Baba
Namaskar,
The practice and cultivation of the fine arts is a big part of aesthetic science (nandan vijiana) and our yogic lifestyle.
Ananda Marga philosophy says, "Fine arts lead human beings to the trans-sensory realm; hence sádhakas (spiritual aspirants) should not discourage fine arts; rather they should support them, directly or indirectly.” (1)
Our Ananda Marga recognises the fine arts which include dance, drama, writing, debate, drawing, painting, etc. At all our collective functions, the presentation of the fine arts is indispensable: Singing and dancing of Prabhat Samgiita, and other RAWA programs like dramas, plays, reenactments, etc.
The fine arts add dynamism to the human experience. If people merely follow the same routine day after day, life becomes boring. To break up the monotony of daily living, fine arts are needed. The fine arts like song, dance, dramas, and music are all key elements.
https://anandamargauniversal.blogspot.com/
Slogan: “Art is for service and blessedness”
The next question is what should be the nature of the fine arts. Should the arts carry a particular message that benefits humanity, or can art simply be a show of one’s animalistic propensities.
Ananda Marga philosophy states, "Art is for service and blessedness and not for art's sake." (2)
Within the domain of the fine arts, there are two distinct avenues: Art inspired by higher ideals, the Divine entity Parama Purusa and "art" motivated by animalistic propensities. In this present era, most of the "so-called-fine arts" are born out of the lower propensities / vrttis. Hollywood and Bollywood are the epitome of this. Actually it is not art. Nor do we want such types of tamasika displays in any programs.
The presentation of the fine arts - local dances, writing, debates, paintings, dramas etc - should goad the mind upward towards the Supreme. Bad art is not art rather something else, just like how all chemicals are not necessarily medicine, they are just poison.
Ananda Marga philosophy states, "“Art for art's sake” is not acceptable; rather the expression should be, “Art for service and blessedness.” (3)
One should present any sentient local dance or drama
Our annual AMPS program aims to guide the margii audience what to do in their local unit. So people go to programs to learn our Ananda Marga way of life and return back home with the inspiration to practice those things in their own unit.
https://anandamargauniversal.blogspot.com/
But it does not mean that those attendees should practice the overseas dance in their native land, irrespective of where one is living. Rather local dances should be on display - so long as they are consistent with the tenets of our teachings. The idea is that the fine arts should be cultivated and guided by Ananda Marga ideology, i.e. where the goal is the Supreme, not crude matter or material longings. In that spirit, at cultural program in their units, margiis should present any local sentient dance or drama, or engage in other endeavours like writing, debate, drawing, painting, etc. Yet all these artistic endeavours should be pursued with a greater goal in mind like: “Art for service and blessedness.” (4)
Conclusion
The conclusion is that the fine arts are for goading the human mind toward higher ideals. They should channelize the mind towards the spiritual realm. That is the key of the fine arts. And all dances, dramas, writings, debates, drawings, and paintings should also take its inspiration from the Cosmic Entity.
Ananda Marga philosophy states, "“Art for art's sake” is not acceptable; rather the expression should be, “Art for service and blessedness.” (5)
Namaskar,
in Him,
Satya Murti
~ In-depth study ~
Listing of the fine arts
From Wikipedia: "Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theater and dance. Today, the fine arts commonly include additional forms, such as film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms. One definition of fine art is "a visual art considered to have been created primarily for aesthetic and intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture." (Courtesy of Wikipedia)
How to make dramas more interesting for the audience
Now we examine how to make short dramas, mysteries, and theatre more interesting for the audience.
Ananda Marga philosophy says, "If there are complications in the plot, it is desirable to let the reader or the audience first form a rough guess about the plot and then introduce suspense, instead of introducing it at the very beginning, for this will help them to appreciate the suspense more." (6)
When producing any play or drama etc, careful consideration should be given to developing the plot to draw the audience in. Once that is achieve, suspense can be employed. In the next guideline, the warning is given that if the audience cannot understand the central plot of the story they will become confused and bored.
Ananda Marga philosophy states, "If the audience has not even understood the suspenseful plot, the desire for release from the suspense cannot be intensified; rather people spend their psychic energy more on pondering over what they do not understand in the complicated plot, instead of being curious about what is coming next." (7)
Finally, it describes how the above guidelines apply to stage performances, dance, and screen plays.
Ananda Marga philosophy states, "In my opinion this applies equally to both screen and stage plays and dramas. The difference between the two is that the assistance that the author of a screen drama derives from the art director or the studio-technicians, the author of a stage drama does not. The latter has to arrange the environment through the media of the dialogues of the different characters." (8)
So the director of stage dramas should create a dialogue or narration to keep the audience aware of what is going on. Since the cho dance typically has no dialogue, only dance, then those directors must incorporate a narration or some type of explanation for the audience. In a similar manner, and those artists involved in writing, debate, drawing, and painting should pay careful attention to the presentation of their craft as well.
https://anandamargauniversal.blogspot.com/
Display of fine art in DMS
All in all, the fine arts can be done anytime, but the cho dance is done at the height of Ananda Nagar DMS when most of the attendees are in the pandal. The program is meant to revive the audience.
Ananda Marga philosophy says, "Cho dance, which is performed after battle during times of rest in the military camp, has more mudra in it. The dancer only dances, and does not sing. Another person sings and narrates in song what is taking place." (9)
One point to keep in mind is that cho dance is based on a series of long mythological stories. But the cho dance itself is relatively short. Only those familiar with the greater story can enjoy the cho dance because they know each and every section of the main story. Those not familiar with the bigger story find the cho dance to be dreary and boring, like a silly children's play. This problem can only be solved when the main theme of the story is narrated beforehand.
Otherwise, when one does not know the theme, spirit, or significance of any dance program, then naturally one would find it to be boring. Only kids below the age of 7 will enjoy it because children like anything that features costumes. Just think about it. When you were a small kid then you liked playing with toys but when you became an adult you no longer liked playing with those toys. Even if such toys are lying around the house you avoid them. But when you were a small kid you became enthralled playing with those dolls and toys; however as an adult you do not like to even think in that way. Due to the lack of a proper explanation, the dance can become like a drama meant only for children.
Adults want to know the import and significance - not just see some glossy costumes. Without that, the dance seems like a meaningless ritual. New plays can be written and presented on any number of themes such as how recent Ravana Indira Gandhi was killed, how to do Ananda Marga pracar etc.
And on the regional or local level, the exact type of presentation from place to place. For instance, the cho dance is performed at Ananda Nagar DMS as that dance is local to that area. By this way margiis get the idea that when they go back home they should also partake in the presentation of the fine arts in their unit. For this very purpose, in any AMPS program, the fine arts is presented as a reminder that spiritually based programs should be done on the local level as well. It is the duty of up and coming artists to develop new stories and dance / dramas.
https://anandamargauniversal.blogspot.com/
References
1. Caryácarya part 2, Society, Point #16
2. Prout in a Nutshell part 17, The Evolution of Indian Languages
3. Abhimata, The Opinion, 2
4. Abhimata, The Opinion, 2
5. Abhimata, The Opinion, 2
6. Prout in a Nutshell, part 1, The Practice of Art and Literature
7. Prout in a Nutshell, part 1, The Practice of Art and Literature
8. Prout in a Nutshell, part 1, The Practice of Art and Literature
9. Prout in a Nutshell, Part 18, Talks on Education – Excerpt D
* * *
Please look upon me with eyes full of karun'a (compassion)
"Kan’t́aka patha dhare klesha varan’ kare, a’siyachi prabhu tava tare je a’ji..." (Prabhat Samgiita #1408)
Note: Only those who sincerely practice the higher lessons of sahaja yoga meditation can understand this song in the depths of their heart.
Purport:
Parama Purusa, I have come to You today, by Your grace, after crossing the thorny path and undergoing so much suffering. Since I started moving on the path of divinity, I have faced so much opposition in the society - both from the status quo and the followers of dogma. There were so many internal struggles as well as much opposition from avidya maya - internal enemies and external bondages. Even then, by Your blessing, I stayed the course, rose to the challenge, held onto Your dharmic ideals, fought against the opposition, came to You by Your grace. Baba, with Your help I have reached Your lotus feet. Please look upon me with eyes full of karun'a - overlooking my demerits and weaknesses. Please accept me, coming in my mind in Your most attractive mohan form.
Supreme Entity, by Your krpa all kinds of complexes - shame, shyness, inferiority, superiority, fear, and defeatist etc - from which I was suffering have vanished. These mental diseases have been completely washed away from my mind due to Your sweet will. All my feelings and thoughts are surrendered unto You. Today I humbly offer those emotions at Your lotus feet, in Your supreme ideation. Now in my deep meditation, only You and I exist. I have completely forgotten the rest of the world. Just I am dancing in Your holy name and special rhythm.
My Supreme Guide, only this I request of You. Please come in my heart, by lighting the lamp of eternal love and yearning, again and again in my mind. Baba, I ask for Your divine compassion - karun'a. Please bless me with the highest bhakti.
Baba, by Your grace, I have come after facing a lot of torment. Please keep me in Your shelter...
Note for Prabhat Samgiita #1408:
[1] Mohan Sa'j: This term is used in the original Bengali lyrics of the song and refers to the most attractive form of Parama Purusa. In spiritual life, as the mind becomes more and more pointed, by His grace, the sadhaka feels that Parama Purusa is the most charming Entity. Also in this song the bhakta is indirectly asking Parama Purusa, "Please grace me and heighten my bhakti so I feel that You are the most attractive One."
[2] Lok Laj Sare Geche: This line of the song depicts the state of mind where one is ensconced in a very deeply intimate bhava and they are not aware about their surroundings nor what others are thinking and saying about them. For instance, if one is singing and dancing kiirtan in the streets and the mind is purely focused on Him, then one will not be concerned about public opinion etc. They will continue to dance and sing, regardless what others may be saying. So when the mind is very high, then one is oblivious of the world around them. They are in a very pure and blissful state that leads to Supreme realisation - fully ensconced in His divine bliss.
[3] Tumi a'r a'mi a'chi jagat ke bhule gechi: When the sadhaka, by the grace of Parama Purusa, is fully immersed in meditation and wholly focused on Him, then they feel that only Parama Purusa exists. That state is known as savikalpa samadhi. When the mind is a little lower but still in a deeply spiritual flow, then one feels that only Parama Purusa and myself exist. When the mind is still lower, then one feels that there is me, my family and Parama Purusa. And when one's mind is completely distracted, then they cannot even concentrate in sadhana and instead plan all kinds of mundane things in life. This particular line of the song depicts the exalted stage where the bhakta thinks that, "only I and Parama Purusa exist."
[4] Karun’a’: This is when one is pained by seeing another's suffering and feels, "I should help them.” This type of empathetic feeling is karun'a'. For example, suppose you saw one beggar who is suffering. By seeing his pitiful situation then you felt in your heart that, "I should help him and remove his suffering. This very feeling of the heart towards that suffering beggar is the expression of karuna'.
Similarly, suppose a bhakta is suffering and unable to move ahead in the physical, psychic, or spiritual realm. In such circumstances, Parama Purusa cannot bear to watch His bhaktas go through so much suffering. When devotees are helpless and trying hard to move ahead on their forward journey and they face all kinds of obstacles, complexes, bondages, and suffering due to their own samskaras - and the situation arises where they can no longer move ahead - seeing this unbearable scene, Parama Purusa feels He must rescue them immediately from their suffering. With His deep empathy and mercy, Parama Purusa removes their suffering, so that once again they can move ahead in all realms of life. This entire liila is called His karun'a'.
Difference Between Krpa' & Karun'a'
In the case of karun'a', Parama Purusa is moved by a bhakta's suffering and comes forward to save that bhakta from their suffering. With krpa' (grace), the bhakta is not suffering but even then Parama Purusa is bestowing His blessing.
It is just like if a baby is sick and with great empathy a neighbor selflessly gives that infant more attention without expecting anything in return. That neighbor just lovingly places the sick baby on her lap in a very special way and serves the baby. That is the neighbour’s karuna on the baby. Because the neighbor is moved and motivated into action by seeing the sick child's suffering. In contrast, if that same baby is not sick, and the neighbor just wishes to bring the baby on her lap to serve the baby, then that is the neighbour’s krpa on the baby.
Similarly, when out of empathy Parama Purusa lovingly comes to the aid of His suffering devotee to relieve them of their spiritual strife, that is the karuna of Parama Purusa on the bhakta; and, if that same devotee is not suffering devotionally, yet Baba still bestows His blessing, that is Parama Purusa’s krpa on the bhakta.
So there is a distinct difference between krpa (grace) and karuna (compassion).
When Parama Purusa showers His karuna He helps that suffering person and relieves them of their pain and agony - in all spheres of life.
== Section: Important Teaching ==
Prout: Key point is purchasing capacity
Prout philosophy states, “According to PROUT, increases in per capita income are not a sufficiently reliable and scientific index to determine the standard and progress of a particular socio-economic unit. Rather, this approach is misleading and deceitful, because it refers to a simple mathematical calculation of total national income divided by total population. This does not give the correct picture of the standard of living of the people of a particular socio-economic unit as the wealth disparity in society is concealed. Per capita income shows the mean and not the variation of income distribution. If inflation is also considered, the reliability of per capita income is further reduced."
"Purchasing capacity, on the other hand, is the real index of how people's economic needs can be met by their income. All PROUT's plans and programmes in the socio-economic sphere should be aimed at increasing the purchasing capacity of the people. PROUT stresses increasing purchasing capacity and not per capita income."
"Per capita income is not a proper indication of the increase in the standard of living of the people because while people may have very high incomes they may not be able to purchase the necessities of life. If the per capita income is low and people have great purchasing capacity they are much better off. So, purchasing capacity and not per capita income is the true measure of economic prosperity. Everyone's requirements should be within their pecuniary periphery or purchasing capacity." (1)
Reference
1. Proutist Economics, Questions and Answers on Economics – Excerpt A
बाबा, दिन रात एक कर, मैंने यह गीत तुम्हारे लिए तैयार किया है।
प्रभात सङ्गीत 1168 आमारे गान दिवसे निशीथे रचियाछि प्रभु तव तरे... .
(यह गाना गहराई से वही समझ सकता है, जो ध्यान-साधना अभ्यास करता है)
भावार्थ
हे बाबा ! दिन रात एक कर, मैंने यह विशेष गीत तुम्हारे लिए तैयार किया है। तुम्हारी कृपा से मैंने इस गीत के बोलों की हर परत को अपने हृदय की सभी भावनाओं से सजाया है। मेरे हृदय में तुम्हारे लिए जो प्रेम है वह इस धागे में पिरोया है जो सुरीले सङ्गीत के द्वारा अनुभव होता है।
हे परमसत्ता बाबा ! ऐसा लगता है जैसे तुम्हारी मधुरता को मेरे सामने बिखेरकर भोर का प्रकाश मुस्करा रहा है। सुबह के समय पूर्वी आकाश की शोभा वास्तव में तुम्हारी शोभा ही है। फूल, पत्ते, पङ्खुड़ी आदि सभी अपने आकार और प्रकार के द्वारा मुझसे केवल तुम्हारी कहानियाॅं कहते है। बाबा ! अब मैं तुम्हारी उपस्थिति को हर जगह पर अनुभव करता हॅूं।
हे मेरे प्रभु ! अभी कोमल हवा का एक झोंका मेरे पास आया। उसने मुझे मधुरता से छूकर ख़ुशी से तुम्हारा समाचार दिया है। वह यह कि तुम मुझ पर अपने दिव्य प्रेम की कभी ख़त्म न होनेवाली वर्षा कर रहे हो। तुम मुझ पर अपने अलौकिक मधुर प्रेम को उड़ेलते जा रहे हो।
हे परम पुरुष ! हे बाबा ! मैं तुम्हारे चरण कमलों में समर्पण करता हॅूं।
References
1. Sadguru Baba says (in GD, Delhi, 26 Feb 1984) that when writing a Prabhat Samgiita purport then very simple words should be used so that the common mass may understand. The above Hindu purport has been written according to that guideline.
Ensconcing oneself in the Cosmic Soul
Original Ananda Vanii states: “Marching ahead from cimmerian darkness to the stratum divine is the true spirit of life. Staticism, superstition and narrowness stand for cimmerian darkness. Ensconcing oneself in the Cosmic Soul is the life divine. Striving ahead, together with the entire universe, along the path of spirituality is verily the greatest task for humanity. I hope, in the fresh dawn of the New Year’s day, you will all ponder anew this eternal and sacred Truth.” (Ananda Vanii #32)
Note: Sadguru Baba has assigned a number to all His original and true Ananda Vaniis. In contrast, Fake Ananda Vaniis do not have any number. By this simple formula, one can easily recognise which is a true Ananda Vanii and which is fake. For the upcoming occasion of January 1st 2017, all Ananda Marga units should use one of Baba’s original and true Ananda Vaniis, not a fake one. By this way, one will surely get His blessing.
Recent postings
AM: fine arts
Namaskar,
The practice and cultivation of the fine arts is a big part of aesthetic science (nandan vijiana) and our yogic lifestyle.
Ananda Marga philosophy says, "Fine arts lead human beings to the trans-sensory realm; hence sádhakas (spiritual aspirants) should not discourage fine arts; rather they should support them, directly or indirectly.” (1)
Our Ananda Marga recognises the fine arts which include dance, drama, writing, debate, drawing, painting, etc. At all our collective functions, the presentation of the fine arts is indispensable: Singing and dancing of Prabhat Samgiita, and other RAWA programs like dramas, plays, reenactments, etc.
The fine arts add dynamism to the human experience. If people merely follow the same routine day after day, life becomes boring. To break up the monotony of daily living, fine arts are needed. The fine arts like song, dance, dramas, and music are all key elements.
https://anandamargauniversal.blogspot.com/
Slogan: “Art is for service and blessedness”
The next question is what should be the nature of the fine arts. Should the arts carry a particular message that benefits humanity, or can art simply be a show of one’s animalistic propensities.
Ananda Marga philosophy states, "Art is for service and blessedness and not for art's sake." (2)
Within the domain of the fine arts, there are two distinct avenues: Art inspired by higher ideals, the Divine entity Parama Purusa and "art" motivated by animalistic propensities. In this present era, most of the "so-called-fine arts" are born out of the lower propensities / vrttis. Hollywood and Bollywood are the epitome of this. Actually it is not art. Nor do we want such types of tamasika displays in any programs.
The presentation of the fine arts - local dances, writing, debates, paintings, dramas etc - should goad the mind upward towards the Supreme. Bad art is not art rather something else, just like how all chemicals are not necessarily medicine, they are just poison.
Ananda Marga philosophy states, "“Art for art's sake” is not acceptable; rather the expression should be, “Art for service and blessedness.” (3)
One should present any sentient local dance or drama
Our annual AMPS program aims to guide the margii audience what to do in their local unit. So people go to programs to learn our Ananda Marga way of life and return back home with the inspiration to practice those things in their own unit.
https://anandamargauniversal.blogspot.com/
But it does not mean that those attendees should practice the overseas dance in their native land, irrespective of where one is living. Rather local dances should be on display - so long as they are consistent with the tenets of our teachings. The idea is that the fine arts should be cultivated and guided by Ananda Marga ideology, i.e. where the goal is the Supreme, not crude matter or material longings. In that spirit, at cultural program in their units, margiis should present any local sentient dance or drama, or engage in other endeavours like writing, debate, drawing, painting, etc. Yet all these artistic endeavours should be pursued with a greater goal in mind like: “Art for service and blessedness.” (4)
Conclusion
The conclusion is that the fine arts are for goading the human mind toward higher ideals. They should channelize the mind towards the spiritual realm. That is the key of the fine arts. And all dances, dramas, writings, debates, drawings, and paintings should also take its inspiration from the Cosmic Entity.
Ananda Marga philosophy states, "“Art for art's sake” is not acceptable; rather the expression should be, “Art for service and blessedness.” (5)
Namaskar,
in Him,
Satya Murti
~ In-depth study ~
Listing of the fine arts
From Wikipedia: "Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theater and dance. Today, the fine arts commonly include additional forms, such as film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms. One definition of fine art is "a visual art considered to have been created primarily for aesthetic and intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture." (Courtesy of Wikipedia)
How to make dramas more interesting for the audience
Now we examine how to make short dramas, mysteries, and theatre more interesting for the audience.
Ananda Marga philosophy says, "If there are complications in the plot, it is desirable to let the reader or the audience first form a rough guess about the plot and then introduce suspense, instead of introducing it at the very beginning, for this will help them to appreciate the suspense more." (6)
When producing any play or drama etc, careful consideration should be given to developing the plot to draw the audience in. Once that is achieve, suspense can be employed. In the next guideline, the warning is given that if the audience cannot understand the central plot of the story they will become confused and bored.
Ananda Marga philosophy states, "If the audience has not even understood the suspenseful plot, the desire for release from the suspense cannot be intensified; rather people spend their psychic energy more on pondering over what they do not understand in the complicated plot, instead of being curious about what is coming next." (7)
Finally, it describes how the above guidelines apply to stage performances, dance, and screen plays.
Ananda Marga philosophy states, "In my opinion this applies equally to both screen and stage plays and dramas. The difference between the two is that the assistance that the author of a screen drama derives from the art director or the studio-technicians, the author of a stage drama does not. The latter has to arrange the environment through the media of the dialogues of the different characters." (8)
So the director of stage dramas should create a dialogue or narration to keep the audience aware of what is going on. Since the cho dance typically has no dialogue, only dance, then those directors must incorporate a narration or some type of explanation for the audience. In a similar manner, and those artists involved in writing, debate, drawing, and painting should pay careful attention to the presentation of their craft as well.
https://anandamargauniversal.blogspot.com/
Display of fine art in DMS
All in all, the fine arts can be done anytime, but the cho dance is done at the height of Ananda Nagar DMS when most of the attendees are in the pandal. The program is meant to revive the audience.
Ananda Marga philosophy says, "Cho dance, which is performed after battle during times of rest in the military camp, has more mudra in it. The dancer only dances, and does not sing. Another person sings and narrates in song what is taking place." (9)
One point to keep in mind is that cho dance is based on a series of long mythological stories. But the cho dance itself is relatively short. Only those familiar with the greater story can enjoy the cho dance because they know each and every section of the main story. Those not familiar with the bigger story find the cho dance to be dreary and boring, like a silly children's play. This problem can only be solved when the main theme of the story is narrated beforehand.
Otherwise, when one does not know the theme, spirit, or significance of any dance program, then naturally one would find it to be boring. Only kids below the age of 7 will enjoy it because children like anything that features costumes. Just think about it. When you were a small kid then you liked playing with toys but when you became an adult you no longer liked playing with those toys. Even if such toys are lying around the house you avoid them. But when you were a small kid you became enthralled playing with those dolls and toys; however as an adult you do not like to even think in that way. Due to the lack of a proper explanation, the dance can become like a drama meant only for children.
Adults want to know the import and significance - not just see some glossy costumes. Without that, the dance seems like a meaningless ritual. New plays can be written and presented on any number of themes such as how recent Ravana Indira Gandhi was killed, how to do Ananda Marga pracar etc.
And on the regional or local level, the exact type of presentation from place to place. For instance, the cho dance is performed at Ananda Nagar DMS as that dance is local to that area. By this way margiis get the idea that when they go back home they should also partake in the presentation of the fine arts in their unit. For this very purpose, in any AMPS program, the fine arts is presented as a reminder that spiritually based programs should be done on the local level as well. It is the duty of up and coming artists to develop new stories and dance / dramas.
https://anandamargauniversal.blogspot.com/
References
1. Caryácarya part 2, Society, Point #16
2. Prout in a Nutshell part 17, The Evolution of Indian Languages
3. Abhimata, The Opinion, 2
4. Abhimata, The Opinion, 2
5. Abhimata, The Opinion, 2
6. Prout in a Nutshell, part 1, The Practice of Art and Literature
7. Prout in a Nutshell, part 1, The Practice of Art and Literature
8. Prout in a Nutshell, part 1, The Practice of Art and Literature
9. Prout in a Nutshell, Part 18, Talks on Education – Excerpt D
* * *
The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
* * *
== Section 2: Prabhat Samgiita ==
Please look upon me with eyes full of karun'a (compassion)
"Kan’t́aka patha dhare klesha varan’ kare, a’siyachi prabhu tava tare je a’ji..." (Prabhat Samgiita #1408)
Note: Only those who sincerely practice the higher lessons of sahaja yoga meditation can understand this song in the depths of their heart.
Purport:
Parama Purusa, I have come to You today, by Your grace, after crossing the thorny path and undergoing so much suffering. Since I started moving on the path of divinity, I have faced so much opposition in the society - both from the status quo and the followers of dogma. There were so many internal struggles as well as much opposition from avidya maya - internal enemies and external bondages. Even then, by Your blessing, I stayed the course, rose to the challenge, held onto Your dharmic ideals, fought against the opposition, came to You by Your grace. Baba, with Your help I have reached Your lotus feet. Please look upon me with eyes full of karun'a - overlooking my demerits and weaknesses. Please accept me, coming in my mind in Your most attractive mohan form.
Supreme Entity, by Your krpa all kinds of complexes - shame, shyness, inferiority, superiority, fear, and defeatist etc - from which I was suffering have vanished. These mental diseases have been completely washed away from my mind due to Your sweet will. All my feelings and thoughts are surrendered unto You. Today I humbly offer those emotions at Your lotus feet, in Your supreme ideation. Now in my deep meditation, only You and I exist. I have completely forgotten the rest of the world. Just I am dancing in Your holy name and special rhythm.
My Supreme Guide, only this I request of You. Please come in my heart, by lighting the lamp of eternal love and yearning, again and again in my mind. Baba, I ask for Your divine compassion - karun'a. Please bless me with the highest bhakti.
Baba, by Your grace, I have come after facing a lot of torment. Please keep me in Your shelter...
Note for Prabhat Samgiita #1408:
[1] Mohan Sa'j: This term is used in the original Bengali lyrics of the song and refers to the most attractive form of Parama Purusa. In spiritual life, as the mind becomes more and more pointed, by His grace, the sadhaka feels that Parama Purusa is the most charming Entity. Also in this song the bhakta is indirectly asking Parama Purusa, "Please grace me and heighten my bhakti so I feel that You are the most attractive One."
[2] Lok Laj Sare Geche: This line of the song depicts the state of mind where one is ensconced in a very deeply intimate bhava and they are not aware about their surroundings nor what others are thinking and saying about them. For instance, if one is singing and dancing kiirtan in the streets and the mind is purely focused on Him, then one will not be concerned about public opinion etc. They will continue to dance and sing, regardless what others may be saying. So when the mind is very high, then one is oblivious of the world around them. They are in a very pure and blissful state that leads to Supreme realisation - fully ensconced in His divine bliss.
[3] Tumi a'r a'mi a'chi jagat ke bhule gechi: When the sadhaka, by the grace of Parama Purusa, is fully immersed in meditation and wholly focused on Him, then they feel that only Parama Purusa exists. That state is known as savikalpa samadhi. When the mind is a little lower but still in a deeply spiritual flow, then one feels that only Parama Purusa and myself exist. When the mind is still lower, then one feels that there is me, my family and Parama Purusa. And when one's mind is completely distracted, then they cannot even concentrate in sadhana and instead plan all kinds of mundane things in life. This particular line of the song depicts the exalted stage where the bhakta thinks that, "only I and Parama Purusa exist."
[4] Karun’a’: This is when one is pained by seeing another's suffering and feels, "I should help them.” This type of empathetic feeling is karun'a'. For example, suppose you saw one beggar who is suffering. By seeing his pitiful situation then you felt in your heart that, "I should help him and remove his suffering. This very feeling of the heart towards that suffering beggar is the expression of karuna'.
Similarly, suppose a bhakta is suffering and unable to move ahead in the physical, psychic, or spiritual realm. In such circumstances, Parama Purusa cannot bear to watch His bhaktas go through so much suffering. When devotees are helpless and trying hard to move ahead on their forward journey and they face all kinds of obstacles, complexes, bondages, and suffering due to their own samskaras - and the situation arises where they can no longer move ahead - seeing this unbearable scene, Parama Purusa feels He must rescue them immediately from their suffering. With His deep empathy and mercy, Parama Purusa removes their suffering, so that once again they can move ahead in all realms of life. This entire liila is called His karun'a'.
Difference Between Krpa' & Karun'a'
In the case of karun'a', Parama Purusa is moved by a bhakta's suffering and comes forward to save that bhakta from their suffering. With krpa' (grace), the bhakta is not suffering but even then Parama Purusa is bestowing His blessing.
It is just like if a baby is sick and with great empathy a neighbor selflessly gives that infant more attention without expecting anything in return. That neighbor just lovingly places the sick baby on her lap in a very special way and serves the baby. That is the neighbour’s karuna on the baby. Because the neighbor is moved and motivated into action by seeing the sick child's suffering. In contrast, if that same baby is not sick, and the neighbor just wishes to bring the baby on her lap to serve the baby, then that is the neighbour’s krpa on the baby.
Similarly, when out of empathy Parama Purusa lovingly comes to the aid of His suffering devotee to relieve them of their spiritual strife, that is the karuna of Parama Purusa on the bhakta; and, if that same devotee is not suffering devotionally, yet Baba still bestows His blessing, that is Parama Purusa’s krpa on the bhakta.
So there is a distinct difference between krpa (grace) and karuna (compassion).
When Parama Purusa showers His karuna He helps that suffering person and relieves them of their pain and agony - in all spheres of life.
== Section: Important Teaching ==
Prout: Key point is purchasing capacity
Prout philosophy states, “According to PROUT, increases in per capita income are not a sufficiently reliable and scientific index to determine the standard and progress of a particular socio-economic unit. Rather, this approach is misleading and deceitful, because it refers to a simple mathematical calculation of total national income divided by total population. This does not give the correct picture of the standard of living of the people of a particular socio-economic unit as the wealth disparity in society is concealed. Per capita income shows the mean and not the variation of income distribution. If inflation is also considered, the reliability of per capita income is further reduced."
"Purchasing capacity, on the other hand, is the real index of how people's economic needs can be met by their income. All PROUT's plans and programmes in the socio-economic sphere should be aimed at increasing the purchasing capacity of the people. PROUT stresses increasing purchasing capacity and not per capita income."
"Per capita income is not a proper indication of the increase in the standard of living of the people because while people may have very high incomes they may not be able to purchase the necessities of life. If the per capita income is low and people have great purchasing capacity they are much better off. So, purchasing capacity and not per capita income is the true measure of economic prosperity. Everyone's requirements should be within their pecuniary periphery or purchasing capacity." (1)
Reference
1. Proutist Economics, Questions and Answers on Economics – Excerpt A
== Section: Prabhat Samgiita ==
बाबा, दिन रात एक कर, मैंने यह गीत तुम्हारे लिए तैयार किया है।
प्रभात सङ्गीत 1168 आमारे गान दिवसे निशीथे रचियाछि प्रभु तव तरे... .
(यह गाना गहराई से वही समझ सकता है, जो ध्यान-साधना अभ्यास करता है)
भावार्थ
हे बाबा ! दिन रात एक कर, मैंने यह विशेष गीत तुम्हारे लिए तैयार किया है। तुम्हारी कृपा से मैंने इस गीत के बोलों की हर परत को अपने हृदय की सभी भावनाओं से सजाया है। मेरे हृदय में तुम्हारे लिए जो प्रेम है वह इस धागे में पिरोया है जो सुरीले सङ्गीत के द्वारा अनुभव होता है।
हे परमसत्ता बाबा ! ऐसा लगता है जैसे तुम्हारी मधुरता को मेरे सामने बिखेरकर भोर का प्रकाश मुस्करा रहा है। सुबह के समय पूर्वी आकाश की शोभा वास्तव में तुम्हारी शोभा ही है। फूल, पत्ते, पङ्खुड़ी आदि सभी अपने आकार और प्रकार के द्वारा मुझसे केवल तुम्हारी कहानियाॅं कहते है। बाबा ! अब मैं तुम्हारी उपस्थिति को हर जगह पर अनुभव करता हॅूं।
हे मेरे प्रभु ! अभी कोमल हवा का एक झोंका मेरे पास आया। उसने मुझे मधुरता से छूकर ख़ुशी से तुम्हारा समाचार दिया है। वह यह कि तुम मुझ पर अपने दिव्य प्रेम की कभी ख़त्म न होनेवाली वर्षा कर रहे हो। तुम मुझ पर अपने अलौकिक मधुर प्रेम को उड़ेलते जा रहे हो।
हे परम पुरुष ! हे बाबा ! मैं तुम्हारे चरण कमलों में समर्पण करता हॅूं।
References
1. Sadguru Baba says (in GD, Delhi, 26 Feb 1984) that when writing a Prabhat Samgiita purport then very simple words should be used so that the common mass may understand. The above Hindu purport has been written according to that guideline.
== Section: Ananda Vanii ==
Ensconcing oneself in the Cosmic Soul
Original Ananda Vanii states: “Marching ahead from cimmerian darkness to the stratum divine is the true spirit of life. Staticism, superstition and narrowness stand for cimmerian darkness. Ensconcing oneself in the Cosmic Soul is the life divine. Striving ahead, together with the entire universe, along the path of spirituality is verily the greatest task for humanity. I hope, in the fresh dawn of the New Year’s day, you will all ponder anew this eternal and sacred Truth.” (Ananda Vanii #32)
Note: Sadguru Baba has assigned a number to all His original and true Ananda Vaniis. In contrast, Fake Ananda Vaniis do not have any number. By this simple formula, one can easily recognise which is a true Ananda Vanii and which is fake. For the upcoming occasion of January 1st 2017, all Ananda Marga units should use one of Baba’s original and true Ananda Vaniis, not a fake one. By this way, one will surely get His blessing.
== Section 3: Links ==
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