Cosmic Censorship of Naked Singularity
Conventional wisdom in cosmology and theoretical physics suggest that a large star ends its life by collapsing itself into a black hole. But some theoretical studies suggest it could become a spacetime singularity, i.e. a black hole but without an event horizon. In fact, physical processes leading to star collapse suggests formation of naked singularities, but they have not been detected in the cosmos. If they are discovered, it would revolutionize our understanding of spacetime and quantum gravity. They could provide laboratory conditions to study quantum-gravitational effects and help support or contradict string and loop quantum gravity theories.
In this book Professor Pankaj Joshi argues that cosmic censorship is not necessarily universal; naked singularities (black holes without event horizon) are formed under certain circumstances and may be observed. The spacetime ripples (gravitational waves) are known to be formed when two black hole or two neutron stars collide, but naked singularities may also generate gravitational waves. Gravitational force dominates at the end of a massive star’s life, and its fate is determined by Einstein’s theory of gravitation, which predicts that the star’s core-collapse results in a singularity. Physicist Roger Penrose conjectured that visible (or “naked”) singularities are forbidden in nature, hence they reside within an event horizon of a black hole.
A brief description of this book is as follows:
Just before the star’s death, nearly a quarter of the mass of the star is ejected within the final fraction of a microsecond. Just before this, a faraway observer would have seen a sudden dip in the intensity of radiation from the collapsing star, which would be caused by quantum gravity. In the early universe, the conditions were extreme and quantum-gravitational effects dominated; and big bang became a unique event. If singularities are detected, they would allow astronomers to observe the equivalent of a big bang every time a massive star collapse to form a spacetime singularity. This event associated with the emission of high-energy gamma rays, cosmic rays, high energy particles and neutrinos. The energy spectrum and its physical characteristics would provide a basis for evaluating theories of quantum gravity.
Stellar life cycle consists of birth from gigantic clouds of dust and galactic material in deep space. They evolve and shine for billions of years, and finally descend into its final phase and eventual death. Stars shine by burning their nuclear fuel; initially hydrogen atoms which fuse it into helium, and later into heavier elements. Each star attains a balance between the force of gravity, which pulls matter toward the center, and the outward pressures generated by fusion. This balance keeps the star active and stable. When all the fuel is converted to iron; nuclear fusion stops. During the final phase of star’s life, the force of gravity dominates and the star contracts and collapse on its core to a size of the earth. At this stage, it will be supported by the force exerted by fast-moving electrons, called electron degeneracy pressure, and the resulting cosmic body is called a white dwarf. Smaller stars lead to red and brown dwarfs. If the star is three to five times the mass of the Sun, it will become a neutron star; here the gravity is so strong that nuclei dissociate into neutrons. The core of this dead star is supported by neutron pressure, and its size may be as little as six miles in dimeter. For more massive stars gravitational force dominate and its final fate is determined by Einstein’s theory of gravitation, which predicts the star’s core-collapse into a singularity.
This book describes theoretical arguments for the plausibility of naked singularities, and ways to detect them through experimentally verifiable predictions. The book reads well, but there is not much of “take-home-message” in this book beyond what is already discussed in his 2009 article in “Scientific American.”
Sunday, November 25, 2018
Thursday, November 22, 2018
Book Reviewed - Garbo: A Portrait, by Alexander Walker
Graphic Biography: Images of a Hollywood Legend
The images of a Hollywood icon tell a lot of stories. The author has used his perception and skills in his study of Greta Garbo from the archives of MGM Studios. These illustrations are a powerful tool to document her life. She spoke no English when she arrived in Hollywood from her native Sweden, and notoriously shy. Yet she was one of the highly paid actresses of her times and starred in some of the best MGM movies. She was a sensation during silent era and early talkie movies when Hollywood was trying to establish itself as the major entertainment industry in the world.
The best moments of her illustrious career were when she was nominated three times for the Academy Award in the “Best Actress” category. In 1930, for both “Anna Christie” and “Romance,” but lost to Norma Shearer for “The Divorcee;” in 1937 for “Camille,” and lost to Luise Rainer for “Good Earth;” and finally, in 1939 for “Ninotchka,” and lost to the immortal Bette Davis for “Jezebel.”
Some of the best illustrations included in this book are; lavish costumes she wore in the movie “Temptress;” images of the man of her dreams, John Gilbert, on the set of “Flesh and the Devil;” personal moments in the woods on the set of “Lover” with John Gilbert; romantic encounters with Lars Hanson on the set of “The Divine Woman.” Greta Garbo received rave reviews for her performances in several films and she was known to express vivid emotions. She delivered expressions with grace and eloquence. She could turn loneliness into a form of tragic depression as seen in the illustrations of “The Mysterious Lady.” Images of a liberated woman in the 1928 movie “A Woman of Affairs,” where she expresses her undying love for her lover played by John Gilbert despite the fact she is married to another man. Greta Garbo made four movies with John Gilbert and all the illustrations I have seen in this book are superb; her emotions and feelings are beautifully captured.
I am fascinated with the lives of Greta Garbo and John Gilbert; they were legends of MGM Studios and both had difficult childhood but overcame tremendous obstacles to become stars in Hollywood. They both fell in love, but Garbo was too independent and afraid to make commitments in life. She got cold feet and never showed up at the wedding altar ending the opportunity to walk the aisle. There are many stories surrounding their romance and break-ups. MGM Studio chief, Louis B Mayer was known to be personally involved in ending the relationship, which lead to a fist fight with Gilbert.
If you are a fan of Greta Garbo, you would love this book. This is an intimate illustration of one of the top stars of Hollywood’s golden age.
The images of a Hollywood icon tell a lot of stories. The author has used his perception and skills in his study of Greta Garbo from the archives of MGM Studios. These illustrations are a powerful tool to document her life. She spoke no English when she arrived in Hollywood from her native Sweden, and notoriously shy. Yet she was one of the highly paid actresses of her times and starred in some of the best MGM movies. She was a sensation during silent era and early talkie movies when Hollywood was trying to establish itself as the major entertainment industry in the world.
The best moments of her illustrious career were when she was nominated three times for the Academy Award in the “Best Actress” category. In 1930, for both “Anna Christie” and “Romance,” but lost to Norma Shearer for “The Divorcee;” in 1937 for “Camille,” and lost to Luise Rainer for “Good Earth;” and finally, in 1939 for “Ninotchka,” and lost to the immortal Bette Davis for “Jezebel.”
Some of the best illustrations included in this book are; lavish costumes she wore in the movie “Temptress;” images of the man of her dreams, John Gilbert, on the set of “Flesh and the Devil;” personal moments in the woods on the set of “Lover” with John Gilbert; romantic encounters with Lars Hanson on the set of “The Divine Woman.” Greta Garbo received rave reviews for her performances in several films and she was known to express vivid emotions. She delivered expressions with grace and eloquence. She could turn loneliness into a form of tragic depression as seen in the illustrations of “The Mysterious Lady.” Images of a liberated woman in the 1928 movie “A Woman of Affairs,” where she expresses her undying love for her lover played by John Gilbert despite the fact she is married to another man. Greta Garbo made four movies with John Gilbert and all the illustrations I have seen in this book are superb; her emotions and feelings are beautifully captured.
I am fascinated with the lives of Greta Garbo and John Gilbert; they were legends of MGM Studios and both had difficult childhood but overcame tremendous obstacles to become stars in Hollywood. They both fell in love, but Garbo was too independent and afraid to make commitments in life. She got cold feet and never showed up at the wedding altar ending the opportunity to walk the aisle. There are many stories surrounding their romance and break-ups. MGM Studio chief, Louis B Mayer was known to be personally involved in ending the relationship, which lead to a fist fight with Gilbert.
If you are a fan of Greta Garbo, you would love this book. This is an intimate illustration of one of the top stars of Hollywood’s golden age.
Thursday, November 15, 2018
Book Reviewed - Gloria Swanson: The Ultimate Star, by Stephen Michael Shearer
A biographical image of Gloria Swanson
Gloria Swanson was a beautiful woman who stood at 4’ 11” tall and graced with large blue eyes and brown hair. Although her features contrasted with those of the uniformly sweet-faced ingenues of that era, she adapted to films about sexual intrigue among the Wall Street tycoons. With elegance, poise and grace, she glided across opulent sets in satin, sequins and ermine tails. Her work in Hollywood was daring experiment in the early 1920's, because often, it glorified marital infidelity. In the most sensational production of ''Male and Female,'' based on James M. Barrie's play ''The Admirable Crichton,'' it depicted a cave-man making love to Swanson on a desert isle.
From 1921 to 1926, she starred in 20 movies. The early ones included ''Beyond the Rocks'' with Rudolph Valentino. In 1926, after having made scores of ''woman of the world'' epics and light comedies, she sought more substantive roles. She refused a $17,500-a-week contract offered by Jesse Lasky and Adolph Zukor and founded her own production company. The gamble led to an impressive performance in the title role of ''Sadie Thompson,'' based on the W. Somerset Maugham short story about a South Seas sensualist. In 1950, after a virtual 16-year absence from the screen, Swanson gained her greatest triumph in ''Sunset Boulevard,'' playing Norma Desmond, a reclusive, demented silent-film star vainly seeking a comeback. The actress won several honors for the portrayal, but an Academy Award eluded her. Gloria Swanson and Bette Davis for ''All About Eve,'' were regarded as the leading contenders for the 1950 Academy Award in the best actress category. The competition was intense, but the Oscar went to Judy Holliday for her performance in ''Born Yesterday.”
One of the controversial films that also ran her almost bankrupt was “Queen Kelly,” directed by Erich von Stroheim. This silent film was produced in 1928 and was never released for several decades. This story is about a European girl raised in a convent eventually becomes owner of a brothel. Kelly is first abducted and then seduced by a prince before being sent off to German East Africa to visit her dying Aunt. There are many interesting stories about making this film; on the first day of the shooting at Griffith’s Park in Los Angeles, CA. The scene included prince Wolfram (Walter Byron) and his guards ride through the street on which the Catholic Convent resides. Watched by Kitty Kelly (Swanson) and her friends who take bow at the prince, director Von Stroheim makes last minute amendments in which Kelly’s panties falls under her ankles and Stroheim had Swanson throw her panties at the prince. This scene was redone several times to the annoyance of Gloria. He also instructs the prince (Walter Byron) to caress and sniff her undergarments with ardor, passion and lust before placing it in his saddle bag. Stroheim also made last minute changes to the African scene which Swanson was supposed to dance in a bordello. The final insult came when the scene of Kelly marrying a lecherous old man played by Tully Marshall was performed over the deathbed of her aunt. An African priest gives her last rites that enraged Roman Catholic Church and KKK. This was an odd coincidence! Many movie insiders knew well that Stroheim was well known for overspending the budget; and his artistic talents had a thin-line between erotic art and pornography. He crossed this boundary at will and made many studio bosses steamed. Swanson lost much of her money on this extravaganza. She furiously argued with her married-lover and co-financier Joe Kennedy, father of President John Kennedy. Despite all negativity, it was revealed that some of the most audacious and stunning sequences were filmed for this movie. Movie critics gave rave reviews of director Stroheim’s work, but his movies rarely made any money.
Recalling the giddy era of Hollywood's youth, Swanson remarked: ''We lived like kings and queens, and why not? We were in love with life. We were making more money than we ever dreamed existed.'' She had incredibly feminine looks; but she had a masculine mind, said her daughter Michelle. She possessed star quality and allure that captivated her fans. She laughed frequently and lived to the fullest for the moment, and gratitude for whatever lied in her future.
In later years, she became known as a health-food advocate. Espousing proper diet and natural unsprayed foods. She designed budget-priced clothes under the label Forever Young and founded an Essence of Nature cosmetics line. In 1948 she went on live television with ''The Gloria Swanson Hour,'' a talk show in a setting simulating the living room of her Fifth Avenue apartment. Gloria Swanson was much more than just Norma Desmond. She lived to create opportunities in movies and entertainment at a time when women were resigned to marriage, children and housework. She saw no boundaries. Once she said that if you live long enough, the chances are that you will not abide by its restrictions.
I found this book very entertaining to read. If you are interested in the life and works of Gloria Swanson, you would love this book. Ever since I saw her films on TCM Movie Channel, I was fascinated by her work.
Gloria Swanson was a beautiful woman who stood at 4’ 11” tall and graced with large blue eyes and brown hair. Although her features contrasted with those of the uniformly sweet-faced ingenues of that era, she adapted to films about sexual intrigue among the Wall Street tycoons. With elegance, poise and grace, she glided across opulent sets in satin, sequins and ermine tails. Her work in Hollywood was daring experiment in the early 1920's, because often, it glorified marital infidelity. In the most sensational production of ''Male and Female,'' based on James M. Barrie's play ''The Admirable Crichton,'' it depicted a cave-man making love to Swanson on a desert isle.
From 1921 to 1926, she starred in 20 movies. The early ones included ''Beyond the Rocks'' with Rudolph Valentino. In 1926, after having made scores of ''woman of the world'' epics and light comedies, she sought more substantive roles. She refused a $17,500-a-week contract offered by Jesse Lasky and Adolph Zukor and founded her own production company. The gamble led to an impressive performance in the title role of ''Sadie Thompson,'' based on the W. Somerset Maugham short story about a South Seas sensualist. In 1950, after a virtual 16-year absence from the screen, Swanson gained her greatest triumph in ''Sunset Boulevard,'' playing Norma Desmond, a reclusive, demented silent-film star vainly seeking a comeback. The actress won several honors for the portrayal, but an Academy Award eluded her. Gloria Swanson and Bette Davis for ''All About Eve,'' were regarded as the leading contenders for the 1950 Academy Award in the best actress category. The competition was intense, but the Oscar went to Judy Holliday for her performance in ''Born Yesterday.”
One of the controversial films that also ran her almost bankrupt was “Queen Kelly,” directed by Erich von Stroheim. This silent film was produced in 1928 and was never released for several decades. This story is about a European girl raised in a convent eventually becomes owner of a brothel. Kelly is first abducted and then seduced by a prince before being sent off to German East Africa to visit her dying Aunt. There are many interesting stories about making this film; on the first day of the shooting at Griffith’s Park in Los Angeles, CA. The scene included prince Wolfram (Walter Byron) and his guards ride through the street on which the Catholic Convent resides. Watched by Kitty Kelly (Swanson) and her friends who take bow at the prince, director Von Stroheim makes last minute amendments in which Kelly’s panties falls under her ankles and Stroheim had Swanson throw her panties at the prince. This scene was redone several times to the annoyance of Gloria. He also instructs the prince (Walter Byron) to caress and sniff her undergarments with ardor, passion and lust before placing it in his saddle bag. Stroheim also made last minute changes to the African scene which Swanson was supposed to dance in a bordello. The final insult came when the scene of Kelly marrying a lecherous old man played by Tully Marshall was performed over the deathbed of her aunt. An African priest gives her last rites that enraged Roman Catholic Church and KKK. This was an odd coincidence! Many movie insiders knew well that Stroheim was well known for overspending the budget; and his artistic talents had a thin-line between erotic art and pornography. He crossed this boundary at will and made many studio bosses steamed. Swanson lost much of her money on this extravaganza. She furiously argued with her married-lover and co-financier Joe Kennedy, father of President John Kennedy. Despite all negativity, it was revealed that some of the most audacious and stunning sequences were filmed for this movie. Movie critics gave rave reviews of director Stroheim’s work, but his movies rarely made any money.
Recalling the giddy era of Hollywood's youth, Swanson remarked: ''We lived like kings and queens, and why not? We were in love with life. We were making more money than we ever dreamed existed.'' She had incredibly feminine looks; but she had a masculine mind, said her daughter Michelle. She possessed star quality and allure that captivated her fans. She laughed frequently and lived to the fullest for the moment, and gratitude for whatever lied in her future.
In later years, she became known as a health-food advocate. Espousing proper diet and natural unsprayed foods. She designed budget-priced clothes under the label Forever Young and founded an Essence of Nature cosmetics line. In 1948 she went on live television with ''The Gloria Swanson Hour,'' a talk show in a setting simulating the living room of her Fifth Avenue apartment. Gloria Swanson was much more than just Norma Desmond. She lived to create opportunities in movies and entertainment at a time when women were resigned to marriage, children and housework. She saw no boundaries. Once she said that if you live long enough, the chances are that you will not abide by its restrictions.
I found this book very entertaining to read. If you are interested in the life and works of Gloria Swanson, you would love this book. Ever since I saw her films on TCM Movie Channel, I was fascinated by her work.
Tuesday, November 6, 2018
Book Reviewed: Tantine: The Life of Josephine MacLeod, by Pravrajika Shraddhaprana
Sister Jo Jo
This book offers an autobiographical sketch of a woman who became one of the closest disciples of Swami Vivekananda. Josephine MacLeod’s strong and colorful personality provides many thought-provoking and charming anecdotes. She along with Sister Nivedita, Sister Christine and numerous disciples of Sri Ramakrishna offered critical support to Swami Vivekananda as pioneers in establishing the Ramakrishna Order, now known as Vedanta Society across the globe. Josephine MacLeod stood by him throughout his life and actively participated in the trials and triumphs of the Ramakrishna movement. Vedanta Society offered an alternative to the traditional teachings of New Testament. It taught the essence of life and its connections with the Creator through metaphysical teachings of Upanishads; beyond the realm of a human as a sinner who must seek redemption. His teachings were appealing to many intellectuals in Europe and the Americas. The concept of spiritual evolution resonated with a religion that was not contradicted by science: Charles Darwin’s Origin of Species had just challenged Biblical teachings.
Josephine and her sister Betty first heard Swami Vivekananda's lecture on Vedanta philosophy in New York City in 1895. She was deeply impressed by his knowledge and began to take active interest in his movement. She recognized him as a man worthy of her worship. His dynamism and eloquence in his teachings made huge impacts. She had a penchant for meeting famous and interesting people. She was also a sophisticated woman of character and dressed in the latest fashion. She was distinguished by her noble bearing, elegant manners and genteel conversation all commanded respect. The disciples of Vivekananda had great admiration for her and fondly called “aunty.” She was appealing and steadfast in her beliefs and her loyalty to her teacher. She travelled around the world many times with him. Josephine was not a sanyasin, unlike Sister Nivedita or Sister Christine, but she was instrumental in spreading Vivekananda's message on Vedanta.
The First few chapters read well, but narratives and the overall organization of the book is too random and arbitrary. Several chapters describe stories that are totally unrelated and do not resonate well. MacLeod was a dazzling figure in the evolution of Vedanta Society. She passed away at the age of 90 in Hollywood, California. At the time of her death, she was living at the Vedanta Society temple in Hollywood.
This book offers an autobiographical sketch of a woman who became one of the closest disciples of Swami Vivekananda. Josephine MacLeod’s strong and colorful personality provides many thought-provoking and charming anecdotes. She along with Sister Nivedita, Sister Christine and numerous disciples of Sri Ramakrishna offered critical support to Swami Vivekananda as pioneers in establishing the Ramakrishna Order, now known as Vedanta Society across the globe. Josephine MacLeod stood by him throughout his life and actively participated in the trials and triumphs of the Ramakrishna movement. Vedanta Society offered an alternative to the traditional teachings of New Testament. It taught the essence of life and its connections with the Creator through metaphysical teachings of Upanishads; beyond the realm of a human as a sinner who must seek redemption. His teachings were appealing to many intellectuals in Europe and the Americas. The concept of spiritual evolution resonated with a religion that was not contradicted by science: Charles Darwin’s Origin of Species had just challenged Biblical teachings.
Josephine and her sister Betty first heard Swami Vivekananda's lecture on Vedanta philosophy in New York City in 1895. She was deeply impressed by his knowledge and began to take active interest in his movement. She recognized him as a man worthy of her worship. His dynamism and eloquence in his teachings made huge impacts. She had a penchant for meeting famous and interesting people. She was also a sophisticated woman of character and dressed in the latest fashion. She was distinguished by her noble bearing, elegant manners and genteel conversation all commanded respect. The disciples of Vivekananda had great admiration for her and fondly called “aunty.” She was appealing and steadfast in her beliefs and her loyalty to her teacher. She travelled around the world many times with him. Josephine was not a sanyasin, unlike Sister Nivedita or Sister Christine, but she was instrumental in spreading Vivekananda's message on Vedanta.
The First few chapters read well, but narratives and the overall organization of the book is too random and arbitrary. Several chapters describe stories that are totally unrelated and do not resonate well. MacLeod was a dazzling figure in the evolution of Vedanta Society. She passed away at the age of 90 in Hollywood, California. At the time of her death, she was living at the Vedanta Society temple in Hollywood.
Friday, November 2, 2018
Book Reviewed: Bhagavad-Gita or the Song Celestial, by Edwin Arnold
The Heavenly Song; blissful and rapturous
Sir Edwin Arnold’s English translation of BhagavadGita was first published in 1885. This is one of the joyful and quintessential rendering of Gita for readers in English language; the poetic beauty of the holy book is retained to its full glory.
This is much more than a spiritual classic, philosophy or a seraphic doctrine. Its magnificent poetry that offers an inspirational wisdom to life’s perplexing problems. It embraces different forms of yoga; karma (action), bhakti (devotion) jnana (knowledge). It harmonizes the metaphysical teachings of early Hindu philosophers like Kapila and Patanjali imparting exemplary knowledge leading to self-realization. In eighteen percipient chapters, Lord Krishna delivers the spiritual discourses to ease the mind of Arjuna during the Kurukshetra battle when he expresses tremendous guilt to fight his own kinsman and teachers.
Edwin Arnold, a favored poet laureate after the death of Lord Tennyson, is a poetic-genius to have delivered this artistic and creative translation. Arnold’s work is available online free of charge, and this work is one way to assimilate the sublime message of BhagavadGita. His exemplary work is elucidated in the following examples:
1. BhagavadGita 4:3
Now once again to thee it is declared-
This ancient lore, this mystery
supreme-Seeing.
I find thee votary and friend
2. BhagavadGita 7:17
Highest, nearest, best
That last is, the devout soul, wise, intent
Upon "The One." Dear, above all, am I
To him; and he is dearest unto me!
3. BhagavadGita 6:5
Let each man raise, The Self by Soul,
not trample down his Self,
Since Soul that is Self's friend
may grow Self's foe.
Sir Edwin Arnold’s English translation of BhagavadGita was first published in 1885. This is one of the joyful and quintessential rendering of Gita for readers in English language; the poetic beauty of the holy book is retained to its full glory.
This is much more than a spiritual classic, philosophy or a seraphic doctrine. Its magnificent poetry that offers an inspirational wisdom to life’s perplexing problems. It embraces different forms of yoga; karma (action), bhakti (devotion) jnana (knowledge). It harmonizes the metaphysical teachings of early Hindu philosophers like Kapila and Patanjali imparting exemplary knowledge leading to self-realization. In eighteen percipient chapters, Lord Krishna delivers the spiritual discourses to ease the mind of Arjuna during the Kurukshetra battle when he expresses tremendous guilt to fight his own kinsman and teachers.
Edwin Arnold, a favored poet laureate after the death of Lord Tennyson, is a poetic-genius to have delivered this artistic and creative translation. Arnold’s work is available online free of charge, and this work is one way to assimilate the sublime message of BhagavadGita. His exemplary work is elucidated in the following examples:
1. BhagavadGita 4:3
Now once again to thee it is declared-
This ancient lore, this mystery
supreme-Seeing.
I find thee votary and friend
2. BhagavadGita 7:17
Highest, nearest, best
That last is, the devout soul, wise, intent
Upon "The One." Dear, above all, am I
To him; and he is dearest unto me!
3. BhagavadGita 6:5
Let each man raise, The Self by Soul,
not trample down his Self,
Since Soul that is Self's friend
may grow Self's foe.
Book Reviewed: BhagavadGita by Graham Schweig
Finding Love in BhagavadGita
This English translation is focused on the meditational and spiritual significance of the holy book. The translation retains the original ideas and the poetical essence. The author suggests that the wisdom of BhagavadGita is focused on the practice of yoga. The holy book discusses several forms of yoga to attain a state of transcendental consciousness and ultimately be united with the divine. At the highest level, yoga is a secret state of the union within the supreme love, bestowed by divinity who is also sublimed in this union. It is the power of love and devotion that transforms the heart to which the divinity submits.
Primary forms of yoga for individual souls are the yoga of action, karma-yoga (Chapter 3); yoga of knowledge, jnana-yoga (Chapter 4); yoga of renunciation, sanyasa-yoga (Chapter 5); yoga of meditation, dhyana-yoga (Chapter 6), and yoga of love, bhakti-yoga (chapter 12). The primary forms of yoga for divinity the supreme soul is; the yoga of divine power, vibhuti-yoga (Chapter 10); yoga of the universal form, visva-rupa yoga (Chapter 11); and the yoga of ultimate person, purusottama-yoga.
Souls appear to be in a deterministic universe from which the qualities or gunas, such as, sattva, rajas, and tamas dominate their lives, but souls are influenced by the laws of dharma. BhagavadGita teaches that serving the Lord Krishna will liberate the soul. He reveals his manifestation of his omnipotence as the Vishwa Rupa in chapter 11.
The author concludes that Gita is the Lord Krishna’s love song. This is the blessed gift of the divine that preaches the love for god, and bhakti-yoga is one of the major paths to attain unification with the Supreme Lord. The rendering of Gita in English is graceful in illustrating the Lord’s love. The second half of this book gives the English transliteration, and in the last section, the author interprets the spiritual and metaphysical aspects of BhagavadGita. The highlight of the book is that the English translation reflects on the poetical essence of Gita; the author specifies verses; BhagavadGita 4.3; 6.5; 6.30; 7.17; and 18.64 to illustrate his uniqueness in translation. I have compared his translation with the translations of Sir Edwin Arnold, Sri Aurobindo, Mohini Chatterji, Swami Mukundananda, and Shri Purohit Swami. All of them have about the same level creativity. One example is given below:
1. BhagavadGita 6:30
(Graham Schweig Translation)
One who sees me everywhere
And sees all things in me,
To such a person I am never lost
Nor is such a person is ever lost to me
(Sir Edwin Arnold Translation)
And whoso thus Discerneth Me
in all, and all in Me,
I never let him go; nor looseneth
He Hold upon Me
(Swami Mukundananda Translation)
For those who see me everywhere
and see all things in me,
I am never lost,
nor are they ever lost to me.
(Mohini Chatterji Translation)
Who sees me everywhere,
And sees everything in me
for him I am not lost,
nor is he lost for me.
(Shri Purohit Swami Translation)
He who sees Me in everything
and everything in Me,
him shall I never forsake,
nor shall he lose Me
(Sri Aurobindo Translation)
He who sees Me everywhere
and sees all in Me. To him I
do not get lost, nor does
he get lost to me.
This English translation is focused on the meditational and spiritual significance of the holy book. The translation retains the original ideas and the poetical essence. The author suggests that the wisdom of BhagavadGita is focused on the practice of yoga. The holy book discusses several forms of yoga to attain a state of transcendental consciousness and ultimately be united with the divine. At the highest level, yoga is a secret state of the union within the supreme love, bestowed by divinity who is also sublimed in this union. It is the power of love and devotion that transforms the heart to which the divinity submits.
Primary forms of yoga for individual souls are the yoga of action, karma-yoga (Chapter 3); yoga of knowledge, jnana-yoga (Chapter 4); yoga of renunciation, sanyasa-yoga (Chapter 5); yoga of meditation, dhyana-yoga (Chapter 6), and yoga of love, bhakti-yoga (chapter 12). The primary forms of yoga for divinity the supreme soul is; the yoga of divine power, vibhuti-yoga (Chapter 10); yoga of the universal form, visva-rupa yoga (Chapter 11); and the yoga of ultimate person, purusottama-yoga.
Souls appear to be in a deterministic universe from which the qualities or gunas, such as, sattva, rajas, and tamas dominate their lives, but souls are influenced by the laws of dharma. BhagavadGita teaches that serving the Lord Krishna will liberate the soul. He reveals his manifestation of his omnipotence as the Vishwa Rupa in chapter 11.
The author concludes that Gita is the Lord Krishna’s love song. This is the blessed gift of the divine that preaches the love for god, and bhakti-yoga is one of the major paths to attain unification with the Supreme Lord. The rendering of Gita in English is graceful in illustrating the Lord’s love. The second half of this book gives the English transliteration, and in the last section, the author interprets the spiritual and metaphysical aspects of BhagavadGita. The highlight of the book is that the English translation reflects on the poetical essence of Gita; the author specifies verses; BhagavadGita 4.3; 6.5; 6.30; 7.17; and 18.64 to illustrate his uniqueness in translation. I have compared his translation with the translations of Sir Edwin Arnold, Sri Aurobindo, Mohini Chatterji, Swami Mukundananda, and Shri Purohit Swami. All of them have about the same level creativity. One example is given below:
1. BhagavadGita 6:30
(Graham Schweig Translation)
One who sees me everywhere
And sees all things in me,
To such a person I am never lost
Nor is such a person is ever lost to me
(Sir Edwin Arnold Translation)
And whoso thus Discerneth Me
in all, and all in Me,
I never let him go; nor looseneth
He Hold upon Me
(Swami Mukundananda Translation)
For those who see me everywhere
and see all things in me,
I am never lost,
nor are they ever lost to me.
(Mohini Chatterji Translation)
Who sees me everywhere,
And sees everything in me
for him I am not lost,
nor is he lost for me.
(Shri Purohit Swami Translation)
He who sees Me in everything
and everything in Me,
him shall I never forsake,
nor shall he lose Me
(Sri Aurobindo Translation)
He who sees Me everywhere
and sees all in Me. To him I
do not get lost, nor does
he get lost to me.
Subscribe to:
Posts (Atom)