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Subject: Jewel in the Lotus - Complete Daily Readings - October13, 2005



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     KEY IN HAND - JALALUDDIN RUMI
     THE NACHIKETAS FIRE - B. P. WADIA
     PREPARING FOR WOMANHOOD - OGLALA DAKOTA CHANT
     PLASTICITY OF IMAGINATION - PICO IYER

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 KEY IN HAND

 Every instant I give to the heart a different desire,
 Every moment I lay upon the heart a different brand.
 At every dawn I have a new employment.
 'Tis wonderful that the spirit is in prison,
 And that the key of the prison is in its hand!

     JALALUDDIN RUMI


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 THE NACHIKETAS FIRE

    To make our body of senses and limbs the stately mansion which
 puts forth the majesty and tenderness of Mother Earth; to make our
 emotions start from the spring of Love, glide forth in the river of
 gentleness and empty themselves in the Ocean of Compassion; to make
 our thoughts harbingers of goodwill and like birds rise in the Aether
 of Space, singing their songs - joyous and clear and fresh; to
 transform ourselves into the steady-burning Flame of the Nachiketas
 Fire - symbol of the Disciple; that is the task that lies before us.

     B. P. WADIA

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 PREPARING FOR WOMANHOOD

    O You, White Swan Power of the place where we always face, who
 control the path of the generations and of all that moves, we are
 about to purify a virgin, that her generations to come may walk in a
 sacred manner upon that path which You control. There is a place for
 You in the pipe! Help us with Your two red and blue days!

    O Wakan Tanka, Grandfather, behold us! We are about to offer the
 pipe to You!

    O You, Grandmother, upon whom the generations of the people have
 walked, may White Buffalo Cow Woman Appears and her generations walk
 upon you in a sacred manner in the winters to come. O Mother Earth,
 who gives forth fruit, and who is as a mother to the generations,
 this young virgin who is here today will be purified and made sacred;
 may she be like You, and may her children and her children's children
 walk the sacred path in a holy manner. Help us, O Grandmother and
 Mother, with Your red and blue days!

    O Wakan Tanka, behold us! We are about to offer this pipe to You.

    O you, our four-legged relative, and who of all the four-legged
 peoples are nearest to the two-leggeds, you too are to be placed in
 the pipe, for you have taught us how you cleanse your young, and it
 is this way that we shall use in purifying White Buffalo Cow Woman
 Appears. I give to you an offering, O four-legged, water, paint,
 cherry juice, and also grass. There is a place for you in the pipe -
 help us!

    O Wakan Tanka and all the winged Powers of the universe, behold
 us! This tobacco I offer especially to You, the Chief of all the
 Powers, who is represented by the Spotted Eagle who lives in the
 depths of the heavens, and who guards all that is there! We are about
 to purify a young girl, who is soon to be a woman. May You guard
 those generations which will come forth from her! There is a place
 for You in the pipe - help us with the red and blue days!

     OGLALA DAKOTA CHANT

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 PLASTICITY OF IMAGINATION

    The sculptor exemplifies the creativity of purifying, sifting,
 structuring and refining, resting in the unusual position wherein
 the acts of creation and of appreciation inconspicuously merge, so
 that every gesture of the sculptor is tending towards his conception
 of beauty and perfection. He adapts the human form to the divine
 purpose and at the same time disseminates divine ideas in a
 self-aware, but ego-less, activity. Leonardo would often give up
 sculptures midway because he felt he could not do adequate justice to
 his notion of divine perfection. Equally, Michelangelo, whenever he
 saw a thick and uncarved block, felt that he perceived a spirit
 waiting to be released. The sculptor is in the unusual position both
 of rendering beauty and attenuating the redundant dross into a pure
 refined truth.
    By reducing the excesses of self, he is subjugating self in order
 to release it. Eye and hand are perfectly attuned, the emotional
 elaboration upon the rational theme; he shows a sureness of vision
 but a plasticity of imagination. One could relate this to the Taoist
 notion of the uncarved block, which respects the integrity of the
 block, whether individual or collective, but also apprehends the
 sympathy that flows from non-being so that, when a sculptor is
 cutting away at himself to come to a chaster whole, he is also
 indirectly contributing towards the creativity of society.
     The sculptor obviously provides an important model for
 self-examination if you think of the way he must move around his
 object in order to see it from every angle and from every
 perspective. So, too, when we are engaging in the process of
 self-scrutiny, it is necessary not merely to consider ourselves in
 terms mental, physical, spiritual, rational, but also to have an
 empathic distanced grasp whereby we can see ourselves from the
 perspectives of other people and from each angle, and thus come to a
 rounded wholeness while cutting away that which is superfluous. The
 sculptor involves himself in a symmetrical flow whereby he is
 fragmenting in order to make whole, a process pregnant with important
 corollaries. Man is at the gateway between mortal and immortal, and
 the sculptor is poised on that threshold, trying to bridge the gap
 between a perceptible humanity and a dimly apprehended divinity. We
 think of Goldmund trying to sculpt and shape the perfect feminine
 spirit, the feminine principle that guides the universe, although the
 only way that he can approach the divine conception is by
 amalgamating all the women that he has known and the creativity from
 them that he has been privileged to receive.  The prominent
 characteristics of the sculptor are detachment, beauty
 of ideal and clarity of vision.

     PICO IYER


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