Ajit Vadakayil: SANATANA DHARMA , HINDUISM EXHUMED AND RESURRECTED, PART 112

Saturday, October 27, 2018

SANATANA DHARMA , HINDUISM EXHUMED AND RESURRECTED, PART 112 - CAPT AJIT VADAKAYIL

THIS POST IS CONTINUED FROM PART 111 , BELOW--

https://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and_10.html

IN THIS POST I WILL TALK ABOUT BHARTRHARI ( THE BROTHER OF EMPEROR VIKRAMADITYA ) AND HIS THEORY OF " SPHOTA "

Capt. Ajit VadakayilOctober 17, 2018 at 7:34 PM

MANU ( 8300 BC ) , PATANJALI ( 5500 BC ) AND BHARTRHARI ( 7000 BC ) GETS THE VADAKAYIL PRIZE ( BELATED )..

AAA ) HERE IS THE LIST OF MAHA MERUS WHO FOOLED THE WORLD , WHOM I HAVE TRASHED INTO THE GARBAGE BIN OF THE PLANET.

GARBAGE BUCKET LIST:

1) BERTRAND RUSSEL
2) ROMILA THAPAR
3) IRFAN HABIB
4) NOAM CHOMSKY
5) RAMCHANDRA GUHA
6) SHELDON POLLOCK
7) SIGMUND FREUD
8) GEORG WILHELM HEGEL
9) AMARTYA SEN
10) WENDY DONIGER
11) FREIDRICH WILHELM NIETZSCHE
12) IMMANUEL KANT
13 ) BARUCH SPINOZA
14) ALBERT EINSTEIN
15) ISAAC NEWTON
16) GUGLEILMO MARCONI
17) CHARLES DARWIN
18) KARL MARX
19) MAX WEBER
20) THOMAS ALVA EDISON
21) FIBONACCI
22) BARKHA DUTT
23) ADMIRAL LN RAMDAS , WIFE LALITA AND DAUGHTER KAVITA.
24) EDWARD BERNAYS
25) JOHN DEWEY
26) GEORGE IVANOVICH GURDJEIFF
27) PETER D OUPENSKY
28) OPRAH WINFREY
29) RICHARD BANDLER AND JOHN GRINDER
30) CHRISTIANE AMANPOUR
31) STEPHEN HAWKING
32) SIDNEY HOOK
33) ALFRED KINSEY
34) BARACK OBAMA
35) AYN RAND
36) WILHELM WUNDT

NOTE: MENTAL MIDGETS LIKE ROMILA THAPAR , IRFAN HABIB , RAMACHANDRA GUHA, SHELDON POLLOCK, WENDY DONIGER , BARKHA DUTT , RAMDAS FAMILY MUST BE THANKFUL THAT THEY ARE INCLUDED AMONG A LIST OF CEREBRAL GIANTS

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BBB ) HERE ARE PEOPLE WHO MADE A DENT IN THE UNIVERSE— THEY GET THE "VADAKAYIL PRIZE". THIS IS NOT A VESTED “NOBEL PRIZE “

1) NIKOLA TESLA
2) DIMITRI MENDELEYEEV
3) IE IRODOV
4) ARYABHATTA
5) SRINIVASAN RAMANUJAN
6) CHANAKYA
7) ADI SHANKARACHARYA
8) APOLLONIUS ( AN INDIAN SAGE –WHO LEGACY WAS SHIFTED ON TO A COOKED UP JESUS IN 325 AD )
9) "JOHN DOE"
10) JULIAN ASSANGE
11) SWAMI CHINMAYANANDA
12) GARY STEPHEN WEBB
13) GEORGE ORWELL.
13) CESAR MILLAN
14) HENRY FORD.
15) PANINI
16) BHARTRHARI
17) PATANJALI
18) MANU

CCC) DOWN THE SHIT HOLE----

1) SUHEL SETH
2) PRITISH NANDI
3) DILIP CHERIAN
4) PRANNOY JAMES ROY
5) AROON PURIE
6) VINEET JAIN
7) SHEKHAR GUPTA
8) SAGARIKA GHOSE AND HUSBAND RAJDEEP SARDESAI
9) SHOBHAA DE
10) SIDHARTH VARADARAJAN AND WIFE NANDINI SUNDAR
11) KAMALHAASAN
12) AUDREY TRUSCHKE
13) NOSTRODAMUS
14) MANI SHANKAR AIYAR
15) VERGHESE KURIEN
16) MS SWAMINATHAN
17 DEVDUTT PATTANAIK

capt ajit vadakayil
..

Sphota is derived from the world Sphut meaning to burst or to open like a bud in Sanskrit and Malayalam. The implication is (as the bud opens) as the word is sounded or articulated, the meaning of the word is revealed.

The letter or letters by themselves carry no meaning until we connect them with an object or idea. When that object or idea is cognized, Sphota takes place.

Nada is the hidden energy that connects the outer and inner cosmos. Nada yoga, is based on the premise that the entire universe consists of sound vibrations called nadas.

The term 'Nada' is a Sanskrit/ Malayalam word which means pure sound. 'Nada' is a combination of 'Nakar' means vital force and 'Dakar' means energy.. the interaction between these two creates Nada or sound.

Nada manifests sphota and sphota conveys meaning. This sound is perceptible only to a Rishi.

Nad is flow; Nada is sound. Maharishis seers had the Divine ears other than the anatomical ears to hear them

The nada is distinguished into 22 varieties, produced by the twenty two upward Nadis situated in different parts of the body, such as, heart, throat and head.

These 22 grades are called as Srutis, because of their audibility and these are in the increasing order of pitch.. The Natya Shastra identifies and discusses twenty two shruti and seven swara per octave

Shruti table below shows the mathematical ratios considered to correspond to the system described by Bharata with the comparable notes in common Western 12-TET tuning.

Shrutis				12-TET
Name	Ratio	Cents	Frequency (Hz)	Name	Frequency (Hz)
Chandovatī	1	0	261.6256	C	261.6256
Dayāvatī	256/243	90	275.6220	C♯	277.1826
Ranjanī	16/15	112	279.0673	C♯	277.1826
Ratikā	10/9	182	290.6951	D	293.6648
Raudrī	9/8	203	294.3288	D	293.6648
Krodhā	32/27	294	310.0747	D♯	311.1270
Vajrikā	6/5	316	313.9507	D♯	311.1270
Prasāriṇī	5/4	386	327.0319	E	329.6275
Prīti	81/64	407	331.1198	E	329.6275
Mārjanī	4/3	498	348.8341	F	349.2282
Kṣhiti	27/20	519	353.1945	F	349.2282
Raktā	45/32	590	367.9109	F♯	369.9944
Sandīpanī	729/512	612	372.5098	F♯	369.9944
Ālāpinī	3/2	702	392.4383	G	391.9954
Madantī	128/81	792	413.4330	G♯	415.3047
Rohiṇī	8/5	814	418.6009	G♯	415.3047
Ramyā	5/3	884	436.0426	A	440.0000
Ugrā	27/16	906	441.4931	A	440.0000
Kṣobhinī	16/9	996	465.1121	A♯	466.1638
Tīvrā	9/5	1017	470.9260	A♯	466.1638
Kumudvatī	15/8	1088	490.5479	B	493.8833
Mandā	243/128	1110	496.6798	B	493.8833
Chandovatī	2	1200	523.2511	C	523.2511

Bhartrhari deals with Sphota at two levels: one on the metaphysical plane and the other on the empirical plane.

The Sphota here is more than a theory of language.

The principle that is involved here is: the Brahman first manifested itself as Sound and then as form. The Sphota, Sabda-Brahman, the manifester as Logos or Word, is the power through which the Lord manifests in the universe.

Liberation is achieved when one attains unity with that ‘supreme word principle’. Within this theory, consciousness and thought are intertwined; and Grammar becomes a path to liberation.

This metaphysical Sphota-vada is a monistic philosophy based in Sanskrit grammar.

The sound-meaning juxtaposition of Sphota has been seen to provide a conceptual basis for the theory of mantras or sacred chants – the regular chanting or repetition of mantras could reignite the latent Atman in human consciousness, giving a “bursting forth” Sphota- flash vision of the Self, the awakening of the Brahman through language.

This sudden glimpse of enlightenment through the transformative power of words lies at the root of the Sphota idea At the individual level, Sphota is the.idea which flashes on the mind when a sound is uttered.

Though the Sphota is revealed in stages by each succeeding sound; it is, by itself, ‘one and indivisible’. The sounds uttered (words) are merely parts of a sentence that aid to reveal this Sphota.

The "Spota vada" says that there are different levels that it can reach the human level. It is categorised as:Para, Pasyanti, Madhyama, and Vaikhari.

Rigveda stated 7000 years ago that speech process has four stages. These four stages are Para, Pasyanti, Madhyama and Vaikhari.

Sphota is para vak, the consciousness/awareness as essence of utterances which precedes pasyanti, madhyama and vaikhari in the speaker / teacher and succeeds in listener / student and transforms itself to be these three vaks.

Grammarians classify Vak into subtle and gross forms. Of these, Para and Pashyanti are the subtle forms of Vak; while Madhyama and Vaikhari are its gross forms.

According to Bhartrhari, the process of manifestation or transformation of the speech principle (Sabda tattva) or the latent, unspoken form of thought, into explicit audible speech can be said to be spread over three stages, Viz. Pashyanti, Madhyama and Vaikhari.

Bhartrhari explains that Vak or any sort of communication passes through these three stages whenever one speaks or gives expression to it in any other form.

Sabda which is at first quite internal is gradually externalized for the purpose of utterance. Hearing, operates in the reverse direction .

Dashinamarthy and the four kumaras (Sanaka, Sanandana, Sanatana and Sanatkumara) communicated by telepathy through these very subtle forms of vak in absolute silence.

http://ajitvadakayil.blogspot.com/2014/01/lord-shiva-as-first-guru-dakshinamurthy.html

The three forms of speech viz. Pashyanthi, Madhyama and Vaikhari which correspond to intention, formulation and expression represent iccha-shakthi (power of intent or will), jnana-shakthi (power of knowledge) and kriya-shakthi (power of action).

Sound sprouts in Para (supreme) form, it becomes two-leafed (that is first manifested) in Pashyanti (radiant) form, buds in the Madhyama (subliminal) form and blooms in Vaikhari (acoustic) form; sound thus produced will become unmanifested, when the order is reversed.

Shabda Brahman is the source of sound and is in the form of sound which is unmanifest, therefore it is called Para and appears to express the kinetic part of the static quiescent eternal reality.

The general perception is that when we speak, sound comes from the throat. But what happens actually is when we have the urge or the thought to speak, our life force in the form of vaayu, starts from the root chakra and brings Para, the subtle sound, then travels up

The sabda also has to pass through several stages before it is fully audible at the gross level. These stages are termed as Paraa, Pasyanti, Madhyamaa and Vaikhari.

Each level of sound corresponds to a level of existence, and one's experience of sound depends upon the refinement of one's consciousness.

A cosmic creative vibration ( sphota ) arises between Shiva and Shakti called Nada.

This Nada then gets consolidated into Shabda Brahman (differentiated sound energy), the universal cosmic resonance, symbolized by OM. From this arises cosmic intelligence that is responsible for the creation.

http://ajitvadakayil.blogspot.com/2016/12/108-numerical-equivalent-of-hindu-king.html

Sphota, before it opens, is in an undifferentiated partless state. It resides in Sabda Brahman, the Brahman of Sounds. When it differentiates, it falls into two parts: Shabda and Artha, Sound and Meaning.

Sound exists as Nada in Shabda Brahman and the force that makes it blossom is Bindu which is also resident in Sabda Brahman.

When there is a combination of breath and energy 'Nada' or musical sound is produced. In other words, when breath is energised it gives rise to musical sound or 'Nada'.

There are two types of nada: ahata, which is external sound perceived by the body/mind, and anahata, which is internal sound that is perceived by the heart chakra.

Ahata' means ' struck' ( produced ) and. Anahata ' unstruck ' ( not produced ).

The first is ahata nada, which is sound that is produced, sound that gives an immediate impact, sound of all kinds whether a human being can hear it or not.

External music is conveyed to consciousness via the ears, in which mechanical energy is converted to electrochemical energy and then transformed in the brain to sensations of sound

But according to the ancient wisdom of Indian philosophy there is yet another type of sound which is the source of the first, anahata nada, cosmic sound. This is sound that is potential, thought but not expressed.

This cosmic sound is perceptible only to the 12 strand DNA Maharishi -- the unstruck sound which vibrates in space without a cause, the sound that is produced from the ether.

Anahata nada pervades throughout the universe. Maharishis only can hear this nada and they do upasana for the liberation from this world to get moksha.

The anahata nada is also the sound of devotion and concentration, the sound that the yogi hears in deep meditation whose function is to liberate the soul. Inner sound is sacred and once reached will open the practitioner's chakras, which ultimately will unite the body to the divine.

Bhartrhari explains the relation between the Sphota and Nada through an analogy of reflection of the moon on the surface of water.

The relation between the object (moon) and its image (reflection) is because of the reflective surface (water). And the movement of the reflection might not necessarily be because of the movement of the object (moon).

He says; just as the reflection on the water might give an impression as though the moon (object) is rippling and moving, similarly the Sphota takes on the properties of uttered speech ( sequence, loudness or softness and so on) in which it is manifested. According to this view, the reflection acquires the qualities of the object.

The inner music owes its reception to the subtle heart chakra, also known as anahata chakra, which is not a sensory organ.

Sruti of Vedas take us to a place without vibrations (Asabda). The Nadi Vibrations induced by some Mantras take us there. (We go from Sound to Eternal Silence.)

Unmanifested Sound = Avyakta Sabda;

Manifested Sound = Vyakta Sabd

According to Bhartrhari, the process of transformation of a thought or an impulse arising in ones consciousness into a cognizable, explicit speech resembles the evolution of the Universe from the un-manifest (A-vyakta) to the manifest (Vyakta) material world.

The general perception of a layman is that when we speak, sound comes from the throat. But what happens is when we have the urge or the thought to speak, our life force in the form of vaayu, starts from the root chakra and brings Paraa, the subtle sound, then travels up to the navel, heart chakras as Pasyanti and Madhyamaa respectively, then comes to the throat, mouth, teeth and tongue as Vaikhari to come out as speech or sound at the gross level.

These four levels of sound correspond to four states of consciousness. Paraa represents the transcendental consciousness. Pasyanti represents the intellectual consciousness. Madhyamaa represents the mental consciousness. And Vaikhari represents the physical consciousness.

These states of consciousness correspond with the four states known technically as Jagrat, Svapna, Sushupti, and Turiya - or the wakeful state, the dreaming state, the dreamless state, and the transcendental state.

At the cosmic level, Sphota is the force behind the Word-Logos, the infinite expressing itself through sound. The entire possibility of the experience of life is mapped in the sound of OM, the pranava, that runs prana or breath

The Mandukya Upanishad subsumes the entire mystery of Brahman into the syllable Aum or Om, the three states of waking, dreaming and deep sleep akin to the three matras of A, U and M, the Sphota , the Nada-Shabda Brahmn being the “material of all words”

OM alone can be the generalised symbol of all possible sounds.

Sphota refers to that ‘non-differentiated language principle’; and, that later gave rise to the theory of Sabda-advaita (word monism).

In the theory of language proposed by Sanskrit grammarians the advaita state - Jagrat Sushupti- corresponds to para mode of language acquisition and communication process. This is the purport or experienced meaning state.

This state is a state of awareness of experience of meanings. And in this awareness the untransformed virtual mental reflection is the flow of pure experiences. Pasyanti mode of language is the state of sense (of words/sentences) or artha sthiti or state of verb. The verb will be in a present continuous or infinite form without subject and object attached.

When an object energy-form is sensed through inner mental tools , this verb state becomes a state of sentence – feeling or thought. This state is madhyama mode of language -the state of sentence or thought and is the modulated form of virtual mental energy reflection.

This modulated energy- form gets transformed into sound energy through vocal chords’ movement and is expressed /uttered. This is the vaikhari mode of language.

Turiya has no limits and no endpoint. It is infinitely transcendent, which means its potential is forever expanding. You are now a unique individual and you are a vital part of a larger universal life force that transcends everything on earth..

Reality and truth become more clearly defined, allowing you to perceive that which lies above, below, and beyond the human experience.

This utterly quiet, peaceful and blissful state is the ultimate aim of all spiritual activity this highest state is not affected by Maya The Waker, The Dreamer, The Deep Sleeper and The Observer. You experience detachment and joy . Turiya Consciousness is the ultimate goal of spirituality for here you know what freedom is all about.

Turiya is regarded as synonymous with videhamukti, liberation without a body A saint is a very ordinary guy.. A sage is the extraordinary being. A sage does not dream, because he has no polarity. He’s just a witness.

OM is the four states of consciousness, as per Patanjali Yoga.

OM is the waking state or jagrat. Beta brain wave

OM is the dreaming state or svapna. REM sleep state

OM is the deep sleep state or sushupti. (dream-less deep sleep state , the delta brain wave)

Om is the transcendental state or turiya. (beyond all the states) , the fourth has been called nirvana.

Four stages: consciousness plus thinking is waking, consciousness minus thinking is turiya, unconsciousness plus thinking is dreaming, unconsciousness minus thinking is sleep.

We ordinary people lack contact with our fourth state of consciousness, and so we fail to live up to our potential as human beings. Turiya yoga emphasizes a complete freedom, rejecting force and power, and instead embracing the ideal of a universal harmony.

These four stages also correspond to the four types of bodies. The Sthula sharira, ( physical body) operates in the state of Jagrat (wakeful state). It is in this realm of consciousness, and through this body, that the Vaikhari-vaak is manifested. The Sukshma-sharira, ( subtle or psychic body ) operates in the state of Svapna.

It is in this realm of consciousness, and through this body, that the Madhyama-vaak is manifested. The Kaarana-sharira, ( causal body ) , operates in the state of Sushupti ( deep sleep ).

It is in this realm of consciousness, and through this body, that the Pashyanti-vaak is manifested. The Para-vaak is manifested through the fourth state of consciousness, known as Turiya.

In terms of the universal cosmology, vaikhari, madhyama and pashyanti correspond respectively to bhuh, bhuvah, and svah.

Thinking with words is Vaikhari.

Thinking with ideas is Madhyama.

Thinking with (spiritual) experiences is Pashyanti.

Language learning/acquisition and understanding:--

(a) Knowing (through sense organs)- vaikhari

(b) Perception/Thinking - madhyama

(d) Pure Consciousness/Purport (Meaningful Experience/ Experienced Meaning)/Unoccupied Awareness- para.

The Vedas form the sound-manifestation of Ishwara, the non-decaying reality.

This sound has four divisions: para which finds manifestation only in prana, pashyanti which finds manifestation in the mind, madhyama which finds manifestation in the senses, and vaikhari which finds manifestation in articulate expression.

These four are the various gradations of sound. They are the gradual and materialized expressions of the transcendental voice. The Lord manifests himself through his power of maya first as para vani in the mooladhara chakra at the perineum, then as pashyanti in the manipura chakra at the navel, next as madhyama in the heart and then eventually as vaikhari in the throat and mouth.

This is the divine descent of voice

The process of manifestation of speech, like that of the Universe, takes place in four stages. First, in the undifferentiated substratum of thought, an intention appears. This first impulse, the self-radiant consciousness is para-vak (the voice beyond).

Gradually, this intention takes a shape.. We can visualize the idea (pashyanthi-vak) though it is yet to acquire a verbal form. It is the first sprout of an invisible seed; yet searching for words to give expression to the intention. This is the second stage in the manifestation of the idea.

Then the potential sound, the vehicle of the thought, materializes finding words suitable to express the idea. This transformation of an idea into words, in the silence of the mind, is the third stage .It is the intermediary stage (madhyama-vak) .

The fourth stage being manifestation of non-vocal verbalized ideas into perceptible sounds .It is the stage where the ideas are transmitted through articulated audible syllables (vaikhari-vak).

These four stages are the four forms of the word.

The three lower forms of speech viz. Pashyanthi, madhyama and vaikhari which correspond to intention, formulation and expression are said to represent iccha-shakthi (power of intent or will), jnana-shakthi (power of knowledge) and kriya-shakthi (power of action).

These three are construed as the three sides of the triangle at the center of which is the dot-point (bindu) representing the undifferentiated notion para-vak. The triangle with the Bindu at its centre suggests the idea of Isvara the divinity conceived as Sabda-brahman.

Of the three levels or stages of speech, Pashyanti which is identified with Prathibha (intuition) and Madhyamā identified with intellectual process (Buddhi) are regarded as subtle or internal forms of Vac; while Vaikhari is its overt manifested gross form.

These three forms, in turn, are identified with Sphota, Prakrta dhvani and vaikrta dhvani.

vaikharyā madhyamāyāś ca paśyantyāś caitad adbhutam / anekatīrthabhedāyās trayyā vācaḥ paraṃ padam // 1.159 //

Bhartrhari, wrote 9000 years ago- the process of manifestation or transformation of the speech principle (Sabda tattva) or the latent, unspoken form of thought, into explicit audible speech can be said to be spread over three stages, Viz. Pashyanti, Madhyamā and Vaikhari.

Bhartrhari explains; at first, the intention (iccha) exists in the mind of the speaker as a unity or Sphota.

In the process of giving an outward form to that impulse or thought, he produces a series of different sounds in a sequence where one sound follows its previous one. It might appear as though those word-sounds are separated in time and space.

But, they are indeed part and parcel of one and the same single entity – the sentence which puts out, in full, the intention of the speaker.

The communication of a sentence and its meaning is not complete until its last word is uttered. Thus, though the word-sounds reach the listener in a sequence, eventually they all merge into one; and, are grasped by the listener as a single unit.

The same Sphota which originated in speaker’s mind re-manifests in listener’s mind, conveying the intended meaning.

In the Vakyapadiya, the concept of Sabda occupies a central role; Bhartrhari equates it with Sphota to show the metaphysical nature of the language.

The process of unfolding of speech (Vac) is takes place, in two stages. The first one is the thought that flashes and takes a form within. And, the other is that which comes out as audible speech riding the vehicle of words and sentences; attempting to transport the idea that arose within.

The former is intuition (Prathibha) the flash of insight that springs up; and, the latter is the effort that is exerted, both internally and externally, to put it out.

Bhartrhari states that the sphota is the cause of the actual word, while dhvani conveys the meaning.. Consider a person saying a word to you. Before they speak, the word exists as a unity (sphota).

When they tell you the word, a series of different sounds are produced, which gives the impression of differentiation.

At first you only hear the different sounds, but eventually you distinguish the utterance as a unity, the same sphota that the person talking to you began with, therefore indicating that the meaning has been transmitted..

The word-meaning (artha) and word-sound (dhvani) are what constitute the sphota

When a person wills to express a thought orally, the air inside his body spurs and moves up. Sabda then manifests through Dwani – sound, with the assistance of appropriate organs. That Sabda or the Vak, which term roughly translates to speech or utterance, becomes manifest.

Pasyanti is the latent stage of language. At this stage the distinction between the word-forms and meaning are not there. Madhyama is the intermediate stage, where despite the identity of thought and language their distinction along with the distinctive elements of words and meanings are discernible. This stage is the ‘pre-verbal’ stage. And vaikhari is the ‘verbal’ stage.

Bhartrihari explains that Vaikhari, the most external and differentiated level of language, on which speech is uttered by the speaker and heard by the hearer has its temporal sequence fully developed;

Madhyama represents the thinking level of the mind; Pashyanti is the finest relative level where there is no distinction between the word and the meaning and there is no temporal sequence, and Parā is the fully unmanifest level of language beyond Pashyanti.

Sphoṭa ( Sanskrit / Malayalam for "bursting, opening") is an important concept in the Indian grammatical tradition of Vyakarana, relating to the problem of speech production, how the mind orders linguistic units into coherent discourse and meaning.

Patanñjali's sphoṭa is the invariant quality of speech. The acoustic element (dhvani) can be long or short, loud or soft, but the sphoṭa remains unaffected by individual speaker differences. Sphoṭa is the language capability of man, revealing his consciousness..

Bhartrhari’s ‘sabda’, in metaphysical terms, arises out of Vedic ‘Vak’ or Vedic ‘Om’ which, in the ultimate analysis, are two aspects of one and the same Brahman. On the phenomenal side, the same is eflected in the manifestation ‘syllables’ through Sound or ‘dhvani’.

Sphota, in its linguistic sense, refers to that element which expresses a meaning (word). In its second sense, it is something that is made explicit by letters or sounds (meaning).

Thus, the Sphota may be thought of as a kind of two-sided coin. On the one side, it is manifested by the word sound; and on the other side, it simultaneously reveals the word meaning. It is both the word and its meaning.

Bhartrhari envisages Sphota “as that internal aspect, which is a timeless and part-less (avibhakta) linguistic symbol, to which meaning is attached”. Here, Sphota represents the true intent, purpose of the sentence (Sabda), while Dhvani the articulated sound-pattern, in its physical aspect, acts as a carrier to manifest the Sphota.

Dhvani and Sphota – though appearing to be separate are, in fact, intimately related through a natural process (Yogyata). The former (Dhvani), acts as the outer garment or as an instrument in order to convey the inner essence of the word (Sphota).

Bhartrhari compares the communication through language (by use of sentences) to creation of a painting. Bhartrhari describes the painter as going through three stages when he paints a picture : “ when an artist wishes to paint a figure of a man , he first visualizes the object and its spirit as a composite unit ; then , as of a figure having parts; and, thereafter, gradually, in a sequence , he paints it on the surface of a cloth or whatever”.

Relation between perceived utterance (spoken or written) and meaningful articulated language-- the respective units of these were dhvani (actual event, or individual realisation) and sphota (an abstract, unexpressed, permanent, ``ineffable'' entity). The scheme is reflected today in the distinction between phonetics and phonology - the latter relates upwards to grammar and lexis.

PARA

catvari vak parimita padani tani vidur brahmana ye minishinah, guha trini nihita neengayanti turiyam vaco manushya vadanti--- Rig Veda 1.164.45 --5000 BC

The cognoscenti know of the Vak that exists in four forms . Three are hidden and the fourth is what men speak.

SEERS HEARD THE SRUTIS OF PARA VAK— THIS IS OUR VEDAS

Para means highest or farthest, and in this connection it indicates that sound which is beyond the perception of the senses.

Para-vak is known as "rava-shabda" - an unvibratory condition of sound beyond the reach of mind and intelligence (avyakta), only to be realized by great souls, the maharishis..

Para Vak is the transcendent speech, it is the unified field, the seat of super consciousness where the I is merged in the whole, the ultimate divine vibration that creates the cosmos.

In Tantra, Shiva told his wife Shakti - The Universe was set in motion by the primordial throb (adya-spanda) and that all objects of the Universe are created by sound – “artha-srsteh puram sabda-srstih” (sound precedes the formation of objects).

कामस्तदग्रॆ समवर्तताधि मनसॊ रॆत: प्रथमं यदासीत् ।

सतॊबन्धुमसति निरविन्दन्हृदि प्रतीष्या कवयॊ मनीषा ॥४॥– Rig Veda 5000 BC

kamastadagre samavartatadhi | manaso retah prathamam yadasit |

sato bandhumasati niravindanna | hrudi pratishya kavayo manisha || 4 ||

In the great cosmic mind all pervading

Vibrations of Kama sprout from conscious thought

The seers who have searched within with wisdom

Have witnessed the conscious equation between matter and energy

Para can be known only by 12 strand DNA Maharishi seers with king sized pineal glands – supermen .

As Bhartrihari writes in his treatise Vakyapaiiiya (1.18-21), the Highest Speech (Para Vak) - a manifestation of Brahman - shines in the darkness like the purest light.

Shabda-brahman in its absolute nature is called para. In manifestation the subtle is always the source of the gross, and thus from para-vak manifests the other three forms of sound.

Para is pure intention. Pure because it is a direct expression of the will of reality, unadulterated by any personal preference. Para means transcendental, ‘beyond’ or ‘the other side’. It is beyond the reach of the indriyas, or sense organs, and the mind and other means of cognition.

Hence para nada is the transcendental sound. It is indicative of a truth that there is a sphere of super-consciousness where the sound is heard in different dimensions.

Even as Bhartrhari examines human consciousness from the perspective of language, he puts it within a metaphysical framework, stressing that the Absolute, the Brahman, is also expressible in language, a cognitive recognition of the Absolute as Sabda Brahmn

Bhartihari carries forward.the dialectic between meaning and sound in Sphota Vada, highlighting both dhvani, the auditory sound in which the meaning is carried and artha, the meaning, the intention which reveals the person.

A transcendent sound with infinite wavelength, associated with the sound OM. It is the final stage before samadhi, heard in a state of super consciousness. This is the anahata, the unstruck or silent sound. Hearing this sound is a goal of practicing Nada yoga.

Beyond the very subtly manifest level of pashyanti, Bhartrihari locates the fully unmanifest level of language, para.

Para is the highest manifestation of Vak and is referred to as Sabda Brahman. Para and Pashyanti are inaudible; they are beyond the range of the physical ear.

Para-Vak is the highest form of sound. It issues forth from the Supernal Ether (paramam vyomam) where all the sound vibrations that build the various worlds pre-exist in an undifferentiated state

Para is the most elusive form of speech and is realized only in the nirvikalpa Samadhi..

Nididhyasana is the practice of svadhyaya, atma-vichara, contemplation, self-enquiry, self-investigation, self-scrutiny or self-attentiveness. It leads to Nirvikalpa Samadhi from where there is no return into lower states of consciousness.

Samadhi is a spiritual state of consciousness. Merging in Reality and remaining unaware of the world is Nirvikalpa Samadhi ( Nirbija Samadhi).. The mind is alive but merged in light, like a bucket with rope lowered into a well that can be drawn out again.

Nirvikalpa samādhi, absorption without self-consciousness, is a mergence of the mental activity (cittavṛtti) in the Self, to such a degree, or in such a way, that the distinction (vikalpa) of knower, act of knowing, and object known becomes dissolved — as waves vanish in water, and as foam vanishes into the sea.

Without seeds or Samskaras -all the seeds or impressions are burnt by the fire of knowledge--all the Samskaras and Vasanas which bring on rebirths are totally freed up. All Vrittis or mental modifications that arise from the mind-lake come under restraint.

The five afflictions, viz., Avidya (ignorance), Asmita (egoism), Raga-dvesha (love and hatred) and Abhinivesha (clinging to life) are destroyed and the bonds of Karma are annihilated .

It gives Moksha (deliverance from the wheel of births and deaths).

With the advent of the knowledge of the Self, ignorance vanishes. With the disappearance of the root-cause, viz., ignorance, egoism, etc., also disappear. When you enter into nirvikalpa samadhi, the first thing you feel is that your heart is larger than the universe itself. .

When you are in nirvikalpa samadhi, you see the universe as a tiny dot inside your vast heart. In nirvikalpa samadhi there is infinite bliss.

Nirvikalpa samadhi is the highest samadhi . One cannot operate in the world while in that state of consciousness. Nirvikalpa Samadhi is the culmination of all practices that are Spiritual. Nirvikalpa Samadhi is the perfect flowering of a Human Being.

After attaining the state of Nirvikalpa Samadhi, one can disseminate the Cosmic wisdom to one and all. One becomes the authorized representative of BrahmAn (the Creator) on Earth. Truth and only truth is what you hear from such a learned one.

In the stage of Nirvikalpa Samadhi one feels so nearer to God the Creator ... all else becomes secondary and loses meaning. Some may be willing to part with whatever they have ... All that for a darshan (glimpse) of brahmAn.

Nirvikalpa means "free from all sorts of modifications and imaginations." The mind completely melts in Brahman.

In Nirvikalpa samadhi there is no thought, no idea, nothing whatsoever. All is tranquility, or you can say tranquillity’s flood. Here nature’s dance comes to an end. It lasts a few days, and then one has to come down. When one comes down, one forgets his own name ...

When Alexander the Great came to India . his soldiers were totally psyched to see sages in deep states of Samadi, with cobras clambering all over them attracted by the vibes. The battle was lost there itself.

Para means the highest or the farthest. Para vaak is the sound beyond the perception of our senses. Para is the first stage of sound in its unmanifest stage and is the source of all root ideas and germ thoughts.

On the stage of Para-vaak there is no distinction between the object and the sound.

Before sowing, a seed is soaked in water to prepare it to absorb nutrients and grow into a tree. Likewise, Para has to go undergo some transformations to manifest as a clear sound at a gross level.

All unmanifested positive energies of man like the Kundalini lay quiescent in his Moolaadhaara chakra or the root centre. For Para also, the root chakra is the abode.

Nada Yoga says -- Para Nada is a high frequency sound, so high that it does not stir or produce any vibrations.

By the urge of man to talk, with the help of vaayu or air, Para moves up to the Manipuraka chakra or the navel centre and gets transformed into Pasyanti.

Sruti, revealed scripture handed down by the sages. ..... In manifestation the subtle is always the source of the gross, and thus from para-vak manifests the other three forms of sound.

Para represents transcendental consciousness. Para is a soundless seed, pure adya shakti from kundalini, beyond name and forms. . Para is Adya Shakti.

According to Taitreeya Upanishad, Aakasa evolved first. From Aakasa evolved Vaayu, from Vayu evolved Agni, from Agni evolved Jala and from Jala evolved Prithvi. So Aakaasa is called Param, as it was the first one to form among the five basic elements. Its attribute Sabda is called Para.

At the time of creation, this Para expressed itself as Bindu or a subtle particle. It is also called as Kaarana bindu, the cause for all sound manifestations within and outside our body. Para means the highest or the farthest.

Para vaak is the sound beyond the perception of our senses. Para is the first stage of sound in its unmanifest stage and is the source of all root ideas and germ thoughts.

On the stage of Para-vaak there is no distinction between the object and the sound. The sound contains within it all the qualities of the object. Nada Yogis say that Para Nada is a high frequency sound, so high that it does not stir or produce any vibrations.

By the urge of man to talk, with the help of vaayu or air, Para moves up to the Manipuraka chakra or the navel centre and gets transformed into Pasyanti.

The highest manifestation of sound energy, the primal voice, the divine voice is para. The para voice gives birth to root ideas or germ thoughts. It is the first manifestation of voice. In the para state the sound remains in an undifferentiated form.

Sounds having a very high frequency are transformed into silence. Beyond a certain limit, the ears do not have the capacity. No one can hear or understand a sound like that even if it is present. Para or transcendental sound has the highest vibration frequency.

This intense vibration faculty makes para inaudible. . When a sound goes to its maximum pitch, it attains a sudden stillness, and that is para nada.

Bhartrhari’s concept of the speech-principle Sabda-tattva or Sabda-Brahman the fundamental basis of the all existence and of speech, virtually equates to the concept of Para Vac, the Supreme Consciousness.

Para is the most elusive form of speech and is realized only in the nirvikalpa samadhi. Hence Bhartrhari chooses only three relevant for his language analysis

PASHYANTI

Pashyanti-vak is the second level of sound, and is less subtle than para-vak. Pashyanti in Sanskrit means "that which can be seen or visualized".

Pashyanti ( super sensuous seeing ) is a visual sound, one that can be seen. A dream of music or a visualization of the quality of a sound. Our ancient seers saw sound.

Bhartrihari associates the Pashyanti level of language with sphota, representing a meaning as a whole, existing in the mind of the speaker as a unity. Sphota or the whole-meaning comprises dhvani (the word-sound) and artha (word-meaning).

The unity of name and form, of sound and meaning, on the level of sphota in Pashyanti applies mainly to Sanskrit language.. The language beyond speech is the language of nature whose grammar has not yet been discovered; Pashyanti representing the subtlest level of nature is the closest to nature itself.

Pashyanti does not distinguish between subject and object. Perceptible but not yet particularized, it covers the middle ground between para’s pure intention and madhyama’s verbalized but as yet unspoken mental speech.

The second stage of sound, which has less frequency and is more gross than para, is pashyanti. It is a sound which cannot be heard, but it can be seen. This is why Pashyanti in Sanskrit means ‘that which can be seen or visualized’.

At the level of Pashyanti Vak, there is no distinction between word and meaning. And, there is also no temporal sequence. In other words; Pashyanti is the direct experience of Vakya-sphota, of the meaning as whole of what is intended.

DNA is a fractal information compression system with unlimited memory capability. Stored information can be downloaded to other DNA--a self replicating system where a part contains the whole.

Man can decode the future by identifying key events in the past and recognizing the pattern that projects the same events into the future.

The brain and DNA receives and send out scalar waves with a hidden order.. The language of the soul and the subconscious is of symbols and holograms. As per Vedanta we are essentially holographic energy beings existing in a state of resonance with the scalar field of the cosmos. .

The first stage in the transformation of a thought or an impulse into speech is the Pashyanti (thought visualized). It is a pre-verbal or potential stage. In this stage, the latent, unspoken thought that instinctively springs up is visualised within one’s self.

Yogis who have inner vision can perceive these qualities in sound. On this stage the differences between language do not exist, as this sound is intuitive and situated beyond rigidly defined concepts.

On the stage of pashyanti-vak, speech is intuitively connected to the object.

There is near oneness between the word and the experience described. Pashyanti-vak is the finest impulse of speech. The seat of pashyanti is in the navel or the Manipura Chakra.

In Pashyanti state, Sabda is in an unmanifested state. Yet, at the stage of Pashyanti, there is a kind of hidden impulse or a desire (iccha) for an expression. That instinct or urge is indeed an experience; and, it is said to prompt or motivate the formation of the Pashyanti vision.

It is an intention to convey a certain meaning. Therefore, Vac or the ‘internal speech’ or ‘thought’, at this stage, stands for what is intended to be conveyed ; it is the first ‘vision’ of what is yet to appear.

Maharishis were seers who had subtle inner vision could experience the pashyanti state of sound. Sound is associated with colour and form and accordingly the pashyanti state of sound is an object of internal vision. This is the reason why it is called pashyanti (from the root pashyat, one who sees).

Now I have to digress.

Once i told my second engineer , (who wanted to know how my memory is so sharp ), that I see words as pictures.

He immediately cried " I have named my new born son, Tamil Selvan. What picture do you see?".

I said " Imagine a deer is taking a crap-- when the last ounce of s#it is poppin' out of its a$$hole-- imagine you smear this gooey mass with your thumb, all over the orifice. Well that is word Tamil Selvan in my minds eye !"

Needless to say, though I told him the truth, I lost one of my ardent fans, on the spot.

The finest relative linguistic level is that of pashyanti. At this level, “there is no distinction between the word and the meaning, and there is no temporal sequence”

The latent, unspoken thought that instinctively springs up and which is visualised, within one’s self, is called Pashyanti Vak (thought visualized).

Pashyanti is the sound vibration heard in the Causal worlds. Pashyanti in Sanskrit means “seeing speech”. A sage whose consciousness is concentrated in the causal body is able to “glimpse” a Truth in a vision or a revelation.

Knowledge is acquired in the inner mind by sight without the use of the reasoning faculty or sensory data. The next and the innermost stage is pasyanti vak. Pasyanti is the direct experience of the vakya-sphota – of meaning as a nominal whole.

At this level, there is no distinction between the word and the meaning and there is no temporal sequence. All such phenomenal differentiations drop away with the intuition of the pure meaning itself. Yet, there is present at this level, a going out, or a desire for expression.

This is the telos inherent in the pasyanti vision that may be said to motivate the phenomenalization into sentences and words so that communication occurs. Since pasyanti is, by definition, beyond the level of differentiated cognition, it is impossible to define it in word-sentences. It is at the level of direct intuition, and therefore, must be finally understood through experience

Pasyanti represents the intellectual consciousness, a state of abstract knowledge, like an idea which has not yet been expressed in words. Pashyanti is the thought form. Pasyanti literally means observing or seeing one's self. In the pasyanti stage sound possesses qualities such as color and form.

When sound goes up to the navel with the bodily air in vibratory form without any particular syllable (varna), yet connected with the mind, it is known as Pashyanti-vaak.

Pasyanti observes and analyses her impending changes in the heart, throat and the tongue, where the sound finally attains audibility. Within the Pasyanti-vaak exists the nature's Iccha-shakti, or the power of will.

When sound goes up to the naval with the bodily air in vibratory form without any particular syllable (varna), yet connected with the mind, it is pashyanti-vak. Within the pashyanti-vak exists the nature's iccha-shakti, or the power of will. Again, Maharishis with 12 strand DNA had subtle inner vision – they could experience the pashyanti state of sound.

vaikharyā madhyamāyāś ca paśyantyāś caitad adbhutam / anekatīrthabhedāyās trayyā vācaḥ paraṃ padam // 1.159 //

The latent, unspoken thought that instinctively springs up and which is visualised, within one’s self, is called Pashyanti Vak (thought visualized). The Vrtti on Vakyapadiya (1.14) presents Pashyanti as a form of Supreme Reality, Sabda-Brahman.

Pashyanti is identified with Prathibha, the flash of insight.

Bhartrihari associates the pashyanti level of language with the concept of sphota. Sphota represents meaning as a unified whole that exists in the mind of the speaker: When he utters it, he produces a sequence of different sounds so that it appears to have differentiation .

The process of differentiation into sounds proceeds from the sphota at the pashyanti level of language via madhyama, or inward thought, to expressed speech at the vaikhari level.

The Pashyanti Vak thereafter transforms into Madhyama, the intermediate stage. It is an intellectual process, involving thought (Buddhi), during which the speaker looks for and selects appropriate words, phrases, and their sequence, which are capable of conveying his intention , clearly.

Bhartrhari takes a metaphysical view of Sabda, the speech-principle (Sabda tattva). He compares the transformation of Sabda, in three stages, with the manifestation of the Universe.

The Vrtti on Vakyapadiya (1.14) presents Pashyanti as the Supreme Reality, Sabda-Brahman, which is identified with Prathibha, intuitive cognition or the first flash of understanding.

The Pashyanti, which also suggests the visual image of the word, is indivisible and without inner-sequence; in the sense, that the origin and destination of speech are one. Here, the latent word (Sabda) and its intention or meaning (Artha) co-exist; and, is fused together without any differentiation.

That is to say; intention is instinctive and immediate; and, it does not involve stages such as: analysis, speculation, drawing inferences and so on.

The transformation of a thought into spoken-words involves two kinds of efforts: the internal process (abhyantara prayatna) and the external effort (bahya prayatna). The former is classified into two kinds (Pashyanti and Madhyamā), while the latter (the external) is said to be of eleven kinds.

Prayatna in Sanskrit and Malayalam means – effort or activity; it expresses a sense of human determination and initiative.. Prayatna does not merely mean 'effort' but 'effort at a point of articulation'.

And, of the three levels or stages of speech, Pashyanti which is identified with Prathibha (intuition) and Madhyamā identified with intellectual process (Buddhi) are regarded as subtle or internal forms of Vac; while Vaikhari is its overt manifested gross form. These three forms, in turn, are identified with Sphota, Prakrta dhvani and vaikrta dhvani. Pashyanti

Bhartrhari takes a metaphysical view of Sabda, the speech-principle (Sabda tattva). He compares the transformation of Sabda, in three stages, with the manifestation of the Universe.

The Vrtti on Vakyapadiya (1.14) presents Pashyanti as the Supreme Reality, Sabda-Brahman, which is identified with Prathibha, intuitive cognition or the first flash of understanding.

That is to say; intention is instinctive and immediate; and, it does not involve stages such as: analysis, speculation, drawing inferences and so on.

Bhartrhari employs the simile of the yolk of the peachen’s egg which is about to hatch. Before the hatching of the egg, all the flecked colours of the peacock lie dormant in potential state in the yolk of the egg.

Even though Bhartrihari considers Pashyanti to be the highest level of language for it is the word without temporal sequence but Pashyanti contains the inherent impulse toward expression in time and space.

Pashyanti borders on two dimensions – Jagrat chetna or refined ordinary waking consciousness which determines the force of expression, and Turiya chetna or the transcendental consciousness which determines the non-sequenced unity of sound and meaning intimated by the trace;

These bring to the fore two kinds of infinity – that of dissemination, of unlimited extension within space, time and causality; and that of Turiya and Pashyanti, of transcending duality through unity amidst diversity.

http://ajitvadakayil.blogspot.com/2012/06/beyond-theta-state-to-turiya-capt-ajit.html

http://ajitvadakayil.blogspot.com/2013/02/the-dreamer-and-rem-sleep-witness-and.html

Thus, the transformation of a thought into spoken-words involves two kinds of efforts: the internal process (abhyantara prayatna) and the external effort (bahya prayatna). The former is classified into two kinds (Pashyanti and Madhyamā), while the latter (the external) is said to be of eleven kinds.

Bhartrhari takes a metaphysical view of Sabda, the speech-principle (Sabda tattva). He compares the transformation of Sabda, in three stages, with the manifestation of the Universe.

The Vrtti on Vakyapadiya (1.14) presents Pashyanti as the Supreme Reality, Sabda-Brahman, which is identified with Prathibha, intuitive cognition or the first flash of understanding.

That is to say; intention is instinctive and immediate; and, it does not involve stages such as: analysis, speculation, drawing inferences and so on. At the level of Pashyanti Vak, there is no distinction between word and meaning. And, there is also no temporal sequence.

In other words; Pashyanti is the direct experience of Vakya-sphota, of the meaning as whole of what is intended.

The Pashyanti Vak thereafter transforms into Madhyamā, the intermediate stage. It is an intellectual process, involving thought (Buddhi), during which the speaker looks for and selects appropriate words, phrases, and their sequence, which are capable of conveying his intention , clearly.

MADHYAMA

Madhyama vani is the intermediate unexpressed state of sound experienced in the heart.

Madhyamaa represents the mental consciousness . Pasyanti, on reaching the Anaahata chakra or the heart chakra , transforms into Madhyama vaak. Madhyamaa literally means in between or middle. Here there is a clear distinction between the sound and the object it denotes.

Madhyama vak, is at the level of thought. At this level, the sphota is fragmented into a sequence of thoughts, words, and phrases that still have to reach the level of uttered sounds

Madhyama vak is a mental sound that is a little more subtle than vaikhari. This is when the subtle nada begins to emerge.

Madhyama is the intermediate unexpressed state of sound experienced in the heart. Madhyama is mental speech, verbalized but unspoken, the internal monologue and dialogue; it expresses jñana shakti, the power of knowledge and wisdom (or lack thereof).

Madhyama measures, evaluates, questions, harnessing your rational and emotional minds to formulate the intentions that precipitate into words.

Madhyama vaak is more of a mental speech rather than the external audible speech. Within the Madhyama-vaak exists the nature's Jnana-shakti, or the power of knowledge. Madhyama-vak is the intermediate unexpressed state of sound, whose seat is in the heart.. The middle sound is that sound which exists between the states of susupti and jagrat.

The Pashyanti Vak transforms into an internal (antahs-amnivesini), subtle (sukshma) intellectual process (Jnana), the level of thought (buddhi-matropadana), during which the speaker becomes aware (parigrihita) of the word as it arises and takes a form within him.

Madhyama (Middle) is the sound as perceived in the subtle or the Pranic world--the thought-forms held in our mind.

Madhyama is particularized into phonemes, directed to mental objects, the objects of the inner senses. It straddles the gulf between the noiseless conviction that is pashyanti and the spoken word that is vaikhari.

Madhyama is sound having lower frequencies than para and pashyanti, but still subtler than the audible vaikhari form of sound. No audible effect is produced in it. Madhyama produces very minute vibrations in the act of a whisper.

In an ordinary sound, two objects strike against each other in order to produce sound. But in madhyama no two things strike violently so as to produce audible sound. The word madhyama means a middle sound, a whispering sound or the sound of a whisper.

Thinking or motivation for conveyance of the meaning, here, does not refer to concept-formation, speculation or drawing inference and so on. That intellectual process takes place at the Madhyama.

Madhyama represents, in broad terms, the thinking level of the mind. It is the idea or series of words as conceived by the mind after hearing or before speaking. It may be thought of as inward speech.

Madhyama vak’s association is chiefly with the mind or intellect (buddhi). It is the idea, or series of words, as conceived by the mind after hearing or before being spoken out.

At this level a variety of manifestation is possible. The same Sphota, or meaning, is capable of being revealed by a variety of forms of madhyama, depending on the language adopted.

Although there is not full temporal sequence of the kind experienced in spoken words, word and meaning are still distinct, and word order is present. Therefore, temporal sequence must also be present along with its instrumental cause, prana.

The "Madhyama' can be recognised at a higher level. The Pasyanti can only be heard by Maharishi seers..

The "Madhyama' is signified by the letter "M" in Sa, Ri, Ga, Ma', Pa, Da, Ni which are the "sapta svaras" in Music. Music is said to have been born from "Sama Veda". "Sa"is Shadja, Ri is Rishabha, Ga is Gandhara, Ma is madhyama, pa is Panchama, Da is Daivata, and Ni is Nishada. Each have the baisis of the sound produced by birds and animals.

VAIKHARI

Vaikhari “is the most external and differentiated level,” at which speech is uttered by the speaker and heard by the listener

This stage is the ‘pre-verbal’ stage. And vaikhari is the ‘verbal’ stage

This is the spoken word emerging from the our throat.. .. Vaikhari resides in the throat chakra

Vaikhari is the lowest form of sound and it signifies outward expression.

The last stage in the manifestation of speech is Vaikhari. It is the actual sound uttered by the speaker and heard by the listener - an articulate sound, audible to the external ear.

Vaikhari Vak is the final stage at which ones’ thought or intention is put out explicitly through uttered words and sentences. Thus, Vaikhari is the fully embodied stage of everyday speech

At this stage all the peculiarities of the speaker are present in the utterance along with the linguistically relevant parts.

When sabda is spoken through the mouth with the help of syllables, that speech is Vaikhari vak..

And, Pashyanti Vak, thereafter, when it comes out of the speaker’s mouth as sequenced and verbalized speech-form is called the Vaikhari Vak.

It is the final stage at which ones’ thought or intention is put out explicitly through uttered words and sentences. Thus, Vaikhari is the fully embodied stage of everyday speech.

Vaikhari the articulated speech, which, in a waveform, reaches the ears and to the intellect of the listener.

The Vaikhari is the physical or gross form of the subtle thought or is the outward expression of the intention of the speaker. And, when it emerges as the spoken-word, it is the one that is heard and apprehended by the listener, in a flash of understanding (Sphota).

The process of Hearing, that is what is heard and grasped by the listener, of course, operates in the reverse direction. A sound wave is a longitudinal wave--a series of compressions and rarefactions.. Higher the frequency, higher the perceived pitch.

Sound waves are transformed into nerve impulses, to the temporal lobe of the cerebral cortex which is dedicated to sound. The audio range is 20 hz to 20 K Hz.

When a person wills to express a thought orally, the air (Prana) inside his body spurs and moves up. Sabda or the Vac (speech or utterance) then manifests through Dhvani (sound patterns), with the assistance of appropriate organs.

In this process, the head, throat, tongue, palate, teeth, lips, nose, root of the tongue and bosom are said to be the eight places which assist the sounds of the letters to become audible and explicit.

Vaikhari represents the power of action Kriyasakti. This is the plane at which the Vac gains a bodily- form and expression; and the intent of the speaker is transported to the listener. Until this final stage, the word is still a mental (iccha) or an intellectual (jnana) event.

Now, the articulated word comes out in succession; and, gives substance and forms to ones thoughts. Vaikhari is the final stage of communication, where the word is externalized and rendered into audible sounds (prakṛta dhvani).

The chief characteristic of Vaikhari Vak is that it has a fully developed temporal sequence. At this level, the speaker’s individual peculiarities (such as accent, voice modulation etc) are present, along with relevant parts of speech.

The Vaikhari is the way the word is spelt out. It is akin to the way of accent. This is produced by the vocal chords,the way speech is spoken. This can be understood at the human level.

Vaikhari vak is sequenced and verbalized speech. Vaikhari is the articulated speech, which, in a waveform, reaches the ears and to the intellect of the listener. Vaikhari is the physical form of nada that is heard and apprehended by the listener. It gives expression to subtler forms of vak but is not it’s ultimate.

The urge to communicate or the spontaneous evolution of Para-pasyanti into vaikhari epitomizes, in miniature, the act of One becoming Many; and the subtle energy transforming into a less subtle matter.

The comprehension of the verbalized and sequenced vaikhari vak entails pratibha or "flash of insight" that reveals to the listener the pasyanti vak, in the form it originated within the speaker. A perfect communication is when vak is identical and is sequence less at both the ends.

Bhartrhari in his Vakyapadiya says: Just as light has two powers, that of being revealed and that of being the revealer, similarly, all words have two distinct powers. No meaning is conveyed by words which by themselves are not the objects of knowledge..

And, the Madhyamā, when it is put out explicitly through uttered words and sentences; and, when it comes out of the speaker’s mouth in sequenced and verbalized speech-form, set in motion according to his will, is called Vaikhari Vak.

For the purpose of putting out the Vaikhari Vac, the speaker employs a sentence comprising words uttered in a sequence. The word itself comprises letters or syllables (varnas) that follow one after the other in space and time.

The spoken word comes out of one’s mouth, no doubt. However, it needs the assistance of breath and of several body parts in order to manifest itself..Vikhara literally means body; and, Vaikhari is that which employs bodily organs.

Vaikhari is the most external and differentiated level in which vak is commonly uttered by the speaker and heard by the hearer. It is prana, or breath, that enables the organs of articulation and hearing to produce and perceive sounds in a temporal sequence.

Prana/ breath is the instrumental cause of vaikhari vak. The chief characteristic of vaikhari vak is that it has a fully developed temporal sequence. At this level, individual peculiarities of the speaker (e.g. accent) are present along with the linguistically relevant parts of speech.

EVERY VESTIGE OF SOUND , LANGUAGE AND GRAMMAR HAS BEEN LIFTED FROM ANCIENT INDIAN KNOWLEDGE BY THE WHITE MAN WITHOUT UNDERSTANDING..

UNLESS YOU HAVE MASTERED SANSKRIT GRAMMAR , YOU CANNOT UNDERSTAND THE VEDIC SRUTIS..

KEEPING A MONIER WILLIAMS SANSKRIT DICTIONARY ( LIKE WENDY DONIGER/ SHELDON POLLOCK/ AUDREY TRUCSCHE AND THEIR ILK ) WILL NOT DO..

MONIER WILLIAMS DICTIORARY HAS ONLY 40% OF SANSKIT WORDS.. IN SANSKRIT THERE ARE NO SYNONIUMS ( PARYAYAM ) ..

HIGH LITERATURE MALAYALAM IS 80% SANSKRIT.. MY MOTHER TONGUE IS MALAYALAM. I STUDIED SANSKRIT IN SCHOOL (KENDRIYA VIDYALAYA ) ..

I KNOW THESE FAKE WHITE INDOLOGISTS WHO CLAIM TO KNOW SANSKRIT YET KNOW SHIT ABOUT SANSKRIT GRAMMAR..

VEDAS WENT ON ORAL ROUTE FOR 330 CENTURIES BEFORE WE PENNED THEM DOWN 70 CENTURIES AGO..

IMAGINE THE BIG BANG IN THE BIBLE IS DATED AS 4004 BC, 23RD OCT , 9 AM—TEE HEEEEEEE..

AND THESE ARE THE WHITE MEN CALLING INDIANS SAVAGES..

JUST BECAUSE VEDAS WERE PENNED DOWN IN 5000 BC, DOES NOT MEAN THAT SANSKRIT WAS WRITTEN FIRST AT THAT TIME..

BHARTRHARI WAS BORN IN 7000 BC.. HE WROTE IN GRANTHA LIPI..

WHEN WE WROTE POETRY THE WHITE MAN WAS RUNNING AROUND NAKED DOING GRUNT GRUNT..

THE WHITE MAN INVADED INDIA, MADE US SLAVES ( DUE TO TRAITORS FROM WITHIN ) AND THEN INJECTED POISON INTO OUR GLORIOUS, PRICELESS CULTURE AND KNOWLEDGE BANK AND MADE US SELF LOATHING.

TODAY THESE CHRISTIAN CONVERTS HAVE TAKEN ON THE WHITE MANs VAIKHARI – WHICH IS JUST MINDLESS NOISE

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WANT TO HAVE A PEEK INTO SANSKRIT GRAMMAR ( JUST 2 % ) – I WILL GIVE YOU WHAT WIKIPEDIA SAYS WITH HALF BAKED UNDERSTANDING .

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_I

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_II

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_III

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_IV

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_V

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_VI

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_VII

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_VIII

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_IX

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_X

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XI

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XII

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XIII

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XIV

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XV

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XVI

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XVII

https://en.wikisource.org/wiki/Sanskrit_Grammar/Chapter_XVIII

https://en.wikisource.org/wiki/Sanskrit_Grammar/Appendix

https://en.wikisource.org/wiki/Sanskrit_Grammar/Sanskrit_Index

https://en.wikisource.org/wiki/Sanskrit_Grammar/General_Index

Shabda brahmAn manifests through his power of maya first as para vani in the mooladhara chakra at the perineum, then as pashyanti in the manipura chakra at the navel, next as madhyama in the heart and then eventually as vaikhari in the throat and mouth. This is the divine descent of voice.

The first three are internal and yogic and can be experienced only by seers. The fourth stage is Vaikhari is the audible speech, which is used by all human beings.

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Bhartrhari begins his great treatise, Vakyapadiya, with key-note Verse: The Word Reality ( Sabda-Tatlvam ), without beginning or end, the Immutable Word (akfaram) appears (vivartate) as meaning and thing (arthabhavena); thus happens the World-Process (prakriya jagato yatah).

This verse has to be construed in an absolutistic sense, as the whole trend and teaching of the Vakyapadiya would show.

Pashyanti Vac is identified with the power of intent or will (iccha shakthi) which arises in ones consciousness; Madhyama Vac which is seated in the intellect (Buddhi) is identified with the power of knowledge (Jnana shakthi); and, Vaikhari Vac where the speaker’s intent gains a bodily- form and expression, and which employs breath and body-organs is identified with the power of action Kriyasakti.

Each of the three levels of speech – Vac (Pashyanti, Madhyama and Vaikhari) correspond to the structure and content of each of the three chapters (Khanda) of the Vakyapadiya.

The first Khanda (Brahmakanda) which deals mainly with Brahman, the undifferentiated Ultimate Reality, is said to correspond with Pashyanti Vac.

The second Khanda (Vakyakanda) which elaborates on Vakya-sphota describes the differentiation as also the unitary meaning of the sentence. The ideas presented here are said to correspond with the Madhyama vac.

And, the third Khanda (Padakanda) which deals almost entirely with the analysis of words or parts of speech and their differentiation is said to be closely related to the concern of the Vaikhari vac.

Sphota is discussed in the first kanda of the Vakyapadiya. The process of language generation goes through three stages.

Stage 1: ''sphota-shabda'': The first stage is in the speaker's mind, where the sentence is conceived in an indistinct way, soon after the idea flashes on his mind. In contrast to the actual sound, ''dhvani'', the sphota is permanent (indestructible).

Stage 2: ''madhyama vAk'': In the second stage the speaker determines the sentence pattern in a specific sequence. By this stage, the speaker is aware of the sound properties and the time sequence and the phonological pattern of the utterance that is about to be articulated. This mental sentence will be mapped into actual sound through articulation in the next stage.

Stage 3: ''vaikhari vak'': the actual speech sounds pronounced through articulation by the speaker; it is this that becomes audible to the listener. May involve variations in speed of articulation: ''druta'' fast, ''madhya'' medial, or ''vilambita'' slow.

So Bhartrhari is logically led to the Para Vak or Brahman ( Sabda-Brahman ) as the Ultimate Reality from which the World has originated. He calls it Sabda-Brahman because the approach to the Highest is made here through the Word (Sabda) or Analysis of Language or because it is expressed through the words.

Pashyanti which also means the visual image of the word, is indivisible and without inner-sequence; meaning that the origin and destination of speech are one.

Madhyama is an intellectual process, during which the speaker becomes aware of the word as it arises and takes form within him; and he grasps it. Madhyama vak is a sequenced but a pre-vocal thought, Here, the sound is nada and is in a wave or a vibratory (spandana) form .

The transition of Shabdabrahman from the highest level to the form of audible sound is described - as occurring in four stages technically known as Para, Pashyanti, Madhyama and Vaikhari.

Para originated from Kundalini in Muladhara chakra. It is comprehended only through practices like nididhyisana.

Pashyanti originates from svadhisthana chakra in the navel region. It is attainable only by Yogins.

These two constitute Suksmasphota. ..

Madhyama originates from Anahata chakra in the region of the heart where the voice of the silence is heard. It is also to be called antarasphota. It is to be grasped by the intellect and audible only to one's own innate powers of hearing.

The last one, Vaikhari originates in Vishuddha chakra in the region of the throat and manifests as Bahyasphota capable of being heard by others. It is because of the nexus that one places oneself in tune with the infinite Sphota through Vaikhari..

Bhartrhari subscribes to the principle that wherever there are differences and distinctions, there is a basic unity underlying these differences, for otherwise these differences could not be related and will fall asunder.

Each difference could become a radical monad; we cannot even assert there are other monads, for this requires a relation and unification, which mona'dism utterly denies.

Although he first hears a series of sounds, he ultimately perceives the utterance as a unity—the same sphota with which the speaker began .

The sphota, or meaning-whole, thus has two sides to it: the word-sound (dhvani) and the word-meaning (artha). Sound and meaning are two aspects residing within the unitary sphota, which, according to Bhartrihari, is eternal and inherent in consciousness .

Thus, meaning is not conveyed “from the speaker to the hearer”; rather, “spoken words serve only as a stimulus to reveal or uncover the meaning which was already present in the mind of the hearer”

For Bhartrhari, speaking is the essence of consciousness, and the means to all knowledge. By speaking, language or thought, what is meant is the conveyance of meaning – thinking does not refer to concept formation, the drawing of inferences, etc. which exist at the two lowest levels (vaikhari and madhyama) only.

Speaking, language or thought means conveyance of meaning, and meaning is intertwined with consciousness. This realization is possible at all levels of speech from moments of highest perception to simple everyday cognition.

Epistemologically, it is a two level theory as applied to linguistic cognition. The Sphota is a necessary intermediary and is called the Madhyama vak as distinct from empirical speech called vaikhari vak.

These two belong to different orders – one is empirical and the other is submerged and hidden and therefore has to be excited and manifested by the overt sounds.

The relation between them is that of the soul and body, is one of identification or superimposition…that they (word and meaning) stand related and are generally identified implies that they both spring from some common source which is the ground of their being….

Indian philosophers of language are not content to stop at any duality, the duality of Word and Meaning or the duality of Thought and Reality.

As Bhartrhari states it: "All difference presupposes a unity"; where there is a duality there is an identity pervading it. Otherwise one cannot be related to the other; each would constitute a world by itself

The transformation of a thought into spoken-words involves two kinds of efforts: the internal process (abhyantara prayatna) and the external effort (bahya prayatna).

Bhartrhari says that Sphota is both external (bahya) and internal (abhayantara). And again, in understanding Sphota as an external entity we have to understand it in the form of universal (Jati) and individual or specific (Vyakti).

According to Bhartrhari, Sphota is an auditory image of the sentence. It is indivisible and without inner-sequence.

When an object energy-form, the tanmatra, [objective energy forms- optical-light (eye), mechanical (ear) -sound chemical (nose and tongue), mechanical, thermal (skin) a vishaya (cognized object) - ] is sensed through antahkaranas, this verb state becomes a state of sentence – bhava or thought. This state is known as madhyama mode of language -the vibhakti state of sentence or thought and is the modulated sphota (undergone vivartanam – reversible change).

This modulated energy- form gets transformed into sound energy through vocal chords’ movement and is expressed /uttered. This is the vaikhari mode of language.

All this happens in the speaker/teacher. This uttered sound-energy (the vaikhari mode of language) is picked up by the ears (sense organs) of the listener/learner and becomes sentence in the madhyama mode- the modulated sphota mode in conjugation with the antahkaranas (inner mental tools).

This sentence-energy form in madhyama mode is in subject-verb-object (the triad-triputi) form. This mode of language gets demodulated (reverse transformation of sphota - the vivartanam in the reverse direction) into meaning, resulting in understanding/experience in the pasyanti mode- to a verb (sense), in present continuous or infinite form, the subject and object being dissolved in the sense of uttered /expressed sound.

Nada is not a part of dhvani (external sound). Rather dhvani instead arises as a projection of nada. Rather dhvani instead arises as a projection of nada.

The term "sphota" of Bhartrihari ( 7000 BC ) is used by Panini's ( 5500 BC) as “sphotâyana” in his treatise Ashtâdhyâyî, however it was Patanjali ( 5000 BC ) who explicitly discusses sphota in his Mahâbhâshya.

Sphota has two parts, internal and external, both important, and reliant on one another. One is the sound which the meaning is carried in (dhvani), and the other is the actual meaning that the sound carries (varna).

Mantras are related to the sphota theory because of the mystic origins of the mantras. There is an assumption that mantras are language because many are often a recitation of Vedic texts, but that does not mean that they are all language

Patanjali says that dhvani is heard by the ear and sphota is grasped by intellect. Therefore, both sphota and dhvani are essential for the knowledge of meaning . Patanjali mentions that language (shabda) has two aspects, namely, sphota and dhvani.

The former is the permanent unchanging element, whereas the latter refers to the non-permanent element of the speech associated with length, tempo, and various peculiarities of any individual speaker. Therefore, dhvani is the actualized and ephemeral (lasting a very short time, or transient) element and an attribute of the former..

Patanjali points out that the sphota, which is revealed by the articulate sounds, can be presented through phonemes only. A phoneme (vowel) which represents sphoTa remains the same in three modes of utterance, i.e. slow, fast and faster, whereas dhvani (articulate sound) differs in different utterances..

According to Patanjali, sphota is a conceptual entity or generic feature of articulated sounds, either in the form of isolated phonemes or a series of phonemes. It is a permanent element of physical sounds which are transitory in nature, and which vary in length, tempo and pitch of the speaker. It is an actualized replica of euphemeral sounds.

. For Patanjali, Sphota refers to the constant element in the auditory image of the varied articulated sounds whereas the term dhvani refers to the physical articulated sounds, which is associated with length, tempo and various peculiarities of the individual speaker.

Patanjali says that sphota is permanent element in the word, and is the essence of it; while Dhvani – the uttered sound – is an fleeting element, and is only an aspect of Sphota. For Patanjali, Sphota may be a singular letter or a fixed pattern of letters.

He concludes that Sphota is permanent , unchanging and is manifested by the changing sounds (Dhvani ) uttered by the speaker and heard by the listener.. The noisy element (dhvani, audible part) can be long or short, but the sphota remains unaffected by individual speaker differences.

The grammarians accept Sphota as a single meaningful entity. It is permanent and unchanging, and is manifested by the ephemeral dhvanis, uttered by the speaker and heard by the listener.

Sphota which is mental impression of an audible sound pattern, is the cause of that sound pattern.

The sphota perceived by the listener is not different from dhvani produced by the speaker. In this context, sphotta means auditorily perceived sound, as there is no gap between the perception of sphota and dhvani.

Dhvani refers to the sounds emitted from the speaker's vocal organ, whereas the sounds reaching the ears of the listener is called sphota. Here, the relation between sphota and dhvani is that of manifester and manifested. Sphota represents the constant distinctive phonetic features revealed to the listener's ear, whereas dhvani represents the gross sound.

Sphota is a replica of dhvani having phonetic features. That's why it is an "auditory image of the sound" . Sphota is indivisible in itself. It expresses itself in its dyal form of word and meaning.

Sphota and ..dhvani are two aspects of a word.

Sphota is the permanent element in the word. It may be considered the essential word. Dhvani is the actualised and ephemeral element in the word. It is considered as an attribute of Sphota.

SPHOTA CANNOT BE DIVORCED FROM THE SOUND

Dhvani has absolute vowel length and individual peculiarities. It depends on the individuality of the speaker and the effort with which the words are uttered. Sphota is permanent and unchanging and is manifested by the ephemeral dhvanis uttered by the speaker and heard by the listener

The abstract sound pattern with the time-sequence is called Prakrtadhvani. It is the external aspect of the language. The internal aspect of the language is Sphota and is directly attached to the meaning

Sphota represents both artha and dhvani, artha refer to the concept of meaning and dhvani refer to the uttered sound. The linguistic whole or the sign or sphota has an inherent force towards manifestation that produce the signifier and signified; or artha and dhvani.

Both sign and sphota are rooted with in language, that works through spacing, punctuation, differentiation in time and space.

On the basis of Patanjali’s explanation, Sphota is both internal and external. The internal form of Sphota is the innate essence of the word –meaning. The external aspect of Sphota is the uttered sound which is perceived by the sense organs.

It merely serves to manifest the inner Sphota with its inherent word-meaning. Dhvani is the auditory aspect of the Sabda. The intellect of the listener grasps Dhvani as in a flash, Sphota. The Sphota is therefore the intellectual, subtle and inaudible aspect of the Sabda.

Patanjali explains, the word ghtata consists letters/syllables gh, a, t and a, uttered in a sequence. The letters as heard are Dhvani . Immediately after the last letter is uttered the whole (akhanda), indivisible (not sequential) sense bursts forth in a flash Sphota.

Dhvani is a divisible entity. It is produced and grasped in a particular sequence and generally by mistake the same qualities of sound are superimposed on sphota

According to Bhartrhari, the physical audible sound manifests the sphota, which is nothing but the mental articulated image of the sound through which the meaning is conveyed to the listener. Thus, dhvani is the physical body of the word, whereas sphota is the conceptual entity of sound.

According to Bhartrhari, sphota is an auditory image of sound. It is indivisible and without inner-sequence. It does not stand for the meaning-bearing aspect of the word. It is not over and above the sound. Sphota merely represents the class of individual sounds, whereas dhvani represents a particular sound.

Bhartahari employed the term Sphota to indicate the whole, Artha to refer to the concept or meaning and Dhvani to refer to the uttered and heard sound. Bhartrhari makes a distinction between Sabda and Dhvani. The former is the ‘Real word’; while the latter is the ‘sound’ produced by the speaker in order to give expression to Sabda.

Bhartrhari describes word, the ever-present principle, as a selfluminous identity Svaprakasachaitanya), sphota or word reveals itself as well as the object that comes into contact with it, when the sphota reveals itself, it reveals the sound (Dhvani) also, but we confuse word with sound.

The change in speed or accent or mode of uttering a word (vritti) does not alter its Sabda or Sphota. The physical aspect of the word that is the quality of its sound (Dhvani) might vary but its Sphota remains unchanged. Thus, in effect Sabda too remains unchanged. Again, Dhvani the physical form of the sound could be articulate (like human voice) or inarticulate (like sounds of animals, drums etc.)

Nevertheless, the intellect perceives that Dhvani in a flash (Sphota) depending on the listener’s experience (anubhava), reasoning (yukthi) and authority of scriptures (Sastras and Grammar).

In Sanskrit Grammar Sabda stands for the word manifested by Dhvani, the articulated sound. While Dhvani is variable, Sabda is not.

The purpose of the Dhvani is to give expression to and to act as a vehicle for Vak. The Dhvani as perceived by the intellect of the speaker in a flash is Sphota. The Sphota is the intellectual impression of the audible sound patterns. The Sabda therefore combines in itself the physical form (dhvani) of word and its intellectual inaudible from (Sphota).

Music is a painting on the canvas of silence. If every sound on this cosmos and planet earth were simultaneously recorded, there would be only one single sound OM. Nada is not a part of dhvani (external sound). Rather dhvani instead arises as a projection of nada.

The purpose of the Dhvani, the articulated sound, is to give expression to, and to act as a vehicle for Sabda which is the intent of the speaker. One’s mode of speaking, accent, stress and speed etc (Dhvani) might vary; but, the speech-content or intention (Sabda) remains unaltered. Thus, while Dhvani is variable; Sabda, the underlying cause of the Dhvani, is not.

Bhartrhari classifies Dhvani into two sorts – Prakrta Dhvani and Vaikrta Dhvani – (primary or natural sounds and derived or transformed sounds). Bhartrhari applies various technical terms like ‘sabda’ or ‘sphota’, ‘dhvani’ and ‘nada’. Bhartrhari refers to ‘sabda’ or ‘sphota’ that the inner unity which conveys the meaning. The original source concept of sphota has come from the Vedic time of Indian thought.

Bhartrhari states that sphota and dhvani are roducing simultaneously. This theory conceives that there is no gap at all in the yield of both. The sphota is the flame of fire and is the central part of sound. But the dhvani is the light of the flame.

On certain occasions we see the light without seeing the flame. Likewise we hear dhvani without experiencing sphota. As the flame and light are produced at the same time so is the output of the sphota and the dhvani.

Bhartirhari uses the word sphota in the sense of the meaning bearer or expressive word, a concept different from the actual articulated sound which is called dhvani.

According to Patanjali, sphota is not identical with shabda. It is rather a permanent element of shabda, whereas dhvani represents its non-permanent aspect. The sphota is not audible like dhvani . It is manifested by the articulated sounds. The dhvani element of speech may differ in phonetic value with reference to the variation in the utterance of different speakers.

Differences in speed of utterance and time distinctions are attributes of dhvani, which can not affect the nature of sphota revealed by the sound. When a sound passes from a speaker's lips, sphota is revealed instantaneously. But before the listener comprehends anything, dhvani elements manifest the permanent element of shabda.

So, sphota comes first and manifesting dhvani also continues to exist after the revelation of sphota. That is why Patanjali remarks that dhvani-s are actualized and euphemeral elements and attributes of sphota

Sphota, Patanjali says, is a permanent element in the word; and, in fact is the essence of the word. The permanent unchanging Sphota is manifested by changing sounds (Dhvani). Here, Dhvani is the uttered sound heard by the listener; and, is but an aspect of Sphota.

Thus, according to Patanjali, Sphota has an internal and an external aspect. The inner aspect is the innate expression of the word-meaning; while the external aspect is a vehicle to manifest the internal aspect; and is perceived by the sense organs of the listener.

The permanence of sphota (as opposed to the destructibility of dhvani), is based on Bhartrihari's theory of vivarta which is the very foundation of his shabdatattva. vivarta is defined as "the assumption of one thing as some thing else without loosing its inherent nature (tattva) through apparent diversity of different unreal forms

The term dhvani (sound) is derived from the root 'dhvan' to make sound. Dhvani is an older term going back to Atharva Veda, where it was used in the sense of sound, tune, noise etc.

Bhartrhari distinguishes between the word itself (sometimes called sphota) and the sounds that manifest it. These sounds themselves are subdivided in one passage of the Vakyapadiya into prakrta dhvani and vaikrta dhvani. Sphota, according to Bhartrhari, is always intimately related to dhvani. As soon as the sounds are produced the sphota is cognized instantly. Thus, sounds are manifesters and sphot is manifested

Bhartrhari distinguishes between (1) the sphot a of an expression, which denotes the expression as a single unit conveying a meaning; (2) the prakrta-dhvani of an expression, i.e. the phonological structure assigned to the type it represents; and (3) the vaikrta-dhvani, i.e. the phonetic realization in its particular utterance-token.

First, we have the actual sounds of the words uttered; this is the vaikrta-dhvani. These sounds reveal the permanent prakrta-dhvani which is an abstraction from the vari-ous vaikrta-dhvani-s, or which may be considered as the linguistically normal form devoid of the personal variations which are linguistically relevant.

For the listener this entire process is reversed, and results in the manifestation of the indivisible sphota-shabda from the divisible dhvani.

Dhvani is the essence or soul of poetry. . The poet has to be inspired, charged with emotion to create a poetry that comes alive with suggestions (Dhvani). The poet is the first reader of his Kavya; and the first one to experience Rasa from its Dhvani sensitivities

Dhvani principle can be said, briefly, in statements: Rasa (aesthetic experience) is the soul of poetry; the mode in which the body of the poetry reveals it is Dhvani (suggestion); and, the harmonious accordance of the body and the soul is Auchitya (propriety) . Rasa, Dhvani and Auchitya are the Prastha traya, the three fundamental principles of Kavya Shastra.

Bhartrhari explicates that dhvani has two faces viz. ‘prakrtadhvani’ and ‘vaikrtadhvani’. Prakrtadhvani is the original sound, which is the cause of sphota. But vaikrtadhvani is the pure phonetic term used by grammarians. It is the sound spoken by the speaker and heard by the listener. There is no partition of time in the sphota whereas there is interpolation of time in the reflections of this gist.

According to him, sphota signifies the audible sound or dhvani. Sphota controls within the Universal sounds whereas dhvani within a specific sound. In modern conditions sphota can be understood as having ceaseless typical phonetic characteristics. But dhvani is of a phonic type.

Sphota is that which is to be demonstrated and dhvani is demonstrating. Dhvani may be variable considering on the speakers style of vocalization. But sphota as the unit of speech is not capable to such fluctuations. Bhartrhari formulates the idea of sphota is a unique philosophical proportion. For him, sphota is neither a meaning abiding unit nor a linguistic mark.

Sphota is the real cause of the Cosmos. Bhartrhari’s theory of sphota is also known as ‘sabdadvaita’ or ‘sabdatattva’. He reveals this with mention to five aids to sensible knowledge, viz. pratyaksa (perception), anumana (inference), agama (sabda), abhyasa (repetition) and adrsta (invisible) .

At the personal level, Sphota is the idea which twinkles on the mind when a sound is expressed. At the universal level, Sphota is the force behind the Word-Logos, the eternal declaring itself through sound. The absolute potentiality of the occurrence of life is charted in the sound of ‘Aum’, the pranava, that direct prana or breath.

The ‘Mandukyopanisad’ assorts the whole enigma of Brahmn into an elementary sound Aum, the three conditions of waking, dreaming and deep sleep allied to the three mantras of A, U and M, the Sphota, the Nada-Sabda Brahman being the "material of all words".

Bhartrhari depicts that sphota is a monistic philosophy pertaining the fundamental trouble of the word and its meaning. He distinguishes two components in each important word, the component of sound (sabda) and the component of meaning (artha).

The sphota is an inseparable meaning assuming unit of a word, which blushes on the mind when a sound is expressed. It is the sublime theoretical and transcendental speech effect. In the Veda’s, there are many expressions which prove that the concept of sphota has developed in Veda’s. Rig-Veda says that a” mahan devah sabdah”, which means the Great God, is speech itself.

Since Sphota assumes that the apparent Universe arose out of an exploding forth from the changeless substratum. It is also seen as the premature ‘Big Bang’ theory of the Universe, retroflexed in each individual mind as the possible arousing of awareness through words and language.

Sphotavada says that the very inwardness of the Universe is Sphota. The sound of speech (dhvani) apparently arouses the Sphota in the listener as varnasphota, padasphota, and vakyasphota, the phoneme-in-morpheme-diction-knowledge, the word-diction-knowledge, and the text-diction knowledge, individually.

According to Bhartrhari, the meaning is accomplished through vakyasphota only. Even today this theory is widely admits among modern linguists as the most arrant analysis into the deepness of language, making appreciable profoundness to the Philosophy of Language, Linguistics, and especially in Semiotics.

For Bhartrhari the two aspects of word-sound ( dhvani ) and the word-meaning (artha), differentiated in the mind and yet integrated like two sides of the same coin, constitute the sphota. Bhartrhari emphasizes the meaning-bearing or revelatory function of this two-sided unity, the sphota , which he maintains is eternal and inherent in consciousness

An important feature of sound is its fixed capacity to express a particular phoneme. For instance, a particular sound, produced by its particular articulated efforts, reveals a particular phoneme

The sound-wave emanating from its origin is compared to a light-wave starting from the original flame. Once the first flame has been produced by the fire-producing machinery, the light-wave continues to spread in all direction, even after the fire-producing machinery has stopped

The sound, which contains longitudinal vibration in it, travels in all directions. The range covered by the sound depends upon loudness (intensity) of the sound. The area covered by the sound may be smaller or larger, but that does not change the duration of the sphota

Sphota is the first sound. It results from the conjunction and disjunction of the vocal organs with points of articulations. On the other hand, sounds, which originate from the first sound and spread in all directions and travel over a certain range, are the dhvanis. In short, the articulated sound is sphota, and its continuation in the form of sound -waves is called dhvani

Bhartrhari makes a new distinction within the manifesting sounds: primary sound (praakruta dhvani) and secondary sound (vaikruta dhvani)

Primary sounds are those, without which the form of sphota would remain unmanifested and therefore unperceived . Primary sounds are considered to be the root cause of sphota, because, as soon as we hear the primary sounds, sphota is perceived. Due to this close relationship between the two, the features of primary sounds are often attributed to the sphota.

According to Bhartrihari sphota signifies spoken language, with the audible sound (dhvani) as its special quality. In Bhartrihari’s treatment of this concept, while the audible noise may vary depending on the speaker’s mode of utterance, sphota as the meaning unit of speech is not subject to such variations.

This is so because for Bhartrihari, meaning is conveyed by the sentence. To explicate this theory, Bhartrihari depends on the root of sphota, namely sphut, meaning “to burst forth…” as in the “idea that spews forth” (in an internal mental state) when a meaningful sound, the sentence as a whole, is uttered.

Sphota is the cause of manifested language, which is meant to convey meaning. Sphota is more specifically identified as the underlying totality of linguistic capability, or "potency" and secondarily as the cause of two differentiated aspects of manifested meaning: applied meaning expressed as dhvani, the audible sound patterns of speech and artha-language as meaning-bearing.

The grammatical/syntactical parts of the underlying sphota can only be heard and understood through its phonetic elements. Bhartrihari explains that the apparent difference between sphota and dhvani arises as we utter words.

Initially, the word exists in the mind of the speaker as a unity but is manifested as a sequence of different sounds-thus giving the appearance of differentiation. dhvanis may be more specifically described as merely the audible possibility of meaning, a necessary but hardly sufficient condition of meaning.

According to Bhartrhari, the gross sound pattern, Dhvani or Nada, is a sequence of sounds. Those sounds are employed to convey or to give an audible form to the intent of the speaker. Those audible sounds through their divisions and time sequence, produced one after another by the speech organs, act as means (upaya) or as vehicles to transport the intent of the speaker.

Such quanta of sound-sequences (words) might create an impression as though they are independent; and, the meaning intended to be conveyed by them (Sphota) comprises several parts. But, in truth, the individual words have no separate existence; and, both the sentence and its meaning (Sphota) are part-less.

Sphota in the ordinary conversation, according to Bhartrhari refers to a spontaneous process where a latent idea or thought arising out of the consciousness or the mind of the speaker is manifested by the sounds (Dhvani) of the spoken words employed in the sentence; and, it is directly grasped, through intuition (Prathibha), by the mind (Buddhi) of the listener.

Bhartrhari explained that, initially, the thought exists in the mind of the speaker as a unity – Sabda or Sphota – intending a certain meaning. When uttered, ( in an effort to convey that thought through a sequence of sounds (Dhvani) that follow one after the other) , it produces certain specific sound-patterns (Nada).

It might look as though the articulated word-sounds are separated in time and space. However, though the word-sounds reach the listener in a sequence, the listener eventually grasps the completed sentence as a single unit, as its meaning bursts forth (Sphota) in a flash of understanding or insight (prathibha).

The same Sphota which originated in speaker’s mind re-manifests in listener’s mind, transmitting the meaning. Understanding of the meaning must be the immediate and intuitive grasp of the sentence as a whole. Thus, while the articulated sounds (Dhvani, Nada), apparently having divisions and sequence, are the external forms; Sphota is the inner unity conveying the meaning.

In modern terms Sphoṭa can be understood as having constant distinctive phonetic features, whereas Dhavni is of a phonic nature. Sphoṭa is that which is to be manifested (vyaṅgya), and the Dhvani is manifesting (vyañjaka). Sphoṭa is not uttered but it is perceived by the hearer.

Bhartrhari draws a line of demarcation between two classes of sounds:-- prakrta (original sound) and vaikrta sound (derivative transformation). Without the former, the unmanifested sphota cannot be comprehended. The latter enables the manifested sphota to be comprehended for longer and longer moments of time without any cessation.

In the levels of Phenomenalization of the sabda, the first stage is called sphota in pasyanthi stage and the second and third stages are collectively called nada or dhvani. Sphota is the underlying cause of the dhvani.

The dhvani in the second stage gets the distinction of short (hwasa) long (dirga) and extralong (pluta) and it is called prakrta dhvani. The same dhvani in the third stage gets the differentiation of rapidity (druta) medium (madhyamam) and slowness (vilambita) and it is called vaikrta dhvani. These two levels of dhvani correspond to the madhyama and vaikhari.

In the first two levels of the sabda, the dhvani is known as madhyamavak and in the last step or in the state of pronunciation or utterance of the word, it is known as vaikrtavak the vaikrta dhvani. Vaikrta vak is transitory in contradistinction to the prakrtauak.

According to Bhartrhari sphota signifies the audible sound or dhvani. Sphota controls within the Universal sounds whereas dhvani within a specific sound. In modern conditions sphota can be understood as having ceaseless typical phonetic characteristics.

But dhvani is of a phonic type. Sphota is that which is to be demonstrated and dhvani is demonstrating. Dhvani may be variable considering on the speakers style of vocalization.

But sphota as the unit of speech is not capable to such fluctuations. Bhartrhari formulates the idea of sphota is a unique philosophical proportion. For him, sphota is neither a meaning abiding unit nor a linguistic mark.

Indian grammarians accept the four speech situations namely para, pasyanti, madhyama and vaikhari.

Sphotavada says that the very inwardness of the Universe is Sphota. The sound of speech (dhvani) apparently arouses the Sphota in the listener as varnasphota, padasphota, nd vakyasphota, the phoneme-in-morpheme-diction-knowledge, the word-diction-knowledge, and the text-diction knowledge, individually.

The basic principle of dhvani is innate in sphota vada; strictly speaking it is not admissible to take words separately by splitting a sentence. To those who advocated the divisibility of both pada (word) and vakya (sentence) it is the last sentence in a structure that indicates sphota.

Sphota is practically manifest from tha last sound. It is from the last sound that the cognition of the entire word structure is derived, together with the impression produced by preceding sound. Sphotu in this context is 'antima buddhi graahya' or what is known by the last word, sphota is also 'antima varna graahya' , or what is known by the last syllable as even the last alphabet.

Indian rhetoricians have made a meticulous study of both the meaning and emotive context of words. Words have at least two meanings, one literal meaning, the other suggested meaning which is described as 'dhvani' or the meaning that echoes (the literaral meaning of sphota is 'burst out' or the energy released when something is broken). Sphota is a distinct entity, by itself.

Dhvani is so termed because it sounds, rings, or reverbrates because it is sphota. The idea of one thing indicating something else which it is not is the distinguishing character of dhvani. In a verbal expression 'abhidha' and 'lak~na' form the nature of the condition and 'vyanjakn' or 'dhvani' is of nature of contents.

The sequence is from sound to word, and from word to sphota and from sphota to meaning.

Bhartrhari's concept of Sabda and dhvani has definitely a metaphysical out look which helped him to construct a 'Grand Narrative' of language.

Bhartrhari employs three technical terms: sabda/sphota, dhvani, and nada. By sabda and or sphota he refers to the inner unity which conveys the meaning. The dhvanis are described as imperceptible particles which, become gross and perceptible sounds and are called nada.

These nada function to suggest the word, sphota or sabda. And since these nadas which are gross and audible, have division and sequence, the word also has parts, when in reality it is changeless and sequenceless. Bhartrhari offers the example of reflection in water.

Just as an object reflected in the water may seem to have movement because of the movement of the water, similarly the word, or sphota, takes on the properties of uttered speech (sequence, loudness or softness, accent, etc.) in which it is manifested…why is the unity expressed in the diversity called speech?

In Bhartrhari's view, it is because the spota itself contains an inner energy (kartu) that seeks to burst forth into expression. What appears to be unitary is thus seen to contain all the potentialities of multiplicity and complexity like the seed and the sprout or the egg and the chicken. In the Vakyapadiya, Bhartrhari suggests two ways in which the energy of speech causes the phenomenalization of the sphota. On the one hand there is the pent up potentiality for bursting forth residing in the sphota itself, while on the other hand there is the desire of the speaker to communicate Bharthari finds language to contain and reveal its own telos..

The body of human beings is most suitable for the manifestation of Nada .(‘tatra nadopayogitvat manusam dehamucyate’) The ‘voice’ (svara), which the human body utters, is described as ‘Sarira’ by Bharata.

The larynx in the case of man is larger while vocal chords are thicker and bigger than in the case of a woman and children. The pitch of the note produced by a man is lower than that of the note produced by a woman or a child. Thus, ‘sarira’ represents the ‘innate voice’ of a person.

Man is also capable of producing different kinds of voices in different occasions. Thus, the nature ofthe production ofthe voice varies according to the intended applications.

For instance, when a person wants to call a man standing at some considerable distance, he has to increase the loudness and intensity of his voice (so as to shout louder); and this kind of voice is not required to talk to a person by his side. Thus, voice is produced differently for different applications.

By regulating the breath and the vibrations caused at vocal chords man is capable of producing different kinds of voices by suitably modifying or modulating such a mixture of those two in vocal organs.

It is that ‘sound-breath-mixture’emitted by the larynx (vocal chord), the musicologists called ‘dhatu’, and Pratisakhyas as ‘dravya’. It is called ‘dhvani’ in common parlance. now proceed to consider the ‘Vocal applications of Nada’.

There are, mainly, four kinds ofvocal applications of Nada:

A) Linguistic Applications

B) Musical Applications

C) Aesthetic Applications and

D) Spiritual Applications.

The sound that causes different linguistic syllables or musical ‘svaras’ is nothing but ‘sounding breath’, and this ‘sounding breath’, is called ‘dhvani’ in Sanskrt. In other words, the vibrations caused by breath in vocal chords, emerging together out of the mouth is dhvani’.

The total mass of sound emitted from throat, while taking different syllables or musical svaras, takes different volume and different qualities- some times more ‘hard’, some times more ‘soft’, some times more volume, some times less volume, as per the need.

This kind of variations of sound-breath material in volume and intensity is called ‘samyoga pinda’. There are three kinds of such ‘samyoga pindas’ : Ayahpinda (hard like iron eg. ‘agnih’, ‘tanacmi’, ‘yakkna’ etc. 2) Darupinda (hard like wood), eg. ‘assvah’, ‘suryyah’, 3) Urnapinda ( soft like wool), e.g. ‘ksnah’, ‘asmmin’ etc.

The sphota is the perfect gist of language and is the cornerstone of all linguistic process. Bhartrhari is the founder of sphotavada. Sphota is the original Sound produced by various vocal organs with the contact of various places of articulation

‘Bhartrhari’ was also known as “Padavakyapramanajna”. Through his famous work Vakyapadiya, Bhartrharidepicts his deep knowledge of the central problems of semantics. ‘Trikandi’ is another name of Vakyapadiya, i.e. that which has three kandas-‘Brahmakanda’ or ‘Agamakanda’, ‘Vakyakanda’ and ‘Prakirnakanda’.

The metaphysical backgrounds of the Sphota doctrine are discussed in the beginning chapter ‘Agamakanda’. ‘Vakyakanda’ deals with the fundamental Subject of semantics in general linguistics and figures out it on the basis of Sphota doctrine.

The last chapter deals with the concept of the Ultimate essence –‘akhandavakyasphota’. The output of sound (sabdavirbhava), comprehension (grahana), and communication (vinimaya) are the concepts that revolutionized by Bhartrhari. His analytical study surfaced the way for the rational doctrine namely ‘Sphotavada’.

Na so’sti pratyayo loke yah s’abda:nugama:d rte,

anuviddham iva jna:nan sarvam s’abdena bha:s’ate. Vakyapadidya I, 123

“There is no cognition without the operation of the word. Shot through and through is cognition by the word, as it were. All knowledge is illuminated by the word.”

https://cudl.lib.cam.ac.uk/view/MS-ADD-00876/8

Below: Italian Fibonacci stole an Arabian translation from Sanskrit of the great Indian Mathematician Pingala's Matra Meru ( written in 500 BC ) , from Bejaya Algeria and patented it in his name.

http://ajitvadakayil.blogspot.com/2010/12/perfect-six-pack-capt-ajit-vadakayil.html

The uttered sound-energy (the vaikhari mode of language) is picked up by the ears (sense organs) of the listener/learner and becomes sentence in the madhyama mode- the modulated virtual mental energy form mode in conjugation with the inner mental tools.

This sentence-energy form in madhyama mode is in subject-verb-object (the triad-triputi) form. This mode of language gets demodulated (reverse transformation of maya - the becoming in the reverse direction) into meaning, resulting in understanding/experience in the pasyanti mode- to a verb (sense), in present continuous or infinite form, the subject and object being dissolved in the sense of uttered /expressed sound.

This, when meaningfully experienced in the awareness of para mode, is the purport or import of the uttered word- Bliss, Being, Peace or Unoccupied Awareness , the normal or natural state of mind - i.e, the state of Self, Atman or Brahman.

Thus psychic energy (virtual mental energy reflection) pulses, being issued out by Atman [Sat-Chit-Ananda (Being-Pure Consciousness-Bliss)] and after getting reflected in the medha, (medulla oblongata ) as virtual or chit- energy (virtual mental energy reflection) pulses, first get modulated from this para / rasa / purport mode by cognizing stored energies in potential (jada) form–in the form of subject-object- free verbs/senses, experiences, intuitions, understandings, urges, volitions through the inner mental tool chittam to be transformed in to the mode of verb, mood, experience-pasyanti.

It then again gets transformed into sentence -subject-verb-object state, the madhyama mode - by simultaneously cognizing the object energy-forms – stored as potential energy (jada) forms – as inner mental world through the inner mental tool, manas in the awareness of within –- as feelings or thoughts.

There is an inter-link between sound and sphota, as soon as the speaker produces the sound through the articulatory organs, the sphota is revealed. But the listener cannot understand sphota immediately.

Each sound unit contributes some thing to the total perception of sphota. The listener receives the phonemes in a sequence and grasps the form of a word in his mind, when the last phoneme is heard. The last sound helps the listener to recognize the sphota absolutely.

This entire process of manifesting sphota is compared with the act of painting. Just as an artist reproduces his mental idea of the form of an object on a cloth, similarly the speaker reproduces the mental verbal image of a word through articulated phonemes.

Bhartrihari is projected as a grammarian by the white historians . If you understand his works , he is a philosopher first and then a grammarian.

He establishes amazing connections between grammar, logic, semantics, and ontology. His thought may be characterized as part of the shabdadvaita (word monistic) school of thought, which asserts that cognition and language at an ultimate level are ontologically identical concepts that refer to one supreme reality, Brahman.

Bhartrihari interprets the notion of the originary word (shabda) as transcending the bounds of spoken and written language and meaning. Understood as shabda tattva-the "word principle," this complex idea explains the nature of consciousness, the awareness of all forms of phenomenal appearances, and posits an identity obtains between these, which is none other than Brahman.

It is thus language as a fundamentally ontological principle that accounts for how we are able to conceptualize and communicate the awareness of objects. The metaphysical notion of shabda Brahman posits the unity of all existence as the foundation for all linguistically designated individual phenomena.

The first two chapters of the Bhartrhari’s Vakyapadîya discuss the nature of creation, the relationship of Brahman, world, language, the individual soul (jiva), and the manifestation and comprehension of the meanings of words and sentences. In ancient India, grammarians saw their task as establishing the foundations of the Vedas, but their work often resulted in the development of profound philosophical systems.

Patanjali, in his Mahabhashya, explains that the study of grammar (vyaaranam) was meant to maintain the truth of the Vedas, to guide the use of Vedic speech in ritual contexts, and to aid in the clear interpretations of individual human speech.

Both Panini and Patanjali, two major Sanksrit grammarians, were the first to provide a systematic and formal analysis of the grammatical bases of all intended meanings.

Panini developed the Ashtadhyaya (Eight-Chapters) for the grammarians. This impressive work contains a thorough analysis of the rules of Sanskrit language down into its nominal and verbal components; it contains a science of language, applicable to the Vedas, also comprised of sets of operational rules and meta -rules that interpret the former.

Among these "rules for interpretation" of Vedic texts, we are given a “universal grammar. Panini deals with spoken and Vedic languages as if they are of the same genre.

Panini's ( 5500 BC ) Ashtadhyayi, its commentaries, and the Vakyapadiya of Bhartrihari ( 7000 BC) constitute the fundamental texts for the school of Panini’s grammar.

Patanjali ( 5000 BC ) wrote the Mahabhashya, an interpretation of some of Pânini’s rules written in dialogue form, and it is this work that is the basis for later commentaries on grammar and philosophy.

The Dharmashâstras or Treatises on Law, including the well-known Laws of Manu ( 8300 BC ) , were composed much before .

http://ajitvadakayil.blogspot.com/2011/01/manu-first-law-maker-capt-ajit.html

SPOT THE TWAT CONTEST

Capt. Ajit VadakayilOctober 28, 2018 at 4:22 AM

https://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and_27.html

READER RN MURTHY

SEND THE LINK ABOVE TO ALL THOSE WHO ATTENDED THE BANGALORE LITERARY FEST.. THEY JEERED YOU WHEN YOU SPOKE ABOUT SABARIMALA , RIGHT? .. THESE ARE SELF LOATHING INDIANS ..

REST OF MY READERS--

SEND THE LINK TO THE FOLLOWING.. TELL THEM YOU ARE IN A QUANDARY-- NAY-- A BIND --AS TO WHO THE TWAT COULD BE ...

PUT THIS COMMENT IN WEBSITES OF--
RAJIV MALHOTRA
SUHEL SETH
AND AS MANY SELF LOATHING INDIANS YOU CAN FIND. TELL THEM APUN KA MANN MANDIR MEIN DOUBT AAH GAYA..

GIVE ME A FEEDBACK ABOUT THE BROWN SAHIBS AND MEMSAHIBS YOU SEND IT TO -- WHO WEAR WESTERN DRESS , APE THE WHITE FOLKS -- YET STINK OF PICKLE AND CHUTNEY ..

capt ajit vadakayil
..

Capt. Ajit VadakayilOctober 28, 2018 at 11:03 AM

I WANT ALL MY THIYYA / EZHAVA KERALA READERS TO LISTEN UP..

THIYYA ARE NOT EZHAVAS...

IN ANCIENT DAYS ( MILLENNIUMS BEFORE PARASHURAMA OF 4000 BC ) KERALA POPULATION WAS DIVIDED INTO TWO GROUPS THIRAYYARS AND MALAYYARS..

THIRAYYARS WERE THE RULING CLASS, THE WARRIOR CLASS, THE ELITE INTELLECTUALS AND SEA NAVIGATORS.. THEY OCCUPIED COASTAL AREAS AND NORTH OF KERALA. . THIS CLASS PRODUCED THE PHAROAHS OF EGYPT.. THESE ARE THE THIYYAS OF TODAY..

MALAYYARS WERE THE AGRICULTURAL CLASS, THE TRIBALS, THE UNSKILLED WORKERS.. THEY OCCUPIED THE MOUNTAIN AREAS, OF KERALA AND THE NORTH PART OF SRI LANKA..THESE ARE THE EZHAVAS OF TODAY..

THE NAMBOODRIS WERE THE SANSKRIT AND ORAL VEDAS KNOWING CREAM OF THE THIYYAS.. THEY WERE VISITING PROFESSORS , ALL OVER THE PLANET.. YOU COULD SPOT A NAMBOODIRI FROM FAR AS HE HAD A STRANGE HAIR STYLE.. NAMBOODIRIS WERE HELD IN AWE..

http://ajitvadakayil.blogspot.com/2014/08/chanakya-taxila-university-professor.html

JEW ROTHSCHILD CREATED A CRYPTO JEW CLAN CALLED VARMAS ..

ONE FINE DAY VARMAS TOOK OVER A RULERS OF KERALA ( JUST LIKE PESHWAS CHITPAVAN JEWS DISPLACED MAHAR SHIVAJI RULING CLAN ) .

JEW ROTHSCHILD THEN DEMOTED THIYYAS TO COCONUT TREE TODDY TAPPER MONKEYS..

IN ANCIENT DAYS WE TRAINED MONKEYS TO TAP TODDY AND PLUCK MANGOES , AND THESE TRAINED MONKEYS FROM PUNT ( MALABAR ) WERE IN GREAT DEMAND IN EGYPT..

http://ajitvadakayil.blogspot.com/2017/05/land-of-punt-ophir-and-sheba-is-north.html

THIYYAS WERE THE TORCH BEARERS OF THE DANAVA CIVILIZATION WHICH PRECEDED THE VEDIC CIVILIZATION BY SEVERAL MILLENNIUMS..

THE FATHER OF KERALA KING MAHABALI, VIROCHANA RULED THE WHOLE PLANET..

MAHABALI WAS BANISHED BY VISNUs VAMANA AVATAR TO PATALA ( PERU )..

http://ajitvadakayil.blogspot.com/2011/09/why-kerala-does-not-celebrate-diwali-or.html

http://ajitvadakayil.blogspot.com/2012/07/maya-inca-aztec-civilizations-decoded.html

JEW ROTHSCHILD THEN MERGED THIYYAS WITH EZHAVAS..

TODAY ALL MARRIAGE BUREAUS CLUB THIYYAS AND EZHAVAS TOGETHER.. NO THIYYA WILL EVER GIVE HIS DAUGHTER OR SON TO AN EZHAVA.. EZHAVAS ARE BLUNT FACED..

JEW ROTHSCHILD PROPPED UP AN EZHAVA SAINT NAMED SRI NARAYANA GURU ..AND HIS MEDIA MADE HIM FAMOUS..

JEW ROTHSCHILD THEN CREATED A SOCIO-POLITICAL ORGANISATION NAMED SNDP ( SRI DHARMA PARIPALANA YOGAM ) LEAD BY TRAITOR STOOGES....

ROTHSCHILD THEN ALLOWED SNDP QUICK WINS ( LIKE HOW HE ALLOWED KATHIAWARI JAIN-JEW MK GANDHI QUICK WINS IN SOUTH AFRICA ) --TO SHOW THAT SNDP IS A VERY POWERFUL ORG..

AFTER A WHILE SRI NARAYANA GURU WHO WAS NOT STUPID CAUGHT ON AND LEFT SNDP-- HE SAID HE IS NOT PART OF THIS TRAITOR ORG ANY MORE..
EVEN TODAY IF POOR THIYYAS WANT TO GET MARRIED IN SNDP MARRIAGE HALL IN CALICUT, THE HUGE PHOTO OF SRI NARAYANA GURU IS KEPT NEXT TO THE LAMP AND THE COUPE HAVE TO GO AROUND THIS PHOTO..

SORRY IN SANATANA DHARMA WE ARE NOT ALLOWED TO GIVE ANY MORTAL SUCH HONOUR..

TODAY SNDP IS LED BY A UGLY BLUNT FACED FELLOW NAMED VELLAPALLY NATESHAN..

THE THING TO NOTE IS THAT HIS FACE IS A TAMIL DALITs FACE OF THE ANCIENT PANDYA KINGDOM ( WHICH ALSO RULED SRI LANKA ) .. HIS NAME NATESAN IS NOT A KERALA NAME..

VELLAPALLY NATESAN ( A STOOGE OF DEEP STATE FOREIGN FORCES ) IS ON THE SIDE OF COMMIE ATHEIST CM PINARAYI VIJAYAN OVER THE SABARIMALA ISSUE.. THIS FELLOW IS NOBODY TO DECIDE FOR THE THIYYAS / EZHAVAS..
CHECK OUT THIS UGLY FELLOWs FACE..

https://en.wikipedia.org/wiki/Vellapally_Natesan

VELLAPALLY NATESAN IS THE REASON WHY EZHAVAS AND THIYYAS VOTE FOR ATHEIST COMMIE PINARAYI VIJAYAN... HE IS A STOOGE OF COMMIES.. JEW ROTHSCHILD CREATED COMMUNISM..

http://www.newindianexpress.com/states/kerala/2017/sep/20/bdjs-exit-from-nda-vellappally-natesan-holds-talks-with-kerala-cm-pinarayi-1659776.html

I ASK MY MALAYALI READERS TO SPREAD THIS COMMENT.. DO NOT ACCEPT ANY DIKTATS FROM THIS TRAITOR WHO IS NOT EVEN A MALAYALI..

capt ajit vadakayil
..

Capt. Ajit VadakayilOctober 27, 2018 at 12:21 PM

COMMENTS MADE IN THIS POST WILL NOT BE PUBLISHED..

CONTINUE MAKING COMMENTS IN "COMMENTS OVERFLOW 44 "

Below: Harivarasanam, is Malayalam Hindu devotional song composed in the astakam metre, recited at Sabarimala, before closing the temple door every night. Today, as the final verses are being sung, all the assistant Santhis (priests) leave the Sreekovil one by one. As the song ends, only the Melsanthi is inside. He extinguishes the lamps one at a time and closes the doors for the night.

BELOW: AN ARAB PLAYING THE VIOLIN

THIS POST IS NOW CONTINUED TO PART, 113 BELOW

https://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and_28.html

CAPT AJIT VADAKAYIL
..

62 comments:

Capt. Ajit VadakayilOctober 27, 2018 at 12:21 PM
COMMENTS MADE IN THIS POST WILL NOT BE PUBLISHED..

CONTINUE MAKING COMMENTS IN "COMMENTS OVERFLOW 43 "

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Anurag MalhotraOctober 27, 2018 at 2:58 PM
Respected Captain....... you are giving us more than we deserve. We do not deserve all this.... but you are very kind... like SUN, and showering your light on us. Please publish a complete book of your posts. Let the Upanishads continue from a source like you.
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Capt. Ajit VadakayilOctober 27, 2018 at 4:55 PM
DEMOCRACY HAS FAILED UNDER THE STALIN MODEL REIGN OF TERROR UNLEASHED BY THE ATHEIST COMMIE PINARAYI VIJAYAN GOVT IN KERALA..

THE PREVIOUS DGP OF POLICE SENKUMAR WAS SACKED FOR NOT BEING A PERSONAL SLAVE TO THE ATHEIST COMMIE CM PINARAYI VIJAYAN ..

THE MOOT QUESTION NOW IS-- CAN MARXIST COMMUNISM BE INCLUDED IN INDIAN DEMOCRACY ANYMORE ? .. SORRY IT IS NOT POSSIBLE..

CAPT AJIT VADAKAYIL SAYS , DEMOCRACY AND COMMUNISM IS LIKE OIL AND WATER..

THIS SUBJECT IS FOR THINKERS.. AND THERE ARE NO REAL THINKERS IN THE COMMUNIST PARTY..

The Communists in Kerala swear by their working class ideology and dialectics, but in practice they deftly spin it to survive and gain from a neoliberal world order. .

The Communist party of India is supported by the DEEP STATE as Jew Rothschild created Communism…

The FAKE communist party ideology is well explained in the Malayalam movie ARABIKATHA..

https://en.wikipedia.org/wiki/Arabikkatha

IN THIS MOVIE THE TOP KERALA COMMIE MINISTERS GET HUMONGOUS KICK BACK MONEY AND USE MALAYALI BUSINESS MEN FRONTS IN GULF TO RUN THEIR BENAMI BUSINESS..

THE BIBLE OF THE IDEALISTIC HERO ( SRINIVASAN ) IS THE BOOK WRITTEN BY GERMAN JEW KARL MARX "DAS KAPITAL".. TRANSLATED INTO MALAYALAM AS " MOOLADHANAM " BY A GROUP OF MEN OF INFERIOR INTELLECT LIKE EMS , KJ MATHEW THARAKAN, NE BALARAM, PAVANAN, CP SREEDHARAN ETC ...

HEY , SECOND STANDARD FAIL ELECTRICITY MINISTER MM MANI COULD HAVE WELL BE AN AUTHOR OF COMMIE BOOKS..

GERMAN JEW KARL MARX WAS A BLOOD RELATIVE OF JEW ROTHSCHILD..

In 1850 in London when Karl Marx was writing Das Kapital in the British Museum reading room, his famous cousin Lionel de Rothschild, was MP for the City of London..

I HAVE READ DAS KAPITAL ..

IT IS PENNED BY A DELUSIONAL BELOW AVERAGE BRAIN AND THERE ARE NO INTELLIGENT MEN IN THE INDIAN COMMIE PARTY INCLUDING EX-JNU STUDENTS PRAKASH KARAT AND SITARAM YECHURY.. THIS DUO IS ONLY ARTICULATE..

BUT FOR ROTHSCHILDs SPONSORSHIP- THIS BOOK WOULD HAVE BEEN DISCARDED IN THE GARBAGE BIN OF HISTORY…

LET MINDLESS DUFFERS LIKE KANHAIYA KUMAR AND HIS COMMIE MENTORS HANG ON TO THE MARX LANGOT..

From Das Kapital sprung the economic and political systems that at one time dominated half the earth and for nearly a century kept the world on the brink of war and mindless violent revolutions..

http://ajitvadakayil.blogspot.in/2013/07/exhuming-dirty-secrets-of-holodomor.html

Even today, more than 1.25 billion Chinese citizens live under a regime that proclaims fealty to stupid Marxist ideology. ..

COLUMBIA UNIVERSITY PROFESSOR JEW JOHN DEWEY WROTE MAOs LITTLE RED BOOK-- HE ALSO BRAINWASHED BR AMBEDKAR..

http://ajitvadakayil.blogspot.in/2013/08/chinese-revolution-biggest-genocide-on.html

Most readers of Das Kapital only pretended to understand the contents--so that they can cry APUN BHI INTELLECTUAL..

Karl Marx saw history as the story of class struggles, in which the oppressed fight against their oppressors. .

MARX KNEW DAMN WELL THAT ROTHSCHILD CONTROLLED BOTH CAPITALISTS AND LABOUR UNIONS..

KARL MAX STOLE ALMOST ALL HIS IDEAS .. THEY WERE GIVEN TO HIM BY JEW ROTHSCHILD TO MAKE A KITCHIDI...

Example?...

The “theory of surplus value” was already espoused by Pierre-Joseph Proudhon..

The theory of the “immiseration of the proletariat” was espoused by Louis Blanc…

CONTINUED TO 2--
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Capt. Ajit VadakayilOctober 27, 2018 at 4:56 PM
http://www.keralakaumudi.com/en/news/kerala/general/swami-sandeepanandagiri%E2%80%99s-ashram-attacked-swami-sandeepanandagiri-kundamankadavu-sangh-parivar-rahul-easwer-thazhamon-family-ashram-attack-ashram-7304

SWAMI SANDEEPANANDAGIRI IS A ROGUE AND A CONMAN..

HE HAS BEEN SEEN BY MY FRIEND IN CIVILIAN DRESS IN THE WHORE HOUSE AREA OF BANGKOK..

THIS CONMAN HAS NO QUALITIES OF BEING A GURU.. I HAVE BEEN FOLLOWING THIS FAKE GURU FOR A LONG TIME ON TV ..

CLEARLY THIS IS A FALSE FLAG ATTACK.. MORE SUCH HEGELIAN DIALECTIC CAN BE PREDICTED..

WE ASK LAW MINISTER PRASAD TO PERUSE THE FALSE IPC CHARGES SLAPPED ON RAHUL EASHWAR BY THE KERALA POLICE AND JUDICATORY..

capt ajit vadakayil
..
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Replies
Capt. Ajit VadakayilOctober 27, 2018 at 4:56 PM
https://www.indiatoday.in/india/kerala/story/kerala-dgp-tp-senkumar-supreme-court-reinstate-police-chief-cm-vijayan-973181-2017-04-24

DGP SENKUMAR HAS SAID THAT COMMIE CM PINARAYI VIJAYAN WANTED A PERSONAL SLAVE, NOT A DGP WHO WORKED AS PER THE OATH HE SWORE..

CURRENT DGP BEHERA HAS BEEN PINARAYI VIJAYANs BLUE EYED BOY..

WE ASK RAJNATH SINGH TO SUMMON DGP BEHERA AND REMIND HIM OF HIS OATH.. HE MUST NOT BE A SLAVE TO THE COMMIE CM ..

WE ASK RAJNATH SINGH AND AJIT DOVAL TO DEBRIEF EX-DGP SENKUMAR FOR A HEART TO HEART..ASK HIM HOW HE RATES THE CURRENT DGP BEHERA.

capt ajit vadakayil
..

PUT ABOVE COMMENT IN WEBSITES OF--
EX-DGP OF KERALA SENKMAR
GOVERNOR P SATHASIVAM
RAMAN SRIVASTAVA ADVISER TO CM PINARAYI VIJAYAN
PMO
PM MODI
NHRC
RAJNATH SINGH
HOME MINISTRY
AJIT DOVAL
AMIT SHAH
LAW MINISTER PRASAD
LAW MINSTRY
CJI GOGOI
ATTORNEY GENERAL
ALL SUPREME COURT JUDGES
CHIEF JUSTICE OF KERALA HIGH COURT
PRESIDENT OF INDIA
VP OF INDIA
EX-CJI DIPAK MISRA
EX-CJI KATJU
ROHINGTON NARIMAN
KHANWILKAR
CHANDRACHUD.
INDU MALHOTRA
DEFENCE MINISTRY
ALL 3 ARMED FORCE CHIEFS
ALL DGPs OF INDIA
NIA
CBI
IB
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Capt. Ajit VadakayilOctober 27, 2018 at 4:57 PM
CORRUPT KERALA COMMIE MINISTERS MUST KNOW..

THEIR NON -ATHEIST COMMIE CADRE ARE UPSET OVER THE SABARIMALA ISSUE..

MANY ARE WILLING TO BLOW THE WHISTLE ON MASSIVE KICKBACKS AND CORRUPTION WHILE HANDLING GOVT FUNDS..

EVERY POWER DRUNK MAFIA DON HAS FALLEN BECAUSE THEY WERE LET DOWN BY AN AGGRIEVED INSIDER..

WE ASK AJIT DOVAL / CBI-- MONITOR EVERY RUPEE SPENT FOR KERALA FLOOD RELIEF BY THE ATHEIST COMMIE PINARAYI VIJAYAN GOVT...

capt ajit vadakayil
..
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Capt. Ajit VadakayilOctober 27, 2018 at 4:57 PM
GOOD NEWS !

PATTTHHHTHAAAAACKKKKKKK !!!
FIRST SLAP ON THE FACE OF COMMIE ATHEIST CM PINARAYI VIJAYAN..

THE COMMIES HAD TAKEN OUT A LOW PROFILE , ALMOST INVISIBLE, GAZETTE NOTICE ( I HAVE PUT THE SCAN IN THIS POST ) THAT NON-HINDUS ( MUSLIMS/ CHRISTIANS/ ATHEIST COMMIES ) CAN BE IN THE DEVASWOM BOARD..

THIS HAS JUST BEEN STRUCK DOWN BY THE KERALA HIGH COURT.. THE COURT RULED THAT ONLY HINDUS CAN BE IN THE DEVASWOM BOARD ..

A HONOURABLE MAN WOULD FEEL BAD-- NOT ATTIMARI GANG TYPE GOON COMMIE POLITICIANS

WHEN THE PREVIOUS DEVASWOM BOARD CHIEF HANDED OVER CHARGE TO THE CURRENT COMMIE ATHEIST CHIEF -- MORE THAN 1200 CRORES OF MONEY WAS IN THE KITTY..

CHRISTIANS WITH HINDU NAMES, HINDU HATING ATHEIST COMMIES HAVE BEEN ENJOYING GOOD SALARIES, PERKS , BONUSES AND RETIREMENT BENEFITS-- ALL MONEY DONATED BY ADIVASIS AND POOR PILGRIMS ..

IF COMMIE CM PINARAYI VIJAYAN THINKS HE CAN SHUT DOWN SABARIMALA PILGRIMAGE , USING HIS ATTACK DOG POLICE, CHELA MAGISTRATES / JUDGES AND HIJACKED DEVASWOM BOARD -- HE MUST THINK AGAIN..

COMMUNISM IS DEAD -- DROWNING COMMIES ARE CLUTCHING AT STRAWS..

WHEN THE COMMIE GOVT IS KICKED OUT IN THE NEXT ELECTIONS-- GOD SAVE PINARAYI VIJAYAN AND HIS GOONS .. AND WHO WILL ENJOY THE MOST ? BONG AND TELUGU COMMIES ... THEY HAD ENOUGH OF THE ARROGANT "KANNUR LOBBY " ..

UBER RICH MALAYALI BUSINESSMEN IN GULF WHO ARE MERE BENAMI FRONTS FOR THE ILL GOTTEN KICKBACK WEALTH OF CORRUPT COMMIE POLITICIANS WILL HAVE TO RUN FROM INDIA LIKE NIRAV MODI..

WE KNOW WHO THEY ARE..

Capt ajit vadakayil
..
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Capt. Ajit VadakayilOctober 27, 2018 at 4:58 PM
WE ASK THE AYYAPPA BHAKTS OF KERALA, TAMIL NADU, KARNATAKA, ANDHRA AND TELENGANA TO TAKE TO THE STREETS IN LARGE NUMBERS AND DEMAND THE DISMISSAL OF COMMIE ATHEIST CM PINARAYI VIJAYAN OF KERALA.. HE IS WORSE THAN STALIN..

TO GIVE HIM A FAIR CHANCE WE ASK THE GOVERNOR OF KERALA P SATHASIVAM TO ARRANGE A MEDICAL TEST FOR THE CM..

EVEN DONALD TRUMP , PRESIDENT OF USA HAD TO UNDERGO THIS TEST TO SATISFY THE PEOPLE OF USA..
WE WONDER WHY INNOCENT ADIVASI PILGRIMS HAVE BEEN BRUTALLY BEATEN UP AND JAILED... ALL THEY HAVE IS THEIR DEITY AYYAPPA FOR HOPE AND SOLACE ...

WE WONDER WHY THE MUSLIM COLLECTOR OF PATHANAMHITTA PB NOOH WAS ALLOWED TO UNILATERALLY TO IMPOSE SECTION 144 IN THE APPROACHES TO SABARIMALA .. OR DOES HE TAKE CLANDESTINE ORDERS FROM ATHEIST COMMIE CM PINARAYI VIJAYAN ?..

THIS ANTI-HINDU COLLECTOR PB NOOH WILL DO WELL IN KASHMIR OR NE STATES.. WE DONT WANT THIS CALLOUS FELLOW IN KERALA.. HE HAS NOT UNDERSTOOD THE OATH HE TOOK AS AN IAS OFFICER..

https://ajitvadakayil.blogspot.com/2018/10/judiciary-in-contempt-of-we-people-capt.html

capt ajit vadakayil
..

PUT ABOVE COMMENT IN WEBSITES OF--
COLLECTOR PB NOOH
GOVERNOR P SATHASIVAM
RAMAN SRIVASTAVA
ALL CMs/ MPs/ MLAs OF TAMILNADU / KARNATAKA/ ANDHRA / TELENGANA
PMO
PM MODI
LAW MINISTER PRASAD
LAW MINSTRY
CJI GOGOI
ATTORNEY GENERAL
ALL SUPREME COURT JUDGES
ALL SUPREME COURT LAWYERS
NHRC
RAJNATH SINGH
HOME MINISTRY
AJIT DOVAL
AMIT SHAH
CHIEF JUSTICE KERALA HIGH COURT
PRESIDENT OF INDIA
VP OF INDIA
EX-CJI DIPAK MISRA
EX-CJI KATJU
ROHINGTON NARIMAN
KHANWILKAR
CHANDRACHUD.
INDU MALHOTRA
CHIEF JUSTICE OF KERALA HIGH COURT
ALL COLLECTORS OF KERALA
ALL BJP SPOKESMEN
ALL CONGRESS SPOKESMEN
SHIV SENA CHIEF UDDHAY THACKREY
MNS CHIEF RAJ THACKEREY
DEFENCE MINISTRY
ALL 3 ARMED FORCE CHIEFS
FALI BABY
SOLI BABY
SALVE BABY
SRI SRI RAVISHANKAR
SADGURU JAGGI VASUEDEV
MOHANDAS PAI
RAJIV CHANDRASHEKHAR
RAJIV MALHOTRA
JANAM TV
RAHUL EASHWAR
RSS
VHP
AVBP
NITI AYOG
AMITABH KANT
VIDYASAGAR GURUMURTHY
PARASARAN
SWAMI CHIDANADA PURI
PADMA PILLAI
NHRC
NCM
NCW MAIN
NCW STATES
SWAMY
GURUMURTHY
ALL MEDIA OF INDIA
ALL BJP SPOKESMEN
ALL CONGRESS SPOKESMEN
EVERY HINDU ORG
COL RATHORE
I&B MINISTRY
RAHUL GANDHI
SONIA GANDHI
SITARAM YECHURY
PRAKASH KARAT
BRINDA KARAT
DANIEL RAJA
ALL GOVERNORS OF INDIA
ALL DGPs OF INDIA
NIA
CBI
IB
CMs OF ALL STATES OF INDIA
EVERY LOK SABHA MP
EVERY RAJYA SABHA MP
CLOSET COMMMIE ARNAB GOSWAMI
NAVIKA JUMAR
FAYE SORPOTEL DSOUZA
NIDHI RAZDAN
BARKHA DUTT
ZAKKA JACOB
ANAND NARASIHAN
RAJDEEP SARDESAI
MADHU TREHAN
PRANNOY JAMES ROY
AROON PURIE
VINEET JAIN
SIDHARTH VARADARAJAN
N RAM
PAVAN VARMA
RAMCHANDRA GUHA
WEBSITES OF ALL DESH BHAKT HINDU LEADERS
SPREAD ON SOCIAL MEDIA
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Jayan divakaranOctober 27, 2018 at 5:15 PM
TAKE THAT YOU COMMIE GOONDAAAA

https://www.news18.com/amp/news/india/youll-pay-a-heavy-price-kerala-hc-warns-govt-as-2000-arrested-for-sabarimala-protests-1921393.html
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Capt. Ajit VadakayilOctober 27, 2018 at 7:32 PM

I ASK MY MALAYALI READERS OUTSIDE INDIA...

IF YOU HAVE BEEN A REGULAR VOTER FOR KERALA COMMUNIST PARTY

TAKE A CALL NOW..

IF YOU CARE FOR AYYAPPA AND SABARIMALA PILGRIMAGE

KICK START A MOVEMENT " I QUIT TOO "..

KILL THE COMMUNIST PARTY OF KERALA..

WE NEED TO ENSURE ALL CORRUPT COMMIE MINISTERS ARE SENT TO JAIL..

WE HAVE PROFILED THE MALAYALI BENAMI BUSINESSMEN IN GULF WHO HAVE HANDLED THE KICK BACK MONEY TAKEN BY CORRUPT COMMIE MINISTERS..

THESE UBER RICH MALAYALI BUSINESSMEN WHO WERE BORN IN POVERTY HAVE BEEN CARELESS..

THEY ALL ATTENDED THE " GIVE ME FUNDS FOR FLOOD RELIEF " MEETINGS OF PINARAYI VIJAYAN IN DUBAI .. WE HAVE THEIR PHOTOS..

THE "TIHAR JAIL LALU PRASAD YADAV " MOMENT LOOMS LARGE OVER CORRUPT KERALA COMMIE MINISTERS..

ALL TOP COPS OF KERALA , WHO HAVE BEEN VICIOUS ATTACK DOGS FOR THE ATHEIST COMMIE CM PINARAYI VIJAYAN -- MUST MENTALLY PREPARE TO BE TRANSFERRED TO KASHMIR...THEY CAN PROVE THEIR EFFICIENCY THERE ..

AND I DARE CM PINARAYI VIJAYAN-- IF YOU HAVE BALLS -- ARREST ADIVASI WOMEN !

capt ajit vadakayil
..
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sanOctober 27, 2018 at 7:33 PM
Captain,
may I request you to award "VADAKAYIL PRIZE" to "JANE DOE" as well? the embodiment of a Jane Doe who has made a dent is the universe is headed by lady Suchitra.
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Praveen BajiOctober 27, 2018 at 7:44 PM
Dear Captain
I am not correctly understood the complete meaning of any of your
Sanathan Dharma series. It requires high level of intelligence to understand ur blogging. So please give me any idea to understand the correct meaning of the series. Please its my humble request.
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Captain's shishyaOctober 27, 2018 at 9:22 PM
Captain,

All channels (except Janam) are saying that BJP and RSS have burnt Chandee-pananda giri's ashram. It is very clear that CPI cadre's have burnt his ashram. We can confirm this from the fact that Pinarayi ran like usain bolt to his ashram today morning itself although he has never visited the house of any other person when they were killed mercilessly.
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HimvijayOctober 27, 2018 at 10:09 PM
https://www.news18.com/news/india/like-sabarimala-sc-should-pronounce-judgment-in-ram-temple-case-says-adityanath-1922021.html

Ram Mandir is about resurrecting a part of our heritage whereas Sabarimala is about preserving it. Preservation would take the precedence for me any day over resurrection because the latter can be done any number of times but a tradition can be preserved in its original form only once.

From the recent statements from Yogi Adityanath it is clear that he doesn't think SC verdict on Sabarimala was judicial outreach and that he looks forward to courts deciding Hindu issues in the future too.
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SHEVALI RAINAOctober 27, 2018 at 10:48 PM
Mr. Parveen Baji I don't know about captain but I respect the fact that you are honestly and humbly accepting that captain's blog on sanatana dharma are very complex to understand.I too find them difficult and beyond my intellect.
I would genuinely appreciate ajit sir if he can help us through his blogs in understanding the matter more simply.
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Jayan divakaranOctober 27, 2018 at 11:41 PM
Here in Mumbai centre has issued a notice in schools that ever child should be given vaccine for measeles

They say it's free and compulsory

Should I give it to my child
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YashowarmanOctober 27, 2018 at 11:57 PM
pranam captain ji

if u have time please kindly watch this 1hr indus valley deciphering process video of rajat prakash

https://youtu.be/kIlMdtVABbU

all these days we were foold by daravidian stooges and western funded indologists european historians saying saying indus valley seals can never be
deciphered they have meaningless designs....propagated aryan invasi9n theory

this guy rajat prakash has deciphered indus valley seals with all brahmi scripts..

all dravidian and indology stooges in indian govt commies even tedex talks many western scholors were claiming
Quote
"we cannnot decipher indus seals they have no meaning only rombus fish ..meaningless .lines designs merchantns trade ...no warriors are there thy dont represent any meaning at all"

but this guy shown
how from indus valley script ...mourya gupta shunga bhrami lipis originates

how we can defeat aryan invasion theory by deciphering this seals...and uncover the info of indus pauravas kings

audio quality poor but first watch below video with
for indus valey alphabets by using brahmi lipi
1 hr

https://youtu.be/kIlMdtVABbU

then below playlist we can also get ashwatama ram jains purus godess sharada ganesha etc

https://www.youtube.com/playlist?list=PLBPZS1OzwPT-iRE-qrEin5XEKBPJTd7Xv

hi all
please watch it share it with ur friends to beat aryan invasion theory propaganda ....

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Capt. Ajit VadakayilOctober 28, 2018 at 4:22 AM
https://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and_27.html

READER RN MURTHY

SEND THE LINK ABOVE TO ALL THOSE WHO ATTENDED THE BANGALORE LITERARY FEST.. THEY JEERED YOU WHEN YOU SPOKE ABOUT SABARIMALA , RIGHT? .. THESE ARE SELF LOATHING INDIANS ..

REST OF MY READERS--

SEND THE LINK TO THE FOLLOWING.. TELL THEM YOU ARE IN A QUANDARY-- NAY-- A BIND --AS TO WHO THE TWAT COULD BE ...

PUT THIS COMMENT IN WEBSITES OF--
RAJIV MALHOTRA
SUHEL SETH
AND AS MANY SELF LOATHING INDIANS YOU CAN FIND. TELL THEM APUN KA MANN MANDIR MEIN DOUBT AAH GAYA..

GIVE ME A FEEDBACK ABOUT THE BROWN SAHIBS AND MEMSAHIBS YOU SEND IT TO -- WHO WEAR WESTERN DRESS , APE THE WHITE FOLKS -- YET STINK OF PICKLE AND CHUTNEY ..

capt ajit vadakayil
..

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Capt. Ajit VadakayilOctober 28, 2018 at 4:36 AM
https://timesofindia.indiatimes.com/india/centre-to-lodge-criminal-cases-against-polluters-who-fail-to-clean-up-their-act/articleshow/66397122.cms

JEW ROTHSCHILDs APCO BRANDED MODI HAS KICKED BHARATMATA INTO THE KOSHER HOMOSEXUAL/ ADULTERY MANDI FROM THE SHADOWS..

NOW HE PLANS TO MOTH BALL COAL-- USING DEEP STATE COLLEGIUM JUDICIARY ( AND THE RETIRED MELORDS IN NGT )..

NOBEL PRIZE KA BHOOKA HAI CHILDLESS GUJJU NO 2-- THE MOST IMMORAL AND DISHONORABLE FELLOW WHO EVER SAT ON THE PM CHAIR...A DARLING OF MOSSAD..

http://ajitvadakayil.blogspot.com/2016/04/most-potent-greenhouse-gases-nitrous.html

http://ajitvadakayil.blogspot.com/2016/12/arctic-ice-melt-and-methane-time-bomb.html

http://ajitvadakayil.blogspot.com/2016/06/methane-time-bomb-arctic-ice-meltdown.html

capt ajit vadakayil
..
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UnknownOctober 28, 2018 at 10:08 AM
This comment has been removed by the author.
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Capt. Ajit VadakayilOctober 28, 2018 at 10:09 AM
HERE IS THE LATEST RUMOR--

THE DRIVER OF ATHEIST COMMIE CM PINARAYI VIJAYAN WILL BE GIVEN A PURASKAAR , WITH GIFT HAMPER AND TAMRA PATRA -- FOR DRIVING IN AN INTELLIGENT MANNER

IF HE HAS NOT DRIVEN SLOWLY, PINARAYI VIJAYAN WOULD HAVE ARRIVED CON-MAN SWAMI SANDEEPANAND GIRIs ASHRAM BEFORE THE FIRE STARTED ..

TEE HEEEEEEEEEE

ONE GOOD THING--- TODAY ALL HAVE NOTED WHY ATHEIST COMMIE MINISTERS ATTEND THIS ROGUE GURUs SERMONS.. HE WAS KICKED OUT AS A CHARLATAN ND A CHEAT FROM SWAMI CHINMAYANANDAs ASHRAM..

capt ajit vadakayil
..

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Capt. Ajit VadakayilOctober 28, 2018 at 11:05 AM

I WANT ALL MY THIYYA / EZHAVA KERALA READERS TO LISTEN UP..

THIYYA ARE NOT EZHAVAS...

IN ANCIENT DAYS ( MILLENNIUMS BEFORE PARASHURAMA OF 4000 BC ) KERALA POPULATION WAS DIVIDED INTO TWO GROUPS THIRAYYARS AND MALAYYARS..

THIRAYYARS WERE THE RULING CLASS, THE WARRIOR CLASS, THE ELITE INTELLECTUALS AND SEA NAVIGATORS.. THEY OCCUPIED COASTAL AREAS AND NORTH OF KERALA. . THIS CLASS PRODUCED THE PHAROAHS OF EGYPT.. THESE ARE THE THIYYAS OF TODAY..

MALAYYARS WERE THE AGRICULTURAL CLASS, THE TRIBALS, THE UNSKILLED WORKERS.. THEY OCCUPIED THE MOUNTAIN AREAS, OF KERALA AND THE NORTH PART OF SRI LANKA..THESE ARE THE EZHAVAS OF TODAY..

THE NAMBOODRIS WERE THE SANSKRIT AND ORAL VEDAS KNOWING CREAM OF THE THIYYAS.. THEY WERE VISITING PROFESSORS , ALL OVER THE PLANET.. YOU COULD SPOT A NAMBOODIRI FROM FAR AS HE HAD A STRANGE HAIR STYLE.. NAMBOODIRIS WERE HELD IN AWE..

http://ajitvadakayil.blogspot.com/2014/08/chanakya-taxila-university-professor.html

JEW ROTHSCHILD CREATED A CRYPTO JEW CLAN CALLED VARMAS ..

ONE FINE DAY VARMAS TOOK OVER A RULERS OF KERALA ( JUST LIKE PESHWAS CHITPAVAN JEWS DISPLACED MAHAR SHIVAJI RULING CLAN ) .

JEW ROTHSCHILD THEN DEMOTED THIYYAS TO COCONUT TREE TODDY TAPPER MONKEYS..

IN ANCIENT DAYS WE TRAINED MONKEYS TO TAP TODDY AND PLUCK MANGOES , AND THESE TRAINED MONKEYS FROM PUNT ( MALABAR ) WERE IN GREAT DEMAND IN EGYPT..

http://ajitvadakayil.blogspot.com/2017/05/land-of-punt-ophir-and-sheba-is-north.html

THIYYAS WERE THE TORCH BEARERS OF THE DANAVA CIVILIZATION WHICH PRECEDED THE VEDIC CIVILIZATION BY SEVERAL MILLENNIUMS..

THE FATHER OF KERALA KING MAHABALI, VIROCHANA RULED THE WHOLE PLANET..

MAHABALI WAS BANISHED BY VISNUs VAMANA AVATAR TO PATALA ( PERU )..

http://ajitvadakayil.blogspot.com/2011/09/why-kerala-does-not-celebrate-diwali-or.html

http://ajitvadakayil.blogspot.com/2012/07/maya-inca-aztec-civilizations-decoded.html

JEW ROTHSCHILD THEN MERGED THIYYAS WITH EZHAVAS..

TODAY ALL MARRIAGE BUREAUS CLUB THIYYAS AND EZHAVAS TOGETHER.. NO THIYYA WILL EVER GIVE HIS DAUGHTER OR SON TO AN EZHAVA.. EZHAVAS ARE BLUNT FACED..

JEW ROTHSCHILD PROPPED UP AN EZHAVA SAINT NAMED SRI NARAYANA GURU ..AND HIS MEDIA MADE HIM FAMOUS..

JEW ROTHSCHILD THEN CREATED A SOCIO-POLITICAL ORGANISATION NAMED SNDP ( SRI DHARMA PARIPALANA YOGAM ) LEAD BY TRAITOR STOOGES....

ROTHSCHILD THEN ALLOWED SNDP QUICK WINS ( LIKE HOW HE ALLOWED KATHIAWARI JAIN-JEW MK GANDHI QUICK WINS IN SOUTH AFRICA ) --TO SHOW THAT SNDP IS A VERY POWERFUL ORG..

AFTER A WHILE SRI NARAYANA GURU WHO WAS NOT STUPID CAUGHT ON AND LEFT SNDP-- HE SAID HE IS NOT PART OF THIS TRAITOR ORG ANY MORE..

EVEN TODAY IF POOR THIYYAS WANT TO GET MARRIED IN SNDP MARRIAGE HALL IN CALICUT, THE HUGE PHOTO OF SRI NARAYANA GURU IS KEPT NEXT TO THE LAMP AND THE COUPE HAVE TO GO AROUND THIS PHOTO..

SORRY IN SANATANA DHARMA WE ARE NOT ALLOWED TO GIVE ANY MORTAL SUCH HONOUR..

TODAY SNDP IS LED BY A UGLY BLUNT FACED FELLOW NAMED VELLAPALLY NATESHAN..

THE THING TO NOTE IS THAT HIS FACE IS A TAMIL DALITs FACE OF THE ANCIENT PANDYA KINGDOM ( WHICH ALSO RULED SRI LANKA ) .. HIS NAME NATESAN IS NOT A KERALA NAME..

VELLAPALLY NATESAN ( A STOOGE OF DEEP STATE FOREIGN FORCES ) IS ON THE SIDE OF COMMIE ATHEIST CM PINARAYI VIJAYAN OVER THE SABARIMALA ISSUE.. THIS FELLOW IS NOBODY TO DECIDE FOR THE THIYYAS / EZHAVAS..

CHECK OUT THIS UGLY FELLOWs FACE..

https://en.wikipedia.org/wiki/Vellapally_Natesan

VELLAPALLY NATESAN IS THE REASON WHY EZHAVAS AND THIYYAS VOTE FOR ATHEIST COMMIE PINARAYI VIJAYAN... HE IS A STOOGE OF COMMIES.. JEW ROTHSCHILD CREATED COMMUNISM..

http://www.newindianexpress.com/states/kerala/2017/sep/20/bdjs-exit-from-nda-vellappally-natesan-holds-talks-with-kerala-cm-pinarayi-1659776.html

I ASK MY MALAYALI READERS TO SPREAD THIS COMMENT.. DO NOT ACCEPT ANY DIKTATS FROM THIS TRAITOR WHO IS NOT EVEN A MALAYALI..

capt ajit vadakayil
..

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Capt. Ajit VadakayilOctober 28, 2018 at 11:19 AM

Capt. Ajit VadakayilOctober 28, 2018 at 11:18 AM
https://www.ndtv.com/india-news/donald-trump-turns-down-indias-invite-to-be-chief-guest-at-republic-day-celebrations-reports-1938731

DONALD THE TRUMP

LISTEN UP AND LISTEN GOOD

INDIA WILL NEVER BE PART OF THE COWBOY RIDING POSSE LED BY MARSHALL TRUMP , CHASING OUTLAW PUTIN..

GET THAT STRAIGHT..

IN 15 YEARS , INDIA WILL BE THIS PLANETs NO 1 SUPERPOWER .. AND WE DONT NEED AMERICAN HELP FOR THAT..

BHARATMATA DOES NOT EXPECT HER FRIEND TO ARM TWIST HER INTO EATING FROM HIS RESTAURANT DAILY AND FOREVER ..

IF INDIA AND CHINA RE-POLARISES AND FUCKS USA ECONOMICALLY -- GOD SAVE YOU..

capt ajit vadakayil
..
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Capt. Ajit VadakayilOctober 28, 2018 at 12:06 PM
https://timesofindia.indiatimes.com/city/kanpur/cop-takes-baby-to-work-social-media-cheers/articleshow/66398531.cms

NONSENSE ...

ONLY FOREIGN FUNDED TRAITOR NGOs CHEER...

WE ASK RAJNATH SINGH-- SACK THIS WOMAN COP....

VERY SOON WE WILL HAVE FEMALE AIRFORCE PILOTS TAKING BABIES IN THE COCKPIT
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AkshayOctober 28, 2018 at 12:44 PM
Namaskar Captainji,

A former diamond trader talks about the Antwerp diamond trade and Jewish treachery (just as you had said, lol)

https://www.quora.com/What-did-you-do-on-the-spur-of-the-moment-that-made-your-life-worse-and-how/answer/Rajkumar-Shah-4?ch=10&share=d818cd47&srid=LLl1

Regards,
Akshay
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Capt. Ajit VadakayilOctober 28, 2018 at 1:14 PM
ATHEIST COMMIE CM PINARAYI VIJAYAN HAS ARRESTED MORE THAN 3400 HINDUS OVER THE SABARIMALA PROTESTS ..

YESTERDAY AMIT SHAH DID TERRIFIC ACTING AT KANNUR --HOW HIS JAIN HEART PAINS AND BLEEDS..

BALLS !

MODI AND AMIT SHAH STOOD IN THE SHADOWS WHILE THEIR DEEP STATE AGENTS IN COLLEGIUM JUDICARY KICKED BHARATMATA INTO THE HOMOSEXUAL/ ADULTERY MANDI..

THE SABARIMALA EPISODE WAS RIGGED WELL IN ADVANCE..

MODI KNOWS THE ONLY WAY TO GET A TOE HOLD IN KERALA AND FOUR SOUTHERN STATES ( KARNATAKA/ TAMIL NADU/ TELENGANA / ANDHRA ) IS BY DRIVING A WEDGE BETWEEN AYYAPPA DEVOTEE HINDUS AND THE RULING GOVTS WHO ENJOYED THEIR VOTES..

PINARAYI VIJAYAN THINKS THAT BY CULTIVATING FAKE SWAMIs LIKE SANDEEPANANDA GIRI ( A CLOSET COMMIE ) AND SPENT FORCE SNDP LEADER VELLAPALLY NATESAN , HE COULD HOLD ON TO HINDU NON-ATHEIST VOTES IN KERALA..

MUDDLED THINKING..

COMMIE KERALA MINISTERS POPPED UP REGULARLY AT FAKE SWAMI SANDEEPANANDA GIRIs MEETINGS-- AND HINDUS SMELT A RAT..

SNDP LEADER VELLAPPALLI NATESAN IS 81 AND HE DOES NOT HAVE GRASSROOT SUPPORT OF THIYYAS OR EZHAVAS..

EVERY ARREST BY CM PINARAYI VIYAYAN HAS MODI AND AMIT SHAH CHUCKING LIKE MUTLEY THE DOG FROM THE SHADOWS.

https://www.youtube.com/watch?v=3uSTOHa4Im4

CM PINARAYI VIJAYAN HAS KILLED THE COMMUNIST PARTY. HE HAS PERSONALLY SELF DESTRUCTED ..

ONCE A STTRONGMAN PINARAYI VIJAYAN LOOKS PATHETICALLY WEAK NOW --DESPITE HIS SHOW OF STRENGTH USING PERSONALLY LOYAL CHRISTIAN DGP BEHERA AND IG OF POLICE MANOJ ABRAHAM ..

PINARAYI VIJAYANs COMMIE CADRE IS NOW DESERTING HIM ENMASSE EVERY HOUR.. HIS OPPORTUNIST COMMIE MINISTER LOYALISTS ARE AWAITING AN OPPORTUNITY TO KICK HIM INTO THE PITS..

IN THE POLITICAL BATTLE-- THE GUJJU LOBBY HAS DECIMATED THE KANNUR LOBBY.

THE DAY IS NOT FAR -- CORRUPT COMMIE KERALA MINISTERS AND THEIR BENAMI MALAYALI BUSINESS MEN FRONTS WHO HANDLE THEIR KICKBACK MONEY -- WILL BE IN JAIL TILL THEY DIE..

NO TEARS WILL BE SHED...

ARROGANCE IS THE CAMOUFLAGE FOR INSECURITY..

capt ajit vadakayil
..
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Capt. Ajit VadakayilOctober 28, 2018 at 3:11 PM
https://timesofindia.indiatimes.com/india/metoo-tiss-alumna-accuses-professor-of-misconduct/articleshow/66397666.cms

TISS IS WORSE THAN JNU NOW.
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Capt. Ajit VadakayilOctober 28, 2018 at 3:21 PM
https://twitter.com/Swamy39/status/1056334598538326016

MOSSAD DARLING SUBRAMANIAN SWAMYs HEART IS BLEEDING FOR THE JEWS.. HIS VIRAT SENA IS SPONSORED BY THE DEEP STATE..

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Capt. Ajit VadakayilOctober 28, 2018 at 10:21 PM

https://twitter.com/mkatju?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

NO WONDER JUSTICE GOGOI WANTED TO KICK KATJU INTO JAIL..

JUST READ KATJUs BLOG POSTS AND TWITTER RANTS-- EVEN A HALF WIT CAN FIGURE OUT THE SHALLOW DEPTH OF KATJUs CEREBRAL WELL..

POOR KATJU DOES NOT KNOW THAT THE BHAKTI MOVEMENT WITH ALL THOSE DASAS NEVER EXISTED..

TULSIDAS WAS A FAKE AND BACKDATED CREATION OF JEW ROTHSCHILD WHO RULED INDIA..

POOR KATJU DOES NOT KNOW ABOUT JAYA ( RAVANA ) AND VIJAYA ( KUMBHKARNA )..

http://ajitvadakayil.blogspot.com/2013/09/king-ravana-of-ramayana-hero-or-villian.html

RAM WAS MARYADA PURUSH.. BUT HE DID ONE UN-RIGHTEOUS ACT OF KILLING KING VALI FROM BEHIND..

THIS WAS TO SET UP THE DEATH OF HIS NEXT AVATAR KRISHNA.. VALI WOULD COME AS JARA THE HUNTER AND KILL KRISHNA..

http://ajitvadakayil.blogspot.com/2014/10/king-vali-and-queen-tara-of-ramayana.html

THE MORE KATJU WRITES , THE MORE HE CONVINCES INDIANS THAT HE IS A DUFFER OF THE FIRST ORDER.. THANK GOD HE HAS RETIRED.. BACHCH GAYA SAALA..

capt ajit vadakayil
..

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abcindiagogoOctober 29, 2018 at 12:28 AM
Captain, I was reading english-versions of Chanakya-Neeti pdfs available online. There is an entire section devoted to --- "Maintaining the Harem".

It deals with all sorts of stuff --- which women are allowed in, how they must maintain-&-conduct themselves, that eunuchs-&-some-others are supposed to be the guards, which women can be used by who (king, pr!me-m!nister, nobles), etc.

What is all this Captain ??? Is all this a poison-injection in the english-translations ??? Did Ancient-Indian-Kings even have harems in the first-place ???

I already pointed out the translators in some cases being sneaky and mentioning "Kr!shna-Consc!ousness" next to the words "Dharma" and "Deserving-Person".
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Capt. Ajit VadakayilOctober 29, 2018 at 5:16 AM

Capt. Ajit VadakayilOctober 29, 2018 at 5:14 AM
SO SO SO—

DONALD THE TRUMP HAS REFUSED TO BE THE CHIEF GUEST FOR OUR REPUBLIC DAY PARADE ?...

INDIA WILL NOT LOSE SLEEP OVER IT..

INDIA WILL NEVER EVER BE PART OF THE YANK COWBOY RIDING POSSE LED BY SHERIFF TRUMP CHASING OUTLAW PUTIN..
INSTEAD OF TRUMP CALL BOTH THE NORTH AND SOUTH KOREAN RULERS... THEY CAN BE "JOINT " CHIEF GUESTS ...

THE RULING KIM CLAN OF KOREAS HAVE THEIR PROGENITORS IN AYODHYA INDIA..… KOREANS ACCEPT AYODHYA AND RAM MANDIR, BUT INDIAN COMMIES / ATHEISTS RIDICULE HINDU HISTORY…

WHAT IS NORTH KOREAs FAULT ?.... ALL THEY DO IS TO PROTECT THEMSELVES FROM THE ZIONIST JEWS WHO ARE TRYING TO STEAL NORTH KOREAN RARE EARTHS BY INSTALLING A PUPPET RULER BY ENFORCING REGIME CHANGE ....

THE ATOM BOMBS IN NAGASAKI AND HIROSHIMA KILLED MORE KOREANS THAN JAPANESE ... THE WAS THE MOTHER OF ALL DECEITS...

WHO DIVIDED KOREA?... WHO ILL TREATED KOREANS?... WE ALL KNOW...

USA AND UN IS GUILTY OF GENOCIDE BY HUNGER IN NORTH KOREA. ..

NORTH KOREA IS THE RICHEST NATION ON THE PLANET AS THEY HAVE A MONOPOLY OVER RARE EARTHS....

THE KOREAS MUST UNITE... JAPAN , CHINA AND THE WHITE JEWS DONT WANT KOREAS TO UNITE .....

NORTH KOREA HAS SAME PEOPLE .. SAME DNA.. SAME LANGUAGE.. THEY WANT TO UNITE , LIKE GERMANY... ..

IF REQUIRED INDIA/ RUSSIA/ CHINA WILL GUARANTEE KOREAN UNIFICATION....

THE KOSHER DEEP STATE HAS ALREADY CHOSEN A CRYPTO JEW GIRL YEONMI PARK ( LIKE JEWESS MALALA YOUSAFZAI ) TO BE THE NEW RULER OR NORTH KOREA ………..

http://ajitvadakayil.blogspot.com/2012/07/korean-brahmins-kim-hae-clan-capt-ajit.html

http://ajitvadakayil.blogspot.com/2017/03/japanese-in-hiroshima-and-nagasaki.html

http://ajitvadakayil.blogspot.com/2017/03/regime-change-in-north-korea-rare.html

capt ajit vadakayil
..

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Capt. Ajit VadakayilOctober 29, 2018 at 12:30 PM

WE HAD THREE MAIDS -- ALL WITH HINDU NAMES

WHEN I AND MY WIFE GO OUT , WHEN WE COME BACK WE CHECK , THE LAST TV CHANNEL LOGGED ON BY THE MAID ( THEY ARE ALLOWED TO SWITCH ON TV WHEN WE ARE NOT AT HOME)..

ALL THREE SAW CHRISTIAN EVANGELIST CHANNELS..

WHEN WE ASKED AGAIN-- ARE YOU HINDU OR CHRISTIAN-- THEY LOOK SHEEPISH AND ADMIT THAT THEY ARE CHRISTIAN CONVERTS..

WE DONT CARE IF THE MAID IS CHRISTIAN OR HINDU-- TRUST IS PARAMOUNT WITH SMALL CHILDREN IN THE HOUSE ..

LONG AGO WE HAD A NAXAL CHRISTIAN CONVERT MAID IN OUR HOME.. MY MOTHER TOOK HER TO THE MARKET IN THE CAR AND SHE SUDDENLY RAN , IN PANIC..

SHE CAME BACK HOME SLINKING BY AUTO RICKSHAW AT NIGHT ..

A MONTH LATER WOMENs POLICE SUDDENLY LANDED UP AT HOME AT NOON..

A BURLY FEMALE COP RAN INTO THE KITCHEN AND SLAPPED HER SO HARD SHE FELL DOWN - EDDI NEE EVIDE ENTA CHEYYUNATHE ( WHAT THE HELL ARE YOU DOING HER )..

THE POLICE TOLD MY MOTHER--GET RID OF HER THIS VERY MINUTE-- SHE IS A DANGEROUS WOMAN WITH MURDER CHARGES ..

ONE MAID WAS SO GOOD LOOKING , THAT MY WIFEs FRIENDS WOULD TELL HER-- YOU HAVE TERRIFIC GUTS KEEPING SUCH A ATTRACTIVE YOUNG WOMAN AS YOUR MAID. SHE VISITED BEAUTY PARLOUR EVERY WEEK-- A VERY DOCILE FEMALE . AND SHE WOULD PUT HER PHOTO IN MARRIAGE BUREAUS WITH HINDU NAME, THOUGH SHE WAS A CHRISTIAN CONVERT , HOLDING BIBLE IN HER HAND DURING OFF HOURS..

ONE DAY SHE SLIT HER WRIST WITH A BROKEN GLASS --I WAS ON THE SHIP-- MY WIFE DROVE HER TO CALICUT MEDICAL COLLEGE HOSPITAL HER KNEES KNOCKING.

THE SURGEON TOLD MY WIFE, IT IS A MIRACLE THAT SHE SURVIVED CONSIDERING THE TIME ELAPSED BETWEEN SLITTING HER WRIST AND GETTING MEDICAL ATTENTION..

MY WIFE MADE HER SIT IN THE FRONT SEAT, WITH HER HAND HELD HIGH ( BANDAGED ) OUTSIDE THE WINDOW..

MY WIFE KNEW THIS WAS COMING-- AS THE PAST WEEK SHE WOULD BE BANGING HER HEAD ON THE WALL HOLDING THE BIBLE..MAKING LOUD DHAD DHAD SOUNDS ..

LATER WE CAME TO KNOW THAT SHE WAS A MOVIE EXTRA IN THE TAMIL FILM INDUSTRY-- WHERE ALL FROM HERO, TO DIRECTOR TO PRODUCER TOOK HER SEXUALLY FROM ALL THREE ORIFICES --PROMISING HER A MEATY MAIN HEROINE ROLE.

MY WIFEs FRIENDS TOLD -- YOU ARE LUCKY THAT YOUR HUSBAND IS AT SEA-- OR NCW WOULD HAVE SUMMONED YOUR HUSBAND.

capt ajit vadakayil
..
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Capt. Ajit VadakayilOctober 30, 2018 at 1:40 PM

ATHEIST COMMIE CM PINARAYI VIJAYAN NEEDS AN IMMEDIATE PSYCHOLOGICAL EVALUATION..

HE HAS FORGOTTEN THE BASICS OF COMMUNISM..

ON 5TH NOV 2018, THERE WILL BE A BLOOD BATH-- AS PINARAYI VIJAYAN HAS GOT THOUSANDS OF POLICE GASSED UP AND READY UNDER HIS POLICE ATTACK DOG BLUE EYED BOY CHRISTIAN IG MANOJ ABRAHAM..

WHAT IS ALL THIS?

IN HIS LAST TWO RALLIES PINARAYI VIJAYAN LIED WHEN HE SAID THAT HE ALWAYS FOLLOWS THE SUPREME COURT ORDERS ..

HEY--

HE CANT PULL THE WOOL OVER THE EYES OF EVEN HIS LOYAL COMMIE CADRE.. THEY HAVE ALL HEARD OF ORDINANCE HE BROUGHT TO DEFY COURT ORDERS ON "KARUNA MEDICAL COLLEGE KANNUR"

https://www.theweek.in/news/india/2018/09/12/sc-quashes-kerala-ordinance-onkaruna-kannur-medical-college-admissions.html

AND WE ALL REMEMBER HOW NATIONAL HIGHWAYS WERE RENAMED TO BYPASS ROADS IN KERALA TO CIRCUMVENT THE ALCOHOL RETAIL SHOPS ORDERS OF SUPREME COURT..

SUPREME COURT HAD ONCE ASKED THE PM TO INTERLINK ALL INDIAN RIVERS WITHIN A DEAD LINE.. IT WAS IGNORED , AS IT WOULD KILL BHARATMATA..

WHITHER THE COMMUNIST PARTY DISCIPLINE ? ARE THE BENGALI AND TELUGU COMMUNIST LEADERS AFRAID OF KERALA COMMUNIST LEADERS ?..

PINARAYI VIJAYAN IS NO LONGER A STRONGMAN- HE LOOKS DEFLATED AND WEAK.. HE KNOWS HE HAS SELF DESTRUCTED AND THE LAST BASTION OF INDIAN COMMUNISM IS DEAD..

THIS IS WHAT HAPPENS WHEN THE CM LOSES TRACK OF THE PULSE OF THE PEOPLE..

PEOPLE HOLD THE POWER --NOT PINARAYI VIJAYAN WHO THINKS HE CAN DO A STALIN IN INDIA..

WHITHER COMMUNIST PARTY DISCIPLINE ?..

CM PINARAYI VIJAYAN IS HELL BENT ON DESTROYING A 5900 YEAR OLD PILGRIMAGE --THE LARGEST ON THIS PLANET.. TWICE THE SIZE OF MAHA KUMBH MELA AND FIVE TIMES THE SIZE OF HAJ.

THIS PILGRIMAGE HAS NEVER KNOWN VIOLENCE..

AYYAPPA IS THE NINTH AVATAR OF VISHNU..

https://ajitvadakayil.blogspot.com/2018/10/judiciary-in-contempt-of-we-people-capt.html

WE ASK THE CJI GOGOI TO IMMEDIATELY WARN CM PINARAYI VIJAYAN.. TO BE FAIR TO HIM HE SEEMS TO BE MENTALLY AFFECTED MY SIDE EFFECTS OF MEDICINES -- AFTER ALL HE WENT TO USA LAST MONTH FOR MEDICAL TREATMENT..

WE ASK RAJNATH SINGH TO WARN CHRISTIANS DGP OF POLICE BEHERA AND IG MANOJ ABRAHAM WHO HAVE FORGOTTEN THEIR OATHS ..

capt ajit vadakayil
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Capt. Ajit VadakayilOctober 31, 2018 at 11:29 AM

Capt. Ajit VadakayilOctober 31, 2018 at 11:24 AM
https://ajitvadakayil.blogspot.com/2018/10/we-people-declare-that-all-laws-created.html

PARAMOUNT CLAUSE : WE THE PEOPLE ARE ABOVE THE CONSTITUTION.. THE CONSTITUTION CANNOT BE USED TO STRAIT-JACKET "WE THE PEOPLE"….

RECENTLY THE COLLEGIUM JUDICIARY PASSED THREE LAWS BELOW--
AAA- ADULTERY IS LEGAL..
BBB- HOMOSEXUALITY IS LEGAL..
CCC- MENSTRUATING WOMEN CAN ENTER SABARIMALA SANNIDHANAM…

THE UNELECTED / UNACCOUNTABLE JUDICIARY CANNOT MAKE OR BREAK LAWS.. ALL THEY ARE ALLOWED TO DO IS TO INTERPRET EXISTING LAWS ….

IN OUR CASE THE JUDICIARY IS A COLLEGIUM SYSTEM—WHICH MEANS JUDGES ELECT JUDGES.. THIS IS NOT ALLOWED BY OUR CONSTITUTION. …

INDIA IS THE ONLY NATION ON THE PLANET WHERE JUDGES ELECT JUDGES .. THIS BREEDS NEPOTISM AND TRAITORS IN DEEP STATE PAYROLL….

JUDGES CAN ONLY JUDGE FOR A SPECIFIC CASE FOR AN AGGRIEVED INDIVIDUAL OR SMALL GROUP OF LIMITED NUMBERS … FOR AN AGGRIEVED NATION OF 1300 MILLION PEOPLE WE HAVE AN ELECTED DEMOCRATIC SYSTEM..

LAWYER TURNED JUDGES WHO CANNOT THINK BEYOND THE OBJECTIVE, ARE THE BANE OF INDIAN JUDICIAL SYSTEM…

DHARMA ( NATURAL JUSTICE ) CAN NEVER BE OBJECTIVE AND GIVEN TO A NON-CONSCIOUS CALCULATOR / COMPUTER , WHICH CAN NEVER TELL THE MORAL OF A STORY , LAUGH AT A SUBTLE JOKE OR UNDERSTAND WHAT IS CULTURE..

WE NEED A SYSTEM WHERE INTELLIGENT JUDGES ( WHO HAVE THE CEREBRAL WHEREWITHAL TO GLEAN CIRCUMSTANTIAL EVIDENCE) ARE SELECTED BY A NATION WIDE ENTRANCE EXAM LIKE IIT...

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Capt. Ajit VadakayilNovember 1, 2018 at 8:46 AM

URGENT …
IMPORTANT ..

WE THE PEOPLE ASK THE ELECTED EXECUTIVE..

STRIKE DOWN THE LAWS CREATED BY ILLEGAL COLLEGIUM JUDICIARY ON ..
1) ADULTERY..
2) HOMOSEXUALITY..
3) SABARIMALA ..

READ THE POST BELOW TO UNDERSTAND WHY JUDICIARY CANNOT PLAY GOD….

https://ajitvadakayil.blogspot.com/2018/10/we-people-declare-that-all-laws-created.html

ENOUGH IS ENOUGH !

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Jayasree Narayanan PillayNovember 1, 2018 at 12:58 PM
Happy Kannada rajyostava to all readers.
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Capt. Ajit VadakayilNovember 1, 2018 at 1:00 PM

Capt. Ajit VadakayilNovember 1, 2018 at 12:58 PM
https://twitter.com/sardesairajdeep/status/1056423190656962561

TRULY SPOKEN LIKE A DHAKKAN OF THE FIRST ORDER..

SATI NEVER EXISTED BEFORE THE ISLAMIC INVADER CAME TO INDIA.. NOT A SINGLE PURANA MENTIONS SATI..

JAUHAR WAS CONVERTED TO SATI.

DURING ISLAMIC INVADER RULE HINDU WOMEN JUMPED INTO THE FIRE TO FUSE THEIR GENITALS AND MUSLIM SOLDIERS RAPED COLD DEAD FEMALE BODIES ....

JAUHAR , THE HEROIC PRACTICE OF RAJPUT WOMEN JUMPING INTO THE FIRE IN FRONT OF THE LIVE HUSBANDS AND FATHERS , ON THE LAST NIGHT OF A LOSING BATTLE , IS NOT SATI....

IT WAS BETTER TO DIE THAN LAND UP IN A ISLAMIC MANDI ( WH0REHOUSE ) TO BE REPEATEDLY USED AS A SEX SLAVE ....

WE ALL KNOW HOW YAZIDI WOMEN WERE USED BY ISIS ...

RAJA RAM MOHAN ROY WAS A PIR ALI MUSLIM-- AN OPIUM DRUG RUNNING AGENT OF JEW ROTHSCHILD..

http://ajitvadakayil.blogspot.com/2011/07/opium-raja-british-stooge-ram-mohan-roy.html

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Capt. Ajit VadakayilNovember 5, 2018 at 5:05 AM

MANY WORLD RECORDS WILL TUMBLE IN KERALA DURING THIS SABARIMALA SEASON…

ALREADY TWO WORLD RECORDS HAVE BEEN SET BY IG OF POLICE MANOJ ABRAHAM, THE BLUE EYED COP OF ATHEIST COMMIE CM PINARAYI VIJAYAN..

AAA- IG MANOJ ABRAHAM IS THE FIRST TOP COP ON THE PLANET TO SUE PEOPLE FOR DEFAMATION- ENMASSE ( 14 PEOPLE ). TELLING THE TRUTH IS DEFAMATION !..

https://timesofindia.indiatimes.com/city/thiruvananthapuram/two-held-for-online-slandering-against-ig/articleshow/66369546.cms

BBB- IG MANOJ ABRAHAM IS THE FIRST TOP COP AGAINST WHOM HIS NEIGHBOURS HAVE COMPLAINED FOR CALLOUS NOISE POLLUTION AT UNEARTHLY HOURS AT NIGHT.. LOUD PENTACOSTAL SONG SESSIONS WITH OVERKILL RELIGIOUS FERVOUR..

https://haindavakeralam.com/protests-against-ig-manoj-hk24005

JUST A TASTE OF SUCH FRENZIED SONGS ? WATCH THE VIDEO BELOW..

WHEN I WAS FOUR YEARS OLD, I WAS TRAUMATIZED BY SUCH LOUD ABNORMAL MELANCHOLY SONGS IN MALAYALAM AT MIDNIGHT , WITH THE DEVOUT CLAPPING , SCREAMING AND JUMPING UP AND DOWN , FROM THE HOUSE OF MY PENTACOSTAL NEIGHBOR THEODORE.--

THE ONLY TIME IN MY LIFE SUCH A UNEASY FEELING EVER CAME ON ME..

I KEPT THIS FEARFUL FEELING TO MYSELF..

THERE WAS A SICK CHRISTIAN CHILD -- THE CHILD DIED WITHOUT MEDICINES ..

https://www.youtube.com/watch?v=eso1oDjwclE

IF YOU SAY ANYTHING AGAINST IG OF POLICE MANOJ ABRAHAM YOU WILL GO TO JAIL.. TRUTH DOES NOT MATTER .. HE IS PROTECTED.. HEY, WHY IS PM OF INDIA, MODI NOT PROTECTED THIS WAY ..

https://www.thehindu.com/news/national/kerala/vacb-probe-against-manoj-abraham/article17528456.ece

IG MANOJ ABRAHAM HAS FORGOTTED HIS OATH AS AN IPS OFFICER..

THE IG OF POLICE IS EXPECTED TO CARE FOR THE PEOPLE, SERVE AND PROTECT THEM.. NOT BE AN ATTACK DOG SHOWING PERSONAL LOYALTY TO AN ATHEIST COMMIE CM WHILE HANDLING A PILGRIMAGE WHICH HAS GONE WITHOUT AN INCIDENT FOR 5900 YEARS..

WE WONDER IF PM MODI WILL GET A NOBEL PRIZE FROM JEW ROTHSCHILD , FOR ALLOWING COLLEGIUM JUDICIARY TO PLAY GOD ..

https://ajitvadakayil.blogspot.com/2018/10/judiciary-in-contempt-of-we-people-capt.html

https://ajitvadakayil.blogspot.com/2018/10/we-people-declare-that-all-laws-created.html

DHARMA DOES NOT EXIST IN THE ANCIENT LAND OF BHARAT ANYMORE.. THIS WATAN IS NO LONGER NOBLE..

Capt ajit vadakayil
..

PMO
PM MODI
AJIT DOVAL
RAJNATH SINGH
HOME MINISTRY
CJI GOGOI
ALL SUPREME COURT JUDGES
ALL SUPREME COURT LAWYERS
ATTORNEY GENERAL
LAW MINISTER PRASAD
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PRESIDENT OF INDIA
VP OF INDIA
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EVERY MLA OF INDIA
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ALL MAJOR MEDIA
RSS
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FALI BABY
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NITI AYOG
AMITABH KANT
SWAMY
GURUMURTHY
SPEAKER LOK SABHA
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NCW STATES
NCW MAIN
NCM
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RAHUL GANDHI
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EVERY HINDU ORG
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PARASARAN
WEBSITES OF DESH BHAKT LEADERS
SPREAD ON SOCIAL MEDIA EVERY WHICH WAY
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BertNovember 6, 2018 at 7:09 PM
Dear Capt Ajit Sir,

WISHING YOU AND YOUR FAMILY ANOTHER HAPPY DIWALI

OMMMmmm.........

Bert
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Capt. Ajit VadakayilNovember 6, 2018 at 7:38 PM

Capt. Ajit VadakayilNovember 6, 2018 at 7:35 PM
WE THE PEOPLE ASK THE MODI GOVT..

PLACE THE POLICE UNDER CENTRAL GOVT CONTROL IMMEDIATELY..

IN KERALA THE TOP POLICE OFFICERS ARE MERE ATTACK DOGS SWEARING PERSONAL LOYALTY TO THE ATHEIST COMMIE CM PINARAYI VIJAYAN..ALL ANGLING FOR QUICK PROMOTIONS..

THESE IPS OFFICERS LIKE DGP BEHERA, IG MANOJ ABRAHAM, ADVISOR RAMAN SRIVASTAVA HAVE FORGOTTEN THEIR OATHS TO CARE , SERVE AND PROTECT THE PEOPLE..

SINCE THESE POLICE OFFICERS ARE SHOWING EXTREME EFFICIENCY MARK THEIR CONFIDENTIAL SERVICE RECORDS AND TRANSFER THEM TO KASHMIR..

WE WANT AN INQUIRY ON FALSE CHARGES SLAPPED ON NON-VIOLENT SABARIMALA PILGRIMS --AS MANY IPC SECTIONS AS CAN BE IMAGINED.. EXAMPLE IS RAHUL EASHWAR..

MANY SABARIMALA PROTESTERS HAVE BEEN SLAPPED WITH "ATTEMPT TO MURDER WOMEN".. ALL THEY DID WAS TO PROTEST VOCALLY BY CHANTING SWAMI SHARANAMAYYAPPA.

IT IS TIME TO INTRODUCE POLICE REFORMS IN INDIA ... ASAP...

WE ASK RAJNATH SINGH TO DO BRAINSTORMING WITH ALL DGP OF POLICE AND GOVERNORs OF STATE ATTENDING..

KERALA GOVERNOR P SATHASIVAM ALLOWED A REIGN OF TERROR ON DEVOUT SABARIMALA PILGRIMS UNLEASHED BY ATHEIST COMMIE CM PINARAYI VIJAYAN..

READ ALL 12 PARTS OF MY BLOG SERIES ON POLICE REFORMS -- IT IS JUST 40% COMPLETE..I ABANDONED IT FEELING INDIA CANNOT BE SALVAGED..

INDIA IS A BANANA REPUBLIC , NOT A DEMOCRACY..

https://ajitvadakayil.blogspot.com/2017/07/police-reforms-in-india-much-more-with.html

WE WATCH..

capt ajit vadakayil
..

PUT ABOVE COMMENT IN WEBSITES OF--
PMO
PM MODI
PRESIDENT OF INDIA
VP OF INDIA
RAJNATH SINGH
HOME MINISTRY
GOVERNORS OF ALL STATES
NITI AYOG
AMITABH KANT
LAW MINISTER PRASAD
LAW MINISTRY
CJI GOGOI
ALL SUPREME COURT JUDGES
SPEAKER LOK SABHA
SPEAKER RAJYA SABHA
DGPs OF ALL STATES
RAMAN SRIVASTAVA
CMs OF ALL STATES
ALL MPs OF LOK SABHA AND RAJYA SABHA
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Ajit Vadakayil

Saturday, October 27, 2018

SANATANA DHARMA , HINDUISM EXHUMED AND RESURRECTED, PART 112 - CAPT AJIT VADAKAYIL

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