CALISTHENICS September 29/30, 1981
PURPOSE – RETRAIN THE MIND ---USING IMAGES ---SOUL ACTION ---COMEDIAN IN THE FIRST PLACE ---SEER – M FUNCTION –SEVERING SUBCONSCIOUS LINKS – INTEGRATING THE PERSONALITY --
Usually at the beginning of every year we go over some points related to what we do here.
Being in the groups sometimes becomes so automatic that the purpose is forgotten, so I would like to suggest first that you read the Statement of Purpose again.
One of our activities is to prepare the way so that in the near future higher beings will be able to come and manifest directly on human level, without having to incarnate. You will notice that every time we play music or speak, actually every time we work, the comedian in you, meaning the real you, comes through much more strongly than usual. You will also notice that it comes through without the effort of your concrete mind -- it just happens, and it happens because of this activity. You might not understand what it means to prepare the way like this but you experience it time and time again. I tell you this because I want you to realize mor e and more strongly that we are not speaking idle words. This is an action, and in an action you go along with facts, situations not concepts.
…..In spite of what the mind might say, yes, the move can take place right away. The training allows you to uncover your possibilities of moving right away.
You have to bear in mind that in this incarnation your concrete mind, linked to your personality, is trained along certain procedures that are considered effective and standard. Everything that doesn't go along these lines is doubtful. so , even if you don't think about it, somehow your personality is going to follow along, until you have discovered the phenomenon of reflective consciousness and how it works.
You will discover that when your consciousness thinks about moving, even if you think "first-I-have-to... ", it is really because there is a move underway, but the move is hampered by a lot of contingencies, etc.
This is where the mastery of the personality enters the picture. You, the real you, has to become aware of how the person functions so that you can learn to use the consciousness within the mask. If you are not trained you can get trapped in the contingencies of the mask and they sometimes seem mandatory, but they're not. They seem so only because you were raised at a certain time, in a certain civilization and surroundings. One day you will realize very concretely, even consciously, that three and one-half eternities of existence implies a lot more than the known mind. So you, the comedian, have to retrain the mind. There is a way to act directly instead of reflectively at the level of the mind.
Participant: This reflection on contingencies and this type of analysis on the personality level, does it have any role in the world?
Martin: It obstructs the action because it is not understood. Your mind takes for granted that its own functioning is the way things work. You have to discover that the same mind has other ways. When you have discovered this, then eventually you will lift the obstruction and use, for instance, your mind's ability to make an image.
So often you have heard me say that your imagery stands in the way. Actually it's not the image-making faculty that is the problem but the way the faculty is used. A faculty is neither good nor bad, it does not help or stand in the way; but the use of the faculty can either help you or destroy you, depending on how you use it. Yes, you have to be able to live without image, but you also have to be able to use an image.
In certain circumstances images are needed. I'll give you an example:In your image of spirituality there continues to be a movement of reaching up -- whether you like it or not, or whether you want it or not, you still continue to reach up. This is not the proper use of a symbol. In this instance, the imagery is meant to shape something that has more dimensions for use in a three-dimensional world, so we use the following symbol:The groups with their backs to the wall, facing inside. Now we would like to see the groups turn around and face outside because there is work to be done.
Now, of course, this is an image, and, of course, if you were to actually turn around you would be facing a wall, and this is not what is intended in the symbol, so the image is not perfect, but you are mature enough to realize that there is something very valid in the symbol.
If you have a good ability to make images, it can be used to shape and convey. You don't need it, unless you, the comedian, wants to convey something to the mind, then it triggers an image. The mind then has to recognize that it is a reflection of something and learn to focus on that something.
It's a little like a ringing telephone. You don't make conversation with the ringing, the ringing draws your attention to a possibility and then you use the possibility -- your soul rings through an image and then you can speak through the device.
Participant: I would like to tell about an experience. I met my sister this summer and her lifestyle is very different from what I can understand. I have, for many years, seen something with her; I feel deeply connected to her, not because she is my sister, but there is always something else, a spark. In the past , each time I saw her, I repeated the same pattern; I would come at her, to help her, but I did it with my will. This summer the worst came and she reacted very strongly and pushed me away. We decided not to see each other anymore, at least for several years, until we could find a position that would be better. Well, just a day before leaving for the next country I had this feeling to call her and yet I resisted it because I felt that I had lost a battle. But I called her anyway and told her I wanted to see her when I came back from Greece because I thought I would have changed, that we would have changed.
So when I came back from that trip five weeks later, I called her. in the meantime I had really worked with this thing, silently. This time when I saw her I really tried to look at the comedian in her and not say anything -- not even to discuss high matters -- just to enjoy the time we had together and to just be with that (the deeper value). It was like finding a connection, a way of communication that was finer, somehow. And we never even talked about it because it wasn't necessary. It was quite a strong experience.
Martin: You came out with a point that is very important. The first rule is that you have to live that condition yourself and you have to address that condition in what is in front of you in this instance, see her in the same way. Symbolically, you live comedian and address her as comedian, not as the mask she showed.
Participant: I can add something to what you just said. In the beginning, I had the feeling that I was living something. I was on the concept side of it -- I had an image and I was working out of the image. The second time I was just coming the way I was -- it was more full. It's very interesting because the first position was really an illusion -- that I was going to help her -- when in fact I hurt her .
Martin: In the first position you put the emphasis on the doing instead of on the being. in other words, what gives life to what you do is you standing behind. If you put all the emphasis on the doing or on the technique, there is no life in it.
If you want a soul action, you have to live and sound soul. This has to sound through whatever you do. You might experiment with acting with a doing (or procedure) and then acting without a doing -- but of course with something behind. This kind of experience is necessary for the present-day mind. Such emphasis is placed on procedure that you believe that the procedure is what is effective, when it's actually what you put in the procedure.
If you are trained a little you might even go a step further: You can use a procedure that is "right", then a procedure that is "wrong", and then no procedure -- and each time you will have the same result because you are standing behind; the result will shape according to that not according to the procedure.
Of course, if you have a way of relating to the person that the person can understand, and you stand strongly behind, the results will be more harmonious, possibly quicker, than if you use a way a person cannot relate to.
………. Now I have to warn your minds about something: there are books and groups and teachings that show you how to reach the comedian mask-wise. My warning to you is don't. What is from the comedian steps from the comedian. As Steiner puts it: "What is from soul is from soul". It is true that you can refine your feelings, your sensations, your feelings so that the action from soul is more obvious, but I have seen persons who were extremely refined physically and no soul it's not automatic. You come out as comedian in the first place. You don't first, using the mask, refine and meditate in order to reach the comedian. You are the comedian in the first place, learn to acknowledge it at the mask level.
The comedian action is comedian action simply that. Maybe what we do is not exactly orthodox, but as you notice it works. There is no value in believing in strict rules or procedures. Points have to be observed it is true, but you use the procedure that is fit, not the accepted or official procedure -- whether it is orthodox or not. We use a procedure that is not orthodox, we don't make you meditate "in-order-to". if you catch yourself telling yourself that you have to do something first "in-order-to"... forget it. Some things might be needed, but not "in-order-to". As the action unfolds you might find it fitting to use this or that procedure; if you don't find any you can invent one; if you can't invent one then don't use any procedure -- this usually works best.
………..We always show everything double: the greenhorn way and the spaceship way. This means that there is an imprint that goes right within you into your own identity that links you with the future of the spaceship -- it's part of an action you are not aware of. So you will hear me say that unless you respond soul-wise you can forget it.
Something else: We work with the Christ and the Christ Impulse, which has a specific note in it. This works in you too, so when we speak of the comedian, the comedian coming out of this door is not any comedian, it has specific qualities that you might not realize yet -- unless you can see and be aware in a different way. If you look at other people with a field just as clear, you might notice that the quality is not there, unless they are related to the same action, which is possible actually.
We deal with fields all the time, so your field shows more than usual people show, even people with equal personalities. As you can see, these things shape up little by little and you can acknowledge/see/feel/live them. you will also notice that your efforts on the level of the consciousness "in-order-to" reach them are of very little value -- surprisingly little value. We are involved in something else, you have to get used to it. When you go out into the world you bring something, whether you know it or not, but it is preferable to do it consciously.
I also want to dispel a misunderstanding:
I want you to realize that all teachings are meant to be used to bring something out. This means that if you go along the teachings of the Arcane School, or Steiner, or Yogananda you must bring these qualities that are starting to bloom as a guiding note into whatever form you use, including the training of yourself, the mask. Then there is no confusion.
One of the main confusions stems from the fact that we work in a rather direct way. This is why you change. We don't work in the reflective way, the reflective way is only for the satisfaction of your mind so you have something to chew on -- in the meantime something happens while you chew. The chewing is not important.
When we play music there is a change in you, there is a quality at play. On the mask level you perceive things, but the overall livance is a comedian livance, not a mask livance. You live it time and again, it is only because of the type of education that you have received that you think you "first-have-to" do something in order to be the comedian. Be the soul in the first place and take hold of your person. If the comedian directs the refining of the person, or the mastery of the desires, or concrete thoughts, coarse feelings etc. then it is done beautifully.
We have to put a lot of stress on the comedian aspect because you need to be comedian aware as much as possible, as strongly as possible, as quick as possible -- and this means right now.
….. You are used to viewing the world in a certain way. I encourage you to challenge that way. You can acknowledge what you perceive as one point, then look for something else. Ask what else is present that your physical eyes don't see, or your senses don't notice. I encourage you to do it. You will be surprised. why do you limit yourself to what your eyes see? The eyes capture images, the Seer does not see in terms of images. The Seer ability is in everyone, you started with it three and one-half eternities ago.
Participant: Some of the people that I've had an opportunity to have an exchange with on a deeper level, in which I could invite them to flow, to come out, to just join me, I would be so surprised because they did, and most of the time they were aware that they were doing something very different. I was very surprised: How Come this person who doesn't even have contact with Martin is suddenly right there? At times it would really leave me questioning, because at one level I would know that it was genuine, but on the other hand the person had no training.
Martin: When we work there is a field action. If a condition is normal for me and I interact with someone else, or all of you, you find a field in which you can express it--if you go out in the street you don't have it, then you have to become very strong and produce it anyway, but this requires a lot more strength.
Here we provide the field so the experience is easier for you. As you notice when you experience here, it works easily and you go home and it doesn't work anymore. This is because of the difference of surrounding, which we call field. If a condition for you is normal, you are used to it, another person in an ordinary field might not express it ever, but in front of you might be able to do it because of what is around which makes it a lot easier. So never forget the importance of the field.
And you can modify the field. I want to show you something.We could play one of the pieces of music that we played earlier.
music
As you might have noticed that on the same comedian level there was a change toward an action that was more specific. Now I want to play another one ...
music
Within the same mode there was another movement. This means that you have to learn to be aware preferably comedian wise of those different shades. You have heard me tell you many times that when we work we tune into what is going on. On the comedian level there is no problem, it is as clear as the different livances you went through with the music. One type with the choir, another type with the first piece of music and within that type a third with its own movement. And when you work you go along with that. But as you know from experience your mind is of no help unless you have trained the mind to make images that do relate to the situation and you understand the image because it hints at what is going on--then you join in. An image can be useful as a reflection of what is going on, but that means a training .
Participant: When you talk about severing the link, does it pertain to a mask activity or does it pertain to the comedian ? Could you also talk a little more about the difference between severing the link in fantasy and/or reality, versus in the mind.
Martin: I'm not sure to what situation you.refer because it can happen on several levels.
Participant: if I remember right you said that once you can sever one kind of link you can sever any kind of link -- pertaining specifically to the death exercise, but also severing your links to the things you are attached to. Is it always on a mask level?
Martin: That kind of severing is the ability to stop using a given pattern.
I'll give you an example: In present-day conditions when you use the creative ability, the Christ Impulse puts in motion the M function. The fullness of the M function contains A, U, and M, which creates the spaceship. The M function reverberates within man on all major and minor M functions. Now on the U level (thorax), the M function would be the center located at the throat , which is an m of the u region. Depending on how you are balanced, you are going to link that with the m at the back of the head, or possibly the reverse, the mA coming out at mU. If you are not trained spiritually, or simply if you have a strong subconscious drive, it will make you aware of the subconscious (the function in the abdomen), and the subconscious will respond stronger; responding stronger you will be faced with something very simple: the base of consciousness is in the U region so the u of the M is going to respond closer to consciousness, with most people this leads to a sexual drive. As long as the sexual drive is not under control you won't come out clearly, creatively on this center because of the energies diverted to the subconscious. The training of the spirit coming down into the M region requires the spirit side to be very strong, otherwise you simply listen to the M region and awaken subconscious activity.
Now, speaking of severing links : there is very obviously a long past of subconscious activities. If you learn to sever links, you have the ability to take away the importance of the subconscious drives, and this opens the road for the supraconscious to come down all the way -- and it leaves the expression here much more free .
Severing the link is in reality freedom from bondage, meaning you use a way of expression when it is useful, otherwise you don't use it -- and you are really free not to use it.
Participant: What might be the nature of a link and is it something that is in the end an attachment to something that is a fantasy or is it something that is substantive? As an example, I understood that it referred to patterning and conditioning, conceptualization, and that kind of thing. You also have referred to the link that we have with you. You once gave the example of sitting in front of the flowers, now is that a substantive link or is that a conceptual link?
Martin: I would call that a conceptual link. Let's say you sever the link with yourself, which is pretty hard, but eventually you can do it, what it means psychologically speaking is that you sever the link with the image you have of yourself -- then you are free to live yourself in a different way.
Remember, the consciousness is reflecting, the real link, what makes you one, is something very different, and is usually not spoken of as a link. When you live it you don't conceptualize it as a link, it's much closer than that. A link is a connection. In a oneness there is no connection, otherwise it wouldn't be one.
Participant: I seem to have some success in severing links with thoughts and conceptions with my eyes closed when it's relatively quiet, but with my eyes open I don't seem to be able to do it.
Martin: it's usually so in the beginning --you can do something with the eyes closed that you can't with the eyes open. But, if you persist mask-wise, eventually you will succeed. If you do it from the comedian condition I can't tell you how much faster it goes--it can be instantaneous--because the values the mask uses are not the values the comedian uses. The mask says: "This is very important in my life" and the comedian says: "I don't know what to do with it". So, depending on the type of link in the mask, and if you are the comedian facing the situation, very suddenly and quite effectively the importance of what was holding you is gone.
When we play with the music, we have no human bond whatsoever, and this is on the conscious level. So, if you partake of that condition with us, you will realize that you are very free of that existing condition. You already know that freedom somehow.
Participant: Related to the last piece of music ... to clarify my experience. Initially I felt like a rod of steel and my tendency was to be free of that, then shortly before the end of the piece of music it was just a dramatic change. fly experience was that the life in the group was free. I was wondering if I had followed the music incorrectly or if you have to change to go along with....
Martin: There is no right or wrong -- you are describing your experience and it was so. of course, we could analyze it and say that your feeling of that rod of steel was due to the level or levels involved, which implies something very directive and very strong -- let's say this was your first impression. Then at the end you got, so to speak, used to it and you had the freedom of movement. Actually there was movement all the time. What you described was an adaptation to the movement.
Also, remember that what you described are images. There is a discipline that you have to submit yourself to: When you perceive a condition, it never means that it is so, it means that you function in a way that sees that way. I'll give you a technical example:
You have three centers in the thorax working as consciousness. You have an A zone and an M zone that are not exactly conscious, so we call the A zone supraconscious and the M zone subconscious. Supra- is related to positive polarity and sub- is related to negative or nature polarity. You will find these in books, I didn't invent them. Now suppose you are conscious all the way down (no supra- or sub-), then the dichotomy spirit/nature is gone -- it's quite clear, quite logical. If the supra- aspect is full and the sub- aspect is full then you have one full awareness. This means that the dichotomy is not real -- it is so only because of some characteristics of present-day functioning, simply that.
Things appear to you in a certain way because you take a given position. You ought to realize that when you live what is termed "oneness" there is no duality. Now if you live a condition that implies functions like supra- and sub-, these functions create a whole lot of waves that make up a kind of duality called "spirit" and "nature". There are people who describe that past a certain initiation you have a choice where you might evolve -- on the spirit side or the nature side -- it's a choice and both are of equal value. And one day even that is gone and the real situation is a whole. But with the type of personalities you have nowadays you have supra- and sub-, thus you live a duality...
……..until you integrate the personality. Symbolically speaking, today comedians don't wear masks, they act directly. In a way you can say they have integrated the mask -- then things look quite a bit different.