We are not always in a position to see the wholeness that is behind the pictures in the form of the drama of creation.
We are the actors in this great field of activity called the cosmos. 'The whole world is a stage,' said Shakespeare, and we are all the people who are acting on this stage, but we are not always conscious that we are playing the drama.
This consciousness is wrested out of us by some unfortunate occurrence in us. Look at the fate of a person who is performing one role in a dramatic enactment. Suppose he forgets his relationship with the other performer. He behaves as if he is absolutely independent, and has no connection with the entirety of the play. He does not know that there is a direction of the play.
He does not know the intention behind the performance. He is acting absolutely independent, presenting an isolated picture. He would cut a sorry figure and spoil the whole game.
This we are doing every day.
We are disturbing the game of life, not knowing that we are items in the totality of the dramatic presentation in this grand enactment of the aims of life, of which the Supreme Being Himself is the director. His vision is the totality of the picture of the drama.
The Bhagavadgita takes up this point of view of the completeness that is behind this wonderful picture of creation; and a necessity that is to be there for recognising a harmony in the midst of forces which look like conflicting powers on account of their isolated individualities not related harmoniously one with the other. The difficulty is the excessive preponderance of one of the powers of Prakriti, at some time, on which we lean due to the force exerted upon us by one or the other of them.
We are in a field of the opposition of the forces, which work simultaneously in the universe outside and in the personality of ours inwardly.
Bhagavadgita
We are in a field of the opposition of the forces, which work simultaneously in the universe outside and in the personality of ours inwardly.
Bhagavadgita
It is all about balancing those forces, that battlefield is on one side Rajas and on the other Tamas and Sathva is that which is balancing it.
Suppose he forgets his relationship with the other performer. He behaves as if he is absolutely independent, and has no connection with the entirety of the play. He does not know that there is a direction of the play.
He does not know the intention behind the performance. He is acting absolutely independent, presenting an isolated picture. He would cut a sorry figure and spoil the whole game.
This we are doing every day.
That is the aim of it to be aware of the director of the play. That was what my ex was playing, no connection with the entirety of the play just doing something, whatever that was, but it was not part of the play and it interrupted it.
That is the aim of it to be aware of the director of the play. That was what my ex was playing, no connection with the entirety of the play just doing something, whatever that was, but it was not part of the play and it interrupted it.
The time we were with Baba he asked in the dream of his daughter if she would like to go to his school and the way her father's attitude made it impossible to follow that, we couldn't even consider it, we had no room and no time to go for it.
It was harmful and life would be different today if she would have been in his school.
We couldn't go for it and we had that in mind since she was born in the ashram. It was not possible anymore afterwards.
We couldn't go for it and we had that in mind since she was born in the ashram. It was not possible anymore afterwards.
That is gone, I don't know where, it is gone far away.
And Baba got me back into his Lila during the time when he left the body. But the impression is, I don't know, the other way round.
No action doesn't mean we don't act, we just refuse to act, on a certain level it is also action, only the absence of it.
It can also disturb the wholness of his Lila. If we really want to make sure we get aware of his play, we have to look at it and inquire about it to get the true value, truth is always hidden.
And Baba got me back into his Lila during the time when he left the body. But the impression is, I don't know, the other way round.
No action doesn't mean we don't act, we just refuse to act, on a certain level it is also action, only the absence of it.
It can also disturb the wholness of his Lila. If we really want to make sure we get aware of his play, we have to look at it and inquire about it to get the true value, truth is always hidden.
No action is also action. It doesn't mean it is his decision if we don't act, it is like Arjuna on the battlefield refusing to fight.
If we really want to know his decision, we have to question and inquire about it, that is the story of the Bhagavadgita, because truth is always hidden and we have to learn the lesson, it is not done in just telling, I don't fight.
That is just the beginning of the story and Krishna's teaching and not the end.
The answers are blown in the wind.
If we really want to know his decision, we have to question and inquire about it, that is the story of the Bhagavadgita, because truth is always hidden and we have to learn the lesson, it is not done in just telling, I don't fight.
That is just the beginning of the story and Krishna's teaching and not the end.
The answers are blown in the wind.
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