"In Wonders We Sail, Questing for the Answers in Veil"

Monday, January 2, 2012

Eternal Wave of Creativity

All geniuses around the world,lived and living ,irrespective of their fields,are not those who possessed a heavy brain,nor a mind different from us,neither managed some super-natural thoughts that pulled them in to that level of intelligence.In-fact they are the ones,who understood and tuned their mind in to the higher realms or the planes of consciousness,from where they deciphered their great ideas or the patterns.So the source (God) remained and always remains as a pure vibratory waves pulsating eternally without beginning nor end,hence it is their passion that drove them in to it,and it is them who unraveled that wave in to their own creativity.

Therefore,God is in music,in poetry,in art,in mathematics (science),in sports and also in all form of ideas. So It is that creative power,who communicated with them,through the mediums of their passion,It is in that infinity the alpha and omega of creativity lies.And this is how,the divinity expresses itself to our world.

by Satprem

The planes of consciousness are characterized not only by different intensities of luminous vibrations, but by different sound-vibrations or rhythms one can hear when one has that "ear of ears" the Veda speaks of. Sounds or images, lights or forces or beings are various aspects of the same Existence manifesting differently and in varying intensities according to the plane. The farther one descends the ladder of consciousness, the more fragmented become the sound-vibrations, as well as the light, the beings, and the forces. On the vital plane, for example, one can hear the discordant and jarring vibrations of life, like certain types of music issuing from this plane or certain types of vital painting or poetry, which all express that broken and highly colored rhythm. The higher one rises, the more harmonious, unified and streamlined the vibrations become, such as certain great notes of Beethoven's string quartets, which seem to draw us upward, breathlessly, to radiant heights of pure light. The force of the music is no longer a matter of volume or multi-hued outbursts, but of a higher inner tension. The higher frequency of vibration turns the multi-hued rainbow to pure white, to a note so high that it seems motionless, as if captured in eternity, one single sound-light-force which is perhaps akin to the sacred Indian syllable OM – [the] Word concealed in the upper fire. "In the beginning was the Word," the Christian Scriptures also say.

There exists in India a secret knowledge based upon sounds and the differences of vibratory modes found on different planes of consciousness. If we pronounce the sound OM, for example, we clearly feel its vibrations enveloping the head centers, while the sound RAM affects the navel center. And since each of our centers of consciousness is in direct contact with a plane, we can, by the repetition of certain sounds (japa), come into contact with the corresponding plane of consciousness. This is the basis of an entire spiritual discipline, called "tantric" because it originates from sacred texts known as Tantra. The basic or essential sounds that have the power to establish the contact are called mantras. The mantras, usually secret and given to the disciple by his Guru, are of all kinds (there are many levels within each plane of consciousness), and may serve the most contradictory purposes. By combining certain sounds, one can at the lower levels of consciousness – generally at the vital level – come in contact with the corresponding forces and acquire many strange powers: some mantras can cause death (in five minutes, with violent vomiting), some mantras can strike with precision a particular part or organ of the body, some mantras can cure, some mantras can start a fire, protect, or cast spells. This type of magic, or chemistry of vibrations, derives simply from a conscious handling of the lower vibrations. But there is a higher magic, which also derives from handling vibrations, on higher planes of consciousness. This is poetry, music, the spiritual mantras of the Upanishads and the Veda, the mantras given by a Guru to his disciple to help him come consciously into direct contact with a special plane of consciousness, a force or a divine being. In this case, the sound holds in itself the power of experience and realization – it is a sound that makes one see.

Similarly, poetry and music, which are but unconscious processes of handling these secret vibrations, can be a powerful means of opening up the consciousness. If we could compose conscious poetry or music through the conscious manipulation of higher vibrations, we would create masterpieces endowed with initiatory powers. Instead of a poetry that is a fantasy of the intellect and a nautch-girl of the mind, as Sri Aurobindo put it, we would create a mantric music or poetry to bring the gods into our life. For true poetry is action; it opens little inlets in the consciousness – we are so walled in, so barricaded! – through which the Real can enter. It is a mantra of the Real, an initiation. This is what the Vedic rishis and the seers of the Upanishads did with their mantras, which have the power of communicating illumination to one who is ready. This is what Sri Aurobindo has explained in his Future Poetry and what he has accomplished himself in Savitri.

Mantras, great poetry, great music, or the sacred Word, all come from the overmind plane. It is the source of all creative or spiritual activity (the two cannot be separated: the categorical divisions of the intellect vanish in this clear space where everything is sacred, even the profane). We might now attempt to describe the particular vibration or rhythm of the overmind. First, as anyone knows who has the capacity to enter more or less consciously in contact with the higher planes – a poet, a writer, or an artist – it is no longer ideas one perceives and tries to translate when one goes beyond a certain level of consciousness: one hears. Vibrations, or waves, or rhythms, literally impose themselves and take possession of the seeker, and subsequently garb themselves with words and ideas, or music, or colors, during the descent. But the word or idea, the music or color is merely a result, a byproduct: it only gives a body to that first, highly compelling vibration. If the poet, the true one, next corrects and recorrects his draft, it is not to improve the form, as it were, or to find a more adequate expression, but to capture the vibrating life behind more accurately; if the true vibration is absent, all the magic disintegrates, as a Vedic priest mispronouncing the mantra of the sacrifice. When the consciousness is transparent, the sound can be heard distinctly, and it is a seeing sound, as it were, a sound-image or a sound-idea, which inseparably links hearing to vision and thought within the same luminous essence. All is there, self-contained, within a single vibration. On all the intermediate planes – higher mind, illumined or intuitive mind – the vibrations are generally broken up as flashes, pulsations, or eruptions, while in the overmind they are great notes. They have neither beginning nor end, and they seem to be born out of the Infinite and disappear into the Infinite; they do not "begin" anywhere, but rather flow into the consciousness with a kind of halo of eternity, which was vibrating beforehand and continues to vibrate long afterward, like the echo of another voyage behind this one:

Sunt lacrimae rerum et mentem mortalia tangunt.

This line by Virgil, which Sri Aurobindo has cited as foremost among inspirations of an overmental origin, owes its overmental quality not to the meaning of the words but to the rhythm that precedes the words and follows them, as if they were inscribed on a backdrop of eternity or, rather, by Eternity itself. So, too, this line by Leopardi does not owe its greatness to the meaning but to that something so subtly more than the meaning, which quivers behind it:

Insano indegno mistero delle cose.

Or this line by Wordsworth:

Voyaging through strange seas of thought, alone.

And Sri Aurobindo also cited Rimbaud:

Million d'oiseaux d'or, o future Vigueur!

Poetry is restored to its true role, which is not to please but to make the world more real by infusing more Reality into it.If we are religious-minded, perhaps we will see the gods who inhabit this world. Beings, forces, sounds, lights, and rhythms are just so many true forms of the same indefinable, but not unknowable, Essence we call "God"; we have spoken of God, and made temples, laws or poems to try to capture the one little pulsation filling us with sunshine, but it is free as the wind on foam-flecked shores. We may also enter the world of music, which in fact is not different from the others but a special extension of this same, great inexpressible Vibration. If once, only once, even for a few moments in a lifetime, we can hear that Music, that Joy singing above, we will know what Beethoven and Bach heard; we will know what God is because we will have heard God. We will probably not say anything grandiose; we will just know that That exists, whereupon all the suffering in the world will seem redeemed.

At the extreme summit of the overmind, there only remain great waves of multi-hued light, says the Mother, the play of spiritual forces, which later translate – sometimes much later – into new ideas, social changes, or earthly events, after crossing one by one all the layers of consciousness and suffering a considerable distortion and loss of light in the process. There are some rare and silent sages on this earth who can wield and combine these forces and draw them down onto the earth, the way others combine sounds to write a poem. Perhaps they are the true poets. Their existence is a living mantra precipitating the Real upon earth.


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