On MantrAs
Ravisha B K
ravisha at TEIL.SOFT.NET
Fri Sep 24 08:46:51 CDT 1999
Dear Sir,
The article on mantras that U have send is very good.
It is a great effort.
Regards,
RAVISHA B.K.
Specialist
Design and Development
Tata Elxsi(India) Limited
Bangalore
On Fri, 24 Sep 1999, Dr. S.R.Marur wrote:
> Recently, Shri VA Ganesan had asked:
> > 5) What are the rules regarding the chanting of the mantra?
>
> I've an article that I've collected and preserved from a bhakti
> list posting on Mantras. I don't remember the date nor the name
> of that scholarly author.
>
> I'm enlcosing that article herewith with the permission of our
> moderator, Shri Vyas.
>
> If any one remembers the author of this excellent article, I
> would acknowledge his original contribution, a posteriori.
>
> Regards,
>
> Sudhakar
>
> --------------------------------------------------------------------
> Mantra Recitation - 1
> --------------------------------------------------------------------
>
> `MANTRA' - `Mananath Thrayathe iti Mantraha' - That which protects by
> being remembered and recited. It consists of the silent recitation
> (japa) of a sacred formula repeated indefinitely. A mystic recitation
> that invokes the desired deities and establishes a spiritual
> relationship with them. It has the effect of quieting the mind and
> integrating the gross bodies with the divine- educing the latent
> spiritual experiences (sukshma) into the realm of the patent.(stula)
>
> Though `Mantra' is generally defined as a `formula comprising words
> and sounds which possess a magical or divine power' no single
> definition can adequately express its significance. It is a verbal
> instrument which possesses power. A word or formula which represents
> a mental presence or energy; by it something is employed to denote
> this magic power possessed by words when they are brought together in
> a formula.
>
> May be the word `spell' partly explains the meaning of `mantra.'
> Sound as we know creates vibration. Mantras have been `recovered'
> from ether through vibrations set in motion by the meditation of
> Rishis. The utterance of `Mantras' unleash a force of nature vivid
> and vibrant, effective and efficacious. And, such `Mantra' came to be
> regarded as an entity by itself (e.g.), Gayatri mantra is regarded as
> a personification of Gayatri - the word means
> "Gayantam trayate iti gayatri" -
> the one who protects the one who sings (utters) the Mantra by
> exercising a unique effect on the person uttering the same.
>
> The sounds of Mantras constituted a secret initiatory language to be
> uttered according to particular rules if this esoteric meaning and
> power were to be assimilated and the initiate fully awakened.
> Particular attention is directed to the dictum that the mantra
> imparted by his GURU to his SISHYA must never be divulged "even if
> SIVA himself should demand it"
>
> Mantra is a Quasi morpheme or a series of Quasi morphemes or a series
> of mixed genuine and Quasi morphemes arranged in conventional
> patterns, based on codified esoteric traditions and passed on from
> one preceptor to one disciple in the course of an initiation ritual.
>
> AGNI PURANA points out that a mantra softly uttered is more
> efficacious than if repeated loudly and that when its utterance can
> be discerned only by the movement of the lips, it is hundred fold
> more potent and when mentally repeated its power increases thousand
> fold.
> MANTRA JAPA of 14 kinds have been identified in JAPAYOGA- a treatise
> on the union through recitation of Mantras as follows:
>
> 1. Nitya-( Daily recitation)
> 2. Naimittika (Circumstantial recitation)
> 3. Kaamya (for desired results)
> 4. Nishiddha (forbidden)
> 5. Praayaschitta (repentant)
>
> 6. Achala (Immobile)
> 7. Chala (Mobile)
> 8. Vaachika (Articulate)
> 9. Upaamsu (Whispered)
> 10. Bramara (Humming)
>
> 11. Manasa (Meditative)
> 12. Akhanda (Unceasing)
> 13. Ajapa (Inarticulate)
> 14. Pradakshina (Circumambulatory)
>
>
> --------------------------------------------------------------------
> Mantra Recitation - 2
> --------------------------------------------------------------------
>
> "Mantra combines the old Vedic root `man' to think with the element
> `tra' to indicate `kra' a suffix meaning instrumentality. Both mantra
> and sandhyaabasa are cryptic, esoteric utterances deliberately
> unintelligible to the uninitiated. Of the 70 million mantras, some
> contain bizarre and unintelligible phonemes like `hrim', hram',
> `hrum', `phat' etc. But, 'OM' -is the most sacred of all belonging to
> a special class as `m' and `n' which unlike most consonants can be
> sustained as long drawn out humming sounds.
>
> "The Bijakshara" (the seed Mantra) bestows great benefits on being
> repeated. The Moolamantra (the root Mantra) is a.k.a.Pranavam or OM
> or the Akshara or Ekakshara and is the most powerful and can bestow
> unimaginable benevolence on the person uttering it. There are a
> number of shorter Mantras. Even exclamations used during
> sacrificial rituals are regarded as Mantras though of less
> significance- svast: fortune; samyoh: all hail; svadha: oblation,
> svaha: offering; vashat: Bravo, phat: crack (a weapon used to drive
> off evil spirits)
>
> The Sanskrit `O' is a `diphtong' and is a contraction of A and U
> when pronounced quickly result in the sound O. With `m' it gives the
> whole the sound of " OM"
>
> There are also a number of specific Mantras which are believed to
> confer special benefits apart from the moolamantra (brahmabija)
> which alone leads to realization, to liberation from bondage and
> attainment of Moksha:
>
> 1.'AIM" (Vak bija): for acquiring knowledge and wisdom, mastery over
> words, powers of speech.
>
> 2.'HRIM' (Saktibija) for conquest of the unmanifest, of the power
> of nature, going beyond the constraints of time and space.
>
> 3.'SRIM" (Laksmi bija) for gaining worldly wealth, power, beauty,
> glory.
>
> 4."KLIM" (Kaama bija) for gaining transcendent knowledge, pleasure,
> victory, royal power etc.,
>
> 5."KRIM" (Aadhya bija) for gaining detachment, power over death,
> transcendent knowledge.
>
> Items 6 to 10 are the sacred Mantras relating to the elements. They
> are used in performing NYASA (Consecration of the various parts of
> the body to the deity presiding over them). -- a kind of relating
> the human with the elemental cosmology.
>
> 6."YAM"=Air
> 7."LAM"=Earth
> 8."RAM"=Fire
> 9."VAM"=Water
> 10."HAM"= Ether
>
> 11.PARASAKTI BIJA- for acquiring supreme energy
> 12.KHECHARI BIJA- for flying through the void
> 13.GAYATRI BIJA - for acquiring and protecting vital energies
> 14.KRODA SANTI BIJA- for calming of anger
> 15.AGNI PRAJVALANA BIJA- for kindling fire
>
> 16.NIDRA STAMBANA BIJA- for preventing sleep
> 17.PANCHAKSHARA- for invoking Siva with his 5 lettered mantra
> 18. PANCHADASI- the 15 syllable Mantra of the primordial Goddess.
>
> And, many more like Brahma Gayatri, Brahma Mantra, Mantra Raja, Rudra
> Mantra and special Mantras for preventing misfortune most of which
> are found in Atarva Veda.
>
> --------------------------------------------------------------------
> Mantra Recitation - 3
> --------------------------------------------------------------------
>
> Mantra language is not a senseless prattle merely because it is not
> intelligible to us. Thus, mantra should not be confused with Kavacha
> (protective formula) or with Yamala (a Mantra based on a certain
> text) or with Dharani (Mnemonic magic formula that are similar to
> Mantra but much longer) containing mantras which also sound as mere
> babbles and probably are so.
>
> "`Mantras' are relics of an eon old language; Naturally, their real
> meanings are lost to the modern man. But, the value of mantra lies in
> its antiquity - an apparently meaningless mantra handed down for
> generations are inherited, preserved and passed on in its `pristine'
> form and are never altered.
>
> The power of the mantra is in its effect on the invisible forces of
> nature. A mantra properly delivered and repeated often enough can
> tear through the material sphere to derive power from the occult
> planes for the Sadaka - one who practices the mantra.
>
> How mantras came to acquire such enormous significance can be better
> understood by the fact that `oral' transmission was the only means of
> communication in the early days of Vedic tradition. The oral
> tradition was called `VAC' which means `language of speech' (i.e.,),
> the sounds (Sabda) produced vocally as a means of communication. Lack
> of a written language in early Vedic times made oral transmission the
> only way of communicating the sacred truths of the Veda `heard' by
> holy men. Thus, arose the necessity not only for correct words but
> also for correct intonation and accent without which the mantral and
> sacrificial rituals would be ineffective.
>
> Whether it is Mantra (esoteric chants) or Tantra (secretive
> mnemonics) or Yantra (diagrammatic exposition)- it should be used
> only for good and never for harming anyone. It lends itself to both
> purposes like a double edged weapon. If misused it will recoil on the
> practitioner. He who digs a grave for another may indeed himself fall
> into it.
>
> The words in prayers (mantra) have a magical power since the right
> form of words, the right tone and right delivery by themselves would
> confer the desired effect.
>
> Let us see how it works: A note created by a mere touch on the
> strings of an instrument may not be more than the sound of a
> monosyllable hardly audible. But, a constant playing at a high pitch
> with certain specific decibel cadence can and have in reality been
> seen, to generate vibrations, say in a glass cubicle, that a point is
> reached, when the elasticity of the glass cannot bear any further
> vibration and actually breaks. The power of Mantra similarly
> increases vibrations of an astral kind (for good or bad) and impacts
> on the psyche of the person uttering it (favorably or adversely as
> the case may be).
>
> To ensure the correctness of recitation, hymns were taught in several
> ways - with the words connected in their isolated forms (Padapatha),
> with the words interwoven as in AB, BC, CD pattern (Krama patha) and
> other complicated ways like jata, gana, varnakrama, mala, ratha,
> sikha, danda, rekha etc.
>
> This system of mnemonic checks combined with the admirable patience
> and razor sharp memory power of many generations of Guru - Sishya
> tradition preserved the Vedas for posterity in the same pristine form
> in which they were `captured' by the ancient rishis millions of
> years back.
>
> Brihadaranyaka up. considers `Vak' to be an aspect of the eternal
> principle (BRAHMAN) for only by means of language can sacred
> knowledge (or any knowledge) be apprehended. Without it, the Vedas,
> legends (Itihasas), ancient lore (Puranas), magic doctrines
> (Upanishads) and the sciences (Vidyas) would have remained unknown.
>
> SAYANACHARYA states:
> "Not only should anyone repeating a Vedic hymn know the name of the
> `Rishi' to whom it was revealed, the name of the God (Devata) to whom
> it was addressed but also be aware of the proper accents (Chandas) to
> be used and the correct interpretation (Viniyoga) of the mantra"
>
> We can see all these requirements fulfilled in Sri Vishnu Sahasranama
> Stotram:
>
> Sri Vedavyaso = Bhagavaan Rishih (Its Sage)
>
> Anushtup = Chandah (Its Meter)
>
> Sri Maha Vishnu: Paramatma Sriman Narayano =
> Devata (Its Presiding Deity)
>
> Amrutamsutdbhavo Banu Iti = Beejam (Its Seed)
>
> Devaki Nandana Srashteti = Saktih (Its Power)
>
> Trisaamaa Saamaga Saama Iti = Hridayam (Its Heart)
>
> Saanthyarthe = Viniyujyah ( Its Purpose)
>
> Udbavah kshobano Deva iti = Paramo Mantrah (Its Essential Part)
>
> Sankabrun Nandaki Chakree iti = Keelakam (Its Pin)
>
> Saarnga Dhanvaa Gadaadhara iti = Astram (Its Weapon)
>
> Rathaangapaanirakshobya iti = Netram (Its Eye)
>
> Trisaama Saamagah Saameti = Kavacham (Its Armor)
>
> Anandam Para Brahmeti = Yonih (Its womb)
>
> Ritus Sudarsanah Kaal Iti =
> Digbandah (The Enclosure binding the directions)
>
> Sri Viswaroopa iti = Dhyanam (Contemplation)
>
> Sri Maha Vishnu Preethyarte SriSahasranama Jape =
> Viniyogah (Its purpose/ Utility)
>
> SAYANACHARYA continues- " Anyone not knowing these and attempting to
> repeat a portion of the Vedas is called `mantra - kantaka' - a thorn
> whose ignorance and carelessness assuredly cancel or obstruct the
> efficacy of the recital"
>
> --------------------------------------------------------------------
> Mantra Recitation - 4
> --------------------------------------------------------------------
>
> A few examples from - our daily prayers in Morn, Noon and Evening
> when the Mantra, Rishi, Chandas, Devata and Viniyoga are uttered is
> given below : Knowingly or unknowingly, we recite them by rote,
> without making any effort to consciously remembering the same. Such a
> rememberance would make the mantras really efficacious.
>
>
> MANTRA RISHI CHANDAS DEVATA VINIYOGA
> (Employed
> in)
>
>
> 1. Aapohishta Sindudveepa Devi Gayatri Apah Prokshana
> (water) (sprinkling)
>
> 2. Suryascha Surya/ Prasanae
> Ityanuvaka/ Agni/ Devi Gayatri/ (sipping
> Apah punanthu Brahmana of
> Ityanuvaka/ Apah/ Anushtup/ spati/ water
> Agnischa at morn.,
> Ityanuvaka Surya Devi Gayatri Agni noon &
> eve reps.)
>
>
> 3. Dadigravana Vamadeva Anushtup Dadig Prokshane
> rava (sprink
> ling)
>
> 4. Argya Visvamitra Devi Gayatri Savita Argya
> Pradana Pradane
> (oblation
> of water)
>
> 5. Prayaschita Sandipani Devi Gayatri Savita Prayas
> Argya chita
> Argya
> pradane
> (oblation
> for delay)
>
> 6. Aasana Pritviya Sutalam Srikurma Aasane
> Meruprushta (in
> sitting)
>
> 7. Pranavasya Brahma Devi Gayatri Paramatma Prana
> yame (in
> breath
> control)
>
> 8. Buradi Atri/ Gayatri/ Agni/
> Sapta Brigu/ Ushnik/ Vayu/
> vyahru Kutsa/ Anushtup/ Arka/
> teenam Vasishta/ Brihati/ Vagisa/
> Goutama/ Pankthi/ Varuna/
> Kasyapa/ Trushtup/ Indra/
> Angirasa Jagati Visvedeva
>
> 9. Savitrya Visvamitra Devi Gayatri Savita
>
> 10. Gayatri Brahma Anushtup Paramatma
> siraso
>
> 11. Aayatu Vamadeva Anushtup Gayatri Aavaa
> Ityanu hane (in
> vakasya invoking
> Gayatri)
>
> 12. Buradi Atri/ Gayatri/ Agni/ Gayatri
> Vyahriti Brigu/ Ushnik/ Vayu/ Jape (in
> Trayasya Kutsa Anushtup Arka reciting
> Gayatri)
>
> 13. Uttama Vamadeva Anushtup Gayatri Udvasane
> Ityanva (in
> kasya bidding
> Good Bye
> to
> Gayatri)
>
>
> 14. Mitrasya Visvamitra Beerut Gayatri Mitro
> Pratas-
> sandyo
> pastane
> (in
> standing
> up at
> morning)
>
> 15. Aasatyena Hiranyastupa/ Gayatri/ Adityo Madyah
> Visvamitra/ Jagati/ nika
> Kutsa/ Ushnik/ Upastane
> Vashista Trushtup (in
> standing
> up at
> noon)
>
> 16. Imam Me Varuna Gayatri/ Savita Sayam
> Devaraata Jagati/ sandya
> Trushtup Upastane
> (in
> standing
> up at
> evening)
>
> --------------------------------------------------------------------
> Mantra Recitation - 5
> --------------------------------------------------------------------
>
> In this context, the role of meter (Chandas) is considered to be very
> important. Though there are a number. of other meters, the more
> important are :
>
> 1.GAYATRI : 3 Padas of 8 Syllables or 16 Syllables
> in Ist line + 8 in second line
> 3 x 8 = 24 or 16 + 8 = 24
>
> 2.USHNIK : 4 Padas of 7 Syllables 4 x 7 = 28
>
> 3.ANUSHTUP : 4 Padas of 8 Syllables 4 x 8 = 32 or
> 2 lines of 16 2 x 16=32
>
> 4.BRIHATI : 4 Padas of 9 Syllables 4 x 9 = 36
>
> 5.PANKTI : 5 Padas of 8 Syllables 5 x 8 = 40
>
> 6.TRUSHTUP : 4 Padas of 11 Syllables 4x11 = 44
>
> 7.JAGATI : 4 Padas of 12 Syllables 4 x 12 = 48
>
> We give below the names of some meters used in `Slokas' though over
> 100 different meters with fanciful names have been employed by
> writers :
>
> 8. ARYA (The Lady)
> 9. DANDAKAM (Staff )
> 10. DRUTA VILAMBITAM (Fast and slow)
>
> 11. DRUTIH CHANDAH (Steady rhyming)
> 12. HARINI (the doe)
> 13. INDRAVAMSA (Indra's lineage)
> 14. INDRA VAJRA (Indra's thunderbolt)
> 15. MALINI (the girl wearing a garland)
>
> 16. MANDAKRANTA (the slow stepper)
> 17. MANJU BASHINI (Sweet talking )
> 18. NATKUDAKAM (Curved one )
> 19. OUPA CHANDASIKAM (Auxiliary prosody )
> 20. PRITHIVI (the earth)
>
> 21. PUSHPITAGRA(Blossoming on top )
> 22. RATODDATTA (raised in the chariot )
> 23. SALINEE (bountiful )
> 24. SARDULA VIKRIDITHA (the sport of the tiger)
> 25. SIKHARINI (the supreme lady)
>
> 26. SRAGDARA (the girl with a garland)
> 27. SUTALA (the nether world of that name)
> 28. UPAJATI (Sub caste)
> 29. UPENDRA VAJRA (Secondary INDRAVAJRA)
> 30. VAITALEEYAM (pertaining to ghost )
>
> 31. VAMSASTHA (belonging to a lineage)
> 32. VASANTA TILAKA (the ornament of spring)
> 33. VIRAJ (Universality)
>
> --------------------------------------------------------------------
> Mantra Recitation - 6
> --------------------------------------------------------------------
>
> A slight inflection or deflection in pronunciation would alter the
> meaning so thoroughly with disastrous consequences (eg) as you know
> the story of Kumbakarna who desired immortality NItyatva, but asked
> for sleep Nidratva and he got what he asked for.
>
> Similarly, in the Atharva veda, there is a stotra called "SRILAKSHMI
> NARAYANA HRIDAYAM" akin to Adityahridayam. One Sloka in that reads
> "yasya smarana matrena THUSHTAA syath vishnu vallabha" meaning one
> who becomes "pleased" on being remembered. If instead of THUSHTAA, it
> is pronounced as ` DUSHTAA' by mistake, it would mean `one who
> becomes wicked on being remembered' and this would run counter to
> what is intended.
>
> Again, the word `Agni' (fire) used in Sacrificial rites has another
> word ` Vahni ' also meaning fire. But, it cannot be substituted for
> Agni and we are told that the efficacy of the yagna will be very much
> affected detrimentally when the wrong word is used instead of the
> correct word prescribed in the Sastras.
> This accounts for the preservation of the Vedic mantras in their
> pristine form and glory to this day.
>
> Apart from grammar, the accent, intonation, articulation and
> pronunciation play a vital role in preserving the heritage. They are
> variously defined as - Ucha stayi (high pitch) neecha stayi (low
> pitch) madhyama stayi (middle pitch) deergha (elongated) hrasva
> (shortened), gana (repetition back and forth) udatta (high key),
> anudatta (low key) swara (tone) etc. so that even the letter, let
> alone the words of the mantras and other sacred literature could not
> be altered or tampered with at will. It would be sacreligious to do
> so. This also accounts for how the recitation tradition has come down
> over millions of generations unaltered, unsullied and unaffected by
> what they call `emandations' and `interpolations' which we find even
> in later works like those of Shakespeare and even Kalidasa - which
> have several versions or readings in several contexts.
>
> --------------------------------------------------------------------
> (Concluded)
> --------------------------------------------------------------------
>
> --
> bhava shankara deshikame sharaNam
>
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