ENERGY

ENHANCEMENT MEDITATION

MEDITATION HEAD

 HOME PAGE

 

GAIN ENERGY APPRENTICE LEVEL1

THE ENERGY BLOCKAGE REMOVAL PROCESS

LEVEL2

THE KARMA CLEARING PROCESS APPRENTICE LEVEL3

MASTERY OF  RELATIONSHIPS TANTRA APPRENTICE LEVEL4

 

STUDENTS EXPERIENCES  2005 AND 2006

 

MORE STUDENTS EXPERIENCES

 - FIFTY FULL TESTIMONIALS

2003 COURSE

Sufism

VOL. 2, SUFIS: THE PERFECT MASTER

Chapter-10

Exactly in the Middle

Third Question

 

 

Energy Enhancement          Enlightened Texts          Sufism          The Perfect Master

 

 

The third question:

Question 3

ONE DAY YOU SPOKE TO US ABOUT PERFECTION AND CREATIVITY. WHAT IS THE RELATIONSHIP BETWEEN ARTISTIC CREATIVITY AND PERFECTION? IS NOT CREATIVITY IN MUSIC, PAINTING AND POETRY AN ATTEMPT TO REACH PERFECTION IN VISIBLE AND AUDIBLE FORM? IS THE ARTIST SIMPLY CREATING A MORE REFINED EGO AS THE SO-CALLED SAINTS YOU OFTEN TALK ABOUT?

YES, AKAM, ORDINARILY the artist is the most egoistic person in the world. But then he is not a true artist either. He has used art as a means for his ego trip. Artists are VERY egoistic, constantly bragging about themselves, and constantly fighting with each other. And everybody thinks that he is the first and the last. But this is not true art.

The true artist disappears utterly. These people are only technicians; I will not call them artists but technicians. I will not call them creators; I will only call them composers. Yes, to compose a poem is one thing, to create a poem is quite another. To compose poetry one needs to know language, grammar, rules of the grammar -- rules of poetics. It is a game with words. And if you know the whole game, you can create poetry. It will not be very poetic, but it will have the appearance of poetry. Technically, it may be perfect, but it will have only the body -- the soul will be missing.

The soul happens only when the artist disappears into his art -- he is no more separate. When the painter paints with such abandon that he is not there, that he even feels guilty to sign his painting -- because he knows he has not done it. Some unknown force has done it through him. He knows that he has been possessed -- that has been the experience of all the really great artists down the ages: the feeling of being possessed. The greater the artist, the more clear the feeling is.

And those who are the greatest -- a Mozart, a Beethoven, a Kalidas, a Rabindranath -- these who are the greatest, they are absolutely certain that they have been nothing but hollow bamboos, and God has been singing through them. They have been flutes, but the song is not theirs. It has flowed through them, but it comes from some unknown source. They have not hindered -- that's all they have done. But they have not created it. The paradox!

The real creator knows that he has not created it. God has worked through him. He has possessed him, his hands, his being, and he has created something through him. He has been instrumental.

This is real art, where the artist disappears -- then there is no question of ego. And then art becomes religion. Then the artist is a mystic -- not only technically right but existentially authentic.

You ask me: ONE DAY YOU SPOKE TO US ABOUT PERFECTION AND CREATIVITY. WHAT IS THE RELATIONSHIP BETWEEN ARTISTIC CREATIVITY AND PERFECTION?

First, the less of the artist is in it, the more perfect it is. When the artist is absolutely absent, then the creativity is absolutely perfect. In THIS proportion, you have to remember. The more the artist is present, the less perfect the product will be. If the artist is too much present, the product will be nauseating, it will be neurotic. It will be just ego -- what else can it be? Ego is neurosis.

And one thing more to be remembered: ego always wants to be perfect. Ego is a very perfectionistic one. Ego always wants to be higher and better than others. Hence it is perfectionist. But through ego perfection is never possible. So the effort is absurd. Perfection is possible only when the ego is not. But then one never thinks of perfection at all.

So the real artist never thinks of perfection. He has no idea of perfection. He simply allows himself into a surrender, into a let go , and whatsoever happens happens. The real artist thinks certainly of totality, but never of perfection. He wants to be totally in it, that's all. When he dances, he wants to disappear into the dance. He does not want to be there, because the presence of the dancer will be a disturbance in the dance. The grace, the flow, will be disturbed, obstructed. When the dancer is not there, all rocks have disappeared, the flow is very silent, smooth.

The real artist certainly thinks of totality -- how to be total? -- but never thinks of perfection. And the beauty is: those who are total, they are perfect. And those who think of perfection are never perfect, never total. Rather, on the contrary: the more they think of perfection, the more neurotic they become. They have ideals. They are always comparing, and they are always falling short!

If you have an ideal that unless this ideal is fulfilled, you will not think yourself perfect, how can you be total in your act? If you think, for example, that you have to be a dancer like Nijinsky, then how can you be total in your dance? You are constantly looking, watching yourself, trying to improve, afraid to commit any fault... you are divided. A part of you is dancing, another part of you is there -- judgemental, standing by the side condemning, criticizing. You are divided, you are split.

Nijinsky was perfect because he was total. It used to happen that when he danced and he would take leaps in his dance, people could not believe their eyes, even scientists could not believe their eyes. His leap was such that it was against the law of gravitation -- it should not happen! And when he fell back, he would come so slowly, like a feather... that too is against the law of gravitation.

He was asked about it again and again. The more people asked, the more he became conscious of it, the more it started disappearing. A moment came in his life when it stopped completely, and the reason was that he became conscious of it -- he lost his totality. Then he understood it, why it had disappeared. It used to happen, but it used to happen only when Nijinsky was completely lost into the dance. In that complete loosening, in that complete relaxation, one functions in a totally different world, according to different laws.

Let me tell you about one law which sooner or later science is going to discover. I call it the law of grace. Just as there is a law of gravitation... three hundred years ago it was not known. It was functioning even before it was known; the law need not be known to function. The law was always functioning. It has nothing to do with Newton and the apple falling from the tree. Apples used to fall before too! It is not that Newton discovered the law and then the apples started falling. The law was there, Newton discovered it.

Exactly like that another law is there: the law of grace, that uplifts. The law of gravitation pulls things downwards: the law of grace lifts things upwards. In Yoga they call it levitation. In a certain state of abandon, in a certain state of drunkenness, drunk with the divine, in a certain state of utter surrender, egolessness, that law starts functioning. One is uplifted. One becomes weightless.

That was happening in Nijinsky's case. But you cannot make it happen, because if you are there it will not happen. Ego is like a rock around your neck. When the ego is not there, you are weightless.

And have you not felt it sometimes in your own life? There are moments when you have a kind of weightlessness. You walk on the earth but still your feet don't touch the earth -- you are six inches above. Moments of joy, moments of prayer, moments of meditation, moments of celebration, moments of love... and YOU ARE weightless, you are uplifted.

And I say, sooner or later science will have to discover it, because science believes in a certain principle: the principle of the polar opposites. No law can be alone: it must have its opposite. Electricity cannot function with only one pole, positive or negative; both are needed. They complement each other.

Science knows it, that EACH law has its opposite to complement it. Gravitation must have a law opposite to it to complement it. That law, tentatively, I call grace -- any other name may be possible in the future. Because scientists, if they discover it, they will not call it grace. But that seems to be the most perfect name for it. God uplifting you.

The real artist never thinks of perfection, but his act is so total that perfection is born out of it. The pseudo artist, the technician, always thinks of perfection, and because he thinks of perfection, he is not total, perfection is not born out of him.

This can be of immense help to you, in all walks of life -- particularly for those who are inquiring into the reality of God, truth. Think of .totality! and perfection will come automatically on its own. Never think of perfection, otherwise you will go neurotic. All perfectionists become neurotic.

 

Next: Chapter 10, Exactly in the Middle, Fourth question

 

Energy Enhancement          Enlightened Texts          Sufism          The Perfect Master

 

 

Chapter 10

 

  • Sufism, Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 1
    Sufism, a mystic tradition within Islam , Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 1, YOU MAKE IT ALL SOUND SO EASY. BUT IS IT? IS IT REALLY? IT SEEMS TO ME THAT THE WHOLE THING IS OUT OF OUR HANDS. WE HAVE NO MORE CHOICE TO SURRENDER THAN TO BE IN THE EGO. I LIVE MY LIFE AND SOME DAYS I'M HAPPY AND SOME DAYS I'M SAD, BUT I'M NOT ENLIGHTENED. THERE MUST BE SOME TRICK, SOME ALCHEMY. PLEASE ENLIGHTEN ME at energyenhancement.org

  • Sufism, Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 2
    Sufism, a mystic tradition within Islam , Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 2, DOES BEING IN THE PRESENCE OF A MASTER REALLY CHANGE A MAN? at energyenhancement.org

  • Sufism, Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 3
    Sufism, a mystic tradition within Islam , Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 3, ONE DAY YOU SPOKE TO US ABOUT PERFECTION AND CREATIVITY. WHAT IS THE RELATIONSHIP BETWEEN ARTISTIC CREATIVITY AND PERFECTION? IS NOT CREATIVITY IN MUSIC, PAINTING AND POETRY AN ATTEMPT TO REACH PERFECTION IN VISIBLE AND AUDIBLE FORM? IS THE ARTIST SIMPLY CREATING A MORE REFINED EGO AS THE SO-CALLED SAINTS YOU OFTEN TALK ABOUT? at energyenhancement.org

  • Sufism, Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 4
    Sufism, a mystic tradition within Islam , Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 4, OSHO, WHAT IS INNER SENSE? at energyenhancement.org

  • Sufism, Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 5
    Sufism, a mystic tradition within Islam , Vol. 2 The Perfect Master Chapter 10: Exactly in the Middle, Question 5, OSHO, SOMETIMES I INDULGE IN SEXUALITY AND THEN FEEL VERY MUCH FRUSTRATED. THEN I MOVE TO ANOTHER EXTREME. I BECOME A CELIBATE, BUT SOON I START FEELING FRUSTRATED AGAIN AND START MOVING TO THE OTHER EXTREME. THIS IS A VICIOUS CIRCLE I AM CAUGHT IN. WHAT SHOULD I DO? at energyenhancement.org

 

 

 
ENERGY ENHANCEMENT
TESTIMONIALS
EE LEVEL1   EE LEVEL2
EE LEVEL3   EE LEVEL4   EE FAQS
NEWSLETTER SIGN UP
NAME:
EMAIL:

Google

Search energyenhancement.org Search web