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Eternity of Sound and the Science of Mantras

Eternity of Sound and the Science of Mantras

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Published by: .Equilibrium. on Oct 23, 2008
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06/08/2012

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Swami Ramatirtha had once stated that – ‘One may become a God but one can never see or show
thee...’. The same is true of the subtle elements, they can be experienced or felt-in but can’t be seen or
shown in a laboratory. Flow of radio waves through the ether is well known 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 show these effects in
visible or otherwise perceivable forms.

Recitation of the mantras is only a means for arousing the omnipresent subtle power of Ïabda.
When we awake somebody by 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 only a means for
activating specific field of the cosmic energy of Ïabda. Which mantra is suitable for awakening
what kind of subliminal energy center – is described in the viniyoga (structural classification) of
that mantra. All of the Vaidika and the T³ntrika Mantras have distinct viniyogas. 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 reciting a mantra one must read and
understand its viniyoga.

The viniyoga of each mantra has five components – (i) RiÌi, (ii) Chanda, (iii) Devat³, (iv) Bºja
and (v) Tatva. The first component contains the names of the –iÌi(s) or the spiritual saints who
had discovered, compiled and/or completely mastered that particular mantra and who therefore
are regarded authorities on all the knowledge associated with the spiritual practice of that mantra.
Such spiritual saints are the ideal gur¿s (guides) for the disciples who endeavor a s³dhan³ of that
mantra. Recalling this first component of the – viniyoga of a mantra also implies that revered
devotion for those –iÌis and adept guidance of a noble gur¿ is essential for practising (the japa
of) that mantra.

The chanda indicates the rhythmic composition for the enunciation or chanting of the mantra. As
described earlier, each mantra can be practised with different combinations of swaras (musical
accents) and gati (amplitudes). M³nasika, V³cika, Up³nïu, Ud³tta-An¿d³tta, Swarita...., etc are
some of the many modes of japa that are also described in the chanda for a mantra. The specific
pattern of sonic waveforms generated by the mantra–japa depends upon the syllables of the
mantra and the type of chanda used. The assignment of appropriate chanda for the spiritual
s³dhan³ processes of practising a mantra is called – yati. The selection of a yati and hence of a
chanda 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.

The third component, the devat³ represents the specific cosmic field (– of the subliminal energy
of Ïabda) in the limitless expression of the supreme thy consciousness – that is aimed to be
reached (realized) by the japa-s³dhan³ of the associated mantra. We all know that out of the
different programmes 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 conscious power of Ïabda
present in the universe, a mantra can be used to link the individual consciousness with the devat³
of that mantra.

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Eternity of Sound and the Science of Mantra

As the practice of the mantra involves devoted meditation upon the devat³ along with the
specified (according to the chanda) rhythmic enunciation or chanting, the –iÌis had assigned
visible forms to different devat³s – representing different manifestations and subliminal
expressions of the One, Eternal, Thy Consciousness…. Some of the –iÌis also recommended
worshiping the idols – of these forms of the devat³s – in sacred atmosphere before commencing
the japa of the mantras.

Worshiping an idol of God often facilitates proper meditation and creation of the internal
emotions 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 rituals (called s³k³ra
up³san³
) do help conditioning the minds of the disciples who find it difficult to meditate upon the
subliminal forms of Ïabda in the ï¿nya – the absolute void, the ultimate, the ‘non-existent’ but
eternal realms of thy conception.

The bºja represents the 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 latent
existence of the specific power of Ïabda in that mantra. The japa of the bºja generates the
‘energy’ essential for initiating the activation of the ‘power’ of the associated mantra.

The understanding and expertise of the science of mantras had illuminated the minds of the –iÌis
with supernormal sagacity. They could therefore grasp the knowledge of the limitless expansion
of the universe and completely ‘visualize’ the structure and function of the tiniest part of the over
72000 nerves and glands mysteriously folded inside the human body and could also accomplish
remarkable spiritual realizations. They also presented different streams of their intrinsic
knowledge in the ancient Indian scriptures via prose consisting of the hymns of mantras.

The scientific significance of the sound produced by specific syllables has attracted many
researchers to study the special features of the sonic waveforms generated by the recitation of the
mantras. The ultrasonometer developed by Dr. Fristlov is used for triggering different chemical
reactions via the effect of ultrasound. The stirrer used in this device can be made to stir (by the
obvious effect of ultrasound!) so fast that in no time it can make the steady water – contained
around it – churn violently like that during boiling at maximum pace. As far as the sonic effects
are concerned, the subtle power of a mantra, if focused, can be more ‘explosive’ than the nuclear
power.

The yogis often use the vital power of the air-element (v³yu-tatva) and gain supernatural physical
powers. A m³ntrika20

works at the highest level (³k³ïa21

) – in the hierarchy of the five basic

elements and he can therefore be more powerful than other yogis.

Apart from the physical power of Ïabda, the mantras are also endowed with the ‘magnetic’
power of the conscious energy 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. The rhythmic
enunciation or chanting of mantras gives rise to two types of subtle fields of influence – one, the
‘sphere’ of sonic effects, and the other, of emotional (conscious) effects. 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. So powerful their force of attraction could be that, any
kind of material or conscious form entering into their peripheries could be transformed according

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Eternity of Sound and the Science of Mantra

to the influence of the mantra. The use of mantras for enlightening the mental and sentimental
domains of all the human beings may therefore be regarded as a scientific possibility, a spiritual
endeavor, rather than a myth or a daydreaming.

45

Eternity of Sound and the Science of Mantra

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