Aghora II: Kundalini by Robert E. Svoboda

By Robert E. Svoboda

Ebook 2 of the trilogy explores the kundalini, the strength of forces. Tantra, mantra, the sacred hearth, chakras and attention. Written within the personable kind of Vimalananda's storytelling and recounting of life's episodes we can actually input the invisible geographical regions.

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While the Tiruppāvai is certainly better known and more accessible to a lay, non-Śrīvaiṣṇava public, it is the Nācciyār Tirumoḻi that is central to asserting Āṇṭāḷ’s grand passion for Viṣṇu within the oral and written hagiographic traditions.

68 Given that only Brahmin men are allowed to recite the āḻvār songs, including the Tiruppāvai and Nācciyār Tirumoḻi, in the context of temple and festival worship, groups such as the Godā Maṇḍali represent a thoroughly modern means for women to participate in public worship and empowering religious activities. About the Translation Vidya Dehejia’s Āṇṭāḷ and Her Path of Love is the sole academic translation of both the Tiruppāvai and Nācciyār Tirumoḻi. ” The brief introduction discusses the Caṅkam antecedents INTRODUCTION 39 of Āṇṭāḷ’s poetry, the rhythm and metrical structures of her verses, and prominent motifs such as the history of the pāvai vow.

And the young and rambunctious lion cub of Yaśodā is conflated with the supreme Nārāyaṇa, and from this god who is at once accessible and transcendent the eager, the “precious” girls of Gokula are to win a mysterious paṟai (Tiruppāvai 1), a type of drum, but never clarified as such in the poem, and clearly symbolic of some abstract idea. In the Caṅkam poems of war, various kinds of drums are sacred objects central to the battle. Each drum was played by a particular group of people. For instance, the muṟacu, arguably the most important drum, was a royal object, INTRODUCTION 19 made from the tutelary tree of an enemy and invested with sacred power (Puṟanāṉūṟu 50).

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