Showing posts with label angels. Show all posts
Showing posts with label angels. Show all posts

Monday, December 08, 2025

Recent NotebookLM Queries

I've uploaded 21 sources to a notebook in Gemini's NotebookLM and it is proving a valuable resource. Here are some recent queries that I've carried out for various reasons.

Can you find all occurrences of the expression involving the phrase "dust at the feet of the master" or words very similar to those.

The expression involving the phrase "dust at the feet of the master" or similar wording occurs frequently in the sources, often in the context of describing absolute humility, surrender, obedience, and the mechanism by which a Perfect Master assumes the karmic burdens (sanskaras) of disciples.

Here are the key occurrences and related explanations found in the sources:

1. Occurrences of the Phrase "Dust at the Feet of the Master" or its Variants

The sources explicitly advocate for the disciple or seeker to attain a state of humility likened to dust at the feet of the Perfect Master (or Beloved):

  • The goal is achieved by becoming effaced, meaning to become dust at the feet of the Perfect Master.
  • Spirituality means dying to one's self and becoming absolutely insignificant as dust — dust at the feet of the Perfect Master. To become as dust means to become as nothing; it means to die while continuing to live.
  • To realize God can be gained through love for God — by becoming dust at the feet of the Perfect Master.
  • If this is not possible, one should, at the least, desire to become like dust at the feet of the Beloved.
  • The substance of many songs (ghazals) expresses that to become the dust underneath the feet of the Perfect Master is the only solution to all those seeking union with the Beloved.
  • Bhau's son, Mehernath, was said to have had a specific wish, which was that he would like to become as dust at your feet; Edward Luck also said the same.
  • The spiritual goal requires one to retain human consciousness and become as stone, and then wear yourself down to dust at the feet of the Perfect Master.
  • One must become the very dust under the Master's feet to gain the experience of Oneness.
  • A true lover of God has such courage, for he has become like dust at the feet of a Perfect Master.

2. Poetic References (Hafiz and Khak Saheb)

The concept is frequently reinforced through poetry, particularly citing the Persian mystic Hafiz:

  • Hafiz advises, "If in your head there is the desire for Union with the Beloved, You must become as the dust before the door of those who discern spiritual things".
  • Hafiz also asks, "If you are mad enough, Become the dust under the feet of the Perfect Master!".
  • Another couplet translated from Hafiz suggests that a side-glance from the Master is enough to turn "this dust at your feet into gold".
  • Hafiz warns the advancing soul, “At the threshold of the Beloved beware, lest, from the height of your achievement, you fall to the lowest state of dust”.
  • The poet Khak Saheb wrote a ghazal dedicated to Meher Baba, noting: "This dust of Khak longs to see the Sun. You've turned it into the dust of Your feet and made it wine".
  • Another poetic reference advises the lover to lay down their hearts and souls on the khak [dust] trod upon by his doorkeeper.

3. Significance of the Master's Feet and the Dust Analogy

The sources provide detailed explanations regarding the spiritual meaning of the Master's feet and the collection of dust:

  • Spiritual Height and Universality: The feet, though physically the lowest part of the body, are spiritually the highest. Spiritually, the feet of a Perfect Master are above everything in the universe, which is like dust to him.
  • Sanskaras and the Burden: A Perfect Master collects sanskaras (subtle impressions of thought, emotion, and action) from all over the universe. This collection is likened to an ordinary person, in walking, collecting dust on his feet.
  • Laying Down the Burden: When people come to a Perfect Master and touch his feet with their heads, they lay the burden of their sanskaras on him. This is the burden Jesus referred to when he said, "Come unto me all ye who labor and are heavy laden, and I will give you rest".
  • The Act of Humility/Obedience: Becoming dust is stated as the best and truest example of complete obedience.
    • Dust has no thought of its own; it has no will of its own. It can be trampled upon, applied to the forehead, or suspended in the air; it is all one and the same to it.
    • Dust never complains even if we walk over it, trample upon it, or use it in any way we like.
    • Meher Baba once ordered Adi to seek another man’s pardon by touching his feet, explaining: "You should become like dust. I scolded you to turn you into dust".
  • The Result of Humility: The one who remains under my feet will rise to the zenith because their arrogance, conceit, and pride are turned into dust.

The spiritual path demands absolute submission, exemplified by Hafiz’s insistence that even in the highest state of intoxication, one's head should be on the feet of the Master. True love and obedience, like the passive, non-complaining nature of dust, lead to the highest spiritual freedom. The seemingly mundane action of the Master's feet collecting dust symbolizes the momentous spiritual work of bearing and transmuting the cosmic burden of sanskaras.

Can you find all references to Dane Rudhyar and explain his connection to Meher Baba.

Based on the sources provided, the references to Dane Rudhyar and his connection to Meher Baba are as follows:

Identity and Background Dane Rudhyar is identified in the texts as an "astrologer-author" and a Theosophist,. In late 1931, he was noted as being 36 years old.

Timeline of Connection

  • Initial Contact (1931): Rudhyar first learned of Meher Baba in Hancock, New Hampshire. He was part of a group of Theosophists (including Catharine Gardner and Max and Lillian Wardall) to whom Milo Shattuck spoke regarding Meher Baba after Shattuck returned from England.
  • First Meeting (Boston, 1931): Rudhyar met Meher Baba in person on the afternoon of 22 November 1931 at the Vendome Hotel in Boston, Massachusetts.
  • Second Meeting (Hollywood, 1932): The sources confirm that the "Rudhyars had met Baba... again in Hollywood in 1932".

Connection Through His Wife: Rudhyar's connection continued through his wife, Maliya Rudhyar. She was touring India and visited Meher Baba at Nasik on 31 March 1937. During this meeting, Baba advised her on spiritual strength, telling her: "Bravery and strength overcome all difficulties. Be firm, do not despair and keep longing. It is there in you. You are the infinite universe, but you must discover it and find that out. I will help you, always".

What connections can you find to Meher Baba and Theosophy or theosophists?

Based on the sources provided, there are numerous connections between Meher Baba and Theosophy or Theosophists, ranging from early contacts with prominent members of the society to visits to Theosophical lodges in India. Meher Baba also offered specific critiques of Theosophical concepts and leaders.

Early Contacts with Theosophists in the West

During Meher Baba's early visits to the West in the 1930s, several individuals associated with the Theosophical movement came into his contact:

  • Dane Rudhyar: An astrologer-author and Theosophist, Rudhyar learned of Meher Baba through Milo Shattuck and met Baba in Boston (1931) and Hollywood (1932) [Conversation History].
  • Max Wardall: A Theosophist and regular contributor to the Theosophical Messenger, Wardall met Meher Baba at Harmon, New York. He had previously traveled in India with Annie Besant, J. Krishnamurti, and C.W. Leadbeater,.
  • Mildred Kyle: Known as "Mother Kyle," she had been the president of her Theosophy Lodge for nearly 40 years. Upon seeing her photograph in India, Baba called her "a great soul." When she met him in New York in 1952, Baba told her, "I too am old... I am the oldest of the old. I am the Ancient One!",.
  • Professor Ernest E. Wood: A noted British Sanskrit scholar working at the Theosophical Society in Madras, Wood met Baba on a ship in 1932. Baba explained the nature of spirituality to him.
  • Others: Several other Western followers, including Harold Justin Rudd, Sam Cohen, and Ann Powell, had backgrounds in Theosophy before dedicating themselves to Meher Baba,,.

Critique of Theosophy and its Leaders

Meher Baba frequently commented on the Theosophical Society's promotion of J. Krishnamurti as the "World Teacher" and the society's occult claims:

  • J. Krishnamurti: Baba stated that the Theosophists' claim that Krishnamurti was the "New World Teacher" was "humbug," though he noted it helped clear the path for his own manifestation,. When asked about him by Max Wardall, Baba said Krishnamurti was not as advanced as some thought but would eventually come to him. Baba criticized the comfortable lifestyle of Krishnamurti (playing tennis and golf) compared to the God-realized master Ramakrishna, stating Krishnamurti did not have "the slightest idea... of the Real Truth".
  • Annie Besant: The head of the Theosophical Society. After she passed away in 1933, her daughter, Mabel Besant-Scott, met Baba in London. Baba told Mabel that her mother would be reborn as a man in India.
  • "Wire-Pullers": Baba refuted the Theosophical concept that the "World Teacher" was directed by "wire-pullers" (Masters) in the Himalayas. He stated, "You will find nothing there but dust and stones," and asserted that no real Spiritual Master requires another's body to work,.
  • Intellectual vs. Real: In later years, Baba described Theosophy and philosophy as "like good bones rotted" which serve as "food for vultures," contrasting them with the writings of living Perfect Masters which are "like brain and are as food for men". He stated that Theosophists' greatness lay in editorship and high-sounding words about planes and colors, but represented only a superficial knowledge of the shadow of Truth.

Visits to Theosophical Institutions in India

Despite his critiques, Meher Baba visited several Theosophical institutions in India, where he was received with respect:

  • Nagpur: On November 14, 1944, Baba gave darshan at the Theosophical Society in Nagpur, where the secretary read Baba's message, "The Dynamics of Love".
  • Madras (Adyar): In 1947, during a visit to Madras, Baba's disciples Minoo Kharas and Adi Dubash slept at the Theosophical Society.
  • Thapeshwaram: In 1954, Baba visited the Satchitananda Theosophical Lodge in this village, where his message was read.
  • Eluru: Baba visited the K. P. Theosophical High School in 1954, where he stated he would prefer to play with the children rather than receive garlands and puja.
  • Poona: Members of the Poona Theosophical Society visited Baba in 1947 to hear lectures about him.

Other Connections

  • Dr. Kazuteru Hitaka: A Japanese professor who met Baba in 1954, had first heard of Baba through a Dr. Muir, the head of a Theosophical group in Japan.
  • Dismissal at Harmon: During his 1931 visit to Harmon, Baba dismissed a "Theosophical friend" from the house because the man harbored distrust, which Baba said impaired his work.
What references are there to angels in the sources?


Based on the provided sources, references to angels cover their evolutionary status, their function in the universe, their relationship to the Avatar and Perfect Masters, and specific historical or metaphorical anecdotes.

Nature and Evolution of Angels

The sources define an angel as a "spark which has become separated from the flame (God)" which must eventually go through the process of reincarnation. Unlike other souls that evolve through stone, vegetable, and animal forms, an angel does not begin as an atom but "reincarnates directly as man".

Comparison with Humans:

  • Purity vs. Potential: Angels are described as "unembodied souls" and "mere automatons for the will of God" who do nothing not prompted by Him. Because they are not contaminated by physical embodiment, they are superior to man in purity; however, man is paradoxically superior in potential. By experiencing imperfections and weaknesses, man is "potentially ripe to realize his real Strength and Purity which are far above those of, and beyond the reach of, even the Archangels".
  • Necessity of Human Form: Even the evolution of angels and archangels is not an "exclusive stream." To realize God, they cannot do so by independent effort; they must incarnate as human beings to link up with the human stream of life. Despite enjoying millions of years of bliss in heaven, they must take a human form to gain the full consciousness required for liberation.
  • First Human Birth: When an angel is born as a human, it does not have to pass through the rounds of human reincarnation; it becomes God-realized in that "very first human birth".

Function and Hierarchy

Angels and fairies have a specific function in the universe: to keep the elemental forces of nature—light, heat, sound, and water—in equilibrium. Without them, the human mind's exploitation of natural forces would cause "frequent colossal disturbances" in the universe.

The sources also note that angels are subject to the "laws of cycles" and everything that happens to them is subject to the control of the Perfect Masters.

Relationship to the Avatar and Masters

The sources frequently depict angels as worshiping the Avatar and envying the unique opportunity human beings have to be in his physical presence.

  • Worship: Meher Baba stated, "From ages eternal, gods and angels have been doing my worship". He also remarked that he is "worshiped by the angels, walis, and pirs".
  • Envy of Humans: The sources describe angels weeping in envy because they cannot participate in the "river of love" or the "caravan" of the Avatar in the way humans can. When Baba was with children, it was noted that "the atmosphere... was such that even the angels envied these small children".
  • Divine Love: Baba noted that "Even angels do not have this love for God," which is why they must become human to realize Him.

Specific Archangels and Stories

Gabriel (Jibra'il):

  • With Prophets: The sources mention that the Prophet Muhammad played the role of being taught by Gabriel to set an example of humility and to "awaken the teacher in Gabriel".
  • With Hafiz: The sources recount the story of the poet Hafiz performing a forty-day penance (chilla-nashini). On the fortieth day, the archangel Gabriel appeared to him. Hafiz found Gabriel's beauty so astounding that he forgot the beauty of the human woman he desired and realized that if God's messenger was this beautiful, God must be infinitely more so. When Gabriel asked what he desired, Hafiz replied, "I want God!".
  • Metaphorical usage: Baba once emphasized his restriction on visitors by saying that no outsiders were to come to the villa for meals, "not even the archangel Gabriel!".

Metaphorical and Visionary References

  • Disciples as Angels: Baba referred to his close disciples Will and Mary Backett as his "archangels". Upon Mary's death, he cabled Will: "My Archangel Mary has come to me after fulfilling her appointed task".
  • Visions: Jean Adriel described a vision in 1931 where she saw her room filled with light and "a host of angelic beings, singing celestial music".
  • Churning of the Ocean: A reference from the Mahabharata mentions the "Suras and Asuras (good angels and bad angels)" churning the ocean to discover the water of immortality.

Can you list and detail any references to Jim Reeves in the sources?

Based on the sources provided, the references to the American singer Jim Reeves are found in Lord Meher.

The text details the following connections between Meher Baba and Jim Reeves:

  • Baba's Fondness for His Music: Meher Baba was described as being "very fond" of Jim Reeves' songs.
  • Specific Songs: Two specific songs are listed as favorites: "Welcome to My World" and "There’s A Heartache Following Me".
  • Listening Context: Baba would listen to these songs, among others, on phonograph records while he was relaxing with his mandali.
  • Future Reference regarding Francis Brabazon: On one occasion, Meher Baba mentioned that one day, someone with a voice similar to Jim Reeves would sing the ghazals written by the poet and disciple Francis Brabazon.
Can you find and detail any references to Carl Jung in the sources.


Based on the sources provided, there are several significant references to the psychiatrist Dr. Carl Jung. These range from his contact with Meher Baba's disciples to Baba's own statement regarding his desire to meet Jung.

Meher Baba’s Desire to Contact Jung According to the sources, Meher Baba once indicated a specific spiritual interest in Carl Jung. When asked by his disciple Kitty Davy if there was anyone in the West whom he had wished to contact but had been unable to, Baba replied, "Carl Jung".

Connections through Disciples Although a personal meeting between Meher Baba and Jung never occurred, several of Baba's close Western disciples had direct contact with the psychiatrist:

  • Norina Matchabelli and Quentin Tod: During their travels in Europe in late October 1932 to interest people in Baba, one of their "most notable" contacts was meeting Dr. Carl Jung in Switzerland.
  • Walter Mertens: A Swiss disciple of Baba, Walter Mertens not only knew Carl Jung but had undergone psychoanalysis with him.
  • Dr. Arvind: In 1956, during Baba’s visit to Zurich, a Dr. Arvind was present who is identified as "an Indian student of the psychiatrist Dr. Carl Jung".

Jung’s Awareness of Meher Baba Years after Baba had expressed his wish to contact him, the disciple Irene Conybeare sent Jung a copy of William Donkin’s book, The Wayfarers (which details Baba's work with the God-intoxicated). Jung replied to her, stating that "he had heard quite a bit about Meher Baba many years before".

Application of Jungian Concepts to Baba’s Work In her biography Avatar, Jean Adriel frequently utilizes Jungian terminology to interpret Meher Baba’s work, particularly regarding the "God-intoxicated" (masts) and the "Unconscious."

  • Masts and Archetypes: Adriel notes that Baba sought those unbalanced by intense longing for God, a state she describes in "Jungian terminology" as "those overwhelmed by archetypal experience".
  • The Collective Unconscious: She equates Baba's spiritual work with the "God-mad" to the "service which the Master renders all those earth children who are wandering about dazed and bewildered in the dangerous jungles of the Unconscious". She further suggests that Baba's work involves stirring the forces in the "collective Unconscious",.
  • Symbolism: Adriel also references her study of "Jungian dream analysis" when interpreting the symbolism of the "churning of the ocean," equating the butter produced to the "individualized consciousness of God which the churning of the waters of the Unconscious precipitates",.

Thursday, December 16, 2021

Across the Bridge


Figure 1: source

I was listening to Van Morrison's Across The Bridge Where Angels Dwell and was reminded of the widespread, popular images of of the scene where children are on or crossing a bridge while an angel is hovering over them". The image shown in Figure 1 is less common in that it's a photograph rather than a painting. 

The lyrics to the song go:

Across the bridge where angels dwell
Across the bridge where angels
Across the bridge where angels dwell 
 
Children play 
 
Beyond the place where time is still
Beyond the place where time is
Beyond the place where time is still 
 
Night is day 
 
Close your eyes in fields of wonder
Close your eyes and dream
Close your eyes in fields of wonder
Close your eyes and dream 
 
Along the path where heaven lies
Along the path where heaven
Along the path where heaven lies 
 
All is clear 
 
Ahead where home awaits the heart
Ahead where home is waiting
Ahead where home awaits the heart 
 
Peace is near 
 
Close your eyes in fields of wonder
Close your eyes and dream
Close your eyes in fields of wonder
Close your eyes and dream 
 
Across the bridge where angels dwell
Across the bridge where angels
Across the bridge where angels dwell 
 
Children play

Figure 2 shows another image of the scene.


Figure 2: source

I've also been playing the song on guitar and getting it sound reasonable enough. Below are the chords to accompany the lyrics.

[Verse 1]

G                         C

Across the bridge where angels dwell

G                         C

Across the bridge where angels

G                         C                    G

Across the bridge where angels dwell children play

  

[Verse 2]

G                        C

Beyond the place where time is still

G                        C

Beyond the place where time is

G                        C                      G

Beyond the place where time is still, night is day

 

[Chorus]

C           D        G         C

Close your eyes in fields of wonder

C           D        G

Close your eyes and dream

C           D        G         C

Close your eyes in fields of wonder

C           D        G

Close your eyes and dream

  

[Verse 3]

G                      C

Along the path where heaven lies

G                      C

Along the path where heaven

G                      C                  G

Along the path where heaven lies all is clear

 

[Verse 4]

G                   C

Ahead where home awaits the heart

G                     C

Ahead where home is waiting

G                   C                        G

Ahead where home awaits the heart, peace is near

  

[Chorus]

C           D        G         C

Close your eyes in fields of wonder

C           D        G

Close your eyes and dream

C           D        G         C

Close your eyes in fields of wonder

C           D        G

Close your eyes and dream

  

[Verse 5]

G                         C

Across the bridge where angels dwell

G                         C

Across the bridge where angels

G                         C                    G

Across the bridge where angels dwell children play 


Figure 3 shows a sculpture of the scene:


Figure 3: source

I discovered today that Jim Reeves has a song titled Across the Bridge with lyrics as follows:

I have lived a life of sin in this world I'm living in

I have done forbidden things I shouldn't do

I asked a beggar along the way if he could tell me where to stay

Where I could find real happiness and love that's true

Across the bridge there's no more sorrow

Across the bridge there's no more pain

The sun will shine across the river

And you'll never be unhappy again

Follow the footsteps of the King 'til you hear the voices ring

They'll be singing out the glory of the land

The river Jordan will be near, the sound of trumpet you will hear

And you'll behold the most precious place ever known to man

Across the bridge there's no more sorrow

Across the bridge there's no more pain

The sun will shine across the river

And you'll never be unhappy again

Across the bridge there's no more sorrow (Across the bridge there's no more sorrow)

Across the bridge there's no more pain (Across the bridge there's no more pain)

The sun will shine across the river

And you'll never be unhappy again...


Jim Reeves was one of the singers whose songs Meher Baba enjoyed listening to. Here are chords to the song. Although I've yet to try playing it on guitar, it doesn't look too difficult.

[Verse 1]

C

I have lived a life of sin

 

In this world I'm living in

       G7                                C

I have done forbidden things I shouldn't do

 C

I ask a beggar along the way

 

If he could tell me where to stay

              G7                                  C

Where I could find real happiness and love that's true

  

[Refrain]

C

Across the bridge there's no more sorrow

                                  G7

Across the bridge there's no more pain

             C     C7         F

The sun will shine across the river

           C        G7      C

And you'll never be unhappy again

 

[Instrumental]

C      G7      C 

 

[Verse 2]

 C

Follow the footsteps of the King

 

Till you hear the voices ring

           G7                           C

They'll be singing out the glory of the Land

 C

The river Jordan will be near

 

The sound of trumpet you will hear

           G7

And you'll behold the most precious place

              C

Ever known to man

  

[Refrain]

 C

Across the bridge there's no more sorrow

                                  G7

Across the bridge there's no more pain

             C     C7         F

The sun will shine across the river

           C        G7      C

And you'll never be unhappy again

  

[Final]

 C

Across the bridge there's no more sorrow

                                  G7

Across the bridge there's no more pain

             C     C7         F

The sun will shine across the river

           C        G7      C

And you'll never be unhappy again 

 

There is a wealth of symbolism associated with bridges:

The bridge is inherently symbolic of communication and union, whether it be between heaven and earth or two distinct realms. For this reason it can be seen as the connection between God and Man. It may be the passage to reality, or merely a symbol for travel and crossing.  Source.

Bridge, as a noun, translates to jembatan in Indonesia while bridge, as a verb, translates to menjembatani. Just as there is the question "why did the chicken cross the road?" with an accompanying answer of "to get to the other side", likewise it could be asked "why was the bridge built?" and the answer might come back "to get to the other side" (of the river, gorge or whatever). In other words a bridge can be quite mundane and yet sometimes quite beautiful. Figure 4 shows a pedestrian (in both senses of the word), simple and (to my mind at least) beautiful bridge.


Figure 4


Of course, both Van Morrison and Jim Reeves are singing about non-physical bridges linking two different planes of consciousness or areas of experience. There are seven planes of consciousness beyond the gross consciousness of the physical realm and, to enter each one and cross the bridge so to speak, the help of a higher consciousness is required. As the seventh plane is the level of God-consciousness, only a Perfect Master or God-realised being can help someone to cross that final bridge and enter the seventh, and ultimate, heaven.

Baba further explained the significance of the number seven:

 


The evolution of creation has seven stages. There are seven planes and seven types of desires. All these sevens should be eradicated once and for all.

However, the number seven is significant. There are seven types of sanskaras, seven types of colors, seven types of flights of imagination and seven types of sounds. The reason all these have seven variations is that in the beginning of creation – with the start of the original whim in the Beyond, Beyond state of God – there was a clash between Matter (Akash) and Energy (Pran), and Energy’s powers were divided into seven forces.

The original sound coming out of the Creation, or Om Point, also turns into seven sounds. This higher music of the mental and subtle planes is indescribably sweet. Even if you listened to it for twenty-four hours without a break, you would not tire of it. It is enrapturing; one absolutely drowns in its melody. But remember that in the mental and subtle sphere, the sweetness of this music’s sounds are only shadows of the Original Sound.

In the gross world, the shadow of this melody is again divided into seven parts; only expert singers can express these tones and octaves. Sound is created by contact between two things. When you speak, your voice passes through seven veils; but you do not notice this because the sound comes so quickly. Your physique, a by-product of your sanskaras, determines whether your voice is sweet or harsh.

Everything is made up of seven: seven sub-divisions of the first subtle plane (the astral), seven stages of evolution, seven planes and seven heavens in involution. 

Source.