Meditation and Reflection on the divine play

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Meditation and Reflection on the Divine Play: Lila Chintana and Lila Dhyana (January 2007 (570) To refect on the divine play of God and to let that refection deepen into meditation is one of the greatest opportunities and bless-ings in the life of a devotee. It is a practice that not only brings immense joy, but also helps deepen one’s spiritual life and transform one’s nature. And it is a practice that requires no great learning, study of the scriptures, or powers of mental control. But once we get a taste for this practice, we fnd that it grows more and more intense, and we discover that a whole new dimension has been added to our spir-itual lives and practice. In order to fully appreciate this practice’s won-derful power of attraction and equally wonderful power of purifcation of the mind and heart, it will be helpful to examine the three basic components of lila chintana and lila dhyana. As with all aspects of spiritual life, many of the concepts and ideas are deceptively simple. And while we are all familiar with the ideas of refection, meditation, and lila, we fnd that the type of meditation and refection we engage in in this particular practice is very much coloured by the concept of lila, and thus will be quite diferent from the types of meditation and refection we practise when following the paths of yoga and knowledge. Lila Te term lila has three basic meanings, each distinct in some sense, yet closely related. It may refer to (i) a play or sport or pastime, a diversion or amuse-ment. It also conveys the meaning of (ii) ease or facility, something that is ‘mere child’s play’. And fnally, it gives the sense that (iii) something is not entirely real: it may be a mere appearance, a sem- blance, pretence, disguise, or sham, and may even Meditation and Refection on the Divine Play: Lila Chintana and Lila DhyanaSwami Atmajnananandaconvey the meaning of a kind of joke (one not al-ways funny to those not in the know). Te term lila may be used in various contexts and with diferent layers of meaning, but in each and every case it re-fers to a kind of manifestation (real or otherwise, depending on the context). It is an idea based on the belief that God, or Brahman, is not merely a transcendent, unmanifest reality, but is also imma-nent, and manifests in a variety of diferent ways. Sri Ramakrishna was very fond of this idea of lila as the manifestation of the divine in the relative world, and he ofen juxtaposed it with the idea of nitya, the eternal, unmanifest, absolute aspect of God. While he recognized that God manifests in numberless ways, for him the highest and greatest manifestation of God was in the human form. We read in the Gospel of Sri Ramakrishna, 2 Febru-ary, 88 : Since my arm was injured, a deep change has come over me. I now delight only in the Naralīlā, the human manifestation of God. Nitya and Līlā. Te Nitya is the Indivisible Satchidānanda, and the Līlā, or Sport, takes various forms, such as the Līlā as God, the Līlā as the deities, the Līlā as man, and the Līlā as the universe. Vaisnavcharan used to say that one has attained Perfect Knowledge if one believes in God sporting as man. I wouldn’t admit it then. But now I realize that he was right (392). So we see that, from this point of view, Brah-man’s manifestation as the diferent deities, as the visible universe, as all living beings, even as the Per-sonal God, is all a kind of play, not real in any abso-lute sense and not explainable in any rational way. It is said to be all just for fun, since Brahman cannot feel any need to manifest or any lack if there is no so-called creation. If Brahman is to be considered perfect, there can be no room for any desire, and so we end up with the concept of lila. Two Aspects of Nara-lila But even from the point of view of nara-lila, God manifest in human form, we fnd two distinct ideas. From a philosophical and non-dualistic point of view, it is Brahman alone which manifests in the form of all human beings. Due to the force of maya, Brahman has forgotten its true nature, as it were, caught up in the drama of life. Tat is why even quarrels between one person and another, battles between one nation and another, have the quality of play to the God-realized soul. For it is God him-self who is the actor, playing each and every role, in this divine and seemingly mad play of life. We fnd Sri Ramakrishna ofen in this mood, especially to-ward the end of his life, looking upon the body as a mere pillow case and seeing only God within, play-ing the role of all beings. But there is a second sense of nara-lila, which is more consistent with a devotional attitude and with dualistic spiritual practices (though it may also, as Sri Ramakrishna says, lead to the knowledge of Brahman). Tis second sense revolves around the concept of the avatara, or divine incarnation. It is typically this idea that we refer to when we speak of meditation and refection on the human lila of God. We have just seen that one aspect of God’s sport as man is that He manifests as all living beings, or at the very least, dwells within the hearts of all liv-ing beings as the higher Self. But the devotional schools maintain that in addition to this, there is a special kind of manifestation that takes place from time to time, perhaps necessitated by some extraor-dinary historical or social conditions. At such times an eternally perfect soul, which is somehow one with the Personal God, descends to earth and as-sumes a human body. And that soul does not sim-ply come alone, but brings along its own shakti, in the form of a consort, and also a handful of divine companions. Tis is a belief typically associated with the worshippers of Krishna, and to a some-what lesser extent, Rama, but is also quite similar to the attitude many Christians have with regard to Christ. Tere is a belief among certain Vaishnavas that the divine sport between Krishna and the gopis takes place eternally in an eternal Vrindavan, a di-vine sphere not of this world. But they also believe that that play takes place on earth in every cycle. Here the idea of lila is especially pronounced, for Krishna is himself quite a practical prankster and fond of play and sport. And we fnd that each stage of Krishna’s life is considered another opportunity to contemplate his divine nature and divine play: as a small baby, as a young boy frolicking with the cow-herd boys and milkmaid girls, and even as the young prince of Mathura and charioteer of Arjuna.

We fnd all of the same elements of lila in the life of Sri Ramakrishna as well. When we examine all of the incidents of his life, we see that everything seems staged and divinely directed. All the charac-ters are in place and assuming their proper roles: his divine consort, Sri Sarada Devi, ever-perfect souls such as Narendra and Rakhal, even M, the modern-day Vyasa, ready to take down his every word. And we can practise the same type of contemplation and meditation on Sri Ramakrishna’s divine play that the Vaishnavas do with regard to Sri Krishna.

Meditation Let us now turn to the practice of meditation and see how it applies to this idea of lila. Te main ele- ments of meditation as taught in the yoga tradition are well known to most of us. We try to withdraw the mind from contact with external objects by closing of the senses. Ten we attempt to focus the mind on a single point or object of meditation and try to keep the mind centred on that one point. When the mind begins to stray from that object, as it naturally does, we try to bring it back through the process of abhyasa yoga, repeated practice, until it becomes trained to remained fxed on the Chosen Ideal, the object of meditation.As an example of this one-pointedness (ekagra-ta), Sri Ramakrishna mentions Arjuna and his practice of archery. At the time of aiming at a bird, Dro- na asks Arjuna, ‘What do you see? Do you see these kings?’ ‘No, sir.’ ‘Do you see me?’ ‘No.’ ‘Te trees?’ ‘No.’ ‘Te bird on the tree?’ ‘No.’ ‘What then do you see?’ ‘Only the eye of the bird.’ But attaining this same kind of one-pointed-ness in meditation is far more difcult, especial- ly in the beginning. Te same Arjuna who was so adept at blocking out everything else and focus- ing wholly on his object when it came to archery, found the control of the mind to be as difcult as trying to control the wind—‘tasyāhaṁ nigrahaṁ manye vayor-iva suduṣkaram’ (Gita, 6.3 ). And in this regard, most of us are in the same boat. Te mind rebels, doesn’t like to remain quiet, likes to run around. And when it loses contact with its ob-ject, it may end up anywhere. So if our concentra-tion is only on the ‘eye of the bird’, there is every possibility that when the mind strays, it will lose not only the eye but the bird as well. And then our whole meditation is spoiled until we once more regain our focus. Tis is precisely why meditation on the divine play of an incarnation of God or a great saint can be of such beneft to us. It allows us to keep our focus on a single point just as in the yogic type of medi- tation, but that single point has many facets to it, like a gem. And when the mind wanders away from one facet, rather than getting lost altogether, it can So the tendency of the mind to wander no longer represents a liability for us, but becomes rather a positive aid in this kind of meditation. We allow one divine association to lead us to another, so that we remain within the circle of the divine presence, just as the tether of a cow allows it to graze within a certain area defned by the length of the rope. Suppose, for example, we want to meditate on the image of Sri Ramakrishna. As we enter into the chamber of the heart we fnd ourselves standing in Sri Ramakrishna’s room in Dakshineswar. We pic-ture him seated on the small cot next to the larger Rakhal, Latu, Baburam, M, and the others seated before him on the foor. We let our eyes wander across the room and see the holy pictures on the wall. And the image of Sri Ramakrishna awaking in the morning and saluting each of the pictures, clapping his hands and repeating the various names of God, fashes before our eyes. Or we hear Nar-endra singing in his beautiful voice, throwing Sri Ramakrishna into an ecstatic mood. He rises from his seat and begins to dance. Te devotees form a circle around him and also dance. Ten he becomes motionless in samadhi, Baburam quickly coming to his side to see that he does not fall. We let the mind wander to the northeast cor-ner of his room, where the large container of Gan- ges water sits, and we remember that blessed night of Phalaharini Kali Puja, when Sri Ramakrishna worshipped Sri Sarada Devi as Shodashi, and we watch spellbound as both the worshipper and the worshipped become lost in samadhi and pass the night in that state.The Human Lila: Child Ramakrishna with the women of Kamarpukurramakrishna ashrama, raJkot Or if the mind is not content to remain within the confnes of Sri Ramakrishna’s room, we can ac-company him to the Kali temple, and watch him sit before the image of Mother Kali, sing songs to her, wave the chamara before her, and enter into a state of divine inebriation. Or we can stroll to the north of Sri Ramakrishna’s room to the Nahabat,where Sri Sarada Devi is absorbed in the worship of Sri Ramakrishna, or standing behind the bamboo screen watching the divine scenes taking place in his room. Tere is no end to the diferent ways in which we can enjoy the divine sport and company of Sri Ramakrishna through the power of imagina-tion and the practice of lila dhyana. Advantages of Lila Dhyana Tere are several obvious advantages to this kind of meditation. For one thing, it allows us to transform the faculty of imagination from an obstacle in con-centration to an aid. Te very same tendency of the mind to wander which gets us into so much trou-ble in other types of meditation becomes a posi-tive help to us here. And by giving the imagination certain limits within which to work, we fnd that the mind does not wander to other things, such as job, relationships, family, or friends. A second advantage is that we can practise this type of medi-tation even if we lack the perfect control over the mind necessary in the path of raja yoga. We also fnd that this type of meditation counteracts some of the obstacles we ofen encounter in meditation,especially the feeling of boredom that may some-times come or the tendency of the mind to fall prey to drowsiness. One of the ironies of lila dhyana is that, though we may take up the practice because we feel unable to concentrate the mind in any one-pointed sense on our Chosen Ideal, we fnd that, through this practice, our ability to focus the mind actually in-creases and we eventually reach a point where the mind does get fxed on the object of meditation.When we feel the mind gathering itself together, we can simply imagine the kirtan coming to an end, Sri Ramakrishna being slowly helped back to his cot, and again going into a deep state of sama-dhi, just as we see him in his photograph. Ten we ourselves can resume our seat before him and sim-ply gaze at the blissful image of Sri Ramakrishna in ecstasy. And like Arjuna, we have entered the state of focusing only on the eye of the bird, not notic-ing the surroundings or anyone else in the room or even ourselves. Fruits of Lila Dhyana Te frst thing we notice afer practising this kind of meditation is that there is a great deal of joy in it. Tat is because we feel our Chosen Ideal to be alive and present before us, and ourselves seated there alongside of him. We have, in a sense, crossed time and space, and experience the joy of the direct pres-ence of our Chosen Ideal, all with the aid of the im-agination. Tis type of experience, though far from being any kind of spiritual experience, nevertheless has a great power to transform our way of thinking and feeling. Our connection and relationship with our Chosen Ideal becomes something concrete and tangible. We feel him or her to be our very own, in whatever relationship we cherish—as a friend, child, father, mother, or master—and our feeling of love and devotion grows in proportion as this feeling of closeness intensifes. Furthermore, because we identify with the imag-ined body of ourselves seated before the Chosen Ideal in the chamber of our heart, we fnd, at the close of our meditation, that we had unknowingly dis-identifed ourselves from the physical body of the waking state. So, one of the consequences of this kind of meditation is that our identifcation and at-tachment to the body is attenuated. We also realize that while we were dwelling in the presence of the Chosen Ideal at the time of meditation, in a com-pletely diferent realm of time and space, we had become oblivious to our own surroundings. We had, for a few precious moments, completely forgotten the world of our ordinary state of consciousness and had entered into the world of the divine play. From a philosophical point of view, we also come to realize that all of the elements of our meditation exist in the ethereal realm of pure consciousness and are composed of pure consciousness. Sri Ra-makrishna ofen used to speak of chinmaya shyama and chinmaya dhama, both the Lord and his abode being embodiments of pure consciousness. And it equally applies to the image of the Chosen Ideal in this kind of lila dhyana, as well as to the surround-ings—Sri amakrishna’s room at Dakshineswar, Sri Ramakrishna himself, and all of the devotees, including ourselves. We get a sense of the oneness of our Chosen Ideal with the infnite Brahman, a sense of the reality and limitless- ness of the inner world of our own consciousnessand a sense of the hazy, transitory nature of the external world. This type of meditation has a tremendous power to transform us in another way as well. Since we meditate not only on the image of our Chosen Ideal in lila dhyana, but also on the personality and qualities, a kind of transference takes place wherein we begin to take on the qualities of our Chosen Ideal. As we think of Sri Ramakrishna and picture him showering his love and afection on the devo tees, we cannot help but imbibe some of those same qualities of love. And as we picture him going into states of divine ecstasy and inebriation at the verymention of God, we cannot help but acquire a bi of longing for that same kind of God-realization. And fnally, there is a great deal of carry-over effect with this kind of meditation, so that a portionof the mind continues to dwell in the presence other Chosen Ideal at all times—at Dakshineswar with Sri Ramakrishna or perhaps with Sri SaradaDevi, the Holy Mother, at Jayrambati—and we feean unexpected bliss bubble up from time to time when these thoughts rise to the surface of the mind In this way a kind of natural and spontaneous recollection of our Chosen Ideal and the divine playgoes on in our minds at all times. And this brings uto the fnal component of this topic, lila chintanarefection on the divine sport of the Lord Lila Chintana Trough regular meditation a kind of natural remembrance and recollection of our Chosen Ideal takes place, which again is reinforced by further meditation. Tis is one of the greatest aids in spir- itual life. It is of such importance that both Sri Ra-makrishna and Holy Mother ofen said that it is enough if we can practise these two things, constant remembrance of and refection on God (smarana and manana). But it is equally true that our medi-tation depends on an active and intentional efort to remember our Chosen Ideal throughout the day. And one of the best ways to do this is to practice lila chintana, refection on the divine sport of the Lord. While there are many ways we can pursue this goal, there are two specifc aids that are especially help-ful: spiritual reading and pilgrimage. Many spiritual traditions have a specifc litera-ture dealing with the divine play of God. For Chris- tians it is the Bible, containing the tales and para-bles of Christ. For Vaishnavas it is the Bhagavata Purana and similar texts, flled with stories of the divine play of Sri Krishna. Followers of Sri Ramak- rishna and Sri Sarada Devi have the special beneft of accurately recorded conversations between them and their disciples and devotees. Te Gospel of Sri Ramakrishna, in particular, is a unique contribu-tion to the spiritual literature of the world, for we fnd not only Sri Ramakrishna’s words faithfully taken down by his beloved disciple Mahendranath Gupta, but also detailed descriptions of where he was sitting at the time, the direction he was facing, who was in his presence; each and every possible detail, including the phase of the moon. This type of literature calls for its own particu-lar kind of reading. Te Gospels of Sri Ramakrishna and the Holy Mother are meant for daily and re-peated reading, and we fnd that as we go on read- ing them, more and more light comes. While we are reading them, the mind can wander to the time and place of their origin and can picture the exact set-ting at the time. In this way our reading becomes an intense kind of contemplation bordering on medi-tation. We become flled with their spirit, infused with the joy that emanates from their words, and we feel the living presence of Sri Ramakrishna and the Holy Mother. In addition to a regular habit of daily reading, there is another technique that is very helpful for meditation. Tat is to read a particular passage, and use the incidents or teachings described there as the subject of our meditation. For example, we read of Sri Ramakrishna’s visit to Balaram Basu’s house dur-ing the Ratha Yatra festival and picture ourselves on the inner veranda with him as he pulls the chariot. Or we read of the Holy Mother sitting in the kitch-en in her home in Jayrambati, dressing vegetables and talking to her beloved young disciples from Koalpara, and imagine ourselves to be among them. Te result of both of these approaches to the litera-ture surrounding Sri Ramakrishna and Sri Sarada Devi is twofold: on the one hand we fnd that our minds easily fy to the presence of Sri Ramakrishna and Sri Sarada Devi in our meditation, and we feel ourselves seated before them; and on the other, we have the tangible experience of the reality of the divine lila at all times and feel that we can experi-ence the joy of sitting in their presence at any time through the practice of contemplation. The second great aid to refection on the divine lila is to actually go and visit the places associated with the earthly play of a divine incarnation. And it is important not only to visit these sacred places— Dakshineswar, Kamarpukur, Kashipur, Jayrambati, and Baghbazar, among others—but to breathe in the spiritual atmosphere, to contemplate the divine play that took place there, to picture the events that occurred and all the actors in that divine drama who played their diferent parts. Te more we can burn the images of these holy places in our hearts and minds, the easier it will be to return to them in our meditation and contemplation. This type of meditation and refection on the divine play of the Lord may not be everyone’s cup of tea. Some may prefer a more impersonal and philosophical kind of practice. But if we feel drawn to this kind of spiritual discipline and can practise it with great devotion and faith, a special kind of joy will come to us and we will feel that a new and precious dimension has been added to our spiritual life.