Pranam
Q1 I do not hear that Jayendra said such words of son shall do sraddham.
I have no verification anywhere. However, without anything else, is that
son a bastard?. No his father and mother are known, so the samskara, son
cannot escape. Divorce existed right from day one though it was termed
differently. Bhagavata Purana tells us how Kardama marries Devahuti but
abandons her after she bears him a son, Kapila. He is obliged to father a
child so as to repay his debt to his ancestors. But he does not want to be
a husband. He would rather be an ascetic. Same is the story of Jaratkaru
who abandons his wife after the birth of their son. Then we hear stories of
apsaras who agree to marry but leave their husbands who try to control
them. Thus, Urvashi leaves Pururava and Ganga leaves Shantanu. Can we call
this divorce? The Naradasmriti dharmashastra (XII 97), a Hindu law book,
states: "When her husband is lost, or dead, becomes an ascetic, is
impotent, or is expelled from caste, in these five conditions, a woman may
remarry." Katyayana adds that if the husband turns out to be of another
caste, or the same gotra, or if he is guilty of foul acts, the wife may
remarry. Can we take these verses to suggest that divorce was allowed in
Hinduism at some point of time? In Hinduism, marriage is not a contract.
It's a samskara, or rite of passage. Samskara is that which gives shape
(akara) to your world (samsara). It helps you live a full life. The rituals
include everything from shaving your head when you are a child, to feeding
you solid food, to educating you, to repaying your debts to your ancestors
and to society at large by getting you married and encouraging you to bear
a child to enable those in the land of the dead to return to the land of
the living, and by getting you to perform funeral rites that enable the
dead to move from the world of the living to the land of the ancestors.
Therefore, sons cannot escape; not doing is different.
Q2 Shri as contained in Rig-Veda Shi Suktam is primarily meant to mean -
a non-deficient, non-exiguous, non-sparse - a want less-syndrome; but not
overabundance, hoarding, or amassing syndrome; a completeness, plenitude;
Pashu Sampada - plenitude of cattle; Dhanya Sampada - of grain and cereals;
8 Shri Suktam Veda - B level 55 Note Class-IV Vidya Sampada - of education;
Santana Sampada - of progeny; Vak Siddhi = of speech; Vak Shuddhi -
expression; health, vigour, vitality - and what not. Ultimately – Bhoga and
Bhagyam - living a self-sufficient life till its finish, of course, through
all these want-less-syndromes. To arrive at the concept of the syllable
Shri, it is necessary to scribble the meanings of Shri Suktam on the above
lines, because its etymological formation and derivation - the formation of
a word and the development of its meaning - occurs in 3rd hymn of that
Suktam. To jot down the meaning of this Suktam, another deterrent is the
word Jata-Veda, who in this Suktam is continuously propitiated to fetch
that plenitude. Jata-Veda, the Ritual-Fire, is a lesser god in hierarchy of
gods, when compared to the consort of all-powerful Narayana, and how can he
fetch a superior god/goddess to the fire-oblator - will be the ensuing
question. Then, will it be worthwhile to go on pouring costly cow-ghee into
fire, wishing unknown prosperity or plenitude, or goddess Lakshmi herself -
will be another question.
Q4 Dakṣiṇāmūrti (दक्षिणामूर्ति) is a form of Śiva. He is called Mahā
Yogi (the great ascetic) and is seated on a tiger’s skin. Dakṣiṇāmūrti is
found seated in *vīrāsana* usually under a tree with disciples around him.
He is found with four hands. The upper right hand carries the rosary in
*kaṭaka-hasta* and the upper left hand holds the *agni* (fire) in
*kaṭaka-hasta*. The rosary signifies the *ṛṣi* state of the lord chanting
the prayers and the *mantras*. The *agni* symbolizes the destruction of the
evil within oneself and the destruction of the enemies around. The *agni* also
stands for removing the ignorance and shedding light in the minds of the
devotees. The lower right hand is in the *upadeśa* pose in
*vyākyāna-mudrā* which
symbolizes the lord as the teacher of truth, moral values and good
activities. The lower left hand holds the Vedas or *pustaka* (book) in
*siṃha**karṇa*/*vismaya*. This represents that the lord teaches the Vedas
to his devotees. The image of Dakṣiṇāmūrti is the embodiment of wisdom,
tranquility and serenity. His plentiful hair falls over his shoulders. As a
*guru*, he teaches his doctrines to his disciples who are collected round
him.
The *Dakshinamurti* form is traced to the Mohenjo-daro
<https://www.wisdomlib.org/definition/mohenjo-daro#hinduism>-Harappa
<https://www.wisdomlib.org/definition/harappa#history> civilization. One of
the engraved seals found there is described by Marshall. Because of the
importance of his remarks for the History of Shaivism
<https://www.wisdomlib.org/definition/shaivism#shaivism>, they are quoted
in full:
“The God who is three faced is seated on a low Indian throne in a typical
attitude of *yoga <https://www.wisdomlib.org/definition/yoga#shaivism>*,
with legs bent double beneath Him, heel to heel, and toes turned downwards.
His arms are outstretched, His hands
<https://www.wisdomlib.org/definition/hand#hinduism> with thumbs to front,
resting on His knees. From wrist to shoulder the arms are covered with
bangles, eight smaller and three larger; over his breast is a triangular
pectoral or perhaps a series of necklaces or torques, like those on the
later class of Goddess figurines from Baluchistan; and round His waist a
double band. The lower limbs are bare and the *phallus* seemingly exposed,
but it is possible that what appears to be the *phallus* is in reality the
end of the waist band. Crowning His head is a pair of horns meeting in a
tall head-dress. To either side of the God are four animals, an elephant
and tiger on His proper right, a rhinoceros and buffalo on His left.
Beneath the throne are two deer standing with heads regardant and horns
turned to the centre”.
In continuation, he says,
“At the top of the seal is an inscription of seven letters, the last of
which, for lack of room at the right-hand
<https://www.wisdomlib.org/definition/hand#hinduism> top corner, has been
placed between the elephant and the tiger. From the foregoing, it will be
seen, that the attributes of the deity are peculiarly distinctive. In the
first place, He is three faced (*trimukha
<https://www.wisdomlib.org/definition/trimukha#purana>*), and we are at
once reminded that in historic times Shiva was portrayed with one, three,
four, or five faces and always with three eyes, and that the familiar
triad, of Shiva, Brahma
<https://www.wisdomlib.org/definition/brahma#shaivism> and Visnu
<https://www.wisdomlib.org/definition/vishnu#purana>, is habitually
represented by a three-faced image. Of the threefaced Shiva—that is Shiva
without Brahma and Visnn—there is a fine example among the ruined temples
of Devangann near Mount Abu, and other examples are illustrated in T. A.
Gopinatha <https://www.wisdomlib.org/definition/gopinatha#hinduism> Rao’s
Elements *of Hindu Iconography
<https://www.wisdomlib.org/definition/hindu-iconography#hinduism>f* notably
one at Melceri, near Kaverip-pakkam in the North Arcot District, another
near the Gokak <https://www.wisdomlib.org/definition/gokak#history> Falls
in the Belgaum District, and a third at Chitorgarh in Udaipur
<https://www.wisdomlib.org/definition/udaipur#history> State but in
historic times the type was not a common one and may have been produced
under the influence of the trimukha images representing the triad. Indeed,
the question presents itself whether the three-faced deity on our
Mohenjo-daro seal is not a syncretic form of three deities rolled in one. I
do not mean by this that the philosophic idea of a triad associated with
the doctrine of the absolute had taken shape at this early period, but
simply that the cult of this particular god—call him Shiva or by whatever
name we like—had been amalgamated with other cults, and that the fact was
signified by giving him three faces instead of one. In support of this
suggestion, it is to be recalled that the conception of the triad or trinity
<https://www.wisdomlib.org/definition/trinity#hinduism> is a very old one
in India, though it was possibly not until the historic period that it
assumed a philosophic aspect, and that it was equally old in Mesopotamia,
where such triads as those of Sin, Shamash, and Ishtar or of Anu, Enlili
and Ea were long antecedent to the Aryans. In this three-faced God from
Mohenjo-daro, therefore, it may be that the germ of the same idea is
expressed. It is more likely, however, that in the first instance the god
was provided with a plurality of faces in token of his all-seeing nature;
that these images afterwards suggested the *trimurtis
<https://www.wisdomlib.org/definition/trimurti#shaivism>* of Shiva, Brahma,
and Visnu; and that the latter in their turn subsequently inspired such
images as those referred to above.
“The second feature of this pre-Aryan god that links him with the historic
Shiva is his peculiar Yogi
<https://www.wisdomlib.org/definition/yogi#shaivism>-like posture, with
feet drawn up beneath him, toes turned down, and hands extended above the
knees. Shiva is pre-eminently the prince of *Yogis
<https://www.wisdomlib.org/definition/yogi#shaivism>*, the typical ascetic
and self-mortifier, whence his names *Mahatapah, Mahayogiu*. Primarily, the
purpose of *yoga* was the attainment of union with the god by mental
discipline and concentration; but it was also the means of acquiring
miraculous powers, and hence in course of time the *yogi* came to be
regarded as a magician, miracle-monger, and charlatan. Like Shaivism
itself, *yoga* had its origin among the preAryan population, and this
explains why it was not until the Epic Period that it came to play an
important role in Indo-Aryan religion. Even before the discovery of this
seal, Rai Bahadur Ramaprasad Chanda
<https://www.wisdomlib.org/definition/chanda#purana> had pointed out that
the head of the male <https://www.wisdomlib.org/definition/male#history> statue
from Mohenjo-daro illustrated in Pl. XCVIII has its eyes concentrated on
the tip of the nose, and had concluded—with remarkable intuition—that it
was portrayed in an attitude of *yoga*. Probably it is the statue of a
priest or may be of a king-priest, since it lacks the horns which would
naturally be expected if it were a figure of the deity himself. That it
possessed a religious or quasi-religious character is suggested by the
distinctive trefoil patterning of its robe—a motif which in Sumer is
reserved for objects of a sacral nature. A deity in the same *yogi* attitude
is also depicted on a small faience sealing from Mohenjo-daro, but in this
case there is a kneeling Naga
<https://www.wisdomlib.org/definition/naga#purana> to either side of him
with hands uplifted in prayer. Whether this deity is three-faced or not,
the sealing is too defaced to show, but it is noteworthy that on another
seal lately found at Mohenjo-daro a deity is portrayed in the same posture
with one face only. As already remarked, Shiva may be represented with one,
three, four, or more faces, but that his prehistoric prototype also had a
variable number of faces obviously cannot be taken for granted. It may be
that the god on all three seals is one and the same, but it may also be
that the *yoga* attitude was transferred to other deities as well.
“Shiva is not only prince of *Yogis*; he is also lord of the beasts (*pasupati
<https://www.wisdomlib.org/definition/pashupati#shaivism>*), and it is
seemingly in reference to this aspect of his nature that the four
animals—the elephant, tiger, rhinoceros, and buffalo—are grouped about him.
In historic times the title *pasupati* meant “lord of cattle”, and by
analogy *pasu <https://www.wisdomlib.org/definition/pashu#shaivism>* was
applied to the human herds of which Shiva was the herdsman; but in the
Vedic hymns *pasu* signified a beast of the jungle, and it may reasonably
be interred, therefore, that at that time the deity was regarded as master
of wild, no less than of tame animals. Rudra
<https://www.wisdomlib.org/definition/rudra#shaivism>, the Vedic God, whose
cult was amalgamated and identified with that of Shiva, also bore the title
of *pasupati*, and this may conceivably have been one of the reasons for
identifying him with Shiva. An instructive parallel to this aspect of the
deity is furnished by the nameless god and goddess of Minoan Crete, who are
frequently figured on the monuments in company with lions or leopards and
have come to be known as the master and mistress of animals. The Anatolian
Cybele, too, who is analogous to the Great Mother *Mahadevt*—the consort of
Shiva—was similarly supported by lions. (Thevaram research materials)
Q4 Adbuta ramayanam: Swami Harshananda: Sometimes transliterated as:
Adbhuta Ramayana, Adbhuta RAmAyaNa, Adbhuta Raamaayana Adbhuta Rāmāyaṇa
<http://www.hindupedia.com/en/A> literally means ‘the wonder that is
Rāmāyaṇa’. Of inspiration over the millennium for many poets who had retold
the story in their own way, often adopting the philosophy of Rāma
<http://www.hindupedia.com/en/R%C4%81ma>'s life. One such work is the
Adbhuta Rāmāyana. Opinions of scholars are divided about it being earlier
or later to another more well-known work, the Adhyātma
<http://www.hindupedia.com/en/Adhy%C4%81tma> Rāmāyana (A
<http://www.hindupedia.com/en/A>.D. 1400). The glorification of Kālī and
identifying her with Sītā induce us to think that the work must have been
written during the time of reconciliation of the Rāma denomination of the
Vaisṇavas and the Śākta <http://www.hindupedia.com/en/%C5%9A%C4%81kta>
denominations,
which had become a social necessity. The words in the colophon as referred
from a printed text is as follows :‘iti ārṣe śrīmad-rāmāyaṇe vālmīkiye
ādikāvye adbhutottarakāṇḍe...’ //These words give rise to the suspicion
that the writer might have attempted to pass it off as an appendix to the
Uttarakānda of Vālmīki’s Rāmāyana. The Adbhuta Ramayana
<http://www.hindupedia.com/en/Adbhuta_Ramayana> is a comparatively smaller
work of 1,355 verses spread over 27 sargas or chapters. Unlike the other
Rāmāyaṇas it is not divided into kāṇḍas or books. The contents of the work
may be summarized briefly as follows:
- The sage Bhāradvāja approaches the great sage Vālmīki and requests him
to give the secret teaching that is hidden in his original and voluminous
Rāmāyana.
- Vālmīki replies that the real secret is that Rāma is the Highest
Brahman <http://www.hindupedia.com/en/Brahman> and Sītā, the highest
Prakṛti, is the power of Brahman <http://www.hindupedia.com/en/Brahman>.
- He then goes on to narrate the reasons for the descent of Rāma and
Sītā, which were apparently due to the curses of the sages Nārada and
Parvata. But these curses were really pronounced to destroy the wicked and
protect the good.
- This is followed by the story of the birth of Sītā as the daughter of
Rāvaṇa <http://www.hindupedia.com/en/R%C4%81va%E1%B9%87a>, but abandoned
by his wife Maṇḍodarī, and found by Janaka, the king of Mithilā
<http://www.hindupedia.com/en/Mithil%C4%81>, in his field.
- After this, the events move at a terrific speed: Rāma’s marriage,
Paraśurāma <http://www.hindupedia.com/en/Para%C5%9Bur%C4%81ma>’s
humiliation by the hands of Rāma, Rāma’s entering the forest along with
Sītā and Lakṣmaṇa
<http://www.hindupedia.com/en/Lak%E1%B9%A3ma%E1%B9%87a> (The
entire episode of the Ayodhyāk
<http://www.hindupedia.com/en/Ayodhy%C4%81>ānda of Vālmīki’s Rāmāyana
leading to Rāma’s banishment is glossed over here!), Sītā’s abduction by
Rāvaṇa <http://www.hindupedia.com/en/R%C4%81va%E1%B9%87a> and Rāma
striking friendship with Sugrīva and Hanumān.
- In answer to the simple question that Hanumān asks, ‘Who are
you?’ Rāma eloquently describes himself as the Atman, Parameśvara
<http://www.hindupedia.com/en/Parame%C5%9Bvara>, Māyāvī and Antaryāmin
<http://www.hindupedia.com/en/Antary%C4%81min>
- Most of the ideas and even the words are reminiscent of the
Bhagavadgītā <http://www.hindupedia.com/en/Bhagavadg%C4%ABt%C4%81>, and
some of the Upaniṣads. This is followed by a short discourse on bhakti
<http://www.hindupedia.com/en/Bhakti> or devotion and a curious mixture
of a variety of philosophical topics.
- The next chapter contains a beautiful hymn on Rāma by Hanumān .
- The sixteenth sargas finishes off very briefly in 20 verses of the
entire story of the Yuddhakānda.
- In the seventeenth, Sītā reveals the existence of a thousand-headed
Rāvaṇa, the elder brother of the ten-headed demon, and describes him as she
had heard from a brāhma <http://www.hindupedia.com/en/Br%C4%81hma>ṇa in
her younger days.
- Hearing this, Rāma starts an invasion of the Puṣkara
<http://www.hindupedia.com/en/Pu%E1%B9%A3kara> Dvīpa
<http://www.hindupedia.com/en/Dv%C4%ABpa>, the abode of the
thousand-headed monster, in order to destroy him. In the terrific war that
ensues, Rāma falls down unconscious.
- Seeing this tragedy that had overtaken Rāma and his forces, Sītā
assumes the terrible form of Kālī and destroys the demon along with all his
forces. She is helped in this by her innumerable emanation
- Rāma wakes up and is surprised to see Kālī there He praises her with a
long hymn containing 1,008 name
- Though called Sītā-sahasranāma (‘thousand names of Sītā’) almost all
the names belong to the Sakti denomination. Sītā dissolves the form of Kālī
and reappears in her original form. After thus gaining victory, Rāma
returns to Ayodhyā <http://www.hindupedia.com/en/Ayodhy%C4%81> and
resumes his rule.
- Though this work might have served a specific purpose during the days
of its composition and later, its popularity today is not nearly at the
same level as the Adhyātma
<http://www.hindupedia.com/en/Adhy%C4%81tma> Rāmāyana
and the Ānanda <http://www.hindupedia.com/en/%C4%80nanda> Rāmāyana. KR
IRS 26422
On Tue, 26 Apr 2022 at 11:20, 'gopala krishnan' via iyer123 <
[email protected]> wrote:
> QUES ANSW DIVINE 04-2022-25
>
> Dear friends,
>
> These are information compiled as QA by me in 1998’s-2014’s and stored in
> my computer. They are posted by *very learnt members*.
>
> *BEING COMPILATION THERE MAY BE ERRORS.*
>
> Sincerely,
>
> *R. Gopalakrishnan, 78, dated 26-04-2022*
>
> Q1 Whether srardha has to be performed by son if his father had
> divorced his mother?
>
> A1 In one of the question and answer session on sankara TV, HH Jayendra
> Swamigal said that *there is no need to do Shraadha by a son where his
> late father if he has divorced the Mother.(wife)*
>
> Q2 What is sree sooktham?
>
> A2 Sree Suktam is a vedic hymn addressed to Goddess Sree Maha Lakshmi. I
> shall destroy the elder sister of Lakshmi, the embodiment of
> inauspiciousness and such evil as hunger, thirst, and the like.
>
> Q3 How a Brahmin has to be laid before death? How the death rituals are
> performed for Hindus?
>
> A3 When a Brahmin is dying, he is made to lie on darbha grass spread on
> the ground in the south-north direction. The body lies with the head
> towards the south.
>
> Mantras are chanted in his ear.
>
> When it is confirmed the person is dead, the body is covered with white
> cloth and a line is drawn around with sacred ash and an oil lamp is
> lighted. Water is sprinkled over the body.
>
> In some cases the body is ceremoniously bathed. The forehead is marked
> with sacred ash and sandal paste and the ear is adorned with the sacred
> 'basil flower'. The body is then covered with a new cloth and tied up.
>
> It is taken to the cremation ground and placed with head towards the
> south. The bearers of the body wash their legs and wear the ritual ring
> ('pavitram' made of a particular grass). A fresh plantain leaf is placed
> on the south-east of the crematorium, water is poured on the leaf and with
> a brush made of leaves and grass, this water is sprinkled at the funeral
> pyre by chanting mantras.
>
> This sprinkling of water starts from the agnikon (pyre) in an anti-clock
> wise direction. The mantra has to be chanted thrice while walking round
> thrice. The remaining water in the leaf may also be poured on the pyre.
>
> The person who does these rituals washes his hands, sits at the feet of
> the pyre facing south and digs the earth with a knife and removes the sand
> with his hands. He then cuts a piece from the firewood that is arranged on
> the pyre, washes his hands and cuts a little fire wood from outside and
> adds it to the pyre. All the relatives then wear the sacred grass ring. The
> chief man lights the pyre at its north end.
>
> There are several chants at intervals until the body is completely burned.
>
> On the fourth day there is a ritual called Sanchayanam. Thursday, Friday
> and the birth day of the dead or chief man who does the rites are avoided
> for sanchayanam. Many other communities consider the fifth day as
> auspicious unless the star of the day is not inauspicious.
>
> There are a lot of rituals for collecting the ashes and bones from the
> funeral place.
>
> The ritual on the eleventh day is known as Pindam.
>
> In the morning all relatives take the ceremonial bath as a mark of removal
> of pollution caused due to the death. The old practice of observance of
> such pollution was ten days for Brahmins, eleven for Kshatriyas, twelve
> for Vaishyas and Fifteen for Sudras.
>
> Now all Hindus have accepted ten days as the usual practice. The
> mourners fast on the night previous to the pulakuli and on the next morning
> bathe with a few drops of oil on their body and perform the ceremony of
> Shadangam.
>
> Rice balls are offered to the names of the deceased which are afterwards
> thrown into the water. They then bathe once more and an Enangan sprinkles
> some water with cow dung on them. Caste men are entertained to a feast on
> the night of the 15th day and *the bones of the departed are placed in a
> metal pot and covered with a piece of silk*. It is carried by the chief
> mourner who goes to the nearest place of water. Whether tank or river, he
> dips himself with it in the water. The procession is accompanied by music
> and drums. The 16th day feast, is celebrated sumptuously.
>
> There is another important ritual on completion of one year after the
> death of a person known as pantrandam Masam (the twelfth month).
>
> Q4 What is the speciality of deity Dakshina moorthy?
>
> A4 Dakshinamurthy is perhaps the only Hindu deity that sits facing the
> southern direction.This fact is implicit in the name itself. The great
> seer Ramana Maharshi,has interpreted the name as "Dakshinamurty", meaning
> one who is capable but without form.
>
> Q5 What is the speciality of immercing ashes after funeral at
> manikarnika ghat in Ganga?
>
> A5 A Hindu belief is that dropping the ashes of cremated bodies at the
> Manikarnika Ghat in the Ganges would give Liberation to the soul .
>
>
>
> Q6 When did brahma conceived gayathri?
>
> A6 Brahma conceived the Gayatri mantra consisting of 24 letters before he
> created the world.
>
> Q7 What is adbhuta ramayana and its contents
>
> A8 Adbhuta Ramayana is a smaller work with only 27 chapters.
>
> Bharadwaja approached Valmiki to explain the hidden teachings of his
> Ramayana.
>
> Valmiki explains that Rama is Brahman and Seeta, the Prakriti, his power. Rama
> descended to the earth apparently because of the curse of sage Naarada.
>
> The real intention was to destroy the wicked and to save the good people.
> SEETA
> WAS THE DAUGHTER OF RAVANA, but abandoned by his wife Mandodari. She was
> found by Mithila's king Janaka in his field.
>
> Rama's marriage, Parashurama's humiliation, Rama entering the forest with
> Seeta and Laksmana, Seeta's abduction, Rama striking friendship with
> Sugreeva and Hanuman etc are described in brief.
>
> Hanuman's question to Rama, "who are you" brings Rama's answer thus:-
>
> "I am Atman, Parameshwara, Mayaavi and Antaryaamin".
>
> Then there is a discourse on Bhakti(devotion), and a mixture of
> philosophical and mythological topics. Hanuman's prayer to Rama is very
> good hymn here.
>
> Yuddhakaanda is very briefly described and at the end Seeta tells Rama
> that there is a brother of Ravana with a thousand heads.
>
> Rama invades pushkara dveepa where this 1000 headed rakshasa lived. in
> this war, rama falls unconscious.Seeta then assumes the terrible form of
> Kaali and destroys him and his followers.
>
> On regaining consciousness, Rama was surprised, but praises her with a
> long hymn of 1008 names. This is called the SEETHA SAHASRANAAMA.
>
> She now regains her original form of calmness and returns to Ayodhya with
> Rama. Rama is crowned then.
>
> My note- The information of Ravana’s brother with 1000 heads, Sri Rama
> falling unconscious, Seetha Sahasranama are new to me on reading. This is
> a repeat QA, I think it could be refreshing.
>
>
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