Gross Sloppiness in Ánanda Vacanámrtam Part 34 English

Date: 26 Jul 2013 19:43:15 -0000
From: "R.Bhaskaran" <rbhaskaran@rtr.comptr....>
To: ananda-marga-discourses@googlegroups.com
Subject: Gross Sloppiness in Ánanda Vacanámrtam Part 34 English


BÁBÁ

Gross Sloppiness in Ánanda Vacanámrtam Part 34 English

Respected Márgis, Dádás and Didis,
Namaskára.

Large Section Left Out of Discourse

I write you today regarding concern about a large section left out of a discourse (1). The section left out is all the more significant because of its large size and the fact that it forms the final portion of the discourse. It is in this very final section that Bábá concludes and gives His main message. As for the size of the left-out section: it was not a few words or even a para or two. Rather, the left-out section contains 491 words, or two full pages of text.

Baba says Scripture Must Be Flawless

As we all know, Bábá has said that "The scriptures containing spiritual injunctions must be totally flawless." (Namah Shiváya Shántáya, Disc: 14) These books are our Ánanda Márga scripture, and they must be kept in perfect order. These are the guidelines which Bábá has given for how a human life should be lived and how the society is to be run. Bábá's discourses are our blueprint for how to move ahead in live and as a society. In view of this, the leaving out of large sections of discourses is not something to be taken lightly. And moreover thirteen years have elapsed, with no action taken. Nor even any sign or notice from the Publishers that such a large section is missing.

It is like Mother who Left the Child and Forgot Him Forever

The case can be likened to a mother of three children who goes to the market one day and leaves one of her children there at the market by mistake. Thirteen years have passed, and the mother never realized that she'd forgotten her child at the market. The mother is responsible for having left her child at the market; if she says she forgot and it was an honest mistake, that does not relieve her of responsibility for her negligence.

In the same way that the mother is responsible for having left her child, our AMPS Publishers are responsible for the gross negligence of having left out a large chunk of this discourse. There are only two possibilities for explaining such an action: Either they forgot to include the last section, or they intentionally left it out. In either case, it is not good. The end result is they left out the last two pages of the discourse. Such negative behavior by those responsible for Publishing Bábá's books should not I feel, be tolerated or ignored. Bábá's books must be corrected, and it should be done without delay. Otherwise what happens is that years pass, and ultimately the discourse gets recognition and acceptance in its distorted form. And ultimately it may never be repaired.

Only Kolkata Group Publishes Books: They are Responsible

It should be clear to all that of all the different splinter groups in Ánanda Márga today, only the Kolkata group publishes Bábá's books. All the sound files of Bábá's discourses are at their Tiljala áshrama and at other groups' headquarters also. Every group has audio, but only Kolkata group is doing any publishing work; other groups like Ranchi group merely copy the books and reprint them. Because of that, Kolkata group is responsible for what is being published.

H and EC Groups are Not Innocent

H and EC group are not innocent here—they have not taken responsibility for producing new books. B group publishes books, and H group reprints them. This has been illustrated at length elsewhere (2). H group Publications Secretary Ác. Mŕtyuiṋjayánanda Ávt publishes all he gets from B group, and that too without so much as checking it to see if it is correct or distorted.

Falsely Final Section of Published Discourse Below in RED

True Final Section, Never-Before Published, in GREEN

What follows below is the last section of the discourse “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”, as published in Ánanda Vacanámrtam English Part 34. In reality it is not the last part of what Bábá spoke that day the eighth of December 1964 in Salem. There are close to 500 words which He delivered that day, which were recorded along with the rest of the discourse. But those last close-to-500 words were never printed. Here below, for the first time they have been transcribed from the recording and are being posted on this forum.

So the first section below, colored in RED, is a middle section of the discourse, which the Kolkata Publishers printed as though it were the final section. Following that, in GREEN, is the true final section of the discourse. This true final section has never been printed before.

(Note also that the section printed in RED published by the Kolkata Publishers, contains footnotes in it numbered 18 to 24. That is because there were 24 places in the discourse where the publishers could not hear what Bábá said and marked the section as “inaudible”. But in the “As Is” transcription to be published soon on this forum, there are NO places which could not be heard; every word is transcribed. More on this in a later posting.)

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Following excerpt from Ánanda Vacanámrtam Part 34: Gáyattrii Rhythm and the “Gáyattrii Mantra”
8 December 1964, Salem

LAST PARAGRAPHS OF DISCOURSE AS PRINTED IN Ánanda Vacanámrtam Part 34:

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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 “LAST PARAGRAPHS OF DISCOURSE” AS PRINTED IN: Ánanda Vacanámrtam Part 34

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The following is transcribed from the recording of “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”. It is the unpublished true final section of the discourse.

The following section follows directly on the recording from the sentences printed above which end with—“...the first letter of “destruction” is “d”. G-O-D, God.” The subject is obviously the same; Bábá is explaining some points related with the “Gáyattrii Mantra”. The line of the shloka discussed by Bábá in the above section is “Oṋḿ bhúr bhuvah svah.” And that discussion continues with the line given below.

DISCOURSE'S TRUE FINAL SECTION—NEVER BEFORE PUBLISHED:

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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So here we see that the final five hundred words of the discourse “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” were left out by the Kolkata Publishers and never got printed anywhere. As Bábá has explained, "The scriptures containing spiritual injunctions must be totally flawless." (Namah Shivaya Shantaya, Disc: 14) It is the responsibility of all of us as Ánanda Márgiis to see to it that this matter gets rectified in timely way.

We make a special request for volunteers to help in this work of producing and reviewing the “as is” discourses. Márgii volunteers are needed from all countries around the world, to help with translating the “as is” discourses into the various languages, and also to help with translating postings about distortions so that all Márgiis around the world can be made aware. Comparing the “as is” discourses to the discourses published by our AMPS is a big job, and help here is also needed. We welcome a hand from any and all who are inspired and interested to serve in the protection of the discourses of Lord Shrii Shrii Ánandamúrtiji.

Namaskar,

R. Bhaskaran


Note 1. “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”. This discourse is printed in Ánanda Vacanámrtam English Part 34, Chapter 10, published under the oversight of Ác. Sarvátmánanda Ávt in 2000. The discourse was given by Bábá on 8 December 1964 in Salem, South India.

Note 2. Ranchi Group's Negligent Publishing Practices

To read more about Ranchi Group's negligent publishing practices, click here.

Note 3. Click here to view the whole discourse “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” as published by the Kolkata Publishers—followed by the missing concluding section given in a different color. The two sections are intentionally placed in very small font so that by seeing the overall view, you can easily understand what a significant portion was left out by the Publishers.

Ranchi Group's Negligent Publishing Practices

Ranchi Group's Negligent Publishing Practices

It should be added that firstly, it is true Kolkata group does all the publishing of Ánanda Márga books today, and as such is responsible for the distortions they publish. And because of that Márgiis have been writing in expressing their concern and even outrage over Kolkata group's irresponsible publishing practices.

But because of this, some Márgiis get confused, thinking that there is a "leaning" in this network against Kolkata group. However that is not at all the case. Márgiis have also written letters about the irresponsible publishing practices of H group. Please see the below excerpt from previous postings on this forum:

"H/EC group acquired B group's distortion-ridden printed discourses, and took credit for the discourses by reprinting them in their own name...Of note, the current H group Publications Secretary Ác. Mŕtyuinjayánanda Ávt., has not done anything to change this status quo. The books continue to be taken from B group and reprinted point blank, with no editing or proof checking involved. If Ác. Mŕtyuinjayánanda Ávt had read the discourse, he could have immediately detected the nonsensical paragraph and created an errata page for the book. But that has not been done."

"We cannot assume to know why Ác. Mŕtyuinjayánanda Ávt behaves the way he does; only he knows the reason. Nonetheless, the result of his work is in view for all to see."

"Nothing is ever changed or fixed; the books he receives from B group he turns around and sends to a printing company for printing, with his name as AMPS Publisher. From longstanding habits such as these it does not seem unfair to conclude that our H group AMPS publications department is verily and unfortunately located in the plastic bag where Ác. Mŕtyuinjayánanda Ávt holds the B group books to bring to the printing company."

"It should be added that the Ánanda Vacanámrtam series is the easiest to read and most popular, and Hindi is the most common language version read and purchased, of all our AMPS publications. Even then as popular and in demand as this series is, still the Hindi edition of this discourse in Ánanda Vacanámrtam Part Three, with its distorted nonsensical paragraph, remains unchanged after all these years both in the B group and H/EC group publications."

To read the full posting about H group's dealings in this matter, on the Network's blog, please click here.

Overview of AMPS Published Version “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” followed by Missing Final Section

NOTE THE FOLLOWING SECTION IN RED IS THE VERSION OF “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” PUBLISHED BY KOLKATA GROUP. IT IS MISSING THE LAST TWO PAGES, WHICH WERE NOT TRANSCRIBED OR PRINTED BY THEM. FOLLOWING THEIR PUBLISHED VERSION BELOW IS THE ACTUAL MISSING TWO PAGES IN GREEN, TRANSCRIBED BY WRITERS OF THIS FORUM AND PRESENTED HERE FOR YOU TO VIEW. HERE ON THE BLOG BOTH HAVE BEEN GIVEN IN SMALL FONT, SO YOU CAN EASILY GET AN OVERVIEW OF THE SIGNIFICANT SIZE OF THE MISSING LAST SECTION COMPARED TO THE PUBLISHED VERSION FROM WHICH THAT FINAL SECTION IS MISSING. --AM DISCOURSES NETWORK MODERATORS

The following has been placed in small font so you can easily compare the sizes of the AMPS-Published discourse (Red) and its missing final section (Green). Note how large the missing final section is.

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