{"id":4444,"date":"2013-07-13T01:56:02","date_gmt":"2013-07-13T01:56:02","guid":{"rendered":"http:\/\/localhost\/?p=4444"},"modified":"2013-07-13T01:56:02","modified_gmt":"2013-07-13T01:56:02","slug":"38-20-october-vol-06-questions-and-answers-volume-06","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/02-works-of-the-mother\/01-cwmce\/06-questions-and-answers-volume-06\/38-20-october-vol-06-questions-and-answers-volume-06","title":{"rendered":"-38_20 October.htm"},"content":{"rendered":"\n\n
\n


\n20
\n October 1954<\/font><\/span><\/b>
\n<\/font> <\/span><\/b><\/p>\n

 <\/span><\/p>\n

This talk is based
\nupon Sri Aurobindo’s Bases of Yoga, Chapter 1,<\/font><\/span><\/p>\n

 \u201cCalm \u2013 Peace
\n\u2013 Equality\u201d. <\/font> <\/span><\/p>\n

\n <\/font><\/span><\/p>\n

Sweet Mother, what is \u201cthe freedom of the Self\u201d? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

It means that in the true inner being one
\nfeels perfectly free, and is free from everything. One has the feeling of a
\ncomplete freedom free from all external influences, free from all lower
\nimpulses, free from all bondage of thoughts, habits…\u00a0 <\/span>(Silence) There, then. <\/span><\/p>\n

(To
\na child<\/i>) Do you have a question? <\/span><\/p>\n

 <\/span><\/p>\n

Here I did not understand: \u201cnot to stand back for any reason from her
\n[the Mother’s] solicitude\u201d. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

What? For no reason to stand back from her
\nsolicitude? You do not understand that? Why! Why don’t you understand? You
\ndon’t understand what this means or what? \u201cStand back\u201d \u2013 do you not know what
\nthat means? <\/span><\/p>\n

 <\/span><\/p>\n

No. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Ah, all right. Well, stand back means to
\nwithdraw, go farther away, escape, refuse, reject \u2013 all this. <\/span><\/p>\n

\u201cSolicitude\u201d \u2013 do you know what that
\nmeans? <\/span><\/p>\n

 <\/span><\/p>\n

Not very well. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Not very well? It is… well, it is \u201ccare\u201d
\nin English, that is, attention, help, concern, precisely the concern to help
\nand do good; this is solicitude. When you feel solicitude for someone, you
\ndo…\u00a0\u00a0 <\/span>you find out his needs and try to
\nsatisfy them; you have good
\n <\/span><\/p>\n

\nPage – 374<\/font><\/span><\/p>\n

<\/p>\n
\n

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

thoughts, good feelings, you want to help,
\nsupport, make him happy. This is solicitude. So, to stand back from solicitude
\nis to refuse these things when they come, either to disregard them or refuse
\nthem. <\/span><\/p>\n

However, very often one does it without
\nknowing it. For example, every feeling of independence, of the need to look
\nafter oneself, of not wanting to submit to any discipline, any rule, of
\nstanding on one’s own feet, not wanting any support except one’s own, and being
\nfree, independent in one’s movements: this is to stand back from the divine
\nsolicitude. To want to do what one likes, one’s own will, in quite a free and
\nindependent way \u2013 \u201conly doing what I want\u201d \u2013 this is to stand back from the
\ndivine solicitude. <\/span><\/p>\n

One does it quite frequently! <\/span><\/p>\n

(To
\na child<\/i>) You? <\/span><\/p>\n

 <\/span><\/p>\n

Sometimes when we ask you a question, you do not understand it. Is it
\nbecause of a fault in our language or in the consciousness? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Usually the consciousness. <\/span><\/p>\n

There is an experience like this: some
\npeople may speak to me for half an hour, I don’t understand a tenth part of
\nwhat they say; there are others who speak very softly, very slowly, very
\ngently, and I don’t miss a single word. In one case, it is…\u00a0\u00a0 <\/span>it does not depend on the elocution and it
\ndoes not depend on the expression, because I am used to understanding people
\neven when they express themselves badly. I have been used to this for years. It
\nis not that. It is that either they do not think clearly, that is, rather
\npositively; those who think quite clearly, no matter what they say or how they
\nsay it, I understand them; while with those who do not think clearly it becomes
\nmore difficult; and then, those who are in the habit of disguising their
\nthought, who are not frank, who don’t say exactly what they think or feel, who
\ntry to present things in a particular way, here, they
\n <\/span><\/p>\n

\nPage – 375<\/font><\/span><\/p>\n

<\/p>\n
\n

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

\n\t\t
\n\t\t <\/font><\/span>may give me long speeches, I understand
\nnothing. And I know what they are thinking but I don’t know what they are
\nsaying. This happen very frequently: people talk to me, I hear nothing. It
\nhappen like that, I don’t hear…\u00a0 <\/span>\u201cWhat?
\nwhat? what?\u201d And then, when it recurs twice or thrice, I am sure that it is
\nthis kind of thing, you know: they are not saying what they think, they are
\nsaying something with the intention of making some sort of impression, you see.
\nThey say this so that I may think so. So there it is useless, I don’t hear
\nthem. There are different degrees. <\/span><\/p>\n

Is that all? (To a child<\/i>) And you? Nothing? Nobody has any questions? It is not
\nraining here, we see! (Laughter)\u00a0\u00a0 <\/span><\/span><\/p>\n

 <\/span><\/p>\n

(In a low voice) Sweet Mother, is passion a weakness…\u00a0\u00a0
\n<\/span><\/i><\/span><\/p>\n

\n\t\t
\n\t\t <\/span><\/p>\n

Ah, listen! I do not hear! <\/span><\/p>\n

 <\/span><\/p>\n

Is passion a weakness of the heart? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

I have not yet understood. \u201cPens\u00e9e<\/i>\u201d, that’s all I have heard. (The child hesitates<\/i>) Eh? Say, say,
\nspeak, but think of what you are saying. <\/span><\/p>\n

 <\/span><\/p>\n

(In a loud voice) Passion.<\/i> (The child laughs).
\n <\/span><\/p>\n

\u00a0<\/span>Ah!
\n <\/span><\/p>\n

(Another child) Passion! <\/i><\/span><\/p>\n

 <\/span><\/p>\n

(Pavitra) Passion!<\/i><\/span><\/p>\n

 <\/span><\/p>\n

Passion! And I heard \u201cpens\u00e9e\u201d! Good. So
\nwhat about passion? <\/span><\/p>\n

 <\/span><\/p>\n

Is it a weakness of the heart? <\/span><\/i>
\n
\n <\/span><\/p>\n

\nPage – 376<\/font><\/span><\/p>\n

<\/p>\n
\n

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

Weakness? No, it is a disorder of the
\nvital. (Silence)\u00a0 <\/span>The feeling comes from
\nthe heart and then the vital gets hold of it and turns it into a passion.
\n(Silence)\u00a0 <\/span>And one step farther, and it
\nbecomes a madness. (Silence) So? <\/span><\/p>\n

 <\/span><\/p>\n

Sweet Mother, how can we call down calm when we are too agitated? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

(Silence) Repeat that. How…? <\/span><\/p>\n

 <\/span><\/p>\n

How can we call calm…? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Oh, \u201ccall\u201d? Um, um. Make calm come to us,
\nyou mean? How? Simply as when you want to call someone, you call him, don’t
\nyou? (Laughter)\u00a0\u00a0 <\/span>It is the same thing.
\nYou must remain as calm as you can and wish for calm, aspire for calm, call
\ncalm, like that, remaining as calm as you can at that moment. Ask to be yet
\ncalmer. Want calm. But all this calmly, because if you want it agitatedly, calm
\nwill not come. <\/span><\/p>\n

 <\/span><\/p>\n

Sometimes when one wants to concentrate, usually there are disturbing
\nthoughts, but often some kind of images pass before…\u00a0\u00a0 <\/span><\/span><\/i><\/p>\n

 <\/span><\/p>\n

Do you see images when you meditate? <\/span><\/p>\n

 <\/span><\/p>\n

Sometimes. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

When the eyes are open or closed? <\/span><\/p>\n

 <\/span><\/p>\n

Closed. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Closed. And what images? Colours or
\nimages? <\/span><\/p>\n

 <\/span><\/p>\n

Sometimes colours, sometimes images. <\/span><\/i>
\n
\n <\/span><\/p>\n

\nPage – 377<\/font><\/span><\/p>\n

<\/p>\n
\n

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

Um. Always or only sometimes? <\/span><\/p>\n

 <\/span><\/p>\n

Not always. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

And so? You are asking what it is? It can
\nbe many, many things. It can be simply that, your physical eyes being closed,
\nyour inner eyes open and begin to see in their domain or in the subtle physical
\nor the most material vital, it may be that. <\/span><\/p>\n

It can be a projection of your own
\nthoughts, that is, when you begin reflecting on something, certain images pass
\nbefore you, like that; they pass rather before your mind than your eyes, and it
\nis like an imaged objectivisation of your thought, your state of thought or
\nstate of consciousness. But then, it becomes quite clear, coherent and it is
\ninteresting. It can serve as an indication. <\/span><\/p>\n

It can be something else also. If you are
\ntruly quiet and your mind is quiet, it can be…\u00a0\u00a0 <\/span>how shall I put it?…\u00a0\u00a0 <\/span>some kind of messages coming to you from
\nother people or other worlds or other forces, which come to tell you something,
\nto show you something; usually, if you see colours which are…\u00a0\u00a0 <\/span>pulsating, and then suddenly it is as though
\nyou were absorbing them: this usually indicates forces sent by someone or
\nsomething, which come with some sort of power. They are some kind of messages.
\nSo, if you are very quiet in your mind, sometimes they bring an indication of what
\nthey mean. <\/span><\/p>\n

Many things are possible and you must
\nobserve very attentively, but very quietly, without any mental activity,
\nwithout seeking to understand at that time; because as soon as your mind
\nbecomes active and tries to understand, it will jam everything and probably you
\nwill not see anything any more. <\/span><\/p>\n

But if you remain very quiet, only if you
\nobserve \u2013 as though you were silently looking at something, you understand \u2013
\nthen you will begin seeing more precisely, and little by little distinguishing
\nbetween different categories of things. You will be able to know what one thing
\nis and what another etc., whe- <\/span><\/p>\n

\nPage – 378<\/font><\/span><\/p>\n

<\/p>\n
\n

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

ther it comes from you or from outside,
\nwhether it is on a material plane or on another plane. All this is learnt
\nthrough a very quiet observation, quiet but very sharp, you understand; because
\nthere are very tiny shades, very tiny, between different things, and when you
\nget used to distinguishing these nuances, you can discern exactly what it is. <\/span><\/p>\n

It is always the same thing. One must be
\nvery quiet, very attentive, calm the mind as much as possible, because as soon
\nas it begins to stir, the phenomenon is distorted. <\/span><\/p>\n

In any case, in a very general way, this
\nproves that the inner vision is beginning to develop or is developed. <\/span><\/p>\n

 <\/span><\/p>\n

(Silence<\/i>) <\/span><\/p>\n

Nothing more? Do you have another
\nquestion? <\/span><\/p>\n

 <\/span><\/p>\n

Regarding the film we saw, what is the place of suffering in artistic
\ncreation? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

The film? <\/span><\/p>\n

 <\/span><\/p>\n

We saw that through suffering…\u00a0\u00a0
\n<\/span><\/span><\/i><\/p>\n

 <\/span><\/p>\n

Oh, oh, oh, oh!…\u00a0\u00a0 <\/span>the film about Berlioz? <\/span><\/p>\n

 <\/span><\/p>\n

His music matured through suffering…\u00a0\u00a0
\n<\/span><\/span><\/i><\/p>\n

 <\/span><\/p>\n

Yes, yes, so what place…\u00a0\u00a0 <\/span>? Where does it come from? <\/span><\/p>\n

 <\/span><\/p>\n

Suffering \u2013 how does it help artistic creation? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

How does it help? That depends on people.
\nSome people are very powerfully helped by it. I consider that man one of the
\npurest expressions of music. It is almost…\u00a0\u00a0
\n<\/span>I could say that he is an incarnation of music, of the spirit of music.
\nUnfortunately
\n <\/span><\/p>\n

\nPage – 379<\/font><\/span><\/p>\n

<\/p>\n
\n

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

his body was a little frail; that is, he
\ndid not have that solid base which yoga gives, for instance. So this shook him
\nup too much, and made him too emotional, nervous, agitated, emotive. You see,
\nit was a serious weakness. But from the point of view of creation, I have
\nalways felt \u2013 and the other day it was very strong \u2013 that truly he was in
\ncontact with the spirit of music, you know, the very meaning of music, and that
\nthis entered into him with such a force that it shook him up; but truly, truly
\nhe was like an incarnation of music. <\/span><\/p>\n

The notion that it was suffering that made
\nhim create is purely human; it is not true. What, on the contrary, is very
\nremarkable is \u2013 to turn the thing around \u2013 that there was no physical pain
\nwhich was not instantaneously translated into music in him; that is, the spirit
\nof music was much stronger than human pain, and each blow which he received
\nfrom life \u2013 and as he was indeed too sensitive to have the power of resisting,
\nhe was shaken \u2013 all the same, instantly, it was translated into music. It is
\nsomething very rare. <\/span><\/p>\n

People \u2013 all creators \u2013 usually require a
\nlittle… how shall I put it?… time and quietness to be able to begin
\ncreating again, while with him it was spontaneous. The painful blow brought
\nmusical expression instantaneously. Truly for him his whole life began with
\nmusic, finished with music. It was music and it was a… he had such a
\nsincerity and such an exclusive intensity in his attachment to music that I
\nfeel that the spirit of music expressed itself through him. Perhaps what he has
\nwritten is not the most beautiful music, because of that kind of weakness of
\nwhat we call the \u201cādhāra<\/i>\u201d
\nhere. He was… his physical make-up was a little too weak. But from the point
\nof view of music, it is very beautiful, very beautiful. (Silence)\u00a0\u00a0 <\/span>And even with his strength he had a very
\ngreat simplicity. There is a kind of limpidity of line in what he has written,
\nwith a very great technical knowledge, of course. His power of orchestration
\nwas very, very remarkable. When one can orchestrate something for six hundred
\nperformers, it means a science as complicated as the most complicated <\/span><\/p>\n

\nPage – 380<\/font><\/span><\/p>\n

<\/p>\n
\n

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

mathematics. And in fact they come
\nvery close. <\/span><\/p>\n

I knew a musician who was not at all his
\nequal but was still a very good musician, and he used to compose. He composed
\noperas, musical comedies, and music for…\u00a0
\n<\/span>well, not concert music. In front of a sheet of paper…\u00a0 <\/span>you see, he had a large sheet of paper and on
\nit he wrote the names of the different instruments; and beside each one he
\nwrote simply, just like that, what it had to play. He was a friend of mine, you
\nknow, I used to see him at work. It was as though he was writing equations,
\nlike that. When it was finished, it had only to be given to an orchestra, it
\nbecame something magnificent. Sometimes even… The other man, you noticed how
\nhe played his theme on the piano, didn’t you? He played a few notes, almost
\nnothing, it seemed just two or three notes, like that: it was his theme. And on
\nthis theme, then, suddenly he began to write. But this man usually did not even
\nplay his theme on the piano, he wrote directly. It is a particular cerebral
\nformation. There are others who compose exclusively on the piano and someone
\nelse has to write for them. Another person has to do this work of giving the
\ndifferent notes and organising the notes to reproduce the harmony created. But
\nthis man I am talking about \u2013 great musicians like Saint-Sa\u00ebns, for example,
\nthe musicians of his time, gave him their compositions for orchestration. They
\nwrote them, you see, as one writes for the piano, for two hands; and he changed
\nthat into orchestra music. He orchestrated just as I said, like that,
\nseparating the different groups of instruments and putting down beside each the
\npart it had to play. <\/span><\/p>\n

 <\/span><\/p>\n

(Silence<\/i>) <\/span><\/p>\n

Mother, when one hears music, how should one truly hear it? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

For this \u2013 if one can be completely
\nsilent, you see, silent and
\n <\/span><\/p>\n

\nPage – 381<\/font><\/span><\/p>\n

<\/p>\n
\n

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

attentive, simply as though one were an
\ninstrument which has to record it \u2013 one does not move, and is only something
\nthat is listening \u2013 if one can be absolutely silent, absolutely still and like
\nthat, then the thing enters. And it is only later, some time later, that you
\ncan become aware of the effect, either of what it meant or the impression it
\nhad on you. <\/span><\/p>\n

But the best way of listening is this. It
\nis to be like a still mirror and very concentrated, very silent. In fact, we
\nsee people who truly love music… I have seen musicians listening to music,
\nmusicians, composers or players who truly love music, I have seen them
\nlistening to music… they sit completely still, you know, they are like that,
\nthey do not move at all. Everything, everything is like that. And if one can
\nstop thinking, then it is very good, then one profits fully…\u00a0 <\/span>It is one of the methods of inner opening and
\none of the most powerful.
\n <\/span><\/p>\n

(Long
\nsilence<\/i>) <\/span><\/p>\n

Is that all? <\/span><\/p>\n

 <\/span><\/p>\n

Mother, when one gets a shock, some kind of pain, should one try to
\nexpress it either through music or poetry, unless it comes spontaneously? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Express it? If one has the gift; otherwise
\nit is not worthwhile. But if one has the gift it is good. <\/span><\/p>\n

There are different depths in these
\nshocks. They are not all on the same plane. Usually people receive emotional or
\nsentimental shocks altogether superficially, and that is why they weep, they
\ncry, they… sometimes gesticulate. Anyway, these are shocks in the outer
\ncrust. But there is a greater depth where usually you receive silently, but
\nwhich awake in you a creative vibrations and a need to formulate. Then, if one
\nis a poet he writes poetry, if one is a musician he composes music, if one is a
\nwriter he writes a story, and if one is a philosopher he expresses his state,
\ndescribes his state.
\n <\/span><\/p>\n

\nPage – 382<\/font><\/span><\/p>\n

<\/p>\n
\n

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

Now, there is a greater depth of pain
\nwhich leaves you in an absolute silence and opens the inner doors to greater
\ndepths which can put you in immediate touch with the Divine. But this indeed is
\nnot expressed in words. It changes your consciousness; but usually a long time
\nelapses before one can say anything about it. <\/span><\/p>\n

Berlioz, of course, was in the second
\ncategory.
\n <\/span><\/p>\n

(Long
\nsilence<\/i>)<\/span><\/p>\n

There then, is that all? <\/span><\/p>\n

 <\/span><\/p>\n

Mother, every Sunday you play the organ and you always play well. But
\nsometimes we feel that you play better! <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Eh?
\n <\/span><\/p>\n

Every time you play well, no doubt, but sometimes we feel that you play
\nbetter. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Sometimes you feel, sometimes you don’t, sometimes
\nyou like it, sometimes you don’t, sometimes you understand, sometimes you don’t
\nunderstand, and sometimes I play well and sometimes I play badly.
\n(Laughter)\u00a0\u00a0 <\/span><\/span><\/p>\n

This depends on many things, above all on
\nthe state you are in yourself. It may depend a great deal on the region which
\nseeks expression in the music. There are some which are accessible, there are
\nothers which are more difficult to understand or receive; but usually it
\ndepends almost exclusively on the condition you yourself are in. The day you
\nare well disposed, you like it; the day you are ill-disposed you don’t
\nunderstand. There are days when it puts you to sleep, there are days when it
\npleases you; on some days you have the feeling that it opens a horizon before
\nyou, on others you say, \u201cdon’t know, don’t understand\u201d!
\n <\/span><\/p>\n

\nPage – 383<\/font><\/span><\/p>\n

<\/p>\n
\n

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

So, there. It depends altogether on one’s
\nown condition.<\/span><\/p>\n

 <\/span><\/p>\n

            Mother, when you play, do you decide beforehand from which region the
\nmusic has to come? <\/span><\/i>
\n
\n <\/span><\/p>\n

Eh?
\n <\/span><\/p>\n

           On Sundays, when you play, do you decide beforehand from what region the
\nmusic has to come? <\/span><\/i>
\n
\n <\/span><\/p>\n

I?
\n <\/span><\/p>\n

From where does it come? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Before sitting down I don’t even know what
\nnotes I am going to play. The region? It is always the same region. This is why
\nI can speak with some experience about the origin of Berlioz’s music, because
\nit is a region very well known to me, one I frequent assiduously. But I do not
\nat all know what will come. Nothing at all, nothing. I don’t even decide what
\nfeeling or idea or state of consciousness is going to be expressed, nothing. I
\nam like a blank page. I come and sit down, concentrate for a minute and let it
\ncome. Afterwards, sometimes I know, not always. But when I hear it a second
\ntime here, in the afternoon or evening, then I know; because it is no longer I,
\nit is something that comes from outside. So then I know quite well what it is
\nlike. <\/span><\/p>\n

 <\/span><\/p>\n

But one day, Sweet Mother, you told everybody what you were going to
\nplay. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Yes, that day I knew what I was going to
\nplay. This may happen. <\/span><\/p>\n

There are times when I know, others when I
\ndon’t. Only, there are days when, if I had at my disposal an orchestra of two
\nhundred players, it would be very interesting. The means are
\n <\/span><\/p>\n

\nPage – 384<\/font><\/span><\/p>\n

<\/p>\n
\n

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

poor; that is, the music I see, which
\ncomes to me, would be expressed very well as…\u00a0
\n<\/span>by what we saw the other evening in the film. It would need, you see, an
\nexpression of that kind to be expressed fully. So it has to be collected as in
\na dropper, you know, and then given out drop by drop, like that. And so
\nnaturally it is much impoverished. It doesn’t come to much. The greater part
\nescapes. <\/span><\/p>\n

There. Now I think it is finished. Nothing
\nelse that’s important, interesting, urgent? (Looking at a child searching her text<\/i>) Ai! She still has her nose
\nin her book. <\/span><\/p>\n

 <\/span>Here I did not understand…\u00a0\u00a0 <\/span><\/span><\/i><\/p>\n

 <\/span><\/p>\n

Did not understand! There are many things
\nyou have not understood. (Laughter)\u00a0\u00a0 <\/span><\/span><\/p>\n

 <\/span><\/p>\n

\u201cWhat is happening in you is that the consciousness is trying to fix
\nitself in this liberation.\u201d <\/span><\/i><\/p>\n

 <\/span><\/p>\n

So, what did you not understand? <\/span><\/p>\n

 <\/span><\/p>\n

\u201cWhat is happening in you is that the consciousness is trying\u2026\u201d<\/span><\/i><\/p>\n

 <\/span><\/p>\n

He is answering \u2013 it is always the same
\nthing \u2013 answering something the person writing the letter has asked…\u00a0\u00a0 <\/span>an experience he had or something he has
\ndescribed. He is answering that and says, \u201cThis is…\u201d the explanation of what
\nhappened. So it doesn’t mean anything else except what it says. It is an
\nexplanation. What the experience was he doesn’t say. Don’t understand, eh? <\/span><\/p>\n

 <\/span><\/p>\n

Mother, there are many elements in our being of which we are not
\nconscious. Isn’t that so? <\/span><\/i>
\n
\n <\/span><\/p>\n

\nPage – 385<\/font><\/span><\/p>\n

<\/p>\n
\n

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

Yes, many. <\/span><\/p>\n

 <\/span><\/p>\n

Can there be some parts which serve the Divine without our being aware
\nof it? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Yes, yes. In fact there are some which not
\nonly always seek the Divine but have an intense aspiration, and one is not aware
\nof them. The psychic being is like that, and it is always there. But one
\nbecomes aware of it only very rarely. It is so veiled, you see. I spoke a while
\nago of the outer crust. It is really like a crust. It is something hard, thick,
\nwithout any transparency, which lets no vibrations pass, and one lives so
\nconstantly inside this that one is not even aware that there is something else.
\nBut there is, there is indeed right in the depths of the being \u2013 specially of
\nthose who are predestined, that’s understood, but still \u2013 a being which not
\nonly presides over one’s destiny, not only aspires for identification with the
\nDivine, but has the power to govern the circumstances of life and, in fact, to
\norganise them in spite of the outer will which very often revolts and does not
\nwant the circumstances as this inner consciousness \u2013 which is fully
\nclear-sighted \u2013 has organised them. And it is only much later, when one becomes
\naware of it and looks back at his life, that one realises that all this was
\nwonderfully organised with a complete clear-sightedness of what was necessary,
\nin order to lead him there, just where he had to go. <\/span><\/p>\n

Most often the things which you took for
\naccidents or misfortunes or even tragedies or even for the blows of fate, for
\nattacks of the adverse forces, all this, almost all without any exception, was
\na marvellously perspicacious and admirably executed plan to lead you just where
\nyou had to go by the shortest road. <\/span><\/p>\n

Of course this is not always absolute,
\nbecause it depends on the importance of the individual in relation to the
\nimportance of the surrounding circumstances. That is why I said at the
\nbeginning: every predestined being. What I mean by \u201cpredestined\u201d
\n <\/span><\/p>\n

\nPage – 386<\/font><\/span><\/p>\n

<\/p>\n
\n

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

is a being who has come down upon earth to
\naccomplish a precise mission and who, naturally, will be helped in the
\naccomplishment of this mission. It may be a very modest mission but it is a
\nprecise one that he has to accomplish upon earth. Well, all these
\nbeings…\u00a0 <\/span>their life is organised in
\nthis way; but ninety-nine and a half per cent are not aware of it, and they
\nrevolt or lament or… And then, above all, they pity themselves greatly and
\nlament their own difficulties, their own miseries, their own sufferings, and
\ncaress themselves gently: \u201cOh, my poor little one, how unhappy you are!\u201d But it
\nis their inner being which has done everything. <\/span><\/p>\n

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

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

\nPage – 387<\/font><\/span><\/p>\n

<\/p>\n


\n <\/span><\/p>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

20 October 1954   This talk is based upon Sri Aurobindo’s Bases of Yoga, Chapter 1,  \u201cCalm \u2013 Peace \u2013 Equality\u201d.   Sweet Mother, what…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[125],"tags":[],"class_list":["post-4444","post","type-post","status-publish","format-standard","hentry","category-06-questions-and-answers-volume-06","wpcat-125-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/4444","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=4444"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/4444\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=4444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=4444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=4444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}