Tuesday, October 1, 2013

Cosmic Orchestrator
















Oh! celestial composer whose enchanting melodies enslave,
My thursting soul in rapture to imbue the quenching nectar deep,
From the slumber of worldly woes and trials which I daily brave,
Bestow the wisdom to transcend and the inhibiting layers leap.

Consciousness narrowed to the eye of a needle, empty dictate,
Splintered thoughts acquired and rooted in fragmenting duality,
In the fathomless abyss of imprisoning desire my being abdicate,
The inner self capacity for reflection degraded to opaque quality.

The notes of your reed penetrate the limiting and deflecting wall,
Emanation of your flute knows no obstacle, the wisdom manifold,
It draws the realized soul in divine embrace, an ecstasy to enthrall,
Reveal thine infinite mystery and undo my hindering blindfold.

Gopis hear the divine sound and the tune foretells your presence,
Worldly attachments they forsake as their spirit soar and dilate,
Consummating a union, the purpose of creation in your essence,
To every element you are the playmate and the causal substrate.

You are the cosmic orchestrator, the apparent chaos that pervade,
As the whirling cosmic dancer in perpetual motion, order reinstate,
Multitude of harmonious forms pour out from you in endless cascade,
You are the unbroken thread that weaves the cosmic fabric intricate.

Your universal form to your ardent seeker of truth you did reveal,
Mortal eyes thine luster cannot behold hence beseech inner sight,
Ignite the consuming spark of a cosmic awareness, this my appeal,
Thus I may merge in your cosmic dance, ever formless in your light.

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 Today's post is in the form of a poem.
The esoteric meaning of Rasa Lila in Bhagavad Purana is brought out in a poetry form.

The gopis are considered to be Sati. The word Sati is used to represent a chaste married woman but Sayana in his commentary of the Taittiriya Aranyaka explains that the word “sati” refers to “realized souls”. Krishna plays the flute to call the gopis. The flute is given the status of a teacher, Acharya. The music is knowledge which is Brahma-Vidhya. The music flowing from the flute awakens the thirst for spiritual knowledge in the gopis. This also shows us that we can only learn Brahma-Vidhya through an Acharya. Krishna prefers to use an Acharya as an intermediary to teach us Brahma-Vidhya. Once Brahma-Vidhya is awakened, the gopis abandon their husbands to reach Krishna. The husbands represent our selfish materialistic desires.

True knowledge kills these selfish desires. The gopis want only that which is true and approach Krishna. The Raasa dance takes place in a circle. The gopis represent the jeeva atma. There is one Krishna in the middle surrounded by the gopis. Not only is there a Krishna in the middle but He also appears as a partner for each and every gopi. There are as many Krishnas as there are gopis.

The Krishna in the middle represents Paramatma in His absolute form. The Krishna dancing with each and every gopi represents His Antaryami form. As antaryami He exists as our soul. He is always with us. He exists in each and every one of us. Thus the entire Raasa dance represents the Vishwaroopa Swaroopa of God; He exists as antaryami (soul of every soul) as well as the Absolute God head.

The Raasa dance is performed with the gopis who are women. This represents that all jeeva atmas are feminine. The only male in this entire Universe is Paramatma Sri Krishna. He is known as the Para Purusha or the great Purusha. The Raasa dance shows us one of the nine relationships we share with Paramatma which is that of a husband & a wife. He is our husband. This relationship is a spiritual relationship and differs from the type of spousal relationships we are familiar to.

The gopis encircling Krishna on either side represent students and Krishna is the object of knowledge sought by them. If we look at the two Krishnas encircling a gopi then we see the student in the middle. Knowledge gains importance only when there are students to learn. The two Krishnas encircling a gopi show us the importance of the student or the jeeva atma. The two gopis encircling a Krishna show us the supremacy of the knowledge or Paramatma.

The Raasa dance has deep esoteric meaning and has nothing to do with sensual indulgence. When the esoteric meaning of the dance is illuminated, it helps us to shed our desires for materialistic sensual pleasures. It awakens the thirst to learn Brahma-Vidhya in us; with the help of this knowledge we can reach the feet of Paramatma. The dance takes place at night to show us that the union with Paramatma is beyond time and space. At nighttime the normal boundaries of time and space are not illuminated. Night here represents the transcendental nature of the union of a jeeva atma with Paramatma.
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Ref: Indo Aryan Mythology by Narayan Aiyangar

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