THE SACRED SPIRIT WITHIN – MITAKUYE OYASIN (for all my relations—which is ALL) – PLEIADES CONNECTION SERIES VI – PHOENIX JOURNAL #35 - CHAPTER  3

REC  #2    GERMAIN

SAT., JULY 27, 1991   11:31 A.M.   YEAR 4, DAY 345

AXIOMS

 

The UNDIVIDED is eternally balanced for it is ONE.

 

The DIVIDED ONE is eternally unbalanced for it becomes TWO.

 

The UNITED TWO can become a balanced ONE only if each mate of the TWO is equal.

 

A balanced UNITY is possible only where interchange between the mate-pairs of every transac­tion of man, or Nature, is equal and rhythmic.

 

We shall now apply the foregoing axioms and principles to such human transactions as the mu­sic example, individual and na­tional relations, sex, industry and other examples necessary to enable you to fully comprehend where the physical expression ends in all such transactions and the spiritual expression begins.

 

Let us begin with sound itself.  Sound is created by a collision between two states of motion or conditions of matter.  We now consider the creator of the sound.  Man, for example, is the cre­ator of the drum beat, the chant, the march, waltz, jazz, choral or symphony.  No matter which status of physical or spiritual expression that comes from the creator of sound, there is some­thing else than Soul within the sound which is not a part of the sound itself—a something else which is not created—and that something is RHYTHM.  There are other uncreated QUALI­TIES within sound, also, such as BEAUTY which inner eyes and inner vision alone can see but, for the present, we shall consider only RHYTHM.

 

The savage beats his drum in rhythms which are as physical as he is physical.  They force bodies to respond to such rhythms as his savage nature puts into them.  They can be the body rhythms of the savage dance or the rhythms which arouse frenzy and low human passions.  I do not speak of a “group” of people which others call “savage”—I refer to the ones of any so­ciety which are lacking in advanced or complex culture and those who are cruel and violent.  The best example which I witness comes from the violent cacophony and mayhem of that which you refer to as Hard Metal Rock wherein the beat, the noise and the lyrics are all vio­lent and totally adversarial to peace and balance.

 

The first point which I wish to emphasize at this part of the ex­ample is that the action creates sound only, but the rhythm manifests IDEA, and IDEA is not created.  Emotions of every form can spring from sound, but the emotions are NOT IN the sound.  The emotions are in the cre­ator of the sound and not in the sound but he interprets the emotions which are in him by the kind of sound he makes and those sounds awaken similar emo­tions in his listeners.  It is not SOUND which does that; it is RHYTHM.

 

The second point which I now emphasize is that the rhythm and the emotion which sprang from the sound manifest the nature of their creator.  They are like their creator.  They are made in his image.  If they spring from his Mind, they are as spiritual as his Mind-awareness is spiritual in measure.

 

The third point which I now emphasize is that physical expres­sions come first, for man is first savage.  The rhythms which he first puts into his sounds are physical.  They make the body move, and that body movement is controlled by the rhythm which the creator of the sound puts into it.  The savage rhythm may put frenzy into the body movement.  The beat of that fren­zied rhythm is very much syncopated and distorted.  The beat of the IDEA which that man mani­fests—the IDEA of his self in its present stage of unfolding of the everchanging MAN-IDEA.

 

If you have followed this thought understandingly, you will more fully understand how BOD­IES grow into patterns and forms and rhythms which simulate IDEA and impersonate their creator.  If you do understand this, you will also comprehend that the sound body which the savage man created will repeat and reflect its image into other man-bodies which have within them the very self-image of the creator of that frenzied sound.

 

We have thus painted a word picture of how early man mani­fests his physical self through mak­ing sound-bodies which image his emotional stage of unfolding, and those sound-bodies which he has created reflect their stage of unfolding into other man-bodies which he has cre­ated re­flect their stage of unfolding into other man-bodies at an equal stage of unfolding.  We have, however, confined this example to the early stage of physical unfolding into which the spiritual has not yet entered.  Let us now rapidly advance through other stages up to the spiri­tual, inspira­tional and intellectual stage of genius man.  In so doing, we wish to emphasize an­other great fact of higher knowledge which will be better comprehended by postulating it as follows:

 

POSTULATES

 

l.  Man expresses his unfolding nature in one way only—through repetitive, rhythmic action.  The first or mortal stage of his unfolding is evidenced by the measure of unbalance in the rhythms of interchange between his actions and their reac­tions.

 

2.  During his entire stage of physical unfolding, the decisions which prompt his actions and reac­tions are always unbal­anced and unrhythmic because he always takes without thought of balanced giving.  He has not yet reached that point in his unfolding where love has entered it with sufficient strength and comprehension to base the patterns of his inter­changing upon the balanced rhythms of equal giving and re­giving.  That stage is still very far ahead to the many, but the few are entering its doors right now and are being illumined with the divine Light of their own immortality.

 

3.  During the mortal stage, before immortal God-awareness un­folds in him, every rhythmic ex­pression of his entire individ­ual and institutional existence accents body-awareness.  Af­ter the transition point has passed in which sensual man merges into intellectual man, every rhythmic expression ac­cents Mind-awareness and body-forgetfulness .

The last line of the third postulate is what we wish to accentuate at this point.  The spirit of un­created Nature is divine and never becomes a part of created Nature.  Awareness of the CRE­ATOR within the CREATED comes slowly, but only through the balanced rhythms of the uni­versal heartbeat.  That majestic ONE-TWO, ONE-TWO, ONE-TWO rhythm of bal­anced in­terchange between the divided sex-conditioned father and mother bodies which constitute Cre­ation is the only rhythm which frees the body from its mortal awareness.  Complete forget­fulness of body always accompanies the arrival of any in­dividual, or institution, at that high amplitude point in all wave vibrations where wave motion merges into decentrated stillness.  That wave-fulcrum point in all physical expression is where body motion ends and begins in stillness.  Bodies cannot be aware of bodies at that high spiritual point.  Passions and other un­balanced emotions are impossible at that point of silence which divides sound.

 

One could not possibly listen to the great masters of symphony and give vent to unbalanced emotions, or plan to steal or kill, or even plan any physical action, whatsoever, if one had reached that high point where his own intellect reached the immortal in­tellect of the composer.  All of the works of every great genius synchronize with the rhythm of the universal heartbeat.  That is the immortal rhythm, the balanced rhythm which is the basis for the universal language of Light which God makes use of to talk to you when you are ready to listen.  You breathe in that rhythm and you also walk in that ONE-TWO immortal rhythm.  Every great genius knows that language and interprets God’s words to you in balanced rhythms within which are the si­lences of the un­created.  Many people do not know that they are hearing God’s Voice when they reach awareness of those silences within and between those ONE-TWO rhythmic sounds.  Have you not often heard people say that a symphony has no meaning for them for they often find themselves put to sleep while listening?  They do not realize that they have become so ec­statically attuned to the universal heartbeat that they have been forced to forget their bodies.  That is one evidence of progress in spiritual unfolding which means one’s intellectual un­folding.

 

When the mother sings a lullaby to put her baby to sleep, she adopts the balanced universal rhythm and lowers its tempo be­low the tempo of the human heartbeat.  That forces the child to forget its body to seek that silence from which its body came.  Contrast this rhythm with the ONE-TWO-THREE rhythm of the waltz, which has the symmetry of the pyramid instead of the cube symmetry of the ONE-TWO rhythm.  The joyful rhythm of the Blue Danube waltz will just compel one to dance joyfully to that divided rhythm, for its very division is symmet­rical and each of its three divisions is balanced and equal.  The ONE-TWO rhythm has the symmetry of the square and the cube, and the ONE-TWO-THREE rhythm has the symmetry of the triangle and pyramid.

 

The symmetry of the waltz can be better comprehended if you make six pyramids of equal size and put them together.  They become a cube.  The symmetry of the waltz is, therefore, one-sixth of a cube, which equals a pyramid.  In this three-dimen­sional universe, the length, breadth and thickness of the pyramid is three, but six pyramids within a cube constitute three pairs if you di­vide them to take a waltz rhythm out of a cube.  The un­divided cube is nine in its unity, which is made up from its three inner planes that give length, breadth and thickness and its six boundary planes.  By repeating the nine of Nature’s light-wave field symmetry, an accent is forcibly in­jected into the position of rest in the heartbeat symmetry.  This compels the body to con­tinue its action instead of resting.  It is a wonderful sensation, a happy and joyous sensation, but it is still an unbalanced physi­cal expression.  It is a cultured physical expression, however, for it contains a great measure of the spiritual rhythm in it, as it is a happy rhythm, not a frenzied one.

The three of the waltz rhythm is also an unbalanced expression, for three triangles, or trian­gular pyramids, cannot unite as ONE in Nature.  UNITY is possible only with balanced pairs such as you see in the unity of a pair of hemispheres which constitute a sun.  In the octave wave, four pairs unite as one to conform to the balanced cube-spheres of Nature, while the waltz rhythm in­cludes but three pyramid pairs to constitute a cube-sphere, which is not enough for octave symmetry.

 

The above may be a bit difficult for you to comprehend when thus stated in words, but you MUST comprehend it.  You must FULLY comprehend it, and you can, for it is basically quite simple.  It is only the necessity of trying to describe it in words that makes it seem com­plex.  To really simplify this great prin­ciple of higher knowledge for you so you will see why it is so neces­sary for you and this primate world to understand it, we will exemplify it in ac­tion instead of words.  This example will be your first lesson in the deep meaning of rhythm in Nature.

 

We begin in this manner.  Find a comfortable big chair and lo­cate yourself in it comfortably.  Now become conscious of your own body rhythms.  Feel your own pulse beat.  Familiarize your­self with not only its heartbeat rhythm but its tempo.  Do not hurry this process for we can bet­ter demonstrate its relation to the heartbeat of Nature and to the cube-sphere wave-fields of Nature if you develop a conscious awareness of that rhythm.  Next become conscious of your in-breathing, out-breathing se­quences.  You can become more conscious of them by folding your hands together over your stomach.  You can then see your breathings because your hands will move up and down as you inhale to compress and exhale to expand.

 

When you have watched this effect until the rhythm of it has en­abled you to count its ONE-TWO, ONE-TWO beat, then slowly hum Gounod’s Ave Maria, Beethoven’s Moonlight Sonata, or even Home Sweet Home as you breathe, and note that your hands will always be down on the ONE beat and always up on the TWO beat.  Now try it by humming “Rock-a-bye-baby—on the tree-top—When the bough breaks,” etc.  Note the similar ef­fect.  Now reduce the tempo of the lullaby below the tempo of your heart beat and you will find that your pulse lowers and your breathings lengthen their cycles.  If you logically continue this experiment, you will put yourself to sleep.  The reason for that is an important point which we must em­phasize.  You arrive at a balance point of rest between action and reaction at every beat of the uniting pair.  That is the only rhythm in all musical expression where such a thing hap­pens.  It is, therefore, the only rhythm in music, chemistry, sex, business, government, sci­ence or education where the perfect unity of marriage be­tween the pairs of opposites, which create bodies, can possibly be consum­mated.  Rest, peace and happiness can, likewise, be at­tained only when interchange between mental and physical matehood in every transaction of Nature is rhythmically bal­anced.

 

We will now compare this balanced sex rhythm of the universal breath with the ONE-TWO-THREE rhythm of the waltz, and especially ask you doctors to note it carefully for there is a whole “therapy” in the principle of rhythmic effects upon peo­ple.

 

Now repeat the same experiment by using the Blue Danube waltz as your basis.  In order to bet­ter demonstrate it, substitute humming it in words.  Breathe it in sounds like Ha - ha - ha, Ha -ha - ha.  You will now find that the ONE of the waltz is ac­cented and takes all of your out-breathing, while the two of your in-breathing is divided right in the middle of the intake or com­pression stroke.  Complete, balanced unity can never be accom­plished that way in nature.  A residue of unbalance is left over which prevents such a balanced matehood as you would find in sodium-chloride or in the unity of a completely balanced mate­ hood of a husband and wife who have actually found balance in each other.

 

It is the RESIDUE OF UNBALANCE in all mismatings which is the basis of every trouble in the world, its ills, its frustra­tions, its wars, sicknesses, enmities, bankruptcies and all other effects which you call BAD and do not like to have happen to you.  This RESIDUE OF UNBALANCE in your civilization of today is your immediate concern.  The measure of it in every man’s life, and in na­tional and international relations, is the gauge of your present status of world-disunity which places the world in a low state of its unfolding.  It is far from its bal­ance point between its spiri­tual and physical expressions.  It is at least 1,000 years away for the masses but, fortunately, a probable ten percent have arrived at its very door.  Those who are among that ten percent will fully comprehend these teachings and apply them for their own transcendency, but to the other ninety per­cent these teachings will have no more meaning than The Moonlight Sonata would have for a man of the jungle.

 

This RESIDUE OF UNBALANCE is the answer as to whether there is SUCH A THING AS SATAN, OR EVIL, OR SIN.  Everything that man calls BAD, or EVIL, or SIN in his life is due to his own in­ability to balance his actions or his life.  Ig­norance of God’s Presence in him is the cause of that.  There­fore he hurts himself and blames it upon an evil being.  As man unfolds his spiritual nature, sin and evil disappear in the measure of that unfolding.  Every Illuminate has described as the very first symptoms of his illumination that all sense of sin, evil or shame disappears.

 

You can see by the tremendous residue of unbalance there is in every human life, and every human institution, how very pri­mate the human race is and how far it is from even an ap­proach to unity and, remember, UNITY IS IMPOSSIBLE WITHOUT BALANCED RHYTHMIC INTERCHANGE BETWEEN EV­ERY TRANSACTION OF LIFE.

 

Just a little aside for you to have clue to “receivers and speak­ers” for the higher energies.  Watch what the performer does.  The point of contact is total balance.  You will NEVER see Dharma do anything at all when we “tune in”.  We tell her we are present by total absence of unbalanced “showmanship”.  Sometimes muscle “twitch” may be witnessed as her body be­comes relaxed and balanced or as we are allowed to signal the nervous system to utilize ex­pression—but the energy frequency and vibrations are totally balanced.  If you have huffing and puffing like a bloated toad frog or dancing and twitching like a lizard—you have a whole bunch of BS headed your way.  God is balance—we are of God, so you might guess wherefrom comes most of the “speakers” and “authors” who flit from energy to energy like the butterfly and blink on an off like the firefly.

 

Let us return to the waltz rhythm.  Again, you can see that the physical effect of the residue of unbalance can be quite uplift­ing for it is joyous.  It is but one beat away from the universal heartbeat rhythm.  Now contrast those balanced THREES with the terrifically unbalanced dis­tortions of jazz.  If you compre­hend that which is written above, you will readily understand the brutal, ugly, frenzied syncopations which constitute the worse than jungle rhythms of the Jazz Age.  Every beat of it calls for body movement—and thus comes the pleasure of the gyra­tions of the dance, body-shaking, sex-inviting movement, which is so far from even a count­able beat rhythm that one could not even dance to it.  The great masses who love jazz are a commentary and gauge of the standard of your civilization as a whole—and what did you do?  You moved right on into that worse ca­cophony called rock, hard rock and then when that was not frenzied enough—metal rock.  To demonstrate the principle laid down in the above writ­ings, we are printing wave diagrams of all three of the rhythms above mentioned, including the march, which is the ONE-TWO rhythm except much increased beyond the breathing cycle tempo.  The march is intentionally an AC­TION rhythm, a joyous work rhythm.  It is a ONE-TWO rhythm multi­plied into ONE-TWO-THREE-FOUR by doubling the tempo. (See Fig. 7)  below

 

We are now arriving at that stage of higher knowledge where you can have a perfectly intelli­gent summation of what your own life lacks and how to remedy it, or what the world-life lacks and its remedy.  All of it can be reduced to lack of knowl­edge of the sex principle as God gives it to you in the light-waves of His thinking.

 

We continue to say that the entire principle of Creation, with all of its secrets, lies in every wave unit of light.  We cannot teach you anything beyond that for there is nothing to know beyond it.  In the higher dimensions there is only more and more refine­ment of the practicing principle.  All of the knowledge you can or will acquire does not exceed the knowledge of how to reach the balanced amplitude of the wave in your every transaction, and in your life, and return to the stillness of its beginning for repetition.

 

Your life is just a series of experiments in trying to learn that lesson.  Civilization, as a whole, is also trying to learn that les­son.  It is not easy to learn for man has been learning it for ages and has not yet begun to know the first principles of unity.  That we can most safely say, for the prac­tice which leads to unity means the giving of loving service to another and the equal re­giving by that other.  As all men are ONE, each one gives to the WHOLE and the WHOLE regives equally.

 

Man is still in his TAKING stage.  Man’s world is still taking and breeding fear.  Love has not yet entered into it.  Unity is still far away.  The reason for that is because every institution on Earth today is still in its physical stage where its values are material.  Man does not even know what is the matter with man or with his civilization.  He does not yet know God, or man, or his universe.  He does not even know God’s purpose, His ways or His processes.

 

We have written long pages about the principle of rhythm in music which applies as equally to government, industry or sex as it does to music.  We did it as our first step in leading you to comprehend the oneness of all things and the necessity of ac­quiring BALANCED UNITY in all things, all transactions, all institutions of man and all effects of Nature.  We laid down that prin­ciple in the words UNDIVIDED—DIVIDED (into pairs) and UNITED.  I have emphasized the fact that no pairs can be united until they are BALANCED and EQUAL, and that DIS­UNITY results from the marriage of unequal opposites.

 

We have done this to also emphasize the fact that God has but ONE IDEA, the IDEA of Cre­ation.  He divides that ONE IDEA into countless many units, but all units of every IDEA—like man—are ONE.  Also all units of all idea are ONE.  We did it also to emphasize the fact that IDEA is never created.  It is but simulated, or manifested, by motion.  More particularly, we emphasized it to reveal to you that all-knowledge and all-power resided solely in IDEA, and that the measure of a man’s knowl­edge is the measure of his comprehension of IDEA and not in the measure of his ability to observe and memorize effects of motion which simulate IDEA .

 

If you have followed with us so far and comprehend what has been written, you are now ready for the ONE THING that man has NEVER KNOWN, the greatest of all secrets which has long awaited man’s readiness for comprehension.  If man had ever discovered that secret, you would have been ever so much far­ther along in your efforts to produce an enduring, balanced civiliza­tion.  But then, all things come in their own time of proper sequence.  Is it not won­drous to re­alize the time is now at hand and YOU are privileged to share?  It is unfortunate, but natural, for a man-civilization to unfold as slowly as man him­self, who changes but little in many long centuries and then thrusts ahead in giant leaps in others.

 

The following units will be devoted to giving this higher knowl­edge of man’s greatest un­known secret of sensation and con­sciousness to you in as simple words and diagrams as possi­ble—you will recognize them for we labored over them prior to this—but you need the unfold­ing so that that which was missed in the original presentation can now be more clearly com­prehended step by repeated step.  When the world knows that secret and the processes of emergence of matter from space, you and it will then know what is the matter with your chaotic civilization and also how to remedy it.

 

If some sage could but tell you what is the matter with the world, you might, perhaps, fix it.  Your quandary is that you do not know!  Yes, that is the quandary.  You do not know.  The purpose of the following messages is to give the world that knowledge.  Even then, man is slow to change existing condi­tions, but knowledge is power and the great power back of that knowl­edge will cause man sooner or later to heed it.  It seems paradoxical to say that great suffering is more conducive to spiritual unfolding than that kind of happiness which results from physical prosperity.  When man has created conditions which cause him to suffer, he in­variably turns to God.  Let us try to reverse that process and have him turn to God FIRST.

 

I eagerly await our onward unfolding unto you the one great principle of action which alone will bring the permanent peace, prosperity and happiness for which the world has been long and hopelessly seeking.

 

I AM GERMAIN

(A.  Universal Rhythm 1 = 2

B.  Waltz rhythm 1- 2- 3

C.  Split jazz rhythm)

*******

August 11, 2011

 

http://truthwinds.com/journals/pdf/J035.pdf