daivī vīṅā dhyāna in Ṙgveda aitareya Āraṅyaka-3-2-5

8/18/2019 Daivī Vīṅā Dhyāna in Ṙgveda Aitareya Āraṅyaka-3-2-5

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Ḋaiv ī V īṅā Ḋhyāna in Ṙ gveḋa Aiṫareya Āraṅyaka-3-2-5-Meaning from Śrī Maḋhva Bhāshya

with the Commentary ‘Bhāshyārtha-Raṫna-Mālā’of Śrī Ṫāmraparṅī Srīnivāsāchārya

(Abbreviations used: RAA: Ṙ gveḋa Aiṫareya Āraṅyaka; SMB: Śrī Madhva Bhāshya)

RAA:

SMB:

Meaning:

Lord Vishṅu existing five-foldly in the Lokas, Ḋevas, Veḋas, Inḋriyas & Pr āṅas as shown in the abovetable and having those names (ie., the names of Lokas etc.) is the Adhi-Ḋevaṫā for Spar śas (The 25Consonant sounds of the five Vargas K, Ch, T, Ṫ & P), Ū shmans (The 4 Consonant sounds Ś , Sh, S & H )

and Svaras (the 9 Vowel sounds) respectively: ie., Lord Vishṅu called by the names:

Pṙṫhiv ī , Agni:, Ṙ gveḋa:, Chakshu: & Prāṅa: is the Adhi-Ḋevaṫā for the 25 Sparśas,

Anṫariksham, Vāyu:, Yajurveḋa:, Śroṫram & Apāna: for the 4 Ūshmans (Consonants Ś, Sh, S & H ) and

Dyau:, Ādiṫya:, Sāmaveḋa:, Manas & Vyāna: for the 9 Vowels.


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RAA:

SMB:

Meaning: Bodies of Ḋevas like Brahmā are the real Divine Vīṅā for the above-described Lord Vishṅuas they sing His glory whereas the popularly known wooden Vīṅā is its human imitation in this world asgiven below:

S. no Divine Vīṅā Human Vīṅā 1 Ś ira: (Head) Ś ikhara ( Alābu Khaṅda: bottle-gourd piece:

sorak ā ya burra)2 U ḋ ara (Stomach) Ambhaṅam (Stomach-like mid-part of Vīṅā.

Sayaṅa: Groove in the middle of the Viṅa- Daṅda)

3 Jihvā (Tongue) V āḋ aṅa (Śalāka: nakki)4 Angulaya:(Fingers) Ṫ anṫ raya: (Strings)5 Svar ā: (Vowels or their Accents of Udātta ,

Anuḋāṫṫ a & Svariṫ a)Svar ā: (Sa, Ri, Ga, Ma etc. or the Vīṅā-soundsthat indicate the Vowels or their Accents)

6 Vāyu-Spar śā-Vi śeshā: (The semi-periodicvibration of Vocal Chords that produces

Vowels and touching by Tongue of various

spots in the Vocal Tract that constricts theflow of air expelled by Lungs, to utter the

Consonants or the 25 Consonant sounds)

Angulī -Spar śā-Vi śeshā:(The plucking and pressing of strings by the fingers or the Vīṅā-sounds that indicate the 25 Consonant letters)

7 Ś abḋ avaṫī (Ghoshavaṫī : Makes soft soundswhile articulating Sonant Consonants

[Saralas, viz., g ,j, d, ḋ , b])

Ś abḋ avaṫī (Ghoshavaṫī : Makes sweet, thoughindistinct, noise by the whir of its strings)

8 Ṫ ar ḋ mavaṫī ( N āḋ avaṫī : Generating soundsthat are triggered by Spinal Chord &

Hypothalamus [ Ājñā Chakra] which aremade up of knotty sensory & motor nerve-

junctions bound tightly to them)*

Ṫ ar ḋ mavaṫī ( N āḋ avaṫī : Furnished with severalsteps that are used to create valleys/troughs

under the strings. These strings are bound tightlyat their ends so that they generate various notes

by pressing them at suitable points.)*

9 Loma śena- Charmaṅā-Apihiṫā (Covered by the hairy skin)

Loma śena- Charmaṅā-Apihiṫā (Covered byTiger/Deer-skin in the earlier times)

*: Monier Williams dictionary is the reference for this.

RAA:

SMB:


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Meaning: A person meditating with devotion (Bhakti) on the bodies of Ḋevas like Brahmā etc. as the Vīṅā of Lord Vishṅu enjoys the bliss of this Upāsanā (Ś ruṫ a Vaḋ ana: -Viḋyā-Pūr ṅa-Sukha:) and hisfame fills the entire world ( Bhūmipr ā Asya K ī r ṫ i: Bhavaṫ i).

RAA:

SMB:

Meaning: Meditation for shining better while learning or speaking in the Assembly of Experts/Scholars: Another

meditation that is the essence of all Speech is given below for shining better ( Viruruchisheṫ ) whilelearning or speaking in the assembly of Experts/Scholars (Samsaṫ ). Meditating on Lord Nārāyaṅa thatexists in Female form inside Speech, one should do Japa (mentally repeat its meaning) of the following

Ṙ k that is the Essence of Speech:

RAA:

“Oshthāpidhānā Na Kulī Ḋanṫ ai: Parivṙṫā Pavi: | Sarvasyai Vācha Īśānā Chāru Mām Iha Vāḋ ayeṫ ||”

SMB:

Meaning: The lips are like lids for Vishṅu existing in Speech (Oshthāpidhānā Na). As all the sins aredissolved in Her, She is called ‘ Kulī ’. She is surrounded by the Adhi-Ḋevas of Teeth ( Ḋanṫ ai: Parivṙṫā).As She protects everybody and has unique Divine qualities that are different from everybody else’s, She

is known as ‘Pavi:’ She Controls all Speech (Sarvasyai Vācha Īśānā). I pray to Her to play me ( Mām Vāḋ ayeṫ ) to produce Sonorous Cadences (Chāru) in the Assembly of Experts/Scholars ( Iha).

RAA:

daivī vīṅā dhyāna in Ṙgveda aitareya Āraṅyaka-3-2-5

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