occasions) and (3) Kamya (with worldly desires). An
initiated aspirant should undertake spiritual practice as a commitment for life.
Once he embraces a Guru, mantra and a path he is not supposed to change these until
the end. This kind of practice falls under the category of Nitya which should be the main stay in his spiritual path. For the
other two categories a change is not unwelcome. Of course, even in such cases
special Diksha and Sankalpa (firm resolve for undertaking
such time-bound practices) are necessary.
An aspirant who changes his path and Guru may find
excuses for doing so by referring to some scriptural texts. In Kularnav Tantra says, “In search of knowledge a disciple should
move from one Guru to another like a honey-bee moves from one flower to another in search of honey.”
In some other place the same scripture says, “Never leave the Guru but follow his advice.” Ma also said, “Once
embraced the Sad-Guru can never be left.” Here we
find apparent contradictions in scriptural texts in connection with the changing
of a Guru. Without going into the details of treaties on the Guru as described
in different scriptural texts one can say that the word Guru has its various
meanings explaining different aspects of the Guru. Broadly Gurus are
categorized into two classes, (1) Diksa
Guru i.e. Guru of initiation and (2) Shiksha
Guru i.e. Guru for gaining knowledge. Anyone from whom an aspirant can gain
knowledge is a Siksha Guru, which is
subject to change according to need. But a Diksha
Guru in general is not changeable unless the Guru himself asks or sends his
disciple to some other Guru for further spiritual upliftment.
It has to be remembered that the term Diksha in the Vedas in general signifies
a ceremony to be performed before undertaking any Naimittik and Kamya Karma
(as defined earlier) like special Yajna etc.
In such cases the Yajman (the
doer/host) has the freedom to select a competent conductor (Rittvik) of the rites and to get
initiated by him. This type of diksha
remains valid till the completion of the special ceremony.
Now let us consider a few points which could lead a
disciple to think about changing his Guru.
Very often it is noticed that a disciple embraces a
Guru from a passing impulse to have
immediate or quick spiritual/worldly gains in a specific time frame. When he
does not get the desired results, doubts crop up in his mind about the path as
well as the Guru. Finally he tries to change the Guru.
Because of psychological involvement a disciple
tries to keep a close association with the Guru. Here both reverence and
infatuation act together. With time and interactions the different aspects of the
behavioral patterns of both the Guru and disciple unfold. Sometimes this may be
the cause of the changes in initial attitudes and the disciple wants to
distance himself from the Guru.
In certain cases the Guru fails to assess the
physiological as well as the mental constitutions of the disciple and
prescribes practices which may not be best suited for the disciple. The
disciple also sometimes asks for practices for a self-chosen path, which
ultimately does not stand him in good stead for continuing to the goal - and he
starts searching for an alternative
To tread the path of spirituality is like walking on
a Razor’s edge. It was said in Shvetashvatar Upnishad that the path
of an aspirant is like “skhurasya dhara nishit duratyaya durgam
pathastat kavoyoh vadanti” (Skhurasya=
of razor, dhara= edge, nishit= sharp,
duratyaya= far reaching, durgam= full of obstacles, kavoyoh= the seers of the past, vadanti = say) i.e. to follow the
spiritual path is like walking on a razor’s edge; this is far reaching and full
of obstacles as told by the seers of the past.
An aspirant is required to have a strong conviction
for the path and should be committed to the goal for his whole life. A seeker,
having so many worldly duties and preoccupations, cannot maintain unperturbed
focus on his spiritual goal. He is always in search of a short cut to achieve
his goal within a time frame. When it does not happen with a particular Guru and
path, he looks to change.
Q. It is a common complaint of spiritual seekers
that while engaged in Japa the mind roams about ceaselessly on different
objects and causes disturbances. Are there any specific instruction given by Ma
to over come this?
A. It is difficult to generalize Ma’s instructions.
Whatever had come out of Ma’s lips was in response to a specific query by a
particular aspirant. Her advice varied from person to person. Compiled below are
a few of her instructions regarding Japa which can be considered somewhat
generalized instructions:-
(A). Sthir asan, sthir dristi, Japa ashray, tabei
raser asha. Sthir asan(fixed
posture/seat):- Here Ma pointed out the necessity of having a fixed sitting
posture while doing japa. It is to be noted that the seat on which Japa is
practiced should not be changed as far as practicable. In all the texts on Yoga,
the importance of seats and postures were discussed in meticulous detail. In
the Yoga Sutra of Patanjali, the third limb of Yoga of eight limbs is the
asana. It says, “sthir sukhasanam”i.e.
the posture as well as the seat
should be fixed and comfortable.
Sthir dristi (fixed look):- Here dristi means both external and internal
look. Closed eyes can negate the external visual distraction but the hyperactive
and interactive sanskars within do not allow the mind to settle down. A focused
mental occupation like contemplation on the meaning of the mantra is also
necessary. The Yoga Sutra said, “tajjapam
tadartha bhavanam.” (contemplation on the meaning of the very mantra of
Japa)
Japa ashray
(Japa as tool/resort):- Japa is one of the most efficacious tools for controlling the mind.
According to Ma one should take resort to Japa to arrest the uncontrollable
movements of mind.
Tabei raser
asha:- Then
only there is hope for enjoying the necter/essence of spiritual practice.
B. Yadi jape beshikshan thakte icchs kare tabe
shabder upar lakshya rekhe jap. Akshar rupe bhagavan, shabdarupe bhagavan. (If one wishes to do Japa
for a long time then it should be done being attentive to the shabda. God is represented as sound and
syllable as well). The meaning of the term shabda
includes both sound and syllable.
Here Ma was very clear about the usefulness of
contemplation in Japa practices and hinted at the options on contemplation. One
may focus attention either on the sound or on the syllable of the mantra.
The syllable/syllables of a mantra are fixed for a
particular language. But the sound generally does not change. It has to be
noted that the pronunciation of a mantra differs from person to person and
apparent variations of sound may be noticed. For example, a mantra may be
common in both classical Indian tantric order
and in Tibetian tantric Buddhism but
the syllables and sounds are different. These differences do not affect the
potency and efficacy of the mantra.
C. At times it seems very difficult to contemplate
on the meaning of the mantra simultaneously with japa. In that case the meaning
of the mantra should be contemplated on first. One should also think that this meaning is fully reflected in
the mantra.
Here Ma is giving some tips to over come some of the
practical difficulties an aspirant generally faces during japa practice. Right
mindfulness is complementary to successful japa and vice verse. In the conscious level registration of thoughts follows
close sequences. As such it may seem that thoughts float on the surface of
consciousness simultaneously which cannot be registered separately because of
very close sequence. The mind fixes itself alternately between japa and
contemplation on the meaning of the mantra thereby making japa a mechanical
process. Here Ma suggests that first the mind should be conditioned by
contemplation followed by doing japa.
D. “Nishwās praswāse sahaj bhāve
nām kariy jāoyā.”(Nishwās=
inhalation; prashwāse= in
exhalation; sahaj bhāve=in
natural way, nām= Name of God;
here nām signifies mantra; kariyā jāoyā= should be
continued; that is to say, japa of the name of God or the mantra should be
continued along with natural breathings. In another occasion Ma said, “Shwāser
dike lakshya rākhiya Jap.” (Shwāser=
of breathing; dike= towards; lakshya= focus; rākhiya= keeping on; that means, japa should be performed
keeping focus on the breathing.) These two sayings of Ma are of primary
importance in japa practice. Theoretically, the sayings are in simple and
understandable language. But to practice japa in accordance with Ma’s suggestion
requires detailed consideration.
Prānāyāma
is thought
to be the most effective tool for the concentration of mind. In almost all the
spiritual practices irrespective of any particular order pranayama was upheld
as an obligatory tool to start with. In the books on Yoga {Astānga Yoga
(Yoga with eight limbs) in particular} there are detailed treaties on different
prānāyāmas’ and their
methods, all of which require rigorous practice under the direct guidance and
supervision of an able master. To have mastery over these various Prānāyāma calls for a
lifetime dedication and endeavor.
Here Ma, without mentioning any name, hinted at one
of the easiest methods of prānāyāma
called sahaj prānāyāma
or natural rhythmic breathing. There are so many gross and subtle factors (both
mental and physical) which influence the normal breathing rhythm. Without going
into the complex biochemical mechanisms which are dependant on so many
interrelated criteria, now let us consider in brief the relation between mental
activities and breathing. Any activity, mental or physical requires energy and
this energy is being released by the complex biochemical enzyme-catalyzed
reactions within the body. It is a well established fact that substrate↔product
reversible/irreversible enzyme-catalyzed transformation can be explained in
terms of electrons transfer mechanism between reactants and products which
require oxygen. This oxygen is supplied mainly by breathing. Naturally oxygen
input is directly proportional to the output of energy and this energy in turn
controls the both physical and mental activities. Conversely it can also be
said that any change in mental activities has its direct influence on
breathing. So it can be said that controlled or regulated biochemical reaction
within an organism results in regulated release /absorption of energy which in
turn effects both mental and physical actions. External oxygen supply is one of
the key factors for these processes. Prānāyāma
or regulated breathing to a
greater extent helps maintaining a dynamic equilibrium in the biochemical
reactions within. Breathing as such is an involuntary natural process. Its
change in rhythm is also dependant on so many other inter-related mental and
physical factors. Japa can be used as an ideal tool to bring in automatic
regulation in rhythmic breathing. An aspirant can fix the number of repetitions
of a mantra or Nāma in the time
lengths of inhalation and exhalation. This will automatically regulate the
rhythm of breathing which will have a direct influence on the mind in
maintaining a dynamic equilibrium in its activities avoiding erratic mental
behavior. This will be further discussed in the context of Practical hints for Successful
Japa
E. “Shwāser dikē lakshya rekhē
Jap.” (Shwaser= of breathing;
dike=towards; lakshya=focus; rekhe=keeping)
i.e. Japa should be practiced while keeping focus on the (rhythm) of breathing.
Since simultaneous focus on Japa and breathing being
impracticable this saying of Ma can be interpreted in two ways. Once the number
of repetitions of the mantra or nama are fixed in the time lengths of
inhalation and exhalation, an aspirant can focus his attention either towards
(a) Sound/Syllable of the mantra or (b) the rhythm of breathing.
F. “Man lāguk nā lāguk japa
dhyāna smaran kariāi jāoā.”
(Man=
mind; lāguk=get adhere to; nā lāguk= not get adhere to; smaran=remembrance; kariāi=verily to be worked on; jāoā=to proceed.) Whether the mind gets fixed in it or
not, remembrance of (God’s name), japa and dhyana should be continued.
G. “Susthē asusthē anukul pratikul
tākān nā”.
(Susthē=in
good health; asusthē=in
sickness; anukul=favourable
condition; pratikul=adverse
situations; tākān=pay
attention to; nā= no) Whether in
good health or in sickness and whether situations are favourable or unfavourable
one should not pay attention to these. That means come what may an aspirant
should not pay attention to anything but japa. Spiritual practices in any
discipline need some primary mental and physical preparation, congenial
atmosphere and favourable situations. Physical disability and indisposition are some of
the determining factors for successful spiritual practice. But japa can be
pursued at any time and in any situation. Ma further said, “Do you stop having a dip because of the sea waves? You finish the bath
by plunging into the waves. Likewise try to be with His (God) remembrance and
japa in the midst of worldly turmoil.”