Teachings of Shri Mahayogi
Satsangha
Kyoto
2005
Satsangha During the Period of Preparation Before the Event: Amrita
• Confronting Death and Realizing Immortality, the Truth
Testimonies from Actual Practitioners
• Moving Toward the Ideal Self
by Carrey
Taipei, Taiwan, 2026
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Teachings of Shri Mahayogi
Translation of Satsangha
Satsangha During the Period of Preparation Before the Event: Amrita
Saturday, April 30, 2005, Mahayogi Ashrama, Kyoto
The rehearsal for Amrita—Immortality has begun. During the Satsangha last weekend, Shri Mahayogi spoke about the whole-picture view of the story behind this sacred play and imbued the spirit of that into this performance.
Today, a poster, which was designed by Shri Mahayogi using suminagashi as the background, is displayed on the first floor.
Before the Satsangha, the sacred play was being rehearsed at the Ashrama; following the direction of Niranjan, who is in charge of directing, the arrangements of the scenes and the characters’ subtle movements were repeatedly refined through many trials and errors, with the main focus being on the scene of the eight holy spirits (shakti). Shri Mahayogi, with a warm gaze, was watching over the passionate rehearsal from a corner of the room.
Satsangha begins and Ms. Nakamura (Sarani) says that if it weren’t for practicing Yoga, never in her life would she have had the opportunity to receive acting instruction from a professional. Everyone bursts into laughter.
Ms. Umeda (Madhri): Niranjan said, “There is no play like this one anywhere in the world.” He said that it seems to require a powerful and tremendous energy.
MASTER: That’s really true. That can be said even for in India, where it has its origin—though Ramayana or Mahabharata have been played for more than two thousand years, I’ve never heard of this Upanishad being played, it’s as if this Upanishad has never been in such a category. The Upanishad themselves are the secret teachings that, until about a hundred years ago, were cherished to the degree that they could solely be known by the brahmin (monk or holy caste). Therefore, I suppose that even in India, the Upanishad have never been open to the public at all. So, in this sense, too, I’d like us to finish this work with confidence (laughing) and make it something wonderful.
Ms. Endo (Mirabai): A hundred years ago is quite recent.
MASTER: That is exactly around the time Vivekananda closed his curtain on this earth. Precisely speaking, it was just a little before then that, finally, the Upanishad started to become known; and even then, it was only among the most highly educated class.
For this time, since it is not only those who will be on stage, but all hands are on deck, from the receptionist on to a wide range of staff—everything becomes an important role. I heard that a sari for every staff member will be prepared (laughing).
(A total of eighteen colorful saris have been gathered, and the plan is for all female staff, including actresses, the receptionist, etc. to wear one.)
Ms. Endo (Mirabai): Has the costume for Shri Mahayogi been decided?
MASTER: I suppose that I’ll be staying in this. (Everyone bursts into laughter.) Nothing borrowed, just my ordinary cloths. Indeed.
Pure Faith
Ambika: In the Upanishad, there is a part that uses the example of a carriage, “The five senses are the horses…” Then, it goes, “However, Atman, which is Immortal, is that which is never known by words.” But in the event, by using the senses of sight and sound, we are trying for many people to experience the play itself within themselves; so then would it be okay for us to think that, even though Atman isn’t that which can be realized by words, by the sense of sight, or by any of the other senses, this play has a profound significance in its role being like that of an overture or a catalyst [for going further]?
MASTER: Right. And, in the section before that, from the part about Nachiketas (the boy who is the main character) going to the underworld, to the dialogue with Lord Yama (the Lord of Death) that leads up to the extraction of important teachings—these are like the preamble, however, indeed, another important meaning is hidden there within them. The heart of Nachiketas to seek the Truth, that is, his single-minded pursuit of Truth and the faith with which he is ready to risk his own life—that is the part that everyone can feel in their heart. If people watching go to the underworld along with him and, through that, experience the teachings of Lord Yama, they will be able to feel That within the depths of their own hearts. In the scripture, this Upanishad itself allocates only a short section of one or two pages to this introductory part, and that is because the scripture itself places a great amount of importance on expounding about Atman, such that the teachings that follow make up the majority of the content. However, the teaching on Atman seeks to approach the ineffable through the means of language; though it’s something to get close to, it’s abstract, and it’s symbolic, so it’s quite difficult to grasp. That said, since Atman is the essence within all, I’m confident that the audience will feel it.
Yogadanda: I’d like you teach me concretely about the change that took place in Nachiketas’ state of mind from the part where he goes to the underworld to the part where he actually receives the teaching about Atman from Lord Yama. When he first met Lord Yama, the attitude he had was that of, “Wash my feet,” so it feels to me that the emphasis there is on the pride and nobility of being a brahmin or on the concept of dharma, however, resting various temptations, then Lord Yama says, “Only after the Guru teaches, can one understand the Truth for the first time,” [which, in a way, the truth of Lord Yama as his Guru is what comes to manifest in that moment,] then, the attitude of Nachiketas shifts to the extent that he humbly asks for the teachings. I was pondering about what this process was like. For example, if I liken it to our own process, that’s like the state where we’ve met Shri Mahayogi and feel something in the depth of our hearts, yet we still don’t know at all what the Guru really is. Well, in my case, I had confidence in Yoga, and that Shri Mahayogi was the teacher who teaches It to me, but gradually I’ve started to understand that Shri Mahayogi himself is the teaching itself, and actually, the Guru and God are One. So, is the process that Nachiketas goes through a process like that?
MASTER: No, it appears to be that the feeling or the determination that Nachiketas has remains unchanged from the beginning.
Upon seeing the content of his father’s imperfect offering, Nachiketas, even though a child, recognized that unless his father were to sacrifice Nachiketas himself, his father’s offering would not be complete. Sacrificing literally means to give one’s life. That alone can show the state of Nachiketas, that his aim was so great that it went to the extent of exchanging his own life. In that you can find dharma—dharma in this context refers to things like religious acts or the ways of thinking at that time—and further, a surge of pure faith is found there. And, his hidden aim is to realize the Truth Itself, which is the origin of his faith; yet, for attaining this aim, there is an inherent need for a Guru. Further, there’s a sense of confidence evident there that the one who is able to teach the Truth, that Guru, must be Lord Yama. That’s why there is a scene when he is sent to the underworld, where Nachiketas walks along triumphantly, murmuring poetry. There is neither regret nor hesitation, nor even sadness, but rather, on the contrary, you can sense his eagerness and buoyant spirit as he heads off to the underworld.
So he went to the underworld, however, unfortunately, Lord Yama was absent (laughing), and he ended up waiting without being given any food. So that’s when he recited a poem. That is, when a brahmin comes as a guest, the host must act with utmost hospitality, offering foods, a seat and lodging, or sometimes clothing and money, etc, then through doing that, that house will be blessed; however, if they neglect to treat a brahmin guest as such, then all the wealth in that house will be taken away, it will fall into ruin and become a desolate house that has no future—that is the way it is (laughing). Therefore, “Yama, bring water to wash these feet.” (smiling) There is that addition.
It’s not only limited to the brahmin, but in India, since ancient times, there has long been a belief that any unexpected guest is equivalent to a god; and brahmin especially belonged to a class that commanded respect in society, which made it all the more customary for them to receive such hospitality. Therefore, in a narrow-sense, it is a teaching about how the lack of respect toward a brahmin will lead to the end of the house, and in the wide-sense, not only brahmin, but you must serve all people and beings who come as guests as much as you possibly can. So, even in Japan, if you watch a period drama, you may hear the phrase “a debt of gratitude [written in Japanese as, ‘feeling obligation after receiving the hospitality of one night’s stay and one meal’]”; there you can see that even in one meal, or one night’s lodging, there is importance in giving and receiving.
Then it goes to the scene about Lord Yama in which, upon returning after three days, he saw a brahmin there and was quite surprised. That is what’s displayed in Lord Yama’s apology for the great rudeness of not offering hospitality for three days, and also, for Lord Yama, who governs death, this is a situation where, because it wasn’t yet time for this young brahmin to come to the underworld, his name wasn’t recorded on his Ledger. The Ledger of Yama is a book in which the destiny of when one will come to the underworld is recorded.
Then, there are dialogues that continue up until being bestowed with the third boon; but the heart of Nachiketas displays the fervor of a seeker of Truth who possesses pure faith. Therefore, he is resistant against all the temptations and appeals to Lord Yama that his only wish is for one thing, Satori—to know the Truth. And the person who, having such a pure and honest heart to the extent that Lord Yama was even moved to say, “For whoever may ask me for the Truth, I wish for them to be someone just like you,” was Nachiketas.
And the first teaching that Yama taught was1: “This teaching on Atman is difficult to expound, and even upon hearing it, rare indeed is the person who can comprehend it. It is such a delicate matter that it is subtler than the subtlest. Atman comes to be comprehended, only when taught by the other.” Now, what does this “by the other” indicate? It indicates the Guru, (pointing to his own body) that is, “the other” in relative relation to one’s own physical body; or in other words, it is “the other” while the distinction of the Guru and disciple remains—that is, it indicates the Guru; or also, “the other” that is different from the mind—that is, it symbolizes Atman Itself. This first teaching of Yama embodies well the part that Nachiketas spoke until then. That is, Nachiketas himself is one who possesses a pure mind and heart, and in addition, his faith is strong and solid, and he also has both the mind of a seeker of Truth, which is to aspire to know the Truth, and a deep passion toward It. Even so, ultimately, the teaching of “by another” was an indispensable [component for Nachiketas]—that is to say, the direct firsthand touch of the Guru or Atman was required. I’ve spoken often about the necessity of a Guru, so you must remember that, but that is what is meant here when “by the other” is said within this context.
The parts that follow from there go into the teachings that involve learning about Atman Itself through what are known as the philosophy and psychology of Yoga. The practice you did in the rehearsal today, such as the horses being the sensory organs, which represents the part about the Twenty-Four Principles I often speak about, falls into this part—it is about prakriti.
The appearance of Nachiketas is until this point. After that (laughing), the majority of it is solely the preaching of Yama.
Ms. Okunishi (Jayadevi): During the rehearsal, when I put myself into the practice of creating the representation of the carriage, I recognized again that this way is really an easy-to-understand example. I felt like the voicing of the script itself during the scene made me recognize…actually, when I read the text, I didn’t really get it, but when I was actually voicing it with action, through the form of it, and through the movement of it, I really sensed that Atman is there further within the sensory organs…
MASTER: Indeed, that is where the system of Yoga and the word “Yoga” appear, and I think it’s a very easy metaphor for understanding what Yoga is.
(Ms. Nakamura (Sarani) speaks about how in the hospital where she works, she happened to witness an incident when a patient kept complaining persistently. The shock she received from the incident was too strong for her, and she suffered from flashbacks of the scene, but through practicing Yoga and participating in the work of the sacred play, she came to understand that she had to hold the reins of her mind tightly using the intellect, just like in the metaphor of the horses, and she recognized that she had to pull herself together and move forward. And so, because of that, her suffering around that issue has come to an end. However, a nurse who happened to be there still continues to suffer from the same incident.
Ms. Nakamura (Sarani): Since I was able to overcome it, I would very much like to pull her out of her suffering somehow, and I wonder what I can do to help. When it comes to the control of the senses for those who have not studied Yoga—what is the way to support her in this case?
MASTER: Certainly, the five sensory organs are the entering points indeed. The eyes are for seeing and they take in color; the ears are for listening to sound—in this way, the five sensory organs have the function of each organ bringing in the external objects to the mind. However, indeed, the mind is what organizes the impressions of whatever is brought in. Because of that, the impressions differ in intensity and in color according to the mind. Therefore, even if you only aim to control your senses right away, it’s no more than a mere act of simply shutting out the sensory organs, and thus the mind is still compelled to remain active—of course, to control the mind leads to the control of the senses.
So then, the question is about what you can do in order to control the mind. That’s truly a difficult thing to do. The reality is that most people’s minds are dominated by the conditions of what they have already experienced, so to speak. Therefore, in practicing Yoga (laughing), until one comes to the point where the mind governs the mind’s own condition and then conquers it, things may be quite difficult. Like you said, since practitioners who have experienced [the teachings and practices of] Yoga know this, it’s possible to overcome it through effort; however, for those who don’t know Yoga, they don’t know the secret of it, so to speak—the secret is about the mechanism of the mind, and also how to control it, and so on.
Therefore, as for what you can do to help that person—if that person can begin the practice of Yoga, then her situation would improve most quickly, but until then, I think it would be best that you, who are her acquaintance and have been connected with her through circumstance, be kind to her and talk to her about what you have been learning, or what you have been doing. If the opportunity arises, whether it’s a class or personal instruction, if she can take in the practice of asana and meditation, even a little, she will have an experience that is different from whatever is the norm for her, at least for an hour or an hour and a half a day. Even that alone will make a big dent in the habitual state of her mind. So, if possible, please support her in this way.
Ms. Nakamura (Sarani): Yes, I understand. I think it’s truly a delicate issue—upon hearing Shri Mahayogi now, I realized that it is probably much more than what I thought. She is in the situation where she has a child, and she also has to take care her family; is it okay to speak to her from my personal experience and suggest that she begin from sitting still at night even for an hour?
MASTER: That’s fine, of course.
Ms. Nakamura (Sarani): (Putting her hands together in front of her chest) I understand, thank you very much.
MASTER: Verily, when it comes to the hospital, there can be extreme situations, so in that sense, rather tough situations can strike very often [and affect the workers]. I think it’s a difficult and challenging profession and area of responsibility.
Yogadanda: Shri Mahayogi spoke earlier about how what is written symbolically cannot be understood unless it is taught by the Guru. What is the reason behind why Gita Govinda or hatha yoga were left in a deliberately symbolic way?
MASTER: It is by no means intentional. Since ancient times, those who put the Truth into words are of two kinds. One is made up of scholars, the other poets. Poets—this refers to poets, including art in a broader sense too. If I speak about which one of these knows the Truth or perceives the Truth [through divine inspiration] and then expresses it in words, it’s the poet. The words of the poets are all symbolic. For a poet, these are the words that hold the most profound Truth. That is why often these words are mystical, and also, through the power of their words, one can enter into the depths of the heart. That is to say, their words have a power that resonates deep within the heart as well as a power to connect. Whereas, the words of the scholars are comprehended through intelligence, and these can only reach to the surface of the mind. That’s the big difference. Therefore, symbolic words or mystic words are by no means deliberate or intentional, and for a poet, that is just the natural way, just as our everyday language is used in how we speak in daily life.
So, the lines in this play are a bit challenging (laughing) because there are many that have these symbolic or mystic words.
Yogadanda: For instance, the Yoga Sutra is philosophical, and the words in that scripture are not that mystical. Yet, I don’t know why, but there are times that I am deeply moved. I wonder how should I understand that? Does it come from the Truth?
MASTER: Yes, of course. The oldest expression is the calling of or the invocation of the gods and of God, which relates to sacrifices and prayers, and which is Samhita in the Veda; the word “spells” isn’t quite accurate, but rather, they were more like prayers; they were something that were expressed in the form of poems. The Upanishad are compilations that serve as the culmination of the entirety of the Veda, representing the final portion of the older Veda, and are particularly centered around philosophical or Truth-related content; so, there are changes in the content that go from an ancient form of sacrifice and prayer that has probably been practiced for over a thousand years, or perhaps even longer, to meditation, eventually; and the final part is handed down in the Upanishad. Yet, since the Upanishad don’t have clear explanations like those in the Yoga Sutra, the language used throughout is symbolic and mystical.
Sanatana: The atmosphere they have is different from that of the Yoga Sutra. From listening to Shri Mahayogi just now, what came to my mind as an example of the senses, though it might be a bit odd to liken it to sake, the words of Buddha or the words in the Katha Upanishad are like freshly pressed namazake (unpasteurized sake)—very fruity. From the Awakened Ones, I get nuances that make it difficult to translate each word into simple terms.
MASTER: I see.
Sanatana: Whereas the words of the Yoga Sutra are heavy. It feels to me more like an old, vintage sake. A single word carries the heavy, aged weight of thousands of years.
MASTER: Oh, I see. I understand what you mean, but the metaphor of sake makes it more confusing for me. (Everyone bursts into laughter.) I can’t drink sake, so I don’t even know the difference between namazake and an aged one (laughing).
Sanatana: The Bible has the metaphor of wine.
MASTER: Yes, it does. I understand very well what you mean. And I think that is exactly right.
Sanatana: Probably, the words of Buddha or the Upanishad have rather not been controlled.
MASTER: Right.
Sanatana: They contain various elements from that time. But they give off a certain vibe.
MASTER: That’s right, that is why they exude a unique freshness.
Sanatana: With the Katha Upanishad, for example, it feels vivid and very personal.
MASTER: Right on, that’s exactly right.
Sanatana: I wanted to find out if there were any interpretations of the Katha Upanishad by Vivekananda, or anything he spoke about how he understood it, so I researched it by skimming through The Complete Works of Vivekananda. There are a few. But what he is saying is always the same thing throughout. That is, first of all, that this Upanishad is the most beautiful work among all the scriptures.
MASTER: I see.
Sanatana: And among all the Upanishad, what he picks up is always the shraddha of Nachiketas.
MASTER: That’s faith.
Sanatana: He says that this word “shraddha” doesn’t exist in Bengali, so he can’t translate it. Well, it was written as faith in English from when he spoke to people in America. But when he spoke to people in India, he used the word shraddha; and he mentioned about courage and determination. Originally, in terms of ritual, shraddha means believing that the correct outcome will definitely be achieved. He highly valued the faith and determination in the final part [of the story] when Nachiketas goes to Lord Yama and realizes the Truth. Vivekananda often said, “If I get ten or twelve boys with the faith of Nachiketas, I can turn the thoughts and pursuits of this country in a new channel”—those “boys” seem to refer to Nachiketas. So, it seems that he felt that if there were ten of Nachiketas, the thoughts and pursuits of the world would change entirely. That is all of what Vivekananda commented on regarding the Katha Upanishad.
MASTER: Most certainly (laughing). There is a sentence in Jnana Yoga, too.
Sanatana: There are some ideas compiled together there.
MASTER: If you have that book, Jnana Yoga, then you may want to take a look—under the title “Satori.” What he emphasizes is true though—that is why we have to create a highlight for that part in the first half.
Ms. Endo (Mirabai): I confess that when I heard that Nachiketas had indomitable faith right from the beginning and it never swayed, I felt that he was someone who is far away from me, or actually, I felt distance between Nachiketas and myself, for I assume he had strong faith and fervor right from the beginning. For instance, if this character were someone who was making his way there, just like us, fumbling and going this way and that way, then it would be easier for me to empathize with him. So, I was wondering what we can do so that the audience will not watch it from a distance, thinking, “There are people like that out there,” and instead, see themselves in Nachiketas and come to empathize with him.
MASTER: In this sense, the faith of Nachiketas, shraddha, which can also be called spiritual resolution, and his unwavering spirit of seeking for the Truth is comparable to that of Buddha. Buddha also left the castle with the same kind of faith, went through all kinds of austerities, and in the end abandoned them, then sat in meditation in Yoga. What they have in common is that pure, innocent shraddha. Ramakrishna often says, “Have pure faith”—I want you to remember those words. Probably, the images that evoke the ideal manifestation of that are, symbolically, those of Nachiketas and Buddha.
The hesitation that Ms. Endo expressed just now, frankly speaking, is itself maya (illusion). The mind is so commonly dominated by maya. That is, the mind’s belief is as if the inherent noble Existence were something that exists in a different world somewhere, and the mind believes that scurrying around aimlessly in this trashy world is just the way things are. Witnessing someone of such pure innocence might evoke a kind of pushback or a feeling of being distanced from it. However, that’s just the sort of futile struggle of being in maya, so don’t worry about that—more than anything, that noble Existence is precisely the true form of each being. That is why there is no need to include scenes that water down that aspect or that indirectly depict some kind of struggle (laughing). Such a struggle is something that is symbolized in the various things of this world that Yama offers when he bestows the third boon, such as longevity, wealth or pleasures.
Ms. Umeda (Madhri): I think Shri Mahayogi mentioned some time ago that the timing in which the spirit or the mind for seeking the Truth sprouts depends on one’s karma. Could we say that faith and the spirit or mind for seeking the Truth are originally inherent within everyone?
MASTER: I think that, inherently, they are there. I believe that since the existence of Truth, the Eternal Existence of the Truth, is the essence [of all], shraddha, which connects profoundly to That, or the spirit or mind of seeking the Truth, is what’s in the innermost depths of one’s heart. However, after all, it all comes down to timing, which is the alignment of the right circumstances, the seeker’s capacity and the conditions [for that to emerge]; and it might be brought about by karma; or, in this modern day, when there are almost none who see or hear of such an opportunity, even a slight touch of it now might have you recall it someday, even if not right away. In thinking that, it would be great if this event becomes the best opportunity for that and if it reaches many people’s eyes and ears. And above all, all of you, each one of you, are living on the Truth every day, every single moment, which itself is like a prayer for blessings to flow to all the many people you touch along your daily path—and I’m sure that must be the case.
Sanatana: “Through being taught ‘by the other’”—the original word in Sanskrit is the word “para,” which means “other.” From the perspective of Yoga, “other” indicates God or Purusha, so the meaning of these words are naturally included in that phrase. So I was pondering about how I should translate it, whether to translate it as “other” or “the other person,” as, “only by being taught by the other person can one understand for the first time,” or, since it’s no question that “the other” or “the other person” here means Guru, it indicates the Guru because not just anyone is capable of teaching [from already having experienced that], so then it could be translated most clearly as “Master”… Or, since in Japan there is no tradition of perceiving “the other” as God, perhaps it might be better to use simply “Master” here in this context…but if it is defined like that, then the implication of the subtle meaning is lost. There are often these types of challenges [when I am working on this script]. I tend to think that I would like to keep an implication [of God] at some level, at the same time, I also feel that instant clarity may also be needed. What is Shri Mahayogi’s advice on this?
MASTER: I feel like it might be better to make that part especially easy to understand. From a psychological view, the [absolute] person, or the [absolute] Other, for the mind is none other than God, Atman, or Purusha; but by applying that in a corporeal sense, “other” would indicate the Guru. So, I think that it might be better to translate it as Master or teacher, just to be safe.
Sanatana: Yes, then if Lord Yama wouldn’t have been referring to himself, then he would’ve expressed, “you need a Guru.”
MASTER: I think so, that’s fine.
Sanatana: It should in some way make Nachiketas feel that, “It is none other than you, Lord Yama.”
MASTER: Right. Nachiketas, too, already knows that in the earlier part—it is as if Lord Yama is withholding the teaching (laughing), he speaks of the subtleties of his teaching while presenting various tempting trials; then Nachiketas clearly says, “Only you, Lord Yama, can unravel that mystery.” By him saying that, he already knows that, “It is you and no one else,” that, “You are the only one who is Realized [and therefore knows That] (looking at Niranjan and laughing).
Niranjan: Isn’t it a great play! (laughter from the Master)
MASTER: It must be getting more and more rewarding for all of you. (laughter from all)
(Sananda who is the general director of this event comes up the stairs now.)
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[1] Shri Mahayogi paraphrases from Katha Upanishad: 2.7-9.
Confronting Death and Realizing Immortality, the Truth
(Shri Mahayogi asks Ms. Morofuji, who works at a TV station, about how the media has been recently. She is currently conducting a social survey on Japanese people’s views on marriage, family and work at the Broadcasting Culture Research Institute of one of the TV stations. She says that this fall, she will be working on a team that is planning to conduct a survey on dietary habits. She says that, even though Japan’s rate of food self-sufficiency is around 40 percent, the calories in the food and the transportation costs are considerable, even when compared to those of Korea and the U.S., and that Japanese people today view eating as a form of entertainment and thus the diet has become excessively rich.)
Ms. Morofuji: Viewing from the meaning of eating originally being for protecting and maintaining the body, I suppose that, in truth, we don’t need to have such a fancy diet, though that doesn’t seem to be the common way in Japan nowadays.
MASTER: (nodding) Well, indeed, it can be said that in culture, in economy, and in politics, too, philosophy is what’s lacking in all of these areas. I think that is the root cause of it (laughing). Philosophy—these days, the focus is all on economic calculations, or profit and loss, but that’s not philosophy at all, is it? Philosophy can’t begin until one knows or makes efforts to know who man really is. Based on that, how you want to live—your job, your religion, your culture, and also your daily diet and your education—it’s impossible for any of them to work since all of them lack that fundamental element of philosophy. But the thing is, that is the weakest point in the media—I suppose. (laughing)
Ms. Morofuji: I think that media coverage is heavily exaggerated. For instance, it boils down to how well the creator can convey what they have received… And also, on the contrary, what viewers are demanding now has an aspect of data-driven clarity, based on something like what I’m doing. For example, the percentage of people who have breakfast—people like to know by knowing the numbers.
MASTER: Hmm, I’m not sure about that. It sounds like that public station has a very square approach (laughter from all). I think that a massive force is at work underneath, which has built a Tokyo-centric cultural hegemony by making it a standard, while [at the same time] erasing regional dialects (laughing) and putting and keeping antennas everywhere. By the way, I sometimes eat breakfast, and sometimes I don’t, and what I have varies depending on the day; I couldn’t care less about stuff like that, I’m pretty free-spirited, even to the point of telling other people they can be the same way (laughing). The thing is that, once numbers are shown, it’s like going to “look for a big tree if you need a shelter,” [in other words, it’s following the majority, which is the feeling of “safety in numbers”]—people might be brainwashed into believing that they have to be a certain way and do things a certain way.
Ms. Morofuji: That’s true.
MASTER: Right, that’s the power of numbers.
As I was saying, it all boils down to “death.” I don’t mind if some people don’t get it, but I think we should bring the power of the philosophy of death more into the foreground. For some reason, today’s media seems to shy away from that. It is probably because each creator does not have their own philosophy.
Yogadanda: This time, because we are doing a play with the theme of death, I was thinking over many things about it. From as early as I can remember, it’s the same with the news, the front page of the newspapers always features some unfortunate event from around the world, and there is always an article that involves death…probably, there must be a desire to share in the sadness of others at its base. But even so, there must be just as much good news out there, so then I’m really puzzled as to why something unfortunate always seems to appear on the front page…
When I first went to New York, I think it was there that, for the first time, I was able to see things from an objective point of view, rather than in terms of it being “Japanese” or “American.” I felt like the news was a reflection of the life of the people who seemed to be living without even thinking about the meaning of life at all, instead living on autopilot, just following the beaten path, and simply reading the newspaper daily in the morning. For instance, fear is instilled right on the front page, leading to the conclusion that one should secure both one’s medical care and one’s financial assets, then comes the second page, which is about finances and the economy.
MASTER: I see. (All burst into laughter)
Yogadanda: And then work, work and work, then when you run out of time, then come the sports pages and the TV guide—even entertainment is on a set path like that. It’s the media brainwashing that was mentioned before, but I felt that some kind of power was truly working beneath it.
I felt that it symbolizes how, even though the human mind is deeply interested in death, to the extent of gathering news from all over the world and putting it on the front page, the human mind is trying to somehow mask it with something else. I think that in having death as a theme of the play this time, indeed, we practitioners of Yoga have to face and confront death, and for those who are unaware of it, too, death is such a big issue, it’s the base of human activity.
MASTER: Well, that’s exactly right. Looking at the various historical religions, instead of facing death, most religions have installed an escalator that leads from this world to the other world (laughing), such as Heaven or the Pure Land, or the Millennial Kingdom.
There are two or three exceptions—one of them is Yoga, and the other is Buddha. What is common in these two are that they confront death—they both confront death and conquer it. Therefore, if you look at both teachings, you’ll find that both begin by questioning death.
The well-known teaching of Buddha, called the Four Noble Truths, which has four fundamental teachings, begins with suffering. If you ask what the true nature of suffering is, the epitome of it can be seen in the concepts of birth, old age, sickness and death, out of which death is heavily highlighted as the central focus. And that is the Truth of Suffering (dukkha) [, which is the first of the Four Noble Truths]. The next is the Truth of the Cause of Suffering, called tanha—this contains karma and sanskara, and it is a psychological approach that looks inward, which is exactly the same as Yoga, and its very root cause is ignorance. However, these are viewed as something akin to illness, so to speak. Suffering is akin to illness, and illness has its cause. But what is the original state of being that is truly healthy, that is free from illness? That is Nirvana, the original, natural and pristine state. In the terms of Yoga, it is referred to as Awakening to Atman. So then, the explanation about the wisdom and ways to restore one’s original vitality, the healthy state, is the fourth Truth, it is the Path called marga.
In this way, out of the world religions, among the historical religions, those who advocated for facing the sober reality of death are Buddha and the Yogi. This hasn’t changed from thousands of years ago until now. Everyone still tries to keep death at a distance, yet, although death is bound to come all of the sudden, it seems as though people are trying to pretend they didn’t see or hear anything.
[However,] it becomes clear that, after all, the notion of death is, or, the thoughts of the mind are what construct one’s own projection of death, like a phantom. (touching his own body, flatly) The physical body will die—since this body is born, this body will die. You can recognize that in seeing a small insect, a bigger animal or your family members. However, because the mind believes that this physical body is the self, the mind can’t come to terms with death and is seeking to fulfil that remainder of a dream in the next life or in heaven. These are all mere illusions, like dreams. Since the Self is neither the body nor the mind, the Self is not the matter that is destined to die. The real Self, Atman, is never born and never dies, It is the Eternal Existence. It is irrelevant to both birth and death. It is irrelevant to all and every change. It has nothing to do with suffering, sorrow, joy, pleasure or anything. However, because of that, indeed that is exactly why (intensely) it is Bliss (laughing tenderly). That is precisely why it can be said to be that That is Pure Love. By facing death, Buddha and the Yogi conquered death and realized the Immortal Eternal Truth. Once you know that, there is nothing left to trouble or torment the mind. And then, in the precious time one is endowed with having a mind and body, savor that Bliss and emanate it; that’s all.
Vishoka: (with an expression that cannot hide his joy) From hearing this, for the first time I understand that Nirvana and Bliss are alternate names.
Ambika: Does that part, “savoring and emanating,” mean savoring with a more transparent mind and heart, and for the part about “emanating” it, is that about letting it out using the body and the mind?
MASTER: Yes. It means to emanate it to the entire universe.
Ambika: Does emanating include expressing it?
MASTER: Yes, expression is a part of it. Radiating is good, too (laughing).
Ambika: So, it’s important to lessen the ego that hinders the ability to savor and emanate it…the more ego lessens, the more the sense of savoring and of emanating will intensify…
MASTER: Yes, that’s right. But don’t tame your ego (laughter from all). Ego is, as I just said, an illusion, originally born out of ignorance.
Ms. Nakamura (Sarani): Thinking about it now, I suddenly thought that even though I’ve lived my life so far thinking that I know what life is, actually when it comes to both death and life, what I know about them is just at the level of information I’ve been given, but the truth is that I know nothing about them; so, unless I empty out all of this information once and for all, the teachings of Yoga that I’ve been taught cannot enter.
MASTER: Well, I think that too is a feeling that often arises. It’s just like the metaphor of the thorn [that needs to be removed by another thorn], if the mind becomes empty already, then there is no need for anything to enter. So, because eventually you will not need either of these, [when it comes to the removing or the allowing to enter,] until that time comes, you may need to do that. (Laughing) These words will become unnecessary altogether though.
Shachi: At some point in the past, I felt a strong urge to work on eliminating the ego, I became obsessed thinking about, “eliminating the ego, getting rid of the ego,” then before I knew it, my ego had actually become huge (several disciples groan in agreement), and on the contrary, I found that, rather, if I don’t focus on my ego, my ego actually gets smaller.
MASTER: Right, that [example, the former one,] is what’s meant by “taming” it (laughing). Instead of focusing on the ego, if you keep looking at Atman, which is the non-ego, the mind will come to follow that.
Sananda: Earlier, Shri Mahayogi said that it is necessary to have philosophy. In the case of Yoga, I think that, rather, the experience gained through the actual training and discipline of practice that the yogi did might have taken precedence, and philosophy might have been established after that.
MASTER: Exactly.
Sananda: I don’t know if, in the first place, the yogi had such a system as philosophy, but practical training took place first, then Satori was accomplished. Whereas, in this day and age, or in later generations, philosophy became necessary—is there any reason for this?
MASTER: I remember Vivekananda—I believe in the book, Bhakti Yoga—spoke that the religions that have survived throughout history possess ritual and philosophy, and the religions without philosophy have all ceased to exist. Philosophy is like a scientific equation, so to speak, it serves the purpose of being understandable to everyone through a universal language. Of course, even if one may say that one understands philosophy, that does not lead directly to Satori. However, it seems that what resulted from not relying solely on intuition, but also meticulously observing in order to understand the nature of human existence in this universe, is the philosophy of Yoga as well as the psychology of Yoga. It probably would have also served to help new aspirants of Yoga understand, and just like science, it would have also helped in understanding human existence. In this way, philosophy is not necessarily something that Yoga absolutely needs—for in Yoga, only the actual Satori, or only the continuous application and practice of the teachings, [which leads to Satori,] is effective.
Sananda: The mind is organized through understanding that philosophy [of Yoga] first, then through putting it into practice continuously, that itself becomes wisdom, and further, one comes close to Satori—I think that there is such a power, or guiding philosophy, at work. Is that actually effective?
MASTER: Of course it is, yes.
Sananda: Shri Mahayogi said that the yogi confront death, and that Buddha also confronted it—should I understand that it means that the yogi actually experience death in samadhi, and that means that yogi also grasp and transcend death through intuitively understanding and unravelling clearly the law of the universe, as mentioned earlier, and the law of Life, including the cause of death or the cause of life?
MASTER: Exactly.
Sananda: It is said often that yogi abandon their own bodies at the very end, when they attain mahasamadhi. Does it mean that yogi are able to abandon their own bodies at will by mastering the mechanism of the law of death through their whole being as a result of the experience of samadhi?
MASTER: Right. Of course, what one calls one’s own will is, in a sense, the will of the divine, or in other words, their bodies become unnecessary once they have completed their role in this world, once their mission is complete.
Ms. Hodono (Madhavi): Shri Mahayogi, I don’t know what Satori is like, I haven’t studied enough about It, but are we able to reach Satori?
MASTER: Of course you’ll make it there. (Shri Mahayogi answers with a full smile and bestows darshan to all.)
(Mr. Yasukawa expresses that while hearing Shri Mahayogi’s talk today, he was thinking about what the purpose of practicing Yoga is for him. He asks Shri Mahayogi about if the ultimate aim of Yoga is to reach the world of Bliss that transcends life and death, then is the joy we feel when we realize something in the midst of our life something that should be renounced.)
MASTER: If you discern it [using the Truth], then it will become clear whether it is to be renounced or not.
Mr. Yasukawa: Will renunciation be done by our own will?
MASTER: No, by wisdom, by the wisdom of the Truth. The power of wisdom will correct it. Just now, you said, “joy,” but all of you are under an illusion that that is joy. All of these joys are an outlet for frustration. They are all frustration. It’s a habit, you are all simply masking it by calling it “joy.” As proof of that, try letting a drunkard have a limitless supply of drink, it ends in suffering; try going to a bar every day, every morning, then you will be in a mountain of debt and your joy will transform into suffering. If drinking is pleasure, then it should be the opposite of suffering; all kinds of things are just the same. That is the light and shadow of this world.
Mr. Yasukawa: If we continue to practice Yoga, or asana, or meditation, will such a mind come to quiet down?
MASTER: If you learn correctly, and if you continue to put your learning into action correctly, then the incorrect things that are based on pain-bearing obstacles will fade away.
(Mr. Yasukawa places his hands together in silent gratitude.)
* * *
Testimonies from a Practitioner
Moving Toward the Ideal Self
by Carrey
Taipei, Taiwan, 2026
This journey of participating in the theatrical production, Amrita, gave me an opportunity to revisit and re-examine the original intention that led me to learn Yoga. I’d lived through a prolonged state of depression and anxiety, hoping that, somehow, I’d find inner peace, but it was only when I encountered Shri Mahayogi and Yoga, that, for the first time, my mind became quiet, which I found to be incredible. In reflecting and looking back over my journey, from my first practice to the present day, it feels like seeing a profound and tangible testament of my growth and breakthroughs along the way, and even the loosening of invisible shackles and chains that I had never known were there.
Responding to a Longing Deep Within
At the beginning of this year, when Mahayogi Mission Taiwan began preparations for this sacred play, Amrita, which was originally produced in 2005 under the supervision of our Guru, Shri Mahayogi, I’d assumed that I’d be playing the role of one of the shakti; at that time, even just the thought of myself standing on stage and performing in front of people made me terrified and nervous. Then, to my surprise, one day, I was invited to audition for the young protagonist, Nachiketas. I was shocked and felt honored. When I was asked about how I felt about taking on the role, my heart was racing; I was excited but a bit terrified, at the same time, I felt that this was an incredibly precious and rare opportunity, and further, that it was a sacred mission entrusted to me by my Guru—and it was as if I could hear Shri Mahayogi in my heart saying, “You can do it. You are capable!” No matter which character, each role is a sacred mission bestowed by Shri Mahayogi. Out of my love, respect, and trust for Shri Mahayogi, no matter how scared I felt inside, I told myself that I had to make the most of this opportunity. For Shri Mahayogi, I was willing to take on the challenge!
For many years, I often felt that I’d never truly lived my own life or truly lived life to the fullest. I’d been longing to live authentically, and also, I’d longed for the day when I could release the strength within me that has long been hidden there, and fulfil my potential, perhaps allowing myself to be seen, and letting the dimmed-down self within me shine. Somehow, this performance seemed to respond to these longings that were there deep within my heart.
Could I Really Become Nachiketas?
After taking on the role, three months of intensive rehearsals began, and every day felt incredibly full and meaningful. During the process, it felt like I was really playing and rejoicing with the gurubai in lila, but then, challenges soon appeared. “The ideal role model of a seeker of Truth, possessing steadfast faith and a fearless spirit”—the saint, Swami Vivekananda, once described Nachiketas as such. Therefore, with that in mind, as I tried to get closer to this role’s character, I found myself needing to break out of my existing patterns of old habits and my personality traits—and this became the biggest challenge of the rehearsals.
As the number of rehearsals increased, I kept receiving similar feedback: I was coming across as insecure and appearing to lack confidence; my voice was too soft and timid; Nachiketas wasn’t coming through during the rehearsals; all others could see was the actress herself, not the character. Intellectually, I understood that these comments were not directed at me personally and rather had to do with how the character was being portrayed, but, actually changing the long-standing patterns that had been there for so long, proved to be much more difficult than I thought. Indeed, I’d always been afraid of expressing myself in front of others, and even when I tried hard to appear confident and at ease, I could never really figure out how to embody that state. Every time I heard the same comments, my thoughts would unconsciously point those comments back at myself: Why am I still not making any progress? Is this actually the way I usually appear in the eyes of others? Can I truly accomplish this role and bring myself to an ideal state, like the state embodied by Nachiketas? During that period, I was constantly torn between longing to break through my limits and striving and struggling against my own self-doubt. In order to come closer to the state of mind of Nachiketas, I sought to understand his steadfast determination for pursuing the Truth through the preparations for the performance, and through practices in daily life, such as meditating on the script, chanting mantra, practicing vegetarianism, and practicing asana. And, because I wanted to break through the limitations of my performance, I sought guidance from a friend who is a stage actor.
In one of the practice sessions with my friend, he guided me through voice, asking me to close my eyes and imagine Nachiketas’s daily life, and follow his movements and state of mind. During this visualization process, the scene shifted to a cave where I was getting ready to clean a statue of Lord Shiva. At the very moment I began wiping the statue, a figure suddenly appeared in my mind; and although my eyes were tightly closed, I felt as though Shri Mahayogi was actually sitting quietly near my side in the rehearsal room where I was physically present, watching me practice. Tears started rolling down my cheeks. I couldn’t tell whether it had been my imagination, my yearning, or something that had actually happened, but that experience, which felt like I was being accompanied, gave me the strength to continue moving forward. With the guidance of my friend, I started to learn different ways to get into the character, gradually unlocking “my creativity,” which didn’t come naturally to me before.
Liberation Is the Answer I Was Truly Seeking
During rehearsals, Mahayogi Mission Taiwan invited an acting coach to provide advice and timely feedback from a professional perspective on how the actors could improve. When the coach suggested that I try releasing my emotions and asked whether I was afraid of death, in that instant, I suddenly realized that, deep inside, I felt a deep fear of losing control of my emotions, and at the same time, the subject of “death” reminded me of a dark period in my life, which consequently made me realize that, deep within, I’d actually never dared to truly face myself or my own life itself.
Entering the final countdown of rehearsals, I wanted to overcome my fear of facing the audience and train myself to project my voice more powerfully, so I went to the riverside with my stage actor friend to practice in a public outdoor area, and I tried shouting and reciting lines to the distant sky. There my friend became Yama and questioned me relentlessly. In order to understand Nachiketas, I kept contemplating and answering with the protagonist’s thoughts. In the natural flow of the performance, I looked up at the sky and prayed to God and Shri Mahayogi: “Please teach me…does Truth truly exist? What is true happiness?” As the questions edged closer to the core, my inner state gradually synchronized with the character. When, finally, I was asked, “What on earth do you really want?” I shouted without a second thought: “I want liberation!” In that exact moment, I suddenly realized that this wasn’t just the character’s answer; my fear of death and my long-repressed emotions were gradually surfacing through each cry. It turned out that “liberation” was the very answer I had truly been seeking; and that, actually, all this time, I had just been longing to break free from my own self-blame and self-imprisonment. The very moment I received this answer, the invisible and heavy chains that I had never known existed seemed to loosen and fall away.
Facing Myself Honestly
During rehearsals, I kept contemplating death and how to draw closer to the young boy’s steadfast and fearless faith. Then, on the night before the premiere, Anandamali-san, [who came from New York,] mentioned thus: “What is the true core message that the play, Amrita, truly captures? It is that the Supreme, Everlasting Bliss that transcends death, that can never be destroyed, exists. Since the true Self already exists within every person, I am certain the Eternal Truth we wish to convey will definitely be felt by the audience.” These words deeply encouraged me, casting away my fear. I realized that there is no such thing as perfection; all I needed to do was focus entirely on the performance at hand and dedicate it to each and every Atman before me.
During the actual performance, at one point, I felt all the prana present in the room gathering and converging into a brilliant ocean of bliss, and I found myself basking in that.
Once the performances ended, the gurubai sat together in a large circle and shared their inner journeys that each had experienced over this period of time. In that moment, I felt a powerful sense of unity and warm prana, as if we were drawing us together into a thousand-petaled lotus. Looking back, I finally realized that I had never been alone on this journey.
Reflecting on these eight years of learning Yoga, this performance feels like a turning point in my life. Initially, I was simply searching for inner peace. But now, with the companionship and encouragement of the gurubai, along with the strength Shri Mahayogi has given me, I’ve gradually developed the courage to face things as they are, and learned to pause before doubting myself. Now, I can feel that, within me, there is such an immense inner strength, and it’s always been there, allowing me to grow into a more independent person.
This journey of the theatrical play has also made me realize that, rather than feeling accomplished at how well I may or may not have completed a task, my greatest breakthrough is that I’ve actually begun to learn how to truly and honestly face myself, which is far more valuable. With this precious learning experience, I will continue moving forward, steadily taking steps on the authentic and practical path of Truth and toward the person I aspire to become.