svakriya svarasamrita volume 2

8/9/2019 Svakriya Svarasamrita Volume 2

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Brahmacharini Kumari Chandan Puranacharya

SVAKRIYA SVARASAMRITA VOLUME 2

Self-Movement by Itself in Itself as Undifferentiated Actor-Action,

Sweetness in Identity with the Self, and Innate Immutability of theSupreme.

English Version of the original in Bengali

All rights reserved.

No part of this publication may be reprinted or reproduced in any form without

the prior permission of the publisher.

First edition

(Volume 1) November 1981

(Volume 2) August 1983

Combined Second edition (Revised and Enlarged) containing a commentary by

Shree Virajanandji Maharaj on the deep significance of the meaning of the

esoteric words of Shree Shree Ma.

Rama Navami, 26th March, 1988.

Publisher

Shree Virajanandji Maharaj

Shree Shree Ma Anandamayi Ashram

Kankhal, Hardwar (U.P.) 249408

Printer


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MANASI PRESS

73 Sisir Bhaduri Sarani

Calcutta-700 006 Phone Office 36-4362 Works 35-4312

Book Available from All Shree Shree Ma Anandamayi Ashrams

Edilor

Ma Das

Shree Shree Ma Anandamayi Ashram

Vrindaban, Distt. Mathura (U.P.)-281 121

VOLUME 2

INTRODUCTION

I do not know, nor do I understand; in fact, I am not aware of it.

But, at the time of construction of our NaimisharanyaAshram, when

excavation was started, it was noticed that on the site on which the

presentAshramhas been built, there lay hidden, as it were, in the womb

of an unknown past, the history of two cultures in two successive layers.

It seems that the plot on which thisAshram stands today is the Tirtha

Kshetra (place of pilgrimage) of the same (ancient) Naimisharanya,

which, as narrated in Srimad Bhagavat,was the scene of activities of Shri

Rama and Shri Balarama, and also where Shri Krishna's lila-

Charitamrita (delineation of character in the form ofa) was revealed

through description by Shri Suta.

Again, it was here that, in response to the prayer of SaunakRishi, Shri

Krishna's self-revelation took place in the form of words (Shrimad

Bhagavat), in the presence of eighty eight thousand rishis.

Also, in this very Naimisharanya, it was found, in 1960, when our annul

function ofSanyama Vrata was held there, that a

particular Puran required for recitation and commentary on it (for the

assembled devotees), was not available there. This circumstance


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provided the antecedent for coming into existence of thisAshram site,

and the raison d'etre for (construction of) thisAshram. The articles

found during excavation at those time-included items of antique

earthenware, made with artistic skill, which are not seen in the modern

age.

The location of the site of theAshram upon these two layers of past

(cultures) must have a special significance, for, why otherwise, did this

particular form of manifestation take place. While it is heard that no

image ofPuran Purusha has been found installed anywhere, (all the

same) he has (now) become self-revealed here in the form of

this vigraha.*

* (See BANERJEE (R.K.) ; Mataji and Purana Purusha at Naimisharanya.

Ananda Varta Vol. XXII, No.3, July 1975, pp. 135-148.)

He who is aimed at in holding the Sanyama Vrata,

is He the super-cause in this - only He knows?

Ma says (while pointing towards Her own body),

"Oh! it is the oneAtman, indeed, with all; surely, the One Parambrahma

Paramatman only."

Again, it occurs in my mind that the same SupremeUltimateMahayoga itself must be responsible for bringing into light this

place and situation. It is He alone who illumined me within and that has

led to this writing.

It was through a shower of grace that I had the privilege of taking the

sacred-thread, performingNarayana Puja and getting initiated

into Gayatri Purashcharan.

The auspicious occasion for this initiation was the Paush Sankranti i.e.,

14th January 1973.

And it was ourAshram at the great Tirtha Kshetra (place of pilgrimage)

Naimisharanya on the bank of the sacred river Gomati which was

selected as the site for the completion of this ritual through the

compassion and blessings of our supremely adored Shree Shree Ma.


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For this reason, under the instruction of Ma, two new

pukka kutias (brick-built cottages), provided with all kinds of good

arrangements too, were built under a tree. Udasji was also a co-

performer of this ritual; the second kutia was meant for her.

During the performance of this ritual, there arose in me, at someauspicious moment, a solemn resolve to prepare a written record of th

details concerning the holy life of Shree Shree Gurudeva, based on

whatever was personally known and heard by me, and give it the shape

of a book.

Since very ancient times in the unknown past, this

great Tirtha Naimisharanya has continued to be the sustainer of an

uninterrupted stream of spirituality. It was this very place where

theAshwamedh Yagna was performed by Shri Ramchandra, where he

had metLava and Kusha, and where the heart-rending tragedy wasenacted of Sita's entry into Patal (nether world).

Again, it was here that king Virat and his palace and the five Pandavas

had lived incognito.

Also, in this very Tirtha Kshetra, in response to the prayer ofrishis,

Shrimad Bhagavat, comprising the lila of Shri Krishna, was related for

the first time by Shri Suta, eighteen Purans were written by Shri Vyasa,

etc.

So, it comes to my mind that this was, indeed, the right place where, in

that unbroken flow of spiritual stream, the purifying chronicle of Shree

Gurudeva first came to Light in a filiform. That book published in the

present form is surely a dressing upon that framework with various

colours and (the contents) developed and ornamented by taking

advantage of Ma's presence too at various places when such opportunity

was available.

I have, certainly, gone through other books, etc., on the subject published

before. All these writings reflected each one's own ideas and feelings asthey came from his heart. Depending on the condition we are in, this is

but natural for us. Whatever few facts were directly witnessed and

obtained by people at particular places, these were also collected and

incorporated in this writing. Further, through queries and conversation,

the little that we could get from Ma - how much of it we could grasp, we

do not know-that too has been inserted here. All this was done through


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an effort extending over some three to four years. Surely, because of the

fact that this is an account concerning my Gurudeva Muktananda Giriji

Maharaj, we could get from Ma as much as it could be.

Books, etc., published by theAshram are certainly accepted by all with

respect. After a perusal of these publications, many have, indeed,refereed to Ma the queries that arise in their minds, and after getting Her

replies, have corrected and do keep on correcting the wrong impressions

they have had till then.

From among them, someone, after reading one of such books put a

question to Ma about some facts concerning Giriji. On hearing Her

reply, he said that he had raised the question as it had cropped up in his

mind on perusal of the book. And addressing Ma further, he had

remarked that, whether deliberately or through inadvertence, it surely did

not appear that accurate and exact reports were there in all places inthose writings.

From the (hitherto unpublished) writings concerning Ma, as compiled by

the late

Bhaiji, whatever relevant portion was available of the connected

accounts covering

Ma's Thakurma (grandmother),

Ma's father Shriyukt Bipin Bihari Bhattacharya Mahasaya,

Ma's mother Shriyukta Mokshada Sundari Devi,

Bholanathji (Ma's husband) and

Ma - these five - has been taken out and embodied here (in this book). It

was, perhaps, because this (portion) dealt with the connection between

these five that Shriyukta Gurupriya Devi did not hesitate to give a very

small portion of it to me. No cause for any harm was involved and I feel,therefore, that nobody could have any ground to say anything against it.

We, the travellers aiming at the realization of our Reality, who have met

together, for us, it is surely the form of a sacred book, as, in fact, the

writing in this book does, indeed, contain the account of the association

of these five only.


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An incident is mentioned in the first three paragraphs of chapter One,* in

which Ma, an infant of 3 months, is in the lap of Shriyukta Mokshada

Sundari Devi. On coming across this incident (in the records received),

the mind recalled what had been mentioned earlier, namely, Triveni

Sangam (confluence of three rivers), and in this context, all the ideas and

language (contents of this book) cropped up, as it were.

It is our good fortune, indeed, that all this has been provided (by Him)

the opportunity given too to have knowledge of all this; we take it surely,

as the will of theIchchhamaya (The Lord whose will is final).

Had we not got these (facts) at this time, our writing would have

remained confined to the little account concerning Shriyukta Mokshada

Sundari Devi only. But now we realize that her form, in association with

Ma is, as if, a small portion of all the aspects. Moreover, all the ways and

methods of Shriyukta Mokshada Sundari Devi, known as Giriji in lateryears till her last breath, also spontaneously coalesced. That is why, it is

with the incident of Ma, a baby in the lap of Her mother, that we begin

this book (under the subheading :

'Deliberate ignoring of a Mandatory Rule.. - A Lesson in the Pattern

of Taking Place by itself'.

Ma's Thakurma (grandmother) too was present at that time in the field of

activities of Mokshada Sundari Devi. A little about her has also been

included.

if the (details of) priceless dealings, activities, and the like of Shriyukta

Mokshada Sundari Devi, with which Ma was concerned, were excluded,

then I feel that the chronicle would be incomplete, as it wert, and would

amount to its mutilation. As for me, in what other way can I produce it

as a comprehensive whole? I can only make an endeavour to the best of

my capacity.

Regarding the particular expression Triveni Sangam, it was, as

if,Bhagavan (Himself) had given a gift of the expression to me-the threecontained in (each of) the three itself. Although all do abide in the One,

with predominance, indeed, of the One, the manifestation (in each) is of

a particular form.

So the aspects of the lives of Mokshada Sundari Devi and Bipin Bihari

Bhattacharya have been recorded as they are (in their respective roles).


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As for Ma, how She is there in all aspects is, indeed, known or

understood a little by everyone. Beginning with Her play of behaving

like a child, the all in entirety has got an indivisible concurrence too.

This indivisible coalescence, whatever it be, is unrestricted. I am only

making an endeavour to give a little account of the same, as much as I

can.

Humble

Authoress

CHAPTER ONE

Childhood: Kriyas related to Different Aspects Taking Place

by ltselfIn the Context of Unfoldment pertaining to the Supreme.

(Also among) School Teachers and (later in the) Assembly of

Sadhus.

In Unrestricted Innate Freedom (When) Child of Ten Months:

An emanation (a Yogi from Ma Herself).

Declaring (Ma) - The Supreme Ultimate Svarupa.

A Lesson Against Deliberate, Ignoring of a Mandatory Rule.

MAS CHILDHOOD LILAS

When Ma was three months old, (Her mother) Shriyukta Mokshada

Sundari Devi went (from Kheora) to her paternal home at Sultanpur.

After staying there for a few days, she went to her maternal home atJethagaon in the district of Sylhet (all now in Bangladesh). She thought

that as she would be there (at the house of her maternal uncle) only for a

short while, it would not matter if this information to her father-in-law's

place was not sent beforehand. We had heard that the youngest maternal

uncle of Ma's mother never got married and had become a sannyasi after

renouncing the world.


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Deliberate Ignoring of a Mandatory Rule

A Lesson in tile Pattern of taking Place by Itself.

After leaving home at Sultanpur, the moment they entered the boat, Ma

started suffering from cold and fever. Also, She neither opened Her eyesnor even took any food. Since Mokshada Sundari Devi had come to her

maternal home without taking due permission (as required), there was

fear that something untoward may happen. For this reason, everyone felt

deeply worried.

Whatever treatment was considered necessary was given and medicine

administered. Also, every morning and evening, Ma was taken to

a Tulsi plant and made to roll on the ground under it (but to no effect).

However, when Mokshada Sundari Devi hurriedly left that place for

Sultanpur, then on that very day, as soon as they boarded the boat,Ma'seyes opened and cold and fever too vanished suddenly, then and there

itself. Everyone was amazed to notice this change and began talking

among themselves to the effect thatBhagavan had taught them a lesson

because this trip had been taken secretly.

In those days, a special custom prevalent in the villages, in regard to the

movement of ladies was that, before going anywhere, they had to take

permission from the guardians at their father-in-law's home.

Play of Teasing Child-Ma Rewarded - Ma's Grace.

At Kheora, when Ma was so small that She could only sit and crawl, the

Muslim girls of the neighbourhood that visited Ma's house used to take

delight ill holding Ma in their arms. According to the prevailing custom

of that region, the practice was that until rice was put into the mouth (of

the child), that is before annaprashan*( * Religious ceremony of putting rice in a child's mouth for

the first time.) was performed, touching the child by anyone belonging to a

different caste was not considered objectionable. In the villages in those

days, an emphasis on 'purity' and a strong feeling that 'pollution' took

place through a touch was very much in evidence. For this reason, infantMa used to be picked up and returned by others after She had been

stripped of all clothes and left alone on the ground. When taken back,

water was poured on Her body, and some water, with Tulsi leaves added

to it, was also sprinkled over Her.


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Once a Muslim girl Ekabbar, of the locality, wanted to take Ma from the

lap ofThakurma (grandmother). The latter, therefore, left Ma on the

ground. The girl, then repeatedly stretched out her arms posing to pick

up Ma. However, every time Ma smilingly turned towards her, she

immediately withdrew a little. In this manner the girl continued smiling

and playing with Ma. After this had gone on for a long time, Ma stoppedmoving, started crying and continued to do so to such an extent that the

girl failed to pacify Ma by taking Her in her lap and even with any

amount of fondling. At last, being fatigued and frightened, she set down

Ma near Her Thakurma. The latter took up Ma in her lap and handling

Her with considerable effort and caresses, stopped Her from crying.

Never before this, had Ma, at this age, resorted to crying in such a

manner. The pattern of Her crying too had become an unnatural one for a

little while.

From then onwards, that girl would never indulge in this kind of fun. She

had also told Ma's mother and Thakurma that noticing such unusual

crying, she had felt herself landed in such a plight that a recollection of it

was continuing to give her a strange sensation out of fear. That sensation

ever remained alive in her. That girl had a great love for Ma. Even after

her marriage, when she used to visit her paternal home, she would come

to meet Ma. Referring to the incident mentioned above, she would

remark that she was unable to forget it.

Ma herself Makes Her Svarupa Known through an Emanation (A

Form ofYogi) Declaring: This is Ma

PermeatingandTranscending Visva.

We have heard that Mokshada Sundari Devi had reportedly narrated the

following incident to a few persons. At that time she had been staying at

Vidyakut along with Ma over a fairly long period. Ma was then about

nine to tell months old. One day, after seating Ma somewhere, she was

busy doing some work, while, of course, keeping her attention also on

Ma. Suddenly, then, there appeared the form of a man a lustrous figure,

standing very close to Ma. At that very time, Mokshada Sundari Devi

too came there and standing behind Ma, kept on observing.

In the proximity of Ma, within a very short distance, that figure sat

down, assuming an asana (ayogi's posture of sitting). Though he wore

the garb of amahatma, his outer garment being almost ofjogia (ochre)

colour, he had his body covered in a strange manner. The cloth he wore

and the way it was worn-in all this, there was something unique - a


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radiance, as from a glow of light, which cannot be conveyed in words.

Whatever limited activity was noticed in him, it displayed his unusual

distinctiveness with a luminosity that was beyond description.

Meanwhile, Ma, in a semi-crawling movement, using one knee as a seat

and placing the other knee and foot ahead on the ground-in the pose,

peculiar indeed to a child that can only crawl -went up quickly close to

that brilliantly radiant form of the mahainia endowed with shakti.

Then, sitting there, She kept on gazing at him and laughing too at the

same time, as if She was intimately familiar with him, being one of Her

own. Ma's mode of behaviour at that moment was not at all what is

normal for an infant. This was, at that time, something extraordinary for

such a small child.

That mahatma, while continuing to look at Ma's entire body, from Her

feet to the tip of the hair, and becoming motionless in a sitting picture,appeared to be absorbed in meditation. Indeed, within a few moments,

again, what a smile of joy was there! Was it a revelation of a positive

gain without gaining as such? And while looking at Ma with a fixed

gaze, he kept on smiling. On the part of Ma too, there was an

inexplicable gravity and a slight smile as well.

Afterwards, hoJding Ma overhead, and immediately after touching Her

limbs, he placed Her feet reverentially on his shoulder, head and other

parts of the body. This too was, as if, an extraordinary expression of

devotion and veneration, the like of which it is not possible to find in the

common world. After this, he seated Ma in his lap with reverence, being

imbued all over with a sustained bhava that was at once so strange and

wonderful.

Next, be seated Ma again near himself and following some procedure

ofpuja, went through all its details known only to him. Also, some

words accompanied with mantra, etc., came out of his mouth, but what

they were could not be made out. The manner in which he did

thepranam was such as if he had entirely given himself way. His

actions-all of them-were completed one after another, within a very short

time, inexplicably with lightning speed. Finally, casting a strange glance,

accompanied with a stream of light towards Mokshada Sundari Devi and

after lifting Ma with both hands and placing Her immediately on the

ground, said "This (pointing towards Ma), whom you are seeing before

you, this is Ma, and is so not ouly among men and women, but also as

permeating and transcending the Visva. You will certainly not be able to


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keep Her bound in family ties. She will definitely not remain there."

Saying this, the mahatma became suddenly invisible there itself. This be-

coming invisible should not be understood in the ordinary' sense of the

term. What we have been hearing as Svamool, it was in that only. Where

did this mahatma appear from and where did he vanish? It was not at all

possible that he should be caught within the range of sight of anyoneagain. He disappeared there only from where he had become manifest.

Revealing the identity of Ma before the world for the first time by

addressing Her as Ma-who is he? Only He knows through

whose Kheyala this kind of manifestation took place.

The incident mentioned above has been incorporated in this writing of

mine, as was heard, particularly from the mouth of Gurupriya Didi. As

for Mokshada Sundari Devi, all this could not be narrated by her in the

presence of Ma. Several years later, once at Dehradun, where she was

(called) Giriji (because of her sannyasa), Gurupriya Didi, after getting

the account from the mouth of Giriji, had enquired a little from Ma :

"Ma, when you were nine or ten months old, it is reported,

a mahatma, after appearing (before you) had addressed you as Ma for

the first time. Further, he bad said that you would never remain secluded

in a home and had perhaps uttered some other words too like these." In

those days, who could ever have the courage to open his mouth before

Ma on a topic of such a nature. So Didi had stopped immediately after

saying this much. A subject like this, then, caused alarm in us, as that led

to a strange change in the physical body of Ma.

What is the indicative ofSvarupa of Ma ?

To this question Ma's reply was : who will comprehend unless it is

allowed to be comprehended.

The above stated incident is the Kheyala, as it were, to allow Herself to

be comprehended. Appearing Herself in the form of ayogi from Herself,

it was She who in the context ofkriya by thatyogi revealed Herself in

the different Svarupas pertaining to different lines ofsadhana. The states

which reveal theSvarupa ofdhyana, the perfect form ofBhakti

Shradha (devotion and reverence), complete atmasamarpana (self-

surrender), - all these, in fact, were unfolded by the courses ofkriya by

thatyogi. It was the state of ayogi which unfolded such form ofdhyana,

puja, mantra, etc., that led to the revelation of Ma's Svarupa-this is

Mother, pertaining to Visva, transcending Visva as well.


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The above statement is in respect of that place from where this revelation

took place. What can be spoken of as beyond a woman and man, it is in

that child only - Himself, He, the Indivisible perfect - THAT alone.

In the form of Her Kriya, She, in this form, in the revelation of ayogi, in

Her own Kheyala, the way in which She allowed Herself to becomprehended was Ma's play in Svakriya for the first time.

Ma not a Common Child

Can Excessive Fondling through Worldly Affection be Acceptable?

An incident on another day was as follows;

Ma's Thakurma had an aunt* *(This was the same aunt about whom a mention is made later under the sub-

heading 'Is Ma an insignificant child? An aspect of warning in Ma's play.) whose eldest son wasKrishnasundar Bhattacharya. He was thus of the status of a grandfather

for Ma. Once he lifted Ma with love and placed Her on his shoulder in a

jovial playful mood, just as, by way of dressing, a child is made to sit on

one's shoulder. Thereafter, be took Ma in his hands and, for quite some

time, tried to make Her laugh and dance by moving Her up and down on

his palms before throwing up and catching Her back. And, finally,

through further fondling, he made Her stand on his shoulder. Ma too was

probably laughing heartily (as is normal for a child).

Now the child placed Her one foot on the head of the grand-father, andthe other foot She perhaps wanted to put on his arm raised above. All of

a sudden, the grandfather started shouting: "Catch hold of! Catch hold

of! Falling down! Falling down!", and sat down at once on the ground.

Panting hard, he exclaimed: "O Lord, what a girl!"

Saying this, he left Ma near Her mother with a feeling of relief, as it

were. In the process of sitting down on the ground, it was not clear

whether he had said, 'It is falling, it is falling' or 'I am falling, I am

falling'. As to whether it was emotion or fear or weight that had led him

to this state is known only to Him who is concerned here.

This grandfather perhaps never indulged in this kind of fun with Ma

during the rest of his life. All the same, he continued to have this feeling

of affection for Ma fresh in his memory. He really used to look upon Ma

with great love. This is the version of those who had reared Ma with

tender care.


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Child Ma

Is She in tileBhava of Radha's Viraka (Separation) from Krishna?

Once, with Ma in her arms, Shriyukta Mokshada Sundari Devi had gone

to hear songs at a kavigan? (a kind of song tournament). Ma was, then,about two-and-a-half or three years old, and talked lispingly. The

following stanza was also (heard) there in that kavigan:

(Radha had) gone and appeared at the

Royal court of Shri Krishna,

Alas, like one who is mad

Courting for love only, in pangs, indeed,

Like one who is mad!

After hearing the song and returning home, Shriyukta Mokshada Sundari

Devi left Ma in the courtyard.

Sitting, absorbed in Herself under a thicket of banana trees, Ma started

singing the same stanza lispingly. As She continued Her singing, the

flow of tears kept on drenching Her. What did the child understand

which caused such a flow? That kavigan was, indeed, so touching thatmany could not resist shedding tears. As for Ma, She was also present

there at that time, and was it due to an identity with their bhava that it

happened as it did or within Herself alone, it was She Herself in the form

of the flow of tears too.

Noticing all this, that grandfather of Ma, Shriyukt Krishnasundar tried to

make Ma laugh through fondling Her. Ma, then, burst into laughter and

continued laughing heartily, but with some bashfulness too, as it were.

The narration mentioned above was heard from the mouth of Shriyukta

Mokshada Sundari Devi herself.

Play in the Context ofBimb-Pratibimb (Source and its Reflection) -

Herself Absorbed in Herself with Herself.

Once, when Ma was a tiny girl, Her mother asked Her: "Go to the tank-

ghat, wash your face and come back." Sitting on the ghat, Ma fixed Her


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gaze at water with one-pointed attention, without caring to put Her hand

in it. Looking at Her own reflection Herself in water, She kept on

playing by making gestures with Her bands and feet, and through facial

distortion. She, then, began pointing out something with Her finger and

muttering something too, both of which were unintelligible. Was it with

Her reflection that She was having this conversation, gesticulation,

laughter and all the rest through movement of hand and finger?

Again, on Her own, She exclaimed: "There is the sky, look, look!" In

this way, it went on for quite some time. Meanwhile, that grandfather,

Krishnasundar, standing at a little distance behind Ma, kept on listening

and watching all this. Perhaps he had felt concerned with the thought

that She, a small girl, had gone in front of him to the ghat empty handed,

and it was quite late too. So he had come to the ghat to find out what the

matter was, and noticing Ma like' that, had perhaps led him to remain

standing there so long. Later, he exclaimed: "What are you doing sitting

there? Couldn't you finish washing your face yet?"

Ma replied: "Oh look, look, there is the sky!"

After saying this, She washed Her face and returned.

Yes, She had come to wash Her face, but became absorbed with Herself

in Herself. We all, that are here, surely belong to Her alone. It is She

who is playing with Herself. Isn't that so?

Is Ma an Insignificant Child?

An Aspect of Warning in Ma's Play.

We have heard that very soon after Ma's advent in our midst, as we see

it, the aunt of Ma's Thakurma (the mother of Krishnasundar, mentioned

earlier) had remained alone in that room (the lying-in chamber). Ma used

to call this auntBada Ma (senior mother). She had a few cows that

yielded a good quantity of milk which was churned daily to get

buttermilk (after converting the milk into dahi i.e. (yoghurt).

When Ma was a small child, that is, during the days when She went

about without clothes, She used to visit her (Bada Ma's) house early in

the morning, while holding a vessel pressed over Her belly. Her house

too was contiguous to that of Shriyukt Bipin Bihari Bhattacharya (Ma's

father). When buttermilk would become available (after necessary


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churning for butter), she would call Ma first and give Her a little butter

and some buttermilk. She loved Ma very much. At that time Ma was

very healthy with a stout physique and some people jokingly called Her

a chalkumra (a kind of pumpkin).

One day Ma, holding (as usual) the vessel on Her belly and moving it toand fro, had gone leisurelyforbuttermilk. However, the momentBada

Ma saw Her, she exclaimed: "Just now I have started making buttermilk

and here She has already arrived in advance to get it. You take

buttermilk daily; now, it won't be given to you anymore, go away." She

had spoken this in an annoyed vein. Just then she noticed that her

churning pot had developed a hole and the yoghurt in the pot had started

leaking away.

(On this) she exclaimed with surprise:

'What is this development now!' No buttermilk could be had that day.

She, then, called Ma and gave Her something quickly out of the

remnants in the pot.

Ever since this incident took place, even if Ma was late in coming.Bada

Ma would call Her and give buttermilk. Some among the descendants

ofBada Maare still living today.

They cherish great reverence for Ma.

A Form of Obedience to Mother's Order-Ma in the Form

ofBhava ofKirtan?

When Ma was about two and a half years old, She was once taken to

her maternal uncle's house.

One night there was kirtan in the neighbouring house.

Taking Ma in arms, Shriyukta Mokshada Sundari Devi went there and

seating Ma in one place, told Her: "There is kirtan, see and listen." Mahad once said that whatever the parents asked Her to do, She carried cut

the same, as much as it was in Her Kheyala. Verily, even at such a small

age, that day, perhaps in obedience to the bidding of Her mother, Ma

was looking at the kirtan being performed and listening too, but now and

then Her body appeared to be drooping in a peculiar way, lacking

balance.


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The mother had asked Her to listen to the kirtan; the rise ofbhava that

occurs when kirtan is heard in the real sense-perhaps it was this which

was taking place. Shriyukta Mokshada Sundari Devi noticed that Ma

was drooping.

So she repeatedly made Ma sit up by shaking Her again and again, whileremonstrating: "All the boys and girls are remaining seated, only this one

is in such a state! There is such loud singing and so much sound being

produced due to playing on khol (tom-tom) and cymbals, but how this

one is in this peculiar way indeed!"

Here, in fact, however, Mas body remained lacking steadiness, may

be in a state in identity with the sound of the Name, etc., pertaining

to kirtan. Afterkirtan was over, Shriyukta Mokshada Sundari Devi

returned home and made Ma lie down on the bed. Next day in the

morning, when she tried to awaken Ma by calling Her, the latter stillappeared in a somewhat drowsy state. She had certainly not sat up till

late at night; what, then, had caused such a state, she wondered. Quite a

long time elapsed in the same condition. As this was not due to keeping

awake at night, she concluded that it was due to some other cause.

Attraction of Kirtan

An Aspect of Exuberance in Child Ma.

In village Kheora, on New Year's Day or some other special days, orwhen there was any outbreak of an epidemic, the villagers used to collect

in the morning and evening, and move out in nagar-kirtan (kirtan in a

procession along the streets of a town). In Her very child-hood, Ma

would, at the sight of or on listening to such kirtan, have an ecstatic urge

to run up to such a procession and move along with it.

With great joy and exultation, She would entreat Her mother "Mother, I

just go, may I ?" So saying, She would want to run away, as it were. She

would then go up to the kirtan party and be back to Her mother the next

moment running hither and thither, as if in a peculiar state ofrestlessness. Noticing such abnormalities in Ma occasionally, Her

mother would remark : "This girl, of what sort is She?" Of course, she

would not allow Ma to go. From Her very childhood, She was forbidden

to move out with boys to any place. Even after the kirtan party would

leave, it was noticed that for quite sonic time Ma would remain silent,

grave and very calm.


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At that time it was also customary in every village in East Bengal (now

Bangladesh), that in the twilight of early morning, the Vaishnavas,

playing on tun tuni(a kind of small cymbal) and tambourine, would sing

the name of the Lord at the doors of householders. They used to sing the

following type of songs:

Wake up!

Oh residents of Vrindaban,

Saying glory to Radha,

Shri Radha,

It is already dawn.

Rising up graceful Radha

Looks towards the road,

Which way has gone

My Shyam Sundar Rai?

Oh residents of Vrindaban, get up!

Rama is awake, Sita is awake

And awake is Lakshman,

Dasarath, Kaushalya are awake,

Also Bharat, Shatrughna,

Wake up, Oh residents of Vtindaban!

Ganesh is awake, Kartik is awake,

And Lakshmi, Saraswati.

In Kailash, Shankar is awake,

And awake is Parvati,


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Oh residents of Vrindaban, get up!

On those days, when at dawn they used to sing various bhajans,

kirtan and songs at the doors of particular householders, they visited

again those houses later in the morning on the same day, and singing

beautiful songs about Balarama, Radha-Krishna, Goshtha Giti (songsconnected with the pastoral sports of Krishna), songs related to

Mahaprabhu,Mahamantra and various other such songs, collected alms

from them. Thus it gave an opportunity to the villagers also to hear the

name of the Lord and provided an aid as well to those Vaishnavas in

earning their livelihood.

On such occasions, Ma would be disinclined, as it were, to withdraw

from that place. She would appear abnormal. In fact, it was difficult to

make Her even shift from there. While listening to those songs, Ma's

features too would appear as if somewhat different, in full divinefervour.

In the village, it was a prevalent custom that the ladies would assemble

and sing together on occasions of worship of various gods and

goddesses, during an investiture of the sacred thread, a marriage

ceremony, etc. Those songs could be about Krishna or Rama, Sita or

Durga-Kali, Kartik, Ganesh, Lakshmi, etc. Whatever the song was, on

the occasion of worship of a particular god or goddess, Ma would surely

be in that same mode, and it was not easy to make Her move from there.

All the same, remaining obedient, through Her own Kheyala, the

carrying out of the orders of Her mother was positively there.

Attraction in the Context of Prayer to Bhagavan

The Form of Kriya of Ma.

Once, during Ma's childhood, two European ladies, while engaged in

door-to-door preaching of Christianity, some also to the house of Ma's

maternal uncle at Sultanpur. Deeply engrossed, Ma (who was then there)

kept following them as well. Through songs and discourses, theyexplained to all, the doctrines of Christian faith. Entreating Shriyukta

Mokshada Sundari Devi---f course, Ma was not concerned with this or

that religion, it was talk aboutBhagavan alone that counted with Her -

Ma said: "Mother, may I buy a copy of the book on their religion, priced

one pice only? On this, she purchased the book and gave it to Ma.


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She certainly could not properly read too; perhaps She managed to read

one or two words and after that who cared to read further! How far it

was intelligible to the little girl is known only to Ma, but She did remain

absorbed in it.

They had pitched their tent outside the village.

What happened to Ma!

On that very day in the evening, She went over to their tent running. We

do not know for what purpose She had gone (there) at that hour, which,

indeed, was their prayer time. Going quickly, Ma had returned quickly

too. Perhaps they could not even notice Ma. Meanwhile it was getting a

little dark when She returned home. That day nobody took Ma to any

task too, although it was a standing rule that everyone without exception

should positively be present in one's house before dusk. On Her part, Matoo did not tell anything about this matter to anyone.

In this context, it was heard from Ma's mouth at some later period that

the camp of the missionaries lay on the out-skirts of the village in a field

quite far off, on the bank of a canal and a lake, where it was impossible

to go and come back within such a short time. (About) the pattern of

Ma's movement, did Her feet touch the ground or not?

She possibly moved flying, as it were. What type of movement it was,

Ma only knows. On Her way, there lay grass and thorns, but such wasthe pattern of movement that even on touching them, they touched Her

not-a strange sort of wavy movement in the air. On the basis of the

narration as heard, we asked Ma, 'What was the significance of this

movement?"

Ma: " There they made prayer, the same prayer was also in the form of

this kriya.

Whenever it happens to be in Her kheyaIa to do something, then no

obstacle arises in the performance of such action and She sees to it that itis positively done. At that time, in the dusky twilight, this very small girl

returned home, running on a route through a rural jungle and nobody

could get a scent of it, as it were, nor did anyone even ask Her anything.

Here were strange newly-arrived European ladies, and in going after

them at dusk, She could have taken fright as well, so natural for a child,

but nothing of that sort happened.


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They had come (dealing) with religious objects and that is what

concerned Ma.

They too were like constant friends, dear members of the family. Where

was then (the question of) obedience! When it was in Her

specific Kheyala, did the binding of obedience hold good in this case? Atother times, again, such binding was there, but where can there be a

binding which is free of binding * is it not clear?

*A binding accepted in Her own Kheyala is a binding in Her freedom that is,

binding or no binding it is in the same freedom.

Who is Hari?

Child Ma's Query: basis of Play of sadhana in future.

At that time in the villages, there was no sign of any practice of holding

devotional group meetings or having discourses or talks by

Mahatmas and the like. Occasionally, there was held

aHarisabha (assembly for talk onHan), performance of kirtan, etc., or

reading from theRamayana, theMahabharat, Padma Puran and the

like. Shriyukt Bipin Bihari Bhattacharya Mahasaya, of course, did

ardently do bhajan, kirtan, etc., with the name ofHan during the last

part of every night.

When Ma was five years old, one day after dusk, sitting by Her fatherand hearing him singing, She enquired: "Father, please listen (and tell

me), thisHariwhose name you sing, who is thisHari? In reply, he

said "Han is the name of ShriBhagavan."

Ma: All right, what happens by taking His name?

B. B. Mahasaya: He appears when invoked.

Ma : What does He do after appearing?

B. B. Mahasaya: If I am in need of you and then call you, you turn up; in

the same way, He too makes His appearance. When one invokes Him

and submits to Him any desire one has with a sincere heart, He fulfils it.

Just as, when we call you and say, 'See, you get this work done for me,'

you do the same; exactly, in the same manner, whoever asks Him for


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anything, He grants it. As soon as He is invoked, Be will appear without

fail. He performs so many other like acts.

Ma: Will He appear just on calling, 'Hari, Hari?

B.B. Mahasaya: Yes.

Ma: How big is He?

B.B. Mahasaya: Very big.

Ma : There is the field, will He be contained in it?

B. B. Mahasaya : No, He makes His appearance when called asHari,

Hari. You will then see how big He is, who He is and how beautiful!

A clue by indication provided by father in his own way for the revelation

of THAT- this is what we may conclude positively.

From the conversation between father and daughter recorded above, does

it not occur in our mind that, in reply, Ma got spoken from the mouth of

Her father that Tattwa, which is beyond speech and mind.

Because of the fact that theMahapurna (super-

full),Akhanda (Undivided Whole) Itself will Himself play with Himself,

so here is the vastness of all forms, no form Itself, where beyond and notbeyond does not come within the domain of talk certainly, this is what

we should accept here. Through plain and simple words from the mouth

of the form of a five year old child, what an extra-ordinary and serious

question it was and the reply from the father too-this aspect also has

been granted to us.

In order to initiate the play ofsadhana with Herself in Her

own Kheyala in future, here is Ma in an environment created by Herself

only.

The child-Mother asked Her father : Who isHari? Father replies: You

do HisNam, you will know only when He appears.

This word aboutHari that Ma got out of father's mouth, this, in fact, was

the basis of Ma's play ofsadhana in future. What was made to be spoken

through the mouth of father, this too is in the context of


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Ma's Svakriya. That is She Herself was the question and She Herself the

answer.

In succeeding volumes we shall observe how splendid and of what a vast

form this play ofsadhana was, and in connection with this play, an

indication of Ma's own Svarupa was unfold in the form ofeach kriya, state and completion ofsadhana. This is Ma's play

ofSvamool, where exist mools of allsadhanas. Abadh is that play of Ma

with any mool at any time.

In and Out tile Same One Tattwa

Child Ma's Joyful Exultation

During Mas childhood, one night at Kheora, there was a storm, due

to which the house shook, the thatching blew away and everyone becamefrightened. But Ma started clapping Her hands exultantly while shouting:

"The chan (a kind of hay in the thatching) has blown away, the chan of

the thatching has blown away!" The next day in the evening, when it

grew dark, Ma began jumping and clapping with bubbling laughter.

After pointing to the opening in the roof and' addressing Her mother, She

exclaimed, as if with Her entire body:

"Look, look, mother, how beautiful!

The stars can be seen while sitting in the room itself! There is no need togo out-in and out are one and the same!"

(On this) Shriyukta Mokshada Sundari Devi remarked: "Whatever you

are, your words too are exactly like that-just like the joy of a lunatic on

the killing of a cow." Afterwards, it so happened that both the roofs of

the house on both sides rolled down to the ground. That which is to blow

away, that which is to fall, melt or burn away, will end up exactly in that

way- --where this is so, in the angle of vision. But where there is no

question ofdrishti-srishti, there it is the One, THAT only-the Self. This

is what we have been hearing. Was it a hint towards that only -only theOne alone-which was conveyed by the clapping of hands?

Noticing Ma's occasional simple and listless mood, everyone, indeed,

took Her to be an insipid simpleton. Some of them called Her insensitive

and wondered if this one had not inherited a little of the simple nature

too of Her Thakurma.


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They thought that if all this were not overcome, then God knows what

may, befall Her after marriage.

In connection with the play too in child-like exultation' inAnanda, and

in this kriya also there is a display of indication pertaining to the truth of

oneness. In and out are just one-in the example 'of identificationofghatakash (the 'void in a pot) withMahakash (the great void)-

implying identification ofjiva-atmaand Paramatma, there was that

exultation inAnanda of Ma.

Where there is perception-creation, that is; ephemeral view sustained by

creation, sustenance and dissolution, there itself is transitory kriya, such

as construction and destruction. Implying this fact, Ma is saying: what

has to away, fall down, what has to be burnt away, melt-away,' that does

happen in the context of appropriate place.

In Svarupa, there is no such question-the One THAT alone.

This is what has to be realized byjiva, his own self revealing in the Self.

This is the significance of Ma's clapping of hands, being elated with joy.

Child Ma - Joy to Parents.

During cold and hot weather, in sun and rain, Ma could hardly be over

powered (by weather conditions). It was seldom that She was taken ill.

She would play with great joy running about in the rain. Shriyukta

Mokshada' Sundari Devi would remark,

"It seems that this one cannot be subdued in any way indeed!"

Observing the various sorts of strange modes' of Ma on many an

occasion, both father and mother, despite the manifold troubles and

tribulations that are generally there from the worldly point of view,surely had, all the same, their little smile of joy undiminished.

Durga Puja: Manifestation ofBhava in Child Ma's Body -

A Question by Youngest Maternal Uncle

Once, on aDurga Puja festival, there was an occasion for Ma to visit Her maternal uncle's home

when She was six or seven years old. One day, while watching thepuja being performed, a


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strange bhava was noticed in the physical form of Ma, and in that state of exultation within

Herself, She kept moving about on Her own. In the context of this incident, we heard that when

there was anything like this in Ma's body, some indistinct utterances would start issuing from Her

mouth. Ma's youngest maternal uncle kept on observing this for a long time. Afterwards, speaking

forthwith, he asked Ma:

"Eh, what were you saying, muttering in this way ? Do repeat it to me."

Ma became completely speechless, as if She were a stone and in a serious mood remained

standing in a state of bewilderment. It was as if She could not follow what was enquired from Her

at that time. Just as there was deep serenity and gravity in Ma, indeed, so also, there was a climax

of restlessness taking place simultaneously.

It was this youngest maternal uncle of Ma who looked upon Her with an uncommon inner feeling.

We have already written in detail on this During the festival ofDurga Puja,he would look upon

Ma as Kumari* and worship Her first of all during Kumari Puja (the ceremony of

worshipping Kumaries). He would offer Her saris of best quality, etc., and feed Her in the same

spirit. Some others too, during Mas presence, would, in a similar way, find much gratification

in feeding Her as Kumari.

Everyone whosoever, without any distinction of caste and class, who

happened to look at Ma, could not as if resist fondling Her the moment

there was a suitable opportunity to do so. In fact, Ma would attract the

attention of many indeed!

Vigraha - Lila and Tattwa.

At the age of seven or eight, and in thecompany ofBada Ma, Ma once

visited Shiva Badi (temple of Shiva at Chandla). For a whileBada

Ma kept Ma seated under a banyan tree. The hair from the first shavingof the heads of children, vowed as an offering to the deity, used to be left

under that tree by people coming from different villages. For this reason,

a heap had formed of such accumulated hair.

While sitting there, one Thakurgharcame into Mas view, but there

was no Vigraha in it. All the same, there was a tank nearby, and as soon

as Ma turned Her eyes towards the tank, She noticed a Shivalinga of

stone diving at one time, floating at the next, then jumping out while

surging up from water and diving again.

Also, very near Ma, Shiva Durga vigraha, moulded out of moon as it

were, flashed for a moment in that form only.

Ma said,

"There were more facts in this context,


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but whatever little may be spoken at any time."

All the same, after sometime when Ma went to the Thakurghar, She saw

the Shivalinga again also there. On returning home, in course of a talk,

when Ma narrated some facts of what had come to Her view, others

remarked that they had always seen the Shivalinga inthe Thakurgharonly.

It was heard-such was the traditional report--that this Shivalinga did not

always stay in the Thakurghar, but roamed about in the tank and jungles.

When people went down in the tank for taking a bath,

that Shivalinga would mount on the palm of someone, but immediately

again would roll away and dive into the water.

This particular rolling away did come into one's view.

Again, when sometimes, someones eagerly tried to touch it, then, at that

time, he would possibly fail to find it. It would disappear in water. At

some other time, again, it would be seen seated in the room

andpuja being offered. That room, the flooring of which was of earth,

and the roof and walls of corrugated tinned iron sheets, always had an

opening in one corner.

Ma and Mango Tree - Giving and Taking.

It was a usage in villages that at Vaisakhi Puja (worship performed inthe Indian month ofVaishakh i.e., April-May), everyone offered ripe

mangoes of the season, first to the family deity. One day Ma enquired of

Her mother,

"Mother, Vaisakhi Puja is taking place and you too are performing it, but

you have offered an unripe mango in thepuja. Where is the ripe one for

us?"

She replied "Have we got a mango garden, where, in one tree or the

other, at least one full or half-ripe mango could surely be available? Sowe shall performpuja by offering an unripe mango. There is no need for

a ripe mango for us. One performspuja with what one has and according

to one's capacity."

Outside, there were some mango trees in the gardens of other people.

But Shriyukta Mokshada Sundari Devi's instructions were that fruits


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were never to be brought (home) after plucking them from these trees;

they could, however, be picked up if they were found lying on the

ground under them. This was not prohibited according to an established

practice in the villages. The instruction too was scrupulously observed

by Ma. Lest a branch of a tree bent down when laden with fruits, might

come into contact with Ma's body and the fruit may be touched, Mawould maintain a distance from such branches while proceeding on foot.

Obeying an instruction meant obeying it fully.

While going to the ghat of the tank, Ma had noticed earlier that very high

up in a tree, one mango had ripened and turned red. It came to

Ma's Kheyala that if it had dropped, it could be offered inpuja. And,

indeed, Ma had the habit of conversing with trees. We do not know how

things happened and in what way, but when Ma went to the foot of that

three that day at that time, She found the same mango lying on the

ground. When carried and given to Her other, the latter questioned: "You

have not brought it after plucking jt, have you ?" On being told as to how

it was got, she smiled a little at the words of the small girl and offered

the mango inpuja.

Ma told Her mother: "As you give me, so also does the tree; the tree too

gives in the same way as you do, is it not so mother? Surely, it can also

give like you, no matter even if it remains. standing at on place."

On this, laughing in her sleeves a little, she commented: "Is the tree a

friend of yours that it will give you? Look at this girl talking like a

pundit. Of course, paternal and maternal families ate of pundits; how can

She escape the family cultural heritage?"

That Ma speaks only the truth, was undoubtedly in the knowledge of

Mokshada Sundari Devi. In matters relating to religion, (as during)

a vrata (religious observance),puja, kirtan, and when there ere vrala

kathas (stories narrating glories pertaining to the deity at he end of

a vrata) or reading of religious books, an expression of cheerful

enthusiasm and ananda would be noticed much in the physical body of

Ma.

On a later occasion, after a considerable lapse of time, when once Ma

bad been to Kishenpore* two mangoes were brought from (a tree in)

Kalyanvan* and shown to Her.

*( Kishenpore is a part of Dehra Dun town (U.P.),


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situated on its outskirts. In this area, there are two ashrams of Ma,

one known as KishenporeAshram and the other Kalyanvan.

The latter is meant exclusively for sadhana ofashram mahatmas.)

On seeing (them), Ma had remarked:

"These two mangoes too have almost the same colour and similar pattern

(as that of the mango mentioned above). One of them had such a

distinctive mark that it could be picked out even when mixed in a heap

of mangoes. We took a photo of the same. Both the mangoes were

carefully stored on the first floor. After that none of them could be

traced. However, after a considerable search, some one informed that he

had noticed one of the mangoes on the ground floor. That mango was

brought, cut into slices and distributed, a piece each, asprasad. It was

proposed to preserve its stone. But, afterwards, that stone too could notbe traced at all. About the other one, who took it away or ate it tip or

what actually happened to it, none could say.

After three or four years, while looking for this particular mango tree at

Kalyanvan, it was observed that perhaps gornata (cow looked upon as

mother, go : cow, mata : mother) used to be tied to it. After giving shade

for sometime, it met with what was destined for it-only the roots were

seen as a mark of its remnants.

Poverty as Yibhuti (Glory):

inAbhava (want),

Svabhava (Normal condition) in AllBhavas, the Same ever

inAnanda and Exultation.

In the small village of Kheora, most of the villagers were not used to

buying vegetables, as a regular practice, from the bazaar. (They

depended on) whatever could be grown within their premises; in fact,

they did manage to produce some vegetables in their residential lands.

But the land of Shriyukt Bipin Bihari Bhattacharya Mahasaya around his

house was so barren, and mostly sandy, that there could hardly be any

possibility of producing vegetables and the like too that were

worthwhile. it was this sand where Ma used to play with great delight.

She would thrust Her fingers in the sand and heap it up in one place.


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The sand was of fine texture, shining white, and Ma would tell

cheerfully, and in exultation to the neighbours that the kind of shining

white sand which was there was not available in the land belonging to

any other house. As if with sense of pride, She would remark: "Look,

how granular the sand is; it does not soil the hand too."

At the end of play, She would shake off the sand by clapping Her bands,

and go home jumping and leaping.

While we were reading this narration, Gurupriya Didi too was present.

In a lighter vein, she had, the, remarked: "Ma, we can see that while, you

were with your parents, your great grace was, indeed, there, in their way

of earning livelihood!"

In reply, Ma too said with a smile: "Why, at home curries were preparedout ofbharali (inside stem of a' plantain tree) and thor(plantain flower).

Friedneem leaves were there, and also a preparation ofneem leaves and

pieces ofbrinjal fried together. Leaves of coriander of foreign and

Indian variety, reduced to a wet pulp and taken with rice, and items of

like nature all these were prepared sometimes.

Surely, we had taken plenty of such items cooked by mother.

Moreover, among fruits, we had kavrikela, avrikela, bichakela,

chinichampakela (all varieties of plantain: kela means plantain) andpineapple too, in small number; although now and then, they were left,

asprasad(that is partially eaten) by porcupine friends And clinging to a

mango tree, there was a big guava tree which bore a variety of small

guava. A few mango trees were also there.

Again, there as a very big jackfruit tree, but it never bore any fruit. After

I had joined the family of Bholanath, it had perhaps produced fruits

once." We all, then, laughed again and said that in that case, in-. deed,

there was no limit to, the bestowal of grace.

Ma: Why, all these fruits, etc., too were now and then offered to the

deity and taken asprasadas well.

We have heard, further, that such spices as ginger, green turmeric,

coriander seed, aniseed, randhuni (a variety of parsley) etc., were

produced at home and sometimes used in preparing bhoga for the deity.


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Uluchan (a variety of fine grass) for thatching the dwelling house grew

there itself. The rustling caused by the swaying of bamboo (growing

around the house) resonated through the house. Plants producing a kind

of cane grew in the environs of the house, and their top ends were eaten

after being boiled with rice, etc.

Although these cane plants were full of thorns, the latter were cut clean

and after eliminating the tender pulp, were used for fastening en

enclosures serving as walls o the house and tying the thatched roof and

making it secure. Such enclosures and doors were made exclusively of

bamboos, and self-woven coarse mats, also of bamboo only, were

sometimes made use of. The flute too, secure in the hands of Sri Krishna,

while touching his lips, is made of a particular variety of bamboo, and

this variety was also here. Various other articles too were made of this

quality of bamboo. Even the dish used when eating parched paddy, fried

rice, flattened rice, etc., was only one particular variety among various

such patterns of containers made of this bamboo'.

The artkle pertaining to this created world too, bearing the greatness of

various aspects pertaining to the Supreme Objective were collected and

during this time, while remaining in the environment of such articles that

had been prepared at home in a spirit of reverence for use, there was this

girl in the form ofkriya.

A portrayal of utter poverty is the background of the environment in

which Ma is seen in Her childhood. She resides in a small simple house,

the food comprises simple pot-herbs, vegetables, little fruits, etc. mostly

grown in the residential land itself.

In the construction of Her dwelling place, bamboo, uluchan, cane, etc.,

all available from their own landwere used. Mats in use at home were

also woven from strips of these bamboos which included also the special

variety from which flutes could be made, bringing into memory the flute

in the hand of Shri Krishna.

A number of different vessels for taking breakfast were also made out ofthese bamboo strips.

In Ma's words: "Food stuff grown at homematerials made at home itself

- all such articles of this created world have the greatness related to

aspects and ways pertaining to the Supreme Objective. That is, in the

journey leading to the revelation ofSvarupa, the traveller must abide by


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particular disciplines in respect of his food, materials used, etc., as all

this helps to awaken pure bhava. It is essential that there should not be

the least indulgence in respect of objects of sensual pleasure, as such

abstinence is an aid to free oneself from worldly desires, thereby opening

a natural way towards the goal. These materials, as referred to here,

having innate potentiality to awaken satvick bhava in the environmentsustained by purity and truth had been available there in the normal

course.

Thus, in the environment of materials created by itself and offered with

reverence for use, was this child Ma in the form of Her kriyas.

It was through Ma's Kheyala only that this environment manifested and

in respect of all kriyas of M here, is She only in the form of

those kriyas, depicting by itself the way of living that makes natural

unfoldment of spiritual stages which culminate in the realization of theSelf revealing as everything in the forms ofkriyas ofsadhana, etc.

The ancestral homestead of Shriyukt Bipin Bihari Bhattacharya was at

Vidyakut, and Holi, Durga Puja festival, and also a succession of other

festivals used to be held there all the twelve months of the year. Thy had

agricultural and untenanted land too.

Well off Brahmin sisya and sisyas of other castes holding high positions

were there. No doubt, we have heard about all this. But the joy in

picking pot-herb in the company ofThakurma, seeing stars while sittingin the room itself after the thatching had blown away, making the house

and the outside indistinguishably one, there was joy in all this too; and,

then, to roam about, in greatAnanda, putting on torn clothes, the dress

reflecting utter destitution-in want, in normal state, in fact, in all states

the same oneness, was ever there. Was it because such facts as these

could be brought to light, that you created this state of penury in the

environment of Kheora? All this, indeed, is but your play and perhaps

just to have such a pastime in sustained joy and exultation under all

conditions, that this particular type of environment was created at that

time.

From all this, indeed, it occurs in my mind that the entire surroundings

here are of a rshi-Ashram, and again, to look upon these as verily

theLila-Khela(divine play) created through volition ofBhagavan, where

many forms are of the One, and those many abide in the One only. At


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the same time that One is in all, pervading all, which, undoubtedly, we

have been hearing all along.

Right now (before us), our direct experience of the stream of appearances (of Ma) is the testimony

that the forms are of tat only in all cases. On the other hand, anything or any aspect that is

unfolded before us - in these worldly dealings, there is unworldly in fact, these 'who' are of the

only One (that which) is appropriate at a particular place.

However, in all states, it is the One, THAT alone.

Since it is THAT only, with it, Ma is the samePrasanna Svarupa (serene, cheerful,

disposition Itself.)

Surely, we must take this fact into account.

This Svarupa is only to be realized; where, then, is the possibility of catching and

comprehending it (objectively)?

It awakens in my heart that all thesekriya in this environment, at this time are a solemn insong wreathed in the background, both in adverse and propitious conditions.

Here is child Ma in the environment of extreme poverty.

However, in whatever circumstances She might bin a broken dwelling

place, wearing torn soiled clothes, with simple food - identifying Herself

with any condition, She is, under all conditions, ever inAnanda, elated

with joy.

While investigating the reason for this, one way of looking at it is thetradition ofrishi ashram. Besides, the diverse forms pertain to the One

only, many abiding in the One alone. That is, whatever may be the

condition, Ma is, indeed, ever in that one form. Therefore, the external

forms of that Svarupa-Ananda are diverse kriyas and dealings. Adversity

and favourableness, due to circumstances, are Her own external

expressions-it is She indeed. Here misery and want, due to any

extraneous influence - this question does not arise.

Various forms of divisions and distinctiveness are, with the touch of the

One, unfoldments in the form of modes of play of the One. So long asthis truth remains un-revealed, till then persist the worldly concerns,

attachments, aversions, conflicts, leading to the dukha (misery) of

coming and going (birth and death).

It isBhagavan who is both joy and misery, in all forms and form-less as

well.


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That we may remain devoted, aiming at this in our journey-is it not this

end that those plays of Ma are meant for?

Ma says: "In samsar(world), where considering sam (change) as sar

(permanent), that is, unreal for the real,

one ever remains oscillating,

being subject to kriya, sustaining favourableness, adversity, misery and

conflict.

But behind this unreal form of the world full of misery, there is the

harmonious play ofNitya-Svarupa (eternal Reality) in each form, and

this indeed is the solemn song wreathed (as a garland) in the

background.

There is that Supreme UltimateAnanda-Svarupa-Tattwa, beyond mind

and speech, in all forms

THAT alone.

Again, it is He in the manifested kriya pertaining to the world in the

form of favourableness and adversity as well."

That is why in all conditions, there is an unswerving cheerfulness itself

in Ma. This is what has to be unfolded to us in the context of theenvironment of penury pertaining to Ma.

Playing with Sand.

Manifest, Unmanifest, Indeed All in that Small Mound.

One day Ma was making, at one place, a circular heap of sand by

digging and turning it up with Her hands. Her mother (came up) and

enquired: "You have been in the sand so long, exposed to the sun, and

are perspiring with a red face. There is sand all over your body and head.What is it that you are making with the sand?"

Ma replied: "There is the Salagram Thakur in

the Thakurghar, spherical in shape and present in it are Krishna

Thakur, Radha Govinda, Rama Narayana and all such Thakurs

so you were telling, were you not mother?


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Now, in this heap of sand too, are present all those Thakurs in

the Thakurghar, and there are in it (the heap of sand) still

more Thakurs,innumerable as they 'are."

The girl conveyed, through the tone of these words, we do not know

what all ideas in a strange manner, while looking at Her mother's eyesand keeping on smiling, waving to and fro, with Her one band resting on

the ground and the other raised above, twisting Her body as She

remained seated, revolving the raised hand and moving Her head and

mouth.

It was, as if, in this very small heap of sand nothing whatever was

excluded that is what, we think, She was making (Her mother)

understand.

Within Visva Brahmanda and beyond

whatever exists at any place or does not exist, Thakur, Devata, etc., in

fact,

all that is manifest, unmanifest as well (are in this small heap of sand) -

and, indeed, was not this that was hinted at through these words (of Ma).

Shriyukta Mokshada Sundari Devi perhaps remaining thoughtful over

what was conveyed by those words, quickly went to the kitchen and

calling Ma from there bade Her: "Do not remain anymore in the sun,come inside the house."

When Shriyukta Mokshada Sundari Devi gave this instruction, she

observed, while peeping, that Ma, looking this way and that and

laughing heartily on Her own, had got Herself nicely seated on that heap

(of sand) as a cushion.

Razing that heap almost to the ground, She stood up and picking up

a little sand in Her hand, sprinkled it above Herself and on Her head

too, and then quickly ran to Her mother jumping and dancing onboth the feet, as if a sustained wave of joy, pulsating from head to

foot, was always there. Where did this pattern of dancing and its

rhythm originate from, Her mother wondered!

Play with Flowers - In the Form of Flowers.


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InHer play with flowers, etc., how many diverse patterns were there (in

the play) even with flowers. Sometimes Ma would take a flower in Her

hand, and as She would stretch Her hand above Her head as far as She

could, She would keep on observing it all the time. And then She would

touch Her cheeks, mouth, nose, forehead and head (with the flower).

Making a braid ofnandadulatflowers, She would give it the roundshape of a bangle. Putting it, may be on the nose sometimes, round the

ear at another time or just on the head, She would dance a while.

Mokshada Sundari Devi had taught Ma the technique of making a

wreath by inter-weaving nandadulal flowers. From then onwards, Ma

began making such plaits and playing with them. Again, as if muttering,

what a long talk She would have with flowers while making signs with

hands, nodding and moving mouth and eyes. Afterwards, collecting all

the flowers in Her hands and throwing them all up, She would walk

away in a serious mood.

After so much fondling, in such intimacy, of the bunch of flowers, there

would be, as if, no connection at all (with them)! Sometimes someone

would happen to see all this too. When aware of it, Ma would burst into

loud laughter.

Even while standing, or sitting as well, once the play was over, Ma

would, after tearing and casting away everything, and abandoning it all,

turn a quiet girl and make Her way homeward. What is novel in all such

stories? Now too we see that when Ma continues to stay in a particular

place, it takes on the appearance of a thoroughly delightful festive

congregation. We become full of expectation that perhaps the rest of our

life will pass in this very manner. But, in a trice, the festive congregation

vanishes, and then no one belongs to anyone.

Play of Drawing a Circle - Her own Drawing,

Her Steadiness, Dancingas well

There were still several other kinds of play of Ma.

(For instance), with the heel as centre and the middle part of the foot

raised and curved inwards, She would, by turning round, draw at a

stretch a uniform and unbroken circular line with Her big toe. After

joining the ends of the circular line through that single turning itself, She

would stand still there. Then, revolving round and round, She would


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keep on dancing. Again, sometime, stretching out both Her arms, She

would continue whirling round in the same style; also, leaning as well,

once on the right, and then on the left. At that time if Shriyukta

Mokshada Sundari Devi happened to notice this, she would warn,

exclaiming: "Hey, you will fall down, don't do all such things!" Ma

would, then, stop moving, and clapping with raised hands, would run toHer mother leaping and jumping. Whatever Her bidding, Ma would

carry it out to the letter; this, too, was noticed in Ma.

While drawing the circular line, the other foot of Ma remained (aloof) in

the air only and did not touch the ground. Observing all these different

ways (of Ma), sometimes there was an expression of fear too in

Mokshada Sundari Devi. At that time, she would say: "Don't know what

all this girl does; of what kind She is-like a - silly simpleton

too;Bhagavan will look after Her in His own way!"

Neighbours, too, there were hardly in any considerable number. On rare

occasions, some girls of Ma's age-group, from the Eastern or any other

quarter, came and took part in the play of drawing the circular line.

Among them, perhaps one could complete half of it, some possibly a

part, while others attempted to draw the same walking slowly with the

help of the other foot. Sometimes the ends did not join well at all.

Someone perhaps even sat down after standing. All fins failed to get that

unbroken circle through a single rotation. In the play of children, such

was he distinctive feature even when Ma was playing in the sand.

Ma, though a small child, was, in fact, even in that play, not at all with

anyone, though remaining in the midst of all, like white sand which is

shaken off and thrown away. (Of) the unbroken circle, was She not

Herself, indeed, thatAkhand Bindu* itself at its centre?

She Herself was the drawing,

Herself, again, in the stationary state,

and Herself in the state of dancing as well.

That is, whatever it is, it is She with Herself,

revealing only Herself in Herself, even in all such physical postures in

the play.


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In fact, this is what is being conveyed at all times.

Indeed, Ma would sometimes say:

"When this body was (for the first time) in the presence of you all

(i.e., born), as it was then, indeed, so also it is now (i.e., the same)." *

*(Ma pointedly declares here Her Reality as the only One without any change,

transcending time, space and causality. There is, thus, no question of birth and death,

and all states as they appear to us, in Ma's life movements (including birth and death)

are nothing but the One appearing as the many in those forms.)

So, even in this play too, She was in that undifferentiated wholeness of

Her own-this, indeed, is what coins to our mind. A childlike play, as we

see it, it is the same which She is playing, but in the pattern of Her ownundifferentiated wholeness. Till today, whatever is taking place

anywhere, indeed in all, there is the same pattern of Hers - She Herself,

so we think.

Ma, or course, always says when you got this body first, what it was

then, the same, indeed, it is now also Here is that One Tattwa, where

there is no question of a second. In such a case, what is

the Svarupa ofkriyas pertaining to plays, etc., and dealings?

Movements, rising, sitting, jumping, running -diverse kriyas, diverse bhavas and diverse movements of the body, and

yet the person remains that same one. This is a gross analogy to

comprehend Ma in the mind also as much as it is possible-the pattern is

Hers only, the steadiness is Hers alone, dancing as well.

The Indivisible is ever indivisible.

Even in every entity, there is that Indivisible - certainly, the indivisible

can never be divided.

Therefore, in all these movements of the body, it is Ma alone,

the One only-THAT alone.

Didima Predict her Sannyasa - Ma's Play


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About this time, onenight Shriyukta Mokshada Sundari Devi was

cooking food and Ma, sitting by her, was talking to her as if she was Her

friend.

During the talk, Ma enquired: "Mother, Sona Mama* calls you

Bidhumukhi, is it not so mother ?" With a snubbing, she remonstrated:"Hey, one must not utter the name of one's mother."

"Why?", Ma enquired again: "What happens by uttering (the word)

Bidhumukhi ?"

It is no exaggeration even to say that Mokshada Sundari Devi never

knew how to lose her temper or scold anyone, but did express herself in

a few words (with emphasis) as the occasion demanded in a particular

context. A slight hint or a gesture from her put the children on their

guard. On Ma's insistence, she replied, (By taking the name of one'smother) "One commits a sin; the mother dies." On (hearing) this, Ma

persisted (in asking Her mother) "Give me word that no sin has been

committed and you will not die!"

Ma did this with inflexible earnestness, as if She was about to cry.

On no other occasion had Her mother ever noticed Ma making a demand

so stubbornly, and on the point of crying like this. It was never the case

with Ma to rush up and talk to anyone after clasping the back or the body

of that person. Remaining seated, She pressed Her demand withpersistence, holding the mat-door and continuing to shake it a little.

(Noticing) that particular bhava (of Ma), followed by a somewhat

uncommon transformation, as it were, in Her features and (also

realizing) what a strange way of speaking it was, as mother bad an

apprehension born out of the uncertainty as to) who knows what might

happen.

So, at last, taking the name of Bhagavan and turning her face away from

where food was being cooked, she was forced to assure (Ma): "No,no,no, no, there has been no sin on your part; I shall not die, shall not

die, shall not die."

The present name of Shriyukta Mokshada Sundari Devi is, do we know,

Shri Muktananda Giri Maharaj. Her former name is not there anymore

(after taking sannyasa) - sannyasa, death of death. That small girl, after


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creating an occasion through Her own Kheyala, also got out of Her

(mother's) mouth these words denoting conquest of death, which surely

means immortality. What was to come about was indicated then only

during the conversation between mother and daughter-this is what we

have found here. Later on, when Mokshada Sundari Devi was amongst

us asDidima (grandmother), we had enquired of her one day:"Didima, A sin is committed by uttering the name of one's mother,' why

did you say so?"Didima had replied: "In villages we had been hearing

so from our childhood; that is why I had said this."

Ma's Kheyala - AHeavenly Mango .

On another day,Didima told Ma: "Your luck is such that (though) these

are the months ofVaisakh (April-May) andJyoishtha (May-June) and

there are a few mango trees as well in the house, yet not a single one

among them is ripe, which you can eat."

About this very time, Ma went once, in the company of

Her Thakurma into a jungle to pick pot - herb, and found quite a large

sized mango lying there. No mango tree, too, was there, and it was, as if,

someone had placed the mango on that spot. Such a variety of mango is

never seen at all, and looking at it, Mokshada Sundari Devi was wonder

struck. It was so lovely, so big, so deliciously sweet-smelling and of

such an attractive appearance, as if the mango was of heavenly origin. Its

colour and pattern were also novel. the skin too had its own speciality--

wbere else could such a variety be (found)? Taking thatamrita-

phad(amrita-giving fruit) in hand, the face of Mokshada Sundari Devi

became suffused with joy. From the stone of a good variety of mango

grows a tree of good variety, but despite search, the stone (of this

mango) was not found (afterwards).

Svarga, Result of VirtuousKarma with Desire, Transient-Realization

ofBhagavan, the Aim In those days in villages, education among girls

had not been introduced on any appreciable scale. It may bc said that

among elderly women in villages, there was hardly anyone who could

read or write. Among men, someone perhaps read theRamayana or

theMahabharaton some occasion, but among the women, practically no

one was seen even to hear with attention what was being read.

The talk about going to Svarga was often heard from the mouth of old

women.


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(Svarga is the world for special enjoyments to which one attains after death

as a result of righteous actions with desire. Hence it is a place of temporary residence,

which one has to leave after the fruit of one's actions is exhausted through enjoyments.

Ma's question about there being anything special in Svarga was to make it clear

that Svarga was not the Supreme objective. Didima's silence confirmed this.)

Hearing this from the mouth of someone, one day, while lying

besideDidima, Ma suddenly enquired,

"Mother, they talk about Svarga; can one go there only if one so

desired?"

She replied,

"Yes, it is possible to go there. Svarga, earth and nether world are there;

we are on earth. One can go to Svarga if there is a burning desire for it."

Ma asked,

"In which direction lies the way leading to it, do please tell me mother?"

She replied: "When a strong desire arises in a man for it, then only he

can see the way."

Ma further enquired: "One can go there, if only there is a desire for it, isthat so?"

Didima replied: "Yes, certainly!"

Ma asked again: "Is there anything special there?"Didima did not add

anything (to what she had said already). Very often Ma used to have

(talks on) such religious topics, and (hold) discussions on various

subjects with Her mother and (hear) stories (from her). Whatever was

worth receiving from Her mother, that, again, was there too.

One EternalDhvani.

One day the sound ofkirtan and of playing on khol was held from a

house at a far-off place. Lying here (at home), Ma was perhaps in that

changed state, in keeping with the occasion Afterwards, She enquired of

Her mother,


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"There is this kirtan and playing on musical instrument, which we hear;

what do we get by doing all this?" She replied: "Bhagavan is pleased; He

can hear even when one takes His name mentally. Indeed, man cannot

see everything, but surely,Bhagavan knows everything, sees everything

and does everything at all places.

Definitely, He is present in everything, yet again, does nothing at all."

In the context of a certain topic we were told that in Her childhood,

when Ma heard any sound produced by the beating of drums on the

occasion of anypuja or a festival, or during a marriage celebration, or

even any other sound of a loud nature, She was indeed, (found to be)

hearing it (alright) but to have got into a fixed inexplicable bhava!

While remaining calm under that abnormal state, there would flash for a

moment, in the body of Ma, an extraordinarily strange manifestationexternally visible to all. When an enquiry was made about it, Ma had

replied,

"There is only one eternal dhvani;

in this context, know that there is that Supreme (eternal dhvani) abiding

in each aspect ofdhvani."

Afterwards, when She would come back to (what we call) Her normal

state, there would appear, in Ma, a special bhava of diffidence too in thepresence of people.

However, on an-other occasion, this aspect would be definitely there,

i.e., a totally determined bhava (would be noticed). Even now, we are

used to hearing (from Ma) that whatever happens at any time, let it.

Sometimes, if Ma saw someone crying or laughing, She too would be

seen doing the same along with that person. Then, again, this too, that

whether the occasion was one of merriment or lamentation, or whether

Ma was in the midst of too much confused noise of any nature, or

manifestation of any other sentiment, She would remain like one totallyindifferent, unconcerned, unaffected-the same as ever. This too would

attract the attention of many and they would remark:

"Is the girl a simpleton ?"


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Once, when Ma was about three or four years old, Shriyukta Mokshada

Sundari Devi fell seriously ill at Her maternal uncle's house. (As usual),

Ma had Her food, etc., loitered about also, but kept well away from Her

(ailing) mother. Everyone remarked:

"What sort of a girl is She? She does not care to see Her mother, evenwith a glance by the way. Is She completely without any feeling of love

and attachment?"

Sense of sanctity and Defilement

- Justification of Compliance with Shastric Sanctions and

Interdictions

In the context of a topic concern

svakriya svarasamrita volume 2

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