taruNa taraNi

[krishnarao]

From :- krishnarao
(lanka.kr...@gmail.com)
Subject :- taruNa taraNi
“SrIguruh sarvakAraNaBhUtA Saktih |
SrImahAgaNAdhipatayE namah
||
“taruNA taraNi”
“tanucchAyABhistE taruNataraNi SrI dharaNiBhih
sarvAm urvIm aruNima nimagnAm smarati yah |
Bhavantyasya trasyad vanahariNa SAlIna nayanAh
sahOrvaSyA vaSyAh katikati na gIrvANa gaNikAh ||”
This is the 18th SlOka in “soundarya lahari” of SrI
AdiSankarAcArya. Commonly understood meaning of this verse runs as
follows.
“O Mother! When one meditates upon the grandeur of your
brilliant physical structure, which is bright red, like the rising
sun, in which the earth, heaven and whole of the universe is immersed,
all the celestial damsels like “UrvaSi” etc., are becoming restless
with passion and fervor having the eyes of a frightened deer. Then
what to say about ordinary womenfolk?
Almost all of the commentators said that this is a
mAdana prayOga and useful for attracting the desired women. But is it
proper to say that the AcArya would ever have advised any of the
persons to go after women folk in the name of ‘kAma puruShArtha ?!
Impossible. There must be some other esoteric meaning behind it. In
my view ….
“ yE sindUra parAga punja pihitAm twat tEjasA dyAmimA
murvIncApi vilIna yAvakarasa prastAra magnAmiva |
paSyanti kShaNamapyananya manasastEShAm
ananga

-jwaraklAnta
srasta kuranga SAvaka dR^iSo vaSyA Bhavanti dhR^ivam ||”
mahAkavi kALidAs also says the same in the ‘laghu stavam’,
but with a little clarification additionally as “ananya manasah”. It
means that the red effulgence of paradEvata engulfing the whole
universe including the sky and earth is not different from our own
“swaswarUpam”
“dEvI SrIlalitA j~nEyA jana vaSyE ca pATalA”
Here we have to take the sense that our body itself is a
town (puram). and all the ‘indriyas’ (sense organs) are its
inhabitants. Then the meaning of the above would be as, “to control
our indriyAs we have to meditate SrIlalitAdEvi as red coloured.”
There are two different versions of this SlOka, one for the
word “taruNa taraNi” making it as “ataruNa taraNi” by the insertion of
an ‘akArapraSlESha’. ‘taruNa taraNi’ means the midday sun and
‘ataruNa taraNi’ means the morning sun. For both the words it gives
the same indication of “the suShumnA nADi” of the ‘sUrya
manDalam’ (solarplexes). By saying “taruNataraNi SrIdharaNiBhih”, it
gives the meaning of the ‘pITha BhUmi’ (base) of the the ‘kuNDalini’.
If we take the other version as “SrIsaraNiBhih”, it indicates the “row
of ‘ShatkamalAs’ (‘mUlAdhAra’ etc., six divine lotuses)”. by saying
“tE tanucChAyABhih”, on the whole it is illustrating the crowded mass
of the brilliant effulgence of the ‘kuNDalini’. That is amazingly
“duShpradharSham and dushprEkShyam”. This red colour was described
with a similitude by one poet as,
“taruNa taraNi kAnti vrAta samsarga rangat
kamaladaLa nikAya prAyakAma praBhOrmih |
aBhinava ravi raSmi dyOtita prAcya BhUbhR^it
Chikara lasadaSOka smEra puShpOpamAnah ||”
When we perform ‘sammOhana nyAsA” saying ,
“mUlavidyAm smR^itwA tatpraBhayA jagadaruNam viBhAvya” and then while
saying
“mama SatrUnnigR^ihNAmi” it was also said that
“sAdhyamapyaruNam viBhAvayEt”. Yes! even the reprehensible enemy
should be looked at in red colour. The tempestuous emotional
disturbances in our internal senses, which are the real cause for all
the excitation of the “idantA rUpa” visualizations are actually our
enemies. That is why,
“ahami praLayam kurvannidamah pratiyOginah |
parAkramaparO BhunktE swaBhAvam aSivApaham ||”
For those ‘viira puruShAs’, who do aim at “pUrNAhambhAva”, the
adaptation of “rajOguNam” for the devastation of the enemies who
create the differential distinctiveness of the external world is also
essential.
The magnificent and attractive external impression in the form
of “idanta” in the dhyAnaSlOka of “bAlA Tripura sundari” as “aruNa
kiraNa jAlai ranjitASAvakASA” is really the deliberation of wrath
(AmarSAtmaka vimarSarUpam) against the internal enemies. The degree
of such deliberations are expressed in sixteen ‘dhAturUpAs’ as
“SONAni Bhauma tIkShNAmSu tAmra kumkuma takShakAh
gunjEndragOpa KadyOta vidyut kunjara bindavah |
dR^ig bimbAdhara jihvAsR^Ij`mAmsa sindUra dhAtavah ||”
This ‘aruNa varNam’ (red colour) is nothing else but the
“mAyASakti” that which engrosses the whole universe while being in
unison un-different with ‘paramaSiva’.
“samasta BhuvanABhOga kavalIkR^ita jIvitA
mahA swamahimAkrAnti swasthAhankR^iti BhUmikA |
kramENatu tatO~nanga paryantam prOllasantyapi
SarIrAnanga paryantam Ekaivam uBhayAtmikA ||”
In this connection, while doing japa, there is a suggestion to
meditate upon this ‘aruNa varNam’ as,
“swa vibhutwa sarvasyAkrAntyA sarvasyApi swa -
-SarIratvEna
sarvatrAhantA buddhE rudayEna swa SarIrasyEva
sarva SarIrANAm swa vaSam vadatA avaSyam BhAvah ||”
It is essential to imagine as if his own authority has spread
all over and keeping his own “ahanta” in every thing as he feels in
his own body. Also, one should aspire that all things should be under
his control, as he is having upon his own body. This kind of
imagination is called “swIya mahatwa vyApti”. “Om aim hrIm SrIm
vyApinyai namO namah SrIm”
Having that kind of “vyApti”, “swasthAhamkR^iti BhUmikA” means
remaining in the fundamental basis of the unswerving ‘parAhanta’. She
is making all the universes into a morsel of food spreading her
‘samaShti rUpa’ ‘swIya mahatwa vyApti’ and adopting the “samhAra krama
japam”.
While doing such type of ‘japam’, concentrating upon the
brilliantly glowing, red cobweb-thread like form and deeply immersed
into it, (‘aruNima nimagnam’ or ‘aruNa maNi magnAm’ both gives the
same meaning.) When entered and deeply immersed into that thread like
mantrAkShara rUpa kuNDalini, it appears in the above said sixteen
dhAtu rUpa illuminations one after another. Going deeper and deeper,
that luminous flux appears as “ataruNa taraNi” (the rising sun) and
then “taruNa taraNi” (youthful Sun), and that is called “kOti Surya
praBhA bhAsuram”.
“tatO~nangaparyantam prOllasntyapi kramENatu SarIrAnanga
paryantam” means, the above said kundalini is rising upwards from the
‘swAdhiShTAna and all other cakras in an order, up to “ananga
paryantam” that is up to the ‘kAmESwara Siva’ who has no limbs or body
form at all, but only the invisible ‘bindu rUpa’ form. Again from
‘brahmarandhra’ down to the “SarIrAnanga paryantam” signifying the
“anAhata Siva”. This kind of repeatedly going upward and coming
downward again and again was described as “trasyad vanahariNa SAlIna
nayanAh”. “cancala swarUpinyai namO namah”
“EkaivamuBhayAtmikA” indicates that this kuNDalini is the
‘Siva’ and it is the ‘Sakti’ also. “Siva Sakti dwandwa rUpiNyai namO
namah”, She is ‘the’ desired woman for us all.
One of the auxiliaries of the ‘ShODaSAkShari mahA mantra’,
the trio “Om hrIm SrIm” is always assigned in the thigh region(Uru
pradESam). That is why this trio was named as “UrvaSi”. In the
purANAs it was said that “UrvaSi” was born in the thighs of “nArAyaNa
muni”.
From the ‘pUrNabindu’ which is really the ‘praNava’ (Om), two
bindus have expounded out. They are the other “hrIm and SrIm”. It is
the ‘visarga’ which has separated from the ‘bindu’ in the beginning.
This is the form of “agnIShOmatmakam”, which has separated from the
“sUrya manDalam”. This ‘hrImkAra’ and ‘SrImkAra’ are the individual
forms of “prakASa” and “vimarSa”
“hrIsca lakSmIsca tE patnyau” So elaborates the ‘puruSha
sUktam’. ‘hrImkAram’ is “mAyA bIjam” and the “SrimkAram” indicates
the “kAla bIjam” which symbolizes death. The first ‘bIjAkSharAs’ of
these two ‘bIjas’ are “ha” and “Sa” denotes as “ha” indicates
‘jIvatwa’ (life) and “Sa” indicates the “mR^ityu” (death). Both of
these will always be inter-traversing into each other. It is not
possible to distinguish which is ‘hrIm’ and which is ‘SrIm’. Only
because of this traversal gestures, ever-changing fluctuations are
being experienced in this world. These gestures are indicative of
vacillation, and hence equated with the word “trasyad vanahariNa
SAlIna nayanAh”
Whoever understands the secret of this yOga of these two
bIjAs, understands the mystery of “mAya” and he becomes eternal
“mR^ityunjaya”. For the “Bhairava” who has meditated upon the
‘samaShti’ of these three bindus, called as “kAmakala”, the “mAyA
swarUpiNi” “kAli” too has become his ‘pAda dAsi’. Then what to say
about the ordinary damsels ?
Yours in the service of the mother,
krishnarao