classes ::: God, Gods, the Gods,
children :::
branches ::: Indra, Indras Net

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object:Indra
class:God
class:Gods
class:the Gods

see also :::

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now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [0] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
SEE ALSO


AUTH

BOOKS
Big_Mind,_Big_Heart
General_Principles_of_Kabbalah
Infinite_Library
Journey_to_the_Lord_of_Power_-_A_Sufi_Manual_on_Retreat
Modern_Man_in_Search_of_a_Soul
My_Burning_Heart
Tagore_-_Poems
The_Essential_Songs_of_Milarepa
The_Imitation_of_Christ
The_Perennial_Philosophy
The_Republic
The_Secret_Of_The_Veda
The_Use_and_Abuse_of_History
The_Yoga_Sutras
Vedic_and_Philological_Studies
Vishnu_Purana

IN CHAPTERS TITLE
01.05_-_Rabindranath_Tagore:_A_Great_Poet,_a_Great_Man
02.13_-_Rabindranath_and_Sri_Aurobindo
2.02_-_Indra,_Giver_of_Light
2.03_-_Indra_and_the_Thought-Forces
26.04_-_Rabindranath_Tagore
30.13_-_Rabindranath_the_Artist
30.14_-_Rabindranath_and_Modernism
30.15_-_The_Language_of_Rabindranath
30.17_-_Rabindranath,_Traveller_of_the_Infinite
34.01_-_Hymn_To_Indra
37.06_-_Indra_-_Virochana_and_Prajapati

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT
00.03_-_Upanishadic_Symbolism
00.05_-_A_Vedic_Conception_of_the_Poet
0.00a_-_Participants_in_the_Evening_Talks
0.00_-_INTRODUCTION
0.06_-_Letters_to_a_Young_Sadhak
01.02_-_Sri_Aurobindo_-_Ahana_and_Other_Poems
01.02_-_The_Creative_Soul
01.03_-_Mystic_Poetry
01.03_-_Yoga_and_the_Ordinary_Life
01.04_-_The_Poetry_in_the_Making
01.05_-_Rabindranath_Tagore:_A_Great_Poet,_a_Great_Man
01.06_-_Vivekananda
01.08_-_Walter_Hilton:_The_Scale_of_Perfection
0_1954-08-25_-_what_is_this_personality?_and_when_will_she_come?
0_1960-09-20
0_1961-01-22
0_1961-01-24
0_1961-01-31
0_1961-02-11
0_1961-03-04
0_1961-04-18
0_1961-12-23
0_1962-02-27
0_1962-07-21
0_1962-08-08
0_1962-09-26
0_1963-07-06
0_1964-08-22
0_1966-11-09
0_1967-02-18
0_1969-02-08
0_1969-05-28
0_1969-08-30
0_1969-10-18
0_1969-11-29
0_1971-03-02
02.05_-_Robert_Graves
02.12_-_Mysticism_in_Bengali_Poetry
02.13_-_Rabindranath_and_Sri_Aurobindo
02.14_-_Appendix
03.07_-_Brahmacharya
03.07_-_Some_Thoughts_on_the_Unthinkable
03.12_-_TagorePoet_and_Seer
04.02_-_A_Chapter_of_Human_Evolution
05.01_-_Man_and_the_Gods
06.16_-_A_Page_of_Occult_History
06.21_-_The_Personal_and_the_Impersonal
1.00c_-_DIVISION_C_-_THE_ETHERIC_BODY_AND_PRANA
1.01_-_Economy
1.01_-_Foreward
1.01_-_Meeting_the_Master_-_Authors_first_meeting,_December_1918
1.01_-_On_knowledge_of_the_soul,_and_how_knowledge_of_the_soul_is_the_key_to_the_knowledge_of_God.
1.01_-_The_Science_of_Living
1.02.3.2_-_Knowledge_and_Ignorance
1.02.4.2_-_Action_and_the_Divine_Will
1.024_-_Affiliation_With_Larger_Wholes
1.02_-_MAPS_OF_MEANING_-_THREE_LEVELS_OF_ANALYSIS
1.02_-_Prayer_of_Parashara_to_Vishnu
1.02_-_SADHANA_PADA
1.02_-_Self-Consecration
1.02_-_Taras_Tantra
1.02_-_The_Divine_Teacher
1.02_-_The_Doctrine_of_the_Mystics
1.02_-_The_Pit
10.31_-_The_Mystery_of_The_Five_Senses
1.03_-_Hymns_of_Gritsamada
1.03_-_Measure_of_time,_Moments_of_Kashthas,_etc.
1.03_-_Meeting_the_Master_-_Meeting_with_others
1.03_-_PERSONALITY,_SANCTITY,_DIVINE_INCARNATION
1.03_-_Tara,_Liberator_from_the_Eight_Dangers
1.03_-_The_House_Of_The_Lord
1.03_-_The_Human_Disciple
1.03_-_The_Sephiros
1.04_-_ADVICE_TO_HOUSEHOLDERS
1.04_-_A_Leader
1.04_-_Homage_to_the_Twenty-one_Taras
1.04_-_The_Aims_of_Psycho_therapy
1.04_-_The_Fork_in_the_Road
1.04_-_The_Gods_of_the_Veda
1.04_-_The_Paths
1.04_-_The_Praise
1.05_-_Buddhism_and_Women
1.05_-_Hymns_of_Bharadwaja
1.05_-_On_the_Love_of_God.
1.05_-_Ritam
1.05_-_Solitude
1.05_-_THE_HOSTILE_BROTHERS_-_ARCHETYPES_OF_RESPONSE_TO_THE_UNKNOWN
1.05_-_The_Magical_Control_of_the_Weather
1.05_-_War_And_Politics
1.06_-_Agni_and_the_Truth
1.06_-_Dhyana
1.06_-_MORTIFICATION,_NON-ATTACHMENT,_RIGHT_LIVELIHOOD
1.06_-_Origin_of_the_four_castes
1.06_-_Yun_Men's_Every_Day_is_a_Good_Day
1.07_-_A_Song_of_Longing_for_Tara,_the_Infallible
1.07_-_Note_on_the_word_Go
1.08_-_Origin_of_Rudra:_his_becoming_eight_Rudras
1.08_-_Sri_Aurobindos_Descent_into_Death
1.08_-_The_Gods_of_the_Veda_-_The_Secret_of_the_Veda
1.08_-_THE_MASTERS_BIRTHDAY_CELEBRATION_AT_DAKSHINESWAR
1.098_-_The_Transformation_from_Human_to_Divine
1.09_-_Legend_of_Lakshmi
1.09_-_Saraswati_and_Her_Consorts
1.10_-_Concentration_-_Its_Practice
1.10_-_The_Image_of_the_Oceans_and_the_Rivers
1.10_-_THE_MASTER_WITH_THE_BRAHMO_DEVOTEES_(II)
1.10_-_The_Secret_of_the_Veda
1.11_-_Legend_of_Dhruva,_the_son_of_Uttanapada
1.1.1_-_Text
1.11_-_The_Seven_Rivers
1.1.2_-_Commentary
1.12_-_Dhruva_commences_a_course_of_religious_austerities
1.12_-_God_Departs
1.12_-_The_Divine_Work
1.12_-_The_Herds_of_the_Dawn
1.13_-_Posterity_of_Dhruva
1.13_-_SALVATION,_DELIVERANCE,_ENLIGHTENMENT
1.13_-_THE_MASTER_AND_M.
1.14_-_Descendants_of_Prithu
1.14_-_INSTRUCTION_TO_VAISHNAVS_AND_BRHMOS
1.14_-_The_Secret
1.14_-_The_Victory_Over_Death
1.15_-_In_the_Domain_of_the_Spirit_Beings
1.15_-_SILENCE
1.15_-_The_world_overrun_with_trees;_they_are_destroyed_by_the_Pracetasas
1.16_-_WITH_THE_DEVOTEES_AT_DAKSHINESWAR
1.17_-_Legend_of_Prahlada
1.17_-_The_Seven-Headed_Thought,_Swar_and_the_Dashagwas
1.18_-_The_Human_Fathers
1.19_-_Life
1.19_-_The_Victory_of_the_Fathers
1.200-1.224_Talks
12.01_-_This_Great_Earth_Our_Mother
1.20_-_The_Hound_of_Heaven
1.21_-_A_DAY_AT_DAKSHINESWAR
1.21_-_Families_of_the_Daityas
1.2.1_-_Mental_Development_and_Sadhana
1.21_-_Tabooed_Things
1.22__-_Dominion_over_different_provinces_of_creation_assigned_to_different_beings
1.240_-_1.300_Talks
1.240_-_Talks_2
1.24_-_On_meekness,_simplicity,_guilelessness_which_come_not_from_nature_but_from_habit,_and_about_malice.
1.24_-_PUNDIT_SHASHADHAR
1.2.4_-_Speech_and_Yoga
1.25_-_SPIRITUAL_EXERCISES
1.26_-_The_Ascending_Series_of_Substance
1.27_-_On_holy_solitude_of_body_and_soul.
1.28_-_Describes_the_nature_of_the_Prayer_of_Recollection_and_sets_down_some_of_the_means_by_which_we_can_make_it_a_habit.
1.2_-_Katha_Upanishads
1.300_-_1.400_Talks
1.32_-_Expounds_these_words_of_the_Paternoster__Fiat_voluntas_tua_sicut_in_coelo_et_in_terra._Describes_how_much_is_accomplished_by_those_who_repeat_these_words_with_full_resolution_and_how_well
1.34_-_Continues_the_same_subject._This_is_very_suitable_for_reading_after_the_reception_of_the_Most_Holy_Sacrament.
1.41_-_Speaks_of_the_fear_of_God_and_of_how_we_must_keep_ourselves_from_venial_sins.
1.42_-_Treats_of_these_last_words_of_the_Paternoster__Sed_libera_nos_a_malo._Amen._But_deliver_us_from_evil._Amen.
15.09_-_One_Day_More
1.57_-_Public_Scapegoats
1.60_-_Knack
1.66_-_The_External_Soul_in_Folk-Tales
1.68_-_The_Golden_Bough
17.02_-_Hymn_to_the_Sun
17.06_-_Hymn_of_the_Supreme_Goddess
1.76_-_The_Gods_-_How_and_Why_they_Overlap
18.04_-_Modern_Poems
19.02_-_Vigilance
1914_03_04p
1914_05_31p
1914_09_30p
1929-05-05_-_Intellect,_true_and_wrong_movement_-_Attacks_from_adverse_forces_-_Faith,_integral_and_absolute_-_Death,_not_a_necessity_-_Descent_of_Divine_Consciousness_-_Inner_progress_-_Memory_of_former_lives
1951-01-20_-_Developing_the_mind._Misfortunes,_suffering;_developed_reason._Knowledge_and_pure_ideas.
1951-03-05_-_Disasters-_the_forces_of_Nature_-_Story_of_the_charity_Bazar_-_Liberation_and_law_-_Dealing_with_the_mind_and_vital-_methods
1955-04-27_-_Symbolic_dreams_and_visions_-_Curing_pain_by_various_methods_-_Different_states_of_consciousness_-_Seeing_oneself_dead_in_a_dream_-_Exteriorisation
1956-06-27_-_Birth,_entry_of_soul_into_body_-_Formation_of_the_supramental_world_-_Aspiration_for_progress_-_Bad_thoughts_-_Cerebral_filter_-_Progress_and_resistance
1956-11-28_-_Desire,_ego,_animal_nature_-_Consciousness,_a_progressive_state_-_Ananda,_desireless_state_beyond_enjoyings_-_Personal_effort_that_is_mental_-_Reason,_when_to_disregard_it_-_Reason_and_reasons
1957-07-31_-_Awakening_aspiration_in_the_body
1958-08-15_-_Our_relation_with_the_Gods
1961_02_02
1.fua_-_The_Lover
1.jk_-_Hyperion._Book_II
1.jk_-_Otho_The_Great_-_Act_IV
1.jm_-_The_Song_of_Perfect_Assurance_(to_the_Demons)
1.kbr_-_Do_not_go_to_the_garden_of_flowers!
1.kbr_-_Hang_up_the_swing_of_love_today!
1.kbr_-_O_how_may_I_ever_express_that_secret_word?
1.kbr_-_Poem_13
1.kbr_-_Poem_14
1.kbr_-_Poem_15
1.kbr_-_Poem_2
1.kbr_-_Poem_3
1.kbr_-_Poem_5
1.kbr_-_Poem_6
1.kbr_-_Poem_7
1.kbr_-_Poem_8
1.kbr_-_Poem_9
1.kbr_-_Tell_me,_O_Swan,_your_ancient_tale
1.kbr_-_The_light_of_the_sun,_the_moon,_and_the_stars_shines_bright
1.kbr_-_The_moon_shines_in_my_body
1.kbr_-_Theres_A_Moon_Inside_My_Body
1.kbr_-_Where_dost_thou_seem_me?
1.kbr_-_Within_this_earthen_vessel
1.lb_-_Exile's_Letter
1.mb_-_I_have_heard_that_today_Hari_will_come
1.pbs_-_Prometheus_Unbound
1.poe_-_Eureka_-_A_Prose_Poem
1.rb_-_Paracelsus_-_Part_III_-_Paracelsus
1.rb_-_Sordello_-_Book_the_Sixth
1.rt_-_(101)_Ever_in_my_life_have_I_sought_thee_with_my_songs_(from_Gitanjali)
1.rt_-_(103)_In_one_salutation_to_thee,_my_God_(from_Gitanjali)
1.rt_-_(1)_Thou_hast_made_me_endless_(from_Gitanjali)
1.rt_-_(38)_I_want_thee,_only_thee_(from_Gitanjali)
1.rt_-_(63)_Thou_hast_made_me_known_to_friends_whom_I_knew_not_(from_Gitanjali)
1.rt_-_(75)_Thy_gifts_to_us_mortals_fulfil_all_our_needs_(from_Gitanjali)
1.rt_-_(80)_I_am_like_a_remnant_of_a_cloud_of_autumn_(from_Gitanjali)
1.rt_-_(84)_It_is_the_pang_of_separation_that_spreads_throughout_the_world_(from_Gitanjali)
1.rt_-_Accept_me,_my_lord,_accept_me_for_this_while
1.rt_-_A_Dream
1.rt_-_A_Hundred_Years_Hence
1.rt_-_Akash_Bhara_Surya_Tara_Biswabhara_Pran_(Translation)
1.rt_-_All_These_I_Loved
1.rt_-_Along_The_Way
1.rt_-_And_In_Wonder_And_Amazement_I_Sing
1.rt_-_At_The_End_Of_The_Day
1.rt_-_At_The_Last_Watch
1.rt_-_Authorship
1.rt_-_Babys_Way
1.rt_-_Babys_World
1.rt_-_Beggarly_Heart
1.rt_-_Benediction
1.rt_-_Birth_Story
1.rt_-_Brahm,_Viu,_iva
1.rt_-_Brink_Of_Eternity
1.rt_-_Broken_Song
1.rt_-_Chain_Of_Pearls
1.rt_-_Closed_Path
1.rt_-_Clouds_And_Waves
1.rt_-_Colored_Toys
1.rt_-_Compensation
1.rt_-_Cruel_Kindness
1.rt_-_Death
1.rt_-_Defamation
1.rt_-_Distant_Time
1.rt_-_Dream_Girl
1.rt_-_Dungeon
1.rt_-_Endless_Time
1.rt_-_Face_To_Face
1.rt_-_Fairyland
1.rt_-_Farewell
1.rt_-_Fireflies
1.rt_-_Flower
1.rt_-_Fool
1.rt_-_Freedom
1.rt_-_Friend
1.rt_-_From_Afar
1.rt_-_Gift_Of_The_Great
1.rt_-_Gitanjali
1.rt_-_Give_Me_Strength
1.rt_-_Hard_Times
1.rt_-_Hes_there_among_the_scented_trees_(from_The_Lover_of_God)
1.rt_-_I
1.rt_-_I_Am_Restless
1.rt_-_I_Cast_My_Net_Into_The_Sea
1.rt_-_I_Found_A_Few_Old_Letters
1.rt_-_Innermost_One
1.rt_-_In_The_Country
1.rt_-_In_The_Dusky_Path_Of_A_Dream
1.rt_-_I_touch_God_in_my_song
1.rt_-_Journey_Home
1.rt_-_Keep_Me_Fully_Glad
1.rt_-_Kinu_Goalas_Alley
1.rt_-_Krishnakali
1.rt_-_Lamp_Of_Love
1.rt_-_Last_Curtain
1.rt_-_Leave_This
1.rt_-_Let_Me_Not_Forget
1.rt_-_Light
1.rt_-_Listen,_can_you_hear_it?_(from_The_Lover_of_God)
1.rt_-_Little_Flute
1.rt_-_Little_Of_Me
1.rt_-_Lord_Of_My_Life
1.rt_-_Lost_Star
1.rt_-_Lost_Time
1.rt_-_Lotus
1.rt_-_Lovers_Gifts_II_-_Come_To_My_Garden_Walk
1.rt_-_Lovers_Gifts_IV_-_She_Is_Near_To_My_Heart
1.rt_-_Lovers_Gifts_LII_-_Tired_Of_Waiting
1.rt_-_Lovers_Gifts_LIV_-_In_The_Beginning_Of_Time
1.rt_-_Lovers_Gifts_LVIII_-_Things_Throng_And_Laugh
1.rt_-_Lovers_Gifts_LVI_-_The_Evening_Was_Lonely
1.rt_-_Lovers_Gifts_LXX_-_Take_Back_Your_Coins
1.rt_-_Lovers_Gifts_VIII_-_There_Is_Room_For_You
1.rt_-_Lovers_Gifts_V_-_I_Would_Ask_For_Still_More
1.rt_-_Lovers_Gifts_XIII_-_Last_Night_In_The_Garden
1.rt_-_Lovers_Gifts_XIX_-_It_Is_Written_In_The_Book
1.rt_-_Lovers_Gifts_XL_-_A_Message_Came
1.rt_-_Lovers_Gifts_XLII_-_Are_You_A_Mere_Picture
1.rt_-_Lovers_Gifts_XLIII_-_Dying,_You_Have_Left_Behind
1.rt_-_Lovers_Gifts_XLIV_-_Where_Is_Heaven
1.rt_-_Lovers_Gifts_XLVIII_-_I_Travelled_The_Old_Road
1.rt_-_Lovers_Gifts_XLVII_-_The_Road_Is
1.rt_-_Lovers_Gifts_XVIII_-_Your_Days
1.rt_-_Lovers_Gifts_XVI_-_She_Dwelt_Here_By_The_Pool
1.rt_-_Lovers_Gifts_XXII_-_I_Shall_Gladly_Suffer
1.rt_-_Lovers_Gifts_XXVIII_-_I_Dreamt
1.rt_-_Lovers_Gifts_XXXIX_-_There_Is_A_Looker-On
1.rt_-_Maran-Milan_(Death-Wedding)
1.rt_-_Maya
1.rt_-_Meeting
1.rt_-_Moments_Indulgence
1.rt_-_My_Dependence
1.rt_-_My_Friend,_Come_In_These_Rains
1.rt_-_My_Polar_Star
1.rt_-_My_Pole_Star
1.rt_-_My_Present
1.rt_-_My_Song
1.rt_-_Ocean_Of_Forms
1.rt_-_Old_And_New
1.rt_-_Old_Letters_
1.rt_-_One_Day_In_Spring....
1.rt_-_Only_Thee
1.rt_-_On_many_an_idle_day_have_I_grieved_over_lost_time_(from_Gitanjali)
1.rt_-_On_The_Nature_Of_Love
1.rt_-_On_The_Seashore
1.rt_-_Our_Meeting
1.rt_-_Palm_Tree
1.rt_-_Paper_Boats
1.rt_-_Parting_Words
1.rt_-_Passing_Breeze
1.rt_-_Patience
1.rt_-_Playthings
1.rt_-_Poems_On_Beauty
1.rt_-_Poems_On_Life
1.rt_-_Poems_On_Man
1.rt_-_Poems_On_Time
1.rt_-_Prisoner
1.rt_-_Purity
1.rt_-_Rare
1.rt_-_Religious_Obsession_--_translation_from_Dharmamoha
1.rt_-_Roaming_Cloud
1.rt_-_Sail_Away
1.rt_-_Salutation
1.rt_-_Senses
1.rt_-_She
1.rt_-_Shyama
1.rt_-_Signet_Of_Eternity
1.rt_-_Silent_Steps
1.rt_-_Sit_Smiling
1.rt_-_Sleep
1.rt_-_Sleep-Stealer
1.rt_-_Song_Unsung
1.rt_-_Still_Heart
1.rt_-_Stray_Birds_01_-_10
1.rt_-_Stray_Birds_11-_20
1.rt_-_Stray_Birds_21_-_30
1.rt_-_Stray_Birds_31_-_40
1.rt_-_Stray_Birds_51_-_60
1.rt_-_Stray_Birds_61_-_70
1.rt_-_Stray_Birds_71_-_80
1.rt_-_Stray_Birds_81_-_90
1.rt_-_Stream_Of_Life
1.rt_-_Strong_Mercy
1.rt_-_Superior
1.rt_-_Sympathy
1.rt_-_The_Astronomer
1.rt_-_The_Banyan_Tree
1.rt_-_The_Beginning
1.rt_-_The_Boat
1.rt_-_The_Call_Of_The_Far
1.rt_-_The_Champa_Flower
1.rt_-_The_Child-Angel
1.rt_-_The_End
1.rt_-_The_First_Jasmines
1.rt_-_The_Flower-School
1.rt_-_The_Further_Bank
1.rt_-_The_Gardener_IV_-_Ah_Me
1.rt_-_The_Gardener_IX_-_When_I_Go_Alone_At_Night
1.rt_-_The_Gardener_LI_-_Then_Finish_The_Last_Song
1.rt_-_The_Gardener_LIX_-_O_Woman
1.rt_-_The_Gardener_LVII_-_I_Plucked_Your_Flower
1.rt_-_The_Gardener_LV_-_It_Was_Mid-Day
1.rt_-_The_Gardener_LXI_-_Peace,_My_Heart
1.rt_-_The_Gardener_LXIV_-_I_Spent_My_Day
1.rt_-_The_Gardener_LXIX_-_I_Hunt_For_The_Golden_Stag
1.rt_-_The_Gardener_LXVIII_-_None_Lives_For_Ever,_Brother
1.rt_-_The_Gardener_LXXIX_-_I_Often_Wonder
1.rt_-_The_Gardener_LXXV_-_At_Midnight
1.rt_-_The_Gardener_LXXXIII_-_She_Dwelt_On_The_Hillside
1.rt_-_The_Gardener_LXXXIV_-_Over_The_Green
1.rt_-_The_Gardener_LXXXI_-_Why_Do_You_Whisper_So_Faintly
1.rt_-_The_Gardener_XI_-_Come_As_You_Are
1.rt_-_The_Gardener_XIII_-_I_Asked_Nothing
1.rt_-_The_Gardener_XIV_-_I_Was_Walking_By_The_Road
1.rt_-_The_Gardener_XIX_-_You_Walked
1.rt_-_The_Gardener_XL_-_An_Unbelieving_Smile
1.rt_-_The_Gardener_X_-_Let_Your_Work_Be,_Bride
1.rt_-_The_Gardener_XLIII_-_No,_My_Friends
1.rt_-_The_Gardener_XLII_-_O_Mad,_Superbly_Drunk
1.rt_-_The_Gardener_XLIV_-_Reverend_Sir,_Forgive
1.rt_-_The_Gardener_XLVIII_-_Free_Me
1.rt_-_The_Gardener_XLVI_-_You_Left_Me
1.rt_-_The_Gardener_XLV_-_To_The_Guests
1.rt_-_The_Gardener_XVI_-_Hands_Cling_To_Eyes
1.rt_-_The_Gardener_XVIII_-_When_Two_Sisters
1.rt_-_The_Gardener_XX_-_Day_After_Day_He_Comes
1.rt_-_The_Gardener_XXII_-_When_She_Passed_By_Me
1.rt_-_The_Gardener_XXIV_-_Do_Not_Keep_To_Yourself
1.rt_-_The_Gardener_XXI_-_Why_Did_He_Choose
1.rt_-_The_Gardener_XXIX_-_Speak_To_Me_My_Love
1.rt_-_The_Gardener_XXVIII_-_Your_Questioning_Eyes
1.rt_-_The_Gardener_XXVII_-_Trust_Love
1.rt_-_The_Gardener_XXVI_-_What_Comes_From_Your_Willing_Hands
1.rt_-_The_Gardener_XXXIV_-_Do_Not_Go,_My_Love
1.rt_-_The_Gardener_XXXVIII_-_My_Love,_Once_Upon_A_Time
1.rt_-_The_Gift
1.rt_-_The_Golden_Boat
1.rt_-_The_Hero
1.rt_-_The_Hero(2)
1.rt_-_The_Home
1.rt_-_The_Homecoming
1.rt_-_The_Journey
1.rt_-_The_Judge
1.rt_-_The_Kiss
1.rt_-_The_Kiss(2)
1.rt_-_The_Land_Of_The_Exile
1.rt_-_The_Last_Bargain
1.rt_-_The_Little_Big_Man
1.rt_-_The_Lost_Star
1.rt_-_The_Merchant
1.rt_-_The_Music_Of_The_Rains
1.rt_-_The_Portrait
1.rt_-_The_Rainy_Day
1.rt_-_The_Recall
1.rt_-_The_Sailor
1.rt_-_The_Source
1.rt_-_The_Sun_Of_The_First_Day
1.rt_-_The_Tame_Bird_Was_In_A_Cage
1.rt_-_The_Unheeded_Pageant
1.rt_-_The_Wicked_Postman
1.rt_-_This_Dog
1.rt_-_Threshold
1.rt_-_Tumi_Sandhyar_Meghamala_-_You_Are_A_Cluster_Of_Clouds_-_Translation
1.rt_-_Twelve_OClock
1.rt_-_Unending_Love
1.rt_-_Ungrateful_Sorrow
1.rt_-_Untimely_Leave
1.rt_-_Unyielding
1.rt_-_Urvashi
1.rt_-_Vocation
1.rt_-_Waiting
1.rt_-_Waiting_For_The_Beloved
1.rt_-_We_Are_To_Play_The_Game_Of_Death
1.rt_-_When_And_Why
1.rt_-_When_Day_Is_Done
1.rt_-_When_I_Go_Alone_At_Night
1.rt_-_When_the_Two_Sister_Go_To_Fetch_Water
1.rt_-_Where_Shadow_Chases_Light
1.rt_-_Where_The_Mind_Is_Without_Fear
1.rt_-_Who_are_You,_who_keeps_my_heart_awake?_(from_The_Lover_of_God)
1.rt_-_Who_Is_This?
1.rt_-_Your_flute_plays_the_exact_notes_of_my_pain._(from_The_Lover_of_God)
1.ww_-_6-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_Book_Seventh_[Residence_in_London]
1.ww_-_It_was_an_April_morning-_fresh_and_clear
1.ww_-_Michael-_A_Pastoral_Poem
1.ww_-_The_Excursion-_X-_Book_Ninth-_Discourse_of_the_Wanderer,_and_an_Evening_Visit_to_the_Lake
20.01_-_Charyapada_-_Old_Bengali_Mystic_Poems
20.06_-_Translations_in_French
2.00_-_BIBLIOGRAPHY
2.01_-_Mandala_One
2.02_-_Indra,_Giver_of_Light
2.02_-_On_Letters
2.02_-_THE_EXPANSION_OF_LIFE
2.02_-_The_Synthesis_of_Devotion_and_Knowledge
2.03_-_Indra_and_the_Thought-Forces
2.03_-_Karmayogin__A_Commentary_on_the_Isha_Upanishad
2.03_-_On_Medicine
2.04_-_ADVICE_TO_ISHAN
2.04_-_Agni,_the_Illumined_Will
2.04_-_On_Art
2.05_-_On_Poetry
2.07_-_BANKIM_CHANDRA
2.07_-_The_Release_from_Subjection_to_the_Body
2.08_-_God_in_Power_of_Becoming
2.09_-_On_Sadhana
2.09_-_THE_MASTERS_BIRTHDAY
2.1.3.2_-_Study
2.1.3.3_-_Reading
2.13_-_On_Psychology
2.13_-_THE_MASTER_AT_THE_HOUSES_OF_BALARM_AND_GIRISH
2.1.4.1_-_Teachers
2.15_-_On_the_Gods_and_Asuras
2.17_-_December_1938
2.18_-_January_1939
2.18_-_SRI_RAMAKRISHNA_AT_SYAMPUKUR
2.18_-_The_Evolutionary_Process_-_Ascent_and_Integration
2.2.04_-_Practical_Concerns_in_Work
2.20_-_Nov-Dec_1939
2.21_-_1940
2.21_-_IN_THE_COMPANY_OF_DEVOTEES_AT_SYAMPUKUR
2.2.1_-_The_Prusna_Upanishads
2.2.2_-_The_Mandoukya_Upanishad
2.2.3_-_The_Aitereya_Upanishad
2.2.4_-_Taittiriya_Upanishad
2.25_-_AFTER_THE_PASSING_AWAY
2.25_-_List_of_Topics_in_Each_Talk
2.3.01_-_Concentration_and_Meditation
2.3.06_-_The_Mind
2.3.06_-_The_Mother's_Lights
2.3.08_-_The_Mother's_Help_in_Difficulties
2.3.1_-_Ego_and_Its_Forms
2.3.2_-_Desire
2.4.2_-_Interactions_with_Others_and_the_Practice_of_Yoga
25.12_-_AGNI
26.03_-_Ramprasad
26.04_-_Rabindranath_Tagore
26.05_-_Modern_Poets
27.04_-_A_Vision
2_-_Other_Hymns_to_Agni
3.00.1_-_Foreword
30.01_-_World-Literature
30.04_-_Intuition_and_Inspiration_in_Art
30.05_-_Rhythm_in_Poetry
30.07_-_The_Poet_and_the_Yogi
30.08_-_Poetry_and_Mantra
30.09_-_Lines_of_Tantra_(Charyapada)
30.12_-_The_Obscene_and_the_Ugly_-_Form_and_Essence
30.13_-_Rabindranath_the_Artist
30.14_-_Rabindranath_and_Modernism
30.15_-_The_Language_of_Rabindranath
30.16_-_Tagore_the_Unique
30.17_-_Rabindranath,_Traveller_of_the_Infinite
30.18_-_Boris_Pasternak
3.01_-_The_Mercurial_Fountain
3.04_-_The_Flowers
3.04_-_The_Formula_of_ALHIM
31.01_-_The_Heart_of_Bengal
31.05_-_Vivekananda
31.09_-_The_Cause_of_Indias_Decline
3.1.1_-_The_Transformation_of_the_Physical
3.2.02_-_The_Veda_and_the_Upanishads
32.05_-_The_Culture_of_the_Body
3.2.08_-_Bhakti_Yoga_and_Vaishnavism
3.2.2_-_Sleep
33.01_-_The_Initiation_of_Swadeshi
3.3.02_-_All-Will_and_Free-Will
33.02_-_Subhash,_Oaten:_atlas,_Russell
33.04_-_Deoghar
33.05_-_Muraripukur_-_II
33.10_-_Pondicherry_I
33.11_-_Pondicherry_II
33.17_-_Two_Great_Wars
3.3.1_-_Agni,_the_Divine_Will-Force
34.01_-_Hymn_To_Indra
34.02_-_Hymn_To_All-Gods
34.04_-_Hymn_of_Aspiration
34.09_-_Hymn_to_the_Pillar
34.10_-_Hymn_To_Earth
34.11_-_Hymn_to_Peace_and_Power
3.5.01_-_Science
36.07_-_An_Introduction_To_The_Vedas
36.08_-_A_Commentary_on_the_First_Six_Suktas_of_Rigveda
36.09_-_THE_SIT_SUKTA
37.05_-_Narada_-_Sanatkumara_(Chhandogya_Upanishad)
37.06_-_Indra_-_Virochana_and_Prajapati
37.07_-_Ushasti_Chakrayana_(Chhandogya_Upanishad)
3.7.1.10_-_Karma,_Will_and_Consequence
38.06_-_Ravana_Vanquished
3_-_Commentaries_and_Annotated_Translations
40.01_-_November_24,_1926
4.03_-_Prayer_of_Quiet
4.14_-_The_Power_of_the_Instruments
4.1_-_Jnana
4.2.2_-_Steps_towards_Overcoming_Difficulties
4.2.3.05_-_Obstacles_to_the_Psychic's_Emergence
4.2.3_-_Vigilance,_Resolution,_Will_and_the_Divine_Help
4.24_-_The_supramental_Sense
4.2.4_-_Time_and_CHange_of_the_Nature
4.3.3_-_Dealing_with_Hostile_Attacks
5.1.02_-_The_Gods
5.2.01_-_The_Descent_of_Ahana
5.3.04_-_Roots_in_M
5.4.01_-_Notes_on_Root-Sounds
9.99_-_Glossary
Blazing_P3_-_Explore_the_Stages_of_Postconventional_Consciousness
BOOK_II._--_PART_I._ANTHROPOGENESIS.
BOOK_II._--_PART_II._THE_ARCHAIC_SYMBOLISM_OF_THE_WORLD-RELIGIONS
BOOK_I._--_PART_I._COSMIC_EVOLUTION
BOOK_I._--_PART_III._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_I._--_PART_II._THE_EVOLUTION_OF_SYMBOLISM_IN_ITS_APPROXIMATE_ORDER
Book_of_Imaginary_Beings_(text)
BOOK_VIII._-_Some_account_of_the_Socratic_and_Platonic_philosophy,_and_a_refutation_of_the_doctrine_of_Apuleius_that_the_demons_should_be_worshipped_as_mediators_between_gods_and_men
BOOK_XIX._-_A_review_of_the_philosophical_opinions_regarding_the_Supreme_Good,_and_a_comparison_of_these_opinions_with_the_Christian_belief_regarding_happiness
BOOK_X._-_Porphyrys_doctrine_of_redemption
BOOK_XXI._-_Of_the_eternal_punishment_of_the_wicked_in_hell,_and_of_the_various_objections_urged_against_it
BOOK_XX._-_Of_the_last_judgment,_and_the_declarations_regarding_it_in_the_Old_and_New_Testaments
Chapter_I_-_WHICH_TREATS_OF_THE_CHARACTER_AND_PURSUITS_OF_THE_FAMOUS_GENTLEMAN_DON_QUIXOTE_OF_LA_MANCHA
COSA_-_BOOK_II
COSA_-_BOOK_IV
COSA_-_BOOK_VI
Cratylus
ENNEAD_03.02_-_Of_Providence.
ENNEAD_04.05_-_Psychological_Questions_III._-_About_the_Process_of_Vision_and_Hearing.
ENNEAD_06.04_-_The_One_and_Identical_Being_Is_Everywhere_Present_As_a_Whole.
ENNEAD_06.05_-_The_One_and_Identical_Being_is_Everywhere_Present_In_Its_Entirety.345
ENNEAD_06.08_-_Of_the_Will_of_the_One.
ENNEAD_06.09_-_Of_the_Good_and_the_One.
Epistle_to_the_Romans
Gorgias
Guru_Granth_Sahib_first_part
Jaap_Sahib_Text_(Guru_Gobind_Singh)
Liber
Liber_111_-_The_Book_of_Wisdom_-_LIBER_ALEPH_VEL_CXI
Liber_71_-_The_Voice_of_the_Silence_-_The_Two_Paths_-_The_Seven_Portals
r1912_12_06
r1912_12_13
r1912_12_26
r1914_03_28
r1914_04_10
r1914_04_12
r1914_05_22
r1914_06_11
r1914_06_14
r1914_07_15
r1914_07_19
r1914_07_20
r1914_07_21
r1914_08_16
r1914_11_30
r1914_12_13
r1915_01_30
r1917_02_03
r1917_03_06
r1917_03_07
Sayings_of_Sri_Ramakrishna_(text)
SB_1.1_-_Questions_by_the_Sages
Tablets_of_Baha_u_llah_text
Talks_001-025
Talks_026-050
Talks_051-075
Talks_With_Sri_Aurobindo_1
Talks_With_Sri_Aurobindo_2
The_Act_of_Creation_text
The_Anapanasati_Sutta__A_Practical_Guide_to_Mindfullness_of_Breathing_and_Tranquil_Wisdom_Meditation
The_Coming_Race_Contents
The_Divine_Names_Text_(Dionysis)
The_First_Epistle_of_Paul_to_the_Corinthians
The_Gospel_According_to_Matthew
The_Logomachy_of_Zos
Verses_of_Vemana

PRIMARY CLASS

concept
God
Gods
the_Gods
SIMILAR TITLES
Indra
Indras Net
Rabindranath Tagore

DEFINITIONS

1. Personal liberty, as opposed to bondage. 2. Liberation or deliverance from fate or necessity. 3. The state or power of being able to act without hindrance or restraint, liberty of action. 4. Exemption from an unpleasant or onerous condition. 5. The quality of being able to conceive and execute boldly. Freedom, Freedom"s.

42. Indrabhuti (T. Dbang po'i blo)

7. Indra's Net (Yintuoluo wang fajie men): Just as with the reflective jewels at each knot of the infinitely expansive Indrajāla, any one phenomenon captures and reflects the images of all phenomena. The images of all phenomena are thus reflected infinitely in a single instant as they are redirected to, and multiplied within, all the facets of the myriad jewels that make up Indra's Net.

Adbhitanya [possibly corruption of Sanskrit adbhutama or adbhutva from adbhuta marvelous, wonderful] In the Vishnu-Purana (3:2), adbhuta is the name of the Indra of the ninth manvantara. Commentary quoted by Blavatsky refers to the first continent once “inhabited by the Sons of Sveta-dwipa [the White Island], the blessed, and Adbhitanya, east and west, the first, the one and the pure . . .” (SD 2:319). Another name for this land or primevally inhabited part of the earth is Adi-varsha.

adri ::: 1. hill; rock, stone, dense substance (a figure for the physical consciousness). ::: 2. the pressing-stone. ::: 3. the thunderbolt, the formed electric force of Indra. [Ved.]

After death, when the second death occurs, man’s consciousness is withdrawn from the higher astral regions into the next superior sphere or plane — the human monad is indrawn into the spiritual monad. Then occurs the state of devachan.

Agnishtoma (Sanskrit) Agniṣṭoma [from agni fire + stoma praise, a hymn from the verbal root stu to praise, eulogize] Praise of Agni, fire; an ancient Vedic ceremony or sacrifice performed by a Brahmin desirous of obtaining svarga (heaven), who himself maintained the sacred fire. The offering to Indra and other deities was the soma. The ceremonies continued for five days, with 16 priests officiating. Although in later times it may have become merely a matter of form, originally the agnishtoma was connected with the initiation rites of the soma Mysteries.

Agni-Vishnu-Surya (Sanskrit) Agni-Viṣṇu-Sūrya [from agni fire + viṣṇu from the verbal root viś or the verbal root viṣ to pervade + sūrya sun] Fire-pervader-solar deity; this triad of gods is probably a permutation of the original Vedic triad Agni-Indra-Surya, having their influence and place respectively on earth, in the atmosphere, and in the sky. Agni-Vishnu-Surya has been called the “synthesis and head, or the focus whence emanated in physics as in metaphysics, from the Spiritual as from the physical Sun, the Seven Rays, the seven fiery tongues, the seven planets or gods” (SD 2:608).

Agonshu. (阿含宗). In Japanese, "AGAMA School"; a Japanese "new religion" structured from elements drawn from esoteric Buddhism (MIKKYo) and indigenous Japanese religions; founded in 1970 by Kiriyama Seiyu (born Tsutsumi Masao in 1921). Kiriyama's teachings are presented first in his Henshin no genri ("Principles of Transformation"; 1975). Kiriyama believed he had been saved by the compassion of Kannon (AVALOKITEsVARA) and was told by that BODHISATTVA to teach others using the HOMA (J. goma) fire rituals drawn from Buddhist esoteric (MIKKYo) traditions. Later, while Kiriyama was reading the Agama (J. agon) scriptures, he realized that Buddhism as it was currently constituted in Japan did not correspond to the original teachings of the Buddha. In 1978, Kiriyama changed the name of his religious movement to Agon, the Japanese pronunciation of the transcription of Agama, positing that his teachings derived from the earliest scriptures of Buddhism and thus legitimizing them. His practices are fundamentally concerned with removing practitioners' karmic hindrances (KARMAVARAnA). Since many of these hindrances, he claims, are the result of neglecting one's ancestors or are inherited from them, much attention is also paid in the school to transforming the spirits of the dead into buddhas themselves, which in turn will also free the current generation from their karmic obstructions. Spiritual power in the school derives from the shinsei busshari (true sARĪRA [relics] of the Buddha), a sacred reliquary holding a bone fragment of the Buddha himself, given to Kiriyama in 1986 by the president of Sri Lanka. Individual adherents keep a miniature replica of the sarīra in their own homes, and the relic is said to have the transformational power to turn ancestors into buddhas. A "Star Festival" (Hoshi Matsuri) is held in Kyoto on each National Foundation Day (February 11), at which time two massive homa fires are lit, one liberating the spirits of the ancestors (and thus freeing the current generation from inherited karmic obstructions), the other helping to make the deepest wishes of its adherents come true. Adherents write millions of prayers on wooden sticks, which are cast into the two fires.

Ahi (Sanskrit) Ahi [from the verbal root aṃh to press together, strangle] A serpent; in the Rig-Veda, the serpent of the sky, also called Vritra, mythologically referred to as the demon of darkness and drought who absorbed the cosmic waters. Indra, god of the sky and rainmaker, battles with Ahi and finally slays him, releasing the waters across the land.

Aindri (Sanskrit) Aindrī [feminine adjective of indra probably from the verbal root ind to drop] Pertaining to the god Indra; as a feminine proper noun, the consort of Indra; also called Aindri-sakti, Indrani, and Aindriya. Aindri (masculine) means a descendant of Indra, occasionally referring to Arjuna, son of Indra by Kunti.

Aindriyaka (Sanskrit) Aindriyaka [from indriya sense, power; belonging to Indra] In the Puranas, the creations of Brahma are variously enumerated as six, seven, and nine. Aindriyaka represents the organic creation involving the evolution or unfolding of the senses (cf VP 1:5).

Airavata (Sanskrit) Airāvata [from irāvat moisture-possessing from irā drink, food] Son of Iravati; a vast elephant produced at the churning of the ocean and appropriated by the god Indra. When seated upon Airavata, Indra blesses the earth with rain, i.e., with the water that is drawn up by Airavata from the underworld. According to the Matangalila, Airavata was born when Brahma sang over the halves of the shell from which Garuda hatched, followed by seven more male and eight female elephants.

Airavata ::: [the name of the elephant of Indra.]

Aja when derived from the verbal root aj, is also a title given to various Vedic divinities such as Rudra, Indra, Agni, the sun, the maruts, and in post-Vedic works to Brahma, Vishnu, and Siva, as well as to cosmic Kama, counterpart of the Greek cosmic Eros — all these gods being considered leaders of their respective hierarchies in the sense of urging, driving, or propelling life and intelligence therein.

anindrah ::: [they who are] not Indra. [Ved.]

aniyatagotra. (T. rigs ma nges pa; C. buding zhongxing; J. fujoshusho; K. pujong chongsong 不定種姓). In Sanskrit, "indeterminate lineage"; referring to those beings who are not predestined to a particular path and who, depending on circumstances, may follow one path and then change to another. According to some YOGACARA schools, at birth some beings are endowed with an inherent lineage (PRAKṚTISTHAGOTRA) directing them toward one of three vehicles: the sRAVAKAYANA, PRATYEKABUDDHAYANA, or BODHISATTVAYANA. The difficulty or ease with which they proceed on the path results from a developed lineage (SAMUDANĪTAGOTRA) obtained from cultivating earlier wholesome roots (KUsALAMuLA). For such persons, the lineages of the srAvaka, pratyekabuddha, and bodhisattva remain definite even when facing great hindrances. There are also persons of indeterminate or indefinite lineage. For such persons, whether they follow the srAvaka, pratyekabuddha, or bodhisattva path depends on circumstances, such as which teacher they encounter. Persons of this lineage can therefore change their path. For example, beginner (ADIKARMIKA) bodhisattvas may revert to a srAvaka path and seek personal NIRVAnA when faced with either the prospect of the difficult deeds (duskaracaryA) that bodhisattvas must perform for the sake of others or the seemingly interminable length of time (see ASAMKHYEYAKALPA) required to achieve full enlightenment (ANUTTARASAMYAKSAMBODHI). In addition, a srAvaka may be inspired to seek buddhahood for the sake of all beings and thus switch to the bodhisattva path.

anupassanA. (S. ANUPAsYANA). In PAli, "contemplation." A term applied to several sets of meditation practices, most notably as enumerated under the category of the four "foundations of mindfulness" (P. satipatthAna; S. SMṚTYUPASTHANA). The first foundation is called "contemplation of the body" (kAyAnupassanA, S. KAYANUPAsYANA) and comprises fourteen practices, which include mindfulness of breathing (P. AnApAnasati, S. ANAPANASMṚTI), mindfulness of postures or deportments (P., iriyApatha, S. ĪRYAPATHA), full awareness of bodily actions, contemplation of bodily impurities, contemplation of the four physical elements (DHATU, MAHABHuTA), and nine cemetery meditations (P. asubhabhAvanA, S. AsUBHABHAVANA). The second foundation is called "contemplation of sensations" (P. vedanAnupassanA, S. vedanAnupasyanA) and consists of one practice: mindfulness of physical sensations (VEDANA) as pleasant, unpleasant, or neutral. The third foundation is called "contemplation of mind" (P. cittAnupassanA, S. cittAnupasyanA) and consists of one practice: mindfulness of one's general state of mind (CITTA), e.g. as calm or distracted, elated or depressed, etc. The fourth foundation is "contemplation of mind-objects" (P. dhammAnupassanA, S. dharmAnupasyanA) and includes five meditations on specific categories of factors (P. dhamma, S. DHARMA), namely: the five hindrances (NĪVARAnA), the five aggregates (SKANDHA), the six sense bases and six sense objects (AYATANA), the seven enlightenment factors (BODHYAnGA), and the FOUR NOBLE TRUTHS. In the PAli SATIPAttHANASUTTA, the four anupassanAs are extolled as the one path leading to the realization of nibbAna (NIRVAnA). Another common set of anupassanAs found in the PAli tradition includes three members: (1) contemplation of impermanence (aniccAnupassanA), (2) contemplation of suffering (dukkhAnupassanA), and (3) contemplation of nonself (anattAnupassanA). In the PAtISAMBHIDAMAGGA, this list is expanded to ten with the addition of (4) contemplation of nirvAna (nibbAnAnupassanA), (5) contemplation of dispassion (virAgAnupassanA), (6) contemplation of cessation (nirodhAnupassanA), (7) contemplation of renunciation (patinissaggAnupassanA), (8) contemplation of signlessness (animittAnupassanA), (9) contemplation of desirelessness (appanihitAnupassanA), and (10) contemplation of emptiness (suNNatAnupassanA).

Apollo (Greek) Also called Phoebus (the pure, shining); son of Zeus and Leto (Latona), the polar region or night, and twin brother of Artemis (Diana). His birth shows the emanation of light from darkness. One of the most popular gods of Greek mythology, he is primarily the god of light, and is also associated with the sun, hence a giver of life, light, and wisdom to the earth and humanity. Apollo and Artemis are the mystic sun and the higher occult moon (SD 2:771). Apollo stands for order, justice, law, and purification by penance. His attribute as a punisher of evil is shown by his bow, with which as an infant he slew Python. He is the deity who wards off evil; the healer, father of Aesculapius and often identified with him; and the god of divination, associated especially with the Oracle at Delphi. The other principal seat of his worship was at Delos, his birthplace. He was also the patron of song and music, of new civic foundations, and protector of crops and flocks. His lyre is the sacred heptachord or septenary, seen in the sevenfold manifestations of the Logos in the universe and man; he is also the sun with its seven planets. He answers in some respects to the Hindu Indra and Karttikeya and in others to the Christian archangel Michael; Janus was the Roman god of light.

apsaras or apsarā ::: 'between the waters and the clouds', a class of female divinities who inhabit the sky, heavenly nymphs, fond of water, the wives of the Gandharvas. They change their shape at will, and are said to dance (and/or sing) for Indra.

Arjuna (Sanskrit) Arjuna White, clear; third of the Pandu princes, son of the god Indra by Kunti, also known as Pritha. During the fratricidal war between the Kauravas and the Pandavas which forms the bulk of the Mahabharata, Arjuna and his opponent, Duryodhana, seek Krishna’s aid. Krishna offers them a choice: his well-equipped army or himself, weaponless. According to protocol, Arjuna, being the younger of the two, was given first choice. To the immense delight of Duryodhana, Arjuna chose his brother-in-law, Krishna, who agreed to serve as his charioteer, i.e., his counselor and friend.

Arka (Sanskrit) Arka [from arc to shine, be brilliant, honor, praise] A ray, flash of lightning, hence a name for the sun; used in compounds, such as arkakara (sunbeam), arkagraha (solar eclipse), arkadina (solar day), arkaja (sunborn, coming from the sun), etc.; a name for Indra and for fire; also a hymn, song.

Asura is used in the earliest Vedic literature as a title of the cosmic hierarch or supreme spirit. The Vedic Asura is nothing other than the Great Breath of archaic occult literature — the Great Breath coming and going as manvantara and pralaya. The other Vedic gods mentioned so much more frequently in the slokas, such as Agni, Indra, and Varuna, are all subordinate hierarchically and cosmogonically to the Vedic Asura, which is really Brahman-pradhana or the Second Logos, Father-Mother; Varuna is the acme or summit of akasa-tattva; Agni is the summit or hierarch of cosmic taijasa-tattva; and Indra is often identified with Vayu as the summit of cosmic Vayu-tattva. See also MAHASURA

asura. (T. lha ma yin; C. axiuluo; J. ashura; K. asura 阿修羅). In Sanskrit and PAli, lit., "nongods," also translated rather arcanely as "demigod" and "titan," referring to both a class of divinities and the destiny where those beings reside in the sensuous realm (KAMADHATU); in the list of six destinies (GATI), the asuras are ranked between the realms of the divinities (DEVA) and human beings (MANUsYA) and are usually considered to be a baleful destiny (see APAYA; DURGATI). The asuras live in the oceans surrounding the central continent of the world and in the lower reaches of Mount SUMERU. The asuras are said to be constantly jealous of the good fortunes of the divinities (deva), which prompted the king of the gods INDRA [alt. sAKRA] to expel them from their original home in the heaven of the thirty-three (TRAYASTRIMsA); the asuras continue to engage in futile warfare against the devas above them to regain access to their lost realm. Many indigenous non-Buddhist deities, such as the Tibetan srung ma (sungma), were placed in this realm as they were assimilated into the Buddhist pantheon.

Asurendra (Sanskrit) Asurendra [from asura a class of deities + indra] The lord of the asuras; as Indra was popularly called the chief of the gods, so Asurendra is similarly the chief of the asuras.

Ativahika-deva: Celestial being whose action it is to conduct the soul forwards after death, to the different worlds (to light, day, Deva-loka, Vayu-loka, Chandra-loka, Vidyulloka, Indra-loka, Prajapatiloka, etc.)

Atmosphere Any of various aery spheres enveloping a globe. On earth the lowest is familiar air, but there are others in the ethereal realms beyond, and the word is applied to mahat and manas, as mythologically represented by Indra, god of the firmament, the personified atmosphere (SD 2:614). However, mahat and its ray in the human being, manas, are far beyond in quality and ethereality anything that the human imagination understands by atmosphere — unless it is endowed with the mystical sense that spiritus had among the philosophic ancients.

ATTACHMENT. ::: All attachment is a hindrance to sadhana. Goodwāl you should have for all, psychic kindness for all, but no vital attachment.
To become indifferent to the attraction of outer objects is one of the first rules of yoga, for this non-attachment liberates the inner being into peace and the true consciousness.
Even after the liberation, one has to remain vigilant, for often these things go out and remain at a far distance, waiting to see if under any circumstances in any condition they can make a rush and recover their kingdom. If there has been an entire purification down to the depths and nothing is there to open the gate, then they cannot do it.
Attachment to things ::: the physical rejection of them is not the best way to get rid of it. Accept what is given you, ask for what is needed and think no more of it - attaching no importance, using them when you have, not troubled if you have not. That is the best way of getting rid of the attachment.


auddhatya. (P. uddhacca; T. rgod pa; C. diao; J. jo; K. to 掉). In Sanskrit, "restlessness," "agitation," or "distraction"; along with its related "worry" or "regret" (KAUKṚTYA), with which it is often seen in compound, auddhatya constitutes the fourth of the five hindrances (NĪVARAnA) to the attainment of meditative absorption (DHYANA). Auddhatya-kaukṛtya is the specific hindrance to joy (SUKHA), the fourth of the five factors of dhyAna (DHYANAnGA). Restlessness and worry are fostered by unwise attention (AYONIsOMANASKARA) to mental unrest and are overcome through learning and reflecting on the SuTRAs and VINAYA and by associating with elders of calm demeanor. Restlessness and worry are countered by SAMADHI, the fourth of the five spiritual faculties (INDRIYA) and the sixth of the factors of enlightenment (BODHYAnGA), together with development of the factors of tranquillity (PRAsRABDHI), and equanimity (UPEKsA).

Avarana. (T. sgrib pa; C. zhang; J. sho; K. chang 障). In Sanskrit and PAli, "obstruction," "obstacle," or "hindrance." In MAHAYANA literature, two types of Avarana are commonly described: "obstructions that are the afflictions," or "afflictive obstructions" (KLEsAVARAnA), and cognitive or noetic obstructions, viz., "obstructions to omniscience" (JNEYAVARAnA). sRAVAKAs and PRATYEKABUDDHAs can be freed from the afflictive obstructions, but only BODHISATTVAs are able to free themselves from the cognitive obstructions. In the YOGACARA system, the cognitive obstructions result from fundamental misapprehensions about the nature of reality. Because of the attachment that derives from the reification of what are actually imaginary external phenomena, conceptualization and discrimination arise in the mind, which in turn lead to pride, ignorance, and wrong views. Based on the mistakes in understanding generated by these cognitive obstructions, the individual engages in defiled actions motivated by anger, envy, etc., which constitute the afflictive obstructions. The afflictive obstructions may be removed by followers of the srAvaka, pratyekabuddha, and beginning bodhisattva paths by applying various antidotes or counteragents (PRATIPAKsA) to the afflictions or defilements (KLEsA); overcoming these types of obstructions will lead to freedom from further rebirth. The cognitive obstructions, however, can only be overcome by advanced bodhisattvas who seek instead to achieve buddhahood, by perfecting their understanding of emptiness (suNYATA) and compassion (KARUnA) and amassing a great store of merit (PUnYA) by engaging in the bodhisattva deeds (CARYA). Buddhas, therefore, are the only class of beings who have overcome both types of obstructions and thus are able simultaneously to cognize all objects of knowledge in the universe. The jNeyAvarana are therefore sometimes translated as "obstructions to omniscience." In the elaboration of the obstructions in the YogAcAra text CHENG WEISHI LUN (*VijNaptimAtratAsiddhi), there are ten types of Avarana that are specifically said to obstruct the ten types of suchness (TATHATA) correlated with the ten stages of the bodhisattva path (DAsABHuMI): (1) the obstruction of the common illusions of the unenlightened (pṛthagjanatvAvarana; C. yishengxing zhang); (2) the obstruction of deluded conduct (mithyApratipattyAvarana; C. xiexing zhang); (3) the obstruction of dullness (dhandhatvAvarana; C. andun zhang); (4) the obstruction of the manifestation of subtle afflictions (suksmaklesasamudAcArAvarana; C. xihuo xianxing zhang); (5) the obstruction of the lesser HĪNAYANA ideal of PARINIRVAnA (hīnayAnaparinirvAnAvarana; C. xiasheng niepan zhang); (6) the obstruction of the manifestation of coarse characteristics (sthulanimittasamudAcArAvarana; C. cuxiang xianxing zhang); (7) the obstruction of the manifestation of subtle characteristics (suksmanimittasamudAcArAvarana; C. xixiang xianxing zhang); (8) the obstruction of the continuance of activity even in the immaterial realm that is free from characteristics (nirnimittAbhisaMskArAvarana; C. wuxiang jiaxing zhang); (9) the obstruction of not desiring to act to bring salvation to others (parahitacaryAkAmanAvarana; C. buyuxing zhang); and (10) the obstruction of not yet acquiring mastery over all things (dharmesuvasitApratilambhAvarana; fa weizizai zhang). These ten obstructions are overcome by practicing, respectively: (1) the perfection of giving (DANAPARAMITA); (2) the perfection of morality (sĪLAPARAMITA); (3) the perfection of forbearance (KsANTIPARAMITA); (4) the perfection of energetic effort (VĪRYAPARAMITA); (5) the perfection of meditative absorption (DHYANAPARAMITA); (6) the perfection of wisdom (PRAJNAPARAMITA); (7) the perfection of expedient means (UPAYAPARAMITA); (8) the perfection of the vow (to attain enlightenment) (PRAnIDHANAPARAMITA); (9) the perfection of powers (BALAPARAMITA); and (10) the perfection of omniscience (jNAnapAramitA). See also KARMAVARAnA; NĪVARAnA.

AvataMsakasutra. (T. Mdo phal po che; C. Huayan jing; J. Kegongyo; K. Hwaom kyong 華嚴經). In Sanskrit, "Garland Scripture"; also known as the BUDDHAVATAMSAKASuTRA ("Scripture of the Garland of Buddhas"), or *BuddhAvataMsakanAmamahAvaipulyasutra, the Sanskrit reconstruction of the title of the Chinese translation Dafangguang fo huayan jing, which is usually abbreviated in Chinese simply as the HUAYAN JING ("Flower Garland Scripture"). The sutra is one of the most influential Buddhist scriptures in East Asia and the foundational text of the indigenous East Asian HUAYAN ZONG. The first major edition of the AvataMsakasutra was said to have been brought from KHOTAN and was translated into Chinese by BUDDHABHADRA in 421; this recension consisted of sixty rolls and thirty-four chapters. A second, longer recension, in eighty rolls and thirty-nine chapters, was translated into Chinese by sIKsANANDA in 699; this is sometimes referred to within the Huayan tradition as the "New [translation of the] AvataMsakasutra" (Xin Huayan jing). A Tibetan translation similar to the eighty-roll recension also exists. The AvataMsakasutra is traditionally classified as a VAIPULYASuTRA; it is an encyclopedic work that brings together a number of heterogeneous texts, such as the GAndAVYuHA and DAsABHuMIKASuTRA, which circulated independently before being compiled together in this scripture. No Sanskrit recension of the AvataMsakasutra has been discovered; even the title is not known from Sanskrit sources, but is a reconstruction of the Chinese. (Recent research in fact suggests that the correct Sanskrit title might actually be BuddhAvataMsakasutra, or "Scripture of the Garland of Buddhas," rather than AvataMsakasutra.) There are, however, extant Sanskrit recensions of two of its major constituents, the Dasabhumikasutra and Gandavyuha. Given the dearth of evidence of a Sanskrit recension of the complete AvataMsakasutra, and since the scripture was first introduced to China from Khotan, some scholars have argued that the scripture may actually be of Central Asian provenance (or at very least was heavily revised in Central Asia). There also exists in Chinese translation a forty-roll recension of the AvataMsakasutra, translated by PRAJNA in 798, which roughly corresponds to the Gandavyuha, otherwise known in Chinese as the Ru fajie pin or "Chapter on the Entry into the DHARMADHATU." Little attempt is made to synthesize these disparate materials into an overarching narrative, but there is a tenuous organizational schema involving a series of different "assemblies" to which the different discourses are addressed. The Chinese tradition presumed that the AvataMsakasutra was the first sermon of the Buddha (see HUAYAN ZHAO), and the sutra's first assembly takes place at the BODHI TREE two weeks after he had attained enlightenment while he was still immersed in the samAdhi of oceanic reflection (SAGARAMUDRASAMADHI). The AvataMsaka is therefore believed to provide a comprehensive and definitive description of the Buddha's enlightenment experience from within this profound state of samAdhi. The older sixty-roll recension includes a total of eight assemblies held at seven different locations: three in the human realm and the rest in the heavens. The later eighty-roll recension, however, includes a total of nine assemblies at seven locations, a discrepancy that led to much ink in Huayan exegesis. In terms of its content, the sutra offers exuberant descriptions of myriads of world systems populated by buddhas and bodhisattvas, along with elaborate imagery focusing especially on radiant light and boundless space. The scripture is also the inspiration for the famous metaphor of INDRAJALA (Indra's Net), a canopy made of transparent jewels in which each jewel is reflected in all the others, suggesting the multivalent levels of interaction between all phenomena in the universe. The text focuses on the unitary and all-pervasive nature of enlightenment, which belongs to the realm of the Buddha of Pervasive Light, VAIROCANA, the central buddha in the AvataMsaka, who embodies the DHARMAKAYA. The sutra emphasizes the knowledge and enlightenment of the buddhas as being something that is present in all sentient beings (see TATHAGATAGARBHA and BUDDHADHATU), just as the entire universe, or trichiliocosm (S. TRISAHASRAMAHASAHASRALOKADHATU) is contained in a minute mote of dust. This notion of interpenetration or interfusion (YUANRONG) is stressed in the thirty-second chapter of Buddhabhadra's translation, whose title bears the influential term "nature origination" (XINGQI). The sutra, especially in FAZANG's authoritative exegesis, is presumed to set forth a distinctive presentation of dependent origination (PRATĪTYASAMUTPADA) in terms of the dependence of the whole on its parts, stressing the unity of the universe and its emptiness (suNYATA) of inherent nature; dependent origination here emerges as a profound ecological vision in which the existence of any one thing is completely dependent on the existence of all other things and all things on any one thing. Various chapters of the sutra were also interpreted as providing the locus classicus for the exhaustive fifty-two stage MahAyAna path (MARGA) to buddhahood, which included the ten faiths (only implied in the scripture), the ten abodes, ten practices, ten dedications, and ten stages (DAsABHuMI), plus the two stages of awakening itself: virtual enlightenment (dengjue) and sublime enlightenment (miaojue). This soteriological process was then illustrated through the peregrinations of the lad SUDHANA to visit his religious mentors, each of whom is identified with one of these specific stages; Sudhana's lengthy pilgrimage is described in great detail in the massive final chapter (a third of the entire scripture), the Gandavyuha, titled in the AvataMsakasutra the "Entry into the DharmadhAtu" chapter (Ru fajie pin). The evocative and widely quoted statement in the "Brahmacarya" chapter that "at the time of the initial arousal of the aspiration for enlightenment (BODHICITTOTPADA), complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI) is already achieved" was also influential in the development of the East Asian notion of sudden enlightenment (DUNWU), since it implied that awakening could be achieved in an instant of sincere aspiration, without requiring three infinite eons (ASAMKHYEYAKALPA) of religious training. Chinese exegetes who promoted this sutra reserved the highest place for it in their scriptural taxonomies (see JIAOXIANG PANSHI) and designated it the "perfect" or "consummate" teaching (YUANJIAO) of Buddhism. Many commentaries on and exegeses of the sutra are extant, among which the most influential are those written by FAZANG, ZHIYAN, CHENGGUAN, LI TONGXUAN, GUIFENG ZONGMI, WoNHYO, ŬISANG, and MYoE KoBEN.

balk ::: v. i. --> A ridge of land left unplowed between furrows, or at the end of a field; a piece missed by the plow slipping aside.
A great beam, rafter, or timber; esp., the tie-beam of a house. The loft above was called "the balks."
One of the beams connecting the successive supports of a trestle bridge or bateau bridge.
A hindrance or disappointment; a check.
A sudden and obstinate stop; a failure.


bar ::: n. --> A piece of wood, metal, or other material, long in proportion to its breadth or thickness, used as a lever and for various other purposes, but especially for a hindrance, obstruction, or fastening; as, the bars of a fence or gate; the bar of a door.
An indefinite quantity of some substance, so shaped as to be long in proportion to its breadth and thickness; as, a bar of gold or of lead; a bar of soap.
Anything which obstructs, hinders, or prevents; an


BhadracarīpranidhAna. (T. Bzang po spyod pa'i smon lam; C. Puxian pusa xingyuan zan; J. Fugen bosatsu gyogansan; K. Pohyon posal haengwon ch'an 普賢菩薩行願讚). In Sanskrit, "Vows of Good Conduct," the last section of the GAndAVYuHA in the AVATAMSAKASuTRA and one of the most beloved texts in all of MahAyAna Buddhism; also known as the SamantabhadracarīpranidhAnarAja. The BhadracarīpranidhAna focuses on the ten great vows (PRAnIDHANA) taken by SAMANTABHADRA to realize and gain access to the DHARMADHATU, which thereby enable him to benefit sentient beings. The ten vows are: (1) to pay homage to all the buddhas, (2) to praise the tathAgatas, (3) to make unlimited offerings, (4) to repent from one's transgressions in order to remove karmic hindrances (cf. KARMAVARAnA), (5) to take delight in others' merit, (6) to request the buddhas to turn the wheel of dharma (DHARMACAKRAPRAVARTANA), (7) to request the buddhas to continue living in the world, (8) always to follow the teachings of the Buddha, (9) always to comply with the needs of sentient beings, and (10) to transfer all merit to sentient beings for their spiritual edification. The text ends with a stanza wishing that sentient beings still immersed in evil be reborn in the PURE LAND of AMITABHA. The text was translated into Chinese in 754 by AMOGHAVAJRA (705-774). Other Chinese recensions appear in the Wenshushili fayuan jing ("Scripture on the Vows made by MANJUsRĪ"), translated in 420 by BUDDHABHADRA (359-429), which corresponds to the verse section from Ru busiyi jietuo jingjie Puxian xingyuan pin, the last roll of the forty-roll recension of the Huayan jing translated by PRAJNA in 798. (There is no corresponding version in either the sixty- or the eighty-roll translations of the Huajan jing.) The verses are also called the "Précis of the Huayan jing" (Lüe Huayan jing), because they are believed to constitute the core teachings of the AvataMsakasutra. In the main Chinese recension by Amoghavajra, the text consists of sixty-two stanzas, each consisting of quatrains with lines seven Sinographs in length, thus giving a total number of 1,736 Sinographs. In addition to the sixty-two core stanzas, Amoghavajra's version adds ten more stanzas of the Bada pusa zan ("Eulogy to the Eight Great Bodhisattvas") from the Badapusa mantuluo jing ("Scripture of the MAndALAs of the Eight Great Bodhisattvas") (see AstAMAHABODHISATTVA; AstAMAHOPAPUTRA). Buddhabhadra's version consists of forty-four stanzas with 880 Sinographs, each stanza consisting of a quatrain with lines five Sinographs in length. PrajNa's version contains fifty-two stanzas with each quatrain consisting of lines seven sinographs in length. There are five commentaries on the text attributed to eminent Indian exegetes, including NAGARJUNA, DIGNAGA, and VASUBANDHU, which are extant only in Tibetan translation. In the Tibetan tradition, the prayer is called the "king of prayers" (smon lam gyi rgyal po). It is incorporated into many liturgies; the opening verses of the prayer are commonly incorporated into a Tibetan's daily recitation.

BhadrapAla. (T. Bzang skyong; C. Xianhu/Batuoboluo; J. Kengo/Batsudahara; K. Hyonho/Palt'abara 賢護/跋陀波羅) In Sanskrit, "Auspicious Protector"; a lay (GṚHAPATI) BODHISATTVA who is listed as one of the eight great bodhisattvas (S. AstAMAHOPAPUTRA), who have vowed to protect and propagate the true dharma (S. SADDHARMA) in the age of decline (S. SADDHARMAVIPRALOPA; C. MOFA) after sAKYAMUNI Buddha's death and to guard sentient beings. He is also listed in the DAZHIDU LUN (*MahAprajNApAramitAsAstra) as one of the sixteen great bodhisattvas who have remained a householder. In the RATNAKutASuTRA, BhadrapAla is described as the son of a wealthy merchant (gṛhapati) whose enjoyments surpassed even those of INDRA, the king of the gods, himself. In the Banzhou sanmei jing (PRATYUTPANNABUDDHASAMMUKHAVASTHITASAMADHISuTRA), BhadrapAla appears together with his five hundred attendant bodhisattvas to ask the Buddha how bodhisattvas can obtain wisdom that is as deep and broad as the ocean. In the twentieth chapter of the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra"), BhadrapAla is identified as someone who slighted the Buddha in a previous lifetime and as a result fell into AVĪCI hell. After suffering there for a thousand eons (KALPA) and requiting his offenses, BhadrapAla was again able to encounter the Buddha and finally accept his teaching. He is also mentioned as one of the eighty thousand bodhisattvas who attended the assembly on Vulture Peak (GṚDHRAKutAPARVATA) where sAkyamuni preached in the opening chapter of the Saddharmapundarīkasutra. BhadrapAla eventually became a buddha who attained enlightenment through the contemplation of water. Drawing on this experience, the Chinese apocryphal *suRAMGAMASuTRA (Shoulengyan jing) says that BhadrapAla became enlightened as he entered the bathhouse; hence, the Chinese CHAN tradition enshrined an image of BhadrapAla in the monastic bathhouse and some Japanese Buddhist schools similarly considered him to be the patron of the temple bathhouse.

bhava ::: becoming; state of being (sometimes added to an adjective to bhava form an abstract noun and translatable by a suffix such as "-ness", as in br.hadbhava, the state of being br.hat [wide], i.e., wideness); condition of consciousness; subjectivity; state of mind and feeling; physical indication of a psychological state; content, meaning (of rūpa); spiritual experience, realisation; emotion, "moved spiritualised state of the affective nature"; (madhura bhava, etc.) any of several types of relation between the jiva and the isvara, each being a way in which "the transcendent and universal person of the Divine conforms itself to our individualised personality and accepts a personal relation with us, at once identified with us as our supreme Self and yet close and different as our Master, Friend, Lover, Teacher"; attitude; mood; temperament; aspect; internal manifestation of the Goddess (devi), in . her total divine Nature (daivi prakr.ti or devibhava) or in the "more seizable because more defined and limited temperament" of any of her aspects, as in Mahakali bhava; a similar manifestation of any personality or combination of personalities of the deva or fourfold isvara, as in Indrabhava or Aniruddha bhava; in the vision of Reality (brahmadarsana), any of the "many aspects of the Infinite" which "disclose themselves, separate, combine, fuse, are unified together" until "there shines through it all the supreme integral Reality"; especially, the various "states of perception" in which the divine personality (purus.a) is seen in the impersonality of the brahman, ranging from the "general personality" of sagun.a brahman to the "vivid personality" of Kr.s.n.akali. bh bhavasamrddhi

Indrabhava ::: the self-manifestation of the deva as Indra, "the Power Indrabhava of pure Intelligence", forming part of devabhava.Indra brhat

Indrabhuti

Indrabhuti. (T. In dra bo dhi). There are at least three figures by this name known to the Indian and Tibetan traditions. Perhaps the most important is a semimythical king of OddIYĀNA ([alt. Uddiyāna], probably the Swat region of northwest India but also identified as Orissa) at the time of the miraculous birth of PADMASAMBHAVA; according to tradition, he had no male heir, and so he installed Padmasambhava as crown prince. A second Indrabhuti is listed among the eighty-four MAHĀSIDDHA as a teacher of TILOPA; he may be the Indrabhuti, closely associated with mahāsiddha Lawapa, who is first in the lineage list (T. gsan yig) of the VAJRAYOGINĪ practices of the Tibetan SA SKYA sect and a brother of Laksmīnkarā. There is also a ninth-century Indian king and tantric master, a student of Ācārya Kukurāja, who authored the Cittaratnavisodhana, called Indrabhuti.

Indrajāla. (Indra's Net) (T. Dbang po'i dra ba; C. Yintuoluo wang/Di-Shi wang; J. Indaramo/Taishakumo; K. Indara mang/Che-Sok mang 因陀羅網/帝釋網). In Sanskrit, "Indra's net"; a metaphor used widely in the HUAYAN ZONG of East Asian Buddhism to describe the multivalent web of interconnections in which all beings are enmeshed. As depicted in the AVATAMSAKASuTRA, the central scripture of the Huayan school, above the palace of INDRA, the king of the gods, is spread an infinitely vast, bejeweled net. At each of the infinite numbers of knots in the net is tied a jewel that itself has an infinite number of facets. A person looking at any single one of the jewels on this net would thus see reflected in its infinite facets not only everything in the cosmos but also an infinite number of other jewels, themselves also reflecting everything in the cosmos; thus, every jewel in this vast net is simultaneously reflecting, and being reflected by, an infinite number of other jewels. This metaphor of infinite, mutually reflecting jewels is employed to help convey how all things in existence are defined by their interconnection with all other things, but without losing their own independent identity in the process. The metaphor of Indra's net thus offers a profound vision of the universe, in which all things are mutually interrelated to all other things, in simultaneous mutual identity and mutual intercausality. The meditation on Indra's net (C. Diwang guan; J. Taimo kan; K. Chemang kwan) is the last of the six contemplations outlined by Fazang in his Xiu Huayan aozhi wangjin huanyuan guan ("Cultivation of the Inner Meaning of Huayan: The Contemplations That End Delusion and Return to the Source"), which helps the student to visualize the DHARMADHĀTU of the unimpeded interpretation between phenomenon and phenomena (SHISHI WU'AI FAJIE).

Indrajala: Illusion or jugglery.

Indrajāla

Indrajalikamayasadrisa: Similar to the illusion created by jugglery; unreal appearances as in dreams.

Indrani (Sanskrit) Indrāṇī [feminine of Indra] Also Aindri. The consort of Indra, personifying the aindriyaka, the evolution of the elements of senses (SD 2:614). As Indra stands for mahat — especially for the dual aspect of manas in man — his marriage to Indrani “because of her voluptuous attractions” may represent the enchaining of the higher manas to the lower because of the karmic links of both with the lower ternary in the human constitution, this union, combination, or marriage manifesting itself as the kama-manasic portion of human consciousness.

Indra. (P. Inda; T. Dbang po; C. Yintuoluo/Di-Shi; J. Indara/Taishaku; K. Indara/Che-Sok 因陀羅/帝釋). In Sanskrit, Indra is an abbreviation for sAKRO DEVĀNĀM INDRAḤ ("sAKRA, the king of the gods"). Indra is the Vedic king of the gods of the atmosphere or sky, who eventually becomes the chief of all divinities in Indian popular religion. Indra is incorporated into the Buddhist pantheon as a guardian of the DHARMA and the king of the DEVA realm. Indra is always depicted in Indian Buddhist iconography as subservient to the Buddha: he worships the Buddha, holds an umbrella over him to shield him from the sun, or carries his alms bowl for him. Indra presides over the heaven of the thirty-three divinities (TRĀYASTRIMsA), the second of the six heavenly realms that exist within the sensuous realm (KĀMADHĀTU), located on the summit of MOUNT SUMERU. In the middle of this heaven is found Indra's royal city, Sudarsana, at the center of which is his royal palace, Vaijayanta. See also INDRAJĀLA; sAKRA.

Indra (Sanskrit) Indra Vedic god of the firmament, supporter or guardian of the eastern quarter of the visible kosmos, whose functions somewhat parallel those of the equivalent of the four Maharajas. Indra, Varuna, and Agni were considered among the three highest gods of the Vedas, although the triad of Vayu, Surya, and Agni is frequently mentioned, Indra often taking the place of Vayu. Indra is often described as the champion of all the gods and overthrower of their enemies, especially the conqueror of Vritra, the great cosmic serpent. Indra thus has numerous parallels with the St. Michael of the Occident, and some of his functions are identic with Karttikeya, the god of war.

Indra

Indra's net. See INDRAJĀLA.

Indra's net

Indra ::: the Master of the World of Light and Immortality (svar); the Power of divine Mind. [Ved.]

Indra: The mind or the soul; the lord of the senses; a Hindu deity; chief of the celestials; the ruler of heaven; the rain-god.

Indra ::: "the Puissant", a Vedic god, lord of svar, the luminous world; the deva as "the master of mental force". As Agni2 "is one pole of Force instinct with knowledge that sends its current upward from earth to heaven, so Indra is the other pole of Light instinct with force which descends from heaven to earth"; he "comes down into our world as the Hero" and "slays darkness and division with his lightnings, pours down the life-giving heavenly waters [svarvatir apah.], finds in the trace of the hound, Intuition [Sarama], the lost or hidden illuminations, makes the Sun of Truth [sūrya1] mount high in the heaven of our mentality".

Indra: The Vedic god of war, storm and fertility, god of the atmosphere and sky, reigning over the deities of the intermediate region or atmosphere.

Blavatsky identifies Orpheus with Arjuna, son of Indra and disciple of Krishna, who taught mankind, established Mysteries, and went to Patala (hell or the Antipodes) and there marries the daughter of the naga king (TG 242).

BodhgayA. (S. BuddhagayA). Modern Indian place name for the most significant site in the Buddhist world, renowned as the place where sAKYAMUNI Buddha (then, still the BODHISATTVA prince SIDDHARTHA) became a buddha while meditating under the BODHI TREE at the "seat of enlightenment" (BODHIMAndA) or the "diamond seat" (VAJRASANA). The site is especially sacred because, according to tradition, not only did sAkyamuni Buddha attain enlightenment there, but all buddhas of this world system have or will do so, albeit under different species of trees. BodhgayA is situated along the banks of the NAIRANJANA river, near RAJAGṚHA, the ancient capital city of the MAGADHA kingdom. Seven sacred places are said to be located in BodhgayA, each being a site where the Buddha stayed during each of the seven weeks following his enlightenment. These include, in addition to the bodhimanda under the Bodhi tree: the place where the Buddha sat facing the Bodhi tree during the second week, with an unblinking gaze (and hence the site of the animesalocana caitya); the place where the Buddha walked back and forth in meditation (CAnKRAMA) during the third week; the place called the ratnagṛha, where the Buddha meditated during the fourth week, emanating rays of light from his body; the place under the ajapAla tree where the god BRAHMA requested that the Buddha turn the wheel of the dharma (DHARMACAKRAPRAVARTANA) during the fifth week; the lake where the NAGA MUCILINDA used his hood to shelter the Buddha from a storm during the sixth week; and the place under the rAjAyatana tree where the merchants TRAPUsA and BHALLIKA met the Buddha after the seventh week, becoming his first lay disciples. ¶ Located in the territory of MAGADHA (in modern Bihar), the ancient Indian kingdom where the Buddha spent much of his teaching career, BodhgayA is one of the four major pilgrimage sites (MAHASTHANA) sanctioned by the Buddha himself, along with LUMBINĪ in modern-day Nepal, where the Buddha was born; the Deer Park (MṚGADAVA) at SARNATH, where he first taught by "turning the wheel of the dharma" (DHARMACAKRAPRAVARTANA); and KUsINAGARĪ in Uttar Pradesh, where he passed into PARINIRVAnA. According to the AsOKAVADANA, the emperor AsOKA visited BodhgayA with the monk UPAGUPTA and established a STuPA at the site. There is evidence that Asoka erected a pillar and shrine at the site during the third century BCE. A more elaborate structure, called the vajrAsana GANDHAKUtĪ ("perfumed chamber of the diamond seat"), is depicted in a relief at BodhgayA, dating from c. 100 BCE. It shows a two-storied structure supported by pillars, enclosing the Bodhi tree and the vajrAsana, the "diamond seat," where the Buddha sat on the night of his enlightenment. The forerunner of the present temple is described by the Chinese pilgrim XUANZANG. This has led scholars to speculate that the structure was built sometime between the third and sixth centuries CE, with subsequent renovations. Despite various persecutions by non-Buddhist Indian kings, the site continued to receive patronage, especially during the PAla period, from which many of the surrounding monuments date. A monastery, called the BodhimandavihAra, was established there and flourished for several centuries. FAXIAN mentions three monasteries at BodhgayA; Xuanzang found only one, called the MahAbodhisaMghArAma (see MAHABODHI TEMPLE). The temple and its environs fell into neglect after the Muslim invasions that began in the thirteenth century. British photographs from the nineteenth century show the temple in ruins. Restoration of the site was ordered by the British governor-general of Bengal in 1880, with a small eleventh-century replica of the temple serving as a model. There is a tall central tower some 165 feet (fifty meters) in height, with a high arch over the entrance with smaller towers at the four corners. The central tower houses a small temple with an image of the Buddha. The temple is surrounded by stone railings, some dating from 150 BCE, others from the Gupta period (300-600 CE) that preserve important carvings. In 1886, EDWIN ARNOLD visited BodhgayA. He published an account of his visit, which was read by ANAGARIKA DHARMAPALA and others. Arnold described a temple surrounded by hundreds of broken statues scattered in the jungle. The MahAbodhi Temple itself had stood in ruins prior to renovations undertaken by the British in 1880. Also of great concern was the fact that the site had been under saiva control since the eighteenth century, with reports of animal sacrifice taking place in the environs of the temple. DharmapAla visited BodhgayA himself in 1891, and returned to Sri Lanka, where he worked with a group of leading Sinhalese Buddhists to found the MAHABODHI SOCIETY with the aim of restoring BodhgayA as place of Buddhist worship and pilgrimage. The society undertook a series of unsuccessful lawsuits to that end. In 1949, after Indian independence, the BodhgayA Temple Act was passed, which established a committee of four Buddhists and four Hindus to supervise the temple and its grounds. The Government of India asked AnagArika Munindra, a Bengali monk and active member of the MahAbodhi Society, to oversee the restoration of BodhgayA. Since then, numerous Buddhist countries-including Bhutan, China, Japan, Myanmar, Nepal, Sikkim, Sri Lanka, Thailand, Tibet, and Vietnam-have constructed (or restored) their own temples and monasteries in BodhgayA, each reflecting its national architectural style. In 2002, the MahAbodhi Temple was named a UNESCO World Heritage Site.

br.hat ::: Indra, the vast.

BuddhadAsa. (1906-1993). Prominent Thai monk, Buddhist reformer, teacher of meditation, and ecumenical figure. Born the son of a merchant in the village of Pum Riang in southern Thailand, he was educated at Buddhist temple schools. It was customary for males in Thailand to be ordained as Buddhist monks for three months at the age of twenty and then return to lay life. BuddhadAsa decided, however, to remain a monk and quickly gained a reputation as a brilliant thinker, meditator, and teacher. He dwelled for several years in the Thai capital of Bangkok to further his studies but grew disillusioned with the prevailing practices of the SAMGHA in the city, which he perceived to be lax and corrupt. In 1932, he returned home to an abandoned monastery near his native village to live a simple life, practice meditation, and teach the dharma. He named his monastery Wat Suan MokkhabalArAma (Garden of the Power of Liberation), which is usually abbreviated to Suan Mokkh, the Garden of Liberation. The monastery became one of the first VIPASSANA (S. VIPAsYANA) (insight meditation) centers in southern Thailand. BuddhadAsa spent most of his life at this forest monastery overlooking the sea. Although his formal scholastic training was limited, BuddhadAsa studied PAli scriptures extensively, in particular the SUTTAPItAKA, to uncover their true meaning, which he felt had become obscured by centuries of commentarial overlays, ritual practices, and monastic politics. A gifted orator, his numerous sermons and talks were transcribed and fill an entire room of the National Library in Bangkok. In his writings, many of which are his transcribed sermons, he eschewed the formal style of traditional scholastic commentary in favor of a more informal, and in many ways controversial, approach in which he questioned many of the more popular practices of Thai Buddhism. For example, he spoke out strongly against the practice of merit-making in which lay people offer gifts to monks in the belief that they will receive material reward in their next life. BuddhadAsa argued that this traditionally dominant form of lay practice only keeps the participants in the cycle of rebirth because it is based on attachment, whereas the true form of giving is the giving up of the self. Instead, BuddhadAsa believed that, because of conditioned origination (PRATĪTYASAMUTPADA), people are naturally connected through a shared environment and are in fact capable of living harmoniously together. The hindrance to such a harmony comes from attachments to "I" and "mine," which must therefore be severed. Modern and ecumenical in perspective, BuddhadAsa sought to strip traditional Buddhism of what he regarded as obscurantism and superstition, and present the Buddha's teachings in a rational scientific idiom that acknowledged kindred teachings in other religions. BuddhadAsa's interpretations of the dharma have had a great impact on contemporary Buddhist thought in Thailand and are especially influential among the urban intelligentsia, social reformers, and environmentalists. His teachings are often cited as foundational by advocates of engaged Buddhism. The monastery he founded has become a venue for the training of foreign monks and nuns and for interfaith dialogue between Buddhists of different traditions, as well as between Buddhists and adherents of other religions.

Calf Generally in ancient symbology the calf stood for the earth. The Puranic allegory “which shows ‘the Rishis milking the earth, whose calf was Soma, the Moon,’ has a deep cosmographical meaning; for it is neither our earth which is milked, nor was the moon, which we know, the calf. . . . in every Purana, the calf changes name. In one it is Manu Swayambhuva, in another Indra, in a third the Himavat (Himalayas) itself, while Meru was the milker” (SD 1:398 & n). See also COW

*Caturasītisiddhapravṛtti. (T. Grub thob brgyad bcu rtsa bzhi'i lo rgyus). In Sanskrit, "The Lives of the Eighty-four Siddhas"; a tantric doxography ascribed to the early twelfth-century Indian author ABHAYADATTAsRĪ. The original Sanskrit version has been lost, but the text is preserved in Tibetan translation. The work records brief vitae for the great SIDDHAs (or mahAsiddhas) of Indian tantric Buddhism, who are commonly enumerated in a list of eighty-four. While the list varies, according to Abhayadattasrī's work, the eighty-four siddhas include Luyipa, Līlapa, VIRuPA, dombipa, savaripa, SARAHA, Kankaripa, Mīnapa, Goraksa, CaurAngi, Vīnapa, sAntipa, Tantipa, Camaripa, Khadgapa, NAGARJUNA, KAnḥapa, Karnaripa, Thaganapa, NAROPA, salipa, TILOPA, Catrapa, Bhadrapa, Dhukhandi, Ajokipa, Kalapa, Dhombipa, Kankana, Kambala, tengipa, Bhandhepa, Tandhepa, Kukkuripa, Kucipa, Dharmapa, Mahipa, Acinta, Babhahi, Nalina, Bhusuku, INDRABHuTI, Mekopa, Kotali, KaMparipa, JAlandhari, RAHULA, Dharmapa, Dhokaripa, Medhina, Pankaja, Ghandhapa, Yogipa, Caluki, Gorura, Lucika, Niguna, JayAnanda, Pacari, Campaka, Bhiksana, Telopa, Kumaripa, Caparipa, ManibhadrA, MekhalA, KanakhalA, Kalakala, Kantali, Dhahuli, Udheli, Kapalapa, Kirava, Sakara, Sarvabhaksa, NAgabodhi, DArika, Putali, Panaha, Kokali, Ananga, LaksmīnkarA, Samudra, and Vyali. See MAHASIDDHA.

cAturmahArAjakAyika. (P. cAtummahArAjikA; T. rgyal chen rigs bzhi; C. sitianwang tian; J. shitennoten; K. sach'onwang ch'on 四天王天). In Sanskrit, "heaven of the assemblage of the four great kings"; the lowest of all the heavens in Buddhist cosmology and the lowest of the six heavens located in the sensuous realm (KAMADHATU). The heaven is located on the upper slopes of MOUNT SUMERU and is presided over by four kings, one in each of the cardinal directions. The four kings are DHṚTARAstRA in the east; VIRudHAKA in the south; VIRuPAKsA in the west; and VAIsRAVAnA in the north. These four are known collectively as the LOKAPALAs, or protectors of the world. There are many divinities (DEVA) inhabiting this heaven: GANDHARVAs in the east, KUMBHAndAs in the south, NAGAs in the west, and YAKsAs in the north. As vassals of sAKRO DEVANAM INDRAḤ (lit. "sakra, the lord of the gods"; see INDRA; sAKRA), the four heavenly kings serve as protectors of the dharma (DHARMAPALA) and of sentient beings who are devoted to the dharma. They are said to have protected the Buddha from the time that he entered his mother's womb and also to have presented him with his alms bowl after his enlightenment. They survey their respective quadrants of the world and report on the deeds of humans to the divinities of the TRAYASTRIMsA heaven.

chanda. (T. 'dun pa; C. yu; J. yoku; K. yok 欲). In Sanskrit and PAli, "zeal" or "desire to act"; one of the ten mental factors or mental concomitants (CAITTA) of wide extent (MAHABHuMIKA) that the VAIBHAsIKA school of SARVASTIVADA ABHIDHARMA says accompany all consciousness activity; alternatively, it is listed as one of the five VINIYATA or pratiniyama mental factors of specific application according to the YOGACARA school, and one of the six pakinnaka (miscellaneous) CETASIKAs of the PAli abhidhamma. Chanda plays an important role in motivating all wholesome (and unwholesome) activity, and is particularly important in the cultivation of sAMATHA (serenity or calm abiding). According to the MADHYANTAVIBHAGA, there are eight forces that counteract five hindrances (NĪVARAnA) to reaching samatha. Chanda is called the ground of all eight forces because, based on sRADDHA (faith or confidence), it leads to a resolute effort (vyAyAma) to apply SMṚTI (mindfulness), SAMPRAJANYA (circumspection), and UPEKsA (equanimity) to reach the final goal.

Chesok mang 帝釋網. See INDRAJĀLA

Chesok 帝釋. See sAKRA, INDRA

cintAmani. (T. yid bzhin nor bu; C. ruyi baozhu; J. nyoihoju; K. yoŭi poju 如意寶珠). In Sanskrit, "wish-fulfilling gem"; in Indian mythology a magical jewel possessed by DEVAs and NAGAs that has the power to grant wishes. The term is often as a metaphor for various stages of the path, including the initial aspiration to achieve buddhahood (BODHICITTOTPADA), the rarity of rebirth as a human being with access to the dharma, and the merit arising from the teachings of the Buddha. According to the Ruyi baozhu zhuanlun mimi xianshen chengfo jinlunzhouwang jing (also known simply as the Jinlunzhouwang jing), which describes in great detail the inexhaustible merit of this gem, the cintAmani is rough in shape and is comprised of eleven precious materials, including gold and silver, and has thirty-two pieces of the Buddha's relics (sARĪRA) at its core, which give it its special power. In the DAZHIDU LUN, the gem is said to derive from the brain of the dragon king (nAgarAja), the undersea protector of Buddhism, or, alternatively, to be the main jewel ornamenting the top of his head. The text claims that it has the power to protect its carrier from poison and fire; other texts say that the cintAmani has the capacity to drive away evil, clarify muddy water, etc. This gem is also variously said to come from the head of a great makara fish (as in the RATNAKutASuTRAs) or the heart of a GARUdA bird (as in the GUAN WULIANGSHOU JING). Other texts suggest that while the king of the gods, INDRA, was fighting with the demigods (ASURA), part of his weapon dropped to the world and became this gem. The bodhisattvas AVALOKITEsVARA and KsITIGARBHA are also depicted holding a cintAmani so that they may grant the wishes of all sentient beings.

clear ::: 1. Not obscured or darkened; bright. 2. Free from darkness, obscurity, or cloudiness; transparent. 3. Serene; calm; untroubled. 4. Free from doubt or confusion; certain. 5. Easily perceptible to the eye or ear; distinct. 6. Easily understood; without ambiguity. 7. Free from impediment, obstruction, or hindrance; open. clearer, sun-clear, surface-clear.

cohibition ::: n. --> Hindrance; restraint.

Concentration With meditation, an equivalent for certain parts of yoga, as found in samadhi, dharana; the removal or surmounting of distractions originating in the mind and centering the latter on the spiritual and intellectual objective to be attained, which in the best sense is union with the inner god, the divine monad — a conscious identification of oneself with the universal through the individual’s innate divinity. The method of meditative concentration prescribed in the Bhagavad-Gita is to perform all the duties of life without either attachment or avoidance. The hindrances to concentration which are to be removed are those arising from anger, lust, vanity, fear, sloth, etc. Such obstacles are removed by lifting the mind above them or by deliberately ignoring them, since directly fighting with them serves to concentrate the mind on them, thus defeating the object aimed at; and by cultivating the spirit of impersonal love and the light of wisdom which it evokes. Thus the blending of the personal self with the impersonal self is achieved by an orderly process of self-directed evolution, first by unselfish work in the cause of humanity, continued in the various degrees of chelaship, culminating in initiation.

Cosmic ideation and cosmic substance are one in their primordial character, yet as the reawakening of the universal mind into manvantara needs the appropriate cosmic fields of action, cosmic substance may be said to be the manvantaric vehicle of cosmic ideation. Conversely, during cosmic pralaya, all the varied differentiations of cosmic substance are resolved back or indrawn once again into cosmic unity, a subjective condition, and hence during the cosmic pralaya cosmic ideation can no longer be called active, but passive.

counteraction ::: n. --> Action in opposition; hindrance resistance.

cramp ::: n. --> That which confines or contracts; a restraint; a shackle; a hindrance.
A device, usually of iron bent at the ends, used to hold together blocks of stone, timbers, etc.; a cramp iron.
A rectangular frame, with a tightening screw, used for compressing the joints of framework, etc.
A piece of wood having a curve corresponding to that of the upper part of the instep, on which the upper leather of a boot is


dam can. (damchen). In Tibetan, "bound by oath"; a term for the pre-Buddhist Tibetan deities, also called ordinary or mundane (LAUKIKA) deities, who have been subjugated and made to take a solemn oath (SAMAYA) to protect Buddhism. According to traditional accounts, the Tibetan king KHRI SRONG SDE BTSAN encountered many hindrances during the construction of the first Buddhist monastery in Tibet at BSAM YAS. The Indian teacher sANTARAKsITA advised the king to invite PADMASAMBHAVA to subdue the malevolent spirits; these spirits, referred to generally as the "eight classes of gods and demons" (lha srin sde brgyad; see AstASENA), include the BRTAN MA BCU GNYIS, various local deities (yul lha) inhabiting mountain passes, plains, and peaks, and the spirits of powerful deceased persons (rgyal po). Illustrative is the account of the subjugation of the powerful rgyal po spirit RDO RJE GRAGS LDAN (in some accounts the emissary of a powerful spirit called PE HAR RGYAL PO), who becomes an important protector, particularly of the RNYING MA sect, and through the GNAS CHUNG oracle a protector of the Tibetan state.

dasagvas (Dashagwas) ::: those who sacrifice for ten months; seers of the ten rays who enter with Indra into the cave of the panis and recover the lost herds. [Ved.]

Dasheng yi zhang. (J. Daijo gisho; K. Taesŭng ŭi chang 大乗義章). In Chinese, "Compendium of the Purport of Mahāyāna"; compiled by JINGYING HUIYUAN; a comprehensive dictionary of Buddhist numerical lists that functions as a virtual encyclopedia of MAHĀYĀNA doctrine. Huiyuan organized 249 matters of doctrine into five sections: teachings, meanings, afflictions, purity, and miscellaneous matters (this last section is no longer extant). Each section is organized numerically, much as are some ABHIDHARMA treatises. The section on afflictions begins, for instance, with the meaning of the two hindrances and ends with the 84,000 hindrances. These various listings are then explained from a Mahāyāna perspective, with corroboration drawn from quotations from scriptures, treatises, and the sayings of other teachers. The Dasheng yi zhang serves as an important source for the study of Chinese Mahāyāna thought as it had developed during the Sui dynasty (589-618).

dbang po'i dra ba. See INDRA'S NET

Dbang po. See INDRA

debarment ::: n. --> Hindrance from approach; exclusion.

delayment ::: n. --> Hindrance.

delay ::: v. --> A putting off or deferring; procrastination; lingering inactivity; stop; detention; hindrance. ::: n. --> To put off; to defer; to procrastinate; to prolong the time of or before.
To retard; to stop, detain, or hinder, for a time; to retard


deterrence ::: n. --> That which deters; a deterrent; a hindrance.

devarājan. (T. lha'i rgyal po; C. tianwang; J. tenno; K. ch'onwang 天王). In Sanskrit and Pāli, "king of the divinities (DEVA)"; an epithet of sAKRO DEVĀNĀM INDRAḤ, viz., "sAKRA, the king of the gods," who is also known as INDRA (Lord). sakra resides in his capital city of Sudarsana, which is centered in the heaven of the thirty-three [gods] (TRĀYASTRIMsA), the second of the six heavens of the realm of sensuality (KĀMALOKA). Southeast Asian Buddhism also drew on the Hindu cult of the devarājan (divine king), which identified the reigning monarch as an incarnation of the god siva. See also BAYON.

DEVA RAJAS (T.B.) The seven highest devas within the solar system. Each one is responsible for matter in someone of the seven solar systemic worlds. In Sanskrit they are called: Shiva, Vishnu, Brahma, Indra, Agni, Varuna, Kshiti.

Dhṛtarāstra. (P. Dhatarattha; T. Yul 'khor srung; C. Chiguo Tian; J. Jikokuten; K. Chiguk Ch'on 持國天). In Sanskrit, "He whose Empire is Unyielding," or "He who Preserves the Empire"; one of the four "great kings" of heaven (CATURMAHĀRĀJA), who are also known as "world guardians" (LOKAPĀLA); he is said to be a guardian of the DHARMA and of sentient beings who are devoted to the dharma. Dhṛtarāstra guards the gate that leads to the east at the midslope of the world's central axis of Mount SUMERU; this gate leads to purvavideha (see VIDEHA), one of the four continents (dvīpa), which is located in the east. Dhṛtarāstra and his fellow great kings reside in the first and lowest of the six heavens of the sensuous realm of existence (KĀMADHĀTU), the heaven of the four great kings (CATURMAHĀRĀJAKĀYIKA). Dhṛtarāstra is a vassal of sAKRO DEVĀNĀM INDRAḤ (see INDRA; sAKRA), the king of the gods, who is lord of the heaven of the thirty-three divinities (TRĀYASTRIMsA), the second of the six sensuous-realm heavens, which is located at the peak of Mount SUMERU. Among the eight classes of demigods, Dhṛtarāstra rules over the "heavenly musicians" (GANDHARVA) and the "stinking hungry demons" (putana). Dhṛtarāstra and the four heavenly kings were originally indigenous Indian or Central Asian deities, who were eventually "conquered" by the Buddha and incorporated into Buddhism; they seem to have been originally associated with royal (KsATRIYA) lineages, and their connections with royal warfare are evidenced in the suits of armor they come to wear as their cult is transmitted from Central Asia to China, Korea, and Japan. According to the Dhāranīsamuccaya, Dhṛtarāstra is to be depicted iconographically with his sword in his left hand and his right fist akimbo on his waist.

dhyānānga. (P. jhānanga; T. bsam gtan gyi yan lag; C. chanzhi; J. zenshi; K. sonji 禪支). In Sanskrit, the "constituents of meditative absorption" (DHYĀNA); according to mainstream Buddhist materials, five factors that must be present in order to enter into the first meditative absorption of the subtlemateriality realm (RuPĀVACARADHYĀNA): (1) applied thought (VITARKA), (2) sustained thought (VICĀRA), (3) physical rapture (PRĪTI), (4) mental ease (SUKHA), and (5) one-pointedness (EKĀGRATĀ; cf. CITTAIKĀGRATĀ) or equanimity (UPEKsĀ). Each constituent results from the temporary allayment of a specific mental hindrance (NĪVARAnA): vitarka allays sloth and torpor (STYĀNA-MIDDHA); vicāra allays skeptical doubt (VICIKITSĀ); prīti allays malice (VYĀPĀDA); sukha allays restlessness and worry (AUDDHATYA-KAUKṚTYA); and ekāgratā allays sensuous desire (KĀMACCHANDA). Each higher dhyāna has a decreasing number of factors, with both types of thought dropping away in the second dhyāna, physical rapture dropping away in the third, and mental ease vanishing in the fourth, when only onepointedness remains. The ABHIDHARMAKOsABHĀsYA and related MAHĀYĀNA accounts say the first dhyāna has five branches: applied and sustained thought, rapture, bliss, and SAMĀDHI (meditative stabilization); the second, four branches: rapture, bliss, samādhi, and PRASĀDA (calm clarity); the third, five branches: equanimity, SMṚTI (recollection), SAMPRAJANYA (introspection), happiness, and one-pointedness; and the fourth, four branches: equanimity, recollection, an equanimous feeling that is neither painful nor pleasant, and samādhi. See also DHYĀNA; NĪVARAnA.

dhyāna. (P. jhāna; T. bsam gtan; C. chan/chanding; J. zen/zenjo; K. son/sonjong 禪/禪定). In Sanskrit, "meditative absorption," specific meditative practices during which the mind temporarily withdraws from external sensory awareness and remains completely absorbed in an ideational object of meditation. The term can refer both to the practice that leads to full absorption and to the state of full absorption itself. Dhyāna involves the power to control the mind and does not, in itself, entail any enduring insight into the nature of reality; however, a certain level of absorption is generally said to be necessary in order to prepare the mind for direct realization of truth, the destruction of the afflictions (KLEsA), and the attainment of liberation (VIMUKTI). Dhyāna is classified into two broad types: (1) meditative absorption associated with the realm of subtle materiality (RuPĀVACARADHYĀNA) and (2) meditative absorption of the immaterial realm (ĀRuPYĀVACARADHYĀNA). Each of these two types is subdivided into four stages or degrees of absorption, giving a total of eight stages of dhyāna. The four absorptions of the realm of subtle materiality are characterized by an increasing attenuation of consciousness as one progresses from one stage to the next. The deepening of concentration leads the meditator temporarily to allay the five hindrances (NĪVARAnA) and to put in place the five constituents of absorption (DHYĀNĀnGA). The five hindrances are: (1) sensuous desire (KĀMACCHANDA), which hinders the constituent of one-pointedness of mind (EKĀGRATĀ); (2) malice (VYĀPĀDA), hindering physical rapture (PRĪTI); (3) sloth and torpor (STYĀNA-MIDDHA), hindering applied thought (VITARKA); (4) restlessness and worry (AUDDHATYA-KAUKṚTYA), hindering mental ease (SUKHA); and (5) skeptical doubt (VICIKITSĀ), hindering sustained thought (VICĀRA). These hindrances thus specifically obstruct one of the specific factors of absorption and, once they are allayed, the first level of the subtle-materiality dhyānas will be achieved. In the first dhyāna, all five constituents of dhyāna are present; as concentration deepens, these gradually fall away, so that in the second dhyāna, both types of thought vanish and only prīti, sukha, and ekāgratā remain; in the third dhyāna, only sukha and ekāgratā remain; and in the fourth dhyāna, concentration is now so rarified that only ekāgratā is left. Detailed correlations appear in meditation manuals describing specifically which of the five spiritual faculties (INDRIYA) and seven constituents of enlightenment (BODHYAnGA) serves as the antidote to which hindrance. Mastery of the fourth absorption of the realm of subtle materiality is required for the cultivation of the supranormal powers (ABHIJNĀ) and for the cultivation of the four ārupyāvacaradhyānas, or meditative absorptions of the immaterial realm. The immaterial absorptions themselves represent refinements of the fourth rupāvacaradhyāna, in which the "object" of meditation is gradually attenuated. The four immaterial absorptions instead are named after their respective objects: (1) the sphere of infinite space (ĀKĀsĀNANTYĀYATANA), (2) the sphere of infinite consciousness (VIJNĀNĀNANTYĀYATANA), (3) the sphere of nothingness (ĀKINCANYĀYATANA), and (4) the sphere of neither perception nor nonperception (NAIVASAMJNĀNĀSAMJYYATANA). Mastery of the subtle-materiality realm absorptions can also result in rebirth as a divinity (DEVA) in the subtle-materiality realm, and mastery of the immaterial absorptions can lead to rebirth as a divinity in the immaterial realm (see ANINJYAKARMAN). Dhyāna occurs in numerous lists of the constituents of the path, appearing, for example, as the fifth of the six perfections (PĀRAMITĀ). The term CHAN (J. zen), the name adopted by an important school of indigenous East Asian Buddhism, is the Chinese phonetic transcription of the Sanskrit term dhyāna. See also JHĀNA; SAMĀDHI; SAMĀPATTI.

disadvantage ::: n. --> Deprivation of advantage; unfavorable or prejudicial quality, condition, circumstance, or the like; that which hinders success, or causes loss or injury.
Loss; detriment; hindrance; prejudice to interest, fame, credit, profit, or other good. ::: v. t.


Di-Shi wang 帝釋網. See INDRAJĀLA

Di-Shi 帝釋. See sAKRA, INDRA

Dorje (Tibetan) rdo rje. Equivalent to the Sanskrit vajra, meaning both thunderbolt and diamond. As a thunderbolt, it is represented in the hands of some of the Tibetan gods, especially the dragshed — deities who protect human beings — and is thus equivalent to the weapons of Indra and Zeus. Dorje is the scepter of power, whether spiritual or temporal, and appears on the altars of the Gelukpas together with the bell and cymbals: “It is also a Mudra, a gesture and posture used in sitting for meditation. It is, in short, a symbol of power over invisible evil influences, whether as a posture or a talisman. The Bhons or Dugpas, however, having appropriated the symbol, misuse it for purposes of Black Magic. . . . With the Dugpas, it is like the double triangle reversed, the sign of sorcery” (VS 90).

drawback ::: n. --> A loss of advantage, or deduction from profit, value, success, etc.; a discouragement or hindrance; objectionable feature.
Money paid back or remitted; especially, a certain amount of duties or customs, sometimes the whole, and sometimes only a part, remitted or paid back by the government, on the exportation of the commodities on which they were levied.


dvesa. (P. dosa; T. zhe sdang; C. chen; J. shin; K. chin 瞋). In Sanskrit, "aversion," "ill will," or "hatred"; it is frequently written DOsA in BUDDHIST HYBRID SANSKRIT; closely synonymous also to "hostility" (PRATIGHA). "Aversion" is one of the most ubiquitous of defilements and is listed, for example, among the six fundamental "afflictions" (KLEsA), ten "fetters" (SAMYOJANA), ten "proclivities" (ANUsAYA), five "hindrances" (NĪVARAnA), and "three poisons" (TRIVIsA). It is also one of the forty-six mental factors (CAITTA) according to the VAIBHĀsIKA school of SARVĀSTIVĀDA ABHIDHARMA, one of the fifty-one according to the YOGĀCĀRA school, and one of fifty-two in the Pāli abhidhamma. In Buddhist psychology, when contact with sensory objects is made "without introspection" (ASAMPRAJANYA), "passion" (RĀGA) or "greed" (LOBHA), "aversion," and/or "delusion" (MOHA) arise as a result. In the case of "aversion"-which is a psychological reaction that is associated with repulsion, resistance, and active dislike of a displeasing stimulus-one of the possible derivative emotions typically ensue. These derivative emotions-which include "anger" (KRODHA), "enmity" (UPANĀHA), "agitation" (PRADĀSA), "envy" (ĪRsYĀ), "harmfulness" (VIHIMSĀ)-all have "aversion" as their common foundation.

Each of these fourteen faculties and organs is presided over by its own respective inyantri (ruler): the eye by the sun; the ear by the quarters of the world; the nose by the two Asvins; the tongue by Prachetas; the skin by the wind; the voice by fire; the hand by Indra; the foot by Vishnu; the anus by Mitra; the generative organs by Prajapati; manas by the moon; buddhi by Brahman; ahamkara by Siva; chitta by Vishnu as Achyuta. The differences in enumeration are to be accounted for by the different manners in which the various Indian philosophic schools enumerated and divided the different parts of the human constitution.

embarrassment ::: n. --> A state of being embarrassed; perplexity; impediment to freedom of action; entanglement; hindrance; confusion or discomposure of mind, as from not knowing what to do or to say; disconcertedness.
Difficulty or perplexity arising from the want of money to pay debts.


encomberment ::: n. --> Hindrance; molestation.

fair ::: superl. --> Free from spots, specks, dirt, or imperfection; unblemished; clean; pure.
Pleasing to the eye; handsome; beautiful.
Without a dark hue; light; clear; as, a fair skin.
Not overcast; cloudless; clear; pleasant; propitious; favorable; -- said of the sky, weather, or wind, etc.; as, a fair sky; a fair day.
Free from obstacles or hindrances; unobstructed;


Fazang. (J. Hozo; K. Popchang 法藏) (643-712). Tang-dynasty Chinese monk and putative third patriarch of the HUAYAN ZONG, also known as Xianshou, Dharma Master Guoyi (Nation's Best), Great Master Xiangxiang (Fragrant Elephant), and state preceptor (GUOSHI) Kang Zang. Fazang was the third-generation descendent of immigrants to China from the kingdom of SOGDIANA in Central Asia (the Greek Transoxiana) and thus used as his secular surname the ethnicon KANG. At a young age, Fazang became a student of the Chinese monk ZHIYAN, and studied the AVATAMSAKASuTRA. Fazang was also fluent in several Central Asian languages, and assisted the monks sIKsĀNANDA and YIJING in translating new recensions of the AvataMsakasutra (699) and the LAnKĀVATĀRASuTRA (704). Empress WU ZETIAN often requested Fazang to lecture on the AvataMsakasutra and its teachings on PRATĪTYASAMUTPĀDA. Fazang devoted the rest of his career to the study of the AvataMsakasutra and composing commentaries on the Lankāvatārasutra, FANWANG JING, DASHENG QIXIN LUN, and other texts. Many of Fazang's compositions sought to systematize his teacher Zhiyan's vision of the AvataMsakasutra in terms drawn from indigenous Chinese Buddhist materials, such as the Dasheng qixin lun. In so doing, Fazang developed much of the specific doctrinal terminology and worldview that comes to be emblematic of the Huayan zong, making him the de facto founder of this indigenous school of Chinese Buddhist philosophy. Among Fazang's many works, his HUAYAN JING TANXUAN JI, HUAYAN WUJIAO ZHANG, and his commentary to the Dasheng qixin lun shu ("Awakening of Faith According to the Mahāyāna") are most famous. Fazang passed away while residing at the monastery of Da Qianfusi. Fazang remained close throughout his life to his Korean colleague ŬISANG, the founder of the Korean Hwaom school, with whom he studied together under Zhiyan, and some of his correspondence with Ŭisang survives. SIMSANG (J. Shinjo) (d. c. 744), another Korean who is claimed to have been a direct disciple of Fazang, was the first transmitter of the Huayan teachings in Japan, and Simsang's own disciple RYoBEN [alt. Roben] (689-773) is considered the founder of the Japanese Kegon school. For discussion of Fazang's philosophical views, see also HUAYAN ZONG; INDRA'S NET; SI FAJIE.

Fengfa yao. (J. Hohoyo; K. Pongpop yo 奉法要). In Chinese, "Essentials of Upholding the DHARMA," a short Buddhist catechism, composed by Xichao (336-377), a lay follower of the monk ZHI DUN, which is preserved in the HONGMING JI. The Fengfa yao provides a brief overview of a number of important doctrinal concepts and categories, such as the three refuges (TRIsARAnA), five precepts (PANCAsĪLA), fasting, six recollections (ANUSMṚTI), five rebirth destinies (GATI), five aggregates (SKANDHA), five hindrances (NĪVARAnA), six sense bases (INDRIYA), mind (CITTA), KARMAN, patient endurance (KsĀNTI), NIRLĀnA, six perfections (PĀRAMILĀ), FOUR NOBLE TRUTHS, confession, doing good works, etc. These notions are sometimes explained with reference to Daoist thought and historical and mythical events in China. As such, the Fengfa yao is an important source for studying the manner in which Buddhist doctrine was understood in early China.

Firmament Combines the meanings of support, expanse, and boundary; a translation of the Latin firmamentum (a support), which again renders the Greek stereoma (a foundation). The Hebrew is raqia‘ (an unfolding or expanse). The ordinary European meaning is the vault of heaven or sky. It is often identified with air, called the breath of the supporters of the heavenly dome in Islamic mysticism; in India the ethery expanse is the domain of Indra, and one reads of the 1008 divisions of the devaloka (god-worlds) and firmaments. It also relates to the supporters, pillars, or cosmocratores in so many ancient cosmogonies, said to uphold or support the world.

five hindrances [to dhyāna]. (S. nīvarana; T. sgrib pa; C. gai 蓋)

Fudochi shinmyoroku. (不動智神妙録). In Japanese, "Record of the Mental Sublimity of Immovable Wisdom," a treatise on ZEN and sword fighting composed by the Japanese RINZAISHu monk TAKUAN SoHo (1573-1645). In the first half of the seventeenth century, Takuan found himself in the middle of a political battle known as the "purple robe incident" (shi'e jiken), which, in 1629, ultimately led to his exile to Kaminoyama in Uzen (present-day Yamagata Prefecture). There, he composed this treatise on the proper use of the mind in Zen and sword fighting for the samurai sword master Yagyu Muneori (1571-1646), the personal instructor to the shogun. Takuan first describes the afflictions that rise from ignorance (AVIDLĀ) as hindrances to proper sword fighting. Then he explains the "immovable wisdom" as the unclinging, unstopping mind. Takuan likens this unmoving state to the concept of "no-mind" (J. mushin; C. WUXIN) in the "Platform Sutra" (LIUZU TANJING), wherein one's movements are not calculated, but instinctual; thus, there should be no gap between mind and sword. The rest of the treatise expounds upon the proper means of attaining this state of no-mind.

gandharva ::: heavenly guardian of the Soma. The Gandharvas are the husbands of the Apsarasas in Indra's heaven; they make known the divine secrets, and are responsible for ecstatic states. Gandharvas are known as the heavenly singers or celestial musicians.

gandharva. (P. gandhabba; T. dri za; C. gantapo/zhongyun youqing; J. kendatsuba/chuun'ujo; K. kondalba/chungon yujong 乾闥婆/中蘊有情). A Sanskrit term whose folk etymology is "fragrance eaters"; in Buddhist cosmology it is most often translated as "celestial musicians"; in the context of the cycle of rebirth, gandharva refers to a "transitional being" that bridges the current and future existence. (The CJK uses a transcription for the former denotation, and the translation "intermediary being" for the latter.) In the Buddhist cosmological schema, gandharvas are a sort of demigod and one of the eight classes of beings (AstASENĀ); they fly through space and serve as musicians in the heavenly court of INDRA or sAKRA, the king of the gods, who presides over the heaven of the thirty-three (TRĀYASTRIMsA) in the sensuous realm of existence (KĀMADHĀTU). According to Indian mythology, they are married to the celestial nymphs (APSARAS). The gandharvas get their name from the presumption that they subsist on fragrance (GANDHA). The term gandharva is also the designation given to the transitional being in the intermediate state (ANTARĀBHAVA; see also BAR DO), the forty-nine-day period between rebirths in the five or six destinies (GATI) of SAMSĀRA. Since the transitional being does not take solid food but subsists only on scent, it is also referred to as a gandharva. During this transitional period, the gandharva is searching for the appropriate place and parents for its next existence and takes the form of the beings in the realm where it is destined to be reborn.

Gandharvas: In Vedic lore, the divine musicians in Indra’s heaven; they possess mysterious power over women.

garuda. (P. garuda/garula; T. khyung/mkha' lding; C. jialouluo; J. karura; K. karura 迦樓羅). In Sanskrit and Pāli, mythical "golden-winged bird," one of the eight classes of nonhuman beings (AstASENĀ) who are often in attendance during sĀKYAMUNI's sermons. In traditional Indian mythology, the garuda was a golden-winged bird who was the deification of the sun's brilliance; thus, like the phoenix in Western mythology, it served as a symbol of fire or flame. Garudas served as the mount of Visnu and were the mortal enemies of NĀGAs and snakes. The garuda was said to be fantastic in size, with a massive wingspan (some texts say as wide as 330 YOJANAs), and carried either a wish-fulfilling gem (CINTĀMAnI) or a talisman around its neck. Its wings were said to be adorned with marvelous gems, and it had a huge gullet that would allow it slowly to digest enormous amounts of food. Garudas are sometimes portrayed in Buddhist art as having the head and wings of an eagle and the body of a man. JĀTAKA stories describe garudas as giant birds, massive in both size and strength, which are capable of splitting the ocean by flapping their wings, creating an enormous breeze known as the garuda wind. The SAMYUTTANIKĀYA mentions that garudas roost in the forest of silk-cotton trees, and their nests are in danger of being crushed by Sakka's (S. sAKRA; INDRA) chariot as it speeds through the forest. Garudas eat only flesh and are the enemies of nāgas, which are their main food. In the jātakas, garudas are said to live on the nāga island of Seruma (also called, simply, NĀGADĪPA). With their garuda wind, they can lift into the air nāgas that are a thousand fathoms long, uprooting the banyan trees around which the snakes wrap themselves. Besides possessing impressive strength, garudas are also described in the jātakas as having supernatural powers, such as in the Sussondī Jātaka, where garudas use their special powers to plunge the whole city into darkness in order to carry off Queen Sussondī. Garudas were formerly considered to be wrathful creatures but, after having been converted by the Buddha, they now protect his teachings. In both mainstream and MAHĀYĀNA materials, garudas are said to pay homage to the Buddha as one of a group of eight mythical classes of nonhuman beings (astasenā): divinities (DEVA), nāgas, demons (YAKsA), celestial musicians (GANDHARVA), demigods (ASURA), half-human half-horse (or half-bird) celestial musicians (KIMNARA), and snake spirits (MAHORĀGA). In Buddhist tantra garudas are a DHARMAPĀLA and appear in the PARIVĀRA (retinue) of various tantric deities, as both companion and mount. In tantric Buddhism there exists a group known as the paNcagaruda (khyung rigs lnga): the garudas of the Buddha, karma, ratna, vajra, and padma families.

Gopati ::: Master of the herds (Indra). [Ved.]

guest ::: Sri Aurobindo: " When the Rishis speak of Indra or Agni or Soma in men, they are speaking of the god in his cosmic presence, power or function. This is evident from the very language when they speak of Agni as the immortal in mortals, the immortal Light in men, the inner Warrior, the Guest in human beings.” *Letters on Yoga

Guest ::: “ When the Rishis speak of Indra or Agni or Soma in men, they are speaking of the god in his cosmic presence, power or function. This is evident from the very language when they speak of Agni as the immortal in mortals, the immortal Light in men, the inner Warrior, the Guest in human beings.” Letters on Yoga

Ha-’Indra’ Rabba’ Qaddisha’ (Aramaic) Hā-’Idrā’ Rabbā’ Qaddīshā’. The Great Holy Assembly; one treatise of the Zohar, consisting of discourses by Rabbi Shim‘on to his assembly of disciples upon the form of the Deity and on pneumatology. It is considered to be a development of the Siphra di-Tseni‘utha’, the most ancient portion, and therefore the basis of the Zohar.

handicap ::: n. --> An allowance of a certain amount of time or distance in starting, granted in a race to the competitor possessing inferior advantages; or an additional weight or other hindrance imposed upon the one possessing superior advantages, in order to equalize, as much as possible, the chances of success; as, the handicap was five seconds, or ten pounds, and the like.
A race, for horses or men, or any contest of agility, strength, or skill, in which there is an allowance of time, distance,


hari ::: red gold or tawny yellow; a shining horse (of Indra). [Ved.] ::: hari [dual], the two bright horses (of Indra).

Hari (Sanskrit) Hari [from the verbal root hṛ to take, remove; to be yellow] Especially the name of Krishna as an avatara of Vishnu; likewise applied to other deities, generally Siva. Also an alternative name for the sign of the zodiac Simha or Leo — the word itself meaning a lion, as well as being a name for the sun, the moon, the horses of Indra, and for one of the nine varshas or divisions of the world.

Haryasva (Sanskrit) Haryaśva [from hari bay + aśva horse] Bay horse; a name applied both to Indra and Siva. In the Harivansa, the Haryasavas are represented as the five or ten thousand sons of the patriarch Daksha, born for the purpose of peopling the earth, but the rishi Narada persuaded them to remain celibates; after which they dispersed themselves through the regions and did not return. This means “that they had all incarnated in mortals. The name is given to natural born mystics and celibates, who are said to be incarnations of the ‘Haryaswas’ ” (TG 136).

hinderance ::: n. --> Same as Hindrance.

hindrance. See ĀVARAnA; NĪVARAnA.

hindrance

hindrance ::: v. t. --> The act of hindering, or the state of being hindered.
That which hinders; an impediment.


holdback ::: n. --> Check; hindrance; restraint; obstacle.
The projection or loop on the thill of a vehicle. to which a strap of the harness is attached, to hold back a carriage when going down hill, or in backing; also, the strap or part of the harness so used.


Idra(h) Rabba Qaddisha. See HA-’INDRA’ RABBA’ QADDISHA’

impeachment ::: n. --> The act of impeaching, or the state of being impeached
Hindrance; impediment; obstruction.
A calling to account; arraignment; especially, of a public officer for maladministration.
A calling in question as to purity of motives, rectitude of conduct, credibility, etc.; accusation; reproach; as, an impeachment of motives.


impedition ::: n. --> A hindering; a hindrance.

impeditive ::: a. --> Causing hindrance; impeding.

(In Aesthetics): A movement in both art and general aesthetic theory which was particularly widespread and influential in the last years of the 18th and the first half of the 19th centuries. So interpreted, it is especially associated with Novalis, the Schlegels, and Jean Paul Richter in Germany, Rousseau, Chateaubriand, Hugo, Lamartine in France; Blake, Scott, the Lake Poets, Shelley, and Byron in England. As a general attitude toward art and its function, as an interpretation of the goodness, beauty, and purpose of life, romanticism has always existed and can be confined to no one period. The essence of romanticism, either as an attitude or as a conscious program, is an intense interest in nature, and an attempt to seize natural phenomena in a direct, immediate, and naive manner. Romanticism thus regards all forms, rules, conventions, and manners as artificial constructs and as hindrances to the grasp, enjoyment, and expression of nature, hence its continual opposition to any kind of classicism (q.v.), whose formalities it treats as fetters. Romanticism stresses the values of sincerity, spontaneity, and passion, as against the restraint and cultivation demanded by artistic forms and modes. It reasserts the primacy of feeling, imagination, and sentiment, as opposed to reason. It maintains that art should concern itself with the particular and the concrete, observing and reporting accurately the feelings aroused by nature, with no idealization or generalization. It commands the artist to feel freely and deeply, and to express what he has felt with no restraints, either artistic or social. It seeks in works of art a stimulus to imagination and feeling, a point of departure for free activity, rather than an object that it can accept and contemplate.

incumbrance ::: n. --> A burdensome and troublesome load; anything that impedes motion or action, or renders it difficult or laborious; clog; impediment; hindrance; check.
A burden or charge upon property; a claim or lien upon an estate, which may diminish its value.


Indara mang 因陀羅網. See INDRAJĀLA

Indaramo 因陀羅網. See INDRAJĀLA

Indara 因陀羅. See INDRA

Inda. See INDRA

indra jyestho marudganah ::: Indra eldest of the Maruts. [cf. RV 1.23.8; 2.41.15]

INDRA (Skt, T.B.) Devaraja of world 46.

indratama angirastama ::: "most-Indra", "most-Angirasa". [Ved.]

indraught ::: n. --> An opening from the sea into the land; an inlet.
A draught of air or flow of water setting inward.


indrawn ::: a. --> Drawn in.

In Hindu literature this vajra is the scepter of Indra (similar to the thunderbolt of Zeus), with which he as the god of the skies was said to slay evildoers. In mystical Buddhism it is the magic scepter of priest-initiates and adepts, the symbol of the possessions of siddhis (superhuman powers), wielded during certain mystical ceremonies by initiated priests and theurgists. It is also the symbol of the Buddha’s power over evil spirits or elementals. The possessors of this scepter are called vajrapanins.

In later times, the symbol of Paradise has come to mean a bliss of sensual pleasure, like the Moslem Paradise of the Houris, the Olympus of the Greeks, or Indra’s Heaven (svarga).

inoffensive ::: a. --> Giving no offense, or provocation; causing no uneasiness, annoyance, or disturbance; as, an inoffensive man, answer, appearance.
Harmless; doing no injury or mischief.
Not obstructing; presenting no interruption bindrance.


interruption ::: n. --> The act of interrupting, or breaking in upon.
The state of being interrupted; a breach or break, caused by the abrupt intervention of something foreign; intervention; interposition.
Obstruction caused by breaking in upon course, current, progress, or motion; stop; hindrance; as, the author has met with many interruptions in the execution of his work; the speaker or the argument proceeds without interruption.


“In the Rig Veda Indra is the highest and greatest of the Gods, and his Soma-drinking is allegorical of his highly spiritual nature. In the Puranas Indra becomes a profligate, a regular drunkard on the Soma juice, in the terrestrial way” (SD 2:378). Indra corresponds with the cosmic principle mahat and in the human constitution with its reflection, manas, in its dual aspect. At times he is connected with buddhi; at others he is dragged down by kama, the desire principle.

In the Sankhya and Yoga systems, abhinivesa or tenacity for life is the last of the five hindrances (klesas). W. Q. Judge defines it as “idle terror causing death” — a permissible extension of meaning (WG 1).

In The Secret Doctrine, fohat is spoken of as the vahana of the “Primordial Seven”; physical forces as the vehicles of the elements; and the sun as the vahana or buddhi of Aditi (I 108, 470. 527n). Again, all gods and goddesses are “represented as using vahanas to manifest themselves, which vehicles are ever symbolical. So, for instance, Vishnu has during Pralayas, Ananta ‘the infinite’ (Space), symbolized by the serpent Sesha, and during the Manvantaras — Garuda the gigantic half-eagle, half-man, the symbol of the great cycle; Brahma appears as Brahma, descending into the planes of manifestation on Kalahansa, the ‘swan in time or finite eternity’; Siva . . . appears as the bull Nandi; Osiris as the sacred bull Apis; Indra travels on an elephant; Karttikeya, on a peacock; Kamadeva on Makara, at other times a parrot; Agni, the universal (and also solar) Fire-god, who is, as all of them are, ‘a consuming Fire,’ manifests itself as a ram and a lamb, Aja, ‘the unborn’; Varuna, as a fish; etc., etc., while the vehicle of Man is his body” (TG 357-8).

in the way. Forming a hindrance, impediment, or obstruction.

irwonsang. (一圓相). In Korean, "one-circle symbol"; the central doctrinal concept and object of religious devotion in the modern Korean religion of WoNBULGYO, considered to be functionally equivalent to the notion of the DHARMAKĀYA buddha (popsinbul) in mainstream MAHĀYĀNA Buddhism. The founder of Wonbulgyo, PAK CHUNGBIN (later known by his sobriquet SOT'AESAN), believed that worshipping buddha images, as symbols of the physical body of the buddha, no longer inspired faith in Buddhist adherents and was thus a hindrance to religious propagation in the modern age; he instead instructed Wonbulgyo dharma halls to enshrine on their altars just the simple circle that is the irwonsang. This irwonsang was the "symbol" (sang) of the ineffable reality of the "unitary circle" (irwon). In Sot'aesan's view, different religions may have various designations for ultimate truth, but all of their designations ultimately refer to the perfect unity that is the irwon. Sot'aesan described the irwon as the mind-seal of all the buddhas and sages, the original nature of all sentient beings, and the ineffable realm of SAMĀDHI that transcends birth and death; but it simultaneously also served as the monistic source from which the phenomenal world in all its diversity arises. By understanding this irwon through tracing the radiance of the mind back to its fundamental source (K. hoegwang panjo; see HUIGUANG FANZHAO), Wonbulgyo adherents seek to recognize the fundamental nonduality of, and unity between, all things in existence and thus master the ability to act with utter impartiality and selflessness in all their interactions with the world and society.

jhāna. In Pāli, "meditative absorption," corresponding to the Sanskrit DHYĀNA (s.v.). Jhāna refers to the attainment of single-pointed concentration, whereby the mind is withdrawn from external sensory input and completely absorbed in an ideational object of meditation (see KAMMAttHĀNA). Jhāna involves the power to control the mind and does not, in itself, entail any enduring insight into the nature of reality; however, a certain level of concentration is generally said to be necessary in order to prepare the mind for direct realization of truth, the destruction of the afflictions, and the attainment of liberation. Jhāna is classified into two broad types: (1) meditative absorption of the subtle-materiality realm (P. rupāvacarajhāna; S. RuPĀVACARADHYĀNA) and (2) meditative absorption of the immaterial realm (P. arupāvacarajhāna; S. ĀRuPYĀVACARADHYĀNA). Each of these two types is subdivided into four stages or degrees of absorption, giving a total of eight stages of jhāna. These stages are sometimes called the eight "attainments" (SAMĀPATTI). The four absorptions of the subtle-materiality realm are characterized by an increasing attenuation of consciousness as one progresses from one stage to the next. By entering into any one of the jhānas, the meditator temporarily overcomes the five hindrances (NĪVARAnA) through the force of concentration. This is called "overcoming by repression" (P. vikkhambhanappahāna). The five hindrances are (1) "sensuous desire" (KĀMACCHANDA), which hinders one-pointedness of mind (P. cittekaggatā; S. CITTAIKĀGRATĀ); (2) "malice" (P. byāpāda; S. VYĀPĀDA), hindering rapture (P. pīti; S. PRĪTI); (3) "sloth and torpor" (P. thīnamiddha; S. STHYĀNA-MIDDHA), hindering applied thought (P. vitakka; S. VITARKA); (4) "restlessness and worry" (P. uddhaccakukkucca; S. AUDDHATYA-KAUKṚTYA), hindering joy (SUKHA); and (5) "skeptical doubt" (P. vicikicchā; S. VICIKITSĀ), which hinders sustained thought (VICĀRA). These hindrances thus specifically obstruct one of the factors of absorption (P. jhānanga; S. DHYĀNĀnGA), and once they are allayed the first level of the subtle-materiality jhānas will be achieved. In the first jhāna, all five constituents of jhāna are present; as concentration deepens, these gradually fall away, so that in the second jhāna, both types of thought vanish and only pīti, sukha, and ekaggatā remain; in the third jhāna, only sukha and ekaggatā remain; and in the fourth jhāna, concentration is now so rarified that only ekaggatā is left. Detailed correlations appear in meditation manuals describing specifically which of the five spiritual faculties (INDRIYA) and seven constituents of enlightenment (P. bojjhanga; S. BODHYAnGA) serve as the antidote to which hindrance. Mastery of the fourth absorption of the subtle-materiality realm is required for the cultivation of supranormal powers (P. abhiNNā; S. ABHIJNĀ) and for the cultivation of the four arupāvacarajhānas, or meditative absorptions of the immaterial realm. The immaterial absorptions themselves represent refinements of the fourth rupāvacarajhāna, in which the "object" of meditation is gradually attenuated. The four immaterial absorptions instead take as their objects: (1) the sphere of infinite space (P. ākāsānaNcāyatana; S. ĀKĀsĀNANTYĀYATANA), (2) the sphere of infinite consciousness (P. viNNānaNcāyatana; S. VIJNĀNĀNANTYĀYATANA), (3) the sphere of nothingness (P. ākiNcaNNāyatana; S. ĀKINCANYĀYATANA), and (4) the sphere of neither perception nor nonperception (P. nevasaNNānāsaNNāyatana; S. NAIVASAMJNĀNĀSAMJNĀYATANA). Mastery of the absorptions of either the subtle-materiality or immaterial realms results in rebirth in the corresponding heaven of each respective absorption.

Jinshnu (Sanskrit) Jiṣṇu [from the verbal root ji to win, conquer] Victorious, triumphant, winning; as a proper noun, a name of Vishnu and of Indra, equivalent of the Hebrew Michael, the leader of the archangels. Also applied to Arjuna as the son of Indra.

jNeyāvarana. (T. shes bya'i sgrib pa; C. suozhizhang; J. shochisho; K. sojijang 所知障). In Sanskrit, "cognitive obstructions," or "noetic obscurations"; the second of the two categories of obstructions (ĀVARAnA), together with the afflictive obstructions (KLEsĀVARAnA), that must be overcome in order to perfect the BODHISATTVA path and achieve buddhahood. In the YOGĀCĀRA and MADHYAMAKA systems, the cognitive obstructions are treated as subtler hindrances that serve as the origin of the afflictive obstructions, and result from fundamental misapprehensions about the nature of reality. According to Yogācāra, because of the attachment deriving ultimately from the reification of what are actually imaginary external phenomena, conceptualization and discrimination arise in the mind, which lead in turn to pride, ignorance, and wrong views. Based on these mistakes in cognition, then, the individual engages in defiled actions, such as anger, envy, etc., which constitute the afflictive obstructions. The afflictive obstructions may be removed by followers of the sRĀVAKA, PRATYEKABUDDHA, and beginning BODHISATTVA paths, by applying various antidotes or counteragents (PRATIPAKsA) to the afflictions (KLEsA); overcoming these types of obstructions will lead to freedom from further rebirth. The cognitive obstructions, however, are more deeply ingrained and can only be overcome by advanced bodhisattvas who seek instead to achieve buddhahood, by perfecting their understanding of emptiness (suNYATĀ). Buddhas, therefore, are the only class of beings who have overcome both types of obstructions and thus are able simultaneously to cognize all objects of knowledge in the universe; this is one of the sources for their unparalleled skills as teachers of sentient beings. The jNeyāvarana are therefore sometimes translated as "obstructions to omniscience."

kalpa-vrikśa, kalpa-taru: the wishing tree, tree of plenty, one of the trees of Indra's paradise (svarga) capable of fulfilling all wishes; a productive or bountiful source.

kāmacchanda. (T. 'dod pa la 'dun pa; C. haoyu; J. koyoku; K. hoyok 好欲). In Sanskrit and Pāli, "sensual pleasure" or "sensual gratification"; an intensification of mere "sensuality" (KĀMA), which is classified as one of five hindrances (NĪVARAnA) that prevent the mind from achieving meditative absorption (DHYĀNA). Kāmacchanda is temporarily overcome with the attainment of the first meditative absorption and is eradicated in its grosser forms by attaining the stage of once-returner (SAKṚDĀGĀMIN), the second degree of Buddhist sanctity (ĀRYAPUDGALA); it is completely eliminated upon attaining the stage of nonreturner (ANĀGĀMIN), the third and penultimate degree of Buddhist sanctity.

kāma. (T. 'dod pa; C. yu; J. yoku; K. yok 欲). In Sanskrit and Pāli, "sensuality," especially in the sense of sexual desire. Kāma often appears compounded with various intensifiers to emphasize its affective dimensions. KĀMARĀGA means "sensual craving" and is listed as the fourth of ten fetters (SAMYOJANA) that keep beings bound to the cycle of rebirth (SAMSĀRA). Kāmarāga is the desire for physical pleasure and sensuality; it belongs to the more general psychological category of craving (S. TṚsnĀ; P. tanhā, lit. "thirst"), which ceaselessly seeks pleasure here and there and is the chief root of suffering. The five "strands of sensuality" (kāmaguna) refer to the sensual pleasures of the five physical senses (see GUnA). KĀMACCHANDA means "sensual pleasure" or "sensual gratification" and is also classified as one of five hindrances (NĪVARAnA) that prevent the mind from achieving meditative absorption (DHYĀNA). Kāmacchanda is temporarily overcome with the attainment of the first meditative absorption and is eradicated in its grosser forms by attaining the stage of once-returner (SAKṚDĀGĀMIN), the second degree of Buddhist sanctity or holiness (ĀRYAPUDGALA); it is completely eliminated upon attaining the stage of nonreturner (ANĀGĀMIN), the third and penultimate degree of Buddhist holiness. Finally, KĀMADHĀTU, or the sensuous realm, is the lowest of the three realms of existence (TRAIDHĀTUKA) (excluding the realms of subtle materiality and immateriality) and receives this name because of the predominance of sensuous desire among the beings reborn there.

Kānheri. The most extensive Buddhist monastic cave site in India, located six miles southeast of Borivili, a suburb of present-day Mumbai (Bombay), in the modern Indian state of Maharashtra. The name derives from the Sanskrit Kṛsnagiri, or "Black Mountain," probably because of the dark basalt from which many of the caves were excavated. Over 304 caves were excavated in the hills of the site between the first and tenth centuries CE. During the fifth and sixth centuries, older caves were modified and refurbished, while new caves were added, presumably initiated under the patronage of the Traikutakas (388-456 CE). While many of the new caves are architecturally rather plain, a number of important images were produced. The most extraordinary images are found in caves 90 and 41. The walls of cave 90 are abundantly, but haphazardly, carved with a myriad of images, suggesting that this hall was not intended for congregational purposes but rather as a place where believers could fund carvings as a way of making merit (PUnYA). On the left side wall of cave 90 is an especially complex iconographic arrangement. It shows VAIROCANA Buddha in the center, making the gesture of turning the wheel of the dharma (DHARMACAKRAMUDRĀ) and seated in the so-called European pose (PRALAMBAPĀDĀSANA); accompanying Vairocana are four smaller images at the four corners of the composition. Together, these comprise the five buddhas (PANCATATHĀGATA or PANCAJINA). At each side of the composition is a vertical row of four buddhas, who together represent the eight buddhas of the past. By the sixth century, female images had emerged as a common part of Buddhist iconographic conceptions in South Asia, and Kānheri is no exception. Flanking the central Buddha in this same arrangement is a pair of BODHISATTVAs, each accompanied by a female consort. Depicted next to the stalk upon which rests the central Buddha's lotus pedestal are several subordinate figures: INDRA and BRAHMĀ, with female consorts, as well as male and female NĀGA. Kānheri was also a crucial site for both transoceanic and overland trade and pilgrimage networks, which probably accounts for the presence of images of AVALOKITEsVARA, a bodhisattva who could be called upon by seafarers and merchants who were in distress. Avalokitesvara's image in cave 90 shows him in the center, flanked by his attendants, and surrounded by scenes of the eight dangers, including shipwreck. In the bottom right-hand corner, seafarers are depicted praying to him. In cave 41, the unusual form of an Eleven-Headed Avalokitesvara (EKĀDAsAMUKHĀVALOKITEsVARA), which is dated to the late fifth or early sixth century, indicates advanced and esoteric Buddhist practices at Kānheri. While frequently found in later Buddhist art in Tibet, Nepal, and East Asia, this image is the only extant artistic evidence that this iconographic type is of Indian provenance. A sixteenth-century Portuguese traveler reported that the Kānheri caves were the palace built by Prince Josaphat's father to shield him from knowledge of the sufferings of the world. (cf. BARLAAM AND JOSAPHAT). See also AJAntĀ.

Karttikeya was born for the purpose of killing Taraka, the too holy and wise deva-daimon, who had obtained through austerity all the knowledge and yoga powers of the gods. Karttikeya is equivalent to Michael, Indra, and Apollo. See also GHARMA-JA

kasina. (S. *kṛtsna/*kṛtsnāyatana; T. zad par gyi skye mched; C. bianchu; J. hensho; K. p'yonch'o 遍處). In Pāli, lit. "totality" or "universal" [alt. kasināyatana], a "visualization device" that serves as the meditative foundation for the "totality" of the mind's attention to an object of concentration. Ten kasina are generally enumerated: visualization devices that are constructed from the physical elements (MAHĀBHuTA) of earth, water, fire, and air; the colors blue, yellow, red, and white; and light and empty space. The earth device, for example, might be constructed from a circle of clay of even texture, the water device from a tub of water, and the red device from a piece of red cloth or a painted red disc. The meditation begins by looking at the physical object; the perception of the device is called the "beginning sign" or "preparatory sign" (P. PARIKAMMANIMITTA). Once the object is clearly perceived, the meditator then memorizes the object so that it is seen as clearly in his mind as with his eyes. This perfect mental image of the device is called the "eidetic sign," or "learning sign" (P. UGGAHANIMITTA) and serves subsequently as the object of concentration. As the internal visualization of this eidetic sign deepens and the five hindrances (NĪVARAnA) to mental absorption (P. JHĀNA; S. DHYĀNA) are temporarily allayed, a "representational sign" or "counterpart sign" (P. PAtIBHĀGANIMITTA) will emerge from out of the eidetic image, as if, the texts say, a sword is being drawn from its scabbard or the moon is emerging from behind clouds. The representational sign is a mental representation of the visualized image, which does not duplicate what was seen with the eyes but represents its abstracted, essentialized quality. The earth disc may now appear like the moon, the water device like a mirror suspended in the sky, or the red device like a bright jewel. Whereas the eidetic sign was an exact mental copy of the visualized beginning sign, the representational sign has no fixed form but may be manipulated at will by the meditator. Continued attention to the representational sign will lead to all four of the meditative absorptions associated with the realm of subtle materiality. Perhaps because of the complexity of preparing the kasina devices, this type of meditation was superseded by techniques such as mindfulness of breathing (P. ānāpānasati; S. ĀNĀPĀNASMṚTI) and is rarely practiced in the THERAVĀDA world today. But its notion of a purely mental object being somehow a purer "representation" of the external sense object viewed by the eyes has compelling connections to later YOGĀCĀRA notions of the world being a projection of mind.

kaukṛtya. (P. kukkucca; T. 'gyod pa; C. hui; J. ke; K. hoe 悔). In Sanskrit, "worry," "remorse," or perhaps "crisis of conscience"; along with the related "restlessness" or "distraction" (AUDDHATYA), with which it is often seen in compound (as auddhatya-kaukṛtya); it constitutes the fourth of the five hindrances (NĪVARAnA) to the attainment of meditative absorption (DHYĀNA). Auddhatya-kaukṛtya is the specific hindrance to joy (SUKHA), the fourth of the five factors of dhyāna (DHYĀNĀnGA), and is fostered by unwise attention (AYONIsOMANASKĀRA) to mental unrest and is overcome through learning and reflecting on the SuTRA and VINAYA, and associating with elders of calm demeanor. Restlessness and worry are countered by SAMĀDHI, the fourth of the five spiritual faculties (INDRIYA) and the sixth of the factors of enlightenment (BODHYAnGA), together with development of the tranquillity (PRAsRABDHI), and equanimity (UPEKsĀ) enlightenment factors.

Kausika. (P. Kosiya; T. Ka'u shi ka; C. Jiaoshijia; J. Kyoshika; K. Kyosiga 憍尸迦). The name for the king of the heaven of the thirty-three (TRĀYASTRIMsA), sAKRO DEVĀnĀM INDRAḤ (known more simply as sAKRA or INDRA), during a previous human lifetime as a brāhmana priest. sakra is often addressed more intimately as Kausika in Buddhist texts.

Kevattasutta. (C. Jiangu jing; J. Kengokyo; K. Kyon'go kyong 堅固經). In Pāli, "Sermon to Kevatta" [alt. Kevaddhasuttanta]; eleventh sutta of the DĪGHANIKĀYA (a separate DHARMAGUPTAKA recension appears as the twenty-fourth sutra in the Chinese translation of the DĪRGHĀGAMA), preached by the Buddha to the householder Kevatta [alt. Kevaddha] in the Pāvārika mango grove at NĀLANDĀ. According to the Pāli account, Kevatta approached the Buddha and asked him to order a monk disciple to perform a miracle in order to inspire faith among the Buddha's followers dwelling in Nālandā. The Buddha responded that there are three kinds of wonder, the wonder of supranormal powers (iddhipātihāriya), the wonder of manifestation (ādesanāpātihāriya), and the wonder of education (anusāsanīpātihāriya). The wonder of supranormal powers is composed of the ability to make multiple bodies of oneself, to become invisible, to pass through solid objects, to penetrate the earth, to walk on water, to fly through the sky, to touch the sun and moon, and to reach the highest heaven of BRAHMĀ. The wonder of manifestation is the ability to read the thoughts and feelings of others. The Buddha declared all these wonders to be trivial and disparages their display as vulgar. Far superior to these, he says, is the wonder of education, which leads to awakening to the teaching and entering the Buddhist order, training in the restraint of action and speech, observance of minor points of morality, guarding the senses, mindfulness, contentment with little, freedom from the five hindrances, joy and peace of mind, the four meditative absorptions, insight (Nānadassana; JNĀNADARsANA) into the conditioned nature and impermanence of body and mind, knowledge of the FOUR NOBLE TRUTHS (catvāry āryasatyāni), and the destruction of the contaminants (āsavakkhaya; S. ĀSRAVAKsAYA).

Kurma Purana (Sanskrit) Kūrma Purāṇa [from kūrma tortoise] One of the 18 principal Hindu Puranas, so named because it deals with the avataric incarnation of Vishnu in the form of a tortoise. The scripture was recited by Janardana (Vishnu) in the regions under the earth to Indradyumna and the rishis in the proximity of Sakra. It tells about the Lakshmi Kalpa, and treats of the objects of life: duty, wealth, pleasure, and liberation.

Kutsa ::: [a Vedic rsi associated with Indra].

Kutsa ::: a Vedic r.s.i, companion of Indra; his name is interpreted in the translation of a sortilege from R . g Veda 5.31.9 to mean "SensePleasure", explained as the intensity of subjective ananda in relation to sensory experience... 96L

limit ::: v. t. --> That which terminates, circumscribes, restrains, or confines; the bound, border, or edge; the utmost extent; as, the limit of a walk, of a town, of a country; the limits of human knowledge or endeavor.
The space or thing defined by limits.
That which terminates a period of time; hence, the period itself; the full time or extent.
A restriction; a check; a curb; a hindrance.


lobha. (T. chags pa; C. tan; J. ton; K. t'am 貪). In Sanskrit and Pāli, "craving," or "greed," a synonym of RĀGA ("sensuality" or "desire") and the opposite of "absence of craving" or "absence of greed" (ALOBHA). Lobha is one of the most ubiquitous of the defilements (KLEsA) and is listed among six fundamental afflictions (KLEsAMAHĀBHuMIKA), ten fetters (SAMYOJANA), ten proclivities (ANUsAYA), five hindrances (ĀVARAnA), three poisons (TRIVIsA), and three unwholesome faculties (AKUsALAMuLA). Lobha is also one of the forty-six mental factors (see CAITTA) according to the VAIBHĀsIKA school of SARVĀSTIVĀDA abhidharma, one of the fifty-one according to the YOGACĀRA school, and one of the fifty-two in the Pāli abhidhamma. When sensory contact with objects is made "without proper comprehension" or "without introspection" (ASAMPRAJANYA), craving (lobha), aversion (DVEsA), and delusion (MOHA) arise. In the case of craving-which is a psychological reaction associated with the pursuing, possessing, or yearning for a pleasing stimulus and discontent with unpleasant stimuli-this greed could target a host of possible objects. Scriptural accounts list these objects of craving as sensual pleasures, material belongings, loved ones, fame, the five aggregates (SKANDHA), speculative views (DṚstI), the meditative absorptions (DHYĀNA) of the "subtle-materiality" and "immaterial" realms (see TRILOKADHĀTU), the future "becoming" (BHAVA) of the "self" (S. bhavarāga), and the future "annihilation" of the "self" (S. abhavarāga), among other things. According to the ĀGAMAs and the ABHIDHARMAKOsABHĀsYA, craving is the self-imposed "yoking together" of the subject and its object, whereby the mind is "mired," "bonded," and "burdened" by desire. As one of the three unwholesome faculties (AKUsALAMuLA), craving is said to be the common ground or source of a variety of unwholesome mental states, such as possessiveness (MĀTSARYA) and pride (MADA).

Lohiccasutta. (C. Luzhe jing; J. Roshakyo; K. Noch'a kyong 露遮經). In Pāli, "Discourse to Lohicca," the twelfth sutta of the Pāli DĪGHANIKĀYA (a separate DHARMAGUPTAKA recension appears as the twenty-ninth SuTRA in the Chinese translation of the DĪRGHĀGAMA); preached by the Buddha to the brāhmana Lohicca at the village of Sālavatikā in KOsALA. According to the Pāli account, Lohicca holds the view that a sage who reaches certain wholesome states of mind should tell no one of it, for to do so would be to manifest craving and entangle him in new bonds. He puts this opinion to the Buddha who responds that, to the contrary, it would be selfish for such a person to remain silent if he had something of benefit to teach to others. The Buddha then describes three types of teachers who are worthy of blame. The first is one who, even though he himself has not attained true renunciation, teaches DHARMA and VINAYA to others but is rejected along with his teachings by his pupils. The second is one who, even though he himself has not attained true renunciation, is embraced along with his teachings by his pupils. The third is one who, even though he himself has attained true renunciation, is nevertheless rejected along with his teachings by his pupils. The Buddha then describes the teacher who is unworthy of blame as someone who awakens to the dharma and enters the Buddhist order, trains in the restraint of conduct and speech and observes minor points of morality, guards the senses, practices mindfulness, is content with little, becomes freed from the five hindrances (NĪVARAnA), attains joy and peace of mind, cultivates the four meditative absorptions (DHYĀNA), develops insight (P. Nānadassana; JNĀNADARsANA) into the conditioned nature and the impermanence of body and mind, and gains knowledge of the FOUR NOBLE TRUTHS (CATVĀRY ĀRYASATYĀNI) and the destruction of the contaminants (ĀSRAVA). Lohicca is pleased by the sermon and becomes a lay disciple of the Buddha.

Lokapalas (Sanskrit) Lokapāla-s [from loka world + pāla protector from the verbal root pā to protect] The spiritual supporters, rulers, and guardians either of a universe or of a world. The cosmic, solar, or planetary spirits who preside over the eight points of the compass, among them being the four Maharajas. Each of these guardian spirits has an elephant (or other symbolic animal) who takes part in the defense and protection of the quarter, and these eight elephants are themselves sometimes called lokapalas. These elephants and their spouses pertain “to fancy and afterthought, though all of them have an occult significance” (SD 1:128). According to the Hindu pantheon, Indra presides over the east; Agni, the southeast; Yama, the south; Surya, the southwest; Varuna, the west; Vayu, the northwest; Kuvera, the north; and Soma, the northeast.

lokapāla. (T. 'jig rten skyong ba; C. si tianwang; J. shitenno; K. sa ch'onwang 四天王). In Sanskrit, "world guardians" or "protectors of the world"; an alternate name for the four "great kings" (mahārāja) of heaven, who were converted by the Buddha and entrusted with protecting the inhabitants of the world. The world guardians reside in the first and lowest of the six heavens of the sensuous realm of existence (KĀMADHĀTU), the heaven of the four great kings (CĀTURMAHĀRĀJAKĀYIKA). They are vassals of sAKRA, the lord or king (INDRA) of the gods (DEVA) (sAKRO DEVĀNĀM INDRAḤ), who is lord of the heaven of the thirty-three devas (TRĀYASTRIMsA), the second of the six sensuous realm heavens, which is located at the summit of the world's central axis of Mount SUMERU. The world guardians' names are (1) DHṚTARĀstRA, who guards the gate to the east at the midslope of Mount Sumeru, which leads to the continent of VIDEHA; (2) VIRudHAKA in the south, who guards the gate that leads to JAMBUDVĪPA; (3) VIRuPĀKsA in the west, who guards the gate that leads to GODĀNĪYA; and (4) VAIsRAVAnA in the north, who guards the gate that leads to UTTARAKURU. Of the eight classes of demigods, who are subservient to the world guardians, Dhṛtarāstra rules over the GANDHARVA and putana; Virudhaka over the KUMBHĀndA and PRETA; Virupāksa over the NĀGA and PIsĀCA; and Vaisravana over the YAKsA and RĀKsASA. The four world guardians began as indigenous Indian or Central Asian deities, who were eventually incorporated into Buddhism; they seem to have been originally associated with royal (KsATRIYA) lineages, and their connections with royal warfare are evidenced in the suits of armor they come to wear as their cult is transmitted from Central Asia to China, Korea, and Japan.

Mahākāsyapa. (P. Mahākassapa; T. 'Od srung chen po; C. Mohejiashe; J. Makakasho; K. Mahagasop 摩訶迦葉). Sanskrit name of one of the Buddha's leading disciples, regarded as foremost in the observance of ascetic practices (P. DHUTAnGA; S. dhutaguna). According to the Pāli accounts (where he is called Mahākassapa) his personal name was Pipphali and he was born to a brāhmana family in MAGADHA. Even as a child he was inclined toward renunciation and as a youth refused to marry. Finally, to placate his parents, he agreed to marry a woman matching in beauty a statue he had fashioned. His parents found a match in Bhaddā Kapilānī (S. BHADRA-KAPILĀNĪ), a beautiful maiden from Sāgala. But she likewise was inclined toward renunciation. Both sets of parents foiled their attempts to break off the engagement, so in the end they were wed but resolved not to consummate their marriage. Pipphali owned a vast estate with fertile soil, but one day he witnessed worms eaten by birds turned up by his plowman. Filled with pity for the creatures and fearful that he was ultimately to blame, he resolved then and there to renounce the world. At the same time, Bhaddā witnessed insects eaten by crows as they scurried among sesame seeds put out to dry. Feeling pity and fear at the sight, she also resolved to renounce the world. Realizing they were of like mind, Pipphali and Bhaddā put on the yellow robes of mendicants and abandoned their property. Although they left together, they parted ways lest they prove a hindrance to one another. Realizing what had transpired, the Buddha sat along Pipphali's path and showed himself resplendent with yogic power. Upon seeing the Buddha, Pipphali, whose name thenceforth became Kassapa, immediately recognized him as his teacher and was ordained. Traveling to Rājagaha (S. RĀJAGṚHA) with the Buddha, Mahākassapa requested to exchange his fine robe for the rag robe of the Buddha. The Buddha consented, and his conferral of his own rag robe on Mahākassapa was taken as a sign that, after the Buddha's demise, Mahākassapa would preside over the convention of the first Buddhist council (see COUNCIL, FIRST). Upon receiving the Buddha's robe, he took up the observance of thirteen ascetic practices (dhutanga) and in eight days became an arahant (S. ARHAT). Mahākassapa possessed great supranormal powers (P. iddhi; S. ṚDDHI) and was second only to the Buddha in his mastery of meditative absorption (P. JHĀNA; S. DHYĀNA). His body was said to be adorned with seven of the thirty-two marks of a superman (MAHĀPURUsALAKsAnA). So revered by the gods was he, that at the Buddha's funeral, the divinities would not allow the funeral pyre to be lit until Mahākassapa arrived and had one last chance to worship the Buddha's body. Mahākassapa seems to have been the most powerful monk after the death of the Buddha and is considered by some schools to have been the Buddha's successor as the first in a line of teachers (dharmācārya). He is said to have called and presided over the first Buddhist council, which he convened after the Buddha's death to counter the heresy of the wicked monk SUBHADRA (P. Subhadda). Before the council began, he demanded that ĀNANDA become an arhat in order to participate, which Ānanda finally did early in the morning just before the event. At the council, he questioned Ānanda and UPĀLI about what should be included in the SuTRA and VINAYA collections (PItAKA), respectively. He also chastised Ānanda for several deeds of commission and omission, including his entreaty of the Buddha to allow women to enter the order (see MAHĀPRAJĀPATĪ), his allowing the tears of women to fall on the Buddha's corpse, his stepping on the robe of the Buddha while mending it, his failure to recall which minor monastic rules the Buddha said could be ignored after his death, and his failure to ask the Buddha to live for an eon or until the end of the eon (see CĀPĀLACAITYA). Pāli sources make no mention of Mahākassapa after the events of the first council, although the Sanskrit AsOKĀVADĀNA notes that he passed away beneath three hills where his body will remain uncorrupted until the advent of the next buddha, MAITREYA. At that time, his body will reanimate itself and hand over to Maitreya the rag robe of sĀKYAMUNI, thus passing on the dispensation of the buddhas. It is said that the robe will be very small, barely fitting over the finger of the much larger Maitreya. ¶ Like many of the great arhats, Mahākāsyapa appears frequently in the MAHĀYĀNA sutras, sometimes merely listed as a member of the audience, sometimes playing a more significant role. In the VIMALAKĪRTINIRDEsA, he is one of the sRĀVAKA disciples who is reluctant to visit Vimalakīrti. In the SADDHARMAPUndARĪKASuTRA, he is one of four arhats who understands the parable of the burning house and rejoices in the teaching of a single vehicle (EKAYĀNA); later in the sutra, the Buddha prophesies his eventual attainment of buddhahood. Mahākāsyapa is a central figure in the CHAN schools of East Asia. In the famous Chan story in which the Buddha conveys his enlightenment by simply holding up a flower before the congregation and smiling subtly (see NIANHUA WEIXIAO), it is only Mahākāsyapa who understands the Buddha's intent, making him the first recipient of the Buddha's "mind-to-mind" transmission (YIXIN CHUANXIN). He is thus considered the first patriarch (ZUSHI) of the Chan school.

Manojava (Sanskrit) Manojava Swift as thought; a name of Indra in the sixth manvantara, which corresponds with the sixth manu of this round, the seed-manu of globe C, or again with the third root-race of this round.

middha. (T. gnyid; C. shuimian; J. suimen; K. sumyon 睡眠). In Sanskrit and Pāli, "torpor," or sometimes simply "sleep." In the SARVĀSTIVĀDA and YOGĀCĀRA dharma lists, middha is one of the four or eight "indeterminate" (ANIYATA) factors among the fifty-one mental constituents (CAITTA; P. cetasika) that, depending on the intention of the agent, may be virtuous, nonvirtuous, or neutral. Middha is defined as the unintended withdrawal of the senses' engagement with their objects. The term is often seen in compound with "sloth" or " laziness" (STYĀNA), which together constitute one of the five hindrances (NĪVARAnA) to meditative absorption (DHYĀNA), specifically hindering the meditative factor (DHYĀNĀnGA) of applied thought (VITARKA). This hindrance is countered by the spiritual faculty (INDRIYA) of effort (VĪRYA). Ways of countering sloth and torpor include memorizing the doctrine, developing the perception of light, or simply walking around in the open air. In the Pāli abhidhamma, middha is classified as an unvirtuous (akusala) state. In Sarvāstivāda and Yogācāra it is indeterminate because sleep may be virtuous, unvirtuous, or neutral based on one's state of mind when falling asleep.

Namuci. (T. Grol med; C. Mowang [Boxun]; J. Mao [Hajun]; K. Mawang [Pasun] 魔王 [波旬]). In Sanskrit and Pāli, "Non-releaser," a cognomen of MĀRA, the anthropomorphized evil one, also sometimes known as PĀPĪYĀMS. Namuci is the name of a devil killed by the king of the divinities, INDRA, and absorbed into the Buddhist pantheon as one of the evil ones (māra). Namuci is sometimes identified with the third of the four types of māras most commonly found in Buddhist literature: (1) klesamāra (P. kilesamāra), the māra of afflictions; (2) SKANDHAMĀRA (P. khandhamāra), the māra of the aggregates; (3) MṚTYUMĀRA (P. maccumāra), the māra of death; and (4) DEVAPUTRAMĀRA (P. devaputtamāra), the divinity Māra. As the "personification of death" itself, Māra cum Namuci thus releases no one from his grasp.

napatah. ::: "grandsons of luminous Force", an epithet of the R.bhus as offspring of Indra, who "is born out of luminous Force as is Agni out of pure Force".

navagvas (Navagwas) ::: those who sacrificed for nine months of the year; seers of the nine cows or nine rays who institute the search for the herds of the Sun and the march of Indra to battle with the panis. [Ved.]

netrapratisthāpana. (P. akkhipujā; T. spyan dbye). In Sanskrit, "fixing the eyes," viz., "opening the eyes"; a consecration ceremony for a buddha image (BUDDHĀBHIsEKA), which serves to vivify the inert statue or painting, rendering it a hypostatization of the buddha. There are many versions of the ritual. In Southeast Asia, after making offerings to such Brahmanical protective divinities as INDRA, AGNI, or YAMA and conducting a purification ritual, the eyes of the image are painted in as the final act of preparing for its installation in a shrine. The ritual concludes with the recitation of a series of protective chants (PARITTA). The entire ritual often runs through the entire night, with the eyes "opened" around sunrise as the climax of the ritual. The Pāli form akkhipujā, lit. "ritual of [opening] the eyes," is attested by the late-fifth or early-sixth century, in the MAHĀVAMSA and BUDDHAGHOSA's SAMANTAPĀSĀDIKĀ. In Mahāyāna texts, such image consecration by painting in the eyes appears in the RATNAGUnASAMCAYAGĀTHĀ, which dates prior to the fifth century CE. See also PRATIstHĀ. For East Asian equivalents, see DIANYAN; KAIYAN.

nīvarana. [alt. nivarana] (T. sgrib pa; C. gai; J. gai; K. kae 蓋). In Sanskrit and Pāli, "hindrance" or "obstruction," referring specifically to five hindrances to the attainment of the first meditative absorption of the subtle-materiality realm (RuPĀVACARADHYĀNA). Each of these five hindrances specifically obstructs one of the five constituents of absorption (DHYĀNĀnGA) and must therefore be at least temporarily allayed in order for absorption (DHYĀNA) to occur. The five are: (1) "sensual desire" (KĀMACCHANDA), which hinders one-pointedness of mind (EKĀGRATĀ); (2) "malice" or "ill will" (VYĀPĀDA), hindering physical rapture (PRĪTI); (3) "sloth and torpor" (STYĀNA-MIDDHA), hindering the initial application of thought (VITARKA); (4) "restlessness and worry" (AUDDHATYA-KAUKṚTYA), hindering mental ease (SUKHA); and (5) "skeptical doubt" (VICIKITSĀ), hindering sustained consideration (VICĀRA). Buddhist sutras and meditation manuals, such as the VISUDDHIMAGGA, provide extensive discussion of various antidotes or counteragents (PRATIPAKsA, see also KAMMAttHĀNA) to these hindrances, such as the contemplation on the decomposition of a corpse (AsUBHABHĀVANĀ) to counter sensual desire; the meditation on loving-kindness (MAITRĪ) to counter malice; the recollection of death to counter sloth and torpor; quietude of mind to counter restlessness and worry; and studying the scriptures to counter skeptical doubt. In addition, the five faculties or dominants (INDRIYA) are also specifically designed to allay the five hindrances: faith (sRADDHĀ) counters malice; effort (VĪRYA) counters sloth and torpor; mindfulness (SMṚTI) counters sensual desire; concentration (SAMĀDHI) counters restlessness and worry; and wisdom (PRAJNĀ) counters skeptical doubt. A similar correlation is made between the seven factors of enlightenment (BODHYAnGA) and the hindrances. These five hindrances are permanently eliminated at various stages of the noble path (ĀRYAMĀRGA): worry (kaukṛtya) and skeptical doubt are permanently overcome at the point of becoming a stream-enterer (SROTAĀPANNA); sensual desire and malice on becoming a nonreturner (ANĀGĀMIN); and sloth and torpor and restlessness (auddhatya) on becoming a worthy one (ARHAT).

obstacle ::: v. --> That which stands in the way, or opposes; anything that hinders progress; a hindrance; an obstruction, physical or moral.

obstruction ::: n. --> The act of obstructing, or state of being obstructed.
That which obstructs or impedes; an obstacle; an impediment; a hindrance.
The condition of having the natural powers obstructed in their usual course; the arrest of the vital functions; death.


Olympus (Greek) The abode of the great gods in Grecian mythology in Homer and Hesiod. Such heavenly abodes are usually associated with mountains, such as the Hindu Meru, the Greek Atlas, and the Hebrew Sinai; in this case the name was given to the summit of the range dividing Macedonia from Thessaly, but there were other mountains called Olympus. Later philosophers, perhaps more mystically minded, placed Olympus in the zenith, as the abode of the divinities. There were many Olympuses, the references in story occasionally being to the higher globes of the earth-chain, and in a cosmic sense the higher planes of the solar system. At one time in Greek legend both the gods and their abode had a character of voluptuousness, comparable with the Hebrew Eden (which means “delight”), the heaven of Indra, or the abode of the Arabian houris; but this was when degeneracy had set in and the people had forgotten the significance of the deities, and lost the key enabling them to interpret the myths and allegories forming their respective mythologic religions.

oppose ::: 1. To be in contention or conflict with. 2. To set as an obstacle or hindrance. 3. To be hostile or adverse to, as in opinion. opposes, opposed, opposing.

ovate-cylindraceous ::: a. --> Having a form intermediate between ovate and cylindraceous.

ovato-cylindraceous ::: a. --> Same as Ovate-cylindraceous.

Padmasambhava. (T. Padma 'byung gnas) (fl. eighth century). Indian Buddhist master and tantric adept widely revered in Tibet under the appellation Guru rin po che, "Precious Guru"; considered to be the "second buddha" by members of the RNYING MA sect of Tibetan Buddhism, who view him as a founder of their tradition. In Tibetan, he is also known as Padma 'byung gnas (Pemajungne), "the Lotus Born," which translates his Sanskrit name. It is difficult to assess the many legends surrounding his life and deeds, although the scholarly consensus is that he was a historical figure and did visit Tibet. The earliest reference to him is in the SBA BZHED (a work that purports to be from the eighth century, but is likely later), where he is mentioned as a water diviner and magician, suggesting that he may have been an expert in irrigation, which would have required the ability to subdue local spirits. Two texts in the Tibetan canon are attributed to him. The first is the Man ngag lta ba'i phreng ba, which is a commentary on the thirteenth chapter of the GUHYAGARBHATANTRA. The second is a commentary on the Upāyapāsapadmamālā, a MAHĀYOGA TANTRA. Regardless of his historical status and the duration of his stay in Tibet, the figure of Padmasambhava has played a key role in the narrative of Buddhism's arrival in Tibet, its establishment in Tibet, and its subsequent transmission to later generations. He is also venerated throughout the Himalayan regions of India, Bhutan, and Nepal and by the Newar Buddhists of the Kathmandu Valley. According to many of his traditional biographies, Padmasambhava was miraculously born in the center of a lotus blossom (PADMA) on Lake Danakosa in the land of OddIYĀNA, a region some scholars associate with the Swat Valley of modern Pakistan. Discovered and raised by King Indrabodhi, he abandoned his royal life to pursue various forms of Buddhist study and practice, culminating in his training as a tantric adept. He journeyed throughout the Himalayan regions of India and Nepal, meeting his first consort MANDĀRAVĀ at Mtsho padma in Himachal Pradesh, and later remaining in prolonged retreat in various locations around the Kathmandu Valley including MĀRATIKA, YANG LE SHOD and the ASURA CAVE. His reputation as an exorcist led to his invitation, at the behest of the Indian scholar sĀNTARAKsITA, to travel to Tibet in order to assist with the construction of BSAM YAS monastery. According to traditional accounts, Padmasambhava subdued and converted the indigenous deities inimical to the spread of Buddhism and, together with sāntaraksita and the Tibetan king KHRI SRONG LDE BTSAN, established the first Buddhist lineage and monastic center of Tibet. He remained in Tibet as a court priest, and, together with his Tibetan consort YE SHES MTSHO RGYAL, recorded and then concealed numerous teachings as hidden treasure texts (GTER MA), to be revealed by a later succession of masters spiritually linked to Padmasambhava. The Rnying ma sect preserves the corpus of instructions stemming from the master in two classes of materials: those revealed after his passing as treasure texts and those belonging to an unbroken oral tradition (BKA' MA). It is believed that Padmasambhava departed Tibet for his paradise known as the Glorious Copper-Colored Mountain (ZANGS MDOG DPAL RI), where he continues to reside. From the time of the later dissemination of the doctrine (PHYI DAR) in the eleventh century onwards, numerous biographies of the Indian master have been revealed as treasure texts, including the PADMA BKA' THANG YIG, BKA' THANG GSER 'PHRENG, and the BKA' THANG ZANGS GLING MA. Padmasambhava is the focus of many kinds of ritual activities, including the widely recited "Seven Line Prayer to Padmasambhava" (Tshig 'dun gsol 'debs). The tenth day of each lunar month is dedicated to Padmasambhava, a time when many monasteries, especially those in Bhutan, perform religious dances reverencing the Indian master in his eight manifestations. In iconography, Padmasambhava is depicted in eight forms, known as the guru mtshan brgyad, who represent his eight great deeds. They are Padma rgyal po, Nyi ma 'od zer, Blo ldan mchog sred, Padmasambhava, Shākya seng ge, Padmakara (also known as Sororuhavajra, T. Mtsho skyes rdo rje), Seng ge sgra sgrogs, and RDO RJE GRO LOD.

paNcabala. (T. stobs lnga; C. wuli; J. goriki; K. oryok 五力). In Sanskrit and Pāli, "five powers," (1) faith (sRADDHĀ), (2) effort (VĪRYA), (3) mindfulness (SMṚTI), (4) concentration (SAMĀDHI), and (5) wisdom (PRAJNĀ). These five are essential to progress on the path, serving as antidotes to unwholesome states of mind, and specifically to the five hindrances (NĪVARAnA) that obstruct the five factors of meditative absorption (DHYĀNĀnGA): faith serves as an antidote to ill will (VYĀPĀDA); effort serves as an antidote to sloth and torpor (STYĀNĀ-MIDDHA); mindfulness serves as an antidote to either heedlessness (APRAMĀDA) or sensual desire (KĀMACCHANDA); samādhi serves as an antidote to distraction or restlessness and worry (AUDDHATYA-KAUKṚTYA); and wisdom serves as an antidote to skeptical doubt (VICIKITSĀ). In the SAMYUTTANIKĀYA, the Buddha explains that faith is faith in the Buddha's enlightenment; effort is effort at the four exertions (to prevent the arising of unwholesome states that have not yet arisen, to abandon unwholesome states that have already arisen, to create wholesome states that have not yet arisen, and to maintain wholesome states that have already arisen); mindfulness is the practice of the four foundations of mindfulness (P. SATIPAttHĀNA, Skt. SMṚTYUPASTĀNA); concentration is achievement of the four dhyānas; and wisdom is discerning the FOUR NOBLE TRUTHS (catvāry āryasatyāni). The five powers constitute five of the thirty-seven aspects of enlightenment (BODHIPĀKsIKADHARMA). In the PRAJNĀPĀRAMITĀ literature, they are described as five states achieved on the forbearance (KsĀNTI) and highest worldly dharmas (LAUKIKĀGRADHARMA) levels of the path of preparation (PRAYOGAMĀRGA; see NIRVEDHABHĀGĪYA). They are preceded on the heat (usMAN) and peak (MuRDHAN) levels by the five same factors at a lesser stage of development; there they are called the "five faculties," or "dominants" (PANCENDRIYA).

parihāni. (P. parihāni; T. yongs su nyams pa; C. tui; J. tai; K. t'oe 退). In Sanskrit, lit., "diminution," "retrogression," or "backsliding" from virtuous states that had previously been cultivated or mastered. Parihāni refers specifically to the diminution of mental states that had been directed toward liberation (VIMUKTI), which allows mental disturbances to reappear and thus causes regression to previous habitual tendencies involving unwholesome or mundane thoughts and activities. The term often appears in debates concerning the issue of whether the noble persons (ĀRYAPUDGALA) are subject to backsliding. Such MAINSTREAM BUDDHIST SCHOOLS as the MAHĀSĀMGHIKA, SARVĀSTIVĀDA, and SAMMITĪYA argued, for example, that ARHATs were subject to backsliding because they were still prone to vestigial negative proclivities of mind (ANUsAYA), even if those only manifested themselves while the monks were sleeping, e.g., nocturnal emissions. The STHAVIRANIKĀYA argued that arhats were not subject to backsliding since they had perfected all the necessary stages of training and were free from such proclivities. Related to this issue are discussions concerning the status of once-returners (SAKṚDĀGĀMIN) and nonreturners (ANĀGĀMIN): the majority of schools posited that once-returners and nonreturners could regress to the status of the stream-enterer (SROTAĀPANNA), the first level of sanctity, but that the status of the stream-enterer was not subject to retrogression and was thus inviolate. In the PURE LAND tradition, backsliding is a core rationale justifying the pure land teachings, since, in the world of SAMSĀRA, backsliding is inevitable for all except the most resolute practitioners. According to the AMITĀBHASuTRA, for example, sentient beings have accumulated karmic burdens since time immemorial and are invariably subject to backsliding; thus, they will never be able to escape from the endless cycle of birth-and-death on their own. For this reason, the buddha AMITĀBHA encourages them to seek rebirth in the pure land, instead, where they will have no hindrances to their eventual attainment of liberation. In the MAHĀYĀNA tradition, reaching the stage where there no longer is any prospect of regression is a crucial threshold on the path to liberation. Different scriptures place this point of nonbacksliding at different stages along the path. One of the most common explanations about which stage is "irreversible" (AVAIVARTIKA) appears in the DAsABHuMIKASuTRA, which locates it on the eighth stage (BHuMI), the "immovable" (ACALĀ), where further progress is assured and where there is no possible of retrogressing to a preceding stage. However, HARIBHADRA in his commentary on the ABHISAMAYĀLAMKĀRA identifies two earlier points at which the bodhisattva becomes irreversible, one on the path of preparation (PRAYOGAMĀRGA) and one on the path of vision (DARsANAMĀRGA).

Phra Kaew Morakot. In Thai, "The Emerald Buddha" (full name: Phra Phuttha Maha Mani Ratana Patimakorn; P. Buddhamahāmaniratnapatimā); this most sacred and venerated buddha image in Thailand is currently enshrined at Wat Phra Kaew (Temple of the Emerald Buddha), an ornate temple located on the grounds of the royal palace in the Thai capital of Bangkok. The image, which is in the seated meditation posture, is 29.5 inches (forty-five centimeters) tall; despite its name, it is in fact not made of emerald, but is carved from a single block of a green stone thought to be either jasper or jade. Kaew is an indigenous Thai word for "glass" or "translucence"; morakot derives from the Sanskrit word for emerald (S. morakata). According to legend, the Emerald Buddha was the first buddha image ever made and was carved five hundred years after the Buddha's death out of a sacred gem that came from INDRA's palace. The image is said to have been made by NĀGASENA (c. 150 BCE), the interlocutor of the MILINDAPANHA, in the north Indian city of PĀtALIPUTRA around 43 BCE. The image was then taken to Sri Lanka in the fourth century CE, and was on its way to Burma in 457, when the ship carrying it went off course and the image next appeared in Cambodia. The image eventually came into Thai hands and made its way to AYUTHAYA, Chiangrai, Chiangmai, and ultimately Bangkok. The image's actual provenance is a matter of debate. Some art historians argue that on stylistic grounds the Emerald Buddha appears to have been carved in northern Thailand around the fifteenth century, while others argue for a south Indian or Sri Lankan origin based on its meditative posture, which is uncommon in Thai buddha images. The Emerald Buddha first enters the historical record upon its discovery in 1434 CE, in the area that is now the northern Thai province of Chiangrai, when lightning struck a chedi (P. cetiya, S. CAITYA) and a buddha image made of stucco was found inside. As the stucco began to flake off, the image of the Emerald Buddha was revealed. At that time, Chiangrai was ruled by the Lānnā Thai kingdom, whose king attempted to bring the image back to his capital of Chiangmai. The chronicles relate that three times he sent an elephant to bring the Emerald Buddha to Chiangmai, but each time the elephant went to Lampang instead, so the king finally relented and allowed the image to remain there. In 1468, the new Chiangmai monarch, King Tiloka, finally succeeded in moving the image to Chiangmai and installed it in the eastern niche of a large STuPA at Wat Chedi Luang. The image remained there until 1552, when it was taken to LUANG PRABANG, then the capital of Laos, by the Lao ruler, who was also ruling Chiangmai at the time. In 1564, the king then took the image to Vientiane, where he set up a new capital after fleeing the Burmese. The Emerald Buddha remained in Vientiane for 214 years, until 1778 when the Siamese general Taksin captured the city and took the Emerald Buddha to Thonburi, then the Siamese capital. In 1784, when Bangkok was established as the capital, the image was installed there, in Wat Phra Kaew, the Temple of the Emerald Buddha, as the palladium of the nation (then known as Siam). Because Wat Phra Kaew is located within the palace grounds, the temple is unique in Thai Buddhism for having no monastic residences; the grounds contain only sacred shrines, stupas, and the main ubosoth (UPOsADHA hall), where the Buddha resides. The image of the Emerald Buddha is always clothed in golden raiments, which are changed according to the seasons. King Rāma I (r. 1782-1809) had two seasonal costumes made for the statue: a ceremonial robe for the hot season and a monastic robe for the rainy season. King Rāma III (1824-1851) had another costume made for the cold season: a mantle of gold beads. The ruling monarch performs the ceremonial changing of the garments each season.

Phra Malai. (P. Māleyya). A legendary arahant (S. ARHAT) and one of the most beloved figures in Thai Buddhist literature. According to legend, Phra Malai lived on the island of Sri Lanka and was known for his great compassion and supramundane abilities, including the power to fly to various realms of the Buddhist universe. On one of his visits to the hells, he alleviated the suffering of hell beings and then returned to the human realm to advise their relatives to make merit on their behalf. One day as he was on his alms round, he encountered a poor man who presented him with eight lotus blossoms. Phra Malai accepted the offering and then took the flowers to tāvatimsa (S. TRĀYASTRIMsA) heaven to present them at the Culāmani cetiya (S. caitya), where the hair relic of the Buddha is enshrined. Phra Malai then met the king of the gods, INDRA, and asked him various questions: why he had built the caitya, when the future buddha Metteya (S. MAITREYA) would come to pay respects to it, and how the other deities coming to worship had made sufficient merit to be reborn at such a high level. The conversation proceeded as one divinity after another arrived, with Indra's explanation of the importance of making merit by practicing DĀNA (generosity), observing the precepts and having faith. Eventually Metteya himself arrived and, after paying reverence to the chedi, asked Phra Malai about the people in the human realm. Phra Malai responded that there is great diversity in their living conditions, health, happiness, and spiritual faculties, but that they all hoped to meet Metteya in the future and hear him preach. Metteya in response told Phra Malai to tell those who wished to meet him to listen to the recitation of the entire VESSANTARA-JĀTAKA over the course of one day and one night, and to bring to the monastery offerings totaling a thousand flowers, candles, incense sticks, balls of rice, and other gifts. In the northern and northeastern parts of Thailand, this legend is recited in the local dialects (Lānnā Thai and Lao, respectively) as a preface to the performance or recitation of the Vessantara-Jātaka at an annual festival. In central and south Thailand, a variant of the legend emphasizing the suffering of the hell denizens was customarily recited at funeral wakes, a practice that is becoming less common in the twenty-first century.

Pramlocha (Sanskrit) Pramlocā [from pra forth + the verbal root mluc to go] One sent forth; one of the apsarasas or celestial nymphs sent on earth by Kamadeva or Indra to tempt the sage Kandu from his devotions and austerities. She succeeded in her unholy purpose, and according to the account stayed with him 907 years six months and three days, which were to the sage as one day. After this she flew away, wiping the perspiration from her body with the leaves of the trees as she passed through the air. The child she had conceived by the rishi came forth from the pores of her skin in drops of perspiration: the trees received the living dews, the winds collected them into one mass, Soma (the moon) matured them till they became the lovely girl Marisha. This story is an allegory founded on the physical mode of procreation of the second root-race or sweat-born.

prīti. (P. pīti; T. dga' ba; C. xi; J. ki; K. hŭi 喜). In Sanskrit, "rapture," "joy," "zest"; the third of the five factors of meditative absorption (DHYĀNĀnGA) and the fourth of the seven factors of enlightenment (BODHYAnGA); rapture helps to control the mental hindrances (NĪVARAnA) of both malice (VYĀPĀDA) and sloth and torpor (STYĀNA-MIDDHA). A sustained sense of prīti is obstructed by malice (vyāpāda), the second of the five hindrances to DHYĀNA. Prīti refreshes both body and mind and manifests itself as physical and mental tranquillity (PRAsRABDHI). The most elemental types of prīti involve such physical reactions as horripilation (viz., hair standing on end). As the experience becomes ever more intense, it becomes "transporting rapture," which is so uplifting that it makes the body seem so light as almost to levitate. Ultimately, rapture becomes "all-pervading happiness" that suffuses the body and mind, cleansing it of ill will and tiredness. As both a physical and mental experience, prīti is present during both the first and second of the meditative absorptions associated with the subtle-materiality realm (RuPĀVACARADHYĀNA), but fades into equanimity (UPEKsĀ). In the even subtler third dhyāna, only mental ease (SUKHA) and one-pointedness (EKĀGRATĀ) remain. Divinities in the sUDDHĀVĀSA realm (viz., the five "pure abodes," the upper five of the eight heavens associated with the fourth dhyāna) and the ĀBHĀSVARĀLOKA (heaven of universal radiance) divinities are said literally to "feed on joy" (S. prītibhaksa; P. pītibhakkha), i.e., to survive solely on the sustenance of physical and mental rapture.

pullback ::: n. --> That which holds back, or causes to recede; a drawback; a hindrance.
The iron hook fixed to a casement to pull it shut, or to hold it party open at a fixed point.


raksācakra. (T. srung gi 'khor lo). In Sanskrit, "wheel of protection," a figurative wheel used to destroy internal and external evils during tantric rituals and meditative practices. The wheel is created through ritual actions or visualization as a preliminary step in constructing a MAndALA, performing an initiation ritual (ABHIsEKA), or cultivating meditative practices. The wheel has various intents, including maintaining the faithfulness of the disciple toward one's master, destroying the power of an enemy, preventing the intrusion of baleful influences, preventing infectious diseases, or averting a curse. For example, in the GUHYASAMĀJATANTRA, a practitioner visualizes a wheel with ten spokes, representing the ten directions (DAsADIs). Each spoke is occupied by the ten wrathful deities (dasakrodha), who conquer enemies or inner hindrances, the names and the locations of which are as follows: YAMĀNTAKA (east), PrajNāntaka (south), Padmāntaka (west), Vighnāntaka (north), ACALA (northeast), takkirāja (southeast), Nīladanda (southwest), Mahābala (northwest), Usnīsacakravartin (zenith), and Sumbha (nadir). The practitioner then imagines demonic beings filling the areas between the spokes, so that, as the wheel turns, the spokes destroy the demons. In a more detailed explanation, the demons are also bound by ropes and put in well-like cells in the ground. This wheel is also called "wheel of the ten spokes" (dasacakra).

rāksasa. [alt. raksas] (P. rakkhasa; T. srin po; C. luocha; J. rasetsu; K. rach'al/nach'al 羅). In Sanskrit, "ogre"; a species of demigod in Buddhist mythology (the female form is an "ogress," or rāksasī) usually described as a flesh-eating demon that is able to fly, run like the wind, and possess superhuman strength during the night. According to numerous Buddhist texts, including the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra") and the ABHINIsKRAMAnASuTRA, the island of Sri Lanka is inhabited by ogres, who are able to shape-shift and seduce human beings in order to eat them. In the MAHĀPARINIRVĀnASuTRA, the king of the gods, INDRA, is said to have assumed the form of a rāksasa in order to test the spiritual resolve of a young ascetic-sĀKYAMUNI Buddha in one of his previous lifetimes. Rāksasas are also described as horse- or ox-headed wardens of a hell, who torture the hell denizens (NĀRAKA); in this case, they are often identified with YAKsA. In the Buddhist pantheon, there is a rāksasadeva (C. luocha tian), or lord of the rāksasa, who presides over the southwest as one of the twelve directional guardians; this deva is also called NIRṚTI. The deva appears on the outer perimeter of the two MAndALAs, the VAJRADHĀTU and GARBHADHĀTU mandalas, at the bottom right side, representing the southwesterly direction. In Tibetan Buddhist accounts of the early spread of Buddhism (SNGA DAR), the land of Tibet is described as the supine body of a female ogress (rāksasī; T. srin mo) who has to be pinned down with a series of temples (MTHA' 'DUL GTSUG LAG KHANG) built over strategic places on her body.

ratna. (P. ratana; T. rin chen/dkon mchog; C. zhenbao; J. chinbo; K. chinbo 珍寶). In Sanskrit, "jewel," "valuable," or "treasure," the most common term for a precious object in Buddhist texts and regularly used in Buddhist literature as a metaphor for enlightenment, since jewels represent purity, permanence, preciousness, rarity, etc. TATHĀGATAGARBHA texts often call the tathāgatagarbha or buddha-nature the jewel-nature, since the preciousness of a jewel is unaffected even when it is sullied by mud (defilements); the TATHĀGATAGARBHASuTRA, for example, specifically compares the tathāgatagarbha to a jewel buried in the dirt (see also RATNAGOTRAVIBHĀGA). In the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra"), the buddha-nature is described in a simile as a jewel that a rich man (the Buddha) has surreptitiously sown into the robes of his destitute friend (sentient beings). Such CHAN masters as GUIFENG ZONGMI (780-840) and POJO CHINUL (1158-1210) use jewels as metaphors to explain their theories of the buddha-nature. A jewel is also used to represent the pristine nature of the realm of enlightenment: in the AVATAMSAKASuTRA, the bejeweled canopy of the king of the gods, INDRA (see INDRAJĀLA), is deployed to illustrate the mutual interdependence that pertains between all phenomena in the universe. Several different lists of jewels are found in Buddhist literature. The most important is the "three jewels" (RATNATRAYA; TRIRATNA) of the Buddha, DHARMA, and SAMGHA; commentaries explain that these three are called jewels because they are difficult to find and, once found, are of great value. The Tibetan translation of "three jewels," dkon mchog gsum (konchok sum) (lit. "three rare excellences") reflects this meaning. There are also several different lists of "seven jewels" (saptaratna). One list describes the seven "valuables" that are essential to the successful reign of a wheel-turning monarch (CAKRAVARTIN): a wheel, elephant, horse, gems, a queen, an able minister or treasurer, and a loyal adviser. Another list of seven is of the jewels decorating SUKHĀVATĪ, the PURE LAND of AMITĀBHA; these are listed in the AMITĀBHASuTRA (see also SUKHĀVATĪVYuHASuTRA) as gold, silver, lapis lazuli, crystal, agate, ruby, and carnelian. Finally, there are seven "moral" jewels listed in mainstream Buddhist literature, as in the Pāli list of morality (P. sīla; S. sĪLA), concentration (SAMĀDHI), wisdom (P. paNNā; S. PRAJNĀ), liberation (P. vimutti; S. VIMUKTI), the knowledge and vision of liberation (P. vimuttiNānadassana; S. vimuktijNānadarsana), analytical knowledge (P. patisambhidā; S. PRATISAMVID), and the factors of enlightenment (P. bojjhanga; S. BODHYAnGA).

remora ::: n. --> Delay; obstacle; hindrance.
Any one of several species of fishes belonging to Echeneis, Remora, and allied genera. Called also sucking fish.
An instrument formerly in use, intended to retain parts in their places.


resistance ::: n. --> The act of resisting; opposition, passive or active.
The quality of not yielding to force or external pressure; that power of a body which acts in opposition to the impulse or pressure of another, or which prevents the effect of another power; as, the resistance of the air to a body passing through it; the resistance of a target to projectiles.
A means or method of resisting; that which resists.
A certain hindrance or opposition to the passage of an


restraint ::: n. --> The act or process of restraining, or of holding back or hindering from motion or action, in any manner; hindrance of the will, or of any action, physical or mental.
The state of being restrained.
That which restrains, as a law, a prohibition, or the like; limitation; restriction.


retardation ::: n. --> The act of retarding; hindrance; the act of delaying; as, the retardation of the motion of a ship; -- opposed to acceleration.
That which retards; an obstacle; an obstruction.
The keeping back of an approaching consonant chord by prolonging one or more tones of a previous chord into the intermediate chord which follows; -- differing from suspension by resolving upwards instead of downwards.


Ribhu (Sanskrit) Ṛbhu Clever, skillful, inventive; applied to Indra, Agni, and the adityas in the Rig-Veda. As a noun, an artist, smith, builder. Also the name of three semi-divine beings, Ribhu, Vaja, and Vibhvan, the name of the first being applied to the three; “thought by some to represent the three seasons of the year, and celebrated for their skill as artists; they are supposed to dwell in the solar sphere, and are the artists who formed the horses of Indra, the carriage of the Asvins, and the miraculous cow of Brihaspati; they made their parents young, and performed other wonderful works; they are supposed to take their ease and remain idle for twelve days (the twelve intercalary days of the winter solstice) every year in the house of the Sun. (Agohya); after which they recommence working; when the gods heard of their skill, they sent Agni to them with the one cup of their rival Tvashtri, the artificer of the gods, bidding the Ribhus construct four cups from it; when they had successfully executed this task, the gods received the Ribhus amongst themselves and allowed them to partake of their sacrifices; they appear generally as accompanying Indra, especially at the evening sacrifice” (M-Wms Dict). In the Puranas, Ribhu is a son of Brahman, while Sankaracharya’s guru enumerates him as one of the seven kumaras (SD 1:457).

ROUGH HANDLING. ::: The rough handling and careless breaking or waste and misuse of physical things is a denial of the yogio consciousness and a great hindrance to the bringing do^vn of the Divine Truth to the material plane.

rupāvacaradhyāna. (P. rupāvacarajhāna; T. gzugs na spyod pa'i bsam gtan; C. sejie ding; J. shikikaijo; K. saekkye chong 色界定). In Sanskrit, "meditative absorption associated with the subtle-materiality realm"; in some Buddhist schools, one of the two main classifications of meditative absorption (DHYĀNA), along with ĀRuPYĀVACARADHYĀNA, meditative absorption associated with the immaterial realm. In both cases, dhyāna refers to the attainment of single-pointed concentration of the mind on an object of meditation. The four absorptions of the subtle-materiality realm are characterized by an increasing attentuation of consciousness as one progresses from one stage to the next. By entering into any one of the dhyānas, the meditator temporarily allays the five hindrances (NĪVARAnA) through the force of concentration, which puts in place the five constituents of absorption (DHYĀNĀnGA). The five hindrances are (1) sensuous desire (KĀMACCHANDA), which hinders the constituent of one-pointedness of mind (CITTAIKĀGRATĀ); (2) malice (VYĀPĀDA), hindering physical rapture (PRĪTI); (3) sloth and torpor (STYĀNA-MIDDHA), hindering applied thought (VITARKA); (4) restlessness and worry (AUDDHATYA-KAUKṚTYA), hindering mental ease and bliss (SUKHA); and (5) skeptical doubt (VICIKITSĀ), which hinders sustained thought (VICĀRA). These hindrances thus specifically obstruct one of the factors of absorption (dhyānānga), and once they are allayed the first subtle-materiality dhyāna will be achieved. In the first subtle-materiality dhyāna, all five constituents of dhyāna are present; as concentration deepens, these gradually fall away, so that in the second dhyāna, both types of thought vanish and only prīti, sukha, and ekāgratā remain; in the third dhyāna, only sukha and ekāgratā remain; and in the fourth dhyāna, concentration is now so rarified that only ekāgratā is left. Mastery of the fourth rupāvacaradhyāna is required for the cultivation of the supranormal powers (ABHIJNĀ) and also provides the foundation for the cultivation of the four dhyānas of the immaterial realm (ĀRuPYĀVACARADHYĀNA). Mastery of any of the subtle-materiality absorptions can result in rebirth as a BRAHMĀ god within the corresponding plane of the subtle-materiality realm (RuPADHĀTU).

Saci (Sachi) ::: the wife of Indra.

Sāhasrabhujasāhasranetrāvalokitesvara. [alt. Sahasrabhujasahasranetrāvalokitesvara] (T. Spyan ras gzigs phyag stong spyan stong; C. Qianshou Qianyan Guanyin; J. Senju Sengen Kannon; K. Ch'onsu Ch'onan Kwanŭm 千手千眼觀音). In Sanskrit, "Thousand-Armed and Thousand-Eyed AVALOKITEsVARA"; one of the manifestations of the bodhisattva of compassion, Avalokitesvara (C. GUANYIN). The iconographical representations of this manifestation are usually depicted in abbreviated form with forty arms, each of which has an eye on its palm, indicating its ability compassionately to see and offer assistance to suffering sentient beings. Every arm also holds a different instrument, such as an axe, a sword, a bow, an arrow, a staff, a bell, or blue, white, and purple lotuses, each symbolizing one of the bodhisattva's various skills in saving sentient beings. The forty arms and eyes work on behalf of the sentient beings in the twenty-five realms of existence, giving the bodhisattva a total of a thousand arms and eyes. The images also typically are depicted with eleven or twenty-seven heads, although images with five hundred heads are also found. The origin of this manifestation is uncertain; the prototype may be such Indian deities as Visnu, INDRA, and siva, who are also sometimes depicted with multiple hands and eyes. Since no image of this form of the BODHISATTVA has been discovered in India proper, some scholars suggest that the form may have originated in Kashmir (See KASHMIR-GANDHĀRA) and thence spread north into Central and East Asia; this scenario is problematic, however, because the earliest such image found at DUNHUANG, the furthest Chinese outpost along the SILK ROAD, dates to 836, about two hundred years later than the first such image painted in China, which is said to have been made for the Tang emperor by an Indian monk sometime between 618 and 626. The Thousand-Armed and Thousand-Eyed Guanyin became popular in China through translations of the QIANSHOU JING ("Thousand Hands Sutra"; Nīlakanthakasutra) made between the mid-seventh and early-eighth centuries. Due to the great popularity of Bhagavaddharma's (fl. c. seventh century) early translation, which was rendered between 650 and 658, the Thousand-Armed and Thousand-Eyed Avalokitesvara became identified specifically with Avalokitesvara's manifestation as Great Compassion (C. Dabei; S. MAHĀKARUnIKA), although the epithet is used also to refer to Avalokitesvara more generally. The Guanyin cult was popular in Chang'an and Sichuan during the Tang period and became widespread throughout China by the Song period; this bodhisattva was subsequently worshipped widely in Korea, Japan, and Tibet, as well. The ritual of repentance offered to the bodhisattva was created by the TIANTAI monk ZHILI (960-1028); the ritual is still widely performed in Taiwan and China. By the twelfth century, the Thousand-Armed and Thousand-Eyed Guanyin also came to be identified with the legendary princess MIAOSHAN, who was so filial that she offered her own eyes to save her father's life. In Tibet, this form of Avalokitesvara is called Sāhasrabhuja-ekādasamukha Avalokitesvara (Spyan ras gzigs phyag stong zhal bcu gcig), with one thousand arms (often depicted in a fan formation) and eleven heads. According to a well-known story, the bodhisattva of compassion had vowed that if he ever gave up his commitment to suffering sentient beings and sought instead his own welfare, his head would break into ten pieces and his body into a thousand. In a moment of despair at the myriad sufferings of the world, his head and body exploded. The buddha AMITĀBHA put his body back together, crafting one thousand arms and ten heads, placing a duplicate of his own head at the top. This form of Avalokitesvara is therefore known as, "one thousand arms and eleven heads" (phyag stong zhal bcu gcig).

Sahasrāksa. (P. Sahassākkha; T. Mig stong can; C. Qianyan; J. Sengen; K. Ch'onan 千眼). In Sanskrit, "One-Thousand Eyes," an epithet of INDRA. In Sanskrit and Pāli sources, Indra is known by several names, the most frequent being sAKRO DEVĀNĀM INDRAḤ (P. Sakko devānām indo), meaning "sAKRA, king of the gods." A number of Indra's various epithets are explained in one section of the Pāli SAMYUTTANIKĀYA; there, the name "One-Thousand Eyes" (P. Sahassākkha) is explained by saying that in one instant Indra can consider one thousand different matters. The broader Indian religious tradition, from which Buddhism appropriated the divinity Indra, also has a number of stories explaining why Indra is called "One-Thousand Eyes." In the most popular of these stories, Indra seduces the wife of a famous seer (ṛsi). The ṛsi punishes Indra with a curse-causing one thousand vulvas (S. bhaga) to appear on his body. The ṛsi is later persuaded to remove the curse and he turns each one of the vulvas into an eye.

SakkapaNhasutta. (C. Di-Shi suowen jing; J. Taishaku shomongyo; K. Che-Sok somun kyong 帝釋所問經). In Pāli, "Discourse on Sakka's Question"; the twenty-first sutta of the DĪGHANIKĀYA (there are three separate recensions in Chinese: an independent sutra translated by FAXIAN; a SARVĀSTIVĀDA recension that appears as the fourteenth sutra in the Chinese translation of the DĪRGHĀGAMA; and a SARVĀSTIVĀDA recension that appears as the 134th sutra in the Chinese translation of the MADHYAMĀGAMA). The sutra is preached to sAKRA (P. Sakka), king of the gods, by the Buddha while he dwelt in the Indrasāla [alt. Indrasaila] (P. Indasāla) cave near RĀJAGṚHA. sakra inquired as to why there was so much hostility between beings. The Buddha explained that hostility is caused by selfishness; that selfishness is caused by likes and dislikes, and that likes and dislikes, in turn, are caused by desire. Desire is produced by mental preoccupations (S. VITARKA, P. vitakka) born from the proliferation of concepts (S. PRAPANCA, P. papaNca) that gives rise to SAMSĀRA. The Buddha then delineates a practice to be pursued and a practice to be abandoned for subduing this conceptual proliferation.

sakra. (P. Sakka; T. Brgya byin; C. Di-Shi; J. Taishaku; K. Che-Sok 帝釋). Sanskrit name of a divinity who is often identified with the Vedic god INDRA (with whom he shares many epithets), although it is perhaps more accurate to describe him as a Buddhist (and less bellicose) version of Indra. Typically described in Buddhist texts by his full name and title as "sakra, the king of the gods" (sAKRO DEVĀNĀM INDRAḤ), he is the divinity (DEVA) who appears most regularly in Buddhist texts. sakra is chief of the gods of the heaven of the thirty-three (TRĀYASTRIMsA), located on the summit of Mount SUMERU. As such, he is a god of great power and long life, but is also subject to death and rebirth; the Buddha details in various discourses the specific virtues that result in rebirth as sakra. In both the Pāli canon and the MAHĀYĀNA sutras, sakra is depicted as the most devoted of the divine followers of the Buddha, descending from his heaven to listen to the Buddha's teachings and to ask him questions (and according to some accounts, eventually achieving the state of stream-enterer), and rendering all manner of assistance to the Buddha and his followers. In the case of the Buddha, this assistance was extended prior to his achievement of buddhahood, both in his previous lives (as in the story of Vessantara in the VESSANTARA JĀTAKA) and in his last lifetime as Prince SIDDHĀRTHA; when the prince cuts off his royal locks and throws them into the sky, proclaiming that he will achieve buddhahood if his locks remain there, it is sakra who catches them and installs them in a shrine in the heaven of the thirty-three. When the Buddha later visited the heaven of the thirty-three to teach the ABHIDHARMA to his mother MĀYĀ (who had been reborn there), sakra provided the magnificent ladder for his celebrated descent to JAMBUDVĪPA that took place at SĀMKĀsYA. When the Buddha was sick with dysentery near the end of his life, sakra carried his chamber pot. sakra often descends to earth disguised as a brāhmana in order to test the virtue of the Buddha's disciples, both monastic and lay, offering all manner of miraculous boons to those who pass the test. In the Pāli canon, a section of the SAMYUTTANIKĀYA consists of twenty-five short suttas devoted to him.

Sakra (Sanskrit) Śakra The powerful, the mighty; a name of Indra.

sakro devānām indraḥ. (P. Sakko devānām indo). In Sanskrit, "sAKRA, king of the gods." See sAKRA, INDRA.

sakro devānām indraḥ

samatha. (P. samatha; T. zhi gnas; C. zhi; J. shi; K. chi 止). In Sanskrit, variously translated as "calmness," "serenity," "quiescence," or "tranquillity" (and sometimes as "stopping," following the Chinese rendering of the term); one of the two major branches of Buddhist meditative cultivation (BHĀVANĀ), along with insight (VIPAsYANĀ). Calmness is the mental peace and stability that is generated through the cultivation of concentration (SAMĀDHI). samatha is defined technically as the specific degree of concentration necessary to generate insight (VIPAsYANĀ) into reality and thus lead to the destruction of the afflictions (KLEsA). samatha is a more advanced degree of concentration than what is ordinarily associated with the sensuous realm (KĀMADHĀTU) but not fully that of the first meditative absorption (DHYĀNA), viz., the first absorption associated with the subtle-materiality realm (RuPĀVACARADHYĀNA). According to the YOGĀCĀRABHuMI and the ABHIDHARMASAMUCCAYA, samatha is the fundamental state (maula) of each of the four concentrations (dhyāna) and attainments (SAMĀPATTI), in distinction to a neighboring part that is preparatory to that fundamental state (see SĀMANTAKA), which is vipasyanā. The process of meditative cultivation that culminates in calmness is described in one account as having nine stages. In the account found in the MADHYĀNTAVIBHĀGA, for example, there are eight forces that operate during these stages to eliminate five hindrances: viz., laziness, forgetting the object of concentration, restlessness and worry, insufficient application of antidotes (anabhisaMskāra), and over-application of the antidotes (abhisaMskāra). During the initial stage, when first placing the mind on its object, the first hindrance, laziness, is counteracted by a complex of four motivational mental factors: CHANDA (desire-to-do), vyāyāma (resolve), sRADDHĀ (faith), and PRAsRABDHI (pliancy or readiness for the task). When the cultivation of calmness has reached a slightly more advanced stage, mindfulness (SMṚTI) counteracts the forgetfulness that occurs when concentration wanders away from the meditation object. When a stream of concentration is first achieved, a meta-awareness called introspection or clear comprehension (SAMPRAJANYA) operates to counteract dullness and restlessness. Finally, in the last stages of the process, there is an application (abhisaMskāra) in order to heighten the intensity of the concentration to the requisite level, and to avoid the subtle overexcitement that comes with feelings of great ease; and just prior to the attainment of samatha, there is the setting aside of any application of conscious effort. At that point, calmness continues on its own as a natural stream of tranquillity, bringing great physical rapture (PRĪTI) and mental ease (SUKHA) that settles into the advanced state of serenity called samatha. ¶ In the context of monastic discipline, samatha, in its denotation as calming, is also used technically to refer to the formal settlement of monastic disputes. See ADHIKARAnAsAMATHA; SAPTĀDHIKARAnAsAMATHA.

Sambhavimudra: The vacant externalised gaze of a Hatha Yogi where the mind is directed inwards; the Yogi appears to be looking at external objects but is not actually perceiving them as his mind is indrawn.

saMvara. (P. saMvara; T. sdom pa; C. lüyi/sanbaluo; J. ritsugi/sanbara; K. yurŭi/samballa 律儀/三跋羅). In Sanskrit, "restraint," referring generally to the restraint from unwholesome (AKUsALA) actions (KARMAN) that is engendered by observance of the monastic disciplinary code (PRĀTIMOKsA), the BODHISATTVA precepts, and tantric vows. In the VAIBHĀsIKA school of SARVĀSTIVĀDA ABHIDHARMA, three specific types of restraint (SAMVARA) against unwholesomeness (akusala) are mentioned, which are all associated with "unmanifest material force" or "hidden imprints" (AVIJNAPTIRuPA): (1) the restraint proffered to a monk or nun when he or she accepts the disciplinary rules of the order (PRĀTIMOKsASAMVARA); (2) the restraint that is engendered by mental absorption (dhyānajasaMvara); and (3) the restraint that derives from being free from the contaminants (anāsravasaMvara). The restraint inherent in the disciplinary code (prātimoksasaMvara) creates a special kind of protective force field that helps to dissuade monks and nuns from unwholesome activity, even when they are not consciously aware they are following the precepts or even when they are asleep. This specific type of restraint is what makes a person a monk, since just wearing robes or following an ascetic way of life would not in themselves be sufficient to instill in him the protective power offered by the prātimoksa. The restraint engendered by DHYĀNA (dhyānajasaMvara) refers to the fact that absorption in meditation was thought to confer on the monk protective power against physical harm: the literature abounds with stories of monks who discover tiger tracks all around them after withdrawing from dhyāna, thus suggesting that dhyāna itself was a force that provided a protective shield against accident or injury. Finally, anāsravasaMvara is the restraint that precludes someone who has achieved the extinction of the contaminants (ĀSRAVA)-that is, enlightenment-from committing any action (karman) that would produce a karmic result (VIPĀKA), thus ensuring that their remaining actions in this life do not lead to any additional rebirths. ¶ In MAHĀYĀNA materials, such as the BODHISATTVABHuMI, the first of three types of morality that together codify the moral training of a bodhisattva is called saMvarasīla ("restraining morality"); under this heading is included the different sets of rules for BHIKsU, BHIKsUnĪ and so on in the prātimoksa, taken as a whole; two further codifications of rules called the morality of collecting wholesome factors (kusalasaMgrāhakasīla), and the morality that acts for the welfare of beings (sattvārthakriyāsīla; see ARTHAKRIYĀ); together, these three constitute the definitive and exhaustive explanation of bodhisattva morality, known as TRISAMVARA, the "three restraints" or "triple code." The original meaning of saMvara as "restraint" remains central in the Bodhisattvabhumi's account, but the text expands the scope of morality (sIKsĀPADA) widely, incorporating all altruistic acts under the rubric of skillful means employed for the sake of others, in essence formulating a code for bodhisattvas who are committed to acting like buddhas. In Indian and Tibetan tantra, the meaning of trisaMvara undergoes yet further expansion. Each of the five buddha KULA (in one list AKsOBHYA, VAIROCANA, RATNASAMBHAVA, AMITĀBHA, and AMOGHASIDDHI) has a vowed morality, called SAMAYA. This tantric code is the third of the three codes, the other two being the prātimoksa codes and the Bodhisattvabhumi's code for bodhisattvas. These three, then, are called the prātimoksasaMvara, the bodhisattvasaMvara, and the guhyamantrasaMvara ("secret mantra vows") (see SDOM GSUM RAB DBYE). ¶ In tantric literature, saMvara also has the sense of "union," a meaning that is conveyed in the proper name of (CAKRA)SAMVARA (see also HERUKA), a principal deity of the VAJRAYĀNA ANUTTARAYOGATANTRA tradition. A god named SaMvara appears in the Ṛg Veda as an enemy of the gods who hoarded the precious soma (the divine nectar) and kept it from INDRA, who eventually destroyed SaMvara's mountain fortress. The myth suggests the possibility that SaMvara or CakrasaMvara began his existence as a pre-Vedic Indian deity preserved in Buddhist tantra in a subordinated position. With his adoption into the Buddhist pantheon, SaMvara (likely the Buddhist version of siva) himself vanquishes the Vedic god-he is commonly depicted trampling BHAIRAVA (siva) and/or his consort. Alternate Indian names for him include sambara and Paramasukha CakrasaMvara. The Tibetan Bde mchog, or "supreme bliss," is a translation of paramasukha. Tantric cycles connected to SaMvara were introduced to Tibet by the translator MAR PA in the eleventh century CE. He is said to reside at the mountain of TSHA RI in Rdza yul, southern Tibet, as well as in the Bde mchog pho brang on Mount KAILĀSA, where the nearby Lake Manasarovar is sacred to him. His consort is VAJRAVĀRĀHĪ.

saMyojana. (T. kun tu sbyor ba; C. jie; J. ketsu; K. kyol 結). In Sanskrit and Pāli, "fetter." There are ten fetters that are commonly listed as binding one to the cycle of rebirth (SAMSĀRA): (1) SATKĀYADṚstI (P. sakkāyaditthi) is the mistaken belief in the existence of a self in relation to the five aggregates (SKANDHA). (2) VICIKITSĀ (P. vicikicchā) is doubt about the efficacy of the path (MĀRGA). Such skeptical doubt is also classified as one of five hindrances (NĪVARAnA) that prevent the mind from attaining meditative absorption (DHYĀNA). (3) sĪLAVRATAPARĀMARsA (P. sīlabbataparāmāsa), "attachment to rules and rituals," one of four kinds of clinging (UPĀDĀNA), is the mistaken belief that, e.g., purificatory rites, such as bathing in the Ganges River or performing sacrifices, can free a person from the consequences of unwholesome (AKUsALA) actions (KARMAN). (4) KĀMARĀGA ("craving for sensuality"), or KĀMACCHANDA ("desire for sense gratification"), and (5) VYĀPĀDA ("malice"), synonymous with DVEsA (P. dosa; "hatred"), are both also classified as hindrances to meditative absorption; along with greed (LOBHA) and ignorance (AVIDYĀ, P. avijjā; see the tenth fetter below), dvesa is also one of the three unwholesome faculties (AKUsALAMuLA). (6) RuPARĀGA ("craving for existence in the realm of subtle-materiality") is the desire to be reborn as a divinity in the realm of subtle materiality (RuPADHĀTU), where beings are possessed of refined material bodies and are perpetually absorbed in the bliss of meditative absorption (dhyāna). (7) ĀRuPYARĀGA ("craving for immaterial existence") is the desire to be reborn as a divinity in the immaterial realm (ĀRuPYADHĀTU), where beings are comprised entirely of mind and are perpetually absorbed in the meditative bliss of the immaterial attainments (SAMĀPATTI). (8) MĀNA ("pride") arises from comparing oneself to others and manifests itself in three ways, in the feeling that one is superior to, equal to, or inferior to others. (9) AUDDHATYA (P. uddhacca) is the mental restlessness or excitement that impedes concentration. (10) AVIDYĀ is ignorance regarding the FOUR NOBLE TRUTHS whereby one sees what is not self as self, what is not profitable as profitable, and what is painful as pleasurable. The first three fetters vanish when one reaches the level of stream-enterer; there is a reduction in the other fetters when one reaches the level of once-returner and nonreturner; and all the fetters vanish when one reaches the stage of arhatship. See also ANUsAYA; ĀRYAMĀRGAPHALA; ANĀGĀMIN.

sāntika. (T. zhi ba'i las; C. xizai; J. sokusai; K. sikchae 息災). In Sanskrit, "pacifying activities," (also seen written as sānticāra); one of the four types of activities (CATURKARMAN) set forth in the Buddhist TANTRAs. The other three are: activities of increase (PAUstIKA) to increase prosperity, lengthen life, etc.; control or subjugation (VAsĪKARAnA) of the unruly or unwilling; and violent or drastic measures (ABHICĀRA), such as killing and warfare. Pacifying activities involve those rituals that purify baleful influences that appear in such forms as hindrances and illness.

Sarama (Sanskrit) Saramā [from the verbal root sṛ to run] The fleet one, the runner; the dog belonging to Indra and the gods, the divine watcher “over the golden flock of stars and solar rays.” She is the mother of the two dogs called Sarameyas. Some European etymologists connect the names of the Greek Hermes and Helena with Sarama or Sarameya. Sarama has certain elements of mystical similarity to Agathodaemon in Greek Gnosticism, and to the Egyptian Hermes-Anubis, one of the dogs (vigilance) which watch over the celestial flock (occult wisdom and its students) (cf SD 2:28).

Sarameyas (Sanskrit) Sārameya-s The two children of Sarama (the female watchdog of Indra), four-eyed brindled watchdogs of Yama, the god of the Underworld, whose duties include watching over the celestial flock (occult wisdom and its students).

Sarvanīvaranaviskambhin. (T. Sgrib pa thams cad rnam par sel ba; C. Chugaizhang pusa; J. Jogaisho bosatsu; K. Chegaejang posal 除蓋障菩薩). In Sanskrit, "Blocking all Hindrances"; a BODHISATTVA who is the interlocutor of the KĀRAndAVYuHA; in the GUHYASAMĀJATANTRA, he is listed as one of the eight great bodhisattvas (see AstAMAHOPAPUTRA); he associated with the buddha AMOGHASIDDHI. See KĀRAndAVYuHA.

Savitar, Bhaga, Indra, Daksha, Surya. [Rf. Gaynor,

shishi wu'ai fajie. (J. jijimugehokkai; K. sasa muae popkye 事事無礙法界). In Chinese, "dharma-realm of the unimpeded interpenetration between phenomenon and phenomena," the fourth of the four dharma-realms (DHARMADHĀTU), according to the HUAYAN ZONG. In this Huayan conception of ultimate reality, what the senses ordinarily perceive to be discrete and separate phenomena (SHI) are actually mutually pervading and mutually validating. Reality is likened to the bejeweled net of the king of the gods INDRA (see INDRAJĀLA), in which a jewel is hung at each knot in the net and the net stretches out infinitely in all directions. On the infinite facets of each individual jewel, the totality of the brilliance of the expansive net is captured, and the reflected brilliance is in turn re-reflected and multiplied by all the other jewels in the net. The universe is in this manner envisioned to be an intricate web of interconnecting phenomena, where each individual phenomenon owes its existence to the collective conditioning effect of all other phenomena and therefore has no absolute, self-contained identity. In turn, each individual phenomenon "creates" the universe as it is because the totality of the universe is inconceivable without the presence of each of those individual phenomena that define it. The function and efficacy of individual phenomena so thoroughly interpenetrate all other phenomena that the respective boundaries between individual phenomena are rendered moot; instead, all things are mutually interrelated with all other things, in a simultaneous mutual identity and mutual intercausality. In this distinctively Huayan understanding of reality, the entire universe is subsumed and revealed within even the most humble of individual phenomena, such as a single mote of dust, and any given mote of dust contains the infinite realms of this self-defining, self-creating universe. "Unimpeded" (wu'ai) in this context therefore has two important meanings: any single phenomenon simultaneously creates and is created by all other phenomena, and any phenomenon simultaneously contains and is contained by the universe in all its diversity. A common Huayan simile employs the image of ocean waves to describe this state of interfusion: because individual waves form, permeate, and infuse all other waves, they both define all waves (which in this simile is the ocean in its entirety), and in turn are defined themselves in the totality that is the ocean. The Huayan school claims this reputedly highest level of understanding to be its exclusive sectarian insight, thus ranking it the "consummate teaching" (YUANJIAO) in the scheme of the HUAYAN WUJIAO (Huayan fivefold taxonomy of the the teachings).

shi xuanmen. (J. jugenmon; K. sip hyonmun 十玄門). In Chinese, "the ten mysteries"; the systematic elaboration of the implications of causality (PRATĪTYASAMUTPĀDA) and existence in the doctrinal system of the HUAYAN ZONG. ZHIYAN (602-668), the second patriarch of the Huayan lineage, first elaborated the ten profound mysteries in order to outline ten specific perspectives on the "dependent origination of the DHARMADHĀTU" (FAJIE YUANQI), viz., the perspectives of: (1) the interrelationship between all things, (2) simile (i.e., of Indra's Net, INDRAJĀLA), (3) conditionality, (4) characteristics, (5) time, (6) practice, (7) principle, (8) function, (9) mind, and (10) wisdom. This original listing was elaborated by FAZANG (643-712), the third patriarch of the school, to explain instead the dharmadhātu of the unimpeded interpenetration between all phenomena (see SHISHI WU'AI FAJIE): viz., all dharmas simultaneously have a distinct, independent existence, and yet are still thoroughly pervaded by one other; they thus mutually define, yet do not impede the distinctiveness of, each other. Fazang's revised listing of the "ten mysteries" comes to be definitive within the school:

siddhānta. (T. grub mtha'; C. zong; J. shu; K. chong 宗). In Sanskrit, "conclusion" or "tenet," the term is used to refer to the various schools of Indian philosophy (both Buddhist and non-Buddhist), to their particular positions, and to texts that set out those positions in a systematic fashion. The most important examples of Buddhist siddhānta texts in India are BHĀVAVIVEKA's [alt. Bhavya] autocommentary (called TARKAJVĀLĀ) on his MADHYAMAKAHṚDAYAKĀRIKĀ and sĀNTARAKsITA's TATTVASAMGRAHA; both set forth the positions of non-Buddhist and Buddhist philosophies in order to demonstrate the superiority of their respective MADHYAMAKA positions. They are paralleled in Indian non-Buddhist literature by sankarācārya's Brahmasutrabhāsya, for example, that sets forth the views of nāstika (heterodox) and āstika (orthodox) schools and shows the weaknesses and strengths in each as a strategy to demonstrate the superiority of sankara's own Advaita Vedānta philosophy. None of these Indian works were written simply as informative textbooks about the tenets of different Indian schools of thought. They instead have clear polemical agendas: namely, demonstrating the superiority of their own position, and showing how the lesser philosophies are either a hindrance or a stepping stone to their own philosophy, as revealed by the Buddha in the case of Buddhist siddhānta, and by the Vedas in the case of non-Buddhists. The SarvadarsanasaMgraha, a medieval work written from the perspective of a later Advaita school based on sankara's model, was important during the early reception of Buddhism in Europe and America in the nineteenth century because it cites the works of different schools of philosophy, including YOGĀCĀRA and Madhyamaka writers that were otherwise unknown at the time. As a literary genre, siddhānta reaches its full development in Tibet, where ever more detailed classifications of Indian and later Chinese, Tibetan, and Mongolian schools of Buddhism are found. Of particular importance are works known by the names of their authors: Dbu pa blo gsal (Upa Losel) (fl, fourteenth century), the first 'JAM DBYANGS BZHAD PA (1648-1721), and Lcang skya Rol pa'i rdo rje (1717-1786). Customarily Tibetan Buddhist siddhāntas employ the following structure: under the rubric of non-Buddhist (T. phyi pa) philosophies, they discuss the positions of the six schools that include Nyāya, Vaisesika, JAINA, SāMkhya, Yoga, and MīmāMsā. They are all dismissed as inferior, based on their assertion of the existence of a self (ĀTMAN) and a creator deity (īsvara), both positions that are refuted in Buddhism. The Buddhist schools are set forth in ascending order, starting with the HĪNAYĀNA schools of VAIBHĀsIKA and SAUTRĀNTIKA, followed by the Mahāyāna schools of Yogācāra and Madhyamaka. A typical structure for the presentation of each school was a tripartite division into the basis (gzhi), which set forth matters of epistemology and ontology; the path (lam), which set forth the structure of the path according to the particular school; and the fruition ('bras bu), which set forth the school's understanding of the enlightenment of ARHATs and buddhas. In Tibet, the genre of siddhānta was later expanded to include works that set forth the various sects and schools of Tibetan Buddhism and Chinese Buddhism. Cf. JIAOXIANG PANSHI.

Sila (Sanskrit) Śīla [from the verbal root śīl to serve, practice] Moral fortitude, ethical steadiness, one of the Buddhist paramitas. Described as “the key of Harmony in word and act, the key that counterbalances the cause and the effect, and leaves no further room for Karmic action” (VS 47). The Mahayana Sraddhotpada Sastra says of practicing sila: “Lay disciples, having families, should abstain from killing, stealing, adultery, lying, duplicity, slander, frivolous talk, covetousness, malice, currying favor, and false doctrines. Unmarried disciples should, in order to avoid hindrances, retire from the turmoil of worldly life and, abiding in solitude, should practise those ways which lead to quietness and moderation and contentment. . . . They should endeavor by their conduct to avoid all disapproval and blame, and by their example incite others to forsake evil and practise the good.” (FSO p. 45)

sinjung. (C. shenzhong; J. shinshu 神衆). In Korean, "host of spirits"; referring to the LOKAPĀLAs, the protectors of the dharma (DHARMAPĀLA). The sinjung are often headed by KUMĀRABHuTA (K. Tongjin), who appears in a grand, feathered headdress accompanied by over a dozen associates, who aid him in protecting the religion. Originally Hindu deities, the sinjung were adopted into Buddhism as guardian deities after being converted by the Buddha's teachings. In particular, BRAHMĀ (K. Pom Ch'onwang), INDRA (K. Chesok ch'on), the four heavenly kings (S. CATURMAHĀRĀJA; K. sa ch'on wang), and WEITUO (K. Wit'a) were so popular that many statues and paintings were made of them. As the SUVARnAPRABHĀSOTTAMASuTRA gained popularity in East Asian Buddhism, the sinjung also came to be regarded as protectors of the state as well as the dharma. Imported to Korea along with Buddhism, the sinjung also came to be worshipped in state Buddhist services. During the Choson dynasty, when Neo-Confucianism replaced Buddhism as the state religion, the role of the sinjung stretched into the personal realm as well, including protecting against disease. Many of the sinjung derive from such Buddhist sutras as the AVATAMSAKASuTRA, the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra"), and the RENWANG JING ("Scripture for Humane Kings"), but there are also indigenous sinjung who originated from within the Chinese and Korean religious traditions. Hanging paintings (T'AENGHWA) of the sinjung are often displayed on the right wall of the main shrine halls (TAEUNG CHoN) in Korean monasteries. These paintings vary widely, and the main figures include: (1) Chesok ch'on (Indra), alone without associates; (2) Yejok Kŭmgang (the vajra-ruler who purifies unclean places), with Chesok ch'on on his left side and Pom Ch'onwang (Brahmā) on his right; (3) Wit'a (Weituo) with the same associates of Yejok Kŭmgang to his sides; (4) thirty-nine sinjung from the AvataMsakasutra; (4) 104 sinjung, including all the indigenous sinjung.

Sisumara (Sanskrit) Śiśumāra [from śiśu child + māra killer] The child-killer; a group of stars and constellations said to resemble a dolphin, porpoise, or tortoise; held to be a form of Vishnu, and often considered as a representation of the great circle of time. As an imaginary belt, a symbolic representation of the celestial sphere, or a theoretical revolving zone or belt within which move the celestial bodies — which are the bodies of spiritual entities. This constellation has the “Cross placed on it by nature in its division and localisation of stars, planets and constellations. Thus in the Bhagavat Purana V., xxx., it is said that ‘at the extremity of the tail of that animal, whose head is directed toward the South and whose body is in the shape of a ring (Circle), Dhruva (the ex-pole star) is placed; and along that tail are the Prajapati, Agni, Indra, Dharma, etc.; and across its loins the Seven Rishis.’ This is then the first and earliest Cross and Circle, into the formation of which enters the Deity (symbolized by Vishnu), the Eternal Circle of Boundless Time, Kala, on whose plane lie crossways all the gods, creatures, and creations born in Space and Time; — who, as the philosophy has it, all die at the Mahapralaya” (SD 2:549).

slug ::: n. --> A drone; a slow, lazy fellow; a sluggard.
A hindrance; an obstruction.
Any one of numerous species of terrestrial pulmonate mollusks belonging to Limax and several related genera, in which the shell is either small and concealed in the mantle, or altogether wanting. They are closely allied to the land snails.
Any smooth, soft larva of a sawfly or moth which creeps like a mollusk; as, the pear slug; rose slug.


smṛtyupasthāna. (P. satipatthāna; T. dran pa nyer bzhag; C. nianchu; J. nenjo; K. yomch'o 念處). In Sanskrit, "foundations of mindfulness," a meditative training in which one contemplates with mindfulness (SMṚTI): one's (1) body (KĀYĀNUPAsYANĀ; P. kāyānupassanā), by mean of mindfulness of breathing, mindfulness of postures, full awareness of bodily actions, contemplation of bodily impurities, contemplation of elements, and nine cemetery meditations; (2) sensations (vedanānupasyanā; P. vedanānupassanā), viz., pleasant, unpleasant, or neutral sensations (VEDANĀ); (3) mental states (cittānupasyanā; P. cittānupassanā), such as whether the mind (CITTA) generally is elated or depressed, distracted or concentrated; and (4) factors (dharmānupasyanā; P. dhammānupassanā), such as the five hindrances (NĪVARAnA), the five aggregates (SKANDHA), the seven factors of enlightenment (BODHYAnGA); the FOUR NOBLE TRUTHS, etc. The explanation of smṛtyupasthāna, as the first of the thirty-seven dharmas associated with enlightenment (bodhyanga) details the role of mindfulness in the eightfold noble path (ĀRYĀstĀnGAMĀRGA). See also SMṚTI; SATIPAttHĀNASUTTA.

Sokkuram. (石窟庵). In Korean, "Stone Grotto Hermitage"; a Silla-period, man-made grotto located high on Mt. T'oham behind the monastery of PULGUKSA, which houses what is widely considered to be the most impressive buddha image in Korea. According to the SAMGUK YUSA ("Memorabilia of the Three Kingdoms," written c. 1282-1289), the master builder Kim Taesong (d. 774), who also designed Pulguksa, constructed the cave as an expression of filial piety toward his deceased parents. However, because the grotto directly faces the underwater tomb of the Silla king Munmu (r. 661-680) in the East Sea/Sea of Japan, the site may be also have been associated with a funerary cult surrounding the Silla royal family or with state-protection Buddhism (K. hoguk Pulgyo; C. HUGUO FOJIAO). The construction of both monasteries began around 751 CE, during the reign of the Silla king Kyongdok (r. 742-764), and the grotto temple was completed a few years after Kim Taesong's death in 774 CE. The site was originally named SoKPULSA, or "Stone Buddha Monastery." Since the Korean peninsula has no natural stone grottos like those found in India or Central Asia, the cave was excavated out of the mountainside, and some 360 large granite blocks in various shapes were used to create the ceiling of the shrine. In addition, granite carvings were attached to the inner walls. The result was what appears for all intents and purposes to be a natural cave temple. The finished grotto combines two different styles of Buddhist architecture, the domed rotunda design of the CAITYA halls of India and the cave-temple design of Central Asia and China as seen in DUNHUANG and others sites along the SILK ROAD. At the Sokkuram grotto, a rectangular antechamber with two guardians carved on either side leads into a short, narrow passageway that opens onto the thirty-foot-(nine m.) high domed rotunda. In the vestibule itself are carvings of the four heavenly kings as guardians of the dharma. The center of the rotunda chamber enshrines the Sokkuram stone buddha, a seated-buddha image in the "earth-touching gesture" (BHuMISPARsAMUDRĀ). This image is 10 ft. 8 in. (3.26 meters) in height and carved from a single block of granite; it sits atop a lotus-throne base that is 5 ft. 2 in. (1.58 meters) high. The image is generally accepted to be that of sĀKYAMUNI Buddha, although some scholars instead identify it as an image of VAIROCANA or even AMITĀBHA. In the original layout of the grotto, the morning sunshine would have cascaded through the cave's entrance and struck the jeweled uRnĀKEsA in the Buddha's forehead. On the inner walls surrounding the statue are thirty-nine carvings of Buddhist figures, including the Indian divinities BRAHMĀ and INDRA, the two flanking bodhisattvas SAMANTABHADRA and MANJUsRĪ, and the buddha's ten principal ARHAT-disciples. On the wall directly behind the main image is a carving of the eleven-headed AVALOKITEsVARA. The combination of exquisite architectural beauty and sophisticated design is widely considered to be the pinnacle of Silla Buddhist culture. Despite its fame and reputation during the Silla kingdom, Sokkuram fell into disrepair during the suppression of Buddhism that occurred during the Choson dynasty (1392-1910). Almost everyone except locals had forgotten the grotto until one rainy day in 1909, when a weary postman traveling over the ridge of Mt. T'oham accidentally rediscovered the grotto as he sought shelter from a sudden thunderstorm. He found a narrow opening to a small cave, and as his eyes adjusted to the dark, he was startled to see the massive stone image of the Buddha along with exquisite stone wall carvings. In 1913, the Japanese colonial government spent two years dismantling and repairing the structure, using cement and iron, which later collected moisture and began to decay, threatening the superstructure of the grotto. In 1920, the earth was removed in order to secure the foundation and tar and asphalt were used to waterproof the roof. No further renovations were made until a UNESCO survey team came to evaluate the cave temple and decided to aid the Korean government in further restoring the site between 1961 and 1964. Nowadays, visitors enter the grotto from the side, rather than its original front entrance, and must view the buddha image from behind a protective glass window. Sokkuram is Korean National Treasure No. 24 and was also added to the list of UNESCO World Heritage Sites in 1995.

sraddhānusārin. (P. saddhānusāri; T. dad pa'i rjes su 'brang ba; C. suixin xing; J. zuishingyo; K. susin haeng 隨信行). In Sanskrit, "follower of faith." The SARVĀSTIVĀDA (e.g., ABHIDHARMAKOsABHĀsYA) and Pāli (e.g., VISUDDHIMAGGA) traditions of mainstream Buddhism both recognize seven types of noble ones (ĀRYA, P. ariya): (1) follower of faith (S. sraddhānusārin; P. saddhānusāri); (2) follower of the dharma (S. DHARMĀNUSĀRIN, P. dhammānusāri); (3) one liberated through faith (S. sRADDHĀVIMUKTA; P. saddhāvimutta); (4) one who has formed right view (S. DṚstIPRĀPTA; P. ditthippatta), by developing both faith and wisdom; (5) the bodily witness (S. KĀYASĀKsIN; P. kāyasakkhi), viz., through the temporary suspension of mentality in the equipoise of cessation (NIRODHASAMĀPATTI); (6) one who is freed by wisdom (S. PRAJNĀVIMUKTA; P. paNNāvimutta), by freeing oneself through analysis; and (7) one who is freed both ways (S. UBHAYATOBHĀGAVIMUKTA; P. ubhatobhāgavimutta), by freeing oneself through both meditative absorption and wisdom. A follower of faith is a person who has attained the fruit of stream-enterer (SROTAĀPANNA) and in whom the faculty (INDRIYA) of faith (sRADDHĀ) is predominant. Such a person will eventually become one who is freed through faith (sRADDHĀVIMUKTA). In the Abhidharmakosabhāsya, there is a basic division of path types and personality types, where a faith-follower and a dharma-follower eliminate hindrances to goals all at once or in a series, and respectively either pass through the intermediate stages of once-returner and nonreturner, or else skip such stages completely, before finally becoming ARHATs. In general, dharma-followers are those who proceed based on knowledge of the FOUR NOBLE TRUTHS as it pertains to all three realms of existence; they eliminate hindrances to all goals all at once, while the achievements of faith-followers are more progressive. According to the Sarvāstivāda VAIBHĀsIKA school of ABHIDHARMA, an ARHAT whose liberation is grounded in faith may be subject to backsliding from that state, whereas those who are dharmānusārin are unshakable (AKOPYA), because they have experienced the knowledge of nonproduction (ANUTPĀDAJNĀNA), viz., that the afflictions (KLEsA) can never occur again, the complement of the knowledge of extinction (KsAYAJNĀNA). In the MAHĀYĀNA interpretation of the terms, bodhisattvas who are dharma-followers have knowledge of emptiness (suNYATĀ), i.e., they have gained a knowledge of the way things are (TATTVA) even at early stages of the path and will never revert to the HĪNAYĀNA; the faith-followers are not irreversible (AVAIVARTIKA) in that way until higher levels of the path. The sraddhānusārin is also found in the list of the members of the saMgha when it is subdivided into twenty (VIMsATIPRABHEDASAMGHA). Among the sraddhānusārin, there are candidates for the fruit of stream-enterer (SROTAĀPANNAPHALAPRATIPANNAKA), once-returner (SAKṚDĀGĀMIPHALAPRATIPANNAKA), and nonreturner (ANĀGĀMIPHALAPRATIPANNAKA). The first has eliminated up to five of the nine sets of afflictions (KLEsA) that cause rebirth in the sensuous realm (KĀMADHĀTU), the second all but the final set, and the last all of the afflictions. The first takes a number of births (never more than seven) in the sensuous realm before reaching nirvāna, the second has only one rebirth in the sensuous realm left, and the nonreturner will never again take rebirth in the sensuous realm prior to reaching nirvāna.

srāmanyaphala. (P. sāmaNNaphala; T. dge sbyong gi tshul gyi 'bras bu; C. shamen'guo; J. shamonka; K. samun'gwa 沙門果). In Sanskrit, "the fruit of recluseship," viz., "the beneficial effects of religious practice." "Fruit" in this compound refers to the benefits that come to fruition in a recluse's current or future life. The latter type includes both merit (PUnYA) and a favorable rebirth. The former benefits are expounded by the Buddha in various versions of the srāmanyaphalasutra (see SĀMANNAPHALASUTTANTA). These benefits include respect from members of higher classes, sensory restraint, contentedness, abandonment of the hindrances, attainment of the four meditative absorptions, insight, supranormal powers, clairaudience, recollection of past lives, and so on. In regard to the progressive path to liberation, srāmanyaphala refers to the four stages of sanctity that culminate in the realization of NIRVĀnA: the fruits of the stream-enterer (SROTAĀPANNA), once-returner (SAKṚDĀGĀMIN), nonreturner (ANĀGĀMIN), and worthy one (ARHAT).

srāvakabhumi. (T. Nyan thos kyi sa; C. Shengwen di; J. Shomonji; K. Songmun chi 聲聞地). In Sanskrit, the "Stage of the Listener" or "Stage of the Disciple," a work by ASAnGA included in the first and main section (Bahubhumika/Bhumivastu, "Multiple Stages") of his massive compendium, the YOGĀCĀRABHuMI. The work, which also circulated as an independent text, deals with practices associated with the sRĀVAKA (disciples) and consists of four major sections (yogasthāna), which treat spiritual lineage (GOTRA), different types of persons (PUDGALA), preparation for practice (PRAYOGA), and the mundane path (LAUKIKAMĀRGA) and supramundane path (LOKATTARAMĀRGA). The first yogasthāna on spiritual lineage is divided into three parts. First, the stage of lineage (gotrabhumi) discusses the spiritual potentiality or lineage (gotra) of the srāvaka from four standpoints: its intrinsic nature, its establishment or definition (vyavasthāna), the marks (LInGA) characterizing the persons belonging to that lineage, and the classes of people in that lineage. Second, the stage of entrance (avatārabhumi) discusses the stage where the disciple enters upon the practice; like the previous part, this section treats this issue from these same four standpoints. Third, the stage of deliverance (naiskramyabhumi) explains the stage where the disciple, after severing the bonds of the sensual realm (KĀMADHĀTU), practices to obtain freedom from passion (VAIRĀGYA) by following either the mundane or supramundane path; this section subsequently discusses thirteen collections or equipment (saMbhāra) necessary to complete both paths, such as sensory restraint, controlling food intake, etc. This stage of deliverance (naiskramyabhumi) continues over the second through fourth yogasthānas to provide an extended treatment of sravāka practice. The second yogasthāna discusses the theoretical basis of sravāka practice in terms of persons (pudgala), divided into nineteen subsections on such subjects as the classes of persons who cultivate the sravāka path, meditative objects, descriptions of various states of concentration (SAMĀDHI), hindrances to meditation, etc. The third yogasthāna concerns the preliminary practices (prayoga) performed by these persons, describing in detail the process of training. This process begins by first visiting a teacher. If that teacher identifies him as belonging to the srāvaka lineage, the practitioner should then cultivate in five ways: (1) guarding and accumulating the requisites of samādhi (samādhisaMbhāra-raksopacaya), (2) selection (prāvivekya), (3) one-pointedness of mind (CITTAIKĀGRATĀ), (4) elimination of hindrances (ĀVARAnA-visuddhi), and (5) cultivation of correct mental orientation (MANASKĀRA-bhāvanā). Among these five, the section on cittaikāgratā contains one of the most detailed discussions in Sanskrit sources of the meditative procedures for the cultivation of sAMATHA and VIPAsYANĀ. In the fourth yogasthāna, the practitioner, who has accomplished the five stages of application (prayoga), proceeds to either the mundane (laukika) or supramundane (lokottara) path. On the mundane path, the practitioner is said to be reborn into the various heavens of the subtle-materiality realm (RuPADHĀTU) or the immaterial realm (ĀRuPYADHĀTU) by cultivating the four subtle-materiality meditative absorptions (RuPĀVACARADHYĀNA) or the four immaterial meditative absorptions (ĀRuPYĀVACARADHYĀNA). On the supramundane path, the sravāka practices to attain the stage of worthy one (ARHAT) by relying on the insight of the FOUR NOBLE TRUTHS (catvāry āryasatyāni). See also BODHISATTVABHuMI.

stond ::: n. --> Stop; halt; hindrance.
A stand; a post; a station. ::: v. i. --> To stand.


styāna. (P. thina; T. rmug pa; C. hunchen; J. konjin; K. honch'im 惛沉). In Sanskrit, "torpor," often paired with "sloth" (MIDDHA). As a compound, styānamiddha constitute the third of the five "hindrances" (NĪVARAnA) to the attainment of the first meditative absorption (DHYĀNA), along with sensual desire (KĀMACCHANDA), malice or ill-will (VYĀPĀDA), restlessness and worry (AUDDHATYA-KAUKṚTYA), and skeptical doubt (VICIKITSĀ). Because of the laziness generated by this mental concomitant, styānamiddha specifically hinders the meditative constituent (DHYĀNĀnGA) of applied thought (VITARKA). This hindrance is countered by the spiritual faculty (INDRIYA) of effort (VĪRYA). Ways of countering sloth and torpor include memorizing the doctrine, developing the perception of light, or simply walking around in the open air.

Subhasuttanta. (C. Yingwu jing; J. omukyo; K. Aengmu kyong 鸚鵡經). In Pāli, "Discourse to Subha"; tenth sutta of the DĪGHANIKĀYA (a related Pāli recension is included as the ninety-ninth sutra of the MAJJHIMANIKĀYA and a separate SARVĀSTIVĀDA recension as the 152nd sutra in the Chinese translation of the MADHYAMĀGAMA); preached by Ānanda at Sāvatthi (S. sRĀVASTĪ) to the brāhmana Subha Todeyyaputta shortly after the Buddha's demise. In content that is very similar to the SĀMANNAPHALASUTTANTA (S. srāmanyaphalasutra), Subha invites Ānanda to tell him what things the Buddha extolled, what he inspired others to follow, and what he established others in. Ānanda responds that there were three bodies, or categories, of things which the Buddha extolled, inspired others to follow, and established them in. These were the noble body of morality (P. ariyasīlakkhandha, S. āryasīlaskandha), the noble body of concentration (P. ariyasamādhikkhandha, S. āryasamādhiskandha), and the noble body of wisdom (P. ariyapaNNākkhandha, S. āryaprajNāskandha). Under the noble body of morality (sĪLA), Ānanda enumerates the following points: the appearance of the Buddha in the world, understanding his teachings and entering the Buddhist order, training in the restraint of action and speech, and observance of minor points of morality, all of which leads to an absence of fear and a confidence of heart. Under the noble body of concentration (SAMĀDHI), he enumerates guarding the senses, mindfulness, contentment with little, freedom from the five hindrances, joy and peace of mind, and the four meditative absorptions (P. JHĀNA, S. DHYĀNA). Under the noble body of wisdom (PRAJNĀ), he enumerates insight into the conditioned nature and impermanence of body and mind, the power to conjure up mind-made bodies (MANOMAYAKĀYA), knowledge of the FOUR NOBLE TRUTHS, and destruction of the contaminants (P. āsava, S. ĀSRAVA).

Suchi (Sanskrit) Śuci White, purified, resplendent; one of the three personified fires, whether in the kosmos or man, a son of Agni-abhimani and Svaha. Agni-Abhimani, his three sons — Pavaka, Pavamana, and Suchi — and their 45 sons, constitute the mystic 49 fires of occultism. Suchi, the solar fire or saurya [from surya the sun], is the parent to Havyavahana, the fire of the gods. Also a name of Indra. See also ABHIMANI

sukha. (T. bde ba; C. le; J. raku; K. nak 樂). In Sanskrit and Pāli, "bliss," "ease," or "joy"; the fourth of the five constituents of meditative absorption (DHYĀNĀnGA). A sustained sense of sukha is obstructed by restlessness and worry (AUDDHATYA-KAUKṚTYA), the fourth of the five hindrances (NĪVARAnA) to DHYĀNA. Sukha is the maturation of the physical and mental tranquillity (PRAsRABDHI) that is associated with the coarser experience of physical "rapture" (PRĪTI). Sukha always appears in conjunction with prīti, but not necessarily the converse; whereas sukha is part of the perception aggregate (SAMJNĀ), prīti is instead grouped with the conditioning factors aggregate (SAMSKĀRA). Sukha leaves one "feeling well" and catalyzes the development of expansive mental states. Sukha is present in the first, second, and third of the meditative absorptions (dhyāna) associated with the realm of subtle materiality (RuPĀVACARADHYĀNA), but fades into equanimity (UPEKsĀ) in the even subtler fourth dhyāna, wherein the meditator experiences neither pleasure nor pain and is left only with one-pointedness of mind (CITTAIKĀGRATĀ). The term sukha is also important in Buddhist TANTRA, especially ANUTTARAYOGATANTRA, where the movement of winds (PRĀnA) and drops (BINDU) up and down the central channel generate various forms of bliss; the bliss created by the upward movement of the winds and drops are particularly powerful. In order to achieve buddhahood, the bliss consciousness is used to understand emptiness (suNYATĀ).

Sukhāvatīvyuhasutra. (T. Bde ba can gyi bkod pa'i mdo; C. Wuliangshou jing; J. Muryojukyo; K. Muryangsu kyong 無量壽經). Literally, the "Sutra Displaying [the Land of] Bliss," the title of the two most important Mahāyāna sutras of the "PURE LAND" tradition. The two sutras differ in length, and thus are often referred to in English as the "larger" and "smaller" (or "longer" and "shorter") Sukhāvatīvyuhasutras; the shorter one is commonly called the AMITĀBHASuTRA. Both sutras are believed to date from the third century CE. The longer and shorter sutras, together with the GUAN WULIANGSHOU JING (*Amitāyurdhyānasutra), constitute the three main texts associated with the pure land tradition of East Asia (see JINGTU SANBUJING). There are multiple Sanskrit, Chinese, and Tibetan versions of both the longer and shorter sutras, with significant differences among them. ¶ The longer Sukhāvatīvyuhasutra begins with ĀNANDA noticing that the Buddha is looking especially serene one day, and so asks him the reason. The Buddha responds that he was thinking back many millions of eons in the past to the time of the buddha LOKEsVARARĀJA. The Buddha then tells a story in the form of a flashback. In the audience of this buddha was a monk named DHARMĀKARA, who approached Lokesvararāja and proclaimed his aspiration to become a buddha. Dharmākara then requested the Buddha to describe all of the qualities of the buddha-fields (BUDDHAKsETRA). Lokesvararāja provided a discourse that lasted one million years, describing each of the qualities of the lands of trillions of buddhas. Dharmākara then retired to meditate for five eons, seeking to concentrate all of the marvelous qualities of the millions of buddha-fields that had been described to him into a single pure buddha-field. When he completed his meditation, he returned to describe this imagined land to Lokesvararāja, promising to create a place of birth for fortunate beings and vowing that he would follow the bodhisattva path and become the buddha of this new buddha-field. He described the land he would create in a series of vows, stating that if this or that marvel was not present in his pure land, may he not become a buddha: e.g., "If in my pure land there are animals, ghosts, or hell denizens, may I not become a buddha." He made forty-eight such vows. These included the vow that all the beings in his pure land will be the color of gold; that beings in his pure land will have no conception of private property; that no bodhisattva will have to wash, dry, or sew his own robes; that bodhisattvas in his pure land will be able to hear the dharma in whatever form they wish to hear it and whenever they wish to hear it; that any woman who hears his name, creates the aspiration to enlightenment (BODHICITTA), and feels disgust at the female form, will not be reborn as a woman again. Two of these vows would become the focus of particular attention. In the eighteenth vow (seventeenth in the East Asian versions), Dharmākara vows that when he has become a buddha, he will appear at the moment of death to anyone who creates the aspiration to enlightenment, hears his name, and remembers him with faith. In the nineteenth vow (eighteenth in the East Asian versions), he promises that anyone who hears his name, wishes to be reborn in his pure land, and dedicates their merit to that end, will be reborn there, even if they make such a resolution as few as ten times during the course of their life. Only those who have committed one of the five inexpiable transgressions bringing immediate retribution (ĀNANTARYAKARMAN, viz., patricide, matricide, killing an ARHAT, wounding a buddha, or causing schism in the SAMGHA) are excluded. The scene then returns to the present. Ānanda asks the Buddha whether Dharmākara was successful, whether he did in fact traverse the long path of the bodhisattva to become a buddha. The Buddha replies that he did indeed succeed and that he became the buddha Amitābha (Infinite Light). The pure land that he created is called sukhāvatī. Because Dharmākara became a buddha, all of the things that he promised to create in his pure land have come true, and the Buddha proceeds to describe sukhāvatī in great detail. It is carpeted with lotuses made of seven precious substances, some of which reach ten leagues (YOJANA) in diameter. Each lotus emits millions of rays of light and from each ray of light there emerge millions of buddhas who travel to world systems in all directions to teach the dharma. The pure land is level, like the palm of one's hand, without mountains or oceans. It has great rivers, the waters of which rise as high or sink as low as one pleases, from the shoulders to the ankles, and vary in temperature as one pleases. The sound of the river takes the form of whatever auspicious words one wishes to hear, such as "buddha," "emptiness," "cessation," and "great compassion." The words "hindrance," "misfortune," and "pain" are never heard, nor are the words "day" and "night" used, except as metaphors. The beings in the pure land do not need to consume food. When they are hungry, they simply visualize whatever food they wish and their hunger is satisfied without needing to eat. They dwell in bejeweled palaces of their own design. Some of the inhabitants sit cross-legged on lotus blossoms while others are enclosed within the calyx of a lotus. The latter do not feel imprisoned, because the calyx of the lotus is quite large, containing within it a palace similar to that inhabited by the gods. Those who dedicate their merit toward rebirth in the pure land yet who harbor doubts are reborn inside lotuses where they must remain for five hundred years, enjoying visions of the pure land but deprived of the opportunity to hear the dharma. Those who are free from doubt are reborn immediately on open lotuses, with unlimited access to the dharma. Such rebirth would become a common goal of Buddhist practice, for monks and laity alike, in India, Tibet, and throughout East Asia. ¶ The "shorter" Sukhāvatīvyuhasutra was translated into Chinese by such famous figures as KUMĀRAJĪVA and XUANZANG. It is devoted largely to describing this buddha's land and its many wonders, including the fact that even the names for the realms of animals and the realms of hell-denizens are not known; all of the beings born there will achieve enlightenment in their next lifetime. In order to be reborn there, one should dedicate one's merit to that goal and bear in mind the name of the buddha here known as AMITĀYUS (Infinite Life). Those who are successful in doing so will see Amitāyus and a host of bodhisattvas before them at the moment of death, ready to escort them to sukhāvatī, the land of bliss. In order to demonstrate the efficacy of this practice, the Buddha goes on to list the names of many other buddhas abiding in the four cardinal directions, the nadir, and the zenith, who also praise the buddha-field of Amitāyus. Furthermore, those who hear the names of the buddhas that he has just recited will be embraced by those buddhas. Perhaps to indicate how his own buddha-field (that is, our world) differs from that of Amitāyus, sākyamuni Buddha concludes by conceding that it has been difficult to teach the dharma in a world as degenerate as ours.

Surya (Sanskrit) Sūrya The sun, its regent or informing divinity; in the Vedas, the sun god, the most concrete of the solar gods, generally distinguished, at least in name, from Savitri and Aditya. He was regarded as one of the original Vedic triad: Indra or Vayu presiding over the atmosphere; Agni, over the earth; and Surya, over the space of the solar system. In Vedic literature, Surya is also called Loka-chakshuh (eye of the world). He is considered the son of Dyaus, the cosmic spirit — pictured as the spatial extent of cosmic mind — and of Aditi (space). He is represented as moving through the celestial sphere in a chariot drawn by seven ruddy horses or by one horse with seven heads, referring to the seven principles or elements of the solar system, or to his own seven principles as a unit with their seven different logoi or heads; or the former refers to the seven logoi as manifested in the regents of the seven sacred planets, the latter to their common origin from the one cosmic element, often figuratively called fire (SD 1:101).

SvalpāksaraprajNāpāramitā. (T. Shes rab kyi pha rol tu phyin pa yi ge nyung ngu; C. Shengfomu xiaozi bore boluomiduo jing; J. Shobutsumo shoji hannya haramittakyo; K. Songbulmo soja panya p'aramilta kyong 聖佛母小字般若波羅蜜多經). In Sanskrit, "Perfection of Wisdom in a Few Words"; also known as the AlpāksaraprajNāpāramitā. Sometimes referred to in Western scholarship as the "Tantric Heart Sutra," this brief PRAJNĀPĀRAMITĀ sutra that takes the form of a dialogue between the Buddha and AVALOKITEsVARA, in which the buddha enjoins the bodhisattva to recite the "heart of the perfection of wisdom." The sutra is directed to those beings of little merit and of limited intellectual capacity. The Buddha enters the SAMĀDHI called "liberation from all suffering" (sarvaduḥkhapramocana) and provides a MANTRA and DHĀRAnĪ to his audience. The mantra is connected with an earlier buddha called Mahāsākyamuni. By reciting the mantra and the dhāranī, hindrances from past actions are extinguished and beings turn toward enlightenment.

Svarga (Sanskrit) Svarga In Hindu philosophy, a heavenly abode — also often called Indraloka, or Svarloka, said to be situated on Mount Meru. It corresponds in theosophical writings to devachan.

svarpati (Swarpati) ::: the master of svar, Indra. [Ved.]

svar (swar) ::: "the luminous world", the world of luminous intelligence of which Indra is the lord, comprising the planes at the summit of the mental consciousness; the mental world (manoloka), the highest plane of the triloka; its lower principle of manas, sensational mind, and higher principle of buddhi, intelligence, are manifested in the two realms of svarga and candraloka, respectively.

svarya asman ::: the heavenly stone (the thunderbolt of Indra) . [Ved.] ::: svarya asma [nominative] ::: svaryam asmanam [accusative]

svetaketu. (P. Setaketu; T. Dam pa tog dkar po; C. Baijing/Baiying; J. Byakujo/Byakuei; K. Paekchong/Paegyong 白淨/白英). Proper name of sĀKYAMUNI when he was a divinity in the TUsITA heaven, during his lifetime immediately preceding his attainment of buddhahood. He was a BODHISATTVA of the tenth BHuMI, appointed as regent of tusita by the preceding buddha KĀsYAPA. As svetaketu, he surveyed JAMBUDVĪPA to determine the proper time, place, caste, and family of his final lifetime. Upon his descent into the womb of Queen MĀYĀ, he appointed MAITREYA as regent. Depictions of svetaketu in heaven, alongside INDRA and BRAHMĀ, appear at a number of ancient Indian Buddhist sites, including NĀGĀRJUNAKOndĀ and AMARĀVATĪ.

Taishakumo 帝釋網. See INDRAJĀLA

Taishaku 帝釋. See sAKRA, INDRA

taizokai. (S. *garbhadhātu; C. taizang jie; K. t'aejang kye 胎蔵界). In Japanese, "womb realm" or "womb world"; one of the two principal diagrams (MAndALA) used in the esoteric traditions of Japan (see MIKKYo), along with the KONGoKAI ("diamond realm"); this diagram is known in Sanskrit as the garbhadhātu mandala. The taizokai mandala is believed to be based on instructions found in the MAHĀVAIROCANĀBHISAMBODHISuTRA (Dainichikyo); the term, however, does not actually appear in any Buddhist scripture and its pictorial form seems to have developed independently of any written documents. Although KuKAI (774-835) is often recognized as introducing the taizokai mandala to Japan, in fact various versions developed over time. Use of the two mandalas flourished during the Heian period, gradually becoming central to Japanese TENDAI Buddhism and SHUGENDo. The taizokai consists of twelve cloisters, which contain various bodhisattvas and deities. At the very center of the mandala is located the Cloister of the Central Dais with Eight Petals (J. Chudaihachiyoin). There, the DHARMAKĀYA MAHĀVAIROCANA sits in the center of an eight-petaled lotus flower, with four companion buddhas and bodhisattvas sitting on its petals. In the four cardinal directions sit the buddhas Ratnaketu (J. Hodo), SaMkusumitarāja (J. Kaifukeo), AMITĀBHA (J. Muryoju), and Divyadundubhi-meghanirghosa (J. Tenkuraion). In the four ordinal directions sit the bodhisattvas SAMANTABHADRA (J. Fugen), MANJUsRĪ (J. Monju), AVALOKITEsVARA (J. Kanjizai; Kannon), and MAITREYA (J. Miroku). The central Buddha and the surrounding four buddhas and bodhisattvas represent the five wisdoms (PANCAJNĀNA). ¶ Mahāvairocana's central cloister is surrounded by a series of cloisters in all the four directions. In the eastern section (the topside of the mandala), there are three cloisters from the central cloister at the outside: (1) Cloister of Universal Knowledge (J. Henchiin), in which three deities sit on each side of a triangle; (2) Cloister of sĀKYAMUNI (J. Shakain), where sākyamuni sits surrounded by his disciples, as a manifestation of Mahāvairocana in the phenomenal world; and (3) Cloister of MaNjusrī (J. Monjuin), in which MaNjusrī sits surrounded by many attendants. In the western section (the bottom of the mandala), there are also three cloisters: (1) The Cloister of the Mantra Holders (J. Jimyoin) includes the bodhisattva PrajNā surrounded by the four VIDYĀRĀJA: ACALANĀTHA (Fudo), TRAILOKYAVIJAYA (Gozanze), YAMĀNTAKA (Daiitoku), and an alternate manifestation of Trailokyavijaya. (2) The Cloister of ĀKĀsAGARBHA (Kokuzoin) represents worldly virtue and merit in the form of Ākāsagarbha. (3) The Cloister of Unsurpassed Attainment (Soshitchiin) includes eight bodhisattvas, symbolizing the achievement of the various virtues through which Mahāvairocana benefits sentient beings. In the southern section (the right side of the mandala), there are two cloisters: (1) Cloister of VAJRAPĀnI (Kongoshuin); in this cloister, VAJRASATTVA is the main deity, representing the Buddha's wisdom inherent in all sentient beings; and (2) Cloister of Removing Obstacles (Jogaishoin), where sits the bodhisattva SARVANĪVARAnAVIsKAMBHIN, representing the elimination of the hindrances to enlightenment. In the northern section (the left side of the mandala), there are also two cloisters: (1) Cloister of the Lotus Division (Rengebuin) where Avalokitesvara is the central deity; and (2) Cloister of KsITIGARBHA (Jizoin), dedicated to the bodhisattva who saves those suffering in hell. All of these eleven cloisters are then enclosed by the Cloister of Outer VAJRADHARAs (Ge Kongobuin), where there are 205 deities, many of them deriving from Indic mythology. In one distinctively Shingon usage, the mandala was placed in the east and the kongokai stood in juxtaposition across from it. The initiate would then invite all buddhas, bodhisattvas, and divinities into the sacred space, invoking all of their power and ultimately unifying with them. In Shugendo, the two mandalas were often spatially superimposed over mountain geography or worn as robes on the practitioner while entering the mountain.

Tara’s abduction gave rise to the Tarakamaya — the first war in heaven. The earth was shaken to its very center and turned to Brahma requesting him to restore Tara to her husband, which request was granted. Soma had for his allies the Daityas and Danavas, whose leader is Usanas (Venus) and Rudra (Siva), while the gods who sided with Brihaspati were led by Indra.

tejokasina. (S. tejaskṛtsnāyatana; T. me zad par gyi skye mched; C. huo bianchu; J. kahensho; K. hwa p'yonch'o 火遍處). In Pāli, "fire device"; one of the ten devices (KASInA) described in the PĀLI tradition for developing meditative concentration (P. JHĀNA, S. DHYĀNA); the locus classicus for their exposition is the VISUDDHIMAGGA of BUDDHAGHOSA. Ten kasina are enumerated there: visualization devices that are constructed from the elements (MAHĀBHuTA) of earth, water, fire, air; the colors blue, yellow, red, white; and light and empty space. In each case, the meditation begins by looking at the physical object; the perception of the device is called the "beginning sign" or "preparatory sign" (P. PARIKAMMANIMITTA). Once the object is clearly perceived, the meditator then memorizes the object so that it is seen as clearly in his mind as with his eyes. This perfect mental image of the device is called the "eidetic sign," or "learning sign" (P. UGGAHANIMITTAs), and serves as the subsequent object of concentration. As the internal visualization of this eidetic sign deepens and the five hindrances (NĪVARAnA) to mental absorption are temporarily allayed, a "representational sign" or "counterpart sign" (P. PAtIBHĀGANIMITTA) will emerge from out of the eidetic image, as if, the texts say, a sword is being drawn from its scabbard or the moon is emerging from behind clouds. The representational sign is a mental representation of the visualized image, which does not duplicate what was seen with the eyes but represents its abstracted, essentialized quality. Continued attention to the representational sign will lead to all four of the meditative absorptions of the subtle-materiality realm (RuPADHĀTU). In the case of the tejokasina, the meditator begins by making a fire of dried heartwood, hanging a curtain of reeds, leather, or cloth in front of it, then cutting a hole four fingerwidths in size in the curtain. He then sits in the meditative posture and observes the flame (rather than the sticks or the smoke) through the hole, thinking, "fire, fire," using the perception of the flame as the preparatory sign. The eidetic sign, which is visualized without looking at the flame, appears as a tongue of flame and continually detaches itself from the fire. The representational sign is more steady, appearing motionless like a red cloth in space, a gold fan, or a gold column. With the representational sign achieved, progress through the various stages of absorption may begin. The tejokasina figures prominently in the dramatic story of the passing away of the Buddha's attendant, ĀNANDA. According to FAXIAN, when Ānanda was 120 years old, he set out from MAGADHA to VAIsĀLĪ in order to die. Seeking control of the saint's relics after his death, AJĀTAsATRU followed him to the Rohīni River, while a group for Vaisālī awaited him on the other side. Not wishing to disappoint either group, Ānanda levitated to the middle of the river in the meditative posture, preached the dharma, and then meditated on the tejokasina, which caused his body to burst into flames, with his relics dividing into two parts, one landing on each side of the river.

Tevijjasutta. (C. Sanming jing; J. Sanmyokyo; K. Sammyong kyong 三明經). In Pāli, "Discourse on the Three-fold Knowledge"; the thirteenth sutta of the DĪGHANIKĀYA (a DHARMAGUPTAKA recension appears as the twenty-sixth SuTRA in the Chinese translation of the DĪRGHĀGAMA); preached by the Buddha to the two brāhmana youths, Vāsettha and Bhāradvāja, in a mango grove outside the village of Manasākata in Kosala. Vāsettha and Bhāradvāja request the Buddha to resolve their debate as to which path proposed by various brāhmana teachers learned in the three Vedas truly leads to union with the god BRAHMĀ. The Buddha responds that since none of the brāhmana teachers learned in the three Vedas themselves have attained union with Brahmā, none of the paths they teach can lead there. They are unable to attain this goal, he continues, because their minds are obstructed by the five hindrances (NĪVARAnA) of sensuous desire (KĀMACCHANDA), malice (VYĀPĀDA), sloth and torpor (P. thīnamiddha, S. STYĀNA-MIDDHA), restlessness and worry (P. uddhaccakukkucca, S. AUDDHATYA-KAUKṚTYA), and doubt (P. vicikicchā, S. VICIKITSĀ) about the efficacy of the path. The Buddha then describes the true path by means of which a disciple may attain union with Brahmā as follows: the disciple awakens to the teaching, abandons the household life, and enters the Buddhist order, trains in the restraint of action and speech, and observes even minor points of morality, guards the senses, practices mindfulness, is content with little, becomes freed from the five hindrances and attains joy and peace of mind. Then the disciple pervades the four quarters with loving-kindness (P. mettā; S. MAITRĪ), then compassion (KARUnĀ), sympathetic joy (MUDITĀ), and finally equanimity (P. upekkhā; S. UPEKsĀ). In this way one attains union with Brahmā. Vāsettha and Bhāradvāja are pleased with the discourse and become disciples of the Buddha. In adapting the term tevijja (S. TRIVIDYĀ), the Buddha is intentionally redefining the meaning of the three Vedas, contrasting his three knowledges with that of brāhmana priests who have merely memorized the three Vedas.

The Brahmanical equivalent to Aquarius, presided over by the sky god Indra, is Kumbha, which Subba Row states is equivalent in its numerical value to 14, a number intended to represent the 14 lokas or chaturdasa-bhuvana (Theos, Nov 1881). Assigning the twelve sons of Jacob in the Hebrew system to the signs of the zodiac, Reuben is ascribed to Aquarius, who is “unstable as water”; also associated with Rimmon, the god of storms and rain (SD 2:353), and equated with Ganymede.

The four heavenly kings of the first and lowest of the six heavens are DHṚTARĀstRA in the east, VIRudHAKA in the south, VIRuPĀKsA in the west, and VAIsRAVAnA in the north. There are many devas inhabiting this heaven: GANDHARVAs in the east, KUMBHĀndAs in the south, NĀGAs in the west, and YAKsAs in the north. As vassals of sAKRO DEVĀNĀM INDRAḤ (lit. "sakra, the lord of the gods"; see INDRA; sAKRA; DEVARĀJAN), the four heavenly kings serve as protectors of the dharma (DHARMAPĀLA) and of sentient beings who are devoted to the dharma. They dwell at the four gates in each direction at the midslope of the world's central axis, Mt. Sumeru. The thirty-three gods of the second heaven are the eight vāsava, two asvina, eleven rudra, and twelve āditya. They live on the summit of Mt. Sumeru and are arrayed around the city of Sudarsana, the capital of their lord sakra. sakra is also known as Indra, the war god of the Āryans, who became a devotee of the Buddha as well as a protector of the dharma. The remaining four heavens are located in the sky above Mt. Sumeru. At the highest level of the sensuous realm, the paranirmitavasavartin heaven, dwells MĀRA, the Evil One. The four heavenly kings and the thirty-three gods are called the "divinities residing on the ground" (bhumyavacaradeva) because they dwell on Mt. Sumeru, while the gods from the Yāma heaven up to the gods of the realm of subtle materiality are known as "divinities residing in the air" (antariksavāsin, antarīksadeva), because they reside in the sky above the mountain. The higher one ascends into the heavens of both the sensuous realm and the subsequent realm of subtle materiality, the larger and more splendid the bodies of those gods become and the longer their life spans. Related to the devas of the sensuous realm are the demigods or titans (S. ASURA), jealous gods whom Indra drove out of the heaven of the thirty-three; they now live in exile in the shadows of Mt. Sumeru. ¶ The heavens of the realm of subtle materiality (rupadhātu) consist of sixteen (according to the SARVĀSTIVĀDA school), seventeen (the SAUTRĀNTIKA school), or eighteen (the THERAVĀDA/STHAVIRANIKĀYA school) levels of devas. These levels, which are collectively called the BRAHMALOKA (world of the Brahmā gods), are subdivided into the four classes of the dhyāna or "concentration" heavens, and rebirth there is dependent on specific meditative attainments in previous lives. One of the most extensive accounts on these heavens appears in the ABHIDHARMAKOsABHĀsYA, which presents seventeen levels of the subtle-materiality devas. Whereas rebirth in the heavens of the sensuous realm are the result of a variety of virtuous deeds done in a previous life, rebirth in the heavens of the realm of subtle materiality or in the immaterial realm is the result of what is called a "nonfluctuating" or "unwavering" action (ANINJYAKARMAN). Here, the only cause that will produce rebirth in one of these heavens is the achievement of the level of meditative concentration or absorption of that particular heaven in the immediately preceding lifetime. Such meditation is called a "nonfluctuating deed" because it always produces the effect of that particular type of rebirth. The first set of dhyāna heavens, where those who practiced the first meditative absorption in the previous lifetime are born, is comprised of three levels:

  “The Gandharva of the Veda is the deity who knows and reveals the secrets of heaven and divine truths to mortals. Cosmically — the Gandharvas are the aggregate powers of the solar-fire, and constitute its Forces; psychically — the intelligence residing in the Sushumna, Solar ray, the highest of the seven rays; mystically — the occult force in the Soma (the moon, or lunar plant) and the drink made of it; physically — the phenomenal, and spiritually — the noumenal causes of Sound and the ‘Voice of Nature.’ Hence, they are called the 6,333 ‘heavenly’ Singers and musicians of Indra’s loka who personify (even in number) the various and manifold sounds in Nature, both above and below. In the latter allegories they are said to have mystic power over women, and to be fond of them. The esoteric meaning is plain. They are one of the forms, if not the prototypes, of Enoch’s angels, the Sons of God, who saw that the daughters of men were fair (Gen. vi.) who married them, and taught the daughters of the Earth the secrets of Heaven” (SD 1:523n).

The rough handling and careless breaking or waste and mis- use of physical things is a denial of the yogic consciousness and a great hindrance to the bringing down of the Pivine Truth to the materia! plane.

Thunderbolt Now usually, a discharge of lightning, but it implies a missile. The thunderbolts of Jove are well known, and the Lord God thunders from heaven, considered in both cases a sign of wrath. Jupiter Tonans (Jupiter, the thunderer) was one aspect of the Roman Lord of Heaven; Indra, in India, was wielder of the thunderbolt. Atmospheric thunder is a manifestation of electricity, heat, light, and sound; and must have its correspondences on higher cosmic planes. A deeper knowledge of nature would unfold to us the connection between outward events and those inner events of which the former are the manifestation. The arts of ancient augurs and diviners were based on such knowledge, but in the accounts about this we may certainly find much which is mere superstition.

tolerates ::: allows the existence, presence, practice, or act of without prohibition or hindrance; permits.

tolerate ::: v. t. --> To suffer to be, or to be done, without prohibition or hindrance; to allow or permit negatively, by not preventing; not to restrain; to put up with; as, to tolerate doubtful practices.

Toshodaiji. (唐招提寺). In Japanese, "Monastery for a Tang Wanderer"; located in the ancient Japanese capital of Nara and the head monastery of the VINAYA school (J. Risshu). Toshodaiji was originally a residence for Prince Niitabe, who donated it to the Tang-Chinese monk GANJIN (C. Jianzhen; 688-763), the founder of the vinaya school (RISSHu) in Japan. Ganjin came to Japan in 759 at the invitation of two Japanese monks who had studied with him in China at his home monastery of Damingsi (J. Daimyoji) in present-day Yangzhou. Ganjin tried to reach Japan five times before finally succeeding; then sixty-six and blind, he established an ordination platform at ToDAIJI before moving to Toshodaiji, where he passed away in 763. The monastery's name thus refers to Ganjin, a "wandering monk from Tang." The kondo, the golden hall that is the monastery's main shrine, was erected after Ganjin's death and finished around 781, followed three decades later by the monastery's five-story pagoda, which was finished in 810. The kondo is one of the few Nara-period temple structures that has survived and is one of the reasons why the monastery is so prized. It was built in the Yosemune style, with a colonnade with eight pillars, and enshrines three main images: the cosmic buddha VAIROCANA at the center, flanked by BHAIsAJYAGURU, and a thousand-armed AVALOKITEsVARA (see SĀHASRABHUJASĀHASRANETRĀVALOKITEsVARA), only 953 of which remain today, with images of BRAHMĀ and INDRA at the sides and statues of the four heavenly king protectors of Buddhism standing in each corner. The kodo, or lecture hall, was moved to the monastery from Heijo Palace and is the only extant structure that captures the style of a Tenpyo palace; it houses a statue of the bodhisattva MAITREYA. A kyozo, or SuTRA repository, holds the old library. The monastery also includes a treasure repository, a bell tower, and an ordination platform in the lotus pond. In 763, as Ganjin's death neared, he had a memorial statue of himself made and installed in his quarters at Toshodaiji. This dry-lacquer statue of a meditating Ganjin is enshrined today in the mieido (image hall), but is brought out for display only on his memorial days of June 5-7 each year; it is the oldest example in Japan of such a memorial statue. Toshodaiji was designated a UNESCO World Heritage Site in 1998.

trāyastriMsa. (P. tāvatiMsa; T. sum cu rtsa gsum pa; C. sanshisan tian/daoli tian; J. sanjusanten/toriten; K. samsipsam ch'on/tori ch'on 三十三天/忉利天). In Sanskrit, lit. "thirty-three"; the heaven of the thirty-three, the second lowest of the six heavens of the sensuous realm (KĀMADHĀTU), just above the heaven of the four heavenly kings (CĀTURMAHĀRĀJAKĀYIKA) and below the YĀMA heaven. Like all Buddhist heavens, it is a place of rebirth and not a permanent post-mortem abode. The heaven is situated on the flat summit of Mount SUMERU and is inhabited by thirty-three male divinities and their attendants, presided over by the divinity sAKRA, the king of the gods (sAKRO DEVĀNĀM INDRAḤ). The divinities live in palaces of gold among beautiful parks and have life spans of thirty million years. The heaven is commonly mentioned in Buddhist texts. In the seventh year after his enlightenment, after performing the sRĀVASTĪ MIRACLES, the Buddha magically traveled to the heaven of the thirty-three, where he spent the three months of the rains retreat (VARsĀ) teaching the ABHIDHARMA to his mother MĀYĀ. (She had descended to meet him there from her abode in the TUsITA heaven, where she had been reborn as a male deity after her death as Queen Māyā.) At the conclusion of his teaching, the Buddha made his celebrated return to earth from the heaven on a bejeweled ladder provided by sakra, descending at the city of SĀMKĀsYA. MAHĀMAUDGALYĀYANA also made numerous visits to the heaven to learn from its inhabitants about the virtuous deeds they performed in the past that resulted in their rebirth there. It was said that when a human performed a particularly virtuous deed, a mansion for that person would appear in trāyastriMsa for that person to inhabit upon being reborn there. When Prince SIDDHĀRTHA renounced the world, he cut off his hair with his sword and cast it into the sky; the hair was caught by sakra in trāyastriMsa, who enshrined it in a CAITYA that is worshipped by the gods. Scholars have noted the correspondence between the number of divinities in this heaven and the traditional number of thirty-three gods of the Ṛgveda, suggesting that this heaven represents an attempt by Buddhists to absorb the pre-Buddhistic Indian pantheon.

Tvashtri (Sanskrit) Tvaṣṭṛ The divine artist and carpenter of the gods, father of the gods and of the sacred creative fire, and therefore equivalent to the Greek cosmic Demiurge. Maker of divine weapons, such as Indra’s Thunderbolt, and teacher of the ribhus or adityas, he was considered as the great patron of initiates. The Tvashtri of the Vedas is synonymous with the Visvakarman of the Puranas. Many of the functions ascribed in Hindu legend to Tvashtri are reminiscent of similar functions ascribed to the Greek Hephaestos or Latin Vulcan.

Uccaihsravas (Uchchaihsravas) ::: [Indra's horse, the prototype and king of horses].

Uchchaih-sravas (Sanskrit) Uccaiḥ-śravas [from uccaiḥ aloft, high above + śravas ear] Long-eared, he who hears what is above, one having spiritual or inner hearing; the white horse of Indra, one of the 14 precious things that issued from the waters churned by the gods in Hindu legend, regarded as the prototype and king of horses. In this connection one is reminded of the many statues of the buddhas with pendant ears, symbolizing a spiritual power — he who hears the cries of all.

Umadevi: Consort of Lord Siva; She imparted knowledge to Indra.

Upendra ::: younger Indra (a name of Visnu.)

"Usha is the divine illumination and Dakshina is the discerning knowledge that comes with the dawn and enables the Power in the mind, Indra, to know aright and separate the light from the darkness, the truth from the falsehood, the straight from the crooked, vrinîta vijânan.” The Secret of the Veda*

Vaijayanti (Sanskrit) Vaijayantī A flag, banner; the masculine noun vaijayanta refers specifically to the emblem of Indra. In the Puranas, used as the name of a magical necklace of Vishnu, “imitated by certain Initiates among the temple Brahmans. It is made of five precious stones, each symbolizing one of the five elements of our Round; namely, the pearl, ruby, emerald, sapphire and diamond, or water, fire, earth, air and ether, called ‘the aggregate of the five elemental rudiments’ — the word ‘powers’ being, perhaps, more correct than ‘rudiments’ ” (TG 358).

Vajirapāni. (P). In Pāli, the name of a yakkha (S. YAKsA) who is also sometimes identified with INDRA. See VAJRAPĀnI.

Vajrakīlaya. (T. Rdo rje phur pa). In Sanskrit, "Vajra Dagger," a tantric buddha worshipped primarily by the RNYING MA and BKA' BRGYUD sects of Tibetan Buddhism. He is the deification of the KĪLA (see PHUR PA), the ritual dagger used in tantric ceremonies. In the rituals involving the use of the kīla, the tantric dagger is typically used to subdue a ritual site, to subjugate the local demon by pinning him or her to the ground; the MAndALA is thus planted and established on top of the offending demon. The dagger may be stabbed into a three-sided box, the triangle representing the violent tantric activity of liberation, or into an effigy. As a deity, Vajrakīlaya originally held the same duties as the ritual dagger: to protect the borders of ritual space and to pin down and destroy enemies, human or otherwise. This tradition may derive in part from the ancient Indian myth of Indrakīla, in which the serpent Vṛtra is pinned and stabilized by a mythic "peg" (kīla). Vajrakīlaya is found in the major early tantra systems as well as the GUHYASAMĀJATANTRA and the SARVATATHĀGATATATTVASAMGRAHA, which contains his mantra and places him in the center of a MAndALA, although throughout his status is inferior to that of the buddhas and bodhisattvas. It is only in the Vajrakīlaya tantras that the deity attains the status of a buddha. These texts are reputed to be eighth-century translations from Indic languages, transmitted in Tibet by PADMASAMBHAVA. The tantras form a substantial section of the RNYING MA'I RGYUD 'BUM, but BU STON rejected the Indian origin of the tantras and left them out of the BKA' 'GYUR. Defenders of the tradition cite the fact that 'BROG MI SHĀKYA YE SHES wrote that he saw the eight-syllable Vajrakīla MANTRA at the BODHGAYĀ STuPA. In addition, SA SKYA PAndITA discovered a Sanskrit fragment of the Vajrakīlamulatantrakhanda at BSAM YAS, and sĀKYAsRĪBHADRA confirmed that the cycle had existed in India. Although no East Asian tradition of Vajrakīlaya exists, some scholars have suggested an identification with Vajrakumāra; tantras concerning this deity were brought to China in the eighth century by AMOGHAVAJRA, but this identification is disputed. Vajrakīlaya is wrathful, with three faces with three eyes each, and six or more hands holding various instruments in addition to the kīla. He is said to dispel obstacles to progress on the path to enlightenment and to the swift attainment of both mundane and supramundane goals.

Valahan ::: "the slayer of Vala", a name of Indra.

vasīkarana. (T. dbang du bya ba/dbang po'i las). In Sanskrit, "controlling"; also called bhāgyacāra, "activities of control"; one of the four types of activities (CATURKARMA) set forth in the Buddhist tantras. The other three are activities of increase (PAUstIKA) to increase prosperity, lengthen life, etc.; pacifying activities (sĀNTIKA) that purify the negativity that appears in such forms as hindrances and illness; and violent or drastic measures (ABHICĀRA) such as killing and warfare. Vasīkarana may be through physical force, but is more often done through MANTRAs or ritual; it brings control and influence over persons and situations.

vasus. :::eight elemental gods representing aspects of nature, representing cosmic natural phenomenon &

Vayu (Sanskrit) Vāyu Air; one of the five cosmic elements. Personified, the god and sovereign of the air and the king of the gandharvas. Agni, Vayu, and Surya formed the primeval Vedic Trimurti: “ ‘Agni (fire) whose place is on earth; Vayu (air, or one of the forms of Indra), whose place is in the air; and Surya (the sun) whose place is in the air’ [celestial spaces]. (Nirukta.) In esoteric interpretation, these three cosmic principles, correspond with the three human principles, Kama, Kama-Manas and Manas, the sun of the intellect” (TG 361). These three deities in this connection are three manifestations of cosmic fohat, guided and directed by cosmic mahat.

Vedic Religion: Or the Religion of the Vedas (q.v.). It is thoroughly cosmological, inspirational and ritualistic, priest and sacrifice playing an important role. It started with belief in different gods, such as Indra, Agni, Surya, Vishnu, Ushas, the Maruts, usually interpreted as symbolizing the forces of nature, but with the development of Hinduism it deteriorated into a worship of thousands of gods corresponding to the diversification of function and status in the complex social organism. Accompanying there was a pronounced tendency toward magic even in Vedic times, while the more elevated thoughts which have found expression in magnificent praises of the one or the other deity finally became crystallized in the philosophic thought of the Upanishads (q.v.). There is a distinct break, however, between Vedic culture with its free and autochthonous religious consciousness and the rigidly caste and custom controlled religion as we know it in India today, as also the religion of bhakti (q.v.). -- K.F.L.

vicikitsā. (P. vicikicchā; T. the tshom; C. yi; J. gi; K. ŭi 疑). In Sanskrit, "doubt" or "skepticism"; classified as one of the six root afflictions (MuLAKLEsA) in the SARVĀSTIVĀDA school of ABHIDHARMA and the YOGĀCĀRA school, and one of the fourteen unwholesome mental factors (akusala-cetasika) in the Pāli abhidhamma, where it takes the form of doubt about such matters as the FOUR NOBLE TRUTHS, the effects of actions (KARMAN), or the efficacy of the path (MĀRGA). Doubt is also classified as the second of ten "fetters" (SAMYOJANA) that keep beings bound in SAMSĀRA. It is also classified as one of five "hindrances" (NĪVARAnA) that prevent the mind from attaining meditative absorption (DHYĀNA); skeptical doubt is the factor that hinders sustained thought (VICĀRA) among the five constituents of meditative absorption (DHYĀNĀnGA). Doubt is a two-pointedness of mind that renders the mind unable to engage in virtuous action, just as one is unable to sew with a pronged needle. It is characterized by wavering and manifests itself as indecision. The counteragent (PRATIPAKsA) to vicikitsā is wisdom (PRAJNĀ), assisted by such specific practices as studying the scriptures. This state of doubt is temporarily allayed with the attainment of the first meditative absorption (dhyāna) and is permanently eliminated upon attaining the stage of stream-enterer (SROTAĀPANNA). Cf. YIJING.

vipassanupakkilesa. In Pāli, "defilement of insight"; according to the VISUDDHIMAGGA, ten experiences that occur to the diligent practitioner of meditation as natural concomitants of insight training (VIPASSANĀ-BHĀVANĀ). If the practitioner should become attached to any of these experiences, they become a hindrance to further progress along the path to liberation and thus would be deemed defilements of insight. The ten experiences are (1) a vision of radiant light (P. obhāsa; S. avabhāsa), (2) knowledge (P. Nāna; S. JNĀNA), (3) physical rapture (P. pīti; S. PRĪTI), (4) tranquillity (P. passaddhi; S. PRAsRABDHI), (5) mental ease or bliss (SUKHA), (6) determination (P. adhimokkha; S. ADHIMOKsA), (7) energy (P. paggaha; S. pragraha), (8) heightened awareness (P. upatthāna; S. upasthāna), (9) equanimity (P. upekkhā; S. UPEKsĀ), and (10) delight (P. nikanti; S. nikānti). As long as the mind is disturbed through attachment to the ten defilements of insight, it will be unable to comprehend the three marks of existence (P. tilakkhana; S. TRILAKsAnA) of impermanence P. (anicca; S. ANITYA), suffering (P. dukkha; S. DUḤKHA), and nonself (P. anatta; S. ANĀTMAN), the knowledge of which is the content of enlightenment (BODHI). These ten defilements may cause the practitioner to believe that he has already attained enlightenment as a stream-enterer (SROTAĀPANNA), a once-returner (SAKṚDĀGĀMIN), a nonreturner (ANĀGĀMIN), or a worthy one (ARHAT), when in fact he has not. Infatuation with the defilements is overcome by understanding them for what they are, as mere impermanent by-products of meditation. This understanding is developed through perfecting the "purity of knowledge and vision of what is and is not the path" (MAGGĀMAGGANĀnADASSANAVISUDDHI), which is the fifth of seven "purities" (VISUDDHI) to be developed along the path to liberation.

vīrya. (P. viriya; T. brtson 'grus; C. jingjin; J. shojin; K. chongjin 精進). In Sanskrit, "energy," "effort"; an enthusiasm to perform virtuous acts, which serves as the antidote to laziness. Since, by definition, the term refers to a delight in virtue, striving for nonvirtuous ends would not be considered "energy." The connotations of the term include the willingness to undertake virtuous deeds, the delight in the performance of virtuous deeds, a lack of discouragement, a commitment to success, and a dissatisfaction with minimal virtues. Deemed essential to progress on the path, vīrya is a constituent of many numerical lists. Vīrya is the second of the five spiritual faculties (INDRIYA) and counters the hindrance (NĪVARAnA) of sloth and torpor (STYĀNA-MIDDHA). It is counted as one of the eleven wholesome mental concomitants (KUsALA-CAITTA) and constitutes the fourth of the six perfections (PĀRAMITĀ).

visuddhi. [alt. visuddha] (P. visuddhi; T. rnam par dag pa; C. qingjing; J. shojo; K. ch'ongjong 清淨). In Sanskrit, "purity"; of which two types are enumerated: innate purity (prakṛti or svabhāvavisuddhi) and purity free of temporary or adventitious stains (āgantukamalavisuddhi). The former is the natural state of the mind (see PRABHĀSVARA) as in the Pāli AnGUTTARANIKĀYA: "The mind, O monks, is luminous (P. pabhassara), but is defiled by adventitious defilements" (pabhassaraM idaM bhikkhave cittaM, taN ca kho āgantukehi upakkilesehi upakkilitthaM). The latter is the mind when the path (MĀRGA) has cleansed it of hindrances (see NĪVARAnA; ĀVARAnA). In Pāli, there are seven purities (visuddhi) that must be developed along the path leading to liberation. The list of seven purities is first enumerated in the MAJJHIMANIKĀYA and forms the outline for both BUDDHAGHOSA's VISUDDHIMAGGA and Upatissa's earlier *VIMUTTIMAGGA. The seven purities are likened to seven carriages that one takes in sequence to reach seven progressive goals. Thus, (1) the purity of morality (P. sīlavisuddhi; see S. sĪLAVIsUDDHI) leads to its goal of (2) the purity of mind (CITTAVISUDDHI), and the purity of mind leads to its goal of (3) purity of understanding or views (DIttHIVISUDDHI). The purity of understanding leads to its goal of (4) purity of overcoming doubt (KAnKHĀVITARAnAVISUDDHI), and the purity of overcoming doubt leads to its goal of (5) the purity of knowledge and vision of what is and is not the path (MAGGĀMAGGANĀnADASSANAVISUDDHI). The purity of knowledge and vision of what is and is not the path leads to its goal of (6) knowledge and vision of progress along the path (PAtIPADĀNĀnADASSANAVISUDDHI), and knowledge and vision of progress along the path leads to its goal of (7) the purity of knowledge and vision (NĀnADASSANAVISUDDHI). The goal of this last purity is liberation through the attainment of any of the four supramundane paths (P. ariyamagga; S. ĀRYAMĀRGA).

Vritra-han, Vritra-jit (Sanskrit) Vṛtra-han, Vṛtra-jit The destroyer of Vritra; a title of Indra, god of the firmament, who was in constant warfare with Vritra, the Vedic demon of drought.

Vritra (Sanskrit) Vṛtra The demon of drought in Vedic literature, the great foe of Indra, god of the firmament, with whom he is constantly at war. Vritra was finally mastered and slain by Indra, hence the latter was named Vritra-han (slayer of Vritra).

Vul (Chaldean) The god of the atmosphere, equivalent to the Hindu Indra. He was superseded in later times by Anu, the god of heaven, who with Bel and Ea formed the great Babylonian triad.

vyāpāda. (T. gnod sems; C. chen; J. shin; K. chin 瞋). In Sanskrit and Pāli, "malice" or "ill will"; the ninth of ten unwholesome courses of action (AKUsALA-KARMAPATHA), referring to the hateful wish that harm will befall another. The ten courses of action are divided into three groups according to whether they are performed by the body, speech, or mind. Malice is classified as an unwholesome mental action (AKUsALA-KARMAN), and forms a triad along with covetousness (ABHIDHYĀ) and wrong views (MITHYĀDṚstI). Only extreme forms of defiled thinking are deemed an unwholesome course of mental action, such as the covetous wish to misappropriate someone else's property, the harmful intent to hurt someone, or the adherence to pernicious doctrines. Lesser forms of defiled thinking are still unwholesome (akusala), but do not constitute a course of action. ¶ "Malice" is also listed as one of the five hindrances (NĪVARAnA) to DHYĀNA, obstructing the dhyāna factor of rapture (PRĪTI). Malice is fostered by unwise attention (AYONIsOMANASKĀRA) to objects causing aversion and is removed through frequent wise attention to loving-kindness (MAITRĪ), developing the meditation on loving-kindness, and recognizing the fact that every person's actions are his or her own and acknowledging the futility of anger. Malice is countered by faith (sRADDHĀ), the first of the five spiritual faculties (INDIYA), and by the enlightenment factors (BODHYAnGA) of physical rapture (prīti) and equanimity (UPEKsĀ). "Malice" is also included among the ten fetters (SAMYOJANA) and is completely overcome only upon becoming an ARHAT.

Wat Phu. [alt. Wat Phou; Vat Phu]. In Lao, "Mountain Monastery"; an important Khmer monastery complex located in Champassak province on the Mekong River in southern Laos. The first monastery was probably constructed in the fifth century CE, although the surviving structures (now largely in ruins) date from the eleventh through the thirteenth centuries. Originally a saiva temple, the ruins contain a shrine to siva's bull Nandin, as well as pediments depicting INDRA, Kṛsnā, and Visnu. The temple complex was converted to Buddhist use in the thirteenth century, with Buddhist images added to many of the shrines. In 2001, the site was designated a UNESCO World Heritage Site.

wu'ai xing. (J. mugegyo; K. muae haeng 無礙行). In Chinese, "unhindered action" or "unconstrained conduct"; one of the types of practice of a BODHISATTVA-MAHĀSATTVA, as expounded especially in the AVATAMSAKASuTRA, referring to a conduct that is not constrained by the restrictions of customary morality or mundane societal expectations. Other related terms that are described as unhindered include "unhindered physicality" (wu'ai shen), "unhindered SAMĀDHI" (wu'ai sanmei), "unhindered wisdom" (wu'ai zhi), "unhindered dharma" (wu'ai fa), "unhindered path" (wu'ai dao), etc. The actions of a bodhisattva-mahāsattva conform to those of the buddhas themselves and any merit forthcoming from them are freely transferred (huixiang) to other sentient beings to help them with their salvation; for this reason, their actions are free from any kinds of hindrances. The MAHĀYĀNASAMGRAHA (She Dasheng lun) also explains "unhindered action" as the merit of a buddha, which is obtained through the purest of wisdom. Unhindered action sometimes refers to a particular stage or practice of a bodhisattva-mahāsattva: the BODHISATTVABHuMI (Pusa shanjie jing) presents it as the tenth of the twelve conducts of a bodhisattva-mahāsattva, along with such advanced practices as the signless practice, untainted practice, practice-less practice, and contented practice. In this context, unhindered action refers to the stage where a bodhisattva cultivates the realm of reality (DHARMADHĀTU) that transcends all discrimination and teaches the true dharma (SADDHARMA) for the sake of innumerable sentient beings. This status is said to correspond specifically to the ninth of the ten bodhisattva stages (DAsABHuMI), and the bodhisattva on this stage is described as being endowed with four types of analytical knowledges (PRATISAMVID), which in Chinese were known as the four "unhindered knowledges" (C. si wu'ai jie): i.e., unhindered knowledge of (1) phenomena (DHARMA), viz., one makes no mistakes in one's teachings; (2) meaning (ARTHA), viz., to be unhindered with regard to the content and meaning of one's teachings; (3) etymology or language (NIRUKTI), viz., the ability to comprehend all languages; and (4) eloquence (PRATIBHĀNA), viz., ease in offering explanations. CHENGGUAN (738-839) states in his massive HUAYAN JING SHU ("Commentary to the AVATAMSAKASuTRA") that the bodhisattva is able to abide in unhindered action (lit. "unhindered abiding") because he no longer has any cognitive obstructions (JNEYĀVARAnA). The practice of unconstrained conduct has been a prominent, if controversial, feature of Korean Buddhism throughout its history. Several eminent Korean monks were known as practitioners of unconstrained conduct, including WoNHYO (617-686), Chinmuk (1562-1633), and KYoNGHo SoNGU (1849-1912), and they followed ways of life that disregarded the standards of conduct typically incumbent upon ordained monks.

wuhui nianfo. (J. goe nenbutsu; K. ohoe yombul 五會念佛). In Chinese, "five-tempo intonation of [the name of] the buddha" (see NIANFO). A method of intoning the name of the buddha AMITĀBHA devised by the Tang-dynasty monk FAZHAO (d.u.). While in SAMĀDHI, Fazhao is said to have received instructions for the wuhui nianfo technique directly from Amitābha himself. The practice seems to be based on the larger SUKHĀVATĪVYuHASuTRA, which speaks of the bejeweled trees that produce music in five tempos when swayed by the wind. The first tempo is a leisurely chant performed in a high tone (ping). The second tempo is a high and rising tone (pingshang). The third tempo is neither leisurely nor rapid, and the fourth gradually becomes rapid. The fifth tempo is a rapid and repetitious recitation of the four characters "A-mi-tuo-fo," the Chinese pronunciation of Amitābha. According to Fazhao, the practical aim of this practice is to focus on the three jewels (RATNATRAYA) until one attains "no-thought" (WUNIAN) and nonduality (ADVAYA). Fazhao recommends wuhui nianfo for both clergy and lay who wish to rid themselves of the five types of suffering and the five hindrances, or to purify the five sense organs (INDRIYA) and attain the five powers (BALA). The ultimate purpose of the practice is to attain rebirth in the PURE LAND of SUKHĀVATĪ. Two manuals by Fazhao detailing the practice of wuhui nianfo, the Jingtu wuhui nianfo lüefa shiyi canben ("Praise for the Abbreviated Ritual Manual of the Pure Land Five-Tempo Intonation of [the Name of] the Buddha") and the Jingtu wuhui nianfo songjing guanxing yi ("Rite for Intoning the Buddha's Name, Reciting Scripture, and Performing Meditation According to the Five Tempos of the Pure Land"), were recovered in the DUNHUANG manuscript cache.

Yintuoluo wang 因陀羅網. See INDRAJĀLA

Yintuoluo 因陀羅. See INDRA

yiqing. (J. gijo; K. ŭijong 疑情). In Chinese, lit. the "sensation of doubt," or simply "doubt"; a feeling of puzzlement and sense of questioning that is a crucial factor in the meditation technique of "questioning meditation" (KANHUA CHAN) as systematized by DAHUI ZONGGAO (1089-1163). In the kanhua technique, doubt refers to the puzzlement and perplexity that the meditator feels when trying to understand the conundrum that is the GONG'AN (public case) or HUATOU (meditative topic). This doubt arises from the inability to understand the significance of the huatou through rational thought. This loss of confidence in one's conceptual and intellectual faculties releases the mind from the false sense of security engendered through habitual ways of thinking, creating a feeling of frustration that is often compared to "a mosquito trying to bite an iron ox." The meditator's sense of self ultimately becomes so identified with the huatou that the intense pressure created by the doubt "explodes" (C. po), freeing the mind from the personal point of view that is the self. Hence, by cutting off conceptualization and producing a state of intense concentration, the sensation of doubt helps to impel meditation forward toward the experience of awakening (WU). The term "sensation of doubt" was not coined by Dahui. One of its earliest usages is in the enlightenment poem of Luohan Guichen (867-928), the teacher of FAYAN WENYI (885-958), which describes enlightenment as shattering the "ball of doubt" (YITUAN). Dahui's grandteacher, WUZU FAYAN (d. 1104), also taught his students to keep the great ball of doubt. But it was Dahui who put doubt at the core of his interpretation of kanhua Chan meditation; for him, the sensation of doubt becomes an effective antidote to conceptual thinking as well as the force that drives the student forward toward enlightenment. The Chinese term yi is also used as the translation for the Sanskrit term VICIKITSĀ, or skeptical doubt, which was one of the five hindrances (NĪVARAnA) to meditative absorption (DHYĀNA). But rather than being viewed as it had been in India as a hindrance, in Dahui's interpretation doubt instead plays a crucial role in the meditative process.



QUOTES [5 / 5 - 107 / 107]


KEYS (10k)

   4 Sri Aurobindo
   1 Francis H Cook

NEW FULL DB (2.4M)

   69 Rabindranath Tagore
   8 Indra Nooyi
   5 Indra Devi
   4 Ravi Ravindra
   2 Plato
   2 Pat Conroy

1:Nothing has to be rejected, all has to be raised to the pure levels of the divine consciousness. ~ Sri Aurobindo, The Secret of the Veda, Indra and the Thought-Forces,
2:But Indra does not turn back from the quest like Agni and Vayu; he pursues his way through the highest ether of the pure mentality and there he approaches the Woman, the manyshining, Uma Haimavati; from her he learns that this Daemon is the Brahman by whom alone the gods of mind and life and body conquer and affirm themselves, and in whom alone they are great. ~ Sri Aurobindo, Kena And Other Upanishads, 83,
3:They climb Indra like a ladder. As one mounts peak after peak, there becomes clear the much that has still to be done. Indra brings consciousness of That as the goal.

Like a hawk, a kite He settles on the Vessel and upbears it; in His stream of movement He discovers the Rays, for He goes bearing his weapons: He cleaves to the ocean surge of the waters; a great King, He declares the fourth status. Like a mortal purifying his body, like a war-horse galloping to the conquest of riches He pours calling through all the sheath and enters these vessels. Rig Veda.2 ~ Sri Aurobindo, The Life Divine, 1.26,
4:Far away in the heavenly abode of the great god Indra, there is a wonderful net which has been hung by some cunning artificer in such a manner that it stretches out infinitely in all directions. In accordance with the extravagant tastes of deities, the artificer has hung a single glittering jewel in each eye of the net, and since the net itself is infinite in dimension, the jewels are infinite in number. There hang the jewels, glittering like stars in the first magnitude, a wonderful sight to behold. If we now arbitrarily select one of these jewels for inspection and look closely at it, we will discover that in its polished surface there are reflected all the other jewels in the net, infinite in number. Not only that, but each of the jewels reflected in this one jewel is also reflecting all the other jewels, so that there is an infinite reflecting process occurring.
   ~ Francis H Cook,
5:To what gods shall the sacrifice be offered? Who shall be invoked to manifest and protect in the human being this increasing godhead?

Agni first, for without him the sacrificial flame cannot burn on the altar of the soul. That flame of Agni is the seven-tongued power of the Will, a Force of God instinct with Knowledge. This conscious and forceful will is the immortal guest in our mortality, a pure priest and a divine worker, the mediator between earth and heaven. It carries what we offer to the higher Powers and brings back in return their force and light and joy into our humanity.

Indra, the Puissant next, who is the power of pure Existence self-manifested as the Divine Mind. As Agni is one pole of Force instinct with knowledge that sends its current upward from earth to heaven, so Indra is the other pole of Light instinct with force which descends from heaven to earth. He comes down into our world as the Hero with the shining horses and slays darkness and division with his lightnings, pours down the life-giving heavenly waters, finds in the trace of the hound, Intuition, the lost or hidden illuminations, makes the Sun of Truth mount high in the heaven of our mentality.

Surya, the Sun, is the master of that supreme Truth, - truth of being, truth of knowledge, truth of process and act and movement and functioning. He is therefore the creator or rather the manifester of all things - for creation is out-bringing, expression by the Truth and Will - and the father, fosterer, enlightener of our souls. The illuminations we seek are the herds of this Sun who comes to us in the track of the divine Dawn and releases and reveals in us night-hidden world after world up to the highest Beatitude.

Of that beatitude Soma is the representative deity. The wine of his ecstasy is concealed in the growths of earth, in the waters of existence; even here in our physical being are his immortalising juices and they have to be pressed out and offered to all the gods; for in that strength these shall increase and conquer.

Each of these primary deities has others associated with him who fulfil functions that arise from his own. For if the truth of Surya is to be established firmly in our mortal nature, there are previous conditions that are indispensable; a vast purity and clear wideness destructive of all sin and crooked falsehood, - and this is Varuna; a luminous power of love and comprehension leading and forming into harmony all our thoughts, acts and impulses, - this is Mitra; an immortal puissance of clear-discerning aspiration and endeavour, - this is Aryaman; a happy spontaneity of the right enjoyment of all things dispelling the evil dream of sin and error and suffering, - this is Bhaga. These four are powers of the Truth of Surya. For the whole bliss of Soma to be established perfectly in our nature a happy and enlightened and unmaimed condition of mind, vitality and body are necessary. This condition is given to us by the twin Ashwins; wedded to the daughter of Light, drinkers of honey, bringers of perfect satisfactions, healers of maim and malady they occupy our parts of knowledge and parts of action and prepare our mental, vital and physical being for an easy and victorious ascension.

Indra, the Divine Mind, as the shaper of mental forms has for his assistants, his artisans, the Ribhus, human powers who by the work of sacrifice and their brilliant ascension to the high dwelling-place of the Sun have attained to immortality and help mankind to repeat their achievement. They shape by the mind Indra's horses, the chariot of the Ashwins, the weapons of the Gods, all the means of the journey and the battle. But as giver of the Light of Truth and as Vritra-slayer Indra is aided by the Maruts, who are powers of will and nervous or vital Force that have attained to the light of thought and the voice of self-expression. They are behind all thought and speech as its impellers and they battle towards the Light, Truth and Bliss of the supreme Consciousness.

There are also female energies; for the Deva is both Male and Female and the gods also are either activising souls or passively executive and methodising energies. Aditi, infinite Mother of the Gods, comes first; and there are besides five powers of the Truthconsciousness, - Mahi or Bharati, the vast Word that brings us all things out of the divine source; Ila, the strong primal word of the Truth who gives us its active vision; Saraswati, its streaming current and the word of its inspiration; Sarama, the Intuition, hound of heaven who descends into the cavern of the subconscient and finds there the concealed illuminations; Dakshina, whose function is to discern rightly, dispose the action and the offering and distribute in the sacrifice to each godhead its portion. Each god, too, has his female energy.

All this action and struggle and ascension is supported by Heaven our Father and Earth our Mother Parents of the Gods, who sustain respectively the purely mental and psychic and the physical consciousness. Their large and free scope is the condition of our achievement. Vayu, master of life, links them together by the mid-air, the region of vital force. And there are other deities, - Parjanya, giver of the rain of heaven; Dadhikravan, the divine war-horse, a power of Agni; the mystic Dragon of the Foundations; Trita Aptya who on the third plane of existence consummates our triple being; and more besides.

The development of all these godheads is necessary to our perfection. And that perfection must be attained on all our levels, - in the wideness of earth, our physical being and consciousness; in the full force of vital speed and action and enjoyment and nervous vibration, typified as the Horse which must be brought forward to upbear our endeavour; in the perfect gladness of the heart of emotion and a brilliant heat and clarity of the mind throughout our intellectual and psychical being; in the coming of the supramental Light, the Dawn and the Sun and the shining Mother of the herds, to transform all our existence; for so comes to us the possession of the Truth, by the Truth the admirable surge of the Bliss, in the Bliss infinite Consciousness of absolute being. ~ Sri Aurobindo, Hymns to the Mystic Fire, The Doctrine of the Mystics,

*** NEWFULLDB 2.4M ***

1:Laughter drives shouting away. ~ Indra Devi,
2:Freedom is living without chains. ~ Indra Devi,
3:Yoga is the art and science of living. ~ Indra Devi,
4:ardor which is tapas; the name Indra ~ Roberto Calasso,
5:We must keep both our femininity and our strength. ~ Indra Devi,
6:Whatever anybody says or does, assume positive intent. ~ Indra Nooyi,
7:Take a stand. Be known for your courage and confidence. ~ Indra Nooyi,
8:At the end of the day, don't forget that you're a person. ~ Indra Nooyi,
9:We pretend we have it all. We pretend we can have it all. ~ Indra Nooyi,
10:Yoga means union, in all its significances and dimensions. ~ Indra Devi,
11:I wouldn't ask anyone to do anything I wouldn't do myself. ~ Indra Nooyi,
12:If you give up the guilt, that's a huge load off your shoulders. ~ Indra Nooyi,
13:Blogging is a great way to provide tips and advice to each other. ~ Indra Nooyi,
14:My parents made us dream that we could be anyone that we wanted to. ~ Indra Nooyi,
15:I do not belong to any religion. Everything is between God and myself. ~ Indra Devi,
16:If you want to improve the organization, you have to improve yourself. ~ Indra Nooyi,
17:As Indra’s wife, Lakshmi is known as Sachi and Indra is known as Sachin. ~ Devdutt Pattanaik,
18:The biological clock and the career clock are in total conflict with each other. ~ Indra Nooyi,
19:An important attribute of success is to be yourself. Never hide what makes you, you. ~ Indra Nooyi,
20:The glass ceiling will go away when women help other women break through that ceiling. ~ Indra Nooyi,
21:Women must not shout back when their husbands come home and shout at them for any reason. ~ Indra Devi,
22:Men have to descend from their pedestal and learn how to be more broadminded and spiritual. ~ Indra Devi,
23:Tell your husbands any bad news when everything is calm, not just as they come through the door. ~ Indra Devi,
24:At the end of time when God judges us humans, I just hope He remembers to judge Himself as well. ~ Indra Sinha,
25:Most importantly, we want to create a company where every employee can bring their whole selves to work. ~ Indra Nooyi,
26:Yoga is a way to freedom. By its constant practice, we can free ourselves from fear, anguish and loneliness. ~ Indra Devi,
27:Women helping each other - coaching, mentoring, and providing tips - is a great way for us to be our own force. ~ Indra Nooyi,
28:PepsiCo did not have a woman in the senior ranks, nor a foreign-born person who was willing to think differently ~ Indra Nooyi,
29:Are you ready, daughter of Indra?' it asked.
'Nope,' said Aru. She took a deep breath. 'But let's go anyway. ~ Roshani Chokshi,
30:I pick up the details that drive the organization insane. But sweating the details is more important than anything else ~ Indra Nooyi,
31:We women must listen to our inner voice. It is easier for women to do this as they are not afraid to say what they feel. ~ Indra Devi,
32:I am Sama Veda among the Vedas; I am Indra among the Devas; I am the mind among the senses; I am the consciousness in living beings. ~ Anonymous,
33:I'm very honest - brutally honest. I always look at things from their point of view as well as mine. And I know when to walk away. ~ Indra Nooyi,
34:Within infinite myths lies the Eternal Truth Who sees it all? Varuna has but a thousand eyes Indra, a hundred And I, only two ~ Devdutt Pattanaik,
35:Within Infinite Truths lies the Eternal Truth Who sees it all? Varuna has but a thousand eyes Indra, a hundred And I, only two ~ Devdutt Pattanaik,
36:Within infinite myths lies an eternal truth Who sees it all? Varuna has but a thousand eyes Indra, a hundred You and I, only two. ~ Devdutt Pattanaik,
37:Within infinite myths lies the eternal truth Who sees it all? Varuna has but a thousand eyes Indra, a hundred You and I, only two ~ Devdutt Pattanaik,
38:Every year in consulting is like three years in the corporate world because you have multiple clients, multiple issues - you grow so much. ~ Indra Nooyi,
39:with in a infinite myth their lies a eternal truth who sees it all. varuna has thousand eyes indra has hundred and you and i oly two. ~ Devdutt Pattanaik,
40:Blogging and the Internet allow us to engage in a lot more real time conversations as opposed to a one-way dump of information or a message. ~ Indra Nooyi,
41:the term ‘Indra’s Net’ has been preserved, and this allows scholars like myself to retrace the Vedic origins of these widely popular ideas. ~ Rajiv Malhotra,
42:Within infinite myths lies the Eternal Truth
Who sees it all?
Varuna has but a thousand eyes
Indra, a hundred
And I, only two ~ Devdutt Pattanaik,
43:Whatever anybody says or does, assume positive intent. You will be amazed at how your whole approach to a person or problem becomes very different. ~ Indra Nooyi,
44:Within infinite myths lies the eternal truth,
Who sees it all?
Varuna has but a thousand eyes
Indra a hundred
And I, only two. ~ Devdutt Pattanaik,
45:Leadership is hard to define and good leadership even harder. But if you can get people to follow you to the ends of the earth, you are a great leader. ~ Indra Nooyi,
46:The man who remains a fool even in advanced age is really a fool, just as the Indra-Varuna fruit does not become sweet no matter how ripe it might become. ~ Chanakya,
47:The first thing I'd say to women is put aside the guilt. I think we're all genetically programmed to feel guilty for not giving total effort at the job. ~ Indra Nooyi,
48:waters. When he was full-grown, Heti had him married to Sandhya Devi’s daughter, Salakatankata, and Vidyutkesa enjoyed his bride as Indra does Paulomi. ~ Ramesh Menon,
49:Nothing has to be rejected, all has to be raised to the pure levels of the divine consciousness. ~ Sri Aurobindo, The Secret of the Veda, Indra and the Thought-Forces,
50:Market growth alone doesn't give you enough tailwind. You have to create your own. The way to do that is by designing products for consumers that wow them. ~ Indra Nooyi,
51:Within infinite myths lies the eternal truth
Who sees it all?
Varuna has but a thousand eyes,
Indra has a hundred,
You and I, only two. ~ Devdutt Pattanaik,
52:My father was an absolutely wonderful human being. From him I learned to always assume positive intent. Whatever anybody says or does, assume positive intent. ~ Indra Nooyi,
53:But the good news was that my elder sister refused to get married straight away and I couldn't get married until she did so I had the licence to go off and dream ~ Indra Nooyi,
54:Within infinite myths lies the eternal truth
Who sees it all?
Varuna has but a thousand eyes,
Indra has a hundred,
And You and I, only two .”. ~ Devdutt Pattanaik,
55:It’s the Indian headshake. It means you are probably right, or probably wrong. Who knows? Varuna has but a thousand eyes, Indra a hundred, you and I only two. ~ Devdutt Pattanaik,
56:It becomes necessary to learn how to clear the mind of all clouds, to free it of all useless ballast and debris by dismissing the burden of too much concern with material things. ~ Indra Devi,
57:When I was president of the company, I said, 'Okay, I can do this - piece of cake.' Then when you are the CEO, the responsibilities multiply enormously because you worry about everything. ~ Indra Nooyi,
58:Just because you are CEO, don't think you have landed. You must continually increase your learning, the way you think, and the way you approach the organization. I've never forgotten that. ~ Indra Nooyi,
59:Like water which can clearly mirror the sky and the trees only so long as its surface is undisturbed, the mind can only reflect the true image of the Self when it is tranquil and wholly relaxed. ~ Indra Devi,
60:Women play a couple of roles. They are in professional schools and increasingly producing the talent to keep the engines of the economy growing, but they're also the nurturers and the caregivers. ~ Indra Nooyi,
61:When I grew up there was no web, blogging or tweeting. In fact, where I grew up there was not even television! I met a lot of my friends in school and in college, and they are still my friends today. ~ Indra Nooyi,
62:As a leader, I am tough on myself and I raise the standard for everybody; however, I am very caring because I want people to excel at what they are doing so that they can aspire to be me in the future. ~ Indra Nooyi,
63:If I hadn't had mentors, I wouldn't be here today. I'm a product of great mentoring, great coaching... Coaches or mentors are very important. They could be anyone-your husband, other family members, or your boss. ~ Indra Nooyi,
64:The man who is praised by others is regarded as worthy though he may be really void of all merit. But the man who sings his own praises becomes disgraced though he should be Indra, the possessor of all excellencies. ~ Chanakya,
65:When you assume negative intent, you're angry. If you take away that anger and assume positive intent, you will be amazed. Your emotional quotient goes up because you are no longer almost random in your response. ~ Indra Nooyi,
66:Indian business women like Indra Nooyi, Chanda Kochhar, Naina Lal Kidwai, Shikha Sharma, Swati Piramal, Anu Agha, Swati Piramal, Sulajja Firodia Motwani and Zia Mody have put India on the global firmament. ~ Kiran Mazumdar Shaw,
67:Anything that's done to address unemployment in terms of massive stimulus spending is going to exacerbate deficits. And anything that's done to address deficits in the short-term is going to exacerbate unemployment. ~ Indra Nooyi,
68:In today's world of blogging and tweeting, conversation has become a bit more staccato. In many ways we're more efficient, but I think the amount of longer conversations that radiated more warmth may have gone down. ~ Indra Nooyi,
69:Should the urge to find a fixed single objective truth grip you, remind yourself: Within infinite myths lies an eternal truth Who sees it all? Varuna has but a thousand eyes Indra, a hundred You and I, only two. ~ Devdutt Pattanaik,
70:The boy answers, "Don't ask unless you are willing to be hurt."
Indra says, "I ask. Teach." (That, by the way, is a good Oriental idea: you don't teach until you are asked. You don't force your mission down people's throats.) ~ Joseph Campbell,
71:My guilty pleasures are the websites where you can look at the fashions and see how different outfits will look. You can even take a picture of yourself and download it and play with the fashions! I love playing with these websites to see what I can learn. ~ Indra Nooyi,
72:What i would not do is flaunt my Indianess by wearing a saree to work everyday, because it distracts from the Job. So, i would not do that. When in Rome, do as the Romans do. Social events are different. If i feel comfortable in a saree for a social event, I wear it. ~ Indra Nooyi,
73:Most companies target women as end users, but few are effectively utilizing female employees when it comes to innovating for female consumers. When women are empowered in the design and innovation process, the likelihood of success in the marketplace improves by 144%! ~ Indra Nooyi,
74:There will never be a replacement for that ongoing physical contact. But I don't think blogging is meant to replace the face-to-face of friendships and meetings. Blogging is a way to keep in touch with a larger group of people on an ongoing basis, in a more efficient way. ~ Indra Nooyi,
75:I grew up in a Hindu household but went to a Roman Catholic school. I grew up with a mother who said, 'I'll arrange a marriage for you at 18,' but she also said that we could achieve anything we put our minds to an encourage us to dream of becoming prime minister or president ~ Indra Nooyi,
76:I asked my parents for permission to study in America and they were so sure that I wouldn't get in and get a scholarship that they encouraged me to try. So I applied to Yale and got an excellent scholarship. I then worked for the Boston Consulting Group for six and half years. ~ Indra Nooyi,
77:Before leaving Hastina-puri, Krishna went to Kunti, mother of the Pandavas, who had stayed back with her brother-in-law. Krishna asked her if she had any advice for her sons who were rather disheartened, though not surprised, by the Kaurava refusal to return Indra-prastha ~ Devdutt Pattanaik,
78:I think innovation as a discipline needs to go back and get rethought and revived. There are so many models to talk about innovation, there are so many typologies of innovation, and you have to find a good innovation metric that truly captures the innovation performance of a company. ~ Indra Nooyi,
79:There is nothing like a concrete life plan to weigh you down. Because if you always have one eye on some future goal, you stop paying attention the the job at hand, miss opportunities that might arise, and stay fixedly on one path, even when a better, newer course might have opened up. ~ Indra Nooyi,
80:I was invited by a publisher to write the text for Tantra.[1] Having done some research, what fascinated me was the evidence that many 'tantric' ideas actually came to India from the Mediterranean. It is rather a dry read and debunks reports of orgies and sexual mischief – sorry to disappoint. ~ Indra Sinha,
81:Lots are written about how 'she shows up at board meetings in the saree.' My God, I have never worn a saree to board meetings; people play it out in different ways. I think I have never shied away from the fact that I am an Indian, and I don't intend to, but you can be at home with both cultures. ~ Indra Nooyi,
82:The one thing I have learned as a CEO is that leadership at various levels is vastly different. When I was leading a function or a business, there were certain demands and requirements to be a leader. As you move up the organization, the requirements for leading that organization don't grow vertically; they grow exponentially. ~ Indra Nooyi,
83:The distance between number one and number two is always a constant. If you want to improve the organization, you have to improve yourself and the organization gets pulled up with you. That is a big lesson. I cannot just expect the organization to improve if I don't improve myself and lift the organization, because that distance is a constant. ~ Indra Nooyi,
84:Indra, with his thunderbolt, slew the dragon of drought. Trita, the son of Aptya, also slew a tri-headed dragon named Visvarupa. And there's the story of Keresaspa who slew the dragon Srvra and for whom Zarathustra intervened. Saam, the vassal of Minucihr, met many a dragon, but his great battle was with the one that haunted the river Kashaf. Then ~ S S Van Dine,
85:Sri Krishnamacharya used to tell me: 'Do the Headstand when you are tired and in need of a tonic; when you are unable to fall asleep; when you are hungry, nervous and unhappy. Do it when in need of relaxation, when the brain is clouded, when you are in low spirits. Do it when your thoughts are distracted and you cannot concentrate properly or meditate.' ~ Indra Devi,
86:Tranquillizers do not change our environment, nor do they change our personalities. They merely reduce our responsiveness to stimuli. They dull the keen edge of the angers, fears, or anxiety with which we might otherwise react to the problems of living. Once the response has been dulled, the irritating surface noise of living muted or eliminated, the spark and brilliance are also gone. ~ Indra Devi,
87:But Indra does not turn back from the quest like Agni and Vayu; he pursues his way through the highest ether of the pure mentality and there he approaches the Woman, the manyshining, Uma Haimavati; from her he learns that this Daemon is the Brahman by whom alone the gods of mind and life and body conquer and affirm themselves, and in whom alone they are great. ~ Sri Aurobindo, Kena And Other Upanishads, 83,
88:While the boy is talking, an army of ants parades across the floor. The boy laughs when he sees them, and Indra's hair stands on end, and he says to the boy, "Why do you laugh?"
The boy answers. "Don't ask unless you are willing to be hurt."
Indra says, "I ask. Teach." (That, by the way, is a good Oriental idea: you don't teach until you are asked. You don't force your mission down people's throats.) ~ Joseph Campbell,
89:Combating climate change is absolutely critical to the future of our company,Green Cooler customers, consumers-and our world. I believe all of us need to take action now. PepsiCo has already taken actions in our operations and throughout our supply chain to 'future- proof' our company-all of which deliver real cost savings, mitigate risk, protect our license to operate, and create resilience in our supply chain. ~ Indra Nooyi,
90:The Kama Sutra is neither exclusively a sex manual nor, as also commonly used art, a sacred or religious work. It is certainly not a tantric text. In opening with a discussion of the three aims of ancient Hindu life – dharma, artha and kama – Vatsyayana's purpose is to set kama, or enjoyment of the senses, in context. Thus dharma or virtuous living is the highest aim, artha, the amassing of wealth is next, and kama is the least of three. ~ Indra Sinha,
91:I don't think women can have it all. I just don't think so...My husband and I have been married for 34 years, and we have two daughters. And every day you have to make a decision about whether you are going to be a wife or a mother. In fact, many times during the day you have to make those decisions...We co-opted our families to help us. We plan our lives meticulously so we can be decent parents. But if you ask our daughters, I'm not sure they will say that I've been a good mom. ~ Indra Nooyi,
92:Just think, Vishnu sleeps in the cosmic ocean, and the lotus of the universe grows from his navel. On the lotus sits Brahma, the creator. Brahma opens his eyes, and a world comes into being, governed by an Indra. Brahma closes his eyes, and a world goes out of being. The life of a Brahma is 432,000 years. When he dies, the lotus goes back, and another lotus is formed, and another Brahma. Then think of the galaxies beyond galaxies in infinite space, each a lotus, with a Brahma sitting on it, opening his eyes, closing his eyes. ~ Joseph Campbell,
93:There are stories that explain how the High God was deposed: Ouranos, the Sky God of the Greeks, for example, was actually castrated by his son Kronos, in a myth that horribly illustrates the impotence of these Creators, who were so removed from the ordinary lives of human beings that they had become peripheral. People experienced the sacred power of Baal in every rainstorm; they felt the force of Indra every time they were possessed by the transcendent fury of battle. But the old Sky Gods did not touch people’s lives at all. ~ Karen Armstrong,
94:English version by A. J. Alston I have heard that today Hari will come. O my companion, I will climb my high palace To see when my King will come Frogs, peacocks and papihas are calling. The koil is striking its plaintive note Indra is exulting, rain is falling everywhere. The lightning is dancing without shame The earth robes herself anew To greet Indra. Says Mira, O my Master, the courtly Giridhara Come quickly, my King [bk1sm.gif] -- from The Devotional Poems of Mirabai, by Mirabai / Translated by A. J. Alston

~ Mirabai, I have heard that today Hari will come
,
95:They climb Indra like a ladder. As one mounts peak after peak, there becomes clear the much that has still to be done. Indra brings consciousness of That as the goal.

Like a hawk, a kite He settles on the Vessel and upbears it; in His stream of movement He discovers the Rays, for He goes bearing his weapons: He cleaves to the ocean surge of the waters; a great King, He declares the fourth status. Like a mortal purifying his body, like a war-horse galloping to the conquest of riches He pours calling through all the sheath and enters these vessels. Rig Veda.2 ~ Sri Aurobindo, The Life Divine, 1.26,
96:The list of the deathless mortals who suffered for man that he might receive the boon of eternal life is an imposing one. Among those connected historically or allegorically with a crucifixion are Prometheus, Adonis, Apollo, Arys, Bacchus, Buddha, Christna, Horus, Indra, Ixion, Mithras, Osiris, Pythagoras, Quetzalcoatl, Semiramis, and Jupiter. According to the fragmentary accounts extant, all these heroes gave their lives to the service of humanity and, with one or two exceptions, died as martyrs for the cause of human progress. In many mysterious ways the manner of their death has been designedly concealed, but it is possible that most of them were crucified upon a cross or tree. ~ Manly P Hall, Secret Teachings of all Ages,
97:The future Buddha was once born as a rabbit, who vowed that he would give his own flesh to any beggar who came to him, in order to protect the beggar from having to break the moral law by taking animal life. To test him, Indra, the Hindu king of the gods, took the form of a Brahmin and came to him; the rabbit offered to throw himself into a fire and roast himself so that the Brahmin could eat him. Indra conjured up a magical fire; when the rabbit—who first shook himself three times so that any insects that might be on his body would escape death—threw himself into the fire, it turned icy cold. Indra then revealed his identity as Indra, and so that everyone would know of the rabbit’s virtue, he painted the sign of a rabbit on the orb of the moon. ~ Wendy Doniger,
98:In the morning I bathe my intellect in the stupendous and cosmogonal philosophy of the Bhagvat Geeta, since whose composition years of the gods have elapsed, and in comparison with which our modern world and its literature seem puny and trivial; and I doubt if that philosophy is not to be referred to a previous state of existence, so remote is its sublimity from our conceptions. I lay down the book and go to my well for water, and lo! there I meet the servant of the Bramin, priest of Brahma and Vishnu and Indra, who still sits in his temple on the Ganges reading the Vedas, or dwells at the root of a tree with his crust and water jug. I meet his servant come to draw water for his master, and our buckets as it were grate together in the same well. The pure Walden water is mingled with the sacred water of the Ganges. ~ Henry David Thoreau,
99:Far away in the heavenly abode of the great god Indra, there is a wonderful net which has been hung by some cunning artificer in such a manner that it stretches out infinitely in all directions. In accordance with the extravagant tastes of deities, the artificer has hung a single glittering jewel in each eye of the net, and since the net itself is infinite in dimension, the jewels are infinite in number. There hang the jewels, glittering like stars in the first magnitude, a wonderful sight to behold. If we now arbitrarily select one of these jewels for inspection and look closely at it, we will discover that in its polished surface there are reflected all the other jewels in the net, infinite in number. Not only that, but each of the jewels reflected in this one jewel is also reflecting all the other jewels, so that there is an infinite reflecting process occurring.
   ~ Francis H Cook,
100:There are five kinds of liberation, the least important of which is called sāyujya, to become one with the Supreme. Devotees don’t care for such liberation because they are actually intelligent. Nor are they inclined to accept any of the other four kinds of liberation, namely to live on the same planet as the Lord, to live with Him side by side as an associate, to have the same opulence, or to attain the same bodily features. They are concerned only with glorifying the Supreme Lord and His auspicious activities. Pure devotional service is śravaṇaṁ kīrtanam. Pure devotees, who take transcendental pleasure in hearing and chanting the glories of the Lord, do not care for any kind of liberation; even if they are offered the five liberations, they refuse to accept them, as stated in the Bhāgavatam in the Third Canto. Materialistic persons aspire for the sense enjoyment of heavenly pleasure in the heavenly kingdom, but devotees reject such material pleasure at once. The devotee does not even care for the post of Indra. A devotee knows that any pleasurable material position is subject to be annihilated at a certain point. Even ~ A C Bhaktivedanta Swami Prabhup da,
101:TRANSLATION Hurled by the mighty demon with all his strength, the flying trident shone brightly in the sky. The Personality of Godhead, however, tore it to pieces with His discus Sudarśana, which had a sharp-edged rim, even as Indra cut off a wing of Garuḍa. PURPORT The context of the reference given herein regarding Garuḍa and Indra is this: Once upon a time, Garuḍa, the carrier of the Lord, snatched away a nectar pot from the hands of the demigods in heaven in order to liberate his mother, Vinatā, from the clutches of his stepmother, Kadrū, the mother of the serpents. On learning of this, Indra, the King of heaven, hurled his thunderbolt against Garuḍa. With a view to respect the infallibility of Indra’s weapon, Garuḍa, though otherwise invincible, being the Lord’s own mount, dropped one of his wings, which was shattered to pieces by the thunderbolt. The inhabitants of higher planets are so sensible that even in the process of fighting they observe the preliminary rules and regulations of gentleness. In this case, Garuḍa wanted to show respect for Indra; since he knew that Indra’s weapon must destroy something, he offered his wing. ~ A C Bhaktivedanta Swami Prabhup da,
102:said, 'While the (Kuru) host was shaken by the grandson of Sini in these places (through which he proceeded), the son of Bharadwaja covered him with a dense shower of arrows. The encounter that then took place between Drona and Satwata in the very sight of all the troops was extremely fierce, like that between Vali and Vasava (in days of old). Then Drona pierced the grandson of Sini on the forehead with three beautiful arrows made entirely of iron and resembling' snakes of virulent poison. Thus pierced on the forehead with those straight shafts, Yuyudhana, O king, looked beautiful like a mountain with three summits. The son of Bharadwaja always on the alert for an opportunity, then sped in that battle many other arrows of Satyaki which resembled the roar of Indra's thunder. Then he of Dasarha's race, acquainted with the highest weapons, cut off all those arrows shot from Drona's bow, with two beautifully winged arrows of his. Beholding that lightness of hand (in Satyaki), Drona, O king, smiling the while, suddenly pierced that bull among the Sinis with thirty arrows. Surpassing by his own lightness the lightness of Yuyudhana, Drona, once more, pierced ~ Krishna Dwaipayana Vyasa,
103:Around his celestial home Indra had flung a vast net—a web stretching out infinitely in all directions. Each vertex, or node, of this net was held together by a glittering jewel. There were infinite nodes, and so there were infinite jewels. What does it mean? Just this: Each gem in the net represents a human soul. And though each of these jewels is unique (has its own fingerprint!) it also reflects in its polished surface the image of all the other jewels. American philosopher and psychologist Alan Watts imagined this web as a multidimensional spiderweb. He said, “Imagine this web in the early morning, covered with dewdrops. And every dewdrop contains the reflection of all the other dewdrops. And, in each reflected dewdrop, the reflections of all the other dewdrops in that reflection. And so on ad infinitum.” Each jewel in Indra’s net represents both itself as a particular jewel, and, at the same time, the entire web. So, any change in one gem would be reflected in the whole. Indeed, the individual gem is the whole. In the words of Indologist Sir Charles Eliot, “Every object in the world is not merely itself but involves every other object and in fact IS everything else.” It is, therefore, the sacred duty of every individual human soul to be utterly and completely itself—to be that jewel at that time and in that place, and to be that jewel utterly. It is in this way—merely by being itself—that one jewel holds together its own particular corner of Space and Time. The action of each individual soul holds together the entire net. Small and large at the same time. ~ Stephen Cope,
104:Ram finally stood up and said in a voice that was clear and soothing, ‘Know this, Ayodhya is not mine to give or Bharata’s to take; Ayodhya is the responsibility of the Raghu clan, not our property. It will be injustice if the kings of the Raghu clan do not keep their word, it will be injustice if the wishes of Kaikeyi are not fulfilled. My father promised to fulfil her wishes and he is obliged to fulfil them, as am I. Do not blame her for asking what is due to her. Yes, the event is unfortunate but it is but one event in our lives; we can call it a tragedy if we wish. Blaming helps no one; let us take responsibility for it. For nothing in life happens spontaneously: it is the result of past actions. This moment is as it is supposed to be. I am repaying the debt of the past and so are you. We cannot choose the circumstances of our life, but we can make our choices. I have chosen to be true to my clan. My wife has chosen to be true to her role as my wife. My brother has chosen to be true to his feelings. Allow us our choices. Come to terms with our decisions. You are angry not with the queen or her son, or the king, you are angry that life has not turned out the way you thought it would. In a moment, the world you so took for granted has collapsed. Expand your mind and understand that the pain comes from your assumptions and expectations. Choose love over hate, by accepting the fears and fragilities of humanity that lead to situations such as these. This moment is the outcome of some curse, or maybe it is a boon in waiting. Who knows? Varuna has a thousand eyes, Indra a hundred, you and I, only two. ~ Devdutt Pattanaik,
105:Dominions Of The Boundary
The Survival Of The Gods
1 Twilight
The gods of Nature abdicate
When man intrudes too far:
The Dryad leaves her woodland state,
And Jove his thunder-car:
No more Apollo reins the sun
Or Neptune rides the sea,
The race of Oread is run,
And Pan has ceased to be:
The formless Winds are roaming through
Druidic grove and vale:
Deserted Asgard and Meru
For Thor and Indra wail:
Majestic Forms oblivion 'scape
As kelpie, sylph, and gnome,
Astarte hides in gentler shape,
And Vestals hearthless roam:
Thrones, Dominions, Virtues, Powers,
Fall from Their Mystic Tree,
And sacrilegious Time devours
Each Principality.
2 Sceptic:
Whatever dramas of the Vast
About our drama play,
Or necromancies from the past
Project their gloom to-day,
We seem to hear the Uncreate
Slowly let this be knownThat man has fashioned all his fate
And stands, on earth, alone:
17
That all he needs was in him stored,
Material and plan;
That ne'er was deity adored
But first was made by man.
3 The Abiding Gods:
But tho' we mumble sceptic saw,
Or sweet old prayers forget;
And tho' we dream of Higher Law,
The gods are living yet:
For they who will no Monitor,
Save One Unnamed, allow,
Allegiance deep to Love or War,
Or Chance or Wind avow:
Avow by no mere cult of names,
No pattering of creeds,
But by the sacrificial flames
Of lifelong thoughts and deeds.
When mediaeval hurricane
The gods in exile drove,
'Thrice-greatest' Hermes and his train
Usurped the seats of Jove:
Where still their Wisdom rules the spheres
Of yet uncharted Law,
By building in our nerves the fears
Our sires in Nature saw:
In other garments everywhere,
Behold, the prophetess,
Clairaudient interpreter,
Clairvoyant Pythoness!
Suburban Delphis for the rich,
The Gnosis for the staid!
Perennial by the road, the witch
Of Endor plies her trade!
18
4 Mystic:
All is not daylight in the day,
Or knowledge in the known;
The life we are, the prayer we pray,
From deep, to deep, is blown.
Though Reason claim omniscient worth
And lush her dogmas thrive:
Our present home is more than earth,
Our senses more than five.
And the mystic who sees the star-folk throng,
Where we but the noonday blue,
Knows no religion yet was wrong
And never a myth untrue.
The wrong road now was the old high way
Of young Truth's caravan;
To-morrow is not to-day, to-day,
Or the baby yet a man.
Though mountain watchmen daily see
Horizons widen far,
Dominions of the Boundary
Have ever ruled, and are.
5 Heracleitic:
The lines of godhood all converge
At last to unity:
And the images of all emerge
From every god we see.
So Hermes here and Venus there
Are Memory, are Fate;
And all are Winds; and the Sirens fair
Mute in the Wisdoms wait.
All life is a stream and mortals stand
On a heaving and passing earth:
And the land of gods is a changing land
As the land that gave it birth.
19
Life is a stream: through a gorge we go
'Tween a deep and a living deep:
Form is the gorge, and change is the flow,
And the source and the mouth are sleep.
6 Historic:
Torrential barbarisms need
Charioteers of Pain:
And wise gods sleep when men recede
To callow youth again.
But in that age-long sleep have waned
A myriad gods, or fled:
Olympic altars are disdained
And Gnostic Wisdom dead.
For what to Vandals or to Huns,
When Rome's red lips were ripe,
Were calm Hellenic Shining Ones,
Or Gnostic Archetype?
Yet Time matured to mellow wine
The Roman-Gothic must,
For Mercy and a Maid Divine
Subdued the hate and lust:
Till Hedonist and Stoic hold
Antique debates anew:
And hither return the virtues old
(Alas! and old vice too!).
Marooned no more, we sail the sea,
Ere sad gods were, we knew:
And from Platonic prows decree'The gods are Me, are You!'
7 Omni-Benevolence:
Yet, shaping slowly through the storm
And bidding darkness fade,
Evolving eyes discern a Form
No clay-creator made:
20
A Symbol Form that mirrors ours,
That is, yet is not, we,
That seems to hint of Higher Powers
Than Fate or Memory:
That takes the image as we gaze
Of the Holiest Ones that were:
For here It looks from Jesus' face,
And from Mohammed's, there:
'Tis Moses, yea, 'tis Krishna's form;
'Tis fire, 'tis star, 'tis sun:
A myriad now Its faces swarm,
Now, All and It are One:
The Chinese 'Way' one watcher sees,
And one a Brooding Dove,
One Baldur, Buddh or SocratesBut always It is Love.
~ Bernard O'Dowd,
106:To what gods shall the sacrifice be offered? Who shall be invoked to manifest and protect in the human being this increasing godhead?

Agni first, for without him the sacrificial flame cannot burn on the altar of the soul. That flame of Agni is the seven-tongued power of the Will, a Force of God instinct with Knowledge. This conscious and forceful will is the immortal guest in our mortality, a pure priest and a divine worker, the mediator between earth and heaven. It carries what we offer to the higher Powers and brings back in return their force and light and joy into our humanity.

Indra, the Puissant next, who is the power of pure Existence self-manifested as the Divine Mind. As Agni is one pole of Force instinct with knowledge that sends its current upward from earth to heaven, so Indra is the other pole of Light instinct with force which descends from heaven to earth. He comes down into our world as the Hero with the shining horses and slays darkness and division with his lightnings, pours down the life-giving heavenly waters, finds in the trace of the hound, Intuition, the lost or hidden illuminations, makes the Sun of Truth mount high in the heaven of our mentality.

Surya, the Sun, is the master of that supreme Truth, - truth of being, truth of knowledge, truth of process and act and movement and functioning. He is therefore the creator or rather the manifester of all things - for creation is out-bringing, expression by the Truth and Will - and the father, fosterer, enlightener of our souls. The illuminations we seek are the herds of this Sun who comes to us in the track of the divine Dawn and releases and reveals in us night-hidden world after world up to the highest Beatitude.

Of that beatitude Soma is the representative deity. The wine of his ecstasy is concealed in the growths of earth, in the waters of existence; even here in our physical being are his immortalising juices and they have to be pressed out and offered to all the gods; for in that strength these shall increase and conquer.

Each of these primary deities has others associated with him who fulfil functions that arise from his own. For if the truth of Surya is to be established firmly in our mortal nature, there are previous conditions that are indispensable; a vast purity and clear wideness destructive of all sin and crooked falsehood, - and this is Varuna; a luminous power of love and comprehension leading and forming into harmony all our thoughts, acts and impulses, - this is Mitra; an immortal puissance of clear-discerning aspiration and endeavour, - this is Aryaman; a happy spontaneity of the right enjoyment of all things dispelling the evil dream of sin and error and suffering, - this is Bhaga. These four are powers of the Truth of Surya. For the whole bliss of Soma to be established perfectly in our nature a happy and enlightened and unmaimed condition of mind, vitality and body are necessary. This condition is given to us by the twin Ashwins; wedded to the daughter of Light, drinkers of honey, bringers of perfect satisfactions, healers of maim and malady they occupy our parts of knowledge and parts of action and prepare our mental, vital and physical being for an easy and victorious ascension.

Indra, the Divine Mind, as the shaper of mental forms has for his assistants, his artisans, the Ribhus, human powers who by the work of sacrifice and their brilliant ascension to the high dwelling-place of the Sun have attained to immortality and help mankind to repeat their achievement. They shape by the mind Indra's horses, the chariot of the Ashwins, the weapons of the Gods, all the means of the journey and the battle. But as giver of the Light of Truth and as Vritra-slayer Indra is aided by the Maruts, who are powers of will and nervous or vital Force that have attained to the light of thought and the voice of self-expression. They are behind all thought and speech as its impellers and they battle towards the Light, Truth and Bliss of the supreme Consciousness.

There are also female energies; for the Deva is both Male and Female and the gods also are either activising souls or passively executive and methodising energies. Aditi, infinite Mother of the Gods, comes first; and there are besides five powers of the Truthconsciousness, - Mahi or Bharati, the vast Word that brings us all things out of the divine source; Ila, the strong primal word of the Truth who gives us its active vision; Saraswati, its streaming current and the word of its inspiration; Sarama, the Intuition, hound of heaven who descends into the cavern of the subconscient and finds there the concealed illuminations; Dakshina, whose function is to discern rightly, dispose the action and the offering and distribute in the sacrifice to each godhead its portion. Each god, too, has his female energy.

All this action and struggle and ascension is supported by Heaven our Father and Earth our Mother Parents of the Gods, who sustain respectively the purely mental and psychic and the physical consciousness. Their large and free scope is the condition of our achievement. Vayu, master of life, links them together by the mid-air, the region of vital force. And there are other deities, - Parjanya, giver of the rain of heaven; Dadhikravan, the divine war-horse, a power of Agni; the mystic Dragon of the Foundations; Trita Aptya who on the third plane of existence consummates our triple being; and more besides.

The development of all these godheads is necessary to our perfection. And that perfection must be attained on all our levels, - in the wideness of earth, our physical being and consciousness; in the full force of vital speed and action and enjoyment and nervous vibration, typified as the Horse which must be brought forward to upbear our endeavour; in the perfect gladness of the heart of emotion and a brilliant heat and clarity of the mind throughout our intellectual and psychical being; in the coming of the supramental Light, the Dawn and the Sun and the shining Mother of the herds, to transform all our existence; for so comes to us the possession of the Truth, by the Truth the admirable surge of the Bliss, in the Bliss infinite Consciousness of absolute being. ~ Sri Aurobindo, Hymns to the Mystic Fire, The Doctrine of the Mystics,
107: The Descent of Ahana
I
AHANA
Strayed from the roads of Time, far-couched on the void I have slumbered;
Centuries passed me unnoticed, millenniums perished unnumbered.

I, Ahana, slept. In the stream of thy sevenfold Ocean,
Being, how hast thou laboured without me? Whence was thy motion?
Not without me can thy nature be satisfied. But I came fleeing; -
Vexed was my soul with the joys of sound and weary of seeing;
Into the deeps of my nature I lapsed, I escaped into slumber.

Out of the silence who call me back to the clamour and cumber?
Why should I go with you? What hast thou done in return for my labour,
World? what wage had my soul when its strength was thy neighbour,
Though I have loved all, working and suffering, giving them pleasure?
I have escaped from it all; I have fled from the pitiless pressure.

Silence vast and pure, again to thy wideness receive me;
For unto thee I turn back from those who would use me and grieve me.
VOICES
Nay, thou art thrilled, O goddess; thy calm thou shalt not recover,
But must come down to this world of pain and the need of thy lover.

Joy as thou canst, endure as thou must, but bend to our uses.

Vainly thy heart repines, - thou wast made for this, - vainly refuses.
AHANA
Voices of joy, from the roseate arbour of sense and the places
Thrilled with the song and the scent and peopled with beautiful faces,
Long in your closes of springtime, lured to joyaunce unsated
Tarried my heart, and I walked in your meadows, your chaplets I plaited,
Played in your gardens of ease and, careless of blasts in the distance,
Paced, pursued by the winds, your orchard of autumn's persistence,
Saw on the dance of a ripple your lotus that slumbers and quivers,
Heard your nightingales warbling in covert by moon-gilded rivers.
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But I relinquished your streams and I turned from your moonbeams and flowers;
Now I have done with space and my soul is released from the hours.

Saved is my heart from the need of joy, the attraction to sorrow,
Who have escaped from my past and forgotten today and tomorrow;
I have grown vacant and mighty, naked and wide as the azure.

Will you now plant in this blast, on this snow your roses of pleasure?
Once was a dwelling here that was made for the dance of the Graces,
But I have hewn down its gardens and ravaged its delicate places,
Driven the revellers out from their pleasaunce to wander unfriended,
Flung down the walls and over the debris written 'tis ended.

Now, and I know not yet wherefore, the Mighty One suffers you near Him,
But in their coming the great Gods hesitate seeming to fear Him.

Thought returns to my soul like a stranger. Sweetness and feature
Draw back appalled to their kind from the frozen vasts of my nature.

Turn back you also, angels of yearning, vessels of sweetness.

Have I not wandered from Time, left ecstasy, outstripped completeness?

VOICES
Goddess, we moaned upon earth and we wandered exiled from heaven.

Joy from us fled; our hearts to the worm and the arrow were given.

Old delights we remembered, natures of ecstasy keeping,
Hastened from rose to rose, but were turned back wounded and weeping:
Snatches of pleasure we seized; they were haunted and challenged by sorrow.

Marred was our joy of the day by a cloud and the dread of the morrow.

Star of infinity, we have beheld thee bright and unmoving
Seated above us, in tracts unattained by us, throned beyond loving.

Lonely thou sittest above in the fruitless vasts of the Spirit.

Waitest thou, goddess, then for a fairer world to inherit?
Wilt thou not perfect this rather that sprang too from Wisdom and Power?
Taking the earthly rose canst thou image not Heaven in a flower?
Nay, if thou save not this, will another rise from the spaces?
Is not the past fulfilled that gives room for the future faces?
Winging like bees to thy limbs we made haste like flames through the azure;
O we were ploughed with delight, we were pierced as with arrows of pleasure.
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Rapture yearned and the Uswins cried to us; Indra arising
Gazed from the heights of his mental realms and the moonbeams surprising
Flowed on him out of the regions immortal; their nectar slowly
Mixed with the scattered roses of dawn and mastered us wholly.

Come, come down to us, Woman divine, whom the world unforgetting
Yearns for still, - we will draw thee, O star, from thy colourless setting.

Goddess, we understand thee not; Woman, we know not thy nature;
This yet we know, we have need of thee here in our world of misfeature.

Therefore we call to thee and would compel if our hands could but reach thee.

O, we have means to compel; we have many a sweetness to teach thee
Charming thee back to thy task mid our fields and our sunbeams and flowers,
Weaving a net for thy feet with the snare of the moonlit hours.
AHANA
Spirits of helpless rapture, spirits of sweetness and playtime,
Thrilled with my honey of night and drunk with my wine of the daytime,
If there were strengths that could seize on the world for their passion and rapture,
If there were souls that could hunt after God as a prey for their capture,
Such might aspire to possess me. I am Ahana the mighty,
I am Ashtaroth, I am the goddess, divine Aphrodite.

You have a thirst full sweet, but earth's vineyards quickly assuage it:
There must be thoughts that outmeasure existence, strengths that besiege it,
Natures fit for my vastness! Return to your haunts, O ye shadows
Beautiful. Not of my will I descend to the bee-haunted meadows,
Rivulets stealing through flowers. Let those who are mighty aspire,
Gods if there are of such greatness, to seize on the world's Desire.
VOICES
Good, it is spoken. We wait thee, Ahana, where fugitive traces
Came of the hunted prey of the Titans in desert places
Trod by thee once, when the world was mighty and violent. Risen,
Hark, they ascend; they are freed by thy call from the seals of their prison.
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AHANA

Rush I can hear as of wings in the void and the march of a nation.

Shapes of old mightiness visit me; movements of ancient elation
Stride and return in my soul, and it turns like an antelope fleeing.

What was the cry that thou drewst from my bosom, Lord of my being?
Lo, their souls are cast on my soul like forms on a mirror!
Hark, they arise, they aspire, they are near, and I shudder with terror,
Quake with delight and attraction. Lord of the worlds, dost Thou leave me
Bare for their seizing? of peace and of strength in a moment bereave me?
Long hast Thou kept me safe in Thy soul, but I lose my defences.

Thought streams fast on me; joy is awake and the strife of the senses.

Ah, their clutch on my feet! my thighs are seized by them! Legions
Mighty around me they stride; I feel them filling the regions.

Seest Thou their hands on my locks? Wilt Thou suffer it, Master of Nature?
I am Thy force and Thy strength; wilt Thou hand me enslaved to Thy creature?
Headlong they drag me down to their dreadful worlds far below me.

What will you do with me there, O you mighty Ones? Speak to me, show me
One of your faces, teach me one of your names while you ravish,
Dragging my arms and my knees while you hurry me. Tell me what lavish
Ecstasy, show me what torture immense you seize me for. Quittance
When shall I have from my labour? What term has your tyranny, Titans?
Masters fierce of your worlds who would conquer the higher creation,
What is your will with me, giants of violence, lords of elation?

VOICES
In the beginning of things when nought was abroad but the waters,
Ocean stirred with longing his mighty and deep-bosomed daughters.

Out of that longing we rose from the voiceless heart of the Ocean;
Candid, unwarmed, O Ahana, the spaces empty of motion
Stretched, enormous, silent, void of the breath of thy greatness,
Hushed to thy sweetnesses, fixed in the calm of their ancient sedateness.

We are the gods who have mapped out Time and measured its spaces,
Raised there our mansions of pride and planted our amorous places.

Trembling like flowers appeared in the void the immense constellations;
Gods grew possessed of their heavens, earth rose with her joy-haunted nations.
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Calm were we, mighty, magnificent, hunting and seizing
Whatso we willed through the world in a rapture that thought not of ceasing.

But thou hast turned from us, favouring gods who are slighter and fairer,
Swift-footed, subtle of mind; but the sword was too great for the bearer,
Heavy the sceptre weighed upon hands not created to bear it.

Cruel and jealous the gods of thy choice were, cunning of spirit,
Suave were their eyes of beauty that mastered thy heart, O woman!
They who to govern our world, made it tarnished, sorrowful, common.

Mystic and vast our world, but they hoped in their smallness to sum it
Schooled and coerced in themselves and they sank an ignorant plummet
Into infinity, shaping a limited beauty and power,
Confident, figuring Space in an inch and Time in an hour.

Therefore pleasure was troubled and beauty tarnished, madness
Mated with knowledge, the heart of purity sullied with sadness.

Strife began twixt the Infinite deathless within and the measure
Falsely imposed from without on its thought and its force and its pleasure.

We who could help were condemned in their sunless Hells to languish,
Shaking the world with the heave of our limbs, for our breath was an anguish.

There were we cast down, met and repulsed by the speed of their thunder,
Earth piled on us, our Mother; her heart of fire burned under.

Now we escape, we are free; our triumph and bliss are before us,
Earth is our prey and the heavens our hunting ground; stars in their chorus
Chant, wide-wheeling, our paean; the world is awake and rejoices:
Hast thou not heard its trampling of strengths and its rapturous voices?
Is not our might around thee yet? does not our thunder-winged fleetness
Drag thee down yet to the haunts of our strength and the cups of our sweetness?
There thou shalt suffer couched on our mountains, over them stretching
All thy defenceless bliss, thy pangs to eternity reaching.

Thou shalt be taken and whelmed in our trampling and bottomless Oceans,
Chained to the rocks of the world and condemned to our giant emotions.

Violent joy thou shalt have of us, raptures and ruthless revulsions
Racking and tearing thee, and each thrill of thy honeyed convulsions,
We, as it shakes the mountains, we as thou spurnst up the waters,
Laughing shall turn to a joy for Delight and her pitiless daughters.
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They shall be changed to a strength for the gods and for death-besieged natures.

When we have conquered, when thou hast yielded to earth and her creatures,
Boundless, thy strength, O Ahana, delivered, thy sorrowless joyaunce,
Hope, if thou canst, release from the meed of thy pride and defiance.
AHANA
Gods irresistible, blasts of His violence, fighters eternal,
Churners of Ocean, stormers of Heaven! but limits diurnal
Chafe you and bonds of the Night. I know in my soul I am given,
Racked, to your joys as a sacrifice, writhing, to raise you to heaven.

Therefore you seize on me, vanquish and carry me swift to my falling.

Fain would I linger, fain resist, to Infinity calling;
But you possess all my limbs, you compel me, giants of evil.

Am I then doomed to your darkness and violence, moonlight and revel?
Hast thou no pity, O Earth, my soul from this death to deliver?
Who are you, luminous movements? around me you glimmer and quiver,
Visible, not to the eyes, and not audible, circling you call me,
Teaching my soul with sound, O you joys that shall seize and befall me.

What are you, lords of the brightness vague that aspires, but fulfils not?
For you possess and retire, but your yearning quenches not, stills not.

Yet is your touch a pleasure that thrills all my soul with its sweetness;
I am in love with your whispers and snared by your bright incompleteness.

Speak to me, comfort me falling. Bearing eternity follow
Down to the hills of my pain and into the Ocean's hollow.
VOICES
We are the Ancients of knowledge, Ahana, the Sons of the Morning.

Why dost thou cry to us, Daughter of Bliss, who left us with scorning?
We too dwelt in delight when these were supreme in their spaces;
We too were riven with pain when they fell down prone from their places.

Hast thou forgotten the world as it was ere thou fledst from our nations?
Dost thou remember at all the joy of the ancient creations?
Thrilled were its streams with our intimate bliss and our happy contriving;
Sound was a song and movement the dance of our rhythmical living.

Out of our devious delight came the senses and all their deceptions;

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Earth was our ring of bliss and the map of our mighty conceptions.

For we sustained the inert sitting secret in clod and in petal,
And we awoke to a twilight of life in the leaf and the metal.

Active we dreamed in the mind and we ordered our dreams to a measure,
Making an image of pain and shaping an idol of pleasure.

Good we have made by our thoughts and sin by our fear and recoiling;
It was our weakness invented grief, O delight! reconciling
Always the touch that was borne with strength that went out for possessing,
Somewhere, somehow we failed; there was discord, a pang, a regressing.

Goddess, His whispers bewildered us; over us vainly aspirant
Galloped the throng of His strengths like the steeds of a pitiless tyrant.

Since in the woods of the world we have wandered, thrust from sereneness,
Erring mid pleasures that fled and dangers that coiled in the greenness,
Someone surrounds and possesses our lives whom we cannot discover,
Someone our heart in its hunger pursues with the moans of a lover.

Knowledge faints in its toil, amasses but loses its guerdon;
Strength is a worker blinded and maimed who is chained to his burden,
Love a seeker astray; he finds in a seeming, then misses;
Weariness hampers his feet. Desire with unsatisfied kisses
Clings to each object she lights upon, loving, forsaking, returning:
Earth is filled with her sobs and the cry of her fruitlessly burning.

All things we sounded here. Everything leaves us or fails in the spending;
Strength has its weakness, knowledge its night and joy has its ending.

Is it not thou who shalt rescue us, freeing the Titans, the Graces?
Hast thou not hidden thyself with the mask of a million faces?
Nay, from thyself thou art hidden; thy secret intention thou shunnest
And from the joy thou hast willed like an antelope fleest and runnest.

Thou shalt be forced, O Ahana, to bear enjoyment and knowing
Termlessly. Come, O come from thy whiteness and distance, thou glowing,
Mighty and hundred-ecstasied Woman! Daughter of Heaven,
Usha, descend to thy pastimes below and thy haunts that are given.

She-wolf avid of cruelty, lioness eager for battle,
Tigress that prowlst in the night and leapest out dire on the cattle,
Sarama, dog of the heavens, thou image of grosser enjoying,
Hungry slave of the worlds, incessantly pawing and toying,
Snake of delight and of poison, gambolling beast of the meadows,
Come to thy pastures, Ahana, sport in the sunbeams and shadows.
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Naiad swimming through streams and Dryad fleeing through forest
Wild from the clutch of the Satyr! Ahana who breakst and restorest!
Oread, mountain Echo, cry to the rocks in thy running!
Nymph in recess and in haunt the pursuit and the melody shunning!
Giantess, cruel and false and grand! Gandharvi that singest
Heavenward! bird exultant through storm and through sapphire who wingest!
Centauress galloping wild through the woods of Himaloy high-crested!
Yakshini brooding o'er treasure down in earth's bowels arrested!
Demoness gnashing thy teeth in the burial-ground! Titaness striding
Restless through worlds for thy rest, the brain and the bosom not ridding
Even one hour of the ferment-waste and the load beyond bearing,
Recklessly slaying the peoples in anger, recklessly sparing,
Spending the strength that is thine to inherit the doom of another!
Goddess of pity who yearnst and who helpest, Durga, our Mother!
Brooder in Delphi's caverns, Voice in the groves of Dodona!
Goddess serene of an ancient progeny, Dian, Latona!
Virgin! ascetic frank or remote, Athene the mighty!
Harlot supine to the worlds, insatiate white Aphrodite!
Hundred-named art thou, goddess, a hundred-formed, and thy bosom
Thrills all the world with its breasts. O starlight, O mountain, O blossom!
Rain that descendest kissing our lips and lightning that slayest!
Thou who destroyest to save, to delight who hurtst and dismayest!
Thou art our mother and sister and bride. O girdled with splendour,
Cruel and bright as the sun, O moonlike, mystic and tender!
Thou art the perfect peopling of Space, O Ahana; thou only
Fillest Time with thy forms. Leave then thy eternity lonely,
Come! from thy summits descending arrive to us, Daughter of Heaven,
Usha, Dawn of the world, for our ways to thy footsteps are given.

Strength thou hast built for the floor of the world and delight for its rafter.

Calm are thy depths, O Ahana; above is thy hundred-mouthed laughter.

Rapture can fail not in thee though he rend like a lion preying
Body and soul with his ecstasies vast. Thou for ever delaying,
Feigning to end, shalt renew thyself, never exhausting his blisses,
Joy shall be in thy bosom satisfied never with kisses;
Strength from thy breasts drawing force of the Titans shall unrelaxing
Stride through the worlds at his work. One shall drive him ruthlessly taxing

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Sinew and nerve, though our slave, yet seized, driven, helpless to tire,
Borne by unstumbling speed to the goal of a God's desire.

What shall thy roof be, crown of thy building? Knowledge, sublimely,
High on her vaulted arches where thought, half-lost, wings dimly,
Luring the flaming heart above and the soul to its shadows,
Winging wide like a bird through the night and the moonlit meadows.

Vast, uncompelled we shall range released and at peace with our nature,
Reconciled, knowing ourselves. To her pain and the longings that reach her
Come from thy summits, Ahana; come! our desire unrelenting
Hales thee down from God and He smiles at thee sweetly consenting.

Lo, she is hurried down and the regions live in her tresses.

Worlds, she descends to you! Peoples, she nears with her mighty caresses.

Man in his sojourn, Gods in their going, Titans exultant
Thrill with thy fall, O Ahana, and wait for the godhead resultant.
AHANA
Calm like a goddess, alarmed like a bride is my spirit descending,
Falling, O Gods, to your arms. I know my beginning and ending;
All I have known and I am not astonished; alarmed and attracted
Therefore my soul descends foreknowing the rapture exacted,
Gulf of the joys you would doom me to, torment of infinite striving,
Travail of knowledge. Was I not made for your mightier living?
Gods, I am falling, I am descending, cast down as for ever,
Thrown as a slave at your feet and a tool for your ruthless endeavour.

Yet while I fall, I will threaten you. Hope shall be yours, so it trembles.

I have a bliss that destroys and the death in me wooes and dissembles.

Will you not suffer then my return to my peace beyond telling?
You have accepted death for your pastime, Titans rebelling!
Hope then from pain delight and from death an immortal stature!
Slaves of her instruments, rise to be equals and tyrants of Nature!
Lay not your hands so fiercely upon me! compel me not, falling!
Gods, you shall rue it who heed not the cry of my prayer and my calling.

'Tis not a merciful One that you seize. I fall and, arisen,
Earth strides towards me. Gods, my possessors, kingdoms, my prison,
So shall you prosper or die as you use or misuse and deceive me.

Vast, I descend from God. O world and its masters, receive me!

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II
AHANA
Lo, on the hills I have paused, on the peaks of the world I have halted
Here in the middle realms of Varuna the world-wide-exalted.

Gods, who have drawn me down to the labour and sobs of creation,
First I would speak with the troubled hearts and the twilit nation,
Speak then, I bend my ear to the far terrestrial calling,
Speak, O thou toiling race of humanity, welcome me falling,
Space for whose use in a boundless thought was unrolled and extended;
Time in its cycles waited for man. Though his kingdom is ended,
Here in a speck mid the suns and his life is a throb in the aeons,
Yet, O you Titans and Gods, O Rudras, O strong Aditeians,
Man is the centre and knot; he is first, though the last in the ages.

I would remember your cycles, recover your vanished pages;
I have the vials divine, I rain down the honey and manna;
Speak, O thou soul of humanity, knowing me. I am Ahana.
A VOICE
Vision bright, that walkest crowned on the hills far above me,
Vision of bliss, stoop down from thy calm and thy silence to love me.

Only is calm so sweet? Is our end tranquillity only?
Chill are your rivers of peace and their banks are leafless and lonely.

Art thou not sated with sunlight only, cold in its lustre?
Art thou not weary of only the stars in their solemn muster?
Always the hills and the high-hung plateaus, - solitude's voices
Making the silence lonelier! Only the eagle rejoices
In the inhuman height of his nesting, - austerely striving,
Deaf with the cry of the waterfall, only the pine there is thriving.

We have the voice of the cuckoo, the nightingale sings in the branches,
Human laughter leads and the cattle low in the ranches.

Come to our tangled sunbeams, dawn on our twilights and shadows,
Taste with us, scent with us fruits of our trees and flowers of our meadows.

Art thou an angel of God in His heavens that they vaunt of, His sages?
Skies of monotonous calm and His stillness filling the ages?
Is He thy master, Rudra the mighty, Shiva ascetic?

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Has He denied thee his worlds? In His dance that they tell of, ecstatic,
Slaying, creating, calm in the midst of His movement and madness,
Was there no place for an earthly joy, for a human sadness?
Did He not make us and thee? O Woman, joy's delicate blossom
Sleeps in thy lids of delight! All Nature laughs in thy bosom
Hiding her children unborn and the food of her love and her laughter.

Is He then first? Was there none before Him? shall none come after?
We too have gods, - the Tritons rise in the leap of the billows,
Emerald locks of the Nereids stream on their foam-crested pillows,
Dryads sway out from the branches, Naiads glance up through the waters;
Heaven has dances of joy and the gods are ensnared by her daughters.

Artemis calls as she flees through the glades and the breezes pursue her,
Cypris laughs in her isles where the Ocean-winds linger to woo her.

Thou shalt behold in glades forgotten the dance of the Graces,
Night shall be haunted for ever with strange and delicate faces.

Lo, all these peoples and who was it fashioned them? Who is unwilling
Still to have done with it? laughs beyond pain and saves in the killing?
Nature, you say; but is God then her enemy? Was she created,
He unknowing or sleeping? Did someone transgress the fated
Limits He set, outwitting God? Nay, we know it was fashioned
By the Almighty One, million-ecstasied, thousand-passioned.

But He created a discord within it, fashioned a limit?
Fashioned or feigned? for He set completeness beyond. To disclaim it,
To be content with our measure, they say, is the law of our living.

Rather to follow always and, baffled, still to go striving.

Yes, it is true that we dash ourselves stark on a barrier appearing,
Fall and are wounded. But He insists who is in us, the fearing
Conquers, the grief. We resist; His temptations leap down compelling;
Virtue cheats us with noble names to a lofty rebelling.

Fiercely His wrath and His jealousy strike down the rebel aspiring,
Thick and persistent His night confronts our eager inquiring;
Yet 'tis His strengths descend crying always, "Rebel; aspire!"
Still through the night He sends rays, to our bosoms a quenchless fire.

Most to our joys He sets limits, most with His pangs He perplexes;
Yet when we faint it is He that spurs. Temptation vexes;
Honied a thousand whispers come, in the birds, in the breezes,
Moonlight, the voice of the streams; from hundreds of beautiful faces

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Always He cries to us, "Love me!", always He lures us to pleasure,
Then escapes and leaves anguish behind for our only treasure.

Shall we not say then that joy is greatest, rapture His meaning?
That which He most denies, is His purpose. The hedges, the screening,
Are they not all His play? In our end we have rapture for ever
Careless of Time, with no fear of the end, with no need for endeavour.

What was the garden He built when the stars were first set in their places,
Man and woman together mid streams and in cloudless spaces,
Naked and innocent? Someone offered a fruit of derision,
Knowledge of good and of evil, cleaving in God a division,
Though He who made all, said, "It is good; I have fashioned perfection."
"Nay, there is evil," someone whispered, "'tis screened from detection."
Wisest he of the beasts of the field, one cunning and creeping.

"See it," he said, "be wise. You shall be as the gods are, unsleeping,
They who know all," and they ate. The roots of our being were shaken;
Hatred and weeping and death at once trampled a world overtaken,
Terror and fleeing and wrath and shame and desire unsated;
Cruelty stalked like a lion; Revenge and her brood were created.

Out to the desert He drove the rebellious. Flaming behind them
Streamed out the sword of His wrath; it followed, eager to find them,
Stabbing at random. The pure and the evil, the strong and the tempted,
All are confounded in punishment. Justly is no one exempted.

Virtuous? Yes, there are many; but who is there innocent? Toiling,
Therefore, we seek, but find not that Eden. Planting and spoiling,
"This is the garden," we say, "lo, the trees! and this is the river."
Vainly! Redeemers come, but none yet availed to deliver.

Is it not all His play? Is He Rudra only, the mighty?
Whose are the whispers of sweetness? Whence are the murmurs of pity?
Why are we terrified then, cry out and draw back from the smiting?
Blows of a lover, perhaps, intended for fiercer inciting!
Yes, but the cruelty, yes, but the empty pain we go ruing!
Edges of sweetness, it may be, call to a swifter pursuing.

Was it not He in Brindavun? O woods divine to our yearning,
Memorable always! O flowers, O delight on the treetops burning!
Grasses His kine have grazed and crushed by His feet in the dancing!
Yamuna flowing with sound, through the greenness always advancing!
You unforgotten remind! For His flute with its sweetness ensnaring

The Descent of Ahana

507

Sounds in our ears in the night and our souls of their teguments baring
Hales them out naked and absolute, out to His woodlands eternal,
Out to His moonlit dances, His dalliance sweet and supernal,
And we go stumbling, maddened and thrilled, to His dreadful embraces,
Slaves of His rapture to Brindavun crowded with amorous faces,
Luminous kine in the green glades seated soft-eyed grazing,
Flowers from the branches distressing us, moonbeams unearthly amazing,
Yamuna flowing before us, laughing low with her voices,
Brindavun arching o'er us where Shyama sports and rejoices.

What though 'tis true that the river of Life through the Valley of Peril
Flows! But the diamond shines on the cliffside, jacinth and beryl
Gleam in the crannies, sapphire, smaragdus the roadway bejewel,
Down in the jaws of the savage mountains granite and cruel.

Who has not fathomed once all the voiceless threat of those mountains?
Always the wide-pacing river of Life from its far-off fountains
Flows down mighty and broad, like a warhorse brought from its manger
Arching its neck as it paces grand to the gorges of danger.

Sometimes we hesitate, often start and would turn from the trial,
Vainly: a fierce Inhabitant drives and brooks no denial.

Headlong, o'ercome with a stridulant horror the river descending
Shudders below into sunless depths among chasms unending, -
Angry, afraid, white, foaming. A stony and monstrous resistance
Meets it, piling up stubborn limits, an iron insistence.

Yet in the midst of our labour and weeping not utterly lonely
Wander our steps, nor are terror and grief our portion only.

Do we not hear in the heart of the peril a flute go before us?
Are there not beckoning hands of the gods that insist and implore us?
Plains are beyond; there are hamlets and fields where the river rejoices
Pacing once more with a quiet step and amical voices.

There in a woodl and red with berries and cool with the breezes, -
Green are the leaves, all night long the heart of the nightingale eases
Sweetly its burden of pity and sorrow, fragrant the flowers, -
There in an arbour delightful I know we shall sport with the Hours,
Lying on beds of lilies, hearing the bells of our cattle
Tinkle, and drink red wine of our life and go forth to the battle
And unwounded return to our beautiful home by the waters,
Pledge of our joys, rear tall strong sons and radiant daughters.
508

Pondicherry, c. 1910 - 1920

Shall God know? Will His spies come down to our beautiful valley?
They shall grow drunk with its grapes and wander in woodl and and alley.

There will His anger follow us, there will His lightnings immortal
Wander around with their red eye of cruelty stabbing the portal?
Yes, I shall fear then His play! I will sport with my dove from His highlands,
Pleased with her laughter of bliss like a god in my Grecian islands.

Daughter of Heaven, break through to me, moonlike, mystic and gleaming.

Come through the margins of twilight, over the borders of dreaming.

Vision bright that walkest crowned on the hills far above me,
Vision of bliss, stoop down! Encircle me, madden me, love me.
AHANA
Voice of the sensuous mortal! heart of eternal longing!
Thou who hast lived as in walls, thy soul with thy senses wronging!
But I descend to thee. Fickle and terrible, sweet and deceiving,
Poison and nectar One has dispensed to thee, luring thee, leaving.

We two together shall capture the flute and the player relentless.

Son of man, thou hast crowned thy life with flowers that are scentless,
Chased the delights that wound. But I come and the darkness shall sunder.

Lo, I come and behind me knowledge descends and with thunder
Filling the spaces Strength the Angel bears on his bosom
Joy to thy arms. Thou shalt look on her face like a child's or a blossom,
Innocent, free as in Eden of old, not afraid of her playing.

Pain was not meant for ever, hearts were not made but for slaying.

Thou shalt not suffer always nor cry to me, lured and forsaken.

I have a snare for His footsteps, I have a chain for Him taken.

Come then to Brindavun, soul of the joyous; faster and faster
Follow the dance I shall teach thee with Shyama for slave and for master, -
Follow the notes of the flute with a soul aware and exulting,
Trample Delight that submits and crouch to a sweetness insulting.

Thou shalt know what the dance meant, fathom the song and the singer,
Hear behind thunder its rhymes, touched by lightning thrill to His finger,
Brindavun's rustle shalt understand and Yamuna's laughter,
Take thy place in the Ras and thy share of the ecstasy after.
~ Sri Aurobindo, - The Descent of Ahana
,

IN CHAPTERS [50/195]



   89 Integral Yoga
   15 Yoga
   13 Hinduism
   5 Occultism
   4 Poetry
   3 Buddhism
   1 Sufism
   1 Psychology
   1 Philosophy
   1 Mysticism


   72 Sri Aurobindo
   34 Nolini Kanta Gupta
   16 The Mother
   12 Vyasa
   11 Sri Ramakrishna
   11 Satprem
   5 A B Purani
   3 Nirodbaran
   3 James George Frazer
   3 Bokar Rinpoche
   2 Swami Vivekananda
   2 Swami Krishnananda
   2 Sri Ramana Maharshi
   2 Aleister Crowley


   19 Record of Yoga
   14 Collected Works of Nolini Kanta Gupta - Vol 08
   13 The Secret Of The Veda
   12 Vishnu Purana
   10 The Gospel of Sri Ramakrishna
   8 Vedic and Philological Studies
   7 Kena and Other Upanishads
   7 Agenda Vol 02
   6 Hymns to the Mystic Fire
   5 The Secret Doctrine
   5 Evening Talks With Sri Aurobindo
   5 Collected Works of Nolini Kanta Gupta - Vol 07
   4 Talks
   4 Essays On The Gita
   4 Collected Works of Nolini Kanta Gupta - Vol 05
   3 Twelve Years With Sri Aurobindo
   3 The Life Divine
   3 The Golden Bough
   3 Tara - The Feminine Divine
   3 Prayers And Meditations
   3 Letters On Yoga II
   3 Isha Upanishad
   3 Collected Works of Nolini Kanta Gupta - Vol 02
   2 The Synthesis Of Yoga
   2 The Study and Practice of Yoga
   2 Collected Works of Nolini Kanta Gupta - Vol 04
   2 Collected Works of Nolini Kanta Gupta - Vol 03
   2 Collected Works of Nolini Kanta Gupta - Vol 01
   2 Agenda Vol 03
   2 A Garden of Pomegranates - An Outline of the Qabalah


00.03 - Upanishadic Symbolism, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Now, as regards the interpretation of the story cited, should not a suspicion arise naturally at the very outset that the dog of the story is not a dog but represents something else? First, a significant epithet is given to itwhite; secondly, although it asks for food, it says that Om is its food and Om is its drink. In the Vedas we have some references to dogs. Yama has twin dogs that "guard the path and have powerful vision." They are his messengers, "they move widely and delight in power and possess the vast strength." The Vedic Rishis pray to them for Power and Bliss and for the vision of the Sun1. There is also the Hound of Heaven, Sarama, who comes down and discovers the luminous cows stolen and hidden by the Panis in their dark caves; she is the path-finder for Indra, the deliverer.
   My suggestion is that the dog is a symbol of the keen sight of Intuition, the unfailing perception of direct knowledge. With this clue the Upanishadic story becomes quite sensible and clear and not mere abracadabra. To the aspirant for Knowledge came first a purified power of direct understanding, an Intuition of fundamental value, and this brought others of the same species in its train. They were all linked together organically that is the significance of the circle, and formed a rhythmic utterance and expression of the supreme truth (Om). It is also to be noted that they came and met at dawn to chant, the Truth. Dawn is the opening and awakening of the consciousness to truths that come from above and beyond.
  --
   It would be interesting to know what the five ranges or levels or movements of consciousness exactly are that make up the Universal Brahman described in this passage. It is the mystic knowledge, the Upanishad says, of the secret delight in thingsmadhuvidy. The five ranges are the five fundamental principles of delightimmortalities, the Veda would say that form the inner core of the pyramid of creation. They form a rising tier and are ruled respectively by the godsAgni, Indra, Varuna, Soma and Brahmawith their emanations and instrumental personalities the Vasus, the Rudras, the Adityas, the Maruts and the Sadhyas. We suggest that these refer to the five well-known levels of being, the modes or nodi of consciousness or something very much like them. The Upanishad speaks elsewhere of the five sheaths. The six Chakras of Tantric system lie in the same line. The first and the basic mode is the physical and the ascent from the physical: Agni and the Vasus are always intimately connected with the earth and -the earth-principles (it can be compared with the Muladhara of the Tantras). Next, second in the line of ascent is the Vital, the centre of power and dynamism of which the Rudras are the deities and Indra the presiding God (cf. Swadhishthana of the Tantras the navel centre). Indra, in the Vedas, has two aspects, one of knowledge and vision and the other of dynamic force and drive. In the first aspect he is more often considered as the Lord of the Mind, of the Luminous Mind. In the present passage, Indra is taken in his second aspect and instead of the Maruts with whom he is usually invoked has the Rudras as his agents and associates.
   The third in the line of ascension is the region of Varuna and the Adityas, that is to say, of the large Mind and its lightsperhaps it can be connected with Tantric Ajnachakra. The fourth is the domain of Soma and the Marutsthis seems to be the inner heart, the fount of delight and keen and sweeping aspirations the Anahata of the Tantras. The fifth is the region of the crown of the head, the domain of Brahma and the Sadhyas: it is the Overmind status from where comes the descending inflatus, the creative Maya of Brahma. And when you go beyond, you pass into the ultimate status of the Sun, the reality absolute, the Transcendent which is indescribable, unseizable, indeterminate, indeterminable, incommensurable; and once there, one never returns, neverna ca punarvartate na ca punarvartate.

00.05 - A Vedic Conception of the Poet, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   'Kavi' is an invariable epithet of the gods. The Vedas mean by this attribute to bring out a most fundamental character, an inalienable dharma of the heavenly host. All the gods are poets; and a human being can become a poet only in so far as he attains to the nature and status of a god. Who is then a kavi? The Poet is he who by his poetic power raises forms of beauty in heavenkavi kavitv divi rpam sajat.1Thus the essence of poetic power is to fashion divine Beauty, to reveal heavenly forms. What is this Heaven whose forms the Poet discovers and embodies? HeavenDyaushas a very definite connotation in the Veda. It means the luminous or divine Mind 2the mind purified of its obscurity and limitations, due to subjection to the external senses, thus opening to the higher Light, receiving and recording faithfully the deeper and vaster movements and vibrations of the Truth, giving them a form, a perfect body of the right thought and the right word. Indra is the lord of this world and he can be approached only with an enkindled intelligence, ddhay man,3a faultless understanding, sumedh. He is the supreme Artisan of the poetic power,Tash, the maker of perfect forms, surpa ktnum.4 All the gods turn towards Indra and become gods and poets, attain their Great Names of Supreme Beauty.5 Indra is also the master of the senses, indriyas, who are his hosts. It is through this mind and the senses that the poetic creation has to be manifested. The mind spreads out wide the Poet's weaving;6 the poet is the priest who calls down and works out the right thinking in the sacrificial labour of creation.7 But that creation is made in and through the inner mind and the inner senses that are alive to the subtle formation of a vaster knowledge.8 The poet envisages the golden forms fashioned out of the very profundity of the consciousness.9 For the substance, the material on which the Poet works, is Truth. The seat of the Truth the poets guard, they uphold the supreme secret Names.10 The poet has the expressive utterance, the creative word; the poet is a poet by his poetic creation-the shape faultlessly wrought out that unveils and holds the Truth.11The form of beauty is the body of the Truth.
   The poet is a trinity in himself. A triune consciousness forms his personality. First of all, he is the Knower-the Seer of the Truth, kavaya satyadrara. He has the direct vision, the luminous intelligence, the immediate perception.12 A subtle and profound and penetrating consciousness is his,nigam, pracetas; his is the eye of the Sun,srya caku.13 He secures an increased being through his effulgent understanding.14 In the second place, the Poet is not only Seer but Doer; he is knower as well as creator. He has a dynamic knowledge and his vision itself is power, ncak;15 he is the Seer-Will,kavikratu.16 He has the blazing radiance of the Sun and is supremely potent in his self-Iuminousness.17 The Sun is the light and the energy of the Truth. Even like the Sun the Poet gives birth to the Truth, srya satyasava, satyya satyaprasavya. But the Poet as Power is not only the revealer or creator,savit, he is also the builder or fashioner,ta, and he is the organiser,vedh is personality. First of all, he is the Knower-the Seer of the Truth, kavaya satyadrara, of the Truth.18 As Savita he manifests the Truth, as Tashta he gives a perfected body and form to the Truth, and as Vedha he maintains the Truth in its dynamic working. The effective marshalling and organisation of the Truth is what is called Ritam, the Right; it is also called Dharma,19 the Law or the Rhythm, the ordered movement and invincible execution of the Truth. The Poet pursues the Path of the Right;20 it is he who lays out the Path for the march of the Truth, the progress of the Sacrifice.21 He is like a fast steed well-yoked, pressing forward;22 he is the charger that moves straight and unswerving and carries us beyond 23into the world of felicity.
   Indeed delight is the third and the supremely intimate element of the poetic personality. Dear and delightful is the poet, dear and delightful his works, priya, priyi His hand is dripping with sweetness,kavir hi madhuhastya.24 The Poet-God shines in his pristine beauty and is showering delight.25 He is filled with utter ecstasy so that he may rise to the very source of the luminous Energy.26? Pure is the Divine Joy and it enters and purifies all forms as it moves to the seat of the Immortals.27Indeed this sparkling Delight is the Poet-Seer and it is that that brings forth the creative word, the utterance of Indra.28
   The solar vision of the Poet encompasses in its might the wide Earth and Heaven, fuses them in supreme Delight in the womb of the Truth.29 The Earth is lifted up and given in marriage to Heaven in the home of Truth, for the creation and expression of the Truth in its varied beauty,cru citram.
  --
   All the gods are poetstheir forms are perfect, surpa, suda, their Names full of beauty,cru devasya nma.31 This means also that the gods embody the different powers that constitute the poetic consciousness. Agni is the Seer-Will, the creative vision of the Poet the luminous energy born of an experience by identity with the Truth. Indra is the Idea-Form, the architectonic conception of the work or achievement. Mitra and Varuna are the large harmony, the vast cadence and sweep of movement. The Aswins, the Divine Riders, represent the intense zest of well-yoked Life-Energy. Soma is Rasa, Ananda, the Supreme Bliss and Delight.
   The Vedic Poet is doubtless the poet of Life, the architect of Divinity in man, of Heaven upon earth. But what is true of Life is fundamentally true of Art tooat least true of the Art as it was conceived by the ancient seers and as it found expression at their hands.32

01.02 - The Creative Soul, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   In one's own soul lies the very height and profundity of a god-head. Each soul by bringing out the note that is his, makes for the most wondrous symphony. Once a man knows what he is and holds fast to it, refusing to be drawn away by any necessity or temptation, he begins to uncover himself, to do what his inmost nature demands and takes joy in, that is to say, begins to create. Indeed there may be much difference in the forms that different souls take. But because each is itself, therefore each is grounded upon the fundamental equality of things. All our valuations are in reference to some standard or other set up with a particular end in view, but that is a question of the practical world which in no way takes away from the intrinsic value of the greatness of the soul. So long as the thing is there, the how of it does not matter. Infinite are the ways of manifestation and all of them the very highest and the most sublime, provided they are a manifestation of the soul itself, provided they rise and flow from the same level. Whether it is Agni or Indra, Varuna, Mitra or the Aswins, it is the same supreme and divine inflatus.
   The cosmic soul is true. But that truth is borne out, effectuated only by the truth of the individual soul. When the individual soul becomes itself fully and integrally, by that very fact it becomes also the cosmic soul. The individuals are the channels through which flows the Universal and the Infinite in its multiple emphasis. Each is a particular figure, aspectBhava, a particular angle of vision of All. The vision is entire and the figure perfect if it is not refracted by the lower and denser parts of our being. And for that the individual must first come to itself and shine in its opal clarity and translucency.

0 1961-01-22, #Agenda Vol 02, #The Mother, #Integral Yoga
   Later, on the 27th, Mother remarked: 'I was reading about this very thing yesterday in The Secret of the Veda, in the first hymn translated by Sri Aurobindo (the reference is to the colloquy between Indra and Agastya, Rig Veda I.170cf. The Secret of the Veda, Cent. Ed., X.241 ff.), and it helped me put my finger on the problem. In this hymn there is a dispute between Indra and the Rishi because the Rishi wants to progress too quickly without first passing through Indra [the god of the Mind], and Indra stops him; finally they reach an agreement. Sri Aurobindo's commentary is quite interesting: when one has the INDIVIDUAL power to go directly, but neglects the steps which are still necessary for the whole, for the universal movement, then one is stopped short. That is absolutely my experience.'
   ***

0 1961-01-24, #Agenda Vol 02, #The Mother, #Integral Yoga
   I must say that after this, when I read The Secret of the Veda as I do each evening. In fact, I am in very close contact with the entire Vedic world since Ive been reading that book: I see beings, hear phrases. It comes up in a sort of subliminal consciousness, a lot of things are from the ancient Vedic tradition. (By the way, I have even come to see that the pink marble bathtub I told you about last time, which Nature had offered me, belongs to the Vedic world, to a civilization of that epoch.3) There werethere are alwaysSanskrit words coming up, sentences, bits of dialogue. This is of interest, because I realized that what I had seen the other day (I told you about it) and then what I saw yesterday that whole domainwas connected to what the Vedas call the dasyus the panis and the dasyus4the enemies of the Light. And this Force that came was very clearly a power like Indras5 (though something far, far greater), and at war with darkness everywhere, like this (Mother sketches in space a whirling force touching points here and there throughout the world), this Force attacked all darkness: ideas, people, movements, events, whatever made stains, patches of shadow. And it kept on going, a formidable power, so great that my hands were like this (Mother clenches her fists). Later when I read (I happened to be reading just the chapter concerning the fight against the dasyus), this proximity to my own experience became interesting, for it was not at all intellectual or mental there was no idea, no thought involved.
   The remainder of the evening passed as usual. I went to bed, and at exactly a quarter to twelve I got up with the feeling that this presence in me had increased even further and really become rather formidable. I had to instill a great deal of peace and confidence into my body, which felt as though it wasnt so easy to bear. So I concentrated, I told my body to be calm and to let itself go completely.
  --
   Indra represents the king of the gods, the master of mental power freed from the limitations and obscurities of the physical consciousness.
   The body-consciousness.

0 1961-01-31, #Agenda Vol 02, #The Mother, #Integral Yoga
   At the moment of my coming out of the trance, I had a very concrete, positive perception (not a mental understanding, it didnt come from the beings intellectual part, the part that understands and explains everything and Is symbolized, I think, by Indra; it wasnt in any way conveyed through that higher intelligence, it wasnt mental). A kind of perception (not really a sensation, it was more than a sensation) of the almost total unimportance of the external, material expression of the bodys condition: the consciousness OF THE BODY was absolutely indifferent to external, physical signs, whether they were like this or like that (the BODYS consciousness was what had experienced the identity). And this body-consciousness had the perception of the EXTREME RELATIVITY of the most material expression.
   I am translating it to make myself understoodit wasnt like that at the time of the experience. Suppose, for example, that there was a disorder here or there in the body, not actually an illness (because illness implies some important inner factor such as an attack or the necessity for some transformation, many different things), but the outer expression of a disorder, such as swollen legs or a malfunctioning liver not an illness, a disorder, a functional disorder. Well, it was all utterly unimportant: IT IN NO WAY CHANGES THE BODYS TRUE CONSCIOUSNESS. Although we are in the habit of thinking that the body is very disturbed when its ill, when something is going wrong, its not so. It isnt disturbed in the way we understand it.

0 1961-02-11, #Agenda Vol 02, #The Mother, #Integral Yoga
   55Be wide in me, O Varuna; be mighty in me, O Indra; O Sun, be very bright and luminous; O Moon, be full of charm and sweetness. Be fierce and terrible, O Rudra; be impetuous and swift, O Maruts; be strong and bold, O Aryama; be voluptuous and pleasurable, O Bhaga; be tender and kind and loving and passionate, O Mitra. Be bright and revealing, O Dawn; O Night, be solemn and pregnant. O Life, be full, ready and buoyant; O Death, lead my steps from mansion to mansion. Harmonise all these, O Brahmanaspati. Let me not be subject to these gods, O Kali.1
   He invokes all these Vedic gods and tells each one to take possession of him; and THEN he tells Kali to free him from their influence! It is very amusing!

0 1961-03-04, #Agenda Vol 02, #The Mother, #Integral Yoga
   Things are going very badly: a pack of enemies assailing me, friends deserting usits going very, very badly. Then yesterday evening, while I was walking for japa and all these good tidings were arriving, I said to the Lord, Listen, Lord, you have Indra to help the good people I beseech you, send him to me; he has some work to do!(Mother laughs) Then my walk became so amusing! I was watching them come in as I walked Indra and all the other godsand they were hard at work. Delightful!
   Hibiscus, double flower, light pink.

0 1961-04-18, #Agenda Vol 02, #The Mother, #Integral Yoga
   Yet for a time I was in contact with all these gods and all these things, and they had an entirely concrete reality for me; but now I read and I understand, but I cannot live it. And I dont know why. It still hasnt triggered the experience. You see, experience for me the constant, total and permanent Experienceis that there is nothing other than the Supremeonly the Supreme that the Supreme alone exists. So when they speak of Agni or Varuna or Indra it doesnt strike a chord. However, what the Vedas succeed in doing very well is to give you the perception of your infirmity and ineptitude, of the dismal state we are in now; it succeeds wonderfully in doing that!
   Yesterday, this ardor of the Flame was thereburning all to offer all. It was absolutely concrete, an intensity of vibrations; I could see the vibrationsall the movements of obscurity and ignorance were cast into that. And I recall a time when I was translating these hymns to Agni with Sri Aurobindo, and Agni was real for me. Well, yesterday it wasnt that, it wasnt the god Agni, it was a STATE OF BEING. It was a state of the Supreme, and as such, it was intimate, clear, intense, vibrant and living.

0 1961-12-23, #Agenda Vol 02, #The Mother, #Integral Yoga
   I had a session like that some days agoits a work Im pursuing. (Likewise, I have constantly been with the adverse force I once told you about,3 who keeps incarnating especially to harass meso theres also this phenomenon, amiably passing from one being to another!) Anyway, not long ago I had given an appointment to this woman and had decided not to say anythingbecause there was nothing to be done (the most beautiful things go rotten, theres nothing to do). So I remained silent, Indrawn, fully in contact with the Supreme Presence, with the external personality annulled (this experience, in fact, lasting almost one hour, is what gave me the key to everything that has been happening lately). There was only the Supreme, nothing else the Supreme THERE, in that very body, mon petit, in that whole agglomeration and in that apparently absolutely anti-divine influenceHIS Presence was there!
   It was a truly stupendous experience, petty though the object is (she is insignificant, without any great substance or powera very minor incarnation; she does have certain not quite human capacities, but they are so veiled by a tiny human personality that scarcely anyone but I can see them).

0 1962-02-27, #Agenda Vol 03, #The Mother, #Integral Yoga
   I have had hundreds and hundreds of experiences like thatinformed just at the last moment (not one second too soon)and in very different circumstances. Once in Paris I was crossing the Boulevard Saint Michel (I had resolved to attain union with the psychic presence, the inner Divine, within a certain number of months, and these were the last weeks I was thinking of nothing but that, engrossed in that alone). I lived near the Luxembourg Gardens and was going there for a stroll, to sit in the gardens that eveningstill Indrawn. I came to a kind of intersectionnot a very sensible place to cross when youre interiorized! So, in that state, I started to cross when all of a sudden I had a shock, as if something had hit me, and I instinctively jumped back. As I jumped back a streetcar rushed by. I had felt the streetcar at a little more than arms length. It had touched my aura, the protective aura (that aura was very strong at the time I was deep into occultism and knew how to maintain it). My protective aura was touched, and it literally threw me backwards, just like a physical shock. Accompanied by the drivers insults!
   I leapt back just in time, and the streetcar passed by.

0 1962-09-26, #Agenda Vol 03, #The Mother, #Integral Yoga
   This must refer to the colloquy of Rishi Agastya and Indra (The Secret of The Veda, Cent. Ed., X. 241), commented on by Mother in the 1961 Agenda (Vol. II, p. 37).
   ***

0 1971-03-02, #Agenda Vol 12, #The Mother, #Integral Yoga
   Mother is better. Tendency to be Indrawn.
   While she was holding my hands, it seemed to me that something went from me into her.

02.05 - Robert Graves, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Like the poet his idol also is of a lower rank or of a plebeian status. He keeps away from such high gods as Indra and Agni and Varuna and Mitra: great poets will sing their praises. He will take care of the lesser ones, those who are moving in the shadow of the great ones and are hardly noticed. Even in these modern days, goddess Shitala, the healing goddess of epidemics, lives side by side with Durga.
   But really it does not matter if the deity is small. For, if the worship is sincere and the offering pure, they ultimately reach the Divine. Did not Sri Krishna say in the Gita that whom-soever you may worship and in whatever way, that in the end' reaches him? The importance and significance of worship do not depend upon their size and scale: a little water, a leaf, a flower may more than do.

04.02 - A Chapter of Human Evolution, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   The Veda speaks of Indra who became later on the king of the gods. And Zeus too occupies the same place in Greek Pantheon. Indra is, as has been pointed out by Sri Aurobindo, the Divine Mind, the leader of thought-gods (Maruts), the creator of perfect forms, in which to clo the our truth-realisations in life. The later traditional Indra in India and the Greek Zeus seem to be formulations on a lower level of the original archetypal Indra, where the consciousness was more mentalised, intellectualised, made more rational, sense-bound, external, pragmatic. The legend of Athena being born straight out of the head of Zeus is a pointer as to the nature and character of the gods. The Roman name for Athena, Minerva, is significantly derived by scholars from Latin mens, which means, as we all know, mind.
   The Greek Mind, as I said, is the bridge thrown across the gulf existing between the spiritual, the occult, the intuitive and the sensuous, the physical, the material. Since the arrival of the Hellenes a highway has been built up, a metalled macada-mised road connecting these two levels of human experience and there is possible now a free and open communication from the one to the other. We need not speak any more of God and the gods and the divine principles indirectly through symbols and similes, but in mental terms which are closer to our normal understanding and we can also utilise the form of our intellection and reasoning to represent and capture something of what lies beyond intellect and reason.

06.16 - A Page of Occult History, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
   Into the heart of this Darkness and Falsehood and Pain and Death, a seed was sown, a grain that is to be the epitome and symbol of material creation and in and through which the Divine will claim back all the elements gone astray, the prodigal ones who will return to recognise and fulfil the Divine. That was Earth. And the earth, in her turn, in her labour towards the Divine Fulfilment, out of her bosom, threw up a being who would again symbolise and epitomise the earth and material creation. That is Man. For, man came with the soul in him, the Psychic Being, the Divine Flame, the spark of consciousness in the midst of universal unconsciousness, a miniature of the original Divine Light-Truth-Love-Life. In the meantime, to help the evolution, to join hands with the aspiring soul in the human being, there was created, on the defection of the First Lords the Asuric Quaternitya second hierarchy of luminous beingsDevas, gods. (Some-thing of this inner history of the world is reflected in the Greek legend of struggle between the Titans and the Olympians.) These gods, however, being a latter creation, perhaps because they were young and inexperienced, could not cope immediately with their strong Elders. It is why we see in the mythological legends the gods very often worsted at the hands of the Asuras: Indra hiding under the sea, Zeus threatened often with defeat and disaster. It is only an intervention from the Supreme (the Greeks called it Fate) that saved them in the end and restored the balance.
   However, the Asuras came to think better of the game and consented to use their freedom on the side of the Divine, for the fulfilment of the Divine; that is to say, they agreed to conversion. Thus they took birth as or in human beings, so that they may be in contact with the human soulPsychewhich is the only door or passage to the Divine in this material world. But the matter was not easy; the process was not straight. For, even agreeing to be converted, even basking in the sunshine of the human psyche, these incorrigible Elders could not forget or wholly give up their old habit and nature. They now wanted to work for the Divine Fulfilment in order to magnify themselves thereby; they consented to serve the Divine in order to make the Divine serve them, utilise the Divine End for their own purposes. They wished to see the new creation after their own heart's desire.

06.21 - The Personal and the Impersonal, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
   Somewhat on the same line the vital too has to proceed to transform itself. It must get rid of its ignorant and violent impulses, its obscure formations: it must be thoroughly cleansed and purified. For that it must learn to be quiet and silentabsolutely still and passive; and in that quiet passivity to feel, to be conscious of the Divine Presence, to be saturated with it. When once that is done, it is called upon to come out and take part in active life. Normally, however, the tendency is, when one has withdrawn and lived an inward quieted life, on coming back to outer life, to turn to the old accustomed ways and reactions; one falls back into the old groove of the consciousness. The vital should then make the experience and the realisation of the Divine Presence dynamic so that it may be a living reality; the vital must be conscious of it in the midst of all activities, not merely in the Indrawn state. The energy of the vital must be put out into a complete and perfected living, but it must not run into old moulds and take up the habitual modes; with the constant sense of the Divine, the ever present truth and beauty of the Divine's consciousness, the vital will possess a new life and create a new pattern of living.
   ***

1.01 - Foreward, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
  epithet as applied to the grain of which Indra's horses are invited
  to partake when they come to the sacrifice. Evidently this sense
  --
  profusely! A Naturalistic interpreter might as well argue that as Indra is a God of the sky,
  the primitive poet might well believe that rain was the perspiration of Indra's horses.
  2 This is Sayana's rendering of the passage and rises directly from the words.

1.02.3.2 - Knowledge and Ignorance, #Isha Upanishad, #unset, #Zen
  Titans or of the Gods, of Indra, of Prajapati. This is gained
  in the path of self-enlargement by an ample acceptance of the

1.02.4.2 - Action and the Divine Will, #Isha Upanishad, #unset, #Zen
  action of Indra, the luminous Mind, who is for our life-powers
  their Rishi or finder of the Truth and Right. Indra slays Vritra,
  the Coverer, dispels the darkness, causes Surya to rise upon our

1.024 - Affiliation With Larger Wholes, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  One hundred times the happiness of the emperor of this world is the happiness of the pitris, another level which is superior to the physical world. One hundred times the happiness of the pitris is the happiness of the gandharvas, who are celestial musicians in a world which is still higher than that of the pitris. One hundred times the happiness of the gandharvas is the happiness of the celestials in heaven the devas, as we call them. One hundred times the happiness of these celestials is the happiness of Indra, the king of the gods. One hundred times the happiness of the king of the gods is the happiness of the preceptor, the Guru of the gods Brihaspati. One hundred times the happiness of Brihaspati is the happiness of Prajapati, the Creator Brahma. One hundred times the happiness of Brahma the Creator is the happiness of Virat, the Supreme. Beyond that is Hiranyagarbha, and beyond that, Ishvara, and beyond Ishvara is the Absolute.
  So where are we in this scheme? What is our happiness? It is the happiness of a cup of coffee, cup of tea, or a sweet which has no meaning compared to these calculations of astounding existences which are transcendent to human comprehension. When I say a hundred times, it is not merely a mathematical increase of the quantity of happiness; it is also a corresponding increase of the quality of happiness. As mentioned earlier, the quality of happiness in waking life is superior to the happiness in dream; it is not merely quantitative increase, but is also a qualitative increase. The joy of waking life is greater and more intense than the quality of joy in dream. So these calculations given in the Upanishad mean an increase of happiness one hundred times, both in quantity and in quality, so that when we go to the top, we are in an uncontrollable ecstasy of unbounded bliss.

1.02 - MAPS OF MEANING - THREE LEVELS OF ANALYSIS, #Maps of Meaning, #Jordan Peterson, #Psychology
  of being. The Indo-European myth of Indra and Vrtra provides a representative example:
  The central myth of Indra, which is, furthermore, the most important myth in the Rig Veda, narrates his
  victorious battle against Vrtra, the gigantic dragon who held back the waters in the hollow of the
  mountains. Streng thened by soma, Indra lays the serpent low with his vajdra (thunderbolt), the
  weapon forged by Tvastr, splits open his head, and frees the waters, which pour into the sea like
  --
  to the Satapatha Brahmana (1.6.3-17), Indra, on first seeing Vrtra, runs away as far as possible, and the
  Markandeya Purana describes him as sick with fear and hoping for peace.272
  --
  them (Hillebrandt). Certainly, naturalistic elements are present, since the myth is multivalent; Indras
  victory is equivalent, among other things, to the truimph of life over the sterility and death resulting
  --
  another hymn (RV 10.113.4-6) Indra, as soon as he was born, separated the Sky from the Earth, fixed
  the celestial vault, and hurling the vajra, tore apart Vrtra, who was holding the waters captive in the
  darkness. Now, Sky and Earth are the parents of the gods (1.185.6); Indra is the youngest (3.38.1) and
  also the last god to be born, because he put an end to the hierogamy [mystical union] of Sky and Earth:
  --
  After this demiurgic feat, Indra appointed Varuna cosmocrator and guardian of rta (which had remained
  concealed in the world below; 1.62.1).
  --
  already existed. For Sky and Earth were formed and had engendered the gods. Indra only separated the
  cosmic parents, and, by hurling the vajra at Vrtra, he put an end to the immobility, or even the
  --
  Vrtra, Sky, Earth and the Waters existed. Indra bursts asunder this primordial monad by breaking the
  resistance and inertia of Vrtra. In other words, the world and life could not come to birth except by the
  --
  early Indo-Europeans equated the destruction of enemies in battle to the slaying of Vrtra by Indra;282 the
  122
  --
  gesture of Soma (Rig Veda II, 12, 1) or of Indra when the latter smote the Serpent in his lair (Rig Veda,
  VI, 17, 9), when his thunderbolt cut off his head (Rig Veda I, 52, 10).287

1.02 - Prayer of Parashara to Vishnu, #Vishnu Purana, #Vyasa, #Hinduism
  [28]: The Bhāgavata, which gives a similar statement of the origin of the elements, senses, and divinities, specifies the last to be Diś (space), air, the sun, Pracetas, the Aswins, fire, Indra, Upendra, Mitra, and Ka or Prajāpati, presiding over the senses, according to the comment, or severally over the ear, skin, eye, tongue, nose, speech, hands, feet, and excretory and generative organs. Bhag. II. 5. 31.
  [29]: Avyaktānugraheṇa. The expression is something equivocal, as Avyakta may here apply either to the First Cause or to matter. In either case the notion is the same, and the aggregation of the elements is the effect of the presidence of spirit, without any active interference of the indiscrete principle. The Avyakta is passive in the evolution and combination of Mahat and the rest. Pradhāna is, no doubt, intended, but its identification with the Supreme is also implied. The term Anugraha may also refer to a classification of the order of creation, which will be again adverted to.

1.02 - SADHANA PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
  story that the king of the gods, Indra, once became a pig,
  wallowing in mire; he had a she pig, and a lot of baby pigs,
  --
  When all were dead Indra began to weep and mourn. Then the
  gods ripped his pig body open and he came out of it, and

1.02 - Taras Tantra, #Tara - The Feminine Divine, #unset, #Zen
  written. Howe ver, Indra bhuti kept these texts secret,
  locking them in trunk s and transm itting their conte nts
  --
  confidential episode of King Indrabhuti, only the
  teachings of the Smaller Vehicle were made available.
  --
  case of Indrabhuti, through miraculous gifts of a text
  presented by a deity.

1.02 - The Divine Teacher, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  The symbolic companionship of Arjuna and Krishna, the human and the divine soul, is expressed elsewhere in Indian thought, in the heavenward journey of Indra and Kutsa seated in one chariot, in the figure of the two birds upon one tree in the
  Upanishad, in the twin figures of Nara and Narayana, the seers who do tapasya together for the knowledge. But in all three it is the idea of the divine knowledge in which, as the Gita says, all action culminates that is in view; here it is instead the action which leads to that knowledge and in which the divine Knower figures himself. Arjuna and Krishna, this human and this divine, stand together not as seers in the peaceful hermitage of meditation, but as fighter and holder of the reins in the clamorous field, in the midst of the hurtling shafts, in the chariot of battle. The

1.02 - The Doctrine of the Mystics, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
  And this is no easy or peaceful march; it is for long seasons a fierce and relentless battle. Constantly the Aryan man has to labour and to fight and conquer; he must be a tireless toiler and traveller and a stern warrior, he must force open and storm and sack city after city, win kingdom after kingdom, overthrow and tread down ruthlessly enemy after enemy. His whole progress is a warring of Gods and Titans, Gods and Giants, Indra and the Python, Aryan and Dasyu. Aryan adversaries even he has to face in the open field; for old friends and helpers turn into enemies; the kings of Aryan states whom he would conquer and overpass join themselves to the Dasyus and are leagued against him in supreme battle to prevent his free and utter passing on.
  But the Dasyu is the natural enemy. These dividers, plunderers, harmful powers, these Danavas, sons of the Mother of division, are spoken of by the Rishis under many general appellations. There are Rakshasas; there are Eaters and Devourers, Wolves and Tearers; there are hurters and haters; there are dualisers; there are confiners or censurers. But we are given also many specific names. Vritra, the Serpent, is the grand Adversary; for he obstructs with his coils of darkness all possibility of divine existence and divine action. And even when Vritra is slain by the light, fiercer enemies arise out of him. Shushna afflicts us with his impure and ineffective force, Namuchi fights man by his weaknesses, and others too assail, each with his proper evil. Then there are Vala and the Panis, miser traffickers in the sense-life, stealers and concealers of the higher Light and its illuminations which they can only darken and misuse, - an impious host who are jealous of their store and will not offer sacrifice to the Gods. These and other personalities - they are much more than personifications - of our ignorance, evil, weakness and many limitations make constant war upon man; they encircle him from near or they shoot their arrows at him from afar or even dwell in his gated house in the place of the Gods and with their shapeless stammering mouths and their insufficient breath of force mar his self-expression. They must be expelled, overpowered, slain, thrust down into their nether darkness by the aid of the mighty and helpful deities.
  --
   Indra, the Puissant next, who is the power of pure Existence self-manifested as the Divine Mind. As Agni is one pole of Force instinct with knowledge that sends its current upward from earth to heaven, so Indra is the other pole of Light instinct with force which descends from heaven to earth. He comes down into our world as the Hero with the shining horses and slays darkness and division with his lightnings, pours down the life-giving heavenly waters, finds in the trace of the hound, Intuition, the lost or hidden illuminations, makes the Sun of Truth mount high in the heaven of our mentality.
  Surya, the Sun, is the master of that supreme Truth, - truth of being, truth of knowledge, truth of process and act and movement and functioning. He is therefore the creator or rather the manifester of all things - for creation is out-bringing, expression by the Truth and Will - and the father, fosterer, enlightener of our souls. The illuminations we seek are the herds of this Sun who comes to us in the track of the divine Dawn and releases and reveals in us night-hidden world after world up to the highest Beatitude.
  --
   Indra, the Divine Mind, as the shaper of mental forms has for his assistants, his artisans, the Ribhus, human powers who by the work of sacrifice and their brilliant ascension to the high dwelling-place of the Sun have attained to immortality and help mankind to repeat their achievement. They shape by the mind Indra's horses, the chariot of the Ashwins, the weapons of the Gods, all the means of the journey and the battle. But as giver of the Light of Truth and as Vritra-slayer Indra is aided by the Maruts, who are powers of will and nervous or vital Force that have attained to the light of thought and the voice of self-expression. They are behind all thought and speech as its impellers and they battle towards the Light, Truth and Bliss of the supreme Consciousness.
  There are also female energies; for the Deva is both Male and Female and the gods also are either activising souls or passively executive and methodising energies. Aditi, infinite Mother of the Gods, comes first; and there are besides five powers of the Truthconsciousness, - Mahi or Bharati, the vast Word that brings us all things out of the divine source; Ila, the strong primal word of the Truth who gives us its active vision; Saraswati, its streaming current and the word of its inspiration; Sarama, the Intuition, hound of heaven who descends into the cavern of the subconscient and finds there the concealed illuminations; Dakshina, whose function is to discern rightly, dispose the action and the offering and distribute in the sacrifice to each godhead its portion. Each god, too, has his female energy.
  --
  Brahmanaspati is the Creator; by the word, by his cry he creates - that is to say he expresses, he brings out all existence and conscious knowledge and movement of life and eventual forms from the darkness of the Inconscient. Rudra, the Violent and Merciful, the Mighty One, presides over the struggle of life to affirm itself; he is the armed, wrathful and beneficent Power of God who lifts forcibly the creation upward, smites all that opposes, scourges all that errs and resists, heals all that is wounded and suffers and complains and submits. Vishnu of the vast pervading motion holds in his triple stride all these worlds; it is he that makes a wide room for the action of Indra in our limited mortality; it is by him and with him that we rise into his highest seats where we find waiting for us the Friend, the Beloved, the Beatific Godhead.
  Our earth shaped out of the dark inconscient ocean of existence lifts its high formations and ascending peaks heavenward; heaven of mind has its own formations, clouds that give out their lightnings and their waters of life; the streams of the clarity and the honey ascend out of the subconscient ocean below and seek the superconscient ocean above; and from above that ocean sends downward its rivers of the light and truth and bliss even into our physical being. Thus in images of physical Nature the Vedic poets sing the hymn of our spiritual ascension.

10.31 - The Mystery of The Five Senses, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   But these separate senses with their separate qualities are not really separate. In the final account of things, the account held in the Supreme Consciousness, at the highest height, these diverse elements or movements are diverse but not exclusive of one another. When they find themselves in the supreme consciousness, they do not, like the rivers of which the Upanishads speak, move and merge into the sea giving up their separate individual name and function. These senses do maintain their identity, each its own, even when they together are all of them part and parcel of the Supreme Universal Consciousness. Only, they become supple and malleable, they intertwine, mix together, even one doing another's work. Also, as things exist at present, modern knowledge has found out that a blind man can see, literally see, through some part of his body; the sense of hearing is capable of bringing to you the vision of colours. And the olfactory organ can reveal to you the taste of things. Indeed it has been found that not only at the sight of good food, but in contemplating an extraordinarily beautiful scenery or while listening to an exquisite piece of music, the mouth waters. It is curious to note that Indra, the Lord of the gods, the Vedic lord of the mind and the senses, is said to have transformed the pores of his skin into so many eyes, so that he could see all things around at once, globally: it is why he was called Sahasralochana or Sahasraksha, one with a thousand eyes. The truth is that all the different senses are only extensions of one unitary sensibility and the variation depends on a particular mode or stress on the generalised sensibility.
   This is what the Rishis meant when they named and represented even the senses as gods. The gods are many, each has his own attribute and function, but they form one indivisible unity.

1.03 - Hymns of Gritsamada, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
    3. O Fire, thou art Indra the Bull of all that are and thou art wide-moving2 Vishnu, one to be worshipped with obeisance. O Master of the Word, thou art Brahma, the finder of the Riches: O Fire who sustainest each and all, closely thou companionest the Goddess of the many thoughts.3
      1 Or, thou art the priest of the pilgrim-rite:
  --
    3. O Fire, aspired to by our mind, putting forth today thy power do sacrifice to the gods, O thou who wast of old before aught that is human. Bring to us the unfallen host of the Life-Gods; and you, O Powers, sacrifice to Indra where he sits on the seat of our altar.
    4. O Godhead, strewn is the seat on this altar, the hero-guardedseat that ever grows, the seat well-packed for the riches,8 anointed with the Light. O all Gods, sit on this altar-seat, sons of the indivisible Mother princes of the treasure, kings of sacrifice.
  --
    6. May we cleave to the safeguardings of the Fire and Soma and Indra and of the Gods, meeting with no hurt overcome those that are embattled against us.
  SUKTA 9

1.03 - Measure of time, Moments of Kashthas, etc., #Vishnu Purana, #Vyasa, #Hinduism
  Seven Ṛṣis, certain (secondary) divinities, Indra, Manu, and the kings his sons, are created and perish at one period[5]; and the interval, called a Manvantara, is equal to seventy-one times the number of years contained in the four Yugas, with some additional years: this is the duration of the Manu, the (attendant) divinities, and the rest, which is equal to 852.000 divine years, or to 306.720.000 years of mortals, independent of the additional period[6]. Fourteen times this period constitutes a Brāhma day, that is, a day of Brahmā; the term (Brāhma) being the derivative form. At the end of this day a dissolution of the universe occurs, when all the three worlds, earth, and the regions of space, are consumed with fire. The dwellers of Maharloka (the region inhabited by the saints who survive the world), distressed by the heat, repair then to Janaloka (the region of holy men after their decease). When the-three worlds are but one mighty ocean, Brahmā, who is one with Nārāyaṇa, satiate with the demolition of the universe, sleeps upon his serpent-bed-contemplated, the lotus born, by the ascetic inhabitants of the Janaloka-for a night of equal duration with his day; at the close of which he creates anew. Of such days and nights is a year of Brahmā composed; and a hundred such years constitute his whole life[7]. One Parārddha[8], or half his existence, has expired, terminating with the Mahā Kalpa[9] called Pādma. The Kalpa (or day of Brahmā) termed Vārāha is the first of the second period of Brahmā's existence.
  this page consists entire of footnotes

1.03 - The House Of The Lord, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  After this, till 3 or 4 p.m. Sri Aurobindo was all alone. Then his first meal would come; in between he sometimes took a glass of plain water. Now, what could he be doing at this time wrapped in a most mysterious silence? None except the Mother could throw any precise light on it. We were only told that he had a special work to do and must be left alone unless, of course, some very urgent business needed his attention. All that was visible to our naked eye was that he sat silently in his bed, afterwards in the capacious armchair, with his eyes wide open just as any other person would. Only he passed hours and hours thus, changing his position at times and making himself comfortable; the yes moving a little, and though usually gazing at the wall in front, never fixed trak-like at any particular point. Sometimes the face would beam with a bright mile without any apparent reason, much to our amusement, as a child smiles in sleep. Only it was a waking sleep, for as we passed across the room, there was a dim recognition of our shadow-like movements. Occasionally he would look towards the door. That was when he heard some sound which might indicate the Mother's coming. But his external consciousness would certainly not be obliterated. When he wanted something, his voice seemed to come from a distant cave; rarely did we find him plunged within, with his eyes closed. If at that time, the Mother happened to come for some urgent work or with a glass of water, finding him thus Indrawn, she would wait, usually by the bedside till he opened his eyes. Then seeing her waiting, he would exclaim "Oh!" and the Mother's lips would part into an exquisite smile. He had told us that he was in the habit of meditating with open eyes. We kept ourselves ready for the call, sitting behind the bed at our assigned places or someone cleaning the furniture or doing other work in the room. One regular call was for a peppermint lozenge which he took some time before his meal. If the meal was late in coming he would ask for a second one. When our chatting became too animated and made us feel uneasy, one better informed would exclaim, "Do you think he is disturbed by such petty bubbles? He must be soaring in a consciousness where I wonder if even a bomb explosion would make any impression." At other relaxed moments he would take cognizance of incidental noises.
  What could he be doing then with so much God-like ease and natural mastery? He once wrote to me that when he had Some special work to do he had to concentrate. This, I think, gives the clue. For his cosmic work, this was the only time he had to himself. Whether to bring down the Supramental Light, or to dive deep into the nether Hell, to send his force for some world purpose, the war in Spain, World War II, helping the Allies or to solve some difficulties of the Ashram, even of individuals, must have been the nature of his special work. One day, after his concentration, I remember him saying, apropos of nothing, "I was seeing how Nishikanto was." At that time Nishikanto was not keeping well. I shall not speculate further on this intricate problem, lest I hear his taunting voice, "Nirod is weaving his romantic fancy!" How he was performing all these operations is beyond my grey matter!

1.03 - The Human Disciple, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  Arjuna is the fighter in the chariot with the divine Krishna as his charioteer. In the Veda also we have this image of the human soul and the divine riding in one chariot through a great battle to the goal of a high-aspiring effort. But there it is a pure figure and symbol. The Divine is there Indra, the Master of the
  World of Light and Immortality, the power of divine knowledge which descends to the aid of the human seeker battling with the sons of falsehood, darkness, limitation, mortality; the battle is with spiritual enemies who bar the way to the higher world of our being; and the goal is that plane of vast being resplendent with the light of the supreme Truth and uplifted to the conscious immortality of the perfected soul, of which Indra is the master.
  The human soul is Kutsa, he who constantly seeks the seerknowledge, as his name implies, and he is the son of Arjuna or
  --
   Indra, the human Kutsa has grown into such an exact likeness of his divine companion that he can only be distinguished by Sachi, the wife of Indra, because she is "truth-conscious". The parable is evidently of the inner life of man; it is a figure of the human growing into the likeness of the eternal divine by the increasing illumination of Knowledge. But the Gita starts from action and
  Arjuna is the man of action and not of knowledge, the fighter, never the seer or the thinker.

1.03 - The Sephiros, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
  Thunder. His Greek equivalent would be Zeus armed with thunder and lightning, the shaking of whose segis produces storm and tempest. The Hindu attri bution is Indra, lord of fire and lightning. Amoun is the Egyptian God, and Thor, with the thunderbolt in his hand, is the Scandinavian cor- respondence. JEger, the God of the Sea, in the Norse Sagas, might also be placed in this category ; and the legends imply that he was skilled also in magick. U , then, we find is the planet governing that operation of practical Magick called the Formula of Tetragrammaton.
  Its Angels are said to be the " Brilliant Ones ", and its

1.04 - Homage to the Twenty-one Taras, #How to Free Your Mind - Tara the Liberator, #Thubten Chodron, #unset
  6. Homage to you adored by Indra,
  Agni, Brahma, Vayu, and Ishvara,

1.04 - The Gods of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  The immediate or at any rate the earliest known successors of the Rishis, the compilers of the Brahmanas, the writers of theUpanishads give a clear & definite answer to this question.The Upanishads everywhere rest their highly spiritual & deeply mystic doctrines on the Veda.We read in the Isha Upanishad of Surya as the Sun God, but it is the Sun of spiritual illumination, of Agni as the Fire, but it is the inner fire that burns up all sin & crookedness. In the Kena Indra, Agni & Vayu seek to know the supreme Brahman and their greatness is estimated by the nearness with which they touched him,nedistham pasparsha. Uma the daughter of Himavan, the Woman, who reveals the truth to them is clearly enough no natural phenomenon. In the Brihadaranyaka, the most profound, subtle & mystical of human scriptures, the gods & Titans are the masters, respectively, of good and of evil. In the Upanishads generally the word devah is used as almost synonymous with the forces & functions of sense, mind & intellect. The element of symbolism is equally clear. To the terms of the Vedic ritual, to their very syllables a profound significance is everywhere attached; several incidents related in the Upanishads show the deep sense then & before entertained that the sacrifices had a spiritual meaning which must be known if they were to be conducted with full profit or even with perfect safety. The Brahmanas everywhere are at pains to bring out a minute symbolism in the least circumstances of the ritual, in the clarified butter, the sacred grass, the dish, the ladle. Moreover, we see even in the earliest Upanishads already developed the firm outlines and minute details of an extraordinary psychology, physics, cosmology which demand an ancient development and centuries of Yogic practice and mystic speculation to account for their perfect form & clearness. This psychology, this physics, this cosmology persist almost unchanged through the whole history of Hinduism. We meet them in the Puranas; they are the foundation of the Tantra; they are still obscurely practised in various systems of Yoga. And throughout, they have rested on a declared Vedic foundation. The Pranava, the Gayatri, the three Vyahritis, the five sheaths, the five (or seven) psychological strata, (bhumi, kshiti of the Vedas), the worlds that await us, the gods who help & the demons who hinder go back to Vedic origins.All this may be a later mystic misconception of the hymns & their ritual, but the other hypothesis of direct & genuine derivation is also possible. If there was no common origin, if Greek & Indian separated during the naturalistic period of the common religion supposed to be recorded in the Vedas it is surprising that even the little we know of Greek rites & mysteries should show us ideas coincident with those of Indian Tantra & Yoga.
  When we go back to the Veda itself, we find in the hymns which are to us most easily intelligible by the modernity of their language, similar & decisive indications. The moralistic conception of Varuna, for example, is admitted even by the Europeans. We even find the sense of sin, usually supposed to be an advanced religious conception, much more profoundly developed in prehistoric India than it was in any other old Aryan nation even in historic times. Surely, this is in itself a significant indication. Surely, this conception cannot have become so clear & strong without a previous history in the earlier hymns. Nor is it psychologically possible that a cult capable of so advanced an idea, should have been ignorant of all other moral & intellectual conceptions reverencing only natural forces & seeking only material ends. Neither can there have been a sudden leap filled up only by a very doubtful henotheism, a huge hiatus between the naturalism of early Veda and the transcendentalism of the Vedic Brahmavada admittedly present in the later hymns. The European interpretation in the face of such conflicting facts threatens to become a brilliant but shapeless monstrosity. And is there no symbolism in the details of the Vedic sacrifice? It seems to me that the peculiar language of the Veda has never been properly studied or appreciated in this connection. What are we to say of the Vedic anxiety to increase Indra by the Soma wine? Of the description of Soma as the amritam, the wine of immortality, & of its forces as the indavah or moon powers? Of the constant sense of the attacks delivered by the powers of evil on the sacrifice? Of the extraordinary powers already attri buted to the mantra & the sacrifice? Have the neshtram potram, hotram of the Veda no symbolic significance? Is there no reason for the multiplication of functions at the sacrifice or for the subtle distinctions between Gayatrins, Arkins, Brahmas? These are questions that demand a careful consideration which has never yet been given for the problems they raise.
  The present essays are merely intended to raise the subject, not to exhaust it, to offer suggestions, not to establish them. The theory of Vedic religion which I shall suggest in these pages, can only be substantiated if it is supported by a clear, full, simple, natural and harmonious rendering of the Veda standing on a sound philological basis, perfectly consistent in itself and proved in hymn after hymn without any hiatus or fatal objection. Such a substantiation I shall one day place before the public. The problem of Vedic interpretation depends, in my view, on three different tests, philological, historic and psychological. If the results of these three coincide, then only can we be sure that we have understood the Veda. But to erect this Delphic tripod of interpretation is no facile undertaking. It is easy to misuse philology. I hold no philology to be sound & valid which has only discovered one or two byelaws of sound modification and for the rest depends upon imagination & licentious conjecture,identifies for instance ethos with swadha, derives uloka from urvaloka or prachetasa from prachi and on the other [hand] ignores the numerous but definitely ascertainable caprices of Pracritic detrition between the European & Sanscrit tongues or considers a number of word-identities sufficient to justify inclusion in a single group of languages. By a scientific philology I mean a science which can trace the origins, growth & structure of the Sanscrit language, discover its primary, secondary & tertiary forms & the laws by which they develop from each other, trace intelligently the descent of every meaning of a word in Sanscrit from its original root sense, account for all similarities & identities of sense, discover the reason of unexpected divergences, trace the deviations which separated Greek & Latin from the Indian dialect, discover & define the connection of all three with the Dravidian forms of speech. Such a system of comparative philology could alone deserve to stand as a science side by side with the physical sciences and claim to speak with authority on the significance of doubtful words in the Vedic vocabulary. The development of such a science must always be a work of time & gigantic labour.
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  (15) The world being one in all its parts every being in it contains the universe in himself. Especially do the great gods contain all the others & their activities in themselves, so that Agni, Varuna, Indra, all of them are in reality one sole-existent deity in many forms. Man too is He, but he has to fulfil himself here as man, yet divine (that being his vrata & dharma) through the puissant means provided for him [by] the Veda.
    It is supposed that in the Kaliyuga this is no longer possible, or possible only by direct self-surrender to the Supreme Deity. Therefore the complexity of the Vedic system has been removed from the domain of our religious practice and in its place there has been increasingly substituted the worship of the Supreme Deity through Love.
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  One of the greatest deities of the Vedic Pantheon is a woman, Gna,a feminine power whether of material or moral nature,whether her functions work in the subjective or the objective. The Hindu religion has always laid an overpowering stress on this idea of the woman in Nature. It is not only in the Purana that the Woman looms so large, not only in the Shakta cult that she becomes a supreme Name. In the Upanishads it is only when Indra, in his search for the mysterious and ill-understood Mastering Brahman, meets with the Woman in the heaven of thingstasminn evakashe striyam ajagama UmamHaimavatim, In that same sky he came to the Woman, Uma, daughter of Himavan,that he is able to learn the thing which he seeks. The Stri, the Aja or unborn Female Energy, is the executive Divinity of the universe, the womb, the mother, the bride, the mould & instrument of all joy & being. The Veda also speaks of the gnah, the Women,feminine powers without whom the masculine are not effective for work & formation; for when the gods are to be satisfied who support the sacrifice & effect it, vahnayah, yajatrah, then Medhatithi of the Kanwas calls on Agni to yoke them with female mates, patnivatas kridhi, in their activity and enjoyment. In one of his greatest hymns, the twenty-second of the first Mandala, he speaks expressly of the patnir devanam, the brides of the Strong Ones, who are to be called to extend protection, to brea the a mighty peace, to have their share the joy of the Soma wine. Indrani, Varunani, Agnayi,we can recognise these goddesses and their mastering gods; but there are threein addition to Mother Earthwho seem to stand on a different level and are mentioned without the names of their mates if they have any and seem to enjoy an independent power and activity. They are Ila,Mahi&Saraswati, the three goddesses born of Love or born of Bliss, Tisro devir mayobhuvah.
  Saraswati is known to us in the Purana,the Muse with her feet on the thousand leaved lotus of the mind, the goddess of thought, learning, poetry, of all that is high in mind and its knowledge. But, so far as we can understand from the Purana, she is the goddess of mind only, of intellect & imagination and their perceptions & inspirations. Things spiritual & the mightier supra-mental energies & illuminations belong not to her, but to other powers. Well, we meet Saraswati in the Vedas;and if she is the same goddess as our Puranic & modern protectress of learning & the arts, the Personality of the Intellect, then we have a starting pointwe know that the Vedic Rishis had other than naturalistic conceptions & could call to higher powers than the thunder-flash & the storm-wind. But there is a difficultySaraswati is the name of a river, of several rivers in India, for the very name means flowing, gliding or streaming, and the Europeans identify it with a river in the Punjab. We must be careful therefore, whenever we come across the name, to be sure which of these two is mentioned or invoked, the sweet-streaming Muse or the material river.
  The first passage in which Saraswati is mentioned, is the third hymn of the first Mandala, the hymn of Madhuchchhanda Vaisvamitra, in which the Aswins, Indra, the Visve devah and Saraswati are successively invokedapparently in order to conduct an ordinary material sacrifice? That is the thing that has to be seen,to be understood. What is Saraswati, whether as a Muse or a river, doing at the Soma-offering? Or is she there as the architect of the hymn, the weaver of the Riks?
  The passage devoted to her occupies the three final & culminating verses of the sacred poem. Pavaka nah Saraswati vajebhir vajinivati Yajnam vashtu dhiyavasuh. Chodayitri sunritanam chetanti sumatinam Yajnam dadhe Saraswati. Maho arnas Saraswati prachetayati ketuna Dhiyo visva vi rajati. Now there is here mention in the last verse of a flowing water, arnas, whether sea or river, but this can be no material stream, since plainly the rest of the passage can only refer to a goddess whose functions are subjective. She is dhiyavasuh, stored or rich with understanding, she is the impelling power of truths, she is the awakener of or to right thoughts. She awakens something or brings it forward into consciousness (pra-chetayati) by the perceptive intelligence and she governs or shines through all the movements of the fixing & discerning mind. There are too many words here that do ordinarily & ought here to bear a purely subjective sense for any avoidance of the clear import of the passage. We start then with the conception of Saraswati as a goddess of mind, if not the goddess of mind and we have then to determine what are her functions or activities as indicated in this important passage and for what purpose she has been summoned by the son of Visvamitra to this sacrifice.
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  I do not propose to study the earlier verses of the hymn with the same care as we have expended on the closing dedication to Saraswati,that would lead me beyond my immediate purpose. A rapid glance through them to see whether they confirm or contradict our first results will be sufficient. There are three passages, also of three verses each, consecrated successively to the Aswins, Indra & the Visve Devah. I shall give briefly my own view of these three passages and the gods they invoke.
  The master word of the address to the Aswins is the verb chanasyatam, take your delight. The Aswins, as I understand them, are the masters of strength, youth, joy, swiftness, pleasure, rapture, the pride and glory of existence, and may almost be described as the twin gods of youth and joy. All the epithets applied to them here support this view. They are dravatpani subhaspati, the swift-footed masters of weal, of happiness and good fortune; they are purubhuja, much enjoying; their office is to take and give delight, chanasyatam. So runs the first verse, Aswin yajwaririsho dravatpani subhaspati, Purubhuja chanasyatam. O Aswins, cries Madhuchchhanda, I am in the full rush, the full ecstasy of the sacrificial action, O swift-footed, much-enjoying masters of happiness, take in me your delight. Again they are purudansasa, wide-distributing, nara, strong. O strong wide-distributing Aswins, continues the singer, with your bright-flashing (or brilliantly-forceful) understanding take pleasure in the words (of the mantra) which are now firmly settled (in the mind). Aswina purudansasa nara shaviraya dhiya, Dhishnya vanatam girah. Again we have the stress on things subjective, intellectual and spiritual. The extreme importance of the mantra, the inspired & potent word in the old Vedic religion is known nor has it diminished in later Hinduism. The mantra in Yoga is only effective when it has settled into the mind, is asina, has taken its seat there and become spontaneous; it is then that divine power enters into, takes possession of it and the mantra itself becomes one with the god of the mantra and does his works in the soul and body. This, as every Yogin knows, is one of the fundamental ideas not only in the Rajayogic practice but in almost all paths of spiritual discipline. Here we have the very word that can most appropriately express this settling in of the mantra, dhishnya, combined with the word girah. And we know that the gods in the Veda are called girvanah, those who delight in the mantra; Indra, the god of mental force, is girvahas, he who supports or bears the mantra. Why should Nature gods delight in speech or the god of thunder & rain be the supporter or bearer of any kind of speech? The hymns? But what is meant by bearing the hymns? We have to give unnatural meanings to vanas & vahas, if we wish to avoid this plain indication. In the next verse the epithets are dasra, bountiful, which, like wide-distributing is again an epithet appropriate to the givers of happiness, weal and youth, rudravartani, fierce & impetuous in all their ways, and Nasatya, a word of doubtful meaning which, for philological reasons, I take to mean gods of movement.As the movement indicated by this and kindred words n, (natare), especially meant a gliding, floating, swimming movement, the Aswins came to be especially the protectors of ships & sailors, and it is in this capacity that we find Castor & Polydeuces (Purudansas) acting, their Western counterparts, the brothers of Helen (Sarama), the swift riders of the Roman legend. O givers, O lords of free movement, runs the closing verse of this invocation, come to the outpourings of my nectar, be ye fierce in action;I feel full of youthful vigour, I have prepared the sacred grass,if that indeed be the true & early meaning of barhis. Dasra yuvakavah suta nasatya vriktabarhishah, Ayatam rudravartani. It is an intense rapture of the soul (rudravartani) which Madhuchchhandas asks first from the gods.Therefore his first call is to the Aswins.
  Next, it is to Indra that he turns. I have already said that in my view Indra is the master of mental force. Let us see whether there is anything here to contradict the hypothesis. Indra yahi chitrabhano suta ime tu ayavah, Anwibhis tana putasah. Indrayahi dhiyeshito viprajutah sutavatah Upa brahmani vaghatah. Indrayahi tutujana upa brahmani harivah Sute dadhishwa nas chanah. There are several important words here that are doubtful in their sense, anwi, tana, vaghatah, brahmani; but none of them are of importance for our present purpose except brahmani. For reasons I shall give in the proper place I do not accept Brahma in the Veda as meaning speech of any kind, but as either soul or a mantra of the kind afterwards called dhyana, the object of which was meditation and formation in the soul of the divine Power meditated on whether in an image or in his qualities. It is immaterial which sense we take here. Indra, sings the Rishi, arrive, O thou of rich and varied light, here are these life-streams poured forth, purified, with vital powers, with substance. Arrive, O Indra, controlled by the understanding, impelled forward in various directions to my soul faculties, I who am now full of strength and flourishing increase. Arrive, O Indra, with protection to my soul faculties, O dweller in the brilliance, confirm our delight in the nectar poured. It seems to me that the remarkable descriptions dhiyeshito viprajutah are absolutely conclusive, that they prove the presence of a subjective Nature Power, not a god of rain & tempest, & prove especially a mind-god. What is it but mental force which comes controlled by the understanding and is impelled forward by it in various directions? What else is it that at the same time protects by its might the growing & increasing soul faculties from impairing & corrupting attack and confirms, keeps safe & continuous the delight which the Aswins have brought with them? The epithets chitrabhano, harivas become at once intelligible and appropriate; the god of mental force has indeed a rich and varied light, is indeed a dweller in the brilliance. The progress of the thought is clear. Madhuchchhanda, as a result of Yogic practice, is in a state of spiritual & physical exaltation; he has poured out the nectar of vitality; he is full of strength & ecstasy This is the sacrifice he has prepared for the gods. He wishes it to be prolonged, perhaps to be made, if it may now be, permanent. The Aswins are called to give & take the delight, Indra to supply & preserve that mental force which will sustain the delight otherwise in danger of being exhausted & sinking by its own fierceness rapidly consuming its material in the soul faculties. The state and the movement are one of which every Yogin knows.
  But he is not content with the inner sacrifice. He wishes to pour out this strength & joy in action on the world, on his fellows, on the peoples, therefore he calls to the Visve Devah to come, A gata!all the gods in general who help man and busy themselves in supporting his multitudinous & manifold action. They are kindly, omasas, they are charshanidhrito, holders or supporters of all our actions, especially actions that require effort, (it is in this sense that I take charshani, again on good philological grounds), they are to distribute this nectar to all or to divide it among themselves for the action,dasvanso may have either force,for Madhuchchhanda wishes not only to possess, but to give, to distribute, he is dashush. Omasas charshanidhrito visve devasa a gata, daswanso dashushah sutam. He goes on, Visve devaso apturah sutam a ganta turnayah Usra iva swasarani. Visve devaso asridha ehimayaso adruhah, Medham jushanta vahnayah. O you all-gods who are energetic in works, come to the nectar distilled, ye swift ones, (or, come swiftly), like calves to their own stalls,(so at least we must translate this last phrase, till we can get the real meaning, for I do not believe this is the real or, at any rate, the only meaning). O you all-gods unfaltering, with wide capacity of strength, ye who harm not, attach yourselves to the offering as its supporters. And then come the lines about Saraswati. For although Indra can sustain for a moment or for a time he is at present a mental, not an ideal force; it is Saraswati full of the vijnana, of mahas, guiding by it the understanding in all its ways who can give to all these gods the supporting knowledge, light and truth which will confirm and uphold the delight, the mental strength & supply inexhaustibly from the Ocean of Mahas the beneficent & joy-giving action,Saraswati, goddess of inspiration, the flowing goddess who is the intermediary & channel by which divine truth, divine joy, divine being descend through the door of knowledge into this human receptacle. In a word, she is our inspirer, our awakener, our lurer towards Immortality. It is immortality that Madhuchchhandas prepares for himself & the people who do sacrifice to Heaven, devayantah. The Soma-streams he speaks of are evidently no intoxicating vegetable juices; he calls them ayavah, life-forces; & elsewhere amritam, nectar of immortality; somasah, wine-draughts of bliss & internal well being. It is the clear Yogic idea of the amritam, the divine nectar which flows into the system at a certain stage of Yogic practice & gives pure health, pure strength & pure physical joy to the body as a basis for a pure mental & spiritual vigour and activity.
  We have therefore as a result of a long and careful examination the clear conviction that certainly in this poem of Madhuchchhanda, probably in others of his hymns, perhaps in all we have an invocation to subjective Nature powers, a symbolic sacrifice, a spiritual, moral & subjective effort & purpose. And if many other suktas in this & other Mandalas confirm the evidence of this third hymn of the Rigveda, shall we not say that here we have the true Veda as the Rishis understood it and that this was the reason why all the ancient thinkers looked on the hymns with so deep-seated a reverence that even after they came to be used merely as ceremonial liturgies at a material sacrifice, even after the Buddha impatiently flung them aside, the writer of the Gita had to look beyond them & Shankara respectfully put them on the shelf of neglect as useless for spiritual purposes, even after they have ceased to be used and almost to be read, the most spiritual nation on the face of the earth still tenaciously, by a sort of divine instinct, clings to them as its supreme Scriptures & refers back all its spirituality and higher knowledge to the Vedas? Let us proceed and see whether this is not the truest as well as the noblest reading of the riddle the real root of Gods purpose in maintaining this our ancient faith and millennial tradition.
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  We get our first mention of Varuna at the end of the second hymn in the Rigveda, the hymn of Madhuchchhandas in which he calls, as in the third, on several gods, first to Vayu, then to Vayu and Indra together, last, Varuna and Mitra. Arrive, he says, O Vayu, O beautiful one, lo these Soma-powers in their array (is it not a battle-array?), protect them, hear their call! O Vayu, strongly thy lovers woo thee with prayers (or, desires), they have distilled the nectar, they have found their strength (or, they know the day?). O Vayu, thy abounding stream moves for the giver, it is wide for the drinking of the Soma-juice. O Indra & Vayu, here are the outpourings, come to them with outputtings of strength, the powers of delight desire you both. Thou, O Vayu, awake, and Indra, to the outpourings of the Soma, you who are rich in power of your plenty; so (that is, rich in power) come to me, for the foe has attacked. Come O Vayu, and Indra, to the distiller of the nectar, expel the foe, swiftly hither strong by the understanding. And then comes the closing call to Mitra & Varuna. I call Mitra of purified discernment and Varuna who destroys the foe, they who effect a bright and gracious understanding. By Law of Truth, Mitra and Varuna, who by the Truth increase and to the Truth attain, enjoy a mighty strength. Mitra and Varuna, the seers, born in Force, dwellers in the Vast, uphold Daksha (the discerning intelligence) at his work.
  There are here a number of words whose exact meaning is exceedingly important for any fruitful enquiry into the religious significance of the Vedas. The most important, the decisive & capital word in the passage is Ritam. Whatever it may be held to mean, it will decide for us the essential character of Varuna & his constant comradeMitra. I have already suggested in my first chapter the sense in which I understand Ritam. It is its ordinary sense in Sanscrit. Ritam is Truth, Law, that which is straight, upright, direct, rectum; it is that which gives everything its place & its motion (ritu), that which constitutes reason (ratio) in mind and rectitude in morals,it is the rightness or righteousness which makes the stars move in their orbits, the seasons occur in their order, thought & speech move towards truth, trees grow according to their seed, animals act according to their species & nature, & man walk in the paths which God has prescribed for him. It is that in the Akasha the Akasha where Varuna is lordwhich develops arrangement & order, it is the element of law in Nature. But not only in material Nature, not only in the moral akasha even,the akasha of the heart of which the Rishis spoke, but on higher levels also. I have pointed out that Ritam is the law of the Truth, of vijnana. It is this ideal Truth, the Truth of being, by which everything animate or inanimate knows in its fibres of being & serves in action & feeling the truth of itself, in which Law is born. This Law which belongs to Satyam, to the Mahas, is Ritam. Neither of the English words,Law & Truth, gives the idea; they have to be combined in order to be equivalent to ritam. Well, then Varuna is represented to us as increasing in his nature by this Truth & Law, attaining to it or possessing it; Law & Truth are the source of his strength, the means by which he has arrived at his present force & mightiness.
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  So much Varuna does but what is he actually?We cannot tell with accuracy until we have separated him from his companion Mitra. We come across him next no longer in company withMitra, but still not by himself, accompanied this time by Indra and helping him in his work, in the seventeenth sukta of the first Mandala, a hymn of Medhatithi Kanwa, a hymn whose burden is joy, calm, purity & fulfilment. Of Indra & Varuna, the high rulers, I choose the protection, may they be gracious to us in this our state (of attainment). For ye are they who come to the call of the enlightened soul that can contain you; you are they who are upbearers of his actions. Take ye your pleasure to your hearts content in the felicity, O Indra, O Varuna; so we desire you utterly near to us. May we gain the full pitch of the powers, the full vigour of the right thoughts that give men the assured plenty. Indra is the desirable Strength of all that gives force, Varuna of all that is ample & noble. By their protection may we remain in safety and meditate, may there be indeed an utter purification. Indra and Varuna, I call you for rich and varied ecstasy, do ye render us victorious. Indra and Varuna, now may our understandings be entirely obedient to you, that in them you may give to us peace. May the good praise be grateful to you, O Indra & Varuna, which I call aloud to you, the fulfilling praise which you bring to prosperity.
  We are no longer with Madhuchchhanda Vaiswamitra. It is Medhatithi of the Kanwas who has taken the word, a soul of great clearness & calmness who is full of a sort of vibrating peace. Yet we find the same strain, the same fixed ideas, the same subjective purpose & spiritual aspiration. A few words here & there in my translation may be challenged and given a different meaning. Throughout the Veda there are words like radhas etc to which I have given a sense based on reasons of context & philology but which must be allowed to remain conjectural till I am able to take up publicly the detailed examination of the language & substance of the Rigveda. But we have sumati again and the ever recurring vaja, the dhartara charshaninam, holders of actions, & rayah which certainly meant felicity in the Veda. It is clear from the third verse that Varuna and Indra are called to share in the felicity of the poets soul,that felicity is his material of sacrifice,anukamam tarpayetham, he says, Delight in it to your hearts content; and again in the seventh shloka he tells them, Vam aham huve chitraya radhase, a phrase which, in view of verse 3, I can only translate I call you for rich and varied ecstasy; for it is evidently meant to describe that felicity, that heart-filling satisfaction which he has already offered in the third sloka. In return he asks them to give victory. Always in the Veda there is the idea of the spiritual battle as well as the outer struggles of life, the battle with the jealous forces of Nature, with Vala, the grudging guardian of light, with the great obscuring dragon Vritra & his hosts, with the thieving Panis, with all the many forces that oppose mans evolution & support limitation and evil. A great many of the words for sacrifice, mean also war and battle, in Sanscrit or in its kindred tongues.
   Indra and Varuna are called to give victory, because both of them are samrat. The words samrat & swarat have in Veda an ascertained philosophical sense.One is swarat when, having self-mastery & self-knowledge, & being king over his whole system, physical, vital, mental & spiritual, free in his being, [one] is able to guide entirely the harmonious action of that being. Swarajya is spiritual Freedom. One is Samrat when one is master of the laws of being, ritam, rituh, vratani, and can therefore control all forces & creatures. Samrajya is divine Rule resembling the power of God over his world. Varuna especially is Samrat, master of the Law which he follows, governor of the heavens & all they contain, Raja Varuna, Varuna the King as he is often styled by Sunahshepa and other Rishis. He too, like Indra & Agni & the Visvadevas, is an upholder & supporter of mens actions, dharta charshaninam. Finally in the fifth sloka a distinction is drawn between Indra and Varuna of great importance for our purpose. The Rishi wishes, by their protection, to rise to the height of the inner Energies (yuvaku shachinam) and have the full vigour of right thoughts (yuvaku sumatinam) because they give then that fullness of inner plenty (vajadavnam) which is the first condition of enduring calm & perfection & then he says, Indrah sahasradavnam, Varunah shansyanam kratur bhavati ukthyah. Indra is the master-strength, desirable indeed, (ukthya, an object of prayer, of longing and aspiration) of one class of those boons (vara, varyani) for which the Rishis praise him, Varuna is the master-strength, equally desirable, of another class of these Vedic blessings. Those which Indra brings, give force, sahasram, the forceful being that is strong to endure & strong to overcome; those that attend the grace of Varuna are of a loftier & more ample description, they are shansya. The word shansa is frequently used; it is one of the fixed terms of Veda. Shall we translate it praise, the sense most suitable to the ritual explanation, the sense which the finally dominant ritualistic school gave to so many of the fixed terms of Veda? In that case Varuna must be urushansa, because he is widely praised, Agni narashansa because he is strongly praised or praised by men,ought not a wicked or cruel man to be nrishansa because he is praised by men?the Rishis call repeatedly on the gods to protect their praise, & Varuna here must be master of things that are praiseworthy. But these renderings can only be accepted, if we consent to the theory of the Rishis as semi-savage poets, feeble of brain, vague in speech, pointless in their style, using language for barbaric ornament rather than to express ideas. Here for instance there is a very powerful indicated contrast, indicated by the grammatical structure, the order & the rhythm, by the singular kratur bhavati, by the separation of Indra & Varuna who have hitherto been coupled, by the assignment of each governing nominative to its governed genitive and a careful balanced order of words, first giving the master Indra then his province sahasradavnam, exactly balancing them in the second half of the first line the master Varuna & then his province shansyanam, and the contrast thus pointed, in the closing pada of the Gayatri all the words that in their application are common at once to all these four separated & contrasted words in the first line. Here is no careless writer, but a style careful, full of economy, reserve, point, force, and the thought must surely correspond. But what is the contrast forced on us with such a marshalling of the stylists resources? That Indras boons are force-giving, Varunas praiseworthy, excellent, auspicious, what you will? There is not only a pointless contrast, but no contrast at all. No, shansa & shansya must be important, definite, pregnant Vedic terms expressing some prominent idea of the Vedic system. I shall show elsewhere that shansa is in its essential meaning self-expression, the bringing out of our sat or being that which is latent in it and manifesting it in our nature, in speech, in our general impulse & action. It has the connotation of self-expression, aspiration, temperament, expression of our ideas in speech; then divulgation, publication, praiseor in another direction, cursing. Varuna is urushansa because he is the master of wide self-expression, wide aspirations, a wide, calm & spacious temperament, Agni narashansa because he is master of strong self-expression, strong aspirations, a prevailing, forceful & masterful temperament;nrishansa had originally the same sense, but was afterwards diverted to express the fault to which such a temper is prone,tyranny, wrath & cruelty; the Rishis call to the gods to protect their shansa, that which by their yoga & yajna they have been able to bring out in themselves of being, faculty, power, joy,their self-expression. Similarly, shansya here means all that belongs to self-expression, all that is wide, noble, ample in the growth of a soul. It will follow from this rendering that Indra is a god of force, Varuna rather a god of being and as it appears from other epithets, of being when it is calm, noble, wide, self-knowing, self-mastering, moving freely in harmony with the Law of things because it is aware of that Law and accepts it. In that acceptance is his mighty strength; therefore is he even more than the gods of force the king, the giver of internal & external victory, rule, empire, samrajya to his votaries. This is Varuna.
  We see the results & the conditions of the action ofVaruna in the four remaining verses. By their protection we have safety from attack, sanema, safety for our shansa, our rayah, our radhas, by the force of Indra, by the protecting greatness of Varuna against which passion & disturbance cast themselves in vain, only to be destroyed. This safety & this settled ananda or delight, we use for deep meditation, ni dhimahi, we go deep into ourselves and the object we have in view in our meditation is prarechanam, the Greek katharsis, the cleansing of the system mental, bodily, vital, of all that is impure, defective, disturbing, inharmonious. Syad uta prarechanam! In this work of purification we are sure to be obstructed by the powers that oppose all healthful change; but Indra & Varuna are to give us victory, jigyushas kritam. The final result of the successful purification is described in the eighth sloka. The powers of the understanding, its various faculties & movements, dhiyah, delivered from self-will & rebellion, become obedient to Indra & Varuna; obedient to Varuna, they move according to the truth & law, the ritam; obedient to Indra they fulfil with that passivity in activity, which we seek by Yoga, all the works to which mental force can apply itself when it is in harmony with Varuna & the ritam. The result is sharma, peace. Nothing is more remarkable in the Veda than the exactness with which hymn after hymn describes with a marvellous simplicity & lucidity the physical & psychological processes through which Indian Yoga proceeds. The process, the progression, the successive movements of the soul here described are exactly what the Yogin experiences today so many thousands of years after the Veda was revealed. No wonder, it is regarded as eternal truth, not the expression of any particular mind, not paurusheya but impersonal, divine & revealed.
  This hymn differs greatly, interestingly & instructively, from the hymn in which Varuna first appears. There the object is to ensure the ananda, the rayah & radhas spoken of in this hymn by the advent of the gods of Vitality & Mind-Force, Indra & Vayu, to protect from the attack of disintegrating forces the Soma or Amrita, the juice of immortality expressed in the Yogins system. Varuna & Mitra are then called for a particular & restricted purpose to perfect the discernment & to uphold it in its works by the sustaining force of a calm, wide, comprehensive self-expression full of peace & love. The Rishi of that sukta is using the amrita to feed the activity of a sattwic state of mind for acquiring added knowledge. The present hymn belongs to a more advanced state of the Yoga. It is sadhastuti, a hymn of fulfilment or for fulfilment, in which peace & a calm, assured, untroubled activity of the soul are very near. Varuna here leads. He is here for Indras purposes, but his activity predominates; it is his spirit that pervades the action and purpose of the hymn.
  ***

1.04 - The Paths, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
  Chesed (the sphere of 2f) to Netsach, which latter is the sphere of 2 Venus, the Path of Caph partakes both of the magnanimous and generous expansive character of 2J. and the love nature of $ . It repeats on a considerably lower plane the attri butions of Jupiter, Zeus, Brahma, and Indra, already commented upon. Pluto is also attri buted, since he is the blind giver of wealth, symbolical of the infinite and abundant prodigality of Nature. In the Northern Sagas we
  THE PATHS 81

1.04 - The Praise, #Tara - The Feminine Divine, #unset, #Zen
  Homage to her who is honored by Indra, Agni, Brahma,
  Vayu and other gods,
  --
  HOMAGE TO HER WHO IS HONORED BY Indra, AGNI,
  BRAHMA, VA YU AND OTHER GODS,

1.05 - Buddhism and Women, #Tara - The Feminine Divine, #unset, #Zen
  a vision in a dream of King Indra buthi who advised
  her to practice Avalokiteshvara (Chenrezig). If she did

1.05 - Hymns of Bharadwaja, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
    7. We have chosen thee most rapturous with the flaming lights of thy illuminations; O Fire, hear for us that which is great. O Godhead of Fire, the most strong Gods fill thee like Indra with might and like the Life-God with riches.
    8. O Fire, thou journeyest happily to the treasures by paths where the wolf rends not, and carriest us beyond all evils. These high things thou givest to the luminous wise; thou lavishest the bliss on him who voices thee with the word. May we revel in the rapture, strong with the strength of the Heroes, living a hundred winters.

1.05 - Ritam, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  In the next hymn the word ritam does not occur, but the continual refrain of its strophes is the cognate word ritunpibartun, Medhatithi cries to each of the gods in turn,ritun yajnam sh the .. ritubhir ishyata, pibatam ritun yajnavhas, ritun yajnanr asi. Ritu is supposed to have here & elsewhere its classical & modern significance, a season of the year; the ritwik is the priest who sacrifices in the right season; the gods are invited to drink the soma according to the season! It may be so, but the rendering seems to me to make all the phrases of this hymn strangely awkward & improbable. Medhatithi invites Indra to drink Soma by the season, Mitra & Varuna are to taste the sacrifice, this single sacrifice offered by this son of Kanwa, by the season; in the same single sacrifice the priests or the gods are to be impelled by the seasons, by many seasons on a single sacrificial occasion! the Aswins are to drink the Soma by the sacrifice-supporting season! To Agni it is said, by the season thou art leader of the sacrifice. Are such expressions at all probable or even possible in the mouth of a poet using freely the natural language of his age? Are they not rather the clumsy constructions of the scholar drawn to misinterpret his text by the false clue of a later & inapplicable meaning of the central word ritu? But if we suppose the sacrifice to be symbolic &, as ritam means ideal truth in general, so ritu to mean that truth in its ordered application, the ideal law of thought, feeling or action, then this impossible awkwardness vanishes & gives place to a natural construction & a lucid & profound significance. Indra is to drink the wine of immortality according to or by the force of the ideal law, by that ideal law Varuna &Mitra are to enjoy the offering of Ananda of the human mind & the human activity, the gods are to be impelled in their functioning ritubhih, by the ideal laws of the truth,the plural used, in the ordinary manner of the Veda, to express the particular actions of the law of truth, the singular its general action. It is the ideal law that supports the human offering of our activities to the divine life above us, ritun yajnavhas; by the force of the law of Truth Agni leads the sacrifice to its goal.
  In this suggestive & significant hymn packed full of the details of the Vedic sacrificial symbolism we again come across Daksha in close connection with Mitra, Varuna & the Truth.
  --
    Twam tam Brahmanaspate Soma Indrascha martyam
    Dakshin ptu anhasah
  Do thou, O Brahmanaspati, & may Soma & Indra and Dakshina protect that mortal from evil.
  If we suppose evil in this rik to connote or include moral evil we find Dakshina to have a share, the active energy of the viveka to take its part in the function of protection from sin which is one of the principal attributes of Varuna. It is part of the ideas of Vedanta that sin is in reality a form of ignorance and is purified out of the system by the illumination of divine knowledge. We begin to find by this sin-effacing attri bute of Varuna, prachet, uruchakshas, ptadaksha, ritasya jyotishas pati, by this sin-repelling attri bute of Dakshina, the energy of ideal discrimination, the same profound idea already anticipated in the Rigveda. The Veda abounds with confirmatory passages, of which I will quote at present one only from the hymn of Kanwa to Agni, the thirty-sixth of thisMandala. High-uplifted protect us from evil by the perception, burn utterly every devourer, phi anhaso ni ketun a. All evil is a deviation from the right & truth, from the ritam, a deviation from the self-existent truth & right of the divine or immortal nature; the lords of knowledge dwelling in the human consciousness as the prachetasah, informing its acts of consciousness which include in the ancient psychology action & feeling no less than thought & attuning them to follow spontaneously the just rhythm of the divine right & truth, deliver effectually this human & mortal nature from evil & sin. The place of Daksha & Dakshina in that action is evident; it is primary & indispensable; for the mortal nature being full of wrong perceptions, warped impulses, evil & mixed & confused states of feeling, it is the business of the viveka to sort out the confusion & accustom the mind & heart of man to a juster, truer & purer working. The action of the other faculties of the Truth may be said to come after that of Daksha, of the viveka. In these hymns of Sunahshepa the clear physiognomy of Varuna begins to dawn upon us. He is evidently the master of right knowledge, wide, self-luminous & all-containing in the world-consciousness & in human consciousness. His physical connection with the all-containing ether,for Varuna is Uranus, the Greek Akasha, & wideness is constantly associated with him in the Veda,leads us to surmise that he may also be the master in the ideal faculty, ritam brihat, where he dwells, urukshaya, of pure infinite conscious-being out of which knowledge manifests & with which it is, ultimately, one entity

1.05 - Solitude, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  With thinking we may be beside ourselves in a sane sense. By a conscious effort of the mind we can stand aloof from actions and their consequences; and all things, good and bad, go by us like a torrent. We are not wholly involved in Nature. I may be either the drift-wood in the stream, or Indra in the sky looking down on it. I _may_ be affected by a theatrical exhibition; on the other hand, I _may not_ be affected by an actual event which appears to concern me much more. I only know myself as a human entity; the scene, so to speak, of thoughts and affections; and am sensible of a certain doubleness by which I can stand as remote from myself as from another. However intense my experience, I am conscious of the presence and criticism of a part of me, which, as it were, is not a part of me, but spectator, sharing no experience, but taking note of it; and that is no more I than it is you. When the play, it may be the tragedy, of life is over, the spectator goes his way. It was a kind of fiction, a work of the imagination only, so far as he was concerned. This doubleness may easily make us poor neighbors and friends sometimes.
  I find it wholesome to be alone the greater part of the time. To be in company, even with the best, is soon wearisome and dissipating. I love to be alone. I never found the companion that was so companionable as solitude. We are for the most part more lonely when we go abroad among men than when we stay in our chambers. A man thinking or working is always alone, let him be where he will. Solitude is not measured by the miles of space that intervene between a man and his fellows. The really diligent student in one of the crowded hives of Cambridge College is as solitary as a dervish in the desert. The farmer can work alone in the field or the woods all day, hoeing or chopping, and not feel lonesome, because he is employed; but when he comes home at night he cannot sit down in a room alone, at the mercy of his thoughts, but must be where he can see the folks, and recreate, and as he thinks remunerate himself for his days solitude; and hence he wonders how the student can sit alone in the house all night and most of the day without ennui and the blues; but he does not realize that the student, though in the house, is still at work in _his_ field, and chopping in _his_ woods, as the farmer in his, and in turn seeks the same recreation and society that the latter does, though it may be a more condensed form of it.

1.05 - The Magical Control of the Weather, #The Golden Bough, #James George Frazer, #Occultism
  the Sakvari song, was believed to embody the might of Indra's
  weapon, the thunderbolt; and hence, on account of the dreadful and
  --
  heard by Indra, and out of pity for the beast's sufferings the god
  stops the rain. Sometimes the Toradjas attempt to procure rain as

1.05 - War And Politics, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  We may remind ourselves of Talthybius's mission to Troy in Sri Aurobindo's epic poem Ilion: Achilles made an offer by which Troy would be saved and the honour of the Greeks would be preserved, a harmonising offer, but it was rejected. Similarly, Duraiswamy went with India's soul in his "frail" hands and brought it back, downhearted, rewarded with ungracious remarks for the gratuitous advice. Sri Aurobindo even sent a telegram to Rajagopalachari and Dr. Munje urging them to accept the Proposals. Dr. Indra Sen writes, "We met the members individually and the sense of the reactions were more or less to this effect: Sri Aurobindo has created difficulties for us by his message to Cripps. He doesn't know the actual situation, we are in it, we know' better... and so on." Cripps flew back a disappointed man but with the consolation and gratified recognition that at least one great man had welcomed the idea. When the rejection was announced, Sri Aurobindo said in a quiet tone, "I knew it would fail." We at once pounced on it and asked him, "Why did you then send Duraiswamy at all?" "For a bit of niskama karma,"[3]was his calm reply, without any bitterness or resentment. The full spirit of the kind of "disinterested work" he meant comes out in an early letter of his (December 1933), which refers to his spiritual work: "I am sure of the results of my work. But even if I still saw the chance that it might come to nothing (which is impossible), I would go on unperturbed, because I would still have done to the best of my power the work that I had to do, and what is so done always counts in the economy of the universe."
  After the War, the Labour Government of U.K. sent a Cabinet Mission to India in 1946 for fresh talks. Asked to give his views on the mission by Amrita Bazar Patrika, a leading daily in the country, Sri Aurobindo said:

1.06 - Agni and the Truth, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  Truth or the image of the Cow are introduced and establish my thesis by an examination of their sense and context. Or if I wish to prove that Indra in the Veda is really in his psychological functions the master of luminous mind typified by
  Dyaus, or Heaven, with its three shining realms, Rochana, I should have to examine similarly the hymns addressed to Indra and the passages in which there is a clear mention of the Vedic system of worlds. Nor could this be sufficient, so intertwined and interdependent are the notions of the Veda, without some scrutiny of the other Gods and of other important psychological terms connected with the idea of the Truth and of the mental illumination through which man arrives at it. I recognise the necessity of such a work of justification and hope to follow it out in other studies on the Vedic Truth, on the Gods of the
  Veda and on Vedic symbols. But a labour of this scope would be beyond the range of the present work, which is confined merely to an illustration of my method and to a brief statement of the results of my theory.
  --
  Atri. In each of these Mandalas the Suktas addressed to Agni are first collected together and followed by those of which Indra is the deity; the invocations of other gods, Brihaspati, Surya, the Ribhus, Usha etc. close the Mandala. A whole book, the ninth, is given to a single god, Soma. The first, eighth and tenth
  Mandalas are collections of Suktas by various Rishis, but the hymns of each seer are ordinarily placed together in the order of their deities, Agni leading, Indra following, the other gods succeeding. Thus the first Mandala opens with ten hymns of the seer Madhuchchhandas, son of Vishwamitra, and an eleventh ascribed to Jetri, son of Madhuchchhandas. This last Sukta, however, is identical in style, manner and spirit with the ten that precede it and they can all be taken together as a single block of hymns one in intention and diction.
  A certain principle of thought-development also has not been absent from the arrangement of these Vedic hymns. The opening Mandala seems to have been so designed that the general thought of the Veda in its various elements should gradually unroll itself under the cover of the established symbols by the voices of a certain number of Rishis who almost all rank high as thinkers and sacred singers and are, some of them, among the most famous names of Vedic tradition. Nor can it be by accident that the tenth or closing Mandala gives us, with an even greater miscellaneity of authors, the last developments of the thought of the Veda and some of the most modern in language of its Suktas.
  --
  In any case, the hymns of the son and grandson of Vishwamitra with which the Rig Veda opens strike admirably the first essential notes of the Vedic harmony. The first hymn, addressed to Agni, suggests the central conception of the Truth which is confirmed in the second and third Suktas invoking Indra in company with other gods. In the remaining eight hymns with Indra as the sole deity, except for one which he shares with the Maruts,
  Agni and the Truth
  --
  Vritra and the great role played by Indra in leading man to the Light and overthrowing the barriers to his progress. These hymns are therefore of crucial importance to the psychological interpretation of the Veda.
  There are four verses in the Hymn to Agni, the fifth to the eighth, in which the psychological sense comes out with a great force and clearness, escaping from the veil of the symbol.

1.06 - Origin of the four castes, #Vishnu Purana, #Vyasa, #Hinduism
  gu is the seventh, and kulattha, pulse, the eighth: the others are, Syāmāka, a sort of panic; Nīvāra, uñcultivated rice; Jarttila, wild sesamum; Gavedukā (coix); Markata, wild panic; and (a plant called) the seed or barley of the Bambu (Venu-yava). These, cultivated or wild, are the fourteen grains that were produced for purposes of offering in sacrifice; and sacrifice (the cause of rain) is their origin also: they again, with sacrifice, are the great cause of the perpetuation of the human race, as those understand who can discriminate cause and effect. Thence sacrifices were offered daily; the performance of which, oh best of Munis, is of essential service to mankind, and expiates the offences of those by whom they are observed. Those, however, in whose hearts the dross of sin derived from Time (Kāla) was still more developed, assented not to sacrifices, but reviled both them and all that resulted from them, the gods, and the followers of the Vedas. Those abusers of the Vedas, of evil disposition and conduct, and seceders from the path of enjoined duties, were plunged in wickedness[8]. The means of subsistence having been provided for the beings he had created, Brahmā prescribed laws suited to their station and faculties, the duties of the several castes and orders[9], and the regions of those of the different castes who were observant of their duties. The heaven of the Pitris is the region of devout Brahmans. The sphere of Indra, of Kṣetriyas who fly not from the field. The region of the winds is assigned to the Vaisyas who are diligent in their occupations and submissive. Śūdras are elevated to the sphere of the Gandharvas. Those Brahmans who lead religious lives go to the world of the eighty-eight thousand saints: and that of the seven Ṛṣis is the seat of pious anchorets and hermits. The world of ancestors is that of respectable householders: and the region of Brahmā is the asylum of religious mendicants[10]. The imperishable region of the Yogis is the highest seat of Viṣṇu, where they perpetually meditate upon the supreme being, with minds intent on him alone: the sphere where they reside, the gods themselves cannot behold. The sun, the moon, the planets, shall repeatedly be, and cease to be; but those who internally repeat the mystic adoration of the divinity, shall never know decay. For those who neglect their duties, who revile the Vedas, and obstruct religious rites, the places assigned after death are the terrific regions of darkness, of deep gloom, of fear, and of great terror; the fearful hell of sharp swords, the hell of scourges and of a waveless sea[11].
  Footnotes and references:
  --
  [10]: These worlds, some of which will be more particularly described in a different section, are the seven Lokas or spheres above the earth: 1. Prājāpatya or Pitri loka: 2. Indra loka or Swerga: 3. Marut loka or Diva loka, heaven: 4. Gandharva loka, the region of celestial spirits; also called Maharloka: 5. Janaloka, or the sphere of saints; some copies read eighteen thousand; others, as in the text, which is also the reading of the Padma Purāṇa: 6. Tapaloka, the world of the seven sages: and 7. Brahma loka or Satya loka, the world of infinite wisdom and truth. The eighth, or high world of Viṣṇu, is a sectarial addition, which in the Bhāgavata is called Vaikuntha, and in the Brahma Vaivartta, Goloka; both apparently, and most certainly the last, modern inventions.
  [11]: The divisions of Naraka, or hell, here named, are again more particularly enumerated, b. II. c. 6.

1.06 - Yun Men's Every Day is a Good Day, #The Blue Cliff Records, #Yuanwu Keqin, #Zen
  you offering praise?" Indra said, "I esteem the Venerable One's
  skill in expounding the transcendence of wisdom." Subhuti
  --
  are you offering praise?" Indra said, "You have never spoken
  and I have never heard. No speaking, no hearing-this is true

1.07 - Note on the word Go, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  The word Go in the Vedas appears to bear two ordinary meanings, first, cow, secondly, ray, light or lustre. In the hymns of Madhuchchhanda it occurs 6 times, in five hymns. It occurs twice in the fourth hymn addressed to Indra in the first three verses which are all of them important for the discovery of the proper sense of the word as it is used in this passage. In the third verse which is the key to the passage, we find the prayer Then may we know (of) thy ultimate good thoughts. Then may we know. When? as a consequence to what? Obviously as a consequence to the result of the second verse, which I translate Come to us, O bringer out of the nectar (savana), thou the Soma-drinker; drink of the ecstatic Soma wine, a giver of illumination, enraptured or in better English bringing out the sense & association of the words, Come to us, O thou who art a distiller of the nectar, thou, the Soma-drinker, drink of the impetuously ecstatic Soma wine & be in the rapture of its intoxication our giver of illuminating light. Then may we know thy ultimate perceptions of the intellect. Pass us not byO come! Id lays emphasis on goda as the capacity in which, the purpose for which Indra is to drink. Revato and madah give the conditions under which Indra becomes a giver of illumination, the rushing & impetuous ecstasy produced by the Soma wine. It is then that men know the ultimate perceptions of mind, the highest realisations that can be given by the intellect when Indra, lord of mental force & power, is full of the ecstasy of the immortalising juice. This clear & easy sense being fixed for these two verses, we can return to the first & discover its connection with what follows. From sky to sky, its Rishi says to Indra, thou callest forth for uti, (for favour or kindness, as the ordinary interpretation would have it or for manifestation, expansion in being, as I suggest), the maker of beautiful forms, (who, being compared with a cow, must be some goddess), who is like one that gives milk freely to the milker of the cows, or, as I suggest, who milks freely to the milker of the rays. Undoubtedly, sudugham goduhe may be translated, a good milch cow to the milker of the cows; undoubtedly the poet had this idea in his mind when he wrote. The goddess is in the simile a milch cow, Indra is the milker. In each of the skies (the lower, middle & higher) he calls to her & makes her bring out the beautiful forms which she reveals to the drinker of the Soma. But it is impossible, when we take the connection with the two following verses, to avoid seeing that he is taking advantage of the double sense of go, and that while in the simile Indra is goduh the cow-milker, in the subject of the comparison he is goduh, the bringer out of the illumination, the flashes of higher light which produce the beautiful forms by the power of the goddess. The goddess herself must be one who is habitually associated with illumination, either Ila or Mahi. To anyone acquainted with the processes of Yoga, the whole passage at once becomes perfectly clear & true. The forms are those beautiful & myriad images of things in all the three worlds, the three akashas, dyavi dyavi, which appear to the eye of the Yogin when mental force in the Yoga is at its height, the impetuous & joyous activity (revato madah) of the mingled Ananda and Mahas fills the brain with Ojas and the highest intellectual perceptions, those akin to the supra-rational revelation, become not only possible, but easy, common & multitudinous. The passage describes the condition in which the mind, whether by drinking the material wine, the Karanajal of the Tantrics, or, as I hold, by feeding on the internal amrita, is raised to its highest exalted condition, before it is taken up into mahas or karanam, (whether in the state of Samadhi or in the waking state of the man who has realised his mahan atma, his ideal self), a state in which it is full of revealing thoughts & revealing visions which descend to it from the supra-rational level of the mahat, luminous & unerring, sunrita gomati mahi, where all is Truth & Light. Uti is the state of manifestation in Sat, in being, when that conscious existence which we are is stimulated into intensity & produces easily to the waking consciousness states of existence, movements of knowledge, outpourings of bliss which ordinarily it holds guha, in the secret parts of being.
  The next passage to which I shall turn is the eighth verse of the eighth hymn, also to Indra, in which occurs the expression , a passage which when taken in the plain and ordinary sense of the epithets sheds a great light on the nature of Mahi. Sunrita means really true and is opposed to anrita, false for in the early Aryan speech su and s would equally signify, well, good, very; and the euphonic n is of a very ancient type of sandhioriginally, it was probably no more than a strong anuswartraces of which can still be found in Tamil; in the case of su this n euphonic seems to have been dropped after the movement of the literary Aryan tongue towards the modern principle of Sandhi,a movement the imperfect progress of which we see in the Vedas; but by that time the form an, composed of privative a and the euphonic n, had become a recognised alternative form to a and the omission of the n would have left the meaning of words very ambiguous; therefore n was preserved in the negative form, omitted from the affirmative where its omission caused no inconvenience,for to write gni instead of anagni would be confusing, but to write svagni instead of sunagni would create no confusion. In the pair sunrita and anrita it is probable that the usage had become so confirmed, so much of an almost technical phraseology, that confirmed habit prevailed over new rule. The second meaning of the word is auspicious, derived from the idea good or beneficent in its regular action. The Vedic scholars give a third sense, quick, active; but this is probably due to confusion with an originally distinct word derived from the root , to move on rapidly, to be strong, swift, active from which we have to dance, & strong and a number of other derivatives, for although ri means to go, it does not appear that rita was used in the sense of motion or swiftness. In any case our choice (apart from unnecessary ingenuities) lies here between auspicious and true. If we take Mahi in the sense of earth, the first is its simplest & most natural significance.We shall have then to translate the earth auspicious (or might it mean true in the sense observing the law of the seasons), wide-watered, full of cows becomes like a ripe branch to the giver. This gives a clear connected sense, although gross and pedestrian and open to the objection that it has no natural and inevitable connection with the preceding verses. My objection is that sunrita and gomati seem to me to have in the Veda a different and deeper sense and that the whole passage becomes not only ennobled in sense, but clearer & more connected in sense if we give them that deeper significance. Gomatir ushasah in Kutsas hymn to the Dawn is certainly the luminous dawns; Saraswati in the third hymn who as chodayitri sunritanam chetanti sumatinam shines pervading all the actions of the understanding, certainly does so because she is the impeller to high truths, the awakener to right thoughts, clear perceptions and not because she is the impeller of things auspiciousa phrase which would have no sense or appropriateness to the context. Mahi is one of the three goddesses Ila, Saraswati and Mahi who are described as tisro devir mayobhuvah, the three goddesses born of delight or Ananda, and her companions being goddesses of knowledge, children of Mahas, she also must be a goddess of knowledge, not the earth; the word mahi also bears the sense of knowledge, intellect, and Mahas undoubtedly refers in many passages to the vijnana or supra-rational level of consciousness, the fourth Vyahriti of the Taittiriya Upanishad. What then prevents us from taking Mahi, here as there, in the sense of the goddess of suprarational knowledge or, if taken objectively, the world of Mahat? Nothing, except a tradition born in classical times when mahi was the earth and the new Nature-worship theory. In this sense I shall take it. I translate the line For thus Mahi the true, manifest in action, luminous becomes like a ripe branch to the giveror, again in better English, For thus Mahi the perfect in truth, manifesting herself in action, full of illumination, becomes as a ripe branch to the giver. For the Yogin again the sense is clear. All things are contained in the Mahat, derived from the Mahat, depend on theMahat, but we here in the movement of the alpam, have not our desire, are blinded & confined, enjoy an imperfect, erroneous & usually baffled & futile activity. It is only when we regain the movement of the Mahat, the large & uncontracted consciousness that comes from rising to the infinite,it is only then that we escape from this limitation. She is perfect in truth, full of illumination; error and ignorance disappear; she manifests herself virapshi in a wide & various activity; our activities are enlarged, our desires are fulfilled. The connection with the preceding stanzas becomes clear. The Vritras, the great obstructors & upholders of limitation, are slain by the help of Indra, by the result of the yajnartham karma, by alliance with the armed gods in mighty internal battle; Indra, the god within our mental force, manifests himself as supreme and full of the nature of ideal truth from which his greatness weaponed with the vajra, vidyut or electric principle, derives (mahitwam astu vajrine). The mind, instinct with amrita, is then full of equality, samata; it drinks in the flood of activity of all kinds as the sea takes in the rivers. For the condition then results in which the ideal consciousness Mahi is like a ripe branch to the giver, when all powers & expansions of being at once (without obstacle as the Vritras are slain) become active in consciousness as masterful and effective knowledge or awareness (chit). This is the process prayed for by the poet. The whole hymn becomes a consecutive & intelligible whole, a single thought worked out logically & coherently and relating with perfect accuracy of ensemble & detail to one of the commonest experiences of Yogic fulfilment. In both these passages the faithful adherence to the intimations of language, Vedantic idea & Yogic experience have shed a flood of light, illuminating the obscurity of the Vedas, bringing coherence into the incoherence of the naturalistic explanation, close & strict logic, great depth of meaning with great simplicity of expression, and, as I shall show when I take up the final interpretation of the separate hymns, a rational meaning & reason of existence in that particular place for each word & phrase and a faultless & inevitable connection with what goes before & with what goes after. It is worth noticing that by the naturalistic interpretation one can indeed generally make out a meaning, often a clear or fluent sense for the separate verses of the Veda, but the ensemble of the hymn has almost always about it an air bizarre, artificial, incoherent, almost purposeless, frequently illogical and self-contradictoryas in Max Mullers translation of the 39th hymn, Kanwas to the Maruts,never straightforward, self-assured & easy. One would expect in these primitive writers,if they are primitive,crudeness of belief perhaps, but still plainness of expression and a simple development of thought. One finds instead everything tortuous, rugged, gnarled, obscure, great emptiness with great pretentiousness of mind, a labour of diction & development which seems to be striving towards great things & effecting a nullity. The Vedic singers, in the modern version, have nothing to say and do not know how to say it. I sacrifice, you drink, you are fine fellows, dont hurt me or let others hurt me, hurt my enemies, make me safe & comfortablethis is practically all that the ten Mandalas have to say to the gods & it is astonishing that they should be utterly at a loss how to say it intelligibly. A system which yields such results must have at its root some radical falsity, some cardinal error.
  I pass now to a third passage, also instructive, also full of that depth and fine knowledge of the movements of the higher consciousness which every Yogin must find in the Veda. It is in the 9th hymn of the Mandala and forms the seventh verse of that hymn. Sam gomad Indra vajavad asme prithu sravo brihat, visvayur dhehi akshitam. The only crucial question in this verse is the signification of sravas.With our modern ideas the sentence seems to us to demand that sravas should be translated here fame. Sravas is undoubtedly the same word as the Greek xo (originally xFo); it means a thing heard, rumour, report, & thence fame. If we take it in that sense, we shall have to translate Arrange for us, O universal life, a luminous and solid, wide & great fame unimpaired. I dismiss at once the idea that go & vaja can here signify cattle and food or wealth. A herded & fooded or wealthy fame to express a fame for wealth of cattle & food is a forceful turn of expression we might expect to find in Aeschylus or in Shakespeare; but I should hesitate, except in case of clear necessity, to admit it in the Veda or in any Sanscrit style of composition; for such expressions have always been alien to the Indian intellect. Our stylistic vagaries have been of another kind. But is luminous & solid fame much better? I shall suggest another meaning for sravas which will give as usual a deeper sense to the whole passage without our needing to depart by a hairs breadth from the etymological significance of the words. Sruti in Sanscrit is a technical term, originally, for the means by which Vedic knowledge is acquired, inspiration in the suprarational mind; srutam is the knowledge of Veda. Similarly, we have in Vedic Sanscrit the forms srut and sravas. I take srut to mean inspired knowledge in the act of reception, sravas the thing acquired by the reception, inspired knowledge. Gomad immediately assumes its usual meaning illuminated, full of illumination. Vaja I take throughout the Veda as a technical Vedic expression for that substantiality of being-consciousness which is the basis of all special manifestation of being & power, all utayah & vibhutayahit means by etymology extended being in force, va or v to exist or move in extension and the vocable j which always gives the idea of force or brilliance or decisiveness in action or manifestation or contact. I shall accept no meaning which is inconsistent with this fundamental significance. Moreover the tendency of the old commentators to make all possible words, vaja, ritam etc mean sacrifice or food, must be rejected,although a justification in etymology might always be made out for the effort. Vaja means substance in being, substance, plenty, strength, solidity, steadfastness. Here it obviously means full of substance, just as gomad full of luminousness,not in the sense arthavat, but with another & psychological connotation. I translate then, O Indra, life of all, order for us an inspired knowledge full of illumination & substance, wide & great and unimpaired. Anyone acquainted with Yoga will at once be struck by the peculiar & exact appropriateness of all these epithets; they will admit him at once by sympathy into the very heart of Madhuchchhandas experience & unite him in soul with that ancient son of Visvamitra. When Mahas, the supra-rational principle, begins with some clearness to work in Yoga, not on its own level, not swe dame, but in the mind, it works at first through the principle of Srutinot Smriti or Drishti, but this Sruti is feeble & limited in its range, it is not prithu; broken & scattered in its working even when the range is wide, not unlimited in continuity, not brihat; not pouring in a flood of light, not gomat, but coming as a flash in the darkness, often with a pale glimmer like the first feebleness of dawn; not supported by a strong steady force & foundation of being, Sat, in manifestation, not vajavad, but working without foundation, in a void, like secondh and glimpses of Sat in nothingness, in vacuum, in Asat; and, therefore, easily impaired, easily lost hold of, easily stolen by the Panis or the Vritras. All these defects Madhuchchhanda has noticed in his own experience; his prayer is for an inspired knowledge which shall be full & free & perfect, not marred even in a small degree by these deficiencies.
  The combination of go & vaja occurs again in the eleventh hymn where the seer writes Purvir Indrasya ratayo na vi dasyanti utayah, yadi vajasya gomatah stotribhyo manhate magham. The former delights of Indra, those first established his (new &larger) expansions of being do not destroy or scatter, when to his praisers he enlarges the mass of their illuminated substance or strength of being. Here again we have Madhuchchhandas deep experience & his fine & subtle knowledge. It is a common experience in Yoga that the ananda and siddhi first established, is destroyed in the effort or movement towards a larger fullness of being, knowledge or delight, and a period of crisis intervenes in which there is a rending & scattering of joy & light, a period of darkness, confusion & trouble painful to all & dangerous except to the strongest. Can these crises, difficulties, perilous conditions of soul be avoided? Yes, says Madhuchchhandas in effect, when you deliver yourself with devotion into the care of Indra, he comes to your help, he removes that limitation, that concentration in detail, in the alpam, the little, that consequent necessity of losing hold of one thing in order to give yourself to another, he increases the magha, the vijnanamay state of mahattwa or relative non-limitation in the finite which shows itself by an increase of fundamental force of being filled with higher illumination. That support of vaja prevents us from falling from what we have gained; there is sufficient substance of being expressed in us to provide for the new utayah without sacrificing the joys already established; there is sufficient luminousness of mind to prevent darkness, obscuration & misery supervening. Thus we see still the same symbolic sense, the same depth, the same experience as true to the Yogin today as to Madhuchchhandas thousands of years ago.
  Now that we have thus substantially fixed the meaning of go and gomat, we can go back to a passage already to some extent discussed, the third verse of the seventh hymn. Indro dirghaya chakshasa a suryam rohayad divi, vi gobhir adrim airayat; Indra for far vision ascended to the sun in heaven; he sent him abroad over all the mountain with his rays. This is so plainly the meaning of the verse that I cannot understand, once it is perceived & understood, how we can accept any other rendering. I have already discussed the relations of Indra, Surya & the Mountain of our graded ascent in beingSri Ramakrishnas staircase to the Sad Brahman. The far vision is the unlimited knowledge acquired in Mahas, in the wide supra-rational movement of our consciousness as opposed to the contracted rational or infrarational vision which works only on details or from & by details, the alpam; for that Mind has to ascend to the Sun in Heaven, the principle of Mahas on the higher levels of mind itself, not on the supra-rational level, not swe dame. Because it is not swe dame, the full illumination is not possible, we cannot become practically omniscient; all Indra can do is to send down the sun, not in itself, but in its rays to various parts of the mountain of being, all over it, it is true, but still revealing only the higher truth in its parts, not in its full sum of knowledge. The language is so precise, once we understand the Vedic terminology, that I do not think we can be mistaken in this interpretation, which, moreover, agrees perfectly with Yogic experience and the constant theme of Madhuchchhandas. He is describing the first dawn & development of the higher knowledge in the mind, still liable to attack & obstruction, (yujam vritreshu vajrinam), still uncertain in quantity ( Indram vayam mahadhane Indram arbhe havamahe). Irayat is naturally transitive, bears the meaning it has in prerana, prerita, and can have no object but Surya, unless we suppose, which is less natural, that it is Surya who sends Indra to the mountain accompanied by his rays.
  There is only one other passage we have now left for examination but it is of considerable importance & interest. It is in the hymn ascribed to the son of Madhuchchhanda, though very probably it isMadhuchchhandas own, the eleventh hymn and the fifth verse. Twam Valasya gomato apavar adrivo bilam, Twam deva abibhyushas tujyamanasa avishuh. Thou, O dweller on the mountain, didst uncover the lair of Vala the luminous, Thee the gods entered unfearing & protected. Indra, the dweller on the mountain of being, he who established in Swarga looks ever upward, has, to assist the strivings of man, uncovered the lair of Vala the luminous. Who is Vala the luminous? Does gomat mean the fellow who has the cows & is Vala a demon of cloud or darkness afflicted with the cow-stealing propensities, the Titanic bovi-kleptomania attributed by tradition to the Panis? He is, I suggest, one of the Titans who deny a higher ascent to man, a Titan who possesses but withholds & hides the luminous realms of ideal truth from man,interposing the hiranmayam patram of the Isha Upanishad, the golden cover or lid, by which the face of truth is concealed, satyasyapihitam mukham. Tat twam Pushan apavrinu, cries the Vedantic sage, using the same word apavri, but he calls to Surya, not to Indra, because he seeks the possession of the Vedanta, the sight of the rupam kalyanatamam which belongs to those who can meet Surya in his own home. The Vedic seer, at an earlier stage of the struggle, is satisfied with the minor conquests of Indra. He does not yet rise to those heights where Indra working in the mind is no longer a supreme helper, but may even be, as the Puranas tell us, an obstacle and an opponentbecause activity of mind even the highest, so long as it is not abandoned and overpassed, interferes with a yet higher attainment. It is only by rejecting Indra that we can dwell with Surya in his luminous halls, Tena tyaktena bhunjithah. Nevertheless the conquest over Bala is for humanity in its present stage a great conquest, and when & because it is accomplished the other gods can enter safely into the mental force & work in it, fearless because protected by Indras victorious might. For he is now Balabhid; he has pierced Bala & is no longer liable to that fear which overtook him when Vritra only had been overthrowna fear due to his perceiving the immensity of the task that still remained & the more formidable enemies beyond. We shall come again to Bala & the Titans & the meaning of these divine battles,viryani yani chakara prathamani vajri.
  All the passages I have quoted proceed from the hymns of Madhuchchhanda son of Viswamitra, the opening eleven hymns of the Rigveda. This seer is one of the deepest & profoundest of the spirits chosen as vessels & channels of the divine knowledge of the Veda, one of those who least loses the thing symbolised in the material symbol, but who tends rather to let the symbol disappear in that which it symbolises. The comparison of the maker of beautiful images to the milch cow & Indra to the milker is an example of his constant tendency the word gavam is avoided with sudugham, so that the idea of milking or pressing forth may be suggested without insisting on the material image of the cow, & in goduhe, the symbol of the cow melts away into the thing symbolised, knowledge, light, illumination. A comparison with Medhatithi son of Kanwa brings out the difference. In Madhuchchhandas hymns the materialist rendering is often inapplicable & even when applicable yields a much poorer sense than the symbolic renderingbecause the seer is little concerned with the symbol except as the recognised means of suggesting things supramaterial. But Medhatithi is much concerned with the symbol & not indifferent to the outer life; in his hymns the materialist rendering gives us a good sense without excluding the symbolic, but often the symbolic has to be sought for & if we did not know the true Vedic tradition from Madhuchchhanda we could not gather it unaided from Medhatithi. The son of Viswamitra is deeply concerned with knowledge & with immortality & rapture as its attendant circumstances & conditions, the son of Kanwa, though not indifferent to knowledge, with the intoxication of the wine of immortality & its outpouring in mortal life & action. To use Vedic symbolism, one is a herder of kine, the other a herder of horses; Madhuchchhandas totem is the meditative cow, Medhatithis the rapid & bounding horse. There is a great calm, depth & nobility in the first eleven hymns, a great verve, joy, energy & vibrant force in the twelve that follow.
  There is only one passage in which Medhatithi uses the word go and that passage is characteristic. There are only three main ideas in the hymn, the drinking of the Soma by Indra, the increase of his rapture & force by the drinking of the Soma, & the result of that increase, Semam nah kamam a prina gobhir aswaih shatakrato, Then do thou fill full this desire of ours with horses & with kine, O Shatakratu. Read apart from his other & deeper hymns, we should not venture to put any symbolic sense into these horses & kine; but from other passages it is evident that Medhatithi was not dispossessed of the tradition of Vedic symbolism, & it would be an injustice to him to suppose that he was lusting merely for a material wealth, that this was his desire and not the illumination of knowledge & the inner joy & vigour which is denoted by the symbol of the steed.
  ***

1.08 - Origin of Rudra: his becoming eight Rudras, #Vishnu Purana, #Vyasa, #Hinduism
  kara (Śiva); and Śrī is the bride of Śiva (Gaurī). Keśava, oh Maitreya, is the sun; and his radiance is the lotus-seated goddess. Viṣṇu is the tribe of progenitors (Pitrigana); Padma. is their bride (Swadhā), the eternal bestower of nutriment. Śrī is the heavens; Viṣṇu, who is one with all things, is wide extended space. The lord of Śrī is the moon; she is his unfading light. She is called the moving principle of the world; he, the wind which bloweth every where. Govinda is the ocean; Lakṣmī its shore. Lakṣmī is the consort of Indra (Indrānī); Madhusūdana is Devendra. The holder of the discus (Viṣṇu) is Yama (the regent of Tartarus); the lotus-throned goddess is his dusky spouse (Dhūmornā). Śrī is wealth; Śridhara (Viṣṇu) is himself the god of riches (Kuvera). Lakṣmī, illustrious Brahman, is Gaurī; and Keśava, is the deity of ocean (Varuna). Śrī is the host of heaven (Devasenā); the deity of war, her lord, is Hari. The wielder of the mace is resistance; the power to oppose is Śrī. Lakṣmī is the Kāṣṭhā and the Kalā; Hari the Nimeṣa and the Muhūrtta. Lakṣmī is the light; and Hari, who is all, and lord of all, the lamp. She, the mother of the world, is the creeping vine; and Viṣṇu the tree round which she clings. She is the night; the god who is armed with the mace and discus is the day. He, the bestower of blessings, is the bridegroom; the lotus-throned goddess is the bride.
  The god is one with all male-the goddess one with all female, rivers. The lotus-eyed deity is the standard; the goddess seated on a lotus the banner. Lakṣmī is cupidity; Nārāyaṇa, the master of the world, is covetousness. Oh thou who knowest what righteousness is, Govinda is love; and Lakṣmī, his gentle spouse, is pleasure. But why thus diffusely enumerate their presence: it is enough to say, in a word, that of gods, animals, and men, Hari is all that is called male; Lakṣmī is all that is termed female: there is nothing else than they.
  --
  gadvāra, frequented by the Ṛṣis. The gods, desirous of assisting at this solemn rite, came, with Indra at their head, to Mahādeva, and intimated their purpose; and having received his permission, departed in their splendid chariots to Ga
  gadvāra, as tradition reports[2]. They found Dakṣa, the best of the devout, surrounded by the singers and nymphs of heaven, and by numerous sages, beneath the shade of clustering trees and climbing plants; and all of them, whether dwellers on earth, in air, or in the regions above the skies, approached the patriarch with outward gestures of respect. The Ādityas, Vasus, Rudras, Maruts, all entitled to partake of the oblations, together with Jiṣṇu, were present. The four classes of Pitris, Ushmapās, Somapās, Ājyapās, and Dhūmapās, or those who feed upon the flame, the acid juice, the butter, or the smoke of offerings, the Aswins and the progenitors, came along with Brahmā. Creatures of every class, born from the womb, the egg, from vapour, or vegetation, came upon their invocation; as did all the gods, with their brides, who in their resplendent vehicles blazed like so many fires. Beholding them thus assembled, the sage Dadhīca was filled with indignation, and observed, 'The man who worships what ought not to be worshipped, or pays not reverence where veneration is due, is guilty, most assuredly, of heinous sin.' Then addressing Dakṣa, he said to him, 'Why do you not offer homage to the god who is the lord of life (Paśubhartri)?' Dakṣa spake; 'I have already many Rudras present, armed with tridents, wearing braided hair, and existing in eleven forms: I recognise no other Mahādeva.' Dadhīca spake; 'The invocation that is not addressed to Īśa, is, for all, but a solitary (and imperfect) summons. Inasmuch as I behold no other divinity who is superior to Śa
  --
  "In the meanwhile, the virtuous daughter of the mountain king, observing the departure of the divinities, addressed her lord, the god of living beings, and said-Umā spake-'Whither, oh lord, have the gods, preceded by Indra, this day departed? Tell me truly, oh thou who knowest all truth, for a great doubt perplexes me.' Maheśvara spake; Illustrious goddess, the excellent patriarch Dakṣa celebrates the sacrifice of a horse, and thither the gods repair.' Devī spake; Why then, most mighty god, dost thou also not proceed to this solemnity? by what hinderance is thy progress thither impeded?' Maheśvara spake; 'This is the contrivance, mighty queen, of all the gods, that in all sacrifices no portion should be assigned to me. In consequence of an arrangement formerly devised, the gods allow me, of right, no participation of sacrificial offerings.' Devī spake; 'The lord god lives in all bodily forms, and his might is eminent through his superior faculties; he is unsurpassable, he is unapproachable, in splendour and glory and power. That such as he should be excluded from his share of oblations, fills me with deep sorrow, and a trembling, oh sinless, seizes upon my frame. Shall I now practise bounty, restraint, or penance, so that my lord, who is inconceivable, may obtain a share, a half or a third portion, of the sacrifice[4]?'
  "Then the mighty and incomprehensible deity, being pleased, said to his bride, thus agitated; and speaking; 'Slender-waisted queen of the gods, thou knowest not the purport of what thou sayest; but I know it, oh thou with large eyes, for the holy declare all things by meditation. By thy perplexity this day are all the gods, with Mahendra and all the three worlds, utterly confounded. In my sacrifice, those who worship me, repeat my praises, and chant the Rathantara song of the Sāma veda; my priests worship me in the sacrifice of true wisdom, where no officiating Brahman is needed; and in this they offer me my portion.' Devī spake; 'The lord is the root of all, and assuredly, in every assemblage of the female world, praises or hides himself at will.' Mahādeva spake; 'Queen of the gods, I praise not myself: approach, and behold whom I shall create for the purpose of claiming my share of the rite.'
  --
  "Then Dakṣa, frightened, alarmed, and agitated, his eyes suffused with tears, raised his hands reverentially to his brow, and said, 'If, lord, thou art pleased; if I have found favour in thy sight; if I am to be the object of thy benevolence; if thou wilt confer upon me a boon, this is the blessing I solicit, that all these provisions for the solemn sacrifice, which have been collected with much trouble and during a long time, and which have now been eaten, drunk, devoured, burnt, broken, scattered abroad, may not have been prepared in vain.' 'So let it be,' replied Hara, the subduer of Indra. And thereupon Dakṣa knelt down upon the earth, and praised gratefully the author of righteousness, the three-eyed god Mahādeva, repeating the eight thousand names of the deity whose emblem is a bull."
  Footnotes and references:
  --
  ga, Kūrma, and Bhāgavata Purāṇas. Indra is knocked down and trampled on; Yama has his staff broken; Sarasvatī and the Mātris have their noses cut off; Mitra or Bhaga has his eyes pulled out; Puṣā has his teeth knocked down his throat; Candra is pummelled; Vahni's hands are cut off; Bhrigu loses his beard; the Brahmans are pelted with stones; the Prajāpatis are beaten; and the gods and demigods are run through with swords or stuck with arrows.
  [7]: This is also mentioned in the Li

1.08 - Sri Aurobindos Descent into Death, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
  Aurobindo was Indrawn. The Mother asked Dr. Sanyal in a
  quiet tone: What do you think? May I retire for an hour? ...

1.08 - The Gods of the Veda - The Secret of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  Madhuchchhanda turns to Saraswati at the close of his hymn after successively calling to the Aswins, Indra & the Visvadevas. To each of these deities he has addressed three riks of praise & invocation; the last three of the twelve reiterate in each verse the name, epithets & functions of Saraswati. The Sukta falls therefore into four equal parts of which the last alone immediately concerns us.
    Pvak nah Saraswat, vjebhir vjinvat,
  --
  If we are right, as we must now assume, in our interpretation of these three riks, then the conclusion is irresistible that the whole of this third Sukta in the Veda, & not only its closing verses, relates to an activity of moral & mental sacrifice and the other gods invoked by Madhuchchhandas are equally with Saraswati Powers of subjectiveNature, Indra not the god of rain, but a mental deity, the Aswins not twin stars, or, if stars, then lights of a sublimer heaven, the Visvadevas, gods not of general physical Nature, but supraphysical and in charge of our general subjective or subjective-objective activity. The supposition is inadmissible that the hymn is purely ritual in its body and only in-grafted with a spiritual tail. The physical functions of the gods in the Veda need not be denied; but they must be alien to the thought of Madhuchchhandas in this Sukta,unless as in some hymns of the Veda, there is the slesha or double application to subjective & objective activities. But this is improbable; for in the lines of which Saraswati is the goddess, we have found no reference either open or covert to any material form or function. She is purely the Muse and not at all the material river.
  We must examine, then, the rest of the hymn and by an impartial scrutiny discover whether it yields naturally, without forcing or straining, a subjective significance. If we find that no such subjective significance exists & it is the gods of rain & of stars & of material activities who are invoked, a serious if not a fatal doubt will be cast on the validity of the first step we have gained in our second chapter. Here, too, we must follow the clue by which we arrived at the subjective physiognomy of Saraswati. We must see what is the evidence of the epithets & activities assigned to the several deities of the Sukta.
  --
  What is this subjective function of the Aswins? We get it, I think, in the key words chanasyatam, rsthm. Whatever else may be the character of the Aswins, we get from the consonance of the two Rishis this strong suggestion that they are essentially gods of delight. Is there any other confirmation of the suggestion? Every epithet in this first rik testifies strongly to its correctness. The Aswins are purubhuj, much-enjoying; they are ubhaspat, lords of weal or bliss, or else of beauty for ubh may have any of these senses as well as the sense of light; they are dravatpn, their hands dropping gifts, says Sayana, and that agrees well with the nature of gods of delight who pour from full hands the roses of rapture upon mortals, manibus lilia plenis. But dravat usually means in the Veda, swift, running, and pni, although confined to the hands in classical Sanscrit, meant, as I shall suggest, in the old Aryan tongue any organ of action, hand, foot or, as in the Latin penis, the sexual organ. Even so, we have the nature of the Aswins as gods of delight, fully established; but we get in addition a fresh characteristic, the quality of impetuous speed, which is reinforced by their other epithets. For the Aswins are nar, the Strong ones; rudravartan,they put a fierce energy into all their activities; they accept the mantras of the hymn avray dhiy, with a bright-flaming strength of intelligence in the understanding. The idea of bounteous giving, suggested by Sayana in dravatpn and certainly present in that word if we accept pni in its ordinary sense, appears in the dasra of the third rik, O you bounteous ones. Sayana indeed takes dasr in the sense of destroyers; he gives the root das in this word the same force as in dasyu, an enemy or robber; but das can also mean to give, dasma is sometimes interpreted by the scholiasts sacrificer and this sense of bounteous giving seems to be fixed on the kindred word dasra also, at least when it is applied to the Aswins, by the seventeenth rik of the thirtieth Sukta, unahepas hymn to Indra & the Aswins,
    win, avvaty, ish ytam avray,
  --
  Therefore the prayer to the Aswins concludes: The Soma is outpoured; come with your full bounty, dasr & your fierce intensity, rudravartan. But what Soma? Is it the material juice of a material plant, the bitter Homa which the Parsi priests use today in the ceremonies enjoined by the Zendavesta? Does Sayanas interpretation give us the correct rendering? Is it by a material intoxication that this great joy & activity & glancing brilliance of the mind joined to a great steadfastness is to be obtained? Yuvkavah, says Sayana, means mixed & refers to the mixing of other ingredients in the Soma wine. Let us apply again our usual test. We come to the next passage in which the word yuvku occurs, the fourth rik of the seventeenth Sukta, Medhatithi Kanwas hymn to Indra & Varuna.
    Yuvku hi achnm, yuvku sumatnm,
  --
  But to what kind of distillings can such terms be applied? The meaning of Soma & the Vedic ideas about this symbolic wine must be examined by themselves & with a greater amplitude. All we need ask here [is], is there any indication in this hymn itself, that the Soma like everything else in the Sukta is subjective & symbolic? For, if so, our rendering, which at present is clouded with doubt & built on a wide but imperfectly solid foundation, will become firm & established. We have the clear suggestion in the next rik, the first of the three addressed to Indra. Sut ime tw yavah. Our question is answered. What has been distilled? Ime yavah. These life-forces, these vitalities. We shall find throughout the Veda this insistence on the life, vitality,yu or jva; we shall find that the Soma was regarded as a life-giving juice, a sort of elixir of life, or nectar of immortality, something at least that gave increased vitality, established health, prolonged youth. Of such an elixir it may well be said that it is yuvku, full of the force of youth in which the Aswins must specially delight, vriktabarhish, raised to its highest strength & fullness so that the gods who drink of it, become in the man in whom they enter and are seated, increased, vriddha, to the full height of their function and activity,the Aswins to their utmost richness of bounty, their intensest fiery activity. Nectarjuices, they are called, indavah, pourings of delight, yavah, life forces, amritsah, elixirs of immortality.
  Thus we see that when we take words in their first & plain sense, the meaning of the riks builds itself up before our eyes, everything agrees, a coherent sense is obtained, idea links itself to idea, every noun, epithet & verb falls into its right place & has a clear & perfect appropriateness. May we not then say at every step, Is not this the right sense of the Veda, this rather than the forced ritualistic interpretation with its strainings, violences, incoherences, inconsistencies, or the difficult, laboured and artificial naturalistic interpretation of the European scholars with its result of garish image, tawdry ornament, emptiness of idea & ill-related sense? At least the possibility has been established; we have a beginning & a foundation.
  --
  From the Aswins Madhuchchhanda passes to Indra. Three verses are given to this great deity.
    Indryhi chitrabhno, sut ime tw yavah,
  --
  The modern naturalistic account of Indra is that he is the god of rain, the wielder of lightning, the master of the thunderbolt. It is as the lightning, we presume, that he is addressed as harivas and chitrabhno, brilliant and of a richly varied effulgence. He comes to the brahmni, the hymnal utterances of the Rishis, in the sense of being called by the prayer to the sacrifice, and he comes for the sole purpose of drinking the physical Soma wine, by which he is immediately increased,sadyo vriddho ajyathh, says another Sukta,that is, as soon as the Soma offering is poured out, the rains of the monsoon suddenly increase in force. So at least we must understand, if these hymns are to have any precise naturalistic sense. Otherwise we should have to assume that the Rishis sang without attaching any meaning to their words. If, however, we suppose the hymns to Indra to be sung at monsoon offerings, in the rainy months of the year only, we get ideas, imbecile enough, but still making some attempt at sense. On another hypothesis, we may suppose Indra to be one of the gods of light or day slaying Vritra the lord of night & darkness, and also a god of lightning slaying Vritra the lord of the drought. Stated generally, these hypotheses seem plausible enough; systematically stated & supported by Comparative Mythology and some Puranic details their easy acceptance & great vogue is readily intelligible. It is only when we look carefully at the actual expressions used by the Rishis, that they no longer seem to fit in perfectly and great gulfs of no-sense have to be perfunctorily bridged by empirical guesses. A perfect system of naturalistic Veda fails to evolve.
  When we look carefully at the passage before us, we find an expression which strikes one as a very extraordinary phrase in reference to a god of lightning and rain. Indryhi, says Madhuchchhanda, dhiyeshito viprajtah. On any ordinary acceptance of the meaning of words, we have to render this line, Come, O Indra, impelled by the understanding, driven by the Wise One. Sayana thinks that vipra means Brahmin and the idea is that Indra is moved to come by the intelligent sacrificing priests and he explains dhiyeshito, moved to come by our understanding, that is to say, by our devotion. But understanding does not mean devotion and the artificiality of the interpretation is apparent.We will, as usual, put aside the ritualistic & naturalistic traditions and see to what the natural sense of the words themselves leads us. I question the traditional acceptance of viprajta as a compound of vipra & jta; it seems tome clearly to be vi prajtah, driven forward variously or in various directions. I am content to accept the primary sense of impelled for ishita, although, whether we read dhiy ishito with the Padapatha, or dhiy shito, it may equally well mean, controlled by the understanding; but of themselves the expressions impelled & driven forward in various paths imply a perfect control.We have then, Come, O Indra, impelled (or controlled, governed) by the understanding and driven forward in various paths. What is so driven forward? Obviously not the storm, not the lightning, not any force of material Nature, but a subjective force, and, as one can see at a glance, a force of mind. Now Indra is the king of Swar and Swar in the symbolical interpretation of the Vedic terms current in after times is the mental heaven corresponding to the principle of Manas, mind. His name means the Strong. In the Puranas he is that which the Rishis have to conquer in order to attain their goal, that which sends the Apsaras, the lower delights & temptations of the senses to bewilder the sage and the hero; and, as is well known, in the Indian system of Yoga it is the Mind with its snares, sensuous temptations & intellectual delusions which is the enemy that has to be overcome & the strong kingdom that has to be conquered. In this passage Indra is not thought of in his human form, but as embodied in the principle of light or tejas; he is harivas, substance of brightness; he is chitrabhnu, of a rich & various effulgence, epithets not easily applicable to a face or figure, but precisely applicable to the principle of mind which has always been supposed in India to be in its material element made of tejas or pure light.We may conclude, therefore, that in Indra, master of Swarga, we have the divine lord of mental force & power. It is as this mental power that he comes sutvatah upa brahmni vghatah, to the soul-movements of the chanter of the sacred song, of the holder of the nectar-wine. He is asked to come, impelled or controlled by the understanding and driven forward by it in the various paths of sumati & snrit, right thinking & truth. We remember the image in the Kathopanishad in which the mind & senses are compared to reins & horses and the understanding to the driver. We look back & see at once the connection with the function demanded of the Aswins in the preceding verses; we look forward & see easily the connection with the activity of Saraswati in the closing riks. The thought of the whole Sukta begins to outline itself, a strong, coherent and luminous progression of psychological images begins to emerge.
  Brahmni, says Sayana, means the hymnal chants; vghatah is the ritwik, the sacrificial priest. These ritual senses belong to the words but we must always inquire how they came to bear them. As to vghat, we have little clue or evidence, but on the system I have developed in another work (the Origins of Aryan Speech), it may be safely concluded that the lost roots vagh & vgh, must have conveyed the sense of motion evident in the Latin vagus & vagari, wandering & to wander & the sense of crying out, calling apparent in the Latin vagire, to cry, & the Sanscrit vangh, to abuse, censure. Vghat may mean the sacrificial priest because he is the one who calls to the deity in the chant of the brahma, the sacred hymn. It may also mean one who increases in being, in his brahma, his soul, who is getting vja or substance.
  --
  Brahmni therefore may mean either the soul-activities, as dhiyas means the mental activities, or it may mean the words of the mantra which express the soul. If we take it in the latter sense, we must refer it to the girah of the second rik, the mantras taken up by the Aswins into the understanding in order to prepare for action & creation. Indra is to come to these mantras and support them by the brilliant substance of a mental force richly varied in its effulgent manifestation, controlled by the understanding and driven forward to its task in various ways. But it seems to me that the rendering is not quite satisfactory. The main point in this hymn is not the mantras, but the Soma wine and the power that it generates. It is in the forces of the Soma that the Aswins are to rejoice, in that strength they are to take up the girah, in that strength they are to rise to their fiercest intensity of strength & delight. Indra, as mental power, arrives in his richly varied lustre; yhi chitrabhno. Here says the Rishi are these life-forces in the nectar-wine; they are purified in their minute parts & in their whole extent, for so I understand anwbhis tan ptsah; that is to say the distillings of Ananda or divine delight whether in the body as nectar, [or] in the subjective system as streams of life-giving delight are purified of all that impairs & weakens the life forces, purified both in their little several movements & in the whole extent of their stream. These are phenomena that can easily be experienced & understood in Yoga, and the whole hymn like many in the Veda reads to those who have experience like a practical account of a great Yogic internal movement accurate in its every detail. Streng thened, like the Aswins, by the nectar, Indra is to prepare the many-sided activity supported by the Visve devah; therefore he has to come not only controlled by the understanding, dhishnya, like the Aswins, but driven forward in various paths. For an energetic & many-sided activity is the object & for this there must be an energetic and many-sided but well-ordered action of the mental power. He has to come, thus manifold, thus controlled, to the spiritual activities generated by the Soma & the Aswins in the increasing soul (vghatah) full of the life-giving nectar, the immortalising Ananda, sutvatah. He has to come to those soul-activities, in this substance of mental brilliancy, yhi upa brahmni harivas. He has to come, ttujna, with a protective force, or else with a rapidly striving force & uphold by mind the joy of the Sacrificer in the nectar-offering, the offering of this Ananda to the gods of life & action & thought, sute dadhishwa na chanah. Protecting is, here, the best sense for ttujna. For Indra is not only to support swift & energetic action; that has already been provided for; he has also to uphold or bear in mind and by the power of mind the great & rapid delight which the Sacrificer is about to pour out into life & action, jvayja. The divine delight must not fail us in our activity; hostile shocks must not be allowed to disturb our established pleasure in the great offering. Therefore Indra must be there in his light & power to uphold and to protect.
  We have gained, therefore, another great step in the understanding of the Veda. The figure of the mighty Indra, in his most essential quality & function, begins to appear to us as in a half-luminous silhouette full of suggestions. We have much yet to learn about him, especially his war with Vritra, his thunderbolt & his dealings with the seven rivers. But the central or root idea is fixed. The rest is the outgrowth, foliage & branchings.
  ***
  --
  The precise meaning of the words has first to be settled. Charshani is taken in the Veda to be, like krishti, a word equivalent to manushya, men. The entire correctness of the rendering may well be doubted. The gods, no doubt, can be described as upholders of men, but there are passages & uses in which the application of this significance becomes difficult. For Indra, like Agni, is called vivacharshani. Can this expression mean the Universal Man? Is Indra, like Agni, Vaivnara, in the sense of being present in all human beings? If so, the subjective capacity of Indra is indeed proved by a single epithet. But Vaivnara really means the Universal Existence or Force, from a sense of the root an which we have in anila, anala, Latin anima or else, if the combination be viv-nara, then from the Vedic sense of nara, strong, swift or bright. And what canwemake of such an expression as charshanipr?We must therefore follow our usual course & ask how charshani came to mean a human being. The root charsh or chrish is formed from the primary root char or chri (a lost form whose original presence is, however, necessary in the history of Sanscrit speech), as krish from kri. Now kri means to do, char means to do, work, practise or perform. The form krish was evidently used in the sense of action which required a prolonged or laborious effort; in the same way as the root Ar it came to mean to plough; it came to mean also to overcome or to drag or pull. From this sense of action or labour alone can krishti have been extended in significance to the idea, man; originally it must have been used like kru or keru to mean a doer, worker, and, from its form, have been capable also of meaning action. I suggest that charshani had really the same meaning & something of the same development. The other sense given to the word, swift, moving, cannot easily have led to the idea of man; strength, doing, thinking are the characteristics behind the human idea in the older languages. Charshani-dhrit applied to the Visvadevas or dhartr charshannm to Mitra & Varuna will mean the upholders of actions or activities; vivacharshani, applied to Indra or Agni, will mean the lord of all actions; charshanipr will mean filling the actions. That Indra in this sense is vivacharshani can be at once determined from two passages occurring early in the Veda,I.9.2 in Madhuchchhandas hymn to Indra, mandim Indrya mandine chakrim vivni chakraye, delight-giving for Indra the enjoyer, effective of action for the doer of all actions, where vivni chakri is a perfect equivalent to vivacharshani, and I.11.4 in another hymn to Indra, Indro vivasya karmano dhart, Indra the upholder of every action, where we have the exact idea of charshandhrit, vivacharshani & dhartr charshannm. The Visvadevas are the upholders of all our activities.
  In the eighth rik, usr iva swasarni offers us an almost insoluble difficulty. Usr means, ordinarily, either rays or cows or mornings; swasaram is a Vedic word of unfixed significance. Sayana renders, hastening like sunbeams to the days, a rendering which has neither sense nor appropriateness; emending it slightly we get hastening like dawns or mornings to the days, a beautiful & picturesque, though difficult image but one, unhappily, which has no appropriateness to the context. If we can suppose the lost root swas to have meant, to lie, sleep, rest, like the simpler form sas (cf sanj to cling & swanj to embrace), we may translate, hastening like kine to their stalls; but this also is not appropriate to the Visvadevas hastening to the Soma offering not for rest, but for enjoyment & action. I believe the real meaning to be, hastening like lovers to their paramours; but the philological reasoning by which I arrive at these meanings for usra & swasaram is so remote & conjectural, that I cannot lay any stress on the suggestion. Aptur is a less difficult word. If it is a compound, ap+tur, it must mean swift or forceful in effecting or producing; but it may also be formed by the addition of a suffix tur in an adjectival sense to the root ap, to do, bring about, effect, produce or obtain.
  --
  We can now examine the functioning of the Visvadevas as they are revealed to us in these three riks of the ancient Veda: Come, says the Rishi, O Visvadevas who in your benignity uphold the activities of men, come, distributing the nectar-offering of the giver. O Visvadevas, swift to effect, come to the nectar-offering, hastening like mornings to the days (or, like lovers to their paramours). O Visvadevas, who stumble not in your work, for you are mighty for all activity and do no hurt, cleave in heart to the sacrifice & be its upbearers. The sense is clear & simple. The kindly gods who support man in his action & development, are to arrive; they are to give abroad the nectar-offering which is now given to them, to pour it out on the world in joy-giving activities of mind or body, for that is the relation of gods & men, as we see in the Gita, giving out whatever is given to them in an abundant mutual helpfulness. Swiftly have they to effect the many-sided action prepared for them, hastening to the joy of the offering of Ananda as a lover hastens to the joy of his mistress. They will not stumble or fail in any action entrusted to them, for they have full capacity for their great world-functions, nor, for the like reason, will they impair the force of the joy or the strength in the activity by misuse, therefore let them put their hearts into the sacrifice of action and upbear it by this unfaltering strength. Swiftness, variety, intensity, even a fierce intensity of joy & thought & action is the note throughout, but yet a faultless activity, fixed in its variety, unstumbling in its swiftness, not hurting the strength, light & joy by its fierceness or violent expenditure of energydhishnya, asridhah, adruhah. That which ensures this steadiness & unfaltering gait, is the control of the mental power which is the agent of the action & the holder of the joy by the understanding. Indra is dhiyeshita. But what will ensure the understanding itself from error & swerving? It is the divine inspiration, Saraswati, rich with mental substance & clearness, who will keep the system purified, uphold sovereignly the Yajna, & illumine all the actions of the understanding, by awakening with the high divine perception, daivyena ketun, the great sea of ideal knowledge above. For this ideal knowledge, as we shall see, is the satyam, ritam, brihat; it is wide expansion of being & therefore utmost capacity of power, bliss & knowledge; it is the unobscured light of direct & unerring truth, and it is the unstumbling, unswerving fixity of spontaneous Right & Law.
  We have gathered much from this brief hymn, one of the deepest in thought in the Veda. If our construction is correct, then this at least appears that the Veda is no loose, empty & tawdry collection of vague images & shallow superstitions, but there are some portions of it at least which present a clear, well-knit writing full of meaning & stored with ideas. We have the work of sages & thinkers, rishayah, kavayah, manshinah, subtle practical psychologists & great Yogins, not the work of savage medicine-men evolving out of primitive barbarism the first glimpses of an embryonic culture in the half-coherent fumble, the meaningless ritual of a worship of personified rain, wind, fire, sun & constellations. The gods of the Veda have a clear & fixed personality & functions & its conceptions are founded on a fairly advanced knowledge & theory at least of our subjective nature. Nor when we look at the clearness, fixity & frequently psychological nature of the functions of the Greek gods, Apollo, Hermes, Pallas, Aphrodite, [have we] the right to expect anything less from the ancestors of the far more subtle-minded, philosophical & spiritual Indian nation.

WORDNET



--- Overview of noun indra

The noun indra has 1 sense (no senses from tagged texts)
                    
1. Indra ::: (chief Hindu god of the Rig-Veda; god of rain and thunder)


--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun indra

1 sense of indra                            

Sense 1
Indra
   INSTANCE OF=> Hindu deity
     => deity, divinity, god, immortal
       => spiritual being, supernatural being
         => belief
           => content, cognitive content, mental object
             => cognition, knowledge, noesis
               => psychological feature
                 => abstraction, abstract entity
                   => entity


--- Hyponyms of noun indra
                                    


--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun indra

1 sense of indra                            

Sense 1
Indra
   INSTANCE OF=> Hindu deity




--- Coordinate Terms (sisters) of noun indra

1 sense of indra                            

Sense 1
Indra
  -> Hindu deity
   HAS INSTANCE=> Aditi
   => Aditya
   HAS INSTANCE=> Agni
   HAS INSTANCE=> Asura
   => Ahura
   => Asvins
   HAS INSTANCE=> Bhaga
   HAS INSTANCE=> Brahma
   HAS INSTANCE=> Brihaspati
   HAS INSTANCE=> Bhumi Devi
   HAS INSTANCE=> Devi
   HAS INSTANCE=> Chandi
   => Dharma
   HAS INSTANCE=> Durga
   HAS INSTANCE=> Dyaus, Dyaus-pitar
   HAS INSTANCE=> Ganesh, Ganesa, Ganesha, Ganapati
   => Garuda
   HAS INSTANCE=> Gauri
   HAS INSTANCE=> Hanuman
   HAS INSTANCE=> Indra
   HAS INSTANCE=> Ka
   HAS INSTANCE=> Kali
   HAS INSTANCE=> Kama
   HAS INSTANCE=> Mara
   HAS INSTANCE=> Kartikeya, Karttikeya
   HAS INSTANCE=> Lakshmi
   => Marut
   HAS INSTANCE=> Mitra
   HAS INSTANCE=> Parjanya
   HAS INSTANCE=> Parvati, Anapurna, Annapurna
   HAS INSTANCE=> Prajapati
   HAS INSTANCE=> Pushan
   HAS INSTANCE=> Rahu
   => Ribhus, Rhibhus
   HAS INSTANCE=> Rudra
   HAS INSTANCE=> Sarasvati
   HAS INSTANCE=> Savitar
   HAS INSTANCE=> Shakti, Sakti
   HAS INSTANCE=> Siva, Shiva
   HAS INSTANCE=> Skanda
   => Soma
   HAS INSTANCE=> Surya
   HAS INSTANCE=> Uma
   HAS INSTANCE=> Ushas
   => Vajra
   HAS INSTANCE=> Varuna
   HAS INSTANCE=> Vayu
   HAS INSTANCE=> Vishnu
   HAS INSTANCE=> Yama
   => avatar




--- Grep of noun indra
indra



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Indra Nooyi ::: Born: October 28, 1955; Occupation: Business person;
Rabindranath Tagore ::: Born: May 7, 1861; Died: August 7, 1941; Occupation: Author;
Ravindra Jadeja ::: Born: December 6, 1988; Occupation: Cricketer;

Indra Devi ::: Born: May 12, 1899; Died: April 25, 2002; Occupation: Author;

Jarnail Singh Bhindranwale ::: Born: June 2, 1947; Died: June 6, 1984; Occupation: Minister;
Indra Sinha ::: Born: 1950; Occupation: Writer;
Sri Mulyani Indrawati ::: Born: August 26, 1962; Occupation: Minister of Finance of Indonesia;
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Bend It Like Beckham (2002) ::: 6.6/10 -- PG-13 | 1h 52min | Comedy, Drama, Romance | 1 August 2003 (USA) -- Two ambitious girls, despite their parents' wishes, have their hearts set on careers in professional soccer. Director: Gurinder Chadha Writers: Gurinder Chadha, Guljit Bindra | 1 more credit
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Chio-chan no Tsuugakuro -- -- Diomedéa -- 12 eps -- Manga -- Comedy Seinen -- Chio-chan no Tsuugakuro Chio-chan no Tsuugakuro -- For the average Japanese high school student, walking to school can be a chore, but for first-year Chio Miyamo, it's always an adventure. Constantly running late due to her long night sessions playing video games, she is forced to come up with new routes to make it to Samejima Private Academy on time. -- -- On her many bizarre journeys to school, Chio contends with obstacles like street-blocking detours, overzealous kabaddi players, and befuddled motorcycle gang leaders. But these minor hindrances are no match for the special ops training that Chio, AKA the legendary assassin "Bloody Butterfly," has received from her extensive gaming obsession. Together with her best friends Manana Nonomura and Yuki Hosokawa, Chio will do whatever it takes to avoid her school's harsh penalties for tardiness. -- -- 91,819 7.45
Durarara!!x2 Ten -- -- Shuka -- 12 eps -- Light novel -- Action Mystery Supernatural -- Durarara!!x2 Ten Durarara!!x2 Ten -- In Ikebukuro, the lives of its citizens continue intertwining with each other as if their fates are predestined. Mikado Ryuugamine is now one step closer to his goal of living an exciting life, and in turn, delves deeper into the darker side of Ikebukuro. After gaining absolute control over a former rival, he uses his newfound power as he pleases, purging the Dollars from the inside to mold it into the ideal organization. This proves to be as challenging as it sounds as Mikado must now deal with unwanted outside interference, most notably a re-emerging and dearly missed friend. Meanwhile, Izaya Orihara still has some schemes up his sleeve, although a rival information exchange center has proven to be quite the hindrance, lurking within everyone’s favorite downtown district. Undoubtedly, sooner or later, chaos will strike again. -- -- -- Licensor: -- Aniplex of America -- 322,624 8.00
Konohana Kitan -- -- Lerche -- 12 eps -- Manga -- Slice of Life Fantasy Seinen Shoujo Ai -- Konohana Kitan Konohana Kitan -- In a bustling village of spirits, Yuzu, a cheerful fox girl, starts her first job as an attendant at the traditional hot springs inn Konohanatei. Though Yuzu has no experience working at such a high-class establishment, Kiri, the affable and reliable head attendant, immediately puts her to work learning the basics. -- -- While Yuzu's eagerness initially proves to be more of a hindrance than a blessing, her playful nature brings a unique charm to the inn, as both customers and her fellow workers quickly warm up to her clumsy yet well-meaning mistakes. Under the guidance of the other foxes—the rigid Satsuki, the carefree Natsume, the critical Ren, and the quiet Sakura—Yuzu steadily learns the trade of an inn attendant while learning to love the magical world surrounding her. -- -- Konohana Kitan presents the heartwarming tale of a simple fox girl forging bonds with others and finding a home amidst the mysterious, beautiful world of spirits. -- -- -- Licensor: -- Funimation -- 112,579 7.54
Yahari Ore no Seishun Love Comedy wa Machigatteiru. -- -- Brain's Base -- 13 eps -- Light novel -- Slice of Life Comedy Drama Romance School -- Yahari Ore no Seishun Love Comedy wa Machigatteiru. Yahari Ore no Seishun Love Comedy wa Machigatteiru. -- Hachiman Hikigaya is an apathetic high school student with narcissistic and semi-nihilistic tendencies. He firmly believes that joyful youth is nothing but a farce, and everyone who says otherwise is just lying to themselves. -- -- In a novel punishment for writing an essay mocking modern social relationships, Hachiman's teacher forces him to join the Volunteer Service Club, a club that aims to extend a helping hand to any student who seeks their support in achieving their goals. With the only other club member being the beautiful ice queen Yukino Yukinoshita, Hachiman finds himself on the front line of other people's problems—a place he never dreamed he would be. As Hachiman and Yukino use their wits to solve many students' problems, will Hachiman's rotten view of society prove to be a hindrance or a tool he can use to his advantage? -- -- -- Licensor: -- Sentai Filmworks -- 1,036,533 8.05
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