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Source: Starting off with another Void Moon time; the New Moon arrives soon after, Pluto enters Aquarius! It will return to Capricorn later this year; Another Void Moon time arrives
The complementary nature of Yin and Yang are perhaps best illustrated by the iconic black-and-white yin-yang symbol. Yet, the philosophy behind the concept can apply to many things. The ancient […]
Source: The Yin Yang Symbol: A Philosophy of Chaos and Harmony
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Source: The short Void Moon times continue; The mental chat between Venus and Mars assists in relationships; Mercury and Uranus expand opportunities; Then Jupiter and Chiron merge and we can move into new ideas for healing therapies
When the Buddha teaches others
he does so out of compassion,
because the Tathagata is wholly freed
from both favour and aversion.
Saṃyutta Nikāya 1.150
Gemstones of the Good Dhamma, compiled and translated by Ven. S. Dhammika
In a recent study, scientists say they can explain dark matter by positing a particle that links to a fifth dimension.
While the “warped extra dimension” (WED) is a trademark of a popular physics model first introduced in 1999, this research, published in The European Physical Journal C, is the first to cohesively use the theory to explain the long-lasting dark matter problem within particle physics. […]
Read on: Portal Into The Fifth Dimension
“The goal of Eastern religious practice is the same as that of Western mysticism: the shifting of the center of gravity from the ego to the Self, from man to God. This means that the ego disappears in the Self, and man in God.” ~CG Jung, CW 11, Para 958.
While success isn’t a one size fits all definition, for the most part, we all acknowledge a standard view of what a successful woman looks like. And regardless of how you view success, if you are trying to accomplish more and grow into a better version of yourself, there are some things you should never waste your time on. […]
Source: 10 Things Successful Women Don’t Waste Their Time On
Marion’s ultimate fresh and light Chinese lemon chicken is deliciously marinated in soy sauce, egg white and Shiaoxing wine and lemon. […]
Anupubbena medhāvī, thokaṃ thokaṃ, khaṇe khaṇe,
One by one, little by little, moment by moment,
a wise one should remove one’s own impurities,
as a smith removes dross from silver.
The Dhammapada: The Buddha’s Path of Wisdom, translated from Pāli by Acharya Buddharakkhita
Ancient pots shift the nexus of chocolate-making from Central America to modern Ecuador […]
Source: World’s oldest chocolate was made 5300 years ago—in a South American rainforest
“I wanted to know Truth
So I stopped looking
I Opened my body
Until Truth found
I wanted to know Love
So I stopped missing it’s
I Savored every texture
In the wilderness of this
Until finally Love revealed
I wanted to know Power
So I stopped pushing my will
I Let Go from deep inside
Until the Power moved
I wanted to know Passion
So I stopped reaching for
I let my heart melt
Into the flame
Of Life’s longing
Until Passion became one with
I wanted to know Creation
So I merged with the pulse
At the core of Existence
I wanted to know Innocence
So I Drank my own
I wanted to know God
So I dropped the arrow of My body
And finally remembered to
They told me waking up
Was a complicated affair
They told me to cut myself
Who would have thought that
Flesh and blood contained
The Mystery of Existence
Would would have thought
That the Elixir was
They wrote all the books
And gave all the talks
I never knew my own
~ Maya Luna, “Becoming The Chalice”
Immerse yourself in these mystical sound baths featuring 9 divine frequencies known for their healing and positive vibrations. Immerse yourself in these mystical sound baths featuring 9 divine frequencies known for their healing and positive vibrations.
♡ Find the frequency you resonate with
00:00 – 174Hz | Reduces Pain
09:09 – 285Hz | Tissue Regeneration
18:18 – 396Hz | Letting Go fear, anxiety
27:28 – 417Hz | Removing negative energy
36:37 – 528Hz | Brings positive transformation
45:46 – 639Hz | Attracts Love, Compassion
54:56 – 741Hz | Spiritual and Emotional Detox
01:04:05 – 852Hz | Third Eye & Intuition
01:13:15 – 963Hz | Pineal Gland Activation & Crown Chakra
Let yourself go at the sound, turn your mind off and let the energy flow. Due to the delicacy of these sounds this music becomes very useful to re-harmonize our emotional part. It is very useful for stress management. This track is indicated for any Reiki treatment and for meditation. Namaste
Feb 5, 2023 at 10:28 am PT is a full Moon in Leo. Fire sign Leo rules the 5th house of romance, creativity, and children. This is the first full Moon in Rabbit year, with parades and celebrations all over the world for the lunar new year of the Rabbit. Thank you to everyone who attended my Rabbit year talk. Recordings are available here, and contact me for your astrology forecast featuring your Rabbit year highlights.
Rabbit year begins smoothly with no planets in retrograde until mid April.However, currently the Leonine full Moon and Sun in Aquarius both square Uranus in Taurus. There could be disruptions or sudden upsets because no one wants to follow a normal routine. It’s easy to chafe at restrictions placed on you by others. For many, it’s time to deliberately and carefully start to change routines and structures that are limiting.
Note that Venus…
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The Earth’s core consists mostly of a huge ball of liquid metal lying at 3000 km beneath its surface, surrounded by a mantle of hot rock. Notably, at such great depths, both the core and mantle are subject to extremely high pressures and temperatures.
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Yathāpi pabbato selo,
evaṃ mohakkhayā bhikkhu,
pabbatova na vedhatī.
Just as a mountain of rock,
is unwavering, well-settled,
so the monk whose delusion is ended,
like a mountain, is undisturbed.
Translated from Pāli by Thanissaro Bhikkhu
The tale of The Tempest is well-known but we shall briefly recapitulate its salient strands. It is, primarily, the story of Prospero, rightful Duke of Milan, and his charming child, Miranda, both banished by the usurper Antonio, his brother, and living unknown on a lonely island. Here, through a long period of successful study and practice, Prospero has matured into a master-magician, and Miranda has flowered into a marriageable maiden. The play opens with a violent storm and a resulting shipwreck, caused at the bidding of Prospero by the invisible hosts of the elements, of whom Ariel is the chief. The royal party involved in the shipwreck is saved according to Prospero’s plan, and is scattered on the shore, in three different parts of the island. Alonso, the King of Naples; Sebastian, his brother; Antonio, the usurper; Gonzalo, an honest old Councillor; and two Lords, Adrian and Francisco, land on one side of the island and most of them fall into an induced slumber, during which the vigilant and vile Antonio persuades the susceptible Sebastian to join in a plot to kill the King. Thanks to the intervention of the invisible Ariel, the plotters are prevented from fulfilling their purpose, and the entire party is led to look for Ferdinand, the son and successor of Alonso.
Meanwhile, Ferdinand has met Miranda and has been forced into her father’s service, which he patiently undergoes until Prospero is pleased to bestow on him his daughter. At the same time, in a third part of the island, Caliban, the deformed and savage slave of Prospero, has been met first by Trinculo, the King’s jester, and then by Stephano, a drunken butler, both of whom foolishly join the faithless Caliban in an abortive plot against his powerful master. These three groups are all, in the last Act, brought together near his cell by Prospero, after Antonio and Alonso and Sebastian have been made by strange and fearful sights and sounds to repent of their folly; after Ferdinand and Miranda have been treated to a visionary masque, played by spirits; and after Caliban and his companions have been brought to their senses — all of which is accomplished through the agency of Ariel. The play ends with the restoration of disturbed harmony, the recompense of the good and the repentance of the deluded, the release of Ariel from Prospero’s service, and the reconciliation of one and all to the new order ushered in by Prospero, who shows himself to be a man of wisdom and a master of destiny.
Let us first briefly consider different interpretations of the underlying theme of The Tempest. There is, first of all, the excellent but purely artistic interpretation of Dr. Tillyard whose thesis is that the play gives us the fullest sense of the different worlds within worlds which we can inhabit, and that it is also the necessary epilogue to the incomplete theme of the great tragedies.
A more ambitious and comprehensive attempt is that of Wilson Knight, who interprets the theme of the play from various points of view — poetical, philosophical, political and historical. Poetically, he considers the play artistic autobiography, its meanings revealing a wide range of universal values. Philosophically, he maintains that The Tempest portrays a wrestling of flesh and spirit. Politically, he interprets the play as the betrayal of Prospero, Plato’s philosopher-king and a representative of impractical idealism, by Antonio, Machiavelli’s Prince, and a symbol of political villainy. Lastly, the play is regarded historically as a myth of the national soul, Prospero signifying Britain’s severe, yet tolerant, religious and political instincts, Ariel typifying her inventive and poetical genius, and Caliban her colonizing spirit.
Another serious attempt at interpretation is that of Colin Still, whose study of the ‘timeless theme’ of The Tempest has not attracted the attention it deserves. He regards this ‘Mystery play’ as a deliberate allegorical account of those psychological experiences which constitute Initiation, its main features resembling those of every ceremonial ritual based upon the authentic mystical tradition of all mankind, but especially of the pagan world. Still takes Prospero as the Hierophant, and in one aspect, as God Himself; Ariel as the Angel of the Lord, Caliban as the Tempter or the Devil, and Miranda as the Celestial Bride.
The comedians, Stephano and Trinculo, led on by the Devil, constitute a failure to achieve Initiation; the experiences of the Court Party, which is of purgatorial status, constitute the Lesser Initiation, its attainment being self-discovery; while Ferdinand attains to Paradise, to the goal of the Greater Initiation which consists in receiving a ‘second life.’ The wreck is considered symbolic of the imaginary terrors of the candidate for Initiation, and the immersion in the water as symbolic of his preliminary purification. The Masque is regarded as apocalyptic in character, and the cell is taken to represent the Sanctum Sanctorum, only to be entered after full initiation. And so Still goes on giving every detail the status of a semi-esoteric symbol drawn mainly from pagan ritual.
Still’s thesis, though basically sound, is obscured by theological terminology, and its detailed application often leads to a certain forcing of analogy. Prospero, for instance, is a man, not God, and Caliban is too clearly a thing of Nature to be called a Devil, or Satan. Still’s centre of reference is altogether less in the poetry or in the philosophy than in a rigid system of pagan symbolism applied to the play.
In theosophical terms, we can approach The Tempest from at least three angles — the psychological, the cosmic and the occult. Of these, we shall adopt the last for detailed interpretation of the characters in the play. Before that, however, it will be worthwhile to indicate how the psychological and the cosmic keys may be applied.
The psychological key enables us to construe the theme of The Tempest in terms of the principles of the human constitution and the everyday experiences of the majority of mankind. In this line of interpretation, Prospero would represent Atman, the universal Self, which overbroods the remaining constituents of man, and allows for their rescue from all internal disequilibrium, thus producing that divine and unifying harmony which spells poise and proportion, as well as power and peace. Miranda, the daughter of Prospero, would be that specialization of Atman which we know as Buddhi, the spiritual and at present passive principle in man, the vehicle of Atman, and at once the expression and the essence of pure wisdom and of true compassion. It is in this sense that Miranda represents the fallen and Sleeping Soul of the uninitiated and deluded man. Ferdinand, the Prince who aspires to the companionship of Miranda, could be made to symbolize the higher Manas, the incarnated ray of the Divine in Man, while Antonio, the usurper who plans to secure personal power at the cost of his weakening conscience, could represent the kama manas, or the desire-mind. To complete the picture, Caliban could be taken as the kamarupa or the passional part of man in material form, and Ariel as the type of the assemblage of presiding deities, devatas or elementals, in the human personality. This, in silhouette form, would be the system of symbols that could be constructed on the basis of the psychological key — a system which, interesting as it is in its ramifying implications, it would not be difficult to develop.
The second interpretation, which we have called the cosmic, follows from a comprehensive view of the evolutionary stream in Nature, of the Great Ladder of Being. This interpretation is implied in H.P. Blavatsky’s oft-quoted statement that
the Ego begins his life-pilgrimage as a sprite, an ‘Ariel,’ or a ‘Puck’; he plays the part of a super, is a soldier, a servant, one of the chorus; rises then to ‘speaking parts,’ plays leading roles, interspersed with insignificant parts, till he finally retires from the stage as ‘Prospero,’ the magician.The Key to Theosophy, 34
In this line of interpretation, the play presents an image of the glorious supremacy of the perfected human soul over all other things and beings. At the peak of the evolutionary ascent stands Prospero, the representative of wise and compassionate god-manhood, in its true relation to the combined elements of existence — the physical powers of the external world — and the varieties of character with which it comes into contact. He is the ruling power to which the whole series is subject, from Caliban the densest to Ariel the most ethereal extreme. In Prospero we have the finest fruition of the co-ordinate development of the spiritual and the material lines of evolution.
Next to Prospero comes that charming couple, Ferdinand and Miranda, exquisite flowers of human existence that blossom forth under the benign care of their patriarch and Guru. From these we descend, by a most harmonious moral gradation, through the agency of the skilfully interposed figure of the good Gonzalo, to the representatives of the baser intellectual properties of humanity. We refer to the cunning, cruel, selfish and treacherous worldlings, who vary in their degrees of delusion from the confirmed villainy of Antonio to the folly of Alonso. Next, we have those representatives of the baser sensual attributes of the mass of humanity — the drunken, ribald, foolish retainers of the royal party, Stephano and Trinculo, whose ignorance, knavery and stupidity make them objects more of pity than of hate. Lowest in the scale of humanity comes the gross and uncouth Caliban, who represents the brutal and animal propensities of the nature of man which Prospero, the type of its noblest development, holds in lordly subjection. Lastly, below the human and the animal levels of life, in this wonderful gamut of being, comes the whole class of elementals, the subtler forces and the invisible nerves of nature, the spirits of the elements, who are represented by Ariel and the shining figures of the Masque who are alike governed by the sovereign soul of Prospero. Shakespeare obviously knew of these invisible spirits and recognized their place in the panorama of evolution.
The Gupta Vidya II
Gnosticism has produced some of the richest and most difficult spiritual texts of the ancient world. With the discovery of the Nag Hammadi library one is confronted with numerous, often obscure and difficult texts – where to begin? This episode of Esoterica argues that the best first text is the Apocryphon / Secret Writing of John, a text found two recensions (long and short) in four manuscripts from antiquity. Here we introduce, summarize and discuss this amazing gnostic text.
The more one delves into the genius of Shakespeare, the greater is the realization that, as veil after veil is lifted, there will remain “veil upon veil behind.” Who was Shakespeare? What manner of man was he? What was the power behind his plays? These are questions more easily asked than answered. The vicissitudes of Shakespeare’s reputation and the vagaries of critical opinion alike substantiate H.P. Blavatsky’s statement that Shakespeare, like Aeschylus, “will ever remain the intellectual ‘Sphinx’ of the ages.”
The scattered hints in Theosophical literature, though few and far between, are sufficiently suggestive to indicate the protean and profound nature of Shakespeare and his message. “My good friend — Shakespeare,” wrote Mahatma K.H., quoting from him in a letter. In her editorial opening the first volume of Lucifer, H.P. Blavatsky declared that
Shakespeare’s deep and accurate science in mental philosophy’ (Coleridge) has proved more beneficent to the true philosopher in the study of the human heart — therefore, in the promotion of truth — than the more accurate but certainly less deep, science of any Fellow of the Royal Institution.
Again, we know from her letter to A.P. Sinnett that she wanted a student to write out “the esoteric meaning of some of Shakespeare’s plays” for inclusion in The Secret Doctrine. Lastly, we have W.Q. Judge’s statement: “The Adepts assert that Shakespeare was, unconsciously to himself, inspired by one of their own number.”
Shakespeare was a magnificent creative genius who, coming under Nirmanakayic influence, became a myriad-minded master of life and language. His amazing and expansive knowledge of the super-physical and the invisible, his penetrating and compassionate insight into human nature, his transcendent and kaleidoscopic imagination, his intuitive perception and his inspired passages — all these are at once the expression and the evidence of the deep inwardness of his plays, and of the luminous influence of Adepts.
What was the nature of Adept influence upon the mind of Shakespeare? It is not to be thought that Shakespeare was, from the first, under the special care and observation of the Great Lodge, but rather that the superior possibilities embedded within himself were what higher inspiration spurred into stronger activity. This was possible because of the largeness of his mind and the receptivity of his soul. The breadth of his Soul-Life could cause the offspring of his Fancy “to share richly in the vital Fire that burns in the higher (Image-making) Power.” Above all, he possessed the power, as John Masefield has written, to touch “energy, the source of all things, the reality behind all appearance,” and to partake of the storehouse of pure thought.
We will not, however, find it an easy task to unravel the mystery locked up in the allegory, symbol and character portrayal of the great plays. For, “the very fact that Shakespeare remained unconscious of the Nirmanakayic influence which his genius attracted shows that we must not expect the unadulterated expression of Divine Wisdom in all he created.”
There are two possible ways of studying any of Shakespeare’s plays in terms of Gupta Vidya. The first is the easier one of extracting hints of esoteric truth out of the significant lines and passages of the play. The second is the more difficult one of interpreting the entire tale and theme of the play according to one or more of the seven keys of symbolism suggested in The Secret Doctrine. We will use both methods, but concentrate on the second, which, if less easy, will be found more fascinating.
The group of plays to which The Tempest belongs and of which it is presumably the last, was written in the final period of Shakespeare’s life. All these plays are romances, neither tragic nor comic but both, full of unexacting and exquisite dreams, woven within a world of mystery and marvel, of shifting visions and confusing complications, “a world in which anything may happen next.” Strangely remote from ‘real’ life is this preternatural world of Shakespeare’s final period, and the universe of his invention is peopled with many creatures more or less human, beings belonging to different orders of life. The romantic character of these plays is reflected in the richness of their style. Here we have the primary facts of poetry, suggestion, colour, imagery, together with complicated and incoherent periods, softened and accentuated rhythms, tender and evanescent beauties. These plays reach the very apex of poetic art, revealing a matured magnificence of diction and the haunting magic of the purest lyricism, altogether appealing more to the imagination than the intellect.
The fundamental feature, however, of these plays of the final period is the archetypal pattern of prosperity, destruction and re-creation which their plots follow. Virtue is not only virtuous, but also victorious, triumphant, and villainy is not only frustrated, but also forgiven. These are dramas of reconciliation between estranged kinsmen, of wrongs righted through repentance, not revenge, of pardon and of peace. Tragedy is fully merged into mysticism, and the theme is rendered in terms of myth and music, reflecting the grandeur of true immortality and spiritual conquest within apparent death and seeming defeat.
Upon the firm foundation of the accepted conclusions regarding the chronological order of the plays of Shakespeare, and of the peculiar features of the final period, modern critics have been only too eager to build their plausible and picturesque interpretations.
We have, first, the Dowden doctrine, supported in different degrees by other critics, likening Shakespeare to a ship, beaten and storm-tossed, yet entering harbour with sails full-set to anchor in Stratford-on-Avon in a state of calm content and serene self-possession. This view gives the final period of the playwright the attractive appellation of “On the Heights”, and perceives in these last plays the charm of meditative romance and the peace of the highest vision. The Tempest is reverentially regarded as the supreme essence of Shakespeare’s final benignity.
Lytton Strachey’s contrary thesis, echoed partially by Granville-Barker, is that these faulty and fantastic last plays show that Shakespeare ended his days in boredom, cynicism and disillusionment. Dr. E.M.W. Tillyard and John Middleton Murry not only see no lack of vitality, no boredom with things, no poverty of versification in these later plays, but, in fact, evidences of the work of one whose poetical faculty was at its height.
The best interpretation is that of Wilson Knight in The Crown of Life. He regards Shakespeare as equivalent to the dynamic spiritual power manifest in his plays, and finds in the Shakespearean sequence the ring of reason, order and necessity. His plays spell the universal rhythm of the motion of the spirit of man, progressing from spiritual pain and despair through stoic acceptance and endurance to a serene and mystic joy. Whereas in the tragedies is expressed the anguish of the aspiring human soul, crying out from within its frail sepulchre of flesh against the unworthiness of the world, these last plays portray the joyous conquest of life’s pain.
It is, however, important to point out the danger of stereotyping the divisions of Shakespeare’s life, and the need to be wary how we apply our labels and demarcations to “so mobile a thing as the life and work of man.” In the last analysis, Shakespeare was all of one piece; he developed, but in his development cast nothing away; his attitude towards life deepened, but his essential outlook always remained the same.
We could attribute the surpassing majesty of the plays of the final period to the great expansion of the creative power and dramatic skill which had first begun to show themselves in their grandeur in the tragic productions of ‘the middle period.’ This expansion was the product, as it is the proof, of the Adept Inspiration from which Shakespeare progressively benefited and on which he increasingly drew. Thus, we are fully prepared to regard the final period as the culmination of a spiritual odyssey which found its consummation in The Tempest, his last and greatest of plays. In this view, then, The Tempest is a broader, deeper “embodiment of the qualities drawn from the higher planes of man’s being in which Imagination rules,” a perfect pattern of myth and magic as of music and marvel.
The Gupta Vidya II
Attanā hi kataṃ pāpaṃ, attanā saṃkilissati;
attanā akataṃ pāpaṃ, attanāva visujjhati.
Suddhī asuddhi paccattaṃ:
nāñño aññaṃ visodhaye.
By doing evil, one defiles oneself;
by avoiding evil, one purifies oneself.
Purity and impurity depend upon oneself:
no one can purify another.
Tara Greene,Tarot Reader, Astrology Psychic
Happy Aquarius RARE Dark Moon and The Chinese New Year of the Black Water Rabbit because In Chinathe color of water is actually black. That’s why it’s a “Black Rabbit” year. Water means fortune and this year portends lots of fortune and fertility.
JAN. 22 URANUS TURNS DIRECT at 14 degrees 57’Taurus
and TECH stuff starts to work. I experienced it myself within 12 hours. The PayPal buttons which have been unfixable for months -a fter three calls with PayPAL managed to get them to work now YAY.
FROM THIS DATE UNTIL APRIL 21 FOR 3 MONTHS ALL PLANETS MOVE DIRECT
JAN. 24 AQUARIUS SUN SEXTILE JUPITER IN ARIES– expand your mind, wake up to the Revolution.
JAN. 26 VENUS ENTERS PISCESAT 6:33 pm PST /9:33 PM EST
READ ABOUT VENUS IN PISCES she was in the last idealistic, soul mate sign 2 years…
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8 hours of music for the practice of Reiki and Meditation. This music was created to increase and facilitate thoughts control during reiki treatment or meditation. Namaste
00:00:00 Reiki Music, Energy Healing, Nature Sounds, Zen Meditation, Positive Energy, Healing Music https://youtu.be/x7e2Dm5WdNg
02:15:36 Reiki Music, Energy Healing, Zen Meditation, Reiki Healing, Positive Energy, Chakra, Relax https://youtu.be/A9yjPSbn4Qg
04:38:35 432 Hz Cleanse Negative Energy, Reiki Music, Healing Meditation, Energy Cleanse https://youtu.be/pF5xXy-6drI
06:39:41 Reiki Music, Physical, Mental, Emotional and Spiritual Healing, Spiritual Cleansing, Angelic Healing https://youtu.be/Igw32MXr28E
I’m holding your hand, even though you can’t see me. I’m communicating to you via your heart, even if you can’t hear me.I’m never from your side, my child. I am constantly with you offering you compassion, wisdom, and safety. You are mine always. I couldn’t stand being separated from you. Please accept my words of peace and healing right now.
I have always loved you. Even when you were a tiny baby, I was there. I am with you through good times and bad. My love for you never wavers so you are never alone. Have faith that still waters are ahead of you. There is to be no suffering or negativity. I am here for you forever!
Our Lady of Comfort sends you healing angelic energy. She is standing by your side always. If you’ve ever questioned if the Divine is real, if you’ve ever experienced a clear heavenly connection, Our Lady Of Comfort’s oracle verifies it. Beautiful experiences are set to come your way soon. You will be receiving such heavenly gifts that you will feel reborn in many ways.
If you’ve been experiencing the reverse problem, such as finding it difficult tough to feel positivity, pleasure or contentment for a long time, or if you are finding it difficult to practice meditation or communicate with yourself or your spirituality, Our Lady Of Comfort is reassuring you that’s she’s with you and that things will get better.
If you or someone you know is suffering from chronic pain, either physical or emotional, and has not found peace, please pray to the heavenly Mother Mary, Our Lady Of Comfort, for spiritual blessings and heavenly comfort. With kindness and tenderness, Our Lady will provide what is most beneficial when the time is right. And, you may absolutely ask for her assistance for yourself and any other people you are concerned about.
When you are ready, say out loud, “I call on the Holy Mother to provide me with heavenly protection, love and healing energy. Bless me with your comfort as I walk through each day with you by my side. I fear nothing because I know I am protected and adored.”
Na jaccā vasalo hoti
na jaccā hoti brāhmaṇo.
Kammunā vasalo hoti,
kammunā hoti brāhmaṇo
One is not low because of birth
nor does birth make one holy.
Deeds alone make one low,
deeds alone make one holy.
Sutta Nipāta 1.136
Gemstones of the Good Dhamma, compiled and translated by Ven. S. Dhammika
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