Ma Lalita Tripura Sundari vs Lust | Army of Shaktis | Anusha x Himanshu OM

Ma Lalita Tripura Sundari vs Lust | Army of Shaktis | Anusha x Himanshu OM

Author Name:Himanshu Om

Youtube Channel Url:https://www.youtube.com/@makessensewith

Youtube Video URL:https://www.youtube.com/watch?v=42d0qKyQuF0



Transcript:
(00:00) If you look at the way the war is described with malita kola means one who delights in war. >> The shadow side being connected to lust to the body of other women. >> If you want to do shadow work, there is no better archetype for you than mahi. Every word within the Lalita is a mantra in itself as the very rising sun itself like sindhurikam.
(00:25) >> All of these hidden aspects that why is there sun and moon there? Many people get stuck in ritual purity. Bala is the one who opens the door for you and say come come. Somebody feels attracted to any dvata especially to Malita. It is only because of Mahatangi because she's the one who pulls you with the mantras towards >> the Guy Vidya.
(00:49) >> And the first psych education they are getting is from websites. Maddening cycle of mother but lust is coming. If you try to give up, first of all, it'll break down your family. Second thing is that will be the only thing on your mind. Mali is dig her skirt is made up of hands which is crashi.
(01:12) She is saying as a sadak you show up at my altar with your naked honest truth. I will take care of you. Your experiences with Dvi is her personal intimate time with you. Amma ultimate, right? Like let me just tie myself to you. Thank you Anusha for being a part of this conversation. >> Thank you for having me Himman show. It's it's going to be an exciting conversation.
(01:37) >> Yeah. I would like to begin with a small invocation of Di Sh. You ever
(02:22) as both of us know that we cannot really control this conversation where it's pain forward. >> Correct. But I would like to start with because in all of the texts all of the all of there is to read about her to know about her my favorite has always been Lala Sasana >> because it's just some magic in it which just takes me to you know and it's like once you know the once you experience the joy of just knowing the names >> Yeah.
(02:58) you get to a certain state where you're like I don't want anything else more that I want and then you keep coming back to the names and you keep uh reading them again and again and then you feel that high >> yes >> right so I want to start I would like to at least start from >> the u invocation itself from where we start with first we of course start with dhanlo of ding mother And then we go about Shrim Mata, Shrim Maharagi, Shrim Singh is >> and I in this conversation I would like to go a little deeper behind these aspects of which we generally just limit
(03:41) to a vision. >> Yeah. >> Or a picture or a chography. Yeah. >> Right. >> So yeah. >> Yeah. Absolutely. I think for me also I really love the Lalita Sahra Nam because it is so layered each time you go to it you feel like you're uncovering a new layer and each time Dvi is revealing a new aspect of her through this even if you've read it like a thousand times even if you know the namas by heart sometimes I've noticed when you're chanting the Lalata sastra nam she will take you in loops in spirals there'll be moments there'll be days when there are
(04:17) certain verses that just keep ringing in your It's like that day's um sort of that day's resonance is one particular verse, right? And she's trying to reveal something to you through all of it. And I think it's one of the most brilliant ways of hiding the secrets of the entire universe right in front under your nose in such an obvious way.
(04:39) Especially if you see in southern India, every household, they chant the Lalita sassum every single day. Most people don't know even the tip of the iceberg of Lalita now what they're chanting right because it is that uh sort of it's such an encoded mystery of the universe itself and it's written by vagis so they have brought in their mysticism and their magic in every axara that is written there and we say that every word within the lalita sastra nam is a mantra in itself the mantra science in itself and you can lose yourself even in a single
(05:14) Nama of the divine mother and her entire mysteries are encompassed in the first four names itself right from Shrim Mata to Maharagni to Shrim Matsimha Seshwari Chidagni Kunda Sambuta Dvakara Samudya her entire mystery is like given there in the first four namas itself that she is the mother who created the entire cosmos she is the empress she is sovereign right there's so much beauty that comes into it and like you said rightfully There is so much beyond just the literal translation of it, right? that we can
(05:52) dive into and keep exploring different aspects of it that it is not just the nama but it is also trying to give us a philosophical backing of evolution itself of self transformation of depth within oursel and and to see the play of grace to see the play of Davi in your everyday life to be able to reach her like every spiritual path has been explored through the lalita sahasan namu >> yeah I think that's what is the beauty of it as well.
(06:23) >> Visualization in itself is such u you know beauty. I mean of course there are no words to define it. >> Yeah. >> But when we come from the dhanlo to the >> actual namas. >> Namas. >> Yeah. >> What is the magic that starts unfolding from the beginning? >> We can go over from the like we go from head to toe >> and then we can on to the other aspect.
(06:48) >> Absolutely. Yeah, I think one of the first things that uh we can look into in the Danishloka which comes actually in uh when they start explaining her iconography right in the Danish loca they are going over her beauty and radiance the red that keeps coming red everything's in like from rata to aruna to all of this right like red is explored through and through every shade of it so they begin with that very first essence of red as vitality as the blood that moves through you as the very rising sun itself like sindhurikamayana
(07:27) manika mali purata right so everything even she's surrounded by rubies so everything is red is reflection of red so many of us associate somehow red with something angry >> right like something uh scary anxious like even if you see the signal stop signal is red right but when you go to the Lalita sahas namum it's a completely different retelling of that story itself as red and then when you actually come into her namas where we start from mano panchatan matraa right the literal translation of it is that manukanda
(08:10) that is in the the iikuanda the sugarcane bow is actually the representation of the mind right so they're going beyond that that she's not just holding a sugarcane bow. Many people will just see okay when you see Lalamika she's holding the sugarcane bow and she's holding the five flower arrows but what they don't understand is how this is decoded layer after layer after layer right on one layer right this is a representation of the mind but let's take it beyond that what is it trying to say if you see the mind we say the mind
(08:44) is the biggest enemy for a saddak on their journey why is that so because the mind is always chasing after sweet experiences. That is why ikshu kodanda, it could have been any kod, right? It could have been a wooden kodanda, it could have been anything. Why is it ikshu koda? Why is it a sugar cane bow? Is because the mind always wants to go after sweet experiences. I'm feeling hot.
(09:08) Turn on the AC. I'm feeling thirsty. Give me water. I'm feeling lonely. I want friends. It wants to move out of discomfort towards a sweet experience. And sometimes on the sadena path we forget to enjoy the painful moments also because the painful moments are the teaching moments in life. So in this chase or escapism to something sweet and pleasurable we forget the lessons that are weaving through our lives.
(09:35) So by the sugar cane bow she's telling us that get the mind into your tame that is chasing after these sweet things that is swaying in whichever direction the wind is blowing. There has to be there first in the mind. And then another secret that weaves are the five push pabana right the five flower arrows which are a representation of the tan matras right and what are we saying here if the five flowers are a representation of the tan matras the five senses the five senses are perceived through the mind and that's how the beautiful iconography
(10:11) is without the bow the arrow without the bow the arrow is useless without the arrows what are you going to do with the bow Right? So similarly our mind and our five senses as well they interplay with each other. We perceive life itself through our five senses. So when we don't have control over these five senses and when we don't have the right perception within our mind through our five senses then this is what will run our life.
(10:40) So the first thing we're telling Amma Lalita is like you know I have no intellect. I don't have the capacity to understand this. My mind is constantly just swaying from one experience to other. My senses are seeking sweetness. I surrender it in your hands. Right? That's the first step. The surrender of the mind and the senses in her hands to say that every sense that I'm craving, may I be guided by them closer to you in some ways.
(11:10) Right? And then if you see her back hands that are holding the parasha and the ankusha we see that we see that the parasha is a representation of raas swarup parasha croa karang kusho juala right. So the parasha is a representation of raghas. What is a rope? A rope is to tie. What is tying you down? Your attachments.
(11:35) I feel so deeply tied to my identity. I feel so deeply tied to these people that if they don't exist, I feel like my identity doesn't exist. If they're angry with me, I feel like my world is collapsing. All of the things that we tie ourselves to so tightly that they no longer give us direction in life, most often they keep us trapped.
(11:55) That is what is represented there in her para by saying that let me tie myself to you. Amma that's the ultimate right like let me just tie myself to you because that is the best bondage you could have in life right and then the ankusha if you see the archetype of elephants ankusha is what the mahuts used to control the elephants right so croa kang kushoa it's saying that the ankusha helps in controlling croa anger but it's not just literally anger right it's every primal emotion that takes over your mind and sometimes when primal
(12:32) emotions take over. You don't know what you're speaking. You don't know what you're doing. You're just swaying in that moment of emotional outrage that happens. Just like an elephant on mastish. Nobody other than the mahoot. Sometimes even the mahoot finds it very difficult unless you have the ankusha and know how to tame the elephant.
(12:50) The elephant is so strong but yet the elephant doesn't realize its own strength. Right? So we're saying my emotions can become like those elephants that can run astray and really hurt. So you hold the ankush and it takes a small ankusha to control such a big elephant. >> Exactly. And if she's Akilan deswari she can within a tap she knows how to tap into your emotions and control it and bring it down.
(13:19) So when you're tied to her she also teaches you the direction. If you were a horse and you're just galloping wildly through life, if she is the one who is the one who has the parasha with her, she knows in which direction she has to let you gallop. There could be no better charioter than her to steer your life. Right? So that is the beauty of seeing this beyond just iconography.
(13:47) It's not just a goddess holding sugar cane bow and arrows para and ankusha just sitting there. There's so much inner deeper meaning that is encoded into her iconographic form itself that we can sit and go through contemplative journeys. What are the emotions that are taking over my life today? What do I need to learn from these emotions? What is that essence of the ankusha by the goddess I need to bring in here to tame my emotions, my parasha, my raa, right? my attachments in life.
(14:19) So when you ask yourself these deeper questions, Amma is there to answer them. >> All you need to do is to surrender yourself to her >> when she is charioting. Yes. >> The this rata. >> Yes. >> With this when you said the charioteer example, you know what came into my mind? Krishna and Arjuna. >> Yes. >> Who is charioting? >> Absolutely.
(14:42) Arjuna and they are ancestors. >> Ah 100%. 100% right because Davi and Krishna I see no difference in them >> they are the same >> beautiful and one of my f when we when we talk about the the specifically this part where we are describing her form the iconography >> one of my favorite um although it's the entire thing is my favorite because it goes from you know face you move from the face and then >> neck and yeah >> one of my favorite always um becomes her earrings when it's when mandala so that is something which I would like to like all of these hidden
(15:24) aspects that why is there sun and moon there >> when we are saying that tayakram right what is what is what are the vag trying to tell us >> see for me the way that I see this with tatanka tapanup mandala is the beauty of controlling of the soul solar and the lunar channels within our own body, right? It is deep condalini science that is explained in such a simple way to say that if Ma Alita has the sun and the moon on her ears as earrings, they also say that her right eye and left eye are like the sun and the moon. Her breasts
(16:01) are like the sun and the moon, right? The sun and moon, sun and moon keeps coming in multiple places. So when they're talking about the sun and moon as much as it could be literal sun and moon it's also the and the pingala that we're talking about solar and lunar channels in the body. So in some sense it's also encoded messaging that the Lalita sahastra namum is kundalini tantra in itself.
(16:26) >> Yeah >> confirmed in multiple places >> is entire kundalini flowing through it. >> Exactly. Right. So when you say that Rama is wearing the sun and moon in her years, we are saying that she has complete mastery over and pingala complete mastery over healing sciences, occult sciences, manifestation sciences, all of it wrapped up in one.
(16:49) So that's why her even her earrings are not just earrings. Even her earrings are the sun and the moon. >> Yeah. There's one more beautiful aspect to this uh which I learned from Vin Vanasi. was speaking about time >> and then he spoke about how Mahadeva when he had the venom and he was >> and everyone all the gods uh directed their attention towards Amma and they're like your husband is going to drink the halahal do you do you want to let him do it because it's not good for him >> so then the aspect of how Adishankar explains this that she herself is
(17:32) wearing time on her as her earrings and for you earrings are like something you can just remove and >> it's just play for you. >> Yeah. >> So she is wearing the time herself. >> How why would she be worried about >> the >> because she is the one who is controlling the time >> with earrings.
(17:50) Not just that, we also see the iconography of Matara, right? The version of Matara who comes and feeds her breast milk to Lord Shiva to protect him and to alchemize that poison. Which is why the whole you know when you say nilakanta it it's also vishudhi chakra vishudhi karan the cleansing of internal poisons of your own mind happens only through the throat chakra.
(18:17) So many decoded messages in literal ways in which things are given. Yeah. >> Yes. Yes. And uh again then after this when we go to her earrings then then her you know her hands and her body and we are trying to explain that how the you know her breasts are showing us the dual nature of this >> and then her waist >> um having the three folds.
(18:40) >> Yes. And then we come to explaining her red garments that she's wearing. Again, the red color is >> emphasized, >> right? Very very very much emphasized. And I think red is also >> that color which you can see from like the one that you know you can see from afar. >> That is that one wavelength which you can see from very far.
(19:00) >> That is that one wavelength that travels the most. >> Correct. So um then we go to when we talk about her like lower body >> that's where something like it gets little mysterious there >> because we are like because it's like there is no there is nothing that you can understand there. It's >> that verse is literally saying that only Kamish can know >> what your inner thighs look like. Right.
(19:26) So what is here? What is the secret here? >> Yeah I I find that so fascinating that they have written it this way. Right? Because firstly the literal translation of it says the smoothness of your thighs only kamehwara has the privilege to experience. Right? But who is kamehwara? The one who has mastery over desires.
(19:53) Right? So if we saying kamishhwara we not only saying it's only mahadev we are saying if you're as a sadak if you're able to walk on the path to get mastery over your desires you will know not the thighs but the goha vidya the secrecy of the vidya that she's sharing not even the yi right again see our mind goes only to the yonyi but that which is concealed because that's what we're talking about right this the this part is concealed that only kameishwara can see.
(20:27) Right? So what is that which is concealed? Even if we say that is yonyi, what is yonyi representing? Creation itself. The secrets of creation itself. So we're saying if you're able to gain mastery over um over desires that is if you're able to look beyond lust you're able to decode the mysteries of the creation of the universe gua vidya that's why it's gua vidya secret vidya not because it is secretive and concealed because it'll be revealed only to those who are eligible to uh receive this vidya in the secrecy of your mind
(21:08) many secrets are revealed to you. So you have to gain mastery over looking at things with very singular perspectives to be able to see the yoni beyond it just being a biological organ or an anat anatomical organ right that it is is a very bindu of creation of the creation of the entire universe begins from there.
(21:33) So what are the secrets for that? I need to gain mastery over my lust. I need to gain mastery over my desires so that I'm able to look beyond what is. >> It's beautifully explained also in the triparium where they're talking about um the lust a man goes through >> and then the woman there explains the man that this is nothing but flesh >> and this is just skin over flesh and you know other stuff which you would not like to touch but it looks like this that's why it creates that illusion of >> Yes.
(22:02) >> Yeah. So h so basically it means that to understand the secrets of the creation you have to become gamish yourself. >> Yes. >> Desensitize yourself from everything that is causing this rise of desires within you that takes over your mind. Right? That's a very important thing. And it's also to create that curiosity.
(22:27) You conceal something, it'll create more curiosity. Right? and you'll have more. What is under that veil? I want to know more. Right? It's also Davi's way of concealing it to create that mystery to be like come seek me. >> I think this is also connected to the the conversation between uh Lord Shiva and Ma where they are talking about the uh that he's like give whatever the saddaka wants give him even your head if he wants but don't give him the shashim >> otherwise he'll know the secret and he'll create a new you. Yes. Yes. Yes.
(23:01) Exactly. Yeah. >> Guya. >> Guya. Yes. >> Yeah. And then we go to her lotus feet which um uh the feet >> no that's the >> that's the fingers >> feed says that it kills the tamogun by being there. And what what's more interesting to me in this whole iconography is which I find very fascinating is in most of the iconographies we'll see that like for example Mali has a abayan mudra.
(23:34) >> Yes. >> Mala never has an abayan mudra. >> Yeah. >> That's that's like >> because her feet itself is enough to receive the grace. She doesn't have to even lift her >> hands into abhayan varada >> her presence >> her presence. And if you surrender at her feet, entire brahmandanda is at her feet.
(23:54) When you surrender at her feet, you receive her grace. And she also graces with her eyes. They say, right? like Mina Chana that she's constantly she's constantly like looking left and right saying which of my uh sadaks need me in this moment that she even a side glance from Mark and flip your life 360 and you'll be changed reminds me of Kakhara >> Chalan Mina Chan yeah >> beautiful now we have seen her from top to her feet >> toe. Top to toe.
(24:32) >> Top to toe. >> Yeah. >> And now let's move into the where we are talking about that she is sitting in the shri chakra. >> Yeah. >> And here comes the war in the saz nama where we are talking about uh bhasura coming there and bundasura ra w ra w ra w ra w ra w ra w ra w ra w ra w ra w raging this war. Yeah. >> And it's getting started.
(24:55) It's getting like things are getting heated up in this. But here's here's what I found really really interesting when I was going through it and one day randomly I like just I was listening to a few other stories and then I found a correlation that >> when we in real world when we talk about karma >> right we talk about when we first of all when we talk about karma we're always only thinking about desire or lust or sexual desire right that's one thing which is wrong >> it's everything that we have all the desire every desire Even to live even to
(25:28) do >> correct correct >> is karma even to pray to her is the >> is karma. Yes. >> So one is when we where we are saying kama deva >> right >> and kama deva is generally not reverred so much here in north India at least because they don't know much about him >> one because he's ana he does not have a body. Yeah, correct.
(25:49) And the other is people fear him because they're like this guy would shoot arrows and and then there is a opposite story where he's getting burned by Mahadeva >> because of what he tried to do. Poor guy was just trying to >> bring them together >> like their marriage happened for Karthik right >> so um and then there is and there are other stories which people need to know about Kamadeva where he is like one of the supreme opasagas of Shivya and one of the dearest child to divine mother.
(26:17) >> Yes. Because without him there's really nothing you can do right there will be it will be lifeless it will be pointless. So then the bow that she is having this is what my correlation was the bow she's holding is actually Kamadeva's bow >> bow and arrows >> bows and bows and arrows which Kamadeva shoot she is holding those bows and arrows right >> so that's how dear Kamadeva is to him now the poor guy got burned through Mahadeva's wrath >> yes >> from those ashes comes out Bhasur >> yes >> and this guy is fighting divine mother
(26:52) and divine mother is fighting this guy >> yes >> so what what is happening here and what are we what are the vag again trying to indicate >> yeah you know it's I find it so beautiful how these stories are said in such a beautiful way for us to remember the philosophies that will serve our life right because firstly when you see the iconography of kama dva there they are not firstly there is no shame in karma >> there is no shame or fear or anxiety towards having desires unlike like what we've been what some philosophies are
(27:27) trying to yeah shift in fact within the Shakta traditions we say that every desire is a golden seed planted by Dvi in your psyche right but here what she's saying is she's showing us the difference between the two right when she if you go back to the story line of how Mahadeva opened he when uh Kamadeva stepped forward saying that I will bring my Parvati and Shiva together.
(27:54) It was out of such pure intentions, right? It was out of such pure intentions because they had to come into union so that Kartika could be born so that Suradman could be defeated in the war. Yeah. Tarasa. Yeah. He could be defeated in the war. Now he came in to do such a noble cause. But because Shiva has been sitting for thousands of years in tapasia, the moment he opened his eyes and saw where did this arrow come from, he burned to ashes.
(28:24) And in that moment, Ma realized that without desires, the world won't move. Just think about that for a second. If you had no desire to build a business, if you had no desire to experience life, cultures, if you had no desires to lead a better lifestyle, if you had no desire for love, we'd all just be like rocks. we there would be absolutely no movement in life. There's no fun in life.
(28:49) There's there's no essence of life itself. Right? So she realized that in that moment that without uh karma there the world will come to a standstill. So she they try to infuse life back into him. But what rises instead is bandasura. So here again this is the goddess's leela right? She's trying to teach us. It's a teaching moment through the story lines saying that bandhasura here represents obsessive unfulfilled desires desires that wreck havoc within the psyche of a sadak and these are usually very egocentric desires where you're
(29:30) saying I want this I want this at any cost I don't care who I hurt in the process >> that is what bandasura represents that kind of obsessive desires that take over your mind that every waking sleeping moment you're thinking about achieving this and you don't care whether you're walking the path of dharma or adharma to get it your end goal is the fulfillment of the desire that's what bandasura represents when bandasura comes through representing this then ma takes on the bow and the arrow she becomes kameshwari
(30:03) the mother of desires and thereby Shiva becomes kameshwara the lord of desires where they're trying to say that on one side there is this obsessive representation of unfulfilled desires that can wreck havoc that can destroy somebody on the other side there is malita herself who's becoming kameeshwari kamaka the mother of desires saying that every desire that I plant will only manifest more goodness in the world these are egocentric these are geocentric desires right that when you anchor these geocentric desires in the
(30:41) world, you're not only benefiting yourself, you're benefiting 10 other people through that process. You are elevating the lives of 10 other people. So every time you have a desire that comes up in your mind, the simplest question to ask yourself is this a selfserving desire or is this desire in service to the whole? If it is self- serving, it's a representation of bha within your own mind.
(31:12) If it is serving, if it is in servitude to the whole, it is malita's manifestation in your mind. That simple just a question, just a simple question to every desire that every moment we have desires coming up. I want an ice cream. I want this. I want that. I want this. I want that. Simple question to ask.
(31:31) Is this a self-serving desire or is this desire in service to the whole? The whole could also be your internal self also right not to say that if you have the desire to have good meal that is egocentric it's to say that I'm in service to this body I want to nourish this body and give gratitudes to this body that is helping me achieve so much in life that is still service to the whole >> beautiful okay so now the war is happening >> and you asked her position in the shri chakra She sits on the bindan right right in the center in the bindu in the vani praara created by Majuala Malini is
(32:11) where Lalamika sits that and the war itself the shakti of the war it's like it's so vivid when we explain the war the visuals of the war right if you look at the way the war is described with Malalita firstly we have we say that um First there is Ashwaruda. Ashwaruda Dhishta Ashwa Kot Koti Bhiraa from the parasha of Malalita.
(32:43) Ashwaruda comes forward. Ashwaruda Dvi who is the um champion of the horse battalion. The chieftain of the horse battalion. She comes riding her horse called Aparajita that is undefeable. Her horse is undefeable. And she's not going into battle alone. She is koty bira. She's having ky ky shakis on their individual horses and they're galloping into battle right to defeat the horse battalion of Bhasura's army and then on the other sidekari samarudha right so here we are saying that satkari from the ankusha maspatkari dvi comes
(33:25) forward and she is seated on the elephant and she is the chieftain of the elephant uh battalion who's going to fight the elephant battalion of Bhasura's army. What is her elephant's name? Ranakola hala. I mean listen to the name itself, right? Create such a vibrational frequency. Ranakola hala means one who delights in war.
(33:48) And this is a shakti we're talking about. Not an army of men, right? An army of shakis seated on an elephant called ranakola, seated on a horse called aparaja. This is how they're going into battle. So this is two levels that they have sent forth and then there are the nitty davis who step forward and they're reigning you know like literally rain of arms onto Band's army destroying it and then we have Bala who steps forward right Bala stepping forward in her karni radam which is a tiny little chariot imagine a 7year-old 7 8year-old sitting
(34:27) on a little chariot ridden by swans into battle. I mean how just visualize it. Just visualize it, right? And what are they trying to say? Voda bala vikramma. Amma Lalita is delighted looking at her child going into battle like that and winning and coming vikramma. She's so happy by this victory that Bala has faced against 30 bandutras.
(34:56) So what are the 30 there again encoded meaning it's not just literally that she's going and fighting 30 sons and she's winning it's not it's not like that right it's so much more layered than that firstly her little karni radam written by swans what is the iconography of swan hamsa the practice of hamsa that we have within the yogic philosophy that's a deeply tantric kria what does it help you gain mastery over bandaputra as who are the 30 bhaputras, five gyanandras, five karmandrias, panchabas, all of this comes into that. It gains
(35:36) mastery over your entire life, your past, present, future, all of this is what the bandutras represent. One single practice, one bala mastery. For a child walking on this path, that is your entry point into all of this. M >> does it also mean that because when we do when like how my guru did uh his sadena before he started his main sadena he did mala sadha for >> before you get into panchidasha you do ma bala sadha does it like because she's a child now we say that she is a child >> but how is she coming first in this
(36:22) process like How how is the gateway through Bala >> and also does it mean that the inner child or your you being a child in this >> journey is making it easier for you? >> Yes, it's multiple perspectives of looking at it right. Approaching any sadena path with childlike innocence and curiosity is more important than approaching it with ritual purity.
(36:48) Many people get stuck in ritual purity that I have to sit facing east. I have to take a bath. I have to wake up at 4:00 a.m. I have to sit on a red sadhana mat. I have to hold rdra mala. And we see so many people getting stuck in this. Can I use a tulsi mala? Can I use a spatika mala? Is it okay if I do one time? Should I do it three? They get stuck in all of this.
(37:11) Right? It's not about ritual purity. Yes, there is merit in ritual purity because that helps you in uh building discipline. That's all there is to it. Right? >> I think more emotions and all put into that. >> Correct. Bhava is more important. How do you develop bhava? You develop bhava when you've emptied yourself.
(37:33) How do you empty yourself? Come back to your innocence as a child. So Bala is the first one to go with that innocent seeking because Bala is the one who opens the door for you and say come come let's go let's go explore this this sudha vidya this massive ocean that let's go play let's go check it out right with that curiosity not with fear like is ma going to burn me alive is she going to destroy my lifetimes is she going to kill my sons without any of that you're just going like okay let's go check out let's go see ma's feet
(38:04) let's go check out her fingers Let's go see what this sudha is all about. Right? That's why you need the grace of Bala to begin the journey because when she comes that fear goes away because there's no fear with Maala because she brings in plague. Our biggest enemy on this path of sadhana is fear. We are scared if I do this what will happen? If I do this what will happen? We feel so scared that we feel frozen.
(38:35) Let's not do anything. Let's just stay where we are. At least we are safe. That's how our brains are wired, right? Our brains are wired for predictability and safety. So when we pick up shakti tantra, it feels like chaos is unlocking and like no no no, I don't want this. I don't want this. I'm good.
(38:52) Like I'm good in my blind life that I'm just leading an existential living. Feels safer naturally. So that's why Bala comes in as a safety archetype to say there's nothing to fear here. just come let's play. So it's easier to go on this journey with Bala by your side. >> Okay. And um moving forward in this battle that's happening.
(39:20) So we have Ashwari then we have Satkari then we now so there is this mention of Gpati coming in >> VNA vignantra. >> Yeah. So because otherwise generally when we see Gapati comes the first >> otherwise wherever we are like he's the gatekeeper he's >> Yes. Yes. >> Here he comes here like between the war. >> Yes. >> What is this indicative of in this journey against the bandasur? >> Yeah.
(39:50) So uh bandasura puts a vignayantra within um Malalita's camp. Right. So we have we have Malalita's camp where we have ashwar ruda where we have um satkari dvi then we see three rattas of course four ratta with the little ratta karni radam in the center but we have the shri chakra is a rata in the center then you have the ga chakra where mah mantrini is seated ma shamla dvi then we have the uh kiri chakra where mahara he is seated so imagine this ashohhini multiple ashohin sas right Now how does he beat it? Who is bandasura? He's obsessive desires. What is his desire
(40:30) now? I have to win this war at any cost. Right? And he's seeing now through ashwaruda and satkari and through bala. He's already seen losses in his army. What would a bandura obsessed with winning against Lalita do? He doesn't care about dharma. Right? So he wants to strategize. How does he want to strategize? By putting the vignayantra into Malalita's camp.
(41:00) And it is said that when he drops the vignayantra into Malalita's camp, the yoginis that are seated on all of these chakras get so firstly they get taken over by tamoguna. They start feeling drowsy and sleepy and then there is this envy and jealousy that begins. They start fighting amongst each other.
(41:20) There's internal conflict that is breaking loose and Malalita is like what is happening here guys like we are fighting the war against bandasura but now suddenly we're fighting against each other what is happening right we see this play out in world in this world as well in groups of women suddenly we're taken over by this envy and jealousy and we start fighting each other when we forget the main war that we are here against fighting patriarchy >> also also also equal to um people fighting themselves, not forgiving themselves.
(41:50) >> 100%. Every form of confusion, every form of tamas that shows up for a saddak on this path, all of that is represented by this vignantra that prevents you from winning the war, that prevents you from leading your life, fulfilling the desires that Dvi planted within you. The winning of these egocentric desires, that's what it represents, right? That's when Gapati comes in.
(42:17) And it is said that he is so bullish about this that he breaks the vignayantra because he like yantra is a sacred geometry. When the geometry is broken, the impact is broken. The essence of it is broken. So he breaks it. And that's when malita gets so pleased with him that she gives him the boon that before any saddak does any sadhana, they will first pray to you.
(42:43) That is why Gapati is prayed first in every puja padati because we say he has the ability. That's why he's called vignahara and vigna. He is the one who creates obstacles also to see why do you want to meet my mom? What do you have with her? I will create obstacles to see how serious you are.
(43:04) And then vignah also because ultimately when he realizes your intentions he removes the obstacles that may come on your path from your own psyche like fears like limiting beliefs like lack of worth or lack of discipline drowsiness sleepiness all of this that is there it gets cleared because of guapati's grace right so that is the role he plays in a sadak's life also >> to be that path maker for you Yeah.
(43:32) Beautiful. Now comes the fascinating. So now let's move on to the um gaya chakra and then the kiri chakra. So what's happening at at these chakras >> specifically mentioned separately and what is the again what are the vag trying to tell us? >> Yeah. So on the ga chakra is seated mantrini right mantrini who is the minister of malitamika who is none other than maharaja shamala none other than goddess Matangi none other than mantras swarupini herself and it is also said that somebody feels attracted to any
(44:18) especially to Malalita it is only because of ma matangi because she's the one who pulls you with the mantras towards malita she's like the seductress who's like I am this mantra is like ringing in my head again and again it's because of ma matangi's grace that she is spinning this in your head right so we see that her uh the ga chakra that she has has yogis who are drumming who are singing who are chanting mantras who are dancing who there is like wine overflowing through uh through the entire chariot they are all drunken
(44:54) intoxicated in the bliss of Dvi as they are going out into war, right? And they are also yogis of the 64 colors which means they are very good with music, very good with words, very good with aesthetics, with beauty. Seduction is also part of that art. So now imagine a bandasura's army facing this this chariot. It's confusing.
(45:19) I don't know if I'm intimidated by these women who are singing and dancing or am I turned on by this. There's such an internal conflict that happens, right? This is how they win. And this is also a big lesson that challenges in life needn't always be serious. That you can go out into battle chanting.
(45:42) You can go out into battle dancing. You can go out into battle in that light-hearted play of intoxication of Dvi. Because when you have Dvi by your side, no battle is big. Obviously then there's no battle going >> right it's just it's just play it's leela that is the ga chakra on the other side you have the kiri chakra the kiri chakra is mavara's chakra and kiri chakra means is a chakra that is ridden by wild boores so many thousands of bo are riding are pulling this chariot and going forward and the yogis here are said to be all redeyed with
(46:21) tusks like the bore face and they're also more like you know plumpy and uh round round and they're all laughing a very boisterous laugh and Bha's army is getting intimidated by their boisterous laugh right see on one side you have seduction and play and intoxication on the other side you have this very boyish boisterous tusks red eyes going into battle and she's showing full thing is my spectrum of shi This is my shaky sa here take it. Right.
(46:54) So it is showing that that is the full spectrum what a sadak needs to embody to know which strategy to use against what challenge in life. That is the discernment that a sadak needs to have. And ultimately when ma finally when maalita goes she does not fight the rest of the army because by then this army is already washed out.
(47:17) The only person that she's fighting at this point is directly Bandasura. For every weapon Bandasura throws her way, she has a counter weapon for it. That is the beauty of this, right? Ultimately, she slays Bandasura, which means there is victory of geocentric desires any day over egocentric desires. That is the ultimate play of Shi that sometimes you lose your way along the path but ultimately here you have to come back to me because even even when she slays bandasura she gives him moa and he thanks her for it because
(47:59) ultimately you are my child right but this entire thing is an orchestrated leela to give a message that you can feel like you're losing your way you can feel a million miles away from dii you can feel like she doesn't exist. It's okay. You go through that journey. You explore that journey. Ultimately, you'll come back here only and I'll only give you moka.
(48:26) You can even fight with me. Right? Like bandasura's whole life is revolved around obsessing over how he's going to win and fight against Maalita. But even in that, I'm sure he has taken Lalita's name more than a sadak has. >> It's it's like either you become brahalad. Yes. >> Or you become Hindash. >> Yes. Either way is mo only.
(48:49) >> Yes. >> Beautiful. >> Yeah. This whole war orchestration and this whole paragraph or stanzas of Bundabutra. What do you know about Shunika because there we are talking about his capital also. So is Shunika representing something in us or >> Yeah. Shunyaka the name itself is like void, right? We say when in the Lalito Pakyana when they explaining the shyaka they are saying that it is full of people who are dipped in that void.
(49:24) No matter what they get they're still feeling the void. It's said that the the women in the shyaka are also like weeping tears. >> Oh it's like that incomplete. >> It's like pathos. That's what shyaka represent. That is his capital city. That emptiness that void that no matter what I achieve I'm still empty on the inside.
(49:45) It is such an internal archetype many of us hold right that shunyaka is not some fantasy land outside it is very much inside us we see many of us in our surrounding our friends and our family they're living very kla lives empty lives I'm achieving I'm getting great awards but then I come back home I'm on my bed and I feel like what have I even done I've not done anything I am nothing I'm useless this uh there's no point to any of this, right? There's an emptiness.
(50:19) Despite earning very well, despite having really privileged lives, you still don't appreciate that privilege. You still feel empty on the inside. That is shunyaka. When malita comes in, she fills that and makes it chintamha, right? Chintam graha is so full. There's no space for anything. It's just taken up space. There's no chinta at all.
(50:47) That is chintamani graha. That everything that you wish for like chintamani is a kind of chintaman tectite. There's actually a tectite called chintamani tectite. It's uh it is the stone that is a wishfulfilling stone. So any desire you have you hold the chintamani and you wish for it you will you will receive it in life.
(51:10) So she is a representation of fullness of every desire I've achieved it. So that is the expansiveness of heart. That is where Rama lives right that chintamraha with high ceilings big pillars >> big gems shining opulence abundance auspiciousness beauty aesthetics. That is that is the life that you will lead when you're a sadak of the divine mother.
(51:38) When you feel like you're always in wits with her, and war with her, you will live in emptiness. >> Shunyaka >> beautiful. I would like you to talk a little more about Mavara here because her aspect is mostly never shown anywhere like she's mostly hidden and very now because it's in the cities you won't even find anything about her very limited to villages very limited to matria pujas and all >> um something which we can uh understand about her for our lives for I mean It's practically impossible to understand her
(52:19) in a conversation but something about her aspects or which we can embibbe in our own lives other viewers can embib in their lives. >> Yeah. Ma vahi is known as dhanda right ma if you see within the lalita sahastra namum vishukra prana hararana vah va nandita there's a verse that comes like that right vishukra who is vishukra shukra means light v is opposite vishukra means anything that is opposite of light shadow aspects right so what this represents is that actually this shadow shadows are running the play in the background and what Mahavara does
(53:02) is with her dand she has a magical danda she hits all of them now she's hitting she's destroying all of these shadows that is her archetype right so what she's trying to say is if you want to do shadow work there is no better archetype for you than mahi because if you let's trace back a little bit she is definitely the she's one of the ashta matricas she comes as one of the matrica shakis.
(53:32) So just like how you have kaumari who is kumar shi right similarly vahi is vaha's shi the shyi that is inside vaha as vishnu's avatar what did vaha do he picked up the earth from drowning he saved the earth from drowning in the cosmic oceans so if mahi is the shy of vaha she represents grounding protection That is what she represents as a goddess, as an archetype.
(54:06) She represents very fierce protection for anybody especially in the Shrimidya tradition, she comes in as as one of the davis that we do upasana of. And the reason why we do this is when you start Shvidya upasana, you start attracting a lot of goodness in life, right? And wherever there is goodness, there is always a threat to that goodness.
(54:31) Whether that is internal goodness or external goodness as wealth, abundance, right? There's always going to be a threat to that goodness. Either from internally I will sabotage it or somebody else will want to sabotage it, right? So ma vahi comes in as fierce protector of the goodness that is anchored there within a saddak.
(54:51) That is her representation. With her being dandata, what she also does is she keeps your ego in check because on the spiritual journey it's very e easy to have an inflated ego. I know so much. I am divine mother's favorite child. It's very easy to fall into that trap saying look down on others and judge others who are not having a spiritual experience.
(55:16) Mahi really hits you in the head and be like really favorite child come come you know she's like that and if you see her dada sha nama right the dwadasha nama of mahi reveals many of her secrets like for example potrini potrini is one of her namesi means the borfaced goddess which means that she can dig into your shadow archetypes and pull out what doesn't belong what doesn't serve your life for a saddak's journey Right? Or argni.
(55:49) Arigni is another name of ma in the dwad shaama which means she who has the ability to keep you afloat in the biggest storms. You will never feel like you will drown because she will be there to keep you afloat. Or agna chakrwari. Agna chakraswari is another name for marahi which means that she sits in your agya chakra and gives you command because who is she ultimately? commander in chief of Ma Alita's army.
(56:18) So she gives you commands of what are the challenges you're facing in life, how do you face it? That intuitive discernment is something that comes through the grace of mahi or um there's another beautiful name of mahi that comes in her duadada shaama which is called samaya sananka timely messages. You'll be thinking about something timely she will give you one message very encoded only you'll be able to see it and catch it right that is maji's play samaya sanka when you need something that sanka will come to you that message will reach you in a timely
(56:58) manner not later not earlier samaya sanka she's also known as samayeshwari also which means that she has control over time also So that is her beauty there is and of course like if we go we can keep talking about ma vahi because she has so many different forms also lu vahi swapna varahi many different versions of vahi many different secrets secret cults within vahi worship itself but she's very important in the shidya lineage to really help you take this path deeper to protect the goodness that you are generating out
(57:42) of this path as a as a Dvi bak as a seeker. She really helps you to stay grounded, to stay rooted, to stay on track and to protect that goodness within your own heart without allowing for this goodness to take over your mind. >> Yeah. >> And how does one simply do the worship without going to the fears of okay, it's a matria Dvi, it's a fierce Dvi.
(58:07) >> Well, she is a matria, right? That name itself feels like an oxymoron if there is fear. >> Yeah, >> she's a mother. She's a matria. She's a nourishing mother. This is again our own internalized concepts of uh limits that we've put that if it's a mother, a mother should only be soft and nourishing and cuddling.
(58:29) Has your mother has has your mother always been soft and nourishing and cuddling? She has given you two slaps when you've needed it. She's yelled at you when you've needed it. Right? So similarly if the goddess has created you she is your ultimate mother why do you have to fear if you're getting two dhandas on your head you maybe you deserve those two dandas on your head >> to her to get this >> correct >> okay perfect right >> okay so now um what I'm going to talk about is very controversial very very less spoken about at least on public uh channels you
(59:04) know or public gatherings which is like you said in the last in the past um thing that we discussed about mavari handling the vishukra >> yes shadow aspects >> yeah when you said vishukra from that shukra what came into my mind was also the shukra aspect >> because then there is like shukra right >> and then there is shukra in the body of a male right >> so that shadow aspect for a man is so deeply embedded D like for for a man I think anything else can be taken care of.
(59:43) >> He can take care of the discipline. He can take care of >> the sadness. He can take care of the timings. He can take care of the wounding and all of that. >> But the pin falls again at the shukra >> for a man. >> Yeah. >> The shadow side being connected to lust to the body of other women. >> Yeah.
(1:00:07) And and because also the culture being like that where men are not taught from the very beginning they're like even if they live with two sisters or three sisters >> the family will be very quiet about >> related to women right they will not talk about periods they'll not talk about >> openly about things which >> um they think that okay this might you know >> whatever >> trigger something >> trigger something or maybe make their mind dirty or something like that >> because of which what happens is they don't have any idea and the first sexual
(1:00:38) education they are getting is from um porn websites and all that right this is a big problem in many 99% men easily >> yes >> right >> for some who are not um >> it's like if you keep them safe if you don't show them all of that if you don't tell them they'll be fine but >> but it's it's an inner desire right it's something which we are we are embibed with no one teaches us how to do it but we know it.
(1:01:04) >> Yeah. >> Right. So it's like something that comes in our psyche. >> Yeah. >> But that because of this whole path of society of trying to shun it, trying to suppress it, trying to not tell them becomes a big problem in their journey >> because now they don't know any other way other than what they have learned.
(1:01:23) >> Yeah. So now whatever they do the lust is still overpowering like to an extent where if a man is doing really well in their lives >> lust can take them down like so many sting operations happen so many agents >> yes >> get taken like so many politicians get down with that >> it's so crazy how >> honey trapped >> honey traps right so how powerful how crazy it can be >> so now this is I'm talking about people who are just going on their daily lives and not not going too much into Now comes an aspect of a man who is
(1:01:55) doing the sadha. >> Yeah. >> That to shaki sad. Right. >> Now the problem is that now you are revering to divine mother >> and now you have to see her as a mother >> because there are of course there are sadnas where you can take the shi as your sister as your uh you know friend also. Saki also. >> Yes. Mother. Yeah.
(1:02:18) Yeah, but in this at least ina you can only take her as your mother. At least for a man, >> right? There is no other way to go through this. You have to take her as a as your mother. >> Now this man who has never understood desire, never understood karma and always thought of desire as lust. >> Yeah. >> And has no idea how to tame it.
(1:02:42) >> Yeah. knows only how to uh you know just follow the command of that desire. Yeah. >> Enters the Mahadyy Karma and sees naked mali >> in the first aspect. Right. >> And then moves on to matara then goes to matriund. >> Yeah. Now when you're talking about her aspects where she is the shakti enters right here you're talking about and being into this path I know that the views of how they have been showed they have been talked about in the public is still very sober >> their iconography is very very sober >> how Mama Tangi is shown in pictures
(1:03:26) versus how >> she's described in the Danish locas. >> Yeah. It's if someone who has no idea how to get onto their lust or how to control that, it is this maddening cycle of mother but lust is coming. >> Yes. >> Mother but lust is coming. >> Yes. >> And then while you're visualizing her because the inside churning of the ocean is happening, the suppressed desires of lust are coming up.
(1:03:54) And now you're afraid that what I'm referring to is my mother. She's the universe's mother. But this lust is coming. >> Now you're afraid that she's going to kill you. >> So this nobody talks about this because this is like very serious and very misunderstood also. >> Right. So >> yeah, over to you. >> Yeah.
(1:04:15) I think the word that is ringing in my head as you're even saying this is exposure therapy. Right. So there is this form of therapy which is called exposure therapy where when you have experienced trauma through something let's say you've experienced trauma through going on an elevator the elevator got stuck something terrible happened to you every time you see the elevator you'll have a panic attack right so there is a form of therapy where you keep exposing yourself to the elevator so that the emotional load and that trauma is reprogrammed in your
(1:04:44) system so I feel like it is exposure therapy that they have done in the tantra to Dhaneshloka by desensitizing you to the beauty of the divine mother, right? By going into so much detail about her body, her features and all of that. So, she's beautiful, she's aesthetic, but she's your mother. She's beautiful, she is sensual, but she's your mother.
(1:05:11) You know, it's like exposure therapy. And it also boils down to the fact like we said um that only kamehwara can access this gua vidya. That means for you to access her in her fullness you need to learn how to have mastery over your emotions. And they are not doing this through shame. Nowhere in the shastras they're asking you to feel ashamed of these emotions.
(1:05:40) In fact, many of the shastras teach you how to utilize this energy. Nowhere within our shastra they are glorifying celibacy. Even the whole concept of brahmachara if you actually decode it and understand it nowhere they're telling you give up sex. In fact for a householder they say please don't do that because if you try to give up sex first of all it will break down your family.
(1:06:07) Second thing is that'll be the only thing on your mind, right? It will start it'll start controlling your mind that every walking moving thing you're just feeling turned on by because that is the nature that is what your body is craving for that intimacy right so it's never about abdicating or abstaining sorry abstaining from sex but what they're simply saying is that don't lose your va for men that means don't ejaculate don't lose the vya by ejaculating instead learn how to work with this energy by sending it to higher and
(1:06:39) higher chakras ras in the body because this is potent energy. Sexual sensual energy is creative energy. It is healing energy. It is spiritual energy and when it works from higher chakras in the body can really help you progress very quickly on this spiritual realm. So that's why we say those who hold more spiritual energy also have a lot of alchemical powers if they know how to use it.
(1:07:05) But most people end up falling into this trap where they end up sabotaging their own journey where they end up falling into the trap of feeling so much shame and guilt on this process. For a male saddak the the journey always begins with learning how to gain mastery over that sensual senses. Learning how to work that sensual energy through breath bringing it to higher chakras in the body by surrendering even this emotion we are saying right amma you have the parasha and the ankusha you have the iiku kodanda and the flower arrows my
(1:07:40) senses are driving me crazy I'm surrendering it at your feet teach me right just because they're saying she's your mother they're not asking you to come as a perfect child >> right they're saying come as you are that is what kali is also you know kali like you mentioned ma kali is the digum is digara she's completely naked she is holding her skirt is made up of hands which is kria shaki she is saying as a sadak you show up at my altar with your naked honest truth I will take care of you don't come with this faith
(1:08:23) righteousness, right? Don't come with this um almost like I'm high and mighty kind of feeling. Just show up in your naked honest truth. Whatever that is. You can say, "Ma, you're so beautiful. I'm I'm I'm so mesmerized by your beauty, but I'm also having this massive turn on by looking at you.
(1:08:45) " She will teach you how to control it. She will put the right people on your path, the right texts on your path, the right practices on your path. She will teach you how to control it. But you have to be honest with yourself. You can't act like some righteous person who has control over everything. But then on the other side, you're exploiting people for your sexual deeds. That she will not tolerate.
(1:09:10) That she will punish. That is the difference here. Show up in your honest truth. You know because even the tantras they say that when you show up in your honesty and your authenticity and integrity the dvata itself will protect you. That is the most challenging thing for people is to show up in their honesty and integrity.
(1:09:32) Everything else somehow they can manage but showing up in their honesty that raw honesty when you have that right the whole universe will come together to protect you. I have seen that in my life. The only thing you need is honesty. Be completely honest. Even if you can't be honest with your own mother, you can be honest with the dvata and say, "This is how I'm feeling in this moment.
(1:09:53) I don't know what to do with myself. I'm so taken over by this emotion. I don't know what to do with it." She will teach you, but you have to trust her to show up naked in front of her. >> Right. You can't be like Karava. >> Yeah. who hid himself and went in front of Krishna's only yeah >> that is the biggest secret right like to desensitize yourself to all of this to learn how to work with sexual energy and sensual energy without shaming it without guilting yourself for it is very important that is why for a male saddak
(1:10:39) it begins with the journey of seeing the divine mother in every woman and feeling reverence. You can never achieve divine mother without having reverence for the fellow females in your life. If you're seeing women as objects and then you say I am a Dvi bhak, that's a big joke. That's a cosmic joke on you.
(1:11:00) That is Dvi playing a joke on you. She's never even going to let you come in her closest vicinity even further away. You're not even going to experience her. So it starts with the women in your life. Can you have reverence for them? Can you have respect for them? Can you learn to see Dvi within them in whatever aspect that may be? Di in your friend, Dvi in your saki, Dvi in your sister, Dvi in your mother.
(1:11:25) Because that's how you have access to Dvi through human bodies. That is why in Shri Vidya one of the major pujas that we have is sumangali puja is kanya puja. Right? Like how in Bharav path we have Vatuk puja where they do puja to little boys. Over here we have sumangali puja where they do it to ladies.
(1:11:49) When you're doing navatri celebrations you call ladies home and you treat them like di you do shop pachara to a living woman because she's the living expression of the goddess walking on this planet. If you're able to do that this lust is so easy to walk away from. That's why very serious senior saddaks they take sumangli pratana very seriously they call for every navaratri they call ladies of all age groups and they do shopachara all of them 16 upacharas to all of them like they are davies living breathing shila no pranapradeshta needed
(1:12:25) because she has prana of her own that is shaky moving through her in in life right so when you do that again and again you're desensitizing yourself to not feel sexual all the time. Right? So there are many techniques that are there across from vajoli mudra to uh kanya puja to sumali pratana.
(1:12:47) There are many different techniques by which you start inculcating this archetype that every every woman I see is shi is dvi is the goddess who is worthy of reverence. How many men today can actually say with all their heart that I can really feel reverence for the feminine without judgment or without feeling like somehow I can extract something from them.
(1:13:12) very few they always have this tussle that's their biggest challenge on this path to win that internal tussle that I have this oneupmanship that I am somehow I can control them while also feeling like they are objects while also feeling like I can take from them if I wish to and then you are going on this shi sadena that's when danta will come with her danda ready come on come on babies >> yeah but for the male sadakas who are going through these the these fears on a daily basis.
(1:13:47) The only understanding is to not feel shameful of your own. >> Yes, >> there is no space for shame here on the saddak's journey. There's no space for guilt and shame, right? There is only space for accountability and taking responsibility. You could make a mistake. What is the point of feeling shameful? Is that leading to anything? What is the point of feeling guilt? Is that leading to anything? Rather, if you take accountability, then you can build responsibility to never repeat this mistake again.
(1:14:18) So the shakta's journey is always to take accountability. I take accountability for my inner landscape, what I'm feeling, what I'm processing. And I am seeking counsel from Dvi or from my guru or from other fellow saddaks, both men and women. Does this happen to you? How do you tackle this? Right? The part of that journey itself comes through conversations.
(1:14:47) But today we don't see conversations at all. We only see people boasting about their experiences. >> That's why they say don't share experiences. Nowhere in the shastras they have said don't share your struggles. They have said don't share your experiences because that is Guyha Vidya. Your experiences with Davi is her personal intimate time with you.
(1:15:14) What messages she's revealing to you will unfold on your journey. It's not meant for me. What is opening up for me will unfold something for me. It is not for you. But when what I'm unfolding is meant for you, that cue will also come to share. That's why you don't go on a platform and start sharing. But today, what do you see? You see the opposite happening.
(1:15:37) People show up on on platforms and share their spiritual experience. But how is that spiritual experience relevant to me? You're not sharing the technique. You're sharing your experience. Now here I am experiencing something completely different trying to compare my experience and yours feeling completely worthy thinking that Davi doesn't love me as much as she loves you.
(1:15:58) Right? But if we were to come together and share our let's say roadblocks you know I'm sitting for sadena I'm sitting for japa like keep yawning does that happen to you like yeah it happens to me too and then I make sure that I take a bath before I do sadena and that's really helped oh great thank you so much but right so that is a better way of discussing amongst sads than it's so important but those kind of conversations aren't happening >> it's a lot of shame like recently my one My friend shared that while they when
(1:16:31) they start doing their sad in the evening, they see really bad images of the >> really good images. You >> I mean bad as in like some someone is doing something to the idol. Okay. like really uh if if sees it, >> it'll be very like pain to the heart, you know, something unpleasant and all of that then and she's like, you know, I see this and I'm like, it's okay because I've been seeing this since the past 10 years more than that it's totally okay.
(1:17:00) Like initially when those things used to happen to me, I used to be so shameful about it and so scared that you know what kind of a person I am with this the divine does not love me. But eventually with her grace only I was like okay fine I mean it's totally fine it's all right it's all right pay attention to it.
(1:17:17) So when I told that to her, she was like, "Oh, I thought it's only me who and I totally getting >> along the way." Like we discussed this one >> and also to take it lightly, >> not to make a mountain out of a molehill, right? Because these experiences keep crafting. Some of it is is divine grace, divine play.
(1:17:42) Some of it is the projection of your own mind, right? And sometimes you can't make out the difference unless you're having a full visceral experience from it. Then you know definitely it's not you. It is something beyond that. But it is also necessary for you to be like okay this experience happened. Let's move on.
(1:17:59) If the experience keeps repeating itself then you ask guidance. >> Ask Dvi what is happening here? How do I navigate this? That becomes important. Most of what I have like understood in this whole because this is for men so I can speak on their >> behalf >> is that most of the times it is only your fear >> yes >> manifesting trying to because it's the fear of fearing that >> yes >> it's the fear of oh I will oh I'll go through this lust it's scary now that fear manifests as that is >> and it amplifies >> and it is and you think that this is
(1:18:41) what I'm visualizing but actually not it's the fear that is trying to just >> show up >> like the bundasura sort of some someone from that ar trying to show up and >> correct >> beautiful >> the easiest solution is to breathe >> yeah and >> pause and breathe >> just swipe >> just ignore that oh please >> yeah and the other way other as other solution I found easy was to just surrender I was like I deal with this bro Yeah, >> I cannot deal with this like that.
(1:19:10) Beautiful. Last aspect of the podcast because we are talking about Shivya, we're talking about I want to talk about something which is very um physical and doable >> which I also believe is really important in the path of this like how we talk about vishukra >> shadows right >> shadow work >> and you told you spoke about uh people feeding little girls right? >> Yes.
(1:19:34) So >> kanya >> because we started in the middle we tal talked about how mahabala comes before >> absolutely >> dita malita the role of understanding your aspect because when we do mahabala sad these are not a problem this lust all of this is not a problem there you are playing you're playing with the child form right there's nothing like this there does not exist in that >> realm yes >> right So on a very physical level, forget the fantasy, forget the spiritual aspect, forget the shakta perspective, >> just on a basic level, human mind level,
(1:20:16) >> doing this um you know this churning of the ocean within with your own inner bal >> child, >> how do you how does it help you advance in this path of Shri Vidya or Maralita or divine mother's path not aiming it to any particular genre but yeah >> because the biggest aspects of shadows were created in your childhood.
(1:20:39) >> They only keep growing from in your adulthood rather not even growing right they just remain hidden working in the background but they were created usually in the childhood. So whether be it abandonment wounding or whether be it worthiness wounding right all of this for a shakta when they're moving on this path of shy discovering shy empowerment through shy the biggest shadows that show up for you is am I even worthy of this am I even worthy of grace I feel so abandoned by my goddess I feel like my goddess doesn't love me I feel like my
(1:21:18) goddess loves him or her more than me. Right? So there is all of this wounding has a very childlike quality. It's a very inner child quality. Right? So that is why mahabala also comes in as a healing force here to tell you that you have always been worthy. You just have to remember that >> right to go back and fight your inner shadows that were created in your childhood.
(1:21:46) That is a very part and parcel of a shakta or a any sadak's life. This inner work is very important because without inner work you cannot be an embodiment of shy. It will always be distorted shy. It'll always be shy to gain access and control and influence. Not coming from a place of I have so many toys come let's all play together.
(1:22:14) It comes from only I have toys. I will decide which toy you play with. Right? So for that we need bala that for that we need inner child healing. We need that softness. We need tenderness. We need delight. We need play. >> Need the swan. >> Yes. We need the swan as well. >> Yes. >> Beautiful. Because I think without this particular shadow work what it's not that you will not gain access to the mantras.
(1:22:40) It's not that you won't gain access to the >> Not at all. Yeah. Not at all. You will. >> Yeah. But you will still be that uh Yeah. >> You will still not be complete. >> It will be a distorted version of Shi. We definitely see that in the world today. It's not like people don't have siddhis. It's not that people don't have um you know all of these powers and all of the ways in which they can alchemize and things like that.
(1:23:08) very easy to fall into siddhis right that Davi says that in the Sri chakra the first aana itself is siddhis as soon as you enter she like take all the siddhis you need you take it are you happy now go on with your life don't come after me right that is shy so siddhis are not a big deal but becoming a good human being a kind human being a compassionate human being like malita that is our ultimate goal when we say sudia I want to become Someone like Malalita herself her ultimate representation is compassion, love and tenderness that is beyond the siddhis.
(1:23:47) So it is not the siddhis to get wrapped up in because when you do a tantric karma correctly you will get the siddhis. It's no big deal. >> Most powerful. >> Exactly. It's no big deal at all. Right. So the path is to do the inner work so that you are able to push past the siddhis and see what do I need to achieve? How can I bring loving kindness and compassion to my inner selves? Then the access to magic that you have is way better than any Siddhi can ever give you.
(1:24:14) >> Beautiful. >> Yeah. >> Great. Thank you so much Anusha for this conversation. It was such a journey going into the Shri Chakra and >> through the war. >> Yeah. Through the war and you know >> through love and war >> visualizing Mauras, Mahabala, Mahari. >> Such a journey. I think this was probably one of my best podcast on this topic because I've been waiting to do such a deep dive >> and yeah, I think finally it was time.
(1:24:44) So >> glad I'm glad. Thank you. Thank you so much. for motherh. Shanty
(1:25:38) Shant.