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Early History of the Vaishnava Faith and Movement in Bengal, from Sanskrit and Bengali Sources c10.s2: 2. The Sat-kriyā-sāra-dīpikā

Early History of the Vaiṣṇava Faith and Movement in Bengal, from Sanskrit and Bengali Sources c10.s2

Language
English

2. The Sat-kriyā-sāra-dīpikā

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It is extremely doubtful if the *Sat-kriyā-sāra-dīpikā*¹, ascribed to Gopāla Bhaṭṭa, can be regarded as a genuine work of our author². It is never mentioned as such, nor quoted, in the standard works of Bengal Vaiṣṇavism. Although manuscripts are available (which fact precludes the presumption of its being an entirely modern fabrication), it had been practically unknown before it was printed in modern times. The opening passages, no doubt, mention Gopāla Bhaṭṭa as the author, and pay homage to Caitanya, but there is no account of the author (such as we find in the *Hari-bhakti-vilāsa*); and neither its contents nor its general trend and style would support the attribution to our Gopāla Bhaṭṭa. It is a much smaller work, written mostly in prose, with occasional verse or verse-quotations and limited in its scope.

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¹ Published, in Bengali characters, in the Bengali Vaiṣṇava journal *Sajjana-toṣaṇī* vols. xv-xvii (Calcutta 1906) by Kedar Nath Datta, and reprinted by the Gauḍīya Mādhva Maṭha, Calcutta 1935 in Bengali characters.

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² See above, p. 138 footnote.

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to the Gṛhya rites. That it is a Bengal Vaiṣṇava work of the Caitanya Sampradāya is made probable by the opening passages, but it is by no means clear that it may not have been composed by one of the several Vaiṣṇava Gopāla Bhaṭṭas, apparently of the Bengal school, who are known to us¹. The fact that the work was forgotten shows that, if it were a work of our Gopāla Bhaṭṭa, it never acquired any reputation or popularity. At any rate, the attribution must be corroborated by independent evidence before it can be accepted. But, whatever and however late its authorship may have been, it possesses some importance as a work of the Bengal school, which was meant to supplement the much larger *Hari-bhakti-vilāsa* of Gopāla Bhaṭṭa by dealing with the demestic rites and ceremonies, the Gṛhya ritual, which is omitted therein. Although it commences with a preliminary theological discussion on the supremacy of Kṛṣṇa as the exclusive deity, on the superiority of Vaiṣṇava practices and on the inapplicability of Smārta rules to a true Vaiṣṇava, it draws very considerably, as the opening verses also acknowledge, upon previous Smārta writers, especially upon the Bengal Smṛti-Nibandhas of Bhaṭṭa Bhavadeva (whose order and arrangement of topics in the *Karmānuṣṭhāna-paddhati* it follows) and Aniruddha Bhaṭṭa. This fact is noteworthy as showing that Caitanyaism did not altogether break away from the orthodox Smārta tradition in its social and domestic usages. It would therefore, be interesting to note the peculiarly Vaiṣṇava features of the ceremonies as detailed in this work; and it would not be out of place to give a brief survey of the work here.

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¹ See above, pp. 144-45.

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After a salutation to Śrīkṛṣṇa, the author proposes to deal in this work, which is practically divided into two parts, with Vedic (Gṛhya) sacraments or purificatory ceremonies (Samskāras), with a view to preserving the religion of the Bhagavat (*bhagavad-dharma-rakṣārtham*) in its characteristic features.

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He refers to Aniruddha Bhaṭṭa, Bhīma Bhaṭṭa, Govindānanda, Nārāyaṇa Bhaṭṭa, Bhavadeva and the learned Drāviḍa Paṇḍits as authors of Vedic Paddhatis for the use of the Karmins; and he adds that he has drawn upon these Paddhatis, as well as upon the Veda, Purāṇa, Dharma-śāstra, Āgama, Yāmala and other sources. We are told that the author has taken sufficient care to avoid the worship of ancestors (Pitṛs) and inferior deities so that no offence with regard to the service and name of the Bhagavat (Sevā- and Nāma-Aparādha) could be committed by the Ekantin Kṛṣṇa-worshipping householders for whom the work is specially meant. He further adds, as a true Vaiṣṇava should do, that he records his name as the author of this work, not through egotism (Ahaṃkāra), but at the command of the pious men of his own order. No such apology or declaration of modesty, however, occurs in the Hari-bhakti-vilāsa.

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At the outset the author offers an explanation as to why the procedure of the different sacraments, described in the body of the work is often non-Smārta, why the Viṣṇu-mantras alone are chosen, why the worship of Viṣṇu only is encouraged in the rites, and why the worship of the Pitṛs (i.e. Śrāddha, etc.) is omitted. On the strength of the testimony of such works as the Nārāyaṇopaniṣad, he attempts to establish the supremacy of Kṛṣṇa over Brahmā, Śiva, Mahāviṣṇu (of Vaikuṇṭha) and Viṣṇu's different incarnations. He takes Kṛṣṇa, Nārāyaṇa and Viṣṇu as identical and shows, by quoting the Nārāyaṇopaniṣad, Mahābhārata, Bhāgavata and other works, that Nārāyaṇa not only comprises the whole universe but transcends it, and that all other gods are born of him at creation, live under his protection and enter into him during Mahāpralaya. Nārāyaṇa is, therefore, the only eternal lord deserving worship even from Brahmā and others. He is identified with Brahman, but he can be realised by those who are initiated into his worship by worthy preceptors (Sad guru). Thus, the initiated Yogins, desiring Sāyujya, attain Avyaya Viṣṇu; those desiring Sārūpya attain Parama Viṣṇu; those desiring Sālokya attain Pada Viṣṇu (i.e., Vaikuṇṭha); and those desiring Sāmnidhya attain Para Viṣṇu (i.e. the state of his Attendants).

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According to the author, the practice of the Bhagavad-dharma is much superior to the worship of inferior gods and ancestors and to the performance of all acts indispensable (Nitya), occasional (Naimittika) and optional (Kāmya), so much that the methods followed in the Bhagavad-dharma of performing the Vedic rites is much superior to those followed by the Karmins. Thus, in case of committing one or more of the sins (Pātakas), the exclusive devotees of Kṛṣṇa (or Viṣṇu) are bound, not by the Smārta rules of expiation, but by the Sātvata practice which requires that the sinner should be re-initiated, with five purificatory rites (Saṃskāras), to the Mantra of the Bhagavat by his preceptor, or the preceptor's wife, or his son, or any of his disciples who is a class-mate of the sinner; and thus purified, he should worship Viṣṇu and perform Vaiṣṇava festivities (Mahotsavas).

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On the strength of quotations made from various Purāṇas and Vaiṣṇava texts, the author shows that neither the Vedas nor the Dharma śāstras, Āgamas, Purāṇas, Smṛtis and local customs prescribe the worship of ancestors and inferior gods for the exclusive devotees of Kṛṣṇa, because of their liability to Sevā- and Nāma-Aparādhas. Though from very birth men have their duties to gods, ancestors, sages, men and animals, the pure and selfless devotees of Kṛṣṇa are not bound by these obligations, because service to Kṛṣṇa is superior to all other acts. Moreover, even by duly and meticulously performing their duties to gods and others, men cannot escape rebirths, but attain, for a certain definite period, the respective divine regions from which return is inevitable. Hence the devotees of Kṛṣṇa should serve their fathers when living, and after the latter's death, should offer only Mahāprasāda and Pādodaka to the deceased ancestors, as well as food and drink, procured easily, to all men, especially to the Vaiṣṇavas. This explains why it is not necessary for the Vaiṣṇava to observe the Smārta rites of Śrāddha, although the Hari-bhakti-vilāsa does not altogether prohibit regular offerings and libations to Yama and the Pitṛs, including Nāndī-śrāddha.

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By quoting the Bṛhad-viṣṇu-purāṇa, Śruti, Devī-purāṇa, Rudra-yāmala and other texts, the author shows that the Karmins, who lay special stress on ritualistic acts, are required, for the perfection of their rites, to worship individually on all occasions all the innumerable gods and ancestors and to honour separately one's own friends and relatives. This is a task which is practically impossible; and if any one of these gods, ancestors or relatives is left out or is not duly worshipped, the whole function becomes defective and fruitless. Hence, every one, whether an exclusive devotee of Kṛṣṇa or not, must worship only Hari (i.e. Kṛṣṇa), who is lord of all and who can liberate his devotees from rebirths and thus fulfil their desires. This supreme deity alone deserves absolute devotion, which requires that one must not worship, praise or censure any other god, even mentally, through ignorance or mistake, nor partake of the food offered to such gods or seek the company of their worshippers. Not to speak of the initiated Vaiṣṇavas, even those who are outside the pale of Vaiṣṇavism are said to be guilty of great offence (Mahāparādha) by worshipping gods other than Viṣṇu! The author further shows by a series of quotations that the worship of Nārāyaṇa (i.e. Kṛṣṇa) is equivalent to, and even greater than, the worship of all other gods in the universe and to the performance of all the acts prescribed by the Śāstras. By giving up all other activity prescribed by his caste, station or stage of life, a whole-hearted worshipper of Kṛṣṇa, therefore, does not incur sin thereby but attains liberation.

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In connection with the requirement that the devotees of Kṛṣṇa should invariably follow the Sat, the author brings out the different meaning of this word by quoting the Bhagavad-gita according to which it is employed, in his opinion, to mean (i) Sad-bhāva, (ii) Sādhu-bhāva, (iii) Praśasta Karman and (iv) invariable practice of all acts concerning Yajña, Tapas and Dāna. He further explains these different meanings, and shows that they refer either to Kṛṣṇa himself, his different forms and incarnations, his abode (Vṛndāvana), his devotees, and the preceptors who initiate people into his Mantra or into all literature dealing with the Bhagavad-dharma, to all acts and services meant for him or for his devotees, and to all feasts and festivals arranged in his honour. The author, therefore, concludes that all devotees of Kṛṣṇa must worship Kṛṣṇa alone on all occasions.

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In explaining a verse from the Skanda-purāṇa, which extols the devotees of Viṣṇu as the best of the best (Sarvottamottama) irrespective of their caste, the author enumerates eleven classes of Śūdras and twelve qualities of Brahmans, and maintains the comparative superiority of the consecutively higher castes! Of the different stages of life, he explains Saṃnyāsa as the renunciation of all acts, whether obligatory, occasional or optional (Nitya-naimittika-kāmya-karmādi-nyāsa).

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Thus explaining the special features of the Vaiṣṇava rites, the author next proceeds to deal with the methods of performing the different Saṃskāras which are, as found in his work, fourteen in number, namely, Vivāha, Garbhādhāna, Puṃsavana, Sīmantonnayana, Śoṣyantī-homa, Jātakarman, Niṣkrāmaṇa, Nāma-karaṇa, Pauṣṭika-karman, Anna-prāśana, Mūrdhābhighrāṇa, Cūḍā-karaṇa, Upanayana and Samāvartana.

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The performance of all the Sacraments should be preceded by an auspicious ceremony (Maṅgalācaraṇa), which requires the construction of a square altar of particular dimensions with a canopy on it. This is followed by salutation to the Bhagavat and uttering of his different names, citation of auspicious Vedic and Upaniṣadic Mantras glorifying Viṣṇu.

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Svasti-vācana with the citation of verses from the Upaniṣad, Tantra etc., and Maṅgala-vācana by citing verses from the Purāṇas, Gītā, Tantra etc.

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The details of the Vivāha or marriage ceremony, which occupy much larger space than those of other rites, consist mainly of Adhivāsa (preliminary ceremony of purification), Vāsudeva-pūjā (worship of Vāsudeva) and Vivāha-karman (actual marriage).

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In the Adhivāsa, which should be performed either at dusk on the previous day or in the morning on the day fixed for marriage, the twenty-six requisites (e.g. earth, scent, stone, paddy, vermilion, conch-shell, thread, etc.) should first be used, with the citation of relevant Vedic Mantras, to consecrate Viṣṇu; and then the bridegroom and the bride are to be touched with them separately and collectively. The use of the thread has the peculiarity that a Vaiṣṇava Brahman should tie a piece of it ninefold round the wrist of the bridegroom; and a Vaiṣṇava woman, whose husband is living, should do the same with respect to the bride. The bridegroom and the bride should be adored with the waving of four, five or seven lamps; no Nāndī-śrāddha should be performed, if Nāmāparādha is to be avoided; but for the satisfaction of the ancestors, Mahāprasāda should be offered to them, and the series of spiritual preceptors (Pūrva-gurus) should be worshipped; gifts should be made; and Cedi rāja, a great devotee of the Bhagavat, should be worshipped after drawing with Ghee five or seven lines (Vasu-dhārā) on the wall.

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On the day of marriage, the duly initiated bridegroom—to whatever caste (Varṇa) he may belong—should bathe in the morning, perform his daily duties, and worship Viṣṇu in a Śālagrāma stone with relevant Vedic or Tāntric Mantras. He should carefully avoid the worship of the five Smārta deities (Pañcopāsanā, namely, Gaṇeśa, Śiva, Durgā, Sūrya and Viṣṇu), the nine planets, the Lokapālas and the sixteen Mātṛkās; but he should, in their stead, worship the five Mahābhāgavatas (namely Viṣvaksena, Sanaka and others).

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the nine Yogīndras (namely, Kavi, Havi, Antarikṣa etc.), the best Bhāgavatas (namely, Brahmā, Śukadeva, Sadāśiva, Garuḍa, Nārada and others) and the Vaiṣṇavis (namely, Paurṇamāsī, Lakṣmī, Antaraṅgā, Gaṅgā and others). If he is a worshipper of Rādhā and Kṛṣṇa or of any of the incarnations of Viṣṇu, the attendant deities should be chosen for worship accordingly.

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The actual marriage-rite consists of Jñāti-karman, Sampradāna, Kuṣaṇḍikā, Pāṇi-grahaṇa, Uttara-vivāha, Bhojanādi-Dhṛtihoma, Caturthi-homa and Udīcya karman.

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In the Jñāti-karman, the bride's kinswomen should bathe her first with relevant Mantras and with water containing a leaf on which the name of the groom is written. Next comes the Sampradāna (ceremony of giving away of the bride) in which the presence of a cow is necessary : the giver (Sampradātṛ) of the bride is to honour the bridegroom with Pādya, Arghya, etc., offered with the citation of relevant Mantras ; the groom is to place the right palm of the bride on that of his own ; a lucky woman, whose husband and sons are living, should tie their palms with a cord of Kuśa grass ; and the giver should give away the bride and offer a fee (Dakṣiṇā) with the citation of Mantras containing the names of Rādhā and Kṛṣṇa. After duly accepting the bride and the fee, the bridegroom should repeat the Vaiṣṇavi Gāyatrī and think of Rādhā and Kṛṣṇa, or of his own deity (Iṣṭadeva), or of the different forms of Viṣṇu. The dowry should then be handed over to the bridegroom ; the ends of the garments of the bride and the bridegroom should be tied (Granthi-bandhana) ; the cow should be let loose by a barber ; the giver should cite Mantras for the perfection of the ceremony, and bow down to Viṣṇu, the Guru (preceptor) and others for their favour.

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The Sampradāna is to be followed by the ritual of Kuṣaṇḍikā (consecration of the sacred fire), which should be performed by the bridegroom in the nuptial fire, specially named Yojaka (one who yokes or joins together). The main operations in the ceremony are the following: (i) Drawing of five lines of five colours (yellow, red, black, golden and white) on a specially constructed altar and identifying them mentally with the Vaiṣṇavīs, namely, Earth, Cow, Kālindī, Śrī and Sarasvatī; (ii) Removal of rubbish (Utkara-nirasana); (iii) Sprinkling the lines with water (Rekhābhyukṣaṇa); (iv) Preparation of the fire (Agni-saṃskāra); (v) Placing of the fire (Agni-sthāpana) on the black line and invoking it as the Yojaka fire with relevant Mantras; (vi) Seating a Vaiṣṇava Brahman or a Brahman made of Kuśa on a seat of Kuśa grass and worshipping him as Brahmā (Brahma-sthāpana); (vii) Muttering of the Mantra Om parameṣṭhī viṣṇuḥ etc. after placing the palms of the hand on the ground (Bhūmi-japa); (viii) Propitiating the fire for its favour (Agni sammukhī-karaṇa); (ix) Purification of straw etc. (Tṛṇādi-śodhana); (x) Drawing of the Svastika sign on the Kuśa grass spread threefold (Svastika-nivedana); (xi) Performance of Homa with twenty pieces of Khadira, or Palāśa or Udumbara wood (Viṃśati-kāṣṭhikā-homa); (xii) Purification of Ghee for Homa (Ājya-saṃskāra); (xiii) Purification of the laddle (Sruva-saṃskāra); (xiv) Pouring of water round the fire (Udakāñjali-seka); (xv) Muttering, with the left palm of the hand placed on the right, of the Mantra Om prajāpatiḥ etc. containing a prayer to Virūpākṣa, a devotee of the Bhagavat (Virūpākṣa-japa).

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The Kuṣaṇḍikā is to be followed by Pāṇi-grahaṇa (the ceremony of hand-taking) in which two of the bridegroom's friends, one with a pitcher full of water and the other with a stick (Parcanikā), should stand prepared for bathing the bride and the bridegroom. After performing Mahāvyāhṛti-homa and Ājya-homa, the bridegroom should take the bride by her joined palms and make her step on a flat slab of stone furnished with another smaller piece (Saputrā Śilā). The bride should then offer to fire oblations of parched grain mixed with Ghee, and be taken round the fire by the bridegroom, who should then make oblations with Ghee and parched grain placed on a winnowing basket (Sūrpa). The bridegroom should go seven steps with the bride (Sāptapadīnā), each time placing their steps in a circle drawn beforehand; and, with the palms of the bride in those of his own he should cite Vedic Mantras. The bride should then take her seat on the left of the bridegroom, and the latter should perform their first Gṛhya Homa.

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Next comes Uttara-vivāha, which is always to be perfomed at nightfall. It consists of the performance of Homa by the bridegroom, his pointing out the Dhruva (Pole Star) and Arundhatī to the bride, the bride's salutation to the bridegroom by mentioning her father's Gotra, and so on.

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In the Bhojanādi-Dhṛtihoma the bridegroom should take Mahāprasāda, give the remnants to the bride, take her home on the following day, perform Homa in the fire which is called Dhṛti, and make the bride salute the elderly relatives.

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In the Caturthī-homa, which is to be performed on the fourth day of marriage, the Homa is to be performed in fire, named Śikhin, and the newly married couple is to be bathed on the north of the fire by women who have sons and husbands.

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The Udicya-karman consists of the performance of a few Homas, namely, Mahāvyāhṛti-homa, Prāyaścitta-homa, Vaiṣṇava-homa (the Vaiṣṇavas being Viṣvaksena and four others, the nine Yogīndras, Nārada and nine others, Svayambhuva and others, Śrīkṛṣṇa-caitanya,¹ Paurṇamāsī and the other beloved Gopīs of Kṛṣṇa, and so forth), Darbha-juṭikā-homa and Pūrṇa-homa. All these Homas are to be performed in the fire named Vidhu, and they are to be followed by Śānti-dāna, offer of Dakṣiṇā, recital of Mantras for the removal of impediments and perfection of the rite, Saṃkīrtana of Kṛṣṇa's name and other ceremonies.

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¹ In no ritual mentioned in the *Hari-bhakti-vilāsa*, the name of Caitanya occurs!

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In Garbhādhāna (ceremony of impregnation), which comes after marriage, the husband should perform his daily duties after taking a bath in the morning, worship Viṣṇu (or Nārāyaṇa) and the Vaiṣṇavas both in the morning and after dusk; and in proper time he should approach his wife after putting on fine clothes and using flowers and perfumes.

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The Puṃsavana (ceremony for obtaining a male child) is generally performed on an auspicious day at the beginning of the third month of gestation and before the period of quickening. In it the husband and the wife are to bathe in the morning, and the former is to worship Viṣṇu and the series of preceptors (the worship of the preceptors being called Sāttvika-vṛddhi-śrāddha), perform Kuṣaṇḍikā in a fire named Candra, perform Mahāvyahṛti-homa, Sātyāyana-homa etc. with his wife on his right side, and offer fee (Dakṣiṇā) to the Pañcarātra priest.

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Though most of the remaining sacraments have many rites in common with Puṃsavana (namely, morning bath, worship of Viṣṇu, performance of Sāttvika-vṛddhi-śrāddha, Vyāhṛti homa, Sātyāyana-homa etc., ending with offer of Dakṣiṇā to the Pañcarātra priest), there are some special characteristics which deserve notice. These may be given below.

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The Simantonnayana (ceremony of the parting of the bride's hair) is to be performed on the fourth, sixth or eighth month of first pregnancy; and it must be preceded by Garbhādhāna and Puṃsavana ceremonies if these two have not been performed in proper time. In it the fire, named Maṅgala, is to be used, and the husband is to tie to the neck of the wife two figs having a common stalk, the footprints of Vāsudeva, barley-grains made of gold or any other metal according to the prevailing custom, and Nimba, mustard etc. for protection. He should also perform Simantonnayana (parting of hair) of the wife with two blades of Kuśa grass (Darbha-pijñali), an arrow (Bāṇa), a spindle (Tarku) or the quill of a porcupine (Śalali). Towards the end of the rite, women, who have husbands and sons, should bathe the bridegroom and the bride, and the latter should eat a dish of spiced rice and peas (Kṛsara).

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In the Soṣyanti-homa, which is meant for easy delivery, the fire used is named Maṅgala; and in performing Homa, the coming child is to be given a name signifying that he is a servant of Viṣṇu (Viṣṇu-dāsa).

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In the Jāta-karman (birth-ceremony), which does not require the performance of Sāttvika-vṛddhi-śrāddha, Kuṣaṇḍikā and Homas, the father of the child is to salute and eulogise the preceptors (Śrī-gurūn) before worshipping Viṣṇu. Next, he should besmear the tongue of the child, first with the powder of rice and barley prepared by a Brahmacārin, a virgin girl, a pregnant woman or a Pāñcarātra Vaiṣṇava versed in the Vedas, and then with Ghee mixed with gold. He should then purify himself by a bath.

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The Niṣkrāmaṇa (ceremony of taking the child for the first time out of the house) should be performed on the third lunar day of the third bright fortnight after the birth of the child. It has this peculiarity that the parents should take the child to the temple of the Bhagavat and show it the image of the deity.

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The Nāma-karaṇa (ceremony of naming a child after birth) should be performed, according to custom (Ācāra) on the 12th or 101st day or on the first anniversary of birth, though the Gṛhya rules require otherwise. In it the fire used is named Pārthiva and the child's name is to end in the word 'dāsa' (servant).

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The Pauṣṭika-karman (ceremony for growth or welfare) is to be performed on the Janma-tithi or Pūrṇimā-tithi of every month during the first year of the birth of the child, and it requires a fire named Balada for the performance of Homas.

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In the Anna-prāśana (ceremony of putting rice for the first time into the child's mouth), which should be perfomed on the sixth or eighth month in the case of a son and on the fifth or seventh month in the case of a daughter, the Homas should be performed in a fire named Suci, and the child should be fed five times with the food dedicated to the deity (Mahā-prasādānna).

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The Putra-mūrdhābhighrāṇa (ceremony of bringing the nose close to the son's head in caressing or as a token of affection) should be performed at a time when the child is capable of knowing the father as its father, or when the father returns after long absence from home. It may also be performed after Upanayana.

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The Cūḍā-karaṇa (ceremony of tonsure) is to be performed in the first, third or fifth year according to the custom of the family. The fire required in it is named Satya. It includes the ceremonies of fetching a barber, looking at a glass, tonsuring with a razor, placing the hair on cow-dung and throwing the whole in a forest or fastening it to the branch of a bamboo, and lastly, the ceremony of piercing the ear to receive ear-rings (Karṇa-vedhana).

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The ceremony of Upanayana (initiation of the boy into study, as one of the twice-born classes, by investiture with the sacred thread), which is to be performed on the 8th year from the day of impregnation or birth of the child, has been described by the author at length; but it has very few noteworthy peculiarities. In it, the fire required is named Samudbhava, and the father or any other person appointed by him or by the boy may serve as the preceptor (Ācārya).

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Besides Viṣṇu-worship and the performance of Sāttvika-vṛddhi-śrāddha and Homa in a fire named Tejas, the Samāvartana (ceremony performed on the completion of study, when the student returns home from his teacher's house) includes the following operations: (i) pouring by the student of water on the ground from the palm of his hands; (ii) sprinkling himself with water taken in his palms; (iii) looking at the image of Nārāyaṇa; (iv) throwing of the staff into the fire; (v) throwing away of the girdle; (vi) putting on new clothes and ornaments after shaving and bathing; (vii) wearing shoes and holding a long staff; and (viii) starting home on a cart after satisfying the teacher with fees.

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It is noteworthy that some of the sacraments are called Sāmavediya, and in almost all of them the Tāntric, as well as Vedic, Mantras have been used profusely.

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