ANCIENT ARCHITECTURE

  

                      

                                THE SHORT ON ANCIENT ARCHITECTURE

 

                   INDIAN ARCHITECTURE IS AS OLD AS THE HISTORY OF THE CIVILIZATION. THE EARLIEST REMAINS F RECOGZABLE BUILDING ACTIVITY IN THE INDIA DATES BACK TO THE INDUS VALLEY CITIES. AMONG INDIA'S ANCIENT ARCHITECTURAL REMAINS, THE MOST CHARACTERISTIC ARE THE TEMPLES, CHAITYAS, VIHARAS, STUPAS AND OTHER RELIGIOUS STRUCTRES. IN ANCIENT INDIA, TEMPLE ARCHITECTURE OF HIGH STANDARD DEVELOPED IN ALMOST ALL RELIGIONS. THE DISTINCT ARCHITECTURAL STYLE OF TEMPLE CONSTRUCTION IN DIFFERENT PARTS WAS A RESULT OF GEOGRAPHICAL, CLIMATE, ETHNIC, RACIAL, HISTORICAL AND LINGUISTIC DIVERSITIES.

                 THE ROCK-CUT STRUCTURES PRESENT THE MOST SPECTACULAR PIECE OF ANCIENT INDIA ARE SPECIMEN. MOST OF THE ROCT-CUT STRUCTURES WERE RELATED TO VARIOUS RELIGIOUS COMMUNITIES. IN THE BEGINNING, REMARKABLE BUDDHIST AND JAIN MONUMENTS WERE PRODUCED IN AREAS SUCH AS BIHAR IN THE EAST AND MAHARASTRA IN THE WEST. CHAITYAS AND VIHARAS ARE THOSE ROCK-CUT STRUCTURES THAT WERE HEWN OUT FOR BUDDHIST AND JAIN MONKS. CHAITYAS WERE PLACE OF WORSHIP WHEREAS VIHARAS WERE RESIDENCE OF MONKS. THE RATHAS AT MAHABALIPURAM ARE YET ANOTHER GREAT SPECIMEN OF ROCK-CUT ARCHITECTURE IN ANCIENT INDIA.

              EXPLAIN THE SALIENT FEATURES OF ANCIENT RELIGIOUS                                                    MONUMENTS ARCHITECTURE

                                             RELIGIOUS MONUMENTS 

                           STUPAS : THE PRACTICE OF PRESERVING THE REMAINS OF AN IMPORTANT PERSONALITY UNDER A HEAP OF ACCUMULATED EARTH HAD BEEN IN EXISTENCE FOR LONG. BHUDDHISTS ADOPTED THIS PRACTICE AND THE STRUCTURE BUILT OVER SUCH A SITE WAS KNOWN AS STUPA. ACCORDING TO BUDDHIST SOURCES THE REMAINS OF BUDDHA'S BODY WERE DIVIDED INTO EIGHT PARTS AND PLACED UNDER THE STUPAS. THESE, DURING THE TIME OF ASHOKA, WERE DUG OUT AND REDISTRIBUTED WHICH LED TO THE CONSTRUCTION OF OTHER STUPAS, THE SACRED , THE SACRED PLACES OF BUDDHISM. THE WORSHIP OF STUPAS LED TO THEIR ORNAMENTATION AND A SPECIFIC TYPE OF ARCHETECTURE DEVELOPED FOR THEIR CONSTRUCTION.

                      THE STUPAS HAS THE SHAPE OF A BOWL TURNED UPSIDE DOWN. AT THE TOP, WHICH WAS A BIT FLAT, USED TO BE ITS HARMIKA. I.E, THE ABODE OF THE GODS. IT WAS HERE THAT THE URNS CONTAINING THE REMAINS OF BUDDHA OR A GREAT PERSONALITY CONNECTED WITH THE RELIGION WAS PLACED IN A GOLD OR SILVER CASKET. A WOODEN ROD WAS PLACED IN ITS MIDDLE AND BOTTOM OF THE ROD WAS FIXED ON THE TOP OF THE STUPA. ON THE TOP OF THIS ROD WERE PLACED THREE SMALL UMBRELLA-TYPE DISCS SYMBOLIZING RESPECT, VENERATION AND MAGNANIMITY. THE MAIN STUPAS IN INDIA ARE LOCATED AT BODHGAYA, SANCHI, BHARHUT, AMRAVATI AND NAGAJUNKONDA.

                  ROCK CUT ARCHETECTURE : BOTH THE BUDDHISTS AND JAIN BUILT CHAITYAS AND VIHARAS AS PLACES OF WORSHIP. A CHAITYA IS A SHRINE CELL WITH A VOTIVE STUPA PLACED IN THE CENTER. THE GENERAL CHARACTERISTICS OF THE CHAITYAS ARE AS FOLLOWS :

                    * THEY HAVE A LONG RECTANGULAR HALL ENDING IN A SEMI-CIRCLE                             AT THE REAR END.

                    * THIS LONG HALL IS INTERNALLY DIVIDED INTO A NAVE, AND APSE AND                         TWO SIDE AISLES.

                    * THE AISLES ARE SEPERATED FROM THE NAVE BY TWO ROWS OF                                       PILLARS.

                    * THE PILLARS COME AROUND THE VOTIVE STUPA PLACED IN THE                                     CENTER OF THE APSIDAL PART OF THE NAVE.

                    * THE HALL HAS A BARREL-VALUTED CEILING.

                    * THE DOORWAY IS USUALLY PLACED FACING THE VOTIVE STUPA.

                    * THE FACADE HAS A HORSE-SHOE SHAPED WINDOW CALLED THE                                     CHAITYA WINDOW.

              VIHARAS WERE PRIMARILY CUT OUT OF ROCKS FOR THE RESIDENCE OF MONKS. THE GENERAL FEATURES OF VIHARAS ARE:

  

                    👀 THEY HAVEA SQUARE OR OBLONG HALL IN THE CENTER.

                    👀 THIS IS PRECEDED IN FRONT BY A PILLARED VERANDA.

                    👀 THEY HAVE A NUMBER OF SMALL SQUARE CELLS.

                    👀 THE CELLS AND HALLS ARE USUALLY PROVIDED WITH RAISED                                         BEACHES FOR THE USE OF MONKS.

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                       THE EARLIEST OF THE VIHARAS OF WESTERN INDIA ARE LOCATED AT SUCH SITES AS BHAJA, BEDSA, AJANTA, PITAKHORA, NASIK AND KARLE.

                      TEMPLES : THE EARLIEST FREE STANDING RELIGIOUS BUILDING OF WHICH TRACES REMAIN IS A SMALL ROUND HALL, PROBABLY CONTAINING A BUDDHIST STUPA, AT BAIRAT NEAR JAIPUR. THERE ARE NO REMAINS OF FREE-STANDING HINDU TEMPLES ERECTED BEFORE THE GUPTA PERIOD, THOUGH BY THIS TIME THEY MUST LONG HAVE BEEN BUIL IN WOOD, CRY AND BRICK. ALL THE GUPAT TEMPLES WERE SMALL AND MOST HAD FLAT ROOFS. THEIR MASONRY WAS HELD TOGETHER WITHOUT MORTAR AND WAS FAR LARGER AND THICKER THANWAS NECESSARY FOR THE COMPARATIVELY SMALL BUILDINGS. THE PORTAL VERANDA WAS CONTINUED ALL ROUND THE BUILDING, MAKING A COVERED WALK.

              THE STANDARD TYPE OF HINDU TEMPLE, WHICH HAS PERSISTED FROM THE 6TH CENTURY TO THE PRESENT DAY, WAS NOT FUNDAMENTALLY DIFFERENT FROM THAT OF THE ANCIENT GREEKS. THE HEART OF THE TEMPLE WAS A SMALL DARK SHRINE-ROOM (GARBHA GRIHA), CONTAINING THE CHIEF ICON. THIS OPENED INTO A HALL FOR THE WORSHIPPERS (MANDAPA), ORIGINALLY A SEPARATE BUILDING, BUT USUALLY JOINED TO THE SHRINEROOM BY A VESTIBULE. THE HALL WAS APPROACHED BY A PORCH. THE SHRINE ROOM WAS GENERALLY SURMOUNTED BY A TOWER WHILE SMALLER TOWERS ROSE FROM OTHER PARTS OF THE BUILDING. THE WHOLE WAS SET IN A RECTANGULAR COURTYARD (WHICH MIGHT CONTAIN LESSER SHRINES) AND WAS OFTEN PLACED ON A RAISED PLATFORM.

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NATYASHASTRA

 

                                   THE BRIEF NOTE ON NATYASHASTRA

                 THE NATYA SHASTRA (NATYAUASTRA) OF BHARATA, A TREATISE ON GANDHARVAVEDA, IS THE PRINCIPLE WORK OF DRAMATIC THEORY, ENCOMPASSING DANCE AND MUSIC, IN CLASSICAL INDIA BY SAGE BHARATA.

                 THE NATYA SHASTRA IS INCREDIBLY WIDE IN ITS SCOPE. IT COVERS STAGE-DESGIGN, MUSIC, DANCE, MAKEUP, VIRTUALLY EVERY ASPECT OF STAGECRAFT. IT IS VERY IMPORTANT TO THE MUSICIAN BECAUSE IT IS THE ONLY TEXT WHICH GIVES SUCH DETAIL ABOUT THE MUSIC AND INSTRUMENTS OF THE PERIOD. THE TEXT CONTAINS A SET OF PRECEPTS ON THE WRITING AND PERFORMANCE OF THEATRE, DANCE AND MUSIC. WHILE IT PRIMARILY DEALS WITH STAGECRAFT, IT HAS COME TO INFLUENCE MUSIC, CLASSICAL INDIAN DANCE, AND LITERATURE AS WELL. THUS, AN ARGUMENT CAN BE MADE THAT THE NATYASASTRA'S THE FOUNDATION OF THE FINE ARETS IN INDIA. AUTHOR OF THIS WORK IS MUNI (SAGE) BHARATA AND IS BELIEVED TO HAVE BEEN WRITTEN DURING THE PERIOD BETWEEN 200 BCE AND 200 CE. THE NATYA SHASTRA IS THE OLDEST SURVIVING TEXT ON STAGECRAFT IN THE WORLD. HOWEVER THERE ARE SCHOLARS WHO BELIEVE THAT IT MAY HAVE BEEN WRITTEN BY VARIOUS AUTHORS AT DIFFERENT TIMES. IT IS BELIEVED THAT IT MAY HAVE BEEN WRITTEN BY VARIOUS AUTHORS AT DIFFERENT TIMES. IT IS BELIEVEDTHAT THE NATYA SHASTRA IS BASED UPON THE MUCH OLDER NATYA SUTRAS. UNFORTUNATELY THERE ARE NO SURVIVING COPIES OF THE NATYA SUTRAS SO WE HAVE NO WAY TO KNOW FOR SURE. THE MOST AUTHORITATIVE COMMENTARY ON NATYA SHASTRA IS ABHINAVABHARATI BY ABHINAVA GUPTA.

           

              THE NATYA SHASTRA IS THE OLDEST SURVIVING TEXT ON STAGECRAFT ON THE WORLD. THE TEXT, WHICH NOW CONTAINS 6000 SLOKAS, IS ATTRIBUTED TO THE MUNI (SAGE) BHARATA AND IS BELIEVED TO HAVE BEEN WRITTEN DURING THE PERIOD BETWEEN 200 BC AND 200 AD. THE NATYA SHASTRA IS BASED UPON THE MUCH OLDER NATYA VEDA WHICH CONTAINED 36000 SLOKAS. UNFORTUNATELY THERE ARE NO SURVIVING COPIES OF THE NATYA VEDA.

             THE DOCUMENT IS DIFFICULT TO DATE AND BHARATA'S HISTORICITY HAS ALSO BEEN DOUBTED, SOME AUTHORS SUGGESTING THAT IT MAY BE THE WORK OF SEVERAL PERSONS. HOWEVER, KAPILA VATSYAYAN HAS ARGUED THAT BASED ON THE UNITY OF THE TEXT, AND THE MANY INSTANCES OF COHERENT REFERENCE OF LATER CHAPTERS FROM EARLIER TEXT, THE COMPOSITIONS IS LIKELY THAT OF A SINGLE POERSON. WHETHER HIS/HER NAME REALLY WAS BHARATA IS OPEN TO QUESTION: NEAR THE END OF THE TEXT WE HAVE THE VERSE: "SINCE HE ALONE IS THE LEADER OF THE PERFORMANCE, TAKING ON MANY ROLES, HE IS CALLED BHARATA ", INDICATING THAT BHARATA MAY BE A GENERIC NAMES. IT HAS BEEN SUGGESTED THAT BHARATA IS AN ACRONYM FOR THE THREE SYLLABUS: BHA FOR BHAVA (MOOD), RA FOR RAGA (MELODIC FRAMEWORKS), AND TA FOR TALA (RHYTHM). HOWEVER, IN TRADITIONAL USAGE BHARATA HAS BEEN ICONIFIED AS MUNI OR SAGE, AND THE WORK IS STRONGLY ASSOCIATED WITH THIS PERSONAGE.

                   SINCE NOTHING IS KNOWN ABOUT BHARATA, ANY ARGUMENTS REGARDING DATE CAN BE BASED SOLELY ON THE TEXT. IT HAS BEEN ARGUED THAT THE TEXT PREDATES SEVERAL SECTIONS OF THE RAMAYANA, SINCE THE MUSIC TERMINOLOGY USED BY VALMIKI FOLLOWS BHARATA'S OUTLINES. AT THE SAME TIME, IT IS CLEARLY LATER THAN SOME OF THE PURANA AND BRAHMA TEXTS. ALONG WITH MANY OTHER ARGUMENTS, THIS HAS LED TO THE OPINION THAT THE DATE MAY LIE SOMEWHERE BETWEEN  200 BC AND 200 AD. THOUGH EARLIER AND LATER DATS ARE OFTEN POSTULATED, THIS APPEAR TO BE THE "BROAD CONSENSUS".

                                                     TITLE AND SETTING

               

                    WRITTEN IN SANSKRIT, THE TEXT CONSISTS OF 6000 SUTRAS, OR VERSE STARZAS, INCORPORATED IN 35 OR 36 CHARACTER, SOME PASSAGES THAT ARE COMPOSED IN A PROSE FORM.

                 THE TITLE CAN BE LOOSELY TRASLATED AS A COMPENDIUM OF THEATRE OR A A MANUAL OF DRAMATIC ARTS. NATYA, OR NATAKA MEANS DRAMATIC ARTS. IN CONTEMPORARY USAGE, THIS WORD DOES NOT INCLUDE DANCE OR MUSIC, BUT ETYMOLOGICALLY THE ROOT NAT REFERS TI "DANCE".

                THE DISCOURSE IS SET IN A FRAME WHERE A NUMBER OF MUNIS APPROACH BHARATA, ASKING HIM ABOUT NATYAVEDA (LIT. NATYA =DRAMA, PERFORMANCE, VEDA = KNOWLEDGE). THE ANSWER TO THIS QUESTION COMPRISES THE REST OF THE BOOK, WHICH IS THUS LOOSELY A DIALOGUE. BHARATA SAYS THAT ALL THIS KNOWLEDGE IS DUE TO BRAHMA. AT ONE POINT HE MENTIONS THAT HE HAS A HUNDRED "SONS" WHO WILL SPREAD THIS KNOWLEDGE, WHICH SUGGESTS THAT BHARATA MAY HAVE HAD A NUMBER OF DISCIPLES WHOM HE TRAINED.

                THE CREATION BY BRAHMA OF NATYAVEDA IS ASSOCIATED WITH AN EGALITARIAN MYTH CALLED FIFTH VEDA: SINCE THE FOUR VEDAS, ALSO CREATED BY BRAHMA, WERE NOT TO BE STUDIED BY WOMEN AND LOWER CASTES, HE CREATED THIS FIFTH VEDA, THE ART OF DRAMA, TO BE PRACTICED BY EVERYONE.

                                          PERFORMANCE ART THEORY

                    THE NATYA SHASTRA RANGES WIDELY IN SCOPE, FROM ISSUES OF LETERARY CONSTRUCTION, TO THE STRUCTURE OF THE STAGE OR MANDAPA, TO A DETAILED ANALYSIS OF MUSICAL SCALES AND MOVEMENTS (MURUCHHANAS), TO AN ANALYSIS OF DANCE FORMS THAT CONSIDERS SEVERAL CATEGORIES OF BODY MOVEMENTS, AND THEIR IMPACTS ON THE VIEWER.

                BHARATA DESCRIBES 15 TYPES OF DRAMA RANGING ONE ON TEN ACTS. THE PRINCIPLES FOR STAGE DESIGN ARE LAID DOWN IN SOME DETAIL. INDIVIDUAL CHAPTERS DEAL WITH ASPECTS SUCH AS MAKEUP, COSTUME, ACTING, DIRECTING, ETC., A LARGE SECTION DEALS WITH MEANINGS CONVEYED BY THE PERFORMANCE (BHAVAS) GET PARTICULAR EMPHASIS, LEADING TO A BROAD THEORY OF AESTHETICS (RASAS).

              FOUE KINDS OR ABHINAYA (ACTING, OR HISTRIONICS), ARE DESCRIBED - THAT BY BODY PART MOTIONS (ANGIKA), THAT BY SPEECH (VACHIKA), THAY BY INTERNAL EMOTIONS, EXPRESSED THROUGH MINUTE MOVEMENTS OF THE LIPS, EYEBROWS, EAR, ETC., (SATTVIKA).

                                                                    RASA

                     THE NATYASHASTRA DELINEATES A DETAILED THEORY OF DRAMA COMPARABLE TO THE POETICS OF ARISTOTLE. BHARATA  REFERS TO BHAVAS, THE IMITATIONS OF EMOTIONS THAT THE ACTORS PERFORM, AND THE RASAS (EMOTIONAL RESPONSES) THAT THEY INSPIRE IN THE AUDIENCE. HE ARGUES THAT THERE ARE EIGHT PRINCIPLE RASAS: LOVE, PITY, ANGER, DISGUST, HEROISM, AWE, TERROR AND COMEDY, AND THAT PLAYS SHOULD MIX DIFFERENT RASAS BUT BE DOMINATED BY ONE. 

               EACH RASA EXPERIENCED BY THE AUDIENCE IS ASSOCIATED WITH A SPECIFIC BHAVA PORTRAYED ON STAGE. FOR EXAMPLE, IN ORDER FOR THE AUDIENCE TO EXPERIENCE SRNGARA (THE EROTIC RASA), THE PLAYWRIGHT, ACTORS AND MUSICIAN WORK TOGETHER TO PORTRAY THE BHAVA CALLED RATI (LOVE).

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INTRODUCING INDIAN CULTURE

 

                                         SHORT NOTE ON INDIAN CULTURE

                  CULTURE CONSISTS OF DEVELOP INDERSTANDINGS OF LITERATURE, MUSIC, AND VARIOUS ARE FORMS. TYPE OF CIVILIZATION AND THE WAYS OF LIVING HELP TO MAKE UP A CULTURE. THE TERM CULTURE REFERS TO A STATE OF INTELLECTUAL DEVELOPMENT OR MANNERS. THE SOCIAL AS CULTURE. INDIAN CULTURE IS RICH AND DIVERSE AND AS A RESULT UNIQUE IN ITS VERY OWN WAY. OUR MANNERS, WAY OF COMMUNICATING WITH ONE ANOTHER, ETC., ARE ONE OF THE IMPORTANT COMPONENTS OF OUR CULTURE. EVEN THOUGH WE HAVE ACCEPTED MODERN MEANS OF LIVING, IMPROVED OUR LIFESTYLE, OUR VALUES AND BELIEFS STILL REMAIN UNCHANGED. A PERSON CAN CHANGE HIS WAY OF CLOTHING, WAY OF EATING AND LIVING BUT THE RICH VALUES IN A PERSON ALWAYS REMAINS UNCHANGED BECAUSE THEY ARE DEEPLY ROOTED WITHIN OUR HEARTS, MIND, BODY, AND SOUL WHICH WE RECEIVE FROM OUR CULTURE.

              INDIAN CULTURE TREATS GUESTS AS GOD AND SERVES THEM AND TAKES CARE OF THEM AS IF THEY ARE A PART AND PARCEL OF THE FAMILY ITSELF. EVEN THOUGH WE DON'T HAVE ANYTHING TO EAT, THE GUESTS ARE NEVER LEFT HUNGRY AND ARE ALWAYS LOOKED AFTER BY THE MEMBERS OF THE FAMILY. ELDERS ARE THE DRIVING FORCE FOR ANY FAMILY AND HENCE THE LOVE AND RESPECT FOR ELDERS COMES FROM WITHIN AND IT NOT ARTIFICIAL. AN INDIVIDUAL TAKES BLESSINGS FROM HIS ELDERS BY TOUCHING THEIR FEET. ELDERS DRILL AND PASS ON THE INDIAN CULTURE WITHIN US WE GROW.

               "RESPECT ONE ANOTHER" IS ANOTHER LESSON THAT IS TAUGHT FROM THE BOOKS OF INDIAN CULTURE. ALL PEOPLE ARE A LIKE AND RESPECTING ONE ANOTHER IS ONES DUTY. IN FOREIGN COUNTRIES THE RELATION BETWEEN THE BOSS AND THE EMPLOYEE IS LIKE A MASTER THE SLAVE AND IS PURELY MONETARY WHEREAS IN INDIAN CULTURE THE RELATION BETWEEN THE BOSS AND THE EMPLOYEES IS MORE LIKE HOMELY RELATIONS UNLIKE FOREIGN COUNTRIES. HELPFUL NATURE IS ANOTHER STRIKING FEATURE IN OUR INDIAN CULTURE. RIGHT FROM OUR EARLY DAYS OF CHILDHOOD WE ARE TAUGHT TO HELP ONE ANOTHER IN NEED OF HELP AND DISTRESS. IF NOT MONETARY THEN AT LEAST IN KIND OR NON-MONETARY WAYS. INDIAN CULTURE TELLS US TO MULTIPLY AND DISTRIBUTE JOY AND HAPPINESS AND SHARE SADNESS AND PAIN. IT TELLS US THAT BY ALL THIS WE CAN DO DEVELOP CO-OPERATION AND BETTER LIVING AMONGST OURSELVES AND SUBSEQUENTLY MAKE THIS WORLD A BETTER PLACE TO LIVE IN. EVEN THOUGH INDIA IS A COUNTRYOF VARIOUS RELIGIONS AND CASTE OUR CULTURE TELLS UR JUST ONE THING "PHIR BHI DIL HAI HIDUSTANI".

                    THE MAIN FACTORS WHICH INFLUENCE CULTURE

 

            CULTURE IS DETERMINED AND SHAPED HISTORICALLY AND SOCIALLY, IT, IN ITS TUNE, INFLUENCES THE SOCIAL, ECONOMIC AND POLITICAL DEVELOPMENT OF PEOPLE OR NATION.    

                          CULTURE, SOCIETY AND HISTORY : TO BEGIN WITH, CULTURAL IS THE LIFE AND MIND OF A SOCIETY AT ANY GIVEN TIME IN HISTORY. THE CULTURE OF A PARTICULAR SOCIETY OR AGE CANNOT BE SEPERATED FROM ITS HISTORICAL CONTEXT. THE CONTINUITY, CHANGE OR TRANSFORMATION IN CULTURAL TRADITIONS IS INFLUENCED BY THE SOCIAL. ECONOMIC, AND POLITICAL DEVELOPMENT AT ANY GIVEN TIME AND VICE VERSA.

              TO GIVE A FEW EXAMPLE, THE GROWTH AND CHANGES IN AGRICULTURAL PRODUCTION ARE INSEPARABLY LINKED WITH THE EMERGENCE, DEVELOPMENT AND CHANGES WITHIN THE VEDIC CIVILIZATION IN INDIA. THE VEDIC CIVILIZATION WHICH GAVE BIRTH TO THE VARNASHRAM AND THE CASTE SYSTEM HAS, TURN, EXERTED GREAT INFLUENCE OF INDIAN CULTURE. THE CASTE SYSTEM - AN INESCAPABLE ASPECT OF OUR SOCIETY THROUGH HISTORY, HAS ASSUMED CHANGES, MODIFICATIONS AND FLEXIBILITY TO SUIT THE CHANGING NEEDS OF THE VARIOUS RULING GROUPS IN INDIA. THE EARLY DRAVIDAN CIVILIZATION HAS BEEN AN IMPORTANT INFLUENCE BECAUSE OF ITS CULTURAL SIGNIFICANCE IN A SPECIFIC HISTORICAL AND SOCIAL CONTEXT. THE FLOWERING OF ART AND LITERATURE AS WELL AS THE BUDDHIST MONUMENTS OF THE MAURYA AND GUPTA PERIOD WOULD NOT HAVE BEEN POSSIBLE WITHOUT THE PROSPERITY AND INCREASE IN COMMERCE DURING THAT PERIOD. THE SAME CAN BE SAID FOR THE CHOLA TEMPLES OR THE VIJAYNAGAR STRUCTURES.

              THE BHAKTI MOVEMENT HAS AS ITS BASIS THE GROWTH OF TRADE AND COMMERCE AND THE CONSEQUENT GROWTH OF TOWNS IN THE 14 THE AND 15TH  CENTUIES, WHICH MOTIVATED A QUESTIONING OF THE CASTE RESTRICTIONS IN CERTAIN OCCUPATIONS IN THE NAME OF RELIGION. THE PREACHINGS OF BHAKTI SAINTS IN THE PEOPLE'S LANGUAGE AND THEIR COMPILATION MADE POSSIBLE THE GROWTH OF BRAJ, AWADHI, RAJASTHANI, GUJARATI, MARATHI, PUNJABI, KASHMIRI AND OTHER REGIONAL LITERATURES. THE ENOMOUS EXPENDITURE INVOLVED IN THE MAGNIFICENT ARCHITECTURE OF THE MUGHALS WAS POSSIBLE ONLY BECAUSE OF THE SIGNIFICANTLY INCREASED STATE SHARE IN THE SURPLUS PRODUCTION DURING MUGHAL RULE. DEVELOPMENT OF NEW MUSICAL FORMS AND THEIR POPULAZATION OF THE COURTS, TRANSLATION OF IMPORTANT TEXTS OF THE WORLD, AS WELL AS GROWTH OF NEW TECHNIQUES IN PRODUCTION WERE IMMENSELY HELPED BY THE COURT PATRONAGE GENERATED BY THIS INCREASED SURPLUS. THE CONCEPTS OF EQUALITY AS PART OF ANTIP-CASTE AND PEASANT ECONOMIC STRUGGLES, THE MOVEMENT FOR WOMEN'S EDUCATION AND EMANCIPATION, A SCIENTIFIC TEMPER, SECULARISM, A DEMOCRATIC CULTURE AND THE CULTURE OF DEMOCRACY TOOK SHAPE IN THE CONTEXT OF MODERNITY THAT CAME WITH THE DEVELOPMENT OF CAPITALISM IN INDIA, AS A RESULT OF THE IMPACT OF BRITISH CONQUEST.

                                       POLITICAL STRUCTURES AND THEIR 

                                                      IMPACT ON CULTURE

           POLITICAL STRUCTURES HAVE ALSO HAD AN IMPACT ON OUR CULTURE THROUGHOUT ITS HISTORY. FOR EXAMPLE, THE PERIODS OF POLITICAL DECENTRALIZATION OF THE GUPTA EMPIRE AND LATER, THE MUGHAL EMPIRE, RESULTED IN THE GROWTH OF REGIONAL CULTURES. SIMILARLY THE PERIODS OF CENTRALIZATION, SUCH AS THE MUGHAL AND THE MODERN PERIODS, HELPED IN THE DEVELOPMENT OF A COMPOSITE, SYNCRETIC TRADITION THAT HAS THE SEMBLANCE OF A NATIONAL CULTURE. THE RELIGION PROFESSED BY A RULER CAN INSPIRE THE DEVELOPMENT OF ART FORMS BEARING THOSE RELIGIOUS EXPRESSIONS. IT DOES NOT, HOWEVER, MEAN THAT OTHER FORMS WERE SUPPRESSED. SIMILARLY A MORE LIBERAL, DEMOCRATIC AND SECULAR RULE MAY WITNESS THE GROWTH OF NON-RELIGIOUS ARE FORMS AS SEEN IN MODERN AND CONTEMPORARY INDIA. AN OPPRESSIVE RULE CAN ALSO STIMULATE CULTURAL EXPRESSIONS OF PROTEST AS SEEN DURING HE COLONIAL RULE.

                                                                  👀👀👀

 

 

SADHANA STEPS (GAYATRI MANTRA)

 

                                                    SADHANA STEP 9

                               CHANT THE HYMN OF AUSPICIOUSNESS (SVASTIVACHAM)

                    A CHANT TO INVITE AND INVOKE THE VEDIC ENERGIES AROUND YOU IS DONE AT THIS STAGE. IT IS USUALLY DONE BY CHANTING A SPECIFIC HYMN CALLED SVASTIVACHANA. YOU CAN EITHER CHANT THE SVASTIVACHANA OR JUST THE FOLLOWING VERSES TAKEN FROM THE RIGVEDA. 

                  

                                  OM BHADRAM KARNEBHIH SRNUYAMA DEVAH

                                  BHADRAM PASYEMAKSABHIRYA JATRAH

                                  STHIRAIRANGAISUSTUVAGAM SASTANUBHIH

                                  VYASEMA DEVAHITAM YADAYUH

                                   SVASTI NA INDRO VRDDHASRAVAH 

                                   SVASTI NAH PUSA VISVAVEDAH

                                   SVASTI NASTAKSARYO ARISTANEMIH

                                   SVASTI NO BRUHASPATIRDADHATU

                                   OM SANTHI SANTHI SANTIH      

                                                             TRASLATION

       

                MAY WE ONLY HEAR AUSPICIOUS SOUNDS WITH OUR EARS AND MAY ONLY SEE DIVINE THINGS WITH OUR EYES. MAY WE LEAD A STABLE LIFE OF HEALTH AND PROSPERITY WITH GRATITUDE THROUGHOUT THE LIFESPAN GRANTED TO US. MAY INDRA OF GREA RENOWN PROTECT US. MAY THE OMNICIENT PROTECT US. MAY LORD GARUDA DESTROY ALL HARM AND NEGATIVITY. MAY BRIHASPATI PROTECT US.

                           10. MEDITATE ON YOUR GURU ( GURU DHYANA )

                     NOW THAT YOU HAVE PURIFIED YOURSELF AND THE ENVIRONMENT AROUND YOU BY INVOKING VARIOUS ENERGIES, IT IS TIME TO MEDITATE ON YOUR GURU. CALL UPON YOUR GURU BY OFFERING A FLOWER IF YOU HAVE YOUR GURU'S PICTURE OR YOU CAN SIMPLY VISUALIZE YOUR GURU'S FORM AND CHANT THE FOLLOWING MANTRA WITH REVERENCE :

                            GURURBRAMA GURUVISNURGURURDEVO MAHESVARAH

                            GURUREVA PARAM BRAHMA TASTAI SRIGURUVE NAMAH

                        

                                                      TRANSLATION

                      GURU IS BRAHMA, GURU IS VISHNU, GURU IS SHIVA HIMSELF, GURU IS VERILY PARA-BRAHMA (SUPREME SOUL). HUMBLE OBEISANCE AND SALUTATIONS TO MY GURU.

                            11. CHANT THE GURU MANTRA ( GURU MANTRA JAPA )

                  NOW YOU SHOULD CHANT YOUR GURU MANTRA 11, 21, OR 108 TIMES DEPENDING ON EITHER THE ROUTINE GIVEN TO YOU BY YOUR GURU OR YOUR OWN USUAL ROUTINE.

 

                                       12. OBEISANCE TO ALL SIDDHAS

                 OFFER YOUR RESPECTS AND GRATITUDE TO ALL THE SIDDHAS, SAGES, SEERS AND GURUS OF THE PAST. GENERALLY, THIS MANTRA CAN DIFFER FROM TRADITION TO TRADITION BUT IF YOUR GURU IS NOT A MANTRA ADEPT (THEREFORE NOT KNOWING THIS MANTRA ) OR HASN'T INTIATED YOU INTO THIS MANTRA, SIMPLY CHANT THE FOLLOWING : 

 

                     SANSKRIT                                          TRANSLATION

              OM DIVYAUGHA NAMAH           MY OBEISANCE TO ALL THE SIDDHAS OF 

                                                                            DIVINE BODIES.

             OM SIDDHAUGHA NAMAH         MY OBEISANCE TO ALL THE SIDDHAS OF THE                                                                                PAST WHO ARE NO MORE IN THEIR PHYSICAL                                                                                BODIES.

             OM MANAVAUGHA NAMAH       MY OBEISANCE TO ALL THE SIDDHAS WHO ARE                                                                            EITHER STILL IN A HUMAN BODY OR CAN                                                                                        ASSUME ONE.

                       13. MEDITATING ON YOUR DEITY (ISHTA DHYANA)

                 OM BALAM VIDYAM TU GAYATRIM LOHITAM CATURANANAM

                 RAKTAMBARADVAYOPETAMAKSA SUTRAKARAM TATHA 

                 KAMANDALUDHARAM DEVI HAMSAVAHANASAMSTHITAM

                 BRAHMANI BRAHMADAIVATYAM BRAHMALOKANIVASINIM

                                                        TRANSLATION

                THE YOUTHFUL, GLORIOUS AND BEATIFUL DEVI IS AN EMBODIMENT OF THE HIGHEST WISDOM. SHE IS OF RED COLOR AND HAS FOUR FACES. SHE HOLDS RUDRAKSHA BEADS IN ONE HAND AND A WATER POT IN THE OTHER. MOUNTED ON A SWAN, SHE'S LIKE SARASWATI. SHE RESIDES AND ABIDES IN THE ABSOLUTE BRAHMAN AND IS A CONSORT OF BRAHMA.

                                 14. CHANT THE PRELIMINARY MANTRA

                                             ( ISHTA MANTRA JAPA )

                              15. PRAY TO MOTHER EARTH (PRITHVI PUJA)

                   DRAW A TRIANGLE ON THE FLOOR, RIGHT IN FRONT OF YOU WITH WATER. IT'S A SYMBOLIC TRIANGLE. IF YOU ARE TRYING TO INVOKE A MASCULINE MANTRA, THE TRIANGLE SHOULD POINT UPWARDS (TOWARDS THE DEITY) AND IF YOU ARE INVOKING A FEMININE MANTRA, THE TRIANGLE SHOULD POINT DOWNWARDS. PUT A DOT WITH WATER RIGHT IN THE MIDDLE OF THE TRIANGLE AND PUT A FLOWER IN THE MIDDLE (ON TOP OF THE DOT) AND SAY THE FOLLOWING MANTRA :

                       HRIM ADHARASAKTAYE NAMAH     -      MY OBEISANCE TO THE                                                                                                                          PRIMORDIAL ENERGY THAT IS                                                                                                              SUSTAINING THE ENTIRE                                                                                                                        CREATION.

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GAYATRI MANTRA

 

                                  THE SPECIFIES OF GAYATRI SADHANA

                                             HOW LONG DOES IT TAKE?

                     THERE ARE MANY WAYS TO ACCUMULATE THE ENERGY OF THE GAYATRI MANTRA IN YOUR CONSCIOUSNESS. HOW LONG IT TAKES FOR YOU TO COMPLETE THE SADHANA DEPENDS ON WHAT KIND OF PURUSHCHARANA YOU UNDERTAKE. AT THE END OF THE DAY, THE IDEA IS QUITE SIMPLE, THE MORE YOU GATHER, THE MORE YOU HAVE AVAILABLE FOR USE AT A LATER DATE. HOWEVER, NOT EVERYONE HAS THE TIME OR INCLINATION TO UNDERTAKE A LONG PURUSHCHARANA. IRRESPECTIVE OF HOW LITTLE OR MUCH YOU DO, THE IMPORTANT THING TO BEAR IN MIND IS THAT THE QUANTITY OF JAPA SHOULD BE THE SAME EVERY DAY THROUGHOUT YOUR PURUSHCHARANA.

                            LAGHU PURUSHCHARANA (MINI INVOCATION)

                                                                      3-9 DAYS

              MINI INVOCATION IS DONE OVER  A MINUMUM PERIOD OF THREE DAYS TO A MAXIMUM OF NINE. MANY PEOPLE DO IT FOR NINE DAYS DURING THE NAVARATRAS, FOR EXAMPLE, WHEN UNDERTAKING LAGHU PURUSHCHARANA, YOU ARE REQUIRED TO DO A MINIMUM CHANTING OF 1000 EVERY DAY. THE MORE THE BETTER, AS LONG AS YOU MAINTAIN THE SAME QUANTITY EVERY DAY. DOING IT DURING THE NAVARATRAS IN PARTICULARLY AUSPICIOUS AND YOU CAN CONSULT PANCHANGAM ONLINE OR ASK ANY VEDIC SCHOLAR ABOUT THE DATES OF THE NAVARATRAS THAT CHANGE EVERY YEAR. 

                SADHARANA PURUSHCHARANA (STANDARD INVOCATION)

                                                                    40-120 DAYS 

                  THIS IS THE ORDINARY KIND OF PURUSHCHARANA. THAT'S NOT TO SAY THAT IT DOESN'T HAVE AN IMPACT - IT DOES. MORE THAN THE FIRST ONE AND LESS THAN THE NEXT ONE. IT IS CALLED ORDINARY OR STANDARD PURUSHCHARANA BECAUSE THIS IS THE BARE MINIMUM YOU NEED TO DO BEFORE YOU CAN START ACCUMULATING THE ENERGY OF THE GAYATRI MANTRA. IN THE STANDARD INVOCATION, YOU CHANT THE MANTRA A MINIMUM OF 100,000 TIMES. IDEALLY, THIS SHOULD BE DONE OVER A PERIOD OF 40 DAYS, WHICH MEANS YOU COULD CHANT APPROXIMATELY 2500 TIMES EVERY DAY FOR 40 DAYS. IF YOU ARE NOT DOING YAJNA OR THE OTHER POST-JAPA RITUALS, THEN IT IS RECOMMENDED TO CHANT 3000 TIMES EVERY DAY FOR 40 DAYS. IT IS ALSO PERMISSIBLE TO DO THIS OVER 60, 90 OR120 DAYS DEPENDING ON HOW MUCH TIME YOU ARE ABLE TO DEVOTE ON A DAILY BASIS.

               I WOULD LIKE TO REMIND YOU THAT THE VOW TO DO A PURUSHCHARANA IS TAKEN BEFORE YOU BEGIN ONE. THEREFORE, YOU MAINTAIN THE SAME QUANTITY EVERY DAY. IF YOU DECIDE TO DO A 60 - DAY PURUSHCHARANA AND CHANT 2000 TIMES ON THE FIRST DAY, THAT CONSISTENCY THEN MUST BE MAINTAINED FOR THE REMAINING 59 DAYS. YOU CAN'T CHANGE YOUR 60- DAYS PURUSHCHARANA TO A 120- DAY OR A 40- DAY ONE ONCE YOU'VE BEGUN IT.

                                          ASADHARANA PURUSHCHARANNA 

                                           (EXTRAORDINARY INVOCATION)

                                                                      18 - 24 MONTHS

                     VERY FEW PEOPLE UNDERTAKE THIS KIND OF PURUSHCHARANA. IN FACT, OVER THE LAST THREE DECADES, I'VE MET ONLY THREE PEOPLE WHO HAVE DONE THIS KIND. IT INVOLVES CHANTING THE GAYATRI MANTRA 2,400,000 (24 LACS) TIMES OVER A PERIOD OF 18 OR 24 MONTHS.

                  THE JAPA IS PEGGED AT 24 LACS BECAUSE THE GAYATRI MANTRA HAS WHAT WE CALL 24 VARNAS. THOSE ARE: TAT, SA, VI, TUR, VA, RE, NA, YAM, BHAR, GO, DE, VA, SYA, DHI, MA, HI, YO,YO, NA, PRA, CHO, DA AND YAT. MANTRA, YOU HAVE TO CHANT AS MANY LACS OF TIMES AS THERE ARE VARNAS IN A MANTRA - NOT LETTERS, BUT VARNAS, WHICH ROUGHLY EQUATE TO SYLLABLES.

                              MAHA PURUSHCHARANA (GRAND INVOCATION)

                                                                   24 - 32 MONTHS

                       THIS IS THE ULTIMATE FORM OF PURUSHCHARANA AND I'VE ONLY KNOWN ONE PERSON WHO DID THIS 19 TIMES IN HIS LIFE. SHRIRAM SHARMA OF SHANTI KUNJ, HARIDWAR, WAS SAID TO HAVE DONE GAYATRI MAHA PURUSHCHARANA MULTIPLE TIMES. THE STORY I WROTE IN THE CHAPTER "THE POWER OF GAYATRI MANTRA" WAS OF A DIRECT DISCIPLE OF SHRIRAM SHARMA.

                 IN MAHA PURUSHCHARANA, THE GAYATRI MANTRA IS CHANTED 32 LACS OR 3,200,000 TIMES BECAUSE WHEN WE ADD OM-BHUR-BHUVA-SVAHA TO THE ORIGINAL GAYATRI MANTRA FOUN IN THE RIG VEDA , THE COMPLETE MANTRA HAS 24 VARNAS. THEY ARE 24 AS EXPLAINED EARLIER PLUS A, U, M (FOR OM ), BHU, BHU, VA, SVA AND HA.

              THE MAXIMUM PERIOD ALLOWED TO DO A MAHA PURUSHCHARANA IS 32 MONTHS. THERE IS NO RELAXATION OF RULES FOR THE LONGER PURUSHCHARANA. THE SAME PRINCIPLES OF DIET, ABSTINENCE AND CONDUCT APPLY TO ALL FOUR TYPES. I MUST REMIND YOU HERE THAT JUST RECKLESS OR MINDLESS CHANTING HAS NO PLACE OR REPECT IN MANTRA YOGA. YOUR CHANTING MUST BE DONE WITH DEVOTION AND MINDFULNESS. I CANNOT STRESS THIS POINT ENOUGH. WHEN YOU SIT DOWN TO CHANT, DO SO PATIENTLY AND MINDFULLY, LISTENING TO YOUR OWN VOICE, EVERY WORD, EVERY LETTER OF YOUR MANTRA. IT WILL GET TRING AT TIMES, BUT KEEP GOING IF YOU CARE TO GO TILL THE END.

             THE ONE WHO DOES 32 LAKHS OF JAPA OF THE GAYATRI MANTRA IS BOUND TO HAVE THE GRACE OF DEVI IN IMMEASURABLE, INEXPLICABLE WAYS. NEW DIMENSIONS OF CONSCIOUSNESS, NEW WAYS OF THINKING AND NEW AREAS OF KNOWLEDGE AND WISDOM OPENS UP TO ANYONE WHO DOES THIS PURUSHCHARANA, AND IF YOU DO SO WITH DEVOTION, YOU WILL ALSO ATTAIN WHAT WE CALL VAK SIDDHI. VAK SIDDHI MEANS WHEN YOU SAY SOMETHING FROM YOUR HEART, IT BECOMES THE TRUTH, INDEED, EVERYTHING YOU SAY FROM YOUR HEART BECOMES THE TRUTH. THAT'S HOW OUR SAGES ACHIEVED AN EXALTED STATE IN THEIR OWN LIFETIMES.

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GAYATRI MANTRA STEP FROM THIRTY-THREE

 

                                                   STEP THIRTY-THREE

                                                                            👀👀

                   AT THIS POINT COMES MARJANAM OR ABISHEKAM, WHICH IS LIKE A CORONATION. THE IDEA IS THAT NOW THAT YOU HAVE PERFORMED THE MANTRA AND THE ASSOCIATED CEREMONIES, WHEN YOU WALK OUT INOT THE REAL WORLD, YOU DON'T WANT TO OPERATE LIKE A NORMAL HUMAN BEING - YOU WANT TO BE DIVINE, YOU WANT TO BE LIKE YOUR OBJECT OF WORSHIP. CORONATION OR MARJANAM IS DONE IN THE BELIEF THAT YOU ARE A DEVOTA NOW. YOU HAVE DONE NYASA EARLIER, YOU HAVE PLACED THE LETTERS, YOU HAVE DONE NYASA EARLIER, YOU HAVE PLACED THE LETTERS, YOU HAVE DONE THE MUDRAS, YOU HAVE DONE THE CHANTING, YOU HAVE INVOKED THE ENERGY, YOU ARE IN DEVI BHAVA - YOU HAVE REQUESTED THE ENERGY, YOU ARE IN DEVI BHAVA - YOU HAVE REQUESTED THE ENERGY TO STAY INSIDE YOU, AND NOW YOU ARE THAT ENERGY.

                 WITH THAT FEELING, YOU DO MARJANAM, WHICH IS USUALLY ONE-TENTH OF LIBERATIONS. SO IF YOU HAVE DONE 1000 JAPA, YOU WOULD DO 100 FIRE OFFERINGS, TARPAN WOULD BE DONE 10 TIMES, AND MARJANAM ONLY ONCE. ALTERNATIVELY, YOU COULD BASE YOUR SADHANA ON TIME, AS I DID. I WOULD SIT DOWN FOR TEN HOURS FOR JAPA, I WOULD DO YAJNA FOR ONE HOUR, TARPAN FOR SIX MINUTES - AND THEN ANOTHER THREE MINUTES OR SO OF MARJANAM, RATHER THAN ONE-TENTH OF SIX MINUTES, WHICH WOULD RUN INTO MERE SECONDS. NOTE THAT THE JAPA HAS TO BE THE SAME FACTOR EVERY DAY, BUT THE LAST COUNT, FOR MARJANAM, CAN BE IN ROUND FIGURES.

               BE MINDFUL THAT THE WATER FOR TARPAN CANNOT BE USED FOR MARJANAM. IT WOULD BE LIKE REUSING SOMEBODY'S OLD BATHWATER. THAT'S NOT A NICE IMAGE BUT IT'S SOMETHING LIKE THAT.

              TO DO MARJANAM, HAVE SOME WATER IN A LITTLE POT, JOIN YOUR RING FINGER WITH YOUR THUMB, DIP IT IN THE POT AND THEN SPRINKLE IT OVER YOUR HEAD WITH THE STILL-JOINED RING FINGER AND THUMB, ADD "OM MARJAYAMI" AT THE END. SO, IT BECOMES:

 

TO BECOME RICH IS YOUR RIGHTS

 

                                                         BECOME RICH

                IT IS YOUR RIGHT TO BE RICH. YOU ARE HERE TO LEAD THE ABUNDANT LIFE AND BE HAPPY, RADIANT, AND FREE. YOU SHOULD, THEREFORE, HAVE ALL THE MONEY YOU NEED TO LEAD A FULL, HAPPY, AND PROSPEROUS LIFE. YOU ARE HERE TO GROW, EXPAND, AND UNFOLD SPIRITUALLY, MENTALLY, AND MATERIALLY. YOU HAVE THE INALIANABLE RIGHT TO FULLY DEVELOP AND EXPRESS YOURSELF ALONG ALL LINES. YOU SHOULD SURROUND YOURSELF WITH BEAUTY AND LUXURY.

           WHY BE SATISFIED WITH JUST ENOUGH TO GO AROUND WHEN YOU CAN ENJOY THE RICHES OF YOUR SUBCONSCIOUS MIND? IN THIS CHAPTER, YOU CAN LEARN TO MAKE FRIENDS WITH MONEY, AND YOU SHOULD ALWAYS HAVE A SURPLUS. YOUR DESIRE TO BE RICH IS A DESIRE FOR A FULLER, HAPPIER, MORE WONDERFUL LIFE. IT IS A COSMIC URGE. IT IS NOT ONLY GOOD, BUT ALSO VERY GOOD.

                                                 MONEY IS A SYMBOL

                   MONEY IS A SYMBOL OF EXCHANGE. IT MEANS TO YOU NOT ONLY FREEDOM FROM WANT, BUT BEAUTY, LUXURY, ABUNDANCE, AND REFINEMENT. IT IS MERELY A SYMBOL OF THE ECONOMIC HEALTH OF THE NATION. WHEN YOUR BLOOD IS CIRCULATING FREELY IN YOUR BODY, YOU ARE HEALTHY. WHEN MONEY IS CIRCULATING FREELY IN YOU LIFE, YOU ARE ECONOMICALLY HEALTHY. WHEN PEOPLE BEGIN TO HOARD MONEY, TO PUT IT AWAY IN TIN BOXES, AND BECOME CHARGED WITH FEAR, THERE IS ECONOMIC ILLNESS. 

                   MONEY HAS TAKEN MANY FORMS A MEDIUM OF EXCHANGE DOWN THROUGH THE CENTURIES, SUCH AS, SALT, BEADS, AND TRINKETS OF VARIOUS KINDS. IN EARLY TIMES A MAN'S WEALTH WAS DETERMINED BY THE NUMBER OF SHEEP AND OXEN HE HAD. NOW WE USE CURRENCY, AND OTHER NEGOTIABLE INSTRUMENTS, AS IT IS MUCH MORE CONVENIENT TO WRITE A CHECK THAN CARRY SOME SHEEP AROUND WITH YOU TO PAY BILLS.

                              HOW TO WALK THE ROYAL ROAD TO RICHES

                   KNOWLEDGE OF THE POWERS OF YOUR SUBCONSCIOUS MIND IS THE MEANS TO THE ROYAL TO RICHES OF ALL KINDS SPIRITUAL, MENTAL, OR FINANCIAL. THE STUDENT OF THE LAWS OF MIND BELIEVES AND KNOWS DEFINITELY THAT REGARDLESS OF ECONOMIC SITUATONS, STOCK MARKET FLUCTUATION, DEPRESSION, STRIKES, WAR, OTHER CONDITIONS OR CIRCUMSTANCES, HE WILL ALWAYS BE AMPLY SUPPLIED, REGARDLESS OF WHAT FORM MONEY TAKES. THE REASON FOR THIS IS THAT HE HAS CONVEYED THE IDEA OF WEALTH TO HIS SUBCONSCIOUS MIND, AND IT KEEPS HIM SUPPLIED WHEREVER HE MAY BE. HE HAS CONVINCED HIMSELF IN HIS MIND THAT MONEY IS FOREVER FLOWING FREELY IN HIS LIFE AND THAT THERE IS ALWAYS A WONDERFUL SURPHUS. SHOULD THERE BE A FINANCIAL COLLAPSE OF GOVERNMENT TOMORROW AND ALL THE MAN'S PRESENT HOLDINGS BECOME VALUELESS, AS THE GERMAN MARKS DID AFTER THE FIRST WORLD WAR, HE WOULD STILL ATTRACT WEALTH AND BE CARED FOR, REGARDLESS OF THE FORM THE NEW CURRENCY TOOK.

                                    WHY YOU DO NOT HAVE MORE MONEY

                AS YOU READ THIS CHAPTER, YOU ARE PROBABLY SAYING, " I AM WORTHY OF A HIGHER SALARY THAN I AM RECEIVING." I BELIEVE MOST POEPLE ARE INADEQUATELY COMPENSATED. ONE OF THE CAUSE MANY PEOPLE DOES NOT HAVE MORE MONEY IS THAT THEY ARE SILENTLY OR OPENLY CONDEMNING IT.

              THEY REFER TO MONEY AS "FILTHY LUCRE" OR " THE LOVE OF MONEY IS THE ROOT OF ALL EVIL".

           ANOTHER REASON THEY DO NOT PROSPER IS THAT THEY HAVE A SNEAKY SUBCONSCIOUS FEELING THERE IS SOME VIRTUE IN POVERTY. THIS SUBCONSCIOUS PATTERN MAY BE DUE TO EARLY CHILDHOOD TRAINING, SUSPERSTITION, OR IT COULD BE BASED ON A FALSE INTERPRETATION OF SCRIPTURES.

                                           MONEY AND A BALANCED LIFE

                 ONE TIME A MAN SAID TO ME, " I AM BROKE. I DO NOT LIKE MONEY. IT IS THE ROOT OF ALL EVIL".

                THESE STATEMENT REPRESENT A CONFUSED NEUROTIC MIND. LOVE OF MONEY TO THE EXCLUSION OF EVERYTHING ELSE WILL CAUSE YOU TO BECOME LOPSIDED AND UNBALANCED. YOU ARE HERE TO USE YOUR POWER OR AUTHORITY WISELY. SOME MEN CRAVE POWER OTHERS CRAVE MONEY. IF YOU SET YOUR  HEART ON MONEY EXCLUSIVELY AND SAY, "MONEY IS ALL I WANT; I AM GOING TO GIVE ALL MY ATTENTION TO AMASSING MONEY, NOTHING ELSE MATTER", YOU CAN GET MONEY AND ATTAIN A FORTUNE, BUT YOU HAVE FORGOTTEN THAT YOU ARE HERE TO LEAD A BALANCED LIFE. YOU MUST ALSO SATISFY THE HUNGER FOR PEACE OF MIND, HARMONY, LOVE, JOY, AND PERFECT HEALTH. BY MAKING MONEY YOUR SOLE AIM,YOU SIMPLY MADE A WRONG CHOICE. YOU THOUGHT THAT WAS ALL YOU WANTED, BUT YOU FOUND AFTER ALL YOUR EFFORTS THAT IT WAS NOT ONLY THE MONEY YOU NEEDED.

             YOU ALSO DESIRED TRUE EXPRESSION OF YOUR HEALTH TALENTS, TRUE PLACE IN LIFE, BEAUTY, AND THE JOY OF CONTRIBUTING TO THE WELFARE AND SUCCESS OF OTHERS. BY LEARNING THE LAWS OF YOUR SUBCONSCIOUS MIND, YOU COULD HAVE A MILLION DOLLARS OR MANY MILLIONS, IF YOU WANTED THEM, AND STILL HAVE PEACE OF MIND, HARMONY, PERFECT HEALTH, AND PERFECT EXPRESSION.

                                        POVERTY IS A MENTAL DISEASE

                  THERE IS NO VIRTUE IS POVERTY, IT IS A DISEASE LIKE ANY OTHER MENTAL DISEASE. IF YOU WERE PHYSICALLY ILL, YOU WOULD THINK THERE WAS SOMETHING WRONG WITH YOU. YOU WOULD SEEK HELP AND DO SOMETHING ABOUT THE CONDITION AT ONCE. LIKEWISE, IF YOU DO NOT HAVE MONEY CONSTANTLY CIRCULATING IN YOUR LIFE, THERE IS SOMETHING RADICALLY WRONG WITH YOU.

              THE URGE OF THE LIFE PRINCIPLE IN YOU IS TOWARD GROWTH, EXPANSION, AND THE LIFE MORE ABUNDANT. YOU ARE NOT HERE TO LIVE IN A HOVEL, DRESS IN RAGS, AND GO HUNGRY. YOU SHOULD BE HAPPY, PROSPEROUS, AND SUCCESSFUL. 

                                WHY YOU MUST NEVER CRITICIZE MONEY

                  CLEANSE YOUR MIND OF ALL WEIRD AND SUPERSTITIOUS BELIEFS ABOUT MONEY. DO NOT EVER REGARD MONEY AS EVIL OR FILTHY. IF YOU DO, YOU CAUSE  IT TO TAKE WINGS AND FLY AWAY FROM YOU. REMEMBER THAT YOU LOSE WHAT YOU CONDEMN. YOU CANNOT ATTRACT WHAT YOU CRITICIZE.

                          GETTING THE RIGHT ATTITUDE TOWARD MONEY

                     HERE IS A SIMPLE TECHNIQUE YOU MAY USE TO MULTIPLY MONEY IN YOUR EXPERIENCE. USE THE FOLLOWING STATEMENTS SEVERAL TIMES A DAY, " I LIKE MONEY, I LOVE IT, I USE IT WISELY, CONSTRUCTIVELY, AND JUDICIOUSLY. MONEY IS CONSTANTLY CIRCULATING IN MY LIFE. I RELEASE IT WITH JOY, AND IT RETURNS TO ME MULTIPLIED IN A WONDERFUL WAY. IT IS GOOD AND VERY GOOD.

                   MONEY FLOWS TO ME IN AVALANCHES OF ABUNDANCE. I USE IF FOR GOOD ONLY, AND I AM GRATEFUL FOR MY GOOD AND FOR THE RICHES OF MY MIND".

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