There's More Than Meets the Eye - Removing the Veil of Misconception
Master magicians when performing illusions, often use misdirection to focus the observer’s attention away from the real mechanics used to execute the illusions.
Aside from being misdirected by professionals preying on our simplistic acceptance of what appears to be true, we may be misdirected by our own mechanical vision of who and what we think we are, due to lack of spiritual vision.
We mostly define ourselves as our bodies, and how our body is related to other bodies. We usually let the body’s gender, family, friends, job, social position, politics and nationality, define a huge part of who we think we are, independent of the role that our life-giving spirit plays.
We may go through the stages of being children, parents, lovers, haters, workers, non-workers, believers, non-believers, party members, non-party members, in-crowders or outcasts, but our intelligence is misdirected if we identify solely with such circumstantial designations.
Aside from being misdirected by professionals preying on our simplistic acceptance of what appears to be true, we may be misdirected by our own mechanical vision of who and what we think we are, due to lack of spiritual vision.
We mostly define ourselves as our bodies, and how our body is related to other bodies. We usually let the body’s gender, family, friends, job, social position, politics and nationality, define a huge part of who we think we are, independent of the role that our life-giving spirit plays.
We may go through the stages of being children, parents, lovers, haters, workers, non-workers, believers, non-believers, party members, non-party members, in-crowders or outcasts, but our intelligence is misdirected if we identify solely with such circumstantial designations.
As we play those roles related to our bodies, our changing assignments are usually so absorbing that we forget we have a spiritual identity, independent of our temporary material mask.
To paraphrase William Shakespeare, all world is a stage and we are merely players - but we are mostly all lost in our own bodily parts, so to speak. All parts do have purpose however, which realize full potential when mindfully dedicated to the service of the Supreme Spirit.
Ancient wisdom reminds us there is a great Source of everlasting love and joy to experience; from a Source sitting as close as our own hearts. The Supreme Spirit is waiting for us to open up to the vast spiritual potential always on offer from both within and without.
That spiritual presence and magic once revealed, signals the death-defying end of good and bad mundane earthly drama, replacing it with a backstage pass to an all-good spiritual reality, as manifested from the Lord within.
To paraphrase William Shakespeare, all world is a stage and we are merely players - but we are mostly all lost in our own bodily parts, so to speak. All parts do have purpose however, which realize full potential when mindfully dedicated to the service of the Supreme Spirit.
Ancient wisdom reminds us there is a great Source of everlasting love and joy to experience; from a Source sitting as close as our own hearts. The Supreme Spirit is waiting for us to open up to the vast spiritual potential always on offer from both within and without.
That spiritual presence and magic once revealed, signals the death-defying end of good and bad mundane earthly drama, replacing it with a backstage pass to an all-good spiritual reality, as manifested from the Lord within.
Nora Jones covers Behind That Locked Door
"Why are you still crying? Your pain is now through
Please forget those teardrops, Let me take them from you
The love you are blessed with, This world's waiting for
So let out your heart, please, please, From behind that locked door..
"Why are you still crying? Your pain is now through
Please forget those teardrops, Let me take them from you
The love you are blessed with, This world's waiting for
So let out your heart, please, please, From behind that locked door..
| A man's house is his castle. That's one viewpoint. | BG 5.13: When the embodied living being controls his nature and mentally renounces all actions*, he resides happily in the city of nine gates [the material body], neither working nor causing work to be done. More.. (Actions here mean selfish karma-bearing actions; spiritual actions are not (karmic) work |
All spiritual faiths agree we are spiritual beings that live beyond the inevitable destruction of our mortal coils. We will move on to a future existence according to what we desire and deserve.
The key to not being fooled by the magical props on our present material stage, is to act in spiritual knowledge, knowing service to the Supreme along with all creation is a fountain of spiritual joy.
With our spiritual ego defining our true roles as active players in a symphony of spiritual love and service, our previously self-centered performances soon transform into spiritual, love-sustaining activities, performed daily.
By opening the heart to loving and serving God and His creation, we can re-route our misdirected love from matter to spirit - to serving spiritual truth and God as the Source of truth. We just need to unlock the door of our castle to feel the incoming and outgoing breezes of the Supreme's Lord's presence.
The key to not being fooled by the magical props on our present material stage, is to act in spiritual knowledge, knowing service to the Supreme along with all creation is a fountain of spiritual joy.
With our spiritual ego defining our true roles as active players in a symphony of spiritual love and service, our previously self-centered performances soon transform into spiritual, love-sustaining activities, performed daily.
By opening the heart to loving and serving God and His creation, we can re-route our misdirected love from matter to spirit - to serving spiritual truth and God as the Source of truth. We just need to unlock the door of our castle to feel the incoming and outgoing breezes of the Supreme's Lord's presence.
William Shakespeare - All the world's a stage (from As You Like It 2/7)
All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms.
And then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper'd pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well saved, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms.
And then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper'd pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well saved, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
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