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Category Archives: Speculation

Fate and Human Endeavour

I recently read some posts which presented in ingenious ways their take on irrational and rational  faiths and beliefs. The term rational–faith seemed rather confronting, with the two contradictions placed face to face, as if one was challenging the other.  In that context, the fate and its inevitable part in human life were also mulled over. And, I found the posts interesting. I reckon there is a bit more to fate and its related issue: the human endeavor; hence this post.

What is fate?

1.1. It is common experience that most of the things that happen in one’s life result from one’s efforts or in the process of trying to do something. One is naturally gratified to see ones endeavors crowned with success, either immediately or after a passage of time. And, the persons who succeed,deservedly, congratulate themselves over their efforts. 

However, there are also occasions, though seldom, when things seem to just happen, almost on their own accord. And at times , things seem to happen despite oneself. Such a rare happening could either be a delightful surprise or be a cause for  agonizing distress.

1.2. When a person is happy; when life is easy and pleasant; when things are flowing like milk and honey; or, when one is overwhelmed in joy from a windfall, then it is the good-fortune or Luck that smiles on him/her. When you or your dear one is suddenly cured of an ailment, it is then a miracle. When you just escaped an accident that could have grievously injured you or could even have killed you, it is then providence or divine intervention. You thank god profusely for his mercy.  You also come to accept providence as the divine will, the super-natural entity or will that governs all events in the universe.

1.3. There also comes a time when ones effort does not bring forth fruits as expected; or, the things that started well begin to show signs of going weary. And it is worse when your project slides into an abject wreck, for no fault of yours. Nothing seems to reasonably explain your failures. The disappointments, sufferings and sorrow that follow are then blamed on fate.

2.1. Thus, a windfall or bright fortune is good luck. But, Fate  has come to  be understood as  one that is  inseparably linked to prolonged or acute suffering, undeserved punishment , reverses in life, unexpected losses , humiliation, poverty, disease , loss , death of near and dear ones etc. It is especially agonizing when the suffering is undeserved and unjust.

What should one conclude when such acute loss or sorrow is brought about by no apparent fault of hers/ his; and, when failures are not rationally linked to any agent or any action?  It is his Fate, he laments.

2.2. Fate serves as a gap-filler to fill the vacuum in his understanding of the world around him when other visible or rational explanations fail. The concept is reinforced further, in a negative way, at the sight of an evil person enjoying happiness and good things in life, while a righteous one suffers eking out a miserable existence. Since neither the comfort nor the misery – undeserved in either case – can be explained in a rational way, they are routinely blamed on the inevitable play of the fate.

3.1. Having said that, what one calls Fate is not an objective reality. It cannot be perceived by human senses. Some call it a creation of human imagination ; or, at best, is a default-inference. One could even say that man invented fate by re-ordering his moral world , so that he could ascribe to it whatever that did not fit into its paradigm. It may also have been born of man’s refusal to accept the idea that life is wholly irrational; and, out of his pet-belief that there is an unknown area beyond all that is known, which would explain life and its mystique.

In a way of speaking, it might not be wrong to call fate a projection of man’s fears and helplessness in the face of strange, untoward, unexpected, undeserved occurrences for which he is wholly not-responsible and is unprepared; and, for which he has no explanation. It is something towards which he feels is driven, going by his hard experiences in the world.

3. 2. Fate, by its very concept, is thus, irrational. One could lament that Fate is blind. It gives solace but not light; and, never  guidance. Yet, one cannot entirely deny the unknown and the unpredictable elements of life.  Man, therefore, calls fate : a capricious phantom.  And yet, a brave person manfully challenges this caprice, unwilling to surrender to its whims, to deflect its moves through precaution, valor, and various other brave and crafty ways. That is the crux of life.

[Please do read :Why do the children have to suffer so horribly?]

Fate in Indian ethos

4.1. Surprisingly, the concept and the belief in fate is a late entry into the Indian ethos. None of the four Samhitas, the Aranyakas, the Brahmanas or the Upanishads speaks of fate. In Rig Veda, particularly, prayers are addressed to benevolent gods who are gently or fervently persuaded to grant fertility in crops and cattle, to bless with plenty of sons and wealth. There is a joyous optimism looking forward with hope to be truly alive over a ‘span-of hundred – sharad ritus’, the best of the seasons. These texts do not have trace of fatalism.

But, the concept of fate and fatalism gained prominence much later in the Epics and the Puranas. We shall talk a bit more of that in the paragraphs to follow.

4.2. The first philosopher to formally propound the theory of fatalism (Niyati-vada) was Makkhali Gosala, an early contemporary of the Buddha. Some say; he was called Gosala because he was born in a cow-shed. Panini the Grammarian (around 5th century BCE) described him as Maskarin (maskara-maskariṇau veṇu-parivrājakayoḥPS_6,1.154 – a mendicant who carries a bamboo staff).  

Makkhali Gosala was a follower of Parsvanatha, the twenty-third Tirthankara,    in the Nigantha Nataputta Order of Jainism. Gosala too was a naked ascetic. Due to differences with the main Jaina Sangha, Makkhali Gosala left the Order; and , founded his own sect: the Ajivika.

[ Dr. Benimadhab Barua (A History of pre-Buddhistic Indian Philosophy) says, Ajivikas cannot be entirely identified with naked recluse/ascetics. They were, in general, independent and self-respecting individuals who had following among the Jains as also Buddhists. The Ajivika thesis, in main, according to him, is that the universe is a purposive order where everything is assigned its place and function (niyati).The law of change is universal and all beings are capable of transformation; and most attain perfection in due time. The man’s life has to pass through eight stages of development at each of which physical growth proceeds along with the development of senses, moral and spiritual faculties. And, finally leading to purity of mind; purging it of all impurities that have stained it.

Thus Dr. Barua’s rendition varies from the popular versions of the Ajivika-beliefs.

Dr. Barua gives some biographic details of Gosala that are not mentioned by others: The Jain sources mention his name as Maskarin – one who carries a staff; also known as Ekadandin.  Maskarin preceded Mahavira by sixteen years. His actual name was Gosala Mankhaliputta – son of Mankhali and Bhaddha; and was born at Saravana near Savastthi. His father Mankhali derived his name from the profession he followed – a dealer in pictures. Gosala followed his father’s profession until he turned a monk.]

4.3. Prof A L Basham writes (The Wonder that was India):

No scriptures of the Ajivikas have come down to us, and the little we know about them has to be reconstructed from the polemic literature of Buddhism and Jainism. The sect was certainly atheistic;  and its main feature was strict determinism.

The usual doctrine of karma taught that though a man’s present condition was determined by his past actions he could influence his destiny, in this life and the future, by choosing the right course of conduct.

This the Ajivikas denied. They asserted that the whole universe was conditioned and determined to the smallest detail by an impersonal cosmic principle, Niyati, or destiny. It was impossible to influence the course of transmigration in any way.

All that have breath, all that are born, all that have life, are without power, strength or virtue, but are developed by destiny, chance and nature, and experience joy and sorrow in the six classes £of existence There are … 8,400,000 great aeons (Maha-kappa), through which fool and wise alike must take their course and make an end of sorrow. There is no question of  bringing unripe karma to fruition, nor of exhausting karma already ripened, by virtuous conduct, by vows, by penance, or by chastity. That cannot be done. Samsara is measured as with a bushel, with its joy and sorrow and its appointed end. It can neither be lessened nor increased, nor is there any excess or deficiency of it. Just as a ball of string will, when thrown, unwind to its full length, so fool and wise alike will take their course, and make an end of sorrow.”

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4.4. Ajivika sect was perhaps the first to put forward fatalism as being absolute and final. It embraced the concept of fate rather too tightly ; and, affirmed fate as the ultimate reality in human life. It believed: ‘there is no such thing as human endeavor, human strength or determination; all things are pre-determined’.

His parent body, the Jainas , did not however quite approve of Gosala’s theory; and , promptly labelled it ‘ajnana-vada’, the doctrine of ignorance.

4.5. Gosala seems to say you are free to take the first step; but as soon as you take it, you are bound by the outcome of your act and have lost your freedom of choice.

For instance; let’s say you are about to plant a sapling. As long as you have not done it, almost all options are open to you. But, once you decide on your choice, its outcome is also determined.  If you plant a mango tree, then you reap only mangos; and , no other fruit. In other words, you can act, but its outcome is predestined.

[This sounds very similar to Prof. Cassius .J. Keyser’s concept of Logical Fate which essentially means that from premises consequences follow. Choices differ . . . and when we have made it, we are at once bound by a destiny of consequences   beyond our will to control or to modify (See his Mathematical Philosophy). ]

5.1. Makkhali Gosala had declared :

“There is neither cause nor basis for sins of human beings (ahetukavada). None of the deeds of man can affect his future births. All beings, all that have breath, all that are born, all that have life, are without power, strength, or virtue; but, are developed by destiny, chance and nature. All existence is unalterably fixed (niyata). Suffering and happiness, therefore, do not depend on any cause or effect; but, are pre-determined by niyati (fate). And, niyati being adrsta is unseen and preordained . Suffering and happiness, therefore, do not depend on any cause or effect ”.

5.2. The Buddha totally disliked the fatalistic theory ; called its promoter Gosala as the most dangerous of the heretic teachers; and, remarked  :

“Just as the hair blanket is  the meanest of all woven garments , even so, of all the teachings of nagga-samanas (naked recluse) that of Makkhali is the meanest” (Majjhima  Nikaya :1:513).

5.3. The reason that the Buddha summarily dismissed the fatalism of Gosala was perhaps because, it rendered human life utterly irresponsible; robbing it of accountability for man’s evil or even good deeds. Gosala had said , man was not responsible for his deeds, as he was under the control of fate.  Further, Gosala had discounted the role of Karman in life as also in life-after-life of all beings; but , had  asked all men and women to put faith in fate. Gosala had thus attacked the very foundation of the Buddha’s fundamental theory of the chain of cause-and- effect, where the effect is produced by a cause through modifications. The Buddhist law of causation – Pratītyasamutpāda – was the basis of every other doctrine in Buddhism including rebirth, karma, samsara, dukkha etc.

[But , the later forms of Buddhism could not keep out the element of fate. For instance, a Jataka tale (No.257 Gamanichanda) makes out that chance predominates and takes over the course of human life as the agent of fate. And in another Jataka (No.538 Mugapakka)   a king chased by ill-luck for long period says “I know not where I go, the fate watching never sleeps”.]

Karman and rebirth

6.1. But what is Karman? Simply put, it is action, any action, good, bad or indifferent which involves a moral decision. But, occasionally, unwitting action – good or bad – also counts for Karman. It is the belief that ‘as a man decides, he acts; and, as he acts , he reaps the fruits of action  ‘.

6.2. It was much later that rebirth came to be associated with Karman: a man was born and lived according to what he did in his life on earth. This association had many facets.

Initially, the rebirth had reference only to the future. But, with Karman , it became a two-ended proposition: a man’s past Karman determines his present station; and, his present station determines how he will fare in the future. It also meant that Karman took time to mature and to yield its results. This time gap (karma-pari-paka) was compared to the interval between sowing and harvesting; or between administering medicine and regaining health.

6.3. Karman in association with rebirth was , largely , an assumption (just as many of these concepts) ; and , was not proved by any of the valid means of knowledge or the methods of cognition (Pramana). But, Karman seemed to offer an explanation to the illogical inequalities and relative-injustices that one comes across in the world. That made it easy to explain the fact that certain persons , though thoroughly undeserving,  occupy higher positions in the social hierarchy, enjoy the power and all the benefits that come with their status because of their Karman in their past births.

7. 1. But, these elucidations seemed to have a limited range, as they   did not adequately explain all events in human life. It was pointed out that similar actions do not always produce similar results. And, it did not explain the vast range of variations that occur even among the fortunate ones, who are better placed in life.

Further, it was argued,   how could an individuals’ Karman explain a natural calamity like famine, epidemic, accidents, disasters etc involving mass-deaths. Does it mean that all those victims had identical Karman which matured at precisely the same instant?

7.2. It was then put forward that   there had to be another factor which influenced human life , in tandem with Karman and rebirth. That unknown factor came to be accepted as the Fate. It was brought in as a powerful agent to reinforce ; and, to strengthen the Karman-theory. The apparent injustices were ascribed to fate, whose mystique could neither be remedied,  nor unveiled.

Thus, along with Karman and rebirth, fate became the third factor in controlling human existence, life and destiny.

Fate and religion

8.1. All religions, cultures and sects have element of fatalism, in some form or other. A faith in an unknown force which controls human destiny is at the base of most religions and mythologies. Elaborate tales are spun to drive home the conviction that a mystery surrounds human existence; and, it will never be fully revealed.

8.2. Most systems seek to see the God or  gods and fate as distinct powers. In some theologies, the God is seen playing  (Daiva Leela)with the fate , the grief and joys of his creatures; in some others , gods are subservient to fate; and , in few others, the gods and fate together exercise power over human destiny. In some cases, the fate , in one or other names, occupies a key position in the pantheon.

For instance; Fate is also equated with Time, kaala: ‘if kaala is adverse and angry, how, then, shall we escape? ..!’. Time , in human life , runs along a single direction; and , it rushes towards death. Hence , Time becomes synonymous with death. And, death becomes an essential constituent of fate, which terminates the course of  life.

8.3. In the Vedic religion, which has a fluid pantheon, where new gods come and old gods fade away , rather quietly, Karman, rebirth and fate continued to play a role. The fate, here, is both dependent and independent of Karman, as it was deemed possible for an individual to exercise his free-will in order to correct himself ; and , to improve his future prospects.

8.4. In monotheism where nothing can happen without the will of God, the God will necessarily have to assume the role of fate too. Otherwise, if its follower believes in destiny as determined by fate, then there would be no room left for God, as the dispenser of destiny. Conversely, the fate , in effect, will necessarily have to be deemed as the will of god. 

9.1. The things get bit more complicated when you put together the fate, the Karman, the grace of god and the human effort.

If one strongly believes in fate and its role in determining human destiny, then Karman becomes redundant. If ,on the other hand, one subscribes to the faith  and belief  that it is the Law of  Karman , which governs human life and its future , then fate has no place in such a  scheme of things. And, if one has immense faith in God , who in his infinite grace, over rides Karman and fate; then they together are rendered ineffective. In which case, total submission to god’s grace is the ultimate panacea for all worldly ills.

The diversity of the views regarding the relative merits of Karman, fate, divine favor and personal effort represent or depend upon the different anchors of human faith. Most theologies seek to reconcile these factors.

[Unfortunately, the theory of Karman got horribly tangled with ‘fate’; and , got confused for fatality; particularly when one grew feeble and was disinclined to do ones best. It became an excuse for inertia and timidity; and, it turned into a cry of despair, lacking hope.]

9.2. As regards human endeavor, one can never discount its efficacy in life. It is after all the man who decides the attitudes to adopt at varying times as he battles with life. It is also his decision to discard all or any of those approaches, or to relay on his own effort and judgment. Life has no meaning and is not worth living when human endeavor is not valued. Therefore, in day-to-day life, human endowed runs alongside some sort of faith.

Fate in Epics and Puranas

10.1. It is in the Epics and the Puranas that fate seems to take the center stage.

In the Ramayana and Mahabharata Epics, several situations are so crafted as if to bring human endeavor face-to-face with fate. In the many incidents narrated in the epics, fate does not act directly;  but it takes subtler methods of clouding the victim’s wits. Sometimes, fate acts as a living human enemy, hurting the unsuspecting victims.

10.2. There are homilies that acknowledge the supremacy of fate as that which cannot be grasped by thought; and, as that which is not destroyed in creatures”(Ram: 2.20:20). 

There are also remarkably brave statements which applaud human effort (purusakara or purusha-prayatna) ; and , decry dependence on fate as ‘false-games that people play and delude themselves ‘ : “when he  cleaves to fate without conducting himself like a man, he  labours in vain like a woman with an impotent husband (Mbh: 8:6:20)”; and, that “Low men given to indulgence of the passions blame the fate for their own evil deeds ” (Mbh: 8:67:1).

11.1. The principle characters of the Epics – Sri Rama and Yudhistira – lament and blame their miseries on fate: Who can fight against fate?”(Ram – 4:22:20); ”The man to whom fate allots defeat, it robs him of his intellect first and then he begins to see things in a reverse order. Fate robs him of vision, falling like an eye of fire on him” (Mbh: 2.73:8; 3:295:1).

But what is more important here is that the heroes of the Epics, despite their miseries and delusions, do not give up;  but , keep on fighting resolutely  till the end.

11.2. But, it is the relatively minor characters that stand up for human endeavour ; and, refuse to accept the verdict of fate. For instance; Lakshmana argues with his   dejected brother : “why an able bodied man with his faculties intact should accept unjust verdicts of fate without protest?”.

His argument has a subtle point : when success is achieved by ones brave efforts, people tend to ascribe it to fate and destiny. That is unfair, according Lakshmana, as it robs the brave man of his well deserved glory. To Lakshmana, it is cowardly to submit to fate, to suffer injustice without protest, while it is possible to do so, and then blame the fate for his misery (Ram: Kishkinda Kanda).

11.3. Karna the tragic hero of Mahabharata though a Kshatriya by birth was not aware of his origin, because he grew up as a charioteer’s son. When others jeered him of his low extract, Karna retorted  : “A charioteer or a charioteer’s son, whoever I may be, my birth was decreed by fate; but, I am the master of my valour”. Here was an instance of a proud self-confident person , who undertakes tasks and performs with faith in Purushakara.

11.4. The great battle of Mahabharata was, in one sense, a battle between fate and human effort. The warriors on either side knew well that victory was essentially uncertain; and, their own life was highly threatened . Yet, heroic men fought with great courage. Every warrior, mighty and small,  had realized that meek acceptance of fate meant negating the glory of his manhood. Yet, each one was also prepared to conditionally accept his fate as a venture into an unknown zone riddled with startling events. And, regardless of the outcome, each fighter , even the ordinary one, was determined to battle courageously, more manfully and to fight against the mightier odds, if only to redeem his  pride and that  of his clan.

11.5. Mahabharata has some great statements on fate and human endeavour :

“Whatever the enterprising man ever does, he must do it fearlessly; and , the success however depends on fate (yasmād abhāvī bhāvī vā bhaved artho naraṃ prati aprāptau tasya vā prāptau na kaś cid vyathate budhaḥ – Mbh: 8:1.47)” ;

“as a lamp grows weak as the oil runs out, so the fate grows weak when the fruits of action are exhausted” (tasyādya karmaṇaḥ karṇaḥ phalaṃ prāpsyati dāruṇam – Mbh: 8:5:32).

12.1. Puranas were written mainly to glorify the powers, the splendor and supremacy of their principal gods or goddesses. They urge the devotee to surrender to the will and mercy of gods and goddesses. But, at the same time, they call upon men not to give up their efforts: “Some wise men call fate as the false hope that feeble cling to. For the powerful men, no fate is ever noticed. The heroic and the feeble take recourse to effort and fate respectively “(Devi Bhagavata: 5:12:28-30); and, “the wise hold that prowess is the best. Even an adverse fate can be overcome by the prowess of those of good conduct who are ever active and dedicated” (Matsya Purana).

Here, the emphasis is laid on human effort, without which even fate is powerless to achieve anything. Here , cleaving of fate is not condemned; but, doing so and abandoning personal effort is.

12.2. The Puranas tried to reconcile fate and human effort. There are several statements that emphasize that one should always be active in ones prescribed field of activity. And , that only the people without prowess talk of fate;  many alas do not realize that it is primarily their effort (purusha-prayatna) that paves way for their salvation. They emphasize the importance of self-initiative. The Puranas and its legends assured that human effort (purushakara) blessed by fate would surely bear fruit, in due time.

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Stoics – Fatalism –Freewill

13.1. Some of the Stoics believed in fatalism; but, none believed in complete Freewill.  Throughout the history of philosophy, there has been a long debate; and, that, perhaps, will never be settled. 

Freedom, they said, is relative and not an absolute. They argued; in a material universe,  in which everything is subject to the laws of cause and effect, how could we possibly have free will?

Surely, if everything is governed by cause and effect, we are too. Everything we do — and our future ahead of us — is governed by causes that are out of our control. In fact, do we even have control over anything?

The Stoics believed that God was in all of nature. If God is in all of nature, then nature must be determined, there can be no room for “free will” in a universe that is all God ; because God is perfection.

The universe may seem flawed to us, but we have only a partial understanding of it; because, we are but a fragment of the whole. As a fragment of the whole, we simply could not stand apart from the universe to be free of the causal connections that make it up.

The problem with free will is that it is logically incoherent. To have full control of your destiny, you would have to be the cause of yourself.

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The basis of Stoicism is to not take things for granted; but, to contemplate the very nature of our being

The ultimate lesson of Stoicism is this: to live a fulfilling life is to ask yourself difficult questions about what it is to be a human being. The Stoics prized reason above everything else; and, reason requires discipline.

According to Stoicism , knowing yourself and your place in the world will  enable  you to live up to the values that you set for yourself.

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13.2. Chrysippus of Soli, head of the Athenian Stoic school in around 230 B.C. E, was probably the most famous Stoic in the distant past.  All his writings are lost. All that we know of his work is through the later writers like Cicero.

Chrysippus is credited with creating a philosophical system of Stoicism, as we understand it. And, it had three equally important parts: logic, ethics and physics.

Further, there are three broad positions in regard to  the human agency in a universe of causes and effects:

Fate or Determinism: is the belief that free will is impossible. The hardest determinists would argue that your life — every action and thought — has been mapped out since the beginning of time.

Free will:  is the idea that we have free will. We can make choices in our lives that are influenced by, but not determined by, the external universe. Such Libertarianism would hold that we are wholly responsible for our actions.

Compatibility:  takes for granted the idea that we live in a deterministic universe of cause and effect. However, it tries to reconcile an idea of human free will with the acceptance of determinism (Fate). Compatibility can be thought of as “soft determinism”.

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The renowned philosopher Marcus Aurelius eminently summed up the basic tenets of Stoic philosophy

All things are linked with one another, and this oneness is sacred

Everything that happens happens as it should, and if you observe carefully, you will find this to be so.

[The Stoics believed that all events are predetermined; and , that you have either no control or very little control over circumstances. Everything is fated.]

You have power over your mind — not outside events. Realize this, and you will find strength.

[You may not be able to change the course of events, but you do, however, have control over your own thoughts and emotions.

The difference between the Stoic and the common man is in this example; the common man prays that he is spared of misfortune; the Stoic prays that he can find the strength to accept misfortune.]

The impediment to action advances action. What stands in the way becomes the way.

[Since everything, according to the Stoics, is determined — “everything that happens happens as it should” — you could not do anything about the obstacles you may face. Instead the mind can only find an opportunity in the obstacle because the mind is all that we truly have control over.]

Everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth.

[The universe is perfect and true, but we are but one fragment of the whole so therefore cannot fully know that perfection and truth. ]

…the infallible man does not exist.

[Since there are only perspectives that are more or less true (and never fully true), there can be no definitive judgment.]

Waste no more time arguing what a good man should be. Be one.

[ Good conduct emanates from good character.]

The things you think about determine the quality of your mind. Your soul takes on the color of your thoughts.

[Since ethics lie in virtuous character, ones  conduct depends on ones thought and reason.]

What we do in life ripples in eternity.

[We are a part of the universe and what we do in our lives is part of that eternity.]

The happiness of your life depends upon the quality of your thoughts

***

Chrysippus, the philosopher, made a distinction between internal (mental) and external (physical) causes. To illustrate his point, he used the visual metaphor of the cylinder. If we push a cylinder on a flat surface it will roll forward. Our push was one necessary cause to get the cylinder rolling.

However, the cylinder’s shape — an intrinsic property — is what was sufficient to make it roll. If you pushed a cube, it would not roll, because it’s not in a cube’s nature to roll.

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He then offered a complicated human situation. Let’s say I offer a bribe to a prison guard to get a friend out of jail.

My wad of cash is necessary for the guard taking the bribe — it is an external cause — but it is not a sufficient cause for the bribe to happen. What is sufficient for the successful bribe is the prison guard’s lax moral judgement.

Like the shape of the cylinder allows it to roll, the guard has to have an internal cause to take that decision. Chrysippus describes such decisions as “primary” causes for our actions.

Whether or not the guard takes the bribe is “up to him”’; but, it’s not a free choice. The guard’s choice is determined by his own internal make-up.

His “character”, which creates his dispositions, is again determined by a combination of his complex internal and external causes .

Because of the involvement of both the internal and external factors, the Stoics hold that our actions primarily belong to us, who are, in essence, the combination of both .

Thus, our actions are determined by a complex set of external and internal causes.  

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The Stoics avoid using the word “free-will” in the context of fate.

Chrysippus’ idea of “will” or “character” is determined by various degrees of “freedom; but it is more or less determined. We are more or less responsible for our actions; but, never entirely responsible.

The degree of freedom we have (and therefore responsibility) in a given situation depends upon two things: how narrow the choice permitted to us is; and , how cultivated our faculty for judgement is. The Stoics paid a lot of attention to the latter.

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13.3. Freedom, they said, is rational self-sufficiency. The desire for material wealth, sex, fame and luxury is impinged upon us by extraneous causes – we are, by necessity ,dissatisfied when we desire.

Desire can be hard to fight. It is a “passion” that will inevitably rise up within us, but always remember that you have control over your emotions. Marcus Aurelius wrote in his Meditations:

“You have power over your mind — not outside events. Realise this and you will find strength.”

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13.4. In effect, the Stoics argue that the more rational you are, the freer you are. The rational choice is easy; because, there is only one choice: the necessary choice.

Freedom is, therefore, a double-bind: freedom is choice; but, to be truly free , we should avoid choice. Our reason would dismiss desire as unnecessary to live in virtue and as freely as possible.

There’s not much choice in not wanting; but, wanting is not something that a rational person would choose.

But, the lesser you want; freer you are. This must seem absurd. Being free is surely about choice, after all. But there are different senses of freedom.

It is a paradox.

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Fate and Human endeavor

14.1. It can be seen that absolute dependence on fate and the absolute reliance on human endeavor are projected as two extreme positions. It would however be prudent to recognize the limits of both; which is to say, one is powerless without the other or that where the one ends the other begins. Human endeavour, for instance, is the very act of living ; and, life has no meaning when human endeavor is not valued. Therefore, in day-to-day life, human endower runs alongside some sort of faith. But, one has also to recognize that even the most sophisticated of all human endeavors – let’s say launching of a space shuttle – involves and is subject to an element of unknown and unpredictable. You might assign that unpredictability in life whatever name you choose.

14.2. Shri DSamapath , elsewhere, remarked that in situations where one is faced with extremes there always are other possibilities open for resolving the conflicts. Those options might range from the middle path to the simultaneity of all possibilities. These, he calls as the metaphors of thought. Such multi-pointed approach would, naturally, take into account not merely the whole of a ‘metaphor’ but also its specific variations. It is in that context that the Vedic religion re-worked on the theory of Karman; and, rendered it more dynamic , by providing for the freedom of individual will, enabling him to correct the errors and to improve upon his good-performance. That was  meant to convince  that the outcome of one’s past action is not always beyond control or beyond modification,  provided there is a strong will to so.

14.3. Shri D Sampath’s observation also implies that there could be as many approaches or attitudes to life as there are individuals. I agree with him. It appears to me that amidst all those options, what is important is to retain a  sense of balance in life recognizing the limits of each of the factors that play an effective role in the different contexts  of the varied spheres of human life.

As Uddalaka Aruni counsels his son, one has to understand life through reason grasped in faith: ‘śraddhatsva somyeti; Have faith, my dear’ (Ch. Up. 6.12.2). … What that faith is at the very core of each being.

To sum up:

Haman initiative and endeavor is highly essential in life; without that, life would collapse on itself. But, that does not say everything. At almost all levels , even at its most sophisticated and highest level , human effort involves and is subject to elements of unknown and unpredictable; you may assign them any name/s . Which suggests that human freedom is  just operational; but, it is not absolute freedom.

Roger Sperry (1913-1994) a psycho biologist (neuro-psychologist and neuro-biologist) who won the Nobel Prize for his split-brain research) explained free will as follows

What one wants of free will is not to be totally freed from causation, but rather, to have the kind of control that allows one to determine one’s own actions according to one’s own wishes, one’s own judgment, perspective, cognitive aims, emotional desires and other mental inclinations.

We are free to select our assumptions. But to exercise this freedom, man must first realize that he is thus free. There could be as many assumptions and beliefs as there are individuals. Fate, god or such others could also be one of those beliefs. If one has firm conviction in ones belief and strives towards that, then ‘That’ would become the reality for him , in due time.  And that is his faith, the very core of his being.

Leaving aside remarkable sages and saints, it appears to me, for the men and women of the world,  it is important to retain a sense of balance ; and, to understand life through reason grasped in faith, as said.

4PAN1T

 
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Posted by on October 9, 2012 in General Interest, Speculation

 

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The other migrations

Ila

1.1. It is said; the Vedic region broadly comprised three areas:  Ila the western regions, Bharathi the tracts of the alluvial plains of the Ganga and Jamuna do-ab, and the third region being of course the Sindhu or the Sarasvati.

1.2. There is a view which asserts that ’Ila’, in fact, refers to the Land’s End  of the Sothern India the parts of which were rescued from the Great Flood  of  the very distant past. It also mentions about the migration of people from the lands threatened by flood waters towards safe upper reaches and to regions in the North. The ancient texts such as Shatapatha Brahmana and the Puranas as also the ancient Tamil texts seem to support that view. Let’s talk of Ila of the South.

Yayathi and sons

2.1. Yayathi the legendry king of the Vedic people is said to have had two wives: Devayani the daughter of Shukrachaya of the Bhrigu clan; and Sharmishta the daughter of Vrisha Parvan, the King of Asuras in the south west (Gujarat area) bordering the central region ruled by Yayathi. Vrisha Parvan too was a follower of the Bhrigus.

Devayani had earlier fallen in love, desperately, with Kaccha the son of Brihaspathi of the Angirasa clan. But her love was rejected.

2.2. Turvasha and Yadu were sons of Yayathi (an Angirasa) by Devayani of the Bhrigus; while Anu, Druhyu and Puru were his sons by Sharmishta of the Asuras.

2.3. Yayathi’s story indicates that the five great lines of Vedic rulers were born of an alliance of Deva and Asura kings, the followers of Angirasa and Bhrigu seers. Yayathi’s marriage with the Bhrigu women was perhaps an attempt to bring together the two rival clans.

2.4. According to Vishnu Purana (4.10.17-18) the king Yayathi divided his kingdom among his five sons . To Turvasha he gave the south-east; to Druhayu the west; to Yadu the south and west in the Narmada –Godavari region; to Anu the north; and to Puru the centre. Purus ruled as the Supreme king of all earth.

dhanāśā jīvitāśā ca jīryato ‘pi na jīryataḥ // ViP_4,10.17 //
pūrṇaṃ varṣasahasraṃ me viṣayāsaktacetasaḥ /
tathāpy anudinaṃ tṛṣṇā mamaiteṣv eva jāyate // ViP_4,10.18 //

2.5. In the lineage of the Puranas, the Purus and Yadus rule famously, for long years, as the prominent kings of Chandra-vamsha, the lunar dynasty. The descendents of Puru and Yadu branched into Pauravas and Yadavas, respectively. Dushyanata followed by his son Bharata was the pioneer of the Puru clan in which line descended the Kuru and Pandava princes. While, Krishna son of Yadava prince Vasudeva was the culmination of the Yadu clan.

The west and the south combine

3.1. Turvasha and Yadu, the two sons of Devayani of the Bhrigus were said to be twins; and were particularly close. The kings of the Dravida region were the descendents of Turvasha, while the kings of the island of Sri Lanka were Yadus. The regions ruled by the two clans stretched from the upper regions of the Narmada to the end of Southern land mass which perhaps extended   beyond the present-day Sri Lanka. The entire region was ruled practically as one kingdom, because the ruling families in the South had very friendly relations with the Yadus of the Narmada region in the west. All were in the line of the Bhrigus.

3.2. The later legends mention of the sizable presence of the Asuras- Yadus – Brighus in the Narmada and Godavari region. It is said that Lavana, a Yadu and a disciple of the Brighus controlled that region. Lavana was related to Ravana who was a Yadu; a militant Yadu just as Kamsa of Mathura in the much later era. The followers of Lavana (including Ravana’s sister) roamed freely in the region. It was from this area that Ravana abducted Sita.

The Deluge and after

deluge

4.1. The Shatapatha Brahmana (I.8.1.1) describes the floods that swept the lands of the Vedic people, the rescue of the lands from the advancing floods; and of moving people and animals threatened by waters to the upper regions in the North. The other Vedic texts too carry similar legends of floods and the rescue. The later Puranas   and Srimad Bhagavatam turned the great event associated with the rescue from the floods into the legend of Matsya-Avatara of Vishnu, his emergence as a Fish, the first of his ten principal incarnations.

manave ha vai prātaḥ | avanegyamudakamājahruryathedam
pāṇibhyāmavanejanāyāharantyevaṃ tasyāvanenijānasya matsyaḥ pāṇī āpede (I.8.1)

matsya

4.2.The Shatapatha Brahmana (I.8.1.5) says that a little fish (a shaphari crap fish)  asked a  king to save its life while he was performing his early morning- austerities  standing in the river : and it kept growing bigger and bigger. The fish also informed the King of a huge flood which would soon hit and sweep away his land. The King thereafter built a huge boat to rescue his people, nine types of seeds, and animals in order to repopulate the earth. Accordingly, the king was taken to a Northern Mountain, where all were saved from the flood.

tamevam bhṛtvā samudram abhyavajahāra | sa yatithīṃ tatsamām paridideṣa tatithīṃ samāṃ  nāva mupakalpyopāsāṃ cakre sa augha utthite nāva-māpede taṃ sa matsya
upanyā pupluve tasya śṛṅge nāva pāśam pratimumoca tenaitam uttara
girim
atidudrāva 1.8.1.[5]

[H.S. Bellamy in his Moons, Myths and Men, estimates that altogether there are over 500 Flood legends worldwide. Ancient civilizations such as – China, Babylonia, Wales, Russia, India, America, Hawaii, Scandinavia, Sumatra, Peru, and Polynesia- each has its own version of a giant flood].

fish

5.1. The common features of most (not all) of the Indian legends of the Great Flood are: The king who rescued the land and its people from the encroaching flood waters was Satyavrata of Bhrigu clan, perhaps a king in line of Yadu or Turvasha. He ruled in the Southern region — Dravida Desha. When the little fish jumped into his palms holding water as offering to gods, the king Satyavrata was standing in the waters of the river Kritamala flowing down from Malaya Hills .

Bhagavata Purana (8.24.12-13) also mentions that a fish jumped into the palms of King Satyavrata  of Dravida Desha (Dravieśvara), holding water – Satyavrato añjaligatā saha toyena Bhārata.

Tasyā añjalyudake kācic chaphary ekā abhyapadyata / Satyavrato añjaligatā saha toyena bhārata / utsasarja  nadītoye śapharī Dravieśvara BhP_08.24.012-13

After he built the boat, Satyavrata sailed north, away from the floods, and he rescued humans, nine types of animals and plants by taking them to safety in the regions of north and west.

Ila is the name of Satyavrata’s daughter; she is described as Maitra-Varuni (Brihadaranyaka Upanishad: 6. 4.28) suggesting she descended from the line of the Bhrigus.  Ila is also the name of the land the parts of which were rescued from the flood waters.

athāsya mātaram abhimantrayate — ilāsi maitrāvaruṇī vīre vīram ajījanat |
sā tvaṃ vīravatī bhava yāsmān vīravato ‘karad iti 

boat rescue

5.2. The Malaya hills mentioned in the legends refer to the ranges in the peninsular region of India stretching south from Sri Sailam to the southern end of the Western Ghats, which could be the border areas between the Nilgiri Hills and the Anaimalai Hills. An account of the pilgrimages undertaken by Sri Caitanya Mahaprabhu (1486–1534) mentions: “The Lord next visited the places known as Pandya-Desa, Tamraparni…, Panangudi, Carntapura, Sri Vaikuntha, Malaya-parvata and Kanya-kumari”.  As regards the Kritamala River, it is believed to be the Vaigai River or its tributary. The river Kritamala is mentioned in Mahabharata in the context of Balarama’s pilgrimage: “After the Setubandha (Ramesvaram) Lord Halayudha then visited the Krtamala and Tamraparni (of the Tirunelveli district) rivers and the great Malaya Mountains”. Kritamala is also mentioned in the travel accounts of Sri Caitanya Mahaprabhu. Satyavrata might have therefore been a Yadu king of the Pandya country.

The king Satyavrata later became the progenitor of this eon: Vaivasvata Manu. He then was described as being in the line of the Vivasvan, an Aditya, a solar deity. Here too, Ila is his daughter.

The Rig Veda (I.31.11) mentions that Ila  , the daughter of Manu was the first teacher to the sons of mortals. She is associated as a River, and also with Agni.

tvām agne prathamam āyum āyave devā akṛṇvan nahuasya viśpatim | Iām akṛṇvan manuasya śāsanīm pitur yat putro mamakasya jāyate || RV_1.031.11||

5.3. All these suggest that king Satyavrata came from the South (Draviḍeśvaraḥ). And, the lands and people rescued from the deluge were part of a large landmass called Ila or Ilavar or Ilam named after the daughter of king Satyavrata who became Vaivasvata Manu. The people rescued from Southern waters were moved to north and west. And, the Vedas existed before and after the deluge.

The Land of Ila

6 . 1. That fuels the argument that ancient Ila – mandalam ‘The Land of Ila’ lay to the South, and its Vedic- tradition of the Aryans was rescued by the efforts its king and his people. And thereafter   , following a great migration, it rejoined the Vedic culture on the banks of the Saraswati River and flourished afresh. Since the rescue was by means of a huge boat that could sail over turbulent waters, the rescued population of the South could have reached the Saraswati basin by setting sail from a port situated along the west coast, nearer to the Pandya country. That possibility seems to give wings to the view that some of the early Vedic people in the Sindhu valley were migrants from Ila of the South; and that an early form of Dravidian language was one of the languages of the Indus people. Scholars assert that the Dravida influence was certainly present in north-western India by around the middle of the second millennium BC.

Shri Bhadriraju   Krishnamurti in his ‘The Dravidian Languages  Cambridge University Press, 2003 ; mentions that the Rig Vedic society consisted several different ethnic components who all participated in the same cultural life; and that the Rig Vedic Sanskrit had several borrowed-terms from the Dravidian e.g. ulukhala (mortar); kunda (pit); khala (threshing floor); kana (one eyed); and mayura (peacock).

dravidian languages

Dravidian languages

6.2. A Russian Indologist, Nikita Gurov, claims that there were as many as eighty words of Dravidian origin in the Rig-Veda, ‘occurring in 146 hymns of the first, tenth and the other mandalas , e.g. RV 1.33.3, vaila (sthana-) -open space : wayal– open space , sunlight ; RV. 10.15, kiyambu –a water plant; RV 1.144, vril – finger: RV 1. 8.40, vilu- stronghold; witu – house, abode, camp; sira – plough; and kanuka –gift. Gurov also cites some proper names, namuci, kıkata, paramaganda; and suggests these could be of Dravidian origin.

6.3. The legends of Ila thus help to bind together the Vedic tales and the tales from the old Tamil texts.

The ancient Tamil legends

7.1. The ancient Tamil texts recall legends of a sunken kingdom that lay to the South-East of India. This land was known as Kumari Kandam ‘The Virgin Landmass’ or Ilam; and it included other parts of the now visible lands of Sri Lanka. That could be quite possible, since in the scale of geological time, the mountain ranges in the south-central Sri Lanka are regarded the oldest in the world. The geologists believe that these mountains existed while the Himalayan regions were still under water.

The Silappadhikaram, one of the Five Great Epics of Tamil Literature   said to have been written in first few centuries BCE, states that the ‘cruel sea’ took the Pandiyan land that lay between the rivers Pahruli and the mountainous banks of the Kumari.

Adiyarkkunallar, a 12th-century commentator on the Silappadhikaram, explains that there was once a land to the south of the present-day Kanyakumari, which stretched for 700 kavatam from the Pahruli River in the north to the Kumari River in the south. the precise modern equivalent of a kavatam is not known. The speculations about the extent of the lands devoured by the ocean range from 6-7,000 square miles;  or  a smaller area .

lemuria-kumari-kandam-mapcropped-maxresdefault

(https://pparihar.com/2014/01/17/the-kumari-kandam/)

7.2. The deluge and its consequences caused large movements of people towards the upper regions in the north and to west. Early Tamil texts  mention that the present-day Madurai came up as  the new capital in remembrance of the old  capital Ten-Madurai sunken underwater (the ruins of Ten-Madurai are supposed to be lying under water in the region of the Great and Little Bases in the Indian Ocean off the south eastern coast of Sri Lanka).

7.3. Even several centuries after its  surrounding lands submerged under the sea , the author of The Periplus of the Erythraean Sea (dated around the first century) names the island of Sri Lanka as  Palaisimoondus  , which actually meant Palaya –ila- mandalam, meaning the old-land – of Ilam.

(please see the map or  click here for an enlarged version).

map

[ After a deadly tsunami hit the coast of Mahabalipuram on 26 December 2004; and, uncovered some stone remains of a structure , the BBC, on 11 February 2005 , reported that the Archaeologists  believe these could be the remains of an ancient port city that flourished off the coast in southern India, housing the famous 1200-year-old rock-hewn temple.]

Sage Agastya

agasthya

8.1. The sage Agastya a revered seer of the South was the brother of sage Vasistha. The two are described as Bhrigus and carried the name Maitra-varuni; say like, Agastya Maithravaruni. The Puranas describe them as born out of water (children of Varuna), perhaps to suggest that the brothers escaped the flood waters and sailed out of it.

The brothers helped in controlling the floods and in rescuing the people. Thereafter Vasistha sailed back north along with the rescued people, while his brother Agastya stayed in the South. He then settled down at an ashram in the lower regions of   Western Ghats.

Vasistha seemed to have enjoyed his voyage back home and recalls the happy days on board the ship:

“Boarding the ship, when Varuna and I entered the mid-ocean and floated with other vessels on water we indeed very much enjoyed the delightful rocking of the ship “(RV 7. 88. 3-4).

 ā yad ruhāva varuṇaś ca nāvam pra yat samudram īrayāva madhyam |
 adhi yad apāṃ snubhiś carāva pra preṅkha īṅkhayāvahai śubhe kam |7,088.03|
vasiṣṭhaṃ ha varuṇo nāvy ādhād ṛṣiṃ cakāra svapā mahobhiḥ |
 stotāraṃ vipraḥ sudinatve ahnāṃ yān nu dyāvas tatanan yād uṣāsaḥ |7,088.04|

8.2. Agastya seems to have been a remarkable sage. He is described as ‘born small, not more than a span in length”; nonetheless he travelled from north to south along with eighteen groups of disciples chartering a new land route to South; and for that feat, he was accorded the epithet Vindhya-kuta, the one who tamed the Vindhyas . Until then, the chain of the Vindhya mountains,  though by no means as impressive as the Himalayas, formed  a formidable  barrier between the North and the peninsula . And, the people were forced to use mainly the rivers or the coast to move about within the sub-continent. There were of course no regular roads during those times; and travel by land routes was very hazardous. The position remained so until about late 19th century.

[The Sea route

sea route

I reckon even the people of Harappa used the river or canal transport wherever expedient. With Himalayas being a vast stretch of high mountains, horribly cold and inhospitable, India’s trade and contacts with other countries had to be mainly through the sea routes, particularly through the ports along its west coast. Even during the earliest periods, it is said, the Brigus who dwelt in the Indus and the lower Narmada valley were great navigators, expert mariners, and enterprising tradesmen who controlled the trade between India and the peoples to its west, such as the Assyrians.

[As Prof. AL Basham  mentions in his monumental work – The Wonder That Was India- :

The importance of the mountains to India is not so much in the isolation which they give her, as in the fact that they are the source of her two great rivers. The clouds drifting northwards and west¬ wards in the rainy season discharge the last of their moisture on the high peaks, whence, fed by ever-melting snow, innumerable streams flow southward, to meet in the great river systems of the Indus and the Ganges. On their way they pass through small and fertile plateaux, such as the valleys of Kashmir and Nepal, to debouch on the great plain…

The roads were dangerous to the merchant-caravans. Many of the trade routes linking centers of civilization passed through dense jungle, and over hills where wild tribes dwelt. ..The great rivers were used to carry both goods and passengers in vessels  large and small. Chief of these was the Ganges, the artery of the Great Plain, but the Indus and the rivers of the Deccan were also important as trade routes.

*

The chief ports of ancient India were on the West Coast—Bhrgukaccha, Supara, not far from the modern Bombay, and Patala, on the Indus delta. Hence coastal shipping plied to the South and to Ceylon, and westwards to the Persian Gulf and the RedSea until, in the 1st century a.d., seamen took to using the monsoon winds to sail straight across the Indian Ocean to the ports of South India. In the East the Ganges Basin was served by the river port of Campa, from which ships sailed down the Ganges and coasted to the South and Ceylon.

The merchants and seamen of Roman Egypt knew India well, and there survives a remarkable seaman’s guide, compiled in Greek by an anonymous author towards the end of the 1st century a.d.. The Periplus of the Erylhrean Sea. From the Periplus, Ptolemy’s Geography, of the following century, and the early Tamil poems which look back to this period, we learn much of the trade of the Tamil lands. Here many flourishing ports are mentioned, the three chief being Muziris (Ancient Greek: Μουζιρίς, Malayalam: Muciri or Muciripattanam possibly identical with the medieval Muyirikode) , in the Cera country (Malabar), Korkai, in the land of the Panclyas, not far from the modern Tuticorin, and Kavirippattinam, the chief port of the Cola country, at the mouth of the Kaviri.

 In the early centuries of the Christian era maritime trade became most vigorous, especially with the West, where the Roman Empire demanded the luxuries of the East in great quantities. With the fall of the Roman Empire the trade with the West declined somewhat, though it was maintained by the Arabs, and improved gradually with the rising material standards of medieval Europe. Before the time of the Guptas contact was made by sea between South India and China, and as trade with the West declined that with China increased, the Chinese demand for Indian spices, jewels, perfumes, and other luxury commodities continuing down to the present day]

****

The ancient Indian naval ships protected trade and carried troops to war zones. Kautilya (c. 4th century BCE) in his Arthashastra mentions the protection of the kingdom’s shipping and destruction of those threatening it, such as pirate ships (himsrika). However, while Kautilya devotes many pages on to how to fight on land and on wartime espionage and siege warfare, he is completely silent on naval warfare. While the army and forts are part of the seven constituents (saptanga) of a king’s sovereignty, without which he could not call himself king, the navy is not. The navy created by Chandragupta Maurya (321 BCE – 297 BCE) thus most likely performed these coast guard functions in keeping with Kautilya’s views.

In the Mauryan Empire where the 30-member war office was made up of six boards, the first board looked after shipping and was headed by the navadhyaksha (Superintendent of Ships). The navadhyaksha is tasked by the Arthashastra with examining accounts related to navigation and maintaining security over different kinds of water bodies. He is not given any direct military role. No naval battle fought by the kingdom of Magadha (6th century BCE – 4th century BCE), the Mauryas, or any other succeeding dynasty like the Guptas (3rd century CE – 6th century CE), has as yet come to light. Neither do the contemporary works elaborate on or discuss in detail the naval aspect of warfare.

The main aim was thus to protect maritime trade, merchant ships, port towns, and shipping in general. Any naval operation, whenever carried out, would have been very small-scale and on inland rivers rather than the high seas, since the maritime trade of most of these kingdoms was through rivers. The navy, when created by a dynasty based in the landlocked northern or eastern parts of India, does not seem to have been used aggressively or for conquest. In case of the Guptas and later dynasties, ships did exist as part of the army, but their use was much limited and not as extensive as the land forces. They were mostly used to conquer islands, as has been presumed for the campaign of the Gupta emperor Samudragupta (335 CE – 380 CE), or for fighting seafaring peoples as the Satavahanas (1st century BCE – 2nd century CE) did. 

In the western, southern, and (coastal) eastern parts of India, the situation was markedly different. Being situated on the sea coast, the dynasties there relied heavily on maritime trade and the sea and built navies that were used in war. To them, the navy was an essential part of the military establishment along with the land forces. It was in these parts and the adjacent high seas that ancient India saw most of its naval warfare in practice. The most compelling reason was the capture of the highly lucrative foreign trade of the enemy; it was necessary to destroy the navy that protected it. Combined with land warfare, war on the sea became a prerequisite for defeating the seafaring enemy.

The dynasties which had well-developed navies were:

    • Mauryas (4th century BCE – 2nd century BCE)
    • Pallavas (3rd century CE – 9th century CE)
    • Cholas (4th century BCE – 13th century CE)
    • Early Cheras (3rd century CE – 9th century CE)
    • Later Cheras or Kulashekharas (9th century CE – 12th century CE)
    • Chalukyas of Vatapi (6th century CE – 8th century CE)
    • Palas (8th century CE – 12th century CE) 

Western coast  

Local dynasties like the Mauryas of Konkan maintained a navy as well as coastal forts. The navy of the Early Cheras was developed to protect trade as most of the ports involved in international trade, particularly with Rome, fell under Chera territory. This fleet was extensively used in fighting foreign (exact identity unknown) pirates and against the rival kings supporting them. The Later Cheras or the Kulashekhara dynasty continued this naval tradition. Their war fleet was stationed near Kandalur Salai (modern-day Valiasala, Kerala state). Port towns, such as Vizhinjam (present-day Vizhinjam, Kerala state), were also heavily fortified. The Vatapi Chalukyas maintained a vast fleet that was used to transport thousands of troops to the war zones on land.

Southern & south-eastern coast

The Cholas, in time, became ancient India’s leading naval power. Beginning with Raja Raja I (985 CE – 1014 CE) who triumphed over the fleet of the Kulashekhara king Bhaskara Ravivarman I (962 CE – 1019 CE), successive Chola kings destroyed the Kulashekhara fleet off Kandalur Salai, conquered islands such as Lakshadweep (part of India) and the Maldives, and sent overseas expeditions to Sri Lanka and Southeast Asia.

The existence of the navy did not always help either. Despite being the prime maritime power, the Cholas were beaten many times on land by land-based powers such as the Rashtrakutas (8th century CE – 10th century CE) and the Kalyani (Western) Chalukyas (10th century CE – 12th century CE). As these powers existed outside the Chola naval zone of influence and operation, the navy could not be used against them and thus could not help in avenging or preventing the disastrous losses on land.     

Ships & crew

The ancient Indians had a good knowledge of the materials, varieties, and properties of wood which went into the making the different classes of ships. The Yuktikalpataru written by King Bhoja (c. 1010 CE – 1055 CE) of Malwa is the only ancient Indian work dealing in detail with the subject of shipping. It mentions a kind of vessel called agramandira, which had its cabins towards the prows and was thus seen as being suitable for naval warfare (rane kale ghanatyaye). One such ship is depicted in the Ajanta paintings (Cave II). It is a seagoing vessel with high stem and stern and has three oblong sails attached to three masts and ports. Steering-oars hang in sockets or rowlocks on the side, with an oar behind.

Ships were single, double, or triple-masted. The mast was known as naudandaka. The shipbuilding harbours were known as navataksheni. Ships were both large and sturdy, equipped with up to a hundred oars, as they had to carry thousands of troops across many nautical miles.

In the Arthashastra there is a mention of large boats (mahanavah) provided with a captain (sasaka), a steersman (niyamaka), and servants to hold the sickle and the ropes and to pour out water. It is quite possible that the same terminology would have been used for naval ships too. The naval ships would have had a number of oarsmen depending on the size of the vessel and warriors who went into combat.

Naval battles    

No direct references are available as to how naval battles were actually fought. Based on whatever little evidence is available, as well as patterns of land warfare and ancient Indian warfare in general, some assumptions can be made. It is likely that the ships or boats carried warriors who were equipped with the standard-issue weapons of the period, swords, javelins, maces, and spears. Archers would have been heavily involved in the fighting, shooting fire arrows. The Ramayana mentions men waiting in 500 ships displaying full sail to obstruct the enemy’s passage.

As soon as the enemy ships or boats came in range, soldiers of both the sides could engage in hand-to-hand combat and attempt to jump onto the enemy vessel in order to kill the enemy, destroy their ship, and then return (if still alive) to their own. The main aim was to destroy the enemy ships, as contemporary authors make no reference to capture, unlike in the case of enemy forts and elephants. This destruction was accomplished by breaking the ships or setting fire to them. There is no mention of war engines, but it is likely that some kind of contraption would be on-board to pelt stones on the enemy ships so as to break them. At the first battle of Kandalur Salai, Raja Raja I Chola is expressly mentioned as killing the Kulashekhara or Chera warriors, splitting in two a naval vessel belonging to their king and destroying a number of boats (or ships).

Legacy

Naval developments on the west coast continued well into the medieval and colonial periods, with the dynasties there giving a tough time to their enemies, including the Portuguese and the Dutch. The arrival of the British and their virtually unquestioned naval superiority led the Indian powers to concentrate on fighting on land. The decline of the indigenous Indian navy was then complete. The naval traditions built over time and especially in the ancient period, however, continued to influence the development of the navy undertaken by independent India. The biggest contribution of the ancient Indians was that they created an unbroken seafaring tradition. Though seen as being secondary to the land forces, the various navies in ancient India did leave a mark and leave on naval warfare.

[Source; I gratefully acknowledge the source: Naval Warfare in Ancient India by Dr. Avantika Lal ]

satavahana ship

Satavahana ship

The Archaeologists state that based on terracotta tablets and a graffito on a potsherd secured from Mohenjo-Daro, Harappans were the builders of large ships and their maritime trade extended up to Mesopotamia during third millennium BCE. From the terracotta models and the engraved seals unearthed, five types of sailing vessels have been identified. It is also said; the Harappans had built tide-docks for berthing and servicing ships at the port town of Lothal.

There are also abundant references in ancient Indian literature, including Rig-Veda, Baudhayana Dharmasastram, Manava-dharma-sastra, Kautaliya’s Arthasastra, Ramayana, Mahabharata, Jataka tales in Pali, and in the Sangam works of the ancient Tamils about the maritime activity of the Indian people in ancient times for domestic, trade and naval war.

The celebrated Grammarian Panini (about sixth century BCE) in his Astadhyayi refers to various types of river crafts and ships during his , such as  utsagna, udupa, udyata, utputa, pitaka etc. A large boat was called Udavahana or Udakavahana. He mentions about cargo transport (dvaipya) form a nearby island and about large (dvaipa or dvaipaka) vessels coming in from mid-ocean. Panini makes brief mention of the ferry changes, cargoes, marine trade etc of his days.

ancient Indian ship

There is also abundant material on ship building in ancient India

A  Sanskrit work of the post-Gupta period Yukti-Kalpa-Tatru, a compilation ascribed to one Bhoja Narapati (King Bhoja ?) provides amazing details about the Indian shipping and ship-building of the ancient period. It deals with the characteristics of  different types of wood that are best suited for construction of ships . (For more, please do read the paper produced by Dr. Mamata Chaudhuryof  Indian National Science Academy)

Under three broad categories, Bhoja mentions the details of about twenty-seven types of vessels. The River-going ships are treated as Samanya (general) and ocean going ships are treated as Visesa (special).   The three classes of ships described by Bhoja were: Sarva-mandira, a peace-time , large cargo  vessel meant for goods , animals and common people ; Madhya- mandira with a covered deck or living quarters in the middle to provide shelter from sun and rain; and, Agra-mandira  , a large vessel with the living room located in front or at the top of the vessel, meant   for distant voyages and carrying up to   about seven hundred passengers. The commentators mention that the largest vessel measured about 276 ft. X 36 ft. X 27 ft. weighing roughly 2,300 tons.

The treatise also gives elaborate directions for decorating and furnishing the ships with a view to making them comfortable for passengers. Also mentioned are details about the internal seating and accommodation to be provided on the ships.

Three classes of ships are distinguished according to their length and the position of cabins. The ships having cabins extending from one end of the deck to the other are called Sarva-mandira vessels.

These ships were recommended for the transport of royal treasure and horses. The next are the Madhya-marnandira vessels which have cabins only in the middle part of their deck. These vessels are recommended for pleasure trips.

 And finally there is a category of Agra-mandira vessels, these ships were used mainly in warfare.

 (http://www.bibliotecapleyades.net/vimanas/esp_vimanas_11b.htm _)

Please also read : Indian Shipping, a history of the sea-borne trade and maritime activity of the Indians from the earliest times.djvu/71

And, https://sanatansinhnaad.wordpress.com/2012/12/29/ancient-root-of-navigation/

*

Further, because of the established trade route in the western sea, the Yadu people used the Harappan port cities such as Lothal or Dholavira in Gujarat and Kutch to trade with Sri Lanka. That trade went back to the third millennium BC. Therefore, migration of large number of people from Pandya Desha in south India to the Sind – Gujarat region, after the great deluge, does not seem improbable.

ancient Indian ship2

During the times of the recorded history, the Indian direct trade in textiles, minerals, gems, perfumes and spices   with Egypt and Rome could flourish because the sea routes from Maziris (Pattanam?)  along the Malabar Coast as also the monsoon trade (Hippalus) winds helped avoiding the middlemen, the Arabs. I believe the Greek/Egypt trade with India and the Roman one that followed thereafter came as a culmination of the relations that existed between India and the West several centuries prior to Christian era.

 Dr. Casson, a specialist in ancient maritime history, mentions that historical records refer to ships in the India trade being among the largest of the time. According to Dr. Casson, they could have been as long as 180 feet and capable of carrying 1,000 tons of cargo. Such ships had stout hulls and caught the wind with a huge square sail on a stubby mainmast. The researchers said the ships might have been built in India and were probably crewed by Indians.

The trade on the eastern side somehow came about much later; and was confined to the islands of near east and China . It maintained contacts with Cambodia (Kambuja); Java (Chavakam or Yava dwipa);Sumatra; Borneo; and, Socotra (Sukhadhara)

But   Japan being mostly insular having a culture of its own remained a distant proposition; India had very limited direct contact with Japan.

Pandya desha to Fareast sea route ]

As regards the naval battles , on the east coast facing the Bay of Bengal maritime activities led to colonizing expeditions to Southeast Asia. The navies of the South Indian powers were geared towards launching invasions in Sri Lanka, separated from India by the Palk Straits. The warships were used in battles which, compared to land battles, remained low in proportion.

ancient Indian ship3

***

Now, coming back to the very ancient Vedic period: 

8.3. Agastya too had a role in controlling the flood waters. That was turned into a legend of his drinking up the ocean (Pitabdhi . He also perhaps devised ways to divert the Cauvery River to Chola-mandalam. or Samudra-chuluka)

Bali – Vamana legend

bali vamana

9.1. There is also a talk of another migration at a later era. It relates to the migration of the Brighus – the Yadus from the Saraswathi and Narmada regions to far south and to Sri Lanka. And, that has to do with the Bali – Vamana legend.

9.2. The Mahabali – Vamana episode is at times explained in the context of Brighu- Angirasa rivalry. Maha-Bali (aka Indrasena) the son of Virochana and the grandson of the legendry devote-prince Prahlada, was an Asura. Shukra the son of Brighu was his preceptor. The king Mahabali, whose preceptors were the Brighus, ruled and controlled vast area called Brighu Desha or Brighu Kakshya – the domain of the Brighu (Brighu kaccha – Baruch) that covered the west, the north-west and the south west of the Indus. He performed a sacrifice on the southern banks of the Narmada situated in Brighu Kakshya.

9.3. Vamana represents the arrival of Angirasas into the kingdom of Mahabali. Vamana the son of sage Kashyapa, in the linage of the Angirasa, initially asked the king for a small piece of land for their settlement; and the king consented to his request despite warning from his priest (Shukra).  The Bhargava Shukra seemed to be aware of the designs of the Angirasas. The Kashyapas, starting from their small settlement, spread throughout the kingdom of Mahabali and eventually overthrew him from his kingship. The story of Vamana, perhaps, signifies the transfer of power from the Asura kings and their Brighu priests to the Devas and their Angirasa priests.

9.4. The Brighus and Yadus who earlier formed the majority in the Bhrigu country were now overwhelmed by the fresh immigrants. They were thereafter resettled – through sea route – by Bhargava Rama (in the linage of the Brighus) along the western coast and in what is now Kerala. The resettled Brighus carried to their lands the legend of their beloved King Mahabali and also the Krishna cult.

[Some of these are views; may not necessarily be verifiable facts. Chronology and ordering the events in sequences is the other issue.]

lotus white

References and Sources

http://assets.cambridge.org/97805217/71115/excerpt/9780521771115_excerpt.pdf

http://www.tamilwritersguild.com/edited_Ilamurid.pdf

http://www.indianetzone.com/47/pandyas.htm

http://www.harekrsna.com/sun/features/01-10/features1629.htm

http://bulfinch.englishatheist.org/flood/Indian-Flood1.htm

https://www.jstor.org/stable/41694126?read-now=1&seq=1#page_scan_tab_contents

https://www.ancient.eu/article/1259/naval-warfare-in-ancient-india/

All pictures are from Internet

 
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Posted by on October 8, 2012 in General Interest, Speculation

 

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Yama, the Dharma Raja

This article is about Yama , the Dharma raja, the dispenser of justice, the guardian of the ancestors; and ,the lord of death. Yama is one of the Loka-pala or Dikpala, the Regents of the directions. He presides over the South.

Before we return to Yama, let’s briefly talk about the Dikpalas.

Dikpala

Dikpalas

1.1. Space, the substratum of the cosmos, is the abode, the source of all forms. The directions, the determinants of space, therefore, have a special significance. In the Indian traditions, which include Buddhism and Jainism, the deities are connected with the directions which symbolically reveal and express their powers.

1.2. Orientation is an essential aspect of the yajna. Elaborate care is taken to ensure location of the yajna altar exactly along the East-West axis, the prachee.  (For more on that : please click here). The East where the sun rises; West where the sun sets; the North and South towards which Sun’s path tilts during the cycle of seasons, were all of much significance to the Vedic people. That was because; those directions complimented the attributes associated with the gods invoked in the yajna.

2.1. Each direction is governed by a deity, a Dikpala. These Regents of the directions are deemed the protectors of the world, Loka-pala. They are the rulers of the spheres; and therefore are depicted with royal attributes.

2.2. Dikpalas are usually said to be eight in number; each governing a direction in space. In the Upanishads, the Dikpalas or Lokapalas are mentioned as four and at times as five; in the puranas and epics their number is eight; but, the Tantra traditions which adopt a three-dimensional view of the cosmos regard the Lokapalas as ten, by including zenith and nadir.

3.1. The orientation and architecture of the yajna vedi, the yajna altar, the towns, cities, the temples and buildings are all related to the division of the sphere that corresponds to the attributes of its deity. In the context of the yajna, the Southern gate is reckoned as the way of the ancestors the pitris; and, the offerings to the departed ancestors are always submitted facing South.

3.2. The Brihadaranyaka Upanishad mentions Surya, the Sun, as the Regent of the East; Varuna of the West; Yama of the South; Soma of the North; and, Agni in the zenith. The Amarakosa also mentions the respective lords of the eight directions, almost in a similar way : 

indro vahniḥ pitṛpatirnairṛto varuṇo marut / kubera {ī}śaḥ patayaḥ pūrvādīnāṃ diśāṃ kramāt (1.3.178-9)

But, the Chandogya Upanishad presents a slightly different arrangement of the Dikpalas. It is this spatial allocation of the Dikpalas that is commonly mentioned in the puranas, epics etc; and followed in the Tantra texts as also in astrology, architectures and Vastu. The classification is briefly:

Dikpalass2

Courtesy : Corinna Wessels-Mevissen

Indra, the king of Devas, the Lord of the heavens,, dwells in the East, which represents power and courage.

Dikpaka Indra Dikpala Yama

Yama, the protector of the Law (Dharma raja), guardian of the ancestors; and, the king of the Dead dwells in the South, which represents justice and the care of the ancestors.

*
Varuna, the protector of rta– the cosmic law; guardian of rites; lord of destiny; and, the lord of water element dwells in the West, which represents knowledge.

Dikpala VarunaDikpala Kubera

And, Kubera, the king of Yakshas , and the lord of riches, dwells in the North, which represents an upper position and wealth.

*

The Regents of the half-directions are mentioned as:

North-East is the region of Soma (the moon or the offering made to Agni); Ishana the purifier, an aspect of Shiva; and, Prithvi the Earth that nourishes all.

Dikpala Isana Dikpala Agni

South-East is the region of Agni the fire in all its forms and the yajna.

*

South-West is the region of   Surya the sun; or Nirtti the misery.

Dikpala nrtthi Dikpala Vayu

And, North-West is the region of Vayu or Marut the lord of winds, and of breath and life.

*

The two additional Regents mentioned in the Tantra are: Brahma representing knowledge at the zenith (Urdhva); and, Anantha, the endless or the boundless at the nadir (Patala), representing the potential powers of Vishnu.

BrzahmaAnanta

p1140060

[3.3. To sum up : The Eight Dikpålas (Asta-dikpåla) are a group of ancient Vedic gods connected with certain phenomena of nature. But, with the advent and rise of the Purana-gods they have now receded to the backgroundThey were later combined into a single group; and , regarded as guardians (Lokapålas) of the four cardinal and four intermediate directions of mundane space: Indra (East); Agni (Southeast); Yama (South); Nairata (Southwest); Varuna (West); Våyu (North-west); Kubera (North); and , Ishåna (Northeast).

In certain cases, the Sun-god Surya and the Moon-god Chandra or Soma does also function as directional guardian deities. Thus, in different passages of the Manusmrti (between ca.200 BC and 200 AD) a list of Lokapålas is mentioned, comprising the traditional (and later) Asta-dikpålas,with the exception of Nairata and Ïshåna who are replaced by Arka (Sun) and Soma (Moon). Furthermore, in the Mañjusrï-bhåshita-Våstu-vidyå-shåstra , a Mahåyåna text of shilpa-shåstra , of uncertain date, an image of Soma is described on the north instead of Kubera.

And,  in the Jain tradition , Chandra is given much importance.

Chandra drawn by ten horses ]

**

3.4. Before we discuss Yama   let me briefly mention of an interesting analysis made by Dr. Sukumari Bhattacharji in her classic ‘The Indian Theogony’ (Cambridge University Press, 1970) wherein she views the space as interplay of the benevolent , not so benevolent and the malevolent forces in nature. The point is that the universe is not all milk and honey; but is an arena of continual frictions; on going challenges; strive for ascendancy; as also the mutual tolerance; and, existence between  sets of forces opposing each other in varying degrees, and , which at the same time  continue to  occupy the same broader space.

Satapatha Brahmana (1:2:5:17) mentions the East is the region of gods; the North is the region of men; and South is the region of Pitris the departed ancestors. Indra the solar deity who represents light rules over only one quarter- the east, while the seven other quarters are ruled by the opposing deities. The west, diametrically opposite to east, is ruled by Varuna who somehow was included among the Adityas, the solar deities.

prācī hi devānāṃ digatho udakpravaṇodīcī hi manuṣyāṇāṃ digdakṣiṇataḥ purīṣam pratyudūhatyeṣā vai dikpitṝṇāṃ sā yaddakṣiṇāpravaṇā syāt kṣipre ha yajamāno ‘muṃ lokamiyāttatho ha yajamāno jyogjīvati tasmāddakṣiṇataḥ purīṣam pratyudūhati purīṣavatīṃ kurvīta paśavo vai purīṣam paśumatīmevaināmetatkurute

adityas2

But, Varuna symbolizes the setting sun; and, thus is more closely associated with gods and powers of darkness than with those of light.

Agni who rules south –east is at once both beneficent and sinister. It is said; as Havya-vahana, the carrier of oblations to gods he is with the solar gods; but, as Kavya-vahana and Kavyad, the messenger of the Pitris, he is with the gods of darkness.

[Kavya-vahana or Kavyad is described as a fire invoked with Yama, as an offering to Pitris, on the New-moon day at the conclusion of the four-monthly offering.]

Similarly, Isana who rules north-east too has both divine and sinister bearings. He is the intermediary between gods and other powers.

Rudra who rules north is a Vedic god; but later he assumes darker hues and associations’.

And, Kubera is sub-divine, a Yaksha, with links to Rudra. Between Rudra and Varuna is Vayu who rules north-west; and, he too leans more towards the dark gods than towards the solar gods in the east.

In the South is Yama the Lord of Pitris and his followers, the Pitris. Yama too, like Rudra, is a Vedic god. But since the age of Brahmanas he is identified as the Lord of death and is almost a malevolent figure.

Finally, Between Yama and Varuna is the Nairratta kona the south west corner where the Nirriti and Nairrattas (monsters) rule.

It is even said; the Dikpalas are associated not merely with the directions but with the seasons as well.

The spring, summer and rainy seasons belong to and represent the gods

vasanto grīṣmo varṣāḥ | te devā ṛtavaḥ;

while autumn, winter and dewy seasons belong to the Pitris – 

śaradd-hemantaḥ śiśiraste pitaro.

The fortnight during which the moon waxes is associated with gods

evāpūryate ‘rdhamāsaḥ sa devā ;

while the darker half of the month when the moon wanes is associated with Pitris

‘pakṣīyate sa pitaro  

The day belongs to the gods and the night to the Pitris

– ahar- eva devā rātriḥ pitaraḥ.

The morning belongs to gods and the afternoon to the Pitris

–  pūrvāhṇo devā aparāhṇaḥ pitaraḥ – (SB.2: 1:3:1).

vasanto grīṣmo varṣāḥ | te devā ṛtavaḥ śaraddhemantaḥ śiśiraste pitaro ya evāpūryate ‘rdhamāsaḥ sa devā yo ‘pakṣīyate sa pitaro ‘hareva devā rātriḥ pitaraḥ punarahnaḥ pūrvāhṇo devā aparāhṇaḥ pitaraḥ

As you see, Indra and Adityas, the solar deities, rule one quarter, while seven other quarters are ruled by forces that are either intermediary or in opposition the solar forces .What associates the gods of seven other quarters is the nature of death, decay and destruction. And, their distinct association with Pitris, the departed ancestors, binds the seven together; but, they do co exist with the solar gods. This complex interplay of light and shadow is a peculiar character of the Indian pantheon.

[Please do not fail to read a very remarkable study on The Gods of the Directions in Ancient India: Origin and Early Development in Art and Literature (until c. 1000 A.D.), submitted as a Doctoral Thesis to the Institut fur Indische Pliilologie und Kunstgeschichte, Freie Universitat, Berlin by  Corinna Wessels-Mevissen ]

Yama the Dharma Raja

Yama8

4.1. Yama is depicted as the sovereign of the infernal; the lord of death and the dispenser of justice; and the governor of eternal law that ensures rejuvenation of life and a sense of balance between the old and the new in all existence.  Yama , the son of Vivaswan  is Vaivasvata ; and, just as Sri Dakshinamurti , Yama is also associated with Udumbara (fig tree).  He is the embodiment of righteousness, the Dharma;   and he is the king of justice, the Dharma raja. He judges the dead; but, he is amenable to pity and reason, as in the case of Savitri and Pramadvara* in the Mahabharata.

[ *

pramadvara

Pramadvara (pramadaam varaa, the best among the most beautiful) was the daughter of Menaka, the Apsara (celestial nymph) and Viswavasu, the king of Gandharvas. Since Pramadvara was abandoned by her parents, Rishi Sthulakesa raised the most delightful little girl with great care and love. Later in her life, just on the eve of her wedding with her beloved Ruru (son of hermit Pramati and damsel Ghritachi) Pramadvara  died suddenly , bitten by a snake. Ruru, the heartbroken bridegroom,  in deep sorrow and bewailing appeals to gods (Devas) to restore his Love Pramadvara  to life. Yama, the Dharmaraja, moved by pity and sympathizing with the plight of Ruru agrees to bring Pramadvara back to life; but, on condition that Ruru should  gift half of his remaining lifespan (Ayu) to her.  Ruru readily agrees to Yama’s rider with alacrity; Pramadvara comes back to life; and, immediately marries Ruru without losing time. The happy parents later beget a son Sunaka. And, his son   Saunaka, later,  as the chief of the Rshis,  performed a very long Yajna in the Naimisha forest (Naimisaranya). Saunaka is the one who heard the recitations of Mahabharata and   Srimad Bhagavata   from Suta and his son Ugrashravas. Saunaka, in turn, narrated these epics.  Saunaka is credited with monumental works, such as the Anukramanis ( a sort of Vedic Index) , Brhaddevata (which narrates  the legends of the Vedic gods ) and Rg Vidhana  (which explains each rk in the context  of the Srauta and Gruhya Sutras)]

At times, a distinction is made between Yama and Mrutyu. The both have a sort of working relationship. Mruthyu the death snatches the life on earth; and transfers it to Yama the lord of ancestors for dealing with it further.

Mrutyu the death, is the reality of life on the planet Earth (prithvi).The term Mrutyu is derived from the root mru which stands for earth (as in mrun the earth; mrutya the mortal being rooted to earth); and, Mrutyu literally is returning to the bowels of the earth.

Mrityu is death personified; hymns are addressed to Mrityu in Rig Veda (10.18) praying him not to harm children and men. The lifeless body is laid into earth the mother with the prayer – Oh mother Earth, oppress him not; be gracious unto him; shelter him kindly; cover him as mother covers her infant with her garment.

 param mṛtyo anu parehi panthāṃ yas te sva itaro devayānāt |  cakṣuṣmate śṛṇvate te bravīmi mā naḥ prajāṃ rīriṣo mota vīrān ||RV_10,018.01||

upa sarpa mātaram bhūmim etām uruvyacasam pṛthivīṃ suśevām |  ūrṇamradā yuvatir dakṣiṇāvata eṣā tvā pātu nirṛter upasthāt |RV_10,018.10|

While the physical body returns to the elements, the subtle body is handed over by Mrutyu to Yama the lord of the ancestors. A prayer is submitted to Yama to prepare a dwelling place , in his world, for the dead one.

377922

4.2. Three hymns (10, 14, and 35) in the tenth book of Rig Veda are addressed to Yama.

In the Rig Veda, Yama is a minor god; and he is benign like any of its gods. He is described as “the first of men that died, and the first that departed to the (celestial) world.” He was the one who found the way to the home which cannot be taken away: Yama is ‘a gatherer of men’; and as one who looks after the well-being of the dead, to whom he provides food and shelter. He is invoked along with the Pitris (the departed ones) and Angirasa; and, invited reverentially to sit on the grass-seat (kusha) and taste the oblation (RV 10.14.4-5). 

Imaṃ yama prastaram ā hi sīdāṅgirobhiḥ pitṛbhiḥ saṃvidānaḥ / ā tvā mantrāḥ kaviśastā vahantv enā rājan haviṣā mādayasva ||

Dr. Muir says:  “Yama is nowhere represented in the Rig-Veda as having anything to do with the punishment of the wicked. . So far as is yet known, the hymns of that Veda contain no prominent mention of any such penal retribution”

Atharva Veda (18.3.13) sings “Worship the son of Vivasvat, the gatherer of men with oblations, he who was the first of the mortals to die (prathamo martyānāṃ), he who first entered   this world – preyāya prathamo lokam etam”).

It appears that Yama was initially a mortal but was the first to die and enter the ‘other world’ and gain the status of the gatherer of  people (departed souls) . He was eventually elevated to divine status and assigned a portion of the oblation at the Yajna.  Yama is thus the first ancestor and the king of ancestors (pitr raja; Preta-adipati ) as also the god of ceremonies, Sraddha deva. He is also the king of ghosts (preta raja).He is entitled to a full share of Soma offered to gods in the yajna.

yo mamāra prathamo martyānāṃ yaḥ preyāya prathamo lokam etam |  vaivasvataṃ saṃgamanaṃ janānāṃ yamaṃ rājānaṃ haviṣā saparyata |AVŚ_18,3.13|

4.3. The term Yama means one who restrains (yam to control) or one who binds. He binds, decides on the action of men . He controls (yacchati) all beings without distinction and restrains all beings.

Yama with BuffaloYama3

4.4. Prayers are offered to Yama for longevity and deliverance from recurring deaths. As for the dead, he is requested to offer them proper food and shelter. Yama is also sought to grant release from asanaya (hunger). In the Grhya-sutras, many rituals are prescribed for worship of ancestors, offering them oblations with prayers to Yama for averting recurring deaths. In these passages Yama is revered as any other god whose abode is beyond death .a kindly god who is more revered than feared. He is god of the dead but not a god of death. He is the god of righteousness (Dharmaraja) and a restrainer (niyamaytir)

5.1. From Yajur Veda onwards, especially after the purusha-medha sacrifice, where oblations are prescribed for each aspect of Yama, his personality undergoes a radical change. From then on, the benevolent god of justice becomes the dreaded god of death. He gets associated with the destructive aspects of Shiva as Kaala, Antaka etc.

5.2. Yama the Dakshina-Adhipathi   the lord of the southern quarter is himself called death Mrityu, the end, the finisher Antaka, and one who takes away all lives Sarva-pranahara. He is the finisher kratanta; the equitable one samana; and, one who hands out punishments danda.  He is also Danda-dhara , one who wields the fearsome  weapon Danda He is also Pasi, the one who holds the noose. He is respected and feared because he ensures that his orders are executed ruthlessly : Danda sashana  or  Bhima-shasana .

Yama is kaala, both time and death; ‘the cook of the creatures ‘ripening them with time; ‘he who ever knows day and night and the seasons; and the good and evil works of man’ . As kala he is dark with red eyes and holding a staff.

Yama and family

Yama - God of Death

6.1. Yama is the son of the resplendent Vivasvat; hence his last-name is Vaivasvata (Rig Veda 10.14.5) – vivasvantaṃ huve yaḥ pitā te. His mother is Sanjnya or Saranyu (meaning the cloud) the daughter of Tvastra Vishwakarma the divine architect. Yama is the brother of Vaivasvata Manu the progenitor of this eon; and of Asvins the gods of health. Yama’s twin sister Yami loves him passionately. She is of the nature of night (yamini); and, it is said, the dark flowing river the Yamuna is named after Yami.

[As said earlier; Yama was the first to cross over to the region beyond; others followed him; and, continue to do so. Yama, the Dharma-raja; and, Manu, who prescribed code of conduct for humans, while on earth, were both the sons of Vivasvat – an Aditya , a solar deity. The two brothers are the pathfinders for humanity; and, the two, together, regulate and judge the conduct of humans -here and thereafter. But, somehow, no formal worship is offered to the two in the Vedic religion.]

6.2. The Bhrigus and Varuna are his associates. Yama has close relations with Rudra, Soma, Kala, and Nirrti, and a closer one with Agni who conveys to him the dead.

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6.3. Mahabharata mentions that Yama married the ten daughters of Daksha the progenitorIn most texts like Vishnu Purana and Vishnudharmottara, it is described that Yama married , Dhumorna (shroud of smoke that rises from the funeral pyre).In other texts like Garuda Purana; Syamala is described to be his wife. In some texts, Yama is depicted with three wives Hema-mala, Sushila and Vijaya.

6.4. In the Rig-Veda, Amrta is Yama’s son, but in the Atharva Veda, Duḥsvapna (bad dream) is his son by Varunani.

Yama, his residence and his entourage

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7.1. As regards his residence, it is said, Yama resides in his mansion Yamalaya at the South. His city is Samyamini (city of bondage). His abode in the city and its environment are described as pleasant and comfortable. His city has four gates and seven arches, as also two rivers the Pushpodaka (stream of flowers) and the Vivasvati (the roaring) that flow through the city.

yamaraja

7.2. Yama sits upon the Vichara-bhu the throne of deliberation, placed in the centre of the judgment hall named kaalaci (hall of destiny).

The janitor at the entrance to the judgment hall is Vaidhyata (meaning the legal process).   Yama’s scribe and secretary is the ever efficient Chitra-gupta, person privy to many secrets.  His ministers are Chanda (wrath) and Mahachanda (terror). There is also the kala-purusha who keeps eternal vigil. Apart from demons, many sages and kings are also said to assemble in his court, to pay their respects. The messengers of death (yama duta) are his attendants and foot soldiers. They are dressed in black, have red eyes and bristling hair. Their legs, body and nose are like those of crows.

7.3. Two insatiable dogs having four-eyes and  wide nostrils accompany Yama. They are Syama (the black) and Sabala (the powerful) who were born to Surama (the swift) the dog of Indra, the king of gods. Yama’s dogs watch the path of the dead. They guard the road to his abode, and which the departed are advised to hurry past. These dogs are said to wander about among men as his messengers, for summoning them to their master, who is described as ’ sending a bird as the herald of doom’.

7.4. Yama rides a chariot named Roga (sickness); and is followed by demons that are the different diseases.

Yama, his court

8.1. Of the two paths of the dead mentioned  in the  later Vedic doctrines of death and after-death, Devayana (the path of the gods) and Pitryana (the path of ancestors) , the latter is that of the humans and of spirits doomed to take rebirth. Such souls proceed through Soma, the moon, and eventually are judged by Yama.

8.2. As regards the procedures involved in procuring the dead and judging them, it is said; when it is time for a jiva to depart from its body the messengers of death secure it with a noose and drag it through barren territories without shade or water, on its way to Yama’s court. At the judgment hall the Dead one presents himself before Yama, all alone unaccompanied by friends or relatives; accompanied only by his past deeds. After the record-keeper Chitragupta reads out from his main record (agra – samdhani) the list and summary of the good and bad deeds committed by the dead one, the judgment is pronounced by Yama who appears gracious to the good-doer and fearful to the evildoer. The unfortunate dead ones condemned to naraka the hell, are made to pass through red-hot iron gates and wade through the stinking and boiling river the Vaitarini (abandonment) littered with filth, blood, hair and bones.

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Yama iconography

9.1. Vishnudharmottara (3. 51. 1 – 5), while detailing the iconographic features of the Lord Yama, states that Yama should be depicted as having dark complexion, as that of the water-bearing dark clouds; elegantly dressed in shining golden hue dress; and, wearing varieties of ornaments. He should be mounted on a huge bison

Yama should be shown as having four arms. In the two right hands, he holds a sword and a punishing-rod (Danda-ayudha), which bears the insignia of a hideous face , emitting flames.

On his left lap sits his wife Dhumorna (धूमोर्णा), who is dark in complexion, as like the Nilotphala flower. With one of his left hands Yama embraces Dhumorna; and, in the other left hand he holds a battle-shield.

And, Dhumorna has two arms; and her right hand is placed around Yama’s shoulder; and, the other hand holds a yoga-danda, titled as Matulanga.

The scribe Chitra-gupta, should be placed on Yama’s right side.

Sa-jala-ambuda sacchaya stapta chamikar-ambaraha / Mahishas-thascha kartavyaha sarva-abharana-vanyamaha / 3.51.1 /

Nilothphala-bham Dhumornam vamatha sanghe cha karayeth / Dhumorno dvi-bhuja karyayi Yamaha karya chatur-bhujam  / 3.51.2 /

Danda khadga ubhau kathya Yama dakshina-hasthayo /Dando-pari mukham karyam jwala-mala-vibhushanam  / 3.31.3 /

Dhumrorna prustagam vamam charma-yuktam tatha param / Dhumorna dakshinam hastham Yama-prusta gatam bhaveth  / 3.51.4 /

Vame tasya kare karyam Matulanga sudarshanam / parshe tu dakshine tasya Chitraguptam ch karayeth  / 3.51. 5 /

Yama.j2 pg

Yama

9.2.Coming to Yama’s appearance, it is said, the virtuous and the sinners see him differently. To the virtuous , Yama looks like Vishnu “with charming smiling face, four arms, eyes like lotus in blossom; holding the conch, discus, mace and lotus; and riding Garuda”.

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9.3. To the not-so-fortunate, Yama is of grim and fearful appearance. His body of dark or green complexion is huge and ill shaped with glowing red eyes. His eyes are deep wells, his lips are thin the color of smoke, his teeth and nails are long, and his breath from his wide nostrils is hurricane like. His reed-like hair is tied on the top over which sits a glittering crown. He has on his chest garlands made of weird beads; and yellow and red wild flowers. He rides a huge black buffalo named Ugra the terrible, wielding in his claw like hands a sword, mace or a long staff (danda) and a noose. He roars like the ocean of destruction.

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10. Having said all that, Yama is otherwise regarded as Dharma Raja the lord of justice dedicated to maintain order and adherence to rule of law with a view to preserving the harmony in existence.

Yama is also associated with the legend of Markandeya the devote boy , an icon of innocence and absolute faith.

Markandeya is embracing a linga

Yama is respected as one of the wisest of the Devas and a very good teacher. He is also an adept in Atma-vidya, the knowledge of Self. In the Kaṭha Upaniṣad, as death personified, he holds a long discourse with the boy Nachiketas, whom he initiates into the mysteries of life, death, and immortality. Yama, explains to boy Nachiketa: “that knowing which, everything else becomes known?”

Yama nachiketa2

Yama in other traditions

200px-Yama_tibet  Buddhist Yama of Tibet

11. Lord Yama traveled to other traditions too. The Vedic yama is Yima Kshaeta in the Avesta of Zoroaster (the latter part of this name derived from the root kshimeans “to rule”. The name Yima Kshaeta,is thus  “Yima, the King”).  Yima, whose region is south, is the first mortal and a great king of men. In Buddhist lore, Yama is identified with Kama the desire and Mara the death. He judges the dead and presides over the Buddhist hells. The Buddhist Yama is also a part of the Chinese and Japanese mythologies. The legends of YamaorYima, the son of the Sun transformed in the Japanese mythology to Jimmu the first mortal as well as the first Emperor of Japan, born of the Sun-goddess.

Concept of Death

2.1. One of the meanings assigned to the term Yama is the ‘twin’, as in ‘yamala the twins’. The moment a being is born, death too is born along with him as his twin. Both travel the journey of life together, the death always shadowing his twin; that is only until death overtakes the twin. Thus, life and death are never apart, they are ever together. Of the two, death   is a certainty, while its twin comes with no guarantees. Death is also the only reality and the only experience one cannot escape.

12.2. In the Indian traditions, death is not a punishment but is a part of the sequence of life. Death is not the final end; but is a passage or a doorway to other possibilities that might exist thereafter. It is like getting into a new dress, discarding the old and worn out, and going about fresh business. And, as my mother used to put it, death is like” being shifted from one breast to other breast of the mother. The baby feels lost for a short instant, but not for long.”

12.3. If it is so why do Hindus and Buddhists have to fear death? It is explained, the fear is because of the horrid process of dying, the pain and the agony; and the physical suffering as also psychological trauma it involves. The fear or helplessness for not being in control of the time and circumstances of one’s death exacerbates the scare. The dying person is inundated with anxiety, fear and sorrow of parting forever from his attachments, his near and dear ones and all that he loved and valued during those years of his life. The experience of death is the helplessness, the grievous sense of loss and betrayal; and the sheer fright of ceasing to be and staring into the unknown. These fears and anxieties are universal.

12.4. Acharya Vinoba Bhave in one of his talks explained, there is no way one can avoid death; it is inevitable. He said, one may not be able to control the happening of the event, but one can surely try framing ones approach to it. We came into this world without a choice, but can try leaving it on our terms. That might not succeed in all cases, but it can help influence our attitude to death.

Everyone dies, he said, there is nothing unique about it; but one can make his mark by trying to leave behind a better world than the one he inherited. One way of doing that is to work and live on the basis that death is just round the corner; that somehow seems to spur a person to do his best in his endowers. Acharya said, life is in a way a skillful preparation to face death with equanimity, without fear or anxiety.

Anayasena maranam, vina dainyena jivanam”,

A life without humiliation and death without pain was his prayer to Krishna.

**

Rehearse death; rehearse his freedom. A person who has learned how to die has unlearned how to be a slave. He is beyond the reach of all political powers.

–  Seneca (4 BC – 65 AD). Letters from a Stoic

References and sources

The myths and Gods of India by Alain Danielou

Brahmiya Chitra Karma sastram by Dr. G Gnanananda for the line drawings of Yama.

Shilpii Shri Thippajappa (1780-1856)  For the drawing of the eight Dikpalas

Other pictures are from internet

http://www.scribd.com/doc/6749205/Talks-on-the-Gita-by-Vinoba-Bhave

http://www.bookrags.com/research/yama-eorl-14/

 
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Posted by on September 30, 2012 in Indian Philosophy, Speculation, Yama

 

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Agni And Soma Interplay: Life Thrives On Life

1.1. The whole of universe is viewed as a perpetual yajna. At each moment of its existence one form or the other of its energies is being transformed into another form of energy; one form of life is transformed into another form of life; one form of life or its derivatives is consumed by another form of life. This ceaseless activity of transformation and devouring of the one by another seems to be the very nature of universe.

1.2. It is said, the universe has a triple aspect: the devourer, the devoured and their relationship, which is the yajna. It is through this relationship that the universe exists and endures; thus yajna is identified with Vishnu, the all pervading preserver. “The yajna is Vishnu” (‘yajno vai Vishnuhuh’: Taittereya Brahmana 2.1.83)

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1.3. The texts mention that all of universe could be broadly classified into two factors anna (the food) and annada (the one who eats or consumes). Every creature is the devourer of another and the food of some other. “I am food, I am food, I am food; I am the eater, I am the eater, I am the eater….the first born “(Taittereya Upanishad:3.10.06) – 

aham-annam-aham-annam-aham-annam;aham-annādo aham -annādo’-aham-annāda;aham-asmi prathamajā ṛtā sya , pūrvaṃ devebhyo amṛtasya nā bhāi

Similar statements occur in other texts:”The whole world is verily the food and the eater of food “(Brihadaranyaka Upanishad: 1.4.6)

 etāvad vā idaṃ sarvam annaṃ caivānnādaś ca | soma evānnam agnir annādaḥ |

2.1. Existence involves devouring and being devoured. In other words, life thrives on life (jivo jeevasya jeevanam).The acts of devouring and being devoured are successive states of everything. The processes of life and death are entwined, each giving rise to the other.

2.2. In this process the ‘Agni-principle’ represents the ‘eater’, while the ‘Soma-principle’ represents the ’food’, which feeds the Agni. The two were born together : eka-yonyā-tmakāv agnīṣomau “All this universe of conscious and unconscious is made up of Agni (fire) and Soma (the offering)” (Mahabharata –Shanthi parva- 328.52). The process during which Agni the fire devours Soma the fuel is in the nature of yajna.

agniḥ somena saṃyukta ekayoni mukhaṃ kṛtam / agnī-ṣomātmakaṃ tasmāt jagat kṛtsnaṃ carācaram //12,328.052 //

2.3. The evolving universe is propelled by the interaction between these two forces of nature. Agni represents the ‘metabolism ‘of the universe. It is the agent for causing change. Soma, which stands for all that nourishes, is the fuel that sustains Agni. The pair, Agni and Soma, each need the other; and the two in tandem create, sustain and recycle the substances in the universe, ensuring continuity and evolution of life. This is the yajna.

3.1. There are many forms of yajna whether cosmic or human. Every form of creation human or otherwise has the character of yajna.”Any action of man which may promote betterment of man has the nature of yajna” (yogatrayananda – Shiva ratri)

3.2. It is explained that existence implies action. One can hardly remain for a moment without breathing, thinking or dreaming. Something or other is happening all the while to keep the body and mind alive. Action can be neutral having no moral value; or it can be positive; or negative. Even inaction is a form of action. We, all the while, take part in the yajna of life   either as instruments or its feed. The main activity of one’s existence is to take part in the ongoing ritual, yajna.

Let’s come back to the interaction between Agni and Soma,  a little later.

Agni

4.1. Agni is one of the most important deities of the Rig Veda. He is one of the Regents of space (Dikpala). He rules over the South-East (Agneya) and is called the first or the forward light (puro jyotishu). Agni the son of the heavens (gagana atmaja) is pictured as a priestly sage, beneficial to gods and men. He is the friendly mediator between men and gods. It is through Agni that man communicates with gods and dwellers of celestial spheres.

4.2. Agni is the purifier of all; and, all that purifies is yajna (Chandogya Upanishad: 4.16.1) – eṣa ha vai yajño yo’yaṃ pavate eṣa ha yannida sarvaṃ punāti. And, all that has been purified is worthy of being offered to gods; “He feeds gods through the mouths of Agni, the first among the gods “ (Aittareya Brahmana: 1.9.2).Agni is oblation eater Hutasa or Hutabhuj, the oblation carrier Havya vahana and the conveyer Vahi.

4.4. Agni had been controlled and domesticated and brought into the home, kept alive through careful tending; and is propitiated with offering. Agni is the friend and the center of household in the ritual sense or otherwise.   Agni is the protector of men and their homes; he presides over all sacraments. He is the witness to all the significant events and commitments that men and women make in their lives. Agni validates their life events on all solemn occasions.

 5.1. Agni is represented as all that burns and devours or digests. Agni is Vaisvanara the all pervader; the one who spreads, takes over and consumes. Agni is the Sun, heat, stomach, lust, passion and speech. Digestive acids are considered forms of Agni;   food is the offering. The fire of anger, the fire of lust, and all that destroys opens possibilities of other forms of yajna. War is one of the other forms of yajna –maarana homa. Human life and its efforts to exist amidst adversities; and to survive is an ongoing yajna.

5.2. The nature of the Agni is the nature of existence, as well as its source and symbol. At each moment some form of Agni is busy devouring some form of life, of fuel. Even the Sun, a form of Agni, burns devouring its own substance and puts out energy. All aspects of combustion, of digestion, of processing and of creation are forms of Agni.

5.3. The splendors or the shining quality in anything is a subtle form of Agni; he is the power of the inner as well the outer illumination, the power of knowledge as well as of perception. He is the Lord of knowledge. Understanding the science of fire in all its forms is the key to all knowledge.

 [ To take Agni as the name of the ritual fire only is to mistake the signifier for the signified. He is many things: a flame, a stream, a bird, a tree, a boat, a lion, a horse, a chariot, a craftsman, a thinker, a warrior, a sage and a knower, a seer and a will, often the seer-will (kavikratu), and he fulfills many functions: messenger, guest, priest of the call, bringer of the oblation, knower of all things born, friend and leader of the human people, fosterer, purifier, and none of these exhaust his reality, for he is said to have many names and to be manifold in his forms. But he is always connected with the truth , satyam, ritam, possessing the truth, ritavân.

Similarities between Sumerian Anki and Vedic Agni by Jean-Yves Lung [

Soma
   

6.1. Soma is personified as a deity and is one of the most important Vedic gods. All of the 114 hymns of the ninth book of the Rig Veda, known as the Soma Mandala, are addressed to Soma Pavamana(purified Soma). The hymns are in celebration of Soma represented as the most powerful god, healer of diseases, bestower of riches, and lord of all other gods. Soma is referred to in the Rig-Veda as the soul of the Yajna (atmayajnasya).

6.2. The oblation, the ritual offering in the yajna; that is, the food of the Agni is Soma. Every substance thrown into the sacramental fire is a form of Soma. At the same time, Soma is the elixir of life which stimulates fire and intoxicates the beings – apāma somam amṛtā abhūmāganma jyotir avidāma devān |RV_8,048.03

6.3. It mixes freely with water and is responsible for sweetness (madhurya) in food. And, as food it nourishes all forms of life.  It enters the herbs and supports beings with long and healthy life.  All the food, all the offering, all fuel, the cold, the moist, the moon, the sperm, and the wine etc in the universe are Soma.

chandra

7.1. Soma is a rather difficult concept. I am aware that Soma is variously described as the moon, the manas, the elixir, the honey, the sweetness, the drink, the creeper, the cold, the wet etc. A particular version even presents Soma as electrum (gold-silver metallic compound).  Here, I restrict myself; I prefer to treat Soma as a wonderful concept of the Vedic people employed to suggest an essential functionary that, in combination with Agni the fire of life, brings into existence any good object. It is that which provides reality or substance to the un-manifest (satyvataraya agnau suyate tasmat somah).

7.2. Soma the gentle devoured substance is the partner of Agni the fiery devouring spirit. Soma the substance of the universe is ‘food’.” Food is the principle of all, for, truly, the beings are born from food, when born they live by food; and when they are dead they themselves become food “. (Taittereya Upanishad 3.2)

annaṅ brahmēti vyajānāt. annāddhyēva khalvimāni bhūtāni jāyantē. annēna jātāni jīvanti. annaṅ prayantya-bhisaṅ-viśantīti. ৷৷3.2.1৷৷

Agni – Soma interplay

8.1. It is not possible to say whether food is more important than the eater; fuel more important than the fire; substance more important than action. Both fire and offering are important to one another. Both arise from the same root and both are the essential aspects of yajna, and of all life. Agni and Soma, each compliment the other wonderfully well; and that is the essence of all existence.

8.2. The life begins with yajna and ends in a yajna. Semen is Soma, yoni the yajna-vedi the altar and passion is the fire. Agni is the desire, the thirst, the intentional will; and Soma is that which aids to fructify that desire. They together bring forth a new life. Brihadaranyaka Upanishad (6.4.3) classifies the act of procreation under ‘Vajpayee yajna’. The Agni- Soma pair participates in all creative processes.

sa yāvān ha vai vājapeyena yajamanasya loko bhavati tāvān asya loko bhavati |
ya evaṃ vidvān adhopahāsaṃ caraty āsāṃ strīṇāṃ sukṛtaṃ vṛṅkte | atha ya idam avidvān adhopahāsaṃ caraty āsya striyaḥ sukṛtaṃ vṛñjate || BrhUp_6,4.3 ||

At the end, man’s body is thrown into the funeral fire as his last offering.

9.1. It is the interplay between food and the eater, of Agni (fire) and Soma (the offering or fuel), which marks the yajna of all our lives. The nature of Agni is to spread and take over; and that of Soma is to contract, consolidate and vanish. Agni takes over; Soma is devoured. These aspects occur in every phase of human life.

9.2. Agni is the warm outward breath; Soma is the cool inward breath. Agni (fire) is life, Soma is activity; Agni is the enjoyer, Soma is that which is enjoyed. Soma is the food that feeds Agni, the hunger, in man’s belly. Soma and Agni together sustain and carry forward the life.

9.3. All substances that are hot, fiery, dry or parched are in the nature of Agni; Substances that are moist, cooling, soothing and nourishing are in the nature of Soma. Agni is red, Soma is the color of night (Chandogya Upanishad: 6.4).Anger, aggression is Agni; that which restrains is Soma. To grab, to take over is Agni; that which consolidates and preserves is Soma. Combustion is Agni; the fluidity in all aspects of life is Soma.

10. At times Agni becomes its own Soma, just as the Sun burns itself to radiate energy. When a substance has spread to its maximum size, it has to contract. Hence, Agni becomes Soma at each stage of its contraction. Soma falling into Agni itself is transformed into Agni. The acts of devouring and being devoured are successive stages of everything. The alternation of Agni and Soma provides the impetus for growth; for all beings which procreate, grow and perish in the yajna, the ritual of life.

***

Agni Soma

RV 1.93.1-6 1 AGNI and Soma, mighty Pair, graciously hearken to my call, accept in friendly wise my hymn, and prosper him who offers gifts.

2 The man who honours you to-day, Agni and Soma, with this hymn, bestow on him heroic strength, increase of kine, and noble steeds.

3 The man who offers holy oil and burnt oblations unto you, Agni and Soma, shall enjoy great strength, with offspring, all his life.

 4 Agni and Soma, famed is that your prowess wherewith ye stole the kine, his food, from Pani . Ye caused the brood of Brsaya to perish; ye found the light, the single light for many.

 5 Agni and Soma, joined in operation ye have set up the shining lights in heaven. From curse and from reproach, Agni and Soma, ye freed the rivers that were bound in fetters.

6 One of you Mitarisvan brought from heaven, the Falcon rent the other from the mountain. Strengthened   by holy prayer Agni and Soma have made us ample room for sacrificing

Agni Soma 2

RV 1.80.1-2 1. THUS, in the Soma, in wild joy the Brahman hath exalted thee: Thou, mightiest It thunder-armed, hast driven by force he Dragon from the earth, lauding thine own imperial sway

.2 The mighty flowing Soma-draught, brought by the Hawk, hath gladdened thee, that in thy strength, O Thunderer, thou hast struck down Vrtra from the floods, lauding thine own imperials way.

[ Translation by  Griffith ]

Ayurveda

11.1. It is likely that the Agni and Soma was initially a bi-polar, a two humor fire- water medical theory. But that relation blossomed into the classical three humor (tri-dosha) doctrine of Ayurveda. The interplay of Agni and Soma is of vital importance in Ayurveda both at the physical and the subtle levels, as also in the Yoga of Ayurveda.

11.2. According to Ayurveda, a person’s constitution, health and disease are a result of the balance/imbalance of three biological humors – vata, pitta and kapha. If the functions of these three humors were well balanced, then the individual would be in a healthy condition. An imbalance within or between them, would lead to various kinds of ailments. This is the tri-dosha-siddhanta. The primary purpose of Ayurveda   is to restore/ maintain proper balance of vata, pitta and kapha.

11.3. These three humours correspond to the active elements of air, fire and water, which in turn are regarded the aspects of the Vedic deities Indra, Agni and Soma. Indra is equated with vata which is in the nature of Vayu (air); Agni is equated with pitta which is fire, combustion and transformation at all levels; while Soma as fundamental liquid of life is equated with kapha the biological water humour. While Vata controls all the movements in the body, pitta takes care of chemical reactions and biosynthesis of various compounds within the body. Kapha, on the other hand, deals with balanced growth, development and functioning of the body.

Samanagni  is the state when the three doshasvatapitta and kapha are well balanced.

12.1. At the subtle level, Indra represents prana the life-force; Agni represents tejas the fire or the sharpness of mind or intellect; while Soma represents ojas the essential body fluids. It is said, whenvata is purified or refined it rises to prana, a higher state of life-force; when pitta is purified it enhances the intensity of perception; and, when kapha is purified the essential body fluids are harmonized, then the mind is transformed. This is the Yoga in Ayurveda; and, it relates to balancing the three humors in their subtle essence as pranatejas and ojas. That is achieved through use of various substances and methods including herbs, medicines, rituals, mantras and meditation.

12.2. Agni and Soma, thus, together are of vital importance; and play complimenting roles in all stages of human development and evolution.

Iconography

Agni

 

(i) Rig Veda (4.58.3) describes Agni as:“A great god with four horns, three feet, two heads, and seven hands. He has the form of a Bull bound in places, whose bellowing descends among the mortals ‘.

catvāri śṛṅgā trayo asya pādā dve śīrṣe sapta hastāso asya / tridhā baddho vṛṣabho roravīti maho devo martyāṃ ā viveśa  RV_04.058.03

(ii) Various Agama and Shilpa texts carry his iconographic descriptions. Among such texts, the Shilpa text Isvara samhita (Nrusimha kalpa: 7.14-20) contains an elaborate description of the Agni’s form.

 “Strongly built, with a large belly, Agni is red, with golden brown mustache and red matted hair. He is endowed with two heads sprouting from a single neck. He has four horns (representing four Vedas), two on each head. His each head has three eyes. His two heads together have seven tongues of golden hue (three in the right head and four in the left head) emitting seven colors of fires. Agni should be shown with seven hands, four on the right (holding the ladles sruk and sruva; as also a rosary and a sphere) and three on the left (holding a sphere (shakthi), a fan and a jug holding ghee).  He is dressed in smoke-colored garments, surrounded by flames; and his countenance is placid. He is seated on a ram; and has three feet representing the three ablutions in morning, midday and evening.With these three feet he stands in three worlds.  ”.

(iii) There are other descriptions of Agni with four arms. Agni is described as being red in color; having yellow eyes and two heads. He carries to gods the offerings of the yajna (havya vahana).   His four hands carry an ax, a torch, a fan and a ladle and sometimes a rosary and a flaming spear (shakthi). He is also described as tomara-dhara (one who wields the javelin); Abja-hasta (one with a lotus in hand); Sukasa (bright one) and Suchi (pure), He is the giver of wealth (dravino dasa).

Adorned with flames he is dressed in black. His standard is smoke (dhumaketu).He is accompanied by a ram and he sometimes rides it (chagaratha). At times he sits in a chariot drawn by seven red horses (Rohitashva), representing seven meters used in the hymns.. The seven winds are the wheels of his chariot and Vata the air is his charioteer. Agni has also seven tongues of fire (sapta jihva), each of which has a name.

(iv) Agni is commonly depicted as riding a ram or a chariot or in standing position (sthanaka) ever ready to receive the offerings submitted to him. He is not shown either as relaxing (sukhasana) or reclining (sayana).

 Soma

(i) There is no specific iconographic representation of Soma. The stanzas addressed to Soma in the soma-suktha of Rig Veda urge Soma to manifest; but do not refer to his form. The theme of the hymns addressed to Soma generally runs as: “Oh Soma, Pavamana, the overwhelming power in the battles, manifest thyself for the good of our cattle, our people, our horses and useful plants. Protect us from the miser whoever he may be, protect us even from his voice .Open a way for us, carry us beyond difficulties” 

(ii) The iconography of Soma has got mixed up with that of Chandra the Moon, also addressed as Soma. The ancient text Vishnudharmottara (part three, ch.72, verses 1-8) mentions that “Soma should be given the form of the moon”. The text in its earlier passages (ch.68, verses 1-14) had described the form of Lord Chandra the master of the abode of the ancestors. It said:

Chandra drawn by ten horses

“The Lord Moon (Chandra) should be made with lustrous white body because he is composed of the essence of water; with four hands, and white garments. He should be adorned with all ornaments. His two hands hold two white lotuses representing beauty and grace. His chariot with two wheels should have Ambara (horizon) as the charioteer and driven by ten horses representing ten directions; and they are named (from left to right of the Moon) Sarja, Trimanasa, Vrsa, Vadi, Nara, Vach, Saptadhatu, Hamsa, Vyoma and Mrga. The insignia in the left corner of the chariot should bear the mark of lion representing Dharma.

His twenty-eight wives called Nakshatra (stars) should be depicted bright and beautiful. The Moon should be depicted with luster (kanthi), enchanting beauty (shobha) and as the delight of the whole world.

Chandra Moon S Rajam

 

  

References and sources:

 
The Myths and Gods of India  By Alain Danielou.
Most of the substance is from this book.
 
 
Pictures are from internet
 
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Posted by on September 30, 2012 in Indian Philosophy, Speculation

 

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Ganapathi, the lord of the ganas

ganapathi

1.1. Everything that our senses can perceive and our mind can apprehend can be expressed in terms of categories. These might include our desires, our treasures, and all that we care for or try to avoid.  Hence categories, the Ganas, could be considered inevitable to our existence. The texts mention, all that can be counted and comprehended is Gana.

[ It is said; such categorization or analytical  investigation and examination (ānvīkṣikī) of issues which bring clarity into the intellectual aspects of man’s life help him to attain freedom (moksha) from delusions and confusions in life. The Arthasástra of Kautilya (Chapter II-  ṣection.1: Enumeration of the sciences) speaks of ānvīkṣikī– metaphysical speculation involving keen introspectionas being the most beneficial to the world – ‘leading to all kinds of knowledge, reliable means to accomplish all kinds of acts and receptacle of all kinds of virtues’.

tābhir dharma.arthau yad vidyāt tad vidyānāṃ vidyātvam // sāṃkhyaṃ yogo lokāyataṃ ca^ity ānvīkṣikī //dharma.adharmau trayyām artha.anarthau vārttāyāṃ naya.anayau daṇḍa.nītyāṃ bala.abale ca etāsāṃ hetubhir anvīkṣamāṇā lokasya upakaroti vyasane^abhyudaye ca buddhim avasthāpayati prajñā.vākya.kriyā.vaiśāradyaṃ ca karoti //]

1.2. The term Gana means a collection of things or the horde. The fundamental principle of classification through which the relation between different orders of things; and between macro and micro forms of existence can be understood is called Ganesha the ruler over all categories.

gananatha

2. Ganapathi the ruler of all categories is identified with Divinity in its perceptible manifestation. For the followers of the Ganapathya sect he is the Supreme Divinity. He is placed above the Trinity (Tri murti).

3. Ganapathi stands for one of the basic symbolisms in the Indian thought, the identity of the macrocosm and the microcosm; or, in religious terms, man is in the image of God. That relation can be best expressed in terms of number (gana). Hence, number is seen as the common element of all forms.’

ganapathi 2

4. 1. Ganapathi’s elephant head over man’s body symbolizes unity of the small being (micro) and the Great Being (macro). The term Gaja that normally means elephant is at times taken to signify “the origin as also the goal” (ga = goal; ja =origin). The Gaja is thus a symbol of the stage where the “un-manifest ends “and where “existence begins”. The man part of Ganapathi image is the manifest principle; and the un-manifest is that which is above.

Ganesha 17

4.2. In the world of appearances where opposites do not often coexist, man cannot be “Gaja”; but it can happen symbolically. Ganapathi Upanishad states “thou art That (tat tvam asi) ”.The text says the living being is the visible form of That, the supreme essence. Human existence, according to that Upanishad, is the coordination of the absolute and the relative; of That and Thou. True knowledge is the realization of unity.

The image of Ganapathi is the symbol that constantly reminds us of this apparently impossible identity. One should bow to Ganesha before one begins anything.

ganapathi 3

5.1. The Ganesha principle (tattva) transcends intellect. Yet, as in the case of other Indian deities, Ganesha too is represented through various symbols; mantras the sound representations; yantras the graphic representations; and the murtis icons or images.

5.2. The monosyllable AUM uttered at the beginning of every rite is said to be the sound image or the mantra representing Ganapathi. Its import “Thou art That” is symbolized by the unity in Ganesha image of the small and the Big.

ganapathi om ganapathi om 2

5.3. The Swastika is also said to be the graphic image of Ganesha. Its multiple arms all emanate from the common central point, Bindu. But, each arm is bent away and does not aim towards the centre. It is perhaps meant to suggest that we cannot reach the Bindu, the basic unity, directly through outward manifestations.

swastika swastika. 2 jpg

There is also a diagram called Ganesha yantra, used mainly for ritual worship. Ganapathi is regarded the synthesis of all the five elements. The earth element is represented by a square; the water by circle; fire by triangle; air by half-moon; and space by Bindu (point). It is said all these features can be found in the form of Ganapathi.

ganesha yantra

There is a close relation between Yoga and Tantra; and Ganapathi figures prominently in both the streams. He is the presiding deity of the Muladhara Chakra. It is also said; his tusk is Om-kara; his belly the great space; the serpent around his belly the Kundalini enclosing all; his rat the Rajo-guna; which Ganapathi controls riding on it.

ganapathi4

5.4. It is said, Ganesha is obese to suggest that all manifestation is contained in him; and he is not contained. His ears are like winnowing trays, throwing away the dust of the vice and virtue, retaining only the Reality that is beyond qualities. Ganesha has one tusk, the word One is said to be the symbol of illusion (maya) from which all duality springs forth. The broken tusk is the impeller of illusion. The goad (ankusha) in his hand is for taming ignorance, while the noose (pasha) is caution against bondage.

His ride, the mouse is essentially a stealer, one who takes away things to which people are attached .The greatest attachment one can have is “I-ness”. The ride works at the behest of its master, the remover of illusions.

mouse rider

6. Ganesha is the lord of wisdom; the patron of letters and of schools; he is the king of the elders (Jyesta raja); and he is the first among the greats and presides over the assembly of gods. He is Vinayaka,  the great leader. He is the lord (Vigneshwara) and the destroyer of obstacles. He is Gananatha the lord of all categories. He rules over the universal intellect (maha tattva) and the elements (tattva) derived from it.

siddhi

 Siddhi the attainment and Ruddhi the prosperity are his consorts.

siddhi.2 jpg

Ganapathi the ruler of all categories, I bow to you; you alone are the visible form of the principle. You are the creator; you alone are the sustainer; you alone are the destroyer; and you alone are unmistakably the Brahma, the essence of everything that exists, the true Self.  – Ganapathi Upanishad-

Tvam-Eva Pratyakssam Tattvam-Asi | Tvam-Eva Kevalam Kartaa-[A]si | Tvam-Eva Kevalam Dhartaa-[A]si |Tvam-Eva Kevalam Hartaa-[A]si | Tvam-Eva Sarvam Khalv[u]-Idam Brahma-Asi | Tvam Saakssaad-Aatmaa-[A]si Nityam ||2||

त्वमेव प्रत्यक्षं तत्त्वमसित्वमेव केवलं कर्ताऽसित्वमेव केवलं धर्ताऽसित्वमेव केवलं हर्ताऽसित्वमेव सर्वं खल्विदं ब्रह्मासित्वं साक्षादात्माऽसि नित्यम् ॥२॥

siddhi vinayaka

[Please also check Origins of Ganesha worship ]

[Please also check here for Sugar-cane Ganapathi by Dr. RKK Rajaraja]

Ganesha Halebedu

The pictures are from internet

[ Note on significance 21 associated with Ganapathi

The association of number twenty-one with Ganapathi has many interpretations. The most common of such explanations is  that  twenty-one is the sum of five gross elements(bhuta) + five subtle existential  principles or vital airs (pancha prana) + 5 subtle organs of perception (jnanendriya) + 5 sense-organs of action (karmendriya) + mind; suggesting that Ganesha is the Lord presiding over all the elements of existence.

Ganesha Pancha mukha

The other suggestions are from Tantra, as Ganesha is basically a Tantric deity. According to Tantra, Ganesha’s ‘true-name’ (nija –naama) that is the effective name by which he is invoked is the Bija ’Gam’; his other names being the popular ones by which the people of the world love to call him (laukika). The Tantra Schools rely on an ancient system of notation which assigns numerical value to each consonant of the Sanskrit alphabet , for the purposes of inscribing on and designing various yantras as also for offering interpretations on the structures of the chakras and other graphical presentations. Of those systems, the Katapayadi which took strong roots in Kerala is considered the most authentic.  That system is also in use in the South Indian classical music.

The  Katapayadi, in a way, anticipated the hashing technique of Computer Science which derives a number from a non-numeric key for indexing into a table. For more on that, please check the following link; and, if possible, refer to the fourth section of a scholarly book: The Eastern mysteries, an encyclopedic guide to the sacred languages by David Allen Hulse.

http://www.new.dli.ernet.in/rawdataupload/upload/insa/INSA_1/20005b66_273.pdf

According to Katapayadi, the Bija “Gam” has a numeric value of three (Ga =3; the Anusvara the dot and Anunasika  the dot within a crescent placed over the letter having no numeric value). Ganesha is thus associated with the number three , which sometimes is expressed as :2+1.

After having invoked Ganesha with his Bija Gam, the worshipper salutes his Lord with the chant: Ganapathaye namaha. The numerical value of that chant , according to Katapayadi  is twenty-one : ( ga =   3; Na=  5; pa =1;ta =6; ye=1; na=0; and mha =5).Please check the table  posted below.

Thus, it appears ,  is Ganesha’s  association  with numbers three and twenty-one.

This is , as I understand it; I could be wrong.]

Katapayadi Tables

ancient_indian_katapayadi_mnemonic_for_remembering_raga_names_

vigneswara

 
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Posted by on September 30, 2012 in Indian Philosophy, Speculation

 

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On reading DMRSekhar’s ‘Genopsych’

sunrise

 My friend Dr. DMR Sekhar, sometime back, wrote a learned paper on genopsych. It was a term coined by him (I presume). Genopsych, as I understand, is a hypothetical property that causes disturbance, propels evolution and directs variations in the genome. It has its roots in second law of thermodynamics, which deals with the relations between heat and other forms of energy . And,  Dr.Sekhar’s Genopsych  is a rather an unusual interpretation as it involves physics, genetics and philosophy. It is a very daring exploration. Let me admit, I don’t pretend to understand all that has been said in his paper. My academic background is, to say the least, is wafer-thin. Yet I admired it.

What I have written under is neither a comment nor a direct response to the concept of genopsych. It is just a short note of my thoughts on reading Dr.  Sekhar’s article. It is based in my understanding of the concept, as I read the paper. I could be wrong in my understanding.

I am not sure if my note serves any purpose. Yet, I hope it might spur Shri Sekhar to look at the other dimensions of the issue.

image

A. I read with great interest the article crowded with ideas and concepts. I tried to be focused on Genopsych.

Genopsych, as I understand from Shri Sekhar’s article is that:

  • Genopsych is not physical
  • Genopsych may directly control/operate our behaviour.
  • Our behaviour and many things we do may be attributed to genopsych.
  • Genopsych of all individuals is similar.
  • All living things at genetic level are same.
  • Genopsych undergoes updating and development due to evolutionary reasons.
  • Soul is described to exist without physical body whereas genopsych may not exist unattached to genes.
  • Meditation, it appears , is the advertent way of communication of mind with genopsych.

As he says, genopsych is not the soul, in the sense it is not the absolute, immutable pure consciousness; nor is it the individual soul jiva either, because the concept of genopsych probably may not allow reincarnation. Yet Genopsych is not dying. There is no death to genopsych along with the body because Genopsych is not physical .And, it continues to survive along the gene flow firmly attached to it; and it controls/operates our behavioural patterns in the next phase of existence too.

Genopsych is not mind, either. What is called as mind is a bunch of thoughts; and has no independent existence. The mind always exists in relation to something gross; it cannot stay alone. When the mind becomes quiet, the world disappears. Sri Ramana says when one persistently inquires into the nature of the mind; the mind will end leaving the Self (as the residue).

**

B. That reminds me of a much discussed concept in Indian thought – both Hindu and Buddhist.

Vasanas are subconscious inclinations, likes and dislikes, which drive habit-patterns or direct ones attitudes. It emanates from every thought, every feeling or every deed that one has done or does. The Vasanas are ego-centric in the sense they are centred on “I”.

In a way of speaking, Vasanas are ‘fragrance’ of past experiences, lingering memories. (It is just as a waft of air that  flows over a flower-bed carries along it  the delicate fragrances).  They are the subtle impressions; and their effects are long lasting. When Vasanas manifest as desires, they cause agitations in the mind, and the mind becomes restless until those desires are fulfilled. It is thus the other-side of entropy; it causes disturbance and propels evolution.

It is explained that when the individual jiva departs it takes with it the casual body that is the accumulated Vasanas, and gravitate towards a field that is conducive to ones experiences and inclinations (Vasanas).

The Buddhist texts say that Vasanas are stored in a latent form in “Alaya”, a sort of storehouse, ready to be set in motion. Alaya, impressions stored as a kind of seed, is sometimes known as Bija (memory/sowing seeds). Lankavatara sutra, a renowned Buddhist text, says the world starts from seed-memory retained in the Alaya universal mind. The text asks one to be rid of false memories that impede true perception.

ālayāt-sarva-cittāni pravartanti taraṃgavat / vāsanā-hetukāḥ sarve yathā pratyaya saṃbhavāḥ // Lank_10.871 //

It appears Vasanas are not merely individual memories; they are also collective, experienced by all conscious beings. (I am not quite clear on this)

C. Sri Sankara in his most erudite introduction to Brahma- sutra–bhashya also talks about memories that impede the understanding of the true nature of things. He examines the nature of error that prevents us from experiencing things as they really are; and explains it through the concept of Adhyasa, which means superimposing ones memory previously gained in another place and another time. We tend to recognize or interpret our experiences, sometimes incorrectly, by superimposing our past memories.

At another level, it is said; those memories or impressions, formed are the subtle traces or vasanas of events- not only of the present life but also of events of multiple past lives. They condition our sense and experiences.

Another explanation is that Vasanas are born out of samskaras, the accumulated experiential impressions formed out of our actions. The Vasanas (tendencies) in turn, give rise to thought patterns which again lead to attitudes and mental dispositions. These inherent inclinations of the mind are called vritti. The vrittis in their turn influence our actions.

That is, we act as directed by our mind (chitta vritti) to satisfy our desires or inclinations (vasanas) which arose out of the impressions (samskaras) gained out of previous experiences or acts (karma). It is a cycle.

Karma (action) — samskara (impressions)— vasana (tendencies)— chitta vritti (thought patterns) — karma (action)

D. The concept of vasana is also of importance in Yoga psychology. In Patanjali’s text, the term appears to have the meaning ‘Specific subconscious sensations.’ Mircea Eliade in his book Yoga: immortality and freedom interprets the term as ‘states of consciousnesses.

Yoga is the restriction or control of the ‘citta vrittis’, Yogah chittavritti nirodhaha. The chitta vritti perhaps refers to the various modifications or thought-forms. The methods prescribed for evading the grip of the Vasanas and to be thought-free, is complex.

chakra

E. As I understand, genopsych is a property (vastu-vishesha) ; and, its attributes can be auspicious or otherwise; while Soul is said to be beyond all attributes.  It, therefore, seems to me, the concept of genopsych is closer to that of the casual body (karana-sarira) the carrier of Vasanas the accumulated subconscious inclinations, tendencies, rather than to the immutable Soul.

[Please read: Yoga, Immortality and Freedom by Mircea Eliade; Translated by Willard R. Trask; published by Princeton University Press. And, please also check

http://www.advaita.org.uk/discourses/sadananda/vasanas2_sadananda.htm

http://www.mentalstates.net/add_h.html#f200 ]

F. Dr. Sekhar also talked about meditation and control of mind; and said meditation appears to be an advertent way of communication of mind with genopsych.

The texts believe that breath is the gross form of mind. And, the exercise of breath-control is regarded an aid to render the mind quiet (mano-nigraha).The practice of breath control or watching over the breath therefore somehow became a part of meditation.

When the breath is controlled the mind becomes quiet; and when the mind becomes quiet the breath is controlled. But mind will be quiet only so long as the breath remains controlled; otherwise, the mind will wander as impelled by residual impressions (vasanas).

That is because the mind is influenced by residual impressions (Vasanas).Mind could , therefore, be better directed or controlled by moving away from Vasanas – attachments, eschewing  desire and hatred. The real freedom is being free from Vasanas the self-centered desires; and, when that happens one could be free from thoughts. That is reversing the trend of Vasanas towards low entropy.

One has to move away from Vasanas – attachments; and realize ones true nature.

Sri Ramana said, Self is the residue when there is no ego, no attachments (Vasanas) and no mind. That is when there is no “I” thought. That is “Silence”.

rose-SG.2 jpg

 
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Posted by on September 28, 2012 in General Interest, Speculation

 

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Meditation and Entropy

meditation

Just the other day, I was reading an interesting blog Meditation and medication -2 strands of a DNA helix of LIFE  posted by  Shri Santhemant. He said, among other things, when the mind is palliated , the body gets its benefit too. Meditation is also the medication of the mind.

I was wondering if the state of meditation could also be interpreted in terms of entropy- one of the favorite subjects of my friend Shri DMR Sekhar.

Entropy in physics is a measure of disorder. I believe we all have mental entropy.

Before we get to meditation, let’s get familiar with entropy.

***

When we boil water, the temperature of its molecules increases. As the water molecules get energized, they tend to be excited ; the system gets more chaotic; and, with that, their disorder too increases.

On the other hand,  if the entropy of a system decreases, the system becomes more ordered or structured. For example ; when we cool water to its freezing point, it becomes ice. The normal ice has tetrahedral structure.

Now coming to the human situation, the human brain, it is said, is an overcrowded network of billions of neurons, each of which is perpetually trying to assert its presence, in one manner or other. There is , therefore , a ceaseless chaos running in our waking state , side by side with our structured thinking process [programmed psychological behavior]. The activities of these neurons (thoughts) influence various biological changes through complex mechanisms. The impulses and interactions spread to the human organism through its intricate network of nervous system.

The level of psychological chaos in certain individuals might be higher (that is, higher entropy levels). They are “distracted” easily; are restless ; and,   find it hard to concentrate. They , therefore, need to control and reduce the inputs that tend to excite the system. Perhaps, closing the eyes might help them to concentrate better (reduce entropy levels by cutting down inputs). A good-sleep also helps greatly in minimizing excitation impulses. Otherwise, lack of adequate sleep leads to fatigue the nervous system – that is, it exacerbates disorder or pushes up the entropy levels.

Therefore, when you put away or ignore distractions, there is less disorder within. The tendency to waver and scatter also decreases. In other words, in an ordered mind , free from distractions, the entropy level is very low.

In the waking-state, when the entropy of the mind is consciously brought down, there is less disorder; the mind becomes calm and clear.

If you extend the logic further, you might say that when the entropy approaches near-zero level ,the mind tends to be thought-free. A thought- free mind is free from distractions and conflicts; and, a state of calm and quiet envelops you

lotus 888

 
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Posted by on September 28, 2012 in General Interest, Speculation

 

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Ardha-Nari

Ardha-Nari

(A bunch of thoughts – Posted in response to a Note from Shri D Sampath)

ardhanarishvara_shiva_shakti

In both the Shakta and Shaiva traditions of Tantra school, the Ultimate Reality is conceived as the Unity of Shakti and Shiva They are regarded as one.

Ardhanarishvara “the Lord Whose Half Is Woman” represents a transgendered being created by the union of Shiva (male) and Shakti (female). The Ardhanari form illustrates how the female principle of God- Shakti is inseparable from the male principle of God – Shiva. The Ardhanarishvara, above all, represents the totality that lies beyond duality.

Siva in the compound form of Ardha-nari is a hermaphrodite from whose womb the phenomenal existence proceeds.

Ardhanari Sundareshvara temple Madurai

Shiva Ardha-nari is described, as being the Soul of the World, and as partaking of the nature of both sexes. From him, all existence is derived. The creation is evolving itself. Death is nothing more than a change of body and a passing from state of visibility into invisibility. Every moment, some part of the world passes into this Invisibility. It does not utterly perish, but only disappears from our sight, or being translated into some other form.

There is also a tradition , which visualizes the whole of this existence as the unity of Lakshmi the Goddess  and Vishnu. The Devi is the Mother principle that brings forth and sustains this Universe.

vishnu lakshmi combined

According to  Shaktha tradition, Devi is identified as the source of all manifestation, male and female … it is her body that splits in half. In other words, she is the androgynous divine.  Shakthas therefore customarily refer to the hermaphrodite from as Ardhanarishwari using the feminine ending i to suggest saying she is “a goddess who is half woman”.

(Devi as Ardha-purusha)

The significance of this view is rather interesting. Shakta creation theories place the Goddess at the center of the scheme of things. They argue that since the nature of the Cosmos is reflected in the human body; and since it is the Female who gestates and gives birth to new life,  it  is appropriate to recognize  the hermaphrodite from as being principally feminine.

In the Shakta view, the Ardhanarishwari illustrates Devi, the Goddess, as producing her consort Shiva out of herself, balancing perfectly her feminine and masculine aspects.

[ I reckon, the arguments about the male or female orientations of Ardha-nari are rather pointless, beyond a certain level of analysis . After all, the Supreme Divine is neither female nor male;  rather, it encompasses and transcends all gender distinctions.]

ganga composite

Ardha-nari in iconography is depicted as half-male and half-female. Ardhanarishvara is typically shown with the left half of his body being female and the right half, male. The female (Shakti, or Parvati, or Uma) half is usually garbed in red and often holds a lotus, while the male half (Shiva) wears a tiger skin or an ascetic’s cloth around the waist. The skin of the female half is tan, while that of the male half is light blue. His/her gaze is pensive, serene; his/her pose sensuous, inviting.

Ardhanari with sons

The cult of Ardhanarishvara appears to have reached a pinnacle during the tenth through the twelfth centuries and again in the eighteenth and early nineteenth centuries, when he-she became a popular subject in sculpture and painting. The best sculptural depictions of Shiva as Ardhanari are to be seen in the sensuous Chola dynasty bronzes and the sculptures at Ellora and Elephanta.

AN01027847_001_l

It was as though two objects were simultaneously perceived in close proximity. In one half it was as white as camphor and in the other half it is as red as red lead. The body of a single unit was highly wonderful. In one-half there was flowing tresses. In the middle of the necklace there was a flower. The body of the crescent moon-crested Lord had silk in one-half that was beautiful with a single anklet, ear-ring and bracelet. The body of the companion of Kubera shone with a single breast“.

 [Skanda Purana]

ardhanari

Her body is fair like the champak flower;
His body is like camphor.
She has elaborately braided hair decked with pearls;
And he has matted hair.

From Her you hear the movement of tinkling anklets and bracelets,
His lotus feet have glistening anklets of snakes.
She is adorned with golden armlets,
And He has armlets of snakes

Hers is the dance that creates differentiation;
His is the dance that destroys everything.
I bow to the Mother of the Universe.
I bow to the Father of the Universe.

[“Ardhanarinateshwara Stotra,” or

 “Hymn to the Lord of the Dance Who Is Half Woman”]

ardhanariswara

Ms. Ellen Goldberg observes: the true Shakti-Shiva balance of Ardha-nari enables the devotees to overcome the purely human biases and prejudices. As she explains “The image of Ardhanarishwara does not merely present a synthesis of masculine and feminine gender traits, but rather attempts to portray a fundamental belief in the possibility of personal transcendence, usually understood as the attainment of non dual consciousness. …

[However, it can only capture this ideal if and when the ego of gender — which at times distorts and privileges the male half of the image — has been recognized and [overcome].”

The Tantra ideology believes that no one is just male ; and, no one is just female; everyone is bi-sexual. The elements of both  sexes are there in each of us. The Ardha-narishvara , in a way, represents this concept. Now , modern psychology, depth psychology particularly, also says that man is both man and woman

***

http://shaktisadhana.50megs.com/Newhomepage/shakti/shivanshakti2.html

Please see Ardhanareeshwara Stuthi which describes Shiva as Ardha nari

http://www.stutimandal.com/gif_misc/ardhanari_nateshvar_stuti.htm

Please also check the Shaktha version of Ardhanareeshwari Stotra a beautiful poetry which sings the glory and the sublime beauty of the Mother as Ardha nari.

http://shaktisadhana.50megs.com/Newhomepage/stotras/ardhanari.html

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Rig Veda also speaks about the One appearing as many; and the single egg splitting into Bhuta and Prana. ‘He, who is described as male, is as much the female and the penetrating eye does not fail to see it’. The male is only so much male as much he is female; and the female is only as much female as much she is male. The maleness and femaleness are the attributes contained in one frame.

In the hymn ‘Ekohum bahusyami’ (Shiva Purana), Shiva says, I am One, but wishes to be many.

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The imagery of the all enveloping space issuing out of a dimension-less Bindu often occurs in Tantric texts. The Bindu at the center of the Sri Chakrais the symbolic representation of the complete harmony (samarasya) of Shiva (consciousness) and Shakti (energy). It signifies a state of non-duality where all tendencies and distinctions have vanished.  By worshiping the Devi in Sri Chakra one is actually worshiping the highest ultimate force in the Tantric ideology, Sri Ardhanari, where all aspects are non-existent.

Ardha Nari and Dakshina murthy

The followers of Sri Vidya who worship the Sri Cakra too envision the deity as Mother Goddess.

It is explained the Sri Chakra is itself androgynous by its very nature . Bindu is Kameshwara, the ground of the universe; the Trikona is Kameshwari the mother of the universe. The union of the two is Sri Chakra, which in its androgynous form symbolizes the underlying unitary principle in all existence.

The Samayin school of Sri Vidya regards Shiva and Shakthi as one; Shiva becomes Kameshwara and Kameshwari becomes Shiva. The identity of Shiva and Shakthi is the foundation of phenomenal manifestation in order to create (srusti), preserve (sthithi) and withdraw (samhara).

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This school regards Shiva as Dakshina_ murthi. The expression Dakshina means a woman, a female principle which is competent to create, unfold and manifest. And, when Dakshina assumes a form as Dakshina_murthi, it is Ardha-nari.

Kashmiri Shaivism too argues that the Absolute is not merely self-luminous but is also self-consciousness and dynamic. The two aspects of self-luminosity (svaprakasha) and self-consciousness (vimarsha) are the representations of Shiva and Shakthi.

And, their non-duality is figuratively expressed through the concept and the form of Ardha–nari, the two conjoined- the one as two and inseparable. This school believes that the Absolute manifests itself as multiplicity while never shedding its fundamental nature. The entire world of experience –diversity and unity, subjective or objective- is the manifestation of the Absolute.

The relationship between the world of manifestation and multiplicity, with the Absolute is sought to be explained with the analogy of the gold and the ornaments made out of it.Shiva is the essence and when this force fuses with Shakthi it results in multitude of manifestations.

The relation between Shiva and Shakthi is also compared to the relation between the sun and its rays. The analogy represents the union of the core substance and energy it radiates; the Being and his Shakti. It embodies the principle of Ardhanaeeshwara.

Brahman is static Shakti; and Shakti is dynamic Brahman.

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**

Ajna chakra is positioned at the eyebrow region and is said to represent the psychic channels Ida and Pingala which meet here with the central shushumna channel, before rising to the crown chakra, Sahasra. Ajna is considered the chakra of the mind. It is the seat of intuition, and the ability to see the underlying reasons behind everything. It is here that all energies of the body meet up and become one. The presiding over this chakra is, aptly, the Ardhanareeshwara also called Shukla –mahakala, a hermaphrodite form of Shiva-Shakthi symbolizing the primordial duality of Subject and Object and the culmination of all energies. The deity of this chakra is Haakinii, the one with six faces and six arms.

***

Rig Veda speaks about Dyava-Prihtvi  Heaven and Earth as parents who sustain all creatures; they are also the parents of the gods. One is a prolific bull and the other a variegated cow, both being rich in seed.  In this case, the Earth or Matter was the wife; and the Soul often identified with Heaven or the subtle ether was the husband. By their conjunction all things come in to existence. So inseparable is their union, as father and mother, that the two blend together, forming one great Hermaphroditic deity from whom sprang every varied part of the Universe.

[Dyaus is usually referred to as the father (Dyaus pita), while Prithvi the Earth is the Mother (Prithvi –mata).But, strangely, both are, at times, spoken of as two maidens or mothers (RV: 10.64.14).And, in about 20 passages, Dyaus is feminine and is called as a Devi (goddess) .Prof. MacDonnell remarks that Dyaus’s female counterpart (Prithvi) was so dominating and overpowering as even the gender of Dyaus of got subdued into a feminine status.]

In this material system, the Intelligent Being was sometimes regarded the animating Soul and sometimes the husband of the Universe (purusha), while the Universe (creation) on the other hand was sometimes reckoned the body and sometimes the wife of the Intelligent Being (prakriti). The husband and wife blended together into one hermaphrodite; whatever is said of the one is also said of the other. Shiva and Parvathi form that compound deity partaking of both sexes, the Ardha-Nari. The union of the two is as perfect as that of the soul and body in a person.

The Great Poet Kalidasa hails the two as inseparable like the word  (vak) and its meaning (artha). 

The expression Purusha etymologically signifies that which moves ahead (purati agre gachchhati) . It is derived from the root pf which carries shades of meanings as protecting, pervading, filling etc. Prakriti the feminine principle represents matter, nature and life . Prakriti evolves, changes and binds; but it needs the presence of Purusha to enliven, to create and to preserve life. The Universe is the manifestation of Purusha and Prakriti, entwined inseparably.

(Painting by Sheree Rehema who says “This is easily my favourite of any art piece I’ve done, and symbolizes creation, love, and divine unity amongst a host of other things for me. I hope the love shines through.”)

***

Similar ideas appear in other cultures and other religions. Please check this interesting site for details. It showcases comprehensively then on-binary and inter-sexed deities in Egyptian, Greek, Hindu,Kabbalah,Buddhist,Christian, Polynesian, Sumerian, African Aztec and Norse traditions :

http://www.whatisgender.net/phpBB3/viewtopic.php?t=187

When you make the two one, and when you make the inner as the outer and the outer as the inner and the above as the below and when you make the male and female into a single one, so that the male will not be male and the female not be female …. Then you shall enter the Kingdom.”

Jesus of Nazareth, in the Gnostic Gospel of Thomas, Logion 22

Zohar considered the most important work of kabbalah or Jewish mysticism  too holds the belief that the Godhead is complex, rather than simple, and that divinity is dynamic and incorporates gender, having both male and female dimensions. The oneness of God is perceived in androgynous terms as the pairing of male and female; the former characterized as the capacity to overflow and the latter as the potential to receive.

George Stanley Faber in his The Origin of pagan idolatry (1812) makes an interesting observation in this regards:

We sometimes find in these texts the serpent was produced from the egg, and sometimes the egg from the serpent. They stand therefore connected mutually with each other in the relation of parent and child. It is perhaps that contradictory relationship which is feigned to subsist between the great father and the great mother. The one is said to be the husband of the other; and from their mystic embrace all things are generated: yet the great father is described as the parent of his consort; and the great mother is represented as the parent of her husband.

But the great father was Adam reappearing in Noah: and the great mother was the Earth melting into the character of that smaller world the Ark. These two being blended into one, whatever is said of the former is equally said of the latter: and, as the great god was also a goddess, and as the great goddess was also a god; each of them, by whatever name they may be distinguished, is alike pronounced to be one and all things.

Such is also the character of Janus, Jupiter, Pan, and every other chief god: they are declared to be each the same person. Such also is the character of Isis, Isi, Venus, and the other kindred goddesses: they are each declared to be one person, and properly they are the Earth and the Ark viewed conjointly; yet, from their hermaphroditic union with the great father, they are each like him declared to be the Universe.

ardhanari tantric

The Shakta texts declare that Devi is the Brahman (the Supreme Divine), and that Shiva and all other gods and goddesses are her aspects. Amazingly, the Ardhanarishwari produces her consort Shiva out of herself, perfectly balancing Her Feminine and Masculine aspects. She is atonce the mother and the consort.

The tantric text Pingalo-panishat (verse 21) describes the Devi. She is seated in the centre of the triangle (trikona chakra) the three sides of which are represented by the three gods Brahma (creator), Vishnu (preserver) and Rudra (destroyer). They are the expressions of the aspects of Shakthi. They are her creations. She is Chinmayi, pure consciousness. She is masculine, feminine and nature .She is the mother goddess, the mother- father of the entire universe. She is the hermaphroditic Devi in the form of Ardha-Nari.

At the same time, the other texts describe that in the single character of Hiranyagarbha all the three offices of Brahma, Vishnu, and Siva, are united. He is at once the creator, the preserver, and the destroyer. He is the primeval hermaphrodite, or the great father and great mother blended together in one person. Consequently, he is the hermaphroditic Siva in the form of Ardha-Nari.

[http://www.amcbryan.btinternet.co.uk/origin-of-pagan-idolatry-vol-1.pdf ]

The Chinese, the Pythagorean, the Orphic, and the Platonic theology regard same great father and great mother united in the single mysterious person of the hermaphroditic Adonis, or Zeus, Phoenician, or Orphic theology.

According to Greek mythology Hermaphroditus the child of Hermes and Aphrodite fell so passionately in love with Salmacis, a nymph, that they beseeched Zeus , the king of gods, to unite them for all times. Zeus did accede to their request and joined them in a single body. Since then , it is believed , man and woman reside in each other.

The Pythagoreans were fond of expressing such notions by numbers. Similar to this is the Chinese opinion, that one produces two, that two produce three, and that three produce all things.

In Chinese Taoism this concept is symbolized by the coming together of YIN and YANG in the Tao. Like Ardhanarishvara the Greek god Hermes, is associated with communication; the intermediate being that often serves to mediate between women and men, mortals and deities, and between other entities.

  

Androgynous Azoth by Johann Georg Gichtel(1638 – 1710)

According to some interpreters of Tarots, the central figure is androgyny; and the scarf conceals this fact. This figure represents Truth, just as Ardha –nari represents Truth and harmony in nature.

Similarly, the Hermit is the Androgynous keeper of self knowledge. He too wears a veil.

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Finally, The Supreme Reality is conceived as non-dual, having within it, a subtle duality of Shiva and Shakthi – the Power holder and Power- described as being (Sat) and will (Chit). What is called the Power becomes the Mother, Tripurasundari and the Power Holder, Shiva her Concert. Though they are one in principal, they appear distinct. Shiva and Devi both encompass each other’s aspects and each becomes the substratum of Ardhanareeswara.

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At another level, Ardhanareeswara´s iconographical embodiment of paradox and the meeting of dualities-embodied sonically as well as visually- and synthesis; embodied by individual men and women. The male hormone Testosterone in women and the female hormone Estrogens in men testify to the fact that characteristics of both sexes are present in each one of us. The production of these in our bodies keeps our personalities and our bodies in balance. The differences are brought together in the beautifully conceived anthropomorphic form of Ardhanareeswara.

The form encompasses everything from action to inaction, eternal rest to endless activity, the terrible and the benign. The Devi depicted on the left half of the deity, is the power of god by which creation, protection, and destruction of the universe is accomplished. The philosophy of the Ardhanareeswara places the genders on equal terms without question.

Ardhanareeshwara stands for a profound philosophic truth that the female and the male are complementary to each other and it is their combination, the blending of grace and power  that contributes to the creation , preservation and propagation of life.

It is one of those things; as a concept Ardha-nari is highly fascinating;  and one can talk endlessly  about it eloquently and even sing in rapture. But as a reality, it is very hard to deal with; and more so live it.It is worse than living hell.

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Resources:


Lalitha Sahasranama, Soundarya Lahari and Bhakararaya’s commentary on  Bhavanopanishath.

Women, Androgynes, and Other Mythical Beasts by Wendy Doniger O’Flaherty

The Lord Who Is Half Woman: Ardhanarisvara in Indian and Feminist Perspective by Ellen Goldberg

ALL PICTURES ARE FROM INTERNET

 
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Posted by on September 11, 2012 in Ardha-nari, Indian Philosophy, Speculation

 

Tags: , , , ,

Sabda- The Spoken Word – Grammarians’ View

“The three worlds would have merged in darkness had there been no light called Sabda” said Acharya Dandin (6th century) the celebrated author of prose romance and an expounder on poetics.

The ancient Indian philosophers and Grammarians loved elaborate discussions on all aspects of the spoken word: its origin in the mind and body of the speaker; its articulation; its transmission; the grasp of the sound and the essence of the word by the listener; its ultimate reception by the speaker’s intellect and such other related issues.

Each of the major schools of Indian philosophy such as Mimamsa, Tantra, Yoga and Prabhakaras viewed and interpreted the origin and nature of the Universe by exploring the nature and manifestations of the sound. They built elaborate philosophical edifices around the concepts they evolved during that process. Those traditions considered sound as one of the most important principles of existence; as the source of matter and as the key to be free from it. They described Sound as the thread-like link between the material and spiritual realms.

Even Gaudapada, Sri Sankara’s parama Guru, in his Karika, dealt at length the sacred syllable OM composed of three maatras : A, U and M, which according to him represented three levels of consciousness. He also came up with his theory of a super consciousness, the turiya, the fourth,para-vak.

The great Indian poetic genius Kalidasa spoke of speech (Vak) and its meaning (Artha) as functional in sustaining the universe and their need to be in unison as Parvathi and Parameshwara the originators of the Universe.

The many-sided genius, the Philosopher Abhinavgupta (10th century) described the word as the incarnation of the divine mother. The Sabda and Artha as shabdartha-brahman  are the embodiment of Shiva and Shakti.

I do not propose to discuss here any of those philosophical or mystical aspects of sound and the spoken word. I would be content to restrict myself to the Grammarians’ point of view of Sabda, its constituents and the related issues.

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The Grammar in the ancient Indian context was a highly respected subject. Bhartṛhari in his Vakyapadiya described grammar as the “purifier of all the sciences.” He said the use of correct forms of language makes possible   the philosophic or any other pursuit of knowledge.

The spoken word too enjoyed a premier position. That might be because the speaker and listener are both present to the utterance simultaneously and the communication is almost instantaneous. This immediacy seemed to guarantee the genuineness of the exchange.

It appears to me, the questions, among others, that engaged the attention of the Grammarians such as Panini, Kathyayana, Patanjali and Brthrihari were:

How does a word consisting of a succession of phonemes generate a unique meaning? How does a sentence consisting of a succession of words generate a meaning?

Whether a given element in a sequence carries a self-sufficient meaning or whether the constituent element conveys not only its own independent meaning but also simultaneously an additional qualified meaning determined by the dynamics of the context.

***

Sabda, in Grammar, is a technical term; and,  is commonly used to denote sound .  Grammatically, Sabda is a masculine term. And ,  it   stands for a vast variety of references that include  “ sound , noise, voice , tone , note , word , speech , language , the sacred symbol  Aum , verbal  communication , testimony , oral tradition , verbal authority or verbal evidence”.  Although the term Sabda is used in rather countless ways , in the Indian thought , it basically  relates to theories of sound; and,  it is generally understood as linguistic sound , mostly connoting vocal sound which carries meaning (Artha) , either in the form of an object or a thought .

Here, I have used the word “spoken word” to represent the term ‘Sabda’, rather loosely, for want of a better term.

In Grammar, Sabda stands for word manifested by Dhvani (sound). It has the innate power to convey a certain sense (Artha). Further, in all schools of Indian thought there is an assumed relationship between Sabda (word) and Artha (meaning).

Sabda, it is said, normally, has two aspects: un-lettered sound (Dhvani) and the lettered sound (Varna).

The signifier (Dhvani) is tied to the signified (Artha).It is also said; Dhvani and Artha together make a word (Sabda).

The relation between Sabda and Artha is one of identity. The word, sound, sense and knowledge overlap each other. Generally, Sabda denotes a meaning-bearing word-sound, while Nada signifies ‘voiced’ or vowels or non-linguistic sounds.

Similarly, Vak is another term that has varieties of references.  Vak , grammatically , is a feminine noun meaning – speech , voice , talk , language ( also of animals and birds) , sound ( also of inanimate objects such as stones or of a drum) , a word , saying , phrase , sentence , statement and speech personified.

But, in the ancient texts, Vak is not mere speech. It is something more sacred than ordinary speech; and carries with it a far deeper significance. The Rishis are said to have visualized the sublime form of Vak which is regarded eternal and beyond the ordinary senses.

In Rig Veda there are three kinds of references to Vak: Vak is speech in general; Vak also symbolizes cows; and , Vak is personified as goddess revealing the word.  It also appears that Vak is the energy that is underlying every kind of speech; and it also is the language of nature in which the sounds of cows, animals, frogs , birds , trees and hills find expression  . The extant of Vak is said to be as wide as the earth and fire.

Here, in this post , Vak , in a limited sense, refers to human speech.

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A speaker wills to give expression, through intellect, to something that arises in him. For this purpose, he employs a sentence comprising words uttered in a sequence. The word itself comprises letters or syllables (varnas) that follow one after the other.

The spoken word emerges out of one’s mouth, no doubt. However, it needs the assistance of several body parts in order to manifest itself. The throat, head, tongue, palate, teeth, lips, nose, root of the tongue and bosom are the eight places where the sounds of the letters originate.

Generally, a two-fold effort is needed to utter a letter or a syllable: the internal effort (abhyantara prayatna) and the external effort (bahya prayatna). The former is classified into two kinds while the latter (the external) into eleven kinds. The ancient Grammarians obviously went great lengths to trace the origination of each letter, its appropriate sound; the intricacies and efforts involved in producing them.

When a person wills to express a thought orally, the air inside his body spurs and moves up. Sabda then manifests through Dwani – sound, with the assistance of appropriate organs. That Sabda or the Vak, which term roughly translates to speech or utterance, becomes manifest.

Grammarians classify Vak into subtle and gross forms. Of these, Para and Pashyanti are the subtle forms of Vak; while Madhyama and Vaikhari are its gross forms.

Para is the highest manifestation of Vak and is often referred to as Sabda Brahma. Para and Pashyanti are inaudible; they are beyond the range of the physical ear. It is said, Sri Dashinamarthy and other sages communicated through these very subtle forms of vak. Pashyanti which also means the visual image of the word, is indivisible and without inner-sequence; meaning that the origin and destination of speech are one.

Madhyama is an intellectual process, during which the speaker becomes aware of the word as it arises and takes form within him; and he grasps it. Madhyama vak is a sequenced but a pre-vocal thought, Here, the sound is nada  and is in a wave or a vibratory (spandana) form .

Vaikhari vak is sequenced and verbalized speech. Vaikhari is the articulated speech, which, in a waveform, reaches the ears and to the intellect of the listener. Vaikhari is the physical form of nada that is heard and apprehended by the listener. It gives expression to subtler forms of vak but is not its ultimate.

**

[The theological explanation of the manifestation of speech could briefly be as under:

It is explained; the process of manifestation of speech, like that of the Universe, takes place in four stages. First, in the undifferentiated substratum of thought, an intention appears. This first impulse, the self-radiant consciousness is para-vak (the voice beyond).  Gradually, this intention takes a shape .We can visualize the idea (pashyanthi-vak) though it is yet to acquire a verbal form. It is the first sprout of an invisible seed; yet searching for words to give expression to the intention. This is the second stage in the manifestation of the idea. Then the potential sound, the vehicle of the thought, materializes finding   words suitable to express the idea. This transformation of an idea into words, in the silence of the mind, is the third stage .It is the intermediary stage (madhyama-vak) .The fourth stage being manifestation of non-vocal verbalized ideas into perceptible sounds .It is the stage where the ideas are transmitted through articulated  audible syllables (vaikhari-vak).  These four stages are the four forms of the word.

The three lower forms of speech viz. Pashyanthi, madhyama and vaikhari which correspond to intention, formulation and expressionare said to represent iccha-shakthi (power of intent or will),jnana-shakthi (power of knowledge) and kriya-shakthi (power of action).These three are construed as the three sides of the triangle at the center of which is the dot-point (bindu) representing the undifferentiated notion para-vak. The triangle with the Bindu at its centre suggests the idea of Isvara the divinity conceived as Sabda-brahman.

The urge to communicate or the spontaneous evolution of Para-pasyanti into vaikhari epitomizes, in miniature, the act of One becoming Many; and the subtle energy transforming into a less_ subtle matter. Thus the speech, each time, is an enactment in miniature of the involution of the One into Many and the evolution of the Many into One as it merges into the intellect of the listener. ]

***

The comprehension of the verbalized and sequenced vaikhari vak entails pratibha or “flash of insight” that reveals to the listener the pasyanti vak, in the form it originated within the speaker. A perfect communication is when vak is identical and is sequence less at both the ends. Bhartrhari in hisVakyapadiya contends: “Just as light has two powers, that of being revealed and that of being the revealer, similarly, all words have two distinct powers. No meaning is conveyed by words which by themselves are not the objects of knowledge”

That, roughly, is the Sphota vada of the Grammarian Philosopher Bhartrhari.  Some say it is analogous to the creation theory of Big Bang and the withdrawal.

For more on Sphota vada, please see –Who was Upavarsa ?

[ In his Sarva-darshana-samgraha, Sri Madhava describes Sphota in two ways. The first as: that from which the meaning bursts forth or shines forth. And, the second as: an entity that is manifested by the spoken letters and sounds. Sphota may, thus, be conceived as a two sided coin. On the one side it is manifested by the word-sound; and , on the other it simultaneously reveals word meaning.

In philosophical terms, Sphota may be described as the transcendent ground on which the spoken syllables and conveyed meanings find their unity as word or Sabda.

Nagesha Bhatta identifies this theory with Sage Sphotayana, mentioned by Panini in one of his rules. Bhartrhari, however, considers Audumbarayana (mentioned by Yaska) as having put forth views similar to the Sphota concept.In any case, the original idea of Sphota seems to go back to the Vedic age when Vak or speech was considered to be a manifestation of the all – pervading Brahman , and Pranava (Aum) was regarded as the primordial speech sound from which all forms of Vak were supposed to have evolved.  Perhaps, this claom provided the the model upon which the Vyakarana philosophers based their concept of Sphota. Indeed Sphota is often identified with Pranava.

Patanjali the Grammarian holds that knowledge is the key factor – a word is a word when it has a meaning. Further, he makes a distinction between Sphota and Dhvani. According to him, Sphota is permanent element in the word, and is the essence of it; while Dhvani – the uttered sound – is an fleeting element, and is only an aspect of Sphota. For Patanjali, Sphota may be a singular letter or a fixed pattern of letters. He concludes that Sphota is permanent , unchanging and is manifested by the changing sounds (Dhvani ) uttered by the speaker and heard by the listener.

On the basis of Patanjali’s explanation, Sphota is both internal and external. The internal form of Sphota is the innate essence of the word –meaning. The external aspect of Sphota is the uttered sound which is perceived by the sense organs. It merely serves to manifest the inner Sphota with its inherent word-meaning ]

***

The ancient Grammarians used the term Dwani to denote the sound of an utterance that reaches the ears of the listener. Dwani is therefore the physical form or the vehicle of a word. Dwani in turn  is determined by the nature of the varnas (syllables) composing it .

[Later , the medieval Indian aestheticians such as Anandavardhana and Abhinavagupta used the term Dwani  to imply the subtle  mood or the rasa evoked by a poem or a gesture in a play or in dance. Here, in this post, let us stick to the meaning of Dwani as termed by the Grammarians.]

Dwani is the auditory aspect   of the Sabda.  The intellect of the listener grasps Dwani as in a flash, Sphota.  The Sphota is therefore the intellectual, subtle and inaudible aspect of the Sabda.

Bhartahari employed the term Sphota to indicate the whole, Artha to refer to the concept or meaning and Dwani to refer to the uttered and heard sound.

The term Sphota does not easily translate into English.  The Sphota is derived from the root ‘sphut’ which means ‘to burst’, but it also describes what ’is revealed’ or ’is made explicit’. Sphota, therefore, means that from which the meaning bursts forth, shines forth etc.  Sphota thus refer to the abstract or conceptual form of a word. Sphota is somewhat similar to the Ancient Greek concept of logos or Word.

For instance, as Patanjali explains, the word ghtata consists letters/syllables gh, a, t and a, uttered in a sequence. The letters as heard are Dwani .Immediately after the last letter is uttered the whole (akhanda), indivisible (not sequential) sense bursts forth in a flash Sphota.

The Grammarians  believed that It was not mere  memory or the past association with the object (jnapaka) , but a unifying higher cognition , superior to  memory ,  termed “pratibha ” that revealed in a “flash” or Sphota the single indivisible sequence less meaning of a word or a sentence .

According to Bhartṛhari, this pratibha or flash of understanding is the insight into the whole meaning of a word or a sentence and it is the light, which removes ignorance. It is indefinable (avicarita) because what it reveals is not some “thing” or an “idea,” but rather the dynamic interrelatedness of all things.

***

That sound of the word Ghata (gh, a, t and a) can be produced in any number of ways, either naturally (prakrta) or in a modified manner (vikruta). That word can be uttered slowly (vilambita), a little more quickly (madhyama) or even very quickly (druta).The variations in speed or in the mode of utterance are called vritti. The vritti might vary the form in which the word is uttered (Dwani); but it does not alter the content and the sense of the word.

For instance, a pot in bright light can be seen clearly. The pot could be seen for a longer time if clear light continues to fall on it. The visibility of the pot depends on the quality of light that falls on it. The variation in the quality of light does not alter the very nature or the status of the pot. Similarly, the change in speed or accent or mode of uttering a word (vritti) does not alter its Sabda or Sphota. The physical aspect of the word that is the quality of its sound (Dwani) might vary but its Sphota remains unchanged. Thus, in effect Sabda too remains unchanged.

Again, Dwani the physical form of the sound could be articulate (like human voice) or inarticulate (like sounds of animals, drums etc.)  Nevertheless, the intellect perceives that Dwani in a flash (Sphota) depending on the listener’s experience (anubhava), reasoning (yukthi) and authority of scriptures (Sastras and Grammar).

The distinction between Sabda and Dwani is basic to the Indian philosophy of language. Thus, in Sanskrit Grammar Sabda stands for the word manifested by Dwani, the articulated sound. While Dwani is variable, Sabda is not. The purpose of the Dwani is to give expression to and to act as a vehicle for Vak. The Dwani as perceived by the intellect of the speaker in a flash is Sphota. The Sphota is the intellectual impression of the audible sound patterns. The Sabda therefore combines in itself the physical form (dwani) of word and its intellectual inaudible from (Sphota).

References:

For a detailed and an intellectual discussion on the above concepts and their relevance in modern times, please check Sequence from Patanjali to Post _modernity by Shri A.V. Ashok.

Please also read a highly interesting paper “Speech versus Writing” In Derrida and Bhartahari “By Harold G. Coward

For a discussion on Sabda, Vak and other concepts in various schools of Indian philosophy, please check The Vedic Conception of Sound in Four Features

The Philosophy of the Grammarians, Volume 5  – edited by Harold G. Coward, Karl H. Potter, K. Kunjunni Raja

 
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Posted by on September 7, 2012 in Speculation

 

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A theory of Creation

There are various theories of creation, ranging from absurd to the sublime.

 There is a classical theory in Hinduism that keeps coming back to me. It may have no scientific validity. Nonetheless, it appeals to my imagination. It springs from the following mantra:

This innocuous looking verse occurs towards the end of the Shukla Yajur Veda Samhita in the form of shanti mantra for the Ishavasya Upanishad.

“Pri” the root of Purna means, “to fill” .This verse has acquired a number of interpretations, including a one with a play of pun on the word purna. Many other layers of interpretations have sprung up by ascribing the meaning of “full”, “whole”, “complete” etc. In addition, mathematical interpretations are derived by assigning numerical values such as ∞ or zero and one, to the term purna. A number of debates center on these interpretations. Even the mathematical interpretation has its critics, who say infinity cannot be added/deducted to/from infinity. If we are talking of two infinities, then they just cannot be infinity because each, obviously, limits the other. Similarly, assigning other numerical values does not also appear to make sense.

Others say the verse talks about the sum total of the energy in the universe. (I was referring to this, at the outset).According to them, the verse states the Universe is infinite. The sum total of energy in the Universe is infinite (a constant). That energy can never be enhanced or diminished. The universe is in a continuous state of flux. All things are in a state of constant flux where energy and information are forever flowing. The matter and energy keep changing forms. Matter and energy are not distinct. Matter is in essence trapped energy. The energy can convert to matter; the Matter in turn can convert into energy. In other words, matter and energy are inter changeable. The energy in the universe can neither be created nor destroyed; it keeps changing its form, from one state to another.

This implies neither was there a creation nor will there be a total destruction. The Universe was not created and it will not be destroyed. It is forever. It always did exist. It has no boundaries either. It is limitless. To signify this endless time and space continuum, the Universe is termed in the texts as Anaadi (without a beginning) and Anantha (without an end). Timeless not in the sense of endless duration, but in the sense of completeness, requiring neither a before nor an after.

It is this continuous state of flux where the matter and energy keep changing their state that we recognize as creation or destruction, as birth or death. . From the absolute point of view, there is neither birth nor death. It is a process in the ever-changing state of matter / energy.

This concept of indestructibility of the Universe with its infinite combinations, its continuous state of flux; keep coming up in various manners. The expressions like, “It” (tat) remains or Brahman (tat) (Universe) rolls with in itself; all things come from tat and resolve into tat etc. capture the essence of the concept.                            

Manduka Upanishad says, “That supreme Brahman is infinite and this conditioned Brahman is infinite. The infinite proceeds from infinite. Then through knowledge, realizing the infinitude of the infinite, it remains as infinite alone”. Sankara in his Brahma Sutra commentary said Brahman is immanent in the Universe.

The body is one continuous stream of matter. The body is viewed as a vessel. It is energy encased in matter. That matter, again, is trapped energy, as mentioned earlier. That trapped inner energy is not different from the total energy surrounding it and is the same as that (tat). Vedanta calls it embodied self (jiva or vijnanaatma).The Adhyasa or Avidya (ignorance) consists in treating jiva as independent and having an existence of its own.

This concept of indestructibility of energy and matter and their interchangeability, strangely, seems to feed the belief in rebirth. On death, the physical body (matter) decomposes and returns to the elements and takes another form. The inner energy (call it life, jiva, soul, spirit, vital force or whatever) is not destroyed. In fact, the “death” occurs when/ after the energy is separate from the shell, (body).That energy is not, therefore, present in the corpse when it is destroyed. That energy may have returned to the total or may have changed into another form of energy or into matter of some form.

The texts say, “Just as the bubble becomes one with the ocean when it bursts, just as the pot-space becomes one with the universal space when the pot is broken, so also the Jiva or the empirical self becomes one with Brahman.”

Thus, energy thrives on energy. Life thrives on life .jeevo_jeevasya_jeevanam.

 
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Posted by on September 1, 2012 in Speculation

 

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