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धारणाशक्ति व स्मति
ृ का आश्चर्यकारक विकास होता है ।
इसके विधिवत जप से कोमा में गये हुए रुग्ण भी होश में
आ जाते हैं। अनेक रुग्णों ने इसका प्रत्यक्ष अनुभव किया है।
I
Matangi
Fig 1. Obscure?
Color- Black
Flower- Red
Special day- Sunday
Anniversary-Baishaakh Shukla Tritiya
Shiv(initiating light)- Matang
Raatri(energy of Shiv)-Moharaatri
Worshipped - for better inner thought, to make people positive about you. She also
relates to the ear and our ability to listen, which is the origin of true understanding
that forms powerful thoughts. She bestows knowledge, talent and expertise. She is
the Goddess of the spoken word and of any outward articulation of inner knowledge,
including all forms of art, music and dance.
Beej Mantra- Aim
AIM the seed sound of Saraswati, pertaining to the goddess of knowledge.
It is used for the acquisition of knowledge and wisdom, the mastery of words, the
removal of pain and the power of effective speech.
OM GAM Ganapatiye Namaha - This is the mahamantra of the Hindu Deity,
Ganesha, Lord of Obstacles. Chanting this can open the road and clear away
any obstructions, seen or unseen, which are standing in the way of you achieving
your goal. I use this mantra more than any other, and have not once been
disappointed! Life just seems to flow more smoothly when you chant this
regularly. Use this mantra whenever you feel overwhelmed by delays or just
generally stuck, and your path will soon be free and unimpeded.
More specifically Aim is the seed mantra of Saraswati, the goddess of knowledge and speech. As
such, Aim aids us in learning, art, expression and communication and is good for promoting
learning and education generally. Aim is also the mantra of the guru and helps us access all
higher knowledge, wisdom and understanding. It indicates motivation, direction and will power. It
increases concentration of the mind and awakens our higher intelligence.
Aim strengthens the voice and the vocal chords. It opens the lungs and clears the senses.
My analysis begins with the contrasting Vedic and Tantric conceptions of the
Gunas -- the three elements that make up Creation: Sattva (the spiritual
element of uplift), Tamas (the material element of down-drag), and Rajas (the
element of action and motion, shifting between the other two). Vedic Hinduism
characterizes Saraswati as Pure Sattva (just as Kali is Pure Tamas and Lakshmi
is Pure Rajas).
It's really not such an outrageous proposition: The same process occurred when
Tantra "completed" another ancient Vedic goddess, namely, Lakshmi (or Shree),
in the form of the 10th Mahavidya, Goddess Kamala. As Kamala, Lakshmi -- who
is almost always conceived as a Consort Goddess, co-equal with or (more
frequently) subordinate to, a Male God -- becomes a fully Independent
Goddess, a full manifestation of the Divine Feminine. Rather than being purely
benevolent, She takes on fearsome traits as well -- although She is still the
least fearsome of the Mahavidyas. This Lakshmi-Kamala connection is widely
known and accepted. However, the fact that the 9th Mahavidya, Matangi, is
Saraswati, seems to have been mostly overlooked or forgotten.
I want to stress that I'm not holding up Matangi as being "better" than
Saraswati, or even different from Her -- in fact, my feeling is that She *is*
Saraswati, just a different conception of Her. In an old Club discussion of this
point, our longtime member dkSesh wrote that he agreed with this idea:
Maatangi is the Tantrik form of Saraswathi. Here Maatangi also means that
Saraswathi imparts knowledge on Tantra and Maya as the same manifestation
of Brahman [the Supreme Divine] and is something that is not to be disliked and
gotten ridden of as a Vedantic beginner thinks but to be worshipped as
Brahman. For Brahman is described as one without the second, which means
that Maya must also be another form of the same Brahman. It's in there on this
path, that many manifestations and traits are removed in a Tantric way unlike
the Vedantic way. Many are violent. The Vedantic sees the violent removal of a
trait differently than a Tantrik. Hence the reason why I called it an issue of
perception -- and for a Tantrik, it's the mother with her sword, removing the
trait a/k/a, the asuras [inner demons]. Hence the form and the weapons and
the differentiated name. Gnanis [those following the Yoga of Knowledge] don't
see the difference but a Saadhaka [one engaged in worship of a God/dess form]
under practice and pressure for emotional support needs a form that can re-
assure him that the Lord [Brahman] is here to kill the trait. Maybe the
requirement for the Lord as Maatangi."
Once again, the outcaste/leftover goddess Matangi -- like the pure Saraswati --
is also a goddess of learning, wisdom, the arts and sciences. They are identical
to the extent that they are both worshipped using the same bija ("seed")
mantra, "Aing" or "Aim." However, there are some significance differences in
the way these two manifestations of Saraswati carry out their work.
The traditional, Vedic Saraswati mainly "represents the knowledge and virtue
of the Brahmin or learned class which never departs from propriety," according
to Frawley. Her arena tends to be "ordinary learning, art and culture." Matangi,
on the other hand, "is the form of Saraswati directed toward inner knowledge.
She is Her dark, mystical, ecstatic or wild form." As an outcaste or residue,
Matangi lives beyond the bounds of convention, propriety and norms of
"respectable" society.
To deepen our understand this conception, I will next compare the ways in
which these two Goddess forms are conceived.
b>* Complexion
* Sexuality
Saraswati is a rarity among Hindu goddesses in that she is generally not
associated with fertility (at least in Her modern incarnation; in Her original
conception as a Vedic river goddess, there was certainly a fertility association);
motherhood; or sexuality (although She is officially Brahma's consort, the
primary legend of their marriage concerns Her cursing Him for trying to
consummate it).
Now contrast Saraswati's image with that of Matangi. Her descriptions always
stress Her "highly developed breasts" and a "very thin waist," (recalling the
imagery of ancient forest nymphs or apsaras). She is also portrayed as being
wet with perspiration; sometimes with a line of superfluous pubic hair trailing
up to Her navel; as having "wild" and "intoxicated" eyes and limbs; as walking
with the graceful swaying gait of an elephant; wearing her hair loose and wild
like Kali's.
* Instruments
Like Saraswati, she almost always carries a veena, and sometimes a set of
prayer beads. Interestingly, Matangi usually carries Her veena in one hand, to
leave room for a darker arsenal of instruments. I've found about a dozen
diverse descriptions of these other instruments, which include, in part: a
noose; a sword; a shield; an elephant goad; a club; a skull; a skull-bowl; a
machete; a mace; a pair of scissors.
These tools signify that unlike Saraswati, Matangi functions not only as a
bestower of knowledge, but also as a destroyer of Ignorance. Again, this
reflects Matangi as Saraswati's Kali aspect. As for iconogaphical settings,
Saraswati is usually shown seated in a forest by a river, with the Himalayas
towering in the distance and Her vehicle, a white swan, by Her side. Matangi,
true to Her tribal persona, is shown in the jungle, flanked by parrots.
"Lord Shiva is also known as Matang. His Shakti (power) is called Matangi. Her
complexion is dark and possesses a moon on her forehead. The three-eyed
goddess is seated on the crown decorated with jewels. Her lustre is like a blue
lotus and is destroyer of the demons (forest) like a fire. In each of her four
hands, she has a noose, a mace, an axe and a hook. She is a destroyer of the
demons by enchanting them first with her beauty and a fulfiller of every desire
of her devotees. She is worshipped for the attainment of great powers, power
of speech, happiness in family life etc."
“The one who has an enchanting veena embedded with rubies. The one who
has intoxicating beauty and whose speech is charming. The one who is tenderly
built and has the glow of a blue sapphire. That kanya [daughter] of Matang
should be meditated on.
"She is seated on an altar and has a smiling face and a green complexion. Her
eyes are intoxicated. Her clothes and all of Her ornaments are red. Around
Her neck is a garland of kadamba flowers. She is sixteen years old and has very
full breasts and a very slim waist. She holds a skull on Her left side and a
bloodied chopping blade on Her right, and She plays a jewel-encrusted veena.
Her hair is long and wild, and the disc of the moon adorns Her forehead. She
perspires slightly around Her face, which makes Her all the more beautiful
and bright. Below Her navel are three horizontal folds of skin and a thin
vertical line of fine hair. She wears a girdle of jeweled ornaments, as well as
bracelets, armlets, and earrings. She represents the 64 arts and She is flanked
by two parrots."
So he and his wife Siddhimati gave birth to Ambaal, whom they named as
Laghushyama. That daughter is considered a manifestation of the Goddess Raja
Shyaamala. But because She was born to Matanga, the world even today
remembers him through Her name Matangi. Because of this, even other
daughters of sage Matanga attained the status of Shaktis (goddesses) and they
serve Raja Shyamala.
That Group's Aravind Krishna adds: The names Shyamala, Matangi and
Meenakshi represent the same deity. First she incarnated as Shyamala along
with Lalita. Shyamala is the minister of Lalita. "She is seated on geya chakra or
giiti chakra ratam besides lalitaa who is seated in Sri chakra ratam."
In a similar vein, David Frawley writes: "Mata" literally means "a thought" or "an
opinion." Matangi is thus the Goddess power, which has entered into thought or
the mind. She is the word as the embodiment of thought. She also relates to
the ear and our ability to listen, which is the origin of true understanding that
forms powerful thoughts. Matangi bestows knowledge, talent and expertise.
She is the Goddess of the spoken word and of any outward articulation of inner
knowledge, including all forms of art, music and dance.
Aravind Krishna mentions yet another Matangi Dhyana: "To visualize, Matangi is
seated under a kadamba tree with a veena in her hands. A parrot is seen on her
shoulder that sings in tune with her veena music. Such a dhyana itself is
extremely pleasing. She holds similar status as Lalita and is hence called as
Raja Maatangi. Kalidasa [known as "India's Shakespeare"] was an ardent devotee
of Matangi.
Ambaal Group's Dr. V Sadagopan notes: "Sri Matangi and Raja Matangi are
descriptions of the energy behind the ninth object of Transcendent Knowledge
[i.e. the Ninth Mahavidya] .In this form, She is also known as Moha Raathri or
the Elephant Power. … The Elephant Power or Matangi is invoked for
establishing the reign of peace and prosperity. Besides Her association as the
daughter of Sage Matanga, Lord Shiva is known as the Elephant (Matanga),
based on His auspicious virtues as the destroyer of the evil. Hence His divine
consort is recognized as Matangi. The Elephant is the symbol of royal power
and the power of domination (i.e., King of the Forest ).”
Sadagopan adds: "As you know, Madurai Meenakshi sitting in the Mantrini Pitha
is recognized as Matangi."
* Mantrini: "Even though Shankara does not refer to Her as Mantrini in the
Meenakshi Stotram, he calls Her 'Muni-sute,' indicating Her as a daughter of a
sage and it is needless to say that this denotes Her as Matangi.
* Kadamba Vanavasini: "This calls her the daughter of Matanga and vividly
describes her how she bears the veena and is fully immersed in playing and
singing in tune with it."
* Shukapriya: "Shuka means parrot. Hence, this name means She is fond of
parrot. What does the parrot in this name signify? "It can signify Nada
(music/sound) then it means She is fond of worship through music
(Naadopaasana). She can be easily pleased using Naadopaasana. The essence of
all Naada is Aum and Aum is Her symbol as the iishwarii of this jagat. Through
meditation on Aum which is most pleasing to Her, one can worship and realize
Her. Or the parrot can signify the Vedas. She delights in hearing the Vedic
chants and the Vedas delight in praising Her. Or the word shuka can denote
Jnanis [followers of the Yoga of Knowledge] like Sage Shuka and Sge is fond of
them. In the Gita She declares (as Krishna) that a Jnani is Her own Self and She
is most pleased and fond of Jnanis. Similarly, Jnanis delight in meditating and
contemplating on Her."
"Matangi is the intelligible manifest sound. The primordial throb (Adya spanda),
which originates by the self-volition of the Supreme, starts a series of
vibrations that take the form of nâda. This is the Eternal Word, the creatrix of
manifestation. The manifestation takes place in four steps: sthula (gross,
matter principle), sukshma (subtle, life principle), Kârana (causal, mind
principle), and mahâkârana (great causal, original rythm). These steps
correspond to the four steps of jâgrat (waking state), swapna (dream state),
sushupti (deep sleep state), and turiya ( transcendental state).
"Tântrics locate the four steps of sound in the nervous system: parâ, pashyanti,
madhyama, and vaikhari. Parâ: the first and supreme source, it is unmanifest,
but turned towards manifestation (Târa). It is the mahâ kârana seated at the
mulâdhâra. Pashyanti: the word that percieves. This is the kârana, located at
the manipura chakra. Madhyama: the word in the middle subtle region between
the navel and the throat (anâhata chakra). Vaikhari: the expression of speech,
Goddess Matangi.
"Matangi is greenish dark in complexion (Syamala). Her tender limbs have the
glow of sapphire. She is known as Ucchista Chândâli. Sage Mâtanga was a
Chandala by birth. Goddess of Speech manifested as the daughter of the sage
and hence Her name Chandala Kanya.
"Mati is the thinking mind and mata is thought. The unmanifest Word perceives
itself for manifestation and then reaches the thinking mind for expression
(Matanga). When the word fashioned by the heart and formulated by the mind
is expressed it is Matangi. The Word of pristine purity becomes colored during
expression (varana). The speech descends from the Supreme Source, bringing
into expression only part of its Glory, hence the name Uchhista [Leftover]
Chandali. By catching the tail-end of the Word (articulated speech), one can
get to the source. The worship of Matangi leads one to the realization of the
residual above (Lalita). She is the Mantrini of Lalita. She represents the power
of attraction of Lalita. Her main purpose is to lead aspirants to Lalita Upasana.
Matangi is the Akarshna. Lalita uses Her mantra to attract devotees to Her."
Here is the original source of the above passage.
MATANGI'S ORIGINS
To try to trace any of this is great detail, however, boggles the mind! And it
obscures more than it reveals, wrapping the seeker in a web of academic and
theoretical hair-splitting. Maatangi's ultimately create the impression (probably
intended and certainly true) that Her nature -- like that of any Devi form -- is
ANYTHING and EVERYTHING.
As I've pointed out before, Maatangi is one of Sri Durga's primary 108 names.
She is also called a form of Kali, a form of Parvati, a form of Sati, even a form
of Lakshmi. Maatangi, you see, is ubiquitously lurking in the jungle shadows -- a
dark, wild presence found almost everywhere in Devi's vast mythology; now
seen, now gone again.
In one Mahavidya text, I saw Her called "the Goddess of Royalty." Another says
She "establishes the rule of peace, calm and prosperity." The modern Tantric
master Kavyakantha Ganapati Muni (1878-1936) -- whose sadhana centered on
the Mahavidyas -- taught that "Matangi is the highest of the Goddesses in that
She allows all their powers and principles to be realized."
These towering and mighty characteristics certainly suggest Her "Raja Matangi"
form. And yet here another paradox arises: Raja Matangi's dhyana is anything
but royal; in fact, it conveys the essence of her persona as a polluted outcaste,
or tribal girl -- and certainly not a queen.
Again, Matangi -- like Dhumavati -- is a Mahavidya meant "to strip away the
sadhak's prejudices about purity and pollution -- which are, after all, just more
divisions in a world we are supposed to be understanding as the manifestation
of a united Shakti-Shiva. Matangi is an outcaste girl; Dhumavati is a widow.
Both are inauspicious in the sense that they have no place in orthodox Hindu
society; they are avoided and looked down upon And yet in Mahavidya Tantra,
the worshipper is supposed to kneel down and prostrate at their feet as
Goddess."
As for the legend of Maatangi as the daughter of the sage Maatanga, see my
(upcoming) post on Matangi as Meenakshi. In that legend, Maatangi is a
manifestation of Ambaal or Meenakshi -- or in any case, an avatar of the
Supreme Devi. But in my opinion, this is a later Hindu reworking of a much
earlier Indian Buddhist legend -- and in many ways, it is an attempt to avoid
the unpleasant issue of Maatangi being an outcaste.
In the Buddhist version (which has been famously retold by the Bengali Nobel
laureate Rabindranath Tagore, in his story "Chandalika"), Maatangi is still the
daughter of a great man called Maatanga -- but here, Maatanga is not a Hindu
sage, but an outcaste tribal (Chandala) chieftain. In this primal legend, the
Buddha's disciple Ananda is said to have become thirsty when he saw a girl
drawing water from a well. He approached her and asked her for a drink.
To lure Ananda away from the monastic life, Maatangi asked her mother,
Mahavidya-dhari [is this name a mere coincidence?] to cast a love-spell on him.
Sure enough, Anada was lured to the lovely Maatangi's bed, but at the last
moment he prayed to the Buddha to save him, and Maatangi's spell was broken.
Maatangi, outraged at her loss, went to the Buddha himself, and told him that
she still desired Ananda as a husband. To make a long story short, the Buddha
explained that her desire was a karmic attachment (she and Ananda had been
lovers in another life) and Maatangi eventually became a Buddhist nun.
DKSesh quotes the passage, "To lure Ananda away from the monastic life,
Maatangi asked her mother, Mahavidya-dhari [is this name a mere
coincidence?] to cast a love-spell on him. Sure enough, Anada was lured to the
lovely Maatangi's bed, but at the last moment he prayed to the Buddha to save
him, and Maatangi's spell was broken."
And he notes: I don't think its a co-incidence. :-) Regarding the buddist stories,
the Ananda, the maatangi, the daughter of maatanga, the maahavidya all
sound too much to be called a coincidence. I am sure it is more symbolic a
practicing saadhaaka on that particular path can explain best.
Devi Bhakta replies: There is even more. The idea that Maatangi tried to force
Ananda's love by using a magic spell -- so powerful that it could only be broken
by the Buddha himself -- presages Maatangi's modern use by lower Tantrics
seeking siddhis [magical powers] from Her. She is, after all, said to grant
siddhis that enable Her devotees to control others, particularly the opposite
sex.
As for her mother the sorceress being being named "Mahavidya-dhari" in the
tale -- it certainly seems more than a coincidence that her daughter would end
up in Hindu form as a Mahavidya! But then again, a legitimate translation of
the mother's name would be simply "She who is skilled in Great Mantras" --
which also fits the tale perfectly, requiring no coincidences at all. I, however,
prefer to believe that there is a meaning behind almost every coincidence!
The story I alluded is a VERY early Indian Buddhist legend (dating from the first
hundred years or so after the Buddha's death). In it, we appear to have the first
Sanskrit reference to an outcaste woman named Maatangi, who possesses the
power to control others. The scholar David Kinsley speculates that this legend
prefigures by 1,000 years or so the first appearance of a similarly outcaste
Matangi as one of Tantra's famous "Ten Mahavidyas" or "Ten Wisdom
Goddesses." It also suggests a possible continuity dating back to pre-Vedic or
pre-Aryan Indian Goddess cults.
For our members who are fans of the Nobel Laureate Rabindranath Tagore –
Tagore, in the early 20th century, reworked this ancient legend into a
nationalist-flavored play called "Chandalika" (a feminine, diminutive
grammatical form of Chandala). In this play, the daughter is Prakriti (as in the
Buddhist original), and the mother is Maya.
DKSesh responds: “It is very significant. What it means is that the siddis are
very tempting. So a saadhaka could go very near to the extent of falling into
the trap. But then, the lord will bring in an awareness in the saadhaka and the
Ananda(also the joy) is saved by divine consciousness. The mind with the power
of siddi by itself also gets purified by the goal and the path taken by the
ananda. At the end the maatangi and ananda are in the clear fold of Bhudda.
Thanks again. I am of the view that all texts say the same thing. Its just that
the words differ and thereby the means appear to be different. A vedantic on
his nirvikalpa samaadhi will know that Maya and brahman are teh same and
also purusha and prakrithi are the same. A tantrik at the end of his goal will
also veer around the same meaning and will know that it is the same.
Finally, I wish to point out that Matangi Devi is my Ishtadevata, and therefore I
have studied, contemplated and researched upon Her more than I have on
other Goddess forms. The volume of material I've presented (which really only
scrapes the surface) is not an intended to exhault Matangi as the "best"
Goddess form. As is always the case in Shaktism, Devi's "best" form depends
entirely upon the personality, needs, spiritual development, etc., of Her
individual devotees. Each devotee will find the form most suited to her/his
Sadhana. My posts are, rather, a small token of devotion and appreciation to
Maatangi Devi. I hope you found some of it interesting.
Some sources see the Ten Mahavidyas as merely aspects of Kali - not as
complete goddesses in and of themselves. Each lesser goddess (in ascending
order from ten to one), they say, removes a little more ignorance than the one
before; each opens the devotee's eyes wider to Kali Herself -- the very
expression of Supreme Reality.
In that view, then, the 10th Mahavidya (Kamala/Lakshmi) is only the bottom
step of a ladder up to Kali; She means nothing much on Her own. Matangi, as
the 9th Mahavidya, would be only slightly higher in importance. Sources with
this view (one such is the "Mahanirvana Tantra") say that worship of the lower
Mahavidyas is useful only for gaining siddhis - limited occult powers. They
certainly won't get you enlightenment/moksha/nirvana/supreme knowledge,
etc.
But that view seems inaccurate to me. The mythology of the Mahavidyas is of
two main varieties -- either they are all manifestations of Sri Parvati or they
are all manifestations of Sri Kali. In the case of Matangi individually, two origin
myths (from outside Mahavidya lore) call Her a form of Parvati. And in
mainstream Hinduism, Matangi is listed as one of the 108 names of Durga, and
the first of Meenakshi's names as well.
That is in line with the basic Hindu theory of the ishtadevi -- i.e, that any
avatar whom he devotee chooses to worship is ultimately and will ultimately
lead her/him to the Supreme Devi.
According to Muni, "Matangi is the highest of the Goddesses in that She allows
all their powers and principles to be realized."
Other manifestations of Devi are "the highest" in other ways. To me, that
sounds like the very definition of Shakti.
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