RY Deshpande Reihenfolge der Bücher (Chronologisch)

During the divine Rendezvous on 29 March 1914 the Mother was in a prayerful deep concentration. In it she saw things in the Supermind. She narrated to Sri Aurobindo what she saw and asked him if they would manifest. He yogically just said, “Yes.”And immediately she saw that the Supramental had touched the earth and was beginning to be realised! The Supermind had touched the earth on 29 March 1914. Results started and the Supermind entered in the earth’s subtle-physical on 29 February 1956. The promise given ages ago now got fulfilled.The Mother in her Yoga of the Cells took it forward. The arrival of the Intermediate Race led by the Mind of Light is in the pragmatics of a divine life in a divine body.

The original composition of Cantos for Recitation belongs to the period April-June 2002 as a part of The Birth of Savitṛa which also has brief one-paragraph synopses of each canto of Savitri by Sri Aurobindo, forty-nine cantos in twelve Books of the epic as a whole. Recently this work has been revised extensively, 5 - 10 May 2020, and is issued as a second edition under the title The Birth of the Sun-God. The date of composition of each Canto appears along with it. The present format is specifically designed for the recitation of the entire set of Cantos individually or collectively. It should take about hour and a half to do it in a voice not too low or too loud. It is believed that the power of the sound which comes from poised silence is richer than the mere attempt of reading and understanding the text. In fact Ghana Recitation can have a massive effect urging even the very physical to participate in its creative process.

This work explores a cyclic reading of Savitri using the traditional Vedic recitation method known as Ghana Pāth, which involves complex sound patterns. The recitation organizes elements into groups, creating a rich auditory experience. Our aim is to adapt this chanting technique to English poetry, specifically Sri Aurobindo’s Savitri, which is structured in end-stopped pentametric blank verse. By treating lines as the foundational elements, we propose a Ghana Recitation of selected passages that resonate with a variety of sounds and rhythms. This approach is expected to enhance the accent-based medium, introducing new dimensions of sound and movement. In this study, we have chosen a limited selection from Part One of Savitri, focusing on the first three Books, which contain 24 Cantos and 11,674 lines. Our Ghana formulation includes only 60 passages, approximately 1,500 lines, representing about 12% of the total. This selection is subjective and may vary with different interpretations or moods. The goal of Ghana recitation is to cultivate multi-tonal vibrations that engage our entire being, creating a harmonious soundscape that enhances understanding and perception. This practice emphasizes the fusion of sound and sense, aiming to evoke a deeper awareness through the auditory experience.

Let this be an invocation to the Fire, invocation to the divine Agni, divine Agni who lights the suns, who lights the suns in the sky, who kindles the suns in the sky. Let Agni light the suns in Matter too, in the earthly Matter, in the obscure earthly Matter, let divine Agni light the suns in Matter too, in Matter too, in the living Matter, in the body, in the cells of the body. Let Agni light the suns in the cells of the body, let them be aglow with his Blaze. Let Agni kindle them in the cells of the body, in the cells of the body.

This work explores cyclic or repetitive reading of Savitri through traditional Vedic recitation methods, particularly Ghana Pāth, characterized by its complex sound patterns. The recitation involves grouping elements in sequences that create a rich auditory experience. We aim to adapt this chanting to English poetry, recognizing the intrinsic differences between English and Sanskrit, particularly in their sound structures. Savitri, with its end-stopped pentametic blank verse, serves as the foundation for our Ghana Recitation of selected passages. This epic already embodies a rich tapestry of sounds, and our approach seeks to introduce new dimensions of auditory experience through rhythmic movement. Our selection for Ghana recitation is limited to 60 passages from the first three books of Savitri, comprising about 1,500 lines, or roughly 12% of the total. This selection process is inherently subjective and may evolve with different interpretations or moods. The goal of Ghana recitation is to cultivate multi-tonal vibrations that resonate within us, enhancing our sensory experience. The sound is not merely a backdrop but a vital force that builds understanding and sentience. Ultimately, this exploration seeks to harmonize sense and sound, creating a profound auditory experience that enriches our engagement with the text.

On a height he stood that looked at greater heights,"-this is the opening line of Section One, Canto Four, The Secret Knowledge, Book One, The Book of Beginnings of Savitri. This Canto will be examined section by section, focusing on the Yoga-Tapasyā of Aswapati, which leads him to uncover the cosmic workings essential for his quest for divine manifestation on earth. Through the acquisition of secret knowledge, he enters the vast Spirit's realm, becoming aware of its freedom and greatness. These insights shape his core yogic realizations, allowing him to access the sunbelts of knowledge and moonbelts of delight within the expansive truths of consciousness and joy. As a voyager on uncharted paths, he confronts the unexpected, exploring countless cosmic realms and discovering the richness of each domain. This journey unfolds in a myriad of temporal movements, revealing realization after realization. Such preparation empowers Aswapati to grasp the essence of creation and the mortal world. It equips him to confront the haunting issues of mortality, which ultimately reveal the immortal spirit at its foundation, along with its powers and functions manifesting within it.