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Structural Classification of Vedic Mantras
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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)
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)
