Incomprehensibility.

 The phrase "Na me viduh sura-ganah prabhavam na maharshayah" is from Chapter 10, Verse 2 of the Bhagavad Gita. In this verse, Lord Krishna emphasizes the incomprehensibility of his true nature even to the gods and great sages. Let's explore the meaning and significance of this phrase in detail.

Na me viduh sura-ganah prabhavam na maharshayah: An Analysis

 Introduction

The Bhagavad Gita is a timeless spiritual and philosophical text, where Lord Krishna imparts profound wisdom to Arjuna. Chapter 10, known as the Vibhuti Yoga, focuses on the divine glories of Krishna. Verse 2 reads:

_"Na me viduh sura-ganah prabhavam na maharshayah"_ 

Translated, this means:

_"Neither the hosts of gods nor the great sages know my origin, for in every way, I am the source of the gods and the great sages."_

Na me viduh (Do not know me)

"Na me viduh" means "do not know me." Here, Lord Krishna is stating that his true nature and origin are beyond the understanding of even the most enlightened beings. This suggests that the divine essence is beyond human comprehension, emphasizing the mysterious and transcendental nature of the divine.

Sura-ganah (Hosts of gods)

"Sura-ganah" refers to the hosts of gods. In Hindu mythology, the suras are celestial beings or deities who are considered highly knowledgeable and powerful. Despite their elevated status, even they cannot fully comprehend the true nature of Krishna. This highlights the supreme and unfathomable nature of the divine, surpassing the knowledge of even the gods.

Prabhavam (Origin)

"Prabhavam" means origin or source. Lord Krishna declares that his origin is unknown to the gods and sages. This signifies that the divine existence is self-manifested and not subject to the limitations of birth and death. The concept of a self-originating divine being underscores the idea of an eternal, uncaused cause, which is a central theme in many spiritual traditions.

Na maharshayah (Nor the great sages)

"Na maharshayah" means "nor the great sages." Maharshis are great sages or seers known for their deep spiritual insight and wisdom. However, even they are unable to grasp the complete essence of Krishna. This points to the limitations of intellectual and spiritual pursuits in comprehending the ultimate reality, suggesting that the divine transcends all levels of knowledge and understanding.

Philosophical Significance

This verse emphasizes the transcendental and infinite nature of the divine. By asserting that neither the gods nor the great sages know his true origin, Krishna highlights the limitations of even the highest forms of knowledge and wisdom. It suggests that the divine essence is beyond the grasp of the mind and intellect, accessible only through direct experience or revelation.

The idea that the divine is the source of all, including the gods and sages, underscores the concept of a singular, supreme reality from which everything emanates. This aligns with the Advaita (non-dual) philosophy, which posits that all diversity in the universe ultimately stems from a single, undivided reality.

 Conclusion

The phrase "Na me viduh sura-ganah prabhavam na maharshayah" from the Bhagavad Gita serves as a profound reminder of the incomprehensible and transcendental nature of the divine. It challenges us to recognize the limitations of our knowledge and encourages humility in our spiritual pursuits. By acknowledging that even the most enlightened beings cannot fully understand the divine, we are inspired to seek a deeper, more experiential connection with the ultimate reality, transcending intellectual understanding and embracing the mystery of the divine.

PPSNBA

The phrase "Prabhava Pralayah Sthanam Nidhanam Bijam Avyayam" comes from Chapter 9, Verse 18 of the Bhagavad Gita. This verse highlights the omnipotence and eternal nature of the divine. Let’s delve into an essay that explores each term, their meanings, and their philosophical significance.

Prabhava Pralayah Sthanam Nidhanam Bijam Avyayam: A Philosophical Exploration

Introduction

The Bhagavad Gita is a profound spiritual text, a dialogue between Lord Krishna and the warrior prince Arjuna, set on the battlefield of Kurukshetra. Among its many teachings, Chapter 9, Verse 18 stands out as a declaration of the eternal and all-encompassing nature of the divine. The verse reads:

_"Prabhavaḥ pralayaḥ sthānaṃ nidhānaṃ bījam avyayam"_

Each term in this phrase encapsulates a fundamental aspect of the divine's relationship with the cosmos. Let us explore these terms in detail.

Prabhavaḥ (The Origin)

Prabhava refers to the origin or source of all creation. In the context of the Bhagavad Gita, it signifies that the divine is the beginning of everything. All that exists originates from this divine source. This concept underscores the belief in a singular, supreme power that is the cause of all creation, emphasizing the idea of God as the creator.

 Pralayaḥ (The Dissolution)

Pralaya means dissolution or destruction. It indicates that just as the divine is the source of creation, it is also the force behind the dissolution of the universe. This cyclical nature of creation and destruction is a central theme in Hindu philosophy, symbolizing that the end of one cycle is the beginning of another. The divine power is thus not just a creator but also a destroyer, ensuring the dynamic balance of the universe.

Sthānam (The Abode)

Sthānam signifies the abode or the resting place. It suggests that the divine is the ultimate refuge and resting place for all beings. In spiritual terms, this means that all souls eventually return to this supreme abode after completing their earthly journey. This idea reinforces the concept of the divine as an eternal, unchanging sanctuary amidst the transient nature of the material world.

Nidhānam (The Repository)

Nidhānam translates to the repository or the ultimate end. It implies that the divine is the final resting place of all souls, the ultimate destination where everything culminates. This aspect of the divine highlights its role as the ultimate goal of all existence, the final destination where all life converges.

Bījam (The Seed)

Bījam means seed, representing the potential for all creation. The divine is seen as the seed that contains within itself the potential for the entire universe. Just as a seed germinates and gives rise to a plant, the divine seed gives rise to all creation. This emphasizes the inherent potential and the latent power within the divine that manifests as the cosmos.

Avyayam (The Immutable)

Avyayam denotes the immutable or the unchanging. Despite being the source, sustainer, and dissolver of the universe, the divine remains unchanged. This concept is crucial as it highlights the eternal and constant nature of the divine amidst the ever-changing universe. The divine is beyond time, space, and causation, existing in a state of perfect constancy.

 Philosophical Significance

The verse "Prabhava Pralayah Sthanam Nidhanam Bijam Avyayam" encapsulates a profound understanding of the divine nature. It portrays the divine as an all-encompassing reality that is simultaneously the origin, sustainer, and end of all existence. This holistic view of the divine underscores the interconnectedness of all aspects of the universe, emphasizing that creation, preservation, and destruction are all manifestations of the same supreme power.

Furthermore, the immutable nature of the divine provides a sense of stability and permanence in a world characterized by constant change. This philosophical perspective encourages individuals to seek refuge in the eternal and unchanging divine, transcending the transient nature of material existence.

 Conclusion

The phrase "Prabhava Pralayah Sthanam Nidhanam Bijam Avyayam" from the Bhagavad Gita offers a deep insight into the nature of the divine. It reminds us of the omnipotent and eternal aspects of the divine, encouraging a holistic understanding of existence. By contemplating these attributes, one can gain a deeper appreciation of the divine's role in the cosmos and find a sense of peace and purpose in the eternal nature of the divine.

 

The power of intention.

 The Power of Intention to Renounce Desires

The phrase "Sankalpaprabhavankamamstktva" can be translated as "The power of intention to renounce desires." This concept holds a significant place in various philosophical and spiritual traditions, particularly within the context of Hinduism and Buddhism. It embodies the idea that a strong and resolute intention (sankalpa) has the profound ability to help individuals transcend and renounce their desires (kama). This essay explores the implications and applications of this concept in personal growth and spiritual development.

 The Nature of Sankalpa

Sankalpa, or intention, is a powerful mental force that shapes our actions and determines our paths in life. It goes beyond mere wishful thinking; it is a focused and committed resolve that aligns one's mind, body, and spirit towards a specific goal. In many Eastern philosophies, sankalpa is considered the seed of all actions. It is the initial spark that sets the wheel of karma in motion.

A well-formed sankalpa is not just a fleeting desire but a deep, heartfelt commitment. It requires clarity of purpose and unwavering determination. When one sets a sankalpa with full awareness and dedication, it harnesses the latent energies within and directs them towards the fulfillment of that intention.

The Influence of Prabhava

Prabhava refers to the effect or influence of something. In this context, it highlights the transformative power that intention wields. The influence of a strong sankalpa can be profound and far-reaching. It can reshape one's habits, alter thought patterns, and ultimately transform one's life. The prabhava of a sankalpa is evident in the way it guides and sustains an individual through challenges and obstacles.

When one is anchored by a strong sankalpa, it serves as a guiding light, illuminating the path and providing the strength needed to overcome distractions and difficulties. This influence is not merely psychological but also spiritual, as it aligns the individual's energies with their higher purpose.

Renunciation of Desires (Kama)

Kama, or desire, is a fundamental aspect of human existence. It drives much of our behavior and shapes our experiences. While desires can motivate and inspire, they can also lead to attachment, suffering, and a sense of incompleteness. In spiritual traditions, the renunciation of desires is often seen as a crucial step towards liberation and inner peace.

The process of renunciation does not imply a rejection of life or its pleasures but rather a conscious and deliberate letting go of attachments. It involves recognizing the transient nature of desires and understanding that true fulfillment lies beyond the realm of sensory experiences. Renunciation, in this sense, is a liberation from the constant craving and aversion that characterize much of human experience.

The Interplay of Sankalpa and Kama

The concept of "Sankalpaprabhavankamamstktva" beautifully encapsulates the interplay between intention and desire. It suggests that the power of a well-directed intention can help one transcend and renounce desires. This process is not about suppression but about transformation. A strong sankalpa channels one's energies towards higher goals, making the lower desires fade away naturally.

In practical terms, this means that when one is deeply committed to a higher purpose or goal, the distractions of lesser desires lose their grip. For instance, a person with a strong sankalpa to achieve spiritual enlightenment will find it easier to renounce materialistic pursuits. The sankalpa provides the necessary focus and strength to rise above the fleeting temptations of the senses.

 Practical Application

Applying the principle of "Sankalpaprabhavankamamstktva" in daily life involves cultivating a strong and clear sankalpa. This requires self-reflection, understanding one's true purpose, and committing to it wholeheartedly. Meditation, mindfulness, and self-discipline are essential practices in this journey. By constantly aligning one's actions with the sankalpa, one can gradually weaken the hold of desires and move towards greater inner peace and fulfillment.

In conclusion, the power of intention to renounce desires is a profound concept that highlights the transformative potential of a committed and focused resolve. It teaches us that by harnessing the power of sankalpa, we can transcend the limitations of our desires and attain a higher state of being. This principle, rooted in ancient wisdom, offers valuable insights for personal growth and spiritual evolution in the modern world.

Responsible adult.

 One of the Origin Stories of America’s Favorite Nursery Rhyme:

Effie Crockett was invited to help some mothers in the Muskogee Tribe. Once she arrived in camp, Effie laughed at what she saw. The Muskogee Tribe had a custom of cradling their pappooses among the swaying branches of birch trees. This protected their babies from ground insects, the sun, and wild animals.

After first finding it funny, she soon learned all the great reasons for this practice and marveled at the beauty of it.

Effie watched the swaying and soothing motion of the topmost branches of the trees. She loved how each baby enjoyed nature, how they listened to the songbirds, observed every ladybug, and smiled at the colors of a butterfly, every little breeze was felt and enjoyed by these young ones; each babe seemed perfectly content.

One of the Tribal mothers began to sing a song to the children in her native tongue. As the Muskogee mother sang, Miss Effie observed a small tear running down the mother’s cheek.

Effie translated the words and kept the tune. She shared it with everyone and it soon became a wildly popular nursery rhyme among the Colonies.

The English translation:

Rock-a-bye baby on the tree top,

When the wind blows the cradle will rock,

When the bough breaks the cradle will fall,

And down will come baby, cradle and all.

Why did the Muskogee mother cry?

A “bough” is simply a tree branch, and its breaking was used by the Muskogee mothers as an analogy of their little baby growing up.

Their little baby would soon outgrow his cradle. With each gently rocking wind, time was passing. One day, the little baby would no longer need the protection of their mother. One day, the “branch” would break because her little baby had become too heavy. The “cradle” would fall to the earth – the child, no longer a baby, would dust themselves off and grow into a self-responsible adult.

The now famous lullaby was first printed in Mother Goose’s Melody.

- ❤ 

Credits to @Native Tribes Culture

Ggv

 "Gopala Gokula Vallabhe" is a traditional devotional song in praise of Lord Krishna, a central figure in Hinduism. This bhajan is typically sung in the context of Krishna worship and is popular among devotees for its soulful melody and evocative lyrics. Here's a brief overview of the song and its historical context:

1. **Origins**: The exact origins of "Gopala Gokula Vallabhe" are not well-documented, but it is rooted in the Bhakti movement, which emphasized devotion to personal gods like Krishna. This movement gained prominence in India between the 7th and 17th centuries and produced a rich legacy of devotional music and poetry.

2. **Themes**: The song praises Krishna's beauty, divine playfulness, and his role as a protector and beloved deity of Gokula, the village where he spent his childhood according to Hindu mythology. "Gopala" is another name for Krishna, emphasizing his role as a cowherd, while "Gokula Vallabhe" refers to his beloved status in Gokula.

3. **Musical Tradition**: This bhajan is often performed in classical Indian musical styles, such as Hindustani or Carnatic, as well as in more contemporary devotional contexts. It can be accompanied by traditional instruments like the harmonium, tabla, and flute.

4. **Cultural Significance**: "Gopala Gokula Vallabhe" is more than just a song; it's a part of the living tradition of Krishna worship. It is sung during various festivals, especially Janmashtami (Krishna's birthday), and in temples dedicated to Krishna. The song helps to create a devotional atmosphere and aids devotees in their spiritual practice.

5. **Lyrics and Interpretation**: The lyrics of the song typically highlight Krishna's charming personality, his divine leelas (playful activities), and his deep connection with his devotees. Singing or listening to this song is believed to bring spiritual peace and a sense of closeness to the divine.

If you have a specific version or rendition of the song in mind, I can provide more detailed information or lyrics analysis based on that.

This song is written and sung by tulasidas. Who is a Rama bhakta. When he goes to the temple instead of Rama he sees Krishna so sings this song but ends it with his usual Rama in the end. 

Tulsidas, a renowned 16th-century Hindu poet-saint, is indeed best known for his devotion to Lord Rama and his magnum opus, the "Ramcharitmanas." However, the anecdote you mentioned highlights the spiritual unity seen in the Bhakti tradition, where devotion to one form of the divine can lead to experiences of another form, reflecting the underlying belief in the oneness of God.

According to the story, Tulsidas went to a temple expecting to see an image of Lord Rama, but instead, he had a divine vision of Lord Krishna. Moved by this experience, he composed and sang "Gopala Gokula Vallabhe," expressing his spontaneous devotion to Krishna. True to his usual practice, Tulsidas is said to have concluded the song by invoking Lord Rama, demonstrating his enduring devotion.

This tale beautifully illustrates the fluidity and interconnectedness of bhakti (devotion) in Hinduism, where different deities are viewed as manifestations of the same supreme reality. Tulsidas's experience underscores the idea that the divine can reveal itself in various forms to the true devotee.

While "Gopala Gokula Vallabhe" may not be as famous or widely documented as Tulsidas's works dedicated to Rama, this story reflects his versatility and deep spiritual insights, embracing the divine in its many forms.

गोपाल गोकुल वल्लभे प्रिय

गोप गोसुत वल्लभं

चरनरविन्दं  अहं  भजे

भजनीय सुरमुनि दुर्लभं

घन श्यामं  काम अनेखा  छभि

लोकाभि  राम  मनोहरं

किञ्चल्क  वसन  किशोर  मूरति

भूरि गुण करुणाकरं

सिरकेकी पिञ्च विलोल कुण्डल

अरुण वनरुहा लोचनं

कुजव दंस विचित्र सब्

अङ्ग दातु भव भैय मोचनं

कच कुटिल सुन्दर तिलक ब्रु

राका मयङ्ग समानानां

अपहरण तुलसि दास

त्रास बिहसा बृन्दा काननं

gOpAla gOkula vallabhI priya gOpa gOsuta vallabham

The cowherd (gOpAla), beloved (priya) of the women (vallabhi) of gOkul, the favorite (vallabham) of the cowherds (gOpa) and children of (gOsuta) gOkul

caraNAravindam aham bhajE bhajanIya suramuni durlabham

I (aham) worship at his lotus (aravindam)-like feet (caraNa), the venerable one (bhajanIya), whom even the gods (sura) and ascetics (muni) find it difficult to attain (durlabham)

ghana shyAma kAma anEkacApi lOkAbhirAma manOharam

The one with a dark/deep (ghana) blue (SyAma) complexion, the embodiment of a multitude (anEka ca api) of desires (kAma), with an attraction (manOharam) that stems from a beauty (abhirAma) that is unsurpassed in the world (lOka)

kinjalka vasana kishOra mUrti pUri guNa karuNAkaram

One who wears garments (vasana) made of threads from lotus stalks (kinjalka), the embodiment (mUrti) of youthfulness (kiSOra), the one whose character (guNa) is without defcit (pUri) [1], the ever-compassionate one (karuNAkaram)

shira kEkapiccha vilOla kuNDala aruNa vanaruha lOcanam

Adorned with peacock feathers (kEkapiccha) on his head (Sira), and dangling (vilOla) earrings (kuNDala), with eyes (lOcanam) like the red (aruNa) lotus (vanaruha) [2]

kunjAvatamSa vicitra shubhAnga dAtu bhava bhaya mOcanam

With a crown (avataMsha) of forest flowers (kunja), with amazing (vicitra) and beautiful limbs (SubhAnga), he gives/grants (dAtu) release (mOcanam) from the fear (bhaya) of this mortal world (bhava)

kaca kuTila sundara tilakabrU-rAgamayanga samAnanam

With curly (kuTila) locks (kaca), and a beautiful (sundara) tilaka, his face (Ananam) is like (sama) the red (rAgamaya)…????

pApa haraNa tulasidAsa trAsa vihara brndakAnanam

Resident of vRndAvan (bRndakAnanam), destroyer (haraNa) of sins (pApa), who removes (vihara) the fear/anxiety (trAsa) of the poet, tulsidAs!

Conch.

 

They say music is a science, yes! Pythagoras is considered to have created the theory of music by combining intervals and mathematical calculations to create notes for the major scale. But perhaps only Leonard Bernstein, in his famous Harvard speech, [ The Unanswered Question 1973 ] truly explained why and how. Through his explanation of the harmonic series, he demonstrated the scientific basis of music theory. 

However, he also noted something profound: 

"What we calculate and explain or try to explain through music theory of Pythagoras, only appreciators of Indian music can feel it, they can demonstrate any mood through their scales, which they call Raaga. And a Raaga is not just a scale; it's something more. If you can't appriciate or feel it, it will put you to sleep in a few minutes. "

After observing how a harmonic series and a conch shell are similar, I feel that this connection and our ancient understanding of music may lead to this deeper understanding. Our ancestors understood everything before the father of music theory, Pythagoras.

The only word that is coming to my mind after watching this picture is PANCHAJANYA.

“The highest goal of music is to connect one’s soul to their Divine Nature, not entertainment.”

— Pythagoras

{The top image is a graph of the first nine harmonics of a harmonic series. The bottom image is an x-ray of the inner structure of a conch shell.}

Bhavam

 The Sanskrit word "bhāvaṃ" (भावम्) is rich in meaning and deeply rooted in the cultural and philosophical traditions of India. Its significance spans various domains, including literature, philosophy, and performing arts. This essay explores the multifaceted nature of "bhāvaṃ" and its implications in different contexts.

## Etymology and Basic Meaning

In Sanskrit, "bhāvaṃ" derives from the root "√bhū," which means "to be" or "to become." Thus, at its core, "bhāvaṃ" signifies a state of being, existence, or becoming. It encompasses the idea of an inherent quality or essence that defines the nature of a person, object, or phenomenon. 

## Bhāvaṃ in Indian Philosophy

In Indian philosophy, "bhāvaṃ" plays a crucial role in understanding the nature of reality and human experience. Different philosophical schools interpret "bhāvaṃ" in unique ways:

1. **Vedanta**: In Vedantic philosophy, particularly Advaita Vedanta, "bhāvaṃ" is often associated with the state of existence that emerges from Brahman, the ultimate reality. It signifies the transient and illusory nature of the phenomenal world (maya), which contrasts with the unchanging, eternal nature of Brahman.

2. **Sankhya and Yoga**: In Sankhya and Yoga philosophies, "bhāvaṃ" refers to the various states or modifications (vrittis) of the mind and consciousness. These schools categorize "bhāvas" into different types, such as pleasure, pain, delusion, etc., which influence human behavior and spiritual evolution.

3. **Buddhism**: In Buddhist philosophy, "bhāvaṃ" signifies becoming or the process of coming into existence. It is closely related to the concept of dependent origination (pratityasamutpada), where "bhāvaṃ" represents the stage of existence or rebirth in the cycle of samsara (the cycle of birth, death, and rebirth).

## Bhāvaṃ in Literature and Arts

In Indian literature and performing arts, "bhāvaṃ" holds a central position, particularly in the context of aesthetics (rasa theory) and dramatic expression (natya shastra):

1. **Rasa Theory**: Developed by Bharata Muni in the Natya Shastra, rasa theory elaborates on how emotions (bhāvas) are evoked in the audience through artistic expression. Bhāvas are the emotional states depicted by performers, which transform into rasa (the aesthetic experience) in the minds of the audience. There are eight primary bhāvas: love (śṛṅgāra), laughter (hāsya), sorrow (karuṇa), anger (raudra), energy (vīra), fear (bhayānaka), disgust (bībhatsa), and wonder (adbhuta).

2. **Dramatic Expression**: In classical Indian dance and theatre, performers use facial expressions (abhinaya), gestures (mudras), and movements to convey bhāvas. These expressive elements are meticulously crafted to communicate the underlying emotions and themes of a performance, creating a profound connection between the performer and the audience.

## Bhāvaṃ in Everyday Life

In everyday life, "bhāvaṃ" signifies an individual's emotional state, attitude, or disposition. It reflects how one perceives and interacts with the world. The concept encourages self-awareness and mindfulness, as understanding one's bhāvaṃ can lead to greater emotional intelligence and personal growth.

## Conclusion

The Sanskrit word "bhāvaṃ" embodies a spectrum of meanings that resonate across philosophical discourses, literary traditions, and artistic expressions. It captures the essence of existence, emotional states, and the transformative power of art. By delving into the depths of "bhāvaṃ," one gains insight into the profound ways in which this concept shapes human experience and cultural heritage.

In Indian music, "bhavam" (भावम्) refers to the emotion or mood conveyed by a piece of music. It's a fundamental concept in both Carnatic and Hindustani classical music, where the primary aim is to evoke specific feelings in the listener. 

Bhavam can be broken down into three main aspects:

1. **Raga Bhavam**: This refers to the emotional expression of the raga itself. Each raga has a unique mood or feeling associated with it, which is conveyed through its specific notes and progression.

2. **Sahitya Bhavam**: This pertains to the emotions expressed through the lyrics or the poetic content of the song. The words play a crucial role in enhancing the overall emotional impact of the music.

3. **Sangita Bhavam**: This is the overall musical expression, combining the raga and sahitya bhavam, along with the performer's interpretation, to create a rich emotional experience for the audience.

Bhavam is considered a vital element in Indian classical music as it bridges the gap between the performer and the listener, making the music a deeply immersive and emotive experience.