Cakravartin

For the western mind, the language of YOGA and other spiritual paths is many times difficult to descipher: the symbols and metaphors are a jungle where both initiates and (mostly) uninitiates are lost.
The hidden key that opens all these secrets and lost meanings is Resonance. Resonance is very easy to understand for the western mind, so much centered on the scientific approach of reality. In the light of Resonance, all metaphors and symbols immediately start to make sense, becoming in the same time a genuine door toward invisible realities.
The Law of Resonance has a relational character, i.e. expresses the way in which two or more apparently different things or phenomena selectively communicate (are linked), being integrated into an unitary Whole. The links which unite all things in the Universe (physical objects, mental processes, psychic phenomena, spiritual levels, in other words everything manifested) have as basis the process of Resonance.

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When Heribert Illig developed his theory known as the Phantom Time theory he drew his arguments mainly from the history of the Western part of Europe. He drew attention to the immense amounts of forged documents that remains from the Carolingian empire, the Palatine Chapel of Aachen with its architectural features preceding its own time by several centuries, the extraordinary calendar correction of pope Gregory XIII and the conspicuous and inexplicable lack of any archaeological findings, being typical for the era.
Of course he also addressed the oddities of the Byzantine empire: he mentioned the end of construction, the decline of the knowledge of writing, the transformation of events of the era in question into (quasi) fairy-tale and the inexplicable and unmotivated rewriting of chronicles. His arguments are in themselves heavy enough and worthy of consideration. However, Illig never addressed one issue, never referred to it with a single word – in fact, it seems he was not even particularly aware of the problem: the issue of the legacy of the Hungarian chronicle tradition. Specifically, this Hungarian chronicle tradition, which supports its hypotheses with such elementary strength, should have enjoyed an elevated position in his book or even a separately devoted chapter. It is not coincidence that lately our medieval chronicles have become surrounded by a conspicuous great silence. While in single issues of our renowned historical journals efforts are being made to “refute” the facts of falsification of our chronology, they do not even dare mention the issue of our [Hungarian] chronicles.

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Having attended the new production of G. Verdi’s opera Macbeth at The Gothenburg Opera, I was quite surprised by the unexpected chosen interpretation of this great adaptation of Shakespeare’s masterpiece. (…) The main question I must raise is this: Why is it morally wrong of Macbeth to kill Duncan, if they are the same and why then is it morally right of Malcolm (through Macduff) to kill Macbeth? If they are the same, as they are displayed in Mr. Radok’s concept, then where is the conflict? What is the purpose of writing such a play?
Macbeth’s guilt, agony, pain and nightmare-like visions would be entirely unmotivated if Duncan and Malcolm where displaying the same inferior moral or psychological nature as himself.
The esoteric core of both the play and the opera is manipulated and altered in order to provide room for the director’s outlook of the world and this outlook is a false one. (…) It must be noted at this point that it is not the actual killing that is the supreme conflict, since Macbeth is a general in Duncan’s service and we must expect that in holding such an office death is an everyday occurrence; ordering soldiers to kill other soldiers is something a general must be capable of handling. (…) The very heart of the entire play, however, is the killing of the righteous king; not only because of Duncan’s legitimacy to the throne based on blood heredity but rather from the aspect of what kind of material a righteous king should be made of in order to have a rightful claim to the throne according to universal law.

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This article is used by kind permission from the author Karlo Z.Valois.

Perhaps the most recent texts outlining the kind of war protocol we are now addressing is Budo Shoshinsu, a collection of the most authentic moral teachings of the Japanese knights, written in the 16th Century for young samurais to teach them the foundations of bushido, “the spiritual path of the warrior”.
The teachings concern the appropriate perception of death (as an opportunity for transcendence, which is apparent in everyday behavior, heightened awareness and the importance of the moment), loyalty (towards the superior and everything that is superior), high alert (always prepared to face defining moments), martial arts (control over forces and actualizing the principle of One, thus creating harmony between the “inner world” and the “environment”), weaponry and behavior without excesses (excess is the result of attachment: to wine, women, etc….attachment means being dominated).
To live by the principles outlined in the teachings required to maintain control over all areas of life (thoughts, emotions, actions on the physical plane, higher states of consciousness). Control is analogous with dominance over power(s), a fundamentally solar, male, royal principle.

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Foreseeing the incompetence of the people in this age of Kali, or the iron age of quarrel, great sages and saintly people throughout the ages have sought to benefit the general mass of people by revealing to them the knowledge contained in the scriptures, whereby they may attain relief from the inflictions of this most degraded and dangerous of all ages.

Elaborate description of the anomalies of Kali-yuga and the plight of the living entities is given in the Srimad Bhagavatam.

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