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Astavakragita is a unique text among the world's contemplative classics dealing systematically with the mystical experiences of the Self on its way to transcendence, peace and bliss. There are few ancient treatises in East or West which evince such profound and lively concern with the Supreme Self as the ultimate reality, embo-died in mystical insight and experience, and written with such spiritual imagination and poetic fervour. This book presents in twenty chapters the substance of Astavakra's teaching in respect to the Cosmic Self in the form of his dialogue with Janaka, the seer-king of Videha. The teaching is based on the Upanisadic creed of absolute monism (advaitavada) that identifies the Self with the nondual Ultimate Reality. But the contribution of Astavakra is also immense, for he has introduced the element of emotional experience or the mystical feeling as the means for realizing the non-dual nature of the Self. Written in a lucid style and dealing systematically with the subject matter, the book holds a unique position among the contemplative classics of the world.
This is a work of poetic reflections, on the world, Self, and Reality. In short, these are mystical poems. They are offered to all people, irrespective of their race, caste, creed, color, and gender, thereby hoping to persuade all people to engage in the quest for self-knowledge and hence of ultimate reality. The main goal and purpose of these poems is to enable every reader to attain transcendence. Even if this work is moderately successful in this endeavor, the author will have been more than rewarded. The author greatly appreciates all the scientists, philosophers, and religious thinkers, who so generously gave their time and talent to read these poems and give their most valuable suggestions and reflections. These are not ordinary poems, but those requiring deep thought and introspection. All people who are in quest of their true Self will find these poems most rewarding. The author is most grateful to Professor Arthur Herman, a great Sanskritist and Indic thinker, for deeming this work worthy of his Foreword.
This contemporary companion to the Bhagavad Gita addresses the heart of human yearning. T offers the possibility of transforming the battle of life into a path to Truth, a living process. Each chapter presents a road toward our inner, universal Self, bringing a deeper and wider perspective along the way. A psychological orientation invites the reader to move from abstract idea to individual insight. As the book proceeds, the relationship between the personal and the eternal gradually unfolds in an ever-expanding process of self-discovery. Quotes from the great teachers are included in the text to inspire, uplift and help us cross over the sea of illusion.
Viewing stories and novels from an ethnographic perspective, Eduardo González here explores the relationship between myth, ritual, and death in writings by Borges, Vargas Llosa, Cortázar, and Roa Bastos. He then weaves this analysis into a larger cultural fabric composed of the works of Chaucer, Shakespeare, Joyce, Benjamin, H. G. Wells, Kafka, Poe, and others. What interests González is the signature of authorial selfhood in narrative and performance, which he finds willfully and temptingly disfigured in the works he examines: horrific and erotic, subservient and tyrannical, charismatic and repellent. Searching out the personal image and plot, González uncovers two fundamental types of narrative: one that strips character of moral choice; and another in which characters' choices deprive them of personal autonomy and hold them in ritual bondage to a group. Thus The Monstered Self becomes a study of the conflict between individual autonomy and the stereotypes of solidarity. Written in a characteristically allusive, elliptical style, and drawing on psychoanalysis, religion, mythology, and comparative literature, The Monstered Self is in itself a remarkable performance, one that will engage readers in anthropology, psychology, and cultural history as well as those specifically interested in Latin American narrative.
Wisdom was in abundance in the ancient societies of Greece and India, but today it seems to be in short supply. Why is that? Where did wisdom go? This book was written to help us rediscover that lost wisdom and to incorporate the concepts of the sages and the mystics into our lives. The next parts are some of the new manuscripts I have included which talk about some of the differences between eastern and western religious thought and the ideas of the Islamic mystics, in which their thoughts and ideas could help us all solve our problems with radical Islamic ideology.
Award-winning singer Ian Bostridge examines iconic works of Western classical music to reflect on the relationship between performer and audience. Like so many performers, renowned tenor Ian Bostridge spent much of 2020 and 2021 unable to take part in live music. The enforced silence of the pandemic led him to question an identity that was previously defined by communicating directly with audiences in opera houses and concert halls. It also allowed him to delve deeper into many of the classical works he has encountered over the course of his career, such as Claudio Monteverdi’s seventeenth-century masterpiece Il Combattimento di Tancredi e Clorinda and Robert Schumann’s popular song cycle Frauenliebe und Leben. In lucid and compelling prose, Bostridge explores the ways Monteverdi, Schumann, and Britten employed and disrupted gender roles in their music; questions colonial power and hierarchy in Ravel’s Songs of Madagascar; and surveys Britten’s reckoning with death in works from the War Requiem to his final opera, Death in Venice. As a performer reconciling his own identity and that of the musical text he delivers on stage, Bostridge unravels the complex history of each piece of music, showing how today’s performers can embody that complexity for their audiences. As readers become privy to Bostridge’s unique lines of inquiry, they are also primed for the searching intensity of his interpretations, in which the uncanny melding of song and self brings about moments of epiphany for both the singer and his audience.
There are few creative acts more mysterious and magical than writing a song. But what if the goal wasn't so mysterious and was actually achievable for anyone who wants to experience more magic and creativity in their life? That's something that anyone will be inspired to do after reading Jeff Tweedy's How to Write One Song. Why one song? Because the difference between one song and many songs isn't a cute semantic trick—it's an important distinction that can simplify a notoriously confusing art form. The idea of becoming a capital-S songwriter can seem daunting, but approached as a focused, self-contained event, the mystery and fear subsides, and songwriting becomes an exciting pursuit. And then there is the energizing, nourishing creativity that can open up. How to Write One Song brings readers into the intimate process of writing one song—lyrics, music, and putting it all together—and accesses the deep sense of wonder that remains at the heart of this curious, yet incredibly fulfilling, artistic act. But it’s equally about the importance of making creativity part of your life every day, and of experiencing the hope, inspiration, and joy available to anyone who’s willing to get started.
This book provides a translation, with introduction, commentary, and annotation, of the medieval Hindu Sanskrit text the Devi Gita (Song of the Goddess). It is an important but not well-known text from the rich SAakta (Goddess) tradition of India. The Devi Gita was composed about the fifteenth century C.E., in partial imitation of the famous Bhagavad Gita (Song of the Lord), composed some fifteen centuries earlier. Around the sixth century C.E., following the rise of several male deities to prominence, a new theistic movement began in which the supreme being was envisioned as female, known as the Great Goddess (Maha-Devi). Appearing first as a violent and blood-loving deity, this Goddess gradually evolved into a more benign figure, a compassionate World-Mother and bestower of salvific wisdom. It is in this beneficent mode that the Goddess appears in the Devi Gita. This work makes available an up-to-date translation of the Devi Gita, along with a historical and theological analysis of the text. The book is divided into sections of verses, and each section is followed by a comment explaining key terms, concepts, ritual procedures, and mythic themes. The comments also offer comparisons with related schools of thought, indicate parallel texts and textual sources of verses in the Devi Gita, and briefly elucidate the historical and religious background, supplementing the remarks of the introduction.