Still Yourself On The Inner Sound Abandoning Worldly Worries And Hankerings

Upanishads & Santmat – II

– Hymns from Naadavindoopanishad (Rigveda) excerpted from the book “Satsang Yog – Part I” by Maharshi Mehi Paramhans ji Maharaj (28.04.1885 – 08.06.1986)

-Translated into English by Pravesh K. Singh (http://groups.yahoo.com/group/sant_santati , http://blog.360.yahoo.com/praveshksingh)

N.B.

While defining Santmat Maharshi Mehi Paramhans ji Maharaj, one of the greatest ever exponents of Santmat, says (in his exquisite book “Mehi Padavali”):

The urge or impetus to acquire shaanti’ (tranquility or stillness of mind) is so natural to human heart. Inspired by the same urge, the ‘rishis’ or sages (who are said to have visualised the mantras – which were later compiled in the form of Vedas & Upanishads – during their meditation) in ancient times, made all-out attempts in search of shaanti’ and described the ideas or ways to obtain it (‘shaanti’) in Upanishads for the beneficence of common people. Sants such as Kabir Sahab, Guru Nanak Sahab etc. also expounded thoughts or ideas resembling or identical to these (ideas expressed in the Upanishads) in their local languages such as Bhaaratee(Hindi), Punjabi etc. These very ideas or thoughts are termed as Santmat’. However, the sacred verses of the Upanishads particularly have to be acknowledged to be the basic foundation or the bedrock of the Santmat, for the highest knowledge or wisdom and the precise principal means to attain that wisdom namely, the ’naadanusandhaan’ or ’surat shabd yoga’ (the subtler and the subtlest meditation of Santmat, in which the practitioner meditates upon the Divine Sound/Vibration that springs directly from the God), in which Santmat takes so much of pride have been dazzling brilliantly eked or engraved on this very terra firma since times immemorial.

The last blog/post on teachings from Yogashikhopnishad, this one and a few more which are to follow prove the above assertion of the great sant beyond any iota of doubt.
– English Translator 

“Brahmapranava sandhaanam naado jyotirmayah shivah |
Swayamaavirbhavedaatmaa meghaapaayenshumaaniva ||30||”

[Through practice of Pranava-Brahma Yoga (Naadaanusandhaan Yoga or Meditation on the Divine Sound Current) that naada /nada (sound) becomes manifest which is illuminated and benevolent. As the Sun glitters in its full glory after scattering away of clouds, the soul also is self-illuminated]

“Siddhaasane sthito yogee mudraam sandhaay vaishnaveem |
Shrinuyaaddakshine karne naadamantargatam sadaa |31|||”
[Having seated firmly in Siddhaasana, a yogi or practitioner should, adopting Vaishnavee Mudraa (having fixed sight at the Ajnaa Chakra), try to listen to the inner sound through the right ear.]

“Abhyasyamaano naadoayam baahyamaavrinute dhwanih |
Pakshaadvipakshamakhilam jitvaa turyapadam vrajet ||32||

[Practicing meditation on Divine Sound turns one deaf to the external sounds or the sounds of the outer world (what is implied here is that during this meditation when the attention is fully focused on listening to the inner sound currents, the current of consciousness is withdrawn from the hearing organ i.e. ears, or for that matter all other sense organs, and thus sounds of the outer world can not be heard). Conquering all the impediments one enters into the Turiya/ Tureeya (the state of pure consciousness) within a fortnight.]

“Shrooyate prathamaabhyaase naado naanaavidho mahaan |
Wardhamaane tathaabhyaase shrooyate sookshmasookshmatah ||33
||”

[In the beginning of the meditation (on sound) grosser sounds are heard. With maturity of practice the sounds heard tend to be increasingly finer and finer.]

“Aadau jaladhi jeemut bheree nirjhar sambhavah |
Madhye mardal shabdaabho ghantaa kaahalajastathaa ||34||”

[In the beginning (stages of meditation) sounds perceived resemble those of a (roaring) sea, (thundering) clouds, war drum/ trumpet and (gurgling) waterfalls while in the middle stage (they appear to) resemble sounds of mardal (a sort of drum), gong and singha (a type of trumpet).]

“Ante tu kinkinee vansh veenaa bhramar nihswanah |
Iti naanaavidhaa naadaah shrooyante sookshmasookshmatah ||35||”

[In the final stages (the practitioner hear) the sounds of kinkinee/ majeeraa (cymbal), flute, lute and buzzing of bees. Thus he gets to listen to finer and finer tunes.]

“Mahati shrooyamaane tu mahaabheyaardikadhwanau |
Tatra sookshmam sookshmataram naadameva paraamrishet ||36||”

[When (the practitioner) reaches unto that place where the sound of large trumpet is heard, he should try to perceive the more and more subtle (or minute) sounds.]

“Ghanamutsrijya waa sookshme sooksmamutsrijya vaa ghane |
Ramamaanamapi kshiptam mano naanyatra chaalayet |37|||”

[(The practitioner) may shift his attention from subtler to heavier (coarser or grosser) sounds or vice versa (from coarser to finer sounds), but he should not divert his attention in any other direction.]

“Yatra kutraapi waa naade lagati prathmam manah |
Tatra tatra sthireebhootvaa ten saardham vileeyate ||38||”

[Stilling one’s attention on any one of the sounds he becomes established there and is absorbed in that (sound) only.]

“Vismritya sakalam baahyam naade dugdhaambuvanmanah |
ekeebhooyaath sahasaa chidaakaashe vileeyate ||39||”

[Becoming completely forgetful or unaware of the outer emotions he gets dissolved in that (sound, or listening to that sound) like (a solution of) milk and water and, thus, is immersed in the chidaakaash (conscious sky).]

“Udaasenastato bhootvaa sadaabhyaasen sanyamee |
Unmaneekaarakam sadyo naadamevaavadhaarayet ||40||”

[Making himself disenchanted, detached or disinterested or withdrawn from the sensory objects the Yogi should still his attention upon the (inner) sound through regular practice keeping the defilements of the mind well under control.]

“Sarvachintaam samutsrijya sarvacheshtaa vivarjitah |
Naadamevaanusandadhyaannaade chittam vileeyate ||41||”

[Abandoning all external worries and (worldly) efforts, a Yogi should dissolve his chitta into the inner divine sound meditating upon it.]

… to be continued