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Chapter5:Visualizations,Symbols

Visualizations,Symbols
1

Thetypeofmeditationcalleddiscursivebywhichismeantthekindwhichramblesonin
reflectiveorlogicalthinkingdoesnotsuiteverystudent.Severalwhohaveessayedit
withoutsuccessafterrepeatedattemptsarereallytemperamentallyunsuitedforit,yet
theyneednotabandonhope.Thereisanothermethodofmeditationwhichisactually
easier,worthtrying,andpossiblybettersuitedtotheirtemperament.Duringawide
experiencewithdealingwithWesternstudents,Ifoundthatthosewhohavefailedwith
discursivemeditationarenotnecessarilymorelackingingoodpotentialitiesthanthose
whohavesucceeded.Itissimplythattheyhavefoundthemethodwhichwilldrawout
thepotentialitiesthattheypossess.

Visualizations
2

Meditationexerciseswhosemethodistovisualizeaform,pattern,orhappeningappeal
to,andareeasierfor,somepeople.
3

Thephilosophicmodeofmeditationmakesuseofimaginationasmuchasitmakesuseof
reason.Throughtheuseofthesefaculties,whendirectedtowardabstractthemesandhigh
objects,itleadsthemeditatortouniversalspiritualintuitionsthatintheirownturnwill
conducthimtophilosophicexperiences.Thusmentalpicturingandmentalthinking,
whenrightlyused,assisthisliberationjustaswhenwronglyusedtheyretardit.
4

Therearetwofacultiesworthdeveloping.Theyarethefacultyofobservationandthe
facultyofimaginationorvisualization.Welook,butseelittle,forwedonotnoticemuch
ofthedetail.Weareunabletoimagineclearly,sharply,andvividly.Welacktheability
torecreateaphysicalscenepurelyinthemind.
5

Thosepersonswhoareunableto"see"andholdthesesymbolicpicturesthroughtheir
mind'seyewithsufficientvividness,maystilltakeheart.Thecapacitytodosocan
developitselfasaresultofrepeatedpracticeinthisexercise.Evenifatfirstthepicture
seemsfaroff,faint,blurred,andvagueevenifitappearsonlyfitfullyandfragmentarily
bydegreesthepersistentefforttoholditwillberewardedwiththeabilitytodoso
continuallyaswellasclearly.
6

Asasupportforthebeginningperiodofpracticeitself,asameanstofixattention,a
particularphysicalobjectorsoundmaybechosen.Hemaygazeatachinkoflight
shininginadarkroomorlistentothependulumswingofametronome.Whateveristhus
isolatedfromtheouterworldforconcentration,isusedmerelyasajumpingoffplatform
fromwhichtoentertheinnerworld.
7

Tratakisatechniqueforfocusingtheeyes,asunblinkinglyaspossibleonaspecialpoint:
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thiscouldbeablackdotinsideablackcircleonawhitesheetorwall,untiltearsfill
them.
8

Someyogistrytotranquillizethemindbypractisingthegazingexercise.Theymarka
blackpointonawhitewall,ordrawablackcircleonthewall,andthensitdownopposite
itsothattheireyesareexactlyopposite.Thebodyiskeptquitestillandtheycontinually
stareatthemarkforaslongastheirexperienceortheirteacherprescribes.
9

Thegazingexercisecanbesuitablyappliedtotheemptyskybydayornight,toastar,a
tree,etc.
10

Asinglecolourfulflowerplacedinaslimvasemaybeusedforthegazingexercise.
11

Amongphysicalobjectsaflower,astick,oraflamehavetraditionallybeenused.
12

Toquietenthoughts,itishelpfultosomepractitionerstovisualizeaglobeofbluelight
thesocalledWedgewoodorpowderblueandtoconcentrateonitasfixedlyastheycan.
13

Meditationmayalsobemadeonacolourwhich,ifharmonioustothemeditator,willlead
himbydeepeningconcentrationintoamysticalstate.
14

Thelovelycoloursbroughtintotheskybythefallofeventidemakeafitobjectfor
meditation.
15

Aproperlydirectedimaginationmaybeasmuchahelptohisprogressasanimproperly
directedoneisacertainhindrancetoit.Duringsomeexercisesformeditationitcanbe
creativelyusedinaparticularway.Forinstance,theaspirantthinksofhismaster,ifhe
hasone,orofascripturalpersonage,ifhebelievesinhim,orofanunknown,ideal,
beneficent,perfectedBeingintheangelicworld,andimagineshimtobe"theGate"toa
deeperorderofexistence.Theaspirantthenimploreshimforadmittanceintothisorder,
forstrengthtomakethepassage,andforGracetobecomeworthyofit.Inthiscurious
situation,hehastoplayadoublepart.Ontheonehand,heistobethepersonmakingthe
requesthemustfeelintensely,eventothepointofsheddingtearsoverwhatheis
mentallycryingoutforontheotherhand,heistoseehimdoingso,tobeamerewitness
ofwhatishappening.Thusatonetimehewillbepartofthescene,atanothertime
merelylookingatit.Everydetailofitistobevividlypictureduntilitcarriesthefeeling
ofveridicalreality.
16

Heistotakecompletepossessionofthisimage,totakeholdofitinchbyinch.
17

ImagineandbelievethattheMasterishereinyourroom,sittinginhisaccustomedchair
orposition.Thenbehaveandmeditateasyouwoulddoifinhispresence.
18

Thisexerciserequireshimtoretracthisattentioninwardsuntil,obliviousofhis
immediatesurroundings,heintentlyprojectscertainsuggestivementalimagesintothis
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blanknessandholdsthemdeterminedlyyetcalmly.Theresultwillappearlaterinhis
ordinarystatewhenthewakefulconsciousnesswillseizetheseimagesabruptlyand
unexpectedlyandeffectivelyactupontheirsuggestions.
19

Imagineabrilliantwhitelightshiningforthintheheartandspreadingintotheentire
body.
20

Anyvisualizedform,especiallyofalivingoradeadmaster,maybeusedasafocusof
concentration.
21

VisualizationExercise:Itwillhelphimif,forafewminutes,hestopswhateverexercise
heisengagedwithandprojectsthementalimageofhimselfdoingitsuccessfully.
22

Aremarkable,unusual,andexcellentexerciseinselfperceptionistoimaginehimself
sittingdowntotheworkofmeditation,andgoingthroughwithittosuccessfulfulfilment
ofhispurpose,allobstaclesseen,fought,andeventuallypushedaside.Allthisistobe
doneinhismind,hisownperson,anditsdoingsbecomestheobjectofconcentration.In
short,hepaintsamentalportraitofameditatingman,whoishimself.
23

Exercises:Visualizealovelyquietlandscapescene,eitherfrommemoryorpictures,and
thinkofyourselfbeingthere.Feelitspeacefulness.Visualizethefaceofsomeinspiring
personfeelyou'reinhispresence.
24

Asuggestedthemeforthispictorialconcentrationisthatofaspiralpatternlikea
staircase.Themeditatormustchoosewhetheritseemstogoupordown,guidedby
intuition.
25

Whenthementalformonwhichheismeditatingvanishesofitsownaccordandthemind
suddenlybecomescompletelystill,vacant,andperfectlypoised,thesoulisaboutto
revealitself.Forthepsychologicalconditionsrequisitetosucharevelationhavethen
beenprovided.
26

Itiseasierforalmostallpeopletothinkpictoriallyratherthanabstractly,toformmental
imagesratherthanmentalconceptions.Althoughthemoredifficultfeatisalsothe
superiorone,thisfactcanbeutilizedtopromotemeditationalprogress.Themental
pictureofadeadsaintwhomtheaspirantfeelsparticularlydrawntoorofalivingguide
whomheparticularlyreveres,makesanexcellentobjectuponwhichtofocushis
concentration.
27

ImentionedinTheQuestoftheOverselfthatradiationsfromaphotographhadbeen
discoveredbyascientistImetlongago,Mr.ShrapnellSmith,andalsobyanother
EnglishinvestigatoratthattimewhosenameIcannotnowremember.Manyreadersof
thebookhavesincethensoughtforphotographsoftheirgurusandusedthemasobjects
forconcentration.Notonlyso,butsomewhatlatertheideawasadoptedbyhealerswho
usedphotographsofpatientslivingatadistancetogivethemabsenttreatmentatafixed
timeoftheday,thepatienthimselfputtinghimselfintunewiththehealerpassivelyand
receptively.Inconnectionwiththeseusagesofphotographsbydisciplesofgurusand
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healersofpatients,itoughttobepointedoutthatmoreeffectivethanusingthematerial
objectofthephotographistheimplantationofthepictureinthemind,thementalimage
itself.Inotherwords,thethoughtoftheguruwithoutanyexternalphysicalaidorthe
thoughtofthepatientgivesabetterconnectionforthepurposedesired.Centuriesago,
beforephotographywasinvented,gurusknewthisprincipleandmanyofthemtoldtheir
disciplesthatwherevertheywerelivingtheremembranceoftheguruwouldgivealink
andthattheemotionalattitude,devotion,reverence,andsoforth,linkedwiththe
remembrance,wouldbringbacksomebenefitfromtheguru.
28

Thepicturemustbeperfectlyvividandsharplyformed.Itmustbeheldforalittlewhile.
Thenletitslowlyfadeawayintothestillcentreofyourbeing,absorbedbyitslightand
love.
29

Withdrawattentionfromeverythingoutsideandimaginearadiant,shiningPresence
withintheheart.Visualizeitasapuregoldensunnylight.ThinkofitasbeingpureSpirit.
30

Heshouldstudythefigurewell,noteeveryoneofitsdetailscarefully,closehiseyes,and
thentrytoreproducethefigureagainmentally.
31

Toplacethedrawingbeforeyouisthefirststage.Toholditinyourmindisthesecond
one.Holdthemindimmobileuponituntilaslightlyhypnoticstateisinduced.
32

Themandalaisadiagrammaticrepresentation,usedbyTibetansandJainsfor
concentration,usuallyfeaturingasquareenclosingacircle.Eachsideofthesquarehasan
opening.Atthecentreofthecircleisafigurewhichistheimportantpartofthepicture
andtowhichattentionmustfinditswaythroughtheopeningsandputtorestthere,until
thedeepermindisreached.
33

Nomanhascompletefreedomtousehiscreativethoughtpowertoitsmostmagical
extent,forallmenhavetoshareitwiththeOverselfwhich,beingtheirruler,alsorules
theresultsoftheirefforts.Inadivinelyorderedworlditwouldbeanarchicaltovestfull
powerinunredeemedman.
34

Thetrainedmeditatorcanmakeanyepisodeofhisownpastseemasrealandnearasthe
present.Heisabletocreatedistinctandvividimagesofitaftersolongatimeaseven
severalyears.
35

Theseimagebuildingpowerscanbeexpandeduntilmerethoughtsseemexternalthings.
36

Visualizedfigurescanbeconcentratedonwithsuchintensityastomakethemseemlike
realones.Suchanexperiencewhichissoughtincertainmeditationdisciplinesisusedas
anillustrationofthetenetthateverythingknownis,intheend,amentalexperience.
37

Themeditatorshouldsustainthechosenmentalimageforaslongashispowerallows.
38
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Thegazingexercisemaybealternatedbysimplylookingtowardsapointmidway
betweenbothhalfclosed,halfopenedeyesandkeepingthemfixedinthisposition.
39

Thefirststageofthisexerciseconsistsinwithdrawingattentionfromtheobjector
landscapeatwhichheislooking,andusingitinsteadtoobservetheeyesthemselves
theyremainopen.Thesecondstageistowithdrawattentionstillfurtherandtryto
becomeawareoftheobservingmindalone.
40

Theeyeslookoutonthelandscapeinavaguegeneralway,withoutfocussingonany
particularobject.Thisbelongstothesecondstage,whereasspecificconcentration
belongstothefirstandmoreelementaryone.
41

Itmayhelpthemeditatortopicturetheworldalongwithhisbodydissolvingintospace
untilalldistinctionsstop.
42

Theuseofimaginedforms,scenes,andpersonsisonlyforbeginnersinmeditation:itis
tobeleftbehindwhentheobjecthasbeensufficientlyachieved.AsSaintJohnofthe
Crosssays,"Forthoughsuchformsandmethodsofmeditationmaybenecessaryinorder
toinflameandfilltheirsoulswithlovethroughtheinstrumentalityofsense,andthough
theymayserveasremotemeansofunion,throughwhichsoulsmustusuallypasstothe
goalofspiritualreposestilltheymustsomakeuseofthemastopassbeyondthem,and
notdwelluponthemforever."Suchauseofpicturedformsmustincludethemaster'stoo.
SaintJohnoftheCrossevenincludesChrist's.Formanythispracticeisastepforward,
butaspirantsmustnotlingeralltheirlifetimeonaparticularstepiftheyreallyseekto
climbhigher.
43

ItisacommonpracticeforreligiousormysticalIndianstomeditateupontheirfavourite
deityuntiltheygettheexperienceofbeingcompletelyidentifiedwithitofbecomingone
withit.Thisexperienceisthenconsideredagracegivenbythedeityitself.Butwhatelse
isittotheoutsideobserver,howeversympathetichemaybetosuchpracticesifheisat
allcriticalatthesametime,thanaprocessinvolvingthecreativeimaginationandwhatis
theendresultbutanimaginaryone?
44

Intheendthesymbolmustbedroppedtherealityitpointsatmustalonebeheldbythe
mindwhenitseeksadeeperlevelofmeditation.

Symbols
45

TheSpiritualSymbolrepresentsinasymboliclanguagewhatisusuallyrepresentedin
spokenorwrittenwords.
46

TheSpiritualSymbolservesathreefoldpurpose.Itisanaidtoconcentrationofattention.
Itexpressesandteachesauniversaltruthorlaw.Itevokesanintuitiveperceptionofthis
truthorlaw.Moreover,itmayevenbringaboutacertainmoraleffectuponthecharacter
providedtheforegoingthreepurposeshavebeensuccessfullyrealized.
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47

Thecrossisasymbolgiventomanbythecreativeimaginationofhisrace'searlyseers.
Itsflatcrossbarishisordinaryeverydaylifewhichheshareswithallothermen.Its
uprightbarishishigherspirituallifewhichheshareswithGod.Theentirefiguretells
himthatcrucifixionofhisegoisresurrectionofhisspiritnormallyanddailydeadinthe
materiallife.
48

Ifthepaperphotographofalivingsageorthebronzestatueofadepartedonehelpsto
rememberhisachievement,torealizehisideas,oreventotouchhisaura,whyshouldwe
notuseit?Itisonlywhenweputittosuperstitioususesthatwethendegradethesage's
nameandharmourownprogress.
49

Justasaphotographcontainscertainmagneticradiationswhichlinkitwiththeperson
picturedthereonbutwhichvanishwithhisdeath,sothebookofalivingauthoroffersan
activatedlinkbetweenhismind,whichisincarnatedinitspages,andthosereaderswho
looktohimandhiswritingsforhelp.Althoughathisdeaththecontactwithhisactual
mindisbroken,thecontactwiththewayinwhichitworkedisnot.
50

TheSpiritualSymbolsaregiventopupilswhoarehighlyintellectual,professional,or
activemindedasameansof(1)allayingmentalrestlessnessand(2)constructively
workingontheinnerbodies,sincetheseformsareincorrespondencewiththeactual
constructionof(a)anatom,and(b)theuniverse.
51

TheCrosssymbolizespersonallytheuttersurrenderoftheegoindesiringandwilling
impersonally.Theverticallinemeansconsciousnesstranscendingtheworld,the
horizontalonemeansconsciousnessintheworld:thecompletefigureshowstheperfect
balanceneededforaperfecthumanbeing.
52

Thegeometricdesignswhichappearinthestainedglasswindowsofsomanychurches,
onthepaintedfrescoesofsomanytombs,andinthearchitecturalplansofsomany
templesaresacredsymbolsusefulforthispurpose.Theyhavenotbeenselectedby
chancebutbyilluminedmen,fortheirnumberisverysmallcomparedwiththehundreds
ofpossiblegroupingsandarrangementsalsoavailable.Themeasurementsofthedifferent
partsofeachgeometricsymbolfollowcertainproportionswhicharenotfixedby
personalwhimbutbycosmicorder.ThisiswhyPythagorasdeclaredthatnumberisthe
basisoftheuniverse.Thesameproportionsof14713existinthedistancesofthesunto
itsplanetsandasteroids,intheirmovements.TheywereusedinStonehenge,intheGreek
temple,andintheGizehPyramid.Eachsymbolcorrespondstosomecosmicfactitisnot
arbitraryorimaginaryoraccidental.Itsvalueformeditationpracticedoesnotendwith
promotingconcentrationbutextendsbeyondthat.Itspowertoaffectmanderivesalso
fromitsconnectionwiththedivineWorldIdea,whoseperfectionandbeautyitreflects.
53

Thepurposeofusingthesymbolhasbeenachievedwhentheuseractuallyfeelsthe
luringpresence,theinspiringforceofthespiritualqualityitsymbolizes.Heshouldthen
putitasideandconcentrateonthefeelingonly.
54

Apracticalrulewhichappliestoallthepictures,diagrams,anddesignsistovisualize
themasstandingverticallyupright,notaslyingflataswhendrawnonpaper.
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55

Theartistswhodrewthesespiritualdiagramsinthefirstinstancebelongtofaroff
antiquity.Theyweremostlyholymen,monks,orpriests.Centuriesago,asthey
meditatedonthemysteriesofGod,theuniverse,andman,theyenteredastateofmystical
revelationandsaweternaltruths,hiddenrealities,lawsandforcesoftheuniverse.When
theytriedtocommunicatetheirintuitiveknowledgetoothers,theyfeltguidedtodosoin
theformofthesymbolicpictures.Eventodaythesevisionssometimesariseoftheirown
accord,offeringthemselvesspontaneouslytothemind'seye,whentheintuitionistrying
tofindanotherformofexpressionthantheverbaloneforwhatitknowsorwhatitseeks
tocommunicate.
56

Thespiritualemblemcombiningacircleandsomeotherformstandsforreconciliationof
theOverselfandtheego,forintegrationofman'shigherandlowernature.
57

ThereareusedinIndia,Tibet,andChinameditationsymbolsofapurelygeometrickind.
Theymaybequitesimpleorquiteintricateindesign.Theyaredrawninblackinkon
whitepaperorparchment,ortheyareembroideredincolouredsilkpanelsontapestries,
ortheyarepainteddirectlyonmonasterywalls.Thedesignsincludecompletedcircles,
perfectarcs,equilibratedtriangles,rigidsquares,pyramids,pentagons,sexagons,
octagons,andrhomboids.Itisbelievedthatbyconcentratingonthesegeometric
diagrams,withtheirstraightundeviatinglines,somehelpisobtainedtowarddisciplining
thesenses,balancingthemind,anddevelopinglogicalityofthought.
58

ThePyramidisaperfectsymbolofbothspiritualbalanceandspiritualcompleteness.
59

SymbolsarediagramsorpaintingsonpaperpertainingtothechosenIdealordeity
worshipped.
60

Theconcentrationofattentiononthechosensymbolmustoccupyitselfwithreflections
whichriseabovetheirmerelypictorialvalue.
61

ColoursenterintothecompositionofaSpiritualSymbol.Eachissignificant,each
correspondstoacosmicorahumanforce.
62

Thespiritualdiagramtakestheshapeofasquarecombinedwithacirclewhenitstands
forareconciliationofopposites,fortheequilibriumoftheirforcesandthebalanceof
theirfunctions.
63

Attheapexofapyramidthereisonlyasinglepoint.Atitsbasethereareinnumerable
points.ThetenetoftheOneappearingastheManyiswellsymbolizedbythisancient
figure.
64

Whetheritbecalledamandala,aswithTibetanBuddhism,orayantra,aswithTantrik
Hinduism,itconsistsofageometricaldesign,oralineardiagram,orsomenonhuman,
nonanimal,nonpictorialrepresentationbyadrawingwhichistakenasasymbolofGod,
orofthehigherself.Concentratedattentionuponitissupposedtoleadmanclosertothis
self,likeanyotherformofworship.
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65

Manjusriisdepictedwithswordinhand,meaningthathecutsawayone'sillusions.
66

Whenthespiritualemblemtakestheformofacircle,itrepresentstheWholenesswhich
istheidealstateofthefullydevelopedandequilibratedman.
67

Thehigherselfshouldbeinvokedatthebeginningofthedeliberateworkdoneonthese
affirmationsandsymbols.Thelattermaythenbecomeitschannels,ifotherconditions
havebeenfulfilled.
68

Thegestureofrightthumbtipjoinedincircularformtotheforefingertiprepresents,in
HinduBuddhiststatues,givingablessingofthetruth.Thesamegesturealsoappearsin
someGreekOrthodoxChristianiconsasablessing.
69

TheRisingSunwasoriginallyasymboloftheOverselfinrelationtoman'sconscious
development.
70

TheSwastikaoriginallyhadtwomeanings:asawheelrevolvingclockwiseitwasthe
symboloftheunfoldingWorldIdeaasaradiantcircleitwasthepictographofthe
invisibleSunbehindthesun,whichwastheproperobjectofhumanworship.
71

Thesymbolisintendedtocreateacorrespondingmood,ortoarousealatentforce.
72

ThehighestofallsymbolsisthatwhichexpressesGod.
73

Thethoughtformwhosereverencehelpshimtokeepconcentrated,thementalimage
whoseworshipholdshisattentionquiteabsorbed,justifiesaplaceforitselfinthe
meditator'smethod.Onlyatanadvancedhourmayherightlyputthemaside.Butwhen
thathourarrives,heshouldnothesitatetodoso.Thedevotionaltypeofmeditation,if
unaccompaniedbyhighermetaphysicalreflection,willnotyieldresultsofalasting
characteralthoughitwillyieldemotionalgratificationofanintensecharacter.Overselfis
onlyanobjectofmeditationsolongasheknowsitonlyassomethingapartfromhimself.
Thatisgoodbutnotgoodenough.Forheisworshippingagravenimage,notthesublime
reality.Hehastorisestillhigherandreachit,notasaseparate"other,"butashisvery
self.
74

PhilosophyrecognizesthatthehumanmindcannotevengrasptheconceptoftheVoid
thatisaSpiritsaveafteralongcourseofstudyandreflection,muchlessrealizeit.
ThereforeitprovidesforthissituationbyofferingaSymbolofthatVoid,apictureoran
ideaofwhichthemindcaneasilytakeholdasapreliminaryuntilhecanmakethedirect
attempt.
75

ThisSymbolwillbecomeafocalcentreinhismindforallthosespiritualforceswhichhe
hastoreceiveintuitively.Fromithewillgetinspirationtoithemustgiveveneration.
76

ThusthesymbolbecomesequatedwiththeSoul,withentryintoandmemoryofit.The
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indefiniteandformless,theremoteandabstractRealitytakesonanaturewhich,being
approachable,comprehensible,andvisible,canhelphimseek,worship,andlovethat
Realityinapersonalandhumanway.
77

TheportrayalofGautamaasaseatedmeditatingfiguresymbolizeshisbasicmessage.
Thiswasreally,andquitesimply,"Bestillemptyyourselfletoutthethoughts,the
desires,andtheegowhichpreventthisinnerstillness."
78

Whatistheinnersignificanceoftherosary?Atthetimeofmeditation,theworldlymanis
harassedbyworldlythoughts.Therosaryteachesthatuntilunimpededmeditation
becomespossible,theaspirantshouldpersevere,leavingbehindthoughtafterthought.
Thebeadsrepresentthoughtsandtheyarepushedback.Thethreadpassingthroughthe
beadsrepresents"theallpervadingideal."Withpatienceandperseverance,thoughtsare
subduedand,asaresultofunimpededmeditation,theidealisrealized.Theheadbead
whichisbiggerthantherestrepresentsthepointofrealization,thatis,God,inwhomthe
universehasitsbirthandinwhomitends.
79

Thereisadifferencebetweenthesymbolwhichonlytellsusthatahigherrealityexists
andthesymbolwhichnotonlytellsusthatbutalsoinspires,leads,informs,andhelpsus
toitsattainment.
80

Thesymbolistobenomereabstraction,noformalusage,butalivingpresence.
81

WhenaBuddhafigurehasitspalmsturnedupwardwiththethumbstouching,this
symbolizesunwaveringfaith.
82

Thestrengthwhichhecannotfindinhimself,hemaydrawfromtheSymbol.Inthatis
releasefromselfweakeningdoubts,isthepowertoachievegreaterthings.
83

TheSwastikaisanancientsymbolusedinTibet,inIndia,andinChina.Itisclosely
relatedtoanothersymbol,theCross.TheSwastikabespeaksthefixedunmovingand
everlastingcentreofacirclewhosecircumferenceistheeverchanging,evermoving
worldprocess.
84

TheSwastikaisbothameaningfulsymbolandapictureofwhatactuallyhappens.The
evermovingvibrationoftheultimateatomgoesforwardandrightinacircletobringa
worldintobeingandtomaintainit,butitmovesbackwardandlefttodeteriorateand
eventuallydestroyit.(Thisismirroredinthebigdipper,too.)
85

Thecircleisalsousedasasymbolofcompleteselfmastery.
86

TherehavebeenmanyopinionsaboutthesymbolismofthePyramid.TheFreemasons,
theTheosophists,andothershaveputforwardtheirviews.Sincetheactualstructureof
thePyramidstooduponatemplebuiltlikeacube,atleastinthecasewherethefamous
SphinxandtheGreatPyramidareconcerned,thewholefigureshouldbetakeninto
accountwhenanalysingitssymbolism.Thebase,cubicallyshaped,representsboth
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balanceandstability:thevisiblepyramid,triangularinform,representsaspirationandthe
Quest.
87

Ifmencannotfindahumanchannelinwhomtheycanbelieveasmediatingthehigher
powertothem,thentheyusuallyfeeltheneedoffindingoneinwhomtheycanbelieveas
asymbolofit.
88

Asymbolisamessagefromhishigherselftohispersonalself.Itisintendedtogivehim
hopeandfaithforthefutureaswellastoencouragehimtofresheffortsindevelopinga
newlifeoutoftheashesoftheoldone.
89

Afigureorphotographmaygiveoffavibrationofattainedpeace.Ifwearesensitive
enoughtorespond,webegintoshareit.
90

MenwhocannotabsorbthesubtleconceptoftheSpirit,whocannotgrasptheideaof
infiniteandeternalbeing,mayyetabsorb,andthereforebehelpedby,theconceptofits
humanChannel,mayyetvisualizeandbeinspiredbyitshumansymbol.
91

Whatthemantradoesforsound,theyantradoesforsight.Itisagraphicrepresentation,
pictorialorgeometrical,fullofphilosophicsignificanceaboutthevanityofearthly
existence.Inshape,itiseithersquareorcircular(whenitisrenamedmandala).Itisused
firsttofixthemindandthentopassbeyondit.
92

ThePolynesianandHawaiiantraditionswovesacredsymbolicpatternsintoclothsin
certaincombinationsandhungtheclothasatapestrytogazeupon.Theresults,spread
overtimeorspectacularlyswift,wereinnerpeaceandspiritualuplift.
93

ThepracticaluseoftheSpiritualSymbolrequiresittorepresenthimself,ortherelation
betweenthedifferentpartsofhimself,orthewholeCosmos.
94

Whatarethesesymbolsbutattemptstomakeuseofartforman'sloftiestpurposesthe
transformingofhisconsciousness?
95

TheFarEasternsymbolsaredividedintotwoclasses:simplegeometricdiagramsand
elaboratepicturesofNatureorofEnlightenedMen.Thefirstclassappearsalsointhe
NearEasterntraditionalpatterns.
96

TheimageoftheMagicCircleorglobeexpressesthegoalofWholenessasexemplified
inthetrue,complete,fullydeveloped,individualized,"redeemed"man.
97

Jungfoundthatcertainsymbolswerepresentintheceremonialartofprimitivereligions
aswellasinthedreamsofcontemporarypersons.Heconcludedthattheywereuniversal
andarchetypal,projectedbythecollectiveinnerbeingofhumans.
98

RamaPrasadwrites:"Thetantrikphilosophershadsymbolstodenotealmosteveryidea.
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Thiswasnecessarybecausetheyheldthatifthehumanmindwerefixedonanyobject
withsufficientstrengthforacertaintime,itwassurebytheforceofwilltoattainthat
object.Theattentionwassecuredbyconstantlymutteringcertainwordsandthuskeeping
theideaalwaysbeforethemind.Symbolswereusedtodenoteeveryidea.`Hrim'denotes
modesty.`Klim'denoteslove."
99

Thesignmadebyjoiningthethumbtothetipoftheforefingeroftherighthandsoasto
formacircleshowsthatthepersonknowsthehighesttruth.ItappearsinbothHindu
(atmanisonewithBrahman)andGreekOrthodoxsacredpictures.
100

Intheanimalkingdomwefindthatboaconstrictorscanpractiseunionwiththeirmates
foralongerperiodthanothercreatures.WhydoestheHindureligionhonourtheserpent
asasymbolofthehighestknowledge?WhydidJesussay,"Beyeshrewdasserpents?"
AndwhydidGautamatheBuddhareceivethecobraashisprotectoragainstthesun's
fiercerayswhenhesatinthefinalsessionofmeditationbeforeattainingNirvana?
101

Thesymbolistoberememberedandrevereddaily.
102

Thefirstvalueofthesymbolisthatitatoncefocusesattention,concentratesthought,
arouseslove,andstrengthensfaith.Thesecondisthatitautomaticallyremindsthe
aspirantofthehigherstate,being,andpower.
103

Thesuperiortypeofaspirantcandispensewithsymbols,butthistypeismuchless
frequentlyfound.
104

Manymembersofagroupusetheirmaster'sfaceforthepurpose.ManyHinduschoose
thedeitytheyworshipforthementalimagetobemeditatedon.JesuitschooseChrist's
figure,theRosicruciansarose.
105

Theimage,thought,ornameofaspiritualgiantgivesapointofconcentrationandhelps
tosettlethewanderingmind.
106

Theexponentsofsomeyogamethodshaveminutelydescribed,intheirbooks,seven
centresor"lotusflowers"or"whirlingwheels"astheyaretermed,whicharesituatedin
the"soulbody"atintervalsfromthebaseofthespineuptothecrownoftheheadbut
whichworkinintimaterelationwithsimilarplacesinthephysicalbody.Elaborate
diagramshavealsobeendrawntomakeplainertheirclaimsaboutthisremarkablefeature
ofspiritualanatomy.
Onitspracticalside,thesystemaffordsabasisforredirectingattention,amethodof
providingusefulpointsforconcentratingitasayogaexercise.Itiseasierfor
undevelopedminds,whichareunabletoentertainabstractmetaphysicalideasorto
meditateuponthemforanylengthoftime,topicturethe"centre"inthethroat,for
example,andfastentheirattentionuponthat.Toencouragethesenovicestoundertake
suchmeditationstheyareluredwiththebaitofmiraculouspowers,adifferentpower
beingassociatedwitheach"centre,"orwiththatofvisionsofgodsandgoddesses,a
differentdeitybeingassociatedwitheachcentre.Ifthenovicepractises,hewillgain
sometranquillity,evenifhefailstounfoldanypowers.
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Guruyoga
107

Thepracticeofmeditatingonthementalimageofthemasterishelpfulatthepropertime,
butthemeditatorshouldunderstandthatitisnotthemostadvancedpractice.Ifatany
timeduringit,orafterattemptingit,hefeelsdrawntotheVoidexercise,ortoanyofthe
exercisesdealingwiththeformlessspiritofMind,heoughttolethimselfslipawayfrom
thepictorialmeditationandpassupintothepurecontemplation.Heneedhaveno
reluctanceorhesitationindoingso.
108

Thereishopeandhelpforthoseamongthemasseswhoaretiredofmoribund,orthodox
religionbutwhoarenotabletomakethegradeofmysticism.Letthemrepeatintheir
heartagainandagain,dayafterday,thenameofaSpiritualGuideinwhoseattainment
theyearnestlybelieve,whoisknowntohavededicatedhimselftoserviceandinwhose
savingpowertheyarepreparedtotrust.Hemaybeamanlongdeadoralivingone.They
needneverhavemethimbuttheymusthaveheardsomethingabouthim.Iftheirfaithis
notmisplaced,ifhereallyisonewhohaddweltintheOverself'ssacredlight,theywill
getgenuineresults.If,however,theirfaithismisplacedandthenamerepresentsnothing
divine,noresultsexcepthallucinatoryonesneedbeexpectedfromthispractice.But
wherethedevotionisgiventoagreatsoul,itshallsurelyberewarded.Forthesilent
repetitionofhisname,wherevertheymaybeandwhatevertheymaybedoing,willin
itselfbecomeaneasymysticalexerciseinconcentration.Nomatterhowignorantthe
devoteemayotherwisebe,lethimdothisandoutoftheinfiniteOvermindtherewill
presentlysounditsGraceasanechoofhisinnerwork.Thesacrednamewillthushave
becomeforhimalinkwiththeDivine.TheGracewhichdescendsisrichandreal.
109

Themanifestationoftheadepttohisdiscipleinmeditationmaycomeindifferentwaysto
differentdisciplesatfirst,orindifferentwaystothesamediscipleasheprogresses.But
ingeneralitis:firstoneseeshispictureorimageveryvividlyappearingbeforethe
mind'seyelaterthereisasenseofhisnearnessorpresencealongwiththepictureinthe
imageheseemstosmileortotalktothediscipleandpronouncewordsofadviceand
guidanceinthethirdstagethepicturedisappearsandonlythepresenceisfeltinthe
fourthstagethedisciplecomesintotunewiththemaster'sspirit.Inthefifthandfinal
stagethestudentrelinquishestheteacher.
110

Abruptrecallstotheinnerlife,whenassociatedwithremembranceofthename,orseeing
theimageoftheguide,areintuitionsofrealvalue.Thestudentshouldatoncedropall
otheractivitiesandconcentrateonthem,givinghimselfuputterlytotheinwardturning
ofattentiontheyprompthimtopractise.
111

ItisarecognizedyogapathintheOrient,especiallyamongtheSufisofPersia,Iraq,and
NorthernAfrica,forthesensitivedisciplementallytomergehisownindividualbeingin
thebeingofhismasterduringtheperiodofmeditation.Themastercanbeanyonein
whomhehasmostfaith,towhomheismostdevoted,bywhomheismostinspired.
112

Theyogaofselfidentificationwithanadeptisthemosteffectivemethodandbringsthe
quickestresultsbecauseitquicklyelicitshisgrace.Afterall,itistheresultthatcounts.
Thefactisthatinspirationdoescomewiththemerethoughtofhim.Thisyogapath
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involvestwotechniquesfirst,formalmeditationatfixedperiods,focusedonthemaster's
mentalpictureandpresenceand,second,informalremembranceofthemasteras
frequentlyaspossibleatanyandalltimesoftheday.Inbothtechniques,youaretooffer
yourbodytohimjustasaspiritistmediumoffershisowntoadisincarnatespirit.Youare
toinviteandlethimtakepossessionofyourmindandbody.First,youfeelhispresence.
Thenyoufeelthathetakespossessionofyourbodyandmind.Next,youfeelthatyouare
he(noduality).Finally,hevanishesfromconsciousnessandanotherbeingannounces
itselfasyourdivinesoul.Thisisthegoal.Youhavefoundyourhigherself.
113

Thediscipleshouldtrytofeelthemasterinsidehimself,sensinghispresenceandseeing
hisimageatvarioustimes.Forthemasterisreallythere,butmustbesoughtforandfelt
after.Thisselfidentificationwiththemasterisoneofthebestofshortcutsforthosewho
finditdifficulttomeditate.Evenwhenworkingorwalking,theyshouldsuddenlypull
themselvesupinthoughtandimaginethemasterpresentinthemandworkingorwalking
throughthem.Oncesuchahabitiscreatedandproperlyestablished,itwillnotbelong
beforeremarkableresultsareobtained.
114

Ifthemasterpractisesthetechniqueofsilenthelpingfromadistanceattheverytime
whenhismindisdeeplysunkinthemysticheart,andthementalimageofthepupilis
introducedthere,thelatterwillsuddenlyhaveabeautifulexperience.Hewillfeelan
inneropeningandanotherconsciousnesswillseemtoflowin.Thenhewillsensethereal
nearnessofthemasterandsavoursomethingofthespiritualqualityofhisaura.
115

Thedisciplewhopractisesthiskindofyogaimagineshimselftobethemaster,thinksand
behavesaccordingly.Heplaysthisroleasifhewereactinginastagedrama.Heisto
imitatetheMaster'swayofmeditating,includingeventheexpressionofhisfaceatthe
time,notonlyinpictorialvisionbutalsoinselfidentifiedfeeling.Theexercisecanbe
donebothduringtheformaldailysessionsofhisregularprogramandevenatodd
momentsorinunexpectedleisureatothertimesoftheday.Theformulaistwofold:
rememberingthemasterandidentifyingoneselfwithhim.
116

Nowtheultimateuseofamentalimage,whetherofGodorguru,isonlytohelphimdo
withoutitaltogetherintheend.Fortheultimateaimofatrueseekermustalwaysbeto
becomeawareofGodforhimself,toperceivetheRealwithhisowninsight,andto
understandthetruthwithhisownintelligence.Thereforewhenhehasreachedthisstage
ofmeditation,whenheisableeasilytoenterintorapportwiththepresenceoftheGuide
orguru,ithasaccomplisheditsworkandhemusttakethenextstep,whichistoletgo
thispresence,ortheimagewhichcarriesthispresence,altogether.Ifheclingsundulyto
it,hewilldefeattheverypurposeofhispractice.TheOverselfwill,ofitsownaccord,
eventuallycompletethework,ifhedoesnotsoresist,bybanishingtheimageandthe
presenceanditselfsteppingintotheframeworkofhisconsciousness.Hewillthenknow
itashisownverysoul,histrueself,hissacredcentre.HewillthenfeelGodwithinhis
ownbeingasthepureessenceofthatbeing.Anyotherfeelingofanyotherindividual
wouldbesacrilege.
117

TheselfidentificationwiththeMasterconsistsoflendinghisspiritinthedisciple'sbody
notthedisciple'sspiritintheMaster'sbody.
118

Thephotographoftheteacherisplacedimmediatelyinfrontofthepupil.Thelatterfixes
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hisgazeuponitandgivesthewholeenergyofhismindtoitscontemplation.Thusthe
photographbecomes"printed"onthementalscreen.Thepracticeiscontinueduntilitcan
be"seen"withtheeyesclosedasclearlyaswiththeeyesopen.Thisafterimagemust
thenbemeditatedupon.
119

Photographthemaster'sfacewithyourmentalcameraandthencarrythepicturewith
younot,ofcourse,intheforegroundofattentionbutalwaysinitsbackground.Whenat
oddplacesandoddtimesyouwishtomeditate,prefaceyourexercisebygazingintently
attheeyesinyourmentalpictureforaminuteortwo.
120

Whenthispictureimpressesitselfsostrongly,sovividly,andsofrequentlyonhis
consciousnessthatitbeginstohaveahypnoticeffect,therealworkofhisguidealso
begins.
121

Merelybyconcentratingonthemind'simageandmemoryoftheguide,thedisciplemay
drawstrength,inspiration,andpeacefromhim.
122

Thesimplepracticeofholdingthemaster'simageinconsciousnessisenoughtoprovide
someprotectionintheworld'stemptationsordangers.
123

Thepersonalattractionto,andaffectionfor,themanJesuscanbeusefullymadeintoa
focusformeditation.Tomeditateonthecharacter,example,andteachingofone's
spiritualGuidehaslongbeenastandardpathinmysticism.Itculminatesinajoyous
spiritualunion,atwhichtimethestudentbecomesawarethatthelivingpresenceofhis
chosenGuideisnolongerseparatefromhimselfhisRealSelf.ThisiswhatJesusmeant
whenhesaid,"IandMyFatherareOne."Itis,indeed,oneoftheshortestpathstothe
Goal.
124

Meditationonaguru'sface,form,ornameisonlyforthepreliminaryandintermediate
stagesitmustbefollowedbydroppingallthoughts,includingtheguruthought,if
advancementistobemade.
TheNotebooksarecopyright19841989,ThePaulBruntonPhilosophicFoundation.

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