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OSHO Online Library   »   The Books   »   Meditation: The Art of Ecstasy
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Chapter 6: Moving Deeply into the Known

Even dancing can be used, but then be just the dancing, not the dancer. The moment the dancer comes in, dancing is destroyed. The seeker has come in, the time-oriented has come in; now the movement is divided, dancing has become superficial, and you have gone far away.

When you are dancing, then be dancing, do not be the dancer, and the moment comes when you are just the movement, when there is no division. This nondivided consciousness is meditation.

And you can use anything. If you are eating then eating can become a meditation - if there is no eater. If you are walking then walking can become a meditation - if there is no walker. If you are loving then love can become a deep meditation - if there is no lover, the lover disappears. Love with a lover becomes poisonous, but love without the lover becomes divine and something of the unknown suddenly opens.

We are divided and then we act. The actor is there: that is the problem. Why is the actor there? He is there because of desiring, expectations, past memories, future longing. The actor is there - he is the whole accumulated past and the whole projected future. The actor misses only one thing: the moment, the present. And everything is there in the moment - everything of the past, everything of the future. This very moment is just wasted, and this very moment is life. Everything else is just an action of the past or a dream of the future - it is nothing but dreams.

You have a very big, very great accumulation, but it is dead. The actor is the dead point in you. It is rich with many ornaments of the past, much longing for the future; it looks very rich, but it is dead. And the present moment is just a naked, atomic thing, very poor, poor in the sense that there is no accumulation of the past and no projecting into the future. It is just a naked, bare existential moment. It looks poor, but it is the only life possible. It is alive! And to be alive and poor is the only richness, while to be dead and rich is the only poverty. That is why it happens that a beggar such as a Buddha or a Christ was the richest possibility but a Midas is the poorest happening in the world.

In meditation only happenings can help, not fake methods. That is why there has always been so much insistence on a living teacher. Books are bound to be fake; they cannot change you, they cannot be in touch with you, they cannot move you. Doctrines cannot be alive, they are bound to be dead, so the East has always insisted on the phenomenon of a teacher, of a master. And the insistence is really for this: that only a master can be liquid, he can change anything. With him, even methods can be no methods, while with scriptures, traditions, even no methods becomes methods, because the moment something is written, it is dead.

Something is said: it is dead. A master is needed for continuously disturbing his own past assertions so that nowhere does “fixedness” come in. The liquidity of the phenomenon must be there; only then, happenings can happen.

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