Mahasaraswati And The Sense and History of the Vedic Symbol
Prehistory is the true history of the Indian subcontinent, but it is nothing more than a mere boisterous assertion of hearsay, if we do not have anything to back our assertion. It may also be argued that the sense of what we call history, its method and practice from the first impulse of the written word to the present sophisticated methods of science, has been based on an unfounded and superficial reading of events without an inner basis or clarity based on a profound light shining on things, revealing their inner dynamics than merely recording the external. The recorded history of India has been more symbolic than actual — for in the symbol lies a profound truth, not in the actual which is merely mimicking the past without a living sense –, and the written word carries the synthetic truth of the symbol and always pregnant with future possibilities of moral, ethical, social and spiritual perfection of a race which it represents or more properly, has been representing since the Vedic cycle.
Modern history moves by a fiat of its wrong energies and mistakenly assumes the symbolic to be a representation of a barbaric race submerged in the ritualistic tradition of the Vedic age, and all its derivations cater more to the outward accounts of a race than to its inner evolution, and even in its attempt at recording the external account, it barely touches the soul and movement of that race, and instead, indulges in an unfaithful caricature of the hidden soul of that civilisation. Our history, as it is represented by Western, and by most of the Eastern historians too, are a sham and a pretence, a wanton aberration of a surface mind in complete ignorance of the reconditeness and mystery of a spiritual culture so high in the standard of its manifested truth that the Goddess of divine Inspiration, Mahasaraswati had to write her own account through the great Art and the written Word.
Neither the evolution of history as understood by men is clear enough; it is at best an ambiguous structure of external inferences built upon a brittle foundation, but because it is immediately cognisable and relatable to the external sense, the perceptible brilliance of man, the human mind latches onto the sidelight of its half-truth and builds subsystems of erroneous knowledge around it or out of it, only in order to bury, though unconsciously, the true sense and purpose of history.
To prove otherwise true purpose of history in the evolution of consciousness, we must pass beyond all reasoning and mental knowledge and even beyond the primitive impulses of mankind into an eternal reposing ground of the Spirit, where sits the ineffable Goddess Mahasaraswati and creates the divine श्रुति (Sruti) out of her वीणा (Veena) to be recorded by the gods and transmitted across endless universes; a part of it trickles through and a divine word is created out of that marvellous Rhythm, and from that word the happy discourse of the divine Muse with the world. It is out of that self-exceeding Muse comes the symbol and the written word.
The monstrous notion of the abrahamic cult, which belittles the richness of the Eastern Wisdom, reflects in its stealthy attempts to change the civilisational symbol of the great Indian subcontinent with a near, similar vicissitude of a cunning falsehood masquerading as the only saving principle of a God hung on a cross, instead of a mounting image of an all-conquering Shiva in the heart of the inner sanctorum. Even our idolatry inspires men towards immorality and self-conquest. The Western Indology has consistently discredited the true sense of the Veda and its historicity and attempted to replace the secret symbol by a facile tongue of its own, a farce so disgusting to the spiritual sense that it is not even worth mentioning here, but we may have to take it up at the appropriate forum in order that those open and ready may be able to see and act to counter the Western propaganda.
The Vedic age is symbolic of a dominant spirituality as the very foundation of a great civilisation, an all-inclusive eternity in which Gods and men could exist together by a strong inner bond and intimate spiritual experience, and compliment each others’ existence by a rising aspiration and a descending response of grace and supreme goodwill. And, the natural progression of history through Art, culture and carved inscriptions reveal more about a civilisation and its rich culture than what men can learn from hearsay and printed nonsense.
The purpose of history is not to portray the past as it presents itself to the external sense or through analytical reasoning and mental inference, but to faithfully attempt to bring out the recondite importance of the past of a civilisation, which the historians badly try to understand, and explain through the original symbol of that past the secret of our future which the Art and the Symbol hide so very well. It is in the deft hands of Mahasaraswati lies the skill to unlock our future in the spirit, and all history of our past has been preserved for that purpose only.
A self-manifesting, divine Force of the Adya Shakti, the supreme transcendent Mother, Mahasaraswati is the divine principle of Yoga-Siddhi in work, the state of a supreme and utter perfection in work; it was she who wove the symbol of the Veda out of her inmost दृष्टि (Drishti) and shaped out of it the invisible key to its treasure and limitless knowledge, and she works through our conflicting nature to realise there the all-potentiality of the Divine Consciousness in all the movements of both the inner and external work. She leaves a trail of the divine secret in the high surmise of the symbol and the written word, and if one looks closely, one may even find a body of that secret in the hidden history of our own evolution. She is the Goddess of which we are mere tools to her divine edifice; she shapes it out of our human clay and all is turned into a sun-touched truth of a higher Consciousness.
She is an expression of a primal Power, which is present here in the terrestrial but remains unmanifest due to earth’s resistance or at least seems retarded of its efficacy. It is not because of an inherent limitation of her power here that it has not been able to be efficacious, but because the resistance is inherent in the earth-consciousness and the higher power of Mahasaraswati will not bow down to the dictates of the imperfect lower, therefore her supreme knowledge and skill in work remain incognito to the lower mental and is not obvious to the common eye. All our seeking, spiritual, mental, material etc., must stem from the practical utility of a self-skilled, a self-possessed knowledge of God, and all our efforts must be turned towards releasing and directing this special, secret consciousness in things towards a flawless perfection in work. But perfection in work does not come by an outward experience or expertise backed by a brilliant mental consciousness, for the outward is only a reflection of something inside, which need not be necessarily perfect or divine in its essence; it is only in the inmost lies the perfection that we are seeking in life.
It ought to be mentioned that this perfection is not the integral perfection of the Spirit, but a manifestation of the Divine lodged in oneself, and an integral perfection in work does not come by self-absorption into the inner Divinity alone; it comes out of a triple labour of the lower being — of which Mahasaraswati is the presiding Godhead -, already surrendered to the highest Divine Consciousness. She guides the details of both the individual and collective ascent of consciousness into a higher Gnosis, and perfects the descending path and maps out the processes at each and every plane in the supreme विद्या (vidya) of her self-aware Knowledge, renders them through high recondite symbols and self-initiating Mantras. She is the inspiration of the sculptor and artist; she is the word of the Kavi, the inspired poet and the divine impulse of his creation. In all her works, she seeks the perfection of the integral Spirit and the fulfilment of the highest Divine.
And, through history, she manifests the imperial symbol of Veda as the source of a spiritualised civilisation and culture of a Nation, which has given mankind through the symbolic and recondite the key to a secret quest for a self-transcending Knowledge and Delight of existence. Because the nature of her manifestation is too complex to be restricted to a few paragraphs and explanatory notes, therefore it is only logical that we have to attempt to explain in mentalised terms the complexities of her infinitely myriad workings, though we must resign ourselves to the fact that such a pursuit of explaining, even in mental terms, is only an aspiring labour of this writer, and as such, may not be exhaustive in its expression or final utility. Yet, it must be attempted under the knowledge that we are moved by a singular impulse of the Divine to do our best possible, when the all-Deity in us so demands it.