“Savitri: A Legend And A Symbol (Guidance from Sri Aurobindo)”
February 29, 2012
Author’s Note
The tale of Satyavan and Savitri is recited in the Mahabharata as a story of conjugal love conquering death. But this legend is, as shown by many features of the human tale, one of the many symbolic myths of the Vedic cycle. Satyavan is the soul carrying the divine truth of being within itself but descended into the grip of death and ignorance; Savitri is the Divine Word, daughter of the Sun, goddess of the supreme Truth who comes down and is born to save; Aswapati, the Lord of the Horse, her human father is the Lord of Tapasya, the concentrated energy of spiritual endeavor that helps us to rise from the mortal to the immortal planes; Dyumatsena, Lord of the Shining Hosts, father of Satavan, is the Divine Mind here fallen blind, losing its celestial kingdom of vision, and through
that loss its kingdom of glory. Still this is not a mere allegory, the characters
are not personified qualities, but incarnations or emanations of living and conscious Forces with whom we can enter into concrete touch and they take human bodies in order to help man and show him the way from his mortal state to a divine consciousness and immortal life. SRI AUROBINDO
‘INFINITE’
February 29, 2012
Meaning of Birth and Quest in Sri Aurobindo’s Savitri
Dr. H. P. Shukla
http://www.scribd.com/doc/13765809/Meaning-of-Birth-and-Quest-in-Sri-Aurobindos-Savitri?olddoc=1
Savitri
To read Sri Aurobindo’s Savitri one needs an altogether different orientation than the one grounded in Western aesthetics and appreciation of poetry. Western poetics deals with a body of work which is devoid of any profound mystical tradition and is essentially fictional or else mythical. It concedes the fictionality of human reality, and then extends the same fictionality to the artist’s vision. “To the mystic,” on the other hand, says Sri Aurobindo, “there is no such thing as an abstraction. Everything which to the intellectual mind is abstract has a concreteness, substantiality which is more real than the sensible form of an object or of a physical event” (Letters 40). There are only a few poets in the
Western tradition who betray a genuine mystical bent of mind – Blake, Emerson,
Wordsworth and Rilke, for example – but none who even approach the status of a Rishi.
Sri Aurobindo belongs to the tradition of Vedic Rishis who used poetry for creating a symbolic representation of Reality, not a myth or fiction either for edification or entertainment. Truth is the native home of Rishis and their verses attempt to express those sublime ranges of Reality. Vedas refuse to reveal their sacred body of mystical meaning if approached in a spirit of scholarship. Critical theories are tokens of intellect and cannot unlock the doors of Spirit. One needs to meditate, discover and then carry as
living companions those truths enshrined in the Vedas. Then, and only then, do Vedic poetry and Indian mystic icons impart their inner significance.
One reads a Romantic poet, is uplifted for a moment by the sheer beauty of insight, maybe captured and enthralled by it for a season, but then goes back invariably to that fictional world to live happily ever after. When you touch a Mystic, there is always the threat that your fictional unreality, your cherished ignorance (Avidya) may come stumbling down and be reduced to debris of smithereens. The ego, therefore, refuses to commit suicide, to die like a moth. It will keep Truth at an arm’s length, will supplicate in a temple or church but only to bring God to his service as the fulfiller of his desires. It lacks courage to face the bleakness of its psychological theatre, the inevitable result of seeing the false as false, and refuses therefore to be Like one who searches for a bygone self
And only meets the corpse of his desire. (Savitri 2)
A new orientation, a sincere courage to look into the burning splendours of Truth is what is required at the outset in approaching Sri Aurobindo’s poetry.
There is always a central theme, a single major concern that runs through the entirebody of an artist’s work. It is as if the artist is born with a mission and all his life a labour towards its fulfilment. Or it may be, as the Gita suggests, that everyone is born with a
shraddha; nay, not only that, but every point in the matrix of manifestation is nothing but Shraddha (XVII, 3). Shraddha is not mere faith in the usual sense, nor a body of belief, buta secret, unrevealed splendour of Truth that opens its riches petal by petal through many cycles and stadia of our existence. The Truth of Sri Aurobindo, the entire burden of his poetic voice, is quite distinctly figured even in his first and early poems:
Love, a moment drop thy hands;
Night within my soul expands. (Collected Poems 16)
The three words – night, love and soul – in these opening lines written at the age of eighteen (1890) neatly sum up the mission, poetic and otherwise, of Sri Aurobindo’s birth. Savitri, therefore, is the crowning, but not an isolated, achievement of Sri Aurobindo’s poetic career. Its theme, the triumph of love over death, seems to have gripped his imagination all through his long literary life.
Published in Mother India 57.9 (2004):823-827; 57.10 (2004):906-913; 57.11(2004): 1033-1039. Pondicherry: Sri Aurobindo Ashram.
2Professor of English, Kumaun University, Nainital.
OM NAMO BAGAVATI
February 23, 2012
In Beloved Kranti Sangivane ‘INFINITE’ one sees Sri Aurobindo’s
poem Savitri come to life.
In an exposition on Sri Aurobindo’s poem Savitri http://www.scribd.com/doc/13765809/Meaning-of-Birth-and-Quest-in-Sri-Aurobindos-Savitri one sees :
But this birth is no freak event; it is the fruition of a long and unending labour, an
unending recurrence going on forever in the heart of life. Even as it descends from above,
it is at the same time an actualisation of a Will hidden in matter’s core. Coeval with earth
and contemptuously dismissive of time, fate and death, this Will yet awaits its hour of
coming:
Although our fallen minds forget to climb,
Although our human stuff resists or breaks,
She keeps her will that hopes to divinise clay;
Once more that Will put on an earthly shape. (354)
Not only in her origins but in her form as well, Savitri is so unlike man’s earthly
phenomenal being. Even in her birth and early years, she is conscious of her transcendent
source, and though living aloof and content, her being is continuously flooded with “slow
conscient light” and heavenly intimacies:
FROM THE OFFICE of INFINITE
February 16, 2012
-EVOLUTION IN THE PRESENT-
-FROM THE OFFICE of-
‘ INFINITE ’
NOTE
The Flesh has left the Bone.
Prakriti has 2 major components —–
Bone and Flesh
Both work separately
From now on 13 . 2 . 2012
But side by side.
( 1 )
14 . 2. 2012
about 12 . 15 pm
-FIRST BIGGEST SHIFT -
- OF THE -
- PLANET’S CRUST -
( 2 )
14 . 2 . 2012
-25 DEGREE CRUST SHIFT-
One of the Major shifts for 2012
( 3 )
1. All this happening was witnessed by The Body of “ INFINITE ”
With open eyes and not in Trance.
2. All articles in the Room shifted and appeared at different places in the
Appropriate Bays.
All witnessing of the articles in different Bays were seen in different
Colours and Textures as same as actual material.
3. “INFINITE” says this Happening was lived and witnessed by INFINITE.
4. The BRAIN Matter in INFINITE’s Matter Body
supported the Shift of the Planet’s Crust by physically
Moving in the Skull ; in the same way as we have shown in the diagram .
All great POWERS of the Existence were present witnessing this
Phenomena and honoured The BODY of “INFINITE” .
- A Garland WAS OFFERED BY -
- THE CREATOR -
-CONGRATULATIONS WERE -
- Exchanged -
DOCUMENT “SANGIVANE”
February 11, 2012
10.2.2012
9.25 am
O ! Infinite Sangivane
Thou The Womb of FRAGRANCES of ELEGANCE !
Beauty of Form !
Sweet Tenderness of Love’s Joy !
Create now The New COSMOS
in your
Total Freedom
in your
Joy of Creation
DOCUMENT
“SANGIVANE”
