Autobiography of a Yogi - Paramahansa Yogananda (good books for 7th graders TXT) 📗

that a visual sensation can be produced by relatively few Quanta of the right kind of light.” Through a master’s divine knowledge of light phenomena, he can instantly project into perceptible manifestation the ubiquitous light atoms. The actual form of the projection-whether it be a tree, a medicine, a human body-is in conformance with a yogi’s powers of will and of visualization.

In man’s dream-consciousness, where he has loosened in sleep his clutch on the egoistic limitations that daily hem him round, the omnipotence of his mind has a nightly demonstration. Lo! there in the dream stand the long-dead friends, the remotest continents, the resurrected scenes of his childhood. With that free and unconditioned consciousness, known to all men in the phenomena of dreams, the God-tuned master has forged a never-severed link. Innocent of all personal motives, and employing the creative will bestowed on him by the Creator, a yogi rearranges the light atoms of the universe to satisfy any sincere prayer of a devotee. For this purpose were man and creation made: that he should rise up as master of MAYA, knowing his dominion over the cosmos.

“And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth.” {FN30-6}

In 1915, shortly after I had entered the Swami Order, I witnessed a vision of violent contrasts. In it the relativity of human consciousness was vividly established; I clearly perceived the unity of the Eternal Light behind the painful dualities of MAYA. The vision descended on me as I sat one morning in my little attic room in Father’s Gurpar Road home. For months World War I had been raging in Europe; I reflected sadly on the vast toll of death.

As I closed my eyes in meditation, my consciousness was suddenly transferred to the body of a captain in command of a battleship. The thunder of guns split the air as shots were exchanged between shore batteries and the ship’s cannons. A huge shell hit the powder magazine and tore my ship asunder. I jumped into the water, together with the few sailors who had survived the explosion.

Heart pounding, I reached the shore safely. But alas! a stray bullet ended its furious flight in my chest. I fell groaning to the ground. My whole body was paralyzed, yet I was aware of possessing it as one is conscious of a leg gone to sleep.

“At last the mysterious footstep of Death has caught up with me,” I thought. With a final sigh, I was about to sink into unconsciousness when lo! I found myself seated in the lotus posture in my Gurpar Road room.

Hysterical tears poured forth as I joyfully stroked and pinched my regained possession-a body free from any bullet hole in the breast. I rocked to and fro, inhaling and exhaling to assure myself that I was alive. Amidst these self-congratulations, again I found my consciousness transferred to the captain’s dead body by the gory shore. Utter confusion of mind came upon me.

“Lord,” I prayed, “am I dead or alive?”

A dazzling play of light filled the whole horizon. A soft rumbling vibration formed itself into words:

“What has life or death to do with Light? In the image of My Light I have made you. The relativities of life and death belong to the cosmic dream. Behold your dreamless being! Awake, my child, awake!”

As steps in man’s awakening, the Lord inspires scientists to discover, at the right time and place, the secrets of His creation. Many modern discoveries help men to apprehend the cosmos as a varied expression of one power-light, guided by divine intelligence. The wonders of the motion picture, of radio, of television, of radar, of the photo-electric cell-the all-seeing “electric eye,” of atomic energies, are all based on the electromagnetic phenomenon of light.

The motion picture art can portray any miracle. From the impressive visual standpoint, no marvel is barred to trick photography. A man’s transparent astral body can be seen rising from his gross physical form, he can walk on the water, resurrect the dead, reverse the natural sequence of developments, and play havoc with time and space. Assembling the light images as he pleases, the photographer achieves optical wonders which a true master produces with actual light rays.

The lifelike images of the motion picture illustrate many truths concerning creation. The Cosmic Director has written His own plays, and assembled the tremendous casts for the pageant of the centuries. From the dark booth of eternity, He pours His creative beam through the films of successive ages, and the pictures are thrown on the screen of space. Just as the motion-picture images appear to be real, but are only combinations of light and shade, so is the universal variety a delusive seeming. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture, temporarily true to five sense perceptions as the scenes are cast on the screen of man’s consciousness by the infinite creative beam.

A cinema audience can look up and see that all screen images are appearing through the instrumentality of one imageless beam of light. The colorful universal drama is similarly issuing from the single white light of a Cosmic Source. With inconceivable ingenuity God is staging an entertainment for His human children, making them actors as well as audience in His planetary theater.

One day I entered a motion picture house to view a newsreel of the European battlefields. World War I was still being waged in the West; the newsreel recorded the carnage with such realism that I left the theater with a troubled heart.

“Lord,” I prayed, “why dost Thou permit such suffering?”

To my intense surprise, an instant answer came in the form of a vision of the actual European battlefields. The horror of the struggle, filled with the dead and dying, far surpassed in ferocity any representation of the newsreel.

“Look intently!” A gentle voice spoke to my inner consciousness. “You will see that these scenes now being enacted in France are nothing but a play of chiaroscuro. They are the cosmic motion picture, as real and as unreal as the theater newsreel you have just seen-a play within a play.”

My heart was still not comforted. The divine voice went on: “Creation is light and shadow both, else no picture is possible. The good and evil of MAYA must ever alternate in supremacy. If joy were ceaseless here in this world, would man ever seek another? Without suffering he scarcely cares to recall that he has forsaken his eternal home. Pain is a prod to remembrance. The way of escape is through wisdom! The tragedy of death is unreal; those who shudder at it are like an ignorant actor who dies of fright on the stage when nothing more is fired at him than a blank cartridge. My sons are the children of light; they will not sleep forever in delusion.”

Although I had read scriptural accounts of MAYA, they had not given me the deep insight that came with the personal visions and their accompanying words of consolation. One’s values are profoundly changed when he is finally convinced that creation is only a vast motion picture, and that not in it, but beyond it, lies his own reality.

As I finished writing this chapter, I sat on my bed in the lotus posture. My room was dimly lit by two shaded lamps. Lifting my gaze, I noticed that the ceiling was dotted with small mustard-colored lights, scintillating and quivering with a radiumlike luster. Myriads of pencilled rays, like sheets of rain, gathered into a transparent shaft and poured silently upon me.

At once my physical body lost its grossness and became metamorphosed into astral texture. I felt a floating sensation as, barely touching the bed, the weightless body shifted slightly and alternately to left and right. I looked around the room; the furniture and walls were as usual, but the little mass of light had so multiplied that the ceiling was invisible. I was wonderstruck.

“This is the cosmic motion picture mechanism.” A voice spoke as though from within the light. “Shedding its beam on the white screen of your bed sheets, it is producing the picture of your body. Behold, your form is nothing but light!”

I gazed at my arms and moved them back and forth, yet could not feel their weight. An ecstatic joy overwhelmed me. This cosmic stem of light, blossoming as my body, seemed a divine replica of the light beams streaming out of the projection booth in a cinema house and manifesting as pictures on the screen.

For a long time I experienced this motion picture of my body in the dimly lighted theater of my own bedroom. Despite the many visions I have had, none was ever more singular. As my illusion of a solid body was completely dissipated, and my realization deepened that the essence of all objects is light, I looked up to the throbbing stream of lifetrons and spoke entreatingly.

“Divine Light, please withdraw this, my humble bodily picture, into Thyself, even as Elijah was drawn up to heaven by a flame.”

This prayer was evidently startling; the beam disappeared. My body resumed its normal weight and sank on the bed; the swarm of dazzling ceiling lights flickered and vanished. My time to leave this earth had apparently not arrived.

“Besides,” I thought philosophically, “the prophet Elijah might well be displeased at my presumption!”

{FN30-1} This famous Russian artist and philosopher has been living for many years in India near the Himalayas. “From the peaks comes revelation,” he has written. “In caves and upon the summits lived the rishis. Over the snowy peaks of the Himalayas burns a bright glow, brighter than stars and the fantastic flashes of lightning.”

{FN30-2} The story may have a historical basis; an editorial note informs us that the bishop met the three monks while he was sailing from Archangel to the Slovetsky Monastery, at the mouth of the Dvina River.

{FN30-3} Marconi, the great inventor, made the following admission of scientific inadequacy before the finalities: “The inability of science to solve life is absolute. This fact would be truly frightening were it not for faith. The mystery of life is certainly the most persistent problem ever placed before the thought of man.”

{FN30-4} A clue to the direction taken by Einstein’s genius is given by the fact that he is a lifelong disciple of the great philosopher Spinoza, whose best-known work is ETHICS DEMONSTRATED IN GEOMETRICAL ORDER.

{FN30-5} I TIMOTHY 6:15-16.

{FN30-6} GENESIS 1:26.

 

CHAPTER: 31

AN INTERVIEW WITH THE SACRED MOTHER

“Reverend Mother, I was baptized in infancy by your prophet-husband. He was the guru of my parents and of my own guru Sri Yukteswarji. Will you therefore give me the privilege of hearing a few incidents in your sacred life?”

I was addressing Srimati Kashi Moni, the life-companion of Lahiri Mahasaya. Finding myself in Benares for a short period, I was fulfilling a long-felt desire to visit the venerable lady. She received me graciously at the old Lahiri homestead in the Garudeswar Mohulla section of Benares. Although aged, she was blooming like a lotus, silently emanating a spiritual fragrance. She was of medium build, with a slender neck and fair skin. Large, lustrous eyes softened her motherly face.

“Son, you are welcome here. Come upstairs.”

Kashi Moni led the way to a very small room where, for a time, she had lived with her husband. I felt honored to witness the shrine in which the peerless master had condescended to play the human drama of matrimony. The gentle lady motioned me to a pillow seat by her side.

“It was years before I