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Vigyan Bhairav Tantra - Meditation
Technique 6 WHEN IN WORLDLY
ACTIVITY, KEEP ATTENTIVE BETWEEN THE TWO BREATHS, AND SO PRACTICING, IN
A FEW DAYS, BE BORN ANEW.
Osho - WHEN IN WORLDLY ACTIVITY, KEEP ATTENTIVE BETWEEN THE TWO
BREATHS... Forget breaths -- keep attentive in between. One breath has
come: before it returns, before it is exhaled out, there is the gap, the
interval. One breath has gone out; before it is taken in again, the gap.
IN WORLDLY ACTIVITY KEEP ATTENTIVE BETWEEN THE TWO BREATHS, AND SO
PRACTICING, IN A FEW DAYS, BE BORN ANEW. But this has to be done
continuously. This sixth technique has to be done continuously. That is
why this is mentioned: WHEN IN WORLDLY ACTIVITY... Whatsoever you are
doing, keep your attention in the gap between the two breaths. But it
must be practiced while in activity.
We have discussed one technique that is just similar. Now there is only
this difference, that this has to be practiced while in worldly
activity. Do not practice it in isolation. This practice is to be done
while you are doing something else. You are eating -- go on eating and
be attentive of the gap. You are walking -- go on walking and be
attentive of the gap. You are going to sleep -- lie down, let sleep
come, but you go on being attentive of the gap. Why in activity? Because
activity distracts the mind, activity calls for your attention again and
again. Do not be distracted, be fixed at the gap. And do not stop
activity, let the activity continue. You will have two layers of
existence -- doing and being.
We have two layers of existence: the world of doing and the world of
being; the circumference and the center. Go on working on the periphery,
on the circumference; do not stop it. But go on working attentively on
the center also. What will happen? Your activity will become an acting,
as if you are playing a part.
You are playing a part -- for example, in a drama. You have become Ram
or you have become Christ. You go on acting as Christ or as Ram, and
still you remain yourself. In the center, you know who you are; on the
periphery you go on acting as Ram, Christ or anyone. You know you are
not Ram -- you are acting. You know who you are. Your attention is
centered in you; your activity continues on the circumference.
If this method is practiced, your whole life will become a long drama.
You will be an actor playing roles, but constantly centered in the gap.
If you forget the gap then you are not playing roles, you have become
the role. Then it is not a drama; you have mistaken it as life. That is
what we have done. Everyone thinks he is living life. It is not life, it
is just a role -- a part which has been given to you by the society, by
the circumstances, by the culture, by the tradition, the country, the
situation. You have been given a role and you are playing it; you have
become identified with it. To break that identification there is this
technique.
Krishna has many names. Krishna is one of the greatest actors. He is
constantly centered in himself and playing -- playing many roles, many
games, but absolutely non serious. Seriousness comes from
identification. If you really become Ram in the drama then there are
bound to be problems. Those problems will come out of your seriousness.
When Sita is stolen you may get a heart attack, and the whole play will
have to be stopped. If you really become Ram a heart attack is
certain... even heart failure.
But you are just an actor. Sita is stolen, but nothing is stolen. You
will go back to your home and you will sleep peacefully. Not even in a
dream will you feel that Sita is stolen. When really Sita was stolen,
Ram himself was weeping, crying and asking the trees, "Where has my Sita
gone? Who has taken her?" But this is the point to understand. If Ram is
really weeping and asking the trees, he has become identified. He is no
more Ram; he is no more a divine person.
This is the point to remember, that for Ram his real life also was just
a part. You have seen other actors playing Ram, but Ram himself was just
playing a part -- on a greater stage, of course.
India has a very beautiful story about it. I think that the story is
unique; nowhere else in any part of the world does such a thing exist.
It is said that Valmiki wrote the RAMAYANA before Ram was born, and then
Ram had to follow. So really, the first act of Ram was also just a
drama. The story was written before Ram was born and then Ram had to
follow, so what can he do? When a man like Valmiki writes the story, Ram
has to follow. So everything was fixed in a way. Sita was to be stolen
and the war had to be fought.
If you can understand this, then you can understand the theory of
destiny, BHAGYA -- fate. It has a very deep meaning. And the meaning is,
if you take it that everything is fixed for you, your life becomes a
drama. If you are playing the role of Ram in the drama you cannot change
it, everything is fixed, even your dialogue. If you say something to
Sita it is just repeating something that is fixed. You cannot change it
if life is taken as fixed.
For example, you are going to die on a particular day -- it is fixed.
When you will be dying you will be weeping, but it is fixed. And such
and such persons will be around you -- it is fixed. If everything is
fixed, everything becomes a drama. If everything is fixed, it means you
are just to enact it. You are not asked to live it, you are just asked
to enact it.
This technique, the sixth technique, is just to make yourself a
psychodrama -- just a play. You are focused in the gap between two
breaths and life moves on, on the periphery. If your attention is at the
center, then your attention is not really on the periphery -- that is
just "sub-attention"; it just happens somewhere near your attention. You
can feel it, you can know it, but it is not significant. It is as if it
is not happening to you. I will repeat this: if you practice this sixth
technique, your whole life will be as if it is not happening to you, as
if it is happening to someone else.
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