The Soundarya Lahari is not just a prayer text; it has many hidden
powers and meanings. This verse 25 protects one in service if uttered
regularly as dhyanam. If you wish you may ask your sons and daughters and
grand children to by heart and meditate.
VERSE 25
ABSOLUTE NON-DUAL WORSHIP CANCELED WITH VEDIC DUALISTIC WORSHIP
THE ABSOLUTE, BOTH TRANSCENDANT AND IMMANENT
ALPHA AND OMEGA MODES ARE REVERSIBLE
TRANSCENDING THE THREE MODES
त्रयाणां देवानां त्रिगुण-जनितानां तव शिवे
भवेत् पूजा पूजा तव चरणयो-र्या विरचिता ।
तथा हि त्वत्पादोद्वहन-मणिपीठस्य निकटे
स्थिता ह्येते-शश्वन्मुकुलित करोत्तंस-मकुटाः
trayanam devanam triguna janitanam tava sive
bhavet puja puja tava caranayor ya viracita
tatha hi tvad padodvahana manipithasya nikate
sthita hy ete sasvan mukulita karottamsa makutah
WORD FOR WORD
Trayanam devanam - of the three gods
Triguna janitanam - originated from the three nature modalities
Tava sive - of Yours, o consort of Shiva
Bhavat puja puja - their worship of You would alone be worship
Tava caranayor ya viracita - as offered to Your twin feet
Tatha hi - in spite of it being so
Tvad padodvahana mani pithasya nikate - standing beside Your gem-bedecked
footstool
Sthita hi - standing indeed
Ete sasvat - eternally these
Mukulita karottamsa makutah - joining bud-like their palms well above their
crowns
Absolute worship transcends both ontological (relating to the branch of
metaphysics dealing with the nature of being. "Ontological arguments”) and
teleological values. (Relating to the doctrine of design and purpose in the
material world. "a teleological view of nature") The Goddess above is
teleological. Absolute worship transcends both ontological and teleological
values.
Of the three gods, who are originated from your three nature modalities,
Their worship of you, o consort of Shiva, would alone be worship
Offered to your twin feet; it is indeed thus when they do so,
Standing eternally beside your gem-decked footstool, joining bud-like their
hands well above their crowns.
There are two alternate grades of worship seen referred to within the
limits of this verse. The gods Brahma, Vishnu and Shiva are represented in
the first half of the verse as worshipping in a manner proper enough, but
which is not sufficient in the light of the alternative kind of worship
mentioned in the second half. When life-interests fall within the range or
amplitude of hedonistic or relativistic interests, they can be said to be
performing a proper or correct worship according to Vedic norms. But there
is an epistemological, methodological and axiological difference when the
same adoration is performed as described in the latter half of this verse,
where the three gods are represented as standing round a footstool, raising
their worshipful hands to the highest Omega Point. They are reaching fully
from hierophantic levels to the limits of the hypostatic.
The correctness of the puja or worship depends on the fact that it is
performed by the representatives of the three values within which life
moves within a Vedic frame of reference, and it cannot be called anything
other than a proper puja. But it is not enough if they just get pass marks
in the examination. There is still scope for further revision of this
correct puja, so as to transcend values limited to the nature modalities
recognizable as the three gunas or "nature modalities". It is Vedic
ritualism that, limited to the world of values, comes under the category of
hedonistic pleasure. Heaven is filled with such items of value, and
heavenly values form a system wherein the three gods also belong, as
generated out of these incipient nature modalities. Thus, in this verse,
they are called triguna janitanam - born as effects from the three nature
modalities.
Brahma is the sattvik god of orthodox Vedic values and Vishnu represents
the action proper to a king or ruler, which brings up the middle stratum of
the setup, as we have seen in the first and second verses of this poem. As
for Shiva, he is known to be an akula - a man of no social status in the
context of Vedism. His antagonism to Vedic sacrifices is proved by his not
being invited to the sacrifice made by his father in law, Daksha.
Protesting against this insult, the daughter of Daksha, Shiva's wife, burns
herself in the sacrificial flames. Shiva thus belongs to the side opposite
to that of Brahma, and his function is also diametrically opposed to the
function of creation represented by Brahma.
Vedanta does not think in terms of heavenly values, because the alternating
process of samsara does not stop completely when one goes to heaven. One
returns to the same worlds of hedonistic values when one descends again
from heaven to live comfortably in suburbia on earth. This is brought out
in many places in the Upanishads and the Bhagavad Gita. The Vedantin
believes in a full dose of absolutism which will cure one once and for all
from a recrudescence or lapse into the same malarial relativistic love of
pleasure, whether in heaven or on earth. Emancipation, without any
possibility of relapse, is the model held up by Upanishadic teaching: one
should not be born again, irrespective of heavenly or earthly values. Such
values have to be transcended though not rejected. Nobody should think that
a comfortable life should be wilfully avoided in favour of austerities that
might torture the life within us.
Transcending inclusively without contradiction is the Advaitic doctrine
that is being underlined here. The two alternative pictures of worship in
this verse are to be comparatively understood. The former represents the
Vedic setup within the scope of the three modalities - the pure: sattva;
the active: rajas; and the tragic: tamas - which are still fully operative.
The gods themselves, or at least their crowns, as they bend over the
beauty-principle at their centre, have a generic relationship with the
three modalities at the lower point of reference. The crown is the limit of
the effect side while their own feet mark the cause or source as streaming
out of the three modality-principles of nature. The Vedantic alternative to
this slightly horizontal version is to be imagined as an ellipse
accentuated vertically, like a rugby football, with the narrow end upward.
While the Vedic setup is good enough, this is still better.
The Bhagavad Gita brings out this same idea in Chapter 12, where it
discusses saguna, or lower worship of Brahman, as against nirguna worship
that transcends the three nature-modalities (triguna atita). There is a
further clear reference in the Gita, making this point unequivocally clear,
when Arjuna is told by Krishna that the Vedas are under the sway of values
within the scope of the three gunas (traiguna visaya). Arjuna is asked to
transcend Vedic values in favour of the more correct Advaitic position of
the Gita teaching.
In the last line, the gods are eternally standing, bent in adoration beside
the gem-decked footstool at the bottom or Alpha Point. At the same time,
with their bud-like hand-gestures, they are directing their adoration to
the Omega Point, with their palms joined together like a lotus "well above
their crowns". This is how hedonism and relativism are to be transcended by
the full blast of absolutism held up as a model in these verses.
{{MUKULITHA… karottamsa makutah …}
The lower form is not excluded, but it is fully inclusively transcended.
One should not purposely choose a bed of nails if a spring cot is
available, or live among scorpions and serpents in a forest, if the place
could be made less distracting for meditation. Rajasa tyaga (wilful
rejection) is not true renunciation as understood in the correct yogic
context of Vedanta. The theory of the three modalities is fully expounded
in the Gita in Chapter 14, called gunatraya vibhaga yoga ( the unitive way
of transcending the three nature-modalities).
The word "alone" in the second line would seem to suggest that such worship
might be superior to the second alternative mentioned later but, if we
respect the sense, we could infer that such a worship would alone be
correct in the context to which all worship belongs, because worship itself
becomes extraneous in the context of Vedanta. The difference is as between
being dressed properly and being completely unconscious of proper dress
convention at all.
The "twin feet" of the third line could be placed structurally at the
centre of the total situation. Passing on to the fourth line, however, the
gem-decked footstool would represent the feet, but with greater ontological
richness, though this negative aspect is only to be cancelled out against
the bud-like hands of the gods held above their crowns. The word
"eternally" suggests the heightened absolutist context of the second,
Vedantic, alternative recommended here. The reference to gems in the
footstool is to raise its value as a hierophantic presence.
Another version: TRANSLATION
- O Goddess, consort of Shiva
- The homage (puja) rendered to the three gods
- Who have their origin in Your three Gunas
"These gods of the Numerator side, who have their origin in the Devi's
qualities (gunas) are continuously worshipping Your footstool as the real
ontological source.
Real puja is that being done by the three gods who are standing by Your
pearly footstool, with their hands raised to their crowns in adoration".
The three Gunas are always operative in the Absolute.
The crowns are false - only the footstool (Existence, lower even than the
Devi's feet) is held more important than the three hypostatic crowns.
The totalit of the Absolute is represented as existence.
The footstool is the square root of minus-one - it is more important than
the three gods.
Ontological value and beauty of the footstool are emphasized.
The verse says: "That puja at the stool is puja" and the stress is on
existence, rather than subsistence.
Another version:
TRANSLATION
- Of the three divinities
- (Who are) born of the three gunas
- Which are Yours
- O Shivé (consort of Shiva)
- Would be the worship (the real worship) (puja puja)
- The worship
- Of Your twin feet
- That which is applied
- As such indeed
- What takes place near thy pearly footstool
(That puja which is applied to thy feet is indeed the puja)
- Standing as they do indeed
- These three gods eternally
- Their palms joined as final decoration of their crowns
"By the hands of everlasting adoration raised to their crowns, in eternal
worship of the footstool of the Devi - recognising their origin there".
"SAT" (EXISTENCE) IS HERE REVEALED AS THE MOST IMPORTANT TERM OF VEDANTA.
(Vedanta is a philosophy in which existence - concrete denominator value -
is more important than essence - numerator, conceptual values. This is
called sat karana vada - that mode of argument or doctrine which gives
primacy to cause as against effect. Advaita Vedanta as understood by
Sankara is essentially of the Sat Karana-Vada tendency in its methodology.
This is in contrast to Sat-Karya-Vada: where primacy is given to effect as
against cause.)
KR: I was writing about the latest finding that photons travelled
negatively by which, effects preceded the cause. Some foolishly hyping over
it ALSO WITHOUT BRAIN. Sat-Karana is a line of thought where cause would
precede the effect; if SAT-KARYA IS seen then the EFFECT MIGHT PRECEDE THE
CAUSE. So, time not only stands still but might travel backwards also as a
time travel. SOUNDARYA LAHIRI SPEAKS ABOUT IT, THROUGH ADI SHANKARA.
Phenomenology turns everything upside down and stresses existence rather
than essence.
The knobs on the crowns of the three gods worship the footstool of the
Devi. Why not worship the Omega Point? No, because that is only a
theoretical reference point. In Vedanta, it is Sat, existence, which is
emphasized.
Sankara is not asking you to do puja to the Goddess. The puja of the
three gods is the real puja - standing by Your footstool with their hands
fixed on their crowns. (This is a language based on the Vedic mystical
language; you have to understand this if you want to understand these
verses.) They do not put a glorious crown on the head of the Devi - the
footstool represents the ontological basis of reality. This is the point of
Vedanta, as revalued in this verse.
Another version:
TRANSLATION
- Of the three gods
- Born of the three modes - (triguna)
- Yours, O Parvati
- Only that worship would be worship (puja puja)
- Of Your twin feet
- That which is thus performed
- That is so indeed
- Near the pearly footstool bearing Your feet
- Standing as they are indeed
- There eternally
- With hands held worshipfully joined above their crowns
They can see the footstool and thus the way they have to worship the
Absolute, since they are relativists. There is participation between the
physical, the relative and the conceptual. He relative is more horizontal
than the conceptual, but the two do participate. They participate through
the footstool. Three gunas (nature-modalities) are hiding in the feet of
the Goddess and the three gods are born from these. The conditioned
worships the unconditioned. This is the proper relationship between the
lower and the higher Brahman. The overlapping has to be established for the
puja to be meaningful. Through ontology, we can proceed to teleology. Go
from what you know to what you do not.
(Tyaga is fundamental to Vedanta, as described in the Bhagavad Gita,
chapter 18: "Hear now from Me, 0 Best of the Bharatas (Arjuna), the settled
conclusion about relinquishment (Tyaga), (which)
relinquishment indeed, 0 Best of Men (Arjuna), has been
well-known as of three kinds: the act of sacrifice, gift and austerity
should not be relinquished; each should indeed be observed; sacrifice,
gift and austerity are the purifiers of rational men; but even these
actions should be done leaving out attachment and desire for result; this,
0 Partha (Arjuna), is My decided and best conviction."(Verses 4, 5, and
6) Sadashiva (the supreme Shiva) is the highest Omega Point, but has to
be cancelled against the Devi at the Alpha Point. {SOUNDARYA LAHARI IS AN
ABSOLUTE SCIENCE ALSO}
another version
25. *Trayaanaam Devanaam Triguna janitaanaam tava Shive*
*Bhavet pujaa pujaa tava charanayoryaa virachitaa/*
*Tathaa hi tvat paadodvahana mani-peethasya nikate*
*Sthita hy'ete shashvan mukulita karottamsa-makutaah/*
Parama Shiva Patni!
Nirlepa Nirmala Nitya Niraakara Niraakula, *NIRGUNA *Nishkalaa Shantaa
Nishkaamaa Nirupaplava/ Nityamuktaa Nirvikaaraa Nishprapancha Niraashraya,
Nitya Shuddha Nitya
Buddhaa Niravadyaa Nirantaraa/
You are the progenitor of Tri Gunas of Satva- Rajas- Tamas nature and the
representation of these Gunas are Brahma- Vishnu - Ishwaras. These Devas
responsible for Srishti- Sthiti-Samhaaras are at your instant
and faithful service with bent knees and heads wearing sparkling and
bejewelled kireetaas right at your Sacred Feet as you are comfortably
seated on the ‗Maha Mani Peetha‘! [ It may be recalled that in the
Mani-Dwipa at the center is situated the Very Special Chintamani Griha
shining ‗Sanctum Sanctorum ‘the mid center of which is the raised platform
with a plank supported by the four legs of Brahma, Vishnu,
Rudra and Maheswara and the plank is Sadashiva Himself!]
Pandita Lakshmi Dhara describes:
Trayaanaam Devaanaam triguna jananitaanaam tava Shive bhavet
pujaa/ Jajajjanani!
The Tri Murtis featuring Your ‗trigunas‘ of Satva-Rajasika- Tamasika
characteristic distinctions are ready for service at your feet, since all
the three Prime Leaders are waiting with their heads down and arms folded
outside the Mani Peetha for your instant instructions.
*UCCHA PADA PRAPTI KARA YANTRA : SOUH*
*Beejakshara / Varnaakshara TRA: TA-RA*
Dhyaana: Takaara:
Chaturbhujaam Mahaashantaam Maha Moksha pradaayaneem, sadaa Shodasha
varsheeyaam Raktaambaradharaam Paraam/Naanaalankaarabhushaam taam sarva
siddhi
pradaayaneem, evam dhyaatvaa TA kaaram tu Mantra Rupam sadaa yajet/ TA
kaaram chanchalaa –
paangi swayam Paramakundali, Pancha Devaatka varnam pancha praanaamamakam
tathaa/ Trishakti
sahitam varnam aatmaadi tatva samyutam, Tribindu sahitam varnam
peetavidyutsama prabham/
RA kaara dhyaana: Lalajjivaam Maha Roudreem raktasyaam rakta lochanaam,
Rakta maalyaambara
dharaam Raktaalankaara bhushitam/ Raktavarnaam ashta bhujaam rakta
pushpopashobhitam, Mahaa
Moksha pradaam Ntyaam Ashta siddhi pradaayikaam/Evam dhyaatvaa Brahm Rupaam
tanmantrm
dashadhaa japet, Repham cha Chanchalaapaangi Kundalidwaya samyutam/ Rakta
vidyullatakaaram
Pancha Devaatmakam adaa,Trishakti sahitam Devi aatmaad tatva samyutam,
Sarva Tejomayam varnam sattam Manasi chintayet/
The UCCHAPADA PRAPTIKARA YANTRA ‗SOUH‘ be scripted on a golden leaf
for worship as being a chaturdala padma as a Trikona swarupa forworship for
45 days alon with 1000 a day recital, with
‗shodashopachaaraas‘ and naivedya as honey. The concervned Devatas are as
designated Ajetaas. On the last day, Sad Brahmanas be treated to meals and
dakshinas and new clothes.
K RAJARAM IRS 5225
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