Structural Classification of Vedic Mantras
Swami Ramatirtha had once stated – ‘One
may become a God but one can never see or
show Him...’. The same is true of the subtle
elements of Nature; they can be experienced
or felt-in but can’t be seen or shown in
a laboratory.
Flow of radio-waves and
enormous diversity of the electromagnetic
waves through the ether is well known and
has been utilized in multiple ways in many
scientific /technological applications, though
no instrument has been able to measure or
demonstrate the ‘appearance’ or ‘existence’
of ether. We do feel the effects of chill, heat,
happiness, sorrow, etc, in our day-to-day life
but we can never see or demonstrate our exact
feelings in visible or otherwise perceivable
forms. Then, what to say of the sublime
experiences and transformations at the level
of mind and deeper inner self?
The methods, and (spiritual) functions, and effects
of the (Vedic) Mantras fall in this category of
deeper science of consciousness. The science of
mantras[1] deals with physical, mental, emotional,
and deeper spiritual and transcendental nature,
powers, experiments (japa-s³dhan³s), and
effects of the eternal element of sound (Ïabda1)
and its cosmic vibration (N³da).
Japa2 of the mantras is a means for
awakening the omnipresent subtle power
of Ïabda. When we awake somebody by
touching or pushing him by our hand, the
hand simply plays the role of a tool, it is not a
part of the process of awakening. Similarly,
the specific configuration of syllables and
the sound (including the sublime sound)
produced by the japa of a mantra is a means
for activating specific field of the cosmic
energy of Ïabda in the inner self and subtle
body of the devotee.
Which mantra is suitable for awakening of what
kind of sublime energy center (in the subtle
body) and which kind of s³dhan³ or spiritual
experiment, and which pattern and mode of japa
would be suitable for which purpose, etc, were
also studied by the rishis (Vedic sages) who
had realized and devised (intuitively uttered/
scripted/discovered) the original mantras in the
state of deep trance and spiritual illumination.
Accordingly, they had also classified the
mantras and mantra-s³dhan³s.
Broad type or class of every mantra cited
in the ancient Indian texts is described in its
viniyoga (structural classification). Every Vedic
and T³ntrika Mantra available in authentic
ancient Indian text has a distinct viniyoga.
The ancient scriptures of Âgama and Nigama
describe the viniyoga part along with the details
on the methods (and s³dhan³s) of the japa of
the mantras. Before initiating the s³dhan³ of
a mantra the devotee is supposed to read and
understand its viniyoga.
The viniyoga of a mantra has five components
– (i) Rishi, (ii) Chhanda, (iii) Devat³, (iv)
Bºja and (v) Tatva. The first component
mentions the names of the rishis (Vedicsages, preeminent spiritual saints) who
had discovered (realized), compiled and/or
completely mastered that particular mantra and
who therefore are regarded as authorities on
all the knowledge associated with the spiritual
practice of that mantra. Such spiritual saints
are the ideal gurus (spiritual masters/guides)
for the disciples who endeavor the s³dhan³ of
that mantra. Recalling this first component of
the – viniyoga of a mantra with that revered
devotion for those rishis and adept guidance
of a noble guru is essential for practicing (the
japa of) that mantra.
Chhanda:
The chhanda indicates the rhythmic
composition for the enunciation or chanting
of the mantra. Every mantra can be practiced
with different combinations of swaras
(musical accents) and gati (speed of chanting).
M³nasika, V³chika, Up³nïu, Ud³tta-
An¿d³tta, Swarita, etc, are some of the many
modes of japa that are also described in the
chhanda for a mantra.
The specific pattern of sonic waveforms (and
corresponding vibrations of vital spiritual
energy) generated by the mantra–japa (with
deep mental and emotional engrossment of
the s³dhaka) depends upon the syllables of
the mantra and the type of chhanda used.
The assignment of appropriate chhanda for
the spiritual s³dhan³ processes of practicing
a mantra is called – yati. The selection of
a yati and hence of a chhanda for a given
mantra is decided with respect to the
purpose of the s³dhan³, the configuration
of the mantra-syllables and the mental and
spiritual level of the s³dhaka.
Devat³:
The third component — devat³ (divine power) of
a mantra, represents the specific ‘energy’ field (–
of the sublime currents of Ïabda) in the limitless
expanse of the eternal, Supreme Consciousness-
Force and its divine manifestation, which
would be meditated upon in the japa-s³dhan³
of that mantra. The devotee’s (s³dhaka’s) inner
self is unified with the divine consciousness
upon successful completion of the s³dhan³. In
common language, the devotee gets darïana
of the devat³. We all know that out of many
different programs being broadcast via the radio
waves, a radio set can catch (receive) only the
ones whose frequencies it is tuned for. Similarly,
from the different streams of the energy fields of
Ïabda present in the universe, a mantra can be
used to link the individual consciousness (of the
s³dhaka) with the divine-realm of the devat³ of
that mantra.
Apart from observance of specific ascetic
disciplines, the japa-s³dhan³ of a mantra
requires devoted meditation upon the devat³
along with the specified (according to the
chhanda) rhythmic enunciation or chanting; the
rishis had assigned visible forms to different
devat³s – representing different manifestations
and subliminal expressions of the One, Eternal,
Omnipresent, Supreme Consciousness-Force
(Brah®). Some of the rishis also recommended
worshiping the idol – of such a deity (form of the
devat³) – in sacred ambience before commencing
the japa of the mantras.
Worshiping an idol of a deity often
facilitates proper meditation and emotional
conditioning to strike the intrinsic core
of absolute faith that is necessary for
confluence of the individual consciousness
with the cosmic flow of divinity. This type
of ritual (called s³k³ra up³san³) does help
conditioning the minds of the disciples who
find it difficult to meditate upon the devat³ in
the ï¿nya – the absolute void or ‘physically
non-perceivable’ realms.
Bºja:
The bºja represents the ‘seed’ (origin) of the
mantra. It may be understood as a group
of those syllables that contain, in compact
coded form, the gist (tatva) of the mantra and
thereby imply the core of the specific power
of Ïabda hidden/existing in that mantra.
The japa of the bºja generates the ‘energy’
essential for initiating the activation of the
‘power’ of the associated mantra.
Apart from the physical power of Ïabda, all
the mantras realized, devised, and compiled
by the rishis are also endowed with the
‘magnetic’ power of the vital spiritual force
of Ïabda. The emotional linkage – through
absolute intrinsic faith (ïraddh³) – with the
devat³ of the mantra attracts the subliminal
energy of Ïabda. The devotion and prayers
of the devat³ of the mantra are performed to
initiate this linkage.
Importance of Japa:
Whatever be the viniyoga of a mantra, devout
practice of japa, along with sincere observance
of the specific disciplines associated with its
s³dhan³, is an essential requirement to make it
effective. Japa is a physical, mental and spiritual
exercise. It affects our intellect and mind by a
subtle scientific procedure. Increase in inner
strength, self-confidence, clarity and refinement
of thoughts and sentiments etc, are noticeable
effects of adept practice of mantra-japa that
gradually lead to the illumination of the innermost
core of the individual self.
Japa of Vedic Mantras gives rise to two types
of sublime fields of influence — one, generated
by the sonic-energy vibrations of Ïabda, and
the other, created by the pr³ña3 of the s³dhaka.
The expansion and the power of attraction of
these fields intensify with continuous (cyclic)
japa of the mantras in specific rhythm in a
consistent manner, with devout s³dhan³ and
ïraddh³4 (intrinsic faith and devotion) of the
s³dhaka. The pr³ña, and ïraddh³ of the yogi,
rishi-level preeminent s³dhaka can make the
force of attraction of these fields extraordinarily
powerful; so much so that any kind of animate
or inanimate element/entity entering into
these fields could be transformed according
to the nature of the mantra, mode of japa and
determination of the s³dhaka. Application of
the science of mantras for illumination and
righteous orientation of people’s thoughts and
emotions should therefore be regarded as a
spiritual endeavor, a scientific methodology,
rather than a myth or hallucination.
Notes:
1. Ïabda: Cosmic Element of the perpetual sound of the evolutionary flow / vibration of Omnipresent
Eternal Consciousness- Force.
2. Japa: Repeated rhythmic chanting with meditation and emotional engrossment.
3. Pr³ña: Vital spiritual energy; Will power, force of Inner urge, etc are outcomes of pr³ña. 4. Ïraddh³:
Unflinching, intrinsic faith and devotional feeling for divine ideals, virtues, and devat³s (reflections of
God).
References:
1. Ïabda Brah®-N³da Brah®: “Pt. Shriram Sharma Acharya Samagra Vangamaya” Vol. 18. Akhand
Jyoti Sansthan, Mathura, 1995.
2. Eternity of Sound and the Science of Mantras. (Book based on translation of Chapter-2 and some
other related Sections of the ref. no. [1] above)
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