Aum Rajnyai Namaha!

4

Rajarajeshwari

Ya Devi sarvabhuteshu, kshuda rupena samsthita,

Namasthasyai, namasthasyai, namasthasyai namo namaha!

O Goddess who resides in all creatures in the form of hunger,

Hail to thee, hail to thee, all hail to thee!

Mani Dwipa, the esoteric island to which Brahma, Vishnu, and Shiva were transported, is where Maha Devi resides with her attendant shaktis, which are numerous in number. It is situated somewhere in etheric space far above the worlds of the gods, so it is known as Sarvaloka (that world from which all other worlds emerge).

The Devi Bhagavatam gives a graphic description of the island. It is set in the middle of an ocean known as Sudha Samudra (Sea of Nectar). Many types of brilliantly hued fish play and leap about in this ocean. The shores of the island are made of the dust of millions of gems and that is how the island got its name: Mani Dwipa, or the Island of Jewels. (The Sanskrit word mani means “gem.”) The trees that line the beach have clusters of jewels hanging from them, and the sand is made of jewel dust. An aerial view of this island shows that it is designed in the shape of a yantra (mystical mathematical figure). There are many enclosures, some circular and some square in shape. The squares cut into the circles and thus make the yantra.

A few yards away from the beach is an iron enclosure with four gates. Many guards are stationed here. All the gods who come to this mystic island must alight from their vehicles at this place to be taken forward through a series of enclosures by Devi’s attendants.

The walls of the second enclosure are made of white copper. In this space are many trees laden with fruit and fragrant flowers. Forests, gardens, and lakes abound here, with cuckoos cooing sweetly and stately swans and other aquatic birds swimming in the lakes.

The third enclosure is square in shape and is made of copper. The forests here are filled with kalpavrikshas (wish-fulfilling trees), bearing golden leaves and flowers and fruits of gems. The lord of the spring season is the king of this place. His throne and ornaments are made of flowers, and a canopy of flowers is held above him. His food is the nectar of a thousand newly opened buds. The sweet perfume of full-blown blossoms drenches the air. Everywhere is the beauty of the vernal season.

The next enclosure is made of lead. Within it is the santanaka tree, whose flowers look like gold and have an intoxicating perfume that spreads to several miles around. This tree is always in full bloom, and its fruits are luscious and sweet. The king of the summer season lives here. It is very hot, and the inhabitants have to seek the shade of the trees and anoint themselves with sandal paste in order to remain cool. All of them carry flower fans in their hands. Many yogis can be seen practicing severe austerities in this place.

The walls of the fifth enclosure are made of brass. The prominent tree here is the sandalwood, and the ruler is the rainy season. Lightning flashes from his amber eyes and rain clouds are his armor; thunder is his voice and the rainbow his weapon. There is a constant drizzle here. The trees have new leaves all through the year and are entwined by tender buds and creepers. The rivers are ever full and flow swiftly and forcefully. The pools are filled with muddy water, like the minds of materialistic people!

The sixth enclosure is made of five types of iron. The gardens here are covered with beautiful trees, flowers, and creepers. The ruler is the king of the autumn season. Many siddhas or perfected souls live here.

The seventh enclosure is made of silver. The gardens here are filled with parijata trees, the flowers of which drench the air with their sweet perfume. The ruler is the king of the hemanta season, which comes immediately after autumn and is characterized by pearly mists and clouds.

The eighth enclosure is made of molten gold. In the center is a garden of kadamba trees. They are covered with fruits and flowers from which honey drips constantly. The ruler here is the king of winter season.

Next comes the ninth enclosure with walls of topaz. Even the drains and roads here are made of topaz. Various enclosures made of many types of gems connect to this space. The regents of the quarters reside in the different directions. Indra and his retinue live on the eastern side. The southeastern enclosure belongs to Agni, the god of fire. To the south is the abode of Yama, the god of death, and in the southwestern corner dwell the demons. In the west resides Varuna, the god of waters and drink; his vehicle is the king of fishes and his subjects are all aquatic animals. In the northwestern corner dwells Vayu, the wind god; yogis who have practiced pranayama or control of breath live with him. On the northern side resides Kubera, the corpulent king of the yakshas, the guardians of wealth.

The northeastern corner is the abode of the god Rudra. His eyes are always red with anger and his attendants have distorted faces. Around his neck is a garland of skulls, and tiny snakes are twined around his fingers. He wears a tiger skin and his body is anointed with the ashes of the dead. Bhadrakali is his mate. The sound of his damaru (drum) reverberates through the universe in the form of thunder, crashing waves, and furious storms. Spirits, ghouls, and phantoms surround him.

The walls of the tenth enclosure are made of coral that is deep red, the color of the rising sun. All the gates, temples, and arbors here are made of the same material. Here the sixty-four kalas or subsidiary powers of Devi reside, each with her separate vehicle and weapons. Fire falls from their lolling tongues, and their eyes are red with anger. Wherever there is war, death, and destruction, they will be present. They are ever ready to swallow the entire universe at the command of Maha Devi.

The eleventh enclosure is made of hessonite. The whole ground is covered with the dust of these gems. Here live the thirty-two mahashaktis or super forces of Devi, adorned with many ornaments and holding weapons of destruction. They are always ready to fight, and any one of them could destroy a million universes if Devi so commands. They can never be defeated at any time. They will always be present at the time of universal destruction.

The twelfth enclosure is made of diamonds. The entrance gates are also of diamonds, and even the trees are resplendent with diamond drops. This is the residence of the maids of the Bhuvaneswari, the goddess of all the worlds. Her eight main ladies-in-waiting dwell on the eight sides of this enclosure.

The thirteenth enclosure is made of cat’s-eye. The courtyards and houses here are all made of the same gem. This is the residence of the Sapta Matrikas or seven mothers, known as Brahmaani, Maheswari, Kaumari, Vaishnavi, Vaarahi, Indrani, and Nrisimhi. Their forms are similar to those of Brahma and Vishnu and his avataras (incarnations). They are fierce goddesses, always present at the time of wars. At the four gates of this enclosure the various vehicles of Maha Devi are stationed, always ready to start at her slightest command. These vehicles are not merely chariots but also include swans, lions, peacocks, and bulls.

The fourteenth enclosure is made of blue sapphire. In the center of this enclosure is a huge lotus with sixteen petals. On each petal resides one of the sixteen main shaktis of the great goddess. All are dark blue in color, like sapphire. They are in charge of all the other shaktis.

The fifteenth enclosure is made of pearls. Courtyards, roads, and houses here are all of pearls. Here again is a huge lotus; this one has eight petals on which reside the eight shaktis that are the ministers of Maha Devi and her jnana shaktis or powers of knowledge. They know everything that takes place in the entire universe, and it is their duty to keep her informed at all times.

The sixteenth enclosure is made of emeralds. It is a hexagonal yantra, and the goddesses Gayatri and Savitri, the Vedas and the Puranas live in every corner of the hexagon. Ganesha resides here in a special corner.

The seventeenth enclosure is made of opals. The goddesses of the five elements reside here. The body of each has the color of the elements over which they preside.

The eighteenth enclosure is made of the navaratnas or nine precious gems. Here dwell the different avataras of Maha Devi, the incarnations she has taken in order to kill various demons.

The nineteenth enclosure is known as the chintamani griha, which is made of the precious gem known as chintamani that is capable of fulfilling the wishes of all devotees. All the artifacts within this enclosure are made of the same gem.

The twentieth enclosure lies within this chintamani griha and is the crowning palace of the Rajarajeswari (the queen of queens). It is called the ratnagriha or house of gems. It is situated in the mathematical center of all the enclosures.

Rivers of gems and other precious metals stream from all sides of this palace and flow into the Sudha Samudra (Sea of Nectar). On all sides flow rivers of ghee, milk, curd, honey, nectar, pomegranate juice, and more. Different parts are lit up with the luster of the different jewels to be found in them, such as emeralds, sapphires, and diamonds.

Even the sky reflects the glory of these jewels. The mountains looming in the distance are made of gems and jewels. All the pools are filled with beautiful red lotuses.

The enclosure has four halls comprised of canopies that look like rainbows supported by pillars that shine like the sun, moon, stars, and lightning. These halls are known as the Hall of Beauty, the Hall of Liberation, the Hall of Wisdom, and the Hall of Solitude. They are surrounded by perfumed gardens overflowing with flowers. When she wants to listen to the songs of all the creatures of the universe, sung to her through the mouths of her maids, Maha Devi sits in the Hall of Beauty. When she wants to give liberation to her devotees, she sits in the Hall of Liberation, and when she expounds on the wisdom of the ages, she sits in the Hall of Wisdom. Seated in the Hall of Solitude, she gives commands to her ministers.

In the center of these halls is a dais in the shape of a shatkona yantra or mystical six-sided figure of two triangles intersecting each other. The throne of Maha Devi, which is made of chintamani, is placed in the center of the dais. The ten steps leading to this throne are made of the tattvas or primary qualities that make up the universe. Brahma, Vishnu, Rudra, and Shiva support the four legs of the throne.

Maha Devi sits here in all her glory. She is Rajarajeswari, the queen of queens. She is also Tripurasundari, the most beautiful in all the worlds, who is beyond the triple bonds of the physical, subtle, and causal dimensions. Though she is the ancient one, she appears to be in the full bloom of youth. Her face has the brilliance of a thousand suns. She has three lotus-petaled eyes. The third eye, known as the eye of wisdom, is located in the center of her pearly forehead and opens only when she wants to destroy something. Her other two eyes are filled with compassion and overflowing with love. Below the third eye is the red mark known as a tilaka, made of musk and saffron. Her nose ornaments are tiny crystal replicas of the planet Venus, which cast their rainbow lights over her rose-tinted cheeks. Her lips are red as the bimba berry. Her lustrous locks are twined with jasmine flowers and crowned with a tiara, which has jewels in the shape of the sun and moon. Her earrings are shaped like the Sri Chakra (the mystic yantra, or mathematical figure, which denotes the Maha Devi) and enhance the beauty of her small, delicate ears. Her slender neck is adorned with necklaces of various shapes and wonderful hues. A jewel-studded bodice covers her full and enticing breasts. Her waist is adorned with a delicately wrought jeweled girdle with golden bells that tinkle as she moves. Her armlets are made of burnished gold, studded with rubies. Her wrists are heavy with bangles with tinkling bells. Her long, delicate fingers with pink-tipped nails have curiously carved rings set with precious gems. She has four hands, which hold the noose, the goad, the bow and arrow, and the abhaya mudra or the sign of grace and fearlessness. Her voice is sweeter than a lute.

We should now try to understand the esoteric significance of this island, the exalted and mysterious residence of Maha Devi as described in the Devi Bhagavatam. The deep blue tranquil waters that surround it are the same waters that surrounded Brahma when he first came to be, the same waters in which Lord Vishnu lay recumbent on the cosmic serpent (see chapter 3). This ocean is the Sudha Samudra, the Ocean of Nectar, whose waters are the elixir of immortality and endless life energy. Though it appears dormant, like the universe, which modern physics has only recently understood is not static, the ocean is full of infinite potential. It is the field of all possibilities and is capable of unlimited combinations and permutations. It contains the germs of all conflicting opposites, all the pairs of cooperating antagonisms. All these energies evolve and concentrate at the center, which is the Island of Jewels, the abode of Maha Devi. The ocean, which represents universal consciousness, is comparable to the subtle element of akasa or ether that constitutes all space and is the stage for all subsequent evolution and development.

The island is the metaphysical point of power. It is the bindu or point that spreads, unfolds, expands, and becomes transmuted into the tangible realm of our limited consciousness and this universe of myriad forms. This bindu is the first concentrated drop of the dynamic force of the universal divine substance. From it the creative process starts as a primeval sound or nada and spreads out in waves of beauty and bliss. Therefore the universe is nothing but the projection of Maha Devi’s majesty and glory. The island, which is shaped in the form of a yantra, has to be visualized and meditated upon with great devotion before it yields its esoteric secrets.

Maha Devi is also Mula Prakriti, the power behind the Purusha, the original force that projects this phenomenal world. The weapons she carries have an esoteric meaning apart from the obvious one of being used to kill demons. The bow and arrow denote the power of her supreme will, known as iccha shakti. The noose is usually the lasso, which catches and fetters the enemy. This denotes jnana shakti, or the master force of the intellect that seizes and fixes with a firm hold on its objects. The goad, which is used for urging a beast to move, denotes action and thus kriya shakti. These are the three shaktis that Maha Devi uses for creating the objective world of duality; without them, creation would not be possible. The abhaya mudra is the sign of grace and fearlessness. One who surrenders to her will be given freedom from fear.

The modern mind might dismiss these descriptions as the wild imaginations of the ancient rishis, bound as they were to the infancy of the world. But when we see the consistency and uniformity of the descriptions in the various Puranas, we are able to accept the truth that these are recorded impressions created by the powerful impact of vivid and similar spiritual experiences. The portrayal is symbolic, and in inner worship the sadhaka (one who practices spiritual disciplines) will be able to unravel the truth represented by the symbols.

Every aspect of the Island of Jewels is meant for meditation and visualization in the innermost recesses of the heart. At first it appears to be a vindication of our hidden desire for the splendid and the beautiful. But in time we will come to realize that in its total acceptance of the beautiful life (which appears almost as if we were going against the usual norms of spirituality to extol a life of extreme pleasure), it is actually as stern as the total negation of life that is the way of the ascetic. In India this pendulum of thought has always existed. On one hand we find the pessimistic criticism of life that leads to practices of the severest ascetic, which will enable the devotee to shatter the nightmare of life by a great awakening into the reality. On the other hand we have certain Tantric practices that appear most hedonistic and immoral but actually lead to the same goal. Hinduism is a goal-oriented religion and thus it accepts all paths that lead to this goal of liberation for the atman from the hold of maya, and its realization that it is nothing but the Brahman. Human existence is but a springboard to help us in the bound into the suprahuman, supradivine sphere of being that is beyond the spell of maya. The literal meaning of maya is “that which measures the immeasurable.” Maya sees limitation where none actually exists. But in the symbolism of the goddess on the Island of Jewels, we find the same maya in her most benign aspect. She is the very essence of the absolute, pure bliss and pure spirit.

She also displays the true feminine nature: the life-bearing, life-nourishing maternal principle. She is beneficent and bright. She exhibits only the positive aspect of maya shakti or the power of illusion. We have also to see how her negative aspect is depicted in the fearless world of Indian myth and folklore. Maha Devi’s ever-destructive function, which takes back and swallows time and time again all that she has created, gives us a shock of horror if it is duly expressed. To this end we will have to see her as Kaali, the black one. Kaali is the feminine form of the word kaala, which means time, which is the all-producing and all-consuming principle. Time alone is the vanquisher and the killer. Everything that comes into existence vanishes again after the passing of its brief spell of allotted time.

A joy in the world her master movement here.

The passion of the game lighted her eyes.

A smile on her lips welcomed earth’s bliss and grief,

A laugh was her return to pleasure and pain.

All things she saw as masquerades of Truth,

Disguised in the costumes of ignorance.

Crossing the years to Immortality.

—SAVITRI BY SRI AUROBINDO

Thus ends the fourth chapter of Shakti, known as “Rajarajeshwari,” describing the Island of Jewels or Mani Dwipa.

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