The Golden Spiral
Chapter Seventeen
Creation—Divine Will, Free Will and Absorption
In this universe, there are always three positions:
(1) Creator (Drishtaa or Observer Or Seer)
(2) Creation (Drishti or Observation or Seeing)
(3)
Created (Drishya or Observed or Seen)
The fourth is always either relative or illusory. The first vibration of creation deals with the process of musical vibrations that were first registered as something other than the Vocal-Chord rendered vibrations. It is quite strange, many think that man has evolved in a phased manner. Whether man evolved in a phased manner or not, art forms definitely evolved in phased manner.
Firstly, I would like to throw some light upon the facts about the reason man had to communicate in a certain way to drive his point at times when languages were not quite ‘grammatically’ established. One had to heavily rely on signs and sometimes on objects to reach the listener for him to make out the meaning of the speaker. This way man could not always narrate his feelings to others without many failures and confusions.
Hence, he started to establish a classified way of speech and slowly some order was established. But when I am dealing with musical vibrations, I must state clearly the necessity to go into the depths of all that is going to follow. The first question that comes to the Traditional ‘Pundits’ and other scholars of music and allied arts is, “Did vocal music come first or the instrumental music?’’
It is very tricky for people to answer that. But, I have gone through various texts and scriptures to find reliable evidence to very boldly state, that vocal music preceded the instrumental variety. I have also analyzed the various other possibilities before I arrived at this conclusion. In one of my pursuits I have come across the factual evidence that the first instrument that could evolve on its own was none other than the "Harp." How did I arrive at this? Well, it all started at a time when I was looking for some kind of real evidence to support my contentions regarding the theory I am trying to explain.
The first protective gear that man could find to fight for his survival when he was regularly threatened by wild beasts of the jungles was to use sharp-edged things like a spear, wood-knife etc. And also as there were no laws or social bindings of any kind for him to think twice to kill another being. Man learnt by experience that he could thwart the scare of other more powerful animals and by coming to know of newer techniques for attack and defending himself. In this way he learnt to make various instruments with the help of which he could protect himself from a distance too.
This gave birth to his long-standing ‘friend’ in his armor known as the ‘Bow’ or Dhanusha in the Indian tradition. As we are well aware about a bow consists of a bent or curved bamboo which has the two ends tied up with a rope or twine. The use of a bow is further done with the help of an arrow, which is released by stretching the rope to its maximum and letting the opposite force to send the arrow (generally made of a sharp-edged stick), darting towards the prey. The very release of this arrow produced the first vibration of sound which man was never aware of until then. This was something which was not in anyway close to the ‘sounds’ made by the vocal-chord. Thus he started to observe and utilize such a vibration very deftly and closely followed the difference in vibrations and frequencies of the emitted sound.
Due to the different lengths of the rope or twine used for different bows, man first understood how to place sounds of different frequencies with respect to the lengths of the rope or twine used in a bow. This phenomenon followed only one principle and which was, “The longer the rope, clearer and longer the frequencies (and thus more vibrations.) Further, the shorter the length of the rope the lesser the number of oscillations. Thus the low frequencies.”
Hence, the bow started to take the shape of a very appropriate instrument where man could hear all the frequencies in a defined and measurable scale. What followed was the fact that man could easily build his first musical instrument known as the Harp. If you observe the Harp you can see that it is Anudaatta in the shape of a huge bow, to which a number of strings are attached at a particular tension or each string to produce a precise note or Swara. To further my theory in this direction I have found astonishing evidence in support of my claim.
It is explained in ancient Indian texts and scriptures that Lord Shiva when in perfect union with Shakti, actually struck the Bow-like zodiac into action with the help of an imaginary equinox, which is in fact the straight and diagonal line starting from 0 Degrees(Aries) to 180 Degrees(Virgo) in the zodiac. (Ref : - Sri Adi Sankaracharya’s ‘Soundarya Lahiri’) For this very reason the point from where this kind of a sound vibration started was termed as ‘Dhanusha’ or simply, a bow. And to further imply the power of the creator this very point is also known as Moola or Root. It very appropriately concurs with the Moolaadhaara-chakra or the Root-chakra of the Kundalini or the serpent-like evolutionary power of creation.
Then the seven points of this Kundalini correlates perfectly with that of Shadja, Rishabha, Gaandhaara, Madhyama, Panchama, Dhaivata and Nishaada. Here onwards the theory becomes more complicated for ordinary music-lovers or musicians. I have to stress that one can reach this kind of understanding of the sound vibrations only after regular practice of any art form, for many years together.
I would like to illustrate this with the help of charts that follow:
1. Shadja
============================ Sahasraara
{A State Of Samaadhi or absolution}
2. Rishabha ========================== Aagnyaa
{Second in importance to Shadja}
3. Gaandhaara ====================== Visshudhha
{Celestial speech}
4. Madhyama ======================== Anaahata
{Central part in the inner cosmos}
5. Panchama ========================= Manipura
{Fifth harmonic to Shajda / Medium changes}
6. Dhaivata ==========================Swaadhishthaana
(Desire / emotions zone}
7. Nishaada ========================== Moolaadhaara
The seated or Root. {At Absolute rest or grounded}
One can easily visualize the various subtleties brought forth here and understand the importance of sound energy. In this world of advanced state for mankind every person elaborates on the importance of light, cosmic energy, Reiki, ‘Ojas’ etc. I strongly feel that the scholars around the world should try and incorporate into their quests of knowledge, the importance of primordial sound or AUM or the creative energy it.
As has been repeatedly explained in a number of texts of ancient Indian civilization, that there was only the Nirguna-Brahman or Un-manifested-un-differentiated consciousness that existed before anything was created. This Nirguna Brahman was only aware of its immense creative power and hence it developed the longing to create something. What could it create for a beginning? It chose to create an image of itself, but in three dimensional form and thus our physical world came into being out of a cosmic being-ness. This was known as Saguna-Brahma or that creative power which had dimensions. At this juncture even Saguna Brahman wasn’t aware of its creative energy or power.
Once the Nirguna Brahman asked the Saguna Brahman, “Who created you?” To which it replied, “You created me.” This has been recorded as the first instance of a Duality or Dwayeeta in ancient Indian texts. So the creative energy or Nirguna Brahman created its own image and thus gave birth to all dualities in this universe. From here onwards the process of evolution becomes very closely linked to my theories and its chronology even more important. At the very beginning of my proposed thesis I have quoted the Sloka or hymn from the Vaakya-padya and Manusmriti, which tells us about the importance of utterance or the primordial sound. Here many a scholar would ask if it is already presumed that if the creative power or energy was formless, then how could it produce the sound? It is absolutely clear that this kind of a sound couldn’t have been produced or executed with the help of anything to do with forms or shapes.
Hence, it took Lord Shiva to unite with Shakti or the ‘Awakened’ Kundalini. Thus began the process of creation in one stroke or twang, like that of an enormous bow or the imaginary ‘Diagonal’ of the zodiac. I would like to clarify here that though we did not come to know of the existence of time and space to be pre-eternally present, the creative energy had always marveled at the joy it would get on the execution of the job of such magnitude.
Lord Shiva started the continuous phenomena of the neither cyclic, nor linear kind of a dimension within which there was a perfect balance of all that will repeatedly be created and destroyed at the will of the ever-pervading, ‘Omnipotent’ and omnipresent. This is known as The Golden Spiral of the entire Cosmos where in individual souls are constantly incarnating and moving in their chosen directions to reach the Supreme soul called Consciousness.
Since the bow was stretched to the point of it's maximum i.e. Moolaadhaara, or if clearly understood as the Moola constellation of the innumerable stars that would come into existence on such a twang of the diagonal of the zodiac. We have understood that scientific law always follows the rules of motion, which will certainly have a perfect definition (after many great scholars of physical sciences have proved and said.)
The very fact that the striking of a string which is fastened to the two ends of a bow will vibrate in a way, so as to enable it to rotate on an axis created by the force used for such a beginning and follow the rules of a pendulum. So, invariably the structure that is thus brought into existence is always going to be in the shape of a wave, and also almost like the rugby ball. Very recently, when I was introduced to the meditative technique of Mer-Ka-Bah (which the Sufis called the Muraaqabaah.) I could very easily visualize the immaculate nature of the creation on being told that the Mer-Ka-Ba was nothing but the spinning of the zodiac in the manner explained above.
Only the process is explained in the MER-KA-BA as a field of energy (magnetic in nature) that encompasses every component of the entire universe in the form of two tetrahedrons. One is inverted and locked into the other very conveniently to enable the laws of physics and metaphysics become self-explanatory. The only difference that I could see in these two traditions of MER-KA-BA and the Kundalini yoga is that the former depicts the whole process in a diagrammatic visualization of three tetrahedrons and not two, where as in Kundalini we can simply visualize these two be two. Hence making it further easier for people understand how an already existing field of energy encompassing all creations independently.
As far as music is concerned, classical Indian and western music has always followed a set pattern of aesthetics and traditions. Whereas in astrology, it is very difficult to explain the intricacies of in simple terms of life manifestations, vibrations, and the relevant frequencies. As has been repeatedly explained in this dissertation, astrology deals with more subtle variations as it not only details the aspects of current Life of the native whose horoscope is being scrutinized, but also the past and future lives (past birth and next birth.)
The
vibrations are divided into a relative degree, minute, and second classification. As we come to understand the life of a person analyzing the horoscope of the
native we have to deal with not only, "What will happen in this life for the
native, but also for the past life (Janma-punar-janma) and future life." I have
found out the subtle differences in these three sciences and arts, by always
trying to inter-relate the Vibrations in its required form for the three
subjects in question. For this I have decided to chalk out the theory into
ten main branches of analysis:
1. The importance of the numbers 3, 5, 7, 9 and 12.
2. The importance of all these dealing with the cycles of such numbers in ‘Spiral’ forms.
3. The movement of all beings in clockwise and counter clockwise directions.
4. The importance of ‘Originals’ and ‘Reproductions’.
5. The Subjective analysis of all that moves and appears to be still.
6. The Birth and Death of all Waves, Vibrations and Manifestations.
7. The importance of the numbers 108, 1008, 1800, 180,000.
8. The importance of ‘VE and +VE in these sciences.
9. The importance of ROOT and PEAK in these sciences.
10. The importance of ‘BEING’ and ‘NOT BEING’.
 | |||
|
