vvvvvvvvvhuuuuuuuuu Hu BURN PRACTICE -HEART FIRE SOUND YOGA-Spiritual Practice InstructionsFro ! B"apu#i Tis$i#i %uno$!

&As a 'oun( an) "a*in( e+itate+ ,it" %aster -irpal Sin(#i a on( ot"ers) ...I also "a+ t"e /ortune o/ spen+in( ti e ,it" an+ tal0in( ,it" Pir 1ila'at -"an) Ha$rat2s son. Ha$rat) as ,ell as ot"er soun+ e3plorer'o(is) +isco*ere+ an+ tau("t concernin( t"e Blessin(s o/ Huuuuuuuuuuuuuuu) ,"ic") as representin( t"e Go+ State) is 4asic) +eep) +e*otional "ealin( 4reat"in(5 A/ter Huuin( /or so an' 'ears 'ou Huuu into 4ein( Huuuuuuuuuuuuue+5 6ust 0eep Huuin() enter t"e Hu-0ar i/ 'ou ,ill 0no, /or 'oursel/. %a' HU re*eal itsel/ to 'ou as t"e Hu 'ou al,a's are as t"e A I Is It55& Tis$i#i! 7Hu coul+ ean an't"in() 4ut "ere

it eans 84urn9. Burn eans li4erate+ creati*it'. :i4erate+ creati*it' is ,"at 8Spirit9 eans "ere.; Hu is t"e uni*ersall' sacre+ ,or+ or na e o/ Go+) re(ar+e+ as a sacre+ soun+. Hu is a *i4rator' tone use+ /or centerin( onesel/ an+ attunin( to t"e +i*ine in eac" o/ us. Tis$i#i! 7Hu is conscious 4reat"in( practice 4' tonin( in t"e /or o/ c"antin() e p"asi$in( t"e e3"alation as +eep) (entle) 4ut e3tre e release o/ all pain an+ t"e su//erin( o/ all 4a+ an+ (oo+ 0ar a. Hu is a +eclaration o/ alrea+' e3istin( /ree+o /ro all su//erin() eanin( it is alrea+' +one) alrea+' release+) alrea+' (one 4e'on+. In ot"er ,or+s) last 4reat") ulti ate 4reat") no 4reat".; Tis$i#i! 7First) en+ ol+ pro(ra s) an+ continue to create ne, pro+ucti*e pro(ra s5 Or) allo, pro(ra s to 4e create+ out o/ 'our +eep Heart practice. Or+inaril') 'ou are "app' 4ecause o/ pro(ra s t"at ,or0 /or 'ou. You are un"app' ,"en 'ou are in con/lict ,it" 'our pro(ra s. Heart-Fire Soun+ spiritual practice starts /ro t"e 4ase realit' o/ no pro(ra s) an+ one 4e(ins to create pro(ra s in accor+ance ,it" la,s ,"ic" access an+<or increase ps'c"op"'sical "ealt") intelli(ence-a,areness)

enli("ten ent an+ transcen+ent ,is+o reali$ation) also 0no,n as co passionate "eart/ulness +espite all relati*e pro(ra s o/ c"an(in( con+itions.& &Heart-/ire soun+ 'o(a is ,"at is li*e+ "ere.It is as si ple as 4reat"in( into silence)4reat"in( up /ro silence an+ +o,n into silenceli0e a cor0 in t"e ocean 4o4s up an+ +o,n on t"e ,a*es=t"e sa e a' 4e sai+ o/ t"e practitioner4o44in( in an+ out o/ t"e ocean o/ silence. Heart-/ire soun+ is t"is in/inite ocean o/ silence=4reat"in( is t"e en(ine o/ trans/or ational ra+iance.T"en practice t"in0in( into silence.T"en /eel into silence.Re e 4er) all p"eno ena is relati*e to ti e.All p"eno ena are /or s o/ Heart/ire soun+) /or s o/ silence. Act into silence.Put e*er't"in() all 4o+' /unctions)all social) occupational) pro/essional)pu4lic an+ pri*ate /unctions into silence.Fol+ all ,or+s an+ speec" into silence. All a,arenesses ust 4e surren+ere+ into silence.All li("ts an+ soun+s ust 4e surren+ere+ into silence.All ,or+s ust 4e surren+ere+ into silence.All sel/ an+ ot"er

pro(ra s ust 4e surren+ere+ into silence. All +esire an+ a 4ition ust 4e surren+ere+ into silence.All su//erin() pleasure an+ 4liss ust 4e surren+ere+ into silence.All i a(es o/ an't"in( an+ an'one ust 4e surren+ere+ into silence. >it" not"in( an+ no one le/t to clin( to) i+enti/' ,it") or re/er to)surren+er silence into silence) an+ surren+er t"is too.T"is is (oo+ practice5 Silence is t"e all-spacious peace o/ t"e Heart.T"is is t"e 'o(a o/ accessin( Heart/ire soun+as t"e Hu-+"a teac"es it) lo*es it) re*eals it)initiates it) e po,ers it) an+ li*es it to all 4ein(s. C"ant Hu into in/init'.& Tis$i#i %u?o$ ---------------------------------------------Actual Practice! Be(in c"antin( Huuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. No less t"an @A an+ no ore t"an BC lon( +eep Huuuuuuuuuuuuuuus. It is prana'a ) tonin( an+ transcen+in( all

at once. It is ' reco en+ation an+ practice /or all sincere 4ein(s. O/ course) t"ere is a connection ,it" t"e ancient O ani pa+ a Huuuuuuuuuuuuu%5 But #ust c"ant au+i4l' an+ silentl' Huuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. T"e (oal is t"e Heart-4asis o/ t"e pat". I/ 'ou are 4e'on+ t"ou("t) ,or+ an+ concept 'ou +on2t e3ist5 Hea+ out /ro ass t"e li("t s"ines 4rilliantl'5 Enli("ten ent is ulti ate science. Ulti ate science is enli("ten ent. >"o >"o >"o >"o 0no,sD caresD (oesD +aresD

EPronounciationDF ! As in Huuuuuuuuuuuuuuuuuu(". As in e p"asi$in( t"e e3"alation o*er a rela3e+ +eep in"alation. T"rou(" Huuuu) as per/ect release) /unnel sa"asra ener(' into 'our space an+ t"e ,orl+ at lar(e. T"en) "ol+ 'our peace at t"e "eart 4e'on+ 4reat"in( an+ "eart4eat5

Practice. Hu /or t"e Su/is eans! t"e +i*ine. For certain 'o(is) Hu) as t"e *ocali$ation o/ t"e e3"alation) is ulti ate release) ,it"out ,"ic" 'our s"it ,oul+ en+ on t"e spot5 So) Hu is en+) +eat" an+ re4irt" all at once5 >it"out Hu t"ere is no li/e. >it"out 'ou t"ere is no li/e. Hu is t"e 4reat"5 No one5 No t"in(5 Alrea+' (one5 Hu is (oneness5 Hu as (oneness is BURN5 Not 4ein( e3actl' a terrestrial) suc" "istoric re/erences as :e uria) Atlantis) Su eria) E('pt an+ etc. Eall trul' *ali+ re/erencesF are not"in( ,ort" e+itatin( on or rein/orcin() i/ in+ee+ an+ in /act) t"e /orces o/ ,"at suc" spec0s on t"e ti e trac0 "a*e set into otion ,ere upon 'ou as t"e 4alance to ,"at t"e' ,ere an+ no, nee+ ne*er to 4e5 Are 'ou 'our (reat) (reat (ran+/at"er2s (reat) (reat (ran+/at"erD >"o caresD

Hea+ out /ro ass can see an+ 4e t"e s0') t"e li("t) t"e no, an+ a'4e t"e HeartD >"o -no,sD Di(5 Hu E>"at is "ea+ out /ro assDF

You EHuF alrea+' 0no,5 All pro(ra s re*ertin( to see0in(5 Hu is 0no,in( 4e'on+ 0no,in( true presence o/ Heart 4ein(5 It is not 2'our2 or an'one2s ass. Broa+en /ocus 4e'on+ assness) sel/) 4o+') ,orl+ an+ in+ 4e'on+ ti e) space) ener(') atter an+ uni*erse alto(et"er. Suc" is Hu) ulti ate e3"alation5 For t"is stillness 'ou reco*er is t"e ,is+o peace an+ co passion 'ou can 4e li*in( to all 4ein(s) i/ 'ou practice t"e sacri/ice5 T"is is practice) (oo+ practice in t"e spirit o/ t"e /la,less) sel/less asters.

Hear t"is properl' an+ 0no, ' /unction. Do t"is an+ (o +eeper 4e'on+ 'our culturin( o/ resistance an+ +ou4t an+ enter t"is re*elation o/ t"e /ire o/ >"o -no,s No >"oD >"ile ass an+ its s"it as t"e ,orl+ an+ its pro(ra s are (reat) ,"at coul+ 4e (reater t"an t"at ,"o 4urns allD >"at is it t"at a0es 'ou consciousD No ans,er5 So) not"in( a0es 'ou conscious5 >"ic" not"in(D >it"out t"e all not"in( lo*e o/ t"e Heart ,oul+ or coul+ 'ou or an'one or an't"in( 4e at allD T"e Hu is ,it" 'ou. E3"ale enli("tene+ 4ein( to in/init'5 Continue to li4erate all 4ein(s5 T"an0 'ou. :au("in( is 4est practice5 Realit' is t"e alrea+' +one5 Toast5 No ore +rea s...

Onl' not"in( e3ists. Go+ is not"in(ness reali$ation5 T"e no t"in( reali$e+) Be Hu-ti/ul. T"an0 Hu al,a's. 6ust /ree is (reat5 ---------------------------------------------------%asterin( Onl' Burn An e3cerpt /ro ! &Onl' Burn&

Huuuuuuuuuuuuuuuuuuuuu Al,a's (o 4ac0 to /ree 4reat"in(. An+ reco(ni$e) release) allo, to release) li4erate an+ transcen+ all 0ar as o/ ti e) space) ener(' an+ atter. E3"ale Onl' Burn. Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate

an+ transcen+ all 0ar as o/ 4irt") li/e an+ +eat" an+ a/ter +eat". E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ all 0ar as o/ /eelin( an+ positi*e an+ ne(ati*e e otions) as t"ese pro(ra s 4in+ in+ to t"in(s an+ 4ein(s /ro t"e /ar past into t"e present no, or t"e +eep no, e3ten+in( into t"e +istant an+ in/inite /uture o/ no,ness. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' perception) i pression) +epression or repression o/ relati*e soun+) li("t) (ra*it' an+ electro a(netic ener('. Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu

Reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' perception) e3perience) or 0no,le+(e o/ clear li("t an+ pure soun+ an+ t"eir ultra /or s o/ ,is+o or pure silent 4ein(. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' /or o/ e or') "app' e ories) un"app' e ories) trau atic e ories) tra(ic e ories) pain/ul e ories) *iolent e ories) ne(ati*e "ostile an+ +estructi*e e ories. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' i+ea o/ ti e an+ e*er' t"ou("t an+ re/lection o/ li/e an+ +eat") as ti e or /ear o/ ti e. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu

Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' reco(nition) perception or /or ulation o/ an' pattern) atri3) s'ste ) or process ,"ic" rein/orces or (ra*itates sel/ into ti e-ener(' or ti e- atter) ti e-space or ti elessness. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ all /or s) all t"ou("t /or s) t"ou("t patterns) t"ou("t processes) or t"ou("t lin0a(e) interconnectin( or interpenetratin( or interco unicational pro(ra s o/ +istraction 4on+a(e. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Silence Huuuuuuuuuuuuuuuuuuuuu Reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' act or +esire) ,ill or intention to +o) to 0no,) or to 4e as sel/) t"ou("t) in+) or ,orl+

at an' le*el o/ atter) ener(') space) ti e) or spirit. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu T"en reco(ni$e) release) allo, to release) li4erate an+ transcen+ e*er' notion o/ spiritual) cos ic or enli("tene+ aspiration) practice) un+erstan+in( or reali$ation) since an' t"ou("t /or is (ra*itational an+ creates +elusion in una,a0ene+ ti e space 4ein(s. E3"ale Onl' Burn5 Huuuuuuuuuuuuuuuuuuuuu Huuuuuuuuuuuuuuuuuuuuu :et t"e /ire 4urn as /ire is) ust an+ ,ill 4e. T"is /ire as t"e 4urn is t"e process an+ t"e :i*in( %aster. It is also t"e ,or+less teac"in() its +i*ine 4urn an+ e3tre e transcen+ence into pro/oun+l' ecstatic 4ein( an+ culture /ree creati*it'. It is also true Heart-Fire Soun+) t"e 1oice an+ >or+ o/ pure Onl' Burn Heart Son(.

:o*e al,a's) Hu ..... PS! &-no,in( is not 0no,in(... I A is not I A%.

So) I A% is I A%. Since) I A% is no I A%) I A% is t"e I A% o/ IT IS no IT IS. I/ I A% is I A% t"en) I A is erel' A% I. A% I Is IT. I 'ou "a*e to 4eco e) 4e or 0no, an't"in() 'our ass is (rass5& BT%
In the beginning of a world all the matter which will eventually form a complete whole is already in existence, but in a state of chaos. It is not that any new thing or world or being is to be created, but that there shall be a rearrangement of all the parts until the whole is complete. The number and arrangement of every atom has yet to be made. Every electron and every atom of electricity must take its own appointed place in the mighty scheme. This is the great evolutionary process. The God buried in humanity must be uncovered and placed on a throne in our hearts. The difficulty is that all, from atom to human being, are continually trying to fit into a place to which they belong. The upheaval of nature, the great unrest, the world revolutions, the shedding of bodies, and the separations and divisions among people - all these things are caused by the parts of

the whole trying to stay in a place to which they do not belong. As soon as we are in our own place we have peace; until then we cannot have it. A world in the making can be likened to a great jigsaw puzzle whose separate parts have life and are capable of independent movement. Each part has its own particular place and its relation to every other part, and no thing or being can live to itself alone. But if things are in their wrong places, the hand of God must move them before the complete picture can be revealed. The way in which we can find our own place is to tune our instrument to the keynote of the chord to which we belong. Sound is the force which groups all things from atoms to worlds. The chording vibration sounds in our innermost being and can only be heard in silence. When we go into the inner chamber and shut the door to every sound that comes from the life without, then will the voice of God speak to our soul and we will know the keynote of our life. - HAZRAT INAYAT KHAN

ABSTRACT SOUND
Abstract sound is called Saut-i Sarmad by the Sufis; all space is filled with it. The vibrations of this sound are too fine to be either audible or visible to the material ears or eyes, since it is even difficult for the eyes to see the form and color of the ethereal vibrations on the external plane. It was the Saut-i Sarmad, the sound of the abstract plane, which Muhammad heard in the cave of har-i !ira when he became lost in his divine ideal. The "uran refers to this sound in the words, #$e% and all became.# Moses heard this very sound on Mount Sinai, when in communion with od; and the same word was audible to &hrist when absorbed in his !eavenly 'ather in the wilderness. Shiva heard the same Anahad (ada durin) his Samadhi in the cave of the !imalayas. The flute of *rishna is symbolic of the same sound. This sound is the source of all revelation to the Masters, to whom it is revealed from within; it is because of this that they +now and teach one and the same truth. The Sufi +nows of the past, present and future, and about all thin)s in life, by bein) able to +now the direction of sound. ,very aspect of one#s bein) in which sound manifests has a peculiar effect upon life, for the activity of vibrations has a special effect in every direction. The +nower

of the mystery of sound +nows the mystery of the whole universe. -hoever has followed the strains of this sound has for)otten all earthly distinctions and differences, and has reached that )oal of truth in which all the $lessed .nes of od unite. Space is within the body as well as around it; in other words the body is in the space and the space is in the body. This bein) the case, the sound of the abstract is always )oin) on within, around and about man. Man does not hear it as a rule, because his consciousness is entirely centered in his material existence. Man becomes so absorbed in his experiences in the external world throu)h the medium of the physical body that space, with all its wonders of li)ht and sound, appears to him blan+. This can be easily understood by studyin) the nature of color. There are many colors that are /uite distinct by themselves, yet when mixed with others of still bri)hter hue they become alto)ether eclipsed; even bri)ht colors embroidered with )old, silver, diamonds, or pearls serve merely as a bac+)round to the da00lin) embroidery. So it is with the abstract sound compared with the sounds of the external world. The limited volume of earthly sounds is so concrete that it dims the effect of the sound of the abstract to the sense of hearin), althou)h in comparison to it the sounds of the earth are li+e that of a whistle to a drum. -hen the abstract sound is audible all other sounds become indistinct to the mystic. The sound of the abstract is called Anahad in the 1edas, meanin) unlimited sound. The Sufis name it Sarmad, which su))ests the idea of intoxication. The word intoxication is here used to si)nify upliftment, the freedom of the soul from its earthly bonda)e. Those who are able to hear the Saut-i Sarmad and meditate on it are relieved from all worries, anxieties, sorrows, fears and diseases; and the soul is freed from captivity in the senses and in the physical body. The soul of the listener becomes the all-pervadin) consciousness, and his spirit becomes the battery which +eeps the whole universe in motion.

Some train themselves to hear the Saut-i Sarmad in the solitude on the sea shore, on the river ban+, and in the hills and dales; others attain it while sittin) in the caves of the mountains, or when wanderin) constantly throu)h forests and deserts, +eepin) themselves in the wilderness apart from the haunts of men. 2o)is and ascetics blow Sin) 3a horn4 or Shan+ha 3a shell4, which awa+ens in them this inner tone. 5ervishes play (ai or Al)osa 3a double flute4 for the same purpose. The bells and )on)s in the churches and temples are meant to su))est to the thin+er the same sacred sound, and thus lead him towards the inner life. This sound develops throu)h ten different aspects because of its manifestation throu)h ten different tubes of the body; it sounds li+e thunder, the roarin) of the sea, the 6in)lin) of bells, runnin) the water, the bu00in) of bees, the twitterin) of sparrows, the 1ina, the whistle, or the sound of Shan+ha until it finally becomes Hu, the most sacred of all sounds. This sound Hu is the be)innin) and the end of all sounds, be they from man, bird, beast, or thin). A careful study will prove this fact, which can be reali0ed by listenin) to the sound of the steam en)ine or of a mill, while the echo of bells or )on)s )ives a typical illustration of the sound Hu. The Supreme $ein) has been called by various names in different lan)ua)es, but the mystics have +nown him as Hu, the natural name, not man-made, the only name of the (ameless, which all nature constantly proclaims. The sound Hu is most sacred; the mystics call Ism-i Azam, the name of the Most !i)h, for it is the ori)in and end of every sound as well as the bac+)round of each word. The word Hu is the spirit of all sounds and of all words, and is hidden within them all, as the spirit in the body. It does not belon) to any lan)ua)e, but no lan)ua)e can help belon)in) to it. This alone is the true name of od, a name that no people and no reli)ion can claim as their own. This word is not only uttered by human bein)s, but is repeated by animals and birds. All thin)s

and bein)s proclaim this name of the 7ord, for every activity of life expresses distinctly or indistinctly this very sound. This is the word mentioned in the $ible as existin) before the li)ht came into bein), #In the be)innin) was the -ord, and the -ord was with od, and the -ord was od.# The mystery of Hu is revealed to the Sufi who 6ourneys throu)h the path of initiation. Truth, the +nowled)e of od, is called by a Sufi Haqq. If we divide the word Haqq into two parts, its assonant sounds become hu ek, Hu si)nifyin) od, or truth, and ek in !industani meanin) one, and both to)ether expressin) on od and one truth. Haqiqat in Arabic means the essential truth, Hakim means master, and Hakim means +nower, all of which words express the essential characteristics of life. Aluk is the sacred word that the 1aira)is, the adepts of India, use as their sacred chant. In the word Aluk are expressed two words, al meanin) he, and Haqq truth, both words to)ether expressin) od the source from which all comes. The sound Hu becomes limited in the word Ham, for the letter m closes the lips. This word in !industani expresses limitation because Ham means I or we, both of which words si)nify e)o. The word Hamsa is the sacred word of the 2o)is which illumines the e)o with the li)ht of reality. The word Huma in the 8ersian lan)ua)e stands for a fabulous bird. There is a belief that if the Huma bird sits for a moment on the head of anybody it is a si)n that he will become a +in). Its true explanation is, that when a man#s thou)hts so evolve that they brea+ all limitation, then he becomes as a +in). It is the limitation of lan)ua)e that it can only describe the Most !i)h as somethin) li+e a +in). It is said in the old traditions that 9oroaster was born of a Huma tree. This explains the words in the $ible, #,xcept a man be born of water and the Spirit, he cannot enter the *in)dom of od.# In the word Huma, hu represents

spirit, and the word mah in Arabic means water. In ,n)lish the word #human# explains two facts which are characteristic of humanity: Hu means od and man means mind, which word comes from the Sans+rit Mana, mind bein) the ordinary man. The two words united represent the idea of the od-conscious man; in other words Hu, od, is in all thin)s and bein)s, but it is man by whom he is +nown. Human therefore may be said to mean od-conscious, od-reali0ed, or odman. The word Hamd means praise, Hamid, praiseworthy, and Muhammad, praiseful. The name of the 8rophet of Islam was si)nificant of his attitude to od. Hur in Arabic means the beauties of the !eaven, its real meanin) is he expression of heavenly beauty. Zuhur in Arabic means manifestation, especially that of od in nature. Ahura Mazda is the name of od +nown to the 9oroastrians. This first word Ahura su))ests Hu, upon which the whole name is built. All of these examples si)nify the ori)in of od in the word Hu; and the life of od in every thin) and bein). Hayy in Arabic means everlastin), and Hayyat means life, both of which words si)nify the everlastin) nature of od. The word Huwal su))ests the idea of omnipresence, and Huvva is the ori)in of the name of ,ve, which is symbolic of manifestation; as Adam is symbolic of life, they are named in Sans+rit 8urusha and 8ra+riti. Jehovah was ori)inally 2ahuva, Ya su))estin) the word oh and Hu standin) for od, while the A represents manifestation. Hu is the ori)in of sound, but when the sound first ta+es shape on the external plane, it becomes A, therefore alif or al ha is considered to be the first expression of Hu, the ori)inal word. The Sans+rit alphabet as well as

that of most other lan)ua)es be)ins with the letter A, as does the name of od in several ton)ues. The word A therefore expresses in ,n)lish one, or first; and the si)n of alif expresses the meanin) one, as well as first. The letter A is pronounced without the help of the teeth or ton)ue, and in Sans+rit A always means without. The A is raised to the surface when the ton)ue rises and touches the roof of the mouth when pronouncin) the letter l !lam", and the sound ends in m !mim". The pronunciation of which closes the lips. These three essential letters of the alphabet are brou)ht to)ether as the mystery in the "uran. -ith A deepened by ain the word Ilm is formed which means +nowled)e. Alim comes from the same, and means +nower. #Alam means state or condition, the existence which is +nown. -hen alif the first and lam the central letters are brou)ht to)ether they ma+e the word al which means #the# in Arabic. In ,n)lish all su))est the meanin) of the entire or absolute nature of existence. The word Allah, which in Arabic means od, if divided into three parts may be interpreted as #the .ne who comes from nothin)#. $l or $llah has the same meanin) as Allah. The words found in the $ible, $loi, $lohim and Hallelu%ah, are related to the word Allahu. The words om, omen, amen and amin, which are spo+en in all houses of prayer, are of the same ori)in; A in the commencement of the word expresses the be)innin), and M in the midst si)nifies end; & the final letter is the re-echo of M, for M naturally ends in a nasal sound, the producin) of which sound si)nifies life. In the word Ahad which means od, the only $ein), two meanin)s are involved by assonance. A in Sans+rit means without, and Hudd in

Arabic means limitation. It is from the same source that the words 'ahdat, 'ahdaniat, Hadi, Hada and Hidayat all come. 'ahdat means the consciousness of self-alone; 'ahdaniat is the +nowled)e of self; Hadi, the )uide; Hada, to )uide; Hidayat means )uidance. The more a Sufi listens to (aut-i (armad, the sound of the abstract, the more his consciousness becomes free from all the limitations of life. The soul floats above the physical and mental plane without any special effort on man#s part, which shows its calm and peaceful state; a dreamy loo+ comes into his eyes and his countenance becomes radiant, he experiences the unearthly 6oy and rapture of -a6d, or ecstasy. -hen ecstasy overwhelms him he is neither conscious of the physical existence nor of the mental. This is the heavenly wine, to which all Sufi poets refer, which is totally unli+e the momentary intoxication#s of this mortal plane. A heavenly bliss then sprin)s in the heart of a Sufi, his mind is purified from sin, his body from all impurities, and a pathway is opened for him towards the world unseen; he be)ins to receive inspirations, intuitions, impressions, and revelations without the least effort on his part. !e is no lon)er dependent upon a boo+ or a teacher, for divine wisdom, the li)ht of his soul, the !oly Spirit, be)ins to shine upon him. As Sharif says, #I by the li)ht of soul reali0e that the beauty of the heavens and the )randeur of the earth are the echo of Thy ma)ic flute#.