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Sharanagati

Collected words from talks of Swami Tirtha




RKDance

(continues from the previous Monday)

 

 

Daoism speaks in symbols. Oriental, no doubt – but only symbols. The first verse of “Tao te ching” is: “The dao is what you cannot describe; if something can be described, this is not the dao.” It’s just like a puzzle, like a riddle. What does it mean? All right, visually they describe it better, because they use the yin and yang – there is the unity; and the diversity. And one contains a little part of the other, because in the black field there is a white drop and in the white field there is a black drop. A little dry. Tells the story, but a little dry.

Let’s cross the Himalayas in the southern direction. They also use symbols to describe the same truth – the unity and the diversity principle – but here it is so poetic! They say that the black God and the white Goddess meet. So these are not only some little painted surfaces, revolving around each-other. But this is like a dance, like a romance, like movement – this is beautiful! It is more beautiful; the other one is also beautiful, no doubt. But this is more beautiful, more emotions are also added.

But do we understand the meaning? Hardly ever. Yet, if you examine yin-yang, if we return one step for a moment – you know it is a circle and what is the shape of the division between the two fields? It’s an S, right? Going like in a curve. In the western aesthetics the S is called ‘the line of beauty’. You see, the demarcation line between the two fields is the line of beauty. Wherever you see this design, it’s interpreted in the west as the line of beauty. Yet ‘line of beauty’ is again a theoretical point of aesthetics. But have you seen the form of Krishna? He is standing in this form. This is the threefold-bending form – Tribanga, bending at three places – this is the S.

So, it’s very hidden there in Daoism, in the symbol of dao, yin-yang. It is very theoretically explained in the western aesthetics. While if you identify the source of all the knowledge of the west and all the symbolism of the north, you will find the person behind, the personal God. Krishna plays His flute in this beautifully bending form.

And whenever we read, or we hear, or we remember these beautiful stories of Him and His partners – meeting or separating – this is repeated. But it is explained in such a poetic way that is surcharged with a personal touch, surcharged with emotions. And this is an effective way, a very touching way to explain the things to human beings. Because we feel the happiness of meeting and we feel the pain of separation. So if the divine truth shows its faces using our language, so to say, then we shall understand what’s going on.

(to be continued)



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