Category Archives: Arts

From the HEART, even The Art of Living

شعر واقعی…. فرصت عصیانگری و…. و… از اشو

تقدیم به دانشجویان، شاعران، هنرمندان، عارفان، مردمان معمولی = انسان های شریف و نجیب و صلح دوست، و حتی به سیاستبازهای سیه چهره و بی شعور، و حتی نظامیان خشن و بی رحم!
در مورد شعر واقعی + تسلیم شدن واقعی به جهان هستی + خودآگاه/ناخودآگاه + عصیانگری اصیل + …. از سخنان راستین شاعر ذوالقرنین = اشو .
آخرش و وسطش= بهتر از اولش!

اشوی عزیز، چندی پیش، وقتی که شب در خواب بودم، رویایی دیدم که در یک جلسه ی سخنرانی بودم. صبح آن شب هیچ چیزی را از آنچه که گفته بودید به یاد نداشتم، بجز این عبارت” “تسلیم شدن شعر است.” از آن زمان در شگفت بوده ام که شعر چه ربطی به تسلیم دارد و برعکس؛ و چگونه شعر می تواند مانند عشق، نیایش و مراقبه، یک طریقت باشد؟

دوا ریچاDeva Richa ، شعر همه چیز را دربر دارد: عشق را دربر دارد، نیایش را
دربر دارد، مراقبه را دربردارد و بسیار بیشتر را. هرآنچه که الهی است، هرآنچه که زیباست،
هرآنچه که بتواند تو را به فراسو ببرد، در شعر وجود دارد.

شعر فقط شعر نیست: شعرمذهب اصلی و ضروری essential religion است. شعر یعنی حالتی از بودش، که در آن ذهن دیگر بین تو و جهان هستی تداخل نکند __ مستقیم، بدون فاصله؛ جایی که بین تو و جهان هستی اتصال و ارتباطی وجود دارد؛ جایی که تو بعنوان یک ماهیت جداگانه ازبین رفته ای و آن تمامیت the whole، شروع کرده به سخن گفتن، توسط تو، شروع کرده به رقصیدن توسط تو، جایی که تو یک نی توخالی شده ای hollow bamboo و آن تمامیت، تو را به یک فلوت تبدیل کرده است.

شعر نزول کل است در جزء، اقیانوسی که در قطره ناپدید می شود. شعر یک معجزه است.
و وقتی از شعر سخن می گویم انگشتانم شکسپیرها و کالیداس هاkalidases را نشانه
نرفته اند؛ آنان نیمه- شاعران partial poetsهستند. بله، آنان لحظاتی از شعر را شناخته اند، ولی آنان شاعر نیستند. آنان زمانی که دروازه های ناشناخته برایشان بازبوده، لمحاتی را
داشته اند، آنان دسترسی مختصری به ژرف ترین منابع حیات داشته اند، ولی آن لحظات فقط هدیه ای خالص از سوی ناشناخته بوده است. آنان هیچ نمی دانسته اند که چگونه به آن منابع برسند، آنان از چگونگی دستیابی آن تمامیت به خودشان چیزی نمی دانستند. تقریبا حالتی از ناخودآگاهی بوده. در رویا رخ داده، درست همانطور که در رویا می بینند.
آن ها رویا بوده اند.

تمامی به اصطلاح شعرای بزرگ دنیا، نقاشان بزرگ، موسیقی دان ها و مجسمه سازهای بزرگ همگی خوابدیدهdreamers بوده اند. آری آنان لحظاتی در رویاهایشان داشته اند، چیزی رسوخ کرده است، در اینجا و آنجا، اشعه هایی از نور قادر بوده از مانع رویا عبور کند؛ و حتی همان یک اشعه ی نور کافی بوده تا یک شکسپیر و یا یک کالیداس را خلق کند.
ولی این چیزی نیست که من به آن اشاره دارم.

وقتی می گویم شعر، منظورم آن چیزی است که از وجود بوداها جاری بود. شعر واقعی این است. بودا یک خوابدیده نیست، این مردمان اگر هر چیزی باشند، مردمانی بیدارawakened people هستند. رویاها ازمیان رفته اند، بخار شده اند. اینک دیگر چنان نیست که حقیقت بطورناخودآگاه بر آنان وارد شود و تسخیرشان کند و آنان را خالی و مصرف شده و خسته رها سازد….. شاعر معمولی فقط جهش می کندhops : برای لحظه ای از زمین کنده می شود، ولی فقط برای لحظه ای، و بازهم دوباره روی زمین برگشته است.

بودا بال دارد __ جهش نمی کند. او می داند چگونه به دورترین ستاره برود. او راه رفتن به سوی ناشناخته را می داند، او کلیدی دارد که در رمزهای هستی را می گشاید. او یک مرشد است. و آنگاه چیزی از وجودش جاری می گردد که مال خودش نیست. او فقط یک واسطهmedium است: او تسخیر شده است. و آنگاه، هرچه که او بگوید شعر است، یا حتی اگر ساکت هم باشد، سکوت او شعر است. سکوت او موسیقی بزرگی در خودش دارد؛ او،
چه صحبت کند و چه خاموش باشد، مهم نیست. وقتی صحبت کند، شعر می گوید؛
وقتی صحبت نکند، شعر باقی می ماند. او توسط شعر احاطه شده است، او در شعر راه
می رود، او در شعر می خوابد؛ شعر خود روح اوست، اساس و جوهر وجودش است.

این شعر چگونه اتفاق می افتد؟ این شعر در تسلیم رخ می دهد، وقتی رخ می دهد که آن جزء شهامت کافی گرد می آورد تا تسلیم کل شود، زمانی که قطره ی شبنم به اقیانوس می لغزد و اقیانوس می گردد.

تسلیم وضعیتی متضادنماparadoxical است: از یک سو، تو ازبین می روی؛ از سوی دیگر برای نخستین بار در شکوه بی نهایت خویش ظاهر می گردی، در شکوه چندین وجهی خود. آری قطره از میان رفته است، و برای همیشه رفته است؛ راهی برای بازیافت آن نیست
و نمی توانی باردیگر آن را طلب کنی. شبنم بعنوان یک قطره از میان رفته است، ولی درواقع، شبنم اقیانوش شده است، اقیانوس گونهoceanic گشته است. هنوز وجود دارد،
نه دیگر بعنوان یک ماهیت مشخص و محدود، بلکه همچون چیزی بی نهایت، بی انتها و بدون حد و مرز.

معنی اسطوره ی ققنوس phoenixهمین است. او می میرد، کاملاٌ می سوزد، به خاکستر تبدیل می شود، و آنگاه ناگهان از خاکسترها دوباره زاده می شود __رستاخیز. ققنوس نمایانگر مسیح است: مصلوب شدن و رستاخیز یافتن. ققنوس نمایانگر بودا است: مرگ بعنوان نفس؛
و زایشی تازه بعنوان کسی که ابداٌ نفس ندارد. ققنوس نمایانگر تمام کسانی است که شناخته اند: شناختن یعنی ققنوس بودن. چنان که هستی بمیر، تا بتوانی آن که واقعاٌ هستی بشوی! در تمامی نااصیل بودن هایت، ساختگی بودن هایت و جدا بودنت از جهان هستی بمیر.

ما به این باور ادامه می دهیم که جدا هستیم. نیستیم، حتی نه برای یک لحظه. بر خلاف باوری که داری، با تمامیت یکی هستی. ولی باورهایت می تواند برایت تولید کابوس کند: باید که کابوس تولید کند. باور این که “من جدا هستم”، یعنی تولید ترس کردن.

اگر از کل جدا باشی، هرگز نمی توانی از ترس خلاص بشوی، زیرا که تمامیت چنان وسیع است و تو چنان کوچک و خرد هستی، چنان ریزه atomic هستی، که باید پیوسته با کل بجنگی تا تو را جذب خودش نکند. باید همیشه گوش به زنگ باشی، در حالت دفاعی باشی، تا اقیانوس تو را به سادگی به درون خودش نکشد. باید از خودت در پشت دیوار ها و دیوارها و دیوارها محافظت کنی. تمام این تلاش ها چیزی جز ترس نیست. و آنگاه پیوسته مراقب هستی که مرگ به تو نزدیک می شود و مرگ این جدایی تو را نابود خواهد کرد. تمام عملکرد مرگ همین است: مرگ یعنی که آن کل، جزء را دوباره طلب کرده است. و تو می ترسی که مرگ بیاید و تو خواهی مرد. چگونه عمر طولانی داشته باشیم؟ چگونه به نوعی فناناپذیری برسیم؟
انسان راه های متفاوتی را آزمایش کرده است. داشتن فرزندان یکی از این راه ها است: این اشتیاق عظیم برای داشتن فرزند به همین دلیل است. ریشه ی این خواست برای داشتن فرزند، ابداٌ ربطی به خود فرزندان ندارد، ربطی به مرگ دارد.

تو می دانی که برای همیشه اینجا نخواهی بود؛ هرچقدر هم که کوشش کنی، شکست خواهی خورد، تو این را می دانی، زیرا میلیون ها نفر شکست خورده اند و هیچکس موفق نشده است. این یک امید واهی است. پس راه های دیگری پیدا کن: یکی از ساده ترین راه ها،
باستانی ترین آن، داشتن فرزندان است: تو اینجا نخواهی بود، ولی چیزی از تو، ذره ای از تو، سلولی از تو، به زیستن ادامه خواهد داد.
این یک راه جایگزینvicarious برای جاودانه شدن است.

اینک علم روش های پیچیده تری را ابداع کرده است___ زیرافرزند تو شاید کمی شبیه به تو باشد، و یا ممکن است ابداٌ شبیه تو نباشد و فقط قدری شبیه به تو باشد؛ الزامی نیست که دقیقاٌ شبیه به تو باشد. و اینک دانشمندان روش هایی را یافته اند که می توانند تو را تکرار کنند. برخی از سلول های تو را حفظ می کنند، و وقتی که تو مردی، فرد جدیدی می تواند از آن سلول ها خلق شود. و آن وجود تکراری، دقیقاٌ شبیه به تو خواهد بود، حتی دوقلوها هم به این شباهت نیستند. اگر با موجود تکراری duplicateخودت ملاقات کنی تعجب خواهی کرد: او دقیقاٌ شبیه به خودت است، مطلقا مانند خودت است.

اینک آنان می گویند برای ایمن تر بودن، وقتی که تو هستی، یک انسان تکراری می تواند از تو تولید شود، و می توان این موجود را درسرمای شدید قرار داد، تا اگر سانحه ای رخ بدهد، اگر در یک حادثه ی رانندگی بمیری، می توانی بی درنگ او را جایگزین کنی. همسرت هرگز قادر نیست تفاوت را احساس کند، فرزندانت هرگز نخواهند دانست که این پدر جدید، فقط یک تقلید است، زیرا او دقیقاٌ مانند تو خواهد بود.

انسان ها راه های دیگر را نیز آزموده اند، بسیار پیچیده تر از این یکی. کتاب بنویس، تابلو نقاشی کن، سمفونی های عظیم بساز: تو خواهی رفت، ولی آن موسیقی باقی خواهد ماند،
تو خواهی رفت، ولی امضای تو بر آن کتاب ها خواهد ماند؛ تو خواهی رفت ولی مجسمه ای که ساختی باقی خواهد بود. این، مردم را به یاد تو می اندازد، تو در خاطرات آنان بقا خواهی داشت. تو قادر نخواهی بود روی این زمین راه بروی، ولی می توانی در خاطرات مردم گردش کنی. بهتر از هیچ چیز است. مشهور بشو، راهی به کتاب های تاریخ پیدا کن __ البته این ها فقط در پاورقی خواهد بود، ولی چیزی هست بهتر از هیچ.

انسان در طول اعصار تلاش کرده است تا به نوعی به جاودانگی دست پیدا کند. ترس از مرگ بسیار است: تمام زندگی را تحت تاثیر قرار می دهد.

لحظه ای که مفهوم جدابودن را رها کنی، ترس از مرگ ناپدید می شود. برای همین است که من این موقعیت تسلیم را متناقض نما می خوانم. تو به اختیار خودت می میری و آنگاه ابداٌ
نمی توانی بمیری، زیرا کل هرگز نمی میرد، فقط اجزا هستند که جایگزین می شوند. ولی اگر تو با کل یکی شوی، برای همیشه زنده خواهی بود، به ورای مرگ و زندگی رفته ای.

این است جستار نیروانا، اشراق، موکشا، ملکوت الهی __ موقعیت بی مرگی. ولی شرطی که باید برآورده شود بسیار ترسناک است. شرط این است: نخست تو باید بعنوان یک ماهیت جداگانه بمیری. تسلیم یعنی همین: مردن بعنوان یک ماهیت جداگانه، مردن بعنوان یک نفس و منیت. و درواقع این چیزی نیست که نگرانش باشی، زیرا تو جدا نیستی، این فقط یک باور است. بنابراین فقط آن باور می میرد. این تنها یک ایده و یک مفهوم و فکر است.

مانند این است که تو در تاریکی شب طنابی دیده باشی، واین فکر آمده که این یک مار است و تو با هراس زیادی از آن مار فرار می کنی: لرزان و عرق ریزان. و آنگاه شخصی می آید و به تو می گوید، “نگران نباش، من آن را در روز دیده ام و خوب می دانم که این فقط یک طناب است. اگر باور نداری، ای هی پاسسیکوIhi Passiko ، با من بیا و ببین! به تو نشان خواهم داد که این یک طناب است.”

و این کاری است که بودا ها در طول اعصار انجام داده اند: “ای هی پاسسیکو: با من بیا و ببین!” آنان طناب را در دست می گیرند و به شما نشان می دهند که این فقط یک طناب است، مار از اول وجود نداشته است. تمام ترس ها ازبین می رود، شروع می کنی به خندیدن. شروع می کنی به خودت خندیدن، که چقدر احمق بوده ای. از چیزی می ترسیدی که از اول وجود نداشته است! ولی چه وجود داشته و چه نداشته، آن چند قطره عرق که ریخته ای واقعی بوده: آن ترس، آن لرزه ها، قلبی که تندتر می زده، فشار خون __ تمام این چیزها واقعی بوده است.
این را به یاد داشته باشید: چیزهای غیرواقعی می توانند موجب چیزهای واقعی بشوند. اگر فکر کنی که آن ها واقعی هستند، برای تو بعنوان واقعیت عمل می کنند __ فقط برای تو. یک رویاست، ولی می تواند در تو تاثیر بگذارد، می تواند تمام زندگیت را متاثر کند، تمامی روش زندگیت را.

نفسego وجود خارجی ندارد. لحظه ای که قدری هشیار، آگاه و گوش به زنگ بشوی، نفس را ابداٌ پیدا نخواهی کرد. این همان طناب است که تو اشتباهی مار می دانستی اش. مار را در هیچ کجا نمی توانی پیدا کنی.
مرگ وجود ندارد، مرگ چیزی غیرواقعی است: با ایجاد جدایی، تو آن را خلق می کنی. تسلیم شدن یعنی مفهوم جدایی را انداختن: مرگ بطور خودکار ازبین می رود، ترس در جایی یافت نمی شود، و تمامی مزه ات از زندگی تغییر خواهد کرد. آنگاه هر لحظه بسیار پاک و صاف است، یک پاکی سرشار از سرور و شادمانی. آنگاه هر لحظه ابدیت است. و اینگونه زیستن یعنی شعر؛ لحظه-به-لحظه زندگی کردن بدون نفس یعنی شعر. زندگی بدون نفس یک رحمت است، موسیقی است” زندگی بدون نفس یعنی زندگی کردن، واقعاٌ زیستن. من چنین زندگی کردنی را شعر می خوانم: شعر یعنی زندگی کسی که تسلیم جهان هستی است.

وبه یاد داشته باش، بگذار دوباره تکرار کنم: وقتی تسلیم جهان هستی می شوی، چیزی واقعی را تسلیم نمی کنی. فقط یک مفهوم خطا را تسلیم می کنی، تنها یک وهم و خیال را تسلیم
می کنی، سراب و غیرواقعی را تسلیم می کنی. چیزی را تسلیم می کنی که از اول نداشته ای. و با تسلیم کردن آنچه را که نداشته ای، به چیزی خواهی رسید که داشته ای.

و دانستن اینکه، “من در وطن قرار دارم، من همیشه بوده ام و همیشه خواهم بود،” لحظه ی بزرگی از آسودگی است. با دانستن اینکه، “من یک خارجی نیستم، من یک غریبه نیستم، من ریشه کن شده نیستم، ” و اینکه، “من به این جهان هستی تعلق دارم و جهان هستی به من تعلق دارد،” همه چیز آرام و ساکت و ساکن می شود. این سکون و آرامش، تسلیم شدن است.

واژه ی تسلیم کردن surrenderیک فکر بسیار بسیار اشتباه را به شما می دهد، گویی که چیزی را از دست می دهید. شما هیچ چیز را از دست نمی دهید، فقط یک رویا را رها
می کنید، فقط چیزی را تسلیم می کنید که قراردادی است و جامعه در شما بوجود آورده است.

نفس مورد نیاز است، در جامعه عملکردی مشخص دارد. حتی وقتی که فرد تسلیم خداوند است، فرد از واژه ی “من” استفاده می کند __ ولی اینک چیزی کاربردیutilitarian است، چیزی وجودینexistential نیست. او می داند که وجود ندارد: او از این واژه استفاده
می کند، زیرا استفاده نکردن از آن برای دیگران بی جهت تولید دردسر خواهد کرد، ارتباطات را غیرممکن خواهد کرد. هم اینک هم ناممکن هست! ارتباط با مردم دشوارتر خواهد شد.
پس “من” فقط یک وسیله ی قراردادی است. اگر بدانی که “من” فقط یک ابزار است، قراردادی، کاربردی، مفید، ولی نه یک چیز وجودین؛ آنگاه هرگز برایت مشکل ساز نخواهد بود.

ریچا، رویای تو به تو لمحه ای بخشیده است، رویاهایت به تو اجازه داده اند تا چیزی را ببینی، چیزی که مجاز نبودی در بیداری ببینی. گاهی چنین می شود. ذهن خودآگاه بیشتر نفسانی است؛ روشن است: خودآگاه هرگز وارد ناخودآگاه نمی شود. جامعه فقط می تواند خودآگاه را آموزش بدهد؛ جامعه قادر نیست ناخودآگاه را تعلیم دهد، دست کم نه هنوز __ آنان سخت
می کوشند!

بخصوص در روسیه شوروی آنان سخت تلاش دارند تا ناخودآگاه را تعلیم دهند. و متاسفانه آنان موفق می شوند. آنان به هنگام خواب به مردم آموزش می دهند. وقتی در خواب هستی، خودآگاه دیگر عمل نمی کند، ضمیرناخودآگاه فعالیت می کند. به ویژه در روسیه، آنان
آزمایش های بزرگی در مورد آموزش در حالت خواب انجام داده اند،: این می تواند انجام شود، دارند انجامش می دهند.

این یکی از بزرگترین خطراتی است که نسل های آینده باید با آن روبه رو شوند. اگر سیاستبازها وسایلی در اختیار داشته باشند تا بتوانند به مردم در حالت خواب آموزش بدهند، آنگاه هیچ امکانی برای عصیانگری وجود نخواهد داشت.

وقتی که فرد در خواب است، می توانید از او یک کمونیست، کاتولیک، هندو، بودیست، مسیحی و محمدی بسازید، و چون این در ناخودآگاه رخ داده، او مطلقا قادرنخواهد بود که به ورای آن برود. او قادر نخواهد بود از آن خلاص بشود، زیرا ناخودآگاه 9 برابر قوی تر از خودآگاه است. خودآگاه فقط نوک کوه یخی است: یک دهم از ذهن شما خودآگاه است و نه دهم آن ناخودآگاه است. اگر سیاست بازها بتوانند به ناخودآگاه دست پیدا کنند، آنگاه بشریت محکوم به فنا است. آنگاه به کودکان در خواب آموزش خواهند داد. حتی خواب هم متعلق به خودت و خصوصی نخواهد بود، حتی خواب هم چیزی شخصی نخواهد بود، به حکومت تعلق دارد.
تو حتی قادر نخواهی بود که رویاهای خصوصی داشته باشی: حکومت تصمیم می گیرد که چه خوابی می توانی ببینی __ زیرا شاید رویایی ضد-حکومتی داشته باشی و حکومت نمی تواند این را تاب آورد. رویاهایت می تواند دستکاری شود، ناخودآگاه تو می تواند مورد دستکاری قرار بگیرد، ولی خوشبختانه این هنوز اتفاق نیفتاده است.

شاید شما آخرین نسلی باشید که امکان عصیانگری دارد. و اگر شما عصیان نکنید، شاید دیگر فرصتی وجود نداشته باشد: بشریت می تواند به وجودی مانند آدم آهنیrobot like existence تنزل یابد. پس تا وقتی که فرصت هست عصیان کنید! فکر نمی کنم زمان زیادی باقی مانده باشد، شاید تا پایان همین قرن ( آن زمان، قرن بیستم م.)، در همین بیست یا بیست و پنج سال. اگر بشریت بتواند در این بیست و پنج سال عصیان کند، این آخرین فرصت است؛ وگرنه، مردم کاملا ناتوان خواهند شد، ناخودآگاه بر آنان مسلط خواهد شد. تا این زمان، جامعه قادر بوده که به آسانی خودآگاه شما را آلوده کند __ توسط تعلیم و تربیت رسمی، توسط کلیسا، توسط تبلیغات __ ولی فقط ضمیرخودآگاه شما را؛ ناخودآگاه شما هنوز آزاد است.

بیشتر چنین اتفاق می افتد که وقتی در خواب عمیق به سر می بری، به حقیقت نزدیک تری. بسیار عجیب است، نباید چنین باشد، باید در وقت بیداری به حقیقت نزدیک تر باشی. ولی بیداری شما دیگر به خودتان تعلق ندارد: یک هندو است، یک مسیحی است، یک محمدی است، دیگر متعلق به تو نیست؛ جامعه پیشاپیش در شما رسوخ کرده است، آن را مختل ساخته است، نابودش کرده است. ولی ناخودآگاه هنوز متعلق به تو هست.

برای همین بوده که روانکاو ها به رویاهای شما علاقمند شده اند، زیرا شما در رویاها
صادق تر هستید. در رویا ها کمتر کاذب هستید، در رویاها تمام سانسور های جامعه
ازبین می رود. در رویا چیزها را همانطور که هستند می خوانید، چیزها را آنطور که هستند می بینید، خودتان را آنطور که هستید می بینید. لحظه ای که بیدار شوید، شروع به تظاهر کردن می کنید. بیدار بودن شما یک وانمود کردن و یک تظاهر طولانی و ادامه دار است.

برای همین است که خوابیدن چنین آسوده کننده است، زیرا پیوسته حفاظت کردن و گفتن چیزهایی که باید گفته شوند، و انجام کارهایی که جامعه انجام آن ها را ضروری ساخته،
خسته کننده است، بسیار خسته کننده. انسان برای خلاص شدن از تمام این ها و دوباره
طبیعی شدن و فراموش کردن جامعه و رهایی از کابوس و جهنمی که جامعه ساخته،
نیاز دارد که روزانه هشت ساعت بخوابد.

هرچه بیشتر آگاه و هشیار بشوی، هرچه بیشتر از قید جامعه و چنگال های آن آزاد بشوی، آنگاه فقط بدن نیاز به خوابیدن خواهد داشت و حتی در خواب هم یک جریان پیوسته از آگاهی وجود خواهد داشت. ذهنت به خواب نیازی نخواهد داشت، نیاز جبری و جوهری برای خوابیدن ذهن وجود ندارد، این یک الزام ساختگی است.

وقتی که ذهنت روشن، آزاد است و مقید نیست، نیاز کمتر و کمتری داری که ذهنت بخوابد.
و آنگاه معجزه ای رخ خواهد داد: اگر بتوانی وقتی که در خواب هستی هشیار بمانی، برای نخستین بار خواهی دانست که از بدن جدا هستی. بدن خفته است و تو بیدار هستی: چگونه ممکن هردو مانند هم باشید، چگونه شما دو می توانید یکی باشید؟ تفاوت را خواهی دید، تفاوتی بس بزرگ است.

بدن به زمین تعلق دارد، تو به آسمان تعلق داری. بدن به ماده تعلق دارد، تو به خدا تعلق داری. بدن زمخت است، تو چنین نیستی. بدن محدودیت دارد، زاده شده و خواهد مرد: تو هرگز زاده نشده ای و هرگز نخواهی مرد. این تجربه ات می شود، نه یک باور.

باورbelief ، ترس-مدارfear-oriented است. تو دوست داری که باور کنی که تو نامیرا هستی، ولی باور فقط یک باور است، چیزی غیراصیل است، از بیرون نقاشی شده است. تجربه چیزی کاملاٌ متفاوت است، از دورنت می جوشد، مال خودت است. و زمانی که چیزی را دانستی، هیچ چیز نخواهد توانست شناخت تو را به لرزه اندازد، هیچ چیز نمی تواند شناخت تو را نابود کند. شاید تمام دنیا برعلیه آن باشد، ولی تو می دانی که جدا هستی. شاید تمام دنیا باور داشته باشد که روح وجود ندارد، ولی تو خواهی دانست که وجود دارد. شاید تمام دنیا بگوید که خدا وجود ندارد، ولی تو لبخند خواهی زد __ زیرا خود تجربه ی آن، تایید کننده است، گواه آن خودش است.

ریچا، شاید رویای تو بسیار بااهمیت باشد. آنچه که تو در خودآگاهی خودت اجازه نداده ای،
در ضمیر رویابین dreaming consciousness تو سربرآورده است. اشعه ای از نور وارد شده است.

در غرب، قبل از فروید، حالت بیداری تنها ضمیری بود که شناخته شده بود؛ در شرق اینگونه نبوده __ حتی پس از فروید، باوجودی که ضمیر رویابین بعنوان چیزی ارزشمند پذیرفته شده، هنوز یک چیز اتفاق نیفتاده است: خواب بدون رویا هنوز مورد توجه قرار نگرفته است.
در شرق این چنین نیست. شرق همیشه آگاهی بیداری را سطحی ترین حالت دانسته است، آگاهی رویابین را بسیار ژرف تر و بااهمیت تر دانسته و آگاهی در خوابsleeping consciousness را حتی عمیق تر از این دانسته و حتی بااهمیت تر از آگاهی رویابین. غرب هنوز نیازمند یک فروید دیگر است تا خواب را بعنوان مهم ترین بخش آگاهی معرفی کند.

ولی شرق هنوز چیزی بیشتر می داند: نقطه ای وجود دارد: چهارمین مرحله ی آگاهیturya توریا نام دارد، این مرحله فقط یعنی “چهارم” the fourth، نام دیگری ندارد. توریا یعنی چهارمین: وقتی که بیدار هستی، رویا و خواب همگی ازبین رفته اند، فرد فقط یک مشاهده گر است. نمی توانی آن را بیداری بخوانی، زیرا این شاهد witness هرگز نمی خوابد؛
نمی توانی آن را رویادیدن بخوانی، زیرا برای این شاهد هیچ رویایی ظاهر نمی شود؛
نمی توانی آن را خواب بخوانی، زیرا این شاهد هرگز نمی خوابد. این آگاهی جاودانه است. این همان بودی چیتای Bodhi chita آتیشا است، این معرفت مسیح است، این همان بوداسرشتیbuddhahood است، اشراق.

پس همیشه مراقب و محتاط باش. از رویاهای خودت بیشتر مراقبت کن تا از حالت بیداری،
و همچنبن از حالت خواب بدون رویای خودت بیشتر مراقبت کن تا از حالت رویای خودت.
و به یاد بیاور که باید دنبال حالت چهارم بگردی، زیرا فقط چهارمین، نهایت و غایت است.
با چهارمین به وطن رسیده ای. اینک جایی برای رفتن وجود ندارد.

ریچا، می گویی تمام رویاها را ازیاد برده ای و فقط یک جمله به یاد داری، “شعر تسلیم است”. این عصاره ی تعلیمات من است. اصلی ترین نکته در پیام من به دنیا این است که شعر تسلیم شدن است__ و برعکس، تسلیم شدن شعر است.

من دوست می دارم که سانیاس هایم، تمام سانیاس هایم خلاق باشند __شعرا، موسیقی دان ها، نقاش ها، مجسمه سازان و غیره. در گذشته، سالکین تمامی مذاهب، زندگی غیرخلاقی
داشته اند. آنان برای خلاق نبودن مورد احترام قرار داشتند و به سبب همین عدم خلاقیت، چیزی زیبا به این دنیا اضافه نکرده اند. آنان باری گران بوده اند: آنان چیزی از بهشت
به روی زمین نیاورده اند. درواقع، آنان ویرانگر بوده اند __ زیرا تو یا سازنده هستی و یا که باید ویرانگر باشی. نمی توانی خنثی بمانی: یا باید زندگی را با تمام خوشی هایش تایید کنی،
یا شروع می کنی به سرزنش کردن زندگی.

گذشته ی انسان یک کابوس بس طولانی از رویکردها و نگرش های مخرب و نفی کننده ی زندگی بوده است. من به شما تایید زندگیlife affirmation را آموزش می دهم! من احترام گذاشتن به زندگی را آموزش می دهم. من ترک دنیا را نه ، بلکه لذت بردن از زندگی را آموزش می دهم. شاعر بشوید! و وقتی می گویم شاعر بشوید، منظورم این نیست که همگی شما شکسپیر بشوید و یا میلتون یا تنیسون. اگر من با شکسپیر و میلتون و تنیسون ملاقت کنم، آن وقت به آنان هم می گویم شاعر بشوید __ زیرا آنان فقط در مورد شعر رویا می بینند.
شعر واقعی در حالت چهارم معرفت رخ می دهد. تمامی به اصطلاح شاعران بزرگ فقط رویابین بوده اند؛ آنان در قید حالت دوم معرفت بوده اند. نثر در قید حالت اول است __ معرفت بیداری و شعر در قید حالت دوم است.

آن شعر که من از آن سخن می گویم فقط در حالت چهارم آگاهی ممکن است. زمانی که تماماٌ آگاه شده ای، روشن. زمانی که ذهن دیگر وجود ندارد. آن وقت هرکاری که انجام بدهی شعر خواهد بود، هرکاری بکنی موسیقی خواهد بود. و حتی اگر کاری هم نکنی، شعر تو را احاطه می کند، رایحه ی تو خواهد بود. خود حضورت تو شعر خواهد بود.

ریچا، می پرسی، ” از آن زمان در شگفت بوده ام که شعر چه ربطی به تسلیم دارد و برعکس، و چگونه شعر می تواند مانند عشق، نیایش و مراقبه یک طریقت باشد؟”

عشق یک راه است، نیایش راه دیگر است، مراقبه یک راه است، زیرا این ها راه هایی بسوی شعر هستند. هرآنچه که تو را به خداوند هدایت کند حتماٌ تو را به شعر هدایت کند. انسان الهی نمی تواند چیزی جز یک شاعر باشد. او ترانه ای خواهد خواند، البته نه از خودش: او ترانه ی خداوند را خواهد خواند. او به سکوت خداوند کلام می بخشد، او برای تمامی هستی یک دهان خواهد بود.

من به شما مراقبه می آموزم، نیایش، عشق، زیرا تمامی این شما را به مرکز می برند.
و مرکز، شعر است. این ها همگی راه هایی به سوی شعر هستند. حل کردن خود در شعر یعنی حل شدن در خداوند ___ و البته که این بدون تسلیم ممکن نیست. اگر تو خیلی باقی مانده باشی، خداوند نمی تواند اتفاق بیفتد. تو باید غایب باشی تا که او در تو یک حضور شود.
بمیر، تا بتوانی باشی.
کتاب خرد
فصل چهارم
آخرین فرصت برای عصیانگری

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“پیش بران __ فقط به سمت آب های عمیق،

“… شاید والت ویتمنWalt Whitman تنها مردی در تاریخ آمریکا باشد که به عارف بودن بسیار نزدیک است. وگرنه، ذهن آمریکایی بسیار سطحی است. باید هم بسیار سطحی باشد زیرا فقط سیصد سال عمر دارد. ذهن یک کودک است که در مورد همه چیز کنجکاو است: همه چیز را زیر سوال می برد و پیش از اینکه پاسخی بدهی، پرسش دیگری را پیش می کشد. علاقه ی زیادی به پاسخ ندارد؛ فقط کنجکاو است، می خواهد همه چیز را همزمان بداند. از یک مذهب به مذهب دیگر می رود و از یک مرشد نزد مرشد دیگر. برای جستن پاسخ ها به دوردست ترین نقاط جهان می رود __ ولی همه چیز تقریباٌ مانند یک مد روز است.
روانشناس ها دریافته اند که در آمریکا هیچ چیز بیش از سه سال دوام نمی آورد. این تقریباٌ حد معمولی برای هر مد روز است __ نوعی خاص از خمیردندان، نوعی از صابون، یک شامپوی خاص، یک مرشد خاص __ همه وارد یک بازار می شوند.
شما اینک چیزی در مورد بیتل هاThe beatles نمی شنوید. درست بیست سال پیش، آنان دراوج بودند، اینک کسی حتی علاقه ای ندارد بداند که آن ها کی بودند. بر سر آن بیچاره ها چه آمد؟ حالا در مورد تاکینگ هدزTalking Heads می شنوید؛ همان چیز دارد برای این ها رخ می دهد. در این بیست سال موسیقدان ها و رقاص ها و خوانندگان زیادی به اوج رسیده اند و ناپدید گشته اند.
محاسبه شده که در آمریکا هر شخص هر سه سال شغلش را عوض می کند، همسرش را هر سه سال عوض می کند و شهرش را هر سه سال عوض می کند. به نظر می رسد که برای هرچیز مورد نیاز سه سال کفایت می کند!
والت ویتمن فردی نادراست که در آمریکا زاده شده است. او باید در جایی در شرق متولد می شد __ و او بسیار به شرق علاقه داشته.
این قطعه ی کوچک که توریا فرستاده از شعری بلند از اوست به نام گذرگاهی به هندوستان
“پیش بران __ فقط به سمت آب های عمیق،
ای روح! بی پروا بران، که من با تو ام و تو با من، و ما در حال اکتشاف.
ما به سمتی می رویم که هیچ دریانوردی جرات رفتن به آنجا را نداشته،
و ما، خود کشتی، خود خویش و همه چیز را به مخاطره می اندازیم.

او می گوید که سالک روحانی باید هشیار باشد که به سمت آب های ناشناخته می رود، جایی که هرگز هیچ دریانوردی جرات رفتن به آن را نداشته است. و این مخاطره ای کوچک نیست، زیرا چالش این است “… فقط به سمت آب های عمیق بران،” آب های کم عمق را برای ذهن های سطحی وابگذار. آنان که می خواهند ژرفای خویش را بشناسند باید به سمت آب های عمیق پیش بروند.

“پیش بران __ فقط به سمت آب های عمیق،
ای روح، بی پروا بران، که من با تو ام و تو با من، و ما در حال اکتشافیم.
ما به سمتی می رویم که هیچ دریانوردی جرات رفتن به آنجا را نداشته،

هدف ما جایی است که هیچکس جرات رفتن به آن را نداشته است.

و ما، خود کشتی، خود خویش و همه چیز را به مخاطره می اندازیم.

اگر اوضاع خراب شود ما آماده ایم که ، “خود کشتی، خود خویش و همه چیز را به مخاطره اندازیم.” ولی ما قصد این داریم تا ناشناختنی را اکتشاف کنیم. این برای جوینده ی حقیقت گذرگاهی بسیار زیبا است، برای هر آن کس که جویای راز غایی و اسرار جهان هستی است؛ آب های عمق کم کفایت نمی کند.
مردم همه چیز می خواهند، بدون اینکه هیچ چیز را به مخاطره بیندازند؛ و به این سبب، بهره کشان بسیاری وجود دارند. آنان به شما می گویند، “فقط هر یکشنبه به کلیسا برو و نیازی نیست نگران باشی. به عیسی مسیح باور بیاور و در روز داوری، خود او، کسانی را که به او اعتقاد داشتند جدا خواهد کرد. آنان وارد بهشت می شوند و کسانی که توسط مسیح انتخاب نشده اند برای ابد به جهنم خواهند رفت.”
یک راه حل بسیار ارزان و بسیار سطحی: فقط به عیسی مسیح ایمان بیاور! هندوها همین را می گویند: ، فقط کریشنا را باور بدار، فقط تکرار کن راماکریشنا، راماکریشنا.”
چند روز پیش خبری خواندم که رییس نهضت هاری کریشنا در اروپا، با تمام پول ها به آمریکا فرار کرده است __ او یک آمریکایی بوده و فقط اسمش هندی بود. او تمام پیروانش را در گرسنگی در فرانسه رها کرده است. ذهن آمریکایی چنان دلار-گرا است که وقتی نوبت انتخاب بین دلار و خدا می رسد، دلار را انتخاب می کند __ زیرا خداوند همیشه وجود خواهد داشت! نخست از دلار استفاده کن، آنوقت نوبت خدا می رسد. و درواقع، بدون دلار چگونه می توانی وارد ملکوت خداوند بشوی؟!… به قدری “بخشش”bakhsheesh نیاز خواهی داشت! (لغت “بخشش” در زبان هندی به معنی رشوه دادن هم هست م.)
و کدام را برخواهی گزید؟ اگر خدا را انتخاب کنی __ دردسر بیهوده خواهی داشت. نمی توانی بیست وچهار ساعته با خدا زندگی کنی، زیرا خود مفهوم خدا یعنی داوری کردن. خدا پیوسته تو را مورد قضاوت قرار می دهد: “خطا می کنی، خطا می کنی… این گناه است…. تو را به جهنم خواهم انداخت!” فکر نمی کنم هیچ انسانی بتواند بیست و چهار ساعته با این به اصطلاح خدا زندگی کند و سالم بماند. خوب است که تاکنون کسی این بدشانسی را نداشته که چنین تجربه ای داشته باشد!
والت ویتمن یکی از کسانی است که در آمریکا ابداٌ درک نشده است __ و بااین حال تنها کسی است که آمریکا می تواند به او افتخار کند.

ای روح شجاع من!
پیش تر، پیش تر بران!
ای شادمانی جرات، ایمن نمان!
آیا این ها همگی دریاهای خداوند نیستند؟

نگران امنیت نباش. آیا تمام این هستی یکی نیست؟ آیا تو و جهان هستی ازهم جدا هستید؟ آیا تو به همان منبع، به همان خداوند تعلق نداری؟ تمام این دریاها به خداوند تعلق دارند،پس تو در امان هستی. نگران نباش، می توانی “خود کشتی، خویشتن و همه چیز” را به مخاطره بیندازی __ و با این وجود، در دست های جهان هستی امن خواهی بود.

پیش تر، پیش تر، پیش تر بران!

تا حدامکان پیش برو. هیچ کجا را بدون کشف کردن باقی مگذار.
او این چیزها را در مورد دنیای بیرون نمی گوید، می گوید که این دنیاها در درون شما هستند. وقتی که می گوید پیش تر، پیش تر، پیش تر بران! او را سوءتفاهم نکنید. منظور او در تمام شعر __ این تنها بخشی از شعر است __ این است که به درون برو و همه چیز را به مخاطره بینداز __ “کشتی و خویشتن را و همه چیز را.”
و نیازی نیست نگران امنیت و امن بودن باشی، زیرا تمام این ها بخشی از یک تمامیت است. دیدن تمامی این جهان هستی __ بیرون و درون __ همچون یک واحد، بینشی عظیم است؛ فقط بسیار به ندرت شاعری به چنان اوجی صعود می کند.
او چیزی از یک عارف در خودش داشت. باوجودی که در آمریکا زاده شده بود، چیزی از شرق در وجودش داشت؛ برای همین این شعر را “گذرگاهی به هندوستان” نام نهاد. قرن هاست که هندوستان نماد سفر درون است: فقط یک ماهیت سیاسی نیست __ پدیده ای روحانی است. تا جایی که ما به یاد داریم، مردم از سراسر جهان برای جستن خویش به هندوستان می آمده اند. چیزی در آب و هوایش است، چیزی در ارتعاشات آن هست که کمک می کند.
من این را دیده ام __ با سفر به دور دنیا تماشا کرده ام __ و این تجربه ای بسیار معماگون بوده. و آنان که اینجا هستند و همچنین در جمع ما در آمریکا بوده اند، همگی این را احساس کرده اند. نامه های بسیار برایم می آید: “عجیب است… ما در جمع آمریکا بودیم، همگی این احساس را داریم: ما پنج سال آنجا بودیم، ولی هرگز همان خوشی و همان ترانه و همان رقص را که در اینجا احساس می کنیم، در آنجا احساس نکرده ایم.” و من نیز این واقعیت را می دیدم: که چون میراثی روحانی در آنجا نبود، هوا خالی بود، خشک. آن عصاره ای که روح را تغذیه کند در آنجا وجود نداشت.
و من سپس به اطراف جهان سفر کردم و توانستم تفاوت را ببینم. شاید چون در طول هزاران سال نوابغ شرق پیوسته جویای روح بوده اند، نوعی جو دراینجا خلق کرده اند. اگر در شرق مراقبه کنید، به نظر می رسد که همه چیز کمک می کند: درختان، زمین، هوا. اگر در آمریکا مراقبه کنید، باید تنها مراقبه کنید __ کمکی از هیچ کجا وجود ندارد.
در اسپانیا، در پرتقال، هرگونه امکانی بود تا یک جمعcommune دیگر ایجاد شود، ولی من دیدم که همان ماجرا دوباره رخ خواهد داد. تمام حاصل پنج سال تلاش در آمریکا به سادگی توسط متعصبین مسیحی __ کسانی که هیچ چیز از مذهب نمی دانند__ و سیاست بازهای فاشیست نابود شد.
درواقع، از آن جمع وحشت داشتند: نگرانی اصلی شان شده بود: دادستان کل آمریکا اعلام کرده بود: “نابود کردن این جمع، اولویت ما است.” و آن جمع هیچ آزاری به کسی نرسانده بود.
ولی می توانم درک کنم: در عمق، آن جمع روی طول موجی متفاوت ارتعاش داشت، بخشی از آمریکا نبود و هرگز نمی توانست بخشی از آمریکا باشد. ارتعاشات آنجا چنان قوی بود که راهی برای شکستن آن وجود نداشت __ زیرا آمریکا چیزی از روحانیت نمی داند، هرگز عمیق تر از پوست نرفته است.
و با حرکت در اطراف دنیا، تجربه ی من همان بود: شرق از نظر سیاسی و اقتصادی سقوط کرده است، ولی هنوز هم سایه ای از پروازهای طلایی خودش را حمل می کند. و آنان که در جست وجوی خویشتن هستند، در اینجا، در این کشور فقیر جهان سوم، چیزی را می یابند که روح هایشان را تغذیه می کند.
در هندوستان علم و فن آوری پیشرفته نیست و فقر روز به روز رشد می کند. ولی با این وجود، برخلاف تمام این ها، تا جایی که به جستار روحانی مربوط است، غنی ترین سرزمین دنیا است.

گزیده ای از کتاب “روح عصیانگر” سخنان اوشو در فوریه 1987

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مرد نیز آبستن می شود __ نه مانند زنان؛ آبستنی او بسیار برتر است

“… مرد نیز آبستن می شود __ نه مانند زنان؛ آبستنی او بسیار برتر است. زن می تواند انسان های بیشتری تولید کند، ولی وقتی مرد آبستن می شود، او موسیقی؛ نقاشی، مجسمه و شعر خلق می کند __ تمام چیزهایی که زندگی کردن را ارزشمند می سازد و به زندگی ارزش می بخشد.
ولی مردمان اندکی این آبستنی را احساس می کنند. آنان چنان درگیر امور دنیا هستند _ پول، در کسب آبرو و قدرت و اعتبار __ که هرگز برایشان مهم نیست که چیزی تولید کنند که پس از آنان زنده بماند.
فرزندان یک زن، یک زندگی هفتاد یا هشتاد ساله خواهد داشت، ولی اشعار اوپانیشاد چه؟ پنج هزار سال گذشته و هنوز پرارتعاش و هنوز زنده هستند __ و آن مردمانی که به این اشعار جان بخشیده اند نمی توانستند از این احساس حاملگی پرهیز کنند. هر شاعر بزرگ می داند که زمانی که شعری در درونش می جوشد تا به دنیا بیاید، او تقریباٌ احساسی زنانه دارد، تقریباٌ مانند رحمی است که آن شعر در آنجا شکل می گیرد و رشد می کند.
همین روند برای تمام هنرهای خلاقه صدق می کند، ولی برای آنان که مراقبه می کنند این بیشتر صادق است زیرا آنان یک گوتام بودا را آبستن هستند. آنان خودشان را به دنیا خواهند آورد. این پدیده ای بسیار مرموز است، ولی بسیار شبیه به بارداری در زنان است.
می گویی، ” اتفاقی در من رخ می دهد : احساسی از پربودن، از غنی بودن، و انبساط در قسمت بالای بدنم.” این ها نشانه هایی هستند که زندگی قدیم تو ازبین خواهد رفت ویک زندگی تازه در درونت شکل می گیرد. جایی که قبلاٌ خالی بوده، اینک پر و سرشار می شود. جایی که فقر بوده __ زیرا آنچه که انسان آرزو می کند و می طلبد فقط یک چیز را نشان می دهد: که او فقیر است. و حتی ثروتمندترین انسان ها را نیز به این معنی فقیر خواهی یافت: شاید همه چیز داشته باشد، ولی بازهم بیشتر می خواهد. او یک گدای ثروتمند است. فقر تو درحال ازبین رفتن است و یک غنای دیگر جای آن را می گیرد.
همه در یک زندگی ابرمانند زندگی می کنند. انسان از روی ترس __ترس از افشا شدن،ترس از آسیب پذیر بودن و ترس از برهنه بودن وجود خویش __ در اطراف خودش دیوارهایی ایجاد می کند. ولی با شروع مراقبه آن دیوارها شروع می کنند به فروپاشی؛ زیرا آگاهی به انبساط و گستردگی نیاز دارد. نمی تواند در فضایی کوچک زندانی شود__ حتی تمامی آسمان برایش کوچک است.
تو درحال یک دگرگونی عظیم هستی. این همان تحولی است که همه برای آن در اینجا جمع شده اند. می گویی، ” گلویم را لمس می کند. این احساس مرا محکم نمی فشارد، بلکه مرا و همه چیز و همه کس را در اطرافم در آغوش می گیرد. نمی دانم که آیا دیگران هم این احساس را دارند، ولی من می توانم این درآغوش گرفتن را احساس کنم. این یک لمس بدون لمس است، همچون یک سلام شیرین که به هیچ کس و هیچ چیز نشانه نرفته__ بلکه متوجه همه کس و همه چیز است. و این احساس مرا در هه جا تعقیب می کند. مانند یک آبستن شدن عجیب است که من هیچ چیز از آن نمی دانم.”
اینک بیشتر و بیشتر در موردش خواهی دانست. فقط از سقط جنین پرهیز کن! تاجایی که به مرد مربوط می شود و به خلاقیت او، نیاز به هیچ کنترل زایش وجود ندارد. مردان بیشتر و بیشتری باید به این حالت از خلاقیت دست پیدا کنند.
تعجب می کنی، ” من چگونه می توانم آبستن باشم؟ من یک مرد هستم.” برای همین است که می توانی باشی: زیرا که تو یک مرد هستی. یک زمینه ی عمیق روانشناسی وجود دارد که باید آن را درک کنی. مرد همیشه در مقایسه با زن احساس حقارت داشته است، زیرا زن می تواند بزاید و مرد نمی تواند. زن می تواند یک مادر بشود __ آغازی از یک زندگی دیگر ومرد از آن ناتوان است. برای جایگزین کردن این، مرد شروع کرد به یافتن راه هایی تا بتواند خلاق و مولد باشد. این یک نیاز عمیق روانشناختی است برای ازبین بردن آن احساس حقارت.
مردان نقاشی های بزرگ، شعرهای بزرگ، رقص های بزرگ و موسیقی های بزرگ را خلق کرده اند __ همگی این ها فقط جایگزین هستند. برای همین است که زنان برای ایجاد این چیزها زحمتی به خود نداده اند.{…}
زن احساس رضایت دارد زیرا که می داند می تواند زندگی را خلق کند. شاید تو یک مجسمه ی زیبا خلق کنی، ولی بازهم چیزی مرده است. شاید یک قطعه ی موسیقی عظیم بیافرینی، ولی این نیز پایدار نیست: مانند باد می آید و می رود، ولی این مخلوق های تویک کودک زنده نیستند __ کودکی که لبخند می زند و نفس می کشد و شگفتی های این دنیا را می بیند.
به نظر می رسد که تمام هنر ها و خلاقیت های مردان فقط جایگزینی فقیر برای نیروی آفرینندگی زن باشد. بارها از من سوال شده که چرا زنان جزو شعرا و موسیقیدانان و مجسمه سازان بزرگ دنیا نیستند. دلیل این است که آنان می توانند زندگی را خلق کنند، نیازی ندارند که چیز دیگری بیافرینند.
زن و مرد فقط در یک نقطه و در یک نکته باهم دیدار می کندد و من آن را فضای مراقبه می خوانم __ جایی که زن و مرد واقعاٌ باهم برابر هستند، زیرا هردو می توانند خویشتن را متولد کنند. می توانند دوباره زاده بشوند و هردو می توانند از اشراق آبستن شوند.
بجز در فضای مراقبه، زن و مرد دو گونه ی متفاوت هستند. آنان فقط در مراقبه ی عمیق با هم دیدار می کنند. و تازمانی که تمام بشریت مراقبه گون نباشد، زن و مرد باهم خواهند جنگید. عشق آنان همیشه بالا و پایین خواهد رفت __ لحظاتی زیبا وجود دارد و لحظاتی از زشتی؛ لحظاتی از سرخوشی وجود دارد و لحظاتی از دردو رنج.
ولی در مراقبه __ اگر دو مراقبه کننده انرژی های خود را باهم سهیم شوند __ عشق یک پدیده ی ثابت خواهد بود: تغییر نخواهد کرد. عشق کیفیت ابدی دارد؛ الهی خواهد شد.
ملاقات عشق و مراقبه بزرگترین تجربه ی زندگی است.
داشتن عشق بدون مراقبه یعنی داشتن یک زندگی پردردسر و سرشار از تشویش و نگرانی __ همیشه در اغتشاش و کشمکش. لحظاتی از سکوت خواهد بود، ولی آن سکوت چیزی جز جنگ سرد نیست __ آمادگی برای جنگی دیگر؛ همین. روشن است که برای آماده شدن برای جنگی دیگر، باید که برای چند لحظه و برای چند روز ساکت باشی!
ولی چنین چیزی تاکنون ممکن نبوده است، زیرا تمام مذاهب راهی اشتباه را در پیش گرفته اند.آنان تصمیم گرفته اند که زنان و مردان را ازهم جدا کنند؛ تصمیم گرفته اند که آنان را دشمن یگدیگر سازند. و تمام این مذاهب با من مخالف هستند زیرا که من برای یک هدف تلاش می کنم: که تاجایی که به مراقبه مربوط است، این در انحصار هیچکس نیست: نه مرد و نه زن. مراقبه فقط نقطه ی دیدار است: جایی که در آن نه مرد، مرد است و نه زن، زن؛ هردو موجودات انسانی هستند و خدایان بالقوه، تخم های خداگونگی و الوهیت.
نه عشق به تنهایی قادر به آن است __ زیرا که دردسرش خیلی زیاد است __ و نه مراقبه به تنهایی می تواند، زیرا بدون عشق، مراقبه بیشتر مانند سکوت گورستان است: دیگر رقصان نیست و دیگر شکوفا نیست. آری، آرامشی هست ولی آن آرامش شبیه به مرگ است __ زنده نیست. آن آرامش دیگر تنفس نمی کند و دیگر تپش قلبی ندارد.
تمام زندگی من فقط وقف یک برنامه بوده است: چگونه عشق و مراقبه را کنارهم بیاورم __ زیرا فقط از طریق این ملاقات است که یک انسانیت تازه ممکن خواهد بود. و فقط در ملاقات عشق و مراقبه است که دوگانگی مرد و زن __ نابرابری مرد و زن __ ازبین خواهد رفت.
نهضت آزادی زنان نمی تواند سبب خیر باشد. من مستقیماٌ به آزادی زنان علاقه ای ندارم؛ توجه من به آزادی همگان است __ زیرا اگر زن آزاد نباشد، مرد نیز آزاد نخواهد بود. رابطه ی عملکردی زن و مرد مانند زندانی و زندانبان است: آنان هردو دربند یکدیگر اسیر هستند. نه مردان آزاد هستند و نه زنان __ هردو در یک بردگی که بریکدیگر تحمیل کرده اند به سر می برند؛ به این امید که اگر دیگری را به اسارت خود درآورند، آزاد خواهند بود. ولی آن دیگری هم راه خودش را برای به اسارت کشیدن تو دارد.
فقط در مراقبه، در سکوت، جایی که عشق شکوفا می شود، می تواند یک هماهنگی طبیعی، یک برابری و تعادل طبیعی بوجود بیاید __ بدون مبارزه و بدون جنگیدن. و زمانی که این تعادل و برابری طبیعی باشد، زیبایی خاص خودش را دارد.
دیان جان، می پرسی، “آیا مردان هم می توانند آبستن شوند؟”
تمام فرهنگ، هرآنچه که تمدن می خوانید چیزی جز حاصل آبستنی تعدادی اندک از مردان نیست. هر مردی ظرفیت آبستن شدن را دارد، ولی تعداد بسیار اندکی این چالش را پذیرفته اند و این راه طاقت فرسا را پیموده اند. حامگلی زنان فقط بیولوژیک است. مرد نمی تواند آنگونه باردار شود، ولی از نظر معنوی می تواند آبستن شود. و زنان، هم می توانند بطور بیولوژیک و هم بطور روحانی آبستن شوند.
و می پرسی، ” آیا شبانه با من دیداری داشته اید، باگوان؟” دیان جان، آیا فکر می کنی من روح القدس هستم که دختران باکره را آبستن کنم؟ و حالا که از دختران باکره خسته شده ام، شروع کنم به آبستن کردن مردان، مردان باکره؟ من روح القدس نیستم __ من ابداٌ یک مسیحی نیستم! ولی این درست است: تو آبستن شده ای. احساس برکت کن و از آن لذت ببر! و تا می توانی آن را تغذیه کن: این به تو یک تولد خواهد بخشید: یک توی جدید!
گزیده ای از کتاب “روح عصیانگر” سخنان اوشو در فوریه 1987

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Osho on music…

“Let yourself be singing,
let each fiber of your being be a part of the universal dance.
To me, this is the only revolution, the only transformation,

which can bring this earth millions of joys………
We can enter into an absolutely new era, where everybody is joyful,
loving, laughing, and everybody carries his own guitar.
Nobody need to carry any cross.
I want to change every cross into a guitar.”
Om Mani Padma Hum

“ Music helps you from the outside to fall in tune with the inner.
Music is a device __ invented by the buddhas…..”

The Dhammapada, Vol.12 # 4

“….Music says nothing, it simply shows __ and that is the beauty of music.
You simply listen to it.
You become overwhelmed by it.
You are possessed by it.
You fall in tune with it.You are transported to some other realm,

to some other vision of reality.
Music takes you to the higher peaks of life & existence.
It simply takes your hand and leads you, very very politely,
very lovingly, into the mysterious..”
The secrets of secrets, Vol.2

“…..Music has to be in your heart, your very being has to be musical, it has to be a harmony.
A man can exist as a chaos, or as a cosmos.
A man can exist as a disorder, a discord, just a noise, a marketplace, or a man can exist as a temple, a sacred silence, where celestial music is heard on its own…..”
The Dhammapada, Vol.1 # 8

“Meditation makes you aware of great music __music without and music within.
It is there, but we are not alert, we are not awake.
Hence we go on missing it, otherwise the whole existence is nothing but music.
That music is called god, by the mystics.
God is not a person, but the ultimate harmony of existence, it is an orchestra.
Everything is in tune with everything else.
The trees are in tune with the earth, the earth is in tune with the wind, the wind is in tune with the sky, the sky is in tune with the stars, and so on and so forth.
There is no hierarchy. Even the smallest blade of grass is as significant as the biggest star.”
Satyam Shivam Sunderam

“…Music will make you silent, will make you disappear, will make you almost absent.
Only the music will be there, not the musician, because in meditation, the musician cannot exist.
And if you are listening, soon you will find yourself melting, disappearing.
It will create a new space within you.
It has to come out of meditation, and anyone who listens to it, will feel something of meditation…..”
Satyam Shivam Sunderam

“…Music is born out of deep experiences of meditation, it is a dimension of meditation.
By meditating, you may be able to be touched by music, but the reverse is also true: if you are totally absorbed in music, your heart will be touched not only by the music, but by meditation too.”

“ Music is sound. Meditation is soundlessness.
The highest music is where sound does not destroy the soundless moments in between.
As the musician becomes more & more refined, he can manage to create sound, and in between two sounds, he can give you an experience of soundlessness.
That soundlessness touches the heart….”
Sermons in Stones, # 16

“…….Silence is the answer. Silence is the ultimate truth.
In silence we meet with the existence __words, languages, all create barriers.
And to be silent means to be a hollow bamboo.
And the miracle is, the moment you are a hollow bamboo, a music descends through you which is not your own.
It comes through you, it belongs to the whole.
Its beauty is tremendous, its ecstasy immeasurable. And to me, that music is the ultimate experience, the last benediction, the highest flowering of your consciousness…”
The Transmission of the Lamp # 26

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Osho on circles (mandalas)

…. Paint: paint pictures which can become objects of meditation, paint pictures of the inner sky of buddhas. The modern painting is pathological. If you look at Picasso’s paintings you cannot look long, you will start feeling uneasy. You cannot have Picasso paintings in your bedroom, because then you will have nightmares. If you meditate on a Picasso painting long enough you will go mad, because those paintings are out of Picasso’s madness.
Go to Ajanta, Ellora, Khajuraho, Konarak, and you will see a totally different world of creativity. Looking at the statue of a buddha, something in you starts falling in tune. Sitting silently with a buddha statue, you start becoming silent. The very posture, the very shape, the face, the closed eyes, the silence that surrounds a marble statue will help you to get connected with your own inner sources of silence.
Gurdjieff used to say that there are two kinds of art. One he used to call objective art, and the other he used to call subjective art. Subjective art is absolutely private, personal. Picasso’s art is subjective art; he is simply painting something without any vision for the person who will see it, without any idea of the person who will look at it. He is simply pouring out his own inner illness; it is helpful for himself, it is therapeutic.
I am not saying that Picasso should stop painting, because if he stops painting he is bound to go mad. It is painting that is keeping him sane; his painting is like vomiting. When you have eaten something wrong, when you have a food poisoning, vomiting is the most healthy way to throw the toxins, the poisons, outside the system; it will help. Picasso’s paintings are like vomiting. He is suffering from many illnesses, all the illness that humanity is suffering from. He simply represents humanity, he is very representative.
He represents the whole madness that is happening in millions of people. He is a sensitive soul; he has become so attuned with the pathology of mankind that it has become his own pathology. Hence the appeal of his paintings, otherwise they are ugly. Hence his great name — because he deserves it, he represents the age. This is Picasso’s age: what you cannot say about yourself, he has said it. What you cannot pour out of yourself, he has poured it on the canvas. But it is a subjective phenomenon. It is therapeutic to him, but it is dangerous to everybody else.
The ancient art was not only art; it was, deep down, mysticism. Deep down, it was out of meditation. It was objective, in Gurdjieff’s terminology. It was made so that if somebody meditates over it, he starts falling into those depths where God lives.
Khajuraho or Konarak — if you meditate there, you will know what the Tantra masters were doing. They were creating in stone something that is felt in the ultimate orgasmic joy. It was the most difficult thing to do, to bring ecstasy into the stone. And if the stone can show the ecstasy, then everybody can move into that ecstasy easily.
But people who go to Khajuraho are foolish people. They look either at Khajuraho sculpture as obscene — then they miss the whole point, then they are seeing something which is within their own unconscious; or they are too moralistic — then they don’t meditate on any statues, they are in a hurry to get out of the temple somehow, they just throw glances.
Khajuraho sculpture is not just to see, it is for meditation. Sit silently and meditate for hours. If one goes to Khajuraho, one should live at least for three months there, so he can meditate on each possible inner posture of orgasmic joy. And then, slowly slowly, the at-onement, slowly slowly, the harmony; then suddenly you are transported into another world — the world of those mystics who created this temple. This is objective art.
So too is the Taj Mahal. On a fullmoon night, if you sit silently by the side of it, not being bothered about the history of the Taj Mahal and who created it and why — those are all nonsense, irrelevant facts, they don’t matter: Shah Jahan and his beloved, and his memory of his beloved, he created it…. Don’t be bothered by the guides; tip them before they start torturing you, and get rid of them!
Shah Jahan has nothing to do with the Taj Mahal, in fact. Yes, he created it, he created it as a memorial for his wife, but he is not the essential source of it. The essential source is in the Sufi way of life, it is in Sufism. Basically it was created by Sufi masters; Shah Jahan was just instrumental. The Sufi masters have created something of immense value. If you silently sit in the full moon night just looking at the Taj Mahal, sometimes with open eyes and sometimes with closed eyes, slowly slowly you will feel something that you have never felt before. Sufis called it zikr, remembrance of God.
The beauty of the Taj Mahal will remind you of those realms from where all beauty, all benediction comes. You will become attuned with the Sufi way of remembering God: beauty is God.
BOOK of Wisdom, chapter 24, Q 1
==
BELOVED MASTER,
WHAT DO YOU SAY ABOUT MODERN ART?

Asang, the first thing is, it is not art. For the first time something exists in the name of art which is not art at all. It is more a therapy than an art. Look at the modern paintings and you will be convinced of what I am saying. The painters must be insane; they have poured their insanity on the canvas. It helps them because it releases some tensions inside their being. It is a catharsis, but it is not art. It is therapy through art, but not art itself.
If Picasso is prevented from painting, he will go mad. Vincent van Gogh went mad before he committed suicide. And I have been looking into his life deeply and my feeling is he went mad because he could not paint as much as he wanted. He had no money to paint. His brother was giving him money enough just to survive, and he was not eating for four days per week. He would eat only for three days and four days he will fast to save money to paint. How long can you do that? But painting was more important for him than food — and it ended in madness. He could not paint as much as he wanted, and when he saw that there was no possibility to paint anymore — the brother is tired, the family is tired and nobody wants to help him and nobody wants to purchase his paintings — he committed suicide.
The same would be the case with Picasso if he was prevented from painting: he would go mad or he would commit suicide. Suicide is the ultimate in insanity. But his paintings are a great help, a great relaxation.
And it is not only so with painting; it is so with poetry, music, dance. Everything modern is a little crazy because modern man is a little crazy, off the center.
Gurdjieff has divided art into two categories. The modern art he calls subjective art. The ancient art — the real art — the people who made the pyramids, the people who made the Taj Mahal, the people who made the caves of Ajanta and Ellora, they were of a totally different kind. He calls that art objective art. Subjective art is like vomiting. You are feeling sick, nauseous; a good vomit helps you to feel good. The poison is thrown out, you feel relieved. It is good for you, but not good for others.
Now, in the name of modern painting, you are hanging vomited, nauseous, sickening things in your rooms. In the name of modern music you are simply getting into crazier spaces within you. It is subjective art.
Objective art means something that helps you to become centered, that helps you to become healthy and whole. Watching the Taj Mahal in the full moon, you will fall into a very meditative space. Looking at the statue of Buddha, just sitting silently with the statue of the Buddha, something in you will become silent, something in you will become still, something in you will become buddhalike. It is objective art, it has tremendous significance.
But objective art has disappeared from the world because mystics have disappeared from the world. Objective art is possible only when somebody has attained to a higher plane of being; it is created by those who have reached the peak. They can see the peak and they can see the valley both. They can see the height of humanity, the beauty of humanity, and the sickness and the ugliness of humanity too. They can see deep down in the dark valleys where people are crawling and they can see the sunlit peaks. They can manage to create some devices which will help the people who are crawling in the darkness to reach to the sunlit peaks. Their art will be just a device for your inner growth, for maturity.
Modern art is childish — not childlike, remember, childish; not innocent but stupid, insane, pathological. We have to get rid of this trend. We have to create a new kind of art, a new kind of creativity. We have to bring to the world again what Gurdjieff calls objective art.

The farmer was looking at one of those modern, abstract paintings. “It is a perfect picture of those fellows in New Delhi,” he said. “No matter which way you look at it, it does not make sense.”

But the farmer is saying something which Picasso himself has said. Picasso has said, “The world today does not make sense, so why should I paint pictures that do?”
If the world today does not make sense, that means more pictures, more music, more poetry is needed that makes sense — to help humanity to come out of this absurd state. That was the function of objective art: to help you come out of your absurd state. But Picasso says, “The world today does not make sense…” as if it was making sense in the past. It has never made any sense; the world has always been the same. But he finds a rationalization. He is saying, “If the world itself makes no sense, why should I paint pictures that do?”
If you ask me, that should be precisely the reason to make pictures that DO make sense. Otherwise, how is the world going to be helped? It needs music, it needs poetry, it needs dance. It needs paintings which can help it to rise above its misery, its schizophrenia, its neurosis, its psychosis.
But Picasso himself is only a representative of the neurotic mind. Picasso became so famous for the simple reason that he represented us very clearly.

The marriage broker introduced a really ugly girl to a young man. The victim protested that the lady had misplaced eyes, a broken nose and a deformed face.
“Ah,” said the marriage broker, “it is apparent that you do not like Picasso.”

Looking at Picasso’s paintings, have you not felt it? Everything is deformed, misplaced.

I have heard that a very rich lady wanted a portrait of herself done by Picasso. He agreed for a fantastic sum. The lady was ready to pay. Six months he took to make the portrait.
When the portrait was ready, the lady looked at it and said, “Everything is okay; I just don’t like the nose. You will have to improve it.”
Picasso looked at the lady, then he looked at the painting and he said, “It is impossible.”
The lady said, “Why? I am ready to pay. If you want more money, I am ready to pay.”
Picasso said, “It is not a question of money. I don’t know where the nose is.”

His paintings are nightmarish. And it is not only Picasso; Picasso simply symbolizes the whole of contemporary art. He is the most representative modern artist. He is right, in a sense, because the world makes no sense.
The world has never made any sense, but there have been people who created such art that it helped people to find some sense in a senseless world. And that finding of sense helps you tremendously to become centered.

“It is terrible to see men looking like girls, with long hair and all. You can’t tell the difference. I was sitting in a restaurant when a girl came in. I turned to the person at the next table and said, ‘Isn’t it terrible how girls look like boys these days?'”
“That’s my son,” she said, pointing to the girl.
“Ah, I’m sorry. I didn’t know you were the mother.”
“I’m not,” the neighbor said indignantly. “I’m the father!”

Things are topsy-turvy. Things are becoming more and more topsy-turvy. The world seems to be less a cosmos now and more a chaos.
In the ancient philosophies, cosmology was one of the most important things to be discussed. Now there seems to be no cosmos, no cosmology. The whole world seems to be in a chaos, as if all is accidental. Nothing seems to be essential, intrinsically valuable; everything seems to be just happening as an accident. And this is reflected in everything. It is reflected in art, it is reflected in science, it is reflected even in religion.
We need again a cosmology. I know the world IS a chaos; that is a challenge for human consciousness to create a cosmos out of it. It is a tremendously valuable opportunity to create a cosmos. Just to say that it is a chaos, remain with it as it is, is to fall below human dignity; it is not accepting the challenge. It is really a great challenge to change yourself AND the world. It IS a puzzle, but it is a puzzle only if you have already concluded that there can be no meaning at all; otherwise it is a mystery, not a puzzle.
A mystery may not have any meaning, but it has significance. And there is a difference between meaning and significance — and significance is far more meaningful than meaning itself; significance is far more important. What meaning is there in a roseflower? — but significance certainly is there. Just think of a world without roses. It will be a poor world; some significance will be lost. What significance is there when you hear the sound of running water? Have you not felt some significance? Yes, meaning you cannot prove.
Meaning seems to be imposed by the mind upon existence; significance seems to be part of existence itself. We have lost contact with the language that can understand significance; we only understand meaning. Meaning is intellectual, significance is existential. There is no meaning in love, but great significance; no meaning in God, but great significance; no meaning in meditation, but great significance, great splendor.
I would like to say to my sannyasins, Asang, that my sannyasins have to be not only meditative, they have also to be creative. And they have to create what Gurdjieff calls objective art. They have to create something which can help a wandering humanity to come to a resting place. Yes, much can be created that can give shelter, that can become a deep, deep experience of communion with nature.
That is the real function of art: helping people to commune with nature, because out of that communion arises religion. Science is an intellectual effort to understand nature, art is an emotional effort to understand nature, and religion is an existential effort to COMMUNE with nature. Art is higher than science, religion is higher than art. Science has to be objective; if science is subjective it will be just fiction — science fiction. Art has also to be objective; otherwise it will be fiction. And that’s what modern art is — fiction. And religion has also to be objective, really authentic; otherwise it is speculation, philosophy.
The Dhammapada, Vol. 9 ch 4, q 2
Gurdjieff used to call Eastern art “objective art” and Western art “subjective art.” He means by objective art, art which has some intrinsic quality which can be imparted for thousands of years. The work of art is a code word. After experiencing meditation for thousands of years, meditators have come to recognize that a certain posture, a certain way of sitting, a certain way of the eyes, can create in anybody a synchronicity, a sympathy; some sympathetic note can be stirred by the statue.
In the East a statue is not made for its own sake. It is made as a code language for centuries to follow. Scriptures may disappear, languages may change, words may be interpreted. Doctrines can be wrongly interpreted, commented upon. There may be dispute about theories — and there has been — so they thought there must be a different way than language.
Now what dispute can there be about the statue of a Buddha or Mahavira? There is no question of dispute, there is no need of any commentary. Anybody who is capable of sitting silently by the side of this statue will have a certain thing stirred in his heart. This is objective art.
Picasso’s pictures are subjective art. Seeing a painting by Picasso … he has not considered you, who are going to see the painting. You are not taken into account at all. He has simply vomited his own madness on the canvas. It is simply vomit; hence you cannot go on looking at a Picasso painting for a long time. You will start feeling tense, your stomach will start feeling weird — because Picasso is not concerned with you, what happens to you, he is simply subjective. He is pouring out his own mind, what is happening to him; unconcerned about humanity or anybody. He is going crazy, that’s why his painting is crazy.
Almost all the painters in the West have gone mad once or twice in their life, and have been put into mad asylums. Many of the Western painters have committed suicide. This has never happened in the East. There is not a single instance in ten thousand years that a painter, a musician, a poet, has been mad, or has committed suicide. The reason is, it was art on the surface, but meditation in depth. In the West it is just surface, there is no depth in it. And the surface is without any compassion, without any consideration, without any responsibility.
When you compose music or poetry you are to understand that somebody will be reading it — what effect it is going to have on the person? Will it drive him sane or insane?
From Darkness to Light
Ch 27, q 1
Western society lives under an affliction — their ignorance about meditation; hence, whatever they do is out of the mind.
And mind is not the source of joy.
It can only create agony, but never ecstasy.
Mind is your hell.
So learn to be more meditative, and let your creativity be secondary to your meditativeness. Then you will have a totally different state of being — that of ecstasy; and out of ecstasy, whatever is created has also some flavor of it.
In the West, perhaps Gurdjieff is the only man who has divided art into two sections: the objective art and the subjective art. Subjective art is from the mind, and is out of anguish. Objective art — the Taj Mahal, the caves of Ellora and Ajanta, the temples of Khajuraho — has come from meditative people. Out of their love, out of their silence, they wanted to share; it is their contribution to the world.
The Western artist has lived under a very heavy burden. It is time that he should be made aware that there is something more beyond mind. First reach to that beyond, and then you can create stars; and they will not only be a great joy to you, they will also be a great joy for those who see them.
Just on a full-moon night, sit by the side of the Taj Mahal — don’t do anything, just look at it — and you will find suddenly a silence descending on you, a peace filling your heart. The mind is stopping its constant chattering.
An objective piece of art like the Taj Mahal is not just to be seen, but to be lived — and then you will be in a certain way connected with the creators of that beautiful architecture. It was created by Sufi masters. Its very shape somehow creates within you a new blissful space. But the Western tourist comes with the camera, takes a few shots from here and there and runs away to some other place. He does not know how to appreciate an objective art. One has to meditate on it — it may be that thousands of years have passed between the creator of that piece and you. Suddenly that distance disappears; you become part of that creative joy, of that creative dance.
Milarepa, creativity is secondary, meditation is basic and fundamental; everything should come out of your meditation. Then it will give you a beatitude, your being a new song, and it will help others to experience something of it. It will depend on their meditativeness.
I would like to make one very strange statement: that a great meditator will find more joy, more peace, more blissfulness, than even the creator himself. If a Gautam Buddha sits by the side of the Taj Mahal, then what those Sufi Masters had experienced by creating it will be left far behind. Gautam Buddha will experience something far deeper, far more truthful, far more beautiful.
Whether you create, or you observe an objective piece of creativity, meditation should be the key. Without it, mind can only spread on the canvas its nightmares. Most of the paintings of the great painters like Paul Gaugin or Picasso are almost like vomit. They could not contain their agony and suffering — it was so much they threw it on the canvas to get relief. The real objective art is not a relief; it is not a sickness that you want to get rid of. It is a blissfulness that you want to share. And by sharing, it grows; you have more of it, the more it is shared.
The Golden Future, ch 23 q 3
The fourth question:
Question 4
WHAT ABOUT ART AND ENLIGHTENMENT?
WHEN YOU ARE CREATING A POEM, A PAINTING SCULPTURE, MUSIC, YOU CAN FEEL VERY CLOSE TO THE MEDITATIVE STATE. YET, IT IS NOT PURE NOTHING-NESS — BECAUSE IT HAS AN END, A GOAL. IT ALSO ENHANCES THE EGO. WON’T YOU ULTIMATELY HAVE TO TRANSCEND THIS KIND OF CREATIVITY?

ART DEPENDS ON YOU. If you are pathological, your art will be pathological. If you are enlightened, your art will be enlightened. The art carries your quality.
If you go to Ajanta, Ellora or Khajuraho, you will find a totally different kind of art. If you listen to classical music, you will find a different quality of art. If you listen to modern music, a different kind of art will be found there. If you see Picasso’s paintings, they ARE pathological. Something is ill — something is ill in Picasso and something is ill in the world that Picasso is going to represent in those works of art.
Never keep a Picasso painting in your bedroom, otherwise you will have nightmares. It is very representative of this society. The society is ill, neurotic, but the art depends on you. The art does not descend out of the blue, it comes through the artist, it brings the artist. It makes the artist visible to the world — that’s what art is. That which is hidden in your heart, you bring it into a painting, sculpture, song, dance. You make it available. You open your heart.
But you can open only that which is there. The dance of a Nijinsky cannot be the dance of a Meera. And the philosophy of Nietszche cannot be the philosophy of a Buddha. It is BOUND to be diametrically opposite.
The pathological art comes out of inner conflict, tension, ego need. It relaxes you like any catharsis relaxes you. If you are angry and you shout and you hit — even if you hit a pillow — that helps. You feel relaxed. Now there are schools in the West which think mad people can be helped through art — therapy through art. And they are right. If a mad person is given painting to do, if he simply paints, it is going to help, because whatsoever he paints will dissipate his madness. It will come out, it will be thrown out. He will feel unburdened and clean.
But ninety-nine percent of art is like that. It is certain that if Picasso is not allowed to paint, he will go mad. It is certain that if Van Gogh is not allowed to paint he will go mad. He did finally.
Art out of madness, art out of neurosis, art out of pathology, is not real art. Gurdjieff used to divide art into two kinds. He used to call this kind of art subjective, and another kind — the Taj Mahal, or Khajuraho — objective, because when you have painted, your work is finished but the painting will live. If you have put in the painting a certain pattern of neurosis, whoever will see the painting and think about the painting and look at the painting will have the feeling of the same kind of illness arising in him — the same nausea, the same sickness. The painting will become a mandala; it will become a yantra. That’s how in the East we have used paintings: as yantras.
A pattern can be created so that if you look at it, it gives silence. A pattern can be created so that if you look at it, it makes you tense. The objective art, Gurdjieff says, is the art which leads people towards silence, towards blissfulness, towards inner harmony, towards grace. And the art that leads people towards pathology, neurosis, perversion, is not really art. You can call it art, but that is a misnomer.

WHAT ABOUT ART AND ENLIGHTENMENT?

Art has nothing to do directly with enlightenment, but enlightenment has much to do with art. When many enlightened people exist in the world, they create a different kind of world, they create different kinds of things, naturally. Zen art has a quality of its own. Watching a Zen painting you become meditative; watching a Zen painting you are transported into another world. Listening to an ancient song like Bhagavad Gita, just listening — even if you don’t understand, even if you don’t know the language, the Sanskrit language — just listening, just the tonality of it, just the timbre of it, just the music, the melody of it, and suddenly you feel great silence arising in you, flowers showering inside you, something opening, something blossoming.
The world needs enlightened art. But that cannot be managed by teaching people how to create more art. That can be managed only if people start moving towards their inner core of being.
Whenever somebody arrives at his innermost core, he is bound to express it. Every enlightened experience is bound to bloom into a thousand and one lotuses. When Buddha became silent, when Buddha arrived home, when he knew who he is, he started speaking — his words are his expression. When Meera arrived, she started dancing — her dance is her expression.
EACH enlightened person w8ill find a way to express that which has happened to him, because is PART of that happening that it has to be expressed. You cannot hold it, it overflows. But to different enlightened persons it will happen in different way. Buddha never danced; that was not his way, that was not HIS thing. He never sang, he never composed poetry — that was not his thing! But if you watched deeply, the way he walks is poetry, the way he sits is poetry, the way he gestures is dance. Even while sitting under his Bodhi Tree, unmoving, there is a great dance inside. Those who have eyes, they will be able to see it. This is his way of expressing.
So different people arriving will express differently. Somebody may become a painter and somebody may become a singer — it depends! It depends on what potentiality you are carrying. Your enlightenment will become a rider on that potentiality and will be expressed through it.
But the basic thing is not art — the basic thing is samadhi. Let there be samadhi first, and then whatsoever you are capable of giving to the world, will be given. Whatsoever you are capable of sharing, will be shared. And there will be no ego arising because you have painted, because you have sung, because you danced — there will be no ego arising. And there will be no motive in it. There will be no tension behind it. If nobody comes to listen to you, you will not miss. You will remain like a flower, blooming in the deep, dark forest — nobody passes by, but the fragrance goes on being released to the winds. It does not matter.
The artist hankers to express. To an enlightened person expression is natural, like breathing; there is no hankering. The artist is continuously fighting to pave his way; the artist is motivated; hence, he lives in great tension. It is not just accidental that artists suffer more than anybody else from mind diseases — too much tension. They have to create, and they have to compete, and they have to prove, and they have to leave a signature in the world — all ego efforts.
An enlightened person lives without any motive. He simply enjoys it the way it is, and whatsoever happens is good. He is blessed and he goes on blessing. If somebody receives it, good; if nobody comes to receive it, that too is good.
Zen The Path of Paradox, vol 3 ch 8, q 4
Then Jung became aware that whenever a person who has been suffering with a divided personality again becomes one, undivided, he starts painting something like a mandala — a circle. That circle, that mandala, shows somehow a deep relationship with his own inner circle that has been regained. Now, inside, he has become a circle, joined together. He has become one. Then in his paintings suddenly circles will erupt. So Jung came to conclude that your inner mind can express certain things in a certain state. If the state of mind changes, then your visions will change, your expressions will change.
Hindu mythological gods are certain visions of a certain state of mind. When you come into that state of mind, visions start happening to you. They will have a similarity. All the world over they will have a similarity. There will be minor differences because of culture, education, training, but deep down there will be a similarity.
For example, the mandala is one of the mythological symbols. It has been recurring all over the world. In old Christian paintings it is there. In old Tibetan paintings it is there. In Chinese, Japanese and Indian art the circle has a fascination. Somehow, when your sight becomes circular, when it becomes a current, joined together, undivided, you begin to see a circle in your vision, in your dreams. That circle represents your reality. In the same way, all symbols represent inner subjective realities. And if a society gives a particular shape to a deity, it becomes very helpful. It becomes very helpful for the seeker because now he can decode many inner visions.
The Supreme Doctrine, ch 15, q 1
This whirling, Sufi whirling, is one of the most ancient techniques, one of the most forceful. It is so deep that even a single experience can make you totally different. You have to whirl with open eyes, just like small children go on twirling, as if your inner being has become a center and your whole body has become like a wheel, moving- a potter’s wheel, moving. You are in the center, but the whole body is moving. Start slowly, clockwise. If somebody feels it is very difficult to move clockwise then anti-clockwise, but the rule is to move clockwise. If a few people are left-handed then they may feel it difficult; they can move anti-clockwise. And almost ten percent of people are left-handed, so if you find that clockwise you feel uneasy, move anti-clockwise; but start with clockwise, then feel. Music will be there, slow, just to help you. In the beginning move very slowly; don’t go fast, but very slowly, enjoying. And then, by and by, go faster. The first fifteen minutes, go slowly; the second fifteen minutes, fast; the third fifteen minutes, faster; the fourth fifteen minutes, just completely mad. And then your total energy, you, become a whirlpool, an energy whirlpool, lost completely in it: no witnessing, no effort to observe. Don’t try to see; be the whirlpool, be the whirling. One hour.
In the beginning you may not be able to stand so long, but remember one thing, don’t stop by yourself, don’t stop the whirling. If you feel it is impossible the body will fall down automatically, but don’t you stop. If you fall down in the middle of the hour there is no problem; the process is complete. But don’t play tricks with yourself, don’t deceive; don’t think that now you are tired so it is better to stop. No, don’t make it a decision on your part. If you are tired, how can you go on? You will fall automatically. So don’t stop yourself; let the whirling itself come to a point where you fall down. When you fall down, fall down on your stomach; and it will be good if your stomach is in direct touch with the earth. Then close the eyes. Lie down on the earth as if lying down on the breast of your mother, a small child lying down on the breast of the mother. Become completely unconscious. And this whirling will help.
Whirling gives intoxication to the body. It is a chemical thing, it gives you intoxication, to be exact. That’s why sometimes you may feel giddy just like a drunkard. What is happening to the drunkard? Hidden behind your ears is a sixth sense, the sense of balance. When you take any drink, any alcoholic thing, any intoxicating drug, it goes directly to the center of balance in the ear and disturbs it. That’s why a drunkard cannot walk, feels dizzy. The same happens in whirling. If you whirl, really, the effect will be the same: you will feel intoxicated, drunk. But enjoy this drunkenness is worth something. This being in a drunken state is what Sufis have been calling ecstasy, masti. In the beginning you may feel giddy, in the beginning sometimes you may feel nausea, but within two, three days, these feelings will disappear and by the fourth day you will feel a new energy in you that you have never known before. Then giddiness will disappear, and just a smooth feeling of drunkenness will be there. So don’t try to be alert about what is happening. Let it happen and become one with the happening.
In the morning, alert; in the afternoon, half alert, half unalert; in the night, completely unalert. The circle is complete.
And then fall down on the ground on your stomach. If anybody feels any sort of pain in the navel center lying down on the ground, then he can turn on the back, otherwise not. If you feel something, a very deep painful sensation in the stomach, then turn on your back, otherwise not. The navel in contact with the earth will give you such a blissful feeling — just the same as once you had, but now you have forgotten, when you were a child lying down on your mother’s breast, completely unaware of any worry, any anxiety, so one with the mother, your heart beating with her heart, your breath in tune with her breath. The same will happen with the earth because earth is the mother. That’s why Hindus have been calling earth the mother and sky the father. Be rooted in it. Feel a merger as if you have dissolved. The body has become one with the earth; the form is there no more. Only earth exists; you are not there. This is what I mean when I say break the cup completely: forget that you are. The earth is, and dissolve in it.
During the one hour of whirling the music will continue. Many will fall before the hour but everybody has to fall by the time the music stops. So if you feel that you are still not in the state of falling then go faster and faster. After forty-five minutes go completely mad, so by the time the hour is complete you have fallen. And the feeling if falling is beautiful, so don’t manipulate it. Fall, and when you have fallen then turn on your stomach, be merged, close your eyes. This merger has to be there for one hour.
So the night meditation will be of two hours, from seven o’clock to nine o’clock. Don’t eat anything before it. At nine o’clock the suggestion will be given to come out of this deep drunkenness, this ecstasy. Even out of it you may not be able to walk correctly, but don’t be disturbed, enjoy it. Then take your food and go to sleep.
A Bird on the Wing, ch 1
Different masters… For example, Jalaluddin Rumi did nothing but whirling. He became enlightened after thirty six hours of continuous whirling, without any stop — non-stop whirling. In fact every child likes to whirl. Parents stop him; they say, “You will fall. You may have a fit or you may get hit by something — don’t do such a thing.” But all children all over the world love whirling, because somehow while the child is whirling he finds his center. Without finding the center you cannot whirl. The body goes on whirling, but the whirling has to happen on a center; so slowly, slowly he becomes aware of the center.
After thirty-six hours of continuous whirling, Rumi became absolutely clear about his center. That was his experience of the ultimate, the fourth. Then his whole life he was not doing anything but teaching whirling to people. It will look absurd to a Buddhist, it will look absurd to any other religion — because, what you can get out of whirling? It is a simple method, the simplest method, but it may suit you or it may not.
For example, for me it does not suit. I cannot sit on a swing, that is enough to create nausea in me. And what to say about sitting myself on a swing? — I cannot see somebody else swinging! That is enough to give me a feeling of nausea. Now, Rumi is not for me. And there may be many people to whom whirling will give nausea, vomiting. That means it is not for them.
We are individually different. And there is no contradiction. One can experience the universal, and yet when the question of expression arises, he has to be individual.
Beyond Psychology, ch 36, q3
You whirl in a Dervish dance. In the beginning you are there. Soon you feel nausea, but that nausea is not only physical, it is deeply spiritual. You start feeling nausea when the moment comes for control to be dropped. When that moment nears, you start feeling nausea. The nausea is that the control is being lost. You feel dizzy; you feel that you may fall down. These are not just physical things — deep inside the ego is feeling as if it is being thrown off the track. The ego is feeling dizzy. It is feeling that if this whirling continues for even a little longer, I will not be able to be there. You start to feel like vomiting. In fact, that vomit is not only physical, just one part is physical, a deeper part is the vomit of the ego. If you continue to feel disturbed, there will be a physical vomiting, but if you don’t bother about it, soon physical vomiting will disappear. And then the real vomit will happen: one day, suddenly, the ego is vomited. Suddenly an ugly phenomenon within you escapes; suddenly the disease from you is thrown out; suddenly you are ego-free. It happens unexpectedly. When it happens for the first time, you cannot even believe it; you cannot believe that, without the ego, you are. There is nobody inside, and you are; and you are so perfect and so beautiful and so blissful — without anybody being there!
The ego has to be thrown off-center, because it has become so deeply rooted in your mind, through many lives. It has usurped the whole being; emptiness has been thrown into the background, into the unconscious, and the ego has usurped the throne. Now the ego has become the king, and it goes on manipulating everything.
The Grass Grows by Itself, ch 3
For example, all over the world, children like to twirl, to whirl, and naturally the parents will stop them: “Don’t do that, you may get dizzy. You may fall, you may hurt yourself.” But all over the world, children enjoy it. And it was from seeing children enjoying whirling that Jalaluddin Rumi got the idea that there must be something… because whenever you see a child whirling, his face changes. A strange grace comes to his face; he starts radiating a certain aura, and when he stops he is so full of joy….
Jalaluddin Rumi tried — in the forest, so nobody makes a laughingstock of him — just to know what these children find in twirling. And he was amazed: he discovered one of the greatest methods of meditation, and for twelve hundred years after him, his school has been a living school. His school is called the Whirling Dervishes; in their temple, that is their prayer, that is their meditation. That is their whole religion. They go on twirling for hours together.
Jalaluddin himself became enlightened after thirty-six hours of continuous, nonstop twirling. And when he was asked, “There is no scripture describing this meditation; how have you found it?” He said, “Just by looking at children. I tried it myself, and I was amazed because the more you twirl, the faster you go, soon you become aware that something deep inside you is absolutely still and unmoving. The whole body is moving and the faster it moves, the more is the contrast between the unmoving and the moving. And the unmoving consciousness within is my soul. That is the center of the cyclone.”
The Hidden Splendor, ch 22, q 1
Alima, the words of Mevlana Rumi are immensely significant. There have been very few people who have moved and transformed as many hearts as Jalaluddin Rumi.
In the world of the Sufis, Mevlana Rumi is the emperor. His words have to be understood not as mere words, but sources of deep silences, echoes of inner and the innermost songs. He is the greatest dancer the world has known. Twelve hundred years have passed since he was alive.
His dance is a special kind of dance. It is a kind of whirling, just the way small children whirl; standing on one spot they go on round and round. And perhaps everywhere in the world small children do that and their elders stop them saying, “You will become dizzy, you will fall, you will hurt yourself,” and, “What is the point of doing it?”
Jalaluddin Rumi made a meditation of whirling. The meditator goes on whirling for hours — as long as the body allows him; he does not stop on his own. When whirling a moment comes that he sees himself utterly still and silent, a center of the cyclone. Around the center the body is moving, but there is a space which remains unmoved; that is his being.
Rumi himself whirled for thirty-six hours continuously and fell, because the body could not whirl anymore. But when he opened his eyes he was another man. Hundreds of people had gathered to see. Many thought he was mad: “What is the point of whirling?”
… Nobody can say this is a prayer; nobody can say this is great dance; nobody can say in any way that this has something to do with religion, spirituality….
But after thirty-six hours when they saw Rumi so luminous, so radiant, so new, so fresh — reborn, in a new consciousness, they could not believe their eyes. Hundreds wept in repentance, because they had thought that he was mad. In fact he was sane and they were mad.
And down these twelve centuries the stream has continued to be alive. There are very few movements of spiritual growth which have lived so long continuously. There are still hundreds of dervishes. `Dervish’ is the Sufi word for sannyas. You cannot believe it unless you experience, that just by whirling you can know yourself. No austerity is needed, no self-torture is needed, but just an experience of your innermost being and you are transported into another plane of existence from the mortal to the immortal. The darkness disappears and there is just eternal light.
Om, Shanti Shanthi Shanthi
Ch 11, q 1
A few people I love immensely. Mevlana Jalaluddin Rumi is one of them, and the reason I love him is that he was not life-negative, but life-affirmative. And the meditation that he has found and which has continued for seven hundred years among a small stream of mystics was the meditation of a certain kind of dance. His followers are called whirling sufis.
You must have seen small children — they like to whirl; and everybody stops them, because the fear of the parents is that the child may fall, may have a fracture, may get hurt. But in spite of all prohibitions, children love to whirl. And nobody has inquired why children love, all over the world, irrespective of race, nation, religion, why children love to whirl.
Jalaluddin Rumi, seeing children whirl, thought that there must be something that the children feel but they cannot express, and perhaps they are not fully aware what it is. So he tried whirling himself, and he was amazed that if you go on whirling there comes a moment when the center of your being remains static and your whole body, mind, brain, everything, whirls.
And that center which does not whirl, is you, the center of the cyclone. The whirling is almost like a cyclone, but exactly in the middle of the cyclone you will find a point which has not moved at all. Every wheel needs a center on which to turn, and the center has to remain unturning. You see in bicycles, in bullock carts, wherever there is a wheel, there is something in the center which is unmoving.
Once Jalaluddin became aware that you can find the unmoving center of your being, he tried for thirty-six hours non-stop, without eating, without drinking — he was determined to whirl to his absolute capacity, not to hold back anything… unless he falls, he is not going to stop. Thirty-six hours he whirled, a great crowd watched. The crowd went on changing; people had to go to eat and then they came again. People had to do their work and then they came again; thirty-six hours is a long period. And after thirty-six hours he fell down. And people heard a great laughter.
Jalaluddin was laughing loudly, and he said, “You think you have seen me falling, I have also seen myself falling. These thirty-six hours I have not moved a single inch. Now I don’t have to go to Mecca in search of God, I have found him. In the unmoving center of my own being, he is.”
The followers of Rumi don’t have great scriptures, don’t have any rituals, except whirling, and a few beautiful poems by Jalaluddin Rumi, which he used to sing after whirling and falling. He will get up and he will be so drunk — in that drunkenness he will sing a song, and those songs have been collected. That is the only literature the followers of Rumi have.
The Rebellious Spirit, Ch 23, q 2

There is a method, a Sufi method know as dervish dancing. Sufis dance. Their sect, a particular sect of Sufis is know as the whirling dervishes. You might have observed small children whirling, dancing round and round and then getting in a whirl. They get dizzy and their parents will stop them, check them, prevent them: “Stop! You will get dizzy! You may even get nausea!” But small children often like it very much, and the reason is that small children are still not too much in the body. They are entering by and by. Remember this: when a child enters into the womb, he has to adjust; the soul has to adjust with the body. It takes nine months, but still it is not completely adjusted. When the child is born, then by and by the soul adjusts. And small children like whirling. Why? — because when they whirl, they get a deep kick, and in that kick they again feel themselves beyond the body. And that’s a beautiful experience — that’s why they like it.
Studying this whirling of children, Sufis have developed a method, a meditation method — they turn, whirl. If you go to them, they will tell you to dance, and go on in a mad whirl, and remain a witness — as if a wheel is moving, and the axis is there and on the axis, the wheel is moving. The axis is just non-moving, and the wheel moves on — just like a wheel of a cart, the wheel goes on moving. It moves on the axis which is unmoving, non-moving. The axis remains constantly in one position, centered, and the wheel moves on it. Whirl like a wheel, and remember your witness inside as a center. Suddenly you will feel you are the center and the body is just a wheel.
If you can feel this, you are separated — you have become different from the body. You have know that the center and the periphery are different. Once you know this you will be a different man — and this is not knowledge, this is not information; this is a lived experience.
That Art Thou, ch 37
For example, all children in every culture around the world like to whirl. And every parent stops them from whirling and says, “You will fall down.” It is true, there is a possibility they may fall down. But that falling down is not going to harm much.
But why do children like whirling? While the body is whirling, small children can see it whirling. They are no longer identified with it, because it is such a new experience.
With everything they are identified — with walking they are identified, with eating they are identified, with anything they are doing, usually they are identified. This whirling is such an experience that the faster the body moves, whirls, the less is the possibility of their remaining identified.
Soon they are lagging behind; the body is whirling but their being cannot whirl. It stops at a point and starts seeing its own body whirling. Sometimes it can come out of the body too. If the whirling child is not staying at one place but goes on moving — whirling and moving around the place — then his essential self can come out and watch it.
The Transmission of The Lamp, ch 3 q 4
ON CENTERING
You are not centred, because your knowledge has forced you out of your centring. A child is centred. The moment he starts growing and starts knowing things, he becomes more and more uncentred, goes astray. An old man completely forgets where his centre is.
Tao: The Pathless Path, Vol 1 ch 11
WHAT IS INTENSITY?

It is important, because it is only through intensity that one arrives. When all your desires, when all your passions, fall and become one flame, it is intensity. When there is only one left inside you and your total being supports that one, it is intensity.
It is exactly what the word says: in tensity. The opposite word is ex tensity: you are spread out, you have a thousand and one desires, many fragmentary desires, one going to the north, one going to the south. You are being pulled apart. You are not one, you are a crowd. And if you are a crowd you will be miserable, if you are a crowd you will never feel any fulfillment. You don’t have any center. Intensity means creating a center in yourself.
There are two words which are significant to understand. One is ‘centrifugal’: it means arrows moving from the center going in different directions, extroversion. Small pieces, small parts of your being flying all over the place, in all directions, in all possible directions: that is centrifugal. That’s how people are — they are centrifugal. Another word is ‘centripetal’: when all the arrows are coming towards the center, when all the fragments are joined together. In the first you are falling apart, you are in a kind of de-centering. In the second you are falling together, a kind of integration arises. You are getting centered, concentrated IN: that is the meaning of intensity.
Sometimes you have known moments, in some danger… suddenly, in a dark night, you are faced with a naked sword, and you will know what intensity is. Suddenly ALL your thought will disappear, the crowd will become one. In that moment you will be one single individual.
The word ‘individual’ means indivisible. You will be undivided, you will be a unity — not only a union but a unity. You will be utterly one. The death facing you has created the intensity.
Or in love sometimes…. You fall in love and there is an intensity. All else becomes irrelevant, peripheral. Only the love is all and the whole of your heart.
The Wisdom of the Sands, vol1, ch 2, q 6
The whole yoga is nothing but centering, moving towards the center, getting rooted there, abiding there. And from there the whole perspective changes. Now still the waves may be there, but they don’t reach you. And now you can see they don’t belong to you, just a conflict on the surface with something foreign. And from the center, when you look, by and by, the conflict ceases. By and by, you relax. By and by, you accept that of course there is strong wind and waves will arise; you are not worried, and when you are not worried even waves can be enjoyed. Nothing is wrong in them. The problem arises because you are also on the surface. You are in a small boat on the surface and strong wind comes and it is tide, and the whole ocean goes mad. Of course, you are worried; you are scared to death. You are in danger. Any moment the waves can throw your small boat; any moment death can occur. What you can do with your small boat? How can you control? If you start fighting with the waves you will be defeated. Fight won’t help. You will have to accept the waves. In fact, if you can accept the waves and let your boat, howsoever small, move with them not against them, then there is no danger.
Yoga: The Alpha and the Omega
Vol 3, ch 3
But people have been taught about direction and nobody has been taught about centering. No culture has yet existed which teaches centering, and that’s what is needed. Direction drives people crazy because you lose contact with life. It is unreal — direction is unreal. Direction moves into the future. And life knows no straight line — it knows only circles, life is very circular. The seasons move in a circle, and the stars, and the earth and the moon and the sun and life itself. Birth, youth, old age, death, birth; it goes on moving in a circle, it is a cycle.
So when you start thinking of direction you go against life, you make a line, you become linear, you become one-dimensional — and that’s what madness is. Obsession is one-dimensional: an obsessed person is one who can only move on one line. That’s not natural; that is not close to reality.
So don’t bother about direction — there is no need. Simply think of one thing: when you start feeling energy, just remain centred so that you will have a centre, a hub and the wheel… the wheel can move on the hub, and all its movements are beautiful. It is a pure play of energy.
Life has no goal. It is just leela — a pure play of energy.
So never become goal-directed — never ! We are not going anywhere; we are simply here to delight, to dance, and to enjoy.
This moment is all — the whole existence converges on this moment — we are not going anywhere. All going is wrong. Just being here is right.

Darshan Diaries, The Shadow of the Whip, ch 13

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Osho on art

“In English you have only twenty-six letters in the alphabet. Sanskrit has fifty-two, just double the amount of English. There cannot be more than fifty-two, that is why Sanskrit has stopped at fifty two. That exhausts the possibility of all kinds of sounds – fifty-two is the limit. Twenty six is just the minimum, not the maximum, hence, it is such a difficulty to translate Sanskrit words into English – or just to write them in Roman letters, because in English there is only one “s”; in Sanskrit there are three. There are very subtle phonetic differences, but they are there.

According to the Western historians, Sanskrit also reached to its ultimate peak of refinement in some prehistorical age; since then there has been no change. Not that they are against change; you cannot change it because it has been refined to the very last. All the finishing touches were done five thousand years ago.

People were scientific, but their devotion was to human growth – in music, in art, in poetry, in drama, in dance.

In India there are so many schools of dance, centuries old; so many schools of music, centuries old. And the teaching of dance or drama is not the way it is in the West; it is very religious. The man who teaches you drama, dance, music, is as much respected as a master is. And he is a Master, because music is not only music; it is, deep down, meditation. It is music used for meditation.

You may have come to learn music, you will return with something more, something more precious than you have ever imagined. Music of course you will learn, but side by side something else starts growing in you which is far more musical, which is the music of silence.

Ordinary music is the music of the sound.

It is just playing with sound, creating rhythm with sound.

Meditation is the rhythm of silence.

Unless a Master can teach music plus meditation he is not really a maestro, he is only a teacher, a mere teacher of music. He becomes a Master of music when his music is an instrument to teach, to create the space called meditation.

The same is true about dance, the same is true about all arts. Great sculpture exists in the East unparalleled anywhere else, but all the sculpture is devoted basically to meditation, in some way or other.

You can see Roman sculpture – naked men, pornographic. And why naked men – because Romans were homosexuals; they thought woman was not beautiful. The male, the athletic male, was thought to be the pinnacle of beauty; hence, you will not find in Roman sculpture women represented at all.

The same was the case with Greece. And you will be surprised that even people like Socrates, Plato, Aristotle, were all homosexuals. Homosexuality was thought to be a refinement, a more cultured thing because heterosexuality exists in animals, that is nothing special! The logic is perfect: All animals are heterosexual, so what is great in it? If man is heterosexual he is just an animal!

That’s how Aristotle has defined man, as the only political animal. In every other aspect he is animal: only in politics is something that is more, a plus factor.

But in India you will find sculpture a thousand fold greater, millions of temples with tremendously beautiful statues of men, of women – but all devoted basically to meditation. Just looking at the statue of Buddha you will feel some serenity within you – the proportion of the Buddha, the body, the posture the way he is sitting, the half-closed eyes. You just sit silently, look at the statue, and you will start falling into a silence.

Gurdjieff used to call Eastern art “objective art” and Western art, “subjective art.”
He means by objective art, art which has some intrinsic quality which can be imparted for thousands of years. The work of art is a code word. After experiencing meditation for thousands of years, meditators have come to recognize that a certain posture, a certain way of sitting, a certain way of the eyes, can create in anybody a synchronicity, a sympathy; some sympathetic note can be stirred by the statue.

In the East, a statue is not made for its own sake. It is made as a code language for centuries to follow. Scriptures may disappear, languages may change, words may be interpreted. Doctrines can be wrongly interpreted, commented upon. There may be dispute about theories – and there has been – so they thought there must be a different way than language.

Now, what dispute can there be about the statue of a Buddha, or Mahavira? There is no question of dispute, there is no need of any commentary. Anybody who is capable of sitting silently by the side of this statue will have a certain thing stirred in his heart. This is objective art.

Picasso’s pictures are subjective art. Seeing a painting by Picasso… he has not considered you, who are going to see the painting. You are not taken into account at all. He has simply vomited his own madness on the canvas. It is simply vomit; hence you cannot go on looking at a Picasso painting for a long time. You will start feeling tense, your stomach will start feeling weird – because Picasso is not concerned with you, what happens to you, he is simply subjective. He is pouring out his own mind, what’s happening to him; unconcerned about humanity or anybody. He is going crazy, that’s why his painting is crazy.

Almost all the painters in the West have gone mad once or twice in their life, and have been put into mad asylums. Many of the western painters have committed suicide. This has never happened in the East. There is not a single case of instance in 10,000 years that a painter, a musician, a poet, has been mad, or has committed suicide. The reason is, it was art on the surface, but meditation in depth. In the West, it is just surface, there is no depth in it. And the surface is without any compassion, without any consideration, without any responsibility.

When you compose music or poetry you are to understand that somebody will be reading it – what effect it is going to have on the person? Will it drive him sane or insane?

I myself have been very interested in painting. From my very childhood I started many paintings but not a single painting have I left intact. I have burned all of them.

One of my professors was a painter himself. I used to visit his studio, and I used to say sometimes, “this seems to be wrong. If you do a little change here then the whole impact of the painting will be different.”

He started asking me, “are you a painter? – because whatsoever you suggest, reluctantly I do it, and certainly it improves the painting. And by and by I have dropped my reluctance. I simply accept your suggestion. But this is possible only is you are a painter… because there are so many people coming here. Even my own students who are painters never suggest that this is wrong; just a slight change will do a miracle. And it does. So you have to explain to me the truth.”

I said, “yes, I’m not a painter, but I paint.”

He said, “what is the difference between being a painter and painting?”

I said, “there is much difference: I don’t allow my paintings to be exhibited because I’m still not in a position to create objective art; they are all subjective. They represent and reflect my mind, and what can my mind be to others? They are already burdened with mind; now burdening them more is inhuman. So I paint because I enjoy painting. I love colours.”

And I don’t know why Sagar University in India… I have traveled all over India continually for 30 years, but I have never seen such colours in the sky as happens over the lake by the side of the university in Sagar. Never have I seen anywhere such a splendor; the sunrise, the sunset, are just divine… without there being any god.

I painted, and destroyed my paintings. Only a few friends have seen them. I allowed this professor to see a few of my paintings. He said, “you are mad – these paintings are far superior to mine. You can earn so much money, you can become world famous.”

I said, “I accept your first statement. You said, ‘you are mad’ – I am! That’s why I am not going to leave these footprints of a madman for others to travel and follow.” I have destroyed all those.

I love poetry. I have written poetry. But I continued to destroy it. My basic standpoint was that unless I am no more, whatever I do is going to harm others. This is the eastern way.

Now it is unfortunate that when I disappeared the desire to paint or to make a statue or to compose poetry all disappeared too. Perhaps they were just part of that madman who died. And I’m happy that nothing of it survives.

In the East they had reached, five thousand years ago, to such a peak in every direction and dimension that only religion was left to be an adventure. So those who have any adventurous spirit were attracted towards religion – the best, the chosen ones, the most intelligent, the geniuses, the giants, became interested in religion because there was nothing else left.

These people, like Mahavira, Buddha, Krishna, Nagarjuna, Shankara – these people gave tremendous heights to religion, and all the best minds moved towards religion because that was the only challenge left. Everything else was being done by mediocre people. And they were doing perfectly well, there was no need…

If Einstein had been born in Buddha’s time, he would have been another Buddha, for the simple reason that that was the only challenge for a man like him. Mathematics was done by mediocre people and they were doing perfectly well. There was no need for an Albert Einstein to get caught in a mediocre game. No, he would have moved in the same way as Buddha or Mahavira. All the best people were attracted towards religion; that’s why religion touched the pinnacles of height.

But science was ignored, consciously ignored, because the people who had reached religious consciousness could see the destructiveness of science. They changed the direction of science. Rather than science becoming allopathy, in the East it became ayurveda, it became acupuncture, it became yoga… these are the same kind of people who, in the West, created allopathy. They were the same kind of mind, but in the East, they created acupuncture, they created herbal science.

The word for medical science in the East is ayurveda. Even the word will show you the difference. In the West, you call it “medicine”. Medicine means curing, healing, but can you see the implication: it does not mean health, it comes after the disease has already come in. It is a follow-up. First you are sick, then comes the doctor. The doctor follows sickness, with his bag of medicines.

Ayurveda means the science of life. The very word has nothing to do with disease, sickness; it has something to do with life, health, longevity. It is positive, it is it not negative. It shows you the way to remain healthy, to remain young as long as you want, to live longer, if that’s what you want. Its focus is not on sickness, its focus is on health.

Osho, From Darkness to Light, discourse no 27

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Osho with guitar

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Peace Energy

Jay Baba
This was received by Dagji just now…..enjoy!

The Miracle of the peace sign appearing on the lawn of the US Capitol
continues. If you haven’t heard the entire story, on Sunday, March 25, James
Twyman focused a peace ceremony commemorating the Season For Non-Violence in
Washington, DC. During the ceremony, which was held on the west lawn of the
US Capitol, the “Children’s Cloth of Many Colors” (for more info on this
amazing project please visit http://www.communitiesofpeace.org) was laid gently on
the grass in the form of a giant peace sign, and the ceremony took place in
the center.

The next day the sponsor of the event, Gerry Eitner, received a concerned
phone call from the US Capitol Police saying that the grass where the cloth
lie was now discolored, leaving an enormous peace sign on the lawn.

This morning the police department called back with more information. They
believe that some type of fertilizer attached to the quilt caused the
discoloration. In reality, however, there was nothing attached to the
Children’s Cloth except the prayers of those present at the ceremony, as
well as thousands of people from around the world. Subsequent calls to
professional lawn care companies indicated that there is currently nothing
on the market that would cause such a sudden overnight change. In fact,
witnesses reported that the “peace sign grass” is actually longer and
greener than the rest of the lawn.

Has a miracle visited the US Capitol? If so, then what is the message?

From James Twyman:

“I believe that this miracle was caused by two factors. First of all, there
were hundreds of thousands of people focusing on the Capitol ceremony while
it was taking place. At one point we actually held hands around the peace
sign and called upon the energy of all those people from around the world,
feeling their presence around the quilt with us. The intent of so many
people can be a powerful energetic force and seems to have catalyzed a
change in the actual earth causing the grass to grow greener and longer
overnight. Second, I believe that in some way and for some reason the earth
is literally giving us a sign. This is a critical point in the history of
the world. If we don’t begin turning our thoughts and actions toward peace,
for both humanity and the environment, a deep crisis may be around the
corner. For me the peace sign on the lawn of the US Capitol is both a
warning and a symbol of hope. I’m hoping we’ll listen and begin working for
peace.”

Photos of the grass as well as the peace ceremony will be online later today
or tomorrow. PLEASE HELP SPREAD THE WORD BY PASSING THIS EMAIL TO AS MANY PEOPLE AS POSSIBLE.

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Amartithi Webcasts 2007 =پخش برنامه های سالگشت مهربابا در مهراباد

جی بابا/ لینک های زیر در چند روز آینده حاوی برنامه های هنری و اخبار مربوط به مراسم سالگشت عروج مهربابا (31 ژانویه 1969) هستند/ کسانی که مایل به دیدار هستند می توانند روی آن ها کلیک فرمایند (ببخشید ظاهرا لینک ها کار نمی کنند! ) مطلب کپی شده است و شاید مشکل از همین باشد……….!.
The following info is for those who wish to follow the events taking place on The Magic Hill during the Celeberation of Amarthiti (Meher Baba’s leavimg the body , 31st Jan 1969)=

The internet url for the Trust web site is http//www.ambppct.org.
>From the Trust home page, click on “Events and News,” and from
there, on “Event Webcasts.” The top item on that page are:

http://www.ambppct.org/events/web-cast.php.

There you will find all the links to the web events for Amartithi,
including the live broadcast at:

http://www.ambppct.org/events/amartithi-live-2007.php.

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“Welcome To My World” Tile Wall

The wall covered with ??? tiles, each made by a Baba-lover, separately.
Outside the dining hall, court-yard

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