Volume 9, Issue 1, page 9



THE PRELIMINARY requirement for this
lesson is to be able to handle effort
and tension within the body. Before
you take up the new material, you
ought tobe able to be just as tight
as a drum all over, completely
tensed; sit down in a chair and unwind almost immediately; lie there
flat like a wet dishrag, completely
relaxed, for a couple of minutes ;
and then come bouncing out of the chair,
ready to go out and do almost anything.

By this time you should have spent some time
observing effort in yourself, and you can probably see it in other persons. Some of you I
know can. If you can't, don't worry too much
about it. The best form of cummunication is not
in either the effort or the emotion band, but
much higher than that. So don't work too hard
at sending or receiving this stuff yet. We will
give you some games to play on that after
awhile. Stay on success in these games. If a
thing is too difficult, if you cannot do it and
run into consistent failure, back off from it.

Now we are going to work on emotions. These
are not what you have been taught to think of
as emotions up until now. You are still learning the new language and drilling it into the
subconscious mind, and this is a new definition.

Emotion is just above effort in the gradient
scale, and just below conscious thought. In
most cases it is the force which drives the
signal in telepathy and communication, so the
control of emotion is important in transmitting; also, in order to sense other people's
emotions, you have to be able to shut down
your own transmitter not only in the effort
band, but also in the emotion band.

In yoga the pairs of diametrically contrasted emotions are called "the opposites".
In the framework of these lessons they are
called (similarly) "the dichotomies," and they
are as follows:

Survive Succumb
Start Stop
To be Not to be
Win Lose
Imagination Truth
Always Never
In the future In the past
Right Wrong
Stay Escape
Reason Emotion
Effort Apathy
Sane Unsane
I know I don't know
Affinity ("I like you") No affinity ("I don't like you")
Communication ("I understand you; I am in communication with you.") No communication ("I don't understand you; I am out of communication.")
Agreement Disagrement
Change No change
I am (I exist) I don't exist (I am not here)
Faith (trust) Distrust
I believe I don't believe
Everyone (being everyone) No one (being nobody)
Ownership Owning nothing
Responsibility No responsibility
Beauty Ugliness
Acceptance Rejection
Sympathy No sympathy
Mine Not mine

(NOTE: We will give another definition of
Responsibility when your perception goes
up, but for the present, use "I did it" and
"I didn't do it", or "I caused it", etc.)

The list is not complete, but these are the
major ones and the most important.

You will work with these in pairs. Feel
first one (for instance, get the feeling, the
emotion, "I survive") and then the other one
("I succumb"). Feel each one quite strongly;
turn it on and get a good amplitude. Work first
for strength, to get the feel of the emotion
good and strong; then get a good strong change
in feeling the opposite. The emotions and the
change should be powerful enough to be felt in
the body and be reflected in the face and in
the tensions of the body, strong enough to be
actually classified as an effort. When the
emotions can be felt alternately and powerfully, the change should be speeded up until
it can be made at the snap of a finger, back
and forth.

You should if possible work as a team on
this. I hope you will if you can. One person
serves as an observer or drillmaster, taking
the list of emotions and calling them off as
the other, the subject, runs them. This method
is much more effective. The observer keeps the
subject busy; he prevents digressions and
pushes his partner gently along (tho never too
hard), working first for strong change and
watching for it, then for speed and helping to
maintain it. He may be able to sense in detail
the emotion the subject is feeling and to amplify it, tho this is not important. Do not
work for it.

If you have no one to work with, the technique of running the emotions will still be

(continued on page 10)