Aitareya Upanishad Lecture 06 on 20 August 2023

Full Transcript(Corrected)

We have been studying the Aitareya Upanishad. So far, we have seen three mantras. The very first mantra tells us that everything is Atman or Brahman:

'Om Atmava Idam Ekaha Eva Agre Asir Na Anyat Kinchana Mishat.'

Besides Atman, there was nothing before the creation of this universe. Which means that even after the creation, it is Atman only. Why? Because for the creation of any object, we require a material. We also require an intelligent conscious being to think about what I would like to create. But here, Atman alone, and it created. The very word 'it created' means he is intelligent. This is called Nimitta Karana. But what about the material? There was no other material; therefore, he himself became the universe. Abhinna Nimitta Upadana Karanam. And he thought, 'Let me create the worlds.' 'Sai Ikshata Lokannu Shrujaithi.' May I create the worlds. Why? For that, Bhagawan Shankaracharya gives two reasons. One reason is the creation of the world is exclusively meant to exhaust all our Karma phalas. But then the doubt comes that the world itself is not created. Where from have we then created our past Karma? To that, the answer is Bhagawan doesn't create this world; it is ever going on. Nobody creates; it is Anadi, beginningless. But what does he do? Occasionally, he makes all of us, the whole universe, go to sleep. Every individual, we go to sleep several times a day to get rest and recoup. Similarly, Bhagawan being Virat Purusha, the universal being, he makes every created thing go into itself for some time so that it can rest and recuperate. So we have had many past lives, so we have done a lot of good and bad things. Accordingly, we require to experience Karma phala in the form of Sukha and Dukha, in the form of Jati, Ayush, and Bhoga, Sukha Dukha. For that purpose, the worlds are created. This is the first meaning. The second purpose is so that we can wake up and do sadhana and realize who we are. So he created. Creation means he merely visualized. And because he is Satya Sankalpa, Satya Kamaha, whatever he visualized immediately comes out as a created thing. So 'Iman Lokan Asrujata.' The second mantra continues. He, that Atman, created all these worlds. And according to our Vedic Rishis, the entire creation can be divided into 14 Lokas, worlds. And yesterday, we discussed those worlds. But here the Upanishad tells or rather divides all the 14 worlds into four types: five, the uppermost worlds called Ambaha, and then the Antariksha. Below those five worlds and below our earthly world, there is an intermediary space, Antariksha, and it is called Mariji; he created.

Then he created our earth, which is called Mara. The meaning of Mara is where everything that is created is sustained for some time and then it goes back—birth and death. Where people die, they go back to their origin, that is called Mara. Then below the earth, seven worlds are there. For those who have done progressively evil deeds, more evil than an ordinary human being, he goes to one Loka below, still more evil, that means some amount of suffering, more suffering, still more suffering. The ultimate suffering comes in the Patala Loka. That is how we have seen creation.

Having created the worlds, we have to understand that he also created all the materials. As I gave the example, when parents are expecting a baby, they make a lot of things, prepare a lot of things, store a lot of things, so that their whole attention is on the baby. So, having created all these worlds, he equipped them for the forthcoming.

Then he thought everything is okay, but then there are no law enforcers. God has given laws in the form of Vedas—Rig Veda, Yajur Veda, Sama Veda, Atharva Veda. But there must be some people to uphold those laws, make people do them. If they don't do, punish them. And if they do, reward them. They are called Lokapalas. So he has created one Virat Purusha. You can call him our Pauranic Brahma. It is not that Brahma is an old man with a white beard sitting there and he takes some material and then he creates something like a potter creating something. No, I told you earlier that the whole thing is what we call he himself thought, let me become the world. Let me become the things in the world. Let me also be the rulers or the protectors or the upkeepers of the world. The best example of it is a dream. We create our own selves in the dream. We create the entire external world.

Supposing you are dreaming that a person is driving a car and he is driving on the wrong side of the road and he is not stopping at the red light nor starting at the green light. Immediately, the police—you yourself will dream that everybody is looking at him and very soon, police come there with a motorcycle or a jeep and arrest the person and take him away. Exactly like that, a divine being has himself become the worlds, every object in the world, and also Lokapala.

Here something very interesting comes. So what did he do? The third mantra tells us, 'So he thought, I have Lokaha, Lokas Sruja. I created the worlds. Now Lokapalanu Sruja. Let me create Lokapalas.' So what did he do? First, he created from where the Adhyatmika, Adhibhautika, Adhidaivika creation must come. So he created a Purusha. From where? From waters. What do you mean by water? I told you these Vedas, Upanishads, and even Gaudapada use peculiar words, and we should not take the normal meaning.

Here Adhya means the very material out of which Panchabhutas have been created. So he took that original material from which he created an entire Virat Purusha, or you can say Prajapati or Hiranyagarbha. Let us call him the Virat Purusha. So he is called Purusham. He is shaped. He took the raw material called the Panchabhutas, both subtle as well as gross, and Amurchayat, shaped. He formed like a sculptor. He takes a bit and then first he requires a huge stone and that stone is comparable to this. The only difference is the images created by the sculptor because the stone is without any consciousness—the images also will be inert. But here he is Atman himself. He is both the living as well as the non-living, the inert as well as the conscious. So he first took that original Purusha, Virat Purusha. And then what did he do? Now he thought that now I must see that this drama called this world should go on and how should it go on. Here comes one of the most fantastic, marvellous, inimitable schemes of life.

First, I will give you a bit of an illustration, and this is called Adhyatmika, Adhibhautika, and Adhidaivika. The whole world is nothing but Adhyatmika, Adhibhautika, and Adhidaivika. This triangle is called Ishwara. So earlier, I said Virat Purusha. Now, let us call the familiar name Ishwara. Ishwara subdivided himself into three parts: Adhyatmika, Adhibhautika, and Adhidaivika.

What does that exactly mean? I did explain many times. Many of you who are listening consistently should be familiar, but it is good to recollect also for the sake of new people. Let us take a human with this world. In this world, I will give you a small illustration so that it will be easier, and we can apply it to all the other things also, what we call in the English language, etc.

So first, we take the example that there is the sun. Without the sun, that means light of the sun, heat of the sun—both light and heat—the world cannot exist. And then because of that, let us say there is a tree, a beautiful tree bearing some beautiful flowers and fruits. And then here is a human being. So the human being has got five sense organs of knowledge, also five sense organs of action, also four parts of the mind called Manaha, Chitta, Buddhi, and Ahankara. This combination of the physical body consisting of ten Indriyas and the four parts called together the mind, this is what is called the personality of every living being.

I am taking the example of the living being. So I said there is a sun, and he is shining. And there is a tree, a beautiful tree, etc., full of flowers, very beautiful flowers and also fruits. And then there is this human being. Now, the human being has got so many sense organs. I am only taking the illustration because I mentioned the name of Aditya, the sun. So the I, the sense organ called I, which is capable of experiencing the form, the colours, that is the speciality, special power of the I, is called Adhyatma. That is purely the physical body.

And then there is Adhibhautika. Bhautika means the tree, etc. Trees, hills, forests, rivers, other beings living as well as non-living—what we call the entire jagat, world, is called Adhibhautika. Adhi, Atmika, Adhyatmika. Adhibhautika, Adhi plus Bhautika, Adhibhautika. Adhi plus Daivika, Adhidaivika. So that Adhi is Bhagwan, Ishwara. He divided himself into Atmika, Bhautika, and Daivika. So this is the illustration.

So here is a tree, and a human being has an eye; it is functioning. And that Indriya, the eye, is capable of seeing. So the eye is there, capable eye, healthy eye. The tree is there, the sun is there. And for an experience, for this person to be able to experience that tree, all three must be there. For example, if the sun is absent, that means no light, eye is there, tree is there. No experience. The eye is there, tree is not there, sun is there. That is not experienceable. Sun is there, tree is there, eye is not there. eye is there, tree is there, sun is not there. Any one of these three is absent, experience cannot take place.

Now, you see, this is how Ishwara, he divided himself into three—Adhyatmika, Adhibhautika, and Adhidaivika. This is how the whole world is going on merrily. World means, remember, experiencing. It is going on merrily.

Now the eye is called Adhyatmika, the individual organ. And God has endowed it. Ishwara is manifesting in the form of the eye. And we have to do, etc., in the form of the ear, etc. I will give you another illustration, then move forward. Very easy for us to understand.

So, here is this person and his eye, and it is very capable of perceiving whatever form, the colours of whatever is in front of that person. And the tree is also there, with beautiful blossoms, flowers and fruits. And the sun is also there. Now, as I said, each of these depends upon the other two. If there is one absent, then it is not a triangle, and experience is not possible.

Now, what is the relationship between the eye and the Aditya or the Sun? The eye has got the capacity to gather that light, and with the help of that light, it is able to experience the tree. Remember, it is just an example. Now, the second person comes. He also sees. A dog comes. It also sees. A bird comes. It also sees the tree. All of them are able to see because all of them have got that organ called eye. What is the eye? The ability to perceive a form. Form means usually colours, and that is called an eye. The ability to hear is called the ear. This is called the Indriya.

So now, collectively, Aditya is manifesting in the form of the light in each eye, and that is why we are able to use that individual light in the eye and able to perceive any object. I gave the example of the tree. So this is the idea.

So, the combination of every 'eye,' which is capable of seeing, all those 'eye' powers, the power of seeing combined together, is called Aditya. Similarly, there is the ear. The ear is able to hear, and everybody has the capacity to hear, but there must be a sound. That sound is Adhibhautika. But that sound should reach me so that I can experience it. For that, a Devata is necessary. A combination of all the powers of hearing is necessary, and that combination of all powers of hearing is called Dishaha. The combination of all powers of seeing is called Aditya. The combination of all powers of tasting is called Sanendriya or Varuna. The combined powers of thinking in every living creature are called Chandra. In Vedantic language, this combined power—I just mentioned the Sun, he gives light to everybody, he gives the capacity of seeing and utilizing that light to everybody, and so he is the Adhishtana Devata, the presiding deity of the power of seeing. And individually, he is manifesting in each one of our eyes, and he is also manifesting in the power of an object which is seen. So, the individual capacity to see, and the objects which we want to see, and the power which makes us see or hear, etc., that is called Adhishtana Devata.

So for each one of these Indriyas, one Devata is mentioned. This Triputi, this triangle, Adhishtatra Devata, the presiding deity, is called Adhidaivika, and the objects to be experienced are called Adhibhautika, and the individuals who experience are called Adhyatmika. This is the marvellous concept. As I mentioned, if one is absent, then experiences are impossible. All three must come together in the right proportion, then only it is possible.

Now, in this fourth mantra, it is telling. Another point we have to understand: you look at a person and you see he has got an eye. Has he got the capacity to see? No, unfortunately. Even blind people, some of them you can see very beautiful eyes, and there are people who can't hear, but they have got ears. There are some people who cannot smell, but they have got perfectly shaped nostrils. There are some people who cannot taste. In fact, you know, when you get a cold, then your tasting power will reduce dramatically, drastically. So also, some people do not have a perfect body, perfect skin, but the capacity to experience that touch, soft, hard, heat, cold, is not there, absent.

So, what is the point I wanted to tell you? The eyes, etc., we experience are called golakas. Golaka means like windows. So they are there, but their purpose is to keep the real indriya. We cannot see the indriya; we can only see the golaka. Just as when a person is sitting behind a window, and the window is completely up, only one side it allows us to see, the person inside can see, person outside cannot see. Many cars are also like that. Like that, a golaka is which houses the indriya. Golaka is the house for each indriya. The golaka belongs to the gross body. But the indriya, the capacity to see, to hear, to smell, to taste, to touch, belongs to the sukshma sharira. So, this is the distinction between indriya and golaka. Why am I talking about it? But the fourth mantra, it only outlines three things. Golaka, how golaka came, or how Ishwara became the golaka, Ishwara became the indriya, Ishwara became the adheshthatru devata, presiding deity. Then only experience is possible.

I hope that this makes sense before I go into the fourth mantra. This is the last mantra in the first part of the first chapter. I will read out the fourth mantra.

tamabhyatapattasyabhitaptasya mukha.n nirabhidyata yatha.andam

mukhadvagvacho.agnirnasike nirabhidyeta.n nasikabhyam pranah

pranadvayurakshini nirabhidyetamakshibhya.n chakshushchakshusha

adityah karnau nirabhidyeta.n karnabhya.n shrotra.n

shrotraddishastva~nnirabhidyata tvacho lomani lomabhya oshadhivanaspatayo

hridaya.n nirabhidyata hridayanmano manasashchandrama nabhirnirabhidyata

nabhya apano.apananmrityuh

shishna.n nirabhidyata shishnadreto retasa apah

A little bit difficult word, not really very difficult. He has got this Rishi, Aitareya Rishi, he is talking about. He is also called Mahidasa because the mother earth, the mother of the Aitareya Rishi, he was perhaps being looked down as not of great intellect. So his mother prayed on his behalf, even when he was a child, to mother earth and mother earth blessed him with tremendous intellect, the greatest intellect. It is only God's grace which can give us physical strength, intellectual strength or aesthetic sense, etc. Let us never forget it. That is why the greatest Indian poet Kalidasa is called Kalidasa because mother Kali blessed him with that capacity. Henceforward he was known as Kalidasa.

Returning to the topic, let's delve into the analogy of Ishwara as a sculptor:

Ishwara, like a sculptor, began with an amorphous human form. The choice of a human form is significant as humans are considered the pinnacle of biological evolution, endowed with the potential to realize God. In the sculptor's art, the raw material, in this case, the shapeless human form, is gradually refined, much like the spiritual journey involves chipping away layers of Anatma (non-self) to reveal the true nature of Atman (self).

Envisioning this formless human figure, Ishwara, the cosmic artist, proceeded much like a sculptor working on a block of marble. The analogy emphasizes the process of creation as a form of subtraction, a process of chipping away what is not needed.

Consider a sculptor creating an image of Krishna from a square piece of marble. The initial step involves removing everything that does not contribute to the manifestation of Krishna. Similarly, in spiritual growth, the removal of layers of ignorance and false identification with the non-self is essential. The role of the Guru and the practice of Sadhana lie in aiding this process, gradually revealing the true nature of Atman.

The analogy extends further, illustrating that creation involves shaping with intent. The sculptor chips away what is not needed, focusing on the essence of the divine form. If the artist desires to create Krishna, they eliminate what is not Krishna. This mirrors the spiritual journey, where the aspirant, guided by the Guru and through personal practice, discards the non-self, revealing the divine essence within.

In this artistic process, Ishwara shaped a rudimentary human form, devoid of sensory organs (Indriyas) or specific bodily features. Picture a shape without hands, feet, head, stomach, or legs. To refine this form, Ishwara, the cosmic sculptor, metaphorically wields a chisel and hammer.

Imagining this creative scene, the Upanishad employs vivid imagery. Ishwara, like a sculptor, carefully crafts the features. Imagine the sculptor making holes, forming eyes, nose, and mouth – the Golakas or windows symbolizing the senses. The mouth, humorously noted in the narrative, becomes "holy" when it is chiselled to perfection.

It's crucial to note that the Upanishad provides a few examples, leaving room for interpretation and expansion. This emphasizes the vast and intricate nature of creation, allowing us to contemplate the limitless aspects of Ishwara's craftsmanship.

Before initiating the creative process, Ishwara engaged in a profound act of visualization, a mental preparation akin to artistic contemplation. This pre-creation phase is described as Tapas, signifying deep and creative thinking. Ishwara's "Tapatapasya" involves envisioning the specific attributes – the size, shape, and features – of the entity he intends to fashion. This thoughtful visualization is the essence of artistic creation, making Ishwara the ultimate artist.

The Upanishad uses the term "Tam abhyatapat," signifying that Ishwara engaged in deep contemplation, indicating a form of Tapas that involves concentrated visualization. The word "Tapas" here refers to an intense, focused mental process, reflecting the creative power of deep thought.

Having meticulously visualized the form, attributes, and characteristics of the entity he intended to create – the Virat Purusha – Ishwara set the stage for the actualization of this vision. The term "abhyatapat" suggests not just abstract thinking but a purposeful and deliberate act of conceptualization.

The Upanishad employs a poetic analogy to convey the unfolding of this creative process. It likens the creative act to the way a bird lays an egg, incubates it for a specified duration, and witnesses the gradual development of the chick within. Eventually, the egg breaks, and the fully formed chick emerges. This metaphor illustrates the transformative power inherent in the act of creation.

Applying this imagery to Ishwara's creative endeavour, the Upanishad emphasizes that Ishwara, acting as the doer, creator, and raw material, embarked on a process similar to the bird laying the egg. Ishwara is both the sculptor and the substance being sculpted, the Virat Purusha. The analogy extends to the concept of Golaka (window), Indriya (senses), and Adhishtatru Devata (presiding deity) as integral components of this cosmic creation.

With his visualization complete, Ishwara initiated the actualization of the Virat Purusha. The Upanishad vividly describes this commencement with the phrase "mukham niravidhyata," symbolizing the piercing or formation of the mouth. This signifies the beginning of the sculpting process, focusing on a specific aspect of the envisioned form. The mouth, as a central feature, represents the initiation of the intricate creation of the Virat Purusha.

First mukha had come. Then what happened? Vachaha. The mukha must have a function. What is the function of the mouth speaking? So vachaha means speech. And who is the Adhishtatru Devata? Agni. Agni is supposed to be the Adhishtatru Devata. Here also you have to keep something in mind in our introduction to Vedanta manuals. It is said every part of the human body has got somebody. For example, the presiding deity of the hands is Indra. Presiding deity of the legs is called Vishnu. Presiding deity of the speech is called Agni. Presiding deity of the mind is called Chandrama. There are reasons also for that. So the presiding deity of the power of hearing or the ears is Dishaha. Means the four directions. That means space.

So every organ has got its presiding deities without which it is completely useless. As we have taken the example without the sun seeing is not possible. Without the space hearing is not possible. Now you have to add with every this thing. So first thing he pierced and the mouth came out. From the mouth immediately by Ishwara's will speech came out. And this is happening remember all over the world universally. So there must be one who regulates all the speech. And without his grace it is not possible.

That is why when somebody speaks Thanda is so cold you feel like going to sleep. Somebody's fiery speech. Swami Vivekananda's fiery speech. That is why children in competition shout to imitate Swami Vivekananda. But sometimes the effort is what we call laughable. Because the person's voice may be a girl's voice so faint nobody can hear. Sometimes very powerful voice also. So the fiery speech, fiery ideal etc. Agni. So mouth, speech and fire.

Then he pierced a little bit above that. Nashika means nostrils. And what came out? Pranaha (the power of breathing) and its presiding deity, Vayu Devata. This illustrates the interconnectedness of breath and life, with Vayu Devata being the presiding deity responsible for the vital force within the breath.

Next, Ishwara fashioned the eyes (Chakshu), giving rise to the power of seeing (Chakshu Indriya), and simultaneously, the universal combined power of sight, represented by Aditya, the sun.

Following this, Ishwara pierced the ears (Karnau), leading to the development of the power of hearing (Shrotra Indriya), with its residing deity being the Dishaha, symbolizing the directional space that allows for auditory experiences.

The creation extended to the skin (Twak), representing the Golaka for experiencing touch, and the emergence of the power of touch (Sparsha Indriya). The presiding deity for this aspect is Vayu Devata or, in this context, Oshadi Vanaspatayah, emphasizing the connection between touch and the plant kingdom.

The process continued with the creation of the physical heart (Hridayam), serving as an organ for circulation, and its subsequent transformation into an instrument of thinking (Manaha). The residing deity for the mind is identified as Chandrama, the moon, symbolizing the ever-changing and reflective nature of emotions and thoughts.

This intricate and interconnected web of creation underscores the unity of the individual with the cosmos, with each organ, sense, and deity contributing to the holistic experience of life. The Upanishad employs this detailed description to elucidate the divine artistry involved in the formation of the Virat Purusha, emphasizing the seamless integration of physical, sensory, and spiritual dimensions in the cosmic creation.

On the day of Poornima, the full moon day, the tides rise higher due to the gravitational pull exerted by the moon on Earth. This phenomenon is a natural occurrence that aligns with the emotional turbulence within human beings during Poornima, correlating with the heightened emotional waves in the mind.

On the day of Amavasya, which is the new moon day, a unique natural phenomenon occurs, particularly noticeable in the Ganges River. During low tide or ebb tide, when the sea exerts its influence, the Ganges experiences a powerful reversal of flow. Waves from the sea collide with the river's current, creating a mountainous surge of water. This impressive display is both awe-inspiring and potentially dangerous.

The gravitational pull of the moon plays a crucial role in this phenomenon, influencing the tides and creating an ebb tide that clashes with the river's flow. The intensity of this event is such that it can lead to significant tidal waves, captivating onlookers and daring individuals who engage in water sports amid the tumultuous waves.

The term "lunatic" finds its origin in the word "lunar," signifying the moon's influence. The moon's impact on the Earth's waters is analogous to its effect on human emotions, often depicted as waves of varying intensity. The word "lunatic" is used to describe individuals who struggle to control their minds, drawing a parallel between the moon's sway and emotional instability. And it is so powerful. And it is so frightening. But there are Calcutta boys, very fearless boys. They are waiting for this. As soon as this art, they call it art, as soon as art comes, they jump into it. They enjoy that sport, daredevil sport. Sometimes, boats are also completely upset because of that power. That is why the boatmen have developed a special skill. How to guide the boats in such an angle that they will rise, they will move this side, left side, right side. We think they may be almost sinking, but they do not usually sink. Sometimes, yes, helplessly, boats are sunk, passengers are lost and they lose their lives also. Quite a number of times it happens, but usually the warning is given.

Now what I am trying to tell you, that the moon exerts a terrible influence on these waters. And our emotions are like that, so powerless, like small, small waves. That is why when a person is unable to control his mind, he is called lunatic. The word lunatic comes from the word lunar. Lunar means influence of the moon.

The Upanishad describes the sequential creation of various body parts, sensory organs, and their presiding deities. Each element, such as the eyes, ears, skin, and navel, is meticulously crafted with a specific function and corresponding presiding deity. The goal is to emphasize that this creation is not random but a conscious act guided by the divine intelligence of Ishwara.

The process includes the formation of Golakas (windows), Indriyas (senses), and Adhishtatru Devatas (presiding deities). Swami Tejomayananda explains that this narrative counters the belief of those who deny the involvement of conscious intelligence in the creation of the universe. It emphasizes that Ishwara, as a conscious being, consciously fashioned each aspect of creation.

The piercing of the navel symbolizes the creation of the Apana function, associated with the power of elimination. The presiding deity of Apana is identified as Mrityu (death), highlighting the cyclical nature of life and death.

Continuing the creative process, Ishwara pierces another part, leading to the emergence of the organ of generation. The Golaka, in this case, represents the organ, and the procreative power inside is termed Retas (semen), purushabhijaha. The presiding deity of Retas is Ahapaha or Varuna Devata, symbolizing the waters.

What is the purpose of this statement? One may think wrongly. What is the purpose? Why this person, this Ishwara, is piercing and then there comes the mouth, there comes the ears, there comes the nostrils, there comes the skin, there comes the navel, there comes all these things.

What is the purpose? The purpose is, so many people, especially those who are called charvakas, those who do not believe that nature has created nature. Nature has created this universe. The whole universe came by itself. And nature is inert, without any consciousness. In order to write that wrong idea, this is given that the Ishwara, the embodiment of consciousness, consciously, with full thinking, he had fashioned this one. So, this srishti has come from God, who is a chaitanya vastu, conscious being. That is the important point, and that is what we have to keep all the time, that at every stage, this Paramatma had to interfere.

First he thought, that is the first stage. Then he created the worlds, that is the next stage. Then he created, after creating, let me create so that people can come out and continue their job of procreating, of multiplication, of propagation of this species. And then slowly they evolve, and slowly they become human beings, and slowly they become, what we call, capable of understanding or studying the scriptures. And then they come to know what is dharma, what is adharma. And some people regulate, some people do not. And so they create Papa Karma, Punya Karma, and for that purpose, they have to experience the reward as well as punishment. For that purpose, further worlds have to be created.

That is why they have done, anybody has done, a tremendous amount of Punyam. They cannot experience the deserved happiness on this earth, because we have to remember one thing. However nice a thing is, the capacity to enjoy it, is completely restrained, limited by our capacity. Perhaps, an example I am giving, the finest musician, greatest musician is creating, but if this person does not have, what we call in the common language, ear for music, that means he is unable to appreciate, his hearing sounds okay, but he is not hearing the music, much less he understands what is called ragas, much less the finest nuances. Sometimes, you understand, a music concert is going on, an expert singer is singing, an expert tabalchi or mridangist is air-playing, you know what these people do, they compete with each other. So this person is going on singing in his own way, but the singing has to be done according to the time, called laya, called thala, rhythm. Rhythm divided into particular matras, that is called thala. Tri thala, ek thala, jump thala, etc. So many thalas are there, variations of thalas are there, and for each style of singing, there is a different type of these things are there. So the tabalchi wants to confuse the musician, he goes into a different type of rhythm, not really deviating, but something different, and he does it so fast, and then he thinks that if this person is not a good musician, he will be lost, because he doesn't know where to start, where to stop, because singing has to be done in perfect unison with the thala. But the musician is also perfect. So here is an anadi, he is sitting, and his money is rich, and so he secures a front seat and first class sofa seat, and then he sits. Slowly he starts yawning, and then nodding his head. Perhaps he thinks, I am so intelligent, I am nodding with the rhythm of the thala, but it is the inner nodding, sleep is coming, because he doesn't have the ear for the music.

That is what is meant. It is everything that intelligence should be given by the Divine Lord. So the person who enjoys must have the capacity to enjoy.The person who wants to enjoy, the object he wants to enjoy, must be a perfect, beautiful object, and the instrument through which this person wants to enjoy also must be a perfect instrument. All these things are the Divine Grace. But for that Divine Grace, the person has to understand, I have to pray, and then only I become a deserving person. And as soon as I become a fit, deserving person, the Divine Grace will automatically come over him. And that is why the blind nature can only create blind things, but even it cannot create blind things without the Grace of God, without a living, conscious being.

That is why Bhagavan Krishna very categorically tells in the Bhagavad Gita, Mayadhyakshena Prakruti Suyate Sacharacharam, whatever is moving, non-moving, Prakruti, my Maya, it creates everything. But how? Maya Adhyakshena. I sit by its side, I lend my power of consciousness to it, and then it accepts that consciousness like a firewood. It absorbs the power of heating, that is called bringing out the fire, and then it becomes capable of heating our tea, coffee, food, everything, anything. So without God, what becomes Prakruti? Prakruti even doesn't know, I am Prakruti. That is why we always have to remember that without God, it is not possible at all. So this is the idea given. The whole world is created by God, from God. He is inside the world, He is outside the world, and there is nothing else excepting Him. That is why I am just mentioning what is Puja. First, you make yourself pure. Second stage, you become conscious. God, here is my hand, until now I was thinking it is my hand, now I know it is your hand. I am transferring my ignorantly thought about ownership, that this is me, now I am transferring to you. And that is called Aratrika, because the whole world has come out of the Pancha Bhutas, just now as we thought. And Pancha Bhutas means Akasha, Vayu, Agni, Jala and Prithvi. And my body, your body, my mind, your mind, everything came out of this Pancha Bhutas.

What does it mean? I do not exist at all. This acknowledgement after doing Puja properly, is that everything belongs to you, that is what is called Aratrika. I will speak about this a little bit, to make us understand, as the modern scientists are apt to disregard God, and say that we could create the world, nature only is creating, we mastered nature, now we can create many things, nature is doing, God is not necessary. But that is such a foolish thought, our Upanishad is telling, it is only God who can create, and it is only God who is the creator also.

So if when we understand that fact, that Mahavakya, Prajnanam Brahma, that I am the Atman, that experience will come, which we will discuss in our next class.