God: the Supreme Actor — World: the Divine Audience1God: The Supreme Actor. World: The Divine Audience.
The Supreme Actor reveals His Love.
The Supreme Actor fulfils His Truth.
The divine audience believes.
The divine audience achieves.
Self-awakening is the belief of the divine audience.
God-discovery is the achievement of the divine audience.
The Supreme Actor acts three times a day. In the morning, while acting the Supreme Actor offers inspiration-light to us. In the afternoon, while acting the Supreme Actor offers aspiration-height to us. In the evening, while acting the Supreme Actor offers realisation-might to us.
In the inspiration-light of the Supreme Actor, the divine audience sees that the attainment of the ultimate Truth is quite possible. In the aspiration-height of the Supreme Actor, the divine audience feels that the attainment of the ultimate Truth is not only possible but practical. In the realisation-might of the Supreme Actor, the divine audience realises that the attainment of the ultimate Truth is not only possible and practical, but natural and inevitable.
The divine audience looks at the Feet of the Supreme Actor and longs for the liberation of mankind from ignorance. The divine audience looks at the Eyes of the Supreme Actor and longs for the perfect perfection of the aspiring humanity.
The Supreme Actor looks at the head of the divine audience and then enters into the head of the divine audience to fondle its lofty heights. The Supreme Actor looks at the heart of the divine audience and then enters into the heart of the divine audience to glorify its Divinity’s Light and Reality’s Delight.
Believable — the human audience is afraid of darkness.
Unbelievable — yet it is true — the human audience is afraid of light, illumining Light.
The divine audience is always proud of seeing the Light of God’s Beauty.
The divine audience is always proud of feeling the Delight of God’s Beauty.
The soul is an actor. The soul participates in the Cosmic Lila, Game. The soul enters into the abyss of ignorance. The soul enters into the chasm of inconscience, in order to participate in the Cosmic Lila. For millennia the soul abides there, fast asleep. All of a sudden a spark of consciousness enters into the soul and awakens the soul. The soul makes a little movement. At that very moment a question from within arises: “Who am I?” And the immediate answer also is given from within: Tat twam asi — “That Thou Art”.
The soul opens its eyes and looks upward and it enters into the mineral world. There again, for thousands and thousands of years the soul abides. Then the soul again gets a message from within, a question: “Who am I?” The answer is again, “That Thou Art” — Tat twam asi. The soul makes another upward movement. From stone, mineral, the soul enters into the plant life. From there it enters into the animal kingdom. Again, for hundreds of years, the soul is not fully active or dynamic. Very often it is fast asleep, enjoying the Game in a particular fashion.
There comes a time after hundreds of years, when the soul wants to come one step ahead in the evolving wheel of manifestation. The soul comes into human life. Here the soul becomes either unconsciously active or consciously dynamic. Here the soul gets more opportunity, develops more capacity to look up high into the Beyond. Here the soul remembers quite often its Source, the ultimate Truth, the transcendental Reality.
The soul entered into inconscience to begin the Game and the soul, from the human incarnation, enters into the divine life so that eventually it can go back to its Source, Sat-Chit-Ananda: Existence, Consciousness, Bliss.
Each soul is employed by humanity and Divinity. In God’s Cosmic Drama, humanity employs the soul to carry its untold suffering, excruciating pangs to a world far beyond the domain of the mind. Divinity employs the soul to bring down the message of Light and Delight into the very heart of the earth consciousness. Divinity employs the soul, asks the soul to be the boatman so that Divinity can manifest its infinity in the heart of the finite. Humanity employs the soul to be its boat so that it can carry the load, the burden of humanity to the world beyond.
The Supreme Actor is the Beloved Sovereign. The divine audience is the eternal lover. Both the Actor and the audience are indispensable, one fulfilling the other. The audience is receiving and achieving the ultimate Truth. The Actor is revealing and manifesting the ultimate Truth.
The Supreme Actor is also the supreme Dancer. Nataraj, Lord Shiva, the Supreme Dancer, dances. Lo and behold, humanity’s aspiration is being awakened, humanity’s unlit consciousness is being illumined, Divinity’s life-breath is being manifested on earth. Lord Krishna, the Supreme Dancer, dances. Lo and behold, humanity’s passion is being transformed into Divinity’s rapture.
The Supreme Actor wants each individual soul to be the Supreme Actor, in the process of cosmic evolution, for it is only by allowing each individual soul, by wanting each individual soul to act the Supreme Act of the Supreme Actor, that Unity in multiplicity can be offered to mankind. The Unity of the Supreme can only be realised and manifested when each individual soul is given the chance in the cosmic evolution to rise up high, higher, highest into the ever-transcending Beyond. Then alone God, the Supreme Actor, will be totally fulfilled and supremely manifested here on earth.
The human actor tells the human audience, “Take me. You need me.” The human audience tells the human actor, “We do not need you. We appreciate your capacity, but we do not need your life’s reality.”
The Supreme Actor tells the divine audience, “Take Me, I am for you. Take Me, I am eternally yours.”
The divine audience tells the Supreme Actor, “Our devoted oneness, our surrendered oneness with You, O Supreme Actor, has made us feel the significance of Your transcendental Reality. O Supreme Actor, to You we bow and bow. Our life of aspiration is eternally Yours. Your Life of manifestation is eternally ours.”
AUM 828. Dag Hammarskjold Aud., U.N. Secretariat, 3 February 1972 — No. 11/5↩