Beezone Interview with Julie Anderson
Kanya Samarpana Remembrance
Swami Kalottara Devi Mataji
Julie – India, 2020
“A few months before His Re-Awakening in the Vedanta Temple, Adi Da had a waking dream in which He found Himself on a subtle plane in the presence of a Siddha who was demonstrating to the assembled gathering of his students the art of materializing something out of nothing. When the demonstration was over, the students disappeared, leaving Da Kalki alone with the Siddha. Nothing had yet materialized in response to the Siddha’s “magic”. But then, gradually, a vaporous horse began to take form, emerging as a small, beautifully-formed “eohippus”, or “Dawn Horse”, the primeval form of the horse.
Adi Da felt himself drawn into the event completely, to the extent that He reports He was “making the horse, observing the horse, and being the horse”. This Vision remained with Him and grew in significance such that He eventually titled the comprehensive statement of His Teaching Word and full Confession of Who He Is “The Dawn Horse Testament”.
The Dawn Horse Vision, like all Revelations, can be interpreted on many levels, but fundamentally it is about the Miraculous Infusion of the Invisible into the visible realm. The sign of that connection is the Horse, the Meeting Place between the Divine Domain and the conditional worlds. There is a time-lag before the Horse appears, a sign of the process in time and space needed to bring a Divine Intention into manifest reality. Adi Da, as He intuited even when having the Vision, is Himself the Divine Person, Intent upon the Liberation of all beings, and He is the Very Form through which that Divine Resolve is being Worked out in the human plane (and in all levels of the cosmos). That Work is a Sacrifice, nothing else. And there is no reason for it, as Adi Da says, except Love.
That Work, although yet to reveal itself to its fullest degree, is now essentially complete. The Horse has been Sacrificed.” –
taken from ‘Free Daist Magazine, Vol 1, no 6, 1990.
How is this to be understood?
(Formerly Kanya Samarpana Remembrance)
Ashva Medha Descent
In the Life of Adi Da Samraj
“With the completion of His Sacrifice, Da Love-Ananda now points to His Love-Ananda Gita, wherein He says that the practice is to simply “hear Perfectly” and “see Perfectly”.
The earliest account of Aswamedha ritual we get from the Sanskrit Mahabharata composed by Vyasadeva. Later Rishi Jaimini, a student of Vyasa, composed a long narrative called Jaimini Bharata in which we find the ritual of Aswamedha yajna receiving the prime focus and all possible grandeur and significance. Next follows a phase of history when the great Indian epic takes multiple regional forms, each varying from the Sanskrit source and from each other as well in their thrust and approach. An interesting pattern, however, emerges in all their differences and varieties. Across Eastern India, the earliest attempt is found to be made to compose the Mahabharata in the regional language. And curiously, all these poets focus on the Aswamedha Parva primarily to entertain the kings and chieftains who mostly patronized such talents. For more click here
All the traditional Descriptions of the Ashvamedha and the Divine Horse can be said to be prophecies of My Divine Avataric Appearance here. These prophecies (or metaphors, or liturgies) were not fulfilled in their time, but they are part of the awakening sense in humankind of a Great Event that must occur without fail—because humankind does not “Know”, but Only the Horse (or the Divine Person) “Knows”. In the True (or Divine) Ashvamedha, the Divine Person Is the Means, and the Divine Person must Perform the Sacrifice. That is to say, the Divine Person must Appear As all (and All), Submitting (Thereby) to Be all (and All). The Divine Person must Accept a conditionally manifested Form, Endure the Avataric Ordeal of Divine Self-Forgetting and subsequent Divine Re-Awakening, Realize the Fullest Awakening and the Fullest Acknowledgement of the Divine Avataric Nature, Status, and Work, and then Do the Divine Avataric Work. This Is the Great “Ritual Performance” (or Universally Effective Sacrifice) That humankind cannot do, but Which Only the Divine Person can Do.
Julie Anderson, 1980