Gurdjieff Narcotics Black and White Magic

news and reviews of G. I. Gurdjieff’s teaching, books, conferences; see Joseph Azize page and John Robert Colombo page

A PERSIAN SOURCE OF GURDJIEFF’S TEACHING?

June 22, 2008

E. J. PACE Dierctor of the Missionary Course at the Moody Bible Institute c 1919

This book on ‘The Law of Octaves’ is a print version of lectures given by Dr Pace in the USA from material that he writes comes from the Rev. John N. Wright DD of Wooster Ohio, who served for thirty-two years as a Presbyterian missionary in Persia at the end of the nineteenth century. Dr Pace had been lecturing on this for some years before publication in 1922.
Thus this material was being written down at a time earlier than that of Gurdjieff’s first appearance in Russia.
This is an astonishing collection of diagrams many which have a likeness to the diagrams that Ouspensky brought from Gurdjieff’s teaching, but which have come from a different source.
To see this material copy and paste this link
http://paceart.tripod.com/index/id8.html
The website is worth looking at for those with a Gurdjieffian interest and a necessity for the Gurdjieff scholar. I am indebted to a reader of this blog who kindly sent this link to Joseph Azize who has sent it to us.

Posted by ccwe
Filed in BOOK & FILM REVIEWS
Tags: Joseph Azize, Moody Bible Institute, Persia, REv EArnest James Pace DD, REvl John N. Wright DD, Sophia Wellbeloved, source Gurdjieff;s teaching

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GURDJIEFF AS MAGUS OMISSIONS AND REDEFINITIONS OF THE WORK

June 16, 2008

The College of Charleston
This paper given by Sophia Wellbeloved at the Association for the Study of Esotericism’s
Third International Conference at the College of Charleston, South Carolina in June 2008, is one of five papers given relating to Gurdjieff. The others were given by Michael Pittman, Joseph Azize, Richard Smoley and Jon Woodson, to see the full program copy and paste this link:
http://www.cofc.edu/ase//program.html to see the full programme.

‘Gurdjieff as Magus’ looks at G. I. Gurdjieff (1866?-1949) in his role as a magus. He taught pupils the acquisition of will, use of symbolism, inter-relationship of macrocosmos to microcosmos and a manipulation of cosmic laws so as to form a set of new bodies of ever finer materiality and longevity. It shows the centrality of hypnotism to his teaching about consciousness and how hypnotic techniques function in his texts and oral teachings. Gurdjieff used the imagery of black and white magic and reflects the roles of both black and white magician, using alcohol, drugs and intense pressures to entangle pupils usually for short periods of time. Lastly we will look at how the teaching has become institutionalised, necessitating omissions and redefinitions of both Gurdjieff and the Work.
Gurdjieff as Magus: Omissions and Redefinitions of the Work
Gurdjieff is not an easy man to define, and we are not going to attempt to impose a fixed definition of him here. What we are going to look at is:
1.
How he presented himself in his writings
2.
How he presented himself to his pupils in his oral teachings
3.
Present day omissions and redefinitions of the Work
—————————
1.
Gurdjieff as Hypnotist
Gurdjieff was known as a hypnotist who cared for and cured drink and drug dependency and other conditions, a role which he regarded as separate from his role as a teacher and which he continued throughout his life, (Peters 1977: 214, 220-223. Webb: 1980, 473).
Now we will look at how Gurdjieff presented himself in his texts in relation to hypnotism. You can see below the full titles and the abbreviations I am going to use when I refer to the texts
————————————–
GURDJIEFF’S TEXTS
HERALD
The Herald of Coming Good, privately published Paris, 1933
TALES
First series: An Objectively Impartial Criticism of the Life of Man or Beelzebub’s Tales to His Grandson, London: Routledge & Keegan Paul, 1950
MEETINGS
Second series: Meetings With Remarkable Men, trans. A. R. Orage, Londond: Routledge & Kegan Paul, 1963
LIFE
Third series: Life is real only then, when “I am”, New York: Duton for Triangle Editions, 1975
———————————————-
In all these writings Gurdjieff refers to hypnotism; in the Tales, the two central chapters are devoted to the practice of hypnotism, in these Gurdjieff’s life story merges with that of his hero Beelzebub. Mesmer is perhaps the only historical person mentioned in the Tales who is not vilified by Beelzebub (Tales: 561-2). In the other three ‘autobiographical’ works he gives examples of practicing hypnotism himself (Meetings: 197-98, Life: 25, Herald: 11-13, see also Wellbeloved 2003:100-02). Herald focuses almost exclusively on his study of hypnotism and other occult practises.
Gurdjieff’s represents hypnotism in both passive and active functions
————————————————–
WAKING (hypnotic) SLEEP
(our usual waking state)
HYPNOTISM(can function passively or actively)
SUBCONSCIOUS
(usually inaccessible to us but made accessible by hypnosis )
———————————————–
We can relate hypnotism to the central tenet of Gurdjieff’s teaching. He taught that what we usually regard as being our daily waking state is in fact a state of sleep. Not ordinary sleep but hypnotic sleep.
In brief summary: our ‘true’ consciousness resides in what he terms the ‘subconscious’ which we are usually unable to contact. As a result of this division in our consciousness, he says that, as we are, we cannot ‘do’, our actions are merely mechanical reactions.
In Chapter XXXII of the Tales Beelzebub explains that hypnotism is the means of linking these two states of being. It can be used to act on these separated consciousnesses in different ways, for example, it can put the usual waking state, where the personality functions to sleep so that the subconscious which contains the essence can function. The advantage of doing that is that according to the teaching essence can grow and develop while the personality is a prison in which we respond mechanically to what ever happens.
So we can see that a passive experience of hypnotism, being hypnotised by events or surroundings, may function to trap us in ‘waking sleep’, while an active hypnotism, may liberate us from waking sleep and give us access to our subconscious.
Hypnotism in Gurdjieff’s terminology is thus ‘a stick with two ends.’
——————-
Here I want to look at Gurdjieff’s four texts in relation to his law of three which expresses two possible outcomes for the interaction of negative and positive forces. Hypnotism is the third force that can reconcile these forces in an evolutionary/positive way, or in a devolutionary/negative way.
The diagram below show how Gurdjieff’s texts embody his law of three.
————————————
+ LIFE
Results from reconciliation in an evolutionary/upwards direction
- TALES Hypnotism is the third force capable of reconciling positive and negative forces + MEETINGS
- HERALD
Results from reconciliation in devolutionary/downwards direction
——————————————————-
We can regard each text as representing a positive or negative force according to Gurdjieff’s own intention for the books stated in the following way:
The Tales – functions as a negative force intended to destroy the reader’s beliefs and views
Meetings – functions as a positive force – because it is to provide the reader with good material for a new creation.
Life – functions as a result of an evolutionary reconciling force – because it is to help the reader realise the world existing in reality rather than in his fantasy.
Herald – functions as the result of a devolutionary reconciling force, this is the book that Gurdjieff withdrew or ‘exiled’.
In the two books which show how the positive and negative are resolved Gurdjieff presents himself as a predominantly wise white magician in Life, and the personification of a psychotic, black magician in Herald.
Gurdjieff instructed his pupils not to read Herald, but writes in Life, that we ought not to read it. This is not a convincing strategy for someone who wants his book to be ignored. Herald shows the chaotic state of a devolutionary descent in to madness, and it is necessary to include it in order to show the full expression of his law of three.
Gurdjieff employed hypnotic techniques in all these texts. Some of these are defined by Dr Joseph A. Sandford a psychologist and clinical hypnotheapist with Gurdjieffian interests and professionally trained in the hypnosis methodology of Milton H. Erickson. Sandford gives some examples of the hypnotic techniques that are used by both men: ‘story telling, metaphor, indirect suggestion, confusion techniques and implied directives, and shocks (Gnosis through Hypnosis: the Role of Trance in Personal Transformation, Proceedings of the All & Everything Humantities Conference,2005, privately published. See also (Runyon, Carroll, Magick and Hypnosis). http://nightbreed.tribe.net/thread/33226a91-c71c-49f4-90dd-dd1f0c997091 ‘<em>Ceremonial magic is ritual hypnosis’).
Gurdjieff himself said that breaking the connection between the emotional and mental centres will cause a person to become hallucinated (Gurdjieff, 1976: 263, 192), ‘Centres are without critical faculty … when a person looks with one centre only, he is under hallucination’). All his texts are intentionally confusing: misleading, contradictory, and paradoxical, he defined himself as:
‘unique in respect of the so to say “muddling and befuddling” of all the notions and convictions supposedly firmly fixed in the entirety of people with whom I come into contact.” (Tales, 26).
2.
Now we will look at how Gurdjieff presented himself to his pupils.
Gurdjieff’s teaching emphasised specific methodologies according to where he was and what was happening, but the content of the teaching remained the same in all periods. Here, because of time constraints, we will look at two periods indicated in the chronology below.
—————————————————
G. I. GURDJIEFF 1866? – 1949
1866? Born Alexandropol, Armenia, (now Gyumri)
1885?- 1910? Undocumented travels to Middle and Far East
1910? – 1917 In Russia teaching: P. D. Ouspensky meets Gurdjieff
records teaching from 1915 – 1922
In Search of the Miraculous (Search) Ouspensky 1949
1917 – 1922 From Russia to Europe with pupils
1922 France: Gurdjieff founds The Institute for the Harmonious
Development of Man outside Paris,
fully functional until 1924
1924 -1930 Visits USA begins writing. Closes the Institute but
continues to live there. Will visit the USA a further
nine or ten times.
1932 lives in Paris
1935 – 1940 Paris teaching the Rope group [and others].
1940-1945 Teaching groups in his flat in Paris
1945 Gurdjieff continued teaching pupils until his death in
1949.
———————————————————

P. D. Ouspensky
1915-1922
During this time Ouspensky records Gurdjieff’s teaching pupils: the acquisition of will, the use of symbolism, the inter-relationship of macrocosmos to microcosmos and a manipulation of cosmic laws so as to form a set of new bodies of ever finer materiality and longevity. Gurdjieff expressed his teachings with reference to alchemical processes, (Search,176, 180), transmutation and transformation (Search,193), and in relation to the symbologies of astrology, magic and tarot, among others (Search, 278-295) and Webb, (The Harmonious Circle 1980, 499-525) gives a good account of some of the likely western esoteric origins of Gurdjieff’s teaching (Webb, 1980, 499-525).
Many if not most of Gurdjieff’s pupils had some knowledge of Theosophical ideas, so his cosmology, ideas about the formation of different bodies would have been familiar to them. What Gurdjieff offered pupils that differed from Blavatksy’s Theosophical teaching was an occult practice that would enable them to transform themselves, not just a theory about different bodies but methods for creating them. This brings Gurdjieff’s teaching into the realm of magic (Versluis, Arthur, 2007: 1. ‘Magicians seek direct spiritual insight and use it to affect the course of events’, and 4. ‘the Magus seeks to have effects in the world’.)
Gurdjieff defines magicians as men who understand the laws of nature and know how to use them to transform substances and also to oppose mechanical influences, and this is not a bad summary of what Gurdjieff himself taught. He gives Christ as an example of a magician who had this knowledge (Search: 226-7, see also (Views 1976/ 1st pub 1973 in a talk in Essentuki in 1918). Gurdjieff’s definitions of both black and white magicians are inconsistent and confusing (Search: 227). He does say that ‘Black magic does not in any way mean magic of evil’ and this is representative of a theme he returns to throughout his teaching. The pupils who took part in his revue ‘Struggle of the Magicians’, had to dance the roles of both black and white magicians.
Gurdjieff agrees with Ouspensky that narcotics are used for the creation of states that make magic possible, but says that they are not merely narcotics although substances used may be prepared form opium or hashish (Search: 8-9 see also 162, 195).
There is a short paper on Narcotics and Hormones by G. I. Gurdjieff, ‘evidently taken down by Ouspensky’. Here Gurdjieff relates some of the uses of narcotics including as a help in ‘the work of Self-Observation and self study,’ he stresses that the use of narcotics is dangerous and needs to be carried out by an expert.
In 1959 the Stourton Press in Cape Town published a short paper Narcotics and Hormones by G. I. Gurdjieff, ‘evidently taken down by Ouspensky’, some of the material is in his In Search of the Miraculous. Republished in Unforgotten Fragments, Pogson, Beryl Chassereau, and Lewis Creed, 1994. Gurdjieff states that narcotics can be used to change the state of consciousness. He refers to medieval literature as a rich source on the subject. He defines hormones as ‘clouds of fine matter, finer than the gaseous matter known to us which is given off by various organs of our body. The 1920s and 1930s were a time of great interest and medical research into hormones. In 1922 insulin was first used to treat diabetes, (see also http://www.uwyo.edu/wjm/Repro/classica.htm) There are references to opium in the Tales including an complex passage pages 826-40 detailing research into the properties of opium).
———————————————–

Solita Solano
1935 -1939/40
Gurdjieff was teaching’ the Rope’ a group of women pupils in Paris, seeing them once or twice every day. According to Gurdjieff’s pupil J. G Bennett this group progressed at a much faster rate than earlier pupils, Bennett attributed this to the use of drugs (Bennett 1976: 232), Bennett writes that Gurdjieff carried out ‘a very extraordinary experiment, making use of methods that brought them into remarkable psychic states, and developed their powers far more rapidly’ than those of earlier pupils. He saw memoirs but is not allowed to quote from them, he hopes they will be published as they throw light on Gurdjieff’s methods as a teacher and upon ‘his use of drugs as a method of developing not only psychic experiences, but also opening hidden channels of the human psyche’. Although he was castigated for making this suggestion, there are diary entries concerning courses of injections, which Gurdjieff himself gave to the pupils, recorded in:
‘Notes taken by Solita Solano from October 1935 – April 1939 in Paris, with additional notes about Gurdjieff’s visit to New York in 1948
(Janet Flanner and Solita Solano Papers, Library of Congress, folder 6 box 6).
There are twenty-three direct references to piqures (injections) and courses of injections that Gurdjieff gave Solano and other members of the Rope group. He gave inner exercises for them to do related to the injections.
Solano quotes Gurdjieff saying:
‘After a certain age this effort [his teaching] is very difficult and often impossible. There is an artificial aid by means of physico-chemical substance… for example a substance can be injected which will furnish artificial help for prayer … If the effort and the amount of the chemical are not balanced, it becomes a dangerous poison for the organism.’ (In January, 1936, p. 18).
He had already given her ‘My first piqure and my first exercise’ (16th November 1935).
These notes are greatly abridged and there is no mention of the actual substances he was injecting, but he did take blood and urine samples from the group to check what adjustments to make to their medications. The exercises are not give in the Notes, and the results of the injections are not referred to in detail, Solano reports feeling better after the first course. Later the group are strongly affected by the injections, two of them cry and feel suicidal, Solano fears loosing her memory. Another time she asks about an increase in menstruation which Gurdjieff attributes to the injections this last suggests injections of hormones (Notes 39-40).
The group also take other medicines given them by Gurdjieff (Notes July 18, 1936, 42-43).
There are references to magic, in the first (June 18th 1936) Gurdjieff refers to ‘the mag’, Solano writes in brackets after mag ( magus, adept, master) and says that
The mag (magus, adept, master) is cunning.
… The mag is the highest that man can approach to God because only he can be impartial and fulfil obligation to God. In old times the mag was always made the chief because he had cunning. Other mags could do either white or black magic but the mag who had cunning and canning could do both white and black and was the chief of the Initiates. Man with real cunning is man without quotation marks. Angel can do only one thing. Devil can do all.’ (July 18th 1936, Notes, 42-43).
A month later he says: “Both cunning and canning are necessary to all things. This is why there are two magics. Black magic is cunning – often also is cunning and canness – you understand the difference? Black magic is ideal for being. Cunning and can-ness is like conscious and unconscious, or like two words used in Bible for meaning two kinds of evil voluntary and involuntary sin”.

crowley gnostic mass

The Temple

There are four main pieces of furniture in a Gnostic Mass temple:
The High Altar: the dimensions are 7 feet (2.1 m) long by 3 feet (0.91 m) wide by 44 inches (1,100 mm) high. It is covered with a crimson cloth. It is situated in the East, or in the direction of Boleskine House--Crowley's former estate—on the shores of Loch Ness in Scotland ("Temple East"). The two-tiered super-altar sits on top of the High Altar. It all holds 22 candles, the Stele of Revealing, the Book of the Law, the Cup, and two bunches of roses. There is room for the Paten, and the Priestess to sit.
The High Altar is contained within a great Veil, and sits on a dais with three steps. On either side of the High Altar are two pillars, countercharged in black and white.
The Altar of Incense: to the West of the Dais is a black altar made of superimposed cubes.
The Font: this is a small circular item which is able to contain or hold water.
The Tomb: this is generally a small, enclosing space with an entrance that is covered by a veil. It should be big enough to hold the Priest, Deacon and the two Children.

[edit] Structure

There are six component ceremonies within the Gnostic Mass:

[edit] The Ceremony of the Introit

The congregation enters the temple, the Deacon presents the Law of Thelema, and the Gnostic Creed is recited. The Priestess and the Children enter from a side room. The Priestess raises the Priest from his Tomb, then purifies, consecrates, robes and crowns him.

[edit] The Ceremony of the Rending of the Veil

The Priestess is enthroned at the High Altar and the veil is closed. The Priest circumambulates the temple and he ascends to the veil. The officers give their orations, including the Calendar by the Deacon. The Priest then opens the veil and kneels at the High Altar.

[edit] The Collects

Eleven prayers addressed to the Sun, Moon, Lord, Lady, Gnostic Saints, Earth, Principles, Birth, Marriage, Death, and The End.

[edit] The Consecration of the Elements

The preparation of the Eucharist.

[edit] The Anthem

Of the Anthem, Crowley writes in Confessions:

During this period [i.e. around 1913] the full interpretation of the central mystery of freemasonry became clear in consciousness, and I expressed it in dramatic form in The Ship. The lyrical climax is in some respects my supreme achievement in invocation; in fact, the chorus beginning: “Thou who art I beyond all I am...” seemed to me worthy to be introduced as the anthem into the Ritual of the Gnostic Catholic Church.

[edit] The Mystic Marriage and Consummation of the Elements

The Eucharist is perfected and consumed. The Priest gives the final benediction. The Priest, Deacon, and Children exit. The People exit.

[edit] The narrative of the Gnostic Mass ^[2]

The People enter into the ritual space, where the Deacon stands at the Altar of Incense (symbolic of Tiphareth on the Tree of Life). She takes the Book of the Law and places it on the super-altar within the great Veil, and proclaims the Law of Thelema in the name of IAO. Returning, she leads the People in the Gnostic Creed, which announces a belief (or value) in the Lord, the Sun, Chaos, Air, Babalon, Baphomet, the Gnostic Catholic Church, the communion of Saints, the Miracle of the Mass (i.e. the Eucharist), as well as confessions of their birth as incarnate beings and the eternal cycle of their individual lives.
The Virgin then enters with the two Children, and greets the People. She moves in a serpentine manner around the Altar of Incense and the Font (symbolizing the unwinding of the Kundalini Serpent which is twined around the base of the spine) before stopping at the Tomb. She tears down the veil with her Sword, and raises the Priest to life by the power of Iron, the Sun, and the Lord. He is lustrated and consecrated with the four elements (water and earth, fire and air), and then invested with his scarlet Robe and crowned with the golden Uraeus serpent of wisdom. Finally, she gently strokes his Lance eleven times, invoking the Lord.
The Priest lifts up the Virgin and takes her to the High Altar, seating her upon the summit of the Earth. After he purifies and consecrates her, he closes the Veil and circumambulates the temple three times, followed by the remaining officers. They take their place before the Altar of Incense, kneeling in adoration (along with all the People), while the Priest takes the first step upon the Dais before the Veil. In this symbolic crossing of the Abyss, the Priest begins with his first oration, invoking Nuit, the goddess of the infinite night sky. The Priestess calls to him as Nuit, enticing the Priest to ascend to her. He then takes the second step, and identifies as Hadit, the infinitely condensed center of all things — the Fire of every star and the Life in every person. The Deacon has the congregation rise and he delivers the Calendar. The Priest takes his third and final step, invoking Ra-Hoor-Khuit, the Crowned and Conquering Child of the New Aeon. With his Lance, he parts the Veil, revealing the now-naked Priestess who sits upon the High Altar. He greets her with the masculine powers of Pan and she returns it with eleven kisses on the Lance. He kneels in adoration.
The Deacon then recites the eleven Collects, which include the Sun, Moon, Lord, Lady, Saints, Earth, Principles, Birth, Marriage, Death, and the End.
The Elements are then consecrated by the Virtue of the Lance, transforming the bread into the Body of God and the wine into the Blood of God. Of these, the Priest makes a symbolic offering to On, being our Lord the Sun.
The Priest and all the People then recite the Anthem, which was taken from Crowley’s allegorical play "The Ship", and represents the legend of the Third Degree of Masonry.
The Priest blesses the Elements in the name of the Lord, and also states the essential function of the entire operation, which is to bestow health, wealth, strength, joy, peace, and the perpetual happiness that is the successful fulfillment of will. He breaks off a piece of one of the hosts, and, placing it on the tip of the Lance, both he and the Priestess depress it into the Cup, crying “Hriliu” (which Crowley translated as “the shrill scream of orgasm”).
The Priest entreats Baphomet — "O Lion and O Serpent" — to be “mighty among us.” He then declares the Law of Thelema to the People - "Do what thou wilt shall be the whole of the Law" - who return with “Love is the law, love under will.” He finally partakes of the Eucharist with the words, “In my mouth be the essence of the life of the Sun” (with the Host) and “In my mouth be the essence of the joy of the earth” (with the Wine). He turns to the People and declares, “There is no part of me that is not of the Gods.”
The People then follow in Communication, one at a time, much as the Priest did, by partaking of a whole goblet of wine and a Cake of Light. They make the same proclamation of godhood as did the Priest. Afterwards, the Priest encloses the Priestess within the Veil, and delivers the final benediction:

+ The LORD bless you.

+ The LORD enlighten your minds and comfort your hearts and sustain your bodies.

+ The LORD bring you to the accomplishment of your true Wills, the Great Work, the Summum Bonum, True Wisdom and Perfect Happiness.

Ordo Templi Orientis

LOVE is the LAW, LOVE UNDER WILL. Evil is unbalanced FORCE and unbalanced FORCE IS EVIL.

Saint Theresa's Prayer

May today there be peace within.
May you trust God that you are exactly where you are meant to be..
May you not forget the infinite possibilities that are born of faith.
May you use those gifts that you have received, and pass on the love that has been given to you.
May you be content knowing you are a child of God..
Let this presence settle into your bones, and allow your soul the freedom to sing,
Dance, praise and love.
It is there for each and every one of us.

Transformation of energy Satyananda saraswati

Transformation of Sexual Energy
This discussion on sexual energy is classic. We have all heard about the need for controlling our sexuality and about the power derived from transforming sexual energy into spiritual energy. In this frank discourse, Shree Maa and I not only give a new vocabulary with which to talk about the transformation of sexual energy, but moreover we describe the process of that transformation. We detail the Swastik asana and the banda kriya practices which turn shukra into ojas, and ojas into tejas, resulting in the highest meditative energy and out of body experiences.
Click here for Talk on Sexual Energy

Swami Satyananda Saraswati's Talk on Transmuting Sexual Energy

This is the first time I've given this talk in mixed company, so please excuse me if I'am a little hesitant. We wanted to talk about sexual energy. There are two paths, the path of Viagra, and the path of Vairagya; they're very closely associated, just equal and opposite. Of course, the path of Viagra is the path of stimulation and external expression, and the path of Vairagya is the path that goes inside. Vai means without, and raga means passion. And a vairagi is a kind of sanyasi in the Vaishnava lineage. He is one who is free from passion. Also raga means activity. So vairagya means reducing our attachment to activity. So we're interested, presumably, in the path of vairagya, in the path of freeing ourselves from passion, and freeing ourselves from activity. And I wanted to talk about a vocabulary that gives us new words to invite new concepts, so that we can make the journey more efficiently.
Actually the concept of sexual energy has no Sanskrit name. There's just energy. And there isn't sexual energy or spiritual energy or this energy, or that energy. There is just shakti, energy. And wherever we pay attention to that shakti, that's how it manifests in our lives, in our behavior, in our activities. So when we talk in English about sexual energy, we're just saying our minds, our physiology is moving toward sexuality. The energy is the same.
I want to talk about the process of transmuting, transforming, that energy which we're paying attention to in sexual areas, into a spiritual energy which is taking us higher and higher towards our intended goal. Because once we have this understanding, we become empowered to desist from seeking frivolous relationships. We don't have to go outside, and find relationships that don't work for us. We can spend more time bringing that energy in and up towards our intended goal.
That's why I want to talk about this new vocabulary. The first step, of course, are the organs. In the male, it is called the lingam, and in the female it's called the yoni. Now, the yoni has another name; it's also called the chit kunda, the container of consciousness, because no one goes to the yoni without placing full consciousness. It's not something that is done casually.
In our Kali Puja book, we have translated a paddhoti, a system of worship for the puja called garbhadhan. Beyond the yoni is the garbbha, the womb, and that's where the seeds are incubated. What we call garbhadhan is placing the seeds into the incubator, into the womb. We have many mantras that use the term garbha. Hiranyagarbha, the golden womb, is the womb which incubates the seeds.
Actually, here is where the distinctions in the vocabulary between male and female stops. From here on, there is just one vocabulary to describe the process, because both male and female seeds are called shukra. Shukra means the seeds of life, and shukra means bright, and clear, and pure, which means the seeds of life are the purveyors of clarity and purity. In the Kali Sahasranama, there are several names into which the qualities of Shukra are integrated: like, shukra vrishtipradayini and shukra samudranivasini. In one sense, in the gross body, she is the purveyor of the seeds of life. In another sense, she dwells in the ocean of purity or clarity, which begets life. So in whatever way we want to take the understanding, that's how we will apply it in our sadhana, and in our lives.
When I translated the Kali Sahashranam, I used the term, clarity to stand for the seeds of life. But the seeds of life are equally applicable. Now more subtle that the shukra is ojas. Ojas is the subtle body of shukra. Shukra is the gross body, that which comes out, that which unites, that which begets life, another being. Ojas is the subtle body. The objective of our practice will be to take all the shukra that wants to flow out, that wants to take the path to the world, and turn it inside, and turn it into ojas, and bring the ojas up. Almost like an ejaculation of the subtle form, it comes up.
Now in order to make this more efficient, there are a few techniques called "bandhas." A bandha is the contraction of the muscles. In order to practice this, you will want to be sitting in the swastik asana, with your left heel in the muladhara to the extent of your capacity. And if you were to feel yourself in a state of sexual excitement, and paying attention to the sexual energy, then you could sit in the asana, and practice the bandha. The mulabandha is the contraction of the muscles in the anus, and you just close the anus, and tighten the bottom, and bring the energy up, almost as it shoots up. And as the energy comes up in its subtle form, in the form of ojas. it comes through the swadishtana, and into the manipura chakra, where you practice the madyamikabandha, by contracting the abdominal muscles. So you practice first the mulabandha, and bring that energy up into the manipura, and then you practice the madyamikabandh, and contract the abdominal muscles, and keep pulling it up until it comes to the heart. In the heart comes the uttarbandha, where you contract the muscles of the heart just like you are so much in love, just like you're feeling so much power, empowered by the shakti that's coming up. Now it's no longer sexual energy, it's shakti. And this shakti's coming into the heart chakra. It's filling the heart with. the essence of what we're seeking in that expression of energy. We're turning that sexual passion into love, and we will change the ojas into tejas, and tejas means light. If you contract the muscles of the chest, and pull in your heart, and feel the light rising higher and higher, you move into the uttarabandh. Here you bring that tejas shakti to the agnya chakra, and through the sahasrara, and bring it out, and let it go as high as you possibly can, almost like you had an ejaculation of the subtle form of energy that came all the way out through the top of your skull, and reached all the way to the planets.
And that's called making love. So the mulabandha contracts the anal muscles and also those of the thighs, and then you bring up the energy into madhyamikabandha, where it becomes so much empowered, so much more fulfilled, and through practicing madhyamikabandha, you bring it to the anahata chakra. Here it fills your heart with so much love, and you're exuding this energy. You can hardly contain it; your chest pulls in tight because you're feeling so much emotion. Now you've become vairagi, because all the raga, all the passion, has been directed towards your love of God. And from the uttarbandha, we're bringing it higher and higher, and by letting it sit in the agyna chakra, the ojas becomes tejas. The mind becomes filled with light, and now you feel that light, you see that light coming higher and higher. And that's where we can meditate.
Then sexual energy is no longer an obstacle in our path; it's just energy. And it's a tool by which we move, direct, and can focus our attention to where we want to go. It doesn't bring us outside into relationships that we don't really need. It brings us inside into the furtherance of our true objectives.
Swamiji asks, "Are there any questions?"
Shree Maa says:
Patnim manoramam dehi, manovrittanusarinim
tarinim durga samsara, sagarasya kulodbhavam.
This is shiva/shakti.
Swamiji explains, "This is the union between Shiva and Shakti; Shiva in the sahasrara, and shakti resides in the muladhara. She's coming up in the form of shukra, transforming into ojas, becoming tejas, and then uniting. And this is the true union, the verse that Mother is reciting from the Argala Stotram. Give me a wife in harmony with my mind; that wife is Shakti because who's singing the song? Shiva! Consciousness is asking for energy to come and illuminate him. That's just what it is!
From Shree Maa's comment, Swamiji further explains, "That wife, that energy, is uniting with the soul, and taking the soul higher and higher, and higher. Now she's no longer the energy that keeps us bound to worldly interaction. She's the energy that inspires us to come to the highest realization. We have just transformed that energy. So the concept of sexual energy is really a misnomer. It's not understood. There is no sexual energy. there's just energy! And if we don't regulate or direct that energy, it will direct us. But once we grab hold of ourselves, and clarify our goals, and clarify our objectives, and really make the sankalpa, the firm determination and definition of that objective: "What are my values, what is important to me?" then, a verse in the Bhagavad Gita says that all the thoughts flow through the mind of the muni, but the muni never reacts. He is free from reaction. Knock on the door, and there's nobody home. That is the degree of vaiyagra, dispassion, freedom from misdirected passion, that we strive to attain. We want to be passionate, but about the right things.
Swamiji continues, "When we can control our senses, then we can achieve to the wisdom of Brahma, the wisdom of the Supreme Divinity, by understanding this process. From the external, from the stimulation of the lingam and the yoni, and from the production of shukra, we take the shukra and extract the ojas. We let the ojas flow up until it becomes tejas, and let the tejas continue up. We go from the tejamayi kosha to the anandamayi kosha. There's an illumination. Then the higher definition of shukra as bright, clear, illuminating, becomes ever more subtle, and we get to have the union in that way.
Swamiji asks, "Do you have any questions about it?"
One person asks, "When you move the energy with the bandhas, do you use your breath?"
Swamiji responds, "Yes, you do. When you contract the muscles, you breathe into it, and then you pull up that energy, just as though it were ejaculating up, and you pull it higher, and higher, and don't let it stop below. Let it go higher, and higher, and higher. Encourage it to rise, and pull on it until you get it up to the madhyamikabandha, and then when you have the madhyamikabandha, you're practicing the pranayama, but you're constricting the solar plexus, so you don't have a full purak, or a full rechak, because you've got a bandha. There's a restriction; you're not practicing a full kumbaka.
Instead you are forcing the energy up higher and higher. Bring it to the heart, and feel it in the heart. You know what it feels like when your heart is so full, that your chest cavity can't contain it. You've all had that experience. Your chest is just not big enough to contain your heart; it's bursting. And breathe into that, and that's where the ojas becomes tejas. And now you're not pulling on the subtle force of life, you're pulling on light, radiant light! And you bring up that light with the rising breath, uddhana, just higher and higher and higher until this body is not sufficient to contain it. It just comes right out the top, as though if you were to look down from the highest heavens on that body meditating there, it would seem that that body is just one part of you, because you've pulled the consciousness out of it in the form of light.
Shree Maa comments, "That way you can get levitation."
Swamiji comments, "That's the true meaning of levitation; it's removing your consciousness from the body, and looking down, raising the consciousness up. Not necessarily raising the body.
Swamiji, "Are there other questions?"
One person asks, "Should this just be used when you feel that stimulation; should one use these practices only then?"
Swamiji, "I would recommend using this technique primarily if you feel any sexual stimulation, because you don't want to put yourself into a position of stimulation. But if you were to feel stimulation, then there are two choices, you can let it out, or you can bring it up. Now, if you let it out, you want to let it out with all purity, and all thankfulness, and all gratefulness, and all surrender, as the greatest expression of the seeds of life uniting in the purest,
clearest, most dharmik way possible. But even better is to bring it up, and turn the shukra into ojas, and the ojas into tejas, and the tejas into chit shakti, the energy of consciousness. It becomes filled with the energy of consciousness. So this would be a technique if you feel yourself prone to sexual stimulation, and I guarantee you that within some time of practice, you'll forget all about the sexuality of it, and just look at the transformation of energy. It won't be a sexual stimulation anymore. It will be part of a technique of meditation.
Swamiji, "Are there any other questions?"
One individual asks, "When we are meditating, and we can feel that tejas in our heart, can this come spontaneously during meditation?
Swamiji responds, "Yes, it can, absolutely, and you want it to. It doesn't have to be the result of sexual stimulation. It could be just filling your heart, and not practicing the mulabandha or the madyamikabandha, but going right to the uttarbandha. If you are free from sexual stimulation, then you can just go directly to the uttarbandha. Fill your chest full of that love, that energy, that bhava, and then make your heart so big that your chest can't contain it anymore, and then take that tejas shakti and bring it up. It doesn't have to start from sexuality.
But if you have sexual stimulation, then there are only two choices, let it out, or bring it up. And this is a system by which we can bring it up. So that's why we wanted to share that.
Om Sam Saraswatyai Namah! (http://www.shreemaa.org/drupal/node/1599)

List of Books on Tantra

 In Agam Tatva Vilas following names of Tantra books are mentioned.

1. Swatantra Tantra

2. Theth Karini Tantra

3. Uttar Tantra

4. Neel Tantra

5. Veer Tantra

6. Kumari Tantra

7. Kali Tantra

8. Narayani Tantra

9. Tarani Tantra

10. Bala Tantra

11. Matrika Tantra

12. Sant Kumar Tantra

13. Samayachar Tantra

14. Bhairav Tantra

15. Bhairavi Tantra

16. Tripura Tantra

17. Vamkishwar Tantra

18. Kutkuteshwar Tantra

19. Vishudh Deveshawar Tantra

20. Sammohan Tantra

21. Gopiniay Tantra

22. Brihaddautami Tantra

23. Bhoot Bhairav Tantra

24. Chamunda Tantra

25. Pingla Tantra

26. Parahi Tantra

27. Mund Mala Tantra

28. Yogini Tantra

29. Malini Vijay Tantra

30. Swachand Bhairav Tantra

31. Maha Tantra

32. Shakti Tantra

33. Chintamani Tantra

34. Unmat Bhairav Tantra

35. Trilok Saar Tantra

36. Vishwa Saar Tantra

37. Tantra Mrit

38. Maha Khetkarini Tantra

39. Baraviy Tantra

40. Todal Tantra

41. Malani Tantra

42. Lalita Tantra

43. Shri Shakti Tantra

44. Raj Rajeshwari Tantra

45. Maha Maheshwari Tantra

46. Gavakshy Tantra

47. Gandharv Tantra

48. Trilok Mohan Tantra

49. Hans Paar Maheshwar Tantra

50. Hans Maheshwar Tantra

51. Kaamdhenu Tantra

52. Varn Vilas Tantra

53. Maya Tantra

54. Mantra Raj

55. Kuvichka Tantra

56. Vigyan Lalitka Tantra

57. Lingagam Tantra

58. Kalotarr  Tantra

59. Brahm Yamal Tantra

60. Aadi Yamal Tantra

61. Rudra Yamal Tantra

62. Brihdhamal Tantra

63. Siddh Yamal Tantra

64. Kalp Sutrah Tantra

Apart from these real Tantra books there are few more books which are treated as important books in Tantra. These books have been compiled by the sadhak’s and tantriks after they have attained spiritual enlightening. There are 84 such books available.Those are:

1. Matsya Sukt Tantra

2. Kul Sukt Tantra

3. Kaam Raj Tantra

4. Shivagam Tantra

5. Uddish Tantra

6. Kuluddish Tantra

7. Virbhadrodish Tantra

8. Bhoot Damar Tantra

9. Damar Tantra

10. Yaksh Damar Tantra

11. Kul Sharvashy Tantra

12. Kalika Kul Sharvashy Tantra

13. Kul Chooramani Tantra

14. Divya Tantra

15. Kul Saar Tantra

16. Kulavarand Tantra

17. Kulamitr Tantra

18. Kulavati Tantra

19. Kali Kulavaan Tantra

20. Kul Prakash Tantra

21. Vashisht Tantra

22. Siddh Saraswat Tantra

23. Yogini Hriday Tantra

24. Karli Hriday Tantra

25. Matri Karno Tantra

26. Yogini Jaalpoorak Tantra

27. Lakshmi Kulavaran Tantra

28. Taaravaran Tantra

29. Chandra Pith Tantra

30. Meru Tantra

31. Chatu sati Tantra

32. Tatvya Bodh Tantra

33. Mahograh Tantra

34. Swachand Saar Sangrah Tantra

35. Taara Pradeep Tantra

36. Sanket Chandra Uday Tantra

37. Shastra Trish Tatvak Tantra

38. Lakshya Nirnay Tantra

39. Tripura Narva Tantra

40. Vishnu Dharmotar Tantra

41. Mantra Paran Tantra

42. Vaishnavamitr Tantra

43. Maan Solaahs Tantra

44. Pooja pradeep Tantra

45. Bhakti Manjari Tantra

46. Bhuvaneshwari Tantra

47. Parijaad Tantra

48. Prayogsaar Tantra

49. Kaamrat Tantra

50. Kriya Saar Tantra

51. Agam Deepika Tantra

52. Bhav Choodamani Tantra

53. Tantra Choodamani Tantra

54. Brihast Shrikram Tantra

55. Shrikram Shidant Shekar Tantra

56. Shidant Shekar Tantra

57. Ganeshavi Mashchani Tantra

58. Mantra Mookavali Tantra

59. Tatva Kaumadi Tantra

60. Tantra Kaumadi Tantra

61. Mantra Tantra Prakash Tantra

62. Ramacharan Chandrika Tantra

63. Sharda Tilak Tantra

64. Gyan Varn Tantra

65. Saar Samuchay Tantra

66. Kalp Droom Tantra

67. Gyan Maala Tantra

68. Pooras Charan Chandrika Tantra

69. Agamoktar Tantra

70. Tatv Saar Tantra

71. Saar Sangrah Tantra

72. Dev Prakashini Tantra

73. Tantranav Tantra

74. Karam deepika Tantra

75. Paara Rahasya Tantra

76. Shyama Rahasya Tantra

77. Tantra Ratna

78. Tantra Pradeep

79. Taara Vilas

80. Vishwa Matrika Tantra

81. Prapanch Saar Tantra

82. Tantra Saar

83. Ratnavali Tantra

84. Sanjay Tantram

(http://www.vamtantrasamrat.com)

Sri Yantra again

1st Avarana the outer square with three lines and 4 gates is brown. The outer line is white (though the colour of the 10 deities here is like molten gold), the middle line is orange red like the rising sun and the inner line is yellow like the colour of butter.

2nd Avarana the 16 petal lotus is pink like lotus flower.

3rd Avarana the 8 petal lotus is red – the colour of Bandhuka flowers.

4th Avarana the 14 cornered triangle is colour green like the colour of glow worms.

5th Avarana the outer 10 corners triangle is red like Japakusuma flowers.

6th Avarana the inner 10 corners triangle is colour blue (though the deities here have the lusture of 1000 rising suns).

7th Avarana the 8 corners triangle is colour red like Dadini flowers.

8.The innermosst triangle is white.

9.The Bindu the central point is red like Sindoor.

(http://www.astrojyoti.com/sriyantracolours.htm)

Seal of solomon

We therefore, through God's help, intending to follow the steps and precepts of Solomon, therefore to your receiving of such a high mystery, we profess to be one chief principal or beginning. Note therefore that the first and chief principal or beginning is the Divine Majesty, and the true invocation must come from the very faith of the heart, the which faith the works shall declare. For Solomon said there is one only God, one might or power, one faith, of whom one work, one principal or beginning, and of whom the perfection and effect of every work comes, although this be divided into many parts. For like as all the whole parts do savour and smell of the body, even so likewise of these things come all perfection and effect.

In the name therefore of the true and living God, who is Alpha and Omega the beginning and the ending, which is the Father, the Son, and the Holy Ghost, three persons and one God, the giver of life, and the destroyer of death. For he destroyed our death and through his resurrection restored us again to life.

Of the making of the Seal of God, for the knowledge of the first part, of the knowledge of the diety, for the knowledge of the second part, in the third part of the vision of angels, the fourth of the constrinkesyon, the fifth part of the bonds of dead men.²

Of angels there are three kinds. Some are celestial, some are of the air, and some are of the earth. Of the celestial, there are also two kinds. Some of them serve God only, and those are the nine orders of angels, that is to say, cherubin, seraphin, thrones, dominations, virtues, principates, potestates, archangels, and angels. Of whom it is to be spoken among mortal men, for they will not be constrained by any artificial power. And therefore they ought not be invocated, for they always stand before the Divine Majesty, and are never separated from His presence. Yet because the soul of man was created with them, and to there likeness, looking to be rewarded with them may through the gift and grace of God, his body yet living behold the Divine Majesty, and with them to praise and to know God the creator, and this knowledge is not to know God in his majesty and power, but ever as Adam and the prophets did know him.

Therefore, the Christian man only works truely to come to the vision of the Deity, and in all other works. And although three sorts of men do work by this art magic, yet it is not to be thought that there is any evil in this name Magian, for this same name Magian signifies in the Greek tongue a philosopher, and in the Hebrew tongue a scribe, and in the Latin tongue it signifies wise. And so this name of art magic is compounded of this word magos which is as much to say as 'wise,' and of ycos which by interpretation is 'knowledge.' For by it a man is made wise. For by this art a man may know things present, past, and to come

IV.] Here follows the making of the Seal of the true and living God

First, make a circle with a diameter of three fingers, on account of the Lord's three nails, or five on account of the five wounds, or seven on account of the seven sacraments, or nine on account of the nine orders of angels, but generally five fingers are customary.
Then, below that circle make another circle, distant from the first by two barley grains (on account of the two Tablets of Moses), else the distance from the first can be three grains (on account of the three persons in the Trinity.)
Then below those two circles in the uppermost part, which is called the southern angle, make a single cross, the leg of which may slightly enter the innermost circle.
Then, from the right side of the cross, write .h. (the "exalation"), then .t., then .o. then .e. x . o. r. a. b. a. l. a. y. q. c. i. y. s. t. a. l. g. a. a. o. n. o. s. v. l. a. r [t]. y. t. c. e. k. s. p. f. y. o. m. e. m. a. n. a. r. e. l. a. c. e. d. a. t. o. n. o. n. a. o. y. l. e. [y]. o. t. m. a. and these letters may be made an equal distance apart, and may surround the circle. And with that series of letters which was previously named the circle will thus be filled with the great name of the Lord, Schemhamphoras, of 72 letters.
This done, in the middle of the circles, namely in the center, make a pentagram thus:

in the middle of which should be the sign 'Tau', thus: , and above that sign, write the name of God El, and underneath this another name of God, namely, Ely, in this fashion:

.

Then, below the uppermost angle of the pentagram, write these two letters: .l.x.
And below the other in the right angle, these two: .a.l.
and in the next after those, these two: .l.a.
and in the next after that: .l.c.
and in that following: .u.m.
Then, around the pentagram make a heptagon; it may touch the uppermost side of the pentagram, which is after the middlemost top angle, where are written .l.x.
And in the same side of the heptagon write this name of the holy angel, which is Casziel.
And in the next side from the right-most, the name of the holy angel, which is Satquiel.
Then in the next Samael, and in the next Raphael, afterwards Anael, afterwards Michael, followed by Gabriel. And thus the seven sides of the heptagon will be completed.
Then, around that preceding heptagon, make another heptagon, not made like the first, but in such a manner that the one side of it will intersect the previous side of the same.
Then make another such heptagon, like the first, whose seven angles touch the seven angles of the second heptagon, and the which should be shown doubled.
unum latus secundi heptagoni supernudo et aliud subenudo, sed latus primo angulo succedens subenudo ibit. et quae sequntur serie supereuntis et subeuntis alterutrum se habebunt.
Then, in each of the angles of the second heptagon make a cross.
Then, in that side (of the second heptagon) which goes from the last angle to the second angle of the same, in that part which is above the first syllable of Casziel, this syllable from a sacred name of God should be written: la, and above the last syllable of the same (Casziel) should be written this syllable: ya, and in the space [between] the intersection and the second cross should be written the syllable ly.
Then, in that side which extends from the first angle of the second heptagon, and continues to the third angle of the same, this holy name of God should be written: Narath, and the first syllable, Na should be written in that space of the same side which is above the first syllable of Satquiel, and the syllable Ra in the space which is above the last syllable of the same, and the two letters 't,' 'h' made in that place which is in the same side between the side intersecting itself and the third cross.
Then, in that side (of the same second heptagon) which extends from the third angle of the same to the fifth of the same, should be written this holy name of the Creator, which is called Libarre, such that the syllable Ly is written above the first syllable of Raphael, and the syllable bar is over the last syllable of the same, and the syllable re in that space of the same side which is between the side intersecting itself and the fifth angle of the same second heptagon.
Then, in that side (of the same second heptagon) which is farthest from the fifth cross, this other sacred name of the Creator should be written: Libares, such that the syllable Ly is written in that space of the side which is above the first syllable of Michael, and the syllable ba in that space of the side which is above the last syllable of the same (Michael), and the syllable res in that space of the same side which is between the side intersecting itself and the last cross.
Then, in that side (of the same second heptagon) which goes from the second angle (of the same second heptagon) to the fourth, this other holy name should be written: Lialg cum coniunctiua ita quod coniunctiua in illo loco eiusdem lateris scribatur which is above the first syllable of Samael and this syllable ly in that space of the same side which is above the last syllable of the same (Samael), and this syllable alg in that place of the same side which is between the side intersecting itself and the fourth cross.
But beware that the coniunctiua (connective) should be written thus: [figure] with the inscription intersecting, because of the fear of God malum volitum dividentem.
Then, on that side (of the same heptagon) that goes from the fourth cross to the sixth, write this other sacred name of God: Ueham, such that the syllable ve is written above the first syllable of Anael, and the letter h is above the last syllable of the same, and the syllable am is in the space of the same side which is [inter]secting the side itself and the sixth cross.
Then on that side which goes from the sixth angle (of the same second heptagon) to the first angle, this other sacred name of God should be written: yalgal, such that the letter y is written in the space of the same side which is above the first syllable of Gabriel, and the syllable al is above the last, and the syllable gal should be written in the space of the same side which is between the intersection and the first cross.
Then, in the middle of the first side and the third heptagon, to the right, should be written vos, and in the next place Duymas, and in the next Gyram, and in the next Gram, andin the next Aysaram, and in the next Alpha, and in the next .
Then, in that small space which is under the second and the third angle of the first heptagon, should be written this name of God: el,
and in that small space which is to the right under the second and third angles of the heptagons under the second cross, this name: ON,
and in the next space under the third cross, again this name: el,
and in the next under the fourth cross, again: ON,
and in the next under the fifth cross, again: el,
and in the next under the sixth cross, again: ON,
and in the next under the seventh cross: .
Then in that small space which is enclosed between the first angle of the second heptagon and the second angle of the same, and the first side of the third heptagon, and the part touching those angles of the circle, draw a single cross in the middle, namely in that space. And in the top-left space of the cross, write the letter: a,
and in the top-right space of the cross this letter: g,
and in the lower-right space write another letter: a,
and in the fourth lower space this other letter: l.
Then in the middle of the next small space to the right, write this name of God: Ely,
and in the next, this name: Eloy,
and in the next: Christos,
and in the next: Sother,
and in the next: ADONAI,
and in the next: Saday.
After this you shall know that commonly in the exemplars the five-cornered star or amulet is made of red, with the space within dyed saffron [yellow], and the first seven-cornered star of azure, the second of saffron, the third of purple, and the round circle of Black.
And the space between the circles where the name Schemhamphoras is, is died with saffron. At other spaces are to be coloured with green.
Tetragrammaton ye & the circle about that white, with the angels names and planets.>
But in operations it must otherwise be done. For it is made with the blood either of a mole or of a turtledove, or a lapwing, or of a bat, or of them all, and in virgin parchment of a calf, or of foal, or a hind calf [i.e. deer]. And so is the Seal of God perfect.
And by this holy and consecrated seal after it is consecrated, you may work operations which shall be declared afterwards in this book. The manner of consecrating of this holy seal ought thus to be as followeth.

After this you shall know that commonly in the exemplars the five-cornered star or amulet is made of red, with the space within dyed saffron [yellow], and the first seven-cornered star of azure, the second of saffron, the third of purple, and the round circle of Black.

And the space between the circles where the name Schemhamphoras is, is died with saffron. At other spaces are to be coloured with green.

Tetragrammaton ye & the circle about that white, with the angels names and planets.>

But in operations it must otherwise be done. For it is made with the blood either of a mole or of a turtledove, or a lapwing, or of a bat, or of them all, and in virgin parchment of a calf, or of foal, or a hind calf [i.e. deer]. And so is the Seal of God perfect.

(http://www.esotericarchives.com/juratus/juratus.htm)

Upside down

भोगा न भुक्ता वयमेव भुक्ताः

कालो न यातो वयमेव याताः
तपो न तप्तं वयमेव तप्ताः
तृष्णा न जीर्णा वयमेव जीर्णाः
(नीतिशतक)

Man thinks that he enjoys pleasures, but in fact the pleasures enjoy him.  Time does not move but man does (in time).  Heat does not get hot, man does.  Desire does not grow old or diminish, man does.

(Neetishatak)

Answers again

"The Possibility lies between an urge to know AND not know the answer" - Michel Salzmann

The Answer is not the Answer

“The answer is never the answer. What's really interesting is the mystery. If you seek the mystery instead of the answer, you'll always be seeking. I've never seen anybody really find the answer -- they think they have, so they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer.”

Rumi - Subtle Degrees

Subtle Degrees
Rumi

subtle degrees
of domination and servitude
are what you know as love

but love is different
it arrives complete
just there
like the moon in the window

like the sun
of neither east nor west
nor of anyplace

when that sun arrives
east and west arrive

desire only that
of which you have no hope
seek only that
of which you have no clue

love is the sea of not-being
and there intellect drowns

this is not the Oxus River
or some little creek
this is the shoreless sea;
here swimming ends
always in drowning

a journey to the sea
is horses and fodder
and contrivance
but at land’s end
the footsteps vanish

you lift up your robe
so as not to wet the hem;
come! drown in this sea
a thousand times

the moon passes over the
ocean of non-being

droplets of spray tear loose
and fall back
on the cresting waves

a million galaxies
are a little scum
on that shoreless sea

Jean De Salzmann

We say we are "in the Work."  What does it mean? The Work is a special current sustained by a source of energy that can only be touched by a person who is Whole.
The teaching is the guide and only he who questions more deeply can be responsible to serve.
The Movements are a way of living the idea of Presence.
The work with others is a condition for living this teaching.
-- jeanne de salzmann