“Those fourteen thousand Rakshasas of frightening deeds were eliminated by that one man, a foot-soldier, who was Rama.” (Valmiki Ramayana, Aranya Kand, 26.35)
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चतुर्दश सहस्राणि रक्षसां भीमकर्मणाम्
हतान्येकेन रामेण मानुषेण पदातिना
caturdaśa sahasrāṇi rakṣasāṃ bhīmakarmaṇām
hatānyekena rāmeṇa mānuṣeṇa padātinā
If we are new to the timeless culture of bhakti-yoga, which is a more refined way to describe sanatana-dharma, we might be puzzled as to certain practices, policies, procedures, and preferences. Since we are new to the game, our tendency is to think in terms of sadhana, which is attention to regulations.
One example of sadhana known particularly to followers of bhakti within the Vaishnava lineage is the chanting of the holy names: Hare Krishna Hare Krishna, Krishna Krishna, Hare Hare, Hare Rama Hare Rama, Rama Rama, Hare Hare. The routine is to chant this mantra for a set number of rounds each day assisted by beads arranged together on a string. Aside from its use in sadhana, the japa-mala is also symbolic of the principle about truths described by Shri Krishna in Bhagavad-gita.
मत्तः परतरं नान्यत्
किञ्चिद् अस्ति धनञ्जय
मयि सर्वम् इदं प्रोतं
सूत्रे मणि-गणा इवmattaḥ parataraṁ nānyat
kiñcid asti dhanañjaya
mayi sarvam idaṁ protaṁ
sūtre maṇi-gaṇā iva“O conquerer of wealth [Arjuna], there is no Truth superior to Me. Everything rests upon Me, as pearls are strung on a thread.” (Lord Krishna, Bhagavad-gita, 7.7)
Other examples of sadhana include waking up at a certain time each day, cleansing the body at regular intervals, giving attendance to discourses about the science of self-realization in formal settings, and travelling to holy places, tirthas. Sadhana can also include the negative, or what is known as nivritti. This is renunciation or restriction. Likely the most well-known nivritti in bhakti-yoga is the attention on avoiding four particular practices: meat-eating, gambling, intoxication, and illicit sex.
It is within this context of sadhana that we are one day on the receiving end of questions that we find strange. The current implementation is akin to following something out of habit, for so long a period of time, that we essentially forgot the initial justification. The practice is so ingrained in our way of living that we fail to consider it noticeable, noteworthy, or out of the ordinary.
There is this particular shloka from the Ramayana that we tend to focus on. We have been reading it daily. We sometimes think of reciting it. When we heard the Sanskrit for the first time, the arrangement of the terms really stood out to us. We saw the glaring contrast, which was intentionally inserted, for the purpose of ever-expanding appreciation.
This other person asks us why we are focusing on this verse. They ask if it is part of our sadhana. Did some spiritual guide recommend it to us? Are we following out of a desire to remove impurities? Is there some end state to which we hope to attain? Is it a tradition within the family to worship through this collection of words? What exactly is the benefit we are looking to extract?
Never previously considering the side of sadhana, after pondering the questions for a moment, we offer the following in response, in the same friendly manner that the inquiries were made.
1. I like to remember Rama
“The shloka describes a particular scene. It is one man standing tall. He was not alone in that place, but He specifically insisted on taking this battle on by Himself. This was not like Him, since previous efforts were a tandem affair, with the younger brother Lakshmana assisting.
“This time, Rama instructed Lakshmana to take Sita Devi to a nearby cave. Make sure that Rama’s wife was protected. Rama could handle everything else by Himself. For this particular setting, I prefer to focus on Rama’s hand, which is holding His illustrious bow.”
2. I have a difficult time relating to the attempt
“I like to remember this shloka because I am always puzzled as to the attempt. Why would the Rakshasas attack with such might? Why did they require fourteen-thousand to go against one? How could they justify the action? Did they not have pride in their own abilities? It is like they were cheating the whole time. They knew that they were taking advantage of the situation, of their placement into the man-eating species.”
3. I am grateful to Vishnu
“I like to recall this verse because it reminds me of the kindness of Vishnu. The one man was Vishnu Himself. The Supreme Personality of Godhead descended to earth for this very reason. He was a single man, as Rama. He was not a celestial. He was not a being of enhanced abilities. But Vishnu as a man is always fully potent. This battle with the Rakshasas offers but a small glimpse into His powers.”
4. I am appreciating the author
“I like to read this shloka because the author is kind enough to describe an important event from history and share that description with the rest of the world. He shares it with future generations, as today we are thousands of years removed from the incident. I appreciate so much how the words were put together. The concepts in Sanskrit of eka against chaturdasha-sahasrani. The manusha against bhima-karma. A regular person, the son of a king, against those of frightening deeds. That is how we get important points across, through contrast. What a wonderful contrast in that accurate description of the important event from Rama-lila.”
5. It makes me happy
“If remembering this verse were to violate sadhana, I would not change my practice. If everyone in the world told me to stop, to forget about Rama holding the bow, to never again ponder the dutiful younger brother and how he must have been hankering for entering the conflict to help Rama, I would not listen. Remembering that scene makes me happy, and I refuse to toss aside gold after I have found it in the form of transcendental sound.”
In Closing:
Glittering gold I have found,
In form of transcendental sound.
Valmiki describing the scene,
Man against wicked and mean.
Rama only with bow commanding,
And tall in that battle standing.
Even if sadhana practice against,
Never this habit to dispense.
Categories: fourteen thousand, the five
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