The story narrated in the film went like this: Narada, as usual, was having fun. (Narada is a demigod with a divine position - that is, he can communicate with man and with the gods as he pleases, and he serves as an intermediary, but then he likes to have fun!) So he was quarrelling with one of the goddesses, I no longer recall which one, and he told her ... (Ah, yes! The quarrel was with Saraswati.) Saraswati was telling him that knowledge is much greater than love (much greater in that it is much more powerful than love), and he replied to her, 'You don't know what you're talking about! (Mother laughs) Love is much more powerful than knowledge.' So she challenged him, saying, 'Well then, prove it to me.' - 'I shall prove it to you,' he replied. And the whole story starts there. He began creating a whole imbroglio on earth just to prove his point. page 216 , Mother's Agenda , volume 1 , 4th Nov. - 1958

I am going downstairs on the 21st, for Saraswati Puja. [[Saraswati represents the universal Mother's aspect of Knowledge and artistic creativity. On this occasion, Mother would go down to the Meditation Hall and the disciples would silently pass in front of her to receive a message. This year they would receive a folder containing five photographs of Mother. ]] They have prepared a folder with a long quotation from Savitri and five photos of my face taken from five different angles. page 27 , Mother's Agenda , volume 2 , 12th Jan. 1961

Something was obviously bent on preventing me from going down for the distribution. [[On the previous day, January 21, Saraswati Puja, Mother had given a message and photos to each disciple. ]] But by an act of will I went down. 'I will do it,' I said. But it was difficult. There were moments when it sidled up to me: 'Now you're going to faint,' and then, 'Now your legs will no longer be able to walk. Now....' It kept coming like that. So I kept repeating the japa the whole time, and it was touch-and-go right up to the end. Finally I couldn't distinguish people, I saw only shapes, forms passing by, and not clearly. When the distribution was over, I got up (I knew I had to get up), I stood up without flinching and stepped down from the chair without faltering. But I was not careful and when I turned away from the light in the room to go towards the staircase - an abrupt blackout. Not the blackout of a faint - my eyes no longer saw. I saw only shadows. 'Ah!' I said to myself, 'where is the step?!' And to avoid missing it, I clutched the railing. What a commotion that made! Champaklal came rushing up, thinking I was about to fall! page 36 , Mother's Agenda , volume 2 , 22nd Jan. 1961

Oh, another little example. You know those photos I distributed on the 21st for the Saraswati Puja) Amrita told me he was going to send them to X, [[The tantric guru. ]] I but I told him, 'No, don't bother.' (The 21st was a terrible day for me. All the dasyus of the world were in league against me, trying to stop me - I understood this afterwards, when I saw those things. [[The Vedic or pre-Vedic experience of the artificial hurricane and the pink marble bathtub. ]] 'So that's what it is!' I said to myself, 'That's what has been going on!') Then after the night of the 24 h, I went down for balcony-darshan [[Balcony-darshan: up to 1962, Mother appeared every morning on the first-floor balcony to be seen by the disciples assembled on the street below. ]] with such a foursquare certainty - you know, cubic: such a cubic certainty - and I said to Amrita, 'You can send him those photos today,' without an explanation, without a word, with nothing but a feeling of certainty, a kind of definite and absolute THAT'S HOW IT IS. And that is a change, truly a change. page 49 , Mother's Agenda , volume 2 , 27th Jan. 1961

All those zones of artistic creation are very high up in human consciousness, which is why art can be a wonderful tool for spiritual progress. For this world of creation is also the world of the gods; but the gods, I am sorry to say, have absolutely no taste for artistic creation. [[When she next saw Satprem, Mother added the following correction: "After you left, they came. It's not I who remembered - they MADE me remember! There was Saraswati saying, 'What about my sitar?' And Krishna, 'What about my flute?' (Mother laughs) There was another one also, I don't remember who. They were really upset! They told me right away, 'What are you talking about! We LOVE music.' All right. 'Fine,' I said (Mother laughs). It's true - Krishna is a great musician, and Saraswati is the perfection of expression.... Now that we have acknowledged their merits (Mother bows), go on with your reading." ]] page 390 - Mother's Agenda , volume 3 , 27th Oct. 1962