Ongiara Indian mythical character whose wings
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On the importance of Indian tantra yoga
The ritual way of life of the Hindu consists of sacraments, rituals, festivals and observances, like a country road of trees. Shaded by them he walks there; they embrace him before he is born and know how to find him when he's long dead. They stand next to the myths of gods and people, which in epics and ancient traditions contain endlessly the unifying and guiding good of symbols and formulas for the reality of the world and human fate. The moral element, example and warning that the myths present in the course of their events condenses in the observances to form a formative, educational approach to people. In their soul-guiding function, such observances are related to the yoga path and their peculiarity shines light on his.
A young Bengali told me some observances he remembered from his childhood in the rural home; It felt like homesickness to him when he spoke of this still closed Indian world, from which he had been uprooted into the cosmopolitan-western through his Anglo-Indian education.
There is an observance, "the giving of the fruit" - it is practiced by the mother who has given birth to a son. Bearing a son into the world is the highest duty and highest happiness of the Hindu woman; for this purpose she was married so that through her the male line of the husband would not be broken, that she might give birth again to the husband and his forefathers in the son. Through this highest fruit their life only receives meaning and justice. But as much as she is attached to the true fruit of her life - she did not give birth to her son to keep him for herself, but to give him to the world when he is ripe, from her knees into the world strive out.
The great bond between mother and child, natural and intimate, harbors the danger of a deep, insoluble life crisis, for both mother and son, if the mother's existence is religiously exclusive on this bond as on few other things. And the danger of this life crisis can poison the relationship and the son. But the natural, necessary and most painful detachment of the son from the mother, that she gives the fruit (phala) of her son as a gift (dāna) to the world, is possible through the observance (vrata) of the giving of the fruit (phaladāna-vrata) made.
Whoever wants to sacrifice such great things must start with small things and use them to educate himself towards the great sacrifice. The beginning of this observance is indefinite, it is around the fifth year of the son's life, but a later start is also possible. The observance runs for an indefinite number of years and lasts for one month every year. The house brahmin and spiritual teacher of the family (guru) guides them and determines their walk; he decides when the mother is ripe for the conclusion: sooner or later, after previous sacrifices, to offer the real sacrifice of the son. The woman begins by sacrificing small fruits that she is very fond of. She refrains from eating them and offers them daily with rice and all kinds of vegetables to the house Brahmans as a donation. She fasts in the morning and gives this gift to the guru when he visits the house in the course of the morning; he eats from it and also hands her a little something that she devours reverently. She then continues to fast until evening, when she can cook and eat again. Every time he comes, the guru tells the mother a mythical story of a woman who knew how to sacrifice everything and drew from it the strength to do everything; silent and attentive, holy grass in her hands together, the woman listens to him, absorbs his words and moves them in her heart.
Every year a different, more valuable fruit is symbolically at the center of this giving. The sacrifice progresses from fruits to metals, from iron to copper and bronze to gold. These are the metals from which women's jewelry is made. Actually, what is meant by this is the - at least partially, at least step by step - sacrifice of the woman's jewelry. Because her jewelry, along with her clothes, is the woman's only personal possession to which she is attached; - but objects made of these metals can take its place which are specially designed to represent it symbolically in this observance.
The last, extreme increase in this sacrifice is a complete fast: the woman gives the guru fresh coconut milk and has to suffer thirst all day. Brahmins, relatives and servants (subjects) attend the ceremony; as witnesses they represent the world to which the son must be surrendered. At the end of the observance, twelve Brahmins, a few beggars and members of the fifth class of the "untouchables" are ceremonially fed: the highest and lowest caste, top and base of the social pyramid symbolically and as witnesses represent the entire social world to which the grown-up relies Home and mother gangs must be handed over. A relative of the male line must also be present; he represents that part of the world which the son's maternal sacrifice to the world mostly concerns. The observance comes to an end when the guru declares the mother to be ripe to perform the giving of the son to the world. Then she brings the sacrifice of the fruit of her life -: silently and inwardly.
Myth and rite intertwine in this observance in order to carry out the necessary transformation in the mother: to detach her from the loved one who knows she is bound to herself and always wants to be bound to herself. The ritual of symbolic giving is light from the myths of exemplary figures, with whose repeated recitation the guru accompanies the steps of the sacrifice. Their attitude is awakened from the woman's unconscious, in order to shape their being according to themselves, in order to redeem and protect them from the instinctive force of attachment, which can rape mother and child to the detriment of both. In place of the touching but threatening demony of the elementary feeling, there is a symbolic being inside, which takes this flood of feeling into its contour and transforms it into its posture.
Love can prove itself as well in jealous clutches as in blessing releasing. We have the possibility of everything within us. But we are unable, with reason and conscious will, to awaken them from their deep slumber, if necessary. But the symbolic, heard over and over again in myth, repeatedly practiced in rite, has this magical, conjuring power over our unconscious, from whose bosom the demonic of the instinct rises, raping us, and we cannot defend ourselves from it. We are not masters of our feelings, but models, lowered into the unconscious with rites, guide and shape our emotional life.
That is the point of another observance practiced by sisters on brothers. Family life, especially in the large Indian family, where the grown sons with their wives and children often live with their parents, is fraught with friction. The married women of the men and their sisters in the house - how do they get along? In the family you live together with all the little plagues and worries of the day, rub yourself against the peculiarities of the other - when do you become aware of how close you are to each other: one blood, one life. Important emotional functions are neglected, wither, sleep, and they often wake up when it is too late.
The observance "bhrātri-sphota" (bengali "bhai-phota"), the "forehead sign of the brother", is practiced on the second night of the waxing moon in October. All the sisters in the family get together and invite their brothers; the rite they practice is to save their brothers from death. He is offered as a sacrifice to overcome death. - Other sacrifices are practiced to worship a god, to win his favor; no god comes into question here; the sacrifice consists in the sister sacrificing herself to death. This is what the first man's only sister did for her brother Yama. The first person, Yama (- that is "twin"), had a twin sister Yamunā (called "Yamī" in the Vedic myth), who overcame death for him. By sacrificing herself to death for him every day, he became the death-conquering king in the kingdom of the blessed, became the ruler of the world of the dead. This mythical event is the model for the sisters, it is repeated in their observance. The whole thing is a question of willpower and belief: because Yamunā was able to immortalize her brother with her willpower, every sister must develop the belief in herself that with her willpower she can perform the same miracle on her brother.
All sisters invite all brothers to one of themselves. They fast and give the brothers a special meal, a small meal. It consists of nothing but very pure, living things. After midnight the sisters go out and collect the night dew from the leaves, the purest water from the sky, the milk of life from the upper world, which refreshes and builds up all creatures. It is a pure heart full of caring love that requires this observance, and this loving effort, which collects the pure dew for the brother every night to drink, indicates the pure heart. Rice is added to the thawing water; it is pure and alive because it is freshly peeled off; with banana, pure and alive from the peel, and fresh coconut milk from the fruit that has just been split.
As a symbol of renewed, fresh life, the brothers receive new, clean garments from the sisters; they put them on after bathing. Then they take the small meal. The climax of the ceremony is when the sisters dab a sign (sphota or tilaka) between the brows of the brothers' foreheads several times. To do this, they take lampblack, sandal, honey, curdled milk and melted butter, which they stir and apply, each individually, with the little finger of their left hand. With these materials, which mean life, Yamunā marked her brother's forehead to hold him against the grip of death. So the food made from the purest materials, from heavenly dew and living fruit, is an image of the drink "Deathless", from which the gods have their eternal life. During this ceremony it is said that this is how Yamunā acted to Yama, and through this he overcame death and became immortal. At the end of the observance, the younger sisters receive a small present from the older brothers - mostly sweets - and the older sisters give presents to the smaller brothers.
It is not just a question of a spell that is supposed to free the brothers from death through the love of the sisters. The imitation of the old magic that Yamunā practiced on Yama, the mythical success of which attests the effectiveness of the observance, also has its purpose in establishing the possibility of an ideal relationship between brother and sister, which lies hidden at the bottom of this relationship throughout life to call to inner reality so that it paralyzes the opposing forces of everyday life and human inadequacy, the currents of possible annoyance and alienation, indifference and hostility, and replaces them with their opposite. The mythical archetype is supposed to awaken what the day may have shed from the depths of the unconscious, into which it may have sunk, and bring it up from its stunted development into the life of the person to be controlled.
Whoever embraces and carries such customs at every turn, so that his path involuntarily always follows the tracks that they draw, does not need to become conscious of questions and decisions about how to stay and where to go. That is already provided for him in the wisdom of the great cult and life community, which received and blessed him sacramentally before he was born and which blesses him again and again - especially when it demands symbolic sacrifices and renunciations from him with peculiar severity . He swims, carried by the current of ritual-sacramental observances, unconscious of himself all his life - as it were under water he drifts along in the current of the unconscious. So he travels in harmony with himself and the contents of eternal life, which come into every life with tasks, happiness, sacrifices and sufferings.
It is the genius of such observances that they are completely apt in their symbolism - as completely apt as our deep dreams and sometimes as dark as these for reason. They hit the unconscious as the ruler of our life in us with the power of the symbolic, in which the real genius of the unconscious consists when it produces our dreams or otherwise gives us signs through involuntary actions.
Such customs are also created by an unconscious, namely formed by the collective super-personal spirit of the cult and community, and they are intended to address something super-personal in us, the deeper unconscious. They should guide it so that our person is properly interlocked in the supra-personal human coexistence and so that he can cope with the eternal holdings of life, which are also supra-personal in fate and requirements, beyond all individual, biographical-historical situations in which they are loaf each other, us together with all living nature.
This unconscious as a supra-personal sphere of our depth is full of form; Here, as the psychology of dreams and other expressions of the unconscious shows, the fateful things man has experienced since and before he broke away from the ranks of animals was reflected in symbols, in archetypes. Our deeper dreams bring it up to us, and it is nothing more than what the myths of all time have preserved in terms of characters, situations and symbolic props. - That is why wisdom makes use of such observances, who want to control the life course of the person from their unconscious, like through invisible cliff zones in which we can fail unexpectedly, mythical figures, to guide people through those necessary contents of life, which are its naturally inevitable points of crisis mean to escort without shipwreck. The archetypes or variants of archetypes in myth and rite hit the unconscious, which does not achieve reasonable warning and consolation; - But in the unconscious they meet something related to them, an archetype that weaves in its depth, and awaken it in us as a tool of the regent, as a model from the unconscious, which can gain power over our person so that it conforms to it in their behavior.
This is how such archetypes, awakened from their slumber in us to light images, transform us, in that they, called from outside their own kind in myth and observation, rise in our depths and take the lead within us. What our conscious will cannot awaken in us, rises from us to a guiding function, so that it transforms us in its image and guides our formless life forces by accepting them as a ready original form and filling itself with them, like a form with liquid metal. Then the archived image in us protects us from our formless forces tearing our person apart or driving us astray under the pressure of the eternal content of life that oppress us as a given fate and threaten to crush us. As an old, timeless example, it gives us peace with the inevitable fate of the creature. That is the high function of the holy figures and other figures who have risen to the rank of mythical symbolism, that they can transform us into their equals in action and suffering, if they are able to awaken their image that rests in us as a possibility of great attitude across the bridge of our devotion and concentration on their essence.
Another such observance, which acts like the "forehead sign of the brother" with a mythical archetype, is the Sāvitrī rite performed by the Indian widow. The fate of the Indian widow is probably one of the hardest things that can be imposed on a person. Hindu marriage is a bond for eternity. The woman remains the woman of this one man beyond death; H. the man is immortal to her. But, half wedded to him as a child, she often loses him before she has really possessed him. Her life is over with his. What remains after his untimely death is hardly the shadow of an existence.
An observance, practiced for a month every year, is supposed to help the widow to be able to cope with the fateful wages of her life. At its center is the legendary figure of Sāvitrī, a king's daughter who married the son of an exiled king, although she knew what was hidden from him: that his days were numbered by the god of death.When the time came when the god of death would take her husband's life, she fasted for three days and purified herself to meet the god. She did not leave her husband's side and followed him into the jungle; It was while fetching wood in the blooming wilderness, when all nature, refreshed by the summer rain, was in bloom, so that the god of death came and caught her husband's spark of life in his noose. But she spoke to him of all holy and good things, swore to him and did not cease until she had requested the life of her husband and received the sight of his blind father, crown and kingdom for the expellee and her own sons and happiness from Were promised to God.
What Sāvitrī achieved times ago, bringing her husband back to life when death had already brought him, every woman who has died her husband seeks to accomplish in her life. That is the meaning of this observance, which is practiced by the widow in the same summer month and is supposed to end on a new moon night, just as Sāvitrī's story ended wonderfully on a new moon night. The observance contains three full days of fast, corresponding to the fast of Sāvitrī before their encounter with the god. It is practiced in the widow's house in front of the image of the household deity, the deity is present as a witness. A brahmin, the widow's guru, comes every day and tells her the story of Sāvitrī; the woman, who fasted until he came, listens to him, holding sacred grass in her hands. At the end of the observance, a white silk thread is looped around the woman's left upper arm nine times, it is labeled and creates an indissoluble bond with her husband, who has become intangible. She wears it until the observance repeats itself in the coming year. So the miracle of the husband's return, his being alive for the wife, if not tangible in space, is to take place inwardly for the wife. The archetype of love that overcomes death is called in her heart as the meaning of her life and destiny. The variant of the archetype in the form of the mythical Sāvitrī awakens it to life from the depths of the unconscious, to which it overwhelms the person and takes in and absorbs his life forces, which can tear them apart chaotically in pain or desire or drive them astray transform their essence into an image of the Sāvitrī.
Growing up to the inevitable is the wisdom of life. The unconscious alone, which knows everything and symbolically moves within itself, but allows us as a person to see only as much of it as we deserve if we are able to listen to it, and not much more than we need to find our way through the inevitable contents of the To walk in life - the unconscious alone is equal to everything. It is the ageless whole, to which nothing new happens, what also happens to us, and which watches the course of the ego as the sorrowless nature watches the blossoming and decay of its creatures. His most waking time in most people is childhood, which is why it is the true age of genius: magical, incorruptible and close to everything.
That is why there is an observance in Bengal that is practiced by children; it teaches people the only thing that everyone needs: to cope with the inevitable. It is the worship of the jamburī. Larger children initiate the smaller ones. You start doing it in the fifth or sixth year, and children who are younger participate at least by standing by in silence. Adults are not allowed to be there, yes, they do not even know exactly when the children practice the rite, because this observance, like all of its kind, must not have uninvolved bystanders. They all happen for the sake of realization on the practitioner himself, not as a representation or as a symbolic ceremony for teaching and consecrating others. That is why the rite must be practiced secretly from the great. It almost looks like a game between children, who have watched the ritual life of the grown-ups as it goes through the whole year, and who now enter their little world with the same importance of the mystery of those rites and with the unshakable seriousness of the child Do the same - but with what profound seriousness, who knows everything!
The observance runs for five years and is practiced in the winter nights of the coldest month - in the month of Māgha, in January / February. The children secretly get up very early in the morning, when it is still dark, before there is another animal on the way, before another bird raises its voice. Every night they form a new small, barely hand-sized figure of the Jamburī out of earth - from the same earth in which they play and dig during the day. Every morning, when the ritual is over, the figure is thrown away - that's how the adults in the cult at home form little images of gods from clay every day, which are thrown into the water after the devotion and melt in it. The small figure has no arms or legs, the eyes and mouth are barely indicated. A small pond is formed by it with a small earth wall. She sits on it and in it her water is offered, as well as flowers and holy grass. “I'll bring you water before the crow has drunk it; I'll bring you flowers before a bee has visited them «- such sayings accompany the performance, and the story of Jamburī is told along with them. Its sense - and it is the sense of observance - is: Jamburī has no feet and no hands, no right mouth and no right eyes, and yet it can accomplish everything, realize everything, - because it has a will; we want to learn that from her.
The customs increase every day, and the inner process that, awakened by them, is supposed to accompany them, runs through the seven stages of the yoga path, which is attached to an image of a god: from the contemplation of the physical image to the detachment of its inner likeness, whose vision no longer needs an external stopping point, and from the internal vision of this image in the opposition of the observer and the image to the union of both (samādhi), to the realization of the image content in the devotee -: both dive into one another and become one.
The offering of water and flowers is then only an introductory ceremony; with it the sacrificing child testifies that it comes to the jamburī as a real serious disciple, like a disciple to its guru: reverent and ready to serve, - ready to take up the teaching of the jamburī and to realize it. Then the teaching follows, ascending through the yoga levels. The story of the myth of the Jamburī forms, again and again, the bridge on which the rigid, mute teacher, the little dump of earth, gives the devout pupil what he has to convey of his being. - So even today there is instruction and initiation among adults (in Japanese and Tibetan Buddhism), which takes place in opposition to teacher and student, accompanied by symbolic gestures and fixed formulas, without a word of instruction being spoken. Teachers and students have purified themselves in asceticism and have gathered all their strength in exercises to communicate something that cannot be transferred to one another in words. The teacher gives, the pupil receives something that is more than knowledge -: a force, a magical part from the essence of the teacher, which penetrates into the whole of the person, into the subconscious of the pupil and transforms him from the depths.
The result of this ascending process is: the little student of the jamburī has absorbed what she can teach him, namely her essence, in such a way that it has become reality in him - his new reality to which he has been transformed. Her essence has flowed over into him and has become his essential substance. How would that be possible if it were not germinal in him, as one of the countless readiness of his semi-form-free, always malleable and form-hungry life force, the "shakti" in him, which, like the infinite power, the shakti of the universal god, unfolds the macrocosm and play through, rule in the small world of his body, take on various forms and want to develop into ever new ways?
From here the view of that yoga is free, which in daily worship of the deity calls up its inner diagram in the devotee. The literature of tantras offers innumerable instructions for this form of "pūjā," the worship of the divine in one of its infinitely many aspects. She teaches an inner cult of full believing devotion (bhakti) to the deity of the heart, the "ishta-devatā" - to the "deity who sacrifices" according to the ritual into which his guru has initiated him. As in the observance of the Jamburī, a small cult image serves as the center of the rite of offering and worship. At the same time, however, it serves as the starting point for the inner perception of the pious, which is supposed to gradually soak up its outer obvious appearance until it can shed the tangible image. Then the external cult, which mimics the reception and entertaining of a distinguished guest by decorating the cult figure, with offerings, whispered sayings, waving lights and other ceremonies, becomes obsolete. This cult practice is transferred to the sphere of purely inward perception. In an inner view, the god figure with its entourage and props is built up in its own space (palace, landscape, seat under a tree, etc.). This happens gradually; the entire image content is internally visualized piece by piece down to the last detail and recorded continuously. The god figure is denoted by "spiritual", i.e. H. purely visualized jewelry and pearls adorned on the neck and arms, breast and hips, from the diadem on the top of the head to the rings around the ankles; "Spiritual" flowers are offered to her - the entire outer ceremony is to take place in a process of continuous visualization.
But from the end point of view this is still preparation; the tense effort of inner vision expresses the devout devotion and adoration of the pious, like the donations and sayings of the children and their nocturnal toil in the cult of the jamburī. The actual goal is that this inner image of the deity and who sees it inwardly in us, come from the duality of their counterpart to mutual interpenetration, merge into one (samādhi). Then the believer learns that the deity is not different from him - it does not weave somewhere out in the world and came to visit him; nor does it sit enthroned above heavens in any heaven, -: from his own shapeless interior he built her up with all details and at the end of the devotion lets her flow again into his shapeless depths inside, into the primal waters of the unconscious, like the Indian god the world that he unfolded when it is ripe for dissolution, melts back into itself, the solitary night primeval flood. From the unconscious the pious forced the appearance of the divine up, after the unconscious had incorporated its form according to the model of the external cult image - now it can remember it in daily processes. Just as Brahmā on the lotus rises and rises out of the primordial waters at every beginning of the world, demiurgically unfolding the world, and how the world dissolves again at the end of an aeon in the spaceless and spaceless sea of the beginning, the figure of God rises as figment and hieroglyph from the innermost core of the adept - as a true figure of his intangible being, which he had remained unconscious as such and in no other way can be consciously raised into consciousness.
The number of images of gods, whose worship is taught in inner evocation, contemplation and merging, is legion. The great and small gods of Hinduism appear in ever different variants of appearance, costume and gesture, with changing weapons, emblems and props, with blessing and threatening attitudes, gracious and dark, and accompanied by their divine powers (shakti) as theirs Women who, like facets of crystal, unfold the colors of light, the divine being. The god in gracious appearance with a gesture of blessing and giving is often accompanied by his shakti, threateningly dripping blood, because only in this way is he truly whole, his essence is the whole. - They are all visualized as spawns of our own depth, as hieroglyphs of our being. Because in all of us everything is - at least as a possibility.
In us there is the disposition to everything: we want to hear and obey, follow and be guided, serve and abdicate; but we also want to swell and command, rule and hurl lightning; we want to be part of a community and be lonely, not needing anyone else. All horror sleeps in us and all misdeeds, but also all possibilities of purification and transfiguration. An unstoppable rapid succession like a lawn of twitching lightning, yes, an eternal simultaneity of all these contradicting possibilities would be the total, ideal fulfillment of the being inherent in us, the shakti in us; - and it would tear us apart and our world, if it broke out from our innermost being like this, would flow beyond us into reality and want to project itself onto the world. The real fulfillment of such a tremendous game is the existence of God - but not of the creature. Its reflection lies on the child's behavior as long as it is small; there this urge finds a greater degree of fulfillment than later, without the person breaking. Everything inside is projected outwards unrestrained, which is later gradually inhibited, lost and repressed into the unconscious through community and upbringing. It flows out, naive and unrestrained; all malice, smiling callousness, agonizing cruelty, all tenderness and needy, flattering nestling, wit and fear and fearless watching - in the sovereign subjectivity of the children's world it magically envelops the boundaries of an objective reality in its dense, demonic glowing cloud.
But who could awaken all archetypes of possible behavior that slumber in us? Who should realize it in the community of adults, in the way of life of his society? That is why the peoples invented the great festivals in early times for games in which urge is allowed to live out and yet is tamed by rules: in their pomp and exuberance, in their peculiar customs. With the temporary abolition of the strictest moral regulations, with the reversal of their borders and fences in ways and gates, that allowed, yes, what was otherwise called forbidden, they created the additions to what the everyday community must fail if it should not Pieces go, and everyone with her.
How much remains stuck in everyone through the common order of life, because every life force (shakti) in everyone could live out immeasurably if it wanted to satisfy its essence, which is allness. The fool also wants to be king one day, and the anointed majesty also demands to play the fool once. Harun al Raschid and his Vezir mingle with the people in disguise, with porters, fishermen and negro slaves, demanding that they taste what is common and mixed, which must not come close to the ruler of the believers on his throne. The Dauphine Marie Antoinette leaves the solitary confinement of the Park of Versailles for the Carnival of Paris; Even the most chaste mind breathes a glowing breath into desires and images on a mild night, before the indecency of which it freezes in horror: it feels quite soiled by someone who is stranger, - but it gushes up from its own inner being. This is what the inexorable Shakti in us, whose essence is, wants to bear out limitlessly to all forms of life and gestures of behavior.
That grips us with those woodcuts and engravings by Hans Baldung Griens and the caretaker, which show the aged Aristotle: the fanatic Phyllis rides on him, naked on the naked, with the whip she strokes his faded loin and tears him at the fence in his mouth, - this mouth, who, when he was young, spoke to the divine Plato, whose words the world-conquering Alexander listened reverently. The great sage, this educational model of Homo sapiens walking upright on two legs, - there he slips along on all fours; something in him demands to give up everything by which he has made himself great and exemplary before the world and his own eyes. Something in him that he had never let arise, that he was never aware of - "Eros, invincible in battle" is what the Theban girls at Sophocles call it - that remained crippled in him and therefore became angry, from face to face, transformed from pure to filth, - once it rose up and seized the rule and took demonically cruel vengeance on it. What was it of Nebuchadnezzar, the great king, who spoke, “That is the great Babylon, she I I built through to the royal house my great power to honor mine Glory ”- there was probably something else in the mighty King besides power and glory and the urge to live out these two limitlessly.About the opposite was also in him, but there was no word under the iron necessity of his lot to always be a great king, always greater than all the kings around. But while he was uttering such a great speech, “a voice fell from heaven” - and interrupted him: “Your kingdom shall be taken from you; and you will be cast out from men and you are to stay with the animals when they go into the field; You will be made to eat grass like oxen until seven times have passed over you ... "And so it happened to him," was cast away from men, and he ate grass like oxen, and his body lay under the dew of the Heaven and was wet until his hair grew as big as eagle's feathers and his nails like bird's claws. "
For seven years, Nebuchadnezzar forgot his glory and lived like an animal in the pasture. A voice stronger than all his might and greatness forced him to do so. It doesn't mean he was unhappy about it. He was just considered crazy. That is why he was expelled from men to be animals that lived like him. It doesn’t even seem that this condition got him bad, because he says, “After this time, Nebuchadnezzar, I lifted my eyes to heaven and came back to my senses ... at the same time I came to my senses again, including mine royal honors, to my glory and to my stature. And my counsels and rulers sought me, and was put back into my kingdom, and I came upon a greater glory ”.
Transformed and refreshed, even greater, the king returns from his step back into the animal to the highest dignity. In the abdication of all royal and human dignity lay hidden the possibility of being re-enfeoffed with both in a broader sense. When he became an animal, Nebuchadnezzar disappeared for the people, who felt as if he had died. He was less than his shadow; there was no longer any shadow of his majesty on him, his "form" even seemed to have been taken from him like his diadem. His walk into the beast and out again was really like a walk into the realm of shadows and over the threshold of Proserpine, as the ancient adept walks him in the mysteries of Isis, and like an initiate he also came back as a changed one. A new knowledge and a new balance carried him.
Before he became an animal, Nebuchadnezzar had elevated the sovereign ego, as which he was consciously aware, to an all-dominant function; in his lifelessness of the oriental despot of a great empire he could only assert himself if he clutched the glory and power over the great Babylon in his hands; it was this gesture, always increasing, from which he lived. In this convulsion, suggested to him by his situation as well as his nature, lay the threat of losing one's inner balance and of being just this one, this ruling self, and not everything that the Shakti has in us as an unconscious abundance of all possibilities . And a completely disregarded, never lived side of his being, which remained sunk in the unconscious, had to once again, in order to restore the balance of wholeness, seize control over Nebuchadnezzar as completely and ruthlessly as the ruling idea before him. Therefore he became like an animal.
But he recognized the violence that threw him down and so transformed; he called her God: “After this time, Nebuchadnezzar, I lifted my eyes to heaven and came to my senses again and praised the Most High. I praised and honored him who lives forever, whose violence is eternal and whose kingdom lasts for and for; against whom all dwell on earth as nothing can be reckoned with. He does it as he will, with both: with the powers in heaven and with those who dwell on earth; and no one can resist his hand, nor say to him: "What are you doing?" - He called the ruler in us, who can work such things on us, the "King of Heaven" and concluded the narrative of his wonderful change, which in the Book of Daniel is recorded with the words, “Therefore I praise, Nebuchadnezzar, and honor and praise the King of heaven; for everything he does is truth and his ways are right, and whoever is proud he can humiliate ”.
What Nebuchadnezzar found in the sky of the macrocosm, the adept of Tantra-yoga feels bodily indwelling in the depths of his microcosm and, like the King of Babel, calls it "God". To it he consecrates himself in inner veneration and calls it up in one of the innumerable ways in which it can take shape. With this he wants to make himself conscious, because something can only come into our consciousness as something shaped, be there for our consciousness. He adorns the divine manifestation of the unconscious, which he calls up, with all charm, all majesty and all powers; so he worships it appropriately, along with the omnipresent, omnipotent formless power that is incorporated into it. In doing so, he simultaneously streams all possibilities to give birth to charm, majesty and greatness as the demon of his own being and to reach for their shapes in the room and demonically tear them up out of himself and form them into jewelry and expression of the divine Shape. Instead of outwardly into the world, he projects onto the inner deity all the unconscious possibilities of his life force, which his human life situation only allows him to live out in very shadowy ways, only in fractions. Because these possibilities are infinite in their dimensions, insatiable in their urge, measured against the narrow situation of most human lives. He projects them all onto the image of the gods as its charm and size - so they do not tear it apart in their outburst, so they do not turn themselves into an evil, diabolical, if they are repressed. From the danger of being pushed back into the unconscious, of withering unlived into an evil grimace, they are redeemed, brought up and transformed into the substance and jewelery of the inwardly visible deity of the heart. They are all projected onto their image and dumped in the attitude of believing devotion (bhakti), which abdicates the person's ego and speaks to the deity: “You are my true being - not me. It's not me, it's you who work this cosmos of my person and world. Everything is yours. "
In this attitude the pious abdicates his conscious ego and faithfully surrenders entirely to the unconscious in himself, to the unconscious in himself, to the ruler in us. In this way he avoids the army of dangers that lurks in us, in us alone, - the legions of hell that can break out of us, their playing power from the image of Aristotle and Nebuchadnezzar on all fours with a small, obvious gesture to us speaks.
The countless manifestations of the divine as gods and goddesses, majestic and with youthful appeal, majestically serene or grim threatening, and all armies of the demonic - all serve as models from outside the inner richness of life force, the shakti. They correspond to the innumerable basic gestures and elementary possibilities of the unconscious in the pious to bear this or that attitude. These possibilities are laid out in different strengths in the individual human type, and are germinally unequal. We have the seeds of everything in us, but not everything will germinate and sprout, many fruits that our garden could bear will never ripen. But what is germinally laid out in us in such a way that it can really germinate, what is not a vague but current possibility of giving birth to us, actually forms the type of us who is opposed to others or is related by choice. Type, temperament and age, as well as habit, keep us spontaneously close to one or the other expression of the divine or demonic; the possibilities that are ready to germinate in us are elective to one or the other model from myth and history.
That is why it belongs to the wisdom of the spiritual teacher who wants to direct the thirst for form of the unconscious life forces in us, that he forbids them demonic models and keeps others away from them, who are not in accordance with them, but offer something related in observance and cult, so that they Fixate on it and walk into its essence. Saint Anne is secretly close to many a female soul within Catholic Christianity, and when her model is offered to the unconscious urge to form, it can produce its correspondence within, so that she shapes and guides man; the pious can learn from it, like the child from the jamburī, and the form-laden primordial waters of the unconscious can cosmogonically develop into their being. St. Agnes or St. Magdalena a like; the youth are happy to pass St. Aloysius as a role model. Francis and Ignatius, the bridegroom of poverty and the soldier of Christ, exclude each other as models for the self-transformation and crystallization of the self-pouring, self-saturated shakti; Thus Vishnu and Shiva exclude each other as two different highest aspects of the divine omnipotence, and on the middle level divine form, the elephant-headed rice-bellied Ganescha, the god of peasant welfare, and his sibling, the supple boy god of war, who seven days after his birth the world freed from a demon who had overthrown all gods from their offices and brought tyrannical turmoil to the world. Just as Sāvitrī represents the ideal of self-sacrificing husband's love, love that defies death, like Yamunā embodies supreme love between siblings and Jamburī the power to cope with everything, so all archetypes of the unconscious in myth and cult embody a specific attitude and gesture of the human being in ideal purity. Here everything pure and everything demonic can be found together in symbolic forms: everything horror and all filth, but also all archangel-like power of the high, which holds the key to the abyss and the great chain with which Satan tames them.
In the Buddhas and Bodhisattvas, transparent knowledge presents itself as the highest possibility of the Shakti in us, when it has completely purified its aggregate of clouding passion and animal dullness, the natural rulership of their own anger to bear out and project themselves out as theirs form world, to be overcome - the miracle of repentance shows itself in her, to satisfy her own urge, which drives her to let herself be played limitlessly as Māyā with the projection of her form-hungry powers and to keep the process of her world going. In them the sublime mercy is embodied, which all the world wants to redeem from itself as a world, as a constantly shooting product of this world-creating potency - the mercy that wants to free the world from the spell of itself, in which it throws itself around with pleasure and torment like a dreamer under the spell of sleep, who is beset by enticing and terrible faces in breathtaking abundance.
All figures who live in cult and myth are such bodily ideas; as variants of archetypes that slumber in us, they can, depending on our disposition and fateful situation, become models for us for good and bad. But we cannot freely choose: something Indian for us and Christian for the east - there lies the cliff for all mission and appropriation - because our western unconscious contains the same archetype as the eastern one, formed in a different variant. We are small blossoms on the old western tree, in our unconscious its sap presses towards the light - what it germinates in symbolic variants and can bear is its special kind.
That already marks our distance to the mythical figures of the Greeks, with all the wooing love, the nestling closeness of humanism to the world of the ancients. In Greek as in German myth, there is the magical blacksmith, the wonderful technician: Daedalus here, Wieland with us. The old miracle that man found it to melt the liquid metal out of rigid rock and pour it into all shapes, created a new world class. Something completely demonic was at work there: the hardest was conquered by the embers, was like water and yet let itself be balled up. The stone, weapon and tool of a world age, released its multi-faceted conqueror out of its own bosom. The miracle of this Promethean act sank into the unconscious of the people in the form of the mythical blacksmith, the magician of ores - his profession still has one of these today (e.g. in England the blacksmith of Gretna Green, before whom marriages are made) magical shimmer. But how different is the hieroglyph from the collective unconscious of Greek and German tradition. The mythical blacksmith frees people from the prison of the Stone Age, so he frees himself from the imprisonment of the king who lets him rejoice. He wins the infinite expanse of a new human age; on the wings that he made for himself, he flies skyward. How tragic is the new freedom for the Greeks: the wings that Icarus and Daedalus redeem bring Icarus to an early death. The ethereal bird-like, Euphorion's brother in spirit, rose, carried by the spirit of the new world age, too stormy towards the sun and found death in the sea. The father paid for his titanic inventiveness with the heaviest sacrifice: he had to sacrifice his other self, the son, his reborn future. The Greek's shudder at the immeasurable new possibility, at the titanic conquest of nature and the disruption of old stone order found in this penance the balance with the powers that the technical magician had raped.
Next to it Daedalus' dark brother Wieland, the dull avenger of his captivity and the sinews of his feet, which the king had cut up for him so that the miracle man could not do it; - Even his happy escape has to pay for guiltless life with death. But it is not the pathos of a flight into the sun that gilds the darkness. The severed heads of the two royal boys, who longingly bow over Wieland's treasure, the desecration of the king's daughter, who came to the smithy with the broken gold ring of his lover and whom he made drunk to desecrate her - this immoderate vengeance that the king in his Meeting loved ones, his second life, his future, which creates jewelry and utensils from boys' brains, eyes and teeth and bequeaths a bastard to the king, oppressively and viciously surrounds the demonic figure of the magical inventor. How the collective unconscious of both cultures stylized their own variants of the same original figure through very different coloring, they recalls the times in poetry and tradition, that reflects the difference between the Hellenes and the night of the north.
In the myth of many cultures there is the figure of the wonderful singer and musician who has magical powers. In it, the magical power of music, which like nothing else directly reaches into the unconscious and can excite and soothe it, has found its symbolic expression in the treasure trove of symbols of the collective unconscious. In India it is Krishna, the incarnate all-god Vischnu, who descended into the world with a fraction of his infinite being in order to free it from the tyranny of demons who have become entangled in human rulers. As Zeus prophesied as the bringer of a new world class, as Zeus was persecuted in the womb but wonderfully secure, he grows up unrecognized with shepherds and flocks until the hour is ripe for the world-regulating act of salvation. As a boy he meanwhile conquers demons of the wilderness, who disturb the idyll of the shepherds and kill the youngster before he has grown up. Half a boy and already a man he is the enchanting loveliness itself; Shepherdwomen and girls adore him. In the play and dance of the moonlit nights he gives you a foretaste of the heavenly joys of being united with him in his paradise. He sings and dances with them and leads the autumn dance; Damaging her heart with the arrow of his gaze, he initiates her into the secrets of Eros - Eros who pays homage to life and who unites with God. In addition he blows the flute - a pied piper of the hearts of women; seductive in its enamel. All hearts fly to him and cling to him in painful sweetness. A pied piper - but how different from his dark brother of the Hamelin city legend, this German variant of the magical musician.
The demonia of music - with us Germans it is a run-up piper who belongs to the bad traveling people, a dark, questionable appearance of disreputable origin. But that is precisely why he is in league with the powers that the honorable citizen, the well-housed self-righteous possessor behind walls and towers feels overwhelmingly around and cannot banish. He is the related master of the uncanny, he frees the city from the disgusting plague of rats in which it threatens to perish.These rats - what a horrible symbol! the unclean, malicious and dangerous animal, mean like no other, but at the same time the housemate of man, fattening himself up from his rubbish and trash - what an uncanny and ingenious symbol of the unconscious. The uncanny musician frees the city from its self-inflicted plague, from this living, teeming, biting violence of its own filth, from the demons of its own filth in every respect. But what's the use? - that it produces this filth out of its honesty and well-entrenched self-righteousness and has to pile it up again and again - he cannot redeem it from this being of its own. The Augean stable of the soul is not cleared away from us by anyone who has come here, even if it were Heracles; To sweep up the dirt of the soul, we have to lend a hand ourselves - and the blackest dirt in it is ingratitude. Hence the punishment to the ungrateful city, which believes it is allowed to cheat the piper who has come up, the vagrant without rights, for the wages stipulated - it becomes life in the future, hope and innocence, which are wonderfully present in common people too, the promise of Taken from living eternity: the piper lures the children and they must go with him like rats. What a horrible criminal court, as merciless as it is fair, - an arrow that inexorably hits the mark. And what an uncanny unconscious that shoots such arrows in itself. How far is it from the people, with whom the magical musician with his song and string play frees all nature from the spell of its dull heaviness, its fear and anger - in the ethereal way of Orpheus the boulders thrown into wilderness rise up, their rhythm sets them in corridor, their harmony adds them to walls and stairs, to palace and gate, castle and temple (because "harmony" means "evenly coincident"). And all animals forget their innate nature, the tearing and the frightened in them dissolve, they crowd around the singer, whose harmonies soothingly bring the conflicting together, in whose sacred name ancient Greece baptized its secret teachings, how man transforms himself into Consummate and gain the eternal within. The demonic forces, tearing themselves apart, race desperately because of their impotence. When they finally attack and tear the magician of soul-guiding music that subdues the demonic, they must make themselves deaf with insane roars and noise so that they do not hear the heavenly voice and its play; otherwise they would be forced to give up their being and be peaceful and full of inner harmony like his singing.
The believer lives from the archetypes that rite and myth hold ready for him in the treasure trove of their own variants as models. If there is no longer a religious community that still has ritual and myth, the poets take the lead. The rare true poet is like the priest and guru treasurer of the archetypes of the collective unconscious of his culture. His office is not inventing, but rediscovering and reviving. He separates him from the worldwide writer that he serves timeless geniuses and renews their image over the ages for his own. The writer takes up from the street what moves his time and only it; so his creations go with her into the mortuary chamber of what has simply been, eke out a sham existence in the wax museum of literary history. Literature that does not reach down to the archetypes, shaped by collective experience, has its world horizon in the social and dies because of its change; with him it becomes irrelevant. It is necessarily openly or secretly ironic and untragic, because that the social is the all-encompassing sphere of the forces that determine us, that essentially decide our fate - that is from the level of our deeper self, from the timeless and deadly unconscious here, a great irony, a great humbug. The believer knows it differently - so does anyone who knows how to listen to the regent within. Hence the ironic character of "Madame Bovary" and the entire social novel in the 19th century, hence the pure three-dimensionality of the social and psychological novel in general. His pathos can only lie in the fact that he is critical and combative for a better social reality, e.g. B. at Zola. Balzac remains three-dimensional, that is his size and limit, and it is precisely this limit that becomes tangible when the giant in him bumps into it, desiring to cross it. His attempts to include the fourth dimension, the realm of spirits, angels and demons (in "Séraphita" and "La Recherche de l'Absolu") is already uncomfortable in the naivete with which what is only allowed to be space and style of the event, is selected for the fabric. There is no thing that contains this dimension that one only needs too long after him, it is not tied to any object, but can reveal itself as a style in everyone - for example in Goethe's fairy tale of the "New Melusine" or in his " Novella «.
Christ and Buddha entered the western and eastern unconscious as archetypes; Their historical life was so powerful that they were based on an already existing image in the unconscious as a variant, a new coinage, and a development. It denotes their historical rank that they could enter into older, already prepared archetypal forms, which they replaced and transformed into themselves -: Christ in the ancient oriental form of the dying, sacrificed and resurrected god of the year, Buddha in the ancient Indian sun god. Because they were so high on their own that no less form than these high old ones was sufficient for them to preserve them in their shell over time, they have the world-historical function of inspiring the unconscious timelessly far, the function with theirs external image to touch its inner in us as with a magically life-giving finger and to awaken from the sleep of the deep so that it guides us and transforms us into itself. Through their merging with the older archetypes, the unconscious carried out the solemn assumption of their historical appearance into the eternity of symbols; it transferred them under the stars in the inner night sky of souls.
The scholarly question of whether Christ or Buddha were historical figures or "only" the splitting off of a mythical complex of figures into the historical plane loses its relief from this perspective; that both figures historically attested to as human beings could become so omnipotently mythical testifies to their historical reality. The unconscious cannot be fed with inventions and webs; Nebuchadnezzar, who experienced it so powerfully in his own body, testifies to him that "everything he does is truth". The unconscious, hungry for form, seized upon their appearance as a rare opportunity to transform and shape an archetype in itself, infinite clinging to its form of effects and forces, starting out and flowing into it, circling around it. That is why they alone are alive, immortal, while the people of the millennia are almost all completely lost from them to us, hardly a name can be heard. Thanks to this highest vitality, which the unconscious recognized him, Jesus is called the Son of God, just as Herakles became the son of Zeus to the Greeks for the sake of the same strength and Krishna to the Indians a part of the All-God made man.
To venerate this Christ in us, and only in us, in no paradiso above heavens, to penetrate us with him, while we develop his immense possibility as our most personal reality inherent in us through awakening his inner presence - that would be really "following Christ" would be in trust in grace, that is, in the belief that he really slumbers in us and can rise up in us - a Christian bhakti-yoga.
In the full development of its teaching on the "Great Vehicle" (Mahāyāna), Buddhism goes so far as to deny the historical reality of its founder. There never was a Buddha, admittedly never an order, never a Buddhism, - so speak the monks who wear his robes, live in his monasteries and hold images of Buddha ready for worship within their walls by the pious. World children believe in such things. In this way, the monastic adept of Buddhist yoga in paradox is taught to detach himself from everything space-temporal, namable and form-like, which he may imagine outside himself and to which he adheres when his shakti are still projecting in awe onto a Buddha who has been. If there were a Buddha as the ultimate reality, historically residing once on earth or eternally in some heaven that the believing layman hopes for, then the I would also be a final reality. But it is important to see through that it is only a pure, phenomenal product of the inconceivable nameless, a phantasm, purely conditioned by the urge with which it adheres to itself; - that is what it is to experience, to accomplish. For the deeper unconscious there is nothing that has actually happened, no history, only symbols that it preserves from everything that has happened; it does not resemble a single wave, but all figures that waves can have. Buddhism speaks from the level of this unconscious when it emphasizes doctrinally that there was never a Buddha. The adept of his yoga devotes himself to a pure symbol in the knowledge: the personal-historical origin of this image is as insubstantial in its reality as one's own ego, which is only conditioned by its own imperfection. But this symbol of the only perfection, the Buddha, serves him to awaken the hidden Buddhahood in himself, the only reality.
The form of all preservation is the mythical symbol for the unconscious. That is why it teaches to become a Buddha, although it does not recognize a historical Buddha, it does not recognize anything historical. In all individuation that it passes through and produces as a changing phenomenon in itself - withering blossoms on evergreen foliage - it only preserves what protrudes beyond the ephemeral historical into the timelessly symbolic, appropriate to it. That is why the path of the Buddhist yogin is full of symbolic deeds: sacrifices without measure want to be made as symbolic gestures of non-attachment to something. The Buddha-to-be (Bodhisattva) should learn to stand in himself and in every situation in which he is self-sacrificing like the deep unconscious in us: not attached to us, not banned by his own gesture to the self and the world; - to be like the unconscious: timeless and deadless, untouchable.
We are not simple, and the duality "body-soul" does not express our essence. How diverse the ancients thought of the essence of man is taught by an ancient verse that deals with how it is separated in death,
Ossa tegit terra, tumulum circumvolat umbra,
orcus tenet manes, spiritus astra petit.
"Earth covers the bones, the hill is surrounded by shadow,
The soul sinks under the world, the spirit rises as a star. "
The idea that the soul is something simple as a principle of life is a late and already past opinion; the ancient Egyptians and many "indigenous peoples" knew it differently; ancient China developed a particularly multi-faceted and relational picture. "Man consists of the active forces of heaven and earth" it says in the book Li-Ki, "he consists of the union of a Kwei and a Shen". Kwei and Schen are the innumerable living, finest particles of the infinite forces of the earth and heaven, of yin and yang; “The breath is the collective utterance of Shen, and the 'body soul' is the collective utterance of Kwei. The union of Kwei and Shen is the highest of the teachings. All living beings must die; when they die they must return home to earth, this is called kwei. Bones and flesh basically rot below; mysteriously they become the earth of the fields; but the breath rises and rises and becomes heavenly radiant light (ming). ”When a person arises, the“ body soul ”, the principle of vegetative life force, the manifestation of the kwei / yin develops first the part of the heavenly Yang, that is the "spirit soul"; it is also equated with breath. When the external world is touched, the "finest force" is formed; its growth strengthens the body and spirit, just as their growth has a strengthening effect on the "finest force". And so, in the end, Shen develops in the human being, related to the breath and the spiritual soul, the heavenly-spiritual, which is the goal of all ethical and ascetic education to develop within oneself. Whoever strives for perfection, for transfiguration, seeks to become a pure shen: power from heaven, light from its light (ming, - the symbol for this is sun and moon together as the epitome of all that is radiant) - this purification and elevation is the Chinese way to Immortality, the way to divine being.
In the interpenetration of kwei and shen, i.e. of yin and yang man is a small cosmos, because "all of yin and all of yang are called Tao", i.e. the world revolving in the great rhythm of the tides. The body soul, however, a piece of yin in the human being, never leaves the body, that is why it lives with it in the grave: "It is the most precious thing about the material part of the human being" and the grave is made a home for her with painstaking care and reverent care. "After death, body and soul descend into the earth" - but with the unstoppable disintegration of the body, the body soul also gradually disintegrates: "Body and body soul dissolve and fade away, spirit and breath retain the strength to feel and themselves to move and does not go away. "
Ancient Chinese people are conscious of a multitude of life forces within themselves; his worldview of the cosmic forces of the masculine-heavenly and the feminine-earthly, the interplay of which the world always has a new shape, gives him the framework and the views to grasp what he feels in himself as a play and stock of forces. His ultimate system is a simile and reference to us, because our research and questions, our alleged knowledge begins at other points, at traditional and acquired: that they are as desperate and superficial as the old Chinese cannot yet be clear to us. But apart from their connection with the cosmic dualism of the Tao in Yang and Yin, these Chinese ideas have an original magic, an innate power: this body soul, first arising in the body, bound to it and dissolving with it, a secret that the The dead, as he rests there, not completely dead, - this is not just due to old, buried ideas in us, which earlier thought before us and which we carry within us like memories as the inheritance of our body - that brings us something immediate Sensing up that we felt whenever we saw someone die, whether we want to admit it or not. And that "finest power", selection and essence of the body and spirit soul ("tsing" which actually means the finest, "exquisite rice" according to our extract flour) - a purer one, whose posthumous name is "heavenly light", includes the highest thing man in the West as in the East has linked the idea of the soul as the bearer of all eternal fate, of all high hopes.
In his profound remarks "on the apparent intentionality in the fate of the individual" Schopenhauer discusses the ancient doctrine of the daimon, who is placed above the conscious ego and called to direct his life fatefully; he quotes Menander,
»A demon is at the side of every human being,
from birth he is a guide to him,
a good one, through the secret of his life. "
In his description of the hereafter, Plato teaches how this demon and the soul come together in the world of the dead in order to begin the journey through a new life together, “but when all souls have chosen their lives, they come in the order in which they are have taken their lifeless ones in front of the Parze. But this gives everyone the demon he has chosen as a guardian for his life and as the fulfillment of the fateless chosen by him; "-" The demon does not choose you, but you will take him. "
This doctrine of an authority in us that is more powerful than the ego and that as regent leads its course, even against its will, according to the necessity of a preselected fate, flashes in Seneca's word, "The willing is led by its fate, the reluctant is dragged «Fata volentem ducunt, trahunt nolentem. Belief in the stars of late antiquity places this demon, who holds the key to our fate and knows it better than we do with our conscious will, up in the stars, from whose stand the astrologer reads our fate, our being.Schopenhauer comments on this, “Theophrastus Paracelsus came up with the same thought very profoundly, since he says, 'So that fate may be recognized, it is that every person has a spirit who lives outside him and places his chair in the upper stars ‹.« We are not free to appropriate the great signs of times and spaces other than our own and to speak of us directly through them. They are pictorial writing that calls us to grasp something real that has always been in us as ever and to live out of it in new images and terms when the pictorial writing of our own origin has become blind to us or is as simile as that of others sinking history spaces. If we cannot lift our spiritual eye to the stars in which our regent has placed his chair, we experience it with voices and signs within us, as happened to Socrates - and the spatial indication here is more than a pictorial element, one metaphorical illustration? What is the relationship between outside and inside, macrocosm and microcosm? It is the merit of modern depth psychology that it digs up the timeless in us in a form that suits our hour, so that we can grasp it and live from it. Not as if it, and in it analytical psychology, were more than a symbolic, vivid way of communicating about our being, born out of our time and need and dissolving with it, but therefore understandable to us like no other hieroglyphic writing; - precisely because it is that: the only form possible for us to validly clarify how we happen to ourselves, it relates us to the same reality to which the darkened picture writing of all times in its various hieroglyphic rows testifies. It is our form, to grasp the intangible real in us as something named and shaped, is the special form of Māyā, in which the real of the soul can appear to us in our historical moment. All essential teaching is always only a bow and arrow according to the real, which incomprehensibly exceeds the sphere of spirit and language, but the arrow can touch them and our understanding flies on it. Every time has different arrows - sometimes just one.
Depth psychology destroyed the primitive body-soul dualism as if it were a simple duality. Two things were misunderstood: as if the soul were a unit and as if the body were not a part of the soul. The dark flood of the unconscious, on which the little ship of consciousness swims, - rather a germ in its amniotic fluid, cradled by it, nourished by it - is tangible in the body than the diverse world of organs and cells in our body. With their achievements, spontaneous yes and no, which skip the ego's command and prohibition and scoff at its claims in the operation of failures and failures, something immense is living out according to Indian feelings. The Indians call it "all gods". Because according to the Indian view all the gods of the world sit on our body as the forces that they are in the macrocosm. Through the ceremony of laying on of hands (nyāsa) with inner concentration on the beings of the gods and with whispers of the magical syllables that they embody in the realm of sound, the adept of Tantra-yoga calls them to himself and thus awakens himself to consciousness, the embodiment to be of all divine Māyā, which unfolds all forms in the micro- and macrocosm as a play of the divine forces differentiated from it. So the gods are not only on the body of man, and are this whole body itself as an aggregate of diverse forces and functions, they are also on all other bodies, - that is an aspect of the unity of the world that consists of one flowing living material, the Shakti of God is designed in many ways.
Indian elephant medicine (Hastyāyurveda, "the knowledge of the long life of elephants" cf.Game for the elephant, a book of Indian nature, v. H. Zimmer, Munich, 1929. New edition: Düsseldorf / Cologne 1976.) teaches the distribution of the diverse material forces of the gods (devaguna) on the body of the elephant (III. 8) occasionally the doctrine of the embryo on which they develop: “Brahmā is in the head, Indra in the throat, Vizhnu in the trunk. In the navel (the center of body warmth) the fire god, the sun god in both eyes, miter in the hind legs of the elephant. "Two aspects of the creator of the world (Dhātar and Vidhātar) are in the two sides of the abdomen," in the generative member is the 'lord of the born' ' (Prajāpati), in the bowels (the serpentine intestines) are the serpent gods who bear the yoke of all worlds. For in the elephant dwells the ageless, immortal, underlying being (pradhā-ātman). In the forefeet are the two riding twin gods "- they correspond to the two arms of the human being, of which the handling priest says in the ancient ritual of the Vedas," with the two arms of the two riding twin gods ... "- in the ears The goddesses of spatial directions live, the Walterinnen of the element of space, which is captured as sound in the shell of the ear; the rain god Parjanya lives in the heart of the elephants, because they are mythical siblings of the rain clouds, their proximity magically attracts the water of their heavenly original home.
All the gods in our body - that means: the body is occupied all around, filled with forces, powerful individualities that are not subject to us, but are able to lead an idiosyncratic life. Otherwise it would not require long and difficult training in yoga, high tension of will and tenacity and reverent contact with these gods in us through pūjā and nyāsa in order to become master in the house of our body and to gradually educate it for activities and processes, which yoga demands from him with its objectives. They lead their lives independently of us, get sick and fail without asking us. We are dependent on them in fear and expectation, dependent on two gestures on them, which in India as in the whole world are the most essential gestures of all gods: the wish-giving, gift-giving (varada) and the gesture "do not be afraid!" (Abhayada ). You are hardly lacking in an Indian idol.
Everything in us - we are, according to the poet, "dei gorghi d'ogni abisso, degli astri d'ogni ciel" - "from the eddies of all abysses, from the stars of all heavens". All the gods in us -: we are filled with one who is more powerful, more uncanny and greater than we are. One can only try to get on well with him by paying him daily attention in cult-worshiping interactions. It depends on the regularity of interaction, otherwise the mighty will slip away from us, multifaceted, dark, supple. It eludes, teases, surprises and plagues us with unwanted presence and absence, dislocation and threats. It does not go against our needs, becomes alien to us, hostile and goblin-like, can no longer be spoken to or requested. By dealing with him daily and reverently (this includes awakening in nyāsa) one assures oneself of him as near and inclined.
Just as much depends on the correct way of dealing with one another, because it is what is powerful and multi-faced, multi-parted. In its forest of hands it holds everything at the same time: all weapons of protection and vengeance, our preservation such as destruction, implements, jewelry and flowers - symbols for everything. And it shows many faces at the same time, especially looking in all directions. When his face, which is turned towards us, smiles at us, another, which it graciously withholds from us, bears the horrific features that stone us. It plays in all gestures at the same time, in loving care, terrifying violence and worldly equanimity; the feminine and the masculine, the alluring and the maternal, the radiant heroic and the derisive laughter of annihilation flash on him, above it the divine calm of the hereafter. All animal forms in their expressive symbolic power of the dull and soft, the cruel and the warm, the tearing and the gentle are his playful facets.
The correct handling of this divine and completely demonic in us, with manifestations as innumerable as all life, - because we are life itself with our body - can only be based on a long tradition that has sifted and sifted diverse, questionable experiences of changing genders out of it the tried and tested into a canon. Such contact with the divine is the contact with our totality in its essential facets, with the unconscious, the body, the world in which the gods dwell as everywhere in the world. Whoever no longer worships it in the wind and rock, in the spring and the stars, not even in a heavenly or heavenly place, but where he only experiences it directly, in his own body, his body can become the world to him, he becomes like him Yogin turns the reality of his body into reality par excellence. He discovers that it contains everything and that all content outside is only a mirror reflection of the radiation of his being inside, projection of the force that constantly builds him up inside - what happens to him becomes what happens to him.
The tantric yoga cult, which deals with our own unconscious, the divine that is in us, is its evocation, awakening and ceremonial worship. What in the old cult of the Vedas, although invisible between the fire altars of the sacrificial area, goes on outside: that the gods come on their chariots and only the priest sees the heavenly ones in person in an inner visualization, carried by the stanzas that force them into the cult area and To paint their glory reverently and to sit on the litter of holy grass for hospitable entertainment - such things happen here in the interior of the body, in the inner field of vision into which the figure of the divine rises from its - our intangible depth.
All gods in our body - nothing else means the visual scheme of Kundalinī-yoga, whose adept leads the world-unfolding, world-bearing serpent of life of the microcosm from its slumber of the deep up the whole body into its supra-worldly opposite pole. On her way up she crosses the lotus centers of the body, in which all elements, the building material of all shapes and gestures of the lustful life force, are gathered; and in the same centers the manifestations of the divine with all the facets of their shakti are seen and worshiped.
That all gods and demons are in us and come out of us when they confront us as if from outside is an open secret of Buddhism in its unfolded form of the "great vehicle" and is also taught in the Vedānta, which underpins the tantras as a philosophical doctrine is. But hardly anywhere is it expressed, even celebrated, more vividly and effectively than in the Tibetan book of the dead "Bardo Tödol". W. Y. Evans-Wentz, The Tibetan Book of the Dead , Oxford University Press, London 1927; E. and G. L. Dargyay, The Tibetan Book of the Dead , Munich 1979 2. For, according to the teaching of this Buddhist ritual, everyone experiences that this is so, even if he did not suspect it during his lifetime or did not want to believe it, in the "intermediate state" (bardo) that follows his death and the new bestowal of his aggregate psychic powers and readiness precedes.
The guru of the deceased or a lama who was close to him speaks to him and advises him during the duration of the intermediate state, which captivates him with unaccustomed horrors and visions -: »You see your relatives and speak to them, but receive no answer. Then when you see your family crying, you think, “Oh, I'm dead! what should I do? ”and feel great distress, like a fish thrown out of the water onto red-hot ash. You will suffer such hardship now, but suffering will not help you ... Even if you are attached to your relatives in love, it will not help you. So don't cling to them. Pray to the Merciful Lord (Buddha), be free of grief, horror and fear. "
Such encouragement guides the deceased on his whole journey through the intermediate realm and tries to wrest him from the threatening rebirth in upper or lower worlds on every new piece of his path. Only those who achieved the goal of yoga during their lifetime to experience that all forms of the world and the ego are only the result of the formless intangible, Māyā, in which our being is hidden, do not need the interpretations and hints that try to do one last thing here on the dead to save him from the urge of his own demon, from self-consciousness. When everyone has to leave their body, the pure light of reality lights up, shapelessly empty, all-filling brightness - but only those who have already been enlightened by them as yogins do not shrink back from them blinded. The self-conscious one does not understand it and cannot bear it and continues to walk the path of his readiness to gesture and shape.
The outer world fades around him, the ethereal light, "... if you are driven by the wind of the karman, which always blows, your mind, which finds no object, will be drifting like a feather before the wind, ... you will hike restlessly and willlessly. You will say to everyone who weeps for you: 'Don't cry, I am here ...' But they will not hear you and you will say, 'I am dead' and you will feel very miserable. But don't give in to this miserable feeling. - A gray, shady glow will be around you day and night, at all times. In this intermediate state you will be one or two, three, four and five, six or seven weeks until the forty-ninth day. The Karman determines - how long it lasts is not agreed. The cutting wind of Karman, terrible and hard to suffer, will drive you backwards with gruesome gusts. Do not be afraid - it is a delusion that comes from within yourself. Dense, terrifying darkness will constantly attack you from the front and threatening shouts will ring out from it, ›strike! kill! ‹that scare you, do not be afraid! - With people with a lot of bad karman, raging demons, offspring of their karman, will swing all kinds of weapons and shout, ›strike! kill! ‹and make a terrible noise. They'll pounce on you as if competing to see which of them grabs first. Phantasmata, as if one were chased by all sorts of raging animals, will also appear. Snow, rain and darkness, cutting gusts of wind and hallucinations, as if chasing a crowd, will come, plus a roar, as if mountains were falling, as if the sea were rolling over in an angry spring tide ... When this roar resounds, one flees from it in horror to this or that side and pay no attention to where one is fleeing. But the way will be blocked by three gruesome chasms - one white, one black, one red. They will be terrifying and deep, and it will be like falling into them. But they are not real abysses - they are anger, desire and dullness. "
When the accustomed world, which penetrates the living through the senses, has dissolved in the shapeless gray of the intermediate realm, which surrounds what has been detached from the apparatus of the senses of his body, then the urge and the forces of his interior appear as spaces and shapes as from outside in front of him. He hallucinates his own inner being as his sphere around him, like a dreaming person who has lost the daytime world, hallucinating tensions and urges as landscapes and figures that surround, entice and oppress his dream-self.
Like a dreaming person, the departed is all for himself, - but as one can speak to a dreaming and he hears it in the dream, it is woven into it, so the soul-guiding Lama speaks to the departed. Now comes out what was in him in terms of urges and readiness for the good and the worst, - figures of the saints, gods and demons; he has to look at them, the spirits of his heart and brain, and cannot withstand them, some in blinding light, others in terrifying terror. But the voice of the guru teaches him to pray, "I would like to see through whatever appears as reflective reflections of my own spiritual nature ... I do not want to fear the multitudes of peaceful and wrathful figures - they are visions of myself".
In death, in which consciousness disappears, our unconscious becomes free - now it breaks out dominantly. And all the instincts and readiness that determine our lifeworld, how it embraces everyone individually with their special weight distribution and their own abundance of inner relationships, all evaluations that we attach to things, all the coloring with which we glow at them in love and defense hanging on them and fleeing them - all of this is projected outwards, as has happened all of life.But there is no more shaped body world, the equivalent of our own body, which would be painted over by it and made up of neutral gray with an alluring and threatening tint - there is only the shapeless gray of the intermediate realm. The archetypes of the holy, seductive and terrifying figures that we projected onto people in life when we adored, desired or hated them now do not meet with any form in a physical world surrounding our bodies; they fall on the gray wall of fog of the intermediate realm as a glowing mirage of our inner being: there it looks at us a thousand times, dazzling us in unbearable majesty, shooing us away in frenzied demons - how did we withstand it?
But the voice of the Lama sounds, “These divine figures in the highest perfection come from your own heart. They are the result of your own pure love and shine. Know them! - these spheres do not come from outside somewhere, ... they come from you and shine on you. Also their deities do not come from outside somewhere - from eternity they are in you as possibilities of your own mind. Know that this is their essence. "
And when, from the eighth day after death, the mild offspring of the heart is followed by the gruesome ones of the brain, blazing in flames, wielding all weapons of annihilation, bringing skullcups full of human blood to the lips for a drink, the voice of the Guru sounds, "Do not be afraid! know this is an embodiment of your own mind. Do not be alarmed, because it is your own protective deity «... recognize: what frightens you as a devil also has a sublime, Buddha-like aspect -» believe in him! know him and you will be redeemed. Call him by this name and believe that this is the divine being that gives you protection. Dive into it! melt into it until you are one with him (in samādhi) and you will awaken your hidden Buddhahood ”.
Only those who, already living in the body, strive towards Buddhahood as a yogin and have seen through these projections of its depth in their being: that it is they and only they who give color to everything outside, give it value and weight and something indefinite as his Give him a certain world that attracts and frightens, only a yogin can cope with this omnipotent maya game of his shakti. That is why the "Bardo Tödol" is not only a ritual for the departed to teach and guide him, but also a yoga lesson for the living, so that by means of his descriptions he should familiarize himself in good time with the creative spawns of his depth in inner vision and Reverence and fearlessly recognize them when they meet him in the intermediate realm. Those who have already been initiated by their guru during their lifetime can afterwards cope with their horror and realize within themselves the pure light of knowledge that leaves all this behind as Māyā. The "Bardo Tödol" teaches the Buddhist yogin to worship the demonic powers of his inner being as his own protective deities; then he need not be afraid of them when he meets them in the intermediate realm, he has always revered them in awe. We have to learn in good time to deal with the night sides of our being - not in order to act demonically with them in the world or to play secretly with us, that would be black magic or the devil's frolic, - but we have to respectfully recognize them as the dark dangerous forces, that are in us. You have violence and
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