SSB — Part 10: Fragrance of Mantra and the Voice of Absolute Truth (Nāmas 26–27)

 

26) Karpūra-vīṭikāmoda-samākarṣi-digantarā
(She whose camphor-scented betel attracts all directions)

Lalitā delights in chewing pān prepared from betel leaves, areca nuts, spices, condiments, and exquisite oriental flavors. The fragrance emanating from this karpūra-vīṭikā draws the whole world toward Her—from every direction, near and far.

When mantras are uttered repeatedly with absorption, they generate divine ecstasy in the practitioner and confer the capacity to transmit this grace to others. These are the flavors that attract beings across distances. Divisive, separative forces can only be countered by forces of attraction. Therefore, the power of attraction is to be cultivated—not for domination or exploitation, but to enlighten, to dissolve suffering born of attachment, and to increase joy in the world.

Power exists to protect the weak, not to trample them for personal enrichment. Selfless attraction serves a profound purpose: it gathers souls into a society of the awakened, each striving to expand joy in this world and beyond through continual self-giving. The pervasive fragrance of generosity and selflessness naturally draws beings together.

Upāsanā of Mātaṅgī and Śyāmalā at the Anāhata (heart center) bestows this power of attraction. It must be used to guide others toward Devī Upāsanā, for such worship liberates them from narrow self-centered patterns that severely limit spiritual growth.

Rāja Śyāmalā Upāsanā emphasizes attention on the heart—specifically the region of the breasts. Music, literature, dance, sculpture, and painting are the means by which Śyāmalā’s grace is obtained. In this worship, a consecrated partner or group is offered karpūra-vīṭikā, and with awareness anchored in the heart, Devī is worshipped through mantra, song, dance, and musical compositions known as yakṣa-gaṇas. Music is the milk that flows from the breasts of Mātaṅgī.

The name Mātaṅgī bears layered meanings:

1. She is the Mother of Speech (gi = speech, mātam = mother).

2. She is the Caṇḍālī, symbolizing Kuṇḍalinī rising through the suṣumnā, giving rise to intuitive song and dance.

3. She also denotes a woman who accepts worship as a consecrated partner in Kaula upāsanā.

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27) Nija-sallāpa-mādhurya-vinirbhartsita-kacchapī
(She whose own sweet speech surpasses the veena)

Her own lilting, intimate speech surpasses the sweetness of the vīṇā. The word nija means both “her own” and “truthful”—both senses apply here.

Upāsanā of Mātaṅgī is rooted in attentive listening to the sound of Praṇava (Oṁ) at the Anāhata, with an undistracted mind. All music is contained within Oṁ. When one hears this inner music of the spheres and merges into it, one experiences the truth of Lalitā’s voice surpassing even the vīṇā.

These inner musical revelations have been described as the flute of Kṛṣṇa, the celestial songs of Nārada, Tumburu, and the Kinnaras. Lalitā’s voice is the inner voice of God, heard in meditation, leading the seeker to the highest truths—the Mahāvākyas of the Vedas and Upaniṣads.

They are five in essence:

• “Prajñānam Brahma” — All knowing is Brahman.

• “Ayam Ātmā Brahma” — This witnessing Self is Brahman.

• “Tat Tvam Asi” — You are That.

• “So’ham” — That (Brahman) am I.

• “Neha nānāsti kiṃcana” — There is no multiplicity here at all.

The first three, drawn from Ṛg, Yajur, and Sāma Vedas, are imparted by the Guru to the disciple.
“So’ham,” from the Atharva Veda, is the disciple’s spontaneous realization—Ajapā Gāyatrī.
The final statement arises from the Upaniṣads, which concern themselves solely with Brahma-jñāna, free of ritual.

All mantras arise from the ocean of sound within Praṇava. The Vedas themselves emerged from Oṁ in the hearts of the ṛṣis as revealed knowledge.

Regarding So’ham, the scriptures declare:

hakāreṇa bahiryāti sakāreṇa punarviśet
ajapā nāma gāyatrī jīvo japati sarvadā

“With ‘ha’ the breath goes out; with ‘so’ it returns inward.
This Ajapā Gāyatrī is recited by every living being at all times.”

Sa is Śakti, ha is Śiva; their union is the bindu (ṁ), effected by Oṁ.
So’ham = Sa + O + Ha + Ṁ.
O itself is A + U:
A — Nirguṇa Brahman, the unmanifest.
U — awareness of existence.

Thus this mantra is profound on multiple levels:

• It is the rhythm of breath, the biological clock.

• It equates cosmic creation with individual creation.

• It reveals sexual union as a reflection of Brahman’s creative bliss.

At the moment of orgasm, there are not two persons, but a third—unmanifest life itself. To the brahmajñānī, every breath witnesses this supreme creative bliss.

The Upaniṣads affirm:
“Brahma veda brahmaiva bhavati” — One who knows Brahman becomes Brahman.

Such is the knowledge Lalitā imparts in meditation—knowledge that is music to the soul. United with the joy of Brahman, said to exceed orgasmic bliss tenfold, no instrument—not even the vīṇā—can rival the ecstasy of Her voice.