The Cat and the Monkeys (Vali, Sugriva and Hanuman)
NB: This article can be found after the following introductory passages.
Before you read this article, please note that, from 1996, I (Pari, the author of this article) had begun to see numerous visions. I was trying to understand what was happening to me. As I was trying to understand this, I began writing all the articles which can be found in this website. Each article is a continuation of the earlier one. So what I had explained in earlier articles were not explained in subsequent articles. This had also allowed me to keep developing what I have to explain. After I had written numerous articles, people were asking me as to which articles they had to read in order to understand something or the other. Thus, in 2015, I began to write books. All the knowledge which a person needs, so as to understand the contents of a book, are given in the book. Thus, a person could understand the contents of a book without having to revert to other articles or books. However, a better understanding could be had through reading the other books. I had also begun writing my first book “Holographic Universe : An Introduction” because I began to have a good understanding on the structure of the Holographic Universe through experiences, guidance from God, research, etc. It should be remembered that my articles were written while I was trying to understand what was happening to me. So, the emphasis in the articles may have been on my own roles (due to the afterlife of my past births). In my books, I concentrate on just explaining knowledge and not really on giving an explanation on my own role. It should be noted that since there are so many articles, I find it very difficult to update the articles. So there may be information in them which has not been updated. I try my best to keep my eBooks updated. Anyway, to have a better understand of what has been said in this article, read all my earlier articles. Begin by reading the first article which is numbered as No.1 at my List of Articles. Then, re-read this article to have a better understanding. It should be noted that all my articles were written based on time being cyclic. Click here to understand the basics of the Cycle of Time.
The Cat and the Monkeys (Vali, Sugriva and Hanuman)
(posted on 27-6-2013)
NB: there is a brief explanation on the cycle, at the end of this article, for those who are not familiar with the Cycle of Time.
(includes the brief story and a discussion on the legend where Indra and Surya are enchanted by Ahalya; Nimrod and the Big Cat; Copper Aged mapmakers - False Prophet & Nimrod; Sekhmet and Bast; fight between 2 cats/monkeys and the third cat/monkey stealing the butter; Kishkindha & Kish; Bhima represents the mapmakers outside the Brahma Kumaris; Arjuna; Seven Rishis - 7 helpers of God; Ningishzidda - Sage Gautama; Indra as the cat; Sage Gautama curses Indra and Ahalya; Ahalya purified and liberated by Rama)
In a Hindu legend, Ahalya is the mother of Vali and Sugriva. She is also the wife of Sage Gautama. Ahalya was supposed to be the most beautiful lady on earth. So Indra (the king of the gods) and Surya (the sun god) became enamoured by her beauty. As a result, Indra disguised himself as Sage Gautama and had union with her. Then, Surya came to her in the form of Sage Gautama and had union with her. Thus, Vali and Sugriva were born looking like human beings. However, when Sage Gautama discovered that they were not his children, he angrily threw both of them into the ocean saying that they should turn into monkeys if they were not his sons. So they changed into monkey-like humanoids.
Some versions of the legend state that Vali is the son of Indra and that Sugriva is the son of Surya. Other versions state that Vali is the son of Surya and that Sugriva is the son of Indra.
It does not matter, whether the father of Sugriva and Vali were Surya or Indra because Surya and Indra were god roles that had been used by many during the Mid-Confluence (Confluence between the Silver and Copper Ages). The soul, who was portrayed as the Sumerian god Enki, was portrayed as Indra in this legend. The Sumerian god Enlil was portrayed as Surya, in this legend. However, Enki and Enlil had used both roles of Surya and Indra. It was just a matter of ‘which angle’ one was telling the story from. What had happened, during the Mid-Confluence, had been related through variations in the stories. These variations would confuse people until the end. It is only when theCopper Aged mapmakers relate the history behind these legends, as I am doing now, that people will be able to understand what had happened. The Copper Aged mapmakers are the past births who have emerged to explain what they had done in the past. I have discussed this in many of my articles.
Though Ahalya is supposed to have mothered Vali and Sugreeva, through Indra and Surya, Ahalya was also portrayed as one of the 5 virgins. Ahalya is described as an ayonijasambhava (one who is not born through a woman). Ahalya is portrayed as having been created, by Brahma, out of pure creative energy. She was portrayed in this way and as a virgin because:
1. Ahalya was just a ‘representation’ that was created by those who played the role of Brahma, during the Mid-Confluence.
2. Ahalya represented the memories (spiritual energies) that emerge during the Mid-Confluence and at the end, relating to the immortal role of Nimrod.
3. Ahalya represented what Ningishzidda was developing, based on the World Drama, for the role of Nimrod.
4. Ahalya represented the part in the World Drama for the immortal role of Nimrod. During the Copper Age, this began to have 2 divisions, for the Enkites and Enlilites, as they began to battle for world rule. Thus, the 2 groups were portrayed through the 2 monkeys (Vali and Sugriva).
Vali and Sugriva represent a few people. Since the role of Vali and Sugriva does not always refer to the same person; one has to understand history, so as to know who Vali and Sugriva represent at a specific point in time.
Sugriva represented Enlil, Ninurta, Ningishzidda, the Enlilites and their representatives who were all acting as the instruments of Enlil/God. It can be said that Sugriva also represented Enki, sometimes, because Enki was also flowing along with Enlil. However, Sugriva mainly represented the one who was playing the role of Ninurta (the son of Enlil) and the kings in his city-state, after the Copper Aged Great Flood.
After the Copper Aged Great Flood, Ninurta, Enlil and the kings (who were their representatives on earth) had begun playing a significant role as Nimrod because even the Enlilites play a role for world rule, at the end, as Nimrod. They do this through the role of the monkey; whereas the Enkites play a role, as Nimrod, through the role of the cat. However, Nimrod was not associated to the monkeylike how Nimrod was associated to the leopard (big cat)because those who play the role of the monkey are only influenced by memories. They were not involved with Marduk’s practices that gave immortality to birth-roles. So their birth-roles will not emerge to play a role, at the end. Those who are associated to the cat were involved with Marduk’s practices for giving immortality to themselves. This means that they were giving immortality to their birth-roles. Thus, the birth-roles (which were given immortality) will emerge, at the end, so as to continue playing the Copper Aged mapmaker roles (the False Prophet role and the role of Nimrod).
Vali represented Enki, Marduk, the Enkites and their representatives who were influenced by Marduk. However, Vali mainly represented the one who was also portrayed as Marduk, in the Sumerian myths. Vali was portrayed as a monkey because:
1. Marduk did not give immortality to his birth-role (since he was a god).
2. the soul (Marduk) will be involved with walking into the Golden Aged world, at the end, so as to play a role there. Those who play the role of the cat will not be walking into the Golden Aged world so as to play a role there.
The gods were considered as immortals because their memories will influence them, at the end. Marduk had only introduced thepractices for immortality to his mortal kings, so that they can find their way to Nibiru (the Confluence Aged subtle region, at the end) after journeying through the Duat/Underworld. Marduk had not used these practices. Even Enki had not used Marduk’s practices for immortality. However, during Enki’s subsequent births as Ramses II, Nebuchadnezzar II etc, he had used Marduk’s practices which gave immortality to birth-roles. Thus, I am involved with the role of the cat, now.
At the end of the cycle, the Golden Aged world gets created as all the 900,000 most powerful deity souls are ready for world transformation. The world gets transformed as these 900,000 most powerful souls walk into the Golden Aged world. Just before they walk in, those who played the role of the cat will no longer be able to play the role of the cat because the past births cannot exist in an emerged state when we (the souls) are in a pure state. This brings an end to the role of the cat. But the earth itself may have been turned into a ‘beast’ as it continues to transform into the new world for the Golden Age. After walking into the Golden Aged world, those who played the role of the cat will go back to the Soul World so that they can take their next birth in the first half cycle. They do not walk into the Golden Aged world, so as to play a role there. It is only those who play the role of the monkey who will transform to play a role in the Golden Age, after walking in.
The role of the cat is for changing what is on earth, into that which has to be taken into the Golden Aged world. Destructive events also take place as the world changes into the new world. This is why, in the Egyptian myth, Sekhmet (the lion goddess) was associated to destructive events.
Sekhmet and Bast (the cat goddess) were used in a similar way, as goddesses of warfare, before unification of ancient Egypt. Bast was used in Lower Egypt, like how Sekhmet was used in Upper Egypt. This is also why Bast has been portrayed with the head of a lioness or with the head of a cat. In one version, the myth portrays Sekhmet as Bast/Bastet (the cat goddess) when she is in the tame, peaceful state. She only becomes Sekhmet, when she adopts the fearsome form for destruction. In other versions, Sekhmet and Bast were portrayed as twin sisters.
The lioness also belongs to the Cat family. So it can also be referred to as a cat. Sekhmet and Bast were connected and/or were similar because they were both representing the role of the Cat that would be used at the end. These goddesses are actually connected to the woman Babylon the Great (in the Bible). I will be discussing Babylon the Great, in later articles.
Bast and Sekhmet had been associated to war and destruction because the role of the cat is for what happens before the world completely transforms into the new world. This was also a reason why the people, during the Mid-Confluence, were also portrayed as using this role (since the world was also changing into a new world during the Mid-Confluence). The role of the cat is used in the False Golden Aged world, at the end, which exists just before the world transforms into the pure divine Golden Aged world. The role of the cat is not used after that, in the pure divine Golden Aged world.
In ancient Egypt, when Anubis became the god of embalming, Bast (as the goddess of ointment) began to be portrayed as his wife. They were paired off because of the practices for giving immortality to birth-roles, which involved mummification of the bodies, in Egypt. It is the people, who have had their bodies mummified, who will play the role of the False Prophet for the resurrection of the role of Nimrod.
In the sakar murlis of the Brahma Kumaris, God has stated that, at the end, there will be a situation where:
1. while the 2 cats are fighting, the third cat steals the butter.
2. while the 2 monkeys are fighting, the third monkey steals the butter.
The 2 monkeys and the 2 cats, that are fighting each other, represent all the people who are fighting for world rule now. The third monkey that steals the butter represents the members of the Brahma Kumaris, and other Confluence Aged souls, who will be involved with “walking into the Golden Aged world”. The third cat represents all those who play the role of the False Prophet, as I do, so that world rule comes back into the hands of the deity souls. The role of the False Prophet will then resurrect the role of Nimrod; or should I say “The False Prophet will resurrect Nimrod”.
Vali and Sugriva were roles that were used in the Copper Age. Thus, they were associated to the vices through being portrayed as monkeys. Vali and Sugriva were not portrayed as immortals/Chiranjeevi because those souls were not involved with giving immortality to their birth-roles, in the Copper Age. The Anunnaki did not teach the kings (who used the role of Sugriva) to use practices that gave immortality to birth-roles; even though they were training them to play the role of Nimrod. This was also why Rama was portrayed as helping Sugriva to become king ofKishkindha. Kishkindha was the Kingdom of the Monkeys where the Vanara, a group of monkey-like humanoids, lived. It should be noted that the first city-state or kingdom that was established by the Anunnaki for the mortals, after the Flood, was named Kish. Kishkindha (the kingdom of the Vanara) begins with ‘Kish’ so as to connect Sugriva to the Enlilites. The Vanara were portrayed as a monkey clan because they represented:
1. the people who were capable of being influenced by the vices.
2. the people who were having ordinary bodies that belonged to the second half cycle. (The Aryans of the first half cycle had perfect bodies.)
3. mankind/mortals in the second half cycle. It should be noted that, in the Sumerian myths, the apeman gene was portrayed as being mixed with the genes of the gods so as to create the mortal/human race which we all belong to now. The gods were actually humans who had perfect bodies. So the cross was between an apeman and a perfect human being. The Vanara look and behave like a cross between the apeman and the human being.
Enki and Enlil, the fathers’ of Marduk and Ninurta, were the ones who had walked out of the Silver Age. So the next generation (Marduk and Ninurta) were portrayed as monkeys since:
1. they were capable of using the vices, and
2. they were not the true Aryans. The true Aryans were the people of the first half cycle. Marduk and Ninurta were born in the Copper Aged phase of the Mid-Confluence.
Hanuman, the monkey god, was portrayed as an immortal/Chiranjeevi because I also use the role of Hanuman now. This connects me to the Confluence Age, even though I play a role outside the Brahma Kumaris. I (the soul) had been involved with using Marduk’s practices for immortality during my past births. So I am using the Copper Aged immortal roles. Thus, Hanuman was portrayed as an immortal/Chiranjeevi.
Since I am involved with the role of the cat, Hanuman was portrayed as burning Lanka. However, the role of Hanuman is to assist God/Rama to find Sita (all the deity souls) who are in Ravana’s kingdom (the Kaliyug world). Hanuman is mainly involved with helping Rama to find Sita, in the Ramayana. I am also involved with this, now. This may be why I tell people to get guidance from the Brahma Kumaris, if they want to understand the BK knowledge. I do not use my time to guide them personally (to become Confluence Aged souls). I use my time to only write articles which is meant to explain history and the evidences that have been left behind. However, I do use the BK knowledge in my articles because:
1. it is the Truth, and
2. it also explains the history and the geography of the world.
In the Ramayana, when Hanuman and Rama met, Rama was impressed by the captivating speech of Hanuman. Rama was of the view that Hanuman must have knowledge of the Vedas because no-one can speak so well unless they have mastered the Vedas. This represents how BKs, and other Confluence Aged souls, like what has been written in my articles. The Vedas, in the Ramayana, represent the knowledge in the Sakar Murlis of the Brahma Kumaris. I am familiar with what is in the Sakar Murlis because I have been listening to them and reading them for many years.
In the Ramayana, it was Hanuman who brought Rama to Sugriva and turned them into friends. This is also what I am involved with now. The ones who play the role of Sugriva, are outside the Brahma Kumaris. Sugriva was portrayed as being in the jungle because the relevant souls will be playing their role in the outside world. The ones outside the Brahma Kumaris have also been portrayed as Bhima, in the Mahabharatha. This is also why, in the Mahabharatha, Hanuman was portrayed as meeting Bhima in the jungle. In the Mahabharath, Hanuman was portrayed as recognizing Bhima as his spiritual brother for the same reason that I have recognized that there are people outside the Brahma Kumaris who I am supposed to play a role with. Those who play a role together are spiritual brothers. However, I am making sure that what has to be done, through the Brahma Kumaris for world transformation, gets done. This is why in the Mahabharatha, Hanuman was portrayed as positioning himself in the flag of Arjuna’s chariot so as to secure and stabilize the craftduring the Kurushetra battle. This is similar to how Seth plays a leading role in Ra’s boat, in the underworld, while the boat is journeying towards the Day (the Golden Aged world).
Arjuna represents Brahma Baba, the founder of the Brahma Kumaris. In fact, all the members of the Brahma Kumaris are being trained to become Arjuna. The main role of the Brahma Kumaris is to get the 900,000 deity souls ‘ready’ so that the world transforms into the Golden Aged world. The members of the Brahma Kumaris also play the role of Hanuman because they help God to find the deity souls, so that they can be purified. I have begun an explanation on the Confluence Aged aspects of Rama finding Sita, etc at:
1. Rama, Sita and the Sacrificial Fire (Rudra Gyan Yagya), Agni / Fire
2. 20 + 1 Atlantian births
3. Parallel Universes, the False Golden World, False Prophet, Mapmakers and the Tower of Babel
Sage Gautama, the husband of Ahalya, was one of the seven great sages who appeared from the mind of Brahma. The seven Rishis were portrayed as having emerged from the mind of Brahma because:
1. the role of the seven rishis was created by God, at the beginning of the Confluence Age, when he began to use Brahma.
2. the role of the seven rishis was created by those who played the role of Brahma, during the Mid-Confluence.
During the Confluence Age, the role of the seven rishis represents the other 7 of the 8 most powerful deity souls. The most powerful one is used as God’s chariot and the other seven are the seven helpers of God. In fact, all of God’s Confluence Aged helpers can also be seen as the seven rishis. In the legends, a sage represents these Confluence Aged people who are the true Brahmins. However, the sages also represented the Anunna rulers, the 8 Anunnaki (who were the rulers of the 4 kingdoms of Bharath, Lemuria, Mu and Atlantis) and all their representatives during the Mid-Confluence because:
1. the Confluence Age is connected to the Mid-Confluence.
2. they played the role of God’s helpers, during the Mid-Confluence.
Ningishzidda, the ruler of Atlantis, had often used the role of Sage Gautama. It was Ningishzidda who was mainly portrayed as Sage Gautama (husband of Ahalya) in this legend because he was greatly involved with developing the role of Nimrod, for Enki/Enkites and Enlil/Enlilites, based on what exists in the World Drama for this. He was developing the role of Nimrod, as one of God’s seven helpers. I have begun a discussion on the seven helpers of God at:
1. Enlil - One of Seven
2. God/BapDada and His 7 helpers
3. Creation of the Golden-Haired Gods
Indra and Surya were both portrayed as being enchanted by Ahalya because Enki and Enlil were both fascinated by the role of Nimrod and the memories that were emerging during the Mid-Confluence. Indra and Surya taking the form of Gautama represented that Enki (as Indra) and then Enlil (as Surya) were both accepting and using what Ningishzidda was developing for the role of Nimrod. This was also why, in Sumerian Tablet Translation 10 by Zecharia Sitchin, Enki and Enlil were fascinated by the pyramid structures and sphinx which Ningishzidda had built after the Flood.
Indra and Surya were portrayed as having union with Ahalya because they used the memories and what Ningishzidda was developing for the immortal role of Nimrod. The memories were of what had happened during the Confluence Age and at the end. Since the memories and what Ninigishzidda was developing were associated to the Confluence Age, Ahalya was portrayed as being beautiful, pure and as a virgin.
Vali and Sugriva were portrayed as being thrown into the Ocean because God was represented by the Ocean; and God is ‘Truth’. Thus, the truth was revealed as Vali and Sugriva were thrown into the Ocean.
The souls who were represented by Sugriva and Vali will not be used inside the Brahma Kumaris, at the end. Their role was meant to be used outside the Brahma Kumaris. However, God will be playing a role with them too. Thus, in the legend, they were portrayed as being thrown out, into the Ocean. Actually, they will be playing a role outside, as per the World Drama. During the Mid-Confluence, Ningishzidda knew that their roles were meant to be outside (at the end); and he had informed the Anunna rulers and the others about this. This was a reason why, after the Copper Aged Great Flood, Marduk was not used as he should have been. It was like as if he was being thrown out of the Anunnaki gathering (even though he was not being thrown out) because the Anunna rulers and the others were conducting world affairs based on what Ningishzidda had told them. Thus, the story portrayed that Gautama threw Vali and Sugriva out. However, those who used the role of Sugriva were found, during the end phase of the Flood, and used by the Anunnaki. This was a reason why Rama was portrayed as finding his way to Sugriva, so that he can get Sugriva’s help. Even at the end, God/Rama uses those who are outside for world service.
In one version of the legend, when Gautama arrives, Indra tries to flee as a cat. Gautama sees Indra and curses him. Then, Gautama asked Ahalya about her visitor. Ahalya answers that it was a majjara. Majjara means “cat”. However, if the word is split into 2 to become ma-jara, it means "my lover". Sage Gautama laughs and curses her to be changed into a stone. Sage Gautama also decrees that Ahalya will be released from the curse by Rama because she spoke the truth.
In the earlier versions, Ahalya becomes invisible as a result of the curse. Ahalya has to undergoing severe penance while she remains invisible to the world. Earlier versions relates how Ahalya is purified later by offering Rama hospitality. Later versions describe how Ahalya is cursed to become a stone. Long after that, she regains her human form after she is touched by Rama's foot.
Indra was portrayed as taking the form of the cat to escape because Enki/Indra (the deity soul) uses the immortal role of Nimrod (which is associated to the Big Cat or leopard). Indra ‘escaping as a cat’associated the role of Ahalya to the role of the cat, at the end. Sage Gautama was portrayed as cursing Indra (while Indra was in the form of a cat) because:
1. the Copper Aged immortal role, involving the cat, was not a pure Confluence Aged role
2. Ningishzidda stopped the usage of the role of cat, at the end of the Mid-Confluence.
Gautama was portrayed as cursing Ahalya, so that she becomes a stone or invisible, because Ningishzidda had brought an end to what was being done for the immortal roles, during the Copper Age. Ahalya becoming invisible or turning into a stone represents how the role will remain inactive, in the World Drama, until the end. There will not be anything in the World Drama relating to this between the Mid-Confluence and the end.
Rama can only purify and liberate Ahalya with his touch when he is searching for Sita because the purification process only takes place at the end when God/Rama has to find all His Sitas (deity souls) for the purification process. This is why Ahalya had to wait for Rama. At the end, the immortal roles will be used again. As the immortal roles are being used again, Ahalya will exist again in the World Drama. However, as God purifies the Confluence Aged souls, this part in the World Drama (which represents Ahalya) comes to an end. The purification process also burns off all our sins which were created, when Ahalya existed during the Mid-Confluence. Thus, Rama was portrayed as the eventual agent through which Ahalya receives liberation and redemption.
As the role of the Cat disappears in the World Drama, the World Drama changes (as the Holographic Universe changes into the Divine Holographic Universe). During the Mid-Confluence, the Ordinary Holographic Universe (which replaces the Divine Holographic Universe) provided for the Copper Aged immortal roles. However, the Divine Holographic Universe, of the first half cycle, does not provide for the Copper Aged immortal roles. Thus, it is as if Ahalya has been liberated. The World Drama turns into a ‘pure form’, at the end of the cycle, because the World Drama provides for the divine world and not for the Copper Aged immortal roles. I have begun a discussion on the World Drama and Holographic Universe at:
1. The Holographic Universe in the Golden Age
2. Holographic Universe and the World Drama
3. World Drama and Prophecies
4. Connection between the World Drama, Corporeal World, Subtle regions, Underworld, God and Human Souls
5. The World Drama is a Powerful Force
6. World Drama
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NB: All my articles are based on time moving in a cyclic manner, in the order as follows:
1. the divine world in the first half cycle: involving the Golden Age (Satyug) and then the Silver Age (Tetrayug).
2. the Confluence between the Silver and Copper Ages: where the world transforms back into the ordinary state (after a vice was entertained). For convenience, I refer to this Confluence as the Mid-Confluence.
3. the ordinary world of the second half cycle: involving the Copper Age (Dwapuryug) and then the Iron Age (Kaliyug).
4. the Confluence Age (at the end, now): through which the world is transformed back into the divine Golden Aged world.