Shri Atmananda's teachings -- 7. The background

[Guest guest]

After the sat, cit and ananda aspects have been examined, the next

prakriya investigates the changeless background of all change and

difference.

 

As the world appears, to anyone, it is shown in seeming pictures --

physical, sensual and mental. These are pictures that have been created

by changing acts of perception and conception, through our bodies and

our minds. As our minds and bodies differ, so too their acts of

picturing get to be different as well. The differences produce a great

variety of pictures -- at different times and places, and in different

cultures and personalities.

 

But in the end, each picture must arise from the same complete reality

of physical and mental world -- which includes all times and places,

together with all cultures and all personalities. Whatever picture may

appear -- of anything or to anyone -- that complete reality is always

implied, in the background of the picturing.

 

Each apparent picture is portrayed at the foreground of experience, by

some act of picturing. This very act must express the reality from

which it has arisen. That expressed reality is quietly implied. It

stands utterly unpictured in the background, while changing pictures

are portrayed on the seeming surface of the mind's attention.

 

Accordingly, reality can be approached as a background screen, on which

all pictures of the world are drawn. The screen is in itself

unpictured -- remaining everywhere the same, never varying at all. In

this sense, of standing changeless underneath, that background is

called 'sat' or 'existence'.

 

But that background is no object in the world. Each object is a

pictured element, appearing on the background screen. And each such

element is lit by consciousness. The knowing light of consciousness is

present through all pieces of the picturing. Throughout all varied

pieces of the pictured show, that light stays present with the screen.

 

The pictured pieces change and vary; but their background and their

knowing light stay present always, throughout all the changes and the

differences. There is no way of distinguishing between that background

reality and the knowing light of consciousness. The two cannot be told

apart. They are in fact identical. The background screen is light

itself, illuminating all its pictures from behind.

 

The pictures are all made of light. As they show, they shine by that

light, which illuminates itself. In this sense, as self-illuminating

light, the reality is called 'cit' or 'consciousness'.

 

As the pictures come and go, they all arise expressing consciousness,

from which they come. That expression is their life, which animates

their changing movement. From it comes all their sense of purpose and

meaning and value.

 

In the end, all pictured acts are done for the sake of consciousness,

which they express. As it knows itself, in identity, it shines

non-dually -- identical with the reality of each picture that it

lights. By that non-dual shining, all actions in our pictures are

inspired to take place, spontaneously and naturally, of their own

accord.

 

For that non-dual shining is the happiness that is uncovered when

desire is fulfilled. The wanting mind is dual, feeling need for

something else. When what's wanted is obtained, the self that knows is

felt to be at one with what has come about. The wanting mind's duality

has there been brought to rest, dissolved into a non-duality that is

its real motivation. In this sense, as that which is ultimately valued,

the reality is called 'ananda' or 'happiness'.

 

The background is thus 'sat-cit-ananda'. As 'sat', it is the background

of all objects and objective acts. As 'cit', it is the background of

all thoughts and ideas. As 'ananda', it is the background of all

feelings and all values. But then, how can it be investigated, beneath

the pictures that appear to cover it? A way is suggested in Shri

Atmananda's eighth and ninth points for sadhana. The eighth point says:

 

"In between two mentations and in deep sleep, I am shining in my own

glory. Even the ego is not there."

 

Here, the idea is to look carefully at the gaps in our picturing of the

apparent world. There, in the gaps, when they are properly examined,

the background may be found uncovered, shining by itself.

 

In deep sleep, the gap is obvious, because it corresponds to a gap in

physical time, seen from the waking state. But there is also a less

obvious gap -- which need not take any physical time, and which usually

passes quite unnoticed. This is the gap that keeps taking place in the

mind, whenever a perception, thought or feeling comes to end.

 

At this point of time -- just after each mentation disappears and just

before the next appears -- there is a timeless gap, in which the mind

has returned to dissolution in its shining background. In that gap, as

in deep sleep, the ego is dissolved and the real self is found 'shining

in its own glory'.

 

Taking note of that gap shows the background positively, as that true

and positive reality of each object and each action that appears. What

makes this prakriya so positive is that the gap can be seen to keep

occurring all the time. It occurs before and after every moment -- as

each present moment rises from the dissolution of what went before, and

as this moment in its turn dissolves into a timeless shining out of

which the next succeeding moment is then born.

 

Thus, whatever may appear is shown to rise immediately from the shining

background, which provides both knowing light and continuing support.

And with the same immediacy, what rises into show is then returned to

that same background, which stays present quite unchanged. This is

described in Shri Atmananda's ninth point for sadhana:

 

"Because thoughts and feelings rise in me (consciousness), abide in me

and subside in me, they are myself."

 

Here, it is suggested how all thoughts and feelings keep on pointing

back to a positive reality, which is beyond their fitful appearances in

changing mind. They point back by their natural and spontaneous

returning to dissolve in that reality -- where they keep expiring, at

every moment that we know.

 

How and where is this prakriya described in traditional and ancient

texts? I must confess to not having much of an answer. Perhaps some

group members could help out. I can only give a few preliminary

indications, which are appended below, as a postscript.

 

Ananda

 

-

 

The concept of the 'background' in traditional advaita

-- some preliminary indications

_______________________________

 

First, when speaking of the 'background' in his native Malayalam, Shri

Atmananda used the word 'porul' (with a retroflex 'l' -- the word comes

from Tamil). My dictionaries translate the word as 'meaning, truth,

wealth, essence, sum-and-substance'.

 

Second, Ramana Maharshi often speaks of the background as a screen. For

example, in 'Forty Verses on Reality', he says (in stanza 1, translated

from his Malayalam version 'Sad-darshanam'):

 

Names and forms are pictures.

The one who sees, the light

and the screen: all these

are one reality, and that alone.

 

Similarly, at an earlier time, Shri Jnyaneshwar says in 'Cangadeva

Pasashti', 13 (composed in old Marathi prakrit):

 

A non-existent picture shows,

but what exists is only wall.

So too, what shines is consciousness,

here in the form of changing world.

 

It seems that there should also be previous classical and ancient

examples of this metaphor of picture and screen or picture and wall.

But I don't remember coming across any of them. If someone can think of

such examples, I'd be grateful for the information.

 

Third, going back to ancient times, the concept of 'akasha' is often

used to indicate or to imply a continuing or changeless background. In

particular, as the fifth element, akasha is the background continuity

pervading all of space and time. And this word 'akasha' has also a

deeper meaning, shown by its derivation. It comes from the root 'kash',

which means to 'shine'. To this root, the prefix 'a-' is added,

indicating 'nearness' or 'immediacy'. So, more deeply seen, the word

'akasha' indicates an immediate shining, found in the background of our

space-time pictures.

 

In that deeper meaning, the element 'akasha' shows a changeless reality

that is identical with knowing self. That meaning is brought out in the

Brihadaranyaka Upanishad, chapter 3, through a persistent questioning

of Yajnyavalkya by Gargi.

 

Initially, she goes through the five elements, asking what each one is

made of. When she gets to ask about akasha, he answers cosmologically,

through various mythical and religious conceptions that lead up to the

limitless expanse of 'brahman'. And he refuses to answer beyond that --

telling Gargi that her head will fall off, if she asks too many

questions.

 

But, some time later on, she comes back with a more intelligent way of

asking about the underlying nature of akasha. She asks a leading

question that brings out the pervading continuity of akasha, throughout

all space and time. And then she goes on to ask what it is that

supports the continuity.

 

Only then does Yajnyavalkya give a full and direct answer, telling her

that akasha shows an unchanging reality (akshara) which is directly

found as knowing self. As he puts it (in 3.8.11):

 

This, Gargi, is that same changeless principle

.... which is not known, but is the knower.

.... Other than this, there is no knower.

Gargi, it is in this very changeless principle

that akasha is woven, warp and woof.

[Guest guest]

advaitin, Ananda Wood <awood@v...> wrote:

>

> How and where is this prakriya described in traditional and ancient

> texts?

 

Namaste,

 

Would this excerpt fit the bill?

 

Maitri (Maitrayani upan) 4 : 2

 

 

http://www.celextel.org/ebooks/upanishads/maitrayani_upanishad.htm

 

As caught in a magic show one is in the midst of Maya. He sees every

thing wrongly as in a dream, essenceless like the pith of plantain –

like an actor dressed up for a moment – falsely attractive like a

painted wall.

 

http://sanskrit.gde.to/doc_upanishhat/doc_upanishhat.html

 

raagaandhamindrajaalamiva maayaamaya.n svapnamiva

mithyaadarshana.n kadaliigarbha ivaasaara.n naTa iva kshaNaveshha.n

chitrabhittiriva mithyaamanoramamityathoktam.h .

 

Also Shvetashvatara upan. Ch. 6, refers to the world as its own

'projection', but the word picture is not used.

 

Mandukya Karika Ch. 4 , Alata-Shanti, emhasizes the movement but

not the background. Though Mandukya upan. mentions 'prapanchopashama'

in describing turiya.

 

 

Regards,

 

Sunder

[Guest guest]

Namaste Anandaji.

 

Thank you yet again for giving us a very beautiful post of

unparalleled insights (Atmandandaji's teaching # 7).

 

Yes. I am that self-iridescent screen. The logical analysis of deep

sleep and the gaps between succeeding thoughts is perfect and enables

us to `know' the existence of the screen. But, unfortunately, we

are, or at least I am, at a level much lower than Shri

Karunakaranji's # 6, wherefrom the screen (not to speak of the gaps

and sleep) is still not me but yet an objectification.

 

I would, therefore, like to read more from you about how Atmanadaji

can hold my hand and help me take the quantum leap to where I can

declare with fullest conviction that I am the screen, I am Knowledge.

 

I am sure you will again return to vidyA-vritti in this context, as

that, as far as I can see from your past mail, is the super-highway

to my real identity as Knowledge. But, what would be of interest to

me and certainly may others here is the importance attached by

Atmanandaji to devotion on the vidyA-vritti highway. By devotion I

mean here my logical understanding that I am everything and,

therefore, spontaneously in love with everything as I truly love only

myself. Isn't that love the happiness that I am which you so

brilliantly deduced in teaching # 6?

 

Personally for me, the acknowledgement of a favourite deity, the

Universal Mother, as the screen that I am, has been very helpful so

far. When She is logically seen in everything around and `inside',

why do we have to look for gaps and sleep? This is not to say that

the gaps and sleep have not helped my philosophical deductions. I am

only wondering if they should be given any further importance post-

deductions. Everything (including the gaps and sleep) becomes Her and

therefore me. It is a great equation that is emphasized in the

LalitA SahasranAma prayer: "AhamityEva vibhAvayE bhavanIm". There is

only shining (the jAnAmi of Sankara) and there is virtually

nothing `shone' for us to objectify. She is that jAnAmi and therefore

me by default. Isn't that Level # 6 of Karunakaranji? All the

previous levels that I had perceived in my analysis then collapse

into It irreversably. MAmEkam saraNam vraja of the Bhagawad GItA.

With that goes the mind and ego, which we so interminably erect and

analyze in our quest. Am I right, Sir? Will then Benji be not

answered? Will there be any dryness then in our philosophy for us to

lament?

 

I would much like to know if Atmanandaji has thought on these lines

or if I am chasing a chimera in my devotional outbursts?

 

PraNAms to you, your prolific pen (keyboard) and all advaitins.

 

Madathil Nair

[Guest guest]

> advaitin, Ananda Wood <awood@v...> wrote:

> >

> > How and where is this prakriya described in traditional and

ancient

> > texts?

>

 

Namaste,

 

Sw. Vidyaranya's Panchadasi, Chapter 6, titled 'Chitra-Deepa',

has a full exposition of 'background'.

 

 

Regards,

 

Sunder

[Guest guest]

This is a great "find" Sunder. I'll look it up when I get home from work today.

 

--Greg

 

At 02:59 PM 12/8/2003 +0000, Sunder Hattangadi wrote:

>> advaitin, Ananda Wood <awood@v...> wrote:

>> >

>> > How and where is this prakriya described in traditional and

>ancient

>> > texts?

>>

>

>Namaste,

>

> Sw. Vidyaranya's Panchadasi, Chapter 6, titled 'Chitra-Deepa',

>has a full exposition of 'background'.

>

>

>Regards,

>

>Sunder

>

>

>

>Discussion of Shankara's Advaita Vedanta Philosophy of nonseparablity of Atman

and Brahman.

>Advaitin List Archives available at: http://www.eScribe.com/culture/advaitin/

>To Post a message send an email to : advaitin

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>

>

>

>Your use of is subject to

[Guest guest]

Namaste Shri Sunder,

 

Thank you for the Upanishadic references to picture and background. The

reference to the Maitri Upanishad 4.2 is particularly useful. It is by

far the earliest that I've come across. Another is the Pancadashi,

chapter 6, but that is much later.

 

I have in mind to check also the Yoga-vasishtha. Easiest to check an

electronic version, but last time I tried I couldn't find one on the

web. Would you know of a suitable URL or have some advice for

searching?

 

Please don't put yourself to undue trouble over this. You've been

helful enough already.

 

Ananda

[Guest guest]

advaitin, Ananda Wood <awood@v...> wrote:

> I have in mind to check also the Yoga-vasishtha. Easiest to check an

> electronic version, but last time I tried I couldn't find one on the

> web. Would you know of a suitable URL or have some advice for

> searching?

 

Namaste Anandaji,

 

GRETIL (Univ. of Gottingen)has a good collection , and

includes Yoga-Vasishtha (?complete). I had problems with their fonts

(REE, CSX, UTF-8).

 

http://www.sub.uni-goettingen.de/ebene_1/fiindolo/gret_utf.htm#MoTik

 

Sw. Sivananda has an essay on it:

 

http://www.sivanandadlshq.org/religions/yogavasishtha.htm

 

 

Regards,

 

Sunder

[Guest guest]

advaitin, Ananda Wood <awood@v...> wrote:

 

Upanishadic references to picture and background.

 

Namaste Anandaji,

 

The term 'chitra-deepa' appears in Akshi upan.(#39), and

Tejobindu upan (6:79), but do not seem to have a specific context to

'background'.

 

nirvaaNashchitradiipa iva sthitaH .. 39..

 

chitrasthadiipaistamaso naashashchedastvida.n jagat.h .. 79..

 

Several quotations from Yoga Vasistha are at :

 

http://www.digiserve.com/mystic/Hindu/Vasishtha/index.html

 

http://uarelove1.tripod.com/STD8.htm (I could not locate the exact

link here, but it is on one of Michael L.'s web-pages)

 

 

Regards,

 

Sunder