The Winds of Wonder

I have understood myself

I have understood myself

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RY Deshpande

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I have understood myself

उमगले माझेपण माझे मलाच

बसलो होतो प्राचीन आम्रवृक्षाच्या छायेत, 

आणि उमगले माझेपण, माझे मलाच;

पाहता पाहता तेथे आला शुभ्रवर्णी रेडा,

आणि जसा आला वदु लागला वेदमंत्र;

सांगे, वदविले तें माझ्याकडून योगियाने,

उदात्त छंद, सुश्राव्य, महान, अर्थही गहन;

सर्वत्र, त्यांच्या लयीत फिरती विश्वाची चक्रे,

जसा अनाहत ध्वनी वेगात पसरे सगळीकडे;

पण​ बोले ऋषी दीर्घतमस चातुर्वाणीचें,

एकची असे इथे, त्या तिघी पलीकडे, गुहेत; 

ओळखतो मी त्यांनाही पण उत्सुकता की 

 इथे अवतरेल का जगती तिच्या छंदासह; 

 येई पश्यन्ति परावानीच्या प्रखर उजेडाने,

बघत बघत, घेत घेत, सर्जनशील आनंद; 

कदाचित तेव्हा उमगेल माझेपण मला,

सत्यात वाढण्यासाठीच तर आहे​ मी इथे.

7 May 2025

Dirghatamas: Rig Veda I:164:45

च॒त्वारि॒ वाक्परि॑मिता प॒दानि॒ तानि॑ विदुर्ब्राह्म॒णा ये म॑नी॒षिणः॑ ।

गुहा॒ त्रीणि॒ निहि॑ता॒ नेङ्ग॑यन्ति तु॒रीयं॑ वा॒चो म॑नु॒ष्या॑ वदन्ति ॥ १.१६४.४५

चत्वारि । वाक् । परिमिता । पदानि । तानि । विदुः । ब्राह्मणाः । ये । मनीषिणः । 

गुहा । त्रीणि । निहिता । न । इङ्गयन्ति । तुरीयम् । वाचः । मनुष्याः । वदन्ति ॥ R.V. 1.164.45॥

catvāri | vāk | pari-mitā | padāni | tāni | viduḥ | brāhmaṇāḥ | ye | manīṣiṇaḥ | guhā | trīṇi | ni-hitā | na | iṅgayanti | turīyam | vācaḥ | manuṣyāḥ | vadanti |

Four are the definite grades of speech; those who are wise know them; three, deposited in secret, indicate no meaning; men speak the fourth grade of speech.

Speech (वाक्) is graded (पदानि) as four regulated levels (चत्वारि परिमिता) ; the seers or the poets who have intuition know (विदुः) them. Three of them (त्रीणि), not clearly known (निहिता –न – इङ्गयन्ति), concealed in the cave (गुहा), do not move; the fourth of the speech (वाचः तुरीयम्), men speak (मनुष्याः वदन्ति).

https://sreenivasaraos.com/tag/jagati/

2 responses to “I have understood myself”

  1. RY Deshpande Avatar
    RY Deshpande

    Sri Aurobindo on Speech, Vak, Pashyanti

    The words which we use in our speech seem to be, if we look only at their external formation, mere physical sounds which a device of the mind has made to represent certain objects and ideas and perceptions,—a machinery nervous perhaps in origin, but developed for a constantly finer and more intricate use by the growing intelligence; but if we look at them in their inmost psychological and not solely at their more external aspect, we shall see that what constitutes speech and gives it its life and appeal and significance is a subtle conscious force which informs and is the soul of the body of sound: it is a superconscient Nature-Force raising its material out of our subconscience but growingly conscious in its operations in the human mind that develops itself in one fundamental way and yet variously in language. It is this Force, this Shakti to which the old Vedic thinkers gave the name of Vak, the goddess of creative Speech, and the Tantric psychists supposed that this Power acts in us through different subtle nervous centres on higher and higher levels of its force and that thus the word has a graduation of its expressive powers of truth and vision. One may accept as a clue of great utility this idea of different degrees of the force of speech, each separately characteristic and distinguishable, and recognise one of the grades of the Tantric classification, Pashyanti the seeing word, as the description of that degree of power to which the poetic mind is called to elevate itself and which is original and native to its manner of expression. The degree of word-force characteristic of prose speech avails ordinarily to distinguish and state things to the conceptual intelligence; the word of the poet sees and presents in its body and image to a subtle visual perception in the mind awakened by an inner rhythmic audition truth of soul and thought experience and truth of sense and life, the spiritual and living actuality of idea and object. The prosaist may bring to his aid more or less of the seeing power, the poet dilute his vision with intellectual observation and statement, but the fundamental difference remains that ordinary speech proceeds from and appeals to the conceiving intelligence while it is the seeing mind that is the master of poetic utterance.

    This seeing speech has itself, however, different grades of its power of vision and expression of vision. The first and simplest power is limited to a clear poetic adequacy and at its lowest difficult to distinguish from prose statement except by its more compact and vivid force of presentation and the subtle difference made by the rhythm which brings in a living appeal and adds something of an emotional and sensational nearness to what would otherwise be little more than an intellectual expression; but in a higher and much finer clarity this manner has the power to make us not only conceive adequately, but see the object or idea in a certain temperate lucidity of vision. 

    https://incarnateword.in/cwsa/26/the-word-and-the-spirit

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  2. RY Deshpande Avatar
    RY Deshpande

    The words of the Veda could only be known in their true meaning by one who was himself a seer or mystic; from others the verses withheld their hidden knowledge. In one of Vamadeva’s hymns in the fourth Mandala (IV.3.16) the Rishi describes himself as one illumined expressing through his thought and speech words of guidance, “secret words”—niṇyā vacāṁsi—“seer-wisdoms that utter their inner meaning to the seer”—kāvyāni kavaye nivacanā. The Rishi Dirghatamas speaks of the Riks, the Mantras of the Veda, as existing “in a supreme ether, imperishable and immutable in which all the gods are seated”, and he adds “one who knows not That what shall he do with the Rik?” (I.164.39) He further alludes to four planes from which the speech issues, three of them hidden in the secrecy while the fourth is human, and from there comes the ordinary word; but the word and thought of the Veda belongs to the higher planes (I.164.45). 

    https://incarnateword.in/cwsa/16/foreword

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