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<font size="4">Rishi Dirghatama</font></b></p>
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<FONT SIZE=3>MANY of the Upanishadic rishis are familiar to you.
Vedic rishis are perhaps not so.</FONT></P>
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<FONT SIZE=3>Today I will speak of one of the Vedic rishis. Some
names of great Vedic rishis must have reached your ears-Vashishtha,
Vishwamitra, Atri, Parasara, Kanwa (I do not know if it is the same
Kanwa of whom Kalidasa speaks in his <I>Shakuntala), </I>Madhuchchanda.
All of them are seers of mantra, hearers of mantra, creators of
mantra; all of them occupy a large place in the Veda. Each one of
them has his speciality, each one delivers a mantra that is in its
tone, temper and style his own although the subject matter, the
substance, the fundamental realisation is everywhere the same. For
example, Vashishtha is characterised by a happy clarity, Vishwamitra
has force and energy, Kutsa is sweetness, Dirghatama is well known
for his oblique utterances, his paradoxical apopthegms.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<FONT SIZE=3>Today precisely it is of Dirghatama that we will speak.
Dirghatama does not mean as the word would indicate to the layman,
one who is very <I>tall – <FONT FACE="Luxi Serif">śÄ</FONT>lapr<FONT FACE="Luxi Serif">Ämś</FONT>urmah<FONT FACE="Luxi Serif">Ä</FONT>bhujah
 </I>in Kalidasa's phrase. <I>Tama </I>is not the superlative suffix
<I>(most), </I>it is <I>tamas, </I>darkness. So, from the name itself
one may naturally expect that the person was not of an ordinary
category. Indeed the amount of stories and legends that have been
woven around the name is fantastic-queer, odd, unbelievable,
impossible in every way. I need not open that chapter.</FONT></P>
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<FONT SIZE=3>I shall speak only of what seems to me probable and
believable and likely and it must be this that he passed a long time</FONT></P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> Sri Aurobindo
says: &quot;In the deep and mystic style of the Dirghatamas Auchathya
as in the melodious lucidity of Medhatithi Kanwa, in the puissant and
energetic hymns of Vishwamitra as in Vashishtha's even harmonies we
have the same firm foundation of knowledge and the same scrupulous
adherence to the sacred conventions of the Initiates.&quot;</FONT><BR>
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<FONT SIZE=2>Page – 162</FONT><BR>
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<FONT SIZE=3>in darkness, engulfed in obscurity. The legend says that
he was in his mother's womb long past the due time and it seems it
was <I>of </I>his own will. His mother's name was Mamata and his
father was <I>U</I>chathya. When he came out <I>of </I>the darkness
and saw the light, it was a light strangely glimmering with all the
vibrations <I>of </I>the long obscurity to which he had been
accustomed. It was indeed the Light beyond the confines <I>of </I>all
darkness, nescience, and yet carrying a mystic imprint <I>of </I>the
mysteries <I>of </I>darkness. So he started his quest with this
questioning:</FONT></P>
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<FONT SIZE=3>I am an innocent babe, my ignorant mind knows nothing,
who will tell me <I>of </I>the secret seats <I>of </I>the Godheads?<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<FONT SIZE=3>Indeed the darkness and the blindness seem to have been
the Divine's grace upon him, for his eyes turned inward to other
domains and saw strange truths and stranger facts. We remember in
this connection another blind old poet who even though fallen on such
evil days composed the world famous epic poem (I am referring
obviously to Milton and his <I>Paradise Lost). </I>We remember also
here the deaf incomparable master of music Beethoven. Many <I>of </I>the
sayings <I>of </I>Dirghatama have become so current that they are now
familiar even to the common man. They are mottoes and proverbs we all
quote at all times. &quot;Truth is one, the wise call it in different
ways&quot; – the mantra is from Dirghatama. &quot;Heaven is my
father, Earth my mother&quot;  – this is also from Dirghatama. The
famous figure <I>of </I>two birds with beautiful wing5 dwelling on
the same tree comes also from Dirghatama. There are a good many
sayings <I>of </I>this kind that have become intimate companions to
our lips of which the source we do not know. When we read the mantras
of Dirghatama we are likely to exclaim even as the villager did when
he first saw <I>Hamlet </I>played in London, &quot;It is full of
quotations.&quot;</FONT></P>
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<FONT SIZE=3>You must have already noticed that the utterance of
Dirghatama carries a peculiar turn, even perhaps a twist. In fact his
mantras are an enigma, a riddle to which it is sometimes difficult to
find the fitting key. <I>For </I>example when he says, &quot;What is
above is moving downward and what is down is </FONT>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> Rig <I>Veda, </I>1.
164.5.</FONT><BR>
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<FONT SIZE=2>Page – 163</FONT><BR>
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<FONT SIZE=3>moving upward; yes, they who are below are indeed up
above, and they who are up are here below,&quot; or again, &quot;He
who knows the father below by what is above, and he who knows the
father who is above by what is below is called the poet (the seer
creator)&quot;, we are, to say the least, not a little puzzled.</FONT></P>
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<FONT SIZE=3>The old delightful rishi – to use the epithets he
gives to his Agni – and blind into the bargain, continues, the
substance and manner in the same way paradoxical and enigmatic,
perhaps deliberately tantalising and confusing:</FONT></P>
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<FONT SIZE=3>Those who are called feminine are masculine, yes, only
they who have eyes can see, the blind do not know.</FONT></P>
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<FONT SIZE=3>The son is the seer-poet, he knows and he alone knows
these things who is the father of the father.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<FONT SIZE=3>Then again look at this picture almost surrealistic in
its boldness:</FONT></P>
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<FONT SIZE=3>The cow gazing upward holds with her front legs the hind
legs of her calf and the calf with its front legs holds the hind legs
of its mother.<FONT FACE="Luxi Serif">&sup2;</FONT></FONT></P>
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<FONT SIZE=3>Needless to say these are signs and symbols and figures
of a language seeking to express truths and realities of an invisible
world, spiritual and occult. We are reminded of the &quot;twilight&quot;
language of the poet-saints <I>(Siddhacharyas) </I>of Bengal of much
later days.</FONT></P>
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<FONT SIZE=3>There is no end to the problems that face Dirghatama
with his almost tormented mind. Listen once more to this riddle:</FONT></P>
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<FONT SIZE=3>Even he who has created this does not know it.</FONT></P>
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<FONT SIZE=3>Even to him who has seen it, it remains veiled. One who
is shrouded in his mother's womb with his many progenies has entered
into untruth.<FONT FACE="Luxi Serif">&sup3;</FONT></FONT></P>
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<FONT SIZE=3>Here are some more of his aspirations, the questions
that trouble him, the riddles whose solution he needs most. He calls
upon the world and asks:</FONT><BR>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1; R</FONT><I>ig Veda, </I>1.
164.16.</FONT></P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup2;</FONT> <I>Ibid., I.
</I>164.17.</FONT></P>
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<FONT SIZE=2><I><FONT FACE="Luxi Serif">&sup3;</FONT> Ibid., </I>1.
164.32.</FONT><BR>
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<FONT SIZE=2>Page – 164</FONT><BR>
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<FONT SIZE=3>Tell me where is the end <I>of </I>this earth? Tell me
where is the nodus <I>of </I>this universe? Tell me what is the
meaning <SPAN STYLE="font-style: normal">of </SPAN>the
energy-flow from the energetic steed?</FONT></P>
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<FONT SIZE=3>Tell me again what is the word that is in the highest
spaces?<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<FONT SIZE=3>To these abstruse questions he himself gives, I am
afraid, abstruse answers:</FONT></P>
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<FONT SIZE=3>This sacrificial altar is the extreme end <I>of </I>the
earth, this sacrifice is the nodus <I>of </I>the universe, and this
nectar <I>of </I>immortality (Soma) is the energy-flow <I>of </I>the
steed and this Brahman is the Word in the supreme heaven.<FONT FACE="Luxi Serif">&sup2;</FONT></FONT></P>
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<FONT SIZE=3>As are the questions so are the answers, equally
enigmatic and obscure.</FONT></P>
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<FONT SIZE=3>About the Word, the mystery which Dirghatama unveils is
an extraordinary revelation – so curious, so illuminating. In later
times many lines <I>of </I>spiritual discipline have adopted his
scheme and spread it far and wide. Dirghatama himself was an uncommon
wizard <I>of </I>words. The truths he saw and clothed in mantras have
attained, as I have already said, general celebrity. He says: &quot;The
Word is <I>of </I>four categories. It has four stations or levels or
gradations.&quot; The Rishi continues: &quot;Three <I>of </I>them are
unmanifested, unbodied; only the fourth one is manifest and bodied,
on the tongue <I>of </I>man.&quot; This terminology embodying a
fundamental principle has had many commentaries and explanations. <I>Of
</I>these the most well-known is that given by the Tantras. They have
named the fourfold words as (1) par<FONT FACE="Luxi Serif">Ä</FONT>,
supreme; (2) <I>pa<FONT FACE="Luxi Serif">ś</FONT>yant<FONT FACE="Luxi Serif">ī</FONT>,
</I>the seeing one; (3) <I>madhyam<FONT FACE="Luxi Serif">Ä</FONT>,
</I>the middle one or the one within and (4) <I>vaikhar<FONT FACE="Luxi Serif">ī</FONT>,
</I>the articulate word. In modern language we may say that the first
one is the self-vibration <I>of </I>the Supreme Being or
Consciousness; the second is the vibration <I>of </I>the higher-mind
or the pure intelligence; the third is the vibration <SPAN STYLE="font-style: normal">of</SPAN><I>
</I>the inner heart; and the fourth the vibration <I>of </I>physical
sound, <I>of </I>voice. In philosophical terms <I>of </I>current
English we may name these as (1) revelatory, (2) intuitive, (3)
inspirational and (4) vocal.</FONT></P>
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<FONT SIZE=3>Now in conclusion I will just speak <I>of </I>the
fundamental</FONT></P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> Rig <I>Veda, </I>1.
164.34.</FONT></P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup2;</FONT> <I>Ibid., </I>1.
164.35.</FONT><BR>
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<FONT SIZE=2>Page – 165</FONT><BR>
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<FONT SIZE=3>vision of the rishi. His entire realisation, the whole
Veda of his life, he has, it appears, pressed into one single <I>rk.
</I>We have heard it said that the entire range of all scriptures is
epitomised in the Gita and the Gita' itself is epitomised in one
sloka – <I>sarvadharm<FONT FACE="Luxi Serif">Ä</FONT>n parityajya
... </I>Even so we may say that Rishi Dirghatama has summarised his
experience, at least the fundamental basic one, and put it into a
<I>sulfa. </I>It is the famous <I>rk </I>with which he opens his long
hymn to Surya:</FONT></P>
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<FONT SIZE=3>Lo, this delightful ancient Priest and Summoner; he has
a second brother who is the devourer. There is a third brother with a
dazzling luminous facet – there I saw the Master of the worlds
along with his seven sons.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<FONT SIZE=3>This is again a sphinx puzzle indeed. But what is the
meaning? The universe, the creation has its fundamental truth in a
Trinity: Agni (the Fire-god) upon earth, Vayu (the Wind-god) in the
middle regions and in heaven the Sun. In other words, breaking up the
symbolism we may say that the creation is a triple reality, three
principles constitute its nature. Matter, Life and Consciousness or
status, motion and Light. This triplicity however does not exhaust
the whole of the mystery. For the ultimate mystery is imbedded within
the heart of the third brother, for our rishis saw there the
Universal Divine Being and his seven sons. In our familiar language
we may say it is the Supreme Being, God himself (Purushottama) and
his seven lines of self-manifestation. We have often heard of the
seven worlds or levels of being and consciousness, the seven chords
of the Divine Music. In more familiar terms we say that body and life
and mind form the lower half of the cosmic reality and its upper half
consists of Sat-Chit-Ananda (or Satya- Tap as-Jana). And the link,
the nodus that joins the two spheres is the fourth principle (Turya),
the Supermind, Vijnana. Such is the vision of Rishi Dirghatama, its
fundamental truth in a nutshell. To know this mystery is the whole
knowledge and knowing this, one need know nothing else.</FONT></P>
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<FONT SIZE=3>A word is perhaps necessary to complete the sense of the
commentary. Agni has been called old and ancient  (<I>Palita</I>),
but why? Agni is the first among the gods. He has come down</FONT></P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> <I>Rig Veda, I.
</I>164.1.</FONT><BR>
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<FONT SIZE=2>Page – 166</FONT><BR>
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<FONT SIZE=3>upon earth, entered into matter with the very creation
of the material existence. He is the secret energy hidden in the atom
which is attracting, invoking all the other gods to manifest
themselves. It is he who drives the material consciousness in its
evolutionary re-course upward towards the radiant fullness in the
solar Supra-Consciousness at the summit. He is however not only
energy, he is also delight <I>(v<FONT FACE="Luxi Serif">Ä</FONT>ma).
</I>For he is the Soma, the nectarous flow, occult in the Earth's
body. For Earth is the storehouse of the sap of Life, the source of
the delightful growths of Life here below.</FONT><BR>
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<FONT SIZE=2>Page – 167</FONT></P>
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