Mircea Eliade YOGA IMMORTALITY AND ... - Brihaspati.net
Mircea Eliade YOGA IMMORTALITY AND ... - Brihaspati.net Mircea Eliade YOGA IMMORTALITY AND ... - Brihaspati.net
f6rmuhs are mystical. Even the supreme science can be obtained directly, without education, the proper pronunciation of certain mantra. But the technique is difficult, the pronunciation is preceded by a purification of thought, the practitioner must focus on each of the letters that make up the mantra, avoid fatigue, etc. . (ibid., p. 10). The efficiency of the mantra is unlimited due to the fact that they are (or at least can become, through a recitation correction ta) "objects" they represent. Each god, for example, and each possess a degree of holiness bijamantra a "mystical sound" that is its "seed" their "support" that is his very being. By repeating, according to the rules, this bijamantra, the practitioner appropriates its ontological essence, compares himself, in a con-crete and immediate to God, the state of holiness, and so on. It happens sometimes that a whole metaphysics that focused on a mantra. The 8,000 verses of the Mahayana Astasahasrika-treated volurninoso prajnaparamita were summarized in a few lines, which constitute the Prafna-paramHa-hrdayasutra; QStQ pequefio text was reduced to the few lines of the Prajna-paramtta-dharani, which in turn was concentrated in a Prajna-Paramumantra; finalmerite, this mantra was reduced to its "seed" the bi \ a-mar \ work pram? In such a way that could dominate the whole metaphysical prajnaparamita the syllable-ing murmur pram . However, there is a question of a "summary" of the prajnapara-mita, but direct and global assimilation of the "universal truth of emptiness" (Sunyata) in the form of a Goddess. For the entire cosmos with all its gods, its pianos and its modes of being, manifests itself in a certain number of mantra: the universe is sound, just as it is chromatic, formal, substantial, and so on. A mantra is a "symbol" in the archaic sense of the term: it is at the same time 7 B. Bhattacharya, An Introduction to esoteric Buddhism, p. 56. "reality" and symbolized the "sign" symbolizing. There is a mail order "hidden among the letters and syllables" mystical "(the matrka," mothers "and the daughter, the" seeds ") and the subtle organs of the human body, on the one hand, and the other between those organs and dormant or divine forces. manifested in the Cosmos. By working down on a "symbol", one "wakes up" all the forces it has, at all levels of being. Between mantrayana and iconography, for example There is a perfect match, then each level and each grade of holiness are an image, a color and a special letter. Meditating on the color or sound "mystical" which is depicted as one enters a certain mode of being, absorbed or incorporated into a state self yogi, a god, and so on. The "carriers" are standardized, we can start from any of them, using any "vehicle" (Imagerie, man-Trayana, etc.). to assimilate ontological modality or divine manifestations to be acquired. Among these multiple levels, there is continuity, but continuity mystical, that is impossible but that in certain "centers." Cosmos, as revealed in the Tantric conception, is a vast web of magical forces and these forces can be aroused or organized in the human po leather using techniques of mystical physiology When Vasubandhu, in his treatise Bodhisattvabhumi8 said that the true meaning of the mantra is its lack of signification and meditating on this non-signification, leads to understand the ontological unreality of the Universe, translated in terms of its own philosophy deep experience whose value did not see or did not care for if it is true that the repetition of the mantra overrides the "reality" of the profane world, this is only a first step of spirit, essential to achieve a "reality "deeper. All indefinite repetition leads to the destruction of language; in certain mystical traditions, this destruction seems to be the necessary
condition for further experiments. Excursus: the dhikr It had long noted the similarities between the tec-nica tantric yogi and dhikr Muslim, incessant repetition dH 8 Ed Wogihara, P. 272 et seq. reprinted in S. B. Dasgupta, An Introduction to Tantric Buddhism, p. 66. name of God. In a recent study, L. Gaxdet Largam-te explained the different varieties of dhikr, while also considering its relations with the yogay nembutsu eljapa-zen (see Note VI, 6). It is important to emphasize the mystical physiology assumed by the practice of dhikr: there is reference to "centers" and subtle organ, at some vision inside the human body, cro-demonstrations and acoustic nuances acompafian the various stages of experience, and so on. The discipline of breathing and pronunciation ritual play a vital role and the process of concentration has features similar to the method yogi. The problem of contacts historic areas and reciprocal influences between India and Islam is not resolved yet. Although the constant mention of God's name is entered in the Qur'an, and dhikr while enjoying great prestige among the Sufis, it is likely that the regulation of body positions and breathing techniques, re-regulation that mainly veld from the twelfth century, is due to Indian influence, at least in part, it is known that these were exercised clearly des-for the twelfth century (recipes in relation to the physics of ecstasy, etc.). "The texts that follow are not intended to provide an exposition of theology and technique of dhikr, but simply to highlight some similarities with the morphology of tantric yoga. According to Ibn Iyad "begins the recitation from the left side (breast) which is like the niche that holds the lamp of the heart, the focus of spiritual clarity. Continue doing the recitation of the lower chest, the right side and climbing to the top of this. It goes back to the start position (trans. L. Gardet, p. 654). According to Muhammad al- Sanusi, "to take positions consist (...) curl up on the floor, with her legs crossed, arms around the legs, head down between his knees and eyes closed. He raises his head saying la ilaha during the period between the arrival of the head at the level of the heart and its position on the right shoulder. We must take care of the spirit himself away from everything that is alien to God. When the mouth is at the heart level, strongly articulated ilia (...) invocation and Allah is pronounced against the heart in a more energy-ca. .. "(Trans. Gardet, 654-655). Chosen formula is repeated as many times as possible in order to" reach enumeraci6n end all, once assured of continuity of prayer "(Gardet, 656 ). There is agreement between respiration rate and the pace of verbal repetition. A twelfth-century text (referring to the oldest known collective dhikr) prescribed: the respiration is "emitted above the right breast (to empty the heart) , then the word is exhaled from the navel (against Demor>, or sexual), then ilaha is pronounced on the right shoulder, and ilia in the navel, and finally Allah is pronounced strongly in the empty heart "(Massignon, quoted by Gardet, p. 658). A modern author, Shaykh Muhammad Amin al-Kurdi (d. 1914), in his treatise al-Quloob Tanwir gives us even more precise details, concerning the relation between the respiration, the "centers" of the subtle body and the mystical syllable during the dhikr (texts translated in Jean Gouillard, the Philocalie Petite Prière du Coeur, Paris, 1953, p. 317 et seq. The passage is inserted on pages 332-333): "The dhaka stick your tongue to the palate of the throat, after vacuuming, will retain his breathing. Tonces begin inpronunciation of the word imagine it placed below the navel, from there take that word
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f6rmuhs are mystical. Even the supreme science can be obtained directly, without<br />
education, the proper pronunciation of certain mantra. But the technique is difficult, the<br />
pronunciation is preceded by a purification of thought, the practitioner must focus on<br />
each of the letters that make up the mantra, avoid fatigue, etc. . (ibid., p. 10).<br />
The efficiency of the mantra is unlimited due to the fact that they are (or at least can<br />
become, through a recitation correction ta) "objects" they represent. Each god, for<br />
example, and each possess a degree of holiness bijamantra a "mystical sound" that is its<br />
"seed" their "support" that is his very being. By repeating, according to the rules, this<br />
bijamantra, the practitioner appropriates its ontological essence, compares himself, in a<br />
con-crete and immediate to God, the state of holiness, and so on. It happens sometimes<br />
that a whole metaphysics that focused on a mantra. The 8,000 verses of the Mahayana<br />
Astasahasrika-treated volurninoso prajnaparamita were summarized in a few lines, which<br />
constitute the Prafna-paramHa-hrdayasutra; QStQ pequefio text was reduced to the few<br />
lines of the Prajna-paramtta-dharani, which in turn was concentrated in a Prajna-Paramumantra;<br />
finalmerite, this mantra was reduced to its "seed" the bi \ a-mar \ work pram? In<br />
such a way that could dominate the whole metaphysical prajnaparamita the syllable-ing<br />
murmur pram .<br />
However, there is a question of a "summary" of the prajnapara-mita, but direct and global<br />
assimilation of the "universal truth of emptiness" (Sunyata) in the form of a Goddess. For<br />
the entire cosmos with all its gods, its pianos and its modes of being, manifests itself in a<br />
certain number of mantra: the universe is sound, just as it is chromatic, formal,<br />
substantial, and so on. A mantra is a "symbol" in the archaic sense of the term: it is at the<br />
same time<br />
7 B. Bhattacharya, An Introduction to esoteric Buddhism, p. 56.<br />
"reality" and symbolized the "sign" symbolizing. There is a mail order "hidden among the<br />
letters and syllables" mystical "(the matrka," mothers "and the daughter, the" seeds ") and<br />
the subtle organs of the human body, on the one hand, and the other between those organs<br />
and dormant or divine forces. manifested in the Cosmos. By working down on a<br />
"symbol", one "wakes up" all the forces it has, at all levels of being. Between mantrayana<br />
and iconography, for example There is a perfect match, then each level and each grade of<br />
holiness are an image, a color and a special letter. Meditating on the color or sound<br />
"mystical" which is depicted as one enters a certain mode of being, absorbed or<br />
incorporated into a state self yogi, a god, and so on. The "carriers" are standardized, we<br />
can start from any of them, using any "vehicle" (Imagerie, man-Trayana, etc.). to<br />
assimilate ontological modality or divine manifestations to be acquired. Among these<br />
multiple levels, there is continuity, but continuity mystical, that is impossible but that in<br />
certain "centers." Cosmos, as revealed in the Tantric conception, is a vast web of magical<br />
forces and these forces can be aroused or organized in the human po leather using<br />
techniques of mystical physiology<br />
When Vasubandhu, in his treatise Bodhisattvabhumi8 said that the true meaning of the<br />
mantra is its lack of signification and meditating on this non-signification, leads to understand<br />
the ontological unreality of the Universe, translated in terms of its own philosophy<br />
deep experience whose value did not see or did not care for if it is true that the repetition<br />
of the mantra overrides the "reality" of the profane world, this is only a first step of spirit,<br />
essential to achieve a "reality "deeper. All indefinite repetition leads to the destruction of<br />
language; in certain mystical traditions, this destruction seems to be the necessary