Gross Sloppiness in Ánanda Vacanámrtam Part 34 English

Date: 26 Jul 2013 19:43:15 -0000
From: "R.Bhaskaran" <rbhaskaran@rtr.comptr....>
To: ananda-marga-discourses@googlegroups.com
Subject: Gross Sloppiness in Ánanda Vacanámrtam Part 34 English


BÁBÁ

Gross Sloppiness in Ánanda Vacanámrtam Part 34 English

Respected Márgis, Dádás and Didis,
Namaskára.

Large Section Left Out of Discourse

I write you today regarding concern about a large section left out of a discourse (1). The section left out is all the more significant because of its large size and the fact that it forms the final portion of the discourse. It is in this very final section that Bábá concludes and gives His main message. As for the size of the left-out section: it was not a few words or even a para or two. Rather, the left-out section contains 491 words, or two full pages of text.

Baba says Scripture Must Be Flawless

As we all know, Bábá has said that "The scriptures containing spiritual injunctions must be totally flawless." (Namah Shiváya Shántáya, Disc: 14) These books are our Ánanda Márga scripture, and they must be kept in perfect order. These are the guidelines which Bábá has given for how a human life should be lived and how the society is to be run. Bábá's discourses are our blueprint for how to move ahead in live and as a society. In view of this, the leaving out of large sections of discourses is not something to be taken lightly. And moreover thirteen years have elapsed, with no action taken. Nor even any sign or notice from the Publishers that such a large section is missing.

It is like Mother who Left the Child and Forgot Him Forever

The case can be likened to a mother of three children who goes to the market one day and leaves one of her children there at the market by mistake. Thirteen years have passed, and the mother never realized that she'd forgotten her child at the market. The mother is responsible for having left her child at the market; if she says she forgot and it was an honest mistake, that does not relieve her of responsibility for her negligence.

In the same way that the mother is responsible for having left her child, our AMPS Publishers are responsible for the gross negligence of having left out a large chunk of this discourse. There are only two possibilities for explaining such an action: Either they forgot to include the last section, or they intentionally left it out. In either case, it is not good. The end result is they left out the last two pages of the discourse. Such negative behavior by those responsible for Publishing Bábá's books should not I feel, be tolerated or ignored. Bábá's books must be corrected, and it should be done without delay. Otherwise what happens is that years pass, and ultimately the discourse gets recognition and acceptance in its distorted form. And ultimately it may never be repaired.

Only Kolkata Group Publishes Books: They are Responsible

It should be clear to all that of all the different splinter groups in Ánanda Márga today, only the Kolkata group publishes Bábá's books. All the sound files of Bábá's discourses are at their Tiljala áshrama and at other groups' headquarters also. Every group has audio, but only Kolkata group is doing any publishing work; other groups like Ranchi group merely copy the books and reprint them. Because of that, Kolkata group is responsible for what is being published.

H and EC Groups are Not Innocent

H and EC group are not innocent here—they have not taken responsibility for producing new books. B group publishes books, and H group reprints them. This has been illustrated at length elsewhere (2). H group Publications Secretary Ác. Mŕtyuiṋjayánanda Ávt publishes all he gets from B group, and that too without so much as checking it to see if it is correct or distorted.

Falsely Final Section of Published Discourse Below in RED

True Final Section, Never-Before Published, in GREEN

What follows below is the last section of the discourse “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”, as published in Ánanda Vacanámrtam English Part 34. In reality it is not the last part of what Bábá spoke that day the eighth of December 1964 in Salem. There are close to 500 words which He delivered that day, which were recorded along with the rest of the discourse. But those last close-to-500 words were never printed. Here below, for the first time they have been transcribed from the recording and are being posted on this forum.

So the first section below, colored in RED, is a middle section of the discourse, which the Kolkata Publishers printed as though it were the final section. Following that, in GREEN, is the true final section of the discourse. This true final section has never been printed before.

(Note also that the section printed in RED published by the Kolkata Publishers, contains footnotes in it numbered 18 to 24. That is because there were 24 places in the discourse where the publishers could not hear what Bábá said and marked the section as “inaudible”. But in the “As Is” transcription to be published soon on this forum, there are NO places which could not be heard; every word is transcribed. More on this in a later posting.)

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Following excerpt from Ánanda Vacanámrtam Part 34: Gáyattrii Rhythm and the “Gáyattrii Mantra”
8 December 1964, Salem

LAST PARAGRAPHS OF DISCOURSE AS PRINTED IN Ánanda Vacanámrtam Part 34:

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And the first sound of creation, a, is the first letter of the Tántrika varńamálá. A. What is the first letter? A. A is the first letter of Indo-Aryan script.(18) In Hebrew and Greek alpha is the first letter; and in(19) Arabic, aliph is the first letter.(20)

Then after creation, you are to preserve that creation,(21) you are to keep up the creation. After the birth of a child, you have to preserve it; so this preservation is the second phase, and the vibrational sound of this action of preservation is u. Uuuu. So u is the acoustic root of preservation.(22)

And after creation, in the last phase of this psychic order, comes the phase of destruction. After creation and preservation there will be destruction. And the acoustic root of destruction is ma. Ma is the biija mantra of destruction, ma is the biija mantra of sarvalaya, ma is the biija mantra of prańásha.(23) So ma is the biija mantra of destruction.

So the entire functional business of the Supreme Self is represented by three sounds, a, u and ma – a-u-mmm. Hence the activated Consciousness is represented by the sound oooṋm.(24) And this oṋm now is called prańava.

This mantra starts with the sound oṋm. Oṋḿ bhúr bhuvah svah. A represents generation, creation; u represents preservation, operation; and ma represents destruction. Generation, operation and destruction. The first letter of “generation” is “g”, the first letter of “operation” is “o”, and the first letter of “destruction” is “d”. G-O-D, God.

END OF “LAST PARAGRAPHS OF DISCOURSE” AS PRINTED IN: Ánanda Vacanámrtam Part 34

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The following is transcribed from the recording of “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”. It is the unpublished true final section of the discourse.

The following section follows directly on the recording from the sentences printed above which end with—“...the first letter of “destruction” is “d”. G-O-D, God.” The subject is obviously the same; Bábá is explaining some points related with the “Gáyattrii Mantra”. The line of the shloka discussed by Bábá in the above section is “Oṋḿ bhúr bhuvah svah.” And that discussion continues with the line given below.

DISCOURSE'S TRUE FINAL SECTION—NEVER BEFORE PUBLISHED:

Now, oṋḿ bhúrbhuvah svah oṋḿ tat saviturvareńyaḿ

Bhúrbhuvah svah—bhúh represents this mundane manifestation, this world of physicality. And bhuvah represents psychic world. And svah represents astral world, causal world. You know, in the process of creation, in the extroversive phase, there are seven strata. There are seven layers. From crude to subtle, these layers are bhur, bhuvah, svah, mahah, janah, tapah, satya. Satya loka is the subtlest loka. And that's why in tantra it has been said—

Satyaloke nirákárá mahájyotisvarúpińii
Máyáccháditátmánaḿ cańakákárarúpińii;
Máyábalkalaḿ saḿtyajya dvidhábhinná yadonmukhii
Shivashakti vibhágena jáyate srśt́ikalpaná. (Tantra)

Satya loka is the subtlest loka. Loka means "stratum". So there are seven strata. Bhur, bhuvah, svah, mahah, janah, tapah, satya. And the collective name for these seven strata is mahávyáhrti. Mahávyáhrti—that is, the great expression, the great manifestation—mahávyáhrti.

And when this mahávyáhrti is represented by three lokas—bhur, bhuvah, svah—seven lokas represented by three lokas. In that case, that is, these three names—bhuh, bhuvah, svah—they are collectively known as vyáhrti. So, in this mantra, one oṋḿ should be used before the vyáhrti, and another oṋḿ should suffix the vyáhrti.

Oṋḿ bhúrbhuvah svah oṋḿ.

That is, here in this mantra, God has been addressed by the term Savitá. Savitá means, su is a root verb, in Saḿskrta su means, "to create". Su + tr, prathamá ekavacana—savitá. Savitá means "creator". Savitá means "father". Father of what? Father of these seven strata. Father of these seven lokas.

Do you follow?

Oṋḿ bhúrbhuvah svah oṋḿ tat saviturvareńyaḿ;
Bhargo devasya dhiimahi

Bhur, bhuvah, svah, mahah, janah, tapah, satya. Asya sapta-lokasya, savitur devasya, pitur devasya, bhargo, vareńyaḿ bhargo, pújaniiyaḿ bhargo, pújaniiya yadi, dhiimahi dhyánam karomi. Asya sapta-lokasya, pitur devasya, tat vareńyam bhargo, yadi aham dhyánam karomi. Katham aham dhyánam karomi? kena kárańena aham dhyánam karomi? Yah sah dhiyo yo nah pracodayát. Sah nah dhiyo. Nah arthát asmákam. Mama-me-ávayoho-nao-asmákam-nah. Sah asmákam dhiyo, asmákam buddhi medhá pracodayát. Sadvidhánaḿ karotu. Satpathi paricálanam karotu ityarthe.

I meditate on the Divine Effulgence of the Supreme Father who did create these seven strata. And why do I meditate on His Divine Effulgence? So that He may guide my, direct my intellect unto the path of Supreme Beatitude. That's why. It is the meaning of this Gáyattri mantra. And it is the mantra of vaedikii diikśá. And in this mantra, the sádhaka, the aspirant requests the Supreme Father to show him the way. He wants the way, he wants the path of bliss. And after getting that path through tántrikii diikśa, he is to do according to that diikśá. He is to practice sádhaná.

Dhiyo yo nah pracodayát oṋḿ.

This is the spirit of Savitr Rk, incorrectly called Gáyattri Mantra. It should be Savitr Rk. Because in this mantra, the God has been addressed by the word, Savitá. Tat savitur devasya. Savitur—śaśt́hii eka vacana of the word savitr. I think now it is quite clear.

Kalyánamastu.

END OF UNPUBLISHED TRUE FINAL SECTION OF: “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”

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So here we see that the final five hundred words of the discourse “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” were left out by the Kolkata Publishers and never got printed anywhere. As Bábá has explained, "The scriptures containing spiritual injunctions must be totally flawless." (Namah Shivaya Shantaya, Disc: 14) It is the responsibility of all of us as Ánanda Márgiis to see to it that this matter gets rectified in timely way.

We make a special request for volunteers to help in this work of producing and reviewing the “as is” discourses. Márgii volunteers are needed from all countries around the world, to help with translating the “as is” discourses into the various languages, and also to help with translating postings about distortions so that all Márgiis around the world can be made aware. Comparing the “as is” discourses to the discourses published by our AMPS is a big job, and help here is also needed. We welcome a hand from any and all who are inspired and interested to serve in the protection of the discourses of Lord Shrii Shrii Ánandamúrtiji.

Namaskar,

R. Bhaskaran


Note 1. “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”. This discourse is printed in Ánanda Vacanámrtam English Part 34, Chapter 10, published under the oversight of Ác. Sarvátmánanda Ávt in 2000. The discourse was given by Bábá on 8 December 1964 in Salem, South India.

Note 2. Ranchi Group's Negligent Publishing Practices

To read more about Ranchi Group's negligent publishing practices, click here.

Note 3. Click here to view the whole discourse “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” as published by the Kolkata Publishers—followed by the missing concluding section given in a different color. The two sections are intentionally placed in very small font so that by seeing the overall view, you can easily understand what a significant portion was left out by the Publishers.

Ranchi Group's Negligent Publishing Practices

Ranchi Group's Negligent Publishing Practices

It should be added that firstly, it is true Kolkata group does all the publishing of Ánanda Márga books today, and as such is responsible for the distortions they publish. And because of that Márgiis have been writing in expressing their concern and even outrage over Kolkata group's irresponsible publishing practices.

But because of this, some Márgiis get confused, thinking that there is a "leaning" in this network against Kolkata group. However that is not at all the case. Márgiis have also written letters about the irresponsible publishing practices of H group. Please see the below excerpt from previous postings on this forum:

"H/EC group acquired B group's distortion-ridden printed discourses, and took credit for the discourses by reprinting them in their own name...Of note, the current H group Publications Secretary Ác. Mŕtyuinjayánanda Ávt., has not done anything to change this status quo. The books continue to be taken from B group and reprinted point blank, with no editing or proof checking involved. If Ác. Mŕtyuinjayánanda Ávt had read the discourse, he could have immediately detected the nonsensical paragraph and created an errata page for the book. But that has not been done."

"We cannot assume to know why Ác. Mŕtyuinjayánanda Ávt behaves the way he does; only he knows the reason. Nonetheless, the result of his work is in view for all to see."

"Nothing is ever changed or fixed; the books he receives from B group he turns around and sends to a printing company for printing, with his name as AMPS Publisher. From longstanding habits such as these it does not seem unfair to conclude that our H group AMPS publications department is verily and unfortunately located in the plastic bag where Ác. Mŕtyuinjayánanda Ávt holds the B group books to bring to the printing company."

"It should be added that the Ánanda Vacanámrtam series is the easiest to read and most popular, and Hindi is the most common language version read and purchased, of all our AMPS publications. Even then as popular and in demand as this series is, still the Hindi edition of this discourse in Ánanda Vacanámrtam Part Three, with its distorted nonsensical paragraph, remains unchanged after all these years both in the B group and H/EC group publications."

To read the full posting about H group's dealings in this matter, on the Network's blog, please click here.

Overview of AMPS Published Version “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” followed by Missing Final Section

NOTE THE FOLLOWING SECTION IN RED IS THE VERSION OF “Gáyattrii Rhythm and the 'Gáyattrii Mantra'” PUBLISHED BY KOLKATA GROUP. IT IS MISSING THE LAST TWO PAGES, WHICH WERE NOT TRANSCRIBED OR PRINTED BY THEM. FOLLOWING THEIR PUBLISHED VERSION BELOW IS THE ACTUAL MISSING TWO PAGES IN GREEN, TRANSCRIBED BY WRITERS OF THIS FORUM AND PRESENTED HERE FOR YOU TO VIEW. HERE ON THE BLOG BOTH HAVE BEEN GIVEN IN SMALL FONT, SO YOU CAN EASILY GET AN OVERVIEW OF THE SIGNIFICANT SIZE OF THE MISSING LAST SECTION COMPARED TO THE PUBLISHED VERSION FROM WHICH THAT FINAL SECTION IS MISSING. --AM DISCOURSES NETWORK MODERATORS

The following has been placed in small font so you can easily compare the sizes of the AMPS-Published discourse (Red) and its missing final section (Green). Note how large the missing final section is.

Gáyattrii Rhythm and the “Gáyattrii Mantra”

8 December 1964, Salem

Published in: Ánanda Vacanámrtam Part 34

In ancient times there were two recognized stages in the process of initiation. The first one was Vaedikii diikśá, that is, initiation as per the Vaedik [Vedic] school of thought, and the second one was Tántrikii diikśá, that is, initiation as per Tantra. The most important mantra in Vaedikii diikśá was the “Gáyattrii Mantra”. The spirit of Vaedikii diikśá was to pray to God to get the proper path, the path of bliss; and the spirit of Tántrikii diikśá was to move along that path. In the first phase the aspirant requested God to show the path, and in the second phase the sádhaka had to move along that path.(1) And this “Gáyattrii Mantra” was the most important mantra in Vaedikii diikśá.

Now, what’s the meaning of gáyattrii? It is a common error to say that that mantra is the “Gáyattrii Mantra”; because gáyattrii is not the name of a mantra, it is the name of a chanda. In the Vedas, there are seven recognized chandas, that is, seven recognized rhythms. Those rhythms are gáyattrii, uśńiik, triśt́up, anuśt́up, jagati, brhatii and paunkti. So gáyattrii is a chanda, gáyattrii is a rhythm, and not a mantra. And this particular mantra of Vaedikii diikśá was composed in gáyattrii chanda. The speciality, the special feature, of gáyattrii chanda is that it requires twenty-[four] syllables. To compose a poem it requires a chanda, and there should be three lines with eight syllables in each line – three times eight, twenty-four syllables. For each and every mantra of the Vedas, there are three requisite factors, three essentialities. These three essentialities are chanda, a rśi, and a devatá.

Chanda means the rhythm in which that mantra will be composed. Here in the case of this particular mantra, the chanda is gáyattrii. Gáyantaḿ tárayet yastu – “By chanting which one can get the path of liberation” is gáyattrii. Gáyat (gae dhátu [root verb] + shatr) + trae dhátu + d́a + uniip = gáyattrii. Do you follow? Here the chanda is gáyattrii, then the next requisite factor is a devatá, and finally a rśi.

The devatá is a particular word which has been used for a god, and according to that word(2) the mantra is to be made. In this particular mantra, God has been addressed by the word “Savitá” – Tat Savitur vareńyam. “Savitá”. Hence the(3) official name of this mantra is the “Savitr Rk”. Rk is the name of a mantra of the Rgveda. So the name of this particular rk is “Savitr Rk”.(4) The word “Savitá” has been used in this mantra for God.

And the third important factor is a rśi. Rśi means he who composed that mantra. We will not say(5) “he who wrote the mantra”, because the Vaedik rśis were illiterate, they could not write. The Vaedik people of Central Asia who came to India were illiterate, they had no script of their own. They learned how to write from the indigenous population of India, that is, from the Dravidians. The Sanskrit language has no script of its own. Sanskrit is written in various scripts of different portions of India.(6) Sanskrit has no script of its own. In Bengal and Assam and Manipur and [[Tripura]] it is written in Bengali script. In North Bihar it is written in Maethilii script, in Orissa it is Utkal script. In Andhra it is Telegu script. In Madras it is Granthakśa, Granthalipi [Grantha script]. Sanskrit has no script of its own.(7) In order to standardize Sanskrit education, they use Devanagari script in the prescribed books of universities and colleges. Devanagari is not the script of Sanskrit.

So all those Vaedik rśis were illiterate. They composed those psalms, those Vaedik hymns, and those disciples learned them by hearing through the shruti(8) – the ear – and that’s why the Vedas are also known as shruti. So the rśi of a mantra is called in the Vaedik language a draśt́a rśi: drsh dhátu + trc(9) (prathamá, ek vacana [first case-ending, singular number]). Draśt́a means “seer” – He who saw the truth(10) is the seer of a mantra. So each and every Vaedik mantra will have a seer. Rśi means “cultured people”.

So here in this actual mantra, the seer is Rśi Vishvamitra. In this particular mantra, the(11) chanda is gáyattrii. It has been taken from the third mańd́ala, tenth adhyaya [súkta, composition] of the Rgveda.(12) The chanda is gáyattrii, the devatá is Savitá, the name is “Savitr Rk”, and the rśi is Vishvamitra.

And I have already told you that the speciality of gáyattrii chanda is that there should be three lines, and there should be eight syllables in each and every line. Here the original mantra is Tat Savitur vareńyam; / Bhargo devasya dhiimahi dhiyo yo nah pracodayát. Oṋḿ bhúr bhuvah svah oṋḿ is a later addition.(13) It is not part of the original(14) mantra. Now here in this mantra the first line is Tat Savitur vareńyam.

Now, mantra – what is the meaning of mantra? Mananát tárayet yastu [“That collection of sounds which, when meditated upon, leads to liberation”]. Manana means “chanting internally”; “speaking internally”, “speaking mentally”, is manana. Mananát tárayet yastu. By chanting internally a mantra, one can get oneself liberated. And that is why it is called mantra. Mananát – “by chanting internally” – tárayet yastu – “that which liberates” – is man-tra. Man + trae + d́a – d́a is the suffix, the Sanskrit suffix.

So the first line is Tat Savitur vareńyam; the second line is bhargo devasya dhiimahi, and the third line is dhiyo yo nah pracodayát. The first line is Tat Savitur vareńyam. The second line is bhargo devasya dhiimahi (go on counting): bhar – go – de – vas – ya – dhii – ma – hi – eight syllables. And the third line is dhi – yo – yo – nah – pra – co – da – yát – eight syllables. But in the first line (go on counting): Tat – Sa – vi – tur – va – re – ńyam – seven syllables. And the rśis say whenever there is any clash between grammar and rhythm, grammar and chanda, chanda should win, and not the grammar.(15) So it will be pronounced like this: Tat – Sa – vi – tur – va – re – ńi – am. Eight syllables. So the correct pronunciation of the mantra is

Oṋḿ bhúr bhuvah svah oṋḿ

Tat – Sa – vi – tur – va – re – ńi – am –

not vareńyam, va – re – ńi – am –

Bhargo devasya dhiimahi

Dhiyo yo nah pracodayát oṋm.

Do you follow?

Now oṋm. What do we mean by oṋm?

Wherever there is an action, certain vibrations are created.(16) For each and every action, there is a corresponding vibration, a corresponding sound. You are walking – a khat́-khat́-khat́-khat́, t́ap-t́ap-t́ap-t́ap sound is created. That sound is the vibrational sound of that action of walking. You are laughing – the sound há-há-há-há will be created, so the sound há-há-há-há is the vibrational representation of the action of laughing. So the vibrational sound of an action is called the acoustic root. So há-há-há-há is the acoustic root of the action of laughing, and khat́-khat́-khat́-khat́ is the acoustic root of the action of walking. This acoustic root is called a biija mantra in Sanskrit. Now, when this universe was created by the Macrocosmic Self,(17) a particular wave came in the Macropsychic body – “I’ll create something” – this desire was created – and this psychic action certainly came from a psychic sound within the mind of the Supreme Self. So the acoustic root of the desire of creation within the mind of the Macrocosm created the sound aaaa-a-a-a-a-a. A is the acoustic root of creation. A is the acoustic root of the action of creation – do you follow? Wherever there is an action, there is some vibration, and wherever there is vibration there is sound. When that Macrocosmic Self created this universe, during the phase of creation a certain vibration was created in His mind, and that vibration created a certain sound. That sound of creation is a. A is the acoustic root of creation, a is the biija mantra of creation.

And the first sound of creation, a, is the first letter of the Tántrika varńamálá. A. What is the first letter? A. A is the first letter of Indo-Aryan script.(18) In Hebrew and Greek alpha is the first letter; and in(19) Arabic, aliph is the first letter.(20)

Then after creation, you are to preserve that creation,(21) you are to keep up the creation. After the birth of a child, you have to preserve it; so this preservation is the second phase, and the vibrational sound of this action of preservation is u. Uuuu. So u is the acoustic root of preservation.(22)

And after creation, in the last phase of this psychic order, comes the phase of destruction. After creation and preservation there will be destruction. And the acoustic root of destruction is ma. Ma is the biija mantra of destruction, ma is the biija mantra of sarvalaya, ma is the biija mantra of prańásha.(23) So ma is the biija mantra of destruction.

So the entire functional business of the Supreme Self is represented by three sounds, a, u and ma – a-u-mmm. Hence the activated Consciousness is represented by the sound oooṋm.(24) And this oṋm now is called prańava.

This mantra starts with the sound oṋm. Oṋḿ bhúr bhuvah svah. A represents generation, creation; u represents preservation, operation; and ma represents destruction. Generation, operation and destruction. The first letter of “generation” is “g”, the first letter of “operation” is “o”, and the first letter of “destruction” is “d”. G-O-D, God.

END OF DISCOURSE AS PUBLISHED BY KOLKATA GROUP

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DISCOURSE'S TRUE FINAL SECTION—NEVER BEFORE PUBLISHED: (THIS SECTION TRANSCRIBED BY WRITERS OF THIS FORUM)

Now, oṋḿ bhúrbhuvah svah oṋḿ tat saviturvareńyaḿ

Bhúrbhuvah svah—bhúh represents this mundane manifestation, this world of physicality. And bhuvah represents psychic world. And svah represents astral world, causal world. You know, in the process of creation, in the extroversive phase, there are seven strata. There are seven layers. From crude to subtle, these layers are bhur, bhuvah, svah, mahah, janah, tapah, satya. Satya loka is the subtlest loka. And that's why in tantra it has been said—

Satyaloke nirákárá mahájyotisvarúpińii

Máyáccháditátmánaḿ cańakákárarúpińii;

Máyábalkalaḿ saḿtyajya dvidhábhinná yadonmukhii

Shivashakti vibhágena jáyate srśt́ikalpaná. (Tantra)

Satya loka is the subtlest loka. Loka means "stratum". So there are seven strata. Bhur, bhuvah, svah, mahah, janah, tapah, satya. And the collective name for these seven strata is mahávyáhrti. Mahávyáhrti—that is, the great expression, the great manifestation—mahávyáhrti.

And when this mahávyáhrti is represented by three lokas—bhur, bhuvah, svah—seven lokas represented by three lokas. In that case, that is, these three names—bhuh, bhuvah, svah—they are collectively known as vyáhrti. So, in this mantra, one oṋḿ should be used before the vyáhrti, and another oṋḿ should suffix the vyáhrti.

Oṋḿ bhúrbhuvah svah oṋḿ.

That is, here in this mantra, God has been addressed by the term Savitá. Savitá means, su is a root verb, in Saḿskrta su means, "to create". Su + tr, prathamá ekavacana—savitá. Savitá means "creator". Savitá means "father". Father of what? Father of these seven strata. Father of these seven lokas.

Do you follow?

Oṋḿ bhúrbhuvah svah oṋḿ tat saviturvareńyaḿ;

Bhargo devasya dhiimahi

Bhur, bhuvah, svah, mahah, janah, tapah, satya. Asya sapta-lokasya, savitur devasya, pitur devasya, bhargo, vareńyaḿ bhargo, pújaniiyaḿ bhargo, pújaniiya yadi, dhiimahi dhyánam karomi. Asya sapta-lokasya, pitur devasya, tat vareńyam bhargo, yadi aham dhyánam karomi. Katham aham dhyánam karomi? kena kárańena aham dhyánam karomi? Yah sah dhiyo yo nah pracodayát. Sah nah dhiyo. Nah arthát asmákam. Mama-me-ávayoho-nao-asmákam-nah. Sah asmákam dhiyo, asmákam buddhi medhá pracodayát. Sadvidhánaḿ karotu. Satpathi paricálanam karotu ityarthe.

I meditate on the Divine Effulgence of the Supreme Father who did create these seven strata. And why do I meditate on His Divine Effulgence? So that He may guide my, direct my intellect unto the path of Supreme Beatitude. That's why. It is the meaning of this Gáyattri mantra. And it is the mantra of vaedikii diikśá. And in this mantra, the sádhaka, the aspirant requests the Supreme Father to show him the way. He wants the way, he wants the path of bliss. And after getting that path through tántrikii diikśa, he is to do according to that diikśá. He is to practice sádhaná.

Dhiyo yo nah pracodayát oṋḿ.

This is the spirit of Savitr Rk, incorrectly called Gáyattri Mantra. It should be Savitr Rk. Because in this mantra, the God has been addressed by the word, Savitá. Tat savitur devasya. Savitur—śaśt́hii eka vacana of the word savitr. I think now it is quite clear.

Kalyánamastu.

END OF UNPUBLISHED TRUE FINAL SECTION OF: “Gáyattrii Rhythm and the 'Gáyattrii Mantra'”

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

FOOTNOTES OF AMPS PUBLICATION SHOWING 24 PLACES THEY COULD NOT HEAR WHAT BABA SAID

Footnotes

(1) A sentence here was inaudible on the tape. –Eds.

(2) A few words here were inaudible on the tape. –Eds.

(3) A word here was inaudible on the tape. –Eds.

(4) A few words here were not clearly audible on the tape. They may have expressed that the first case, singular form of Savitr is “Savitá” –Eds.

(5) A word or two here are inaudible on the tape. –Eds.

(6) A sentence here, not clearly audible on the tape, mentioned the script used in the Punjab. –Eds.

(7) A sentence here was inaudible on the tape. –Eds.

(8) A word here was inaudible on the tape. –Eds.

(9) A word here was inaudible on the tape. –Eds.

(10) A few words here were inaudible on the tape. –Eds.

(11) A few words here were inaudible on the tape. –Eds.

(12) A sentence here was inaudible on the tape. –Eds.

(13) The next sentence begins “This portion was taken from…”, but the rest of the sentence is inaudible on the tape. –Eds.

(14) A word here was inaudible on the tape. –Eds.

(15) The next sentence here on the tape was “So here, for the sake of chanda, the mantra is to be…” The final verb was inaudible. –Eds.

(16) The next sentence here on the tape was “And wherever there is vibration, there is… how it is created, where it is created.” A word or two were inaudible. –Eds.

(17) A few words here were inaudible on the tape. –Eds.

(18) The next sentence here is not clearly audible on the tape, but apparently says that in other scripts also “ ‘a’ is the first letter.” –Eds.

(19) A few words here were inaudible on the tape. –Eds.

(20) A sentence here was inaudible on the tape. –Eds.

(21) A word here was inaudible on the tape. –Eds.

(22) A sentence here was not clearly audible on the tape, but apparently recapitulated the meaning of a, u and ma. –Eds.

(23) The next few sentences are not clearly audible on the tape. Audible phrases are: “… and hence ma is the last letter of the vargiiya varńamálá [portion of alphabet composed of phonetic groups]. The last varga [phonetic group]… and the last letter of… is ma – pa pha ba bha ma.” –Eds.

(24) A sentence here was not clearly audible on the tape. –Eds.

8 December 1964, Salem

Outrageous Agenda of Kolkata Group: (d́ambaru) Connected With Traitors, Not With Gayasura

Date: 17 Jul 2013 23:17:43 -0000
To: ananda-marga-discourses-1@yogasamsthanam.net
From: "H Sharma" <hsharma@inifinity...>
Subject: Connected With Traitors, Not With Gayasura

Bábá

Outrageous Agenda of Kolkata Group

(d́ambaru) Connected With Traitors, Not With Gayasura

Namaskar,


Writing on behalf of the AMPS Kolkata Publications Dept, Kiritji has expressed that in the discourse "The Lord's Feet", it was proper for the Kolkata Publishers to remove the portion where Baba says 1971 Central dadas' traitorous activity against Baba, is akin to how Gayasura blindly went against Lord Visnu, the very Entity who had given him power. About Baba's mention of 1971 Central dadas traitor group, Kiritji writes--

Removing that portion does not harm the discourse and makes it clearer. (bold added)

Removing Traitors' Story Makes Discourse Unclear

Logic says rather the opposite: it makes the discourse unclear if this critical portion is removed. You see, in this discourse Baba mentions two stories: (1) the story of Gayasura; and (2) the story of the Central dadas' traitor group of 1971. And in the discourse, Baba has given the example of the drum (d́ambaru) Lord Shiva holds in His hand. Baba says people come to do prańáma to Lord Shiva, and the d́ambaru blinded by its own small ego, thinks they are coming to do prańáma to it. Here Baba explains that the d́ambaru is a good illustration and is "just like the story". The question is, which story does Baba liken the d́ambaru example to: the story of Gayasura, or the story of the traitor Central dadas? Below is the quote from the "as is" discourse:

Quote from "As Is" Discourse

"What is the story similar to? Lord Shiva keeps a d́ambaru [a type of drum] in His hand, and the people come to do prańáma to Lord Shiva. [Bábá, smiling] And the d́ambaru thinks the people are coming to do prańáma to it (the d́ambaru). [Márgii laughter.] In the market there are loads of d́ambarus—the people hardly do prańáma to those d́ambarus. [Bábá laughs, and Márgiis laugh]"

Dambaru Example Not Working With Gayasura Story

So the question is, which story is the d́ambaru example being likened to-- the story of Gayasura, or the story of the traitor Central dadas? Well, seeing as the Kolkata Publishers removed the traitor group story from the discourse, that leaves only the Gayasura story for Baba's d́ambaru example to be likened to. But here there is a serious problem, which in Kolkata Group's published discourse makes Baba's entire analogy very unclear. Because in the tale of Gayasura nobody was coming to do prańáma before Gayasura, who was an asura (demon) and disrespected in the then society because of that. In Baba's Lord Shiva d́ambaru example, the whole point is that devotees come to do prańáma to Lord Shiva and the blind d́ambaru wrongly thinks they are coming to do prańáma to it. So the focal point of the d́ambaru story is that of the d́ambaru's blindly thinking devotees are doing prańáma to it. And there is nothing like that happening in the Gayasura story. In short: Baba's d́ambaru example is not working with the Gayasura story.

Dambaru Analogy: Does Work With Story of Traitor Dadas

In contrast, many Ma'rgiis came before the 1971 Central dadas to do prańáma. And those blind Central dadas thought Ma'rgiis were coming to do prańáma because of their own greatness, not because of Baba's greatness.  So Baba is likening the case of the egotistical d́ambaru to the story of the Central dadas: both the d́ambaru and Central dadas were blind, because they thought people who were coming to do prańáma to Lord Shiva and Baba respectively, were coming to do prańáma instead to them.

Kolkata Group Removes Traitor Group Story

Forces Dambaru Example to link with Gayasura Story

By the Kolkata Publishers' removing the story about the traitor group, it leaves only the Gayasura story for the d́ambaru example to be likened to. And as we have seen, the d́ambaru example is not analogous to the Gayasur story. And because of the failed analogy, in the printed discourse the d́ambaru example is not working. In sum, removing the traitor group story forces the d́ambaru example to become linked with Gayasur's story when it isn't at all analogous, and therefore makes it falsely look like Baba cannot give a proper analogy.

Traitor Group Story Critical To Discourse

Forced Link of Dambaru Example with Gayasura Story: Scriptural Distortion

The bottom line here is that the d́ambaru example can only link with the "traitor group" story and not with the Gayasura story. This shows how the traitor group story is critical to the discourse, and is in fact the main teaching of the discourse. Removing the traitor group portion of the discourse represents scriptural distortion, and makes the discourse unclear.

Having wrongly supported the removal of the traitor group story, the Kolkata Publications representative Kiritji then concludes--

Now having said that, let me tell you that I am NOT in favor of changing or removing the text from original in general. And in fact we have to err on the side of keeping the text rather than removing it.

It is painful to say, but for the Kolkata Publishers to make a contradictory statement like this and at the same time to remove the traitor group portion of the discourse, could not be described as anything short of a sort of hypocrisy. 

 

Volunteers Needed

As always we welcome your thoughts and comments on this vital subject of the preservation of the discourses of Lord Shrii Shrii Ánandamúrtiji.

In addition, we would like to make a special request for volunteers to help in this work of producing and reviewing the “as is” discourses. Márgii volunteers are needed from all countries around the world, to help with translating the “as is” discourses into the various languages, and also to help with translating postings about distortions so that all Márgiis around the world can be made aware. Comparing the “as is” discourses to the discourses published by AMPS is big job, and help here is also needed. We welcome a hand from any and all who are inspired and interested to serve in the protection of the discourses of Lord Shrii Shrii Ánandamúrtiji.


In Him,
Harihar Sharma


Note 1. I very much believe there is a vital need to repair our Ananda Marga scripture, and make it a perfect rendition of what Baba actually said during His pravacans. As someone quoted a few weeks ago from Baba--

"Indeed Baba says, “The scriptures containing spiritual injunctions must be totally flawless.” (Namah Shivaya Shantaya, Disc: 14) So as Ánanda Márgiis, we must take this very seriously and work together to make the printed version of Bábá's discourses perfect."

To read brother Divyadarshana's full posting on the Ananda Marga Discourses blog site, click here.

Note 2. I feel the moderator's note from a few postings ago is quite important.

Moderators' Note: It should be clear to all that of all the different splinter groups in Ananda Marga today, only the Kolkata group publishes Baba's books. All the sound files of Baba's discourses are at their Tiljala ashram, and no other group has sound files. So only Kolkata group is doing any publishing work; other groups like Ranchi group merely copy the books and reprint them. Because of that, Kolkata group is responsible for what is being published.

For that reason, these letters are being addressed to Kolkata group. Additionally, the Kolkata group has via their representative issued a policy statement which was printed a few days ago on this googlegroups. The whole letter has been published on our blog for any who would like to review it. (1)

This forum has no alliance with any group, and actively disapproves of all groups and group sentiments.

Note 3.  Ranchi Group's Negligent Publishing Practices

It should be added that firstly, it is true Kolkata group does all the publishing of Ananda Marga books today, and as such is responsible for the distortions they publish. And because of that Margiis have been writing in expressing their concern and even outrage over Kolkata group's irresponsible publishing practices.

But because of this, some Margiis get confused, thinking that there is a "leaning" in this network against Kolkata group. However that is not at all the case. Margiis have also written letters about the irresponsible publishing practices of H group. Please see below excerpt from previous postings on this forum:

"H/EC group acquired B group's distortion-ridden printed discourses, and took credit for the discourses by reprinting them in their own name...Of note, the current H group Publications Secretary Ác. Mŕtyuinjayánanda Ávt., has not done anything to change this status quo. The books continue to be taken from B group and reprinted point blank, with no editing or proof checking involved. And the 2004 Edition of this Hindi discourse continues to be sold today with the same critical error. If Ác. Mŕtyuinjayánanda Ávt had read the discourse, he could have immediately detected the nonsensical paragraph and created an errata page for the book. But that has not been done."

"We cannot assume to know why Ác. Mŕtyuinjayánanda Ávt behaves the way he does; only he knows the reason. Nonetheless, the result of his work is in view for all to see."

"Nothing is ever changed or fixed; the books he receives from B group he turns around and sends to a printing company for printing, with his name as AMPS Publisher. From longstanding habits such as these it does not seem unfair to conclude that our H group AMPS publications department is verily and unfortunately located in the plastic bag where Ác. Mŕtyuinjayánanda Ávt holds the B group books to bring to the printing company."

"It should be added that the Ánanda Vacanámrtam series is the easiest to read and most popular, and Hindi is the most common language version read and purchased, of all our AMPS publications. Even then as popular and in demand as this series is, still the Hindi edition of this discourse in Ánanda Vacanámrtam Part Three, with its distorted nonsensical paragraph, remains unchanged after all these years both in the B group and H/EC group publications."

Note: To read the full posting about H group's dealings in this matter, on the Network's blog, please click here.

How One Discourse Became Many In Latest English Edition

From: "Narahari Mehata" <nmehata1@...>
To: ananda-marga-discourses-1@yogasamsthanam.net
Subject: How One Discourse Became Many In Latest English Edition
Date: Thu, 11 Jul 2013 12:39:46 +0000

Bábá

How One Discourse Became Many In Latest English Edition

Namaskára Respected Márgii Brothers and Sisters,

Note: This posting is written regarding the work of Kolkata Group, as they are the only group publishing Bábá's books. Other groups are merely reprinting what Kolkata Group publishes.

Discourse Divided in Thirds, Second Two Parts Removed, Last Part Published as Separate Discourse

Missing Sections Replaced with Part of Another Discourse

I write you regarding a very serious matter of scriptural distortion which has been discovered. Kolkata Publications has separated one discourse into three parts: They published the first and third of these in separate places as different discourses, and left the middle part completely unpublished. In place of the discourse's missing second and third parts, the last part from yet another discourse was pasted by Kolkata Publications to “complete” the first discourse. This twisting of discourses continues even in the latest edition (English), because Kolkata Publications simply translated from the previous edition (Bengali), rather than use the sound recording as the source.

It happened like this: Suppose there are two discourses, Discourse A and Discourse B, each given on different days by Bábá. Kolkata Publications divided Discourse A into three parts A1, A2, and A3. Part A1 was kept as part of Discourse A. Part A2 was removed and never printed anywhere. Part A3 was removed and printed separately as though its own discourse. A second discourse, Discourse B was also divided into two parts B1 and B2. Kolkata Publications took Discourse B's second part B2, and glued it to the end of Discourse A’s A1 part. Having thus glued A1 and B2 together, A1 + B2 were made into and published as one discourse.

Here is a map giving the essential structure of what Kolkata Publications did with Discourses A and B, each given by Bábá as separate discourses on different days:

Discourse A

Part A1 = Printed under the name of Discourse A

Part A2 = Never Printed Anywhere

Part A3 = Removed and Printed as its Own Discourse under a Separate Name.

Discourse B

Part B1 = Printed under the name of Discourse B

Part B2 = Printed under the name of Discourse B; also translated differently (fuller translation) a second time, glued to the end of A1 and Printed under the name of Discourse A

Following is the detail of what occurred, including the names of the discourses involved.

Distortion Occurred in Discourse:

“Parama Puruśa Knows Everything”

The distortion occurred in the discourse “Parama Puruśa Knows Everything.” This discourse was published in Ánanda Vacanámrtam Part 9 in 2007, as part of a much celebrated project taken on by a special New York Sector team in the Kolkata Publishing Department; Kirit ji was a member of this New York Sector team. The discourse was given by Bábá in Patna in 1979 in Hindi, and published in English in 2007. Today I write specifically regarding the English version, although all three language versions are involved in this serious matter of distortion.

Detail of How Discourse was Mangled

So the material published as a single English discourse named “Parama Puruśa Knows Everything”, actually is taken from and belongs to two different discourses. The printed discourse contains two discrete sections which are not demarcated at all in the publication: the first section is actually from “Parama Puruśa Knows Everything” given on 7 April 1979; the second section is taken from “Parama Puruśa Is Everywhere” given on 5 April 1979.

To make matters more complicated, the discourse “Parama Puruśa Knows Everything”, this discourse's real second section, which is missing from that discourse, has never been published. And this very discourse's third section, also missing from the discourse, has been published separately instead as yet another discourse: “Parama Puruśa – the Source of All Momentum”—and labelled as having been given on 1 April 1979. But in reality no such discourse was given on that date. That entire “discourse” is just the third part of the discourse “Parama Puruśa Knows Everything” given on 7 April 1979.

In sum two actual discourses, each given on different days by Bábá, are involved here: Discourse A and Discourse B. Kolkata Publications divided Discourse A into three parts A1, A2, and A3. A2 was removed and never printed. A3 was printed separately as though its own discourse with a separate name. A second actual discourse, Discourse B was divided into two parts B1 and B2. Kolkata Publications glued Discourse A's A1 part together with Discourse B's B2 part; thus A1 + B2 were made into and published as one discourse.

Why the Distortion Occurred

As you can see, by cutting discourses into sections and mixing them with other discourses, the Kolkata group created an amalgamation of discourses. It has taken quite a bit of research to untwist the complex history of how they mixed up the discourses. Now however the matter has become very clear and is being presented before you. In this posting the English 2007 publication is under consideration; in a future posting the history of the previous language editions will also be discussed and it will be seen just how the distortion developed into how it is today.

The source of the 2007 English Edition's problem is that the special Kolkata team did not use the original sound file. If they had done so, they would have immediately realized the problem. Years ago the initial publications were produced in Bengali and Hindi; years later when in 2007 the English was for the first time getting translated and published then it was highly needed to work from the original sound track. Indeed, it would have been the only dependable way, the responsible way to proceed. But instead, translation was done from a previous edition in a different language. Using this as the original source for translating was asking for trouble—and that is what they got.

Effect of Serious Distortion on Ánanda Márga Scripture

Mixing sections from different discourses and combining them into one is a very serious sort of distortion. When Bábá speaks a sentence, that sentence occurs in the setting of a paragraph. And that paragraph in turn occurs in the setting of an overall discourse having a particular subject. The individual sentence Bábá speaks must be understood in light of the paragraph, the discourse, and the overall subject with which He is dealing. Taking a sentence or group of sentences out of their intended context and placing them in a different context may lead to wrong understanding of Bábá's intended message. Depending on the context, it can lead to definite and egregious misunderstanding. Mixing up the paragraphs Bábá spoke into different discourses is a major step toward chaos in the scripture. The end result is “kichuri” or hodge-podge of passages, with no one knowing what passage really belongs where. This is one of the main reasons for the degeneration of a great teacher's teachings. Just see what happened with Lord Shiva and Lord Krśńa: the integrity of their teachings could not be maintained. The teachings fell into the hands of priest classes who distorted and changed them to meet their own selfish needs. Ultimately it led in both cases to the degradation of the teachings of dharma into commonplace religion replete with dogma. We must not allow this to occur with the teachings of Lord Shrii Shrii Ánandamúrtiji.

2007 English Version Presented with Distortion Highlighted

Below is the English language version of the discourse printed under the name “Parama Puruśa Knows Everything.” The phrase “under the name” is used because as shown below, the discourse is a concocted melange. The second and third parts of the discourse “Parama Puruśa Knows Everything” are missing; and material from another discourse has been put there in place of the missing parts.

Each of Four Sections Color-Coded

According to Type of Distortion

Here below you will find four color-coded parts “A1”, “B2”, “A2”, and “A3”. The first part, Part “A1”, belongs to the actual discourse in which it is has been placed: “Parama Puruśa Knows Everything.” The second part, Part “B2”, is the second part of a different discourse altogether, “Parama Puruśa Is Everywhere ”—but has been wrongly printed here glued to the end of Part “A1”. The third part, Part “A2”, should be the second part of Discourse A i.e. “Parama Puruśa Knows Everything”—but has never been printed anywhere. The fourth part, Part “A3”, should be the third part of this discourse “Parama Puruśa Knows Everything”—but has been instead wrongly printed separately as a totally different discourse and given the name “Parama Puruśa – the Source of All Momentum”. There is no such discourse given on that day by Bábá; Part “A3” should have been published following Part “A1” and “A2”, as one single discourse.

So below you will find all four sections “A1”, “B2”, “A2”, and “A3” one after another: the first belongs rightly in this discourse; the second belongs to a different discourse but has been wrongly placed here by the Kolkata Publishers; the third belongs here but was never printed here or anywhere; and the fourth has been printed separately by the Kolkata Publishers as though it were its own discourse.

The four sections are presented below each in a different color. The actual discourse each section belongs in is also marked—but understand that the first two sections have been forcibly brought together by the Kolkata group and printed as though they were one discourse—as though Bábá had spoken this entirely in one sitting on April 7 1979. Whereas the third section presented below belongs here but was never printed, and the fourth belongs here but has been printed separately.

All the three discourses at issue here—“Parama Puruśa Knows Everything”, “Parama Puruśa Is Everywhere”, and the so-called “Parama Puruśa – the Source of All Momentum”—all these three are printed in the 2007 English Ánanda Vacanámrtam Part 9.

Here below are parts “A1”, “B2”, “A2”, and “A3” as described.

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Reconstruction of “Parama Puruśa Knows Everything” Discourse: Includes (1) PART A1, which was printed in it & belongs in it; (2) PART B2, which was printed in it but does not belong in it; (3) PART A2, which was not printed in it but belongs to it; and (4) PART A3 was not printed in it but belongs in it.

PART A1 = Printed in Discourse, and belongs in Same Discourse

Printed In:

Parama Puruśa Knows Everything

7 April 1979, Patna

Ánanda Vacanámrtam Part 9

pages 97-102

Puruśa evedaḿ sarvaḿ yadbhútaḿ yacca bhavyam;

Utámrtasyesháno yadanye nátirohati.

The meaning is: “Parama Puruśa knows everything.” Evedaḿ sarvaḿ jánáti sarvaḿ eva – “He knows everything;” yadbhútaḿ – “whatever has been”; yacca bhavyam – “whatever will be”; utámrtasyesháno – “He is the master of both heaven and hell;” yadanye nátirohati – “no one is His master.” This is the literal meaning of the shloka.

This shloka is a rk from the Rgveda’s tenth mańd́ala, puruśa súkta. This reminds me of something. If a shloka is from the Rgveda then it is called a rk rather than a shloka. This is a convention of the Rgveda. The singular is rk and the plural is rcá. Some mistakenly pluralize rcá and say rcáyeṋ [in Hindi], but rcá is already a word with a plural ending. For example, many people pluralize the word santa and say santoṋ [in Hindi]. This is incorrect because the word santa is itself plural. Santoṋ means “honest individuals”.

In the shloka it is said that Parama Puruśa knows everything. Parama Puruśa knows what has happened in the past, what is happening in the present and what will happen in the future. What does Puruśa mean? Pure shete yah, or purasi shete yah sah Puruśa, that is, he who is lying in the pura [city] of the body and observing everything is Puruśa. He is seeing everything but doing nothing. The second meaning is “he who is lying in front”, for example, purasi hitaḿ karoti yah sah purohitah.

Yadbhútaḿ yacca bhavyam. The meaning of puruśa knowing everything is that whatever has been or will be is inside of him, not outside. Nothing exists outside him. Momentum comes from him. In the rk there is no mention whatsoever of the present. Now the question may arise: Does Parama Puruśa only know the past and the future, and not the present? Here nothing is said about the present because actually there is no such thing as the present. For example, no one hears the words I am saying at this moment; they hear them slightly afterwards. When someone hears my words they are present for that person but for me they are in the past. We call something present when we are not aware of it being past or future, that is, we combine the two into one. What do we do then? We take a little chunk of the past and a little chunk of the future, join them together, and make the present. In actual fact this is not the present. There is no such thing as the present. For this reason there is no mention of the present in this rk. Yadbhútaḿ yacca bhavyam.

Utámrtasyesháno. Uta means “hell”. Tala, atala, talátala, pátála, atipátála, rasátala – these are the different levels of hell. Rasátala is the lowest of them all. When a person has become completely degenerate then people say about them that they have gone to rasátala. Just as there are seven levels in the downward direction, there are also seven levels in the upward direction – bhúh, bhuvah, svah, mahah, janah, tapah, and satya. Among these seven worlds, svah is heaven. And down below, the pátála, the imaginary pátála, is called hell. Parama Puruśa is the master of heaven and He is also the master of hell. People want to be saved from hell. He who is the master of the mortal world is also present in hell. This is a complex question. In the same way, the immortal world is also arranged in seven levels – bhúh, bhuvah, svah, mahah, janah, tapah, and satya (vyáhrti: vi – á – hr + ktin). Parama Puruśa is the master of both heaven and hell. Now the thing is that these seven lower levels are not spatial entities. In the Vedas all these levels have been described: Asúryáh náma te lokáh andhena tamasávrtáh – “Hell is the asúrya world, that is, where the light of súrya [sun] cannot enter, that which remains always covered in profound darkness.” It is where the darkness is so dense, so deep, that a person cannot even see himself. That kind of darkness is called andhatamisrá. And when a person cannot see someone else, then it is called andhakár. What is hell like? It is where there is no sun, that which is covered in andhatamisrá. That person who does not do spiritual practices moves in the direction of this world of darkness. This is the correct meaning of this shloka.

Uta means “hell”, that is, the world of darkness. This world of darkness is arranged in six layers – tamah, tamasá, tamisrá, andhatamah, andhatamisrá, and andhatamasá. In the Upaniśad it is said: táḿste pretyábhigacchanti yeke cátmahano janáh [to which all will go who deny their own souls]. That world of darkness is called the asúrya world. It is depicted as if from within that deep darkness even more darkness is vomited up. If one looks towards that deep darkness then it seems, as if, even a deeper darkness is tearing the heart of that darkness and coming out.

Now the question arises: whose movement is towards that darkness? It is the movement of that person or those persons who do not perform spiritual practices. Táḿste pretyábhigacchanti. Now Parama Puruśa is present even in this world shrouded in profound darkness. Here the purport of the shloka is that since Parama Puruśa is the master of both heaven and hell, He also has to go to hell from time to time to supervise or look after things.

END OF PART A1

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

PART B2 = Printed in Discourse, but does not belong in Discourse

Printed In:

Parama Puruśa Knows Everything

7 April 1979, Patna

Ánanda Vacanámrtam Part 9

pages 97-102

Belongs in:

Parama Puruśa Is Everywhere

5 April 1979, Patna

Ánanda Vacanámrtam Part 9.

pages 89 - 95

[These are the last three paras in the printed discourse “Parama Puruśa Knows Everything”. But Bábá spoke these paragraphs on an entirely different day, during a different discourse. The discourse He spoke them in is

“Parama Puruśa Is Everywhere”, 5 April 1979, Patna, and is printed in Ánanda Vacanámrtam Part 9. In that discourse the same paragraphs are present, but translated in a much briefer way.]

Tamáhuragryaḿ puruśaḿ mahántam. So this Parama Puruśa is all-pervading, moving everywhere. He is present in the so-called heaven and in the world of darkness where the sun does not shine. How will you know Him? You do not even know why you have come to this earth. How will you know where He is hiding and what He is doing? But He knows what you are doing or thinking in secret. When we meditate on Parama Puruśa we must think that Parama Puruśa is taking me as the object of His cosmic mind; He is seeing me. One should have this kind of thought in one’s mind.

For this reason it is said: sa vetti vedyaḿ na ca tasyásti vettá tamáhuragryaḿ puruśaḿ mahántam. That Puruśa, that is, Parama Puruśa, is called agryapuruśa or mahán. Agrya means “he who remains in the front or the forefront of everything”. Agryapuruśa means “representative Puruśa, best Puruśa, first Puruśa”. What does mahán mean? The first person singular of the word mahat is mahán. In the Sanskrit language two very important words are brhat(1) and mahat. What is the fundamental difference between them? Similarly, two very similar words are vishála and brhat. That which is very big but which can be measured is vishála, for example, the Himalayas. They are nearly fifteen hundred miles in length but in spite of being extremely big they can be measured. We depict the Himalayas in our maps. And that which is so big that it cannot be measured, we call mahat. There is only one such entity that is so big that it cannot be measured, and what is that entity? Brahma. It is said: brhattvád brahma brḿhańatvád brahma.

So brhat means “so big that it cannot be measured”. And what does mahat mean? That which is not big in the physical sense but which is big or very big in the psychic sense is mahat. In other words, something which is brhat belongs to the external world, the world of the sense organs which we can see with our eyes, and that which belongs to the mental world, which cannot be perceived in the external world but which exerts a great influence over other things in the psychic sense, we call mahat. Take, for example, a renunciant who is small in stature but who possesses tremendous intellect and understanding. We will not call him or her brhat. Seen externally, he or she is a person of small size. Actually he or she is mahán. For this reason, Parama Puruśa is called agryapuruśa or mahán puruśa in the Vedas.

END OF PART B2

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PART A2 = Not printed in Discourse, but belongs in Discourse

Printed In:

Never Printed.

Belongs in:

Parama Puruśa Knows Everything

7 April 1979, Patna

Ánanda Vacanámrtam Part 9

pages 97-102

[Here there is a section which was given by Bábá in Hindi (the entire discourse was in Hindi), and which was never printed. Because it was never printed, it was of course never translated. This was the second section of the discourse Parama Puruśa Knows Everything, but it was simply removed by Kolkata Group's Publishing Dept, and never printed anywhere.]

END OF PART A2

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PART A3 = Not printed in Discourse, but belongs in Discourse

Printed In:

Parama Puruśa – the Source of All Momentum

1 April 1979, Patna

Ánanda Vacanámrtam Part 9

pages 67 – 69

Belongs in:

Parama Puruśa Knows Everything

7 April 1979, Patna

Ánanda Vacanámrtam Part 9

pages 97-102

[These below paragraphs should have been the final paragraphs of the discourse “Parama Puruśa Knows Everything”. They are the final section of what Bábá spoke in that discourse. However they were not printed in this discourse. Instead they were kept separate and published as a complete discourse unto themselves, with the name “Parama Puruśa – the Source of All Momentum .” There was no such discourse given by Bábá on that date.]

The word sarva contains three letters: sa, ra, and va. Sa means sattvaguńa [sentient force], ra means “energy”, and va means “nature” or characteristics. The world is composed of these three and they exist in Parama Puruśa. For this reason the final container of everything is Parama Puruśa. For instance, I create an elephant in my thoughts; certainly I know it as well. In the same way, Parama Puruśa is the knower of the entire universe. Parama Puruśa, however, is not the knower of the universe in the same sense that we knowingly perceive external objects. Ordinarily the easy knowledge that a person acquires about external objects comes through the medium of his or her sense organs. One gets that knowledge by coming in contact with a certain object. However, for Parama Puruśa there is no external object. Everything is internal. So the term “knowledge” as it applies to human beings does not apply to Parama Puruśa.

Parama Puruśa is the lord of both heaven and hell. For this reason it is said that everything is held within Him; nothing is outside Him. There is, in fact, no separate region such as heaven or hell. A spiritual aspirant is established in heaven or eternity by performing spiritual sadhana. This means that vidyámáyá [cosmic centripetal force] has two forces, samvit and hládinii. Through samvit a human being earns knowledge, moving away from the darkness of ignorance; through samvit humans move towards the life. Áhláda means “bliss”. Since Parama Puruśa is the blissful entity, as a result of samvit the experience of bliss appears within the human being. Gradually he or she reaches satyaloka and beyond that the human merges and becomes one with the ultimate blissful entity situated one of far shore of satyaloka [the causal world of macrocosm].(1) In one words, a person who performs spiritual sadhana advances towards Parama Puruśa, and that peaceful heavenly abode where Parama Puruśa resides is obtained.

What is degradation? The divine effulgence earned through the performance of spiritual sadhana dispels the darkness of the spiritual aspirant’s mind. And the moment we turn away from sadhana that darkness comes back to our mind to stay and our mind gradually advances towards deeper darkness. Thus in our gurupújá mantra the guru is the one who banishes that darkness of ignorance which befools our eyes and which arises as a result of our mind’s movement towards darkness. So, the guru is not a spatial entity. One who moves towards Parama Puruśa moves towards the world of knowledge.

Just as vidyámáyá has two forces, avidyámáyá [cosmic centrifugal force] also has two forces, vikśepa and ávarańii. The more a living being moves towards darkness, the more they gradually forget their true nature, their actual source. They think themselves to be separate from the Supreme Being and gradually they move towards deeper and deeper darkness. This is referred to as the living being’s movement towards darkness. However Parama Puruśa is everywhere. We have heard this in the Mahabharata. Since this is entirely the divine drama of one Parama Puruśa, wherever one goes, be it heaven or hell, their momentum comes from Parama Puruśa.

END OF PART A3

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Mixing sections from different discourses and combining them into one is a very serious sort of distortion. When Bábá speaks a sentence, that sentence occurs in the setting of a paragraph. And that paragraph in turn occurs in the setting of an overall discourse having a particular subject. The individual sentence Bábá speaks, must be understood in light of the paragraph, the discourse, and the overall subject with which He is dealing. Taking a sentence or group of sentences out of their intended context and placing them in a different context may lead to wrong understanding of Bábá's intended message. Depending on the context, it can lead to definite and egregious misunderstanding. Mixing up the paragraphs Bábá spoke into different discourses is a major step toward chaos in the scripture. The end result is “kichuri” or hodge-podge of passages, with no one knowing what passage really belongs where. This is one of the main reasons for the degeneration of a great teacher's teachings. Just see what happened with Lord Shiva and Lord Krśńa: the integrity of their teachings could not be maintained. The teachings fell into the hands of priest classes who distorted and changed them to meet their own selfish needs. Ultimately it led in both cases to the degradation of the teachings of dharma into commonplace religion replete with dogma. We must not allow this to occur with the teachings of Lord Shrii Shrii Ánandamúrtiji.

In sum: Kolkata Publications has separated one discourse into three parts: They published the first and third of these in separate places as different discourses, and left the middle part completely unpublished. In place of the discourse's missing second and third parts, the last part from yet another discourse was pasted by Kolkata Publications to “complete” the first discourse. This twisting of discourses continues even in the latest edition (English), because Kolkata Publications simply translated from the previous edition (Bengali), rather than use the sound recording as the source.

At His Feet,

Narahari Mehata