Secret Behind the ‘Hare Kṛṣṇa Hare Rāma’ MahāMantra

The Supreme Lord here reveals the meaning and secret behind the ‘Hare Kṛṣṇa Hare Rāma’ MahāMantra (Great Mantra) whose chanting was popularised by the great 16th Century saint Caitanya Mahāprabhu as a path to liberation in Kaḻi Yuga (On-going Age of Ignorance).

The MahāMantra (Great Mantra) as was taught by Caitanya Mahāprabhu is:

hare kṛṣṇa hare kṛṣṇa
kṛṣṇa kṛṣṇa hare hare ।
hare rāma hare rāma
rāma rāma hare hare ॥

(Below is the revelation as extracted from Māḻikā (Mystic Oracular Books), given by Śrī Guru Lord Jagannātha in Oḍiā; translated and summarised into English for the benefit of Mankind)

(Recommended Read: Revelation of the Kaḻkī MahāMantra)

Summary:

The Kaḻi Saṇṭāraṇa Upaniṣad in short details the MahāMantra which was revealed to the great sage of the demi-gods Nārada Muni by Lord Brahmā (the Masculine Creator Divinity) as a path to stay aloof from the effects of Kaḻi Yuga (the On-Going Age of Ignorance). At the advent of the present and on-going age of Kaḻi Yuga, as ignorance about the true nature of self became predominant, the Supreme Lord, in-order to continue His Līḻā (Play of Creation) as per the nature of the Yuga (Age) hid the various Tattva (Fundamental Principles) that would otherwise make one realise the Brahma (Ultimate Reality).

While, the realisation of the Sat-Cit-Ānanda (Truth, Consciousness and Bliss) could be done through pursuing various paths of Yoga (Union), including pursuing of Jñāna (Knowledge), Dhyāna (Meditation), Prāṇāyama (Breath Control), Karma (Action) etc, however, in Kaḻi Yuga, due to the strong effect of ignorance (about the true nature of self) and crave to pursue material desires, it is easy to lose direction and discipline that is needed in spiritual practice. While the Supreme Lord hid the various Tattva (Fundamental Principles) from the masses, for the benefit of mankind He revealed them codified in the MahāMantra:

hare kṛṣṇa hare kṛṣṇa
kṛṣṇa kṛṣṇa hare hare ।
hare rāma hare rāma
rāma rāma hare hare ॥

The MahāMantra (Great Esoteric Chant) as is often popularised in this format starts with the chant of Kṛṣṇa in first half and ends with the chant of Rāma in the second half. However another version of the Mantra (Esoteric Chant) starts with Rāma in the first half and ends with Kṛṣṇa in the second half:

hare rāma hare rāma
rāma rāma hare hare ।
hare kṛṣṇa hare kṛṣṇa
kṛṣṇa kṛṣṇa hare hare ॥

Both the Mantras are but one and the same. While the first one starts from the Anādi Brahma (Eternal Reality) as Kṛṣṇa and ends with the Ādi Brahma (Primeval Reality) as Rāma, the second one starts with the Ādi Brahma (Primeval Reality) as Rāma and ends in the Anādi Brahma (Eternal Reality) as Kṛṣṇa. Puruṣottama who is the Anadi-Ādi Rūpa (Eternal-Primeval Form) is the combination of the two. Puruṣottama is the Pūrṇa Brahma (Complete Reality in its Entirety).

Through various opulence, the Supreme Lord Puruṣottama (Greatest among all the Forms) known as the Anādi-Ādi Mūḻa (Root and Source of the Eternal and Primeval Forms) changes His form from Anādi to Ādi (Eternal to Primeval) and from Ādi to Anādi (Primeval to Eternal), continuously. Anādi (Eternity) ensues without a beginning or end, but with the introduction of Līḻā (the Play of Creation), comes the concept of Time – the Ādi (the Beginning) and the Supreme Lord as various Ādi Rūpa (Primeval Forms) manifests and takes part in the Līḻā (Play of Creation). At the end of each Līḻā (Play), during the Praḻaya (Destruction of Creation), the Ādi (Primeval) mixes in the Anādi (Eternal) and becomes one. This happens continuously at both micro and macro levels. At the micro level, the realisation happens through understanding the Mānava Śarīra (Body) and at the macro level the realisation happens in understanding of the Brahmāṇḍa (Universe) – both of which are not different from one another, in reality.

The mix of both the Anādi (Eternal) and Ādi (Primeval) is called the Puruṣottama Līḻā (Bliss filled Play of the Supreme Lord). There is Anādi in Ādi Rūpa (Eternal in Primeval Form) and Ādi in Anādi Rūpa (Primeval in the Eternal Form). Chanting of the Mantra (Esoteric Chant) in either of the formats results in the same output, for the Pūrṇa Brahma (Complete Reality) called Puroṣottama (Greatest among the Forms) is realised when one completes the Mantra – either beginning with Kṛṣṇa and ending in Rāma or beginning with Rāma and ending in Kṛṣṇa.

(1) The Supreme Lord says that Nāma Brahma (Truth ingrained in the form of a Name) and Mantra (Esoteric Chant) are but one and the same.

manaḥ trāyate iti mantraḥ

Mantra is that which helps the mind to focus. It could be a sound or an arrangement of letters, or may be a name, or something that one strongly believes in – perhaps the words of advise or instruction of one’s Guru. Anything that helps the mind gain focus is called Mantra.

(2) Often it is pondered if the effect of reciting the Nāma (Name) and Mantra (Esoteric Chant) are different, and this confusion makes one doubt what is right and effective in the course of Sādhanā (Spiritual Practice).

The entire creation including the innumerable universes that are created, sustained and destroyed are in the form of sound waves – Śabda Brahma (Reality in the Form of Sound). The entire existence is in the form of Śabda Brahma (Reality in the Form of Sound) known as the Oṃkāra. In Kaḻi Yuga (the Present and On-Going Age), the Supreme Lord hid this very Brahma Tattva (Fundamental Principle of the Creation) in the Nāma Brahma (Reality in the form of Sound of the Name) and disclosed it in a codified form for the benefit of the general masses.

(3) Here, the Supreme Lord reveals that both Nāma (Name) and Mantra are but one and the same, and that there is no difference between them.

The various names of the Lord – Hare, Rāma, Kṛṣṇa, Viṣṇu, Śiva, Durgā, Rādhā, Mohammada, Jesus, Āllāḥ, Acyuta – all represent the power of the Śabda Brahma (Reality in the Form of Sound), and have power ingrained in them, and all of them help the mind to focus.

(4) When one chants the name, one should do with deep feelings of devotion, and then the effect of reciting the name will be valuable.

While there are many paths to reach the Divine, the Supreme Lord Jagannātha’s prescribed path in the Kaḻi Yuga is that of Bhāva, Bhakti and Prema (Emotion, Devotion and Love). In Kaḻi Yuga, the finding of a path is not easy, and hence the Supreme Lord manifested as Caitanya Mahāprabhu prescribed and popularised the MahāMantra – which when chanted with Bhāva, Bhakti and Prema (Emotion, Devotion and Love) leads straight to the Supreme.

(5) The Supreme Lord further asks why is the Nāma Mantra (Esoteric Chant as Name) referring to the MahāMantra (Great Mantra) has Sixteen Names ingrained in it.

hare kṛṣṇa hare kṛṣṇa
kṛṣṇa kṛṣṇa hare hare ।
hare rāma hare rāma
rāma rāma hare hare ॥

In the first half, Hare is repeated four times, Kṛṣṇa four times. In the second half, Hare is repeated four times, and Rāma four times. The total of these make Sixteen Names comprising of Hare, Kṛṣṇa and Rāma.

(6-7) The Sixteen Names comprise thirty-two letters (referring to thirty-two syllables when rendered in English language), with each Name comprising of two letters (two syllables). The Supreme Lord says that understanding the Tattva (Ultimate Principle) behind these Names shall bring emotions of devotion towards Guru (Teacher) and one shall then be capable of becoming a Śiṣya (Disciple), and only then the path of Divine shall unravel to them through their Guru.

(8) The Supreme Lord further reveals the Tattva (Ultimate Principle) of the Sixteen Names and thirty two letters (syllables) in the Nāma Mantra (Esoteric Chant as Name) is built on a fundamental principle.

(9-10) The Names – Hare, Rāma and Kṛṣṇa make a complete triad of seeds, and refer to three Bīja Mantras (Seed Esoteric Chants).

Everything that exists is in the form of waves, and the entire existence – including that which existed in the past, exists now and will exist in the future, the eternal and the primeval, in its entirety is the sound ‘Oṃ’. The various aspects of the creation that exist as sound waves are created from a singular point called the Aṇākāra (Formless Form) – also referred to as the Turīya ~ the silence beyond the A, U and M sounds of the Oṃkāra. The origination of these sound waves happens in the form of monosyllabic Bīja Mantra (Seed Esoteric Chants) which become the basis of subsequent processes of creation.

This triad of Bīja Mantras (Monosyllabic Seed Esoteric Chants) together refer to the Pūrṇa Brahma (Complete Reality in its Entirety), and are also represented by the sounds A, U and M of the Oṃkāra.

The A, U and M that make up the Oṃ sound are the same triad that take up multiple names and forms as subsequent process of creation repeat themselves. The Praṇava (Infuser of Life) as the Oṃkāra is also known, repeats itself again and again, in various variations to that which is created (by the A sound), which is sustained (by the U sound) is then is finally destroyed (by the M sound). And the silence that was before creation and follows the A, U and M sounds after destruction is known as the Aṇākāra (the Eternal Formless) at the top of the letter represented by the Bindu (Dot) . The Ādi Brahma (Primeval – with beginning of the creation that will sustain and then end), thus is represented by the A, U and M, and the Anādi Brahma (Eternal – without beginning or end) represented by the silence – the Bindu (Dot). Together, this is known as the Anādi-Ādi (Eternal-Primeval together), known as the Pūrṇa Brahma (Complete Reality in its Entirety) – the same as the MahāMantra.

In the context of creation, preservation and destruction, the triads are personified and known as Brahmā, Maheśvara and Viṣṇu. In the context of Śakta (Feminine Power), they are known as Bhūvaneśvari, Ugra Tāra and Dakṣiṇa Kāḻi. In the Tretā Yuga (Second Phase of Present Cycle of Creation), they were known as Sitā, Lakṣmaṇa and Rāma. In the Dvāpara Yuga (Third Phase of Present Cycle of Creation), they were known as Subhadrā, Baḻarāma and Kṛṣṇa. Manifested as wooden forms in the Jagannātha Temple in Purī (India) in the Kaḻi Yuga (On-going Phase of Present Cycle of Creation), they are known as Subhadrā, Baḻabhadra and Jagannātha. In the path of Mānasa Sādhanā (Mind Control and Practice), they are known as Concentration, Meditation and Absorption. In the Puruṣottama Mārga (Path of the Supreme), they are known as Bhāva (Emotion), Bhakti (Devotion) and Prema (Love). The same triad are also identified by different names in various faiths all around the world, but the Tattva (Fundamental Principle) always remains the same. In-case of the MahāMantra, the same triad is identified and referred to as Hare, Rāma and Kṛṣṇa.

(11-14) The Supreme Lord further reveals that in the MahāMantra (Great Mantra), the first two words ‘Hare’ and ‘Kṛṣṇa’ and the last two words ‘Hare’ and Hare’ correspond to the four idols of Baḻabhadra, Jagannātha, Subhadrā and Sudarśana, as is seen in the Śrī Jagannātha Temple in Purī (India).

(L to R) Representative photograph of the four wooden idols of Baḻabhadra, Subhadrā, Jagannātha and Sudarśana.

While ‘Kṛṣṇa’ corresponds to Jagannātha, the three ‘Hare’ correspond to Baḻabhadra, Subhadrā and Sudarśana.

(Hare Kṛṣṇa) Hare Kṛṣṇa
Kṛṣṇa Kṛṣṇa Hare Hare।
Hare Rāma Hare Rāma
Rāma Rāma (Hare Hare) ॥

thus corresponds to

(Baḻabhadra Jagannātha) Hare Kṛṣṇa
Kṛṣṇa Kṛṣṇa Hare Hare ।
Hare Rāma Hare Rāma
Rāma Rāma (Subhadrā Sudarsana) ॥

The first half of the Mantra denoting the Kṛṣṇa name is of Anādi Tattva (Eternal Principle) the second half denoting the Rāma name is of Ādi Tattva (Primeval Principle). Together they make the Anādi-Ādi – the Puruṣottama Tattva (Principle of the Supreme).

The Supreme Lord further reveals that the Twelve Names that remain in-between are together known as the Dvādaśa Gopāḻa (Twelve Gopāḻa).

These Twelve Gopāḻa as are referred, are but manifestations of the Supreme Lord, and had shown themselves in the Dvāpara Yuga as twelve intimate friends of Śrī Kṛṣṇa in the village of Gokuḻa, known by as Śrīdāmā, Sudāmā, Dāmā, Vasudāmā, Kiṅkiṇi, Stoka-kṛṣṇa, Aṁśu, Bhadrasena, Vilāsī, Puṇḍarīka, Viṭaṅka and Kalaviṅka.

In the Dvāpara Yuga, the twelve cowherd friends of Kṛṣṇa were the intimate friends and part-takers in His Gokuḻa Līḻā (Pastimes in the Gokuḻa Village).

In the Satya Yuga (First Age of Present Cycle), the same twelve were known and worshiped as the Dvādaśa Āditya (Twelve Suns) namely Dhātā, Aryamā, Mitra, Varuṇa, Indra, Vivasvān, Pūṣā, Parjanya, Aṁśu, Bhaga, Tvaṣṭā and Viṣṇu. In the Bhū Loka (Earthly Plane), the same twelve have manifested as the Dvādaśa Jyotirliṅga (Twelve Radiant Phalluses) known by as Somanātha, Mallikārjuna, Mahākāḻa, Omkāra, Vaidyanātha, Bhīmaśaṅkara, Rāmeśa, Nāgeśa, Viśveśa, Tryambaka, Kedāra and Ghuśmeśa.

(15) Again, as these Dvādaśa Gopāḻa (Twelve Gopāḻa), the Supreme Lord plays in the Kaḻi Yuga (On-going Age of Ignorance in Present Cycle of Creation) too.

The Dvādaśa Gopāḻa (Twelve Gopāḻa) are not different from the Supreme Lord Himself, for they are His extensions and manifestations for the purpose of Līḻā (Play of the Era) alone.

(16) These Dvādaśa Gopāḻa again are also present inside one’s Heart.

In the Anādi Goloka – the Eternal Abode of Supreme where Kṛṣṇa and Radha are undifferentiated from one another (known in modern terms as the Black Hole), reflects and manifests as the Ādi (the Primeval) – the Vaikuṇṭha (the Abode of Lord Viṣṇu). Subsequently each Brahmāṇḍa (Universe) that has again manifested is in the image of that Vaikuṇṭha which in turn is the image of Goloka. Again the Macrocosm represented by the Brahmāṇḍa (Universe) reflects as the Microcosm represented by the Piṇḍa (Body). The same Tattva (Principle) repeats itself again and again in various aspects of creation.

The Dvādaśa Gopāḻa (Twelve Gopāḻa) as are referred to here, are also present in the Anāhata Cakra (Discus of the Centre of Unstruck Sound) represented at the Heart’s location in one’s body.

Similarly, an image of the same Goloka known as Nitya Vṛndāvana that falls on the Martya Maṇḍala (Eternal Abode of the Supreme on Earthly Plane) is known by as the Śaṃkha Kṣetra (Conch Shaped Land) – the location of Purī (India) – the place of Śrī Jagannātha Temple. The residing Supreme Lord at the heart of each of these places is known as Niḻādri Nātha (Lord of the Blue / Dark Mountain).

(17-18) In the Anāhata Cakra (Discus of the Power Centre of Unstruck Sound), the Dvādaśa Gopāḻa (Twelve Gopāḻa) are represented by the twelve petals of the Lotus that make and surround the centre of the Cakra (Discus). At the centre of the twelve petals, at the Hṛda Kandara (Cave of Heart) also known as the Niḻa Kandara (Dark Cave) is the Niḻādri Nātha (Lord of the Dark Mountain) as the Supreme Lord Himself – the Anādi-Ādi Mūḻa (the Root and Source of the Eternal and Primeval Forms) – the Puruṣottama (the Greatest among all the Forms).

Representative image of the Anāhata Cakra (Discus of the Power Centre of Unstruck Sound). The sounds kaṃ, khaṃ, gaṃ, ghaṃ, ṅaṃ, caṃ, chaṃ, jaṃ, jhaṃ, ñaṃ, ṭaṃ, ṭhaṃ (in Devanāgarī Script written as कं, खं, गं, घं, ङं, चं, छं, जं, झं, ञं, टं, ठं), one on each of the twelve petals represent the Twelve Gopāḻa.

(19-22) Again in the Anāhata Cakra (Discus of the Power Centre of Unstruck Sound), in the Hṛda Kandara (Cave of Heart) are four corners extended in the form of Śaṃkha (Conch), Cakra (Discus), Gadā (Mace) and Padma (Lotus).

While in the Goloka these four corners are called the Caturvyūha (Four Extensions and Formations) and represent constellations, in the Human body, these four corners are represented by four chambers of the human heart. In the Vaikuṃṭha, these four corners are represented as Lord Viṣṇu holding the Śaṃkha (Conch), Cakra (Discus), Gadā (Mace) and Padma (Lotus).

In-between this is a six cornered form, at the centre of which the Supreme Lord makes His presence in His Nirākāra Rūpa (Formless Form) as the Brahma Jyoti (Ultimate Truth in the form of Light).

The same Brahma Jyoti (Ray of Ultimate Truth) known as the Anādi-Ādi Mūḻa (Root and Source of Eternal and Primeval) is the essence of the entire creation including uncountable Brahmāṇḍa (Universes). The same Brahma Jyoti is present in Goloka as Rādha-Kṛṣṇa together – undifferentiated as one. The same Brahma Jyoti manifests differentiated as Puruṣa (Spirit) and Prakṛti (Energy), as well as is conjoined as Śiva (Purity) and Śakti (Power) and extends as the Svayaṃbhū (Self Manifested) known as Mahā Viṣṇu (the great one who enters and lies on the causal ocean and is the cause of all causes). The same Brahma Jyoti (Pure Light) resides right within the Heart.

(23-24) Of the twelve petals of the Lotus that are referred to in the Anāhata Cakra (Discus representing the Power Centre of the Heart), eight of them are upward facing, and four of them extend downwards. At the centre of the twelve petals, is the Keśara (stigmas). This way Ṣaḍa Keśara (Six Stigmas) are present.

(Representative image of the Lotus flower) In-case of the Hṛda Padma (Lotus of Heart), while eight petals face up, four face down, and have six stigmas at the centre.

(25) The resulting combination of these Ṣaḍa Keśara (Six Stigmas) is called Keśava – the combined form of Brahmā, Viṣṇu and Śiva (the Masculine representations of Creator, Preserver and Destroyer) and their respective Śakti (Feminine Energies). Hence this combined form called Keśava is also known as Yogeśvara (the Lord in Union). This representation of Brahmā, Śiva and Viṣṇu are also references to Hare, Rāma and Kṛṣṇa ~ Subhadrā, Baḻabhadra and Jagannātha.

(26) The six stigmas are but the six corners.

The resulting star that is represented by union of the upward and downward triangles can be seen in the Kṛṣṇa and Viṣṇu Yantras (Mystic Drawing Representations) as well as in the David’s Star in the Jewish faith – one representing Male and one Female, one Liṅga (Phallus) and one Yoni (Womb), one Puruṣa (Spirit) and one Prakṛti (Energy), one Śiva (Purity) and one Śakti (Power).

In-between the six cornered star, at the centre is Puruṣottama – the Supreme Lord as the root and source of all.

In Goloka – the eternal abode, this six cornered island is called the Svetādvipa (White Island of Glare), where there is no concept of Śabda Brahma (Reality in Sound), and its Lord is the Anāma (Nameless) Nirākāra (Formless) referred to as the Svetādhipati (Lord of the White Island).

(27) At the centre of the Anāhata Cakra (Discus representing Power Centre of the Heart), the Supreme Lord has manifested in the Sākāra Rūpa (Definite Form) of a Bumble Bee.

The six legs of the Bumble Bee represent the six stigmas, and the sound created by the Bumble Bee is akin to the sound of Oṃ that can be realised by hearing the beating of one’s heart. However this sound is not created by the striking of one object with another, and is known as the Anāhata Nāda (Unstruck Sound). This sound is also represented by the combination of Dvādaśavidha Nāda (Twelve Sounds) and is known as the sound Oṃ, which when took form was known as Oṃkāra, and is the entire existence in its entirety. The same sound of Oṃ – the Anāhata Nāda (Unstruck Sound) can be heard at the Anāhata Cakra – the Discus of Power Centre of the Heart.

By referring to His form as a Bumble Bee, the Supreme Lord is also alluding to the love between the Jīvātmā (Being) and Paramātma (Supreme). Just like a Bumble Bee is unable to restraint itself from tasting the Nectar of the Lotus flower, the Paramātma (Supreme) as the Bhramara (Bumble Bee) keeps searching for the flow of Nectar (Love) at the Hṛda Padma (Lotus of Heart) of the Jīvātmā (Being).

(28-30) At the thorax of the Bumble Bee, are two foot marks, which are the foot marks of the Supreme Lord’s Nirākāra Rūpa (Formless Form).

In Nature, on the thorax portion of the Bumble Bee, the marks in the form of the shape of two foot marks can be seen.

Only the foot marks manifest, but the feet is of formless form – the Brahma Jyoti (Pure Light). Of these feet, that manifests in the form of light, one is blue in colour and other is white, the white representing the Anādi (Eternal) and the blue representing the Ādi (Primeval), and together representing the Anādi-Ādi Mūḻa ~ the combined Eternal-Primeval Form – the Pūrṇa Brahma ~ the Ultimate Reality in its entirety known as Puruṣottama ~ the Formless and Greatest among all the Forms.

Disclaimer:

The Divine Revelations extracted and presented here in their original and uncorrupted form have made heavy incorporation of Chanda (Poetic Metre and Crypt), have multiple meanings and ingrain deep symbolism which make them very difficult to understand. While the same Sūkti (Divine Revelation) may also be understood and interpreted differently by different seekers and teachers of Spiritualism, all paths lead to the same goal towards realisation of Brahma (the Ultimate Truth).

The above Translation and Summarisation is a humble attempt by members of Hari Parivār to interpret and explain the original extraction in context of the Supreme Lord Jagannātha’s prescribed path of Bhāva (Ardour), Bhakti (Devotion) and Prema (Love).