Baba
This email contains three sections:
1. PS #3898: Illustration of pre and post creation
2. Posting: Sadhana, Sadhanaunga, & Its importance
3. Links
Namaskar,
Each and every sadhaka must know that sadhana itself moves in phases of pause and speed. This is the normal and natural pathway for everyone.
Baba says, "While doing sa'dhana' in the spiritual sphere, the state of pause may come. Sometimes people say, 'How strange! A few days ago I was having excellent meditation, but these days I can't seem to concentrate at all. That's very sad.' Or at times one may say, 'The other day while meditating my body began to quiver. It was quite a pleasant experience. Why don't I get the same experience today?' This sort of blissful experience during meditation or in concentration comes within the scope of assimilation. It becomes internalized. But if it does not find any expression within the mind, you can never experience it. Maybe after a few days you may experience an even greater bliss during incantation or meditation. All this means that even in the spiritual sphere also there is pause and speed." (1)
So we should always put forth maximum effort in sadhana and never skip any lessons, then one will advance ahead on the spiritual path. The main ethic is sincerity in sadhana - if one is sincere then certainly one will advance, by His grace.
Given that it is inevitable that one will experience periods of pause in sadhana, there are certain approaches that help push sadhana back into a period of speed.
One point is to practice the lesson of tattva dharana - or third lesson. As we know that this energizes one's being, enhances concentration, and makes the mind stable. So it is a very good lesson to do when experiencing a period of pause.
Certainly though, sitting for long or even short session in viira'sana (the posture for 3rd lesson) is not particularly easy. Because the toes are curled underneath and there is a lot of pressure applied to the joints of
the toes.
In that case, one can place some soft clothing articles or a piece of foam underneath one's feet when doing third lesson. In that way viira'sana will feel more comfortable and one will be able to remain in that position long, thus getting the many benefits. And certainly over time doing this lesson will become physically easier and easier.
As we all know in our sahaja yoga system - i.e. the six lessons of sadhana - the lessons can be separated into two basic catergories: sa'dhana' & sa'dhana'unga.
Our first lesson (iishvara pranidhana) and our sixth lesson (dhya'na) are the only two lessons of sadhana. The former leads to mukti and the latter brings moksa, by His grace. So those are both sadhana lessons.
Whereas our other lessons - numbers 2 through 5 - are helping lessons of sadhana known as sa'dhana'unga. These include: Madhuvidya (2nd lesson), tattva dharana (3rd lesson), pranayama (4th lesson), and cakra shodhana (5th lesson). All of these are helping lessons - i.e. sa'dhana'unga - in sadhana.
Baba says, "There are certain helping sádhanás. Ásana and práńáyáma, for example, are helping items. They are not sádhaná, they are called sádhanáuṋga." (2)
All the helping lessons of sadhana, i.e. #2 - #5, support, along with other aspects of astaunga yoga like asanas, help bring the mind into a balanced state where one can do sadhana, by His grace.
Remember, “Human life is for spiritual sádhaná only. There is not, there cannot be, any other motive; there cannot be any other intention; there cannot be any other desideratum.” (3)
The point then comes that when should one do 1st lesson and one should 6th lesson be done. Here are some basic guidelines.
1. If one is struggling a lot in dhyana either because one cannot visualise Taraka Brahma or because one is not feeling that sweet, heart-felt connection inside, then one can try to switch over to first lesson. Because first lesson is comparatively easy.
2. And it should be remembered that first lesson itself is a devotional lesson. So just after one completes the stage of cittashuddhi (the last step of one's withdrawal process) then before starting the practice of mantra japa, first one infuse a strong feeling of devotional love for Taraka Brahma. And then after arousing that devotional feeling one can then repeat their is't'a mantra. Then that mantra japa will be fruitful by His grace. Here the whole point is that one's mantra repetition should be saturated with devotional feeling and yearning for Him. That is one key point for first lesson.
3. And then as first lesson builds momentum and spiritual flow and one is getting support from the other lessons as well, then that is a good time to again engage in the practice of dhyana.
4. So one should always remember that first lesson is easier than dhyana. That is one point. And next is that normal dhyana is easier than very intimate and deeper dhyana. So one should proceed according to one's own mental feeling.
5. We can say that the most important point is that a sadhaka should always be natural in their approach to sadhana and not be artificial or hypocritical. One should do as one sincerely feels.
6. For example, when a small child has a strong desire to sit on his mother's lap then that little baby is going to cry and cry until that mother lifts him onto her lap. And this is quite natural and the mother feels that she must respond to the child's cry. Because that is the child's pure and natural feeling.
In contrast, if one just sits erect in sadhana as a show in front of others then that is completely unnatural and one will not progress. Because that is just one fake display in the name of sadhana. It is wholly bereft of sincerity; so one will just degrade.
7. In sadhana, one must follow a natural approach - especially in dhyana. One should approach their object of meditation, one’s dhyeya, and communicate with Him according to one's internal feeling. One should not act in any fake or unnatural manner. Sincerity is the key for progress in dhyana.
8. There are some who may say that dhyana is the only lesson that one should practice - but that is not proper. Rather all the lessons have their utility and speciality, and they all help promote deeper dhyana. So the way to develop a sweet and more intimate feeling in dhyana is by doing all the six lessons and by being sincere and true in dhyana.
9. And perhaps the most important point in sadhana is to directly ask help from their object of meditation, one’s dhyeya. One may repeat, 'I cannot do anything, I am helpless, so please grace me so I may move towards You'.
Requesting His grace in this way will invariably help one to move ahead on the path. This type of constant request is needed for getting His grace. And certainly this type of request should be carried out with all the sweet and sincere feelings of one's heart. Only then will it be successful. And this whole entire concept of asking His grace is His direct guideline. Sadguru teaches us that each and every sa'dhaka should do like this.
Ananda Marga devotional cult says, "They will have to approach Parama Purusa with these words: 'Parama Purusa I want to move towards You, but I do not have sufficient strength to move. Please give me strength, I want to move on'." (4)
Namaskar,
in Him,
Kalyana Murti
Note 1: Difference between speed and pause
All the above points are important. By His grace all these guidelines help a sadhaka in sadhana, especially if one is experiencing a period of pause. Whereas when one is in a period of speed then by His grace all the lessons are flowing naturally and one becomes completely lost in the ocean of Cosmic Bliss.
Note 2: The path is systaltic
As sadhakas, it is perfectly natural for one to go through "ups" & "downs" in our practice of meditation. At the same time we all wish that we could always be in an "up" phase. So when a "down" phase invariably comes then we should all know what it means and how to handle it.
Note 3: Natural flow of life: systaltic movement
As Baba discusses in so many discourses-- whether about sadhana, economics, education, social progress, or literature etc-- each and every movement in this universe moves along a systaltic path.
Baba says, "As you know, in this universe of ours nothing moves - no force, no expression, no manifestation, moves - along a straight line. The movement is always pulsative; the movement is always of systaltic order, order of pause and start. There must be a stage of pause, and another stage just following the stage of pause - a stage of movement." (5)
So according to Ananda Marga philosopy, the "ups" & "downs" in spiritual life are natural and to be expected. And His own terminology for these "ups" & "downs" of life are known are periods of speed and periods of pause.
Note 4: Questions and answers on meditation
"Question: What is dhárańá?"
"Answer: Dhárańá is defined as: Deshabandhashcittasya dhárańá. Dhárańá literally means “locating the mind firmly in an area or region of the body”. This involves concentrating upon the respective controlling points of the fundamental factors located within the human body. That is, the mind is to be fixed on specific cakras [plexi] and engaged in Cosmic ideation.'
"Question: What is shodhana?"
"Answer: The word shodhana literally means “refinement” or “purification”. In spiritual meditation shodhana is concentration on the cakras. It is a part of Ananda Marga sádhaná which is not included in aśt́áḿga yoga [the eight-fold path of yoga]."
"Question: What is dhyána?"
"Answer: Patanjali defined dhyána as: Tatra pratyatyaekatánatá dhyánam – “Dhyána means ‘the unbroken flow of mind towards the supreme goal’.” So dhyána is meditation on the Supreme Entity so that there is an incessant upward movement of the mind towards Parama Puruśa." (6)
Note 5: On dharana and dhyana
"What is Dharana and Dhyána and what is the difference between the two?"
"Ans. Citta has the characteristic of becoming like its object. For example, when Citta is in contact with a tree it becomes like the tree. To do this citta has to depend on external sensations which convey that shape to the citta with the help of the indriyas or organs. Citta performs two types of functions: gráhaka and vikshepaka. The gráhaka function is performed with the help of the five jiṋánendriyas or sense organs with their afferent nerves, which carry sensations of external objects to the citta; then the citta takes the form of the sensations carried by the nerves. The second function of Vikshepaka is performed with the help of the five karmendriyas or motor organs and their efferent nerves, which transform sensations into physical action."
"Thus the citta takes the forms of the image or sensation which is carried to it with the help of the sensory nerves. The property of citta to become like its object is called dháraná which means “to hold”: the citta holds an image and becomes like that. The image is carried to the citta from external sensations, and since these sensations are not continuous, the image which is formed on the citta is also not continuous. There is always a gap between two successive images, but due to the rapid succession of the images, the gap is not perceived. It is just like the images of the cinema screen which appear to be continuous and constant; but when the film is examined it is seen that the images on the screen are formed from a succession of many different pictures. In Dhárańá, citta becomes like that with which it comes in contact in the external world through the sensations; since the sensations of the external object are not continuous, the image in the citta is also not continuous. Thus Dhárańa is not dynamic, for individual images which are formed on the citta, are all static and will not remain unless immediately followed by another image."
"Dhyána is also a state of citta like Dhárańá, but since dhyána can never be of any external object so the citta does not have to depend on external sensations. The object in dhyána is always internal and so citta can take its form without the help of any external sensations. When there is no necessity of external sensations, there is also no gap between one sensation and another; and the form which the citta adopts in dhyána is continuous. Dhyána is thus not static but a continuous process; and this continuity cannot be broken because the citta exists in the same state and takes the same form throughout the period of dhyána. Since the form is the same throughout, no gaps exist as in dháraná, and there is no succession of individual static images either dhyána is compared to the continuity of a stream of oil which flows without any apparent movement. Taela dhárá vat ekatánatá: “Meditation or dhyána is a constant remembrance, flowing like an unbroken stream of oil from one vessel to another.”
"The result of action in dhyána is inaction. The process of dhyána is so continuous that all capacity of action is exhausted in maintaining this continuity, and the resultant therefore is inaction. When there is a cessation of action, the mind ceases to exist, and that is called samádhi. Samádhi is also called karma samádhi – the actionless state when all karma ceases (karmanásha)."
"There is another action – the attractive power of Parama Puruśa. This attractive power which originates from Parama Puruśa will always remain; but as the object of the attraction is the mind, and when the mind itself does not exist, this attractive power will also not exist. Dhyána, therefore results in the complete loss of action."
"Dhárańá and Dhyána are therefore quite different from each other although both take place in the citta. Dhárańá is process of the citta taking the shape of external objects, while dhyána concerns internal objects only. Dhárańa is static, while dhyána is full of dynamic form. Dhárańá is non-continuous and momentary, while dhyána is continuous. Dhárańá may result in action, but dhyána results only in the cessation of actions. Dhárańá is purely a creation of citta and is tamoguńi or static, where as dhyána is full of dynamism and is rajoguni or mutative by nature. The resultant cessation of action in dhyána shows that its final goal is Sattvaguńii Samádhi through the principle of sattvaguńa." (7)
Note 6: Dhyánakriyá is just like a thread of molasses
“The best process is Brahma Sadbháva. Second one is dháraná and dhyána. Third one is Japa-Stuti – this is adhama and múrtipujá i.e. idol worship is adhamádhama. What is the matter? In Japakriyá there is only acoustic rhythm as I have told you about acoustic rhythm Ráma, Ráma, Ráma, Ráma. But in Prańidhána this acoustic rhythm maintains parallelism with mental rhythm i.e., mentally you will be saying Ráma, Ráma, Ráma, there should be acoustic rhythm Ráma, Ráma. Ráma like this and mentally you will be thinking of Ráma also, i.e., the parallelism is to be maintained, otherwise in Japakriyá where there is no parallelism what does happen; while you are uttering the word Ráma, Ráma as you are chanting the word “Rá”, letter “Rá” you are thinking of the next letter “Ma.” Ráma! Again while uttering the letter “Ma” you are thinking of the letter “Rá”. Next “Rá”. in second stage of Japa “Rá”, In that case your Mantra will be “Mara” you are uttering the letter “Ma” and thinking of the letter “Rá”, so your Iśt́a Mantra becomes “Mara” and not “Ráma”. So it is useless to do that type Japakriyá. Unless and until there is a parallelism with mental wave it is useless and where there is parallelism between acoustic rhythm and mental rhythm it is called Prańidhána. In Ananda Marga your Iishvara Pránidhána is not japakriyá; it is called Prańidhána. Prańidhána comes within the scope of Dhyána and not within the scope of japa. Do you follow? Now the first one is Pranidhána and the second one is Anudhyána. What is Anudhyána Within the greater sphere of Dhyána there are two processes – Dhárańá and Dhyána; when you try to withhold something external within your mental world it is called Dhárańá. So in Dhárańá, there is a static force, Dhárańá is of static origin. But when something is moving and that movement has been accepted by you as it is, it is called Dhyána. So in Dhyána there is a dynamic force. Dhyánakriyá is just like a thread of molasses. When poured a thread is created; there is force, there is movement in that thread but it appears to be something static. Dhyánakriyá is like this. Do you follow? “Taela Dharavat.”” (8)
Note 7: Pious persons are those who....
"The Paiṋcakośas shall have to be perfected, but how is it possible? They can be consummated only through the practice of Yama and Niyama. The Annamaya Kośa is perfected through Ásanas (physical postures). Yama and Niyama Sádhana perfect the Kámamaya Kośa. The Manomaya Kośa is perfected through Pránáyáma. Through Pratyáhára the Atimánasa Kośa is perfected. The Vijiṋánmaya Kośa is perfected through Dhárańá and the Hirańmaya Kośa through Dhyána. Only Dhyána Samádhi gives access to the soul. Pious persons are those who are earnest in their efforts to perfect the Paiṋcakośa. Human existence consists of the five kośas and spiritual practice is eightfold. This spiritual practice is Dharma. That which does not provide for the explanation of the Paiṋcakośa is not Dharma, but sectism." (9)
Note 8: "I will catch hold of Him"
“In Ranchi I told [you] about dhyána and dhárańá. Parama Puruśa is your goal. You are going to Parama Puruśa. If Parama Puruśa is caught easily in your heart, then that is the will of Parama Puruśa. If Parama Puruśa runs away from you, then what should you do? If you think, “Parama Puruśa does not want me,” and you go back, then you are defeated by Parama Puruśa. But if Parama Puruśa runs away and you chase Him, if you say, “I won’t let Him go, I will not desist till I catch hold of Him,” this is abhidhyána.” (10)
References
1. PNS-7, 'Dynamicity and Staticity
2. Ananda Vacanamrtam - 23, How to Concentrate
3. AV-23, Oṋḿkára and Iśt́a Mantra
4. SS-18, p. 9-10
5. AV-8
6. Yoga Psychology, Questions and Answers on Meditation, #16 - #18
7. Tattvika Praveshika, Some Questions and Answers on Ananda Marga Philosophy, Question #8
8. SS-18, The Stance of Salvation and How to Attain It
9. SS-2, The Call of the Supreme
10. AV-31, Abhidhyána and Árádhaná
This email contains three sections:
1. PS #3898: Illustration of pre and post creation
2. Posting: Sadhana, Sadhanaunga, & Its importance
3. Links
Sadhana, Sadhanaunga, & Its importance
Namaskar,
Each and every sadhaka must know that sadhana itself moves in phases of pause and speed. This is the normal and natural pathway for everyone.
Baba says, "While doing sa'dhana' in the spiritual sphere, the state of pause may come. Sometimes people say, 'How strange! A few days ago I was having excellent meditation, but these days I can't seem to concentrate at all. That's very sad.' Or at times one may say, 'The other day while meditating my body began to quiver. It was quite a pleasant experience. Why don't I get the same experience today?' This sort of blissful experience during meditation or in concentration comes within the scope of assimilation. It becomes internalized. But if it does not find any expression within the mind, you can never experience it. Maybe after a few days you may experience an even greater bliss during incantation or meditation. All this means that even in the spiritual sphere also there is pause and speed." (1)
So we should always put forth maximum effort in sadhana and never skip any lessons, then one will advance ahead on the spiritual path. The main ethic is sincerity in sadhana - if one is sincere then certainly one will advance, by His grace.
Some techniques to help keep sadhana strong:
third lesson helps
third lesson helps
Given that it is inevitable that one will experience periods of pause in sadhana, there are certain approaches that help push sadhana back into a period of speed.
One point is to practice the lesson of tattva dharana - or third lesson. As we know that this energizes one's being, enhances concentration, and makes the mind stable. So it is a very good lesson to do when experiencing a period of pause.
Certainly though, sitting for long or even short session in viira'sana (the posture for 3rd lesson) is not particularly easy. Because the toes are curled underneath and there is a lot of pressure applied to the joints of
the toes.
In that case, one can place some soft clothing articles or a piece of foam underneath one's feet when doing third lesson. In that way viira'sana will feel more comfortable and one will be able to remain in that position long, thus getting the many benefits. And certainly over time doing this lesson will become physically easier and easier.
Sadhana and sadhanaunga
As we all know in our sahaja yoga system - i.e. the six lessons of sadhana - the lessons can be separated into two basic catergories: sa'dhana' & sa'dhana'unga.
Our first lesson (iishvara pranidhana) and our sixth lesson (dhya'na) are the only two lessons of sadhana. The former leads to mukti and the latter brings moksa, by His grace. So those are both sadhana lessons.
Whereas our other lessons - numbers 2 through 5 - are helping lessons of sadhana known as sa'dhana'unga. These include: Madhuvidya (2nd lesson), tattva dharana (3rd lesson), pranayama (4th lesson), and cakra shodhana (5th lesson). All of these are helping lessons - i.e. sa'dhana'unga - in sadhana.
Baba says, "There are certain helping sádhanás. Ásana and práńáyáma, for example, are helping items. They are not sádhaná, they are called sádhanáuṋga." (2)
All the helping lessons of sadhana, i.e. #2 - #5, support, along with other aspects of astaunga yoga like asanas, help bring the mind into a balanced state where one can do sadhana, by His grace.
Remember, “Human life is for spiritual sádhaná only. There is not, there cannot be, any other motive; there cannot be any other intention; there cannot be any other desideratum.” (3)
What sadhana lessons to do when:
first & sixth lesson
first & sixth lesson
The point then comes that when should one do 1st lesson and one should 6th lesson be done. Here are some basic guidelines.
1. If one is struggling a lot in dhyana either because one cannot visualise Taraka Brahma or because one is not feeling that sweet, heart-felt connection inside, then one can try to switch over to first lesson. Because first lesson is comparatively easy.
2. And it should be remembered that first lesson itself is a devotional lesson. So just after one completes the stage of cittashuddhi (the last step of one's withdrawal process) then before starting the practice of mantra japa, first one infuse a strong feeling of devotional love for Taraka Brahma. And then after arousing that devotional feeling one can then repeat their is't'a mantra. Then that mantra japa will be fruitful by His grace. Here the whole point is that one's mantra repetition should be saturated with devotional feeling and yearning for Him. That is one key point for first lesson.
3. And then as first lesson builds momentum and spiritual flow and one is getting support from the other lessons as well, then that is a good time to again engage in the practice of dhyana.
4. So one should always remember that first lesson is easier than dhyana. That is one point. And next is that normal dhyana is easier than very intimate and deeper dhyana. So one should proceed according to one's own mental feeling.
More points about proceeding ahead in sadhana
5. We can say that the most important point is that a sadhaka should always be natural in their approach to sadhana and not be artificial or hypocritical. One should do as one sincerely feels.
6. For example, when a small child has a strong desire to sit on his mother's lap then that little baby is going to cry and cry until that mother lifts him onto her lap. And this is quite natural and the mother feels that she must respond to the child's cry. Because that is the child's pure and natural feeling.
In contrast, if one just sits erect in sadhana as a show in front of others then that is completely unnatural and one will not progress. Because that is just one fake display in the name of sadhana. It is wholly bereft of sincerity; so one will just degrade.
7. In sadhana, one must follow a natural approach - especially in dhyana. One should approach their object of meditation, one’s dhyeya, and communicate with Him according to one's internal feeling. One should not act in any fake or unnatural manner. Sincerity is the key for progress in dhyana.
8. There are some who may say that dhyana is the only lesson that one should practice - but that is not proper. Rather all the lessons have their utility and speciality, and they all help promote deeper dhyana. So the way to develop a sweet and more intimate feeling in dhyana is by doing all the six lessons and by being sincere and true in dhyana.
Asking for His grace from dhyeya
9. And perhaps the most important point in sadhana is to directly ask help from their object of meditation, one’s dhyeya. One may repeat, 'I cannot do anything, I am helpless, so please grace me so I may move towards You'.
Requesting His grace in this way will invariably help one to move ahead on the path. This type of constant request is needed for getting His grace. And certainly this type of request should be carried out with all the sweet and sincere feelings of one's heart. Only then will it be successful. And this whole entire concept of asking His grace is His direct guideline. Sadguru teaches us that each and every sa'dhaka should do like this.
Ananda Marga devotional cult says, "They will have to approach Parama Purusa with these words: 'Parama Purusa I want to move towards You, but I do not have sufficient strength to move. Please give me strength, I want to move on'." (4)
Namaskar,
in Him,
Kalyana Murti
Note 1: Difference between speed and pause
All the above points are important. By His grace all these guidelines help a sadhaka in sadhana, especially if one is experiencing a period of pause. Whereas when one is in a period of speed then by His grace all the lessons are flowing naturally and one becomes completely lost in the ocean of Cosmic Bliss.
Note 2: The path is systaltic
As sadhakas, it is perfectly natural for one to go through "ups" & "downs" in our practice of meditation. At the same time we all wish that we could always be in an "up" phase. So when a "down" phase invariably comes then we should all know what it means and how to handle it.
Note 3: Natural flow of life: systaltic movement
As Baba discusses in so many discourses-- whether about sadhana, economics, education, social progress, or literature etc-- each and every movement in this universe moves along a systaltic path.
Baba says, "As you know, in this universe of ours nothing moves - no force, no expression, no manifestation, moves - along a straight line. The movement is always pulsative; the movement is always of systaltic order, order of pause and start. There must be a stage of pause, and another stage just following the stage of pause - a stage of movement." (5)
So according to Ananda Marga philosopy, the "ups" & "downs" in spiritual life are natural and to be expected. And His own terminology for these "ups" & "downs" of life are known are periods of speed and periods of pause.
Note 4: Questions and answers on meditation
"Question: What is dhárańá?"
"Answer: Dhárańá is defined as: Deshabandhashcittasya dhárańá. Dhárańá literally means “locating the mind firmly in an area or region of the body”. This involves concentrating upon the respective controlling points of the fundamental factors located within the human body. That is, the mind is to be fixed on specific cakras [plexi] and engaged in Cosmic ideation.'
"Question: What is shodhana?"
"Answer: The word shodhana literally means “refinement” or “purification”. In spiritual meditation shodhana is concentration on the cakras. It is a part of Ananda Marga sádhaná which is not included in aśt́áḿga yoga [the eight-fold path of yoga]."
"Question: What is dhyána?"
"Answer: Patanjali defined dhyána as: Tatra pratyatyaekatánatá dhyánam – “Dhyána means ‘the unbroken flow of mind towards the supreme goal’.” So dhyána is meditation on the Supreme Entity so that there is an incessant upward movement of the mind towards Parama Puruśa." (6)
Note 5: On dharana and dhyana
"What is Dharana and Dhyána and what is the difference between the two?"
"Ans. Citta has the characteristic of becoming like its object. For example, when Citta is in contact with a tree it becomes like the tree. To do this citta has to depend on external sensations which convey that shape to the citta with the help of the indriyas or organs. Citta performs two types of functions: gráhaka and vikshepaka. The gráhaka function is performed with the help of the five jiṋánendriyas or sense organs with their afferent nerves, which carry sensations of external objects to the citta; then the citta takes the form of the sensations carried by the nerves. The second function of Vikshepaka is performed with the help of the five karmendriyas or motor organs and their efferent nerves, which transform sensations into physical action."
"Thus the citta takes the forms of the image or sensation which is carried to it with the help of the sensory nerves. The property of citta to become like its object is called dháraná which means “to hold”: the citta holds an image and becomes like that. The image is carried to the citta from external sensations, and since these sensations are not continuous, the image which is formed on the citta is also not continuous. There is always a gap between two successive images, but due to the rapid succession of the images, the gap is not perceived. It is just like the images of the cinema screen which appear to be continuous and constant; but when the film is examined it is seen that the images on the screen are formed from a succession of many different pictures. In Dhárańá, citta becomes like that with which it comes in contact in the external world through the sensations; since the sensations of the external object are not continuous, the image in the citta is also not continuous. Thus Dhárańa is not dynamic, for individual images which are formed on the citta, are all static and will not remain unless immediately followed by another image."
"Dhyána is also a state of citta like Dhárańá, but since dhyána can never be of any external object so the citta does not have to depend on external sensations. The object in dhyána is always internal and so citta can take its form without the help of any external sensations. When there is no necessity of external sensations, there is also no gap between one sensation and another; and the form which the citta adopts in dhyána is continuous. Dhyána is thus not static but a continuous process; and this continuity cannot be broken because the citta exists in the same state and takes the same form throughout the period of dhyána. Since the form is the same throughout, no gaps exist as in dháraná, and there is no succession of individual static images either dhyána is compared to the continuity of a stream of oil which flows without any apparent movement. Taela dhárá vat ekatánatá: “Meditation or dhyána is a constant remembrance, flowing like an unbroken stream of oil from one vessel to another.”
"The result of action in dhyána is inaction. The process of dhyána is so continuous that all capacity of action is exhausted in maintaining this continuity, and the resultant therefore is inaction. When there is a cessation of action, the mind ceases to exist, and that is called samádhi. Samádhi is also called karma samádhi – the actionless state when all karma ceases (karmanásha)."
"There is another action – the attractive power of Parama Puruśa. This attractive power which originates from Parama Puruśa will always remain; but as the object of the attraction is the mind, and when the mind itself does not exist, this attractive power will also not exist. Dhyána, therefore results in the complete loss of action."
"Dhárańá and Dhyána are therefore quite different from each other although both take place in the citta. Dhárańá is process of the citta taking the shape of external objects, while dhyána concerns internal objects only. Dhárańa is static, while dhyána is full of dynamic form. Dhárańá is non-continuous and momentary, while dhyána is continuous. Dhárańá may result in action, but dhyána results only in the cessation of actions. Dhárańá is purely a creation of citta and is tamoguńi or static, where as dhyána is full of dynamism and is rajoguni or mutative by nature. The resultant cessation of action in dhyána shows that its final goal is Sattvaguńii Samádhi through the principle of sattvaguńa." (7)
Note 6: Dhyánakriyá is just like a thread of molasses
“The best process is Brahma Sadbháva. Second one is dháraná and dhyána. Third one is Japa-Stuti – this is adhama and múrtipujá i.e. idol worship is adhamádhama. What is the matter? In Japakriyá there is only acoustic rhythm as I have told you about acoustic rhythm Ráma, Ráma, Ráma, Ráma. But in Prańidhána this acoustic rhythm maintains parallelism with mental rhythm i.e., mentally you will be saying Ráma, Ráma, Ráma, there should be acoustic rhythm Ráma, Ráma. Ráma like this and mentally you will be thinking of Ráma also, i.e., the parallelism is to be maintained, otherwise in Japakriyá where there is no parallelism what does happen; while you are uttering the word Ráma, Ráma as you are chanting the word “Rá”, letter “Rá” you are thinking of the next letter “Ma.” Ráma! Again while uttering the letter “Ma” you are thinking of the letter “Rá”. Next “Rá”. in second stage of Japa “Rá”, In that case your Mantra will be “Mara” you are uttering the letter “Ma” and thinking of the letter “Rá”, so your Iśt́a Mantra becomes “Mara” and not “Ráma”. So it is useless to do that type Japakriyá. Unless and until there is a parallelism with mental wave it is useless and where there is parallelism between acoustic rhythm and mental rhythm it is called Prańidhána. In Ananda Marga your Iishvara Pránidhána is not japakriyá; it is called Prańidhána. Prańidhána comes within the scope of Dhyána and not within the scope of japa. Do you follow? Now the first one is Pranidhána and the second one is Anudhyána. What is Anudhyána Within the greater sphere of Dhyána there are two processes – Dhárańá and Dhyána; when you try to withhold something external within your mental world it is called Dhárańá. So in Dhárańá, there is a static force, Dhárańá is of static origin. But when something is moving and that movement has been accepted by you as it is, it is called Dhyána. So in Dhyána there is a dynamic force. Dhyánakriyá is just like a thread of molasses. When poured a thread is created; there is force, there is movement in that thread but it appears to be something static. Dhyánakriyá is like this. Do you follow? “Taela Dharavat.”” (8)
Note 7: Pious persons are those who....
"The Paiṋcakośas shall have to be perfected, but how is it possible? They can be consummated only through the practice of Yama and Niyama. The Annamaya Kośa is perfected through Ásanas (physical postures). Yama and Niyama Sádhana perfect the Kámamaya Kośa. The Manomaya Kośa is perfected through Pránáyáma. Through Pratyáhára the Atimánasa Kośa is perfected. The Vijiṋánmaya Kośa is perfected through Dhárańá and the Hirańmaya Kośa through Dhyána. Only Dhyána Samádhi gives access to the soul. Pious persons are those who are earnest in their efforts to perfect the Paiṋcakośa. Human existence consists of the five kośas and spiritual practice is eightfold. This spiritual practice is Dharma. That which does not provide for the explanation of the Paiṋcakośa is not Dharma, but sectism." (9)
Note 8: "I will catch hold of Him"
“In Ranchi I told [you] about dhyána and dhárańá. Parama Puruśa is your goal. You are going to Parama Puruśa. If Parama Puruśa is caught easily in your heart, then that is the will of Parama Puruśa. If Parama Puruśa runs away from you, then what should you do? If you think, “Parama Puruśa does not want me,” and you go back, then you are defeated by Parama Puruśa. But if Parama Puruśa runs away and you chase Him, if you say, “I won’t let Him go, I will not desist till I catch hold of Him,” this is abhidhyána.” (10)
References
1. PNS-7, 'Dynamicity and Staticity
2. Ananda Vacanamrtam - 23, How to Concentrate
3. AV-23, Oṋḿkára and Iśt́a Mantra
4. SS-18, p. 9-10
5. AV-8
6. Yoga Psychology, Questions and Answers on Meditation, #16 - #18
7. Tattvika Praveshika, Some Questions and Answers on Ananda Marga Philosophy, Question #8
8. SS-18, The Stance of Salvation and How to Attain It
9. SS-2, The Call of the Supreme
10. AV-31, Abhidhyána and Árádhaná
== Section 2 ==
~ Illustration of pre and post creation ~
PS Intro: This song explains how before creation Parama Purusa was alone. Then in His mind He created the entire universe. What is happening in His mind is our reality. In the last phase of creation He made human beings and filled their heart with devotion. That is what is described in this song.
“Bha’lobesechile man bharile vyatha’ bhujhile...” (PS 3898)
Purport:
O’ Parama Purusa, You loved me and completely satiated my mind. Each and every cell of my existence received Your divine touch. You knew the pain I felt due to my deep longing for You. Each moment, in new light, You made flowers come into bloom. You blessed me in newer and newer ways.
O’ Supreme Entity, that which no one ever could imagine, You imagined. No one had ever come into this triloka [1] who was capable of starting the cycle of creation by their own imagination. No one had ever come who could create the sky, air, the five fundamental factors, and tridasha (svarloka). O’ Lord, You created everything. This cycle of creation is Your thought projection. O’ Taraka Brahma, this work only You could do.
O’ Parama Purusa, throughout this universe, You awakened the love, affection, and tender emotions in everyone’s heart. You graciously blessed one and all with mental momentum and the warmth of devotion. Baba, You gave mobility to atoms. By Your grace, You filled everyone’s heart with love, affection, and devotion. Yet You hid Yourself within Your own creation. In this way You go on playing Your divine liila - nobody can see You.
O’ Parama Purusa Baba, please put divine collyrium in my eyes so I can see You everywhere...
Note for Prabhat Samgiita #3898:
[1] Triloka: This following section about triloka is from Baba’s general darshan of 16 July 1980 in Patna. The two excerpts cited below define what the three lokas are and where they exist.
What are the three lokas
“The Supreme cognitive faculty is the subjectivity. And the second compartment of His Cosmic Mind takes the form of this moving world, of this animated or inanimated world. Everything resides, everything is created, everything is maintained, everything is nourished, and everything undergoes final metamorphosis within the vast objectivated mind, that is within the second mental counterpart of the Supreme Entity….”
“Now, what's the meaning of triloka, tribhuvana ? You have got a physical body made of so many elements, so many compounds. And we say it is [the] quinquelemental universe, composed of five fundamental factors...”
“And you exist in this realm of physicalities. This is one bhuvana. And, the subtler portion of the physical structure of living beings, when that subtler portion gets powdered down, is metamorphosed into ectoplasm, it becomes the mind. You have got a mind. And as all of you know, you are not the mind. You are the owner of the mind. So, your second existence is the mental world. Second world…”
“Your "I" is concentrated round your ego. And that pinnacled ego touches the astral stratum. So, that astral stratum is the third world. One physical world, another mental world, and another that subtle astral world. So, there are three worlds.” (1)
Where the three lokas exist
“Both for microcosm and Macrocosm. In case of Macrocosm, all these three worlds lie within the second compartment of the [Cosmic] mind. First compartment is the cognitive mind. And second compartment is the "done mind", objectivated mind, mind that can be seen, that can be realized, that can be enjoyed singularly. So, these are the three bhuvanas, three worlds.” (2)
References
1. 16 July 1980 in Patna
2. 16 July 1980 in Patna
== Section 3 ==
Links
http://anandamarganewsbulletin.blogspot.com/2015/02/news-land-sale-falsehood-of-dada.html
http://anandamarganewsbulletin.blogspot.com/2015/02/why-wts-should-or-should-not-engage-in.html
Links
http://anandamarganewsbulletin.blogspot.com/2015/02/news-land-sale-falsehood-of-dada.html
http://anandamarganewsbulletin.blogspot.com/2015/02/why-wts-should-or-should-not-engage-in.html
HERE IS MORE INFO:
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A New Era of Spiritual Age Will Be Coming
Spontaneous Spiritual Experience in Tomorrow's Humans
Baba says, "To move ahead from physicality to intellectuality is the
Proutistic order. It is the surest movement of human life -- it is the
surest movement of human destiny...human beings will be making tremendous
progress in the realms of intellectuality and intuition. The human beings
of that future age will be very sensitive. The efferent nerves will be more
active than the afferent nerves, and subtle experiences will be more common
than they are now. Today human beings seldom have subtle experiences, but
in the future they will occur naturally and spontaneously." (PNS-17, p.36)
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