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osho el tantra vol. uno del bhairava del vigyana

el libro de los secretos: un nuevo comentario: negociaciones dadas a partir 01/10/1972 P.M. a 01/03/1973 P.M.






el capítulo veinte siete del tantra vol. uno del bhairava del vigyana

soundfulness del soundlessness y conocimiento total el 24 de enero 1973 de P.M. en los arbolados Bombay




INTONE Un SONIDO, COMO AUM, LENTAMENTE. COMO EL SONIDO INCORPORA SOUNDFULNESS, HÁGALE TAN.
EN EL PRINCIPIO Y EL REFINAMIENTO GRADUAL DEL SONIDO DE CUALQUIER LETRA, DESPIERTO.

MIENTRAS QUE ESCUCHA LOS INSTRUMENTOS DE CUERDA, OIGA SU SONIDO CENTRAL COMPUESTO; ASÍ OMNIPRESENCE.

Me pregunto si o no usted ha oído hablar el concepto del anti-matter. Un nuevo concepto ha entrado recientemente en el mundo de la física -- el concepto del anti-matter. Se ha sentido siempre que nada puede existir en el universo sin su contrario. Es imposible concebir cualquier cosa que existe solamente sin su contrario. Diametricalmente enfrente de debe haber si está sabido o no.

La sombra no puede existir sin la luz, vida no puede existir sin la muerte, mañana no puede existir sin noche, el hombre no puede existir sin la mujer -- o iguales con cualquier cosa que usted puede pensar en.

Diametricalmente enfrente de poste es inevitable necesario. Esto fue propuesta siempre en filosofía, pero ahora éste es un asunto de la física. Y las nociones muy absurdas se han convertido debido a este concepto. El tiempo se mueve a partir del pasado al futuro, pero ahora los físicos dicen que si el tiempo se mueve a partir del pasado al futuro, debe haber en alguna parte el proceso opuesto del tiempo, que se mueve a partir del futuro al pasado; si no este proceso del vez no puede estar -- sino que es. El contrario, diametricalmente enfrente de debe estar allí en alguna parte -- contra-tiempo. ¿Mudanza a partir del futuro al pasado? Parece muy absurdo. ¿Cómo puede algo moverse a partir del futuro al pasado?

También dicen que existe la materia, así que el anti-matter debe ser existente en alguna parte. ¿Cuál será el anti-matter? La materia es densidad. Suponga que una piedra está aquí en mi mano. ¿Cuál es esa piedra? Alrededor de él está el espacio y en el espacio hay una densidad de la materia. Esa densidad es materia. ¿Cuál será el anti-matter? Dicen que el anti-matter será justo un agujero en espacio. La densidad es materia, y hay también un agujero en espacio con nada en él. Un espacio estará alrededor de él, pero será justo un agujero del nothingness. Dicen que el anti-matter debe existir para balancear la materia. ¿Por qué estoy el hablar en esto? Porque estos sutras que deben seguir se basan en este "anti"phenomenon.

El sonido existe, pero el tantra dice que el sonido puede existir solamente debido a silencio; si no el sonido será imposible. El silencio es contra-sonido. Tan dondequiera que haya sonido, apenas detrás de él allí es silencio. No puede existir sin silencio; es el otro aspecto de la misma moneda. Pronuncio tan una palabra; por ejemplo, Aum. Cuanto más que lo pronuncio, apenas de lado a lado, apenas detrás de él es el contra-feno'meno, soundlessness. Tan si usted puede utilizar sonidos como técnica para entrar en soundlessness, usted incorporará la meditación. Si usted puede utilizar una palabra para ir más allá de palabras, usted se moverá en la meditación. Mírela de esta manera: la mente es la palabra; la meditación es ninguno-mente. La mente se llena del sonido y de palabras y de pensamiento. Apenas al lado de la esquina está el otro extremo -- ninguno-mente.

Los amos de Zen han llamado la meditación el estado de la ninguno-mente. ¿Cuál es mente? Si usted lo analiza, es un proceso del pensamiento. O si usted lo analiza en términos de la física, entonces es un proceso de sonidos. Este proceso sano es mente, entonces cercano justo él que existe la ninguno-mente. Y usted no puede moverse en la ninguno-mente sin usar la mente como el tablero que salta, porque usted no puede incluso concebir de qué ninguno-mente es sin entender cuál es la mente. La mente tiene que ser utilizada como tablero que salta, y de ese tablero que salta usted puede tener una zambullida en la ninguno-mente.

Ha habido dos escuelas de oposición. Una escuela está allí -- se conoce como "Sankya." Sankya dice que la mente tiene no ser utilizada, porque si usted utiliza mente usted no puede ir más allá de ella. Igual es la enseñanza de J. Krishnamurti; él es un Sankyaite. Usted no puede utilizar mente. Si usted utiliza mente que usted no puede ir más allá de ella, porque mismo el uso de la mente la consolidará, la hará más de gran alcance. Cuando usted lo utiliza, usted estará en sus embragues. Usándolo, usted no puede ir más allá de él. No utilice tan la mente. Ése es porqué Krishnamurti está contra todas las técnicas de la meditación: porque cualquier técnica está limitada para utilizar mente como base. La mente tiene que ser utilizada si usted va a utilizar una técnica. Cualquier técnica está limitada para ser una clase de condicionamiento -- o el reacondicionar, o el unconditioning, o qué nombre que usted le da, solamente va a estar con la mente.

La filosofía de Sankya dice que la mente no puede ser utilizada: apenas entienda esto y tome un salto. Pero el yoga dice que esto es imposible. Incluso esta comprensión debe ser hecha por mente. Incluso con esta comprensión -- que usted no puede utilizar mente, que no hay técnica de ayuda, que cada técnica se convertirá en un obstáculo y cualquiera usted quiera crean un nuevo condicionamiento -- usted todavía utilizará la mente, usted se moverá dentro de mente. Esto tiene que ser entendida también por mente.

El yoga dice tan que no hay manera en la cual la mente no se utiliza; la mente tendrá que ser utilizada. No debe ser utilizada positivamente, él debe ser utilizada negativamente. No debe ser utilizada de una manera tal que esté consolidada, él debe ser utilizada de una manera tal que esté debilitada. Y las técnicas son las maneras de utilizar la mente de una manera tal que usted la utilice para saltar más allá de ella. Usted la utiliza apenas para ir más allá de ella -- como tablero que salta.

Si la mente se puede utilizar como tablero que salta -- y el yoga y el tantra creen que puede -- entonces algo que pertenece a la mente tiene que ser entrenado. El sonido es una de las cosas básicas, usted puede utilizar el sonido para entrar soundlessness.


La tercera técnica en sonido:

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ESCUCHE OSHO DISOURSE EN ESTA MEDITACIÓN

INTONE Un SONIDO, COMO AUM, LENTAMENTE. COMO EL SONIDO INCORPORA SOUNDFULNESS, HÁGALE TAN.

INTONE Un SONIDO, COMO AUM, LENTAMENTE.

Por ejemplo, la toma Aum esto es uno de los sonidos básicos. A-u-m: estos tres sonidos se combinan en él. A-u-m es tres sonidos básicos. Todos los sonidos se hacen de ellos o se derivan de ellos; todos los sonidos son combinaciones de estos tres sonidos. Estos tres son tan básicos. Son tan básicos como en la física el electrón, el neutrón y el protón son básicos. Esto tiene que ser entendida profundamente.

Gurdjieff habla "de la ley de los tres". Él dice que la existencia en el sentido absoluto es uno. En el sentido absoluto, en el último sentido, hay solamente uno. Pero eso es absoluto, y cualquiera que vemos es relativo. Cualquiera que vemos nunca es absoluto; el absoluto se oculta siempre. No puede ser visto, porque el momento vemos algo, él se divide. Se divide en tres: los adivinos, haber visto, y la relación. Le estoy viendo: Estoy aquí, usted está allí, y entre los dos hay la relación del conocimiento, de ver, de la visión, de la cognición. El proceso se divide en tres. El absoluto se divide en tres; el momento que se sabe que se convierte en tres. Desconocido, sigue siendo uno. Sabido, se convierte en tres. Sabido es relativo; el desconocido es absoluto.

Tan incluso nuestro hable del absoluto no es absoluto, porque el momento decimos "el absoluto," él se ha sabido. Cualquiera que sabemos, incluso el absoluto del ` de la palabra ' es relativo. Ése es porqué Lao Tsu insiste tanto que la verdad no puede ser dicha. El momento que usted lo dice, él ha llegado a ser falso porque ha llegado a ser relativo. Tan qué palabra que utilizamos -- la verdad, el absoluto, Pa'rrafo-brahma, Tao -- qué palabra utilizamos, el momento la utilizamos, tiene pariente convertido y ha llegado a ser falsa. El se ha dividido en tres.

Gurdjieff dice tan que "la ley de los tres" es básica para el universo que sabemos. Y si vamos profundamente encontraremos, nosotros estamos limitados al hallazgo, que todo será reducido a tres. Ésta es "la ley de los tres". Los cristianos la han llamado la trinidad -- dios el padre, Jesús el hijo, y el fantasma santo. Los indios la han llamado TRIMURTI: las tres caras de Brahma, de Vishnu, de Mahesh o de Shiva. Ahora la física dice que si nos movemos, si vamos encendido a movernos con análisis a la misma base, entonces importamos somos reducidos a tres: el electrón, el neutrón y el protón.

Los poetas han dicho que si entramos profundamente en la búsqueda para la sensación estética humana, emoción, después hay SATYAM, SHIVAM, SUNDARAM -- el verdad, el bueno y el hermoso. La sensación humana se basa en estos tres. Los místicos han dicho que si analizamos ecstasy, SAMADHI, después Se sienta -chit-ananda -- existencia, sentido y dicha.

El sentido humano del conjunto, en qué dimensión trabaja, viene "la ley de los tres". el ` Aum ' es un símbolo de la "ley de los tres". A-u-m: estos tres son sonidos básicos. Los sonidos atómicos, usted puede llamarlos. Estos tres sonidos se han combinado en Aum, así que Aum está apenas cerca del detrás absoluto, justo él es el absoluto, el desconocido. Y Aum es la estación pasada por lo que los sonidos. Si usted se mueve más allá de Aum, usted se mueve más allá de sonido; entonces no hay sonido. A-u-m: estos tres son duran, ellos son el límite de la existencia. Más allá de estos tres usted se mueve en el desconocido, en el absoluto.

Los físicos dicen que ahora hemos venido al electrón, él se parecen que hemos venido al límite, al mismo límite, porque el electrón no se puede decir para ser materia. Los electrones no son visibles; no tienen ninguna característica material. Y no pueden ser llamados no-materia tampoco porque toda la materia los consiste en, se constituyen de ellos. ¿Si son ni materia ni no-materia, qué para llamarlos? Nadie ha visto electrones, él apenas se deduce; se asume matemáticamente que él está allí. Se saben sus efectos, pero no se han considerado. Ahora no podemos movernos más allá de ellos. La "ley de los tres" es el límite, y si usted le mueve más allá "de la ley de los tres" movimiento en el desconocido. Nada se puede entonces decir. Incluso sobre electrones muy poco puede ser dicho.

Aum es el límite por lo que el sonido, usted no puede moverse más allá. Ése es porqué Aum se ha utilizado tanto, en la India, y todo sobre el mundo. El Cristiano-Mohammedan ' Amen ' no es nada sino Aum en una diversa forma; las mismas notas básicas están allí. El inglés redacta ' omnipresent ', ' omnipotent ', ' omnisciente ' lo contiene: el prefijo ' omni ' es una derivación de Aum. So ' omnipresent ' refiere a el que esté presente en el conjunto del Aum, en el conjunto de la existencia. ' Omnipotent ' significa el que sea absolutamente potente. medios ' omniscientes ' el que ha visto el Aum, el conjunto, "la ley de los tres". El universo entero viene debajo de él.

Los cristianos, Mohammedans, han estado utilizando después de sus rezos ' Amen '. Pero Hindus ha hecho una ciencia completa fuera de él -- la ciencia de sonido y la ciencia de cómo superar el sonido. Y si la mente es sonido, entonces la ninguno-mente debe ser soundlessness, o -- y ambas significan iguales -- soundfulness.

This has to be understood. The absolute can be described in either of two ways -- negative or positive. The relative has to be described in both the ways -- negative and positive: it is a duality. When you try to express the absolute, you can use either positive terms or negative terms, because human languages have two types of terms -- negative and positive. When you are going to describe the absolute, the indescribable, you have to use some terms symbolically. So it depends on the mind.

For example, Buddha liked to use negative terms. He would say soundlessness; he would never say soundfulness. 'Soundfulness' is a positive term. Buddha would say soundlessness, but tantra uses positive terms. The whole thinking of tantra is positive. That is why the term used here is 'soundfulness': ENTER SOUNDFULNESS. Buddha describes his absolute in negative terms: SHUNYA, nothingness. The Upanishads describe the same absolute as the BRAHMAN -- absoluteness. Buddha will use nothingness and the Upanishads will use absoluteness, but both mean the same thing.

When words lose meaning you can use either the negative or the positive, because all words are either negative or positive; you just have to choose one. You can say for a liberated soul that he has become the whole. This is a positive way of saying it. Or you can say he is no more -- he has become nothingness. This is a negative way of saying it.

For example, if a small drop of water meets the ocean, you can say that the drop has become nothingness, the drop has lost its individuality, the drop is no more. This is a Buddhist way of saying things. It is good, it is right as far as it goes, because no word goes very far. So as far as it goes, it is good. The drop is no more" that is what is meant by NIRVANA. The drop has become non-being, it is not. Or you can use Upanishadic terms. The Upanishads will say that the drop has become the ocean. They are also right, because when the boundaries are broken, the drop has become the ocean.

So these are simply attitudes. Buddha likes negative terms, because the moment you say anything positive it becomes limited, it looks limited. When you say that the drop has become the ocean, Buddha will say that the ocean is also finite. The drop remains the drop; it has become a little bigger, that is all. Howsoever bigger makes no difference. Buddha will say that it has become a little bigger, but it remains. The finite has not become infinite. The finite remains finite, so what is the difference? A small drop and a big drop... for Buddha, that is the only difference between 'ocean' and 'drop' -- and it is right, mathematically it is so.

So Buddha says that if the drop has become the ocean, then nothing has happened. If you have become a god, then nothing has happened, you have only become a bigger man. If you have become the BRAHMAN nothing has happened, you are still finite. So Buddha says that you have to become nothing, you have to become SHUNYA -- empty of all boundaries and attributes, empty of everything that you can conceive of, just emptiness. But Upanishadic thinkers will say that even if you are empty YOU ARE. If you have become emptiness YOU are still there, because emptiness exists, emptiness is. Nothingness is also a way of being, a way of existence. So they say, why belabor the point and why unnecessarily use negative terms? It is good to be positive.

It is your choice, but tantra almost always uses positive terms. The very philosophy of tantra is positive. It says, do not allow no, do not allow the negation. Tantrics are the greatest of yea-sayers. They have said yes to everything, so they use positive terms.

The sutra says, INTONE A SOUND, AS AUM, SLOWLY. AS SOUND ENTERS SOUNDFULNESS, SO DO YOU...

INTONE A SOUND, AS AUM, SLOWLY.

The intoning of a sound is a very subtle science. First you have to intone it loudly, outwardly; then others can hear it. And it is good to start loudly. Why? Because you can also hear it clearly when you intone it loudly; because whatsoever you say it is to others, and this has become a habit. Whenever you are talking you are talking to others, and you hear yourself talk only when you are talking to others. So start from the natural habit.

Intone the sound Aum, then by and by, feel attunement with the sound. When you intone the sound Aum, be filled with it, forget everything else. Become the Aum, become the sound. And it is very easy to become the sound, because sound can vibrate through your body, through your mind, through your whole nervous system. Feel the reverberation of Aum. Intone it, and feel it as if your whole body is being filled with it, every cell is vibrating with it.

Intoning is also "in-tuning." Tune yourself with the sound, become the sound. And then, as you feel a deep harmony between you and the sound, and you develop a deep affection for it -- and the sound is so beautiful and so musical: Aum -- then the more you intone it, the more you will feel yourself filled with a subtle sweetness. There are sounds which are bitter, there are sounds which are very hard. Aum is a very sweet sound, the purest. Intone it and be filled with it.

And when you begin to feel harmonious with it, you can drop intoning loudly. Then close your lips and intone it inwardly, but inwardly also first try it loudly. Intone inwardly, but loudly, so that the sound spreads all over your body, touches every part, every cell of your body. You will feel vitalized by it, you will feel rejuvenated, you will feel a new life entering you -- because your body is a musical instrument. It needs harmony, and when the harmony is disturbed you are disturbed.

That is why when you hear music you feel good. Why do you feel good? What is music, but just some harmonious sounds? Why do you feel such a well-being when there is music around you? And when there is chaos, noise, why do you feel so disturbed? You yourself are deeply musical. You are an instrument, and that instrument re-echoes things.

Intone Aum inside, and you will feel that your whole body dances with it. You will feel that your whole body is undergoing a cleansing bath; every pore is being cleansed. But as you feel it more intensely, and as it penetrates you more, go on becoming more and more slow, because the slower the sound, the deeper it can go. It is just like homeopathy. The smaller the dose, the deeper it penetrates -- because if you want to go deeper, you have to go more subtly, more subtly, more subtly...

Crude, coarse sounds cannot enter your heart. They can enter your ears, but they cannot enter your heart. The passage is very narrow, and the heart is so delicate that only very slow, very rhythmic, very atomic sounds are allowed to enter it. And unless a sound enters your heart, the mantra is not complete. The mantra is complete only when the sound enters your heart -- the deepest, most central core of your being. Then go on being more slow, more slow, more slow.

And there are also other reasons for making these sounds slower and more subtle: the more subtle a sound is, the more intense an awareness you will need to feel it inside. The more coarse the sound, the less need there is of any awareness. A coarse sound will hit you, you will become aware of it; but then it is violent.

If a sound is musical, harmonious, subtle, then you will have to listen to it inside and you will have to be very alert to listen to it. If you are not alert, you will go to sleep and miss the whole point. That is the problem with a mantra, with any chanting, with any use of sound: it can create sleep. It is a subtle tranquilizer. If you continuously repeat any sound without being alert about it, you will fall asleep, because then the repetition becomes mechanical. "Aum, Aum, Aum..." becomes mechanical, and then repetition creates boredom.

Boredom is a basic necessity for sleep. You cannot get to sleep unless you are bored. If you are excited, you cannot get to sleep. That is why the modern man is becoming incapable of going to sleep. What is the reason? There is so much excitement. It was never like this before.

In the old, past world life was a deep boredom, a repetitious boredom. If you go to a village hidden somewhere in the hills, there life is a boredom. It may not look to you like a boredom because you have not lived there, and on a holiday you may feel very much excited. But that excitement is because of Bombay, not because of those hills. Those hills are completely boring. Those who are living there are bored and asleep. There is only the same thing, the same routine with no excitement, with no change, and nothing ever happens. There is no news. Things go on as they have always, they go on repeating in a circular way. As seasons repeat, as nature repeats, as day and night move in a circle, everything moves in a village, in an old village, in a circle. That is why villagers can fall to sleep so easily: everything is just boring.

Modern life has become so exciting -- nothing repeats. Everything goes on becoming new, changing. Life has become unpredictable, and you are so excited you cannot fall asleep. Every day you can see a new film, every day you can hear a new speech, every day you can read a new book, every day something new is possible.

This constant excitement continues. When you go to your bed, the excitement is there. The mind wants to be awake; it seems futile to fall asleep. There are thinkers who are saying that this is pure wastage -- if you live for sixty years, twenty years are wasted in sleep. Sheer wastage! Life is so much excitement, why waste any of it? But in the old world, in the old days, life was not an excitement. It was a circular movement of the same repetition. If anything excites you, it means it is new.

If you repeat a particular sound, it creates a circle within you. It creates boredom; it creates sleep. That is why Mahesh Yogi's transcendental meditation is known in the West as a non-medical tranquilizer. It is because it is a simple repetition of a mantra. But if your mantra becomes just a repetition without an alert YOU inside, an alert YOU constantly listening to you, listening to the sound, it may help sleep, but it cannot help anything else. As far as it goes, it is good. If you are suffering from insomnia, transcendental meditation is good.

Otherwise, it helps -- but not unless you use the mantra with an alert inner ear. Then you have to do two things: go on reducing the pitch of the mantra, reducing the sound, making it more slow and more subtle, and at the same time simultaneously go on becoming more alert, more alert. As the sound becomes subtle, become more alert; otherwise, you will miss the whole point.

So two things have to be done: sound has to be slowed down, and you have to become more alert. The more sound becomes subtle, the more alert you are. To make you more alert the sound has to be made more subtle, and a point comes when sound enters soundlessness, or soundfulness, and you enter total awareness. When the sound enters soundlessness or soundfulness, by that time your alertness must have touched the peak. When the sound reaches the valley, when it goes to the down-most, deepest center in the valley, your alertness has gone to the very peak, to the Everest. And there, sound dissolves into soundfulness or soundlessness, and you dissolve into total awareness.

This is the method:

INTONE A SOUND, AS AUM, SLOWLY. AS SOUND ENTERS SOUNDFULNESS, SO DO YOU.

And wait for the moment when the sound has become so subtle, so atomic, that now, any moment, it will take a jump from the world of the laws, the world of the three, and it will enter the world of the one, the absolute. Wait! This is one of the most beautiful experiences possible to man -- when sound dissolves. Then suddenly you cannot find where the sound has gone.

You were hearing it subtly, deep down: "Aum, Aum, Aum..." and then it is no more there. You have entered the world of the one. The world of the three is no more. This, tantra says, is soundfulness; Buddha says soundlessness.

This is a way -- one of the most used, one of the most helpful. Mantra became so important because of this. Because sound is already there and your mind is so filled with it, you can use it as a jumping board. But there are difficulties, and the first difficulty is sleep. Whosoever uses a mantra must be aware of this difficulty. That is the hindrance -- sleep. You are bound to fall into sleep because it is so repetitious, it is so harmonious, it is so boring -- you will fall victim. And do not think that your sleep is your meditation. Sleep is not meditation.

Sleep is good in itself, but beware. If you are using the mantra for sleep, then it is okay. But if you are using the mantra for spiritual awakening, then beware of sleep. For those who use a mantra, sleep is the enemy -- and it so easily happens. And it is so beautiful, because it is a different type of a sleep: remember that too. When it comes from a mantra, this is not ordinary sleep. This is a different kind of sleep.

The Greeks have called it HYPNOS, and from hypnos the word hypnotism has been derived. In yoga, they call it YOGA TANDRA -- a particular sleep which happens to the yogi and not to the ordinary man. It is hypnos -- an induced sleep, not an ordinary sleep. And the difference is very basic, so try to understand it -- because if you try a mantra, any sound, this is going to be your problem. The greatest problem to face is sleep.

Hypnosis uses the same technique -- creating boredom. The hypnotist goes on repeating a certain word or certain sentences. He is continuously repeating, and you become bored. Or he gives you a light to concentrate on. Seeing a light continuously, you get bored.

In many temples, churches, people are fast asleep. Listening to scriptures, they fall asleep. They have heard those scriptures so many times, it has become a boredom. There is no excitement, they already know the story.

If you go on seeing the same film again and again, you will be fast asleep: no excitement for the mind, no challenge, and there is nothing to see. You have heard the RAMAYANA so many times, you can be asleep and without any difficulty you can go on hearing in your sleep. And you will never feel that you were asleep because you will never miss anything in the story: you know it already.

Preachers' voices are very deeply sleep- inducing, monotonous. You can talk monotonously, in the same pitch, then sleep happens. Many psychologists advise their patients with insomnia to go and hear a religious talk, that gives sleep easily. Whenever you are bored, you will fall asleep, but that sleep is hypnosis, that sleep is yoga tandra. And what is the difference? That is not natural. It is unnatural, and with particular attributes.

One, when you fall asleep through a mantra or through hypnosis, you can create any illusion easily and the illusion will be as real as possible. In ordinary sleep you can create dreams, but the moment you are awake you will know that they were dreams. In hypnosis, in yoga tandra, you can create visions, and when you will be out of it you will not be able to say that they were dreams. You will say that they were more real than the life around you. That is one of the basic differences.

You can create any illusion. So if a Christian falls into hypnosis, he will see Christ. If a Hindu falls, he will see Krishna playing on his flute. It is beautiful! And the quality of hypnosis is that you will believe that this is real. That is the danger, and no one can convince you that this is unreal. The feeling is such that you KNOW this is real. You can say that the whole life is unreal, MAYA, illusion, but you cannot say that whatsoever you have seen in hypnosis, in yoga tandra, is unreal. It is so alive, so colorful, so attractive and magnetizing.

That is why if someone says something to you while you are hypnotized, you will believe him absolutely. There can be no doubt; you cannot doubt him. You may have seen some hypnotic sessions. Whatsoever the hypnotist says, the hypnotized person believes and starts acting out. If he says to a man, "You are a woman. Now walk on the stage," the man will walk like a woman. He cannot walk like a man because hypnosis is deep trust; it is faith. There is no conscious mind to think, no reasoning mind to argue. You are simply the heart, you simply believe. There is no way not to believe, you cannot question. The questioning mind is asleep -- that is the difference.

In your ordinary sleep, the questioning mind is present, it is not asleep. In hypnosis your questioning mind is asleep, and you are not asleep. That is why you can hear the hypnotist say anything to you and you will follow his instructions. In ordinary sleep you cannot hear, but your reasoning is not asleep. So if something happens which can be fatal to you, your sleep will be broken by your reason.

A mother is sleeping with her child. She may not hear anything else, but if the child gives even a very small sound, a small signal, she will be awake. If a child feels a little uneasy, she will be awake. The reasoning mind is alert. You are asleep, but your reasoning mind is alert. So even sometimes in dreams, you can feel that they are dreams. Of course, the moment you feel this your dream will be broken. You can feel that it is absurd, but the moment you feel it the dream will be broken. Your mind is alert, a part is constantly watching.

But in hypnosis, or in yoga tandra, the watcher is asleep. That is the problem with all those who want to use sound to go into soundlessness or soundfulness, to go beyond. They must be aware that the mantra should not become an auto-hypnotic technique. It must not create auto-hypnosis.

So what can you do? You can do only one thing: while you are using your mantra, while you are intoning your mantra, do not simply intone it. At the same time be alert and listen to it also. Intone it and listen to it both. Otherwise, if you are not listening consciously, it will become your lullaby and you will fall into deep sleep. That sleep will be very good -- you will feel refreshed after it, alive; you will feel a certain well-being -- but this is not the point.


The fourth technique on sound:

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LISTEN TO OSHO DISCOURSE ON THIS MEDITATION


IN THE BEGINNING AND GRADUAL REFINEMENT OF THE SOUND OF ANY LETTER, AWAKE.

Sometimes teachers have used this technique very much. They have their ingenious ways. For example, if you enter a Zen master's hut, he may suddenly give a scream. You will become startled, but if you know why he is doing this you know he is doing it just to make you awake. Any sudden thing makes you awake. Any sudden sound can make you awake.

Suddenness breaks your sleep, and ordinarily we are asleep. Unless something goes wrong, we are not out of sleep, we go on doing things sleepily. That is why we never feel the sleep. You go to your office, you drive the car, you come back to your home, you love your children, you talk to your wife, so you think you are not sleepy at all. How can you do all of these things in a sleep? You think that isn't possible, but do you know anything about sleepwalkers -- about those who walk in their sleep? Their eyes are open, and they are asleep, and they can do many things. But they will not remember in the morning that they have done them.

They may go to the police station and report that something is wrong, that someone came into their house at night and was creating mischief, and they themselves have been found to be responsible. But in the night, in their sleep, they walk and do certain things, then they come back into their beds and continue their sleep, and in the morning they cannot remember what has happened. They can open doors, they can use keys, they can do many things. Their eyes are open, and they are asleep.

In a deeper sense, we are all sleepwalkers. You can go to your office, you can come to your home, you can do certain things: you will repeat the same things you have always repeated. You will tell your wife, "I love you," and you will not mean anything by it. The words will be just mechanical. You are not even aware that you are telling your wife, "I love you." You are simply doing things as if you are fast asleep. This whole world is a world of sleepwalkers for a person who has become awakened. A Buddha feels that way, a Gurdjieff feels that way -- that everyone is fast asleep and still doing things.

Gurdjieff used to say that whatsoever is happening in this world is absolutely what can be expected -- wars, fights, riots, murder, suicide. Someone asked Gurdjieff, "Can something be done to stop wars?" He said, "Nothing can be done -- because those who are fighting, they are fast asleep, and those who are pacifists, they are fast asleep. And everyone is going on in a sleep. These happenings are natural, inevitable. Unless man is awake, nothing can be changed, because these are all just by-products of his sleep. He will fight; he cannot be stopped from fighting. Only the causes can be changed."

Once he was fighting for Christianity, for Islam, for this and that. Now he is not fighting for Christianity, now he is fighting for communism, for democracy. Causes will change, excuses will change, and the fight will continue, because man is asleep and you cannot expect anything else.

This sleepiness can be broken. You have to use certain techniques.

This technique says:-

IN THE BEGINNING AND GRADUAL REFINEMENT OF THE SOUND OF ANY LETTER, AWAKE.

Try with any sound, with any letter -- Aum, for example. In the beginning, when you have not yet created the sound, AWAKE. Or when the sound moves into soundlessness, then awake.

How can you do it? Go to a temple. A bell is there or a gong. Take the bell in your hand and wait. First become totally alert. The sound is going to be there and you are not to miss the beginning. First become totally alert, as if your life depends on this, as if someone is going to kill you this very moment, and you will be awake. Be alert -- as if this is going to be your death. And if there is thought, wait, because thought is sleepiness. With thought you cannot be alert. When you are alert, there is no thought. So wait. When you feel that now the mind is without thought, that there is no cloud and you are alert, then move with the sound.

Look when the sound is not there, then close your eyes. Then look when the sound is created, struck; then move with the sound. The sound will become slower and slower, subtler and subtler and subtler, and then it will not be there. Then go on with the sound. Be aware, alert. Move with the sound to the very end. See both the poles of the sound, both the beginning and the end.

Try it with some outer sound like a gong or a bell or anything, then close your eyes. Utter any sound inside -- Aum or anything -- and then do the same experiment with it. It is difficult; that is why we do it outwardly first. When you can do it outwardly, then you will be able to do it inwardly. Then do it. Wait for the moment when the mind is vacant, then create the sound inside. Feel it, move with it, go with it, until it disappears completely.

Until you can do this... it will take time. A few months will be needed, at least three months. In these three months, you will become more and more alert. The pre-sound state and the after-sound state have to be watched. Nothing is to be missed. Once you become so alert that you can watch the beginning and the end of a sound, through this process you will have become a totally different person.

Sometimes this looks very absurd. Such simple techniques, how can they change you? Everyone is so disturbed, in anguish, and these methods seem so simple. They seem like tricks. If you go to Krishnamurti and tell him that this is the method, he will say, "This is a mental trick. Do not be tricked by it. Forget it, throw it!"

It looks so. Obviously, it looks like a trick. How can you be transformed through such simple things? But you do not know -- they are not simple. When you do them, then you know that they are very arduous. If you just hear me telling about them, they are simple. If I tell you, "This is poison and if you take one drop of it you will die," if you do not know anything about poison you will say, "What are you talking about? Just a drop of this liquid, and a person like me who is healthy, strong, will die?" If you do not know anything about poison, then only can you say this. If you know something about it, you cannot say this.

This seems to be very simple: intoning a sound and then becoming aware in the beginning and in the end. But awareness is very difficult, and when you try it then you will know that it is not child's play. You are not aware -- and when you try it, for the first time you will know that you have been asleep your whole life. Right now you think you are already aware. Try this. With any small thing, try this.

Tell yourself that "I will be awake, alert, for ten breaths," and then count the breaths. "For ten breaths only," tell yourself, "I will remain alert. And I will count from one to ten, the incoming breath, the outgoing, the incoming, the outgoing. I will remain alert."

You will miss. Two or three, and you will have moved somewhere else. Then suddenly you will become aware that "I have missed. I am not counting the breaths." Or you can count, but when you have counted to ten you will become aware that "I was counting in my sleep. I was not alert."

Alertness is one of the most difficult things. Do not think that the methods are simple. Whatsoever the technique, alertness is the thing to be attained. All else is just a help.

And you can devise your own methods. But remember only one thing: alertness must be there. You can do anything in sleep; then there is no problem. The problem arises only when it is a condition to do it alertly.


The fifth sound technique:

41 41



LISTEN TO OSHO DISOURSE ON THIS MEDITATION


WHILE LISTENING TO STRINGED INSTRUMENTS, HEAR THEIR COMPOSITE CENTRAL SOUND; THUS OMNIPRESENCE.

The same! You are hearing an instrument -- a sitar, or anything. Many notes are there. Be alert and listen to the central core, the backbone of it around which all the notes are flowing, the deepest current which holds all the notes together -- that which is central, just like your backbone. The whole body is held by the backbone. Listening to the music, be alert, penetrate the music, and find the backbone of it -- the central thing which goes on flowing, holding everything together. Notes come and go and disappear, but the central core flows on. Become aware of it.

Basically, originally, music was used for meditation; particularly Indian music developed as a method of meditation, Indian dancing developed as a method of meditation. For the doer it was a deep meditation, and for the audience also it was a deep meditation. A dancer or a musician can be a technician. If there is no meditation in it, he is a technician. He can be a great technician, but then the soul is not there, only the body. The soul comes only when the musician is a deep meditator.

And music is just the outward thing. While playing on his sitar, one is not only playing on his sitar, he is also playing on his alertness inside. The sitar goes on outwardly and his intense awareness moves inside. The music flows outwardly, but he is alert, constantly aware of the innermost core of it. And that gives samadhi. That becomes ecstasy. That becomes the highest peak.

It is said that when the musician has really become the musician, he will break his instrument -- because it is of no use. If he still needs his instrument, he is not a real musician yet. He is just learning. If you can play with music, with meditation, sooner or later the inner music will become more important, and the outer will become not only less important: ultimately it will become a disturbance. If your consciousness moves inside and can find the inner music, then the outer music will be a disturbance. You will throw the sitar, you will throw the instrument away from you, because now you have found the inner instrument. But it cannot be found without the outer; with the outer you can become alert more easily. Once you have become alert, leave the outer and move inwards. And for the listener also, the same!

But what are you doing when you listen to music? You are not meditating. On the contrary, you are using music as something like alcohol. You are using it to be relaxed, you are using it for self-forgetfulness. This is the misfortune, the misery: the techniques which were developed for awareness are being used for sleep. And this is how man goes on doing mischief with himself.

If something is given to you which can make you awake, you will use it to make yourself more sleepy. That is why for millennia teachings were kept secret -- because it was thought to be useless to give techniques to a sleepy man. He will use them for sleep; he cannot do otherwise. So techniques were given only to particular disciples who were ready to shake their sleep, who were ready to be shattered out of their sleepiness.

Ouspensky dedicates one book to George Gurdjieff as "the man who disturbed my sleep." Such people ARE disturbers. Persons like Gurdjieff or Buddha or Jesus, they are disturbers. That is why we take revenge upon them. Whosoever disturbs our sleep, we will crucify him. He doesn't look good to us. We may have been dreaming beautiful dreams and he comes and disturbs our sleep. We want to kill him. The dream was so beautiful.

The dream may be beautiful and I may not be beautiful, but one thing is certain: it is a dream, and futile, useless! And if it is beautiful, then it is more dangerous because it can attract you more, it can become a drug.

We have been using music as a drug, dancing as a drug. And if you want to use music and dancing as drugs, then they will become not only drugs for your sleep, they will become drugs for sexuality also. So remember this point: sexuality and sleep go together. The more sleepy the person, the more sexual; the more awake, the less sexual. Sex is basically rooted in sleep. When you awake you will be more loving, the whole energy of sex will have been transformed to love.

This sutra says:

WHILE LISTENING TO STRINGED INSTRUMENTS, HEAR THEIR COMPOSITE CENTRAL SOUND -- their complete central sound -- THUS OMNIPRESENCE.

And then you will know what is to be known, or what is worth knowing. You will become omnipresent With the music, finding the composite central core, you will become awake, and with that awakening you will be everywhere.

Right now, you are somewhere -- a point which we call the ego. If you can become awake, this point will disappear. You will not be anywhere then, you will be EVERYWHERE -- as if you have become the all. You will have become the ocean, you will have become the infinite.

The finiteness is with the mind.

The infiniteness enters with meditation.