The Six spokes of Social cycle.

The beginning and end of civilization:

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 7000 yeras ago.

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” 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.