SOUL MATTERS PART 10 – Capt Ajit Vadakayil

THIS POST IS CONTINUED FROM PART 9, BELOW--

1. Capt. Ajit VadakayilJuly 12, 2022 at 4:44 PM

   https://captajitvadakayil.in/2022/07/11/soul-matters-part-9-capt-ajit-vadakayil/
   
   INDIAN MUSLIMS HAVE STOPPED GOING FOR HAJJ PILGRIMAGE TO WORSHIP THE FAKE SHIVA LINGAM AT THE SE CORNER OF KAABA MECCA ..
   
   THEY NOW GO TO KEDARNATH TEMPLE WHICH HAS A GIGANTIC BLACK METEORITE STONE BURIED IN THE GROUND , WITH ONLY THE TOP TIP PROTRUDING OUT OF EARTH..
   
   IT SPEEDS UP THE SEVEN CHAKRAS AND EMITS A MIGHTY SCALAR FIELD.
   
   https://captajitvadakayil.in/2022/02/22/6000-year-old-kedarnath-temple-the-highest-among-the-twelve-jyotirlinga-shiva-temples-capt-ajit-vadakayil/
   
   THE ORIGINAL HEAVIER THAN STEEL SHIVA LINGAM BLACK METEORITE STONE WAS STOLEN…
   
   IT HAS BEEN REPLACE BY PIECES OF BLACK PUMICE STONE WHICH FLOAT ON WATER..
   
   https://captajitvadakayil.in/2022/03/01/vedic-practises-in-mecca-ajit-vadakayil/
   
   THERE WAS NO HAJJ PILGRIMAGE FOR 23 YEARS , AS THE BLACK METEORITE STONE SHIVA LINGAM OF KAABA MECCA WHICH WAS AS HEAVY AS STEEL , WAS STOLEN IN 930 AD BY QARMATIAN LEADER ABU TAHIR AL JANNABI..
   
   HE INSTALLED THE BLACK SHIVA LINGAM METEORITE STONE IT IN HIS OWN JAWATHA MOSQUE AT AL-KILABIYAH, AL AHSA OASIS , TO SNATCH AWAY THE HAJJ PILGRIMAGE FROM MECCA OASIS ……
   
   SEVERAL FUTILE ATTEMPTS WERE MADE TO STEAL THE SHIVA LINGAM AT SOMNATH TEMPLE ….
   
   https://captajitvadakayil.in/2022/02/22/the-sack-of-somnath-temple-by-mahmud-of-ghazni-in-1026-ad-capt-ajit-vadakayil/
   
   IN 952 AD SEVEN PIECES OF BLACK VOLCANIC PUMICE WHICH FLOATS ON WATER WAS THROWN INTO THE FRIDAY PRAYER MOSQUE OF KUFA IN A SACK FRIDAY PRAYER MOSQUE OF KUFA IN A SACK , HAVING AN ANONYMOUS WRITTEN NOTE INSIDE “ BY COMMAND WE TOOK IT, BY COMMAND WE HAVE RETURNED IT “
   
   THESE SMALL STONE PIECES WERE BLACK CEMENTED IN A SILVER CASE AND THIS IS THE FAKE POWERLESS STONE THE HAJJ MUSLIM PILGRIMS TRY TO KISS TODAY.
   
   THE DESCENDANTS OF THE SOMNATH TEMPLE DANCERS ARE THE EUROPEAN ROMA GYPSIES WHO HAVE ZERO HUMAN RIGHTS..
   
   https://captajitvadakayil.in/2022/02/17/history-of-romani-gypsies-capt-ajit-vadakayil/
   
   capt ajit vadakayil
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BELOW: NOBODY KNOWS HOW HUGE THE KEDARNATH SHIVA LINGAS IS..

BELOW: YAAZHI HAS NON-RECTRACTABLE CLAWS

https://captajitvadakayil.in/2022/05/17/osiris-shaft-and-serapeum-of-egypt-were-built-12400-years-ago-to-store-spent-mercury-capt-ajit-vadakayil/

PARA VAK  IS THE SOUND OF ONE’S SOUL, A STATE OF SOUNDLESS SOUND. IT EXISTS WITHIN ALL OF US. ALL MANTRAS, INFINITE SYLLABLES, WORDS, AND SENTENCES EXIST WITHIN PARA IN THE FORM OF VIBRATION (SPANDA) IN A POTENTIAL FORM.

https://captajitvadakayil.in/2022/02/22/lord-shiva-as-the-first-guru-dakshinamurthy-capt-ajit-vadakayil/

SHIVA AS DAKSHINAMURTHY EDUCATED THE FOUR KUMARAS BY INDUCTION.. THEY JUST SAT IN HIS AURA FIELD AND WISDOM WAS TRANSFERRED SEAMLESSLY IN TOTAL SILENCE

Like Shiva as Dakshinamurthy giving wisdom to the 4 sanatkmaras , All great spiritual masters give instruction in silence.   This silence is not absence of speech but a force-field emitted the Master which bathes the disciple and dissolves his/her questions. 

This eternal silence whose vibrations issue forth from the Master is the Para Vak (i.e. transcendental speech)

SANATANA DHARMA IS ROOTED IN THE LONGITUDINAL WAVE (  AUDIO SOUND / SCALAR ENERGY )

SEERS HEARD THE SRUTIS OF PARA VAK—  THIS IS OUR VEDA SRUTIS

The Vedas are mantric texts of cosmogenesis behind the various lokas or realms of manifestation from pure light to gross matter. Yet they also replicate the same code in the human soul (Jivatman) that is a replica of the entire conscious Universe, the individual reflection of the cosmic person.

Yet this deeper mantric connection must be understood with a mantric mind, not simply an academic intellect or modern linguist. It requires a profound sadhana of Vedic mantras on a daily basis for 400 centuries.

https://captajitvadakayil.in/2022/03/01/power-of-mantras-on-human-consciousness-capt-ajit-vadakayil/

 Para-vak is also known as “rava-shabda” – an unvibratory condition of sound beyond the reach of mind and intelligence (avyakta), only to be realized by great souls, the 12 strand maharishis, parama-jnanis 

IN THE PARA STATE THE SOUND REMAINS IN AN UNDIFFERENTIATED FORM.  PARA IS PURE INTENTION.  PURE BECAUSE IT IS A DIRECT EXPRESSION OF THE WILL OF REALITY, UNADULTERATED BY ANY PERSONAL PREFERENCE.  PARA MEANS TRANSCENDENTAL, ‘BEYOND’ OR ‘THE OTHER SIDE’.

IT IS BEYOND THE REACH OF THE INDRIYAS, OR SENSE ORGANS, AND THE MIND AND OTHER MEANS OF COGNITION.    9000 YEARS AGO KERALA MAHARISHI  BHARTRHARI, WROTE IN SANSKRIT THAT  SHABDA BRAHMAN IS THE ULTIMATE GROUND OF ALL EXISTENCE; AND, THE SABDA TATTVA IS THE FIRST PRINCIPLE OF THE UNIVERSE. 

BHARTRHARI, WROTE THAT  VAC OR SPEECH IS THE MEANS TO ALL KNOWLEDGE AND IS THE ESSENCE OF CONSCIOUSNESS. 

For Kerala Maharishi Bhartrhari, Vac or speech is the means to all knowledge and is the essence of consciousness. He regards speech as the verbal expression of a thought that arises in a person’s consciousness. If there is no consciousness, he argues, there would be no speech. Speech (Vac) is indeed an outward form (Vargupta) of consciousness (chetana or Samjna).

Vac is the word principle that gives expression to the latent or un-manifest thoughts, feelings and impulses. And at the same time, for Bhartrhari, all forms of awareness imply the presence of words. That is to say; language is an integral part of our consciousness.

At a metaphysical level, Bhartrhari conceives the ultimate Reality as One-without–a second (Ekam Eva). It is of the nature of the Word (Sabda eva tattvam) and from it are manifested all objects (including speech) and the whole of existence.

According to Bhartrhari, the Sanskrit language is the medium of expression of the Ultimate Reality communicated through meaning-bearing words. It leads us across the external appearances and diversities to the core of the Reality which is the source and the underlying unity beneath everything.

The Real breaks forth (sphut) through the medium of speech (Sabda). And, Sabda is not mere means to the Reality, but it is the very Truth and Reality (Shabda-Brahman).

. According to Bhartrhari, the process of transformation of a thought or an impulse arising in ones consciousness into a cognizable, explicit speech resembles the evolution of the Universe from the un-manifest (A-vyakta) to the manifest (Vyakta) material world.

Bhartrhari explains; at first, the intention (iccha) exists in the mind of the speaker as a unity or Sphota. In the process of giving an outward form to that impulse or thought, he produces a series of different sounds in a sequence where one sound follows its previous one.

It might appear as though those word-sounds are separated in time and space. But, they are indeed part and parcel of one and the same single entity – the sentence which puts out, in full, the intention of the speaker.

9000 years ago Kerala Maharishi  Bhartrhari, wrote in Sanskrit that  Shabda Brahman is the ultimate ground of all existence; and, the Sabda tattva is the first principle of the universe.  Bhartrhari, wrote that  Vac or speech is the means to all knowledge and is the essence of consciousness. 

Sphota, before it opens, is in an undifferentiated partless state.   It resides in Sabda Brahman, the Brahman of Sounds.  When it differentiates, it falls into two parts: Shabda and Artha, Sound and Meaning.   Bhartrhari examines human consciousness from the perspective of language, he puts it within a metaphysical framework, stressing that the Absolute, the Brahman, is also expressible in language, a cognitive recognition of the Absolute as Sabda Brahman .. 

Bharthari carries forward.the dialectic between meaning and sound in Sphota Vada, highlighting both dhvani, the auditory sound in which the meaning is carried and artha, the meaning, the intention which reveals the person. 

In the Vakyapadiya, the concept of Sabda occupies a central role; Bhartrhari equates it with Sphota to show the metaphysical nature of the language.

Such process of unfolding of speech (Vac) takes place, at least, in two stages. The first one is the thought that flashes and takes a form within. And, the other is that which comes out as audible speech riding the vehicle of words and sentences; attempting to transport the idea that arose within. 

The former is intuition (Prathibha) the flash of insight that springs up; and, the latter is the effort that is exerted, both internally and externally, to put it out.

According to Bhartrhari, the process of manifestation or transformation of the speech principle (Sabda tattva) or the latent, unspoken form of thought, into explicit audible speech can be said to be spread over three stages, Viz. Pashyanti, Madhyamā   and Vaikhari.

vaikharyā madhyamāyāś ca paśyantyāś caitad adbhutam / anekatīrthabhedāyās  trayyā vācaḥ  paraṃ padam // 1.159 //

Bhartrhari explains that Vak or any sort of communication passes through these three stages whenever one speaks or gives expression to it in any other form. Sabda which is at first quite internal is gradually externalized for the purpose of utterance.      [Hearing, of course, operates in the reverse direction]

According to the explanations provided by Bhartrhari:

The latent, unspoken thought that instinctively springs up and which is visualised, within one’s self, is called Pashyanti Vak (thought visualized). The Vrtti on Vakyapadiya (1.14) presents Pashyanti as a form of Supreme Reality, Sabda-Brahman. And, Pashyanti again is identified with Prathibha, the flash of insight.

Bhartrhari believes that the nature of the self is nothing but identical with the nature of language – thought ….”

When a person wills to express a thought orally, the air (Prana) inside his body spurs and moves up. Sabda or the Vac (speech or utterance) then manifests through Dhvani (sound patterns), with the assistance of appropriate  organs. 

In this process, the head, throat, tongue, palate, teeth, lips, nose, root of the tongue and bosom are said to be the eight places which assist the sounds of the letters to become audible and explicit.

Bhartrhari makes a distinction between Sabda and Dhvani. The former is the ‘Real word’; while the latter is the ‘sound’ produced by the speaker in order to give expression to Sabda.

The three forms of speech viz. Pashyanthi, Madhyamā and Vaikhari which correspond to intention, formulation and expression  represent iccha-shakthi  (power of intent or will),  jnana-shakthi (power of knowledge) and kriya-shakthi (power of action).

.Bhartrhari examines human consciousness from the perspective of language, he puts it within a metaphysical framework, stressing that the Absolute, the Brahman, is also expressible in language, a cognitive recognition of the Absolute as Sabda Brahman .. 

Bhartihari carries forward.the dialectic between meaning and sound in Sphota Vada, highlighting both dhvani, the auditory sound in which the meaning is carried and artha, the meaning, the intention which reveals the person. 

The shallow Western mind cannot fathom the depth of Bharthari’s intellect..  7000 years ago Patanjali   wrote that dhvani is heard by the ear and sphota is grasped by intellect. My readers know that Vadakayil does SPHOTA triangulation thinking with time axis factored in.. 

Perfect, pronunciation of sanskrit words, can replicate the exact nature, or essence, of that which it is referring too..  If one’s mind was utterly pure, then upon hearing this perfectly pronounced symbol, the Sanskrit word, the image of that object, idea, etc., would immediately appear within the mind and the ‘field of understanding’ of this individual, even if they had never seen or heard of this thing or idea before. .

THIS IS SPHOTA..

The perfect pronunciation of a Sanskrit word has the power to influence that particular thing.. 

The shallow Western mind cannot fathom the depth of Bharthari’s intellect..  7000 years ago Patanjali   wrote that dhvani is heard by the ear and sphota is grasped by intellect. My readers know that Vadakayil does SPHOTA triangulation thinking with time axis factored in.. 

A cosmic creative vibration ( sphota ) arises between Shiva and Shakti called Nada.  This Nada then gets consolidated into Shabda Brahman (differentiated sound energy), the universal cosmic resonance, symbolized by OM.  From this arises cosmic intelligence that is responsible for the creation. 

Veda srutis have no mortal author. They have been downloaded from Akasha by Maharishi seers.   Sanatana dharma is rooted in shabda ( sound )- yet we have converted sound into geometry and isotope digits at will .   Anahata sound, called the sound of the shabda brahman, emanates from this centre.  Significantly, anahata naad is the unstruck, mystic sphota sound that occurs spontaneously.. 

The hatha yoga pradipika declares that samadhi is achieved when the anahata nadam, the unstruck sound, can be heard.

He who is well versed in the Word-Brahman, attains to the Supreme Brahman. Maitri Upanishad    (VI.22)5000 BC ..  “That indestructible transcendent vibrating sound is Shabda-Brahman.”  Yoga Shiksha Upanishad.

SHABDA BRAHMAN IS INDEED THE MORPHOGENETIC CONSCIOUSNESS FIELD.  

Only people who can do speed reading  can do SPHOTA TRIANGULATION.  your mind becomes a magnet with lifts iron filings from dirt automatically . 

http://ajitvadakayil.blogspot.com/2011/02/speed-reading-capt-ajit-vadakayil.html

The communication of a sentence and its meaning is not complete until its last word is uttered. Thus, though the word-sounds reach the listener in a sequence, eventually they all merge into one; and, are grasped by the listener as a single unit. The same Sphota which originated in speaker’s mind re-manifests in listener’s mind, conveying the intended meaning.

Thus, the transformation of a thought into spoken-words involves two kinds of efforts: the internal process (abhyantara prayatna) and the external effort (bahya prayatna). The former is classified into two kinds (Pashyanti and Madhyamā), while the latter (the external) is said to be of eleven kinds.

And, of the three levels or stages of speech, Pashyanti which is identified with Prathibha (intuition) and Madhyamā identified with intellectual process (Buddhi) are regarded as subtle or internal forms of Vac; while Vaikhari is its overt manifested gross form.  These three forms, in turn, are identified with Sphota, Prakrta dhvani and vaikrta dhvani.

Vaikharya  hi krto nadah parasravana gocarah / Madhyamaya krto nadah Sphota vyanjaka ucyate //

Bhartrhari takes a metaphysical view of Sabda, the speech-principle (Sabda tattva). He compares the transformation of Sabda, in three stages, with the manifestation of the Universe.

According to Bhartrhari, Sabda Brahman is the ultimate ground of all existence; and, the Sabda tattva is the first principle of the universe.

Para is the highest manifestation of Vac. Para and Pashyanti are inaudible; they are beyond the range of the physical ear; and so is Madhyama which is an internal dialogue.

Tthere are three stages in the manifestation of Vac: Para (highest); Sukshma (subtle – Pashyanti and Madhyama); and, Sthula (gross – Vaikhari)

Para-Vani or Para Vac, the Supreme Word, which is non-dual  (abeda) and  identified with  Supreme consciousness, often referred to as Sabda Brahman, is present in all  the subsequent stages; in  all the states of experiences and expressions  as Pashyanti, Madhyamā and Vaikhari.

Shabda brahmAn manifests through his power of maya first as para vani in the mooladhara chakra at the perineum, then as pashyanti in the manipura chakra at the navel, next as madhyama in the heart and then eventually as vaikhari in the throat and mouth. This is the divine descent of voice. 

Para vaak is the sound beyond the perception of our senses. Paraa is the first stage of sound in its unmanifest stage and is the source of all root ideas and germ thoughts.  On the stage of Para-vaak there is no distinction between the object and the sound. The sound contains within it all the qualities of the object

Panini formulated the rules of Sanskrit morphology, syntax and semantics in fourteen verses, from the  sounds of Lord Shiva’s Damaru, called Maheshwara Sutrani.  These Sutras are also known as Aṣṭadhyayi, meaning eight chapters, the foundational text of the grammatical branch of the Vedanga.  .

The Pashyanti Vak thereafter transforms into Madhyamā, the intermediate stage. It is an intellectual process, involving thought (Buddhi), during which the speaker looks for and selects appropriate words, phrases, and their sequence, which are capable of conveying his intention , clearly.

And, Pashyanti Vak, thereafter, when it comes out of the speaker’s mouth as sequenced and verbalized speech-form is called the Vaikhari Vak. It is the final stage at which ones’ thought or intention is put out explicitly through uttered words and sentences. Thus, Vaikhari is the fully embodied stage of everyday speech.

Shabda brahmAn manifests through his power of maya first as para vani in the mooladhara chakra at the perineum, then as pashyanti in the manipura chakra at the navel, next as madhyama in the heart and then eventually as vaikhari in the throat and mouth. This is the divine descent of voice. 

The Vedas define the two fundamental forces in the universe as Prana or life-energy, which we experience mainly through the breath, and Vak, which is speech, articulation or expression overall.Prana is spirit which is formless

THE FOURTH DIMENSION OF SOUND IS “PARA VAK.” “VAK” MEANS VOICE, “PARA” MEANS THE DIVINE OR THE SOURCE OF CREATION. PARA VAK MEANS THE VOICE OF THE CREATOR.

PARA VAK IS ABOUT HEARING THE REVERBERATION THAT IS THE BASIS OF CREATION AND CREATOR.

PARA VAK IS THAT SOUND WHICH IS THE CORE OF THE SOUNDLESS, UTTERLY STILL CONSCIOUSNESS

PARA VAAK IS THE SOUND BEYOND THE PERCEPTION OF OUR SENSES.   PARAA IS THE FIRST STAGE OF SOUND IN ITS UNMANIFEST STAGE AND IS THE SOURCE OF ALL ROOT IDEAS AND GERM THOUGHTS. 

ON THE STAGE OF PARA-VAAK THERE IS NO DISTINCTION BETWEEN THE OBJECT AND THE SOUND. THE SOUND CONTAINS WITHIN IT ALL THE QUALITIES OF THE OBJECT.

 Nada Yogis claim that Paraa Nada is a high frequency sound, so high that it does not stir or produce any vibrations.   By the urge of man to talk, with the help of vaayu or air, Paraa moves up to the Manipuraka chakra or the navel centre and gets transformed into Pasyanti. 

 Para means highest or farthest, and in this connection it indicates that sound which is beyond the perception of the senses   Sphota, before it opens, is in an undifferentiated partless state.   It resides in Sabda Brahman, the Brahman of Sounds.  When it differentiates, it falls into two parts: Shabda and Artha, Sound and Meaning

PARA, THE TRANSCENDENT SOUND, IS BEYOND THE PERCEPTION OF THE SENSES; AND, IT IS ALL PERVADING AND ALL ENCOMPASSING. PARA IS PURE INTENTION. IT IS UN-MANIFEST. .

Para-vak is also known as “rava-shabda” – an unvibratory condition of sound beyond the reach of mind and intelligence (avyakta), only to be realized by great souls, the 12 strand maharishis, parama-jnanis.  On the stage of para-vak there is no distinction between the object and the sound. The sound contains within it all the qualities of the object.

The highest manifestation of sound energy, the primal voice, the divine voice is para.   The para voice gives birth to root ideas or germ thoughts. It is the first manifestation of voice. In the para state the sound remains in an undifferentiated form. 

Para is pure intention. Pure because it is a direct expression of the will of reality, unadulterated by any personal preference. Para means transcendental, ‘beyond’ or ‘the other side’. It is beyond the reach of the indriyas, or sense organs, and the mind and other means of cognition. 

Hence para nada is the transcendental sound. It is indicative of a truth that there is a sphere of super-consciousness where the sound is heard in different dimensions

Nada  concept holds that it is the sound energy in motion rather than of matter and particles which form the building blocks of the cosmos..

The longitudinal sound wave or scalar wave creates.. Matter is created by vibrations.  On a macro scale everything is longitudinal sound. 

 On a micro scale every disease is musical disharmony— I gave my readers ISOTOPE MAGIC DIGITS from unwritten parts of Atharva Veda mantras. .A mantra in its purest form , the inner power , is a manifestation of Nada.. 

The movement of prana ( energy )  in the body is an expression of Nada. .  Nada is the celestial music within us. The word Nada is derived from the Sanskrit root nad, meaning “union through sound.”. 

PRANA AND VAK ARE TWO FACETS OF THE SAME UNDERLYING REALITY.    PRANA IS UNMANIFEST SPEECH, AND SPEECH IS MANIFEST PRANA.   

Prana naturally creates sound, which is the hissing sound of the breath.

Sanskrit grammarian, Bhartrhari, states in his Vakyapadiya 1.112: “vageva viswa bhuvanani jajne” (i.e. It is Vak which has created all the worlds).

Similarly, in Tantra, it is said that the Universe was set in motion by the primordial throb (adya-spanda) and that all objects of the Universe are created by sound – “artha-srsteh puram sabda-srstih” (sound precedes the formation of objects).

The rhythms of cosmic vibrations issue forth from four levels which correspond to the various levels in manifestation:

Para-Vak is the highest form of sound. It issues forth from the Supernal Ether (paramam vyomam) where all the sound vibrations that build the various worlds pre-exist in an undifferentiated state.

Para is the power of ambika shakti, the supreme Mother Goddess, speech that flows directly from the cosmic creatrix.

Para (which means, literally, “beyond”) is beyond all objects, of any sort, motionless, eternally equipoised, so subtle that it is commonly perceptible only to those who are highly evolved like 12 strnd DNA Maharishis

SANSKRIT IS TO EXPERIENTIAL SPIRITUALITY WHAT MATHEMATICS IS TO SCIENCE. SANSKRIT CAN UNLOCK THE MYSTERIES OF UNIVERSAL CONSCIOUSNESS JUST AS MATHEMATICS IS DECODING THE STRUCTURE OF THE UNIVERSE.

For a genuine science of Consciousness to be credible we should learn the mantric language of Sanskrit and its cosmic implications, not simply at an academic level but at a level of meditation.

Sanskrit provides the precise terminology for understanding the workings of cosmic law, karma and all forces in the universe. The Sanskrit alphabet is used as a blueprint for universal forces from the stars and the planets to the chakras of the subtle body.

Sanskrit reflects the vibratory patterns that govern the universe as a whole on individual, collective, global and universal levels which are all interrelated.

Sanskrit is not just a manmade devised historical language. It holds all the potentials of cosmic sound. It links the human brain and mind to the vibratory field of Cosmic Intelligence that guides the universe as a whole.

Sanskrit is a human emulation of cosmic sound that links the human mind to the Cosmic Mind. Just as we can link with the internet and download information via information technology, we can use Sanskrit in the meditative mind to link with Cosmic Intelligence and access its deeper knowledge and wisdom.

Sanskrit is the language closest to the Divine Word, the original Cosmic Sound and Light vibration behind the entire universe. This Divine speech begins with OM and primal sound, the vibratory pattern that creates the time/space continuum.

Modern physics begins with the Big Bang, the original singularity from which the entire universe expands. Sanskrit similarly begins with OM as the original singularity behind the cosmos, which all other mantras create as the vibratory energies from the Big Bang.

Bhartrhari , at the commencement (Granta-aaramba or Grantha-mukha) of Brahmakanda , the first chapter  of his renowned work the Vakyapadiya,  asserts the identity of the Sabda tattva (the Word principle) with the Absolute Reality, the Brahman (vāg vai brahmeti) which is without a beginning (Anadi), without an end (Nidana) and is imperishable (Aksharam).

That Brahman, he avers, is  One (ekam eva) and is the essence of Sabda from which the whole of existence is derived. And, it transforms (Vivartate) itself into speech; as words, their meanings (Artha) and also the universe (jagato yataha).

 (Anadi-nidhanam Brahma sabda-tattvam yad-aksharam / vivartate artha-bhavena prakriya jagato yatah – VP. 1.1)

*

. Spanda .or “primordial vibration” refers to the creation of the universe— the transcendental cause of the universe. Spanda is the same supreme vibration that pervades both the energies of one’s body and the energies of the whole universe.

Spanda is a sort of bridge between energy and consciousness. . In the process of its five primary actions (emanation, dissolution, existence, bestowal of grace and concealment), Spanda becomes the first flutter of pure consciousness.

Spanda is also primordial energy is the first stage of consciousness before it crystallizes into the reasoning process.

Vedas contain both kinds of knowledge— shabda brahman for ceremonies for the materially attached and divine knowledge for spiritual aspirants.  Krishna asks Arjuna  to use the divine section of the Vedic knowledge to elevate himself to the level of Absolute Truth. 

LOCUSTS WILL NEVER EVER ATTACK A PLACE WHERE STINGING BEES ARE IN PLENTY.. THE BUZZ (SHABDA BRAHMAN ) OF THE STINGING BEES IN IN RESONANCE WITH THE GREGARIOUS CREEAAKK OF THE LUCUSTS AND IT DRIVES THEM AWAY OR CONVERTS THEM BACK BY LOSS OF SEROTONIN TO CRICKETS.

 “ SHABDA BRAHMAN ( LONGITUDINAL SOUND WAVES ) CAN PUT OF GIANT FOREST FIRES AND BUST TEMPERATURE INVERSION LAYER WHICH CAUSE SMOG OVER ENTIRE CITIES LIKE DELHI “.. 

HINDUISM IS NOT BULLSHIT THEOLOGY OF SINGLE MESSIAH / SINGLE HOLY BOOK RELIGIONS..

 Shabda brahman (God manifested as sound vibration), penetrate all the material –it cannot be shielded by Faraday’s cages..  Vedas downloaded 400 centuries ago and penned down 70 centuries ago say, that all forms of reality are sound forms—music—their very substance composed of vibration.

This Shabda-brahman is the great cosmic wavelength experienced as God.  Shabda-Brahman is a vibratory reality, which exists underlying the reality which we can perceive. According to Vedic theory, this pure vibrational current, flows eternally – a kind of river of sublime truths – that can be accessed by anyone who has the ability to penetrate within it. 

SANSKRIT IS A DIVINE LANGUAGE ..   ONLY MANTRAS IN SANSKRIT WORK..  NO OTHER LANGUAGE CAN FIT INTO THE SCHEME OF SHABDA BRAHMAN .  .

Every organ, every bone, has a unique size, density and mass, and therefore, a unique resonant frequency.    Everything has a resonant frequencies of various tissues, particularly the brain and spinal column.Chiropractic spinal adjustments can be done perfectly using sound.  

Each vertebra is a different size, density and mass, and like a wineglass, can be resonated with the correct sound. This causes the vertebra to vibrate back into its correct perfect position.    Cranial bones and cerebrospinal fluid can be influenced with sound resonances.

The brain itself is an organ with a unique size, density and mass.  Shabda-pramāṇa means to take the truth from the highest authority

A variety of ancient scriptures speak of the Universe created by sound or cosmic vibrations.

The Rig Veda 1.164.45  says  “catvari vak parimita padani tani vidur brahmana ye minishinah, guha trini nihita neengayanti turiyam vaco manushya vadanti” (i.e. The cognoscenti know of the Vak that exists in four forms .  Three are hidden and the fourth is what men speak) .

From the OM vibration the universe is created through the sounds of the Sanskrit alphabet and its Shakti mantras as primary energy sounds and patterns.

The ancient Vedic Rishis entered into Para Vak or Transcendent Speech beyond all name and form and revealed the secrets of creation through the Vedic mantras.

That is why the Vedas are said to be the means through which the universe arises, is sustained and is dissolved, which happens at every moment, as well as in longer cycles of cosmic time. Yet such mantras are not merely human speech but cosmic powers, Others of the entire universe.

Western academic scholarship to date has only scratched the surface of the monumental teachings of the Vedas. It remains caught in the outer mind, brain and physical reality missing the multidimensional mantric language of the Rishis and its secret code of universal knowledge.

Without understanding the mind of the Rishi, the Vedas remain a closed door to the outer mind and its superficial opinions.

Vedic deities of light and fire, like Agni, Surya, Soma, Indra are not just personifications of the forces of nature, as they are often reduced to, but of the powers of cosmic light operative from the macrocosm to our own minds and hearts, imbued with consciousness and a multidimensional action, not restricted to a single form.

In this regard all the forces of nature on Earth are but local manifestations of universal forces.

Vedic Sanskrit, we should note, is more fluid, symbolic and less grammatically strict than classical Sanskrit. It cannot be understood by the rules or formations of Sanskrit grammar alone. Its meanings and etymology have more variabilities, levels and hidden dimensions than classical Sanskrit which has many of these of its own.

Vedic Sanskrit requires a Rishi vision to appreciate, not just technical linguistic expertise. Can hold the entire universe in every syllable. The ultimate yogic power of Sanskrit is found in the oldest Rigveda which holds the main mantras of the Rishis. Vedic Sanskrit has a depth and density that often exceeds even classical Sanskrit, without all its beauty, complexity, intricacy and power.

Panini’s Sanskrit grammar is an extraordinary codification of language and sound for rational and poetic application, but the Vedic language is at a higher level of universal creative sound prior to its manifestation into fixed forms and objects. Its words are more like waves on the sea than defined objects in the outer world.

Vedic Sanskrit is more difficult to learn than Classical Sanskrit because it is a seer language with hidden dimensions, a complex poetic combination of sound and meaning with the abstract and concrete blended together. Even if one learns Vedic grammar these meanings will not be accessible.

Relative to classical Sanskrit one can at least learn the key terminologies of Yoga, Vedanta and Ayurveda, which have many special terms for understanding different aspects of universal knowledge and have no adequate English equivalents.

 Such are the three gunas, the three doshas, the five koshas, the seven lokas, the four aspects of the mind, different types of samadhi, yogic principles and practices. Even without knowing much Sanskrit grammar one can benefit greatly from these.

The following heroes of kerala won this planet’s most prestigious award, the VADAKAYIL PRIZE.. ALL OF THEM LEFT BEHIND PRICELESS WORKS IN SANSKRIT…….aryabhatta ( 2700 bc)…adi shankaracharya ( 2000 bc )…panini ( 5500 bc )…. bhartrhari ( 7000 bc )… patanjali ( 5000 bc )…. manu (8300 bc)…. yaska ( 5800 bc )….panini ( 5500 bc )… bhartrhari ( 7000 bc )… patanjali ( 5000 bc )…. manu (8300 bc)… yaska ( 5800 bc )…kapila (11500 bc)…. baudhayana (12,000 bc)…. ganit ( 10,000 bc )….charaka ( 4200 bc )…. susruta ( 4200 bc )….

Vadakayil says that Jew Noam Chomsky , touted as the greatest thinker on this spanet is a CUT of the first order.. Ever,time we arrest Naxal this idiot comes bunding in. Our judiciary is afraid of him—for what?

https://captajitvadakayil.in/2021/09/01/vadakayil-on-noam-chomsky-being-treated-as-the-cats-whiskers-by-pm-indian-judiciary-ncw-and-human-rights-orgs-poll/

Digression:

This reminds me of a joke.. It was a quet day at the oil lighterage field. Four Captains ( my friends ) got together in my cabin for a party.. We also invited Capt John , a Malayali , who came up the hawse pipe ( lowly seaman to Loading Master).. 

 John baby had a couple of stiff ones and was TUNNN.. A white Captain, who has lot of beer down his belt , asked me “ Captain Ajit, can I use your John ( toilet ) .   Being decent because my wife was in the bed room. 

Capt John panicked and cried out loudly ” FOR WHAT ?”

TO BE CONTINUED--

CAPT AJIT VADAKAYIL

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