You all know the meaning of nandana vijiṋána. It implies getting joy and also giving joy to others. We should analyse the psychology operating behind aesthetic science, because when we see that Párthasárathi was totally engaged in a ceaseless fight against crime and injustice, we have to wonder, what scope was there in Him for aesthetic science? To understand, we must look into the psychology behind the cult of aesthetics. The human mind is progressively unfolding according to its inherent propensities. When it finds something that produces anukúlavedaniiyam [congenial mental feelings], it is called sukha [happiness], and when pratikúlavedaniiyam [uncongenial mental feelings], it is called duhkha [sorrow]. The human mind moves in a particular flow according to its inherent saḿskáras. If it finds congenial vibrations in all directions, vibrations with greater wavelengths than its own, then its own mental vibrations of lesser wavelength become straightened, attaining greater wavelengths. This is anukúlavedaniiyam, and the vedaná (in Bengali vedaná means “pain”, but in Sanskrit it means anubhúti [feeling]) that arises in an environment of longer waves is termed sukha; where the vedaná is uncongenial, it is known as klesha [affliction] or duhkha. The wavelengths of uncongenial vibrations are shorter than those of the congenial vibrations. Aesthetic science implies that psychic waves coming in contact with vibrations of greater frequency attain a greater wavelength, and we may say, Anukúlavedaniiyaḿ sukham [“A congenial mental feeling is called happiness”]. If the reverse occurs, we say, Pratikúlavedaniiyaḿ duhkham [“An uncongenial mental feeling is called sorrow”]. In aesthetic science there is no scope for sorrow; and when the vibrations of happiness become straightened, it leads to ánandam; happiness is transformed into bliss. When this undulating movement is directed towards ánandam and the waves get straightened, it falls within the scope and jurisdiction of aesthetic science. When the waves become totally free from curvature, when they become fully and finally straightened, this falls within the scope of mohana vijiṋána [supra-aesthetic science]. One attains the state of ánandam, the highest state of human existence. What was the role of Párthasárathi? He fought and fought relentlessly against wrongdoing and injustice, so that jiivas might enjoy happiness. Criminals and wicked persons, by their evil acts, were adding to the sorrows and miseries of the people, adding to their pratikúlavedaniiyam. Thus it is clear that Párthasárathi, through His noble deeds, increased the anukúlavedaniiyam of the jiivas. Párthasárathi annihilated the wicked and sinful persons and thus rid society of antisocial elements. When, consequently, jiivas came in touch with vibrations of greater wavelength, they obviously found it easier to move towards ánandam. They were inspired to move in their natural flow of life. Just as Vrajagopála attracted microcosms towards ánandam through the medium of sound, touch, taste, smell and form, through His graceful dances and the sweet melodies of His flute, likewise, Párthasárathi attracted them towards the beauty and joy of collective life by giving them a foretaste of what it would be like. Judged from the aesthetic standpoint, what Vrajagopála was able to do in one way, Párthasárathi performed in a different way. In fact, Párthasárathi should be considered the propounder of aesthetic science, for the essential theme of this aesthetic science found its consummation in the life and action of Párthasárathi.

Vrajagopála and Párthasárathi both fall within the scope of aesthetic science. Vrajagopála represents all that is soft and sweet, tender and delicate in the universe. He is the living embodiment of an infinite softness, a divine sweetness. Vrajagopála’s sweetness manifests itself in a very tender and delicate manner. Vrajagopála readily appeals to the human mind and sensibilities, whereas Párthasárathi represents the entire sentimentality of the universe through the expression of His Cosmic energy or ojas [psychic lustre]. What Vrajagopála has accomplished through His characteristic softness, Párthasárathi has done through the radiation of His Cosmic energy. A vast quantity of Cosmic energy descended from the Cosmic hub and was diffused throughout all particles of the universe.

It radiated in all directions, promoting the all-round well-being of humanity. This, in short, is my Párthasárathi.

Vrajagopála and Párthasárathi have equal importance in this aesthetic science. The advent of Párthasárathi was no ordinary physical phenomenon. This advent was a descent from the vibhu shakti [Macrocosmic energy] of the Supreme Entity. The Cosmic energy of Párthasárathi descended from that point which is the supreme source of all Cosmic vibrations. It inundated the entire universe and continues to do so today. Thus:

Dyotate kriid́ate yasmádudyate dyotate divi;
Tasmát deva iti proktah stúyate sarvadevataeh.

[The vibrational manifestations emanating from the Supreme Nucleus are known as devatás, and these devatás address that Supreme Nucleus as Deva. He with His powers vibrates the entire universe, makes the entire universe dance; and He by dint of His occult and supra-occult powers brings everything back onto His lap.]

Párthasárathi’s sweetness is the sweetness of unlimited energy, the sweetness of the lofty Himalayas, the sweetness of thundering clouds. His sweetness spreads throughout collective life. Vrajagopála belongs to individuals as much as to the collective body. Párthasárathi likewise belongs as much to individuals as to the collective body, but the basic difference is that Párthasárathi paid more attention to the collective interest. Parama Puruśa remains associated with His creation through ota yoga and prota yoga. He is connected with each individual separately through His ota yoga, and with all collectively through His prota yoga. Vraja Krśńa is more inclined towards ota yoga than prota yoga, while Párthasárathi Krśńa is more inclined towards prota yoga than ota yoga. For Párthasárathi says, “If I can promote the welfare of the collective body, then the individual interest will also be served, for individuals are included in the collective body.” For example, if I supply an entire country with food, then there remains no need to supply each individual separately, because they are all included in the total population of the country. Due to this sweetness coming from Párthasárathi, jiivas derive collective joy through aesthetic science more from Párthasárathi, whereas they derive individual joy through aesthetic science more from Vrajagopála.

Six Spokes of the Social Cycle

It would be good to mention one point here: that a comprehensive heroic advent of Parama Puruśa in the form of Táraka Brahma took place in Lord Shiva. But the six factors which guide society, which make it vibrate in bliss and dance in bliss when its different entities realize the fullness of existence in every fibre of their existence, are the śad́aráh samája cakra [six spokes of the social cycle]. [The six are: spiritual practice, spiritual ideology, social outlook, socio-economic theory, scripture and preceptor.]

In Lord Shiva all six factors were brightly conspicuous. That was surely the case with Lord Krśńa also. That is why they were considered Táraka Brahma, they were considered Mahásambhúti. But of these factors, which do we find most clearly manifest in Shiva? Shiva gave a systematic shástra [scripture], and thereby thrust humanity one step forward on the path to aesthetic science. Where there is a well-codified and systematic scripture, the people are able to derive joy at every step by adhering to its precepts. For instance, suppose I move my hands at random or move my legs and head without any rhyme or reason. Clearly, this cannot be called dance. At best we can call it folk dance, but never classical dance, for in classical dance there are specific rules, special mudrás [gestures], and certain rhythms. Hence there is an ineluctable need for shástra. One can derive ánandam only when one strictly adheres to those prescribed rules. Simple random movement of the arms and legs is not dance. Likewise, sádhaná and bhajana [devotional songs] also presuppose certain systematic injunctions. Otherwise, they may prove harmful. Society needs such scripture in every sphere of life.

Shásanát tárayet yastu sah shástrah parikiirtitah [“That which liberates through discipline is called shástra, scripture”]. “Do this. Don’t do that. This is good. That is bad” – that which teaches these dos and don’ts is known as shástra. Etymologically, the word shástra is derived from the root verb shás plus trae plus d́a. What we notice most prominently in Shiva is that He introduced the kind of scripture that provided the impetus to move people along the path of aesthetic science, and thus did enormous good to humanity.

But this was not all. He also taught the cult of aesthetics. “Cult” means the practical processes. For example, He first explained to Maharshi Bharata the theoretical aspects of dance, and then proceeded to teach the practical aspects. He taught him how to dance systematically. For example, one should dance dhin in this way, dhae in that way and tá⁽¹⁾ in still another way. That is, He taught both the theoretical and practical sides. If the theoretical side advanced the cause of aesthetic science one hundred per cent, the knowledge of the practical aspects advanced the cause five hundred per cent. He taught both.

Along with this, He fulfilled one more condition of the śad́aráh samája cakra – “preceptor”. As the original preceptor, He took on the entire responsibility of teaching the different branches of science. He said, “Well, I will teach these sciences. They may praise Me or blame Me as they like, it will in no way affect Me.” He moved ahead in His own characteristic style in order to strengthen the six essential factors, and thereby advance the cause of the aesthetic science both directly and indirectly.

Lord Krśńa, in His time, created a great social consciousness. He told the people: “You are social beings. One cannot live in isolation. When you feel thirsty, you can’t manufacture a spade, dig a well, and draw water yourself. One person will make a spade, another will add the wooden handle, and another will dig the well – this is how we work collectively. This is the way for human beings to live. In all spheres of human existence, in the aesthetic sphere as well, humanity should live collectively. You should live in unison. You should vibrate together to the same music. You should move in a common psychic flow. You should fight collectively against your common enemies. Unitedly you should face all problems, mundane and supra-mundane. In a word, you must reflect the spirit of harmonious collective living in conformity with the spirit of the Vedic mantra Saḿgacchadhvaḿ saḿvadadhvam.”⁽²⁾

In order to achieve these ends, what did Párthasárathi do? Those who stand against the natural movement of human life, those who impede the natural growth of human beings, should be uncompromisingly annihilated. Their annihilation is good both for themselves and for society. After their annihilation they will get new scope to live and develop in a different environment; and the rest of society, released from their clutches, will breathe a sigh of relief. The greatest contribution of Lord Krśńa was the arousal of social consciousness, and this social consciousness, instead of restricting aesthetic science to a few individuals, facilitated its dissemination among the people at large. Not only did He play His music alone, He inspired others to play along with Him. Vraja Krśńa was able to fulfil His mission by playing His flute. Párthasárathi’s stringing of the bow added a new chapter in Krśńa’s struggle against evil and injustice. This new dimension not only sweetened aesthetic science, it expanded its scope also. There is joy indeed in launching a struggle against injustice, and that joy is part and parcel of aesthetic science.

We notice that whenever people stand before a towering personality they become overwhelmed, awestruck. But the greatness of Párthasárathi is beyond all measure. His greatness is full of sweetness from beginning to end. Furthermore, that sweetness was born out of soft sentimentality. That I will bring relief to all – this very thought is something very noble, very sweet. For this very reason He brought social consciousness to people at large. Without arousing social consciousness, it is next to impossible to bring about social welfare. It may not be possible to bring about social welfare through constructive programmes and through the struggle against injustice alone; social consciousness is indispensable for the permanent existence of aesthetic science. When people contemplate the great Párthasárathi, their shorter thought-waves, which depend upon crude objects such as name, fame, money, etc., attain a longer wavelength, become straightened, due to the process of Cosmic ideation. This vast Entity is infinite and integral, and the insignificant unit entities remain in bondage due to their obsession with meaningless thoughts of mundane objects such as name, fame, wealth, etc. Those things are mere ripples in the ocean of the Cosmic Entity. When those insignificant entities come in contact with the Great, they no longer remain insignificant, but become great themselves. This very urge to attain the Great frees the mind from the bondage of relativity. No matter what stratum of life you find yourself in, if you love the Great, if you try to move towards That, your insignificance will expand into greatness. If, on the other hand, you adopt the reverse approach; if, that is, you say, “I am so insignificant. Let me first remove my smallness, then I will proceed towards the Great,” this is a huge psychological blunder. In the correct approach, one does not think at all whether one is big or small. One only thinks, “I must love that great Parama Puruśa.” The moment you think this way, the narrowness of your mind will vanish and yield to greatness. This is the proper psychological approach.

There are people who come to me and say, “I am a great sinner, I am a hopeless sinner.” I feel unhappy and gently rebuke them. I tell them “Look here, if you continue to think that you are a sinner, that very thought will make you a confirmed sinner.” I cannot support this. It is defective. Rather you should go to the temple and say “O Parama Puruśa, I love You. I want to move towards You. I want to be one with You.” If someone thinks that he or she is a sinner, then that person’s mind is diverted from Parama Puruśa towards His own ego. So it follows that if one thinks of the great Párthasárathi, one becomes great like Him, for Brahmavid Brahmaeva bhavati – “One who thinks of Parama Puruśa becomes Parama Puruśa.” In this process of mental expansion due to constant ideation on Párthasárathi, the psychic waves attain a greater wavelength, that is, one is following the path of aesthetic science. He or she begins to love every expression of Parama Puruśa. He or she says:

Minati carańa pare bhakti miláo bandhu,
Niti niti nava anuráge.

“O Parama Puruśa, grant me devotion – that devotion which will enable me to love you every moment in newer and still newer ways. For you are endless and your expressions are also endless. If I learn how to love You, I will be able to love You in endless ways. My life will become effervescent with the sweet rhythms of the infinite. My life will attain its highest fulfilment.”

This very urge on the part of jiivas to become one with the Cosmos is what is called mysticism. Mysticism is a never-ending endeavour to find a link between the finite and the Infinite. Human endeavour is limitless, endless, so it follows that when people think of Párthasárathi and His infinite, endless qualities, they become lost. He is the most precious treasure of aesthetic science. The moment one thinks of His excellence, the moment one thinks of the sweetness of His divine existence, one becomes totally lost.

Tomár rúpe mugdha ámi, mugdha tomár guńe
Párghát́áte base áchi tomár nám shuńe.

[I am awestruck at Your wondrous beauty. I am awestruck before Your matchless qualities. I am waiting for You on the shore of life, waiting to be ferried across.]

At that moment the devotee likes to hear His name alone, to think of Him alone. It shows that Párthasárathi Himself has developed the science of aesthetics. What can we say of Párthasárathi in the light of aesthetic science, for He is its creator. Krśńa is the final destination of all human beings. All are advancing towards Him, and, while advancing towards Him, they establish some sort of relationship with Him. That relationship is internal. It is purely personal. One may love Him as a mother loves her son, a wife her husband, a servant his master or as friends love one another. This relationship exists with both Vrajagopála and Párthasárathi, but since Párthasárathi is such an overpowering personality, usually people establish one of three types of relationship with Him: that of a wife, a servant or a friend. I have already told you that Arjuna was a friend of Krśńa – sakhya bháva. The interesting thing, though, is that this friendly relationship cannot endure till the end. Either it is converted into dásya bháva [the feeling of being a servant], or madhura bháva [the feeling of being a lover]. That very outlook that is instrumental in determining a particular type of relationship with Parama Puruśa, depending upon one’s inherent saḿskáras, is called mysticism. As I have already explained, mysticism is a never-ending endeavour to find a link between finite and Infinite. Párthasárathi made it crystal-clear:

Ye yathá máḿ prapadyante táḿstathaeva bhajámyaham,
Mama vartmánuvartante manuśyáh pártha sarvashah.⁽³⁾

“I appear before a person according to his or her desires. His or her whole being will be filled with My being. All the jiivas of this universe are rushing towards Me, knowingly or unknowingly.” This is the final secret of the universe.

Footnotes

(1) “The heel of the foot is related to the sound tá, the ball of the foot to the sound dhin, and the toes to the sound dhae.” (Shrii Shrii Ánandamúrti, “Táńd́ava, Shástra and the Teachings of Shiva” in Discourses on Tantra Vol. 2, 1994.) –Eds.

(2) The mantra in full:

Saḿgacchadhvaḿ saḿvadadhvaḿ saḿ vo manáḿsi jánatám,
Devábhágaḿ yathápúrve saḿjánáná upásate.
Samánii va ákútih samáná hrdayánivah,
Samánamastu vo mano yathá vah susahásati.

(Let us move together, let us radiate the same thought-wave, let us come to know our minds together,
Let us share our wealth without differentiation, like sages of the past, so that all may enjoy the universe.
Let our aspirations be united, let our hearts be inseparable,
Let our minds be as one mind, so that we live in harmony and become one with the Supreme.)

–Eds.

(3) Bhagavad Giitá. –Eds.