OM in Taittirīya

OM is the Eternal, Om is all this universe. Om is the syllable of assent: saying OM! let us hear then begin the recitation with Om. With OM they sing the hymns of the Sama; with OM SHOM they pronounce the Shāstra. With OM the priest officiating at the sacrifice says the response. With OM Brahma begins creation (or, With OM the chief priest gives sanction). With OM one sanctions the burnt offering. With OM the Brahmin ere he expound the knowledge, cries "May I attain the Eternal." The Eternal verily he attains.

OM in Chhāndogya

om iti etad akşharam udgītam upāsītā;

om iti hy udgāyati tasyopa vyākhyānam. (1.1.1)

OM is the syllable (the Imperishable One); one should follow after it as the upward Song (movement) for with OM one sings (goes) upwards; of which this is the analytical explanation.

So, literally translated in its double meaning, both its exoteric, physical and symbolic sense and its esoteric symbolized reality, runs the initial sentence of the Upanishad. These opening lines or passages of the Vedanta are always of great importance; they are always so designed as to suggest or even sum up, if not all that comes afterwards, yet the central and pervading idea of the Upanishad. The īshā vāsyam of the Vājasaneyi, the keneşhitam ... manas of the Talavakāra, the Sacrificial Horse of the Bŗhadāraņyaka, the solitary ātman with its hint of the future world vibrations in the Aitareya are of this type. The Chhāndogya, we see from its first and introductory sentence, is to be a work on the right and perfect way of devoting oneself to the Brahman; the spirit, the methods, the formulae are to be given to us. Its subject is the Brahman, but the Brahman as symbolized in the OM, the sacred syllable of the Veda; not, therefore, the pure state of the Universal Existence only, but that Existence in all its parts, the waking world and the dream self and the sleeping, the manifest, half-manifest and hidden, Bhūloka, Bhuvar and Swar,—the right means to win all of them, enjoy all of them, transcend all of them, is the subject of the Chhāndogya. OM is the symbol and the thing symbolized. It is the symbol, akşharam; the syllable in which all sound of speech is brought back to its wide, pure indeterminate state; it is the symbolised, akşharam, the changeless, undiminishing, unincreasing, unappearing, undying Reality which shows itself to experience in all this change, increase, diminution, appearance, departure which in a particular sum and harmony of them we call the world, just as OM, the pure eternal sound-basis of speech shows itself to the ear in the variations and combinations of impure sound which in a particular sum and harmony of them we call the Veda. We are to follow after this OM with all our souls, upāsita,—to apply ourselves to it and devote ourselves to its knowledge and possession, but always to OM as the Udgītha. Again in this word we have the symbolic sense and the truth symbolized expressed, as in akşharam and OM, in a single vocable with a double function and significance.

The Sanskrit has always been a language in which one word is naturally capable of several meanings and therefore carries with it a number of varied associations. It lends itself, therefore, with peculiar ease and naturalness to the figure called shleşha or embrace, the marriage of different meanings in a single form of words. Paronomasia in English is mere punning, a tour de force, an incongruity, a grotesque and artificial play of humour. Paronomasia, shleşha in Sanskrit, though in form precisely the same thing, is not punning, not incongruous but easily appropriate, not incongruous or artificial, but natural and often inevitable, not used for intellectual horseplay, but with a serious, often a high and worthy purpose. It has been abused by rhetorical writers; yet great and noble poetical effects have been obtained by its aid, as, for instance, when the same form of words has been used to convey open blame and cover secret praise. Nevertheless in classical Sanskrit, the language has become a little too rigid for the perfect use of the figure; it is too literary, too minutely grammatised; it has lost the memory of its origins. A sense of cleverness and artifice suggests itself to us because meanings known to be distinct and widely separate are brought together in a single activity of the word which usually suggests them only in different contexts. But in the Vedic shleşha we have no sense of cleverness or artifice, because the writers themselves had none. The language was still near to its origins and had, not perhaps an intellectual, but still an instinctive memory of them. With less grammatical and as little etymological knowledge as Panini and the other classical grammarians, the rishis had better possession of the soul of Sanskrit speech. The different meanings of a word, though distinct, were not yet entirely separate; many links yet survived between them which were afterwards lost; the gradations of sense remained, the hint of the word's history, the shading off from one sense to another. Ardha now means half and it means nothing else. To the Vedic man it carried other associations. Derived from the root ŗdh which meant originally to go and join, then to add to increase, to prosper, it bore the sense of place of destination, the person to whom I direct myself, or simply place; also increase, addition, a part added and so simply a part or half. To have used it in any other sense than "place of destination" or as at once "half, part" and "a place of destination" would not be a violence to the Vedic mind, but a natural association of ideas. So when they spoke of the higher worlds of Sachchidananda as Parārdha, they meant at once the higher half of man's inner existence and the param dhāma or high seat of Vişhņu in other worlds and, in addition, thought of that high seat as the destination of our upward movement. All this rose at once to their mind when the word was uttered, naturally, easily and, by long association, inevitably.

OM is a word in instance. When the word was spoken as a solemn affirmation, everyone thought of the Praņava in the Veda, but no one could listen to the word OM without thinking also of the Brahman in Its triple manifestation and in Its transcendent being. The word, akşharam, meaning both syllable and unshifting, when coupled with OM, is a word in instance; "OM the syllable" meant also, inevitably, to the Vedic mind "Brahman, who changes not nor perishes". The words udgītha and udgāyati are words in instance. In classical Sanskrit the prepositional prefix to the verb was dead and bore only a conventional significance or had no force at all; udgāyati or pragāyati is not very different from the simple gāyati; all mean merely sing or chant. But in Veda the preposition is still living and join its verb or separates itself as it pleases; therefore it keeps its full meaning always. In Vedanta the power of separation is lost, but the separate force remains. Again the roots gi and gā in classical Sanskrit mean to sing and have resigned the sense of going to their kinsman gam; but in Vedic times, the sense of going was still active and common. They meant also to express, to possess to hold; but these meanings once common to the family are now entrusted to particular members of it, gir, for expression, gŗh for holding. Gāthā, gīthā, gāna, gāyati, gātā, gātu, meant to the vedic mind both going and singing, meant ascending as well as upward the voice or the soul in song. When the Vedic singer said ud gāyāmi, the physical idea was that perhaps, of the song rising upward, but he had also the psychical idea of the soul rising up in song to the gods and fulfill idea of the soul rising upward, but he had also the psychical idea of the soul rising up in song to the gods and fulfilling in its meeting with them and entering into them its expressed aspiration. To show that this idea is not a modern etymological fancy of my own, it is sufficient to cite the evidence of the Chhāndogya Upanishad itself in this very chapter where Baka Dalbhya is spoken of as the Udgata of the Naimishiyas who obtained their desires for them by the Vedic chant, ebhyah āgāyati kāmān; so, adds the Upanishad, shall everyone be a "singer to" and a "bringrer to" of desires, āgātā kāmānām, who with this knowledge follows after OM, the Brahman, as the Udgitha.

This then is the meaning of the Upanishad that OM, the syllable, technically called the Udgītha, is to be meditated on as a symbol of the fourfold Brahman with two objects, the "singing to" of one's desires and aspirations in the triple manifestation and the spiritual ascension into the Brahman Itself so as to meet and enter into heaven after heaven and even into Its transcendent felicity. For, it says with the syllable OM one begins the chant of the Sāmaveda, or in the esoteric sense, by means of the meditation on OM one makes this soul- ascension and becomes master of all the soul desires. It is in this aspect and to this end that the Upanishad will expound OM. To explain Brahman in Its nature and workings, to teach the right worship and meditation on Brahman, to establish what are the different means of attainment of results and the formulae of the mediation and worship, is its purpose. All this work of explanation has to be done in reference to Veda and Vedic sacrifice and ritual of which OM is the substance. In a certain sense, therefore, the Upanishad in an explanation of the purpose and symbology of Vedic formulate and ritual; it sums up the results of the long travail of seeking by which the first founders and pioneers of Vedantism in an age when the secret and true senses of Veda had been largely submerged in the ceremonialism and formalism of the close of the Dwapara Yuga, attempted to recover their lost heritage partly by reference to the adepts who still remained in possession of it, partly by the traditions of the great seekers of the past Yuga, Janaka, Yājňavalkya, Kŗşhņa and others, partly by their own illuminations and spiritual experience. The Chhāndogya Upanishad is thus the summary history of one of the greatest and most interesting ages of human thought. (SA)

OM in Māndūkya

OM is this imperishable word, OM is the Universe, and this is the exposition of OM. The past, the present and the future, all that was, all that is, all that will be, is OM. Likewise all else that may exist beyond the bounds of Time, that too is OM.

All this Universe is the Eternal Brahman, this Self is the Eternal, and the Self is fourfold.

Now this the Self, as to the imperishable Word, is OM: and as to the letters, His parts are the letters and the letters are His parts, namely, AUM.

The Waker, Vaishvānara, the Universal Male, he is A, the first letter, because of Initiality and Pervasiveness: he that knows Him for such pervades and attains all his desires: he becomes the source and first.

The Dreamer, Taijasa, the Inhabitant in Luminous Mind, He is U, the second letter, because of Advance and Centrality: he that knows Him for such, advances the bounds of his knowledge and rises above difference: nor of his seed is any born that knows not the eternal.

The Sleeper, Prajna, the Lord of Wisdom, He is M, the third letter, because of Measure and Finality: he that knows Him for such measures with himself the Universe and becomes the departure into the Eternal.

Letterless is the fourth, the Incommunicable, the end of phenomena, the good, the One than whom there is no other: thus is OM. He that knows is the self and enters by hi self into the Self, he that knows, he that knows.

Karma translates literally as 'action', 'work' or 'deed' and is often described as the "moral law of cause and effect". Such cause-and-effect occurs on any given plane, whether physical, mental, or otherwise. According to the Upanishads, it is said that the individual or 'actor', known as the jiva-atma, will develop samskaras (impressions) from all actions he or she performs. However, the soul itself is credited with being unchangeable, pure, and eternal, so it is the individual's "linga sharira", a body more subtle than the physical one, but less subtle than the soul, which "serves as the vehicle of mind and character" and retains impressions, carrying them over into the next life. These impressions create a unique trajectory for the individual, linked by actions in former lives and reactions in future lives.

Thus, the law of karma, which is said to be neutral and never-failing, is inexorably linked to the concept of reincarnation. It can explain one's unique circumstances of birth, such as one's personality (or aggregate of desires), family, physical characteristics, and geography. In addition, past lives intrude upon the present one by setting up inevitable windfalls or significant events in the future with vistas of infinite possibility interspersed in between. For instance, the Puranas claim that every being is born with an allotted number of breaths. How rapidly one uses up those breaths and in the engagement of what activities is more or less free, barring other primary karmas. The notion of free will and destiny/fate intertwine very tenuously in the system of karma, where the individual is always responsible for his/her own experiences during any given life-cycle, free to choose and yet bound to decision. The individual must act, must create a future for him or herself. This is central: inaction is not an option.

This system of action, reaction, birth, death, and rebirth is a continuum called samsara. One's atman must inhabit earthly forms (from lowly cell structures, fungi and plants to insects, fish, animals and, ultimately, human beings) in a continuous cycling motion forward in accordance with the system of eras, or yugas, ultimately seeking a way out or degenerating with the cosmos into negation and then emerging in a whole new cycle. This karmic continuity from one life to the next, the indispensability of the individual life to the workings of the universe, is a strong premise in much of Hindu thought and is exemplified as a primary theme in the Mahabharata. On the relationship between the physical life and causal life (the transient, earthly body and the eternal atman), the Bhagavad Gita in fact states that

As a person puts on new clothes, discarding old and torn clothes, similarly an embodied soul enters new material bodies, leaving the old bodies.

(B.G. 2:22)

If samsara were never-ending, the cycle of birth, death, and rebirth would be a guarantee of eternal suffering sweetened only occasionally by ephemeral pleasures and, if one were so fated, rare glimpses of the divine. It is for this reason that many schools of Hinduism, particularly Advaita Vedanta, do not teach that all worldly pleasures are sinful but instead caution that they can never bring deep, lasting happiness (ananda) or peace (shanti) and serve only to further embroil the individual in more and more karma. A person desires to be born because he or she wants to enjoy ephemeral pleasures, which can be enjoyed only through a perishable body. This occurs as long as the soul mistakenly identifies itself with the ego (the sense of "I" and "mine", called ahamkara in Sanskrit), which causes it to be reborn again and again.

It is thought that after several cycles of birth and rebirths, a jiva-atma will eventually come to the conclusion that recurrence is suffering, that desires are the chains of karma, and that there is no other worthy purpose but liberation (moksha). To this end, the individual can undertake spiritual practice (sadhana or sanyasa or the yogas). When the individual finally realizes his or her own divine nature - i.e., apprehends the true "self" as the immortal, limitless soul rather than the finite body or the ego — all desire for the pleasures of the world vanish, since they seem insipid compared to spiritual ananda (Supreme Bliss). It is this realization which is capable of breaking the cycle of reincarnation.

Karma is a useful lens through which to view the concept of sin in Hinduism. To understand 'sin'/ 'bad'/'evil' and 'virtue'/'good' in certain schools which do utilize equivalent terms, it helps to keep in mind that, in this case, that which is sinful is contrary to dharma, or harmony, and therefore complicates one's karma, keeping one embroiled in samsara. That which is virtuous is in accordance with dharma, thus allowing older karmas to exhaust themselves without creating new ones. But, on the other hand, some schools maintain that there is no single yardstick for the valuation of any given karma (action) as being good or bad. It is simply a matter of dissolving past karmas and restraining from creating new ones. To this end, pursuit of self-knowledge would be prescribed as the means towards escaping the wheel of life.

While many Hindus see God as directly involved in this process (particularly as an avatar, balancing dharma and karmic 'debts'), others consider the natural laws of causation self-sufficient.

• Lord Venkateshwara / Balaji
• Theory of Karma
• "Moksha" The Salvation
• Four Pursuits of Life
• Astronomy : Panchanga

Music: Universal Language

Music occupies an important place in our daily lives. When we draw an analogy between music and sport, in the sense that they both involve practice and performance, we get a clearer picture of who we are, and of the social, moral and aesthetic values that guide our existence.

Picture yourself sitting lazily in a lounge bar, having your favorite drink along with few of your friends. You let off few jokes, discuss the latest news and trends and let your soul and body relax from the everyday style of urban working. Now imagine all this without music! Feel out of place? I bet you do. Even if you don’t recall a single melody or flow of notes, still your subconscious has been catching all the music played in the background. Slowly easing and swaying to the rhythm, you enjoy the atmosphere that is created around.

Music is called the universal language of the world because of many reasons. First and the foremost, music is made up of 7 main notes. No matter, what part of the world you are, and what instrument you play, all the music created are one of the 7 notes. There may be different names for all 7 notes in different parts of the world, but for the performer, they are still the same. Secondly music, being a form of art can reach the deepest parts of your heart and soul. You don’t have to be a patient or a psychologist to understand music. As long as any melody and rhythm make you feel yourself, it is the best doctor a person can find, and best remedy anyone can recommend. Thirdly music, like any other language can express any and every type of emotion. But where it scores more is where the words fell short of expressing, while music can go on and on vocalizing all that you ever want to say.

Music therapy is even effective on animals and plants. There have been studies carried and research done on this and findings show that plants and trees that grow in company of good music show a growth percentage much more than normal ones that live without the aid of music. Animals too, reflect their behavioral pattern much better when exposed to music.

Music has evolved along with man and it’s civilization. Old cultures like India, China and some parts of Middle East have a very long history of civilization and their music is far more intricate and complex and some of their western counterparts. For e.g. in India, there are 2 main forms of music, distinct in its tonic quality and geographical location. If we combine these forms, we have more than 300 scales (combination and playing style of the 7 notes). Different scale and style of play portray different mood. Even these scales can be used in free form to someone who know the in and out of such a music form. But in some parts of the world, there are only 2 main scales (major and minor) on which all of their music is based.

If we can feel that It is not our voice, Not our fingers, But some reality deep inside our heart Which is expressing itself, Then we will know that it is The soul’s music. The outer music Comes from an outer instrument. The inner music Comes from the heart. The name of this inner music Is oneness.

Music is the inner or universal language of God. I do not know French or German or Italian. But if music is played, immediately the heart of the music enters into my heart, or my heart enters into the music. At that time, we do not need outer communication; the inner communion of the heart is enough. My heart is communing with the heart of the music and in our communion we become inseparably one.

In the spiritual world, next to meditation is music, the breath of music. Meditation is silence, energising and fulfilling. Silence is the eloquent expression of the inexpressible. Aldous Huxley says: “After silence, that which comes nearest to expressing the inexpressible is music.”

Silence is the source of everything. It is the source of music and it is music itself. Silence is the deepest, most satisfying music of the Supreme.

Silence is like a stream that goes to one place and becomes a river, or to another place and becomes a brook, or to the sea where it is totally expanded.

Silence is the nest and music is the bird. The bird leaves the nest early in the morning and returns to the nest in the evening. Similarly, in the spiritual world, divine music comes from the inmost soul of silence.

Soulful Music

Soulful music immediately awakens and inspires our hearts because it embodies the Absolute Supreme. Soulful music is the Light that wants to express itself in a divine way. Even as darkness wants to manifest its authority on earth, Light also wants to manifest its Reality and Divinity in a specific way. Light is the soul of everything. Light is the soul of music, Light is the soul of love and Light is the soul of all art. When Light divinely manifests itself in the form of music, it is the music of the soul.

Music means Self-expansion and oneness. The Self expands through music. The Self that expands is not the individual self but the unlimited Self. Music is the expansion of unlimited Reality.

We can use music to help us in our spiritual life provided we know that music and the spiritual life are like twin brothers; we cannot separate them. How can we separate two fingers, two eyes? They sit side by side. If one eye is not functioning well, then we feel that our vision is imperfect. Similarly, music and the spiritual life must go together; one complements the other. Music helps the spiritual seeker to go deep within to get the utmost satisfaction from life, from truth, from reality. The spiritual life, in turn, helps music to offer its capacity and its strength, which is the soul’s light, to the world at large.

When we listen to soulful music, or when we ourselves play soulful music, immediately our inner existence climbs up high, higher, highest. It climbs up and enters into something beyond. This Beyond is constantly trying to help us, guide us, mould us and shape us into our true transcendental image, our true divinity. When we hear soulful music, or when we play a soulful piece of music, we feel a kind of inner thrill in our entire existence, from the soles of our feet to the crown of our head. A river is flowing through us, a river of consciousness, and this consciousness is all the time illumined.

Music and Meditation

Next to deep prayer or meditation, music is of paramount importance. Meditation is like a direct route, or shortcut, to the goal. Music is a road that is absolutely clear: it may be a little longer, but it is quite clear of obstacles. If we can play soulful music or hear soulful music, the power of our meditation increases. Soulful music adds to our aspiration. Similarly, if a spiritual seeker wants to be a musician, even if he does not have a musical background, he will be able to be a good musician because prayer and meditation contain all capacities. You may never have studied music, but if you pray and meditate soulfully, then inside your prayer, inside your meditation, by the Grace of the Supreme, the power of music looms large. Then you can utilise this power in your own way.

Each time soulful music is played, we get inspiration and delight. In the twinkling of an eye, music can elevate our consciousness. But if we also pray and meditate, then we are undoubtedly more illumined and fulfilled than a music-lover who is not consciously leading a spiritual life. Each spiritual musician is consciously spreading God’s Light on earth. God is the cosmic Player, the eternal Player, and we are His instruments. It is the Supreme who makes the proper instrument. Then, it is He who makes the player play properly, and it is He who makes the musician.

The Power of Music

Soulful and spiritual music really helps us; it feeds our inner life. Music has tremendous power. With fire we can burn ourselves, or we can cook and do many other good things. It is the same with music. Divine music immediately elevates our consciousness, whereas undivine music immediately lowers our consciousness and tries to destroy our sincere inner cry for a better spiritual life. The spiritual person will immediately be affected by this music. So music can change our consciousness provided it is the music that comes from the heart and enters into the heart. The music that touches the very depth of our heart can elevate our consciousness.

The Mind and the Senses

Our senses are restless. Therefore, our mind suffers. Our mind is doubtful. Therefore, our senses suffer. The mind has no capacity to bind or discipline the senses. Here music comes to the mind’s rescue. With the help of music, the mind binds and disciplines the senses and makes them into perfect instruments so they can be inundated with peace, light and bliss from above.

Again, when the mind is doubtful, when the mind drinks deep of doubt-poison, the senses have no capacity to inject faith into the mind. Here also music comes to the rescue. The senses take help from music to transform and illumine themselves. When the senses are calm and quiet, the doubtful mind is totally transformed and it becomes inseparably one with the heart, which is all receptivity. At that time our Inner Pilot—the Supreme Musician—can manifest Himself blessingfully, powerfully and measurelessly. As He is manifesting Himself in and through us, the divine music becomes part and parcel of our existence and we grow into perfect Perfection. In and through us the Supreme Musician creates a new world. We become the divine music, and a new vision of God’s transcendental Reality operates in and through us.

Can spiritual music be played during meditation?

Certainly, although it depends on the one who meditates. There are many seekers on earth who meditate extremely well, but who have not developed their musical sense. Their ears have not been trained, so we cannot expect them to change their nature overnight. They either lack the capacity of appreciation or they have some austere feeling about music. Psychic music is not very widely appreciated, and very few people appreciate the soul’s music. They feel it is like a stranger that is entering into their consciousness. But it is actually their eternal tenant, their soul, that is deep within them waiting to come to the fore.

If divine music is played during deep meditation, it enhances the meditation. It will immediately help in elevating the consciousness. If you are fond of music, then playing soulful songs or chants during your meditations at home will definitely help you.

Were we to play spiritual music on tape while we slept, would it benefit us in any way?

While you are sleeping if you play soulful music, your subtle vital, subtle physical and subtle mind will enjoy it. But your physical body may find it difficult to appreciate it, for it wants total silence. Although soulful music will add to pure silence, inner silence, the physical body wants a kind of silence which is totally devoid of outer sound.

If you play your tape very softly, it will definitely help and inspire the subtle physical and subtle vital which are not sleeping.

Many, many times when the physical sleeps, the subtle physical and the subtle vital do not sleep. They move around. They roam here and there. They visit their friends and enemies. My music is definitely a source of joy to them. So for the subtle physical, subtle vital and subtle mind, undoubtedly it is a help. But for the gross physical which is trying to sleep, it may be a hindrance, a disaster.

What is the supreme duty of an artist or musician?

The supreme duty of an artist or musician is to meditate before he creates something and, while creating, to be in a very contemplative, divine mood. Then, when the creation is completed, he will immediately offer his creation to the Supreme. No matter what others say about his creation, no matter what his feelings are about his own creation, as soon as his creation is completed, he will offer it to the Supreme for Him to use in His own way. This is the supreme duty of the spiritual musician or artist.

Is creativity another form of meditation?

It depends on what you are creating. If it is spiritual art or music, then certainly it is a form of meditation. But if you play undivine music or write unbearable books or keep your mind in the gutter while you are painting, this is not any kind of meditation. While you are creating, if your consciousness is in the lower vital world, it will not be a form of meditation. But if you are singing something soulful or if you are in a very high consciousness while you are creating, if you are giving yourself in a divine way to the object or subject that you are involved with, then definitely you are doing a form of meditation. You have to know what you are creating and where your consciousness is while you are doing it.

I am giving a lot of importance to aspiring through music.

There is nothing wrong if you feel aspiration in your music. But you have to know how many hours you can think of your music. If you spend five hours, six hours, seven hours a day on music, then you should spend one hour or two hours, let us say, on spirituality. Music is also a form of spirituality; I do not deny it. But the height that you will achieve from meditation either you may not get or cannot get from your music. Music is an added help.

If you can play spiritual music, soulful music, then you will have no problem in your life. But if you play only mundane music, then you may not be satisfied. You may be pleasing the outer world, but you are not pleasing your Inner Pilot in His own way. If you are not an aspiring seeker, that is fine. But if you are a sincere seeker, then you will feel miserable.

When I play music, I feel a tingling around my third eye.

That indicates an awakening. But this does not mean that your third eye is about to open. No. When you play most soulfully, an inner vision-light will come to the fore. Vision is within you, yet it is dormant. But now it wants to function properly; it does not want to sleep anymore. So inner vision is starting to operate. The vision of the third eye is trying to come to the fore, and that is why you are getting that sensation. It is a very good experience.

What is the soundless sound, and can it serve as a bridge between the manifest and the unmanifest worlds?

As it stands now the outer world is not at all aware of the inner world. So first the outer world has to be fully aware of the inner world, and then it has to listen to the blessingful dictates of the inner world. Then the soundless sound—which is now heard only by very, very few Truth-seekers and God-lovers—can be of divine service to mankind. It is an inner discovery. This discovery has to be brought to the fore, and for that the outer world has to be consciously awakened and devotedly accept the beauty and divinity of the inner world.

The soundless sound is something real, absolutely real. But we hear it only in our highest realm of consciousness, or when we dive deep within and reach the inmost recesses of our heart. The soundless sound is infinitely, infinitely more powerful than any man-made sound. But up to now, it has been operating only in the inner world. So those who have a free access to the inner world can hear this sound. Not only do they derive tangible benefit from this sound, but it helps the seekers and God-lovers immensely in their self-giving life to God the Creator and God the creation.