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Rama a Maharshi: Hindu and non-hindu Interpretations of a J vanmukta
- Roger Shaw
- 2 years ago
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1 1 Rama a Maharshi: Hindu and non-hindu Interpretations of a J vanmukta by Dr. J. Glenn Friesen 2006 Introduction Like many others, I have been fascinated by the life and teachings of Rama a Maharshi ( ). More than fifty years have passed since his death (or mahasam dhi). But his ashram continues to attract devotees from all over the world. The ashram is in Tiruvannamalai, 1 one of the great temple towns in southern India. The grounds of the ashram are filled with flowers, and there seem to be monkeys and peacocks everywhere. There is a strong sense of spirituality. Priests chant the Vedas, and they make ceremonial offerings to Rama a s image (s la). Devotees meditate silently in the marble hall surrounding Rama a s sam dhi or tomb. Because he was a Hindu saint, Rama a was not cremated, but buried. It is believed that there is great power associated with his tomb. Many pilgrims walk around the holy mountain of Arun chala, and visit the caves where Rama a meditated for so long. The ashram publishes many works by and about Rama a. It also maintains an excellent website 2 offering extensive information about Rama a, photos of the ashram, and numerous works by various devotees. 1 The word annamalai is Tamil form of Arun chala, the holy mountain. Tiru' is prefixed to show that it is holy place. See Lakshmana Sarma [ Who ]: Maha Yoga or The Upanishadic Lore in the Light of the Teachings of Bhagavan Sri Rama a (Tiruvannamalai: Sri Rama asramam, 1961, first published 1937), 10 fn [ Maha Yoga ]. 2 Rama a Maharshi: Website for Bhagavan Sri Rama a Maharshi [http://www.rama amaharshi.org/books.htm].
2 2 It is well known that the center of Rama a s teaching is his method of Self-Enquiry. He urged all those who questioned him to ask Who am I? Who is the one who is asking the question? According to Rama a, when the true Self is found, all questions are resolved. Cease all talk of I and search with inward diving mind whence the thought of I springs up. This is the way of wisdom. To think, instead, I am not this, but That I am, is helpful in the search, but it is not the search itself. 3 If you keep to the thought of the Self, and intently watch for It, then even that one thought which is used as a focus in concentration will disappear and you will simply BE, i.e., the true Self with no I or ego. Meditation on the Self is our natural state. 4 But there are many interpretations of Rama a s teaching, and of the nature of Rama a s enlightenment experience itself. In this work, I will examine some of the interpretations of Rama a. I will look at how Rama a explains his own experience, and how he has been interpreted by both Hindus and by non-hindus. B.V. Narasimha Swami, an early devotee, already acknowledged this multiplicity of interpretations in his 1931 biography of Rama a. 5 there were many different interpretations of Rama a: Narasimha says that even at that time His works are cryptic and are capable of diverse interpretations. Saktas go to him and think he is a Sakta, Saivas take him for a Saiva, Srivaishnavas find nothing in him inconsistent with their Visishtadvaitic ideal. Moslems and Christians have found in him elements of their true faith (Narasimha, ). Another early devotee of Rama a, Major Chadwick, was also aware of this problem. He said that Rama a was like a mirror that seemed to reflect back your own feelings. If you 3 Rama a Maharshi: Forty Verses, The Collected Works of Sri Rama a Maharshi, 7 th ed. with revised translations (Tiruvannamalai: Sri Rama asramam, 2001), 119 verse 29 [ CW ]. This is a revision of the earlier The Collected Works of Rama a Maharshi, ed. Arthur Osborne (New York: Samuel Weiser, 1997) [ Osb ] 4 Rama a Maharshi: Conscious Immortality (Tiruvannamalai: Sri Rama asramam, 1996, first published 1984), 67 [ Conscious Immortality ]. 5 B.V. Narasimha Swami: Self Realization: The Life and Teachings of Sri Rama a Maharshi (Tiruvannamalai, 1993, first published 1931), [ Narasimha ].
3 3 were reticent and over-awed, he appeared stand-offish; if you responded naturally to the all-embracing love of his presence, he treated you as one of his own. 6 We will later look at Narasimha s biography in more detail, as well as other biographies of Rama a. For now, it is sufficient to note that Narasimha gives his own interpretation of Rama a s method of Self-Enquiry. But he does not discuss in detail what the other different interpretations mean, the ideas on which the different interpretations are based, and the implications that they might have. Nor does he discuss any development of Rama a s own understanding of his experience, and how his understanding may conflict with other traditions within Hinduism. Most books about Rama a have taken a traditional hagiographical approach they tell Rama a s story in a devotional way that emphasizes his saintly qualities. According to this traditional story, Rama a s enlightenment was immediate, without the aid of a guru and without any influence from other sources. The traditional account of Rama a also emphasizes that Rama a s teachings were entirely his own, although these teachings were in accordance with other Hindu teachings, and with Ved nta Advaita in particular. This traditional approach does not look for any differences between Rama a s ideas and other Hindu thought. Contradictions or inconsistencies in Rama a s teachings are explained as being due to the fact that his listeners were at different stages of spiritual development, and that Rama a s ideas can be interpreted on different levels. This approach also assumes that there was no development or change in Rama a s teachings. I have attempted to go behind the traditional narrative of Rama a s story in order to examine the different sources and traditions that have influenced both Rama a and his interpreters. There is of course something very Western in this emphasis on different traditions in Hinduism, sources and influences, and in comparing various types of advaitic experiences. Devotees of Rama a may therefore object to this analysis as just 6 Chadwick, A.W. (Sadhu Arun chala): A Sadhu s Reminiscences of Rama a Maharshi (Tiruvannamalai: Sri Rama asramam, 1994, first published 1961), 15. Excerpts online at [www.beezone.com/rama a/rama as_will.html] [ Chadwick ].
4 4 another attempt to impose Western ideas. How can the advaitic experience, which Rama a says is beyond any conceptualization, be discussed at all? But Rama a himself discussed and wrote about his advaitic experience. There are extensive records of his discussions with his devotees and others who came to see him, both Hindu and non-hindu. And even if Rama a s advaitic experience was itself beyond conceptualization, this does not necessarily imply that his seeking of the experience was without any conceptual influences. Nor does it mean that we cannot look at the sources that Rama a himself used to describe his experience. 7 To understand Rama a s life and teachings, we need to examine how he himself understood it. And we need to look at how others interpreted him, especially those interpreters within his own lifetime, who had experienced his living presence. We can also use comparative philosophy to better understand these descriptions and interpretations, and to test whether they are internally consistent, and consistent with other Hindu traditions. I have divided up this study into the following sections: 1. I begin with a summary of the traditional story of Rama a s life and teachings. 2. I then examine this traditional story more closely in order to point out certain problems that arise with respect to it. 3. The third stage of this study reviews several biographies and interpretations of Rama a, both by Hindus and by non-hindus. These interpretations of Rama a are often inconsistent, and even in tension with each other. 4. The next stage of this study involves looking at various influences on Rama a and the tensions among these influences: Traditional Advaita Ved nta, neo-hinduism, Tantra, Christianity, and other western influences, such as western science and occult theosophical ideas. 7 I am aware that the distinction between experience and conceptualization is itself considered problematic. But is it not Western hubris to insist that no experience can go beyond conceptualization? To deny the possibility of a non-mediated experience is also contrary to Rama a s own self-understanding of his experience. And what if our heart experience is the basis for all conceptualization?
5 5 5. I devote a special chapter to Ga apati Muni s influence on Rama a. 6. I conclude with a summary of my findings. I hope that by better understanding Rama a s experience, we can also better appreciate Rama a s continued importance. I. The Traditional Account of Rama a s Life and Teachings This summary of the traditional account of Rama a derives largely from Narasimha s biography of him. Rama a was born in 1879 in Tiruchuzhi, Tamil Nadu (South India). Tiruchuzhi is a small village about thirty miles from Madurai. He was named Venkatar man Ayy r; this name was later abbreviated to Rama a. When he was 12 years old, his father died and Rama a moved to his uncle s house in Madurai. He attended the American Mission High School in Madurai; this fact is important because he later makes parallels between his experience and Christian ideas. It is said that Rama a was a poor student, more interested in sports than in his studies. Narasimha reports that as a boy, Rama a was such a heavy sleeper that no amount of shouting and not even a beating could wake him up (Narasimha, 20). This unusual fact should be taken into account in assessing Rama a s later trances. In 1896, when Rama a was 16 years old, he was seized by a sudden and unmistakable fear of death. He then enacted the state of death. He lay down on his bed and he imitated the rigid position of a corpse. He held his breath, and kept his lips tightly closed so that no sound could escape. He then realized that, even if his body died, his self would survive. His I was something very real, and in fact it was the only real thing in that state. He felt that he became absorbed in this self or I. His devotees believe that Rama a was fully enlightened in this experience at the age of 16, without instruction from any guru or teacher, and that from then on, the Self was the focus of his attention. After this experience, Rama a lost all interest in friends, family or studies. He stopped being interested in sports, and he preferred to be left by himself. His schoolwork got even worse. A few months after his experience of enacting death, Rama a s teacher gave him an extra assignment as a punishment for his poor studies. He sat in his room at home
6 6 for some time, but finally put his books away and began to meditate. His older brother made the exasperated comment, Why should one, who behaves thus, retain all this? This comment is interpreted to mean that if Rama a really preferred meditation, why did he continue to stay in society and continue with his studies? In other words, why did he not renounce the world and become a sanny s? 8 In fact, an uncle of Rama a s had been a sanny s. Rama a therefore had some knowledge of how a sanny s would act. Rama a interpreted his brother s question as the call of God, his Father in Heaven. This is a very Christian way of referring to God. It must be remembered that Rama a was attending a Christian school. We will later look at these Christian influences in more detail. Rama a told his brother that he was walking to school. His brother said that if he was going there, he should pay certain school fees for him. He gave Rama a five rupees for this purpose. Rama a left home without telling anyone. He left only the following note: I have, in search of my Father and in obedience to his command, started from here. THIS is only embarking on a virtuous enterprise. Therefore none need grieve over THIS affair. To trace THIS out, no money need be spent. Your college fee has not yet been paid. Rupees two are enclosed herewith. Thus,. Like a sanny s, Rama a did not even sign his name to his note. Using three of the rupees, he traveled by rail and by foot to the temple town of Tiruvannamalai, because a relative had previously told him that the sacred mountain Arun chala was located there. Rama a ate almost nothing on the way, and he seemed to be sunk into a trance. Narasimha refers to this trance as the sam dhi state. In a temple along the way, Rama a had what is described as a visual photism a vision of dazzling light suddenly streaming forth and pervading the place. Narasimha refers to William James s Varieties of Religious Experience in support of such a phenomenon. Obviously, Narasimha used western philosophy to try to interpret Rama a s experience. 8 A sanny s is one who has entered the fourth stage of life in Hinduism.
7 7 At another temple along the way, Rama a asked for food. He was led to a nearby house for some water, and he fell asleep on his way. He continued walking in his sleep, but lost consciousness and fell down. For the last twenty miles, he took off his earrings and pledged them to raise the additional train fare. Once he reached Arun chala, Rama a had his hair shaved off. He threw away all his clothes, except one piece that he kept as a loincloth. He also threw away the sacred thread that marked him as a Brahmin. These are all traditional indications of becoming a sanny s. Rama a lived in the temple in this trance state for about six months. During this time, other holy men or sadhus looked after him. Rama a was known as the young Br hmana Sw mi. He was fed the temple offerings, such as the milk from the Goddess Uma s shrine. He remained in almost complete silence. Some other boys teased him and threw stones at him, so he moved to a dark pit in the temple known as the P t la Lingam, where he hoped to be left alone. There he was bitten by scorpions, mosquitoes and ants, and his body became full of open sores. But Rama a seemed to be oblivious to any physical discomfort. It is said that this was due to the intensity of his trance. Narasimha stresses the importance of this trance: The fact that he was completely unconscious of this only goes to prove the depth of his absorption in the Infinite (Narasimha, 47). Rama a would sometimes sit for eight or ten hours without rising for a meal. Sometimes he had to be forced to eat. For about a month at the end of 1896, Rama a was totally naked. Narasimha Swami reports: As the Swami continued to neglect his comforts, and even cleanliness, he rose in popular esteem (Narasimha, 52). After living in the P t la Lingam, Rama a moved to the temple grounds, then to other nearby shrines. He continued to ignore his physical needs, and he had to be looked after by others. His first permanent attendant or disciple was Uddandi Nayinar. He saw Rama a at the foot of a tree. Rama a seemed to be in ecstasy and oblivious of his body. It is reported that Nayinar said, Here indeed are realization and peace, and here must I seek them. Thus, Rama a s trance state was important in obtaining this disciple. In
8 8 addition to looking after Rama a, Nayinar recited works to him, such as the Yoga V sistham and Kaivalya Navanitaam. As we shall see, many of Rama a s teachings derive from the Yoga V sistham. In February 1897, a later attendant, Annamalai Tambiran, convinced Rama a to move to a shrine known as Gurum rtam, in a suburb outside of Tiruvannamalai. Rama a stayed there for a year and a half. During that time he remained in rapt sam dhi, disturbed only by the noise of visitors and the dinner cup (Narasimha, 58). Tambiran used to sing hymns to him from the Tev ram (sacred songs of the three Tamil poet-saints, Appar, Sundaramurti and Sambandar). One of the other people who looked after Rama a was Pa anisv m, who stayed with him for 21 years. In May 1898, he moved Rama a to the adjoining mango grove; no one was allowed to enter without permission. They spent six months in this orchard. During this time, Pa anisv m had access to the library in town, and he brought Rama a Tamil books like the Yoga V sistha. Rama a took each book from him, and absorbed and memorized its contents. He then told Pa anisv m what the book was about. It is therefore clear that Rama a was not at that time maintaining complete silence. It is also clear that Rama a was learning many concepts from yogic and tantric traditions. It is during this time, in 1898, that Rama a s family learned where he was. A relative tried to convince him to return home, but he refused. Rama a moved from the orchard to a nearby small temple, seeking to be absolutely alone. Rama a s mother Alagammal and his older brother visited him, and begged him to return home. Again Rama a refused, despite his mother s prayers and weeping. Rama a did not even speak to her, but wrote: The Ordainer controls the fate of souls in accordance with their past deeds their prarabdhakarma. Whatever is destined not to happen will not happen, try how hard you may. Whatever is destined to happen will happen, do what you may to stop it. This is certain. The best course therefore, is for one to be silent (Narasimha, 66) In other words, Rama a told his mother that he was fated to act as he did. His mother returned home. Rama a s older brother died in 1900.
9 9 In 1899, after his mother s visit, Rama a moved to a cave on Arun chala. Narasimha says that Rama a s personal history ended at this point; thereafter it was the history of those who came under his influence (Narasimha, 70). Rama a lived in various caves on Arun chala for 23 years. He spent most of his time in meditation (Narasimha, 70). However, Pa anisv m continued to bring him books. It was also during this time that Rama a met Ga apati Muni, who was the first person to call Rama a Bhagavan [ Lord ]. We will later look at the influence of Ga apati Muni on Rama a in more detail. In 1912, while still living in the caves, Rama a had a near-death experience that was genuine (i.e., not merely enacted). This story is recounted in a separate Appendix to Narasimha s biography of Rama a. 9 It is entitled, A Strange and remarkable incident in the life of Sri Maharshi. While he was walking back to his cave, Rama a suddenly felt weak. He says that the landscape in front of him gradually was shut out, as if a curtain was being drawn across the line of his vision. He says it was just like drawing a slide across one s view in the stereoscope. He fainted and blacked out three times. The bright white curtain completely shut off his vision, his head was swimming and his breathing stopped. His skin turned a livid blue. His companion Vasudeva Sastri thought that he was dead. He held Rama a in his arms and began to weep and to lament his death. Rama a says he could feel his companion s clasp and hear his words. He also saw the discoloration of his own skin and felt the stoppage of his circulation and breathing, and the increased chilliness of his body s extremities. But his usual ability of thought (dhyana) continued as usual. He says this condition lasted for ten to fifteen minutes. Then a shock passed through his body with enormous force. His circulation and breathing revived, and he perspired from every pore. He opened his eyes and got up and said, Let s go. Rama a said that he did not bring on this fit on purpose, but that it was one of the fits he got occasionally, and that this one was more serious. Rama a s mother visited him occasionally. In 1914 she got ill with typhoid and Rama a composed verses in her honour. Verse 3 says, 9 The same event is referred to in Conscious Immortality, 167.
10 10 Arun chala! Thou blazing fire of Wisdom! Deign to wrap my mother in Thy light and make her one with Thee. What need then for cremation? (Narasimha, 125) In 1915, when she was quite old and helpless, and in poverty, Rama a s mother came to Tiruvannamalai to live near Rama a. There was a lot of opposition to her coming, since people feared that Rama a would then move away. The criticism was based on the view that a sanny s was supposed to have no family. When his mother arrived, Rama a moved from Virupaksha Cave to Skandasram at the foot of the mountain, where the first ashram developed. Rama a s younger brother Nagasundaram also came. Rama a s mother cooked food for herself, her sons and visitors. This again caused some people to comment that Rama a s life was really more like a householder than a sanny s (Narasimha, 127). We see here the conflict between the traditional view that a sanny s should aim to remove himself from life, and the tantric view of j vanmukti that one can be liberated in this life. We will later look at this conflict in more detail. During this time, Rama a wrote Appa a-p-pa u, a song for his mother as she sat rolling flat puris made of black gram dal. Take the black-gram, ego-self, Growing in the five-fold body-field And grind it in the quern, The wisdom-quest of Who am I? Reducing it to finest flour. 10 To show that he was not attached to his mother, Rama a would sometimes refuse to talk to her, although he would speak to others. He said that all women were mothers to him. It is said that Rama a was thereby assisting her religious education, and that in the six years she was with him before her death, she picked up all the important truths. She started wearing the kashaya robe of a sanny s. In her last years, she was ill, and Rama a looked after her. In 1922, she became seriously ill. As she died, he placed his right hand 10 CW, 131. Another translation can be found online. It is the translation found in The Collected Works of Rama a Maharshi, ed. Arthur Osborne (New York: Samuel Weiser, 1997). [http://www.poetry-chaikhana.com/m/maharshirama/songofpoppad.htm]
11 11 on her breast, and his left hand on her head. Disciples chanted the name of Rama, and parts of the Vedas were recited. Narasimha links this with the Bhagavad G t I,6: Whatever a departing soul thinks of at the time it leaves this body, in that same form it is embodied in afterlife. When his mother died, Rama a rose and said to others to join him in eating a meal, and that there was no pollution. He seemed in fact jolly. One of the disciples records that this seemed to be due to the burden of care for his mother being lifted from him. Narasimha seems apologetic for this apparent rejoicing at his mother s death. Rama a quoted the G t, and said that death is only a change of form and not of substance. After Rama a s mother died, there was an issue as to whether her body should be cremated or buried. The bodies of saints are buried, not cremated. Was his mother a saint? Ga apati Muni reminded Rama a of his answer in 1917 to the question whether a woman-saint should be buried; it was decided to bury her body (Narasimha, 132). 11 not clear why no one remembered the poem that Rama a had composed in 1914 when his mother was ill with typhoid, and where he says, What need for burial? It raises the issue of whether that poem was in fact composed before her death. A monument was put over the mother s tomb with a lingam on top. Since then, the mother has been identified with Siva under the name of Matrubhuteswara, and has been worshipped daily (Narasimha, 132). Plans were made in 1938 to consecrate a temple over her grave; the temple was only completed in 1949, the year before Rama a s own death. In December 1922, Rama a moved down to live at the foot of the mountain near her tomb. Another reason for the move was that litigation had developed over ownership of the ashram property that had been erected at Skandasram (Narasimha, 150). This litigation is very interesting, since a sanny s is not supposed to own any property. How then could the ashram claim title to it? Rama a was himself cross-examined in these proceedings (see discussion below). It is 11 The question is recorded in Rama a G t (see below).
12 12 A new ashram started to form around the new location near the mother s tomb, although there was then only one thatched shed. In 1930, Rama a s younger brother was appointed manager (sarvadhikari) of the ashram; he changed his name to Niranjananda Swami. Niranjananda Swami died in His son and successor is T.N. Venkataraman. He was brought up by Rama a s sister, Athai. He arrived at the ashram in In November 1948, a tumour was noticed on Rama a s arm. Doctors, homeopaths and practitioners of the siddha system were called in (Narasimha, 258). It is said by some devotees that despite his pain, Rama a never uttered a sigh nor made a grimace of suffering. 12 But Chadwick records that Rama a did suffer: He certainly appeared to suffer terribly; at night when he was unaware that anyone could hear him, he lay on his couch, groaning and calling out. At that time it was indeed difficult to realize that he, as a Jnani, did not feel pain in the same way as we do, but that he saw it as something apart from him, as a dream which could be regarded objectively. When Milarepa was dying he was asked if he did not feel pain, his agony was obviously great. No, he replied, but there is pain (Chadwick, 21). Rama a s last evening was April 14, The famous French photographer Cartier- Bresson was there. So was a photographer from Life Magazine. Rama a died at 8:47. There was a huge meteor, or shooting star in the sky (Cohen, 162). Rama a was buried in what used to be the dining hall. The present sam dhi (memorial over his tomb) was completed in II. Questioning the Traditional Account Some of Rama a s own words bring into question this traditional account of Rama a s enlightenment. We will examine the nature of his enlightenment, and the issue of whether it was as immediate as has been claimed. We will also examine Rama a s subsequent interpretation of his experience. 12 S.S. Cohen: Guru Rama a, (Tiruvannamalai: Sri Rama asramam, 1993, first published 1952), 150 [ Cohen ].
13 13 A. Was Rama a s Enlightenment Immediate? According to Narasimha, Rama a s enlightenment was not based on Scripture or on the study of other works. He says that at the time of his enlightenment at his home in Madurai, Rama a s had not even heard of Brahman or sams ra. The only books he had read were the Bible, the Periapur nam (stories of 63 Tamil saints) and bits of the Tayum navar (hymns of the saint Tayumanavar, ), and the Tev ram (sacred songs of the three Tamil poet-saints, Appar, Sundaramurti and Sambandara). After his enlightenment, he read other books, and found that they were analysing and naming what I had felt intuitively without analysis or name. 13 It is said that Rama a s enlightenment was therefore not due to these books, but that it was an immediate experience. It is also said that he had not engaged in any yoga or other spiritual disciplines prior to his enactment of death. But Rama a was at least influenced to seek the experience of enlightenment by these books that he had read before his experience. When he first read the Periapur nam he was inspired to emulate the experience of these saints: That book [Periapur nam] gives a moving account of the sudden accession of faith, deep love of God, utter self-sacrifice, and sublime communion with Him which marked the lives of the sixty-three Tamil saints. As he read on, surprise, admiration, awe, reverence, sympathy and emulation swept over his soul in succession, that paying a momentary homage to the great ideals and ideas that had charmed the hearts and engaged the minds of his countrymen for centuries (Narasimha, 17). Narasimha says that Rama a s impulses and ideals disappeared. But even if Rama a temporarily forgot about these stories, his subsequent enlightenment may have been inspired by them. It may not have been as spontaneous as has been supposed. Rama a certainly remembered these stories after his enactment of death, since it is related that he then went to the temple in Madurai and prayed that he might become like one of these sixty-three saints. Narasimha says that Rama a made frequent visits to the Meenakshi 13 Narasimha, 24. Also The Teachings of Rama a Maharshi, ed. Arthur Osborne (Samuel Weiser, 1972, first published 1962), 11 [ Teachings ].
14 14 temple in Madurai, where he would weep, and pray that his experience might become perpetual. I would stand before I vara, the Controller of the universe and the destinies of all, the Omniscient and Omnipresent, and occasionally pray for the descent of his grace upon me so that my devotion might increase and become perpetual like that of the sixty-three saints (Narasimha, 23). If Rama a s enactment of death resulted in immediate enlightenment, it seems strange that he thus prayed to become like one of the saints. From this quotation, it appears that Rama a himself was not certain that he had already achieved that state. Rama a may also have been inspired to seek a religious experience by his readings of the Bible at the mission school. In later life, Rama a makes many references to the Bible and compares certain passages in it to the teaching of the advaitic experience. For example, he refers to the Bible s admonition to Be still and know that I am God. We will later look in more detail at Rama a s understanding of the Periapur nam, the Tayum navar, the Bible, and other texts. Apart from what he read in these books, Rama a also had some role models to emulate. We have already seen that one of his uncles was a sanny s. It was from this uncle that he had first heard about the holy mountain Arun chala. Rama a says that he did not know that Arun chala was a real place. When he did learn that it existed, he left home. Prior to this, Rama a was aware that Arun chala was Something supremely holy. (Maha Yoga, 3). In seeking enlightenment, Rama a may also have been emulating his father. His father died when he was 12 years old. But during his lifetime, his father had practiced meditation. Chadwick says that Rama a told him his father used a meditation belt but had not used it in public. The meditation belt was cotton cloth; it was brought round his father s back and across his raised knees (Chadwick, 14).
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text:
EENI- School of International Business
Sub-subject - Alexander Lebedev (Businessperson and Philanthropist, Russia). Syllabus:
Sample of the sub-subject: Alexander Lebedev (Russian Orthodox)
Description of the Sub-Subject: Alexander Lebedev (Russian Orthodox Businessman):
The main assets of the National Reserve Bank:
A. Lebedev was a member of the Russian Parliament, was the author of the gambling prohibition bill.
Economic Area of the Orthodox Civilisation.

subset: commoncrawl


text:
I love learning new words. Nearly every word I know I learned in some unremarkable, unmemorable fashion. There have been some standouts, however. I thought I'd share a few.
A popular teacher of mine in high school was preparing us for an upcoming vocabulary test. When he got to the word "voluptuous," he blushed and stammered, clearly thinking of it in a particularly private manner. He gestured by loosely cupping his palms in front of his chest, as if he meant, but couldn't say, "Characterized by large breasts." In response, as if playing charades, one of my classmates called out, "Big hands!" It stuck. Since then, I know what folks think when they see a voluptuous woman: look at those hands.
In my early twenties, I fell in love for the first time. Moored by that committed relationship, I came out to my parents. My mother sent me a letter in response. In it, she said something like, "You are our daughter. You will always be welcome here. Your paramours will not."
Okay, maybe coming out hadn't gone over super well.
But I learned a new word. Paramour. It made me sound intriguing and dangerous, like, wow, little old me has an illicit lover! How Anna Karenina of me! And by at least one definition, my mother's meaning was entirely accurate. My girlfriend and I weren't married, and we were living together. Still, we weren't being adulterous, and Mom had previously welcomed most of my boyfriends, so this edict was new. Safe to say that for my Catholic mom, I was not living the dream. Thus began a long road ahead, one filled with hurt and healing. And somehow, always: love. (I'll be blogging separately about this.)
Fast forward two decades.
My 80+ year-old, politically conservative father has preordered my first novel, Like Jazz. I'm certain he'd have ordered my book even if he hadn't needed something to get him over the free-super-saver-shipping threshold. He's supporting my writing, and I'm thrilled. At the same time, I'm a little uncomfortable.
I've hinted to him several times about the topic of Like Jazz. "You do realize, Dad, that this is a romance, right? Where the main characters—two women, remember—you know…hug? And sometimes…kiss? And, um…you know, that sort of thing?"
"I like to think I have very catholic tastes," he said.
I grew up Catholic. Most of my extended family is Catholic. They're a fairly easygoing group. They don't walk around quoting Scripture—which isn't to say that Jesus Christ doesn't come up a lot, particularly when the Vikings are losing. But when the conversation relates to your nuclear family, trust me, it's different. "I know, Dad. That's the thing. Probably not up your alley."
"You do know what catholic means, don't you?" he asked.
"Well, I know what I think Catholic means, and based on that, this isn't necessarily the book for you."
"Catholic means having wide-ranging tastes. Being broad-minded."
Are you freaking kidding me? Well, if any being has a sense of humor, it's God. "It does? Huh." The capital C version I grew up with meant something vastly different from this lower case c. I immediately grabbed my dictionary. Oh my God. Dad's definition was the first entry. Mine was last. "You're right, Dad."
Like I said, I love learning new words. Or new takes on old ones.
So…for all good catholic folk everywhere, I offer you Like Jazz. Enjoy!
Heather Blackmore's debut novel, Like Jazz, will be available
from the Bold Strokes Bookstore on December 1, 2013.


text:
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Provided to YouTube by Universal Music Group International Brooklyn (Owes The Charmer Under Me) · Steely Dan Can't Buy A Thrill ℗ 1972 Geffen Records ...
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Great thrash metal band, this song is from their album "The Torment".
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Track eight of the album "Sounds Like..." (1967). The playlist of the whole album: http://www.youtube.com/view_play_list?p=45620DD2A0F6DF36.
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This is kind of the sequel I guess you could say to my other video JBJ - "The Romantic". And just like that one I don't like this one either but I Hope you like it!
Henry Cavill is quite the charmer while exchanging greetings with fans departing 2015 Comic Con SD MP3
Henry Cavill is quite the charmer while exchanging greetings with fans departing 2015 Comic Con SD.
Claptone - Charmer (FULL ALBUM) | TSTLM MP3
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Recorded at the Cambridge folk festival club tent session 2005.
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Enjoy this video of Family Groove Company performing "The Charmer" on May 23, 2013 at Summer Camp Music Festival! Summer Camp Sessions are directed ...
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From the album "Oppressed by the Heavens". Released October 2012 on Prikosnovenie Independent Label.
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It's putting itself together! It's not that easy, but this is an easy pattern, available at www.SidsInStitches.com. Buy the purse at www.Sidquilts.Etsy.com. Sunflower ...
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The way up to heaven
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This is a short story about a couple, Mr. Foster and Mrs. Foster who live in New York.
They have a daughter and a grandchild, that live in Paris.
Mrs. Foster is a good woman and wife, that suffers when she looks at the clock and see that she is getting late to some place, so her eye starts twitching. She cries, and feels really nervous.
Mr. Foster is an evil, serious, and selfish man who enjoys watching his wife suffer, and crying when time runs.
This story its about how Mrs. Foster wants to visit Paris, (were her daughter and grandchild live) how she lives her husband, about her problem with getting late at some places, and what happen when she come back to New York.
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Tonight, Rosie Huntington-Whiteley wore the ultimate statement piece on the Golden Globes red carpet: a brand new diamond ring on that finger. E! Online reports the model is engaged to her boyfriend of over five years Jason Statham. And the model gave quite a flashy, silent confirmation for the cameras:
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Lack of a definite explanation, this is what surrounds the opening as well as the end of this release. There is a shroud of mystery, a certain impenetrable fogginess that clouds the perception throughout the two tracks on Strid's 1994 output. It all comes down to the samples. They exist, have an impact and they help to set the stage – set a certain kind of mood, yet they do not reveal themselves. What are those sound fragments at the beginning of "Det hviskes blant sorte vinder" and at the end of "Nattevandring"? How do they fit, if they do that is, into the broader framework of this album? Had they been a starting point in the process of getting the release done or have they merely been glued to something that might have been completed already. The latter of these two has an intriguing touch to it, doesn't it?
First the howling of wind. Someone is chased. Could it be a woman or a young man? Horses are involved. The sounds are vague. It is difficult to make out something definite. One more horse and the trampling is now more accentuated, louder, harder. Is this now a hunter or a huntress? Then a sudden short gasp and then the rattling of a chain, as if a bridge from an ancient castle is being lowered. An escalation or an escape? This is the setting. Interestingly, the music starts just as the bridge is fully open – slightly cheesy – and someone would be able to walk through or maybe even walk out. Should one step in and seek some kind of shelter? Is a place with such an entrance an omen for good or ill? Is the timing an expression of destiny? What to make of all of this?
Of course the music has a strange touch and atmosphere as it is remains on a low profile and as it avoids stark contrasts or intense moments. This is especially true once the vocals are brought into the game. Their style is more like a narrative expressed in a strange tongue; something one might expect in a cheesy black and white B-movie in which such things might appear and overdone in one way or another. The croaking fills the room and generates presence, but it never appears as if it would have something to tell. Somehow the forced way in which the lyrics are thrown towards the listener, reminds on someone expressing something that comes with a yoke, a burden that proves to be a challenge day in and out. Compared with other black metal bands, aggressiveness is quite absent – a difference to band's first demo – to a considerable degree and all that is left is an overbearing melancholy – depression might be too extreme in this regard. A contemplation, a nonsensical loud monologue set in bleak scenario. Is there a distant listener? Is there someone out hiding, unable to move a muscle over the horrors that might be expressed in those words – doomed to linger in the dark, in the mist, in the nothingness and forced to endure the endless schizophrenic ramblings? How far is the Lovecraftian universe from this?
Therefore it is the music's part to have a soothing effect. It is their part to work as a support for the (rare) vocals as well as lead the listener along the way. A dominant bass guitar and a dense texture created by rhythm guitars in the background are the basic setting, while the drums set the pace and accentuated points. Everything is in a flow so to speak and moves along gently. Primitive in terms of the complexity and an overall reduction to a small set of elements. Even though the emphasis differs between the compositions the overall direction and settings is the same. Thanks to a proper production the outcome of these elements is quite palpable as well as enjoyable. It is this that has added a certain warmth to the music, which can especially be attributed to the bass guitar line. It is reassuring to have this one clear focal element, while the rest meanders in small circles; in "Nattevandring" though the setting is a bit more complex. Keyboards? At least on the aforementioned track some kind of background ambient appears to exist. With less emphasis on the bass guitars, it is possible for them to add some nuances to the music. Generally, they are doomed to linger in the background and unable to have a lasting impact.
It may be worth mentioning that the bass guitar wakes memories on Forgotten Woods – "As the Wolves Gather" for instance and to point to a release of the same year –, but somewhat calmer and rather dreamy. This due to the way the melodies progress, which shows hints towards the ambient genre. Riffs and sounds are able to fill the room, but they are never engaging or give any idea as if they would like to go somewhere, reach a certain spot or create some kind of dynamic. Most of the time, there is a definite and unmistakable exception from this – see the next paragraph –, all is well balanced, quite gloomy and not too depressing. The distance is always there and listener has to fill the role of a lone spectator, someone allowed to watch, but never to touch or to fully embrace it. Most of the time the tunes evolve steadily, take the listener along and guide this person through bleak landscaped and barren fields. Pleasantries might be far off and all that has remained is some kind of contemplation. A contemplation that is expressed through the sadness in the voice as well as the steadiness in the musical arrangements. It feels like a depression/melancholy made flesh. You cannot escape it, you cannot outmanoeuvre it, you cannot make it disappear all of a sudden.
Or can you?
There is something strange happening at some point of the release and it starts roughly at the minute 6:05 in the second track "Nattevandring". This break in the progression, the mood, the sound and the atmosphere takes the listener into a different realm. Even though the term cheering my be too far-fetched, there is nevertheless a certain type of positive vibe in the air. It feels as if the band had attempted to break with the earlier concepts and would now try to find a way out of this. Maybe a gloom of light appears at the horizons and sets an abrupt end to the night time wanderings. Would this also be the reason for the closing of the gate? Would this be a place that is only allowed to be opened during the time of the night, but remains sealed shut during at any other moment? Is this sound of the latching of the gate that appears at the end of the release? Make sure no one enters at bright day light?
Towards the end the listener is left with a mild confusion. How all plays out together is not resolved. You are barred from it; literally. It would be nice to have some lyrics, but they are kept away. Strid, Norwegian for battle, has some ties to the German word Streit, English for argument, conflict or even fight. In Low German or Frisian the word Striet can be found; it is beneficial to look at translations from a broader perspective. Therefore, the limitation on the term battle appears to be questionable and puts too much emphasis on a clash of armies or an armed conflict. By falling back to a less extreme translation, one recognizes the aspect of contrasts and of duality. Also, this helps to bring the samples and their role in the music into perspective, even though their actual depth as well as impact remain somewhat wanting. There is no fight, just an escape, a chase and a conflict. It may be doubted if an actual meeting of these two parties would lead to an battle at all; yet, judging from the sounds and the setting, at least some form of violence might be impossible to overcome. Anyway, the track titles give hints towards the night and towards darkness. As such it is of no surprise to experience music that in style and sounds is comparably calm and laid back. All appears sedated and the words are expressed with a vibe of introspection. It is music as a spot and with hardly a direction. It is a recognition of impotence and futility. At the end the gates are closed again, sealed and shut. All is barred out and kept away from the world. It feels like a recognition of one's limitations.
Somehow it is sad to see that the band had been doomed to leave the world with this release. It would have been interesting to see and experience how they interpret their distinct style and sound even further. They left too soon and the first step with this new band had been destined to be their last. At least they did not leave unnoticed and their small sparks of music continue to have an impact; be it through their own outputs or through some other band that has followed in their paths.
Yet the questions, the conflicts remain.
The beginnings of depressive black metal, which may surprise many, did not begin in the bedrooms of teenagers across the globe. It did not begin on the popular website MySpace, nor is it a creation of Burzum's. In my opinion, whilst Burzum had a major affect upon the sub-genre in years to come, bands like Forgotten Woods and Strid were the co-creators of this sound which is extremely popular today. There are those who hate this sub-genre with a passion and there are those that love it. I love it, personally. Of course, there are going to be bands within the genre that I don't like, but isn't that the same for every aspect of metal, if not music in general?
Whilst the majority of people seem to harp on about bands like Strid because, apparently, they embody an experience like no other due to their amazing sounds. I personally don't see what all the fuss is about. Whilst bands like Strid should be appreciated because they had a major influence on a number of bands I like today, I don't necessarily accept the apparent fact that they are the best thing since sliced bread. Fans today complain that the sub-genre of depressive black metal isn't as accessible or as strong due to the high influx of so-called 'bedroom bands'. The main complaint seems to be that bands of today have taken the sound of bands like Strid, especially in terms of guitar structures and atmospherically driven ambience, and changed minor aspects of their music in order for it to be seen as their own individualistic effort. I think it is nonsensical to suggest such a fact as black metal is a repetitive genre by nature. You're bound to find music that is similar to that of the olden days because the vast majority of black metal bands use a limited amount of techniques in order to portray their lyrical and musical themes.
In actual fact, whilst I can understand the appeal, Strid seem mediocre by comparison to the more modern day bands like Nyktalgia and Wigrid, both of which are often called Burzum clones. Another aspect of today's fans I find mildly amusing is that they claim that the majority of bands who play within the sub-genre of depressive black metal are indeed clones of Burzum. I, personally, think Burzum are overrated. You may be asking yourself why I'm making this comparison but isn't it all relative? The early and mid-1990's has such a huge reputation for producing the golden era of black metal bands but, in my opinion, when you compare it to the modern scene, it's no longer as proud as it once was. As I previously stated, there are a number of fans that consider the modern day scene to be a replica of the old days. This is something I disagree with. Whilst I can understand the fact that there may be some similarities, I wouldn't completely write off the more modern day acts because they appear similar on the surface. There is something inside me that feels as if the music present on this demo wears slightly thin, especially considering both songs are fairly long in length. The repetitive sound needs more than just that to withstand a longer set to play on and whilst Strid do offer some tasty soundscapes, it's not the best I've heard, simply put. There isn't much point in making comparisons to other Strid releases because there aren't many to choose from. In actual fact, there is only one other demo to choose from which makes me wonder how on earth the reputation for this band is so big due to a very short career. Thing is, I can imagine it is simply because during the early 90's, black metal wasn't as accessible as is nowadays. Bands who played within the scene were few and far between, so fans couldn't pick and choose who were legends in their own right as much as they can now. Black metal has expanded further into the realms of avant-gardé and the more that happens, the more acts like Strid get left behind.
That is the problem here. In comparison, Strid's music hasn't exactly stood the test of time. The guitars sound just as thin as the production and gradually, though we're only offered a single song, it does grate on the nerves. Whilst, yes the demos are accessible to fans of this type of music because the repetitious nature of the music is seen as enjoyable by a lot of people, the music never really excels itself or anything released in the past decade. Allow me to use Nyktalgia's self-titled debut as an example. Whilst there may be repetition used on the record, it is fairly innovative for it's genre. On this demo, which happens to be self-titled, repetition is the main course of the day. Strid do set the standard for use of creative bass lines though for black metal bands. The bass often takes lead of the band, creating some fine droning ambience that ebbs and flows constantly throughout the two songs. However, it all seems a little outdated. Whilst there is a fair amount of emotive atmospheres used on this demo, they don't carry the music over as well as I had hoped. The vocals are especially important in doing this, but they aren't up to the standard that modern day bands apply to their work.
The vocals are typically rasping and do depict the negativity of black metal and life well, but don't stand out as much as they could have either. At times they seem to hold back, perhaps in order to allow the true essence of Strid to shine through instrumentally, but it never quite does. In comparison to the other demo, this is very similar. The sound, the pace, the entire contents of this demo are very similar to the other and it's disappointing. There seems to be a lack of direction. The guitars are quite disappointing, as are the drums. Both are repetitive, playing in a similar droning fashion to the bass, but with less impact. The production suits the demo, that's for sure. A thin production for thin sounding instruments seems apt. It is bleak, cold and melancholic but the atmospheric nature of the demo isn't diverse enough to withstand time. It's ageing façade is growing weary and by the mid-point of the song, so am I. I can appreciate this demo, I just don't think it is as good as people suggest it is. It is also far too short to make any sort of judgements on how amazing Strid would have become if they had stuck at it. Overrated, in my opinion.
Norway proves once again that they are the masters of creating melancholic black metal. This EP is mind blowing as far atmosphere goes – and black metal doesn't get any better than this…
As short as this EP might seem, I guarantee you that when you're done listening to these two long tracks that "Strid" consists of, you will behold an incredible and timeless EP. The music itself is very timeless, consisting of perfect atmospheric black metal production like I never heard before. Maybe I could compare this short EP to Darkthrone to just give you an idea, but Strid seems to have even more atmosphere than Darkthrone itself. And I tell you what: as corny as this may sound, Strid is one of the "few" black metal projects that actually makes ME feel like I'm in a cold vast forest.
For the first time, I will admit that the feel for the music found on this EP is very supernatural. This is music that touches your soul; very spiritual, touching, melancholic, and at the same time, powerful; a fusion that really defines the greatness of black metal.
What a shame that a band as incredible as this had to split-up. Even though the band didn't make it very far… this EP is so goddamn timeless that I really urge you to check it out if you love black metal at its purest form. Strid is a name that I will remember for the rest of my life.
This is one good EP. There are many reasons making these 2 songs very valuable. The first of the reasons is that this album is a milestone, a beginning for the suicidal black metal subgenre. This was released many years before those Shining, Abyssic Hate, Xasthur etc. albums. And I noticed that Shining has 2 songs which are exactly like "Nattevandring", a very inspiring song which is one of the 2 songs.
Distorted "trance-mood" guitars and a bass guitar leading the song with simple but effective notes. And the sound of drums which makes the trance-like state of this EP stronger. The drums are not minimalistic or simple, there are strong attacks and different patterns and all are enjoyable and makes the atmosphere of the EP more effective. And the vocals... They explain it all. Hate and pain slipping from every part of Storm's vocals.
Both songs take you away from the real world and show you all the pain in this world. This release is very important in my opinion, very important for me at least. The rarity makes this release even more valuable. If you want to see what Shining (In an interview Kvarforth said he listens to 2-3 black metal bands and Strid was one of them.) and other suicidal black metal bands were inspired from, listen to this release.
I was highly skeptical upon receiving this EP from a friend, as I've become accustomed to the majority of suicidal black-metal bands being an absolute load of dissonant wankery. While I won't deny I've enjoyed a bit of dissonant wankery in my time, I certainly don't need yet another "kvlt" demo from some teenagers in Scandinavia full of it. So imagine my surprise when I had a listen to the first track from this EP. The thing that struck me first was the production, which was far above average. While the guitar tone and drum sound were something in the vein of Filosofem era Burzum, the quality of production and the way the over distorted and fuzzed riffs came across reminded me mostly of Abyssic Hate. What separates this band from Abyssic Hate is the crafty use of Bass guitar. In fact I'd claim the bass is actually the lead instrument on the first song, as it seems to play the actual slow paced riff, while the guitars drone fuzzily in the back ground. The song writing here stands out, it's hard to place, but one really does get the feeling a lot of arrangement was put into these songs, and not the hastily construction crap we've come to expect from Scott Connor. The vocals are nothing special, but get the job done, in fact they are buried beneath the thick sheet of distorted guitar, and the almost melodic bass lines which dominate this EP.
However, all of this seems kind of familiar doesn't it? Let's see, base high in the mix, slow paced suicidal black-metal, tortured vocals. Yes, it sounds just like Shining …But a look at the release date will show you that this was released years before the first shining album, which should the give you insight into what an original album it was for its time, pre-dating the entire suicide-black-metal trend. Which probably explains why the band was unheard of during it's lifespan, as had this band existed at the high of Xasthur worship they would have no doubt become far more popular than they are now. Overall, anyone reading this review will know largely what to expect if they've ever heard anything in the suicidal black-metal sub-genre, only this is done with far more forethought and skill, a milestone in the beginning of the genre, and a shame it never became a full album.
Strid is a band which not very much is known about. Buried among the hundreds of black metal bands coming out of Scandinavia in the early 90's was Strid's brilliant sound of absolute despair and darkness. The ep was released in 1995.
On this 2-song ep we are presented with a totally different take on black metal. Gone are the furious blasts beats and guitar riffs a la Mayhem, Strid prefers a slower, much more macabre sounding combination of melodies and drum patterns. The opening track is called "Det Hviskes Blant Sorte Vinder". Sounds of a horse galloping through a storm can be heard, the wind howling furiously really creates an eerie atmosphere.
The little intro leads to a fuzzy combination of a sorrowful bass-line, guitars droning in the distance and a slow drumbeat make up the background for the voice of misery itself. A high pitched scream that echoes and makes the music sound even gloomier. The song also has a certain "folk" feeling to it, Flutes can be heard in the distance at times.
The second track is "Nattevandring". It starts similar to the other song, a slow drumbeat and guitars, the song clocks in at 7:57, and midway through the song changes into an ambient like track, with a constant fuzzy guitar sound in the back, the evil vocals occasionally interrupting the trance like rhythms. The song ends with the sound of a gate closing, like a drawbridge of a castle.
Even though this only has 2 songs it is really worth getting, this sounds much more original and interesting than 99% of the black metal bands out today. It is also extremely hard to find.


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The AP41 Performance Series Single-Channel Handheld Wireless System from Audix includes the R41 1-channel diversity receiver and H60/OM5 handheld transmitter. The R41 receiver operates on a frequency range of 522 to 554 MHz and offers one-touch auto scan searches for clear channel. Thanks to the one-touch sync function, the receiver easily links to the H60 handheld transmitter placed within 300'.
The handheld transmitter comes with the OM5 dynamic hypercardioid microphone capsule. Featuring a slim-line body design and durable metal housing, this transmitter is compact, well-balanced, and comfortable to hold. It comes with a soft mute switch which also serves as an on/off switch when needed. It also features a high-contrast LCD display with group, channel, and battery indicator.
The OM5 microphone has a uniformly controlled hypercardioid polar pattern which isolates the vocals from the rest of the instruments on stage or in a studio. It has clarity, resistance to feedback, and ability to handle SPLs more than 144 dB without distortion.