A LEADING NEWSPAPER, INDIA

SEPTEMBER 27, 2009

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A LEADING NEWSPAPER OF INDIA

ISBN: 978-81-207-4439-4
Published by: Sterling Publishers (P) Ltd.
A-59, Okhla Industrial Area, Phase-II, New Delhi-110 020 India

By Ratnadeep Banerji
Reproduced from Indian News Paper ‘ORGANISER’ SEPT 27th, 2009

The Secrets of Bhakti As narrated by sage Narad,

Taoshobuddha, Sterling Paperbakes, Pp 198, Rs 350.00
Narad Bhakti Sutra delves out devotion en core, its concept of precepts and
notions. The author, Taoshobuddha has brought out a commentary on the
aphorisms of Narad’s bhakti path. The author has harped on the supreme love
of param prema to elucidate its devotional perspective. Taoshobuddha during
explication of the sutras ushers an invigorating insight inside the realm of
human consciousness as well as the process of transformation.
The author first speaks of Narada and his other contributions. Narad had
prompted Sage Valmiki to compile Ramayana. The readers get to know of him
being ‘born in various realms’, for instance as a gandharva. However the
author clarifies, ’There is no evidence that these sutras were composed by
Narad himself’ but have most aptly been ‘dedicated to the champion of
Devotion and Love - the Bhakti Sutras. The first job that the book succeeds is
to clear the deck of the cluttered mind of the readers to imbibe upon the
aphorisms. The author achieves this in the prelude titled, ‘Athato bhakti
vyakhyasyamah’ meaning ‘Now therefore let us speak of Bhakti’. Any ardent
reader would get aroused with the necessity proving, ‘therefore’ to fulfill its
need. ‘The fluidity of the mind is unique-.Mind has the glimpse of awareness.
Mind seeks love-The ice has melted now- Water is evaporating. And as the
steam arises it disappears beyond a certain level. The soul is like a stream’.
Such is the credence of Taoshobuddha’s conviction filled writing to entice and
engulf the reader in the oasis of bhakti. The reader feels an innate fervour -
‘Soul seeks eternal. Soul seeks the formless. Bhakti is the union of formless to
formless’. To enunciate the commentary on Narada Sutras, the author brings
forth the five sutras Krishna had invoked in Bhagvat Gita about the path of
devotion and the qualities of a devotee. One of sutras in Gita says, ‘that
devotion is indeed of the nature of Supreme Love in God’. Narad reveled in
‘Ananya Prem’ when ‘the mind of an aspirant totally turns towards God out of
Love, no demand of any nature remains in him’. The Nrada Sutras exemplify
the distinction between the ordinary amorous love and the pure, devotional
love.
A fervent devotee in his frenzy would be oblivious of all around him. The
Gopis and Mira stand iconic to this state of ‘Thane nahi bisroon din rati’.
Taoshobuddha takes his readers through a meticulously premeditated
cadence of feelings. Hereafter he says, ‘When the aspirant gains this devotion,
he ever remains intoxicated. In fact, he looks like a madman-..He becomes
completely oblivious of his own body and bodily actions’. So with
Ramakrishna, he says, ‘He used to talk to the statue for hours’. While he was a
priest to Kali, Ramakrishna used to taste the food before offering it to the
goddess. Similar was the earnestness of Sabari towards Rama and again of
Vidur’s wife offering banana peels to Lord Krishna after throwing away the
banana. Narada calls this - ‘Atmaramoo bhawati’. Any reader would hardly
know how on the spur of the moment, Adi Shankaracharya composed his
mellifluous Bhaja Govindam. The book tells us the incident. The eighth and
ninth aphorism explain the nature of renunciation.

While explaining Sutra 14, the author resorts to a spacecraft breaking free
from the earth’s gravitational field in order to explain some core concepts of
energy centers in the body. Many of the aphorisms of Narada quote the
precepts of bhakti as envisaged by Ved Vyas, Sage Garga and Sage Shandilya.
The author props up a salient question - ‘Why is bhakti so difficult? Bhakti is
not difficult at all. What makes it difficult is your upbringing from the time you
were born?’ The author goes on explaining the nature of conditioning and
grooming a puerile mind to adopt a path called religion. ‘Religion is not Hindu,
Muslim or Christian- Religion has four pillars. These are truth compassion,
austerities and purity’. Interestingly, the author reveals, ‘Narad does not
specify the word God by any denomination as Brahman, Atman, Ishwara,
Rama, Krishna-Narada deliberately uses the word asmin (in that). And thus,
He has avoided any kind of sectarianism. To add on, Taoshobuddha mentions
of Urdu mystical poet, Jigar Moradabadi and the impact of his kawwals.
The Narad Sutra invokes the manifest as well as the unmanifest; immanent
and the transcendent; formful and the formless. Devotion can bestow
perfection and immortality on account of the devotee relinquishing himself
from the outside world and begins to achieve the changeless, the immutable.
The author narrates this commentary with a simplistic rancour spiked with
anecdotes and contemporary situation lest the aphorisms sound quaint and
dogmatic. So, couplets of Kabir and Tulsidas have been cited to invigorate
Narad’s message.
There is something mystical in these compositions of Narad for which I have
no words to explain. However, certainly there I something. Through these
compositions and meditations Taoshobuddha has created such level of beauty
through the use and mastery of musical rhythms and rhyme through the play
of the words that the reader and the listener not only can appreciate the
wisdom contained in these compositions, but also reach the levels of ecstasy
and mystical energy that is seldom found in other such compositions.
Certainly these connect you to your being. Taoshobuddha calls these as
Aphorisms of Love.
The mastery of rhyme and rhythm is such that very often he creates a new
vocabulary, using the same old word, yet creating new feelings that are
associated with the insights of Narad. Furthermore, often he has such mastery
of play on words or at other times he uses the same word with a different
accent or vowel twice or even thrice in the same composition with a different
meaning each time.
One cannot but marvel at the linguistic mastery that Taoshobuddha displays
through various compositions and meditations that Taoshobuddha has
created. One can simply down in the essence of it and thus get connected to
his being.
 In any case the end result is the same. The experience of the artistic beauty of
these compositions, voice modulation, rhyme and ecstatic energy, and alpha
brain wave patterns all combined together with mental understanding of the
wisdom conveyed takes the listener to the state of meditation. This is as close
as one can get to the mystical experience itself, without actually being present
with Taoshobuddha.
In other words, his presence pervades the essence of his insights just as the
presence of Narad pervaded his compositions. One cannot help but be touched
by such energy field and loving presence, that only an Enlightened Master can
create.