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M.S.HARI (Madabhushi Sarangarajan Hari) • July 27, 2000 


Dear Shree M.G. Vasudevan,
(this is a lengthy mail-please read it fully)
I have not responded to the recent posting by you quoting a "quotable quote"
for a magazine Sri Ranganaatha paadhukaa [SRP] vikrama aadi issue because, I
had not seen the context in which the quote occurs in it. Now I have got the
context of the same. I would like to strongly refute it and condemn the
presentation of the verse with careless translation in that magazine. I doubt
the knowledge of the person who translated the verse in that magazine. Please
note the following points.

Any authored work cannot be taken as Pramaanam. It can be accepted only if it
is fully based on the Apourusheya Sruthi (Veda). If any authored work
contradicts the Sruthi, it has to be understood and synchronised with the
meaning of the Veda such that there is no deviation of its meaning from the
purport of Sruthi in that context. If it is not possible to do so, then the
authored work has to be rejected as non-authoritative.  

The verse mentioned in your mail (as given in the magazine)
<<<< "veeNaa vaadhana thathvagna: sruthi jaathi visaaradha: !
dhaasagagnja: aprayaasEna mOksha maargam sa gachchathi  !!"   -  
yaagnyavalkyar >>>>
This occurs only at the end of PAduka magazine.  It is not a part of any
article. At the end, they have just printed certain (around 5 or 6) "Quotable
Quotes" sort of verses from various Smrutis. Just the sanskrit verse and its
plain tamil translation has been given ("sruthi layam thaaLam oththuch cheyyum
veNaa gaanam arinthavan eLithil mOksham selgiraan")  (What will happen to
those who do such a "Naadopaasana" using Violin, Guitar, key board etc?) This
is not the purport of the verse.

You have rendered its English translation as 
<<<<"To translate this in English (may be rough and does not give the essence
correctly): He goes to moksham easily (aprayaasEna), he-that person -one who
knows playing music on the instrument veeNa mingled with sruthi (basic tune),
layam (basic counts of music?), and thaalam (beats)." >>>>

The translation is contradicting the "Hitam" (Upaayam) as told by the
Prastaana Trayam. Therefore the translation is not valid and not substantial.
Further this translation does not clarify anything but only confuses. The
"VeeNaa Vaadhanam" as told here is not in any way a Saadyopaayam for Mokhsam.
If you read the verse carefully, you will find that it is only telling that
the person who knows Music (through Veena-a stringed instrument) goes for the
Upaayam (maargam) for Moksha and not for Moksha itself. Therefore Veenai
Gaanam is NOT equal to Mokshopaayam.

One point, which I would like to state here, is, the Saadyopaayam for Moksha
as per the Prastaana Trayam is either Bhakti or Prapatthi only. Nothing other
than these two can be considered as Saadyoopaayam. Probably, if you mean that
naadoopaaana makes bhakti easier, then it is right but it can never be a
saadyoopaaya in itself. Also, when I say "Brahmopaasana" it means that
"continuous contemplation (as told in Upanishads with its prescribed
accessories) on Brahman who is Purushotthama: Shreeman NarayaNa:" When I say
"Naadoopaasan" I just mean that using music as a mere tool to cultivate the
interest on "Brahmopaasana". Otherwise, what purpose does contemplation on
"Naadam" serve? A person doing "Brahmopaasana" reaches "Brahman". If
"Naadoopaasa" is to be taken equally to mean "Brahmopaasana", then should the
upaasaka reach "Naada"? What is that "Naada"? Is it Brahman? Is it possible to
just equate "Brahman" to "Naada" which means "Sound" by "Swaroopa Iykyam"?
Therefore considering "Brahmopaasana" and "Naadoopaasa" as "equal" is not only
contradicting the Veda but also the logic.


Please note what Bhakti is as follows: (I have reproduced the following
because I have already  wrote in this regard clearly in Bhakti-list
ascertianing that the Prastaana-trayam and our poorva-aacharyas have stated
that the Saadyopaayam is either bhakthi or prapatthi only and the Siddhopaayam
is the Lotus feet of Shreeman NarayaNa Paramaatman) One needs to have jIvaatma
sAkshAtkAram before ParamAtma  sAkshAtkAram. The procedure is thus to go
through Karma-jn~yAna  yOga, culminating with dhyAna yOga for jIvAtma
sAkshAtkAram  and then to Bhakti-yOga for ParamAtma sAkshAtkAram. Thus, 
ashThAnga-yOga is inevitable and has to be followed, since   dhyAna yOga and
bhakti-yOga have the angAs as what is involved  in ashThAnga yOga (Right from
control of breath etc till the   last stage). NAdOpAsana is certainly a very
big aiding factor to the practise of ashThAnga yOga. But, "nAdOpAsana" as such
is not a separate Brahma vidya (sAdhyOpAya) in itself. Through  nAdOpAsana,
one is very easily able to fix one's mind on   SrIman nArAyaNa. That is its
only  strength. Thus, it aids  in fixing the mind towards Brahman. But, a
upAsaka has to take  up a Brahma Vidya at one stage or another (after
attaining the pre-requisites like jIvAtma sAkshAtkAram) as a sAdhyOpAya.  By
the way, recitation of vyApaka mantras like ashtAksharam  is a component in
bhakti yOga. Since the upAsaka will reflect  upon its meanings (esp.as per his
Brahma Vidya), involvement of 
Sabda/nAdam is also there. But, the mantras have their own significance and
importance, for which high powers has been especially bestowed by Brahman. The
point is that, one's  own way of meditating upon Brahman will not become an
upAsana  as a sAdhyOpAya. It has to be a "vidhi" ie. Injunction from SAstras. 
Also the person has to be qualified and capable for doing Bhakthi as per
Saastra.

Prapathi is complete surrender at the lotus feet of Shreeman NarayaNa. It has
five "Angaas" namely "Aanukoolya Sankalpam", "Praathikoolya Varjanam", "Maha
Vishvaasam", "GoptrutvavaraNam" and "Kaarpanyam". The Jeevaataman who has
realised Aakhinchaniyatvam and Ananayagathitvam has to do Prapathi.

Thus I conclude that the "Veena Vaadanam", "Knowledge in Music",
"Naadopaasanam" etc., are not in any way to be considered equal to Bhakthi and
Prapathi. Prejudices get shattered to pieces before Pramaanams.

Thanks & Regards
M.S.HARI Ramanuja Daasan.


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