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Tradu. |nglese_|tàlian*?
Karol chiede: Tradu. |nglese_|tàlian*?
Ciao…me lo tradurreste x favore? possibilmente senza traduttori online (ci ho gia provato io con scarsi risultati) …grazie in anticipo!
Stay Hungry is a 1976 dramatic comedy film by director Bob Rafelson from a screenplay by Charles Gaines (adapted from his 1972 novel of the same name). The story centers on a young Birmingham, Alabama, scion, played by Jeff Bridges, who gets involved in a shady real-estate deal. In order to close the deal, he needs to buy a gym building to complete a multi-parcel lot. When he visits the gym, however, he finds himself romantically interested in the receptionist (Sally Field) and drawn to the carefree lifestyle of the Austrian body builder “Joe Santo” (Arnold Schwarzenegger) who is training there for the Mr. Universe competition.
Roger Callard, one of the top bodybuilders of that era, was quoted in a 1983 bodybuilding magazine regarding an event he experienced during the making of the film. “The director was screaming over his megaphone, ‘Please do not touch the bodybuilders!’ People were rushing us, even scratching us!”
Schwarzenegger won a Golden Globe for “Best Acting Debut in a Motion Picture” for his portrayal of Joe Santo in Stay Hungry. Technically, it was not his debut role, since he had played Hercules (as “Arnold Strong”) in the 1970 film Hercules in New York and a hitman in Robert Altman’s 1973 film The Long Goodbye. It was, however, the first time his voice had been heard on film as Hercules was dubbed and the hitman character was deaf and mute.
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Plot Synopsis
Craig Blake (Bridges) is a young Southern man born of a wealthy family, but left lonely and idle after the death of his parents in a plane crash. He is content to spend his time fishing, hunting and puttering around his large family mansion, inhabited only by himself and a butler (Scatman Crothers). Blake’s “job” is a sinecure working at a shady investment firm run by a slick con artist named Jabo (Joe Spinell) and he does very little actual work. But since he has to have his name “on paper” somehow as an employee, he is asked to personally transact the purchasing of a small gym that the real estate firm is buying in order to clear space for an office high-rise.
He initially approaches the gym representing himself as a businessman looking to buy it, and acts relatively impersonal with its staff, although he is strangely fascinated with the world he discovers there (reflecting the expansion of physical exercise to the mainstream which occurred in the 1970s.) But Blake’s primary social life is centered around the upscale country club he attends. The audience is introduced to the ritzy country-club crowd, including the WASP-y Lester (Ed Begley, Jr.) and the roguish rake Halsey (John David Carson). Blake spends his time at this club with his friends playing tennis and shooting poker dice, and flirting with the upper-class women of all ages – one of whom asks Blake to find an “authentic” musical guest for an upcoming party at the club.
As Blake moves forward with his business deal, he falls in love with the gym after visiting it several times – he is immediately taken by the pretty receptionist Mary Tate Farnsworth (Field) and the free-spirited, friendly bodybuilder Joe Santo (Schwarzenegger,) who aspires to win the Mr. Universe title. He cannot bring himself to sell out his newfound friends at the gym for the sake of his job, and so he evades the inquiries of his friend and coworker Hal Foss as to his progress in the purchasing deal. All the while, he grows closer to Mary Tate and Joe Santo – who initially appear to be a couple. However, Mary Tate latches onto Craig romantically – and Santo gives Craig his blessing for this unorthodox relationship, claiming that he needs to keep himself challenged both in the gym and in his romantic life in order to succeed.
La migliore risposta che ho trovato è stata:
Answer by Mauro
r u insane?! fare uno sforzo mai eh?!
Clicca qui se vuoi sapere come creare blog di successo!
Marco Berardinetti chiede: Una domanda da 1 miliardo(il primo che dice la cosa giusta 20 punti)?
Ho un computer Acer Aspire T180 GB7Z e un mio amico mia ha prestato Prince Of Persia e dopo averlo installato mi dice che la memoria RAM è troppo piccola,stessa cosa per Rainbow Six Vegas 2. Voglio migliorare la RAM ma non so quanti “sedi” ha il PC dove mettere le RAM. Rispondetemi plese.
La migliore risposta che ho trovato è stata:
Answer by Cri C
tutti i pc hanno 4 slot per le memorie ram….comprala inseriscila e viaaaaaaaaaaaaaaaaaaaaaaa
Clicca qui se vuoi sapere come creare blog di successo!
Mario Benedetti’s `Ida y Vuelta’ Literature as Socio-Political Critique
Mario Benedetti, one of Uruguay, if not South America’s most celebrated writers, is renown for his exploitation of a wide array of literary genres for the purpose of criticising the socio-political conditions of both his nation and continent. His writings, whether his novels, plays, poems, short stories, political articles or polemical songs, are both reflective and critical of the political discontent and socio-cultural idiosyncrasies which were fomenting throughout and characteristic of Latin American/Uruguayan politics and society. Benedetti’s writings, with their inherent ideological concerns and message, betray an intricate relationship between the worlds of fiction and reality; between literature and contemporary history. It is a committed, or `engage’ literature, as some have described it and, while appreciated by some critics, vehemently criticised by others. Indeed, some critics have maintained that Benedetti’s works, insofar as they are guided by ideological and socio-political concerns, have little poetic and aesthetic value. That some critics should interpret his works as such indicate that Benedetti’s intentions were never to produce works which flattered critics but works which criticised his surrounding reality.
To claim that Benedetti’s literary works are so overpowered by ideological and socio-political concerns that they are ultimately rendered bereft of aesthetic and poetic value is not only an exaggeration but, an exaggeration predicated on erroneous readings and interpretations of works such asIda y Vuelta, La Víspera a indeleble, El Ultimo viaje y otros cuentos and El Cumpleaños de Juan Ángel, to name but a few. Benedetti’s literary works, including the most overtly political ones of the late 1960s and 1970s, are not simplistic representations of political ideology and concerns, nor is their intent a primarily didactic one, as has been claimed. Instead, they seek the transformation of middle-class myths and contemporary history into literary and artistic renditions which highlight the inherent idiosyncrasies of the stated even as they sound a call for awakening, for reform. Benedetti aspires towards the analysis of the Uruguayan mindset, worldview, contemporary history and the peculiarities of Latin American culture within an aesthetic framework. This approach has led to both the popular and critical acclamation of Benedetti as the “Generation of 1945′s” voice and pen. Within this group, a circle of writers and artists who, through their aesthetic productions sought the exposition of reality’s inherent contradictions, Benedetti was hailed as the embodiment of a literary movement which, through art, sought to change self-contradicting, idiosyncratic and truth-defying reality of the contemporary Latin American socio-political culture and landscape.
In terms of literary style, Benedetti’s works clearly betray the influence of writers such as Onetti, James Joyce, Virginia Wolfe and Marcel Proust. As his critics have maintained, in his search for a style which could best express his concerns and maintain a realistic focus, Benedetti turned the aforementioned writers, in his opinion, the masters of Western literature. He did not, however, simply replicate their literary style but, instead, reformed and reshaped their narrative strategies, ultimately lending towards the creation of a uniquely Benedettian style, which both shocked and surprised readers with its abruptness; a deliberate abruptness whose underlying intent was to shock his Uruguayan and Latin American readers out of their stupor and the middle-classes out of their self-satisfaction.Therefore, one can affirm that Benedetti’s literary style reflected his preference for realism and, at the same time, echoed his ideological and socio-political concerns and intentions.
Within the vast body of Benedetti’s works, whether fiction or non-fiction, novel, poetry or drama, the above stated holds true. There is, throughout his works a persistent concern with reality and a determination to draw uncompromisingly realistic portraits of that reality as a means of both criticising it and sounding a call for reform. In the process, Benedetti dissected most everything related to contemporary Latin American culture leaving, not even literary critics and artists unscathed. Indeed, through a thematic and textual analysis of “Ida y Vuelta” this essay shall emphasise that in expressing his socio-political concerns, Benedetti criticised both politics and culture ad, politicians and critics. Far from producing a work which flattered critics, Benedetti’s intention were centred upon the creation of a critical theatre which, among others, criticised the critics themselves
Despite his affiliation with the realist genre and his predilection towards a critical theatre as opposed to a theatre which flatters critics, Ida y Vuelta is categorised as a comedy. At first glance, this “play within a play,” purports to be a comedy but upon a deeper or more critical analysis, is not. Indeed, “Ida y Vuelta,” juxtaposes existential with base reality and fuses several literary styles into a single, multilayered one which both shocks audiences/readers and provokes them into a reconsideration of their supposed realities. While referring to Uruguayan politics throughout, both overtly and covertly, and despite its being an unwaveringly localist work (considering the multiple references to the 17th and 18th of July, the day of the first Uruguayan constitution), “Ida y Vuelta” is inherently universal and tragic. Certainly, it cannot be categorised as tragic in the classical sense but can be in the humanistic sense insofar as it ultimately revolves around the notion of the futile search for the self and for meaning. It is tragic, universal and humanistic because it is ultimately about the quest for heroism, meaning, truth and love, in an age which recognises the value of none of these and, most definitely, neither encourages nor promotes them.
Benedetti, through the fictional author of the work, apparently allows his characters the freedom of improvisation, implying that the characters are in charge of their own fate and not the playthings of an egoistical author. Commenting upon this, critics have maintained that in so doing, Benedetti was rebelling against dramatic conventions and declaring his disregard for those authoritarian critics which insisted upon artists’ adhering to them.
El autor refuses abidance by conventions and repeatedly claims that his characters have assumed an independent. Certainly, the characters are all imagined by el autor and the audience/readers are fully cognisant of this from the outset. Nevertheless, once the characters leave el autor’s imagination and are transferred onto written pages, they appear to assume an independent corporeal form which leaves el autor, himself, in a sense, empty. El autor is left empty because the subject and characters which he had thought of on a daily basis and which, to an extent, were his raison d’être, have left him. In a way, this leaves him somewhat disoriented and incapable of even recognising the work as finished because, his single
“una idea en borrador; tengo que decirla en voz alta, tengo que asistir a mis propias imágenes, tengo que saber si a ustedes les gustan y, muy particularmente, si me gustan a mi. De modo que quisiera mostrarles el material humano de que dispongo, y escuchar después esos inevitables consejos que ustedes siempre saben fabricar, eras recomendaciones que todo buen espectador tiene guiñas de alcanzar al autor nacional. Después veremos, ustedes y yo, si esto sirve para una comedia.”
He identifies his work, the play the audiences are about to see and the drama which the readers are about to read, as a humanistic one, born of the nation itself. El autor, however, due to his having lived with the characters, the story, for such a long time, and as a direct result of his long-term preoccupation with it and them, has, seemingly, lost his objectivity and is profoundly concerned with the reception of others. Indeed, he seeks to protect himself against negative reactions by defining the work as “rough,” even as he, himself, betrays his own reluctance to let go through the aforementioned descriptor. Just in case, however, the play is both well-received and “finished,” el autor announces that he is preparing an work of classic, an “una Nausicaa minuciosamente homérica” (65). With el autor serving as his bookish mouthpiece, in these brief introductory lines, Benedetti tells his readers/audience of the humanistic and localist nature of his play. In other words, he is telling us that this is a serious piece of work which revolves around the human condition, per se, and unfolds within the framework of Uruguayan socio-political life. At the same time, and through el autor, he depicts both the human condition and socio-political life as inherently funny, if only because of its idiosyncrasies and mediocrity. This is succinctly expressed through el autor, who draws his own reality/life from imagination and fiction and who, even though it is his own work, is unable to judge it as finished or not and, indeed, even before allowing us a glimpse into his drama, tells us that he is preparing a classic epic of Homeric proportions.
Critics have made a number of interesting comments about the Autor’s introductory remarks, as discussed in the above. Ruffinelli maintains that these remarks are an explicit statement of disregard of critical opinion. Benedetti is telling his audiences what the play is about, rather than allow critics to interpret it for them and, in the process impose their assumed meanings upon it. He is further responding to possible criticisms with pronounced nonchalance. It is as if, in Ruffinelli’s opinion, Benedetti is telling critics that if they do not like the work, if they regard it as “unfinished,” there is little which can be done as the drama is finished and, indeed, is being acted out on stage. If one were to accept Ruffinelli’s interpretation of el autor’s introductory remarks, “Ida y Vuelta” opens with a criticism of the very people whose profession it is to criticise drama – the literary critics.
Following upon el autor’s claim that “Ida y Vuelta” represents the human condition, critics have drawn attention to the names Benedetti gives his characters. Juan and Maria (not to mention Carlos), as has been pointed out, are common enough in Uruguay, indeed throughout much of Latin America, to signify Everyman and Everywoman. The implication here is that these are merely functional names, assigned to the characters for the benefit of the audience and in order to allow them a greater opportunity to follow the events of the drama and digest it. It is important, however, to maintain a focus on the commonness of the designated/selected names because the aforementioned commonality, or normalcy, of the names speaks of the characters’ colourless, uncompromisingly ordinary and plebeian, so to say, personalities. Destiny brings them together and their sense of spiritual affinity, not to mention common interests, unites the two. The circumstances of their coming together are almost tediously common/normal, just as are their lives and jobs.
As a means of emphasising the uncompromising ordinariness of their lives, Benedetti has el autor ordering the theatre employees about, instructing them to arrange the set furniture in such a way as to visually communicate the stated. At the same time, and as a means of highlighting the absolutely nonsensical nature of their work, Benedetti writes the following:
“El Parlante. —! Rrrrrrr!
Juan.— (Aprieta un botón) ?Señor?
El Parlante.— (Voz grave) Og og og og.
Juan.— Si, señor.
El Parlante.— Og og og og. og og og og og.
Juan.— Si, señor, en seguida. (Sigue escribiendo cada vez mas frenéticamente, mientras vuelve a oscurecerse ese lado de la escena.).”
A few lines later, separated only by stage directions and el autor’s comments,
“El Parlante. —! Rrrrrrr!
Juan.— (Aprieta un botón) ?Señora?
El Parlante.— (Voz muy aguda) Ig ig ig ig.
Juan.— Si, señora.
El Parlante.— ig ig ig ig. ig ig ig ig ig.
Juan.— Si, señora, en seguida.
Sigue escribiendo cada vez mas frenéticamente, hasta que se apagan las luces, con excepción del circulo que rodea al autor.”
There are minor, almost imperceptible changes in the above quoted lines. Juan’s “senor” is Maria’s “seniora,” his his ‘og, og …” becomes her “ig, ig …” As a matter of fact, similarities as such that the “og’s” and “ig’s” are in perfect correlation; in each, repeated four times in the first instance and nine in the second.
It is interesting, at this point, to question why, given the semi-identical nature of these two passages, Benedetti bothered to insert any variations in the first place. In this instance, the extreme similarities versus minor differences denote a number of things about life itself. In the first place, it tells us that even though the human race is ultimately reducible to an identical, identity-less and faceless mass, were one to search closely enough, differences and identifying features/character traits would become apparent. In the second place, similarities, assuming the form of tedious repetition here, express the monotonous, boring, uninspiring and repetitive nature of life itself. Life unfolds, Benedetti seems to say, according to a single pattern and, day in and day out, that pattern is repeated, with minor variations. Life emerges as tedious but it is tedious because the human inclination towards acceptance of their lot and resignation to their fate. In their self-satisfied, logic-defying contentedness, Everyman and Everywoman have forgotten the value of leaving their mark and, indeed, no longer know how to. Hence, Juan and Maria express unquestioning compliance and perfect submission to their superiors; a compliance and submission which, Benedetti seems to hold responsible for the rise of dictatorship in his country, not to mention all of Latin America. All Juan and Maria do is obediently type down the words spoken to them, without comprehending either the meaning of that which is being dictated or the purpose of their task. It is in order to emphasise this lack of understanding and detached disinterest that Benedetti uses nonsensical sounds such as “ig” and “og,” in lieu of words. In this respect, Juan and Maria, as Everyman and Everywoman, represent Uruguay’s self-important, mediocre middle. In exposing the absolutely ludicrous nature of such mindless submission, Benedetti is justifying his own refusal to submit to the authority of literary critics.
In light of the above, references to 17th July assume unique importance. It was on that date, 17th July, 1830, that the first constitution of an independent Uruguay was announced. That date and its implications loom large over the drama as if to draw attention to the clash between political reality and political ideology, as in idealism. The Uruguayans are independent and free; the law of the land, their national constitution, has given them liberty and independence. Yet, the characters Benedetti creates, be it Maria, Juan or Carlos, are inherently dependant and persistently incapable of being free. Believing in fate, accepting destiny and unquestioningly following orders, they cannot exercise liberty nor do they have it within them to do so. Political reality is, therefore, juxtaposed against political idealism to expose a tragic reality; masses which are enslaved by their own design and who are complicit in their own subjugation. It is important, in this respect, to point out that on the office wall, all that hangs is a map of Montevideo and a calendar depicting a single date, 17th July. Through this, some critics have claimed that not only does Benedetti establish a political climate of expectancy, as if saying that the Montevideo-ians will rise again as they did before, but is juxtaposing the promises of the past against the bitter reality of the present. Latchman has, quite interesting, added that Benedetti is paving the way for the Montevideo-ians’ rebellion through his own rebellion against critical opinion.
The following lines are quite important in light of the argument presented:
“Rijo.-No sabes lo que significa asistir a esa libertad. Que un tipo venga y te diga: el señor Tal, morfinómano. Como quien dice escribano o corredor de bolsa. Eso se llama amplitud. Mira, una vez en una fiesta bastante familiar, me fueron presentados varios señores y sus respectivas damas. Uno decía: “Mi señora.” Otto: “Mi novia.” Otro: “Mi querida.” Pero hubo un señor muy culto, con mucho don de gentes, que me dijo: “Le presento a mi amante” y el amante era un tipo de bigote, con un bruto tórax de levantador de pesas. Te das cuenta que amplitud? … Aquí somos unos neófitos. Capaz que ves un día a te mujer del brazo con otro y te pones furioso.”
In the very first sentence, Rijo speaks of freedom, of liberty. The remainder of the passage, however, undermines his very conceptualisation of the term and his understanding of its implications. Suffice to say that a man, a supposedly free one, is offering his fiancée, his lover to another. There are two things to note here. The first is that within the matrix of traditional Latin American culture, this is not only unheard of but the man whose lover/fiancée/wife betrays him with another is regarded as having lost the very essence of his manhood. By depicting, or having Rijio tell of a man offering his fiancée to another, Benedetti is, very succinctly, commenting on the extent to which traditional Latin American culture and values have been degraded and the degree to which they have been perverted. In this, Benedetti is strongly criticising what the Uruguayans, Latin Americans, have done to themselves and is openly holding them complicit in their own de-humanisation, de-masculinisation and subjugation. The second thing to observe here is that liberty has become a meaningless concept. Liberty, implying the freedom to preserve one’s honour, protect one’s family and keep to oneself what belongs to him/her, has been perverted to the extent that it now means the freedom to participate in one’s own de-masculinisation, humiliation and subjugation. As may be inferred from the stated, Benedetti is not only uncompromisingly critical of his society and the middle class but, he expresses his criticism in a manner which is designed to shock his audience/readers out of their self-satisfied stupor. “Ida y Vuelta” is, indeed, an uncompromisingly critical drama, one which spares neither audiences nor critics.
In this play the concept of youth is related to that of freedom and liberty. As Cótelo notes, the notion of youth evokes an image of hope and vitality and recalls to mind all the possibilities which the future holds. Youth, as per the traditional perspective, implies rebellion, freedom and limitless ambition. To an extent it is synonymous with liberty which similarly evokes images of vitality, rebellion and the possibilities which both the present and the future hold. With specific reference to “Ida y Vuelta,” Maria and Juan symbolise youth and, importantly, the law, the national constitution has defined them as free. Yet, just as the times led to the perversion of the fundamental implications of freedom and liberty, Juan and Maria ultimately emerge as perversions of youth and all that which it symbolises. They are seemingly devoid of ambition and vitality and do not, at any point, display a spirit of rebellion. Apart from this being perfectly exemplified through the very nature of their jobs and their submissive acceptance of senseless dictations but, it is further emphasised through references to Juan’s brief sojourn in Paris. As Cótelo points out, references to the “existencialistas caves” of Paris and the city’s museums are so glib and casual that they tell of an ever-decreasing interest in, and appreciation for, culture, high art and values. The youth, as Benedetti appears to suggest, have lost interest in all of the past, present and future, do not have it in them to appreciate culture and high art but, instead, are on a quest for ephemeral and artificial pleasures. The following exchange is relevant to what has just been said:
“Rijo.— Museos? Que museos?
Juan.— De arte, por ejemplo. El Louvre, el Museo del prado …
Rijo.— Ah, esos … Si estuve alguna vez.
Juan.— Notables, Everdad?
Rijo.— Ahí tenes … eso so es igual que aquí. Te aburrís lo mismo.”
Rijo, Lust’s, dismissive attitude to the high art and culture which the Louvre represents, supports the above stated and emphasises that youth has submitted itself to the artificial, temporary and superficial pleasures offered by the submission to lust. In making this particular comment, or observation, Benedetti is, once again, dissecting Uruguay society and the national mindset for the purposes of exposing their mediocrity. Indeed, the observed mediocrity is such that, not only have real values been replaced with artificial ones but, Lust prevails over reason and intelligence. Should we recall that, only a few lines earlier the man who had offered his fiancée to another had been described as “muy culto,” the extent to which culture has been debased and the degree to which Lust dominates over sense and sensibility, effectively sweeping the very notions of honour and masculinity aside, becomes all the more apparent. It is, thus, quite humorous that Juan, disgusted with the Europeans’ “artificio” and “indeferencia,” returns to Montevideo.
If, through Juan, Maria and Carlos, Benedetti dissected and critically exposes the middle class for all of its idiosyncrasies and mediocrity, revealing the extent to which fundamental values have been perverted, he effectively does the same vis-à-vis authority through the figure of el autor. As earlier noted, despite its being his brainchild, the fruit of his supposedly creative labour, el autor is incapable of determining whether or not the work is complete and even before displaying that work for the audience’s judgement, speaks of a grand opus he is currently working on. It is interesting here to note, as does Ruffinelli, an almost perfect correlation between authorial attitude and authority and political attitude and authority. Indeed, Benedetti is referring to the persistent tendency of his country’s leaders to proclaim great projects which will change the face of Uruguay and the lives of her people and their predilection for announcing the completion of those projects before they really have been completed, followed by their declaration of a new and grand project which they are working on. The implication here is that not only are Uruguayan political leaders weak and indecisive but are as empty and as superficial as their promises and public declaration.
If, in his reference to his grand opus, Benedetti is declaiming his nation’s politicians, he is also directly criticising Uruguay’s literary figures and her critics. El Autor quite obviously confuses literary genres and even as he aspires towards epic theatre, he produces a rough draft and while he presents a satire/a comedy his penultimate aim is tragedy. He speaks of Shakespeare and of Homer, of comedy and tragedy, simultaneously expressing the breadth of his literary knowledge but the superficiality of his understanding. Ultimately, el autor can only speak of his proposed grand works – works of Shakespearian and Homeric greatness – but cannot produce them. Benedetti’s portrayal of el autor expresses his own opinion regarding the contemporary state of Uruguayan literature and is, effectively, criticising the critics for their inability to separate the chaff from the wheat. To all intents and purposes and to the extent that critics have failed to incite Uruguayan drama and theatre towards its precious heights but, indeed, appear quite content with its contemporary mediocrity, Benedetti is questioning the very worth of the opinions penned by his nation’s critics.
In addition, as he establishes a relationship, a sense of identification between Rijo and el autor, Benedetti sheds additional light on the former’s character and gives audiences plenty of food for thought. As critics have remarked, not only is Rijo the personification of Lust but he is that which the autor dreams of being, is his hidden self and his own interpretation of his being (suppressed persona), as opposed to his seeming (public persona). The interrelationship between the two is establish numerous times throughout the play, as when Rijo is portrayed as “de ida,” someone who is cynical and un-idealistic as el autor aspires or imagines himself to be or in the fact that of all the characters, only Rijo and el autor are the professionals, the one a profession actor and the other a professional playwright, to name but two examples. Indeed, as some critics have argued, Rijo is el autor’s suppressed `I.’The question is what does this mean?
In establishing a correlation between el autor and Rijo, Benedetti is commenting upon the extent to which Uruguayan high culture as been reduced to base sensationalism which is solely capable of giving a fleeting, forgettable, sense of pleasure.He is further commenting upon Uruguayans themselves and the degree to which they have resigned their minds and are only tolerant of fleeting, hedonistic pleasures. In other words, through his representation of el autor, Benedetti criticises Uruguayan culture and society.
Throughout “Ida y Vuelta,” Benedetti, as opposed to el autor, constantly proclaims his lack of interest in whatever opinion critics may have of his work and voices his own opinion on the critics themselves. There are multiple examples of this, such as when el autor mentions that the work which is about to be presented is just “una idea en borrador” or in his constant references to `improvisation.’ What Benedetti (not el autor) is saying here is that man of the works which are being played on the Uruguayan stage, to critical acclaim, are little other than rough ideas and improvisations. Yet, instead of criticising them as such, many are acclaimed as `groundbreaking works of genius, heralding a new age in Uruguayan drama.’ This is a reference to the state of contemporary Uruguayan drama and criticism which Benedetti’s Uruguayan audience would have understood. By recalling this, Benedetti imposes upon readers/audiences such questions as who judges works of art as grand or otherwise and who, indeed, in this day and age has the requisite talent and the necessary devotion to art to produce such works. Benedetti is questioning the very ability of critics to criticise and judge art and, in so doing, is creating a drama/theatre which is fundamentally critical of the critics themselves.
Benedetti’s criticism of both contemporary art and critics, and by association contemporary Latin American socio-political conditions and reality, reaches its peak in the last pages of “Ida y Vuelta,” when el autor proclaims the following:
“El teatro es otra cosa mas digna, mas rígida, mas monumental digamos. Cuando un personaje de Sófocles, de Shakepeare o de Calderón, dice una cosa, la seguirá sosteniendo mientras viva …”
And, a few lines later he directly addresses the critics:
“Además, los críticos pueden formular objeciones al ritmo, al dialogo, al tratamiento de los personajes, pero jamás al argumento … porque este … es de Homero.
Although el autor, an inherently ridiculous figure, is speaking those lines both to exhibit the breadth of his theatrical knowledge and to appease critics lest they judge his work too harshly, Benedetti is communicating something else altogether. In the above two quotes, Benedetti, not el autor, is calling into question the very notion of what constitutes theatre, drama. Is it supposed to be dignified and are all dramatic works expected to fit into the mould established by Sophocles, Shakespeare or Calderon? The critics certainly seem to think so, with the inference being that they have attempted the imposition of rigid conventions upon drama, ultimately stifling the creative spirit. While el autor is seemingly apologetic for breaking conventions in his `play within a play,’ Benedetti is not for doing the same in “Ida y Vuelta.” Benedetti is determined to break the mould and while the critics may object, the true artist, the free person, will not listen to any but his muse. This is Benedetti’s communiqué to his critics and this is his message to the Uruguayans – the freedom to choose one’s own path and the right to rebel against stifling conventions imposed from above.
The argument presented in the above is clear – Mario Benedetti was, to a great degree, writing for his country and his people. Acting in the capacity of a socio-political observer and artist, in “Ida y Vuelta,” he embarks upon a quasi-vicious attack upon the Uruguayan mindset, contemporary culture, middle classes, socio-political life, contemporary art and literary critics. His purpose, however, is a constructive, not a deconstructive, one. Quite simply stated, he is exposing Uruguay to Uruguay and the middle class to the middle class, literary artists to themselves and, in the process, deliberately shocks in order to incite reform and awakening. Indeed, to instigate reform, to wake Uruguay and its middle class from their stupor, and incite artists to reclaim their creative spirit rather than pay heed to critics and their opinions, he seeks to flatter no one, whether audiences or critics but, instead, to shock and criticise all. It is, thus, that Benedetti’s drama ultimately emerges as a critical theatre as opposed to one which flatters either critics or audiences.
Bibliography
Benedetti, Mario. “Ida y Vuelta.”
Cótelo, Rubén. Narradores Uruguayos. Caracas: Monte Avila, 1969.
Curutchet, Juan Carlos “Los montevideanos de Mario Benedetti.” Cuadernos Hispanoamericanos, 232 (April, 1969), 141-148.
Englekirk, John E. and Margaret M. Ramos. La Narrativa uruguaya. Berkeley: Berkeley UP, 1967.
Fornet, Ambrosio. Recopilación de Textos Sobre Mario Benedetti. Havana: Case de las Americas, 1976.
Latchman, Ricardo. “Montevideanos por Mario Benedetti,” in Carné Critico: Ensayos, Ricardo Latchman, ed. Montevideo: Alfa, 1962.
Ruffinelli, Jorge. Mario Benedetti: Variaciones Criticas. Montevideo: Astillero, 1973.
Villegas, Juan. “Historicizing the Latin American Theatre,” Theatre Journal, 41, 4(1989), pp. 505-514.
Zeitz, Eileen M. “Entrevista a Mario Benedetti,” Hispania, 63(May 1980), pp. 417-419.
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Microsoft Exchange Server 2010 Certification: A Synopsis At Length
Microsoft Exchange Server is a collaborative software product developed by Microsoft. It is a server side of client-server application, and a part of the Microsoft Servers line of products. It is employed and used by enterprises using Microsoft infrastructure products. Microsoft Exchange Server’s major features consist of electronic mail, calendaring, contacts and tasks; support for mobile and web-based access to information; and support for data storage.
Since, today’s business requirements are more extensive than ever, organizations require cost-effective and flexible communication tools. To meet such necessities, Microsoft Exchange Server has extended its reach beyond simple e-mail. The application keeps information close by and also meets the demands of organization’s administrative model. Hence, companies in tremendous need of hiring new professionals who have achieved Microsoft Exchange Server 2010 certification and have in-depth knowledge to aptly deploy the application.
Microsoft Exchange server 2010 training and certification: The benefits
Today’s business requirements, such as security, disaster recovery, and mobility are more extensive than ever before. With Microsoft Exchange Server 2010, one can achieve new levels of reliability and performance with features that simplify your administration, help protect your communications, and delight your users by meeting their demands for greater mobility. Professionals having gained Microsoft Exchange server 2010 training and certification are immensely useful for the organization to increase productivity. As the application is flexible and reliable messaging platform, that can help you lower your messaging costs by 50-80%, and safeguard your business with protection and compliance capabilities that help you manage risk.
Lower IT costs with a flexible and reliable platform
As the demands to optimize your IT infrastructure, for ever-changing business conditions, requires more flexibility, hence devoting in solutions that provide dependability and choice is significant. Exchange Server 2010 certification gives you the flexibility to tailor your deployment to your unique needs and provides a simplified way to help keep email continuously available for your users. Microsoft Exchange server 2010 certification validates professionals’ skills and helps to deploy Microsoft Exchange Server 2010 in a better manner.
Global access to communications
Your business success relies on technology solutions that make your users more productive. With Microsoft Exchange Server 2010 training and certification, professionals are equipped to organize the application effectively, with efficient use of Microsoft Exchange server 2010 application. The application cost effectively provide users the freedom to securely access all of their communications—email, voice mail, instant messaging, and more—from virtually any platform, Web-browser, or device to get more done wherever they are.
Audience profile to pursue Microsoft Exchange server 2010 certification
Mainly intended for the people who aspired to become an enterprise-level messaging administrators. Other professionals may also take the Microsoft Exchange server 2010 training course, like, IT generalists and help desk professionals who want to learn about Exchange Server 2010. The candidates keen to learn this technology must have at least three years experience working in the IT field, typically in the areas of network administration, help desk, or system administration. They are not expected to have experience with previous Exchange Server versions.
Expertise known upon completion of Microsoft Exchange server 2010 training
The professionals, after completion of Microsoft Exchange server 2010 training are able to install and deploy Exchange Server 2010, configure Mailbox servers and Mailbox server components, manage recipient objects, configure the Client Access server role. Not only this, they may also, manage message transport, configure the secure flow of messages between the Exchange Server organization and the Internet, implement a high availability solution for Mailbox servers and other server roles, plan and implement backup and restore for the server roles.
Microsoft Exchange server 2010 certification, mainly, intended for the people who aspired to become an enterprise-level messaging administrators. The professionals, after completion of Microsoft Exchange server 2010 training are able to install and deploy Exchange Server 2010, configure Mailbox servers and Mailbox server components etc.
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The infinite potent stream of prana or vital force is meant for us
The more one’s bodily electricity augments to that extent one becomes more radiant, beautiful, active, zestful, full of aura and talented. The immunity power of body against diseases and brain’s subtle vision, farsightedness and wisdom is dependent on this human electricity.
Ordinarily attraction is called sweetness of one’s nature. That beauty visualized in the delicate nature of our body in it also from the standpoint of anatomy there is a special dance of electrical vibration. Special beauty is seen in someone’s eyes, lips etc and when it is analyzed principally it is proved that human electricity is at work there. When the latter decreases the body becomes dry, listless, ugly, shattered and dim in aura. The eyes are sorrowful and sadness rules the roost and on seeing this one can conclude that the vibrations of radiance have weakened a fair bit and there is a lack of desirable energy.
In order to augment blood and flesh in the body various cures are undergone. But we err by not realizing that when our digestive power and fire of hunger diminishes even our zest and potential of advancement decrease alongside it. This lack manifests as the weakness of the entire body or that of a particular organ so as to render man ill and diseased. In illnesses bacteria and germs are identified. Their presence is not the cause but merely a symptom. Just as in a lifeless human body flesh germs multiply in the same way whenever electricity of the body diminishes there in the half dead body lowly germs, bacteria, viruses etc set up their homes and multiply alarmingly. If the body possesses apt measure of heat and electricity then its intense brilliance any alien particle, germs etc cannot remain alive. In fact at such times if the body is attacked by foreign bacteria etc they are burnt to ashes. When desirable amounts of Prana dwell in the human body extraordinary feats can be executed.
Anatomists opine that ordinarily when someone is pronounced dead even at that time he or she is not fully dead. After blood circulation stops the body stops total function only after 5 minutes. Hence with the help of artificial respiration the almost dead person is sometimes brought back to life via recommencement of heart’s pumping. Death takes place step by step wherein first the brain dies and then the rest of the organs follow suit. At the very end our hair and nails also die. At the time of the French Revolution a revolting person’s head was cut off. In official government documents there is a record of the fact that for quite some time after the head was cut off its lips and mouth moved in such a way as though it was trying to convey something. In ancient times when battles were fought with swords the cut off heads of soldiers would fall off and yet the lower half of the body would get up and wave the sword in its hands. In the same way the cut off heads were also seen to bob up and down. This proves that even after legal death life for sometime in certain ways dwells in the dead pronounced body. This existence that continues to function post death too is called aura of light by spiritualists.
The same holds true for clothes and other objects of utility value. Men of either good or bad character leave their imprint or influence on objects they have used with more attachment and liking. If a person gets rosaries, sandals, clothes etc used by truly great saints and sages they benefit from the saint’s divine influence present in these gifts. The same importance dwells in objects like pen, watch, finger ring, buttons etc of great saintly people. A tooth of Lord Buddha is stored sacredly in Sri Lanka. In a mosque of Kashmir one can see the hair of Hazrat Mohmed being stored sacredly. Even bodily parts like hair, nails of great saints are full of importance. Using these as a medium Tantriks carry out wholesome or vile rituals and deeds.
Ones personality is deeply influenced by the body’s aura. Generally it is created due to the practice, efforts and psychic imprints of innumerable past lives. And yet if man uses his/her independent consciousness this aura can be transformed too. The ordinary laymen of the world act and imbibe a character that is based on the already possessed aura from past lives. But men of high stature will power via their strong power of resolve can bring about mind boggling transformations in their external and inner personalities. Then in the created aura too this great changes get reflected. In the color and vibrations of the aura changes are very tangibly visible. Socrates says: By nature I could have been a deadly murderer but with great effort I transformed myself.
Sometimes in ships due to the combined influence of the ship and sea water cold fire erupts and it can be seen shining brilliantly in various parts of the ship. On its own it is a type of electricity but one that does not harm us. No object or person gets hurt by it. People of yore called it ‘fire of Saint Alyo’ and believed that this fire was bestowing creative grace on their ships. Today it is called ‘ghost of ships’. According to scientific data ocean’s chemical content, vibrations from waves and movements of ships together create this cold fire based light and due to this subtle creation the ship gains greater strength.
In a night of intense fog surrounding stars in the sky dwells a radiant circle of white light which appears to us as an unclear blue glimpse. Sometimes during monsoons surrounding the moon too one can see a round aura of light. In engineering parlance it is called corona. Its cause is the radiation based obstruction of the high tension of those stars full of brilliant light. When water drops create an obstruction in the light energy of its step by step scientific nature then as a result this brilliant corona is seen.
In the same way surrounding the human body too is an aura of light. It consists of electric particles, magnetism, radiations and conscious energy. It can be figured out and measured too using technological apparatus. People close by can experience this aura on the basis of invisible influences that contact their body and mind. Sometimes contact with certain people very naturally induces joy, inspiration and beneficial for us whereas many whom we contact induces displeasure and pain in us. The scientific reason behind this is that aura coming out of the body of people whom we contact induces attraction or revulsion in us. The energy of people with similar personality unite together and thus amongst them cooperation and encouragement is noted. But if the personality of 2 people clash then the result is hatred, displeasure, wrath etc.
It has been seen thus that some personalities elicit friendship quite naturally amongst themselves. Despite never having known each other previously yet they feel they are long lost friends and just cannot refrain from talking to one another. Behind this natural attraction it could be a bond of a previous lifetime being rejuvenated but the direct cause is that the similar aura of both the people naturally attracts each other. In a very short time such personalities become fast friends who trust each other very greatly. On the basis of dry logic this attraction seems rank superficial emotionalism and in this haste can reside a great danger too. Yet facts are so powerful that while overcoming these possibilities fast friendship definitely gets reinstated. In the same way it has been seen that there is no rhyme or reason why we dislike a particular relative and that contact with such a one creates strife for us. Despite not finding a reason for this yet disparity continues. Under such circumstances rules a chief obstruction in the form of extraordinary disparity in the speed of vibrations of our aura. Hence poets write that if only our personalities and nature are similar will our minds unite and if not the minds will get repulsed. This nature is not merely similarity in ones food habits, wearing of clothes etc but that the cause is deeper. It can be unearthed only in the similar stature of the aura of 2 people. Undergoing discipline or flouting it results in zest or anger based on similarity or dissimilarity of the aura.
Many times in graveyards balls of smoky light or fog is seen. Even post death the aura of the dead body remains in some form or the other. When the corpse of a buried dead person rots its aura can fly around that region. Sometimes it can be seen by our eyes and sometimes passerby people can experiencing not so pleasant heart beats, hair standing on end etc. Such people yearn to run away from that place. Such experiences can be the cause of fear and suspicion yet many times even very fearless people who do not accept existence after death also experience the above and say that they have experienced some invisible movements I that vicinity.
Behind Aghor activities like performing subtle practices in graveyards, cleaning of the skull of dead people by Kapaliks and then drinking water from it lies the principle of usage of left over aura based energy of the deceased person. In Tantra practices an aspirant not only uses his/her own will power but that but that they make use of the bodily energy of others too. Hateful rites like animal sacrifice are executed to accrue benefits of such lowly stature.
The external introduction of man’s inner vital force or Prana energy can be attained by the widespread nature of the form of his/her aura, its density and magnetic radiance. Sensitive people can easily identify externally spread out inner personality of another person and can also talk about its stature. Sometimes this aura is so brilliant that it can influence regions nearby. Those who enter its periphery blissfully ‘swim’ in it.
THE INNER VAULT OF MAN’S INFINITE RADIANCE:
Human magnetism can be experienced as aura of light. By itself aura pervades the entire body and like sound when it travels farther it becomes dimmer. As soon as it contacts the body this electrical flow becomes faster and hence touch sensation is most influencing. The more ones aura is brilliant closeness to such individuals influences us positively immensely. This aura could be wholesome or otherwise. Both in their own way can attack and influence others. As a result ordinarily nearby people or objects get influenced by a particular person’s aura.
This aura of light is mainly seen on our face. Around the face of photographs of demigods and angels is a sun like halo surrounding it and it is but the aura we speak of. Its flames rise in our eyes, when the tongue speaks especially emotionally even then this aura is seen to erupt as flame. The group of organs of knowledge/perception and brain’s vault of human electricity dwell in one place. Hence the face is most attractive and influential. From a gross standpoint on seeing the face others succeed in knowing and understanding a great deal. Subtle seers who can understand humans by seeing their form do so not by seeing the designing of the nose, ears etc but by analyzing the aura surrounding their faces and on its basis understand others’ inner personality.
Just akin to the face ones aura is also greatly present in our genital organs. But since in it rests chiefly the attraction for procreation hence the aura influences more attraction for youthfulness. When opposite sex people come close to each other this aura intensifies. In people of same sex this aura does not get so excited. On seeing these problems the genitals below the waist are covered by clothing. From the standpoint of electric flow even there in comparison to the face the measure is no less. But the above obstructions render it useful only for limited ends. In the married state couples benefit from it. Due to this the genitals are covered. Only for sexual contact the genitals are uncovered. If this taint were not there then this genital aura would be much more influential than the facial aura. The aura of the face is liberated from such obstructions. Whether it is good or bad it will influence nearby regions, people and during touch based contact with materials. Just as germs, bacteria etc enter one body from another in the same way this aura of light in nearby regions spreads the light of its mental and soul state.
Even an ordinary iron piece becomes magnetic on touching a magnet. In intensely talented and radiant people too human electricity overflows. Nearby people benefit from their advice, wisdom etc but the chief benefit is with reference to that aura of light which transmits its powerful potential ceaselessly and whosoever contacts it gets positively influenced and transformed immensely. Even in the holy Darshan, touching feet, sacred utterances, glance etc of great saints dwells pious results. Over here it is the brilliant divine aura of revered people that is at work. In other words this subtle existence can be called invisible personality. The visible personality is dependent on ones bodily color, form, shapeliness, designing of bodily parts etc but it cannot influence ones subtle invisible personality. Even a very dark skinned, ugly, weak and aged person can be very radiant and talented within. Externally, he/she is mocked at. Bang opposite to this a person whose external gross personality is full of beauty, youthful etc could yet be of lowly stature as far as his/her subtle inner personality is concerned. In the initial visualization by our eyes we can be deluded in understanding the real state of a person when we see his/her external form but as soon as his/her reality unfolds ones delusion vanishes and on the basis of one’s true inner nature apt gauging will take place.
Ordinarily a person’s color and external perform attracts us yet if the aura does not bear any correlation with it what one has gauged initially will prove to be erroneous. A beautiful body could be venomous from within and ugly people from the bodily standpoint could be greatly radiant within like Socrates, Ashtavakra and Gandhi. To an extent one’s bodily ugliness can be hidden using beauty treatment aids but the inner personality that is aura based cannot be veiled thus. If a person’s psyche is awakened and one possesses a subtle vision to understand another’s inner subtle personality they instead of seeing ones bodily color, beauty etc will visualize the ugliness of beauty of one’s aura based subtle personality and based on this will have faith or lack of it to that person. The reason why one wears clothes can be to ward off heat, cold and other climatic influences or it could be to deck up and beautify the body but the root cause is to veil the inner aura of one’s personality. In order to ensure that our inner energy does not get frittered away in the external world a veil in the form of clothes is used. Those sages who roam naked also are known to cover their bodies with ashes or mud. If the body is rendered totally naked one will be labeled uncivilized and uncouth. Its cause is social belief and taboo yet the spiritual cause is that when our body is rank naked it tends to fritter away its energy vibrations in high measure. Along with this such a body cannot protect itself from good/bad influences of other bodies it contacts. Sunlight influences a naked body greatly. Similarly other people’s magnetism too influences naked people much more. If you wear silken or woolen clothes you can cover your inner aura much better hence in high stature worship rituals called Purashcharans greater emphasis is laid on wearing silken clothes instead of cotton etc. Over here one more thing to be noted is that clothes made from wool got by killing sheep or silk got from killing silkworms in hot boiling water cannot be used for spiritual practices. When a sheep is killed for getting wool it wails aloud in pain and this wool if worn by a spiritual devotee can manifest in his her psyche demonic unwholesome qualities. In the coming and going of bodily electricity the potential to create obstacles dwells in such woolen or silken clothes. Thus in high stature spiritual practices such wearing of clothes would prove that much more dire.
There was a time when Indian spiritual seers successfully served in the above arena. The profound thought flow of Lord Buddha during his era inspired about 0.25 million people the world over to renounce a life of eat/drink/be merry and rank die hard materialism so as to joyfully imbibe seemingly hard to attain goals that appealed to Buddha since they overflowed with intense human electricity. Lord Ram zealously encouraged monkeys, bears etc to perform those tasks wherein at a superficial level not only there was no benefit but that instead their very life was at stake. Lord Krishna played a major role in the designing of the Mahabharat War and thus incited the substratum of the psyche of many. The Pandavas did not think it necessary to fight that war and Arjun too had no such desire yet keeping in mind the desired goal Krishna who oozed with divine soul potential insisted on creating such inciting terrific circumstances. It was Krishna who subtly aided the manifestation of divine sentiments in Gopis of Vrindavan.
Jesus Christ, Hazrat Mohmed, Lord Zorastra etc were men of strong spiritual power who induced people to walk on a wholesome path. Preachers the world over no doubt deliver flowery discourses yet those who praise their art seldom actually walk on the path spoken about by these preachers. Over here there is nothing wrong with their speech but the fact that they lack strong will power and soul potential the psyche of listeners are not inspired enough to tread the path of greatness. Naradji due to his radiant psyche and soul could positively change the life stream of others with just a little bit of advice. His disciples included Valmikiji, Prahlad, Sukanya etc who walked the path of ethics after getting duly inspired by their spiritual teacher.
During their times great spiritual seers and divinely radiant leaders like Samarth Guru Ramdas, Ramkrishna Paramhans, Vivekananda, Guru Govind Singh, Dayanand, Kabir etc have usefully inspired world humanity and induced enterprise in them to walk on the desired wholesome path. In recent Indian history we have all seen how due to Mahatma Gandhi’s inspiration so many people zestfully imbibed a sense of sacrifice, renunciation and so on to free India politically from foreign rule.
Energy is this level of activity wherein the aura of a person full of human electricity enters the personality of others with weak aura and in no time the latter start oozing with great soul potential. With reference to this one finds examples like one lit candle lighting another or the transformation of iron to gold when touched by Paras or a touchstone.
A very small form of the above divine brilliance and soul potential is human electricity. When the personality is divinely radiant this manifests as Prana Energy. Maybe externally such people do not appear radiant yet their inner divine potential is extraordinary. In comparison to material grandeur in the form of wealth, knowledge, bodily strength, weapon based might etc the above divine energy is infinitely more potent.
Infinite energy centers of this divine power or Ojas is present in ones subtle body. If only they are activated from our very bodies demigods and divinity can manifest.
Some years back a great scholar of Mumbai, India Mr. B J Rele had written a book called ‘The Vedic Gods as Figures of Biology’. In it he had proved Aditya, Varun, Agni, Marut, Mitra, Ashwini, Rudra etc described in Vedic texts are actually divine energies of the brain which on getting activated one can attain special divine capacities.
Grant Medical College’s Prof Y G Nadgir and Edgar J Toyem together had written the preface of this book and they wrote that they were astonished regarding the deep wisdom possessed by Vedic Rishis with reference to the designing of the human body. They opined that in those Vedic times where no scientific technology was available it was mind boggling how they attained such profound knowledge. Above the eye area that part of the brain is called large brain or cerebrum which is the center of divine consciousness. Over here reside Indra and Savita. The back portion of the brain is small called cerebellum and is the area of activity of Rudra demigod. The upper part of brain is Rotsi, center part of the brain is called space and lower part is earth. Rotsi is related to the flow of divine consciousness, in space is related cosmos full of galaxies etc and earth is related to material powers that work in that world. Rotsi is related to the energy of Agni, to the door of heaven or Swarga, Drona, Kalash and Ashwini.
The lower portion of Agni is called door of heaven and its lower area is called Drona Kalash. From here flow 7 river streams. Drona Kalash is filled with Soma nectar. On its basis muscle centers get required energy to function. Two networks of glands connected to the spinal cord are Ashwinikumaras. A special fluid that surrounds the periphery of the entire brain renders that entire area conscious which is called Varun. Over here is the wisdom sheath of Agni demigod. In the back portion of the brain dwells ‘temporal leave’ which is Shankhpali of ancient times. Below it are Piyush (nectar) glands also called medulla is nothing but the Vedi or dais of ashwamedha Yajnas. Ashwamedha means sanctification of the senses for which is responsible the region of nectar emitting glands.
In order to transform deep sleep into the waking state we have to get ‘heated’. As a result of intense austerities we get examples of people attaining Sidhis or Divine Powers. Behind this is the advancement of Prana principle or vital force in which lies the goal of inner personality purification. No demigod from outside comes running to help us and in fact inner radiance that ushers in due to profound penance get converted to demigod energy so that our souls ooze with divine wealth. Those possessing this grandeur and wealth get credit for rendering themselves happy and blessing others with the same too.
Yoga practices can be defined as that methodology by which human electricity dwelling in our body, mind and psyche is augmented and made wholesome use of for world wellness. It is for this end that various types of penance based practices are designed. By residing near a person overflowing with potent vital force one can benefit from his/her electrical flow in the same way as small plants, trees etc growing near sandalwood trees imbibe fragrance from it. Spiritual practices like Mauna or silence of speech, living in solitude and sexual continence have been emphasized so that instead of our electrical vault getting frittered away in vain tasks they can be rendered focused so as to use it for great tasks. It is believed that residing and contacting great people has immense benefits. Even if you do not listen to their discourses yet contact with such people especially those imbued with dim vital force can benefit a great deal. It is clear that if objects contacting fire and electricity have the power of imbibing they too become of that class.
On making efforts this gets transformed into conscious magnetism and soul power. Going ahead one gets Sidhis or divine powers associated with Yogic practices along with glories of divine grace. It is only strong soul power that can help us execute austerities, endurance and spiritual practices full of hardships. Soul radiance advanced to this stature attracts divine energies of the subtle world towards itself.
GAYATRI MEDITATION-DIVINE LIGHT BASED SPIRITUAL PRACTICE:
In spiritual science one finds discussion in so many places regarding spiritual practice based on divine light and a yearning too for this light. This light is certainly not related to bulbs, tube lights, sunshine, moon shine etc but that it is a supreme light which by becoming an aura of consciousness in the world radiates in it. This supreme light is called Savita deity which is an icon of Super Energy Gayatri. Everyone can visualize/experience it directly as Ritambhara Prajna or divine intellect and also as life’s light that pervades every iota of this cosmos. Know for sure that more its measure manifesting in us the more portion of divinity is radiating in us.
From the central region of brain springs forth particles of light. Its rising waves take the shape of a ring and then returns to its root source. This is a functioning akin to radio wave transmission and focusing. Energy emitted from the Brahmrandhra in the scalp helps flow its inner hidden sensitivity in the cosmos via ether vibrations. Thus man emits an introduction and influence of his consciousness in the entire world. The streams of this returning springs carries with it worldwide infinite knowledge full of information which is the newest, episode based and sensitive. If these are understood aptly and imbibed duly anyone without exception can unearth very detailed and important events of the distant past and present times. People have a potential to imbibe and transmit this flow and its medium is the polar region of the Brahmarandhra. Other planets in space are known to send many gifts to planet earth and its special qualities go to other regions. This give and take between various planets is executed in the Polar Regions. Even the human body possesses 2 polar region viz. the brain and genital area. Conscious radiations are associated with the brain and force based energy is related to the genitals. Very important subtle technique of give and take is executed via these 2 centers.
As per ones bodily and mental state the aura maintains its steadiness. If the situation changes the state of our aura light too changes accordingly. Not only this but that time and again based on man’s changing personality and thought stature periodical changes are seen. Subtle seers visualize these differences like changes taking place in colors. Peace and gentlemanliness based mental state is seen in the form of light blue color. A mental state full of humor, desires, authority, grandeur, good at social etiquette is of yellow in hue. An aura of red connotes that one’s psyche is full of wrath, egoistic behavior, harshness, heartless, selfish, biased and foolish. Green color connotes a nature based on creativity and artistic inclination of mind. Dark purple is related to an intellect full of imbalance and unsteadiness. The aura of righteous devotees of God and men of ethics takes the color of saffron like orange. In the same way an admixture of various colors keep changing based on changes seen in man’s qualities, activities and inner personality. This aura generally does not always remain steady. Changing mental inclinations render changes correspondingly in our aura of light. Independently these colors have no importance. Changes in our mental state, the rise-fall in the number of energy vibrations emitted by our body are experienced by our vision. Scientists call this frequency of the waves.
Applications like clairvoyance, divine experiences or psycho mestri, telepathy and suggestion can be executed very easily as soon as our soul power advances. In the past few years a lot of research has been done on these subjects and as a result of these scientific efforts useful conclusions have been drawn. Just like radiology and electronics consciousness based sciences like parapsychology, ESP science and metaphysics are blooming forth. The more the layers of mysterious information regarding the power of the unconscious mind is being unveiled the more it is becoming crystal clear that man who appears to be animal like is in reality an infinite storehouse of unlimited powers and potentials. The problem related to this is that majority of these energies exist in unknown latent states.
The length of light rays is of the measure of 16th to 0.3 millionth part of an inch. The speed of sound waves heard on a radio is 0.1 million 84 thousand miles per second. In one second these circumambulate planet earth totally 7 times. The form and flow of waves of sound and light are so subtle and speedy that without the help of subtle technology our sense organs cannot experience it. Dr J C in his book ‘Atom and Soul’ has accepted that the light based vapor of human atoms is present not only in mankind but also in other creatures, plants, herbs etc. It is these light based atoms that create apt bodies of various creatures. The body of man or other living beings made of mineral based material can remain balanced and steady only as long as these atoms of light reside there. As soon as these atoms of light go away the gross body is rendered useless and dead and thus has to be cremated or buried. If this dead body is left out in the open one cannot remain near it for a moment even due to foul stench as a result of decay emitted by it.
Character, psychic imprints or Sanskars, desires and action power are but a play of these light atoms. We all know that one photon is made from union of atoms of many colors. The light based aura of the human body too is made from many hues. After subtly and scientifically researching patients, criminals, laymen and great personages Dr J C Trust said that the more a person is great and full of pious qualities his/her human atoms are more oozing with divine radiance and aura whereas the light atoms of criminals and diseased ill people are weak and full of darkness. He by seeing dark spots of many humans via his divine vision pointed out they were criminals or ill patients thereby making people accept that definitely repercussions related to the black color atoms of patients’ and criminals’ psychic tendencies. Man despite desiring to yet fails to bring about changes in his personality as long as this tainted light atom dwells within him.
Not only this, but the presence of these tainted light atoms gathered from many lifetimes forcefully induce man to act vilely. Thus again and again man lands into the crater of downfall and renders his soul agitated. As long as these tainted atoms do not transform positively, as long as they are not deactivated till then man cannot change his circumstances in any way.
This fact is definite that if there is potency in our light atoms we can help others too. Diseases can be warded off. For some time those with tainted thinking can be transformed into one with sacred character. As soon as the dacoit Valmiki came in contact with Sage Naradji, the former’s light atoms got a jolt and were thus forced to positively transform. As soon as the dacoit Angulimal entered the periphery of electrical halo emitted by light atoms of Lord Buddha his tainted thought flow reverted to holiness. In the hermitages of great Rishi-Munis, cows and tigers were known to serenely drink water together from one pond. The cause was the presence of divinely potent light atoms over there. As soon as such an atmosphere disappeared the light atoms would strengthen but with taints as a result of which they would again act vilely. Hence instead of giving someone soul energy or vital force Indian spiritual teachers designed a methodology wherein anyone as per his/her desire could advance and transform his/her light atoms. This was termed meditation and worship of God.
Meditation and worship is a scientific technique wherein we transform our black, tainted and sin inducing light atoms residing within us into divinely radiant, wholesomely active, peace enhancing principles. For example when we execute Gayatri Meditation the medium that removes tainted light atoms so as to replace them with divine light atoms is done by Gayatri’s deity Savita or sun.
From the standpoint of designing of colors and light these human atoms are of varied character. Whatever is the character of man perceived today it is because of the presence of these atoms. If this science is deeply understood not only does our own life be rendered pure, sacred and disease free but that others too can be influenced benignly. The basis of heaven and salvation are these human light atoms.
We see objects in the world with the help of light. Yet if with the help of ordinary light particles we wish to see cells within our body we cannot do so simply because they are subtle and miniscule. When electrons are sent to a microscope with an onrush of 5000 volts their waves in comparison to long white light particles is subtle by 1/10000 times. At that time whatever is the diameter of atoms of hydrogen other atoms tinier by 42.4 times than them can enter and show us all functions taking place there. For example if man’s eyes can see a depth of 1 inch then 500 times lesser than this can be seen by a microscope and 10000 times less by electron microscope. From this we can infer how subtle are the conscious part of cells of the human body. Via such microscopes when cells are visualized in it a blinking light is seen. Consciousness or Mahattava (great element) in this manner is but a very subtle spring of light. This scientific fact has been fully accepted by modern science too.
Amongst the 6 Chakras of the Brahmarandhra unearthed by Indian Yogis of yore Sahasrar stand out predominantly. This center is in the form of focused divine light situated 2 inches behind the temple of the face and around 3 inches away from the eyebrows. According to great spiritual seers this region is like an upside down umbrella or a bowl and is made up of 17 major light principles. It appears like mercury light. In the Chandogya Upanishad attainment of Sahasrar Philosophy has been put forth in 5 letters as follows:
Tasya sarveshu kamachari bhavati.
The above means that by attaining Sahasrar, a Yogi can attain all material sciences. This is that very energy center from where the brain controls and directs all bodily functioning and in this world whatever extraordinary science invented by human efforts is seen directs it.
Soul or consciousness manifests themselves from atoms which are none other than the above light atoms and yet the soul is separate from them. Light atoms should be called Prana, vital force, managing power, fire, divine brilliance and so on. The more they are pure, brilliant and divine one will become a great radiant, famous, valiant and artistic person. The aura of great saintly people symbolizes all this whereas in lowly stature people these atoms are weak, loose and black. It is required that we transform these dark tainted atoms into divinely brilliant ones and thus enter the category of great people of the world.
The aspirer of divine science prays: ‘Tamaso ma jyotir gamaya’ wherein he yearns for this divine light. Every awakened soul feels the requirement of it. Thus a Gayatri devotee via his/her Japa or Mantra chanting practice meditates on Savita deity so that this light is born in his/her psyche.
AUTHOR: Shriram Sharma Acharya founder of the International Gayatri Family was a great Yogi seer and incarnation of God who wrote volumes of scientific literature mainly on spiritual subjects for world welfare and peace. For more scientific e-books visit: http://www.shriramsharma.com/ and http://www.dsvv.org/ DESCRIPTION: Free e-books on Future Scientific Religion, Gayatri Science & Kundalini Yoga correlated to Neurosciences-ESP, Endocrinology, Anatomy, Psychology & Sociology for 1) material & spiritual prosperity & 2) uniting the world peacefully as a family. Ours is a strictly non-commercial website which aims at realizing the age old dream of great leaders and thinkers of the world: A beautiful borderless world. KEYWORDS: Kundalini Yoga Gayatri e-books biography Guru world peace mind psyche god nerve subtle consciousness soul divine trance endocrine glands ESP Chakras plexus meditation concentration intellect prophecy thought thinking Cheiro Nostradamus Aurobindo bliss brain Vedas solar sun energy sacred pure sense organs Prana Avatar Upanishad light cell hypothalamus pituitary transformation futurist prediction serpent power life human ethics integrity character vagus Tantra Mooladhar atom neutron proton
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