Evolution of the WORD

Evolution of the WORD.
--
श्लिष् > śliṣ
 > click, close, schlissen (to close, German)) schluss (German, close, lock), schlussel (German) > key,
latch / lock / clause, 
क्लिद् > क्लिद्यते 
> klid > klidyate 
resembles श्लिष् > śliṣ in the sense of 'closing' > to bring / come to a 'close' > 'end'.
This again gives, preclude, include, exclude, reclude (recluse) 
this 'end' is संस्कृत / saṃskṛta 'अन्त' / 'anta'  with  उपसर्ग-प्रत्यय (prefix) 'अव'  (ava) that gives us a thousand words in English.
And the only reasoning that establishes convincingly is the principle that a word uttered / spoken / produced in whatever way has its inherent meaning hidden in the uttered / spoken / produced word.
This does not mean that one really is aware of that meaning, but the formation of the word itself is dependent upon the sound and consciousness that is the core meaning of the word.Thus when we utter a word because we have been trained to use the word in a particular sense, this does not imply that we invoke the hidden meaning, but when we truly aspire to invoke what we intend to see, we instantly come across the exact word that is 'mantra' or the sound-consciousness associated with the word and the meaning and connects the two in the most proper way.
In the preceding post I have explained
 (वायु) प्राण / (vāyu) prāṇa /  चित्त / citta /  cetanā
which govern the whole discipline of word-formation.
संस्कृत / saṃskṛta classifies 33 presiding- devatā, the authority  that govern the whole Matrix of Letters that are the building-blocks of all words.
In their pristine and genuine form these words follow the rules promulgated by these presiding- devatā. 
So all sound-forms (sound > स्वर / swar  form > प्रमा / pramā)  are generated from these 33 presiding-devatā, which are functional beings conferred with the power of bringing out the manifest-existence. 
These were energy-consciousness-capsules are the very seed of the Whole world perceived by an individual, while the individual is like-wise such a energy-consciousness-capsule in one-self, though far more, infinitesimally small in power and strength when compared with those 33 entities enumerated above. 
Veda tell us one by performing certain rituals यज्ञ / yajña could attain the status of those 33 presiding- devatā in 4 ways :

 देवता-सान्निध्य देवता-सायुज्य, देवता-सामीप्य देवता-सालोक्य / devatā-sānnidhya devatā-sāyujya, devatā-sāmīpya devatā-sālokya.
Then the यज्ञ / yajña doesn't mean offerings given as sacrifice in Fire, but all actions / deeds which help attain this goal.
--
  

   
   

Evolution of Languages-1.

Evolution of Languages.
--
उपदेश-सारः 12 >
(by श्री रमण महर्षि)  

चित्तवायवश्चित्क्रियायुता 
शाखयोर्द्वयी शक्तिमूलका ॥
-- 

श्री रमण महर्षि > śrī ramaṇa maharṣi 

upadeśa-sāraḥ :12,

(by śrī ramaṇa maharṣi) 

cittavāyavaścitkriyāyutā 
śākhayordvayī śaktimūlakā ||
-- 

hints at the evolution of all languages in general, even of 

संस्कृत / saṃskṛta.

The purport of the above श्लोक / śloka 12 of the text upadeśa-sāraḥ :12, gives us a clue how (वायु) प्राण / (vāyu) prāṇa /  चित्त / citta 

/  cetanā are but branches of the same Cosmic Power that takes different forms according to the different individuals at different places. And as the two (वायु) प्राण / (vāyu) prāṇa /  चित्त / citta 

/  cetanā , air (वायु) प्राण / (vāyu) prāṇa , and consciousness चित्त / citta /  cetanā , in popular common parlance are intimately associated with vibrations and frequency, the feelings and emotions are also closely linked to sounds one produces / utters when one experiences of any of them. 

ऋषि / ṛṣi then discovered the link between vowels consonants the compound of them in term of 'word' and found out what form of a language is there that is at the root of all languages.

Just as  चित्त / citta /  cetanā , and (vāyu) / prāṇa /  चित्त / citta 

/  cetanā , are all-pervading elements, the sound that is energy at the visible level and consciousness is like-wise so, when produced / heard by some-one.

This gives us a rational basis for understanding why most of the words of all languages could be conveniently derived from संस्कृत / saṃskṛta. 

The languages so evolved and developed into so varied forms and followed the ethnicity of the people that this fact is now almost forgotten, even suppressed by some scholars also because of their own prejudices and fears, that the origin of all languages is the same and one only. They have devised 'PIE' and discuss if that was the earliest spoken / written language of man.

They are afraid that acknowledging संस्कृत / saṃskṛta. as that one and the only language would cast a death-sentence to their 'religion' and that is how  संस्कृत / saṃskṛta is being side-lined.

And they say and declare संस्कृत / saṃskṛta. is a Dead-language!

Time will tell what is the Truth.

Here are some words to elaborate my point. 

अप नय > apanaya > to carry away, far from, 
> off, open, ofnen (German) 
श्लिष् > śliṣ
 > click, close, schlissen (to close, German)) schluss (German, close, lock), schlussel (German) > key,
latch / lock / clause, 
अव-अन्त > अवान्त > avānta > अव > ava >  eve abend (German)
--
नक्त > nakta > night, nacht (German) 
अप-इक्ष् , अप ईक्ष > apa-ikṣ , apa īkṣa >  apex,
स्पृष्ट > अवस्पृष्ट >  spṛṣṭa 
> avaspṛṣṭa
 > ईषत्-स्पृष्ट > īṣat-spṛṣṭa 
> expect, 
अव-स्पष्ट > अवस्पष्ट > avaspaṣṭa > aspect,
परि-स्पृष्ट > pari-spṛṣṭa > respect,
पेषणं > peṣaṇaṃ > पिष्ट > piṣṭa > paste, pizza,  
अवसन्त > avasanta > absent, 
परि सन्त > pari santa > प्रसन्त > prasanta >  recent , present,
ग्रस् > gras > ग्रास > grāsa > graze > grass > gress > grip >  
तरु > taru > tree,
गॄ > gr̥̄ > gorge, grit 
अग्र > अग्र > अग्रे > अग्रेषण >  agreṣaṇa > aggression 
स्था > तिष्ठति > स्थेयते > स्थायी, स्थिर  स्थल स्थाली स्थूल > 
sthā > tiṣṭhati > stheyate > sthāyī, sthira  sthala sthālī sthūla 
> stay, stall, still, stool, stale.
स्तेय >  चौर्यम् > steya > thief > steal. 
--
I intend to put here on my blog a million such words in my following posts.
-- 

The Rickety-Bridge on varuṇā

The rickety-bridge on varuṇā
जे.कृष्णमूर्ति से जुड़े एक व्यक्ति से मिलना हुआ । मेरे हम-उम्र होने से हमारे बीच बातचीत की संभावनाएँ और तालमेल था । 

"हम भले ही किसी को पढ़ते रहें किसी की प्रशंसा करें या नापसन्द करें, भीतर से हम न तो किसी को छू पाते हैं न छू सकते हैं न कोई हमें ।"
वह नपे-तुले शब्दों में बोला । 
गंगा में मिलती हुई वरुणा चुपचाप हमें सुन रही थी । उसके उपर बना कच्चा पुल जिस पर से लोग आ-जा रहे थे, जीर्ण-शीर्ण होने पर भी इतना मजबूत तो था ही कि आनेवाली बरसात तक काम देता रहे । हर बरसात में उसे ध्वस्त हो जाना होता है और पुल को बनाने और उसकी देखभाल करनेवाले अक्सर स्वयं ही बारिश शुरु होने से पहले ही, अंतिम दिनों तक इसका उपयोग हो जाने के बाद इसे तोड़ देते हैं, इसकी लकड़ी की बल्लियाँ और खंभे, तख़्ते, बाँस, रस्सियाँ आदि समेटकर सहेज लेते हैं । पुल शायद "वासांसि जीर्णानि ..." को स्मरण कर खुशी-खुशी अपने आमूल-परिवर्तन को स्वीकार कर लेता होगा । 
हम उस जगह पहुँच चुके थे जिसे ’सन्सेट-पॉइन्ट’ कहते हैं । वरुणा के किनारे, किनारे से दूर कुछ ऊँची जगह जहाँ वरुणा कभी नहीं पहुँचती; -बरसात में गंगा द्वारा लील लिये जाने पर भी, शायद ही कभी वहाँ तक पहुँचती हो । कहा जाता है कि अगर गंगा वहाँ पहुँच जाए तो काशी जलमग्न हो जाएगा, जो कि असंभव है । 
काशी, जो बस राजघाट से लगा ही है ।
"अगर कोई किसी वज़ह से अपना कौमार्य गँवा बैठे तो यह उतना दुःखद नहीं होता जितना कि सरलता को खो बैठना।"
सुनकर मैं अपनी हँसी रोक न सका।  
'Sir, This is not laughing matter!'
यह एक वाक्य था जिसे जे. कृष्णमूर्ति कभी कभी कहा करते थे।  
"हाँ, मैं समझता हूँ। "
मैंने कहा। 
"कौमार्य तो भूल से, किसी के प्रलोभन या बल-प्रयोग से भी खो सकता है, लेकिन सरलता को कोई आपसे छीन नहीं सकता।"
--
उस पहली मुलाक़ात में हम इतनी ही बातें कर थे। 
सुना है वरुणा बहुत दूषित हो गई है, उम्मीद है अगली बरसात तक साफ़ हो जाएगी।  मैं नहीं जानता कि वह गंगा में मिलकर उतनी साफ़ बनी रहेगी ?
--  
Met a man interested in J.Krishnamurti's teachings. Being in the same age-group we instantly became friends and could talk well.
"Though we may read and appreciate one, hardly he could ever touch our inner being or we of him."
He remarked in calculated words.  
varuṇā, the tributary of Ganges was listening our talks silently without making a fuss. The rickety-bridge they build every year after the rains are over, had though a tattered look, it could well serve the people who tread over it, for crossing the river. Before every rainy season, they dismantle the bridge and get the wood-logs, the flat wooden pieces, bamboo and the ropes and preserve the same for the next season.
May be according to "वासांसि जीर्णानि ...", the bridge might have felt no sad over being lost this perishable body. May be it knew well and was prepared for the 
'Radical Transformation',
J. Krishnamurti occasionally referred to.
We reached at the top of the land where they say; J.Krishnamurti used to watch the 'sun-set'. This land quite up and well above the river-bank, was so high, varuṇā even if in spate, could never have thought of touching it. And Ganges, too couldn't because This was 'Kashi' Shiva's very abode, and Ganges reaching here meant the whole world will be inundated under it. And that is almost impossible until Shiva desires.
'Kashi' is just adjoining area to Rajghat Fort, Varanasi, the location of Krishnamurti Study Center.
"If some-one loses his / her virginity because of reasons, beyond circumstances beyond one's control, because of innocence, or being forced / cajoled to do so, that is not as much grievous as losing the simplicity, the innocence one has when one is born in the world."
He added.
I couldn't stop laughing.
'Sir! This is not laughing matter!' 
He admonished me in a tone that reminded me of J.Krishnamurti.
"Yes, ... yes I see!"
" You see your virginity could be snatched away from you at gun-point or by coercion,  or enticement, but no one could ever snatch your innocence your simplicity. that is your Freedom."
--
In that first meeting we talked this much only.
I hear varuṇā has been much polluted, and hope will purify, make clear itself in the forth-coming rains. Though I am not sure how pure it would stay after joining Ganges.
--


  
     

सर्वभाषास्तवनं / sarvabhāṣāstavanaṃ

सर्वभाषास्तवनं / sarvabhāṣāstavanaṃ  
--
अङ्गं गलितम् यस्य तदाङ्ग्लम् 
पलितं मुण्डं यस्य स पलितः ।
इतिवेतिलीये विरूपे इतिलीया 
स्फुरणात्स्फीते असौ च स्फिनिशः । 
दैन्याद्दैत्यो यद्दैनदात्यित्सः
ऋषेर्प्रणीता ऋषीया सा ॥
चिह्नो विचिह्नो मन्दारिन्-सिनीया,
प्रांशुः तदैव प्रांशीया भवेत् ॥
अर्वण-मरु-निकषा अरुवीया मरुद्भिः
परषु-परशोर्भूत्वा पारसीया विजाता ॥
मूषः पप्रच्छ यदा गणेशो इत्युक्तवान् ।
ब्रूहि ब्रूहि विपरीतेन गृहीत्वा हिब्रू बभूव ॥ 
मलयपरिमलान्विता मलयाली वदन्ति ते 
त्रिलिङ्गेन गजकर्णेन त्रैलिंगी कर्णाटकी ॥
तमिलं शिववक्त्रं घोरमपि अघोरं तत् ।
द्राविडाभाषाः पुण्याः एतदर्थे चतस्रः ताः॥
उरूरीकृता उर्दू उत्तुंगा ऊर्जस्विता ।
अन्याः सर्वाः भाषाः लुप्ताः वा परिप्लुताः ॥
एतदर्थे बहुभाषासु संस्कृता एव प्रवर्तते ।
वेदभाषा देवभाषा इति बहुधा इङ्गिता ॥
--


  



--
अर्थ :
जिसका स्वरूप विकृत है वह है आंग्ल (अंग्रेज़ी),
जिसका मुख पीत (पीला) है वह है ’पोलिश’
जो स्वरूप से अपरूपता में लीन हो गई वह है इतिलीया / इटैलियन,
स्फुरण से उद्भव और विस्तार को पानेवाली स्पैनिश,
दानवों और दैत्यों के द्वारा अपनाई गई ’डैनिश’ या ’ड्यूएट्श्’ (जर्मन)
ऋषियों के द्वारा प्रणीत रूसी,
चिह्न-लिपि से बननेवाली चीनी मन्दारिन् ,
और इसी प्रकार से प्र-आंशु > प्रांशु है फ़्रेन्च ।
--
आलस्य के कारण शेष अनुवाद फिर कभी..  .. 
--
सर्वभाषास्तवनं / sarvabhāṣāstavanaṃ  
--

  
aṅgaṃ galitam yasya tadāṅglam 
palitaṃ muṇḍaṃ yasya sa palitaḥ ।
itiveti līye virūpe itilīyā 
sphuraṇātsphīte ca sphiniśaḥ ।
dainyāddaityo yaddainadātyitsaḥ
ṛṣerpraṇītā ṛṣīyā sā ॥
cihno vicihno vā mandārin-sinīyā,
prāṃśuḥ tadaiva prāṃśīyā bhavet ||
arvaṇa-marunikaṣā aruvīyā marudbhiḥ
paraṣu-paraśorbhūtvā pārasīyā vijātā ||
mūṣaḥ papraccha yadā gaṇeśo ityuktavān |
brūhi brūhi viparītena gṛhītvā hibrū babhūva || 
malayaparimalānvitā malayālī vadanti te 
triṅgena gajakarṇena trailiṅī karṇāṭakī ||
tamilaṃ śivavaktraṃ ghoramapi aghoraṃ tat |
drāviḍābhāṣāḥ puṇyāḥ etadarthe catasraḥ tāḥ||
urūrīkṛtā urdū uttuṃgā ūrjasvitā |
anyāḥ sarvāḥ bhāṣāḥ luptāḥ vā pariplutāḥ ||
etadarthe bahubhāṣāsu saṃskṛtā eva pravartate |
vedabhāṣā devabhāṣā iti bahudhā iṅgitā ||
--
  

--

--  

Creativity and Art.

Creativity and Art.
--
The spirits esoteric, occult and mystic have their sway over consciousness associated with all beings. These spirits too are comprised of three core attributes / (संस्कृत > अवत्रिभूत / अत्रिभूत > saṃskṛta > avatribhūta / atribhūta) or गुण / guṇa of  प्रकृति  / प्रकृति, (सत्व रज तम / satva, raja, tama). In terms of 'consciousness' The 3 in fact play the role of core-factors that make apparently an individual to behave as an independent and different entity from the Whole and Total, Unique Consciousness Principle. 
This again forms a triangle which has a parallel in Physics as Light, Force / movement and inertia / darkness.
Thus the factor an undistinguished principle (संस्कृत > अवत्रिभूत / अत्रिभूत > saṃskṛta > avatribhūta / atribhūta) or गुण / guṇa of  प्रकृति / prakṛti, (सत्व रज तम / satva, raja, tama). causes the phenomenal manifestation as the expression of  Whole and Total, Unique Consciousness Principle. This Whole and Total, Unique Consciousness Principle exists on its own, independent of the 'other'. As there is no existence of the 'other', This Whole and Total Unique Consciousness Principle, has no contrast or parallel to be compared with. So this Principle though Unique of its own character could not be described as 'one' or 'many', because 'one' and / or 'many' as description are but terms sans essence / meaning. This is why it is termed अद्वैत / advaita  or ’Non-Duality-Principle. On the other hand, because सांख्य / sāṃkhya describes all that which is in the domain of प्रकृति / prakṛti,  in terms of 3 गुण / guṇa of  प्रकृति / prakṛti that form the basis of  प्रकृति / prakṛti . In other words,  प्रकृति / prakṛti  is its and 3 गुण / guṇa  and  3 गुण / guṇa are प्रकृति / prakṛti itself.
Accordingly, One who is devoted to any of the Art-form, or the Fine-Arts, often finds sometimes he / she has urge and the urge brings the energy and response to the urge. This very urge may be acquired as is mostly in the case of scholars / intellectuals who are prompted because of ambition and a longing for recognition or sense of working for some so-called lofty ideals, ideologies in the name of 'religion' or 'thought'. Sometimes These though may possess talent also, very often they are after social status of some kind, which ultimately kills all their Creativity whatever there was in the first stance.
On the other hand there are others like Scientists who are driven by the same force but their involvement in the process is so fascinating that they are often enraptured by their interest. They sometimes have some hidden desires and longings too, but that does neither exploit their Creativity nor pose obstructions to the same.
No doubt the orientation and temperament of their mind and social circumstances, cultural atmosphere also contributes to a great extent to this.
A painter or sculptor, a musician or a dancer are perhaps a lot of different kind.
They may have strong passions and swing and swifts of mood and that affects their work accordingly. Sometimes despite their other problems like money or health, they work hard for long hours, even for days on a single item, and occasionally keep it unfinished on hold for too long. This may take years. They start anew and afresh and discover newer inspirations from the work they had left half-way between.
This looks as if they are but driven by their 'destiny' or the one, who ordains their life. The painter paints the painting, but the painting too creates the painter. We see the sculpture but the sculpture is what creates the sculptor.
--
       

Triangles.

Workshop-Practice.
Triangles.
--
तैत्तिरीय उपनिषद् / taittirīya upaniṣad
--
शीक्षा वल्ली / śīkṣā vallī
--
द्वितीय अनुवाक / dvitīya anuvāka
-
शीक्षां व्याख्यास्यामः ।
वर्णः स्वरः ।
मात्रा बलम् ।
साम संतानः ।
इत्युक्तः शीक्षाध्यायः ॥
--
तैत्तिरीय उपनिषद् / taittirīya upaniṣad
--
शीक्षा वल्ली / śīkṣā vallī
(Part-1, Section 2)
śīkṣāṃ vyākhyāsyāmaḥ |
varṇaḥ svaraḥ |
mātrā balam |
sāma saṃtānaḥ |
ityuktaḥ śīkṣādhyāyaḥ ||
--
Now is enunciated  :
शीक्षा / śīkṣā
(Education / Teaching)
--
Education comprises of :
Letters Sounds.
Entity Strength.
Essence Harmony / Continuity.
--
मन्त्र तन्त्र यन्त्र / mantra tantra yantra
--
The Occult, The Esoteric, and The mystic,
have a parallel in ब्रह्म-विद्या / brahma-vidyā
(The Spiritual Wisdom)
मन्त्र तन्त्र यन्त्र / mantra tantra yantra
--
mantra is The Occult, कलनं > kalanaṃ
 > अव कलित > ava kalita > Calculation.
tantra is The Esoteric > अव सतो इक् > ava sato ik
> अव सतः इक् >  ava sataḥ ik >
yantra is The Mystic. > मिथित > mithita > द्विचिह्नित > dvicihnita
> द्विचिह्न > dvicihna > designe.

have a parallel in Science.
tantra is Chemistry.
yantra is Physics,
mantra is Mathematics.
--
Existence, Manifestation, Name and Form
have a parallel in
मन्त्र तन्त्र यन्त्र / mantra tantra yantra,
मन्त्र is Existence,
तन्त्र is Manifestation,
यन्त्र is Name and Form.
--

Creative Art & Contemporary Art -2.

COOL CAT, BASKING IN THE EVENING SETTING-SUN.

Creative Art & Contemporary Art -2.

the poem referred to here could be found at :
vinaykvaidya.blogspot.com 

Creative Art & Contemporary Art :

Creative Art &Contemporary Art :
--
अप्सरा, गंधर्व, यक्ष, पिशाच, दैत्य, दानव, देवता, विद्याधर, मरुद्गण,  
apsarā, gaṃdharva, yakṣa, piśāca, daitya, dānava, devatā, vidyādhara, marudgaṇa,  
--
There are these Cosmic spirits wandering freely as and where-ever they want to roam about :
अप्सरा, गंधर्व, यक्ष, पिशाच, दैत्य, दानव, देवता, विद्याधर, मरुद्गण,  
apsarā, gaṃdharva, yakṣa, piśāca, daitya, dānava, devatā, vidyādhara, marudgaṇa, sur, asura, yaksha, rākṣasa, daitya, daanava, ...
The 'natures' associated with Creative Art.
This applies to all kinds of Art, be it literature, poetry, sculpture, dance, drama, music or painting. All equally find a way of expression through the creative instincts and inspirations of the Artist. And all these instincts and inspirations are the spirits that take the Artist for a ride and pay him / her rewards in terms of wealth, name, luxuries, social success and other things of the transient kinds.
You can at once recognize and detect the artist from his / work. As if he / she has put his / her signature on the thing he / she has created and the work carries the same on its face. And its so authentic that you can at once tell / distinguish a fake from the genuine. Again, one who can appreciate this distinction, can also recognize the very spirit that prompted the Artist to create this Signature-Art.
Joys and sorrows, pleasures and pains, agonies and ecstasies,
Amorous, fascinating, platonic, spiritual, haunting, scaring, enduring or momentary, elevating or depressing, stressful or pleasant, degenerating or devastating to complete annihilation, though often inexplicable of Creative Art.
--

धीर-समीरे... (जयदेव) / dhīra-samīre... (jayadeva)

धीर-समीरे... (जयदेव) / dhīra-samīre... (jayadeva) 
////////////////////////////////////////////////////////////////////// 

rati-sukha-sāre gatam abhisāre madana-manohara-veśam |
na kuru nitambini gamana-vilambanam anusara taṃ hṛdayeśam ||1||

dhīra-samīre yamunā-tīre vasati vane vanamālī |
gopī-pīna-payodhara-mardana-caṃcala-karayuga-śālī ||dhruvapadam||
--

गौतम ऋषि तथा अहल्या / gautama ṛṣi and ahalyā

गौतम ऋषि अहल्या इन्द्र भगवान् तथा श्रीराम 
gautama ṛṣi ahalyā indra and bhagavān śrī-rāma.

--
Who was / is गौतम ऋषि / ? 
Who was / is अहल्या / ? 
Who was / is इन्द्र / indra ? 
Who is / was राम / rāma ? 
गौतम ऋषि  / gautama ṛṣi means purest essence of senses ( पुरुष / puruṣa / जीव / jīva ).
-The higher Consciousness in man. (Self)
अहल्या / ahalyā means the earth (physical body of man) 
not plowed / not-cultivated, pure.
-The lower Consciousness in man.(physical body)
Thus these 2 constitute the man.
इन्द्र / indra is but the Lord of heaven, the fulfilment and pinnacle of all worldly desires, that defiles and seduces the Lower Consciousness of man (अहल्या / ahalyā) and man is cursed by the Higher Consciousness (गौतम ऋषि  / gautama ṛṣi ) in himself, to become 'stone', - insensitive. But in His Kindness The Higher Consciousness also blesses  the Lower Consciousness of man, that she will be freed from this fall and be emancipated by the Divine Consciousness, liberated from this curse and attain Her inherent pristine purity when she is touched by the Holy Feet of Lord भगवान् श्री राम / bhagavān śrī rāma.
 --

संस्कृत / saṃskṛta : कावेरी / kāverī

संस्कृत / saṃskṛta 
--
दर्शनाद् मोचयति रेवा स्पर्शाद् जाह्नवी तथा ।

स्मरणात् अपि गोदावरी कावेरी श्रवणादपि ॥
--
अर्थ :
नर्मदा दर्शनमात्र से मनुष्य को मोक्ष प्रदान करती है, गङ्गा स्पर्श (स्नान) से, गोदावरी स्मरण मात्र से, जबकि कावेरी श्रवणमात्र से ।
--
darśanād mocayati revā sparśād jāhnavī tathā  
smaraṇāt api godāvarī kāverī śravaṇādapi ||
--
Meaning :
The river narmadā liberates one by merely having been seen, gaṅgā by having touched / bathed in,  godāvarī by mere remembrance, while kāverī liberates even by hearing about Her. 
-- 

The virtual 'Cat-cult'.

The virtual 'Cat-cult'.
(Just a guess...)

सतो हि कलितः सतो हि कुलितः
बभूव सत् तत् अलं सतोलिक: 
कलितः च कुलितः तदेव सत्तत्
इतिलीयाः रोमनगरे च प्रथितः ॥
--
अर्थ :
वही ’सत्’ जो सनातन-धर्म है, विकार और  कुल-परंपरा को प्राप्त होकर ’सतोलिक’ हुआ । इस प्रकार मूल धर्म विलुप्त होकर इटली के रोम नगर में  ’कॅथोलिक’ परंपरा का जन्म हुआ ।
--
सत्-जात > सज्जात > सज्जाद > सज़दा > मस्जिद > साज़िद 
--
sat-jāta > sajjāta > sajjāda > sazadā > masjida > sāzid 
--

sato hi kalitaḥ sato hi kulitaḥ
babhūva sat tat alaṃ satolika: 
kalitaḥ ca kulitaḥ tadeva sattat
itilīyāḥ romanagare ca prathitaḥ ||
--
Meaning : The sat which is the essence and substance of 
sanātana-dharma / 'dharma', after degeneration and fall got the name and form of 'Catholic Tradition',The virtual 'Cat-cult'.
--

Delhi-Book-Fair / दिल्ली पुस्तक मेला

Delhi-Book-Fair.
--
Happy to see that my Hindi translations :
ईश्वर क्या है?’ 
’शिक्षा क्या है?’ 
of the works of 
J.Krishnamurti 
are available here.
--

दिल्ली पुस्तक मेला 

यह देखकर खुशी हुई कि मेरे द्वारा अनूदित दो टाइटल्स 
’ईश्वर क्या है?’ 
तथा 
’शिक्षा क्या है?’ 
यहाँ उपलब्ध हैं !
--

Just a minute!

just a minute!
--
√मा > माति (परस्मैपदी) > to measure / measures, evaluates,
√मा > मिमीते (आत्मनेपदी) > to enclose in, to scale, to cover,
√मिह् > मेहति > to make humid > मेघ > megh > मेघं > megham > Cloud > Maugham > Somerset Maugham 
मा > mā (to measure),
> माति (लट्) > māti (laṭ) > measures (verb),
> माता (लुट्) > mātā (luṭ) > one who measures, is the content of,
मा > mā > to measure, to estimate, to calculate, to be equal,  
> मिमीते > mimīte > measures (verb), to envelop, to mummify, 
 > माता (लुट्) > mātā (luṭ), one who measures, is the content of, Mother,
मान् > mān > to enquire, to question, (desire) to know, to aspire, to ask,
> मीमांसते > mīmāṃsate > enquires about, asks about, 
 मान् > mān > मानयति, मानयते > mānayati, mānayate > to respect, to regard, to honor,  
म्ना > mnā > > आ+मनति > ā+manati > to assume, to consider, to utter, to pronounce, 
> आम्नाय > āmnāya > that which is revealed in the consciousness, inspiration, insight, intution, intelligence. 
 > समाम्नाय > samāmnāya > (that which is revealed in the consciousness, inspiration, insight, intuition, intelligence, such, indubitable, irrefutable, beyond doubt, evident, explicit Reality.)
 >   

What a vast minute!!

Mummified

Mummified !!
--
Question : I know how to preserve a dead body by means of some herbs, secret incantations / magical ointments and rituals. Could you please tell me something about those incantations?

Answer : You may perhaps know the secret thing, but the success depends mainly upon the trust (upon me) of the one who is going to be mummified. Probably I could then suggest him / her if I am there with him / her during his / her last moments. But I have no  proof. Because the whole thing is so ambiguous, uncertain. And I don't want to experiment.What purpose is served by making a mummy? When a ज्ञानी  / jnaani dies, and his / her dead body is buried with due वैदिक  / vedik rituals, the place becomes a temple / समाधि ; where शिव  /shiva abides for ever and is available to those who worship the grave. Sanskrit ग्रावा  / grava = stone, स्तंभ  / stambh, लिंग  / ling. When an अज्ञानी  / ajnaanee dies and is made a mummy or put into a grave, his / her soul keeps returning to that place till total decay of the body. A mummy is supposed to attract the soul and the dead may come to see the same in his / her next life. A dead who is burnt, go to heaven and hell and after exhausting the destiny is born again  in a human body.
And lastly but no less important fact is if you can trust me, why don't you trust शिव  / Shiva directly?    
--

अहं ब्रह्मास्मि / I AM THAT (Brahman).

Question : In 'अहं ब्रह्मास्मि‘ 'Aham’ means ego or body ?
Answer :In Sanskrit, aham means 'I' (pronoun). Aham means Self or self , God as the common entity in man and the existence, the intelligence supreme. When we say 'my body' we sure know we are not the body, though it is 'mine'. The faculty / consciousness that 'knows' body as a perceived object is 'I'. The 'body' and 'world' is perceived in 'consciousness' through 'senses'. Again in the same 'consciousness' thought, feelings emotions, memory are perceived as 'objects' Thus there is 'I' who / which knows them as 'objective things perceived in 'consciousness'. Thus 'consciousness' is the common support for anything to be perceived. But this 'consciousness' has a stable support where-from it emerges into body and returns to the same source. As in the case when one is asleep and nothing is perceived by one. We know inherently by instinct : 'I am one'. This oneness is again 'Aham' The ever-unchanging Reality, deathless, birth-less. This Aham is brahma in  'अहं ब्रह्मास्मि' .
In comparison, BrihadAraNyaka upaniShad explains ‘aham’ / अहं as ‘noun’ is the name of The Supreme Reality ‘brahman’ 
> ‘aham nAma abhavat’
> He (Supreme Self) acquired this name. 
According to ‘Skanda-purANa’ the ‘aham’ -pratyAhAra is the short form of all the letters in the ‘matrix’ of Sanskrit alphabet. from ‘a’, ‘A’,  ‘i’,  ‘I’,  ‘u’, ‘U’ ‘Ru’ ‘RU’, onwards ‘k’, ‘kh’...’y’, ‘r’ , ‘l’, ‘v’, ‘sh’, ‘Sh’, ‘s’ and last ‘h’ attached with the suffix ‘m’. So ‘aham’ denotes all the spoken letters. As Supreme Reality is expressed through all and any of them, ‘aham’ became His name.  
In Rgveda, Mandala 10, this Single name is denoted as ‘yahvaH’ that became ‘YHVH’ in Hebrew. This is the name that is not to be pronounced . This word also means ‘One who permeates and pervades all and everything.
Aham brahma asmi in Sanskrit means : I AM THAT (Brahman) . I am not what is perceived, but much more, because the perceived does not exist in the absence of 'I'. So 'Totality' (Brahman) is perceived + one who perceives. This Totality is Self.
And ego is but the 'I'-thought. We as consciousness exist even without saying 'I am'. But when we identify this existence with something perceived - like memory, experience, body, feeling, or name, sex, race, nationality, we are 'ego'. We don't have a 'ego' We are ego in that case. But in common parlance we have accepted the notion : I have no ego, small / big ego, ... 
'consciousness' is not 'ego', because 'ego' keeps decreasing, increasing, getting hurt or swollen. 'consciousness' stays unaffected. 'I' is even prior to this 'consciousness'.
--