Now, that which is essential principle of its movement, its specific point of view, from there arises its act of play: that is called karma. From the specific movement of svabhāva, the act of play is karma. In Gujarat, we have the concept of ‘Gandiaras’ where you play with Sri Krishna with sticks. Now, these sticks are put forward in a rhythmic manner: each rhythm may be called a ‘karma’, the specific way you play. And you play with what? You play with the whole universe, you play with other Gopis, you play with Sri Krishna, anyway you like, and everyone of them is an ??? is karma. In this play there is the possibility of a one subordinate play.
Now, we come to the precision point where exactly ignorance starts. In the act of play there are three things: the player, that with which you play, and the act of play. The three things are involved. Now, in the play, you can play leisurely, very slowly, or you can play very fast if you like or any other rhythm you like, many ways of your play. In the play you can remain very far from the object with which you are playing, or you can come very near the object of your play, that also is possible, no restriction.
Now, you can also have such a movement, that you can come absolutely close to the object of the play. You can have only hastamilana, from far you can shake with the object of your play; or you can have even āliṅgana, you can have even embrace with the object of play.
Now, in that play the Jiva can decide what kind of play it wants: Jiva itself means the Supreme can decide through the Jiva, because Jiva is nothing but the centre of the supreme Divine Himself. He can decide to enter into a play in which He can identify Himself with the object. Now, the Divine Himself can do this ‘only through the individual’: this is the important point. This āliṅgana, this complete embrace with the object, it is only through the individual this experience can be obtained, because the Divine being universal and everywhere, identification with only one, can be possible only through that individual centre.
Now, suppose that this particular individual, of many individuals who are playing, all of them are decide to embrace the play, the object of the play. Supposing they decide that now we shall identify ourselves, or embrace the object of play, that ‘a new kind of play’ will start: it is not the same kind of play which you can have only with shake hands. It is a different kind of rhythm, a different kind of play will come about as a result of embrace; new kind of joy, new kind of experience. Now, in that experience you can so concentrate upon the object of the play that you not only embrace, but you feel identified with it. Now, in this process of identification, something can happen, not necessarily, but optionally: you can identify with the object knowing very well that you are identifying yourself with the object; but you can also, if you so wish, in order to enjoy the complete identity, you might even decide to forget that you are different from the object, this is a play, but it is a possibility. It is possible by force of Tapas; Tapas is only concentration, force of concentration. By force of concentration…..