Welcome all of you for our Shri Arbindo's 150th year and we are very happy to see you all for our master's birth celebrations. So I'm going to give just a few introduction, what is Integral Yoga and how we take this week towards unfoldment of Integral Yoga, ways and means and how to reach the higher consciousness through our distinguished speakers. Today first we have Dr. Deshpandeji here amidst us. So we kindly welcome him and we start with Shri Arbindo's Integral Yoga. Shri Arbindo began the practice of yoga in 1905. In 1910 he came to Pondicherry. During his 40 years in Pondicherry he worked out a new system of spiritual development which he called the Integral Yoga. In 1926 mother founder and ashram where all life is yoga could be put into practice. Among Shri Arbindo's many writings of the Pondicherry period the best known or the life divine, the synthesis of yoga and Savitri. In the yoga practice here the aim is to raise to a higher consciousness and to live out of higher consciousness alone. Not with the ordinary motives, this means a change of life as well as change of consciousness. Life must be accept and therefore it has to be a field of experience and to get free from ordinary desires. This yoga aims at conscious union with the divine in the super mind and transformation of the nature. The objective of this yoga is to transcend mind and enter into divine truth of Sachidananda which is not only static but dynamic and raise the whole being into that truth. So let us see our speaker Deshpandeji. He recently received Arorathna award for the year 2022 for his invaluable contribution in the fields of research and education. He joined Shri Arbindo ashram Pondicherry in search of deeper academic and spiritual matters. Here in ashram's international centre of education he taught at higher level for 30 years physics and a few other subjects such as astrophysics, Savitri, the future poetry, science and society. During the same period he was for 8 years the associate editor of Mother India, a monthly review of culture published by the ashram. Dr Arvay Deshpande did the science studies from Osmania University, Hyderabad, India in 1955 and joined as a research physicist at Tata Institute of Fundamental Research, Mumbai in the same year. Later he worked at Lawrence Radiation Laboratory, Berkeley, California, USA and Baba Atomic Research Centre, Mumbai. The Arorathna award for the year 2022 for his invaluable contribution in the fields of research and education. While at Bach, he was in the beginning engaged in particle detectors and crystal growth, later he headed several atomic energy and space projects in advanced technology. He has some 50 research papers published in national and international scientific journals. He was also an examiner for number of PhD thesis in the field of solid state physics. Deshpande's literary activities include writing poetry, essays, articles, book reviews, comments which have been published in a few cultural periodicals. He is a published author of some 50 books of poetry, literary criticism, Arab-Indonian philosophy and culture, two reflective books on science and related social matters. So, Arvay Deshpande's anthologies of poetry includes titles like, All is Dream Place, Nod of Nanti, Collective Poems, Narratives, Collective Poems, Musings and Marbles, and title goes on. So, without much ado, I'd like to invite Deshpandeji to start today's topic on Savitri, the secret knowledge. Should we start? We should meditate on a most auspicious form of Savitra. On the light of the Supreme, we shall eliminate the truth. Light of the Supreme, we shall eliminate the truth. Light of the Supreme, we shall eliminate the truth. This is Sri Avanthu's Gayatri Mantra, given in the mid-1930s. He has simply written down on a piece of paper, but fortunately that piece of paper has been recovered and that is available in the Ashram archives. This mantra, Gayatri Mantra, Gayatri Mantra in Sanskrit poetry, consists of exactly 24 syllables, 24 words, and there is something significant about it, in the sense that we have now, Sri Avanthu Savitri, exactly running into 24,000 lines. So, 24 words of the Mantra, syllables are published in the Mantra, 24,000 lines. In other words, Sri Avanthu Savitri, his cell is the Gayatri Mantra, Gayatri Mantra. And what does the Gayatri Mantra do? It will eliminate us with the truth. It will eliminate us with the truth. That is the power of Gayatri Mantra. The mother speaks of Savitri as supreme revelation of Sri Avanthu's vision. Certainly it is a revelation, but the word revelation does not simply mean something like which is said, the power of the mantra, the power of the revelation is to realize what it sees, to bring that thing into manifestation, to bring that into our daily life, make our life itself divine life. That is what the mantra does. Power of mantra means that realization of what it speaks of. So when Sri Avanthu speaks of, the supreme light shall eliminate us with the truth. Yes, here it is, Savitri. And Sri Avanthu had taken very special, I may say, interest in writing Savitri. The word writing is a very poor word, but in giving Savitri. There were some earlier drafts of Savitri, but the real work started after 1941 on Savitri. You can say that almost last ten years of the period when we have the complete illustration of Savitri in a concrete form of world, a volume, a book. There is something important in this date. It is said that the first draft of Savitri was made by Sri Avanthu when he was in Baroda, long before he came to Potigyri. He had made the first draft. But I will say this is the difference of world and heaven between that draft. Even between the earlier drafts of Sri Avanthu and what he started writing after 1941. The composition of Savitri in the last ten years roughly is putting the record of his illustration in a concrete form by which the Divine can manifest in our life. The important point is by that time Sri Avanthu's own Yogasadhana, Yogatapasya, I will say, had advanced to such an extent that the supramodal light started working in his physical. The supramodal light and force started working in his physical body. And it is that realization which you see in the text of Savitri, if you want to call it a text of Savitri, reverential Savitri, in fact on 8th August 1938 he had the first realization of the supramodal light entering into the brain, into his throat, into his heart, into his feet, into his entire physical body. What he calls in his sonnet, the golden light. The golden light came in my brain. The golden light came in my throat. The golden light came in my heart. The golden light came in my feet. The supramodal light had started entering into the physical. That is absolutely the most unique thing that has happened ever in the spiritual announce of the supramodal light, the divine light working in the physical. The physical was not aware of it. But now suddenly it has started opening to the higher power, supramodal power. And therefore the word Savitri which comes to us comes with that power, supramodal light and force. Therefore I say the last 8 years or 10 years of Savitri composition are altogether of a different kind than all the previous works of his, not only his works but also the works of the entire spiritual history. It makes a difference altogether. Now to enter into that kind of Savitri, what we mortals can do, small creatures with all our limitations, with ignorance, death bound, what can we do? But that is precisely the reason why we should go to Savitri, enter into his spirit. We need not do anything. We need not really do anything. Savitri will do everything for us. The power of realization, the power of that word is said that it will do whatever has to be done in us. We will not be even aware of it that it is happening in us. That is the beauty of the whole thing. When a few days ago Umaji came to my house to invite me for the talk, she gave me this beautiful invitation card. It's so beautifully done. And I was stunned, happy, very jubilant to see on the very first page, a little fighting also. On the very first page my talk here today, I didn't realize that this will happen at that time. But the greatest surprise for me was the topic she has mentioned. She has already put in this leaflet the secret knowledge. I was stunned to see that word, the secret knowledge. I don't know what prompted her, what inspired her, what made her choose this particular theme for me. Perhaps it is intended to be that way. And it is not an easy job for me to do proper justice for a topic like this, the secret knowledge. But before we go to the secret knowledge, by the way this word, this canto, secret knowledge, is the fourth canto in book one, the book of beginning, fourth canto. And just to say very briefly in the beginning, in the earlier canto, canto three, Ashopati, the protagonist of Savitri, has already the reservation of his soul's liberation from ignorance. His soul is free from ignorance, that is a major achievement. And that it happens right in the beginning, right in the beginning it happens. His soul is free of ignorance, what people would call moksha. He has already got moksha at a very, very early stage of his Yuga Tapasya, Ashopati. But the purpose of moksha, release of the soul from ignorance, is in a way you are speaking, a small beginning, it is a small beginning. There are heights and heights of beauty, grandeur, loveliness, knowledge, power, truth, sweetness. Heights and heights, moksha, release them, release them for what? To be there, that is not going to serve the purpose of this creation. If you want to realize beauty elsewhere, joy elsewhere, sweetness elsewhere, what is this use here? It has to come down into our physical, into our physical. And that is the entire Yuga Tapasya of Ashopati. The lion says, I will read those three lines when he had his first realization. A static oneness and dynamic power, static oneness and dynamic view. The sand in him, in integral Godhead's seals, they are the integral Godhead seals. Static oneness and dynamic power. His soul and body, it's not only his soul and body, take that standard stamp. Static oneness and dynamic power, take that oneness stamp. Now, this is the beginning of realization of Ashopati. It is also autobiographical. It is the beginning of Shivando's Yuga Tapasya. As early as 1908, he had these two realizations. Static oneness and dynamic power. He had these two realizations. Within few months of each other, the first realization, static oneness, that was in the first week of January 1908 in Baroda, January 1908. In fact, maybe around first or second of January 1908 in Baroda. Static oneness. What he calls elsewhere as silent mind. He got a silent mind around that time. Static oneness. Passive Brahman, if you want to say metaphysically, passive Brahman. That is the first realization. The second realization, dynamic power. All this is the play of that power. She is working here everywhere, dynamic power. That realization he got within few months of the first realization. It was in Alipubjil, when he was incarcerated as an under trial prisoner, maybe around August 1908, when Krishna would come and guide him. What to do at all? He used to see everywhere, nothing but that presence. Everywhere divine presence, dynamical way. Whether it is the prisoners there, whether it is the ward, whether it is the official, whether it is the court justice, whoever, everywhere he saw only he, he, he. That is a dynamic power he has realization. So these two basicizations came to him in 1908 at such an early age, which otherwise take lives and lives to get accomplished in our spiritual pursuit. In fact, this is hardly any example, hardly any post-Vedic example. Vedic, I mean, all the period of regular, any example where a spiritual person has both these relations, some days in him, he may have experience of static Brahman, he may have experience of active Brahman, but both together, I think this is for the first time it is happening and that is the most unique kind of an experience. Now it is that which becomes the foundation for his yogic pursuit. Sri Avaladu's yogic pursuit. Ashopati's yogic pursuit. That is the foundation. Ashopati, or the legend, had his early experience, static oneness and dynamic power. Ashopati in Savitri and the symbol takes it further to realize this thing universally. What is here? Psycho-spiritual Sadhana of Ashopati. It has to become something for the universe, for the cosmos. For him, it is not necessary, but for his work it is necessary because his work is concerned with this world and he has to tackle the issue, this basic problem of this creation here. That is why it is necessary, you see, with this understanding of things. He gets the secret knowledge. Ashopati gets the secret knowledge. Once the soul is free of ignorance, then the secret knowledge has a meaning. Until then secret knowledge has no meaning. The secret knowledge is freedom of the spirit. Freedom of the spirit from the bondage of nature. Freedom of the spirit from the bondage of nature. That is what the secret knowledge is going to do to Ashopati. He gets all the intricate cars, relationships, the workings of nature in us and how to handle it, how to tackle the problems of this creation. Of that, he gets the knowledge. And that is what we have in Kanto 4 of Savitri, the secret knowledge. We will try to see some of the aspects of that in our own way, with our own foolishness of understanding. But maybe that could also be in one way or the other of some help. And that should be our satisfaction. I told you, Savitri runs into 24,000 lines. I got some statistics here. It has about 6,000 sentences. Roughly 24,000 lines. Although in the printed textbook, the first edition of Savitri, which came out during the time of Sri Aupadru, the first edition of Savitri, during the time of Savitri, has 23,800 and 11 lines. So it is a little short of 24,000. But if you see many of the lines which did not find, did not get incorporated in the final text, they are present in manuscripts. So if you really add up all that thing, we indeed have 24,000 lines of Savitri. 24,000 lines of Savitri, roughly 180,000 words. That is the kind of figure we get from that. 180,000 words. Compared with that, what we have in Kanto 4, the secret knowledge, there are eight sections in it, 214 sentences, 963 lines, 7,500 words. In the words, the secret knowledge consists essentially of 4% of the entire Savitri. The entire Savitri, if you take 100, then secret knowledge has a lot of 4, 4% of the entire Savitri. Yet, this is a very difficult Kanto. The secret knowledge is a very difficult Kanto. But the question is, what is not difficult in Savitri? Every Kanto, every line is a difficult line. It was the hour before the Gods awake. One of the most difficult lines in Savitri. There is not even one single complicated word in that. But the entire essence, the entire crux of the poem is condensed in one single line. It was the hour before the Gods awake. Not only it gathers up the whole theme of Savitri, it also displays the beauty of its magical composition. It was the hour before the Gods awake. The entire style of Savitri, poetic style of Savitri is present in one single line. It is a pentameter, pentametrical line. It was the hour before the Gods awake. Five feet, practically iambic and almost monosyllabic, except before monosyllabic throughout. Not only that, it is also what is called an end-stopped line. The blank verses of Savitri is end-stopped blank words. So that is the complication of one Savitri. If you want to start reading more and more of it, you see many, many, many layers of meaning underneath it. The first draft of the Secret Knowledge, I would say, was ready by 1942. It was first published as a festival in 1947. Then, of course, naturally, it also found its place. It has to be there in the first edition of Savitri, 1950. 1950 edition of Savitri, part one, came out in September 1950. So September is important. Since in September 1950, the first edition came out. In the verse, Shemundu has seen this thing himself, physically, in print. But later, we people started entering in different ways into Savitri. And we have now what is called the revised edition of Savitri, which came out in 1993. Between the revised edition of Savitri, which came out in 1993, and the first edition which came out in September 1950, there are 73 departures. Between the two texts of this candle, there are 73 departures. Most of them are concerned with punctuation, with capitalization, and a few verbal changes. Now, revised edition is a question of judgment by the readers. So we may give some value to it, we may not. The safest thing is, go. But the first edition was Savitri. The problem of Savitri is something blocking the advance of the Divine event. In the very first page of Savitri, I got a forwarding mind of night standing in the path of the Divine event. What's the Divine event? Supramantial manifestation. Supramantial manifestation, that is Divine event. Against that possibility of Supramantial manifestation, who is coming in the way? The mind of night. That is what it takes. It was before he got away. Across the path of the Divine event, the huge forwarding mind of night alone is standing on the path. Mind of night. What is mind of night? As I said, it's a very difficult thing again. What is not difficult in Savitri? This is one good example of it. But we can try to pick up his understanding by some other parallel features in his writings. Savitri speaks of the mind of light. With his experience of the golden light entering into this physical, what is happening is his mind of light has opened to the Supramantial light and force. What is mind of light? It is the physical mind. The mind of the very physical, material mind. It is the physical mind which is receiving the Supramantial light and force. And it is that which has started happening. Therefore, the mind of night we can infer is the physical mind under the subjugation of darkness. Controlled by darkness, the physical mind. The physical is the mind of the physical not opening because it is under the shadow, thick shadow of inconscience. And therefore, the entire Yoga Sadhana has to be focused on making this mind of night open, the physical mind open to the Supramantial light and force. Devanu says the Supramantial manifestation, Supramantial descent, is decreed in his small little booklet. He speaks of the mother. It is decreed that the Supramantial light will come down here. Who had decreed it? So obviously, Shri Mataji himself has decreed it. Shri Mataji himself has decreed it. That Supramantial manifestation has to be here. But the difficulty is this mind of night. And therefore from 1928 onwards, he said this thing decreed in 1928 in that little book, Mother. All his yogic trust must see how the physical mind opens more and more to the higher light, higher power, higher consciousness. That he has achieved in 1938. As I said, the golden light. But that is not sufficient. It is decreed, it is not sufficient. But how is it going to manifest? That is more important. Equally more important to see. That is the work of the mother. It is mother who is going to manifest it. He will decree. He will will it. He will put his yogic force in it. But the actualization of that on the physical plane here is her work. That is why she has to come down here upon earth and do the necessary yoga sadhana to see that what is decreed is realized in practice here on earth. The mother's agenda tells you many many many things of that kind. And we have to really read mother's agenda, mother's proper agenda, the essential agenda. You forget about the rest of the stuff. Essential agenda concerned with the physical work, physical transformation. That is what I call the essential agenda. That essential agenda has to be read along with Savitri. These two together have to be read together. Savitri and the essential agenda. In fact, in a way, if I may dare to say, the essential agenda spiritually goes a step farther than Savitri. If you really read it carefully, it goes a step farther than Savitri. We have not yet started reading agenda in essence at all. And I think we have certainly made Savitri as our scripture, as our book of study. We worship it also, but that essential agenda has to be joined with that. That is what I am saying. So it is to give us the agenda, the essential agenda, that she has to come down. Not in the transcendent. What is decreed has to be realized. So she has to take birth in this mortal world. She has to take mortal birth. She has to condescend to pass the portal to the death, to the portal to the birth. That is the death. Portals of the birth, that is the death. This is the sentence from the mother. Condescend to pass through portals of the birth, that is the death. She gives up her royalty, her greatness, and accepts the mortal birth. Mortal birth to alleviate the lot of this human kind of creature, of this woman. But how is she going to come down? She will come down only when the necessary ground is kept ready for her. The necessary ground for her work is ready here. And that is exactly what Asupati does. Savitri comes at the compulsion, at the compelling prayer of Asupati. A world's desire compels her mortal birth. That is how the third canto begins. A world's desire compels her mortal birth. Compels her mortal birth. Who is carrying that world's desire? Asupati. He is carrying that world's desire. To the supreme, to the divine mother, herself, and tell her, Madam, you please come down and do this work. He compels her. Now, in order to achieve that kind of power to compel her, Asupati has to do yoga, intense yoga. He himself is the delegate of eternity, Asupati. But having taken birth in this mortal world, accepted all his limitations, he has to get out of them by doing yoga. And then, approach her to take mortal birth. So, Asupati Sadhana consists of three aspects. One is the psycho-spiritual realization of him as an individual. Then, do Sadhana not for himself, but for the world here, for the mortal world. That is the thing. He does that thing. He climbs stairs and stairs and stairs, ladder, and approaches the divine mother. At her gate, he stands, she comes out from the other side, and they meet. And he prays, please, this is your job, and you have to come down and do the work. That is the intense little yoga of Savitri. So we have got individual yoga, universal yoga, transcendental yoga. This is three, four yoga Asupati is doing. So in that whole process, the secret knowledge he gets as a part of the individual happens at the very early stage itself, you see. And then, the whole thing. How is she going to do the work? Well, she is convinced we come. She has to find an occasion to meet death. Death, who is standing across the path of divine event, symbolizing that personality. You may say, the mind of night. Death, how is she going to meet death? That happens in the physical death of her husband, Satyavan. She comes here, takes mortal birth, and vows to be with Satyavan. Exactly one year after the marriage, Satyavan should die. This was the day when Satyavan must die. Savitri is now prepared to do that kind of a thing. Excuse me, how long I can talk? How long can I talk? 12.30? Okay, I will try to finish off. So, Savitri comes, takes the mortal birth, she meets Satyavan, derails the death of Satyavan, and that becomes the occasion for Savitri to encounter death. She wins victory over him, and the path is kept open. The gates are opened out. The gates are opened out for the life divine to flow upon Earth, not only the life divine. It is symbolized by the coming down of Krishna and Kali on Earth. Savitri is bringing down the solar Satyavan from the transcendent, and while she is coming down, Krishna and Kali follow her to Earth. Krishna, the being of Ananda, our bliss, Kali, the dynamic divine force which acts, realizes things here. So, they come down together as a part of that stream. So, that is the basic theme. Now, I will quickly run section by section through some of the broad hints of the canto. There are, as I said, eight sections in the canto. The first section is a short section, 30 sentences, 126 lines. And what does Ashopati see? There are all seen eagle peaks of power, eagle peaks of silent power, and moon-flame oceans of fatal bliss. Vidal consciousness opens the doors. That is what Ashopati, after his soul's release from ignorance, sees eagle peaks, silent powers, vital consciousness. He is what he is. Now, with that, from that height, he sees greater grandeur. Now, in contrast to this vision of Ashopati, ours is a very small, little way of doing things. We are bound by limitations. We are bound by limitations. And we don't have a perspective of things. But, fortunately for us, there is the Earth goddess herself. It is not we, the Earth goddess herself, is laboring for this human creature here. She is laboring for this human creature here. And her prayer, her longing, her vision, is for the sake of this man here, this mortal here. Vision, the supernal powers. That is what the Earth goddess' longing is doing for us. We are not aware of it. We get concerned only with inconsequential things, small, little, petty things. That is our smallness. That is our little vision. In contrast to that, the Earth goddess is doing, we are not aware of what is happening to us. In contrast to that, the immortals, maybe in your mind world, the immortals' events see something very significant happening at this point. The foreseeing event, they are seeing here coming the divine obstacle which is there, that is going away, and the foreseeing event is approaching very fast on Earth. That is what the immortals are seeing. Immortals, I would say, belonging to the online world. They see that thing. What do they see? They see a new creation. They see a new race arriving on Earth. We are not aware of it, but the immortals are aware of it. Not only they see these things, they also hear the galloping hoes of power approaching with a rider, a golden rider, approaching upon the Earth. This is what they are seeing, and we are not aware of it. So when they see that the superhuman rider is nearing Earth, they feel assured that the work will be done, the work is practically done, and therefore the return, they go back. The work is done and they return. The superhuman rider is coming, and the immortals are written back, back to the hills of God from where they had come. So that is the assurance they have given to us. We are not aware of it. In our limitations, in our ignorance, we don't know it, but something behind the scene in the occult, all these things are already happening. Why they are happening? Because the yogi has done his yogatapasya and prepared the whole work for us. So he sees the superhuman rider coming, and now things will happen in the museum. It is with that realization, Ashopati tells that we, in our consciousness, have no knowledge of the Supreme, we have no knowledge of the unconscious. In other words, the two ends of this creation, the super-conscious and the unconscious, we are not aware of them. What Rishi Vamadeva in the Rig Vida says, Rig Vida, he says, Rishi Vamadeva, his head and feet are invisible. His head and feet are invisible. So you have got the whole being there, but his head is super-conscious. His feet, the unconscious, they are not invisible. They are unknowable to us. Now it is there the whole problem is there. Now, Ashopati's concern is how to make these two ends meet, the super-conscious and the unconscious. The alpha and the omega, that is what the text is, the alpha and the omega had to join together in order to carry out the work further. The alpha and the omega must join together in that process. The supremacy is which are locked in the thoughts of God they will get revealed and we'll know what is going to happen here. Now, they will get revealed how there are two powers working together, conjointly, the twin power, presence and power, being and nature, Purusha and Prakriti, Brahma and Maya, they are working together constantly to see that these two ends get joined together. And their work is important and it is that work which Kuna is in, presence and power. There is a functional division between Shakti and Purusha. He has given the entire charge to her with full freedom to act in her own way. He stands behind to support her, to give her sanction, to give her approval. He witnesses the whole show of her because in that process he knows that it is he who is going to profit by her work.  Purusha and Prakriti. Now this Purusha and Prakriti it is Sankhya description but it is Sankhya of the book of Kanto 4 here is not the conventional Sankhya in the sense that conventional Sankhya believes in many Purushas and one Prakriti. Many Purushas and Prakriti. Shri Mataji does not say that at all, anywhere. So this is different kind of a Sankhya which is really being given to us for the first time in the spiritual history. Sankhya is as old as the Rig Vida in the Gita you have got a long discourse on Sankhya but this particular Sankhya is the one which brings out things differently altogether. Then we have behind this whole process the story of creation. How did the whole thing start? How did the whole thing start? And this in a way parallels what we have in the Rig Vida him Mandala 10, him 129 the aim of creation. In Savitri we have the full exposition of that him. What is left by way of hints that sacred has been disclosed to us by his cemento in Savitri in his canto. I will just read a couple of lines from that. The absolute, the perfect the alone has called out of the silence his mute force. See he is alone, absolute, perfect. He is by himself totally without a company. Totally non-manifest. Now out of his own being he has called his force. He has called his own. In the Greek mythology the birth of Athena is from the hands of Jews. She springs from the hands of Jews. Here this power of his is coming from his own body has called out of the silence his mute force and it is that mute force which is now active. The absolute, the perfect the alone has entered with his silence into space into manifestation. Because of her otherwise he remains totally non-manifest there but because of her he has come into existence. In other words the manifestation which he brings out is her creation with him there behind. With this creation of her she becomes the mother. The first mother this silence, this mute force becomes the mother and her first child of this silence is Sachitananda. Sachitananda is the first child of this lady whom the revealer calls Aditi. So she is the first her first child is Aditi. Now it is from this Sachitananda that the entire process of creation begins, begins, begins, begins Supermind and aspect of Sachitananda Sachitananda knows himself as Sachitananda by the power of his Supermind. It is Supermind which makes Sachitananda aware that he is Sachitananda. Now that creative power of Sachitananda of Supermind it is that which initiates the entire process of evolution and evolution.  But what? So that he may be many in his forms. Mahustram, Prajag, Aditi he may be in his many, many form that is the whole purpose behind the creation many form, in his form in his own way not as an individualism as a single. He want to be many each one having his own character his own personality his own individuality that is the whole process of manifestation and for that he wants to be many and he comes to this view. He has made this tenement of flesh the supreme non-manifest tenement of his flesh his image in human measure cast that to his divine measure we might rise that is the whole idea he has made himself cast himself into flesh so that the whole thing again becomes divine in evolution evolution are expressed in single line this transfiguration is us due to human a mutual depth binds man to the supreme his nature we must put on as he put us we are sons of god and must be even as he sons of god must become sons of god he is human portion we must grow divine so the purpose of joining these two alpha and omega is to reach this point in creation why alpha and omega should join together because ultimately it is this thing we should manifest for that for us it is a paradox that god who is all bliss should have created suffering and pain god who is immortal should have given death to us god who is all truth should have made falsehood here that is a paradox to us but the key for the paradox is god himself god has made that thing purposefully so that we become divine so that we become divine that is the whole purpose of his creation you see we become divine to be many bhausyaam prajaviti that is the simple reason for this creation and this was stated by the Upanishads bhausyaam prajaviti most stated by the Upanishads in Taithiriya Upanishad you have this phrase I want to be many from the non-existent I want to be many from what is not manifest from that I want to be many so that vision is there now the concretization now that vision we have to wait wait wait till the arrival of Shri Avento and the mother and we are at that juncture here bhausyaam prajaviti now the flame pioneers are descending down the amber stairs of life bhausyaam prajaviti is being realized in this age of ours we are so fortunate in that respect to see them now in order to do this work Ashopati has to move on to find one who can bring about this miracle Ashopati approaches the divine mother but before that he has to go through stairs and stairs and stairs he has to climb the staircase of this creation of this manifestation he described here as a voyager Ashopati described as a voyager he goes from sea to sea from land from sea to land and many many places like that can I find somebody here who can transform this world can I find somebody here in the world of matter to transform this, no can I find somebody in the world of life no, can I find somebody in the world of mind, no can I find somebody in the over mind world no, he has to go to super mind and he reaches the transcendental power there and there you know yes, if something can happen here it is from there from the super mental only it can happen therefore with that conviction with that realization he approaches the divine mother the whole scene of Ashopati as a sailor on the waters of existence here in cantus, in section 8 this is what we have got that is how the section ends you see well that is the broad summary of the cantus in 8 sections he sees glory there he sees the contrast here the models seeing the event coming down he sees the contrast between alpha and omega he finds out the solution lies in resolving that he knows the working of Purusha and Prakati he goes further up like that and then he decides the aim of creation yes it is God who has to do all the things here creation has to be resolved by God himself not we are only in that process now with this brief summary let me touch upon a couple of related aspects Savitri is a poem and we should not forget that Savitri is a poem even though right this canto at all the secret knowledge it is so heavily metaphysical as I said that metaphysics, spiritual metaphysics of this canto is the difficulty of this canto there are other cantos with other difficulties the difficulty of symbolism is there the difficulty of fate is there the difficulty of death is there all those difficulties are present all those difficulties are present but this particular canto presents the difficulty of the metaphysical mind and that has been resolved here yet although it is heavily metaphysical his poetry is absolutely over rate poetry what is he able to call the over rate poetry over rate poetry that which comes with silent mind it just comes down like a dawn sea of inspiration it is that which is what I got here now materially there are many beautiful things in Savitri I will just give a couple of examples in this particular canto I mean I will just give a couple of examples of that let me read a few lines our souls can visit in great lowly hours still regions of imperishable light all seeing eagle peaks of silent power and moon flame oceans of swift fatonous bliss and calm immensity of the spirit space mind with all that metaphysical load how the poetry kind of gets relieved of it something which comes out in a totally different way our souls can visit in great lowly hours great lowly hours silent mind visit what regions of imperishable light all seeing eagle peaks of fatonous bliss and calm immensity this is pure overhead poetry mystic poetry at its best and that is the beauty of this canto it is not really that metaphysics which matters but it is the power of the poetry which leaves you of that metaphysical burden which completely seems all seeing eagle peaks of silent power moon flame oceans moon flame oceans what do you understand by moon flame oceans I don't have to explain it you have to understand yourself moon flame oceans of swift fatonous bliss fatonous because it is an ocean moon flame swift moon soma bliss ananda moon flame oceans so there is a kind of a poetic quarence in the whole line and calm immensity that is the power of the poetry you have seen there is another one beautiful example our minds hush to a bright omniscient our minds when you see that bright omniscient they fall silent they become helpless our minds hush to a bright omniscient this is a very peculiar line in the sense that here our minds hush to a bright omniscient it doesn't say omniscient it is an adjective so here adjective is used as a noun hush to bright omniscient that is something particularly very powerful very different out of there and it brings a kind of an impact on you that omniscient is there you see our minds hush to a bright omniscient omniscient she and pyrrhic so like that there are many beautiful things but I will skip them and move on to another aspect as I said Savitri is a poem and Shri Mataji tells that the real poetry can come out only when there is true inspiration he says inspiration and poetic technique it is not the poetic technique so much one has to be a good master of poetic technique the poetic art but more than that it is the power of inspiration which brings its own technique that is what counts your most you see so the whole of Savitri if you see at its technique it is definitely overrated poetry and metrically it is absolutely perfect with such nuances and variations and that kind of thing but everywhere it is the inspiration which is force which brings the technique automatically into picture she will do writes about poetic art there are three intensities which are important the highest intensity or the rhythmic moment there is no poetry without rhythm highest intensity is rhythmic intensity then the intensity of verbal sense the sense has to be intense it should be meaningful stuffy luminously stuffy and then of course soul's vision of truth soul's vision of truth is to be a part of the poetic paraphernalia you see so rhythmic moment verbal and substantial thing soul's vision they form the natural elements of high poetry that is what we have got everywhere in Savitri and in spite of the metaphysical nature of this kanto it is so rich in poetry that is what I am trying to emphasize here see there is throughout in it it is kanto it comes from the over mental plane it is not always over mind lines but the over mental influence over mental apparatus is present everywhere you see there is a sound of silence sound of silence which fills the spaces it is the sound of silence which fills the spaces the sky and the earth they are filled with the sound I will quickly read the passage from Savitri it is a 14 line passage a single sentence running into 14 lines only the models on the deathless high dwelling beyond the wounds of time and space masters of living free from the bonds of thought who are overused of faith in chance and will and experts of the theorem of world need can see the idea the might that change times course come with light of undiscovered worlds here while the world toys with deep blind harm the galloping holes of the unforeseen even bearing the superhuman rider near and impassive to us then start to cry return to the silence of God 11.38 11.38 as lightning leaves as thunder sweeps they pass and leave their mark on the trampled breast of life this one single sentence in 14 lines and see the power of poetry and the variation theme swiftly changes from line to line half line here half line there completely sweeping throughout to see if you read this this particular passage repeatedly number of time you will see its power kind of makes impact on your very physical on your very physical that is the power of this poetry here you see there is a style of recitation in Sanskrit rendering what is called gana path gana path the repetitive recitation of words gana path now if you read this passage in gana style a group of people reading them in gana style you will see that the whole vibration is completely getting filled here the whole thing kind of vibrates with luminous density I will just give an example of this one how one reads this gana path only the mortals on the deathless eyes dwelling beyond the walls of time and space masters of living free from the bonds of thought already it has begun but if you read now in the gana style only the mortals on the deathless eyes dwelling beyond the walls of time and space dwelling beyond the walls of time and space only the mortals on the deathless eyes only the mortals on the deathless eyes dwelling beyond the walls of time and space masters of living free from the bonds of thought masters of living of living free from the bonds of thought, dwelling beyond the walls of time and space, holding the mortals on the deathless hide, holding the mortals on the deathless hide, dwelling beyond the walls of time and space. Masses of living free from the bonds of thought. See the accumulation of sound makes a kind of a physical impact on you. So that is the power of this poetry. That is the power of this poetry. Although this is a metaphysical canto, but it is tremendous sound and its impact. This subtlety and many sides of thought running through it is an absolute marvel, this canto. In the sense that the more we ponder on it, the more of the incoming truth of the truth world enters into our stuff. Realm after luminous realm opens in inner dimensions as much as the sublimity of highs that hardly our vision can reach all in wide and bright enthusiastic, joyous spaces. That is the power of authentic revelatory poetry. This is what the mortals have given us. All this is possible.  Yes, the writers coming. All this is possible because about the world stand the world creators. They are not sitting idle. They are not watching the game indifferently. They are involved directly. But who are the mortals? Who are the mortals? The Rig Vida speaks of our forefathers. Already we don't know the history of Rig Vida, which is at least 10,000 years old, Rig Vida. And the Rig Vida, she says, our forefathers, we don't know how far back, back, back we had to go in history. Are those forefathers who are coming here now, these immortals, those immortals, are they, those forefathers coming here? Or are they the beings of light in the ornamental world? Or are they the mighty gods who dwell in the infinity of the home of truth? Perhaps none. Those who are coming are the flame pioneers. Ashwapati, it is Yogatapasthya. In the house of the spirit has created a new world already, a new world already exists up there. And the problem, the issue is how to bring down the new world. It is from that new world these immortals are coming, not our forefathers, not our ornamental gods, not even the higher gods, but those beings who are present in the new creation up there, they are coming down and telling us, yes, yes, yes, get ready, get ready, get ready. Those are the immortals here. It is passage. There is one very powerful line. Will you excuse me to say a hope? To say a hope, that thing. Because I have made a fascinating point. I have scanned the whole passage and that is available in my notes also. Now, there is one line here. These immortals, they are here. Here, while the world toys on with the deep, blind heart, they hear the coming down of the Superman rider, all those immortals, they hear that and while the world, they are coming down. But we here toys on with deep, blind heart. That is our, we have to get ready for that. Now, this particular line, I'll scan it in a little unusual way. Here, while the world toys on with deep, blind heart, I will call it what is called a headless line. Headless line. This is a very typical example. So that is the art of poetry of Savitri. He uses every kind of possibility they are available. This is a headless line. Headless means the line opens with a single syllable as a foot, a single syllable as a foot and the rest follows. Single syllable as a foot, the line opens. So here, here, that is the single syllable. Here, while the world anapists, toys with crockery, toys on with its pyrrhic, deep, blind heart, three strong syllables with a deep, blind heart, what is called a molossus. Molossus.  Deep, blind heart, three powerful words coming together, you see. Headless line ending with a commanding molossus. A rare jewel indeed. That is the beauty of poetic art of Savitri, you see. Let me skip some of these things here. Now, this canto is preparing for the physical transformation. As I said, he has decreed this permittal descent. See the one who is now doing it forward. So the extension of this canto is in what they are doing now. And one of the first things which you say, the extension, the foundation of the secret knowledge is carrying her work into the agenda. That is, now the mother says, I will, I will read a small quotation from the mother, from the agenda. It was to realize the phenomenon of consciousness which you would have at the same time phenomenon of consciousness with two things, individual consciousness and the consciousness of the whole, the universal consciousness, individual consciousness and the universal consciousness. These are the, that is the phenomenon of consciousness here. A consciousness at the same time, individual and total and all this labor is to unite these two, to unite these two together. Two consciousness into one single, individual consciousness and the consciousness of totality to be united together. Now that is the real secret knowledge now. The secret knowledge which I got in Savitri has to be extended to this consciousness, single consciousness and the total consciousness to be united together for the individual consciousness. The thing is translated by time, etc. A new life and what will that bring? What will that new consciousness bring? That new secret knowledge bring, the secret knowledge will bring a new form, a new life, that is what the mother says. Agenda 30 October 1971. I am quoting from that. 30 October 1971 to acquire a new form and a new life. This is the deepest occult of the secret knowledge. If God's earth, if God's earth built in God's darkness, God's earth built in God's darkness, God lifted the burden of God's fate. So he is doing all that thing. God's earth built in God's darkness. God lifted the burden of God's fate. In facetube dynamics or the creative spirit, all that thing has to happen with that. It is the smile, the supreme smile, the divine mother's smile. It is a smile that will change the destiny of the world. The Surya Kichajara, the destiny that you own, the smile that will change the destiny of the world. It is Sri Avanthu who decreed the supreme change and his manifestation has been to work on the mother. This has already happened in the subtle physical. This has already happened in the subtle physical. Things had to get now prepared on this gross physical earth so that what has been kept ready in the subtle physical, both by Sri Avanthu and his mother, they are there, they are doing this work, they have created everything now. That which has to translate itself down on the physical. This has already happened in the subtle physical world. She, the sun world, who shall read read the earth soul to light and bring down God, bring down God in the lives of men. And God is now seated furnishingly, God is now sitting, that God is now sitting in the subtle body of the earth. She is the unavail supreme executive power of manifestation and she has taken upon herself that power of manifestation.  She has already, Sri Avanthu when he passed away, mother contacted him in the subtle physical and he told her she wanted him to come back. He said no. I will come back in a super mental body made in a super mental way. I will come back in a body made in a super mental way. That is the work, ready now. Now this earth, we creatures, we have to prepare ourselves, get ready to receive that grace, to receive that grace, to receive that grace, glory to them, glory to them, glory to them. Thank you very much. I hope you all enjoy the program. RYG's extensively we discussed about Savatri on all aspects in the life of, all life issues. Because secret knowledge too must be received with vastness, touching the power of Gayatri mantra where he starts as a first idea that is so among, inside us. So it is how the opening and preparing are parts of being with the union of the Divine. So then he moves to significance of the golden light, how it enters into Sri Arbindo's in his physical body from top to down. Same way he throws the light, it is open even for us his devotees and their aspirants of integral look. So then he spoke to us about to this experience what will happen when the light touches us, are we ready for that? He talks about the Nirvana experience of Sri Arbindo where the mind has to be silenced. Only then the idea of the light will seep into us. So beautifully he took us the journey how we have to prepare with our unity with our inner divinity and then through that how we have to receive in a quiet mind and silenced mind and then he talks about Sri Krishna's descent of in Sri Arbindo. So it is possible even for us that we may become the vehicle for the Divine descent into us and this is how he talks about everything in a very beautiful musical note. So it is like lullaby he took us to the journey and the real secret finally he talks about the real secret since it is very vast subject he tries to cover I have to thank him and ask pardon for that because it is a very big topic and big canto so he beautifully took us to the final one the real secret consciousness this is what we have to land upon what consciousness we should have and how we can have that higher consciousness to come into us and be the vehicle to do your work in the new world which has been started like it has been started so this is the message we want to give to the youth and all the aspirants youth in the sense it is not according to a biological youth the eternal youth where Sri Arbindo and mother insist on we all are youth always so it is for us to prepare and this talk will be the there is going to be a link throughout this week so tomorrow we will be having our dear Mala ji is here she is going to talk about how can we inculcate that in a scientific way it is a yoga of psychology or her way of talking to us and it is her day so I request you all to come and join in this feast of integral yoga all this week thank you so much we have coffee


Welcome back to our lecture series math 4230 abstract algebra 2 for students at Southern Utah University. As usual, I'll be your professor today, Dr. Andrew Missildine. So as you recall, in lecture 16, we talked about the idea of a unique factorization domain. In lecture 17, we're going to continue this discussion talking about principal ideal domains and the two concepts are related to each other. We'll define what a principal ideal domain is just one second. It is in fact going to be a domain, so an integral domain meaning that we have a commutative ring with unity such that the cancellation axiom is satisfied, there's no proper divisors of zero. You recall that a unique factorization domain said that it's an integral domain for which all non-zero, non-unit elements of the domain have a unique prime factorization. And this is deeply connected to the idea of a principal ideal domain, which we will prove that at the end of lecture 17, not in this video though. So let's get to the titular topic here. We say that an integral domain, D, is a principal ideal domain, often called a PID for short. If all of the all of the ideals in the domain are principal, remember a principal ideal meaning that particularly in a commutative ring will be ideals of the form. So we denote it as this, we'll use in the same notation we did for cyclic groups, right? It's the ideal generated by a single element in a commutative ring with unity. The principal ideal will look like everything of the form a times r were r is an arbitrary element of the ring. Some people will of course denote principal ideals using parentheses, but we made the choice in this lecture series to stick with these bracket, these angle brackets for principal ideals. Now have we seen principal ideal domains? Yes, yes we have. In fact, the poster child of a principal ideal domain is going to be the integers, which using the division algorithm we've argued that every ideal in the integers has to be a principal ideal. A similar argument can also be used to show that the Gaussian integers z join the imaginary unit i also forms a principal ideal domain. Every ideal in the ring of Gaussian integers can be shown to be a principal ideal. And again, the main reason for this is because alternative version of the division algorithm is applicable in the ring of Gaussian integers. And we'll see in fact in the next lecture, lecture 18, that any ring that has a division algorithm is necessarily going to be a principal ideal domain. But that's something we'll talk about of course in the next lecture. If we look at our examples, z join the square root of negative three. This was an important example for us because this was an example of an integral domain that was not a unique factorization domain. And we showed that it wasn't a UFD because it didn't have unique GCDs or LCMs and things like that. Properties that a unique factorization domain had to have. It is also true that this domain, this integral domain z join the square root of negative three is not a principal ideal domain. And the issue comes down to sort of the same thing about GCDs that if you take the ideal generated by four and two plus two times the square root of negative three. If this ideal, which is clearly generated by two elements, if it was generated by a single element, then that single generator would have to be the GCD of four and two plus two square root of negative three, which we showed in a previous video that, in fact, those two elements do not have a GCD. So that's why it wasn't a unique factorization domain. And this is actually sort of a foreshadowing to what we're going to see at the end of this lecture here that every principal ideal domain is actually a unique factorization domain. Because, among other things, the principal ideal property in a situation like this would enforce the existence of a GCD. So if you don't have GCDs, then you can't be a principal ideal domain, okay? So let's mention a proposition here about principal ideal domain. So let D be a PID, and suppose we have two elements, A and B, that belong to the domain here, then the greatest common divisor, and likewise the least common multiple, of A and B exist. And in particular, the greatest common divisor D can be written as a linear combination of A and B. So this is a property that we used all the time back in Math 42.20, Aptac to Aldera 1, for which, if you took two integers A and B, that we would commonly use the fact that the two numbers could have its GCD expressed as a linear combination of the two numbers A and B. This is a property that's demonstrated by all principal ideal domains. The proof of this proposition, I'm going to leave as an exercise to the viewer here. Another important property about principal ideal domains is the following. Let D, again, be a principal ideal domain, and consider an element P that generates a non-zero principal ideal in the domain here. We claim that this principal ideal generated by P is a maximal ideal if and only if P is an irreducible element. So remember what the vocabulary there means. So what does it mean to be a maximal ideal? A maximal ideal means that if you take the whole ring and you take this maximal ideal, if there's any ideal that sits in between the maximal ideal and the ring itself, then it must be that the ideal is equal to the maximal one, or the ideal is equal to the whole ring itself. So that's what a maximal ideal is. What does it mean to be an irreducible element? It's called an irreducible element has to do factorizations. If P is equal to some product A times B, then what has to happen is that one of the factors had to be a unit, and the other ones it's associate, or either A or B was a unit in this factorization. The other one that wasn't a unit would have to be an associate of the number P in that situation. So it turns out that the concept of divisibility is closely related to the concept of ideals inside of integral domains. And so we can often make connections between ideals and factorization, such as in the principal ideal domain, we get that maximal ideals, because every ideal is principal in this domain. Maximum ideals coincide to its generator being irreducible. This is an if and only if statement would go in both directions here. So let's first suppose that the principal ideal in question is a maximal ideal. We have to then show it's irreducible. So consider a factorization of P into two elements, A and B. Well, since P can be factored as A times B, this product, A times B, belongs to the principal ideal generated by A, of course. And therefore that shows us that the ideal generated by P is contained inside the ideal generated by A. But okay, P was a maximal ideal. So if you have an ideal that sits in between a maximal ideal and the whole ring, then it has to be that the ideal equals P or the ideal equals the whole ring. Now in the first case, two principal ideals are equal to each other if and only if they're associates to one another. So if P and A were associates, that would imply that B was a unit. Thus showing, okay, so that's the first case. The second case is that if a principal ideal is the whole ring, in particular since this is a ring with unity, the number one is in there, that could only happen if A was a unit. So in either case, either A is a unit because that principal ideal is the whole domain or B is a unit because A and P are associates of each other. And as this was an arbitrary factorization of the element P, this then indicates that P was an irreducible element. So maximal ideals generated by a maximal principal ideals always coincide with irreducible elements. So let me kind of highlight something before we go down to the next part. In the first direction of this proof, we did not use that the domain was a principal ideal. We just started a principal ideal domain. We just started with a maximal principal ideal. And so I want to sort of summarize that this important proposition, which could be useful in other contexts. We have that a maximal principal ideal P implies that P is in fact irreducible. If we have any commutative ring with unity, we can make this argument here. A maximal principal ideal always coincides with an irreducible element. The importance, of course, of a principal ideal domain is that the reverse direction also happens, that all ideals are principal. And let's see that direction just right now. So this time, suppose that our element P is an irreducible element. And then we want to show that the principal ideal generated by P is maximal. So consider an ideal that sits between this principal ideal and the whole domain itself. Well, now since the domain is a principal ideal domain, this ideal that sits in between the two itself must also be principal. So it's generated by a single element called that generator A. Well, since the principal ideal generated by P is contained inside the ideal I, that means the element P belongs to the principal ideal generated by A. For which if P belongs to this principal ideal, there has to be some element of the ring called B such that P is equal to A times B. So notice we did have a factorization of P now. Well, P is an irreducible element. And so the only factorization that could happen is that either A is a unit or B is a unit. If A was a unit, like we argued similarly, then this ideal would be all of the domain D. The other possibility is that B is a unit, which then would imply that A is an associate. And if two elements are associates, then their principal ideals are the same. Okay? And so because A is an associate or a unit, being associates means the ideals are the same. If A was a unit, then it's the whole ring. And so that's the only possible ideal that can sit in between the two. And therefore we see that this is in fact a maximal ideal. Okay? A very important corollary of this result is that if you have a principal ideal domain D, every irreducible element inside of the domain is also a prime element. And so I want to remind us what we've seen before. The notion of a prime element and an irreducible element because of this corollary, which again we'll prove this in just one second, is actually in fact equivalent inside of a principal ideal domain. Because we already know that in an integral domain, primes imply irreducible. So prime elements imply that they're irreducible elements. This of course is in any integral domain. That's always the direction that we have. We've proven of course in a unique factorization domain that every irreducible element is prime. So that's why we're justified in calling it a prime factorization as opposed to irreducible factorization. This same property is also true for principal ideal domains that every irreducible element is in fact a prime element. And so the proof of it is very short compared to what we just did, which is why we call it a corollary. So let's take an element P, which is inside the principal ideal domain that is irreducible. By the previous result, we then see that the principal ideal generated by P is a maximal ideal. And by a previous result, not in this video, but in a previous lecture in this lecture series, we show that every maximal ideal is a prime ideal, which then means that the principal ideal generated by P is a prime ideal. But principal ideals that are prime are necessarily prime elements, and therefore proving the conclusion there. Every irreducible element is a prime element in a PID. So in PIDs and in UFDs, primes and irreducibles are equivalent to each other. But in general, we have seen examples of, we've have seen examples of, I should say irreducible elements that were not prime. Of course, our favorite example is this integral domain, Z adjoin the square root of negative 3. We did produce irreducible elements in that ring, which were not prime. As such, one of those elements we produced was the element 2. The number 2 is an irreducible element in this ring, but it wasn't prime. So we take this element here, the principal ideal generated by 2, it's in fact not a maximal ideal, because of course you can extend it into 2 adjoin 1 plus the square root of negative 3. This isn't the whole ring, but it's also a larger one. It's not a maximal ideal, but it is generated by an irreducible element. So in general, if you have an integral domain, irreducible elements don't necessarily coincide with maximal ideals, but they do in fact do that in a principal ideal domain.


All right guys welcome back to Comet Geddon. I'm Shannon and today I'm going to be reviewing GI Joe 25th Anniversary Cobra Saboteur codename Firefly My brother-in-law got this for me a few years ago for Christmas. I have yet to open it So at once I go over the packaging I Will finally Open her up Take a look inside Now as you can see it does have that clamshell packaging with the card stock on the back nice picture of Firefly if you recall Firefly was in the GI Joe rise of Cobra series or movie. He played a pretty important role The toy is made by Hasbro See you have here This looks very similar almost identical really to the original card stock design of the old toys on the back we have The different toys in the line beach head Firefly Lady J Cobra red ninja buzzer Sergeant stalker Serpentor shipwreck Cobra enemy Sartan and then a few Others that are on the way You also have his file card here, which you can cut out There's the GI Joe Club Which you can go online and join? So let's read about Cobra Saboteur codename Firefly File name unknown primary military specialty sabotage and demolitions birthplace classified No one knows what his real name is or what he looks like Firefly is known by his work expert in all NATO and Warsaw packed explosives and detonators always places his charges in the one place that affords maximum damage there is no question about his Infiltration skills since no one has ever reported seeing him enter or leave any target area Even Cobra commander doesn't know much about Firefly His fees are paid into a numbered Swiss bank account and are always payable in advance He makes no guarantees and gives no refunds As you can see the original Hasbro logo there the barcode more team members on the way each sold separately 2007 25th anniversary 1982 to 2007 you can go to gi joe.com for more very cool the Packaging along the edges and the GI Joe logo is More of an aluminum look a metallic type look So let's go ahead and open this beast all right, so Like I said he comes in the clamshell packaging Just opens up like all GI Joe figures he comes with his backpack Looks like a maybe a flamethrower or machine gun pistol a Radio take these out Try and be very careful since I have yet I have not opened a GI Joe package in years. It has literally been years Probably well over a decade since I opened a GI Joe package Maybe even longer So here we have it comes with His little stand so you can see the Cobra logo on there with a peg codename Firefly and As with all GI Joe figures he has two peg holes in his feet so that he can Stand on Very easily like so First let's go over. Oh One of the improvements they made from the original 80s line is this piece here. They all used to be one complete piece they did improve it because What was always the first thing to break the thinnest parts of the weapons? So they made this collapsible you can Pull it off and reattach it and it's secured by two pegs And there's holes, but you attach it just like so. I believe this is just Standard machine gun the attention to detail is amazing They have the holes in the barrel. They've even included The trigger in there even though it doesn't move. It's still cool the other side Looks about the same Then we have here demolitions backpack Comes with a radio transmission transmitter for setting off explosives. You got some plastic there Got my dog playing in the background A few other technical spots a compartment which Does not open. It's just there for decoration really a few knobs or whatever and it does go Directly into his back There is not Or no, there is a hole in his back but this mainly goes through the hole in his Belt straps, that's pretty cool Then you have his pistol Again, they added the trigger on here They made these weapons look as real as they possibly could which is just amazing and then you have his Radio It actually looks more like a Old 80s early 90s cell phone. I believe it's just a radio Let's go over the look of this guy so as you can see he's in his Full face mask all is showing us his eyes kind of looks like a ninja to some most respect His head is On a ball joint it can move up and down side to side rotate all the way around It is hindered slightly By the belts across his upper body. He's got some grenades on there some pouches and whatnot Sorry, my light just went off. So Let me adjust real quick. All right, there we go. That's a little bit better All right still some shadow, but what are you gonna do so? Got that nice little camo stop gray and dark gray camo style all over Got the Cobra logo on his shoulder the mask seems to be a Protective mask with extra padding in it Apparently Probably to keep him from Severe injury if he gets caught caught in one of his explosions So the arms do move Up and down Out just like usual G. I Joe figures Rotate all the way around you have Elbow swivel wrist swivel Moves all the way around and that's on both arms and Both wrists He's got the ad crunch feature on a ball joint Which his chest moves not his waist which is pretty cool Pretty much what to expect from a G. I Joe He's got his legs can move a little bit out It'd be pretty hard to get him in a sitting position because His leg is hindered a little bit just by the design Same way with back and move do the split pose Which once again it is hindered slightly it can't go he can't go all the way down double knee joints Which is something different than we've come a become accustomed to in G. I Joe's it used to be just a single knee joint He used to be just a single knee joint But now they've turned it into a double and then They have changed it to where you got some ankle rotation and The foot can move up and down as well and once again that's on both legs He's got here a Holster for his pistol It doesn't look like it goes all the way in though Maybe it could possibly be for his phone, but Pretty sure it's for his pistol. It's got to be for his pistol. He's got a an unremovable knife tucked into his boot.  We know and no one is half the battle And of course if you like this video make sure to hit that subscribe button Make sure you hit the like comment below and share with your friends