Purusha Suktam Lecture 07 on 06-July-2023

Full Transcript

We have been studying the Purusha Suktam. In our last class the fourth and fifth mantras we have dealt with. What does it mean?

TRIPAD URDHAM UDAIT PURUSHAHA

PADO ASYAIHA ABHAVAT PUNAHA

TATO VISHWAN VYKRAAMAT

SAASHANA ANASANE ABHI (4)

त्रिपादूर्ध्व उदैत्पुरुषः पादोऽस्येहाभवत्पुनः ।

ततो विष्वङ् व्यक्रामत्साशनानशनेऽअभि ।।4।।

Three fourths of the God is situated on top. The other quarter alone has evolved into this world. Then He penetrated into all the inert substances of living beings and spread them. That was the fourth part of the Purusha Sukta. The fifth part of the Purusha Sukta is

TASMAD VIRADDA JAYATA

VIRAJO ADHI PURUSSAH

SA JATO ATYARICYATA

PASSCAD BHUMIM ATHO PURAH (5)

ततो विराडजायत विराजोऽअधि पूरुषः ।

स जातोऽअत्यरिच्यत पश्चाद्भूमिमथो पुरः ।।5।।

Tato Virat Ajayata from that same Supreme Being, first He manifested Himself as Virat, as Ishwara, as Hiranyagarbha and as Virat. VIRAJO ADHI PURUSHAHA That same Being emerged and He spread everywhere and He alone is manifesting SAJYATAH ATYARICCHATAH. Having created Ishwara, Hiranyagarbha and Virat, what did He do? PASCHAT, after that BHOOMIN ATHAH PURAHAH, created Bhoomi. Bhoomi means Jagat and then what did He do? He had to create individual creatures, the bodies and minds of every living creature, Prani is called PURAHAH. PURI SHETE IITI PURI, you have to understand PURUSHAHAH. Puri means what? A body, a city actually. They are in the city. We get this idea also in the Bhagavad Gita. NAVA DHVARE PURE DEHI NAIVA KURVAN NA KARAYAT So this human body has got nine gates, NAVA DHVARA. The eyes, the ears, the nostrils and the mouth and the navel and the two, what we call waste product dischargers, etc. Nine, NAVA DHVARE PURE DEHI, so He created an innumerable, uncountable number of bodies, right from the amoeba to the highest evolved being called Brahma. Brahmaloka, not Brahman, do not mistake it. Then, earlier I mentioned it, this was what actually the Lord had created some of the Devatas like Ishwara, Hiranyagarbha and Virat and commissioned them as if, because these three are none other than that Virat Purusha or Brahman only, but as it were, He commanded " Now I created you, you go and create yourself".

There was a very funny story; Holy Mother tells it beautifully. So, Brahma was commanded by Vishnu, Narayana. Remember, Brahma is always depicted as coming out of the navel of Vishnu, Navikamala. Vishnu said, 'Now I am very clever. I have created a servant, and I will give all the housework to him while I rest on a spring cot, Ananta shayana.' He commanded, and then Brahma obediently started. Holy Mother shares this story. Brahma created, first of all, four Manasa Putras - a beautiful concept. Everything in the whole creation starts in the mind, then appears outside. Really speaking, everything is JNANARUPAM, only in the form of knowledge. The whole world outside, inside is only the knowledge concept; this is inside, that is outside. How do you know in a dream? You think there is an outside, there is an inside. When you wake up, you realize it was all your thought. These four Manasa Putras, Sanaka, Sanandana, etc., being the nearest creatures of Sattva Guna, pure Sattva, recognized, 'Hey brothers, our father wants us to enter into the Samsara Sagara, nothing doing. Let us run away, become Sanyasins.' They disappeared, and the father became very disappointed. He thought Vishnu created him to escape work, and he created four Manasa Putras to escape and then take rest, retired life. But these fellows have run away from me. What is the way out now? Otherwise, I will have to do the entire housework. Then what did he do? He cleverly created two separate beings, man and woman, Purusha and Sthiri. The Purusha forgot the father, and the whole world fell madly in love with the woman. The woman also was madly in love, and merrily Samsara went on from that time onwards. Nobody has ever opened their mouth, saying, 'I want to become a monk.' Even in South India, if someone says, 'I want to become a monk,' it is part of the marriage ritual that 'I want a wife; otherwise, I am sure to renounce.'

Anyway, so what are we talking about? The Lord created; that was called Prathama Srishti, primary creation, and He commissioned these Devatas. 'Now you start.' These Devatas are called Adhishtatru Devatas. For example, all the Pancha Bhutas are the Adhishtatru Devatas. They came together and said, 'This is your work, this is my work,' and they represented their own parts. For example, Akasha as the ear, Vayu as the skin, Agni as the eye, etc. By the way, Agni and Surya are synonymous, so Aditya is there. Then the commandment came that you will have to propagate this Samsara Sagara. How to propagate this Samsara Sagara? Because they were there, but the equipment was not there. This is where the concept of Yagna comes in. The concept of Yagna is, 'I myself am Divine, I myself am the Karta, I myself am the Kriya, I myself am everything.' How do we understand it? Very easy. Just go to the dream state. What do you do every day? You yourself create as yourself, as your neighbors, as your friends, as your enemies, as the living, as the non-living. And if we can create such a marvelous dream universe, is it so difficult for Brahma?"

There was a fascinating conversation between Swami Vivekananda and his householder disciple, Sarachandra Chakravarti. One day, the topic of creation came up, and although the exact details of what transpired are unknown, Sarachandra Chakravarti had recorded these discussions, presenting them as talks, conversations, or dialogues of Swami Vivekananda. In these discussions, Swamiji explained the concept of being Brahma.

Brahma, he described, embodies Sattva Guna Sampanna and is also referred to as Sathya Sankalpa and Sathya Kama. Whatever Brahma desires to create, the moment he thinks of it, it materializes exactly as he imagined. To illustrate further, Swamiji elaborated on the ongoing process happening even today in every act. When Brahma decides, for instance, to create a cow, the mere thought brings the cow into existence—this process parallels the nature of dreams and the power of imagination.

In the dream state, thoughts manifest immediately, akin to the story of Sri Ramakrishna. Whether positive or negative, your thoughts materialize in the dream world. Hence, Swamiji advised being aware of these dynamics before entering the dream state and focusing on positive thoughts. Dreaming, he suggested, is like navigating a Kalpavriksha, where your thoughts shape your experiences.

Swami Vivekananda shared personal instances, recounting dreams where he envisioned himself as a radiant beam of light, growing to envelop the entire universe. Another dream portrayed him as a monk, wholly dependent on God, illustrating an ideal Sannyasin. These dreams, he believed, were glimpses into his future, echoing his childhood aspirations. Swamiji emphasized that our thoughts shape our destinies. If we consistently think of becoming a miserable householder, that is likely our reality. Conversely, envisioning oneself as a great saint sets the path towards that noble aspiration."

The profound statement "whatever one thinks, one becomes". This idea sets the stage for a discussion about the creative process, linking it to the concept of the Devas (shining beings or gods) in Hindu mythology. These Devas are described as entities without physical equipment, and they need to create such equipment to carry out their creative endeavors.

An analogy is drawn with scientists who, despite having brilliant ideas, require physical implements for experimentation. Similarly, the Devas need to fashion physical equipment based on their creative ideas. The distinction between the creative aspect (belonging to the scientist or Deva) and the mechanical execution (done by engineers or implementers) is highlighted.

This concept is beautiful depicted in the sixth verse of the Purusha Suktam, a hymn that describes the cosmic person or Purusha. The verse reads:

YAT PURUSSENNA HAVISSA

DEVA YAJNAYM ATANVATA

VASANTO ASTA ASIDA AJYAM

GRISHMA IDAMAH SARAD HAVIH ||6||

यत्पुरु॑षेण ह॒विषा᳚ । दे॒वा य॒ज्ञमत॑न्वत ।

व॒स॒न्तो अ॑स्यासी॒दाज्यम्᳚ । ग्री॒ष्म इ॒ध्मश्श॒रद्ध॒विः । ।।6।।

The verse describes the Devas performing a Yajna (sacrifice or ritual) with God as the object of fire. Here, Purusha refers to the supreme reality. The Devas imagine God in the form of a Yajna, emphasizing that Yajna is a creative act. The term "Purusha Suktam" signifies that Purusha is the subject of the hymn, representing the supreme reality. If we were to translate the ancient term "Yajna" into modern language, it would be akin to "Pooja" or worship. Worship involves contemplating, thinking, and trying to conceive God through a limited intellect. There are two essential factors related to worship: (1) Only God can worship God, as only God knows everything about Himself, and (2) Individuals can aspire to become instruments of God, expressing a concept known as Saranagati (Surrender).

Let me briefly explain the four parts of every Pooja (worship) and their significance:

1. Shuddhi (Purification):
   • Set aside a clean and beautiful place for worship.
   • Use idols, pictures, or symbols like Omkara, cross, or crescent moon.
   • Collect fresh flowers, fruits, and clean eatables.
   • Purify everything associated with the worship, including Pooja vessels.
   • Perform Aachamana (sipping water thrice) symbolizing purity of the gross, subtle, and causal bodies.
   • Use mantras to purify items, the seat, the atmosphere, and the four quarters.
   • Use an Agni Mantra to create a protective wall of fire.
2. Nyasa (Transferring Ownership):
   • Transfer ownership of body parts (hands, heart, head, etc.) to the Divine Lord.
   • Surrender the body and mind to God, considering them now owned by the Divine.
   • Recognize that what remains is nothing but God, and only God can perform the worship.
3. Manasa Puja (Mental Worship):
   • Meditate upon the Divine Being in the desired form and coming to your house as a beloved father or mother or a most beloved person.
   • Offer God various mental items, including food.
   • Imagine performing traditional acts of hospitality, like welcoming, offering water, bathing, providing new clothes, and offering flowers to God.

The mental worship (Manasa Puja) is the most crucial part of any Pooja. It involves sincere meditation on the Divine, offering various mental items, and expressing devotion through imaginative acts of care and hospitality, mirroring how one would welcome a beloved guest or family member.

4. Through Manasa Pooja one has to develop spiritual qualities. These qualities are likened to flowers offered in physical worship:

1. Ahimsa (Non-violence): Not hurting anyone as there is nobody but the self-manifesting in different forms.
2. Indriya Nigraha (Control of the Senses): Complete control of the body and mind.
3. Daya (Compassion): A flower representing compassion.
4. Kshama (Forgiveness): Forgiving and forgetting, especially when harmed.
5. Jnana (Knowledge): True knowledge that dawns upon oneself. Jnana Pushpam: The flower of knowledge, symbolizing the understanding that nothing else exists except the Divine.

The same concept is there in every religion. For example, the Christian Mass where wine and bread symbolize the blood and flesh of Christ. In this act, the idea is to consume Christ, transforming oneself into Christ—a concept resonating with the essence of becoming divine found in various spiritual traditions. In essence, the modern Pooja represents Yajna, and the core idea is to dissolve the ego and become one with the divine through various symbolic rituals and mental practices.

Yajna is a transformative practice, a way of behavior, thinking, and expressing words. Yajna is a means to dissolve individuality and draw closer to the divine, as articulated in various spiritual traditions, including the teachings of Bhagavan Krishna. Krishna also says that whole life has to be transformed into a Yajna. "Yajnarthat karmano anyatra loko aham karma bandhanah" (gita 3:9) which means anything not done as Yajna, as an offering to the Divine will bind us. Binding means separation from God which grows longer and longer between me and God.

Yajna is a way of life where one's actions are dedicated as offerings to the divine, emphasizing selflessness and negation of the ego. What was being done in ancient Vedic rituals and what is being done in modern-day Pooja are both expressions of the same fundamental concept—transforming one's life into a continuous act of Yajna. Yajna means creation. For example, the poet, is bestowed with aesthetic sense and intelligence by the divine, engages in the act of creation by focusing, removing obstacles, and allowing the innate intelligence to manifest. This removal of obstacles is likened to the Yajna, signifying the clearing of impediments to let the divine intelligence express itself.

In essence, Yajna is a way to bridge the perceived separation between the individual and the divine, a process of offering one's actions and thoughts to the greater cosmic order. The transformative power of Yajna lies in its ability to dissolve the ego and facilitate a sense of oneness with the divine.

The creative process is explained further using the example of a poet creating a poem. The poet is described as someone who receives beautiful ideas that flow from a higher source. However, to convey these ideas to others, the poet needs to articulate them through words. This process is likened to Yajna, where the removal of obstacles allows the innate intelligence to manifest and creative ideas to flow freely.

Kalidasa, the Sanskrit poet who prayed to Parvati and Parameshwara (Shiva) for creative inspiration when he was writing Raghuvamsha. The concept of inseparability between Prakriti and Purusha is similar to that between a word and its meaning. The poet seeks the grace of the divine for the right words corresponding to the creative ideas. This prayer is seen as a recognition of the divine as the source of both ideas and their expression.

So in the creative process, Divine Grace is needed and the Devas (gods) represent knowledge and intelligence. The Devas, commanded to create the universe, pray to God for the material, intelligent, and instrumental causes required for this creative endeavor. This is aligned with the concept of Yajna, where the act of creation is seen as an offering to the divine. Therefore the concept of Yajna is presented as a way to engage in a transformative creative process, offering one's actions to the divine.

And then what is the important point? Because they were such highly evolved beings, full of Sattva Guna, whatever they thought manifested itself as what we call the physical mental universe. I am repeating it. What is their Yajnat? Complete prayer to the Divine that you have given us that intelligence. Let us put that intelligence to work. We will take you as the Yajnat Pashu, as the fire, as the offering. You are everything. And we will mentally go on meditating. We are doing the Yajna, mental Yajna. And then whatever we think becomes physically created thing present in the outside world.

So for that purpose, there is Yajna, what do you need? First of all, a person who does the Yajna. Secondly, what we call fire is required. Then Ghee is required. Then some food, Naivedya is required to be offered. All these things have to be offered, put into the fire. Who is the fire? You are the fire. And as they are thinking externally, physically, those very things that they are imagining in their minds have become physically present there.

In our case, it doesn't happen. Yes, it happens in our case also. I am going to give you one or two examples. Supposing a cook is there. And you know there are many great cooks are there. What does he do? He will sit and he will think. These are the combinations. If I mix this and this and this and this in this particular proportion, then a new dish will be created. If this dish is created, already it is created in the mind, creativity. All that he needs to do is take some physical things, combine them according to his idea and he will taste first. Then he will give 10-15 other people and when they all say marvellous, this is very very tasty, then it becomes a new creation. Rasgulla is a practical example. So in the 19th century, before that there was no Rasgulla. So there was one Bengali person, very creative person. He thought, why not I do like this? And then he experimented. He must have experimented many times. And then Rasgulla was created. Now Rasgulla has become very popular. Now people are adding to that Rasgulla many things. Rasgulla, Payasa, Payasa Rasgulla, so many other things they are doing it. But the original idea was there.

Now here we have to take note of one particular point, very important. What is that point? When I am giving these examples, for example, a poet wants to put paper is available, pen is available, only the person's ideas were there. He will put it on the paper and pen. But when these Devas started this one, there was no equipment is there. But they have to create that equipment. As I gave earlier this example, there is what is called a very expert surgeon. He wants to perform very complicated surgery. But there were many, many actual examples. The surgeon knew what to do, how to do. But he doesn't have that particular instrument. He calls some engineers, can you make something like this? Because this person knows only how to operate, not how to make the instrument. But he knows exactly what function the instrument should be able to perform. The engineer doesn't have the idea, but he has the skills how to manufacture. So he will bring about an experiment, of course, will be done. And then the surgeon, he will use it. Sometimes there will be some problems. It goes on increasing. All the present equipment that we have today is all the result of so many people's experiments are there. These are all our creations. But already physically all the material is available. But there is no material available before the creation of this universe.

So what did these people do? They imagined the supreme reality is the fire. The supreme reality is what is called the summer season. And then the spring season and the Sharath Kala or the autumn season. They imagined in their mind. But these are words that are deeply pregnant with symbolism.

But don't think only three seasons are there. Don't go. Don't think that other seasons are not there. Three seasons are specially mentioned. These three seasons represent various desires in their minds. We'll come to that a little later. But let me tell you a little bit more about what does it mean in your life.

In modern life, when you want to make your life creative, you may want to take something and make it into something new. Take the example of a cook creating a new dish. A Bengali person creates Rasgulla. He takes milk, separates the channa, processes it, and gets Rasgulla. However, the cook is not creating from basic raw materials; the milk was already there. But the Devas created the entire universe from non-existing raw materials. This creative process, starting from pure thought, is ongoing in our lives. In the 16th century, industrial civilization started, and someone conceived using kerosene and petrol to create machines for human labor—artificial intelligence, another form of creativity, evolved over time.

Now, let's go back to the Devas. They wanted to perform Yajna, but there were no physical tools. So, they sat down, closed their eyes, and imagined lighting a fire, offering ghee and Naivedya to the Divine. They imagined the fire to be Brahman, with desires for the production of spring, summer, and autumn seasons.

These seasons have symbolic meanings. The spring season, Vasant Kaala, is beautiful with plenty of food, representing positive experiences in life. However, to cook and make the food palatable, you need fire. In the summer season, plenty of firewood is available. And in Sharath Kaala (autumn), harvesting has been done, representing the offerings.

The spring season involves animals giving birth, providing plenty of milk, leading to butter and ghee. So, spring represents ghee, summer represents firewood, and autumn represents the cakes to be offered. The unique aspect is that the Devas didn't use pre-existing materials but created from their pure, prayerful thoughts. They became like Kalpavriksha, wish-fulfilling trees, with a desire to do good to the world.

This concept of Yajna can be extended to various aspects of life, such as reaching God, seeking prosperity, or leading a beautiful householder's life. Instead of calling it Yajna, it's called Ashrama. Living a Yajnik life is an Ashrama, and living differently becomes Shrama. Yajna, Ashrama, Shrama—a choice in life.

So, the Devas, lacking physical equipment, mentally imagined the Yajna process, representing the ongoing creative process in our lives. They became wish-fulfilling creators, desiring good for the world. This process continues, whether it's creating a new dish, inventing technology, or engaging in any positive endeavor.

According to the Hindu calendar, there are six seasons, but the mantra mentions three specifically. ' Yat Purushena Havisha'. The Devas, or gods, are the creators of these seasons, representing the desires in their minds. The mantra emphasizes that Yajna has to be performed by these deities, and the fire in the Yajna is envisioned as Supreme Brahman.

The creative process begins with the imagining of the seasons. In the spring season, called Vasant, the Devas imagined the production of ghee (Ajya). 'Vasantah Asya Asid Ajam'. Here, the grass grows, trees flourish, and animals provide plenty of milk, leading to the creation of ghee. In the summer season, Grishma Kala, the Devas imagined the availability of firewood. The intense heat makes firewood easily accessible. In the autumn season, Sharat, the Devas thought of offerings (Habihi), which would result from the harvest.

The key points here are the mental nature of the process, the absence of physical equipment initially, and the manifestation of concrete results through imagination. The seasons and their effects shape the world, symbolizing the ongoing creative process in life. The essence is that life is a mental process, and Yajna is a way to worship God, where God is the fire.

The mantra also suggests that every human act is a Yajna. For example, the desire for offspring leads to marriage, and the subsequent care for each other is a Yajna. The analogy of Upper Aruni and Lower Aruni illustrates the sacrificial act of producing a child. Similarly, the teacher-student relationship is compared to a Yajna, where knowledge is transmitted as an offering.

In summary, the mantra emphasizes the mental and transformative nature of Yajna, where the Devas perform a creative act by imagining and manifesting the seasons, symbolizing the ongoing creative process in life.

The discourse emphasizes that everything we do, consciously or unconsciously, is a form of worship or Yajna. The Purusha Suktam conveys the idea that the ultimate reality is both the creator and the created, and all our activities are like offerings in a Yajna. The concept of Atma Yajna is introduced, signifying that every action, if seen as an offering to the divine, can lead to spiritual evolution.

The analogy is drawn with the process of a sacrificial offering, where the individual, like firewood covered in ghee, merges with the divine fire (God). The act of Yajna is portrayed as sacrificing our sense of separation to attain unity with our true nature. If performed with the awareness that we are offering to God, the individual may ultimately become one with the divine.

However, a cautionary note is added that the intention behind the Yajna matters. If the Yajna is performed with a selfless motive, aspiring to reach God, the individual may evolve spiritually. On the other hand, if the Yajna is driven by selfish desires, the individual remains caught in the cycle of individual existence, experiencing joy and sorrow until the lesson is learned.

The idea of Yajna as the act of sacrificing separation for unity is reinforced, suggesting that life itself is a continuous Yajna. The Prashna Upanishad is referenced, where Prajapati (Brahma) desires creation and undergoes intense thinking (Tapas) to initiate the process of creation. The creative forces, represented as Prakruti (Rayi) and Purusha (Surya or Prana), join together, multiplying and carrying out the divine plan. The creation includes the concept of time (Samvatsara) and the seasons (Vritus).

In summary, the discourse underscores the transformative power of conscious living as a Yajna, with the caution that the motive behind our actions determines the outcome of our spiritual journey. The connection between the individual and the divine is portrayed as a continuous sacrificial offering, leading to unity with the divine.

The discussion highlights that every creative act is a form of mental Yajna, and the deities responsible for the senses and vital forces were entrusted with the task of the next round of creation. It's emphasized that this may seem like the first creation, but the deities were given the knowledge that creation has occurred infinitely many times before, as creation is eternal.

Reference is made to a Rig Vedic Mantra, indicating that Brahma Deva, having created before, decided to embark on creation again. Through deep thinking and Tapasya, he recollected the previous creation and realized that all the necessary equipment was already prepared. This concept is likened to a person who, having prepared a dish before, remembers the process and effortlessly repeats it.

The deities performing the subsequent creation also follow this pattern. They engage in Yajna because they remember that it is part of their commission, and they recall having done the same in the previous Kalpa. The idea is likened to how individuals learn from their experiences, remembering and repeating actions, as seen in the example of a mother who, after preparing a dish once, remembers the process and repeats it.

The discussion concludes by suggesting that there is no real "first time" in creation; everything has been repeated countless times. The analogy of a Ferris wheel is used, where the wheel keeps turning, and only the passengers change. The repetition of creative acts is portrayed as a timeless and cyclical process. The promise is made to continue exploring these ideas in the next class.