The important and requisite components for the shraddha ritual are Darbha, Bhrungaraj leaf, Tulasi, black

sesame, white rice, barley, honey, black gram, white fragrant flowers etc. Red coloured flowers are forbidden in the shraddha ritual as destroyer frequencies are emitted from them. Fruits like the Indian gooseberry (amla), pomegranate, musk melon (kharbuja) are specially used in the shraddha ritual.

1. Darbha

Darbha is a very important component in the shraddha ritual. Darbha generates radiance (Tej). When Darbha is used in the shraddha ritual, by the influence of the frequencies of Tej emitted by Darbha, the interference of raja-tama particles in each ritual of the shraddha is reduced. The deceased ancestors (Pitars) absorb the energy of a specific level from the ritual.

1.1 Effect of the use of Darbha in the shraddha ritual

The subtle air associated with the Tej particles in the Darbha is activated by the recitation of mantras of the shraddha ritual. This air attains momentum in the upward direction with the help of the Absolute Air Principle of the external atmosphere. With this the resolve made in the shraddha ritual becomes efficacious in lesser time.

1.2 How should the Darbha be selected ?

Do not use the Darbha fallen on the path, kept on the funeral pyre, laid on the ground of sacrificial fire, used as a seat or cover and used for pinda in a shraddha ritual, used in the Brahmayadnya or for the purpose of tarpan. Pluck only green Darbha which is grown on a clean ground. A shloka delineates about the selection of Darbha: ' : '

Meaning: For the purpose of shraddha of the Pitars, pluck the Darbha along with its root. The reason for this is that we can gain victory over the Pitruloka with the help of the root of the Darbha.

1.3 Reason underlying the use of Darbha with roots in the shraddha
The Water Principle-dominant particles of Tej in the Darbha with roots are conducive for disintegration of raja-tama particles. The energy emanating from the actions done with the Darbha with roots touches the subtle sheath of the Pitars in a shorter time. In addition to gaining

victory on the Pitruloka, that is, causing disintegration of raja-tama particles at each level of Martyaloka (the subtle region of the dead), the Pitars also get the strength of Tej.

1.4 The reason underlying not plucking Darbha by hitting many times on it or cutting with the nails
The raja-tama-dominant sound frequencies generated by hitting many times on the Darbha or cutting it with the nails are spread in the Darbha, which reduces the sensitivity associated with sattva of the Darbha. The ability of the Tej Principle-dominant air emitted by the Darbha to move in the upward direction is also reduced. Hence, the proportion of benefit accrued from the shraddha ritual is reduced. Following mantra is recited at the time of plucking the Darbha for shraddha Reciting this mantra, face the north-east direction on the Amavasya of Bhadrapad as per Shaka Samvat or of Ashwin as per Vikram Samvat and say Hum Phat and pluck the Darbha.

1.5 The reason underlying placing Darbha if a brahmin is not available for the seat of Deity or the Pitars
Darbha represents all the components of inferior or superior level. Hence, in the absence of any specific component, Darbha can be installed at that place. The inherent Tej particles in the Darbha attract the superior frequencies of the Deities and the inferior frequencies of the Pitars as per requirement and invite them at the venue of the shraddha. The inherent air associated with the Tej Principle in the Darbha is activated by the with-resolve recitation of mantras of the shraddha. This activated Tej Principle is emitted by the Darbha. The negative energies are prohibited by the emitted Tej Principle from coming to the venue of the shraddha and the Pitars are attracted to that venue. Due to the ability of the Darbha to attract the Principles of superior Deities, it is used as the smallest particles of Divine Consciousness (pavitrak) in each ritual of worship.

2. Black sesame seeds

Black Sesame Using black sesame seeds in the shraddha means invoking the deceased ancestors (Pitars) trapped in the Martyaloka with the help of the raja-tama frequencies emitted from the black sesame seeds. The recitation of mantras in the shraddha has an effect on the black sesame seeds. The dormant raja-tama energy in black sesame seeds is awakened as a result of the sound energy

generated by the recitation of mantra. This energy is emitted into the environment in the spiral form of raja-tama vibrations. At that time, according to the invocation made in the shraddha, subtle bodies of particular Pitars are attracted towards these vibrations and enter Earth's environment. In this process, with help of the raja-tama frequencies emitted from the black sesame seeds, reaching the place of shraddha ritual becomes easier for the subtle bodies of Pitars. Black sesame seeds are showered at the place of the shraddha by the host. Due to the frequencies of Pitars getting attracted towards the black sesame seeds, the place of the shraddha becomes charged with the Pitar frequencies. The Desire sheath present around the subtle bodies gets activated due to the frequencies emitted from the black sesame seeds and the Pitars get satiated by partaking their portion of shraddha in air form. In shraddha, water containing black sesame seeds charged with mantras (Tilodaka) has special spiritual importance. The copper platter contains charged Tilodaka. Money to be offered to the Brahmin, leaf of Bhrungaraj, Sandalwood, flower and beetle nut are placed in it. The momentum of subtle Pitar frequencies increases due to the black sesame seeds in the Tilodaka. As a result, a whirlpool with attraction energy is generated. The subtle body is attracted towards this whirlpool. Thus, the subtle body attracted towards the whirlpool with attraction energy formed from the Pitar frequencies having momentum enters the Earth region. The change occurring at spiritual level during performance of ritual is a feature of spiritual practice of rites, rituals and observances performed at the physical level (Karmakand) prescribed by Hindu Dharma.

3. Akshat
After the host pays obeisance to the Dev-brahman and Pitru-brahman, the brahmins bless the host by showering unbroken rice (akshat) on him. Unbroken rice should be used as akshat. In the shraddha ritual barley is also used. White unbroken rice is used if barley is not available.

4. Maka (leaf of Bhrungaraj and Tulasi)

Bhrungaraj and Tulasi At the time of shraddha some of the Pitars coming to Earth are not satiated. Due to the unsatisfied desires of these Pitars, polluted air or speed of emission of subtle frequencies generated from tamasic object increases. Due to the speed of these frequencies, tamasic energy is generated. Movement of raja-tama particles gains momentum. To restrain this momentum, these two substances, maka, that is, leaf of Bhrungaraj and Tulasi are used. Features of maka:

Usage Benefit Bhrungaraj leaf Worship of Pitars Endowing Tej Tulasi Worship of Deities Endowing vital energy The Tej frequencies emitted into the atmosphere by Bhrungaraj leaf restrain the momentum of raja-tama particles generated from the unsatisfied desires of the Pitars. The frequencies of Chaitanya of Sri Krushna principle emitted from the Tulasi leaves easily destroy raja-tama particles. Thus Bhrungaraj leaf and Tulasi complement each other in purifying the atmosphere. Due to this purity, entering the place of shraddha becomes easy for the Pitars. Steps in the restriction of the momentum of the raja-tama particles by Bhrungaraj leaf

Slowing of momentum of raja-tama particles. The energy of attraction generated in the raja-tama particles disintegrates due to the Tej frequencies emitted from the Bhrungaraj leaf. Division of raja-tama particles. Due to the Tej frequencies emitted from the Bhrungaraj leaf, the ability of the raja-tama particles to function collectively reduces.

3. Performance of Shraddha by females

1. In point 2 it is mentioned that the daughter, wife, mother and daughter-in-law of the deceased person have the authority to perform Shraddha. In spite of this, in the current era, the priests who conduct Shraddha deny their consent for females to perform Shraddha. This could be because in the earlier days the thread ceremony was performed for females, and in current era, this practice has been discontinued in all classes. Therefore, in accordance to that, even performing of Shraddha has been disallowed for females. In emergency conditions, however, if no one is available for performing Shraddha, then it is better for it to be performed by females instead of not performing it at all. 2. The female performing shraddha should place a clean cotton cloth on her shoulder while performing Savya-Apasavya

he Pindapujan of Mahalaya Shraddha

The Pindapujan has been mentioned in the Yajurveda, Brahman, Shrutis and the Gruhya Scriptures. According to Mahabharat, Varahadeva, the incarnation of Sri Vishnu, gave complete information about shraddha to the world. He took out three pindas from His molar tooth and kept in the south direction on a darbha. Proclaiming that these three pindas should be considered as the forms of the father, grandfather and great grandfather, He performed ritualistic worship of the pindas with sesame seeds. The remaining portion of the rice meant for Agnaukaran is added along with Tilodak, black sesame seeds, curd, honey and ghee to the rice. Four big pindas and other small pindas are made

as per requirement. The big pindas should be of the size of a Bel fruit. The venue is purified with the Tilodak and darbha is spread on it. Darbha is purified. While placing every pinda, the person performing the shraddha says, I am offering the pinda in the name of so-and-so relative of soand-so name in the form of Vasu or Rudra or Aditya of so-and-so lineage, that is, gotra. It is my faith that I am offering the pinda in Gaya.' After offering a pinda for those about whom one has definite information, a Dharmapinda is offered. This Dharmapinda is given to the deceased ancestors who are in the Hell region of Asipatravan and Kumbhipak, those whose family lineage has ended and others. Kajal is made by mixing ghee with burnt darbha. The deceased ancestors in the form the pinda are offered kajal, a thread of wool, a flower, a Tulasi leaf, maize, incense, lamp etc. They are then offered Holy sacrament (naivedya), water for drinking, washing hands and cleaning the mouth and a betel leaf for mouth freshness. Now the person performing the shraddha stands, offers barley and black sesame seeds and says, O my deceased ancestors! I Pray for food and strength for my family and that all should progress. O deceased ancestors! Grace us with wellbeing. Thereafter the Pitru-brahman is given Tilodak and the Dev-brahmin Yavodak and water is released on the pinda. Tilodak is offered on a special pinda made for those deceased ancestors who had died by burning in fire or who died in the womb. The person performing the shraddha asks, Are the Vishvedev appeased ? Are the deceased ancestors appeased ? After saying, Let all the Deities be appeased and the karma of shraddha be done as per the Scriptures, the person performing the shraddha pays obeisance. The priests say, 'Let the desire of the person performing the shraddha be fulfilled by the grace of Deities and the deceased ancestors'. Thereafter, the other members of the family pay obeisance to the pindas. After this, the person performing the Shraddha remembers the seven places that bestow Final Liberation; Ayodhya, Mathura, Gaya, Kashi, Avantika, Dwaraka and Jagannathapuri and places the pindas in a big vessel. The person performing the shraddha pays obeisance after the conclusion of the ritual. The pindas are immersed in clean flowing water before sunset. Food is served on a leaf outside the house for the crow. In the ritual of tarpan, first tarpan is done for the Vishvedev and thereafter for the deceased ancestors. The person performing the shraddha says, I am offering water, I am offering water, I am offering water in the name of so-and-so relative of so-and-so name in the form of Vasu or Rudra or Aditya of so-and-so lineage, that is, gotra. Thereafter for the sake of those born in the family lineage (gotra) who had no sons, a corner of a cloth is dipped in the Tilodak, the cloth is squeezed and water is released. Subtle experience of the subtle at the time of the pindapujan in a ritual of shraddha: Some pindas are placed at the center of the darbha. Four Dharmapindas are placed in the four corners. Red rays are emitting from the dharmapindas, a symbol of dharmashakti. Yellow spirals of Chaitanya are seen around the pindas of pitars.

7. Options available if one is unable to perform the ritual

If a person is unable to perform this ritual, many options are open to him. If brahmin is not available for brahman bhojan, darbha is used. If performing the ritual is not possible, then merely reciting the ritual with faith is also useful. The person can choose any option. The main objective in clarifying all this is that shraddha must be performed in pitru-paksha. The importance of faith in the ritual of shraddha has been explained in Brahmapurana as: Meaning: If a person performs shraddha using mere grass but with faith and devotion, then nobody in his family becomes unhappy. It is incorrect to clap on occasions other than during the singing of Artis, as it brings about a stance that does not enhance the purity element within. Nowadays people clap during a discourse of Saints, at spiritual meetings or at religious functions; this is prevalent, but incorrect. Bliss should never be expressed by clapping; because due to the mudra (posture) created by this, the Surya-nadi (Sun Channel) in the human body is activated. The Surya-nadi in the body is known as 'tamogun-vardhini' (one which increases the Tamogun in us). The Moon channel in the body is known as 'rajogun-vardhini' as activation of this channel increases the influence of raja component in the body. The Sushumnanadi (central channel) is known as 'sattvagun-vardhini', as activation of this channel increases the influence of sattva component in the body. That is why the Sushumnanadi is beneficial for the practice of Spirituality. The mudra created while clapping causes the activation of the Surya-nadi in the body and there is an increase in the tama component in the body, thus reducing the proportion of sattva component. Hence clapping is against the tenets of Sanatan Dharma, which teaches us how to acquire the sattva component. Even though clapping increases the tama component, how it is useful in aiding the Arti is explained ahead.

Why should a seeker in the primary stage clap while singing an Arti?
During singing of an Arti one should clap gently to maintain a rhythm. According to the science of Spirituality the reason for this is as follows: We appeal to the Deity via the medium of the Arti. The frequencies of sound generated by singing the Arti have the capacity to appease the Deity. When we restrict the sound of the Arti to a taal (rhythm) by clapping, the frequencies of sound created by the Arti become melodious. Thus we can activate the Deity and Its principle then begins to function. As the bhav of the devotee is awakened during the Arti, the sattva component in his body is already high. As his Sushumnanadi is activated at that time, the clapping does not have much effect on his body. Q. On waving the Arti platter in front of a Deity Why should an Arti platter be waved in a full circle in front of the Deity? A. When offering Arti, using a lamp with five wicks (also called pancharti), the platter containing this lit lamp should be waved in a full circle in front of the Deity. This results in a speedy circular movement of sattva frequencies emitted by the flame of the lamp. These sattva frequencies then get converted gradually into raja frequencies. They appear like ripples in the water. A suraksha kavach (protective armour) of these frequencies is formed around the

embodied soul of the worshipper offering the Arti and is known as a 'tarang kavach' (lit. 'ripple armour'). The more the spiritual emotion of the worshipper offering the Arti, longer this armour lasts. As his sattva component is enhanced, he is able to absorb more Divine frequencies from the Universe. This increases his spiritual emotion and he perceives the reflection of his soul in the form of a blue spot of light (also known as Atmabindu) in front of him and a ripple of raja frequencies emanating from this Atmabindu. Q. Why should the Arti platter be waved in a clockwise direction in front of the Deity? A. As the earth moves in the clockwise direction, the frequencies in the environment do not offer any resistance to the movement of the lit lamp. Q. Why should the Arti platter not be waved above the head of the Deity? A. The Arti platter should not be waved above the head of the Deity, but should be moved from the Anahat to the Adnya Chakra of the Deity. Due to the influence of the raja frequencies emanating from the Arti, friction develops with the sattva particles in the serene frequencies related to the unmanifest Divine principle (emitted from the head of the Deity). As a result, they can disintegrate before being transmitted. That is why the Arti platter should not be waved above the head of the Deity. Thus, the high-speed frequencies emitted from the Adnya chakra and which are related to the attributes of the Deity get complemented by the raja frequencies emanating from the lamp of the Arti. This enables them to be transmitted effectively in the environment forming a protective armour around the worshippers and destroying the raja-tama in the environment.

The Mahabharat and the Gita

1. The Mahabharat is the most important part of Krushnas life. Written by Sage Vyas it is a prominent historical text. Bhihmacharya was the Guru of the Kouravs in the Mahabharat. Before Bhishmas birth His mother Ganga had abandoned His seven elder brothers (vasus) in the river Ganga. Krushna was the Guru of the Pandavs. Kansa had slain Krushnas seven elder siblings. 2. Eklavya had developed ego that I have learnt archery by myself, without anyones guidance. To destroy that ego of his, Dronacharya asked him for his right thumb, a representation of the ego. 3. At the time of the Bharatiya war Krushna was about 83 years old while Bhishma was more than 130 years old. 4. The Gita makes a mention only of the four persons given below. Person Mode of speech (vani) Characteristics Dhrutarashtra Vaikhari Blind

Sanjay Arjun Krushna

Madhyama Pashyanti Para

One bestowed with divine vision The soul The Supreme God

5. Krushna narrated the Gita only to Arjun for the following reasons.

The confusion in Arjuns mind was not due to emotions, it stemmed from intellect. Arjun was Gudakesha (v) that is the one who could comprehend the implied meaning (gudha means secret) in Keshavs (Krushnas) speech. At the beginning of the Gita Arjun tells Krushna, Senayorubhayormadhye ratham sthapaya me chyut ( |) (Shrimadbhagvadgita 1:21). It means O Achyut, place my chariot in the midst of both the armies. Here, of the several Names of Krushna Achyut is used because Arjun is referring to the Krushna who does not deflect from His responsibilities, the one who is unflinching. In the midst of both the armies implies between the good and the evil. Thus He asks Krushna to take him beyond all kinds of duality.

6. The Uddhavgita: When Krushna renounced His body His great friend Uddhav was greatly bereaved. What Krushna preached to him at that time is called the Uddhavgita. 7. Point 4.11 explains the teachings of the Gita in brief. 8. The Dnyaneshvari describes the Gita as Consider the Gita as the idol of The Lord embellished with words. - 18:1684 9. Anugita: When Krushna realised that the effect of the Gita on Arjuns mind was wearing out, He narrated it to him once again. This repetition is called the Anugita. Anu means later. So,the Anugita is the Gita which is narrated once again.