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Kiirtan: Difference between revisions
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:In day-to-day life, we first inhale and then exhale. The mantra is repeated according to the syllabic rhythm of inhalation and exhalation. This act of breathing in the mundane sphere has no end in individual life. Breathing is an action and so a living being is always engaged in some sort of action. This constant effort is known as ''Yatamána''. This is the first stage of progress. In the second stage, he wants to rise high with the firm determination to achieve his goal. And while doing so he is in a position to have control over some or other of his mental propensities for some time, but has no control on the other propensities at all. This stage is known as ''Vyatireka''. In this stage he achieves concentration for some time and then again loses it. Then comes ''Ekendriya'', which is the third stage of progress in [[Sadhana|sádhaná]]. This is the stage when he has control over a particular mental propensity, and that control is more lasting. Due to constant repetition the mantra is sounding at his ear. While sitting in meditation a sadhaka can see Iśt́a{{#tag:ref|The Ideal in form of one's spiritual master.|group="nb"}} moving around him and the fragrance of sandalwood or rose coming from the body of Iśt́a. Sometimes he is getting it and sometimes he is not getting it. The fourth stage is known as ''Vashiikára''. There he is established in ideation of ''Parama Puruśa''{{#tag:ref|The Supreme Consciousness.|group="nb"}} to satisfy Whom he is doing kiirtan. Here he completely surrenders himself before Parama Puruśa, and he is under the complete control of Parama Puruśa. So there are four stages – once at the time of inhalation and again at the time of exhalation. So in all there are eight facets, and a siddha mantra is necessarily to have eight syllables – it must be ''aśt́ákśarii''.{{#tag:ref|The calculation of what constitutes a Samskrta syllable is subject to some debate among Samskrta phonologists. As to what is ''aśt́ákśarii'' (having eight syllables) for purposes of empowering a siddha mantra, that is quite possibly unknown to scholars. Some prefer to think in terms of vowels. Others calculate on the basis of consonants. One theory is that it might have a connection with the root sounds located at the [[:wikipedia:Vishuddha|Vishuddha Cakra]].|group="nb"}} That is why each and every syllable of [a siddha mantra]{{#tag:ref|On the cyclostyled sheet, it read "Iśt́a Mantra". Presumably, that was a typo.|group="nb"}} has got its own importance. Bábá Náma Kevalama is a siddha mantra. Where the first syllable "Bá" is uttered, the feeling should be that I am crossing the threshold and entering the new world; and when the last syllable "ma" is uttered, the feeling should be that I have accomplished my duty. If kiirtan is done with these feelings, within 2-3 minutes the effect of kiirtan will have its play. | :In day-to-day life, we first inhale and then exhale. The mantra is repeated according to the syllabic rhythm of inhalation and exhalation. This act of breathing in the mundane sphere has no end in individual life. Breathing is an action and so a living being is always engaged in some sort of action. This constant effort is known as ''Yatamána''. This is the first stage of progress. In the second stage, he wants to rise high with the firm determination to achieve his goal. And while doing so he is in a position to have control over some or other of his mental propensities for some time, but has no control on the other propensities at all. This stage is known as ''Vyatireka''. In this stage he achieves concentration for some time and then again loses it. Then comes ''Ekendriya'', which is the third stage of progress in [[Sadhana|sádhaná]]. This is the stage when he has control over a particular mental propensity, and that control is more lasting. Due to constant repetition the mantra is sounding at his ear. While sitting in meditation a sadhaka can see Iśt́a{{#tag:ref|The Ideal in form of one's spiritual master.|group="nb"}} moving around him and the fragrance of sandalwood or rose coming from the body of Iśt́a. Sometimes he is getting it and sometimes he is not getting it. The fourth stage is known as ''Vashiikára''. There he is established in ideation of ''Parama Puruśa''{{#tag:ref|The Supreme Consciousness.|group="nb"}} to satisfy Whom he is doing kiirtan. Here he completely surrenders himself before Parama Puruśa, and he is under the complete control of Parama Puruśa. So there are four stages – once at the time of inhalation and again at the time of exhalation. So in all there are eight facets, and a siddha mantra is necessarily to have eight syllables – it must be ''aśt́ákśarii''.{{#tag:ref|The calculation of what constitutes a Samskrta syllable is subject to some debate among Samskrta phonologists. As to what is ''aśt́ákśarii'' (having eight syllables) for purposes of empowering a siddha mantra, that is quite possibly unknown to scholars. Some prefer to think in terms of vowels. Others calculate on the basis of consonants. One theory is that it might have a connection with the root sounds located at the [[:wikipedia:Vishuddha|Vishuddha Cakra]].|group="nb"}} That is why each and every syllable of [a siddha mantra]{{#tag:ref|On the cyclostyled sheet, it read "Iśt́a Mantra". Presumably, that was a typo.|group="nb"}} has got its own importance. Bábá Náma Kevalama is a siddha mantra. Where the first syllable "Bá" is uttered, the feeling should be that I am crossing the threshold and entering the new world; and when the last syllable "ma" is uttered, the feeling should be that I have accomplished my duty. If kiirtan is done with these feelings, within 2-3 minutes the effect of kiirtan will have its play. | ||
:The whole siddha mantra should be uttered fully in each phrase of the tune – Bábá Nám Kevalam, and not a part of it – while doing kiirtan.{{#tag:ref|Here it must be noted that in 1982, some kiirtans that were practiced did not include the full siddha mantra in every musical phrase. For example, at times there were musical phrases with only Bábá Nám and no Kevalam. Due to the somewhat confusing way in which this instruction came out in writing, at the class which accompanied the distribution of this discourse, it was asked whether this meant that we should only sing "Bábá Nám Kevalam, Bábá Nám Kevalam" in a serial fashion. The response was an emphatic No. It only meant that every musical phrase should contain at least one complete Bábá Nám Kevalam and not just a fragment or fragments of the siddha mantra. In other words, a musical phrase that goes "Bábá Nám Bábá Nám Kevalam" is perfectly acceptable; however, a musical phrase that goes "Bábá Nám Bábá Nám Bábá Nám" may still be possible, but the | :The whole siddha mantra should be uttered fully in each phrase of the tune – Bábá Nám Kevalam, and not a part of it – while doing kiirtan.{{#tag:ref|Here it must be noted that in 1982, some kiirtans that were practiced did not include the full siddha mantra in every musical phrase. For example, at times there were musical phrases with only Bábá Nám and no Kevalam. Due to the somewhat confusing way in which this instruction came out in writing, at the class which accompanied the distribution of this discourse, it was asked whether this meant that we should only sing "Bábá Nám Kevalam, Bábá Nám Kevalam" in a serial fashion. The response was an emphatic No. It only meant that every musical phrase should contain at least one complete Bábá Nám Kevalam and not just a fragment or fragments of the siddha mantra. In other words, a musical phrase that goes "Bábá Nám Bábá Nám Kevalam" is perfectly acceptable; however, a musical phrase that goes "Bábá Nám Bábá Nám Bábá Nám" may still be possible, but the kiirtan cannot be deemed "perfect".|group="nb"}} If it is not done, the kiirtan cannot be said to be a perfect kiirtan. Everything must be done in a methodical way. Then you will enjoy and get the upavasya of kiirtan properly. | ||
=== Accounting for the dogma of serial kiirtan === | === Accounting for the dogma of serial kiirtan === | ||