Ovo je priča o ljubav vezanosti, ponosu, sramu, osveti, nasilju, tuzi, protestu, sažaljenju i odricanju. u ovoj priči možete pronaći čitav spektar ljudskih emocija i iskustva od pasivne agresije, gneva, do oproštaja i transformcije.
Sati se zaljubila. Duboko, neumoljivo i bespomoćno svoje srce je poklonila Šivi, kojeg je njen otac kralj Dakša nije voleo jer ga je smatrao nevaspitanim i govorio je za njega da “ima oči majmuna”.
Sati je odbila da se povinuje željama svog oca i udala se za Šivu. Kralj Dakša je bio gnevan i proklinjao je Šivu i nazivao ga je “Gospodarom duhova”. Kralj je za svoju prelepu voljenu kćerku je imao sasvim druge planove, a ona se udala za gubitnika kakvim je smatrao Šivu, koji nije ličio na finog momka za kakvog je želeo da se uda njegova Sati. Kralj Dakši je pred svima ismevao svog zeta, naročito zbog njegovog izgleda – nosio je kike i zmiju oko vrata, a svoje kćerke se odrekao i oduzeo joj je mogućnost nasleđivanja trona.
Jednog dana kralj Dakši priredio je veliku zabavu na koju je pozvao sve Satine prijatelje, sve plemi?e i bogove, sve osim jednog – Šive. Sati je uvređena zbog toga rešila da mu pokvari planove za zabavu i pozvala je i Šivu da i on prisustvuje zabavi, ali je on smatrao da ne želi da prisustvuje zabavi na koju nije pozvan i da će radije da ode na vrh planine da meditira. Ali, nju nije mogao da zadrži da ode. Na zabavi je kralj ponižavajuće ignorisao njeno prisustvo i ona je shvatila da njen otac nikad neće prihvatiti njenog muža s poštovanjem. Shvativši da se našla u nepodnošljivoj situaciji u kojoj svakako mora nekog da izgubi – ili muža ili oca ona je jednostavno samu sebe spalila i umrla.
Šiva je, srdit zbog gubitka Sati, napravio božanstvo Virabadru kojeg je posalo na kraljevu zabavu koji je u ime osvete odsekao glave svima koje je tamo zatekao. Bog Višnu je pokušao da dozove pameti Šivu i on je, kad se malo smirio, čak i oživeo Satinog oca, ali mu je vraćajući među žive dodelio kozju glavu. Tek tim činom je kralj Dakša shavtio da je Šiva zaista bog i bio mu je posvećen do kraja svog života.
Ova priča je simbolizovana u 3 asane koje se nazivaju Virabhadrasana ili Poza ratnika. U
Warrior 1: Virabhadra is about to burst through the earth into Daksha’s party.
Warrior 2: Virabhadra has some sad soul in his cross hairs and is about to slice a head off.
Warrior 3: Like a guillotine, off with their heads!
“No sooner did this drop of sweat fall to Earth than it became a fiery being of unlimited valor who, after blazing his way through the earth and through all the underworlds, burnt the seven seas. This being, Virabhadra (‘the Auspicious Hero’) looked like a flaming fire, having many heads and many eyes, and tens of thousands of arms and legs. The embodiment of concentrated might, Virabhadra stood before his father with folded hands, saying, ‘Command me!'”The three forms of Virabhadrasana present three different expressions of this powerful hero. Next time you perform one of the Virabhadrasanas, imagine yourself capable of anything that needs to be accomplished.Virabhadrasana I is about rising up out of your own limitations.”
Yoga is by no means a simple workout and there seems to always be a deeper meaning to every thing. As a yoga instructor it’s not my job just to teach you how to stand and do each pose properly. Sure that’s what most people pay me to do, but it’s also my job to educate you about this wonderful practice.
The other day I came across a great article in the Yoga Journal, by Richard Rosen, which talked about Virabhadrasana II (Warrior 2) which is pretty much a standard pose in all yoga practices, and how few yogis (including myself) know the tale of its genesis. So I went online and did a little research. Here’s the story.
In Hindu lore, the powerful priest Daksha threw a huge yagna (ritual sacrifice) and invited everyone-except his youngest daughter Sati and her husband Shiva, whom Daksha despised (even if Shiva was supreme ruler of the universe). Sati got word of this and suggested to Shiva that they go anyway. Shiva, not wanting to incite her father’s anger anymore than he has already done, ask, “Why go, where we are not invited?” Sati was hurt by her father’s refusal to acknowledge her marriage and her husband; she decided to go alone to the yagna.
When she arrived, Sati and her father got into an argument, which entertained the guests. Sati was saddened and humiliated by this public argument with her father. When her father tried to taunt her again she remained silent, letting go of all desire to continue to argue with her father in hopes of defending her husband. She trembled with disgust and indignation at having been so cruelly let down by the one man upon whom she, as a daughter, should always be able to rely. Instead she made an internal resolve to relinquish all family ties. She summoned up her strength and spoke this vow to her father, “Since you have given me this body I no longer wish to be associated with it.” She walked past her father and sat in a meditative seat on the ground. Closing her eyes, envisioning her true Lord, Sati fell into a mystic trance. Going deep within herself she began to increase her own inner fire through yogic exercises until her body burst into flames.
When Shiva got word of Sati’s death, he was devastated. He yanked out a tuft of his hair and beat it into the ground, up popped a his fiercest Warrior. Shiva named this warrior, Virabhadra. Vira (hero) + Bhadra (friend). He ordered Virabhadra to go to the yagna and destroy Daksha and all guests assembled.
Virabhadra arrives at the party, with swords in both hands, thrusting his way up through the earth from deep underground; this is the first aspect (Virabhadrasana I/Warrior I). Establishing his arrival for all to see he then sites his opponent, Daksha, (Virabhadrasana II/Warrior II). Moving swiftly and precisely, he takes his sword and cuts off Daksha’s head, (Virabhadrasana III/Warrior III).
Shiva arrives at Daksha’s place to see the damage that Virabhadra had ravaged. After this vengeful action, Shiva absorbs Virabhadra back into his own form and then Siva becomes known as Hare, the ravisher. His anger is gone but now he is filled with sorrow. This sorrow turns to compassion when he sees the aftermath; the bloody work of Virabhradra. Shiva finds Daksha’s headless body and giving it the head of a goat, brings Daksha back to life. Overwhelmed by this generous gesture Daksha calls Shiva, Shankar, the kind and benevolent one. With Daksha’s pride put in check he bows in awe and humility to Shiva Shankar. The other gods and goddesses follow his lead and honor Shiva.
So the next time you find yourself doing a Warrior pose, just remember where it’s origins came from.
Here’s a story every yogi should know: Once upon a time there was a powerful king named Daksha. When his daughter—who went by the name Uma or Sati or just plain Shakti—fell in love with and married the lord of universal consciousness, Shiva, let’s just say Daksha wasn’t exactly thrilled.
To make his feelings about his loathed son-in-law clear, Daksha threw a party and invited everyone but Shiva. Whereas Shiva could have cared less about the social snub—being the lord of consciousness and all, he was able to rise above it—Sati was incensed. So angry was she that she burst into flames (or threw herself into a fire, depending on which ancient text you read) and died.
Devastated, Shiva threw one of his dreadlocks down to the earth to create the warrior demon Virabhadra. At Shiva’s direction, Virabhadra violently stormed Daksha’s party, cut off the king’s head, and trampled on Indra, the god of war.
The scene was total havoc. For anyone who’s ever sweated and groaned their way throughVirabhadrasana I (Warrior Pose I), it may come as no surprise that the asana was inspired by cosmic chaos, death, and destruction. Many yogis, especially beginners, feel genuinely embattled by its complexity: its persistent tug-of-war between extension and compression, twist and backbend, internal and external rotation, and strength and flexibility.
In other ways, though, the story of Virabhadrasana is utterly ironic. “Given that the ideal of yoga isahimsa, or ‘nonharming,’ isn’t it strange that we would practice a pose celebrating a warrior who killed a bunch of people?” asks Richard Rosen, a contributing editor to Yoga Journal and the director of Piedmont Yoga Studio in Oakland, California.
To answer that question, you have to take a look at the pose’s metaphorical meaning—as is nearly always the case when considering Indian mythical lore. “The yogi is really a warrior against his own ignorance,” Rosen says. “I speculate that Virabhadrasana I is about rising up out of your own limitations.”