Welcome to Scribd, the world's digital library. Read, publish, and share books and documents. See more
Download
Standard view
Full view
of .
Save to My Library
Look up keyword
Like this
3Activity
0 of .
Results for:
No results containing your search query
P. 1
The Mahartha-manjari of Mahesvaranada - English Translation by Professor Satya Prakash Singh and Swami Mahesvarananda

The Mahartha-manjari of Mahesvaranada - English Translation by Professor Satya Prakash Singh and Swami Mahesvarananda

Ratings: (0)|Views: 160 |Likes:
Published by Vishnu Arya
The Mahartha-manjari of Mahesvaranada - English Translation by Professor Satya Prakash Singh and Swami Mahesvarananda.
The Mahartha-manjari of Mahesvaranada - English Translation by Professor Satya Prakash Singh and Swami Mahesvarananda.

More info:

Published by: Vishnu Arya on Mar 02, 2013
Copyright:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as DOCX, PDF, TXT or read online from Scribd
See more
See less

07/08/2013

pdf

text

original

 
 
FROM THE ENGLISH TRANSLATION OFMAHARTHA-MANJARI OF MAHESVARANADA -English translation By Professor Satya PrakashSingh and Swami Mahesvarananda
 
 
 
Mahartha-manjari
is an important text of Kashmir Shaivism.It belongs to the 14th Century A.D. and is written in MaharastrianPrakrita, but at the same time, its Sanskrit version was also presentedby the author alongside the commentary known as
Parimala 
. It is a work of just seventy verses.What is particularly significant is that it is claimed to have been theresult of the state of superconsciousness. This has been revealed by theauthor at the end of the work by way of acknowledgement of hisindebtedness to an accomplished
yogini 
appearing suddenly before himfollowing his performance of worship of his deity, namely,
parama Siva 
or
Bhairava 
with patched cloth on her body, trident and skull in herhands. The relevant verse reads, of course, in translation, as follows:Composed summarily in seventy verses knit throughout by the thread of inspiration imparted by a Bharavi, clad in patched garments, holding atrident and skull in each of her hands.She appeared to me in a state I had just awakened, after completing mydaily worship; She took certain promises from me.It would be symbolic to take this verse as of the nature of a dreampoem as of the sort of 
Kubla Khan 
of the English poet Coleridge. Itwould be much better to regard it as a creation of the state of superconsciousness attained by the author in the course of hismeditative worship of the deity and as a suitable background for hisinitiation by the
yogini 
. As regards the author of this verse, that is Mahesvarananda, a fullyaccomplished yogin of the class of Kashmir Shaivism with Sivananda ashis grand teacher. Çivananda is said to have taught directly a set of three female students, namely,
Keyurvati 
,
Madanika 
and
Kalyaëika 
.From amongst them, it is
Keyurvati 
who seems to have been the teacherof Mahesvarananda initially as both were followers of 
Krama 
system of Saivism. The real inspiration, however, particularly for writing Mahartha-manjari, as is obvious from the account of his concluding verse of thetext, appears to have come to him from this
yogini 
who appeared all of a sudden and having accomplished her mission, disappeared in thesame way.
 
In course of his commentary on verse No.55, Mahesvarananda hasgiven an autobiographical note which also provides us some inkling intothe manner of his
sadhanä 
and self-restraint in his way of life, throughthe quotation of a verse equating the pleasure of an Indra sleepingunder the shade of the bosom of Shaci, his wife, in the heaven, withthat of an insect taking turns in the hell. On the problem concerned, hestates that many a Sivanandas, Mahanandas and Mahesvaranandashave collectively discussed among themselves the problem and haveconcluded in favour of self-restraint and perusal of the illumination of the pure consciousness instead of lurking after enjoyment howsoeverattractive. It is as a result of the self-restraints and decisions that thetraces could develop this path of 
mahaprkasha 
, great illumination.The illumination lies in the elimination of the intervening nasal soundbetween the inbreathing sound,
ham,
and out-breathing,
sa.
Thisrenders the combined sounds into
hamsa 
which becomes a powerfulmantra, a most primary and fundamental reference to the Self. With thisbridge of sound, pure and empowered with discretion, the Self isrevealed as much as if displayed in its function to separate milk from itsmixture with water, its clean whiteness indicative of the ultimate purity.These qualities of 
hamsa 
were recognised at the time of the Rigveda asearly as at the time of seer Vamadeva. This is evident from the pre-eminence which has been accorded to the
hamsa-padi 
mantra occurringat Rigveda, IV.40.5 in the hymn seen by seer Vamadeva Gautama andaddressed to Surya as its Devata. The mantra reads as follows:(The Sun) as a Swan takes its seat on what is pure, particularly in theintermediate space and yet pervades all. At the same time, it acts as thereal agent of Sacrifice sitting in the sacrificial pit as well as in the house.It also dwells within humans, in places whichever are choicest in the lawof universal dynamics, in the pure space and is apt to emerge out of water, out of the earth, out of the law of universal dynamics, out of even the mountain since it is directly the Rta itself. All these attributes accorded to this Devata, under the denomination of Dadhikra, meaning what moves as soon as captured, apply apparentlyto the sun just symbolically but really do mean to the Self as it standsbeyond the grasp of the human mind. This symbolism has been decodedin a Rigvedic statement at one place where it is said that the sun is theSelf of the mobile and immobile both. He is the Self, Atman, immobile in

You're Reading a Free Preview

Download
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->