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.It is defined to be the outer in the form of the mind.It is thus similar to the state of dreams(Svapna), as Parashabda is the causal dreamless (Sushupti), and Vaikhari the waking (Jagrat) state.Mental Artha is a Samsara, an impression left on the subtle body by previous experience, which isrecalled when the Jiva reawakes to world experience, and recollects the experience temporarily lost inthe cosmic dreamless state (Sushupti) which is destruction (Pralaya).What is it which arouses thisSamskara? As an effect (Kriya) it must have a cause (Karana).This Karana is the Shabda or Name(Nama) subtle or gross corresponding to that particular Artha.When the word "Ghata" is uttered, thisevokes in the mind the image of an object, namely, a jar; just as the presentation of that object does.Inthe Hiranyagarbha state, Shabda as Samskara worked to evoke mental images.The whole world is thusShabda and Artha, that is Name and Form (Nama, Rupa).These two are inseparably associated.There isno Shabda without Artha or Artha without Shabda.The Greek word "Logos" also means thought andword combined.There is thus a double line of creation, Shabda and Artha; ideas and language togetherwith objects.Speech as that which is heard, or the outer manifestion of Shabda, stands for the Shabdacreation.The Artha creation are the inner and outer objects seen by the mental or physical vision.Fromthe cosmic creative standpoint, the mind comes first, and from it, is evolved the physical worldaccording to the ripened Samskaras which led to the existence of the particular existing universe.Therefore, the mental Artha precedes the physical Artha which is an evolution in gross matter of theformer.This mental state corresponds to that of dreams (Svapna), when man lives in the mental worldonly.After creation which is the waking ( Jagrat) state, there is for the individual an already existingparallelism of names and objects.Uttered speech is a manifestation of the inner naming or thought.This thought-movement is similar inmen of all races.When an Englishman or an Indian thinks of an object, the image is to both the same,whether evoked by the object itself or by the utterance of its name.For this reason possibly if thought-reading be accepted, a thought-reader whose cerebral center is en rapport with that of another, may readthe hidden "speech," that is thought, of one whose spoken speech he cannot understand.Thus, whilst thethought-movement is similar in all men, the expression of it as Vaikhari Shabda differs.According totradition there was once a universal language.According to the Biblical account, this was so, before theconfusion of tongues at the Tower of Babel.Similarly there is, (a friend tells me though he has forgottento send me the reference), in the Rigveda, a mysterious passage which speaks of the "Three Fathers andthree Mothers," by whose action like that of the Elohim "all-comprehending speech" was made into thatwhich was not so.Nor is this unlikely, when we consider that difference in gross speech is due todifference of races evolved in the course of time.If the instruments by which, and conditions underwhich thought is revealed in speech, were the same for all men then there would be but one language.But now this is not so.Racial characteristics and physical conditions, such as the nature of the vocalorgans, climate, inherited impressions and so forth differ.So also does language.But for each particularman speaking any particular language, the uttered name of any object is the gross expression of his innerthought-movement.It evokes the idea and the idea is consciousness as mental operation.That operationcan be so intensified as to be itself creative.This is Mantra-Caitanya.It is said in the Tantra Shastras that the fifty letters of the alphabet are in the six bodily Cakras calledMuladhara, Svadhisthana, Manipura, Anahata, Vishuddha and Ajña.These 50 letters multiplied by 20http://www.sacred-texts.com/tantra/sas/sas24.htm (14 of 17)07/03/2005 16:04:16 Chapter Twenty-four: Shakti as Mantra (Mantramayi Shakti)pkmishra1961@rediffmail.comFor Learning Meditation , Kundalini Yoga etc.--> CONTACT :->> PH : GSM : +91-9990 90 8228are in the thousand-pealed Lotus or Sahasrara.From the above account, it will be understood that, when it is said that the "Letters" are in the six bodilyCakras, it is not to be supposed that it is intended to absurdly affirm that the letters as written shapes, oras the uttered sounds which are heard by the ear are there.The letters in this sense, that is, as grossthings, are manifested only in speech and writing.This much is clear.But the precise significance of thisstatement is a matter of some difficulty.There is in fact no subject which presents more difficulties thanMantravidya, whether considered generally or in relation to the particular matters in hand.I do notpretend to have elucidated all its difficulties.What proceeds from the body is in it in subtle or causal form.Why, however, it may be asked areparticular letters assigned to particular Cakras.I have heard several explanations given which do not, inmy opinion, bear the test of examination.If the arrangement be not artificial for the purpose of Sadhana, the simplest explanation is that whichfollows: From the Brahman are produced the five Bhutas, Ether, Air, Fire, Water, Earth, in the orderstated; and from them issued the six Cakras from Ajña to Muladhara.The letters are (with the exceptionnext stated) placed in the Cakras in their alphabetical order; that is, vowels as being the first letters orShaktis of the consonants (which cannot be pronounced without them) are placed in Vishuddha Cakra:the first consonants Ka to Tha in Anahata and so forth until the Muladhara wherein are set the last fourletters from Va to Sa.Thus in Ajña there are Ha and Ksha as being Brahmabijas.In the next orVishuddha Cakra are the 16 vowels which originated first.Therefore, they are placed in Vishuddha theethereal Cakra; ether also having originated first.The same principle applies to the other letters in theCakras.namely, Ka, to Tha (12 letters and petals) in Anahata; Da to Pha (10) in Manipura; Ba to La (6)in Svadhisthana; and Va to Sa (4) in Muladhara.The connection between particular letters and theCakras in which they are placed is further said to be due to the fact that in uttering any particular letter,the Cakra in which it is placed and its surroundings are brought into play.The sounds of the Sanskritalphabet are classified according to the organs used in their articulation, and are guttural (Kantha),palatals (Talu), cerebrals (Murddha), dentals (Danta) and labials (Oshtha).When so articulated, eachletter, it is said, "touches" the Cakra in which it is, and in which on this account it has been placed.Inuttering them certain Cakras are affected; that is, brought into play.This, it is alleged, will be found tobe so, if the letter is carefully pronounced and attention is paid to the accompanying bodily movement.Thus, in uttering Ha, the head (Ajña) is touched, and in uttering the deep-seated Va, the basal Cakra orMuladhara.In making the first sound the forehead is felt to be affected, and in making the last the lowerpart of the body around the root-lotus.This is the theory put forth as accounting for the position of theletters in the Cakras.A Mantra is, like everything else, Shakti.But the mere utterance of a Mantra without more is a meremovement of the lips.The Mantra must be awakened (Prabuddha) just like any other Shakti if effect isto be had therefrom
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