More thoughts about लीला (lila)

Life as divine theater, a workable analogy for our roles in existence, the Raison d'être for joy and sorrow, for all human drama at the interpersonal and corporate scale (not directly, though not entirely not, including the denotation of the word "corporate" as refering to the most common usage these days, i.e., as an adjective refering to a "corporation" in the nowadays perjorative sense), and even including other two, as well as four and six and eight and no-legged creatures and plants, water and rocks and air and fire, the planets and stars, galaxies spinning and . . .

A "love story" for lack of a better English phrase, of Goddess and God, for lack of a better pair of terms in the English language (though I ought note, as I've in a previous post, the English word God is derived from the Sanskrit word go, which translates directly as cow).

Sometime this divine human drama has been--though hopefully decreasingly in the future--a story played out in the battles between states and between empires; has and shall be writ at levels macro- and micro-, above and below, in a breeze blows, a proverbial tree that falls in the forest, a significant drop of water falling upon a leaf, the collision of two distant planets and in so many other ways which may or may not directly involve the divine creatures known as man and woman in any given scene. Yet always it comes back to a Yoga that is good, a dance that is beautiful, play that is pure (abhyasA-yoga, atirUpa-nata, sattva-lila).

Of options given in any discourse to which I've been made privy, 'tis the best paridigmatic framework I've discovered, the most healthy and beatific vision can seemingly be made of the confusion of love that makes life interesting, and of said word's opposites and seeming opposites that make life not so seemingly beautiful.

लीला, Lila is more Much Ado . . . than No Exit, though life lived sometimes does not well fit lila, at least not from every given vantage.