Shankara's Hymns
Shankara is a Jagadguru world teacher, the cultural epitome of India. He lived for only thirty-two years around 8th CBE.Even after so many centuries passed, the manifold effects of his impact in the form of commentaries on the source texts of Indian philosophy of monism like Brahma sutras, Upanishads ( last portion of the Vedas dealing with spirituality under the name of Gyanakanda) and others, Prakarana granthas namely books or booklets explaining the terms and terminologies used in the philosophical texts and sweet devotional hymns with their profoundity is still seen in the world of thoght, life and light. For Shankara’s life is the shining example of Indian philosophy and spirituality lived and applied to daily life He is an example of religion and spirituality in action
If we’re to understand this grand multi-dimensional ascetic and appreciate his works, we have to capture an understanding of the climate of thought in which he lived and functioned. At that time, there were various conflicting systems of thought in India in which he lived and functioned. Socially, philosophically as well as religiously there was no central rallying point from which men could view the entire panorama of Indian thought. The diversified systems of thought were narrow and self-sufficient and had nothing to do with one another. Shankara makes a direct reference to the prevalent sects during his time in his work ‘ Dashasloki comprising only ten stanzas.
It was at such a time that the mastermind of Shankara set to work to produce unity in the field of religion culture and philosophy. It’s very clear from a study of Shankara’s works that his purpose was to reduce to unity and harmony, under the hegemony of Advaita vedanta the multiplicity of conflicting thought systems, without destroying the integrity of the prevalent faiths, with a view to preserve the richness of diversity in the world of faiths. Unity in diversity was his aim and not uniformity. Diversity connotes richness but when it destroys the central unifying chord, becomes chaotic, demolishing all the progress and well-being of a community.
Shankara tries to introduce the mediating element among these, and he found it in the great philosophy of Advaita vedanta which proclaimed as ultimate Reality a principle that is personal as well as impersonal immanent as well as transcendent. As such he fully deserved the title of Shanmata sthapana Acarya( establisher of six systems ).
In his missionary work of propagating the great philosophical truths of Advaita Vedanta he brought all kinds of people into his fold of thought. He appealed to the intellect through great commentaries on the Brahma sutras of sage Badarayana Vyasa, the Bhgavadgita, and the Upanishads heavily laden with irresistible arguments in vigorous Sanskrit prose and Prakarana granthas explaining the vedantic truths in a short form.To appeal to the heart, he poured out sweet devotional songs for common man to under, appreciate and delve into their philosophical flavor. His yearning for the same is beautifully brought out In Saundaryalahari, the cream of his poetry exuding the highest esoteric philosophy. He as a child to mother, as astudent to teacher pleads to the Goddess , the consort of Lord S’iva to grace him with knowledge of words to compose and sing a poem in Her glory.
The famous dictum in Advaita vedanta is ‘ Sadhakanam hitarthaya Brahmanah rupakalpana.’ The formless Brahman is given forms of gods to aid common man to initiate into the path of spirituality. The great Acarya understood the limitations of common man. He composed devotional hymns on the deities which were commonly worshipped. He was not an exclusive S’aivite or Vaishnavite or S’akta and yet he eulogized S’iva, Vishnu or Durga or anyone in his hymns, he stood out to be the best among S’aivites, Vashnavites and Shaktas, thus setting a model for the respective groups for the correct method of worship. He proved himself to be a master in all fields of knowledge and practices whether Vaishnavism, Shaivism, Shakta cult, Tantra, Mantra, Yantra or Yoga. The hymns were poetical outpourings of Shankara and not mere literary versifications. Such devotional pieces have sprung from him while visiting hallowed places of worship and places where God’s presence could be felt very strongly. to clothe his immortal feelings, he chose the immortal divine language Sanskrit.
The variety in literary structure metres rich imagery, sentiment is seen, but the underlying strand running in all these hymns is vedanta( Monism). We find the unique marriage of highest poetry and esoteric philosophy here.
Many of his hymns are considered to be efficacious in securing secular benefits. They are expressed at the last stanza of each hymn. These hymns (stotras) make a refreshing departure from the arid path of philosophy. As in his philosophical thoughts, so in his hymns, Shankara manages brilliantly to accept the personal deity of popular theism without surrendering his monism.
In Mohamudgara or Bhajagovindam, Shankara addresses the devotee declaring that “ Same Vishnu ( god) dwells in you and me. Your anger and impatience is meaningless. Look upon as equal if you wish to attain the state of Vishnu soon. “ And in Kashi panchakam, another stotra of Shankara he says all places of pilgrimage are within oneself, why to roam about here and there in jungle, deep sea waters, mountains etc. One should realize this deeply to feel the same. These hymns serve as inspiration motivation to look for the for the bliss and peace inside of one’s being, not to go in search for outside.
Saundaryalahari or the Wave of Bliss is the culminating emblem of Shankara’s integration of Bhakti ( devotion), jnana ( Knowledge) and efficacy of the Mantras and potency of Yantras. It is an earnest appeal in prayer to the mother Goddess. The poetic qualities of the hymns are superb.
The last verse depicts Shankara’s poetic genius and supreme modesty. The Goddess is the supreme creator of everything in the universe. Nothing is his own. Even he is using the words to compose this poem to dedicate this to the Goddess belongs to Her only. His poem is like showing a lamp to the Sun in daylight. It is like offering to the Moon with water produced from the moonstone like offering with few drops of water to the ocean, the water drops being taken from the ocean itself. He pleads to Goddess to accept his offering of this hymn even though the words are not his own. He is a limited being and Goddess is the queen of the world and everything is created by Her only. He craves for grace of the Goddess for accepting this small dedication of his. Such is the spirit of total surrender.
The next landmark is seen in Dakshinamurthy stotram which is addressed to God ( Lord Shiva) as the preceptor, by whose grace one receives the knowledge of non duality. The beauty of Dakshinamurthy sitting under a Banyan tree with students surrounding is very striking. What is all the more striking is silence is the lecture and the doubts of the disciples are dispelled.
Maunam vyakhyanam cchinnah sarvasamshayah. All are in blissful state of silence. Words have no role at this elevated stage.words cannot express the joy highest knowledge the state of self-realization. The symbolism is very clear. The Banyan tree is unique and considered immortal because of its unique ability to spread out and develop supporting trunks time, making it almost immortal. Or with its vast spreadings can denote universe with entire creation. It isone of the trees which emits oxygen both day and night creating a pure, healthy atmosphere for body and mind , securing a place of sacredness to be worshipped.
Dakshinamurthy is the most pleasant form of Shiva. He is facing the south direction of death to ignorance which is the cause of cycle of births and deaths. A strange picture to behold The Lord is young because of his being as self-realized and the disciples are white-haired due to their unsatiated thirst for knowledge their hair whitened and display signs of aging. Shiva is always in deep meditation and possesses immense yogic energy and all the doubts of the disciples were/ are dispelled through this energy. Parabhahmatattvajnanam is maunam. Realization of supreme stage is silence.
Self-realized as Shankara was, did not forget the realized souls. To those who had crossed over the barriers of sense of belonging, Shankara presents a bouquet of meditation verses (Vedanta Sutras) like Nirvana Shatakam, Upadesha Panchakam, Ekasloki, Dashaloki for regular ???, reflection and meditation??? to enter into the bliss inside.
Shankara takes the process of Shravana, Manana, Nidhidhyasana as the structure of the method for knowledge (self realization) and for final release from the bonds of birth and death. The hymns easily pervade that structure. He has shown through these hymns that the arid path of knowledge is strewn with the beautiful roses of devotion.
Shankara's magnanimous mind, laden with compassion for the common folk came down many a times to their level, guided them, elevated them in the beliefs and practices so that they would also reach the Supreme understanding of that One Reality. The beauty of the teachings of Sankara through Stotra literature lies in that they are applicable to all human beings irrespective of religion, race, caste and creed for he wrote and taught for humanity as a whole indeed as a real Jagadguru.
Shankara's spontaneous hymns showered by diving grace, clothed in different meters with words and meaning with profundity lending itself to rhythmic tunes are now set to in different classical ragas( tunes), easily to be grasped by all now moves on the lips of all, uplifting them into the meditative world of bliss.
Shankara brings the flavor of the philosophy into devotional literature and makes it an enjoyable means to the realization of Self.
