Mantras - Subtle Dimensions of Sound

Mantras are pronounced in Yagya in accordance with the prescribed methods and rules. It benefits the persons concerned and stimulated useful vibrations and causes beneficial excitements in the environment. Besides, it makes possible th stimulation of causal energy of the materials used in Yagya to such an extent that the hidden potentialities underlying them are greatly enhanced. Articles made scared and pious with the help of Mantras, if offered by way of blessing act more effectively than even medicines. It is by involving the causal energy of material (Hvishya) before it is offered in the sacrificial fire, that exemplary successful results are produced to such an extent that even an ordinary substance possesses extraordinary specific powers. If the Havishya is simply dropped in the fire, it only created fragrant smell and proves useful to limited extent. Without chanting Mantras it will not be possible to derive benefits, which are expected by performing a Yagya.

When a Mantra is chanted collectively during a Yagya, its sonic power increases exponentially due to (a) the collision of the sound waves (generated by the Mantra chanting) with the thinnest 'flame screen' of the quivering fire of Yagya and the high frequency vibrations generated thereby; (b) the subtle interactions of the sound waves of the Mantras with the cosmic energy centre (Devta) associated with their specific configurations as carry Shabdas; (c) the fundamental thermodynamic effects associated with the fumigation of the sacrificed Havishys in the Yagya fire; (d) the compounded effects of the vital, mental and causal energies of the people, who are in performing the Yagya.

The sound-waves, of the Mantras, instead of proceeding in their natural circular motion, are carried upwards in a spiral form by the force of the electrons generated by fumigation of the Havishya after subletting in Yagya-fire.

The mutual collisions of these fast moving electrons along with the superimposition of the timely phased, collective sonic patterns of the Mantras results in the penetration in and out of the ionosphere. The collective chanting of Mantras in specific rhythm in from of the Yagya flames gives rise to unique sound-waves which have infinite radiant effects in the outer space.

The subtle effect of Mantras on the consciousness are accomplished only if the recites are authentic with respect to the proper and controlled use of their voice and tongue in conformity to the  integrity ad sanctity of their thoughts, emotions, character and deeds in every aspect of life. The subtle science of syllables described in the ancient Nepalese scriptures classifies four levels of voice (vani) namely, the Baikhari, Madhyama, Para and Pashyanti and highlights the importance of the spiritual practices (Sadhanas) of their realization through Gayatri and Yagya.

The wonders of ultra and infra levels of sound can be achieved by the refinement of the first and most elementary of the above mentioned four levels of the Vani. The Madhyama type works in the domain of thought waves and if refined further leads to the subtler sounds of Para and Pashyanti, which are described as the Vanis for spiritual communications and 'conversation' with the Brahm. If a spiritually refined expert performs a Yagya, the Mantras recited by him or her contain the impact of all the four awaken Vanis. Such Yagya indeed create spiritually charged atmosphere, which elevated the consciousness of all living beings along with harmonizing the material systems in nature.

Advancement of th eon going research in the material based analysis of the effects of Yagya along with the subtle-science of Yagya and Gayatri would ensure bringing a bright future for humanity and for the life on this earth, as a whole.

The Sound of Silence

This then, is the goal of our journey; to transcend one by one the grosser levels of existence until we reach the Supreme State where the mind ceases and the self shines in its infinite effulgence.

This sublime height of realization is beyond reason, beyond thought, beyond minding itself - how then can it be described? Here "the guru is dumb and the disciple is deaf." When the Buddha was asked by his disciple, "Does the Supreme Consciousness exist?" he was silent. The disciple asked, "Then does the Supreme Consciousness not exist?" Again, the Buddha remained silent.

A pious man once sent his two sons to learn spiritual knowledge from a preceptor. After a few years, they returned home, and the father questioned the two boys about what they had learned. He asked the older boy, "My child, you have studied all the scriptures. Tell me, what is the nature of the Supreme?" The boy began to recite many versed from the scriptures, but the father was not satisfied. He asked the younger child the same question. The boy remained silent and stood with his eyes cast down. No word escaped from his lips. The father said, "He has understood. It cannot be expressed in words."

Those who realize this infinite state of consciousness, the sages say, are like the people who saw a high wall and were curious to know what was on the other side. One of them, with much effort, climbed to the top and looked over and cried with wonder and joy, "Oh! Oh!" Suddenly, he leaped to the other side of the wall and disappeared. The others liked at each other wonderingly and shouted, "What is it over there?" But there was no answer from the other side, so another made the difficult climb, and he too gazed with blissful awe beyond the wall. In the same way, he cried with joy and jumped out of sight. In this way, one by one, they scaled the wall and disappeared in ecstasy.

No one can explain the bliss of transcending the mind and realizing the self. It has to be experienced for one-self.

Once a salt doll went to measure the depths of the ocean. It wanted to tell others how deep the water was. But this it could never do, for as soon as it got into the water, it melted. Now who was there to report the ocean's depth?

Divine Musical Offering

The musician and the raga are like the priest and the deity. Each morning as the musician sits down to practice, the soulful lyrics and the rhythm rouses the raga’s divine force quite like the ceremonial prayer performed in a temple to ‘awaken’ the deity.

Like the priest, the musician first purifies his own mind, body and soul and seeks his guru’s blessings before he begins to sing. As the temple precincts are washed before the daily prayer ritual, the place where the riyaz is performed each day is cleansed likewise. The priest first 'calls' the deity, what is known as the 'aavahan' with mantras and invites Him to be seated in the idol. While bathing the idol, and before starting the puja, the priest decorates the idol with vermillion, ash, sand wood and silk cloth. So does the musical as he concentrates within himself and sings the initial movements of the raga in deep devotion, invoking the deity of the raga, rousing it awake.

To the chanting of mantras, the priest 'appeases' the divinity present in the idol, treating God as guest and offering one by one, water, milk, honey, perfume, flowers, incense, sweets and fruit and the light of the oil lamp. Similarly, the musician now mouths the lyric like a mantra appeasing the raga's deity by awakening its mandela or mystic svara configuration, note by note, to compose cyclical musical movements in the raga.

As the paragraphs of the raga are sung, in cycles of initiation, elaboration, and conclusion, they expand its presence and aura giving it life and a spiritual extension and each. This is called aaalaap -from aalaapnaa spaces between them, create a heightened presence of the raga's divine presence. The raga's veneration is of the Lord, in the process awakening cosmic love, both in the musician who is singing and in the listener who is present. The word 'raga' means 'LOVE'

The priest then narrates the story of the Lord, to the deity, chanting the many names of
God. The puja ritual intensifies to a climax as the mantra chanting goes on and the Lord is fanned amidst the ringing of bells and the blowing of conches. At which point the Lord begins to shower His blessings on all. in the same way, the raga, too, reaches an ecstatic peak, pitch or crescendo when the musical intensifies its story, composed from its own inner nature into paragraphs of the aalaaap unfolding its intense beauty and loving nature.

Composing in the raga is a very specialized task. The prabandha, composition or structural arrangement of all tree - raga, tala, and bandish or lyric - is in unison, and the musician composes pieces which are expanding wholes within wholes, inevitably evolving geometries of musical dialog with the self.
Each paragraph has assonance and variation by way of contrast, but it also artfully formulates constant answers or resolutions only to continue the process into the next paragraph or cycle of composition. Both processes are the externalization of the intense internal process going on.

In the temple the priest now symbolically showers the consecrated water on all those cian who has achieved laya or union with the raga. The musician who has achieved laya or union with the divine core of the raga symbolized by the heightened 'drut' or fast portion of the singing now showers the blessings of musical prasad on the audience.