ENERGY BLOCKAGE REMOVAL
|2005 AND 2006|
VOL. 2, SUFIS: THE PEOPLE OF THE PATH
The second question:
BEFORE COMING TO POONA I THOUGHT I KNEW SOMETHING ABOUT HELPING. NOW I FEEL I KNOW NOTHING ABOUT HELPING. THE MOST I CAN DO IS BE PRESENT WITH A CLIENT AND FOLLOW MY INSTINCTS AT THAT MOMENT. IT IS A VERY SCARY PLACE.
Now you are in fact beginning to be a helper, a therapist. When you start losing that ego of being a therapist, feeling starts flowing through you. That ego is an obstruction. A real therapist does not know that he is a therapist, he is just a medium for God to flow through.
And I can understand why you are feeling scared -- because all your expertise and all your past has existed around a subtle ego, around 'I'. Now that seems to be relevant no more. When the past seems to be relevant no more, one feels scared. One is losing knowledgeability and that was your support, that was the ground on which you were standing. You used to know this and that, you used to know how to help, what to do, what was needed... now all that is disappearing. Now you will not know what to do and you will not know the right answer to every question.
But now, for the first time, if you remain available to the patient, your client, the right answer will come through you. It will vibrate through you. It will not be your answer, that is true, it will be no longer your answer -- it will be God's response through you.
That's my whole work here. I am preparing a new kind of therapist, a totally new kind of therapist, whose function is not to do something to the patient, but just to be available. Their presence will be a healing presence, miracles will happen through them, but they will not be able to say, 'I have done this.' God will be doing the miracle, or the unknown, or the whole. And for the first time you will be really a help, a great help.
But for a few days, a few months, a few years.... It depends. If you relax into this, surrender into this, this hesitation will disappear soon. If you don't surrender, if you go on resisting, then it will take many months or many years. Or maybe you may succeed in resisting and it may disappear again. Then you will miss a great opportunity -- a door was opening but you didn't allow it to open.
My observation is that when a musician becomes a real musician, he throws away all musical instruments. He need not have them. Now the music arises in his innermost core; it is not produced by any instruments. When an archer becomes a real archer, he throws away his bow and arrows. There is no need for them. When a healer really becomes a healer, he forgets that he is a healer.
A man of knowing becomes completely innocent, unbur-dened of knowledge. And the process is.... I am not saying that you need not have any training -- no, not at all. I am not saying that you need not know anything about psychoanalysis, psychiatry, medicine -- I am not saying that. I am saying that you have to know all that and one day you have to forget it too. I am not saying that suddenly a man who does not know anything about archery can become an archer just by surrendering, no. First one needs to know -- that is the first part. One has to learn. Then the second part, and the higher part, is that when you have learned all, forget the learning.
In Zen they say that if a person wants to become a great painter he should first learn painting for twelve years -- day in, day out. He should go on learning all that is possible about colours, painting, canvases, techniques, and after twelve years he should throw away his canvas, his brush, his colours, and for twelve years he should forget all about painting. He should never touch it, never talk about it. And then one day he should start painting again. Now the painting will have something original about it. All that is needed as technique is there, but it is no more in the conscious mind, it is no more a part of the ego. It has gone deep into the unconscious. Those twelve years of training, learning, have become part of his blood and bones.
Then for twelve years he has simply forgotten about it. So from the conscious mind all has disappeared. If you ask him anything, he will not be able to say anything. He will not be able to talk about painting any more. Now he will paint like an innocent child who does not know anything, and yet in his painting will be all the expertise of the technician. Now two great things will be meeting in him: the innocence of the child and the knowledgeability of the expert. When these two things meet, there is great creativity.
What happens ordinarily? One can become just an expert, a technician... then you can paint, and you can paint perfectly, but something will be missing. The soul will be missing. The painting will be perfect. Nobody will be able to find any fault, that is true, but that is not enough for a painting -- that nobody can find any fault. That is not enough. It is needed, but it is not enough. It is necessary, but not enough. Something more is needed. Just to say about a painting that there is no fault in it, is not praise.
If a poet brings a poem and you say, 'Yes, it is perfectly as it should be. There are no mistakes, no linguistic mistakes, no grammatical mistakes, no mistakes in the rhythm -- everything is perfectly okay,' this is not praising it. It may be dead. It has to be dead. Life is not there. It is a corpse. Everything seems to be perfect but something very essential is missing.
I have heard about a madman who escaped from his mad asylum. He was a professor of philosophy -- and a very clever man. When he escaped from the mad asylum, naturally he started thinking about how to avoid detection -- because they would be searching for him immediately. All over the country a search would be made. He was a dangerous madman and the police would be looking for him.
So he thought it over. What to do? How not to be caught again? And he found a very, very perfect solution. He knew why people had started to think that he was mad -- it was because he used to make such absurd statements. So he thought, 'I should do one thing. I should never make any absurd statements. Secondly, I should make only statements which are absolutely certain, with which nobody can find any fault. I will say only things which are proved by science and I will not say a single thing which cannot be proved. Unimpeachable, impeccable will be my statements.'
So he searched in his memory. He was a great scholar, a very famous professor. He remembered a few statements which were perfect. Nobody could find fault with them. For example: 'The earth is round. Two plus two is four' -- things like that. That was his whole conversation. You could say anything and he would say, 'The earth is round. Two plus two is four.' He would say things like that. He would only say things like that.
Within three days he was caught. He was very much sur-prised. Why? When he was caught he told the superintendent, 'But I am puzzled. Not a single statement have I made which can be proved wrong. Can you prove that the earth is not round? What was wrong in it? How could they detect that I am mad?'
There was nothing wrong in it -- obviously, certainly. The statement was perfectly true -- the earth is round and two plus two is equal to four. But it is irrelevant! Somebody is talking about his woman and you say, 'The earth is round.' It is irrelevant. It is meaningless.
A technician goes on doing the right things but they have no meaning. He can make a beautiful painting but something is missing -- meaning is missing. You cannot find any fault with his colour, you cannot find any fault with his drawing -- you cannot find any fault. If you have to find fault you will be not able to. But that is not the point. Where is the meaning? Where is the significance? Something is missing. The total is missing. It is a mechanical phenomenon. The organic unity is missing. That organic unity comes out of innocence, not out of expertise.
So there are painters who are only technicians. Because of these technicians there was a great revolt in the world of painting. People revolted. They stopped going to the art colleges, they stopped learning painting, and they said, 'We will be free painters.' So they started free painting. Now their painting may be original, it may have some significance, but they are incapable of painting it on the canvas. They don't know how to mix colours, they don't know how to draw. The idea in their mind may be great, but they have no expertise to bring to the canvas. That's what has happened to modern painting. Looking at a modern painting it is very puzzling. You don't know what you are looking at. The man seems to be original but he seems to know nothing about painting.
I have heard....
Once a rich man came to Picasso. He wanted two of his paintings and only one painting was ready. And the man was ready to give him any amount of money. So Picasso said, 'You wait. I will bring two paintings.' He went in and he cut the painting in two.
Now if you cut Picasso's painting in two, or even in four, it does not make any difference -- because it is just a mad jumble of colours. And he sold that one painting as two.
Another story about Picasso....
His paintings were being exhibited and the critics were surrounding one painting especially. His paintings were strange, but that was the strangest he had ever done. And they were really full of praise -- like anything. And then came Picasso and he said, 'Who has put it upside-down?' The painting was upside-down!
Or another story....
A rich woman asked Picasso to do her portrait. He did it. He took many months. And he was going to get millions of dollars out of it.
Then the woman came and she said, 'Everything is okay, but I don't like the nose.' So Picasso said, 'Okay. Come after seven days.'
And then he was sitting before his painting, very much worried. And the woman who used to live with him in those days asked, 'Why are you so worried? I have never seen you so worried.' He said, 'The problem is -- where have I painted the nose? I cannot find it.'
Somebody can be very technically expert -- then the thing goes dead -- and somebody can be very innocently, childishly original but then, then again it can't be a real painting. Zen people are right. A painting needs both the innocence of a child and expertise -- both together. Then a great synthesis arises.
One has to learn and then to forget -- that's my whole approach here. My approach about therapy is the same. This is my approach about everything -- that first you have to know, and then you have to forget all that you know. Then the knowing goes into your blood. It becomes an unconscious milieu around you. It goes on functioning from the unconscious. And in the conscious you remain very, very innocent, original. Then there is great joy.
You ask me: BEFORE COMING TO POONA I THOUGHT I KNEW SOMETHING ABOUT HELPING. NOW I FEEL I KNOW NOTHING ABOUT HELPING. Good! That's how it should be. Now the real helping will start.
THE MOST I CAN DO IS TO BE PRESENT WITH A CLIENT AND FOLLOW MY INSTINCTS AT THAT MOMENT. That word 'instinct' will change soon and you will start feeling intUitions instead of instincts. I can understand why you have used the word 'instincts' -- because you don't yet know about the phenomenon of intuition. Let me explain it to you.
When the body functions spontaneously, that is called instinct. When the soul functions spontaneously, that is called intuition. They are alike and yet far away from each other. Instinct is of the body -- the gross; and intuition is of the soul -- the subtle. And between the two is the mind, the expert, which never functions spontaneously. So there is no corresponding word for the psychological realm. For the physical, instinct; for the spiritual, intuition -- but between the two is the mind. Mind means knowledge. Knowledge can never be spontaneous. So there is no corresponding word like intuition or instinct for the psychological realm.
I can understand why you have used the particular word 'instinct'. In the beginning it will feel like that because you are not aware of your soul yet. But good, let it be instinct. Instinct is far better than intellect. Instinct is deeper than intellect and intuition is higher than intellect. Both are beyond the intellect, and both are good.
First one becomes alert about instinct, then by and by one will become alert about intuition. And then there will be a kind of meeting of these two. Then both words disappear; then there is totality, TATHATA. Then one functions as a total organic unit. That is the moment when you become an instrument of God.