Continued from yesterday’s post. In Bhavishya purana, there is a similar statement. Further, it states that a plaksha (Flame of the forest tree) if planted in a pleasure garden pleases Brahma and that he would bestow on the planter highest knowledge and a wife; a villwa (Bengal quince, wood apple), if planted, would give a long life; jambu would bestow wealth; tinduka (Diospyros malabarica) is the giver of prosperity; dadima (pomegranate) would bestow a good wife; bakula (bakul tree, Mimusops elengi) and vanjula ( Salix caprea ) destroys sins and give strength and intellect; planting of dhataki ( dhataki, Woodfordia fruticosa) elevates one to heaven and vata (banyan) gives salvation. Similarly, planting of a mango tree and guvaka (betel-nut tree) is said to fulfil all one’s desires. Padma Purana says that if a person plants an aśvattha (peepal) tree near a pond and the leaves falling in the pond water would be like the offering of pindas (after-death rite) and that his ancestors would stay in heaven. Similarly, one gets virtue by planting champaka (Michaelia champaka) , arka (Calotropis), nygrodha (banyan) and nimba (neem); the benefits of planting ten such trees are equal to the planting of one aśvattha.” “The Dhanvanthari Samhita of the Garuda Purana lists several medicinal herbs used in curing diseases and also mentions the drugs and their recipes. There are some well-known sayings related to trees in Surapala’s Vrikshayurveda: ‘dasakupasama vāpi dasavāpisama hrada dasahradasama putro dasaputrasama druma ‘ One vāpi (tank) is as good as ten wells, one lake is as good as ten tanks, one son is as good as ten lakes, and one tree is as good as ten sons. In this book, the whole chapter on Tarumahima highlights the greatness of planting trees. Plants mentioned include thulsi, vilva, aśvattha, ämalaki, vata, nimba, amra, sirisa, plaksha, udumbara etc. äsvatthamekoni picumandamekom nygrodhamekom dasacincinikom kapitha bilvämalathrayam ca pancambraväpee narakom ca paçeyeth A person who plants an aśvattha (peepal), a pichumanda (neem), a nygrodha (banyan), ten chinchinikom (tamarind), one each of kapitha (lemon), vilva (wood apple) and amala (gooseberry) and five amra (mango trees) will never see hell. These are exhortations to the public, and by linking tree planting with the attainment of heaven or moksha (salvation), the ancients successfully implemented very dynamic tree planting and conservation programmes. During the time of Manu, the composer of Manu Samhitha (or Manu Smrithi), destruction of plants became a state offence, and in his code, Manu provided provisions for severe punishment for those who cut the sacred and fruit trees. There is a passage in Matsya Purana and also in Bhavishya Purana, which formulates the proper ceremony for planting trees: ‘Clean the soil and water it. Decorate trees with garlands, burn incense in front of them and place one pitcher filled with water by the side of each tree. As you offer prayers and oblations to the sacrificial fire, do likewise for the tree. By singing benedictive songs and reciting hymns from the Rig, Yajur and Sama Vedas sprinkle holy water on the tree from the pitcher kept nearby. Water the plants four times a day and offer oblations with seeds of mustard, barley and sesamum. Kindle fire from palaasha (plāksha) wood. After worshipping them in this way, celebrate the actual planting. He who plants even one tree goes straight to heaven and obtains the highest perfection.” The great importance attached to tree planting by the ancient Indians is evident in the above passage; similar passages are found in other Puranas also. In the picture there is the primitive type of worship place attached to a forest, such a worship place is known as "hyperthereal temple"

How tree planting and Conservation enforced in Ancient India. The Rulers and Sages of the ancient days exhorted the people about the benefits they accrue from planting and protecting trees (especially the sacred trees). For doing so, reasons were invented, which include gaining moksha(salvation) and reaching heaven, absolving the sins of the past generations and so on. As a result of such beliefs, people always took care of the trees and tree planting became not only a passion but became an essential component of their “karma” (duty). In Matsya Purana, chapter 59 is devoted to the prescription of dedicating trees, planting trees and their maintenance. Here we get the long-lasting benefits of planting trees: “If anybody plant at least one tree he will be able to stay in heaven of Indra for thirty thousand years. The planter of trees liberates the same number of his past and future sins, attains the highest perfection and is never reborn on earth.” The rites and ceremonies connected with the dedication and consecration of trees are also mentioned. This idea is repeated in other Puranas too: Agni Purana says: ‘The plantation of trees and construction of pleasure garden (for the public) are conducive to the purgation of sin and enjoyment of prosperity.” Vayu Purana stresses: “He never goes to hell who plants an aśvattha (peepal), a pitchumanda (neem) or a banyan or ten jasmines or two pomegranates or five mango trees. Never cut down trees that bear flowers and fruits if you desire the increase of your family or your wealth and your future happiness.” Let me quote an interesting passage from Padma Purana. “O Lord of Kings, he who thus installs (the plants) a tree, would also live in heaven as long as three myriads of Indras (rule there) and would save (from falling into hell), past and future men (i.e. his relatives) equal to the number of hairs on the body. He attains great prosperity, making rebirth difficult. Even that man who listens to this or makes others listen to it (i.e. read it to others) is honoured by gods and in the world of Brahman (Brahma loka, Meaning heaven).. The tree alone makes a sonless person have a son. They offer libations to plants at sacred places. O, Lord of Kings, plant an aśvattha (Peepal) tree even with great effort. It alone will give you a thousand sons. And by planting an aśvattha tree, a man becomes wealthy; the aśoka tree destroys grief. The plaksha (Palaas, fire of the forest ) tree is said to bestow the fruit of a sacrifice, the kshira tree (any of the fig trees), is said to give long life, jambuka (rose apple planting) bestows daughters, dadima (pomegranate) gives a wife, aśavttha leads to the destruction of diseases, and plaksha takes one to brahman. A man who plants a vibhutaka (belleric myrobalan) tree becomes a ghost. The planting of an ankola (ankolam, Alangium salvifolium) tree leads to the expansion of family. Planting of a khadira (Cutch tree ) tree gives health. The Sun is ever pleased with nimba ( neem) shoots. Lord Śiva is pleased when a tree is planted and Parvathi is pleased when a red lodhra (Symplocos racemosa) is planted. The celestial nymphs are pleased with the planting of simsapa ( sita-asoka) and the Gandharvas with the kunda (Jasmine) plants. One would get a group of servants if one plants tintidika (Rhus parviflora) tree. Similarly, the planting of vanjula ( Salix caprea) leads to the rise of robbers. Chandana (Santalum album) and panasa (jack fruit) also give religious merits and love. Planting of champaka gives good fortune and that of karira ( kair tree, Capparis decidua) makes one adulterer. Planting of tala ( Borassus flabellifer) destroys one’s progeny, while planting of vakula (bakula, Mimusops elengi) ) expands the family. The planting of coconut tree brings many wives, while planting of a grape-creeper makes one have all beautiful wives. Similarly, planting of kali (Kali turgidum, thimble weed) causes sexual enjoyment. Planting of ketaki (Pandanus tectorius) destroys one’s enemies..... Those who have planted trees will attain high position…” In course of time, sacred groves and groves of sacred plants came into existence. The Picture included is that of a typical sacred grove. ( To be continued )

Tree marriages: Peepal / Banyan marries Neem: Perhaps India is the only country where tree marriages are celebrated, and so also the marriage between boys or girls to trees. Tree marriages are still being held, though rarely, between peepal and neem, banyan and neem; banyan and peepal, or between mango and mahua. In the last few years, some such events were reported in the newspapers. Here a peepal/banyan / banyan tree and neem are planted close together and after about eighteen years a marriage ceremony is performed between the two trees growing together. In this ceremony, the peepal/banyan is treated as the bridegroom (being the symbol of Lord Vishnu or Siva) and neem is the bride (symbol of Devi). This marriage is to be conducted on Suklapaksha (waxing phase of moon) during utharayana period (January 15th to June 15th), avoiding the first, fourth, eighth and ninth phases of moon. There was a press report (Times of India, June 10, 2007, a report by TS Sreenivasa Raghavan ) about such a peepal – neem wedding that was celebrated in Palghat in Kerala. ‘The wedding was on May 27. Between 6:21 am and 7:21 am, the sacred thread was wound around the peepal tree. Later, in the auspicious shuba muhurat between 8:30 am and 9:30 am, he was married to the neem who is four years younger to him (the peepal). The bride was wrapped in a traditional Kancheepuram silk sari which cost Rs 20,000, and a gold mangalsutra. She looked innocent and elegant as she flushed with tender green leaves. He was in a silk veshti, angavasthram and sacred thread made of silver and gold. There was a sumptuous feast for the guests. In many north Indian communities, girls and boys are married to certain plants before the actual marriage, with the intention of averting any ill-luck that may arise from such a marriage. A widow can marry another man only after marrying a tree, and the same is the case with a man intending to marry a widow. The plants mainly used for such marriages are banana, mango tree, madhuka, sami and arka. Such marriages have taken place even among the elites. Incidentally, a girl ― tree marrying ceremony was depicted in a movie titled ‘Sati’ by Aparna Sen in which a mute 19-year old brahmin girl was forced to marry a tree and the ceremony was graphically described by Elisabeth Bumiller. The social evil of marrying girls to trees is very poignantly portrayed by Bharathi Mukherjee, the Indian diasporic novelist of America. Her book, Tree Bride, gives the story of how a five-year-old girl widow (her childhood husband died of snakebite) was married off to a sundari tree and how she lived as a tree bride for the rest of her life. Mukherjee recounted the story of this tree bride, by name Tara Lata, in her novel Desirable Daughters, a sequel to the Tree Bride. Let me quote a passage : “ Then it’s time for the shubha drishti, the rite of auspicious gaze when the bride gets her first glimpse of the face of the man she is marrying….The bridal veil is lifted. Tara Lata straightens her bowed head and raises her gaze slowly, very slowly. Her bridegroom is brave and steadfast. He has waited for her all night in the perilous wilderness. He has waited for her alone, unflinching, though deadly snakes slither out of the flooded holes at his feet, and leeches crawl across his toes, and crabs scuttle up his shins and predatory beasts gouge his solid stomach. The bridal gaze angles up his strong, slender torso as tall as a ship’s mast, and scales up, up, to where the tip of his head disappears in the night-black winter skies. She feels his arms, as strong as tree branches, brush against her, enfold her, shields her from life’s potential brutalities. The whispered lamentations were wrong. She is a woman cursed by a goddess and shunned like an outcast by her community. She takes her greedy fill of the auspicious glimpse. And now she recognizes her bridegroom. He is the god of the Shooder Bon,* the Beautiful Forest, come down to earth as a tree to save her from a lifetime of disgrace and misery” [* Sundari tree, also known as sundri and sunder; its scientific name is Heritiera fomes, shoe-flower family Malvaceae, (formerly included in Sterculiaceae). The name Sunderbans has its root in the name of this tree]. Even now among the Brahmins, a tree branch, often from a sami tree, is planted in the venue of the marriage (marriage pandal), which is representative of the cosmic tree or the axis mundi. Both the bridegroom and bride worship the pillar and hang a garland on it before the actual marriage ceremony. Sometimes both the groom and the bride were initially married to a tree before the actual marriage. Such customs are followed for averting any ill-luck that may befall on the man and woman”. Photos below show the tree marriage ceremony in progress and the bottom one shows the neem and peepal couple growing together happily.

Plant Symbolism and Deity Worship- Navapatra puja (Nabapatrika pooja): A great example from North India. In India there are a number of festivals associated with plants and many are observed by women for removing barrenness or for getting male progeny, or for a long-married life with husbands and children. Some of these ceremonies are simple and consists only of praying, lighting a lamp or tying a thread, some can be very elaborate and last for a few days. Perhaps the most elaborate one is the navabatrika pooja (Navapatra pooja), prevalent in many parts of India, most noticeably in Bengal. Navapatra pooja forms part of durga pooja ceremonyceremony. Here nine aspects of Durga, symbolized by nine plants are worshipped. The nine aspects are: Brahmani: a benevolent aspect of Shakthi, considered to be the female counterpart of Brahma, represented by a plantain (banana plant) with stem and leaves. Kali (Kalika): a terrible form that Shakthi had taken while fighting with Mahishasura. There are several episodes of her origin and worship. She is represented with Kachu (colocasia) plant. Durga: Durga herself is present in haridra (turmeric) and so this is the third plant. Kritika: Durga took this form (also known as Karttiki) while fighting Sumbha and Nisumbha and she is represented by Jayanthi (balloon wine or heart seed), and this becomes the fourth plant. Raktadantika: Shakthi took this form of who fought against the demon Raktabija. She is represented by dadima (pomegranate), which is the fifth plant. It is believed that parashakti when incarnated as Parvathi, worshipped Lord Śiva with flowers of aśoka and that the Lord loves this tree, and that Devi made it her abode in the aspect Sokarahitha, the remover of sorrow. So aśoka becomes the sixth plant. Chamunda: An aspect of Durga emanated from the forehead of Karthyayani (an incarnation of Durga who killed the invincible demon Mahishasura) for killing the fearsome demons Chanda and Munda, and she is symbolized by the arum plant, and this forms the seventh plant. The paddy plant is the food and source of nourishment of the humans and Devi Parvathi in the aspect of Annapoorna (the goddess of food and nourishment) dwells in this (so also Lakshmi, the goddess of prosperity). This is the eighth plant. All these leaves are bundled together with a ninth plant, a branch of vilva tree bearing two fruits that represent Śiva and Śakthi. All the nine plants are tied into a bundle with a girikarnika vine, which again symbolizes Durga. This bundle is ceremoniously given a bath, then dressed in red or golden silk, vermillion is applied, decorated, placed by the side of the idol of Durga and worshipped as Devi Durga for nine days. Each day, an aspect of the Devi is invoked separately and pooja is offered. Here each plant or leaf is collected ceremoniously, and many formalities exist in bundling them, in giving ceremonious bath and in dressing and decorating the goddess. Once it is decorated and placed in the altar the bundle of leaves is treated just like an idol of Durga and all offerings and poojas are offered to it. The whole festival is an elaborate one in which all people in the neighbourhood participates. Here is an example of an evolution of simple plant worship to a complex and elaborate one with a lot of symbolism attached. The well known Navadurga tradition is closely allied to the Durga aspects worshipped during the navapatrapooja. According to the Devi Mahatmyam tradition the Navadurgas are Śhailaputrī, Brahmachāriṇī, Chandrakaṇṭā, Kuṣhmāṇḍā, Skandamātā, Kātyāyanī, Kālarātrī (Kali), Mahāgaurī and Siddhidātrī. These nine forms of Durga are the major deities worshipped during the nine days of the navaratriNava Durganavadurga worship is popular all over India, while the navapatrapooja tradition is observed mostly in North India. The picture shows the Bavapatrika pooja in progress in Bengal.

Trees in Folk Songs: Tree theme has gone deep into the Indian folk songs and traditions. All languages and cultures of India are rich in folklore and songs that have woven into a rich varicoloured cultural tapestry. Much of the lore and folk songs are lost, the surviving ones give us the glimpses of the importance attached to the trees and plants by our ancestors. MS Randhawa writes in his book Flowering Trees in India and I quote: (Dr MS Randhawa, A very Civil Servant (ICS), remarkable scholar, writer, and administrator. He was also he Vice- President of the Indian Council for Agricultural Research, People qualify him as the sixth river of Punjab). “In almost all Indian languages, trees form the subject of many folksongs. Sometimes they are used as mere pegs to hang human emotions on, and they become symbols of man’s joy or grief. Occasionally, they are personified and they express their own feelings as in the following song: ‘The Semel tree meditates: Why are my flowers red? Why are not my flowers offered to gods and goddesses? Why doesn't the maid makes garlands of them?” Randhawa quotes from many folk songs from many languages, from across the Indian sub-continent in his book to illustrate the deep-rooted relationship between humans and trees. He comments that in folk songs often the woman represents the human soul, and the never-ending search of the soul for God is the theme of many of the songs. The other main theme is the representation of the pain and loneliness resulted from the separation of lovers. Whatever is the theme, trees appear again and again and they are treated as if they are the kith and kin of the singer. Hear these lines: ‘…The peepal sings; the banyan sings, And the green mulberry too: Stop, traveller, and listen, Your soul will be set again………’ ‘…The goddess feels hungry, brother, She asks for milk to drink. Shall I milk the banyan or the barohi tree? My raina cow has gone a long way off …….’ ‘…On the branches of the mango, a bunch of mangoes looks lovely, In the forest the palaas trees are blossoming; In the lap of the fair bride, the child looks lovely, As though the moon appeared in the sky.. On the branch of the mango, the koel sings In the forest the peacock dances; On the river bank, I sing my birha, It pierces the heart….’ (birha- for the Sanskrit viraha, separation from the loved one) Every tree had its own tale of woe, and such a tale is reflected in a folk song from Shimla: ‘O, cruel woodcutter, Cut merely my lower branches Do not stretch out your axe toward the top, O, leave it for the birds’ nests. .’ A Dhola song goes like this: ‘Living peelu tree! Your roots are gone deep into the soil, Well-shaped is your stem since birth, Over it, your branches have added colour, My neighbours are all ready for the journey, Drums have announced the news………’ Randhawa comments that in “such folk songs the woman represents the human soul, and the never-ending search of the soul for God is the theme of the dhola songs. Again and again, the peelu tree is addressed in the dhola song as if it understood the human voice, and when the search for God seems to bear no fruit, the singer looks towards the old forest tree for advice. These folk songs are the crystallization of inspiration provided by trees to humanity for thousands of years.” The most written about plant/flower is that of Lotus. That I reserve for another posting.

The First References on plants and forests, and of grasshoppers and cicadas in Rig Veda (Rg Veda):. The first references on forests and forest goddesses are available in Rig Veda, the oldest known document of the Indo-Iranian Aryan civilizations. Some parts of the Rig Veda are among the oldest documents known to mankind. The general consensus is that the composition of the Rig Veda was completed before 1200 BC. Rig Veda consists of 1028 hymns arranged into 10 mandalas (Parts). In the 146th hymn of the 10th mandala, we get the vivid representation of gods and goddesses of trees and forests (vanaspati, the lord of wilderness and Aaranya devatha, the goddess of the forest). Let me give Griffith’s translation of a Rig Vedic hymn: HYMN 10‑146 1. GODDESS of wild and forest who seemest to vanish from the sight. How is it that thou seekest not the village? Art thou not afraid? 2 What time the grasshopper replies and swells the shrill cicala's voice, Seeming to sound with tinkling bells, the Lady of the Wood exults. 3 And, yonder, cattle seem to graze, what seems a dwelling-place appears: Or else at eve the Lady of the Forest seems to free the wains. 4 Here one is calling to his cow, another there hath felled a tree: At eve the dweller in the wood fancies that somebody hath screamed. 5 The Goddess never slays, unless some murderous enemy approach. Man eats of savoury fruit and then takes, even as he wills, his rest. 6 Now have I praised the Forest Queen, sweet-scented, redolent of balm, The Mother of all sylvan things, who tills not but hath stores of food. In ancient texts, we come across many references on the origin of plants. The Satapatha Brahmana (one of the most ancient texts of the Vedic period), contains such a reference: “….. Hiranyagarbha , who sprang from apah, assumed the work of a creator. After having created the elements he reclined to rest……from his hair his thought flowed and became the millet plant. From his skin his honour flowed and became the aśvattha tree. From his flesh his vitality flowed and became the udumbara tree. From his bones honey flowed and became the nygrodha tree. From his marrow soma juice flowed and became the rice plant. …vilva tree sprang up from his marrow and khadira from his bones, and palāsh from his flesh…..” (hiranyagarbha– Brahma; apah – water). The picture at the bottom is a portion of a palm leaf document preserved in the British Library

Women and Trees – Dohada I would like to write something about the relationship that existed between women and trees, especially in the ancient and medieval rural India. You might have heard of the concept of dauhruda or dohada, the latter term preferred in modern writings. Dohada, in the modern sense, means the unusual cravings for things that women experience during pregnancy. It was considered the dharma or the bounden duty of the husband to satisfy such desires of his pregnant wife. However, the concept of dohada had been depicted among plants too by the ancient poets and artists. Of course, such ideas were simple, like a tree blossoming following the touch of a woman. The well-known example is that of aśoka, which is said to bloom when a beautiful virgin kicks the tree. In the eyes of social anthropologists, dohada is related to fertility, or even related to the rite of fertilization. Ancient Indian artists and artisans have also created the well-known salabhanjika carvings, in which a woman is carved or painted as embracing a tree. Such representations too are related to fertility rite; of course, here the tree appears to be involved in the rite of fertilization. In dohada, a woman either touches or embraces or kicks a tree and the tree breaks into blossom. In the case of priyanga, a woman’s touch is enough, in the case of bakula, the tree craves for the wine from a woman’s mouth (a mouth full of water sprinkled on the tree), aśoka craves for a kick from a beautiful damsel, a mere glance is enough to send tilaka into blossom, kurabaka tree needs an embrace, mandāra craves for loving words, champaka craves for a woman’s laughter, amra needs the warm breath of a woman, karnikara craves to see the dancing of a maiden, while the nameru tree craves for her song. Maurice Bloomfield had written a study on ‘The dohada or Craving of Pregnant Women’ that appeared in the Journal of the American Oriental Society, way back in 1920. He quoted some interesting passages from the ancient Indian writings. In Pārsvanātha Charita four trees broke into blossom in spring having fulfilled their dohadas: pusyanti tarunistitasta yasmin kuruvakadrumah vikasam yanty asokäs tu vadhupāda praharāh mrugakçi sidhugandusaih pusyanti bakula api champakas tu praphullanti sugandhajala dohadaih| (Came spring), when the kuruvaka trees bloom, as they are embraced by young maids; when the aśoka trees burst into bloom, as they are struck by the feet of young women; when the bakula trees bloom, as sprayed with the wine from the mouths of gazelle eyed maidens; when the champaka trees burst into bloom as they are sprinkled with perfumed water.’ In Vasavadatta of Bhasa there are repeated references on this aspect of trees flowering: “Came spring, that makes bakula trees horripilate from sprinkling with wine in mouthfuls by amorous maids, merry with drink; that hundreds of aśoka trees delighted by the slow stroke of the tremulous lotus feet, beautiful with anklets, of wanton damsels, enslaved by amorous delights …….” “In spring, by its fresh shoots the aśoka, because of its longing to be touched by a maiden’s ankleted foot, red with the dye of new lac, seemed to have assumed that colour. The bakula shone as if through sprinkling with mouthfuls from amorous girls’ lotus lips, filled with sweet wine, it had assumed its (the wine’s) colour in its own flowers.” “I recollect an interesting scene from Kalidasa’s Malavikagnimithra. Malavika, the beloved of king Agnimitra, dances under an Aśoka tree. Before dancing Malavika says: ‘So this is the aśoka tree which yearns for the touch of my feet. It has not itself decorated with flowers’. She dances and hit the aśoka tree with her left foot and remarks with pride: ‘This would do, and it would be too mean if it does not flower even now’. There is yet another study on the same subject by Rama Pisharoti, ‘Dohada or the woman and tree motif’ published in the Indian Society of Oriental Art in 1935. Nagar has also given a brief discussion on the dohada, women and tree motifs as represented in the sculptures and paintings of ancient India.

Bodhi Tree ( Bo tree, Peepal ) Peepal tree or the Bodhi Tree as it is known among the Buddhists is the most sacred tree of India. It is this tree that was once considered as the Cosmic Tree or the Axis mound. During the Ancient and Medieval ages, the cosmos was represented as many-layered, held together by a cosmic tree that runs through the exact centre of the cosmos. This tree was known as the Axis Mundi. In many cultures, a particular tree was considered as the cosmic tree. In India, it was the peepal tree; for the Celts, it was the oak, for the Greek it was the ash, the date palm for the Mesopotamians, the birch for the Siberians, the Cedar for the Lebanese and the Chienmu tree for the Chinese. But, it is in India that this concept of cosmic tree attained such profound metaphysical dimensions through the peepal tree. The cosmic tree was held as the great Universal Mother, the goddess of nature. Many cultures believed that the cosmic tree stands for the sacredness of the world, its creation, continuation and fertility. The aśvattha tree is also known as the 'tree of life' and the 'tree of knowledge'. During the Rig Vedic times, peepal tree was the symbol of cosmos. During the time of Atharva Veda, this tree worshipped for victory over the enemies, and for the birth of male progeny. It was also regarded as the abode of gods and goddesses. In later Puranas, aśvattha mentioned as the abode of goddess Lakshmi. It is also sacred to the sun god. In Mahabharatha there is a reference that worshipping aśvattha is worshipping the cosmos. This tree planted in all temples, especially in Vishnu temples. The tree is worshipped daily by brahmins during their evening prayer. It was under this tree Gautama Buddha attained enlightenment. Gautama had been practicing austerities for six years by the side of the Niranjana river near Gaya. He then realized that such practices could not lead him to the goal, so he abandoned the austerities and left the place. In the adjacent village of Senani (also known as Sujata), a Brahmin girl by the same name Sujatha, offered him rice cooked in milk. He took a full meal of this and then sat under a nearby peepal tree facing east. He resolved not to rise until he attained enlightenment and sank in deep meditation. The legends say that many forces like Mara, the god of illusion, tried to dissuade him, forcing him to abandon the vow. But he triumphed over everything and, finally, the light of enlightenment filled him. His ego, whatever remained vanished, his mind totally subdued, emptiness filled him, and from that emptiness the enlightened Buddha resurrected. For a while, illuminated with all wisdom sat the Buddha, lost in contemplation of the universe as it is. And at last, lifting his voice, he cried aloud in triumph his song of victory: “Through the worldly round of many births, I ran my course unceasingly, Seeking the maker of the House; Painful is birth again and again. House-builder! I behold thee now. Again a house thou shalt not build; All the rafters are broken now, The ridgepole also is destroyed, My mind, its elements dissolved, The end of cravings has attained.” It was on the Vaishakhapoornima day of 623 BC, and Gautama was thirty-five years old. This enlightenment that he attained was not the result of any miraculous or mystic occurrence caused by the influence of extramundane, divine power. It was due to the direct apprehension of the truth; not a "revelation," but a "self-realization." Fischer quotes Asvaghosa, the famous Sanskrit poet and Buddhist scholar: “At that moment of the fourth watch when the dawn came up, and all that moves was stilled, the great seer reached the stage that knows no alteration, the sovereign leader, the state of omniscience. When as the Buddha, he knew this truth the earth swayed like a person drunk with wine. The four quarters shone bright with crowds of Siddhas, and mighty drums resounded in the sky. A pleasant breeze blew softly, and heaven rained moisture from a cloudless sky, and the trees there dropped flowers and fruits out of due season as if to do him honour. At that time, just as in paradise, the mandāraflowers, lotuses and water lilies of gold and beryl fell from the sky and bestrewed the place of the Shakya sage.”. It is always like that. You seek enlightenment you will never get it, but it may come to you unexpectedly like a shower of flowers from heaven. Buddha continued to sit there for another seven days, meditating without moving, another week he was walking and meditating, and the week after that he simply gazed at the peepal tree without moving his eyes. " I once heard Osho Rajneesh quoting a story in one of his discourses, which I carry in my mind. 'Subhuti, an ardent disciple of Buddha, was one day sitting under a tree in a mood of sublime emptiness when flowers began to fall around him. "We are praising you for your discourse on emptiness", the gods whispered to him. "But I have not spoken of emptiness", said Subhuti "You have not spoken of emptiness; we have not heard of emptiness", responded the gods. "This is true emptiness". And blossoms showered upon Subhuti like rain'

About the Inverted Tree The ancient Indian philosophy equated trees with brahman. In Katha upanishad we get the famous saying: ‘ there is the ancient tree, whose roots grow upward and whose branches grow downward- that indeed is called the bright, that is called brahman, that alone is called immortal. All the worlds are contained in it and no one goes beyond. That is that’” “This concept of the inverted tree has been interpreted variously by later commentators. Some interpret that the tree is the world and the roots Brahman. Obviously the inverted tree is a symbol to depict the exalted position of the Brahman, from which the manifest beings originated and to which they are attached. The inverted tree is also a symbol of unity in diversity, which characterizes the Upanishad concept of Reality. Brahman is non-dual (in the form of root), while the manifest world (and the life forms ) is enmeshed in diversity as exemplified by the branches, leaves, flowers, fruits that occur in diverse stages of development. A tree is the best example to express this concept, of unity in diversity ― a tree that originated from a single seed, the very essence of a tree’s life, and then develops into gigantic proportion with all the diversities attached to it. The tree also stands for constancy in change, branches, twigs, leaves, flowers and fruits come and go (like the manifest beings), but the root and the trunk remain constant beyond the memory and span of one’s life (hence compared to Brahman)”. ( The picture of the inverted tree is a mural style painting by Dr M. Shylaja)

How a fig fruit / seed led to one of the highest metaphysical principles This is a small anecdote given in the Chandogya Upanishad, Chapter 6. Shvetaketu was the only son of Rishi Uddalaka. When he turned twelve, Uddalaka sent him to a Gurukula for education. There he spent 12 years and got training in all branches of knowledge. He then returned to the hermitage of his father. He was very proud of his knowledge. Uddalaka found that his son has become arrogant and that he thinks he knows everything. One day Uddalaka called him by his side and asked him: “Shvetaketu, my boy, have you, ever sought out the knowledge of that by which the unheard can be heard, the unseen can be seen, the unknowable can be known?” Shvetaketu was perplexed. He had no idea about what his father had asked. So he requested his father to give him this knowledge. Then there ensued a dialogue between the two. During this dialogue Sage Uddalaka used the seed of the fig tree to prove the mystery of ātman and its manifestation. The Sage said looking at his son who was listening closely: ‘Bring hither a fig from there’ ‘Here it is, sir’ ‘Divide it’ ‘It is divided, sir’ What do you see inside?’ These rather fine seeds, sir’ ‘Of these, please divide one’ ‘It is divided, sir’ ‘What do you see there?’ ‘Nothing at all, sir’. Then he (Sage Uddalaka) said to his son: ‘verily, my dear, that finest essence, which you do not perceive; verily my dear, from that finest essence this great nygrodha thus arises. Believe me my dear’, said he, ‘that which is the finest essence, this whole world has that as its soul. That is Reality. That is ātman, that art thou, Shvetakethu.’ (Nygrodha- banyan tree). Uddalaka continued: ”‘My son, this great banyan tree has grown from a seed so small that you cannot see it. Believe me, an invisible and subtle essence is the Spirit of the whole universe. This is just a glimpse of the entire teachings of Uddalaka to Shvetaketu in which he gives a very comprehensive idea about the Brahman and how to realize That. This great saying emphasizes the concept od Non-duality in the Vedantic philosophy. Tat Tvam Asi ) is translated variously as "Thou art that," "That thou art," "That art thou," "You are that," "That you are," or "You're it": Tat: that; tvam : you, thou; asi: are, art Advaita philosophy interpreted it as “ absolute equality of 'tat', the Ultimate Reality, Brahman, and 'tvam', the Self, Atman. Shuddhadvaita says that oneness in "essence" between 'tat' and individual self; but 'tat' is the whole and self is a part.

Sometime back a friend asked me the question: “Ravi, why are we offering flowers to deities, what is the special attribute of flower for such offerings?” My answer was almost like as follows: “Well, Mohan, to answer your question we should look into the symbolism of flowers. A flower is the finest creation of God, the most benevolent creation, found on this earth. A flower blooms not for its own fulfilment, it spreads happiness among the beholders, it sheds its fragrance that wafts in the air we breathe, and finally when it becomes a fruit it quenches hunger and thirst of humans, animals and birds. The flower becomes the symbol of beauty, benevolence, perfection, and purity. Flowers are the 'wordless prayers of Nature', beautiful expressions of its yearning for the Divine. And each flower has its unique aspiration, its own vibration, its true meaning’, said the Mother of Aurobindo Āshram. She further says: ‘A flower contains all the elements of Nature air, water, fire, earth and ether. Apart from its beauty of form, colour, fragrance and texture there is something more an indefinable, subtle and mysterious quality about it. In the words of Liselle Raymond, "in its simplicity, it carries the vibrations of the akasha the ethereal element itself, that is, all that is most abstract, pure and perfect. It is, above everything else, the form, behind which is the sound, the all powerful creative mantra”. “Be like a Flower’ Mother ( of Aurabindo Ashram, Pondicherry) advises: ‘Be like a flower. One must try to become like a flower: open, frank, equal, generous and kind. Do you know what it means? A flower is open to all that surrounds it: Nature, light, the rays of the sun, the wind, etc. It exerts a spontaneous influence on all that is around it. It radiates a joy and a beauty. It is frank: it hides nothing of its beauty, and lets it flow frankly out of itself. What is within, what is in its depths, it lets it come out so that everyone can see it. It is equal: it has no preference. Everyone can enjoy its beauty and its perfume, without rivalry. It is equal and the same for everybody. There is no difference, or anything whatsoever. Then generous: without reserve or restriction, how it gives the mysterious beauty and the very own perfume of Nature. It sacrifices itself entirely for our pleasure, even its life it sacrifices to express this beauty and the secret of the things gathered within itself. And then, kind: it has such tenderness, it is so sweet, so close to us, so loving. Its presence fills us with joy. It is always cheerful and happy. Happy is he who can exchange his qualities with the real qualities of the flowers. Try to cultivate in yourself their refined qualities’ The flower is also the symbol of all that is good in the worshipper; it is symbolic of his or her ‘vasana’, the totality of one’s ‘essence’. So by offering the flower we are offering to the deity ourselves. There is another symbolism also. You know a flower appeals to our ‘manas’ (mind) and never to our buddhi (intellect). In other words flower is a symbol of our mind, our feelings, emotions, aspirations and everything the mind stands for. The ‘mind’ is also the seat of our self, our ego. Through the offering of flower we are surrendering our ego at the feet of God, surrendering ourselves with all the selfish feelings and thoughts at the feet of the deity. In other words it is symbolic of a total surrender of oneself at the feet of the deity. The life of a flower is ephemeral so also the body of a human. The ephemeral man offers his ephemeral life through the offering of flower at the feet of the eternal God. In that remote past, when the primitive man looked around searching for things to offer to his primitive gods, there were no better choices than the flowers around: attractive, colourful, fragrant and pure. And he collected them and made the offering. Even now, after many millennia, we could not find a better substitute for offering to the gods we worship”. About flowers some of the most beautiful lines ever written: “I am a kind word uttered and repeated By the voice of Nature; I am a star fallen from the Blue tent upon the green carpet. I am the daughter of the elements With whom Winter conceived; To whom Spring gave birth; I was Reared in the lap of Summer and I Slept in the bed of Autumn. …………………………………. I am the lover's gift; I am the wedding wreath; I am the memory of a moment of happiness; I am the last gift of the living to the dead; I am a part of joy and a part of sorrow. ……………………………………….. But I look up high to see only the light, And never look down to see my shadow. This is wisdom which man must learn.” (Khalil Gibran)