Baba
Purport vs trans
Namaskar,
One of Baba's greatest gifts upon humanity is His treasure of Prabhat Samgiita. These divine compositions help the sadhaka develop a more personal link with Parama Purusa. In the sphere of bhakti, these songs are unparalleled. In the literary realm also, Prabhat Samgiita towers above. These compositions are filled with sublime metaphors, similes, and hidden meanings. Merely knowing the language is not sufficient for understanding the song. That is why Baba has graciously put forth the system of creating purports for Prabhat Samgiita. By this way, all can experience the world of Prabhat Samgiita - otherwise, it is not easy to comprehend the great significance of Baba's divine compositions.
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Baba accepted short & long purports
Many are aware how during DMC, Prabhat Samgiita purports were given in front of Baba in three languages: English, Hindi, and Bengali. Three designated persons would each stand in front of the audience and read their purport, and Baba would make corrections / additions accordingly. And it was also seen that each of the three purports were along a similar theme.
Here the point is that each purport writer chose to write shorter or longer as the three explanations were not identical in length. Often we saw how the Bangla purport writer used to make a purport many times the length of the English purport. This demonstrates how some purport writers like to express the unspoken meaning and explicitly present that which is hidden in Prabhat Samgiita.
Yet Baba usually accepted all three purports, despite the fact that they varied greatly in length. The Hindi and English purports were often very simple and short – so Baba would interject and elaborate upon the explanation. He did this more with Hindi and English Prabhat Samgiita purports than with the other languages. All along though, each of the purports offered a unique perspective on the song.
So if 5 people write a purport of the same song, those purports will naturally vary in length. They will not be identical to one another. But the main theme will be the same. The main objective is how to best explain the poem properly. That is the goal. Writing a literal “purport” will not serve the purpose – readers will not understand the hidden idea of the poem / song.
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Baba’s joke: not just Bangla “a’che” to Hindi “hai”
One very important element is that translations are different from purports. In a translation, one is merely switching the word of one language with the word of another language. That approach does not shed any greater insight on the meaning of the song.
That is why at DMC 01 Jan '83 when Ac Cidghanananda ji was reading his Hindi purport of Prabhat Samgiita in front of all, then Baba interrupted and scolded him for only making a translation, not a purport. Baba explained that merely changing "a'che" to "hai" - i.e. translating the verb "is" in Bangla to the verb "is" in Hindi - cannot be considered as a purport. The audience laughed hearing Baba's joke. The point being that a purport should be a meaningful explanation of the song's essence. But Dadaji was just making his own literal translation.
Baba's guideline is that a purport must shed light on the inner spirit and hidden meaning of the composition. Because Prabhat Samgiita songs themselves are very concentrated and need explanation - it is not merely a language issue. The proof is that many of the Prabhat Samgiita compositions were given in Bengali yet still Baba insisted that purports be given in the Bengali language as well. And often, those purports were the longest and most poetic, explaining all aspects of the song in a lucid and intimate manner. So, literal translations alone are not enough. Baba wants Prabhat Samgiita purports made that reflect the inner meaning of the song.
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Key points: purport for Prabhat Samgiita
1. Prabhat Samgiita is a poem where the writer Lord Shrii Shrii Anandamurti ji has allowed His expression to be limited by using certain words according to music, rhyme, and melody etc. The lyrics / poem itself is very brief and limited by its very context.
2. Thus when making a purport, one must not be too literal otherwise that will ruin the idea that the writer wants to convey.
3. The writer Lord Shrii Shrii Anandamurti ji is conveying an idea in a very concentrated form via one poem. You can think of it like one big tree that takes shape from a tiny seed. The seed has everything but in an extremely concentrated form. The same is the case with Prabhat Samgiita: It is a seed-like poem of Ananda Marga spiritual cum ideological teachings.
4. So the duty of the purport writer is to explain those concentrated ideas and seed thoughts that are hidden in that stanza - a purport writer has more freedom than someone doing a translation. The length of the purport could be double or triple the size of the song. Yet, it must strike the right balance: not too contrite nor too verbose.
5. One key aspect is that any expansion of an idea given in the purport must be wholly consistent with the inner flow of the song as well as with the philosophical fundamentals of Ananda Marga ideology. The purport writer is not simply one person’s limited thoughts. Thus, the purport writer must have in-depth knowledge of the Ananda Marga cult of bhakti and ideology.
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Conclusion
When creating purports for Prabhat Samgiita, the aim is to paint a colourful picture of the overall meaning and spirit of a particular song. If the purport achieves that for the reader, then that purport is proper.
In Him,
Kanan
At the DMC of 01 Jan '83 when Ac Cidghanananda ji was reading his Hindi purport of Prabhat Samgiita in front of all, then Baba interrupted and scolded him for only making a translation, not a purport. Baba explained that merely changing "a'che" to "hai" - i.e. translating the verb "is" in Bangla to the verb "is" in Hindi - cannot be considered as a purport. The audience laughed hearing Baba's joke. The point being that a purport should be a meaningful explanation of the song's essence. But Dadaji was just making his own literal translation.
Note: Of the grand scope of Baba’s philosophical and ideological teachings, there are three arenas which Baba identified as needing purports: Prabhat Samgiita, Ananda Sutram, and Ananda Vanii.
Baba’s way of writing a purport
When Baba delivered Ananda Sutram then He gave a purport for each sutra as well. In the case of Prabhat Samgiita, Baba has primarily allotted the task of making purports to His disciples. However, to set an example, at the outset Baba selected certain people to make Prabhat Samgiita purports, and then Baba was constantly correcting them when they erred. By this way, Baba was teaching us how to make purports for His Prabhat Samgiita compositions.
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The central idea is that Prabhat Samgiita is a concentrated and poetic form of the entirety of Ananda Marga philosophy. And Ananda Sutram is an even more concentrated teaching of Ananda Marga philosophy as it is in sutra form. In both instances, purports are needed to explain the hidden meaning of the song or the sutra. Here is an example of how an extended purport is needed to explain a 4-word sutra. Prabhat Samgiita purports should be done in a similar manner. The ideal purport will reveal and unknot the hidden meaning that the Poet wishes to convey. See here below how Baba wrote the purport for Ananda Sutram sutra 1-2.
1-2. Shaktih Sá Shivasya Shaktih.
[Shakti (the Operative Principle) is the shakti (force) of Shiva.]
Purport: Every object has a material cause and an efficient cause. Over and above these there is also a conjunctive agency linking the upádána kárańa [material cause] with the nimitta kárańa [efficient or instrumental cause]. The determination of the firmness or laxity of the relation of the material cause with the efficient cause depends on the degree of conjunctive functions. In the process of creation, Puruśa is the material factor, and Prakrti is the linking force consummating the relation between the material and the efficient causes. As the efficient cause, Puruśa is the primary factor, and Prakrti is the secondary one. Puruśa is the all-pervading entity, and so no one else except Him can be the material cause. Prakrti, not being all-pervading, is sheltered in Puruśa. In the body of Puruśa, Prakrti can only work as much as She is given opportunity to by Puruśa. And so, in the science of creation, Puruśa alone as the doer entity is the chief efficient or instrumental cause; and since Prakrti has been posing as the doer with the authority given to Her by Puruśa, She is the subordinate efficient cause. The distortions or expressions which are taking place in the material cause through the efficient cause and which we call worldly manifestations, are effected by the three guńas [attributes or binding principles: sattva, rajah and tamah] of Prakrti. This accounts for Prakrti being the linking force between the efficient cause and the material cause. So the firmness or feebleness of the object-body fully depends upon the degree of the influence of Prakrti. The role of Puruśa is foremost in all the spheres. Prakrti only acts to whatever extent Puruśa has authorized or authorizes Her to act. In the process of evolution, Puruśa gives Prakrti the authority to work, and She goes on working. The subtle Puruśa goes on attaining crudity gradually due to the bondage of the three guńas of Prakrti. In the ultimate state of His crudity, Puruśa slowly and gradually keeps shrivelling up the opportunity and liberty of Prakrti previously given to Her, and thus the crudified Puruśa, gradually regaining His subtlety, returns to His own ultimate characteristic state. The flow of manifestations of the Puruśadeha [Cognitive Body] under the binding influence of Prakrti is what we call saiṋcara [extroversion from the subtle to the crude], while the gradual process of liberation that results in the Puruśadeha due to progressive looseness of the bondage is what we call pratisaiṋcara [introversion from the crude to the subtle]. It is now abundantly clear that even though Prakrti is free to make honest use of Her acquired power, the attainment or non-attainment of this power depends on Puruśa, or Citishakti [Cognitive Principle], and so we have to say, Prakrti is but the characteristic of Puruśa Himself – Shaktih Sá Shivasya Shaktih.
By Baba’s above example it is clear that Baba did not merely translate the Sanskrit sutra. Rather, in His purport, He explains all the hidden meanings of that particular sutra, and presents that within the greater context and landscape of Ananda Marga ideology. By this way, the reader can gain an understanding of the meaning of that sutra.
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The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
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The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
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== Section 2: Important Teaching ==
Not real, just mythology
Ananda Marga philosophy states, “Many of you are aware of the fact that Ramchandra was not an historical figure, but a fictional one: he was an imaginary character to represent an ideal king. Maharśi Valmiki was the first person to give proper expression to that character. But the poet Tulsidas tried still harder, in the Mughal period, not very long ago, to accomplish this through the Rámacaritamánasa, written in the Avadhii language. The Rámacaritamánasa is not the complete Rámáyańa. Tulsidas described the character of Rama as he thought Rama should be; he delineated the character of Rama as he conceived of Rama in his own mind. Tulsidas was a truthful person. He did not name his book the Tulasiidásii Rámáyańa, he named it Rámacaritamánasa [“The Life of Rama As Conceived by Tulsidas”].” (1)
Reference
1. Namah Shivaya Shantaya - All Bask in the Glory of Shiva – 1 (Discourse 6)
== Section: Important Teaching ==
Secret to samadhi
Ananda Marga philosophy states, “As a result of sádhaná all three organs, i.e., motor, sensory and práńa, gradually attain composure. When all the organs attain steadiness and composure and are absorbed in the bearing of the Supreme Being, we call it the state of samádhi or trance or absorption. Without this attainment of steadiness samádhi is impossible, for without steadiness meditation (dhyána) is not possible and without meditation samádhi is not possible. The practice of meditation is nothing but the proper control over the mind-like rein with the help of a super-knowing charioteer. In the human body there are approximately fifty vrttis or propensities of minds. The degree of intensity of these fifty vrttis depends upon the different glandular secretions of the body. Thus proper functioning of the mind depends upon the different glandular secretions of the body, upon the afferent power of the nerve-fibres and upon the capacity of the nerve cells to vibrate thought. In other words, with the acceptance or rejection of any of the sentiments, both the human body and mind are influenced.” (1)
Reference
1. Ananda Marga Philosophy in a Nutshell - 5, The Chariot and the Charioteer
== Section: Important Teaching ==
Highly unique opportunity
Namaskar
Ananda Marga ideology states, "Even after getting human life, only a few get the opportunity to listen to dharmika discourses. Among those, only a few develop the desire to practise dharma sádhaná. And even among these, only a few actually grasp the spirit of Sádhaná. Those rare ones who understand, perform sádhaná, and reach the goal are truly blessed." (1)
In the above teaching Baba is expressing how each and every Ananda Margii is extraordinary as they have already crossed so many hoops and became an Ananda Margii. And there are a few more hoops to go. So one should always be alert not to get stuck in the present stage. Please read carefully to understand which stage you have crossed and where you are going.
Namaskar,
in Him,
Ranjiit
Reference
1. Ananda Vacanamrtam - 3, The Requirements for Sádhaná
== Section: Important Teaching ==
Can a poor person make an economic gift
Can a poor person make an economic gift
Ananda Marga ideology guides us, "Every human being gets more or less opportunity for rendering services. If a poor man thinks that he cannot render Vaeshyocita type of service because he is devoid of money he is wrong. The charity of a few paise of the poor has the same value as a thousand rupees from a millionaire. Indeed the charity of these few paise is greater. Lord Krśńa attached greater importance to a handfuls of grains from Vidura than to the sumptuous royal dishes of Duryodhana. Even so, everyone should render service to the world in accordance with their capacity and work for the welfare of the living beings to the best of their ability. Perform viprocita type of service by projecting your convictions to others as best as you can. Let every person perform the four kinds of service as much as possible. Adhyátma yajiṋa is an internal yajiṋa and ultimately it terminates in Paramátman, the original self.” (1)
Reference
1. Subhasita Samgraha -1, Yajiṋa and Karmaphala
== Section: Important Teaching ==
Tool for making true human beings
Ananda Marga philosophy says, "Some people may ask: Why does A'nanda Ma'rga run many kindergarten schools and not many high schools, degree colleges and universities? A kindergarten school is something basic and the mission of making human beings is accomplished here. If one has already become a thief or a criminal, in that case university education for such a person is of no avail. One is to be moulded in one's childhood. If one receives the fundamentals of education in the formative period of one's life, one will keep oneself alright in the teeth of the greatest trials and tribulations in life. A bamboo, when green, can be shaped or bent in any way you like. Once it ripens, any attempt to reshape it will break it. This is why more stress is to be laid on kindergarten schools. Such schools are the first phase of making human beings." (1)
Reference
1. Prout in a Nutshell - 18, Talks on Education – Excerpt E
== Section 3: Links ==
Other topics of interest
