By John R. Dupuche
During this work,he describes some of the tantras and areas in their apex the main severe of them, the Kula ritual. It additionally offers a translation of Jayaratha's remark. the Kula ritual leads the practitioner to extra exalted phases of mantras to arrive the top point of cognizance, the "mantravyapti", the pervasion of the chant. the individual that is familiar with this pervasion is a Bhairava..
Read or Download Abhinavagupta: The Kula Ritual As Elaborated in Chapter 29 of the Tantrāloka PDF
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Extra info for Abhinavagupta: The Kula Ritual As Elaborated in Chapter 29 of the Tantrāloka
It is not a coincidence that Khodasevich aptly identified the juxtaposition of numerous manifestations of Pushkin’s concern for individual freedom with imagery linked to the impersonal forces of history and fate: “He compares everything external that lies beyond individual control with bad weather, storms, hurricanes. Evil government, mass revolt, plague, war, state necessity, mass violence against individual; everything that restrains individual freedom; everything that exists outside the boundaries of a private house, — all this is bad weather.
Moreover, Blok introduces the notion of poetic essence and creative force, a notion strikingly similar to Bergson’s concept of élan vital. Blok puts forward the idea that multi-levelled manifestations of the creative spirit are embedded in Pushkin’s works: “We know Pushkin the man, we know Pushkin the friend of the monarchy, and we know Pushkin the friend of the Decembrists, but all this pales before Pushkin the poet” (Blok, in Richards and Cockrell 1976: 128). In his speech Blok stresses on several occasions the indestructibility of the essence of poetry, and that any great poet is a child of harmony, cosmos and Logos.
One can easily interpret, for example, numerous references to the image of androgynous youth (@DB@<) in the poetry of Akhmatova and Tsvetaeva as attempts to find common ground with Pushkin’s own subjective fluid self, a self not yet transformed into the identity closely linked to patriarchal canonical constructs. Both Akhmatova and Tsvetaeva seem to relate well to the image of a 32 Montaging Pushkin: Pushkin and Visions of Modernity in Russian 20th-C Poetry Pushkin in early youth, opening up thereby the interesting possibility of reading Pushkin’s texts from an androgynous viewpoint.