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S I L E N C E

"Silence has three gates to pass.
One is the most peripheral: speaking.
Speak only telegraphically.
Speak the essential and you will be surprised that 
almost ninety per cent of your talking is useless;
only ten per cent will do.
And you will also be surprised — 
that ten per cent will become more effective
because that ninety per cent,
that unnecessary burden
is no more there.

Words become more pregnant
when you don't go round-about,
when you go directly.
And if one has to be telegraphic
one has to go directly.
That's why you can write a long letter
but it doesn't have that effect —
a small telegram is more effective […]

All the great scriptures of the world are telegraphic.
That is the meaning of the sanskrit word sutra —
just a hint has been given but very pregnant.
This is the first step:
be telegraphic, speak the essential.
And drop the non-essential
and then the second step.
Think only the essential
and you will be surprised.
Ninety-nine per cent is unessential;
only one percent maybe is essential.
That too I say maybe, perhaps;
otherwise it is all holy cow dung.

So drop thinking unnecessarily
about unnecessary things […]

So drop useless thinking
and you will be saving so much energy
that the third step can be taken.
the third step is the most subtle:
feel only the essential.
And if you come to the essential
then there is only love.
Anger, greed, lust —
all these things are non-essential.
They are parasites, they are exploiting you.
When you come to the essential only love remains.
And when your heart is only full of love
you can enter into the very centre of silence.

These three things have to be passed:
the outer part of the mind — talking;
the inner part of the mind — thinking;
and the innermost part of the mind — feeling.
And when you have passed all these three
then there is silence.
And that silence is the door to the divine."

— OSHO, The Sound of One Hand Clapping, Chapter #19 – 19 March 1981 pm

 

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Stay Well,
Juliane 
 

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(From "Feuilles d'Automne")

  ~Victor Hugo (1802-1885)

    I LOVE the evenings, passionless and fair, I love the evens,
    Whether old manor-fronts their ray with golden fulgence leavens,
    In numerous leafage bosomed close;
    Whether the mist in reefs of fire extend its reaches sheer,
    Or a hundred sunbeams splinter in an azure atmosphere
    On cloudy archipelagos.
     
    Oh, gaze ye on the firmament! a hundred clouds in motion,
    Up-piled in the immense sublime beneath the winds' commotion,
    Their unimagined shapes accord:
    Under their waves at intervals flame a pale levin through,
    As if some giant of the air amid the vapors drew
    A sudden elemental sword.
     
    The sun at bay with splendid thrusts still keeps the sullen fold;
    And momently at distance sets, as a cupola of gold,
    The thatched roof of a cot a-glance;
    Or on the blurred horizon joins his battle with the haze;
    Or pools the blooming fields about with inter-isolate blaze,
    Great moveless meres of radiance.
     
    Then mark you how there hangs athwart the firmament's swept track,
    Yonder a mighty crocodile with vast irradiant back,
    A triple row of pointed teeth?
    Under its burnished belly slips a ray of eventide,
    The flickerings of a hundred glowing clouds in tenebrous side
    With scales of golden mail ensheathe.
     
    Then mounts a palace, then the air vibrates–the vision flees.
    Confounded to its base, the fearful cloudy edifice
    Ruins immense in mounded wrack;
    Afar the fragments strew the sky, and each envermeiled cone
    Hangeth, peak downward, overhead, like mountains overthrown
    When the earthquake heaves its hugy back.
     
    These vapors, with their leaden, golden, iron, bronzèd glows,
    Where the hurricane, the waterspout, thunder, and hell repose,
    Muttering hoarse dreams of destined harms,–
    'Tis God who hangs their multitude amid the skiey deep,
    As a warrior that suspendeth from the roof-tree of his keep
    His dreadful and resounding arms!
     
    All vanishes! The Sun, from topmost heaven precipitated,
    Like a globe of iron which is tossed back fiery red
    Into the furnace stirred to fume,
    Shocking the cloudy surges, plashed from its impetuous ire,
    Even to the zenith spattereth in a flecking scud of fire
    The vaporous and inflamèd spaume.
     
    O contemplate the heavens! Whenas the vein-drawn day dies pale,
    In every season, every place, gaze through their every veil?
    With love that has not speech for need!
    Beneath their solemn beauty is a mystery infinite:
    If winter hue them like a pall, or if the summer night
    Fantasy them starre brede.

 This English translation of "A Sunset" was composed by Francis Thompson (1859-1907).

"Water Night" first took my breath away when I heard it performed on "From the Top" by the highly aclaimed Norman North High School Chorale in Oklahoma. This translation of a Spanish poem, adapted by Eric Whitaker, is a beautifully evocotive, metaphorical piece formed in a series of vignets about the connection of the water to the soul, and the quest to find the innermost spirit in ourselves. Further interpretation reflects the experience of holding something difficult inside over a period of time, and finally letting it go to find peace.

"Water Night" is the inspiration for one of my upcoming paintings.

(Please press play. Feel free to read along with the lyrics below.)

 

 

 

Water Night

Night with the eyes of a horse that trembles in the night,

night with eyes of water in the field asleep

is in your eyes, a horse that trembles,
is in your eyes of secret water.

Eyes of shadow-water,
eyes of well-water,
eyes of dream-water.

Silence and solitude,
two little animals moon-led,
drink in your eyes,
drink in those waters.

If you open your eyes,
night opens, doors of musk,
the secret kingdom of the water opens
flowing from the center of night.

And if you close your eyes,
a river fills you from within,
flows forward, darkens you:
night brings its wetness to beaches in your soul.

Octavio Paz, 1914-1998
(Adapted by Eric Whitacre, Translation by Muriel Rukeyser)

**The original poem is "Agua Nocturna" by Octavio Paz.  Peace is connected to a long tradition of "night" in visual art, poetry and music.

 

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