divi sooryasahastrasya bhavedyugapadutthitaa |
yadi bhaahaa sadrishee saa syaadbhaasastasya mahaatmanaha || 12 ||
Should thousands of suns happen to rise in the sky simultaneously, their blaze would resemble the light of that magnificent one.
divi : in the sky
sooryasahastrasya : thousands of suns
bhavet : happen
yugapat : simultaneously
utthitaa : rise
yadi : should
bhaahaa : light
sadrishee : resemble
saa : those
syaat : happen
bhaasaha : blaze
tasya : of that
mahaatmanaha : magnificent one
To better give us an idea of the level of cosmic form’s brightness, Sanjaya compares to the radiance emitted by an infinite number of suns rising at the same time. Note that “sahasra” means infinite and not the literal meaning, which is thousand. Some scientists who have witnessed nuclear explosions have also used similar language to describe something that is bright beyond comparison.
So where does this radiance come from? Let us investigate. The Brihadaranyaka Upanishad is one of the primary texts that discusses topics regarding the eternal essence. In one instance, it uses the phrase “effulgent infinite being” to describe the eternal essence. This is the source of the radiance. We never get to experience it because it is covered up by the material world. In this case, Shri Krishna enabled Arjuna to see the infinite light and radiance of the eternal essence in its pristine form.
We also have to remember that the comparison made by Sanjaya is helpful, but compares two things that are difficult to compare. Even the brilliance of infinite suns is still a brilliance of the material world, whereas Ishvara’s brilliance is divine, far superior that any material brilliance.
Showing posts with label saa. Show all posts
Showing posts with label saa. Show all posts
Friday, October 26, 2012
Saturday, April 21, 2012
Bhagavad Gita Verse 19, Chapter 6
yathaa deepo nivaatasthato nengate sopamaa smritaa |
yogino yatachittasya yunjato yogamaatmanaha || 19 ||
Just like a lamp in a windless place does not flicker, this state is comparable to the yogi, having controlled the mind, who engages his self in yoga.
yathaa : just like
deepaha : lamp
nivaatasthataha : in a windless place
na : does not
ingate : flicker
saa : this (state)
upamaa : comparison
smritaa : has been said
yoginaha : of the yogi
yatachittasya : who has controlled the mind
yunjato : engages
yogam : yoga
aatmanaha : with his self
The state of the meditator’s mind is beautifully explained with a classic illustration or “upamaa” by Shri Krishna in this shloka. He compares the mind of a meditator to the flame of a lamp that is burning in a windless room. Just like the flame is unwavering due to absence of wind, so too is the mind of a meditator steady due to absence of desire.
If we compare the focused mind to a steady flame, then we need to understand how to prevent to mind from succumbing to the winds of desire. If desires exist, we may be able to temporarily stabilize the mind, but it will eventually get destabilized due to a thought generated by a desire. Presence of desire indicates absence of detachment or vairagya. The only cure is to increase our level of detachment towards the world.
The intense level of detachment that is needed for meditation is not an alien concept. When people get extremely absorbed in watching TV, they temporarily develop detachment towards everything else. If we call them for dinner, or if the doorbell rings and so on, these external occurences do not even register in their minds. It again depends on what we give importance to.
Now let us examine another aspect of the lamp illustration. According to Vedaanta, seeing an inert object is a 2 step process. First, our mind creates a mental picture of the object. Next, the aatman or self shines a light on that picture, just like a torch does. Only when this light is shined do we come to know that “this is a mango” or “this is a car” and so on.
But when we meditate on the self, the second step does not happen because we are not focusing our attention on an inert object. We are focusing on the self, which illuminates itself. It is like shining a torch on the sun - the torch is useless. The self is like the candle since it does not require anything else to illumine it, to shine a light on it. This is another point made in the illustration of the flame.
So therefore, when our focus and concentration reaches its peak, and when the target of meditation becomes our own aatmaa or self, it is the culmination of meditation. It is the state of samaadhi. This state is further elaborated upon in the forthcoming shlokas.
yogino yatachittasya yunjato yogamaatmanaha || 19 ||
Just like a lamp in a windless place does not flicker, this state is comparable to the yogi, having controlled the mind, who engages his self in yoga.
yathaa : just like
deepaha : lamp
nivaatasthataha : in a windless place
na : does not
ingate : flicker
saa : this (state)
upamaa : comparison
smritaa : has been said
yoginaha : of the yogi
yatachittasya : who has controlled the mind
yunjato : engages
yogam : yoga
aatmanaha : with his self
The state of the meditator’s mind is beautifully explained with a classic illustration or “upamaa” by Shri Krishna in this shloka. He compares the mind of a meditator to the flame of a lamp that is burning in a windless room. Just like the flame is unwavering due to absence of wind, so too is the mind of a meditator steady due to absence of desire.
If we compare the focused mind to a steady flame, then we need to understand how to prevent to mind from succumbing to the winds of desire. If desires exist, we may be able to temporarily stabilize the mind, but it will eventually get destabilized due to a thought generated by a desire. Presence of desire indicates absence of detachment or vairagya. The only cure is to increase our level of detachment towards the world.
The intense level of detachment that is needed for meditation is not an alien concept. When people get extremely absorbed in watching TV, they temporarily develop detachment towards everything else. If we call them for dinner, or if the doorbell rings and so on, these external occurences do not even register in their minds. It again depends on what we give importance to.
Now let us examine another aspect of the lamp illustration. According to Vedaanta, seeing an inert object is a 2 step process. First, our mind creates a mental picture of the object. Next, the aatman or self shines a light on that picture, just like a torch does. Only when this light is shined do we come to know that “this is a mango” or “this is a car” and so on.
But when we meditate on the self, the second step does not happen because we are not focusing our attention on an inert object. We are focusing on the self, which illuminates itself. It is like shining a torch on the sun - the torch is useless. The self is like the candle since it does not require anything else to illumine it, to shine a light on it. This is another point made in the illustration of the flame.
So therefore, when our focus and concentration reaches its peak, and when the target of meditation becomes our own aatmaa or self, it is the culmination of meditation. It is the state of samaadhi. This state is further elaborated upon in the forthcoming shlokas.
Sunday, December 4, 2011
Bhagavad Gita Verse 69, Chapter 2
yaa nishaa sarvabhootaanaam tasyaam jaagarti samyami |
yasyaam jaagrati bhootaani saa nishaa pashyato muneh || 69 ||
That which is night for all beings, the balanced individual is awake in that. And that in which all beings are awake, the person of contemplation views as night.
yaa : that
nishaa : night
sarvabhootaanaam : for all beings
tasyaam : in that
jaagarti : is awake
samyami : balanced individual
yasyaam : and that
jaagrati : are awake
bhootaani : all beings
saa : that
nishaa : night
pashyato : views
muneh : person of contemplation
Here we encounter one of the most poetic shlokas in the second chapter, again, having several layers of meaning. Let us try to understand it to the best of our ability. First, let's consider an example that will make the understanding of this shloka easier.
When a lay person and a professional artist enter a museum, both of them find joy in appreciating the works of art. The lay person may get excited about seeing how accurately an artist has painted a portrait. But the professional artist may find joy in more subtler aspects of the very same painting, e.g. what brush strokes were used, which time period was the painting commissioned in, what were the influences and so on - aspects that the lay person is probably totally oblivious to.
So therefore, in this shloka, Shri Krishna is speaking about two groups of individuals: ones who maintain the state of equanimity and ones who don't. Both groups have to live in this world of material objects, and both of them have to face ups and downs in life. The key difference in both groups is their vision.
For most individuals, the world of material objects is their end goal, they are "awake" to it, and the eternal essence is like night to them. But for the individuals of equanimity, the world of material objects loses importance - that world is like night to them. They are awake to the timeless, changeless eternal essence.
yasyaam jaagrati bhootaani saa nishaa pashyato muneh || 69 ||
That which is night for all beings, the balanced individual is awake in that. And that in which all beings are awake, the person of contemplation views as night.
yaa : that
nishaa : night
sarvabhootaanaam : for all beings
tasyaam : in that
jaagarti : is awake
samyami : balanced individual
yasyaam : and that
jaagrati : are awake
bhootaani : all beings
saa : that
nishaa : night
pashyato : views
muneh : person of contemplation
Here we encounter one of the most poetic shlokas in the second chapter, again, having several layers of meaning. Let us try to understand it to the best of our ability. First, let's consider an example that will make the understanding of this shloka easier.
When a lay person and a professional artist enter a museum, both of them find joy in appreciating the works of art. The lay person may get excited about seeing how accurately an artist has painted a portrait. But the professional artist may find joy in more subtler aspects of the very same painting, e.g. what brush strokes were used, which time period was the painting commissioned in, what were the influences and so on - aspects that the lay person is probably totally oblivious to.
So therefore, in this shloka, Shri Krishna is speaking about two groups of individuals: ones who maintain the state of equanimity and ones who don't. Both groups have to live in this world of material objects, and both of them have to face ups and downs in life. The key difference in both groups is their vision.
For most individuals, the world of material objects is their end goal, they are "awake" to it, and the eternal essence is like night to them. But for the individuals of equanimity, the world of material objects loses importance - that world is like night to them. They are awake to the timeless, changeless eternal essence.
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