Theosophists

"How is the present life affected by that bygone right and wrong act, and is it always by way of punishment? Is Karma only fate under another name, an already fixed and formulated destiny from which no escape is possible, and which therefore might make us careless of act or thought that cannot affect destiny? It is not fatalism. Everything done in a former body has consequences which in the new birth the Ego must enjoy or suffer, for, as St. Paul said: "Brethren, be not deceived, God is not mocked, for whatsoever a man soweth that shall he also reap.""

"For the effect is in the cause, and Karma produces the manifestation of it in the body, brain, and mind furnished by reincarnation. And as a cause set up by one man has a distinct relation to him as a center from which it came, so each one experiences the results of his own acts. We may sometimes seem to receive effects solely from the acts of others, but this is the result of our own acts and thoughts in this or some prior life. We perform our acts in company with others always, and the acts with their underlying thoughts have relation always to other persons and to ourselves."

"... there was an old man keeping up a fire... the eternal fire never yet known to have gone out, and I...alone was permitted to help the old man. ...When the old man left me, it was burning brightly. ..In a frenzy of fear I leaped to new fuel and put it on the fire, fanned it...but all my efforts were vain, — it was dead. A sickening dread seized me......"It is the past," the stranger began. "You have just reached a point where you failed to feed the fire ages ago. It is done. Do you want to hear of these things? The old man has gone long ago, and can trouble you no more. Very soon you will be again in the whirl of the nineteenth century....This is an old tower used by the immediate descendants of the white Magicians who settled on Ireland when England's Isle had not arisen from the sea. When the great Masters had to go away, strict injunctions were left that no fires on these towers were to go out, and the warning was also given that, if the duties of life were neglected, if charity, duty, and virtue were forgotten, the power to keep these fires alive would gradually disappear. The decadence of the virtues would coincide with the failure of the fires, and this, the last tower, guarded by an old and young man, would be the last to fail.."

"Time, in the Sanskrit, is called Kala. He is a destroyer and also a renovator. Yama, the lord of death, although powerful, is not so much so as Kala, for "until the time has come Yama can do nothing." The moments as they fly past before us carrying all things with them in long procession, are the atoms of Time, the sons of Kala. Years roll into centuries, centuries into cycles, and cycles become ages; but Time reigns over them all, for they are only his divisions."

"I was standing looking at the face of an old friend about my own age who had been sent to another part of the island, and it filled me with sadness unaccountably. One of the curious elemental creatures moved silently up near it. In amazement I strained my eyes, for the picture of my friend was apparently discolouring. Its expression altered every moment. It turned from white to grey and yellow, and back to grey, and then suddenly it grew all black as if with rapid decomposition."

"I began to carefully scan the collection, and found that all my co-disciples were represented there, as well as hundreds whom I had never seen, and every priest high or low whom I had observed about the island. Yet the same saddening music every now and then reminded me of the scene of the blackening of my friend's picture. I knew it meant others blackened and being destroyed by the watchful elementals who I could vaguely perceive were pouncing upon something whenever those notes sounded. They were like the wails of angels when they see another mortal going to moral suicide."

"Here were the living pictures of every student or priest of the order founded by the Adepts of the Diamond Mountain... connected by invisible cords with the character of those they represented, and like a telegraph instrument they instantly recorded the exact state of the disciple's mind; when he made a complete failure, they grew black and were destroyed; when he progressed in spiritual life, their degrees of brightness or beauty showed his exact standing."

"Suicide, like any other murder is a sin because it is a sudden disturbance of the harmony of the world... Nature exists for the sake of the soul and for no other reason, it has the design, so to say, of giving the soul experience and self-consciousness. These can only be had by means of a body through which the soul comes in contact with nature, and to violently sever the connection before the natural time defeats the aim of nature, for the present compelling her, by her own slow processes, to restore the task left unfinished. And as those processes must go on through the soul that permitted the murder, more pain and suffering must follow."

"Suicide is a huge folly, because it places the committer of it in an infinitely worse position than he was in under the conditions from which he foolishly hoped to escape. It is not death. It is only a leaving of one well-known house in familiar surroundings to go into a new place where terror and despair alone have place. It is but a preliminary death done to the clay, which is put in the "cold embrace of the grave," leaving the man himself naked and alive, but out of mortal life and not in either heaven or hell."

"The only Theosophist who really stood for sarva-dharma-samabhâva came from the heartland of Indian Islam, U.P. in North India. That was Dr. Bhagwan Das. But anyone who has studied different religions in right earnest can say without any hesitation that Bhagwan Das' magnum opus, Essential Unity of All Religions, is not much more than silly and sentimental humbug. He has missed the forest for the trees in the case of all religions when he picks up stray sentences from different scriptures and strings them together without any reference to context or their real meanings beyond the literal. Rather than studying and understanding all religions he is out to foist his own pet and preconceived notions on all of them."

"She (Annie Besant) was indeed a great leader in every respect, with the soul of fire, the burning eloquence that could melt stones, the imaginative vision, the great and high aspiration, the quick decision, the generous and trustful nature, the scrupulous discharge of promises made, the exceeding considerateness for juniors and subordinates, the anxious fulfilment of their hopes even casually aroused by any words of hers, and, above all else, the mystic power of magnetic personality, which inspire and attract and keep followers."

"Theosophy now needed to be carried into practice, and not to remain confined to easy-going study or even strenuous preaching of theory and doctrine."

"Indians would do well to remember that A. O. Hume, the father of the Indian National Congress, was first led into work for the uplift of India, fifty years ago, by the inspiration of Theosophy."

"T have been reliably informed that a number of youths of the RSS...were able to inform Sardar Patel and Nehruji im the very nick of time of the Leaguers’ intended ‘coup’ oF September 10, 1947. whereby they had planned to assassinate all Members of Government and all Hindu officials and thou- sands of Hindu citizens on that day and plant the flag of ‘Pakistan’ on the Red Fort and then seize all Hind. “< _If these high-spirited and self-sacrificing boys had 0% given the very timely information to Nehruji and Patelji, there would have been no Government of India today, the whole country would have changed its name into Pakistan, tens ° Millions of Hindus would have been slaughtered and all the rest converted to Islam or reduced to stark slavery."

"I'm standing on the shoulders of Nina Duchess of Hamilton and Miss Lind-af-Hageby and the people who fought for the animals in the previous generation. Their period of life on earth is gone, but people carry on their work. As I said, my husband and I stood on their shoulders, but there are lots who will stand on our shoulders."

"I was of a generation that didn't even realize that a vegetarian diet was healthy, but I wasn't going to have animals killed for me to eat. … I had little idea what vegetarians ate, but when my first husband was killed, I thought, "Well, I always felt that I didn't want to eat animals, and now I'm definitely not going to.""

"I said to him Hugh Dowding], "Well, as you eat meat, as you are a peer and have a seat in the House of Lords, could you do something about getting it humanely killed?" He said, "Well, isn't it?" I said, "I'm asking you." Well, we had a very, very happy marriage, and he never went anywhere without telling me where he was going. He'd nearly always say, "Look, can't you get out of what you are doing and come too?" And on three occasions he didn't tell me where he was going, he had just gone. He came back very depressed and didn't seem to want to talk about whatever it was. I wondered what was worrying him. When Sunday came, his usual salted beef was served, a dish that he liked very much. And he stood up to carve it, then he sat down, and he said, "What is it you're eating?" "Oh," I said, "well, as you know, it's a vegetarian dish." He said, "Would you have enough for me to have some? And don't ever get meat in this house for me again!" And he became a vegetarian then and there, and was one for about seventeen years till his death. … Well, if you're going to speak in the House of Lords, you've jolly well got to know your facts. Yes, he'd been to three slaughterhouses and was appalled."

"I was brought up on Music, and being near Tiruvaiyaru for sometime during childhood , I got several opportunities to listen to great Music."

"However, Hindu savants worked tirelessly to remove the Christian slurs cast on this art form. Chief among them was Rukmini Devi Arundale (1904–86), who protected and revived this dance by founding the Kalakshetra Academy of Dance and Music in 1936. She made it an acceptable norm for girls (and even boys) from middle-class households to learn Bharata Natyam. Though operated like a modern institution, it functioned as a traditional gurukula , focusing on prayers to the deity Ganapati, vegetarianism, and a guru-shishya relationship. Throughout Tamil Nadu, the guru-shishya form of decentralized, one-on- one learning spread in various ways as part of this revival. Thus far from being dead as intended by missionaries, colonialists and their Indian cronies, Bharata Natyam again became well established as a spiritual art-form in South India, and started to achieve acclaim throughout India and abroad. Kalakshetra grew into a university with a large campus in Chennai... Rukmini Arundale, a guru who rescued the dance form from the era of colonial evangelism, speaks of dance as 'Sadhana which requires total devotion'... She speaks of the Ramayana and Mahabharata as the 'essential expressions of Indian dance'."

"Narayana Menon quoted in "Rukmini Devi Arundale, 1904-1986: A Visionary Architect of Indian Culture and the Performing Arts", page=17"

"A full flowering of the arts is only possible when Literature and Art, Philosophy and Science interact with one another. Kalakshetra is among the very few institutions where all such disciplines interact."

"She used to visit me and dine with me, I had a very good cook then, and we both loved good food. She had great knowledge of music," reminisces."

"Rukmini of glorious past will be guru Agastya’s messenger to the women and young ones in India taking up for a large part of the work there that I have been carrying on for years. Young in body, yet she is old in wisdom and power. Child of the indomitable will is her welcome in the higher world."

"An iconoclastic dancer, visionary institution builder, educationalist, elite woman privileged to travel the world when she was barely 25 years of age and empowered to work for global causes in Europe, Australia, England and America. Also perceived as uncompromising traditionalist, quintessential South Indian Brahmin girl, champion of animal rights, woman parliamentarian, craft revivalist, social reformer, cultural educator, and national icon."

"Why was India a world power? Because Sri Krishna had lived in this country, Sri Rama had lived here and so had Lord Buddha. It was their Teaching that made India a great world power."

"Why does the story of Kumarasambhava please me? It is because of the symbolism. Finally what Parvati wins is not passion but the devotion and sublimation of herself. Parvati wins Siva and she becomes united with Him, because she has discovered the greater, indeed the only way of discovering God. This is very beautiful symbology. Siva burnt to ashes all that is physical. So must a dancer or musician burn to ashes all thought which is dross and bring out the gold which is within."

"Some people say, 'I believe in universal religion', but when I ask them whether they know anything about Hinduism, they answer in negative. They know nothing about Christianity, nor about Buddhism or about any other religion either. In other words, universality is, knowing nothing of anything. . . . Real internationalism is truly the emergence of the best in each. . . . But, in India, when I say India, I mean the India of the sages and saints who gave the country its keynote, there arose the ideal of one life, and of the divinity that lives in all creatures; not merely in humanity."

"All the songs we dance to are of Gods and Goddesses. You may ask, why so many Gods and Goddesses? The only reply I can give is, Why not so many Gods and Goddess ?"

"Many people have said many things. I can only say I did not consciously go after dance. It found me.""

"The demand for vegetarian food will increase our production of the right kind of plant foods. We shall cease to breed pigs and other animals for food, thereby ceasing to be responsible for the horror of slaughter houses where millions of creatures cry in vain because of man's selfishness. If such concentration camps for slaughtering continue, can peace ever come to earth? Can we escape the responsibility for misery when we are practicing killing every day of our lives by consciously or unconsciously supporting this trade of slaughter? Peace cannot come where Peace is not given."

"Animals cannot speak, but can you and I not speak for them and represent them? Let us all feel their silent cry of agony and let us all help that cry to be heard in the world."

"Women have everything to do with bringing culture into everyday life, with the expression of it, with the helping and influencing of a nation, not only because they are mothers but also because they themselves are an example as individuals. The modern world needs a new force for the revitalizing of its ideals. India’s art has always been unconscious, unconscious of its own beauty, unconscious of others’ admiration, unconscious of the physical though expressed in Form. India is now beginning to be conscious and we do not know how to express ourselves consciously. A great dancer’s art must depend first on the life he or she expresses, secondly upon the beauty of technique and lastly only, upon its arrangement, costume, and presentation....Though form, technique and skill are essential, great Art must have the impetus of genius, and inspiration. Then there is permanency."

"We dance with our bodies, but we finally forget them and transform them."

"Dance was really the art of the temple and that her temple theater was built with that purpose in mind. It has many features of the temple , and we have adopted as much as possible all the ideals enshrined in Natyashastra."

"To recreate the temple atmosphere on the urban stage, and thus to facilitate a new kind of seeing that would enable the spiritual revival of the dance."

"That she learned ballet not with the idea of becoming a full-fledged dancer. It was just to train my body and more for the sheer joy of learning something beautiful."

"To be truly Indian one had to be truly international, exhorting them to honour the best in all civilizations and to live it in their daily lives."

"It is the spirit of Purusha and Prakriti, an expression of evolution of movement, a truly creative force that is handed down the ages. This embodiment of sound and rhythm creating spiritual poetry is called dance or Natya. . . . The first glimpse of the dance comes to us from Siva Himself, a Yogi of Yogis. He shows us the Cosmic Dance and portrays to us he unity of Being. . . . The Cosmic Rhythm of His dance draws around Him ensouled matter, which manifests itself into the variety of this infinite and beautiful universe."

"Actually, dance forms an intrinsic part of worship in the temples. . . . India alone has a concept of a God who dances. Siva is Nataraja, Lord of dancers, who dances in the Hall of Consciousness and weaves into it the rhythm of the Universe. Within His Cosmic Dance are included the Divine prerogatives of Creation, Preservation, Regeneration, Veiling and Benediction . . . Dance in India has been so closely linked with religion, that today it is impossible to think of it divorced from this essential background."

"Architecture is the concrete presentment in space of the soul of a people."

"Though perhaps less universally known than such figures as Einstein or Gandhi (who became symbols of our time) Daisetz Suzuki was no less remarkable a man than these. And though his work may not have had such resounding and public effect, he contributed no little to the spiritual and intellectual revolution of our time."

"It was not merely a sense of mission… or even scholarly drive which provided Suzuki Sensei with his real internal motivation. I believe that behind his activities resided a religious Awakening. As a youth, under the guidance of Zen Master Soyen Shaku, he had become deeply realized through penetrating into the root-source of the universe of life-and-death. His "motivation" derived from no other than this realization… This Awakening functioned within Suzuki Sensei as an overwhelming Buddhist spirit of 'vow', aimed at bringing everyone to awaken to the same Reality. His scholarly study of Buddhism was undertaken in order to further this work, it was not the other way around."

"Suzuki's works on Zen Buddhism are among the best contributions to the knowledge of living Buddhism… We cannot be sufficiently grateful to the author, first for the fact of his having brought Zen closer to Western understanding, and secondly for the manner in which he has achieved this task."

"Dr Suzuki writes with authority. Not only has he studied original works in Sanskrit, Pali, Chinese and Japanese, but he has an up-to-date knowledge of Western thought in German and French as well as the English which he speaks and writes so fluently. He is, moreover, more than a scholar; he is a Buddhist. Though not a priest of any Buddhist sect, he is honoured in every temple in Japan, for his knowledge of spiritual things, as all who have sat at his feet bear witness, is direct and profound. When he speaks of the higher stages of consciousness he speaks as a man who dwells therein."

"Some primitive people were once visited by an American scientist, and when they were told that Western people think with their heads, the primitive people thought that the Americans were all crazy. They said, "We think with the abdomen." People in China and also in Japan—I do not know about India—when some difficult problems come up, often say, "Think with your abdomen," or simply, "Ask your belly." So, when any question in connection with our existence comes up, we are advised to "think" with the belly—not with any detachable part of the body. "The belly" stands for the totality of one's being, while the head, which is the latest-developed portion of the body, represents intellection."

"In the literature on Zen Buddhism, there are writers such as Suzuki, whose authenticity is beyond doubt--he speaks of what he has experienced. The very fact of this authenticity makes his books often difficult to read, because it is of the essence of Zen not to give answers that are rationally satisfying. There are some other books which seem to portray the thoughts of Zen properly, but whose authors are mere intellectuals whose experience is shallow. Their books are easier to understand, but they do not convey the essential quality of Zen."

"The Zen master is a strange sort of man. He will not listen to you and to what you may tell him about sciences modern or ancient. He knows his business better from his experience."

"Western people often wonder why the Chinese people have not developed many more sciences and mechanical contrivances. This is strange, they say, when the Chinese are noted for their discoveries and inventions such as the magnet, gunpowder, the wheel, paper, and other things. The principal reason is that the Chinese and other Asiatic peoples love life as it is lived and do not wish to turn it into a means of accomplishing something else, which would divert the course of living to quite a different channel."

"The scientifically minded West applies its intelligence to inventing all kinds of gadgets to elevate the standard of living and save itself from what it thinks to be unnecessary labor or drudgery. It thus tries hard to “develop” the natural resources it has access to. The East, on the other hand, does not mind engaging itself in menial and manual work of all kinds, it is apparently satisfied with the "undeveloped" state of civilization. It does not like to be machine-minded, to turn itself into a slave to the machine. This love of work is perhaps characteristic of the East."

"Tennyson’s plucking the flower and holding it in his hand, “root and all,” and looking at it, perhaps intently. It is very likely he had a feeling somewhat akin to that of Basho who discovered a nazuna flower by the roadside hedge. But the difference between the two poets is: Basho does not pluck the flower. He just looks at it. He is absorbed in thought. He feels something in his mind, but he docs not express it. He lets an exclamation mark say everything he wishes to say. For he has no words to utter; his feeling is too full, too deep, and he has no desire to conceptualize it. As to Tennyson, he is active and analytical. He first plucks the flower from the place where it grows. He separates it from the ground where it belongs. Quite differently from the Oriental poet, he does not leave the flower alone. He must tear it away from the crannied wall, ”root and all,” which means that the plant must die."