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.He therefore citesthe Vijñ

na-bhattsraka as saying:  By passing throughthe different Mandalas (of the Z
r%2Å‚cakra) where the gross#(Sthk
la) letters (Varna) are, and rising up to Ardhendu,#Bindu, Nadanta and to the Z
k
nya in the Bindurk
pacakra,one becomes Z
iva. This is the worship which a Mission-ary author describes as worship of the pudendum muliebre.The Yantra is composed of intersecting triangles, someupright and some inverted.The latter only are symbolicof the Yoni, which is here not the Yoni of any woman.Here it is the womb of the Divine Mother of the world.Here is the seat of the secret play of Z
iva and Z
akti as Moon,  Fire and as the  Sun which is the union ofboth the Divine Energy, whence proceeds the world ofName (N

ma = Z
abda) and Forms (Rk
pa = Artha).CHAPTER XXVIB*
JA-MANTRAACTION necessarily implies movement.Whenever there-force, there is action, there is Spanda or movement andtherefore what to the perceiving subject (when heard) iscalled Sound.This may or may not be heard.One personmay have a sharpened natural faculty of hearing; so thathe may hear what escapes the ear of another.There isSound, though the latter may not hear it.Similarly, thereis Sound which is not heard by any natural ear untilassisted by the extension of faculty procured by a materialscientific instrument.Similarly again, there is Soundwhich is apprehended by the Yogic Mind as part of itsexperience.In the beginning of things the natural Princi-pal (Prakr# ti) was in a state of equilibrium (S

my

vasth

).Then there was no Sound, for there was no movement ofthe objective world.The first Vibration which took plaoeat the commencement of creation, that is, on the distur-bance of equilibrium (Vaisamy

vasth

) was a general move-#ment (S

m

nya-Spanda) in the whole mass of Prakr# ti.#This was the Pranava-Dhvani of Om Sound.It is not#that the Sound is represented as it is by the Sound of# #the letters Om.Om is only the approximate representa-tion or gross utterance to gross ear of the Subtle Soundwhich is heard in Yoga experience of the first movementwhich is continually taking place, for at each moment thecreative movement is present.From out of this general242 THE GARLAND OF LETTERSmovement and Sound special movements (ViÅ›esa-Spanda)#and Sounds arise.The following apt illustration has beengiven (see  World s Eternal Religion ).If a vessel ofwater is shaken, there is first a general movement of thewhole water in the vessel.Next, there are particularmovements in every part of the water, now this way,now that.So the evenly balanced Gunas or factors of#Prakr# ti equally vibrate throughout their whole mass, andas the movement continues, the equilibrium is disturbedand the Gunas act and re-act on one another as in the#second state of the water in the illustration.Diversevibratory conditions being set up, diverse Sounds are givenforth.The first equally distributed motion throughout the#mass is Om, which is the great seed-mantra (Maha-b%2Å‚ja),for it is the source of all others and of all compounded#Sounds.Just as Om is the general Sound, the otherB%2Å‚ja-Mantras are the particular Sounds which are theletters of the alphabet.These are evolved out of thegeneral Sound which underlies all particular Sounds.#Both the Omkara or Pranava and the B%2Å‚ja-Mantras as#pronounced by the mouth are thus the articulate equiva-lents of the inarticulate primal Dhvani.They becomearticulate at the last stage called Vaikhar%2Å‚ or Spastatara-#Spanda of the four stages, known as Par

(Rest passinginto movement), Paśyant%2ł (general movement), Madhyam

or speaial movement of subtle character heard by thesubtle ear, and Vaikhar%2ł or special movement which asspeech is the fully articulated Sound heard by the grossear.The Pranava-Mantra is thus the Sound Equivalent#of Brahman and the B%2łja-Mantras are the various formswith attribute (Sagunariipa) of the Devas and Dev%2łs [ Pobierz całość w formacie PDF ]