{"id":3877,"date":"2013-07-13T01:51:55","date_gmt":"2013-07-13T01:51:55","guid":{"rendered":"http:\/\/localhost\/?p=3877"},"modified":"2013-07-13T01:51:55","modified_gmt":"2013-07-13T01:51:55","slug":"06-9-february-1955-vol-07-questions-and-answers-volume-07","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/02-works-of-the-mother\/01-cwmce\/07-questions-and-answers-volume-07\/06-9-february-1955-vol-07-questions-and-answers-volume-07","title":{"rendered":"-06_9 February 1955.htm"},"content":{"rendered":"\n\n
\n
\n


\n9 February 1955<\/font><\/span><\/i><\/b>
\n<\/font> <\/span><\/i><\/b><\/p>\n

 <\/span><\/p>\n

This talk is
\nbased upon Bases of Yoga, Chapter 4,<\/font><\/span><\/p>\n

\u00a0<\/font><\/span>\u201cDesire \u2013 Food – Sex\u201d.
\n<\/font> <\/span><\/p>\n

 <\/span><\/p>\n

Sweet Mother, here we
\nhave: \u201cThe Sun and the Light may be a help, and will be\u2026\u201d? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Obviously
\nit is someone who had written an experience in which he was in contact with a
\nsun and a light, and he wanted to take the support of these as a help in the
\nsadhana. It is the answer to an experience. <\/span><\/p>\n

 <\/span><\/p>\n

Sweet Mother, is desire
\ncontagious? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Ah,
\nyes, very contagious, my child. It is even much more contagious than illness.
\nIf someone next to you has a desire, immediately it enters you; and in fact it
\nis mainly in this way that it is caught. It passes from one to another\u2026
\nTerribly contagious, in such a powerful way that one is not even aware that it
\nis a contagion. Suddenly one feels something springing up in oneself; someone
\nhas gently put it inside. Of course, one could say, \u201cWhy aren’t people with
\ndesires quarantined?\u201d Then we should have to quarantine everybody. (Mother laughs<\/i>) <\/span><\/p>\n

 <\/span><\/p>\n

Where does desire come
\nfrom? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

The
\nBuddha said that it comes from ignorance. It is more or less that. It is
\nsomething in the being which fancies that it needs something else in order to
\nbe satisfied. And the proof that it is ignorance is that when one has satisfied
\nit, one no longer cares for it, at least ninety-nine and a half times out of a
\nhundred. I believe, right at its origin it is an obscure need for growth, as in
\nthe lowest forms of life love is changed into the need to swallow,<\/span><\/p>\n

\nPage \u2013
\n37<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

absorb, become joined with another thing. This is the most primitive form of
\nlove in the lowest forms of life, it is to take and absorb. Well, the need to
\ntake is desire. So perhaps if we went back far enough into the last depths of
\nthe inconscience, we could say that the origin of desire is love. It is love in
\nits obscurest and most unconscious form. It is a need to become joined with
\nsomething, an attraction, a need to take, you see. <\/span><\/p>\n

Take for instance\u2026 you see something which is <\/span>\u2013<\/span> which seems to you or
\nis <\/span>\u2013<\/span>
\nvery beautiful, very harmonious, very pleasant; if you have the true
\nconsciousness, you experience this joy of seeing, of being in a conscious
\ncontact with something very beautiful, very harmonious, and then that’s all. It
\nstops there. You have the joy of it <\/span>\u2013<\/span> that such a thing exists, you see. And this is quite
\ncommon among artists who have a sense of beauty. For example, an artist may see
\na beautiful creature and have the joy of observing the beauty, grace, harmony
\nof movement and all that, and that’s all. It stops there. He is perfectly
\nhappy, perfectly satisfied, because he has seen something beautiful. An
\nordinary consciousness, altogether ordinary, dull like all ordinary
\nconsciousness <\/span>\u2013<\/span>
\nas soon as it sees something beautiful, whether it be an object or a person,
\nhop! \u201cI want it!\u201d It is deplorable, you know. And into the bargain it doesn’t
\neven have the joy of the beauty, because it has the anguish of desire. It
\nmisses that and has nothing in exchange, because there is nothing pleasant in
\ndesiring anything. It only puts you in an unpleasant state, that’s all. <\/span><\/p>\n

The Buddha has said that there is a greater joy in overcoming a desire
\nthan in satisfying it. It is an experience everybody can have and one that is
\ntruly very interesting, very interesting. <\/span><\/p>\n

There was someone who was invited <\/span>\u2013<\/span> it happened in <\/span>
\nParis<\/span> <\/span>\u2013<\/span> invited to a
\nfirst-night (a first-night means a first performance) of an opera of
\nMassenet’s. I think\u2026 I don’t remember now whose it was. The subject was fine,
\nthe play was fine, and the music not displeasing; it was the first time and
\nthis person was invited to the box of the Minister of Fine Arts who always<\/span> <\/span><\/p>\n

\nPage \u2013
\n38<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

has
\na box for all the first nights at the government theatres. This Minister of
\nFine Arts was a simple person, an old countryside man, who had not lived much
\nin Paris, who was quite new in his ministry and took a truly childlike joy in
\nseeing new things. Yet he was a polite man and as he had invited a lady he gave
\nher the front seat and himself sat at the back. But he felt very unhappy
\nbecause he could not see everything. He leaned forward like this, trying to see
\nsomething without showing it too much. Now, the lady who was in front noticed
\nthis. She too was very interested and was finding it very fine, and it was not
\nthat she did not like it, she liked it very much and was enjoying the show; but
\nshe saw how very unhappy that poor minister looked, not being able to see. So
\nquite casually, you see, she pushed back her chair, went back a little, as
\nthough she was thinking of something else, and drew back so well that he came
\nforward and could now see the whole scene. Well, this person, when she drew
\nback and gave up all desire to see the show, was filled with a sense of inner
\njoy, a liberation from all attachment to things and a kind of peace, content to
\nhave done something for somebody instead of having satisfied herself, to the
\nextent that the evening brought her infinitely greater pleasure than if she had
\nlistened to the opera. This is a true experience, it is not a little story read
\nin a book, and it was precisely at the time this person was studying Buddhist
\ndiscipline, and it was in conformity with the saying of the Buddha that she
\ntried this experiment. <\/span><\/p>\n

And truly this was so concrete an experience, you know, so real that\u2026
\nah, two seconds later, you see, the play, the music, the actors, the scene, the
\npictures and all that were gone like absolutely secondary things, completely
\nunimportant, while this joy of having mastered something in oneself and done
\nsomething not simply selfish, this joy filled all the being with an
\nincomparable serenity <\/span>\u2013<\/span> a delightful experience\u2026 Well, it is not just an
\nindividual, personal experience. All those who want to try can have it. <\/span><\/p>\n

There is a kind of inner communion with the psychic being
\n <\/span><\/p>\n

\nPage \u2013
\n39<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

which
\ntakes place when one willingly gives up a desire, and because of this one feels
\na much greater joy than if he had satisfied his desire. Besides, most usually,
\nalmost without exception, when one satisfies a desire it always leaves a kind
\nof bitter taste somewhere. <\/span><\/p>\n

There is not one satisfied desire which does not give a kind of
\nbitterness; as when one has eaten too sugary a sweet it fills your mouth with
\nbitterness. It is like that. You must try sincerely. Naturally you must not
\npretend to give up desire and keep it in a corner, because then one becomes
\nvery unhappy. You must do it sincerely. <\/span><\/p>\n

 <\/span><\/p>\n

How is the psychic need
\nrealised? <\/span><\/i>
\n <\/span><\/p>\n

(Silence)<\/span><\/i><\/p>\n

 <\/span><\/p>\n

I
\nheard you clearly. But it is the meaning of your question which I don’t
\nunderstand. <\/span><\/p>\n

 <\/span><\/p>\n

When one realises in the
\nmind? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Oh,
\noh, no, not at all. \u201cThe psychic need is realised\u201d, you mean, \u201cHow is it
\nrealised? How is it expressed in the outer life?\u201d What do you call \u201crealising\u201d?
\nNot clear? It is not very clear in your thought? \u201cPsychic need\u201d to begin with,
\nwhat do you call \u201cthe psychic need\u201d? The need to know one’s psychic being or
\nthe need of the psychic to express itself? <\/span><\/p>\n

 <\/span><\/p>\n

The psychic’s need to
\nexpress itself. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

It
\nexpresses itself by realising itself, expressing itself. <\/span><\/p>\n

 <\/span><\/p>\n

In what way? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

You
\nmean whether it needs to go through the mind? Thank
\n <\/span><\/p>\n

\nPage \u2013
\n40<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

God,
\nno, because it would be a very difficult operation. The psychic need is an
\nexpression of the divine Grace and it is expressed by the divine Grace. <\/span><\/p>\n

Psychic life in the universe is a work of the divine Grace. Psychic
\ngrowth is a work of the divine Grace and the ultimate power of the psychic
\nbeing over the physical-being will also be a result of the divine Grace. And
\nthe mind, if it wants to be at all useful, has only to remain very quiet, as
\nquiet as it can, because if it meddles in it, it is sure to spoil everything. <\/span><\/p>\n

 <\/span><\/p>\n

So there will be no need
\nof the mind? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Ah,
\nexcuse me, I did not say that one doesn’t need the mind. The mind is useful for
\nsomething else. The mind is an instrument for formation and organisation, and
\nif the mind lets the psychic make use of it, that will be very good. But it is
\nnot the mind which will help the psychic to manifest. The roles are reversed.
\nThe mind can be an instrument for the manifestation of the psychic later, when
\nit has already taken possession of the outer consciousness. It is rarely so
\nbefore that. Usually it is a veil and an obstruction. But surely it can’t help
\nin the manifestation. It can help in the action if it takes its true place and
\ntrue movement. And if it becomes completely docile to the psychic inspiration,
\nit can help to organise life, for this is its function, its reason of
\nexistence. But first of all the psychic being must have taken possession of the
\nfield, must be the master of the house. Then, later, things can be arranged. <\/span><\/p>\n

There is only one way for the outer being. Let us take the physical
\nbeing <\/span>\u2013<\/span>
\nthe physical being, the poor little physical being, the outer being, which
\nknows nothing, can do nothing by itself. Well, for it there is only one way of
\nallowing the psychic being to manifest: with the candid warmth of a child (Mother speaks very softly<\/i>) to aspire,
\npray, ask, want with all its strength, without reasoning or trying to
\nunderstand. One can’t imagine how great an obstruction reasoning and this
\neffort to understand
\n <\/span><\/p>\n

\nPage \u2013
\n41<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

put
\nin the experience. At the moment when you are on the point of reaching a state
\nin which something will happen, some vibration will be changed in the
\nconsciousness of the being\u2026 you are all tense in an aspiration and have
\nsucceeded in fastening your aspiration, and you are standing there awaiting the
\nanswer, if this wretched mind begins to stir and to wonder, \u201cWhat is happening,
\nand what’s going to happen, when is it going to happen, how is it going to
\nhappen, and why is it like that, and in what order will things manifest?\u201d it is
\nall over, you may get up and sweep out your room, you are not fit for anything
\nelse. <\/span><\/p>\n

 <\/span><\/p>\n

Sweet Mother, can the
\npsychic express itself without the mind, the vital and the physical? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

It
\nexpresses itself constantly without them. Only, in order that the ordinary
\nhuman being may perceive it, it has to express itself through them, because the
\nordinary human being is not in direct contact with the psychic. If it was in
\ndirect contact with the psychic it would be psychic in its manifestation <\/span>\u2013<\/span> and all would be truly
\nwell. But as it is not in contact with the psychic it doesn’t even know what it
\nis, it wonders all bewildered what kind of a being it can be; so to reach this
\nordinary human consciousness it must use ordinary means, that is, go through
\nthe mind, the vital and the physical. <\/span><\/p>\n

One of them may be skipped but surely not the last, otherwise one is no
\nlonger conscious of anything at all. The ordinary human being is conscious only
\nin his physical being, and only in relatively rare moments is he conscious of
\nhis mind, just a little more frequently of his vital, but all this is mixed up
\nin his consciousness, so much so that he would be quite unable to say \u201cThis
\nmovement comes from the mind, this from the vital, this from the physical.\u201d
\nThis already asks for a considerable development in order to be able to
\ndistinguish within oneself the source of the different movements one has. And
\nit is so mixed that even when one tries, at the beginning it is very difficult <\/span><\/p>\n

\nPage \u2013
\n42<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

to
\nclassify and separate one thing from another. <\/span><\/p>\n

It is as when one works with colours, takes three or four or five
\ndifferent colours and puts them in the same water and beats them up together,
\nit makes a grey, indistinct and incomprehensible mixture, you see, and one
\ncan’t say which is red, which blue, which green, which yellow; it is something
\ndirty, lots of colours mixed. So first of all one must do this little work of
\nseparating the red, blue, yellow, green <\/span>\u2013 <\/span>putting them like this,
\neach in its corner. It is not at all easy. <\/span><\/p>\n

I have met people who used to think themselves extremely intelligent, by
\nthe way, who thought they knew a lot, and when I spoke to them about the
\ndifferent parts of the being they looked at me like this (gesture<\/i>) and asked me, \u201cBut what are you speaking about?\u201d They did
\nnot understand at all. I am speaking of people who have the reputation of being
\nintelligent. They don’t understand at all. For them it is just the
\nconsciousness; it is the consciousness <\/span>\u2013<\/span> \u201cIt is my
\nconsciousness\u201d and then there is the neighbour’s consciousness; and again there
\nare things which do not have any consciousness. And then I asked them whether
\nanimals had a consciousness; so they began to scratch their heads and said,
\n\u201cPerhaps it is we who put our consciousness in the animal when we look at it,\u201d
\nlike that\u2026\u00a0 <\/span><\/span><\/p>\n

 <\/span><\/p>\n

Sweet Mother, when the
\npsychic being will be able to manifest itself perfectly, will it have any need
\nof the mind? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

It
\nwill not be able to manifest perfectly unless all the parts of the being
\ncollaborate. But I don’t think that the mind was fashioned with the intention
\nof making it disappear. It is a part of the general structure. <\/span><\/p>\n

Your body, you see, if it were without a mind it would be quite at a
\nloss. It would perhaps be more like a plant than a body. There is nothing that
\nyou do from morning to evening in which the mind does not have its action. <\/span><\/p>\n

\nPage \u2013
\n43<\/span><\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

But if the psychic
\nguided it? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Well,
\nif the psychic guides the mind, the mind will act in a psychic way. Then it
\nwill be a remarkable mind, absolutely harmonious and doing the right thing in
\nthe right way. <\/span><\/p>\n

But the vital <\/span>\u2013<\/span> is the same thing, exactly the same phenomenon for
\nthe vital. The vital as it is at present is said to be the cause of all the
\ntroubles and all the difficulties, the seat of the desires, passions, impulses,
\nrevolts, etc., etc. But if the vital is entirely surrendered to the psychic, it
\nbecomes a wonderful instrument, full of enthusiasm, power, force of
\nrealisation, impetus, courage. <\/span><\/p>\n

And then there remains the poor physical\u2026 The poor physical being has
\nbeen accused of all the misdeeds. In the days of old it was always said that it
\nwas impossible, one could do nothing with something so inert, so obscure, so
\nlittle receptive. But if it too was surrendered to the psychic it also would do
\nthe right thing in the right way, and then it would have a stability, a
\nquietude, an exactness in its movements which the other parts of the being
\ndon’t have, a precision in the execution which one can’t have without a body.
\nYou have only to see when the body is just a little out of order, when it is
\nill, how many things you can no longer do, even with a strong will, a great
\nconcentration of the vital and the mind. Even when one has the precise
\nknowledge of what ought to be done, if the body is out of order one can no
\nlonger do it. Even\u2026 I mean, even an activity which is not purely physical, as
\nfor instance, writing something. <\/span><\/p>\n

If your brain is a little unwell <\/span>\u2013<\/span> fever, cold <\/span>\u2013<\/span> is very difficult to
\nmake it work properly. There is lassitude and something vague, a difficulty in
\ncatching things with precision; there occur even very strange phenomena, ideas
\nget mixed up before one is able to express them, things enter into conflict
\nand\u00a0 <\/span>contradict each other; instead of
\njoining together and coming in this way (gesture<\/i>);
\nyou see, they begin to do this (gesture<\/i>),
\nso then it creates a disorder. So one tries to catch this one and it <\/span>
\n
\n <\/span><\/p>\n

\nPage \u2013
\n44<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

escapes.
\nOne goes to look for that one, hop! It runs away. And all this just because
\nthere is fever which has disturbed things a little, or a cold, you know, what
\nis called a cold in the head, which has slightly disturbed the functioning. If you
\nrise above it, you are absolutely lucid, you are fully conscious, have complete
\nlucidity. Even if you are extremely ill, it makes no difference. Up there you
\nknow everything perfectly, you see everything perfectly, you understand
\neverything perfectly, there is no change.\u00a0
\n<\/span><\/span><\/p>\n

But if you want to put all that on paper, take pencil and paper and
\nbegin to write and formulate it, you will see that a slight disturbance comes
\nin like that, as I said; instead of things being grouped together and directed
\nas it usually happens in one’s normal state, they do this or go like that or
\nlike that (gestures<\/i>), there is
\ndisorder\u2026 why, strangely it resembles ultramodern painting. It is like that. <\/span><\/p>\n

I always think that the artists who do this painting must be doing it in
\na fit of pretty high fever. Things come up in this way and when you try to put
\nthem in some reasonable order, there are always some which escape or hide
\nthemselves or run away like that, or come and knock against others, and all
\nthis creates an incoherence. <\/span><\/p>\n

It must be the most favourable condition for painting in the latest
\nstyle, it must be the very height of fever. Oh, I suspect they produce this by
\nartificial means. God knows what drug they take or what kind of hashish they
\neat or smoke, in what opium dreams they live <\/span>\u2013<\/span> surely. People who
\nsmoke opium say they have marvellous visions. It must be something like that. (Laughter<\/i>) <\/span><\/p>\n

I am speaking to you about this because soon perhaps you will be shown a
\ncollection of coloured photographs which we have received from a photographer
\nin\u2026 I think it’s <\/span>California<\/span>. <\/span>Los Angeles<\/span> is in <\/span>California<\/span>, isn’t it? (Mother asks Pavitra<\/i>)
\nI still know my geography! <\/span><\/p>\n

Well, you see, it is absolutely ultra-modern painting. It is <\/span>
\n
\n <\/span><\/p>\n

\nPage \u2013
\n45<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

photography.
\nThere is no painting there, it is photography. They are negatives printed on
\nphotographic paper in colour. The colour is admirable. I don’t know any painter
\nwho can produce such beautiful, living warm colours, so marvellously beautiful.
\nBut the composition is ultra-modern. What is most\u2026 oh, let us call it
\n\u201creasonable\u201d <\/span>\u2013<\/span>
\nif I say \u201creasonable\u201d they immediately think: \u201cThen it must be ugly\u201d, but it is
\ntrue, from a certain point of view it is true, yet <\/span>\u2013<\/span> the most reasonable
\nthing which is still not reasonable enough to be ugly, is, I think, the
\nportrait of the photographer-artist; I don’t know, he doesn’t say that it is
\nhis photo but he gives a small name, you see: \u201cSo-and-so is concentrating\u201d, I
\nthink, or something like that: \u201cSomeone is concentrating, reflecting, going
\nwithin\u201d, something like that. The titles are very fine, they are also
\nultra-modern. There is this one: so we see the gentleman a bit tenuous as
\nthough seen through a veil, a light veil, but it is still a man’s head. We see
\nthat it’s the photograph of a head, and the head is not distorted. It is
\ncompletely there, only a little withdrawn in the background, you see; and then
\nright in the foreground there are brilliant lines with tortuous forms, zigzags,
\nintercrossing things, others which sprout up like the beginnings of branches
\nand leaves, with brilliant colours. All this is in the front, because you see
\nhe came out of the physical, went into the background and entered within
\nhimself <\/span>\u2013<\/span>
\ninside himself <\/span>\u2013<\/span> that’s it, these zigzags, twistings, efflorescences. And the colour is
\nmarvellous, exquisite. This is \u201cMr. So-and-so goes within\u201d. It’s the thing we
\ncan understand best, we poor people who are not ultra-modern. That’s what we
\ncan understand best. There are others. We wonder why there’s the title on the
\npicture. You should ask the author, he would explain it to you. But just
\nimagine, it is beautiful; it doesn’t make sense, it has a false feel, but it is
\nbeautiful. It is so beautiful that I said we had to have an exhibition, that it
\ngave me the idea of making photographs like that\u2026 not I, I am no photographer,
\nI know nothing about it, but to have photographs like this made by a
\nphotographer; but then unfortunately with an idea at the <\/span>
\n
\n <\/span><\/p>\n

\nPage \u2013
\n46<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

back.
\nSo that will not be at all ultra-modern. But if one could find, you see, how to
\nuse these colours for something which I call expressive, it could become
\nwonderful, truly wonderful. That will take a year, perhaps more to be realised.
\nBut still, the guilty one is this gentleman with his photography. <\/span><\/p>\n

It seems that he is famous all over the world <\/span>\u2013<\/span> but I understand
\nnothing of all this, you see <\/span>\u2013<\/span> and that it means a considerable labour to do
\nsomething like this. Of course, these are superimpositions of negatives, a
\nnegative taken of these superimpositions, and this is still very complicated. I
\nam not trying to explain it to you, I don’t understand anything about it, but I
\nam told that it was a lot of work, very difficult, the mastery of an extremely
\ncomplicated technique and an effect which has never been achieved before. These
\nare coloured photographs as large as this, that’s very large for coloured
\nphotographs. And there’s a red in them\u2026 Oh, the most beautiful reds that Nature
\nhas been able to produce in flowers or sunsets <\/span>\u2013<\/span> this is still more
\nbeautiful. But how he has done it I don’t know. There is brown, there is green,
\nthere is yellow, there are all kinds of things. Some are more pretty, some less
\npretty, there are mixtures more or less happy; some photographs seem to have
\nbeen taken with the help of a microscope: infinitely small things which,
\nbecoming large, look extraordinary; things like that. And we can see very
\nclearly that there are superimpositions, but there are exceptional colour
\neffects. There we are. <\/span><\/p>\n

I don’t know when they will show this to you <\/span>\u2013<\/span> one of these days,
\nunless they have been sent back already, I don’t know, I must find out. I know
\nI asked that they should be shown to you. Well, I find this better\u2026 oh, my
\ngoodness, happily there is no painter here\u2026 (laughter<\/i>), better than modern painting. And this is photography.
\nFor modern painting has not yet been able to use colours with such transparency
\nand brilliance. Water-colour becomes something completely dull beside this. Oil
\ncolour is like mud. The stained glass could perhaps do something; but there,
\nyou see, it is the sun playing behind which is the great master.<\/span> <\/span><\/p>\n

\nPage \u2013
\n47<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

\u00a0<\/span>But that is more difficult. <\/span><\/p>\n

Stained glasses <\/span>\u2013<\/span> I had thought of making them. You see, what I wanted
\nwere visions which I would have liked to give. I tried several times to
\nreproduce visions in painting <\/span>\u2013<\/span> it becomes stupid. It becomes stupid because the
\nmeans of expression is bad. I had thought of stained glass, but you see,
\nstained glass <\/span>\u2013 <\/span>these
\nare bits of coloured glass and they have to be joined. So they are joined with
\na small leaden thread; but that’s horrible. All these little leaden threads are
\nlike that, it is frightful. <\/span><\/p>\n

But this is quite good, we shall be able to do something. <\/span><\/p>\n

There we are. <\/span><\/p>\n

Au revoir<\/span><\/i>, my children. <\/span>
\n
\n <\/span><\/p>\n

\nPage \u2013
\n48<\/span><\/p>\n

<\/p>\n

\t
\n\t<\/font><\/b><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

9 February 1955   This talk is based upon Bases of Yoga, Chapter 4, \u00a0\u201cDesire \u2013 Food – Sex\u201d.   Sweet Mother, here we have:…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"class_list":["post-3877","post","type-post","status-publish","format-standard","hentry","category-07-questions-and-answers-volume-07","wpcat-112-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/3877","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=3877"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/3877\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=3877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=3877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=3877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}