Often I, too, am overcome by the hatred, the jealousy and envy, the wars, all the ugliness that is a part of our world. I try to live in beauty and goodness; I seek out all that has a quality of inner beauty, and I am immediately repulsed by anything ugly that sends out bad vibrations. Over the years, with the help of my guru, I have tried very hard to create and build up within me a kind of beauty and spiritual strength, so that I always have this to turn to when the harshness of the world becomes too depressing. It is this inner beauty that I have worked so long to create that I try to reveal through my music and share with all my listeners.
Our tradition teaches us that sound is God—Nada Brahma. That is, musical sound and the musical experience are steps to the realization of the self. We view music as a kind of spiritual discipline that raises one’s inner being to divine peacefulness and bliss. We are taught that one of the fundamental goals a Hindu works toward in his lifetime is a knowledge of the true meaning of the universe—its unchanging, eternal essence—and this is realized first by a complete knowledge of one’s self and one’s own nature. The highest aim of our music is to reveal the essence of the universe it reflects, and the ragas are among the means by which this essence can be apprehended. Thus, through music, one can reach God.
In 1958, Theodore Sturgeon, an American writer and critic of science fiction and horror stories, argued that 90% of everything (he specifically listed science fiction, film, literature and consumer products) is crap.
David Travis and Philip Hodgson. Think Like a UX Researcher
In this tractate, Plotinus discusses how a metaphysician should apply the philosophical practice of dialectic to assist in gaining an understanding of God, essentially raising one’s consciousness so as to become more godlike.
The Oxford Dictionary defines dialectic as the “inquiry into metaphysical contradictions and their solutions.” Plotinus goes into a deeper explanation of how dialectics are applied in the search for ultimate Truth and knowledge of the Divine.
It is the Method, or Discipline, that brings with it the power of pronouncing with final truth upon the nature and relation of things—what each is, how it differs from others, what common quality all have, to what Kind each belongs and in what rank each stands in its Kind and whether its Being is Real-Being, and how many Beings there are, and how many non-Beings to be distinguished from Beings.
Dialectic treats also of the Good and the not-Good, and of the particulars that fall under each, and of what is the Eternal and what the not-Eternal—and of these, it must be understood, not by seeming-knowledge [“sense-knowledge”] but with authentic science.
This is a lot to digest, so let’s identify the key points.
First, according to the dialectic method as applied to metaphysics, the only way to come to an understanding of divine Truth is through careful analysis and comparison between two opposites. Think of the yin and yang symbol. The whole is made up of two different halves, each the opposite of the other, yet containing a seed of the other. So, when Plotinus is talking about understanding Being by comparing Real-Being with non-Being, it would seem that he is describing the comparison between the Forms as posited by Plato with the manifestations of those archetypal Forms in this reality.
But then Plotinus takes this to the next step, which is knowledge of God, or as he states, the Eternal. In order to come to a complete understanding of God, one must experience direct contact with God and compare that with that which is not God, presumably the Soul which exists within each of us, the Soul being from God, but not God.
This is probably enough for today. Meditate on this a little and I will have another installment up soon.
In this tractate, Plotinus describes how virtue enables us to become godlike.
He begins by asserting that while “virtue is one thing, the source of virtue is quite another.” The source of virtue is the Supreme God, but since the Supreme is perfection, virtue does not exist within the realm of the Divine.
So with us: it is from the Supreme that we derive order and distribution and harmony, which are virtues in this sphere: the Existences There, having no need of harmony, order or distribution, have nothing to do with virtue; and, none the less, it is by our possession of virtue that we become like to Them.
Plotinus goes on to state that “our concern is not merely to be sinless but to be God.” Since “man is the very being that came from the Supreme,” the goal of being virtuous is to purify our being and return to our divine state.
Plotinus concludes this tractate by pointing out that we should not model ourselves and our virtues on the examples of virtuous people, such as saints. Instead, we should look directly to the source of virtue in order to return to our divine nature.
For it is to the Gods, not to the Good, that our Likeness must look: to model ourselves upon good men is to produce and image of an image: we have to fix our gaze above the image and attain Likeness to the Supreme Exemplar.
This tractate explores the connection between the body and the Soul, focusing on the question of where emotions and experiences reside. Basically, determining whether emotions like fear and courage are experienced by the Soul or by the physical body.
Plotinus establishes that the Soul is immortal, and since it cannot be threatened by the physical danger, it cannot be the source of these emotional states.
Now what could bring fear to a nature thus unreceptive of all the outer? Fear demands feeling. Nor is there a place for courage: courage implies the presence of danger. And such desires as are satisfied by the filling or voiding of the body, must be proper to something very different from the Soul, to that only which admits of replenishment and voidance.
Plotinus then goes on to argue that humans possess what he terms the Animate, which is essentially a combination of a physical body with the immortal Soul.
Now this Animate might be merely the body as having life: it might be the Couplement of Soul and body: it might be a third and different entity formed from both.
Plotinus later explores the question of perception, inquiring into whether the Soul can perceive things in the physical realm. He posits that the Soul perceives sympathetically, essentially picking up reverberations from what the body experiences on the physical plane.
The faculty of perception in the Soul cannot act by the immediate grasping of sensible objects, but only by the discerning of impressions printed upon the Animate by sensation: these impressions are already Intelligibles while the outer sensation is a mere phantom of the other [of that in the Soul] which is nearer to Authentic-Existence as being an impassive reading of Ideal-Forms.
Based upon this quote, it appears that the Soul, being divine in origin and immortal, has direct knowledge of the Platonic forms. The Soul thereby is able to identify the sensations from the physical world because of their connection to the ideals existing within the realm of forms. This reminds me of how, in music, a string will vibrate when a note of the same key is played on a different string. For example, if you play a D note on the A string, the D string will also vibrate.
That’s all I have for this tractate. We will look at the next one soon.
I have been considering doing a blog series on Plotinus for a while. Now seems like a good time to do so. I had previously read some of his work, but never the complete Enneads, which was something I had endeavored to do. I was first introduced to Plotinus in college when I was fortunate enough to study W.B. Yeats under the guidance of the late Prof. Phillip Marcus, who was considered to be “one of the world’s leading Yeats scholars.” Prof. Marcus assigned passages from Plotinus to the class to help us better understand the complex occult symbolism in Yeats’ work.
Here is a little background information for those who are unfamiliar with Plotinus.
Plotinus was a major Hellenistic philosopher who lived in Roman Egypt. In his philosophy, described in the Enneads, there are three principles: the One, the Intellect, and the Soul. His teacher was Ammonius Saccas, who was of the Platonic tradition. Historians of the 19th century invented the term neoplatonism and applied it to Plotinus and his philosophy, which was influential during Late Antiquity and the Middle Ages. Much of the biographical information about Plotinus comes from Porphyry’s preface to his edition of Plotinus’ Enneads. His metaphysical writings have inspired centuries of Pagan, Jewish, Christian, Gnostic, and Islamic metaphysicians and mystics, including developing precepts that influence mainstream theological concepts within religions, such as his work on duality of the One in two metaphysical states.
Prophyry was a disciple of Plotinus. Prophyry stated that Plotinus’ goal was “’…intimate union with the God who is above all things’ and testified that during the time he knew him Plotinus ‘attained this end four times.’” Union with God once in a lifetime is amazing; four times is almost unfathomable for me.
At this point, it is worth considering the structure of this work. I think this is important because I suspect there is a mystical symbolism in the structure of the text itself.
The word “enneads” comes from the Greek word “ennea,” which means nine. So essentially, an ennead is a group of nine. Each of the six enneads contains nine tractates, which, as we have seen already deal with the three metaphysical principles (the One, the Intellect, and the Soul ) that comprise Plotinus’ philosophy. This gives us a 3-6-9 structure. Now, I am not going to go into detail about the mystical significance of this number combination, but suffice to say that Nikola Tesla asserted that “If you only knew the magnificence of the 3, 6 and 9, then you would have the key to the universe.”
I think this is enough of an introduction for now. Going forward, I will be publishing a blog post for each of the tractates, which should be a total of 54. If you have any interest in following along, I will be using the translation by Stephen MacKenna and B. S. Page. Hopefully, some of you will read along and join in a discussion.
As I continue working through the books that have been on my shelf way too long, I decided to read this one, which has been on my shelf for at about 25 years.
This book is a collection of travel essays which Huxley published in 1925. From an historical perspective, it is interesting to read about what things were like in Europe in the years between World War I and World War II. Also, travelling in a time before cell phones and GPS provided fodder for interesting stories.
Early in the book, Huxley asserts that most people do not like to travel and only do travel so that they can essentially have the bragging rights of having been somewhere cool.
The fact is that very few travellers really like travelling. If they go to the trouble and expense of travelling, it is not so much from curiosity, for fun or because they like to see things beautiful and strange, as out of a kind of snobbery. People travel for the same reason they collect works of art: because the best people do it. To have been to certain spots on the earth’s surface is socially correct; and having been there, one is superior to those who have not. Moreover, travelling gives one something to talk about when one gets home.
(pp. 9 – 10)
I confess chuckling when I read this. I considered times travelling with friends when I was younger. I was eager to go out, see and do things, and often my travel companions wanted to hang around the hotel room. I never understood this. For me, the whole point of travelling is to experience something new and to broaden my perspectives.
As an avid reader, I am guilty of always bringing books with me when I travel. As Huxley points out, I am not alone in this regard.
All tourists cherish an illusion, of which no amount of experience can ever completely cure them; they imagine that they will find time, in the course of their travels, to do a lot of reading. They see themselves, at the end of a day’s sightseeing or motoring, or while they are sitting in the train, studiously turning over the pages of all the vast and serious works which, at ordinary seasons, they never find time to read.
I am reminded of my travels in the Lake District of England, carrying around my volumes of works by the English Romantic writers. I did read some, but mostly it was one or two poems in the evening before falling into sleep from exhaustion. I now choose my books strategically, something that is not too heavy, and which will likely get me through most if not all of the journey. The truth is, most places have interesting local bookstores, and it is really hard for me to visit a place like Paris and not schedule a trip to the Shakespeare & Company Bookstore. I can always buy another book if needed. And for those of use who have eReaders, there is always a veritable library at the fingertips.
Overall, I liked this book. Huxley provides some great descriptions of various places he visited, as well as some in-depth analyses of artwork and architecture native to the locations. Granted, much of what is included in these essays is outdated, but I still found the book interesting.
This book has been on my radar for a long time, and I have finally gotten around to reading it. It is one of those short books that is easy to read, but overflows with wisdom. I suspect I will be rereading it at some point.
Quite simply, Ruiz teaches that there are four agreements which one needs to make with oneself in order to attain personal freedom:
Be impeccable with your word
Don’t take anything personally
Don’t make assumptions
Always do your best
The book explores these agreements, showing how they benefit the individual who practices them.
Anyway, rather than talking about the agreements and their applications (something already done by many others), I wanted to discuss the one issue with this text.
On the title page of the book, there is a note, which reads:
Note: The term “black magic” is not meant to convey racial connotation; it is merely used to describe the use of magic for adverse or harmful purposes.
The term is used fairly liberally throughout the text, but one example of its use should suffice.
Depending upon how it is used, the word can set you free, or it can enslave you even more than you know. All the magic you possess is based on your word. Your word is pure magic, and misuse of your word is black magic.
I felt compelled to discuss this with a close friend of mine, who is black and also a voudou initiate. I was curious whether he found terms like “black magic” or “dark arts” to be racially offensive. The short answer is “yes.” Essentially, using those terms reinforces the stereotype that the color black is synonymous with something evil or dangerous. He said he personally uses terms like “non-prana strengthening” to describe practices that others might label as dark magic. He said even though he often has to explain what he means, it better describes the effects of behaviors and practices that negatively impact one’s spiritual wellbeing.
Don Miguel Ruiz teaches that one should be impeccable with one’s word, which for me means being very careful with what you say and remaining ever cognizant of the effects that words can have. This applies to terms like “black magic.” To use phrases such as this without regard to the ramifications is careless in the least, and detrimental in the worst.
Thanks for taking the time to read my musings. I hope you all have a blessed day.
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