atmosphere covers the earth. Note that māta – ātmā are conjugal words.
◊ Brihadāraṇyaka Upanishad I.2.2 the 2nd shlöka of theymn of Hymn of Creation ‘Hymn of Creation’ says :-
āpo va arka, tad yad apām śara āsīt; tat samhanyat, sā prithivī abhavat ; tasyām aśramyat ; tasya śrāntasya taptasya tejo’raso nirvartatah agnih.
In this shlöka the external is being developed : The first spread, āpo is that of arka . This is translated as fire, lightening, the sun in short various forms of cosmic energies. This coagulates and a layer is formed on its surface – śara is the thin spread of hardened cream on the surface of a bowl of milk. This then is the ‘crust of life’ on prithivi, the round globe, the Earth.
This is the first level of sambodhah or understanding of the sūtra II.7 – mātrkā chakra sambodhah.
◊ The next shlöka I.2.3 says in the beginning : sa tredhātmānam vyakuruta, ādityam tritīyam, vayum tritīyam, sa esa prānah tredha vihitah….
Here the internal is being developed : the ātmā is now conceived and its prāna or life-breath has three constituents of the divine viz. agnī itself, that enters through the nābhi or the navel, the Manipur chakrā ; vāyu the air, that together with agnī is the prāna-vāyu that we have talked about earlier ; this enters through the throat or the viśuddhi chakrā ; thirdly the āditya or the shining divine light, in other words the seed of consciousness that enters the foetus through the crown or the sahasrāra chakrā.
This then is how the second ātmā , the individual self, aham that is other than the Creator forms in the womb, mātā and the next shlöka I.2.4 says in the beginning : sah akāmyat dvitīyo ma ātmā jāyeti, sa mansā vācam mithunam….
The mana or the mind reflects from the ādityam and the vāca arises from the prāna ( or agnī-vāyu combine) and the whole play of māyā commences….
This is how the shaktī chakrās of the sūtra I.7 start getting framed.
……. ‘a’ is the whole of speech and being manifested through the mutes and the sibilants it becomes manifold and various. If uttered in a whisper it is this prāna, if forcefully, that body – śarīra. Therefore it is hidden, as hidden as the previous body encapsulated in this prāna . But spoken forcefully it is that body and visible, for body is visible.
Now â ( A ) is the immutable, the symbolic Unknown – if this is the whisper, then as we force the breath just a little, what we get is its aspirate sound ah ( A: ) which is the visarga sound. Technically it is not included in the alphabet and is termed ayogavāh or ‘that which is not part of the harness’.
Thus we see another level of symmetry emerges – ah ( A: ) closes the circle pictorially – signifying the internal/external division as the ātmā shapes in the mātā. The ‘individual’ ego, ahamkāra ( AhMkar ) has thus taken form – there is an inside and there is an outside – with the language of consciousness as the dividing membrane !
◊ This is affirmed by a set of shlökas from Brihadāranyaka Upanishad – V.5.1 to 4 – the 1st shlöka says that at the beginning of this You-niverse there was just āpo and from this germinated satyam, the truth which is likened to the Brahman (this shlöka gives the three syllables of satyam as sa , ti , yam , the first and the last being real and the second unreal, madhyato anrtam – the fleeting is enclosed on both sides by an eternity which is real). The 2nd shlöka says – what is true is the yonder sun, ādityah. The purush (here the Universe is personified) who is there in the mandal and the purush (the individual observer) who is here in the right eye, these two rest in each other. The 3rd shlöka invokes the Gāyatrī mantrā equating the head, arms and the legs to bhū, bhuvah, svah and says that the name of the purush in the mandal is ‘ahh’ ( Ah: ). The 4th shlöka is identical to the previous except for the name of the purush in the right eye, it is aham (AhM ). Interestingly there is a fourth vyāhrti of the Gāyatrī mantrā that is beyond bhū, bhuvah, svah and it is mah ( mah: ) – the very opposite of aham (AhM ). These two are conjugate words.
ah ( A: ) is the bīja-mantrā for the crown or sahasrāra chakrā. This completes the explanation of – mātrkā chakra sambodhah. See Fig. 4aham is to be understood as ah with the bindu on top as the anunāsik or the nāda bindu. This is also the bindu of aum ( ! ) which is the bija-mantrā for the ājna chakrā located in the centre of the forehead, exactly where the traditional tikā is to be placed in the Hindu religious practices. This is the point to which , during meditation, all the lower chakrā energies are to be collected for the final release of the ātman back into the Unknown. aum ( ! ) can also be understood as the pratyāhāra for all the vowel plus mute-consonant sounds and hence the complete definition of the vocal apparatus starting from the glottis to the lips. This completes the explanation of – śaktichakra samdhane viśvasamhāra.
The Semi-vowels – the antahstha
These are four in number and are framed as follows :-
î combines with â to give ( [ + A) as ya ( ya )
r combines with â to give ( ? + A ) as ra ( r )
l combines with â to give ( ; + A ) as la ( la )