Friday, August 18, 2023

Buddhism

Buddhism is a religion and philosophy that originated in India around the 6th century BCE, founded by Siddhartha Gautama, who is commonly known as the Buddha (the "Awakened One"). Buddhism has hundreds of millions of followers, making it one of the world's largest religions.

The fundamental teachings of Buddhism are encapsulated in the Four Noble Truths and the Eightfold Path.

The Four Noble Truths are:

1. The Truth of Suffering (Dukkha): Life is suffering. This includes physical and mental suffering, impermanence, and the concept of self.

2. The Truth of the Origin of Suffering (Samudāya): Suffering is caused by desires and attachments.

3. The Truth of the Cessation of Suffering (Nirodha): Suffering can be ended by attaining dispassion, thus achieving Nirvana (liberation).

4. The Truth of the Path to the Cessation of Suffering (Magga): The path to end suffering is the Eightfold Path.

The Noble Eightfold Path consists of:

1. Right Understanding

2. Right Thought

3. Right Speech

4. Right Action

5. Right Livelihood

6. Right Effort

7. Right Mindfulness

8. Right Concentration

These eight aspects are divided into three categories: wisdom (understanding and thought), ethical conduct (speech, action, livelihood), and concentration (effort, mindfulness, concentration).

Buddhism has evolved into various schools and traditions over time, including Theravada, Mahayana, and Vajrayana, each with its own interpretations and practices.

Theravada Buddhism, prevalent in Southeast Asia, is often considered closer to the original form of Buddhism, focusing on the use of meditation and mindfulness to achieve self-enlightenment.

Mahayana Buddhism, found in East Asia, includes a variety of subsets such as Zen, Pure Land, and Nichiren, among others. It emphasizes the Bodhisattva ideal, the individual who seeks enlightenment to help all sentient beings.

Vajrayana Buddhism, also known as Tantric Buddhism or Esoteric Buddhism, primarily found in Tibet and Mongolia, includes practices and doctrines that are believed to allow individuals to achieve enlightenment in a single lifetime.

Despite the variations, all forms of Buddhism share a focus on personal spiritual development and the quest for enlightenment.

THE "REALIST" THEORY OF REALITY

Preamble

Asamskrita

Samsara

Kamavakara

Satvari Aryan Satyani

Nirvana

Preamble

"There is, brothers, a sphere of life where there is neither earth, nor water, nor fire, nor air, nor the sphere of endless space, nor even the sphere of consciousness. Where I tell you there is not really even this world, nor the other world, nor the sphere of infinite space, nor the sphere of infinite consciousness, nor the sphere of the non-existence of anything, nor the sphere where there is neither perception nor non-perception. Such a state, brothers, I will I described it like this: neither coming, nor going, nor standing, nor turning back, nor descending, nor ascending. It is something like unborn, unmade, uncreated, uncomposed: it is the end of suffering". Udana, VIII, I, 1st century B.C.).

Asamskrita

The Ultimate Reality in the Buddhist Teaching ("Asamskrita") can neither be realized as an individual experience, nor determined, nor perceived, felt, or touched. Ultimate Reality can only be perceived by "he" who has "reached" Nirvana (from the negative particle "nir" and the root "va" - to breathe), in the extinguishing of becoming (the processes of evolution). Thus, Ultimate Reality Is Identical with Nirvana. Anyone who has not reached Nirvana experiences a relative reality, a continuous becoming...

So, the Buddhist Teaching accepts that there is One Reality which is the Background of everything. But since it is impossible to determine by someone who does not experience it, he systematically avoids talking about This Reality. What we can talk about is becoming. Nirvana, the extinguishing of becoming, leads to Reality, beyond becoming... Thus, the Supreme Reality must be "perceived" as the Absolute and not as non-existence.

Samsara

For the Buddhist Teaching the only "real" thing is the evolutionary process. What appears, what is perceived, the phenomenon, is an evolutionary process. "Existence" is an evolutionary process, but so are worlds and individual phenomena, all, are evolutionary processes. "All this" is Samsara.

The evolutionary process is broken down into successive, momentary, states, called " dharma " (from the root "dri", to support, to hold). So, dharmas are the ultimate realities that we can perceive, the first composite of phenomena. So, becoming, the evolutionary process, appears as a flow of these dharmas.

Dharmas are dependent realities, they are the result of previous dharmas and are what predetermine future dharma. All this flow obeys strict laws which can ultimately be reduced to the Law of Universal Causation, "Karma" (from the root " kri ", act). Karma denotes the action but also the result of the action, thus it denotes the responsibility from the action itself and the behavior that is transmitted through time.

Dharmas are momentary and last only a short time. Thus, the only real thing is the flow, the evolutionary process, the becoming. "All that exists is momentary," everything is transitory.

The evolutionary process appears in various forms. As vijnana , conscious process, succession of conscious states, as samskara , mental process, succession of momentary mental states, as samjna , perceptual process, succession of perceptual states, as vedana , sensuous process, succession of sensuous states, as rupa , material, organic process, succession organic structures. It is actually a single process that appears in various forms. There is no essential difference between consciousness and material form, it is the same process at a different frequency. The process appears sometimes as consciousness, sometimes as intellect, sometimes as perception, sometimes as sensation, sometimes as form. But it is always the same process. Thus, becoming constitutes a continuum (through space-times and through local time). "Being" is but a combination of evolutionary processes, streams of dharmas ("skandhas") working harmoniously together.

The Regions of Samsara

Samsara (becoming) is divided into three Regions, "Vakkara" (state of becoming and not an objective, fixed region). The Regions, states, of becoming are: a) The Arupavakara (formless region), the state of the supermental process, the succession of momentary supermental processes. b) The Rupavakara (region with form), the state of the perceptual process, the succession of momentary perceptual states. c) The Kamavakara (region of desire and sense pleasure), the state of material form, the succession of momentary material states.

What we call "being" is actually a becoming, a stream of dharma. In Arupavakara this being is a stream of " formless dharma", Vijnana, consciousness, self-awareness, Samskara, volition, mental imprints that incite desires, Samjna , perception, mental perception. The difference of these dharma categories is very subtle. Being constitutes a presence, an existence, without concrete form, a mental existence.

Arupavakara is divided into Four Heavens, states which are (listed from highest to lowest, the infinity of neither, the infinity of nonbeing, the infinity of thought and the infinity of space): 1) Naivasamjna Samgnyayatana (region where there is neither perception nor non-perception and which actually transcends Arupavakara and extends into the Absolute). 2) Akinchaniyatana (region where consciousness exists within the non-existence of anything). 3) Vigyanananthyatana (region where consciousness exists in the infinite state of consciousness). 4) Akasanandyatana (region where consciousness exists in infinite space).

It is evident that there is a complete correspondence between the states experienced by the being, the level at which the being functions (Vijnana, Samskara, Samjna) and the "heavens".

In Rupavakara, being is mentality (flow of formless dharma) expressed in the realm of 'sense'. A new category of dharma is thus created, ("Vedana", sensibility), a stream of dharma in form, a succession of momentary sensory states. Here the formless dharmas (mindfulness) do not have the same function as in Arupavakara. Their function is adapted to Rupavakara, degraded. Formed dharmas rule. Being here is a mentality which has an inner dimension originating from Arupavakara and an outer activity which brings the 'being' into contact with the world of forms. "Being" is expressed through a subtle body (which is a stream of sensory states structured in such a way that they appear as a form). It is an ethereal being that occupies a certain space, etc.

Rupavakara is divided into Sixteen Heavens arranged in four levels.

It is evident that there is a complete correspondence between the states experienced by the being, the level at which the being functions (Vijnana, Samskara, Samjna adapted to Rupavakara) and the "four levels".

In Kamavakara, being is an ethereal existence that expresses itself in the realm of 'matter'. There is thus created a new category of dharma ("Rupa", body, a becoming of matter structured in such a way as to appear as a solid form), a stream of dharma of material form (a succession of momentary states of matter structured so as to appear as the material body that we know. Here the formless dharmas (intelligence) and the dharmas with form (sensibility) do not have the same function as in the higher realms, their function is adapted to Kamavakara, degraded. The dharmas of material form predominate. Thus the mental functions of "being" in Kamavakara have a higher dimension originating from Arupavakara, an inner dimension originating from Rupavakara, and an external activity which brings "being" into contact with the world of forms.

It also has "sensibility" which has an internal dimension originating from Rupavakara -intuition- and an external activity that assists the intellect in the perception of Kamavakara -sensibility-. In Kamavakara being is ethereal existence expressed through a material, gross body.

Kamavakara is divided into Three Regions, Heaven, earth and the underworld. Heaven is the world of devas. Earth is the world of humans, asuras (demons), pretas (ghosts) and animals. The underworld is the world of hell.

It is evident that there is a complete correspondence between the states experienced by the being, the level at which the being functions (Vijnana, Samskara, Samjna adapted to Kamavakara) and the "three regions".

Life in Samsara

Becoming is a flow, a succession of momentary states and constitutes a continuum... Essentially there is no difference between mentality, sensibility, or biological becoming. These are different states of becoming, becoming is a continuum. Being is a becoming, a stream of momentary states. It is within the space of becoming, in one of three states of becoming. When the being, in a certain Region, closes the circle of its evolution (life) dissolution of the synthesis occurs (death). As long as the being, during his "life" reached a transcendence of becoming, an erasure of the dharma of the Region of becoming in which he was evolving, then the being is liberated and after death passes to a higher state of existence. But since the being during life remained within becoming (absorbed in the continuous succession of dharmas of the Region of becoming in which it was evolving) then the being after death is not freed to pass to a higher state of existence but under the pressure of attachments remains a "core of becoming" that leads sooner or later to a new synthesis of dharma within the Precinct of becoming that was evolving in the being's previous life, into a new incarnation. Thus, the being moves within becoming, in the Regions of becoming. It is a continuous current that passes from existence to existence, without stopping.

We must note that the previous development (life) within a state of becoming and the subsequent development (life) within the same state of becoming although they are a continuum yet seem to be different. It is actually a new dharma synthesis but its structure is entirely dependent on the existence that preceded it. This is precisely where the operation of Karma, the Law of Causation, can be seen. Being is a continuous stream that passes from life to life without stopping. This is the cycle of reincarnation. The being disappears here, appears there, all the time. This evolution strictly obeys the Law of Karma. Whatever is the action, that is the result. Thus, the being by evolution creates itself. Each being bears full responsibility for its evolution. Beings act according to the Law of Karma. No being can escape the wheel of evolution. The only way out is liberation.

Thus, beings are trapped within becoming, in the three Realms of becoming. Therefore, a being, on his way, has to overcome three stages (corresponding to the three Regions of becoming) until final liberation. The Nirvana attained by the total extinction of all becoming is the True Nirvana.

Kamavakara

The moment a being begins its existence within Kamavakara it is already the result of a previous becoming. The fact that this being tends to manifest in Kamavakara means that there is already a tendency, an impulse, within him which leads him to manifest in Kamavakara. It is mentality (in the Rupavakara Region) oriented towards the material world (an accumulation of mental impressions entered by perception and related to the material world), with sense memories, which feels the need to manifest again through material dharma texture, through a body.

The being that manifests in Kamavakara is a new, complete, synthesis of all these dharmas , a flow of these dharmas : Vijnana, Samskara, Samjna (these three constitute the mentality that has a higher dimension originating from Arupavakara, an inner dimension which originates from Rupavakara and an external activity which brings the “being” into contact with the world of forms), Vedana (sensibility which has an inner dimension which originates from Rupavakara and an external activity which brings the 'being' into contact with the world of forms), Rupa (body, biological becoming). The relationship between these categories of dharma is clearly defined. Mindfulness is self-awareness that uses sensibility and the body as a vehicle within Kamavakara.

Thus the “being” in Kamavakara can (and does) experience the following activities, states.

1) Nirvana

2) Four higher states, Naivasamjna-Samjnyayatana, Akinchanyayatana, Vijnananandiyatana and Akasanandiyatana.

3) Three mental states, vijnana, samskara, samjna, which have an internal function and an external activity.

4) The activity of the senses, ventana, which has an internal function and an external activity.

5) An external material activity, rupa.

The being as a whole act, evolves, moves through life. Nirvana (in Kamavakara) means the transcendence of becoming in Kamavakara. Transcending biological becoming means transcending attachment to the body and material things. The transcendence of sensuous -motor becoming means the transcendence of passions, obsessive desires, etc. The transcendence of mental becoming has three stages with three degrees each. The external mentality connected with sensibility (three levels) must first be overcome. Then the inner processes must be overcome (three stages of dyana and a fourth stage which has the character of harvest and demarcates the passage to a higher state). Finally, there is still a more inner process (three higher states and a fourth which is Nirvana). Nirvana (in Kamavakara) means the passage beyond all becoming. It is not the realization of some state. There is no perception that a state has been realized because as long as there is any perception of a realization the being is still in becoming and has not passed beyond.

When the being reaches Nirvana, beyond all becoming, then it is freed from the life in Kamavakara and when death occurs (when the causes that created this life are exhausted) then the being is freed and does not return to Kamavakara, it goes to a higher state of existence, in Rypavakara.

We must note that Nirvana in Kamavakara is not itself the Absolute. What has been eliminated is the becoming in Kamavakara, the causes that would lead to a new incarnation within Kamavakara have been eliminated. Nirvana in Kamavakara although it is the Absolute in relation to becoming in Kamavakara and cannot be defined in mental terms yet is a state of being (in Rupavakara), a becoming in a higher dimension. There is intelligence of another kind and sensibility as a carrier in this new state of being. Thus Nirvana in Kamavakara is common existence in a higher state of existence (in Rupavakara).

When the being does not achieve Nirvana, it remains in becoming and is condemned (according to the Law of Karma) after death to return to Kamavakara.

All this course of being into becoming (in the Kamavakara) is described in Buddhist grammar in the "theory of the dependent arising of phenomena (" Pratiya Samutpada”) or “chain of the Twelve Causes” (“Nidana”) as follows:

(Previous life)

1) Avidya (ignorance, non-liberation, abiding in becoming) creates samskaras (mental impressions, remnants of previous becoming).

2) Samskaras create vijnana (consciousness, initial mental core that will form the basis of new becoming)

(Present Life)

3) Vijnana creates namarupa (name and form, composition of the various categories of dharma – vijnana, samskara, samjn , vedana, rupa ).

4) Namarupa creates the santayatanas (sense organs, through which the being comes into contact with the world).

5) Sandayatanas create sparsa (contact, between the being and the world).

6) The sparsa ventana (sensation, the concrete fact of sensation) is created.

7) Ventana creates trisna (thirst for life, in Kamavakara).

8) Trisna creates upadhana (attachment to life, intense thirst, conquest of the sense world, compared to flame consuming fuel).

9) Upadhana creates the bhava (future, the karma produced during the lifetime in Kamavakara, the samskaras that will cause a new life in Kamavakara ).

10) Bhava creates jati (birth, a new becoming within Kamavakara).

(Future Life)

11) Jati creates sbamarana (old age, a new existence accompanied by all the characteristics of existence in Kamavakara, decay, pain, etc.).

12) Sambarana is a new link in the chain of Samsara.

Satwari Aryan Satyani

The Four Noble Truths

Being is a becoming, passing from life to life within Kamavakara without stopping. There is nothing fixed, nothing eternal, everything is transitory, an incessant flow of states. And it is precisely this Transience that causes suffering (dukkha). " Sarvam dukham, sarvam anityam » (all is suffering, all is transitory). Thus, the whole of existence, the very becoming in every moment of it is suffering. Staying in becoming, obsessing over becoming, is called " trisna " (thirst for life in Kamavakara). As long as this thirst exists, becoming is fed and the journey continues. Therefore it is the thirst for life in Kamavakara that keeps the being bound in becoming, in constant rebirth within Kamavakara.

Buddha himself formulating the Four Noble Truths (Satvari Aryan Satyani ) identified:

1) With the First Truth is becoming and the suffering of becoming.

2) With the Second Truth the cause of becoming which is the obsession with becoming (the thirst for life in Kamavakara).

3) With the Third Truth the elimination of becoming

4) With the Fourth Truth the Atrapos for Nirvana which is exactly:

a) the perception of becoming, suffering,

b) the awareness of the cause of becoming,

c) the elimination of becoming

d) Nirvana

The road leading to Nirvana is known as “Arya Ashtanga Marga” (Noble Eightfold Atrapos) and includes:

Samyak dristi (right perception),

Samyak sankalpa (right decision),

Samyak wak (proper speech),

Samyak karmanda (right conduct),

Samyak ajiva (right living),

Samyak vinyama (right effort),

Samyak smriti (right thinking),

Samyak Samadhi (right meditation, perfect concentration of consciousness).

In particular the Path that leads to Nirvana, to Reality, has Three Stages.

The First Stage is called Prajna (Knowledge) and includes Right Perception and Right Disposition. By entering the Sangha (Buddhist Brotherhood) man has already taken a step beyond the world: he renounces all material things to march towards Nirvana. This renunciation is not a formal, external, abstinence: it is an internal detachment, an erasure of all interest in material things. This is the Stage of destruction of material dharmas (rupa): what is implied here is the destruction of attachment to material dharmas , their neutralization (material dharmas will continue to exist until the causes that caused them disappear, i.e. until the death of the material body ). This is a Preliminary Stage and is not yet the Main Exercise.

The Second Stage is called Sila (Morality) and includes Right Speech, Right Conduct, Right Living. Before the Buddhist can actually enter Atrapo he needs to go through a Stage of Inner Perfection, ridding himself of the various passions that are obstacles to Atrapo. He must listen to what is called the Panka Sila (Fivefold Discipline) which consists of five prohibitions: not to kill, not to steal, not to have intercourse with another person, not to lie, not to drink alcohol. These are the main prohibitions but it is implied that all passions must be eliminated. This purification from the passions should not be a simple, external, abstinence but an internal attitude. This is the Stage of destruction of form dharmas ( vedana): implied here is the destruction of attachment to form dharmas , their neutralization (the Buddhist feels everything but is no longer attached).

The Third Stage is called Samadhi (Theory) and includes Right Effort, Right Thought, Right Concentration (Samadhi). The Real Journey to Nirvana begins with Entering the Third Stage. This is the Stage of destruction of formless dharmas (samjna, samskara, vijnana ): the destruction of attachment to these dharmas , their neutralization, is implied here. Realization here is not to be understood as a spiritual evolution but as a progressive destruction of becoming.

Right Endeavor corresponds to the Experiencing of the First Noble Truth (perception of becoming, suffering), to the destruction of the external activity of mentality and has four levels, three levels corresponding to the destruction of the external activity of samjna, samskara, vijnana and a fourth level which is the harvest of all effort and marks the passage to the higher state.

Right Thought corresponds to the Experiencing the Second Noble Truth (awareness of the cause of being), to the destruction of the inner activity of mentality and has four stages corresponding to the destruction of the inner activity of samjna, samskara, vijnana and the harvest of all effort which signifies the passage to the higher state. The technical term used in Buddhist Teaching for Practice at this stage is “Rupa Dhyana”. The term is translated as Meditation, but the word is not exactly the same and needs clarification. Rupa Dhyana therefore means for the Buddhists the destruction of the inner activity of the mind. There are Three Stages of Rupa Dhyana and together with the Stage of Realization they form the Four Stages of Realization at this stage.

The four Dhyana Rupas in detail:

1) Elimination of samjna, the perception of the external world.

2) Elimination of samskara, the intellect whose object is external phenomena.

3) Elimination of vijnana, consciousness, individual existence, ego that is limited in space, in the body.

4) When vijnana is eliminated, we reach a state where consciousness transcends the limits of space (the body) and expands to infinity, throughout space.

Right Concentration corresponds to the Experiencing of the Third Noble Truth (elimination of becoming), the destruction of the higher activity of the mind and has four stages corresponding to the destruction of the higher activity of samjna, samskara, vijnana and the harvesting of all effort which marks the passage in the superior state. The technical term used in Buddhist Teaching for Practice at this stage is " Arupa Dhyana » or Samapatti (achievements) - formless meditations. Arupa Dhyana or Samapatti it means the destruction of the higher activity of the mind. There are Three Ranks of Arupa Dhyana or Samapatti and together with the Stage of Realization constitute the Four Stages of Realization at this stage.

The four Arupas in detail Dhyana or Samapatti:

1) Akasa-nadi-ayatana (Region of infinite space, region where consciousness exists in infinite space). Consciousness (though it locates itself, as a center, in a space) extends throughout space, is a wider, higher ego. (There is a distinction between consciousness and environment, between subject and object). This conception of a center related to the inner workings of samjna must be overcome.

2) Vijnana-nadi-ayatana (Region of infinite consciousness, region where consciousness exists in the infinite state of consciousness). Consciousness rejects the perception of a center, it can be anywhere, throughout space - thus creating the perception that consciousness is infinite. (There is no longer a distinction between consciousness and environment, between subject and object). This achievement is related to overcoming the inner workings of samskara.

3) Akinchani-ayatana (Region of non-existence, region where consciousness exists within the non-existence of anything). Consciousness cannot attribute to its existence any idiom. Consciousness realizes that its existence is empty. Existence is “non-existence”, on the relative side. This achievement is related to overcoming the inner workings of vijnana.

4) Naivasamjna-Samjni-ayatana (Region of neither perception nor non-perception, region where there is neither perception nor non-perception). By overcoming the inner workings of vijnana, we reach a state where any process of existence is absent. This is Nirvana

Actually, the attainment of the fourth samapatti corresponds to a State beyond relative existence, it is Asamskrita.

Of course, in Buddhist Dhyana, Asana, Meditation Posture and other external elements are used, but the Essence of Dhyana consists of "internal transformation" and that is what is of interest here. Besides, Diana is not something that can enter time. When we enter Atrapos, we practice Dhyana all the time, whatever we do and not just the hours we sit in Asana: Dhyana is continuous. In this sense it must be understood. Because as we have already said, the Essence of Dhyana is the Experiencing Noble Truths and when we experience something we experience it continuously and not at certain times: Thus, all time is Dhyana and we cannot divide time into hours of Dhyana and hours when we do not practice Dhyana.

Harvesting the fruit of all effort is Nirvana. We must note that when we speak of Realization of the Three Truths, we do not mean the mental conception of these Truths at all but the Realization of what the words imply, in essence the "transcendence of becoming": it is an experience).

The transcendental evolution of being

The man who performed the First Samapatti is in the First Rank of the Atrapu of the Nobles (Arya Marga): on the Stage of Srotopana (one who has "entered the stream" to cross over to the other bank, to Nirvana).

The man who has Performed the Second Samapatti is in the Second Stage of the Atrapu of the Noble Ones: the Stage of Sakritagamin (one who will return only once more to Kamavakara).

The man who has Realized the Third Samapatti is in the Third Stage of the Atrapu of the Noble Ones: the Stage of the Anagamin (the one who does not return, who lives his last incarnation in Kamavakara and is not bound to return to Kamavakara).

He who has succeeded in realizing the Fourth Samapatti, Nirvana ( Bodhi ), attaining the Stage of Arhat , is completely free from the cycle of birth and death within the Kamavakara .. To such a person (a Buddha) opens the prospect of a of higher development in the invisible worlds. But he can renounce this higher evolution and willingly continue to incarnate within the Kamavakara, completely free. This second path is the path of the Bodhisattva, one who refuses higher evolution and remains within Kamavakara to help Kamavakara 's creatures. We must note that what moves such a free being is not mere desire or compassion. Such a being has realized freedom, and it is through this new perception of Reality that he has realized that he moves in all that he does. It cannot therefore be judged by the standards of the common man.

He who continues his evolution in higher worlds passes to Rupavakara. Rupavakara beings (ethereal beings) evolve in a manner analogous to that of Kamavakara. He who evolves in Atrapo passes here also Four Stages of Realization and is also freed from Rupavakara. Goes to Arupavakara.

Here too the beings (mental entities) evolve in a manner analogous to that of the two lower worlds. He who evolves into Way passes here also Four Stages of Realization and is also freed from Arupavakara and sinks into the "Ultimate Nirvana". "He" who has realized Ultimate Nirvana is no longer an entity but the Absolute Himself who assimilates into Bodhi the Self the Absolute and Self-Deception, completely Free, Unbound.

But talking about higher worlds is already meaningless: We must realize the Truth in Kamavakara. That's what matters. The higher perspective is beyond the powers of the common man. That is why any reference to higher worlds is usually avoided since they are outside the perspective of evolution of the common man.

Nirvana

According to the "Teaching of Buddhism" There is One Underlying Fundamental Reality which is "revealed" when "becoming" is exhausted. It manifests as Supreme Reality, as Supreme Truth, more real than the immediately existing which although real is transitory and painful.

The Real Nature of This Reality Is Emptiness. The Void is not defined (and thus "seems" as if it does not exist). What appears (definable, existent, objective) when analyzed in its determinations cannot finally "hold" the perception, it is nothing more than a phenomenon.

Ultimately there is only One Reality. This Reality Eternal, Unchangeable in Its Nature, Indeterminate in Its Essence, Emptiness, is the Only Reality. What appears are actions, processes, phenomena that arise spontaneously from nothingness and again disappear into nothingness.

The One and Only Reality is Pure Bodhi It is not born, it is not lost, it is not realized. It is the Nature of everything and everything. Bodhi is the One and Only Reality. There is no difference between rest and activity. All activities, phenomena that arise and disappear completely naturally do not alter the Bodhi Nature.

...

Ελληνικά:

Βουδισμός

https://www.wholeness.gr/2022/04/blog-post_17.html

Monday, 2 March, 2026

1. PART I. THE SACRED THRESHOLD

A Mystical Contemplation on the Despondency of Arjuna

Chapter I

The Battlefield as the Soul's Mirror

"The battlefield is the soul. The armies are the forces within every human consciousness: the forces of attachment and the forces of liberation, the love that binds and the love that sets free."

I. The Invisible Frontier

In the deepest strata of spiritual tradition — across the Vedic forests where rishis sat in sustained contemplation, across the desert silences where prophets received their searing visions, across the candlelit cells of medieval mystics — there exists a recurring recognition: that the most decisive geography of the human journey is not external but interior. There is, in the language of perennial wisdom, a threshold. It is not found upon any map drawn by human hands, not marked by stone or river or the boundary lines of kingdoms. It is, rather, the invisible frontier of the soul itself — a trembling edge where the ordinary self dissolves and something ancient and vast begins to speak.

This threshold has been named in many ways across the traditions. The Sufis called it the station of annihilation — fana — where the small self is emptied of its habitual contents. The Christian contemplatives spoke of the dark night, that terrible passage through which the soul moves from the consolations of the surface life toward the abyss where God alone remains. The Zen tradition points to it through its impossible questions, its koans that crash like waves against the wall of the rational mind until that wall, at last, begins to give way. In every case, the threshold is recognized not as a comfortable crossing but as a shattering one — not as a gentle transition but as a radical rupture with everything the constructed self has taken for solid ground.

It is upon such a threshold that the warrior Arjuna found himself — not merely upon the sacred plain of Kurukshetra where the two great armies stood arrayed in the morning light, but within the infinite interior landscape of his own being. The outer drama — the horses, the conches, the terrible symmetry of armies prepared for slaughter — was real. But it was also symbolic, in the deepest sense of that word: it was a visible image of something that had always been invisibly true. The battle that was about to be fought had been gathering, in one form or another, in the soul of Arjuna — and in the soul of every human being who has ever stood at a crossroads that matters — for a very long time.

II. Kurukshetra: The Sacred Field of Inner Warfare

Kurukshetra — whose very name means the field of sacred action — is presented to the outward eye as a battlefield, vast and terrible, lined with armies whose banners snap in the morning wind. The scene is one of extraordinary sensory intensity: the roar of conch-shells splitting the dawn, the restless stamping of horses, the glitter of armor and the cold gleam of weapons, the faces of warriors hardened by years of preparation for precisely this moment. To the strategic mind, it is a complex military situation, pregnant with tactical possibilities and mortal dangers. To the political mind, it is the culmination of a dynastic struggle with profound consequences for the future of a civilization.

But to the mystic's vision — to the eye that has learned to read the outer world as a text written in the language of the soul — every detail of that scene speaks a deeper language. The conches that cry out across the field are not merely instruments of war: they are the voices of creation and dissolution, the sound of the sacred syllable that underlies all existence, the primordial vibration that both initiates and consummates every cycle of manifestation. The white horses drawing the divine chariot are not merely animals bred for speed and endurance: they are symbols of the purified senses, the faculties of perception disciplined and consecrated for the journey toward truth. And the two armies, arranged in their perfect and terrible symmetry, are not merely historical actors in a political conflict: they are the forces within every human consciousness, locked in the eternal struggle that is the very essence of the spiritual life.

For there is no one who does not carry within themselves these two armies. On one side stand the Kauravas — and in their symbolic meaning, they represent attachment, ego, the grasping of the small self after the pleasures and securities and identities it has fashioned for itself. On the other side stand the Pandavas — representing the deeper impulses of the soul: the longing for truth, the capacity for sacrifice, the courageous willingness to surrender what must be surrendered in order to become what one is truly called to be. The battlefield of Kurukshetra is the soul. The war is the war that has always been waging within every human heart that is honest enough to acknowledge it.

III. The Charioteer Who Holds the Stars

There is no detail in this opening chapter of the Bhagavad Gita more astonishing, more theologically audacious, more mystically precise than the role assigned to the Lord Shri Krishna. He who is, in the fullness of the Gita's revelation, the Absolute itself — that infinite, inexhaustible, self-luminous presence from which all existence arises and into which all existence returns — takes the role not of a warrior, not of a king, not of a general marshaling the forces of righteousness. He takes the role of a charioteer. He drives the horses. He holds the reins. He waits, with perfect patience and perfect love, for the moment when his despairing passenger is ready to receive what only the Absolute can give.

This image — the infinite made humble, the absolute made intimate, the Divine choosing to serve — is not merely a narrative device. It is one of the most profound teachings that spiritual wisdom has ever offered to the human soul. It tells us something essential about the nature of the sacred: that the Divine does not impose. That the highest presence is also, in some mysterious and inexhaustible way, the most patient. That the light which created the galaxies and breathes life into every particle of existence is content to wait — at the center of every human heart, at the still point around which all the tumult of the world revolves — until the soul, exhausted and emptied and honest at last, turns and asks its deepest question.

Krishna does not fight in the battle of Kurukshetra. He holds the reins. And in holding them, he demonstrates what the mystics of all traditions have affirmed: that the deepest form of guidance is not coercion but presence. It is not the voice that commands but the stillness that invites. It is not the force that drives the soul forward but the love that calls it home. The Divine Charioteer is the image of that inexhaustible divine patience — that quality of the sacred which the Psalmist glimpsed when he wrote that even in the valley of death's shadow, a presence walks beside us, not eliminating the darkness but transforming its meaning entirely.

IV. The Trembling of the Bow and the Birth of Genuine Seeing

When Arjuna stands in the chariot between the two armies and gazes upon the faces arrayed before him, something extraordinary occurs. The hero — celebrated for his skill, his valor, his unmatched mastery of the bow — is suddenly undone. His limbs tremble. His throat becomes parched. The magnificent bow Gandiva slips from fingers that have held it unwavering through a thousand trials. His skin burns. His mind whirls in a darkness it cannot name. And crucially, impossibly — he sees.

For the first time, perhaps, in all his years of training and warfare and preparation, Arjuna truly sees what is arrayed before him. Not enemies. Not abstractions. Not strategic obstacles to be neutralized by superior technique. He sees faces. Beloved faces. The grandfather Bheeshma, whose white hair is the color of wisdom and whose blessings have been the shelter of Arjuna's entire life. Teachers and uncles and brothers and sons — all the intricate weaving of love and memory and shared existence that constitutes what human beings know as home. The very ones for whose sake, in some earlier chapter of his life, he had desired glory and victory. He sees them, and in seeing them with the full force of his humanity — as vulnerable, mortal, beloved — he is pierced to the very core of his being by a grief so vast it is almost indistinguishable from love.

The trembling of Arjuna's body is the trembling of a soul standing at the very edge of transformation. It is the shudder that precedes illumination, the darkness that comes just before the dawn breaks over an unsuspected horizon. When the self that has been constructed through years of duty and identity and attachment is suddenly confronted with the enormity of what it is asked to do, it does not merely hesitate — it collapses. And in that collapse, something sacred becomes possible. For it is only in the moment when the old self cannot go forward that the deeper self — the one that has always been present, always been watching, always been waiting — is given room to emerge.

V. The Ancient Question at the Heart of Things

Arjuna speaks, and his words are not merely the words of a warrior paralyzed by sentiment. They are the words of a soul sounding the depths of an ancient question — the question that has always haunted human consciousness wherever it is honest enough to ask it: What is worth suffering for? What is worth killing for? What, in truth, is worth living for? These questions are not rhetorical. They are not evasions of duty or symptoms of weakness. They are the honest cries of a soul suddenly awake to the terrible cost of existence, suddenly aware that the victories the world offers are purchased at a price the heart finds impossible to pay.

He speaks of kingdoms and pleasures — and in speaking of them, reveals how hollow they have become in this moment of searing clarity. What use is a kingdom, he asks, when those for whose sake one desired it stand on the opposite shore, preparing to die? What use is pleasure when it is built upon the ruins of those one loves? The words carry within them, almost despite themselves, a recognition that the contemplative traditions have always understood: that the things of the world, pursued for their own sake, can never satisfy the longing that drives the human soul. They are not wrong in themselves — but they are incomplete. They point toward something they cannot contain.

In this despairing inquiry, Arjuna unknowingly becomes a teacher. His very confusion is a form of wisdom, for it arises from a refusal to pretend that the easy answers are sufficient. The warrior who has slain ten thousand enemies is undone not by an enemy but by love — by the impossibility of the choice that love places before him. And it is precisely this undoing, this radical honesty about the cost of things, that prepares the ground for the teaching that follows. For the Divine has always spoken most clearly to souls that have stopped pretending they already know the answers.

VI. The Silence That Holds Everything

There is a moment of extraordinary significance in this opening chapter that is easily overlooked in the drama of what surrounds it. It is the moment of silence — the moment after Arjuna has spoken all his sorrow and all his confusion, after he has laid down his bow and sunk, broken-hearted, onto the seat of the chariot. For a breath — perhaps for many breaths — nothing is said. The vast armies wait in their terrible stillness. The drums are silent. The conch-shells are still. And in that silence, which is both the lowest point of Arjuna's despair and the highest point of his readiness, the Divine prepares to speak.

This silence is itself a teaching. It is the silence that every genuine seeker eventually encounters — the silence that follows the exhaustion of every argument, every strategy, every attempt to think one's way through the mystery of existence. It is the silence that the Zen tradition evokes with its koans — those impossible questions designed to bring the rational mind to its knees before a reality that exceeds it. It is the silence of the Quaker meeting, where gathered souls wait in shared expectation of a word that arises not from human cleverness but from the deep well of presence that underlies all things. It is the silence that the desert fathers and mothers cultivated through decades of solitude and prayer — not the silence of absence, but the silence of a fullness so complete it has no need of words.

In this silence, the entire tradition of mystical inquiry finds its most concentrated expression. For the mystic has always understood that the most important movements in the life of the soul happen not in the noise of activity but in the stillness that activity has made impossible until now. The falling of the bow is the falling away of everything Arjuna has used to define and sustain himself. And in the space left by that falling, in the emptiness that the ego cannot fill, the divine voice — patient as eternity, tender as the first light of morning — begins its inexhaustible work.

VII. The Gift Hidden in the Fall

The despondency of Arjuna — the title of this first chapter of the Gita — might seem at first glance to be something merely preliminary, a weakness to be corrected by the wisdom that follows, a darkness valued only for the light it makes possible. But the deeper mystical reading refuses this dismissal. The despondency is not merely the darkness before the dawn; it is itself a form of light. It is the light of radical honesty, the light of a soul that will no longer pretend, that can no longer maintain the comfortable fictions by which ordinary life sustains itself. It is, in its own way, an act of seeing — the most costly and courageous kind of seeing, the kind that does not spare itself the full weight of what it perceives.

When Arjuna sinks in his chariot and lets the bow fall from his hands, he performs — unknowingly, involuntarily, in the very depths of his despair — the most profound spiritual act it is possible to perform: he surrenders. Not the surrender of defeat. Not the surrender of a spirit broken beyond recovery. But the surrender of self-sufficiency, the surrender of the illusion that human beings can navigate the deepest waters of existence by the power of their own understanding alone. He surrenders the bow — and in surrendering it, he opens his hands to receive something infinitely more potent than any weapon the world can offer.

The mystical traditions of East and West have recognized this moment, this dark gift hidden within apparent catastrophe, this grace that arrives precisely when the human soul has exhausted every other resource. The Sufi poet Rumi, whose verses pulse with the ache of divine longing, understood it: the wound is the place where the light enters. The Christian mystic Meister Eckhart understood it: God cannot fill what is already full; the soul must be empty before it can be filled with the divine. The Buddhist traditions understand it in the teaching of beginner's mind — that the mind which knows nothing is the mind open to everything. What all these traditions are pointing toward is precisely the gift hidden in Arjuna's fall: that the collapse of the ego's certainties is not the end of the spiritual life but its true beginning.

VIII. The Threshold Crossed — The Teaching Begins

And so it is that this ancient text — preserved across millennia, carried through the long history of human longing and seeking — begins not with triumph but with collapse, not with certainty but with confusion, not with the answer but with the question. In this choice of beginning, the Gita reveals its deepest wisdom: that the question, asked with sufficient honesty and sufficient desperation, is already a form of prayer. That the falling of the bow is already a kind of worship. That the moment when the hero becomes, for the first time, genuinely lost — is the moment when the possibility of being genuinely found becomes real.

Arjuna's despondency is not an obstacle to the sacred encounter; it is its very precondition. The divine cannot give what the human refuses to receive, and the human cannot receive what the ego's hands are too full to hold. Only when those hands are empty — only when the bow has fallen, the identity has shattered, the comfortable certainties have dissolved in the heat of what cannot be avoided — can the gift that was always being offered find its way home. This is not merely the teaching of the Gita. It is the unanimous testimony of every soul that has ever traveled far enough into the interior to discover what waits at the center of all things.

The great battlefield falls silent. The armies wait, suspended in a moment that contains all of time. Arjuna sits in his chariot, emptied of everything that he thought he was, everything that he thought he wanted, everything that he thought he knew. And beside him — patient as the stars, present as breath, as intimate as the pulse of his own bewildered heart — the Divine Charioteer turns, and speaks.

"Arjuna sinks. The bow falls. The silence descends. And in that silence — vast as the sky above Kurukshetra, still as the eye of the divine storm — the teaching begins."

…

1. ΜΕΡΟΣ Ι: ΤΟ ΙΕΡΟ ΚΑΤΩΦΛΙ

Μια Μυστική Στοχαστική Προσέγγιση στην Απελπισία του Αρτζούνα

Κεφάλαιο Ι

Το Πεδίο της Μάχης ως Καθρέφτης της Ψυχής

«Το πεδίο της μάχης είναι η ψυχή. Οι στρατοί είναι οι δυνάμεις μέσα σε κάθε ανθρώπινη συνείδηση: οι δυνάμεις της προσκόλλησης και οι δυνάμεις της απελευθέρωσης, η αγάπη που δένει και η αγάπη που ελευθερώνει.»

I. Το Αόρατο Σύνορο

Στα βαθύτερα στρώματα της πνευματικής παράδοσης — μέσα στα βεδικά δάση όπου οι ρίσι κάθονταν σε αδιάκοπη περισυλλογή, μέσα στις ερημικές σιωπές όπου οι προφήτες δέχονταν τις καυτές οράσεις τους, μέσα στα κελιά με τα κεριά των μεσαιωνικών μυστικών — υπάρχει μια επαναλαμβανόμενη αναγνώριση: ότι η πιο αποφασιστική γεωγραφία του ανθρώπινου ταξιδιού δεν είναι εξωτερική αλλά εσωτερική. Υπάρχει, στη γλώσσα της αιώνιας σοφίας, ένα κατώφλι. Δεν βρίσκεται σε κανέναν χάρτη που χάραξαν ανθρώπινα χέρια, δεν σημειώνεται από πέτρα ή ποτάμι ή από τα σύνορα βασιλείων. Είναι, αντιθέτως, το αόρατο σύνορο της ίδιας της ψυχής — μια τρεμάμενη άκρη όπου το συνηθισμένο εγώ διαλύεται και κάτι αρχαίο και απέραντο αρχίζει να μιλά.

Αυτό το κατώφλι έχει ονομαστεί με πολλούς τρόπους μέσα στις παραδόσεις. Οι Σούφι το ονόμασαν σταθμό της αφανίσεως — fana — όπου το μικρό εγώ αδειάζει από τα συνήθη περιεχόμενά του. Οι χριστιανοί στοχαστές μίλησαν για τη σκοτεινή νύχτα, εκείνο τον τρομερό διάδρομο μέσα από τον οποίο η ψυχή περνά από τις παρηγοριές της επιφανειακής ζωής προς την άβυσσο όπου παραμένει μόνο ο Θεός. Η παράδοση του Ζεν το δείχνει μέσα από αδύνατες ερωτήσεις, τα κοάν της που σκάνε σαν κύματα στον τοίχο του λογικού νου μέχρι που ο τοίχος, επιτέλους, αρχίζει να υποχωρεί. Σε κάθε περίπτωση, το κατώφλι αναγνωρίζεται όχι ως μια άνετη διάβαση αλλά ως μια συντριπτική — όχι ως μια ήπια μετάβαση αλλά ως μια ριζική ρήξη με ό,τι ο κατασκευασμένος εαυτός έχει θεωρήσει στέρεο έδαφος.

Πάνω σε ένα τέτοιο κατώφλι βρέθηκε ο πολεμιστής Αρτζούνα — όχι απλώς στο ιερό πεδίο του Κουρουξέτρα όπου οι δύο μεγάλοι στρατοί στέκονταν παρατεταγμένοι στο πρωινό φως, αλλά μέσα στο άπειρο εσωτερικό τοπίο της ίδιας του της ύπαρξης. Το εξωτερικό δράμα — τα άλογα, οι σάλπιγγες, η τρομερή συμμετρία των στρατών έτοιμων για σφαγή — ήταν πραγματικό. Αλλά ήταν επίσης συμβολικό, με την πιο βαθιά έννοια της λέξης: ήταν μια ορατή εικόνα κάτι που πάντοτε ήταν αόρατα αληθινό. Η μάχη που επρόκειτο να δοθεί είχε συγκεντρωθεί, με τη μια ή την άλλη μορφή, στην ψυχή του Αρτζούνα — και στην ψυχή κάθε ανθρώπου που έχει σταθεί ποτέ σε ένα σταυροδρόμι που πραγματικά μετράει — εδώ και πολύ καιρό.

II. Κουρουξέτρα: Το Ιερό Πεδίο του Εσωτερικού Πολέμου

Το Κουρουξέτρα — του οποίου το ίδιο το όνομα σημαίνει το πεδίο της ιερής δράσης — παρουσιάζεται στο εξωτερικό μάτι ως πεδίο μάχης, απέραντο και τρομερό, γεμάτο στρατούς των οποίων οι σημαίες ανεμίζουν στον πρωινό άνεμο. Η σκηνή είναι γεμάτη εξαιρετική αισθητηριακή ένταση: ο βρυχηθμός των κελυφών κονχών που σχίζουν την αυγή, το ανήσυχο χτύπημα των αλόγων, η λάμψη της πανοπλίας και η κρύα λάμψη των όπλων, τα πρόσωπα των πολεμιστών σκληραγωγημένα από χρόνια προετοιμασίας ακριβώς γι’ αυτή τη στιγμή. Για τον στρατηγικό νου, είναι μια περίπλοκη στρατιωτική κατάσταση, έγκυος με τακτικές δυνατότητες και θανάσιμους κινδύνους. Για τον πολιτικό νου, είναι η κορύφωση μιας δυναστικής διαμάχης με βαθιές συνέπειες για το μέλλον ενός πολιτισμού.

Αλλά για την όραση του μύστη — για το μάτι που έχει μάθει να διαβάζει τον εξωτερικό κόσμο σαν κείμενο γραμμένο στη γλώσσα της ψυχής — κάθε λεπτομέρεια αυτής της σκηνής μιλά μια βαθύτερη γλώσσα. Οι κέλυφες κόνχες που κραυγάζουν πάνω από το πεδίο δεν είναι απλώς όργανα πολέμου: είναι οι φωνές της δημιουργίας και της διάλυσης, ο ήχος της ιερής συλλαβής που υποβόσκει σε όλη την ύπαρξη, η πρωταρχική δόνηση που και ξεκινά και ολοκληρώνει κάθε κύκλο εκδήλωσης. Τα λευκά άλογα που τραβούν το θεϊκό άρμα δεν είναι απλώς ζώα εκτραφέντα για ταχύτητα και αντοχή: είναι σύμβολα των εξαγνισμένων αισθήσεων, των ικανοτήτων της αντίληψης που έχουν πειθαρχηθεί και αφιερωθεί για το ταξίδι προς την αλήθεια. Και οι δύο στρατοί, παραταγμένοι στην τέλεια και τρομερή συμμετρία τους, δεν είναι απλώς ιστορικοί δρώντες σε μια πολιτική σύγκρουση: είναι οι δυνάμεις μέσα σε κάθε ανθρώπινη συνείδηση, κλειδωμένες στον αιώνιο αγώνα που αποτελεί την ίδια την ουσία της πνευματικής ζωής.

Γιατί δεν υπάρχει κανείς που να μην κουβαλάει μέσα του αυτούς τους δύο στρατούς. Από τη μια πλευρά στέκονται οι Καουράβα — και στο συμβολικό τους νόημα, αντιπροσωπεύουν την προσκόλληση, το εγώ, την αρπαγή του μικρού εαυτού μετά τις ηδονές, τις ασφάλειες και τις ταυτότητες που έχει φτιάξει για τον εαυτό του. Από την άλλη πλευρά στέκονται οι Πάνταβα — αντιπροσωπεύοντας τις βαθύτερες παρορμήσεις της ψυχής: την λαχτάρα για αλήθεια, την ικανότητα για θυσία, το θαρραλέο πρόθυμο να παραδώσει ό,τι πρέπει να παραδοθεί για να γίνει αυτό που πραγματικά καλείται να είναι. Το πεδίο μάχης του Κουρουξέτρα είναι η ψυχή. Ο πόλεμος είναι ο πόλεμος που πάντοτε μαίνεται μέσα σε κάθε ανθρώπινη καρδιά που είναι αρκετά ειλικρινής για να το αναγνωρίσει.

III. Ο Ηνίοχος που Κρατά τα Άστρα

Δεν υπάρχει λεπτομέρεια σε αυτό το πρώτο κεφάλαιο της Μπαγκάβαντ Γκίτα πιο εκπληκτική, πιο θεολογικά τολμηρή, πιο μυστικά ακριβής από τον ρόλο που αποδίδεται στον Κύριο Σρι Κρίσνα. Εκείνος που είναι, στην πληρότητα της αποκάλυψης της Γκίτα, το Απόλυτο το ίδιο — εκείνη η άπειρη, ανεξάντλητη, αυτοφώτιστη παρουσία από την οποία αναδύεται όλη η ύπαρξη και στην οποία επιστρέφει όλη η ύπαρξη — παίρνει τον ρόλο όχι πολεμιστή, όχι βασιλιά, όχι στρατηγού που παρατάσσει τις δυνάμεις της δικαιοσύνης. Παίρνει τον ρόλο του ηνιόχου. Οδηγεί τα άλογα. Κρατά τα ηνία. Περιμένει, με τέλεια υπομονή και τέλεια αγάπη, τη στιγμή που ο απελπισμένος επιβάτης του είναι έτοιμος να δεχτεί αυτό που μόνο το Απόλυτο μπορεί να δώσει.

Αυτή η εικόνα — το άπειρο να γίνεται ταπεινό, το απόλυτο να γίνεται οικείο, το Θείο να επιλέγει να υπηρετήσει — δεν είναι απλώς αφηγηματική τεχνική. Είναι μία από τις πιο βαθιές διδασκαλίες που η πνευματική σοφία έχει προσφέρει ποτέ στην ανθρώπινη ψυχή. Μας λέει κάτι ουσιώδες για τη φύση του ιερού: ότι το Θείο δεν επιβάλλεται. Ότι η υψηλότερη παρουσία είναι επίσης, με κάποιο μυστηριώδη και ανεξάντλητο τρόπο, η πιο υπομονετική. Ότι το φως που δημιούργησε τους γαλαξίες και δίνει ζωή σε κάθε σωματίδιο της ύπαρξης είναι πρόθυμο να περιμένει — στο κέντρο κάθε ανθρώπινης καρδιάς, στο ακίνητο σημείο γύρω από το οποίο περιστρέφεται όλος ο θόρυβος του κόσμου — μέχρι η ψυχή, εξαντλημένη και αδειανή και ειλικρινής επιτέλους, να στραφεί και να θέσει την πιο βαθιά της ερώτηση.

Ο Κρίσνα δεν πολεμά στο πεδίο του Κουρουξέτρα. Κρατά τα ηνία. Και κρατώντας τα, δείχνει αυτό που οι μύστες όλων των παραδόσεων έχουν επιβεβαιώσει: ότι η βαθύτερη μορφή καθοδήγησης δεν είναι εξαναγκασμός αλλά παρουσία. Δεν είναι η φωνή που διατάζει αλλά η ησυχία που προσκαλεί. Δεν είναι η δύναμη που ωθεί την ψυχή μπροστά αλλά η αγάπη που την καλεί σπίτι. Ο Θεϊκός Ηνίοχος είναι η εικόνα εκείνης της ανεξάντλητης θεϊκής υπομονής — εκείνης της ιδιότητας του ιερού που ο Ψαλμωδός διείδε όταν έγραψε ότι ακόμα και στη κοιλάδα της σκιάς του θανάτου, μια παρουσία περπατά δίπλα μας, όχι εξαλείφοντας το σκοτάδι αλλά μεταμορφώνοντας εντελώς το νόημά του.

IV. Το Τρέμουλο του Τόξου και η Γέννηση της Γνήσιας Όρασης

Όταν ο Αρτζούνα στέκεται στο άρμα ανάμεσα στους δύο στρατούς και κοιτάζει τα πρόσωπα που παρατάσσονται μπροστά του, συμβαίνει κάτι εξαιρετικό. Ο ήρωας — διάσημος για την ικανότητά του, την ανδρεία του, την απαράμιλλη μαεστρία του στο τόξο — ξαφνικά καταρρέει. Τα μέλη του τρέμουν. Ο λαιμός του ξεραίνεται. Το μεγαλοπρεπές τόξο Γκάντιβα γλιστράει από δάχτυλα που το κρατούσαν ακλόνητο μέσα από χίλιες δοκιμασίες. Το δέρμα του καίει. Ο νους του στροβιλίζεται μέσα σε ένα σκοτάδι που δεν μπορεί να ονομάσει. Και καθοριστικά, αδύνατα — βλέπει.

Για πρώτη φορά, ίσως, σε όλα τα χρόνια της εκπαίδευσής του, του πολέμου και της προετοιμασίας του, ο Αρτζούνα βλέπει πραγματικά τι είναι παραταγμένο μπροστά του. Όχι εχθρούς. Όχι αφηρημένες έννοιες. Όχι στρατηγικά εμπόδια που πρέπει να εξουδετερωθούν με ανώτερη τεχνική. Βλέπει πρόσωπα. Αγαπημένα πρόσωπα. Τον παππού Μπίσιμα, του οποίου τα λευκά μαλλιά είναι το χρώμα της σοφίας και οι ευλογίες του υπήρξαν το καταφύγιο όλης της ζωής του Αρτζούνα. Δασκάλους και θείους και αδελφούς και γιους — όλο το περίπλοκο πλέγμα αγάπης και μνήμης και κοινής ύπαρξης που αποτελεί αυτό που οι άνθρωποι γνωρίζουν ως σπίτι. Ακριβώς εκείνους για χάρη των οποίων, σε κάποιο προηγούμενο κεφάλαιο της ζωής του, είχε επιθυμήσει δόξα και νίκη. Τους βλέπει, και βλέποντάς τους με όλη τη δύναμη της ανθρωπιάς του — ευάλωτους, θνητούς, αγαπημένους — διαπερνάται μέχρι τον πυρήνα της ύπαρξής του από μια θλίψη τόσο τεράστια που είναι σχεδόν αδιαχώριστη από την αγάπη.

Το τρέμουλο του σώματος του Αρτζούνα είναι το τρέμουλο μιας ψυχής που στέκεται στην ίδια την άκρη της μεταμόρφωσης. Είναι το ρίγος που προηγείται του φωτισμού, το σκοτάδι που έρχεται ακριβώς πριν η αυγή σπάσει πάνω από έναν ανυποψίαστο ορίζοντα. Όταν ο εαυτός που έχει κατασκευαστεί μέσα από χρόνια καθήκοντος, ταυτότητας και προσκόλλησης βρίσκεται ξαφνικά αντιμέτωπος με το μέγεθος αυτού που του ζητείται να κάνει, δεν διστάζει απλώς — καταρρέει. Και σε αυτή την κατάρρευση, κάτι ιερό γίνεται δυνατό. Γιατί μόνο τη στιγμή που ο παλιός εαυτός δεν μπορεί να προχωρήσει μπροστά, ο βαθύτερος εαυτός — εκείνος που πάντοτε ήταν παρών, πάντοτε παρακολουθούσε, πάντοτε περίμενε — βρίσκει χώρο να αναδυθεί.

V. Η Αρχαία Ερώτηση στην Καρδιά των Πραγμάτων

Ο Αρτζούνα μιλά, και τα λόγια του δεν είναι απλώς τα λόγια ενός πολεμιστή που παραλύει από συναίσθημα. Είναι τα λόγια μιας ψυχής που βυθίζεται στα βάθη μιας αρχαίας ερώτησης — της ερώτησης που πάντοτε στοίχειωνε την ανθρώπινη συνείδηση όπου ήταν αρκετά ειλικρινής για να τη θέσει: Τι αξίζει να υποφέρει κανείς γι’ αυτό; Τι αξίζει να σκοτώσει κανείς γι’ αυτό; Τι, στην πραγματικότητα, αξίζει να ζήσει κανείς γι’ αυτό; Αυτές οι ερωτήσεις δεν είναι ρητορικές. Δεν είναι αποφυγές του καθήκοντος ούτε συμπτώματα αδυναμίας. Είναι οι ειλικρινείς κραυγές μιας ψυχής που ξύπνησε ξαφνικά στο τρομερό κόστος της ύπαρξης, ξαφνικά συνειδητοποιώντας ότι οι νίκες που προσφέρει ο κόσμος αγοράζονται με μια τιμή που η καρδιά βρίσκει αδύνατο να πληρώσει.

Μιλά για βασίλεια και ηδονές — και μιλώντας γι’ αυτά, αποκαλύπτει πόσο κούφια έχουν γίνει αυτή τη στιγμή της καυτής διαύγειας. Τι χρησιμότητα έχει ένα βασίλειο, ρωτά, όταν εκείνοι για χάρη των οποίων το επιθύμησε στέκονται στην απέναντι όχθη, έτοιμοι να πεθάνουν; Τι χρησιμότητα έχει η ηδονή όταν χτίζεται πάνω στα ερείπια εκείνων που αγαπά; Τα λόγια του κουβαλούν μέσα τους, σχεδόν παρά τη θέλησή τους, μια αναγνώριση που οι στοχαστικές παραδόσεις πάντοτε κατανοούσαν: ότι τα πράγματα του κόσμου, όταν επιδιώκονται για τον εαυτό τους, δεν μπορούν ποτέ να ικανοποιήσουν τη λαχτάρα που οδηγεί την ανθρώπινη ψυχή. Δεν είναι λάθος από μόνα τους — αλλά είναι ελλιπή. Δείχνουν προς κάτι που δεν μπορούν να περιέχουν.

Σε αυτή την απελπισμένη έρευνα, ο Αρτζούνα γίνεται άθελά του δάσκαλος. Η ίδια του η σύγχυση είναι μια μορφή σοφίας, γιατί προκύπτει από την άρνηση να προσποιηθεί ότι οι εύκολες απαντήσεις αρκούν. Ο πολεμιστής που έχει σκοτώσει δέκα χιλιάδες εχθρούς καταρρέει όχι από εχθρό αλλά από αγάπη — από την αδυναμία της επιλογής που η αγάπη τοποθετεί μπροστά του. Και είναι ακριβώς αυτή η κατάρρευση, αυτή η ριζική ειλικρίνεια για το κόστος των πραγμάτων, που προετοιμάζει το έδαφος για τη διδασκαλία που ακολουθεί. Γιατί το Θείο πάντοτε μιλά πιο καθαρά σε ψυχές που έχουν σταματήσει να προσποιούνται ότι ήδη γνωρίζουν τις απαντήσεις.

VI. Η Σιωπή που Κρατά τα Πάντα

Υπάρχει μια στιγμή εξαιρετικής σημασίας σε αυτό το πρώτο κεφάλαιο που εύκολα παραβλέπεται μέσα στο δράμα όσων την περιβάλλουν. Είναι η στιγμή της σιωπής — η στιγμή μετά την οποία ο Αρτζούνα έχει πει όλη τη θλίψη του και όλη τη σύγχυσή του, μετά την οποία έχει αφήσει το τόξο του και έχει βυθιστεί, με σπασμένη καρδιά, στο κάθισμα του άρματος. Για μια ανάσα — ίσως για πολλές ανάσες — δεν λέγεται τίποτα. Οι απέραντοι στρατοί περιμένουν στην τρομερή ακινησία τους. Τα τύμπανα σιωπούν. Οι κέλυφες κόνχες είναι ακίνητες. Και σε αυτή τη σιωπή, που είναι ταυτόχρονα το χαμηλότερο σημείο της απελπισίας του Αρτζούνα και το υψηλότερο σημείο της ετοιμότητάς του, το Θείο ετοιμάζεται να μιλήσει.

Αυτή η σιωπή είναι η ίδια διδασκαλία. Είναι η σιωπή που συναντά κάθε γνήσιος αναζητητής τελικά — η σιωπή που ακολουθεί την εξάντληση κάθε επιχειρήματος, κάθε στρατηγικής, κάθε προσπάθειας να σκεφτεί κανείς τον τρόπο μέσα από το μυστήριο της ύπαρξης. Είναι η σιωπή που η παράδοση του Ζεν επικαλείται με τα κοάν της — εκείνες τις αδύνατες ερωτήσεις σχεδιασμένες να φέρουν τον λογικό νου στα γόνατα μπροστά σε μια πραγματικότητα που τον ξεπερνά. Είναι η σιωπή της συνάντησης των Κουάκερ, όπου συγκεντρωμένες ψυχές περιμένουν σε κοινή προσδοκία ενός λόγου που αναδύεται όχι από ανθρώπινη ευφυΐα αλλά από το βαθύ πηγάδι της παρουσίας που υποβόσκει σε όλα τα πράγματα. Είναι η σιωπή που οι πατέρες και οι μητέρες της ερήμου καλλιέργησαν μέσα από δεκαετίες μοναξιάς και προσευχής — όχι η σιωπή της απουσίας, αλλά η σιωπή μιας πληρότητας τόσο πλήρους που δεν έχει ανάγκη από λόγια.

Σε αυτή τη σιωπή, ολόκληρη η παράδοση της μυστικής έρευνας βρίσκει την πιο συμπυκνωμένη έκφρασή της. Γιατί ο μύστης πάντοτε κατανοούσε ότι οι πιο σημαντικές κινήσεις στη ζωή της ψυχής συμβαίνουν όχι στον θόρυβο της δραστηριότητας αλλά στην ησυχία που η δραστηριότητα έχει κάνει αδύνατη μέχρι τώρα. Η πτώση του τόξου είναι η πτώση όσων ο Αρτζούνα χρησιμοποιούσε για να ορίσει και να συντηρήσει τον εαυτό του. Και στον χώρο που αφήνει αυτή η πτώση, στο κενό που το εγώ δεν μπορεί να γεμίσει, η θεϊκή φωνή — υπομονετική σαν την αιωνιότητα, τρυφερή σαν το πρώτο φως του πρωινού — αρχίζει το ανεξάντλητο έργο της.

VII. Το Δώρο Κρυμμένο στην Πτώση

Η απελπισία του Αρτζούνα — ο τίτλος αυτού του πρώτου κεφαλαίου της Γκίτα — μπορεί στην πρώτη ματιά να φαίνεται κάτι απλώς προκαταρκτικό, μια αδυναμία που πρέπει να διορθωθεί από τη σοφία που ακολουθεί, ένα σκοτάδι που εκτιμάται μόνο για το φως που καθιστά δυνατό. Αλλά η βαθύτερη μυστική ανάγνωση αρνείται αυτή την απόρριψη. Η απελπισία δεν είναι απλώς το σκοτάδι πριν την αυγή· είναι η ίδια μια μορφή φωτός. Είναι το φως της ριζικής ειλικρίνειας, το φως μιας ψυχής που δεν θα προσποιηθεί πια, που δεν μπορεί πια να διατηρήσει τις άνετες φαντασιώσεις με τις οποίες η συνηθισμένη ζωή συντηρείται. Είναι, με τον δικό της τρόπο, μια πράξη όρασης — η πιο δαπανηρή και θαρραλέα μορφή όρασης, εκείνη που δεν χαρίζει στον εαυτό της το πλήρες βάρος αυτού που αντιλαμβάνεται.

Όταν ο Αρτζούνα βυθίζεται στο άρμα του και αφήνει το τόξο να πέσει από τα χέρια του, εκτελεί — άθελά του, ακούσια, στα ίδια τα βάθη της απελπισίας του — την πιο βαθιά πνευματική πράξη που είναι δυνατό να εκτελέσει: παραδίδεται. Όχι η παράδοση της ήττας. Όχι η παράδοση ενός πνεύματος σπασμένου πέρα από κάθε ανάκαμψη. Αλλά η παράδοση της αυτοδυναμίας, η παράδοση της ψευδαίσθησης ότι οι άνθρωποι μπορούν να πλοηγηθούν στα βαθύτερα νερά της ύπαρξης μόνο με τη δύναμη της δικής τους κατανόησης. Παραδίδει το τόξο — και παραδίδοντάς το, ανοίγει τα χέρια του για να δεχτεί κάτι απείρως πιο ισχυρό από κάθε όπλο που μπορεί να προσφέρει ο κόσμος.

Οι μυστικές παραδόσεις της Ανατολής και της Δύσης έχουν αναγνωρίσει αυτή τη στιγμή, αυτό το σκοτεινό δώρο κρυμμένο μέσα στην φαινομενική καταστροφή, αυτή τη χάρη που φτάνει ακριβώς όταν η ανθρώπινη ψυχή έχει εξαντλήσει κάθε άλλο πόρο. Ο Σούφι ποιητής Ρουμί, του οποίου οι στίχοι πάλλονται με τον πόνο της θεϊκής λαχτάρας, το κατανοούσε: η πληγή είναι ο τόπος όπου μπαίνει το φως. Ο χριστιανός μύστης Μάιστερ Έκχαρτ το κατανοούσε: ο Θεός δεν μπορεί να γεμίσει ό,τι είναι ήδη γεμάτο· η ψυχή πρέπει να είναι άδεια πριν γεμίσει με το θείο. Οι βουδιστικές παραδόσεις το κατανοούν στη διδασκαλία του νου του αρχάριου — ότι ο νους που δεν γνωρίζει τίποτα είναι ο νους ανοιχτός σε όλα. Αυτό προς το οποίο όλες αυτές οι παραδόσεις δείχνουν είναι ακριβώς το δώρο κρυμμένο στην πτώση του Αρτζούνα: ότι η κατάρρευση των βεβαιοτήτων του εγώ δεν είναι το τέλος της πνευματικής ζωής αλλά η αληθινή αρχή της.

VIII. Το Κατώφλι Διασχίζεται — Η Διδασκαλία Αρχίζει

Και έτσι αυτό το αρχαίο κείμενο — διατηρημένο μέσα από χιλιετίες, μεταφερόμενο μέσα από τη μακριά ιστορία της ανθρώπινης λαχτάρας και αναζήτησης — αρχίζει όχι με θρίαμβο αλλά με κατάρρευση, όχι με βεβαιότητα αλλά με σύγχυση, όχι με την απάντηση αλλά με την ερώτηση. Σε αυτή την επιλογή αρχής, η Γκίτα αποκαλύπτει τη βαθύτερη σοφία της: ότι η ερώτηση, όταν τεθεί με αρκετή ειλικρίνεια και αρκετή απελπισία, είναι ήδη μια μορφή προσευχής. Ότι η πτώση του τόξου είναι ήδη μια μορφή λατρείας. Ότι η στιγμή που ο ήρωας γίνεται, για πρώτη φορά, πραγματικά χαμένος — είναι η στιγμή που η δυνατότητα να βρεθεί πραγματικά γίνεται αληθινή.

Η απελπισία του Αρτζούνα δεν είναι εμπόδιο στη συνάντηση με το ιερό· είναι η ίδια η προϋπόθεσή της. Το θείο δεν μπορεί να δώσει ό,τι ο άνθρωπος αρνείται να δεχτεί, και ο άνθρωπος δεν μπορεί να δεχτεί ό,τι τα χέρια του εγώ είναι πολύ γεμάτα για να κρατήσουν. Μόνο όταν αυτά τα χέρια είναι άδεια — μόνο όταν το τόξο έχει πέσει, η ταυτότητα έχει θρυμματιστεί, οι άνετες βεβαιότητες έχουν διαλυθεί στη ζέστη αυτού που δεν μπορεί να αποφευχθεί — το δώρο που πάντοτε προσφερόταν μπορεί να βρει τον δρόμο του σπίτι. Αυτό δεν είναι απλώς η διδασκαλία της Γκίτα. Είναι η ομόφωνη μαρτυρία κάθε ψυχής που έχει ταξιδέψει αρκετά βαθιά στο εσωτερικό για να ανακαλύψει τι περιμένει στο κέντρο όλων των πραγμάτων.

Το μεγάλο πεδίο μάχης πέφτει σε σιωπή. Οι στρατοί περιμένουν, αιωρούμενοι σε μια στιγμή που περιέχει όλο τον χρόνο. Ο Αρτζούνα κάθεται στο άρμα του, αδειανός από ό,τι νόμιζε ότι ήταν, ό,τι νόμιζε ότι ήθελε, ό,τι νόμιζε ότι γνώριζε. Και δίπλα του — υπομονετικός σαν τα άστρα, παρών σαν η ανάσα, οικείος σαν ο παλμός της ίδιας της αμήχανης καρδιάς του — ο Θεϊκός Ηνίοχος στρέφεται και μιλά.

«Ο Αρτζούνα βυθίζεται. Το τόξο πέφτει. Η σιωπή κατεβαίνει. Και σε αυτή τη σιωπή — απέραντη σαν τον ουρανό πάνω από το Κουρουξέτρα, ήρεμη σαν το μάτι της θεϊκής καταιγίδας — η διδασκαλία αρχίζει.»

Intellectual property rights

The entire content of our website, including, but not limited to, texts, news, graphics, photographs, diagrams, illustrations, services provided and generally any kind of files, is subject to intellectual property (copyright) and is governed by the national and international provisions on Intellectual Property, with the exception of the expressly recognized rights of third parties.
Therefore, it is expressly prohibited to reproduce, republish, copy, store, sell, transmit, distribute, publish, perform, "download", translate, modify in any way, in part or in summary, without the express prior written consent of the Foundation. It is known that in case the Foundation consents, the applicant is obliged to explicitly refer via links (hyperlinks) to the relevant content of the Foundation's website. This obligation of the applicant exists even if it is not explicitly stated in the written consent of the Foundation.
Exceptionally, it is permitted to individually store and copy parts of the content on a simple personal computer for strictly personal use (private study or research, educational purposes), without the intention of commercial or other exploitation and always under the condition of indicating the source of its origin, without this in any way implies a grant of intellectual property rights.
It is also permitted to republish material for purposes of promoting the events and activities of the Foundation, provided that the source is mentioned and that no intellectual property rights are infringed, no trademarks are modified, altered or deleted.
Everything else that is included on the electronic pages of our website and constitutes registered trademarks and intellectual property products of third parties is their own sphere of responsibility and has nothing to do with the website of the Foundation.

Δικαιώματα πνευματικής ιδιοκτησίας

Το σύνολο του περιεχομένου του Δικτυακού μας τόπου, συμπεριλαμβανομένων, ενδεικτικά αλλά όχι περιοριστικά, των κειμένων, ειδήσεων, γραφικών, φωτογραφιών, σχεδιαγραμμάτων, απεικονίσεων, παρεχόμενων υπηρεσιών και γενικά κάθε είδους αρχείων, αποτελεί αντικείμενο πνευματικής ιδιοκτησίας (copyright) και διέπεται από τις εθνικές και διεθνείς διατάξεις περί Πνευματικής Ιδιοκτησίας, με εξαίρεση τα ρητώς αναγνωρισμένα δικαιώματα τρίτων.

Συνεπώς, απαγορεύεται ρητά η αναπαραγωγή, αναδημοσίευση, αντιγραφή, αποθήκευση, πώληση, μετάδοση, διανομή, έκδοση, εκτέλεση, «λήψη» (download), μετάφραση, τροποποίηση με οποιονδήποτε τρόπο, τμηματικά η περιληπτικά χωρίς τη ρητή προηγούμενη έγγραφη συναίνεση του Ιδρύματος. Γίνεται γνωστό ότι σε περίπτωση κατά την οποία το Ίδρυμα συναινέσει, ο αιτών υποχρεούται για την ρητή παραπομπή μέσω συνδέσμων (hyperlinks) στο σχετικό περιεχόμενο του Δικτυακού τόπου του Ιδρύματος. Η υποχρέωση αυτή του αιτούντος υφίσταται ακόμα και αν δεν αναγραφεί ρητά στην έγγραφη συναίνεση του Ιδρύματος.

Κατ’ εξαίρεση, επιτρέπεται η μεμονωμένη αποθήκευση και αντιγραφή τμημάτων του περιεχομένου σε απλό προσωπικό υπολογιστή για αυστηρά προσωπική χρήση (ιδιωτική μελέτη ή έρευνα, εκπαιδευτικούς σκοπούς), χωρίς πρόθεση εμπορικής ή άλλης εκμετάλλευσης και πάντα υπό την προϋπόθεση της αναγραφής της πηγής προέλευσής του, χωρίς αυτό να σημαίνει καθ’ οιονδήποτε τρόπο παραχώρηση δικαιωμάτων πνευματικής ιδιοκτησίας.

Επίσης, επιτρέπεται η αναδημοσίευση υλικού για λόγους προβολής των γεγονότων και δραστηριοτήτων του Ιδρύματος, με την προϋπόθεση ότι θα αναφέρεται η πηγή και δεν θα θίγονται δικαιώματα πνευματικής ιδιοκτησίας, δεν θα τροποποιούνται, αλλοιώνονται ή διαγράφονται εμπορικά σήματα.

Ό,τι άλλο περιλαμβάνεται στις ηλεκτρονικές σελίδες του Δικτυακού μας τόπου και αποτελεί κατοχυρωμένα σήματα και προϊόντα πνευματικής ιδιοκτησίας τρίτων ανάγεται στη δική τους σφαίρα ευθύνης και ουδόλως έχει να κάνει με τον Δικτυακό τόπο του Ιδρύματος.

Esoterism Academy

CIRCLE OF LIGHT / Perennial Sayings

ESOTERISM STUDIES YOUTUBE / The Way of the Real

ESOTERISM STUDIES YOUTUBE / Η Οδός του Πραγματικού

ESOTERISM STUDIES BOOKS