Musically Unified

Convergence is another meaning of Unity. The great 19th century Bengali mystic Sri Ramakrishna Paramahansa once said – “যত মত, তত পথ (Joto Mot, Toto Poth)” which means that – “There are as many roads to seek, as there are thoughts or ideals”, however, all roads converge to the unity and the unity of all souls – The ‘Parambrahma‘, which is ‘Everything’ and ‘Nothing’ at the same time. ‘Branhma‘ is the Cosmos and ‘Parambrahma‘ is what creates and maintains this Cosmos, the ‘Omnipotent‘. All souls unify to this ‘Parambrahma‘.

As per the philosophy of the Upanishads, the discovery or realization of one’s soul as an inseparable part of this ‘Parambrahma‘, is the ‘Mukti’ or Salvation or ‘Moksha’. The 8th century Indian philosopher and theologian, the great Adi Shankaracharya always believed in this idea of ‘Parambrahma‘. The following story of Upanishad is relevant to this context –

“Place this salt in water and come to me tomorrow morning.” Svetaketu did as he was instructed, and the next morning his father said:

“Bring me the salt you put into the water last night.” Svetaketu looked into the water, but could not find it, for it had dissolved.

His father then said: “Taste the water from this side. How is it?” “It is salt’ ”

“Taste it from the middle. How is it?” “It is salt.”

“Taste it from that side. How is it?” “It is salt.”

“Look for the salt again, and come again to me.” The son did so, saying: “I can’t see the salt. I can only see water.”

His father then said: “In the same way, O my son! you cannot see the spirit. But in truth it is there. An invisible and subtle essence is the Spirit of the whole universe. That is Reality. That is Truth.”

The 19th century Bengali Nobel Laureate Rabindranath Tagore and the famous Hindu philosopher and saint Swami Vivekananda were greatly inspired by the ‘Brahmasangeet‘. As the name suggests, ‘Brahmasangeet‘ or the Music of the ‘Brahma‘, evolved within the culture of ‘Bhahma Samaj‘, a religious reform movement born out of ‘Bengali Renaissance‘ in the 19th and early 20th Century India. As a music lover myself, I can relate the ideological heights of the ‘Brahmasangeet‘ with the songs of Rabindranath Tagore (‘Rabindra Sangeet‘).

The following applaudable work on ‘Rabindra Sangeet‘ by two of the eminent musicians of present day India, Sourendro & Soumyojit, perfectly unifies ‘Brahmasangeet‘, religious beliefs and the seeker’s urge to unite with the ‘Parambrahma‘ –

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