In her yogic consciousness Savitri re-lived the entire evolutionary experience and even as a portion of the mighty power descended in her, she saw three possibilities of the future that can open out with the discovery of the soul: 

It marked her the centre of a wide-drawn scheme,

Dreamed in the passion of her far-seeing spirit

To mould humanity into God’s own shape

And lead this great blind struggling world to light

Or a new world discover or create.

Earth must transform herself and equal Heaven

Or Heaven descend into earth’s mortal state. 

That is the best the past can disclose, leaving the alternatives open:

• mould humanity in God’s shape;

• discover a new world;

• create a new world.

But whatever be the future course the stipulation is, Earth must transform herself into Heaven or else Heaven descend into earth’s mortal state. By what method, through which agency the transformation is going to take place might seem to be not so important; what is important is, it must happen. Which one is going to happen is left open at this stage—the past doesn’t know the future. Indeed, it is the divine Will and the divine executive Force together who are going to work out the desirable but cherished alternative.

But here comes Narad singing the song of the transfiguration and the ecstasy. There is power in the rendering of his song, and whatever he is going to sing is going to happen. Even as he sings of the glory and marvel to be born, the demons weep with joy, they foreseeing their dreadful work soon coming to an end, the long-expected moment approaching in the earthly time. In it will come to a close their self-chosen doom they, having finished their terrible and dreadful task, returning to the One from whom they had come. Narad’s arrival, rather his singing on the way the great name of Vishnu, defines that moment. Such is the certainty of the song, the power of the words and of the recital.

Therefore, in the context of the evolutionay prospects, Narad’s action is going to be extremely crucial, decisive in its fundamentals. If any one of these three alternatives is to materialise then the imperative is, the true inner soul should be first found. As Savitri has been marked to be the “centre of this wide-drawn scheme” in the unfoldment of the future, it is necessary that, after the survey of the cosmic past, she must set herself on that path, of the soul’s discovery. Narad’s singing of the song of the approaching transfiguration and the ecstasy, and in its anticipation the weeping of the demons with joy, are indicative of the possibility of Savitri doing all her work in the essential discovery of her soul. Narad in that subtle way, by the logic of the luminous occult-mysterious, becomes instrumental for her to begin the Yoga, the difficult and unique Yoga of the Conquest of Death. He proves himself to be the benign preceptor of the ready human soul and helper in promoting God’s will and God’s work in the creation, he the “slave of God”.

Book of Fate—Narad comes chanting five songs by RY Deshpande on Sun 21 Oct 2007 09:56 PM PDT  |  Permanent Link [Based on a talk given at Savitri Bhavan on 5 October 2006, Part I. A good deal of material presented here has been drawn from my book Narad’s Arrival at Madra.]