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According to Abhinavagupta
As mentioned in the previous Part, it is explained that the process of manifestation of speech, like that of the Universe, takes place in four stages. First, in the undifferentiated substratum of thought an intention appears. This first impulse, the self-radiant consciousness (Sva-prakasha-chaitanya) is Para-vac (the voice beyond). Thereafter, this intention takes a shape. We can visualize the idea (Pashyanthi-vac) though it is yet to acquire a verbal form. It is the first sprout of an invisible seed; but, yet searching for words to give expression to the intention. This is the second stage in the manifestation of the idea. Then, the potential sound, the vehicle of the thought, materializes, finding words suitable to express the idea. This transformation of an idea into words, in the silence of the mind, is the third stage. It is the intermediary stage (Madhyama-vac) between un-manifest and manifest. The fourth stage being manifestation of the till then non-vocal verbalized ideas into perceptible sounds. It is the stage where the ideas are transmitted to others through articulated audible syllables (Vaikhari-vak). These four stages are the four forms of the word.
In this part, let's talk about the theories expounded and the explanations offered by two of the great thinkers – Abhinavagupta and Bhartrhari – on the subject of different levels of speech or awareness.
While Bhartrhari regards levels of speech as three (Pashyanti, Madhyama and Vaikhari), Abhinavagupta discusses on four levels (Para, Pashyanti, Madhyama and Vaikhari).
Some scholars have tried to reconcile that seeming difference between the stance of the two scholars by explaining that Bhartrhari's concept of the speech-principle Sabda-tattva or Sabda-brahman the fundamental basis of the all existence, virtually equates to Para Vac , the Supreme Consciousness adored by Abhinavagupta. In this connection, they remind of a passage in Bhartrhari's Vritti on his Vakyapadiya where the description of Paśyantī Vac is followed by a subtle hint at a paraṃ paśyantī – rūpam, which they take it as pointing towards Abhinavagupta 's Parā Vāc.
Let's briefly take a look at the theories expounded by Abhinavagupta on various stages of language, speech and consciousness.
Abhinavagupta Acharya (Ca. 950 to 1020 C.E) the great philosopher, mystic and a true sadhaka, was the intellectual and a spiritual descendant of Somananda the founder of the Pratyabijnya School of Kashmiri Shaiva monism. He was a many sided genius; a visionary endowed with incisive intellectual powers of a philosopher who combined in himself the experiences of a spiritualist and a Tantric. He was a prolific writer on Philosophy, Tantra, Aesthetics, Natya, Music and a variety of other subjects. His work Tantraloka in which he expounds Anuttara Trika, the 'most excellent' form of Trika Shaivism (Nara- Shakthi- Shivatmakam Trikam) is regarded as his magnum opus. It is a sort of an encyclopedia on Tantra – its philosophy, symbolism and practices etc.
Abhinavagupta was also a scholar-commentator par excellence, equipped with extraordinary skills of an art critic. Among his notable commentaries are: the Īśvarapratyabhijñā-vimarśini and its detailed version Isvara-pratyabhijña-vivrti-vimarsini, both being commentaries on Isvara-Pratyabhijña – kārikā and vṛtti (Recognition of Shiva as self) by Utpaladeva or Utpalācārya (early 10th century), an earlier philosopher of the Pratyabhijñā Darśhana School. And, Abhinavagupta's Paratrisika-Laghuvritti (also known as the Anuttara-tattva-vimarsini) and its expanded form Parātrīśikā–vivarana a commentary on Parātrīśikā also known as the Trikasūtra (a seminal text on Kashmiri Shaivism) – which is based in the concluding portion of the Rudra-yamala-tantra – is held in high esteem.
And, his work Abhinavabharati though famed as a commentary on Bharata's Natyasastra is, for all purposes, an independent treatise on aesthetics in Indian dance, poetry, music and art; and , it helps in understanding Bharata and also a number of other scholars and the concepts they had put forth. The Abhinavabharati along with his other two works – Isvara pratyabhijna Vimarshini and Dhvanyaloka Lochana – are highly significant works in the field of Indian aesthetics.
[For more on Abhinavagupta, please click here]
Generally speaking, the Tantra-s of all tendencies deal with the nature of Vac and its manifestations. But, the tradition to which Abhinavagupta belonged – namely the Bhairava Tantra, and in particular to the Kula and Trika Tantras – differs from the others in that it bestows greater importance to the nature and to the role of Vac. It views Vac (language) at its highest level as identical with the Supreme Reality.
Abhinavagupta's ideas and concepts with regard to language are based in the scriptures of his School and in his philosophy of language. Abhinavagupta's speculations on the nature, on the levels of Vāc and its manifestations are, therefore, some of the important aspects of all his works. They run like a thread that ties together the diverse aspects of Abhinavagupta's vast body of works. The speculations on Vac also interweave his views on the religious and philosophical traditions that he expounds.
According to the Pratyabhijna School, Shiva is the Ultimate Reality; and, the individual and Shiva are essentially one. The concept of Pratyabhijna refers to self-awareness (parämarsa); to the way of recognition and realization of that identity. It firmly asserts that the state of Shiva-consciousness is already there; you have to realize that; and, nothing else. As Abhinavagupta puts it: Moksha or liberation is nothing but the awareness of one's own true nature –Moksho hi nama naivathyah sva-rupa-pratanam hi tat.
Abhinavagupta, while explaining this school of recognition, says, man is not a mere speck of dust; but is an immense force, embodying a comprehensive consciousness; and, is capable of manifesting , through his mind and body, limitless powers of knowledge and action (Jnana Shakthi and Kriya Shakthi).
According to the Tantras of Kashmir Shaiva tradition, which recapture the ancient doctrine of Sphota, the manifestation of all existence is viewed as the expression of Shiva (visarga-shakthi) occurring on four levels. These represent the process of Srsti or outward movement or descending or proceeding from the most sublime to the ordinary. It is said; such four levels of evolution correspond with the four levels of consciousness or the four levels in the unfolding (unmesa) of speech (Vac).
Just as a Samkalpa (a pure thought) has to pass through several stages before it actually manifests as a concrete creative force, so also the Vac has to pass through several stages before it is finally audible at the gross level as Sabda (sound). Each level of Vac corresponds to a different level of existence. Our experience of Vac depends upon the refinement of our consciousness.
The latent, un-spoken, un-manifest, silent thought (Para) unfolds itself in the next three stages as pashyanti (thought visualized), Madhyamā (intermediate) and Vaikhari (explicit) speech).
Though the speech (Vac) is seen to manifest in varied levels and forms, it essentially is said to be the transformation (Vivarta) of Para Vac, the Supreme consciousness (Cit), which is harboured within Shiva in an undifferentiated (abheda) unlimited form (Swatrantya).
Abhinavagupta describes Parā vāk as a luminous vibration (sphurattā) of pure consciousness in an undifferentiated state (paramam vyomam). While Shiva is pure consciousness (Prakasha); Devi is the awareness of this pure light (Vimarsha). It is highly idealized; and, is akin to a most fabulous diamond that is also aware of its own lustre and beauty. The two – Prakasha and Vimarsha – are never apart. The two together are manifest in the wonder and joy (Chamatkara) of Para vac. And, there is no knowledge, no awareness, which is not connected with a form of Para vac.
The Devi, as Parā Vāc, the vital energy (prana shakthi) that vibrates (spanda) is regarded as the foundation of all languages, thoughts, feelings, and perceptions; and, is, therefore, the seat of consciousness (cit, samvid). Consciousness, thus, is inseparable from the Word, because it is alive.
Vac (speech), he says, is a form of expression of consciousness. And, he argues, there could be no speech without consciousness. However, Consciousness does not directly act upon the principle of speech; but, it operates through intermediary stages as also upon organs and breath to deliver speech.
Thus, Vac is indeed both speech and consciousness (chetana), as all actions and powers are grounded in Vac. Abhinavagupta says: Someone may hear another person speak, but if his awareness is obscured, he is unable to understand what has been said. He might hear the sounds made by the speaker (outer layer of speech); but, he would not be able to grasp its meaning (the inner essence – antar-abhiläpa)).
Abhinavagupta explains the process of evolution (Vimarsa) of speech in terms of consciousness, mind and cognitive activity (such as knowing, perceiving, reasoning, understanding and expressing).
In his Īśvara-pratyabhijñā-viṛti-vimarśinī Abhinavagupta says: the group of sounds (Sabda-rasi) is the Supreme Lord himself; and, Devi as the array of alphabets (Matraka) is his power (Shakthi) .
iha tāvat parameśvaraḥ śabdarāśiḥ, śaktir asya bhinnābhinnarūpā mātṛkādevī, vargāṣṭakaṃ rudraśaktyaṣṭakaṃ pañcāśad varṇāḥ pañcāśad rudraśaktayaḥ
Abhinavagupta says: "When She (Parā vāc) is differentiating then she is known in three terms as Pašhyantī, Madhyamā, and Vaikharī." The Kashmir Shaiva tradition, thus, identifies the Supreme Word, the Para Vac with the power of the supreme consciousness, Cit of Shiva – that is Devi the Shakthi.
According to Abhinavagupta, the Vac proceeds from the creative consciousness pulsations (spanda) of the Devi as Para-Vac, the most subtle and silent form of speech-consciousness. And then, it moves on, in stages, to more cognizable forms: Pashyanti (Vak-shakthi , going forth as seeing , ready to create in which there is no difference between Vachya– object and Vachaka – word); Madhyamā ( the sabda in its subtle form as existing in the anthahkarana or antarbhittï prior to manifestation); and , Vaikhari (articulated as gross physical speech). This is a process of Srsti or outward movement or descending proceeds from the most sublime to the mundane.
It is said; the gross aspect (sthūlaṃ) of nāda is called 'sound'; while the subtle (sūkṣmaṃ) aspect is made of thought (cintāmayaṃ bhavet); and, the aspect that is devoid of thought (cintayā rahitaṃ) is called Para, the one beyond
Sthūlam śabda iti proktaṃ sūkṣmaṃ cintāmayaṃ bhavet | cintayā rahitaṃ yat tu tat paraṃ parikīrtitam |
[This is similar to the structure and the principle of Sri Chakra where the consciousness or the energy proceeds from the Bindu at its centre to the outward material forms.
The Bindu or dot in the innermost triangle of the Sri Chakra represents the potential of the non-dual Shiva-Shakti. When this potential separates into Prakasha and Vimarsha it is materializes into Nada, the sound principle.]
There are also other interpretations of the four stages in the evolution of Vac.
:-It is also said; the stages of Para, Pashyanti, Madhyamā and Vaikhari correspond to our four states of consciousness – Turiya (the transcendental state); Sushupti (dreamless state); Swapna (dreaming state), and Jagrut (wakeful state).
Thus, Para represents the transcendental consciousness, Pashyanti represents the intellectual consciousness, Madhyamā represents the mental consciousness, and Vaikhari represents the physical consciousness. Our ability to experience different levels depends upon the elevation of our consciousness.
:-The three lower forms of speech viz. Pashyanthi, Madhyama and Vaikhari which correspond to intention, formulation and expression are said to represent iccha-shakthi (power of intent or will), jnana-shakthi (power of knowledge) and kriya-shakthi (power of action) of the Devi .These three are construed as the three sides of the triangle at the centre of which is the dot-point (bindu) representing the undifferentiated notion Para-vac. The triangle with the Bindu at its centre suggests the idea of Isvara the divinity conceived as Sabda-Brahman.
Rāmakantha (aka Rājānaka Rāma; Ca. 950 CE) in his commentary (Vritti) on Spandakārikā, explains, "The speech is indeed an action, the mediating part of the Word is made of knowledge, the will is its visionary part, which is subtle and is common essence in all [of them]."
Vaikharikā nāma kriyā jñānamayī bhavati madhyamā vāk/ Icchā punaḥ pašyant ī sūkṣmā sarvāsāṃ samarasā vṛttiḥ/ /
:-According to the Yoga School, the Para stage manifests in the Karanabindu in Muladhara chakra; and then it passes through Manipura and Anahata chakras that denote Pashyanti and Madhyama states of sound. And, its final expression or Vaikhari takes place in Vishudhi chakra.
The Yoga Kundalini Upanishad explains thus: "The Vac which sprouts in Para gives forth leaves in Pashyanti; buds forth in Madhyamā, and blossoms in Vaikhari."
:-The Tantra worships Devi as Parā Vāc who creates, sustains and dissolves the universe. She is the Kuṇḍalinī Śkakthi – the serpent power residing in the human body in the subtle form coiling around the Mūladhāra Chakra
According to Abhinavagupta, the Para Vac is always present and pervades all the levels of speech; and, is indeed present on all the levels from the highest to the lowest. By its projection, it creates the flash of pašyantī vāc, the intellectual form; and finally the articulate form, the Vaikhari. He also says that without Her (parā vāk), darkness and unconsciousness, would prevail.
pašyantyādi dašasv api vastuto vyavasthitā tayā vinā / pašyantyādiṣu aprakāšatāpattyā jaJaṭā-prasaṅgāt /
"Everything (sarvasarvātmaiva); stones, trees, birds, human beings, gods, demons and so on, is but the Para Vac present in everything and is, identical with the Supreme Lord."
ata eva sarve pāšāṇa-taru-tiryaṅ-manuṣya-deva-rudra-kevali -mantratadīša- tanmahešādikā ekaiva parābhaṭṭārikā-bhūmiḥ sarva-sarvātmanaiva paramešvara- rūpeṇāste
Thus, the entire process of evolution of Vac is a series of movements from the centre of Reality to the periphery, in successive forms of Para-Vani. Abhinavagupta states: Shiva as Para is manifested in all the stages, from the highest to the lowest, right up to the gross sound through his Shakthi; and, he remains undivided (avibhaga vedanatmaka bindu rupataya).
To put the entire discussion in a summary form:
:- According to the explanations provided here: 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.
Thus, it is said, there are three stages in the manifestation of Vac: Para (highest); Sukshma (subtle – Pashyanti and Madhyama); and, Sthula (gross – Vaikhari)
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. One could say, it 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.
Para-Vani or Para Vac, the Supreme Word, which is non-dual (abeda) and identified with Supreme consciousness, often referred to as Sabda Brahma, is present in all the subsequent stages; in all the states of experiences and expressions as Pashyanti, Madhyamā and Vaikhari.
:- Pashyanti , which also means the visual image of the word, is the first stage of Speech. It is the intuitive and initial vision; the stage preceding mental and verbal expression.
Paśyantī is prior to sprouting of the language or 'verbalization', still potent and yet to unfold. Pasyanti, says Abhinavagupta, is the first moment of cognition, the moment where one is still wishing to know rather than truly knowing.
In Pashyanti (Vak-shakthi, going forth as seeing, ready to create) there is no difference between Vachya – object and Vachaka – word. The duality of subject-object relation does not exist here. Pashyanti is indivisible and without inner-sequence; meaning that the origin and destination of speech are one, without the intervention of mental constructs (Vikalpa). Paśyantī is the state of Nirvikalpa.
It is the power of intent or will (Icchāśakti) that acts in Paśhyantī state. And yet, it carries within itself the potentials of the power of cognition, jñāna šhakthi, and the power of action, kriyā šhakthi.
:- Madhyama is an intellectual process, during which the speaker becomes aware of the word as it arises and takes form within him; and, grasps it. Madhyama vac is a sequenced but a pre-vocal thought, Here, the sound is nada; and, is in a wave or a vibratory (spandana) form.
Madhyamā is the intermediate stage (madhyabhūmi) of thinking. It is the stage at which the sabda in its subtle form exists in the anthahkarana (the internal faculty or the psychological process, including mind and emotions) – prior to manifestation) as thought process or deliberation (chintana) which acts as the arena for sorting out various options or forms of discursive thought (vikalpa) and choosing the appropriate form of expression to be put out.
The seat of Madhyamā, according to Abhinavagupta, is intellect, buddhi. Madhyamā represents conception and internal articulation of the word- content. Madhyamā is the stage of Jñānaśakti where knowledge (bodha) or the intellect is dominant. It is the stage in which the word and its meaning are grasped in a subject-object relationship; and, where it gains silent expressions in an internal-dialogue.
:- And, finally, Vaikhari Vac is sequenced and verbalized speech, set in motion according to the will of the person who speaks. For this purpose, he employs sentences comprising words uttered in a sequence. The word itself comprises letters or syllables (varnas) that follow one after the other.
Vaikhari is the articulated speech, which in a waveform reaches the ears and the intellect of the listener. Vaikhari is the physical form of nada that is heard and apprehended by the listener. It gives expression to subtler forms of vac.
The Vaikhari (which is related to the body) is the manifestation of Vac as gross physical speech of the ordinary tangible world of names and forms. Vaikharī represents the power of action Kriyāśakti. This is the plane at which the Vac gains a bodily- form and expression. Until this final stage, the word is still a mental or an intellectual event. Now, the articulated word comes out in succession; and, gives substance and forms to ones thoughts. Vaikharī is the final stage of communication, where the word is externalized and rendered into audible sounds (prākṛta dhvani).
There are further differences, on this plane, between a clear and loud pronunciation (Saghosha) and a one whispered in low voice (aghosha), almost a sotto voce. Both are fully articulated; what distinguishes them is that the former can be heard by others and the latter is not.
That is to say; Vac originates in consciousness; and, then, it moves on, in stages, to more cognizable forms : as Pashyanti, the vision of what is to follow; then as Madhyama the intermediate stage between the vision and the actual; and , finally as Vaikhari the articulated , fragmented, conventional level of everyday vocal expressions.
Thus, the urge to communicate or the spontaneous evolution of Para, Pashyanti into Vaikhari epitomizes, in miniature, the act of One becoming Many; and the subtle energy transforming into a less- subtle matter. Thus, the speech, each time, is an enactment in miniature of the progression of the One into Many; and the absorption of the Many into One as it merges into the intellect of the listener.
While on Abhinavagupta, we may speak briefly about the ways he illustrates the relation that exists between Shiva, Devi and the human individual, by employing the Sanskrit Grammar as a prop.
In the alphabetical chart of the Sanskrit language, A (अ) is the first letter and Ha (ह) is the last letter. These two, between them, encompass the collection of all the other letters of the alphabets (Matrka).
Here, the vowels (Bija – the seed) are identified with Shiva; and, the consonants are wombs (yoni), identified with Shakthi. The intertwined vowels and consonants (Malini) in a language are the union of Shiva and Shakthi.
[ In the Traika tradition, the letters are arranged as per two schemes: Matrka and Malini. Here, Matrka is the mother principle, the phonetic creative energy. Malini is Devi who wears the garland (mala) of fifty letters of the alphabet.
The main difference between the Matrka and Malini is in the arrangement of letters. In Matrka , the letters are arranged in regular order ; that is , the vowels come first followed by consonants in a serial order. In Malini, the arrangement of letters is irregular. Here, the vowels and consonants are mixed and irregular; there is no definite order in their arrangement. While Matrkas are compared to individual flowers, the Malini is the garland skillfully woven from those colourful flowers.]
According to Abhinavagupta, word is a symbol (sanketa). The four stages of Vac: Para, Pashyanti, Madhyamā and Vaikhari represent the four stages of evolution and also of absorption ascent or descent from the undifferentiated to the gross.
Abhinavagupta then takes up the word AHAM (meaning 'I' or I-consciousness or Aham-bhava) for discussion. He interprets AHAM (अहं) as representing the four stages of evolution from the undifferentiated to the gross (Sristi); and, also of absorption (Samhara) back into the primordial source. In a way, these also correspond to the four stages of Vac: Para, Pashyanti, Madhyama – and Vaikhari.
He explains that the first letter of that word – A (अ) – represents the pure consciousness Prakasha or Shiva or Anuttara, the absolute, the primal source of all existence. It also symbolizes the initial emergence of all the other letters; the development of the languages.
And, Ha (ह) is the final letter of the alphabet-chart; and, it represents the point of completion when all the letters have emerged. Ha symbolizes Vimarsha or Shakthi, the Devi. The nasal sound (anusvāra) which is produced by placing a dot or Bindu on 'Ha' (हं) symbolises the union of Shiva and Shakthi in their potent state.
The Bindu (◦) or the dimension-less point is also said to represent the subtle vibration of the life-force (Jiva-kala) in the process of creation. It stands at the threshold of creation. It is the pivot around which the cycle of energies from A to Ha rotate. Bindu also is also said to symbolize in the infinite nature (aparimitha-bhava) of AHAM.
As regards and the final letter M (ह्म) providing the final nasal sound, it comes at the end of the vowel series, but before the consonants. It is therefore called Anusvara – that which follows the Svaras (vowels). And, it represents the individual soul (Purusha).
Abhinavagupta interprets AHAM as composed of Shiva; the Shakthi; and the Purusha – as the natural innate mantra the Para vac.
In the process of expansion (Sristi), Shiva, representing the eternal Anuttara, which is the natural, primal sound A (अ) , the life of the entire range of letter-energies (sakala-kala-jaala-jivana –bhutah) , assumes the form of Ha' (हं) the symbol of Shakthi; and, then he expands into Bindu (◦) symbolizing phenomenal world (Nara rupena).
Thus, AHAM is the combine of Shiva-Shakthi that manifests as the world we experience. Here, Shakthi is the creative power of Shiva; and it is through Shakthi that Shiva emerges as the material world of human experience. AHAM , therefore, represents the state in which all the elements of experience, in the inner and the outer worlds, are fully displayed. Thus, Shakthi is the creative medium that bridges Nara (human) with Shiva.
At another level, Abhinavagupta explains: The emergence (Visarga) of Shakthi takes place within Aham. She proceeds from A which symbolizes unity or non-dual state (Abedha). Shakthi as symbolized by Ha represents duality or diversity (bedha); and, the dot (anusvara or bindu) on Ha symbolizes bedha-abeda – that is, unity transforming into diversity. These three stages of expansion are known as Para visarga; Apara visarga; and Para-apara visarga.
Here, Para is the Supreme state, the Absolute (Shiva) ; Para-apara is the intermediate stage of Shakthi, who is identical with Shiva and also different; she is duality emerging out of the undifferentiated; and, Apara is the duality that is commonly experienced in the world.
Aham (अहं), in short, according to Abhinavagupta, encapsulates the process of evolution from the undifferentiated Absolute (Shiva) to the duality of the world, passing through the intermediate stage of Bheda- abeda, the threshold of creation, the Shakthi. All through such stages of seeming duality , Shiva remains undivided (avibhaga vedanatmaka bindu rupataya).
The same principle underlines the transformation, in stages, of the supreme word Para Vac the Supreme Word, which is non-dual and identified with Supreme consciousness, into the articulate gross sound Vaikhari.
[ Abhinavagupta in his Paratrisika Vivarana says : In all the dealings , whatever happens , whether it is a matter of knowledge (jnana) or action (kriya) – all of that arises in the fourth state (turyabhuvi) , that is in the Para-vac in an un-differentiated (gatabhedam ) way. In Pashyanti which is the initial field in the order of succession (kramabhujisu) there is only a germ of difference. In Madhyamā, the distinction between jneya (the object of knowledge) and karya (action) appears inwardly, for a clear-cut succession or order is not possible at this stage (sphutakramayoge).
Moreover , Pashyanti and Madhyamā fully relying on Para which is ever present and from which there is no distinct distinction of these ( bhrsam param abhedato adhyasa) (later ) regards that stage as if past like a mad man or one who has got up from sleep.
Abhinavagupta in his Para-trisika Varnana explains and illustrates the Tantric idiom 'sarvam sarvatmakam': everything is related to everything else. The saying implies that the universe is not chaotic ; but , is an inter-related system. The highest principle is related to the lowest (Shiva to the gross material object) .
Abhinavagupta illustrates this relation by resorting to play on the letters in the Sanskrit alphabets, and the tattvas or the principles of reality.
He says " the first is the state of Pasu , the bound individual; the second is the state of jivanmuktha or of the Pathi , the Lord himself for : khechari –samata is the highest state of Shiva both in life and in liberation". Khechari is the Shakthi moving in free space (kha) , which is an image of consciousness. Khechari-samaya is described as the state of harmony and identity with the Divine I-consciousness-Akritrima-aham-vimarsha .]
In a play on words, Abhinavagupta turns Aham backwards into Maha; and, interprets it to mean the withdrawal (Samhara) or absorption of the material existence into the primordial state. Here again, in MAHA, the letter Ma stands for individual; Ha for Shakthi; and, A for Shiva (Anuttara the ultimate source).
In the reverse movement, Ma the individual (Nara) is absorbed into Shakthi (Ha) which enters back into the Anuttara the primal source the Shiva (A). That is; in the process of withdrawal, all external objects come to rest or finally repose in the ultimate Anuttata aspect (Aham-bhava) of Shiva.
Thus the two states of expansion (sristi) and withdrawal (samhara) are pictured by two mantras Aham and Maha.
In both the cases, Shakthi is the medium. In Aham, it is through Shakthi that Shiva manifests as multiplicity. And, in Maha, Shakthi, again, is the medium through which the manifestation is absorbed back into Shiva. She, like the breath, brings out the inner into the outer; and again, draws back the outside into within. That is the reason Shakthi is often called the entrance to Shiva philosophy (Shaivi mukham ihocyate).
Abhinavagupta remarks: this is the great secret (Etad Guhyam Mahaguhyam); this is the source of the emergence of the universe; and, this is the withdrawal of the mundane into the sublime Absolute. And, this also celebrates the wonder and delight (Chamatkara) emanating from the union of the two Shiva and Shakthi.
[ In all the voluminous and complex writings of Abhinavagupta, the symbolism of Heart (Hrudaya) plays an important role. He perhaps meant it to denote 'the central point or the essence'. His religious vision is explained through the symbol of heart, at three levels – the ultimate reality, the method and the experience. The first; the Heart, that is, the ultimate nature (anuttara – there is nothing beyond) of all reality, is Shiva. The second is the methods and techniques employed (Sambhavopaya) to realize that ultimate reality. And, the third is to bring that ideal into ones experience.
The Heart here refers, in his words 'to an experience that moves the heart (hrudaya-angami-bhuta). He calls the third, the state of realization as Bhairavatva, the state of the Bhairava. He explains through the symbolism of Heart to denote the ecstatic light of consciousness as 'Bhaira-agni-viliptam', engulfed by the light of Bhairava that blazes and flames continuously. Sometimes, he uses the term 'nigalita' melted or dissolved in the purifying fire-pit the yajna–vedi of Bhairava. He presents the essential nurture (svabhava) of Bhairava as the self-illuminating (svaprakasha) light of consciousness (Prakasha). And, Bhairava is the core phenomenon (Heart – Hrudaya) and the ultimate goal of all spiritual Sadhanas.
When we use the term 'understanding', we also need to keep in view the sense in which Abhinavagupta used the term. He makes a distinction between the understanding that is purely intellectual and the one that is truly experienced. The latter is the Heart of one's Sadhana.
The Heart of Abhinavagupta is that a religious vision is not merely intellectual, emotional or imagined. But, it is an experience that is at once pulsating, powerful and transforming our very existence.
– The Triadic Heart of Siva by Paul Eduardo Muller-Ortega]
In the next part let's see the explanations and the discussions provided by Bhartrhari on the various levels of the language (Vac).
In the
Next Part
Sources and References
Abhinavagupta and the word: some thoughts By Raffaele Torella
Sanskrit terms for Language and Speech
The Four levels of Speech in Tantra
Bettina Baeumer -Second Lecture – Some Fundamental Conceptions of Tantra http://www.utpaladeva.in/fileadmin/bettina.baeumer/docs/Bir_2011/Second_Lecture.pdf
Sphota theory of Bhartrhari
The Philosophy of the Grammarians, Volume 5 edited by Harold G. Coward, K. Kunjunni Raja, Karl H Potter
Culture and Consciousness: Literature Regained by William S. Haney


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Special thanks to Patty Ingraham, Green Team Leader at Underwriters Laboratories for having me for the second year as a part of their Green Expo. We had a super engaged group of about 20 employees at the talk who are looking for ways to help bees at their homes and in their community. I look forward to hearing about their work in the future!

subset: commoncrawl


text: "BITTER SWEET," King. Epic. This quartet is one of the more recent and least interesting entries to the sputtering English dance-fashion movement, which was pioneered in the early '80s by such bands as Culture Club and ABC. On its second album, King tries mightily to keep the disco burning with some insistent dance rhythms. But the upbeat tunes never really explode into a gripping funk frenzy. Instead, these mundane exercises in rock 'n' soul sound like sub-standard Spandau Ballet, and they fizzle like cheap fireworks. Half-baked melodies and anemic singing by leader Paul King are par for the course.


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Sinclair Roche & Temperley is appointing a new partner to its Hong Kong office. Douglas Smith, formerly a partner at Canadian firm Goodman Phillips & Vineberg's Hong Kong office, is being brought in to boost the firm's strengths in commercial and corporate finance.
David Beaves, head of Sinclair Roche & Temperley's Hong Kong office, says: "Douglas' arrival adds a new dimension to the services that we are able to offer clients and gives us the opportunity to move into new market sectors such as telecommunications and e-commerce."
Kevin Dean, head of Sinclair Roche & Temperley's company commercial practice and member of the strategy committee, says: "Douglas was recommended to us, and he has, we think, just the right skills to operate out of our Hong Kong office. We're looking to do similarly in Shanghai – we're talking to two other company commercial lawyers to recruit there."
There will be two further solicitors joining the Hong Kong office in August.
Smith's 15 years of commercial experience has given him a broad knowledge of Far East finance issues and challenges.


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In today's story, Raiders coach Hue Jackson said "we're pretty set just about every place" besides the offensive line.
Jared Veldheer and Khalif Barnes are set to start tonight against the Saints at left and right tackle, rookie Steve Wisniewski and Cooper Carlisle at left and right guard and Samson Satele at center.
Jackson hasn't announced that five is who he's going with Sept. 12 in the opener, so there seems to be some wiggle room. As in, tonight's the last chance for some other guys to wiggle in the starting lineup. Barnes needs to hold off rookie Joe Barksdale and Stephon Heyer, and Carlisle has Bruce Campbell and potentially Daniel Loper trying to push him aside.
Loper, who the team re-signed this offseason for 2 years and $4.2 million, was supposed to replace Robert Gallery as the starting left guard. But he has been ever so slowly pushed aside to make room for Wisniewski after it became apparent he wasn't going to beat out Satele at center.
As for the rest of the team's starters, Jackson said he hasn't decided how much they will play. Running back Darren McFadden (broken orbital bone) and receiver Jacoby Ford (broken hand) are back from injuries but Jackson said that he "just might keep the cellophane wrap" on McFadden. He was probably joking, but you never know.
Rookie running back Taiwan Jones will make his debut after missing the first two games with a hamstring injury and should see a lot of action.


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Uninsured Motorist Lawsuit Filed by Ann Arbor Car Accident Lawyer
Our Ann Arbor car accident lawyers recently filed an uninsured motorist lawsuit on behalf of our client who was rear ended while driving on Heweitt Road and Michigan Ave. in Ypsilanti, Michigan. he uninsured motorist lawsuit seeks damages for the pain and suffering, disability, and other personal injury damages caused by the accident. The case was filed in the Washtenaw County Circuit Court in Ann Arbor, Michigan and seeks damages for the pain and suffering, disability, and other personal injury damages caused by the accident.
The impact of the collision was strong as the other driver rear ended our clients vehicle at a very high rate of speed and was given a ticket by the police for driving negligently and not keeping an assured clear distance between the two vehicles. In fact, under Michigan statute, MCL 257.627, all forbids drivers from driving "at a speed greater than that which will permit a stop within the assured, clear distance ahead." Therefore, victims who are injured in a Michigan rear ending accident often times have a great case against the negligent driver or driver at fault.
The at fault driver did not have a car insurance policy at the time of the accident. Fortunately, our client had purchased uninsured motorists coverage from his own insurance company, Allstate Insurance Company. This provides him with coverage in the event that he was injured in an auto accident by an uninsured driver. The lawsuit seeks payment of those benefits from the insurance company.
Our client suffered serious injuries in the rear end auto accident, including a thoracic spine fracture with spinal cord compression, a low back injury, and a neck injury. His treating neurosurgeon has recommended a surgery. However, he is proceeding with conservative treatment including spinal injections to try to avoid the need for surgery. No trial date has been set by the court.
Victims injured in rear end accidents do have legal rights and often times, under Michigan law, have a great case against the at fault driver. To learn more about your legal rights after an Ann Arbor car accident, call our top rated personal injury accident law firm now at (800) 606-1717. Our top rated Buckfire & Buckfire, P.C. lawyers will represent you under our No Fee Promise, which means no legal fees or costs until we win or settle your


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Christopher Daniels is returning to TNA Wrestling as the Suicide character. He was released from his TNA contract on March 31, 2010, after spending nearly eight years with the company.
Matt Hardy is trying to persuade TNA Wrestling officials to bring former WWE talent Amy "Lita" Dumas to the company so he can work a storyline with her.


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Ian Somerhalder
Mark-Paul Gosselaar
Mark Bomer
my vote is Henry Cavil! i think the fact that he's playing superman does rule him out, but i think besides that he'd be perfect (based on looks anyways). i like him b/c he's rather unknown . . . new character. it'd be hard to watch Zach Morris or the guy from Lost in this role.
how about wentworth miller? http://www.imdb.com/name/nm0589505/
mmm . . yeah. kinda leaning towards him now . .
I like Henry or Mark!! But I always though Christian had unruly kind-of curly hair anyway, so i thought his hair was perfect-o! Wrong color though, but easy fix. Probably won't get cast b/c of Superman.ReplyDelete
William Levy! He just needs to work on his accent.ReplyDelete
Ian. hands down.ReplyDelete
mmm. william levy would work for me too!ReplyDelete
Henry Cavill IS Christian Grey! He has the looks,the eyes,the body, that boyish smile, he can play seductive,domineering,playful & still have the look that we women would fall for by just looking into his eyes. He looks great in a suit & thanks to his role on _udors he has no problem with the steamy scenes! He can play all sides of Christian, even his painful submissive side. He has it all & the acting chops to pull it off. His Dunhill Black ads on you tube screams Fifty! His curly hair should not be a problem that can be changed. He can play sweet , loving & innocent & turn into domineering & seductive with no problem. Ian is good looking but he is just to bad boy & his look is a little more creepy than seductive to me & he is a little short & scrawny for what I think Christian is suppose to be. Henry might have Superman but they should be done filming by then & I hope they can work around his schedule & he chooses to do it if offered. Matt Bomer would be great but being that he is openly gay, I can't see him being the idea of every womans dream. I do also like Collin Eggelsfield but he seeo sweet guy next doorfor this role. Ian is the only one I can see playing this role. If he can't do it = would prefer Alexander Skarsgard who can play all sides as wellbut Henry is still my #1.ReplyDelete
Sorry I meant Henry is the only one I can see playing this role.ReplyDelete
Christian is suppose to be 27. I don't think Ian looks 27. He is 34 now but he doesn't look like he can play that young anymore. Collin Eggelsfield is 39 & he looks like he is 27. He apparently is aging quite well. Still Henry for me though!ReplyDelete
morgan freemanReplyDelete
HENRY CAVILL ALL THE WAY..........Delete
Henry Cavill!! yes!!ReplyDelete
Henry Cavill IS the only one to play Christian Grey. When I saw him I just new this is him. Please get him to do it. He will just be amazing. HENRY is my #1 choice.......ReplyDelete
1st choice: Wentworth Miller. He would be the perfect Christian Grey. His acting is definitely up for the role and he would pull the role off incredibly. Bad boy/highly intelligent/man with a cause/sensitive = this role screams Went to me. (Have you seen Prison Break?!) And add to that his voice, and those eyes, oh my - PERFECT!! (I did mention that voice right? If given the role, he would definitely win over all women everywhere-I promise you!) He is older but can pull off 27 with no problems whatsoever. Though he is mostly seen with very short hair, when he grows it out some it does look curly so I think they'd have no problem getting the right look there.
2nd choice: Ian Somerhalder. He too can do the bad boy/sensitive man role excellently and he absolutely can pull off 27. You really must look at his role on VD to see it, photos just don't do him justice. When I first saw him, it was photos of him being up for this part and I honestly didn't get it-but then I saw him on Vampire Diaries and it all became crystal clear! He has the look, the appeal, the ability, he too has exactly what the role needs.
I have to say if they choose someone other than one of these 2 men, I'll be extremely disappointed. Not only are both of these men incredibly sexy (which this character HAS to be or will never work, we've all seen others where the book has a character who's looks are a very important part of who the character is and if they don't have that--they can be a fantastic actor but never sell the part), they would each bring something of their own to the table that would sell it beautifully.
I think these books are already going to be difficult to make into movies to start with- with a rating that can be in theaters and given that, they need someone extraordinary to do it justice, and that would be Wentworth Miller!
Henry Cavill for sure!! Perfect fit!!ReplyDelete
Mark Bomer!ReplyDelete


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Hurt people hurt people. The chain has got to be broken. The generational curse has got to end. God is the answer, love is the only cure. ~ Melissa Portway
We don't live in an ideal world. There are hurts that remain because it reminds me to be cautious and there are hurts that allow me to make sense of who I am today. Better and getting stronger every day. ~ Maria Victoria
The healthy man does not torture others. Generally it is the tortured who turn into torturers. ~ Carl Jung
Choose to not get angry, bitter, cruel etc & I still get hurt. But plus side. I can live with myself. Look in the Mirror & thin, you ain't a bad bird, only good, honest, decent people can feel that. So to me, these words posted are true. ~ Unknown
Healing our wounds is our responsibility. It takes courage and new thinking/behaviour. There is only fear and love. We are all worthy of love. Look at how abused animals respond to kindness. They teach us so much. ~ Leonie Harrod
When it comes to my life, hurt people absorb pain. I refuse to pass it on. My strong shoulders can take whatever is coming. ~ Denee Rebottaro
God will help you forgive. He says so in his word. How can you ask him to forgive you if you refuse too forgive others? ~ Unknown
If you can't forgive you loose and they win. Forgiveness is for you not them. ~ Ted Shrout
We need to teach our kids this early in life so they recognize they are not the ones at fault if a close one treats them less than what they deserve. Abuse comes in many forms. Some leave marks you can see, most leave marks on your soul. None of it is acceptable. ~ Sara Ziegler
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Exactly one week from today, I will wake up at the bottom of the Grand Canyon, having hiked down a steep 8 miles or so the day before. I did this hike two years ago but I expect to be surprised and delighted in new ways this time around.
I already know:
- I'll be stiff from what amounts to a controlled fall down craggy South Kaibab and ever-so-thankful for the right gear and the months of training.
- I'll be grateful for the rich companionship of my fellow hikers that is unique to an experience like this.
- I'll be impressed as always by the untamed wildness and inherent danger of this beautiful place.
- I'll be stunned anew by nature's multiple mood swings, often visible all at once across the sweeping panorama.
- I'll be reminded of my own smallness and comparative insignificance amid such enormity.
- And I'll be inspired to private worship and whispered prayers of gratitude.
And I also know this: None of it will be enough. Continue reading It Will Not Be Enough


text: Free Phone Strategy Session – Dentists Pre-Meeting Questionnaire - Dentists Apply for a FREE Dental Practice Strategy SessionI am offering complimentary 30 minute consultation to qualified dentists as my gift to you on your entrepreneurial journey. In order for me to make your strategy session a success, please answer the following questions. That way I can have a basic understanding of your business goals and challenges, plus the resources you have available to promote your business. This vital information will help ensure the time we have together is laser targeted towards helping you achieve rapid success. Step 1: Please fill out the strategy session application form below. Step 2: If your application is approved, my assistant will contact you to schedule your session. Your session might be with me or with me and someone else from my company or with just someone else from my company.Name*Email*Skype ID (we will let you know if we will connect by phone or Skype)Phone*Website URL*How long have you had your business?*I haven't startedLess than 1 year1-2 years3-5 years5-10 years10+ yearsWhat kind of product or service do you provide?*Most business are in one of these categories. Where are you?*growing - want to grow morestagnantdecliningWhat was your income for the previous 2 years? What is your projected income this year?Income 2 Years Ago*Under $1,000$1K - $25K$25K - $50K$50K - $100K$100K - $150K$150K - $200K$200K +Income Last Year*Under $1,000$1K - $25K$25K - $50K$50K - $100K$100K - $150K$150K - $200K$200K +Income This Year*Under $1,000$1K - $25K$25K - $50K$50K - $100K$100K - $150K$150K - $200K$200K +What is your currently monthly PROFIT from your business? What is your NEXT GOAL for monthly profits?Current monthly profit*- No profits- $10001K - $5K$5K - $10K$10K - $25K$25K - $50K$50K +Target monthly profit in 6 months*- No profits- $10001K - $5K$5K - $10K$10K - $25K$25K - $50K$50K +Target monthly profit in 12 months*- No profits- $10001K - $5K$5K - $10K$10K - $25K$25K - $50K$50K +What do you think could be the number #1 obstacle preventing you from reaching your goals within your desired timeframe?*If you could wave a magic wand, what would your ideal business and lifestyle look like? Paint the picture.*What's unique?*On a percent scale of 1 – 100%, how committed are you to investing the TIME, ENERGY & MONEY to create your desired business & lifestyle?*I know what it is going to cost me if I don't take this action right now and ignore it and am I'm willing budget ( $________ number of dollars) to achieve my goals over the course of this year. I understand marketing and innovation are not costs and have an ROI. * We can obviously only schedule sessions with those we know we can HELP. Is there anything else we should know when considering your application for this complimentary session?*FINALLY - One last question! How did you hear about us?*I saw your post in my Facebook news feedWe are members of the same Facebook GroupI saw your update in my LinkedIn news feedSurfing GoogleSurfing LinkedInWord of mouthWe met at a networking event or social gatheringCEO SpaceDental Study ClubChamber of Commerce EventDRA MagazineArticle, BlogThis complimentary call is to help you find the bottlenecks in your business and to help you map out a plan to get more PROFITS and FREEDOM in your business. Please complete the following sentence:YES! I want help creating a business & lifestyle I LOVE and this is something I'm committed to achieving, NOWNO, I'm not completely committed to building a profitable, meaningful business. In fact, I don't know why I'm filling out this application.NameThis field is for validation purposes and should be left unchanged.


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Okay, we admit it: We've fallen into the "let's do something a little bit different with our favorite comfort food" trap. But now that we're here, we don't ever want to leave. In this amazing dish, piles of pasta and cheese are taken to a whole new level with ground beef, spices, kidney beans and fresh chilies. Plus, it's all made in one pan!
So grab yourself a bowl, a warm blanket and the TV remote, and you'll be set for the rest of the evening.
- Chop up the onions and red pepper into chunks, then finely chop the red chilies.
- Heat the olive oil in a large skillet. Add in the onion and cook on low-to-medium heat for 8-10 minutes (until the onion is soft and beginning to brown). Add in the garlic and ground beef and fry, stirring regularly to break up the beef, until the beef is no longer pink.
- Add in the peppers and stir, then add in the tomato puree, chili flakes, paprika, ginger, cumin, chipotle paste and one of the chopped red chilies. Stir, then add in the macaroni, followed by the stock and canned tomatoes. Stir and bring to a boil, then cover and simmer on a low heat for five minutes.
- After five minutes, stir in the kidney beans, then place the lid back on and continue to heat for another 8-10 minutes.
- Take the lid off and stir through half the cheese, then sprinkle the rest of the cheese on top and place the lid back on for 3-5 more minutes, until the cheese has melted.
- Remove the lid and sprinkle with the remaining chopped chilies and the chopped cilantro, then serve.
Serves 5-6
In this amazing dish, piles of pasta and cheese are taken to a whole new level with ground beef, spices, kidney beans and fresh chilies. Plus, it's all made in one pan.
1 tablespoon olive oil; 1 onion, peeled and chopped; 3 cloves garlic, peeled and minced; 1 pound ground beef; 1 red bell pepper, deseeded and chopped; 2 tablespoon tomato puree; 1 teaspoon chili flakes; 1 teaspoon smoked paprika; ½ teaspoon ground ginger; 1 ½ teaspoon cumin; 1 teaspoon chipotle paste; 2 red chilies, deseeded and chopped; 10 ½ ounces dry macaroni pasta; 4 cups chicken or vegetable stock; 1 x 14-ounce can chopped tomatoes; 1 x 14-ounce can kidney beans, drained and rinsed; 2 cups shredded mixed cheese (we used white and orange cheddar); 2 tablespoons cilantro, chopped; Sour cream to serve.


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LONDON (Reuters) - Oil major BP (LSE:BP.) has struck a deal with U.S.-based Kosmos Energy (NYS:KOS) for a share in the exploration of three blocks off the coast of Morocco.
Modern technology has helped firms to discover huge new oil and gas fields over the last decade in regions that were formerly overlooked, not least Africa's Atlantic coast.
Kosmos Energy, which specialises in exploration and production in frontier and emerging areas, said BP had acquired a non-operating interest in the Essaouira, Assaka and Tarhazoute blocks in Morocco's Agadir Basin.
Drilling will start in the first half of 2014, Kosmos Chief Executive Brian Maxted said in a statement.
Under the agreement, BP will fund Kosmos's share of the cost of one exploration well in each of the three blocks and pay a disproportionate share of the cost in the event that a second well is drilled in any block.
BP declined to put a value on its investment.
"It is over 25,000 sq km of new area for us," said spokesman Robert Wine. "It fits with our exploration strategy of looking for significant opportunities in new basins."
Morocco has attracted a growing number of companies in recent years, including the second largest U.S. oil company Chevron (CVX.N), with the promise of a link to the energy-rich geological formations of west Africa.
The announcement sent the shares of Fastnet Oil & Gas (FASTF.L), a junior partner in the Assaka block, up around 14 percent by 1240 GMT. BP shares rose about 1.3 percent.
The agreement remains subject to Moroccan government approval, Kosmos said. The U.S.-listed independent will keep about a 30 percent share in each of the three blocks. BP will have a 45 percent share in two of the blocks and a 26.3 percent share in Assaka once the deal is closed.
(The story fixes quote to show area is in km)
(Reporting by Sarah Young and Lin Noueihed in London; Editing by Kevin Liffey)


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Final Frame: A Truly Portable Washing Machine
Electrolux Design Lab 2010 Finalist, Lichen Guo, imagined a personal, portable, and wall-mountable steam based washing machine with individual clothing capsules. As renters in an apartment, we love the idea of minimizing the necessary space for a washing device. The two inspirations for the form and function of his design? The school laundry room and Iron Man. Video showing how the machine would work below.


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Do I need professional equipment to become pro at drawing?
See, my friend got these VERY expensive artist pens to draw manga with, and well, I'm kind of jealous :/ and her drawing is brilliant now, and even though i am still really happy for her, i still feel a little jealous . But my main question is, do i need professional pens and things like that to become a good manga artist?
▼Scroll down for more questions▼
Answers (14)
vote up or down the answers
Not at all
on February 20, 2016
No. For the shades and colors, yes, you'd need like.. These $1000 markers (my cousin owns markers like that) but really, you don't need good equipment to be a talented drawer. Just saying.
on December 06, 2015
on November 14, 2015
Nope. number 2 pencils are great
on November 02, 2015
I'm an artist you only need basic stuff like led pencils,sharpies,colourd pencils and erasers
And an imagination
And an imagination
on September 29, 2015
No! It's all about your talent!
on August 11, 2015
It not about the brand or how expensive your art supplies is. Its all about the technique and what you know how to do. Also its in human nature to be jealous. Don't let it get to you to bad and just practice!
on August 01, 2015
No. It's okay if your jelly. Somebody at my grandma's work draws manga and homestuck really well and all she uses is a number two pencil and a pen.
Thanks for helping
Your very welcome.
on August 02, 2015
on August 02, 2015
on July 26, 2015
No you don't
on July 26, 2015
No I'm a great artist, and all i have is a sketch pad, and extra smooth pens
on July 26, 2015
I dont think so because when you draw its not what your drwing with its what you are drawing, and how you feel about it..
on July 26, 2015
Well. When this year started I thought of that too cause my friend was showing off her marker pens, so I bought a 20 cased pro brishable marker pens for $49.99 (plus tax) and I made beautiful drawings and my friend was jealous and made a fight so I suggest just deal with the pain, and no u don't need, all you need is imagination.
on July 25, 2015
No, all you need is a pencil and a creative mind!
on July 25, 2015