I have been wanting to do a deep dive on the Bhagavad Gita for years. This rich text is often called the “jewel” of the Mahabharata and can be kind of intimidating to talk about. There is so much to cover. That’s why this podcast will be the first in a series about the Bhagavad Gita. We’ll start with exploring the profound themes of this amazing text and contrasting it with the Yoga Sutras. We’ll talk about how the dialogue between Arjuna and Krishna serves as a guide for navigating our own moral dilemmas.
Listen and learn:
🔹How the Bhavagad Gita’s key themes differ from the Yoga Sutras
🔹Why Arjuna’s internal conflict represents our own struggles
🔹The complexities of Dharma – it’s not as simple as you think!
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🎧 Also Listen to:
#279 – Yoga Sutras of Patanjali Summary – BOOK ONE Explained
#282 – Yoga Sutras of Patanjali Summary – BOOK TWO Explained
#283 – Dismantling the Kleshas: The Actual Aim of Yoga
© 2025 Uplifted Yoga | BrettLarkin.com
Transcript:
Brett:
Hello, Yoga Family. Today is a super exciting day because we are here to dive into chapter one of the Bhagavad Gita. This is something I’ve wanted to do for a very long time. I, in typical me fashion, am working with about four different translations. I’ll read from different ones. We’ll stop, we’ll talk, we’ll debrief, we’ll come back together. I have the Bhagavad Gita by Barbara Stoller Miller. You may remember her from…
the Yoga Sutras episodes that I did where we read the Yoga Sutras together in various translations. So Barbara is kind of our cut and dry traditional translator. Love you, Barbara. Then we have God’s Song by Amit Majumar. He, I would say, a more, he’s kind of like our newer.
Renegade translator.
Then we have a verse by verse commentary by Eknath Eshwaran. Love his work. And then of course I wanted to have a translation by a traditional Swami as well. So we have the Bhagavad Gita as it is.
I will put these in the show notes and I, of course, encourage you to look at chapter one of the Gita yourself sometime this week.
You do not need to have it in front of you to enjoy this podcast episode. In fact, the whole point is that if you don’t ever want to look at it, I’m going to kind of talk you through it and read parts of it to you. But if you do decide to read it, you could pick up two translations. So that is my big pro tip for you. Always look at two translations of whatever you’re reading, whether it’s the Upanishads, the Sutras, the Gita.
I’ve pretty much made that a default practice that if I am reading really anything, I need to see two translations at once. I’ve even been doing this with the Bible. It’s interesting, you you’ll be reading along and things will basically be the same. And you’re like, why am I reading two copies of this? And then something that one translator says will be very quite different than another. And it will spark often this like aha moment for you when you see the alternate translation.
I did do a pretty comprehensive overview of the Gita, kind of just introducing you to this body of work, introducing you to many of the key themes. So if you haven’t listened to that episode, it would be really great to listen to it first, but you don’t have to. You’re welcome to leap right in.
As a reminder, the Gita is a, it’s like this distilled gem that really summarizes or encapsulates the wisdom of the Upanishads. It sits within the Mahabharata, the great epic war poem from India.
And while the Yoga Sutras were really designed for people who are already quite advanced and deep in their spiritual practice, who were potentially already Yogis or Brahmans or Sadhus, the Bhagavad Gita is written in poetic meter, you know, so there’s rhyming and…
more flowery language, much more words than the Gita, or, much more words than the Yoga Sutras. We did a nice compare-contrast of the two texts in that overview episode. So we have a story, we have more words, and the backdrop is that there is a civil war happening.
We have Arjuna, who is the warrior, who is the stand-in for you and me, talking to Krishna, who is God, although we’re not going to realize he’s God until chapter 11 of the book. Today it’s just chapter one. And Krishna, I don’t believe, says anything in this first chapter.
At the moment Arjuna thinks that Krishna, his charioteer, well he knows Krishna very well but as like an uncle or a tutor or a teacher who’s been with him his whole life. Little does he know this great mentor uncle teacher in his life is actually an incarnation of Vishnu, the Hindu god who comes down to earth when there’s crises happening and has done that before.
So has come down incarnated as Krishna in this moment in time and that will be revealed in chapter 11.
One of the things that I like to do when I go through the Gita and that we’ll do as we go through chapter by chapter is to just look at how the different translators kind of name each chapter.
So Barbara Stoller Miller calls this first chapter, the first teaching Arjuna’s dejection. Hmm. Okay. Then.
Swami Prabhupada. I don’t know if I’m saying his name right.
The Gita as it is, the Swami translates chapter one, he calls it, observing the armies.
in God’s song.
Amit translates the first chapter. He calls the chapters sessions in his book, because it’s like sessions of dialogue between Arjuna and his teacher, Krishna. They’re talking to each other. So he calls session one Arjuna Despairs, very similar to Barbara Stoller Miller.
And Eknath calls this first chapter, The War Within.
You will be happy I told you all this later.
So there’s three people who speak in this first chapter, Dhritarashtra, Sanjaya and Arjuna. And you might be like, what, didn’t we just talk about how this whole book is a dialogue between Arjuna and Krishna on the battlefield? And the answer is yes, but in cinematic fashion, the first chapter actually opens not on the battlefield, but in the royal imperial palace where the blind king,
who, Dhritarashtra, and it’s interesting that he is blind because essentially he is blind to his children’s evil deeds. he, this is a civil war between two sets of cousins, if you didn’t listen to the overview.
This king can’t see, so he’s literally and metaphorically blind. So he says in the opening to his advisor Sanjaya, know, what’s going on in the battlefield? And if you listen to the overview episode, we broke down that first word of the Gita, which is a Dharma, very, very important.
Now, it’s actually interesting because I always thought that Dittorastra, the blind king and his advisor Sanjaya were like sitting like in a tent up in the hills away from, know, like high up where they could see the battle, kind of like a football stadium underneath them. Like they were somewhere safe where they were watching. And then that Dittorastra was asking his advisor Sanjaya to kind of narrate what was happening because he’s blind and can’t see. But
Upon further study…
They are actually nowhere near the battle. They are back at the Imperial Palace and this character of the advisor, Sanjea, is actually…
omniscient, meaning he was gifted divine sight by the sage Vyasa, and that allows him to see and narrate events remotely. So pretty cool. So basically they’re miles and miles away in a palace, but Sanjaya can kind of, I don’t know, close his eyes or project. And magically he can see everything that’s happening on the battlefield, even though they’re nowhere near that.
Some people say Sanjaya, this like represents the idea that he’s kind of a neutral party, that he represents the yogic ideal of witnessing something without attachment or actually being there. And he’s kind of a foil, remember that term from English class? He’s a foil or contrast character with Dhritarashtra, the blind king who represents ignorance and attachment.
So the whole cosmic drama that’s about to unfold, Arjuna talking to Krishna, Arjuna the charioteer who is us talking to Krishna, his mentor uncle, soon to be revealed as God advisor, is actually being narrated through Sanjaya.
So when I first read the guitar, was like, this is familiar to me, right? This idea that we actually open on.
a detached observer who’s sort of away from the action. I remember in high school I had to read Sophocles’ Oedipus Rex. So some of you might be familiar with that text, but it’s similar where the book, the drama, actually starts with the chorus of the Theban elders and they start commenting on the fate of Oedipus before the true story begins. We also see this in Agamemnon. The story kind of opens with a chorus. A chorus opens the play, setting the stage for the tragedy.
And then Shakespeare uses the same kind of narrative or chorus as a scene setter to open both Henry V and Romeo and Juliet, which is actually really similar in some ways because the prologue, the chorus in Romeo and Juliet states, two households, both alike in dignity. So it’s kind of framing this a little bit like a civil war, which is not that different from the situation we’re in here, we’re about to observe.
Civil War and then yet Dante’s Divine Comedy and also the Iliad Homer’s Iliad both begin with kind of neutral narrator narrators
In the Iliad, it opens with, with, sing, muse of the wrath of Achilles. So, so much like Sanjay are recounting the Mahabharata battle in, in many other texts, we see this, this same idea.
So why have a narrative opening? Well, it sets the scene, it provides some background, it gives occasionally, we’ll come back to, so we’ll kind of jump as we read the Gita, we’ll jump down into the battlefield being narrated by Sanjaya, and then we’ll come back occasionally to the Imperial Palace for a little break, which allows them to do some commentary from an external perspective.
Okay, so Dhritarashtra says, Sanjaya, tell me what my sons and the sons of Pandu, so that’s like his sons, the bad guys, and the sons of Pandu, the good guys, the two cousins who are warring, did when they meet on the battlefield of Kuru, on the field of sacred duty. So he’s basically saying what happened, what’s happening on the battlefield. And then Sanjaya proceeds to tell us.
You know, the Pandava army is here and he starts reciting the heroes on the side of the Pandus.
And I think when you’re reading texts like this and then you start seeing the list of all the names and who they were and what they did, your brain can kind of turn into mush.
But this cataloging of the warriors on both sides is actually really significant.
First of all, it’s bridging from the larger Mahabharata and showing the continuing storylines of a lot of these people. It’s also by listing everyone out, showing that the sides, the two sides of this army are actually really evenly matched.
So it’s kind of like listing all the athletes in a game in this historical level that’s tying it back to the Marha Bharata and showing us really the sweeping history of all the characters involved.
So we sort to see it, we see the battlefield and you know, the names of all these two people on each side from the perspective or through the vision of Sanjaya at the castle. And then the conch shell sounds. And it’s really crazy to me because a lot of commentary on the Gita, they actually skipped chapter one. Maybe because Krishna doesn’t say anything, they actually start like 10 lines into chapter two, but I actually,
love love love so much the first chapter of the Gita and hopefully you’ll see why by the end of the episode.
But anyway, we have this listicle of kind of like you’d list all the athletes in a game, right? Like here’s Michael Jordan, here’s this person, here’s that person. If you read it yourself, you’ll see that there’s these lists of all these names and all these famous warriors. And remember, this is an inter-familial war. So all of these people actually play together as kids.
So Sanjaya says, behold the great army of the sons of Pandu so expertly arranged by your intelligent disciple, the son of Drupada. So he’s listing everyone out. Here in this army are many heroic bowmen who are equal in fighting to Bhima and Arjuna, our heroes. So he’s listing everyone out.
for the king saying what happens. I’m on verse nine here. Now he says, there are many other heroes who were prepared to lay down their lives. All of them are well equipped with different kinds of weapons.
All of them are experienced in military science.
So this is all about context and talking about the Pandus, the Kuru dynasty.
And then we have our conch shell. Okay. So now we’re on line 12 and chapter one.
Bisma, who’s from the Kuru, Bisma, who’s one of the great valiant warriors, he blows his conch shell very loudly, making a sound like the roar of a lion.
Verse 13, after that, the conch shells, drums, bugles, trumpets, and horns were all suddenly sounded, and the combined sound was tumultuous.
Verse 14, on the other side of the battle, both Lord Krishna and Arjuna stationed on a great chariot drawn by white horses sounded their conch shells.
I am skipping some lines and verses and details because there’s so much detail. Like the conch shells actually have names.
Verse 19, the blowing of these different conch shells became uproarious, vibrating both in the sky and on earth. It shattered the hearts of the sons of Dittarastra.
So what’s amazing or what I love about this moment of the conch shells is it’s kind of like in filmography, right? You have kind of like an establishing shot or just like we talked about in all those other books like Shakespeare or Homer, we have the chorus, we kind of have this big, big picture and then we zoom in on the action. And so once the conch shells start going off, it’s like we kind of…
as an audience, we leave the Imperial Palace with Dittarastra and Sanjaya, even though Sanjaya is narrating for us. And it’s like zoom. We’re we’re sensorially pulled in to the battlefield where it’s like, and both sides are making this sound. And the conch is announcing the beginning of the battle. It’s symbolizing Arjuna’s duty as a warrior. And you can think of it as it’s like the call to duty, the call to Dharma.
the call to righteousness like we talked about in that overview episode.
The sound of the conch is also linked to the sound of om, which is that primordial sound of the universe, so it’s signifying cosmic order, which is what Dharma is all about.
And the conch also stirs what we’re going to see now Arjuna’s inner conflict, which is going to be the catalyst for him to have all these conversations with Krishna on the teachings of self-realization in the Gita.
So the conch shell is representing this transition from hesitation, which we’re going to see in a moment, to action. And it’s representing the beginning of this spiritual and moral awakening. There’s so much juice, which is why I’m just flabbergasted that so many commentators skip or don’t talk about chapter one.
So the conscious sound, Arjuna is seated in his chariot and he took up his bow, it says, and prepared to shoot his arrows.
But what happens in this moment of realizing that the battle is actually going to happen and the conch shell is going off, he actually looks at the people that he’s about to fight.
And he speaks to Lord Krishna, mentor uncle, soon to be revealed as God who’s driving his chariot. He says, please draw my chariot between the two armies so I may see those present here who desire to fight and with whom I must contend with in this great trial of arms.
So he’s like, let me get a little closer. He’s in the middle of the battlefield and see who it is that I’m about to have to kill.
So then in verse 24, Krishna drew up the fine chariot in the midst of both armies.
So this is very cinematic, dramatic, right? It’s like this chariot kind of, Arjuna’s chariot kind of breaks free from the formation. goes into the middle of the battle.
And then verse 26, there Arjuna could see within the midst of the armies of both parties, he saw his fathers, grandfathers, teachers, maternal uncles, brothers, sons, grandsons, friends, and also his fathers-in-law and well-wishers.
So basically he’s seeing up close, or somewhat close, he’s seeing his beloved family and friends, and it’s kind of dawning on him what’s actually happening in this civil war. would kind of be like looking at your own maternal uncle who you love and all your cousins who you grew up and played with. And now you’re literally about to face off with them on a battlefield.
Verse 27, Arjuna saw all these different friends and relatives. He became overwhelmed with compassion and spoke thus. Verse 28, my dear Krishna, seeing my friends and relatives present before me in such fighting spirit, I feel the limbs of my body quivering and my mouth drying up. Verse 29, my whole body is trembling. My hair is standing on end. My bow is slipping from my hand and my skin is burning.
I’m now unable to stand here any longer. I’m forgetting myself. My mind is reeling. I see only cause of misfortune, Krishna.
Verse 31, I do not see how any good can come from killing my own kinsmen in this battle, meaning his cousins, his family, nor do I have any desire for the subsequent victory or happiness.
So let’s pause there. Let’s look at another translation of this moment. And I want you to think about what potentially Arjuna is going through in this moment.
So this is the God song translation. These were the words that Arjuna spoke to Krishna where midway between the armies he had stationed the chief chariot. Faced with Bhishma and Drona and all the rulers of the world, Arjuna said, just look at this, a kudu family gathering, meaning like, look, here’s all my family. And then he lists a lot of people.
Pierced by infinite pity and despair, Arjuna said, seeing this, my own people, Krishna, drawing close because they’re dying to fight. My legs buckle and my mouth dries up and my body gets the shakes. My hair stands on end.
Gandiva that’s his the name of his bow the conch conscious have names the weapons have names don’t ask okay Gandiva falls from my hands like my bow falls from my hands and my skin burns I Can’t stand it anymore, and it’s like it’s like wandering my mind I see omens inauspicious ones, and I can see no good will come of killing my own people in battle
Okay, so time out, would you just like, when we look at these physical symptoms that are being described, what do you think is happening here? What does it make you think of?
If you need an additional review, can look at Barbara Stoller Miller. I want you to think about this.
She says, my limbs sink, my mouth is parched, my body trembles, the hair bristles on my flesh. The magic bow slips from my hand, my skin burns. I cannot stand still, my mind reels, I see omens of chaos.
does this or does this not fit the description of a modern panic attack?
I would argue, and there are scholars who are with me, that it does.
His limbs are shaking, his mind is numb, he feels like he can’t stand, he has dry mouth, he can’t breathe.
So this is more than despair, like his body is literally shutting down. And this is so relatable, right? Because of course he doesn’t want to do this. Of course he doesn’t want to kill his relatives. But as we talked about in the overview episode, the context here is that this is a righteous war. It must be fought, otherwise the results will be way worse than if he doesn’t do it.
And so it’s like that feeling I think so many of us can relate to. It’s like, well, we know something has to happen or we know something difficult has to happen, but then we come like face to face with it. And it’s just so much harder. I think in the overview episode, we talked about, you know, this battle and this kind of rock in a hard place that Arjuna is stuck between. kind of did an allude to
metaphor to Hitler, right? Another metaphor you could use here of being like stuck between a rock and a hard place would be like faced with a moment where you need to take your mother off of life support. So you love your mother, but she’s been in a coma or a vegetative state for many, many, many months, right? You know that the doctors have said she’s physically dead. You
the correct thing to do, maybe even in her will. You know, she said that she doesn’t want to be in the state for more than several months. It’s already been several months. You know, the right thing to do is to honor her wishes, pull the plug, free up that bed for someone else who needs the care of the hospital.
You’re being asked to do a duty essentially that’s extremely emotionally painful and difficult. I’m just trying to come up with like a relatable scenario for some of you listening that’s equivalent to what Arjuna is going through here.
And so maybe, you know, the day’s leading up to it, you’re like, okay, I can do this. you know, maybe your siblings are around you or your partner’s there, but then when it comes to the moment to actually have to pull that plug, you have an emotional meltdown or a panic attack or a breakdown because it’s just so painful.
doing the right thing, pulling the plug in our fake story here, or fighting a righteous war that involves killing half your family for Arjuna. These are very, very challenging things, but it’s the correct thing to do because if you don’t, the results would be worse.
Ahem.
In verse 35, Arjuna goes on to say, I do not want to kill them, even if I am killed, Krishna, not for the kingship of all three worlds, much less for the earth.
So some commentators, and I can’t say I disagree, but even say that he’s alluding to suicide in a way. He’s just like, I can’t do this. I can’t go on. I’d rather they kill me.
He literally says, I’m paraphrasing, but he says, if they were to kill me, that would be easier. So basically he’s like, I wish I could cop out. So really interesting here, and again, this is why I love chapter one, is because one of the things that…
all of us are dealing with every day on this battlefield of life are emotions. And emotions aren’t evil. Emotions aren’t a-dharmic, but they are, they must be controlled and nurtured by our intellect, which is the intellect is going to be the horses in the chariot metaphor. Again, look at the overview or listen to the overview episode for a little bit more about that. But so the, you know, horses also need to be loved and fed and exercised, right? So we need to
express our emotions.
Blah, back that up.
So emotions aren’t evil or a dharmic, right? Not righteous, but they do need to be controlled and nurtured by our intellect. So Arjuna is in this inner battle, which is so relatable. He has to do this thing he doesn’t want to do. And his emotions are saying, no, his emotions are saying, hell no, I don’t want to kill these people. Just like you might not want to pull the plug on your mom’s life support, even though they’ve told you there’s no hope. Like emotionally, the plug pulling or the actual…
fighting and killing half your family, like emotionally, that is a no. But intellectually, dharmically, Arjuna’s duty to order, to righteousness, is that he must participate in this war, because if not, the results will be far worse for everyone involved, because then evil would rule the world. Dharmically, it’s your duty as your mother’s daughter to do this, even though it’s very hard. So…
often something intellectually and dharmically is a yes, even though emotionally it might feel like a no. So this is the war that Arjuna is raging internally in chapter one. Emotionally, it’s a no to killing his cousins who he played with as a child, who he loves, but it’s this is a righteous dharmic war that if he doesn’t fight in the consequences are going to be way worse. These evil cousins will, you know, take over the world, take over the galaxy. It would be like
going back to the Hitler analogy, like if we didn’t, if you didn’t fight a Hitler type character and Hitler won.
So how relatable is this? Where it’s like intellectually, rationally, or for the greater good, for the greater order, we know something needs to happen, but emotionally, it’s difficult for us.
Like even maybe letting someone go, like firing someone if you’re a manager, right? I’ve had to do that. It’s really hard, like for the greater good of the health of the whole company and for everyone else who works there, you know, sometimes reorgs or changes need to happen emotionally. It’s like a no in the moment to have to let someone go or tell them that their jobs being merged with another job or replaced or whatever. But from an intellectual and also like
order standpoint, it just has to happen. So this is what’s so amazing about the Gita, because like here we are on this battlefield, which is metaphorical.
You open up this book and you’re like, this is just about like two warring armies. There’s all these names. This is weird. But you actually see in chapter one, like this is the crux of just very relatable problems that we all struggle with.
So we have our emotions, we have our intellect, and then kind of above our intellect, we have this sense of divine dharmic duty, right? What’s best for everyone involved, right? Which would maybe mean freeing up my mom’s hospital bed.
which would maybe mean putting her spirit to rest.
So reason I’m going into so much detail on this is because what happens in the next couple lines is Arjuna kind of tries to rationalize. kind of used, instead of using his intellect to encourage him to do the dharmic thing, which would be in this case to fight, he uses his intellect to argue for his emotions, AKA rationalizing. So in these really early verses of the Gita, we’re seeing like what the mind can do.
Like this is the tricky thing about the intellect, right? Is that it can argue for a Dharma. It can argue for non-righteousness. It can be like, well, I’ll just decide later. I’ll just plug, pull the plug later. I’m too tired right now or I’ll break my diet just this once or it’s okay. I’m going to stay up late a little bit longer. It’s all right. Cause I had a hard day today. Right? So there it’s like the intellect is, is arguing or working kind of for things that are not in our best interest.
And that’s exactly what the Gita shows us and illustrates next that Arjuna does.
So first of all, in verse 31, he says, I don’t even want to win this thing, right? Even if I win, I won’t be happy. Then in verse 36, he says, sin will overcome us if we slay such aggressors. Therefore, it is not proper for us to kill the sons of Dhritarashtra and our friends.
How would we ever be happy killing our own kinsmen?
Let’s look at Barbara’s translation of that.
She says, evil will haunt us if we kill them. Honor forbids us to kill our own cousins.
So he’s kind of using his intellect and his rational mind to say, you know what, killing people is bad, sin is bad. I can’t do this. He’s kind of making excuses, right? Like even if we win, we won’t be happy. Killing people is not allowed. It’s not a good thing to do.
So he goes on really till verse 43 or so, kind of rationalizing, saying like, this, this will, you know, everyone’s gonna end up in hell if we do this.
culminating in verse 45, which I think I maybe hinted at earlier, better for me if the sons of Dhritarashtra, weapons in hand, were to kill me unarmed and unresisting on the battlefield, which is basically, so he rationalizes for a while and then he’s like cop out. It would be like in the mother plug pulling story, just like telling your older sister, you know what, you do it, you have to do it.
I can’t do it. I’m going home. Even though she said she wanted me to do it or it’s my duty, like, I can’t. I can’t do it.
And what’s really interesting is Arjuna goes on, like for a while, with his kind of intellect rationalizing why he can’t go through with this. And Krishna just doesn’t respond. He’s just silent this whole first chapter, which is why think a lot of people maybe overlook or skip this chapter, because Krishna, the wise God, doesn’t speak. But I think this chapter, this first chapter is actually showing us how the mind works. And we’re getting to relate so much to Arjuna as a character.
by seeing how he’s struggling, seeing how he tries to rationalize it, how he tries to pawn off just not even doing this.
And then chapter one ends.
with Sanjaya saying, because remember Sanjaya is reporting all this, Arjuna having spoken thus on the battlefield, cast aside his bow and arrows and sat down on the chariot, his mind overwhelmed with grief. And this is a big deal. Like when he casts aside his weapons, that is like, I’m giving up. And then he, it’s kind of like he sits down and again, I don’t have proof of this, but I’m visualizing him, you know, kind of like putting his head in his hands and he’s thrown his weapons away and
Now you know why we had the different, you know, chapter names. Remember Arjuna’s dejection was Barbara Stoller Miller.
Arjuna despairs was the God song translation. The Gita as it is observing the armies was the translation, which is also, you know, absolutely accurate. And then Eknath Ashwaran saying that this is the war within. Okay. Like his name of the chapter, right? Because it’s like we start with the narrators and then we zoom in to this internal conflict and battle that is so relatable.
of the emotions, being so deep, the intellect kind of arguing for the, you know, how tricky the intellect is arguing for the wrong side of the emotions, us wanting to give up, the panic attack, the despair, the depression, literally, of like casting the weapons down.
Here’s the God song translation. Having said this in the war zone, Arjuna sat on the chariot seat, throwing down his bow and arrow, his grief stricken mind recoiling.
Boom. So that’s where this chapter closes. I mean, like talk about a cliffhanger folks.
what will happen next we will find out in chapter two. Keep in mind Krishna has not even spoken yet.
review you got to meet the characters of Dittarastra the blind king
who’s also the dad of the bad guy side of the family.
who’s also the dad of the evil cousins in the Civil War.
backstory is important because he’s also kind of the adoptive dad of Arjuna and the good cousins as well. So he knows all of these people very intimately. We have Sanjaya, kind of our omniscient narrator who kind of telepathically is telling us this story. We have Arjuna, the warrior prince who is the stand-in for us in the story, really in this place of desperation.
dejection, despair.
He’s experiencing a panic attack, an emotional meltdown, resistance to doing what is right, things that many of us may have experienced making him so relatable. And it looks like he’s given up, essentially. So.
Let’s see what will happen from here in chapter two. As always, thank you so much for being here to the very end. I hope you learned something in this episode. I’m hoping that these are enjoyable. Please always let me know. You can let me know at Larkin Yoga TV on Instagram. If you are liking these episodes, comments, ratings, reviews, especially on iTunes also means so much and help other yogis find the show. Share this. Share this episode with a yogi or someone
who you think would appreciate this information. You know, we’re right still at the beginning here and we’ll get to walk through this journey together.
and I’m sending you so much love from my heart to yours. Namaste.
