Shiva – His Drum of Consciousness, part four
Consciousness and Speech Series VII.
Sacred Speech Masterclass VII, part 4.
When Shiva plays his damaru, his drum of consciousness, the Shiva Sutras, the phonemes of Speech, are heard.
So I will give you the syllables now that Panini received in his Darshan of Shiva on Mahashivaratri night, 2600 years ago, 3000 years ago, God knows when.
The Damaru sounds – Baba Ji recites the Shiva Sutras or Maheshwara Sutras of Panini.
These are the 14 sutras, called the Mahesvara sutras, that really begins the work, especially the work in phonetics, of Panini. And within those 14 sutras, are contained the 50 syllables of normal Sanskrit speech, as well as much of the rest of Indian speech. In Tantric speech there is one other syllable that is added, which is “Ksha”, a conjunct consonant, combining, “Ka” and “Sha.”
Jennifer: There were moments, Babaji, and I don’t know if I have to worry about this, where I couldn’t hear the difference in a varga, between two different sounds, consonants, like in the “Ka” varga, it sounded like that was “Ka,” and then “Ka” again it sounded like to me.
Babaji: Well, that’s right. That’s right. This is exactly what I want you to be asking me so that you can make these distinctions. Now, in the “Ka” varga, remember that the first articulation, the first syllable is the simple striking of “Ka.”
Jennifer: “Ka.”
Babaji: Always, always, the second member of a varga, is going to be aspirated, so the second member will be “Kha.” “Kha” The first is “Ka.” Ka.” Right. There is no air that comes out. You can put your hand in front of your mouth, to test. When you say, “Ka,” “Ka.” You shouldn’t feel any air coming out on your hand. But when you say, “Kha,” you should feel this blast of air, hitting your hand. Can you do that? Can you turn on your mikes so I can hear you a little bit.
Jennifer: Ok. So. “Ka” “Kha”
Babaji: We’re not going to strengthen our vowels, especially when we are dealing with consonants. We are going to keep them as simple as possible. So I want you to make a strong distinction between “a” and “āa”. And the “a” is almost like the “a” in “cut” or “but” or “shut.” It’s an “a”; “āa” is the strengthened and the long “a”. So it is important that we make this distinction because the vowel, “a”, as I described last time is the anuttara is the greatest, the highest the most substantial, what the varnamala, the so-called alphabet really is is one letter, which is “a”, and then we put this one syllable, “a”, through all these different spaces and all these operations. So, for example, we condense in a great manner, “a”, if we condense and condense and condense it until it becomes solid, right, then “a” becomes “ka.” This is the condensation of the vowel “a,” it becomes, “ka.” And then we go onto the next operation now that we have condensed it. We are going to condense and aspirate it, so it becomes “kā”, “kā,” where you can feel the breath on your hand. And then we are going to expand our voice and do the same syllable and automatically it comes out, “ga.”
[Participants say “Ga.”]And now we aspirate the “ga” and it comes out “gha”,
Now the tricky one. We’re going to throw this through our nose instead of through our mouth, and it comes out “na.”
