The Symbol of Unified Field Theory and the Universal Man: The Shambhala Para-Prakiti Magnet

The Symbol of Unified Field Theory: Universal Man, Monalisa, 2012

Integration of Race-Subsystems and Gender Localisation with the Universal Frame/Symbol of Unified Field Theory: Universal Man, Monalisa 2012

Integration of Race-Subsystems and Gender Localisation with the Universal Frame/Symbol of Unified Field Theory: Universal Man, Monalisa 2012

Its mystic origin in Shambhala was the cult left for a higher evolving race

Memory structures beams of light in the fountain of the dark star

The hexagram of animated motions are constructed by the valipa turn of the Yung-drung

From the yin to the yang in the ivory fire of waters’ symmetric verse

It wrote the syllabic feet of scriptures that transliterate creation from other micro-creations

From the savage prehistory of sacred letters, the fish swam across the river and became the tree

It saw the early light of the dawn at varying lengths falling on the ancient crucible

It had the bondage of silence so it couldn’t utter the aloa-aloa-vivi-afa

Darkness nestled the springs in the backyard of the great mountains

The birds flew migrating from one land to the other

Like the psychic wish of Hibiscus in the nomadic herd of the exothermic race

They wandered from valleys and deserts to gardens and meteorite caves

Another soliloquy of the artist with the plenary beings

Sculpted the face of Monalisa on the symbols of divine destiny

Here to meet in the Happy Isles or in the Tazig-Tazig kingdom

The Altai disappeared in the storm, the Urals appeared missing again

Tibet was dancing like the cormorant from Xinjiang

Images from the pages of the diary come and go like the stagecoach

They may never know what they mean but truly know where the light is taking it.

– Joy Roy Choudhury

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The Secret of Our Evolution of Consciousness is Not in the Stars but in Ourselves- The Re-reading of Shakespeare to Understand the Complex Simplicity of the Creation

Divine Mother, Mirra Alfassa

Divine Mother, Mirra Alfassa

 

“Men at some time are masters of their fates: The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings”. – (Julius Caesar, Act I, Scene II, William Shakespeare).

 

 

Light is coming from yoningo kaal umva kaal

Light is coming from the yogic script of the dance

Before and ever, there was movement of the waves in form of a dance

In the lap of transmuting matter the sprit yearns for the document of freedom

In the violet cycles, in the red effulgence of the blue stars

In the green bed of the orange urn gathering dews falling from the skies

She heard no more nor questioned herself

She ran to be free as a feather on a bird

Her bangles jingling her anklets tingling

The sound was a terror in the eye of the cat

 

She was the white light of the naked sun drenched in the shadow

William Shakespeare

William Shakespeare

She was the road to Olmo-lung-ring, the Shambhala, the Arden and the Happy Isles

She was the discreet manuscript of the evangelical horses

At point in the electromagnetic field of superconductivity

She was herself not in her but in Him and through him reflected in other things

She was the worshipped soul of the Adi Purusham

She was not there, not there but always quiet like a lake full of lotus

Aditi in terminal hole saw the Manjusri of Maitreyi

Sowing the immortal seeds in the garden

A flash of light like a winged spear from the future of its past

Touched the forehead of my crowning lines

I was no more in the time of its time devouring the time-eternized

But thou art in the fashion of words programmed to reach its original copy

I shall live in the stone and the sky, in the running waters and huddled hills

And nothing shall disturb the quiet life of things

Shantih Shantih Shantih

 

– Joy Roy Choudhury