Sections and Commentary from DINA I
1. Visualisation is the initial step in the demonstration of the occult law that "energy follows thought." This, of course, everyone interested in occult study recognises theoretically. One of the tasks confronting disciples is to achieve factual knowledge of this. Pictorial visualisation (which is a definite feature of the work in many esoteric schools) is simply an exercise to bring about the power to visualise. In the work of those disciples who are being trained for initiation, this external aspect of visualisation must give place to an interior process which is the first step towards the direction of energy. The visualising of pictures is intended to focus the aspirant within the head at a point midway between the pituitary body and the pineal gland. In that area, he draws pictures and paints scenes and thus acquires facility to see—in large and in detail—that which he desires and for which he intends to work. The visualising of what might be called "directed process" goes on in a more focussed manner and in the area directly around the pineal gland. The pineal [Page 90] gland then becomes the centre of a magnetic field which is set in motion—in the first place—by the power of visualisation. At that point, energy is gathered by the disciple and then directed with intention to one or other of the centres. This focussed thought produces inevitable effects within the etheric body and thus two aspects of the creative imagination are brought into play.
1.
There will be new
meditation techniques—this is clear. During the New Age they will emerge and
visualization will be a primary step in their emergence
2.
We must remember that
the Aquarian Age will be a very creative
Age in which a “new Heaven and a new Earth” will take shape. Much concerning
the “old world” will have to be ‘re-imaged’ under the
seventh ray (re-patterning), fourth ray (beauty and balance) and second ray
(attractive coherency). This re-imaging must be in accordance with the patterns
of the Divine Plan or else the re-creation intended for the Aquarian Age will
not be fulfilled.
3.
When we say that
“energy follows thought” what do we mean? There is a danger that when a truism
is oft repeated its meaning will be lost. Quite simply, if we think in a certain direction (whether
the focus of that direction is within the microcosm or within the larger
environment), a flow of energy/force will be directed to that focus. For
example, if I think of my throat center, there will be a flow of energy/force directed
to my throat center. The same is true for any of the chakras. If I think
towards another person, energy/force will be directed to that person. If I
think of a location, such as the White House or the General Assembly within the
United Nations, energy/force will be directed to those destinations, those
‘targets’.
4.
Visualization is a
prime method of directing that energy/force, for through a visualized image
which replicates the proposed destination of the energy/force (for instance an
image of a chakra, a person, the White House or General Assembly) the
visualized image is brought into resonance with the destination or target. This
has been called “sympathetic magic”. The more closely the visualized image
replicates the ‘original’, the more in resonance they will be. Energy/force
visualized as directed towards the image will also (due to resonances in the
etheric field and in other subtle fields) find its way to the ‘original’. The
exact mechanism of this will probably take centuries to explicate, but we can
count on the validity of the occult law of which we have been informed. “Energy
follows thought”. Energy will follow (pursue its way to) that which is imagined
through thought/visualization.
5.
We should not overlook
the fact that it is possible to direct energy/force to an actual object within the field of vision. In this case the object
need not be visualized because it is tangibly present and can be seen through the sense of sight, but the
energy which is directed may be
visualized as pursuing its way to the tangible, sensorially revealed object.
6.
The Tibetan is
suggesting that we are all familiar with the adage “energy follows thought” but
must make the theory a factual realization.
7.
The Tibetan seems to be
distinguishing between “pictorial visualisation” and the “power to visualise”.
Pictorial visualization is simply a beginning step, and may involve the
utilization of memory to promote the clear holding of an image. But such work
would simply be a “warm-up” for the real act of visualization.
8.
We are interested in
what may be that “interior process which is the first step towards the
direction of energy”. Obviously, the holding of a clear image is not
sufficient. The method of activating
the held image in relation to its destination/target must be found. If the
image held is different from the ‘target image’ (the concretized condition
which the held image is meant to transform) then there must be found a method
of ‘seeing’ the ‘target image’ transformed into the ‘held image’. A kind of rapport must be established between the
new pattern (embodied in the held image) and the old pattern or target image
which ideally will be reconfigured so that it reflects the held image.
Probably, those who work in this way will be able to note the moment when the
two images come en rapport.
9.
One way of promoting
such rapport would be the capacity to hold both images in the mind’s eye
simultaneously, and note the transformation of the target image into a close or
closer replication of the image held. Obviously, much practice and much inner,
visual steadiness are needed until success crowns the efforts of the
visualizer.
10.
In all this kind of
work, however, it is necessary to work without attachment to results, as, even
if sympathetic rapport is established between the visualizer, his held image
and the target image, it may take a long while before the target image actually begins to reflect the
configuration of the held image.
11.
The Tibetan becomes
anatomical in his description of the ‘place’ where visualization is to
occur—“within the head at a point midway between the pituitary body and the
pineal gland”. In this ‘location’ we are told to “draw pictures”, “paint
scenes” and “acquire the power to see”. Students should consult an anatomy book
to ensure (in a fifth ray/seventh ray manner) that they ‘place’ their images in
the proper location.
12.
We have been given
enough to begin our practice. One may
simply begin with familiar and simple images, practice reconfiguring them,
changing their shape, color, the relative proportion of their parts, and their size—for the Tibetan tells us that we
must be able to see “in large and in detail”. Anything a modern “Photoshop”
computer program can do, we should be able to do with our inner imaging
apparatus and more. It may, however, take years to develop sufficient skill to
work in this manner. Still, the capacity to do so must be developed, as all our future usefulness to Hierarchy
depends upon it.
13.
Let us realize the
importance of the teaching we are now being given. Specific locations in the
head are being proposed for the “visualising of pictures” and a different location for the visualization
of “directed process”. The pineal gland has a significance associated with the
crown center and the first ray, and so it is the suitable ‘locus’
for the visualization of directed
process. The term “directed” belongs to the first ray. The pituitary body has
(depending upon the context of consideration) either a second ray or third ray
meaning. When the carotid gland is considered, the pituitary takes on a second
ray meaning. The visualization of images, per se, is related to the
form-building second ray. The directing
of these images relates to the first ray of will, power and direction.
14.
The functioning of the
pineal gland (in this specific instance) is clarified for us. The process of
visualization stimulates it. When stimulated, it serves as a magnetic
center—the “centre of a magnetic field”. Through this magnetism energies to be
directed are first gathered, then focussed, then directed.
15.
Master DK is talking
here about what might be called ‘microcosmic direction’ (to the chakras within
one’s own system), but they can be directed to the chakra system of others
(provided one is sufficiently initiate to know what one is doing—thus, unless
very well informed, we should not) or, in general, into the macrocosmic
environment.
16.
The major point is that
two aspects of the creative imagination have been brought to our attention, and
the manner of bringing them into play has been suggested. Now we must practice.
2. The power to visualise is the form-building aspect of the creative imagination. This process falls into three parts, corresponding somewhat to the creative process followed by Deity Itself:
a. The gathering of qualified energy within a ring-pass-not.
b. The focussing of this energy under the power of intention, i.e., at a point in the neighbourhood of the pineal gland. The energy is now focussed and not diffused.
c. The dispatch of this focussed energy by means of a pictorial process (not by an act of the will at this time) in any desired direction—that is, to certain centres in a certain order.
1.
DK becomes specific
about the “power to visualise”; He calls it “the form-building” aspect of the
creative imagination. There are obviously other aspects of work with the creative
imagination. It can also be used for energy direction and for the ascertainment
of truth or falsity. Perhaps there are other modes as well
2.
Form-building comes
under the second ray, and so the power to visualize, as well, comes most
specifically under the second ray. The power to rearrange and reconfigure that
which is visualized and the power to direct that which is visualized come under
the third and first rays respectively.
3.
DK offers us a sequence
of steps entailed in visualization.
4.
The first step involves
“the gathering of qualified energy within a ring-pass-not”. We note that not
just any energy will do, but only
that energy the quality of which is suited to the purpose of the building.
Further, there must be a ring-pass-not or the gathered energy cannot be
managed; it will disperse and cannot be ‘grasped’ for directing.
5.
Gathering is one phase
and focussing another. One focusses
by ‘attending intently’ to that which has been gathered. The attention is
applied to gathered energy, and not to the energies/forces surrounding the
gathered energy.
6.
We ask ourselves, “What
is the power of intention?” It is a
power which derives from purpose, and it executes a certain series of actions
rather than others. Intention is extremely selective, choosing a preferred
pattern to emphasize, and removing emphasis from all others.
7.
We note that the
focussing is to occur in the “neighborhood” of the pineal gland. Approximation
is sufficient. DK does not want us to become too minutely exacting in the
anatomical sense, as such an attempt could distract from the purpose of the
process.
8.
In point “b”, we see
that focussing prevents diffusion; diffusion would lead to a concentration of
energy insufficient for impact. There must be a certain ‘occult density’ of
energy if anything impactful is to be done with it. In this respect,
‘intensification is densification’. We can think of that stage in the process
of building the antahkarana called “Intention” and realize that a certain
concentration/densification of energies is being achieved.
9.
DK now speaks of step
three, “c”—the “dispatch of this focussed energy”. The term “dispatch” means a sending forth, and implies a process
which has some speed.
10.
We note that the will
is (“at this time”) to be held in leash, just as it is in the healing process.
A pictorial process will execute the dispatch and not the force of will. Later, when more is known about the will, it
too, apparently, may be brought into the service of this sending forth of
energy/force. A Master does this.
11.
DK does not here enlarge
upon the pictorial process, but it can be assumed that once the energy/force is
gathered and focussed, reasonably appropriate images arise spontaneously (and
can be ‘edited’ by the mental energy).
12.
In all simplicity, the
sequence is gather, focus, dispatch.
13.
What is the act of will
in which we are not to be engaged at this time? Perhaps it means that we are
not to forcefully insist on the
impact of the pictorially directed energies/forces. The process will be
self-regulating according to the nature of the pictorial process. We are not to
impose additional force upon the
pictorial image insisting that the
‘target’ of the pictorial process change and change now.
14.
These are subtle
matters and will require practice. Probably mistakes will be made, but an ‘inner
monitor’ will advise us when this is the case.
15.
We note that the
dispatch is microcosmically directed—to certain chakras and in a certain order.
This process needs a Master’s guidance, and, indeed, He has offered us, in His
various meditations, some patterns and sequences we may follow.
16.
Dispatch, however, is
also possible in relation to the macrocosm (or the greater environment). The
main thing to bear in mind is that we are not forcing anyone to do anything. To force in this manner is the
method used by the ‘powers of opposition’ and with this technique we cannot
involve ourselves.
This process of energy direction can become a spiritual habit if disciples would begin to do it slowly and gradually. At first, the visualising process may seem to you to be laboured and profitless but, if you persevere, you will find eventually that it becomes effortless and effective. This is one of the most important ways in which a Master works; it is essential, therefore, that you begin to master the technique. The stages are:
a. A process of energy gathering.
b. A process of focalisation.
c. A process of distribution or direction.
1.
DK combines the idea of
visualization with energy direction. We visualize so that energy may be
beneficently directed. He wishes for us that this method of energy direction
will become a “spiritual habit”. It is important that it become entirely
natural to us so that it may be wielded with skill. Thus, our capacity to
cooperate with Hierarchy in Their service to humanity will grow.
2.
We note that we are not
to dive in precipitously and expect instantaneous results. The power to
visualize is essentially a second ray process and the second ray moves slowly
and deliberately (through the wise use of slow action).
3.
The thoughts suggested
are simple. Results will not occur immediately and at first all efforts may
seem labored and relatively profitless, but if there is persistence, the work
of visualization (and the direction of the visualized images) will become
“effortless and effective”.
4.
We may at times wonder
how the Masters work. Here, DK tells us. Visualization is “one of the most
important ways” in which They work.
5.
Therefore, it is not
only desirable that we master the technique of visualization but “essential”.
These “words to the wise” should be sufficient.
6.
DK reiterates the
sequence we have been studying above.
The disciple learns to do this within himself and later to direct the energy (some chosen and particular kind, according to the demand of the occasion) to that which lies without himself. This constitutes, for example, one of the major healing techniques of the future. It is also used by the Master in awakening His disciple to certain [Page 91] states of consciousness, but with these you have naught to do.
1.
Here Master DK
addresses the question of microcosmic and macrocosmic direction.
2.
Our first work with the
“power of visualization” is to be within ourselves and upon ourselves.
3.
The directing of energy
to “people, places and things” outside ourselves is to come later, and there
are specifics to be observed. The energy to be directed is to be well chosen
and of a particular kind, and there must be a demand for this energy which
depends upon the requirements of particular occasions.
4.
It is obvious that
groups of healers are involved in the directing of such energies and forces.
Already there are those who are practicing in this manner, but they must be
sure that, microcosmically, they are pure, clear, organized, alert, and
soul-aligned otherwise they may do damage rather than good.
5.
DK hints at the use of
such energy direction by a Master for purposes of “awakening His disciple to
certain states of consciousness”. Obviously, He knows how to do this and has
probably done it with respect to the groups He has been training. Such work,
however, is not open to us as we do not yet know enough.
6.
We must begin slowly,
putting first things first. The demands of the times may assist in rendering
more rapid our progress with these techniques.
3. The power to visualise correctly is one definite mode of ascertaining truth or falsity. This is a statement difficult for you to comprehend. Visualisation is literally the building of a bridge between the emotional or astral plane and the mental level and is, therefore, a personality correspondence to the building of the antahkarana. The astral plane, the second aspect of the personality, is the correspondence to the form-building aspect of the Trinity, the second aspect. The creative imagination "pictures a form" through the ability to visualise and the thought energy of the mind gives life and direction to this form. It embodies purpose. Thereby a rapport or line of energy is constructed between the mind and the astral vehicle and it becomes a triple line of energy when the soul of the disciple is utilising this creative process in some planned and definitely constructive manner.
1.
Of Goodness, Beauty and
Truth, Truth belongs to the third ray (though it is not unrelated to the other
two rays).
2.
DK suggests for us a
very occult use of the visualization process as a “definite mode of
ascertaining truth or falsity”.
3.
DK enters into more
technicalities regarding the visualization process. An important definition of
visualization is given: “Visualisation is literally the building of a bridge
between the emotional or astral plane and the mental level and is, therefore, a
personality correspondence to the building of the antahkarana”.
4.
We have seen that
mental energy must accompany the power to visualize if this process is to be of
use to the Hierarchy in Their service of the Divine Plan.
5.
We learn, regarding the
visualization process, of the “division of labor” between the astral body and
the mental body. The astral body “pictures a form” and “the thought energy of
the mind gives life and direction to this form”. We remember that the mind is
in close resonance to the will, which is the directing power.
6.
DK does not want the
work of the astral and mental bodies to remain unattended by the soul. The soul
must link, creating thereby a triple “line of energy”—soul, mind, astral
vehicle. In this manner the visualization process can become the instrument of
the soul’s “creative process” on behalf of the Divine Plan. When the soul links
to the other two fields (mind and emotions), the factor of purpose enters, and the process turns spiritually constructive.
This visualising process and this use of the imagination form the first two steps in the activity of thoughtform building. It is with these self-created forms—embodying spiritual ideas and divine purpose—that the Masters work and hierarchical purpose takes shape. Therefore, my disciples, it is essential that you begin with deliberation and slowly to work in this manner and to use the above information constructively and creatively. The need of the times is increasingly great and the utmost of work and of purpose is desired.
1.
We are acquainted with
the idea that we are to build thoughtforms in service of the Divine Plan. DK
gives us the first two steps in this process of thoughtform building: “the
visualising process and this use of the imagination”. In “this use of the
imagination” presumably the mind is involved, giving life and direction to the
visualized form.
2.
Master DK speaks of
“self-created forms”, reminding us that it is the task of any creator to evolve
something from himself/herself and not merely replicate present conditions. We are
told that the Masters’ work and hierarchical planning and purpose depend upon
this visualization process.
3.
Again, Master DK
enjoins His disciples (including, let us presume, ourselves) to “begin with
deliberation and slowly to work in this manner and to use the above information
constructively and creatively”.
4.
He suggests that by
working in this manner we may play some role in meeting the increasingly great
need of the times. He also is suggesting that unless we rightly utilize the
power of visualization we shall not be engaging in “the utmost of work” nor be
guided by the utmost of purpose.
5.
It takes no unusual act
of imagination to understand the importance of what has been given in the last
several paragraphs.