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Gáyattrii
Rhythm and the “Gáyattrii Mantra”
8
December 1964, Salem
Published
in: Ánanda Vacanámrtam Part 34
In
ancient times there were two recognized stages in the process of
initiation. The first one was Vaedikii diikśá, that is,
initiation as per the Vaedik [Vedic] school of thought, and the
second one was Tántrikii diikśá, that is, initiation as per
Tantra. The most important mantra in Vaedikii diikśá was the
“Gáyattrii Mantra”. The spirit of Vaedikii diikśá was to
pray to God to get the proper path, the path of bliss; and the spirit
of Tántrikii diikśá was to move along that path. In the first
phase the aspirant requested God to show the path, and in the second
phase the sádhaka had to move along that path.(1) And this
“Gáyattrii Mantra” was the most important mantra in Vaedikii
diikśá.
Now,
what’s the meaning of gáyattrii? It is a common error to say that
that mantra is the “Gáyattrii Mantra”; because gáyattrii is
not the name of a mantra, it is the name of a chanda. In the Vedas,
there are seven recognized chandas, that is, seven recognized
rhythms. Those rhythms are gáyattrii, uśńiik, triśt́up,
anuśt́up, jagati, brhatii and paunkti. So gáyattrii is a chanda,
gáyattrii is a rhythm, and not a mantra. And this particular mantra
of Vaedikii diikśá was composed in gáyattrii chanda. The
speciality, the special feature, of gáyattrii chanda is that it
requires twenty-[four] syllables. To compose a poem it requires a
chanda, and there should be three lines with eight syllables in each
line – three times eight, twenty-four syllables. For each and every
mantra of the Vedas, there are three requisite factors, three
essentialities. These three essentialities are chanda, a rśi, and a
devatá.
Chanda
means the rhythm in which that mantra will be composed. Here in the
case of this particular mantra, the chanda is gáyattrii. Gáyantaḿ
tárayet yastu – “By chanting which one can get the path of
liberation” is gáyattrii. Gáyat (gae dhátu [root verb] +
shatr) + trae dhátu + d́a + uniip = gáyattrii. Do you follow?
Here the chanda is gáyattrii, then the next requisite factor is a
devatá, and finally a rśi.
The
devatá is a particular word which has been used for a god, and
according to that word(2) the mantra is to be made. In this
particular mantra, God has been addressed by the word “Savitá”
– Tat Savitur vareńyam. “Savitá”. Hence the(3) official
name of this mantra is the “Savitr Rk”. Rk is the name of a
mantra of the Rgveda. So the name of this particular rk is “Savitr
Rk”.(4) The word “Savitá” has been used in this mantra for
God.
And
the third important factor is a rśi. Rśi means he who composed
that mantra. We will not say(5) “he who wrote the mantra”,
because the Vaedik rśis were illiterate, they could not write. The
Vaedik people of Central Asia who came to India were illiterate, they
had no script of their own. They learned how to write from the
indigenous population of India, that is, from the Dravidians. The
Sanskrit language has no script of its own. Sanskrit is written in
various scripts of different portions of India.(6) Sanskrit has no
script of its own. In Bengal and Assam and Manipur and [[Tripura]] it
is written in Bengali script. In North Bihar it is written in
Maethilii script, in Orissa it is Utkal script. In Andhra it is
Telegu script. In Madras it is Granthakśa, Granthalipi [Grantha
script]. Sanskrit has no script of its own.(7) In order to
standardize Sanskrit education, they use Devanagari script in the
prescribed books of universities and colleges. Devanagari is not the
script of Sanskrit.
So
all those Vaedik rśis were illiterate. They composed those psalms,
those Vaedik hymns, and those disciples learned them by hearing
through the shruti(8) – the ear – and that’s why the Vedas are
also known as shruti. So the rśi of a mantra is called in the
Vaedik language a draśt́a rśi: drsh dhátu + trc(9) (prathamá,
ek vacana [first case-ending, singular number]). Draśt́a means
“seer” – He who saw the truth(10) is the seer of a mantra. So
each and every Vaedik mantra will have a seer. Rśi means “cultured
people”.
So
here in this actual mantra, the seer is Rśi Vishvamitra. In this
particular mantra, the(11) chanda is gáyattrii. It has been taken
from the third mańd́ala, tenth adhyaya [súkta, composition] of
the Rgveda.(12) The chanda is gáyattrii, the devatá is Savitá,
the name is “Savitr Rk”, and the rśi is Vishvamitra.
And
I have already told you that the speciality of gáyattrii chanda is
that there should be three lines, and there should be eight syllables
in each and every line. Here the original mantra is Tat Savitur
vareńyam; / Bhargo devasya dhiimahi dhiyo yo nah pracodayát.
Oṋḿ bhúr bhuvah svah oṋḿ is a later addition.(13) It is not
part of the original(14) mantra. Now here in this mantra the first
line is Tat Savitur vareńyam.
Now,
mantra – what is the meaning of mantra? Mananát tárayet yastu
[“That collection of sounds which, when meditated upon, leads to
liberation”]. Manana means “chanting internally”; “speaking
internally”, “speaking mentally”, is manana. Mananát tárayet
yastu. By chanting internally a mantra, one can get oneself
liberated. And that is why it is called mantra. Mananát – “by
chanting internally” – tárayet yastu – “that which
liberates” – is man-tra. Man + trae + d́a – d́a is the
suffix, the Sanskrit suffix.
So
the first line is Tat Savitur vareńyam; the second line is bhargo
devasya dhiimahi, and the third line is dhiyo yo nah pracodayát.
The first line is Tat Savitur vareńyam. The second line is bhargo
devasya dhiimahi (go on counting): bhar – go – de – vas – ya
– dhii – ma – hi – eight syllables. And the third line is dhi
– yo – yo – nah – pra – co – da – yát – eight
syllables. But in the first line (go on counting): Tat – Sa – vi
– tur – va – re – ńyam – seven syllables. And the rśis
say whenever there is any clash between grammar and rhythm, grammar
and chanda, chanda should win, and not the grammar.(15) So it will be
pronounced like this: Tat – Sa – vi – tur – va – re – ńi
– am. Eight syllables. So the correct pronunciation of the mantra
is
Oṋḿ
bhúr bhuvah svah oṋḿ
Tat
– Sa – vi – tur – va – re – ńi – am –
not
vareńyam, va – re – ńi – am –
Bhargo
devasya dhiimahi
Dhiyo
yo nah pracodayát oṋm.
Do
you follow?
Now
oṋm. What do we mean by oṋm?
Wherever
there is an action, certain vibrations are created.(16) For each and
every action, there is a corresponding vibration, a corresponding
sound. You are walking – a khat́-khat́-khat́-khat́,
t́ap-t́ap-t́ap-t́ap sound is created. That sound is the
vibrational sound of that action of walking. You are laughing – the
sound há-há-há-há will be created, so the sound
há-há-há-há is the vibrational representation of the action
of laughing. So the vibrational sound of an action is called the
acoustic root. So há-há-há-há is the acoustic root of the
action of laughing, and khat́-khat́-khat́-khat́ is the acoustic
root of the action of walking. This acoustic root is called a biija
mantra in Sanskrit. Now, when this universe was created by the
Macrocosmic Self,(17) a particular wave came in the Macropsychic body
– “I’ll create something” – this desire was created – and
this psychic action certainly came from a psychic sound within the
mind of the Supreme Self. So the acoustic root of the desire of
creation within the mind of the Macrocosm created the sound
aaaa-a-a-a-a-a. A is the acoustic root of creation. A is the acoustic
root of the action of creation – do you follow? Wherever there is
an action, there is some vibration, and wherever there is vibration
there is sound. When that Macrocosmic Self created this universe,
during the phase of creation a certain vibration was created in His
mind, and that vibration created a certain sound. That sound of
creation is a. A is the acoustic root of creation, a is the biija
mantra of creation.
And
the first sound of creation, a, is the first letter of the Tántrika
varńamálá. A. What is the first letter? A. A is the first
letter of Indo-Aryan script.(18) In Hebrew and Greek alpha is the
first letter; and in(19) Arabic, aliph is the first letter.(20)
Then
after creation, you are to preserve that creation,(21) you are to
keep up the creation. After the birth of a child, you have to
preserve it; so this preservation is the second phase, and the
vibrational sound of this action of preservation is u. Uuuu. So u is
the acoustic root of preservation.(22)
And
after creation, in the last phase of this psychic order, comes the
phase of destruction. After creation and preservation there will be
destruction. And the acoustic root of destruction is ma. Ma is the
biija mantra of destruction, ma is the biija mantra of sarvalaya, ma
is the biija mantra of prańásha.(23) So ma is the biija mantra of
destruction.
So
the entire functional business of the Supreme Self is represented by
three sounds, a, u and ma – a-u-mmm. Hence the activated
Consciousness is represented by the sound oooṋm.(24) And this oṋm
now is called prańava.
This
mantra starts with the sound oṋm. Oṋḿ bhúr bhuvah svah. A
represents generation, creation; u represents preservation,
operation; and ma represents destruction. Generation, operation and
destruction. The first letter of “generation” is “g”, the
first letter of “operation” is “o”, and the first letter of
“destruction” is “d”. G-O-D, God.
END OF DISCOURSE AS
PUBLISHED BY KOLKATA GROUP
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DISCOURSE'S TRUE FINAL
SECTION—NEVER BEFORE PUBLISHED:
(THIS SECTION TRANSCRIBED
BY WRITERS OF THIS FORUM)
Now,
oṋḿ bhúrbhuvah svah oṋḿ tat saviturvareńyaḿ
Bhúrbhuvah
svah—bhúh represents this mundane manifestation, this
world of physicality. And bhuvah represents psychic world. And
svah represents astral world, causal world. You know, in the
process of creation, in the extroversive phase, there are seven
strata. There are seven layers. From crude to subtle, these layers
are bhur, bhuvah, svah, mahah, janah, tapah, satya. Satya
loka is the subtlest loka. And that's why in tantra
it has been said—
Satyaloke
nirákárá mahájyotisvarúpińii
Máyáccháditátmánaḿ
cańakákárarúpińii;
Máyábalkalaḿ
saḿtyajya dvidhábhinná yadonmukhii
Shivashakti
vibhágena jáyate srśt́ikalpaná. (Tantra)
Satya
loka is the subtlest loka. Loka means "stratum".
So there are seven strata. Bhur, bhuvah, svah, mahah, janah,
tapah, satya. And the collective name for these seven strata is
mahávyáhrti. Mahávyáhrti—that is, the great
expression, the great manifestation—mahávyáhrti.
And
when this mahávyáhrti is represented by three lokas—bhur,
bhuvah, svah—seven lokas represented by three lokas.
In that case, that is, these three names—bhuh, bhuvah, svah—they
are collectively known as vyáhrti. So, in this mantra,
one oṋḿ should be used before the vyáhrti, and
another oṋḿ should suffix the vyáhrti.
Oṋḿ
bhúrbhuvah svah oṋḿ.
That
is, here in this mantra, God has been addressed by the term
Savitá. Savitá means, su is a root verb, in
Saḿskrta su means, "to create". Su +
tr, prathamá ekavacana—savitá. Savitá means
"creator". Savitá means "father". Father
of what? Father of these seven strata. Father of these seven lokas.
Do
you follow?
Oṋḿ
bhúrbhuvah svah oṋḿ tat saviturvareńyaḿ;
Bhargo
devasya dhiimahi
Bhur,
bhuvah, svah, mahah, janah, tapah, satya. Asya sapta-lokasya, savitur
devasya, pitur devasya, bhargo, vareńyaḿ bhargo, pújaniiyaḿ
bhargo, pújaniiya yadi, dhiimahi dhyánam karomi. Asya
sapta-lokasya, pitur devasya, tat vareńyam bhargo, yadi aham
dhyánam karomi. Katham aham dhyánam karomi? kena kárańena
aham dhyánam karomi? Yah sah dhiyo yo nah pracodayát. Sah nah
dhiyo. Nah arthát asmákam. Mama-me-ávayoho-nao-asmákam-nah.
Sah asmákam dhiyo, asmákam buddhi medhá pracodayát.
Sadvidhánaḿ karotu. Satpathi paricálanam karotu ityarthe.
I
meditate on the Divine Effulgence of the Supreme Father who did
create these seven strata. And why do I meditate on His Divine
Effulgence? So that He may guide my, direct my intellect unto the
path of Supreme Beatitude. That's why. It is the meaning of this
Gáyattri mantra. And it is the mantra of vaedikii
diikśá. And in this mantra, the sádhaka, the
aspirant requests the Supreme Father to show him the way. He wants
the way, he wants the path of bliss. And after getting that path
through tántrikii diikśa, he is to do according to that
diikśá. He is to practice sádhaná.
Dhiyo
yo nah pracodayát oṋḿ.
This
is the spirit of Savitr Rk, incorrectly called Gáyattri
Mantra. It should be Savitr Rk. Because in this mantra,
the God has been addressed by the word, Savitá. Tat savitur
devasya. Savitur—śaśt́hii eka vacana of the word savitr.
I think now it is quite clear.
Kalyánamastu.
END OF UNPUBLISHED TRUE
FINAL SECTION OF: “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”
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FOOTNOTES OF AMPS
PUBLICATION SHOWING 24 PLACES THEY COULD NOT HEAR WHAT BABA SAID
Footnotes
(1) A sentence here was
inaudible on the tape. –Eds.
(2) A few words here were
inaudible on the tape. –Eds.
(3) A word here was
inaudible on the tape. –Eds.
(4) A few words here were
not clearly audible on the tape. They may have expressed that the
first case, singular form of Savitr is “Savitá” –Eds.
(5) A word or two here are
inaudible on the tape. –Eds.
(6) A sentence here, not
clearly audible on the tape, mentioned the script used in the Punjab.
–Eds.
(7) A sentence here was
inaudible on the tape. –Eds.
(8) A word here was
inaudible on the tape. –Eds.
(9) A word here was
inaudible on the tape. –Eds.
(10) A few words here were
inaudible on the tape. –Eds.
(11) A few words here were
inaudible on the tape. –Eds.
(12) A sentence here was
inaudible on the tape. –Eds.
(13) The next sentence
begins “This portion was taken from…”, but the rest of the
sentence is inaudible on the tape. –Eds.
(14) A word here was
inaudible on the tape. –Eds.
(15) The next sentence
here on the tape was “So here, for the sake of chanda, the mantra
is to be…” The final verb was inaudible. –Eds.
(16) The next sentence
here on the tape was “And wherever there is vibration, there is…
how it is created, where it is created.” A word or two were
inaudible. –Eds.
(17) A few words here were
inaudible on the tape. –Eds.
(18) The next sentence
here is not clearly audible on the tape, but apparently says that in
other scripts also “ ‘a’ is the first letter.” –Eds.
(19) A few words here were
inaudible on the tape. –Eds.
(20) A sentence here was
inaudible on the tape. –Eds.
(21) A word here was
inaudible on the tape. –Eds.
(22) A sentence here was
not clearly audible on the tape, but apparently recapitulated the
meaning of a, u and ma. –Eds.
(23) The next few
sentences are not clearly audible on the tape. Audible phrases are:
“… and hence ma is the last letter of the vargiiya varńamálá
[portion of alphabet composed of phonetic groups]. The last varga
[phonetic group]… and the last letter of… is ma – pa pha ba bha
ma.” –Eds.
(24) A sentence here was
not clearly audible on the tape. –Eds.
8 December 1964, Salem
