Saraswati Puja

Saraswati is the consort of Lord Brahma and is the Goddess of Wisdom and Knowledge. She is the personification of knowledge - arts, science, crafts. She represents Shakti, creativity and inspiration and presents herself when the weather is pleasant and Nature is in its full grandeur. Saraswati Puja, the ritual worship of the goddess Saraswati, is done on Vasant Panchami day every year. The festival is celebrated to pay obeisance to Saraswati, the goddess of knowledge and learning.

Sri Saraswati ShatanAma Stotram (108 names):

sarasvatI mahAbhadrA mahAmAyA varapradA
shrIpradA padmanilayA padmAkShI padmavaktragA
shivAnujA pustakadhR^it j~nAnamudrA ramA parA
kAmarUpA mahAvidyA mahApAtakanAshinI
mahAshrayA mAlinI cha mahAbhogA mahAbhujA
mahAbhAgA mahotsAhA divyA~NgA surava.nditA
mahAkAlI mahApAshA mahAkArA mahA~NkushA
sItA cha vimalA vishvA vidyunmAlA cha vaiShNavI
cha.ndrikA cha.ndravadanA cha.ndralekhAvibhUShitA
sAvitrI surasA devI divyAla.nkArabhUShitA
vAgdevI vasudhA tIvrA mahAbhadrA mahAbalA
bhogadA bhAratI bhAmA govi.ndA gomatI shivA
jaTilA vi.ndhyavAsA cha vi.ndhyAchalavirAjitA
cha.nDikA vaiShNavI brAhmI brahmaj~nAnaikasAdhanA
saudAminI sudhAmUrtissubhadrA surapUjitA
suvAsinI sunAsA cha vinidrA padmalochanA
vidyArUpA vishAlAkShI brahmajAyA mahAphalA
trayImUrtI trikAlaj~nA triguNA shAstrarUpiNI
shuMbhAsurapramathinI shubhadA cha sarvAtmikA
raktabIjaniha.ntrI cha chAmuNDA chAMbikA tathA
muNDakAya praharaNA dhUmralochanamardanA
sarvadevastutA saumyA surAsuranamaskR^itA
kAlarAtrI kalAdhArA rUpa saubhAgyadAyinI
vAgdevI cha varArohA vArAhI vArijAsanA
chitrAMbarA chitraga.ndhA chitramAlyavibhUShitA
kA.ntA kAmapradA va.ndyA vidyAdharA sUpUjitA
shvetAsanA nIlabhujA chaturvargaphalapradA
chaturAnanasAmrAjyA raktamadhyA nira.njanA
ha.nsAsanA nIlaja~NghA brahmaviShNushivAtmikA

evaM sarasvatI devyA nAmnAmaShTottarashatam.h iti shrI sarasvatyaShTottarashatanAmastotram sampUrNam


Sarasvathee namasthubhyam varadae kaamaroopinee

Vidyaarambam karishyaami siddhirbhavathumae sadaa

Yaa daevee sthooyathae nithyam vibudairvedapaaragaihsaa mae vasathu jihvaagrae brahmaroopa sarasvathee

Sree vidyaroopini sarasvathi sakala kalaavalli chaaru bimbhaadharee

s(h)aradaa devi s(h)asthravalli veenaa pusthaka dharinee vanee kamala paanee vaagdevee varadaayaki pusthaka hasthae namasthae

Yaa devee sarva bhoothaeshu smruthi roopaena samsthithaa

Namasthasyai namasthasyai namasthasyai namo nama:

Yaa kundendu thushaara haara davalaa yaa s(h)ubra vasthraavruthaa

Yaa veena varadanda mandithakaraa yaas(h)wetha padmaasanaa

Yaabrahmaachyutha s(h)ankara prabrithibhih daevaih sadaa poojithaasaamaam paathu sarasvathi nisaesha jaadyaapahaa 

Om Sri Saraswatyai namah

Triveni Sangam

Triveni Sangam is the confluence of three rivers (Ganga, Yamuna and the legendary Saraswati River) near Allahabad, India. The Triveni Sangam in Allahabad is a confluence of 2 rivers, the Ganga, Yamuna. Of these three, the river Saraswati is invisible and is said to flow underground and join the other two rivers from below. The point of confluence is a sacred place for Hindus. A bath here is said to wash away all one's sins and free one from the cycle of rebirth. The sight of the Sangam is a treat to the eyes. One can see the muddy and pale-yellow waters of Ganga merging with the blue waters of Yamuna. The Ganga is only 4 feet deep, while Yamuna is 40 feet deep near the point of their nexus. The river Yamuna merges into the Ganges at this point and the Ganges continues on until it meets the sea at the Bay of Bengal. At the confluence of these two great Indian rivers, where the invisible Saraswati conjoins them, many tirtha yatris take boats to bathe from platforms erected in the Sangam. This, together with the migratory birds give a picturesque look to the river during the kumbh, in the month of January. It is believed that all the gods come in human form to take a dip at the sangam and expiate their sins.
The Triveni Sangam is believed to be the same place where drops of Nectar fell from the pitcher, from the hands of the Gods. So it is believed that a bath in the Sangam will wash away all one's sins and will clear the way to heaven. Devout Hindus from all over India come to this sacred pilgrimage point to offer prayers and take a dip in the holy waters. The sacred Kumbh Mela is held every 12 years on the banks of the Sangam. According to myth, the Prakrista Yajna was performed here by Lord Brahma. That is how Allahabad received its ancient name, Prayag. Allahabad is also called Tirtha-Raja (Prayag Raj), king of all holy places. It is said that Lord Rama visited Allahabad when he was in exile.
Sangam means confluence, a meeting point of two or more rivers, a place where diverse cultures meet and flow together, a place where people of different origins, different cultures merge into one whole combined identity.

Native American Indian Prayer

Oh, Great Spirit
Whose voice I hear in the winds and whose breath gives life to all the world.
Hear me.
I am a man before you, one of your many children -
I am small and weak. I need your strength and wisdom.
Let me walk in beauty and make my eyes ever behold the red and purple sunset.

Make my hands respect the things you have made, my ears sharp to hear your voice.
Make me wise,
so that I may know the things you have taught my people -
the lesson you have hidden in every leaf and rock.

I seek strength not to be superior to my brothers,
but to be able to fight my greatest enemy - myself.
Make me ever ready to come to you
with clean hands and straight eyes,
so when life fades as a fading sunset
my spirit may come to you without shame.

Meru yantra

Mount Meru (Sanskrit: मेरु) (also called Sumeru i.e the "great Meru") is a sacred mountain in Hindu, Buddhist cosmology, and Jain mythology considered to be the center of all physical and spiritual universes.
The Iranians claim that the Aryans came from Mount Hara. Har is another name of Shiva, who has His abode in this mountain. Some beliefs, local to that area of the Himalayas, associate mythical Mount Meru with a mountain called Kailasa near the Lake Manasarovar in Tibet,which can be traced to some later layers of Mahabharata.
For the equivalent central mountain in Buddhist cosmology, see Sumeru.
The Meru Chakra or Sri Chakra is a three-dimensional Shri Yantra, the embodiment of Sri Lakshmi (abundance) and Tripura Sundari (beauty). It is the yantra of Sri Vidya, sacred knowledge of the Goddess. It can also be seen as the unification of Masculine Divine and Feminine Divine: Shiva and Shakti, Lakshmi and Narayana, Purusha and Prakriti.
The Shri Yantra consists of triangles arranged in five levels around the center. The Meru Chakra has these same levels arranged in different heights, with the centermost level the highest. The Meru is the three dimensions of the Sri Chakra. If we returned to the two dimension Sri Chakra, and imagine that the bindu in its center is the peak of a mountain. The imagine that the mountain is built up in tiers, each tier being one of the circles of triangles or lotus petals, with the outermost square representing ground level. Now, imagine a vertical spine down the center of the mountain, then at each point that the spine and a tier intersect, there is a chakra. The peak represents Mount Meru, abode of the Gods.

The Basics of Sri Yantra:
Before starting the worship it is advisable to know about the way the Sri Yantra is constructed, what all it represents, about the 9 Avaranas, the deities, their gunas and significance, so that your worship is more meaningful. The following are the authentic details as given in various Tantra & Mantra scriptures.
Five downward pointing triangles representing Devi intersect with four upward pointing triangles representing Siva, forming 43 triangles including the central triangle.
From the five Shakti triangles comes creation and from the four Shiva triangles comes the dissolution. The union of five Shaktis and four Fires causes the chakra of creation to evolve.
At the centre of the bindu of the Shri Yantra is Kamakala, which has three bindus. One is red, one is white and one is mixed. The red bindu is Kurukulla the Female form, the white bindu is Varahi the Male form, and the mixed bindu is the union of Shiva & Shakti - the individual as the potential Shri Cakra. Varahi, the father-form, gives four dhatus to the child and Kurukulla, the mother-form, gives five dhatus to the child. Theses represent the nine dhatus of the human body.
Varahi’s four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla’s five triangles are the 15 (5 x 3) Kalas of the moon, 15 lunar Tithis. These nine triangles also represent the nine stages of growth of the human child in the womb.
Surrounding the 43 triangles formed by the intersection of the nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle. After that the 3 lines and at the outermost part of the Sriyantra there are 3 lines called the Bhupura. The 43 triangles constitute the six inner sections called Avaranas, the two circles of petals are two more avaranas and the Bhupura of 3 lines is the last Avarana.
These 9 Avaranas of the Sri Yantra have various presiding Devis. They are the Devi’s Parivar (retinue) of total 108. In the Srichakra pooja they are systematically worshipped one by one with their names and mantras. The presiding Deity of Srichakra, Devi, is Known as Lalita Tripura Sundari. The form of Devi Kamakshi of Kancheepuram is the closest resemblance of the Devi as described in the scriptures.
As the Supreme Will, Shakti is described as Consciousness-Bliss. The Saundarya Lahiri describes the universe in its subtle and gross forms as the trans- formation of Shakti. Though undergoing actual trans- formation into all these elements in their gross macro-cosmic aspect as the universe and in their subtle micro-cosmic aspect as the six chakras in the body, Shakti is not lost in the effects - she retains her identity as the Supreme Will or Consciousness-Bliss.

Sri Varahi

  Sri Varahi is one of the seven shaktis incarnating from the Mother. She is described to have human body with eight arms, head of a boar and also having three eyes. In the Sri Vidhya tradition, she is also called the Danda-natha (Lady Commander of the forces of the mother-goddess, symbolizing the might of Sri Vidya). As Varahi (hog-faced or the great consumer) she destroys evil forces that obstructs the devotees progress, paralyses the enemies and lead the devotees ultimately to Sri Vidyas. She is classed as the fifth among the seven mother-like divinities (Saptmatrikas) and hence also called Panchami. With Kurukulla, she is accorded the parental status to Sri-Chakra (Lalitha Tripura-Sundari). While Kurukulla represents the full moon, Varahi (the devoured) represents the new moon. And while Varahi represents the illumination (prakasa) aspects of the mother-goddess, Kurukulla is the deliberation (vimarsa) aspect.
In another aspect, Varahi is also said to be one of the Yoginis, taking the form of a boar. She is said to lift up the earth with her tusks to confer benefits on all creatures. She is imagined as an eight-armed and three-eyed lady with a face of a hog, seated under a Palmyra tree, and functioning as a trusted attendant of the Goddess as her chief counselor. In this form she is known as Chaitanya-bhairavi (the devotee's association of strength) She is being described as a fierce (Maha-Ghora) and as Commander of the forces, she moves about in a chariot drawn by boars. She is said to reside in the ocean of sugar-cane juice (ikshu), one of the four oceans that surrounds the mother goddess, holding her court in the island of nine-jewels, and facing the mother-goddess.
Maha Mantra:
Om aim glaum aim namo bhagavathi
vartali vartali varahi varahi varahamukhi varahamukhi
andhe andhini namah
rundhe rundhi namah
jambhe jambhini namah
mohe mohini namah
stambhe stambhini namah
sarvadushta prada dushtanam sarvesham sarvavak chitta
shatkarmukha gati jihva stambhanam kuru kuru shighram vashyam kuru kuru
aim glaum thah thah thah thah hum phat swaha
The Lalita Sahasranama, a collection of 1000 names of the Supreme Mother, hails Sri Varahi as the destroyer of demon Visukran, who was born from the right hand of demon Bhanasura. She was also the commander-in-chief of the armies of Goddess Kali in the war against demon Tharukasura; of Goddess Sandi in the war against demon Sumbasura; and commander-in-chief of the forces of Sri Lalita in the war against demon Pandasura. Saint Sri Abirami Bhattar in his composition – "Abirami Andadhi" – cites the names of Sri Varahi as another name of the Supreme Mother. Sri Devi Bhagavata hails Sri Varahi as one who "dispels the fear and bestows victory". Many Puranic lores revere Sri Varahi (in the form of Thandini) and Sri Shyamala (in the form of Manthrini) – the two forces without whose permission the Supreme Goddess cannot be beheld. That is Sri Shymala is the sugarcane in the sugarcane bow adorning the hands of the Supreme Mother while Sri Varahi is the sharp arrows shot from it to kill the enemies.
Girichakra is the chariot on which Sri Varahi is seated and is worshipped in nine forms, much similar to Sri Durga. Sri Varahi is also revered in the names of Ashvaarooda Thandini Devi, Panchami Devi, Swapna Devi, Vaarthali Devi, Madhu Varahi, Manthrini Varahi, Bhakta Varahi and Pakaalamukhi. Out of these names Sri Varahi as Panchami is regarded the most powerful, as She is the manifestation of the supreme powers of Lord Sadashiva.
In the well-known Buddhist tantric text Chakrasamvaratantra, Vajravarahi is the presiding goddess who unites with the god Chakrasasmvara, also known as Heruka. In one of the descriptions in the iconographic compendium called Sadhanamala, she is called the "first queen of the god Sri-Heruka". She is also loosely characterized as a dakini and Vajrayogini, though the latter is a different deity. What does distinguish Vajravarahi from other similar goddesses (another being Nairatma, the consort of Hevajra) is the sow's-head excrescence behind her right ear, which refers to the "varahi" component of her name. She dances on a corpse in the posture known as ardhaparyanka, which means "one leg on the thigh." Her other emblems, such as the chopper in the right hand, the skull cup in the left, and the tantric staff (khatvanga) in the crook of the left arm, are missing here. But the red complexion, the third eye, the garland of severed heads, and the bone apron that serves as her only apparel are some of the other features that distinguish the deity.
End of Varahi Anugrahashtakam:

Kim dushkaram thwayi mano vishayam gathayam,
Kim durlabham thwayi vidhanu vadarchithayam,
Kim durbharam thwayi sakruth smruthi magathayam,
Kim durjayam thwayi krutha sthuthi vada pumsam.

What is not reachable for him, when he has you in his mind?

What is not available to him, when he worships you?

What is beyond him, when you enter his mind?

Where is the defeat for him who offers a prayer to you?

Yin and Yang

Chang Tsai, (1020-1078), philosopher:

No two of the products of creation are alike. From this we know that although the number of things is infinite, at bottom there is nothing without yin or yang [which differentiate them]. From this we know also that the transformations and changes in the universe are due to these two fundamental forces.

Material force moves and flows in all directions and in all manners. Its two elements unite and give rise to the concrete. Thus the multiplicity of things and human beings is produced. In their ceaseless successions the two elements of yin and yang constitute the great principles of the universe.

Only after [the One] is acted upon will it begin to penetrate [through yin and yang]. Without the two forces there cannot be the One.
If yin and yang do not exist, the One (the Great Ultimate)" can not revealed If the One cannot be revealed then the function of the two forces will cease, Reality and unreality, motion and rest, integration and disintegration, and clearness and turbidity are two different substances. In the final analysis, however, they are one.

The negative and positive spiritual forces (kuei-shen) are the spontaneous activity of the two material forces (yin and yang). Sage hood means absolute sincerity (1) forming a unity with Heaven, and spirit means the Great Vacuity in its wondrous operation and response. All molds and forms in the universe are but dregs of this spiritual transformation.

Shao Yong(1012-1077), philosopher:

Without physical substance, the nature (of man and things) cannot be complete. Without nature, physical substance cannot be produced. The yang has the yin as its physical substance and the yin has the yang as its nature. Nature is active but physical substance is tranquil. In heaven, yang is active while yin is tranquil, whereas in earth yang is tranquil while yin is active. When nature is given physical substance, it becomes tranquil. As physical substance follows nature, it becomes active. Hence yang is at ease with itself but yin is fast moving without control.

As the Great Ultimate becomes differentiated, the Two Modes (yin and yang) appear. Yang descends and interacts with yin, and yin rises to interact with yang, and consequently the Four Forms (major and minor yin and yang) are constituted. Yin and yang interact and generate the Four Forms of Heaven: the element of weakness and the element of strength interact and generate the Four Forms of Earth; and consequently the Eight Elements (heaven, water, fire, thunder, wind, water in motion, mountain, and earth) are completed. The Eight Elements intermingle and generate the myriad things. Therefore the one is differentiated into the two, two into four, four into eight, eight into sixteen, sixteen into thirty-two, and thirty-two into sixty-four. Thus it is said (in the Book of Changes) that "they are distinguished as yin and yang and the weak and the strong are employed in succession. Thus in the system of Change there are six positions and the pattern is complete. Ten is divided to become 100, 1,000, and 10,000. This is similar to the fact that the root engenders the trunk; the trunk, branches; and the branches, leaves. The greater the division, the smaller the result, and the finer the division, the more complex. Taken as a unit, it is one. Taken as diffused development, it is the many.

Intimacy

Two citations separated by over a millennium illustrate the consistency of the ultimate aim of the Sufi path. The first is a holy tradition (hadith qudsi) by the prophet Muhammad, while the second is a soliloquy by the eminent Sufi master Abd al-Ghani al-Nabulusi. Both describe what Sufism is all about, one from God’s point of view, the other from the Sufis’ perspective. Sufis regard the message of this holy tradition as constituting the ultimate aim of the spiritual experience and the cornerstone of mystical knowledge. Speaking through the Prophet, God says:

“Nothing is more pleasing to me, as a means for my servant to draw near unto me, than worship which I have made binding upon him; and my servant ceases not to draw near unto me with added devotions of his free will until I love him; and when I love him I am the hearing wherewith he hears and the sight wherewith he sees and the hand whereby he grasps and the foot whereon he walks.”

It is this intimacy with divinity that underpins the Sufis’ vision, aspirations, and devotional practices. In the following soliloquy, the late Damascene Sufi master al-Nabulusi, an ardent follower of Ibn Arabi, shows how the prophetic tradition is personalized in the mystical experience. Al-Nabulusi writes:

My Lord said to me: “you are good for me.” I said: “how can I be good for you while I am perishable?” He said: “nothing is good for me except the perishable.” I said: “how can I be good for you when my character is bad?” He said: “I complement it with my good Character.” He then said to me: “O my
servant, I am you, but you are not me; O my servant, I am who exists, not you; O my servant, all people are the servants of my benefaction (nima), whereas you are the servant of my Self (dhat).” I said: “but how am I the servant of your Self?” He said: “you are the servant of Being (al-wujud), not the servant of a being (al-mawjud). Being is me, while a being is other than me, because beings are by me and I am by my Self. This is the reason why I said to you I am Being.” He then said to me: “O my servant, do not fear other than me, because I am that other. I am your Lord, appearing unto you by my subsistence in you. There is no divinity if it be not me, and no one is adored other than me. In any state, if by me that I make you rich, truly, then, I have made you rich; but if I do so by other than me, I then have made you poor; there is no divinity if it be not me.” I said to him: “O Lord, how am I in your regard?” He said: “you are to me amongst those who are drawn near (almuqarrabin), and so is everyone who loves you: I love you and love everyone that loves you.” I said to him: “O Lord, what is the sign of your loving me?” He said: “it is my guiding you to what I love and am pleased with.” I said to him: “O Lord, people are harming me.” He said to me: “all of this is of benefit to you; look within yourself for the result of their harm, you become nearer to me, and inevitably you will rise above them.”

Cosmology in architecture - 1

In his famous Ihya Ulum al-Din (Reviving the Sciences of Religion), al-Ghazali (d. 1111), the celebrated Muslim theologian and mystic, cites an intriguing analogy. He says: “As an architect draws (yusawwir) the details of a house in whiteness and then brings it out into existence according to the drawn exemplar (nuskha), so likewise the creator (f atir) of heaven and earth wrote the master copy of the world from beginning to end in the Preserved Tablet (al-lawh al-mahf uz) and then brought it out into existence according to the written exemplar.”
In contrast to the current understanding of a boundless and infinitely expanding universe, premodern Muslims thought of and described the cosmos as being finite, founded, and with astronomically definable limits. The entirety of the cosmos was graspable by means of geometry, numbers, and the alphabet.
It was conceived in the form of concentric circles, at the center of which humans dwelled and at the outer limit stood the all-encompassing divine Throne.Space and time, as we know them, terminated at the divine Throne, which formed the threshold into the divine realms of being. There and beyond, different modalities of space and time prevailed. The Throne, the outer limit of the universe, was also visualized to be “quadrangular” in form but with a sense of spatiality that was distinct from our own. Marking a transitional zone, the Throne was seen to partake in both the physical and metaphysical worlds. Within this geometrically defined and ordered cosmos things were interrelated; they occupied definite positions within an intricate hierarchy. Nothing stood in isolation or ambiguity; everything was carefully positioned. Premodern Islamic sources provide very detailed descriptions of the cosmos, and the Sufis, among other Muslim thinkers, present numerous geometrical diagrams that illustrate the fundamental order of being and the basic design of the world, translating into visual idioms the “textual” contents of al-Ghazali's exemplar.
The move is explored in a variety of contexts and manifestations. The first trace of this move unfolds the metaphysial order, which is then traced in the cosmic order, which is in turn traced in the architectural order. Spatially, the move refers to the deployment of space from a central point along the three axes of what the French philosopher and metaphysician René Guénon describes as the “threedimensional cross.”
The Islamic cosmos consisted of the seen and unseen, the divine and human domains, with each having its own inhabitants, landscape, and order. The seen world was constructed of nine concentric spheres, seven planetary ones encompassed by the sphere of the fixed stars (the divine Footstool) and the utmost encircling sphere without stars (the divine Throne). The seven heavens rest on seven earths in the form of domed structures decreasing in size and positioned one within the other. As for the workings of the cosmos, it was seen to be regulated by a quaternary natural order of the four elements, mediated by many sets of four—four seasons,
four natures, four humors, four directions, and so forth.

Only with His Grace

There are many valiant metaphysical souls who tried greatly to explore on their own different ways to understand Being and settle down with the satisfaction that at long last they know Being . Such individuals set up religions cults schools of metaphysical thoughts, very practical methods like Yoga and so forth only to learn that there is no certainty in all these ways.  Being  always remains supremely elusive towards all human attempts to fathom the mystery that surrounds Being. The point is all such efforts are egoistic and indulging in such efforts is in fact strengthening the Ego and which will always cast a screen across BEING so that He can never be understood and the soul shine forth in the Glory of His presence. But Manikkar, a mystic, has achieved this and asks rhetorically who can explain this remarkable metaphysical feat. Of course he already indicates the reasons for his success. He has allowed himself to be possessed by Being  and in that possession he willingly became his devoted servant, the one at His feet and which is a metaphor for servitude. This really means that Manikkar slowly learned to kill his ego without which becoming the servant of  Being is impossible. With this inner resistance dissolved Being overpowers the soul disclosing Himself in various ways so that a genuine understanding is enjoyed by the soul. The kind of understanding of Being  is that over and above that He stands as the cosmic reality he also stands as Shiva, the metaphysically illuminating Supreme Radiance that dispels the Malam from the soul so that it becomes translucent clear and pure.
Tiruvasakam Tiruccatakam, MeyyuNartal 9:

Bavan empiraan pani maa matik kaNNi viNNoor perumaan
Civan empiraan enai aaNdu koNdaan
En ciRumai kaNdum
Avan empiraan enna naan adiyeen enna ipparicee
Puvan empiraan teriyum paricu aavatu iyambukavee

BEING my Lord is the Cosmic Reality and the Great Lord of all the celestial beings and who enjoys wearing the cool Crescent Moon as His head garland. My Lord of Shiva, the resplendent Power who overpowered me despite the fact that I am dirty with Malam infecting me. He is my Lord and I am His servant always serving Him. It is only because of this I understand this Being as the whole of the cosmos. Now can any one tell me how my servitude also has enabled me to understand Being thus?

Places of Worship

The Gods of Greece resided on Mount Olympus, which Homer described thus: "Olympus, abode of the gods, that stand fast for ever. Neither is it shaken by winds nor wet with rain, nor does snow fall upon it, and the air is outspread clear and cloudless, and over it hovers a radiant whiteness." This reminds us of the Himalayan peak where Shiva and Parvati of Hindu lore reside. The gods could well be up above in the vast expanse of extra-terrestrial space, beyond the starry firmament. The ancient vision was that the Gods resided way too far for ordinary humans to climb and reach.

Because they are so distant every religion constructed halls and altars where the divine might come to reside, where men and women can gather to pay homage to the Almighty. Temples were built for Minerva and Jupiter on the hills of Rome.
The grand edifices built for them have crumbled down for archeological probes or they have been renovated to attract tourists. All man-made gods have a history.

In ancient India there were devalayas (Houses of Gods) for the Sun-God Surya and the Sky-God Indra, but now we have mandirs and koyils consecrated to Rama and Krishna, Shiva, Kali and Murugan.

In the Judaic tradition, the place of worship was also a place where people went together (synagog). It was in the synagogue that religious teachings were proclaimed to the faithful: i.e. the synagogue also served as a kind of public school for religious studies. The Jewish scholar Arthur Herzberg explains that "The central function of the synagogue was to cultivate a value perhaps more important that prayer to Jewish faith, the study of the Torah." On Sabbath, people gathered in the synagogue to hear a reading of a passage from the Torah and to gain understanding of its interpretation. To this day, this is enshrined in the central act of public worship in Judaism on every major occasion.

In the Christian world assemblies for common worship services became churches. When Paul and Peter initiated such groups, perhaps they did not realize that some day churches would spread to every corner of the world, just as, when the first temples were erected in India no one foresaw a day when there would be temples in Malaysia and Madagascar, in London and Pittsburgh.

Periodic calls to prayer through a hearty proclamation that God is great is an important feature in the worship centers of the Islamic world. Here the traditional mode is to prostrate as a gesture of surrender to the Almighty: which is why the place is called a masjid, which literally means a place for prostration. Known as mosque in English, it has a wall without doors with a niche called mihrab which points to the direction (qilba) of Maccah where the Prophet had established the very first mosque of the tradition. Then there are the stupas and the multi-layered pagodas of Buddhism. To these may also be attached residence halls for the monks of the tradition. The architectural elements of the building are also regarded as worthy of reverence. Though Buddha himself was indifferent to questions about God's existence, he has been symbolically deified in the tradition. Therefore his images are revered and worshiped in Buddhist temples. The gurudwara (Doorway to the Master) is the Sikh place of worship where the faith's scripture (Guru Granth Sahib) is all that is worshiped in reverence, and the One God is invoked as waheguru.

Places of worship are the sanctified centers one expresses gratitude to that which caused the world and humans to be. In such centers, the human spirit invokes in humility the magnificence of the Unfathomable Mystery that has actualized this world: This is a lofty goal of religions.

108 names of Vinayaka

Akhuratha   One who has Mouse as His Charioteer
Alampata   Ever Eternal Lord
Amit        Incomparable Lord
Anantachidrupamayam  Infinite and Consciousness Personified
Avaneesh   Lord of the whole World
Avighna     Remover of Obstacles
Balaganapati  Beloved and Lovable Child
Bhalchandra  Moon-Crested Lord
Bheema     Huge and Gigantic
Bhupati    Lord of the Gods
Bhuvanpati  God of the Gods
Buddhinath   God of Wisdom
Buddhipriya  Knowledge Bestower
Buddhividhata God of Knowledge
Chaturbhuj One who has Four Arms
Devadeva Lord of All Lords
Devantakanashakarin Destroyer of Evils and Asuras
Devavrata One who accepts all Penances
Devendrashika Protector of All Gods
Dharmik One who gives Charity
Dhoomravarna Smoke-Hued Lord
Durja Invincible Lord
Dvaimatura One who has two Mothers
Ekaakshara He of the Single Syllable
Ekadanta Single-Tusked Lord
Ekadrishta Single-Tusked Lord
Eshanputra Lord Shiva's Son
Gadadhara One who has The Mace as His Weapon
Gajakarna One who has Eyes like an Elephant
Gajanana Elephant-Faced Lord
Gajananeti Elephant-Faced Lord
Gajavakra Trunk of The Elephant
Gajavaktra One who has Mouth like an Elephant
Ganadhakshya Lord of All Ganas (Gods)
Ganadhyakshina Leader of All The Celestial Bodies
Ganapati Lord of All Ganas (Gods)
Gaurisuta The Son of Gauri (Parvati)
Gunina One who is The Master of All Virtues
Haridra One who is Golden Coloured
Heramba Mother's Beloved Son
Kapila Yellowish-Brown Coloured
Kaveesha Master of Poets
Kirti Lord of Music
Kripalu Merciful Lord
Krishapingaksha Yellowish-Brown Eyed
Kshamakaram The Place of Forgiveness
Kshipra One who is easy to Appease
Lambakarna Large-Eared Lord
Lambodara The Huge Bellied Lord
Mahabala Enormously Strong Lord
Mahaganapati Omnipotent and Supreme Lord
Maheshwaram Lord of The Universe
Mangalamurti All Auspicious Lord
Manomay Winner of Hearts
Mrityuanjaya Conqueror of Death
Mundakarama Abode of Happiness
Muktidaya Bestower of Eternal Bliss
Musikvahana One who has Mouse as His Charioteer
Nadapratithishta One who Appreciates and Loves Music
Namasthetu Vanquisher of All Evils and Vices and Sins
Nandana Lord Shiva's Son
Nideeshwaram Giver of Wealth and Treasures
Omkara One who has the Form Of OM
Pitambara One who has Yellow-Coloured Body
Pramoda Lord of All Abodes
Prathameshwara First Among All
Purush The Omnipotent Personality
Rakta One who has Red-Coloured Body
Rudrapriya Beloved Of Lord Shiva
Sarvadevatman Acceptor of All Celestial Offerings
Sarvasiddhanta Bestower of Skills and Wisdom
Sarvatman Protector of The Universe
Shambhavi The Son of Parvati
Shashivarnam One who has a Moon like Complexion
Shoorpakarna Large-Eared Lord
Shuban All Auspicious Lord
Shubhagunakanan One who is The Master of All Virtues
Shweta One who is as Pure as the White Colour
Siddhidhata Bestower of Success and Accomplishments
Siddhipriya Bestower of Wishes and Boons
Siddhivinayaka Bestower of Success
Skandapurvaja Elder Brother of Skand (Lord Kartik)
Sumukha Auspicious Face
Sureshwaram Lord of All Lords
Swaroop Lover of Beauty
Tarun Ageless
Uddanda Nemesis of Evils and Vices
Umaputra The Son of Goddess Uma (Parvati)
Vakratunda Curved Trunk Lord
Varaganapati Bestower of Boons
Varaprada Granter of Wishes and Boons
Varadavinayaka Bestower of Success
Veeraganapati Heroic Lord
Vidyavaridhi God of Wisdom
Vighnahara Remover of Obstacles
Vignaharta Demolisher of Obstacles
Vighnaraja Lord of All Hindrances
Vighnarajendra Lord of All Obstacles
Vighnavinashanaya Destroyer of All Obstacles and Impediments
Vigneshwara Lord of All Obstacles
Vikat Huge and Gigantic
Vinayaka Lord of All
Vishwamukha Master of The Universe
Vishwaraja King of The World
Yagnakaya Acceptor of All Sacred and Sacrficial Offerings
Yashaskaram Bestower of Fame and Fortune
Yashvasin Beloved and Ever Popular Lord
Yogadhipa The Lord of Meditation

Sankashtnashana sthothra:

Om Pranamya shirasa devam Gowriputhram vinayakam
Bhakthavasam smarenithyam ayuh kamarthasidhaye
Prathamam vakrathundam cha ekadhantham dwithiyakam
Thratheeyam krishnapingaksham gajavakram chathurthakam
Lambodharam panchamancha shashtam vikatamevacha
Sapthamam vighnarajendram cha dhoomravarnam thathashtamam
Navamam balachandram cha dashamam tu Vinayakam
Ekadhasham ganapathim dwadasham tu gajananam
Dwadashithani namani thrisandhyam yaha patennaraha
Na cha vighnabhayam thasya sarvasidhikaram prabho
Vidhyarthi labhathe vidhyam dhanarthi labhathe dhanam
Puthrarthi labhathe puthran moksharthi labhathe gathim
Japedh ganapathi sthothram shadbhir masam phalam labheth
Samvathsarena siddhim cha labhathe nathra samshayaha
Ashtebhyo brahmanebhyashcha likithvayaha samarpayeth
Thasya vidya bhaveth sarva ganeshasya prasadathaha
Ithi sri narada purane
Sankashta nashana ganapathi sthothram samaptham

OM vinaayakaaya namaH

Makara Sankaranti

Aum Mitraya namah ||Aum Ravayé namah||Aum Suryaya namah||Aum Bhanavé namah||Aum Khagaya namah||Aum Pushné namah||Aum Hiranyagarbhaya namah||Aum Marichayé namah||Aum Adityaya namah||Aum Savitré namah||Aum Arkaya namah||Aum Bhaskaraya namah||

Makar Sankranti is of great significance to a devote Hindu and is one of the most important dates in the Hindu Calendar. Lord Surya (Sun God) is worshiped on this day. Every living and non-living being merges with the Brahman and Sun is the Pratyaksha-Brahman or the Brahman that can be seen.

The importance of Sun to earth and to the living beings was understood by Hindus from the very beginning. And the importance of it can be found in the Gayatri Mantra chanted to Sun (Surya) daily.

Makar Sankranti signals the end of winter and the onset of spring throughout the northern hemisphere. The period is referred to as Uttarayan Punyakalam and is considered auspicious. For the next six months, the days are longer and warmer. Legend has it that the Devas wake up after a six-month long slumber during this period.
There is also a symbolic meaning to Makara Sankranti. ‘Makar’ means crocodile. Sankranti means ‘to cross into or change.’ The ‘Makara’ or crocodile represents the materialistic world and ‘Sankranti’ gives an opportunity to get away from the clutches of the crocodile or the materialistic world.
The six month long Uttarayana begins on the Makar Sankrant day. From this day, the harshness of winter subsidizes and the days get longer. Symbolically, the Sun slowly removes darkness and ushers in the light of knowledge. Uttarayana is also the daytime of the Devas and therefore auspicious activities takes place during this period.
There are also numerous legends and myths which add to the importance of Makara Sankranti. One of the most important myths is the death of Bhishma Pitamaha in the Mahabharata. Bhishma chose Makar Sankranti day to die. (Bhisma had got a boon from his father that he will only die when he wishes.) It is believed that people who die during Uttarayana merges with the Brahman, thus ending the cycle of rebirth.
 

Shri Rudra

Rudra it's a name of Shiva. There are several meanings to the word Rudra.
“Rtam (dam) Samsaara dukham draava yat iti Rudrah”.He destroys the sorrows of the world i.e. (Rudra).
“Rodati Sarvamantakala”. The one who makes one to suffer.
“Rtou Naadaante dravati – draavayateeti Rudrah". The end note of the musical sound i.e. (Rudra).
“Rtya – Vedarupaya, dharmadinava-loka yati praayateeti vaa Rudrah”. In the form of Veda Dharma is promoted i.e. (Rudra).
“Rtya-vaagrupaya, vaakyam, prapayateeti Rudrah”. In the form of Speech, brings out the importance of the meaning of words i.e. (Rudra).
Rtya-Pranava rupaya svatmanam prayateeti Rudrah”. In the name of pranava (OM) He makes one to realize him.
“Rudroroutiti satye rorupamaano dravati pravashati martyaaniti Rudrah”. In the form truth he enters humans.
“Rtam Sabdam Vedaatmaanam Brahmane dadati Kalpaadaaviti Rudrah”. Rudra presented Vedas to Brahma at the Commencement of kalpa. Rudras also means the persons created by Rudra as Sadrusha.
Rtim Raati is responsible for the sound. He is praana Svarupa. Granter of praana (life).

Rudram is i.e. light Teja and Ruth who binds and attracts. Rudram is fire itself. He has tow forms one terrible and the other auspicious i.e. reflected in this Brahmana.
“Taam bhakte draavayati". He is even capable of driving away hat Shakti (energy).

From Rudra Hridaya Upanishad:

...There do not shine the bodies of the sun, moon or the stars. There does not blow the wind, there do not exist many Devatas. He, the One Lord only exists. He only, the Purity of purities, shines for ever and ever.
There are two birds in this body, the Jiva and the Paramatman. The Jiva eats the fruit of his Karmas, but the Paramatman is untouched by anything. The Paramatman is only the Sakshi. He does not do anything. He only assumes the form of the Jiva through His Maya, just as the Akasa inside a pot seems to be different from the Akasa outside and assumes the form of the pot. In reality all is Siva, Advaita, the One Absolute. There is no difference of whatever kind.
When all is understood to be One, Omkara, the Absolute, there is no sorrow, there is no Maya. Then the attainment of the Advaita-Paramananda is very easy. Think that you are the basis of all this universe, you are the One, Kevala, Sat-Chit-Ghana. All people cannot understand this Truth. Those devoid of Maya can know this secret. After knowing this, the Atman does not move towards any place at any time. It becomes one with the Absolute, just like Ghatakasa with Paramakasa. Just as Akasa does not move anywhere, similarly this Atman does not have any movement. It becomes one with OM.
One who knows this great secret Truth is the real Muni. He becomes the Para-Brahman Itself. He becomes Satchidananda. He attains permanent peace.
Om ! May He protect us both together; may He nourish us both together;
May we work conjointly with great energy,
May our study be vigorous and effective;
May we not mutually dispute (or may we not hate any).
Om ! Let there be Peace in me !
Let there be Peace in my environment !
Let there be Peace in the forces that act on me !

||Om Tat Purushaya Vidhmahe
Mahadevaya Dheemahe
Thanno Rudra Prachodayath.||

Sri Rudram:

Nataraj and Chidambaram

Saint Thirumoolar, whose legend is intricately woven with Chidambaram, says in his Thirumanthiram:

mAnudarAkkai vadivu sivalingam
mAnudarAkkai vadivu chidambaram
mAnudarAkkai vadivu sadAsivam
mAnudarAkkai vadivu thirukkoothe

Sivalingam is of the form of the human body;

So is Chidambaram ; So is Sadasivam ;

And so is His divine dance.

Symbolism behind the structure of a Shiva Temple:
1. The temple is so constructed as to resemble the human body with all its subtleties.

2. The five walls encircling one another are the koshas ( sheaths) of human existence .
a. The outermost is the Annamaya kosha, symbolizing the material body.
b. The second is Pranamaya kosha, symbolizing the sheath of vital force or prana.
c. The third is Manomaya kosha, symbolizing the sheath of the thoughts, the mana
d. The fouth is the Vignyana maya kosha, symbolizing, the sheath of the intellect
e. The fifth and innermost is the Ananda maya kosha, symbolizing the sheath of Bliss.
3. The sanctum which is in the prakara symbolizing the Ananda Maya Kosha sheath ,
houses the lord, seated as the Jiva within us. It is to be noted that the sanctum is an unlit space, just as if within the heart closed on all sides.

4. The entry Gopuras are likened to the feet, as resembling a person who is lying on the back with the toe up.

5. The flag post depicts the sushumna nadi which raises from the Mooladhar (base of the spine ) to the sahasrar ( vertex in the head).

6. Some temples will have three prakarams. There they represent the stoola, sukshma
and karana sareeras (bodies) of a human being Some temples have only one and they
represent all the five.

Nataraja is the cosmic dancer form of Shiva.A separate South-facing shrine for Nataraja exists in all the Shiva temples in Tamil Nadu maintained in accordance with the Saiva Agamas.

Symbolism behind the structure of a Chidambaram temple:

The main edifices of the temple are the five Sabhas or Halls: the Cit Sabha, Kanaka Sabha, Deva Sabha, Nritta Sabha, and the Raja Sabha. There are five steps leading to the Chit sabha from the Kanaka sabha depicting the five lettered Panchakshara mantra ( Na ma chi vA ya).
At the centre of the temple is situated the sanctum sanctorum or holy of holiest, called the Cit Sabha or Cit Ambalam. This means the ‘Hall of Wisdom’. It is the main shrine where Lord Shiva Nataraja accompanied by his consort Parvati performs His Cosmic Dance, the Ananda Tandava or Dance of Bliss. A unique feature is that the structure of the actual Sabha is made of wood, which has so far not been botanically classified. It is rectangular in form and here Shiva is worshipped in his three aspects:

· As Form ---> Nataraja the murti or image of Shiva
· As Formless-Form ---> The crystal linga called Chandramaulishvara
· As Formless ---> The yantra which is the Akasha Linga

The world is the embodiment of the Virat Purusha, the colossal human form. Chidambaram is the centre of this form, the place of the heart, where Shiva performs the Cosmic Dance.
The Chidambaram temple is laid out as a Purusha. For this reason the devotees may approach the central shrine from two sides. As blood flows to and from the heart. The nine stupas topping the golden roof represent the nine orifices of the human body, and also symbolise the nine Matrikas or goddesses. The roof is made of 21.600 tiles, representing inhalations and exhalations of breath. The links and side joints symbolise the connecting veins.
In the Chidambaram temple the Dancing Shiva is the Presiding Deity, and all rituals are conducted on the basis of the Vedic doctrine. These are the two features which distinguish the Shiva Nataraja temple from all other temples in India. Shiva Nataraja’s dance is seen as the visualisation of the processes of cosmos. In his murti or physical image we can see his five activities.
a) creation:
Visualised in the small, hourglass-shaped drum, called damaru, which he holds in his upper right hand. It represents the vibration of the Big Bang, which is the sacred sound OM.
b) preservation:
Is seen in his lower right hand. It signals protection; fear not. Nataraja faces south and thus dispels the fear of death for the humanity.
c) dissolution:
Is symbolised by the flame in his upper left hand. At the end of the lifetime of the universe everything will be dissolved in fire.
d) illusion:
Is in his stable right leg, which dances on the dwarf, pressing him down. This symbolises his conquest of Maya, Illusion.

e) Salvation:His lower left hand points the attention of the devotee towards his raised, dancing left foot. Here in his dance one can realise the Salvation he offers to the humanity.

His dance also makes the five Elements out of which the universe is formed, become visible. The damaru represents the Element Air. The air inside it makes the sound, the vibration, possible. The flame in his left hand represents the Element Fire. The goddess Ganga, in his matted hair, from which flows the sacred river Ganges, represents the Element Water. The Element Earth is the dwarf on whom he dances. The fifth Element, Akasha or Ether, is invisible to us. It is the empty space, the Void, between his stable right leg and his lifted foot.

Kripa samudram sumukham trinetram
jatadharam Parvati vama bhagam
Sada Sivam Rudram anandarupam
Cidambaresam hridi bhavayami

O Lord, you are the ocean of mercy,

Your shining face adorned with three eyes,With matted hair,
Goddess Parvati permanently with you on your left,
You are the eternal and cosmic form of bliss,
Presiding Lord of Chidambaram,
Dancing the Ananda Tandava,
You are dwelling in the heart of the devotees.

OM NAMAH SHIVAYA

To Light

1. In the White Light
Here the meditator goes into a realm where there is a brilliant white light pervading everywhere. He has consciousness of himself and the White Light, and nothing else. He is not aware of his body, mind or the world. Only two things remain - his awareness and the white light. It's a duality.

2. In the Dark Inner Space
Next, from the realm of the white light the experiencer moves into another realm where there is what we call the Dark Inner Space pervading everywhere. It looks like the physical outer space above the stratosphere but this is inner, within us, and it is dark. The meditator has consciousness of himself and this Dark Inner Space and experiences deep peacefullness. He is not aware of his body, mind or the world. Only two things remain - his awareness and the dark endless space. It's a duality.

3. In the Golden Light
Next, the experiencer moves from the realm of the dark inner space into another realm where a yellow-golden light is experienced. It is not really a 'move' from one realm into another but rather the realm of the dark inner space transforms into this Golden Light pervading everywhere. It is formless form. The meditator has consciousness of himself and this Golden Light. He is not aware of his body, mind or the world. All these things cease to exist. Only two things remain - his awareness and the golden light. Its a duality.

4. Entering the Golden Light
Next, the experiencer 'moves' from merely being aware of the golden light to entering it, or, becoming the golden light. This is a transition phase, where the consciousness of the experiencer merges into the golden light. He is only aware of the merging.

5. Becoming the Golden Light
Next, the transition is complete, and the experiencer has become the Golden Light. He is the Golden Light. He has lost awareness of his own personal consciousness. There is no duality. Only One Thing exists in this realm. The experiencer sees himself as All, has all knowledge and bliss, but no power.

6. Entering the Nothing
Next, the experiencer as the Golden Light, moves or transforms, into The Nothingness. There is no duality. He is only aware of himself as the golden light entering another dimension and becoming The Nothing. This is another transition phase really.

7. Becoming the Unknown
Next, the experiencer 'moves' from experiencing The Nothing to merging into the Nothing and becoming what we call as The Unknown. Nothing is describable in this state. It cannot be said if anything exists or does not exists.

State 6 and 7 is what we term as parashiva, parabrahman, atattva (beyond the 36 tattvas). Buddhists call state 6 as nirvana. The relationship cannot be described, (if there is one, that is) except as not two.

State 3, 4 and 5 is what we term as satchitananda, parashakti, Shiva or Saguna Brahman, tattva 1 and 2. Oneness and twoness is experienced here.

How do we know if this was made up or a fake. Check any veda, upanishad or agama and you will not find any such knowledge there. Only living jivanmuktas can describe all these stages with such clarity, precision and exactitude. It cannot be corroborated otherwise ...
only you Self.

The Song of The Sannyasin

The Song of The Sannyasin
by Swami Vivekananda

Wake up the note! the song that had its birth far off, where worldly taint could never reach, in mountain caves and glades of forest deep, whose calm no sigh for lust or wealth or fame could ever dare to break; where rolled the stream of knowledge, truth, and bliss that follows both. Sing high that note, sannyasin bold! Say,
"Om Tat Sat, Om."

Strike off thy fetters! bonds that bind thee down, of shining gold, or darker, baser ore--love, hate; good, bad; and all the dual throng. Know slave is slave, caressed or whipped, not free;for fetters, though of gold, are not less strong to bind.Then off with them, sannyasin bold! Say,
"Om Tat Sat, Om."

Let darkness go; the will-o'-the-wisp that leads with blinking light to pile more gloom on gloom. This thirst for life forever quench; it drags from birth to death, and death to birth, the soul. He conquers all who conquers self. Know this and never yield, sannyasin bold! Say,
"Om Tat Sat, Om."

"Who sows must reap," they say, "and cause must bring the sure effect: good, good; bad, bad; and none escapes the law. But who so wears a form must wear the chain." Too true; but far beyond both name and form is atman, ever free. Know thou art That, sannyasin bold! Say,
"Om Tat Sat, Om."

They know not truth who dream such vacant dreams as father, mother, children, wife and friend. The sexless Self--whose father He? whose child? whose friend, whose foe, is He who is but One? The Self is all in all--none else exists; and thou art That, sannyasin bold! Say,
"Om Tat Sat, Om."

There is but One: the Free, the Knower, Self, without a name, without a form or stain. In Him is maya, dreaming all this dream.The Witness, He appears as nature, soul. Know thou art That, sannyasin bold! Say,
"Om Tat Sat, Om."

Where seekest thou? That freedom, friend, this world nor that can give. In books and temples, vain thy search. Thine only is the hand that holds the rope that drags thee on. Then cease lament. Let go thy hold, sannyasin bold! Say,
"Om Tat Sat, Om."

Say, "Peace to all. From me no danger be to aught that lives. In those that dwell on high, in those that lowly creep--I am the Self in all! All life, both here and there, do I renounce, all heavens and earths and hells, all hopes and fears." Thus cut thy bonds, sannyasin bold! Say,
"Om Tat Sat, Om."

Heed then no more how body lives or goes. Its task is done: let karma float it down. Let one put garlands on, another kick this frame; say naught. No praise or blame can be where praiser, praised, and blamer, blamed, are one.Thus be thou calm, sannyasin bold! Say,
"Om Tat Sat, Om."

Truth never comes where lust and fame and greed of gain reside. No man who thinks of woman as his wife can ever perfect be; nor he who owns the least of things, nor he whom anger chains, can ever pass through maya's gates. So, give these up, sannyasin bold! Say,
"Om Tat Sat, Om."

Have thou no home. What home can hold thee, friend? The sky thy roof, the grass thy bed; and food what chance may bring--well cooked or ill, judge not. No food or drink can taint that noble Self which knows Itself. Like rolling river free thou ever be, sannyasin bold! Say,
"Om Tat Sat, Om."

Few only know the truth. The rest will hate and laugh at thee, great one; but pay no heed. Go thou, the free, from place to place, and help them out of darkness, maya's veil. Without the fear of pain or search for pleasure, go beyond them both, sannyasin bold! Say,
"Om Tat Sat, Om."

Thus day by day, till karma's power's spent, release the soul forever. No more is birth, nor I, nor thou, nor God, nor man. The "I" has All become, the All is "I" and Bliss. Know thou art That, sannyasin bold! Say,
"Om Tat Sat, Om."