{"id":4455,"date":"2013-07-13T01:56:07","date_gmt":"2013-07-13T01:56:07","guid":{"rendered":"http:\/\/localhost\/?p=4455"},"modified":"2013-07-13T01:56:07","modified_gmt":"2013-07-13T01:56:07","slug":"10-31-march-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\/10-31-march-vol-06-questions-and-answers-volume-06","title":{"rendered":"-10_31 March.htm"},"content":{"rendered":"\n\n
\n


\n31 March 1954<\/span><\/b> <\/span><\/b><\/p>\n

 <\/span><\/p>\n

This talk is based upon Mother’s essay
\n\u201cThe <\/font> <\/span><\/p>\n

Four Austerities and the Four
\nLiberations\u201d, Part I. <\/font> <\/span><\/p>\n

 <\/span><\/p>\n

\u201c…the vital has three sources of subsistence. The one most easily accessible
\nto it comes from below, from the physical energies through the sensations. <\/span><\/i><\/p>\n

\u201cThe second is on its own plane, when it is
\nsufficiently vast and receptive, by contact with the universal vital forces. <\/span><\/i><\/p>\n

\u201cThe third, to which it usually opens only in a great
\naspiration for progress, comes to it from above by the infusion and absorption
\nof spiritual forces and inspiration.\u201d <\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

Sweet Mother, here I have not understood. You have said: \u201c… a great
\naspiration for progress comes to it from above by the infusion and absorption
\nof spiritual forces and inspiration.\u201d <\/span><\/i><\/p>\n

 <\/span><\/p>\n

What haven’t you understood? <\/span><\/p>\n

 <\/span><\/p>\n

The meaning, Sweet Mother. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

You are breaking up the sentence wrongly.
\n(Mother looks at the text.)\u00a0 <\/span><\/span><\/p>\n

There are three sources, you know. The
\nthird source is usually closed to people; it comes to them only in moments of
\ngreat aspiration. When they have a very great aspiration and rise towards
\nhigher forces, at that time the vital can receive these higher forces into
\nitself; and then this becomes a source of considerable energy for it. But in
\nits ordinary, habitual life it is not in contact with these forces \u2013 unless, of
\ncourse, it is trans- <\/span><\/p>\n

\nPage – 81<\/span><\/p>\n

<\/p>\n
\n

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

formed; but I am speaking of the ordinary
\nvital in ordinary life. It is not open to this source of higher forces, and for
\nit this is even altogether non-existent. In the immense majority of people all
\ntheir vital force comes to them from below, from the earth, from food, from all
\nthe sensations. From food…\u00a0 <\/span>they draw
\nvital energy out of food, and they…\u00a0 <\/span>it
\nis by seeing, hearing, touching, feeling that they contact the energies
\ncontained in matter. They draw them in this way. This is their customary food. <\/span><\/p>\n

Now, some people have a very developed
\nvital which they have subjected to a discipline \u2013 and they have a see of
\nimmensity and are in contact with the world and the movements of world-forces.
\nAnd so they can receive…\u00a0 <\/span>if in a
\nmovement of calling… they can receive the universal vital forces, which enter
\nthem and renew the dose of energy they need. <\/span><\/p>\n

There are others, very rare ones \u2013 or
\nmaybe in very rare moments of their individual life \u2013 who have an aspiration
\nfor the higher consciousness, higher force, higher knowledge, and who, by this
\ncall, draw to themselves the forces of higher domains. And so this also renews
\nin them very special energies, of a special value. <\/span><\/p>\n

But unless one is practising yoga, a
\nregular discipline, usually one does not often contact this source; one draws
\nfrom the same level or from below. <\/span><\/p>\n

 <\/span><\/p>\n

You have said: \u201cSensations are an excellent instrument for knowledge and
\neducation.\u201d How? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

How? But it is through sensations that you
\nlearn: by seeing, observing, hearing. Classes develop your sensations, studies
\ndevelop your sensations, the mind receives things through sensations. By the
\neducation of the sees the growth of one’s general education is aided; if you
\nlearn to see well, exactly, precisely; if you learn to hear well; if you learn
\nthrough touch to know the nature of things; if you learn through the see of
\nsmell to distinguish between different odours \u2013 all these are a powerful
\n <\/span><\/p>\n

\nPage – 82<\/span><\/p>\n

<\/p>\n
\n

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

means of education. In fact, they should
\nbe used for this, as instruments of observation, control and knowledge. If one is
\nsufficiently developed, one can know the nature of things through sight;
\nthrough the see of smell one may also know the value, the different nature of
\nthings; by touch one can recognise things. It is a question of education; that
\nis, one must work for it. <\/span><\/p>\n

For example, there is a considerable
\ndifference between the vision of ordinary people and that of artists. Their way
\nof seeing things is much more conscious and complete than that of ordinary
\npeople. When one has not trained one’s vision, one sees vaguely, imprecisely,
\nand has impressions rather than an exact vision. An artist, when he sees
\nsomething and has learnt to use his eyes \u2013 for instance, when he sees a figure,
\ninstead of seeing just a form, like that, you know, a form, the general effect
\nof a form, of which he can vaguely say that this person resembles or doesn’t
\nmuch resemble what he sees \u2013 sees the exact structure of the figure, the
\nproportions of the different parts, whether the figure is harmonious or not,
\nand why; and also of what kind or type or form it is; all sorts of things at
\none glance, you understand, in a single vision, as one sees the relations
\nbetween different forms. <\/span><\/p>\n

When you have trained your eyes to see
\nthings with exactness, you can do so; it is an exercise you can quite easily
\ndo. For example, you have to put something, an object or a number of things,
\ninto a box. An ordinary person will need to take the measure tape and measure
\nthe box to find out precisely what is needed. The man who has trained his eyes
\nwill see the things which are to be put in and at a glance will see which box
\nis required; or perhaps, if there is a liquid to be poured, he will know the
\nexact size of the bottle, because his eye is used to measuring things and he
\ncan, by seeing the thing, know its exact size. For instance, see another
\nexample: you have to put a ring on someone’s finger. Ordinary people are
\nobliged to take the rings and try them on one after another till they find one
\nof the right size. He who has trained his eyes looks at the finger and
\n <\/span><\/p>\n

\nPage – 83<\/span><\/p>\n

<\/p>\n
\n

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

then at the rings; he won’t be deceived
\nand will immediately pick up the ring, which fits exactly, without making a
\nmistake. Well, this kind of training for the eyes can also be given to hearing,
\nin order to distinguish sounds and all the qualities of sound. It can be given
\nto the see of smell, to distinguish odours and the different qualities of
\nodours; for taste, the same thing. <\/span><\/p>\n

And if you approach things with this idea
\n\u2013 of studying, of wanting to develop exactitude of perception and the relation
\nbetween things \u2013 then, instead of living in sensations for sensations’ sake
\n(that is, \u201cOh, this is pleasant\u201d or \u201cthis is unpleasant\u201d, \u201cI like this, I don’t
\nlike that\u201d and all this kind of foolishness), you know the quality of things,
\ntheir use and their interrelations through this study of the sees. This puts
\nyou in contact with the world in a completely conscious way. For everything,
\nthe least detail…\u00a0\u00a0 <\/span><\/span><\/p>\n

For example, you are obliged to cook and
\nwant to prepare a good dish. Well, if you have not trained your sees you will
\nhave to try out a little of this and a little of that and then taste it and
\nagain correct, arrange. If you have trained your taste you know very well \u2013 the
\ntaste and smell at the same time, these two are very close and must complement
\neach other \u2013 you know what kind of food you are cooking, you get the smell of
\nthe thing you are cooking and then, because of the smell and the nature of the
\nthing you will know exactly what more you can put in to complete the taste,
\nwhat you must add of this thing or that, all kinds of ingredients, you see, to
\ncombine things; combine the different vegetables, for instance, or the
\ndifferent tastes of things, in such a way that they make a homogeneous whole.
\nAnd then you will have a dish without needing to taste it every three minutes
\nto find out if you have put enough salt or pepper, enough butter or…\u00a0 <\/span>You will know exactly what should be done and
\nwill do it without a mistake. <\/span><\/p>\n

It is the same thing for smell. If you
\nhave trained your see of smell, for instance, you can mix things in exact
\nproportions, know the nature…\u00a0 <\/span>the
\nnature of a perfume, for example, know
\n <\/span><\/p>\n

\nPage – 84<\/span><\/p>\n

<\/p>\n
\n

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

with which other perfume…\u00a0 <\/span>Take flowers; you smell them. Well, there are
\nsmells, which do not harmonise. If you put them together it makes something
\nthat grates, that has no… harmony, unity. But if you have cultivated your see
\nof smell, when you get one particular odour you know exactly what kind of
\nsmells can go harmoniously with it. And you will be able to bring close things
\nmade to go together. <\/span><\/p>\n

With colours it is the same thing. The
\neducation in colours is tremendous \u2013 in both detail and complexity. If you
\nlearn how to distinguish all the colours, to know to what family of colours
\neach belongs, what kind of harmony it can bring about \u2013 you can know, it is the
\nsame thing. You can keep the memory of the colour as you keep the memory of the
\nform. You want to match all your things…\u00a0\u00a0
\n<\/span>for example, you want to match two things: you want to match a cloak
\nwith a skirt or a\u2026\u00a0 <\/span>well, anything at
\nall…\u00a0 <\/span>or maybe one kind of cloth with
\nanother. Usually you are obliged to take one and then go and compare it with
\nthe others; and finally, after many trials, if you are not too clumsy, you
\nfinish by finding it. But if you have the training in colour, you look at the
\ncolour once and go straight to what matches with it, without any hesitation,
\nbecause you remember exactly the nature of this colour and go to a colour that
\ncan harmonise with it. <\/span><\/p>\n

But you see, in order to educate yourself
\nyou can make lots and lots of… almost games, can’t you? You have a whole
\nseries of things, take anything you like: bits of cloth, anything at all, bits
\nof ribbons, little bits of paper, many different colours. And then you arrange
\nthem to make a scale, and you see in what order they have to be put. By the
\nside of this one, which should go? By the side of this other, which should go?
\nAnd so on. And you make an uninterrupted scale in such a way that nothing
\nshouts and you can go from one extreme of colour to the other. <\/span><\/p>\n

There are countless opportunities for
\ndoing things like that. One doesn’t use them. But if you look at the problem
\nfrom the point of view of education, you have constantly an opportunity
\n <\/span><\/p>\n

\nPage – 85<\/span><\/p>\n

<\/p>\n
\n

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

for educating yourself, constantly. It seems
\npeople make terrible mistakes in taste; if you knew, from the point of view of
\nartistic harmony, you simply live in a chaos! Take just the relations of
\ncolours \u2013 there are many other things, there is the relation of forms which is
\nmore complicated still \u2013 but the relation of colours: you take a colour and put
\nit beside another; and it happen that these groups of colours don’t go
\ntogether. Then, if you have no training, sometimes you are not even aware of
\nit. Sometimes you say, \u201cOh, it is not very pretty.\u201d But you don’t know why, you
\nare not at all conscious of the reason. But when you are trained, when you have
\ntrained your eye, first of all you never make a mistake like this, you never
\nbring together two things which don’t go together; and if by chance, on someone
\nelse you see things which are not at all made to go together, you don’t have
\nthat vague kind of feeling which says, \u201cOh, it is not pretty, oh, it is not
\ngood\u201d, a kind of vague thing…\u00a0\u00a0 <\/span>you
\ndon’t know why it isn’t pretty, it isn’t pleasant. And it is precisely because
\none colour belongs to one class and the other to another class of colours, and
\nif you bring together these two different classes without some intermediary
\ncolours to harmonise them, they shriek. You can immediately find the remedy
\nbecause you know where the fault lies. <\/span><\/p>\n

Well, from the point of view of forms it
\nis the same thing, you know. You arrange a room. You place anything at all
\nanywhere at all and then, when entering, someone who has a sense of harmony
\nfeels uneasy. He feels he is entering a chaos. But if you have the sense of
\ncolour and form, you must add to it the sense of order and organisation; but
\nstill, even without this utilitarian see of order and organisation, if you have
\nthe true see of form \u2013 of forms which can complement and harmonise with one
\nanother, and of colours which can complement and harmonise with one another \u2013
\nwhen you have to arrange a room, even if you have just three pieces of
\nfurniture, you will put them in the right place. But most people do not know,
\nit makes no difference to them. They think only of one thing: \u201cOh, it will
\n <\/span><\/p>\n

\nPage – 86<\/span><\/p>\n

<\/p>\n
\n

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

be more convenient to have this here and
\nmore convenient to have that there!\u201d And then, sometimes they don’t even think
\nof this, they put things anywhere at all. <\/span><\/p>\n

But when they enter their room, the place
\nwhere they have to live for several hours of the day, they enter a confusion
\nand disorder; and if they are not sensitive they do not become aware of it,
\nthey do not feel uneasy. However, this does not help in harmonising them
\nwithin; while if one has…\u00a0 <\/span>You have a
\nroom like that; in this room which has certain dimensions, you have to put a
\ncertain given number of articles of furniture, not more, not less; and you must
\narrange them in a particular order. For example, there is a harmony of lines,
\nyou see; and if you place things without considering this harmony of lines,
\nimmediately you get the impression of something shouting aloud. But if you know
\nwhere a curve is required, where an angle, where something small is needed and
\nwhere something large, and you put things in order…\u00a0 <\/span>Take just four articles of furniture: you can
\nput them in the right place or the wrong one; and it happen that if you truly
\nhave good taste and are well trained, your organisation is not only harmonious
\nbut the most practical. Some people, you know, pile up a considerable number of
\nthings in one small place and put them so clumsily that they can’t even move
\nwithout knocking against something. <\/span><\/p>\n

I know people of this kind. They enter
\ntheir room and spend their time bumping against this and that; and so they have
\nto go round about and make all kinds of extraordinary movements in order to be
\nable to use the things they need. And they don’t give it a thought, they don’t
\ngive it a thought, it happened like that…\u00a0
\n<\/span>Most people are so unconscious that when they are asked, \u201cWhy is it like
\nthat?\u201d \u2013 \u201cIt happened like that, it is like that.\u201d It happened like that, you
\nsee, by chance! And they live all their life \u201cby chance\u201d, things happen like
\nthat…\u00a0 <\/span>Well, this is indeed a lack of
\nthe education of the senses. If you really train them in the true way, first of
\nall you escape immediately from this unbearable thing: \u201cIt is pleasant, it is
\nunpleasant, this
\n <\/span><\/p>\n

\nPage – 87<\/span><\/p>\n

<\/p>\n
\n

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

pleases, that displeases… Oh, what an
\nunpleasant sensation !\u201d One doesn’t know why, besides, it is just this. And
\nthen, suddenly, \u201cAh, how pleasant it is !\u201d <\/span><\/p>\n

And then again, you eat too much of
\nsomething because you find it good, and you make yourself ill. Or again you
\ncan’t take a remedy because it is not pleasant and so… you don’t even have a
\nremedy \u2013 I mean something that does you good! Many times I have to tell people,
\n\u201cBut why don’t you take this?\u201d \u2013 \u201cOh, it is so bad!\u201d But if it does good, it
\nshould not seem bad to you. If you are conscious, you ought to feel the good it
\ndoes and that prevents you from finding it bad. <\/span><\/p>\n

It is the want of knowledge of the senses
\nwhich betrays you to this feeling. You see, you can begin the training when
\nquite small, quite small, and you can continue for more than a hundred years.
\nAnd then, truly, within yourself to begin with, you never grow old because it
\nis always interesting and always you make progress; and finally, after some
\ntime, not very long, something like about twenty years \u2013 that’s not much \u2013 you
\nsucceed in using your senses in a logical, rational, useful way and this helps
\nyou to enter into contact with the world consciously. Otherwise you go like
\nhalf-blind people groping in the darkness there, like this (gesture<\/i>), trying to find your way and at
\nevery step bumping into something. Or maybe, you mistake the road and then you
\nmust begin again. You make a mistake you must correct it. And I tell you, it is
\nlike a small exercise you can do, which can be done during any…\u00a0\u00a0 <\/span>\u201cWhy is it like that? Why have you done
\nthat?\u201d \u2013 \u201cI don’t know.\u201d \u2013 \u201cWhy have you arranged this in this way?\u201d \u2013 \u201cI don’t
\nknow.\u201d If you are honest to yourself, you will be obliged to say to yourself a
\nhundred times a day, \u201cI don’t know.\u201d <\/span><\/p>\n

I don’t think there’s one in a hundred who
\ndoes things consciously and deliberately and who is in tune with an inner
\nprinciple of taste or see of harmony. There are people like that, but not many,
\nnot very many. And even those who have an innate taste (there are people with
\nan innate taste, whose senses
\n <\/span><\/p>\n

\nPage – 88<\/span><\/p>\n

<\/p>\n
\n

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

are refined from birth \u2013 they should show
\nsome gratefulness to their parents always, for it is something very rare and
\nthey must have been born under a lucky star), even these can reach through
\neducation an extraordinary perfection. To develop the faculty of observation,
\nnowadays they do it \u2013 is in fashion \u2013 they do exercises. I think…\u00a0 <\/span>I don’t know, perhaps you are made to do them
\nalso, all kinds of exercises of all types; as for example, putting a certain
\nnumber of objects on a table, like that. And then the students are called in \u2013
\ncertain objects are put in certain places: they come in, stay for a few seconds
\nand go out again. And then they are asked what was on the table. Now it is
\ninteresting to see who has looked. They know, of course, that they have to see
\nsomething; they are informed beforehand, not even taken by surprise. They are
\ninformed, they are told, \u201cYou are to look.\u201d <\/span><\/p>\n

And so, those who can tell exactly how
\nmany objects there were and where they were, these are first-class ones. But
\nyou can do it for yourself as an exercise, it is very interesting. You go
\nsomewhere… you go to a friend’s and then come out after a while and ask
\nyourself, \u201cWhere was the furniture? How was it arranged? What were the objects
\non the table?\u201d You will see whether you can remember and have observed clearly
\nor not. What was the colour of the curtains? What was the colour of the
\ncushions? All kinds of things; it is an interminable field. <\/span><\/p>\n

 <\/span><\/p>\n

When one of the organs fails? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Well, you must train it. <\/span><\/p>\n

 <\/span><\/p>\n

I mean when it is not very good. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Well, you develop it, you can develop it.
\nEverything can be developed, methodically. This is again something else, this
\nkind of submission to fate. \u201cOh, my eyes are bad! Oh, my nose does not work!
\nOh, my ears are of no use!\u201d And what’s more, one
\n <\/span><\/p>\n

\nPage – 89<\/span><\/p>\n

<\/p>\n
\n

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

spends his time repeating, \u201cMy eyes are
\nbad\u201d, so this becomes worse and worse. Unless there is, you see \u2013 yes, of
\ncourse, there can be people who from their birth have no eyes at all. But then
\nthat is hopeless, one cannot mend them. But those who have just… most people
\nhave one organ which is bad because they did not know how to use it, because
\nfrom their very childhood they have not made good use of it; and in every case
\none can improve it so much \u2013 by education \u2013 so much that it becomes quite
\nsufficient. <\/span><\/p>\n

Of course you will tell me there are
\npeople who don’t have legs and others who don’t have fingers or who…\u00a0 <\/span>This may happen; but to these I won’t say,
\n\u201cUse your legs or your fingers!\u201d I am not so unreasonable. But I think that if
\nchildren are taken very young, there are very few who cannot be set right so
\nmuch so that they become normal \u2013 if not exceptional at least normal.
\nNaturally, there can be accidents, that is something else. But even with an
\naccident one can lessen its importance and its consequences through an
\nappropriate education at the proper time. You see, it is exactly the same thing
\nas the woodland or virgin forest and the cultivated garden. Obviously, the
\nwoodland or virgin forest can have its beauty but in any case it is a chaos: it
\nis the beauty of chaos. On the other hand, say you have a cultivated garden:
\nyou can in a given space have all kinds of flowers, for example, and produce
\nthe maximum number of things. Well, a human body is like that. If it grows up
\nlike that, as it wants, it is a woodland or a virgin forest, a jungle. But if
\nyou take it very young and take great care of it, well, it can become a very
\nbeautiful garden; and yet the elements are the same. You are not asked to
\nchange the nature of the ground, you are told to cultivate it, instead of
\nletting it go its own way in disorder. <\/span><\/p>\n

Some people, of course, will tell you,
\n\u201cOh, the woodland is beautiful, it is more beautiful than a garden!\u201d It depends
\non how one sees things; but then we shall not speak about education any longer,
\nit is not worthwhile. We shall no longer speak
\n <\/span><\/p>\n

\nPage – 90<\/span><\/p>\n

<\/p>\n
\n

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

of self-mastery, it is not worthwhile. We
\nwon’t speak of discipline any more, we won’t speak of yoga any more, we shall
\nleave Nature to go her own way as she wants. It amuses her but doesn’t amuse
\ncertain people. So these prefer to do otherwise. Those who are amused by it can
\ncontinue if they like, but those who are not must have the power to do
\notherwise. There are some who find that all is all right. They feel this until
\nsomething fairly unpleasant happen to them; then, at that time the little ego
\nsays, \u201cOh, yes! It is no longer as good as I thought.\u201d Yet for a time some
\npeople say, \u201cWhy! But I have no fault to find with the world. It is quite
\ncharming.\u201d Let them enjoy their world. But otherwise, if we want to make
\nsomething of it, well, we must cultivate our garden. Here we are! <\/span><\/p>\n

 <\/span><\/p>\n

Sweet Mother, many people tell us to ask questions in the class. Mother,
\nif the questions are not ours, what should we do? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Well, you can ask one…\u00a0\u00a0 <\/span>If I find it interesting I shall reply, if
\nnot we shall leave it. What is it? Give me a sample. <\/span><\/p>\n

 <\/span><\/p>\n

Not today, Sweet Mother. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

(Another child) Very often this happen. <\/i><\/span><\/p>\n

 <\/span><\/p>\n

(Another child) In <\/i><\/span>North India<\/span><\/i> a child was brought up by a wolf. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

What, what? <\/span><\/p>\n

 <\/span><\/p>\n

Brought up by a wolf. <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Ah, yes. I saw the photographs, yes. <\/span><\/p>\n

 <\/span><\/p>\n

How did it happen? <\/span><\/i>
\n
\n <\/span><\/p>\n

\nPage – 91<\/span><\/p>\n

<\/p>\n
\n

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

How did it happen? But I don’t know about
\nit. I know nothing about this adventure. I saw a photograph, that’s all; and I
\ndid not find it at all interesting and thought a lot of noise was being made
\nabout something quite uninteresting. The child was hideous. A little
\nmonstrosity. That’s all. <\/span><\/p>\n

 <\/span><\/p>\n

The psychic being which incarnated in it before its birth wanted to have
\nsome experience, didn’t it? But this accident from its birth… what will
\nhappen? <\/span><\/i><\/p>\n

 <\/span><\/p>\n

Perhaps it wanted this accident, what do
\nyou know about it? It could have just this desire to have an experience of this
\nkind. I don’t know. I saw the photograph… there didn’t seem to be much of a
\npsychic being there!\u00a0 <\/span>(Laughter<\/i>) It was rather a rudimentary
\nsomething, a possibility which will be realised after centuries and centuries.
\nStill, even if it was a conscious psychic being which wanted an experience,
\nperhaps it wanted this one, perhaps it asked itself: \u201cWhat kind of sensations
\ndoes one have if nursed by a wolf instead of a woman?\u201d This should not be very
\nthrilling; still perhaps it was someone who had been struck by the history of
\nthe foundation of <\/span>Rome<\/span> and wanted to see how it felt if it was
\ntrue; but in any case it did not succeed. Kipling’s story is finer than this
\nreal history. The little child there was nursed by a wolf… his name was…
\nMowgli, wasn’t it? But at least he was good, he was nice; while this child is a
\nhorror. It is something… it is not interesting. Are these the kind of
\nquestions people ask you? This type? <\/span><\/p>\n

 <\/span><\/p>\n

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

 <\/span><\/p>\n

Something better than this? <\/span><\/p>\n

 <\/span><\/p>\n

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

 <\/span><\/p>\n

But you don’t have these for today? No?
\nThen we shall stop. Au revoir<\/i>.
\n <\/span><\/p>\n

\nPage – 92<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

31 March 1954   This talk is based upon Mother’s essay \u201cThe Four Austerities and the Four Liberations\u201d, Part I.   \u201c…the vital has three…<\/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-4455","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\/4455","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=4455"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/4455\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=4455"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=4455"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=4455"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}