Rational
Way to know God
Vaisesika
takes up the thread of inquiry from where Nyaya leaves it with its pramanas.
According to the great sage Kanada, the founder of Vaisesika, everything
ultimately is made up of atoms. Isvara created the world by different
combinations of atoms. In both Nyaya and Vaisesika, the cosmos and the
individual self are entities separate from Isvara. As we inquire into the
origin of conscious life and the insentient atom and go step by step ahead in
our inquiry, we realise in the end the monistic truth that everthing is the
manifestation or disguise of the same Paramataman. Nayaya is an intermediate
stage to arrive at this truth. Naya or Tarka (logic) gives rationalism its due
place, but this does not lead to materialism, atheism or the Lokayata system.
Through intellectual inquiry, Nyaya comes to the conclusion that, if the world
is so orderly with so many creatures in it, all of them interlinked, there must
be an Isvara to have created it. Nyaya recognises that there are areas that
cannot be comprehended by human reason and that the truths that cannot be
established rationally must be accepted according to how the Vedas see them.
This means that Nyaya takes every care to see that reasoning does not take a
course that is captious (remember what I told you about the Acarya's view that
tarka should not become kutarka) and that it leads to the discovery of truth.
To examine something with the instrument of knowledge is to purify that very knowledge.
It is also a means of obtaining intellectual clarity. When there is lucidity
the truth that is beyond the reach of this very intellect will appear to us in
a flash. [In other words there will be an intutive perception of the truth]. It
is indeed commendable to have faith in the Lord and in the sastras even without
carrying out any intellectual inquiry. But are we able to have such complete
faith that will take us across worldly existence? Instead of idling away one's
time, without making any intellectual effort to discover the truth, would it
not be better to keep thinking even if it be to arrive at the conclusion that
there is no God? A person who does so is superior to the idler who has no
intellectual concern whatsoever. Perhaps the athesit, where he to continue his
inquiry, would develop sufficient intellectual clarity to give up his atheism.
But the idler has no means of advancing inwardly. This is one reason why even
"Carvakam" was accepted as a system in India. "Caru-vakam"="Carvakam”:
that which is pleasing to the ear. Carvakam believes that there is no need to
worry about God or any Sprit or to observe vows and fasts or to control one's
senses. Live as you please according to your whims and according to the
dictates of your senses. Sorrow, however, is inevitable even in a life in which
we consciously seek pleasure. Indeed sorrow will predominate. The purpose of
religion is overcoming sorrow.
Tarka
Treaties
Gautama
Maharsi who composed the Nyaya-sutra is called "Aksapada". He was
always so wrapped up in thought that he was often oblivious of the outside
world. We call scientists, professors and such people "absentminded"
and retail jokes about them. Gautama too was absent-minded. One day as he was
walking along, brooding over some philosophical problem, he fell into a well.
Isvara then rescued him and fixed eyes to his feet. Thus, as he walked, he
would be guided by the pair of new eyes. That is how he came to be called
"Aksapada", one with eyes on his feet. So goes the story. Vatsyayana
wrote a bhasya for the Nyaya-sutra and Uddyotakara a vartika. Vacaspatimisra,
who was a great non-dualist, wrote a gloss called Nyaya-vartika-tatparya-tika.
Udayanacarya write a gloss on this gloss: it is known as
Tatparya-tika-parisuddhi. He also wrote the Nyaya-kusumanjali. To recall what I
said before, he was foremost among responsible for the decline of Buddhism in
India. Jayanta wrote a commentary on the Nyayasutra called Nyaya-manjari.
Annambhatta wrote the Tarka-samgraha and himself wrote a commentary on it
called Dipika. Usually students of Nyaya start with the last-mentioned two
works. It is believed that the Ravana-bhasya, a commentary on Kanadas
Vaisesika-sutra, is no longer available. However, a bhasya-like work called
Padartha-dharma-samgraha by Prasastapada is still extant. Udayana has commented
on it. Recently, Uttamur Sri Viraraghavacariyar wrote a book called
Vaisesika-rasayana. Vaisesika came to be called "Aulukya-darsana".
"Uluka" means an owl-the English word "owl" is from
"ulu". What belongs to, or what is concerned with, the owl is
"aulukya". Kanada himself was called "Uluka". If Gautama,
always lost in thought, fell one day into the well, Kanada was so absorbed in
his philosophical investigations by day that he had to go begging for his food
at night. He got the nickname of "Uluka" from this fact, that is he
was not seen during day time and went about at night. (Bhagavan says in the
Gita. that the night of the ignorant man is the day of the wise and enlightened
man, jnanin. So all jnanins are owls in this sense). Vaisesika is also called
"Kanada-sastra" after the name of its founder, Kanada. Not the Tamil
"kanada". A scholar has said jocularly that Kanada founded his system
after having seen (kandu). Grammar and Vaisesika are believed to be of great
help in the study of all subjects. So the saying: Kanadam Paniniyam ca
sarvasastropakarakam. Like grammar (which originated in Nataraja's damaru),
Nyaya and Vaisesika are also connected with Siva. In the Vaisesika treatises
obeisance is paid to Mahesvara who is regarded as the Paramatman. The Saiva
schools hold the view that Isvara is the "nimitta" or cause of the
universe.
Cause
of Creation
“Causes"
or "karanas" are divided into two categories: "nimitta" and
"upadana". You need earth or clay as a material to make a pot. So
earth is the upadana for the pot. But how does it become a pot? Does it become
a pot by itself? It has to be shaped by a potter. So the potter is the causehe
is the nimitta. (The "nimitta" we spoke about in jyotisa is
different.) Nyaya and Vaisesika believe that Isvara created the universe with
the ultimate particles called "anu-s". Here Isvara is the
nimitta-karana and the "anu-s" are the upadana-karana. To shape the
clay into a pot a potter is needed. Without him there is no earthen pot, or in
other words, the pot without the potter is non-existent. So when he shapes it
out of clay he is the cause and the pot the effect. This is called
"arambha-vada" or "asatkarya- vada". "Sat" means
that which exists (the real) and "asat" that which does not. There is
no pot in mere clay. The non-existent pot is produced from the clay. It is in
similar fashion that Isvara created the universe with the "anu-s"
-what he created did not exist in the particles. This is the doctrine of Nyaya.
Adherents of Sankhya, as we know, do not believe in an Isvara. According to
them Prakrti itself exfoliated into the universe. Such a belief is not to be
mistaken for the contemporary athestic view. I say so because Sankhya also
postulates a Purusa who is jnana, similar to the Nirguna- Brahman. According to
it the inert Prakrti can function in such an orderly fashion only in the
presence of Purusa. The presence of Purusa is the cause but he is not directly
involved in creation. Crops grow on their own in the sunshine. Water dries up,
clothes become dry and it is all because of the sun. Does the sun worry about
which crop is to be grown or which pond is to be dried up? Your hand becomes
numb when you hold a lump of ice in it. Is it right to reason that it is the intention
of ice to benumb your hand? Similar is the case with Purusa for he is not
attached to creation. But with the power received from him, Prakrti creates the
world out of itself. There is no Isvara as a nimitta-karana. According to
Sankhya, Prakrti has transformed itself as the created world. This is called
"parinama-vada". While asat-karya-vada is the principle on which the
naiyayikas base their view of creation, supporters of Sankhya base their theory
on sat-karyavada. Adherents of the former believe that the clay is the upadana
(material cause) for the making of the non-existent pot while the potter is the
nimitta or efficient cause. The sat-karya-vadins belonging to Sankhya argue
thus: "The pot was there in the clay in the beggining itself. The oilmonger
presses the sesame seeds to extract the oil that is already present in them.
Similarly, the pot concealed in the clay emerged as a result of the work of the
potter. It is only by using the clay that you can make the pot. You cannot make
a pot with sesame seeds nor do you get oil by pressing the clay. The pots are
all anu-s of the clay; they came into existence by the anu-s being shaped.
" Our acarya says: "There is neither arambha-vada nor parinama-vada
here. It is the Brahman, with its power of Maya, that appears in the disguise
of creation. For the potter who is the Paramatman there is no other entity
other than himself called clay. So the arambha-vada is not right. To say that
Paramatman transformed himself into the cosmos is like saying that the milk turns
into curd. The curd is not the same as the milk. Would it not be wrong to state
that the Paramatman became nonexistent after becoming the cosmos? So the
parinamavada is also not valid. On the one hand, the Paramatman remains pure
jnana, as nothing but awareness, and, on the other, he shows himself through
the power of his Maya as all this universe with its living-beings and its inert
objects. It is all the appearence of the same Reality, the Reality in various
disguises. If a man dons a disguise he does not become another man. Similar is
the case with all these disguises, all this jugglary of the universe. With all
the apparent diversity, the one Reality remains unchanged. “This argument is
known as "vivarta-vada". There is vivarta in the phenomenon of a rope
appearing to be a snake. The upadana-karana(material cause) that is the rope
does not change into a snake by nimitta-karana(efficient cause). So the
arambha-vada does not apply here. The rope does not transform itself into a
snake; but on account of our nescience (avidya) it seems to us to be a snake.
Similarly, on account of our ajnana or avidya the Brahman too seems to us as
this world and such a vast plurality of entities. Nyaya lays the steps by which
we may go further to realise the truth on which our Acarya has shed light.
Nyaya and Vaisesika teach us how we may become aware of padarthas (categories)
through reasoning and become detatched from them to realise
"apavarga" in which there is neither sorrow nor joy. But they do not
take us to a higher realm. Dualism also has its limitations thus. To grasp the
One Reality that is non-dual and realise inwardly that we too are that Reality
is to experience absolute liberation. It must be said as one of the distinctive
features of Nyaya that it inspires us to go in quest of apavarga by creating
discontent in in our worldly existence. Another of its distinguishing features
is that it employs all its resources of reasoning to contend against the
doctrines of the Buddhists, the Sankhyas and Carvakas to establish the
principle of Isvara as Karta(Creator).
Puranas
Magnifying Glass Of The Vedas, Puranans And History, Are The Puranas A Lie or They
Metaphorical,
Meaningful Even If Imaginary, Vyasas Priceless Gift To Us, Upa-Puranas And Others, Itihasas And Puranas, The Epic And Their Greatness,
Why Differences Among The Gods, The One As Many, Many Paths To One Goal, Who Taught The Puranas, They Speak like A Friend, Puranic Discourses And Film, Stala Puranas, Authenticity Of Stala Puranas, Interconnected Stories,
Puranas
and History
Our
nation, it is often alleged, does not have a sense of history. In my opinion
the Puranas are history. But to our educated people today history means the
history of the past two thousand years since the birth of Christ. They do not
believe that the events of earlier eras, including those mentioned in the
Puranas, are history. Some of them admit, though, that there is an element of
truth in Puranic stories as shown by recent researches. But these relate to
theories like the division of the Indian people into races like Aryans and
Dravidians, theories they fancy are supported by the Puranas. The rest, like
the miracles or accounts of supernatural occurrences, they dismiss as fables or
as a tissue of lies. Since they are unable to comprehend matters that are
beyond our senses they treat the Puranas as mystery. Now children have no
choice but to read the textbooks of history written by such people. But I
believe that it is not a good to keep children ignorant of the Puranas. It is
not my purpose to say that you should not read history, but I should like to
mention that the puranas are also history and that our youngsters have a great
deal to learn from them, a great deal that will help in moulding their conduct
and character. No such purpose is served by the history taught in schools. One
reason why they say history must be read is their belief that "history
repeats itself". The idea is that the lessons of the past would be helpful
to us in the future. We learn from history about the circumstances that usually
lead to war and about how great civilizations rise and fall. We can be on guard
against a repetition of these circumstances and this, we are told, is one of
the "uses" of history. The same events are repeated kalpa after
kalpa. According to our sastras, the Ramayana, the Mahabharata, the Bhagavata,
the Dasavatara (the story of the ten incarnations of Visnu) and the Puranas are
reenacted kalpa after kalpa. Here too we see history repeating itself. Have we
in reality learned any lesson from history, I mean from the history taught in
schools? No. We learn how such men as Cenghiz Khan, Timur, Ghazni, and Malik
Kafur appeared from time to time and caused devastation in various countries
and how they massacred innocent people. But by reading accounts of their
infamous deeds have we been able to prevent the appearence of such scourages
again? Hitler and Mussolini rose to perpetrate the same kind of outrages on
people. We are witness in our own times to governments losing their support
because of charges of bribery and corruption made against them and other
malpractices ascribed to them including partisanship and nepotism. When one
such government falls, another group forms a new government and they too lose
the support of the people in the subsequent elections for the same reasons.
Here is an example of our failure to learn any lesson form history. History
must be taught along with lessons in dharma; then alone will it serve the
purpose of bringing people to the right path. The Puranas do precisely this.
History contains no more than accounts of monarchs and other rules in
chronological order. It does not give importance to their moral character:
whether wicked rulers suffered an ill fate or whether just and righteous rulers
earned a high place. According to the law of Karma, Isvara determines the fate
of people on the basis of their actions, meritorious and sinful. Such justice
is not necessarily meted out during the lifetime of a person. The fruits of a
man's action are reaped in subsequent births. It is not the task of history to
deal with such questions, nor do historians have the capacity to inquire into
such matters. Whether a wicked ruler like Hitler was consigned to hell on his
death and whether he had a lowly rebirth is a subject for the Puranas. Those
who composed these texts had the reqisite insight to deal with such questiions;
indeed the very purpose of these stories is this, to impart moral lessons. From
history we do not derive any edification. The Puranas are also, as I said
before, history. Besides, they contain lessons in papa and punya (demerit and
merit). In fact, their choice of stories and narration are such as to bring
people closer to the path of dharma. Again, the Puranas contain accounts of
individuals who by virtue of their steadfast adherence to dharma attained to an
elevated state in this birth itself. At the same time, they also tell is about
persons who, by their acts of adharma, came to harm in this very birth itself.
There are in fact no Puranic stories that do not contain some moral lesson or
other. "The experience of the past narrated in history are a pointer of
future events. The stories of good men who performed virtuous deeds and
benefited from them should be a source of inspiration for us. In the same way,
the stories of wicked men who brought evil to the world and themselves suffered
on account of their acts contain a warning for us". Is the stufy of
history really usefull in this way? It is not. To improve ourselves morally and
spiritually we must turn to the Puranas. The purpose of the Puranas is not to
give [as history does] a chronological account of kings or their quarrels
without imparting lessons on good and evil. We do not need such history since
it does not contain any guide for the condcut of our life. History must be
capable of bringing us Atmic rewards. The Puranas too deal with the lineages of
various ruling houses. They give accounts of dynasties descended from the moon
and the sun (candravamsa and suryavamsa) and contain list of successive rulers
of varous kingdoms. But in most cases only the names of rulers are mentioned or
only brief references made to them. Detailed accounts are given only of rulers
whose lives have a lesson for us. For instance, the Bhagavata tells the story
of Uttanapada, the father of Dhruva, and of Dhruva's son, but only very
briefly. However, the story of Dhruva himself is told in detail, Dhruva who is
an example for all of us in devotion, determination and courage. English
historians dismiss the Puranas as false. But on the pretext of carrying out
impartial research they twist history to suit their ends like, for instance,
their "divide and rule" policy. It is in this way that they have
propagated the Aryan-Dravadian theory. If the Puranas are a lie, what about the
history written by these Englishmen? Efforts are going on to reconstruct our
history. But prejudicial acounts cannot be ruled out in these new attempts
also. What ever claim the historians make to impartiality, it is hard to say
how far the new history (or histories) are likely to be truthful. Vyasa, who
composed the eighteen Puranas, the great men who wrote the various Sthala
Puranas, and the Tamil author Sekkizhar were unbiased in their accounts. It is
not right to view history merely as an account of the rise and fall of empires
or of wars, invasions, dynasties amd so on. Each and every subject has a
history of its own. But we find that political history is given a dominant
place. The emphasis in the Puranas is on dharma and, incidently, they also
deal, in a subsidiary manner, with the ruling dynasties, with holy men as well
as with ordinary folk. They contain details also of cultural life, the arts and
the sciences. The thrust of the Puranas, however, is dharmic and Atmic.
Vyasa's
Priceless Gift to Us
Vyasa
divided the Vedas to make them easier for people to learn. It was to help
mankind similarly that he composed the "astadasa Puranas" (the
eighteen Puranas). I regard Vyasa as the first journalist, the ideal for all
newspapermen of today. He composed the Puranas and made a gift of that great
treasure to humanity. How have they (the Puranas) benefited us? They encompass
stories, history, geography, philosphy, dharma, the arts. Vyasa's narration
holds the interest not only of intellectuals but of ordinary people, even the
unlettered. Is this not the aim of journalists, holding the interest of the
general reader? However, most of them stop with this, exciting the interest of
people or pandering to their taste. But Vyasa had a loftier purpose: he made
the Puranas engrossing with the Purpose of taking the reader (or listener) to
the goal of dharma and the Supreme Being. If holding the interest of people
somehow is their sole objective, the papers are likely to propagate subjects or
views that are contrary to the ideals of dharma. If journalists keep Vyasa as
their forerunner and ideal, their writing will assume a noble character and
contribute to the good of the world. Vyasa composed the Puranas in 400, 000
"granthas". A grantha is a stanza consisting of 32 syllables. Of
these the Skanda Purana alone accounts for 100, 000. It is perhaps the world's
biggest literary work. The remaining 17 Puranas add up to 300, 000 granthas. Apart
from them Vyasa composed the Mahabharata, also nearly 100, 000 granthas. Each
Purana is devoted to a particular deity. There are Saiva, Vaisnava and Sakta
Puranas. The 18 Puranas: Brahma Purana (Brahma), Padma Purana (Padma), Narada
Purana (Naradiya), Markandeya Purana, Visnu Purana (Vaisnava), Siva
Purana(Saiva), Bhagvata Purana, Agni Purana (Agneya), Bhavisya Purana,
Brahma-Vaivarta Purana, Linga Purana, Varaha Purana (Varaha), Skanda
Mahapurana, Vamana Purana, Kurma Purana (Kaurma), Matsya Purana (Matsya), Garuda
Purana (Garuda) and Brahmanda Purana. Our Acarya in his commentry on the
"Visnu-Sahasranama" cites many passages from the Visnu Purana. This
Purana, composed by Vyasa's father Parasara, is an important source of
Ramanuja's Visistadavita (qualified non-dualism). One of the precursors of
qualified non-dualism was Alavandar. Ramanuja wanted to meet him but as he
arrived at his place he saw him lying dead. Alavandar had wanted to entrust
Ramanuja with three important tasks. When he passed away three fingers of his
right hand were seen bent in. Ramanuja understood the meaning of this
phenomenon, that he had three tasks to perform. When he spoke out what they
were, the three fingers unbent. One of the three tasks was to write a commentry
on Brahmasutra from the standpoint of qualified non-dualism. The second was to
do a commentry on the Tiruvaymozhi and the third to perpetuate the memory of
Parasara and Vyasa. As the author of the Visnu Purana, Parasara occupied a high
position. It was with this in mind that Ramanuja named the two sons of his
chief disciple, Kurattazhvar, Parasarabhatta and Vedavyasabhatta. The first
grew up to be an important teacher of Vaisnavism. Though Parasara was the
original author of the Visnu Purana it was Vyasa who wrote it in the present
form. The sage who had divided the Vedas now composed the Puranas so that the
truths embedded in the Vedas would make a deep impression on the minds of the
common people. There was also another reason. Not all people have the right to
learn the Vedas. It is believed that Vyasa composed the Puranas to enlighten
such people (as have no access to the Vedas) on the scriptural truths. If
Vyasa's father was the author of the original Visnu Purana, his son Sukracaraya
it was who instructed King Pariksit in the Bhagavata. There is a difference of
opinion about the Bhagavata, whether the term should refer to Visnu-Bhagavata
or Devi-Bhagavata. The former is devoted to the incarnations of Visnu,
particularly Krsna, while the latter deals with the divine sport of Amba. We
need both and both are great works. In the systems propagated by Caitanya,
Nimbarka and Vallabhacarya, the Visnu- Bhagavata has a place no less important
than that of the Vedas. At the same time, non-dualists who are opposed to their
ideas also treat this Bhagavata with the utmost respect. Though there is a
seperate Siva Purana, three-fourths of the Skanda Purana is devoted to Siva. It
also includes the story Skanda or Muruga. Kacciyappa Sivacariyar of Kancipuram
has written a Kanda Puranam in Tamil: it is devoted [as the name itself
suggests] mainly to Subramanya or Skanda. "Durga-Saptasati" is a part
of the markandeya Purana. "Candihoma", in which oblations are made to
the goddess Candi, is performed with the recitation of the 700 stanzas of this
hymnal work: each stanza is regarded as a mantra. "Bhavisya" means
the future. The Bhavisya Purana contains many matters including the evil doings
of the age of Kali. In the Puranas, apart from the story of the Mauryas and
others rulers, there is also a reference to the advent of the white man.
Critics discount such accounts believing that they could not have written by
Vyasa at the begining of the Kali yuga. "Somebody must have written them
recently. “They argue, “And put the name of Vyasa to them.” Admittedly, there
must be interpolations here and there in the Puranas but it is not correct to
say that the Puranas were all recently written. Men with yogic power can see
past, present and future. Sitting in one spot they can see happenings all over
the world. It is not easy for people to write works like the Puranas and
ascribe their authorship to the great men of an earlier era. The Garuda Purana
deals with the world of the fathers and related matters. It is customory to
read it during the sraddha ceremony. "Lalitopakhyana", the story of
Lalitambika, occurs in the Brahmanda Purana, so also the
"Lalita-Sahasranama" (The one thousand Names of Lalita). The reading
of the 18 Puranas is to be concluded with this Purana which contains a
description of the coronation of Rajarajesvari. Devotees of the goddess take
special pride in this fact. The Puranas contain many hymns, hymns that include
the one hundred and eight or the one thousand names of various deities. But the
"Visnu Sahasranama" (The one thousand names of Visnu) and the
"Siva- Sahasranama" (The one Thousand Names of Siva) are part of the
Mahabharata. The "Pradosa-stotra" is in the Skanda Purana.
Upa-puranas
and Others
Apart
from the 18 major Puranas there are an equal number of Upapuranas. Among them
are the Vinayaka Purana and the Kalki Purana. There are also, in addition, a
number of minor Puranas. The Puranas that speak of the glory of various months
such as the Tula Purana, the Magha Purana and the Vaisakha Purana are parts
included into the 18 major Puranas or Upa-puranas. There are also what are
called Sthala Puranas, some of them part of the Puranas mentioned above and
some existing independently. The puranas that sing the glory of the Kaveri and
the Ganga exist both separately and as part of the major Puranas or of the
Upa-puranas. In the Tula Purana, for instance, the importance of the Kaveri is
the theme. It mentions how auspicious it is to bathe in that river in the month
of Tula (October-November). If there are Puranas devoted to the deities there are
also those dealing with devotees. The Tamil Periyapuranam tells the story of
the 63 Saiva saints called Nayanmars. The same is available in the Sanskrit as
Upamanyu Bhaktavilasa. Bhakta-Vijaya deals with poet-saints like Tukaram and
Namadeva who were specially devoted to the deity Panduranga of Pandharpur.
Itihasas
and Puranas
For
the learned and the unlettered alike in our country the Ramayana and the
Mahabharata have for centuries been like their two eyes, pointing to them the
path of dharma. The two poetic works are not included among the Puranas and are
accorded a special place as "itihasas". "Pura " means
"in the past". That which gives an account of what happened in the
past is a "Purana", even though it may contain predictions about the
future also. The term can also mean what was composed in the past. The genre
called "novel" written in prose came after a long period in
literature dominated by poetry and drama. When the novel was introduced into
India it came to be called "navinam". If "navinam" means
new, purana means old. A Purana must have five characteristic features -
(laksanas). The first is "sarga" (creation of the cosmos); the second
is "prati-sarga" (how eon after eon it expanded); the third is
"vamsa" (the lineage of living creatures beginning with the childrern
of brahma); the fourth is Manvantara (dealing with the ages of the 14 Manus,
forefathers of mankind during the 1, 000 caturyugas); and the fifth is
"vamsanucarita" (genealogy of rulers of the nation including the solar
and lunar dynasties). Besides there are descriptions of the earth, the heavens
the different worlds. "Itihasam"="iti-ha-sam" (it has
happened thus). The "ha" in the middle means "without
doubt", "truly". So an itihasa means a true story, also a
contemporarary account. Valmiki composed the Ramayana during the lifetime of
Rama. Vyasa, author of the Mahabharata, lived during the time of the five
Pandavas and was witness to the events narrated by him in his epic. In the
Puranas Vyasa has dealt with the stories or events of the past which of course
is in keeping with their name (that is “Puranas"). But H how? Vyasa could
see into the past as he could into the future. So what he has written of the
past must be an eyewittness account. However, his contemporaries would not have
known about them. The Mahabharata and Ramayana are different. When these works
were first made known to the world most people must have been familiar with the
characters and events described in them. There is thus no reason to doubt their
authenticity. The "ha" in" itihasa"confirms this. The word
"itihasa" can also mean "thus speak they" (that is
"great men say that it must be so"). "Aitihya" is not an
account of what is directly witnessed: it is to be accepted as a matter of
faith. It is also derived from "iti" (thus great men have spoken
"). What we actually observe is "this"; what is told by others
is "thus".
The
One as Many
As
already emphasised, the one and only Paramatman is revealed as so many
different deities. If one person develops a great liking for a certain deity,
another chooses to have a liking for some other. To make a man a confirmed
devotee of the form in which he likes to adore the Lord, the Paramatman on
occasion diminishes himself in his other forms. Tirukandiyur is in Tanjavur district,
Tamil Nadu. In the temple here Siva is seen to be a lesser god than Visnu. He
once plucked off one of Brahma's heads, became thus the victim of a curse and
was freed from it through the grace of Visnu. In the same district is
Tiruvizhimalai where it is Visnu who is seen to be a lesser god than Siva.
Reciting the "Siva- Sahasranama"(The One Thousand Names of Siva),
Visnu offers lotuses at the feet of Siva. When he is nearing the end of his
worship he finds that he is short of one lotus. What does he do now? Visnu, the
lotus-eyed, digs out one of his own eyes and offers it at the feet of Siva. The
latter is pleased and gives him the cakra or discus. Siva is called
here"Netrarpanesvara"(Siva to whom an eye has been offered); at
Tiruakandiyur Visnu is "Hara-sapa-vimocana"(one who freed Siva from a
curse). When we listen to the story of Tirukandiyur we learn that Visnu is a
god of great compassion who frees his devotees from the most terrible of
curses. Similarly, from the Tiruvizhimalai story we realise that no sacrifice
is too great for a devotee- Visnu offers one of his own eyes to the god he
worships, that is Siva. The question here is not who is the greater of the two,
Siva or Visnu. In the old days we used to have the lanterns in our homes. There
were lanterns with glass on all the four sides- or three sides. Let us take the
latter type. The wick inside the glass is lighted. The three sides made of
glass are painted in three different colours [or only two sides are painted].
The light burning inside will be seen to be a different colour from each side.
We may take these three sides to represent creation, protection and
dissolution, the three functions performed by the Paramatman. It is the one
Light that is responsible for all the three, like the wick burning inside the
lamp with the three sides. One side of the lantern, let us assume, is painted
red. It symbolises creation. If we remove red from the pure light of the
spectrum, the other six colours also will be separated. This is what is meant
by the one becoming the many of creation. Brahma, the Creator, is said to be
red in colour. Another side of the lantern is painted blue. The first and last
colours of the spectrum are violet and red. The beggining is red (or infrared)
and the end violet (or ultraviolet). Mahavisnu, during the very act of
sustaining all creation, demonstrates through jnana that this world is not the
whole self-fulfilling truth but the disguise of the Paramatman, his sport. In
the fire of jnana the cosmos is charred. This is the state in which an object,
without being entirely disintegrated, retains its form but loses its colour: it
is like a lump of charcoal. Such a entity as the world still exists, but its
own quality, Maya, is burned out and is suffused with Visnu- "Sarvam Vishnumayam
jagat". In Tamil Visnu is called"Kariyan, Nilameniyan"(one who
is like charcoal, one whose body is blue). Blue, black and violet are more or
less similar colours. The light coming from the blue side of the lantern is
Visnu. The third side of the lamp is not painted. We saw that when all is burnt
in jnana the residue is a lump of charcoal. But if this charcoal is burned
further the ultimate product is ash. It has no form and is just powder or dust.
Now the colour also changes from black to white. White is the colour close to
pure light. All the colours are inherent in that light, which means all the
cosmic functions and activities emanating from the Paramatman are made extinct,
are burned out. Now the Paramatman alone remains. That is the ashes remain when
everything is burnt outthat is what lasts in the end. It is indeed Paramesvara
otherwise called Mahabhasma. Samhara, destruction, may seem a cruel function.
But what Siva does, though seemingly cruel, is truly an act of compassion
because he goes beyond destruction to unite us with the Truth. When Visnu
sportingly bestows jnana on us the cosmos seems like a lump of charcoal.
"Sarvam Vishnumayam jagat, "we say. But now all the sport has ended
and we have come to the state of supreme jnana: there is neither "sarvam"nor
"jagat". Now it is all "Sivamayam". It is the one lamp that
is the light of the Brahman. When it is seen through the red side of the
lantern it becomes Brahma; through the blue side it is Visnu; and through the
unpainted side it is Siva. Our great men have in the past sung of the One
manifesting as three ("Oruvare muvuruvay"). There were great poets in
our country who were not interested in propagating any philosophy or any system
of thoughtthey were men possessing a broad outlook and an open mind who
expressed their views freely. These poets have said that it is the same entity
that is manifested as the Trimurthi (Brahma, Visnu and Mahesvara) and indeed as
the 33 crore devatas. Bana says that the same Object becomes three to perform
three functions, "sarga-sthiti-nasa-hetave". Kalidasa clearly states,
"Ekaiva murtirbibhide tridha sa" (The Paramatman is One; it is this
One that divides itself into three for the three different functions). If we
were divided into two schools, the one insisting that the Saiva Puranas alone
are authoritative among the Puranas and the other claiming that only the
Vaisnava Puranas are to be relied upon, we would keep quarelling without ever
being able to take a clear and dispassionate view of things. "The Truth is
One. The wise speak of it by different names". There is no greater
authority for us than this Vedic pronouncement. So all of us, without making
any distinction between the Saiva and Vaisnaiva systems, must listen to the
stories of all deities and be rewarded with freedom from worldly existence.
Tiruvisanallur Ayyaval was a great man. His real name was Sridhara
Venkateswara. But out of respect people referred to him as "Tiruvisanallur
Ayyaval". He lived some three hundred years ago and was the senior contemporary
of Bhagavannama Bodhendra. Bodhendra propagated devotion to Rama and Govinda,
that is he taught people to sing these names of the Lord. At the same time
Ayyaval spread the glory of Siva by singing his names. Neither of the two
respected any distinction between Siva and Visnu. So the two of them jointly
propagated the "nama siddhanta" in the Tiruvisanallur. They had
respect and affection for one another and established the doctrine that in the
age of Kali repeating the names of the Lord [nama japa] is the sovereign remedy
for all ills. Whenever a bhajana is held obeisance is paid to these two (first
Bodhendra and then Ayyaval) before singing the praises of the deities. During a
sraddha ceremony Ayyaval fed an untouchable. The village headman gave the
ruling that he had to bathe in the Ganga in expiation. Ayyaval made the sacred
river rise in the well in the backyard of his house. This story is well known.
The incident took place on the new moon of the month of Karttigai
(November-December). Even today devotees in large numbers bathe in the water of
this well in the belief that it is as good as taking a dip in the holy Ganga.
Ayyaval gives his own account of how Sri Rama broke the bow of Siva.
"Svakara pratipadita svacapah, "this is how he put it. That is Rama broke
his bow with his own hands. The story usually told is that the bow of Siva was
cracked by Narayana and that later Narayana who descended to earth as Rama
broke it completely. Ayyaval does not like the idea of Siva being represented
as inferior to Rama. He does not make any distinction between Siva and Visnu
and believes that Siva is Visnu and Visnu is Rama (so Siva and Rama are the
same). Logically, in his view, the bow of Siva is the bow of Rama. That is why
he says Rama broke his own bow with his hands. All such acts are needed for his
sport, he declares.
Many
Paths to One Goal
The Azhvars sing the
glory of Visnu and the Nayanmars of Siva. In the Vedas all deities are hymned
in the same way. The Upanishads do not speak much about deities; they are
concerned with truths of the Self. Tiruvalluvar speaks about God and
philosophical matters and his views are in keeping with the Vedic tradition.
But the emphasis in his work is on morals and ethics. As for Tirumular, he does
not deal so much with God, devotion, etc, as he does with aspects of yoga like
pranayama, dhyana, dharana and samadhi. "Each great man, like each great
work, speaks about a particular system, a particular path. Which of these is to
be followed? “such a question arises in the minds of people. Whatever system or
path you follow, follow it with faith. Do not give it up midway. In the end it
will lead you to the Paramatman. In the beginning the paths may seem different
but all of them take you to the same goal.
Devar kuralum
Tirunanmarai mudivum Muvar Tamizhum munimozhiyum--Kovai Tiruvacakamum Tirumular
sollum Oruvacakam en(ru)unar.
The same idea is expressed in
the "Sivamahimna-stotra". This hymn glorifying Siva is by
Pushpadanta. He was a gandharva who, under a curse of Isvara, was condemned to
live on earth. One stanza in his hymn says: "Trayi (the three Vedas),
Sankhya(philosophical inquiry), yoga, the Pasupata system, Vaisnavism- people
follow any of them according to their different dispositions. Like the rivers
merging in the ocean all these paths have one meeting point, the Paramatman.
" It is this spirit of catholicism that Englishmen exclaim:
"Jevhovah, Jove or Lord!". Jehovah is the Semitic God of the region
of Israel, the home of the Bible. Jove is another name of Jupiter. The word
"Lord" applies to the God of any faith; it is common to all
religions. Realised people in the West also speak that the one Being is the
same, call him by any name you like. If the Puranas are read in an attitude of
respect and humility and with the honest intention that we should benefit by
reading them, there will be no cause for any confusion. We will gain the wisdom
to treat them as works meant for our ultimate well-being.
Who
taught the Puranas
In the
Puranas themselves it is mentioned that they were narrated by Siva to Parvati
or to Visnu. It is also said that Visnu taught them to Narada or some other
sage. Thus the stories told by the gods were later passed on from one sage to
another sage or to a king. In the end of Puranas were narrated by Vyasa to
Suta, and by Suta to the sages in Naimisaranya. It was from a high seat offered
by the sages of Naimisaranya that Suta taught the Puranas. We may gather from
this the esteem in which the Puranas were held. Also that knowledge was
respected more than birth. We also realise that caste was no consideration when
it came to learning noble subjects. The learned man, whatever his caste, was
listened to with respect.
They
Speak like a friend
There are three ways
in which a good task may be accomplished. The first is by issuing an order or a
command backed by the authority of the government. This is
called"prabhusammita". A rich or powerful man orders his servant to
do some work: it is also "prabhusammita". Whether or not the servant
likes the work, he is compelled to obey the order for fear of punishment.
Without occupying any seat of authority a friend asks us to do something and we
do it- not out of fear but out of affection. A friend who is well disposed
towards us is a "suhrd". His order given as a companion, as a sakha,
is "suhrd-sammita". If there is any means by which you will do a work
more willingly than in this manner, it is the loving words of your wife. The
job your employer asks you to do is felt to be a burden, but the same is made
lighter if it is a friend who asks you to do it. But if it is the wife who asks
you to do the same it will be still lighter. This is "kantasammita".
The injunctions of the Vedas are "prabhusammita", the teachings of
the Puranas are "suhrd-sammita" and the works of poets are
"kantasammita".
Yadvedat prabhusammitadadhigatam sabdapramanacchiram
Yaccharthapravanat-Puranavacanadistam suhrdsammitad Kantasammitaya yaya
sarasatamapadyakavyasriya Kartavye kutuki budho viracitas-tasyai sprham kurmahe
-Prataparudriyam, stanza 8
The Vedas ask you to "do
like this" or "do like that". They do not say why. To question
them, it is believed, is to dishonour them. The Puranas, however, tell you in a
friendly manner:"If you do like this you will benefit in such and such a
manner. If you do the same in some other way you will suffer. . . "Such
lessons are driven home to people through stories. Yes, the special feature of
the Puranas is that they not only tell you why you should do a work, they also
state the reason for the same through absorbing stories. "Hariscandra
acted like this. Nala did like that. That is why they were happy in the end
though they had in between to suffer much. Besides, they earned such fame for
their virtuous life and noble character that they will be remembered for all
time. "The moral derived from the stories of Hiranyakasipu, Ravana,
Duryodhana and so on are the opposite. They occupied high positions and
wallowed in pleasure but in the end they were ruined and are remembered today
for their wickedness and the evil they did. Such stories are a source of
inspiration as well as a warning for us: they encourage us to do good and pull
us back from evil. The Puranas tell us true stories. A suhrd, a sincere friend,
will not tell us false tales. He will speak to us only the truth and what is
good for us in a persuasive manner. What about poetry? What does the poet do?
He mixes fact with fancy and invents stories with his power of imagination,
exaggerating one thing, playing down another and repeating a third. He has the
licence to do all this. The function of the poet is to invest reality with the
imaginary or the fanciful so as to make his narrative compelling. The friend is
unlike the wife. In trying to impress upon you your duty, he is persuasive but
does not go beyond stating the facts. The wife is different. She is anxious to
correct her husband and take him to the right path. She exaggerates a fact or
plays down another, she adds and subtracts. By being "nice" to her
husband she will somehow make him do the right thing. So goes at least the
legend. Poetry, in the place of the wife; the Vedas, in the place of superior
authority; and the Puranas, in between, in the place of a friend: the three
teach us dharma in different ways.
Stala
Puranans
Even
those who respect the Puranas are not prepared to accept that the Sthala
Puranas, that is the short Puranas pertaining to particular places, are
authentic. If educated people think the [major] Puranas to be nothing but lies,
they go so far as to treat the Sthala Puranas as nothing better than rubbish.
"It was here that Indra was freed from his curse. . . ““It was here that
Agasthya witnessed the marriage of Siva and Parvati ". Such statements
give rise to scepticism about the Sthala Puranas. "How are such things
possible?” they ask. “These Puranas must have been made up. They must have
originated in the desire of some individuals to give a certain importance to
places to which they belong. " People with faith who are acquainted with
our traditions will tell you; "Kalpa after kalpa, the same stories are
repeated, but sometimes with slight differences. Astory associated with one
place in one kalpa may recur in another place in a different kalpa. " It
is natural for people to take pride in claiming that their birthplace is associated
with the great men mentioned in the Puranas. This is a fact that all of us must
recognise. Ordinary unlettered folk like to believe that Rama or Krsna had once
visited their village, also great sages, and that they were freed from terrible
sins. Encouraged by such belief they conduct the festivals of the local temples
with great enthusiasm and are rewarded with faith and devotion. We should view
this attitude with sympathy and understanding. Why should we who claim to be
"intelligent" disturb the faith of these people of innocence and
deprive them of their sense of fulfiment? The Lord himself says in the Gita
that in such matters you must not produce some information as
"fact"and create agitation in the minds of ordinary people. "Na
buddhibhedam janayed ajananam karmasanginam.” By this you should not take it
that I am one with the critics who hold that the Sthala Puranas are not true,
nor should you think that I accept them [these Puranas] only for the reason
that, notwithstanding the fact that they are not true, they do some good to the
people. I believe that the Sthala Puranas are by and large authentic. Some of
the stories told in them may not be so, but for that reason I would not
maintain that all Sthala Puranas are false.
Interconnected
Stories
The
events described in one Sthala Purana are linked to those mentioned in another.
Thus the strand of the same story is taken through a number of Puranas. We have
to read them together to learn the entire story. That one Sthala Purana begins
where another ends is one proof of their authenticity. Another proof that could
be adduced is that it is these Sthala Puranas that fill the gaps in the 18 main
Puranas and Upa-puranas. Once Siva and Amba (Parvati) played dice in Kailasa.
"I have won the game,” said Amba. "No, I am the winner,” said Siva.
The two played thus to impart lessons in dharma to mankind. If now their game
of dice ended in a quarrel it was because the divine couple wanted the world to
learn that playing for stakes was an evil, that it leads to disputes and
misconduct. To resume the story. In his anger Siva cursed Amba thus: "You
shall be born a cow and shall keep roaming the earth.” Siva is Pasupati, lord
of animals. Yes, he is the Lord that controls the animal senses (the indriyas)
that are in a frenzy. It is to demonstrate that he does not bless people with a
big ego that he cursed even Parasakti (the Supreme Power). Though she is
Mahasakti herself she realised her error and, the great pativrata that she is,
she became submissive to her husband. She roamed the earth as an ordinary cow.
In her One Thousand Names ("Sahasranama") Amba is extolled as
"Gomata, Guhajanmabhu.” She came to the earth as Gomata (Mother Cow).
Visnu is Amba's brother, is he not? He is very much attached to her and, as
soon he knew that his brother-in-law (Siva) had "driven her out", he
thought to himself:"Let him not protect her, lord of animals though he be.
I will have my sister under my protection. “So taking the guise of a cowherd he
accompanied the divine cow. He was not the victim of any curse that he should
roam the earth thus. It was to demonstrate to the world the dharma of filial
affection that he came down to the world of mortals with her. (He developed a
liking for the job of the cowherd now. That is how he took delight in grazing
cows in his incarnation as Krsna. He then came to be called Gopala which name
also means "Pasupati". If you reflect on these two names of Siva and
Visnu you will cease to make any distinction between the two gods. )
Tiru-Azhundur is the place to which sister and brother came as cow and cowherd.
It is the same as "Terazhundur". It also happens to be the birthplace
of Kambar and in fact there is a locality here called "Kambarmedu".
Tirumangai Azhvar performed the "mangala sasanam" in a temple here.
Visnu is in the sanctum sanctorum as Gopala with the cow. Since he came as a
companion of the cow he is called "Gosakha".
"Gosakhaksetra" is another name for Terazhundur. "Gosakha"
in Tamil is "Amaruviyappan", the initial "a" in the name
meaning cow. There is a temple to Siva also here. According to our ancient
system of townplanning there must be a temple to Siva at one end of a village
or town and one to Visnu at the other. If the Visnu temple at Terazhundur is
associated with the songs of the Azhvars the Siva temple is associated with the
Tevaram hymns of Jnanasambandhar. The places sung by the Azvars are said to
have had "mangalasasanam", while any place associated with the
Tevaram is called "patal perra sthalam" [place that has been sung].
Many places in the South have had both types of distinction. Terazhundur is one
of them. Near it is a village called Pillur where Visnu, as the cowherd grazed
the cow that was Amba. ("Pillur" means a place where grass grows, pil
meaning grass. In the Tanjavur region pul is known as pil. ) Mekkirimangalam
also is one of the places where Visnu grazed the cow and An-angur another
(an=cow). For brother and sister to worship Siva, Visnu installed Vedapurisvara
(Siva) in Gosakhaksetra. (Both the Vedapurisvara and Amaruviyappan temples are
today under the same manegement.) The cow as well as the Brahmin is essential
to the practice of Vedic dharma. Milk and ghee are indispensable to sacrifices,
while without the Brahmin the sacrifices cannot be performed. This fact is underlined
in the prayer, "Gobrahmanebhyo subhamastu nityam" [May cow and
Brahmin ever prosper]. The one (that is Siva) who had cast a curse on Amba came
as Vedapurisvara to the same place where Amba had also come. Until recently
there were many Brahmins in this place learned in the Vedas and sastras.
Sambandhar often refers to them as "Azhundai Maraiyor"(Vedic scholars
of Azhundur). The Azhvars call Visnu by these names: "Chandoga",
"Pauzhiya", "Taittiriya", "Samavediyane". One
day, when the cow (that is Amba) was grazing, her hoof dug into the earth and a
stone was revealed. It proved to be a Siva linga. The cow, thinking that she
had commited an offence against Siva, ran about in bewilderment. Visnu pacified
her and brought her back. The place where this incident occured is
"Tirukkulambiyam". Visnu was pained by all these developments and
regretted that his sister had shown herself to be egoistic, albeit playfully,
and that this fact had led to such unfortunate consequences. It was Visnu who
had married Minaksi to Sundaresvara. Wishing to unite them again he now
performed puja to propitiate Siva. The latter was pleased and he said to Visnu:
"Keep grazing the cow until you come to the river Kaveri. Bathe her in the
river and she will be restored to her original form. I shall tell you later
when I will marry her. " Visnu, as bidden by Siva, bathed the cow in the
Kaveri. The place where the cow was seen after she had bathed in the river is
"Tiruvaduturai". (It is also important for the reason that it was
here that Tirumular composed his Tirumantiram.) Amba was restored to her
original form and Siva himself appeared on the scene. But he wanted to play a
game again. There is a place called Kurralam. (It is not the same as the
Kurralam in Tirunelveli district that is famous for its waterfall. This
Kurralam is near Mayuram in Tanjavur district. It was once called Tirutturutti.
This is one of the 44 places which Appar, Sambandhar and Sundaramurti have
sung. ) A sage was performing austerities here for Amba herself to be born as
his daughter. Siva thought that this was the opportune moment to grant his
wish. He said to Amba: "Go and be born the daughter of the sage at
Tirutturutti. I will come and marry you at the appropriate time. " Siva
made his appearance as promised. There is proof for the fact that the one who
gave his word at Gosakhaksetra appeared here also in that in this place too the
deity is called Vedesvara. The sage and Visnu-the latter had been waiting for
the day his sister would be married again to Siva- received Siva and took him
to the place of marriage. The spot where Siva was received came to be called
"Etirkolpadi". The "vrata" before the marriage was
performed by Siva in a nearby place which later came to be called
"Velvikkudi". The spot where he saw Amba as the bride and performed
the palika ceremony is called "Kurumulaippali". The marriage pandal
was spread over two or three villages. The one in the middle came to be called
"Tirumananjeri ". It was here that Visnu married Parvati to
Paramesvara and it was an occasion of great joy for him. From this account you
will realise how wrong it is to dismiss Sthala Puranas as of no significance.
The present story contains a warning against the evil consequences of ahamkara
and gambling and tells us how a wife should be dutiful towards her husband and
how a brother should be affectionate towards, and concerned about, his sister.
Actually I did not tell the story with this idea in mind. I wished to
demonstrate how a number of Sthala Puranas fit into one another, how the
incidents narrated in different Sthala Puranas are woven together- those of
Terazhundur, Pillur, Anangur, Tirukkulambiyam, Tiruvaduturai, Kurralam,
Etirkolpadi, Velvikkudi, Kurmulaippali and Tirumananjeri. The interconnected
narrative also shows that the story must be authentic. A story with which
people of Tanjavur should be more familiar links Kumbakonam with places in its
neighbourhood. During the great deluge Brahma prepared himself for the next
creation. He put all the seeds in amrta(the elixer of immortality) and kept
them together in a mudpot to the chanting of Vedic mantras. With due ceremony,
he placed a coconut with mango leaves on it and invested the same with the
sacred thread. Now he placed the pot on the summit of Meru. When it came floating
in the waters of the deluge, Paramesvara wished to recommence creation. Then
the coconut on the pot was dislodged in the storm and fell into the water. At
once the water receded revealing the land there. This spot is four miles
north-west of Kumbhakonam. The deity here is even today called
"Narikelesvara", ("narikela" means coconut). Then the mango
leaves fell off. The water receded there too revealing land. This is
Tiruppurambayam, four miles north-west of Kumbhakonam. "Payam" [or
bayam] is "payas", that is water, but in this context deluge.
"Puram" means outside or beyond something: the name of the place
[Tiruppurambayam] thus means"outside the waters of the deluge". Now
the sacred thread (sutra) also got loosened from the pot and fell off. The
deity in the place where the sutra fell is "Sutranatha",
"sutra" meaning the "sacred thread". The kumbha(pot) had a
"nose" in addition to a "mouth"- it was like a gindi or
kamandalu. My pot too has a nose in addition to its mouth. Water is filled in
the pot through the mouth and poured out through the nose. The pot with the
amrta was also similiar. Paramesvara watched the scene. Since the pot with the
elixer and the seeds in it were not overturned on their own, he decided to
break it with his arrow so as to bring out its contents. The place where he
discharged the arrow is called "Banapuri"- now it is known as
"Vanatturai". The deity here is "Banapurisvara" and the
spot where the mouth of the pot fell in pieces is "Kudavayil"("Kudavasal").
Paramesvara wanted the amrta to be discharged in the sastric manner, from the
nose of the pot. The place where the nose broke and the elixir or ambrosia fell
is holier than other places. It is called "Kumbhakonam",
"kon"("konam") meaning nose. In the Tevaram the place is
referred to as "Kudamukku". Here the mudpot itself came to be the
linga and even today it is so. The linga is ceremonially bathed along with a
protective wear outside. "Kumbhesvara" is the name of the deity. The
Mahamagham pond is the spot where the amrta first fell. Since the place is
hallowed by the fact that it was here that the amrta fell, the Vaisnava deity
here, Sarngapani, is called "Ara-amudan" by the Azhvars. To Vaisnavas
Kumbhakonam itself is "Kudandai". Thus there are many sacred places
that are interconnected, which fact also confirms that the Sthala Puranas are
authentic. Tiruvazhundur, Kumbhakonam, etc, are situated within a radius of
four miles. There will be further confirmation of the authenticity of these
Puranas if we note how the places mentioned in them and which are far apart are
connected together. Ramesvaram, Vedaranyam and Pattisvaram are not near one
another. Ramesvaram, in Ramanathapuram district, is on the seacoast. Vedaranyam
is in a corner of Tanjavur district and is also on the seashore in the taluqa
of Tirutturaipundi. In the same district, but by no means close by, is
Pattisvaram which is near Kumbhakonam. These places which are far apart are
connected by the same thread of a story. Would you call such a story baseless?
In all these three places there are great Siva temples and the name of the
deity in each is "Ramalinga", suggesting that they are connected with
Rama. That he installed lingas in these places strengthens the concept of
Saiva-Vaisnava unity. These places have some other special features too. Of the
four great religious centres, known as "car-dham", Ramesvaram alone
is in the South. In the North is Badrinath(a), in the west Somanath(a), in the
east (Puri)Jagannath(a) and, of course, Ramesvaram in the south. Vedaranyam is
associated with the salt sathyagraha during the freedom movement. The place is
mentioned in the Tevaram as "Tirumaraikka"(Tamil for Vedaranyam).
Here the temple door was closed after the Vedas had worshipped the deity Siva.
Appar sang his patigam here and the door flung open. Tirujnanasambandhar made
the door shut again when he sang before the deity. Pattisvaram is the place
where Siva was worshipped by Patti, one of the four daughters of Kamadhenu.
Like Tiruvaduturai mentioned before there are many places where the cow has
performed worship. Tiru-Amattur is near Panrutti. It is connected with Appar.
Here too the cow has performed puja. Pattisvaram is a similiar place. When
Jnanasambandhar was a child he sang the praises of Siva and went dancing before
the deity in the hot sun. The Lord was moved by the sight and ordered his
attendants to build a pandal to protect his devotee from the sun.
Jnanasambandhar was an incarnation of Subrahmanya. Govinda Dikshita was a
minister to the Nayaka kings of Tanjavur. He was very much drawn to Pattisvaram
and made additions to the temple there. Images of Dikshita and his wife may be
seen before the sanctum of Amba. Where did Agastya witness the marriage of Siva
and Parvati? Three places are mentioned, that is three places are associated
with the same event. As mentioned before, the Ramalinga was installed in three
places, but in each place a different reason. Rama commited a threefold sin by
slaying Ravana. Ravana, the son of the sage Visravas, was a Brahmin. By killing
him Rama incurred the sin of "Brahmahatya". To wipe away the same he
installed the linga at Ramesvaram. Some people today describe the war between
Rama and Ravana as a quarrel between Aryans and Dravidians. Such a view is
totally baseless and there is no better proof of this than the fact that Ravana
was a Brahmin. If the Ramayana is a lie so must be the battle between Rama and
Ravana. It cannot be claimed that there is a historical basis for this battle
alone. If the Ramayana is accepted as true the account of Ravana contained in
it must also be taken to be so. It is said again and again in the epic that
Ravana was the son of a sage, that he was conversant with the Vedas, that he
pleased Siva by chanting the Samaveda and that it was for this reason that he
was saved from being crushed under Kailasa. It does not stand to reason to
accept only that part of the Ramayana which suits you and reject the rest.
Leave aside the Ramayana and what it says about Ravana: the temple of
Ramesvaram is there for all of us to see. It has the biggest corridor in the
world ("prakara", ambulatory). All India worships Ramanathasvamin in
the form of the linga Rama installed for the removal of the sin he had incurred
by killing the Brahmin Ravana. For centuries our forefathers in Tamil Nadu
never thought of Ravana as belonging to a caste other than that of Brahmins.
Apart from being a Brahmin, Ravana was also a great warrior. All the worlds
trembled before him. He fought successfully all the powerful rulers of the time
except two- Kartaviryarjuna and Vali. By killing such a warrior Rama committed
the sin of"virahatya". It was in expiaation of it that he installed
the linga (Ramalinga) at Vedaranyam. In addition to the qualifications already
mentioned, Ravana had another; he was an ardent devotee of Siva and proficient
in playing the vina, besides being a singer. Excellence such as this comes
under the term "chaya": it means both light and shadow. The goddess
Minaksi is addressed as "Marakatachaya" (emeraldine in radiance). By
killing Ravana who possessed chaya, Rama also earned the sin of
"chayahatya". To expiate it he installed the linga at Pattisvaram.
From the sastric point of view, by slaying Ravana Rama brought on himself the
threefold sin of Brahmahatya, virahatya and chayahatya. Actually Rama is
patitapavana and he cannot be tainted by any sin. By uttering His name a man is
freed from the most terrible of sins. So Rama has no need to perform any
prayascitta (he does not have to do any expiatory rite)- he is "Taraka
Rama ". But he had descended to this world to serve as an ideal for all
mankind and so he acted strictly according to the canons even with reference to
matters that might be considered trivial. In the observance of dharma according
to the sastras no one excelled Him. Throughout the Ramayana we see this
remarkable trait in His character. He regarded himself as an ordinary
individual, observed all the rules of the sastras; in this way he also
performed the prayascitta according to them. This is not mentioned in the
Ramayana of Valmiki; but the Sthala Puranas of Ramesvaram, Vedaranyam and
Pattisvaram fill the gap. "The Ramayana does not contain these incidents.
They must some old wives'tales. “To think so is not correct. The incidents
described in the Sthala Puranas are in keeping with Rama's character. He must
have performed the three types of penitence. What is left out in the Ramayana
of Valmiki is mentioned in the Sthala Puranas. Ravana had caused suffering to
all mankind and it was with an evil intent that he had stolen Sita, the mother
of the world. Rama killed such a wicked character amd made all the world happy.
At a time when there was a universal rejoicing over his victory, Rama thought
himself to be a sinner because he had killed an enemy eminent in three
different ways. The loftiness of His character is further enhanced by these
acts. That he installed the linga in three different centres goes to
demonstrate the unity of Hari and Hara (Visnu and Siva). These Sthala Puranas
do not contradict one another nor is there any overlapping in them. Those
pertaining to Ramesvaram, Vedaranyam and Pattisvaram deal respectively with how
Rama, by installing the linga in each place, was freed from the sins of
Brahmahatya, virahatya and chayahatya. Rama must have proceeded north from
Ramesvaram along the coast. From Vedaranyam he must have gone to Pattisvaram in
the interior. It is the strand of the same story that takes us through three
Sthala Puranas. The three places are 150 or 100 miles apart from one another.
When there were no fast modes of transport these distances correspond to 1, 500
or 1, 000 miles today. The fact that the stories belonging to the three places
fit into one another shows that the Sthala Puranas relating to them must be
true. I would like to express a view that might seem strange to modern
researchers and traditional scholars alike. It is generally believed that the
Sthala Puranas cannot be considered authoritative to the same extent as the
Ramayana. But I think that such of them as are authentic are more authoritative
than the Ramayana, the Mahabharata, the Visnu Purana and Bhagavata Purana, and
so on. I have come to this conclusion from examples like the one I have cited
above. Now I am going to speak about Sthala Puranas that connect places in
different parts of the country. There are two versions of the Kaveri Purana.
One gives importance to the Amma mandapa on the Kaveri in Srirangam. It states
that bathing in the Kaveri in the month of Tula (October-November) is specially
meritorious. The chief character in this Purana is the Cola king Dharmavarman.
He reigned from Niculapuri. The Sanskrit words "nicula",
"nicola", "coli" mean a garment covering the body [or a
part thereof] like a case ("urai" in Tamil). The place called "Uraiyur"
is known in Sanskrit as "Niculapuri". The kingdom with its capital as
Niculapuri came to be called Coladesa (Cozhadesa). What is remarkable about a
corn-cob? The grains growing on the top of the stalk are encased in the
"cob". It means the grains of the cereal called colam or maize wear a
coli so to speak. In the second version of the Kaveri Purana the bathing ghat
called Tulaghattam in Mayavaram [Mayuram] is given importance. It is popularly
called "Lagadam": the word must be a distortion of
"Tula-ghattam". This ghat has been specially built for the
convenience of pilgrims who bathe in the Kaveri in the month of Tula. There are
such ghats in six or seven other places on the Kaveri, all built to the same
plan. While in the first version of the Kaveri Purana Srirangam and
Dharmavarman figure as important, in the second, apart from Mayavaram, a
Brahmin couple find a prominent place. The couple were liberated by bathing at
this ghat. The Brahmin was called Nathasarman and his wife Anavadya. They were
freed from wordly existence by bathing day after day in the Kaveri in the month
of Tula in the manner prescribed by the sastras. The Brahmin couple had during
their pilgrimage visited Kedara and Kasi. (This story is known only in Mayaram.
) Kasi is a thousand miles from here. One of the ghats there is called
"Kedarghat". The Sthala Purana of Kedarghat mentions that the Brahmin
couple, Nathasarman and his wife Anavadya, bathed there. People in our parts
are not much familiar with the story of Nathasarman. He is not like Rama,
Krsna, Hariscandra, Nala and so on to be known all over the land. It is amazing
that the story of such a man as told in the Sthala Puranas of Mayavaram and of
Kasi, a thousand miles away, tally. This story shows how wrong it is to be
sceptical about the authenticity of Sthala Puranas. Kasi, which is a thousand
miles from Kancipuram, is famous for the goddess Annapurni. In Kanci too, when
the World Mother observed the 32 dharmas, she distributed food among people.
Opposite the doorway of the sanctum of the Kamaksi temple in Kanci is the
sanctum of Annapurnesvari. It has a vimana or tower that is unlike that of any
other temple in the South. It has six spires ("sikharas"). The
explanation for this is the fact that the tower of the Annapurnesvari temple in
Kasi too is similar. Even in such small matters there is agreement about places
as far apart as Kanci and Kasi. Are Sthala Puranas then to be dismissed as of
no consequence?
Preserving
the Puranas
For a
thousand or ten thousand years our temples and the festivals associated with
them have nurtured our religious traditions against various opposing forces.
Every temple has a story to tell; every temple festival has a legend behind it.
These have been preserved in the Puranas. To ignore or neglect this great
heritage, this great treasure, is to cause serious hurt to the religious
feelings of our people. In the past, when there was no printing press, the
palm-leaf manuscripts were jealously guarded generation after generation. Is it
right to keep them in neglect when so many books are churned out by the
printing presses today, the majority of them injurious to our inner
advancement? It is our duty to preserve the Puranas for future generations. Not
to do so is to deprive them of great source of inspiration.
Palm-leaf
Manuscripts in Libraries
In the
old days palm-leaf manuscripts were preserved in almost every house. They
contained the texts of the epics, the Puranas, Sthala Puranas, and so on. When
the palm-leaves were in danger of being damaged, their contents would be copied
with a stylus on new leaves. The damaged leaves would be consigned to the
Kaveri or some other sacred river, or to some pond on the occasion of
Patinettam Per [see next para] The 18th day of the Tamil month of Adi
(July-August) has a special significance for the Kaveri. The river would be in
spate. The swelling waters on this day are called Patinettam Perukku or
Patinettam Per. Our forefathers went on inscribing on palm - leaves with their
stylus until their hands ached. They copied old texts to be preserved for posterity.
This tradition lasted until perhaps the time of our fathers. People of our
generation have thrown these precious manuscripts into the river without making
copies of them. So much so it is doubtful whether the texts of many Puranas
will ever be available to us. Not only Puranas, but also a number of sastras.
However, some scholars have taken great pains to go from place to place to
collect manuscripts and preserve them in libraries. The Sarasvati Mahal Library
in Tanjavur, the Oriental Manuscripts Library and the Adyar Library, Madras,
have good collections of manuscripts. The Theosophical Society Library, Adyar,
has done commendable work in this respect. Sarabhoji and other rulers of
Tanjavur took great trouble to collect manuscripts for the Sarasvati Mahal. The
palm-leaf is called edu in Tamil. It has two sides with a rib in between -
either of the two sides after the removal of the rib is called an edu. The
plantain leaf also has a rib. When it is split across the rib, each part is an
edu. For long the palm-leaf was our paper, nature's paper which was not easily
damaged. The letters had to be inscribed on it with a stylus. The palm-leaves
containing the text of Jnanasambandhar's Tevaram compositions went upstream
against the current of the river Vaigai and were laid ashore. The spot where
the manuscript lodged itself is called "Tiruvedakam" ("Tiru +edu
+ akam"). Here the deity lord Siva is called "Patrika
Paramesvara". Nowadays the word "paper" is understood as a
newspaper, magazine, periodical, etc. "Patrika" means a magazine
today. The lord associated with the spot where the palm-leaves, nature's paper,
were laid ashore is "Patrika Paramesvara", which could be taken to
mean "the Lord the journalist". "Patra" and "Patrika"
mean the same, a leaf. In the past letters were written on palm-leaves. That is
why a letter also came to be called "patra". There is an interesting
story about the Sarasvati Mahal. In olden days the worst injury an invader
thought he could inflict on a country was to burn down it's libraries. When the
treasury is to the economy of the nation the library is to its culture; indeed
the library represents its cultural treasury. Since there was no printing press
then, there would not be many [palmleaf] copies available of works, and of some
works there would be only a single copy. To destroy the library of the nation,
containing rare works, would be a greater outrage than looting its treasury or
dishonouring its women. We must be proud of the fact that our sastras on policy
strictly forbid the destruction of an enemy country's treasures of knowledge
and it's places of worship, nor do they permit the dishonouring of its women.
When Jainas like Amarasimha lost to Hindu religious teachers in arguement, they
themselves wanted to burn their books. But great men like our Acarya stopped
them from doing so. Holding the hands of their opponents they requested them
not to destroy their books. Their attitude was that no work must be destroyed
whatever the philosophy or religious system it upholds. Conquerers belonging to
other countries took special delight in setting fire to the libraries of the
conquered land if it was known to be culturally advanced. They perpetrated such
outrages without reflecting for a moment on the fact that knowledge is common to
all, even such knowledge as possessed by an enemy. They could cause anguish to
the people intellectually superior to them by destroying their books. It was
thus that during the 15-16th centuries Muslim invaders set fire to the library
in Alexandria in Egypt (it had books collected from the time of Alexander) and
the library in Constantinople (Istanbul) which had been built up over the
centuries by the Greeks and the Romans. Once old Sangam were swept off when the
sea rose - it was an act of nature. But it is due to their cultural
backwardness that foreign forces destroyed the libraries of the country they
invaded. The Sarasvati Mahal of Tanjavur was once under threat when Muslim
forces had spread all over the south and the Nawab of Carnatic had the upper hand.
For the Muslim invaders burning down the Sarasvati Mahal library was equivalent
to destroying the great temple of Tanjavur. At that time there was a
Maharastrian Brahmin called Dabir Pant who was a minister to the Maratha Raja
(the Maratha rulers here belonged to Sivaji's family). An idea occured to him
just in time to save the library. He said to the vandals: "This library
has ofcourse Hindu books. But it also has many copies of Qur'an."
"What? The Qur'an also?" the invaders cried. " We won't set fire
to the library in that case, "so saying they departed. Then came to India
Englishmen, Frenchmen and others. They had a thirst for knowledge and research
and were anxious to learn even from foreign sources. The Germans came to our
country and searched for palm-leaf manuscripts to take home with whem. We must
be grateful to some of these foreigners through whose efforts a number of our
sastras were redicovered. There was, for example, Mackenzie who was
surveyorgeneral of India. He went from place to place to collect palm-leaf
manuscripts. There was at that time no speacial department to deal with them
but Mackenzie had them read by experts and took steps to have them preserved.
Mackenzie's men even came to our Matha at Kumbakonam to gather information. It
is believed that Westerners took with them some of our science manuscripts from
the Sarasvati Mahal espeacially those pertaining to the art of warfare. It is
further claimed that Hitler made some type of weapons and aircraft on the basis
of knowledge contained in these texts. There are palm-leaf manuscripts still
with us like Bhojaraja's Samarangana Sutra. From these we learn that we had
long ago not only "astras" to be employed with mantras but also
"sastras" that were product of science. Digests like Varahamihira's
Brhatsamhita bring together the various disciplines of our land. Some of our
ancient palm-leaf manuscripts contain texts not only of our religious systems
but also of various arts and sciences. Also the Puranas. But we have lost many
of our Sthala Puranas. We must do our best to preserve what remains and, at the
same time, continue the search for more manuscripts. The Puranas give us
instruction, in the form of engrossing stories, on the truth of the Paramatman
proclaimed by the Vedas, the dharmas, and the moral and ethical codes of
conduct that they lay down. The teaching they impart touches our very hearts.
The lessons of the Puranas, the stories of noble men and women contained in
them, have shaped our lives. The Puranas have indeed served as a source of our
inspiration for our people from time immemorial. We must no longer be apathetic
to them and must make a determined effort to preserve them as a treasure. Let
us make a comparative study of puranic literature and take an integrated view.
This will be to our own benefit as well as to that of all mankind.
Dharma
Shastra
Realising The Ideals Of The
Puranas,
Smritis And Allied Works, Vaidyanatha Diksitiyam, Freedom And Decipline,
Signs And Marks, Smritis Not Independent Work, The Source Of Smritis Are In
Vedas,
Sruti Smriti Srauta Smarta
Realising
the Ideals of the Puranas
The
noble characters who figure in the Puranas serve as an ideal for all of us to
follow. When we read their stories we are inspired by their example and we ask
ourselves why we cannot be like them ourselves, why we should not share their
qualities. But, even if we wanted to emulate their lives, would we be able to
live like them without deviating at any time from the high principles that they
upheld? Man by nature is always unstill: he cannot keep his mind quiescent even
for a moment. Bhagavan says in the Gita: "Not for a moment can a man
remain still, without doing work". So one must know the right path for
work. One must make one's mind pure, acquire the highest of qualities and,
finally, transcending these very qualities, realise the Brahman. How can we
live according to the tenets of our religion? How can we wash away our sins and
cleanse our Self? And what must we do to attain everlasting happiness? Is not
our present birth a consequence of the sins we committed in our past lives? We
have to free ourselves from them and be careful not to sin afresh. We must
elevate ourselves, our mind and character, so that we are not embroiled in sin
again. The purpose of religion is this, to ennoble us and turn us away from
sin. But how? How do we live according to the teachings of our religion? We do
not know how. In our present condition, what do we claim to know? Perhaps a
little bit of Ramayana, the Bhagavata and other Puranas. We learn about the
religious life lived by the characters portrayed in these works. But neither
the Puranas nor the epics deal with the rights in a codified form, nor do they
contain directions for their proper performance. The Puranas and the epics give
a dominant place to devotion. Is it possible to be engaged in devotion all the
time, or to keep singing the glory of the Lord day and night? Or, for that
matter, to be similarly engaged in a puja and meditation throughout? No. We
have a family to look after. We have to bath and eat and we have so much other
work to do - all this takes time. The remaining hours cannot be set apart for
puja. It would all be tiresome and we have, besides, to do other good works. How
do we get such information? From the Dharmasastra. Of the fourteen branches of
learning (caturdasa-vidya) Dharmasastra comes last. Puranic characters, who
represent our ideal, show us the goal. The path to attain that goal starts with
the performance of karma, works. The Dharmasastra contain practical
instructions in our duties, in the rites to be performed by us. In the Vedas
these duties are mentioned here and there. The Dharmasastra is an Upanga that
deals with them in detail and in a codified form. There is an orderly way of
doing things, a proper way, with regard to household and personal matters
including even bathing and eating. The ordinances of Vedas cover all aspects of
life and to conduct ourselves according to them is to ennoble our Self. Whatever
we do must be done in the right manner - how we lie down, how we dress, how we
build our house. The idea is that all this helps our being. Life is not
compartmentalised into the secular, worldly and the religious. The Vedic dharma
is such that in it even mundane affairs are inspired by the religious spirit.
Whatever work is done is done with the chanting of mantras and thus becomes a
mean of Atmic progress. Just as worldly life and religious life are integrated,
harmonised, so are the goals of individual liberation and common welfare kept
together. The devotion we imbibe from the Puranas is part of the Vedas also.
But with it is associated a good deal of karma. When devotion takes the form of
rite called puja there are certain rules to be observed. Apart from puja there
are sacrifices and rites like sraddha and tarpana as important elements of the
Vedic dharma. But these are not codified in the Vedas nor is any procedure laid
down for each of them. "Vedo khilo dharmamulam,” says Manu (The Vedas are the
root of all dharma. ) The work that the Vedas bid us perform for our inner
wellbeing also serve the purpose of bringing good to the world. What is called
dharma is that which fosters both individual and social welfare. The Vedas are
the root of this dharma, its fountainhead. But the rites and duties are not
given in an orderly form in the Vedas, nor is the procedure for works laid down
in detail. Of the Vedas that are infinite we have obtained only a very small
part. And we do not comprehend fully the meaning of many of the passages even
of this small part. As we have seen the sixth Vedanga, Kalpa, contains the
Dharmasutras, Grhyasutras and Srautasutras, relating to rites based on the
Vedas. But the sutras are brief and do not constitute a detailed guide. The dharmasastras
elaborate upon them without leaving any room for doubt. The Dharmasutras (by
Apastamba, Gautama and others) are terse statements and are so according to the
very definition of the term "sutras". The dharmasastras (by Manu,
Yagnavalkya, Parasara and others) are called Smrtis and are in verse and detail
in treatment. Their basis, however, is constituted by the Vedas. The function
of Dharmasastra is to analyse and explicate the sutras of Kalpa which have to
some extent systematised the Vedic rules and injunctions. If Kalpa gives
instructions about the constructions of the Vedic altar, of houses, etc,
Dharmasastra provides a code of conduct embracing all human activities. We want
to perform a ritual, but how do we go about it? We do not know where the
propriety or otherwise of performing it is mentioned in the Vedas. Nor do we
know where instructions are given about it. What are we to do then? We do not
know anyone who has mastered all the Vedas. Extracting information from them
about the rite we want to perform is impossible because they are like the
expanse of a vast ocean. If the Vedas bid us "Do like this, " we do
so. But since we do not know their ordinances well enough, what are we to do?
The answers to this questions are given by Manu: "The sages who had
mastered the Vedas composed the Smrtis. Find out what they have to say.
"What we call Smrtis make up Dharmasastra. "Vedo'khilo dharmamulam
Smrtisile ca tadvidam". "Smrti" is what is remembered.
"Vismrti" is insanity. Manu observes:"There is Smrti for the
Vedas in the form of notes. The sages who had a profound understanding of the
Vedas have brought together the duties and rites (dharma and karma) mentioned
in them in the form of notes and they constitute the Smrtis. They are written
in a language that we can easily understand. Read them. They tell you about
your in detail, the do's and don'ts, and how the rites are to be performed.
" We have seen that the sixth Vedanga, Kalpa, contains instructions about
the Vedic works. The Grhyasastras, Dharmasastras and Srautasastras of Kalpa
deal with sacrifices and other rites. The Smrtis elaborate on them and contain
detailed instructions with regard to the rite one has to perform through one's
entire life. Actually, there are rituals to be conducted from the time of
conception until death. The Smrtis also lay down the daily routine to be
followed by all of us.
Smritis
and Allied Work
Manu,
Parasara, Yajnavalkya, Gautama, Harita, Yama, Visnu, Sankha, Likhita,
Brhaspati, Daksa, Angiras, Pracetas, Samvarta, Acanas, Atri, Apastamba and
Satatapa are the eighteen sages who mastered the Vedas with their superhuman
power and derived the Smrtis from them. Their works are known after them like
Manusmrti, Yajnavalkya-smrti, Parasara- Smrti and so on, and they contain all
that we need to know about all the dharmas to be adhered to and all the rituals
to be performed during our entire life. Apart from these eighteen, there are
eighteen subsidiary Smrtis called Upasmrtis. It is customary to include the
Bhagavadgita among the Smrtis. What we find in one Smrti may not be found in
the other. There may also be differences between one Smrti and another. These
give rise to doubts which are sought to be cleared by works called
"Dharmasastra Nibandhanas". There are some Smrtis which do not
contain instructions with regard to all observances. For instance, some do not
mention sandhyavandana. The reason must be it is such a common rite that
everybody is expected to know it. Then some omit the sraddha ceremony and some
others are silent on various types of "pollution" (for instance, that
due to the birth of a child in the family or death of a relative). Certain
matters are taken for granted. After all, we do not have to be told about how
to breathe or eat. The nibhandanas do not leave out any rite or dharma.
Differences between various Smrtis are sought to be reconciled in them. Each
region follows its own nibhandhana. In the North, it is the one authored by
Kasinatha Upadhyaya. In Maharastra, it is the Mitaksara: it has the force of
law and is accepted as such by the law courts. Nirnayasindhu by Kamalakara
Bhatta is also accepted as an authority there. In the South,
Vaidyanatha-Diksitiyam by Vaidyanatha Diksita is followed. These are the
important authorities for householders. Sannyasins follow Visvesvara-samhita.
In Tamil Nadu the Dharmasastra means the Vaidyanatha-Diksitiyam. The nibandhana
has been translated into Tamil. The Dharmasastras are not as difficult to
follow as the Vedas and can be understood with a little knowledge of Sanskrit.
Vaidyanatha
Diksitiyam
Vaidyanatha
Diksita's own name for his work is Smrti-Muktaphala- Nibhandana-Grantha. We
know very little about the author of this extremely useful book. Diksita must
have lived some two hundred years ago; he belonged to Kandiramanikkam, near
Nacciyarkoil (in Tanjavur district). It must be noted that he himself practised
the dharmas he had dealt with in his nibhandana and he is also believed to have
performed big sacrifices. Vaidyanatha-Diksitiyam is considered superior to
similar works by Medhatithi, Vijnesvara, Hemadri and so on. Exhaustive in
nature, it deals with the duties and rites pertaining to the different castes
and asramas (the four stages of life), ritual purity, sradhha, prayascitta,
stridharma, dayabhaga, dravyasuddhi. It even gives directions about the
division of paternal property. When the Hindu code Bill was introduced in free
India some put forward the view that the division of property must be based on
the sastras. Such division is called "Dayabhaga". The division of
property in Kerala, in the uncle-nephew line, is called marumakkatayam. The
word "dayadi" is derived from "daya". Diksitiyam is the
last among the nibhandanas. In the preparation of this work Vaidyanatha Diksita
had the advantage of making a comparative study of all the previous works on
Dharmasastra. Before it the authority followed it to some extent in the South
was the nibhandana of Tozhappar. Vaisnavas and Smartas alike today accept the
Diksitiyam as an authority. The nibhandanas are not like the Vedas (Sruti), the
Kalpa-sutras and the Smrtis. Since they came later it is not easy to make them
acceptable to all. Diksita, it must be noted, does not show the least trace of
bias in his work and has followed the Mimamsa in determining the meaning of
Vedic texts. He has brought together previous sastras and arrived at
conclusions only after resolving the contradictions in them. This is the reason
why his work is considered as authority in the South. When the Smrtis differ in
some matters, he takes a broad view and suggests: "Let each individual
follow the practices of his region and the tradition of his forefathers".
Om
Tat Sat
(Continued...)
(My humble Thankfulness to
H H Sri Chandrasekharendra Mahaswami ji, Hinduism online dot com Swamijis, and
Philosophers com for the collection)
(The Blog is reverently for all the seekers of truth,
lovers of wisdom and to share the Hindu Dharma with others on the spiritual path and also this
is purely a non-commercial)
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