0082.Abhirami Andhadhi Slogan 80 Poem by rajagopal. h..

To get the Extreme Boundless Happiness


Tamil Transliteration

Kootiyavaa ennaith thannadiyaaril kodiya vinaii
Oatiyavaa enn kann oadiyavaa thannai Ulla vannam
Kaatiyavaa kanda kannum manamum kalikkindravaa
Aattiyavaa nadam aadagath thaamarai aaranangae

Translation

Beauty personified Abhirami! Ye seated
On the golden lotus flower! Addition into
Your lot of devotees is a wonder!
Liberation from deadly sins is amazement;
Revealation, of thy all-pervading form to the eyes
Of this ignorant, is astonishment; Minds and eyes,
Filled with thy cast, dance in excitement
How shall I praise thee for directing me enacting the drama?

Simple Meaning:

Hey Abhirami, seated on the golden lotus, I wonder the following: my addition into the lot of your devotees, removal of my sins, revelation of thy true form to me who is ignorant.
After seeing you my mind and eyes are dancing in ecstacy. How shall I praise thy grace that made me enact the drama?

Commentary:

There is a reference to a drama by Abhirami Bhattar.
The senses are the gatekeepers of the wonderful factory of the mind. They bring into the mental factory matter for manufacture. Light vibrations, sound vibrations, and the like, are brought inside through these avenues. The sensations are first converted into percepts by the mind, which then presents these percepts to the intellect. The intellect converts these percepts into concepts or ideas. Just as raw sugarcane juice is treated with so many chemicals and passes through various settling tanks, and is packed as pure crystals; just as ordinary clay mixed and treated with plaster of Paris, etc. passes through settling tanks and is made into jugs, jars, plates, cups, etc.; just as crude sand is turned into beautiful glassware of various sorts in a glass factory; so mere light vibrations, sound vibrations, etc. are turned into powerful ideas or concepts of various descriptions in the factory of the mind.
The external senses are only instruments in the process of perception. The real auditory, tactile, visual, gustatory and olfactory centres are in the brain and in the astral body. These centres are the real senses, which make perception possible. The intellect (Buddhi) receives material from the mind and presents them to the Purusha or the Atman, which is behind the screen. The intellect is like the prime minister; it is closer to the Purusha than the mind is. As soon as facts are placed by the intellect before the Purusha, there flashes out egoism (Ahamkara) . The intellect receives back the message from the Purusha, decides and determines, and transmits it to the mind for the execution of orders. The external organs of action carry out the orders of the master.
“The mind assumes the shape of any object it intensely thinks upon.” “When you pass through a mango garden, a ray of the mind comes out through the eye and envelops the mango. It assumes the shape of the mango. The ray is termed a Vritti. The enveloping process is called Vritti-vyapti. The function of a Vritti is to remove the Avarana (veil) that envelops the object and the Upahita-chaitanya (consciousness defined by an adjunct) . The Vritti or the mental ray removes the veil that envelops the mango. There is Chaitanya (consciousness) associated with the Vritti. This Chaitanya illuminates the object ‘mango.’ This result is termed Phala-vyapti. Just as torchlight illuminates an object in a flash, this Vritti-chaitanya (consciousness conditioned by the mental mode) illumines the object. Only then does perception of the mango take place”. “According to the Advaita theory of perception, it is the Chaitanya within us that makes perception possible. The Chetana (intelligence) within us unites with the Chetana (intelligence) in the object, and the result is perception. It does not follow from this that the mind and the senses are useless, for they serve the purpose of determining the special object of each sense”

On ultimate analysis it is discovered that there is nothing either in the object or in the subject except mere name and form plus the universal consciousness on which the name and form appear. Even space, time, substantiality, extension, resistance and causation are but the schema of the universal knowing subject fastened on to a network of objectivity. On receiving sensations one must, truly speaking, not refer them to anything outside in space, but to the essential nature of the consciousness, which is the real subject. If this is done, there will be an experience of the instantaneous illumination of the Atman as shining within and without, as subject as well as object. The rationalistic and the empiricist attitudes to perception are reconciled in the acceptance of the Atman as the fundamental reality. It is the Atman that masquerades as the seer and the seen within space-time, and exists as the true substance behind the forms taken by the seer and the seen.
“Intuition is an active inner awareness of the immortal and blissful Self within. It is the eye of wisdom through which the sage senses in everything the unseen presence. It is the Divya-chakshus, Prajna-chakshus or the Jnana-chakshus through which the Yogi or the sage experiences the supreme vision of the all-pervading Atman or Brahman”. “Intuition, intuitive discernment, in fact, is the only touchstone of philosophy. The method of intuition is the only one of discerning the truth ultimately. Intuition is the method. Realization or the Self is the goal. Without developing intuition the intellectual man remains imperfect and blind to the truth behind appearance”. Intuition is the ultimate source of all proofs of knowledge. Other ways of knowing, like sense perception, inference and verbal testimony give us only an indirect knowledge. The highest revelation comes to the self by itself alone, independent of external instruments and other accessories needed in empirical knowledge. The highest truth can be given only in intuition.

So we can understand the drama indicated by Abhirami Bhattar is not a small drama but a greater cosmic drama ultimately leading to realization.


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