In the Beginning
Egyptian lore tells us that the god Thoth played a crucial role in the earliest Nile traditions, in the development of a language of power, and in the act of creation itself Ancient Egyptian literature is filled with references to a Supreme Deity under various titles (among them: Temu, Ptah, Khepera, Ra) who first created for himself a place in which to dwell by uttering his own name as a word of power, and then created the heavens, the celestial bodies, the gods. Earth, people, animals, birds and other creatures as concepts in his mind. It was the god Thoth, as representative of the intelligence of the Prime Creator, who translated into words these divine thoughts or ideas.
When Thoth spoke these “words of power,” creation commenced.
The Book of the Dead tells us that the principal phrase spoken by Thoth on this awesome occasion was: Kheper medet nebt Tern —“There came (or come) into being the words of Temu.”
As the “Master of Secrets,” Thoth was scribe to the gods and a kind of World Teacher who taught the doctrine of the “Inner Light” of the Creator to the priests of the Egyptian temples. He was, together with the jackal-headed Anubis, god of mummification, one of
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the two major gods of the Egyptian funerary cult. Thoth was also acknowledged as a great magician, an Ur heka, or “Great One of Words of Power.”
There are numerous references in the Book of the Dead to Thoth’s command of potent speech, particularly in relation to the eventual resuscitation of the deceased after physical death. He is usually portrayed in reliefs as a man with the head of an ibis bird, after which he takes his Egyptian name, Tjehuti. In one semi-human aspect he was seen as vizier to the god Osiris, and later to Homs, son of Osiris. In another, he was reputed to have reigned over Egypt as king for 3,226 years.
Hieroglyphics and Hermetic Literature
In addition to his afterlife activities and other roles, Thoth was also known as the “Lord of Wisdom,” especially when it came to the application of divine laws and to the use of sacred words and writings. Another of his roles was as the god of chronology and counting and, even more significantly, he was the reputed inventor of medu-neter, or hieroglyphic writing—the “words of god.”
Because of a system of double meanings for each symbol, the sacred hieroglyphs represent the secret language of the Egyptian Mysteries. This possible dual interpretation for each hieroglyph has caused some confusion among translators of old papyri and wall paintings, and occasionally has brought forth garbled accounts of Egyptian mythology.
Other than being one of the acknowledged authors of the famous Book of the Dead, Thoth was, according to the Neo-Platonist lamblichus, credited by the Egyptian prehistorian Manetho, a high priest living in
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Lower Egypt around 300 B.C.E., as the compiler of 36,525 books containing the entire wisdom of the world. This massive body of writing was said to encompass the full range of material needed for education of priests and seers, including historical, geographical, mathematical, medical, and prophetic data. If a floating decimal is used, the figure 36,525 is, incidentally, remarkably close to the sacred cubit measurement of a base side of the designed perimeter of the Great Pyramid at Giza (365.24 = the number of days in our solar year). This measurement is duplicated in several other places in the Great Pyramid, notably in the King’s Chamber, which leads to the possibility that Manetho may be hinting that Thoth himself designed the Pyramid. This proposition also posits a possible connection with Hebrew lore, which claims that the pyramid was built by the Patriarch Enoch (Hebrew: Chanokh) who is reputed to have lived 365 years, 88 days, 9 hours, expressed numerically as 365.24.
Thoth also enjoyed a messenger aspect, which led the Greeks to equate him with their own god Hermes under the appellation Hermes Trismegistus. This connection has led to the description of the metaphysical literature of Thoth/Hermes Trismegistus as the “Hermetic works.” The modern term “hermetically sealed” derives from Thoth’s apparent proclivity towards being able to create tightly sealed boxes. In esoteric terms, the word hermetic also means, of course, secret or “sealed.”
To add to his now lost literary mysteries, Thoth is also listed in many works as a possible compiler or initiator of the original Tarot card deck, the symbolism and allegory of which is reputed to embody a synthesis of all the sciences, with infinite permutations capable of solving all problems.
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The early 20th-century occultist and magician Aleister Crowley, a member of the Order of the Golden Dawn, with the help of an artist. Lady Frieda Harris, produced a guide to the Tarot and a deck of cards filled with erotic images known as The Book ofThoth. It remains unknown, however, whether Crowley received any inspiration from original Thothian writings. As part of his numerous magical rituals, Crowley also used various Egyptian mantras, including that taken from the so-called “Stele of Revealing.”
Some Parallels
The Thothian story about the start of creation through utterance of certain potent words is to some extent paralleled in The Gospel According to St. John statement “In the beginning was the Word.” St. John goes on to inform us that this Word “was made flesh,” and that our Earth and all of its fauna and flora were created via a divine utterance. Several creation myths from around the globe echo this “first sound” phenomena.
For instance, the Indian Upanishads (philosophical treatises from around 600 B.C.E. based on the even more ancient Rjg Veda) relate that mantra evolved out of the primeval ether or Parma Akasha —and that the universe came into being in the uttering of a primal sound related to vach, the human voice and feminine aspect of the originating Eternal Principle.
In the Popul Vuh, the sacred book of the Quiche Maya of Central America, we read: “(in the beginning) ... there was only immobility and silence in the darkness, in the night Then came the word. ” A Guatemalan legend tells of the two gods Hurakan and Gucumatz, hovering over the water-covered planet
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Earth: “They said: ‘Earth!’ and immediately the Earth was created.”
Hebrew tradition relates that the universe was created with ten Godly utterances, the actual building blocks of creation being the spiritual motives behind the speech, and a similar version of the creation myth is given in the Nag Hammadi scroll On the Origin of the World: “His thought was made complete by the word and it appeared as a spirit moving to and fro over the waters Afterwards, the ruler thought within his nature, and he created an androgynous being by means of the word.”
A number of references to the use of an “all-powerful Word” to initiate the Earth’s formation and/or creation of living creatures are contained in the Apocrypha and Pseudepigrapha of the Old Testament, notably in The Wisdom of Solomon (18:15; 9:1) and The Syriac Apocalypse of Baruch (21:4), while the Church of Latter-Day Saints’ Book of Mormon informs us of the following: “For behold, by the power of his word man came upon the face of the earth, which earth was created by the power of his word.” (Jacob 4:9)
In a lighter vein, there is a Gnostic Egyptian myth that refers to a rather humorous Creator who laughed seven times to bring into being the universe and its inhabitants. The same story mentions a string of “magic words”— Bessen Berithen Berio —used by this happy God. Their meaning is, unfortunately, lost.
Papyrus transcript: “The sage spake certain words of power.”
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Ritual Magic and Words of Power
Ritual magic, or za, permeated all aspects of ancient Egyptian civilization, not only the expected areas of medicine, healing and prophecy. To the Egyptians, magic was regarded as an exact science. All gods, people, creatures and objects were considered to be imbued with a definable spiritual force that at once could be contacted, and controlled—when the correct words of command were utilized. There was a distinct belief in divine guidance and divine involvement in all human affairs.
The first of three major basic principles governing Egyptian magical science was that sound itself possessed an intrinsic dynamic force. It was widely held that by simply uttering the name of a being or an inanimate object that being or object could be called into existence, thus paralleling the very act of original creation. A reigning pharaoh would preface any new decree with the words‘T am the Great Word”—indicating that he was capable of conferring life. A magician would begin all spells with the words peret heron, literally “that which comes forth at the voice.”
It was also believed that utterance of a specified incantation could lead to power over wind, rain, storm and tempest, and even over the motions of river and sea. Correctly intoned, hekau (words of power) might also produce food for the hungry, banish illness from a patient, and provide protection from all manner of dangers and disasters, sometimes even death. Spells and incantations took on a particular significance when used by the deceased to negotiate safely the many pit-falls encountered beyond the threshold of death.
Even the gods themselves were obliged to abide by words of power uttered by a mortal. Every Egyptian re-
Words of Power in Ancient Egypt till
ceived two names, the great name and the little name, of which only the second was ever made public. Knowledge of the secret name of any god, devil or person was considered to be the key to true mastery over that being or individual, and a name was considered as important as theKa of a person, the soul itself. The worst fate that could befall any being was to see his or her name misused or destroyed, for it could be as much the objective of a curse as of a blessing.
The very letters of a name carried their own force. When an Egyptian magician spoke, he used sound like an artist, creating a word picture of marvelous strength and influence. It followed naturally that magical writing in hieroglyphs was believed to carry a power of its own, and because of the symbols used (animals, plants, parts of the human body), this form of writing was considered of a timeless nature.
Images and Amulets
For the most part, magic in ancient Egypt was used as a form of self-defense. The god of supernatural power, Heka, was said to have been created from “light.” Sacred scripts were known as Baou Ra, “powers of Ra, the god of Light.” The proportion of spiritual “light” present in a magical operation determined whether it could be regarded as “white” or “black.”
Second in importance to sound in ancient Egyptian magical science was the use of an amulet—an image or model of a god, person or object. Pictures and figures of various shapes and forms, plus the performance of certain ceremonies (the third basic principle operative in Egyptian magic), were employed to invoke supernatural powers. Formulae consisting of words of power were inscribed upon amulets and statues, with
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Amulets
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the sacred scarab or hepra (usually made of lapis lazuli) a favorite among the many animal life forms thus utilized. Healing statues, in particular, were not considered effective unless they carried a name of power.
An example of Egyptian ritual magic relating to the use of words plus a physical form is demonstrated by the so-called “execration figurine,” which was inscribed with the name or names of persons considered enemies, then smashed and thrown away in the hope that a similar fate would befall those named.
The Egyptian Language
Although some early Greek writers had displayed varying degrees of knowledge about the meanings of hieroglyphics, it was not until 1798, when Napoleon Bonaparte took a force of 38,000 men to Egypt in an attempt to annex the land of the Pharaohs (almost as many men as Alexander commanded when he set out to conquer the entire East), that some real progress was made in translating the ancient Egyptian texts. After some initial success in capturing Cairo, Napoleon was destined to failure against Britain’s Admiral Lord Nelson in the great sea battle of Abukir. To add to the French leader’s woes, a devastating Egyptian eye pestilence blinded many of his soldiers, and he sailed home a disappointed and disillusioned man. France was eventually forced to hand over Egypt to the British in 1801.
However, when Napoleon arrived in the Land of the Nile, he had with him several French scholars and archaeologists, who enjoyed a unique first taste of the marvels of Egypt’s abundance of antiquities. Their most outstanding discovery was the famous Rosetta Stone, or Rosetta Pillar as it was first called. It was
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Cartouche of Cleopatra’s name from the Rosetta Stone
found near the Rosetta mouth of the Nile in 1799 by a Captain Bouchard. This approximately four-foot-high slab of black basalt bore a carved decree in honor of the Pharaoh Ptolomy V Epiphanes, King of Egypt from 205 B.C.E. to 182 B.C.E., in three separate scripts: 14 lines of hieroglyphics; 32 lines of so-called demotic, non-pictorial Egyptian script used on business documents; and 54 lines of Greek. The text referred to certain great works of the Pharaoh, including the conferring of benefits upon priests, the setting aside of large sums for temple and irrigation construction projects, and the giving of tax rebates to the people.
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By 1824, a brilliant young French linguist, Jean-Francois Champollion—who had taught himself to read, and had accomplished his initial feat of language decipherment at the age of five—was the first to decipher the hieroglyphics on the stone obelisk. One of two words first translated by him from its pictographic presentation was the name of the famous Cleopatra (pronounced more correctly, Krwiopadrat —the nearest sound to I in the Egyptian tongue being rw), Queen of Egypt, and favorite subject of many a tale of royal love and intrigue. The other key word initially deciphered by the brilliant French linguist was the name Ptolomy, the husband-brother of Cleopatra.
An interesting side note relating to language connections is that the hieroglyphic inscription for the second letter in Cleopatra’s name is the pictograph representing a lion—its sound rw symbolizing the roar of the animal concerned. It seems more than a coincidence that “lion” is spelled in English beginning with a letter that represents the Egyptian rw. More will follow later about other interesting language links that suggest a “universal” sound connection.
Some Notes on Egyptian Pronunciation
Unfortunately, Champollion’s decipherment and the work of later Egyptologists did not lead to any exact knowledge of the correct pronunciation of ancient Egyptian. As is the case with Hebrew and most other ancient tongues, the original Egyptian vowel sounds are not certain. However, some attempt at correct vocalization of the language has been gradually reconstructed by using Greek and Coptic expressions which approximate the Egyptian, as well as evidence from texts in various languages written with cuneiform
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characters.
A synthesis of research and meditative inspiration has been used in determining a guide to pronunciation of the reconstructed Egyptian words and phrases of power here presented.^
It is not always easy for a Westerner to reproduce some of the apparently throat-based Egyptian sounds. A case in point is the sound represented by the letters c/i, which is similar to that in the Scottish word loch. As another example, there are three forms of a in Egyptian, all distinctive, and one of which actually sounds like the “o” in bottle when spoken by an English Cockney. Note the following:
a = truncated a as per the “o” in bottle, if pronounced by a Cockney a = a/i as in bath a = i as in mine h = c/i as in loch dj = dge as in badge kh = 9 as in Qor'an t = tch as in batch u = 00 as in mood, but more elongated u = w as in bud
9. LIFE—A PRELUDE TO DEATH
O ye gods, who hear speech!
Papyrus of Ani
For the Egyptians, their country was the center of the world with their people as its only rightful inhabitants. Furthermore, life on Earth was considered as merely a prelude to the hereafter, and provision was made for death on a scale unmatched anywhere else in the world. The Egyptian Book of the Dead, or Pert-em-Hru (more correctly “Book of the Coming Forth by Day” or “Book manifested in the Light”), is probably the oldest book in the world and contains a vast storehouse of ritual relating to the afterlife. A person was meant to memorize the ceremonial spells for use to escape from the tomb after death, reach the Osirian heaven, and pass the required tests set there in order to become an accepted member of the divine bureaucracy.
This collection of hymns and prayers, spells and incantations, has been compiled from ancient papyri, from inscriptions on sarcophagi, and from the walls of pyramids and other tombs. It is replete in the use of magical words and phrases, and special emphasis is placed on the use of names of power in the sections that deal with the soul’s travels through the “Halls” inhab-
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ited by various gods and goddesses.
The Oldest Prayer in the World
An outstanding example of the importance placed by the Egyptians on death rites, and possibly the oldest known prayer in the world, is recorded in the Book of the Dead as part of the significant Ma-at ritual—during which the newly deceased faces a row of 42 gods in Usekht Ma-ati, the Hall of Ma-at or Hall of Double Right and Truth. Ma-at was the ostrich-plumed goddess of Truth and Divine Order, or the personification of physical law and moral rectitude. She was also daughter of the sun-god Ra and female counterpart to the deity Thoth, and, as such, she was a participant with Thoth in the creation saga. In the Halls of Ma-at,
Maat, goddess of Truth and Divine Order.
Life—A Prelude to Death 1119
the soul of the deceased person, through use of various rituals and incantations, is separated from his or her sins, and thus finally becomes able to “see” the “Lord of Mankind.”
Ani, our principle character in the Book of the Dead drama, was the royal scribe of Thebes around 1320 B.C.E. and a high ecclesiastical dignitary associated with the priests of the god Amen, who was known as the “hidden one.” His confession after death to the assembled gods is contained in the 78-foot Papyrus of Ani scroll, which is perhaps the finest copy extant of the Egyptian Book of the Dead. Another classic Egyptian scroll, the Papyrus ofNu, asserts that the subject prayer was in use in the time of Menkau-ra of the 4th Dynasty, circa 3700 B.C.E. As it was still fashionable during the Ptolemaic period, when Cleopatra reigned around 30 B.C.E., this famous funerary ritual had by then been in use for nearly 3500 years—which must make it almost certainly the oldest known prayer in the world.
In the prayer of Ma-at, the supplicant recites what amounts to a negative confession (“I have not robbed,” “I have not caused pain,” “I have not committed fornication,” “I have not stirred up strife,” “I have never cursed God,” and so on) and asks that no false witness be borne against him, that his character be not blemished, that no lies be talked about him, and that his heart be not separated from him. This ritual listing of allegedly uncommitted misdemeanors and sins is in interesting contrast to the generally purgative confessions of other cultures, such as the Jewish Day of Atonement or Yom Kippur confession known as Vid-duiy the Japanese Shinto Ohoharahi or “Great Purgation,” and the Indian Brahmanic ceremony oiAvahhrta during the annual expiatory rite oiVarunapraghasa.
120 ! Words of Power
It is of interest to note that, basically, the Egyptians believed in a singular, monotheistic god, who possessed many aspects and attributes. They perceived this Supreme Deity as an active force in their own world, commanding, guiding and inspiring them. Free choice also played its part—the evil in this world considered the consequence of humanity’s forsaking of the Creator’s will.
Gods and Good Fortune
When studying Egyptian words of power, it is of particular importance to note the difference between the similarly spelled words neter and nefer. Neter can be taken as a common Egyptian title for any particular god. It is, however, a word with many meanings, including: “god-like,” “divine,” “sacred,” “power,” “strength,” “guardian” and “watcher.” With its single letter change, the expression nefer relates to “happiness,” “good fortune,” “perfection,” “beauty,” or the granting of a boon by a god.
Neter remains an extraterrestrial concept; nefer is the terrestrial manifestation of sehemu, the powers of the divine.
The separate Egyptian “gods” possessed personality, but lacked individuality. It might be claimed that these individual neteru merely represented personifications of the various aspects of a single Creator that included the many and varied features of nature and the cosmos. This is in line with another interpretation of the word neter, which places it as “masters of nature.”
The plural neteru can claim some comparison with the Hebrew biblical reference to God as Elohim, which is also plural and means literally “Gods.”
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Some Egyptian Chants for Daily Use
For the most part, the invocations given in the Egyptian Book of the Dead are rather long and complicated. In keeping with the introductory nature of this present work, a small selection of simplified Egyptian language chants are offered in this chapter and the next for use by the reader. These have been devised by the authors, but are based on original ancient Egyptian textual information. Some background data is given in each instance for fuller understanding of the chants given so that they may be most effectively utilized.
In accordance with the neter/One God principle, the phrase noted below has been composed as an Egyptian language mantra that signifies the interrelationship between terrestrial and extraterrestrial forces. It has been designed for constant repetition in order to attract protection, inspiration, happiness and good fortune—and a “bonding” with higher forces. If used in alliance with any particular Egyptian deity’s name, it will draw towards the chanter the attributes of that chosen deity.
The underlying principle operative behind the uttering of any invocatory statement remains the same, no matter the language chosen. Of overriding importance is the sincerity and intention of the invoker. Remember always that there is a universal law which states that all energy transmitted outwards, positive or negative, eventually returns to its original source.
Nefer-Neter-wed-neh [N’fr N’tjir wed neh]
The perfect god grants life
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Ptah—the Great Cosmic God
Ptah was a name used for the Egyptians’ great cosmic god, who was one of several deities credited with the original creation of the universe. He was known as “Lord of Life,” and his name also has a secondary meaning which translates as “to break open.” This alludes to an ability to initiate a “breakthrough” into higher realms of consciousness while dispersing surrounding negativity, much in the way of the Hindu god Shiva.
In a mirror image of the Hindu triune, Brahma-Vishnu-Shiva, the deity Ptah is a member of an Egyptian trinity that embraces three especially important attributes: creation (Ptah), death (Sekher) and resurrection (Asar or Osiris). This Egyptian trinity representation symbolizes the resurrection prospect that eventually becomes the heritage of the righteous person.
One of Ptah’s major symbols is the well-known ankh, the sign of eternal life. Its hieroglyphic representation is taken from a sandal tie, and from a metaphysical point of view the ankh is possibly the most powerful of all Egyptian ritual objects.
Sounding of the word ankh plus the three names of Ptah can stimulate a profound protective force on all levels of human activity, and help set into motion a process of transformation of the individual from human into super-human.
Ankh-Ptah-Sekher-Asar [Ainq P’tach S’qer Os’r]
Ankh-Ptah-Sekher-Osiris
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Hieroglyphic form of the chant Ankh-Ptah-Sekher-Asar.
Ra—the Sun-God
The deity Ra, the Egyptian falcon-headed sun-god as creator and sustainer of the world, is possibly an older subject for reverence than Ptah. Ra is a personification of the sun at noon and was known as the creator of gods and of humans. His emblem is, of course, the unmistakable sun’s disc.
The fact that the Egyptians chose a supreme sun-god is rather unusual, as most African peoples tended to revere a moon deity as the prime object of worship. The Pharaoh Userkaf, the first King of the 5th Dynasty, whose rise to power was predicted by the famous magician Teta and whose tale is told in Chapter 8, was the first notable priest of Ra and the first Egyptian ruler to take on the title “Son of Ra.”
A mantric phrase embodying the name Ra (pronounced Reh) is designed to draw towards the user the life-giving warmth of the sun and the protection of a de-ity/power who was supposed to have spent the hours of darkness fighting Apepi, the serpent and personification of evil, always rising triumphantly every morning to shine anew in the sky.
Ra-Neter-Atef-Nefer [Reh N’tjir O’tef N’fer]
The Divine god Ra is gracious
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Initiation^ Activation, and Resurrection
Spiritual operations connected with the Egyptian gods or attributes of the One God are frequently associated with the concept of the Ba, the “spirit,” which can be symbolized as the dove, especially in its relation to the “gifts of the gods,” or in Judeo-Christian terminology, the “Holy Spirit.” The word Ba is not to be confused with the expressions Ah (heart) or Ka —which is related to the vital energy of the physical universe and similar in some ways to the Hindu prana, but much more personal. Ka is perhaps best described as representing the corporeal transmigrating human soul. It is
U
Hieroglyphic representations of (top to bottom):
Ka—the transmigrating human soul; Ba—the spiritual soul; Akh—the divine essence; lAAW—the source of all being.
Life—A Prelude to Death 1125
also linked with the astral body, which remains separate but, during this lifetime, indivisible from the perishable physical body {khat) and is activated mostly when a person is asleep.
It can be noted here that, although considered to be of a supernatural nature, Ka was for the Egyptians essentially a force resident in our physical world as a transmitter from one lifetime to the next of hereditary characteristics and the like.
The concept referred to as Ba, that portion of the Universal Spirit which can become an integral part of the human being, may be aligned with the idea of an interdimensional “body of light,” or divine double, which is needed by a human to enter into higher realms of evolutionary participation. The Ba vibration is highly potent and will be discussed more fully below as part of a meditation mantra which also incorporates the Bak or hawk (symbol of Horus) and the legendary phoenix or Bennu bird, which is said to rise from its own ashes after self-immolation by fire.
In addition to the more earthly Ka and the dualis-tic Ba, the word Akh was used to describe the extraterrestrial divine essence of Egyptian gods and kings. Akh was the radiant light symbolized by the ibis bird and, with Ba and Ka, formed an indivisible trinity of powers emanating from the source of all being, known as lAAW. The term lAAW posits a curious analogy with the Hebrew ineffable Name of God, generally pronounced Yahweh or Jehovah, but consisting of four consonantal Hebrew letters, yod, hey, vau, hey (see Chapter 4). It was believed by the Egyptians that every person has his or her image in lAAW, being, as it were, a mirror reflection of the Absolute—a concept which is certainly not out of touch with Judeo-Chris-tian teachings. A secondary meaning for the word iaaw
126 ! Words of Power
is “glorification” or “praise.”
Another word used for God by the Egyptians was Wr, pronounced “oor” or “ur,” which is almost identical to the Hebrew word for “light,” meaning Superluminal or holy “Light.”
An especially significant Egyptian-language man-trie phrase relates to the attributes and principles of the Ba (dove), Bak (hawk), and Bennu (phoenix). Employment of these three potent words in a repetitive chant can transport the user into a mystical state in which is simulated an experience involving the threefold nature of existence: birth, death, and rebirth into a higher form.
The Book of the Dead includes three separate mystical ceremonies involving the symbolism of the Ba, Bak and Bennu, entitled, respectively: “Opening of the Tomb to the Ba-soul and Shadow,” “Making the Transformation into the God Hawk,”and “Making the Transformation into the Bennu Bird.”
The Ba is usually portrayed in Egyptian art as a human-headed falcon. However, in its alternative dove aspect, Ba represents the vehicle of spiritual sanctification—the down-flow of divine power into the kingdom of humans which activates the spiritual or higher self of any individual.
Bak as the hawk and sign of Horus is symbolic of a vehicle of spiritual action within our physical universe—or the effort made by any individual to attract the presence of the Ba. It also holds many personally protective qualities on the physical, astral and spiritual levels.
The Bennu or phoenix bird, which according to hermetic lore is reborn from its own ashes, represents a vehicle of time-translation, symbolizing spiritual and physical “rebirth” into a new “body of light,” capable of
Life—A Prelude to Death 1127
traveling in higher regions of creation. It is at once a symbol of Ra and of Osiris, the heavenly and the human.
It is recommended that the chant which follows be sung repetitively at a pace in time with the individual chanter’s own heartbeat. Its effect is to stimulate a personal experience of spiritual transformation. This effect is initiated by stimulus from “above” (Ra), is carried forward into resultant activation of the physical condition (Bak), and culminates in a highly charged feeling of spiritual resurrection or transformation (Bennu). This mantra based on Egyptian terminology is specially recommended for group chanting.
Ba-Bak-Bennu [Bah Bahk Ben-noo]
The Dove; the Hawk; the Phoenix
The sleeve note of a recommended audio-tape version of this chant offers the following interpretation:
“The ‘rebirth’ of the spirit through the Holy Spirit / Shekinah Dove; the protection of the soul through the Eagle; and the awakening of body, soul and spirit through the Phoenix power of resurrection.”^
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10. THE PILLAR OF OSIRIS
Praise be unto thee, O Osiris, Lord of Eternity; Un-nefer, Heru-khuti!
“Hymn to Osiris,” The Book of the Dead
To assist in the perfection of the spirit-souls of those who had moved into the Realm of the Dead, it was customary for the still-living Egyptians to recite the names of the gods at funerals and other feasts. Sixty-six such names are listed in the Theban Recension of the Book of the Dead, beginning with Osiris-Kenti-Amenti, one of the many appellations of Osiris, the Egyptian "savior” and most significant of all Egyptian deities. Osiris is usually depicted as a bearded personage, either green or black in color, wearing the Crown of Upper Egypt and swathed like a mummy. In his hands are the flail and a crook, insignia of the power over the underworld vested in this dying and resurrecting god.
There is little doubt that as accepted king and judge of the netherworld he is the most important figure in Egyptian mythology. One of his numerous descriptions even alludes to an extraterrestrial origin, placing Osiris as a Lord Creator from Sah (the constellation Orion). It is, therefore, not surprising that vocalization of the name of Osiris in various contexts
130 ! Words of Power
provokes considerable power on several levels.
Lord of Eternal Life
Having himself been resurrected from the dead, thanks to the dedicated efforts of his consort and sister, the goddess Isis, Osiris is clearly equated with the concept of eternal life. There is indeed a Christ-like “raising from the dead” element in the scenario presented in the Egyptian Ritual of the Dead, which places prime emphasis on the reuniting of the deceased with Osiris the Redeemer. It has also been claimed that the legend of Osiris, and that of his spouse Isis and son Horus, is the story of all creatures on Earth: birth, life, death and rebirth.
The djed pillar surmounted by the ankh with two hands representing the Ka, or soul, holding the sun disc of Ra.
The Pillar of Osiris /131
Osiris, as deity of eternal life, is inexplicably linked with the symbol referred to as the djed —the “pillar of Osiris.” This supportive djed-pillar represents, among other things, the actual spinal column of the legendary Osiris and is, according to ancient texts, the origin of the “Fire of Life.” This Fire of Life can, of course, be related in Hindu terms with the Kundalini power that rests at the base of any individual’s spine, awaiting awakening at the appropriate time and under suitable conditions (see Chapter 11). The djed itself can be likened to a spiritual or etheric version of the human backbone.
Another interpretation of its symbolism holds that it exemplifies the entire process of psychogenic evolution, beginning at the base of the column with the start of life in the form of micro-organisms, and working its way up the ladder through the forms of fish, reptile, mammal, and finally, human being. These various stages of evolution are represented by the sequence of enclosed horizontal bars on the lower part of the djed. The series of broad horizontal platforms that commence in the upper portion of the column are indicative of repetitive human incarnations and continued upward progress. The narrower segments separating these platforms symbolize between-lives periods, when the soul is resident in the world of the spirit.
Some representations of the djed column of Osiris include two arms, one holding a hook, the other a flail, at the conjunction of the lower and upper portions. This signifies the point in time when the human became a moral being, something beyond the animal world of purely biologically motivated feelings and desires.
The ankh or crux ansata, Egyptian symbol of eternal life, is often seen placed on the top of the djed, with a second set of two arms issuing therefrom, holding a
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disc representing the sun. As a set hieroglyphic form, the two arms indicate the Ka, or transmigrating human soul. The solar disc can be equated with the sun-god Ra, and is the model for the highest possible perfection of human intelligence.
Hieroglyphic form of the chant Asar-djedu (Pillar of Osiris).
The following mantric phrase, dedicated to Osiris and incorporating the djed principle, consists simply of a repetition of the words Asar-djedu. It is to be used in order to promote strength of will and purpose, leading towards a yearning for true wisdom and understanding so as to nurture spiritual transformation and growth. During chanting, and under appropriate conditions relating to the personal development stage of the chanter, a tingling warmth may sometimes be felt traveling up the spinal column; this is caused by the raising of the “Fire of Life” of Osiris.
Asar-djedu [Os’r dje-doo]
Pillar of Osiris
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Isis and Her Words of Power
Isis, whose name literally means “seat,” was the devoted wife of Osiris and the most popular goddess in the Egyptian pantheon. She is also a role model for many later Mediterranean and Middle Eastern goddesses, and even possibly for the Buddhist Avalokites-vara or Kuan Yin. Known in the Book of the Dead as Ast, the goddess Isis is hailed in various ancient Egyptian texts as “the woman of magical spells” and “the mistress of words of power, or enchantments.” She is also described as having turned aside countless calamities with the “magical power of her mouth.” One passage in the Book of the Dead describes how “the words which she stringeth together destroy diseases, and they make to live those whose throats are stopped up (i.e., the dead).”^
As goddess of both Earth and moon, sister-wife of Osiris, and mother of Horus, Isis possessed virtually limitless powers. She was said to hold sway over Earth, sea and heavens, and even the underworld. As goddess of birth, she decided the fate of mortals from an early stage in their lives.
Hieroglyphic form of the phrase Erta-na-hekau-apen-Ast (May I be given the Words of Power of Isis).
Utterance of a phrase invoking her name, Erta-aa-hekau-apen-Ast (“May I be given the Words of Power of Isis”), can be used to initiate immediate aid
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and protection and to provoke intuitive hints for action for anyone facing any form of threat, be it from physical danger or disease or of a psychic or spiritual nature.
ErtQ-na-J^ekau-dpen-Ast [Err-tai no che-kah-oo o’pen Ost]
May I be given the Words of Power of Isis
The Udjat—'‘Eye ofHorus” (from an amulet circa 600 B.C.E.).
The Eye ofHorus
The sky god Horus, or Heru, son by magical means of Isis and an already slain Osiris, is portrayed in Egyptian art in the form of a falcon or hawk {hak or hor). Horus was in his own right the center of an important cult and the role model for Egyptian earthly rulers, who considered themselves to be deities. His emblem, the hawk, was, according to Budge, possibly the first living creature to be venerated by the early Egyptians.
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As is the case with his father Osiris, some sources have placed Horus as an extraterrestrial supra-natu-ral figure—a model for the super-human who has acquired higher consciousness.
The distinctive “Eye of Horus,” or udjat, is mentioned frequently in Egyptian literature, and is not to he confused with the human “third eye” discussed in Chapter 11. The udjat was considered hy the Egyptians as a device used by advanced beings on other planes to view events in our world—the “Eye of the Lord,” so to speak. Magical amulets against injury bearing the Eye of Horus were usually made of lapis lazuli, a favorite medium for ornaments bearing inscriptions of words of power. Some were plated in gold.
Each of the four accredited sons of Horus—Hapi, Tuamutef, Khebhsenuf and Amset—represents an essential part or function of the udjat, the all-seeing eye. The four children of Horus are also associated with the four corners, or Cardinal Points, of the world, much in the way of the Japanese Shitteno, or guardians of the four points of the compass.
There are two distinct types of udjat eye: the right and the left; one white, the other black, representing the Sun and the Moon, or Ra and Osiris, respectively. Any artist’s representation of the eye itself incorporates a combination of the human eye and the markings of a falcon’s or hawk’s eye. As an amulet, the udjat was considered at its most powerful during the summer when the sun is at its strongest. The Greeks later took over the symbol and even developed an udjat ceremony to catch a thief involving the use of the Eye of Horus symbol and the chanting of certain magical words.
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The hawk-headed Horns approaches his parents, Osiris and Isis. In the background, on a lotus flower, are the four sons ofHorus.
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A short invocation— Heru-Udjat —calling upon the all-seeing Eye of Horus, can be utilized as a personal protection mantra of particular use against psychic attack of any kind, and also for the promotion of strength and vigor.
Heru-Udjat [Che-roo Oo-dgot]
Eye of Horus
Transformation of the Soul and Psyche
Aside from those of his qualities already discussed, Horus can be considered as a prototype for emulation by any aspirant who seeks eventual transformation of soul and psyche from human into superhuman. The initiation chant presented below calls on the user to sacrifice all personality considerations to Temu, the self-created “maker of the gods” and representative of the source of all life, in order to achieve the divine status of his son Horus, the “perfected one,” who transcends all normal human consciousness.
The prime function of this dynamic mantra is to uplift the consciousness into realms of mental and supra-mental activity that ranges far beyond the physical. There follows a quickening of the pace of the inner ordeal, which usually precedes discovery of the Infinite behind the finite.
Sa-Su-Temu-Heru-Hdkenu
•
[Sah Soo Tem-moo Che-roo Ho’ken-noo]
Make an offering to the son of Temu—
Horus, the praised one
The sleeve note of a recommended musical variation of this chant describes it as the Egyptian/Coptic:
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“Appasionata... The passions of personal ordeal and the discovery of the Heavenly Father behind the enigma of creation, opening unending vistas of space.
Hieroglyphic form of the chant Sa-Su-Temu-Heru-Hakenu (Make an offering to the son ofTemu — Horns, the praised one).
There are several other significant interpretations to be attached to the various individual expressions in the phrase Sa-Su-Temu-Heru-Hakenu. As well as meaning “make an offering” and “son of,” the word Sa represents the name of the neter (god) of Feeling. Its several other meanings include: “back” (associated with the energy running along the spinal column, as in the djed column); “life-preserver” (referring to protective gear worn by herdsmen driving animals through swampland—and relating to the overall notion of protection); and “a guardian” (which serves to emphasize the protective nature of the word). The Sa hieroglyphic was frequently used on an amulet for warding off unfriendly forces.
Heru-Hakenu is, incidentally, also one of the many names of Thoth—he who spoke the first words of
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creation—and a distinctive symbol for “Initiation.” The word hakenu means literally “praise him.” The word heruy other than representing the name of Horns, also means “beings celestial.”
The Seven Unalterable Powers
In line with the Hindu seven bodily chakras, or energy entry and exit points, the ancient Egyptians spoke of seven “ineffable powers,” which approximate the chakra system. As is the case with the Sanskrit hija sounds, the names of these powers can be used to activate the chakras, either in unison or separately as required. However, before these words of power are used, and in order to understand the function of the body’s energy vortices fully, it is recommended that a thorough study be made of the chakra system as described in Chapter 11.
The names and attributes of the Seven Egyptian Powers are:
1. Ikh [Eeq]: placed at the seventh chakra, at the crown of the head. It is the reflected image of the Divine; the gateway to higher dimensions.
2. Mer [M’rrl: corresponds to the sixth chakra, at the third eye in the middle of the forehead. It represents the awareness of the essential duality of existence.
3. Sehem [Se-chem]: relates to the fifth chakra, at the throat. It is the generating or liberating center.
4. Heper [Che-p’r]: embodies the fourth chakra, placed at heart level. This is the center which opens up the pathway to spiritual transformation.
5. Ah [Ob]: literally “heart,” but equated with the third chakra, at the solar plexus. It is the center of occult emotional activity, linked with the desire body.
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6. Tekh [Teq]: connected with the second chakra, situated at the organs of procreation. It represents the individual’s capacity for absorption of the vital universal power.
7. Sefekht [Se-fqt]: also known as Sheshat [Sheh-sh’t]; corresponds to the first chakra, the root chakra at the base of the spine. It epitomizes the “power of crystallization,” or manifestation on the physical level.
11. MANTRA YOGA
Shabdanishtam Jagat (The universe is manifested through sound)
Sanskrit Sun Mantra
The mystical aim is to utilize the power of sound vibrations to influence modalities of consciousness.
—James Hewitt The Complete Yoga Book
The results of sound generated at a particular pitch have been clearly demonstrated by singers and violinists who have used a persistent note to break a glass; or through the shattering of windows by a jet airplane’s sonic boom. Experiments using sand sprinkled over a tightly stretched drum have revealed the formation of geometrical shapes and attractive plant-like forms when harmonious sounds or positive, happy words are sung or spoken close by. When disharmonious sounds are used, the patterns formed are generally chaotic. Science has indeed confirmed that every form in our universe, animate and inanimate, exhibits its own vibratory rate. It follows that knowledge of any such given rate of vibration may be used in creating an effect upon the subject form.
Sacred Sound
The sages (or, respectively, rishis and lamas) of India and Tibet have long recognized the human voice as potentially the most perfect of all vehicles of sound.
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One of the verses of the Rig Veda (a collection of sacred hymns completed around 900 B.C.E.) informs us that many who can see do not “see” the Word; and many who
can hear do not “hear” it “Yet for another it reveals
itself like a radiant bride yielding to her husband.” (Hymn 10.71:4)
In terms of the Vedic experience, sacred sound, which is capable of initiating a biological effect on the human physiology, originates in the form of a flash of “light” in the innermost center of an individual, and this “shining” duality leads towards illumination. To praise is thus considered to illumine.
This concept is echoed in Western scripture and provides an illustration of the principally subjective nature of holy sound.
In Hindu terms, sound is broken up into three basic categories: sa-ama-anya —everyday sounds of the physical world; varna —the spoken word linked with the flow of the human heartbeat; and mooka —the “Sound of Silence,” represented by the divine primeval Om (or, more correctly, Aum).
Traditional Indian music embraces 120 talas, or time measures, but remains nonetheless firmly based on the human voice range of three octaves, with emphasis on melody rather than harmony. Above all, Indian music in all its forms, both instrumental and sung, is a particularly spiritual experience, placing personal harmony with the Absolute above mere symphonic excellence.
Yoga
For many, the practice of yoga is indivisible from the practice of mantra chanting. The meaning of the word mantra will be more fully dealt with in the follow-
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ing pages. Yoga is the name given to various systems designed to raise the consciousness of an individual and develop a union with the Atman, the higher self or pure consciousness, which can be equated with Brahman, the impersonal and imageless life force behind all being. Atman lies beyond human ego and, in effect, yoga can be called “union with Atman and/or Brahman.”
In no particular order, as all are equal, the best-known Indian yoga disciplines are:
Yoga type: Jnana yoga Bhakti yoga Karma yoga Kundalini yoga Tantra yoga Hatha yoga Raja yoga Yantra yoga Japa yoga or Mantra yoga
Union with AtmanIBrahman through: knowledge and discernment love and devotion action and service arousal of psychic forces physiological discipline bodily mastery and breath control mental mastery and meditation use of vision and form
use of voice and sound
Although there appear to be divisions in yogic practice, this is not in actual fact the case. All forms of yoga are interrelated, and elements of each appear within the separately titled disciplines. For instance, before Kundalini yoga can be effectively practiced, it is usually necessary for the participant to have some knowledge and mastery of Hatha yoga and/or Jnana and Raja yoga so as to achieve the required understanding of body and mind control. Those leaning towards Tantra yoga as a means of raising their level of perception would by necessity need to have some knowledge of all of the following: Jnana yoga (for dis-
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cernment); Hatha yoga (bodily control); Raja yoga (mental control); Karma yoga (understanding of the laws of cause and effect); Kundalini yoga (correct manipulation of psychic power); Bhakti yoga (to achieve the necessary love and devotion for sexual partners— for the practice of Tantra yoga places prime emphasis on the union of male and female); Yantra yoga (correct visualization); and finally, but most importantly, Japa yoga (for understanding of the use and effect of sound in yogic practice).
Indeed, Japa or Mantra yoga is used in most systems, and is, of course, the form of yoga with which we are here most concerned.
Japa Yoga
A simple definition of the terms Japa yoga or Mantra yoga might be: “the use of certain syllables, words, or phrases, for the purpose of influencing individual consciousness.” We have already noted that in ordinary speech we employ sound to convey meaning. Mantra yoga is concerned with sound as “being.”
Swami Sivananda, in his book Japa Yoga, the definitive work on the subject, sums up in a few words the effect created by divine sound or mantric invocation: “The recital of a mantra brings everlasting peace, infinite bliss, prosperity and immortality.”^
Born into a rich family in 1887, Sivananda was a medical doctor of note before he settled down to study yoga under the great sage Jivanmukta at the age of 37. Out of his ashram at Rishikesh grew the worldwide Divine Life Society. Sivananda has published over 300 volumes on the various types of yoga and has disciples of all faiths around the world. According to him, in the present age, which is known as Kaliyuga (the Iron
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Age), Japa yoga alone is the easy way to a realization of Divinity: “Life is short. Time is fleeting. Those who simply eat, drink and sleep and do not practice any Japa are horizontal beings only.”^
The great guru of Rishikesh, who passed over into Mahasamadhi in 1963, was a stern taskmaster who entreated his pupils to do Japa for many hours and told them to repeat their holy mantras as much as 50,000 times a day!
Japa is, in effect, the repetition of any mantra or Name of God that forces the mind to move towards the spiritual. A common literal translation of the Sanskrit word mantra is “the liberating thought.” Another definition is: “instrument or vehicle of thought.” Although similar to it, a mantra cannot be totally equated with the Western concept of prayer. A prayer is usually a supplication, a request made by the supplicant. The mantra is regarded at once an invocation, a benediction, an affirmation and a promise.
A mantra can be chanted out loud or sung silently within the mind. Sivananda notes three types of Japa: Manasika Japa, or Mental Japa; Upamsu Japa, or Japa employing a humming sound; and Vaikhari Japa, or loud, audible Japa. Used as a single word or as a collection of words in verse form, whether physically vocalized or mentally evoked, a mantra sets in motion a predetermined chain of effects directly related to the words spoken aloud or in the mind.
The main object of mantric intonation is to carry the consciousness into an elevated state beyond the mere material. Some Indian yogis even produce the desired effect by simply writing out certain mantras repetitively, like a schoolchild writing out lines. This is known as Likhita Japa and aids in the development of a wonderful concentration.
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Timing and rhythm (allied with studied breath control), sincerity and concentration are major considerations in correct swadhyaya, or mantra usage involving chanting or recitation of holy texts. Each syllable intoned carries essential meaning. Some mantric sounds trigger off an emotional response; others evoke images and ideas similar to those experienced in a mystical vision. When mantras are used with consistent and dedicated purpose, there also can occur a profound prophetic awareness.
Power of Mantra
Hindu m 3 d;hological writings from the medieval period include reference to mantric wars involving devas (“shining ones”; gods) and asuras (demons) within the confines of the lower astral regions, dimensions parallel but inferior to our world. At least one such conflict is said to have ended in tragedy for a demon who happened to mispronounce a potent chant aimed at an opponent deva. Because of his error in enunciation, it came back at him like an exploding boomerang!
The extraordinary power of mantras—positive and negative—is discussed throughout the Bardo Thodol, the Tibetan Book of the Dead. In Tibet the lamas, or priestly monks, chant mantras (or mantram, to use an alternative plural form) while counting beads on a rosary, much in the fashion of a Roman Catholic Christian.
Whatever the place or occasion, the intention remains the same. In India, sankirtan, or group chanting, is favored. At such a gathering, mantras and bhajans (devotional songs) are sung to the accompaniment of an accordion and/or hand-beaten drums.
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The celebrated Swami Muktananda always kept an ektara, a one-stringed instrument, at his side with which he accompanied himself during chants. One of his disciples, Swami Nityananda (named after Muk-tananda’s own guru, Bhagavan Nityananda), relates in his book The Nectar of Chanting that his master also kept a stick and a few blocks of wood handy during sankirtan—the blocks to throw at older people who dozed off during chanting, and the stick to chastise youngsters who did not pay sufficient attention to correct pronunciation of the mantras.^
In summing up, mantras can best be described as words and phrases of power, peace or personal transformation, depending upon individual choice and usage. It is also important to note that their ultimate effectiveness is directly related to the knowledge, intentions and convictions of the user.
The Sound of the Soul
The great sage Sri Ramakrishna was once heard to note that the sacred texts give us information about God and not God Himself. If the old books contain information about God, logic tells us that there must be some form of discipline which leads us to experience God, instead of just gathering information about Him. Mere acceptance of a doctrine that divinity lies within each individual is insufficient. In order to attain some conception of the Ultimate, it becomes necessary to experience truth. This is the essence of yogic practice. Constant sounding of a mantra, aloud or silently within the mind, provides protection from the impact of way a, or earthly illusion, and allows for intuitive experiencing of spiritual truth.
Such practice will also lead eventually to the per-
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ception of nadaSy the internal “sound of the soul,” which forms within and is heard without the aid of the ears.
Some teachers refer to mantras as direct manifestations of the Supreme Being. In his book Formulas for Transformationy Eknath Easwaren defines the concept as a “powerful spiritual formula for the highest that we can conceive of.”'^
The correct sounding of the syllables contained in any single mantra serves both to focus spiritual energy effectively from within the chanter’s own being and to attract desirable vibrations from without. These twin energies can be of a protective, healing or motivating nature, depending on the chant used.
It is believed that the greater the accuracy of pronunciation, strict maintenance of rhythm, and frequency of repetition, the most beneficial will be the effect produced through mantra use. However, there are, in effect, many variations of specific mantra intonation, dependent upon regional origin and dialect employed.
According to Hindu tradition, each mantra is imbued with six separate but indivisible aspects:
* The Devatay or presiding deity of a particular mantra
* The Rishiy or seer who first pronounced it
* The ragay or musical melodic aspect
* The hijay or primal seed sound
* The shaktiy or power of the chant
* The kilakay (literally “pillar”), the chanter’s own will power
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The selection of a particular mantra for a specific occasion is of immense importance and requires the application of both intuition and plain, old-fashioned common sense. No mantra should be used lightly or in a negative fashion. It is a basic cosmic law that all negativity consciously projected will eventually return from whence it came. So, too, will every sincere outward projection of love and goodwill—usually multifold. To a large extent, through our thoughts and our actions we create our own future. And as the power of mantra is generally far more potent than that of any phrase used in everyday speech, we are advised to be ultra-cautious in choice and use of our words of power.
Seed Sounds, Kundalini and the Chakras
In both Tibetan and Indian sacred chanting, certain “seed” sounds form the basis of all mantric syllables. These are known as hija (bee-jah) mantras—the first of which is the familiar Om. There are numerous other bija sounds, some of which are directly related to the physiological and psychical functioning of the human being.
According to Hindu science, each person possesses seven major chakras —cerebrospinal centers or energy points located along the body—through which there is a continuous two-way flow of vital force, or prana.
A form of this power, the Kundalini (or goddess power), lies dormant at the base of the spine ... until it is awakened.
When handled with the utmost caution, this awakening will energize the body’s chakras and bring about a raising in consciousness, a heightening of faculties, and an intensified feeling of liberation. In this
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process it is of prime importance that the chakras all open simultaneously and in perfect harmony.
The seven bodily chakras and their hija seed sounds.
There is, however, a grave warning attached to the practice of Kundalini activation: It is better not to attempt it without the guidance of an advanced teacher, knowledgeable in all aspects of its operation.
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In any event, most of us during our progress along our chosen paths will eventually begin to discern the effects of Kundalini awakening, step by step, as a natural unprovoked process.
The New Testament Revelation of St. John the Divine contains symbolic exposition of yogic science taught by Jesus which gives reference to the seven chakras or “seals” (Revelation 6-8). Through the seven “divine exits,” the yogi, by use of scientific meditation, can escape from his bodily prison and reunite with his higher spirit self.
The seven principle chakras (or seals) are located at:
1— The base of the spine (the sacral ganglion)—the muladhara chakra, the seat of the Kundalini.
2— Above the organs of reproduction (the prostatic)—the svadhishthana chakra.
3— The solar plexus (the epigastric)—the manipura chakra, seat of emotional control.
4— The heart (cardiac)—the anahata chakra, center for transmission of spiritual or universal love (as opposed to emotional love).
5— The throat (pharyngeal)—the vishuddha chakra, extrasensory center for clairaudience or spiritual hearing.
6— The center of the forehead (cavernous)—the ajna chakra, so-called “third eye” and center for clairvoyance or spiritual sight.
7— The pineal gland or crown of the head, the cerebral cavity (conarium)—the sahasrara chakra, link with the “higher” consciousness and the true “spiritual eye.”
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There is a correspondence between the chakras and the body’s endocrine gland system, and it is possible to regulate or stimulate the ductless glands through the practice of various yogic postures, through meditation, and through the use of certain seed sounds, or bijas:
Lam [lahm] is the bija for the first or root chakra at the base of the spine. It corresponds to the element of Earth and is linked with the sense of smell.
Vam [vahm] is the bija for the second chakra, linked with the sex organs. Its element is Water, and its sense is taste.
Ram [rahm] is the bija for the third chakra, the solar plexus. Its element is Fire and its sense is sight.
Yam [yahm] is the bija for the fourth chakra, the heart. Its element is Air and its sense is that of touch.
Ham [hahm] is the bija for the fifth chakra, located at the base of the throat. Its element is Ether and its sense is the sense of hearing.
Om [aum] is the bija for the sixth chakra, the third eye at the forehead. It represents the vastness of infinity.
The bija for the seventh chakra, the pineal gland or the crown of the head, is known as sahasrara and is soundless, being beyond sound, and yet containing all sound. It is the link with the higher consciousness, and it is represented as a thou-sand-petaled lotus at the crown of the head.
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These bija seed sounds can be intoned as part of a process that cleanses and balances the seven chakras prior to mantric or silent meditation. Continuing sets of chakras of a super-physical nature range beyond the seven bodily energy vortices. The eighth chakra, located above the head, is usually visualized in the form of a diamond, the symbol of perfection in the mineral kingdom. It provides a gateway to more advanced dimensions and a link with the Overself, or spiritual portion of each person’s being. The ninth chakra, beyond the eighth, exists as part of a fifth-dimensional reality of formless or Superluminal Light energy.
In order to reach into these “higher” realms of consciousness activity, it is sometimes necessary during meditation and mantra invocation to temporarily “close off’ the two lowest bodily chakra—the root or spinal base chakra and the chakra situated in conjunction with the sexual organs. This is done through an act of will via mental visualization. The object is to remove from the physical body as much consciousness focus as possible while reaching into the realms of super-consciousness.
On Tantra Yoga and the Use of Mantras
Those who take part in the ancient art of Tantra or sex yoga and/or Kundalini yoga generally will not attempt to shut out the two lower chakras—for these are usually essential to the Tantric method of achieving higher union through harnessing of sexual and psychic energies. Tantric principles inform us that all that exists in the universe must also exist in the human body, and the object of Tantric practice is to attain moksha, or “liberation,” while still living in a physical body (which is the ultimate aim of most yogic practices), but
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without foregoing any of the experiences of living. It is the method used to awaken cosmic energy through controlled sexual activity, and the body, with its biological and psychological processes, becomes an instrument through which cosmic power is revealed. However, the practice of Tantrism should not be considered as a license to indulge in orgies of pleasure. It is reckoned unwise to concentrate more on the physical pleasure than the mystical opening up of perception that can result from participation in Tantric ritual.
Aside from the more apparent physically sexual magical and occult connotations contained in ancient Tantric texts, there is a subtle and sophisticated spirituality involved. Interested readers are guided to make a careful study of the literature available on the subject.
Although the use of certain mantras and the practice of Tantra yoga can be closely linked, the present work concentrates more on the spiritually transforming aspect of mantra usage. As already indicated, this involves raising of the consciousness primarily from the third through the seventh chakras and into the eighth and ninth and beyond while “closing off,” via mental visualization, the two lower chakras, which can be linked with sexual activity. As a method of mantra meditation, it is the result of personal preference over many years of study and participation in Mantra yoga, although it should be expressly noted that there is no hint here of any advocacy of a need for celibacy, outside of specific time periods devoted to selective meditation and mantra usage. The contrary is, in fact, the case as the writers have enjoyed a full and rewarding sex life through some 35-odd years of adult life, and have found that all human activity, including sexual, is perceptibly enhanced by the heightening of physiological and
Mantra Yoga 1155
intuitive awareness that comes from frequent use of mantras and invocations in various tongues. However, we have found that as one gets older it is a natural process for sexual activity to diminish, especially if one has embarked upon a spiritual path in which an attempt is made to transform physiological energy into spiritual energy.
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12. FIRST OF ALL MANTRAS
The cosmic sound AUM, or its condensed form, OM, is the origin of all other sounds.
—Swami Sivananda Radha
Om (Aum) is everything. It is the name or symbol of God, Isvara or Brahman.
—Swami Sivananda
The rishis, or wise men of India, discovered many ages ago that there are distinct laws that govern the sound alliance existing between nature and the human being. Because nature is taken as an objectivication of the “primal sound” or creational word Om, the sages then realized that a person may obtain a certain measure of control over a particular natural manifestation through use of certain mantras and chants embodying that initial sacred sound. Om thus represents the essence, the totality, of all other sounds. It is generally accepted in the East as “first of all mantras.” Most commonly pronounced Ai//n, it is known as pranava, or the sacred syllable, as related to prana, the all-pervading life principle.
The Three Principles
Om also symbolizes the three basic principles: initiation, preservation and regeneration, which are the accepted attributes of the major Hindu godly “Trinity” of Brahma (creator), Vishnu (preserver) and Shiva
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(transformer). The primal sound is found as a component part in almost all potent mantric phrases but also remains highly effective if sung as a mantra on its own. Many mantra-users start their daily mantral meditation session by chanting Om, so as to set the spiritual tone for all that is to follow.
The first part of its sounding (“A”) represents the genesis process. The middle portion (“U”) relates to the maintenance and preservation of what has been created. Its final part (“M”) imbues what has been created and preserved with vital transformational energy, or concentrated power devoid of all ego. Its sounding can be broken up further to signify: “A”—the physical plane; “U”—the mental and astral plane; “M”—all that is beyond the reach of the intellect.
Om (Aum): The Primal Sound.
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There are numerous ways of pronouncing Om, and we have found the following rendition to be most in tune with our own inner vibrations. Constant use of this most powerfully moving of sounds will eventually bring to the user a realization of how best it should be intoned to suit any particular individual’s physiological, psychic and spiritual makeup.
A Sanskrit term, ardhamatra (literally “the halfmeter”), is used in connection with Om to signify the shifting tone occurring between the syllables in order to delineate the three resultant tones. When sung on its own, Om/Aum can be most effective if drawn out into a three-part but singly sung AAH-OOO-MMM, ending with a humming sound through almost closed lips. Ideally, equal time should be given to each of the three component parts.
Chanting the Om
As a purification ritual aimed at the physical/ psychical makeup of the individual, the Om can be sounded 21 times to clear out the ten human sense organs (five senses of action: vocal organs, head, physical eyes, genital and excretory organs; five senses of knowledge: ears, skin, spiritual eyes, tongue, nose); the five basic elements comprising existence (Ether, Air, Fire, Water, Earth); the five breaths in the layers of the mind; and then, with the final vocalization, to create a link with the higher mind, or Spiritual Oversoul.
It is recommended the “AH” be sounded softly, with a stronger “00” component, softening once again into the “MM.”
To sustain contact with the Spiritual Oversoul the following procedure can be used: At the commencement of chanting, the “AH” is visualized as beginning
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in the region of the navel at the solar plexus chakra (also known as the “astral lotuses”). Moving into the “00” part of the chant, the sound is raised to the heart chakra. Finally, it should reach the throat chakra for intonation of the “MM” sound.
After repetition for a while through the three indicated chakras, the opening sound of the mantra (“AH”) can be recommenced at the throat chakra region, taken to the third-eye chakra on the forehead (“00”), and then carried up and out of the top of the head, the region of the crown chakra (“MM”).
Sung with sincerity and devotion, vocalization of the Om can put the chanter in touch with the source of all creation, providing a bridge between the spiritual and physical dimensions and opening the way for inspirational contact with higher realms and beings. As is the case with most mantras and other words of power, constant repetition builds up individual concentration and promotes universally acquired power. When used as an introduction to meditation, the sounding of Om will provide a powerful catalyst for inspiration and illumination.
Those practicing Tantra yoga will probably prefer to begin the intonation at the base of the spine chakra, the seat of the Kundalini, and then move upward through the chakra situated just above the sex organs and into the solar plexus chakra for the final part of the sounding.
One especially effective method of entering deep meditation is to chant Om for a few minutes, starting quietly, building up intensity, peaking, and then fading away until the sound can be heard only within the mind of the chanter. This results in not only a physical experience but a triune act of perception involving the physical, mental and spiritual on a primary level—and
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the individual, universal and transcendental on a more elevated plane of action.
While the mantra is being intoned, an advanced meditative state may be reached if the chanter is able to visualize the Sanskrit symbol for Om—preferably in color. As meditation progresses, all of the colors of the spectrum can be introduced into this mind picture.
A person in deep meditation may even experience inward sighting of certain unfamiliar colors. These are hues which exist beyond our normal spectral range of vision.
Remember one important fact: All the study in the world will not help in understanding the importance of Om as a generator of power from within and inspiration from without. The only way to discover and experience its true meaning and purpose is to sing the first of all mantras frequently. This can be done aloud during meditation or as a silent chant within the heart and the soul of the individual meditator.
The Jewel in the Lotus
Other than the singular and celebrated Om, probably the most prominent mantra of the East is the six-syllabled Buddhist chant Om-Mani-Padme-Hum. This is the multipurpose invocation of Avalokitesvara, the Bodhisattva of Compassion—a Bodhisattva is a personage who, on reaching enlightenment, delays his entry into Nirvana, or Heaven, in order to continue to work among the suffering of humankind as an act of pure compassion. (Nirvana can be described as a “state of eternal bliss ”—knowing God, instead of merely knowing about God.)
Avalokitesvara (his Tibetan name is Spyan-Rasgzigs or Chenrazee), as the Bodhisattva gifted with
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The Bodhisattva Avalokitesvara, author of the renowned mantra
Om-Mani-Padme-Hum.
First of All Mantras 1163
complete enlightenment, is reputed to reject no plea made to him by distressed individuals. The Chinese have transformed this supremely compassionate Buddha into the well-known female deity Kuan Yin, and in his Japanese Zen Buddhist form, Avalokitesvara is known as an androgynous god called Kwann-on Bosatsu, who is worshipped in eight forms and 33 manifestations.
An important Buddhist goddess named Tara (Tibetan name: Sgrol) is said to have been born from Avalokitesvara’s tears of compassion. Tara, who manifests in 21 forms, plays an indispensable role in the Buddhist Tantra or ritualistic cults in which female energy, and more specifically the act of sex between male and female, is given great prominence. The mantra Om-Mani-Padme-Hum is an essential element in the practice of Tantra yoga, although it is also used on many other levels unrelated to ritual sex actions. It is found repeatedly inscribed on copper cylinders in Tibetan Buddhist temples, and is written thousands of times over on long rolls of Tibetan paper as well as on “prayer wheels” used by the devout.
Meaning and Use of Om-Man i-Padme-Hu m
The usual literal translation of Avalokitesvara’s mantra Om-Mani-Padme-Hum runs something like “Hail to Him who is the Jewel in the Lotus.” A more comprehensive analysis of this supremely important mantra reveals an even fuller meaning.
Om, as we know, represents the prime cause of creation, the sum of all sounds in the universe.
Mani-Padme (Jewel in the Lotus) relates to the intrinsic values contained within the Buddhist philoso-
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phy—a combination of divine wisdom and supreme compassion, much like the Chokmah andBinah of the Hebrew Tree of Life.
Hum is an equivalent of Om, but is always used at the closing of a mantra.
On a spiritually esoteric level, Om-Mani-Padme-Hum represents, therefore, the Infinite bound within the finite, the union of the Supreme and His creation. This important coupling of energies is, on another level, also apparent in the Tantric rituals in which Om-Mani-Padme-Hum plays an important role.
When it comes to chanting it, there are two main pronunciations of the Mani (as the famous four-word mantra is popularly known), depending on whether it is recited by an Indian or a Tibetan Buddhist, although, as is the case with any other mantra, intonation varies from district to district, and even person to person.
Om-Mani-Padme-Hum—The Jewel in the Lotus—inscribed on a Buddhist prayer wheel together with a decoration representing the Tibetan ‘"Wheel of the Law”
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The most familiar Indian version would sound something like:
Aa-oo-mm Mah-nee-Pad-may Hoorn
Tibetan Buddhists might be heard reciting the mantra thus, with the p sounding almost like b\
Aa-oo-mm Mah-nee-Pay-may Hoong
In each case, ''Mani-Padme” is voiced, more or less, as one word, with the “Aum"’ and 'Hum'" at either end of the chant more elongated.
The Mani chant is used by Buddhists for a number of purposes: as protection against all manner of hazards, on this plane and in other dimensions of reality; as a method of generating compassion towards other beings (one instance being its use during Tantra or sex yoga); and as a prelude to personal communication with higher levels during meditation—a tuning in, so to speak, with the energy of the great Bodhisattva himself.
The effects to be gained from use of this great mantra are manifold. Already mentioned is its generation of compassion for others, as in the Tantric application (any practitioner of Tantra yoga will no doubt be able to add much to this statement, for the all-embracing love of the deity of the mantra, Avalokitesvara, knows no bounds). On a level involving communication with “higher” levels of activity, the singing of Om-Mani-Padme-Hum can place the user in direct contact with the great Bodhisattvas of past, present, and future, bringing thus the appropriate inspiration and aid necessary for spiritual growth.
Each one of us who uses this great mantra may end up with a different experience. What is certain for all is that dedicated and persistent chanting of Om-
Mani-Padme-Hum, in whatever circumstance it is used, can only lead to an eventual uplifting of body, mind, and spirit.
As is the case with the Om mantra (and with many other chants), it can be advantageous for the chanter to visualize in color the symbols representing Om-Mani-Padme-Hum. This color connection forms a bio-cou-pling with a higher reality, which in turn aids in increasing the intensity and power of any given meditation session. In higher forms of communication, sound alone is insufficient. It becomes necessary to add the elements of color and pictographic vision to form an effective bonding with extra- and ultra-terrestrial dimensions of existence.
Colors commonly associated with the Mani are as follows:
* Om: White—representing the world of the devas (gods).
* Ma : Green—representing the realms of the asuras (spirits).
* Ni: Yellow—representing the human realms.
* Pad: Blue—representing the realms of the animals.
* Me: Red—representing the realms of nature.
* Hum: Gray—representing the realms of the underworld.
The Gayatri Mantra
The revered living Master and miracle worker Satya Sai Baba of Prasanthi Nilayam in southern India places very special emphasis on the meaning and usage of a particular mantra known as Shabda Brahman, literally “the sound of the all-pervasive spirit” or.
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more commonly, the Gayatri Mantra. The Gayatri Mantra is as important to Hindus as the Lord's Prayer is to Christians.
The word shabda means “sound.” The term gayatri is derived from gayantam triyate iti —“that which rescues (and protects) the chanter is This”—and symbolizes the all-pervading protection of the Creative Principle, or the Shabda Brahman. The goddess Gayatri, incidentally, is known as the “Mother of the Vedas” and is the acknowledged presiding deity of the mantra. Another name for the Gayatri Mantra is, therefore, Veda Mata, or the “Mother of the Vedas.”
In the Rig Veda we read that, prompted by a sacrificial anointment of humankind by the sadhyas or demigods, the Creator caused the birth of recited verses and chants in meter form, from which evolved the “formulas,” or holy mantras.^
The Gayatri Mantra is composed in such a metric fashion, known as tri-padhi, consisting of 24 syllables arranged in a triplet of eight syllables each, and is similar to some of the early verses in the Rig Veda.
In the ancient Zoroastrian tradition, the Gayatri Mantra bears the name Mazda-i, relating to the Persian prime deity Ahura Mazda, whose name is connected with a number of Sanskrit terms, including medha (“wisdom”), mada (“spiritual intoxication”) and mastim (“illumination”).
The following analysis of the mysteries of the Gayatri Mantra is based on an interpretation given by Sai Baba to one of his devotees. Dr. Eruch B. Fanibunda, as published in the book Vision of the Divine.’^
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Wnf
The Gayatri Mantra in Sanskrit.
First of All Mantras 1169
The celebrated Gayatri Mantra is broken up into three parts:
* The Pranauashabda: the all-inclusive Om.
* The Mahauyahritis: literally “highest ritual of the breath”—directing the chanter’s plea to the three worlds: the Earth (Bhuh), the Atmosphere or Subtle Ether {Bhuuah), and that which is beyond the atmosphere: the Causal, Heaven iSvah).
* The Mantra: consisting of a gayatri triplet and offering a universal prayer, without asking for any particular benefit or pardon, other than full illumination of the mind and intellect.
When using the Veda Mata, the chanter contemplates:
* While chanting the Pranavashabda and Mahauyahritis: The Glory of the Light which encompasses the three worlds— Om, Bhuh Bhuvah Suah.
* While intoning the first two lines of the mantra
itself: The Splendor and Grace emanating from the Great Light— Tat Sauitur Varenyum; Bhargo Deuasya Dhemahe.
* While intoning the final line of the mantra: Final
Liberation/Transformation through invocation of the Intelligence which pervades the universe in the form of Light— Dhiyo Yo Na Pra-chodayat.
A guide to English pronunciation of the Gayatri Mantra follows. Here again, it must be borne in mind that pronunciations vary from place to place and that the chanter must persevere until a “comfortable” deliv-
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ery that sounds right to the user’s ear is achieved.
Om, Bhuh Bhuvah Svah [Aum B’huhr B’hu-vah Svah]
Tat Savitur Varenyam [Tat Sah-vee-tur Vah-ren-yum]
Bhargo Devasya Dhemahe [B’har-goh Dey-vas-ya D’he-ma-hee]
Dhiyo Yo Na Prachodayat [D’hi-yoh Yo Na Pra-cho-da-yaht]
Om
[Aum ]
Some consider it customary to end the chant with a second Aum. Other traditions place an Aum between Svah and Tat (the latter being a short word representing the Ultimate Reality—literally “That!”).
A traditional full English translation of the Gayatri Mantra would read something like this:
Aum! Earth, Ether, Heaven!
Adore the Divine exemplified by the Sun; Contemplate the Luster and Radiance of Divine Truth;
Pray for Illumination of the Intellect.
An alternative translation reads:
Let us meditate on the excellent light of the Creator.
May he guide our minds and inspire us with understanding.
The benefits of this mantra are multifaceted. Other than to generate unusual energy during meditation/mantra chanting sessions, the Gayatri Mantra serves to focus individual consciousness firmly within the Divine, working directly in conjunction with the
First of All Mantras ! 171
causal body (the buddhi) and taking the chanter outside of the limitations of the personal self and into the “limitless light” of the Supreme Reality—thus leaving behind all cares and considerations of the material existence.
Another beautiful Gayatri-type mantra, to be used as an occasional alternative, embodies the names of both the deity or devi Gayatri and the Zoroastrian Supreme being Mazda and praises the “Mother of Mantras” itself (key to pronunciation in brackets):
Namaste Devi Gayatri,
[Nah-mas-teh Dey-vee Gay-atri]
Savitri Tripadhakshare Mazdai;
[Sav-itri Tri-pad-hak-shareh Maz-d’ai]
Ajare Amare Sai Mata-Ha [Aja-re Ama-re Sai Mata-Hah]
Loka Samastass Sukhino Bhavantu.
[Lo-ka Samas-tass Suk-h’eeno B’hav-antu]
I bow to Thee, O Divine Gayatri,
O Savitri, O Three-Syllabled Mazdai;
O Eternal, Immortal Divine Mother of Mothers,
Let all the World have Peace and Happiness.
On Sanskrit Pronunciation
Except where contrary acknowledgment or indication is given, the chants presented in this and following chapters are based on traditional Indian and Tibetan mantras. As already indicated, there are many variations of intonation dependent upon location and other factors, and the key to pronunciation accompanying each mantra is provided as a guide only. In the end, it is left to the user to determine how best to intone any particular chant. If the method employed strikes an in-
172 ! Words of Power
ner harmonious chord within the self, then it is obviously right for the particular individual involved. This will be in line with the ancient Vedic tradition which claims that all mantric or sacred sound originally emanates from deep within the center of any individual— the “seat of truth,” or rtasya sadas —and manifests first as a “flash of light.”
There are recordings available from various sources which can be used as an aid to pronunciation and which will demonstrate how mantras can be sung instead of merely being spoken. Singing a mantra obviously adds to the quality and beauty of presentation, although it must be emphasized that whether sung, spoken, or used silently the power of the words remains unaltered.
What is of critical importance is the attitude of the chanter—sincerity and devotion being the key qualities connected with mantra usage.
The Sanskrit language, known also as Devanagai, or “Language of the gods,” was brought to India around 1500 B.C.E. by the people known as Aryans (the word aryan means, literally, “Noble”) and is acknowledged as probably the world’s most ancient tongue. It is also possibly the most perfect, with an alphabet consisting of 50 letters, each carrying a fixed, basically invariable pronunciation. This inflexibility of basic pronunciation of the individual letters has aided in maintaining some sort of parity of usage (particularly in relation to the chanting of the mantras) down the centuries, despite an inevitable differentiation of inflection from district to district, which is common to all languages.
Obviously, anyone who has made a serious study of Sanskrit will be able to get closer to the original sounding of any particular letter, word, or phrase. However, for everyday mantra-singing usage, a basic
First of All Mantras ! 173
idea of pronunciation is sufficient. As already stressed, it is the motivation behind the actual chanting which mostly determines the end result in mantra usage. This axiom holds good for invocative chanting in any of the ancient languages, as well as for any affirmation or chant expressed in any language at all, ancient or modern.
It is no easy task to transliterate all Sanskrit sounds and intonations into exact English terms. However, a phonetic guide most closely approximating the Sanskrit is given for each mantra.
Readers seeking to develop more definitive Sanskrit pronunciation skills are guided to the appendix “How to Pronounce the Mantras” in the book The Nectar of Chanting (SYDA Foundation, PO Box 600, South Fallsburg, New York 12779, USA, 1984).
The following simplified rules can be noted:
Where words in the phonetic guide begin with s, the correct pronunciation is “Ss”—i.e., Siva = [Ssiva]. S or sh in the middle of the word is pronounced as we would pronounce these sounds in English.
a = a as in ah = a as in ey = ey as in ee = ee as in
= ai as in aisle = i as in big = o as in no = 00 as in foot
r
< t 1
• '' ’'^‘^.i-.-J*
: •-» tc
► / ’ K' •-■ i’ Tit' f -T
; .* r«.
13. DISPERSING NEGATIVITY
Chanting is not only a means to an end; the bliss of chanting God's name is an end in itself —Swami Nityananda
Many Sanskrit mantras exhibit a clearing, toning, calming and revitalizing effect. A majority include the name or names of some deity or other, most of which possess two syllables (Ra-ma, Shi-va, Krish-na, etc.). The first such syllable relates to agni, or fire— which burns away accumulated negativity. The second syllable symbolizes the amrith, or nectar principle— refreshing and restorative. The two form essential parts, the namah (name) and the rupah (form), of the dualistic whole contained in all creation.
By whatever name we may choose to identify the ultimate reality, the use of mantras calls up the deepest within ourselves. To the wise person of the East, the name of any specific deity is not only a word of recognition but a spiritual force in its own right. A name is not only symbolic of a particular attribute of the Supreme—it is that attribute. In effect, the repetition of holy names as mantra is considered better than praise.
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Holy Names
Ordinary material sounds are unable to awaken spiritual consciousness. Only use of the divine sounds of the actual names of God can set in motion a process of personal and universal transformation.
According to Hindu Vedic tradition, the advent of Caitanya, 16th-century leader of the Bhakti yoga (devotional yoga) movement and an incarnation of Lord Krishna, heralded the stirrings of a new “Golden Age” of 10,000 years in which chanting of the holy names will reverse the degradation of the present age and bring spiritual peace to our planet.
When it comes to the use of mantras embodying holy names, sincerity and devotion are essential elements. According to one of his devoted disciples, the great Indian sage Sri Ramakrishna was once heard to remark that there are people who repeat the name of a deity and perform pious and charitable acts in the hope of some earthly reward. When misfortune approaches, they tend to forget the names of God: “They are like the parrot that repeats by rote the divine name 'Radha Krishna, Radha Krishna' the livelong day, but cries ‘Kaw! Kaw!’ when caught by a cat, forgetting the divine name.”^
The Maha-Mantra
Because of its persistent chanting on street corners in cities around the world for the past few decades, perhaps the most familiar to Western ears of the deity-linked mantras is the simple, but highly effective, Maha-mantra, or “Great Mantra,” used extensively by the Hare Krishna movement, founded in 1965 by A. C. Bhaktivedanta Swami Prabhupada as the Interna-
Dispersing Negativity 1177
tional Society for Krishna Consciousness. However, whether or not one maintains the same unyielding devotion to Lord Krishna as do the mostly shaven (except for the odd pigtail) and saffron-robed young folk who happily beat their drums and chant ''Hare Krishna; Hare Rama'' on our busy streets is relatively unimportant. Traditionally, the Maha-mantra has existed for aeons and remains an ages-old formula designed to liberate the soul from the negative influences of material existence. Ancient Hindu lore tells us that when the renowned rishi Narada approached Brahma, the Creator, at the commencement of a Kaliyuga, an age of destruction, and asked how he would be able to survive such an age, the reply was that he should sing the Maha-mantra unceasingly. Moreover, Narada was informed that even a murderer might be pardoned if he or she were to utter the 16-word mantra 35 million times!
Krishna and Rama
This song to Krishna and Rama is known as the “great chant of deliverance.” Hindu lore tells us that the name Krishna is so powerful that anyone chanting it with sincerity and perseverance will soon rid themselves of accumulated negativity of many lifetimes. The name of Rama is as frequently used on the Indian sub-continent as that of his counterpart Krishna—and is every bit as powerful.
Repeated intonation of the combined chant, in the express experience of the authors, induces several results, perhaps the most notable of which is a feeling of intense happiness, even approaching euphoria.
The Hindu deity Lord Krishna, with his familiar blue and beautiful face, has attracted the greatest body
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Krishna—The One Who Attracts
Dispersing Negativity /179
of mythology of all the Indian deities—and is probably the most beloved of all the Hindu gods. The name Krishna means literally “he who attracts us to him.” As the eighth incarnation of the god Vishnu, the musical Krishna was also known as Murlidhar, “he who plays the flute.” In Indian sacred art he is generally pictured wearing a crown of brilliant peacock feathers and playing his instrument amidst pastoral beauty. When the shepherdesses who had fallen in love with him became so numerous that they could not all touch him when dancing with him, Krishna multiplied himself into many forms so that each girl would have the illusion that she was holding his hand.
As a symbol of his own divine growth, Krishna left a legacy to humankind in the form of the immortal Bhaghauad Gita, which is part of the ancient Mahah-harata, the main body of Hindu scripture and the longest poem ever written—100,000 verses. The Gita, as this revered and inspiring work is generally referred to, consists of a wide-ranging philosophical poem relating how Krishna, acting as a divine charioteer, instructed the great warrior Aijuna prior to battle. Ar-juna had initially hesitated to take part in the war, deploring the useless slaughter and the fact that many of his former friends and relations were opposing him on the battlefield. Krishna reminded him that as a member of the Kshatriya, the Warrior Caste, Arjuna would not attain Heaven if he displayed any cowardice. Besides, in a world that consists of may a, or illusion, the death of anyone was only an appearance. In reality, the soul remains eternal and those who die on the battlefield do not cease to exist. What had to be remembered above all else was that Arjuna (and anyone else) should act without having any concern for the results, or rewards, of his actions.
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Rama, the second of the great deities invoked in the Hare Krishna mantra is known as “Rama the Strong” and was the seventh of the more notable incarnations of the prime god Vishnu. Rama was born specifically to contend with Ravana, the much-feared tenheaded demon-king of Lanka (Ceylon), and his eventual overcoming of his terrible foe was as much a tribute to his own moral excellence as to his exemplary warrior skills. His name also carries the meaning “to rejoice” or can be taken to mean “he who fills us with unbounded joy.”
The admirable Rama was revered for his three main attributes: heroism, honesty and devotion. His reign as an earthly king coincided with a period of outstanding peace and prosperity, and the vibrations stimulated by his name are at once protective and sustaining and inductive of courage and fortitude.
Valmiki, composer of the Ramayana, the great epic poem which describes the deeds of Rama, was, at first, a common bandit who detested the name Rama. He then met a sage who tried to persuade him to alter his viewpoint by repeating the detested name over and over. Valmiki refused.
Knowing, however, that the bandit loved trees above anything else, the canny old rishi eventually got Valmiki to repeat the words mara, mara, mara — meaning “trees, trees, trees.”
What Valmiki did not realize was that repetition of the word mara eventually became “Rama, Rama, Rama”!
He then became so immersed in the chant that he did not move from the spot on which he sat for several months—until an anthill was built over him. Translated, the name Valmiki means “he who found enlightenment in an anthill.”
Dispersing Negativity 1181
A Universal Mantra
A. C. Bhaktivedanta Swami Prabhupada, founder of the Hare Krishna movement, in line with Vedic literary sources (such as the Brahmanda Purana, the Kalisantarana Uphanishad, and the Agni Puranas), taught that the Maha-mantra is a “universal mantra” especially recommended for the current age. The transcendental vibration evoked by repetitive chanting of ''Hare Krishna, Hare Rama'' is a sublime method for reviving individual and collective transcendental consciousness.
According to Swami Prabhupada, the philosophy behind this statement is that as living spiritual souls we were all originally “Krishna conscious entities,” but due to our constant association with matter through the aeons, our consciousness has become adulterated by materiality or maya (the word maya can be translated as “that which is not”). The Hare Krishna chant is used specifically to disperse this negativity which covers our true nature so that we may cleanse ourselves and thus revive our original true god consciousness.^
The full chant runs as follows:
Hare Krishna, Hare Krishna [Hah-ray Krish-nah Hah-ray Krish-nah] Krishna, Krishna, Hare, Hare.
[Krish-nah Krish-nah Hah-ray Hah-ray]
Hare Rama, Hare Rama;
[Hah-ray Rahm-ah Hah-ray Rahm-ah]
Rama Rama, Hare Hare.
[Rahm-ah Rahm-ah Hah-ray Hah-ray]
Hail to Krishna, Hail to Krishna;
Krishna, Krishna, Hail, Hail.
Hail to Rama, Hail to Rama;
Rama, Rama, Hail, Hail.
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During chanting of this mantra, it is not unusual to experience, at first, a sense of inner conflict—the inner, Krishna-conscious self responds to the sounding of the Holy Names, while the outer, maya-encrusted self resists any attempt at cleansing. If the chant is intoned with regularity and determination, this disturbance will eventually disappear to be replaced by a marvelous sense of well-being and peace. The timing involved will vary from individual to individual, being dependent upon numerous accumulated factors relating to that particular person’s present life and past incarnations. However, once the process is started, it is seldom reversed.
Om Namah Sivaya
In some instances, a mantra based on the Holy Name of Shiva, the destroyer of negativity, is thought to be even more powerful than the Hare Krishna chant, particularly when employed to disperse misguided and destructive personal illusions.
This ageless invocation is said to have been composed thousands of years ago by the great Siddha Yogis, or “Perfected Beings” who were particularly adept in the strictly controlled use of psychic forces for spiritual purposes. The Siddhas are acknowledged as having rediscovered a direct way of reaching a spontaneous awareness of universal consciousness, which had for thousands of years been buried under masses of abstract scholarly learning and monastic practice. Siddha yoga is very much a “hands on” discipline which uses mantras and meditation as tools to attain personal awareness.
The mantra Om Namah Sivaya was much used in recent times by the revered Siddha masters, Swami
Dispersing Negativity 1183
Muktananda and Swami Sivananda, and is still sung constantly by their many disciples. Swami Muk-tananda’s interpretation of Om Namah Sivaya placed it as a chant invoking the supreme (teacher), the “Self of All.” According to Hindu lore, the Lord Shiva is acknowledged as dispenser of gifts of the soul and the transforming deity who destroys negative tendencies in preparation for personal renewal and/or transformation. The mantra Om Namah Sivaya serves to draw towards the user the power needed to attain effective balance in the three gunas^ or human-based characteristics of life. These are:
* Sattva: knowledge, wisdom, happiness, light and harmony
* Raja: passion, desire, the need for action
* Tama: ignorance, negativity, inertia
The three gunas are active in our lives at all times and the preponderance of one over the others determines any individual’s character and/or path of destiny. Ideally, the gunas should be well balanced, although, paradoxically, it is a preponderance of sattva which will ultimately lead to illumination.
The prime lesson to be learned here is that we must be prepared at all times to let go of out-of-date concepts and beliefs, and be ever ready to accept new challenges and capitalize on fresh opportunities for growth and service to our fellows.
As with the Hare Krishna mantra, but usually in a perceptibly more severe fashion, use of Om Namah Sivaya can bring with it a certain amount of personal suffering prior to an opening up of the inner consciousness. This suffering is, under most circumstances, of a psychological nature and only occurs during that period when long-suppressed negative emotions and attitudes are still being sorted out and dealt with. Thereaf-
■>'n M
184 ! Words of Power
ter, once the dross covering the inner spiritual light has been cleared away, the reward for those who are prepared to endure possible initial discomfort is enormous and wonderfully uplifting.
When using this mantra, do not become alarmed if the body’s limbs begin to move spontaneously. This is all part of the cleansing process and the condition will soon pass. If it does persist, rest and meditate awhile before continuing with the mantra chanting.
It has been our own experience and that of others for a blue light to appear to the inner eye while chanting Om Namah Sivaya with eyes closed. This is a sign of breakthrough—of contact with the Divine Self. Concentration upon this blue light within the head will usually lead to inspirational promptings from the higher self, which is in contact with the realms of the great Siddha Masters.
There are a number of melodic versions of this important supplication to the Lord Shiva. Sai Baba devotees, for instance, prefer to chant it over and over at a quick tempo. However, of the various chants in different languages used by myself and my wife (a yoga teacher) during more than 20 years of mantra practice, Om Namah Sivaya has proved to be one of the two or three most effective when sung slowly —dragging out each syllable as if it were a mantra on its own.
This is, incidentally, similar to the method used on occasion by the late Swami Muktananda and his many followers around the world. An aid to pronunciation follows:
Om Namah Sivaya
[Aaaaaauuuuuummmmmm Na-mah-aaah Sseeva-
ah-ah-ah-yah!]
Om, reverence to the Name of Shiva
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The sacred symbol Om and the Hindu trinity: Brahma (center);
Vishnu (left); Shiva (right).
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Sarasvati—Goddess of Learning
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The Three-in-One Mantra
According to Hindu mythology, the deity Dat-tatreya was the son of Atri, one of the Prajapatis, the ten beings created by Brahma in order to carry out the detailed creation of the world, and his consort Anasuya. More importantly, Dattatreya was reputed to have been a triple-incarnation involving all of Brahma, Vishnu and Shiva.
Chanting of the “Three-in-One mantra” dedicated to this threefold manifestation of the Supreme creates for the user an activation of all of the qualities embodied in the names of the three named principle Hindu deities: righteousness (Brahma), proper activity (Shiva), and universal love (Vishnu).
It also serves to confirm the inseparable relationship existing between each of the numerous aspects of living and service.
The energy released through correct intonation and concentrated use of this chant attracts to the supplicant firm direction in life, clear inspirational thought, and manifold protection in every circumstance.
Its immediate effect on the user is warming, uplifting and vitalizing. This mantra is a great “energizer,” especially useful when self-motivation needs to be cultivated.
Om Sri Dattatreyaya Namah
[Aum Ssree Dah-tah-trey-yai-ah Nah-mah]
Om, Honor the name of Dattatreya
Honor to the Great Sarasvati
Hindu deities represent visible attributes of the one Universal Force and, of the numerous gods and
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goddesses of India, the striking Sarasvati, consort to the Hindu first deity Brahma, is known as the patron of learning, eloquence, music and the arts.
Sarasvati supplies the creative knowledge that backs up the self-motivational qualities exemplified by the creator-god Brahma. She is also a role model for the “Universal Mother,” Devi.
The mantra noted below, which incorporates the name of Sarasvati, will aid the user, not only in eventually gaining some perception of the universe and how it operates, but in personally experiencing some of its many mysteries.
Stimulation of the intuitive faculty and unfold-ment of artistic expression may also become manifest, and this action will serve to alleviate any negativity in the make-up, fitting the chanter for confident activity in the material world. As is the case with the Three-in-One mantra, use of this tribute to Sarasvati fosters self-confidence and self-motivation on all levels.
Om Sri Maha Sarasvatyai Namah [Aum Ssree Mah-hah Sahr-ah-svaht-yai
Nah-mah]
Om, Honor to the Great Sarasvati
Kali and the Great Ages
According to Hindu tradition, there are, in human terms, four “Great Ages” or Yugas of varying lengths from around 432,000 to 1,728,000 years.
The first Great Age, Kritayuga, lasts for 1,728,000 years and is known as the perfect “Golden Age” when Dharma, deity of justice, walks on all of his four legs.
The second is called Tretayuga, extends for 1,296,000 years, and is marked as a slightly less happy
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Kali—Goddess of Destruction
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period when Dharma walks on only three legs.
Third comes Dwaparayuga (864,000 years), with Dharma balancing on only two legs and, with virtue half absent, problems for humanity abound.
At present, we live in the fourth Great Age called Kaliyuga (432,000 years), the “Age of Destruction.” At this time, with Dharma perched precariously on only one leg, our social and spiritual lives are destined to sink to their lowest point.
This unhappy situation is apparently set to continue until the advent of the next incarnation of Vishnu as Kalki, an avatar or perfected one. The mythological vision of this coming of Vishnu sees him riding a white horse, bearing a drawn sword, and blazing across the sky (a possible analogy for a great comet or other hitherto undiscovered heavenly body).
This current fourth Great Age is named after Kali, goddess of destruction, and one of the several aspects of the female consort allied with Shiva, who himself symbolizes the transformational principle, as exemplified in the mantra Om Namah Sivaya.
One of Kali’s other manifestations is as Durga, the “Earth Mother,” who, like Shiva, assists to eradicate all unwanted and played-out emotions and conditions.
A short mantra using the name of Kali is designed to help disperse all manner of negativity swiftly and effectively, and can be chanted anywhere in time of urgent need.
Om Kali [Aum Kah-Lee]
Om, Honor the Name of Kali
14. MORE MANTRAS OF INDIA AND TIBET
If you recite a mantra with Love,
God will accept it. —Sathya Sai Baba
The mantric phrases that follow are designed for various applications. Brief explanations of the use and value of each are given as we move along, but as many of the chants are loosely linked with the concepts known as reincarnation and karma, some explanation of these important terms may be necessary.
Reincarnation and Karma
For the most part, spiritual philosophy in the East is indivisible from a firm belief in reincarnation and karma. A story that serves to illustrate these concepts concerns a particular Indian gwrz/ who was once sorely pestered by a young man, who complained incessantly about financial and other worldly problems. Showing no interest in the man’s material affairs, the guru asked him one question only: “How good is your credit in God’s bank?”
The shamefaced young petitioner, who held some basic knowledge of Hindu beliefs, knew immediately
what his spiritual master was referring to—the omni-
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present and irreversible Law of Karma.
Life is full of challenges, and we may sometimes wonder at their origin. Most people in the East, and an increasing number in the West, hold some belief in the doctrine of reincarnation—the system whereby our souls transmigrate on death of the body and take up residence again in a newborn child, carrying with them the essence of the wisdom (and the folly) of previous lives.
Out of the reincarnation principle flows the concept of karma, whereby, in the simplest interpretation of a rather complicated process, we are rewarded in our present existence for good works done in past lives and, conversely, chastised for our ill-doing in former times.
Although their actual operation may be rather more complex, when put simply, the karma and reincarnation doctrines explain in an easy-to-understand fashion the reason for those many unexpected disasters (and strokes of good fortune) which appear to be unrelated to anything attempted or experienced in a particular single lifetime.
In Sanskrit, the word karma is derived from the word kri, which means “to do.” The essential meaning of the expression karma is, therefore, “to work.” If the Hindu belief in karma is to be accepted, it would appear that, in order to comply with its injunctions, we have to work at our defects and in our service to others—and sometimes even suffer a little—so as to attain true wisdom and reach a balanced and orderly life.
A Mantra for Victory and Success
A mantra said to specially aid in the wiping out of past karma—and to promote victory and success in the everlasting battle with dark or negative forces—in-
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vokes the name of Skanda (also Subramanya), Com-mander-in-Chief of the Heavenly Army in the Hindu pantheon. It is intoned as follows:
Om Sri Skandaya Namah [Aum Ssree Skahn-dai-ah Nah-mah]
Om, Honor to Skanda
Use of this chant does not always bring immediate results, and perseverance over a long period may be required. What generally occurs is the user receives during chanting and meditation sudden flashes of insight relating to action that can be taken to redress personal karmic imbalances and disturbances. If this guidance is faithfully adhered to, life can take on a new aspect as old and outworn conditions are dealt with and eliminated.
Sun Mantra
The symbolism of the sun as representative of heavenly bounty is prevalent throughout the mystical traditions of both East and West. Included in the Hindu religious system are several so-called “sun mantras.” These are usually intoned at sunrise and are designed to draw health and vitality towards the chanter.
A favorite sun mantra for the promotion of good health is:
Om Suryaya Namah [Aum Sur-yai-ah Nah-mah]
Om, Salutations to the Supreme
It is recommended that this sun mantra be chanted prior to early morning yoga or other exercises, preferably facing the rising sun and with arms outstretched.
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The Theosophical Mantra
The Theosophical Society was founded by the colorful and multitalented Madame Helena Petrovna Blavatsky in 1875, and still flourishes in many countries around the world over 100 years later. The word theosophy means “divine wisdom” or, as Blavatsky would have it, “the wisdom of the gods.” The basic tenets of the organization formed by her revolve around the attainment of true, unfettered knowledge.
The ancient Hindu Hitopadesa informs us:
Amongst all things, knowledge, they say, is truly the best thing; from its not being liable ever to be stolen, from its not being purchased, and from its being imperishable.^
From knowledge issues truth, and this concept of truth and knowledge above all else is repeated throughout the Hindu scriptures. It is also echoed in the foundation principles of Theosophy and is clearly exemplified in the Society’s official Sanskrit mantra, which translates: “There is no religion higher than Truth.”
Satyam Nasti Paro Dharma [Saht-yam Nahs-tee Pah-roh D’hahr-mah]
There is no religion higher than Truth
Vocalization of this phrase serves to program the subconscious into accepting the principle that truth and knowledge are essential ingredients in all successful effort on this earthly plane. Continued use will manifest in a personal build-up of determination to assess the truth in all situation—and then to act in accordance with that truth.
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Two Prosperity Mantras
Most people will contend that it is generally a more simple task to reach a state of spiritual peace when material affairs are already in good order. There are numerous Sanskrit mantras directed at achieving a balance of spiritual and material prosperity, two of which are here recommended to the reader—the first calling upon the grace of Krishna, “the one who attracts,” and the second on Devi, consort of Shiva, the Hindu deity of personal transformation.
Krishna, Krishna, Maha-Yogin [Krish-nah Krish-nah Mah-hah-Yoh-gihn] Bhaktanama, Bhayamkara
[B’hakh-tah-nah-mah B’hah-yahm-kah-rah] Gouinda Paramananda [Goh-vihn-dah Pah-rah-mah-nahn-dah]
Sarua Me Vishamanaya [Sahr-vah Mey Vih-shah-mah-nah-yah]
O Krishna! Krishna!
Thou art the Greatest Teacher;
O Govinda! Thou art Bliss.
I Pray Thee, Favor Me.
This mantra is a particular personal favorite which, in its very construction, lends itself to song instead of mere enunciation. Try singing it out loud, without worrying about any specific preconceived tune. It was our own experience when first using this mantra many years ago that a tune became immediately apparent, as if it were somehow a built-in component of the word structure.
For us, this great supplication to Krishna, who symbolizes the Universal Teacher in the same way as
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does Jesus, has always produced results, particularly when invoked in times of real and not imagined material and spiritual distress. Its bounties are usually twofold: a heightening of spiritual consciousness (as if a “gift of the spirit” is bestowed); and a stimulation of insight into methods which may be employed to alleviate and improve individual material conditions.
All of the above is also true when applied to the second of these favored “prosperity mantras” which invokes the name of Devi (or Dehi), who, like her consort Shiva, is a destroyer of negativity and a transformer of the human condition, the goddess of two aspects— fierceness and benevolence:
Ayurdehi Dhanam Dehi Vidyam Dehi [Ah-yoor-day-hee D’nahm Day-hee Vihd-yahm Day-hee]
Maheshvari Samastamakhilam Dehi [Mah-hesh-vah-ree Sah-mahs-tah-mahk-heel-um
Day-hee]
Dehi Me Parameshvari [Day-hee Mey Pah-rah-mesh-vah-ree]
Grant me long life, wealth, knowledge,
O Goddess Devi, Consort of Shiva.
O Goddess Devi, give me all that I desire.
Mantra of Peace
Om Santi is known as the Great Mantra of Peace and is another of those chants very familiar to Westerners because of its use by so many individuals, groups and organizations throughout the world. As is the case with two Middle Eastern counterparts, the phrase Om Santi is used both as an invocation for peace and as a personal greeting. It is also remarkably
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similar in sound and in content to the Hebrew shalom and the Arabic salaam.
The sounding of this beautifully cadenced mantra provokes conditions of both inner and outer peace:
Om, Santi, Santi, Santi [Aum Ssan-tee, Ssan-tee, Ssan-tee]
Om. Peace! Peace! Peace!
There is an especially important and very beautiful Sanskrit mantra which includes Om Santi as a closing affirmation, and which is dedicated to the eternal quest for transition from Darkness into Light, from the physical into the super-physical and immortal:
Aasathoma Satgamaya [Asa-t’homah Sat-gama-yah]
Thamasoma Jyothirgamaya [T’hama-sohma J’yoi-t’hir-gam-ah-yah] Mrthyor Maa Amiritham Gamaya [MVit-h’yorr Ma-ah Ahm-ree-t’ham Gam-ah-yah]
Om, Santi, Santi, Santi [Aum, Ssan-tee, Ssan-tee, Ssan-tee]
From the Unreal, lead me to the Real;
From Darkness, lead me to Light;
From Death, lead me to Immortality;
Om. Peace! Peace! Peace!
Aiding the Departed
As is the case elsewhere in the world, much store is placed in the East, and India specifically, on the use of correct procedures in the dispatch of the departed— rituals that will aid the party concerned in safely negotiating the transition from this sphere of existence into
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the next. In line with the beliefs of the Jews and others, people of the Hindu and other Indian traditions consider it of express importance that the deceased leave this world with the sound of sacred syllables on their lips and in their ears. Mantras are thus inevitably used at Hindu funerals. Much the same as a devout Jew would wish to pass from this life into the next uttering the Sh'mah, the Hindu will meet death with a smile while intoning Sri Ram, Sri Ram. Mahatma Ghandi was apparently one great personality who was known to die while voicing the name of Rama. When he was tragically assassinated in January 1948, he fell to the ground murmuring the words “He Ram; He Ram."'
Another sacred sound much used at funerals is the concise Om Tat Sat, which is also intoned as an endpiece to meditation or prayer, something in the manner of the Judeo-Christian Amen. The full meaning of Om Tat Sat can be translated as “Thou art the Inexpressible Absolute Reality.” It is intoned as follows:
Om Tat Sat [Aum Taht Saht]
Another version of the Om Tat Sat mantra incorporates one of the many names of the deity Vishnu—in his aspect as Hari, the “Disperser of Sins.” This chant can also be used as a purification mantra, clearing the mind and senses in preparation for inflow of illuminating thought.
Hari Om Tat Sat [Hah-ree Aum Taht Saht]
Om, The Divine Absolute Reality The simple two-word chant, Hari Om, is fre-
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quently heard at funerals—and on just about every other occasion when people gather together in remembrance or worship.
Hari Om [Hah-ree Aum]
Om, Salutations to Vishnu as Hari
Liberation Mantra
In his book Japa Yoga Swami Sivananda pays special attention to an unusual “liberation” mantra, designed to aid the user in the quest for victory over death, or over the effects of samsara, the universal state of flux in which all beings are doomed to wander for as long as their ego-born delusions of independent existence persist.
This liberation mantra is called the Maha-Mrityunjaya mantra and can aid in the perception of our own physical world as but an infinitesimal fraction of the whole of creation. On a more mundane level, the liberation mantra is said to help in gaining mastery over the complex results of physical mishaps, such as snakebite, lightning, and diseases and accidents of all descriptions. The liberation mantra is dedicated to Shiva and runs as follows:
Om Tryambakam Yajamahe [Aum Trah-yahm-bah-kahm Yah-jah-mah-hey] Sugandhim Pushti Vardhanam [Suh-gahnd-him Push-tee Vahrd-hah-nahm] Uruvarukamiva Bhandhanan [Uru-vah-ru-kah-mee-vah Bahnd-hah-nahn] Mrityor Muksheeya Mamritat [MViht-yohr Muk-shee-yah Mahm-rih-taht]
Stylized portraits of Guru Nanak hang on the walls
of most Sikh homes.
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We worship the three-eyed One (Lord Shiva), who is fragrant and nourishes us;
May he liberate me from death and make me immortal,
Just as the cucumber is severed from its bondage (to the creeper).
Use of the liberation mantra is only recommended to those already well-versed in the principle of universal cosmic responsibility, or universal karma, and who have long practiced use of mantras as a form of stimulating growth into elevated realms of mental and spiritual activity.
Sivananda told his devotees to repeat it 50,000 times on their birthdays!
Many Names of the One
Of the numerous religious groups and sects of India, the turbanned and heavily-bearded Sikhs of the Punjab are among the more colorful in their dress, and in their religious beliefs and practices. The main Sikh precepts include elimination of caste distinctions and the total equality of women. The central place of Sikh worship is the imposing Golden Temple at Amritsar. All Sikh men carry the same surname, Singh, which means “lion.” Sikh women hold the surname Kaur, or “princess.”
The Sikhs trace their origins back to a holy man of the 15th century C.E. named Guru Nanak. Ten great Sikh gurus followed him, the last being the Guru Gobind Singh, who organized the Sikhs into a strong militant group.
The philosophy and doctrine of Sikhism’s founder Guru Nanak was based on a synthesis of the personal
devotion, or bhakti, of Hinduism, the mystical side of Islam, or Sufism, and the ritualistic Tantra yoga of Tibetan and other Buddhists.
Guru Nanak synthesized the basic Sikh creed in the first hymn he composed, the Mool Mantra, which, although not regularly used by us, is included here because of its display of profound truth, put simply and beautifully:
Ik Onkaar Sat Naam Karta Purkh Nirhhau Nirvair Akaal Moorat Ajooni Sahh Gur Parsad
There is only one God Truth is his name He is the creator He is without fear He is without hate He is timeless and without form He is beyond death—the enlightened one He can be known by the Guru’s grace
Sikhs are now found in almost every part of the world, with temples in many Western as well as Eastern countries. The keynote of Sikh worship is the conviction that God is singular and personal, a transcendent Creator with whom each individual is duty bound to form an intimate relationship. In line with Judeo-Christian, Islamic and other beliefs, the Creator is considered formless (nirankar), eternal (akal), and ineffable ialakh).
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The Moot Mantra
In addition, and again in consort with most of the other major religions, Sikhism teaches that God is capable of many forms of manifestation and is S3anbol-ized by many names.
There is another well-known Sikh mantra which illustrates the essential Oneness of the Supreme Being, despite the use of many names to describe Him. Intonation of this mantra reminds the user that although life may appear to consist of many levels of manifestation there is an underlying unity linking all things. It is vocalized as follows:
Eck Ong Kar Sat Nam Siri Wha Guru [Ehk Ohng Karr Saht Nahm Ss-iree Whah Gu-ru]
The Supreme is One, His Names are Many
Tibetan Mantras
For the most part, Tibetan worship is based on the principles and traditions of Buddhism, whose founder, Siddharta Gautama, lived in a time period spanning the 6th and 5th centuries B.C.E. Son of King Sud-dhodana and Queen Mahamaya, the young man who was to become known as Buddha lived his early life in the foothills of the Himalayas, protected by his father from the negative influences of the world. Destined at first to become a king like his father, he was reared and schooled as a prince.
In a fairy-tale-type scenario. Prince Siddharta married a beautiful princess, Yasodhara, who bore him a son. But it was soon after this happy occasion that Siddharta first became aware of the suffering that existed beyond his protective home circle. On his initial foray into the outside world, he met up with a succession of cases of misery and illness before he came upon
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a wandering, shaven-headed beggar in a yellow robe who, despite his poverty-stricken circumstances, radiated peace and goodwill. This was the turning point for the young prince who, in material terms, appeared to have the world at his feet.
It was the time of Siddharta Gautama’s great renunciation, when he left his wife and infant son to take up the life of an ascetic.
Siddharta then received what has become known as the great enlightenment while meditating under a Bodhi-tree by the river Gaya, and began preaching to his companions, the first Buddhist order of monks.
The basic precept expounded by Gautama Buddha pinpointed desire as the root cause for humanity’s suffering. Buddha taught that this desire could be controlled by following the “Middle Way” between the two extremes of physical sensuousness and spiritual asceticism.
One of the numerous sayings of Buddha tells us that the wise test gold by burning, cutting and rubbing it (on a piece of touchstone). What is implied is that mere acceptance of his words out of simple regard for the Buddha is not enough—they should be examined thoroughly so that their verity may become manifest in practice as well as in theory.
For the Tibetans, the importance of speech, or chos-adon (“verbalized religion”), in ritual observance is paramount. Contemplation and meditation alone are not enough. In his daily routine, the Tibetan lama, or priest-monk, moves from attitude to action, exercising constantly the power of sound in the form of chanting. Up to the 7th century, Tibetan religious life was dominated by the shaman, the magician-priest. Thereafter, Buddhism began to take hold, and the Tibetans developed their own observances and practices based
Buddha experiences “The Great Enlightenment”
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on the original Indian systems, including that known as Tantra. The Tantras are the scriptures of a Hindu school of mysticism that played a large part in the development of Tibetan Buddhism. Later developments saw a partial domination of the Tantra system by a sexual element which emphasized the spiritually creative potential inherent in the psychic tension existing between male and female. The basic Tantra way is threefold, embracing the use of mudras, ritual gestures, yantras, diagrams of symbolic meaning, and verbalized mantras.
The universally used “Jewel in the Lotus” mantra, already discussed in Chapter 12, is one of an almost countless selection of specifically Tibetan mantras, tabulation of which would require an extended separate study. A small selection of chants used by the Tibetans to, amongst other things, calm what they call the namtok, literally “the chattering mind,” follows. Two of these chants are:
Om Ah Hum [Aum Ah Hum]
Come towards me, Om
Padma Siddhi Hum [Pahd-mah Sih’d-hee Huhm]
Come to me, O Lotus Power
The next two mantras, placed together with Om-Mani-Padme-Hum, complete the trinity of so-called “essence” mantras of the “Three Protectors of Buddhist Lamaism.” As already recorded, Om-Mani-Padme-Hum is the mantra of the Bodhisattva of Compassion, Avalokitesvara (Chenrazee). The second of the great Lamaist triune is the mantra of the Bodhi-
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sattva Manjughosha (or Jampalyang), the “God of Mystic Wisdom.” It runs as follows:
Om Wagi Shori Mum [Aum Wah-gee Sho-ree M’m]
Hail to the Lord of Speech!
The third principle Buddhist mantra is that of the Bodhisattva Vajra-Pani (or Chakdor), “The Wielder of the Thunderbolt.” The ‘“thunderbolt” (vajra or dorje [dorr-jay]) referred to is similar to that wielded by the Hindu Vedic deity Indra, shaped like an omega eight on its side, and also holds certain phallic connotations.
Om Vajra Pani Hum [Aum Vaj-rah Pa-a-nee Hum]
Hail to the Holder of the Doije!
Another well-known Tibetan chant is dedicated to the Buddha known as the “Precious Guru” and represents the supreme embodiment of Tantra or ritualistic power:
Om Ah Hum Vajra Guru Padma Siddhi Hum [Aum Ah Hum Vaj-rah Gu-ru Pahd-mah Sih’d-hee Huhm]
The Union and Oneness of Initiation, Inspiration and Expression, teaches us the Power of Fearless Compassion
15. IN THE NAME OF JESUS
If ye shall ask any thing in my name,
I will do it. John 14:14
And they were astonished at his doctrine:
for his word was with power.
Luke 4:32
Other than the Holy Name of God Himself—in times of sorrow and distress, and in times of joyful thanksgiving—no name has been more called upon down the centuries than that of the Jewish teacher who would have been known to his contemporaries as Yehoshua (Joshua) or Yeshua, but is now known universally as Jesus Christ.
Yehoshua translates as “God (Yahweh) saved.” Yeshua means literally “he shall save” or “salvation.” Other versions of these names given in the Bible include: Hosea, Hoshea, Osea and Oshea, all meaning “Deliverer.” Jesus, or lESU, is, of course, a Greek transliteration for Yehoshua/Yeshua. Christ or Christos is also Greek and means “the anointed”—or more specifically “anointed by God,” referring to the Messianic aspect of Jesus. The word Christ also alludes to the apparent kingship of Jesus. In ancient times, the King of Israel was always regarded as the “anointed one,” or meshiach, and the concept of an “End Times” messiah of supernatural form only came afterwards.
209
/o
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Yeshua (Jesus), the Jewish miracle worker who used words of power to cure the sick and raise the dead.
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Jesus the Jew
Historically, Jesus was a devout Jew involved in the contemporary issues of his time. His attitude towards the religious practices and rites of Judaism was firmly grounded in the Temple and the Law, despite his tendency to sometimes circumvent the traditional in favor of the spontaneous, and he was, at heart, a Jew deeply rooted in the religious tradition of his ancestors and wholly absorbed by it.
During the time of Jesus, the Holy Land was filled with different religions and cults, mainly as a result of the Roman occupation which had brought people of many nationalities into Palestine. The Jews themselves, however, were divided up into three main groups (four, if the schismatic Samaritans, unaccepted by other Jews, were to be included), and orthodox Judaism embraced the priestly Sadducees, the more flexible Pharisees, and the ascetic Essenes. Of several smaller splinter-groups, the most important were the Zadokites or Tzaddikim, a remnant group from the days of the Hebrew high priesthood who claimed descent from Aaron, and the Zealots, who were to become famous for their defense of the fortress of Masada around 79 C.E.
There is evidence that Jesus may have been primarily a Pharisee, and it is likely that early on he came under the influence of another famous Pharisee teacher, Hillel—whose main lessons were based on the principle “Do unto thy neighbor as thou would unto thyself.” There is also some probability that at some stage Jesus came into contact with the strict desert-living order known as the Essenes. Essene scribes compiled the famous Dead Sea Scrolls, found during our own century in a cave at Qumran in the Negev Desert
f
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opposite the ruins of one of their settlements. The scrolls reveal, among other startling facts, that some of the teachings of Jesus echo those of a personage referred to by the Essene scribes as the “Teacher of Righteousness.” An example is the famous Sermon on the Mount, attributed to Jesus, but containing ideas and teachings, and even whole sentences, written a century before by the Qumran scribes.
The Tzaddikim
Jesus almost certainly also came into contact with the Zadokites or Tzaddikim, and it is highly likely that he even was one of them. A tzaddik was considered by the Jewish sages to be the supremely righteous person who bows to the will of the Father, lives by the Torah, and performs charitable works—that is, someone who fully observes both the letter and the spirit of the Law. The true tzaddik is said to be able to control the laws of nature and to influence others merely by his presence.
At any given time there are said to be 36 especially righteous tzaddik instructors on Earth, who may be of any faith, and who are spread around the world in various countries, their true identities usually hidden. By their very existence they sustain the world through their daily link with the Divine Presence or Shekinah, Collectively, this group of ultra-righteous tzaddikim embodies the Tree of I^owledge that is necessary for humankind’s continuing evolvement into a more superior state of being. Moreover, one of the 36 is considered a Priest of Righteousness, or Kohen Tzaddik, which is something in line with a living Messiah—a role that can easily be applied to Yeshua/Jesus. Jesus, in any event—and as was the case with characters like Abraham, Isaac, Jacob and Moses before him—can be
In the Name of Jesus 1213
considered a tzaddik gamur, a great one who fulfilled the whole Torah from aleph to tau.
Until well after his death, when Paul appeared on the scene to start the Christian Church, there appears to be no hint that Jesus was anything more than a man, albeit an extraordinarily righteous and charismatic personality, for there can be no challenging the fact that he was a uniquely remarkable person who, at times, displayed definitively super-human or magical characteristics. Although none of the Gospels refer to Jesus as God in totally unambiguous terms—not even the writings of Paul, generally accepted founder of the Christian Church as we know it today—the title “Very God” was conferred upon him at the Council of Nicea, presided over by Emperor Constantine in 325 C.E. At the time Constantine was a High Priest of the Sol In-victus sun-worship religion, and it is certain that, with probably political motive, he brought pressure to bear on the delegates to the council to mix elements of Christianity with the Sol Inuictus cult. The result was an image of Jesus that became visibly removed from that of the original essentially Jewish teacher, albeit a rather unorthodox one.
The Power of His Name
The use of the name of Jesus down the centuries has carried with it an enormous power far and beyond what may be reasonably expected of the name of any mere mortal. The most quoted witness to the great authority inherent in the name of Jesus is that given by Paul in his Epistle to the Philippians (2:9 and 10). In this text Paul reminds his readers that Jesus himself remained obedient to God, even unto death. He goes on to state:
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Wherefore God also hath highly exalted him, and given him a name which is above every other name: That at the name of Jesus every knee would bow, of (things) in heaven, and (things) in earth, and (things) under the earth.
PauTs emphasis seems to be that the vibrations contained within the name of Jesus exhibit a unique command or control over the whole of creation, with even spiritual beings of a higher order than humankind remaining subject to him. The name of Jesus has been used by priests and laypeople in healings, exorcisms and intercessions for nearly 2,000 years. There is also ample evidence in old magical texts that in his own lifetime his name was more frequently employed than any other by Middle Eastern magicians in their spells—and even by certain Jewish mages after his death, as is told in Acts 19:13:
Then certain of the vagabond Jews, exorcists, took upon them to call over them which had evil spirits the name of the Lord Jesus, saying. We adjure you by Jesus whom Paul preacheth.
In the New Testament, there are many references to the authority of the name of Jesus. His personal instruction to his disciples to use it as a name of power is clearly recorded in John 14:13-14: