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Visualizations,Symbols1

Thetypeofmeditationcalleddiscursivebywhichismeantthekindwhichramblesoninreflectiveorlogicalthinkingdoesnotsuiteverystudent.Severalwhohaveessayeditwithoutsuccessafterrepeatedattemptsarereallytemperamentallyunsuitedforit,yettheyneednotabandonhope.Thereisanothermethodofmeditationwhichisactuallyeasier,worthtrying,andpossiblybettersuitedtotheirtemperament.DuringawideexperiencewithdealingwithWesternstudents,Ifoundthatthosewhohavefailedwithdiscursivemeditationarenotnecessarilymorelackingingoodpotentialitiesthanthosewhohavesucceeded.Itissimplythattheyhavefoundthemethodwhichwilldrawoutthepotentialitiesthattheypossess.

Visualizations

2Meditationexerciseswhosemethodistovisualizeaform,pattern,orhappeningappealto,andareeasierfor,somepeople.

3Thephilosophicmodeofmeditationmakesuseofimaginationasmuchasitmakesuseofreason.Throughtheuseofthesefaculties,whendirectedtowardabstractthemesandhighobjects,itleadsthemeditatortouniversalspiritualintuitionsthatintheirownturnwillconducthimtophilosophicexperiences.Thusmentalpicturingandmentalthinking,whenrightlyused,assisthisliberationjustaswhenwronglyusedtheyretardit.

4Therearetwofacultiesworthdeveloping.Theyarethefacultyofobservationandthefacultyofimaginationorvisualization.Welook,butseelittle,forwedonotnoticemuchofthedetail.Weareunabletoimagineclearly,sharply,andvividly.Welacktheabilitytorecreateaphysicalscenepurelyinthemind.

5Thosepersonswhoareunableto"see"andholdthesesymbolicpicturesthroughtheirmind'seyewithsufficientvividness,maystilltakeheart.Thecapacitytodosocandevelopitselfasaresultofrepeatedpracticeinthisexercise.Evenifatfirstthepictureseemsfaroff,faint,blurred,andvagueevenifitappearsonlyfitfullyandfragmentarilybydegreesthepersistentefforttoholditwillberewardedwiththeabilitytodosocontinuallyaswellasclearly.

6Asasupportforthebeginningperiodofpracticeitself,asameanstofixattention,aparticularphysicalobjectorsoundmaybechosen.Hemaygazeatachinkoflightshininginadarkroomorlistentothependulumswingofametronome.Whateveristhusisolatedfromtheouterworldforconcentration,isusedmerelyasajumpingoffplatformfromwhichtoentertheinnerworld.

7Tratakisatechniqueforfocusingtheeyes,asunblinkinglyaspossibleonaspecialpoint:

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thiscouldbeablackdotinsideablackcircleonawhitesheetorwall,untiltearsfillthem.

8Someyogistrytotranquillizethemindbypractisingthegazingexercise.Theymarkablackpointonawhitewall,ordrawablackcircleonthewall,andthensitdownoppositeitsothattheireyesareexactlyopposite.Thebodyiskeptquitestillandtheycontinuallystareatthemarkforaslongastheirexperienceortheirteacherprescribes.

9Thegazingexercisecanbesuitablyappliedtotheemptyskybydayornight,toastar,atree,etc.

10Asinglecolourfulflowerplacedinaslimvasemaybeusedforthegazingexercise.

11Amongphysicalobjectsaflower,astick,oraflamehavetraditionallybeenused.

12Toquietenthoughts,itishelpfultosomepractitionerstovisualizeaglobeofbluelightthesocalledWedgewoodorpowderblueandtoconcentrateonitasfixedlyastheycan.

13Meditationmayalsobemadeonacolourwhich,ifharmonioustothemeditator,willleadhimbydeepeningconcentrationintoamysticalstate.

14Thelovelycoloursbroughtintotheskybythefallofeventidemakeafitobjectformeditation.

15Aproperlydirectedimaginationmaybeasmuchahelptohisprogressasanimproperlydirectedoneisacertainhindrancetoit.Duringsomeexercisesformeditationitcanbecreativelyusedinaparticularway.Forinstance,theaspirantthinksofhismaster,ifhehasone,orofascripturalpersonage,ifhebelievesinhim,orofanunknown,ideal,beneficent,perfectedBeingintheangelicworld,andimagineshimtobe"theGate"toadeeperorderofexistence.Theaspirantthenimploreshimforadmittanceintothisorder,forstrengthtomakethepassage,andforGracetobecomeworthyofit.Inthiscurioussituation,hehastoplayadoublepart.Ontheonehand,heistobethepersonmakingtherequesthemustfeelintensely,eventothepointofsheddingtearsoverwhatheismentallycryingoutforontheotherhand,heistoseehimdoingso,tobeamerewitnessofwhatishappening.Thusatonetimehewillbepartofthescene,atanothertimemerelylookingatit.Everydetailofitistobevividlypictureduntilitcarriesthefeelingofveridicalreality.

16Heistotakecompletepossessionofthisimage,totakeholdofitinchbyinch.

17ImagineandbelievethattheMasterishereinyourroom,sittinginhisaccustomedchairorposition.Thenbehaveandmeditateasyouwoulddoifinhispresence.

18Thisexerciserequireshimtoretracthisattentioninwardsuntil,obliviousofhisimmediatesurroundings,heintentlyprojectscertainsuggestivementalimagesintothis

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blanknessandholdsthemdeterminedlyyetcalmly.Theresultwillappearlaterinhisordinarystatewhenthewakefulconsciousnesswillseizetheseimagesabruptlyandunexpectedlyandeffectivelyactupontheirsuggestions.

19Imagineabrilliantwhitelightshiningforthintheheartandspreadingintotheentirebody.

20Anyvisualizedform,especiallyofalivingoradeadmaster,maybeusedasafocusofconcentration.

21VisualizationExercise:Itwillhelphimif,forafewminutes,hestopswhateverexerciseheisengagedwithandprojectsthementalimageofhimselfdoingitsuccessfully.

22Aremarkable,unusual,andexcellentexerciseinselfperceptionistoimaginehimselfsittingdowntotheworkofmeditation,andgoingthroughwithittosuccessfulfulfilmentofhispurpose,allobstaclesseen,fought,andeventuallypushedaside.Allthisistobedoneinhismind,hisownperson,anditsdoingsbecomestheobjectofconcentration.Inshort,hepaintsamentalportraitofameditatingman,whoishimself.

23Exercises:Visualizealovelyquietlandscapescene,eitherfrommemoryorpictures,andthinkofyourselfbeingthere.Feelitspeacefulness.Visualizethefaceofsomeinspiringpersonfeelyou'reinhispresence.

24Asuggestedthemeforthispictorialconcentrationisthatofaspiralpatternlikeastaircase.Themeditatormustchoosewhetheritseemstogoupordown,guidedbyintuition.

25Whenthementalformonwhichheismeditatingvanishesofitsownaccordandthemindsuddenlybecomescompletelystill,vacant,andperfectlypoised,thesoulisabouttorevealitself.Forthepsychologicalconditionsrequisitetosucharevelationhavethenbeenprovided.

26Itiseasierforalmostallpeopletothinkpictoriallyratherthanabstractly,toformmentalimagesratherthanmentalconceptions.Althoughthemoredifficultfeatisalsothesuperiorone,thisfactcanbeutilizedtopromotemeditationalprogress.Thementalpictureofadeadsaintwhomtheaspirantfeelsparticularlydrawntoorofalivingguidewhomheparticularlyreveres,makesanexcellentobjectuponwhichtofocushisconcentration.

27ImentionedinTheQuestoftheOverselfthatradiationsfromaphotographhadbeendiscoveredbyascientistImetlongago,Mr.ShrapnellSmith,andalsobyanotherEnglishinvestigatoratthattimewhosenameIcannotnowremember.Manyreadersofthebookhavesincethensoughtforphotographsoftheirgurusandusedthemasobjectsforconcentration.Notonlyso,butsomewhatlatertheideawasadoptedbyhealerswhousedphotographsofpatientslivingatadistancetogivethemabsenttreatmentatafixedtimeoftheday,thepatienthimselfputtinghimselfintunewiththehealerpassivelyandreceptively.Inconnectionwiththeseusagesofphotographsbydisciplesofgurusand

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healersofpatients,itoughttobepointedoutthatmoreeffectivethanusingthematerialobjectofthephotographistheimplantationofthepictureinthemind,thementalimageitself.Inotherwords,thethoughtoftheguruwithoutanyexternalphysicalaidorthethoughtofthepatientgivesabetterconnectionforthepurposedesired.Centuriesago,beforephotographywasinvented,gurusknewthisprincipleandmanyofthemtoldtheirdisciplesthatwherevertheywerelivingtheremembranceoftheguruwouldgivealinkandthattheemotionalattitude,devotion,reverence,andsoforth,linkedwiththeremembrance,wouldbringbacksomebenefitfromtheguru.

28Thepicturemustbeperfectlyvividandsharplyformed.Itmustbeheldforalittlewhile.Thenletitslowlyfadeawayintothestillcentreofyourbeing,absorbedbyitslightandlove.

29Withdrawattentionfromeverythingoutsideandimaginearadiant,shiningPresencewithintheheart.Visualizeitasapuregoldensunnylight.ThinkofitasbeingpureSpirit.

30Heshouldstudythefigurewell,noteeveryoneofitsdetailscarefully,closehiseyes,andthentrytoreproducethefigureagainmentally.

31Toplacethedrawingbeforeyouisthefirststage.Toholditinyourmindisthesecondone.Holdthemindimmobileuponituntilaslightlyhypnoticstateisinduced.

32Themandalaisadiagrammaticrepresentation,usedbyTibetansandJainsforconcentration,usuallyfeaturingasquareenclosingacircle.Eachsideofthesquarehasanopening.Atthecentreofthecircleisafigurewhichistheimportantpartofthepictureandtowhichattentionmustfinditswaythroughtheopeningsandputtorestthere,untilthedeepermindisreached.

33Nomanhascompletefreedomtousehiscreativethoughtpowertoitsmostmagicalextent,forallmenhavetoshareitwiththeOverselfwhich,beingtheirruler,alsorulestheresultsoftheirefforts.Inadivinelyorderedworlditwouldbeanarchicaltovestfullpowerinunredeemedman.

34Thetrainedmeditatorcanmakeanyepisodeofhisownpastseemasrealandnearasthepresent.Heisabletocreatedistinctandvividimagesofitaftersolongatimeasevenseveralyears.

35Theseimagebuildingpowerscanbeexpandeduntilmerethoughtsseemexternalthings.

36Visualizedfigurescanbeconcentratedonwithsuchintensityastomakethemseemlikerealones.Suchanexperiencewhichissoughtincertainmeditationdisciplinesisusedasanillustrationofthetenetthateverythingknownis,intheend,amentalexperience.

37Themeditatorshouldsustainthechosenmentalimageforaslongashispowerallows.

38

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Thegazingexercisemaybealternatedbysimplylookingtowardsapointmidwaybetweenbothhalfclosed,halfopenedeyesandkeepingthemfixedinthisposition.

39Thefirststageofthisexerciseconsistsinwithdrawingattentionfromtheobjectorlandscapeatwhichheislooking,andusingitinsteadtoobservetheeyesthemselvestheyremainopen.Thesecondstageistowithdrawattentionstillfurtherandtrytobecomeawareoftheobservingmindalone.

40Theeyeslookoutonthelandscapeinavaguegeneralway,withoutfocussingonanyparticularobject.Thisbelongstothesecondstage,whereasspecificconcentrationbelongstothefirstandmoreelementaryone.

41Itmayhelpthemeditatortopicturetheworldalongwithhisbodydissolvingintospaceuntilalldistinctionsstop.

42Theuseofimaginedforms,scenes,andpersonsisonlyforbeginnersinmeditation:itistobeleftbehindwhentheobjecthasbeensufficientlyachieved.AsSaintJohnoftheCrosssays,"Forthoughsuchformsandmethodsofmeditationmaybenecessaryinordertoinflameandfilltheirsoulswithlovethroughtheinstrumentalityofsense,andthoughtheymayserveasremotemeansofunion,throughwhichsoulsmustusuallypasstothegoalofspiritualreposestilltheymustsomakeuseofthemastopassbeyondthem,andnotdwelluponthemforever."Suchauseofpicturedformsmustincludethemaster'stoo.SaintJohnoftheCrossevenincludesChrist's.Formanythispracticeisastepforward,butaspirantsmustnotlingeralltheirlifetimeonaparticularstepiftheyreallyseektoclimbhigher.

43ItisacommonpracticeforreligiousormysticalIndianstomeditateupontheirfavouritedeityuntiltheygettheexperienceofbeingcompletelyidentifiedwithitofbecomingonewithit.Thisexperienceisthenconsideredagracegivenbythedeityitself.Butwhatelseisittotheoutsideobserver,howeversympathetichemaybetosuchpracticesifheisatallcriticalatthesametime,thanaprocessinvolvingthecreativeimaginationandwhatistheendresultbutanimaginaryone?

44Intheendthesymbolmustbedroppedtherealityitpointsatmustalonebeheldbythemindwhenitseeksadeeperlevelofmeditation.

Symbols

45TheSpiritualSymbolrepresentsinasymboliclanguagewhatisusuallyrepresentedinspokenorwrittenwords.

46TheSpiritualSymbolservesathreefoldpurpose.Itisanaidtoconcentrationofattention.Itexpressesandteachesauniversaltruthorlaw.Itevokesanintuitiveperceptionofthistruthorlaw.Moreover,itmayevenbringaboutacertainmoraleffectuponthecharacterprovidedtheforegoingthreepurposeshavebeensuccessfullyrealized.

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47Thecrossisasymbolgiventomanbythecreativeimaginationofhisrace'searlyseers.Itsflatcrossbarishisordinaryeverydaylifewhichheshareswithallothermen.ItsuprightbarishishigherspirituallifewhichheshareswithGod.Theentirefiguretellshimthatcrucifixionofhisegoisresurrectionofhisspiritnormallyanddailydeadinthemateriallife.

48Ifthepaperphotographofalivingsageorthebronzestatueofadepartedonehelpstorememberhisachievement,torealizehisideas,oreventotouchhisaura,whyshouldwenotuseit?Itisonlywhenweputittosuperstitioususesthatwethendegradethesage'snameandharmourownprogress.

49Justasaphotographcontainscertainmagneticradiationswhichlinkitwiththepersonpicturedthereonbutwhichvanishwithhisdeath,sothebookofalivingauthoroffersanactivatedlinkbetweenhismind,whichisincarnatedinitspages,andthosereaderswholooktohimandhiswritingsforhelp.Althoughathisdeaththecontactwithhisactualmindisbroken,thecontactwiththewayinwhichitworkedisnot.

50TheSpiritualSymbolsaregiventopupilswhoarehighlyintellectual,professional,oractivemindedasameansof(1)allayingmentalrestlessnessand(2)constructivelyworkingontheinnerbodies,sincetheseformsareincorrespondencewiththeactualconstructionof(a)anatom,and(b)theuniverse.

51TheCrosssymbolizespersonallytheuttersurrenderoftheegoindesiringandwillingimpersonally.Theverticallinemeansconsciousnesstranscendingtheworld,thehorizontalonemeansconsciousnessintheworld:thecompletefigureshowstheperfectbalanceneededforaperfecthumanbeing.

52Thegeometricdesignswhichappearinthestainedglasswindowsofsomanychurches,onthepaintedfrescoesofsomanytombs,andinthearchitecturalplansofsomanytemplesaresacredsymbolsusefulforthispurpose.Theyhavenotbeenselectedbychancebutbyilluminedmen,fortheirnumberisverysmallcomparedwiththehundredsofpossiblegroupingsandarrangementsalsoavailable.Themeasurementsofthedifferentpartsofeachgeometricsymbolfollowcertainproportionswhicharenotfixedbypersonalwhimbutbycosmicorder.ThisiswhyPythagorasdeclaredthatnumberisthebasisoftheuniverse.Thesameproportionsof14713existinthedistancesofthesuntoitsplanetsandasteroids,intheirmovements.TheywereusedinStonehenge,intheGreektemple,andintheGizehPyramid.Eachsymbolcorrespondstosomecosmicfactitisnotarbitraryorimaginaryoraccidental.Itsvalueformeditationpracticedoesnotendwithpromotingconcentrationbutextendsbeyondthat.ItspowertoaffectmanderivesalsofromitsconnectionwiththedivineWorldIdea,whoseperfectionandbeautyitreflects.

53Thepurposeofusingthesymbolhasbeenachievedwhentheuseractuallyfeelstheluringpresence,theinspiringforceofthespiritualqualityitsymbolizes.Heshouldthenputitasideandconcentrateonthefeelingonly.

54Apracticalrulewhichappliestoallthepictures,diagrams,anddesignsistovisualizethemasstandingverticallyupright,notaslyingflataswhendrawnonpaper.

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55Theartistswhodrewthesespiritualdiagramsinthefirstinstancebelongtofaroffantiquity.Theyweremostlyholymen,monks,orpriests.Centuriesago,astheymeditatedonthemysteriesofGod,theuniverse,andman,theyenteredastateofmysticalrevelationandsaweternaltruths,hiddenrealities,lawsandforcesoftheuniverse.Whentheytriedtocommunicatetheirintuitiveknowledgetoothers,theyfeltguidedtodosointheformofthesymbolicpictures.Eventodaythesevisionssometimesariseoftheirownaccord,offeringthemselvesspontaneouslytothemind'seye,whentheintuitionistryingtofindanotherformofexpressionthantheverbaloneforwhatitknowsorwhatitseekstocommunicate.

56ThespiritualemblemcombiningacircleandsomeotherformstandsforreconciliationoftheOverselfandtheego,forintegrationofman'shigherandlowernature.

57ThereareusedinIndia,Tibet,andChinameditationsymbolsofapurelygeometrickind.Theymaybequitesimpleorquiteintricateindesign.Theyaredrawninblackinkonwhitepaperorparchment,ortheyareembroideredincolouredsilkpanelsontapestries,ortheyarepainteddirectlyonmonasterywalls.Thedesignsincludecompletedcircles,perfectarcs,equilibratedtriangles,rigidsquares,pyramids,pentagons,sexagons,octagons,andrhomboids.Itisbelievedthatbyconcentratingonthesegeometricdiagrams,withtheirstraightundeviatinglines,somehelpisobtainedtowarddiscipliningthesenses,balancingthemind,anddevelopinglogicalityofthought.

58ThePyramidisaperfectsymbolofbothspiritualbalanceandspiritualcompleteness.

59SymbolsarediagramsorpaintingsonpaperpertainingtothechosenIdealordeityworshipped.

60Theconcentrationofattentiononthechosensymbolmustoccupyitselfwithreflectionswhichriseabovetheirmerelypictorialvalue.

61ColoursenterintothecompositionofaSpiritualSymbol.Eachissignificant,eachcorrespondstoacosmicorahumanforce.

62Thespiritualdiagramtakestheshapeofasquarecombinedwithacirclewhenitstandsforareconciliationofopposites,fortheequilibriumoftheirforcesandthebalanceoftheirfunctions.

63Attheapexofapyramidthereisonlyasinglepoint.Atitsbasethereareinnumerablepoints.ThetenetoftheOneappearingastheManyiswellsymbolizedbythisancientfigure.

64Whetheritbecalledamandala,aswithTibetanBuddhism,orayantra,aswithTantrikHinduism,itconsistsofageometricaldesign,oralineardiagram,orsomenonhuman,nonanimal,nonpictorialrepresentationbyadrawingwhichistakenasasymbolofGod,orofthehigherself.Concentratedattentionuponitissupposedtoleadmanclosertothisself,likeanyotherformofworship.

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65Manjusriisdepictedwithswordinhand,meaningthathecutsawayone'sillusions.

66Whenthespiritualemblemtakestheformofacircle,itrepresentstheWholenesswhichistheidealstateofthefullydevelopedandequilibratedman.

67Thehigherselfshouldbeinvokedatthebeginningofthedeliberateworkdoneontheseaffirmationsandsymbols.Thelattermaythenbecomeitschannels,ifotherconditionshavebeenfulfilled.

68Thegestureofrightthumbtipjoinedincircularformtotheforefingertiprepresents,inHinduBuddhiststatues,givingablessingofthetruth.ThesamegesturealsoappearsinsomeGreekOrthodoxChristianiconsasablessing.

69TheRisingSunwasoriginallyasymboloftheOverselfinrelationtoman'sconsciousdevelopment.

70TheSwastikaoriginallyhadtwomeanings:asawheelrevolvingclockwiseitwasthesymboloftheunfoldingWorldIdeaasaradiantcircleitwasthepictographoftheinvisibleSunbehindthesun,whichwastheproperobjectofhumanworship.

71Thesymbolisintendedtocreateacorrespondingmood,ortoarousealatentforce.

72ThehighestofallsymbolsisthatwhichexpressesGod.

73Thethoughtformwhosereverencehelpshimtokeepconcentrated,thementalimagewhoseworshipholdshisattentionquiteabsorbed,justifiesaplaceforitselfinthemeditator'smethod.Onlyatanadvancedhourmayherightlyputthemaside.Butwhenthathourarrives,heshouldnothesitatetodoso.Thedevotionaltypeofmeditation,ifunaccompaniedbyhighermetaphysicalreflection,willnotyieldresultsofalastingcharacteralthoughitwillyieldemotionalgratificationofanintensecharacter.Overselfisonlyanobjectofmeditationsolongasheknowsitonlyassomethingapartfromhimself.Thatisgoodbutnotgoodenough.Forheisworshippingagravenimage,notthesublimereality.Hehastorisestillhigherandreachit,notasaseparate"other,"butashisveryself.

74PhilosophyrecognizesthatthehumanmindcannotevengrasptheconceptoftheVoidthatisaSpiritsaveafteralongcourseofstudyandreflection,muchlessrealizeit.ThereforeitprovidesforthissituationbyofferingaSymbolofthatVoid,apictureoranideaofwhichthemindcaneasilytakeholdasapreliminaryuntilhecanmakethedirectattempt.

75ThisSymbolwillbecomeafocalcentreinhismindforallthosespiritualforceswhichhehastoreceiveintuitively.Fromithewillgetinspirationtoithemustgiveveneration.

76ThusthesymbolbecomesequatedwiththeSoul,withentryintoandmemoryofit.The

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indefiniteandformless,theremoteandabstractRealitytakesonanaturewhich,beingapproachable,comprehensible,andvisible,canhelphimseek,worship,andlovethatRealityinapersonalandhumanway.

77TheportrayalofGautamaasaseatedmeditatingfiguresymbolizeshisbasicmessage.Thiswasreally,andquitesimply,"Bestillemptyyourselfletoutthethoughts,thedesires,andtheegowhichpreventthisinnerstillness."

78Whatistheinnersignificanceoftherosary?Atthetimeofmeditation,theworldlymanisharassedbyworldlythoughts.Therosaryteachesthatuntilunimpededmeditationbecomespossible,theaspirantshouldpersevere,leavingbehindthoughtafterthought.Thebeadsrepresentthoughtsandtheyarepushedback.Thethreadpassingthroughthebeadsrepresents"theallpervadingideal."Withpatienceandperseverance,thoughtsaresubduedand,asaresultofunimpededmeditation,theidealisrealized.Theheadbeadwhichisbiggerthantherestrepresentsthepointofrealization,thatis,God,inwhomtheuniversehasitsbirthandinwhomitends.

79Thereisadifferencebetweenthesymbolwhichonlytellsusthatahigherrealityexistsandthesymbolwhichnotonlytellsusthatbutalsoinspires,leads,informs,andhelpsustoitsattainment.

80Thesymbolistobenomereabstraction,noformalusage,butalivingpresence.

81WhenaBuddhafigurehasitspalmsturnedupwardwiththethumbstouching,thissymbolizesunwaveringfaith.

82Thestrengthwhichhecannotfindinhimself,hemaydrawfromtheSymbol.Inthatisreleasefromselfweakeningdoubts,isthepowertoachievegreaterthings.

83TheSwastikaisanancientsymbolusedinTibet,inIndia,andinChina.Itiscloselyrelatedtoanothersymbol,theCross.TheSwastikabespeaksthefixedunmovingandeverlastingcentreofacirclewhosecircumferenceistheeverchanging,evermovingworldprocess.

84TheSwastikaisbothameaningfulsymbolandapictureofwhatactuallyhappens.Theevermovingvibrationoftheultimateatomgoesforwardandrightinacircletobringaworldintobeingandtomaintainit,butitmovesbackwardandlefttodeteriorateandeventuallydestroyit.(Thisismirroredinthebigdipper,too.)

85Thecircleisalsousedasasymbolofcompleteselfmastery.

86TherehavebeenmanyopinionsaboutthesymbolismofthePyramid.TheFreemasons,theTheosophists,andothershaveputforwardtheirviews.SincetheactualstructureofthePyramidstooduponatemplebuiltlikeacube,atleastinthecasewherethefamousSphinxandtheGreatPyramidareconcerned,thewholefigureshouldbetakenintoaccountwhenanalysingitssymbolism.Thebase,cubicallyshaped,representsboth

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balanceandstability:thevisiblepyramid,triangularinform,representsaspirationandtheQuest.

87Ifmencannotfindahumanchannelinwhomtheycanbelieveasmediatingthehigherpowertothem,thentheyusuallyfeeltheneedoffindingoneinwhomtheycanbelieveasasymbolofit.

88Asymbolisamessagefromhishigherselftohispersonalself.Itisintendedtogivehimhopeandfaithforthefutureaswellastoencouragehimtofresheffortsindevelopinganewlifeoutoftheashesoftheoldone.

89Afigureorphotographmaygiveoffavibrationofattainedpeace.Ifwearesensitiveenoughtorespond,webegintoshareit.

90MenwhocannotabsorbthesubtleconceptoftheSpirit,whocannotgrasptheideaofinfiniteandeternalbeing,mayyetabsorb,andthereforebehelpedby,theconceptofitshumanChannel,mayyetvisualizeandbeinspiredbyitshumansymbol.

91Whatthemantradoesforsound,theyantradoesforsight.Itisagraphicrepresentation,pictorialorgeometrical,fullofphilosophicsignificanceaboutthevanityofearthlyexistence.Inshape,itiseithersquareorcircular(whenitisrenamedmandala).Itisusedfirsttofixthemindandthentopassbeyondit.

92ThePolynesianandHawaiiantraditionswovesacredsymbolicpatternsintoclothsincertaincombinationsandhungtheclothasatapestrytogazeupon.Theresults,spreadovertimeorspectacularlyswift,wereinnerpeaceandspiritualuplift.

93ThepracticaluseoftheSpiritualSymbolrequiresittorepresenthimself,ortherelationbetweenthedifferentpartsofhimself,orthewholeCosmos.

94Whatarethesesymbolsbutattemptstomakeuseofartforman'sloftiestpurposesthetransformingofhisconsciousness?

95TheFarEasternsymbolsaredividedintotwoclasses:simplegeometricdiagramsandelaboratepicturesofNatureorofEnlightenedMen.ThefirstclassappearsalsointheNearEasterntraditionalpatterns.

96TheimageoftheMagicCircleorglobeexpressesthegoalofWholenessasexemplifiedinthetrue,complete,fullydeveloped,individualized,"redeemed"man.

97Jungfoundthatcertainsymbolswerepresentintheceremonialartofprimitivereligionsaswellasinthedreamsofcontemporarypersons.Heconcludedthattheywereuniversalandarchetypal,projectedbythecollectiveinnerbeingofhumans.

98RamaPrasadwrites:"Thetantrikphilosophershadsymbolstodenotealmosteveryidea.

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Thiswasnecessarybecausetheyheldthatifthehumanmindwerefixedonanyobjectwithsufficientstrengthforacertaintime,itwassurebytheforceofwilltoattainthatobject.Theattentionwassecuredbyconstantlymutteringcertainwordsandthuskeepingtheideaalwaysbeforethemind.Symbolswereusedtodenoteeveryidea.`Hrim'denotesmodesty.`Klim'denoteslove."

99Thesignmadebyjoiningthethumbtothetipoftheforefingeroftherighthandsoastoformacircleshowsthatthepersonknowsthehighesttruth.ItappearsinbothHindu(atmanisonewithBrahman)andGreekOrthodoxsacredpictures.

100Intheanimalkingdomwefindthatboaconstrictorscanpractiseunionwiththeirmatesforalongerperiodthanothercreatures.WhydoestheHindureligionhonourtheserpentasasymbolofthehighestknowledge?WhydidJesussay,"Beyeshrewdasserpents?"AndwhydidGautamatheBuddhareceivethecobraashisprotectoragainstthesun'sfiercerayswhenhesatinthefinalsessionofmeditationbeforeattainingNirvana?

101Thesymbolistoberememberedandrevereddaily.

102Thefirstvalueofthesymbolisthatitatoncefocusesattention,concentratesthought,arouseslove,andstrengthensfaith.Thesecondisthatitautomaticallyremindstheaspirantofthehigherstate,being,andpower.

103Thesuperiortypeofaspirantcandispensewithsymbols,butthistypeismuchlessfrequentlyfound.

104Manymembersofagroupusetheirmaster'sfaceforthepurpose.ManyHinduschoosethedeitytheyworshipforthementalimagetobemeditatedon.JesuitschooseChrist'sfigure,theRosicruciansarose.

105Theimage,thought,ornameofaspiritualgiantgivesapointofconcentrationandhelpstosettlethewanderingmind.

106Theexponentsofsomeyogamethodshaveminutelydescribed,intheirbooks,sevencentresor"lotusflowers"or"whirlingwheels"astheyaretermed,whicharesituatedinthe"soulbody"atintervalsfromthebaseofthespineuptothecrownoftheheadbutwhichworkinintimaterelationwithsimilarplacesinthephysicalbody.Elaboratediagramshavealsobeendrawntomakeplainertheirclaimsaboutthisremarkablefeatureofspiritualanatomy.

Onitspracticalside,thesystemaffordsabasisforredirectingattention,amethodofprovidingusefulpointsforconcentratingitasayogaexercise.Itiseasierforundevelopedminds,whichareunabletoentertainabstractmetaphysicalideasortomeditateuponthemforanylengthoftime,topicturethe"centre"inthethroat,forexample,andfastentheirattentionuponthat.Toencouragethesenovicestoundertakesuchmeditationstheyareluredwiththebaitofmiraculouspowers,adifferentpowerbeingassociatedwitheach"centre,"orwiththatofvisionsofgodsandgoddesses,adifferentdeitybeingassociatedwitheachcentre.Ifthenovicepractises,hewillgainsometranquillity,evenifhefailstounfoldanypowers.

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Guruyoga

107Thepracticeofmeditatingonthementalimageofthemasterishelpfulatthepropertime,butthemeditatorshouldunderstandthatitisnotthemostadvancedpractice.Ifatanytimeduringit,orafterattemptingit,hefeelsdrawntotheVoidexercise,ortoanyoftheexercisesdealingwiththeformlessspiritofMind,heoughttolethimselfslipawayfromthepictorialmeditationandpassupintothepurecontemplation.Heneedhavenoreluctanceorhesitationindoingso.

108Thereishopeandhelpforthoseamongthemasseswhoaretiredofmoribund,orthodoxreligionbutwhoarenotabletomakethegradeofmysticism.Letthemrepeatintheirheartagainandagain,dayafterday,thenameofaSpiritualGuideinwhoseattainmenttheyearnestlybelieve,whoisknowntohavededicatedhimselftoserviceandinwhosesavingpowertheyarepreparedtotrust.Hemaybeamanlongdeadoralivingone.Theyneedneverhavemethimbuttheymusthaveheardsomethingabouthim.Iftheirfaithisnotmisplaced,ifhereallyisonewhohaddweltintheOverself'ssacredlight,theywillgetgenuineresults.If,however,theirfaithismisplacedandthenamerepresentsnothingdivine,noresultsexcepthallucinatoryonesneedbeexpectedfromthispractice.Butwherethedevotionisgiventoagreatsoul,itshallsurelyberewarded.Forthesilentrepetitionofhisname,wherevertheymaybeandwhatevertheymaybedoing,willinitselfbecomeaneasymysticalexerciseinconcentration.Nomatterhowignorantthedevoteemayotherwisebe,lethimdothisandoutoftheinfiniteOvermindtherewillpresentlysounditsGraceasanechoofhisinnerwork.ThesacrednamewillthushavebecomeforhimalinkwiththeDivine.TheGracewhichdescendsisrichandreal.

109Themanifestationoftheadepttohisdiscipleinmeditationmaycomeindifferentwaystodifferentdisciplesatfirst,orindifferentwaystothesamediscipleasheprogresses.Butingeneralitis:firstoneseeshispictureorimageveryvividlyappearingbeforethemind'seyelaterthereisasenseofhisnearnessorpresencealongwiththepictureintheimageheseemstosmileortotalktothediscipleandpronouncewordsofadviceandguidanceinthethirdstagethepicturedisappearsandonlythepresenceisfeltinthefourthstagethedisciplecomesintotunewiththemaster'sspirit.Inthefifthandfinalstagethestudentrelinquishestheteacher.

110Abruptrecallstotheinnerlife,whenassociatedwithremembranceofthename,orseeingtheimageoftheguide,areintuitionsofrealvalue.Thestudentshouldatoncedropallotheractivitiesandconcentrateonthem,givinghimselfuputterlytotheinwardturningofattentiontheyprompthimtopractise.

111ItisarecognizedyogapathintheOrient,especiallyamongtheSufisofPersia,Iraq,andNorthernAfrica,forthesensitivedisciplementallytomergehisownindividualbeinginthebeingofhismasterduringtheperiodofmeditation.Themastercanbeanyoneinwhomhehasmostfaith,towhomheismostdevoted,bywhomheismostinspired.

112Theyogaofselfidentificationwithanadeptisthemosteffectivemethodandbringsthequickestresultsbecauseitquicklyelicitshisgrace.Afterall,itistheresultthatcounts.Thefactisthatinspirationdoescomewiththemerethoughtofhim.Thisyogapath

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involvestwotechniquesfirst,formalmeditationatfixedperiods,focusedonthemaster'smentalpictureandpresenceand,second,informalremembranceofthemasterasfrequentlyaspossibleatanyandalltimesoftheday.Inbothtechniques,youaretoofferyourbodytohimjustasaspiritistmediumoffershisowntoadisincarnatespirit.Youaretoinviteandlethimtakepossessionofyourmindandbody.First,youfeelhispresence.Thenyoufeelthathetakespossessionofyourbodyandmind.Next,youfeelthatyouarehe(noduality).Finally,hevanishesfromconsciousnessandanotherbeingannouncesitselfasyourdivinesoul.Thisisthegoal.Youhavefoundyourhigherself.

113Thediscipleshouldtrytofeelthemasterinsidehimself,sensinghispresenceandseeinghisimageatvarioustimes.Forthemasterisreallythere,butmustbesoughtforandfeltafter.Thisselfidentificationwiththemasterisoneofthebestofshortcutsforthosewhofinditdifficulttomeditate.Evenwhenworkingorwalking,theyshouldsuddenlypullthemselvesupinthoughtandimaginethemasterpresentinthemandworkingorwalkingthroughthem.Oncesuchahabitiscreatedandproperlyestablished,itwillnotbelongbeforeremarkableresultsareobtained.

114Ifthemasterpractisesthetechniqueofsilenthelpingfromadistanceattheverytimewhenhismindisdeeplysunkinthemysticheart,andthementalimageofthepupilisintroducedthere,thelatterwillsuddenlyhaveabeautifulexperience.Hewillfeelaninneropeningandanotherconsciousnesswillseemtoflowin.Thenhewillsensetherealnearnessofthemasterandsavoursomethingofthespiritualqualityofhisaura.

115Thedisciplewhopractisesthiskindofyogaimagineshimselftobethemaster,thinksandbehavesaccordingly.Heplaysthisroleasifhewereactinginastagedrama.HeistoimitatetheMaster'swayofmeditating,includingeventheexpressionofhisfaceatthetime,notonlyinpictorialvisionbutalsoinselfidentifiedfeeling.Theexercisecanbedonebothduringtheformaldailysessionsofhisregularprogramandevenatoddmomentsorinunexpectedleisureatothertimesoftheday.Theformulaistwofold:rememberingthemasterandidentifyingoneselfwithhim.

116Nowtheultimateuseofamentalimage,whetherofGodorguru,isonlytohelphimdowithoutitaltogetherintheend.FortheultimateaimofatrueseekermustalwaysbetobecomeawareofGodforhimself,toperceivetheRealwithhisowninsight,andtounderstandthetruthwithhisownintelligence.Thereforewhenhehasreachedthisstageofmeditation,whenheisableeasilytoenterintorapportwiththepresenceoftheGuideorguru,ithasaccomplisheditsworkandhemusttakethenextstep,whichistoletgothispresence,ortheimagewhichcarriesthispresence,altogether.Ifheclingsundulytoit,hewilldefeattheverypurposeofhispractice.TheOverselfwill,ofitsownaccord,eventuallycompletethework,ifhedoesnotsoresist,bybanishingtheimageandthepresenceanditselfsteppingintotheframeworkofhisconsciousness.Hewillthenknowitashisownverysoul,histrueself,hissacredcentre.HewillthenfeelGodwithinhisownbeingasthepureessenceofthatbeing.Anyotherfeelingofanyotherindividualwouldbesacrilege.

117TheselfidentificationwiththeMasterconsistsoflendinghisspiritinthedisciple'sbodynotthedisciple'sspiritintheMaster'sbody.

118Thephotographoftheteacherisplacedimmediatelyinfrontofthepupil.Thelatterfixes

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hisgazeuponitandgivesthewholeenergyofhismindtoitscontemplation.Thusthephotographbecomes"printed"onthementalscreen.Thepracticeiscontinueduntilitcanbe"seen"withtheeyesclosedasclearlyaswiththeeyesopen.Thisafterimagemustthenbemeditatedupon.

119Photographthemaster'sfacewithyourmentalcameraandthencarrythepicturewithyounot,ofcourse,intheforegroundofattentionbutalwaysinitsbackground.Whenatoddplacesandoddtimesyouwishtomeditate,prefaceyourexercisebygazingintentlyattheeyesinyourmentalpictureforaminuteortwo.

120Whenthispictureimpressesitselfsostrongly,sovividly,andsofrequentlyonhisconsciousnessthatitbeginstohaveahypnoticeffect,therealworkofhisguidealsobegins.

121Merelybyconcentratingonthemind'simageandmemoryoftheguide,thedisciplemaydrawstrength,inspiration,andpeacefromhim.

122Thesimplepracticeofholdingthemaster'simageinconsciousnessisenoughtoprovidesomeprotectionintheworld'stemptationsordangers.

123Thepersonalattractionto,andaffectionfor,themanJesuscanbeusefullymadeintoafocusformeditation.Tomeditateonthecharacter,example,andteachingofone'sspiritualGuidehaslongbeenastandardpathinmysticism.Itculminatesinajoyousspiritualunion,atwhichtimethestudentbecomesawarethatthelivingpresenceofhischosenGuideisnolongerseparatefromhimselfhisRealSelf.ThisiswhatJesusmeantwhenhesaid,"IandMyFatherareOne."Itis,indeed,oneoftheshortestpathstotheGoal.

124Meditationonaguru'sface,form,ornameisonlyforthepreliminaryandintermediatestagesitmustbefollowedbydroppingallthoughts,includingtheguruthought,ifadvancementistobemade.

TheNotebooksarecopyright19841989,ThePaulBruntonPhilosophicFoundation.