Techno-Theology For MahaShivRatri – An Exegesis Of A Psytrance Track

I wrote what follows just under four years ago – so our understandings have, of course, grown quite significantly in the interim. As it is #MahaShivRatri – and as Shiva is, of course, Nataraja [‘Lord of the Dance’] … it seemed fittingly appropriate to post the exegesis of the samples used in this psytrance track. Techno-theology, indeed.

Anyway, the (major) samples used [I’ve capitalized the starts of the particles involved so as to make it easier to follow]:
Aum namo HiranyaBahavey HiranyaVarnaaya HiranyaRoopaya HiranyaPataye AmbikaaPataya UmaaPataye PashuPataye namo namaha

Namaste AstuBhagavan Vishveshvaraya MahaDevaya TryAmbakaya TriPurAntakaya TrikAgni-Kalaya KalAgniRudraya NilaKaṇṭhaya MrityunJayaya Sarveshvaraya SadaSivaya SrimanMahadevaya namah

And, in terms of the commentary and the conceptual explication of what these mean … I’ll let 2017 me take over [and you can tell it’s 2017 me because these days I could and probably would write multiple paragraphs about almost every word involved … but I’ve left this almost completely unaltered despite some areas which could perhaps have benefitted from greater depth]:

“The samples in this track come from an Uma Mohan rendition; and whilst I’m a pretty great fan of what she’s done, it’s worth noting that her “Namaskarantha Mantra” is, in fact, itself a composite from two far older sources…

The first part comes from a Shaivite hymn found in the Mahanarayana Upanishad [itself about two and a half thousand years old – and often considered of sufficient import to be appended to the Vedas themselves [update-from-2021 note: actually, every Veda has Upanishads as part of Them – it’s part of what makes Upanishads Upanishads] which offers salutations to Lord Shiva; and talks in quite literally glowing terms of some of His attributes [using a consistent system of “Golden” – Hiran metaphors; viz: ‘Hiranyabahu’ – ‘Golden Armed’; ‘Hiranyavarna’ – ‘Golden-coloured’ [although I have also used the term used in reference to the origination of the Vedas]; ‘Hiranyarupa’ – ‘Gold-like’; ‘Hiranyapati’ – ‘Lord of Gold’ … although probably worth noting that ‘Gold’ doesn’t simply mean literal gold, but also carries symbolism one might perhaps think of as ‘Alchemical’ – imperishability, for instance], as well as citing His Consort, Mother Parvati, twice [once in the context of Her aspect as ‘Mother of the World’; and once as Uma – more directly regarded as the Wife of Mahadeva], before closing with the invocation of Lord Shiva as Pashupati – Lord of Creatures.

ॐ नमोहिरण्यबाहवेहिरण्यवर्णाय हिरण्यरूपाय हिरण्यपतये।
अम्बिकापतय उमापतयेपशुपतयेनमोनमः ॥

The second part comes from the concluding lines of the first chapter of the Sri Rudram hymn found in the YajurVeda. This is one of the oldest and most sacred/important Shaivite hymns – being somewhere in the vicinity of at least three millennia old; and also forming the source for many elements of what have become conventional Shaivite worship [including the name ‘Shiva’ for Rudra [referring to an ‘Auspicious’ side to the Deity]; and the “Aum Namah Shivaya” Mantra – which is probably amongst the most-known and recited in all of Hinduism].

The first lines are composed of salutations to Shiva as Lord, Great God, and Lord of the Universe; whilst the next couplet refers to traditional epithets of Mahadev – Tryambakaaya [‘Three Eyed’ – see, for instance, the occurrence in the MahaMritunjaya Mantra], and Tripurantakaya [‘Destroyer of the Three Cities’ – referring to an important myth in which Lord Shiva destroys three otherwise unassailable demon fortresses]. The verse then moves from three-based symbolism to that of fire and time – viz. ‘TrikAgniKalaya’ [referring to an occasion of the sacral manifestation of the Three Fires], and ‘KalAgniRudraya’ [Rudra-as-the-Fire-At-The-End-Of-Time which consumes the world]; before moving through further well-known Names of Lord Shiva – Nilakanthaya [‘The Blue-Throated One’, referring to Lord Shiva’s swallowing of the Halahala Poison produced as a by-product of the extraction of the Amrit [‘Nectar of Immortality’ from the primordial ocean of milk], which turned His throat blue, without killing Him – according to some tellings, thanks to intervention from His Wife], Mritunjayaya [‘Conqueror of Death’ – c.f the aforementioned MahaMritunjaya Mantra, a power occasionally exercised on behalf of the Devotee]; and then titles – Sarveshvaraya [‘Lord of All’], Saadashivaya [‘The Ever-Auspicious One’], concluding with salutations to SrimanMahaDevaya [‘The Great and Respected God’].

नमस्तेअस्तुभगवन् विश्वेश्वराय महादेवाय त्र्यंबकाय त्रिपुरान्तकाय त्रिकाग्नि-कालाय
कालाग्निरुद्राय नीलकण्ठाय म्रुत्युंजयाय सर्वेश्वराय सदाशिवाय श्रीमन्महादेवाय नमः

So there we go 😃 The meaning and provenance of the Sanskrit samples used in a modern psytrance track traced back through three thousand years, two Hymns, and one Supreme Deity’s mythic corpus 😃

ॐ नमः शिवाय “

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