THE IDEAL OF BHÂGAVATA PURÂNA: A DISCOURSE BETWEEN VYÂSA AND NÂRADA.

"I have duly respected the Vedas, the teachers and the sacrificial fire, I have put the sense of all the Vedas into the MahÂbhÂrata and have made their sacred lore accessible to all classes of men. I have done all this, nay, much more. Still I think my work is not fully done." So thought Veda VyÂsa, the adept author of the Kali Yuga, while meditating on the sacred banks of the Sarasvati, and his heart became heavy with something, he knew not what. At this time NÂrada appeared before him — NÂrada, who knew all that transpired in the TrilokÎ and who could enter into the hearts of all beings. "Thou hast fully known," said NÂrada, "all that is knowable, for thou hast written the excellent MahÂbhÂrata, which leaves nothing unsaid. How is it then thou feelest dispirited as if thy object were not gained?" What could VyÂsa say in reply; he only inquired from the seer NÂrada the cause of his uneasiness.

NÂrada entered into a free criticism of the Bhagavat GitÂ, the philosophical portion of the MahÂbhÂrata, pointed out its shortcomings and suggested to VyÂsa what next to do. A few remarks will be necessary to understand all this.

There are seven planes BhÛr, Bhuvar, Svar, Mahar, Jana, Tapas and Satya.

BhÛr is the terrestrial plane.

Bhuvar is the astral plane.

Svar is the plane of KÂma and desires.

These three planes, collectively known as TrilokÎ, are the planes of personality. KÂma is the guiding principle of existence in TrilokÎ, and a recurrence of births and re-births its main characteristic. With every Night of BrahmÂ, this triple plane comes to an end, transferring its energies to the next higher plane, and is re-born with every Day of BrahmÂ. Mahar is intermediate between TrilokÎ and the three higher Lokas of Universality.

The Vedic school laid great stress on communion with the Devas of Svar Loka or Svarga or Indra Loka, and this was pre-eminently known as Vedic Yajna. The performance of Vedic Yajna led only to a prolonged gratification of kÂma in Svar Loka. But however long the period might be, it was limited by the magnitude of the force (ApÛrva) which buoyed up the individuality in the Svar Loka. As the Git says, when the merits are exhausted the observer of Vedic Dharma enters again into the transitory plane. The course of births and re-births is then set up anew, with constant transformations and with all the miseries of existence conditioned by personality.

This was not Mukti or liberation. The followers of the post-vedic or Upanishad school contended that liberation lay in crossing the triple plane of individuality to the higher cosmic planes of universality. When an individual reaches the higher planes, he does not again become subject to transformations, and to the constant recurrence of births and re-births. There is one continued life, one continued existence in the higher planes, till the end of cosmos or the Life of BrahmÂ. This life is not measured by personalities but is the cosmical life, and the individuality becomes a cosmical entity. Further there is life also beyond the cosmos, in the highest plane, the abode of the Supreme.

The Git only incidentally describes the highest plane in the following sloka:

"That is my supreme abode, by reaching which (Jivas) do not recur (to fresh births). Not the Sun, not the Moon, not even fire illumines that." — XV. 6.

Krishna also refers to that plane in VIII. 20 and XV. 4. 5.

The Git lays down NishkÂma Karma, or the unselfish performance of the duties of life (Sva-dharma) as the first step towards reaching the higher planes. The sense of separateness is killed by NishkÂma Karma. Then the Git takes the disciple to UpÂsan or communion with the Purusha of the highest plane, but scarcely a glimpse is given of that plane and its surroundings. The MahÂbhÂrata does not throw any light on the dwellers of the higher planes, nor does it give any details of those planes. Without any distinct prospect of trans-TrilokÎ life, one is asked to adhere to the duties appertaining to one's own sphere of life (Sva-dharma) and to perform those duties unselfishly. However transitory the things of TrilokÎ may be, there are attractions enough for the frail sons of Manu, abounding in passions and desires. What can then bind a man to the higher planes and the highest PurÛsha of those planes or BhagavÂn? It is only a description of the grandeur and the glory of those planes and of BhagavÂn. Such description begets Bhakti or holy attachment, and it is this Bhakti which sets up a real communion with BhagavÂn. Frail as man is, the mere performance of duties makes him attached to them, unless he is bound to the higher planes by the tie of holy attachment. The Git is however silent as to the attractions of the higher planes and of BhagavÂn. This was the defect pointed out by NÂrada.

"O thou great Muni, as thou hast treated of Dharma and of other things, so thou hast not recited the glory of VÂsudeva". — I. 5. 9.

"This universe is also an aspect of BhagavÂn, for its creation, preservation and end proceed from Him. Thou knowest all this thyself. But thou hast shown to others only a portion of this truth." — I. 5. 20.

"Salutations to Thee, BhagavÂn, let me meditate on VÂsudeva. Salutations to Pradyumna, Aniruddha and to Sankarshana. He who, by naming these mÛrtis in the mÛrtiless, whose only mÛrti is mantra, makes offerings to Yajna Purusha, is the complete seer." — I. 5. 37-38. A mystery lies veiled in this Sloka.

But who is this NÂrada? Why should we accept his authority? NÂrada was therefore careful to give his own account, elaborated by the enquiries of VyÂsa. All students of occultism will do well to read carefully this account which forms a fitting preliminary to the BhÂgavata.

ACCOUNT OF NARADA.

SKANDHA I. CHAP. 5 & 6.

"In the previous Kalpa, in my former birth, I was born of a certain maid-servant of Vedic Rishis. Certain Yogis had collected at a place to pass the rainy season and I was engaged as a boy to serve them. Seeing me void of all fickleness as a boy and self-controlled, the Munis, who looked on all with equal eyes, were kind to me, especially as I gave up play, followed them, served them and talked little. With the permission of the regenerated I at one time partook of the remnants of their meal and the impurities of my mind were all removed. When thus my mind became pure, my inclination grew towards their Dharma. By their favor I heard them sing the beautiful stories of Krishna. Hearing those stories every day with faith, I gained holy love for Krishna. Through that love my mind became fixed in Him and I came to perceive my SthÛla and SÛkshma bodies as only false reflections of the real Self or BrahmÂ. The Bhakti that grew up in me destroyed my Rajas and Tamas. Then when the kind Rishis were about to leave the place, they imparted to me the most occult knowledge which had been given to them by BhagavÂn himself. Through that knowledge I have known the MÂy of BhagavÂn. It is by that knowledge that one reaches the plane of BhagavÂn. As I cultivated this occult knowledge, BhagavÂn appeared Himself and gave me knowledge and powers direct."

[Sridhara SvÂmi, the commentator of BhÂgavata PurÂna notes the following points in the above story (1) SevÂ, i.e., service of and attendance on MahÂtmÂs, (2) their krip or favor, (3) trust in their Dharma, (4) hearing the stories of BhagavÂn, (5) attachment to BhagavÂn, (6) knowledge of Self by the discrimination of the SthÛla and the SÛkshma body, (7) firm Bhakti, (8) knowledge of the reality of BhagavÂn, (9) at the last the appearance of omniscience and other powers through the favor of BhagavÂn.]

What followed then, inquired VyÂsa? NÂrada continued:

"Sometime after my teachers, the Bhikshus, had gone away, my mother died of snake-bite. I deemed that an act of God and went towards the North. After crossing several forests, rivers and mountains, I at last reached a solitary forest and there sat under a pipal tree. As directed by my teachers, I meditated on self in self through self. My mind had been completely conquered by Bhakti. As I was devotedly meditating on the lotus feet of BhagavÂn with tear-drops in my eyes, Hari gradually appeared in my heart. O Muni, the hairs of my body stood on end through exuberance of holy love, I was completely lost in joy and knew not either self or any other. The indescribable Íshvara spoke thus in solemn words:

"O thou that dost not deserve to see me in this life, I am difficult to be seen by imperfect Yogis, whose likes and dislikes have not been completely burnt up. I have shown myself to thee that thy KÂma may all be centred in me. When I am the object of KÂma, the SÂdhu gives up all other desires. By prolonged service of MahÂtmÂs, thy mind is firmly fixed in me. Therefore shalt thou give up this faulty body and acquire my companionship. The mind fixed in me is never destroyed in creation or in pralaya, nor does the memory fail.'"

"So saying Íshvara disappeared. In time, when I was drawn towards the pure body with which I was favored by BhagavÂn, the body of my five BhÛtas fell down on the extinction of my PrÂrabdha Karma. When the Kalpa came to an end my new body was indrawn by the breath of Brahm who was going to sleep. After one thousand Yuga Cycles, when Brahm awoke and desired to create, I, Marichi, and other Rishis came out. Since then I have invariably observed BrahmÂcharya and through the favor of Vishnu have been travelling all over TrilokÎ, both inside and outside, my passage being wholly unobstructed. The Devas gave me this Vin which is adorned with Svara-BrahmÂ. By playing upon this Vin I send forth songs of Hari all round. These songs are the only means of crossing the ocean of recurring lives."

[This is the mystery of NÂrada as related in the PurÂnas. NÂrada is the repository of occult knowledge from the previous Kalpa. The first and foremost adept of this Kalpa, his mission is to spread occult knowledge, by unceasingly playing on the seven musical notes. He is ever watchful and always bides his time in all cyclic changes. He is the only Rishi of whom the Vina is a constant accompaniment, as it is of the goddess Sarasvati. His sphere of action is TrilokÎ, and the dwellers of BhÛr, Bhuvar, and Svar alike respect him. He is the universal counsellor, even of the highest Devas and of the highest Rishis. His constant mission is the good of the Universe. One thing is said of him, that he sometimes serves his purpose by setting one against another and amongst the ignorant his name is a bye-word for quarrel. However that be, the greatest good of the Universe in this Kalpa has been always done by him. It is under his inspiration, that Valmiki and VyÂsa wrote their most occult works, and his benign influence is observed in all universal changes for good. The BhÂgavata recites his constant endeavours to do good and we shall consider them in detail hereafter.]

VIRAT PURUSHA.

SK. I. CH. 18 & SK. II. CH. I.

VyÂsa drew upon his inspiration and wrote the BhÂgavata. He taught this PurÂna to his son, the wonderful Suka. Suka did not marry, as Rishis in his time did. He left his home and roamed about the world at large, stark naked. The separation was painful to VyÂsa and he went out in search of his son. While he passed near a tank, the Apsarasas, who were freely indulging in play, hastily drew up their clothes, feeling ashamed. "Strange!" exclaimed VyÂsa, "I am old and covered. But when my young son, wholly uncovered, went this way, you remained unmoved." And the Deva-ladies replied, "Thy son knows not man and woman, but thou knowest." This exalted Suka was the worthy propounder of the BhÂgavata PurÂna.

RÂj Parikshit, son of Abhimanyu and grandson of Arjuna, the successor of RÂj Yudisthira on the throne of HastinÂpura, forgot himself in a fit of anger and placed a dead serpent round the neck of a Rishi. For this he was cursed by the Rishi's son to meet with untimely death at the end of a week. The RÂj became penitent and deemed the curse an act of God. He prepared himself for death and took up his abode on the sacred banks of the Ganges in company with all the Rishis. The RÂj asked what a man on the point of death should do. The Rishis present could not give any satisfactory answer. At this time Suka appeared, followed by a host of boys, who took him to be a mad man. Suka was then only sixteen with long flowing hairs and well-built body, blooming with nature's beauty. All rose up as they saw the very young Rishi, and gave him the first seat. He related the BhÂgavata PurÂna to Parikshit in seven days.

The RÂj repeated his question to Suka — "What is a dying man, specially one who desires to attain Moksha, to do? What are the duties of men and what are they not to do?"

Suka replied: — "A man on the approach of death is to give up all fear of death and is to cut off all likes and dislikes by dispassion. He is to leave his house, bathe in pure water and duly make his Âsana in some solitary place. He is then to meditate on the three lettered Pranava with mind concentrated by DhÂrÂna and DhyÂna till he attains samÂdhi. If, however, his mind gets distracted by Rajas and Tamas, he is again and again to practise DhÂrÂna."

"What DhÂrÂna is it that speedily brings on concentration and purity of mind?" was the next question.

Suka replied: — "DhÂrÂna of the SthÛla aspect of BhagavÂna, by a fully controlled mind." He then went on dilating on the SthÛla or Universe aspect, called VirÂt Purusha or MahÂpurusha. The present, the past, the future is manifest in that aspect. The VirÂta Purusha is the soul of an Egg-like body with a seven-fold cover of earth, water, fire, air, Âkasa, AhankÂra, and Mahat, respectively.

PÂtÂla is His feet, RasÂtala His heels, MahÂtala His ankles, TalÂtala His legs, Sutala His knees, Vitala the lower portion of His thighs, and Atala the upper portion.

BhÛr Loka is His loins, Bhuvar Loka His navel, Svar Loka His breast, Mahar Loka His throat, Jana Loka His mouth, Tapas Loka His forehead, and Satya Loka is the head of the thousand-headed VirÂt Purusha. Indra and other Usra Devas (the world Usra meaning, literally, a ray of light) are his hands.

The Dik or space gods are his ears. The twin gods Asvini KumÂra are his nose.

Agni is His mouth.

The firmament is His eyes and the Sun-god His sight.

Day and night are His eye-lashes.

The graceful movement of His eye-brows is the abode of the Supreme.

Water is His palate, taste His tongue.

The Vedas are known as His BrahmÂ-randhra.

YÂma is His tusk.

The objects of affection are His teeth.

His enchanting smile is MÂyÂ.

The endless creation is His side-glance.

His lower lip is shame, and the upper greed.

Dharma is His breast. Adharma His back.

PrajÂpati is His generative organ.

The MitrÂ-Varuna gods are His sense of taste.

The seas are His belly, the mountains His bony system and the rivers His veins and arteries.

The trees are the hairs of the Universe-bodied.

The powerful wind-god is His breath.

Time is His movement.

His play is the flow of Gunas.

The clouds are His hairs.

Twilight is His clothing.

Prakriti is His heart.

His manas is the moon, which is the source of all transformations.

Mahat is His Chitta.

Rudra is His AhankÂra.

Horses, mules, camels and elephants are His nails.

All the other animals are His loins.

The birds are His wonderful art.

He is the abode of Manu, Buddhi and Man.

Gandharva, VidyÂdhara, ChÂrana and Apsaras are His musical notes.

The Asuras are His strength.

The BrÂhmana is His mouth, the Kshatriya His hands, the Vaisya His thighs, and the black SÛdra His feet.

The Devas severally and collectively are His havis or sacrificial ghee, and yajna is His karma.

This is VirÂt Purusha. This is how the Universe-aspect of Purusha is realised in meditation, more as a means of concentration, than as the end. When the mind is sufficiently fixed by DhÂrÂna or contemplation of VirÂt Purusha, it has next to meditate on the Purusha in the heart.