Detailed Darshan news 9th & 10th March - updated

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SBOI Darshan News 9th and 10th March

Yesterday evening (9th march) Swami came at 4:00 p.m. A programme presented by

senior boy students called BurraKatha roughly translated it means traditional

way of telling life History of an individual. 3 students played a part each -

with their inspiring singing, humor & dialogue they communicated the (Katha)

story to the spectators in Kulwant hall. One can observe & perceive all the

navarasas* (Below you'll find added definition of all the 9 Rasa) in this kind

of play. The BurraKatha evoke spiritual feelings in us, these emotions, or

rasas are what give life different hues, shades and colours and students try to

describe and communicate thru BurraKatha, precisely this. Yesterday’s BurraKatha

was about our own Swami, the Burrakatha was role-played excellently by the

students. Swami really liked the Burrakatha and couldn’t hide his joy; Swami

clapping at the conclusion of the play was its affirmation.

The songs in the Katha were really touching and emotional; complying to the

traditional Indian NatyaShastra. [The Natya Shastra describes nine rasas or

NavaRasas that are the basis of all human emotion. Each is commented upon in

detail. It is useful to keep in mind that a rasa encompasses not just the

emotion, but also the various things that cause that emotion. These two things

go hand in hand and are impossible to treat separately. This duality is part of

every rasa to varying degrees.] Swami blessed the writer of this excellent

piece (BurraKatha) not only he (writer) had scripted this play but also

instructed and gave guidance to boy students. Swami also got up from His chair

& posed for treasured pictures (Memorable photo with Swami) with the performing

boys. Noticeably, everyone present enjoyed the play; truly it was like food for

the soul.

Darshan news 10th March - Morning : Swami came out at 8:55 to bless all with

His divine darshan! As you all must have read in our previous darshan reports

that Swami is visiting His new residence almost on daily basis. SBOI has been

informed that today also Swami visited His new residence before coming to Sai

Kulwant hall. At the moment plumbers, carpenters etc. are working inside the

new building and no doubt the most blessed lot too! Morning weather, pleasant!

It’s been drizzling and sun was playing hide and seek this morning. Buzz around

Swami’s travel itinerary is that He will most definitely stay in Puttaparthi up

to Ugadi celebrations: 30th March -

Evening: 10th March 10, 2006 Today Eve Swami came at 4:35 p.m. Swami took a

complete round of the Kulwant hall & got down near Interview room. Swami called

a visiting doctor and spoke to him. Swami also went inside the bhajan mandir on

his chair. He went all the way down the Bhajan Hall aisles end & came out from

“back” door to the end of the upper portico talking to devotees there, after

that Swami went inside the interview room Bhajans started as usual at 5.00 &

ended at 5:40. Swami walked till His Porte car after that the Porte car slowly

drove towards Swami’s residence.These days Swami is visiting his new residence

regularly. Mostly, Swami first goes to his new residence then he comes for

darshan. Source: group

 

Navarasa

ShringaraShringara means love and beauty. This is the emotion used to represent

that which appeals to the human mind, that which one finds beautiful, that

which evokes love. This is indeed the king of all rasas and the one that finds

the most frequent portrayal in art. It can be used for the love between

friends, the love between a mother and her child, the love for god or the love

between a teacher and his disciples. But the Shringara or love between a man

and a woman is easily the most popular form of this rasa. Rich imagery is

associated with this love and it gets portrayed at many different intensities

esp in Classical Indian dance. The sweet anticipation of a woman as she waits

for her lover is as much Shringara as the passion she feels for her first love,

a passion that so heightens her sensitivity that even the moonbeams scorch her

skin. In Indian music too this rasa finds wide portrayal through beautiful

melodies. HasyaHasya it the rasa used to express joy or mirth. It can be used

to depict simple lightheartedness or riotous laughter and everything in

between. Teasing and laughing with a friend, being amused and carefree or

simply feeling frivolous and naughty -- these are all facets of hasya. Lord

Krishna's childhood, when he was the darling of all Gokul is filled with many

stories of his naughty activities. This mirth, which endeared him to all, is

one of the common sources of hasya in all ancient Indian art forms. Clearly,

where there is hasya, all is well with the world, there is joy all around and

all are of good cheer. BhibatsyaBhibatsya is disgust. The emotion evoked by

anything that nauseates us, that revolts or sickens us is Bhibatsya. When

something comes to our notice that is coarse and graceless, beneath human

dignity, something which revolts or sickens us it is Bhibatsya that we feel.

When Prince Siddhartha, as a young nobleman, saw for the first time sickness,

old age and death, he was moved to disgust which later metamorphosed into

sorrow, deep introspection and peace, as he transformed into Gautama, the

Buddha -- or the Enlightened one. Not surprisingly, this emotion is usually

represented fleetingly. It usually acts as a catalyst for higher and more

pleasant emotions. RowdraRowdra is anger and all its forms. The self-righteous

wrath of kings, outrage over audacious behaviour and disobedience, the fury

caused by an offense, the rage evoked by disrespect and anger over injustice

are all forms of Rowdra, probably the most violent of rasas. Rowdra also

encompasses divine fury and the fury of nature which is used to explain

unexpected calamities and natural disasters. In Indian mythology, Lord Shiva,

the Destroyer, is thought of as the master of all disharmony and discord. Shiva

performing the tandav -- a violent dance -- is what creates havoc in the three

worlds namely the sky, the earth and the nether world. ShantaShanta is serenity

and peace. It represents the state of calm and unruffled repose that is marked

simply by the lack of all other rasas. Because all emotions are absent in

Shanta there is controversy whether it is a rasa at all. According to Bharata,

the author of NatyaShastra, the other eight rasas are as proposed originally by

Brahma, and the ninth, Shanta, is his contribution. Shanta is what the Buddha

felt when he was enlightened, when he reached the higher spiritual plane that

led him to salvation or nirvana and freed him from the cycle of life and death.

Shanta represents complete harmony between the mind, body and the universe.

Sages in India meditate for entire lifetimes to attain this state. In music it

is often represented through a steady and slow tempo. Shanta is a clear and

cloudless state. Shanta is untroubled steadiness. Shanta is the key to

eternity. VeeraVeera is heroism. It represents bravery and self-confidence.

Manliness and valiance are the trademarks of a Veer or a fearless person.

Courage and intrepidity in the face of daunting odds is heroism. Boldness in

battle, the attitude with which martyrs go to war, and the valour with which

they die are all aspects of heroism. Rama, the hero of the Ramayan, is

typically the model for this Rasa. His confidence and heroism while facing the

mighty ten-headed demon king Ravana is part of Indian legend, folklore and

mythology. A somewhat different type of heroism is displayed by characters like

Abhimanyu, who went to war knowing fully that he would be severely outnumbered

and almost certainly die and yet fought so bravely as to earn accolades even

from his enemies. In Indian music this rasa is represented by a lively tempo

and percussive sounds. BhayaBhaya is fear. The subtle and nameless anxiety

caused by a presentiment of evil, the feelings of helplessness evoked by a

mighty and cruel ruler, and the terror felt while facing certain death are all

aspects of bhaya. The fear for one's well being and safety is supposed to be

the most primitive feeling known to man. Bhaya is the feeling evoked while

facing something that is far bigger and more powerful than oneself and which is

dead set on one's destruction. Bhaya is the feeling of being overwhelmed and

helpless. Dread, cowardice, agitation, discomposure, panic and timidity are all

aspects of the emotion of fear. Bhaya is also used to characterize that which

causes fear. People and circumstances that cause others to cower in terror

before them are as central to portrayal of this rasa as those feeling the fear.

KarunaKaruna is grief and compassion. The feelings of unspeakable tragedy and

despair, utter hopelessness and heartbreak, the sorrow caused by parting with a

lover, the anguish caused by the death of a loved one are all Karuna. So also,

the compassion and empathy aroused by seeing someone wretched and afflicted is

Karuna. The sympathy and fellow feeling that sorrow engenders in the viewer is

also karuna. Karuna can be of a personal nature as when one finds oneself

depressed, melancholy and distressed. More impersonal sorrows relate to the

despair regarding the human condition in general, the feeling that all human

life is grief and suffering. It is Karuna of this sort that the Buddha was

trying to overcome on his path to salvation. AdbhutaAdbhuta is wonder and

curiosity. The awe that one feels when one comes across something divine and

supernatural, some power or beauty that is remarkable and never seen or

imagined before is Adbhuta. Adbhuta is the curiosity of man regarding the

creation of the world and all its wonders, the astonishment caused by seeing

something unusual and magical. The appreciation of a marvel that goes beyond

the routine and the mundane is Adbhuta. The glory of a king returning from a

successful battle, the magical feats of a god are both adbhuta to a common man.

Adbhuta is when divinity makes a surprise appearance in the world of men.

 

Prasanthi Mandir: Turn your computer screen into Prasanthi mandir, this high

resolution & digitally enhanced wallpaper is available at SBOI . A must for all

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