TRAINING TO SEE AURAS V4 Part 6

* Back to the coloured book:

While you are gazing steadily, with a relaxed focus, at your
blue or red covered book - recreate the same mental action,
as described above. Shift your bodily awareness to the area
between your eyes. Feel this area with your mind -
concentrate all of your sense of feel, your bodily awareness,
on this area.

Tip: Lightly scratch the skin directly between your eyes, and
just above it, in the centre of
your brow, with a fingernail. This will help you to
zero in on that spot with your bodily
awareness.

Shift your bodily awareness to the area between your eyes -
concentrate on being aware of that area!

Mentally lift this whole area - as if you were trying to force
your eyelids to open - but do not allow the muscles in this
area to tense up or respond in any way (this is all mental).

Isolate the mental command that lifts your eyelids. Observe
yourself closely. Imagine your eyes are very heavy, and let
them close on you, and open them a few times. Observe which
muscles you use to do this. Use this same muscle command -
with your mind based bodily awareness, in that area - but
without letting your eyelid muscles obey.

Do this over and over again - lifting, lifting, lifting - as
if you were lifting a heavy shadow from behind your eyes .

Repeat this action, over and over, but do not allow yourself -
or any muscles - to tense up or respond. This is a bit tricky
to, start with, but easily mastered with a little practise.

This mental opening action is _very_ important. It is the
first step in learning how to control your brow centre and,
later, the rest of your energy body - if you decide to
progress to developing full clairvoyance and other psychic
abilities.

In the early stages, it does not matter if you feel you are
lifting too large an area over your brow. Even if you are
lifting right across the whole front of your forehead - it
will still have an opening effect on your brow centre. With
practise, you will be able to narrow the focus of this mental
opening action - to the brow centre area alone.

If you keep up this mental opening action, you will stimulate
your brow centre - forcing it to become active. Your steady,
relaxed focus, on your subject, will tune your brow centre
into the energy given off by it. This energy will be passed
along to the sight centre of your brain. There, it will be
interpreted as a sight picture - a bright band of coloured
light.

Tip. When you have isolated this opening action, and can do
it mentally, you will find one side of the veil behind your
eyes easier to lift than the other - usually the right is
easier. Basically, his feeling is caused by the two
different hemispheres of your brain - one is much easier to
use than the other. If this is a problem, use a clockwise
swirling mental action, over the site of the brow centre, to
stimulate it. By clockwise, I mean clockwise from the
inside. Use the same mental muscle command we talked about
above, as with opening tired eyes, but swirl it, as if you
were mentally stirring that area with a pencil.

It is best to alternate between the main opening
action, and this swirling action, when trying to activate
your brow centre. The main opening action is still needed
to tune your brow centre into an aura.

Note. Remember: all these energy stimulation exercises
depend upon localised bodily awareness, specifically -
localised surface awareness on the skin. You have to FEEL
these mental actions happening, in order to make them effective.

Your first aura:

While you are doing all the above, patiently keep up your
relaxed gaze, just to the side and past your subject. After a
while (anything from a few seconds to several minutes - in the
early stages) you will see a faint shimmering in the air,
around the book. Then, you will see a pale, narrow band of
light build up, close to the edge of the book. This is the
books etheric aura.

*Stay relaxed!

*Don't change your focus - in any way!

*Don't look directly at it!

*Blink if you have to - it will come back quickly!

Soon, a bright-yellow aura (blue book) or bright-green aura
(red book) will start building up, from the pale, etheric band
around the book. If you change your focus, tense up, or look
directly at it - the aura will vanish instantly.

The aura has to be observed with your peripheral, or side
vision.

If something happens, and the aura disappears, don't worry.
Continue observing it, calmly, and patiently and it will
reappear.

In the early stages, the aura will tend to disappear quite a
bit. This is quite normal. Keep at it and this will happen
less and less, as you master the viewing technique.

Step 3:

Once you have completed the first steps, gather several
books and wrap them, each in a different primary colour.

The brighter the colour - the brighter the aura - and the
easier it is to see.

Study these coloured books, one at a time, and write down the
colours you see.

Observe the books, two at a time, and watch how their auric
colours affect each other.

Move them around, mix them, sit them on top of each other,
observe them all in a row.

Step 4:

Get a pot plant, or some fresh flowers, and study their aura.
The aura you will see around them is a living aura. Keep in
mind the effects of the auric colours from the petals and
leaves. The orange hue you will see, around the green parts of
the plants stems and leaves, comes from the auric colour of
green - the same as with observing a green book. Some of the
other colours, with flowers, will come from the colours of the
petals.

You will see a more distinct etheric and a stronger
shimmering, optical effect around the plant.

Living auras are more subtle and, thus, a little harder to
see, than a simple colour's aura. With practise, though, the
auras of plants will become much easier to see.

Step 5:

Observe the aura of a tree. Pick a good sized tree that you
can view, highlighted against the sky. It is best to observe
it with the sun behind you, early in the morning or late in
the day. If
the sun, or any strong reflection, is in your eyes, it will
make this very difficult to do.

The shimmering around the tree will be much more imposing and
intense, than with a small plant. The colour of a tree's aura
will also be influenced, not only by the colours of the leaves
and bark, but also by the colour of the sky itself. On a
sunny day, a tree's aura will appear to be a shade of blue.
On a cloudy day, it will appear to be creamy-grey.

Viewing distance: Experiment with this, as it depends upon
the size of the tree. Make sure you can see the entire top
of the tree in your field of view. You need to be, approximately,
three times the height of the tree away from it, or more.

A tree's aura can be huge, depending upon the size of the tree
and how strong it is. At the top of the tree's aura you can
sometimes see a fountaining effect, as if it's aura were
slowly spraying up out of it. I am not sure what causes this,
and I have not seen this with every tree I have observed.
Some people say it is the tree's spirit, or a nature spirit
living inside the tree, that causes it. Some trees do seem
to have a kind of consciousness within them, so this may be
true.

Step 6:

For the next step, use an animal, any animal: a dog,
cat, kangaroo, camel, lion, tiger, elephant, etc, if you have
access to one. Try and observe them when they are resting.
Animal auras are not as colourful as human auras, but they
are still very good practise.
Keep in mind, that the colour of the animals coat will affect
the colour of it's aura.

Disease can be detected in the aura of an animal, the same as
with a human subject. This makes observing them very good
practise, for diagnosing the early signs of disease in an
aura.


Step 7:

Observe your own aura: This can be done outside, with the Sun
behind you, or inside, against a neutral background. Hold
your arm out and study your hand and forearm. You can also
lay down and observe the aura of your feet and legs.

Step 8:

A human subject:

In the beginning, it is best to observe the human aura in two
stages:

Stage 1:

Have your subject wear a colourful shirt, dress or jumper -
anything will do. Use any colour but blue - do not use blue -
as this will flood and hide the yellow of the intellect, the
colour most commonly seen around the head area.

Make sure their upper neck area is bare. Observe their
shoulder area, using the same setting and technique, as with
the original book. You will see the colour of the shirt
easily, building up around their shoulder.

*Make sure you continue to do the mental opening action - with
all these exercises.

When the shirt's aura is clear around their shoulder area,
shift your gaze slightly higher - so you are gazing past their
bare neck area. Keep the shirt's aura in view - don't change
what you are doing - and see what other colours you can pick
up around their bare neck.

This exercise makes sure your eyes and brow centre are working
together, as with the book.

Do not focus directly on your subject's neck! All auras must
be gazed at and observed with peripheral vision.

You should begin to see a slightly different colour, building
up near the top of their shirts auric colour - around their
bare neck and head.

Now, shift your gaze slightly higher, so your line of sight is
level with their head area. Keep your gaze relaxed and don't
change anything. You should see some yellow around this
area.

When you see a little, ask your subject to do some mental
arithmetic, or think hard about something. See if their aura
brightens when they do this.

Stage 2:

Get your volunteer to remove some of their upper clothing.
Study a bare skin area, against a neutral background - the
same as with the book. The upper arm and shoulder area is
the best place to start your observation.

With bare skin, the first thing you will see is a slight
shimmering effect, a fuzziness in the air near the skin.
Next, you will see the etheric aura build up from their skin.
This looks like creamy, pale-blue smoke, clinging to their
skin. This is quite distinct and normally about half an inch
deep.

Hold your focus and the aura's main colours will begin to
build up, and out, from the etheric aura. It will first
appear as a narrow band of colour, highlighting the edge of
the etheric aura. This will appear and disappear, grow and
shrink, quite a bit. This part is very frustrating, but keep
at it and it will get easier. The colour will slowly grow
larger and become thicker and more well defined. Hold your
focus and it will grow to several inches or more thick. The
main aura may vanish and reappear many times, as I said, while
it is building up. This is caused by blinking and minute
shifts in your focus, and cannot be helped.
Tip:

The brightness of a person's aura has a lot to do with their
mood and how they feel. If they feel happy and full of
life, their aura will be much stronger, larger and
brighter. Try playing their favourite music, or crack a few
jokes and have a good laugh. This will help to energise their
aura and make it easier for you to see it.


24. Another letter:

Here is another email letter. It describes a very unusual
first sighting of an aura:

Rick: "I want to relate to you an event yesterday that was
kind of unusual.

I was sitting in church, just staring at the choir,
when I saw an incredible white light, sort of like a
shadow, and three of the choir members had this white
light shooting up to the ceiling and turning blue and
green. It was like looking at a bright, multicoloured X
ray.

It was an awesome experience. I had a chill run down my
spine and I thought "WOW!" and blinked - and it was gone.

Question: What the heck was that -- I assume it was
an aura?"

Me: You were, by the sound of it, in a very relaxed
state, and carried away, uplifted, by the spiritual
singing of the choir. This must have stimulated your
energy body and brow centre, causing spontaneous auric
sight, making it possible for you to see the choir's
aura, while it was flaring.

What you have seen is the human aura flaring, in an
excited state. This is a rare and truly beautiful sight.
I have only ever seen this once myself.

The flaring aura's of the choir would have been caused
by a charged, devotional atmosphere in the church, and
the hymn the choir were singing at the time. This must
have stirred deep spiritual feelings and uplifted them.
The white, changing to blue and green, rising auras you
saw, came from their throat and heart chakras. These
are higher spiritual colours and are affected by emotions
of spirituality and love.

TRAINING TO SEE AURAS V4 Part 5

21. Spirit Energy:

There is always a lot of spirit energy and activity,
surrounding a dying person, in the days and weeks prior to
their death. The amount of this spirit activity seems to
depend greatly upon their belief system, as well as their
moral, spiritual and psychic development.

The strongest I have ever felt this - high level spirit energy
and activity - is around dying children. Children seem to be
a lot more aware of their spirituality than adults give them
credit for. We, adults, seem to lose so much of this
awareness - of our spiritual and divine nature - as we grow
older.

I have been in the presence of many dying children. The only
way I can describe this is that, at these special times, I
have been in a holy presence - far beyond my poor
understanding of reality. Children gain a special kind of
wisdom and a high level of spiritual understanding - and
they have no fear of death.

Accidents:

I have never had the opportunity to observe the
aura of someone dying, shortly after an accident, so cannot
comment on this aspect of death.

Premature death:

I have, though, known healthy, vital people,
that have died suddenly, from strokes, heart attacks and brain
aneurisms. I have observed them, in the days and weeks prior
to their premature deaths. I have noted similar changes, as I
might expect to see in a dying person: very milky-pale-blue
expanded auras, silver and white sparks, and lots of spirit
energy and activity around them. These people, though, were
not sick. They were all, healthy, vital people, but there
was something quite different about them - an indefinable
atmosphere. In all cases, they seemed to know, intuitively
(but not consciously) that their time in this world was nearly
up. They all did certain things, tidied up their affairs, or
made things right in some way, in the days and weeks prior to
their death.


22. Why Most People Fail To See Auras:

The most common reason why people fail to see an aura, is
simply the way they go about it. The human aura is _not_ a
good training ground for the beginner.

This is what usually happens: Your volunteer sits and waits,
for a very long time, while you struggle and strain for a
glimpse of their aura. You are trying to relax and
concentrate - and master a tricky visual technique - all at
the same time. You subconsciously worry about what they
are thinking of you. Are they getting bored? Are they
getting impatient? Do they think you foolish, a failure, or
both? This kind of pressure causes subtle tensions to
build up within you, that effectively negate the relaxed
state needed to see the aura. Trying to get results, under
this kind of pressure, as a beginner, is next to impossible.

Here is an email letter from a young man. It shows some
common misunderstandings, when auras are first encountered:

David: "I was sitting in economics class, when I started
to see a faint white glow around the lecturer's head
(not really though, I can't really describe it), it was
surrounding the sides of his head.

And, I could also see a similar one, coming
from one of the students sitting in front of him,
except the student's had a sort of bluish tinge to it.
I kept looking, and a bright yellow glow appeared around
his head. Then I started to see a similar white glow
coming from some of the computer monitors, that sit on
the desks. At first, I was hoping that I could see
auras, but then when I saw it on the monitors,
I had my doubts."

Me: Every living and non living thing has an aura,
including monitors. The reason you saw them when you did
is (let me guess) You were bored, tired, very relaxed,
maybe day dreaming a little. Your eyes were tired,
heavy, and you were having trouble keeping them open?
These are the PERFECT conditions for seeing an aura!

David: "That's exactly how It was! The discussion sort of
went off topic and wasn't all that interesting to me."

"Anyway, I was wondering if you can tell me if
I actually did see their auras. I tried staring at
myself in the mirror to see my aura, when I got home, and
tried to see a friends aura, but it didn't work. I
haven't been able to see an aura, since that day, a
week or two ago. As for some of my questions. I
was wondering what colours non-living objects give
off - is it white? How come the aura was brighter
around their heads?"

Me: You did see the aura! The colours given off by non-
living objects vary with the colour of the object, but
inanimate objects, generally, have a simple pale, creamy
aura surrounding them. The aura you saw, surrounding the
heads of the people around you, was their etheric aura -
which is a pale, creamy colour, usually with a pale blue
tint to it.

The human aura is brighter around the head area, for two
reasons:

1. Clothing blocks the aura.

2. The head area is usually bare (no clothing to block it)
and is where the yellow of the intellect is most active,
which is quite easy to see. This yellow varies in
intensity, according to the degree of mental activity going
on at the time the aura is seen. This, mental activity,
brightens the aura in the head area. Maybe the student you
observed was really on the ball that day?

The main point of showing you this letter is: David began to
see the aura, with no trouble at all, when he was tired and
not trying to see it. He was tired, bored and day dreaming
(a very relaxed state). David was struggling to stay awake
and forcing his eyes to stay open. This _forcing_ his eyes to
stay open, creates a strong mental opening action, at the site
of the brow centre - between the eyes. This stimulates the
brow centre and combined with a relaxed, un-focussed gaze,
causes spontaneous auric sight to occur.

When David tried to see an aura, later at home, he could not -
because he was wide awake and trying, and was no longer in a
relaxed enough state for auric sight to work.

Keep this, above, in mind - when you first attempt to use
auric sight!


23. How To See An Aura: (basic technique)

To see the aura, you have to be able to relax and
concentrate, at the same time, and there is a trick to
focusing your eyes in a special way.

* An aura must be gazed upon - not looked at *

Light:

First, you need plenty of good, soft light to train in, not
dim, but good soft light. It is very important not to have
any strong light shining or reflecting into your eyes. It is
best to have light coming from behind and above you. If you
have, say a window, flooding light into the room, in your
field of view, while trying to see an aura, it will distract
you and make an aura much more difficult to see. A hundred
watt bulb, coming from above and behind you, is fine.

Step 1:

Get a book and cover it in bright, primary blue or red
paper. Stand it upright, on a table, six or seven feet from
you (about 2 metres). Experiment with the distance until you
find what is just right for you, but the minimum distance
should be no less than 4 feet (1.2 meters). Make sure you
have a plain, fairly neutral background. Do not view it
against a brightly coloured wall, or garish wallpaper. If
the wall colour is wrong, hang a sheet of neutral coloured
paper or cloth on the wall, as a backdrop. A bed sheet, or
some sheets of butchers paper, taped to the wall, will do
fine.

Notes:

A.The book is only a prop for the coloured paper, i.e., it
is the aura of the coloured paper you are going to look at
- not the aura of the book. Using a brick, covered in
coloured paper, would give the same result as would hanging
a piece of coloured paper on the wall.

B.The auras of the colours blue and red are, by far, the
brightest and easiest to see.

C.The brightness and tone of a colour's aura varies with
the shade and tone of the colour used, so use bright
primary colours only.

D.You can use any brightly coloured item for this: clothing,
kitchen canisters, toys, or even tape squares of coloured
paper directly to a wall.

Step 2:

Close your eyes, take a few deep breaths and relax. When you
are calm, look at the book. Focus your eyes on nothing,
a little to the side and just past it. This is as if you
were gazing at, but not focusing on, the wall behind it.

The whole idea is to totally relax the focus of your eyes and
view the subject with your peripheral, or side vision. By
side vision, I mean just to the side of your normal focused
area of sight (a couple of inches only) not out of the corner
of your eye.

Gently hold that gaze and relax your eyes. Get used to that
relaxed focus and try not to strain or tense your eyes or
forehead while doing it. Concentrate! You need an
intense, but very relaxed and steady gaze, similar to day-
dreaming.

Blinking:

When you need to blink, do so, or it will cause your eyes
to tense, burn and water. Blink normally and without changing
focus, and DO NOT become preoccupied with it. Blinking
will cause the aura you are viewing to disappear - for a
second or two only - but it will reappear quickly - if you
stay calm and hold a relaxed focus. Learning to hold your
focus, while blinking normally, is an important part of
learning to use auric sight.

Brow centre opening technique:

It is necessary to use some type of brow centre opening
exercise, in order to stimulate your brow centre into a
receptive mode. This allows you to receive the energy
surrounding your subject - as auric sight. It is possible to
see the aura of colour without doing this, but it is very
difficult to see a living aura, without first stimulating and
opening your brow centre.

*** Please pay _very_ close attention to what follows! ***

Remember what it is like to be very, very tired - totally
exhausted? Remember what it feels like when you haven't slept
for days, and can hardly keep your eyes open?

Remember what it feels like when your eyes keep trying to
close on you? Remember what it is like to have to wrestle
with your eyes to keep them open?

This causes a sensation, if you observe yourself closely, much
like you are trying to lift a heavy, shadowy veil, from behind
your eyes. When this happens, the muscles of your eyes are
not responding very well, so the action becomes almost
entirely mental.

Stop for a moment and remember what this feels like.

Wrestling to open tired eyes causes a strong mental opening
action, at the site of the brow centre - thereby stimulating
it.

How this works:

This mental opening action, focuses your bodily awareness at
the site of your brow centre.

When your bodily awareness is focussed at one area of your
body, and you manipulate that area with your mind, you
stimulate your energy body in that area - in a dynamic way.

If this mental opening action is continued for long enough,
and put enough mental effort into it, your brow centre (your
third eye) will begin to open.

If you carry out this mental opening action, when you are
relaxed, and have a subject in your field of view - and you
are not looking directly at your subject - spontaneous auric
sight will occur.

The mental opening action given here is similar, only _much_
stronger and more effective than the normal, visualisation
based, chakra opening techniques; taught by most other
teachers of psychic development and energy work.
Visualisation based energy work, on it's own, is weak and
obtuse and very difficult to learn and use.

TRAINING TO SEE AURAS V4 Part 4

The Primary Energy Centres And Their Colours

+--------------+--------+
| Chakra Name | Colour |
+--------------+--------+
| Base | Red |
| Spleen | Orange |
| Solar Plexus | Yellow |
| Heart | Green |
| Throat | Blue |
| Brow | Violet |
| Crown | Gold |
+--------------+--------+
Table 2: Names and Colours of the
primary energy centres (chakras)


Locations of the seven primary energy centres (major chakras)

1. Base: base of spine (between anus and genitals)
2. Spleen: navel area
3. Solar Plexus: base of sternum
4. Heart: centre of chest (over heart)
5. Throat: base of throat, just above where it joins the chest
6. Brow: exact centre of forehead (between the eyes)
7. Crown: whole top of head, above the hairline

Notes:

Each primary is best thought of as - roughly the size of your hand.

Each primary has more than one functioning part (or petal).

The _exact_ location of sensations felt, when a primary centres is
active will vary slightly - depending on what part of that centre
(or petal) is active. E.G. The spleen centre is usually felt
between the tummy button and pubic line. The brow centre is often
felt between the eyebrows, instead of on the actual brow.


16. Basic Hue Classification:

The basic hue of an aura is it's dominant colour. This is
the most visible colour of the multiple energies generated by
all the chakras (mixed together) creating a general, overall
colour. There are, of course, many different colours in any
person's aura, but the basic hue is usually seen first.

Many people suggest that people can be classified, as being a
particular type of person, by the basic hue of their aura.

For example:

Red - sensuality, vitality, raw energy.

Orange - emotion.

Yellow - personality power, mental power, intellect.

Green - spirituality, love, affinity with nature,
natural healer.

Blue - highly spiritual, religious, natural teacher,
healer.

Violet - very highly spiritual, psychic, clairvoyance,
religious, teacher and healer.

Gold - highly advanced spirituality and psychic
abilities - an adept.

I have found this method of classification to be both unfair
to the person being classified, and extremely misleading.
The basic meanings of the individual colours are well known -
as above. I find the human aura to be such a complex and
changeable engine, it just cannot be classified in such a
simple way.

For example: if a person, with a predominantly blue aura, is
experiencing an emotional crisis, their aura will be flooded
with large patches of orange. This is a temporary state only,
and once the crisis is resolved, their aura will revert to
it's natural blue.

There are so many things that can temporarily change the
appearance of an aura - sometimes just for an hour or more.
Devotional worship, for example, generates high minded
feelings and deep spiritual love. An unstable, emotional,
dominant and violent person, who's aura is, say, naturally red
and orange, with streaks of black in it - can generate higher
spiritual colours, during worship. These will temporarily
flood their aura, giving them the appearance (to auric sight)
of being a very spiritual person - but hiding their "true
colours" and hence, their true nature.

Jock:

Blue: Jock was a young man I knew, several years ago. He was
an extremely vital, sensitive man, but was very unstable,
having a lot of problems. Jock was a deep thinker, and we
would often expound upon the meaning of life and the nature of
the universe, together. At times like this I would often see
a lovely spiritual blue, surrounding him.

Red: Now, once Jock had a few drinks in him (alcohol), he
could become extremely aggressive, violent and dangerous - at
the drop of a hat. At times like this, I would see his aura
change dramatically, in moments, to a bright, angry red, with
big orange patches and black streaks in it. Not a trace of
his original blue aura would remain. This, red, orange and
black colour, would stay with him, until he calmed down
completely and sobered up.

Dan:

Dan was an old friend of mine, with a naturally green aura.
When Dan has a problem, his mind goes into overdrive, trying
to find a solution to his problem. His aura then changes to
bright yellow, flooding strongly through his aura. This
reverts to it's original green, very quickly, once he has
found a solution. I have often observed this, while playing
chess with him. Every time he gets into a sticky situation,
his aura floods yellow.

Gardening:

When I have been gardening - having a lot of
physical contact with plants - the aura around my hands and
forearms changes to a lovely green. This green fades away a
few hours later. Close contact with plants seems to have an
effect on the energy body. Maybe this is where the old saying
comes from "Having a green thumb" - for gardening.

These examples demonstrate the changeable nature of the human
aura, in a very general way. An aura is a variable reflection
of the energy activity going on within a person. This
reflection is detected by the brow centre of the observer, and
interpreted, as coloured bands of light, by the sight centre
of their brain. Health, mood, emotion, strong thoughts,
drugs, and other influences, stimulate many different energy
patterns in the primary and secondary energy centres. These
different patterns change the overall quality of the energy
being reflected into the aura. This generates many different
colours - which changes the auras dominant colours.


17. The Human Aura And Colour:

The human aura is very sensitive to colour. It reacts to
the colours of clothing worn and to the colours of it's
surrounding area. Colour affects the subtle flow of energies
within the energy body. This accounts for our strong
natural likes and dislikes, when it comes to choosing the
colours we wear, and those that surround us.

This sensitivity varies, from person to person, depending upon
how sensitive they are and how sensitive their aura is.
Women, generally, have more delicate and sensitive auras than
men. They are, therefore, far more sensitive to the effects
of colour, than men are. Colour can have a strong effect on a
very sensitive person. If they wear a colour that clashes too
badly with their aura, it can make them physically ill.

The effect of colour on the emotions is well known. Wall
colours are carefully chosen, in hospitals and other
institutions, to calm agitated people and put them at ease.
Soft pastel shades of pink and blue are the most frequently
used colours for this, because of their well-known calming
effect.


18. Clothing:

It is impossible to get a clear view of an aura through
clothing. The auric colours given off by any coloured
clothing react with the wearer's aura. This causes
interference that blocks and changes the natural flow of
energies within an aura. For example: a blue shirt will
flood the wearer's natural aura with yellow - changing it's
appearance.

Even neutral coloured clothing will block and dim an aura -
making it dull and difficult to see. If, for example, you
observe the aura of a person wearing a red shirt: their aura
will contain a great deal of green. This shows why bare skin
is best, in order to get a clear view of an aura.

When a coloured material is worn, the band of colour seen
close to the material is the reverse auric colour of that
colour. The aura's real colours will be seen building up from
the outer edge of that colour. The reverse auric colour of
the material, and the true colours of the living aura, affect
each other - changing their natural colours.


19. Disease:

This shows up in the aura in many different ways, sometimes
weeks or months before any physical symptoms appear. An ear
infection, for example, will show up in an aura as a
gradually thickening shadow over the ear and side of the head.
This can be seen several days before any physical symptoms
appear. The shadow will begin as a light-grey smudge,
gradually thickening and darkening. It will eventually change
to a murky-green patch, about the size of your hand. As the
infection worsens it will become shot through with red and
orange streaks, flecks and sparks.

A shadow in the aura is the first sign of _any_ approaching
health problem.
Murky-green, with red and orange streaks, flecks and sparks,
is common to infection.


20. Death:

When a person is dying, their aura undergoes dramatic
changes. I have observed the auras of people, dying of
terminal cancer and other diseases, in the weeks prior to
their death. The first noticeable sign is when the aura fades
and begins to grow weaker and paler. Next (with long term
illnesses) a week or so before physical death, the aura begins
to expand and change. It changes into a beautiful (very pale)
milky-blue, shot through with faint, tiny, silver and white
sparks. These sparks flash and twinkle throughout the aura.
Each spark is only visible for a fraction of a second at a
time.

*Note: The aura of a dying person is a very pale milky-blue.
It is VERY pale and faint and VERY difficult to see. It is
quite common to see a pale-blue aura surrounding a healthy
person, and this does NOT mean they are about to die. The
aura of a dying person is quite different from a normal,
healthy, pale-blue. It is all one colour, much larger than
normal, very milky and very faint.

Closer to the time of death, the aura begins to pulsate,
swelling and shrinking erratically. At times it will fill
the entire room, becoming more of an atmosphere than an aura.
At other times it will be so shrunken as to be almost
invisible to auric sight. It grows paler and finer by the
day, and the tiny silver and white sparks become finer and
increase in frequency.

There is a great deal of activity in all the energy centres,
at this time. The energy body is preparing itself for the
final separation - of the physical body from the non-physical
body (or spirit). There are, at times, faint surges of colour
and faint coloured sparks, like pastel fountains, surging and
falling from the primary centres. They spasm and shudder and
begin generating a much higher and more refined type of
energy. This change heralds the imminent and final
separation, of the spirit from the physical body - what we
call death.

The above is 'not' to be mistaken for the normal pale-blue and
sparks that can be seen in a healthy human aura. The above
observation is not visible to any normal level of auric sight,
but requires some degree of clairvoyance, ie, the ability
to see mind's eye visions.

At some time (variable) before physical death, the aura will
become almost invisible to auric sight. Only a faint, very
pale glow will still be seen, close to the skin. This is
residual etheric matter, clinging to the physical body. There
is, however, still intense activity going on within the energy
body, but this is now far beyond the reach of normal auric
sight.

The aura is now reflecting itself into a much higher level of
reality - another dimension. Clairvoyant and astral sight are
necessary, in order to see any more energy activity, during
the final stages of the death process.

At the actual moment of death, if you are watching closely,
you will see a very faint, pale mist, surge up out of the
body, and quickly vanish. This is the spirit leaving the
physical body. That faint mist is residual etheric matter,
clinging to the spirit body, as it departs.

The actual timing for these changes in the aura to occur,
depend greatly upon the type of illness, the duration of it,
and the strength of the dying person. These govern the speed
of the actual death process. With some conditions, this whole
process can happen very quickly, often a matter of hours.
With other conditions, this may happen over several days,
weeks or even months.

TRAINING TO SEE AURAS V4 Part 3

10. Peripheral vision:

Auras are seen with peripheral vision (side vision) and cannot
be seen by directly focussing on them. To see an aura, you
have to look to the side and past your subject. Peripheral
vision is extremely sensitive to movement, much more so than
direct focussed vision. It can detect minute movements that
your central, focussed vision will not see. Peripheral vision
is also sensitive to many other types of subtle energy that
surround us.

Most people have had the experience of catching sight of some
movement - out of the corner of their eye - only to see
nothing when they turn and focus on it.

What happens is:

1. They have seen an aura building up from a coloured
object.

2. They have seen a spirit entity (ghost) manifesting near
them, and have detected it's energy with their more sensitive,
peripheral vision.


11. Dr Kilner:

An English doctor, Dr Walter J. Kilner, in 1911, used colour
as an aid to stimulating auric sight.

Dr Kilner, researched the use of auric sight, as an aid to
diagnosing the health of his patients. He used dicyanin
screens for this. Dicyanin is a dye product of coal tar.
These screens consisted of two pieces of glass with dicyanin
dye sandwiched and sealed between them. He found that by
using these - aura goggles, as he called them - he could
stimulate the ability to see the human aura.

He would stare, for a few minutes, through these screens, at a
bright light. When he looked away, he could see an aura
surrounding his patient. He would then note any changes and
abnormalities in their aura, and compare them with other
observations, taken of healthy people. This allowed him to
detect disease, in the very early stages, before the actual
symptoms of that disease appeared.

Dr. Kilner used several different coloured screens, and
combinations of them. Different coloured screens showed him
different aspects, or layers, of an aura.

He also used strips of brightly illuminated, coloured cloth.
He would stare at one of these strips, after preparing his
eyes, by looking through one of his screens. These strips
caused a phantom strip, of a different colour, to appear in
his gaze. These were like small windows, that could be moved
around by shifting his gaze, highlighting different parts of
his subject's aura. This gave him a different view of their
aura, in that part.

How this works: By looking through these screens, at bright
light, Kilner flooded his eyes with the slow auric colour of
that screen (it's reverse colour). This made his eyes
hypersensitive to that particular auric colour, enabling him
to see that colour in his subject's aura. Different coloured
screens would allow him to see different colours in an aura.
The use of the strips of colour, then enabled him to see the
slow auric colour (reverse colour) of the coloured strip,
minus the original colour of the screen he was using - showing
a small band of an entirely different colour, in the aura.
This small band of colour could be moved around the patient's
aura, by shifting his gaze, like a small window, highlighting
the area it covered.

One interesting thing about Dr Kilner's work is this: After
using these screens for several months or more, he found he
needed to use them less and less. By continually straining to
see auras, with his aura goggles, he stimulated his brow
centre, and mastered the visual technique needed to see the
aura. He eventually gained _full_ auric sight, i.e., he no
longer needed the aura goggles to see auras.

If you would like to get a copy of Dr Kilner's book, you will
find it contains many fine colour plates (paintings) showing
the aura, as seen by himself and his associates. These show
the different effects that can be had using combinations of
different coloured screens and coloured strips.

Kilner's book is listed, in the book I read, as:
Kilner, Walter John. (1965). "The Human Aura."
(New Ed.). New York: University Books. I was
quoted $300.00 US, for the purchase of this book.

Note: I cannot comment on the effectiveness of using genuine
aura goggles, as I have never actually seen a pair. I did,
however, experiment with a pair I made myself, many years ago.
I used two pieces of glass, covered them with a deep blue dye,
and sealed the edges with windscreen sealant. I followed
Kilner's instructions, staring at a bright light through this
screen, etc.

I found this made my eyes _extremely_ sore, and so, after
awhile, discontinued using them. They did work, however, and
showed me some interesting auric effects. I considered it was
not a healthy practise, though, due to the painful burning it
caused in my eyes, and the possibility that it could damage
them. In his book, Kilner gives a warning about this nasty
side effect - burning, sore eyes.


12. The Human Aura:

The human aura is an energy field that surrounds the human
body, and reflects the subtle life energies at work within and
around it. This is something like the magnetic field that
surrounds a simple magnet. Like a magnetic field, the aura is
generated within physical matter - but is also affected by
it's surroundings. The energies flowing through the aura make
us what we are, and are in turn affected by our surrounding
life conditions and life style. The aura reflects the
activity of our organs, health, mental activity and emotional
state. It also shows disease - often long before the onset of
physical symptoms.

The strength and properties of an aura are determined by the
amount of, and the quality of, the energies flowing through
it.


13. The Main Aura:

The main human aura is banded around the body - strata like.
Imagine a person with thick, coloured hoops of light dropped
over them, and you get the general idea. The main colours of
the aura emanate from the primary energy centres (major
chakras - or psychic centres). The individual bands of
colour are difficult to see, unless you have very well-
developed auric sight, and are observing under optimum
conditions.


14. The Etheric Aura:

Close to the skin is the etheric aura. This is often called
"The vitality sheath".
It is seen (with auric sight) as a pale, narrow band, next
to the skin, outlining the body. This is usually no more than
half an inch wide - depending upon the vitality of the
subject. It looks like a dense layer of pale smoke, clinging
to the skin. This is the visible part of the energy body,
in it's contracted state.

During sleep, the etheric aura expands and opens (becoming
larger and finer) in order to absorb and store vitality
(cosmic energy?) within it. After sleep, the energy body
contracts and forms a dense sheath surrounding the body,
close to the skin. This holds within it the stored energies
we all need for living.

In a way, the energy body is like a living storage battery.
During sleep, it automatically sets itself on recharge,
replacing the energies that have been used up.


15. Energy Centres (chakras):

The primary energy centres (chakras) are the non-physical
organs of the energy body. There are at least seven primary
centres, and over three hundred secondary and minor centres,
scattered throughout the human body. All together, they form
a complex network of non-physical energy components. These are
all joined together by interconnecting pathways, or
meridians.

These centres, and their interconnecting pathways (meridians)
were charted by the Chinese, and other Eastern races,
thousands of years ago. Modern versions of these charts are
still widely used today, in many types of alternative medicine
and body work, i.e., acupuncture and reflexology.

Primary energy centres are attached to major internal organs,
glands, nerve ganglia and the spinal cord. Secondary and
minor energy centres are attached to joints, glands and nerve
clusters, throughout the body.

There are active centres - transforming and manipulating
energy - feeding other energy centres and taking care of life
processes - both physical and non-physical. There are
storage centres, communication centres, and centres designed
to absorb energy from other energy sources around us.

Some energy sources: Food, water, oxygen, sunlight, planetary
energy, cosmic energy, love, sex, music. Some of these energy
sources are very subtle, but all are necessary for us to live
a balanced life.

Energy centres are invisible to the naked eye but can be felt,
quite strongly, when they are active (as a pulsing, thrumming
sensation). When energy is consciously drawn from one centre
to another, through the connecting meridians, this can be felt
as: A rushing water sensation, a spreading warmth, a tingling
feeling, or a combination of these. Energy centres (chakras)
can also be seen - with auric and clairvoyant sight - as
whirling vortexes of intensely coloured light).

Every energy centre has important individual functions, in the
energy body. It also works in conjunction with all the other
major and minor centres. Each centre is an individual, but
integral part of the energy body. They all work together, for
the good of the whole energy body; just as all the physical
organs, brain, heart, liver, kidneys, glands, etc, work
together for the good of the whole physical body.

The energy body is extremely complex. It is, in a way,
similar to an electronic device. Energy flows into the
electronic device, and on through connecting pathways
(meridians) that are etched into the circuit board. These
connecting pathways (meridians) carry energy on to all it's
electronic components, (chakras), diodes, resistors,
capacitors, etc. Energy is continually being changed,
enhanced and transformed, by these components; to serve a
multitude of different purposes, required by the device, as a
whole unit, to function properly.

A single energy centre, is very much like a single electronic
component. It takes in energy from the components around it,
and changes the value of it. It enhances this energy, in
various ways, transforming it into something different, that
is needed by the whole unit.

Each energy centre (chakra) takes in the different types of
energy it requires, from other energy centres in the energy
body, and generates a completely different type of energy -
with a different value and colour - according to what is
required.

The strength of each primary energy centre, in any particular
person, depends upon that person's individual makeup; their
nature, health and life style, as well as their spiritual,
moral and psychic development. The energy generated by all
the chakras at once, is reflected into the aura, mixing
together and causing the dominant hue of the aura. This,
dominant hue, is the part of the aura most commonly seen with
auric sight.

TRAINING TO SEE AURAS V4 Part 2

4. Auric Theory:

My theory is: that light is necessary for the brow centre to
tune into and focus on auric energy. An aura being a visual
representation of this energy, created by the sight centre of
the brain.

This appears to be the only logical explanation for auric
sight.

5. The Complexity Of Normal Vision:

The process of auric sight may sound very complicated, but is
really _very_ simple, when you compare it with the process of
normal, optical sight - that simple, visual thing we all take
for granted. Look around the room you are in now, look out of
a window - what do you see? Think about all the millions of
objects and colours and tones you are seeing - all at once -
in incredible three dimensional detail. Think about how, no
matter how fast you turn around, your brain keeps up with the
fantastically complex image you are seeing. Your eyes pass on
an _incredible_ amount of information to your brain - but your
brain interprets it all instantly. Normal optical sight is
an incredibly complex and powerful ability. Compare this,
with the few colours and swirls of light you see in a human
aura - no matter how beautiful and complex it might seem - it
is still a very simple picture. There is really no comparison
between these two abilities - normal optical sight is vastly
more complex, and requires much more of the brain's power,
than auric sight does.

To recap the above: Auric sight is linked to and depends
upon normal optical sight, in order to function. What you
see, when you see an aura, is your brain's interpretation of
reflected energy, emanating from your subject. Your eyes are
used to tune and focus your brow centre into this energy. An
electrical representation of this energy is passed to your
brain's sight centre, where it is interpreted as a sight
picture by your brain. In the case of an aura, your brain
shows you coloured bands of light surrounding your subject.


6. Light And The Aura:

Light is necessary in order to see the main aura of anything.
Living auras react in the presence of light - expanding and
brightening. This reaction is most noticeable when a living
aura is exposed to sunlight. You could say that auras are
photo-sensitive.

I have made extensive observations of this light reaction. I
have observed the auras of people inside a house, then
immediately taking them outside, into the sunlight. The
living auras of people expand in sunlight, and are much
brighter. They fairly sparkle with life in strong, direct
sunlight. I have seen auras expand to several times their
normal size in sunlight.

Another interesting observation, that adds weight to this
argument, that auras are not light - but that light is
necessary, in order for auric sight to work: the main aura
cannot be seen in complete darkness. If auras were indeed
light, why is it necessary for there to be light, in order to
see them? This shows that light and normal optical sight are
an important part of auric sight.

Note: In total darkness, it is possible to see some slight
activity around the energy body, close to the skin. This is
almost invisible, but looks like tiny, very faint strands and
sparks of bluish light. This is very faint and most
noticeable around your own fingertips, when they are brought
together in front of you.

It is also possible to see small but intense points of light,
coming from fully active primary energy centres (chakras).
These must be _extremely_ active for this to be seen, and you
must also be very focussed on your subject. This takes a lot
of skill to do, and the subject must be very developed -
energy wise - in order for this to be observed. This is far
easier to see if there is a little available light, even if
you can only make out vague shadows - it gives you something
to focus upon.

To observe any part of the energy body, in darkness, memory
based visualisation is used to focus the brow centre into a
subject. You have to know exactly where the subject is (in
total darkness) and be able to accurately gauge their
distance, shape and position, and see them clearly in your
mind's eye.

I think, for the above, that both astral sight and
clairvoyance play a part, for those that can see energy
activity in total darkness. This appears to be the only
logical explanation for this phenomena.

Note: Light is _not_ necessary for clairvoyant or astral
sight to work, but the eyes and their normal focussing ability
are still used, but with memory based focussing and
visualisation, instead of normal light based focussing. You
can see with astral and clairvoyant sight, just as well in
total darkness, as you can in full light.


7. Viewing Method:

The same basic technique, used to see the aura of colour, is
used to see all other types of aura, including the human aura.
This same technique is also a part of full clairvoyance.
This is why looking at the auras of colours is such good
training for seeing the human aura. The aura of colour is far
denser and easier to see than the human aura. This allows the
auric viewing technique to be learned much easier and faster,
than does practising on the more difficult human aura.


8. The Auras Of Colours:


The auras of colours

+--------+---------------------------+
| Object | Auric Colour |
+--------+---------------------------+
| Red | Green |
| Orange | Pale Green |
| Yellow | Pale Blue |
| Green | Orange |
| Blue | Yellow |
| Indigo | Gold |
| Violet | Pale Gold |
| Pink | Iridescent Green |
+--------+---------------------------+
Table 1: Auric colours given off by
some normal, physical colours.


The exact shade and tone of a colour's aura varies a great
deal, according to the shade and tone of the colour you are
observing. Auras are also affected by the background colour
against which they are highlighted, when observed.


9. Afterimages:

Auric colours are similar in appearance to after images.
Afterimages are generated by staring - for twenty seconds or
so - at a brightly illuminated colour, and then quickly
closing your eyes, or looking away.

It is commonly thought: that afterimages are generated by
colour depletion, of the rods and cones in the eyes, caused by
staring at one colour for too long. This generates the
reverse, or negative colour, of that colour. An afterimage
stays in sight until this colour depletion is corrected, and
the eyes return to normal.

I disagree with this theory - and for very good reasons.
Afterimages are generated by staring for a long time at a
coloured object - for twenty of thirty seconds, or more. This
is why I disagree with this theory: When auric sight is more
advanced, the aura of a colour can be seen clearly, almost the
instant a coloured object is glanced at with auric sight. No
prolonged staring is required to produce an aura.

I have just done a test, while sitting here typing this.
Across the room from me, about seven feet away, is a chair.
Hanging over it's back is a bright-blue shirt. I have done
no exercises to stimulate my auric sight, at all. It is early
in the morning now, about 6am, and I have not long woken up.
A clear, dense, yellow aura begins to appear in just under
four seconds (I timed it). This is, surely, far too short a
time to generate an afterimage? I did this several times and
it became faster and easier to do, and the aura brighter, each
time.

Now, you could say that my eyes are becoming depleted of the
colour blue, by continuing to do this, thus more easily
generating the yellow aura. So, I turn around and look at a
red shirt hanging on a hook behind me, on the other side of
the room. This time, a clear, dense, bright-green aura
appears in just under five seconds. This is _far_ too short a
time to generate an afterimage? Now, when I am on what I
call, a clairvoyant high, the auras of colours appear to me,
almost the instant I glance at them - within one second.
There is no appreciable delay at all, they are just there,
ballooning out from colours, as I look at them.

The auras I see, around colours as well as people, do drag
slightly at my eyes, creating a kind of afterimage effect if I
stare for too long at it. This effect is similar to how a
normal afterimage behaves - dragging and following my field of
view.

Now, when I observe the aura of a person, I normally ask them
to remove some of their clothing. This gives me a much
clearer view of their aura, without the interference caused by
the colours of their clothing. I see clear, bright colours in
these auras, building up from bare skin. My point here is
this: bare skin has _no_ colour that can generate any kind
of coloured afterimage.

To be truthful, though, the auric colours I see around
colours, as well as people, are often still visible, hanging
briefly before my eyes, when I look away or close my eyes.
This _is_ a coloured afterimage - but created by staring at an
aura's colour _not_ at a physical colour.

Another interesting point: the colours of any afterimages I
get, when observing living human auras, are exactly the same
colours, as the colours of the aura I am looking at - there is
_no_ reverse colour effect at all, with a bare skin, living
aura.

So, if colour depletion, of the rods and cones in the eyes, is
solely responsible for afterimages, how can this happen?

A better way of explaining the reverse colour afterimage
effect is: (slow auric colours).

By staring hard at a colour, the auric colour of that subject
is slowly impressed upon the sight centre of the brain. It is
_not_ the eyes that are depleted of colour, but that the auric
colour has been impressed upon the brain's sight centre.

The afterimages that appear, when you stare at primary
colours, are the same as the auric colours generated by those
colours. The similarity in these colours - rather than
contradicting the validity of the auric colour of colour -
supports them. Why would they be any different?

You will, in the early stages of training to see auras, cause
quite a strong after image effect. This will drag and follow
your eyes, and still be seen when you close your eyes or look
away. This is the slow auric image effect - caused by staring
so intently, and for so long, while trying to master the basic
technique for seeing auras.

This after image effect lessens in stages. Once the basic
technique is mastered, most of the afterimage effect
disappears. Then, as the brow centre develops further, being
stimulated through use, the afterimage effect decreases
steadily, until they are hardly noticeable.

There will, however, always be a slight afterimage, of sorts,
when you really study an aura. This is unavoidable when you
gaze intently upon an aura, trying to discover it's secrets.
The nature of auric sight, and the involvement of the normal
optical sight process, will always cause a slight afterimage
drag - or slow auric image, as I call it. This happens, even
when auric sight develops into the advanced stages.

Final note on afterimages:

The way the aura builds up is also, totally unlike the way an
after image appears. It builds up, mushrooming bright colours
from bare skin - it does not just fade slowly into sight - it
grows before your eyes. The colours of a living aura do not
begin as a pale shadow, fading into view and then slowly
deepening and growing brighter. They are one consistent
colour, from their first appearance as a thin outline,
highlighting the etheric aura, close to the skin, to their
full size - often more than two or three feet wide. Auras
are also, not just a slight outline of colour around the skin,
but large, vivid bands of colour, with thickness and depth to
them. And, finally, while an aura is building up, if you
shift focus slightly, or blink, it disappears instantly - only
to reappear a few seconds later - an after image does not.

TRAINING TO SEE AURAS V4 Part 1

Robert Bruce

(C) Copyright 1990


1. Opening:

This article takes a fresh look at auras - what they are,
where they come from, and shows how anyone can learn to see
them. Seeing auras is not as hard as you may think - if you
go about it the right way. This is an easy step by step guide
to doing just that. It starts right at the beginning, with
the easiest to see of all auras - the aura of colour - and
working up, in easy stages, to the more illusive and difficult
human aura.

An aura is the most visible part of the subtle energy
processes going on within all physical objects. All matter
has an aura of some kind - even a humble rock - but it is
pretty dull when compared with the complex interplay of
rainbow colours that make up a living human aura. Auras
emanate from all physical objects, life forces and colours,
as well as from many other energy sources.

The first step in this tutorial makes use of a little known
fact - that colours have auras.

Every colour has it's own unique aura. This is of a
completely different colour from the original. Auras, given
off by bright, primary colours, are much denser and far easier
to see than any other type of aura. Using the auras of
colours, as a training aid, has most people seeing an aura the
very first time they try.

I have been able to see auras for many years. I was not born
with this ability, but taught myself - the hard way. It
took me several years before I could see enough of an aura to
make it a worthwhile practice! I know the problems inherent
in developing auric sight, and this new training method is
designed to help overcome them.


2. How Auric Sight Works:

Auric sight - as with all forms of clairvoyant sight - depends
upon the eyes and the normal optical sight process to work.
Physical and non-physical sight are very closely related.
They are both forms of perception that allow our brains to
perceive energy, of one type or another, as a sight picture.

Here is why:

A. Normal sight:

Eyes receive light - light being a type of energy. Eyes
focus light energy onto light sensitive nerve tissue at the
back of the eye, connected to the optic nerve. Basically,
this light sensitive tissue changes focussed light energy into
a stream of complex electrical signals. These signals are
passed, via the optic nerve, to the sight centre of the brain.
The brain then interprets these signals into a rich visual
picture - what we call normal sight.

B. Auric sight:

The brow centre receives a more subtle type of energy than
light. This type of energy can only be received by the brow
centre (often called the third eye or brow chakra) when it is
active and tuned in to receive that type of energy. The brow
centre is situated directly between the eyes and is intimately
connected with normal optical sight.

Energy received by the brow centre is passed along to the
sight centre of the brain - the same as with normal sight.
The brain interprets anything it receives in it's sight centre
as a visual picture. It interprets auric energy as a sight
picture - as coloured bands of light surrounding the subject.

* The eyes are the organs for normal optical sight (a
physical organ).

* The brow centre is the organ for non-physical sight (a non-
physical organ).

Both these organs, above, are situated in the same general
area, i.e., the brow centre is situated in the brow, directly
between the eyes. The common location and similar function of
both organs (sight) suggests there is a close relationship
between them, i.e., the eyes, the brow centre and the sight
centre of the brain are linked. My research confirms this:
that all forms of non-physical sight are closely linked with
the process of normal optical sight.

Although there is a relationship between optical sight and the
brow centre - an aura is definitely _not_ any type of light.
Some people believe auras are still light, but light at a much
higher frequency than normal light - that is only visible to a
clairvoyant. If this were true, though, it would be possible
to detect and measure this light with the sophisticated
electronic instruments available today. There are scientific
instruments, electronic cameras etc, that can be tuned to
detect _any_ part of the light spectrum - no matter how
refined. For example: infra red, ultra violet, x rays, gamma
rays, etc, all these can be detected - but auras cannot.
Therefore, it is logical to suppose that auras are _not_
composed of any type of light.


3. Aura Cameras:

But there are aura cameras - you might say - that can take
pictures of the human aura? You might even have a picture of
your own aura, taken at a psychic fair. How can this be?

An aura camera does NOT take an actual picture of an aura.
It cannot actually see an aura. It merely creates the
illusion of an aura on film.

How an aura camera works:

A. Sensors are placed on the skin - or fitted into a
chair so they contact the subject's skin. These sensors
measure the electrical resistance in the skin (galvanic
skin response). Electrical resistance in the skin varies,
according to salt and moisture level. These levels are
affected by many things: diet, fluids, health,
temperature, sweating, emotion, mood, activity, etc.

B. These readings are fed directly into a small
electronic processor, attached to the camera (usually a
small black box) and interpreted by it. This processor
then generates a pattern of electrical signals, from these
readings, according to how it is programmed.

C. This pattern of signals is then fed into a specially
modified camera. Inside the camera, an optical colouring
device creates a variable pattern of coloured lights, and
beams this directly onto the film, as the picture is taken.
This gives the illusion of a colourful aura surrounding the
subject - according to the pattern generated by the initial
readings.


Because of the way these cameras are set up, you will rarely
get two pictures exactly the same. This is because of the
large number of coloured patterns possible, that can be
generated by slightly different sensor readings . It would
be rare to get two identical sets of sensor readings from one
person and, therefore, have two identical aura photographs
taken in the same day.

An aura photograph is the camera designer's idea of what your
aura _should_ look like - according to their research. This
research is based upon linking clairvoyant observations with
the galvanic skin response on test subjects. The designers
have attempted to give a specific colour value to different
patterns of galvanic skin responses.

An aura photograph, therefore, is an electronically created
illusion - not an actual photograph of an aura.

Basic Palmistry Part II

Palmistry, also known as Chiromancy, is the art of telling a person's fortune by looking at the lines and bumps on a person's hand. However, since the 1920s, the art of Chiromancy has come a long way.

Chirognomy is a related science in which hand shape; finger shape, fingers, nails and the texture and consistency of the flesh are examined in order to get a glimpse into the inner workings of the personality.

Dermatoglyphics is the study of ridge patterns and formations found on the fingertips and palm itself to detect and diagnose inherited diseases. However here we are dealing with what I would call the Romany Reader Basics of the Art.

In an earlier New Age Notebook called Basic Palmistry I identified the major lines and mounts of the human hand. In this article we are going to examine other kinds of markings and characteristics that are common indicators of personality, temperament and fate.

Bubbles and Loops - Bubbles and loops that occur on life lines, heart lines and fate lines indicate significant episodes in your life or a life that is broken by many odd experiences. Strong clean lines without bubbles are always preferable if you are looking for a serene and quiet life.

Broken Lines - These usually indicate that a life will be disrupted in an upsetting manner. A broken lifeline can mean an early or tragic life. A break in the head line can mean a period of insanity or mental illness.

Crosses and cross-hatching: These marks on any mound or area of the hand often represent stressful influences, events or people. Usually the influence is a significant or important relationship. The deeper the line the more traumatic or life-defining the experience is said to be. The nature of the event is determined on which mound you find the cross or cross-hatching.

For instance, if you have a lot of cross-hatching on your Mound of Lower Mars you may encounter a lot of war or violence in your life. Crosses and cross-hatching on your Mound of Apollo can indicate troubles with career, confidence and success. On the outer edge of the hand, just below the little finger and the Mound of Mercury such marks are said to indicate how many children are in your future. If horizontal lines or cross-hatching occurs on your thumbs or fingertips it is a sure sign that you are under too much stress.

Attachment lines: These are lines that occur above the heart line and wrap from the side of the hand and extend out beneath the little finger. This is supposed to indicate the number of significant relationships or attachments you will have in your life.

Healer Stigmata: a long horizontal line that is crossed by three shorter lines indicates this. It is a symbol of natural healing abilities and usually occurs on the mound of Mercury just below the little finger.

Squares: If you find a square on your hand it means that you are a teacher or natural born leader and meant to enlighten others. The area of interest where you will excel is indicated where it is placed on a mound. For instance, a square that is found on the mound of Mercury indicates a career in teaching or education. A square found on the Mound of Venus below the thumb can indicate a nurse, doctor or healer.

Feathery light lines: These can be found all over the hand and are usually an indication of failing health. If the lines travel up from the wrist to the little finger it can indicate a chronic disease or disability.

X's: X's found anywhere in the palm usually indicate travel. If it is found on either of the Mounds of Upper or Lower Mars or on the plain of Mars it means traveling as a result of war or a military career. An X on the mound of Venus (below the thumb) means relocating for love and on the mound of Jupiter an X can mean relocating for reasons to do with career advancement.

Triangles: Triangles anywhere on the palm indicate a decent upbringing and emotional or intellectual strength. This once again depends which mound the triangle is found on. For example: a triangle found on the Mound of Venus indicates emotional strength and understanding when it comes to love. A triangle found on the mound of Saturn beneath the third finger indicates incredible physical and emotional endurance during times of trouble.

The Ring of Solomon: This is a line that circles the base of the Jupiter finger (index finger) and is found in the hands of those who are said to be psychic. It is also believed to represent royal blood or ancestry.

Stars: A star-shaped hatching of lines can mean that you will enjoy especially good fortune wherever that star is located. For instance if you have a star on your Mound of Venus, it can indicate fame. A star on your Mound of Mercury can mean success at relationships. Wherever you find a star on your hand, you are most likely to find good fortune unless it is located on the mound of Saturn beneath your third finger. In that case, it means a life of arrogance and pride without the prizes. Palmistry, also known as Chiromancy, is the art of telling a person's fortune by looking at the lines and bumps on a person's hand. However, since the 1920s, the art of Chiromancy has come a long way. Chirognomy is a related science in which hand shape; finger shape, fingers, nails and the texture and consistency of the flesh are examined in order to get a glimpse into the inner workings of the personality. Dermatoglyphics is the study of ridge patterns and formations found on the fingertips and palm itself to detect and diagnose inherited diseases. However here we are dealing with what I would call the ?Romany Reader Basics? of the Art.

In an earlier New Age Notebook called Basic Palmistry I identified the major lines and mounts of the human hand. In this article we are going to examine other kinds of markings and characteristics that are common indicators of personality, temperament and fate.

Bubbles and Loops - Bubbles and loops that occur on life lines, heart lines and fate lines indicate significant episodes in your life or a life that is broken by many odd experiences. Strong clean lines without bubbles are always preferable if you are looking for a serene and quiet life.

Broken Lines - These usually indicate that a life will be disrupted in an upsetting manner. A broken lifeline can mean an early or tragic life. A break in the head line can mean a period of insanity or mental illness.

Crosses and cross-hatching: These marks on any mound or area of the hand often represent stressful influences, events or people. Usually the influence is a significant or important relationship. The deeper the line the more traumatic or life-defining the experience is said to be.

The nature of the event is determined on which mound you find the cross or cross-hatching. For instance, if you have a lot of cross-hatching on your Mound of Lower Mars you may encounter a lot of war or violence in your life.

Crosses and cross-hatching on your Mound of Apollo can indicate troubles with career, confidence and success. On the outer edge of the hand, just below the little finger and the Mound of Mercury such marks are said to indicate how many children are in your future. If horizontal lines or cross-hatching occurs on your thumbs or fingertips it is a sure sign that you are under too much stress.

Attachment lines: These are lines that occur above the heart line and wrap from the side of the hand and extend out beneath the little finger. This is supposed to indicate the number of significant relationships or attachments you will have in your life.

Healer Stigmata: a long horizontal line that is crossed by three shorter lines indicates this. It is a symbol of natural healing abilities and usually occurs on the mound of Mercury just below the little finger.

Squares: If you find a square on your hand it means that you are a teacher or natural born leader and meant to enlighten others. The area of interest where you will excel is indicated where it is placed on a mound. For instance, a square that is found on the mound of Mercury indicates a career in teaching or education. A square found on the Mound of Venus below the thumb can indicate a nurse, doctor or healer.

Feathery light lines: These can be found all over the hand and are usually an indication of failing health. If the lines travel up from the wrist to the little finger it can indicate a chronic disease or disability.

X's: X's found anywhere in the palm usually indicate travel. If it is found on either of the Mounds of Upper or Lower Mars or on the plain of Mars it means traveling as a result of war or a military career. An X on the mound of Venus (below the thumb) means relocating for love and on the mound of Jupiter an X can mean relocating for reasons to do with career advancement.

Triangles: Triangles anywhere on the palm indicate a decent upbringing and emotional or intellectual strength. This once again depends which mound the triangle is found on. For example: a triangle found on the Mound of Venus indicates emotional strength and understanding when it comes to love. A triangle found on the mound of Saturn beneath the third finger indicates incredible physical and emotional endurance during times of trouble.

The Ring of Solomon: This is a line that circles the base of the Jupiter finger (index finger) and is found in the hands of those who are said to be psychic. It is also believed to represent royal blood or ancestry.

Stars: A star-shaped hatching of lines can mean that you will enjoy especially good fortune wherever that star is located. For instance if you have a star on your Mound of Venus, it can indicate fame. A star on your Mound of Mercury can mean success at relationships. Wherever you find a star on your hand, you are most likely to find good fortune unless it is located on the mound of Saturn beneath your third finger. In that case, it means a life of arrogance and pride without the prizes.

Basic Palmistry Part I

Palmistry is an ancient art and one that has many systems of interpretation. It is also an intuitive art that is easily learned just by learning a few basics about the symbolism that is represented by the lines that run across the palm, the mounts (or fleshy parts) of the palm and the structure of fingers.

In some systems, the right hand represents who you are today and the left hand, everything that you were born with when you came into this world. For "palmistry on the run" though it is best to read the hand that the person writes with, as that would be considered to be dominant hand.

In palmistry, the hand as a whole is divided into three different sections. The Fingers represent the mind and the higher self. The middle of the palm represents day-to-day life and the conscious mind. The lower half of the hand represents primal instincts, health and basic drives of the subconscious. Palmistry is all about proportion, symmetry and distortions of what would be considered to be a perfectly formed hand.

You can tell a lot about a person by looking at their thumb and fingers. The thumb has three phalanges. Its tip represents will power. A club shaped thumb indicates criminal tendency. Pointed or long tips indicate creativity and intelligence. The middle phalange represents logic. The longer the phalange, the more efficient and strategic the person. The fleshy part at the base of the thumb is called the Mount of Venus, which represents empathy, emotion, grace and compassion. The fatter and fleshier this part of the hand is, the more sensitive and compassionate the individual.

The index finger correlates to the planet Jupiter and indicates good fortune and career. The middle finger is related to Saturn and limitations and restrictions in life. The ring finger is called the Apollo. It relates to self-expression and intelligence. The pinky finger belongs to the planet Mercury, which is about your ability to communicate with others and sustain relationships. The longer and straighter the finger, the more good fortune a person can expect to have in these areas. All these fingers have their own mounts, which are located on the palm right below each one. The more developed or pronounced these fleshy mounds are beneath the finger, the more developed that trait is in a person.

The Mount of Jupiter below the index fingers represents ambition, leadership, religion, honor and love of nature.

The Mount of Saturn below the middle finger represents sanity, sobriety, wisdom, introversion and karmic events such as good or bad luck.

The Mount of Apollo below the ring represents confidence, creativity, impulsiveness and extroversion.

The Mount of Mercury below your little finger has to do with ability to sell yourself, communication, quickness, connection as well as writing and mathematical abilities. Sometimes the Mount of Mercury will be feathered with short vertical lines that are called Lines of Affection. These sometimes indicate the number of deep emotional connections or significant relationships in a person's life.

Right below the Mount of Mercury (below the little finger there are two more mounts. About half way down is the Mount of Upper Mars, which reflects your temperament: if this mound is fleshy then the person tends to be more courageous or war-like. Below that, near the base of the hand is the Mount of Luna (also known as the Mount of the Moon). This mound reflects such qualities as generosity, warmth and imagination. If it is over pronounced it can indicate a tendency to madness.

Below the Mount of Jupiter (follow the index finger downwards) lies the Lower Mars, which deals with aggression, hostility and capacity for evil. The center of the palm is called the Plane of Mars. If the plane has a dip in it you are calm, cool and collected. If it is raised or flat you are more likely to display a bad temper.

The Heart Line cuts laterally across the upper palm between the mounts of Jupiter and Mercury. Loops, bubbles, cuts and breaks in this line indicate relationships and episodes occurring in a person's love life.

The Head Line is normally positioned and can cut across the palm or curve downward. It is an indicator of intelligence and mental health. An optimum Head line runs straight, is deep and has a long extension almost to the other side of the palm. This more the headline curves downward towards the list, the less control the individual may have over his or her emotions.

The Life Line usually circles the thumb and begins under the mount of Jupiter and extends to the wrist. It encircles the Mount of Lower Mars and Venus and in most cases ends at the base of the hand. This line indicates major life events as well as the health of the subject. The longer this line is, the longer the individual will live.

The fourth main lie on the palm is called the Line of Fate (also known as the Line of Faith. This line runs vertically from the middle of the base of the palm and up towards the middle finger. It is an indicator of material and financial strength. The deeper, stronger and less broken the line, the more likely the person is likely to be successful. It also indicates a serious, business like nature.

The line of Apollo is a vertical line that is found on the upper part of the Mount of the Moon. It has been called the line of the Sun, and the line of Brilliancy, and to it has been ascribed the gift of great artistic talents, wealth and fame. Not every hand possesses this line.

The line of Mercury has been variously called the line of Health or the line of Liver. It is found either on Mount of Mercury or the Plain of Mars. If there is no line you are probably blessed with excellent health. Strong markings in this area indicate troubles with health.

There are many Minor Lines that don't appear in every hand but one of the best known is the Girdle of Venus that starts between the Mounts of Jupiter and Saturn and ends around the little finger. This line looks like a loop circling three of your four fingers and its presence is supposed to indicate beauty and luck in romance. The hand is filled with all kinds of markings, lines, feathers, stars, and crosses --each with particular meanings.

As a rule of thumb (no pun intended) any time you find a marking on a mound, it usually indicates that something special is going on in that department of your life. Next month's New Age Notebook will go into more detail about the meanings of these symbols in the hand.

Cultivating the Spirit

Water is the most impressionable natural element. Throw a pebble in a lake and watch the ripples. A slight breeze will send a wave of vibration through even a puddle. Water is sensitive to heavenly energy as well. The heat and light of the sun cause fluids to rise and fall in trees, creating the seasonal changes. We all know that the moon determines the ocean's tides. Lumberjacks find it difficult to control logs on a river during the full moon, as the logs tend to get washed ashore. However, during the new moon, logs flow towards the middle of the river. Similarly, the moon controls the tides of blood in the human body, causing menstruation to synchronize with a particular phase of the moon and affecting the thinking and dreaming of both men and women.

This impressionable quality of water allows us to see and know the world. Water forms a transparent film through which light enters the eyes. It transmits sounds through the inner ear. As mucous and saliva, it allows smell and taste. Without water to help carry messages across the synapses, there would be no sense of touch. When the whole body moves like water, as in the practice of Taiji Quan, we cultivate sensitivity and permeability to the qi of heaven and earth. We becomes aware of what the Lakota Indians call the wochangi, "the spiritual influences of nature."

To move like water is to return to the source of being. Mankind evolved from a watery environment. The human embryo looks like a fish during its early development. The first crawling movement of an infant is an undulation, like a tadpole learning to swim. According to most religious traditions, water is the first element (in both importance and order of creation). "God breathed over the face of the waters." Brahma, the world creator, floats on a lotus in Vishnu's abdomen. In the Buddhist Lankavatara Sutra, the "universal mind" (alaya-vijnana) is compared to a great ocean.

Perhaps the most important message of water is change itself. "Everything flows," said Heraclitus, "You can't step twice into the same river." The human body, like the body of the earth, consists mostly of water and is therefore in a state of constant flux. The intellect creates an illusion of permanence; we freeze the changing processes of life into concepts. But for health of body and mind, we must learn to flow with life, to ride the currents. We discover that the Buddhist principle of "impermanence" presents not a reason for despair but an opportunity for more sensitive and intelligent living. Taiji Quan can help us to, in the words of the Diamond Sutra, "Awaken the mind without fixing it anywhere." Through Taiji Quan practice we discover that "Go with the flow" is more than a metaphor. It is a spiritual practice and a way of life.

Remote Viewing

Remote viewing is a fancy name for telepathy or clairvoyance, the alleged psychic ability to perceive places, persons, and actions that are not within the range of the senses. If a "beacon" is used to send psychic images, it is said to be telepathy. If no beacon is used, then it is clairvoyance. The term seems to have been invented by physicists Dr. Russell Targ and physicist/scientologist Dr. Harold Puthoff to describe their work with alleged psychics for the U.S. government in a project known as Stargate.

Remote viewing is a kind of psychic dowsing. Instead of a twig or other device, one uses psychic power alone to dowse the entire galaxy, if need be, for whatever one wants: oil, mountains on Jupiter, a lost child, a buried body, a hostage site thousands of miles away, a secret meeting inside the Pentagon or the Kremlin, etc.

Ingo Swann and Harold Sherman claim to have done remote viewing of Mercury and Jupiter. Targ and Puthoff reported that their remote viewing compared favorably to the findings of the Mariner 10 and Pioneer 10 research spacecraft. Isaac Asimov did a similar comparison and found that 46% of the observation claims of the astral travelers were wrong. Also, only one out of 65 claims made by the remote viewers was a fact that either was not obvious or not obtainable from reference books (Randi 1982).

Targ and Puthoff, whom Randi refers to as the Laurel and Hardy of psi research, were not put off by the fact that Swann claimed he saw a 30,000 ft. mountain range on Jupiter on his astral voyage when there is no such thing. It is hard to imagine why anyone would have faith in such claims. If I told you that I had been to your home town and had seen a 30,000 ft. high mountain there, and you knew there was no such mountain, would you think I had really visited your town even if I correctly pointed out that there is a river nearby and it sometimes floods? Swann, in a lovely ad hoc hypothesis, now claims that astral travel is so fast that he probably wasn't seeing Jupiter but another planet in another solar system! There really is a big mountain out there on some planet in some solar system in some galaxy.

The CIA and the U.S. Army thought enough of remote viewing to spend millions of taxpayers' dollars on "Stargate." The program involved using psychics for such operations as trying to locate Gaddafi of Libya (so our Air Force could drop bombs on him) and the locating of a missing airplane in Africa. The mass media, ever watchful of wasteful government programs, did not exhibit much skepticism regarding remote viewing. Typical is the reporting in the Sacramento area. TV news anchors Alan Frio and Beth Ruyak led their nightly Channel 10 program on November 28, 1995, with a story on "exciting new evidence" that remote viewing really works. The same story had appeared that morning in the Sacramento Bee in an Associated Press article about "Stargate" by Richard Cole. "A particularly talented viewer accurately drew windmills when the sender was at a windmill farm at Altamont Pass," Cole wrote. The "talented viewer" was Joe McMoneagle, a former army psychic spy and part of the Stargate project. Cole based his claim on the testimony of Dr. Jessica Utts, a statistics professor at the University of California, Davis, who was hired by the government to do an assessment of "psychic functioning." Channel 10 interviewed Dr. Utts, who confirmed that there is good reason to believe that Joe McMoneagle does indeed have psychic powers. Utts coauthored several papers with physicist Edwin May, who took over the remote viewing program of Stargate from Puthoff in 1985. So, she was not a disinterested party.

CIA spokesman Mark Mansfield said: "The CIA is reviewing available programs regarding parapsychological phenomena, mostly remote viewing, to determine their usefulness to the intelligence community" (Cole 1995). He also notes that the Stargate program was found to be "unpromising" in the 1970s and was turned over to the Defense Department. At one time as many as sixteen psychics worked for the government and the Defense Intelligence Agency made them available to other government departments. One of the psychics, David Morehouse, was recruited when he took a bullet in the head in Jordan and started having visions and vivid nightmares. He's written a book about it (Psychic Warrior) and it is sure to be better received by true believers than Mansfield's disclaimer.

Jelaluddin Rumi (1207-73) saint and mystic

The Jesus of your spirit is inside you now.
Ask that one for help, but don't ask for body-things...

Don't ask Moses for provisions
that you can get from Pharaoh.

Don't worry so much about livelihood.
Your livelihood will turn out as it should.
Be constantly occupied instead
with listening to God.

Rumi, Mathnawi II:450-454

~~

Listen for the stream
that tells you one thing.

Die on this bank.
Begin in me
the way of rivers with the sea.

Rumi - Coleman Barks - from "Say I Am You"

~~

You've no idea how hard I've looked for a gift to bring You.
Nothing seemed right.

What's the point of bringing gold to the gold mine, or water to the Ocean.
Everything I came up with was like taking spices to the Orient.

It's no good giving my heart and my soul because you already have these.

So- I've brought you a mirror.

Look at yourself and remember me.

- Jalaluddin Rumi
~~

Longing is the core of mystery.
Longing itself brings the cure.
The only rule is, Suffer the pain.

Your desire must be disciplined,
and what you want to happen
in time, sacrificed.

Rumi - The Essential Rumi - Coleman Barks

~~

Oh! Supreme Lover!
Let me leave aside my worries.
The flowers are blooming
with the exultation of your Spirit.

By Allah!
I long to escape the prison of my ego
and lose myself
in the mountains and the desert.

These sad and lonely people tire me.
I long to revel in the drunken frenzy of your love
and feel the strength of Rustam in my hands.

I'm sick of mortal kings.
I long to see your light.
With lamps in hand
the sheikhs and mullahs roam
the dark alleys of these towns
not finding what they seek.

You are the Essence of the Essence,
The intoxication of Love.
I long to sing your praises
but stand mute
with the agony of wishing in my heart.


Rumi - 'The Love Poems of Rumi' - Deepak Chopra & Fereydoun Kia

~~

Inside this new love, die.
Your way begins on the other side.
Become the sky.
Take an axe to the prison wall.
Escape.
Walk out like someone suddenly born into color.
Do it now.
You're covered with a thick cloud.
Slide out the side. Die,
and be quiet. Quiteness is the surest sign
that you've died.
Your old life was a frantic running
from silence.

The speechless full moon
comes out now.

Rumi - The Essential Rumi - Coleman Barks

~~

The Morning Wind Spreads
The morning wind spreads its fresh smell.
We must get up and take that in,
that wind that lets us live.
Breathe before it's gone.

Rumi - 'The Essential Rumi' - Coleman Barks

~~

Everyone is overridden by thoughts;
that's why they have so much heartache and sorrow.
At times I give myself up to thought purposefully;
but when I choose,
I spring up from those under its sway.
I am like a high-flying bird,
and thought is a gnat:
how should a gnat overpower me?


Rumi - Mathnawi II, 3559-3561 - 'Rumi: Jewels of Remembrance' - Camille and Kabir Helminski

~~

I wonder
from these thousand of "me's",
which one am I?
Listen to my cry, do not drown my voice
I am completely filled with the thought of you.
Don't lay broken glass on my path
I will crush it into dust.
I am nothing, just a mirror in the palm of your hand,
reflecting your kindness, your sadness, your anger.
If you were a blade of grass or a tiny flower
I will pitch my tent in your shadow.
Only your presence revives my withered heart.
You are the candle that lights the whole world
and I am an empty vessel for your light.


Rumi - "Hidden Music" - Maryam Mafi & Azima Melita Kolin

~~

Happy the moment when we are seated in the Palace, thou and I,
With two forms and with two figures but with one soul, thou and I.
The colours of the grove and the voice of the birds will bestow immortality
At the time when we come into the garden, thou and I.
The stars of heaven will come to gaze upon us;
We shall show them the Moon itself, thou and I.
Thou and I, individuals no more, shall be mingled in ecstasy,
Joyful and secure from foolish babble, thou and I.
All the bright-plumed birds of heaven will devour their hearts with envy
In the place where we shall laugh in such a fashion, thou and I.
This is the greatest wonder, that thou and I, sitting here in the same nook,
Are at this moment both in ‘Iraq and Khorasan, thou and I.

Jelaluddin Rumi, in The Mystics of Islam, translated by Reynold A Nicholson

~~

Awakened by your love,
I flicker like a candle's light
tryin to hold on in the dark.
Yet, you spare me no blows
and keep asking,
"Why do you complain?"


Rumi - "Whispers of the Beloved" - Maryam Mafi & Azima Melita Kolin

~~

My heart tells me it is distressed with Him,
but I can only laugh at such pretended injuries.

Be fair, You who are the Glory of the just.
You, Soul, free of "we" and "I,"
subtle spirit within each man and woman.

When a man and a woman become one,
that "one" is You.
And when that one is obliterated, there You are.

Where is this "we" and this "I"?
By the side of the Beloved.
You made this "we" and this "I"
in order that you might play
this game of courtship with Yourself,
that all "you's" and "I's" might become one soul
and finally drown in the Beloved.

All this is true. Come!
You who are the Creative Word: Be
You, so far beyond description.

Is it possible for the bodily eyes to see You?
Can thought comprehend Your laughter or grief?
Tell me now, can it possibly see You at all?
Such a heart has only borrowed things to live with.

The garden of love is green without limit
and yields many fruits other than sorrow or joy.
Love is beyond either condition:
without spring, without autumn, it is always fresh.

Rumi - Mathnawi I, 1779-1794 - The Rumi Collection - Kabir Helminski