There is a vast store of energy which is not centered, which is not ego’s energy at all. It is this energy which is the centerless dance of phenomena, the universe interpenetrating and making love to itself. It has two characteristics: a fire quality of warmth and a tendency to flow in a particular pattern, in the same way in which fire contains a spark as well as the air which directs the spark. And this energy is always ongoing, whether or not it is seen through the confused filter of ego. It cannot be destroyed or interrupted at all. It is like the everburning sun. It consumes everything to the point where it allows no room for doubt or manipulation.
But when this heat is filtered through ego, it becomes stagnant, because we ignore the basic ground, refuse to see the vast space in which this energy occurs. Then the energy cannot flow freely in the open space shared with the object of passion. Instead it is solidified, narrowed, and directed by the central headquarters of ego to move outward in order to draw the object of passion into its territory. This captive energy extends out to its object and then returns to be programmed again. We extend our tentacles and try to fix our relationship. This attempt to cling to the situation makes the communication process superficial. We just touch another person’s surface and get stuck there, never experiencing their whole being. We are blinded by our clinging. The object of passion, instead of being bathed in the intense warmth of free passion, feels oppressed by the stifling heat of neurotic passion.
Free passion is radiation without a radiator, a fluid, pervasive warmth that flows effortlessly. It is not destructive because it is a balanced state of being and highly intelligent. Self-consciousness inhibits this intelligent, balanced state of being. By opening, by dropping our self-conscious grasping, we see not only the surface of an object, but we see the whole way through. We appreciate not in terms of sensational qualities alone, but we see in terms of whole qualities, which are pure gold. We are not overwhelmed by the exterior, but seeing the exterior simultaneously puts us through to the interior. So we reach the heart of the situation, and if this is a meeting of two people, the relationship is very inspiring because we do not see the other person purely in terms of physical attraction or habitual patterns, we see the inside as well as the outside.
This whole-way-through communication might produce a problem. Suppose you see right through someone and that person does not want you to see right through and becomes horrified with you and runs away. Then what to do? You have made your communication completely and thoroughly. If that person runs away from you, that is his way of communicating with you. You would not investigate further. If you did pursue and chase him, then sooner or later you would become a demon from that person’s point of view. You see right through his body and he has juicy fat and meat that you would like to eat up, so you seem like a vampire to him. And the more you try to pursue the other person, the more you fail. Perhaps you looked through too sharply with your desire, perhaps you were too penetrating. Possessing beautiful keen eyes, penetrating passion, and intelligence, you abused your talent, played with it. It is quite natural with people, if they possess some particular power or gifted energy, to abuse that quality, to misuse it by trying to penetrate every corner. Something quite obviously is lacking in such an approach—a sense of humor. If you try to push things too far, it means you do not feel the area properly; you only feel your relationship to the area. What is wrong is that you do not see all sides of the situation and therefore miss the humorous and ironical aspect.
Sometimes people run away from you because they want to play a game with you. They do not want a straight, honest, and serious involvement with you, they want to play. But if they have a sense of humor and you do not, you become demonic. This is where lalita, the dance, comes in. You dance with reality, dance with apparent phenomena. When you want something very badly you do not extend your eye and hand automatically; you just admire. Instead of impulsively making a move from your side, you allow a move from the other side, which is learning to dance with the situation. You do not have to create the whole situation; you just watch it, work with it, and learn to dance with it. So then it does not become your creation, but rather a mutual dance. No one is self-conscious, because it is a mutual experience.
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