An oratorio: Christ Lives in the Holy Land, and in You & Me!
Every second year the choirs and musicians of Ananda
Portland and Ananda Seattle combine alternatingly at each other’s
temple/sanctuaries to perform Swami Kriyananda’s acclaimed oratorio inspired by
the life of Jesus Christ. How can we understand the inspiration behind this
powerful tribute in song?
How can we understand the seemingly prominent role Jesus
Christ has at Ananda throughout the world? What makes the music of this
oratorio so like a deep meditation?
A sensitive reading of Paramhansa Yogananda’s "Autobiography
of a Yogi" hints at his spiritual connection with Jesus. He makes
reference to Jesus at least sixteen times and even reveals that John the
Baptist was Elijah and thus Jesus’ guru from a past life. He states that Jesus
taught kriya yoga or “a similar technique” to his close disciples. Further, he
stated publicly that the three Wise Men were none other than Babaji, Lahiri
Mahasaya and Sri Yukteswar (where does this revelation place him, Yogananda?)
When, during the writing of his commentaries on the Bible,
Yogananda prayed to Jesus to ask that his words be in tune with Jesus’
teachings, he received a vision of Jesus who gave his blessings and
corroboration.
Jesus proclaimed to the crowds that he came “not to destroy
the law and prophets” but to fulfill them. To “fulfill” must surely mean to
carry on their message and vibration. (While it might also mean to “complete”
this interpretation is not absolute.) Paramhansa Yogananda’s obvious connection
to Jesus suggests the same on his part in relation to Jesus. More than this, he
gave the title “Second Coming of Christ”
to his own ministry! (If that didn’t get him crucified, I don’t know what would
have!) I don’t think it could be clearer than that.
I have had guests and new students occasionally object or at
least express surprise how they felt the Ananda Sunday Service, or some of our
events and classes are Christian in feeling. All of this is understandable
given the deeper connections described above. I’ve had one reader in the public
challenge an article I wrote in respect to Jesus’ atonement of sins on the
cross for failing to quote similar examples from other faiths. Neither I, nor
other Ananda representatives, are particularly required to hand select passages
from every faith when sharing Yogananda’s teachings. But drawing upon the life
and teachings of Jesus Christ is specifically appropriate.
In his book, “Conversations with Yogananda, Swami Kriyananda
quotes Yogananda answering this question (“Why do you emphasize the teachings
of Jesus Christ.”) by replying only, “It was Babaji’s wish that I do so.” [Pretty cagey, I’d say! I suspect the paucity of his reply was related more to
the questioner than to the question. That’s my opinion, anyway!]
We do know that Babaji commissioned Swami Sri Yukteswar to
write a book showing the underlying unity in Jesus’ teachings and those of India’s
rishis. Just read that book, Holy Science, and you’ll see!
Returning now to Swamiji’s oratorio, Christ Lives, we can
more easily understand how the masters worked through Swamiji to create a
Handel-esque musical work that proclaims a new understanding (Yogananda called
it a “New Dispensation”) of Jesus’ teachings. It is, in its own way, a “fulfillment.”
I won’t be so bold as to attempt to describe this oratorio
in musical terms. The point of this article is to entice you to come and hear
it for yourself! Music isn’t my language, particularly.
In the libretto (words to the songs) you’ll find repeated
references to “light,” “joy,” and “peace.” Extending the universal and deeply
metaphysical theme of the gospel of St. John (“In the beginning was the Word…..the
light of men”), the oratorio guides us to understand Jesus as not the ONLY
begotten son of God but a soul, like you and me, who has achieved Oneness with
the Light of God. The “Light of Christ” is the indwelling divinity in every
atom; in every heart and soul. With this light, Jesus had become wholly
identified.
The song “In the Spirit” describes the great vision of St.
John in the last book of the New Testament as an ecstatic experience. John was “caught
up in ecstasy.” Yogananda dedicated an entire lesson to interpreting the
so-called Apocaplyse in metaphysical and Vedantic terms.
From the Old Testament’s frequent commands to “look up” the
oratorio describes King David in terms of meditation and the looking up through
the point between the eyebrows: the doorway to the divine light. At least four
songs dwell upon the feminine nature of God both in general and in the form of
Mary, the mother of Jesus. John the Baptist is described as living in solitude
and seclusion and achieving his wisdom and faith through the inner life of
prayer and meditation.
The temptation of Jesus by the devil in the desert is
perhaps one of the most poignant and beautiful songs. A foursome—Jesus, Satan,
and two devotee witnesses—sing of the opposing pulls, one divine, the other
satanic, upon Jesus’ soul and of Jesus’ rejection of the satanic force. This
not only gives recognition (Yogananda proclaimed: “I add my testimony to that
of all before me that Satan exists.”) to the power of maya but to its power to
become personal both within us and objectively. It also models to us how to
deal with maya’s power: seek the love of God!
Another aspect is the very personal relationship Jesus had
to his disciples. In song, their life together, wandering the countryside of
Judea, is shown to be a celebration, a joyful troupe of disciples with their
guru. Rejected is the “man of sorrows” who could never have inspired large
crowds. This personal touch is also reflected in songs that speak of the
poignant uplifting of souls such as Mary Magdalene, caught in sin and of her
rejoicing when freed by his love.
Even the miracle of turning water into wine (the first story
after his ministry began) shows Jesus’ care and concern, and love, for all.
Rather than have the wedding couple be embarrassed by running out, Jesus
quietly “refills” the jugs with wine!
Another of the many deeply inspired and musically moving
pieces is “Living Water.” This is the story of the woman of Samaria whom Jesus
meets at the well. Yogananda explained that this woman was a fallen disciple
from a past life. Jesus’ detour into Samaria was intended to find her. The bond
of guru and disciple is eternal.
In what is normally considered a triumphal day—Palm Sunday—the
music reveals the darker undertone of rejection that is soon to befall the
heralded “King of the Jews.”
In the songs of this oratorio, Jesus is depicted in both his
overarching divine nature and his very personal, human nature. The
juxtaposition of these two has for its message: “Tat twam asi!” “Thou ART THAT!”
His nature is our nature. As John the Beloved proclaims in his gospel: “To as
many as received Him to them gave He the power to become the sons of God.”
“You Remain Our Friend” is a song sung every Sunday. For
that reason members might no longer appreciate the power of its message: both
personal and universal. We reject the Christ in the form of the guru and in the
abstract, indwelling form of light by our daily busy-ness, indifference, and
material desires and fears. While we may yet be fickle, God remains forever our
Friend.
But in the end, Jesus is transfixed into pure Light and in
the company of his eternal guru, Elijah, and the great prophet Moses. Resurrected
is his soul as master of life and death. This is the promise of immortality
given us by the saints and masters in every religion. This truth is one and
eternal. We need only realize our oneness with it in our deathless Self within!
Swami Hrimananda
