#vedas

A. विष्णु

B. रुद्र

C. ब्रह्मा

D. कविर्देव

अपना उतर हमें कमेंट में जरूर बताएं।

MY PURPOSE IS TO ENLIGHTEN YOU WITH THE METHOD OF WORSHIP AS PRESCRIBED BY THE SCRIPTURES.

This is to protect you from the immense hardships of the future, specifically the agony of passing through the 8.4 million species of life and the torments of hell.

या कुन्देन्दुतुषारहारधवला या शुभ्रवस्त्रावृता

या वीणावरदण्डमण्डितकरा या श्वेतपद्मासना ।

या ब्रह्माच्युत शंकरप्रभृतिभिर्देवैः सदा पूजिता

सा मां पातु सरस्वति भगवती निःशेषजाड्यापहा ॥

I bow to thee Saraswati who is white like the jasmine, with the coolness of the moon, the brightness of the snow, and a sheen like the garland of pearls, who is covered with white garments, who holds the veena, and the boon-bestowing staff; And who is seated on a pure white lotus, who is always adored by Brahma, Achyuta (Vishnu), Shankara (Shiva), and the other Devatas, O goddess Saraswati, please protect me and dispel all my ignorance.

I love this drawing of Saraswati. She is the Vagdevi, giving the Rig, Yajus, Sama and Atharva Vedas.

Rigveda 2.41.16

अम्बि॑तमे॒ नदी॑तमे॒ देवि॑तमे॒ सर॑स्वति । अ॒प्र॒श॒स्ता इ॑व स्मसि॒ प्रश॑स्तिमम्ब नस्कृधि ॥

अम्बितमे नदीतमे देवितमे सरस्वति । अप्रशस्ता इव स्मसि प्रशस्तिमम्ब नस्कृधि ॥

Best of mothers, best of rivers, best of goddesses, O Saraswati, we are ignorant and untrained, give us wisdom and knowledge!

Saraswati is the Maa who gave us our very civilisation. She is the Vagdevi who bestowed us with voice. She is uncontrollable, wild river who nourshed our ancestors. She was the lion riding goddess who gave rise to Durga, and even today in Durga Puja the Tantrokta Devi Sukta is recited which comes from the Vagambhrini Sukta of the Rigveda, composed by the Rishika (female Rishi) Ambhrini.

In Hindu philosophy, Paravak is the highest unmanifested level of speech, representing pure, undifferentiated consciousness and the source of all creation. Paravak manifests into Pashyantivak (vision of thoughts), Madhyamavak (the thought before it is spoken), and finally Vaikharivak (audible voice, spoken word heard by the ears).

My face when Puranic Indra slander:

In Sanskrit, the word kāma is desire, a force that pulls the senses outward, seeking pleasure through contact. It is not evil, nor purely physical but the movement of consciousness toward an object it wishes to consume. Prema, by contrast, is love, not a moral opposite, but a different orientation of the same current. Where kāma seeks to absorb, prema seeks to expand. Both are born from the impulse of union, the difference lies in perception. In kāma, one sees the other as inferior, a vessel to be tasted and dissolved. In prema, one sees the other as superior, a presence that cannot be devoured because it already fills the world.

Hannibal lives within kāma. To eat, to kill, to manipulate, to orchestrate beauty through death, all are gestures of a consciousness that sees itself as sovereign and others as offerings. He indulges not because he is depraved, but because he believes himself refined. The world exists for him to experience. Yet in this conviction of superiority lies the ignorance that the Gita calls avidyā, the illusion of separateness. He consumes to feel whole, but each act confirms the gap between himself and what he devours. The palate is never satisfied by its own echo. His elegance is a disguise for emptiness, his art is an attempt to fill the silence his own omnivorous self has created.

In the language of the Vedas, kāma is a fire that cannot sustain itself. Its nature is to burn until it turns on the one who tends it. Hannibal’s refinement is a controlled blaze, a ritual of endless appetite. He confuses knowledge with mastery, the act of tasting with the act of knowing. He believes that to possess is to understand, that to consume is to become. But kāma never becomes; it only repeats. It is a circle without center.

But Will is the mirror in which Hannibal’s hunger collapses. He recognizes something he cannot reduce, a consciousness that reflects him back without dissolving. The urge to consume returns, sharper, but beneath it pulses the terror of prema: the realization that to love is to cease being superior. Prema arises from vidyā, knowledge, the unveiling that the beloved is not other, not object, but self. And to one who has lived by dominance, such recognition is annihilating.

Hannibal’s instinct is to turn love back into lust, to digest what threatens to equal him. He attempts to treat Will as he treats the world: as art, as flesh, as subject. But the deeper truth begins to corrode his method...love cannot be consumed. It is already consuming him. The bliss of prema is not in possession, but in dissolution, the surrender of the boundary that lust so desperately defends. When Bedelia tells Will that Hannibal is “nourished at the very sight of him,” she names the transformation of hunger turning to vision, appetite replaced by presence. Sight becomes sustenance because he no longer sees through kāma. He sees through prema, the recognition that nothing remains to be taken when all is already within.

In that shift, Hannibal moves from ignorance to knowledge, though not toward salvation. His enlightenment is aesthetic, not moral. He understands that to kill Will would not fulfill the hunger but destroy the only mirror that ever reflected him truthfully. To love Will is to accept the impossibility of devouring him. And so the hunger remains but not as torment, as revelation. He has tasted the distinction between desire that consumes and desire that worships.

Hannibal’s tragedy is not that he cannot love, but that he finally does and love demands that the devourer recognize himself in the devoured. To see the beloved as divine is to concede that one was never the god. In that knowledge, the predator disappears, and only the gaze remains, steady, nourished, infinite.