41. CONCLUSION OF
THE MISSION

AMONG the final acts before Bhagavan's departure the
first one was the Kumbhabhishekam (consecration) of
Matrubhuteswar shrine. Commenced in 1939, the shrine
was very small with just the samadhi and a linga thereon
covered by a thatched roof. This was not satisfactory to
many and devotees wished to build a marble shrine in its
place. But money, people's cooperation and above all God's
will are essential for anything.

      Temples always played an important part in
Bhagavan's life. Undoubtedly, the temples at Tiruchuzhi.
Madurai and Arunachala were centres of his spiritual
growth. It was natural for Bhagavan to feel that that Sakti
which brought him to the spot where the Ashram came up
should continue to shower blessings on devotees from
there. But in the matter of raising money he was very
strict and forbade anyone from seeking funds using his
name, "I never asked money for myself. Just as the other
buildings have been built, let this also come up" he
emphasized. All that the disciples wanted was Bhagavan's
approval for the proposal. Diverse were the reactions. The
sarvadhikari, Niranjanananda Swami, was enthusiastic and
happy about a temple for the mother. While some devotees
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felt that the temple being built in a graveyard would be
very powerful and welcomed the proposal as an act of
piety towards one who gave birth to Bhagavan, there were
a few who questioned the need and propriety of a temple
in "modern times." Anyway, cooperation of several people
was forthcoming in an abundant measure; money and
material poured in.

      The images worshipped at the temple are those of
Matrubhuteswara (i.e. Easwara who came as Mother)
Yogamba, Sri Chakra engraved on a stone at the bottom
of which is fixed another Sri Chakra made of gold.

      The entire construction took place according to the
agama sastras under the supervision of a sculptor who was
brought from the South. A separate hall to seat Bhagavan
was also constructed just in front of the temple. This was
because the old hall where Bhagavan sat was getting
overcrowded with visitors. In 1946, the Golden Jubilee
of Bhagavan's advent at Tiruvannamalai was celebrated
grandly. To accommodate the visitors a `Jubilee Hall' with
a thatched roof was erected. Even after the celebrations
were over, Bhagavan continued to sit there and grant
darshan but it was uncomfortable both in the rainy season
and hot summer. Niranjanananda Swami felt that a suitable
large hall had to be constructed for Bhagavan's use. The
place chosen for that was just in front of the temple for
Mother. The foundation for the hall was laid on 25 January
1945 and the work commenced on 16 May 1946. It was
completed along with the temple. A huge granite `throne'
was also sculpted for Bhagavan to sit.

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      By February 1949, all the jobs were almost completed
and the consecration was fixed for 17 March 1949. In
that context the lingam ^[?] etc. which were at another spot
were brought and placed at the new place and abhishekam
of the temple crest was performed according to the
procedures prescribed in the sastras. All the rituals were
carried out over a period of three days. The Puri
Sankaracharya also participated in the function. Though
a separate elevated seat was offered to him befitting his
status he declined it and sat on the floor over a deer skin
near Bhagavan. During his conversation with Bhagavan
he asked for a clarification of a particular scriptural saying.
After Bhagavan gave the reply, the Sankaracharya repeated
that he could still not grasp the point. Thereupon Bhagavan
looked at him bestowing his grace for about half an hour.
The Sankaracharya shut his eyes and with tears flowing
down he bent before Bhagavan and said that he had
understood the subject. As the Sri Chakra was to be laid
in the shrine and as he was an adept at it, the Sankaracharya
himself volunteered to attend to the job.

      Bhagavan sat close by and blessed the proceedings.

      He was later asked to open the new hall. As he did not
have enough energy even to open the lock, the sculptor
assisted him in doing it. Bhagavan later entered the shrine
and blessed the Sri Chakra by touching it. After that, he
walked down to the stone `throne' on which cushions
were laid and granted darshan to the visitors. On the
second day a number of devotees spoke and music
concerts were held. The Kumbhabhishekam took place
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on the 17th morning. All through the time there was
great enthusiasm and rejoicing.

      Those who observed Bhagavan during those days felt
that he was bestowing his auspicious and supernatural powers
on the Sri Chakra and others. His physical strength was at a
low ebb but the work he embarked on was very arduous. It
looked as if he was transferring all his powers to them.

      It may not be inappropriate to elaborate about the
presiding deity here viz., the Meru Sri Chakra, which is
about two feet square with adequate height. Sri Bhagavan
spent the night at the spot when it was fixed. He sat there
bearing the heat of the furnaces used to melt the metals so
that they could be properly fixed. Bhagavan himself placed
the gold Sri Chakra beneath the Meru.

      After the Kumbhabhishekam daily pooja was being
carried out at the shrine. But as no special poojas were
being performed at the Meru Chakra it was felt expedient
to do this also. This commenced in 1953. Special poojas
are performed on six occasions every month such as each
Friday and full moon day ? They are quite an elaborate
affair spread out over some hours.

      All the plans for poojas were finalized during Bhagavan's
presence when an attendant remarked, "How nice it would
be if these poojas were to be continued forever". Bhagavan
assented and asked. "But who would take the trouble?"
Sadhu Arunachala (Chadwick) came forward to take the
trouble. Everything has since been going on quite regularly.
It could be due to the influence of the poojas, that all the
problems relating to the Ashram got slowly resolved.

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BOOKS:

After 1945, Bhagavan did not take up any writing.

      However, he showed interest in revising scattered works
of his. He also wrote some minor pieces, which were:

Characteristics of a Siddha: In the Bhagavata there is a
part called the Hamsageeta (Swan song) where the
characteristics of a siddha ^[?] are described. During the course
of a conversation in 1946 this piece was brought to
Bhagavan's notice. He was gracious enough to give its
substance in Tamil and later in Telugu.

Trisulapura Mahatyam: In February 1946, Bhagavan
asked Viswanatha Brahmachari to translate this Sanskrit
work into Tamil which he later corrected. Trisulapura
means Tiruchuzhi.

Paratma Pooja: Adi Sankara wrote two pieces called
Para Pooja and Atma Pooja. Bhagavan combined them
and wrote Paratma Pooja. This contains the philosophy
of pradakshina.

      There is a story relating to this in the South. It goes
like this. Siva had a fruit in his hand which both Vinayaka
and Guha wanted. Siva said that the fruit would be given
to the one who circumambulated the lokas and came back
first. Immediately Guha set out on his peacock whereas
Vinayaka, the cleverer one, simply did a pradakshina of
his parents and demanded the fruit. All the lokas were in
Maheswara and so, a pradakshina of Maheswara amounted
to the circumambulation of all the lokas! Performing
circumambulation of Maheswara mentally would amount
to Para Pooja.

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Conversation of Jnaneswara and Vittoba: Manu Subedar
was very famous in Maharashtra. He translated into
English a commentary on the Bhagavad Gita written in
Marathi by Jnaneswar the saint. Manu Subedar once asked
Bhagavan, "Almost all books are about siddhas but are
there any about sadhakas?" Bhagavan replied: "In the Tamil
work, Bhakta Vijayam there is the conversation between
a siddha ^[?] and a sadhaka, that is the conversation between
Vittoba and Jnaneswar." Later Bhagavan got this translated
into English and sent it to Manu Subedar. A Telugu
translation of this `Conversation' was done by Suri
Nagamma.

Ekam aksharam (One letter): Several people have the
habit of asking great people for their autograph or
something written on a piece of paper and keeping these
with them as precious objects. But when people
approached him for any such thing Bhagavan used to
avoid writing saying: "What is the name I have? You are
referring to me as Ramana. What can I write when I don't
have any name?" But on the insistence of Somasundara
Swami Bhagavan obliged him by writing a sloka which he
translated into Telugu, and at Muruganar's request into
Sanskrit. This is the verse:

"The single letter shines forever of its own accord
within the Heart. Who can hope to write it?".

— Translation: Collected Works
Dipavali (The Festival of Lights): Some devotees
wished to collect stray verses of Bhagavan with a view to
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publishing them. In this effort they came across an old
note-book which contained some verses. Among them
were some verses on Dipavali, written by Bhagavan at the
request of Muruganar. These are the verses:

The day that Narayana grinds to death the naraka-
ego in the quest of knowledge, inquiring whence
the naraka-I rises to rule the naraka-world, that day
is the light festival of Naraka-chaturdasi.
To search and slay the sinner, the naraka-ego
corrupted by thought that one is the naraka-form,
the false body-tenement, and to shine as the true
Self, this is Dipavali indeed.

— Translation: Collected Works
Manifestation of Dakshinamurti: In an introduction
to his Tamil translation of Adi Sankara's Dakshinamurti Stotra
Bhagavan said:

Brahma (the Four Faced God) brought into being
by his power of thought four sons named Sanaka,
Sananda, Sanatsujata and Sanatkumara. He asked
them to attend to the work of creating the world,
preserving it etc., but they were not interested in it,
being completely detached. They wandered about
in search of peace and tranquility. As they were very
dispassionate and fit (to receive spiritual instruction)
Siva, the great God of compassion, manifested himself
before them in human form as Dakshinamurti (God
facing South) under a banyan tree. He sat silently
absorbed in himself, his right hand showing the
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gesture known as chinmudra. The four seekers were
drawn to him even as iron is drawn to a magnet.
They sat before him absorbed like him in the Self.
Even advanced spiritual aspirants cannot easily
understand this state of silence. The world, the seer
and the awareness which enables it to be cognized
stand as obstacles in their way. But since it is the
single power (Sakti) which manifests itself as these
three and again withdraws them into itself, everything
is that power which is the Self. Sankaracharya has
expounded this truth in this hymn.

      Translation —Collected Works.

      This brief note is an example of Bhagavan's capacity
for succinct expression. This story is available in
Sivarahasya (Tamil) under the title `Manifestation of
Dakshinamurti.'

THE HEART AND THE SAHASRARA:

During the Virupaksha days Bhagavan and Ganapati
Muni were discussing the Hridaya (Heart) and Sahasrara.
A devotee by name Arunachala who was sitting close by
wrote the summary of the discussion in English. The same
was translated into Tamil by Bhagavan.

TIRUCHUZHI:

At the request of Suri Nagamma, Bhagavan translated
into Telugu three songs on Tiruchuzhi originally written
by him in Tamil.

EKATMA PANCHAKAM:

Again at Nagamma's request Bhagavan wrote Ekatma
Panchakam in Telugu adopting the Tamil metre, venba.

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      Later he himself translated it into Tamil. As there was
already a composition of Sankaracharya called Atma Panchakam
Bhagavan decided to call his composition
Ekatma Panchakam. Here are the verses:

FIVE VERSES ON THE SELF

1. When, forgetting the Self, one thinks
That the body is oneself and goes
Through innumerable births
And in the end remembers and becomes
The Self, know this is only like
Awakening from a dream wherein
One has wandered over all the world.

2. One ever is the Self. To ask oneself
"Who and whereabouts am I?"
Is like the drunken man's enquiring
"Who am I?"? and "Where am I"?

3. The body is within the Self. And yet
One thinks one is inside the inert body
Like some spectator who supposes
That the screen on which the film is thrown
Is within the picture.

4. Does an ornament of gold exist
Apart from the gold? Can the body exist
Apart from the Self?
The ignorant one thinks "I am the body",
The enlightened one knows "I am the Self ".

5. The Self alone, the Sole Reality
Exists for ever,
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If of yore the First of Teachers
Revealed it through unbroken silence
Say who can reveal it in spoken words?

— Tr. K. Swaminathan
Likewise, Bhagavan translated Arunachala
Pancharatna and the poem about his birthday into Telugu.
All these translations are in the venba metre not known
to the Telugu language.

A stray verse: Bhagavan put in his own words a
particular thought in the Tamil work `Prabhu Linga-Leela'
thus:

"As one lets go the leaf after eating the food, the seer
sheds his body."

— Translation: Collected Works
VICHARA MANI MALA:

Sadhu Nischaladas wrote a book in Hindi Vichara
Sagar which became famous. It was translated both into
Tamil and Telugu but as it was a voluminous work
Arunachala Mudaliar asked Bhagavan to write an abridged
version of the Tamil book which Bhagavan did. This book
was published quite long ago but did not bear Bhagavan's
name as the author. At the request of some Telugu devotees
Bhagavan translated it into Telugu under the title Vichara
Mani Mala.