Radhakrishnan Garani. Bengaluru
For private circulation only
Most of us know about what is a heard melody and how it sounds to one‟s ears and how comfortable and soothing it can be. Melody means a soothing experience one gets from a source of music. Much of this depends on the tuning, either of the instruments or the singer in question. On the other hand, to produce a melody which is “unheard” requires a tremendous amount of capacity which very few people acquire.
John Keats, a famous young poet was one such person who could visualise and perceive this phenomenon. When, at a very young age of twenty,( he passed away when he was only twenty five years old) he could dwell into a still painting on an URN which was in one corner of his room and write a great Ode on this Grecian urn. He not only saw,but also heard the melody that the piper was playing in a procession.(a painting on the URN, showing a procession). John Keats was considered as equals along with Milton, Byron and Shelly who were stalwarts in the realm of English poetry.
An ode is a kind of poem usually praising something-lyrical expressing emotion which is usually addressed to someone or something or it represents the poet‟s musings on that person or thing.
Keats tells us what he thought when he looked at the Grecian Urn in his famous ode ”ode to a Grecian urn”. He has penned many such odes.
The famous line ‟heard melodies are sweet but unheard are sweeter‟ is a very popular quote that many use, from that ode of John Keats. There is a saying in kannada language- what the Sun could not see, a poet is able to see (ravi kaanaddu kavi kanda ರವಿ ಕಾಣದ್ದು ಕವಿ ಕಂಡ). Such is the capacity of one who gets into a meditative mood delving deeply into one‟s consciousness.
For a long time I was wondering how this unheard melody could be sweeter than the heard melody. Is there any relationship between the two or is it a special faculty only few possess. If so, why does a common person with a good ear for music, is not able to get a feel of it or why does he not get a touch of that unheard sweetness which many of us hanker for in our lifetime ?
I could get an answer to all this when I started reading an excellent book *The garland of letters” by Arthur Avalon, an eminent Englishman who spent his entire life in India in understanding and deciphering the aspects of Tantra Shaastra. Similarly our Sages have come to realise this type of shabda format
thousands of years ago. All the Vedic mantra’s were realised by them. They were called “mantra drashtaara” (ಮಂತ್ರ ದೃಷ್ಟಾರ)since they experienced it when they were in a state of trance or samadhi state. That is why our Veda-s are called apourusheya (not written by man). Every line of such Vedic chants have deep meanings which the ordinary mind fails to recognise and understand and let alone get a grasp of it. Most of us go by the superficial meaning that pundits have given us and decry them as simple, illogical and not coherent.
I would like to digress a little from the aspect of melody we are discussing, only to show how an inner and deeper understanding can change our mind set. It is said that Vedic mantra’s have three different connotations. There are three different planes of reference one can attribute to them in these chantings. One is the normal superficial meaning when they are literally translated and understood called Aadi Bhoutika (आदि भौतिक belonging to the aspects in the world). The second analysis of these chants are _Aadi Daivika _ ( आदि दैविक pertaining to the world of celestial beings). The third and the most important of them is the Adhyaatmica ( अद्यात्मिक pertaining to the realm of the unknown, yet to be realised or experienced).
When a jnaani‟s name is prefixed by the letters shri shri shri, it is supposed to mean that such a person has conquered all the three planes of references or has a mastery over them..
Let us take an example to illustrate these three facets of the Vedic chants.
The very first mantra of Rigveda runs like this: agnimeele purohitam yajnasya deva mrtvijam.(अग्निमीळे पुरोहितं यज्ञस्य देवमृत्विजम्)- I glorify agni, the high priest of sacrifice who is the controller and possessor of great wealth.
When we see the Aadibhoutika meaning of this mantra, we find the importance of Agni on the earth as a Purohita(a person who stands in the front and leads the group, for the welfare of the people around him). He is the yajamaana who leads. Whenever a karma kaanda activity is performed hm AGNI is the principal leader. That means, no activity can be performed without keeping the Agni in the front. Without Agni devata, the karma kanda loses its meaning.
When we look at the Aadi daivika aspect, it is very clear that the Agni is the messenger, meaning that he is the one who carries the different oblations( हविस्) offered to different celestial Gods. Without his participation any aahuti ( आहुति) given to devata-s does not reach them and hence he is very important vaahaka or the supporter for the deavata-s..
When we come to Adyaatma aspect, Agni is the lamp that is shining in the heart of every person. It is the leading light that determines the activities of a living being It is called as pranava also. Without the upaasana of this aspect, one cannot go into the deep recesses of the mind. The knowledge of discrimination and zeroing on his intention cannot happen for a saadhaka unless there is a burning fire (agni) in him. Here Agni becomes the yajamaana in all aspects of his saadhana. All our Rishis were able to see through all the above facets.
Coming back to the melody aspect, let us review what our Tantra Shaastra tells us. (वागर्थाविव सम्पृक्तौ वागर्थ्रतिपत्तये… the opening sloka of Raghuvamsa of कालिदास)। The word “vaak” comes from the root word „vach‟ which means „to speak‟. The feminine word vaak, therefore represents both the voice and the word that it utters and also the sound generated by the inanimate objects. It has the meaning as shabda. The sound thus becomes the Artha or has some meaning to it. Pratyaya is the mental apprehension of this sound.
Before any type of sound is uttered, it has to pass therough four stages. In Tantra terminology, they are PARA(परा) the supreme vaak which is with the Shakthi, PASHYANTI,(पश्यन्ति) the vaak as projected to the mind or as seen, MADHYAMA( मध्यमा) the place where the vaak is split into different maatraas or maatrikaas. This is the aspect that exists in an ordinary person prior to manifestation. The fourth stage VAIKHARI( वैखरी) is the one through which one articulates the word or letter which is generated by the simultaneous combinations of all the three aspects prior to this stage. These letters are called varna-s as in spoken word or speech. This shabda is the one what our ear grasps and conveys it to the brain. This is also called dhwani, which is caught by the ears as gross physical sound which is produced by our vocal chords by the pressure of the surrounding air and thus in effect an effort (prayatna) to speak.
Without going into more details about these four aspects of the shabda, one can infer that it is necessary that we have to pass through all the four stages to produce an audible sound. These aspects completely alter the capacity of any person to comprehend before the other two aspects of shabda and artha springs out from the instrument through which one produces the sound..
Here we have to keep in mind that the air or vaayu that circulates in our body vibrates the strings of the vocal chords in our throat to generate the necessary sound. This is generated from the base of the spine by Swaadhistaana chakra considered to be
the seat of Shiva and Shakti. The sound thus generated travels to the top of the spinal cord and touches the Throat Chakra called Vishudda, passes through the vocal chords and thus sound is produced.
There are only three possible primary modes of opening and closing of the mouth to produce any sound. Such sound that originates is called the pranava naada or Omkaara like the four primary colours we experience when we see. These are (1) Aaaaa(आ) rendered by opening of the lips of the mouth.(2). Uuu ( ऊ)by rounding of the lips and rendering the sound, and(3). Mmm( म्) by closing both the lips and rendering the sound. Thus the three aspects of A U M coupled with other multiple combinations of opening and closing of the speech centre, and with the controlled movements of the tongue, produces the sound that is required, which one comprehends and understands. This is called pranava naada
Most of the time we produce the vaikhari sound that is audible(what we call the heard sound) belonging to the (aadibhutika) worldly plane. More often we call this as noise or talk rather than dhwani since it lacks harmony.
When we come to the plane of producing a sound that is called NAADA, plenty of effort is required to get to that pitch. We almost merge into the aaadi daivata plane. This requires two very important steps, the primary being to keep the spinal chord straight or erect by using a correct posture of sitting. Too much movement of the body, head and neck distorts the airflow that is vital to generate the right vibration(spandana) of the vocal cords. Since a finite amount of air has to pass through the Merudanda (spinal chord) from the swadishtaana chakra at the base to the vishudda(throat centre) it is essential that the spinal chord is kept straight. It is also important that the naadis should be clean. A regular practice of naadi shuddi pranayama helps in clearing up the naadis.
Second in importance is the control of the speech centre or the mouth. That means, one has to correctly open and close the mouth catching the correct naada. This is the main reason why so much importance is given to practice of Shruti, which a teacher often insists on the student to keep clear and undiluted.
What we call “heard melody”, is produced in such a discipline. The multiplicity of the control of combinations of the speech centre gives raise to the swara-s which are fundamental to any good melody. Further, the multiple combinations of these swara-s becomes the framework for a RAAGA. Most important to note here that eminent singers worship these raagaa-s as Devata-s. Until such
a perfection is reached, one says that that the respective Devata did not merge with the singer. Unless the Devata allows you for the combination to be recited, right naada does not spring forth. Even a slight absence of mind for a second, can upset the cart very easily, thus producing noise instead of melody. So a rigorous culture of voice is insisted and what is called Riyaaz becomes essential.
Thus far, we have dwelt the aadidaivata mode of operation of sound. When we come to ADYAATMIKA level we come to the realm of unheard sound. This realm is exclusively held by Shakti who is called PARA DEVATA( पर देवता) or the primordial shakti who generates the sound and resides at the swaadishtaana chakra.. This is the purest form of sound, which we call the “unheard melody” which only a few rare persons can conceptualise and hear only through HER grace. It requires a totally thought free mind which is attainable by deep meditation or in samaadhi states. One can hear these sounds in a variety of forms. The hissing sound ,what one hears when they close their ears, is the gross manifestation of shaki in any human being. If this sound is absent then, it is said that the praana has left the body and there is no more life present in the body.
Some great singers are able to hear and see these sounds as letters when they are in the mode called pashyanti, that is when they are deeply absorbed in the singing. This is called Mano dharma mode of the singer. He is guided by the Devi to sing what he sees and this is purely gifted by the Devi to him. Such melodies enthral a real listener. This is what we refer to as ”unheard melody” Dr Balamuralikrishna often used to say that the letters dance in front of his eyes and he simply translates them into sound .
When a singer starts to sing a Raaga, he starts generating the letters or swara’s into pearls or beads when he is in the mandra sthayi, aalaap mode, and then slowly starts weaving them and forming them into a string of letters of pearls when he is in the madhya sthaayi. When he comes to the taara sthaayi, the garland of letters is ready. He is more than willing to decorate the body of the RAAGA DEVATA, and feels fulfilled when she accepts his maala and blesses him. This is what gives a singer the utmost satisfaction and happiness that he is able to be in tune with HER. That is why the listener completely merges in the NAADA and experiences a blissful state. This is the ultimate process of uniting with the unheard melody.