LISTEN TO OSHO SPEAK ON THIS MEDITATION
WHEN IN WORLDLY
ACTIVITY, KEEP ATTENTIVE BETWEEN THE TWO BREATHS, AND SO PRACTICING,
IN A FEW DAYS, BE BORN ANEW.
WHEN IN WORLDLY
ACTIVITY, KEEP ATTENTIVE BETWEEN THE TWO BREATHS... Forget breaths --
keep attentive in between. One breath has come: before it returns,
before it is exhaled out, there is the gap, the interval. One breath
has gone out; before it is taken in again, the gap.
ACTIVITY KEEP ATTENTIVE BETWEEN THE TWO BREATHS, AND SO PRACTICING, IN
A FEW DAYS, BE BORN ANEW. But this has to be done continuously. This
sixth technique has to be done continuously. That is why this is
WHEN IN WORLDLY ACTIVITY... Whatsoever you are doing, keep
your attention in the gap between the two breaths. But it must be
practiced while in activity.
We have discussed one
technique that is just similar. Now there is only this difference,
that this has to be practiced while in worldly activity. Do not
practice it in isolation. This practice is to be done while you are
doing something else. You are eating -- go on eating and be attentive
of the gap. You are walking -- go on walking and be attentive of the
gap. You are going to sleep -- lie down, let sleep come, but you go on
being attentive of the gap. Why in activity? Because activity
distracts the mind, activity calls for your attention again and again.
Do not be distracted, be fixed at the gap. And do not stop activity,
let the activity continue. You will have two layers of existence --
doing and being.
We have two layers of
existence: the world of doing and the world of being; the
circumference and the center. Go on working on the periphery, on the
circumference; do not stop it. But go on working attentively on the
center also. What will happen? Your activity will become an acting, as
if you are playing a part.
You are playing a
part -- for example, in a drama. You have become Ram or you have
become Christ. You go on acting as Christ or as Ram, and still you
remain yourself. In the center, you know who you are; on the periphery
you go on acting as Ram, Christ or anyone. You know you are not Ram --
you are acting. You know who you are. Your attention is centered in
you; your activity continues on the circumference.
If this method is
practiced, your whole life will become a long drama. You will be an
actor playing roles, but constantly centered in the gap. If you forget
the gap then you are not playing roles, you have become the role. Then
it is not a drama; you have mistaken it as life. That is what we have
done. Everyone thinks he is living life. It is not life, it is just a
role -- a part which has been given to you by the society, by the
circumstances, by the culture, by the tradition, the country, the
situation. You have been given a role and you are playing it; you have
become identified with it. To break that identification there is this
Krishna has many
names. Krishna is one of the greatest actors. He is constantly
centered in himself and playing -- playing many roles, many games, but
absolutely non serious. Seriousness comes from identification. If you
really become Ram in the drama then there are bound to be problems.
Those problems will come out of your seriousness. When Sita is stolen
you may get a heart attack, and the whole play will have to be
stopped. If you really become Ram a heart attack is certain... even
But you are just an
actor. Sita is stolen, but nothing is stolen. You will go back to your
home and you will sleep peacefully. Not even in a dream will you feel
that Sita is stolen. When really Sita was stolen, Ram himself was
weeping, crying and asking the trees, "Where has my Sita gone?
Who has taken her?" But this is the point to understand. If Ram
is really weeping and asking the trees, he has become identified. He
is no more Ram; he is no more a divine person.
This is the point to
remember, that for Ram his real life also was just a part. You have
seen other actors playing Ram, but Ram himself was just playing a part
-- on a greater stage, of course.
India has a very
beautiful story about it. I think that the story is unique; nowhere
else in any part of the world does such a thing exist. It is said that
Valmiki wrote the
RAMAYANA before Ram was born, and then Ram had to
follow. So really, the first act of Ram was also just a drama. The
story was written before Ram was born and then Ram had to follow, so
what can he do? When a man like Valmiki writes the story, Ram has to
follow. So everything was fixed in a way. Sita was to be stolen and
the war had to be fought.
If you can understand
this, then you can understand the theory of destiny,
BHAGYA -- fate.
It has a very deep meaning. And the meaning is, if you take it that
everything is fixed for you, your life becomes a drama. If you are
playing the role of Ram in the drama you cannot change it, everything
is fixed, even your dialogue. If you say something to Sita it is just
repeating something that is fixed. You cannot change it if life is
taken as fixed.
For example, you are
going to die on a particular day -- it is fixed. When you will be
dying you will be weeping, but it is fixed. And such and such persons
will be around you -- it is fixed. If everything is fixed, everything
becomes a drama. If everything is fixed, it means you are just to
enact it. You are not asked to live it, you are just asked to enact
This technique, the
sixth technique, is just to make yourself a psychodrama -- just a
play. You are focused in the gap between two breaths and life moves
on, on the periphery. If your attention is at the center, then your
attention is not really on the periphery -- that is just
"sub-attention"; it just happens somewhere near your
attention. You can feel it, you can know it, but it is not
significant. It is as if it is not happening to you. I will repeat
this: if you practice this sixth technique, your whole life will be as
if it is not happening to you, as if it is happening to someone else.