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Ma Das
VOLUME 2
INTRODUCTION
Again, it was here that, in response to the prayer of Saunak Rishi, Shri
Krishna's self-revelation took place in the form of words (Shrimad
Bhagavat), in the presence of eighty eight thousand rishis.
Also, in this very Naimisharanya, it was found, in 1960, when our annul
function of Sanyama Vrata was held there, that a
particular Puran required for recitation and commentary on it (for the
assembled devotees), was not available there. This circumstance
provided the antecedent for coming into existence of this Ashram site,
and the raison d'etre for (construction of) this Ashram. The articles
found during excavation at those time-included items of antique
earthenware, made with artistic skill, which are not seen in the modern
age.
The location of the site of the Ashram upon these two layers of past
(cultures) must have a special significance, for, why otherwise, did this
particular form of manifestation take place. While it is heard that no
image of Puran Purusha has been found installed anywhere, (all the
same) he has (now) become self-revealed here in the form of
this vigraha.*
* (See BANERJEE (R.K.) ; Mataji and Purana Purusha at Naimisharanya.
"Oh! it is the one Atman, indeed, with all; surely, the One Parambrahma
Paramatman only."
It was through a shower of grace that I had the privilege of taking the
sacred-thread, performing Narayana Puja and getting initiated
into Gayatri Purashcharan.
The auspicious occasion for this initiation was the Paush Sankranti i.e.,
14th January 1973.
And it was our Ashram at the great Tirtha Kshetra (place of pilgrimage)
Naimisharanya on the bank of the sacred river Gomati which was
selected as the site for the completion of this ritual through the
compassion and blessings of our supremely adored Shree Shree Ma.
For this reason, under the instruction of Ma, two new
pukka kutias (brick-built cottages), provided with all kinds of good
arrangements too, were built under a tree. Udasji was also a co-
performer of this ritual; the second kutia was meant for her.
Again, it was here that king Virat and his palace and the five Pandavas
had lived incognito.
So, it comes to my mind that this was, indeed, the right place where, in
that unbroken flow of spiritual stream, the purifying chronicle of Shree
Gurudeva first came to Light in a filiform. That book published in the
present form is surely a dressing upon that framework with various
colours and (the contents) developed and ornamented by taking
advantage of Ma's presence too at various places when such opportunity
was available.
I have, certainly, gone through other books, etc., on the subject published
before. All these writings reflected each one's own ideas and feelings as
they came from his heart. Depending on the condition we are in, this is
but natural for us. Whatever few facts were directly witnessed and
obtained by people at particular places, these were also collected and
incorporated in this writing. Further, through queries and conversation,
the little that we could get from Ma - how much of it we could grasp, we
do not know-that too has been inserted here. All this was done through
an effort extending over some three to four years. Surely, because of the
fact that this is an account concerning my Gurudeva Muktananda Giriji
Maharaj, we could get from Ma as much as it could be.
Books, etc., published by the Ashram are certainly accepted by all with
respect. After a perusal of these publications, many have, indeed,
refereed to Ma the queries that arise in their minds, and after getting Her
replies, have corrected and do keep on correcting the wrong impressions
they have had till then.
From among them, someone, after reading one of such books put a
question to Ma about some facts concerning Giriji. On hearing Her
reply, he said that he had raised the question as it had cropped up in his
mind on perusal of the book. And addressing Ma further, he had
remarked that, whether deliberately or through inadvertence, it surely did
not appear that accurate and exact reports were there in all places in
those writings.
Ma - these five - has been taken out and embodied here (in this book). It
was, perhaps, because this (portion) dealt with the connection between
these five that Shriyukta Gurupriya Devi did not hesitate to give a very
small portion of it to me. No cause for any harm was involved and I feel,
therefore, that nobody could have any ground to say anything against it.
We, the travellers aiming at the realization of our Reality, who have met
together, for us, it is surely the form of a sacred book, as, in fact, the
writing in this book does, indeed, contain the account of the association
of these five only.
An incident is mentioned in the first three paragraphs of chapter One,* in
which Ma, an infant of 3 months, is in the lap of Shriyukta Mokshada
Sundari Devi. On coming across this incident (in the records received),
the mind recalled what had been mentioned earlier, namely, Triveni
Sangam (confluence of three rivers), and in this context, all the ideas and
language (contents of this book) cropped up, as it were.
It is our good fortune, indeed, that all this has been provided (by Him)
the opportunity given too to have knowledge of all this; we take it surely,
as the will of the Ichchhamaya (The Lord whose will is final).
Had we not got these (facts) at this time, our writing would have
remained confined to the little account concerning Shriyukta Mokshada
Sundari Devi only. But now we realize that her form, in association with
Ma is, as if, a small portion of all the aspects. Moreover, all the ways and
methods of Shriyukta Mokshada Sundari Devi, known as Giriji in later
years till her last breath, also spontaneously coalesced. That is why, it is
with the incident of Ma, a baby in the lap of Her mother, that we begin
this book (under the subheading :
Ma's Thakurma (grandmother) too was present at that time in the field of
activities of Mokshada Sundari Devi. A little about her has also been
included.
if the (details of) priceless dealings, activities, and the like of Shriyukta
Mokshada Sundari Devi, with which Ma was concerned, were excluded,
then I feel that the chronicle would be incomplete, as it wert, and would
amount to its mutilation. As for me, in what other way can I produce it
as a comprehensive whole? I can only make an endeavour to the best of
my capacity.
So the aspects of the lives of Mokshada Sundari Devi and Bipin Bihari
Bhattacharya have been recorded as they are (in their respective roles).
As for Ma, how She is there in all aspects is, indeed, known or
understood a little by everyone. Beginning with Her play of behaving
like a child, the all in entirety has got an indivisible concurrence too.
This indivisible coalescence, whatever it be, is unrestricted. I am only
making an endeavour to give a little account of the same, as much as I
can.
Humble
Authoress
CHAPTER ONE
After leaving home at Sultanpur, the moment they entered the boat, Ma
started suffering from cold and fever. Also, She neither opened Her eyes
nor even took any food. Since Mokshada Sundari Devi had come to her
maternal home without taking due permission (as required), there was
fear that something untoward may happen. For this reason, everyone felt
deeply worried.
At Kheora, when Ma was so small that She could only sit and crawl, the
Muslim girls of the neighbourhood that visited Ma's house used to take
delight ill holding Ma in their arms. According to the prevailing custom
of that region, the practice was that until rice was put into the mouth (of
the child), that is before annaprashan*( * Religious ceremony of putting rice in a child's mouth for
the first time.) was performed, touching the child by anyone belonging to a
From then onwards, that girl would never indulge in this kind of fun. She
had also told Ma's mother and Thakurma that noticing such unusual
crying, she had felt herself landed in such a plight that a recollection of it
was continuing to give her a strange sensation out of fear. That sensation
ever remained alive in her. That girl had a great love for Ma. Even after
her marriage, when she used to visit her paternal home, she would come
to meet Ma. Referring to the incident mentioned above, she would
remark that she was unable to forget it.
We have heard that Mokshada Sundari Devi had reportedly narrated the
following incident to a few persons. At that time she had been staying at
Vidyakut along with Ma over a fairly long period. Ma was then about
nine to tell months old. One day, after seating Ma somewhere, she was
busy doing some work, while, of course, keeping her attention also on
Ma. Suddenly, then, there appeared the form of a man a lustrous figure,
standing very close to Ma. At that very time, Mokshada Sundari Devi
too came there and standing behind Ma, kept on observing.
In the proximity of Ma, within a very short distance, that figure sat
down, assuming an asana (a yogi's posture of sitting). Though he wore
the garb of amahatma, his outer garment being almost of jogia (ochre)
colour, he had his body covered in a strange manner. The cloth he wore
and the way it was worn-in all this, there was something unique - a
radiance, as from a glow of light, which cannot be conveyed in words.
Whatever limited activity was noticed in him, it displayed his unusual
distinctiveness with a luminosity that was beyond description.
Meanwhile, Ma, in a semi-crawling movement, using one knee as a seat
and placing the other knee and foot ahead on the ground-in the pose,
peculiar indeed to a child that can only crawl -went up quickly close to
that brilliantly radiant form of the mahainia endowed with shakti.
Then, sitting there, She kept on gazing at him and laughing too at the
same time, as if She was intimately familiar with him, being one of Her
own. Ma's mode of behaviour at that moment was not at all what is
normal for an infant. This was, at that time, something extraordinary for
such a small child.
That mahatma, while continuing to look at Ma's entire body, from Her
feet to the tip of the hair, and becoming motionless in a sitting picture,
appeared to be absorbed in meditation. Indeed, within a few moments,
again, what a smile of joy was there! Was it a revelation of a positive
gain without gaining as such? And while looking at Ma with a fixed
gaze, he kept on smiling. On the part of Ma too, there was an
inexplicable gravity and a slight smile as well.
In the form of Her Kriya, She, in this form, in the revelation of a yogi, in
Her own Kheyala, the way in which She allowed Herself to be
comprehended was Ma's play in Svakriya for the first time.
Ma's Thakurma had an aunt* *(This was the same aunt about whom a mention is made later under the sub-
heading 'Is Ma an insignificant child? An aspect of warning in Ma's play.) whose eldest son was
Now the child placed Her one foot on the head of the grand-father, and
the other foot She perhaps wanted to put on his arm raised above. All of
a sudden, the grandfather started shouting: "Catch hold of! Catch hold
of! Falling down! Falling down!", and sat down at once on the ground.
Panting hard, he exclaimed: "O Lord, what a girl!"
Once, with Ma in her arms, Shriyukta Mokshada Sundari Devi had gone
to hear songs at a kavigan? (a kind of song tournament). Ma was, then,
about two-and-a-half or three years old, and talked lispingly. The
following stanza was also (heard) there in that kavigan:
After hearing the song and returning home, Shriyukta Mokshada Sundari
Devi left Ma in the courtyard.
Once, when Ma was a tiny girl, Her mother asked Her: "Go to the tank-
ghat, wash your face and come back." Sitting on the ghat, Ma fixed Her
gaze at water with one-pointed attention, without caring to put Her hand
in it. Looking at Her own reflection Herself in water, She kept on
playing by making gestures with Her bands and feet, and through facial
distortion. She, then, began pointing out something with Her finger and
muttering something too, both of which were unintelligible. Was it with
Her reflection that She was having this conversation, gesticulation,
laughter and all the rest through movement of hand and finger?
Again, on Her own, She exclaimed: "There is the sky, look, look!" In
this way, it went on for quite some time. Meanwhile, that grandfather,
Krishnasundar, standing at a little distance behind Ma, kept on listening
and watching all this. Perhaps he had felt concerned with the thought
that She, a small girl, had gone in front of him to the ghat empty handed,
and it was quite late too. So he had come to the ghat to find out what the
matter was, and noticing Ma like' that, had perhaps led him to remain
standing there so long. Later, he exclaimed: "What are you doing sitting
there? Couldn't you finish washing your face yet?"
Yes, She had come to wash Her face, but became absorbed with Herself
in Herself. We all, that are here, surely belong to Her alone. It is She
who is playing with Herself. Isn't that so?
Is Ma an Insignificant Child?
We have heard that very soon after Ma's advent in our midst, as we see
it, the aunt of Ma's Thakurma (the mother of Krishnasundar, mentioned
earlier) had remained alone in that room (the lying-in chamber). Ma used
to call this aunt Bada Ma (senior mother). She had a few cows that
yielded a good quantity of milk which was churned daily to get
buttermilk (after converting the milk into dahi i.e. (yoghurt).
When Ma was a small child, that is, during the days when She went
about without clothes, She used to visit her (Bada Ma's) house early in
the morning, while holding a vessel pressed over Her belly. Her house
too was contiguous to that of Shriyukt Bipin Bihari Bhattacharya (Ma's
father). When buttermilk would become available (after necessary
churning for butter), she would call Ma first and give Her a little butter
and some buttermilk. She loved Ma very much. At that time Ma was
very healthy with a stout physique and some people jokingly called Her
a chalkumra (a kind of pumpkin).
One day Ma, holding (as usual) the vessel on Her belly and moving it to
and fro, had gone leisurely for buttermilk. However, the moment Bada
Ma saw Her, she exclaimed: "Just now I have started making buttermilk
and here She has already arrived in advance to get it. You take
buttermilk daily; now, it won't be given to you anymore, go away." She
had spoken this in an annoyed vein. Just then she noticed that her
churning pot had developed a hole and the yoghurt in the pot had started
leaking away.
Ever since this incident took place, even if Ma was late in coming. Bada
Ma would call Her and give buttermilk. Some among the descendants
of Bada Maare still living today.
When Ma was about two and a half years old, She was once taken to
her maternal uncle's house.
So she repeatedly made Ma sit up by shaking Her again and again, while
remonstrating: "All the boys and girls are remaining seated, only this one
is in such a state! There is such loud singing and so much sound being
produced due to playing on khol (tom-tom) and cymbals, but how this
one is in this peculiar way indeed!"
With great joy and exultation, She would entreat Her mother "Mother, I
just go, may I ?" So saying, She would want to run away, as it were. She
would then go up to the kirtan party and be back to Her mother the next
moment running hither and thither, as if in a peculiar state of
restlessness. Noticing such abnormalities in Ma occasionally, Her
mother would remark : "This girl, of what sort is She?" Of course, she
would not allow Ma to go. From Her very childhood, She was forbidden
to move out with boys to any place. Even after the kirtan party would
leave, it was noticed that for quite sonic time Ma would remain silent,
grave and very calm.
At that time it was also customary in every village in East Bengal (now
Bangladesh), that in the twilight of early morning, the Vaishnavas,
playing on tun tuni(a kind of small cymbal) and tambourine, would sing
the name of the Lord at the doors of householders. They used to sing the
following type of songs:
Wake up!
Oh residents of Vrindaban,
Shri Radha,
It is already dawn.
In the village, it was a prevalent custom that the ladies would assemble
and sing together on occasions of worship of various gods and
goddesses, during an investiture of the sacred thread, a marriage
ceremony, etc. Those songs could be about Krishna or Rama, Sita or
Durga-Kali, Kartik, Ganesh, Lakshmi, etc. Whatever the song was, on
the occasion of worship of a particular god or goddess, Ma would surely
be in that same mode, and it was not easy to make Her move from there.
All the same, remaining obedient, through Her own Kheyala, the
carrying out of the orders of Her mother was positively there.
On that very day in the evening, She went over to their tent running. We
do not know for what purpose She had gone (there) at that hour, which,
indeed, was their prayer time. Going quickly, Ma had returned quickly
too. Perhaps they could not even notice Ma. Meanwhile it was getting a
little dark when She returned home. That day nobody took Ma to any
task too, although it was a standing rule that everyone without exception
should positively be present in one's house before dusk. On Her part, Ma
too did not tell anything about this matter to anyone.
In this context, it was heard from Ma's mouth at some later period that
the camp of the missionaries lay on the out-skirts of the village in a field
quite far off, on the bank of a canal and a lake, where it was impossible
to go and come back within such a short time. (About) the pattern of
Ma's movement, did Her feet touch the ground or not?
Ma: " There they made prayer, the same prayer was also in the form of
this kriya.
They too were like constant friends, dear members of the family. Where
was then (the question of) obedience! When it was in Her
specific Kheyala, did the binding of obedience hold good in this case? At
other times, again, such binding was there, but where can there be a
binding which is free of binding * is it not clear?
*A binding accepted in Her own Kheyala is a binding in Her freedom that is,
Who is Hari?
At that time in the villages, there was no sign of any practice of holding
devotional group meetings or having discourses or talks by
Mahatmas and the like. Occasionally, there was held
a Harisabha (assembly for talk on Han), performance of kirtan, etc., or
reading from the Ramayana, the Mahabharat, Padma Puran and the
like. Shriyukt Bipin Bihari Bhattacharya Mahasaya, of course, did
ardently do bhajan, kirtan, etc., with the name of Han during the last
part of every night.
When Ma was five years old, one day after dusk, sitting by Her father
and hearing him singing, She enquired: "Father, please listen (and tell
me), this Hariwhose name you sing, who is this Hari? In reply, he
said "Han is the name of Shri Bhagavan."
B. B. Mahasaya: If I am in need of you and then call you, you turn up; in
the same way, He too makes His appearance. When one invokes Him
and submits to Him any desire one has with a sincere heart, He fulfils it.
Just as, when we call you and say, 'See, you get this work done for me,'
you do the same; exactly, in the same manner, whoever asks Him for
anything, He grants it. As soon as He is invoked, Be will appear without
fail. He performs so many other like acts.
A clue by indication provided by father in his own way for the revelation
of THAT- this is what we may conclude positively.
From the conversation between father and daughter recorded above, does
it not occur in our mind that, in reply, Ma got spoken from the mouth of
Her father that Tattwa, which is beyond speech and mind.
The child-Mother asked Her father : Who is Hari? Father replies: You
do His Nam, you will know only when He appears.
This word about Hari that Ma got out of father's mouth, this, in fact, was
the basis of Ma's play of sadhana in future. What was made to be spoken
through the mouth of father, this too is in the context of
Ma's Svakriya. That is She Herself was the question and She Herself the
answer.
During Ma�s childhood, one night at Kheora, there was a storm, due
to which the house shook, the thatching blew away and everyone became
frightened. But Ma started clapping Her hands exultantly while shouting:
"The chan (a kind of hay in the thatching) has blown away, the chan of
the thatching has blown away!" The next day in the evening, when it
grew dark, Ma began jumping and clapping with bubbling laughter.
After pointing to the opening in the roof and' addressing Her mother, She
exclaimed, as if with Her entire body:
The stars can be seen while sitting in the room itself! There is no need to
go out-in and out are one and the same!"
This is what has to be realized by jiva, his own self revealing in the Self.
This is the significance of Ma's clapping of hands, being elated with joy.
During cold and hot weather, in sun and rain, Ma could hardly be over
powered (by weather conditions). It was seldom that She was taken ill.
She would play with great joy running about in the rain. Shriyukta
Mokshada' Sundari Devi would remark,
"It seems that this one cannot be subdued in any way indeed!"
Once, on a Durga Puja festival, there was an occasion for Ma to visit Her maternal uncle's home
when She was six or seven years old. One day, while watching the puja being performed, a
strange bhava was noticed in the physical form of Ma, and in that state of exultation within
Herself, She kept moving about on Her own. In the context of this incident, we heard that when
there was anything like this in Ma's body, some indistinct utterances would start issuing from Her
mouth. Ma's youngest maternal uncle kept on observing this for a long time. Afterwards, speaking
forthwith, he asked Ma:
"Eh, what were you saying, muttering in this way ? Do repeat it to me."
Ma became completely speechless, as if She were a stone and in a serious mood remained
standing in a state of bewilderment. It was as if She could not follow what was enquired from Her
at that time. Just as there was deep serenity and gravity in Ma, indeed, so also, there was a climax
of restlessness taking place simultaneously.
It was this youngest maternal uncle of Ma who looked upon Her with an uncommon inner feeling.
We have already written in detail on this During the festival of Durga Puja,he would look upon
Ma as Kumari* and worship Her first of all during Kumari Puja (the ceremony of
worshipping Kumaries). He would offer Her saris of best quality, etc., and feed Her in the same
spirit. Some others too, during Ma�s presence, would, in a similar way, find much gratification
in feeding Her as Kumari.
At the age of seven or eight, and in the company of Bada Ma, Ma once
visited Shiva Badi (temple of Shiva at Chandla). For a while Bada
Ma kept Ma seated under a banyan tree. The hair from the first shaving
of the heads of children, vowed as an offering to the deity, used to be left
under that tree by people coming from different villages. For this reason,
a heap had formed of such accumulated hair.
While sitting there, one Thakurghar came into Ma�s view, but there
was no Vigraha in it. All the same, there was a tank nearby, and as soon
as Ma turned Her eyes towards the tank, She noticed a Shivalinga of
stone diving at one time, floating at the next, then jumping out while
surging up from water and diving again.
Also, very near Ma, Shiva Durga vigraha, moulded out of moon as it
were, flashed for a moment in that form only.
Ma said,
All the same, after sometime when Ma went to the Thakurghar, She saw
the Shivalinga again also there. On returning home, in course of a talk,
when Ma narrated some facts of what had come to Her view, others
remarked that they had always seen the Shivalinga in
the Thakurghar only.
It was heard-such was the traditional report--that this Shivalinga did not
always stay in the Thakurghar, but roamed about in the tank and jungles.
When people went down in the tank for taking a bath,
that Shivalinga would mount on the palm of someone, but immediately
again would roll away and dive into the water.
Again, when sometimes, someones eagerly tried to touch it, then, at that
time, he would possibly fail to find it. It would disappear in water. At
some other time, again, it would be seen seated in the room
and puja being offered. That room, the flooring of which was of earth,
and the roof and walls of corrugated tinned iron sheets, always had an
opening in one corner.
"Mother, Vaisakhi Puja is taking place and you too are performing it, but
you have offered an unripe mango in the puja. Where is the ripe one for
us?"
She replied "Have we got a mango garden, where, in one tree or the
other, at least one full or half-ripe mango could surely be available? So
we shall perform puja by offering an unripe mango. There is no need for
a ripe mango for us. One performs puja with what one has and according
to one's capacity."
Outside, there were some mango trees in the gardens of other people.
But Shriyukta Mokshada Sundari Devi's instructions were that fruits
were never to be brought (home) after plucking them from these trees;
they could, however, be picked up if they were found lying on the
ground under them. This was not prohibited according to an established
practice in the villages. The instruction too was scrupulously observed
by Ma. Lest a branch of a tree bent down when laden with fruits, might
come into contact with Ma's body and the fruit may be touched, Ma
would maintain a distance from such branches while proceeding on foot.
Obeying an instruction meant obeying it fully.
While going to the ghat of the tank, Ma had noticed earlier that very high
up in a tree, one mango had ripened and turned red. It came to
Ma's Kheyala that if it had dropped, it could be offered in puja. And,
indeed, Ma had the habit of conversing with trees. We do not know how
things happened and in what way, but when Ma went to the foot of that
three that day at that time, She found the same mango lying on the
ground. When carried and given to Her other, the latter questioned: "You
have not brought it after plucking jt, have you ?" On being told as to how
it was got, she smiled a little at the words of the small girl and offered
the mango in puja.
Ma told Her mother: "As you give me, so also does the tree; the tree too
gives in the same way as you do, is it not so mother? Surely, it can also
give like you, no matter even if it remains. standing at on place."
On this, laughing in her sleeves a little, she commented: "Is the tree a
friend of yours that it will give you? Look at this girl talking like a
pundit. Of course, paternal and maternal families ate of pundits; how can
She escape the family cultural heritage?"
"These two mangoes too have almost the same colour and similar pattern
(as that of the mango mentioned above). One of them had such a
distinctive mark that it could be picked out even when mixed in a heap
of mangoes. We took a photo of the same. Both the mangoes were
carefully stored on the first floor. After that none of them could be
traced. However, after a considerable search, some one informed that he
had noticed one of the mangoes on the ground floor. That mango was
brought, cut into slices and distributed, a piece each, as prasad. It was
proposed to preserve its stone. But, afterwards, that stone too could not
be traced at all. About the other one, who took it away or ate it tip or
what actually happened to it, none could say.
After three or four years, while looking for this particular mango tree at
Kalyanvan, it was observed that perhaps gornata (cow looked upon as
mother, go : cow, mata : mother) used to be tied to it. After giving shade
for sometime, it met with what was destined for it-only the roots were
seen as a mark of its remnants.
in Abhava (want),
In the small village of Kheora, most of the villagers were not used to
buying vegetables, as a regular practice, from the bazaar. (They
depended on) whatever could be grown within their premises; in fact,
they did manage to produce some vegetables in their residential lands.
But the land of Shriyukt Bipin Bihari Bhattacharya Mahasaya around his
house was so barren, and mostly sandy, that there could hardly be any
possibility of producing vegetables and the like too that were
worthwhile. it was this sand where Ma used to play with great delight.
She would thrust Her fingers in the sand and heap it up in one place.
The sand was of fine texture, shining white, and Ma would tell
cheerfully, and in exultation to the neighbours that the kind of shining
white sand which was there was not available in the land belonging to
any other house. As if with sense of pride, She would remark: "Look,
how granular the sand is; it does not soil the hand too."
At the end of play, She would shake off the sand by clapping Her bands,
and go home jumping and leaping.
While we were reading this narration, Gurupriya Didi too was present.
In a lighter vein, she had, the, remarked: "Ma, we can see that while, you
were with your parents, your great grace was, indeed, there, in their way
of earning livelihood!"
In reply, Ma too said with a smile: "Why, at home curries were prepared
out of bharali (inside stem of a' plantain tree) and thor (plantain flower).
Friedneem leaves were there, and also a preparation of neem leaves and
pieces of brinjal fried together. Leaves of coriander of foreign and
Indian variety, reduced to a wet pulp and taken with rice, and items of
like nature all these were prepared sometimes.
Again, there as a very big jackfruit tree, but it never bore any fruit. After
I had joined the family of Bholanath, it had perhaps produced fruits
once." We all, then, laughed again and said that in that case, in-. deed,
there was no limit to, the bestowal of grace.
Ma: Why, all these fruits, etc., too were now and then offered to the
deity and taken as prasad as well.
Although these cane plants were full of thorns, the latter were cut clean
and after eliminating the tender pulp, were used for fastening en
enclosures serving as walls o the house and tying the thatched roof and
making it secure. Such enclosures and doors were made exclusively of
bamboos, and self-woven coarse mats, also of bamboo only, were
sometimes made use of. The flute too, secure in the hands of Sri Krishna,
while touching his lips, is made of a particular variety of bamboo, and
this variety was also here. Various other articles too were made of this
quality of bamboo. Even the dish used when eating parched paddy, fried
rice, flattened rice, etc., was only one particular variety among various
such patterns of containers made of this bamboo'.
The artkle pertaining to this created world too, bearing the greatness of
various aspects pertaining to the Supreme Objective were collected and
during this time, while remaining in the environment of such articles that
had been prepared at home in a spirit of reverence for use, there was this
girl in the form ofkriya.
A number of different vessels for taking breakfast were also made out of
these bamboo strips.
In Ma's words: "Food stuff grown at home materials made at home itself
- all such articles of this created world have the greatness related to
aspects and ways pertaining to the Supreme Objective. That is, in the
journey leading to the revelation of Svarupa, the traveller must abide by
particular disciplines in respect of his food, materials used, etc., as all
this helps to awaken pure bhava. It is essential that there should not be
the least indulgence in respect of objects of sensual pleasure, as such
abstinence is an aid to free oneself from worldly desires, thereby opening
a natural way towards the goal. These materials, as referred to here,
having innate potentiality to awaken satvick bhava in the environment
sustained by purity and truth had been available there in the normal
course.
It was through Ma's Kheyala only that this environment manifested and
in respect of all kriyas of M here, is She only in the form of
those kriyas, depicting by itself the way of living that makes natural
unfoldment of spiritual stages which culminate in the realization of the
Self revealing as everything in the forms ofkriyas of sadhana, etc.
Well off Brahmin sisya and sisyas of other castes holding high positions
were there. No doubt, we have heard about all this. But the joy in
picking pot-herb in the company of Thakurma, seeing stars while sitting
in the room itself after the thatching had blown away, making the house
and the outside indistinguishably one, there was joy in all this too; and,
then, to roam about, in great Ananda, putting on torn clothes, the dress
reflecting utter destitution-in want, in normal state, in fact, in all states
the same oneness, was ever there. Was it because such facts as these
could be brought to light, that you created this state of penury in the
environment of Kheora? All this, indeed, is but your play and perhaps
just to have such a pastime in sustained joy and exultation under all
conditions, that this particular type of environment was created at that
time.
From all this, indeed, it occurs in my mind that the entire surroundings
here are of a rshi-Ashram, and again, to look upon these as verily
the Lila-Khela(divine play) created through volition of Bhagavan, where
many forms are of the One, and those many abide in the One only. At
the same time that One is in all, pervading all, which, undoubtedly, we
have been hearing all along.
Right now (before us), our direct experience of the stream of appearances (of Ma) is the testimony
that the forms are of tat only in all cases. On the other hand, anything or any aspect that is
unfolded before us - in these worldly dealings, there is unworldly in fact, these 'who' are of the
only One (that which) is appropriate at a particular place.
Since it is THAT only, with it, Ma is the same Prasanna Svarupa (serene, cheerful,
disposition Itself.)
This Svarupa is only to be realized; where, then, is the possibility of catching and
comprehending it (objectively)?
It awakens in my heart that all these kriya in this environment, at this time are a solemn in
song wreathed in the background, both in adverse and propitious conditions.
While investigating the reason for this, one way of looking at it is the
tradition of rishi ashram. Besides, the diverse forms pertain to the One
only, many abiding in the One alone. That is, whatever may be the
condition, Ma is, indeed, ever in that one form. Therefore, the external
forms of that Svarupa-Ananda are diverse kriyas and dealings. Adversity
and favourableness, due to circumstances, are Her own external
expressions-it is She indeed. Here misery and want, due to any
extraneous influence - this question does not arise.
Various forms of divisions and distinctiveness are, with the touch of the
One, unfoldments in the form of modes of play of the One. So long as
this truth remains un-revealed, till then persist the worldly concerns,
attachments, aversions, conflicts, leading to the dukha (misery) of
coming and going (birth and death).
It is Bhagavan who is both joy and misery, in all forms and form-less as
well.
That we may remain devoted, aiming at this in our journey-is it not this
end that those plays of Ma are meant for?
But behind this unreal form of the world full of misery, there is the
harmonious play of Nitya-Svarupa (eternal Reality) in each form, and
this indeed is the �solemn song wreathed (as a garland) in the
background�.
THAT alone.
The girl conveyed, through the tone of these words, we do not know
what all ideas in a strange manner, while looking at Her mother's eyes
and keeping on smiling, waving to and fro, with Her one band resting on
the ground and the other raised above, twisting Her body as She
remained seated, revolving the raised hand and moving Her head and
mouth.
It was, as if, in this very small heap of sand nothing whatever was
excluded that is what, we think, She was making (Her mother)
understand.
whatever exists at any place or does not exist, Thakur, Devata, etc., in
fact,
all that is manifest, unmanifest as well (are in this small heap of sand) -
and, indeed, was not this that was hinted at through these words (of Ma).
Razing that heap almost to the ground, She stood up and picking up
a little sand in Her hand, sprinkled it above Herself and on Her head
too, and then quickly ran to Her mother jumping and dancing on
both the feet, as if a sustained wave of joy, pulsating from head to
foot, was always there. Where did this pattern of dancing and its
rhythm originate from, Her mother wondered!
Even while standing, or sitting as well, once the play was over, Ma
would, after tearing and casting away everything, and abandoning it all,
turn a quiet girl and make Her way homeward. What is novel in all such
stories? Now too we see that when Ma continues to stay in a particular
place, it takes on the appearance of a thoroughly delightful festive
congregation. We become full of expectation that perhaps the rest of our
life will pass in this very manner. But, in a trice, the festive congregation
vanishes, and then no one belongs to anyone.
(For instance), with the heel as centre and the middle part of the foot
raised and curved inwards, She would, by turning round, draw at a
stretch a uniform and unbroken circular line with Her big toe. After
joining the ends of the circular line through that single turning itself, She
would stand still there. Then, revolving round and round, She would
keep on dancing. Again, sometime, stretching out both Her arms, She
would continue whirling round in the same style; also, leaning as well,
once on the right, and then on the left. At that time if Shriyukta
Mokshada Sundari Devi happened to notice this, she would warn,
exclaiming: "Hey, you will fall down, don't do all such things!" Ma
would, then, stop moving, and clapping with raised hands, would run to
Her mother leaping and jumping. Whatever Her bidding, Ma would
carry it out to the letter; this, too, was noticed in Ma.
While drawing the circular line, the other foot of Ma remained (aloof) in
the air only and did not touch the ground. Observing all these different
ways (of Ma), sometimes there was an expression of fear too in
Mokshada Sundari Devi. At that time, she would say: "Don't know what
all this girl does; of what kind She is-like a - silly simpleton
too; Bhagavan will look after Her in His own way!"
Ma, though a small child, was, in fact, even in that play, not at all with
anyone, though remaining in the midst of all, like white sand which is
shaken off and thrown away. (Of) the unbroken circle, was She not
Herself, indeed, that Akhand Bindu* itself at its centre?
"When this body was (for the first time) in the presence of you all
(i.e., born), as it was then, indeed, so also it is now (i.e., the same)." *
*(Ma pointedly declares here Her Reality as the only One without any change,
transcending time, space and causality. There is, thus, no question of birth and death,
and all states as they appear to us, in Ma's life movements (including birth and death)
are nothing but the One appearing as the many in those forms.)
So, even in this play too, She was in that undifferentiated wholeness of
Her own-this, indeed, is what coins to our mind. A childlike play, as we
see it, it is the same which She is playing, but in the pattern of Her own
undifferentiated wholeness. Till today, whatever is taking place
anywhere, indeed in all, there is the same pattern of Hers - She Herself,
so we think.
Ma, or course, always says when you got this body first, what it was
then, the same, indeed, it is now also Here is that One Tattwa, where
there is no question of a second. In such a case, what is
the Svarupa of kriyas pertaining to plays, etc., and dealings?
So, at last, taking the name of Bhagavan and turning her face away from
where food was being cooked, she was forced to assure (Ma): "No,
no, no, no, there has been no sin on your part; I shall not die, shall not
die, shall not die."
On another day, Didima told Ma: "Your luck is such that (though) these
are the months of Vaisakh (April-May) and Jyoishtha (May-June) and
there are a few mango trees as well in the house, yet not a single one
among them is ripe, which you can eat."
The talk about going to Svarga was often heard from the mouth of old
women.
(Svarga is the world for special enjoyments to which one attains after death
which one has to leave after the fruit of one's actions is exhausted through enjoyments.
Ma's question about there being anything special in Svarga was to make it clear
that Svarga was not the Supreme objective. Didima's silence confirmed this.)
Hearing this from the mouth of someone, one day, while lying
beside Didima, Ma suddenly enquired,
"Mother, they talk about Svarga; can one go there only if one so
desired?"
She replied,
"Yes, it is possible to go there. Svarga, earth and nether world are there;
we are on earth. One can go to Svarga if there is a burning desire for it."
Ma asked,
"In which direction lies the way leading to it, do please tell me mother?"
She replied: "When a strong desire arises in a man for it, then only he
can see the way."
Ma further enquired: "One can go there, if only there is a desire for it, is
that so?"
Ma asked again: "Is there anything special there?" Didima did not add
anything (to what she had said already). Very often Ma used to have
(talks on) such religious topics, and (hold) discussions on various
subjects with Her mother and (hear) stories (from her). Whatever was
worth receiving from Her mother, that, again, was there too.
One day the sound of kirtan and of playing on khol was held from a
house at a far-off place. Lying here (at home), Ma was perhaps in that
changed state, in keeping with the occasion Afterwards, She enquired of
Her mother,
"There is this kirtan and playing on musical instrument, which we hear;
what do we get by doing all this?" She replied: "Bhagavan is pleased; He
can hear even when one takes His name mentally. Indeed, man cannot
see everything, but surely, Bhagavan knows everything, sees everything
and does everything at all places.
While remaining calm under that abnormal state, there would flash for a
moment, in the body of Ma, an extraordinarily strange manifestation
externally visible to all. When an enquiry was made about it, Ma had
replied,
in this context, know that there is that Supreme (eternal dhvani) abiding
in each aspect of dhvani."
Afterwards, when She would come back to (what we call) Her normal
state, there would appear, in Ma, a special bhava of diffidence too in the
presence of people.
"What sort of a girl is She? She does not care to see Her mother, even
with a glance by the way. Is She completely without any feeling of love
and attachment?"
We feel that here is a warning to all that one should ever be on one's
guard to maintain sanctity while performing such rites. Did we not get a
lesson on this aspect too from this particular case?
Every year for three days during the time of Durga Puja and on the
occasion of other special pujas too, like Dol, etc., they would take Ma to
their house to stay with them At that time, the duration of Ma's stay there
and taking food i that house was almost fixed, as it were. There, at the
time of puja, Nirmala Devi and Ma both used to sit together and sing a
lot of various Malsi songs (songs related to Shakti, the Divine Mother)
and the like.
At that time, Ma was in the Divine Motherly bhava alone (as if the
Divine Mother Herself). In fact, there appeared in Her tile
appropriate bhava and also the rupa (form) which were identical with
what was depicted in each song related to a particular puja.
At certain times, there used to occur, in the body of Ma, some change
that was strange and not normal and that too, indeed, within the view of
people in the outer world. The normal dealings in the external world
would, as if, for the moment, get lost or become concealed, or how to put
it correctly as to what sort of manifestation it was. It is not possible to
explain it in words. At that time, for a moment, Ma appeared in a
different form and so was this caught sometimes in the eyes of people.
THAT only.
Winking and not winking, the same--indeed, all these are just the same
One.
Right expression (to convey what is meant) is not coming out, Baba!
This was also there that Ma could recite all those mantras, do the reading
(from scriptures), etc., fluently. At that time, occasionally, Ma would
abruptly get up without anyone's knowledge. If this came to the notice of
someone and appeared strange to him, he made some remarks too
sometimes. Immediately, after manifestation for a moment like
lightning, all these bhavas would, by itself, withdraw within Her and She
would come back, from our point of view, to normal condition in
behaviour.
Afterwards, towards those who had the chance to see a little of this
aspect of Ma suddenly come to light, a sort of hesitant serious mood
would be noticed in Ma.
Then, again, they would call Ma and engaging Her in play, would make
Her smile. Whenever they met Ma again, it was evident that perhaps
they had not been able to forget the particular bhava they had
occasionally noticed in Ma at any time. It occurs in our mind that this
divine bhava remained with them like a companion in their spiritual life
aimed at the Supreme Objective, and did this not help a little in leading
them towards unfoldment (of their Svarupa)?For such fortunate ones
who were there in the midst of all this and had a chance to witness it
(Ma's bhava), we should certainly consider this (coincidence) too to be
of special Kalyana (for them).
In that region, at that time, nothing was heard or seen, even by sign and
indication, which could throw light on (such subjects as) a yogi,
kriya of yoga and the like, interpret the doctrine (of Bhagavan) with
form and attributes as Shri Rama and Shri Krishna and expound
doctrines of dualism, monism, etc. The practice of reading religious
books like the Ramayana, the Mahabharat, Gita, Bhagavat, etc., came to
one's notice only sometimes, somewhere. As for Ma, of course, whatever
happened there in Her presence at any time, (She was ever in identity
with that alone).
In the Reality of Ma, She is what She is, eternal. What She is in Her easy
movements, and again, anything that happens at any time, She is in those
respective forms to Ma alone, such as the person who he is while
winking, is the same person when he is not winking. There is distinction
only in kriyas of the same person.
Obedience to Bidding,
One day Ma had gone out for a stroll in the Eastern locality. There, from
one of the houses, a mother and her daughter brought some mangoes of
very good quality and solicited Ma pressingly to accept them. By no
means whatsoever would Ma 'agree to accept them, and as She ran away,
the girl too followed Ma to Her house and tried to offer those mangoes to
Shriyukta Mokshada Sundari Devi. Meanwhile, Ma too had run up and
plucked a few mangoes from a tree within Her house. Returning just
then, (and offering the mangoes to the girl), She said, from the stalk
onwards and up to a certain length, it (the mango) is green and yellow,
side by side along with thick stripe, and the remaining part is of green
colour, but ripe.
"Look, She added, you all do not have such a variety of mango, so please
take them."
The girl took the mangoes with joy and turning them around (in her
hand) began observing their unusual colour, which, it was reported, was
so wonderful that it could not be' described. Mangoes of such quality
were not there in anyone's house, and it was, as if, in each mango, the
two colours represented Sita-Ram, Radhey-Shyam - the divine couples.
This mango tree was in one corner of the house. Turning the mangoes in
Her hand, Ma used to observe their colour with great joy. So sweet to
taste and so fragrant, a mango of such quality was not seen elsewhere
There was no washer-man at all; besides, where was the money to meet
washing expenses? Occasionally, with soda ash, and that too derived
from the bark of a plantain tree or some other source, clothes were
washed to some extent in the homes of poor people. In this way too,
there was no possibility of washing clothes very often because of the fear
of their getting torn through repeated washing. Even when going out, Ma
would put on those old and tattered garments, wrapping Herself neatly
and swaying to and fro with joy.
In former days, the practice in every village in that region was that till
the children could put on their clothes themselves, (they remained
without them)-the use of frocks and trousers was not at all current.
During winter, someone would fold a piece of cloth, wrap it over the
child's body and tie the two ends around the neck.
When the child could move about well, it was, perhaps, given a cloth
then. Sometimes the child put it on by itself, wrapped it around the body
and then kept it aside. So long as the child was of the age when it was
not obligatory to keep clothe on all the time, this was the practice even
while moving about and in play.
In those days in villages, this was usual with all children; juniors and
elders, men and women-indeed none had any sankoch (sense of
immodesty) about it. At that time, it was not customary even with
grown-up girls to put on stitched clothes such as a blouse, etc., (the sari
serving as an all-purpose garment). Wearing of warm clothes and
wrappers during the season for it - this was also not usual in those
regions. In villages, the cold too was not severe. Heat and cold were
bearable. Men alone were seen putting on garments like shirt and coat,
and these too only while coming to and going out of villages. Regarding
electricity, there was no question at all of having it there.
When Ma was a little grown up, on observing Her style of wearing
clothes, someone would remark: "What a beautiful style of putting it on;
except hands and feet, no other part of the body is exposed!" Perhaps
noticing someone (whose body would be much exposed in comparison)
be would say (to that girl): "Learn it(that style)!"
During Ma's movements, its pattern in Her own joyous style was such
that it always naturally attracted affection from all. Even through the
dirty colour of the soiled and worn out cloth, the beauty and charm of the
bright, fair complexion of Ma would be enhanced.
The reason behind Ma's request then came out. Pulling out the torn
corner of Her wearing apparel and showing it (to Her mother), She said,
as if timidly: "Just see, the anklet has torn this cloth." About this, what
could Her mother say! (She only said): "Alright, move carefully." For
fear that the cloth might get torn further, Ma would, while moving about,
keep it raised (above the anklet). Afterwards, Her mother got Her
properly dressed.
Village Kheora was not a very big one. Among the inhabitants, there
were, besides a few brahmin and a few kayastha families, Muslims and
other communities in greater number. In the Western locality, there were
only two brahmin families, one of whom was that of Bipin Bihari
Mahasaya. At some distance, almost on three sides, there was the
habitation of Muslims. During rains, water accumulated around two or
three sides of the house, and just in front, there were Muslim houses. In
the Eastern locality, there were dwellings of nine or ten Brahmin
families and fourteen or fifteen kayastha families. Besides, there lived
people of other castes too. While going from the Western to the Eastern
locality, one had to pass through a bit of field and jungle on both sides.
There was another road too, a short-cut, through the premises of Muslim
homes. Both these roads were used by Ma for coming and going on Her
way to the Eastern locality.
Any attraction for a particular friend of the same age-group, which the
people could se---that too was absent in this girl, indifferent to worldly
interests. Any festival, amusement or the like, with its outward
temptation, fascinating a child-mind, was not always there in the village.
Then, hostility with anyone was certainly out of question. Just as the
world and the universe were Her friends, so also simultaneously there
was, as if, none at all of Her own anywhere the One in great abstract
mood, grave, calm, serene. Again, in Her own bhava, She would,
sometimes, wander about, laughing, playing, dancing and singing in a
low humming voice. (And then), saying a few words to the villagers
while addressing them with a little smile, just this much! Was it only to
give and receive this little bit of alms of love that this girl moved about
uninvited from door to door in different localities, maddening the entire
village?
After marriage Ma was once taken to Kheora from the house of Revati
Babu (the eldest brother of Bholanathji) at Sripur. Wearing dul (a kind of
earring) in the ear, ananta (a kind of armlet), bangles, bracelets on wrists
and taking younger sister Surabala and other brothers and sisters along
with Her, Ma went strolling to the houses of those Muslims. After going
around a good number of those houses, Ma came to one of them where
the family comprised boys and girls, daughters-in-law and many among
them of the age of Ma's father. (Then), one of them asked Ma to let him
have a look at Her ananta, bangles and bracelets. Ma took them off
immediately and placed them in his hands. While examining them, some
members quietly went inside, placed these ornaments in a room, then
returned and sat by Ma.
Ma too, after sitting for a while and remaining engaged in talk and
humour, said,
The man who had taken the ornaments said: "Alright," without caring to
return the ornaments. Ma kept smiling a little and saying: "I shall go now
itself." They too said: "Very well, you may go." But, about giving back
the ornaments, neither did they make any mention nor did Ma speak
about them. Talk on different subjects continued in a spirit of much
jollity. Ma, of course, used to sit in their courtyard and so She sat there
on that day too as usual. (Then), getting up, She said: "It is quite late
now". Saying his, as Ma moved a few steps, they brought back those
ornaments: ananta, bangles and bracelets, and giving them back in Ma's
hand, said,
Ma just smiled a little. Indeed, it never occurred to Her that all those
ornaments had been given by Bholanath's (bridegroom's) family and
these people were talking in that vein; what would have happened then
(if they had not returned them)? No, there was not the least concern of
this kind. What a simple hearted beautiful spirit of trust! They went on
discussing among themselves with comments on some such lines.
One day Swami Purnanandaji sent one of his disciples to Ma with the
instruction to ask Her as to what She saw in Her dreams. Early in the
morning, the disciple came to Ma and put that question to Her. In reply,
Ma said,
Do tell Baba that when one is in sleep, there is dreaming. Flow can
there be the question of dreams where the question of even sleep has
no place. In fact, the world is a waking dream whereas in sleep,
there is sleeping dream."
One day Ma told that disciple: "Look, I just saw Purnananda Baba seated
on his bed in his own bhava with a calm, cool and grave disposition, and
a lady, in a red-bordered sari, standing outside the door and leaning in,
while holding the door-leaf and looking at Baba."
Hearing this the disciple said: "Yes Ma, due to renouncing the worldly
life by Maharajji, his wife of former order of life courted unnatural death
on her own; very likely, it was she only." Of course, Ma had not heard
from anybody anything about the former order of Maharajji's life.
And if the jeweller is a right one, he alone can estimate the worth of a
jewel. These who really know, for them where is the distinction between
man and woman? This, indeed, is what one realises while having
continued association of Ma.
And, where the offering of respect is in its true form, there it is all that
one can desire. Where is that great experience in us to understand it (the
significance of that respect)? And, is it possible to comprehend all this in
this way through mere book learning? It is only by associating
with mahatmas that we have experienced the little which we have.
Where that realization really is, how can there remain any question of
(distinction between) man and woman, and different communities.
Waking,
dreaming,
But the Turiya state is not like this. It is pure, without any mal (i.e.,
without attributes), absolute.
Therefore,
it is nothing,
Reverting to the subject ill the context of Ma's childhood, many a deed
of Ma sometimes did appear to be unusual compared to Her age. At
Vidyakut, one day Ma's aunt (wife of the elder brother of Ma' father)
asked Ma to plaster (with cow dung) the oven and floor of one room. Ma
was, then, of very small age. Removing Her clothes, She plastered the
floor of the room. Afterwards, Her aunt called everybody and told them :
"Look, how big are the hand-prints in the plastering. It is as if some
elderly person has done it. How could it happen with such a small hand!"
They were surprised and went on discussing it among themselves.
One day that grandmother told Ma: "Look, I have forgotten again
the kriyas of hand (anganyas). It is not right that I should trouble your
mother so very often. Now, you tell me what I should do. Ma smilingly
showed her something in quite an easy manner and said: "Why not do
like this?" Of course a question may arise as to why did the elderly
grandmother approach such a little girl (Ma's age was then about nine or
ten years) for this instruction?
It is possible that in dealing with Ma, many, sometimes, could not keep
in mind the difference in age; they forgot it.
About Ma, of course, the elomelo is, surely, there. But they could not
realize this also at that time, and this happened in the same way on both
sides, as if, in a strange manner. When this grandmother told Mokshada
Sundari Devi all this afterwards, she remarked: "From where has She
learnt all this. She had explained very correctly indeed!" She called Ma
and enquired about it. Ma said,
"Hearing tile words of the grandmother, all that just occurred by itself in
the body."
One must not joke with mantras and the like; it may turn one mad.
A Dextrous Play
That house was in the Eastern region and located at the farthest end of
the village. The residents of the house were a class of people
called Acharya Biahmins, who used to make in clay the images, etc., of
deities worshipped in the village. With a Kheyala known only to Ma,
She went alone at that moment during the morning hours and appeared at
a house adjoining theirs. There was loud and bitter weeping in the other
house, and standing in this (the neighbour's) house, Ma was observing
intently the condition of that boy after death. Next day, Ma went to that
house (of the deceased). Of her own accord, the bereaved mother kept on
speaking out from her heart about this bereavement to Ma, although Ma
was of such a small age. Standing there, in what mood was Ma hearing,
while looking at their faces, She only knew. But it was noticed that the
intensity of their grief became as if somewhat alleviated. They
repeatedly entreated Ma to come again.
Due to this incident only, intimacy of Ma with this family grew a little.
Noticing this strange action of Ma, they were struck with amazement and
sometimes possibly became frightened too. The reason for fright was
that they noticed that when Ma conversed with trees, the trees too, then,
appeared to shake a little. Besides this, the companions could not
understand anything more.
"Would you please show your queer manners once more just now ?"
Exactly as they feared Ma, so also they had a special liking too for Ma,
all loved Her as well. Without Ma's company in any activity, they felt
cheerless and could hardly do without Her.
On one side of the tree, its branches were dry without any leaves, etc.
Some other sides were green to some extent and bore some mangoes too
in the mango season. They had a big mango garden there which gave
them plenty of mangoes to their entire satisfaction.
If any mango dropped and remained there till even putrefied at the foot
of this lone old tree, nobody cared to take any particular notice of it. But
occasionally that tree would perhaps attract Ma to its foot, and if during
the mango season, Ma found mangoes lying at its foot, She would bring
and give them to Mokshada Sundari Devi. If old Thakurma found
mangoes there, she too picked them up and preserved them in the house.
When they were ripe, then, at the right time, she fed Ma too with them.
We have heard from Ma's mouth that the mangoes of that tree had such a
nice fragrance and were so sweet to taste that such variety was hardly
even seen at all. But the owners of the house had not even the least
appreciation of this.
"Look, surely they are in numerous forms and keep in mind that
they complete their final birth in the form of trees too."
(Now) who was that great one, who, escaping the sight of all, had
remained all alone on one side in the form of this dry tree? Did he fulfil
his final birth with his successful seva of Ma by offering Her fragrant
and sweet fruits?
Associates of Ma?
'Whatever She does and the way She does it during Her movements,
indeed, in all that, there is, as if, sweetness-the glorious glamour of
beauty.'
And when, again, She would be calm, She would turn into a statue so
grave, as if, there was not the least trace of restlessness any time,
certainly, none at all. Her gravity would remain absolutely unimpaired.
Someone would (then) address Ma as an earthen pot. When this state
was there then it definitely did not continue only for a short duration.
Perhaps She had no dearth of friends at any time. Again, She was lonely
without any companion; steady, self-composed and disinterested, with
Her gaze also fixed towards the sky, as if She had no bondage of any
bondage at all. Others also definitely noticed this. Looking at Ma with
Her face turned upwards, Mokshada Sundari Devi often called Her
'camel-faced'. On hearing this (term), Ma looked at the picture of a
camel in a children's book.
Sometimes Ma treated birds and beasts too with the same bhava.
They used to look at Her face in such a way, nodding their heads this
way and that, as if they understood what Ma was saying and Ma too
would reciprocate as though they were known to one another from
eternity. Even with insects like ants in rows, She was, as if, one with
them. She would start talking and dealing with them with laughter and
sometimes conversing with them loudly. She would jump, beckon and
look for them, as if Ma was their great friend.
This would go on for quite sometime. After having done all this, She
would never look back in any direction when She left.
One day at Kheora, a little before dusk, Ma was going to the tank to
fetch water. Suddenly, with what Kheyala, one does not know, She ran
towards the jungle, peeped through a narrow way and returned
immediately.
Never before or after this incident had She stooped a little and looked
into the jungle like this. When She came back home with water, She told
Mokshada Sundari Devi,
"I have seen in the jungle at quite a close distance, an animal much
bigger than a large dog with black and white marks, know not what
they were, on its body. It stood calmly and quietly facing south-
west."
Ma had entered that narrow lane, a short distance from the south.
Hearing the frightening story, Mokshada Sundari Devi said: "What
animal did you see with black and white patches? Never go alone that
side. No one has heard that an animal with such colours has ever been
seen in the jungle of this village." Who knows who it was in an animal's
garb to whom Ma had granted darshan!
In the meantime, during the Indian month of Magh (Jan.-Feb.), the old
grandmother used to take Ma daily for a bath in the tank in the early
dawn when it was still dark. It was a religious observance to bathe just
before sunrise. A vow of Maghmandal had been taken, and as such, Ma
had to bathe, well before sunrise in early dawn and observe other
disciplines. (To go to the tank), they had to pass by that jungle. About
fear, where was the room for it?
Afterwards, with great effort, she had remarked: "Yes, I am now able to see a
little." Before leaving, Ma told her: "One must live carefully. After all, this body
has to disappear one day." Then Ma had enquired: "May I leave now?" Speaking in
a strange tone, she had replied: "You may leave now - how can I say this?" Before
Ma's visit, she had not been able to speak anything for several days. Every one felt
amazed to see her talking to Ma. It was as if Ma never allowed this companion of
Hers to become attached to and be entangled in desires for worldly pleasures. She
drew her to the path leading to (the Self as) her own Objective.
These companions used to clap and tell Ma: "Look out, there it is, the
entire herd of cattle with raised heads is moving towards you only, and
in an instant will definitely fall upon you! In order to frighten Her, they
used to tease Her like this. It was seen that the herd did actually make its
headway towards Ma. Ma would not know where to go, whether to enter
water or to keep to the road and let the herd pass by.
Finally, She would move on the road along with the cattle in love and
happiness, as if She was their friend and companion.
Her companions would clap and laugh at Ma's predicament and
themselves would escape, running away. Then the farm boys would
rush, and with a lot of difficulty take the cattle away from Ma.
Ma's pattern of movement was such that She was definitely one of them.
Lots of such anecdotes were heard from Mokshada Sundari Devi. She
would wonder at times :
"What sort of a girl She is? Her actions are mysterious. Sometimes She
laughs all alone. Whom does She talk to?"
She often asked Ma "Who was it you talked to, laughed with?"
(One day) dogs were seen fighting on the road. Perhaps a passer-by was
there and felt much distressed. Rushing suddenly from somewhere
towards the dogs and looking at them with a peculiar smiling pose, Ma
made the gesture of picking up something from the ground. Then,
making the dogs the target, She directed Her close-fisted hand towards it
and opened it. Was it dust only in Her hand or just air?
But it made the dogs forget their quarrel, and they stood aside looking at
the face of Ma.
REPTILES
There was a very tall mango tree within the boundary of Shriyukt Bipin
Bihari Bhattacharya Mahasaya's house. The weight of every mango of
this tree was more or less one seer (about 1 kg.). Even the name of the
tree was 'Seer-Khaiya' (eater of one seer). Once, while coming from the
Eastern part of the village, Ma had noticed a mango lying under this tree.
The moment Ma saw it, She had the Kheyala that Mokshada Sundari
Devi would be very pleased to have it.
Ma, then, began jumping about as She proceeded (towards the tree) to
get it. She was, at that time, all alone, so She moved about jumping..
There, on the way, at the foot of the tree, was a huge poisonous snake.
The space under the tree was quite broad, but the snake was lying there
from one end to another blocking the way. There was no space to pass
on either side.
A reddish tinge emitted from the face and eyes of the snake. The eyes
were shining bright and the snake probably raised its head from the
ground to notice Ma. Ma did not stop, but jumped over the snake, picked
up the mango, jumped back and went home and gave the mango in the
hands of Mokshada Sundari Devi.
She was certainly pleased to get the mango but was rather worried to
hear of the snake, pondering as to who knows what this simple girl may
do any time!
This particular snake was believed to be living there time and again.
Nobody knows what relationship was there between Ma and that snake.
In pangs indeed,
When Ma crossed the road and came near the house, an uncle of Ma, Shriyukt Rasik Chandra
Bhattacharya happened to ask someone: "Who is that who sang this song-such beautiful high-
pitched melodious voice with rhythmic tune!" He had been listening attentively, being as if
charmed with the voice. (Just then) Ma came running and frisking, about, and burst into bubbling
laughter. That uncle embraced Her fondly and said: "You! You sang this song! Where did you
learn it from?" He was dumbfounded, amazed. Ma often sang loudly a few verses with a soul-
stirring high-pitched voice.
One day at Sultanpur, Sushila Masima put a copper ring on Ma's finger.
On seeing it, Shriyukt Mokshada Sundari Devi said: "it will be a great
sin if you tell a lie after wearing this ring."
She (Mokshada Sundari Devi) said: "It would be a sin even to tell a lie
unmindfully.'
The step-turn of Ma's nose had been pierced and She had been made to
wear a nose ring some time back. A hole was also now bored in the nose
to wear a rose-pin. The ear-lobes were pierced for wearing ear tops, etc.
While moving by boat, they arrived at a spot when it was dusk, and
Bhattacharya Mahasaya arranged for Ma to sleep at an acquaintance's
place. Later on, he got puri* and mohanbhog to feed Ma.
This was perhaps the first time that Ma had tasted Mohanbhog.
* puri, an
Indian
preparation
, is made
principally
of wheat
flour which
is first
converted
into dough
and then
flattened to
round
pieces of
varying
sizes and
fried in
clarified
butter.
Mohanbho
g or Halva
is a sweet
and
delicious
Indian
preparation
made from
wheat
flour, sugar
and ghee.
The father said (to Ma): "This is Mohanbhog, eat it with puns."
The next day, when they arrived at the (steamer) station in the morning,
Shriyukt Bipin Bihari Bhattacharya learnt that the steamer would arrive
late. So he decided to buy some provisions for cooking. It was dawn, the
sun was up and he was walking along the bank of the river with Ma. On
the way was a quarter for professional women of easy virtue. Among
them an elderly woman came near Ma with great eagerness to talk to Her
and touch Her lovingly. It was a strange feeling!
Father was walking ahead, the daughter close behind. Ma too was, as if,
like one of their own, and suddenly stopped on the way. "What is your
name, where are you going, will you eat something, etc."- in various
such expressions, conveying intense love, that woman continued talking,
standing there only. And (all this was) with such a feeling, indeed, as if
Ma was so much of her own, and if she could, she would have taken Ma
to her home. Ma uttered Her name, refused to eat anything and said She
was going to Her aunt's house with Her father. Shriyukt Bipin Bihari
Bhattacharya Mahasaya was buying something from a shop close by and
was not careful about Ma for a while. Afterwards, he asked Ma: "Why
are you standing there? Come here, let us proceed", and took Her with
him.
Attempt should be made to understand Ma's ways. She alone knew what
transpired, what She received and what She bestowed in Her dealing
with a stranger She came across on the road. But, while moving away as
far as one could see, that woman had her eyes fixed on Ma. She felt hurt
that Ma was leaving, as if someone very close was going away. All this
came also to the notice of Shriyukt Bipin Bihari Bhattacharya. The
steamer arrived on time and it was noticed that the woman had come
again and was standing near Ma, a little away with a forlorn face.
With a sad feeling, she enquired of Ma: "Are you going away now
itself?" Ma replied in the affirmative with a little smile. Meanwhile,
Shriyukt Bipin Bihari Bhattacharya, holding Ma's hand, took Her aboard
the steamer. When Ma boarded it, that woman felt extremely unhappy,
and standing there with that feeling, went on looking at the steamer so
long as she could see it.
The steamer reached the destination. The house of Ma's aunt was at
some distance from that place and one had to cover a part of it on foot. It
was dusk, darkness was approaching, and as they walked on, at quite a
distance, a big fire was seen. They were walking and Shriyukt Bipin
Bihari Bhattacharya Mahasaya, while moving in the dark, kept on
talking a little to Ma.
"Certainly, it is a strain to walk, but the house now is close by" - he was
speaking in such a vein. Pointing towards the fire, Ma told Her father:
"Father, what must be the condition of the inmates of the house which is
on fire?" So saying She kept quiet and stood staring at the fire.
He said: "Yes, it is really so; such a big fire being put out so fast!"
On Receiving What?
On deciding to spend the night (somewhere) Shriyukt Bipin Bihari
Bhattacharya went to a family residence near by, with the head of which
he was already on intimate terms. Durga Puja was being celebrated
there. The ladies of the house shouted in joy:
They were so happy to have Ma that they started picking up and holding
Her joyfully in their arms.
What did they get and what did they understand which gave them such a
feeling? They did not know how to express their love and affection for
Her. They called their neighbours and showed Ma to them. Responding
to their feelings, Ma also became just one of them and did not spend that
night with Her father. The next morning they bade Ma farewell with a
very heavy heart after dressing Her up in new clothes.
With all the children of the family, this was how Ma was there.
As for Ma Herself, whatever Her nature was., the same was there at the
houses of Her aunts too.
Just to outwit Ma, one of Her cousins brought a piece of cinnamon from
the house and another (similar looking) piece of bark of a tree from
somewhere. Her intention was to give the ordinary bark to Ma and eat
the cinnamon herself, as is done in a play.
It was seen, however, (to her discomfiture) that the piece Ma had in Her
mouth was cinnamon, while the one which the cousin had herself was
the ordinary bark.
What actually happened and how, only the One who had brought it about
knew!
Later, when the aunt heard about it, she reprimanded her daughter much.
The girl also promised that she would never do it again. Minor incidents
like this often took place even during play, but the bond of love with
everybody remained unimpaired.
Never, on any day, did the words, 'I am hungry' come out of Ma's mouth.
She had to be called and fed during meal times. Others ask for varieties
of eatables from their mothers, but Ma never had such a tendency.
Imitating children of the same age-group, Ma once asked Her mother,
'Please give me something to eat."
One day in the morning, when Ma was a small child, She was going to
the pond to wash utensils. Mokshada Sundari Devi then said: "You are
going with the stone-bowl; move carefully and (added ironically) if you
can, bring it back only after it is broken."
The bowl, then, suddenly slipped from Her hands and broke. She picked
up the pieces carefully, washed them and after bringing them back home
along with other utensils, stood in the courtyard.
Seeing (Her), Mokshada Sundari Devi spoke a little loudly: "You have
done just what I had predicted."
Ma replied: "My hands were a bit unsteady and so it fell and broke. But I
did pick up all the pieces and have brought them along."
On this Her mother started laughing while covering her face with her
sari, and, then, looking at Ma tried to make a show of reprimanding Her
a little loudly. Ma stood there perplexed like a simpleton. Mokshada
Sundari then said: "Foolish girl can broken pieces of a stone-bowl be
fixed again! Bhagavan only knows what will happen to this Girl!"
As we know, there were Muslim families on three sides and even behind
the bamboo bushes. They used earthen utensils also, but not stone
utensils. A burnt sore heals up, without even leaving a white mark
behind, if it is smeared with a thick sandalwood-like paste made by
rubbing one flint-stone piece against another. Ma had seen members of
Muslim families asking for stone pieces and taking them away.
Was it because of this that Ma had collected and brought back the stone
pieces?
Did Ma consider this aspect more important? What if the bowl was
broken, but surely, the broken pieces would help in healing burnt sores.
It did not make any difference to Her whether the bowl was broken or
was a whole piece.
This is what was often revealed in Ma's actions. Ultimately, it was seen
that if Mokshada Sundari Devi had to say anything to Ma, the former
had to explain it in minute details. This was because Ma would do
exactly what She was told to do. Some sort of a strange bhava was
always there in Ma's physical body; it could be seen, so I have heard. As
a result, in her day-to-day life, She used to only follow instructions.
However, whatever She did was perfect. Again, this was also observed
that if some work was in Her Kheyala, Her whole attention would be
directed towards it. On such occasions, She had no thought about Her
physical existence.
When Ma was about ten or twelve years old, at that time too, Mokshada
Sundari Devi would tell Ma sometimes: "You have not studied anything,
nor have you learnt the household chores; Bhagavan only knows how
you will pass your days!"
And when she saw how neatly Ma stitched, how nicely She performed
any other work of such a type, how well She cooked - in fact, whatever
work She was entrusted with anytime, She did so well that Mokshada
Sundari Devi would heave a sigh of relief and exclaim: "This is very
well done, in-deed, even I couldn't have done it so well. There is nothing
to worry; with Bhagavan's grace you will be able to do everything to
meet the needs."
One would really have to find out whether Ma had a total of even two or
three months of schooling between the two places Kheora and Sultanpur!
The small school at Kheora was quite far. Later on, due to ill health of
brothers and also because Ma could not go to school alone-for various
such reasons, She could not attend school everyday. At home too, there
was no atmosphere at all for studies. At first, father brought a plank of
wood from somewhere and himself engraved on it the alphabet - Vowels
and consonants-symbols of letters, conjunct letters, for the benefit of the
children.
They were told to read those letters and were also asked to feel them
with their fingers.
No one saw whether Ma spent even two or three days on touching letters
or reading them. After that, gone was the plank, gone, again, was
learning of lessons-in fact, there was no reading and writing at all!
No such opportunity too was available that one could sit with Ma and
make Her properly pursue studies daily.
Sushila Masima could not read so well, but when the teacher heard
Ma�s reading, he said "Good girl!" He thought Ma had probably
prepared the lesson beforehand. But this was pro probably the first time
She had read in that manner. The older girls in the school were taught to
recite nursery rhymes. Ma was made to sit with them. She came to
Kheora after this.
At Kheora, there was a small lower primary school. About ten or twelve
girls studied there. The teacher at the school was a distantly-related
grandfather of Ma. Whether Ma was able to gain full knowledge of
letters or not in this school, it was definitely the end of studying this
book. A half-torn book namedBalyashiksha (Infant Education) was then
brought from somewhere and given to Ma.
After reading it or not reading it for three or four days She got another
book named Shishu Shiksha (child Education). The study of that book
too was not completed. There were four girls in the senior class. Though
Ma was the youngest, still, considering the unexpectedly efficient way in
which She answered questions, the teacher put Her with the senior girls
in the upper class. Was he able to understand what the secret was about
Ma?
The four girls of the higher class had new books, slates and other things,
whereas Ma had only the same torn book and that too an old one,
borrowed from someone.
As for slate, She had only a small piece of it with a broken corner, on
which one could write only two or three lines with difficulty and that
too if the writing was in small letters.
She studied a little when She was sometimes asked to do so. There was
no practice of regular daily studies or (we may say) that there was no
study at all. When Her parents had the thought (and asked Her to study),
She would look for the piece of slate and getting hold of it would sit
under a neem tree in the morning sun and study perhaps on one or two
days. All the same it was seen that when Ma was asked a question at
school, the answer would definitely be there in Her Kheyala - before Her
eyes.
She opened the book and looked at one place how questions and answers
were given in it. No one had ever told Ma about this. That was the first
day on which She had opened the book and seen Herself that questions
and answers were there in it. She, then, came and took Her seat in the
class. And She was asked questions from that very place in the book. As
a result, Ma answered (questions) so well that She who used to sit behind
all, was immediately taken and seated in front of everyone in the same
class. For other girls, that lesson was new and, therefore, they were
unable to answer the questions so well. But in the case of Ma, questions
were put from whatever She had seen with Her eyes while She was on
the way (to school). So Her answers were correct. This was the
beginning and end of Her study in this particular class. The pattern of
reading and writing of Ma was limited to this much only.
No Reading, Writing
One day, the Inspector of Schools came (to the school). All the girls
went dressed in good clothes. Ma went in Her usual tattered and dirty
clothes, as She had been wearing daily (at home), carrying Her old torn
book and the piece of broken slate. In a small village school, the number
of students is negligible. So, when the school Inspector visited, even Ma
was taken to school to increase the number of students (on the roll that
day). The Inspector arrived and pointing out a portion of the book, asked
the well-dressed elder girls to read it one by one.
She read it out fluently as soon as She was asked to do so. After She had
read five or seven lines, the Inspector said: "Good, that is enough. You
need not read anymore." After that She was asked to write and the
teacher then presently borrowed a good slate from another girl and gave
it to Ma for Her to write upon. It appeared that Ma knew very well the
portion the Inspector had asked Her to write. Seeing Ma's faultless
writing, he praised it very much. The teacher was greatly surprised as
this girl did not study, nor did She attend the school regularly. But She
was the only one who was deservedly praised by the Inspector.
The teacher of this school at Kheora died. A new school mistress started
teaching in his place. She was also like a grandmother to Ma on the basis
of village relationships. The inspector came again to this school. Ma had
come back to Kheora after a long stay at Her maternal Uncle's house (at
Sultanpur).
When the mistress got this news, she called Ma in order to swell the
number of students for the visit of the Inspector and seated Her with all
others. Ma was not bothered at all about studies at that time. When the
inspector asked question, the mistress, standing outside the class-room
and hiding herself from the Inspector, tried to indicate in some way tile
answer to Ma.
The teacher then bit her tongue and slipped away from there. All the
same, Ma gave the correct answer, one does not know how, to what the
inspector had asked. Late, addressing Ma affectionately, the mistress
said: "You are almost eleven, and even now you have no sense. Should
you have talked the way you did ?"
Ma replied: "It is you who teach us not to tell a lie, but that, which was
done secretly, was definitely lying!" This teacher breathed her last at
Varanasi.
She had taken prasad for sometime from our Varanasi Ashram.
Ma was growing up gradually, but without any sense of 'mine' and 'not
mine', nor with any awareness of distinction between man and woman.
She moved about among all happily and playfully with child-like
normalcy. As we know the homestead of the maternal uncle of Bipin
Bihari Bhattacharya (Ma's father) was in village Kheora. Therefore,
there were who were many of the status of Ma's grandfather.
One day She was passing by one of them who was one (of the numerous)
grandfathers.
Seeing the water marks (on the floor), people there started talking
amongst themselves as to how such small hands could throw water over
such a long distance. Thinking over this, they were a little surprised too.
This grandfather was Bipin Bihari Bhattacharya's maternal uncle and
almost of his age.
"You are now a grown-up girl and it is not right for you to tease elders
like this. You should not mix freely with all and sundry.
When a girl grows up, she should not even touch a man.
In the child form, in the girl form-in all the dealings and kriyas, She is a
simple girl-child, but behind this form of simplicity, there is unfoldment
of extraordinary bhava and kriyas in the mundane of the extra mundane.
We have already noticed that the words Svakriya and Svamool have been
mentioned earlier. All kriyas of Ma - from the very appearance as a child
and all the rest of kriyas in entirety are in the context of
this Svakriya About kriya pertaining to jiva-jagat and the aspect (4
distinctiveness of this Svakriyaand Svamool too, have already been
discussed to some extent in the first volume. We shall notice how very
often the terms Svamool and Svakriya are mentioned also in each
succeeding volume of this series.
That is, in the case of Ma, anything concerning Her, whatever, remains
beyond our vision, within our vision as well-birth, lila, play
of sadhana, etc., all, in fact, is the play pertaining to this Svamool
Svakriya. The relation between cause and effect has its own place, and
yet no place at all at the same time.
Birth,
action,
But since it is Svakriya, Ma's Svarupa and Her actions are identical-
whatever, whether within or beyond our vision-Ma alone.
Again, there is
no question of form,
Here is this indication of Ma's Svarupa and this, in fact, has to be taken
note of even through the Ananda-rasa pertaining to the various forms of
Her childlila. This will lead to the understanding that in the context of
any bhava kriya at any time, She unfolds shaping Herself in the patterns
of those particular forms completely. Therefore, the form of the child is
perfect, and the aspects of the girl too are unfolded perfectly.
THAT alone.
CHAPTER TWO
Yogini Thakurma
MA's THAKURMA
The Thakurma of Ma had an innately inward-turned mind, even while
living in the family. A glance at her revealed as if there was a
detached bhava within her. She had a tall figure, looking like a yogini.
Even while engaged in any work, she moved humming happily songs
related to Bhagavan; on being called unexpectedly, she replied as if she
was startled. It was like the action of one who had returned from some
unknown deep realm to the material world.
Whatever work she did, would be neat and clean, manifesting total
holiness. The present poverty did not touch her much, as it were. Of this
family, this was a characteristic feature-an ornament, indeed, of innate
beauty.
It was, as if, he was not bound by time. He spent all the time like this,
regardless of day and night. Sometimes he did not find time even to eat
and sleep. Being a devout brahmin, invitation from a right place alone
was accepted and food taken there. Besides this, (normally) when he
returned, it was only at home that he took his bath, performed the
prescribed religious sandhya-annhik and puja and then had his meal.
"Look, many bits of radish are still lying under the ground, please take
them too."
May be, sometimes, she did take a few of them. As Thakurma's father's
house was in Kheora, there was no question of covering her face with a
veil (in this village). There was a bond of affection with
everybody. Thakurma treated the elderly women as mothers and the
others as brothers and sisters, and they, in turn, showed, in their
behaviour, esteem and reverence for Thakurma's holy ways. That
unsolicited (gift) of theirs helped in meeting the need for the time being.
After collecting such vegetables, and cutting them up as
required, Thakurma would deliver them at the kitchen and then take her
bath.
Shriyukta Mokshada Sundari Devi spoke about one song (as under),
which Thakurma used to sing:
Please listen:
In my dam,
And crying,
As the Darling
Continued crying,
I kept saying,
I pushed aside,
Saying,
(Further), we heard from Ma's mouth that Thakurma used to sing the
following type of song too : *
This song
refers to the
galling
misbehavio
ur of the
sister-in-
law
(husband's
sister) and
mother-in-
law of Sri
Radha, the
divine
lover,
condemnin
g her
meeting Sri
Krishna,
the divine
Beloved.
By my sister-in-law
Also, by my mother-in-law
1 am being consumed
Oh courier!
She hummed so many such songs pertaining to Thakur, always mentally
and also while going round in the jungles. Taking Ma in her
company, Thakurmaused to sing these songs to Her. May
be, Thakurma would be engaged in clearing rice and pulses off grits,
etc., humming a tune at the same time, when Ma would sometimes
interrupt, saying: "Than Didi (an address of love to grandmother), do
please sing a song-within my hearing" - as if the two were friends.
It was a job for her to complete the japa after repeated achamans.**
** Achama
n is the act
of sipping a
little water
from one's
right palm
three times
while
uttering a
particular
mantra bef
ore
commence
ment of
worship of
any other
religious
ceremony.
After meals, there was hardly any time left before the day ended.
Thakurma would spend almost twenty-four hours of the day in this way,
and regarding household affairs, she did not know how to give thought
on the way they were managed.
She told Her grandmother,' "I notice that you have been saying only this
one particular word all the time."
The grandmother was surprised and said: "How could you know what I
have been saying? It is not proper for all this to come out of the mouth of
children."
There was yet another significant facet. In some homes, food was
cooked with vegetables bought, but the curries prepared
with Thakurma's pot-herbs and their fresh soft stalks - all these
constituted, as it were, nourishing delicious dishes for all. The thought
about the quality of foodstuff cooked, whether it was good or bad in
comparison to that of others, never arose in any ones mind; contentment
was always there.
However, it did occur in the corner of our minds that such was the (poor)
provision of Ma's food at that time!
Noticing our bhava, Ma remarked: "Oh, certainly you have never eaten
such things, neither will you ever do so. To a few drops of oil in a
container on fire, a little spice is added, and after cutting thick slices of
radish, they are left there. A little turmeric, salt and chilli powder (or red
pepper) are then added, the contents stirred together and water poured in.
The container is, afterwards, taken out of fire as soon as the radish pieces
are boiled.
This soup, when taken with rice and raw radish, is very delicious.
What is wrong with it? Your cooked food, according to foreign style too
(is like this): health is maintained by having boiled vegetables. Ulcers
and other maladies and operations were not there. Why are you looking
so glum with such a facial expression and mental state?
Village Kheora, despite its bushes and jungles all around, what a solemn
divine influence one could experience in the midst of it all! Thakur -
Puja was performed daily, and in the evening too, incense and resin were
burnt and oil lam lighted (before the Deity). The environment itself of
the place was, as if enchanting, sustaining a holy inspiration. No touch of
any bhava of poverty could be felt there, as it were.
This (poverty) too was well-nourished, one does not know how, by the
influence of the place, other-worldly and sweet Ma's Thakurma too,
leading the life like that a yogini, kept her-self engaged day and night,
aiming at her own objective in joy.
That, in the world, there was happiness and comfort which yielded
earthly pleasures to be enjoyed was an aspect of life that had no place at
all to be reckoned with. The question did not arise in any way - such was
her way in this respect too. Again, she had a small wooden box with
nothing in it except a silver coin, and that box too she had given away to
Mokshada Sundari Devi. Let alone (the question of) her having any bag
and baggage of her own, she did not have even a small bundle of
clothing. Such was the form of aspects pertaining to all those desires.
While talking about Her Thakurma, Ma said: "Eli! She was within
herself the ochre-robed yogini." With her presence in the context of the
particular background, she gave as much company as she could for a few
days in this form too. When Ma was talking about the yogini form
of Thakurma, She was referring to her subtle yogini form.
That the Self alone exists in the form of a complete Indivisible Whole
Ma: "Yes, you must join Satsanga. Sadhakas and sadhikas should accept
advice, if it is in conformity with that of their own Guru, and reject it, if
not so. If one delivers lecture after studying the
Ra'izayana, the Bhagavat and other scriptures, etc., and if that helps
anyone, who by understanding them, gains what he did not have before,
to pursue the journey leading to tha Supreme Objective; also, if the
speaker himself too, being already established in that enlightened and
inspiring state pertaining to satsanga, was marching towards the
Supreme State-this aspect of kriya being of his own, as he himself is
engaged to get merged (in that state) then, this is, indeed, a matter
of Ananda.
But without attaining that state, and only through studies and repeated
listening of scriptures, if one aspires after name and fame, hankers for
devotees and disciples, men, money and landed property, where these
propensities exist-there, one must be prepared to suffer from
unhappiness born out of various wants in respect of these items.
However, where there is journey for attainment through sadhana, one
should understand as to which way one is moving. Where evil appears in
the garb of auspicious-ness, nobody knows where one will be led to at
any moment. Even when, at any time, the thought, '1 am talking about
spiritual truth to people' is harboured in the corner of the mind, and if
with this pretence, kriya sustaining self-interest is indulged in, one does
not know when and to what a state pertaining to joys and sorrows of the
domain of mind, one will land in, on being caught by fond attachment
through public contact, resulting in being adversely deflected from the
path leading to the Supreme Objective.
What shape this will cause to be taken gradually before the masses, is
very difficult to comprehend in the realm of mind.
One must definitely shun the way leading to what is harmful, what will
bring a downfall and cause hindrance in attaining the Supreme Slate. It is
the special duty of a sadhaka to remain devoted to his journey aiming at
the Supreme State. That a sadhaka-tapasvi should strive day and night
without break in all his activities by body and mind for the fulfilment of
the objective-this must be kept in mind."
CHAPTER THREE
Kanya Dan*: Form of kriya.
Transcendental in Mundane
*Ceremonial handing over of daughter in marriage.
MA AND GRIHASTASHRAM
Pre-Marriage Negotiations
When Ma completed Her twelve years of age, the father got worried
about Her marriage. Ma's youngest maternal uncle knew how to read a
horoscope. He took Ma's horoscope and would not return it even after he
had been asked to do so repeatedly.
For this reason, Her parents thought that there must be something
unfavourable in it. Shriyukt Bipin Bihari Mahasaya belonged to
Vidyakut's famous respected Bhattacharya families of the lineage of
Kashyap Rishi. Ordinarily, they never gave their daughter in marriage
anywhere but in the district of Vikrampur. Many matrimonial proposals
from good and well-to-do families came from the region of Ma's birth
place, but they were all refused.
A photograph of this prospective groom with his sons and daughter had
also been brought by someone. All were having a look at it. At that time
Ma was passing by one side of the courtyard on Her way to the ghat of
the tank. As soon as She went beyond everybody's gaze, She started
moving with a rhythm in a dancing pose, and looking up at the trees,
while waving Her hands slowly, began humming a tune, as it were,
'Photograph, Photograph, Photograph', as if this was also a verse of a
song. A grandfather of Ma asked from behind: "Hey! What are you
saying?" At once Ma shrank, as it were, through bashfulness. In those
villages, how many people had ever seen a photograph, I do not know.
Many of them, perhaps, may not even have heard about photographs.
After the Vridhi Kriya* was performed, the groom mounted the elephant,
the procession started and arrived at Kheora at the previously appointed
place on the date fixed, with the band playing ahead. Meanwhile, all of
them, who had to come from Vidyakut and Sultanpur, had also arrived.
They had made Ma sleep in a room of a different house situated on the
east and brought Her along at the right time.
The wedding was over when Ma's age was twelve years and ten months.
Ma did whatever She was told to do at the time of marriage and,
accordingly, standing and sitting, as required, She carried out all
instructions given to Her by anyone. When the moment (for marriage
ceremony) arrived, She was taught how to throw flowers, etc., made of
woody stalks of jute plants by a grandmother of Ma with her own hand.
That there must be Shubh Ddyhti* (the first exchange of glances)
between the bride and the bridegroom, had not been told to Ma by
anybody.
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contrary, Ma was looking skyward at the spectators who had
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At Ashtagram, Bajitpur and other places, when all that of Ma was going
on (Ma was, then, deeply engaged in Her play of sadhana with absolute
indifference to the world), on Bholanath's mentioning about this absence
of exchange of glances to his friends in their friendly talks, they too
remarked:
"Yes, yes, really it is so; perhaps all this is due to this reason - the family
life has not functioned with the normal bond."
At the end of the marriage ceremony, there was havan (oblation of fire),
etc., next day. Sri Lakshmicharan, an old famous pundit of the village,
performed this oblation. In village relationship, he was Ma's grandfather.
While performing this (religious ceremony), he said with eyes moist
with tears and while drawing attention of Bholanath,
"Grandson, you will know what jewel you are taking home!"
The son of this pundit too, it is reported, had, while pointing towards
Ma, sometime told someone: "Her shining complexion is becoming
visible through Her clothing; She is not an ordinary person (human
being)."
That day, after the oblation, etc., were over, Ma's youngest maternal
uncle feasted Bholanath lavishly with love and respect. A variety of
dishes of rice, curry and other eatables in a set of well-matched glass and
small katories (bowls), nicely arranged in a large plate was placed before
Bholanath after seating him on an asana placed en the pointed wooden
seat that had been given to him as a wedding present.
these are our intimate thoughts. Indeed, all these aspects (of
Ma's lila) related to where creation, sustenance and dissolution take
place and again do not take place too. In all kriyas pertaining to all such
aspects, in fact, in every kriya, the Tattwa (truth of Ma's Svarupa) is
expressed, Un-folded. On the other hand, that which is manifest-un-
manifest Svarupa, where is that unmanifest? It just floats in the mind
appearing faintly. It constantly occurs in the mind; indeed, all these
provide a repeated touch of that unrestricted, unlimited complete
revelation, taking place in the world and beyond, in the mind and
beyond-this is what we have to realize through a firm comprehension.
This comes from the depth of my mind.
After the wedding was over and while leaving Kheora, all others were
weeping bitterly. Joining them, Ma also cried, as judged from external
behaviour, in such an unusual way that some people remarked that
nobody had been seen to weep like that. It was only a small village and
the way She wept produced a response of crying in many when She left.
"In the case of this body, (regarding) all that presents itself at any time,
what happens, let it be."
Meanwhile, it was suddenly announced that they would have to change their compartment. Ma,
with the veil on, was sitting quietly, when She was told: "You will have to shift to a different
compartment; be quick, there is no time left, get down!"
All the luggage had been piled up in front, and there was no passage even to move. Well, no more
was Ma the child-wife with a veil on! At once She got up and began helping in removing all the
luggage out of the compartment by pushing it out quickly, and got down after getting the whole
work completed, as if with a robust heroism, tact and lightning speed. This scene was enacted
before the eyes of Sitanath Kushari Mahasaya.
Afterwards, he used to often mention this incident, as if a feeling of affection and regard remained
jointly rooted in his heart (with the thought): "This girl, for Her, how was it possible to have this
feat accomplished by Her hands?' He was simply amazed.
With due observation of all those kriyas, Ma identified Herself with the
patterns of those respective forms. This pattern itself is being
called Svarupita Kriya (transformation of the self in the self in the form
of kriya). That is, the kriyas in entirety as the bride during Her marriage,
are Ma Herself Svarupita(transformation of the self in the self), there
cannot of course, be any question of other different changed forms. In
the context of such kriyas, Ma should be noticed in the background of
absence of kriya as well. That is, in the Reality where the question of
any kriya does not arise, there itself, again, is kriya.Therefore, it is to be.
understood that the forms of such kriyas is Ma Herself-that is
why Svarupita.
Let that aspect of the Svarupa of Bhagavan be seen in the light of the
above investigation. Where there is creation, sustenance and dissolution,
there, at those places, changes take place. But in all changes, there is
absence of change too, and so it is said:
That is, each kriya, in fact, is Ma. The manifest form of such kriya is the
little that could be observed and what remains beyond observation-it is
the unmanifest and remaining inseparable too. For this reason, it is said :
this Svarupa manifest unmanifest-where is that unmanifest ?
All this pertaining to Ma is for ourselves only - the way they will give a
touch in our mind. In the form of jagat, beyond Jagat, in mind beyond
mind, in all, She is Abadh completely.
CHAPTER FOUR
MA in grihastashram
At the time of departure from Kheora, Mokshada Sundari Devi had
counselled Ma that a woman must always guard her chastity; even if life
is lost in doing so, she must not give up her chastity. (Also) Whatever the
husband or the guardians may ask Her to do, She must obey silently.
Immediately after marriage, Bholanath left for his place of employment.
He too advised Ma to obey his eldest brother and his wife. Well, with
this began the role of implicit obedience on the part of Ma.
On the next day after marriage, Ma was taken to Sripur, where Revati
Babu, the eldest brother of Bholanath was in service. The wife of the
next elder brother of Bholanath too was there after her marriage. Her
name was Prafulla Devi. At that time Revati Babu was employed as
Station Master of Sripur Railway Station. His wife (mother of Ashu)
remarked with pleasure: "This is nice, the names of my companions
from early years at school were Prafulla and Nirmala, and now my
sisters-in-law too bear the same names.
When Ma was first taken to Sripur, She noticed, on reaching there, that
Ashu's mother was ill. There were eruptions of small boils all over her
body, which caused itching, and which could not be cured in any way.
Ma's age, then, was only twelve years and ten months.
On arrival at Sripur, Ma engaged Herself all the time, day and night in
domestic chores, obeying the instructions of elders. Cooking, taking care
of the children of the elder brother of Her husband, keeping the house
tidy, cleaning utensils and doing all kinds of other household work, Ma
would attend to all these duties single-handed like a machine. Under
pressure of work, She could not have the Kheyala at all to take food,
comb Her hair, keep Her body tidy-do all this in time. Observing Ma's
dextrous handling of work, Shriyukta Mokshada Sundari Devi's words of
assurance, 'you will be able to do everything alright at the proper time,
there is no cause for worry', were proved as a correct prophecy.
Bholanath and the second brother Suren Baba were married almost at the
same time. Suren Babu was older to Bholanath, but Suren Babu's wife
Prafulla was younger to Ma by a few months. That is why Ashu's mother
had said: "Prafulla, you will address Nirmala as Sezdi (third elder sister)
and Nirmala will call you Mejdi (second elder sister). The wife of Suren
Babu, however, did not do much work. When cleaning utensils, she
would tell Ma: "Sezdi, you do the scrubbing, and I shall do the final
rinsing."
As a result, Ma had to cook both the meals. At that time, there were
often, at one meal, about ten to twelve mouths to feed.
To questions in this connection, Ma's reply was that excessive work, less
work; small job, big job; heavy work, light work-no question (of this
type) ever occurred in Her Kheyala. And to take account of the
work: "so much work I have done; to tell others about this would be a
matter of shame and embarrassment, lacking in decorum, and could it be
considered cultured?"
Again, say, someone else did a piece of work which was not done
properly, and Ma happened to be present - and, if at that time, an elder,
not knowing as to who was responsible for that bad work, blamed Ma
with harsh words in front of all others, She would listen to that silently.
Under such circumstances, or under any other circumstance, an
appropriate behaviour on the part of Ma was always there, and this
happened by itself. 'It was such and such a person who had done that
work and not I' - making this kind of protest or nursing a feeling to that
effect was altogether absent in Ma.
To talk in such a fashion is, after all, not polite; it would be an uncivil,
unmannerly action. In time, the truth does prevail. Later, for some reason
or the other, when it (the truth) was heard from someone else, then it was
noticed that in that elder, in repentance, the kindly feeling, affection and
esteem for Ma was enhanced still more, as it were.
Answering a query on this topic, Ma also said that the duty of the
younger is to take away the work from the hands of the elder when the
latter is about to do it and do the same herself. If the elder be still keenly
desirous of doing the work herself, then, for the sake of maintaining her
respect, the younger should leave the work in the hands of the elder, but,
at the same time, be careful to stay behind and appropriately assist in the
work. The pattern of taking away the work from the elder should be a
swift one, done in a pleasant bhava while remaining calm, composed and
steady. When conversing with the elder, one should, while maintaining
equanimity, make queries with eyes cast down towards the ground and in
answering questions be careful to maintain truth. Supposing one is just
sitting idle, then, as soon as an elder approaches, one should stand up
with courtesy. At all times, the clothes, etc., must be kept covering the
body properly. One should never talk excitedly with gesticulations in the
presence of elders. Nothing should be done with the object of gaining
praise and prestige for one-self. None, whether old or young, should be
hurt through one's words and behaviour, and one must be particularly
careful in this respect.
Atithi Narayana
We have heard that there were endless praises as well for Ma.
But in the case of Ma, it was out of question to take notice of that. She
would just carry on with Her attention focussed on what was required to
be done and how it should be done.
Sometimes, Ma Herself had done some work, but one who happened to
be present there got the praises, thinking that it was that one who had
done that work. At that time (to think) that I did it and the praises were
due to me-an expression of this sort, even by any kind of hint-or by any
trace too of such a feeling was never there in Ma. (Because), though it
was true, yet it certainly would be self-praise. For Ma, this was also a
shameful act and a cause of embarrassment. In fact, in Ma there was no
place for giving any thought on or having any consideration for all such
matters.
It increases only one's own power to do good deeds. One can learn
various kinds of jobs. And it is right that one should work with joy,
to make progress quickly, ahead of all. Otherwise, it is only giving
indulgence to indolence and lethargy, that is, one does positive harm
to oneself in life's journey, resulting in suffering for oneself only.
All-round cleverness is required.
Unless there is competence with cool temperament, how will one get
on. Whichever line is chosen, one must not be a failure the; only then
can one acquire skill in work. And this skill can even arouse the
technique of action, favourable for the journey leading to the
Supreme Objective. (This is so) because, through seva, indeed, is the
way to purification of mind, (and) it is you who say so."
If any work has gone wrong through someone, the thought that I have
not done it, but someone else has, must not be kept in the mind, nor
should there be an expression of it through words. What was held by this
body was this: the work has gone wrong, whether it was through this
hand or through another, it is the same thing.
And, as for Ma, She would have no Kheyala, indeed, in such cases all
the time.
Seva meant seva only (in the truest sense of the term).
"Understand it like this; suppose the Kheyala too was there that one
should wash hands immediately after scratching the scab. Even then, in
the corner of her (Ashu's mother's) mind she would have felt that
perhaps there is a feeling of aversion in Her to scratch, or else why
should She wash Her hands time and again. Probably (because of this)
she may have hesitated even to call (me) freely without delicacy, for this
work. For this body, at that time, there was, of course, no such aspect
(feeling of aversion), nor does it ever arise.
Seva is after all seva; whatever my take place in the context of any
particular time! Does one wash one's hands every time after scratching
one's own body-just tell me ?"
Later on, there was some abnormality on finger nails and on other parts
of the body.
Before Ashu's mother became quite fit physically, the wife of the second
brother went to her father's place. Later, Ashu's mother became well. Ma
would, after feeding the rest of the inmates of the house, sit alone in the
kitchen and have her meal. One day, Ashu�s mother came and on
seeing what Ma was eating, exclaimed: "What is this; for yourself, you
have not kept sufficient quantity of pulse soup and vegetable curry, and
are having rice after adding water only. I understand now that you do not
know how to apportion food and serve. He who does not know how to
eat does not know how to cook either. From now on, you will have to sit
with me and eat."
When there was not enough left to eat, Ma used to add water to rice and
finish Her meal with it only. But from that day onward, for one year and
a half, Ashu's mother made Ma sit with her and eat.
One day, at noon, Ma was running high temperature. She did not even
take food properly, but had not disclosed it to anyone. Ashu's mother
called Ma and asked Her to comb her hair a little. Ma started doing so.
Then, feeling the heat of Ma's palm, Ashu's mother exclaimed: "Are you
running temperature? Surely, it is, very high already! You better go and
lie down."
Many years after his death, once, somewhere, Ma saw that Revati Babu,
in his subtle form, had come to Her and was saying: "Ma, you have to
give me something."
For a few days (during his lifetime), he had looked upon Ma with deeply
felt affection; it is likely that this provided the basis for him to be in the
present form now in the context of the Supreme Objective.
Someone, it is reported had even asked Ma this: "Ma, was it specially for
the sake of Revati Babu and Labanya (his daughter) that you had lived in
their family for this short period? Actually, it was observed that
immediately after his demise, Ma, you were free for your play of
Sadhana in your own bhava.
Ma's Dealings, High Dexterity in Karma � in all this too - THAT
only,
Ma, we know, had a tender, soft body, was very young in age, and yet
sitting in a small room under a tin-shed, had to cook in the heat of fire
both times. Moreover, Ma's hand and feet too were tender and soft, and
so, while walking barefooted over a paved floor, using water frequently
in doing so much work, for so many people, She got sores with swelling
between toes and also between fingers. Things continued like this for
quite a few days.
Question: Well Ma, where did all these ways and patterns of your work
come from? You are the daughter of a family where you did not even see
or hear about all such work. All these dealings and ideas of great skill in
work-how is it possible to have them in all spheres?
Ma: "Oh Baba! (the actions of) this body are, indeed, elomelo, as you
have, of course, been observing.
In all these, too, it is THAT alone.
You draw a line of demarcation between that side and this side, and
thereby reap the fruit of such separation, whereas, here, whatever
happens, let it; taking place by itself."
Cause of Worry - Sense of Duality:
Shortly after Ma had joined the family of Bholanath, both he and his next elder brother, Suren
Babu, lost their jobs. Ma was, then, at Sripur with her eldest sister-in-law.
In Bholanath's service, a dangerous situation developed-a lawsuit was filed and even the fear of
imprisonment was the. Bholanath's father was alive at that time. Many of the family members
remained anxious and were almost on the point of giving up food and sleep as none knew what
news would be received. Bholanath's father and Revati Babu-all were shuttling back and forth to
Dacca. As for Ashu's mother, she sometimes reprimanded Ma, shouting: "What an irony of fate is
this, what ill luck has befallen the poor fellow (Bholanath)! And see here, is there the least worry
or anxiety (in Her)?" Continuing, she asked Ma, 'What sort of person are you? Could you realise
the situation?
Ma was called, So She came and had to wait a little standing. After standing and listening to what
was told to Her, She said: "Now, may I go back to work?" What She was, the same, She remained.
The moment She was told: "Go", She left the place.
In this context, once much later, Ma was saying: "To worry, how is it
that one can worry!" Within Herself, there is only this bhava.
Later on, although the issue in Bholanath's case was settled, he lost his
job. Revati Babu and his wife often discussed about Ma �
�is Sejabau an idiot or stupid?�
It does not appear that She understands anything, even a little, and is
devoid of any sense. Just see. She does not have any worry and is always
contented with Her own work. Sometimes, when Ashu's father was in
the room, Ma would have Her veil on.
At that time, supposing Ashu's mother told Ma: "There is that particular
thing, just look for it", Ma would, then, look only (downwards) through
the available opening with the veil on and not see through the cloth of
the veil, because, in the latter case, her eyes would fall on the faces of all
men and women, and that would be wrong behaviour. For this reason, if
anyone noticed the way Ma then moved about, he would think of Her as
an idiot.
But looking at Her aspect of obedience, all loved Her and could not help
having love and affection for Ma.
In the rural way of thinking, when a bride joins a family, she is blamed if
any misfortune befalls the household. For instance, such was th saying
that went round, 'As the bride comes in the house, sand falls in the pot
of chhattu (fried gram or barley powder)'. As a result, one can easily
imagine how the feelings of brides were hurt.
Whoever stayed near, that person alone had to put up with all such words
(flung out at her). Ma was the only one who stayed a little longer with
them. Sometimes, supposing she (Ashu's mother) continued accusing
(Ma) in that vein for sometime, it would be seen that eventually a feeling
of affection had arisen in her, as if nothing at all was left in her mind-as
though she had never spoken anything blaming Ma in the least-a
beautiful good feeling. Bholanath felt that as his wife had to be left for
her maintenance with his elder brother, he being himself out of
employment, it would not be right, in those circumstances for him to
remain himself too as another dependant on his brother.
The treatment in Dacca did not help him much, and as such, he went to
Calcutta. Later, he came back to Dacca, and hen went to Atpara (his own
village), taking all others with him. He became a littk better with
the Ayurvedic (Indian system of medicine) treatment there.
Ma's hands and feet were tender and, as we know, due to continuous
work with the use of water all the time, She had developed sores
between toes and fingers.
When all of them had arrived from Dacca at their home in the village of
Atpara, some of the ladies of the locality and also the girls from
neighbouring houses of Sudra families commented on looking at
the sores in hands and feet of Ma.
They said to Ma: "What sort of a person you are! Have you no
feeling of any pain in your body, no burning sensation either? Are
you devoid of any physical sensation? Are you not a human being
?" They showed their sympathy in this way.
They did not, of course, know at that time that, by obeying the biddings
given to Her, Ma had to fulfil the aspect of seva in all respects.
Later on, one day while staying at Narundi, Kalipada, the eldest son
of Revati Babu, told his mother: "Mother, the aunt has developed
something unhealthy between Her fingers due to much use of water.
I do not feel like eating from Her hands. When Her hands will be -
conic normal, She will resume cooking; for the time being you
cook."
On this she did not say anything and Ma continued to work as usual.
The girls of sudra family of Atpara mentioned above had a deep love for
Ma. It was usual for them, as reported, to discuss sympathetically the
comforts and discomforts of Ma, while looking upon Her as their own.
Till then, Ma had not even spoken to them, and had Her veil on.
When Ma left the utensils (unwashed after use) at the ghat of the tank for
scrubbing and cleaning, those girls of the Sudra family sometimes
scrubbed them clean and then left them under water, so that Ma would
not have to undergo the labour of doing the same, and neither would
people get any scent of it.
It so happened one day that Ma, with the veil on, was returning home
from the ghat, carrying the utensils in Her hands after they had been
cleaned. It was common with Ma to have, sometimes, a sudden upsurge
of bhava like lightning. So (in such a bhava), the pile of utensils fell
down from Her hands and the edge of one plate got broken.
Bholanath acted like this at that time, but later on he might have related
this incident to others. However, Ma told Bholanath: "This is all lies;
was it proper ?"
It was heard that Bholanath had acted like this in consultation with the
girls of that sudra family so that the Badu may not be taken to task on
account of breaking the plate. Those girls had managed, after a long
persuasion, to have Bholanath agree to act like this. This incident
reminded us of something else.
Winning of Heart
When Ashu's father was better, they all came back to Sripur from
Atpara. As we know, Ashu's father had great affection for Ma. In those
days, there was strict enforcement of keeping a distance in the relation
between the wife of a younger brother and his elder brother. The wife
could not touch even his shadow, and if by accident one touched the
other, then she would have to fast. Despite this rule, and even while
staying behind the veil, Ma never failed in Her seva to Revati Babu.
One day, on being annoyed with Ashu's mother, Revati Babu was about
to throw away the utensils. On coming down from the first floor, Ma
tried to quickly remove the utensils from where they were kept. In doing
this, She unexpectedly touched Revati Babu, the elder brother of Her
husband through that utensil. That was all, and Ma had to go on a fast,
etc., the whole day and night without taking a drop of water. The
household chores were, however, attended to practically without any
interruption.
Ma would sit there quietly for sometime, and then, as if affected with a
feeling of sadness and while looking downwards, would ask gently,
again and again:
After this sort of thing would go on for sometime, perhaps she would tell
(Ma what to do). This kind of scene used to take place quite often. But
the feeling of affection for Ma was much in evidence in her.
After quite a few days had passed, a second letter came from Bholanath.
Now, this second letter has arrived! Shriyukta Mokshada Sundari Devi
started worrying terribly, as Bholanath might be annoyed on not getting
any reply. Realizing the situation, two or three persons again got
together, read both the letters and made out a draft reply. A grandmother
of Ma, then, went to Her and said: "Here is this draft, you must make a
verbatim copy of whatever is written in it and then give it to me. You
have not to do anything else. None had told Ma how a copy is made.
Keeping (the draft) before Herself, She copied each word exactly in the
style and in the place it was written and then returned the piece of paper
without any comment. Later on, when Ma was at Bholanath's place, he
asked Her: "Were the contents of the letter written by you?"
Feeling as if somewhat hurt, he said: "Had this been known before, who
would have cared to write the letter. Well, our parents have united us;
did you not feel even like enquiring about my well-being ?"
She replied:
"Not there, what difference" (since Atma is ever the same).
You distinguish between the two and thereby reap the fruit of separation.
The positive outcome of enjoyment of earthly goods is that one becomes
happy on getting the desired object and miserable when deprived of it.
Body Perishable
Again, from the worldly point of view too consider another aspect.
Moving along a street, you may notice an electric bulb dropping on the
ground and getting shattered to pieces. What do you do about it? On
recalling this incident, when you relate it to someone, evoking it perhaps
with a sense of fun and laughter, what explanation do you then put forth
in terms of mental agony? To ensure that the shreds of the broken bulb
do not hurt anybody, someone may rather carefully collect and deposit
them all at a place where no one steps upon them.
Svamool Svarupa
In this reply of Ma, evidently the underlying meaning disclosed was that
the body is perishable while Atman is imperishable. After mentioning a
few aspects in this context, finally Ma spoke about Svamool, the
fulfilment of all objectives.
With the analogy of pot and earth, in both the conditions, earth alone is
there. Similarly, eternal, ephemeral, perishable, imperishable, in the two
forms, there is but One only-the elf. Dualistic idea is the cause of grief.
On the other hand, where only the supreme Objective is concerned, there
is no question of birth and death, �
only from empirical point of view, there are body and jagat.
Also, in the context of jagat, which does not exist at any time in the
present, past and future - there is no creation at all, the visible body, etc.,
are, in fact, an illusion only.
Therefore, there cannot be any cause for grief, since it is He Only in all
appearances.
That is why Ma replied What matters if you do not live. That is, where is
the question of grief over passing away of the body.
Bholanath did not often stay long with his brother, as the former was
without any job and was looking for one. His third sister's husband was
employed in Dacca and Bholanath went to his house. The sister kept him
with her for a long time with love. Bholanath was continuing his stay
there for a long period. So Ashu's mother one day called Ma and said:
"Look Nirmala, I want to tell you something, listen."
"How strange you are that you cannot win over your husband; he does
not even come here! What sort of a woman you are, unconcerned - a
woman hard to account for indeed! Bring a piece of paper and a pen-here
they are. Write a letter. I shall tell you what to write."
After marriage, Ma had been taken from Sripur to Kheora, and then
Bipin Bihari Bhattacharya Mahasaya had escorted Ma back to Sripur.
When returning (to Kheora), at that time, he had told Ma, Nirmala, here
is a piece of paper. After I reach Kheora, you write on a separate piece of
paper whatever is written here and send it to me. This is the customary
way of writing a letter. If you feel like writing some-thing else too, do
write." Ma enquired: "How soon should 1 write?"
Words spelt rightly or wrongly, whatever it was, this was how a process
of some sort began of Ma's writing letters. The language of the letter was
like this 'Hope you reached safely. Are you keeping good health? I am
having a peculiar feeling since your departure and nothing at all seems
enjoyable. When will you come again? etc.,' - the contents were all of
this type.
As for the letter which Ashu's mother had asked Ma to write, Ma wrote
whatever She could. Ashu's mother then read it, and after making
necessary amendments, posted the letter (to Bholanath). Since Bholanath
had stayed long at his sister's house, many of them who were of the same
age-group there had become like friends of Bholanath. So when that
letter reached the house of Bholanath's sister, there was a scramble for it.
The letter was snatched and opened, and then, in the midst of all there
followed at once riotous amusement with hearty banter. This was just
about all - regarding Ma's reading and writing. Bholanath's sister took
that letter from Bholanath and later, at some other time, gave it to Ma
and said: "Here it is, take it! What a scene was enacted-an awkward
situation for (poor) Ramani (Bholanath), because of this letter! Ma tore
up the letter, threw it away and said:
However, after the death of Revati Babu, when Ma had come from
Atpara to Vidyakut where She stayed definitely for more than a year,
whenever Bholanath, who was then at Ashtagram, his new place of
employment, would write to Ma from there on any particular issue, She
would also write back in reply about those significant points.
A year later, Ma went (from Sripur) to Kheora, and after staying there
for sometime, She was escorted back to Sripur. At Sripur, Revati Babu's
illness again got aggravated, so he returned to Alpara taking Ma and
others in his ompany. He recovered through Ayurvedic treatment and
came back to Sripur, his place of employment, and resumed his duties.
At that time, Shriyukt Bipin Bihari Bhattacharya Mahasaya took Ma
back to Kheora from Atpara.
She lived with Her parents at Kheora for sometime. Meanwhile, Revati
Babu was transferred to Narundi Railway Station. Shriyukt Bipin Bihari
Bhattacharya Mahasaya too wound up his settlement at Kheora and
taking Ma and all others along with him came to live at Vidyakut. Later,
Ma came to Narundi from Vidyakut.
When Ma was first taken to Narundi, the family of the Assistant Station
Master there had not arrived till then, and, therefore, it was arranged that
he take both his meals at the house of the Station Master Revati Babu.
Ma was very young then. She cooked and Ashu�s mother served the
Assistant Station Master both the times. But he could not join others (at
mealtime), because of his duties which kept him busy till odd hours. He
came late at night as well as during the day to take his meals. Ma used to
neatly preserve his food and keep it warm, as She would have done for
others. Later, Ashu's mother felt it troublesome to serve him food both
the times because of late hours and told Ma: "You serve him both the
times with the veil on." The purdah system was, then, prevalent in
villages and young women could not appear in front of others. But for
Ma, obeying instructions was the rule, and so She did just that.
At that time, Ma did not wear any stitched apparel (like a bodice or
chemise) but wore only a sari. The way She draped Herself was so
beautiful that one could see only Her hands and feet Due, possibly, to
excessive work, Her sari was torn in a somewhat short period. That was
the reason why, a little before leaving Narundi, Ma was gradually
provided with such a coarse sari that it was perhaps almost like fine
gunny. Wearing that only, Ma did Her work of cooking, etc., in the heat
of summer with a smiling face.
"What a pity that such a young bride with so tender a body has to wear a
sari so coarse and yet remain engaged (in work) in such heat.
Again, look, what a smile is there on Her face, as though She is devoid
of any sensations not feel anything at all!"
The boy would be drowsy, being a child, and would return to sleep. Ma
had been instructed to serve and, therefore, She would go, with the veil
on, in the presence of the gentleman only when food was served. Ma had
made this arrangement for only this reason that She my not meet him on
any other occasion.
In those days, when Ma was under household discipline, the hard code of
conduct binding on a bahu as well as the practice of remaining under a
veil was of this nature (as mentioned above). For Ma, all indeed, was a
play, as befitting a particular occasion. Whatever situation presented
itself at any time, Ma would unfold Herself with that aspect in such a
way that the pattern and appearance of that aspect would be flawless.
Whatever the environment and situation there was at any time, the
relevant necessary advice and instructions (to be issued) would be
created by Ma and then observed by Herself.
Having heard Ma's words, and after observing Her behaviour and also
hearing what little he could about Her sadhana, etc., the venerable
Gopinath Kaviraj Mahasaya remarked one day:
"Ma, all these behaviours and sadhana of yours which followed an order
and system were just abhinai (acting of certain roles), was it not?"
That is, that, which did not exist, was given shape by the preparation
through kalpana (imagination).
Purna* and ansh (whole and part): when the whole is subtracted from
the whole, the remainder is the whole only. What a spark can burn, the
fire itself too does the same. But the spark issues forth from fire, and so
it has its own form - just as whole and part.
*Purna is
the eternal
undifferenti
ated whole.
So there
can be
nothing
besides it.
That is why
the
question of
any
addition to
or
subtraction
from it
does not
arise.
As Ma
says: "He
in Himself
only - is
(both)
whole and
part."
When Mahavir was questioned (about his bhava towards Sri Rama) you
all, indeed, say that the reply he gave was: "In identity, there is only the
One Self, undifferentiated. Again, He is the whole and I am a part, and
when He is the master, I am His servant." Therefore, you should
understand as to whom is in identity.
Again, the world as such has never been created (Bhagavan in this form
too). When, with form, on whatever the eyes rest, only Krishna is
revealed there. Now, see the place of Master and servant too. The One
Self, whole and part, Master and servant - within the realm
of jiva, accepting the aspect of Master and servant, one should proceed
in sadhana, aiming at the realization of Self-wealth, that is getting
established in that One Self. So one should understand who is whole and
who is part, who is Master and who is servant In other words, He alone
is in the form of one Atman, oneness; and, in the form of the whole and
part also, is THAT alone. Again, He who is the Master, the servant also
is I{c. That is why there was that reply of Mahavir. The three, indeed,
are in the One, the One alone is the three--this is what he had in view. In
the realm of jiva too, one, who treads this way, undertakes that sadhana-
kriya in order to realize the wealth of one's own Svarupa, the Self-
wealth.
On the other hand, is not your enquiry about this body (i.e., Ma's body)?
- well, as Bhagavan plays. Indeed, here, the happenings are as He in
Himself.
That the aspects of sadhana unfolded a new this is not the case with Ma.
Was it mere abhinai (drama) then? In the following answer to this doubt
of respected Kaviraj Mahasaya, there is an indication of Ma's Svarupa in
Her own words: the pattern of play of Bhagavan, certainly it is taking
place by itself in the Self.
It is He alone,
the One,
in all forms,
in absence of forms,
it is THAT alone.
the three abide in One, the One only is three Self, Self, Self - Self three
times.
Again, where there is no question of creation, the jagat does not exist at
any time in the past, present and future and in the form of this uncreated
too is He. In the context of Sakar (with form), -
it is He alone.
All these are not within the purviews of investigation pertaining to the
domain of mind. That is why Ma always lays stress that one must remain
devoted tosadhana daily under the direction of the Guru, in the kriya for
removal of the curtain of ignorance. Then only one may have a flash of
Ma's Svarupa, the way She will allow Herself to be comprehended.
Reverting to the previous subject, when later, the family of' the Assistant
Station Master arrived, whenever he felt any discomfort at home, he, it is
reported, would say,
'There, at such odd hours, the food etc., was served with such care as if
with the loving hands of a mother".
When (later), Ma was in the midst of all, he once came to have Ma's
darshan. She, whom he had one day seen behind the veil of
a badhu (newly married girl), whose hands and feet only were then
visible, today he saw Her without veil, in the form of Mother. What a
feeling of respect and devotion for Ma was noticed in him! It was heard
that the food served by Ma's hands had aroused in him (for Ma), for the
first time, the feeling of respect and devotion due to a mother.
When the wife of the Assistant Station Master first came to Narundi, she
saw Ma in Her kitchen from her own quarter. Later, when she came to
visit Ashu's mother, she said "That day I saw a bahu (daughter-in-law)
through the window of your kitchen so beautiful, like the image of
a Devi; where is She? Pointing towards Ma, Ashu's mother said: "There,
She is in the kitchen!" She was not able to believe it in any way and said:
"Yes, probably it is She, but that day, 1 saw through that window
someone like the celestially beautiful image of Devi.
The soot from kerosene had naturally its reaction in the nostrils, but who
cared for such things. Meanwhile, there was a talk about their transfer,
so they too helped Ma to finish Her embroidery work on the carpet
hurriedly. They also loved Ma very much.
Unmanifest,
All - Pervading,
whether*
*As stated
here, Ma as
the one
Tattwa
(Reality)
reveals in
different
aspects.
Firstly,
there is the
transcenden
tal
Ultimate.
About this,
which can
not be
defined by
asserting its
existence
or absence
of
existence,
the idea is
conveyed
by the,
words
whether it
exists or
not.
Secondly,
there is the
all
pervading
aspect,
which is
here
pointed out
by the
words,
which is
the place
where it
possibly
does not
exist, and
finally the
aspect of
manifestati
on as the
One with
all. For this
aspect, the
words used
here are
which is
the place
where it
possibly
exists
separately.
In Ma's
bhava was
the
concrete
presence of
this
Ultimate
Truth.
it exists or not, and which is the place where it possibly does not
exist or which is the place where it possibly exists separately a concrete
revelation (of the bhavas in Her person, i.e., these bhavas were
concretised in Her body during that strange manifestation).
During that time, from our point of view, where was there the bhava of
the severe rule of conduct for a badhu - this aspect too disappeared. At
such a time, if Ma was engaged in any work, that work would not be
carried out in the usual way.
Even this too happened once at Atpara that though Ma could see that
there was milk in the pot, yet with the same milk, perhaps, She washed
Her hands, as if water and milk have the same use. In household life,
there are domestic duties and dharma that sustains-should we consider
that this form is His who sustains**.
**In grihas
tashram, th
ere
is grihastad
harma (hou
sehold
duties
performed
in
accordance
with
injunctions
of shastras)
. If
thisdharma
is followed
scrupulousl
y, it would
lead one to
realize the
Supreme
Objective
of life. This
is what is
meant by
religion
sustaining a
householde
r.
Now, Atma
is the
source of
all
sustenance,
and being
all, there is
only
oneness
there
without any
distinction.
From this
standpoint,
use of milk
is the' same
as use of
water.
Here it is
not a case
of
Yogic Vibh
uti but a
revelation
of Ma in all
forms.
Some would see also these bhavas of Ma (by chance). what benediction
was bestowed upon them (who happened to see those bhava through that
unusual kriya (of Ma), we do not know. Suddenly, perhaps, one of the
mistress of the house noticing Ma washing bands with milk, said: "What
is this you are doing!" Just a little rebuke like this and Ma appeared as a
simpleton-a foolish bau, who as if did not under-stand anything.
In this, there was nothing at all fabricated and arranged in any orderly
fashion.
Whatever it may be, noticing such ways of Ma, there would arise a
feeling of sympathy in Ashu's mother too. At Narundi, say, Ma was at
work in the kitchen. Then, finishing that work hurriedly, She would be
sitting leisurely, like a statue.
Question: What was the matter at that time Ma? Till then, the aspect of
play of sadhana had not started!
Ma: "Strange! Even now too, this body sometimes does remain silent in
its own Kheyala. Do you not notice yourself that on some rare occasion
so many hours pass away (in this way)."
Thus, it so happened one day that Ashu's mother came and as soon as
she saw Ma, she started talking to herself: "Well, what sort of a sleep is
this, sitting only!" Having said this she continued talking (to herself), do
not know what, for quite sometime. After that, coming near Ma, she
gave a thrust to Her and probably said: "Does it not even reach you ears
what I say?"
Then, somehow Ma opened Her eyes and controlling Herself went back
to work. They were not acquainted with these ways of Ma, hence such
behaviour was normal for them.
At Sripur too, one night Ashu's mother told Ma: "Go and lull this child
to sleep." Ma went up to the first floor. That day Ma was off duty of
cooking and serving food. Rarely and on such days only, Ashu's mother
too did the cooking. After laying down the child and while lulling it to
sleep, well, Ma went into Her own bhava, as if there was nobody
anywhere in the world, and no further housework to be attended to.
There, Ma sat down cross-legged near him, with just a little covering on
Her head, and as if with great concentration, continued to watch him eat.
Whether the eyes were fixed or there was winking or not, who would
notice it at that time. 'Never caring to see' (look after) was this also taken
(by Ma) as an instruction to be obeyed? In a second this happened, and
Ashu's mother feeling astonished (said): "What is this you are doing ?"
The moment she said this, Ma, in a flurry, put Her veil on and left the
place to mind Her kitchen work. They, in front of whom this happened,
went into a little laughter. They thought that this had happened probably
because Ma was still sleepy.
We do, again, exactly what is done under the impulse of the innate
tendency of a jiva.
But then, She is our eternal Mother; may She condescend to keep us
imbued with this bhava as She does.
Sometimes Ma says:
"In jiva-jagat, by taking the San * i.e., the unreal for san *, i.e., what is
true, everyone undertakes what is destined for him and thereby wears out
(to that extent) his actions of merit and demerit. Worldly comforts and
enjoyments wear out the merits t and worldly suffering results in
exhausting the demerits **.
*A pun on
the Bengali
word sansa
r (the world
or domestic
life ), as the
two parts of
it, San and
sar, have
different
meanings.
Sanmeans a
clown-one
who
assumes a
fake
appearance
for
amusement
and sar me
ans
essence,
i.e., the
only thing
that really
counts.
**
According
to the Law
of Karma,
by good
actions, we
earn merit,
the fruit of
which is
worldly
comfort
and
enjoyments
; and by
bad actions,
demerit is
earned, the
fruit of
which is
suffering.
So, when
we enjoy
the fruit of
worldly
happiness,
we exhaust
our merits
earned due
to good
actions in
past lives
and by
suffering,
demerit is
exhausted.
DAILY ROUTINE
At Narundi, Ma used to get up very early, and from then on, remained
busy with housework. On the previous night, Ma would have washed the
kitchen floor and plastered it with a layer of a mixture of mud and cow
dung.
At that early hour, the servant Antu would milk the cow and after
cleaning the pot and ladle, place the pot and milk in front of Ma. At the
sometime, while looking at the floor or at the feet of Ma, he would say in
a tone full of great respect and sympathy.
"Chhota Ma, chhota Ma,* be quick please; place the milk on the fire to
boil it for the senior master."
*Literally
junior
mother-an
address of
respect
for the wife
of the
younger
brother of
the master
of the
house.
The servant Antu used to clean the utensils of the family. Ma would,
however, have Her big veil on even before the servant and would not
speak to him either. Ma would change Her clothes quickly, boil the milk
and serve it to Revati Babu. Antu had a very good nature, indeed. Much
later, having heard Ma's fame, he came for Her darshan and expressed
great joy.
After boiling the milk and serving it, to Revati Babu, Ma would light the
kitchen fire, take instructions from Ashu's mother as to what 'items of
food were to be cooked and collect them accordingly. After that
vegetables were cut, spices, etc., ground to a paste, and then followed
cooking. Sometimes spices were ground by the servant. From the very
morning, Ma had to minister to the children of Her husband's elder
brother in every way-feeding them, getting their hands and mouth rinsed
after meals-clean the floor, etc. At times Ma had to feed and bathe them
too with Her own hands. Ashu's mother used to cut vegetables both
times daily. Ma had to cook again at noon, serve food to all and in
between, knead wheat flour and keep the dough immersed in water.
After the midday meal, during whatever respite Ma got, She would
engage Herself a littlo in handicraft too. In the afternoon, Ma took that
dough out of water,. worked on it to soften it further, and
making parathas* out of it, served them to Ashu's father for a light
repast.
*
paratha A
kind of
bread-fried,
flat, large,
but not
thick,
generally
made of
wheat
flour.
Again, lighting up kitchen fire, et., arrangements were made for cooking
the night meal.
One day Revati Babu was about to admonish Ashu to make him mind
his studies. Out of fear, Ashu screamed, ran quickly to Ma and hugged
Her. He knew that in such a condition, his father would not be able to
touch him.
Now, what could Ma do? On the one hand, there was the child clinging
to Her, crying bitterly, and on the other hand, there was Revati Babu's
order! Ma tried with Her one hand as if to forcibly remove one hand of
Ashu, and simultaneously with Her second hand, She kept wiping his
tears with the edge of Her sari. What more could Revati Babu do?
Observing this scene, he quietly left the place. After this incident, he told
Ashu: "Go to your aunt and learn the alphabet from Her." During the
cooking hours, Ma would try and find a little time and teach Ashu a little
of all this. Ashu's education first began with Ma only.
At night, after having fed everybody, Ma would clean the kitchen, take
Her own meal, and before going to sleep, work a little, as already
mentioned, to produce the embroidery of Shri Krishna Vigraha on a
piece of carpet. This was because She bad no leisure at any other time.
Moreover, so long as the Assistant Station Master, mentioned above, had
his meals there, Ma had to wait for him, with his food, tilt late at night.
Very often, Ma had to break coal to smaller pieces with Her own hands
and then light the oven. At times, the Panipare (the man who draws
water and supplies it) of the railway station would come and as per
instruction from Ashu�s mother, break coal and fetch the required
quantity of water too.
Revati Babu was a heavy smoker. When going back after his work,
that Panipare would get the tika* ignited to light Revati Babu's tobacco.
*A small
cake made
out of
charcoal
powder;
and used to
light
tobacco in
a hookah.
He used to leave the tika before Ma and She would, after getting it
ignited in kitchen fire, keep it on the ground. The Panipare would then
pick it up and take it away. Generally, indeed, it went on like this. One
day, when Ma was about to put the tika on the ground after it had been
ignited, he came near to take it from Her hand itself. Ma moved aside
quickly and dropped the tika on the ground. Ma would have Her long
veil on without fail and never talked to these people. The man picked up
the tika and went back. Ma reported this incident to Ashu's mother; She
said: "Yes, that fool is of this nature, he has no sense at all!"
She addressed these words to herself only and probably did not tell
Revati Babu about it. If he had heard it, he would certainly have
disciplined the man.
Meanwhile, whenever that Panipare came to break coal and fetch water,
his manner of movement was such that Ma had to move away from him.
At that time, Revati Babu was dangerously ill. Bholanath was present.
Ma reported to Bholanath about that man and Bholanath took him to task
severely. Ashu's father also heard this. He too scolded tile man heavily
and totally stopped him from going to the kitchen side.
In the meantime, Motori Pishima* became widow and joined this family.
Now, she cooked the vegetarian dishes for midday meal.
*She was
Bholanathï
¿½s
younger
sister. In
Bengali,
father's
sister is
called Pishi
ma.
When any necessity arose, the servant Antu was of much help to her.
In this household, the quota of mustard oil was fixed as three paos (about
three-quarter of a litre) per week. One day Motori Pishima desired to
cook some nice dishes, such as moocha ghanta (a preparation of plantain
flower) and the like. The week was almost over and so there was
shortage of oil. She came to Ma and said: "Bau Than, what do you
suggest I should do?" What could Ma suggest? She only replied: "what
can I say, tell me?"
Then, Motori Pishirna herself called Antu and told him: "Look, here is a
bottle, get it filled with oil from whatever source you may have. Later,
we will return you this oil, but keep it a secret."
Antu replied: "Airtight Pishima, I shall get it for you,�" and he really
did just that. Later on, that oil was returned. There was no evasion in
Antu's work; his nature too was very sweet.
One day, Ashu's mother told Ma, 'Take these pieces of burlap and stitch
them together so that they may become suitable for use under the
bedding." Ma started stitching little by little whenever She could get
some leisure in between Her housework.
Motori Pishima too joined Ma in this needlework. When this work was
almost over, Motori Pishima forgot to take out that thick shining sharp
needle, and it remained stuck in the burlap. As Ma spread out Her
bedding to sleep, well, that needle pierced Her quite deep at the back of
Her left leg, a little below the knee.
When Ma tried to move Her leg, She found that the mosquito net, the
bedding and that burlapthe entire lot-moved, clinging to Her leg.
By long use, the needle had become bright and sharp. Ma pulled it out,
kept it aside and did not speak about it to anyone. The leg got swollen
and gradually that particular spot became hard, and it is still like that. Ma
always had this bhava, namely, what was the benefit of discussing such
an incident?
So She never had any leisure to have any Kheyala about a matter of this
kind.
Ma had not gone to Her parents' house for a long time. Once Bipin
Bihari Bhattacharya Mahasaya, after coming to take Her home had gone
back (without Her). This time Revati Babu wrote to him to come and
take Ma. So he came again. Revati Babu wanted to fix the date when Ma
should leave. Meanwhile, Ashu's mother negated the proposal saying:
"We cannot let Her go now. Revati Babu also said: "Dear Tayi
Mahasaya (brother's father-in-law), you will take away Bau Ma. But, in
fact, all arrangements for my meals are taken care of by Pau Ma alone. I
am alive only because of Her careful nursing. Sometimes when Ma did
not cook for two or three days, he would enquire: "when is Bau
Ma going to cook?" He sometimes even said: "The taste of food cooked
by Bau Ma is like that of my own mother cooking." It is said that Revati
Babu's mother cooked well.
When Shriyukt Bipin Bihari Bhattacharya Mahasaya was told that, he
became unhappy and returned that very night. When going back, he told
Ma: "what can I do, they have not allowed me to take you." Hearing this,
Ma kept quiet.
That night, probably in identity with the feeling of father with which he
had departed, Ma remained awake in Her room till late at night. In the
next room were Revati Babu and his family. He had diabetes and so had
to go out many times at night.
Through the gap between the door leaves, he saw light and could know
that Ma was awake. The next day, he told Ashu's mother: "Bau Ma was
not allowed to go; She is young and could be unhappy. I think Bau
Ma had no sleep at all last night." Revati Babu, as we know, had love
and affection for Ma, just as he would have for his daughter-in-law or
daughter. Sometimes he would say: "When my Kalipada's bride would
come home, she would not be a recipient of more affection from me
than Bau Ma".
Kalipada was the eldest son of Revati Babu and was about three and half
years younger to Ma. Ashu was their youngest son.
After this Ma came to Vidyakut. Right then, Bholanath too got his
Ashtagram job.
While with Her parents, never did Ma have any occasion to perform
such type of work. How then originated the patterns of such work, and
where they came from?
Where actor, action and result of action are looked upon separately,
as is reflected in the action of a jiva-such is not the case here.
A jiva under the sense of ego is the reaper of fruits of its actions in
diverse forms and, therefore, a hankering for name and fame is
inevitably sustained there. But in the case of Ma all that comes to pass is
Ma Herself.
Even so, one will marvel as we do, at the perfection of kriya by Her in
each situation at such a young age. If Her kriyas were observed
carefully, it would be evident that each one of them was a shining
manifestation and when pursued, would help a jiva to unfold the inner
qualities for purification of heart as the essential base upon which the
spiritual structure of a sadhaka would be built.
Besides being very young, Ma had also a tender physique, and yet how
She managed every problem of Her household chores, including dealing
with elders, love to children and neighbours, and above all, Her
unconditional obedience.
All these kriyas are based on absolute truth, completely free from
attachment and aversion, a matchless simplicity without any show of self
in any case, always radiating love, as it were, to one and all, ever a
cheerful disposition under any condition and a one-pointed zeal and
enthusiasm to complete to perfection any work assigned to Her.
Ma's Kriya is Ma, yet it is all for us as She often declared. So, if
a sadhaka from his very early life can develop such qualities, he would
then be ready to advance steadily in his sadhana and ultimately
his Svarupa may reveal as one with his kriya-a revelation of
Ma'sSvarupa in him - the purpose of life gloriously fulfilled.
In the context of empirical works too, Ma says, if that also can be performed with the
determination tq do it perfectly, then there would awaken, in the doer, dexterity in its performance.
And this dexterity too can lead to awakening of the kriyas helpful for the journey towards the
Supreme Objective. So, in the example of Ma's works, one can notice how even the empirical
activity can be transformed into a sadhana, a preparation for the journey aiming at the revelation
of one's Svarupa.
It was he who, of his own accord, had made arrangements and provided
materials, etc., in various ways in a special manner during the marriage
ceremony of Ma. Now, after about four years, Ma had come to Vidyakut
from Atpara. At this time, this maternal uncle came to see Ma. Although
Ma had come to Vidyakut quite some days back, he had not been able to
come and see Her all these days because of his old age and indifferent
health as well. When Ma used to go to Her maternal uncle's house in Her
early years, it is said that She enjoyed eating jack-fruit from a particular
tree. She used to walk under its shade and play with leaves and sand. We
do not know who it was in the form of that tree. Who knows if, in
concurrence with the attainment of the final Supreme goal, his being in
the form of a tree and offering its fruit was his particular manifestation
of seva to Ma. The tree was very old. During certain years, it bore so
much fruit that some of it came out even piercing the earth from the root.
The fruits too were of big size.
The uncle had brought with him a fruit from that tree and also several
othr presents for Ma. He sat for a while and then left saying: "Let me go
to the Eastern Locality now." There, the daughter of a daughter of his
maternal uncle was going to be married. Being invited, Ma too went to
that aunt's house next day. By the time the feeding of invitees was over,
it was almost the close of day. It was drizzling and getting nearly dark.
Ma 'lad Her younger brother Makhan and sisters Surabala and
Hemangini too with Her. Ma searched out Her uncle, and on finding
him, said: "In this dark, I shall have to return alone with these children."
When he heard this, he said: "Shall I come with you?" Ma kept quiet.
Then he picked up his clothes and came out quickly. He had pain due to
acidity, and after having late lunch, he was lying down to rest for a
while. In the house of marriage, the formalities, greetings and blessings
due to the bride and groom had not yet concluded. Finding perhaps that
there was none dependable who could accompany Ma, the uncle went
himself taking Her along with him. Ma had the kheyala that She would
go taking the uncle definitely with Her.
When the Ayurvedic doctor arrived, the uncle enquired "What is your
caste?" The answer was 'barber'. Then the uncle said: "Please do not
touch me now."
The uncle exclaimed: "You are a pandit, a descendant of a high family and also advanced in age,
and you are touching my feet!" While talking in this vein, he folded his hands towards all and then
raising them upwards, did namaskar (a bow with folded hands). Calling out the names
of fihagavan. various gods and goddesses, Avatars, his ancestors, his Gurudeva, elders, the
ancestors of Ma's father, he did pranam to all while keeping his hands folded.
Then uttered:
This incident took place within three or four hours. Shriyukta Mokshada
Sundari Devi was on the point of weeping, but there was no trace of any
tear in Ma's eyes. That a sad event had taken place in that house did not
find any expression in Ma's ways and talks. On the day this incident took
place and on the following day, some people of the locality enquired of
Ma the details about the death of the uncle. She narrated it all. Even then
no feeling of sorrow was noticed in Her. Ma saw that many were talking
in whispers:
"Shiva-Durga,�"
and that was all. What was to happen, happened.
The eldest and the one next to him - of these two brothers, Ma used to
address the younger one as Sona Mama**
The Bada Mama of Ma, it is said could be seen more often in the sitting
room.
Besides, everyone would obey the elders with respect. When a junior
was in need of anything, he would seek permission of the elder before
taking any step in that connection. If there arose any problem to be
faced, the elder too would help in putting things in order.
Question: You have told us about the end of your Chhota Mama. Now,
Ma, do please tell us also about your eldest uncle.
Ma: About the last breath of the eldest maternal uncle? Well, there was
no particular ill health or illness in his case. On that day, he felt just a
little feverish only. Otherwise, he moved about and had his food in the
normal way. Meanwhile, sitting on his bed, he began uttering the names
of some of his friends. Also, he told someone to go and call them. When
so called, they all came. A pleasant chit-chat continued till a little late in
the evening.
Meanwhile, the uncle enquired from everyone: "Have you had your
dinner?"
When they replied in the negative, he asked them to go and finish their
meal and then come back and see him. In his house, they all had already
finished taking their dinner by then. The friends had their dinner and
assembled again. The way they used to talk daily, they continued doing
like that, gossiping and laughing as well. In the meantime, the uncle
enquired: "How far has the night advanced now?"
and so the uncle said: "Is this the time now ?"
The father of Shriyukta Mokshada Sundari Devi too was an old man of
70 or 72 years. It is said that in his case too, the end came while he was
talking, sitting on his asana.
Here, Ma added further: "These incidents about the uncles have been
narrated as heard from the mouth of the mother of this body." Mokshada
Sundari Devi too would sometimes talk about her own house at
Sultanpur, in response to queries.
The next day after the death of Ma's Chhota Mama, Bholanath's letter
arrived intimating that he would reach Vidyakut from Ashtagram the
following day. Since his marriage, Bholanath had not come to Vidyakut.
Due to pecuniary difficulties, Shriyukt Bipin Bihari Bhattacharya
Mahasaya could not invite him.
Bholanath arrived, and Ma's father, who had been away from home for
some days, also returned about that time. When he came, Bholanath, Ma
and all others went to the house of Ma's uncle at Sultanpur by boat on
the occasion of the shradha ceremony of Ma's second maternal uncle.
After the rites were over, they came back to Vidyakut.
CHAPTER SIX
The Ways and Methods of the Supreme
in Later Years
KHEORA
Like these, there were numerous varieties. Then there were fruits from
someone's tree and vegetables from a garden of another. Still others
came withdheki-sak (a kind of pot-herb), inside stem of a plantain tree,
plantain flowers, or even a little milk or butter milk and the like. So
many other items and of still more varieties were brought by them, each
according to his capacity.
This fair of this great festival continued for several days. Ma was taken
sometime to one house, sometime to another, and sitting in open fields,
various queries were made on spiritual subjects. Again, sitting at night
too, there were talks on the Supreme Objective and whatever little
receptacle one had, one got it filled there. Ma too poured Her grace on
them, as it were. The places where Ma used to roam about in Her early
years, the families to whom She had brought joy through Her love and
fond liberty, the old men and women among them who were still alive
then, on having Ma amidst them, had talks with Her with tears rolling
down, as if without an end.
an overflow of devotion and reverence from them was, as if, flowing like
a stream in those places.
What little Ma took of whatever eatable was offered by any one out of
love, was taken with love and joy. This sort of feeling for Ma, the way
they had Ma among them in Her early years and today they had this
great Ma - who aroused this exalted emotion in them?
Educated people of the village and pundits assembled and sitting with
Ma, started asking questions on various spiritual subjects, including the
area of non-dualism too. On receiving today from the lips of one, who
bad no education and whom they had fondled by taking Her in their laps
and on their backs during Her temporary visits to Vidyakut in Her
childhood, such simple and comprehensive answers to their abstruse
questions on profound spiritual themes, they were charmed and felt very
proud recalling that She was one of their own.
(Moved emotionally), some of them had even tears in their eyes. Kheora
is Ma's birthplace, the place of Her childhood lila and Vidyakut Her
father's home. In the latter too, Ma had done lilas in plenty. Having
touched the dust of this holy land in this environment, they, who had
accompanied Ma, felt themselves blessed.
SULTANPUR �
Now came the turn of Sultanpur. In this very place, there had been
the grihastashram of Ramakanta Bhattacharya. What a phenomenal
living form of the aspects of the ideal of a rishi it was that existed one
day in this sacred place! In later years, there had been the advent of Ma,
and in this very Ashram were revealed so many heart-gladdening ways
of Her childhood lilas. Our Ma, of course, belongs to the line of this
family too. This, the great advent, a flashing touch of i[ was granted to
the people of this village at this time through Her Kheyala. As much of
that heart-captivating account as finds expression through this pen of
ours, we shall try narrating that only to close the subject of this chapter.
Revealed as the Mother of the Universe before the world, Ma arrives today at this very village at
this very auspicious moment within the view of the villagers. The journey started from the ghat of
the boat and ended at that house of Ma's maternal uncle, which had been the scene of so many joy-
giving lilas of Ma. None of the uncles of Ma was present there that day in gross form. In this super
festival of rejoicing, how could their absence be made up now. In the pure heart of Ma's youngest
maternal uncle, there' were, till his last moment, in illumined wakefulness and in numberless
forms, the sacred pictures of affectionate, reverential devotion towards Ma, covering Her child-
hood lilas,specially in this very holy Ashram where the parts fill up their respective places, there is
the unbroken whole of non-picture picture.*
*There
cannot be
any
objective
picture of
the
unbroken
whole, i.e.
no-pictures,
but when,
again,
imagined at
the mental
level, there
is a picture,
which is
only a
reflection
of the
mind, i.e., a
picture.
Therefore, their participation today is also in their appropriate Svarupa - this is what occurs in our
heart.
And immediately and enthusiastically, with joy and delight, the villagers
placed the bedstead on their shoulders and marched forth with Ma.
Though it was noticed that Ma was in a tender bhava quite often, yet Her movement from place to
place continued even in that condition. It could not be said with certainty whether at this time She
had Her eyes closed or open.
Then, it would also not occur always in Ma's Kheyala to say clearly even 'yes' or 'no'. Many have
witnessed that (in Ma) eating, behaviour, keeping clothes on the body in ()order, etc., were aspects
(of life) that were missing in that period-never wee they noticed to be (attended to) precisely in the
normal way. If Ma had Her present bhava at that time, we are not sure whether She could have
been made to sit on the 'throne' like this. Of course, one cannot say what might have been
the bhava of Ma in response to the feeling of the devotees. In Ma, of course, it is noticed that
everything is possible. Even so, Ma did get down once, in between, from the bedstead afterwards,
and walked too a little distance for a while. It was, however, a long distance to cover, and on the
way, mud and water had accumulated at places due to rain.
There was that small girl, whose figure, a centre of attraction �
restless with laughter and radiant with surging joy-had one day touched
the heart while appearing in the sweet form of childhood lila in the view
of all. And today, that very one, the Self in the Self with innate beauty
was here too, one did not know, in what (a majesty), before the people of
this village.
In this form, Ma is in this village, but where have we even the ideas and
the language to describe that (which is before us). Whom did the
villagers see and with what eye, it was, as if, even they were not aware
of. Moreover, despite their impatient eagerness, as to how and in what
way complete darshan could be had, that too was, as though, not being
achieved. There were countless people on the road, and an incredibly
heavy rush. Apart from this, some people bad climbed up trees, and
others, whoever could, had occupied every little space in any way
possible, so that there was, as if, not the least gap left anywhere. In
whichever direction one looked, there was a stream of people, every one
of whom had his eyes fixed in that one direction only.
Newly married women of respectable families, all in veil, had, as if, lost
even their normal way of shyness and went running along through any
opening available as each could manage. Their movement aimed at that
single object only with all eyes turned in the same direction. It was a big
village through which the route of the journey - had been divided into a
few sections for spectators, that is, each section earmarked for a
particular class of spectator.
In that way the journey commenced with Ma. Remaining in front,
the Kirtan party continued singing together in one melodious tune.
(Besides this name) and the like, so many other names too (were sung)
with musical composition. In the presence of Ma, one did not know how
the emotional excitement of the villagers and simultaneously the
melodious sound of kirtan carried away everyone, whoever was present,
in the stream of nectar. The question of getting and of not getting whom
cannot arise, and after having whom, how there was then,
the jhankar (resonance) of billows ofbhava in every heart, and how the
people of the village got the touch of the Kheyala of the kheyal; (He only
knows)! *
* When
considered
from the
point of
view of the
Supreme
Reality,
there is no
question of
any
objective
experience.
That is why
the
question of
getting and
of not
getting
does not
arise. But
when the
figure is
looked
upon as an
object of
Supreme
Love, then
there is also
the having
of that
object. Khe
yala is the
one who
has
the Kheyal
a.
What to say only about this village, there was, from far-off places too, a
continuous stream of spectators forming a vast concourse. There was no
arrangement like that of posts and telegraphs here. How, then, with a
lightning speed, did this news reach remote corners? And who it was that
had attracted and brought here children, old persons and young men and
women, indeed, all, without their knowledge? (It was) that small girl,
who had been in this very village on so many occasions. This is the place
of which every particle of dust had become sacred and blessed by the
touch of the feet of Ma in the form of a child, where that girl of
restless lila had moved about freely, in play everywhere with
harmonious participation in a joyful mood. How to be a witness and
recipient, even at this time, of that sacred wave of lila in its new form
and new rhythm-that is why there was this outburst of emotion! What
they got and what they saw-that was, indeed, a matter of their heart and
experienced in their heart only.
Whatever it was, after going round in this way, while moving slowly with Ma, they returned to the
house of my father in about four to five hours. A big crowd had already assembled in the house
where a great festival had been on with resounding kirtan, etc., and a fair of rejoicing well set in.
Making this house the centre, the entire village was beside itself with the preparation of a joyous
celebration.
Maunds and maunds of rice, pulses, vegetables, spices, etc., had been collected here, one did not
know from where and through whose inspiration, then cooked and followed by distribution
of Bhog-prasad, through an excellent orderly arrangement for its acceptance by all in a spirit of
fellow-feeling among them.
Only those who could not understand anything more than this, talked
like that.
After all, they were villagers of those days, who knew nothing much
about spiritual side. So I had some sort of a little fear. A pratima (image
of a deity) remains stationary in the puja room, but when moving about
in a living form, one knew not what that might be. However, behind this
fear, even at that small age, the aspect of reverence and devotion to
Mother Kali and Mother Durga was there through family tradition, as it
should be. The form of my great good fortune was, till then, lying in the
womb of the future. It was not known to me at that time. Brahmachari
Prabhu Dutt Maharaj once made preparation to hold a religious festival
at Allahabad.
My age at that time was seven or eight years. I have been an inmate of
the Ashram since then. Remaining thus under the shelter of Ma, I
consider myself blessed, successful or what other words are there to
express (my good fortune).
There is that great heredity about which we have heard from Ma's mouth
too. Its noble form was so splendid. And I find myself linked with it. I
too belong to the family of this lineage. There is that current of blood of
the Maharishi, it does flow through my veins too. For the touch of that
awakening-.4f it be my destiny to have it one day I beg compassion at
the feet of Ma and wait for that great moment (to arrive).
Reverting to the context of Ma's visit here, like an ordinary child, there
had been the childhood lila of Ma in the midst of all.
Now, again, in these very three places. She is having Her movement of
activity, specially while going round from door to door. Compared to
present days, however, Ma was not at all known so much at that time to
the masses like this. (Why) is it happening this way in the present
situation? Where is the answer to this question, and who, again, would
determine it?
When, during Her childhood lila and in Her own bhava, with the
expression of great joy, Ma used to roam about from house to house,
door to door, then, at that time, whether an old man, an old woman, a
daughter-in-law, a daughter or a child of the same age group, in fact,
none at all felt happy if, on seeing Ma, that person where not to call and
talk to Her a little.
In this context, why only in every house and at every door, but on every
corner of the houses of all. She had Her jurisdiction - an open door and
the liberty to play and laugh.
In every family, so many children are there, but surely, none is of this
kind.
(In the circumstances), should we not understand that the shoot of the
spiritual condition that was planted 'in every heart through her play, has
blossomed out into this form today? Occasionally, some unusual
manifestation too occurred in Ma in their midst even at that time.
Had She not been taken thus, then for the old men and women-many of
whom had been eye witnesses of Her childhood lilas and had also
narrated so many stories of Her early days when She was a child-could
there ever have been such an opportunity again. Ma's stay for a limited
time in these three places was, as if, only to grant Her darshan to the
fortunate villagers without any distinction of caste and colour. There was
never to be this kind of darshan in this way again in future. So the timely
darshan in this manner was a fulfilment of their good luck. Being Ma-
centred and in the context of Her darshan, the common meeting and
association of the people of all these three villages and of other villages
t'o was, as if, the last such a get togeiher. Even at that time, they were
living in the homesteads of their forefathers in lineal succession and
many of them belonged to distinguished families. Today these are all
matters of imagination. After the partition of the country, this region was
initially in East Pakistan and now it is in Bangladesh.
Perhaps the embodied form of fulfilment of all wants, allowing its touch
to be conferred in Its own way to the deserving at the appropriate time,
thus assuring that fulfilment unnoticed, and while arousing a want for it
in Its presence, that child form had established Itself in all hearts as their
respective objectives.
In this last chapter of this volume that child appears in the form of the
Mother of the world. And how that place of affection and tenderness in
the heart of the village people of those three villages got transformed!
And what was the nature of this viewing by them today under this
transformation? The touch of that Supreme, which lay latent and hidden
in the form of a seed in the context of His child lila, after taking a
sprouted form has today grown up in the form of a tree, well adorned
with flower and fruit, resulting in an open Kriya taking place by itself,
for attraction of all hearts aiming at the indication of the Svarupa thus
unfolded!
'Where, with the bhava of a common child, Ma had Her child-lila in the
midst of them all, now, again, at these very three places, moving around
there; She had Her course of Kriya in each of heir houses. At that time,
however, compared with present day, She was definitely not so well
known among the public in this manner. In this context, how could there
be such a transformation! Where is the solution of this problem, who
else is going to solve it?'
In the first two volumes here, we are getting the solution in the form of
an introduction only, In the subsequent volumes, we shall notice the
great mansion of the Supreme Svarupa in the inconceivable, indefinable
light of glory in the course of its own unfoldment. In that mansion, there
is place for all individuals - a complete form in the context of
development and unfoldment of each.
He is also,
He is all,
Beyond the course of mind, where the question of a course and absence
of it has no place, what it is and what it is not - there is that Indivisible
great Perfection.
absence of place.
VOLUME 2
THE END
Link to Volume 3