Silence is difficult and arduous, it is not to be played with. It isn’t something that you can experience by reading a book, or by listening to a talk, or by sitting together, or by retiring into a wood or a monastery. I am afraid none of these things will bring about this silence. This silence demands intense psychological work. You have to be burningly aware of your snobbishness, aware of your fears, your anxieties, your sense of guilt. And when you die to all that, then out of that dying comes the beauty of silence.
“You must be ready to accept the possibility that there is a limitless range of awareness for which we now have no words; that awareness can expand beyond range of your ego, your self, your familiar identity, beyond everything you have learned, beyond your notions of space and time, beyond the differences which usually separate people from each other and from the world around them.”—The Tibetan Book of The Dead (via ninehourstwentythreeminutes)
“The capacity to be alone is the capacity to love. It may look paradoxical to you, but it is not. It is an existential truth: only those people who are capable of being alone are capable of love, of sharing, of going into the deepest core of the other person - without possessing the other, without becoming dependent on the other, without reducing the other to a thing, and without becoming addicted to the other.
They allow the other absolute freedom, because they know that if the other leaves, they will be as happy as they are now. Their happiness cannot be taken by the other, because it is not given by the other.”—Osho (via lazyyogi)
By respect for life we become religious in a way that is elementary, profound and alive.
Impart as much as you can of your spiritual being to those who are on the road with you, and accept as something precious what comes back to you from them.
In everyone’s life, at some time, our inner fire goes out. It is then burst into flame by an encounter with another human being. We should all be thankful for those people who rekindle the inner spirit.
“Keep the ‘I am’ in focus of awareness, remember that you are, watch yourself ceaselessly and the unconscious will flow into the conscious without any special effort on your part. Wrong desires and fears, false ideas, social inhibitions are blocking and preventing its free interplay with the conscious. Once free to mingle, the two become one and the one becomes all. The person merges into the witness, the witness into awareness, awareness into pure being, yet identity is not lost. It is transfigured, and becomes the real Self, the eternal friend and guide.”—Sri Nisargadatta Maharaj (via lazyyogi)
“There is nothing to practice. To know yourself, be yourself. To be yourself, stop imagining yourself to be this or that. Just be. Let your true nature emerge. Don’t disturb your mind with seeking.”—Nisargadatta Maharaj (via colordesignlife)
It is violence when we use a sharp word, when we make a gesture to brush away a person, when we obey because there is fear.
So violence isn’t merely organized butchery in the name of God, in the name of society or country.
Violence is much more subtle, much deeper, and we are inquiring into the very depths of violence.
When you call yourself an Indian or a Muslim or a Christian or a European, or anything else, you are being violent. Do you know why it is violent? Because you are separating yourself from the rest of mankind. When you separate yourself by belief, by nationality, by tradition, it breeds violence.
So a man who is seeking to understand violence does not belong to any country, to any religion, to any political party or system; he is concerned with the total understanding of mankind.
“A warrior focuses her attention on the link between herself and her death. Without remorse or sadness or worrying, she focuses her attention on the fact that she does not have time and let her acts flow accordingly. She lets each of his acts be her last battle on earth. Under those conditions, her acts have their rightful power.
Otherwise her acts would be, for as long as she lives, the acts of a fool.”—Don Juan Matus; The Eagles Gift (via modernshxmxn)
Dialogues between Krishnamurti & Dr Allan Anderson
Most conversations and dialogues we have about the teachings or about our lives and issues, end up being an exchange of opinions, of points of view, of feelings and understandings. Actually, the most recurrent words in those encounters are “I think”, ” I feel”, “to me”, “what I understand”. This alone indicates how deeply rooted is this inertia of moving along with our opinions, when Krishnamurti is actually challenging us to move beyond our opinions, to move beyond our thoughts, ideas and concepts, to question each one of them deeply, to the very root. Because when we don’t, however noble our intentions and actions may be, we will have missed the opportunity to find out “what really is”. And every missed opportunity is yet another drop in this tremendous chaos that extends from oneself, to our families, and societies.
'If there were nothing but thought in you, you wouldn't even know you are thinking. You would be like a dreamer who doesn't know he is dreaming. When you know you are dreaming, you are awake within the dream.'
Tell everyone you know: “My happiness depends on me, so you’re off the hook.” And then demonstrate it. Be happy, no matter what they’re doing. Practice feeling good, no matter what. And before you know it, you will not give anyone else responsibility for the way you feel — and then, you’ll love them all. Because the only reason you don’t love them, is because you’re using them as your excuse to not feel good.
Control of the tongue! Vital for the man who would try to tread the Path, for no harsh or unkind word, no hasty impatient phrase, may escape from the tongue which is consecrated to service, and which must not injure even an enemy; for that which wounds has no place in the Kingdom of Love.
“The self-confidence of the warrior is not the self-confidence of the average man. The average man seeks certainty in the eyes of the onlooker and calls that self-confidence. The warrior seeks impeccability in his own eyes and calls that humbleness. The average man is hooked to his fellow men, while the warrior is hooked only to infinity.”—Carlos Castaneda (via juliansayshii)
“Knowledge is frightening, but if a warrior accepts the frightening nature of knowledge she cancels out its awesomeness. Knowledge is a most peculiar affair, especially for a warrior. Knowledge for a warrior is something that comes at once, engulfs them, and passes on.”—Don Juan Matus, Tales of Power (via modernshxmxn)
In Indian music the concept of a raag (raga) is quite critical and foundational to the music form but it is very hard to define, and describe since the original Sanskrit texts that define this only say:
"Ranjayati iti ragah" = That which colors the mind is raga. रंजयति इति रागः |(जो मन को प्रसन्न कर सकता है वही राग है ) This could be further clarified as that sound which colors the mind, or organized sound that produces a definite emotional and perceptual impact and a sense that there is a living sonic presence which only exists while the sound form is active.
A Raga is a partially precomposed matrix of melodic contours, tight enough to remain recognizable and loose enough to provide substantial creative freedom.
Each Raga justifies itself as performance material because it makes a distinctive emotional statement. It can be described as a psycho acoustic hypothesis which relates qualifying melodic patterns to the associated quality of emotional responses.
At each rendition, a musician works on this hypothesis and deploys his creativity in an attempt to maximize the probability of communicating the associated emotional idea.
Raga-s are not “composed” by any particular musician. Their origins are mostly indeterminate. They evolve over a period of time from a variety of source melodies as plausible triggers for well-defined categories of emotional responses. It is estimated that the melodic grammar of about a 1500 Ragas has been documented. The music-scape of each generation sees some Raga-s coming into circulation, and some going out of fashion. The core of commonly performed ragas remains around 200.
I heard an old maestro of the guitar say: “The duende is not in the throat: the duende surges up, inside, from the soles of the feet.” Meaning, it’s not a question of skill, but of a style that’s truly alive: meaning, it’s in the veins: meaning, it’s of the most ancient culture of immediate creation. This “mysterious force that everyone feels and no philosopher has explained” is, in sum, the spirit of the earth…
~Federico Garcia Lorca, The Theory and Play of the Duende
El duende is the spirit of evocation. It comes from inside as a physical/emotional response to music. It is what gives you chills, makes you smile or cry as a bodily reaction to an artistic performance that is particularly expressive. Folk music in general, especially flamenco, tends to embody an authenticity that comes from a people whose culture is enriched by diaspora and hardship; vox populi, the human condition of joys and sorrows. Drawing on popular usage and Spanish folklore, Federico García Lorca first developed the aesthetics of Duende in a lecture he gave in Buenos Aires in 1933, “Juego y teoria del duende” (“Play and Theory of the Duende”).