Sarva Mangala Lecture 01 on 06-October-2019

Full Transcript (Corrected)

ॐ

जननीम्  सारदाम् देविम् रामकृष्णं जगद्गुरुम् ।

पादपद्मे तयोः श्रित्वा प्रणमामि मुहरमुहुहु ।।

Oṃ Jananīm Sāradām Devīm Rāmakṛṣṇam Jagadgurum |

Pādapadme Tayoḥ Śritvā Praṇamāmi Muhurmuhuhu ||

Today we will begin the Sarvamaṅgalā Stotram. As we all know, this is one of the three stotras that devotees of Sri Ramakrishna sing every evening regardless of where they are. We are aware of its origin and why it was included as one of the three stotras. Sri Ramakrishna worshipped the Holy Mother as Tripurasundarī. At the end of the pūjā he recited these three ślokas, which are taken from a text called the Mārkaṇḍeya Purāṇa.  A section of the Mārkaṇḍeya Purāṇa is known as the Durgā Saptashatī, Śrī Śrī Chaṇḍī, or Devī Māhātmya. This text is also considered a Mantra Śāstra. While it can be recited as an expression of devotion, it is also possible to chant it with a specific Saṅkalpa if one has particular desires. It is highly regarded as a great Mantra Śāstra, comparable to other renowned classics like the Saundarya Laharī, and so forth.

Because Sri Ramakrishna had sung this hymn, and as we know, when an Avatāra appears, four things typically happen: First, His name becomes a mantra. Secondly, His form becomes an object of adoration and contemplation. Thirdly, His life and teachings become a source of inspiration and guidance. Finally, an organization arises to preserve and propagate His life and teachings, ensuring they do not become degenerated. As part of this fourth aspect, the Samāja (society) propagates these teachings by worshipping the deity, repeating the mantra, and following His instructions. A component of this propagation is the Ārātrika. Although these three ślokas occur in the Durgā Saptashatī, they were chosen for this purpose because Sri Ramakrishna had worshipped the Holy Mother with them. When the Holy Mother visited Bangalore, she would often enjoy the sunset from a hillock, now known as the Holy Mother’s Rock. One day, Swami Ramakrishnanandaji, who had organized her entire trip to the South, learned that the Mother was sitting there. He exclaimed, “Oh, Mother has become Parvatavāsinī! A dweller of the Parvata is Pārvatī.” Swami Ramakrishnanandaji, being a bulky person, had to climb the hillock in an era when a smooth pavement did not exist. Today, the path has been levelled and paved. However, at that time, the climb was challenging, and by the time he reached the Holy Mother, he was out of breath. Kneeling before her, he recited this hymn to the Divine Mother.

We regard the Holy Mother as Sarva Deva Devī Svarūpiṇī. Several instances validate this belief. When the first Durgā Pūjā was held at Belur Math, the Divine Mother herself inspired Swami Vivekananda and Swami Brahmanandaji to perform the pūjā.  On that occasion, although the Holy Mother did not appear as Mother Durgā, she arrived just before the Durgā Pūjā as Mother Kālī. Mother Kālī was seen coming from Dakshineshwar to Belur Math a few days before the Durgā Pūjā, symbolically indicating, "I am Durgā," and so on. There are numerous such incidents connecting Sri Ramakrishna and the Durgā Pūjā. One such incident occurred during Durgā Pūjā when Mathur Babu was celebrating the festival, as he did every year. On this particular occasion, Sri Ramakrishna was with him. Mathur Babu did not want the image of the Divine Mother to be immersed. His wife, Jagadamba Dāsi, came running to Sri Ramakrishna, saying, “Mathur Babu is not allowing the image to be immersed and is threatening, ‘If anyone does it without my permission, I will chop off his head!” Sri Ramakrishna then approached Mathur Babu and asked, “Why are you obstructing the immersion? After all, all these days, the Mother has been sitting outside and accepting your pūjā. From now on, she will accept it from within your heart.” With these words, Sri Ramakrishna touched him. We can presume that Mathur Babu must have had a vision of the Divine Mother at that moment. Being a devoted worshipper of the Mother, he recognized that Kālī and Durgā were one and the same. He then agreed to proceed with the Visarjana. Once, Hriday wanted to celebrate Durgā Pūjā and requested his uncle, Sri Ramakrishna, to attend the event and stay with him. Sri Ramakrishna replied that he would not be able to come because Mathur Babu would not permit it. However, he said, “Every evening, at the time of the Ārāti, I will come there in a subtle form, and you alone will see me.” As promised, Hriday saw Sri Ramakrishna every evening, standing by the side of the image and fanning the Divine Mother.

On another occasion, Mathur Babu was performing Durgā Pūjā, and Sri Ramakrishna was in a state of ecstasy. Jagadamba Dāsi wanted to witness the Ārātrika, but she was hesitant to leave Sri Ramakrishna alone. A few days earlier, he had fallen onto burning charcoal while in ecstasy, resulting in severe burns on his back. A large piece of live charcoal had even pierced his body. Given this incident, she did not want to risk leaving him unattended. What did she do? She dressed Sri Ramakrishna completely in women’s attire and adorned him with all her jewelry. Sri Ramakrishna entered a deep state of ecstasy, merging in oneness with Mother Durgā. Gently leading him, Jagadamba Dāsi placed him in the women’s line for darśan. Meanwhile, Mathur Babu, standing opposite, kept gazing at Sri Ramakrishna, wondering, “Who is this lady?” He could not recognize Sri Ramakrishna, as the transformation was so perfect. Sri Ramakrishna, being a great actor, identified completely with any role he assumed. Keep in mind that during the practice of Madhura Bhāva, Sri Ramakrishna became completely one with the idea of being a woman. It is said that, like women, he even experienced those monthly cycles. He would fully identify with whatever mood or divine form he was immersed in - if it was Krishna, he became Krishna; if it was Rāma, he became Rāma; if it was Kālī, he became Kālī.  At Shyampukur, during one Kālī Pūjā, Sri Ramakrishna suggested, “Let us celebrate Kālī Pūjā.” (Note: there are two main Kālī Pūjās - one in the month of May, called Phalāhāriṇī Kālī Pūjā, and another in October, which falls on the Amāvasyā immediately following Durgā Pūjā).  Simple arrangements were made with flowers and sandal paste, as the celebration was not meant to be elaborate. Sri Ramakrishna sat quietly while the devotees waited, expecting him to either perform the pūjā himself or ask someone else to do it. However, he said nothing.  Suddenly, Girish Chandra Ghosh felt a divine inspiration. He realized that Sri Ramakrishna himself was Mother Kālī, and that was why he remained silent. Acting on this inspiration, Girish took a handful of flowers, exclaimed, “Jai Kālī!” and offered the flowers at Sri Ramakrishna’s feet. Sri Ramakrishna immediately entered an ecstatic state, affirming that Kālī was none other than himself.

Sri Ramakrishna is Sarva Deva Devī Svarūpa, and Holy Mother is Sarva Deva Devī Svarūpiṇī. There is no difference between them or any other God or Goddess, because there can only be one God and no more. This is why we must adore the Holy Mother.  There is another very important reason to revere Holy Mother. How does the grace of Sri Ramakrishna descend upon us? It comes through Sri Ramakrishna’s Karuṇā Rūpiṇī. His karuṇā (compassion) has taken the form of Holy Mother. That is why he said to her, “I am leaving you behind. You have to distribute whatever I have earned, and you have to highlight the Divine Motherhood of God.” Thus, we worship her as the embodiment of compassion and divine motherhood. She is Nārāyaṇī, Pārvatī, Kālī, and everything for us. This is the reason these particular three ślokas are chanted in her honor. In the Chaṇḍī, there are four beautiful hymns. The first is the Brahmādi Stuti or Brahma's hymn to the Divine Mother, which appears in the first chapter. This hymn is recited to awaken Lord Viṣṇu, who is under the spell of Mahāmāyā’s Nidrā. The second hymn, the Śakrādi Stuti, is found in the fourth chapter.  The third hymn occurs in the fifth chapter, just before Mahiṣāsura is killed. The fourth hymn, called Nārāyaṇī Stuti, appears in the eleventh chapter. Verses 10, 11, and 12 of this chapter are as follows: Sarva Maṅgala Māṅgalye (10), Sṛṣṭi Sthiti Vināśanām (11), and Śaraṇāgata Dīnārtha Paritrāṇa Parāyaṇe (12). These three verses form the third Ārātrika hymn that we chant.  The fourth Ārātrika hymn, which we will address later, is Prakṛtim Paramām Abhayaṁ Varadam, composed by Swami Abhedanandaji.

Now, we will take up the hymn Sarva Maṅgala Māṅgalye. As I mentioned earlier, we must keep in mind that the Chaṇḍī is not only a Bhakti Śāstra, but it is also reputed to be a Mantra Śāstra. Let me give you a simple example: Yā Devī Sarva Bhūteṣu Nidra Rūpeṇa Samsthita, Kṣudhā Rūpeṇa Samsthita, Vṛtti Rūpeṇa Samsthita, Tuṣṭi Rūpeṇa Samsthita, Dāyā Rūpeṇa Samsthita, Vidya Rūpeṇa Samsthita, Brānti Rūpeṇa Samsthita. This is beautifully chanted: Yā Devī Sarva Bhūteṣu Buddhi Rūpeṇa Samsthita, Namastasyai, Namastasyai, Namastasyai, Namo Namaḥ. In this way, the manifestation changes, but the core elements remain the same. The phrase Yā Devī Sarva Bhūteṣu, Rūpeṇa, and Namastasyai, Namastasyai, Namastasyai, Namo Namaḥ is common to all these verses. So, if someone suffers from excess sleep, chanting this mantra will help overcome that issue. How? By chanting this mantra, Brahmā invoked the Divine Mother to remove the Nidrā (sleep) of Viṣhṇu, and then he was awakened. But if someone is having trouble falling asleep, they should repeat the same mantra with faith, because she is the mistress or master of all these things, including Nidrā, just like Gaṇeśha. Another name for Gaṇeśha is Vighneśha. What does Vighneśha mean? Vighna means obstacle, and eśa means the lord or master of. What does that imply? It means that if you have a servant, you can ask them to do anything. If you ask them to serve a first-class breakfast, they will serve it. If you tell them to finish someone off, the servant will do that too. Similarly, this mantra’s power over Nidrā means that the Divine Mother, being the Adhiṣṭhāna Devatā (presiding deity), can either put you to sleep or awaken you from it. If someone is suffering from digestive problems, they should chant Yā Devī Sarva Bhūteṣu Kṣudhā Rūpeṇa Samsthita. If someone is always grumbling and discontent, they should chant Yā Devī Sarva Bhūteṣu Tuṣṭi Rūpeṇa Samsthita. If someone wants to become more mellow, soft, or compassionate, they should chant Yā Devī Sarva Bhūteṣu Dāyā Rūpeṇa Samsthita. Whatever you lack, you can ask for.  Vidyā Rūpeṇa Samsthita - she is the one who grants people with Vidyā (knowledge). She also grants Avidyā (ignorance). This is why she is referred to both as Lakṣhmī Rūpeṇa and Alakṣhmī Rūpeṇa. It is stated in the Chaṇḍī itself that when she is pleased, she manifests as Lakṣhmī; when displeased, she manifests as Alakṣhmī, because she has the power to do both.

But we must understand: does God really become displeased with someone? Does God truly hate anyone? Is that even possible? After all, whom could she hate? From a realistic standpoint, we are all her children, and from the Advaita perspective, it is She herself. So whom could She harm? What does this mean? It means that whatever is the right medicine for the development of each individual child, that is the medicine She will give. Nidrā (sleep) is a remedy for many things. Do you know that? When a person is in shock, for whatever reason - whether due to tragic circumstances or something else - Nidrā is often the greatest antidote. It is said that when someone is too shocked to express their emotions or unable to weep, sleep can serve as a healing force. By weeping, the emotions begin to subside, and the person can gradually come to terms with the situation. Thus, everything that happens in life is an expression of Her compassion. She is Sarva Bhūteṣu Dāyā Rūpeṇa Samsthita, the embodiment of compassion. How could she be cruel? If she is ever harsh, it is not out of malice or a desire to punish her child, but to remove defects and help her child grow and become more perfect. This is how we must understand her actions. I will return to this concept soon.

This hymn is a Mantra Śāstra. If someone seeks knowledge, they should chant Yā Devī Sarva Bhūteṣu Vidyā Rūpeṇa Samsthita or the Gayatrī Mantra:

Oṃ Bhūrbhuvaḥ Svaḥ

Tatsaviturvareṇyam

Bhargo Devasya Dhīmahi

Dhiyo Yo Naḥ Pracodayāt

Meaning: "O Mother, grant me the right understanding." This understanding is called Vidyā. Now, even Avidyā (ignorance) is a preparation. We’ve discussed this before, but let me reiterate. Avidyā is not the opposite of Vidyā, nor is Avidyā Māyā  the enemy of Vidyā Māyā. Rather, Avidyā Māyā is a stepping stone towards Vidyā Māyā. Many times I’ve said this, and I will repeat again: Who has created this Saṃsāra (the world of birth and death)? It is created by God. Do you think God would create a Saṃsāra that leads a person to hell? It is not possible. So, why did God create it? From His point of view, it is Līlā (divine play), and from our point of view, it is a learning stage. Every step, until we attain Advaita Jñāna (knowledge of non-duality), is part of a learning process. This is the understanding we should have. With this background, we will now begin the hymn.

Oṃ Sarvamaṅgalamāṅgalye Śive Sarvārthasādhike।

Śaraṇye Tryambake Gaurī Nārāyaṇi Namo'stu te॥   |1|

The hymn Oṃ Sarvamaṅgalamāṅgalye Śive Sarvārthasādhike... begins with Namo'stu te, O Nārāyaṇi  - by offering salutations to Nārāyaṇī, who is described as the consort of Nārāyaṇa. Understanding the term Nārāyaṇī is crucial because every Sanskrit word carries a deep etymological meaning.  Nārāyaṇī is the feminine counterpart or Shakti of Nārāyaṇa, the Supreme Being, and represents the dynamic, creative power of God. The word Nārāyaṇa is derived from Nāra (which refers to all beings) and Ayana (meaning refuge or support). Therefore, Nārāyaṇi is the one who is the support and refuge for all beings.

God is believed to have three primary functions: Sṛṣṭi (creation), Sthiti (preservation), and Laya (destruction). In each of these functions, different forms of the divine are manifest:

• During creation, God is Brahmā, and his consort is Brahmāṇī.
• During preservation, God is Viṣhṇu, and his consort is Vaiṣṇavī or Nārāyaṇi.
• During destruction, God is Śhiva, and his consort is Śhivā, Śhivānī, or Śhive.

The key point here is that these divine pairs should not be seen merely as husband and wife, but as complementary forces, similar to the relationship between the organs of knowledge (Jñānendriyas) and the organs of action (Karmendriyas).

• Brahmā represents the organs of knowledge, and his Shakti or action is Sarasvatī.
• Viṣhṇu represents the organs of knowledge, and his Shakti is Lakṣhmī.
• Śhiva represents the organs of knowledge, and his Shakti is Pārvatī / Kālī or Durgā.

Knowledge without action is lame. Action without knowledge is blind. Analyze your understanding of any action, such as your attending this class today. How did you end up coming here? I don't mean by which vehicle; I mean, how did you happen to take this action? It is because you had the knowledge that there was going to be a class here and that you had to reach on time. This knowledge had to be translated into action. Therefore, you took suitable means of transportation by car, metro, or whatever and arrived.  Brahmā represents knowledge. Sarasvatī represents its transformation. Viṣhṇu is that knowledge: "I have to protect," and Lakṣhmī is the means of doing things. Śhivā is knowledge. Śhivānī, or Śhivā (like the name Latā), refers to the feminine gender in Sanskrit. But here, Śhive means addressing - "O Śhive"; it is in the vocative case. That is why it is called Śhive. O Nārāyaṇi, Namo'stu te - salutations to you.

The word Nārāyaṇi has two meanings. Nārā means Jñāna.  Nārāyaṇi means "one who gives knowledge" and shares the same meaning as Nārāyaṇa. Nārāyaṇa also means "one who resides in waters." That is why Lord Viṣhṇu is said to dwell on the ocean, often referred to as the "ocean of milk." She is also called Kṣīrasāgara Tanayā, referring to Goddess Lakṣmī, who is believed to have arisen from the Kṣīrasāgara (ocean of milk). This signifies that the Mother has emerged from the waters. However, the water is not ordinary; it is called the "waters of life." Nārāyaṇi thus means "she who dwells in water" and "she who gives knowledge." The word Nārada - Nāraṁ dadāti iti Nāradaḥ means "one who grants Nāraṁ."  Nāraṁ signifies Vidyā, Bhakti, and other virtues. Similarly, Nārāyaṇa refers to one who dwells within. Another meaning of Nārāyaṇa is derived from Nara, meaning "human being." He who resides in and fills the hearts of human beings is called Nārāyaṇa, who is, in other words, pure Consciousness. Thus, the word has three meanings:  1)Dweller of the waters, 2) Giver of knowledge and 3) He who fills the hearts of human beings. These are the three meanings we derive from Hey Nārāyaṇi.  In reality, there is no distinction between Viṣhṇu and Śhivā. In the form of knowledge, it is called Viṣhṇu. In the form of activity, it is called Lakṣhmī. Therefore, Brahmā, Śhivā, and others should not be considered as merely male and female forms. They represent knowledge and action. Knowledge is always compared to the feminine. For instance, Kālī is always depicted atop Mahākāla. We will discuss these concepts in greater detail later. So, salutations to you - what type of "you"? You are Oṃkāra Svarūpiṇī.  Oṃkāra is a representation or a syllable embodying both the personal and impersonal aspects of God. It consists of three letters or syllables: Aa (ā), Oo (ū), and Mm (m̐) - Āūm̐. I have also explained the symbolism of Oṃ, if you remember. The entire universe consists of countless objects, and every object has a name. Every name must be uttered with a sound, and all sounds originate from the chest area and pass through the sound box. Only when air flows into the sound box does it transform into a sound - much like the functioning of a flute.

Although only air is blown into the flute, various sounds are produced because of the different holes in the flute. These holes represent the Sapta Svaras, or the seven notes. All music must be produced using only these Sapta Svaras. These Sapta Svaras are played in different combinations. The simplest combination is called Bhūpālī Rāga, which consists of only five Svaras. That is why beginners always start with Bhūpālī.  The Ārōhaṇa (ascending scale) is: Sa Re Ga Pa Dha, and the Avarōhaṇa (descending scale) is: Dha Pa Ga Re Sa - as in the song “Gāyīye Gaṇapati Jagavandana.”  One begins with five notes, then progresses to six, and later uses all seven notes to produce various Rāgas. Ultimately, all combinations are derived from these seven Svaras, and every single one of them is utilized.

When we utter Oṃkāra (Oṃ) we are uttering from Aa (ā), Oo (ū), and Mm (m̐) indicating the entirety of Śhabdas that are possible in any language. Any language must come only from here. There may be thousands of languages, in fact, spoken languages. And spoken means it comes out from the throat of a human being. And therefore, the whole thing must come. That is why Oṃkāra represents both the Saguṇa Brahman as well as the Nirguṇa Brahman. Oṃkāra is the greatest Vaidika Mantra. I also explained that mantras are of three types Vaidika, Tāntrika and Paurāṇika. Oṃ, Gayathri Mantra, etc., is Vaidika. Tāntrika contribution is Bīja Mantra such as - Aiṁ, Krīṁ, Klīṁ, Gaṁ, Dhūm, Śrī, Rūṁ. Rūṁ is a Bīja mantra associated with Agni (fire). Nārāyaṇa, Śhivā, Pārvatī, etc. are Paurāṇika names.

When we utter Oṃkāra (Oṃ), we are vocalizing Aa (ā), Oo (ū), and Mm (m̐), encompassing the entirety of śabdas (sounds) possible in any language. Every language, regardless of the thousands spoken, must originate from this vocal range. Spoken languages emerge from the throat of a human being, and thus all sounds stem from this foundation. This is why Oṃkāra represents both Saguṇa Brahman and Nirguṇa Brahman. Oṃkāra is the greatest Vaidika Mantra. As I have explained, mantras are categorized into three types: Vaidika, Tāntrika, and Paurāṇika. Examples of Vaidika Mantras include Oṃ and the Gāyatrī Mantra. The Tāntrika tradition contributes Bīja Mantras such as Aiṁ, Krīṁ, Klīṁ, Gaṁ, Dhūm, Śrī, and Rūṁ. Of these, Rūṁ is associated with Agni (fire). Names like Nārāyaṇa, Śhivā, and Pārvatī are from the Paurāṇika tradition.

What is the significance of the Bīja Mantra? Bīja means a seed. What does a seed represent? Consider a tree: when the tree dies over time, it creates a seed. This seed enables the tree to recreate itself, but now in an un-manifested form. This is what we call Bīja. Bīja signifies the un-manifested form of anything. This concept is not limited to trees; it applies to human beings and all living creatures. Every living being is essentially a Bīja, because a grown-up person comes into existence through the seed of their parents. Historically, the Bīja Mantras are a special contribution of the Tāntrika ṛṣis. The Tantras themselves are derived from the Vedas. Over time, the Vedas branched into three categories: Vedas, Tantras, and Purāṇas. Regarding the Purāṇas, such as the Bhāgavata Purāṇa, they originated from the practices of the ṛṣis. These sages performed Yajñas and Yāgas (sacrificial rituals) that sometimes lasted for a few days, a few months, or even several years. There is a particular Yāga known as the Dvādaśa Varṣa Yāga or Satra, which is performed over 12 years. The terms Satra, Yāga, and Yajña are similar, though they have subtle differences. One type of worship involves Bali (sacrifice), while another type is performed without Bali, and so on. In earlier times, people used to gather for worship. Remember, in the Vedic era, there were no temples. People worshipped natural forces such as the sun, the moon, the wind, fire, the earth, and water. These were regarded as gods, the Pañcabhūtas and other forms. The Vedic gods and goddesses Indra, Varuṇa, Chandra, Rudra, Viṣhṇu, etc.were the primary focus of worship. However, over time, people’s minds descended to a less contemplative state, unable to think and meditate like the Vedic ṛṣis. Consequently, they required concrete symbols to aid their worship. For example, consider a small child learning the alphabet. You cannot teach him letters abstractly; you must use something concrete. So, you say, “A is for apple,” because the word "apple" begins with the letter ‘A.’ Similarly, the child’s learning starts with something tangible. As the mind grows subtler and more capable of grasping higher concepts, these concrete aids are discarded. This is a natural progression of understanding. In the same way, people eventually found it difficult to sustain the Vaidika type of worship.

When these Yajñas and Yāgas were being performed, many ordinary people used to attend. For example, today there is a big pūjā here, as it is the Aṣhṭamī day, and many people have come. However, many of these attendees do not understand the meaning of the mantras, the Homa rituals, or the offerings made during the Homa. The question arises: how do we engage these people in the first place? And secondly, how do we convey to them what is actually being performed? To address this, a new kind of person was introduced - the storyteller or bard. In Sanskrit, such a person is called a Sūta.  You will find references to this term in texts like the Mahābhārata, where phrases such as “Sūta uvāca - the Sūta said” or “people approached the Sūta and asked how this came about” appear. A Sūta is a specialized kind of Harikathā Bhāgavatar trained in Vedic teachings. They transformed these profound Vedic teachings into a language and format that the common person could understand, often using stories. These stories were of two types: 1) Created stories designed to explain the highest Vedic truths in a way accessible to ordinary people and 2) Accounts of the lives of real individuals - saints, kings, and other exemplary figures whose stories served as practical illustrations of these teachings.

The Mahābhārata is a perfect example of this. It involved individuals like the Pañca Pāṇḍavās and the Kauravas, not only symbolically or allegorically but actually. Even today, there are many people like Yudhiṣṭhira. For instance, Kṣhudhirām, Śrī Ramakṛṣhṇa's father, can be compared to Yudhiṣṭhira. He was a truthful man, a Dharmic man, and a completely satisfied individual. There was no ambition in him, and he was entirely dependent on God. Similarly, Śrī Ramakṛṣhṇa's mother, Chandrāmaṇī Devī, embodied similar qualities. That is why Śrī Ramakṛṣhṇa's goal was to follow in the footsteps of his father as an ideal. These Sūtas performed two functions. First, their job was to entertain people with what was happening there. Secondly, they sought to convey the Vedic teachings in a form understandable by common people. So, they created stories. As I mentioned, the stories were of two types. One type was based on people who actually existed, and the second type involved stories created to convey deeper meanings. Take Śrī Ramakṛṣhṇa, for instance. He either heard or created such stories. Most likely, he heard a story about a farmer. There was a farmer who was married with a wife and only one son. One day, while at work, he received the news that his son had passed away. He slowly returned home, but there was no sign of grief. Not a single tear fell from his eyes—not even a drop. His wife became very angry and said to him, “Your only son has died, and you are not grieving at all!” She was upset because he wasn’t grieving. He then explained, “See, last night I had a dream. I was a king, and I had seven princes. They were all highly educated and virtuous, not unlike this monkey. Now, my dream broke. Should I weep for those seven who are dead, or should I weep for this monkey-faced one? What do you want me to do?”  Śrī Ramakṛṣhṇa explains that the farmer was a Jñānī, a man of knowledge. Now, this is a created story for the sake of illustration, but the same thing will happen in everybody’s life.

I told you about an incident that occurred in M's life. One day, a Swami (I forget his name) went to visit M at Kathāmṛta Bhavan. The Swami noticed that many people were coming and going, rushing about, and he could even hear wailing. As soon as M saw the monk, he took him to the visitor's room and made him sit. Śrī Ramakṛṣhṇa had instructed M that whenever devotees or sadhus visited him, he should offer them a sweet and a glass of water. Immediately, M got some sweets and asked the Swami to eat. The Swami then asked him, “What is going on in the house?” M brushed it aside and said it was just normal household business that was going on, and not to mind these things. He insisted that the Swami take the refreshments. The visiting Swami knew that M would not let him leave until he ate, because that was Thakur's commandment to M — to feed the sadhus who visited him. So, the Swami ate, talked for some time, and then took his leave. Later, he learned that one of M's children had died that day. There was a dead child in the house, and yet M was speaking as though nothing had happened. I could tell you other stories, but I will not go into them now.

A similar thing happened in Chaitanya Mahāprabhu's life. One day, he was dancing at night in a householder devotee’s home, and they had only one child. During the dance, as you know, they try to reach the perfection of ecstasy. Suddenly, the wife came and whispered to her husband they call it “jo mae gachhe” that their only child had died. Immediately, he rushed back, took the child to one corner of the house, and covered him completely so that nobody would know about it. Then, he told his wife not to tell anyone and not to show any grief, because this ecstasy of joy would come to an end. But Mahāprabhu knew everything. Immediately, he came and consoled him, etc. What kind of detachment must that man have had! His only son died, and this was his reaction!

So, there are two kinds of stories: created stories, and actual lives of either kings or sages and saints, which were entertained in a very trained way, like Harikathā Bhāgavatars, to keep the people engaged. Those stories, which were the seeds, now became branched into various Purāṇas and Upa-Purāṇas. Similarly, in Tantra-Śāstra, they have to perform a lot of mudras, arrangements, etc., in a specific prescribed manner. Did you see how we did the Homa? We arranged the fire bricks in a particular triangular way. This is a Tāntrik way. That is how, in the Katha Upaniṣad, Yama Dharmarājā asked Nachiketa and educated him about it. Nachiketa asked what is the way to attain the heavenly world, and Yama Dharmarājā told him that he had to perform a particular type of sacrifice and instructed him about how many bricks to use and how they had to be arranged, etc. He instructed Nachiketa about the geometrical formation. So, it is important for us to understand that all these are stemmed from the Vedas, one branched as Tantras, another branched as Purāṇas.

Usually, the Tantras are of two types: those where Śhiva dominates and Pārvatī becomes secondary, and those where Shakti or Pārvatī dominates and Śhiva becomes secondary. But most of the Tantras are those where Shakti or Pārvatī dominates and Śhiva becomes secondary. And the Tantras are hundreds of scriptures. Of these, they say 64 are the main ones. Bhairavi Brahmāṇī made Sri Ramakrishna go through all these 64 practices - all the important ones, but not everything. If anybody had gone through those important ones, it is as good as going through all the other ones. If anybody had passed matriculation (SSLC) brilliantly, that means they have passed from nursery class, 6th, 7th, 8th, 9th, and also 10th. So, that is the way Sri Ramakrishna was trained and made to practice.

Reverting to the topic - Oṃ represents both Saguṇa Brahman as well as Nirguṇa Brahman. Followed by Sarva Maṅgala Māṅgalye. Maṅgala – she is the embodiment of auspiciousness. Sarva Maṅgala - she is all auspiciousness. There is nothing which is inauspicious. At the same time, in the Chaṇḍī, we see that she was killing, she was fighting and killing so many of these Rākṣasas (demons). How can you call this Maṅgala? That is why in the introduction, I mentioned that there is nothing inauspicious, and the Divine Mother can never do anything wrong. It is like a surgical operation. If an unwanted growth develops, it must be removed, even if it's painful. Whether with anaesthesia or without it, in emergency situations, something must be done. This is how medical treatment was carried out in war camps. For example, if someone’s leg was severely shattered, and amputation was necessary, not doing so would result in gangrene. In such a situation, several people would hold the person down, while the surgeon would use a saw to cut off the affected part of the leg. Afterward, the leg would be bandaged as best as possible. During the First World War, medical facilities had limited access to anaesthesia and other resources. However, by the Second World War, medical advancements were more widely available, and the Red Cross provided continuous medical care, accompanying the troops on the frontlines.

So whatever the Divine Mother does, it is for the good of her own children from the dualistic point of view. And it is a Līlā, she herself is killing herself like in a movie. We can understand this if we watch movies where both the hero and villain are enacted by the same person.  One moment the villain is kicking the hero, and at another the hero is kicking the villain. Who is kicking whom? The same actor is acting both ways. I don't know how they shoot such scenes. But this fellow N.T. Ramarao (was a renowned hero in Telugu movies), there are several movies of him with dual roles and he acted very nicely. So what is the point here? It is God, from the Advaitic point of view he is dreaming this dream called Jagat, and his dream is a conscious dream. Ours is a wish-fulfilling dream and his is a conscious dream which is in Sanskrit called Līlā.

So, whatever the Divine Mother does, it is for the good of her own children from the dualistic point of view. It is a Līlā; she herself is both the one who kills and the one who is killed, like in a movie. We can understand this if we watch movies where both the hero and the villain are played by the same actor. One moment, the villain is kicking the hero, and in the next, the hero is kicking the villain. Who is kicking whom? The same actor is portraying both roles. I’m not sure how they shoot such scenes. But this actor, N.T. Rama Rao (a renowned hero in Telugu movies), performed in several dual roles and acted very convincingly. So, what is the point here? It is that God, from the Advaitic point of view, is dreaming this dream called Jagat, and His dream is a conscious one. Ours is a wish-fulfilling dream, while His is a conscious dream, which in Sanskrit is called Līlā.

Therefore, whatever happens in this world is not meant to cause pain. The greatest suffering is a gift from God. “Misery is a gift from God.” Who said this? Holy Mother said this. Do you think such an irrational statement would come from her? Every suffering, every bit of unhappiness, is an awakener for us, taking us from where we are to a better state. Some people are forced to undergo this transformation, while others do it voluntarily. When we do it forcibly, it is called a beggar state. When we do it voluntarily, it is called Tapasyā. Do you understand? To illustrate this concept, consider two beggars sitting side by side. One was a king who renounced the world and became a beggar to attain God. The other was a beggar because of his Prārabdha Karma. Yet, the experience of both is exactly the same. One brings unhappiness; the other brings pure happiness.  Just imagine, if there were no suffering in this world, nobody would progress even one millimeter. Whatever progress we make is all because of suffering. That is why Holy Mother said that misery is a gift from God. Similarly, Kuntī said: एपदः संतुनश्यस्यत्तत्रतत्र “Epadaḥ Santunāśyasyat Tatra Tatra” -"O Lord, grant us sufferings at every step." This was Kuntī's prayer. She explained that only when we are suffering do we remember You, O Lord.

Sarva Maṅgala:  Everything that happens in this world is Maṅgala. Birth is Maṅgala. Sthiti (existence) is Maṅgala. Old age is Maṅgala. Disease is Maṅgala. Death is Maṅgala. And any type of suffering we go through is Maṅgalamaya. Not immediately, but it leads to Maṅgala. From a scientific point of view, most people are completely unaware that every mutation is the death of millions of creatures. Every step in evolution involves the death of millions of creatures. But what do they gain? They mutate into higher states in the next birth. This means they are also indirectly acknowledging Punarjanma (re-birth). Otherwise, who is mutating? If I die and someone else mutates, what do I gain? No, I am going to mutate into a higher form. Sarva Maṅgala - in another verse, we will explain that she is the embodiment of auspiciousness, which manifests in the form of everything we consider good. But what is the ultimate Maṅgala? It is to attain Her, to attain Mukti, and to gain the highest knowledge. O Mother, there is no difference between me and You. That is why everything in this world is auspicious, and She is the grantor of that auspiciousness.

There is a law here: If you don’t have money, you can’t give money. If you don’t have knowledge, you can’t give knowledge. Only if you have happiness can you give happiness. Similarly, if you have unhappiness, you can only give unhappiness. That is why it is said, “Dussaṅgaḥ sarvadāiva tyājyaḥ”- Evil company must always be renounced. For example, when people fall sick and go out, there is an abundance of unhappiness. They will generously distribute their germs as well. Some people say, “We can’t miss your class,” and come to the class with a terrible cold. Perhaps they think, “Why should I alone suffer? Why shouldn’t everybody suffer? Let me distribute this unselfishly!” Maybe they think that by putting a handkerchief over their mouth, the germs will not spread. Such people should never come. They should attend after ten days when all the infection has been completely exorcised. But they come and sit in the class.

Sarva Maṅgala - Maṅgala. The very nature of the Divine Mother is to bestow Maṅgala or auspiciousness. What can the Mother give? Motherliness. What can the Divine Mother give? Divinity. And who can be the children of the Divine Mother? Only Divinity. This is the epithet of the Divine Mother because she is Shakti. Without Shakti, knowledge is useless. Suppose you are hungry and want to eat food, and food is available. But to eat the food, your Karmendriyas (organs of action) must work. You have to go where the food is available. Knowledge without action is lame, and action without knowledge is blind. You can analyze your life: Every single thing you do is a combination of both knowledge and action. For instance, let’s say you want to see. Your eyes are there to see, but your hands and legs also have to bring you to that place. You have to switch on the light or make it bright. Let’s say you want to hear. Your ears are there, but you have to bring them closer. Do you understand now?

That is why you cannot take a knife and separate Brahmā and Sarasvatī, Viṣhṇu and Lakṣhmī, Śhivā and Shakti. That is why Śhivā and Shakti are Abheda (inseparable). You cannot separate them. This is what the Chinese call the Yin and the Yang. We have our own Yin and Yang in Vedanta. It is called Prakṛti and Puruṣha. Without Puruṣha, Prakṛti cannot act. Without Prakṛti, Puruṣha is useless. So here, Kālī is Prakṛti and Śhivā is Puruṣha. Without Puruṣha (pure consciousness), Prakṛti cannot work. But without Prakṛti, Puruṣha is like a Shava (corpse). That is why he lies down like a Shava - he becomes Śhivā only when Shakti is present. That is why when you have some knowledge but no instrument to express it, the knowledge you possess is more troublesome than not having it at all. Many people die because there is something inside them that they want to express but cannot. They will die like that. Many autistic people suffer so much because many of them are highly intelligent, but they cannot find the words to express it. And we think they are idiots. They are not idiots. Some of them are extraordinarily brilliant.

For example, there is a man named David in America. His memory power is such that he can memorize the entire Yellow Pages (telephone directory). Every city has its own big, fat Yellow Pages. Each book is extensive and huge, with thousands of tiny names and telephone numbers listed. He memorized many such Yellow Pages just like that. If you give the name of a person and the city's name, he can give you the telephone number. If you give the telephone number and the city, he can give you the name of the person. But personally, he cannot manage any of his own affairs. Without the help of his father, he cannot even walk a few steps. Similarly, the famous physicist Stephen Hawking. Except with the help of a machine, he cannot communicate. He is totally dependent upon the machine. Extraordinary machines and assistive aids were invented for him in those days.

Sarva Maṅgala Māṅgalye  - Everything that happens in this world is because of Her. But of all the things that are auspicious, the most auspicious thing is to know that I am divine. Śhive means the feminine epithet of Śhiva. Śhiva means auspiciousness. That is why Śhiva and Śhubha are synonymous terms. He who bestows good upon us is called Śhive.

Sarvārtha-sādhike - She is the instrument for us to achieve every Artha. Essentially, Artha refers to our desires. Every human being has four main desires: Dharma, Artha, Kāma, and Mokṣa. Let me give you a small analysis of these. What is Dharma? The best way to squeeze the most happiness from any situation is called Dharma. You will never hear this definition anywhere else. The best way of achieving the greatest happiness from anything is called Dharma. What is Artha? The best way, the best instrument for the achievement of my purpose is called Artha. What is Kāma? The best way to enjoy anything that we are capable of enjoying is called Kāma. Bereft of Dharma and Artha, Kāma becomes meaningless. I hope you are able to understand this.

Dharma is one way of right understanding and right application. Here is a simple example. You want to eat good food and enjoy it. Why do you want to eat food? You want to enjoy it. How can you derive the maximum enjoyment? You have to fulfil three things:  First, the object must be the very best that you can get. Secondly, your body must be fit and healthy. If you want to eat something, you must be very hungry. This means your body must be healthy. However, if one part of your body is very hungry and another part is experiencing pain, such as a headache or other ache, then you can't truly enjoy the food. The whole body must be free from any disease or defect, and you must be very hungry. Finally, Deśha (proper place) and Kāla (proper time) are also important factors in ensuring the enjoyment of food.

Then, Kāma will come. What is Kāma? The mind must be completely free from worries. When the body is in perfect health, the mind is in perfect health, the object is the best object, and it has been offered to God, and it is the right time and the right place for enjoyment, then, when all these conditions are fulfilled, it gives you the highest happiness that the object is capable of providing. The name for all these conditions is called Dharma. That is why, even though we don't always use the word, Dharma is the foundation. Dharma plus Artha is Dharma-Artha. Dharma plus Kāma is Dharma-Kāma. Dharma is the proper way of enjoyment. One simple example is: You want to get the maximum enjoyment from eating a sweet. There is a limit to how much you can eat. Beyond that, although you may continue eating, your enjoyment will turn into discomfort. Suppose you are very hungry and tired, and you go to a friend's place. He offers you a first-class cup of coffee, which is the most enjoyable under those circumstances. If he offers you a second cup of coffee, you’ll immediately notice that the level of enjoyment has decreased. Although you're still somewhat hungry, the second cup will never provide the same happiness as the first. If your friend offers you a third cup, and you didn’t decline the second one, you might feel like beating him on the head and asking, "Do you think I am a Rākṣasa?" One of our Swamis was a great eater and could eat a lot. I think this happened in Kamarpukur. The cook kept serving him one chapati after another, up to twenty chapatis. The Swami did not decline and kept eating without saying anything. The cook then served two chapatis together - the twenty-first and twenty-second. At that point, the Swami got very angry and said, "Do you think I am a Rākṣasa? I can’t eat so many. Just give me one and get off!" He could eat twenty-one thick chapatis with sabji, but he got angry at the twenty-second! So, there is a limit to everything. If we know the limit where we can derive the highest happiness and stop there, our happiness will be much better. That understanding is called Dharma-Kāma.

Dharma-Artha means to procure the best object and to keep the body and mind free. The definition of Dharma differs depending on the context. There are two meanings. The first meaning of Dharma is Dharmasthāpana - to know who we really are and to realize what our real nature is. The second meaning refers to the body and mind. What does it mean? A child and a grown-up person, both sitting side by side, are served by the mother. The mother will not serve the same quantity to the child. She will give very easily digestible things, in small quantities to the child. Why is she discriminating? Is she partial in her love? No, she is absolutely the same, and if anything, she has more love for the child. It is because of her love for the child that she provides only that much, as the body's Dharma is only that much. If she gives more and forces the child to eat, then the child will lose health and deviate from his Dharma. There is a Śarīra Dharma (body's nature) and there is a Mano Dharma (mental nature). If you keep staring at the TV or mobile phone like an owl, you will get a headache. There is a limit. How much time should one sleep? How much time should one work? How much time to rest? These things are well defined. Nowadays, however, the boundaries have become very blurred, and that is why problems are entering the mind. Ninety-nine per cent of mental problems stem from a physical lack of control and improper time management. Someone has written a beautiful book that mentions everyone should have at least seven to eight hours of very good sleep. By doing so, the percentage of mental problems will automatically decrease.

The word we are discussing now is Sarvārtha Sādhike. Sarva means all, and Artha means the lacks. What are the lacks? She is the bestower of Dharma, Artha, Kāma, and Mokṣa, which is the first meaning. The second meaning is that Artha means Padārtha - any object. Some people want money, some want a house, some want a job, and some want knowledge. She, by Her very glance, will bestow all those things. Then Artha has yet another meaning. Artha means the meaning of something. Meaning means understanding. For example, you are reading the Bhagavad Gītā and need to understand it. Who can give you that understanding? The Divine Mother, if you pray to Her. Sarva Artha - She will give you all the meaning. That means you will understand the scriptures to the best of your ability, as they are meant to be understood. This is Sarvārtha Sādhike.

Then comes Śharaṇye - the ultimate refuge of everything is the Divine Mother. But here also, there are two meanings. If you have sickness, you go to a doctor. But how did that person become a doctor? By acquiring knowledge. Who is giving that knowledge to the doctor? The Divine Mother, Sarasvatī. So, either directly She can give knowledge, or indirectly, She will give you what is called refuge. A doctor is a status of refuge for a sick person. A teacher is a refuge for a student. Similarly, a psychologist or psychiatrist is a refuge for the mentally sick person. Depending on the requirement, we need somebody who will fulfill that particular need. And that knowledge which will help us indirectly, that is Śharaṇye. The ultimate Śharaṇye is the Mother, Divine Mother herself. So here also, two points you have to note: For all physical fulfilment, worldly fulfilment, very often we don't need to go directly to the Divine Mother. We can go, but take refuge. This was expressed by Sri Ramakrishna. When he was mortally sick with cancer, somebody advised him, "Sir, please pray to the Divine Mother." He immediately said, "God has created disease, God has created medicine, God has created the doctors. First let us go to the doctor and try taking the medicine created by the Divine Mother. And if it doesn't work, you fall at the feet of God and take refuge in Him." So both meanings are there for the word Śharaṇye. Śharaṇye is mentioned again in the last verse as well - Śharaṇāgata Dīnārta Paritrāṇa Parāyaṇe, which we will deal with later.

Tryambake - This word also has two versions: Tryambake and Tri-ambike. Tryambake means three-eyed - the three eyes comprising the Sun, the Moon, and Jñāna-Cakṣhu. That is why Śiva is called Tryambakam Parameśhvaram. Śiva is also called Tryambaka, the three-eyed one: Sṛṣṭi, Sthiti, Vināśha represent the three eyes. She who has Jñāna-Cakṣhu not only gives Prapañchika Dṛṣṭi, but also gives Adhyātmika Dṛṣṭi. Tryambake means three-eyed. If it is Tri-Ambike, it means three-lettered - Aa (ā), Oo (ū), and Mm (m̐), representing Omkāra-Svarūpiṇī. So, Tryambake refers to the three-eyed form, while Triambike refers to the three-lettered form.

Gauri: The word Gauri has two meanings. Golden-colored is called Gauri, and white-colored also is Gauri. Because Śiva is white, and Himālaya is white, the daughter of Himālaya is also white. White stands for light, and light stands for knowledge. So, she is the embodiment of knowledge. Yā Devī Sarva Bhūteṣu Vidyā Rūpeṇa Samsthita, Yā Devī Sarvabhūteṣu Chetanety-Abhidhīyate. Chetanā means pure Consciousness. Tryambake, Gauri, Nārāyaṇī Namo'stu te – all these are mentioned in the Chaṇḍī (Devī Māhātmya) itself. Salutations to you, O Divine Mother! We will complete the rest in the next class.

Oṃ Jananīm Sāradām Devīm Rāmakṛṣṇam Jagadgurum |

Pādapadme Tayoḥ Śritvā Praṇamāmi Muhurmuhuhu ||