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Oppiliappan List Archive: Message 00192 Aug 2006

 
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Post 6
Dear sri vaishNava perunthagaiyeer,

We were seeing how seethaa exhibits her `lakshaNa saasthra 
knowledge' - her learnings on beauty of a lady and its phalans - even 
though she is in deep sorrow, and how raavaNan sees her beauty, asks 
her `who are you? Is it that you are a goddess?' 

That means the `divine beauty' of seethaa makes even a kaamugan [lust-
full person] like raavaNan also to show a first reaction 
of `divinity' - no `mean lust' for the flesh - later it might be 
because of turn of events and time - but first it is very `positive' 
reaction. Then you can think of and see in your mental eyes how was 
the extolling beauty of seethaa.

 

And such others like `rukmiNi' - later. Mother rukmiNi addresses to 
krishNa `sruthvaa guNaan bhuvana sundhara' - `heard only' - not seen 
you oh krishNa - but you, the world's best beauty and then goes on to 
plead for their marriage and union - then what to talk of that 
krishNaa's beauty and how to express it in words. Oh great. Or 
raama's beauty - which makes even the `complete sense controlled' 
rishis to desire for a `embrace' - a `physical union' with that 
raama. 

So the beauty in its abstract wholesome form does not create a lust 
or passion for union is the first conclusion. When it gets combined 
with ideas of trying to possess such a `beauty' as `my own' then only 
it turns out to be lust and bad and leads to disaster. 

Perhaps that is why hanumaan when first saw mandodhari - another 
beauty - wrongly thinks she is seethaa. And later when he really sees 
seethaa, he is simply in all praises for that beauty of seethaa and 
that creates a divine feelings in him and he bows down [which also we 
will see here now]. 

Now let us continue seethaa's description of herself - 

mama varNO maNi nibhO mrudhooni angaruhaaNi cha | 

prathishThithaam dhvadhasabhi: maam oochu: subhalakshaNaam || 6-48-12

meaning: seethaa weeps and says to herself, `I was said since my 
colour is of the gem, the hair on body is soft, [10 fingers and the 
two feet making the twelve] the total twelve are fully covering the 
ground, as such have `supreme perefection' `uththama lakshaNam' for a 
woman. 

samagrayavam achchhidhram paaNi paadhm cha varNavath | 

mandhasmithEthyEva cha maam kanyaa lakshaNikaa vidhu: || 6-48-13

meaning: seethaa continues, `my palms and feet are having yava 
rekhaas completely, and are not separated, and are red in colour. 
[means having gaps or depth which is not good] Those, who, know the 
lakshaNa saasthra of ladies, have said `always I have a smile'. 
[whereas now I am weeping because my raama has gone - which is 
understood]

points: 1. So `what is the supreme lakshaNams of a women is 
completely in seethaa's knowledge - may be somebody said that in 
mithila or in ayOdhyaa - she learnt that - she remembers those 
points, even at a time of `an imaginary very great loss' - she seeing 
raama fallen on ground - whether raama alive or not on which she has 
a doubt. In spite of that situation and condition her knowledge 
shines about that `lakshaNa saasthram'. Then she says these people 
are liars. That is something great. That is what I want to highlight.

2. When raavaNan sees seethaa standing alone in that aasramam, the 
lust of raavaNan spearheads, and so he speaks about her beauty - as 
in sundhara kaaNdam where raavaNan comes to meet seethaa when 
hanumaan is just waiting to introduce himself to seethaa 

see both slOkams - both are by raavaNan to seethaa --

chaaru smithE chaaru dhathi chaaru nEthrE vilaasini |

manO harasi mE raamE nadhee koolam iva ambhasaa || 3-46-21

karaanthamitha madhyaa asi sukEsee samhatha sthanee |

meaning: raavaNan to seethaa, `Oh, allurer, your smile is alluring, 
teeth are alluring, and your eyes allure, oh, beauty, your waist is 
palmful, your hair velvety, your breasts are jostling, and you rob my 
soul as a spate robs the riverbank'. [3-46-21, 22a]

chaaru smithE chaaru dhathi chaaru nEthrE vilaasini || 5-20-29

manO harasi mE bheeru suparNa: pannagam yathaa |

meaning: raavaNan to seethaa, `O one with a beautiful smile! O one 
with beautiful teeth! O one with beautiful eyes! O charmful one! O 
timid one! You are stealing my heart like a serpent stolen by Garuda.

Point 3: On this `smile' `mandha smitha' says seethaa - but raavaNa 
says `chaaru smitha'. That is the difference - how each looks at it 
fro their own angle. But the smiling face is true - only the 
adjective varies. 

4. Further see in the above two slokams, there is a `repeat' in both 
slOkams, from beginning of slOkam upto that `manO harasi'- repeat of 
same words by vaalmeeki - in two different portions of the kaavyam - 
which is called `punarukthi dhOsham' in sanskrit grammar. Of course 
there are several such `repeats'. Though it is wrong grammatically, 
it is not treated as `dhOsham' in `raamaayaNam' and same is treated 
as `great kaavyam -composition'. In one place on raamaayaNam, it is 
also said the work is `un-paNinian' - perhaps many may know paNini is 
the first `grammarian' of `Sanskrit' lanuguage - and vaalmeeki's work 
transgresses these later day rules of grammar in many places, that is 
why it is said as un-paNinian. [for such minute details and comments, 
please see www.valmikiramayan.net <http://www.valmikiramayan.net> 
website]. 

Now let us continue on how raavNa talks to seethaa further -- 

na Eva dhEvee na gandharhvee na yakshee na cha kinnaree || 3-46-22

na Evam roopaa mayaa naaree dhrushTa poorvaa mahee thalE |

meaning: raavaNan says, `I have not hitherto seen any earthly female 
with this kind of features on the face of earth; not a goddess,  nor 
a gandharva female,  nor a yaksha female,  nor a kinnaraa female - 
no, none whosoever! [3-46-22]

That means seethaa is more than a goddess and et al. that is what is 
the reality and  we will see more on the beauty in next post.

Dhasan

Vasudevan m.g.







 
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