classes ::: verb, noun,
children :::
branches ::: music playlists, Play, playful, plays, Playstation, the Playground
see also :::

Instances - Definitions - Quotes - Chapters - Wordnet - Webgen


object:Play
word class:verb
word class:noun


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OBJECT INSTANCES [2] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
Euripedes
Lila

AUTH
Algernon_Charles_Swinburne
William_Shakespeare

BOOKS
18000_books_ranked
Advanced_Dungeons_and_Dragons_2E
A_Treatise_on_Cosmic_Fire
Awaken_the_Giant_Within
Big_Mind,_Big_Heart
City_of_God
DND_DM_Guide_5E
DND_PH_5E
Evolution_II
Faust
Flow_-_The_Psychology_of_Optimal_Experience
Full_Circle
General_Principles_of_Kabbalah
Heart_of_Matter
Infinite_Library
Letters_On_Yoga
Letters_On_Yoga_I
Liber_157_-_The_Tao_Teh_King
Life_without_Death
Meditation__The_First_and_Last_Freedom
Modern_Man_in_Search_of_a_Soul
My_Burning_Heart
On_Thoughts_And_Aphorisms
Plotinus_-_Complete_Works_Vol_01
Plotinus_-_Complete_Works_Vol_02
Plotinus_-_Complete_Works_Vol_03
Plotinus_-_Complete_Works_Vol_04
Process_and_Reality
Questions_And_Answers_1950-1951
Questions_And_Answers_1953
Questions_And_Answers_1954
Questions_And_Answers_1955
Questions_And_Answers_1957-1958
Ready_Player_One
Savitri
Spiral_Dynamics
The_Act_of_Creation
The_Book_of_Secrets__Keys_to_Love_and_Meditation
The_Divine_Milieu
The_Heros_Journey
The_Imitation_of_Christ
The_Odyssey
The_Republic
The_Secret_Doctrine
the_Stack
The_Study_and_Practice_of_Yoga
The_Wit_and_Wisdom_of_Alfred_North_Whitehead
The_Yoga_Sutras
Thought_Power
Toward_the_Future
Twilight_of_the_Idols

IN CHAPTERS TITLE
1950-12-25_-_Christmas_-_festival_of_Light_-_Energy_and_mental_growth_-_Meditation_and_concentration_-_The_Mother_of_Dreams_-_Playing_a_game_well,_and_energy
1951-05-14_-_Chance_-_the_play_of_forces_-_Peace,_given_and_lost_-_Abolishing_the_ego
1954-08-04_-_Servant_and_worker_-_Justification_of_weakness_-_Play_of_the_Divine_-_Why_are_you_here_in_the_Ashram?
1957-01-09_-_God_is_essentially_Delight_-_God_and_Nature_play_at_hide-and-seek_-__Why,_and_when,_are_you_grave?
1.bs_-_What_a_carefree_game_He_plays!
1.dd_-_The_Creator_Plays_His_Cosmic_Instrument_In_Perfect_Harmony
1.fs_-_The_Playing_Infant
1.jk_-_On_Hearing_The_Bag-Pipe_And_Seeing_The_Stranger_Played_At_Inverary
1.jwvg_-_Playing_At_Priests
1.lla_-_Playfully,_you_hid_from_me
1.nmdv_-_Laughing_and_playing,_I_came_to_Your_Temple,_O_Lord
1.okym_-_71_-_And_much_as_Wine_has_playd_the_Infidel
1.rt_-_Playthings
1.rt_-_We_Are_To_Play_The_Game_Of_Death
1.rt_-_Your_flute_plays_the_exact_notes_of_my_pain._(from_The_Lover_of_God)
1.wby_-_A_Song_From_The_Player_Queen
1.wby_-_On_Those_That_Hated_The_Playboy_Of_The_Western_World,_1907
1.wby_-_The_Attack_On_the_Playboy_Of_The_Western_World,_1907
1.wby_-_The_Players_Ask_For_A_Blessing_On_The_Psalteries_And_On_Themselves
1.wby_-_Two_Songs_From_A_Play
20.04_-_Act_II:_The_Play_on_Earth
29.04_-_Mothers_Playground
33.14_-_I_Played_Football

IN CHAPTERS CLASSNAME
3.02_-_The_Great_Secret

IN CHAPTERS TEXT
00.01_-_The_Approach_to_Mysticism
00.02_-_Mystic_Symbolism
00.03_-_Upanishadic_Symbolism
00.04_-_The_Beautiful_in_the_Upanishads
0.00_-_Introduction
0.01_-_Introduction
0.01_-_Letters_from_the_Mother_to_Her_Son
0.02_-_Letters_to_a_Sadhak
0.02_-_The_Three_Steps_of_Nature
0.02_-_Topographical_Note
0.03_-_III_-_The_Evening_Sittings
0.03_-_Letters_to_My_little_smile
0.04_-_Letters_to_a_Sadhak
0.04_-_The_Systems_of_Yoga
0.05_-_Letters_to_a_Child
0.05_-_The_Synthesis_of_the_Systems
0.06_-_Letters_to_a_Young_Sadhak
0.07_-_Letters_to_a_Sadhak
0.08_-_Letters_to_a_Young_Captain
01.01_-_A_Yoga_of_the_Art_of_Life
01.01_-_The_New_Humanity
01.02_-_Natures_Own_Yoga
01.02_-_Sri_Aurobindo_-_Ahana_and_Other_Poems
01.02_-_The_Issue
01.03_-_Mystic_Poetry
01.03_-_Sri_Aurobindo_and_his_School
01.03_-_The_Yoga_of_the_King__The_Yoga_of_the_Souls_Release
01.03_-_Yoga_and_the_Ordinary_Life
01.04_-_Sri_Aurobindos_Gita
01.04_-_The_Poetry_in_the_Making
01.04_-_The_Secret_Knowledge
01.05_-_Rabindranath_Tagore:_A_Great_Poet,_a_Great_Man
01.06_-_On_Communism
01.07_-_Blaise_Pascal_(1623-1662)
01.07_-_The_Bases_of_Social_Reconstruction
01.08_-_A_Theory_of_Yoga
0.10_-_Letters_to_a_Young_Captain
01.12_-_Goethe
0.11_-_Letters_to_a_Sadhak
0.12_-_Letters_to_a_Student
02.01_-_A_Vedic_Story
02.01_-_The_World-Stair
02.01_-_The_World_War
02.02_-_Lines_of_the_Descent_of_Consciousness
02.02_-_Rishi_Dirghatama
02.02_-_The_Kingdom_of_Subtle_Matter
02.03_-_An_Aspect_of_Emergent_Evolution
02.03_-_The_Glory_and_the_Fall_of_Life
02.04_-_The_Kingdoms_of_the_Little_Life
02.05_-_Robert_Graves
02.05_-_The_Godheads_of_the_Little_Life
02.06_-_The_Kingdoms_and_Godheads_of_the_Greater_Life
02.07_-_George_Seftris
02.07_-_The_Descent_into_Night
02.09_-_The_Paradise_of_the_Life-Gods
02.09_-_Two_Mystic_Poems_in_Modern_French
02.10_-_The_Kingdoms_and_Godheads_of_the_Little_Mind
02.10_-_Two_Mystic_Poems_in_Modern_Bengali
02.11_-_Hymn_to_Darkness
02.11_-_The_Kingdoms_and_Godheads_of_the_Greater_Mind
02.12_-_Mysticism_in_Bengali_Poetry
02.12_-_The_Ideals_of_Human_Unity
02.13_-_In_the_Self_of_Mind
02.13_-_On_Social_Reconstruction
02.14_-_Appendix
02.14_-_Panacea_of_Isms
02.15_-_The_Kingdoms_of_the_Greater_Knowledge
03.01_-_Humanism_and_Humanism
03.01_-_The_Malady_of_the_Century
03.01_-_The_New_Year_Initiation
03.02_-_The_Adoration_of_the_Divine_Mother
03.02_-_The_Gradations_of_Consciousness__The_Gradation_of_Planes
03.03_-_Arjuna_or_the_Ideal_Disciple
03.03_-_A_Stainless_Steel_Frame
03.03_-_The_House_of_the_Spirit_and_the_New_Creation
03.04_-_The_Body_Human
03.04_-_Towardsa_New_Ideology
03.05_-_Some_Conceptions_and_Misconceptions
03.05_-_The_Spiritual_Genius_of_India
03.06_-_Divine_Humanism
03.07_-_Brahmacharya
03.07_-_Some_Thoughts_on_the_Unthinkable
03.08_-_The_Spiritual_Outlook
03.08_-_The_Standpoint_of_Indian_Art
03.09_-_Sectarianism_or_Loyalty
03.10_-_Hamlet:_A_Crisis_of_the_Evolving_Soul
03.10_-_The_Mission_of_Buddhism
03.11_-_Modernist_Poetry
03.11_-_The_Language_Problem_and_India
03.12_-_TagorePoet_and_Seer
03.13_-_Dynamic_Fatalism
03.14_-_Mater_Dolorosa
03.15_-_Origin_and_Nature_of_Suffering
03.16_-_The_Tragic_Spirit_in_Nature
04.01_-_The_March_of_Civilisation
04.02_-_A_Chapter_of_Human_Evolution
04.02_-_Human_Progress
04.02_-_The_Growth_of_the_Flame
04.02_-_To_the_Heights_II
04.03_-_Consciousness_as_Energy
04.03_-_The_Call_to_the_Quest
04.04_-_A_Global_Humanity
04.04_-_Evolution_of_the_Spiritual_Consciousness
04.05_-_The_Immortal_Nation
04.06_-_Evolution_of_the_Spiritual_Consciousness
04.09_-_Values_Higher_and_Lower
04.27_-_To_the_Heights-XXVII
05.01_-_At_the_Origin_of_Ignorance
05.01_-_Man_and_the_Gods
05.01_-_The_Destined_Meeting-Place
05.02_-_Gods_Labour
05.02_-_Satyavan
05.04_-_The_Immortal_Person
05.05_-_In_Quest_of_Reality
05.07_-_Man_and_Superman
05.09_-_Varieties_of_Religious_Experience
05.11_-_The_Soul_of_a_Nation
05.12_-_The_Soul_and_its_Journey
05.14_-_The_Sanctity_of_the_Individual
05.15_-_Sartrian_Freedom
05.23_-_The_Base_of_Sincerity
05.25_-_Sweet_Adversity
05.26_-_The_Soul_in_Anguish
05.27_-_The_Nature_of_Perfection
05.31_-_Divine_Intervention
05.32_-_Yoga_as_Pragmatic_Power
05.33_-_Caesar_versus_the_Divine
06.01_-_The_Word_of_Fate
06.05_-_The_Story_of_Creation
06.11_-_The_Steps_of_the_Soul
06.12_-_The_Expanding_Body-Consciousness
06.17_-_Directed_Change
06.22_-_I_Have_Nothing,_I_Am_Nothing
06.25_-_Individual_and_Collective_Soul
06.35_-_Second_Sight
06.36_-_The_Mother_on_Herself
07.02_-_The_Parable_of_the_Search_for_the_Soul
07.03_-_The_Entry_into_the_Inner_Countries
07.03_-_This_Expanding_Universe
07.04_-_The_Triple_Soul-Forces
07.05_-_The_Finding_of_the_Soul
07.06_-_Nirvana_and_the_Discovery_of_the_All-Negating_Absolute
07.07_-_Freedom_and_Destiny
07.10_-_Diseases_and_Accidents
07.19_-_Bad_Thought-Formation
07.22_-_Mysticism_and_Occultism
07.34_-_And_this_Agile_Reason
07.36_-_The_Body_and_the_Psychic
07.37_-_The_Psychic_Being,_Some_Mysteries
07.40_-_Service_Human_and_Divine
07.43_-_Music_Its_Origin_and_Nature
07.44_-_Music_Indian_and_European
07.45_-_Specialisation
08.01_-_Choosing_To_Do_Yoga
08.02_-_Order_and_Discipline
08.03_-_Death_in_the_Forest
08.05_-_Will_and_Desire
08.14_-_Poetry_and_Poetic_Inspiration
09.02_-_The_Journey_in_Eternal_Night_and_the_Voice_of_the_Darkness
09.05_-_The_Story_of_Love
09.06_-_How_Can_Time_Be_a_Friend?
09.11_-_The_Supramental_Manifestation_and_World_Change
09.13_-_On_Teachers_and_Teaching
10.01_-_A_Dream
10.01_-_Cycles_of_Creation
10.02_-_The_Gospel_of_Death_and_Vanity_of_the_Ideal
10.03_-_Life_in_and_Through_Death
10.03_-_The_Debate_of_Love_and_Death
10.04_-_Lord_of_Time
10.04_-_The_Dream_Twilight_of_the_Earthly_Real
10.04_-_Transfiguration
10.08_-_Consciousness_as_Freedom
1.008_-_The_Principle_of_Self-Affirmation
1.00b_-_DIVISION_B_-_THE_PERSONALITY_RAY_AND_FIRE_BY_FRICTION
1.00b_-_INTRODUCTION
1.00c_-_DIVISION_C_-_THE_ETHERIC_BODY_AND_PRANA
1.00d_-_DIVISION_D_-_KUNDALINI_AND_THE_SPINE
1.00d_-_Introduction
1.00e_-_DIVISION_E_-_MOTION_ON_THE_PHYSICAL_AND_ASTRAL_PLANES
1.00f_-_DIVISION_F_-_THE_LAW_OF_ECONOMY
1.00_-_Gospel
1.00_-_Gospel_Preface
1.00h_-_Foreword
1.00_-_INTRODUCTORY_REMARKS
1.00_-_Main
1.00_-_PREFACE_-_DESCENSUS_AD_INFERNOS
1.00_-_PRELUDE_AT_THE_THEATRE
10.10_-_A_Poem
1.012_-_Sublimation_-_A_Way_to_Reshuffle_Thought
1.013_-_Defence_Mechanisms_of_the_Mind
1.01_-_Adam_Kadmon_and_the_Evolution
1.01_-_An_Accomplished_Westerner
1.01_-_Archetypes_of_the_Collective_Unconscious
1.01_-_BOOK_THE_FIRST
1.01_-_Economy
1.01_-_Fundamental_Considerations
1.01_-_Introduction
1.01_-_MAPS_OF_EXPERIENCE_-_OBJECT_AND_MEANING
1.01_-_MAXIMS_AND_MISSILES
1.01_-_Meeting_the_Master_-_Authors_first_meeting,_December_1918
1.01_-_Necessity_for_knowledge_of_the_whole_human_being_for_a_genuine_education.
1.01_-_NIGHT
1.01_-_Our_Demand_and_Need_from_the_Gita
1.01_-_Principles_of_Practical_Psycho_therapy
1.01_-_SAMADHI_PADA
1.01_-_Tara_the_Divine
1.01_-_THAT_ARE_THOU
1.01_-_the_Call_to_Adventure
1.01_-_The_Castle
1.01_-_The_Cycle_of_Society
1.01_-_The_Divine_and_The_Universe
1.01_-_The_Ego
1.01_-_The_Highest_Meaning_of_the_Holy_Truths
1.01_-_The_Human_Aspiration
1.01_-_The_King_of_the_Wood
1.01_-_The_Mental_Fortress
1.01_-_The_Rape_of_the_Lock
1.01_-_THE_STUFF_OF_THE_UNIVERSE
1.01_-_What_is_Magick?
1.020_-_The_World_and_Our_World
1.02.1_-_The_Inhabiting_Godhead__Life_and_Action
1.02.2.1_-_Brahman__Oneness_of_God_and_the_World
1.02.2.2_-_Self-Realisation
10.22_-_Short_Notes_-_5-_Consciousness_and_Dimensions_of_View
1.02.3.1_-_The_Lord
1.02.3.2_-_Knowledge_and_Ignorance
1.02.3.3_-_Birth_and_Non-Birth
10.23_-_Prayers_and_Meditations_of_the_Mother
10.24_-_Savitri
1.028_-_Bringing_About_Whole-Souled_Dedication
10.28_-_Love_and_Love
1.02.9_-_Conclusion_and_Summary
1.02_-_BEFORE_THE_CITY-GATE
1.02_-_BOOK_THE_SECOND
1.02_-_MAPS_OF_MEANING_-_THREE_LEVELS_OF_ANALYSIS
1.02_-_Meditating_on_Tara
1.02_-_Prana
1.02_-_Priestly_Kings
1.02_-_SADHANA_PADA
1.02_-_Self-Consecration
1.02_-_Skillful_Means
1.02_-_Taras_Tantra
1.02_-_The_7_Habits__An_Overview
1.02_-_The_Age_of_Individualism_and_Reason
1.02_-_The_Child_as_growing_being_and_the_childs_experience_of_encountering_the_teacher.
1.02_-_The_Concept_of_the_Collective_Unconscious
1.02_-_The_Development_of_Sri_Aurobindos_Thought
1.02_-_The_Eternal_Law
1.02_-_The_Magic_Circle
1.02_-_THE_NATURE_OF_THE_GROUND
1.02_-_The_Necessity_of_Magick_for_All
1.02_-_The_Objects_of_Imitation.
1.02_-_The_Philosophy_of_Ishvara
1.02_-_THE_PROBLEM_OF_SOCRATES
1.02_-_The_Recovery
1.02_-_The_Shadow
1.02_-_The_Three_European_Worlds
1.02_-_The_Two_Negations_1_-_The_Materialist_Denial
1.02_-_THE_WITHIN_OF_THINGS
1.02_-_What_is_Psycho_therapy?
1.02_-_Where_I_Lived,_and_What_I_Lived_For
10.31_-_The_Mystery_of_The_Five_Senses
10.32_-_The_Mystery_of_the_Five_Elements
10.33_-_On_Discipline
10.35_-_The_Moral_and_the_Spiritual
1.037_-_Preventing_the_Fall_in_Yoga
10.37_-_The_Golden_Bridge
1.03_-_A_Parable
1.03_-_APPRENTICESHIP_AND_ENCULTURATION_-_ADOPTION_OF_A_SHARED_MAP
1.03_-_A_Sapphire_Tale
1.03_-_BOOK_THE_THIRD
1.03_-_Concerning_the_Archetypes,_with_Special_Reference_to_the_Anima_Concept
1.03_-_Eternal_Presence
1.03_-_Hymns_of_Gritsamada
1.03_-_Invocation_of_Tara
1.03_-_Preparing_for_the_Miraculous
1.03_-_Self-Surrender_in_Works_-_The_Way_of_The_Gita
1.03_-_Spiritual_Realisation,_The_aim_of_Bhakti-Yoga
1.03_-_Supernatural_Aid
1.03_-_Sympathetic_Magic
1.03_-_The_End_of_the_Intellect
1.03_-_The_Gods,_Superior_Beings_and_Adverse_Forces
1.03_-_THE_GRAND_OPTION
1.03_-_THE_ORPHAN,_THE_WIDOW,_AND_THE_MOON
1.03_-_The_Phenomenon_of_Man
1.03_-_The_Sephiros
1.03_-_THE_STUDY_(The_Exorcism)
1.03_-_The_Syzygy_-_Anima_and_Animus
1.03_-_To_Layman_Ishii
1.04_-_ALCHEMY_AND_MANICHAEISM
1.04_-_BOOK_THE_FOURTH
1.04_-_Descent_into_Future_Hell
1.04_-_GOD_IN_THE_WORLD
1.04_-_Magic_and_Religion
1.04_-_Money
1.04_-_Of_other_imperfections_which_these_beginners_are_apt_to_have_with_respect_to_the_third_sin,_which_is_luxury.
1.04_-_On_blessed_and_ever-memorable_obedience
1.04_-_Pratyahara
1.04_-_Religion_and_Occultism
1.04_-_SOME_REFLECTIONS_ON_PROGRESS
1.04_-_Te_Shan_Carrying_His_Bundle
1.04_-_The_Aims_of_Psycho_therapy
1.04_-_THE_APPEARANCE_OF_ANOMALY_-_CHALLENGE_TO_THE_SHARED_MAP
1.04_-_The_Core_of_the_Teaching
1.04_-_The_Crossing_of_the_First_Threshold
1.04_-_The_Discovery_of_the_Nation-Soul
1.04_-_The_Divine_Mother_-_This_Is_She
1.04_-_The_Future_of_Man
1.04_-_The_Gods_of_the_Veda
1.04_-_The_Need_of_Guru
1.04_-_The_Sacrifice_the_Triune_Path_and_the_Lord_of_the_Sacrifice
1.04_-_The_Self
1.04_-_The_Silent_Mind
1.04_-_THE_STUDY_(The_Compact)
1.04_-_What_Arjuna_Saw_-_the_Dark_Side_of_the_Force
1.05_-_2010_and_1956_-_Doomsday?
1.053_-_A_Very_Important_Sadhana
1.05_-_Adam_Kadmon
1.05_-_AUERBACHS_CELLAR
1.05_-_BOOK_THE_FIFTH
1.05_-_Buddhism_and_Women
1.05_-_Christ,_A_Symbol_of_the_Self
1.05_-_Dharana
1.05_-_Hsueh_Feng's_Grain_of_Rice
1.05_-_Of_the_imperfections_into_which_beginners_fall_with_respect_to_the_sin_of_wrath
1.05_-_Pratyahara_and_Dharana
1.05_-_Problems_of_Modern_Psycho_therapy
1.05_-_Qualifications_of_the_Aspirant_and_the_Teacher
1.05_-_Solitude
1.05_-_Some_Results_of_Initiation
1.05_-_The_Activation_of_Human_Energy
1.05_-_The_Ascent_of_the_Sacrifice_-_The_Psychic_Being
1.05_-_The_Creative_Principle
1.05_-_The_Destiny_of_the_Individual
1.05_-_THE_HOSTILE_BROTHERS_-_ARCHETYPES_OF_RESPONSE_TO_THE_UNKNOWN
1.05_-_The_Magical_Control_of_the_Weather
1.05_-_The_New_Consciousness
1.05_-_THE_NEW_SPIRIT
1.05_-_The_True_Doer_of_Works
1.05_-_The_Universe__The_0_=_2_Equation
1.05_-_War_And_Politics
1.05_-_Yoga_and_Hypnotism
1.06_-_Agni_and_the_Truth
1.06_-_BOOK_THE_SIXTH
1.06_-_Confutation_Of_Other_Philosophers
1.06_-_Definition_of_Tragedy.
1.06_-_Dhyana_and_Samadhi
1.06_-_Five_Dreams
1.06_-_Iconography
1.06_-_LIFE_AND_THE_PLANETS
1.06_-_PIG_AND_PEPPER
1.06_-_Quieting_the_Vital
1.06_-_The_Ascent_of_the_Sacrifice_2_The_Works_of_Love_-_The_Works_of_Life
1.06_-_The_Breaking_of_the_Limits
1.06_-_THE_FOUR_GREAT_ERRORS
1.06_-_The_Four_Powers_of_the_Mother
1.06_-_The_Light
1.06_-_The_Objective_and_Subjective_Views_of_Life
1.06_-_The_Sign_of_the_Fishes
1.06_-_The_Third_Circle__The_Gluttonous._Cerberus._The_Eternal_Rain._Ciacco._Florence.
1.06_-_Wealth_and_Government
1.06_-_WITCHES_KITCHEN
1.07_-_A_Song_of_Longing_for_Tara,_the_Infallible
1.07_-_BOOK_THE_SEVENTH
1.07_-_Bridge_across_the_Afterlife
1.07_-_On_Dreams
1.07_-_On_mourning_which_causes_joy.
1.07_-_ON_READING_AND_WRITING
1.07_-_Standards_of_Conduct_and_Spiritual_Freedom
1.07_-_The_Continuity_of_Consciousness
1.07_-_The_Ego_and_the_Dualities
1.07_-_The_Farther_Reaches_of_Human_Nature
1.07_-_THE_GREAT_EVENT_FORESHADOWED_-_THE_PLANETIZATION_OF_MANKIND
1.07_-_The_Magic_Wand
1.07_-_The_Primary_Data_of_Being
1.07_-_The_Process_of_Evolution
1.07_-_The_Psychic_Center
1.07_-_TRUTH
1.08a_-_The_Ladder
1.08_-_Attendants
1.08_-_BOOK_THE_EIGHTH
1.08_-_Civilisation_and_Barbarism
1.08_-_EVENING_A_SMALL,_NEATLY_KEPT_CHAMBER
1.08_-_Independence_from_the_Physical
1.08_-_Psycho_therapy_Today
1.08_-_RELIGION_AND_TEMPERAMENT
1.08_-_SOME_REFLECTIONS_ON_THE_SPIRITUAL_REPERCUSSIONS_OF_THE_ATOM_BOMB
1.08_-_Sri_Aurobindos_Descent_into_Death
1.08_-_Stead_and_the_Spirits
1.08_-_The_Depths_of_the_Divine
1.08_-_The_Four_Austerities_and_the_Four_Liberations
1.08_-_The_Gods_of_the_Veda_-_The_Secret_of_the_Veda
1.08_-_The_Historical_Significance_of_the_Fish
1.08_-_The_Magic_Sword,_Dagger_and_Trident
1.08_-_The_Methods_of_Vedantic_Knowledge
1.08_-_THE_QUEEN'S_CROQUET_GROUND
1.08_-_The_Splitting_of_the_Human_Personality_during_Spiritual_Training
1.08_-_The_Supreme_Will
1.08_-_The_Three_Schools_of_Magick_3
1.094_-_Understanding_the_Structure_of_Things
1.099_-_The_Entry_of_the_Eternal_into_the_Individual
1.09_-_BOOK_THE_NINTH
1.09_-_Civilisation_and_Culture
1.09_-_Concentration_-_Its_Spiritual_Uses
1.09_-_Equality_and_the_Annihilation_of_Ego
1.09_-_Fundamental_Questions_of_Psycho_therapy
1.09_-_(Plot_continued.)_Dramatic_Unity.
1.09_-_PROMENADE
1.09_-_Saraswati_and_Her_Consorts
1.09_-_SKIRMISHES_IN_A_WAY_WITH_THE_AGE
1.09_-_Sleep_and_Death
1.09_-_Sri_Aurobindo_and_the_Big_Bang
1.09_-_Talks
1.09_-_Taras_Ultimate_Nature
1.09_-_The_Absolute_Manifestation
1.09_-_The_Chosen_Ideal
1.09_-_The_Greater_Self
1.09_-_The_Secret_Chiefs
1.09_-_The_Worship_of_Trees
1.09_-_To_the_Students,_Young_and_Old
11.01_-_The_Eternal_Day__The_Souls_Choice_and_the_Supreme_Consummation
1.1.03_-_Brahman
1.1.04_-_Philosophy
1.1.04_-_The_Self_or_Atman
11.07_-_The_Labours_of_the_Gods:_The_five_Purifications
1.10_-_Aesthetic_and_Ethical_Culture
1.10_-_BOOK_THE_TENTH
1.10_-_Concentration_-_Its_Practice
1.10_-_Conscious_Force
1.10_-_Fate_and_Free-Will
1.10_-_Foresight
1.10_-_GRACE_AND_FREE_WILL
1.10_-_Harmony
1.10_-_Laughter_Of_The_Gods
1.10_-_Relics_of_Tree_Worship_in_Modern_Europe
1.10_-_THE_FORMATION_OF_THE_NOOSPHERE
1.10_-_THE_NEIGHBORS_HOUSE
1.10_-_Theodicy_-_Nature_Makes_No_Mistakes
1.10_-_The_Revolutionary_Yogi
1.10_-_The_Secret_of_the_Veda
1.10_-_The_Three_Modes_of_Nature
1.10_-_The_Yoga_of_the_Intelligent_Will
1.10_-_THINGS_I_OWE_TO_THE_ANCIENTS
11.15_-_Sri_Aurobindo
1.11_-_BOOK_THE_ELEVENTH
1.11_-_Delight_of_Existence_-_The_Problem
1.11_-_FAITH_IN_MAN
1.11_-_Higher_Laws
1.11_-_Oneness
1.11_-_On_talkativeness_and_silence.
1.11_-_The_Change_of_Power
1.11_-_The_Influence_of_the_Sexes_on_Vegetation
1.11_-_The_Kalki_Avatar
1.11_-_The_Master_of_the_Work
1.1.1_-_The_Mind_and_Other_Levels_of_Being
1.11_-_The_Reason_as_Governor_of_Life
1.11_-_The_Second_Genesis
1.11_-_The_Three_Purushas
1.11_-_Works_and_Sacrifice
1.12_-_BOOK_THE_TWELFTH
1.12_-_Brute_Neighbors
1.1.2_-_Commentary
1.12_-_Delight_of_Existence_-_The_Solution
1.12_-_GARDEN
1.12_-_God_Departs
1.12_-_Sleep_and_Dreams
1.12_-_The_Astral_Plane
1.12_-_The_Left-Hand_Path_-_The_Black_Brothers
1.12_-_The_Office_and_Limitations_of_the_Reason
1.12_-_The_'quantitative_parts'_of_Tragedy_defined.
1.12_-_The_Sacred_Marriage
1.12_-_The_Significance_of_Sacrifice
1.12_-_The_Sociology_of_Superman
1.12_-_The_Superconscient
1.12_-_TIME_AND_ETERNITY
1.13_-_And_Then?
1.13_-_BOOK_THE_THIRTEENTH
1.13_-_Conclusion_-_He_is_here
1.13_-_Gnostic_Symbols_of_the_Self
1.1.3_-_Mental_Difficulties_and_the_Need_of_Quietude
1.13_-_(Plot_continued.)_What_constitutes_Tragic_Action.
1.13_-_Reason_and_Religion
1.13_-_System_of_the_O.T.O.
1.13_-_The_Divine_Maya
1.13_-_THE_HUMAN_REBOUND_OF_EVOLUTION_AND_ITS_CONSEQUENCES
1.13_-_The_Kings_of_Rome_and_Alba
1.13_-_Under_the_Auspices_of_the_Gods
1.14_-_Noise
1.14_-_(Plot_continued.)_The_tragic_emotions_of_pity_and_fear_should_spring_out_of_the_Plot_itself.
1.14_-_The_Principle_of_Divine_Works
1.14_-_The_Secret
1.14_-_The_Structure_and_Dynamics_of_the_Self
1.14_-_The_Succesion_to_the_Kingdom_in_Ancient_Latium
1.14_-_The_Victory_Over_Death
1.14_-_TURMOIL_OR_GENESIS?
1.15_-_Conclusion
1.15_-_Index
1.15_-_In_the_Domain_of_the_Spirit_Beings
1.15_-_Sex_Morality
1.15_-_The_Possibility_and_Purpose_of_Avatarhood
1.15_-_The_Supreme_Truth-Consciousness
1.1.5_-_Thought_and_Knowledge
1.16_-_Advantages_and_Disadvantages_of_Evocational_Magic
1.16_-_Dianus_and_Diana
1.16_-_Man,_A_Transitional_Being
1.16_-_MARTHAS_GARDEN
1.16_-_(Plot_continued.)_Recognition__its_various_kinds,_with_examples
1.16_-_The_Process_of_Avatarhood
1.16_-_The_Season_of_Truth
1.16_-_The_Suprarational_Ultimate_of_Life
1.16_-_The_Triple_Status_of_Supermind
1.17_-_Astral_Journey__Example,_How_to_do_it,_How_to_Verify_your_Experience
1.17_-_AT_THE_FOUNTAIN
1.17_-_DOES_MANKIND_MOVE_BIOLOGICALLY_UPON_ITSELF?
1.17_-_Geryon._The_Violent_against_Art._Usurers._Descent_into_the_Abyss_of_Malebolge.
1.17_-_ON_THE_WAY_OF_THE_CREATOR
1.17_-_Practical_rules_for_the_Tragic_Poet.
1.17_-_The_Divine_Soul
1.17_-_The_Transformation
1.18_-_Evocation
1.18_-_FAITH
1.18_-_Further_rules_for_the_Tragic_Poet.
1.18_-_Mind_and_Supermind
1.18_-_ON_LITTLE_OLD_AND_YOUNG_WOMEN
1.18_-_The_Divine_Worker
1.18_-_The_Infrarational_Age_of_the_Cycle
1.18_-_The_Perils_of_the_Soul
1.19_-_Equality
1.19_-_Life
1.19_-_NIGHT
1.201_-_Socrates
12.01_-_The_Return_to_Earth
12.01_-_This_Great_Earth_Our_Mother
12.02_-_The_Stress_of_the_Spirit
12.04_-_Love_and_Death
1.2.07_-_Surrender
1.2.08_-_Faith
1.20_-_Death,_Desire_and_Incapacity
1.20_-_Equality_and_Knowledge
1.20_-_HOW_MAY_WE_CONCEIVE_AND_HOPE_THAT_HUMAN_UNANIMIZATION_WILL_BE_REALIZED_ON_EARTH?
1.20_-_Tabooed_Persons
1.20_-_Talismans_-_The_Lamen_-_The_Pantacle
1.20_-_The_End_of_the_Curve_of_Reason
1.2.1.06_-_Symbolism_and_Allegory
1.2.12_-_Vigilance
1.21_-_FROM_THE_PRE-HUMAN_TO_THE_ULTRA-HUMAN,_THE_PHASES_OF_A_LIVING_PLANET
1.2.1_-_Mental_Development_and_Sadhana
1.21_-_WALPURGIS-NIGHT
1.22_-_Ciampolo,_Friar_Gomita,_and_Michael_Zanche._The_Malabranche_quarrel.
1.22_-_EMOTIONALISM
1.22_-_How_to_Learn_the_Practice_of_Astrology
1.22_-_OBERON_AND_TITANIA's_GOLDEN_WEDDING
1.22_-_On_the_many_forms_of_vainglory.
1.22_-_The_Necessity_of_the_Spiritual_Transformation
1.22_-_The_Problem_of_Life
1.23_-_Conditions_for_the_Coming_of_a_Spiritual_Age
1.23_-_Improvising_a_Temple
1.23_-_Our_Debt_to_the_Savage
1.23_-_The_Double_Soul_in_Man
1.240_-_1.300_Talks
1.240_-_Talks_2
1.24_-_(Epic_Poetry_continued.)_Further_points_of_agreement_with_Tragedy.
1.24_-_The_Killing_of_the_Divine_King
1.25_-_Fascinations,_Invisibility,_Levitation,_Transmutations,_Kinks_in_Time
1.25_-_On_Religion
1.25_-_On_the_destroyer_of_the_passions,_most_sublime_humility,_which_is_rooted_in_spiritual_feeling.
1.25_-_SPIRITUAL_EXERCISES
1.25_-_Temporary_Kings
1.25_-_The_Knot_of_Matter
1.26_-_On_discernment_of_thoughts,_passions_and_virtues
1.26_-_The_Ascending_Series_of_Substance
1.27_-_Structure_of_Mind_Based_on_that_of_Body
1.27_-_The_Sevenfold_Chord_of_Being
1.28_-_Need_to_Define_God,_Self,_etc.
1.28_-_Supermind,_Mind_and_the_Overmind_Maya
1.28_-_The_Killing_of_the_Tree-Spirit
1.2_-_Katha_Upanishads
1.300_-_1.400_Talks
13.01_-_A_Centurys_Salutation_to_Sri_Aurobindo_The_Greatness_of_the_Great
1.3.04_-_Peace
13.05_-_A_Dream_Of_Surreal_Science
1.3.05_-_Silence
13.06_-_The_Passing_of_Satyavan
1.3.1.02_-_The_Object_of_Our_Yoga
1.31_-_Adonis_in_Cyprus
1.3.2.01_-_I._The_Entire_Purpose_of_Yoga
1.32_-_The_Ritual_of_Adonis
1.33_-_The_Gardens_of_Adonis
1.3.4.04_-_The_Divine_Superman
1.34_-_The_Myth_and_Ritual_of_Attis
1.3.5.01_-_The_Law_of_the_Way
1.3.5.02_-_Man_and_the_Supermind
1.35_-_Attis_as_a_God_of_Vegetation
1.35_-_The_Tao_2
1.36_-_Human_Representatives_of_Attis
1.37_-_Death_-_Fear_-_Magical_Memory
1.38_-_The_Myth_of_Osiris
1.38_-_Woman_-_Her_Magical_Formula
1.39_-_The_Ritual_of_Osiris
1.3_-_Mundaka_Upanishads
1.400_-_1.450_Talks
1.4.01_-_The_Divine_Grace_and_Guidance
14.01_-_To_Read_Sri_Aurobindo
1.4.02_-_The_Divine_Force
1.4.03_-_The_Guru
14.05_-_The_Golden_Rule
14.06_-_Liberty,_Self-Control_and_Friendship
14.07_-_A_Review_of_Our_Ashram_Life
14.08_-_A_Parable_of_Sea-Gulls
1.40_-_Coincidence
1.40_-_The_Nature_of_Osiris
1.439
1.44_-_Serious_Style_of_A.C.,_or_the_Apparent_Frivolity_of_Some_of_my_Remarks
1.450_-_1.500_Talks
1.45_-_The_Corn-Mother_and_the_Corn-Maiden_in_Northern_Europe
1.46_-_The_Corn-Mother_in_Many_Lands
1.47_-_Lityerses
1.48_-_The_Corn-Spirit_as_an_Animal
1.49_-_Ancient_Deities_of_Vegetation_as_Animals
15.03_-_A_Canadian_Question
15.06_-_Words,_Words,_Words...
15.07_-_Souls_Freedom
15.08_-_Ashram_-_Inner_and_Outer
1.50_-_Eating_the_God
1.51_-_How_to_Recognise_Masters,_Angels,_etc.,_and_how_they_Work
1.52_-_Killing_the_Divine_Animal
1.54_-_Types_of_Animal_Sacrament
1.550_-_1.600_Talks
1.55_-_The_Transference_of_Evil
1.56_-_The_Public_Expulsion_of_Evils
1.57_-_Beings_I_have_Seen_with_my_Physical_Eye
1.57_-_Public_Scapegoats
1.58_-_Do_Angels_Ever_Cut_Themselves_Shaving?
1.58_-_Human_Scapegoats_in_Classical_Antiquity
1.59_-_Killing_the_God_in_Mexico
1.60_-_Knack
1.63_-_Fear,_a_Bad_Astral_Vision
1.63_-_The_Interpretation_of_the_Fire-Festivals
1.64_-_Magical_Power
1.66_-_The_External_Soul_in_Folk-Tales
1.68_-_The_God-Letters
1.69_-_Farewell_to_Nemi
1.70_-_Morality_1
17.11_-_A_Prayer
1.72_-_Education
1.74_-_Obstacles_on_the_Path
1.75_-_The_AA_and_the_Planet
1.78_-_Sore_Spots
1.79_-_Progress
18.04_-_Modern_Poems
18.05_-_Ashram_Poets
1.80_-_Life_a_Gamble
1.83_-_Epistola_Ultima
1914_03_03p
1914_05_17p
1914_05_26p
1914_06_24p
1914_08_18p
1915_07_31p
1915_11_07p
1916_12_05p
1916_12_20p
1917_01_05p
1917_03_27p
1929-04-14_-_Dangers_of_Yoga_-_Two_paths,_tapasya_and_surrender_-_Impulses,_desires_and_Yoga_-_Difficulties_-_Unification_around_the_psychic_being_-_Ambition,_undoing_of_many_Yogis_-_Powers,_misuse_and_right_use_of_-_How_to_recognise_the_Divine_Will_-_Accept_things_that_come_from_Divine_-_Vital_devotion_-_Need_of_strong_body_and_nerves_-_Inner_being,_invariable
1929-04-21_-_Visions,_seeing_and_interpretation_-_Dreams_and_dreaml_and_-_Dreamless_sleep_-_Visions_and_formulation_-_Surrender,_passive_and_of_the_will_-_Meditation_and_progress_-_Entering_the_spiritual_life,_a_plunge_into_the_Divine
1929-04-28_-_Offering,_general_and_detailed_-_Integral_Yoga_-_Remembrance_of_the_Divine_-_Reading_and_Yoga_-_Necessity,_predetermination_-_Freedom_-_Miracles_-_Aim_of_creation
1929-05-05_-_Intellect,_true_and_wrong_movement_-_Attacks_from_adverse_forces_-_Faith,_integral_and_absolute_-_Death,_not_a_necessity_-_Descent_of_Divine_Consciousness_-_Inner_progress_-_Memory_of_former_lives
1929-05-12_-_Beings_of_vital_world_(vampires)_-_Money_power_and_vital_beings_-_Capacity_for_manifestation_of_will_-_Entry_into_vital_world_-_Body,_a_protection_-_Individuality_and_the_vital_world
1929-05-26_-_Individual,_illusion_of_separateness_-_Hostile_forces_and_the_mental_plane_-_Psychic_world,_psychic_being_-_Spiritual_and_psychic_-_Words,_understanding_speech_and_reading_-_Hostile_forces,_their_utility_-_Illusion_of_action,_true_action
1929-06-23_-_Knowledge_of_the_Yogi_-_Knowledge_and_the_Supermind_-_Methods_of_changing_the_condition_of_the_body_-_Meditation,_aspiration,_sincerity
1929-07-28_-_Art_and_Yoga_-_Art_and_life_-_Music,_dance_-_World_of_Harmony
1950-12-23_-_Concentration_and_energy
1950-12-25_-_Christmas_-_festival_of_Light_-_Energy_and_mental_growth_-_Meditation_and_concentration_-_The_Mother_of_Dreams_-_Playing_a_game_well,_and_energy
1951-01-13_-_Aim_of_life_-_effort_and_joy._Science_of_living,_becoming_conscious._Forces_and_influences.
1951-01-15_-_Sincerity_-_inner_discernment_-_inner_light._Evil_and_imbalance._Consciousness_and_instruments.
1951-01-25_-_Needs_and_desires._Collaboration_of_the_vital,_mind_an_accomplice._Progress_and_sincerity_-_recognising_faults._Organising_the_body_-_illness_-_new_harmony_-_physical_beauty.
1951-02-08_-_Unifying_the_being_-_ideas_of_good_and_bad_-_Miracles_-_determinism_-_Supreme_Will_-_Distinguishing_the_voice_of_the_Divine
1951-02-10_-_Liberty_and_license_-_surrender_makes_you_free_-_Men_in_authority_as_representatives_of_the_divine_Truth_-_Work_as_offering_-_total_surrender_needs_time_-_Effort_and_inspiration_-_will_and_patience
1951-02-12_-_Divine_force_-_Signs_indicating_readiness_-_Weakness_in_mind,_vital_-_concentration_-_Divine_perception,_human_notion_of_good,_bad_-_Conversion,_consecration_-_progress_-_Signs_of_entering_the_path_-_kinds_of_meditation_-_aspiration
1951-02-17_-_False_visions_-_Offering_ones_will_-_Equilibrium_-_progress_-_maturity_-_Ardent_self-giving-_perfecting_the_instrument_-_Difficulties,_a_help_in_total_realisation_-_paradoxes_-_Sincerity_-_spontaneous_meditation
1951-02-19_-_Exteriorisation-_clairvoyance,_fainting,_etc_-_Somnambulism_-_Tartini_-_childrens_dreams_-_Nightmares_-_gurus_protection_-_Mind_and_vital_roam_during_sleep
1951-02-22_-_Surrender,_offering,_consecration_-_Experiences_and_sincerity_-_Aspiration_and_desire_-_Vedic_hymns_-_Concentration_and_time
1951-03-01_-_Universe_and_the_Divine_-_Freedom_and_determinism_-_Grace_-_Time_and_Creation-_in_the_Supermind_-_Work_and_its_results_-_The_psychic_being_-_beauty_and_love_-_Flowers-_beauty_and_significance_-_Choice_of_reincarnating_psychic_being
1951-03-03_-_Hostile_forces_-_difficulties_-_Individuality_and_form_-_creation
1951-03-05_-_Disasters-_the_forces_of_Nature_-_Story_of_the_charity_Bazar_-_Liberation_and_law_-_Dealing_with_the_mind_and_vital-_methods
1951-03-08_-_Silencing_the_mind_-_changing_the_nature_-_Reincarnation-_choice_-_Psychic,_higher_beings_gods_incarnating_-_Incarnation_of_vital_beings_-_the_Lord_of_Falsehood_-_Hitler_-_Possession_and_madness
1951-03-10_-_Fairy_Tales-_serpent_guarding_treasure_-_Vital_beings-_their_incarnations_-_The_vital_being_after_death_-_Nightmares-_vital_and_mental_-_Mind_and_vital_after_death_-_The_spirit_of_the_form-_Egyptian_mummies
1951-03-12_-_Mental_forms_-_learning_difficult_subjects_-_Mental_fortress_-_thought_-_Training_the_mind_-_Helping_the_vital_being_after_death_-_ceremonies_-_Human_stupidities
1951-03-19_-_Mental_worlds_and_their_beings_-_Understanding_in_silence_-_Psychic_world-_its_characteristics_-_True_experiences_and_mental_formations_-_twelve_senses
1951-03-22_-_Relativity-_time_-_Consciousness_-_psychic_Witness_-_The_twelve_senses_-_water-divining_-_Instinct_in_animals_-_story_of_Mothers_cat
1951-03-29_-_The_Great_Vehicle_and_The_Little_Vehicle_-_Choosing_ones_family,_country_-_The_vital_being_distorted_-_atavism_-_Sincerity_-_changing_ones_character
1951-04-02_-_Causes_of_accidents_-_Little_entities,_helpful_or_mischievous-_incidents
1951-04-05_-_Illusion_and_interest_in_action_-_The_action_of_the_divine_Grace_and_the_ego_-_Concentration,_aspiration,_will,_inner_silence_-_Value_of_a_story_or_a_language_-_Truth_-_diversity_in_the_world
1951-04-07_-_Origin_of_Evil_-_Misery-_its_cause
1951-04-09_-_Modern_Art_-_Trend_of_art_in_Europe_in_the_twentieth_century_-_Effect_of_the_Wars_-_descent_of_vital_worlds_-_Formation_of_character_-_If_there_is_another_war
1951-04-12_-_Japan,_its_art,_landscapes,_life,_etc_-_Fairy-lore_of_Japan_-_Culture-_its_spiral_movement_-_Indian_and_European-_the_spiritual_life_-_Art_and_Truth
1951-04-19_-_Demands_and_needs_-_human_nature_-_Abolishing_the_ego_-_Food-_tamas,_consecration_-_Changing_the_nature-_the_vital_and_the_mind_-_The_yoga_of_the_body__-_cellular_consciousness
1951-04-23_-_The_goal_and_the_way_-_Learning_how_to_sleep_-_relaxation_-_Adverse_forces-_test_of_sincerity_-_Attitude_to_suffering_and_death
1951-04-26_-_Irrevocable_transformation_-_The_divine_Shakti_-_glad_submission_-_Rejection,_integral_-_Consecration_-_total_self-forgetfulness_-_work
1951-04-28_-_Personal_effort_-_tamas,_laziness_-_Static_and_dynamic_power_-_Stupidity_-_psychic_and_intelligence_-_Philosophies-_different_languages_-_Theories_of_Creation_-_Surrender_of_ones_being_and_ones_work
1951-05-05_-_Needs_and_desires_-_Discernment_-_sincerity_and_true_perception_-_Mantra_and_its_effects_-_Object_in_action-_to_serve_-_relying_only_on_the_Divine
1951-05-12_-_Mahalakshmi_and_beauty_in_life_-_Mahasaraswati_-_conscious_hand_-_Riches_and_poverty
1951-05-14_-_Chance_-_the_play_of_forces_-_Peace,_given_and_lost_-_Abolishing_the_ego
1953-05-06
1953-05-13
1953-05-27
1953-06-03
1953-06-10
1953-06-17
1953-07-01
1953-07-08
1953-07-22
1953-07-29
1953-08-12
1953-09-02
1953-09-16
1953-10-07
1953-11-25
1953-12-30
1954-02-03_-_The_senses_and_super-sense_-_Children_can_be_moulded_-_Keeping_things_in_order_-_The_shadow
1954-02-10_-_Study_a_variety_of_subjects_-_Memory_-Memory_of_past_lives_-_Getting_rid_of_unpleasant_thoughts
1954-03-24_-_Dreams_and_the_condition_of_the_stomach_-_Tobacco_and_alcohol_-_Nervousness_-_The_centres_and_the_Kundalini_-_Control_of_the_senses
1954-04-28_-_Aspiration_and_receptivity_-_Resistance_-_Purusha_and_Prakriti,_not_masculine_and_feminine
1954-05-05_-_Faith,_trust,_confidence_-_Insincerity_and_unconsciousness
1954-06-16_-_Influences,_Divine_and_other_-_Adverse_forces_-_The_four_great_Asuras_-_Aspiration_arranges_circumstances_-_Wanting_only_the_Divine
1954-06-30_-_Occultism_-_Religion_and_vital_beings_-_Mothers_knowledge_of_what_happens_in_the_Ashram_-_Asking_questions_to_Mother_-_Drawing_on_Mother
1954-07-14_-_The_Divine_and_the_Shakti_-_Personal_effort_-_Speaking_and_thinking_-_Doubt_-_Self-giving,_consecration_and_surrender_-_Mothers_use_of_flowers_-_Ornaments_and_protection
1954-08-04_-_Servant_and_worker_-_Justification_of_weakness_-_Play_of_the_Divine_-_Why_are_you_here_in_the_Ashram?
1954-08-18_-_Mahalakshmi_-_Maheshwari_-_Mahasaraswati_-_Determinism_and_freedom_-_Suffering_and_knowledge_-_Aspects_of_the_Mother
1954-08-25_-_Ananda_aspect_of_the_Mother_-_Changing_conditions_in_the_Ashram_-_Ascetic_discipline_-_Mothers_body
1954-08-25_-_what_is_this_personality?_and_when_will_she_come?
1954-10-20_-_Stand_back_-_Asking_questions_to_Mother_-_Seeing_images_in_meditation_-_Berlioz_-Music_-_Mothers_organ_music_-_Destiny
1954-11-10_-_Inner_experience,_the_basis_of_action_-_Keeping_open_to_the_Force_-_Faith_through_aspiration_-_The_Mothers_symbol_-_The_mind_and_vital_seize_experience_-_Degrees_of_sincerity_-Becoming_conscious_of_the_Divine_Force
1954-11-24_-_Aspiration_mixed_with_desire_-_Willing_and_desiring_-_Children_and_desires_-_Supermind_and_the_higher_ranges_of_mind_-_Stages_in_the_supramental_manifestation
1954-12-15_-_Many_witnesses_inside_oneself_-_Children_in_the_Ashram_-_Trance_and_the_waking_consciousness_-_Ascetic_methods_-_Education,_spontaneous_effort_-_Spiritual_experience
1955-02-09_-_Desire_is_contagious_-_Primitive_form_of_love_-_the_artists_delight_-_Psychic_need,_mind_as_an_instrument_-_How_the_psychic_being_expresses_itself_-_Distinguishing_the_parts_of_ones_being_-_The_psychic_guides_-_Illness_-_Mothers_vision
1955-04-04
1955-04-06_-_Freuds_psychoanalysis,_the_subliminal_being_-_The_psychic_and_the_subliminal_-_True_psychology_-_Changing_the_lower_nature_-_Faith_in_different_parts_of_the_being_-_Psychic_contact_established_in_all_in_the_Ashram
1955-05-04_-_Drawing_on_the_universal_vital_forces_-_The_inner_physical_-_Receptivity_to_different_kinds_of_forces_-_Progress_and_receptivity
1955-06-08_-_Working_for_the_Divine_-_ideal_attitude_-_Divine_manifesting_-_reversal_of_consciousness,_knowing_oneself_-_Integral_progress,_outer,_inner,_facing_difficulties_-_People_in_Ashram_-_doing_Yoga_-_Children_given_freedom,_choosing_yoga
1955-06-22_-_Awakening_the_Yoga-shakti_-_The_thousand-petalled_lotus-_Reading,_how_far_a_help_for_yoga_-_Simple_and_complicated_combinations_in_men
1955-09-21_-_Literature_and_the_taste_for_forms_-_The_characters_of_The_Great_Secret_-_How_literature_helps_us_to_progress_-_Reading_to_learn_-_The_commercial_mentality_-_How_to_choose_ones_books_-_Learning_to_enrich_ones_possibilities_...
1955-10-05_-_Science_and_Ignorance_-_Knowledge,_science_and_the_Buddha_-_Knowing_by_identification_-_Discipline_in_science_and_in_Buddhism_-_Progress_in_the_mental_field_and_beyond_it
1955-12-07_-_Emotional_impulse_of_self-giving_-_A_young_dancer_in_France_-_The_heart_has_wings,_not_the_head_-_Only_joy_can_conquer_the_Adversary
1956-01-04_-_Integral_idea_of_the_Divine_-_All_things_attracted_by_the_Divine_-_Bad_things_not_in_place_-_Integral_yoga_-_Moving_idea-force,_ideas_-_Consequences_of_manifestation_-_Work_of_Spirit_via_Nature_-_Change_consciousness,_change_world
1956-02-08_-_Forces_of_Nature_expressing_a_higher_Will_-_Illusion_of_separate_personality_-_One_dynamic_force_which_moves_all_things_-_Linear_and_spherical_thinking_-_Common_ideal_of_life,_microscopic
1956-03-07_-_Sacrifice,_Animals,_hostile_forces,_receive_in_proportion_to_consciousness_-_To_be_luminously_open_-_Integral_transformation_-_Pain_of_rejection,_delight_of_progress_-_Spirit_behind_intention_-_Spirit,_matter,_over-simplified
1956-03-28_-_The_starting-point_of_spiritual_experience_-_The_boundless_finite_-_The_Timeless_and_Time_-_Mental_explanation_not_enough_-_Changing_knowledge_into_experience_-_Sat-Chit-Tapas-Ananda
1956-04-04_-_The_witness_soul_-_A_Gita_enthusiast_-_Propagandist_spirit,_Tolstoys_son
1956-04-25_-_God,_human_conception_and_the_true_Divine_-_Earthly_existence,_to_realise_the_Divine_-_Ananda,_divine_pleasure_-_Relations_with_the_divine_Presence_-_Asking_the_Divine_for_what_one_needs_-_Allowing_the_Divine_to_lead_one
1956-05-02
1956-05-02_-_Threefold_union_-_Manifestation_of_the_Supramental_-_Profiting_from_the_Divine_-_Recognition_of_the_Supramental_Force_-_Ascent,_descent,_manifestation
1956-05-23_-_Yoga_and_religion_-_Story_of_two_clergymen_on_a_boat_-_The_Buddha_and_the_Supramental_-_Hieroglyphs_and_phonetic_alphabets_-_A_vision_of_ancient_Egypt_-_Memory_for_sounds
1956-06-27_-_Birth,_entry_of_soul_into_body_-_Formation_of_the_supramental_world_-_Aspiration_for_progress_-_Bad_thoughts_-_Cerebral_filter_-_Progress_and_resistance
1956-07-18_-_Unlived_dreams_-_Radha-consciousness_-_Separation_and_identification_-_Ananda_of_identity_and_Ananda_of_union_-_Sincerity,_meditation_and_prayer_-_Enemies_of_the_Divine_-_The_universe_is_progressive
1956-07-25_-_A_complete_act_of_divine_love_-_How_to_listen_-_Sports_programme_same_for_boys_and_girls_-_How_to_profit_by_stay_at_Ashram_-_To_Women_about_Their_Body
1956-08-15_-_Protection,_purification,_fear_-_Atmosphere_at_the_Ashram_on_Darshan_days_-_Darshan_messages_-_Significance_of_15-08_-_State_of_surrender_-_Divine_Grace_always_all-powerful_-_Assumption_of_Virgin_Mary_-_SA_message_of_1947-08-15
1956-08-29_-_To_live_spontaneously_-_Mental_formations_Absolute_sincerity_-_Balance_is_indispensable,_the_middle_path_-_When_in_difficulty,_widen_the_consciousness_-_Easiest_way_of_forgetting_oneself
1956-09-19_-_Power,_predominant_quality_of_vital_being_-_The_Divine,_the_psychic_being,_the_Supermind_-_How_to_come_out_of_the_physical_consciousness_-_Look_life_in_the_face_-_Ordinary_love_and_Divine_love
1956-09-26_-_Soul_of_desire_-_Openness,_harmony_with_Nature_-_Communion_with_divine_Presence_-_Individuality,_difficulties,_soul_of_desire_-_personal_contact_with_the_Mother_-_Inner_receptivity_-_Bad_thoughts_before_the_Mother
1956-10-03_-_The_Mothers_different_ways_of_speaking_-_new_manifestation_-_new_element,_possibilities_-_child_prodigies_-_Laws_of_Nature,_supramental_-_Logic_of_the_unforeseen_-_Creative_writers,_hands_of_musicians_-_Prodigious_children,_men
1956-11-07_-_Thoughts_created_by_forces_of_universal_-_Mind_Our_own_thought_hardly_exists_-_Idea,_origin_higher_than_mind_-_The_Synthesis_of_Yoga,_effect_of_reading
1956-11-14_-_Conquering_the_desire_to_appear_good_-_Self-control_and_control_of_the_life_around_-_Power_of_mastery_-_Be_a_great_yogi_to_be_a_good_teacher_-_Organisation_of_the_Ashram_school_-_Elementary_discipline_of_regularity
1956-11-28_-_Desire,_ego,_animal_nature_-_Consciousness,_a_progressive_state_-_Ananda,_desireless_state_beyond_enjoyings_-_Personal_effort_that_is_mental_-_Reason,_when_to_disregard_it_-_Reason_and_reasons
1956-12-19_-_Preconceived_mental_ideas_-_Process_of_creation_-_Destructive_power_of_bad_thoughts_-_To_be_perfectly_sincere
1956-12-26_-_Defeated_victories_-_Change_of_consciousness_-_Experiences_that_indicate_the_road_to_take_-_Choice_and_preference_-_Diversity_of_the_manifestation
1957-01-02_-_Can_one_go_out_of_time_and_space?_-_Not_a_crucified_but_a_glorified_body_-_Individual_effort_and_the_new_force
1957-01-09_-_God_is_essentially_Delight_-_God_and_Nature_play_at_hide-and-seek_-__Why,_and_when,_are_you_grave?
1957-01-16_-_Seeking_something_without_knowing_it_-_Why_are_we_here?
1957-01-30_-_Artistry_is_just_contrast_-_How_to_perceive_the_Divine_Guidance?
1957-02-07_-_Individual_and_collective_meditation
1957-03-06_-_Freedom,_servitude_and_love
1957-04-10_-_Sports_and_yoga_-_Organising_ones_life
1957-05-01_-_Sports_competitions,_their_value
1957-06-12_-_Fasting_and_spiritual_progress
1957-06-19_-_Causes_of_illness_Fear_and_illness_-_Minds_working,_faith_and_illness
1957-08-07_-_The_resistances,_politics_and_money_-_Aspiration_to_realise_the_supramental_life
1957-09-18_-_Occultism_and_supramental_life
1957-10-16_-_Story_of_successive_involutions
1957-10-30_-_Double_movement_of_evolution_-_Disappearance_of_a_species
1957-11-27_-_Sri_Aurobindos_method_in_The_Life_Divine_-_Individual_and_cosmic_evolution
1957-12-11_-_Appearance_of_the_first_men
1958-01-01
1958-01-01_-_The_collaboration_of_material_Nature_-_Miracles_visible_to_a_deep_vision_of_things_-_Explanation_of_New_Year_Message
1958-03-19_-_General_tension_in_humanity_-_Peace_and_progress_-_Perversion_and_vision_of_transformation
1958-05-07_-_The_secret_of_Nature
1958-05-11_-_the_ship_that_said_OM
1958-05-30
1958-06-18_-_Philosophy,_religion,_occultism,_spirituality
1958-07-09_-_Faith_and_personal_effort
1958-07-16_-_Is_religion_a_necessity?
1958-07-23
1958-07-30_-_The_planchette_-_automatic_writing_-_Proofs_and_knowledge
1958-08-09
1958-08-13_-_Profit_by_staying_in_the_Ashram_-_What_Sri_Aurobindo_has_come_to_tell_us_-_Finding_the_Divine
1958-08-29
1958-09-10_-_Magic,_occultism,_physical_science
1958-09-16_-_OM_NAMO_BHAGAVATEH
1958-09-17_-_Power_of_formulating_experience_-_Usefulness_of_mental_development
1958-10-01
1958-10-10
1958_10_17
1958_10_24
1958-11-02
1958_11_14
1958-11-26_-_The_role_of_the_Spirit_-_New_birth
1958-11-27_-_Intermediaries_and_Immediacy
1958_12_05
1958_12_-_Floor_1,_young_girl,_we_shall_kill_the_young_princess_-_black_tent
1959-05-19_-_Ascending_and_Descending_paths
1960-01-31
1960_04_06
1960_04_20
1960_04_27
1960_05_11
1960-08-10_-_questions_from_center_of_Education_-_reading_Sri_Aurobindo
1960-08-27
1960-10-11
1960-10-22
1960-10-25
1960-11-08
1960-11-12
1960-12-31
1961-01-10
1961-01-24
1961-02-04
1961-02-18
1961-03-07
1961-04-12
1961-04-18
1961-04-29
1961_05_22?
1961-07-07
1961-07-15
1961-07-18
1961-08-02
1961-08-05
1961-08-08
1961-09-10
1961-11-23
1961-12-16
1961-12-20
1962-01-09
1962_01_12
1962-01-12_-_supramental_ship
1962-01-21
1962_01_21
1962-02-06
1962-02-09
1962-02-13
1962-02-24
1962_02_27
1962-03-06
1962-04-13
1962-05-29
1962-06-06
1962-06-12
1962-06-27
1962-07-11
1962-07-18
1962-07-21
1962-07-25
1962-08-11
1962-08-14
1962-08-31
1962-09-05
1962-09-26
1962-10-12
1962_10_12
1962-10-27
1962-11-10
1962-11-17
1962-11-30
1962-12-19
1963-01-09
1963-01-14
1963_01_14
1963-01-30
1963-02-15
1963-02-23
1963-03-06
1963_03_06
1963-03-09
1963-03-16
1963-04-20
1963-05-15
1963-05-18
1963-06-29
1963-07-20
1963-07-31
1963-08-13a
1963-08-13b
1963-08-21
1963-09-25
1963-09-28
1963-10-16
1963-10-19
1963-11-13
1963-12-03
1963-12-14
1963-12-25
1963-12-31
1964-01-04
1964-01-28
1964_02_05_-_98
1964-02-15
1964-03-25
1964_03_25
1964-05-02
1964-08-11
1964-08-14
1964-08-26
1964-08-29
1964-09-23
1964-09-26
1964-10-07
1964-10-14
1964-10-17
1964-10-30
1964-11-28
1964-12-07
1965-01-12
1965_01_12
1965-02-27
1965-03-10
1965-03-20
1965-05-19
1965-05-29
1965_05_29
1965-06-05
1965-06-12
1965-06-30
1965-07-07
1965-07-10
1965-08-18
1965-08-21
1965-08-31
1965-09-18
1965-09-29
1965-10-27
1965-10-30
1965-11-03
1965-11-23
1965-12-15
1965-12-25
1965_12_25
1965_12_26?
1965-12-31
1966-01-26
1966-02-19
1966-03-04
1966-03-09
1966-04-27
1966-04-30
1966-05-18
1966-05-25
1966-05-28
1966-06-08
1966-06-11
1966-06-25
1966_07_06
1966-08-24
1966-09-03
1966-09-21
1966-10-15
1966-10-26
1966-10-29
1966-11-15
1966-11-19
1966-12-07
1967-02-08
1967-03-02
1967-03-04
1967-04-19
1967-05-03
1967-05-10
1967-05-26
1967-06-14
1967-06-21
1967-07-05
1967-07-22
1967-09-06
1967-09-16
1967-09-20
1967-10-14
1967-10-25
1967-11-04
1967-12-06
1968-01-06
1968-01-12
1968-03-09
1968-03-13
1968-03-23
1968-04-10
1968-04-23
1968-05-18
1968-05-25
1968-06-08
1968-06-15
1968-07-20
1968-09-07
1968-09-11
1968-09-21
1968-10-26
1968-11-09
1968-11-23
1968-11-27
1968-11-30
1968-12-11
1968-12-14
1968-12-28
1969-01-18
1969-02-08
1969-02-15
1969-02-22
1969-04-02
1969-04-05
1969-04-09
1969-04-19
1969-04-30
1969-05-17
1969-06-25
1969-07-12
1969-07-30
1969-08-09
1969_08_09
1969-08-20
1969-08-23
1969-08-27
1969-08-30
1969_08_30_-_140
1969-09-20
1969-10-11
1969_10_24
1969-10-25
1969-11-05
1969-11-15
1969-11-19
1969-11-29
1969_12_04
1969-12-31
1970-01-03
1970_01_13?
1970-02-07
1970_03_10
1970-03-18
1970_03_24
1970_04_02
1970_04_08
1970_04_15
1970_04_17
1970-04-18
1970_04_18
1970_04_21_-_490
1970-04-22
1970_04_22_-_493
1970_04_28
1970-04-29
1970-06-20
1970-09-30
1970-10-07
1970-10-31
1971-01-16
1971-03-03
1971-03-06
1971-03-10
1971-03-17
1971-04-07
1971-05-15
1971-07-17
1971-11-20
1972-01-19
1972-03-11
1972-04-05
1972-04-12
1972-04-15
1972-05-19
1972-07-22
1.A_-_ANTHROPOLOGY,_THE_SOUL
1.ac_-_A_Birthday
1.ac_-_Leah_Sublime
1.ac_-_On_-_On_-_Poet
1.ac_-_The_Garden_of_Janus
1.ac_-_The_Hawk_and_the_Babe
1.anon_-_But_little_better
1.anon_-_Others_have_told_me
1.anon_-_The_Epic_of_Gilgamesh_Tablet_VIII
1.anon_-_The_Poem_of_Imru-Ul-Quais
1.bni_-_Raga_Ramkali
1.bsf_-_Turn_cheek
1.bsv_-_Make_of_my_body_the_beam_of_a_lute
1.bs_-_What_a_carefree_game_He_plays!
1.cllg_-_A_Dance_of_Unwavering_Devotion
1.dd_-_So_priceless_is_the_birth,_O_brother
1.dd_-_The_Creator_Plays_His_Cosmic_Instrument_In_Perfect_Harmony
1f.lovecraft_-_Ashes
1f.lovecraft_-_At_the_Mountains_of_Madness
1f.lovecraft_-_Beyond_the_Wall_of_Sleep
1f.lovecraft_-_Celephais
1f.lovecraft_-_Cool_Air
1f.lovecraft_-_Deaf,_Dumb,_and_Blind
1f.lovecraft_-_Discarded_Draft_of
1f.lovecraft_-_He
1f.lovecraft_-_In_the_Walls_of_Eryx
1f.lovecraft_-_Medusas_Coil
1f.lovecraft_-_Nyarlathotep
1f.lovecraft_-_Out_of_the_Aeons
1f.lovecraft_-_Poetry_and_the_Gods
1f.lovecraft_-_Polaris
1f.lovecraft_-_Sweet_Ermengarde
1f.lovecraft_-_The_Call_of_Cthulhu
1f.lovecraft_-_The_Case_of_Charles_Dexter_Ward
1f.lovecraft_-_The_Cats_of_Ulthar
1f.lovecraft_-_The_Challenge_from_Beyond
1f.lovecraft_-_The_Colour_out_of_Space
1f.lovecraft_-_The_Curse_of_Yig
1f.lovecraft_-_The_Descendant
1f.lovecraft_-_The_Disinterment
1f.lovecraft_-_The_Dream-Quest_of_Unknown_Kadath
1f.lovecraft_-_The_Dreams_in_the_Witch_House
1f.lovecraft_-_The_Dunwich_Horror
1f.lovecraft_-_The_Electric_Executioner
1f.lovecraft_-_The_Evil_Clergyman
1f.lovecraft_-_The_Festival
1f.lovecraft_-_The_Haunter_of_the_Dark
1f.lovecraft_-_The_Horror_at_Red_Hook
1f.lovecraft_-_The_Horror_in_the_Burying-Ground
1f.lovecraft_-_The_Horror_in_the_Museum
1f.lovecraft_-_The_Last_Test
1f.lovecraft_-_The_Little_Glass_Bottle
1f.lovecraft_-_The_Loved_Dead
1f.lovecraft_-_The_Lurking_Fear
1f.lovecraft_-_The_Mound
1f.lovecraft_-_The_Music_of_Erich_Zann
1f.lovecraft_-_The_Nameless_City
1f.lovecraft_-_The_Night_Ocean
1f.lovecraft_-_The_Other_Gods
1f.lovecraft_-_The_Picture_in_the_House
1f.lovecraft_-_The_Quest_of_Iranon
1f.lovecraft_-_The_Rats_in_the_Walls
1f.lovecraft_-_The_Secret_Cave
1f.lovecraft_-_The_Shadow_out_of_Time
1f.lovecraft_-_The_Shadow_over_Innsmouth
1f.lovecraft_-_The_Shunned_House
1f.lovecraft_-_The_Silver_Key
1f.lovecraft_-_The_Statement_of_Randolph_Carter
1f.lovecraft_-_The_Strange_High_House_in_the_Mist
1f.lovecraft_-_The_Temple
1f.lovecraft_-_The_Thing_on_the_Doorstep
1f.lovecraft_-_The_Tomb
1f.lovecraft_-_The_Trap
1f.lovecraft_-_The_Tree
1f.lovecraft_-_The_Tree_on_the_Hill
1f.lovecraft_-_The_Very_Old_Folk
1f.lovecraft_-_The_Whisperer_in_Darkness
1f.lovecraft_-_Through_the_Gates_of_the_Silver_Key
1f.lovecraft_-_Till_A_the_Seas
1f.lovecraft_-_Under_the_Pyramids
1f.lovecraft_-_Winged_Death
1.fs_-_Amalia
1.fs_-_Cassandra
1.fs_-_Elegy_On_The_Death_Of_A_Young_Man
1.fs_-_Elysium
1.fs_-_Fantasie_--_To_Laura
1.fs_-_Feast_Of_Victory
1.fs_-_Fridolin_(The_Walk_To_The_Iron_Factory)
1.fs_-_Hero_And_Leander
1.fs_-_Hope
1.fs_-_Longing
1.fs_-_Melancholy_--_To_Laura
1.fs_-_Parables_And_Riddles
1.fs_-_The_Artists
1.fs_-_The_Celebrated_Woman_-_An_Epistle_By_A_Married_Man
1.fs_-_The_Cranes_Of_Ibycus
1.fs_-_The_Dance
1.fs_-_The_Eleusinian_Festival
1.fs_-_The_Fight_With_The_Dragon
1.fs_-_The_Fortune-Favored
1.fs_-_The_Fugitive
1.fs_-_The_Greatness_Of_The_World
1.fs_-_The_Ideal_And_The_Actual_Life
1.fs_-_The_Infanticide
1.fs_-_Thekla_-_A_Spirit_Voice
1.fs_-_The_Lay_Of_The_Bell
1.fs_-_The_Playing_Infant
1.fs_-_The_Poetry_Of_Life
1.fs_-_The_Two_Guides_Of_Life_-_The_Sublime_And_The_Beautiful
1.fs_-_To_Laura_At_The_Harpsichord
1.fs_-_Written_In_A_Young_Lady's_Album
1.fua_-_The_peacocks_excuse
1.grh_-_Gorakh_Bani
1.hs_-_A_Golden_Compass
1.hs_-_I_Know_The_Way_You_Can_Get
1.hs_-_It_Is_Time_to_Wake_Up!
1.hs_-_Several_Times_In_The_Last_Week
1.hs_-_Silence
1.hs_-_Sweet_Melody
1.hs_-_The_Glow_of_Your_Presence
1.hs_-_True_Love
1.jda_-_My_heart_values_his_vulgar_ways_(from_The_Gitagovinda)
1.jda_-_When_he_quickens_all_things_(from_The_Gitagovinda)
1.jda_-_You_rest_on_the_circle_of_Sris_breast_(from_The_Gitagovinda)
1.jk_-_An_Extempore
1.jk_-_Endymion_-_Book_I
1.jk_-_Endymion_-_Book_II
1.jk_-_Endymion_-_Book_III
1.jk_-_Endymion_-_Book_IV
1.jk_-_Epistle_To_John_Hamilton_Reynolds
1.jk_-_Epistle_To_My_Brother_George
1.jk_-_Extracts_From_An_Opera
1.jk_-_Fragment_-_Modern_Love
1.jk_-_Fragment_Of_The_Castle_Builder
1.jk_-_Fragment._Welcome_Joy,_And_Welcome_Sorrow
1.jk_-_Isabella;_Or,_The_Pot_Of_Basil_-_A_Story_From_Boccaccio
1.jk_-_I_Stood_Tip-Toe_Upon_A_Little_Hill
1.jk_-_King_Stephen
1.jk_-_Lamia._Part_I
1.jk_-_Lamia._Part_II
1.jk_-_Ode_On_A_Grecian_Urn
1.jk_-_On_A_Dream
1.jk_-_On_Death
1.jk_-_On_Hearing_The_Bag-Pipe_And_Seeing_The_Stranger_Played_At_Inverary
1.jk_-_Otho_The_Great_-_Act_I
1.jk_-_Otho_The_Great_-_Act_II
1.jk_-_Otho_The_Great_-_Act_III
1.jk_-_Sharing_Eves_Apple
1.jk_-_Sleep_And_Poetry
1.jk_-_Song_Of_The_Indian_Maid,_From_Endymion
1.jk_-_Sonnet._A_Dream,_After_Reading_Dantes_Episode_Of_Paulo_And_Francesca
1.jk_-_Sonnet_-_After_Dark_Vapors_Have_Oppressd_Our_Plains
1.jk_-_Sonnet_VIII._To_My_Brothers
1.jk_-_Specimen_Of_An_Induction_To_A_Poem
1.jk_-_Staffa
1.jk_-_The_Cap_And_Bells;_Or,_The_Jealousies_-_A_Faery_Tale_.._Unfinished
1.jk_-_The_Eve_Of_Saint_Mark._A_Fragment
1.jk_-_The_Eve_Of_St._Agnes
1.jk_-_To_Ailsa_Rock
1.jk_-_To_Charles_Cowden_Clarke
1.jlb_-_Chess
1.jlb_-_Instants
1.jlb_-_Unknown_Street
1.jm_-_The_Song_of_Food_and_Dwelling
1.jm_-_The_Song_of_Perfect_Assurance_(to_the_Demons)
1.jm_-_Upon_this_earth,_the_land_of_the_Victorious_Ones
1.jr_-_Because_I_Cannot_Sleep
1.jr_-_Description_Of_Love
1.jr_-_The_real_work_belongs_to_someone_who_desires_God
1.jr_-_What_I_want_is_to_see_your_face
1.jr_-_When_I_Am_Asleep_And_Crumbling_In_The_Tomb
1.jr_-_With_Us
1.jwvg_-_It_Is_Good
1.jwvg_-_June
1.jwvg_-_Living_Remembrance
1.jwvg_-_Nemesis
1.jwvg_-_Night_Thoughts
1.jwvg_-_Playing_At_Priests
1.jwvg_-_The_Wanderer
1.jwvg_-_The_Warning
1.jwvg_-_Welcome_And_Farewell
1.kbr_-_Friend,_Wake_Up!_Why_Do_You_Go_On_Sleeping?
1.kbr_-_Poem_5
1.kbr_-_Poem_9
1.kbr_-_The_Light_of_the_Sun
1.kbr_-_The_light_of_the_sun,_the_moon,_and_the_stars_shines_bright
1.kg_-_Little_Tiger
1.lb_-_Changgan_Memories
1.lb_-_Chiang_Chin_Chiu
1.lb_-_Ch'ing_P'ing_Tiao
1.lb_-_Exile's_Letter
1.lb_-_His_Dream_Of_Skyland
1.lb_-_Listening_to_a_Flute_in_Yellow_Crane_Pavillion
1.lb_-_On_Climbing_In_Nan-King_To_The_Terrace_Of_Phoenixes
1.lb_-_Summer_Day_in_the_Mountains
1.lb_-_The_City_of_Choan
1.lb_-_The_River-Merchant's_Wife:_A_Letter
1.lla_-_Dying_and_giving_birth_go_on
1.lla_-_Playfully,_you_hid_from_me
1.lovecraft_-_Fungi_From_Yuggoth
1.lovecraft_-_Laeta-_A_Lament
1.lovecraft_-_Ode_For_July_Fourth,_1917
1.lovecraft_-_Pacifist_War_Song_-_1917
1.lovecraft_-_Poemata_Minora-_Volume_II
1.lovecraft_-_The_Bride_Of_The_Sea
1.lovecraft_-_The_Garden
1.lovecraft_-_The_Poe-ets_Nightmare
1.lovecraft_-_Waste_Paper-_A_Poem_Of_Profound_Insignificance
1.lovecraft_-_Where_Once_Poe_Walked
1.mb_-_The_Five-Coloured_Garment
1.nmdv_-_He_is_the_One_in_many
1.nmdv_-_Laughing_and_playing,_I_came_to_Your_Temple,_O_Lord
1.nrpa_-_The_Summary_of_Mahamudra
1.okym_-_46_-_For_in_and_out,_above,_about,_below
1.okym_-_49_-_Tis_all_a_Chequer-board_of_Nights_and_Days
1.okym_-_50_-_The_Ball_no_Question_makes_of_Ayes_and_Noes
1.okym_-_71_-_And_much_as_Wine_has_playd_the_Infidel
1.pbs_-_Alastor_-_or,_the_Spirit_of_Solitude
1.pbs_-_Autumn_-_A_Dirge
1.pbs_-_A_Vision_Of_The_Sea
1.pbs_-_Charles_The_First
1.pbs_-_Chorus_from_Hellas
1.pbs_-_Epipsychidion
1.pbs_-_Epipsychidion_-_Passages_Of_The_Poem,_Or_Connected_Therewith
1.pbs_-_Fiordispina
1.pbs_-_Fragments_Of_An_Unfinished_Drama
1.pbs_-_Hellas_-_A_Lyrical_Drama
1.pbs_-_Hymn_To_Mercury
1.pbs_-_Julian_and_Maddalo_-_A_Conversation
1.pbs_-_Lines_Written_Among_The_Euganean_Hills
1.pbs_-_Marenghi
1.pbs_-_Ode_To_Liberty
1.pbs_-_Oedipus_Tyrannus_or_Swellfoot_The_Tyrant
1.pbs_-_Orpheus
1.pbs_-_Peter_Bell_The_Third
1.pbs_-_Prometheus_Unbound
1.pbs_-_Queen_Mab_-_Part_III.
1.pbs_-_Queen_Mab_-_Part_IX.
1.pbs_-_Queen_Mab_-_Part_V.
1.pbs_-_Queen_Mab_-_Part_VI.
1.pbs_-_Queen_Mab_-_Part_VII.
1.pbs_-_Queen_Mab_-_Part_VIII.
1.pbs_-_Rosalind_and_Helen_-_a_Modern_Eclogue
1.pbs_-_Saint_Edmonds_Eve
1.pbs_-_Scenes_From_The_Faust_Of_Goethe
1.pbs_-_Song._Sorrow
1.pbs_-_The_Cyclops
1.pbs_-_The_Daemon_Of_The_World
1.pbs_-_The_Mask_Of_Anarchy
1.pbs_-_The_Pine_Forest_Of_The_Cascine_Near_Pisa
1.pbs_-_The_Question
1.pbs_-_The_Revolt_Of_Islam_-_Canto_I-XII
1.pbs_-_The_Triumph_Of_Life
1.pbs_-_The_Witch_Of_Atlas
1.pbs_-_To_Jane_-_The_Recollection
1.pbs_-_To_William_Shelley
1.pc_-_Lute
1.poe_-_Enigma
1.poe_-_Eureka_-_A_Prose_Poem
1.poe_-_The_Conqueror_Worm
1.poe_-_To_The_River
1.rb_-_A_Grammarian's_Funeral_Shortly_After_The_Revival_Of_Learning
1.rb_-_Aix_In_Provence
1.rb_-_A_Light_Woman
1.rb_-_Andrea_del_Sarto
1.rb_-_An_Epistle_Containing_the_Strange_Medical_Experience_of_Kar
1.rb_-_Any_Wife_To_Any_Husband
1.rb_-_A_Toccata_Of_Galuppi's
1.rb_-_Bishop_Blougram's_Apology
1.rb_-_By_The_Fire-Side
1.rb_-_Caliban_upon_Setebos_or,_Natural_Theology_in_the_Island
1.rb_-_Childe_Roland_To_The_Dark_Tower_Came
1.rb_-_Cleon
1.rb_-_Cristina
1.rb_-_Fra_Lippo_Lippi
1.rb_-_Garden_Francies
1.rb_-_Holy-Cross_Day
1.rb_-_In_A_Gondola
1.rb_-_Introduction:_Pippa_Passes
1.rb_-_Master_Hugues_Of_Saxe-Gotha
1.rb_-_Old_Pictures_In_Florence
1.rb_-_Paracelsus_-_Part_III_-_Paracelsus
1.rb_-_Paracelsus_-_Part_I_-_Paracelsus_Aspires
1.rb_-_Paracelsus_-_Part_IV_-_Paracelsus_Aspires
1.rb_-_Paracelsus_-_Part_V_-_Paracelsus_Attains
1.rb_-_Pauline,_A_Fragment_of_a_Question
1.rb_-_Pippa_Passes_-_Part_II_-_Noon
1.rb_-_Rabbi_Ben_Ezra
1.rb_-_Rhyme_for_a_Child_Viewing_a_Naked_Venus_in_a_Painting_of_'The_Judgement_of_Paris'
1.rb_-_Sordello_-_Book_the_Fifth
1.rb_-_Sordello_-_Book_the_First
1.rb_-_Sordello_-_Book_the_Fourth
1.rb_-_Sordello_-_Book_the_Second
1.rb_-_Sordello_-_Book_the_Sixth
1.rb_-_Sordello_-_Book_the_Third
1.rb_-_The_Boy_And_the_Angel
1.rb_-_The_Flight_Of_The_Duchess
1.rb_-_The_Pied_Piper_Of_Hamelin
1.rb_-_Two_In_The_Campagna
1.rb_-_Waring
1.rmpsd_-_Meditate_on_Kali!_Why_be_anxious?
1.rmpsd_-_Mother_this_is_the_grief_that_sorely_grieves_my_heart
1.rmpsd_-_Who_in_this_world
1.rmpsd_-_Who_is_that_Syama_woman
1.rmr_-_Elegy_IV
1.rmr_-_Elegy_X
1.rmr_-_Falling_Stars
1.rmr_-_Going_Blind
1.rmr_-_On_Hearing_Of_A_Death
1.rmr_-_The_Grown-Up
1.rmr_-_The_Last_Evening
1.rmr_-_The_Neighbor
1.rmr_-_To_Lou_Andreas-Salome
1.rt_-_(63)_Thou_hast_made_me_known_to_friends_whom_I_knew_not_(from_Gitanjali)
1.rt_-_(80)_I_am_like_a_remnant_of_a_cloud_of_autumn_(from_Gitanjali)
1.rt_-_A_Dream
1.rt_-_All_These_I_Loved
1.rt_-_At_The_End_Of_The_Day
1.rt_-_Authorship
1.rt_-_Birth_Story
1.rt_-_Clouds_And_Waves
1.rt_-_Colored_Toys
1.rt_-_Defamation
1.rt_-_Fireflies
1.rt_-_Gitanjali
1.rt_-_Hes_there_among_the_scented_trees_(from_The_Lover_of_God)
1.rt_-_I
1.rt_-_I_Found_A_Few_Old_Letters
1.rt_-_Innermost_One
1.rt_-_Keep_Me_Fully_Glad
1.rt_-_Kinu_Goalas_Alley
1.rt_-_Lord_Of_My_Life
1.rt_-_Lovers_Gifts_LVIII_-_Things_Throng_And_Laugh
1.rt_-_Lovers_Gifts_XXVIII_-_I_Dreamt
1.rt_-_Old_And_New
1.rt_-_One_Day_In_Spring....
1.rt_-_On_The_Seashore
1.rt_-_Our_Meeting
1.rt_-_Paper_Boats
1.rt_-_Parting_Words
1.rt_-_Playthings
1.rt_-_Roaming_Cloud
1.rt_-_Shyama
1.rt_-_Signet_Of_Eternity
1.rt_-_Sleep-Stealer
1.rt_-_Stray_Birds_11-_20
1.rt_-_Stray_Birds_21_-_30
1.rt_-_Stray_Birds_71_-_80
1.rt_-_Superior
1.rt_-_The_Astronomer
1.rt_-_The_Call_Of_The_Far
1.rt_-_The_End
1.rt_-_The_Flower-School
1.rt_-_The_Gardener_LV_-_It_Was_Mid-Day
1.rt_-_The_Gardener_LXVIII_-_None_Lives_For_Ever,_Brother
1.rt_-_The_Gardener_XLII_-_O_Mad,_Superbly_Drunk
1.rt_-_The_Gift
1.rt_-_The_Homecoming
1.rt_-_The_Journey
1.rt_-_The_Land_Of_The_Exile
1.rt_-_The_Last_Bargain
1.rt_-_The_Recall
1.rt_-_The_Unheeded_Pageant
1.rt_-_Unending_Love
1.rt_-_Ungrateful_Sorrow
1.rt_-_Untimely_Leave
1.rt_-_Unyielding
1.rt_-_Urvashi
1.rt_-_We_Are_To_Play_The_Game_Of_Death
1.rt_-_When_And_Why
1.rt_-_Who_are_You,_who_keeps_my_heart_awake?_(from_The_Lover_of_God)
1.rt_-_Your_flute_plays_the_exact_notes_of_my_pain._(from_The_Lover_of_God)
1.rvd_-_When_I_existed
1.rwe_-_Art
1.rwe_-_Dirge
1.rwe_-_Dmonic_Love
1.rwe_-_May-Day
1.rwe_-_Merlin_I
1.rwe_-_Monadnoc
1.rwe_-_My_Garden
1.rwe_-_Ode_To_Beauty
1.rwe_-_Quatrains
1.rwe_-_Saadi
1.rwe_-_Song_of_Nature
1.rwe_-_The_Adirondacs
1.rwe_-_The_Romany_Girl
1.rwe_-_The_Sphinx
1.rwe_-_The_Titmouse
1.rwe_-_The_Visit
1.rwe_-_Threnody
1.rwe_-_To_Ellen,_At_The_South
1.rwe_-_Woodnotes
1.sb_-_Spirit_and_energy_should_be_clear_as_the_night_air
1.sig_-_The_Sun
1.sjc_-_Dark_Night
1.sk_-_Is_there_anyone_in_the_universe
1.srm_-_The_Marital_Garland_of_Letters
1.st_-_I_live_in_a_place_without_limits
1.tm_-_A_Psalm
1.tm_-_Aubade_--_The_City
1.tm_-_The_Sowing_of_Meanings
1.tr_-_First_Days_Of_Spring_-_The_sky
1.tr_-_The_Way_Of_The_Holy_Fool
1.vpt_-_All_my_inhibition_left_me_in_a_flash
1.wb_-_Auguries_of_Innocence
1.wb_-_Awake!_awake_O_sleeper_of_the_land_of_shadows
1.wby_-_A_Dramatic_Poem
1.wby_-_A_Lovers_Quarrel_Among_the_Fairies
1.wby_-_Alternative_Song_For_The_Severed_Head_In_The_King_Of_The_Great_Clock_Tower
1.wby_-_A_Memory_Of_Youth
1.wby_-_Among_School_Children
1.wby_-_Anashuya_And_Vijaya
1.wby_-_A_Prayer_For_My_Daughter
1.wby_-_A_Song_From_The_Player_Queen
1.wby_-_A_Woman_Young_And_Old
1.wby_-_Before_The_World_Was_Made
1.wby_-_Crazy_Jane_Grown_Old_Looks_At_The_Dancers
1.wby_-_Crazy_Jane_Reproved
1.wby_-_Fiddler_Of_Dooney
1.wby_-_From_A_Full_Moon_In_March
1.wby_-_Lapis_Lazuli
1.wby_-_Meditations_In_Time_Of_Civil_War
1.wby_-_Never_Give_All_The_Heart
1.wby_-_Nineteen_Hundred_And_Nineteen
1.wby_-_On_A_Picture_Of_A_Black_Centaur_By_Edmund_Dulac
1.wby_-_On_Those_That_Hated_The_Playboy_Of_The_Western_World,_1907
1.wby_-_Parnells_Funeral
1.wby_-_Parting
1.wby_-_Running_To_Paradise
1.wby_-_September_1913
1.wby_-_Shepherd_And_Goatherd
1.wby_-_The_Attack_On_the_Playboy_Of_The_Western_World,_1907
1.wby_-_The_Circus_Animals_Desertion
1.wby_-_The_Collar-Bone_Of_A_Hare
1.wby_-_The_Double_Vision_Of_Michael_Robartes
1.wby_-_The_Fascination_Of_Whats_Difficult
1.wby_-_The_Happy_Townland
1.wby_-_The_Host_Of_The_Air
1.wby_-_The_Hour_Before_Dawn
1.wby_-_The_Ladys_Third_Song
1.wby_-_The_Man_And_The_Echo
1.wby_-_The_Meditation_Of_The_Old_Fisherman
1.wby_-_The_New_Faces
1.wby_-_The_Phases_Of_The_Moon
1.wby_-_The_Pilgrim
1.wby_-_The_Players_Ask_For_A_Blessing_On_The_Psalteries_And_On_Themselves
1.wby_-_The_Shadowy_Waters_-_The_Shadowy_Waters
1.wby_-_The_Wanderings_Of_Oisin_-_Book_I
1.wby_-_The_Wanderings_Of_Oisin_-_Book_III
1.wby_-_Three_Songs_To_The_One_Burden
1.wby_-_To_A_Friend_Whose_Work_Has_Come_To_Nothing
1.wby_-_To_A_Squirrel_At_Kyle-Na-No
1.wby_-_To_A_Wealthy_Man_Who_Promised_A_Second_Subscription_To_The_Dublin_Municipal_Gallery_If_It_Were_Prove
1.wby_-_Two_Songs_From_A_Play
1.wby_-_Upon_A_Dying_Lady
1.wby_-_Vacillation
1.wby_-_Wisdom
1.whitman_-_A_Boston_Ballad
1.whitman_-_American_Feuillage
1.whitman_-_As_I_Sat_Alone_By_Blue_Ontarios_Shores
1.whitman_-_Assurances
1.whitman_-_Brother_Of_All,_With_Generous_Hand
1.whitman_-_Carol_Of_Occupations
1.whitman_-_Crossing_Brooklyn_Ferry
1.whitman_-_Faces
1.whitman_-_I_Sing_The_Body_Electric
1.whitman_-_Mannahatta
1.whitman_-_Native_Moments
1.whitman_-_O_Me!_O_Life!
1.whitman_-_Out_From_Behind_His_Mask
1.whitman_-_Out_of_the_Cradle_Endlessly_Rocking
1.whitman_-_O_You_Whom_I_Often_And_Silently_Come
1.whitman_-_Poems_Of_Joys
1.whitman_-_Proud_Music_Of_The_Storm
1.whitman_-_Respondez!
1.whitman_-_Salut_Au_Monde
1.whitman_-_Sea-Shore_Memories
1.whitman_-_Sing_Of_The_Banner_At_Day-Break
1.whitman_-_Song_At_Sunset
1.whitman_-_Song_of_Myself
1.whitman_-_Song_Of_Myself-_II
1.whitman_-_Song_Of_Myself-_IX
1.whitman_-_Song_Of_Myself-_XII
1.whitman_-_Song_Of_Myself-_XIII
1.whitman_-_Song_Of_Myself-_XLVII
1.whitman_-_Song_Of_Myself-_XVIII
1.whitman_-_Song_Of_Myself-_XXVI
1.whitman_-_Song_Of_Myself-_XXVIII
1.whitman_-_Song_Of_The_Broad-Axe
1.whitman_-_Song_Of_The_Exposition
1.whitman_-_Starting_From_Paumanok
1.whitman_-_The_Centerarians_Story
1.whitman_-_The_Mystic_Trumpeter
1.whitman_-_The_Sleepers
1.whitman_-_The_Unexpressed
1.whitman_-_The_World_Below_The_Brine
1.whitman_-_To_Thee,_Old_Cause!
1.whitman_-_To_The_Garden_The_World
1.whitman_-_Years_Of_The_Modern
1.ww_-_18_-_With_music_strong_I_come,_with_my_cornets_and_my_drums
1.ww_-_2_-_Houses_and_rooms_are_full_of_perfumes,_the_shelves_are_crowded_with_perfumes
1.ww_-_3-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_4-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_5-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_7-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_9_-_The_big_doors_of_the_country_barn_stand_open_and_ready
1.ww_-_Address_To_The_Scholars_Of_The_Village_School_Of_---
1.ww_-_A_Flower_Garden_At_Coleorton_Hall,_Leicestershire.
1.ww_-_A_Jewish_Family_In_A_Small_Valley_Opposite_St._Goar,_Upon_The_Rhine
1.ww_-_A_Narrow_Girdle_Of_Rough_Stones_And_Crags,
1.ww_-_An_Evening_Walk
1.ww_-_Bamboo_Cottage
1.ww_-_Beggars
1.ww_-_Book_Eighth-_Retrospect--Love_Of_Nature_Leading_To_Love_Of_Man
1.ww_-_Book_Eleventh-_France_[concluded]
1.ww_-_Book_Fifth-Books
1.ww_-_Book_First_[Introduction-Childhood_and_School_Time]
1.ww_-_Book_Fourth_[Summer_Vacation]
1.ww_-_Book_Second_[School-Time_Continued]
1.ww_-_Book_Seventh_[Residence_in_London]
1.ww_-_Book_Sixth_[Cambridge_and_the_Alps]
1.ww_-_Book_Tenth_{Residence_in_France_continued]
1.ww_-_Book_Third_[Residence_at_Cambridge]
1.ww_-_Characteristics_Of_A_Child_Three_Years_Old
1.ww_-_Character_Of_The_Happy_Warrior
1.ww_-_Composed_In_The_Valley_Near_Dover,_On_The_Day_Of_Landing
1.ww_-_Composed_on_The_Eve_Of_The_Marriage_Of_A_Friend_In_The_Vale_Of_Grasmere
1.ww_-_Guilt_And_Sorrow,_Or,_Incidents_Upon_Salisbury_Plain
1.ww_-_How_Sweet_It_Is,_When_Mother_Fancy_Rocks
1.ww_-_I_Know_an_Aged_Man_Constrained_to_Dwell
1.ww_-_Inscriptions_Written_with_a_Slate_Pencil_upon_a_Stone
1.ww_-_I_Travelled_among_Unknown_Men
1.ww_-_Lines_On_The_Expected_Invasion,_1803
1.ww_-_Lines_Written_As_A_School_Exercise_At_Hawkshead,_Anno_Aetatis_14
1.ww_-_Lines_Written_In_Early_Spring
1.ww_-_Lucy_Gray_[or_Solitude]
1.ww_-_Mark_The_Concentrated_Hazels_That_Enclose
1.ww_-_Maternal_Grief
1.ww_-_Memorials_Of_A_Tour_In_Scotland-_1803
1.ww_-_Michael-_A_Pastoral_Poem
1.ww_-_Minstrels
1.ww_-_Nutting
1.ww_-_Ode_on_Intimations_of_Immortality
1.ww_-_Ode_To_Lycoris._May_1817
1.ww_-_O_Me!_O_life!
1.ww_-_Resolution_And_Independence
1.ww_-_Ruth
1.ww_-_Song_at_the_Feast_of_Brougham_Castle
1.ww_-_Stanzas_Written_In_My_Pocket_Copy_Of_Thomsons_Castle_Of_Indolence
1.ww_-_Stray_Pleasures
1.ww_-_The_Affliction_Of_Margaret
1.ww_-_The_Brothers
1.ww_-_The_Emigrant_Mother
1.ww_-_The_Excursion-_II-_Book_First-_The_Wanderer
1.ww_-_The_Excursion-_IV-_Book_Third-_Despondency
1.ww_-_The_Excursion-_IX-_Book_Eighth-_The_Parsonage
1.ww_-_The_Excursion-_X-_Book_Ninth-_Discourse_of_the_Wanderer,_and_an_Evening_Visit_to_the_Lake
1.ww_-_The_Fairest,_Brightest,_Hues_Of_Ether_Fade
1.ww_-_The_French_Revolution_as_it_appeared_to_Enthusiasts
1.ww_-_The_Happy_Warrior
1.ww_-_The_Idiot_Boy
1.ww_-_The_Idle_Shepherd_Boys
1.ww_-_The_Kitten_And_Falling_Leaves
1.ww_-_The_Pet-Lamb
1.ww_-_The_Prelude,_Book_1-_Childhood_And_School-Time
1.ww_-_The_Recluse_-_Book_First
1.ww_-_The_Redbreast_Chasing_The_Butterfly
1.ww_-_The_Waggoner_-_Canto_Fourth
1.ww_-_The_Waggoner_-_Canto_Second
1.ww_-_The_Waggoner_-_Canto_Third
1.ww_-_To_A_Butterfly
1.ww_-_To_a_Highland_Girl_(At_Inversneyde,_upon_Loch_Lomond)
1.ww_-_To_May
1.ww_-_To_Sir_George_Howland_Beaumont,_Bart_From_the_South-West_Coast_Or_Cumberland_1811
1.ww_-_To_The_Daisy
1.ww_-_To_The_Same_Flower
1.ww_-_To_The_Same_Flower_(Second_Poem)
1.ww_-_Troilus_And_Cresida
1.ww_-_Vaudracour_And_Julia
1.ww_-_View_From_The_Top_Of_Black_Comb
1.ww_-_We_Are_Seven
1.ww_-_When_To_The_Attractions_Of_The_Busy_World
1.ww_-_Written_With_A_Pencil_Upon_A_Stone_In_The_Wall_Of_The_House,_On_The_Island_At_Grasmere
1.ww_-_Yarrow_Revisited
1.ww_-_Yarrow_Visited
20.01_-_Charyapada_-_Old_Bengali_Mystic_Poems
20.02_-_The_Golden_Journey
20.03_-_Act_I:The_Descent
20.04_-_Act_II:_The_Play_on_Earth
20.05_-_Act_III:_The_Return
2.01_-_Habit_1__Be_Proactive
2.01_-_Indeterminates,_Cosmic_Determinations_and_the_Indeterminable
2.01_-_Mandala_One
2.01_-_MASTER_AND_DISCIPLE
2.01_-_On_Books
2.01_-_THE_ADVENT_OF_LIFE
2.01_-_THE_ARCANE_SUBSTANCE_AND_THE_POINT
2.01_-_The_Attributes_of_Omega_Point_-_a_Transcendent_God
2.01_-_The_Object_of_Knowledge
2.01_-_The_Picture
2.01_-_The_Therapeutic_value_of_Abreaction
2.01_-_The_Two_Natures
2.01_-_The_Yoga_and_Its_Objects
2.01_-_War.
2.02_-_Brahman,_Purusha,_Ishwara_-_Maya,_Prakriti,_Shakti
2.02_-_Habit_2__Begin_with_the_End_in_Mind
2.02_-_IN_THE_COMPANY_OF_DEVOTEES
2.02_-_Meeting_With_the_Goddess
2.02_-_On_Letters
2.02_-_The_Bhakta.s_Renunciation_results_from_Love
2.02_-_THE_EXPANSION_OF_LIFE
2.02_-_The_Ishavasyopanishad_with_a_commentary_in_English
2.02_-_The_Status_of_Knowledge
2.02_-_The_Synthesis_of_Devotion_and_Knowledge
2.03_-_Atomic_Forms_And_Their_Combinations
2.03_-_DEMETER
2.03_-_Indra_and_the_Thought-Forces
2.03_-_Karmayogin__A_Commentary_on_the_Isha_Upanishad
2.03_-_On_Medicine
2.03_-_THE_ENIGMA_OF_BOLOGNA
2.03_-_The_Eternal_and_the_Individual
2.03_-_The_Mother-Complex
2.03_-_The_Naturalness_of_Bhakti-Yoga_and_its_Central_Secret
2.03_-_The_Pyx
2.03_-_The_Supreme_Divine
2.04_-_ADVICE_TO_HOUSEHOLDERS
2.04_-_Concentration
2.04_-_Positive_Aspects_of_the_Mother-Complex
2.04_-_The_Divine_and_the_Undivine
2.05_-_Apotheosis
2.05_-_Habit_3__Put_First_Things_First
2.05_-_ON_THE_VIRTUOUS
2.05_-_Renunciation
2.05_-_The_Cosmic_Illusion;_Mind,_Dream_and_Hallucination
2.05_-_THE_MASTER_AND_KESHAB
2.05_-_The_Tale_of_the_Vampires_Kingdom
2.06_-_On_Beauty
2.06_-_Reality_and_the_Cosmic_Illusion
2.06_-_THE_MASTER_WITH_THE_BRAHMO_DEVOTEES
2.06_-_The_Synthesis_of_the_Disciplines_of_Knowledge
2.06_-_The_Wand
2.06_-_Two_Tales_of_Seeking_and_Losing
2.06_-_Works_Devotion_and_Knowledge
2.07_-_The_Knowledge_and_the_Ignorance
2.07_-_THE_MASTER_AND_VIJAY_GOSWAMI
2.07_-_The_Mother__Relations_with_Others
2.07_-_The_Release_from_Subjection_to_the_Body
2.07_-_The_Supreme_Word_of_the_Gita
2.07_-_The_Upanishad_in_Aphorism
2.08_-_ALICE_IN_WONDERLAND
2.08_-_God_in_Power_of_Becoming
2.08_-_On_Non-Violence
2.08_-_THE_MASTERS_BIRTHDAY_CELEBRATION_AT_DAKSHINESWAR
2.08_-_The_Release_from_the_Heart_and_the_Mind
2.09_-_ADVICE_TO_THE_BRAHMOS
2.09_-_Human_representations_of_the_Divine_Ideal_of_Love
2.09_-_Memory,_Ego_and_Self-Experience
2.09_-_On_Sadhana
2.09_-_The_Pantacle
2.09_-_The_Release_from_the_Ego
2.0_-_Reincarnation_and_Karma
2.0_-_THE_ANTICHRIST
2.1.01_-_God_The_One_Reality
2.1.01_-_The_Central_Process_of_the_Sadhana
21.01_-_The_Mother_The_Nature_of_Her_Work
2.1.02_-_Classification_of_the_Parts_of_the_Being
2.1.02_-_Love_and_Death
2.1.02_-_Nature_The_World-Manifestation
2.1.03_-_Man_and_Superman
2.10_-_Knowledge_by_Identity_and_Separative_Knowledge
2.10_-_THE_MASTER_WITH_THE_BRAHMO_DEVOTEES_(II)
2.11_-_The_Boundaries_of_the_Ignorance
2.11_-_The_Modes_of_the_Self
2.1.1_-_The_Nature_of_the_Vital
2.11_-_THE_TOMB_SONG
2.11_-_WITH_THE_DEVOTEES_AT_DAKSHINEWAR
2.12_-_On_Miracles
2.12_-_THE_FESTIVAL_AT_PNIHTI
2.12_-_The_Origin_of_the_Ignorance
2.12_-_The_Realisation_of_Sachchidananda
2.1.2_-_The_Vital_and_Other_Levels_of_Being
2.1.3.2_-_Study
2.1.3.3_-_Reading
2.1.3.4_-_Conduct
2.13_-_Exclusive_Concentration_of_Consciousness-Force_and_the_Ignorance
2.13_-_On_Psychology
2.13_-_ON_THOSE_WHO_ARE_SUBLIME
2.13_-_The_Difficulties_of_the_Mental_Being
2.13_-_THE_MASTER_AND_M.
2.1.3_-_Wrong_Movements_of_the_Vital
2.1.4.2_-_Teaching
2.1.4.3_-_Discipline
2.14_-_INSTRUCTION_TO_VAISHNAVS_AND_BRHMOS
2.14_-_ON_THE_LAND_OF_EDUCATION
2.14_-_The_Origin_and_Remedy_of_Falsehood,_Error,_Wrong_and_Evil
2.14_-_The_Passive_and_the_Active_Brahman
2.14_-_The_Unpacking_of_God
2.1.5.4_-_Arts
2.15_-_LAST_VISIT_TO_KESHAB
2.15_-_ON_IMMACULATE_PERCEPTION
2.15_-_On_the_Gods_and_Asuras
2.15_-_The_Cosmic_Consciousness
2.16_-_Oneness
2.16_-_ON_SCHOLARS
2.16_-_The_15th_of_August
2.16_-_The_Integral_Knowledge_and_the_Aim_of_Life;_Four_Theories_of_Existence
2.16_-_WITH_THE_DEVOTEES_AT_DAKSHINESWAR
2.1.7.08_-_Comments_on_Specific_Lines_and_Passages_of_the_Poem
2.17_-_December_1938
2.17_-_M._AT_DAKSHINEWAR
2.17_-_The_Progress_to_Knowledge_-_God,_Man_and_Nature
2.17_-_The_Soul_and_Nature
2.18_-_January_1939
2.18_-_M._AT_DAKSHINESWAR
2.18_-_The_Evolutionary_Process_-_Ascent_and_Integration
2.18_-_The_Soul_and_Its_Liberation
2.19_-_Feb-May_1939
2.19_-_Out_of_the_Sevenfold_Ignorance_towards_the_Sevenfold_Knowledge
2.19_-_THE_MASTER_AND_HIS_INJURED_ARM
2.19_-_The_Planes_of_Our_Existence
2.19_-_THE_SOOTHSAYER
2.2.01_-_The_Outer_Being_and_the_Inner_Being
2.2.01_-_The_Problem_of_Consciousness
2.2.01_-_Work_and_Yoga
2.20_-_2.29_-_RULES_FOR_HOUSEHOLDERS_AND_MONKS
2.2.03_-_The_Divine_Force_in_Work
2.2.03_-_The_Psychic_Being
2.2.03_-_The_Science_of_Consciousness
2.2.04_-_Practical_Concerns_in_Work
22.07_-_The_Ashram,_the_World_and_The_Individual[^4]
2.20_-_Nov-Dec_1939
2.20_-_The_Lower_Triple_Purusha
2.20_-_The_Philosophy_of_Rebirth
2.2.1.01_-_The_World's_Greatest_Poets
2.21_-_1940
2.21_-_ON_HUMAN_PRUDENCE
2.21_-_The_Ladder_of_Self-transcendence
2.21_-_The_Order_of_the_Worlds
2.21_-_Towards_the_Supreme_Secret
2.22_-_1941-1943
2.22_-_Rebirth_and_Other_Worlds;_Karma,_the_Soul_and_Immortality
2.2.2_-_Sorrow_and_Suffering
2.22_-_THE_STILLEST_HOUR
2.22_-_The_Supreme_Secret
2.22_-_Vijnana_or_Gnosis
2.23_-_Man_and_the_Evolution
2.23_-_Supermind_and_Overmind
2.23_-_The_Conditions_of_Attainment_to_the_Gnosis
2.24_-_Gnosis_and_Ananda
2.2.4_-_Sentimentalism,_Sensitiveness,_Instability,_Laxity
2.24_-_The_Evolution_of_the_Spiritual_Man
2.24_-_The_Message_of_the_Gita
2.25_-_The_Higher_and_the_Lower_Knowledge
2.25_-_The_Triple_Transformation
2.26_-_The_Ascent_towards_Supermind
2.2.7.01_-_Some_General_Remarks
2.27_-_Hathayoga
2.27_-_The_Gnostic_Being
2.28_-_Rajayoga
2.28_-_The_Divine_Life
2.3.01_-_Aspiration_and_Surrender_to_the_Mother
2.3.01_-_Concentration_and_Meditation
2.3.01_-_The_Planes_or_Worlds_of_Consciousness
2.30_-_2.39_-_THE_MASTER_IN_VARIOUS_MOODS
2.3.02_-_Opening,_Sincerity_and_the_Mother's_Grace
2.3.02_-_The_Supermind_or_Supramental
2.3.03_-_Integral_Yoga
2.3.03_-_The_Overmind
2.3.04_-_The_Higher_Planes_of_Mind
2.3.04_-_The_Mother's_Force
2.3.06_-_The_Mind
2.3.06_-_The_Mother's_Lights
2.3.07_-_The_Mother_in_Visions,_Dreams_and_Experiences
2.3.07_-_The_Vital_Being_and_Vital_Consciousness
2.3.08_-_The_Mother's_Help_in_Difficulties
2.3.08_-_The_Physical_Consciousness
2.3.10_-_The_Subconscient_and_the_Inconscient
23.12_-_A_Note_On_The_Mother_of_Dreams
2.3.1_-_Ego_and_Its_Forms
2.3.2_-_Desire
2.32_-_Prophetic_Visions
2.4.01_-_Divine_Love,_Psychic_Love_and_Human_Love
2.40_-_2.49_-_THE_MASTER_AT_THE_HOUSES_OF_BALARM_AND_GIRISH
2.4.02_-_Bhakti,_Devotion,_Worship
24.05_-_Vision_of_Dante
2.4.1_-_Human_Relations_and_the_Spiritual_Life
2.4.2_-_Interactions_with_Others_and_the_Practice_of_Yoga
25.02_-_HYMN_TO_DAWN
27.05_-_In_Her_Company
29.03_-_In_Her_Company
29.04_-_Mothers_Playground
29.05_-_The_Bride_of_Brahman
29.06_-_There_is_also_another,_similar_or_parallel_story_in_the_Veda_about_the_God_Agni,_about_the_disappearance_of_this
2_-_Other_Hymns_to_Agni
3.00.1_-_Foreword
30.01_-_World-Literature
30.02_-_Greek_Drama
3.00.2_-_Introduction
30.03_-_Spirituality_in_Art
30.04_-_Intuition_and_Inspiration_in_Art
30.05_-_Rhythm_in_Poetry
30.06_-_The_Poet_and_The_Seer
30.07_-_The_Poet_and_the_Yogi
30.08_-_Poetry_and_Mantra
30.09_-_Lines_of_Tantra_(Charyapada)
3.00_-_Introduction
30.10_-_The_Greatness_of_Poetry
30.11_-_Modern_Poetry
30.12_-_The_Obscene_and_the_Ugly_-_Form_and_Essence
30.13_-_Rabindranath_the_Artist
30.14_-_Rabindranath_and_Modernism
30.15_-_The_Language_of_Rabindranath
30.17_-_Rabindranath,_Traveller_of_the_Infinite
30.18_-_Boris_Pasternak
3.01_-_Love_and_the_Triple_Path
3.01_-_THE_BIRTH_OF_THOUGHT
3.01_-_The_Principles_of_Ritual
3.01_-_The_Soul_World
3.01_-_Towards_the_Future
3.02_-_King_and_Queen
3.02_-_Mysticism
3.02_-_ON_THE_VISION_AND_THE_RIDDLE
3.02_-_SOL
3.02_-_THE_DEPLOYMENT_OF_THE_NOOSPHERE
3.02_-_The_Great_Secret
3.02_-_The_Motives_of_Devotion
3.02_-_The_Practice_Use_of_Dream-Analysis
3.02_-_The_Psychology_of_Rebirth
3.03_-_SULPHUR
3.03_-_The_Godward_Emotions
3.03_-_THE_MODERN_EARTH
3.03_-_The_Soul_Is_Mortal
3.03_-_The_Spirit_Land
3.04_-_BEFORE_SUNRISE
3.04_-_LUNA
3.04_-_The_Spirit_in_Spirit-Land_after_Death
3.04_-_The_Way_of_Devotion
3.05_-_SAL
3.05_-_The_Conjunction
3.06_-_Charity
3.06_-_Death
3.06_-_The_Delight_of_the_Divine
3.06_-_Thought-Forms_and_the_Human_Aura
3.07_-_ON_PASSING_BY
3.07_-_The_Formula_of_the_Holy_Grail
3.08_-_ON_APOSTATES
3.08_-_The_Myster_of_Love
3.09_-_The_Return_of_the_Soul
3.1.01_-_Distinctive_Features_of_the_Integral_Yoga
31.01_-_The_Heart_of_Bengal
3.1.01_-_The_Marbles_of_Time
3.1.01_-_The_Problem_of_Suffering_and_Evil
3.1.02_-_Spiritual_Evolution_and_the_Supramental
31.02_-_The_Mother-_Worship_of_the_Bengalis
3.1.03_-_A_Realistic_Adwaita
31.03_-_The_Trinity_of_Bengal
31.04_-_Sri_Ramakrishna
31.05_-_Vivekananda
31.06_-_Jagadish_Chandra_Bose
31.08_-_The_Unity_of_India
31.09_-_The_Cause_of_Indias_Decline
3.10_-_Of_the_Gestures
3.10_-_ON_THE_THREE_EVILS
3.10_-_Punishment
31.10_-_East_and_West
3.1.12_-_A_Child.s_Imagination
3.1.19_-_Parabrahman
3.11_-_Epilogue
3.11_-_Spells
3.1.24_-_In_the_Moonlight
3.1.2_-_Levels_of_the_Physical_Being
3.12_-_ON_OLD_AND_NEW_TABLETS
3.1.3_-_Difficulties_of_the_Physical_Being
3.13_-_Of_the_Banishings
3.13_-_THE_CONVALESCENT
3.14_-_Of_the_Consecrations
3.15_-_THE_OTHER_DANCING_SONG
3.16.1_-_Of_the_Oath
3.16.2_-_Of_the_Charge_of_the_Spirit
3.16_-_THE_SEVEN_SEALS_OR_THE_YES_AND_AMEN_SONG
3.18_-_Of_Clairvoyance_and_the_Body_of_Light
3.19_-_Of_Dramatic_Rituals
31_Hymns_to_the_Star_Goddess
3.2.02_-_The_Veda_and_the_Upanishads
32.03_-_In_This_Crisis
3.2.04_-_Suddenly_out_from_the_wonderful_East
32.04_-_The_Human_Body
3.2.05_-_The_Yoga_of_the_Bhagavad_Gita
3.2.07_-_Tantra
3.2.08_-_Bhakti_Yoga_and_Vaishnavism
32.08_-_Fit_and_Unfit_(A_Letter)
32.09_-_On_Karmayoga_(A_Letter)
3.2.09_-_The_Teachings_of_Some_Modern_Indian_Yogis
3.20_-_Of_the_Eucharist
32.10_-_A_Letter
32.11_-_Life_and_Self-Control_(A_Letter)
3.2.1_-_Food
3.2.2_-_Sleep
3.2.3_-_Dreams
3.2.4_-_Sex
3.3.01_-_The_Superman
3.3.02_-_All-Will_and_Free-Will
33.02_-_Subhash,_Oaten:_atlas,_Russell
33.03_-_Muraripukur_-_I
3.3.03_-_The_Delight_of_Works
33.06_-_Alipore_Court
33.09_-_Shyampukur
33.11_-_Pondicherry_II
33.13_-_My_Professors
33.14_-_I_Played_Football
33.15_-_My_Athletics
33.16_-_Soviet_Gymnasts
33.17_-_Two_Great_Wars
33.18_-_I_Bow_to_the_Mother
3.3.1_-_Illness_and_Health
34.03_-_Hymn_To_Dawn
34.07_-_The_Bride_of_Brahman
34.08_-_Hymn_To_Forest-Range
3.4.1_-_The_Subconscient_and_the_Integral_Yoga
3.5.01_-_Aphorisms
35.01_-_Hymn_To_The_Sweet_Lord
3-5_Full_Circle
3.6.01_-_Heraclitus
36.07_-_An_Introduction_To_The_Vedas
36.08_-_A_Commentary_on_the_First_Six_Suktas_of_Rigveda
36.09_-_THE_SIT_SUKTA
37.01_-_Yama_-_Nachiketa_(Katha_Upanishad)
37.05_-_Narada_-_Sanatkumara_(Chhandogya_Upanishad)
37.07_-_Ushasti_Chakrayana_(Chhandogya_Upanishad)
3.7.1.01_-_Rebirth
3.7.1.05_-_The_Significance_of_Rebirth
3.7.1.06_-_The_Ascending_Unity
3.7.1.07_-_Involution_and_Evolution
3.7.1.09_-_Karma_and_Freedom
3.7.1.10_-_Karma,_Will_and_Consequence
3.7.2.02_-_The_Terrestial_Law
3.7.2.03_-_Mind_Nature_and_Law_of_Karma
3.7.2.05_-_Appendix_I_-_The_Tangle_of_Karma
38.01_-_Asceticism_and_Renunciation
38.04_-_Great_Time
38.05_-_Living_Matter
38.06_-_Ravana_Vanquished
38.07_-_A_Poem
3.8.1.02_-_Arya_-_Its_Significance
39.09_-_Just_Be_There_Where_You_Are
3_-_Commentaries_and_Annotated_Translations
4.01_-_Conclusion_-_My_intellectual_position
4.01_-_INTRODUCTION
4.01_-_Introduction
4.01_-_THE_COLLECTIVE_ISSUE
4.01_-_The_Presence_of_God_in_the_World
4.02_-_BEYOND_THE_COLLECTIVE_-_THE_HYPER-PERSONAL
4.02_-_Humanity_in_Progress
4.03_-_Prayer_of_Quiet
4.03_-_The_Psychology_of_Self-Perfection
4.03_-_The_Senses_And_Mental_Pictures
4.03_-_The_Special_Phenomenology_of_the_Child_Archetype
4.03_-_THE_TRANSFORMATION_OF_THE_KING
4.03_-_THE_ULTIMATE_EARTH
4.04_-_Conclusion
4.04_-_The_Perfection_of_the_Mental_Being
4.04_-_THE_REGENERATION_OF_THE_KING
4.04_-_Weaknesses
4.05_-_The_Instruments_of_the_Spirit
4.05_-_THE_MAGICIAN
4.06_-_THE_KING_AS_ANTHROPOS
4.08_-_The_Liberation_of_the_Spirit
4.08_-_THE_RELIGIOUS_PROBLEM_OF_THE_KINGS_RENEWAL
4.09_-_REGINA
4.09_-_The_Liberation_of_the_Nature
4.0_-_The_Path_of_Knowledge
41.03_-_Bengali_Poems_of_Sri_Aurobindo
4.10_-_AT_NOON
4.10_-_The_Elements_of_Perfection
4.1.1.05_-_The_Central_Process_of_the_Yoga
4.1.1_-_The_Difficulties_of_Yoga
4.11_-_The_Perfection_of_Equality
4.1.2.03_-_Preparation_for_the_Supramental_Change
4.1.2_-_The_Difficulties_of_Human_Nature
4.12_-_The_Way_of_Equality
4.1.3_-_Imperfections_and_Periods_of_Arrest
4.13_-_ON_THE_HIGHER_MAN
4.1.4_-_Resistances,_Sufferings_and_Falls
4.14_-_The_Power_of_the_Instruments
4.15_-_Soul-Force_and_the_Fourfold_Personality
4.16_-_AMONG_DAUGHTERS_OF_THE_WILDERNESS
4.16_-_The_Divine_Shakti
4.17_-_The_Action_of_the_Divine_Shakti
4.19_-_The_Nature_of_the_supermind
4.1_-_Jnana
4.2.02_-_An_Image
4.2.04_-_Epiphany
4.20_-_The_Intuitive_Mind
4.2.1.04_-_The_Psychic_and_the_Mental,_Vital_and_Physical_Nature
4.21_-_The_Gradations_of_the_supermind
4.2.2.04_-_The_Psychic_Opening_and_the_Inner_Centres
4.2.2_-_Steps_towards_Overcoming_Difficulties
4.2.3_-_Vigilance,_Resolution,_Will_and_the_Divine_Help
4.24_-_The_supramental_Sense
4.2.5_-_Dealing_with_Depression_and_Despondency
4.25_-_Towards_the_supramental_Time_Vision
4.26_-_The_Supramental_Time_Consciousness
4.2_-_Karma
4.3.1.02_-_The_True_Self_Within
4.3.2.04_-_Degrees_in_the_Higher_Consciousness
4.3.2_-_Attacks_by_the_Hostile_Forces
4.3.3_-_Dealing_with_Hostile_Attacks
4.3_-_Bhakti
4.43_-_Chapter_Three
4.4.4.02_-_Peace,_Calm,_Quiet_as_a_Basis_for_the_Descent
4.4.4.03_-_The_Descent_of_Peace
4.4.4.07_-_The_Descent_of_Light
5.01_-_EPILOGUE
5.01_-_Message
5.02_-_THE_STATUE
5.03_-_The_Divine_Body
5.04_-_Formation_Of_The_World
5.05_-_THE_OLD_ADAM
5.06_-_Supermind_in_the_Evolution
5.06_-_THE_TRANSFORMATION
5.07_-_Beginnings_Of_Civilization
5.07_-_ROTUNDUM,_HEAD,_AND_BRAIN
5.08_-_ADAM_AS_TOTALITY
5.08_-_Supermind_and_Mind_of_Light
5.1.01.1_-_The_Book_of_the_Herald
5.1.01.2_-_The_Book_of_the_Statesman
5.1.01.3_-_The_Book_of_the_Assembly
5.1.01.4_-_The_Book_of_Partings
5.1.01.5_-_The_Book_of_Achilles
5.1.01.7_-_The_Book_of_the_Woman
5.1.01.8_-_The_Book_of_the_Gods
5.1.01.9_-_Book_IX
5.1.01_-_Terminology
5.1.02_-_Ahana
5.1.02_-_The_Gods
5.1.03_-_The_Hostile_Forces_and_Hostile_Beings
5.2.01_-_The_Descent_of_Ahana
5.2.01_-_Word-Formation
5.2.02_-_The_Meditations_of_Mandavya
5.3.04_-_Roots_in_M
5.4.01_-_Notes_on_Root-Sounds
5.4.01_-_Occult_Knowledge
5_-_The_Phenomenology_of_the_Spirit_in_Fairytales
6.01_-_THE_ALCHEMICAL_VIEW_OF_THE_UNION_OF_OPPOSITES
6.02_-_STAGES_OF_THE_CONJUNCTION
6.04_-_THE_MEANING_OF_THE_ALCHEMICAL_PROCEDURE
6.05_-_THE_PSYCHOLOGICAL_INTERPRETATION_OF_THE_PROCEDURE
6.07_-_THE_MONOCOLUS
6.08_-_THE_CONTENT_AND_MEANING_OF_THE_FIRST_TWO_STAGES
6.09_-_Imaginary_Visions
6.09_-_THE_THIRD_STAGE_-_THE_UNUS_MUNDUS
6.0_-_Conscious,_Unconscious,_and_Individuation
7.01_-_The_Soul_(the_Psychic)
7.03_-_Cheerfulness
7.06_-_The_Simple_Life
7.08_-_Sincerity
7.10_-_Order
7.12_-_The_Giver
7.15_-_The_Family
7.3.10_-_The_Lost_Boat
7.4.03_-_The_Cosmic_Dance
7.5.26_-_The_Golden_Light
7.6.02_-_The_World_Game
7.6.13_-_The_End?
Aeneid
Apology
Appendix_4_-_Priest_Spells
A_Secret_Miracle
Averroes_Search
Big_Mind_(non-dual)
Big_Mind_(ten_perfections)
Blazing_P1_-_Preconventional_consciousness
Blazing_P2_-_Map_the_Stages_of_Conventional_Consciousness
Blazing_P3_-_Explore_the_Stages_of_Postconventional_Consciousness
BOOK_I._-_Augustine_censures_the_pagans,_who_attri_buted_the_calamities_of_the_world,_and_especially_the_sack_of_Rome_by_the_Goths,_to_the_Christian_religion_and_its_prohibition_of_the_worship_of_the_gods
BOOK_II._-_A_review_of_the_calamities_suffered_by_the_Romans_before_the_time_of_Christ,_showing_that_their_gods_had_plunged_them_into_corruption_and_vice
BOOK_III._-_The_external_calamities_of_Rome
BOOK_II._--_PART_I._ANTHROPOGENESIS.
BOOK_II._--_PART_III._ADDENDA._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_II._--_PART_II._THE_ARCHAIC_SYMBOLISM_OF_THE_WORLD-RELIGIONS
BOOK_I._--_PART_I._COSMIC_EVOLUTION
BOOK_I._--_PART_III._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_IV._-_That_empire_was_given_to_Rome_not_by_the_gods,_but_by_the_One_True_God
Book_of_Exodus
Book_of_Genesis
Book_of_Imaginary_Beings_(text)
Book_of_Psalms
BOOK_VIII._-_Some_account_of_the_Socratic_and_Platonic_philosophy,_and_a_refutation_of_the_doctrine_of_Apuleius_that_the_demons_should_be_worshipped_as_mediators_between_gods_and_men
BOOK_VII._-_Of_the_select_gods_of_the_civil_theology,_and_that_eternal_life_is_not_obtained_by_worshipping_them
BOOK_VI._-_Of_Varros_threefold_division_of_theology,_and_of_the_inability_of_the_gods_to_contri_bute_anything_to_the_happiness_of_the_future_life
BOOK_V._-_Of_fate,_freewill,_and_God's_prescience,_and_of_the_source_of_the_virtues_of_the_ancient_Romans
BOOK_XIII._-_That_death_is_penal,_and_had_its_origin_in_Adam's_sin
BOOK_XIV._-_Of_the_punishment_and_results_of_mans_first_sin,_and_of_the_propagation_of_man_without_lust
BOOK_XIX._-_A_review_of_the_philosophical_opinions_regarding_the_Supreme_Good,_and_a_comparison_of_these_opinions_with_the_Christian_belief_regarding_happiness
BOOK_X._-_Porphyrys_doctrine_of_redemption
BOOK_XVIII._-_A_parallel_history_of_the_earthly_and_heavenly_cities_from_the_time_of_Abraham_to_the_end_of_the_world
BOOK_XVI._-_The_history_of_the_city_of_God_from_Noah_to_the_time_of_the_kings_of_Israel
BOOK_XXII._-_Of_the_eternal_happiness_of_the_saints,_the_resurrection_of_the_body,_and_the_miracles_of_the_early_Church
BOOK_XXI._-_Of_the_eternal_punishment_of_the_wicked_in_hell,_and_of_the_various_objections_urged_against_it
BS_1_-_Introduction_to_the_Idea_of_God
CASE_1_-_JOSHUS_DOG
CHAPTER_28_-_Describes_the_nature_of_the_Prayer_of_Recollection_and_sets_down
City_of_God_-_BOOK_I
Conversations_with_Sri_Aurobindo
COSA_-_BOOK_I
COSA_-_BOOK_III
COSA_-_BOOK_IV
COSA_-_BOOK_VIII
Cratylus
Deutsches_Requiem
ENNEAD_01.04_-_Whether_Animals_May_Be_Termed_Happy.
ENNEAD_02.01_-_Of_the_Heaven.
ENNEAD_02.03_-_Whether_Astrology_is_of_any_Value.
ENNEAD_02.04a_-_Of_Matter.
ENNEAD_02.05_-_Of_the_Aristotelian_Distinction_Between_Actuality_and_Potentiality.
ENNEAD_02.06_-_Of_Essence_and_Being.
ENNEAD_02.09_-_Against_the_Gnostics;_or,_That_the_Creator_and_the_World_are_Not_Evil.
ENNEAD_03.01_-_Concerning_Fate.
ENNEAD_03.02_-_Of_Providence.
ENNEAD_03.03_-_Continuation_of_That_on_Providence.
ENNEAD_03.04_-_Of_Our_Individual_Guardian.
ENNEAD_03.05_-_Of_Love,_or_Eros.
ENNEAD_03.06_-_Of_the_Impassibility_of_Incorporeal_Entities_(Soul_and_and_Matter).
ENNEAD_03.07_-_Of_Time_and_Eternity.
ENNEAD_03.08b_-_Of_Nature,_Contemplation_and_Unity.
ENNEAD_04.02_-_How_the_Soul_Mediates_Between_Indivisible_and_Divisible_Essence.
ENNEAD_04.03_-_Psychological_Questions.
ENNEAD_04.04_-_Questions_About_the_Soul.
ENNEAD_04.05_-_Psychological_Questions_III._-_About_the_Process_of_Vision_and_Hearing.
ENNEAD_04.07_-_Of_the_Immortality_of_the_Soul:_Polemic_Against_Materialism.
ENNEAD_05.01_-_The_Three_Principal_Hypostases,_or_Forms_of_Existence.
ENNEAD_05.03_-_The_Self-Consciousnesses,_and_What_is_Above_Them.
ENNEAD_05.08_-_Concerning_Intelligible_Beauty.
ENNEAD_05.09_-_Of_Intelligence,_Ideas_and_Essence.
ENNEAD_06.01_-_Of_the_Ten_Aristotelian_and_Four_Stoic_Categories.
ENNEAD_06.02_-_The_Categories_of_Plotinos.
ENNEAD_06.03_-_Plotinos_Own_Sense-Categories.
ENNEAD_06.05_-_The_One_and_Identical_Being_is_Everywhere_Present_In_Its_Entirety.345
ENNEAD_06.06_-_Of_Numbers.
ENNEAD_06.07_-_How_Ideas_Multiplied,_and_the_Good.
ENNEAD_06.08_-_Of_the_Will_of_the_One.
Euthyphro
For_a_Breath_I_Tarry
Gorgias
Guru_Granth_Sahib_first_part
Ion
IS_-_Chapter_1
I._THE_ATTRACTIVE_POWER_OF_GOD
Liber_111_-_The_Book_of_Wisdom_-_LIBER_ALEPH_VEL_CXI
Liber_46_-_The_Key_of_the_Mysteries
Liber_71_-_The_Voice_of_the_Silence_-_The_Two_Paths_-_The_Seven_Portals
LUX.03_-_INVOCATION
Meno
MoM_References
new_computer
Partial_Magic_in_the_Quixote
Phaedo
r1909_06_18
r1912_02_06
r1912_07_22
r1912_12_17
r1912_12_28
r1912_12_31
r1913_01_05
r1913_01_14
r1913_01_16
r1913_01_26
r1913_09_18
r1913_11_13
r1913_11_18
r1913_11_21
r1913_11_26
r1913_12_13
r1913_12_18
r1913_12_24
r1913_12_30
r1914_01_10
r1914_01_15
r1914_03_18
r1914_03_23
r1914_03_26
r1914_03_28
r1914_03_29
r1914_04_14
r1914_04_19
r1914_05_09
r1914_06_10
r1914_06_12
r1914_06_18
r1914_06_29
r1914_07_04
r1914_07_15
r1914_07_21
r1914_07_30
r1914_08_05
r1914_08_16
r1914_09_13
r1914_09_22
r1914_11_21
r1914_11_26
r1914_12_12
r1914_12_20
r1914_12_21
r1915_01_02
r1915_01_24
r1915_05_21
r1915_05_23
r1916_02_20
r1917_02_02
r1917_02_03
r1917_02_04
r1917_02_12
r1917_02_13
r1917_02_27
r1917_03_01
r1917_03_02
r1917_03_08
r1917_03_10
r1917_03_13
r1917_03_21
r1917_09_02
r1917_09_12
r1918_02_14
r1918_02_18
r1918_02_25
r1918_05_04
r1918_05_08
r1918_05_11
r1918_05_13
r1918_05_18
r1918_05_19
r1918_05_21
r1918_05_22
r1918_05_23
r1918_05_24
r1918_06_14
r1919_07_21
r1919_08_04
r1920_02_09
r1920_02_22
r1920_03_06
r1927_01_19
r1927_01_22
r1927_10_30
Ragnarok
Sayings_of_Sri_Ramakrishna_(text)
SB_1.1_-_Questions_by_the_Sages
Sophist
Symposium
Tablet_1_-
Talks_001-025
Talks_026-050
Talks_051-075
Talks_125-150
Talks_500-550
Talks_600-652
Talks_With_Sri_Aurobindo_1
Talks_With_Sri_Aurobindo_2
The_Act_of_Creation_text
Theaetetus
The_Aleph
The_Anapanasati_Sutta__A_Practical_Guide_to_Mindfullness_of_Breathing_and_Tranquil_Wisdom_Meditation
the_Castle
The_Coming_Race_Contents
The_Dream_of_a_Ridiculous_Man
The_Dwellings_of_the_Philosophers
the_Eternal_Wisdom
The_Garden_of_Forking_Paths_1
The_Garden_of_Forking_Paths_2
The_Gold_Bug
The_Gospel_According_to_Matthew
The_Immortal
The_Library_Of_Babel_2
The_Logomachy_of_Zos
The_Lottery_in_Babylon
The_One_Who_Walks_Away
The_Pilgrims_Progress
The_Poems_of_Cold_Mountain
The_Riddle_of_this_World
The_Shadow_Out_Of_Time
The_Way_of_Perfection
The_Zahir
Thus_Spoke_Zarathustra_text
Timaeus
Verses_of_Vemana

PRIMARY CLASS

console
videogames
SEE ALSO

SIMILAR TITLES
incase I wanted to. So its like who wants the juice? one part doesnt and one part does. what is each part? what forces are at play with each action. like why am I doing this? conception sections try to explain it, the why but ahhh too meta. later.
a case for not playing videogames
Collected Plays And Stories
music playlists
Play
playful
plays
Playstation
Ready Player One
the Divine Play
the Divine Playmate
the Player Character
the Playground

DEFINITIONS

Playground ::: A visual language for children, developed for Apple's Vivarium Project. OOPSLA 89 or 90?

Playground
A visual language for children, developed for Apple's Vivarium
Project. OOPSLA 89 or 90?


Play, Inc.
The company which designed and markets {Snappy Video
Snapshot}.
{(http://play.com)}.
(1997-07-11)


Play, Inc. ::: (company) The company which designed and markets Snappy Video Snapshot. . (1997-07-11)

Playstation
The leading family of {games consoles}, from
{Sony Corporation} consisting of the original Playstation
(PS1) and the Playstation 2 (PS2).
The basic Playstations consist of a small box containing the
processor and a {DVD} reader, with video outputs to connect to
a TV, sockets for two game controllers, and a socket for one
or two memory cards. The PS2 also has {USB} sockets.
The PS2 can run PS1 software because the PS2's I/O processor
is the same as the PS1's CPU.
{(http://scea.sony.com/playstation/)}.
{FAQ
(http://flex.net/users/cjayc/vgfa/system/sony_psx.txt)}.
[Dates? Features?]
(2003-07-29)


Playstation ::: (games, hardware) The leading family of games consoles, from Sony Corporation consisting of the original Playstation (PS1) and the Playstation 2 (PS2).The basic Playstations consist of a small box containing the processor and a DVD reader, with video outputs to connect to a TV, sockets for two game controllers, and a socket for one or two memory cards. The PS2 also has USB sockets.The PS2 can run PS1 software because the PS2's I/O processor is the same as the PS1's CPU. . .[Dates? Features?](2003-07-29)

playa ::: n. --> A beach; a strand; in the plains and deserts of Texas, New Mexico, and Arizona, a broad, level spot, on which subsequently becomes dry by evaporation.

play: A specific piece of drama, usually performed on a stage by actors who often wear makeup or costumes to help them resemble the character they represent.

playbill ::: n. --> A printed programme of a play, with the parts assigned to the actors.

playbook ::: n. --> A book of dramatic compositions; a book of the play.

PLAY
A language for {real-time} music synthesis.
1977.
["An Introduction to the Play Program", J. Chadabe ete al,
Computer Music J 2,1 (1978)].
(1999-06-04)


play by electronic mail
A kind of game where the players use {electronic mail}
to communicate. This may be done via a human {moderator} or
an automatic {mailing list} {exploder} on some central machine
or it may be fully distributed with each player just
addressing his mail to all other players.
This is a natural extension of "play by mail" games conducted
via {snail mail}.
{(http://fermi.clas.virginia.edu/~gl8f/pbm.html)}. {Usenet}
newsgroup: {news:rec.games.pbm}.
(1994-10-27)


play by electronic mail ::: (games) A kind of game where the players use electronic mail to communicate. This may be done via a human moderator or an automatic mailing list exploder on some central machine or it may be fully distributed with each player just addressing his mail to all other players.This is a natural extension of play by mail games conducted via snail mail. (1994-10-27)

playday ::: n. --> A day given to play or diversion; a holiday.

played ... as at other times. And Saul held a spear

played ::: imp. & p. p. --> of Play

player ::: n. --> One who plays, or amuses himself; one without serious aims; an idler; a trifler.
One who plays any game.
A dramatic actor.
One who plays on an instrument of music.
A gamester; a gambler.


playfellow ::: n. --> A companion in amusements or sports; a playmate.

playfellows ::: companions at play; playmates.

playfere ::: n. --> A playfellow.

playful ::: a. --> Sportive; gamboling; frolicsome; indulging a sportive fancy; humorous; merry; as, a playful child; a playful writer.

playgame ::: n. --> Play of children.

playgoer ::: n. --> One who frequents playhouses, or attends dramatic performances.

playgoing ::: a. --> Frequenting playhouses; as, the playgoing public. ::: n. --> The practice of going to plays.

playground ::: n. --> A piece of ground used for recreation; as, the playground of a school.

playhouse ::: n. --> A building used for dramatic exhibitions; a theater.
A house for children to play in; a toyhouse.


playing ::: p. pr. & vb. n. --> of Play ::: --> a. & vb. n. of Play.

PLAY ::: (language, music) A language for real-time music synthesis. 1977.[An Introduction to the Play Program, J. Chadabe ete al, Computer Music J 2,1 (1999-06-04)

playmaker ::: n. --> A playwright.

playmate ::: n. --> A companion in diversions; a playfellow.

play ::: n. --> To engage in sport or lively recreation; to exercise for the sake of amusement; to frolic; to spot.
To act with levity or thoughtlessness; to trifle; to be careless.
To contend, or take part, in a game; as, to play ball; hence, to gamble; as, he played for heavy stakes.
To perform on an instrument of music; as, to play on a flute.
To act; to behave; to practice deception.


playpen
(IBM) A room where programmers work.
Compare {salt mines}.
[{Jargon File}]


playpen ::: (IBM) A room where programmers work.Compare salt mines.[Jargon File]

playsome ::: a. --> Playful; wanton; sportive.

playte
/playt/ 16 {bits}, by analogy with {byte}.
Usage: rare and extremely silly.
See also {dynner}, {crumb}.
[{Jargon File}]
(1997-12-03)


playte ::: (data, jargon) /playt/ 16 bits, by analogy with byte. Usage: rare and extremely silly.See also dynner, crumb.[Jargon File] (1997-12-03)

playte ::: n. --> See Pleyt.

plaything ::: 1. A toy. 2. One who is used capriciously and selfishly by another. playthings.

plaything ::: n. --> A thing to play with; a toy; anything that serves to amuse.

playtime ::: n. --> Time for play or diversion.

play within a play: This is a narrative technique where there is the principal storyof the play, within which there is another fictive play, generally performed by the characters of the principal play. See story within a story and frame narrative.

playwright ::: n. --> A maker or adapter of plays.

playwright: Someone who writes or has written plays. See dramatist.

playwriter ::: n. --> A writer of plays; a dramatist; a playwright.



QUOTES [336 / 336 - 500 / 54456]


KEYS (10k)

  209 Sri Aurobindo
   13 The Mother
   7 Gary Gygax
   5 Aleister Crowley
   3 Sri Ramakrishna
   3 Michio Kaku
   3 Ken Wilber
   3 Kabir
   3 Heraclitus
   3 Essential Integral
   3 Arthur C Clarke
   2 Tom Butler-Bowdon
   2 Robert Anton Wilson
   2 Howard Gardner
   2 Friedrich Nietzsche
   2 Ernest Cline
   2 Erik Erikson
   2 Bram Stoker
   2 Blaise Pascal
   1 सर्वदास
   1 Wikipedia
   1 Waking Life
   1 V.S. Apte (1965)
   1 Voltaire
   1 Virginia Woolf
   1 Velimir Khlebnikov
   1 Unknown
   1 TheMidnightGospel
   1 Terry Pratchett
   1 Terence McKenna
   1 Taigu Ryokan
   1 Stanley Kubrick
   1 Sri Ramana Maharshi
   1 Sophia Loren
   1 Sine.wav
   1 Satprem
   1 Saint Thomas Aquinas
   1 Richard P Feynman
   1 Ralph Waldo Emerson
   1 Rabindranath Tagore
   1 Plotinus
   1 Philip K Dick
   1 Peter J Carroll
   1 Nyoshul Khen Rinpoche
   1 Nik Douglas and Penny Slinger
   1 Mortimer J Adler
   1 Lucius Annaeus Seneca
   1 Lewis Carroll
   1 Laura Whitcomb
   1 KGentle
   1 Judith Simmer-Brown
   1 Joseph Goodman
   1 Joseph Campbell
   1 Johann Wolfgang von Goethe
   1 Johannes Kepler
   1 Jim Carrey
   1 Jetsun Milarepa
   1 James V. Schall
   1 James S A Corey
   1 Jalaluddin Rumi
   1 Isaac Newton
   1 Irvin D Yalom
   1 Integral Yoga; Sri Aurobindo's Teaching and Method of Practice
   1 Hermann Hesse
   1 Haruki Murakami
   1 G K Chesterton
   1 Georg C Lichtenberg
   1 Gautam Dasgupta (1976:125-26)
   1 Friedrich Schiller
   1 Étienne de La Boétie
   1 encompass'd d quiet never echoes to a sound.
As I walk
   1 Dungeons and Dragons Players Handbook.
   1 Dr Robert A Hatch
   1 Dion Fortune
   1 Charles Eisenstein
   1 Carl Jung
   1 Bruno Bettelheim
   1 Arthur Schopenhauer
   1 A N Wilson
   1 Allen Ginsberg
   1 Alice A. Bailey
   1 Alfred North Whitehead
   1 Alfred Korzybski
   1 Albert Einstein

NEW FULL DB (2.4M)

   9 Anonymous
   3 Rick Riordan
   3 Markus Zusak
   3 Louis Armstrong
   3 Jimi Hendrix
   3 Albert Einstein
   2 William Shakespeare
   2 Ursula K Le Guin
   2 Stephen King
   2 Red Auerbach
   2 Michael Jordan
   2 Lil Wayne
   2 Lauryn Hill
   2 Karl Lagerfeld
   2 Kabir
   2 Julia Cameron
   2 Jules Feiffer
   2 Johan Huizinga
   2 Joe DiMaggio
   2 Hattie McDaniel

1:Play reaches the habits most needed for intellectual growth.
   ~ Bruno Bettelheim,
2:Every man is a divinity in disguise, a god playing the fool. ~ Ralph Waldo Emerson,
3:At play with him as with her child or slave, ~ Sri Aurobindo, Savitri, The Secret Knowledge,
4:Man is most nearly himself when he achieves the seriousness of a child at play.
   ~ Heraclitus,
5:All things too great end soon. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
6:It is wonderful what tricks our dreams play us, and how conveniently we can imagine. ~ Bram Stoker,
7:Role-playing isn't storytelling. If the dungeon master is directing it, it's not a game. ~ Gary Gygax,
8:Dare greatly and thou shalt be great. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
9:There's a child in the forest! He plays a flute you can hear with your heart ears. ~ TheMidnightGospel,
10:Adore and what you adore attempt to be. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
11:Time is a game played beautifully by children. ~ Heraclitus,
12:Eternity is a child playing, playing checkers; the kingdom belongs to a child. ~ Heraclitus,
13:Play is the most natural method of self-healing that childhood affords. ~ Erik Erikson,
14:The richest and fullest lives attempt to achieve an inner balance between three realms: work, love and play. ~ Erik Erikson,
15:One age has seen the dreams another lives. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
16:The game I play is a very interesting one. It's imagination, in a tight straightjacket. ~ Richard P Feynman,
17:Ah, well yes if you want to play yourself you can, everyone is a character in the tales of time
   ~ Sine.wav,
18:Depression is your avatar telling you it's tired of being the character you're trying to play.
   ~ Jim Carrey,
19:Hope not to hear truth often in royal courts. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
20:Man out of Nature wakes to God’s complexities, ~ Sri Aurobindo, Collected Plays and Stories, Act I,
21:Death fosters life that life may suckle death. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
22:Life is like a play: it's not the length, but the excellence of the acting that matters. ~ Lucius Annaeus Seneca,
23:Men have made kings that folly might have food. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
24:In Islam
All men are equal underneath the King. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
25:The moments are Fate’s thoughts
Watching me. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
26:When Love desires Love,
    Then Love is born. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
27:Words are but ghosts unless they speak the heart. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
28:Love is the hoop of the gods
Hearts to combine. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
29:Love itself is sweet enough
Though unreturned. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
30:The master of my stars is he
Who owns no master. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
31:All things Vary to keep the secret witness pleased. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
32:All is their play:
This whole wide world is only he and she. ~ Sri Aurobindo, Savitri, The Secret Knowledge,
33:You'd be amazed how much research you can get done when you have no life whatsoever. ~ Ernest Cline, Ready Player One,
34:All work must be play, but a divine play, played for the Divine, with the Divine.
   ~ The Mother, Words Of The Mother II,
35:There is a meaning in each play of Chance, ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,
36:All Nature is a display and a play of God, ~ Sri Aurobindo, Essays in Philosophy and Yoga, Involution and Evolution,
37:Soonest is always best
When noble deeds are to be done. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
38:The gods use instruments,
Not ask their consent. ~ Sri Aurobindo, Collected Plays and Short Stories - I, Act Five,
39:Man is a creature blinded by the sun
Who errs by seeing ~ Sri Aurobindo, Collected Plays and Stories, Act III,
40:Our chains are either a play or an illusion or both play & illusion. ~ Sri Aurobindo, Isha Upanishad, The Isha Upanishad,
41:We move as we must,
Not as we choose, whatever we may think. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
42:Music and thunder are the rhythmic chords
Of one majestic harp. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
43:Most people do not really choose—they undergo the play of the forces. ~ Sri Aurobindo, Letters on Yoga - I, Occult Knowledge,
44:It is requisite for the relaxation of the mind that we make use, from time to time, of playful deeds and jokes.~ Saint Thomas Aquinas,
45:To lift our hopes heaven-high and to extend them
As wide as earth. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
46:Unity is sweet substance of the heart
And not a chain that binds. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
47:Some day surely
The world too shall be saved from death by love. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
48:It was to amuse himself God made the world.
For He was dull alone! ~ Sri Aurobindo, Collected Plays and Stories, Act II,
49:A deep spiritual calm no touch can sway
Upholds the mystery of this Passion-play. ~ Sri Aurobindo, Collected Poems, Life-Unity,
50:Of what use are the gods
If they crown not our just desires on earth? ~ Sri Aurobindo, Collected Plays and Stories, Act I,
51:The sentinel love in man ever imagines
Strange perils for its object. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
52:Nature must flower into art
And science, or else wherefore are we men? ~ Sri Aurobindo, Collected Plays and Stories, Act I,
53:Our consciousness a torch that plays Between the Abyss and a supernal Light. ~ Sri Aurobindo, Collected Poems, Man of the Mediator,
54:As with the figure of a symbol dance
The screened Omniscient plays at Ignorance. ~ Sri Aurobindo, Collected Poems, The Dual Being,
55:From light lips and casual thoughts
The gods speak best as if by chance. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
56:Nothing happens in the cosmic play
But at its time and in its foreseen place. ~ Sri Aurobindo, Savitri, The Destined Meeting-place,
57:Ravenous waves that march
With blue fierce nostrils quivering for prey, ~ Sri Aurobindo, Collected Plays and Stories, Prologue,
58:Some of the roots of role-playing games (RPGs) are grounded in clinical and academic role assumption and role-playing exercises. ~ Gary Gygax,
59:Through the shocks of difficulty and death
Man shall attain his godhead. ~ Sri Aurobindo, Collected Plays and Stories, Prologue,
60:Sometimes we know them least
Whom most we love and constantly consort with. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
61:There are no whole truths, all truths are half-truths. It is trying to treat them as whole truths that plays the devil. ~ Alfred North Whitehead,
62:It is the tears, the blood
Prodigally spent that build a nation’s greatness. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
63:The Facts were right there waiting for me, hidden in old books written by people who weren't afraid to be honest ~ Ernest Cline, Ready Player One,
64:Thy golden Light came down into my feet;
My earth is now Thy playfield and Thy seat. ~ Sri Aurobindo, Collected Poems, The Golden Light,
65:Nations that conquer widest, perish first, Sapped by the hate of an uneasy world. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
66:Our rapture here is short before we go
To other sweetness on some rarer height ~ Sri Aurobindo, Collected Plays and Stories, Act II,
67:All the play in this world is based on a certain relative free will in the individual being. ~ Sri Aurobindo, Letters on Yoga - II, Surrender,
68:All the play in this world is based on a certain relative free will in the individual being. ~ Sri Aurobindo, Letters on Yoga - II, Surrender,
69:God’s valet moves away these living dolls
To quite another room and better play. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
70:Like the sweet kindly earth whose patient love
Embraces even our faults and sins. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
71:She builds, she breaks,
She thrones, she slays, as needed for her harmony. ~ Sri Aurobindo, Collected Plays and Short Stories - I, Act One,
72:Even his petty world man cannot rule.
We fear, we blame; life wantons her own way, ~ Sri Aurobindo, Collected Plays and Stories, Act II,
73:Kings are men,
And they are set above their fellow-mortals
To serve us, friends. ~ Sri Aurobindo, Collected Plays and Stories, Act IV,
74:We are the future’s greatness, therefore owe
Some duty to the grandeurs of the past. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
75:But the blind nether forces still have power
And the ascent is slow and long is Time. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
76:Nada is found within. It is a music without strings which plays in the body. It penetrates the inner and outer and leads you away from illusion. ~ Kabir,
77:There work was play and play the only work,
The tasks of heaven a game of godlike might: ~ Sri Aurobindo, Savitri, The Glory and Fall of Life,
78:Truth! Seldom with her bright and burning wand
She touches the unwilling lips of men ~ Sri Aurobindo, Collected Plays and Stories, Act I,
79:Look round and thou wilt see a world on guard.
All life here armoured walks, shut in. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
80:The passion of oneness two hearts are this moment
Denies the steps of death for ever. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
81:Yon mountain-peak or some base valley clod,
‘Tis one to the heaven-sailing star above ~ Sri Aurobindo, Collected Plays and Stories, Act I,
82:Dwell far above the laws that govern men
And are not to be mapped by mortal judgments. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
83:The flower blooms for its flowerhood only,
And not to make its parent bed more high. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
84:They, even when they tyrannise, remain
Most dear and reverend still, who gave us birth. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
85:To lavish upon all men love and trust
Shows the heart’s royalty, not the brain’s craft. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
86:Must first have striven, many must have failed
Before a great thing can be done on earth, ~ Sri Aurobindo, Collected Plays and Stories, Act I,
87:A presence sits within my heart that sees
Each moment’s need and finds the road to meet it. ~ Sri Aurobindo, Collected Plays and Stories, Act IV,
88:This world’s the puppet of a silent Will
Which moves unguessed behind our acts and thoughts; ~ Sri Aurobindo, Collected Plays and Stories, Act V,
89:The deepest things are those thought seizes not;
Our spirits live their hidden meaning out. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
90:They shut our eyes and drive us, but at last
Our souls remember when the act is done. ~ Sri Aurobindo, Collected Plays and Short Stories - I, Act Five,
91:‘Tis Love, ‘tis Love fills up the gulfs of Time!
By Love we find our kinship with the stars. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
92:When my Lord is not playing His flute, He dances. And all that He does He does so beautifully. But in subduing evil, my Lord is at His most beautiful.
   ~ सर्वदास,
93:Desire’s so sweet
That the mere joy might seem quite crude and poor
And spoil the sweetness. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
94:Noble speech
Is a high prelude fit for noble deeds;
It is the lion’s roar before he leaps. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
95:What is God after all?
   An eternal child
   playing an eternal game
   in an eternal garden.
   ~ Sri Aurobindo, Essays In Philosophy And Yoga, Thoughts And Glimpses,
96:She has her secret calls
And works divinely behind play and sleep,
Shaping her infant powers. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
97:The court gossips over them while they live
And the world gossips over them when they are dead. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
98:For she alone is prompter on our stage,
And all things move by an established doom,
Not freely. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
99:The Gods prodigiously sometimes reverse
The common rule of Nature and compel
Matter with soul. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
100:Dream not that happiness
Can spring from wicked roots. God overrules
And Right denied is mighty. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
101:All life is the play of universal forces. The individual gives a personal form to these universal forces. ~ Sri Aurobindo, Letters on Yoga - I, Occult Knowledge,
102:Hoof-Mark on Breast (Sri Vatsa)
To lift our hopes heaven-high and to extend them
As wide as earth. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
103:God is a great & cruel Torturer because He loves. You do not understand this, because you have not seen & played with Krishna.
   ~ Sri Aurobindo, Essays Divine And Human,
104:Fate orders all and Fate I now
Have recognised as the world’s mystic Will
That loves and labours. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
105:I would hate to be taken seriously. Serious people are always so grim and uptight that they make me want to dance naked on the lawn playing a flute. ~ Robert Anton Wilson,
106:This is the Nemesis of men who rise
Too suddenly by fraud or violence
That they suspect all hearts. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
107:It is the physical that fears and abhors suffering, but the vital takes it as part of the play of life. ~ Sri Aurobindo, Letters on Yoga - IV, Sorrow and Suffering,
108:That life is grave and earnest under its smiles,
And we too with a wary gaiety
Should walk its roads. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
109:Each player must accept the cards life deals him or her: but once they are in hand, he or she alone must decide how to play the cards in order to win the game.
   ~ Voltaire,
110:If it is permissible to write plays that are not intended to be seen, I should like to see who can prevent me from writing a book no one can read. ~ Georg C Lichtenberg, [T5],
111:Strength in the spirit, wisdom in the mind,
Love in the heart complete the trinity
Of glorious manhood. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
112:Justice has her seat, and her fine balance
Disturbed too often spoils an unripe world
With ill-timed mercy. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
113:The secret of our apparent bondage is the Spirit's play by which It consents to forget God-consciousness in the absorption of Nature's movement.
   ~ Sri Aurobindo, Isha Upanishad,
114:The aim of the Universal Mother is to embrace the Divine in her own play and creations and there to realise It. ~ Sri Aurobindo, The Synthesis Of Yoga, The Systems of Yoga,
115:Love is gone ere grief can find him;
    But his way
Tears that, falling, lag behind him
    Still betray. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
116:Reason to his best creatures, if they suffer
The rebel blood to o’ercrow that tranquil wise
And perfect minister? ~ Sri Aurobindo, Collected Plays and Stories, Act III,
117:The truth is always the One at work on itself, at play with itself, infinite in unity, infinite in multiplicity. ~ Sri Aurobindo, The Synthesis Of Yoga, The Release from the Ego,
118:The creation of something new is not accomplished by the intellect, but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves"
   ~ Carl Jung,
119:The ego-sense is not indispensable to the world-play in which it is so active and so falsifies the truth of things. ~ Sri Aurobindo, The Synthesis Of Yoga, The Release from the Ego,
120:All ignorance and all perversity only the distortion of the truth and right of things and not the play of an absolute falsehood. ~ Sri Aurobindo, The Life Divine, Mind and Supermind,
121:Foemen! they are our playmates in the fight
And should be dear as friends who share our hours
Of closeness and desire. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
122:All things here secretly are right; all’s wrong
In God’s appearances. World, thou art wisely led
In a divine confusion. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
123:Games give you a chance to excel, and if you're playing in good company you don't even mind if you lose because you had the enjoyment of the company during the course of the game. ~ Gary Gygax,
124:The higher Truth is all the time working in us but through the lower power - Aparashakti. It is when we become conscious of the play of this higher Power then only yoga begins. ~ Sri Aurobindo,
125:The harmony of kindred souls that seek
Each other on the strings of body and mind,
Is all the music for which life was born. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
126:One forward step is something gained,
Since little by little earth must open to heaven
Till her dim soul awakes into the Light. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
127:One forward step is something gained,
Since little by little earth must open to heaven
Till her dim soul awakes into the Light. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
128:So often, science fiction helps to get young people interested in science. That's why I don't mind talking about science fiction. It has a real role to play: to seize the imagination. ~ Michio Kaku,
129:Destruction in itself is neither good nor evil. It is a fact of Nature, a necessity in the play of forces as things are in this world. ~ Sri Aurobindo, Letters on Yoga - I, Morality and Yoga,
130:To see divine possibility and overcome its play of obstacles constitutes the whole mystery and greatness of human existence. ~ Sri Aurobindo, The Synthesis Of Yoga, The Delight of the Divine,
131:All alters in a world that is the same.
Man most must change who is a soul of Time;
His gods too change and live in larger light. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
132:If always Fate were careful to fit in
The nature with the lot! But she sometimes
Loves these strange contrasts and crude ironies. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
133:Existence is one only in its essence and totality, in its play it is necessarily multiform. ~ Sri Aurobindo, The Human Cycle, Nature’s Law in Our Progress - Unity in Diversity, Law and Liberty,
134:Great Nature in her animal trance,
Her life of mighty instincts where no stir
Of the hedged restless mind has spoiled her vasts. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
135:In this gigantic world of which one grain of dust
Is all our field, Eternal Memory keeps
Our great things and our trivial equally ~ Sri Aurobindo, Collected Plays and Stories, Act V,
136:283. Death is sometimes a rude valet; but when he changes this robe of earth for that brighter raiment, his horseplay and impertinences can be pardoned.
   ~ Sri Aurobindo, Essays Divine And Human, Karma,
137:A screened Necessity drives even the gods.
Over human lives it strides to unseen ends;
Our tragic failures are its stepping-stones. ~ Sri Aurobindo, Collected Plays and Stories, Act IV,
138:He’s creator
Who greatly handles great material,
Calls order out of the abundant deep,
Not who invents sweet shadows out of air. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
139:Each creature labouring in his own vocation
Desires another’s and deems the heavy burden
Of his own fate the world’s sole heaviness. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
140:The cosmos is no accident in Time;
There is a meaning in each play of Chance,
There is a freedom in each face of Fate. ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,
141:To surrender to the Divine is to renounce your narrow limits and let yourself be invaded by It and made a centre for Its play.
   ~ The Mother, Words Of The Mother II, Surrender to the Divine Will, Surrender,
142:Close only as love whom sorrow and delight
Cannot diminish, nor long absence change
Nor daily prodigality of joy
Expend immortal love. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
143:They say the anarchy of love disturbs
Gods even: shaken are the marble natures,
The deathless hearts are melted to the pang
And rapture. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
144:Love with my love, think with my thoughts; the rest
Leave to much older wiser men whose schemings
Have made God’s world an office and a mart. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
145:The gods wrest our careful policies
To their own ends until we stand appalled
Remembering what we meant to do and seeing
What has been done. ~ Sri Aurobindo, Collected Plays and Stories, Act IV,
146:We must not only have the possession of a pure self-existence independent of the world-play, but possess all existence as our ow. ~ Sri Aurobindo, The Synthesis Of Yoga, The Difficulties of the Mental Being,
147:After all, for the greatest as for the smallest of us our strength is not our own but given to us for the game that has to be played, the work that we have to do. ~ Sri Aurobindo, Letters on Yoga - IV, Sleep,
148:After all these years, I am still involved in the process of self-discovery. It's better to explore life and make mistakes than to play it safe. Mistakes are part of the dues one pays for a full life. ~ Sophia Loren,
149:There are Two who are One and play in many worlds;
In Knowledge and Ignorance they have spoken and met
And light and darkness are their eyes’ interchange. ~ Sri Aurobindo, Savitri, The Secret Knowledge,
150:A oneness finding itself out in the variations of its own duality is the whole play of the soul with Nature in its cosmic birth and becoming. ~ Sri Aurobindo, The Synthesis Of Yoga, The Soul and Its Liberation,
151:One fine, pure-seeming falsehood,
Admitted, opens door to all his naked
And leprous family; in, in, they throng
And breed the house quite full. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
152:Rude, hardy stocks
Transplant themselves, expand, outlast the storms
And heat and cold, not slips too gently nurtured
Or lapped in hothouse warmth. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
153:There are such hearts, Mymoona,
As think so little of adoring love,
They make it only a pedestal for pride,
A whipping-stock for their vain tyrannies. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
154:There are two beings in my single self.
A Godhead watches Nature from behind
At play in front with a brilliant surface elf,
A time-born creature with a human mind. ~ Sri Aurobindo, Collected Poems, The Dual Being,
155:There is a truth to know, a work to do;
Her play is real; a Mystery he fulfils:
There is a plan in the Mother’s deep world-whim,
A purpose in her vast and random game. ~ Sri Aurobindo, Savitri, The Secret Knowledge,
156:Walled from ours are other hearts:
For if life’s barriers twixt our souls were broken,
Men would be free and one, earth paradise
And the gods live neglected. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
157:And if it is a play of the All-Existence, then we may well consent to play out our part in it with grace and courage, well take delight in the game along with our divine Playmate. ~ Sri Aurobindo, The Synthesis Of Yoga, Renunciation,
158:One should know a little of everything. If a man starts a grocery-shop, he keeps all kinds of articles there, including a little lentil and tamarind. An expert musician knows how to play a little on all instruments. ~ Sri Ramakrishna,
159:There are men so weak in love,
They cannot bear more than an ass’s load;
So high in their conceit, the tenderest
Kindest rebuke turns all their sweetness sour. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
160:In the narrow nether centre’s petty parts
Its childish game of daily dwarf desires
Was changed into a sweet and boisterous play,
A romp of little gods with life in Time. ~ Sri Aurobindo, Savitri, The Finding of the Soul,
161:The Friend of Man helps him with life and death
Until he knows. Then, freed from mortal breath,
Grief, pain, resentment, terror pass away.
He feels the joy of the immortal play; ~ Sri Aurobindo, Collected Poems, Epiphany,
162:The Way Of The Holy Fool ::: At the crossroads this year, after
begging all day
I lingered at the village temple.
Children gather round me and
whisper,
"The crazy monk has come back
to play."
~ Taigu Ryokan,
163:This world is other than our standards are
And it obeys a vaster thought than ours,
Our narrow thoughts! The fathomless desire
Of some huge spirit is its secret law. ~ Sri Aurobindo, Collected Plays and Stories, Act II,
164:Although consenting here to a mortal body,
He is the Undying; limit and bond he knows not;
    For him the aeons are a playground,
        Life and its deeds are his splendid shadow. ~ Sri Aurobindo, Collected Poems, Jivanmukta,
165:The blind nether forces still have power
And the ascent is slow and long is Time.
Yet shall Truth grow and harmony increase:
The day shall come when men feel close and one. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
166:An Infant nursed on Nature’s covert breast,
An Infant playing in the magic woods,
Fluting to rapture by the spirit’s streams,
Awaits the hour when we shall turn to his call. ~ Sri Aurobindo, Savitri, The Godheads of the Little Life,
167:In that fair subtle realm behind our own
The form is all, and physical gods are kings.
The inspiring Light plays in fine boundaries;
A faultless beauty comes by Nature’s grace; ~ Sri Aurobindo, Savitri, The Kingdom of Subtle Matter,
168:I know, O God, the day shall dawn at last
When man shall rise from playing with the mud
And taking in his hands the sun and stars
Remould appearance, law and process old. ~ Sri Aurobindo, Collected Poems, The Meditations of Mandavya,
169:An inconclusive play is Reason’s toil.
Each strong idea can use her as its tool;
Accepting every brief she pleads her case.
Open to every thought, she cannot know. ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Little Mind,
170:The intuitive mind is not yet the wide sunlight of truth, but a constant play of flashes of it keeping lighted up a basic state of ignorance or of half-knowledge and indirect knowledge. ~ Sri Aurobindo, The Synthesis Of Yoga, The Intuitive Mind,
171:Mortals, your end is beatitude, rapture eternal his meaning:
Joy, which he most now denies, is his purpose: the hedges, the screening
Were but the rules of his play; his denials came to lure farther. ~ Sri Aurobindo, Collected Poems, Ahana,
172:I am not of the mild and later gods,
But of that elder world; Lemuria
And old Atlantis raised me crimson altars,
And my huge nostrils keep that scent of blood
For which they quiver. ~ Sri Aurobindo, Collected Plays and Stories, Prologue,
173:Before you become too entranced with gorgeous gadgets and mesmerizing video displays, let me remind you that information is not knowledge, knowledge is not wisdom, and wisdom is not foresight. Each grows out of the other, and we need them all. ~ Arthur C Clarke,
174:I sit enthroned,
Allah’s Vicegerent, to put down all evil
And pluck the virtuous out of danger’s hand.
Fit work for Kings! not merely the high crown
And marching armies and superber ease. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
175:Is not ignoble, but has angel soarings,
Howe’er the nether devil plucks him down.
Still we have souls nor is the mould quite broken
Of that original and faultless plan
Which Adam spoilt. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
176:The nether snake who writhes
Sweet-poisoned, perilous in the rich grass,
Lust with the jewel love upon his hood,
Who by his own crown must be charmed, seized, change
Into a warm great god. ~ Sri Aurobindo, Collected Plays and Stories, Act I,
177:Mother-Earth
Is it not better
To live in the great air God made for us,
A peasant in the open glory of earth,
Feeling it, yet not knowing it, like him
To drink the cool life-giving brook ~ Sri Aurobindo, Collected Plays and Stories, Act I,
178:There’s a rhythm
Will shatter hardest stone; each thing in nature
Has its own point where it has done with patience
And starts in pieces; below that point play on it,
Nor overpitch the music. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
179:I bow not to thee, O huge mask of death,
Black lie of night to the cowed soul of man,
Unreal, inescapable end of things,
Thou grim jest played with the immortal spirit. ~ Sri Aurobindo, Savitri, The Journey in Eternal Night and the Voice of the Darkness,
180:The purpose and law of the birth-series is for the soul in the body to rise from plane to plane and substitute always the rule of the higher for the rule of the lower play even down to the material field. ~ Sri Aurobindo, The Synthesis Of Yoga, Gnosis and Ananda,
181:My waters! see them lift their foam-white tops
Charging from sky to sky in rapid tumult:
Admire their force, admire their thunderous speed.
With green hooves and white manes they trample onwards. ~ Sri Aurobindo, Collected Plays and Stories, Prologue,
182:There are Two who are One and play in many worlds;
In Knowledge and Ignorance they have spoken and met
And light and darkness are their eyes’ interchange;
Our pleasure and pain are their wrestle and embrace, ~ Sri Aurobindo, Savitri, The Secret Knowledge,
183:God is, or He is not. But to which side shall we incline? Reason can decide nothing here. There is an infinite chaos which separated us. A game is being played at the extremity of this infinite distance where heads or tails will turn up. What will you wager? ~ Blaise Pascal,
184:Thus so wretched is man that he would weary even without any cause for weariness... and so frivolous is he that, though full of a thousand reasons for weariness, the least thing, such as playing billiards or hitting a ball, is sufficient enough to amuse him.
   ~ Blaise Pascal,
185:In this vital ego there is frequently a mixture of the charlatan and mountebank, the poser and actor; it is constantly taking up a role and playing it to itself and to others as its public. ~ Sri Aurobindo, The Life Divine, Knowledge by Identity and Separative Knowledge,
186:There is a kingship which exceeds the king.
For Vuthsa unworthy, Vuthsa captive, slain,
This is not captive, this cannot be slain.
It far transcends our petty human forms,
It is a nation’s greatness. ~ Sri Aurobindo, Collected Plays and Stories, Act III,
187:When AI approximates Machine Intelligence, then many online and computer-run RPGs will move towards actual RPG activity. Nonetheless, that will not replace the experience of 'being there,' any more than seeing a theatrical motion picture can replace the stage play. ~ Gary Gygax,
188:Look not so deeply into words and letters; for this Mystery hath been hidden by the Alchemists. Compose the sevenfold into a fourfold regimen; and when thou hast understood thou mayest make symbols; but by playing child's games with symbols thou shalt never understand. ~ Aleister Crowley,
189:A life so in the glorious sunlight bathed,
Straight nursed and suckled from the vigorous Earth
With shaping labour and the homely touch
Of the great hearty mother, edifies
A nobler kind than nourished is in courts? ~ Sri Aurobindo, Collected Plays and Stories, Act I,
190:We sin our pleasant sins and then refrain
And think that God’s deceived. He waits His time
And when we walk the clean and polished road
He trips us with the mire our shoes yet keep,
The pleasant mud we walked before. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
191:It is (sometimes directly, sometimes indirectly) by the power of the Overmind releasing the mind from its close partitions that the cosmic consciousness opens in the seeker and he becomes aware of the cosmic spirit and the play of the cosmic forces.
   ~ Sri Aurobindo, Letters On Yoga - I, 152,
192:Nothing changes yet all changes, all her workings and creations would in this play collapse into disintegration and chaos; there would be nothing to hold her disparate movements and creations together. ~ Sri Aurobindo, The Life Divine, Brahman, Purusha, Ishwara - Maya, Prakriti, Shakti,
193:In string theory, all particles are vibrations on a tiny rubber band; physics is the harmonies on the string; chemistry is the melodies we play on vibrating strings; the universe is a symphony of strings, and the 'Mind of God' is cosmic music resonating in 11-dimensional hyperspace. ~ Michio Kaku,
194:The "memorize then fire and forget" principal for casting spells Jack Vance assumed in his fantasy stories seemed perfect to me for use by D&D magic-users. IT required forethought by the player and limited the power of the class all at once. ~ Gary Gygax, ENWorld, Q&A with Gary Gygax part 13, 2007,
195:I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the sea-shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.
   ~ Isaac Newton,
196:To be a common man mid common men
And live an unaspiring mortal life
Than call into oneself a Titan strength
Too dire and mighty for its human frame,
That only afflicts the oppressed astonished world,
Then breaks its user. ~ Sri Aurobindo, Collected Plays and Stories, Act V,
197:A child playing with dolls may shed heartfelt tears when his bundle of rags and scraps becomes deathly ill and dies ... So we may come to an understanding of language as playing with dolls: in language, scraps of sound are used to make dolls and replace all the things in the world. ~ Velimir Khlebnikov,
198:The Spirit’s white neutrality became
A playground of miracles, a rendezvous
For the secret powers of a mystic Timelessness:
It made of Space a marvel house of God,
It poured through Time its works of ageless might. ~ Sri Aurobindo, Savitri, The House of the Spirit and the New Creation,
199:This was the play of the bright gods of Thought.
Attracting into time the timeless Light,
Imprisoning eternity in the hours,
This they have planned, to snare the feet of Truth
In an aureate net of concept and of phrase ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,
200:The master of existence lurks in us
   And plays at hide-and-seek with his own Force;
   In Nature's instrument loiters secret God.
   The immanent lives in man as his house;
   He has made the universe his pastime's field,
   A vast gymnasium of his works of might.
   ~ Sri Aurobindo, Savitri, The Secret Knowledge,
201:You say grace before meals. All right. But I say grace before the concert and the opera, and grace before the play and pantomime, and grace before I open a book, and grace before sketching, painting, swimming, fencing, boxing, walking, playing, dancing and grace before I dip the pen in the ink. ~ G K Chesterton,
202:Kama (Desire)
Delight and laughter walking hand in hand
Go with Me, and I play with grief and pain. ~ Sri Aurobindo, Collected Poems: Kama
Kama (Desire)
All energies put into activity—thought, speech, feeling, act—go to constitute Karma. ~ Sri Aurobindo, Letters on Yoga - I, Karma and Heredity,
203:Music is sweet; to rule the heart’s rich chords
Of human lyres much sweeter. Art’s sublime
But to combine great ends more sovereign still,
Accepting danger and difficulty to break
Through proud and violent opposites to our will.
Song is divine, ~ Sri Aurobindo, Collected Plays and Stories, Act III,
204:I too play with symbols... but I play in such a way that I do not forget that I am playing. For nothing is proved by symbols... unless by sure reasons it can be demonstrated that they are not merely symbolic but are descriptions of the ways in which the two things are connected and of the causes of this connection. ~ Johannes Kepler,
205:If anger be the basis of our political activities, the excitement tends to become an end in itself, at the expense of the object to be achieved. Side issues then assume an exaggerated importance, and all gravity of thought and action is lost; such excitement is not an exercise of strength, but a display of weakness.
   ~ Rabindranath Tagore,
206:Young women... you are, in my opinion, disgracefully ignorant. You have never made a discovery of any sort of importance. You have never shaken an empire or led an army into battle. The plays by Shakespeare are not by you, and you have never introduced a barbarous race to the blessings of civilization. What is your excuse? ~ Virginia Woolf,
207:In a staggering display of power, the caster causes all portals within 1 mile to blast open in a violent burst. [...] Moreover, normal fasteners and stoppers are loosened or dislodged, such that wine corks fizz open, lids fall off dinner pots, shoelaces unlace, snaps loosen, belts unbuckle, and so on. ~ Joseph Goodman, Dungeon Crawl Classics Role Playing Game,
208:One by one he would conjure up the world's major electronic papers; he knew the codes of the more important ones by heart, and had no need to consult the list on the back of his pad. Switching to the display unit's short-term memory, he would hold the front page while he quickly searched the headlines and noted the items that interested him. ~ Arthur C Clarke, 2001: A Space Odyssey,
209:The boy with the flute is Sri Krishna, the Lord descended into the world-play from the divine Ananda; his flute is the music of the call which seeks to transform the lower ignorant play of mortal life and bring into it and establish in its place the lila of his divine Ananda. It was the psychic being in you that heard the call and followed after it.
   ~ Sri Aurobindo, Letters On Yoga - III,
210:Above them is the miracle of eternal beauty, an unseizable secret of divine harmonies, the compelling magic of an irresistible universal charm and attraction that draws and holds things and forces and beings together and obliges them to meet and unite that a hidden Ananda may play from behind the veil and make of them its rhythms and its figures.
   ~ Sri Aurobindo, The Mother With Letters On The Mother,
211:When speaking to parents, I encourage them to take their child(ren) to a children's museum and watch carefully what the child does, how she/she does it, what he/she returns to, where there is definite growth. Teachers could do the same or could set up 'play areas' which provide 'nutrition' for different intelligences... and watch carefully what happens and what does not happen with each child. ~ Howard Gardner,
212:BUT NOW the destined spot and hour were close;
   Unknowing she had neared her nameless goal.
   For though a dress of blind and devious chance
   Is laid upon the work of all-wise Fate,
   Our acts interpret an omniscient Force
   That dwells in the compelling stuff of things,
   And nothing happens in the cosmic play
   But at its time and in its foreseen place.
   ~ Sri Aurobindo, Savitri, The Destined Meeting-Place,
213:Krishna is the immanent Divine, the Divine Presence in everyone and in all things. Thus to see Krishna means to find the inner Godhead, to play with Krishna means to be identified with the inner Godhead and to share in his consciousness. When you achieve this state, you enter immediately into the bliss of the divine play; and the more complete the identification, the more perfect the state. 6 April 1960 ~ The Mother,
214:The real meaning of persona is a mask, such as actors were accustomed to wear on the ancient stage; and it is quite true that no one shows himself as he is, but wears his mask and plays his part. Indeed, the whole of our social arrangements may be likened to a perpetual comedy; and this is why a man who is worth anything finds society so insipid, while a blockhead is quite at home in it. ~ Arthur Schopenhauer, Essays Vol 4,
215:Activities are endless, like ripples on a stream. They end only when you drop them.
Human moods are like the changing highlights and shadows on a sunlit mountain range.
All activities are like the games children play, like castles being made of sand.
View them with delight and equanimity, like grandparents overseeing their grandchildren, or a shepherd resting on a hill watching over his grazing flock. ~ Nyoshul Khen Rinpoche,
216:Your character grows as the game continues. Each monster defeated, each adventure completed, and each treasure recovered not only adds to your continuing story, but also earns your character new abilities. This increase in power is reflected by your character's level; as you continue to play, your character gains more experience, rising in level and mastering new and more powerful abilities.
   ~ Dungeons and Dragons Players Handbook.,
217:Q: Is it intentional in AD&D that the Haste spell (causing magical aging) should require a system shock roll, risking death?

   Gary: the system shock check was included so DMs has something to use to prevent abuse of the spell, such as when a PC drank a potion of speed and then had a haste spell cast on him. My players knew better that to try to get cutsy like that when I was the DM. ~ Gary Gygax, Dragonsfoot, Q&A with Gary Gygax, 2005,
218:'Brahman is in all things, all things are in Brahman, all things are Brahman' is the triple formula of the comprehensive Supermind, a single truth of self-manifestation in three aspects which it holds together and inseparably in its self-view as the fundamental knowledge from which it proceeds to the play of the cosmos.
   ~ Sri Aurobindo, The Life Divine, Book 01: Omnipresent Reality and the Universe, The Supreme Truth-Consciousness [149] [T1],
219:There, where millions of Krishnas stand with hands folded, Where millions of Vishnus bow their heads, Where millions of Brahmâs are reading the Vedas, Where millions of Shivas are lost in contemplation, Where millions of Indras dwell in the sky, Where the demi-gods and the munis are unnumbered, Where millions of Saraswatis, Goddess of Music, play on the vina— There is my Lord self-revealed: and the scent of sandal and flowers dwells in those deeps. ~ Kabir,
220:We in the richest societies have too many calories even as we starve for beautiful, fresh food; we have overlarge houses but lack spaces that truly embody our individuality and connectedness; media surround us everywhere while we starve for authentic communication. We are offered entertainment every second of the day but lack the chance to play. In the ubiquitous realm of money, we hunger for all that is intimate, personal, and unique.
   ~ Charles Eisenstein,
221:God does not play dice with the universe; He plays an ineffable game of His own devising, which might be compared, from the perspective of any of the other players [i.e. everybody], to being involved in an obscure and complex variant of poker in a pitch-dark room, with blank cards, for infinite stakes, with a Dealer who won't tell you the rules, and who smiles all the time. ~ Terry Pratchett, Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch,
222:The new D&D is too rule intensive. It's relegated the Dungeon Master to being an entertainer rather than master of the game. It's done away with the archetypes, focused on nothing but combat and character power, lost the group cooperative aspect, bastardized the class-based system, and resembles a comic-book superheroes game more than a fantasy RPG where a player can play any alignment desired, not just lawful good. ~ Gary Gygax, GameSpy interview, Pt. 2 (16 August 2004),
223:For the Ignorance is still in reality a knowledge seeking for itself behind the original mask of Inconscience; the Ignorance does not create a new thing and absolute falsehood but only misrepresents the Truth. The Ignorance is the Mind separated in knowledge from its source of knowledge and giving a false rigidity and a mistaken appearance of opposition and conflictMind and Supermind to the harmonious play of the supreme Truth in its universal manifestation.
   ~ Sri Aurobindo, The Life Divine,
224:I often think . . . that the bookstores that will save civilization are not online, nor on campuses, nor named Borders, Barnes & Noble, Dalton, or Crown. They are the used bookstores, in which, for a couple of hundred dollars, one can still find, with some diligence, the essential books of our culture, from the Bible and Shakespeare to Plato, Augustine, and Pascal. ~ James V. Schall, On the Unseriousness of Human Affairs: Teaching, Writing, Playing, Believing, Lecturing, Philosophizing, Singing, Dancing,
225:So the call of the Nondual traditions is: Abide as Emptiness, embrace all Form. The liberation is in the Emptiness, never in the Form, but Emptiness embraces all forms as a mirror all its objects. So the Forms continue to arise, and, as the sound of one hand clapping, you are all those Forms. You are the display. You and the universe are One Taste. Your Original Face is the purest Emptiness, and therefore every time you look in the mirror, you see only the entire Kosmos. ~ Ken Wilber, A Brief History of Everything, p. 240,
226:the Divine Personalities :::
   But behind all these and in them he has felt a Divinity who is all these things, a Bringer of Light, a Guide and All-Knower, a Master of Force, A Giver of Bliss, Friend, Helper, Father, Mother, Playmate in the world-game, an absolute Master of his being, his souls Beloved and Lover. All relations known to human personality are there in the souls contact with the Divine; but they rise towards superhuman levels and compel him towards a divine nature.
   ~ Sri Aurobindo, The Synthesis Of Yoga,
227:To live, to love are signs of infinite things,
   Love is a glory from eternity's spheres.
   Abased, disfigured, mocked by baser mights
   That steal his name and shape and ecstasy,
   He is still the Godhead by which all can change.
   A mystery wakes in our inconscient stuff,
   A bliss is born that can remake our life.
   Love dwells in us like an unopened flower
   Awaiting a rapid moment of the soul,
   Or he roams in his charmed sleep mid thoughts and things;
   The child-god is at play, he seeks himself
   ~ Sri Aurobindo, Savitri, Satyavan,
228:God must be seen and loved in the ignorant, the humble, the weak, the vile, the outcaste. In the Vibhuti himself it is not, except as a symbol, the outward individual that is to be thus recognised and set high, but the one Godhead who displays himself in the poweR But this does not abrogate the fact that there is an ascending scale in manifestation and that Nature mounts upward in her degrees of self-expression from her groping, dark or suppressed symbols to the first visible expressions of the Godhead.
   ~ Sri Aurobindo, Essays On The Gita,
229:The Quest of the Holy Grail, the Search for the Stone of the Philosophers-by whatever name we choose to call the Great Work-is therefore endless. Success only opens up new avenues of brilliant possibility. Yea, verily, and Amen! the task is tireless and its joys without bounds; for the whole Universe, and all that in it is, what is it but the infinite playground of the Crowned and Conquering Child, of the insatiable, the innocent, the ever-rejoicing Heir of Space and Eternity, whose name is MAN? ~ Aleister Crowley, Little Essays Towards Truth,
230:In the stillness of the night, the Goddess whispers. In the brightness of the day, dear God roars. Life pulses, mind imagines, emotions wave, thoughts wander. What are all these but the endless movements of One Taste, forever at play with its own gestures, whispering quietly to all who would listen: is this not yourself? When the thunder roars, do you not hear your Self? When the lightning cracks, do you not see your Self? When clouds float quietly across the sky, is this not your own limitless Being, waving back at you? ~ Ken Wilber, One Taste, page 279,
231:To merely gaze upon the images of alchemy, is to in a sense, enter into a kind of psychoanalytical process because what alchemy was, and I should stress this or the rap makes no sense at all alchemy was not the vulgar pursuit of the transmutation of lesser metals into gold or silver. That was the charlatan's game played in every market in Europe for centuries among the simple people. Alchemy is the body of symbols and of literature that accreted around the effort to extract a universal medicine out of Nature for the transformation of societies and human beings. ~ Terence McKenna,
232:The library smells like old books - a thousand leather doorways into other worlds. I hear silence, like the mind of God. I feel a presence in the empty chair beside me. The librarian watches me suspiciously. But the library is a sacred place, and I sit with the patron saint of readers. Pulsing goddess light moves through me for one moment like a glimpse of eternity instantly forgotten. She is gone. I smell mold, I hear the clock ticking, I see an empty chair. Ask me now and I'll say this is just a place where you can't play music or eat. She's gone. The library sucks.
   ~ Laura Whitcomb,
233:And in a recent unique example, in the life of Ramakrishna Paramhansa, we see a colossal spiritual capacity first driving straight to the divine realisation, taking, as it were, the kingdom of heaven by violence, and then seizing upon one Yogic method after another and extracting the substance out of it with an incredible rapidity, always to return to the heart of the whole matter, the realisation and possession of God by the power of love, by the extension of inborn spirituality into various experience and by the spontaneous play of an intuitive knowledge.
   ~ Sri Aurobindo, The Synthesis Of Yoga,
234:Any limiting categorization is not only erroneous but offensive, and stands in opposition to the basic human foundations of the therapeutic relationship. In my opinion, the less we think (during the process of psychotherapy) in terms of diagnostic labels, the better. (Albert Camus once described hell as a place where one's identity was eternally fixed and displayed on personal signs: Adulterous Humanist, Christian Landowner, Jittery Philosopher, Charming Janus, and so on.8 To Camus, hell is where one has no way of explaining oneself, where one is fixed, classified-once and for all time.) ~ Irvin D Yalom,
235:Krishna represents both the universal Godhead and the immanent Godhead, he whom one can meet within one's being and in all that constitutes the manifested world.
   And do you want to know why he is always represented as a child? It is because he is in constant progression. To the extent that the world is perfected, his play is also perfected - what was the play of yesterday will no longer be the play of tomorrow; his play will become more and more harmonious, benign and joyful to the extent that the world becomes capable of responding to it and enjoying it with the Divine.
   ~ The Mother, Words Of The Mother III, 33,
236:Cheerfulness
ONE AFTERNOON, in a large town in a rainy country, I saw seven or eight vehicles full of children. That morning, they had been taken into the country to play in the fields, but the bad weather had made them return home early in the rain.

And yet they were singing, laughing and waving merrily to the passers-by.

They had kept their cheerfulness in this gloomy weather. If one of them had felt sad, the songs of the others would have cheered him. And for the people hurrying by, who heard the children's laughter, it seemed that the sky had brightened for a moment.

~ The Mother, mcw, 2:189,
237:Arguably, the best advice for a serious student is to read a few hundred carefully selected books. An orgy of reading 30 or 40 first-rate books in a month ranks at the top of the usual list of human pleasures. If you wish, as an undergraduate, you could do it. You have time and energy, and with luck, you have the curiosity and courage to risk a month or two. Read Plato, Aristotle, Aquinas, Descartes, Pascal, Voltaire, Berkeley, Hegel, Marx, and Kanetz. Or you could just play Frisbee on the Plaza of the Americas. Life is choice and there is much to learn. Not making a choice is a choice. ~ Dr Robert A Hatch, How to Study,
238:ASTROLOGER. Greet reverentially this star-blest hour!
Let magic loose the tyranny of Reason
And Fantasy, fetched from afar, display her power, 6620 For it belongs to her, this great occasion.
What all here boldly asked to see, now see it!
A thing impossible-therefore believe it.
[Faust mounts the proscenium from the other side.]
In priestly robes, head wreathed, the wonder-working man
Now confidently consummates what he began.
A tripod from the depths accompanied his ascent,
Incense is burning in the bowl, I smell the scent,
Next comes the invocation, all's prepared; ~ Johann Wolfgang von Goethe, Faust,
239:Freud's convictions about the importance of infantile developments also colored his view of creative activity. Freud was impressed by the parallels between the child at play, the adult daydreamer, and the creative artist. As he once phrased it:

Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him?....The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously-that is, which he invests with large amounts of emotion-while separating it sharply from reality. ~ Howard Gardner,
240:It is a strange world, a sad world, a world full of miseries, and woes, and troubles. And yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall, all dance together to the music that he make with that smileless mouth of him. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come, and like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again, and we bear to go on with our labor, what it may be.
   ~ Bram Stoker,
241:There is always some tendency to looseness, forgetfulness and inattention in the physical consciousness. One has to be very vigilant and careful to prevent this tendency having its way. There are many [defects of the physical consciousness] - but mainly obscurity, inertia, tamas, a passive acceptance of the play of wrong forces, inability to change, attachment to habits, lack of plasticity, forgetfulness, loss of experiences or realisations gained, unwillingness to accept the Light or to follow it, incapacity (through tamas or through attachment or through passive reaction to accustomed forces) to do what it admits to be the Right and the Best.
   ~ Sri Aurobindo, Letters On Yoga - IV,
242:In an early study of the influence of temperament on attention span, the mothers of 232 pairs of twins were interviewed periodically about the similarities and differences in behavior displayed by their twins during infancy and early childhood. The results showed that each of the behavioral variables (temper frequency, temper intensity, irritability, crying, and demanding attention) had a significant inverse relationship with attention span. In other words, the twin with longer attention span was better able to remain absorbed in a particular activity without distraction, and was also the less temperamental twin.
   ~ Wikipedia, Attention Span, https://en.wikipedia.org/wiki/Attention_span,
243:The Golden Light :::

Thy golden Light came down into my brain
And the grey rooms of mind sun-touched became
A bright reply to Wisdom's occult plane,
A calm illumination and a flame.

Thy golden Light came down into my throat,
And all my speech is now a tune divine,
A paean-song of Thee my single note;
My words are drunk with the Immortal's wine.

Thy golden Light came down into my heart
Smiting my life with Thy eternity;
Now has it grown a temple where Thou art
And all its passions point towards only Thee.

Thy golden Light came down into my feet,
My earth is now Thy playfield and Thy seat. ~ Sri Aurobindo, Collected Poems,
244:Where spring, the lord of seasons reigneth, there the unstruck music sounds of itself,
There the streams of light flow in all directions, few are the men who can cross to that shore!
There, where millions of Krishnas stand with hands folded,
Where millions of Vishnus bow their heads, where millions of Brahmas are reading the Vedas,
Where millions of Shivas are lost in contemplation, where millions of Indras dwell in the sky,
Where the demi-gods and the munis are unnumbered, where millions of Saraswatis, goddess of music play the vina,
There is my Lord self-revealed, and the scent of sandal and flowers dwells in those deeps. ~ Kabir, II.57, Translated by Rabindranath Tagore[26],
245:Consider laughter: it is the highest emotion, for it can contain any of the others from ecstacy to grief. It has no opposite. Crying is merely an underdeveloped form of it which cleanses the eyes and summons assistance to infants. Laughter is the only tenable attitude in a universe which is a joke played upon itself. The trick is to see that joke played out even in the neutral and ghastly events which surround one. It is not for us to question the universes apparent lack of taste. Seek the emotion of laughter at what delights and amuses, seek it in whatever is neutral or meaningless, seek it even in what is horrific and revolting. Though it may be forced at first, one can learn to smile inwardly at all things.
   ~ Peter J Carroll, Liber Null,
246:203. God and Nature are like a boy and girl at play and in love. They hide and run from each other when glimpsed so that they may be sought after and chased and captured.
Man is God hiding himself from Nature so that he may possess her by struggle, insistence, violence and surprise. God is universal and transcendent Man hiding himself from his own individuality in the human being.
The animal is Man disguised in a hairy skin and upon four legs; the worm is Man writhing and crawling towards the evolution of his Manhood. Even crude forms of Matter are Man in his inchoate body. All things are Man, the Purusha.
For what do we mean by Man? An uncreated and indestructible soul that has housed itself in a mind and body made of its own elements. ~ Sri Aurobindo, Thoughts And Aphorisms,
247:The Soul watches the ceaselessly changing universe and follows all the fate of all its works: this is its life, and it knows no respite from this care, but is ever labouring to bring about perfection, planning to lead all to an unending state of excellence- like a farmer, first sowing and planting and then constantly setting to rights where rainstorms and long frosts and high gales have played havoc... Well, perhaps even the less good has its contributory value in the All. Perhaps there is no need that everything be good. Contraries may co-operate; and without opposites there could be no ordered Universe: all living beings of the partial realm include contraries. The better elements are compelled into existence and moulded to their function by the Reason-Principle directly
   ~ Plotinus, 2 Ennead 3:16,
248:The most spiritual men, as the strongest, find their happiness where others would find their downfall: in the labyrinth, in hardness towards oneself and others, in experiment; their delight lies in self-mastery: asceticism is with them nature, need, instinct. The difficult task they consider a privilege; to play with burdens that crush others, a recreation... Knowledge - a form of asceticism. - They are the most venerable kind of man: that does not exclude their being the cheerfullest, the kindliest. They rule not because they want to but because they are; they are not free to be second. - The second type: they are the guardians of the law, the keepers of order and security; they are the noble warriors, with the king above all as the highest formula of warrior, judge, and upholder of the law. ~ Friedrich Nietzsche, The Antichrist,
249:For the last three weeks I've been working on a open world game in Inform 7. The initial seed for my idea came when I was playing Rune Factory 3 a game for my DS. And I thought, Hey look if I can run a farm here why can't I somehow implement this in a interactive fiction. So I sat myself down and began to type away furiously at my keyboard. And the more I sat the more complicated my farming implementation got, requiring water and fertilizer, levels of sunlight ect

And then, finally, I finished it. And my mind began to wander. Why just stop there why not keep going. And soon I was adding mining, weather and a form of crafting items. Now if I get this done, and don't fall into the trap of to create everything, of which I am slowly making the maddening descent, I could have a open world IF game ready within a few months. Maybe more than a few. ~ KGentle, intfiction.org,
250:To be able to receive the Divine Power and let act through you in the things of the outward life, there are three necessary conditions:
   (i) Quietude, equality - not to be disturbed by anything that happens, to keep the mind still and firm, seeing the play of forces, but itself tranquil.
   (ii) Absolute faith - faith that what is for the best will happen, but also that if one can make oneself a true instrument, the fruit will be that which one's will guided by the Divine Light sees as the thing to be done - kartavyam karma.
  (iii) Receptivity - the power to receive the Divine Force and to feel its presence and the presence of the Mother in it and allow it to work, guiding one's sight and will and action. If this power and presence can be felt and this plasticity made the habit of the consciousness in action, - but plasticity to the Divine force alone without bringing in any foreign element, - the eventual result is sure. ~ Sri Aurobindo, Letters On Yoga - II,
251:For the contact of the human and individual consciousness with the divine is the very essence of Yoga. Yoga is the union of that which has become separated in the play of the universe with its own true self, origin and universality. The contact may take place at any point of the complex and intricately organised consciousness which we call our personality. It may be effected in the physical through the body; in the vital through the action of those functionings which determine the state and the experiences of our nervous being; through the mentality, whether by means of the emotional heart, the active will or the understanding mind, or more largely by a general conversion of the mental consciousness in all its activities. It may equally be accomplished through a direct awakening to the universal or transcendent Truth and Bliss by the conversion of the central ego in the mind. And according to the point of contact that we choose will be the type of the Yoga that we practise. ~ Sri Aurobindo, The Synthesis Of Yoga,
252:But a time will come when you will feel more and more that you are the instrument and not the worker. For first by the force of your devotion your contact with the Divine Mother will become so intimate that at all times you will have only to concentrate and to put everything into her hands to have her present guidance, her direct command or impulse, the sure indication of the thing to be done and the way to do it and the result. And afterwards you will realise that the divine Shakti not only inspires and guides, but initiates and carries out your works; all your movements are originated by her, all your powers are hers, mind, life and body are conscious and joyful instruments of her action, means for her play, moulds for her manifestation in the physical universe. There can be no more happy condition than this union and dependence; for this step carries you back beyond the border-line from the life of stress and suffering in the ignorance into the truth of your spiritual being, into its deep peace and its intense Ananda. ~ Sri Aurobindo, The Mother With Letters On The Mother, 12,
253:There are two Paths to the Innermost: the Way of the Mystic, which is the way of devotion and meditation, a solitary and subjective path; and the way of the occultist, which is the way of the intellect, of concentration, and of trained will; upon this path the co-operation of fellow workers is required, firstly for the exchange of knowledge, and secondly because ritual magic plays an important part in this work, and for this the assistance of several is needed in most of the greater operations. The mystic derives his knowledge through the direct communion of his higher self with the Higher Powers; to him the wisdom of the occultist is foolishness, for his mind does not work in that way; but, on the other hand, to a more intellectual and extrovert type, the method of the mystic is impossible until long training has enabled him to transcend the planes of form. We must therefore recognize these two distinct types among those who seek the Way of Initiation, and remember that there is a path for each. ~ Dion Fortune, Esoteric Orders and Their Work and The Training and Work of the Initiate,
254:If we regard the Powers of the Reality as so many Godheads, we can say that the Overmind releases a million Godheads into action, each empowered to create its own world, each world capable of relation, communication and interplay with the others.
There are in the Veda different formulations of the nature of the Gods: it is said they are all one Existence to which the sages give different names; yet each God is worshipped as if he by himself is that Existence, one who is all the other Gods together or contains them in his being; and yet again each is a separate Deity acting sometimes in unison with companion deities, sometimes separately, sometimes even in apparent opposition to other Godheads of the same Existence. In the Supermind all this would be held together as a harmonised play of the one Existence; in the Overmind each of these three conditions could be a separate action or basis of action and have its own principle of development and consequences and yet each keep the power to combine with the others in a more composite harmony. ~ Sri Aurobindo, The Life Divine, Supermind Mind and the Overmind Maya,
255:Supermind is the dynamic form of satcitananda (being-consciousness-bliss), and the necessary conduit, mediator or linkage between satcitananda and the manifest creation. (Life Divine Book I, ch.14-16) ... Supermind is spiritual consciousness acting as a self-luminous knowledge, will, sense, aesthesis, energy, self-creative and unveiling power of its own delight and being. Mind is the action of the same powers, but limited and only very indirectly and partially illumined. Supermind lives in unity though it plays with diversity; mind lives in a separative action of diversity, though it may open to unity. Mind is not only capable of ignorance, but, because it acts always partially and by limitation, it works characteristically as a power of ignorance : it may even and it does forget itself in a complete inconscience, or nescience, awaken from it to the ignorance of a partial knowledge and move from the ignorance towards a complete knowledge, -- that is its natural action in the human being, -- but it can never have by itself a complete knowledge.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Psychology of Self-Perfection, 625,
256:Only by our coming into constant touch with the divine Consciousness and its absolute Truth can some form of the conscious Divine, the dynamic Absolute, take up our earth-existence and transform its strife, stumbling, sufferings and falsities into an image of the supreme Light, Power and Ananda.
   The culmination of the soul's constant touch with the Supreme is that self-giving which we call surrender to the divine Will and immergence of the separated ego in the One who is all. A vast universality of soul and an intense unity with all is the base and fixed condition of the supramental consciousness and spiritual life. In that universality and unity alone can we find the supreme law of the divine manifestation in the life of the embodied spirit; in that alone can we discover the supreme motion and right play of our individual nature. In that alone can all these lower discords resolve themselves into a victorious harmony of the true relations between manifested beings who are portions of the one Godhead and children of one universal Mother. ~ Sri Aurobindo, The Synthesis Of Yoga, Standards of Conduct and Spiritual Freedom, 205,
257:15. The Crossing of the Return Threshold:The returning hero, to complete his adventure, must survive the impact of the world. Many failures attest to the difficulties of this life-affirmative threshold. The first problem of the returning hero is to accept as real, after an experience of the soul-satisfying vision of fulfillment, the passing joys and sorrows, banalities and noisy obscenities of life. Why re-enter such a world? Why attempt to make plausible, or even interesting, to men and women consumed with passion, the experience of transcendental bliss? As dreams that were momentous by night may seem simply silly in the light of day, so the poet and the prophet can discover themselves playing the idiot before a jury of sober eyes. The easy thing is to commit the whole community to the devil and retire again into the heavenly rock dwelling, close the door, and make it fast. But if some spiritual obstetrician has drawn the shimenawa across the retreat, then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided" The hero returns to the world of common day and must accept it as real. ~ Joseph Campbell,
258:witness and non-dual states ::: The Witness and Non-Dual states are everpresent capacities which hold the special relationship to the other states. The Witness state, or Witnessing, is the capacity to observe, see or witness phenomenon arising in the other states. Meaning for example, its the capacity to hold unbroken attention in the gross states, and the capacity to witness the entire relative world of form arise as object viewed by the pure witness, the pure subject that is never itself a seen object but always the pure seer or pure Self, that is actually no-self. Next we have Non-Dual which refers to both the suchness and is-ness of reality right now. It is the not-two-ness or everpresent unity of subject and object, form and emptiness, heaven and earth, relative and absolute. When the Witness dissolves and pure seer and all that is seen become not seperate or not two, the Non-Duality of absolute emptiness and relative form or the luminous identity of unqualifiable spirit and all of its manifestations appear as play of radiant natural and spontaneous and present love. Absolute and relative are already always not-two but nor are they one, nor both nor neither. ~ Essential Integral, L5-18,
259:To us poetry is a revel of intellect and fancy, imagination a plaything and caterer for our amusement, our entertainer, the nautch-girl of the mind. But to the men of old the poet was a seer, a revealer of hidden truths, imagination no dancing courtesan but a priestess in God's house commissioned not to spin fictions but to image difficult and hidden truths; even the metaphor or simile in the Vedic style is used with a serious purpose and expected to convey a reality, not to suggest a pleasing artifice of thought. The image was to these seers a revelative symbol of the unrevealed and it was used because it could hint luminously to the mind what the precise intellectual word, apt only for logical or practical thought or to express the physical and the superficial, could not at all hope to manifest. To them this symbol of the Creator's body was more than an image, it expressed a divine reality. Human society was for them an attempt to express in life the cosmic Purusha who has expressed himself otherwise in the material and the supraphysical universe. Man and the cosmos are both of them symbols and expressions of the same hidden Reality.
   ~ Sri Aurobindo, The Human Cycle, Chapter 1, The Cycle of Society,
260:the three successive elements :::
   The progressive self-manifestation of Nature in man, termed in modern language his evolution, must necessarily depend upon three successive elements, that which is already evolved, that which is persistently in the stage of conscious evolution and that which is to be evolved and may perhaps be already displayed, if not constantly, then occasionally or with some regularity of recurrence, in primary formations or in others more developed and, it may well be, even in some, however rare, that are near to the highest possible realisation of our present humanity. For the march of Nature is not drilled to a regular and mechanical forward stepping. She reaches constantly beyond herself even at the cost of subsequent deplorable retreats. She has rushes; she has splendid and mighty outbursts; she has immense realisations. She storms sometimes passionately forward hoping to take the kingdom of heaven by violence. And these self-exceedings are the revelation of that in her which is most divine or else most diabolical, but in either case the most puissant to bring her rapidly forward towards her goal.
   ~ Sri Aurobindo, The Synthesis Of Yoga, Introduction - The Conditions of the Synthesis, The Three Steps of Nature,
261:"So what is Rifts? It is a post-apocalyptic roleplaying game set hundreds of years into the future which combines big robots, magic, psionics, and bruising combat on an incredible scale. It is a roleplaying game in which Glitter Boys piloting big mecha suits, chemically enhanced Juicers, psionic Cyber-Knights, ley-commanding Ley Walkers, Techno-Wizards, Dragons, psionic Mind Melters, and more combat the 'Dead Boy' soldiers in their deaths head armour, Spider-Skull Walkers, and Sky Cycles of the evil Coalition States as well as supernatural monsters, D-Bees (Dimensional beings), and the instectoid Xiticix from other dimensions. It is a future in which a golden age was destroyed by nuclear conflagration as billions died, their Potential Psychic Energy-or P.P.E.-was unleashed as surges into the Earth's many, long forgotten ley lines, coming together at nexus points and causing rifts in time and space to be ripped open. As the planet buckled under the psychic onslaught, millions more died and fed more energy into the now pulsing ley lines, causing a feedback loop which would grow and grow. The oceans were driven from their beds to wash over the lands, Atlantis rose again after millennia, alien beings flooded through the rifts, and magic returned to the planet. " ~ Unknown,
262:If we are religious-minded, perhaps we will see the gods who inhabit this world. Beings, forces, sounds, lights, and rhythms are just so many true forms of the same indefinable, but not unknowable, Essence we call God; we have spoken of God, and made temples, laws or poems to try to capture the one little pulsation filling us with sunshine, but it is free as the wind on foam-flecked shores. We may also enter the world of music, which in fact is not different from the others but a special extension of this same, great inexpressible Vibration. If once, only once, even for a few moments in a lifetime, we can hear that Music, that Joy singing above, we will know what Beethoven and Bach heard; we will know what God is because we will have heard God. We will probably not say anything grandiose; we will just know that That exists, whereupon all the suffering in the world will seem redeemed.
   At the extreme summit of the overmind, there only remain great waves of multi-hued light, says the Mother, the play of spiritual forces, which later translate - sometimes much later - into new ideas, social changes, or earthly events, after crossing one by one all the layers of consciousness and suffering a considerable distortion and loss of light...
   ~ Satprem, Sri Aurobindo Or The Adventure Of Consciousness,
263:About the only law that I think relates to the genre is that you should not try to explain, to find neat explanations for what happens, and that the object of the thing is to produce a sense of the uncanny. Freud in his essay on the uncanny wrote that the sense of the uncanny is the only emotion which is more powerfully expressed in art than in life, which I found very illuminating; it didn't help writing the screen-play, but I think it's an interesting insight into the genre. And I read an essay by the great master H.P. Lovecraft where he said that you should never attempt to explain what happens, as long as what happens stimulates people's imagination, their sense of the uncanny, their sense of anxiety and fear. And as long as it doesn't, within itself, have any obvious inner contradictions, it is just a matter of, as it were, building on the imagination (imaginary ideas, surprises, etc.), working in this area of feeling. I think also that the ingeniousness of a story like this is something which the audience ultimately enjoys; they obviously wonder as the story goes on what's going to happen, and there's a great satisfaction when it's all over not having been able to have anticipated the major development of the story, and yet at the end not to feel that you have been fooled or swindled. ~ Stanley Kubrick,
264:He is the friend, the adviser, helper, saviour in trouble and distress, the defender from enemies, the hero who fights our battles for us or under whose shield we fight, the charioteer, the pilot of our ways. And here we come at once to a closer intimacy; he is the comrade and eternal companion, the playmate of the game of living. But still there is so far a certain division, however pleasant, and friendship is too much limited by the appearance of beneficence. The lover can wound, abandon, be wroth with us, seem to betray, yet our love endures and even grows by these oppositions; they increase the joy of reunion and the joy of possession; through them the lover remains the friend, and all that he does, we find in the end, has been done by the lover and helper of our being for our souls perfection as well as for his joy in us. These contradictions lead to a greater intimacy. He is the father and mother too of our being, its source and protector and its indulgent cherisher and giver of our desires. He is the child born to our desire whom we cherish and rear. All these things the lover takes up; his love in its intimacy and oneness keeps in it the paternal and maternal care and lends itself to our demands upon it. All is unified in that deepest many-sided relation.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Yoga of Divine Love,
265:The Twenty Tenets of Holons
1. Reality as a whole is not composed of things, or processes, but of holons.
2. Holons display four fundamental capacities:
a. self-preservation,
b. self-adaptation,
c. self-transcendence.
d. self-dissolution.
3. Holons emerge.
4. Holons emerge holarchically.
5. Each emergent holon transcends but includes its predecessor.
6. The lower sets the possibilities of the higer; the higher sets the probabilities of the lower.
7. "The number of levels which a hierarchy comprises determines whether it is 'shallow' or 'deep'; and the number of holons on any given level we shall call its 'span'" (A. Koestler).
8. Each successive level of evolution produces greater depth and less span.
9. Destroy any type of holon, and you will destroy all of the holons above it and none of the holons below it.
10. Holarchies coevolve.
11. The micro is in relational exchange with the macro at all levels of its depth.
12. Evolution has directionality:
a. Increasing complexity.
b. Increasing differentiation/integration.
c. Increasing organisation/structuration.
d. Increasing relative autonomy.
e. Increasing telos.
   ~ Ken Wilber, Sex Ecology Spirituality, 1995, p. 35-78.,
266:Bhakti Yoga, the Path of Devotion; :::
   The path of Devotion aims at the enjoyment of the supreme Love and Bliss and utilses normally the conception of the supreme Lord in His personality as the divine Lover and enjoyer of the universe. The world is then realised as a a play of the Lord, with our human life as its final stages, pursued through the different phases of self-concealment and self-revealation. The principle of Bhakti Yoga is to utilise all the normal relations of human life into which emotion enters and apply them no longer to transient worldly relations, but to the joy of the All-Loving, the All-Beautiful and the All-Blissful. Worship and meditation are used only for the preparation and increase the intensity of the divine relationship. And this Yoga is catholic in its use of all emotional relations, so that even enmity and opposition to God, considered as an intense, impatient and perverse form of Love, is conceived as a possible means of realisation and salvation. ... We can see how this larger application of the Yoga of Devotion may be used as to lead to the elevation of the whole range of human emotion, sensation and aesthetic perception to the divine level, its spiritualisation and the justification of the cosmic labour towards love and joy in humanity.
   ~ Sri Aurobindo, The Synthesis Of Yoga, Introduction - The Conditions of the Synthesis, The Systems of Yoga,
267:Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That's the kind of sandstorm you need to imagine.

An you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You'll catch that blood in your hands, your own blood and the blood of others.

And once the storm is over you won't remember how you made it through, how you managed to survive. You won't even be sure, in fact, whether the storm is really oveR But one thing is certain. When you come out of the storm you won't be the same person who walked in. That's what this storm's all about.~ Haruki Murakami,
268:"So," she said. "I've been thinking of it as a computing problem. If the virus or nanomachine or protomolecule or whatever was designed, it has a purpose, right?"
"Definitely," Holden said.
"And it seems like it's trying to do something-something complex. It doesn't make sense to go to all that trouble just to kill people. Those changes it makes look intentional, just... not complete, to me."
"I can see that," Holden said. Alex and Amos nodded along with him but stayed quiet.
"So maybe the issue is that the protomolecule isn't smart enough yet. You can compress a lot of data down pretty small, but unless it's a quantum computer, processing takes space. The easiest way to get that processing in tiny machines is through distribution. Maybe the protomolecule isn't finishing its job because it just isn't smart enough to. Yet."
"Not enough of them," Alex said.
"Right," Naomi said, dropping the towel into a bin under the sink. "So you give them a lot of biomass to work with, and see what it is they are ultimately made to do."
"According to that guy in the video, they were made to hijack life on Earth and wipe us out," Miller said.
"And that," Holden said, "is why Eros is perfect. Lots of biomass in a vacuum-sealed test tube. And if it gets out of hand, there's already a war going on. A lot of ships and missiles can be used for nuking Eros into glass if the threat seems real. Nothing to make us forget our differences like a new player butting in." ~ James S A Corey, Leviathan Wakes,
269:1st row Homer, Shakespeare, Valmiki
2nd row Dante, Kalidasa, Aeschylus, Virgil, Milton
3rd row Goethe
...
I am not prepared to classify all the poets in the universe - it was the front bench or benches you asked for. By others I meant poets like Lucretius, Euripides, Calderon, Corneille, Hugo. Euripides (Medea, Bacchae and other plays) is a greater poet than Racine whom you want to put in the first ranks. If you want only the very greatest, none of these can enter - only Vyasa and Sophocles. Vyasa could very well claim a place beside Valmiki, Sophocles beside Aeschylus. The rest, if you like, you can send into the third row with Goethe, but it is something of a promotion about which one can feel some qualms. Spenser too, if you like; it is difficult to draw a line.

Shelley, Keats and Wordsworth have not been brought into consideration although their best work is as fine poetry as any written, but they have written nothing on a larger scale which would place them among the greatest creators. If Keats had finished Hyperion (without spoiling it), if Shelley had lived, or if Wordsworth had not petered out like a motor car with insufficient petrol, it might be different, but we have to take things as they are. As it is, all began magnificently, but none of them finished, and what work they did, except a few lyrics, sonnets, short pieces and narratives, is often flawed and unequal. If they had to be admitted, what about at least fifty others in Europe and Asia? ~ Sri Aurobindo, Letters On Poetry And Art,
270:At first, needing the companionship of the human voice, he had listened to classical plays especially the works of Shaw, Ibsen, and Shakespeare - or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them.

So he switched to opera - usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more.

Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years. ~ Arthur C Clarke, 2001: A Space Odyssey,
271:need for the soul's spiritualization :::
   And yet even the leading of the inmost psychic being is not found sufficient until it has succeeded in raising itself out of this mass of inferior Nature to the highest spiritual levels and the divine spark and flame descended here have rejoined themselves to their original fiery Ether. For there is there no longer a spiritual consciousness still imperfect and half lost to itself in the thick sheaths of human mind, life and body, but the full spiritual consciousness in its purity, freedom and intense wideness. There, as it is the eternal Knower that becomes the Knower in us and mover and user of all knowledge, so it is the eternal All-Blissful who is the Adored attracting to himself the eternal divine portion of his being and joy that has gone out into the play of the universe, the infinite Lover pouring himself out in the multiplicity of his own manifested selves in a happy Oneness. All Beauty in the world is there the beauty of the Beloved, and all forms of beauty have to stand under the light of that eternal Beauty and submit themselves to the sublimating and transfiguring power of the unveiled Divine Perfection. All Bliss and Joy are there of the All-Blissful, and all inferior forms of enjoyment, happiness or pleasure are subjected to the shock of the intensity of its floods or currents and either they are broken to pieces as inadequate things under its convicting stress or compelled to transmute themselves into the forms of the Divine Ananda. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 2, 168,
272:the vital
the life-nature made up of desires, sensations, feelings, passions, energies of action, will of desire, reactions of the desire-soul of man and of all that play of possessive and other related instincts, anger, greed, lust, etc., that belong to this field of nature. The vital part of man is a true instrument only when its feelings and tendencies have been purified by the psychic touch and governed by the spiritual light and power. The vital has three main parts:

higher vital
the mental vital and emotional vital taken together. The mental vital gives a mental expression by thought, speech or otherwise to the emotions, desires, passions, sensations or other movements of the vital being; the emotional vital is the seat of various feelings, such as love, joy, sorrow, hatred and the rest.

central vital or vital proper
dynamic, sensational and passionate, it is the seat of the stronger vital longings and reactions, such as ambition, pride, fear, love of fame, attractions and repulsions, desires and passion of various kinds and the field of many vital energies.

lower vital
made up of the smaller movements of human life-desire and life-reactions, it is occupied with small desires and feelings, such as food desire, sexual desire, small likings, dislikings, vanity, quarrels, love of praise, anger at blame, little wishes of all kinds, etc. The material vital is that part of the lower vital turned entirely upon physical things, full of desires and greeds and seekings for pleasure on the physical plane. ~ Integral Yoga; Sri Aurobindo's Teaching and Method of Practice,
273:Yet this was only a foretaste of the intense experiences to come. The first glimpse of the Divine Mother made him the more eager for Her uninterrupted vision. He wanted to see Her both in meditation and with eyes open. But the Mother began to play a teasing game of hide-and-seek with him, intensifying both his joy and his suffering. Weeping bitterly during the moments of separation from Her, he would pass into a trance and then find Her standing before him, smiling, talking, consoling, bidding him be of good cheer, and instructing him. During this period of spiritual practice he had many uncommon experiences. When he sat to meditate, he would hear strange clicking sounds in the joints of his legs, as if someone were locking them up, one after the other, to keep him motionless; and at the conclusion of his meditation he would again hear the same sounds, this time unlocking them and leaving him free to move about. He would see flashes like a swarm of fire-flies floating before his eyes, or a sea of deep mist around him, with luminous waves of molten silver. Again, from a sea of translucent mist he would behold the Mother rising, first Her feet, then Her waist, body, face, and head, finally Her whole person; he would feel Her breath and hear Her voice. Worshipping in the temple, sometimes he would become exalted, sometimes he would remain motionless as stone, sometimes he would almost collapse from excessive emotion. Many of his actions, contrary to all tradition, seemed sacrilegious to the people. He would take a flower and touch it to his own head, body, and feet, and then offer it to the Goddess. ~ Sri Ramakrishna, Gospel,
274:[4:131] A human being is a material system which time, a form of energy, enters. Probably time enters him also as noos-Mind. Time, the future, contains in it all the events which are going to occur. Therefore when time enters a person as energy, and acting as noos to him, it brings with it in potentium all that will happen to him, like a window shade unrolling to display an unfolding pattern. Events in the future pop into being, into actualization, the present, but until they do, they are not truly real-not yet actualized-but there in an encoded form, like the grooves of an LP before the needle reaches it; the only "music" is where the needle touches-ahead lies only an encoded wiggle along a helical spiral. Thus, dreams deal with the future lying direct ahead, as during the night, the next series of encoded future events begin to move toward actualization: i.e., the present. What is hard to realize is that in a certain very real way these events are inside the person, within his head, so to speak; but only in their potential, encoded form; the arena in which they are actualized is that of space; time, in the present, flows out to fill space-i.e., the spatial universe. This is why we experience déjà vu. We have somehow caught a glimpse now and then of the script unrolling in our head-caught a glimpse in advance, so we feel "I know exactly what I'm going to say next, and what gestures he'll make," etc. Sure; they're encoded-encased, waiting-in time, and time, being energy, has entered you; is burning bright inside, like Blake's tyger. Tyger, tyger, burning bright In the forests of the night. . . . Who framed thy awful symmetry?
   ~ Philip K Dick, Exegesis Of Philip K Dick,
275:scope and aim of the works of sacrifice :::
   Into the third and last category of the works of sacrifice can be gathered all that is directly proper to the Yoga of works; for here is its field of effectuation and major province. It covers the entire range of lifes more visible activities; under it fall the multiform energies of the Will-to-Life throwing itself outward to make the most of material existence. It is here that an ascetic or other-worldly spirituality feels an insurmountable denial of the Truth which it seeks after and is compelled to turn away from terrestrial existence, rejecting it as for ever the dark playground of an incurable Ignorance. Yet it is precisely these activities that are claimed for a spiritual conquest and divine transformation by the integral Yoga. Abandoned altogether by the more ascetic disciplines, accepted by others only as a field of temporary ordeal or a momentary, superficial and ambiguous play of the concealed spirit, this existence is fully embraced and welcomed by the integral seeker as a field of fulfilment, a field for divine works, a field of the total self-discovery of the concealed and indwelling Spirit. A discovery of the Divinity in oneself is his first object, but a total discovery too of the Divinity in the world behind the apparent denial offered by its scheme and figures and, last, a total discovery of the dynamism of some transcendent Eternal; for by its descent this world and self-will be empowered to break their disguising envelopes and become divine in revealing form and manifesting process as they now are secretly in their hidden essence.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 2, 169,
276:...that personality, like consciousness, life, soul is not a brief-lived stranger in an impersonal Eternity, but contains the very meaning of existence. This fine flower of the cosmic Energy carries in it a forecast of the aim and a hint of the very motive of the universal labour. As an occult vision opens in him, he becomes aware of worlds behind in which consciousness and personality hold an enormous place and assume a premier value; even here in the material world to this occult vision the inconscience of Matter fills with a secret pervading consciousness, its inanimation harbours a vibrant life, its mechanism is the device of an indwelling Intelligence, God and soul are everywhere. Above all stands an infinite conscious Being who is variously self-expressed in all these worlds; impersonality is only a first means of that expression. It is a field of principles and forces, an equal basis of manifestation; but these forces express themselves through beings, have conscious spirits at their head and are the emanation of a One Conscious Being who is their sorce. A multiple innumberable personality expressing that One is the very sense and central aim of the manifestation and if now personality seems to be narrow, fragmentary, restrictive, it is only because it has not opened to its source or flowered into its own divine truth and fullness packing itself with the universal and the infinite. Thus the world-creation is no more an illusion, a fortuitous mechanism, a play that need not have happened, a flux without consequence; it is an intimate dynamism of the conscious and living Eternal.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Yoga of Divine Works, The Sacrifice and the Lord of the Sacrifice, 127,
277:Here lies the whole importance of the part of the Yoga of Knowledge which we are now considering, the knowledges of those essential principles of Being, those essential modes of self-existence on which the absolute Divine has based its self-manifestation. If the truth of our being is an infinite unity in which alone there is perfect wideness, light, knowledge, power, bliss, and if all our subjection to darkness, ignorance, weakness, sorrow, limitation comes of our viewing existence as a clash of infinitely multiple separate existences, then obviously it is the most practical and concrete and utilitarian as well as the most lofty and philosophical wisdom to find a means by which we can get away from the error and learn to live in the truth. So also, if that One is in its nature a freedom from bondage to this play of qualities which constitute our psychology and if from subjection to that play are born the struggle and discord in which we live, floundering eternally between the two poles of good and evil, virtue and sin, satisfaction and failure, joy and grief, pleasure and pain, then to get beyond the qualities and take our foundation in the settled peace of that which is always beyond them is the only practical wisdom. If attachment to mutable personality is the cause of our self-ignorance, of our discord and quarrel with ourself and with life and with others, and if there is an impersonal One in which no such discord and ignorance and vain and noisy effort exist because it is in eternal identity and harmony with itself, then to arrive in our souls at that impersonality and untroubled oneness of being is the one line and object of human effort to which our reason can consent to give the name of practicality.
   ~ Sri Aurobindo, The Synthesis Of Yoga,
278:There is the one door in us that sometimes swings open upon the splendour of a truth beyond and, before it shuts again, allows a ray to touch us, - a luminous intimation which, if we have the strength and firmness, we may hold to in our faith and make a starting-point for another play of consciousness than that of the sense-mind, for the play of Intuition. For if we examine carefully, we shall find that Intuition is our first teacher. Intuition always stands veiled behind our mental operations. Intuition brings to man those brilliant messages from the Unknown which are the beginning of his higher knowledge. Reason only comes in afterwards to see what profit it can have of the shining harvest. Intuition gives us that idea of something behind and beyond all that we know and seem to be which pursues man always in contradiction of his lower reason and all his normal experience and impels him to formulate that formless perception in the more positive ideas of God, Immortality, Heaven and the rest by which we strive to express it to the mind. For Intuition is as strong as Nature herself from whose very soul it has sprung and cares nothing for the contradictions of reason or the denials of experience. It knows what is because it is, because itself it is of that and has come from that, and will not yield it to the judgment of what merely becomes and appears. What the Intuition tells us of, is not so much Existence as the Existent, for it proceeds from that one point of light in us which gives it its advantage, that sometimes opened door in our own self-awareness. Ancient Vedanta seized this message of the Intuition and formulated it in the three great declarations of the Upanishads, I am He, Thou art That, O Swetaketu, All this is the Brahman; this Self is the Brahman.
   ~ Sri Aurobindo, The Life Divine, The Methods of Vedantic Knowledge,
279:Disciple : What part does breathing exercise - Pranayama - play in bringing about the higher consciousness?

Sri Aurobindo : It sets the Pranic - vital - currents free and removes dullness of the brain so that the higher consciousness can come down. Pranayama does not bring dullness in the brain. My own experience, on the contrary, is that brain becomes illumined. When I was practising Pranayama at Baroda, I used to do it for about five hours in the day, - three hours in the morning and two in the evening. I found that the mind began to work with great illumination and power. I used to write poetry in those days. Before the Pranayama practice, usually I wrote five to eight lines per day; and about two hundred lines in a month. After the practice I could write 200 lines within half an hour. That was not the only result. Formerly my memory was dull. But after this practice I found that when the inspiration came I could remember all the lines in their order and write them down correctly at any time. Along with these enhanced functionings I could see an electrical activity all round the brain, and I could feel that it was made up of a subtle substance. I could feel everything as the working of that substance. That was far from your carbon-dioxide!

Disciple : How is it that Pranayama develops mental capacities? What part does it play in bringing about the higher consciousness?

Sri Aurobindo : It is the Pranic - vital - currents which sustain mental activity. When these currents are changed by Pranayama, they bring about a change in the brain. The cause of dullness of the brain is some obstruction in it which does not allow the higher thought to be communicated to it. When this obstruction is removed the higher mental being is able to communicate its action easily to the brain. When the higher consciousness is attained the brain does not become dull. My experience is that it becomes illumined.

~ Sri Aurobindo, A B Purani, Evening Talks With Sri Aurobindo, 19-9-1926,
280:See how, like lightest waves at play, the airy dancers fleet;
   And scarcely feels the floor the wings of those harmonious feet.
   Ob, are they flying shadows from their native forms set free?
   Or phantoms in the fairy ring that summer moonbeams see?
   As, by the gentle zephyr blown, some light mist flees in air,
   As skiffs that skim adown the tide, when silver waves are fair,
   So sports the docile footstep to the heave of that sweet measure,
   As music wafts the form aloft at its melodious pleasure,
   Now breaking through the woven chain of the entangled dance,
   From where the ranks the thickest press, a bolder pair advance,
   The path they leave behind them lost--wide open the path beyond,
   The way unfolds or closes up as by a magic wand.
   See now, they vanish from the gaze in wild confusion blended;
   All, in sweet chaos whirled again, that gentle world is ended!
   No!--disentangled glides the knot, the gay disorder ranges--
   The only system ruling here, a grace that ever changes.
   For ay destroyed--for ay renewed, whirls on that fair creation;
   And yet one peaceful law can still pervade in each mutation.
   And what can to the reeling maze breathe harmony and vigor,
   And give an order and repose to every gliding figure?
   That each a ruler to himself doth but himself obey,
   Yet through the hurrying course still keeps his own appointed way.
   What, would'st thou know? It is in truth the mighty power of tune,
   A power that every step obeys, as tides obey the moon;
   That threadeth with a golden clue the intricate employment,
   Curbs bounding strength to tranquil grace, and tames the wild enjoyment.
   And comes the world's wide harmony in vain upon thine ears?
   The stream of music borne aloft from yonder choral spheres?
   And feel'st thou not the measure which eternal Nature keeps?
   The whirling dance forever held in yonder azure deeps?
   The suns that wheel in varying maze?--That music thou discernest?
   No! Thou canst honor that in sport which thou forgettest in earnest.
   ~ Friedrich Schiller,
281:WHEN THE GREAT YOGIN Padmasambhava, called by Tibetans Guru Rinpoche, "the precious teacher," embarks on his spiritual journey, he travels from place to place requesting teachings from yogins and yoginls. Guided by visions and dreams, his journey takes him to desolate forests populated with ferocious wild animals, to poison lakes with fortified islands, and to cremation grounds. Wherever he goes he performs miracles, receives empowerments, and ripens his own abilities to benefit others.

   When he hears of the supreme queen of all dakinls, the greatly accomplished yogini called Secret Wisdom, he travels to the Sandal Grove cremation ground to the gates of her abode, the Palace of Skulls. He attempts to send a request to the queen with her maidservant Kumari. But the girl ignores him and continues to carry huge brass jugs of water suspended from a heavy yoke across her shoulders. When he presses his request, Kumari continues her labors, remaining silent. The great yogin becomes impatient and, through his yogic powers, magically nails the heavy jugs to the floor. No matter how hard Kumari struggles, she cannot lift them.

   Removing the yoke and ropes from her shoulders, she steps before Padmasambhava, exclaiming, "You have developed great yogic powers. What of my powers, great one?" And so saying, she draws a sparkling crystal knife from the girdle at her waist and slices open her heart center, revealing the vivid and vast interior space of her body. Inside she displays to Guru Rinpoche the mandala of deities from the inner tantras: forty-two peaceful deities manifested in her upper torso and head and fifty-eight wrathful deities resting in her lower torso. Abashed that he did not realize with whom he was dealing, Guru Rinpoche bows before her and humbly renews his request for teachings. In response, she offers him her respect as well, adding, "I am only a maidservant," and ushers him in to meet the queen Secret Wisdom. ~ Judith Simmer-Brown, Dakini's Warm Breath: The Feminine Principle in Tibetan Buddhism, Introduction: Encountering the Dakini,
282:Nati is the submission of the soul to the will of God; its acceptance of all touches as His touches, of all experience as His play with the soul of man. Nati may be with titiksha, feeling the sorrow but accepting it as God's will, or with udasinata, rising superior to it and regarding joy and sorrow equally as God's working in these lower instruments, or with ananda, receiving everything as the play of Krishna and therefore in itself delightful. The last is the state of the complete Yogin, for by this continual joyous or anandamaya namaskara to God constantly practised we arrive eventually at the entire elimination of grief, pain etc, the entire freedom from the dwandwas, and find the Brahmananda in every smallest, most trivial, most apparently discordant detail of life & experience in this human body. We get rid entirely of fear and suffering; Anandam Brahmano vidvan na bibheti kutaschana. We may have to begin with titiksha and udasinata but it is in this ananda that we must consummate the siddhi of samata. The Yogin receives victory and defeat, success and ill-success, pleasure and pain, honour and disgrace with an equal, a sama ananda, first by buddhi-yoga, separating himself from his habitual mental & nervous reactions & insisting by vichara on the true nature of the experience itself and of his own soul which is secretly anandamaya, full of the sama ananda in all things. He comes to change all the ordinary values of experience; amangala reveals itself to him as mangala, defeat & ill-success as the fulfilment of God's immediate purpose and a step towards ultimate victory, grief and pain as concealed and perverse forms of pleasure. A stage arrives even, when physical pain itself, the hardest thing for material man to bear, changes its nature in experience and becomes physical ananda; but this is only at the end when this human being, imprisoned in matter, subjected to mind, emerges from his subjection, conquers his mind and delivers himself utterly in his body, realising his true anandamaya self in every part of the adhara.
   ~ Sri Aurobindo, Record Of Yoga,
283:Jnana Yoga, the Path of Knowledge; :::
   The Path of Knowledge aims at the realisation of the unique and supreme Self. It proceeds by the method of intellectual reflection, vicara ¯, to right discrimination, viveka. It observes and distinguishes the different elements of our apparent or phenomenal being and rejecting identification with each of them arrives at their exclusion and separation in one common term as constituents of Prakriti, of phenomenal Nature, creations of Maya, the phenomenal consciousness. So it is able to arrive at its right identification with the pure and unique Self which is not mutable or perishable, not determinable by any phenomenon or combination of phenomena. From this point the path, as ordinarily followed, leads to the rejection of the phenomenal worlds from the consciousness as an illusion and the final immergence without return of the individual soul in the Supreme. But this exclusive consummation is not the sole or inevitable result of the Path of Knowledge. For, followed more largely and with a less individual aim, the method of Knowledge may lead to an active conquest of the cosmic existence for the Divine no less than to a transcendence. The point of this departure is the realisation of the supreme Self not only in one's own being but in all beings and, finally, the realisation of even the phenomenal aspects of the world as a play of the divine consciousness and not something entirely alien to its true nature. And on the basis of this realisation a yet further enlargement is possible, the conversion of all forms of knowledge, however mundane, into activities of the divine consciousness utilisable for the perception of the one and unique Object of knowledge both in itself and through the play of its forms and symbols. Such a method might well lead to the elevation of the whole range of human intellect and perception to the divine level, to its spiritualisation and to the justification of the cosmic travail of knowledge in humanity.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Conditions of the Synthesis, The Systems Of Yoga, 38,
284:separating from the heart and mind and the benefits of doing so :::
   Therefore the mental Purusha has to separate himself from association and self-identification with this desire-mind. He has to say I am not this thing that struggles and suffers, grieves and rejoices, loves and hates, hopes and is baffled, is angry and afraid and cheerful and depressed, a thing of vital moods and emotional passions. All these are merely workings and habits of Prakriti in the sensational and emotional mind. The mind then draws back from its emotions and becomes with these, as with the bodily movements and experiences, the observer or witness. There is again an inner cleavage. There is this emotional mind in which these moods and passions continue to occur according to the habit of the modes of Nature and there is the observing mind which sees them, studies and understands but is detached from them. It observes them as if in a sort of action and play on a mental stage of personages other than itself, at first with interest and a habit of relapse into identification, then with entire calm and detachment, and, finally, attaining not only to calm but to the pure delight of its own silent existence, with a smile at thier unreality as at the imaginary joys and sorrows of a child who is playing and loses himself in the play. Secondly, it becomes aware of itself as master of the sanction who by his withdrawl of sanction can make this play to cease. When the sanction is withdrawn, another significant phenomenon takes place; the emotional mind becomes normally calm and pure and free from these reactions, and even when they come, they no longer rise from within but seem to fall on it as impression from outside to which its fibers are still able to respond; but this habit of reponse dies away and the emotional mind is in time entirely liberated from the passions which it has renounced. Hope and fear, joy and grief, liking and disliking, attraction and repulsion, content and discontent, gladness and depression, horror and wrath and fear and disgust and shame and the passions of love and hatred fall away from the liberated psychic being.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Release from the Heart and the Mind, 352,
285:higher mind or late vision logic ::: Even more rare, found stably in less than 1% of the population and even more emergent is the turquoise altitude.

Cognition at Turquoise is called late vision-logic or cross-paradigmatic and features the ability to connect meta-systems or paradigms, with other meta-systems. This is the realm of coordinating principles. Which are unified systems of systems of abstraction to other principles. ... Aurobindo indian sage and philosopher offers a more first-person account of turquoise which he called higher-mind, a unitarian sense of being with a powerful multiple dynamism capable of formation of a multitude of aspects of knowledge, ways of action, forms and significances of becoming of all of which a spontaneous inherient knowledge.

Self-sense at turquoise is called Construct-aware and is the first stage of Cook-Greuter's extension of Loveigers work on ego-development. The Construct-aware stage sees individuals for the first time as exploring more and more complex thought-structures with awareness of the automatic nature of human map making and absurdities which unbridaled complexity and logical argumentation can lead. Individuals at this stage begin to see their ego as a central point of reference and therefore a limit to growth. They also struggle to balance unique self-expressions and their concurrent sense of importance, the imperical and intuitive knowledge that there is no fundamental subject-object separation and the budding awareness of self-identity as temporary which leads to a decreased ego-desire to create a stable self-identity. Turquoise individuals are keenly aware of the interplay between awareness, thought, action and effects. They seek personal and spiritual transformation and hold a complex matrix of self-identifications, the adequecy of which they increasingly call into question. Much of this already points to Turquoise values which embrace holistic and intuitive thinking and alignment to universal order in a conscious fashion.

Faith at Turquoise is called Universalising and can generate faith compositions in which conceptions of Ultimate Reality start to include all beings. Individuals at Turquoise faith dedicate themselves to transformation of present reality in the direction of transcendent actuality. Both of these are preludes to the coming of Third Tier. ~ Essential Integral, L4.1-54, Higher Mind,
286:the three stages of the ascent :::
   There are three stages of the ascent, -at the bottom the bodily life enslaved to the pressure of necessity and desire, in the middle the mental, the higher emotional and psychic rule that feels after greater interests, aspirations, experiences, ideas, and at the summits first a deeper psychic and spiritual state and then a supramental eternal consciousness in which all our aspirations and seekings discover their own intimate significance.In the bodily life first desire and need and then the practical good of the individual and the society are the governing consideration, the dominant force. In the mental life ideas and ideals rule, ideas that are half-lights wearing the garb of Truth, ideals formed by the mind as a result of a growing but still imperfect intuition and experience. Whenever the mental life prevails and the bodily diminishes its brute insistence, man the mental being feels pushed by the urge of mental Nature to mould in the sense of the idea or the ideal the life of the individual, and in the end even the vaguer more complex life of the society is forced to undergo this subtle process.In the spiritual life, or when a higher power than Mind has manifested and taken possession of the nature, these limited motive-forces recede, dwindle, tend to disappear. The spiritual or supramental Self, the Divine Being, the supreme and immanent Reality, must be alone the Lord within us and shape freely our final development according to the highest, widest, most integral expression possible of the law of our nature. In the end that nature acts in the perfect Truth and its spontaneous freedom; for it obeys only the luminous power of the Eternal. The individual has nothing further to gain, no desire to fulfil; he has become a portion of the impersonality or the universal personality of the Eternal. No other object than the manifestation and play of the Divine Spirit in life and the maintenance and conduct of the world in its march towards the divine goal can move him to action. Mental ideas, opinions, constructions are his no more; for his mind has fallen into silence, it is only a channel for the Light and Truth of the divine knowledge. Ideals are too narrow for the vastness of his spirit; it is the ocean of the Infinite that flows through him and moves him for ever.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Supreme Will,
287:the ways of the Bhakta and man of Knowledge :::
   In the ordinary paths of Yoga the method used for dealing with these conflicting materials is direct and simple. One or another of the principal psychological forces in us is selected as our single means for attaining to the Divine; the rest is quieted into inertia or left to starve in its smallness. The Bhakta, seizing on the emotional forces of the being, the intense activities of the heart, abides concentrated in the love of God, gathered up as into a single one-pointed tongue of fire; he is indifferent to the activities of thought, throws behind him the importunities of the reason, cares nothing for the mind's thirst for knowledge. All the knowledge he needs is his faith and the inspirations that well up from a heart in communion with the Divine. He has no use for any will to works that is not turned to the direct worship of the Beloved or the service of the temple. The man of Knowledge, self-confined by a deliberate choice to the force and activities of discriminative thought, finds release in the mind's inward-drawn endeavour. He concentrates on the idea of the self, succeeds by a subtle inner discernment in distinguishing its silent presence amid the veiling activities of Nature, and through the perceptive idea arrives at the concrete spiritual experience. He is indifferent to the play of the emotions, deaf to the hunger-call of passion, closed to the activities of Life, -- the more blessed he, the sooner they fall away from him and leave him free, still and mute, the eternal non-doer. The body is his stumbling-block, the vital functions are his enemies; if their demands can be reduced to a minimum, that is his great good fortune. The endless difficulties that arise from the environing world are dismissed by erecting firmly against them a defence of outer physical and inner spiritual solitude; safe behind a wall of inner silence, he remains impassive and untouched by the world and by others. To be alone with oneself or alone with the Divine, to walk apart with God and his devotees, to entrench oneself in the single self-ward endeavour of the mind or Godward passion of the heart is the trend of these Yogas. The problem is solved by the excision of all but the one central difficulty which pursues the only chosen motive-force; into the midst of the dividing calls of our nature the principle of an exclusive concentration comes sovereignly to our rescue.
   ~ Sri Aurobindo, The Synthesis Of Yoga, Self-Consecration. 76-77,
288:reading :::
   Self-Help Reading List:
   James Allen As a Man Thinketh (1904)
   Marcus Aurelius Meditations (2nd Century)
   The Bhagavad-Gita
   The Bible
   Robert Bly Iron John (1990)
   Boethius The Consolation of Philosophy (6thC)
   Alain de Botton How Proust Can Change Your Life (1997)
   William Bridges Transitions: Making Sense of Life's Changes (1980)
   David Brooks The Road to Character (2015)
   Brené Brown Daring Greatly (2012)
   David D Burns The New Mood Therapy (1980)
   Joseph Campbell (with Bill Moyers) The Power of Myth (1988)
   Richard Carlson Don't Sweat The Small Stuff (1997)
   Dale Carnegie How to Win Friends and Influence People (1936)
   Deepak Chopra The Seven Spiritual Laws of Success (1994)
   Clayton Christensen How Will You Measure Your Life? (2012)
   Paulo Coelho The Alchemist (1988)
   Stephen Covey The 7 Habits of Highly Effective People (1989)
   Mihaly Cziksentmihalyi Flow: The Psychology of Optimal Experience (1991)
   The Dalai Lama & Howard Cutler The Art of Happiness (1999)
   The Dhammapada (Buddha's teachings)
   Charles Duhigg The Power of Habit (2011)
   Wayne Dyer Real Magic (1992)
   Ralph Waldo Emerson Self-Reliance (1841)
   Clarissa Pinkola Estes Women Who Run With The Wolves (1996)
   Viktor Frankl Man's Search For Meaning (1959)
   Benjamin Franklin Autobiography (1790)
   Shakti Gawain Creative Visualization (1982)
   Daniel Goleman Emotional Intelligence (1995)
   John Gray Men Are From Mars, Women Are From Venus (1992)
   Louise Hay You Can Heal Your Life (1984)
   James Hillman The Soul's Code: In Search of Character and Calling (1996)
   Susan Jeffers Feel The Fear And Do It Anyway (1987)
   Richard Koch The 80/20 Principle (1998)
   Marie Kondo The Life-Changing Magic of Tidying Up (2014)
   Ellen Langer Mindfulness: Choice and Control in Everyday Life (1989)
   Lao-Tzu Tao-te Ching (The Way of Power)
   Maxwell Maltz Psycho-Cybernetics (1960)
   Abraham Maslow Motivation and Personality (1954)
   Thomas Moore Care of the Soul (1992)
   Joseph Murphy The Power of Your Subconscious Mind (1963)
   Norman Vincent Peale The Power of Positive Thinking (1952)
   M Scott Peck The Road Less Traveled (1990)
   Anthony Robbins Awaken The Giant Within (1991)
   Florence Scovell-Shinn The Game of Life and How To Play It (1923)
   Martin Seligman Learned Optimism (1991)
   Samuel Smiles Self-Help (1859)
   Pierre Teilhard de Chardin The Phenomenon of Man (1955)
   Henry David Thoreau Walden (1854)
   Marianne Williamson A Return To Love (1993)
   ~ Tom Butler-Bowdon, 50 Self-Help,
289:meta-systemic operations ::: As the 1950's and 60s begin to roll around the last stage of first tier emerged as a cultural force. With the Green Altitude we see the emergence of Pluralistic, Multicultural, Post-Modern world-views.

Cognition is starting to move beyond formal-operations into the realm of co-ordinating systems of abstractions, in what is called Meta-systemic Cognition. While formal-operations acted upon the classes and relations between members of classes. Meta-systemic operations start at the level of relating systems to systems. The focus of these investigations is placed upon comparing, contrasting, transforming and synthesizing entire systems, rather than components of one system. This emergent faculty allows self-sense to focus around a heightened sense of individuality and an increased ability for emotional resonance. The recognition of individual differences, the ability to tolerate paradox and contradiction, and greater conceptual complexity all provide for an understanding of conflict as being both internally and externally caused. Context plays a major role in the creation of truth and individual perspective. With each being context dependent and open to subjective interpretation, meaning each perspective and truth are rendered relative and are not able to be judged as better or more true than any other. This fuels a value set that centers on softness over cold rationality. Sensitivity and preference over objectivity.

Along with a focus on community harmony and equality which drives the valuing of sensitivity to others, reconcilation, consensus, dialogue, relationship, human development, bonding, and a seeking of a peace with the inner-self. Moral decisions are based on rights, values, or principles that are agreeable to all individuals composing a society based on fair and beneficial practices. All of this leads to the Equality movements and multiculturalism. And to the extreme form of relativitism which we saw earlier as context dependant nature of all truth including objective facts.

Faith at the green altitude is called Conjunctive, and allows the self to integrate what was unrecognized by the previous stages self-certainty and cognitive and affective adaptation to reality. New features at this level of faith include the unification of symbolic power with conceptual meaning, an awareness of ones social unconscious, a reworking of ones past, and an opening to ones deeper self. ~ Essential Integral, 4.1-52, Meta-systemic Operations,
290:The Song Of Food And Dwelling :::
I bow down at the feet of the wish-fulfilling Guru.
Pray vouchsafe me your grace in bestowing beneficial food,
Pray make me realize my own body as the house of Buddha,
Pray grant me this knowledge.

I built the house through fear,
The house of Sunyata, the void nature of being;
Now I have no fear of its collapsing.
I, the Yogi with the wish-fulfilling gem,
Feel happiness and joy where'er I stay.

Because of the fear of cold, I sought for clothes;
The clothing I found is the Ah Shea Vital Heat.
Now I have no fear of coldness.

Because of the fear of poverty, I sought for riches;
The riches I found are the inexhaustible Seven Holy Jewels.
Now I have no fear of poverty.

Because of the fear of hunger, I sought for food;
The food I found is the Samadhi of Suchness.
Now I have no fear of hunger.

Because of the fear of thirst, I sought for drink;
The heavenly drink I found is the wine of mindfulness.
Now I have no fear of thirst.

Because of the fear of loneliness, I searched for a friend;
The friend I found is the bliss of perpetual Sunyata.
Now I have no fear of loneliness.

Because of the fear of going astray,
I sought for the right path to follow.
The wide path I found is the Path of Two-in-One.
Now I do not fear to lose my way.

I am a yogi with all desirable possessions,
A man always happy where'er he stays.

Here at Yolmo Tagpu Senge Tson,
The tigress howling with a pathetic, trembling cry,
Reminds me that her helpless cubs are innocently playing.
I cannot help but feel a great compassion for them,
I cannot help but practice more diligently,
I cannot help but augment thus my Bodhi-Mind.

The touching cry of the monkey,
So impressive and so moving,
Cannot help but raise in me deep pity.
The little monkey's chattering is amusing and pathetic;
As I hear it, I cannot but think of it with compassion.

The voice of the cuckoo is so moving,
And so tuneful is the lark's sweet singing,
That when I hear them I cannot help but listen
When I listen to them,
I cannot help but shed tears.

The varied cries and cawings of the crow,
Are a good and helpful friend unto the yogi.
Even without a single friend,
To remain here is a pleasure.
With joy flowing from my heart, I sing this happy song;
May the dark shadow of all men's sorrows
Be dispelled by my joyful singing. ~ Jetsun Milarepa,
291:Thus the eternal paradox and eternal truth of a divine life in an animal body, an immortal aspiration or reality inhabiting a mortal tenement, a single and universal consciousness representing itself in limited minds and divided egos, a transcendent, indefinable, timeless and spaceless Being who alone renders time and space and cosmos possible, and in all these the higher truth realisable by the lower term, justify themselves to the deliberate reason as well as to the persistent instinct or intuition of mankind. Attempts are sometimes made to have done finally with questionings which have so often been declared insoluble by logical thought and to persuade men to limit their mental activities to the practical and immediate problems of their material existence in the universe; but such evasions are never permanent in their effect. Mankind returns from them with a more vehement impulse of inquiry or a more violent hunger for an immediate solution. By that hunger mysticism profits and new religions arise to replace the old that have been destroyed or stripped of significance by a scepticism which itself could not satisfy because, although its business was inquiry, it was unwilling sufficiently to inquire. The attempt to deny or stifle a truth because it is yet obscure in its outward workings and too often represented by obscurantist superstition or a crude faith, is itself a kind of obscurantism. The will to escape from a cosmic necessity because it is arduous, difficult to justify by immediate tangible results, slow in regulating its operations, must turn out eventually to have been no acceptance of the truth of Nature but a revolt against the secret, mightier will of the great Mother. It is better and more rational to accept what she will not allow us as a race to reject and lift it from the sphere of blind instinct, obscure intuition and random aspiration into the light of reason and an instructed and consciously self-guiding will. And if there is any higher light of illumined intuition or self-revealing truth which is now in man either obstructed and inoperative or works with intermittent glancings as if from behind a veil or with occasional displays as of the northern lights in our material skies, then there also we need not fear to aspire. For it is likely that such is the next higher state of consciousness of which Mind is only a form and veil, and through the splendours of that light may lie the path of our progressive self-enlargement into whatever highest state is humanity's ultimate resting-place. ~ Sri Aurobindo, The Life Divine, The Human Aspiration,
292:Disciple: What are the conditions of success in this yoga?

Sri Aurobindo: I have often told of them. Those go through who have the central sincerity. It does not mean that the sincerity is there in all the parts of the being. In that sense no one is entirely ready. But if the central sincerity is there it is possible to establish it in all the parts of the being.
The second thing necessary is a certain receptivity in the being, what we call, the "opening" up of all the planes to the Higher Power.
The third thing required is the power of holding the higher Force, a certain ghanatwa - mass - that can hold the Power when it comes down.
And about the thing that pushes there are two things that generally push: One is the Central Being. The other is destiny. If the Central Being wants to do something it pushes the man. Even when the man goes off the line he is pushed back again to the path. Of course, the Central Being may push through the mind or any other part of the being. Also, if the man is destined he is pushed to the path either to go through or to get broken,

Disciple: There are some people who think they are destined or chosen and we see that they are not "chosen".

Sri Aurobindo: Of course, plenty of people think that they are specially "chosen" and that they are the first and the "elect" and so on. All that is nothing.

Disciple: Then, can you. say who is fit out of all those that have come?

Sri Aurobindo: It is very difficult to say. But this can be said that everyone of those who have come in has some chance to go through if he can hold on to it.

Disciple: There is also a chance of failure.

Sri Aurobindo: Of course, and besides, the whole universe is a play of forces and one can't always wait till all the conditions of success have been fulfilled. One has to take risks and take his chance.

Disciple: What is meant by "chance"? Does it mean that it is only one possibility out of many others, or does it mean that one would be able to succeed in yoga?

Sri Aurobindo: It means only that he can succeed if he takes his chance properly. For instance, X had his chance.

Disciple: Those who fall on the path or slip, do they go down in their evolution?

Sri Aurobindo: That depends. Ultimately, the Yoga may be lost to him.

Disciple: The Gita says: Na hi kalyānkṛt - nothing that is beneficial - comes to a bad end.

Sri Aurobindo: That is from another standpoint. You must note the word is kalyān kṛt - it is an important addition.
~ Sri Aurobindo, EVENING TALKS WITH SRI AUROBINDO, RECORDED BY A B PURANI (20-09-1926),
293:Has creation a definite aim? Is there something like a final end to which it is moving?

The Mother: No, the universe is a movement that is eternally unrolling itself. There is nothing which you can fix upon as the end and one aim. But for the sake of action we have to section the movement, which is itself unending, and to say that this or that is the goal, for in action we need something upon which we can fix our aim. In a picture you need a definite scheme of composition and colour; you have to set a limit, to put the whole thing within a fixed framework; but the limit is illusory, the frame is a mere convention. There is a constant continuation of the picture that stretches beyond any particular frame, and each continuation can be drawn in the same conditions in an unending series of frames. Our aim is this or that, we say, but we know that it is only the beginning of another aim beyond it, and that in its turn leads to yet another; the series develop always and never stop.

What is the proper function of the intellect? Is it a help or a hindrance to Sadhana?

Whether the intellect is a help or a hindrance depends upon the person and upon the way in which it is used. There is a true movement of the intellect and there is a wrong movement; one helps, the other hinders. The intellect that believes too much in its own importance and wants satisfaction for its own sake, is an obstacle to the higher realisation.

But this is true not in any special sense or for the intellect alone, but generally and of other faculties as well. For example, people do not regard an all-engrossing satisfaction of the vital desires or the animal appetites as a virtue; the moral sense is accepted as a mentor to tell one the bounds that one may not transgress. It is only in his intellectual activities that man thinks he can do without any such mentor or censor!

Any part of the being that keeps to its proper place and plays its appointed role is helpful; but directly it steps beyond its sphere, it becomes twisted and perverted and therefore false. A power has the right movement when it is set into activity for the divine's purpose; it has the wrong movement when it is set into activity for its own satisfaction.

The intellect, in its true nature, is an instrument of expression and action. It is something like an intermediary between the true knowledge, whose seat is in the higher regions above the mind, and realisation here below. The intellect or, generally speaking, the mind gives the form; the vital puts in the dynamism and life-power; the material comes in last and embodies. ~ The Mother, Questions And Answers 1929-1931, 28th April 1931 and 5th May 1929,
294:Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing be­ cause they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing-mystery. That was what dreams and truly great works of art had in common : mystery. Goldmund continued his thought: It is mystery I love and pursue. Several times I have seen it beginning to take shape; as an artist, I would like to capture and express it. Some day, perhaps, I'll be able to. The figure of the universal mother, the great birthgiver, for example. Unlike other fi gures, her mystery does not consist of this or that detail, of a particular voluptuousness or sparseness, coarseness or delicacy, power or gracefulness. It consists of a fusion of the greatest contrasts of the world, those that cannot otherwise be combined, that have made peace only in this figure. They live in it together: birth and death, tenderness and cruelty, life and destruction. If I only imagined this fi gure, and were she merely the play of my thoughts, it would not matter about her, I could dismiss her as a mistake and forget about heR But the universal mother is not an idea of mine; I did not think her up, I saw her! She lives inside me. I've met her again and again. She appeared to me one winter night in a village when I was asked to hold a light over the bed of a peasant woman giving birth: that's when the image came to life within me. I often lose it; for long periods it re­ mains remote; but suddenly it Hashes clear again, as it did today. The image of my own mother, whom I loved most of all, has transformed itself into this new image, and lies encased within the new one like the pit in the cherry.

   As his present situation became clear to him, Goldmund was afraid to make a decision. It was as difficult as when he had said farewell to Narcissus and to the cloister. Once more he was on an impor­ tant road : the road to his mother. Would this mother-image one day take shape, a work of his hands, and become visible to all? Perhaps that was his goal, the hidden meaning of his life. Perhaps; he didn't know. But one thing he did know : it was good to travel toward his mother, to be drawn and called by her. He felt alive. Perhaps he'd never be able to shape her image, perhaps she'd always remain a dream, an intuition, a golden shimmer, a sacred mystery. At any rate, he had to follow her and submit his fate to her. She was his star.

   And now the decision was at his fingertips; everything had become clear. Art was a beautiful thing, but it was no goddess, no goal-not for him. He was not to follow art, but only the call of his mother.

   ~ Hermann Hesse, Narcissus and Goldmund,
295:The Mahashakti, the universal Mother, works out whatever is transmitted by her transcendent consciousness from the Supreme and enters into the worlds that she has made; her presence fills and supports them with the divine spirit and the divine all-sustaining force and delight without which they could not exist. That which we call Nature or Prakriti is only her most outward executive aspect; she marshals and arranges the harmony of her forces and processes, impels the operations of Nature and moves among them secret or manifest in all that can be seen or experienced or put into motion of life. Each of the worlds is nothing but one play of the Mahashakti of that system of worlds or universe, who is there as the cosmic Soul and Personality of the transcendent Mother. Each is something that she has seen in her vision, gathered into her heart of beauty and power and created in her Ananda.
   But there are many planes of her creation, many steps of the Divine Shakti. At the summit of this manifestation of which we are a part there are worlds of infinite existence, consciousness, force and bliss over which the Mother stands as the unveiled eternal Power. All beings there live and move in an ineffable completeness and unalterable oneness, because she carries them safe in her arms for ever. Nearer to us are the worlds of a perfect supramental creation in which the Mother is the supramental Mahashakti, a Power of divine omniscient Will and omnipotent Knowledge always apparent in its unfailing works and spontaneously perfect in every process. There all movements are the steps of the Truth; there all beings are souls and powers and bodies of the divine Light; there all experiences are seas and floods and waves of an intense and absolute Ananda. But here where we dwell are the worlds of the Ignorance, worlds of mind and life and body separated in consciousness from their source, of which this earth is a significant centre and its evolution a crucial process. This too with all its obscurity and struggle and imperfection is upheld by the Universal Mother; this too is impelled and guided to its secret aim by the Mahashakti.
   The Mother as the Mahashakti of this triple world of the Ignorance stands in an intermediate plane between the supramental Light, the Truth life, the Truth creation which has to be brought down here and this mounting and descending hierarchy of planes of consciousness that like a double ladder lapse into the nescience of Matter and climb back again through the flowering of life and soul and mind into the infinity of the Spirit. Determining all that shall be in this universe and in the terrestrial evolution by what she sees and feels and pours from her, she stands there... ~ Sri Aurobindo, The Mother With Letters On The Mother,
296:"O Death, thou lookst on an unfinished world
Assailed by thee and of its road unsure,
Peopled by imperfect minds and ignorant lives,
And sayest God is not and all is vain.
How shall the child already be the man?
Because he is infant, shall he never grow?
Because he is ignorant, shall he never learn?
In a small fragile seed a great tree lurks,
In a tiny gene a thinking being is shut;
A little element in a little sperm,
It grows and is a conqueror and a sage.
Then wilt thou spew out, Death, God's mystic truth,
Deny the occult spiritual miracle?
Still wilt thou say there is no spirit, no God?
A mute material Nature wakes and sees;
She has invented speech, unveiled a will.
Something there waits beyond towards which she strives,
Something surrounds her into which she grows:
To uncover the spirit, to change back into God,
To exceed herself is her transcendent task.
In God concealed the world began to be,
Tardily it travels towards manifest God:
Our imperfection towards perfection toils,
The body is the chrysalis of a soul:
The infinite holds the finite in its arms,
Time travels towards revealed eternity.
A miracle structure of the eternal Mage,
Matter its mystery hides from its own eyes,
A scripture written out in cryptic signs,
An occult document of the All-Wonderful's art.
All here bears witness to his secret might,
In all we feel his presence and his power.
A blaze of his sovereign glory is the sun,
A glory is the gold and glimmering moon,
A glory is his dream of purple sky.
A march of his greatness are the wheeling stars.
His laughter of beauty breaks out in green trees,
His moments of beauty triumph in a flower;
The blue sea's chant, the rivulet's wandering voice
Are murmurs falling from the Eternal's harp.
This world is God fulfilled in outwardness.
His ways challenge our reason and our sense;
By blind brute movements of an ignorant Force,
By means we slight as small, obscure or base,
A greatness founded upon little things,
He has built a world in the unknowing Void.
His forms he has massed from infinitesimal dust;
His marvels are built from insignificant things.
If mind is crippled, life untaught and crude,
If brutal masks are there and evil acts,
They are incidents of his vast and varied plot,
His great and dangerous drama's needed steps;
He makes with these and all his passion-play,
A play and yet no play but the deep scheme
Of a transcendent Wisdom finding ways
To meet her Lord in the shadow and the Night:
Above her is the vigil of the stars;
Watched by a solitary Infinitude
She embodies in dumb Matter the Divine,
In symbol minds and lives the Absolute.
~ Sri Aurobindo, Savitri, The Debate of Love and Death,
297:It is then by a transformation of life in its very principle, not by an external manipulation of its phenomena, that the integral Yoga proposes to change it from a troubled and ignorant into a luminous and harmonious movement of Nature. There are three conditions which are indispensable for the achievement of this central inner revolution and new formation; none of them is altogether sufficient in itself, but by their united threefold power the uplifting can be done, the conversion made and completely made. For, first, life as it is is a movement of desire and it has built in us as its centre a desire-soul which refers to itself all the motions of life and puts in them its own troubled hue and pain of an ignorant, half-lit, baffled endeavour: for a divine living, desire must be abolished and replaced by a purer and firmer motive-power, the tormented soul of desire dissolved and in its stead there must emerge the calm, strength, happiness of a true vital being now concealed within us. Next, life as it is is driven or led partly by the impulse of the life-force, partly by a mind which is mostly a servant and abettor of the ignorant life-impulse, but in part also its uneasy and not too luminous or competent guide and mentor; for a divine life the mind and the life-impulse must cease to be anything but instruments and the inmost psychic being must take their place as the leader on the path and the indicator of a divine guidance. Last, life as it is is turned towards the satisfaction of the separative ego; ego must disappear and be replaced by the true spiritual person, the central being, and life itself must be turned towards the fulfilment of the Divine in terrestrial existence; it must feel a Divine Force awaking within it and become an obedient instrumentation of its purpose.
   There is nothing that is not ancient and familiar in the first of these three transforming inner movements; for it has always been one of the principal objects of spiritual discipline. It has been best formulated in the already expressed doctrine of the Gita by which a complete renouncement of desire for the fruits as the motive of action, a complete annulment of desire itself, the complete achievement of a perfect equality are put forward as the normal status of a spiritual being. A perfect spiritual equality is the one true and infallible sign of the cessation of desire, - to be equal-souled to all things, unmoved by joy and sorrow, the pleasant and the unpleasant, success or failure, to look with an equal eye on high and low, friend and enemy, the virtuous and the sinner, to see in all beings the manifold manifestation of the One and in all things the multitudinous play or the slow masked evolution of the embodied Spirit. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 2, 176,
298:- for every well-made and significant poem, picture, statue or building is an act of creative knowledge, a living discovery of the consciousness, a figure of Truth, a dynamic form of mental and vital self-expression or world-expression, - all that seeks, all that finds, all that voices or figures is a realisation of something of the play of the Infinite and to that extent can be made a means of God-realisation or of divine formation. But the Yogin has to see that it is no longer done as part of an ignorant mental life; it can be accepted by him only if by the feeling, the remembrance, the dedication within it, it is turned into a movement of the spiritual consciousness and becomes a part of its vast grasp of comprehensive illuminating knowledge.
   For all must be done as a sacrifice, all activities must have the One Divine for their object and the heart of their meaning. The Yogin's aim in the sciences that make for knowledge should be to discover and understand the workings of the Divine Consciousness-Puissance in man and creatures and things and forces, her creative significances, her execution of the mysteries, the symbols in which she arranges the manifestation. The Yogin's aim in the practical sciences, whether mental and physical or occult and psychic, should be to enter into the ways of the Divine and his processes, to know the materials and means for the work given to us so that we may use that knowledge for a conscious and faultless expression of the spirit's mastery, joy and self-fulfilment. The Yogin's aim in the Arts should not be a mere aesthetic, mental or vital gratification, but, seeing the Divine everywhere, worshipping it with a revelation of the meaning of its own works, to express that One Divine in ideal forms, the One Divine in principles and forces, the One Divine in gods and men and creatures and objects. The theory that sees an intimate connection between religious aspiration and the truest and greatest Art is in essence right; but we must substitute for the mixed and doubtful religious motive a spiritual aspiration, vision, interpreting experience. For the wider and more comprehensive the seeing, the more it contains in itself the sense of the hidden Divine in humanity and in all things and rises beyond a superficial religiosity into the spiritual life, the more luminous, flexible, deep and powerful will the Art be that springs from that high motive. The Yogin's distinction from other men is this that he lives in a higher and vaster spiritual consciousness; all his work of knowledge or creation must then spring from there: it must not be made in the mind, - for it is a greater truth and vision than mental man's that he has to express or rather that presses to express itself through him and mould his works, not for his personal satisfaction, but for a divine purpose. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 1, 142 [T4],
299:The modern distinction is that the poet appeals to the imagination and not to the intellect. But there are many kinds of imagination; the objective imagination which visualises strongly the outward aspects of life and things; the subjective imagination which visualises strongly the mental and emotional impressions they have the power to start in the mind; the imagination which deals in the play of mental fictions and to which we give the name of poetic fancy; the aesthetic imagination which delights in the beauty of words and images for their own sake and sees no farther. All these have their place in poetry, but they only give the poet his materials, they are only the first instruments in the creation of poetic style. The essential poetic imagination does not stop short with even the most subtle reproductions of things external or internal, with the richest or delicatest play of fancy or with the most beautiful colouring of word or image. It is creative, not of either the actual or the fictitious, but of the more and the most real; it sees the spiritual truth of things, - of this truth too there are many gradations, - which may take either the actual or the ideal for its starting-point. The aim of poetry, as of all true art, is neither a photographic or otherwise realistic imitation of Nature, nor a romantic furbishing and painting or idealistic improvement of her image, but an interpretation by the images she herself affords us, not on one but on many planes of her creation, of that which she conceals from us, but is ready, when rightly approached, to reveal.

   This is the true, because the highest and essential aim of poetry; but the human mind arrives at it only by a succession of steps, the first of which seems far enough from its object. It begins by stringing its most obvious and external ideas, feelings and sensations of things on a thread of verse in a sufficient language of no very high quality. But even when it gets to a greater adequacy and effectiveness, it is often no more than a vital, an emotional or an intellectual adequacy and effectiveness. There is a strong vital poetry which powerfully appeals to our sensations and our sense of life, like much of Byron or the less inspired mass of the Elizabethan drama; a strong emotional poetry which stirs our feelings and gives us the sense and active image of the passions; a strong intellectual poetry which satisfies our curiosity about life and its mechanism, or deals with its psychological and other "problems", or shapes for us our thoughts in an effective, striking and often quite resistlessly quotable fashion. All this has its pleasures for the mind and the surface soul in us, and it is certainly quite legitimate to enjoy them and to enjoy them strongly and vividly on our way upward; but if we rest content with these only, we shall never get very high up the hill of the Muses.

   ~ Sri Aurobindo, The Future Poetry,
300:Zarathustra, however, looked at the people and wondered. Then he spoke thus: Man is a rope stretched between animal and overman - a rope over an abyss. A dangerous crossing, a dangerous on-the-way, a dangerous looking back, a dangerous trembling and stopping. What is great in man is that he is a bridge and not a goal: what can be loved in man is that he is an over-going and a down-going. I love those who know not how to live except as down-goers, for they are the over-goers. I love the great despisers, because they are the great reverers, and arrows of longing for the other shore. I love those who do not first seek a reason beyond the stars for going down and being sacrifices, but sacrifice themselves to the earth, that the earth of the overman may some day arrive. I love him who lives in order to know, and seeks to know in order that the overman may someday live. Thus he seeks his own down-going. I love him who works and invents, that he may build a house for the overman, and prepare for him earth, animal, and plant: for thus he seeks his own down-going. I love him who loves his virtue: for virtue is the will to down-going, and an arrow of longing. I love him who reserves no drop of spirit for himself, but wants to be entirely the spirit of his virtue: thus he walks as spirit over the bridge. I love him who makes his virtue his addiction and destiny: thus, for the sake of his virtue, he is willing to live on, or live no more. I love him who does not desire too many virtues. One virtue is more of a virtue than two, because it is more of a knot for ones destiny to cling to. I love him whose soul squanders itself, who wants no thanks and gives none back: for he always gives, and desires not to preserve himself. I love him who is ashamed when the dice fall in his favor, and who then asks: Am I a dishonest player? - for he is willing to perish. I love him who scatters golden words in front of his deeds, and always does more than he promises: for he seeks his own down-going. I love him who justifies those people of the future, and redeems those of the past: for he is willing to perish by those of the present. I love him who chastens his God, because he loves his God: for he must perish by the wrath of his God. I love him whose soul is deep even in being wounded, and may perish from a small experience: thus goes he gladly over the bridge. I love him whose soul is so overfull that he forgets himself, and all things are in him: thus all things become his down-going. I love him who is of a free spirit and a free heart: thus is his head only the entrails of his heart; his heart, however, drives him to go down. I love all who are like heavy drops falling one by one out of the dark cloud that hangs over man: they herald the coming of the lightning, and perish as heralds. Behold, I am a herald of the lightning, and a heavy drop out of the cloud: the lightning, however, is called overman.
   ~ Friedrich Nietzsche, Thus Spoke Zarathustra,
301:reading :::
   50 Psychology Classics: List of Books Covered:
   Alfred Adler - Understanding Human Nature (1927)
   Gordon Allport - The Nature of Prejudice (1954)
   Albert Bandura - Self-Efficacy: The Exercise of Control (1997)
   Gavin Becker - The Gift of Fear (1997)
   Eric Berne - Games People Play (1964)
   Isabel Briggs Myers - Gifts Differing: Understanding Personality Type (1980)
   Louann Brizendine - The Female Brain (2006)
   David D Burns - Feeling Good: The New Mood Therapy (1980)
   Susan Cain - Quiet: The Power of Introverts in a World That Can't Stop Talking (2012)
   Robert Cialdini - Influence: The Psychology of Persuasion (1984)
   Mihaly Csikszentmihalyi - Creativity (1997)
   Carol Dweck - Mindset: The New Psychology of Success (2006)
   Albert Ellis & Robert Harper - (1961) A Guide To Rational Living(1961)
   Milton Erickson - My Voice Will Go With You (1982) by Sidney Rosen
   Eric Erikson - Young Man Luther (1958)
   Hans Eysenck - Dimensions of Personality (1947)
   Viktor Frankl - The Will to Meaning (1969)
   Anna Freud - The Ego and the Mechanisms of Defense (1936)
   Sigmund Freud - The Interpretation of Dreams (1901)
   Howard Gardner - Frames of Mind: The Theory of Multiple Intelligences (1983)
   Daniel Gilbert - Stumbling on Happiness (2006)
   Malcolm Gladwell - Blink: The Power of Thinking Without Thinking (2005)
   Daniel Goleman - Emotional Intelligence at Work (1998)
   John M Gottman - The Seven Principles For Making Marriage Work (1999)
   Temple Grandin - The Autistic Brain: Helping Different Kinds of Minds Succeed (2013)
   Harry Harlow - The Nature of Love (1958)
   Thomas A Harris - I'm OK - You're OK (1967)
   Eric Hoffer - The True Believer: Thoughts on the Nature of Mass Movements (1951)
   Karen Horney - Our Inner Conflicts (1945)
   William James - Principles of Psychology (1890)
   Carl Jung - The Archetypes and the Collective Unconscious (1953)
   Daniel Kahneman - Thinking, Fast and Slow (2011)
   Alfred Kinsey - Sexual Behavior in the Human Female (1953)
   RD Laing - The Divided Self (1959)
   Abraham Maslow - The Farther Reaches of Human Nature (1970)
   Stanley Milgram - Obedience To Authority (1974)
   Walter Mischel - The Marshmallow Test (2014)
   Leonard Mlodinow - Subliminal: How Your Unconscious Mind Rules Your Behavior (2012)
   IP Pavlov - Conditioned Reflexes (1927)
   Fritz Perls - Gestalt Therapy: Excitement and Growth in the Human Personality (1951)
   Jean Piaget - The Language and Thought of the Child (1966)
   Steven Pinker - The Blank Slate: The Modern Denial of Human Nature (2002)
   VS Ramachandran - Phantoms in the Brain (1998)
   Carl Rogers - On Becoming a Person (1961)
   Oliver Sacks - The Man Who Mistook His Wife for a Hat (1970)
   Barry Schwartz - The Paradox of Choice: Why More is Less (2004)
   Martin Seligman - Authentic Happiness (2002)
   BF Skinner - Beyond Freedom & Dignity (1953)
   Douglas Stone, Bruce Patton & Sheila Heen - Difficult Conversations (2000)
   William Styron - Darkness Visible (1990)
   ~ Tom Butler-Bowdon, 50 Psychology Classics,
302:Sweet Mother, here it is written: "It is part of the foundation of Yoga to become conscious of the great complexity of our nature, see the different forces that move it and get over it a control of directing knowledge." Are these forces different for each person?

Yes. The composition is completely different, otherwise everybody would be the same. There are not two beings with an identical combination; between the different parts of the being and the composition of these parts the proportion is different in each individual. There are people, primitive men, people like the yet undeveloped races or the degenerated ones whose combinations are fairly simple; they are still complicated, but comparatively simple. And there are people absolutely at the top of the human ladder, the e ́lite of humanity; their combinations become so complicated that a very special discernment is needed to find the relations between all these things.

There are beings who carry in themselves thousands of different personalities, and then each one has its own rhythm and alternation, and there is a kind of combination; sometimes there are inner conflicts, and there is a play of activities which are rhythmic and with alternations of certain parts which come to the front and then go back and again come to the front. But when one takes all that, it makes such complicated combinations that some people truly find it difficult to understand what is going on in themselves; and yet these are the ones most capable of a complete, coordinated, conscious, organised action; but their organisation is infinitely more complicated than that of primitive or undeveloped men who have two or three impulses and four or five ideas, and who can arrange all this very easily in themselves and seem to be very co-ordinated and logical because there is not very much to organise. But there are people truly like a multitude, and so that gives them a plasticity, a fluidity of action and an extraordinary complexity of perception, and these people are capable of understanding a considerable number of things, as though they had at their disposal a veritable army which they move according to circumstance and need; and all this is inside them. So when these people, with the help of yoga, the discipline of yoga, succeed in centralising all these beings around the central light of the divine Presence, they become powerful entities, precisely because of their complexity. So long as this is not organised they often give the impression of an incoherence, they are almost incomprehensible, one can't manage to understand why they are like that, they are so complex. But when they have organised all these beings, that is, put each one in its place around the divine centre, then truly they are terrific, for they have the capacity of understanding almost everything and doing almost everything because of the multitude of entities they contain, of which they are constituted. And the nearer one is to the top of the ladder, the more it is like that, and consequently the more difficult it is to organise one's being; because when you have about a dozen elements, you can quickly compass and organise them, but when you have thousands of them, it is difficult. ~ The Mother, Questions And Answers 1955, 215-216,
303:(Novum Organum by Francis Bacon.)
   34. "Four species of idols beset the human mind, to which (for distinction's sake) we have assigned names, calling the first Idols of the Tribe, the second Idols of the Den, the third Idols of the Market, the fourth Idols of the Theatre.
   40. "The information of notions and axioms on the foundation of true induction is the only fitting remedy by which we can ward off and expel these idols. It is, however, of great service to point them out; for the doctrine of idols bears the same relation to the interpretation of nature as that of the confutation of sophisms does to common logic.
   41. "The idols of the tribe are inherent in human nature and the very tribe or race of man; for man's sense is falsely asserted to be the standard of things; on the contrary, all the perceptions both of the senses and the mind bear reference to man and not to the Universe, and the human mind resembles these uneven mirrors which impart their own properties to different objects, from which rays are emitted and distort and disfigure them.
   42. "The idols of the den are those of each individual; for everybody (in addition to the errors common to the race of man) has his own individual den or cavern, which intercepts and corrupts the light of nature, either from his own peculiar and singular disposition, or from his education and intercourse with others, or from his reading, and the authority acquired by those whom he reverences and admires, or from the different impressions produced on the mind, as it happens to be preoccupied and predisposed, or equable and tranquil, and the like; so that the spirit of man (according to its several dispositions), is variable, confused, and, as it were, actuated by chance; and Heraclitus said well that men search for knowledge in lesser worlds, and not in the greater or common world.
   43. "There are also idols formed by the reciprocal intercourse and society of man with man, which we call idols of the market, from the commerce and association of men with each other; for men converse by means of language, but words are formed at the will of the generality, and there arises from a bad and unapt formation of words a wonderful obstruction to the mind. Nor can the definitions and explanations with which learned men are wont to guard and protect themselves in some instances afford a complete remedy-words still manifestly force the understanding, throw everything into confusion, and lead mankind into vain and innumerable controversies and fallacies.
   44. "Lastly, there are idols which have crept into men's minds from the various dogmas of peculiar systems of philosophy, and also from the perverted rules of demonstration, and these we denominate idols of the theatre: for we regard all the systems of philosophy hitherto received or imagined, as so many plays brought out and performed, creating fictitious and theatrical worlds. Nor do we speak only of the present systems, or of the philosophy and sects of the ancients, since numerous other plays of a similar nature can be still composed and made to agree with each other, the causes of the most opposite errors being generally the same. Nor, again, do we allude merely to general systems, but also to many elements and axioms of sciences which have become inveterate by tradition, implicit credence, and neglect. ~ Alfred Korzybski, Manhood of Humanity,
304:Can it be said in justification of one's past that whatever has happened in one's life had to happen?

The Mother: Obviously, what has happened had to happen; it would not have been, if it had not been intended. Even the mistakes that we have committed and the adversities that fell upon us had to be, because there was some necessity in them, some utility for our lives. But in truth these things cannot be explained mentally and should not be. For all that happened was necessary, not for any mental reason, but to lead us to something beyond what the mind imagines. But is there any need to explain after all? The whole universe explains everything at every moment and a particular thing happens because the whole universe is what it is. But this does not mean that we are bound over to a blind acquiescence in Nature's inexorable law. You can accept the past as a settled fact and perceive the necessity in it, and still you can use the experience it gave you to build up the power consciously to guide and shape your present and your future.

Is the time also of an occurrence arranged in the Divine Plan of things?

The Mother: All depends upon the plane from which one sees and speaks. There is a plane of divine consciousness in which all is known absolutely, and the whole plan of things foreseen and predetermined. That way of seeing lives in the highest reaches of the Supramental; it is the Supreme's own vision. But when we do not possess that consciousness, it is useless to speak in terms that hold good only in that region and are not our present effective way of seeing things. For at a lower level of consciousness nothing is realised or fixed beforehand; all is in the process of making. Here there are no settled facts, there is only the play of possibilities; out of the clash of possibilities is realised the thing that has to happen. On this plane we can choose and select; we can refuse one possibility and accept another; we can follow one path, turn away from another. And that we can do, even though what is actually happening may have been foreseen and predetermined in a higher plane.

The Supreme Consciousness knows everything beforehand, because everything is realised there in her eternity. But for the sake of her play and in order to carry out actually on the physical plane what is foreordained in her own supreme self, she moves here upon earth as if she did not know the whole story; she works as if it was a new and untried thread that she was weaving. It is this apparent forgetfulness of her own foreknowledge in the higher consciousness that gives to the individual in the active life of the world his sense of freedom and independence and initiative. These things in him are her pragmatic tools or devices, and it is through this machinery that the movements and issues planned and foreseen elsewhere are realised here.

It may help you to understand if you take the example of an actor. An actor knows the whole part he has to play; he has in his mind the exact sequence of what is to happen on the stage. But when he is on the stage, he has to appear as if he did not know anything; he has to feel and act as if he were experiencing all these things for the first time, as if it was an entirely new world with all its chance events and surprises that was unrolling before his eyes. 28th April ~ The Mother, Questions And Answers 1929-1931,
305:If this is the truth of works, the first thing the sadhaka has to do is to recoil from the egoistic forms of activity and get rid of the sense of an "I" that acts. He has to see and feel that everything happens in him by the plastic conscious or subconscious or sometimes superconscious automatism of his mental and bodily instruments moved by the forces of spiritual, mental, vital and physical Nature. There is a personality on his surface that chooses and wills, submits and struggles, tries to make good in Nature or prevail over Nature, but this personality is itself a construction of Nature and so dominated, driven, determined by her that it cannot be free. It is a formation or expression of the Self in her, - it is a self of Nature rather than a self of Self, his natural and processive, not his spiritual and permanent being, a temporary constructed personality, not the true immortal Person. It is that Person that he must become. He must succeed in being inwardly quiescent, detach himself as the observer from the outer active personality and learn the play of the cosmic forces in him by standing back from all blinding absorption in its turns and movements. Thus calm, detached, a student of himself and a witness of his nature, he realises that he is the individual soul who observes the works of Nature, accepts tranquilly her results and sanctions or withholds his sanction from the impulse to her acts. At present this soul or Purusha is little more than an acquiescent spectator, influencing perhaps the action and development of the being by the pressure of its veiled consciousness, but for the most part delegating its powers or a fragment of them to the outer personality, - in fact to Nature, for this outer self is not lord but subject to her, anı̄sa; but, once unveiled, it can make its sanction or refusal effective, become the master of the action, dictate sovereignly a change of Nature. Even if for a long time, as the result of fixed association and past storage of energy, the habitual movement takes place independent of the Purusha's assent and even if the sanctioned movement is persistently refused by Nature for want of past habit, still he will discover that in the end his assent or refusal prevails, - slowly with much resistance or quickly with a rapid accommodation of her means and tendencies she modifies herself and her workings in the direction indicated by his inner sight or volition. Thus he learns in place of mental control or egoistic will an inner spiritual control which makes him master of the Nature-forces that work in him and not their unconscious instrument or mechanic slave. Above and around him is the Shakti, the universal Mother and from her he can get all his inmost soul needs and wills if only he has a true knowledge of her ways and a true surrender to the divine Will in her. Finally, he becomes aware of that highest dynamic Self within him and within Nature which is the source of all his seeing and knowing, the source of the sanction, the source of the acceptance, the source of the rejection. This is the Lord, the Supreme, the One-in-all, Ishwara-Shakti, of whom his soul is a portion, a being of that Being and a power of that Power. The rest of our progress depends on our knowledge of the ways in which the Lord of works manifests his Will in the world and in us and executes them through the transcendent and universal Shakti. ~ Sri Aurobindo, The Synthesis Of Yoga, The Supreme Will, 216,
306:It is thus by an integralisation of our divided being that the Divine Shakti in the Yoga will proceed to its object; for liberation, perfection, mastery are dependent on this integralisation, since the little wave on the surface cannot control its own movement, much less have any true control over the vast life around it. The Shakti, the power of the Infinite and the Eternal descends within us, works, breaks up our present psychological formations, shatters every wall, widens, liberates, presents us with always newer and greater powers of vision, ideation, perception and newer and greater life-motives, enlarges and newmodels increasingly the soul and its instruments, confronts us with every imperfection in order to convict and destroy it, opens to a greater perfection, does in a brief period the work of many lives or ages so that new births and new vistas open constantly within us. Expansive in her action, she frees the consciousness from confinement in the body; it can go out in trance or sleep or even waking and enter into worlds or other regions of this world and act there or carry back its experience. It spreads out, feeling the body only as a small part of itself, and begins to contain what before contained it; it achieves the cosmic consciousness and extends itself to be commensurate with the universe. It begins to know inwardly and directly and not merely by external observation and contact the forces at play in the world, feels their movement, distinguishes their functioning and can operate immediately upon them as the scientist operates upon physical forces, accept their action and results in our mind, life, body or reject them or modify, change, reshape, create immense new powers and movements in place of the old small functionings of the nature. We begin to perceive the working of the forces of universal Mind and to know how our thoughts are created by that working, separate from within the truth and falsehood of our perceptions, enlarge their field, extend and illumine their significance, become master of our own minds and active to shape the movements of Mind in the world around us. We begin to perceive the flow and surge of the universal life-forces, detect the origin and law of our feelings, emotions, sensations, passions, are free to accept, reject, new-create, open to wider, rise to higher planes of Life-Power. We begin to perceive too the key to the enigma of Matter, follow the interplay of Mind and Life and Consciousness upon it, discover more and more its instrumental and resultant function and detect ultimately the last secret of Matter as a form not merely of Energy but of involved and arrested or unstably fixed and restricted consciousness and begin to see too the possibility of its liberation and plasticity of response to higher Powers, its possibilities for the conscious and no longer the more than half-inconscient incarnation and self-expression of the Spirit. All this and more becomes more and more possible as the working of the Divine Shakti increases in us and, against much resistance or labour to respond of our obscure consciousness, through much struggle and movement of progress and regression and renewed progress necessitated by the work of intensive transformation of a half-inconscient into a conscious substance, moves to a greater purity, truth, height, range. All depends on the psychic awakening in us, the completeness of our response to her and our growing surrender. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 2, 183,
307:Sometimes one cannot distinguish adverse forces from other forces.

That happens when one is quite unconscious. There are only two cases when this is possible: you are either very unconscious of the movements of your being - you have not studied, you have not observed, you do not know what is happening within you - or you are absolutely insincere, that is, you play the ostrich in order not to see the reality of things: you hide your head, you hide your observation, your knowledge and you say, "It is not there." But indeed the latter I hope is not in question here. Hence it is simply because one has not the habit of observing oneself that one is so unconscious of what is happening within.

Have you ever practised distinguishing what comes from your mind, what comes from your vital, what comes from your physical?... For it is mixed up; it is mixed up in the outward appearance. If you do not take care to distinguish, it makes a kind of soup, all that together. So it is indistinct and difficult to discoveR But if you observe yourself, after some time you see certain things, you feel them to be there, like that, as though they were in your skin; for some other things you feel you would have to go within yourself to find out from where they come; for other things, you have to go still further inside, or otherwise you have to rise up a little: it comes from unconsciousness. And there are others; then you must go very deep, very deep to find out from where they come. This is just a beginning.

Simply observe. You are in a certain condition, a certain undefinable condition. Then look: "What! how is it I am like that?" You try to see first if you have fever or some other illness; but it is all right, everything is all right, there's neither headache nor fever, the stomach is not protesting, the heart is functioning as it should, indeed, all's well, you are normal. "Why then am I feeling so uneasy?"... So you go a little further within. It depends on cases. Sometimes you find out immediately: yes, there was a little incident which wasn't pleasant, someone said a word that was not happy or one had failed in his task or perhaps did not know one's lesson very well, the teacher had made a remark. At the time, one did not pay attention properly, but later on, it begins to work, leaves a painful impression. That is the second stage. Afterwards, if nothing happened: "All's well, everything is normal, everything usual, I have nothing to note down, nothing has happened: why then do I feel like that?" Now it begins to be interesting, because one must enter much more deeply within oneself. And then it can be all sorts of things: it may be precisely the expression of an attack that is preparing; it may be a little inner anxiety seeking the progress that has to be made; it may be a premonition that there is somewhere in contact with oneself something not altogether harmonious which one has to change: something one must see, discover, change, on which light is to be put, something that is still there, deep down, and which should no longer be there. Then if you look at yourself very carefully, you find out: "There! I am still like that; in that little corner, there is still something of that kind, not clear: a little selfishness, a little ill-will, something refusing to change." So you see it, you take it by the tip of its nose or by the ear and hold it up in full light: "So, you were hiding! you are hiding? But I don't want you any longer." And then it has to go away.

This is a great progress.
   ~ The Mother, Questions And Answers 1953, 102-104, [T4],
308:DHARANA

NOW that we have learnt to observe the mind, so that we know how it works to some extent, and have begun to understand the elements of control, we may try the result of gathering together all the powers of the mind, and attempting to focus them on a single point.

   We know that it is fairly easy for the ordinary educated mind to think without much distraction on a subject in which it is much interested. We have the popular phrase, "revolving a thing in the mind"; and as long as the subject is sufficiently complex, as long as thoughts pass freely, there is no great difficulty. So long as a gyroscope is in motion, it remains motionless relatively to its support, and even resists attempts to distract it; when it stops it falls from that position. If the earth ceased to spin round the sun, it would at once fall into the sun. The moment then that the student takes a simple subject - or rather a simple object - and imagines it or visualizes it, he will find that it is not so much his creature as he supposed. Other thoughts will invade the mind, so that the object is altogether forgotten, perhaps for whole minutes at a time; and at other times the object itself will begin to play all sorts of tricks.

   Suppose you have chosen a white cross. It will move its bar up and down, elongate the bar, turn the bar oblique, get its arms unequal, turn upside down, grow branches, get a crack around it or a figure upon it, change its shape altogether like an Amoeba, change its size and distance as a whole, change the degree of its illumination, and at the same time change its colour. It will get splotchy and blotchy, grow patterns, rise, fall, twist and turn; clouds will pass over its face. There is no conceivable change of which it is incapable. Not to mention its total disappearance, and replacement by something altogether different!

   Any one to whom this experience does not occur need not imagine that he is meditating. It shows merely that he is incapable of concentrating his mind in the very smallest degree. Perhaps a student may go for several days before discovering that he is not meditating. When he does, the obstinacy of the object will infuriate him; and it is only now that his real troubles will begin, only now that Will comes really into play, only now that his manhood is tested. If it were not for the Will-development which he got in the conquest of Asana, he would probably give up. As it is, the mere physical agony which he underwent is the veriest trifle compared with the horrible tedium of Dharana.

   For the first week it may seem rather amusing, and you may even imagine you are progressing; but as the practice teaches you what you are doing, you will apparently get worse and worse. Please understand that in doing this practice you are supposed to be seated in Asana, and to have note-book and pencil by your side, and a watch in front of you. You are not to practise at first for more than ten minutes at a time, so as to avoid risk of overtiring the brain. In fact you will probably find that the whole of your willpower is not equal to keeping to a subject at all for so long as three minutes, or even apparently concentrating on it for so long as three seconds, or three-fifths of one second. By "keeping to it at all" is meant the mere attempt to keep to it. The mind becomes so fatigued, and the object so incredibly loathsome, that it is useless to continue for the time being. In Frater P.'s record we find that after daily practice for six months, meditations of four minutes and less are still being recorded.

   ~ Aleister Crowley, Liber ABA,
309:THE WAND
   THE Magical Will is in its essence twofold, for it presupposes a beginning and an end; to will to be a thing is to admit that you are not that thing.
   Hence to will anything but the supreme thing, is to wander still further from it - any will but that to give up the self to the Beloved is Black Magick - yet this surrender is so simple an act that to our complex minds it is the most difficult of all acts; and hence training is necessary. Further, the Self surrendered must not be less than the All-Self; one must not come before the altar of the Most High with an impure or an imperfect offering. As it is written in Liber LXV, "To await Thee is the end, not the beginning."
   This training may lead through all sorts of complications, varying according to the nature of the student, and hence it may be necessary for him at any moment to will all sorts of things which to others might seem unconnected with the goal. Thus it is not "a priori" obvious why a billiard player should need a file.
   Since, then, we may want "anything," let us see to it that our will is strong enough to obtain anything we want without loss of time.
   It is therefore necessary to develop the will to its highest point, even though the last task but one is the total surrender of this will. Partial surrender of an imperfect will is of no account in Magick.
   The will being a lever, a fulcrum is necessary; this fulcrum is the main aspiration of the student to attain. All wills which are not dependent upon this principal will are so many leakages; they are like fat to the athlete.
   The majority of the people in this world are ataxic; they cannot coordinate their mental muscles to make a purposed movement. They have no real will, only a set of wishes, many of which contradict others. The victim wobbles from one to the other (and it is no less wobbling because the movements may occasionally be very violent) and at the end of life the movements cancel each other out. Nothing has been achieved; except the one thing of which the victim is not conscious: the destruction of his own character, the confirming of indecision. Such an one is torn limb from limb by Choronzon.
   How then is the will to be trained? All these wishes, whims, caprices, inclinations, tendencies, appetites, must be detected, examined, judged by the standard of whether they help or hinder the main purpose, and treated accordingly.
   Vigilance and courage are obviously required. I was about to add self-denial, in deference to conventional speech; but how could I call that self-denial which is merely denial of those things which hamper the self? It is not suicide to kill the germs of malaria in one's blood.
   Now there are very great difficulties to be overcome in the training of the mind. Perhaps the greatest is forgetfulness, which is probably the worst form of what the Buddhists call ignorance. Special practices for training the memory may be of some use as a preliminary for persons whose memory is naturally poor. In any case the Magical Record prescribed for Probationers of the A.'.A.'. is useful and necessary.
   Above all the practices of Liber III must be done again and again, for these practices develop not only vigilance but those inhibiting centres in the brain which are, according to some psychologists, the mainspring of the mechanism by which civilized man has raised himself above the savage.
   So far it has been spoken, as it were, in the negative. Aaron's rod has become a serpent, and swallowed the serpents of the other Magicians; it is now necessary to turn it once more into a rod.
   ~ Aleister Crowley, Liber ABA, Book 4, The Wand,
310:We have now completed our view of the path of Knowledge and seen to what it leads. First, the end of Yoga of Knowledge is God-possession, it is to possess God and be possessed by him through consciousness, through identification, through reflection of the divine Reality. But not merely in some abstraction away from our present existence, but here also; therefore to possess the Divine in himself, the Divine in the world, the Divine within, the Divine in all things and all beings. It is to possess oneness with God and through that to possess also oneness with the universal, with the cosmos and all existences; therefore to possess the infinite diversity also in the oneness, but on the basis of oneness and not on the basis of division. It is to possess God in his personality and his impersonality; in his purity free from qualities and in his infinite qualities; in time and beyond time; in his action and in his silence; in the finite and in the infinite. It is to possess him not only in pure self, but in all self; not only in self, but in Nature; not only in spirit, but in supermind, mind, life and body; to possess him with the spirit, with the mind, with the vital and the physical consciousness; and it is again for all these to be possessed by him, so that our whole being is one with him, full of him, governed and driven by him. It is, since God is oneness, for our physical consciousness to be one with the soul and the nature of the material universe; for our life, to be one with all life; for our mind, to be one with the universal mind; for our spirit, to be identified with the universal spirit. It is to merge in him in the absolute and find him in all relations. Secondly, it is to put on the divine being and the divine nature. And since God is Sachchidananda, it is to raise our being into the divine being, our consciousness into the divine consciousness, our energy into the divine energy, our delight of existence into the divine delight of being. And it is not only to lift ourselves into this higher consciousness, but to widen into it in all our being, because it is to be found on all the planes of our existence and in all our members, so that our mental, vital, physical existence shall become full of the divine nature. Our intelligent mentality is to become a play of the divine knowledge-will, our mental soul-life a play of the divine love and delight, our vitality a play of the divine life, our physical being a mould of the divine substance. This God-action in us is to be realised by an opening of ourselves to the divine gnosis and divine Ananda and, in its fullness, by an ascent into and a permanent dwelling in the gnosis and the Ananda. For though we live physically on the material plane and in normal outwardgoing life the mind and soul are preoccupied with material existence, this externality of our being is not a binding limitation. We can raise our internal consciousness from plane to plane of the relations of Purusha with prakriti, and even become, instead of the mental being dominated by the physical soul and nature, the gnostic being or the bliss-self and assume the gnostic or the bliss nature. And by this raising of the inner life we can transform our whole outward-going existence; instead of a life dominated by matter we shall then have a life dominated by spirit with all its circumstances moulded and determined by the purity of being, the consciousness infinite even in the finite, the divine energy, the divine joy and bliss of the spirit.
   ~ Sri Aurobindo, The Synthesis Of Yoga, The Yoga of Integral Knowledge, The Higher and the Lower Knowledge [511] [T1],
311:This greater Force is that of the Illumined Mind, a Mind no longer of higher Thought, but of spiritual light. Here the clarity of the spiritual intelligence, its tranquil daylight, gives place or subordinates itself to an intense lustre, a splendour and illumination of the spirit: a play of lightnings of spiritual truth and power breaks from above into the consciousness and adds to the calm and wide enlightenment and the vast descent of peace which characterise or accompany the action of the larger conceptual-spiritual principle, a fiery ardour of realisation and a rapturous ecstasy of knowledge. A downpour of inwardly visible Light very usually envelops this action; for it must be noted that, contrary to our ordinary conceptions, light is not primarily a material creation and the sense or vision of light accompanying the inner illumination is not merely a subjective visual image or a symbolic phenomenon: light is primarily a spiritual manifestation of the Divine Reality illuminative and creative; material light is a subsequent representation or conversion of it into Matter for the purposes of the material Energy. There is also in this descent the arrival of a greater dynamic, a golden drive, a luminous enthousiasmos of inner force and power which replaces the comparatively slow and deliberate process of the Higher Mind by a swift, sometimes a vehement, almost a violent impetus of rapid transformation.
   But these two stages of the ascent enjoy their authority and can get their own united completeness only by a reference to a third level; for it is from the higher summits where dwells the intuitional being that they derive the knowledge which they turn into thought or sight and bring down to us for the mind's transmutation. Intuition is a power of consciousness nearer and more intimate to the original knowledge by identity; for it is always something that leaps out direct from a concealed identity. It is when the consciousness of the subject meets with the consciousness in the object, penetrates it and sees, feels or vibrates with the truth of what it contacts, that the intuition leaps out like a spark or lightning-flash from the shock of the meeting; or when the consciousness, even without any such meeting, looks into itself and feels directly and intimately the truth or the truths that are there or so contacts the hidden forces behind appearances, then also there is the outbreak of an intuitive light; or, again, when the consciousness meets the Supreme Reality or the spiritual reality of things and beings and has a contactual union with it, then the spark, the flash or the blaze of intimate truth-perception is lit in its depths. This close perception is more than sight, more than conception: it is the result of a penetrating and revealing touch which carries in it sight and conception as part of itself or as its natural consequence. A concealed or slumbering identity, not yet recovering itself, still remembers or conveys by the intuition its own contents and the intimacy of its self-feeling and self-vision of things, its light of truth, its overwhelming and automatic certitude. ... Intuition is always an edge or ray or outleap of a superior light; it is in us a projecting blade, edge or point of a far-off supermind light entering into and modified by some intermediate truth-mind substance above us and, so modified, again entering into and very much blinded by our ordinary or ignorant mind substance; but on that higher level to which it is native its light is unmixed and therefore entirely and purely veridical, and its rays are not separated but connected or massed together in a play of waves of what might almost be called in the Sanskrit poetic figure a sea or mass of stable lightnings.
   ~ Sri Aurobindo, The Life Divine,
312:Reading list (1972 edition)[edit]
1. Homer - Iliad, Odyssey
2. The Old Testament
3. Aeschylus - Tragedies
4. Sophocles - Tragedies
5. Herodotus - Histories
6. Euripides - Tragedies
7. Thucydides - History of the Peloponnesian War
8. Hippocrates - Medical Writings
9. Aristophanes - Comedies
10. Plato - Dialogues
11. Aristotle - Works
12. Epicurus - Letter to Herodotus; Letter to Menoecus
13. Euclid - Elements
14.Archimedes - Works
15. Apollonius of Perga - Conic Sections
16. Cicero - Works
17. Lucretius - On the Nature of Things
18. Virgil - Works
19. Horace - Works
20. Livy - History of Rome
21. Ovid - Works
22. Plutarch - Parallel Lives; Moralia
23. Tacitus - Histories; Annals; Agricola Germania
24. Nicomachus of Gerasa - Introduction to Arithmetic
25. Epictetus - Discourses; Encheiridion
26. Ptolemy - Almagest
27. Lucian - Works
28. Marcus Aurelius - Meditations
29. Galen - On the Natural Faculties
30. The New Testament
31. Plotinus - The Enneads
32. St. Augustine - On the Teacher; Confessions; City of God; On Christian Doctrine
33. The Song of Roland
34. The Nibelungenlied
35. The Saga of Burnt Njal
36. St. Thomas Aquinas - Summa Theologica
37. Dante Alighieri - The Divine Comedy;The New Life; On Monarchy
38. Geoffrey Chaucer - Troilus and Criseyde; The Canterbury Tales
39. Leonardo da Vinci - Notebooks
40. Niccolò Machiavelli - The Prince; Discourses on the First Ten Books of Livy
41. Desiderius Erasmus - The Praise of Folly
42. Nicolaus Copernicus - On the Revolutions of the Heavenly Spheres
43. Thomas More - Utopia
44. Martin Luther - Table Talk; Three Treatises
45. François Rabelais - Gargantua and Pantagruel
46. John Calvin - Institutes of the Christian Religion
47. Michel de Montaigne - Essays
48. William Gilbert - On the Loadstone and Magnetic Bodies
49. Miguel de Cervantes - Don Quixote
50. Edmund Spenser - Prothalamion; The Faerie Queene
51. Francis Bacon - Essays; Advancement of Learning; Novum Organum, New Atlantis
52. William Shakespeare - Poetry and Plays
53. Galileo Galilei - Starry Messenger; Dialogues Concerning Two New Sciences
54. Johannes Kepler - Epitome of Copernican Astronomy; Concerning the Harmonies of the World
55. William Harvey - On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals
56. Thomas Hobbes - Leviathan
57. René Descartes - Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy
58. John Milton - Works
59. Molière - Comedies
60. Blaise Pascal - The Provincial Letters; Pensees; Scientific Treatises
61. Christiaan Huygens - Treatise on Light
62. Benedict de Spinoza - Ethics
63. John Locke - Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education
64. Jean Baptiste Racine - Tragedies
65. Isaac Newton - Mathematical Principles of Natural Philosophy; Optics
66. Gottfried Wilhelm Leibniz - Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology
67.Daniel Defoe - Robinson Crusoe
68. Jonathan Swift - A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal
69. William Congreve - The Way of the World
70. George Berkeley - Principles of Human Knowledge
71. Alexander Pope - Essay on Criticism; Rape of the Lock; Essay on Man
72. Charles de Secondat, baron de Montesquieu - Persian Letters; Spirit of Laws
73. Voltaire - Letters on the English; Candide; Philosophical Dictionary
74. Henry Fielding - Joseph Andrews; Tom Jones
75. Samuel Johnson - The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets
   ~ Mortimer J Adler,
313:PRATYAHARA

PRATYAHARA is the first process in the mental part of our task. The previous practices, Asana, Pranayama, Yama, and Niyama, are all acts of the body, while mantra is connected with speech: Pratyahara is purely mental.

   And what is Pratyahara? This word is used by different authors in different senses. The same word is employed to designate both the practice and the result. It means for our present purpose a process rather strategical than practical; it is introspection, a sort of general examination of the contents of the mind which we wish to control: Asana having been mastered, all immediate exciting causes have been removed, and we are free to think what we are thinking about.

   A very similar experience to that of Asana is in store for us. At first we shall very likely flatter ourselves that our minds are pretty calm; this is a defect of observation. Just as the European standing for the first time on the edge of the desert will see nothing there, while his Arab can tell him the family history of each of the fifty persons in view, because he has learnt how to look, so with practice the thoughts will become more numerous and more insistent.

   As soon as the body was accurately observed it was found to be terribly restless and painful; now that we observe the mind it is seen to be more restless and painful still. (See diagram opposite.)

   A similar curve might be plotted for the real and apparent painfulness of Asana. Conscious of this fact, we begin to try to control it: "Not quite so many thoughts, please!" "Don't think quite so fast, please!" "No more of that kind of thought, please!" It is only then that we discover that what we thought was a school of playful porpoises is really the convolutions of the sea-serpent. The attempt to repress has the effect of exciting.

   When the unsuspecting pupil first approaches his holy but wily Guru, and demands magical powers, that Wise One replies that he will confer them, points out with much caution and secrecy some particular spot on the pupil's body which has never previously attracted his attention, and says: "In order to obtain this magical power which you seek, all that is necessary is to wash seven times in the Ganges during seven days, being particularly careful to avoid thinking of that one spot." Of course the unhappy youth spends a disgusted week in thinking of little else.

   It is positively amazing with what persistence a thought, even a whole train of thoughts, returns again and again to the charge. It becomes a positive nightmare. It is intensely annoying, too, to find that one does not become conscious that one has got on to the forbidden subject until one has gone right through with it. However, one continues day after day investigating thoughts and trying to check them; and sooner or later one proceeds to the next stage, Dharana, the attempt to restrain the mind to a single object.

   Before we go on to this, however, we must consider what is meant by success in Pratyahara. This is a very extensive subject, and different authors take widely divergent views. One writer means an analysis so acute that every thought is resolved into a number of elements (see "The Psychology of Hashish," Section V, in Equinox II).

   Others take the view that success in the practice is something like the experience which Sir Humphrey Davy had as a result of taking nitrous oxide, in which he exclaimed: "The universe is composed exclusively of ideas."

   Others say that it gives Hamlet's feeling: "There's nothing good or bad but thinking makes it so," interpreted as literally as was done by Mrs. Eddy.

   However, the main point is to acquire some sort of inhibitory power over the thoughts. Fortunately there is an unfailing method of acquiring this power. It is given in Liber III. If Sections 1 and 2 are practised (if necessary with the assistance of another person to aid your vigilance) you will soon be able to master the final section. ~ Aleister Crowley, Liber ABA,
314:64 Arts
   1. Geet vidya: art of singing.
   2. Vadya vidya: art of playing on musical instruments.
   3. Nritya vidya: art of dancing.
   4. Natya vidya: art of theatricals.
   5. Alekhya vidya: art of painting.
   6. Viseshakacchedya vidya: art of painting the face and body with color
   7. Tandula­kusuma­bali­vikara: art of preparing offerings from rice and flowers.
   8. Pushpastarana: art of making a covering of flowers for a bed.
   9. Dasana­vasananga­raga: art of applying preparations for cleansing the teeth, cloths and painting the body.
   10. Mani­bhumika­karma: art of making the groundwork of jewels.
   11. Aayya­racana: art of covering the bed.
   12. Udaka­vadya: art of playing on music in water.
   13. Udaka­ghata: art of splashing with water.
   14. Citra­yoga: art of practically applying an admixture of colors.
   15. Malya­grathana­vikalpa: art of designing a preparation of wreaths.
   16. Sekharapida­yojana: art of practically setting the coronet on the head.
   17. Nepathya­yoga: art of practically dressing in the tiring room.
   18. Karnapatra­bhanga: art of decorating the tragus of the ear.
   19. Sugandha­yukti: art of practical application of aromatics.
   20. Bhushana­yojana: art of applying or setting ornaments.
   21. Aindra­jala: art of juggling.
   22. Kaucumara: a kind of art.
   23. Hasta­laghava: art of sleight of hand.
   24. Citra­sakapupa­bhakshya­vikara­kriya: art of preparing varieties of delicious food.
   25. Panaka­rasa­ragasava­yojana: art of practically preparing palatable drinks and tinging draughts with red color.
   26. Suci­vaya­karma: art of needleworks and weaving.
   27. Sutra­krida: art of playing with thread.
   28. Vina­damuraka­vadya: art of playing on lute and small drum.
   29. Prahelika: art of making and solving riddles.
   30. Durvacaka­yoga: art of practicing language difficult to be answered by others.
   31. Pustaka­vacana: art of reciting books.
   32. Natikakhyayika­darsana: art of enacting short plays and anecdotes.
   33. Kavya­samasya­purana: art of solving enigmatic verses.
   34. Pattika­vetra­bana­vikalpa: art of designing preparation of shield, cane and arrows.
   35. Tarku­karma: art of spinning by spindle.
   36. Takshana: art of carpentry.
   37. Vastu­vidya: art of engineering.
   38. Raupya­ratna­pariksha: art of testing silver and jewels.
   39. Dhatu­vada: art of metallurgy.
   40. Mani­raga jnana: art of tinging jewels.
   41. Akara jnana: art of mineralogy.
   42. Vrikshayur­veda­yoga: art of practicing medicine or medical treatment, by herbs.
   43. Mesha­kukkuta­lavaka­yuddha­vidhi: art of knowing the mode of fighting of lambs, cocks and birds.
   44. Suka­sarika­pralapana: art of maintaining or knowing conversation between male and female cockatoos.
   45. Utsadana: art of healing or cleaning a person with perfumes.
   46. Kesa­marjana­kausala: art of combing hair.
   47. Akshara­mushtika­kathana: art of talking with fingers.
   48. Dharana­matrika: art of the use of amulets.
   49. Desa­bhasha­jnana: art of knowing provincial dialects.
   50. Nirmiti­jnana: art of knowing prediction by heavenly voice.
   51. Yantra­matrika: art of mechanics.
   52. Mlecchita­kutarka­vikalpa: art of fabricating barbarous or foreign sophistry.
   53. Samvacya: art of conversation.
   54. Manasi kavya­kriya: art of composing verse
   55. Kriya­vikalpa: art of designing a literary work or a medical remedy.
   56. Chalitaka­yoga: art of practicing as a builder of shrines called after him.
   57. Abhidhana­kosha­cchando­jnana: art of the use of lexicography and meters.
   58. Vastra­gopana: art of concealment of cloths.
   59. Dyuta­visesha: art of knowing specific gambling.
   60. Akarsha­krida: art of playing with dice or magnet.
   61. Balaka­kridanaka: art of using children's toys.
   62. Vainayiki vidya: art of enforcing discipline.
   63. Vaijayiki vidya: art of gaining victory.
   64. Vaitaliki vidya: art of awakening master with music at dawn.
   ~ Nik Douglas and Penny Slinger, Sexual Secrets,
315:
   In the lower planes can't one say what will happen at a particular moment?

That depends. On certain planes there are consciousnesses that form, that make formations and try to send them down to earth and manifest them. These are planes where the great forces are at play, forces struggling with each other to organise things in one way or another. On these planes all the possibilities are there, all the possibilities that present themselves but have not yet come to a decision as to which will come down.... Suppose a plane full of the imaginations of people who want certain things to be realised upon earth - they invent a novel, narrate stories, produce all kinds of phenomena; it amuses them very much. It is a plane of form-makers and they are there imagining all kinds of circumstances and events; they play with the forces; they are like the authors of a drama and they prepare everything there and see what is going to happen. All these formations are facing each other; and it is those which are the strongest, the most successful or the most persistent or those that have the advantage of a favourable set of circumstances which dominate. They meet and out of the conflict yet another thing results: you lose one thing and take up another, you make a new combination; and then all of a sudden, you find, pluff! it is coming down. Now, if it comes down with a sufficient force, it sets moving the earth atmosphere and things combine; as for instance, when with your fist you thump the saw-dust, you know surely what happens, don't you? You lift your hand, give a formidable blow: all the dust gets organised around your fist. Well, it is like that. These formations come down into matter with that force, and everything organises itself automatically, mechanically as around the striking fist. And there's your wished object about to be realised, sometimes with small deformations because of the resistance, but it will be realised finally, even as the person narrating the story up above wanted it more or less to be realised. If then you are for some reason or other in the secret of the person who has constructed the story and if you follow the way in which he creates his path to reach down to the earth and if you see how a blow with the fist acts on earthly matter, then you are able to tell what is going to happen, because you have seen it in the world above, and as it takes some time to make the whole journey, you see in advance. And the higher you rise, the more you foresee in advance what is going to happen. And if you pass far beyond, go still farther, then everything is possible.
   It is an unfolding that follows a wide road which is for you unknowable; for all will be unfolded in the universe, but in what order and in what way? There are decisions that are taken up there which escape our ordinary consciousness, and so it is very difficult to foresee. But there also, if you enter consciously and if you can be present up there... How shall I explain that to you? All is there, absolute, static, eternal: but all that will be unfolded in the material world, naturally more or less one thing after another; for in the static existence all can be there, but in the becoming all becomes in time, that is, one thing after another. Well, what path will the unfolding follow? Up there is the domain of absolute freedom.... Who says that a sufficiently sincere aspiration, a sufficiently intense prayer is not capable of changing the path of the unfolding?
   This means that all is possible.
   Now, one must have a sufficient aspiration and a prayer that's sufficiently intense. But that has been given to human nature. It is one of the marvellous gifts of grace given to human nature; only, one does not know how to make use of it. This comes to saying that in spite of the most absolute determinisms in the horizontal line, if one knows how to cross all these horizontal lines and reach the highest Point of consciousness, one is able to make things change, things apparently absolutely determined. So you may call it by any name you like, but it is a kind of combination of an absolute determinism with an absolute freedom. You may pull yourself out of it in any way you like, but it is like that.
   I forgot to say in that book (perhaps I did not forget but just felt that it was useless to say it) that all these theories are only theories, that is, mental conceptions which are merely more or less imaged representations of the reality; but it is not the reality at all. When you say "determinism" and when you say "freedom", you say only words and all that is only a very incomplete, very approximate and very weak description of what is in reality within you, around you and everywhere; and to be able to begin to understand what the universe is, you must come out of your mental formulas, otherwise you will never understand anything.
   To tell the truth, if you live only a moment, just a tiny moment, of this absolutely sincere aspiration or this sufficiently intense prayer, you will know more things than by meditating for hours.

~ The Mother, Questions And Answers 1953,
316: Sri Aurobindo writes here: "...Few and brief in their visits are the Bright Ones who are willing or permitted to succour." Why?
(1 "The Way", Cent. Vol. 17, p. 40.)
One must go and ask them! But there is a conclusion, the last sentences give a very clear explanation. It is said: "Nay, then, is immortality a plaything to be given lightly to a child, or the divine life a prize without effort or the crown for a weakling?" This comes back to the question why the adverse forces have the right to interfere, to harass you. But this is precisely the test necessary for your sincerity. If the way were very easy, everybody would start on the way, and if one could reach the goal without any obstacle and without any effort, everybody would reach the goal, and when one has come to the end, the situation would be the same as when one started, there would be no change. That is, the new world would be exactly what the old has been. It is truly not worth the trouble! Evidently a process of elimination is necessary so that only what is capable of manifesting the new life remains. This is the reason and there is no other, this is the best of reasons. And, you see, it is a tempering, it is the ordeal of fire, only that which can stand it remains absolutely pure; when everything has burnt down, there remains only the little ingot of pure gold. And it is like that. What puts things out very much in all this is the religious idea of fault, sin, redemption. But there is no arbitrary decision! On the contrary, for each one it is the best and most favourable conditions which are given. We were saying the other day that it is only his friends whom God treats with severity; you thought it was a joke, but it is true. It is only to those who are full of hope, who will pass through this purifying flame, that the conditions for attaining the maximum result are given. And the human mind is made in such a way that you may test this; when something extremely unpleasant happens to you, you may tell yourself, "Well, this proves I am worth the trouble of being given this difficulty, this proves there is something in me which can resist the difficulty", and you will notice that instead of tormenting yourself, you rejoice - you will be so happy and so strong that even the most unpleasant things will seem to you quite charming! This is a very easy experiment to make. Whatever the circumstance, if your mind is accustomed to look at it as something favourable, it will no longer be unpleasant for you. This is quite well known; as long as the mind refuses to accept a thing, struggles against it, tries to obstruct it, there are torments, difficulties, storms, inner struggles and all suffering. But the minute the mind says, "Good, this is what has to come, it is thus that it must happen", whatever happens, you are content. There are people who have acquired such control of their mind over their body that they feel nothing; I told you this the other day about certain mystics: if they think the suffering inflicted upon them is going to help them cross the stages in a moment and give them a sort of stepping stone to attain the Realisation, the goal they have put before them, union with the Divine, they no longer feel the suffering at all. Their body is as it were galvanised by the mental conception. This has happened very often, it is a very common experience among those who truly have enthusiasm. And after all, if one must for some reason or other leave one's body and take a new one, is it not better to make of one's death something magnificent, joyful, enthusiastic, than to make it a disgusting defeat? Those who cling on, who try by every possible means to delay the end even by a minute or two, who give you an example of frightful anguish, show that they are not conscious of their soul.... After all, it is perhaps a means, isn't it? One can change this accident into a means; if one is conscious one can make a beautiful thing of it, a very beautiful thing, as of everything. And note, those who do not fear it, who are not anxious, who can die without any sordidness are those who never think about it, who are not haunted all the time by this "horror" facing them which they must escape and which they try to push as far away from them as they can. These, when the occasion comes, can lift their head, smile and say, "Here I am."
It is they who have the will to make the best possible use of their life, it is they who say, "I shall remain here as long as it is necessary, to the last second, and I shall not lose one moment to realise my goal"; these, when the necessity comes, put up the best show. Why? - It is very simple, because they live in their ideal, the truth of their ideal; because that is the real thing for them, the very reason of their being, and in all things they can see this ideal, this reason of existence, and never do they come down into the sordidness of material life.
So, the conclusion:
One must never wish for death.
One must never will to die.
One must never be afraid to die.
And in all circumstances one must will to exceed oneself. ~ The Mother, Question and Answers, Volume-4, page no.353-355,
317:Death & Fame

When I die

I don't care what happens to my body throw ashes in the air, scatter 'em in East River bury an urn in Elizabeth New Jersey, B'nai Israel Cemetery

But I want a big funeral St. Patrick's Cathedral, St. Mark's Church, the largest synagogue in Manhattan

First, there's family, brother, nephews, spry aged Edith stepmother 96, Aunt Honey from old Newark,

Doctor Joel, cousin Mindy, brother Gene one eyed one ear'd, sister-in-law blonde Connie, five nephews, stepbrothers & sisters their grandchildren, companion Peter Orlovsky, caretakers Rosenthal & Hale, Bill Morgan--

Next, teacher Trungpa Vajracharya's ghost mind, Gelek Rinpoche, there Sakyong Mipham, Dalai Lama alert, chance visiting America, Satchitananda Swami Shivananda, Dehorahava Baba, Karmapa XVI, Dudjom Rinpoche, Katagiri & Suzuki Roshi's phantoms Baker, Whalen, Daido Loorie, Qwong, Frail White-haired Kapleau Roshis, Lama Tarchen --

Then, most important, lovers over half-century Dozens, a hundred, more, older fellows bald & rich young boys met naked recently in bed, crowds surprised to see each other, innumerable, intimate, exchanging memories

"He taught me to meditate, now I'm an old veteran of the thousandday retreat --"

"I played music on subway platforms, I'm straight but loved him he loved me"

"I felt more love from him at 19 than ever from anyone"

"We'd lie under covers gossip, read my poetry, hug & kiss belly to belly arms round each other"

"I'd always get into his bed with underwear on & by morning my skivvies would be on the floor"

"Japanese, always wanted take it up my bum with a master"

"We'd talk all night about Kerouac & Cassady sit Buddhalike then sleep in his captain's bed."

"He seemed to need so much affection, a shame not to make him happy"

"I was lonely never in bed nude with anyone before, he was so gentle my stomach shuddered when he traced his finger along my abdomen nipple to hips-- "

"All I did was lay back eyes closed, he'd bring me to come with mouth & fingers along my waist"

"He gave great head"

So there be gossip from loves of 1948, ghost of Neal Cassady commin-gling with flesh and youthful blood of 1997 and surprise -- "You too? But I thought you were straight!"

"I am but Ginsberg an exception, for some reason he pleased me."

"I forgot whether I was straight gay queer or funny, was myself, tender and affectionate to be kissed on the top of my head, my forehead throat heart & solar plexus, mid-belly. on my prick, tickled with his tongue my behind"

"I loved the way he'd recite 'But at my back allways hear/ time's winged chariot hurrying near,' heads together, eye to eye, on a pillow --"

Among lovers one handsome youth straggling the rear

"I studied his poetry class, 17 year-old kid, ran some errands to his walk-up flat, seduced me didn't want to, made me come, went home, never saw him again never wanted to... "

"He couldn't get it up but loved me," "A clean old man." "He made sure I came first"

This the crowd most surprised proud at ceremonial place of honor--

Then poets & musicians -- college boys' grunge bands -- age-old rock star Beatles, faithful guitar accompanists, gay classical con-ductors, unknown high Jazz music composers, funky trum-peters, bowed bass & french horn black geniuses, folksinger fiddlers with dobro tamborine harmonica mandolin auto-harp pennywhistles & kazoos

Next, artist Italian romantic realists schooled in mystic 60's India, Late fauve Tuscan painter-poets, Classic draftsman Massa-chusets surreal jackanapes with continental wives, poverty sketchbook gesso oil watercolor masters from American provinces

Then highschool teachers, lonely Irish librarians, delicate biblio-philes, sex liberation troops nay armies, ladies of either sex

"I met him dozens of times he never remembered my name I loved him anyway, true artist"

"Nervous breakdown after menopause, his poetry humor saved me from suicide hospitals"

"Charmant, genius with modest manners, washed sink, dishes my studio guest a week in Budapest"

Thousands of readers, "Howl changed my life in Libertyville Illinois"

"I saw him read Montclair State Teachers College decided be a poet-- "

"He turned me on, I started with garage rock sang my songs in Kansas City"

"Kaddish made me weep for myself & father alive in Nevada City"

"Father Death comforted me when my sister died Boston l982"

"I read what he said in a newsmagazine, blew my mind, realized others like me out there"

Deaf & Dumb bards with hand signing quick brilliant gestures

Then Journalists, editors's secretaries, agents, portraitists & photo-graphy aficionados, rock critics, cultured laborors, cultural historians come to witness the historic funeral Super-fans, poetasters, aging Beatnicks & Deadheads, autograph-hunters, distinguished paparazzi, intelligent gawkers

Everyone knew they were part of 'History" except the deceased who never knew exactly what was happening even when I was alive
February 22, 1997
~ Allen Ginsberg,
318:For instance, a popular game with California occultists-I do not know its inventor-involves a Magic Room, much like the Pleasure Dome discussed earlier except that this Magic Room contains an Omniscient Computer.
   To play this game, you simply "astrally project" into the Magic Room. Do not ask what "astral projection" means, and do not assume it is metaphysical (and therefore either impossible, if you are a materialist, or very difficult, if you are a mystic). Just assume this is a gedankenexperiment, a "mind game." Project yourself, in imagination, into this Magic Room and visualize vividly the Omniscient Computer, using the details you need to make such a super-information-processor real to your fantasy. You do not need any knowledge of programming to handle this astral computer. It exists early in the next century; you are getting to use it by a species of time-travel, if that metaphor is amusing and helpful to you. It is so built that it responds immediately to human brain-waves, "reading" them and decoding their meaning. (Crude prototypes of such computers already exist.) So, when you are in this magic room, you can ask this Computer anything, just by thinking of what you want to know. It will read your thought, and project into your brain, by a laser ray, the correct answer.
   There is one slight problem. The computer is very sensitive to all brain-waves. If you have any doubts, it registers them as negative commands, meaning "Do not answer my question." So, the way to use it is to start simply, with "easy" questions. Ask it to dig out of the archives the name of your second-grade teacher. (Almost everybody remembers the name of their first grade teacher-imprint vulnerability again-but that of the second grade teacher tends to get lost.)
   When the computer has dug out the name of your second grade teacher, try it on a harder question, but not one that is too hard. It is very easy to sabotage this machine, but you don't want to sabotage it during these experiments. You want to see how well it can be made to perform.
   It is wise to ask only one question at a time, since it requires concentration to keep this magic computer real on the field of your perception. Do not exhaust your capacities for imagination and visualization on your first trial runs.
   After a few trivial experiments of the second-grade-teacher variety, you can try more interesting programs. Take a person toward whom you have negative feelings, such as anger, disappointment, feeling-of-betrayal, jealousy or whatever interferes with the smooth, tranquil operation of your own bio-computer. Ask the Magic Computer to explain that other person to you; to translate you into their reality-tunnel long enough for you to understand how events seem to them. Especially, ask how you seem to them.
   This computer will do that job for you; but be prepared for some shocks which might be disagreeable at first. This super-brain can also perform exegesis on ideas that seem obscure, paradoxical or enigmatic to us. For instance, early experiments with this computer can very profitably turn on asking it to explain some of the propositions in this book which may seem inexplicable or perversely wrong-headed to you, such as "We are all greater artists than we realize" or "What the Thinker thinks, the Prover proves" or "mind and its contents are functionally identical."
   This computer is much more powerful and scientifically advanced than the rapture-machine in the neurosomatic circuit. It has total access to all the earlier, primitive circuits, and overrules any of them. That is, if you put a meta-programming instruction into this computer; it will relay it downward to the old circuits and cancel contradictory programs left over from the past. For instance, try feeding it on such meta-programming instructions as: 1. I am at cause over my body. 2. I am at cause over my imagination. 3.1 am at cause over my future. 4. My mind abounds with beauty and power. 5.1 like people, and people like me.
   Remember that this computer is only a few decades ahead of present technology, so it cannot "understand" your commands if you harbor any doubts about them. Doubts tell it not to perform. Work always from what you can believe in, extending the area of belief only as results encourage you to try for more dramatic transformations of your past reality-tunnels.
   This represents cybernetic consciousness; the programmer becoming self-programmer, self-metaprogrammer, meta-metaprogrammer, etc. Just as the emotional compulsions of the second circuit seem primitive, mechanical and, ultimately, silly to the neurosomatic consciousness, so, too, the reality maps of the third circuit become comic, relativistic, game-like to the metaprogrammer. "Whatever you say it is, it isn't, " Korzybski, the semanticist, repeated endlessly in his seminars, trying to make clear that third-circuit semantic maps are not the territories they represent; that we can always make maps of our maps, revisions of our revisions, meta-selves of our selves. "Neti, neti" (not that, not that), Hindu teachers traditionally say when asked what "God" is or what "Reality" is. Yogis, mathematicians and musicians seem more inclined to develop meta-programming consciousness than most of humanity. Korzybski even claimed that the use of mathematical scripts is an aid to developing this circuit, for as soon as you think of your mind as mind 1 , and the mind which contemplates that mind as mind2 and the mind which contemplates mind2 contemplating mind 1 as mind3, you are well on your way to meta-programming awareness. Alice in Wonderland is a masterful guide to the metaprogramming circuit (written by one of the founders of mathematical logic) and Aleister Crowley soberly urged its study upon all students of yoga. ~ Robert Anton Wilson, Prometheus Rising,
319:Chapter 18 - Trapped in a Dream

(A guy is playing a pinball machine, seemingly the same guy who rode with him in the back of the boat car. This part is played by Richard Linklater, aka, the director.)

Hey, man.

Hey.

Weren't you in a boat car? You know, the guy, the guy with the hat? He gave me a ride in his car, or boat thing, and you were in the back seat with me?

I mean, I'm not saying that you don't know what you're talking about, but I don't know what you're talking about.

No, you see, you guys let me off at this really specific spot that you gave him directions to let me off at, I get out, and end up getting hit by a car, but then, I just woke up because I was dreaming, and later than that, I found out that I was still dreaming, dreaming that I'd woken up.

Oh yeah, those are called false awakenings. I used to have those all the time.

Yeah, but I'm still in it now. I, I can't get out of it. It's been going on forever, I keep waking up, but, but I'm just waking up into another dream. I'm starting to get creeped out, too. Like I'm talking to dead people. This woman on TV's telling me about how death is this dreamtime that exists outside of life. I mean, (desperate sigh) I'm starting to think that I'm dead.

I'm gonna tell you about a dream I once had. I know that's, when someone says that, then usually you're in for a very boring next few minutes, and you might be, but it sounds like, you know, what else are you going to do, right? Anyway, I read this essay by Philip K. Dick.

What, you read it in your dream?

No, no. I read it before the dream. It was the preamble to the dream. It was about that book, um Flow My Tears the Policeman Said. You know that one?

Uh, yeah yeah, he won an award for that one.

Right, right. That's the one he wrote really fast. It just like flowed right out of him. He felt he was sort of channeling it, or something. But anyway, about four years after it was published, he was at this party, and he met this woman who had the same name as the woman character in the book. And she had a boyfriend with the same name as the boyfriend character in the book, and she was having an affair with this guy, the chief of police, and he had the same name as the chief of police in his book. So she's telling him all of this stuff from her life, and everything she's saying is right out of his book. So that's totally freaking him out, but, what can he do?

And then shortly after that, he was going to mail a letter, and he saw this kind of, um, you know, dangerous, shady looking guy standing by his car, but instead of avoiding him, which he says he would have usually done, he just walked right up to him and said, "Can I help you?" And the guy said, "Yeah. I, I ran out of gas." So he pulls out his wallet, and he hands him some money, which he says he never would have done, and then he gets home and thinks, wait a second, this guy, you know, he can't get to a gas station, he's out of gas. So he gets back in his car, he goes and finds the guy, takes him to the gas station, and as he's pulling up at the gas station, he realizes, "Hey, this is in my book too. This exact station, this exact guy. Everything."

So this whole episode is kind of creepy, right? And he's telling his priest about it, you know, describing how he wrote this book, and then four years later all these things happened to him. And as he's telling it to him, the priest says, "That's the Book of Acts. You're describing the Book of Acts." And he's like, "I've never read the Book of Acts." So he, you know, goes home and reads the Book of Acts, and it's like uncanny. Even the characters' names are the same as in the Bible. And the Book of Acts takes place in 50 A.D., when it was written, supposedly. So Philip K. Dick had this theory that time was an illusion and that we were all actually in 50 A.D., and the reason he had written this book was that he had somehow momentarily punctured through this illusion, this veil of time, and what he had seen there was what was going on in the Book of Acts.

And he was really into Gnosticism, and this idea that this demiurge, or demon, had created this illusion of time to make us forget that Christ was about to return, and the kingdom of God was about to arrive. And that we're all in 50 A.D., and there's someone trying to make us forget that God is imminent. And that's what time is. That's what all of history is. It's just this kind of continuous, you know, daydream, or distraction.

And so I read that, and I was like, well that's weird. And than that night I had a dream and there was this guy in the dream who was supposed to be a psychic. But I was skeptical. I was like, you know, he's not really a psychic, you know I'm thinking to myself. And then suddenly I start floating, like levitating, up to the ceiling. And as I almost go through the roof, I'm like, "Okay, Mr. Psychic. I believe you. You're a psychic. Put me down please." And I float down, and as my feet touch the ground, the psychic turns into this woman in a green dress. And this woman is Lady Gregory.

Now Lady Gregory was Yeats' patron, this, you know, Irish person. And though I'd never seen her image, I was just sure that this was the face of Lady Gregory. So we're walking along, and Lady Gregory turns to me and says, "Let me explain to you the nature of the universe. Now Philip K. Dick is right about time, but he's wrong that it's 50 A.D. Actually, there's only one instant, and it's right now, and it's eternity. And it's an instant in which God is posing a question, and that question is basically, 'Do you want to, you know, be one with eternity? Do you want to be in heaven?' And we're all saying, 'No thank you. Not just yet.' And so time is actually just this constant saying 'No' to God's invitation. I mean that's what time is. I mean, and it's no more 50 A.D. than it's two thousand and one. And there's just this one instant, and that's what we're always in."

And then she tells me that actually this is the narrative of everyone's life. That, you know, behind the phenomenal difference, there is but one story, and that's the story of moving from the "no" to the "yes." All of life is like, "No thank you. No thank you. No thank you." then ultimately it's, "Yes, I give in. Yes, I accept. Yes, I embrace." I mean, that's the journey. I mean, everyone gets to the "yes" in the end, right?

Right.

So we continue walking, and my dog runs over to me. And so I'm petting him, really happy to see him, you know, he's been dead for years. So I'm petting him and I realize there's this kind of gross oozing stuff coming out of his stomach. And I look over at Lady Gregory, and she sort of coughs. She's like [cough] [cough] "Oh, excuse me." And there's vomit, like dribbling down her chin, and it smells really bad. And I think, "Well, wait a second, that's not just the smell of vomit," which is, doesn't smell very good, "that's the smell of like dead person vomit." You know, so it's like doubly foul. And then I realize I'm actually in the land of the dead, and everyone around me is dead. My dog had been dead for over ten years, Lady Gregory had been dead a lot longer than that. When I finally woke up, I was like, whoa, that wasn't a dream, that was a visitation to this real place, the land of the dead.

So what happened? I mean how did you finally get out of it?

Oh man. It was just like one of those like life altering experiences. I mean I could never really look at the world the same way again, after that.

Yeah, but I mean like how did you, how did you finally get out of the dream? See, that's my problem. I'm like trapped. I keep, I keep thinking that I'm waking up, but I'm still in a dream. It seems like it's going on forever. I can't get out of it, and I want to wake up for real. How do you really wake up?

I don't know, I don't know. I'm not very good at that anymore. But, um, if that's what you're thinking, I mean you, you probably should. I mean, you know if you can wake up, you should, because you know someday, you know, you won't be able to. So just, um ... But it's easy. You know. Just, just wake up. ~ Waking Life,
320:
   Can a Yogi attain to a state of consciousness in which he can know all things, answer all questions, relating even to abstruse scientific problems, such as, for example, the theory of relativity?


Theoretically and in principle it is not impossible for a Yogi to know everything; all depends upon the Yogi.

   But there is knowledge and knowledge. The Yogi does not know in the way of the mind. He does not know everything in the sense that he has access to all possible information or because he contains all the facts of the universe in his mind or because his consciousness is a sort of miraculous encyclopaedia. He knows by his capacity for a containing or dynamic identity with things and persons and forces. Or he knows because he lives in a plane of consciousness or is in contact with a consciousness in which there is the truth and the knowledge.

   If you are in the true consciousness, the knowledge you have will also be of the truth. Then, too, you can know directly, by being one with what you know. If a problem is put before you, if you are asked what is to be done in a particular matter, you can then, by looking with enough attention and concentration, receive spontaneously the required knowledge and the true answer. It is not by any careful application of theory that you reach the knowledge or by working it out through a mental process. The scientific mind needs these methods to come to its conclusions. But the Yogi's knowledge is direct and immediate; it is not deductive. If an engineer has to find out the exact position for the building of an arch, the line of its curve and the size of its opening, he does it by calculation, collating and deducing from his information and data. But a Yogi needs none of these things; he looks, has the vision of the thing, sees that it is to be done in this way and not in another, and this seeing is his knowledge.

   Although it may be true in a general way and in a certain sense that a Yogi can know all things and can answer all questions from his own field of vision and consciousness, yet it does not follow that there are no questions whatever of any kind to which he would not or could not answer. A Yogi who has the direct knowledge, the knowledge of the true truth of things, would not care or perhaps would find it difficult to answer questions that belong entirely to the domain of human mental constructions. It may be, he could not or would not wish to solve problems and difficulties you might put to him which touch only the illusion of things and their appearances. The working of his knowledge is not in the mind. If you put him some silly mental query of that character, he probably would not answer. The very common conception that you can put any ignorant question to him as to some super-schoolmaster or demand from him any kind of information past, present or future and that he is bound to answer, is a foolish idea. It is as inept as the expectation from the spiritual man of feats and miracles that would satisfy the vulgar external mind and leave it gaping with wonder.

   Moreover, the term "Yogi" is very vague and wide. There are many types of Yogis, many lines or ranges of spiritual or occult endeavour and different heights of achievement, there are some whose powers do not extend beyond the mental level; there are others who have gone beyond it. Everything depends on the field or nature of their effort, the height to which they have arrived, the consciousness with which they have contact or into which they enter.

   Do not scientists go sometimes beyond the mental plane? It is said that Einstein found his theory of relativity not through any process of reasoning, but through some kind of sudden inspiration. Has that inspiration anything to do with the Supermind?

The scientist who gets an inspiration revealing to him a new truth, receives it from the intuitive mind. The knowledge comes as a direct perception in the higher mental plane illumined by some other light still farther above. But all that has nothing to do with the action of Supermind and this higher mental level is far removed from the supramental plane. Men are too easily inclined to believe that they have climbed into regions quite divine when they have only gone above the average level. There are many stages between the ordinary human mind and the Supermind, many grades and many intervening planes. If an ordinary man were to get into direct contact even with one of these intermediate planes, he would be dazzled and blinded, would be crushed under the weight of the sense of immensity or would lose his balance; and yet it is not the Supermind.

   Behind the common idea that a Yogi can know all things and answer all questions is the actual fact that there is a plane in the mind where the memory of everything is stored and remains always in existence. All mental movements that belong to the life of the earth are memorised and registered in this plane. Those who are capable of going there and care to take the trouble, can read in it and learn anything they choose. But this region must not be mistaken for the supramental levels. And yet to reach even there you must be able to silence the movements of the material or physical mind; you must be able to leave aside all your sensations and put a stop to your ordinary mental movements, whatever they are; you must get out of the vital; you must become free from the slavery of the body. Then only you can enter into that region and see. But if you are sufficiently interested to make this effort, you can arrive there and read what is written in the earth's memory.

   Thus, if you go deep into silence, you can reach a level of consciousness on which it is not impossible for you to receive answers to all your questions. And if there is one who is consciously open to the plenary truth of the supermind, in constant contact with it, he can certainly answer any question that is worth an answer from the supramental Light. The queries put must come from some sense of the truth and reality behind things. There are many questions and much debated problems that are cobwebs woven of mere mental abstractions or move on the illusory surface of things. These do not pertain to real knowledge; they are a deformation of knowledge, their very substance is of the ignorance. Certainly the supramental knowledge may give an answer, its own answer, to the problems set by the mind's ignorance; but it is likely that it would not be at all satisfactory or perhaps even intelligible to those who ask from the mental level. You must not expect the supramental to work in the way of the mind or demand that the knowledge in truth should be capable of being pieced together with the half-knowledge in ignorance. The scheme of the mind is one thing, but Supermind is quite another and it would no longer be supramental if it adapted itself to the exigencies of the mental scheme. The two are incommensurable and cannot be put together.

   When the consciousness has attained to supramental joys, does it no longer take interest in the things of the mind?

The supramental does not take interest in mental things in the same way as the mind. It takes its own interest in all the movements of the universe, but it is from a different point of view and with a different vision. The world presents to it an entirely different appearance; there is a reversal of outlook and everything is seen from there as other than what it seems to the mind and often even the opposite. Things have another meaning; their aspect, their motion and process, everything about them, are watched with other eyes. Everything here is followed by the supermind; the mind movements and not less the vital, the material movements, all the play of the universe have for it a very deep interest, but of another kind. It is about the same difference as that between the interest taken in a puppet-play by one who holds the strings and knows what the puppets are to do and the will that moves them and that they can do only what it moves them to do, and the interest taken by another who observes the play but sees only what is happening from moment to moment and knows nothing else. The one who follows the play and is outside its secret has a stronger, an eager and passionate interest in what will happen and he gives an excited attention to its unforeseen or dramatic events; the other, who holds the strings and moves the show, is unmoved and tranquil. There is a certain intensity of interest which comes from ignorance and is bound up with illusion, and that must disappear when you are out of the ignorance. The interest that human beings take in things founds itself on the illusion; if that were removed, they would have no interest at all in the play; they would find it dry and dull. That is why all this ignorance, all this illusion has lasted so long; it is because men like it, because they cling to it and its peculiar kind of appeal that it endures.

   ~ The Mother, Questions And Answers 1929-1931, 93?
,
321:
   The whole question.


The whole question? And now, do you understand?... Not quite? I told you that you did not understand because it was muddled up; in one question three different ideas were included. So naturally it created a confusion. But taken separately they are what I explained to you just now, most probably; that is to say, one has this altogether ignorant and obliterated consciousness and is convinced that he is the cause and effect, the origin and result of himself, separate from all others, separate with a limited power to act upon others and a little greater capacity to be set in movement by others or to react to others' influence. That is how people think usually, something like that, isn't that so? How do you feel, you? What effect do you have upon yourself? And you? And you?... You have never thought about it? You have never looked into yourself to see what effect you exercise upon yourself? Never thought over it? No? How do you feel? Nobody will tell me? Come, you tell me that. Never tried to understand how you feel? Yes? No? How strange! Never sought to understand how, for example, decisions take place in you? From where do they come? What makes you decide one thing rather than another? And what is the relation between a decision of yours and your action? And to what extent do you have the freedom of choice between one thing and another? And how far do you feel you are able to, you are free to do this or that or that other or nothing at all?... You have pondered over that? Yes? Is there any one among the students who has thought over it? No? Nobody put the question to himself? You? You?...

Even if one thinks over it, perhaps one is not able to answer!

One cannot explain?

No.

It is difficult to explain? Even this simple little thing, to see where in your consciousness the wills that come from outside meet your will (which you call yours, which comes from within), at what place the two join together and to what extent the one from outside acts upon that from within and the one from within acts upon that from outside? You have never tried to find this out? It has never seemed to you unbearable that a will from outside should have an action upon your will? No?

I do not know.

Oh! I am putting very difficult problems! But, my children, I was preoccupied with that when I was a child of five!... So I thought you must have been preoccupied with it since a long time. In oneself, there are contradictory wills. Yes, many. That is one of the very first discoveries. There is one part which wants things this way; and then at another moment, another way, and a third time, one wants still another thing! Besides, there is even this: something that wants and another which says no. So? But it is exactly that which has to be found if you wish in the least to organise yourself. Why not project yourself upon a screen, as in the cinema, and then look at yourself moving on it? How interesting it is!

This is the first step.

You project yourself on the screen and then observe and see all that is moving there and how it moves and what happens. You make a little diagram, it becomes so interesting then. And then, after a while, when you are quite accustomed to seeing, you can go one step further and take a decision. Or even a still greater step: you organise - arrange, take up all that, put each thing in its place, organise in such a way that you begin to have a straight movement with an inner meaning. And then you become conscious of your direction and are able to say: "Very well, it will be thus; my life will develop in that way, because that is the logic of my being. Now, I have arranged all that within me, each thing has been put in its place, and so naturally a central orientation is forming. I am following this orientation. One step more and I know what will happen to me for I myself am deciding it...." I do not know, I am telling you this; to me it seemed terribly interesting, the most interesting thing in the world. There was nothing, no other thing that interested me more than that.

This happened to me.... I was five or six or seven years old (at seven the thing became quite serious) and I had a father who loved the circus, and he came and told me: "Come with me, I am going to the circus on Sunday." I said: "No, I am doing something much more interesting than going to the circus!" Or again, young friends invited me to attend a meeting where we were to play together, enjoy together: "No, I enjoy here much more...." And it was quite sincere. It was not a pose: for me, it was like this, it was true. There was nothing in the world more enjoyable than that.

And I am so convinced that anybody who does it in that way, with the same freshness and sincerity, will obtain most interesting results.... To put all that on a screen in front of yourself and look at what is happening. And the first step is to know all that is happening and then you must not try to shut your eyes when something does not appear pleasant to you! You must keep them wide open and put each thing in that way before the screen. Then you make quite an interesting discovery. And then the next step is to start telling yourself: "Since all that is happening within me, why should I not put this thing in this way and then that thing in that way and then this other in this way and thus wouldn't I be doing something logical that has a meaning? Why should I not remove that thing which stands obstructing the way, these conflicting wills? Why? And what does that represent in the being? Why is it there? If it were put there, would it not help instead of harming me?" And so on.

And little by little, little by little, you see clearer and then you see why you are made like that, what is the thing you have got to do - that for which you are born. And then, quite naturally, since all is organised for this thing to happen, the path becomes straight and you can say beforehand: "It is in this way that it will happen." And when things come from outside to try and upset all that, you are able to say: "No, I accept this, for it helps; I reject that, for that harms." And then, after a few years, you curb yourself as you curb a horse: you do whatever you like, in the way you like and you go wherever you like.

It seems to me this is worth the trouble. I believe it is the most interesting thing.

...

You must have a great deal of sincerity, a little courage and perseverance and then a sort of mental curiosity, you understand, curious, seeking to know, interested, wanting to learn. To love to learn: that, one must have in one's nature. To find it impossible to stand before something grey, all hazy, in which nothing is seen clearly and which gives you quite an unpleasant feeling, for you do not know where you begin and where you end, what is yours and what is not yours and what is settled and what is not settled - what is this pulp-like thing you call yourself in which things get intermingled and act upon one another without even your being aware of it? You ask yourself: "But why have I done this?" You know nothing about it. "And why have I felt that?" You don't know that, either. And then, you are thrown into a world outside that is only fog and you are thrown into a world inside that is also for you another kind of fog, still more impenetrable, in which you live, like a cork thrown upon the waters and the waves carry it away or cast it into the air, and it drops and rolls on. That is quite an unpleasant state. I do not know, but to me it appears unpleasant.

To see clearly, to see one's way, where one is going, why one is going there, how one is to go there and what one is going to do and what is the kind of relation with others... But that is a problem so wonderfully interesting - it is interesting - and you can always discover things every minute! One's work is never finished.

There is a time, there is a certain state of consciousness when you have the feeling that you are in that condition with all the weight of the world lying heavy upon you and besides you are going in blinkers and do not know where you are going, but there is something which is pushing you. And that is truly a very unpleasant condition. And there is another moment when one draws oneself up and is able to see what is there above, and one becomes it; then one looks at the world as though from the top of a very very high mountain and one sees all that is happening below; then one can choose one's way and follow it. That is a more pleasant condition. This then is truly the truth, you are upon earth for that, surely. All individual beings and all the little concentrations of consciousness were created to do this work. It is the very reason for existence: to be able to become fully conscious of a certain sum of vibrations representing an individual being and put order there and find one's way and follow it.

And so, as men do not know it and do not do it, life comes and gives them a blow here: "Oh! that hurts", then a blow there: "Ah! that's hurting me." And the thing goes on like that and all the time it is like that. And all the time they are getting pain somewhere. They suffer, they cry, they groan. But it is simply due to that reason, there is no other: it is that they have not done that little work. If, when they were quite young, there had been someone to teach them to do the work and they had done it without losing time, they could have gone through life gloriously and instead of suffering they would have been all-powerful masters of their destiny.

This is not to say that necessarily all things would become pleasant. It is not at all that. But your reaction towards things becomes the true reaction and instead of suffering, you learn; instead of being miserable, you go forward and progress. After all, I believe it is for this that you are here - so that there is someone who can tell you: "There, well, try that. It is worth trying." ~ The Mother, Questions And Answers 1953, 199,
322:One little picture in this book, the Magic Locket, was drawn by 'Miss Alice Havers.' I did not state this on the title-page, since it seemed only due, to the artist of all these (to my mind) wonderful pictures, that his name should stand there alone.
The descriptions, of Sunday as spent by children of the last generation, are quoted verbatim from a speech made to me by a child-friend and a letter written to me by a lady-friend.
The Chapters, headed 'Fairy Sylvie' and 'Bruno's Revenge,' are a reprint, with a few alterations, of a little fairy-tale which I wrote in the year 1867, at the request of the late Mrs. Gatty, for 'Aunt Judy's Magazine,' which she was then editing.
It was in 1874, I believe, that the idea first occurred to me of making it the nucleus of a longer story.
As the years went on, I jotted down, at odd moments, all sorts of odd ideas, and fragments of dialogue, that occurred to me--who knows how?--with a transitory suddenness that left me no choice but either to record them then and there, or to abandon them to oblivion. Sometimes one could trace to their source these random flashes of thought--as being suggested by the book one was reading, or struck out from the 'flint' of one's own mind by the 'steel' of a friend's chance remark but they had also a way of their own, of occurring, a propos of nothing --specimens of that hopelessly illogical phenomenon, 'an effect without a cause.' Such, for example, was the last line of 'The Hunting of the Snark,' which came into my head (as I have already related in 'The Theatre' for April, 1887) quite suddenly, during a solitary walk: and such, again, have been passages which occurred in dreams, and which I cannot trace to any antecedent cause whatever. There are at least two instances of such dream-suggestions in this book--one, my Lady's remark, 'it often runs in families, just as a love for pastry does', the other, Eric Lindon's badinage about having been in domestic service.

And thus it came to pass that I found myself at last in possession of a huge unwieldy mass of litterature--if the reader will kindly excuse the spelling --which only needed stringing together, upon the thread of a consecutive story, to constitute the book I hoped to write. Only! The task, at first, seemed absolutely hopeless, and gave me a far clearer idea, than I ever had before, of the meaning of the word 'chaos': and I think it must have been ten years, or more, before I had succeeded in classifying these odds-and-ends sufficiently to see what sort of a story they indicated: for the story had to grow out of the incidents, not the incidents out of the story I am telling all this, in no spirit of egoism, but because I really believe that some of my readers will be interested in these details of the 'genesis' of a book, which looks so simple and straight-forward a matter, when completed, that they might suppose it to have been written straight off, page by page, as one would write a letter, beginning at the beginning; and ending at the end.

It is, no doubt, possible to write a story in that way: and, if it be not vanity to say so, I believe that I could, myself,--if I were in the unfortunate position (for I do hold it to be a real misfortune) of being obliged to produce a given amount of fiction in a given time,--that I could 'fulfil my task,' and produce my 'tale of bricks,' as other slaves have done. One thing, at any rate, I could guarantee as to the story so produced--that it should be utterly commonplace, should contain no new ideas whatever, and should be very very weary reading!
This species of literature has received the very appropriate name of 'padding' which might fitly be defined as 'that which all can write and none can read.' That the present volume contains no such writing I dare not avow: sometimes, in order to bring a picture into its proper place, it has been necessary to eke out a page with two or three extra lines : but I can honestly say I have put in no more than I was absolutely compelled to do.
My readers may perhaps like to amuse themselves by trying to detect, in a given passage, the one piece of 'padding' it contains. While arranging the 'slips' into pages, I found that the passage was 3 lines too short. I supplied the deficiency, not by interpolating a word here and a word there, but by writing in 3 consecutive lines. Now can my readers guess which they are?

A harder puzzle if a harder be desired would be to determine, as to the Gardener's Song, in which cases (if any) the stanza was adapted to the surrounding text, and in which (if any) the text was adapted to the stanza.
Perhaps the hardest thing in all literature--at least I have found it so: by no voluntary effort can I accomplish it: I have to take it as it come's is to write anything original. And perhaps the easiest is, when once an original line has been struck out, to follow it up, and to write any amount more to the same tune. I do not know if 'Alice in Wonderland' was an original story--I was, at least, no conscious imitator in writing it--but I do know that, since it came out, something like a dozen storybooks have appeared, on identically the same pattern. The path I timidly explored believing myself to be 'the first that ever burst into that silent sea'--is now a beaten high-road: all the way-side flowers have long ago been trampled into the dust: and it would be courting disaster for me to attempt that style again.

Hence it is that, in 'Sylvie and Bruno,' I have striven with I know not what success to strike out yet another new path: be it bad or good, it is the best I can do. It is written, not for money, and not for fame, but in the hope of supplying, for the children whom I love, some thoughts that may suit those hours of innocent merriment which are the very life of Childhood; and also in the hope of suggesting, to them and to others, some thoughts that may prove, I would fain hope, not wholly out of harmony with the graver cadences of Life.
If I have not already exhausted the patience of my readers, I would like to seize this opportunity perhaps the last I shall have of addressing so many friends at once of putting on record some ideas that have occurred to me, as to books desirable to be written--which I should much like to attempt, but may not ever have the time or power to carry through--in the hope that, if I should fail (and the years are gliding away very fast) to finish the task I have set myself, other hands may take it up.
First, a Child's Bible. The only real essentials of this would be, carefully selected passages, suitable for a child's reading, and pictures. One principle of selection, which I would adopt, would be that Religion should be put before a child as a revelation of love--no need to pain and puzzle the young mind with the history of crime and punishment. (On such a principle I should, for example, omit the history of the Flood.) The supplying of the pictures would involve no great difficulty: no new ones would be needed : hundreds of excellent pictures already exist, the copyright of which has long ago expired, and which simply need photo-zincography, or some similar process, for their successful reproduction. The book should be handy in size with a pretty attractive looking cover--in a clear legible type--and, above all, with abundance of pictures, pictures, pictures!
Secondly, a book of pieces selected from the Bible--not single texts, but passages of from 10 to 20 verses each--to be committed to memory. Such passages would be found useful, to repeat to one's self and to ponder over, on many occasions when reading is difficult, if not impossible: for instance, when lying awake at night--on a railway-journey --when taking a solitary walk-in old age, when eyesight is failing or wholly lost--and, best of all, when illness, while incapacitating us for reading or any other occupation, condemns us to lie awake through many weary silent hours: at such a time how keenly one may realise the truth of David's rapturous cry "O how sweet are thy words unto my throat: yea, sweeter than honey unto my mouth!"
I have said 'passages,' rather than single texts, because we have no means of recalling single texts: memory needs links, and here are none: one may have a hundred texts stored in the memory, and not be able to recall, at will, more than half-a-dozen--and those by mere chance: whereas, once get hold of any portion of a chapter that has been committed to memory, and the whole can be recovered: all hangs together.
Thirdly, a collection of passages, both prose and verse, from books other than the Bible. There is not perhaps much, in what is called 'un-inspired' literature (a misnomer, I hold: if Shakespeare was not inspired, one may well doubt if any man ever was), that will bear the process of being pondered over, a hundred times: still there are such passages--enough, I think, to make a goodly store for the memory.
These two books of sacred, and secular, passages for memory--will serve other good purposes besides merely occupying vacant hours: they will help to keep at bay many anxious thoughts, worrying thoughts, uncharitable thoughts, unholy thoughts. Let me say this, in better words than my own, by copying a passage from that most interesting book, Robertson's Lectures on the Epistles to the Corinthians, Lecture XLIX. "If a man finds himself haunted by evil desires and unholy images, which will generally be at periodical hours, let him commit to memory passages of Scripture, or passages from the best writers in verse or prose. Let him store his mind with these, as safeguards to repeat when he lies awake in some restless night, or when despairing imaginations, or gloomy, suicidal thoughts, beset him. Let these be to him the sword, turning everywhere to keep the way of the Garden of Life from the intrusion of profaner footsteps."
Fourthly, a "Shakespeare" for girls: that is, an edition in which everything, not suitable for the perusal of girls of (say) from 10 to 17, should be omitted. Few children under 10 would be likely to understand or enjoy the greatest of poets: and those, who have passed out of girlhood, may safely be left to read Shakespeare, in any edition, 'expurgated' or not, that they may prefer: but it seems a pity that so many children, in the intermediate stage, should be debarred from a great pleasure for want of an edition suitable to them. Neither Bowdler's, Chambers's, Brandram's, nor Cundell's 'Boudoir' Shakespeare, seems to me to meet the want: they are not sufficiently 'expurgated.' Bowdler's is the most extraordinary of all: looking through it, I am filled with a deep sense of wonder, considering what he has left in, that he should have cut anything out! Besides relentlessly erasing all that is unsuitable on the score of reverence or decency, I should be inclined to omit also all that seems too difficult, or not likely to interest young readers. The resulting book might be slightly fragmentary: but it would be a real treasure to all British maidens who have any taste for poetry.
If it be needful to apologize to any one for the new departure I have taken in this story--by introducing, along with what will, I hope, prove to be acceptable nonsense for children, some of the graver thoughts of human life--it must be to one who has learned the Art of keeping such thoughts wholly at a distance in hours of mirth and careless ease. To him such a mixture will seem, no doubt, ill-judged and repulsive. And that such an Art exists I do not dispute: with youth, good health, and sufficient money, it seems quite possible to lead, for years together, a life of unmixed gaiety--with the exception of one solemn fact, with which we are liable to be confronted at any moment, even in the midst of the most brilliant company or the most sparkling entertainment. A man may fix his own times for admitting serious thought, for attending public worship, for prayer, for reading the Bible: all such matters he can defer to that 'convenient season', which is so apt never to occur at all: but he cannot defer, for one single moment, the necessity of attending to a message, which may come before he has finished reading this page,' this night shalt thy soul be required of thee.'
The ever-present sense of this grim possibility has been, in all ages, 1 an incubus that men have striven to shake off. Few more interesting subjects of enquiry could be found, by a student of history, than the various weapons that have been used against this shadowy foe. Saddest of all must have been the thoughts of those who saw indeed an existence beyond the grave, but an existence far more terrible than annihilation--an existence as filmy, impalpable, all but invisible spectres, drifting about, through endless ages, in a world of shadows, with nothing to do, nothing to hope for, nothing to love! In the midst of the gay verses of that genial 'bon vivant' Horace, there stands one dreary word whose utter sadness goes to one's heart. It is the word 'exilium' in the well-known passage

Omnes eodem cogimur, omnium
Versatur urna serius ocius
Sors exitura et nos in aeternum
Exilium impositura cymbae.

Yes, to him this present life--spite of all its weariness and all its sorrow--was the only life worth having: all else was 'exile'! Does it not seem almost incredible that one, holding such a creed, should ever have smiled?
And many in this day, I fear, even though believing in an existence beyond the grave far more real than Horace ever dreamed of, yet regard it as a sort of 'exile' from all the joys of life, and so adopt Horace's theory, and say 'let us eat and drink, for to-morrow we die.'
We go to entertainments, such as the theatre--I say 'we', for I also go to the play, whenever I get a chance of seeing a really good one and keep at arm's length, if possible, the thought that we may not return alive. Yet how do you know--dear friend, whose patience has carried you through this garrulous preface that it may not be your lot, when mirth is fastest and most furious, to feel the sharp pang, or the deadly faintness, which heralds the final crisis--to see, with vague wonder, anxious friends bending over you to hear their troubled whispers perhaps yourself to shape the question, with trembling lips, "Is it serious?", and to be told "Yes: the end is near" (and oh, how different all Life will look when those words are said!)--how do you know, I say, that all this may not happen to you, this night?
And dare you, knowing this, say to yourself "Well, perhaps it is an immoral play: perhaps the situations are a little too 'risky', the dialogue a little too strong, the 'business' a little too suggestive.
I don't say that conscience is quite easy: but the piece is so clever, I must see it this once! I'll begin a stricter life to-morrow." To-morrow, and to-morrow, and tomorrow!

"Who sins in hope, who, sinning, says,
'Sorrow for sin God's judgement stays!'
Against God's Spirit he lies; quite stops Mercy with insult; dares, and drops,
Like a scorch'd fly, that spins in vain
Upon the axis of its pain,
Then takes its doom, to limp and crawl,
Blind and forgot, from fall to fall."

Let me pause for a moment to say that I believe this thought, of the possibility of death--if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going. Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
But, once realise what the true object is in life--that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds'--but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man--and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!
One other matter may perhaps seem to call for apology--that I should have treated with such entire want of sympathy the British passion for 'Sport', which no doubt has been in by-gone days, and is still, in some forms of it, an excellent school for hardihood and for coolness in moments of danger.
But I am not entirely without sympathy for genuine 'Sport': I can heartily admire the courage of the man who, with severe bodily toil, and at the risk of his life, hunts down some 'man-eating' tiger: and I can heartily sympathize with him when he exults in the glorious excitement of the chase and the hand-to-hand struggle with the monster brought to bay. But I can but look with deep wonder and sorrow on the hunter who, at his ease and in safety, can find pleasure in what involves, for some defenceless creature, wild terror and a death of agony: deeper, if the hunter be one who has pledged himself to preach to men the Religion of universal Love: deepest of all, if it be one of those 'tender and delicate' beings, whose very name serves as a symbol of Love--'thy love to me was wonderful, passing the love of women'--whose mission here is surely to help and comfort all that are in pain or sorrow!

'Farewell, farewell! but this I tell
To thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both man and bird and beast.
He prayeth best, who loveth best
All things both great and small;
For the dear God who loveth us,
He made and loveth all.' ~ Lewis Carroll, Sylvie and Bruno,
323:I am and I am not
I'm drenched in the flood which has yet to come
I'm tied up in the prison that has yet to exist
Not having played the game of chess I'm already the checkmate
Not having tasted a single cup of your wine I'm already drunk
Not having entered the battlefield I'm already wounded and slain
I no longer know the difference between image and reality
Like the shadow I am and I am not ~ Jalaluddin Rumi,
324:Do not regret the tamas; but when satva comes into play, hold on to it fast and make the best of it. ~ Sri Ramana Maharshi, Talks, 52,
325:John Ruskin did not go to school. Nor did Queen Victoria, nor John Stuart Mill, George Eliot or Harriet Martineau. It would be absurd to suggest that Disraeli, Dickens, Newman or Darwin, to name four very different figures, who attended various schools for short spells in their boyhood, owed very much to their schooling. Had they been born in a later generation, school would have loomed much larger in their psychological stories, if only because they would have spent so much longer there, and found themselves preparing for public examinations. It is hard not to feel that a strong ‘syllabus’, or a school ethos, might have cramped the style of all four and that in their different ways – Disraeli, comparatively rich, anarchically foppish, indiscriminately bookish; Darwin, considered a dunce, but clearly – as he excitedly learned to shoot, to fish and to bird-watch – beginning his revolutionary relationship with the natural world; Newman, imagining himself an angel; Dickens, escaping the ignominy of his circumstances through theatrical and comedic internalized role-play – they were lucky to have been born before the Age of Control. For the well-meaning educational reforms of the 1860s were the ultimate extension of those Benthamite exercises in control which had begun in the 1820s and 1830s. Having exercised their sway over the poor, the criminals, the agricultural and industrial classes, the civil service and – this was next – the military, the controllers had turned to the last free spirits left, the last potential anarchists: the children. ~ A N Wilson,
326:It's easy to imagine that, in the future, telepathy and telekinesis will be the norm; we will interact with machines by sheer thought. Our mind will be able to turn on the lights, activate the internet, dictate letters, play video games, communicate with friends, call for a car, purchase merchandise, conjure any movie-all just by thinking. Astronauts of the future may use the power of their minds to pilot their spaceships or explore distant planets. Cities may rise from the desert of Mars, all due to master builders who mentally control the work of robots. ~ Michio Kaku
327:The noun lila means anything from sport, dalliance, play to any languid or amorous gesture in a woman. ~ V.S. Apte (1965), quoted in in Sri Aurobindo’s Lila - The Nature of Divine Play According to Integral Advaita, p. 68
328:The slow self-manifesting birth of God in Matter is the purpose of the terrestrial Lila. ~ Sri Aurobindo, "Sri Aurobindo’s Lila - The Nature of Divine Play According to Integral Advaita", p. 68
329:  The purpose of creation, is lila. The concept of lila escapes all the traditional difficulties in assigning purpose to the creator. Lila is a purpose-less purpose, a natural outflow, a spontaneous self-manifestation of the Divine. The concept of lila, again, emphasizes the role of delight in creation. The concept of Prakriti and Maya fail to explain the bliss aspect of Divine. If the world is manifestation of the Force of Satcitananda, the deployment of its existence and consciousness, its purpose can be nothing but delight. This is the meaning of delight. Lila, the play, the child’s joy, the poet’s joy, the actor’s joy, the mechanician’s joy of the soul of things eternally young, perpetually inexhaustible, creating and recreating Himself in Himself for the sheer bliss of that self-creation, of that self-representation, Himself the play, Himself the player, Himself the playground ~ Sri Aurobindo, Philosophy of Social Development, pp-39-40
330:All exists here, no doubt, for the delight of existence, all is a game or Lila; but a game too carries within itself an object to be accomplished and without the fulfillment of that object would have no completeness of significance. ~ Sri Aurobindo, “Sri Aurobindo’s Lila - The Nature of Divine Play According to Integral Advaita”
331:This eternal lila is the eternal truth, and, therefore, its this eternal lila - the playful love-making of Radha and Krishna, which the Vaishnava poets desired to enjoy. If we analyse the Gitagovinda of Jayadeva we shall find not even a single statement which shows the poet's desire to have union with Krishna as Radha had,- he only sings praises the lila of Radha and Krishna and hankers after a chance just to have peep into the divine lila, and this peep into the divine lila is the highest spiritual gain which poets could think of. ~ Gautam Dasgupta (1976:125-26), quoted by Wimal Dissanayake, in Narratives of Agency: Self-making in China, India, and Japan, p. 132
332:Lila (pronounced Leela) is the play of creation. To awakened consciousness, the entire universe. With all its joys and sorrows, pleasures and pains, appears as a divine game, sport, or drama. It is a play in which the one Consciousness performs all the roles. Alluding to this lila of the Divine Mother the physical universe is a “mansion of mirth.” ~ Sri Ramakrishna, in Selections from The Gospel of Sri Ramakrishna (2005), p. 130
333:And now what methods may be employed to safeguard the worker in the field of the world? What can be done to ensure his safety in the present strife, and in the greater strife of the coming centuries? 1. A realisation that purity of all the vehicles is the prime essential. If a Dark Brother gains control over any man, it but shows that that man has in his life some weak spot.... 2. The elimination of all fear. The forces of evolution vibrate more rapidly than those of involution, and in this fact lies a recognisable security. Fear causes weakness; weakness causes a disintegration; the weak spot breaks and a gap appears, and through that gap evil force may enter.... 3. A standing firm and unmoved, no matter what occurs. Your feet may be bathed in the mud of earth, but your head may be bathed in the sunshine of the higher regions... 4. A recognition of the use of common-sense, and the application of this common-sense to the matter in hand. Sleep much, and in sleeping, learn to render the body positive; keep busy on the emotional plane, and achieve the inner calm. Do naught to overtire the body physical, and play whenever possible. In hours of relaxation comes the adjustment that obviates later tension. ~ Alice A. Bailey, Letters on Occult Meditation p. 137/8, (1922)
334:The Garden ::: There's an ancient, ancient garden that I see sometimes in dreams,
Where the very Maytime sunlight plays and glows with spectral gleams;
Where the gaudy-tinted blossoms seem to wither into grey,
And the crumbling walls and pillars waken thoughts of yesterday.
There are vines in nooks and crannies, and there's moss about the pool,
And the tangled weedy thicket chokes the arbour dark and cool:
In the silent sunken pathways springs a herbage sparse and spare,
Where the musty scent of dead things dulls the fragrance of the air.
There is not a living creature in the lonely space arouna,
And the hedge~encompass'd d quiet never echoes to a sound.
As I walk, and wait, and listen, I will often seek to find
When it was I knew that garden in an age long left behind;
I will oft conjure a vision of a day that is no more,
As I gaze upon the grey, grey scenes I feel I knew before.
Then a sadness settles o'er me, and a tremor seems to start -
For I know the flow'rs are shrivell'd hopes - the garden is my heart. ~ H P Lovecraft,
335:Plays, farces, spectacles, gladiators, strange beasts, medals, pictures, and other such opiates, these were for ancient peoples the bait toward slavery, the price of their liberty, the instruments of tyranny. By these practices and enticements the ancient dictators so successfully lulled their subjects under the yoke, that the stupefied peoples, fascinated by the pastimes and vain pleasures flashed before their eyes, learned subservience as naively, but not so creditably, as little children learn to read by looking at bright picture books. ~ Étienne de La Boétie
336:The words of language, as they are written or spoken, do not seem to play any role in my mechanism of thought. The physical entities which seem to serve as elements in thought are certain signs and more or less clear images. ~ Albert Einstein

*** NEWFULLDB 2.4M ***

1:Play it fuckin' loud! ~ Bob Dylan
2:Done sayin I'm done playin ~ Drake
3:No bounce, no play. ~ Stephen King
4:playing music ~ Richard Stephenson
5:soccer players. ~ Malcolm Gladwell
6:supreme poker player ~ Andr Aciman
7:foul play, ~ Robert Louis Stevenson
8:hostname:display.screen ~ Anonymous
9:play hooky for the day, ~ Anonymous
10:We both played the game ~ Emma Hart
11:Work hard, play hard. ~ Wiz Khalifa
12:You're your own play. ~ Jon Stewart
13:Fair play is a jewel. ~ Walter Scott
14:I can play the radio. ~ Becky Aikman
15:I love playing sport. ~ Damian Lewis
16:I love to play music. ~ Gavin DeGraw
17:playfully bit my arm. ~ Jessica Sims
18:play The Tempest, ~ Harold Schechter
19:Work? It’s just serious play. ~ Saul
20:Do you play croquet? ~ Melanie Karsak
21:Life should be lived as play. ~ Plato
22:Playing with Your Food ~ Barbara Sher
23:Tom did play hookey, and ~ Mark Twain
24:Your pops is a real playa ~ Coe Booth
25:I don't play the tuba. ~ Lenny Kravitz
26:I just go out and play. ~ Johnny Damon
27:I love playing odd roles. ~ Aaron Paul
28:I really like your playing ~ Tom Waits
29:A band played live Muzak. ~ Don DeLillo
30:Fish play in the water ~ Thinley Norbu
31:football-playing chemist ~ Sarina Bowen
32:I always played to win. ~ Hansie Cronje
33:I play a lot of basketball. ~ Josh Peck
34:I play a nobody in Japan. ~ Jackie Chan
35:I played like a child! ~ Magnus Carlsen
36:My name's Peter. Can I play too? ~ Brom
37:Villains are fun to play. ~ Edi Gathegi
38:What we play is life. ~ Louis Armstrong
39:comedic playwright. ~ Niccol Machiavelli
40:Fantasy playmate. ~ William Peter Blatty
41:had a fondness for cum play, ~ Anonymous
42:I'm the quiet bass player. ~ Colin Hanks
43:Life is a game, play it. ~ Mother Teresa
44:My curse on plays ~ William Butler Yeats
45:Playing safe is very risky. ~ Seth Godin
46:Several other men played ~ Louis L Amour
47:The game women play is men. ~ Adam Smith
48:Within the body there is played ~ Kabir
49:been peculiarly downplayed. ~ Freya North
50:God does not play dice. ~ Albert Einstein
51:God does not play dice. ~ Stephen Hawking
52:God does not play favorites. ~ Max Lucado
53:I can't play a slave. ~ Dorothy Dandridge
54:I can't play Mahatma Gandhi. ~ Kabir Bedi
55:I don't play for records. ~ Albert Pujols
56:i play a mean harmonica ~ James Patterson
57:I play piano every day. ~ Sarah McLachlan
58:I play well with everybody. ~ R Lee Ermey
59:It's fun to play happy people. ~ Amy Ryan
60:It takes a smart guy to play dumb. ~ Mr T
61:All play means something. ~ Johan Huizinga
62:Belief #6: Work is play. ~ Anthony Robbins
63:Bless up. Don't play yourself. ~ DJ Khaled
64:Devil has his part to play. ~ Marlon James
65:I am not a player anymore. ~ Michael Irvin
66:I did plays in grade school. ~ Colin Hanks
67:I'm not a good guitar player. ~ Adam Jones
68:I played classical as a kid. ~ John Legend
69:I want to play for years. ~ Michael Jordan
70:Sperm, sperm's the play! ~ Herman Melville
71:Talent is truth on display. ~ Terry Rossio
72:You play to win the game. ~ Herman Edwards
73:Ease up, the play is over. ~ Horace Greeley
74:Found out. A nothing player. ~ Eamon Dunphy
75:I liked to play dress-up. ~ Vanessa Paradis
76:I like to play small clubs. ~ Willie Nelson
77:I love playing an alien. ~ Sigourney Weaver
78:I love playing for people. ~ John Entwistle
79:I'm not a great piano player. ~ Norah Jones
80:I never play without my cape. ~ Bela Lugosi
81:I play in a lot of empty rooms. ~ Colin Hay
82:Lyricists play with words. ~ Paul McCartney
83:Our whole life is like a play. ~ Ben Jonson
84:played any sort of game. Ten. ~ Mary Balogh
85:Players play, tough players win. ~ Tom Izzo
86:Play with me , Pix. Please. ~ Scarlett Cole
87:Shut Up and Play your Guitar. ~ Frank Zappa
88:The last act crowns the play. ~ John Ruskin
89:The play's the thing. ~ William Shakespeare
90:The song tells me what to play. ~ Joe Walsh
91:You write. You play. Tell me. ~ Jaci Burton
92:Click the image to play! Posted: ~ Anonymous
93:Don't bullshit' just play. ~ Wynton Marsalis
94:Don’t play with wild animals. ~ Milly Taiden
95:had to miss it PLAYER (bursts ~ Tom Stoppard
96:He has the players too happy. ~ Red Auerbach
97:I am a D.J., I am what I play. ~ David Bowie
98:Idle time is the devil's play. ~ Mark Dayton
99:I'm not a top-five player yet. ~ Eden Hazard
100:I'm playin' the music I like. ~ Mose Allison
101:I play chess, but my past is checkered, ~ Ka
102:I shall play Scarlett O'Hara. ~ Vivien Leigh
103:I tend to play sort of douchey. ~ Nick Kroll
104:I work hard but I play hard. ~ Kenny Chesney
105:I work hard. But I play hard, too. ~ Pitbull
106:I would like to play Broadway! ~ Elena Roger
107:I would love to play Magnum P.I. ~ Mike Epps
108:Life is not some kind of play! ~ Osamu Dazai
109:My dad was a big card player. ~ Vince Vaughn
110:Name 12 players better than me. ~ Jalen Rose
111:playing Chopin with your fist”). ~ Anonymous
112:Playing my drums is therapy. ~ Travis Barker
113:play in, maybe even a puppy. ~ Steena Holmes
114:Play is experimenting with chance. ~ Novalis
115:Play is the work of childhood. ~ Jean Piaget
116:We’re going to play a game… ~ Krista Ritchie
117:We want playmates we can own ~ Jules Feiffer
118:You can't win if you don't play. ~ Anonymous
119:Deep play precedes deep work. ~ Jeremy Rifkin
120:Humility is always one play away. ~ Tim Foley
121:I don't play tennis at all. ~ Brooklyn Decker
122:I like honesty and fair play. ~ Marcus Garvey
123:I like playing the villain. ~ Alex O Loughlin
124:I'll play until my knees fall off. ~ Sue Bird
125:I'm a struggling guitar player. ~ Megyn Kelly
126:I'm a terrible Scrabble player. ~ Andrew Bird
127:I want to go outside and play. ~ Jenna Elfman
128:I was a guitar player first off. ~ Boz Scaggs
129:My pure love is playing music. ~ Jamie Cullum
130:Playing the drums hurts my back. ~ Don Henley
131:We want playmates we can own. ~ Jules Feiffer
132:You can't play pretend forever. ~ Holly Black
133:Zeroth law: You must play the game ~ C P Snow
134:A child's a plaything for an hour. ~ Mary Lamb
135:Cooking can be like foreplay. ~ Isabel Allende
136:Fate does not play jokes. ~ Gamal Abdel Nasser
137:Human opinions are playthings. ~ Heraclitus 88
138:I bet you can't play slide piano. ~ Jimmy Page
139:I get to play a lot of hysterics. ~ Hope Davis
140:I hate to play YouTube. ~ Melissa Harris Perry
141:I know my role and I play it well. ~ Lil Wayne
142:I'm a ballplayer, not an actor. ~ Joe DiMaggio
143:I'm a terrible trumpet player... ~ Ray Stevens
144:I'm tired of playing the brat. ~ Casey Affleck
145:I seem to play a lot of losers. ~ Danny Huston
146:I sing a bit and play guitar. ~ Jesse Metcalfe
147:It's cool to play a vampire. ~ Josh Hutcherson
148:Keep on playing the Experience! ~ Noel Redding
149:Lay low, play dumb, keep moving. ~ Roger Stone
150:Life’s a song, Anne. Let’s play. ~ Kylie Scott
151:Play the hand you're dealt. ~ Jawaharlal Nehru
152:Play to win, but enjoy the fun. ~ David Ogilvy
153:public displays of opinion. “How ~ Kathi Daley
154:Relax. Be yourself. Play a lot. ~ Joe Satriani
155:their bikes and playing kick ~ Nicholas Sparks
156:the world plays rough with fools, ~ Sarah Lark
157:You can’t win if you don’t play. ~ Mark Manson
158:You chose to play it safe. ~ Robert T Kiyosaki
159:You don’t play, you can’t win. ~ Dana Stabenow
160:14 Ways to Encourage Playfulness ~ Barbara Sher
161:Amazing uke playing to be relished. ~ Brian May
162:Before hard work comes play. ~ Angela Duckworth
163:Breath play is not my scene at all. ~ E L James
164:Damn-the girl knew how to play. ~ Katie McGarry
165:Don't play his game. Play yours. ~ Rachel Caine
166:Do you still play the accordian? ~ Markus Zusak
167:God plays pranks and directs. ~ Sathya Sai Baba
168:Grammar is a piano I play by ear. ~ Joan Didion
169:I'd like to be a piano player. ~ Chris Daughtry
170:I don't like to play the victim. ~ Barry Pepper
171:I just cosplay being an adult. ~ Jennie Breeden
172:I'm a wicked ping-pong player. ~ David Baldacci
173:I talk to players all the time. ~ Roger Goodell
174:It's fun to learn a new playbook. ~ Andrew Luck
175:I wanna go play my music in a club. ~ Joe Jonas
176:I was addicted to playing music. ~ Hunter Hayes
177:I was born to play baseball. ~ Roberto Clemente
178:I was never much of a bass player. ~ Ryan Adams
179:My roots are in my record player. ~ Evan Parker
180:Play as often as you can. ~ Mary Anne Radmacher
181:Player haters be givin' me harsh looks, ~ Big L
182:She thought her eyes were playing ~ Kami Garcia
183:The big play comes with the pass. ~ Sid Gillman
184:The world is your playground. ~ Nicole Williams
185:To be a great player, you have to ~ Nick Saban
186:Use clichés to mislead the player. ~ Anonymous
187:we all gotta play to our strengths. ~ Ryk Brown
188:When you play from the heart, ~ Carlos Santana
189:who have very playful puppies! ~ Betty G Birney
190:alcohol played the midwife ~ James Branch Cabell
191:All I wanted to be was a player. ~ Franco Harris
192:As an actor, I'll play anything. ~ Michael Caine
193:Does fate ever play by the rules? ~ Jodi Picoult
194:Dogs do tricks. Cats play tricks. ~ Eloisa James
195:Economics is not a morality play. ~ Paul Krugman
196:Feydeau's one rule of playwriting: ~ John Guare
197:How you play is what you win. ~ Ursula K Le Guin
198:If we don't play God, who will? ~ James D Watson
199:I like playing in other projects. ~ Jesse Harris
200:I play a huge variety of roles ~ Casper Van Dien
201:• I Play Dodgeball with Cannibals ~ Rick Riordan
202:It wasn't work. I played myself. ~ Dick Van Dyke
203:I wanted to play baseball! ~ Kareem Abdul Jabbar
204:I want to keep playing good golf. ~ Bubba Watson
205:I want to play interesting women. ~ Rachel Weisz
206:Life is more fun if you play games. ~ Roald Dahl
207:Never play leapfrog with a unicorn. ~ Benny Hill
208:Oh , kinda playing things by ear ~ Norman Mailer
209:Play hard or don't play at all. ~ Robin S Sharma
210:playing over and over on a loop. ~ Sabrina Paige
211:Rich could play way better than Krupa. ~ Al Hirt
212:The gods play games with men as balls. ~ Plautus
213:We are the playthings of the gods. ~ Roger Ebert
214:And the beasts came out to play… ~ Juliette Cross
215:Divorce is a game played by lawyers. ~ Cary Grant
216:Farewell, sweet playfellow. ~ William Shakespeare
217:I am nothing without the players. ~ Stuart Pearce
218:I like playing with a good crowd. ~ Sergio Garcia
219:I played the wrong wrong notes. ~ Thelonious Monk
220:I play saxophone, I play tenor sax. ~ Andy Serkis
221:I talk by playing, not by words. ~ Bernie Worrell
222:It is better to play than do nothing. ~ Confucius
223:It's boring to play the girl role! ~ Olivia Wilde
224:I was very keen on playing a victim. ~ Clive Owen
225:Me: Let’s play sick day together. ~ Morgan Parker
226:Mommy play groups are cut throat ~ Willow Winters
227:Only a genius can play a fool. ~ Michael Rapaport
228:Play is the work of the child. ~ Maria Montessori
229:Steve Laury smokes playing octaves. ~ Nathan East
230:The game cannot be won, only played. ~ Will Smith
231:the gods play no
favorites. ~ Charles Bukowski
232:The team with the best players wins. ~ Jack Welch
233:They are playing above the ground. ~ Ron Atkinson
234:Those players really believe in him. ~ Mike Ditka
235:We are the stage and all the players. ~ Mark Nepo
236:And I've always loved playing solo. ~ Glen Hansard
237:He wanted to run. He wanted to play. ~ Edward Lorn
238:How the hell can you play here? ~ Harmon Killebrew
239:I always play women I would date. ~ Angelina Jolie
240:I am just a guy who plays drums. ~ Bill Kreutzmann
241:I can't do anything but play guitar. ~ Tommy Bolin
242:I don't have a favorite place to play. ~ Keren Ann
243:I don't hide or play stupid games. ~ Demian Bichir
244:I don't mind what I play, really. ~ John Malkovich
245:If you want to play, you gotta pay. ~ Stephen King
246:I just want to be me and play golf. ~ Bubba Watson
247:I like playing dark, broody types. ~ Kit Harington
248:I like to play snooker, golf as well. ~ John Terry
249:I'm not a musician, I just play bass. ~ Bill Wyman
250:I'm sick of playing romantic leads. ~ John Corbett
251:I must play the instrument I've got. ~ Saul Bellow
252:I play Rock 'n' Roll, that's what I do. ~ Kid Rock
253:I think life is a big game we play. ~ Eric Cantona
254:It's okay to play with your food. ~ Emeril Lagasse
255:I used to like doing school plays. ~ Jamie Waylett
256:I want you to play me like a cello. ~ Gayle Forman
257:I warned you I like to play games. ~ Tiffany Reisz
258:I wrote my first play when I was eight. ~ Pam Gems
259:My heroes were always soccer players. ~ Ronaldinho
260:Never play cards with a man called Doc. ~ Amy Sohn
261:Never tempt fate. It plays for keeps. ~ Mira Grant
262:New York City is my playground. ~ Bethenny Frankel
263:Nobody wins playing fair. ~ Shaun David Hutchinson
264:One wild card was yet to be played. ~ Markus Zusak
265:pack of Self-Shuffling playing cards ~ J K Rowling
266:There's no sauce for play like work. ~ Edna Ferber
267:Time plays for the other team. ~ Carlos Ruiz Zaf n
268:Twitter is the Devil's playground. ~ Albert Brooks
269:Well played, Isla, well played. ~ Rachel Van Dyken
270:work, pray and play not from here ~ Eman Herzallah
271:You get steely nerves playing poker. ~ Nate Silver
272:A ballplayer doesn't make excuses. ~ Roberto Alomar
273:A 'band' was 'onstage' playing 'music'. ~ Matt Haig
274:A player has no use for an agent. None. ~ Lou Holtz
275:Come on, bebe. Let’s play gator. ~ S E Jakes
276:Don't do anything that isn't play ~ Joseph Campbell
277:Forever is a long time to play it safe. ~ Anonymous
278:Hypocrites always wanna play innocent ~ Lauryn Hill
279:I didn't play with other children. ~ Karl Lagerfeld
280:If I don't feel it, I can't play it. ~ James Cotton
281:If I have a day off I will play golf. ~ Dean Norris
282:If life is a joke, let us play it. ~ Santosh Kalwar
283:I kinda wanted to play receiver more. ~ Victor Cruz
284:I'm not locked into playing one guy. ~ Jeff Bridges
285:I'm not playing! I really am stupid! ~ Stuart Gibbs
286:I'm not someone who plays hard to get. ~ Heidi Klum
287:I'm very fond of piano players. ~ Michael Parkinson
288:I never practice; I always play. ~ Wanda Landowska
289:I played 100 shows before I got paid ~ Dizzy Wright
290:I play keyboard for the internet. ~ Candace Blevins
291:I play myself on everything I do. ~ Hannibal Buress
292:I play piano every day. I enjoy that. ~ Frank Ocean
293:It shatters the game, exposing the players ~ Poppet
294:I usually play disenfranchised youth ~ Robin Tunney
295:I will never play for the Miami Heat. ~ Rajon Rondo
296:I would be happy to play any roles. ~ Madeline Zima
297:Jazz is what I play for a living. ~ Louis Armstrong
298:madhouses are rarely on display. ~ Charles Bukowski
299:Play is battle and battle is play. ~ Johan Huizinga
300:Play is just another version of work ~ Ray Kurzweil
301:Play it cool, that's the old school rule man. ~ Nas
302:Play with me and you play with fire. ~ Sharon Jones
303:Put your ego aside and play as a team. ~ Sonny Bono
304:Revolutionaries aren't team players. ~ Jandy Nelson
305:They'd been played. By a tuba! ~ Jude Watson
306:We get to play God with our stories. ~ Larry Brooks
307:Were born to be players, not pawns. ~ Daniel H Pink
308:You a lame so yo dame playin mind games; ~ Lil Flip
309:You can't get saved if you don't play. ~ Bill Maher
310:You could play well and still lose. ~ Retief Goosen
311:You measure a player from the head up. ~ Al McGuire
312:All I have to do is play football now. ~ Vince Young
313:Death’s playground, that thing is fast, ~ K F Breene
314:Don't hate the player, hate the game. ~ Jeff Jarrett
315:Don't play hard to get, play hard to forget. ~ Drake
316:Every note played is a life and death. ~ Lisa Genova
317:Friday the 13th...I'mma play Jason! ~ Big Daddy Kane
318:Have fun playing with your artefacts. ~ Karen Miller
319:Hindsight plays tricks on our minds. ~ Jeremy Siegel
320:I didn't have a record player. ~ Harrison Birtwistle
321:If I could read it, I could play it. ~ Nat King Cole
322:If music be the food of love, play on ~ Gayle Forman
323:If you can sing it, you can play it. ~ Jackie McLean
324:If you can't outplay them, outwork them. ~ Ben Hogan
325:If you play golf, you are my friend. ~ Harvey Penick
326:I'll never be the best guitar player. ~ Chad Kroeger
327:I'll play anyone in Uno and crush them. ~ Nikki Sixx
328:I love playing outsiders, I always do. ~ Antony Sher
329:I'm not a nerd, I play one on TV. ~ Curtis Armstrong
330:I’m not here to play. I’m here to win ~ Meghan March
331:I'm not playing vamp politics. ~ MaryJanice Davidson
332:I no longer have it (desire to play). ~ Joe DiMaggio
333:I play any piano with a good tune. ~ Pinetop Perkins
334:I play Beethoven and Bach. At the same ~ Alicia Keys
335:I play my enemies like a game of chess ~ Lauryn Hill
336:I spoil a lot of people with my play. ~ LeBron James
337:I think I am a smarter player now. ~ Carmelo Anthony
338:I think I'm a very poor piano player. ~ Ray Manzarek
339:I've played everything but a harp. ~ Hattie McDaniel
340:I would murder to play Gambit again! ~ Taylor Kitsch
341:I would pay to watch Ginobili play. ~ Jeff Van Gundy
342:Keep playing, Papa.
Papa stopped. ~ Markus Zusak
343:Let the perfectionist play postal. ~ Yasser Seirawan
344:Life deals your hand and you play it. ~ Kevin Conroy
345:Life is a movie, let love play its role. ~ Lil Wayne
346:Men who ape the saint and play the sinner. ~ Juvenal
347:My one ambition is to play a hero. ~ Sessue Hayakawa
348:Now I'm grown up and playing in a band. ~ Ray Davies
349:Playing goal is like being shot at. ~ Jacques Plante
350:Playing guitar is like telling the truth. ~ B B King
351:Play the tiles you get" -Grandma Nelly ~ R J Palacio
352:The aphorism is a slippery plaything. ~ Mason Cooley
353:When I played ball, I didn't play for fun. ~ Ty Cobb
354:When the cats away, the mice will play. ~ Bob Marley
355:You are never too old to play chess! ~ Bobby Fischer
356:You got to love to be able to play ~ Louis Armstrong
357:You never win any games you don't play. ~ Mark Cuban
358:You've got to play with pride and guts. ~ Lamar Odom
359:A working artist is a playing artist. ~ Julia Cameron
360:Can I play with the panda?" - Nate Hathaway ~ Ron Roy
361:Destiny plays its role when least expected. ~ Praveer
362:Don't hate the player; change the game ~ Steve Harvey
363:Don't hate the player, hate the game. ~ Joseph Stalin
364:Everything can happen in the playoffs. ~ Red Auerbach
365:Forgiveness is a game only saints play Kabir. ~ Kabir
366:For some players, luck itself is an art ~ Paul Newman
367:God does not play dice. ALBERT EINSTEIN ~ Rick Warren
368:Hidden speakers played harmless music; ~ John le Carr
369:I can play all I know in eight bars. ~ Charlie Parker
370:I don't direct the plays of others. ~ Israel Horovitz
371:I don't play to sweat, I play to win. ~ Kevin Garnett
372:I'd rather play a maid than be one. ~ Hattie McDaniel
373:If I couldn’t play, I wouldn’t be alive. ~ Frank Iero
374:I have a playlist of farts on my phone. ~ Lena Headey
375:I have my own identity as a player. ~ Carmelo Anthony
376:I have never played a game in my life. ~ Kevin Spacey
377:I'm just not a great practice player. ~ Tracy McGrady
378:I played saxophone and trumpet. Pretty nerdy. ~ Kesha
379:I shoulda learned to play the guitar. ~ Mark Knopfler
380:I think I was supposed to play jazz. ~ Herbie Hancock
381:I try all night to play a pretty note. ~ Jimi Hendrix
382:It's an honor playing for Bobby Cox. ~ Jeff Francoeur
383:It's nice to play someone who is naive. ~ Emily Blunt
384:I've never liked to play stereotypes. ~ Michael Welch
385:I would love to play Jimi Hendrix. ~ Chadwick Boseman
386:Just play. Have fun. Enjoy the game. ~ Michael Jordan
387:Let your players know that you love them. ~ Don Meyer
388:Of course, it's fun to play with Blacks. ~ Boris Vian
389:People really appreciate the way I play. ~ Hines Ward
390:Playing guitar is not a beauty contest. ~ Ernie Isley
391:Play with fire and you WILL get burned. ~ Terry Spear
392:play with whatever the day brought in. ~ Deborah Levy
393:There are much worse games to play. ~ Suzanne Collins
394:Time played on the opposite team. ~ Carlos Ruiz Zaf n
395:We're playing those mind games together ~ John Lennon
396:you have to play it out sometimes. ~ Charlaine Harris
397:You've got to have brains to play dumb. ~ Helen Ellis
398:All I want to do, ever, is play chess. ~ Bobby Fischer
399:All my characters have playlists. ~ Michael K Williams
400:all-work-and-not-enough-play lifestyle. ~ Nick Vujicic
401:As a child, I was an imaginary playmate. ~ Tom Robbins
402:Blues is easy to play, but hard to feel ~ Jimi Hendrix
403:but he has never played the demagogue. ~ George Weigel
404:Don't be afraid, just play the music. ~ Charlie Parker
405:Eden Hazard is a great player. He has ~ Frank Lampard
406:Ever seen the play Arsenic and Old Lace? ~ B J Daniels
407:Every poker player is smarter than me. ~ Penn Jillette
408:Here richly, with ridiculous display, ~ Hilaire Belloc
409:If you play poorly one day, forget it. ~ Harvey Penick
410:I love being on the road, I love playing. ~ Ben Harper
411:I love drums and still play frequently. ~ Adrian Belew
412:I only know how to play one role: me. ~ Karl Lagerfeld
413:I play so young because of my looks. ~ Monique Coleman
414:It doesn't take any talent to play hard. ~ Derek Jeter
415:It is idle to play the lyre for an ass. ~ Saint Jerome
416:It's fun to play people who are flawed. ~ Brad Garrett
417:I've always wanted to play a teacher. ~ Michael Rooker
418:I've played too many tennis hours. ~ Lindsay Davenport
419:I want to be the best player possible. ~ Sidney Crosby
420:I want to play many different characters. ~ Demi Moore
421:I would only want to play for you. ~ Alexandra Bracken
422:I write short stories, and I wrote a play. ~ Rita Dove
423:Let's play act a murder, Wadsworth. ~ Kerri Maniscalco
424:Let’s Play Frisbee with Bladed Weapons! ~ Rick Riordan
425:Life and love go on, let the music play. ~ Johnny Cash
426:Lionel Messi is the best player ever. ~ Graeme Souness
427:Look, man, all I am is a trumpet player. ~ Miles Davis
428:Macbeth was the first play I ever read. ~ Alan Cumming
429:My journey as a player is complete. ~ Rickey Henderson
430:Never tempt fate. It plays for keeps. ~ Seanan McGuire
431:Play every game as if it's your last one ~ Guy Lafleur
432:Play is the exultation of the possible. ~ Martin Buber
433:Play needs direction as well as work. ~ Elbert Hubbard
434:Poets play with words to keep themselves sane ~ Eyedea
435:Radio is the playground of coincidence. ~ Sarah Vowell
436:Serious art is born from serious play. ~ Julia Cameron
437:Solitude is the playfield of Satan. ~ Vladimir Nabokov
438:Sometimes you just have to play in pain. ~ Gary Carter
439:Take some risks. Stop playing it so safe. ~ John Green
440:The beat generation (coined in Playboy) ~ Jack Kerouac
441:The idle brain is the devil's playground. ~ Eric Lange
442:This revolution is for display purposes only. ~ Banksy
443:You care enough to play hard to get. ~ Teresa Medeiros
444:You don’t play fair.' I pout.
'I know. ~ E L James
445:Your hatred is my foreplay.” - Julian King ~ Z Stefani
446:Your whole vocabulary's played out, admit it. ~ Redman
447:As soon as All Star stopped playing, she ~ Molly Harper
448:Blues is easy to play, but hard to feel. ~ Jimi Hendrix
449:But helpless Pieces of the Game He plays ~ Omar Khayyam
450:Can I, just one time, play the good guy? ~ Clancy Brown
451:Don’t play the occasion, play the game. ~ Alex Ferguson
452:Don't shoot me, I'm just the piano player! ~ Elton John
453:Do the truth quietly without display. ~ Brennan Manning
454:Ever since I was young, I played sports. ~ Gregg Sulkin
455:Good plays drive bad playgoers crazy. ~ Brooks Atkinson
456:He no playa the game, he no maka the rules. ~ Earl Butz
457:I also play fiddle, banjo and mandolin. ~ Sonny Burgess
458:I am still better than lots of players. ~ Shahid Afridi
459:I did two or three plays every summer. ~ Dabney Coleman
460:I'd like to do plays, maybe a one man show. ~ Jean Reno
461:I have fun with ideas; I play with them. ~ Ray Bradbury
462:I have never stopped playing music. ~ Jason Schwartzman
463:I know I can still play at a high level. ~ Michael Vick
464:I like to disappear in the parts I play. ~ Mark Ruffalo
465:I'm not a standup, but I play one on TV. ~ Ana Gasteyer
466:I'm the best. I just haven't played yet. ~ Muhammad Ali
467:In our play we reveal what kind of people we are ~ Ovid
468:I really love traveling, I love playing. ~ Emily Haines
469:It's an odd mix, the life of a playwright. ~ Laura Wade
470:I've been asked to pose for Playboy. ~ Elizabeth Jagger
471:I've been playing 'Doom' for some years. ~ Graham Joyce
472:I've played everything but the harp. ~ Lionel Barrymore
473:love me
it's your play
I say ~ Alejandra Pizarnik
474:Man's most serious activity is play. ~ George Santayana
475:Now close your eyes. I want to play. ~ Annalise Delaney
476:players never quit, and quiters never play. ~ Anonymous
477:Playing the assholes in the movie is fun. ~ Will Arnett
478:Play is the highest form of research. ~ Albert Einstein
479:Play is the highest from of research. ~ Albert Einstein
480:Play the game without mercy, play to win ~ Wilbur Smith
481:Powerful players produce powerful results. ~ Ella James
482:(So), he who displays himself does not shine; ~ Lao Tzu
483:The House Beautiful is the play lousy. ~ Dorothy Parker
484:The real excitement is playing the game. ~ Donald Trump
485:this deaf elf sure plays a mean pinball. ~ Rick Riordan
486:volume up high and played the recording one ~ Lee Child
487:We are playing with desires that disappear. ~ Doug Rice
488:...you play the instrument you have. ~ Ursula K Le Guin
489:Any game you play, you got to lose sometime. ~ Roy Acuff
490:Are you a believer or just playing safe? ~ Frank Herbert
491:As a kid, I played a lot of one-on-none. ~ Julius Erving
492:At first I thought they were playing to an ~ Donna Tartt
493:Because there wasn’t enough time to play 54 ~ Grant Fuhr
494:Belief is a deception you play upon yourself. ~ Rajneesh
495:Display is as false as it is costly. ~ Benjamin Franklin
496:Even play has ended in fierce strife and anger. ~ Horace
497:Every girl wants to play Bridget Jones. ~ Sheridan Smith
498:God does not play dice with the Universe! ~ Marcus Chown
499:God never wrote a good play in his life. ~ Kurt Vonnegut
500:Good ball players make good citizens. ~ Grover Cleveland

IN CHAPTERS



  878 Integral Yoga
  550 Poetry
  143 Philosophy
  125 Occultism
  102 Mysticism
   86 Fiction
   68 Christianity
   57 Psychology
   20 Yoga
   16 Philsophy
   16 Mythology
   12 Science
   12 Integral Theory
   11 Theosophy
   10 Education
   6 Buddhism
   3 Sufism
   3 Hinduism
   2 Zen
   1 Alchemy


  479 Sri Aurobindo
  434 The Mother
  266 Satprem
  215 Nolini Kanta Gupta
   70 William Wordsworth
   59 H P Lovecraft
   58 Carl Jung
   56 Rabindranath Tagore
   47 William Butler Yeats
   44 Walt Whitman
   39 James George Frazer
   37 Robert Browning
   37 Percy Bysshe Shelley
   34 Aleister Crowley
   32 John Keats
   28 Plotinus
   27 Friedrich Schiller
   27 Friedrich Nietzsche
   26 Pierre Teilhard de Chardin
   22 Johann Wolfgang von Goethe
   21 Sri Ramakrishna
   18 A B Purani
   16 Ralph Waldo Emerson
   13 Saint Augustine of Hippo
   13 Ovid
   12 Jorge Luis Borges
   11 Swami Vivekananda
   11 Rudolf Steiner
   11 Plato
   10 Aldous Huxley
   9 Swami Krishnananda
   9 Nirodbaran
   9 Li Bai
   9 Aristotle
   8 Rainer Maria Rilke
   8 Hafiz
   8 George Van Vrekhem
   8 Franz Bardon
   6 Jordan Peterson
   5 Sri Ramana Maharshi
   5 Paul Richard
   5 Jalaluddin Rumi
   5 Alice Bailey
   4 Ramprasad
   4 Omar Khayyam
   4 Kabir
   4 Bokar Rinpoche
   3 Thomas Merton
   3 Lucretius
   3 Joseph Campbell
   3 Jayadeva
   3 Edgar Allan Poe
   2 Thubten Chodron
   2 Taigu Ryokan
   2 Saint Teresa of Avila
   2 Namdev
   2 Lewis Carroll
   2 Lalla
   2 Jorge Luis Borges
   2 Jetsun Milarepa
   2 Dadu Dayal
   2 Anonymous


   80 Record of Yoga
   70 Wordsworth - Poems
   59 Lovecraft - Poems
   58 The Synthesis Of Yoga
   52 Tagore - Poems
   47 Yeats - Poems
   45 The Life Divine
   44 Collected Works of Nolini Kanta Gupta - Vol 07
   42 Collected Works of Nolini Kanta Gupta - Vol 03
   40 Whitman - Poems
   39 The Golden Bough
   37 Shelley - Poems
   37 Browning - Poems
   36 On Thoughts And Aphorisms
   34 Collected Works of Nolini Kanta Gupta - Vol 01
   32 Savitri
   32 Questions And Answers 1950-1951
   32 Keats - Poems
   29 Letters On Yoga IV
   27 Schiller - Poems
   27 Collected Works of Nolini Kanta Gupta - Vol 02
   27 Agenda Vol 03
   26 Collected Works of Nolini Kanta Gupta - Vol 04
   26 Agenda Vol 10
   25 Questions And Answers 1957-1958
   25 Agenda Vol 04
   24 Agenda Vol 01
   23 The Gospel of Sri Ramakrishna
   23 Mysterium Coniunctionis
   23 Magick Without Tears
   23 Essays In Philosophy And Yoga
   23 Agenda Vol 09
   22 Thus Spoke Zarathustra
   22 Letters On Yoga II
   22 Agenda Vol 06
   21 Questions And Answers 1956
   21 Collected Poems
   20 Agenda Vol 07
   19 Letters On Yoga I
   19 Collected Works of Nolini Kanta Gupta - Vol 05
   18 Evening Talks With Sri Aurobindo
   18 Agenda Vol 02
   17 Agenda Vol 08
   17 Agenda Vol 05
   16 Questions And Answers 1953
   16 Essays On The Gita
   16 Essays Divine And Human
   16 Emerson - Poems
   15 The Human Cycle
   15 Sri Aurobindo or the Adventure of Consciousness
   15 Collected Works of Nolini Kanta Gupta - Vol 08
   14 The Practice of Psycho therapy
   14 Faust
   13 Questions And Answers 1954
   13 Metamorphoses
   13 Liber ABA
   11 The Archetypes and the Collective Unconscious
   11 On the Way to Supermanhood
   10 The Phenomenon of Man
   10 The Perennial Philosophy
   10 Some Answers From The Mother
   10 Questions And Answers 1955
   10 Prayers And Meditations
   10 Labyrinths
   10 Isha Upanishad
   10 City of God
   10 Aion
   10 Agenda Vol 11
   9 Twelve Years With Sri Aurobindo
   9 The Study and Practice of Yoga
   9 The Mother With Letters On The Mother
   9 The Future of Man
   9 Questions And Answers 1929-1931
   9 Poetics
   9 On Education
   9 Li Bai - Poems
   8 Talks
   8 Rilke - Poems
   8 Preparing for the Miraculous
   8 Plotinus - Complete Works Vol 03
   8 Letters On Yoga III
   8 Goethe - Poems
   7 Words Of Long Ago
   7 Plotinus - Complete Works Vol 02
   7 Plotinus - Complete Works Vol 01
   7 Bhakti-Yoga
   7 5.1.01 - Ilion
   6 Vedic and Philological Studies
   6 The Practice of Magical Evocation
   6 Theosophy
   6 Plotinus - Complete Works Vol 04
   6 Maps of Meaning
   6 Hafiz - Poems
   6 Collected Works of Nolini Kanta Gupta - Vol 06
   6 Agenda Vol 12
   5 Words Of The Mother III
   5 Walden
   5 Twilight of the Idols
   5 The Secret Doctrine
   5 A Treatise on Cosmic Fire
   5 Agenda Vol 13
   4 The Confessions of Saint Augustine
   4 The Bible
   4 The 7 Habits of Highly Effective People
   4 Tara - The Feminine Divine
   4 Letters On Poetry And Art
   4 Hymn of the Universe
   4 A Garden of Pomegranates - An Outline of the Qabalah
   3 Writings In Bengali and Sanskrit
   3 The Secret Of The Veda
   3 The Interior Castle or The Mansions
   3 The Hero with a Thousand Faces
   3 Songs of Kabir
   3 Song of Myself
   3 Raja-Yoga
   3 Poe - Poems
   3 Of The Nature Of Things
   3 Let Me Explain
   3 Knowledge of the Higher Worlds
   3 Kena and Other Upanishads
   3 Hymns to the Mystic Fire
   3 Crowley - Poems
   2 Words Of The Mother II
   2 Words Of The Mother I
   2 The Lotus Sutra
   2 The Integral Yoga
   2 The Essentials of Education
   2 The Blue Cliff Records
   2 Sex Ecology Spirituality
   2 Selected Fictions
   2 Ryokan - Poems
   2 Rumi - Poems
   2 Milarepa - Poems
   2 Initiation Into Hermetics
   2 How to Free Your Mind - Tara the Liberator
   2 Borges - Poems
   2 Anonymous - Poems
   2 Alice in Wonderland
   2 Agenda Vol 1
   2 Advanced Dungeons and Dragons 2E


00.01 - The Approach to Mysticism, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   For it must be understood that the heart, the mystic heart, is not the external thing which is the seat of emotion or passion; it is the secret heart that is behind, the inner heartantarhdaya of the Upanishadwhich is the centre of the individual consciousness, where all the divergent lines of that consciousness meet and from where they take their rise. That is what the Upanishad means when it says that the heart has a hundred channels which feed the human vehicle. That is the source, the fount and origin, the very substance of the true personality. Mystic knowledge the true mystic knowledge which saves and fulfilsbegins with the awakening or the entrance into this real being. This being is pure and luminous and blissful and sovereignly real, because it is a portion, a spark of the Divine Consciousness and Nature: a contact and communion with it brings automatically into Play the light and the truth that are its substance. At the same time it is an uprising flame that reaches out naturally to higher domains of consciousness and manifests them through its translucid dynamism.
  

00.02 - Mystic Symbolism, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   Man being an embodied soul, his external consciousness (what the Upanishad calls jgrat) is the milieu in which his soul-experiences naturally manifest and find their Play. It is the forms and movements of that consciousness which clo the and give a concrete habitation and name to perceptions on the subtler ranges of the inner existence. If the experiences on these planes are to be presented to the conscious memory and to the brain-mind and made communicable to others through speech, this is the inevitable and natural process. Symbols are a translation in mental and sensual (and vocal) terms of experiences that are beyond the mind and the sense and the speech and yet throw a kind of echoing vibrations upon these lesser levels.
   ***

00.03 - Upanishadic Symbolism, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   It may be asked why the dog has been chosen as the symbol of Intuition. In the Vedas, the cow and the horse also Play a large part; even the donkey and the frog have their own assigned roles. These objects are taken from the environment of ordinary life, and are those that are most familiar to the external consciousness, through which the inner experiences have to express themselves, if they are to be expressed at all. These material objects represent various kinds of forces and movements and subtle and occult and spiritual dynamisms. Strictly speaking, however, symbols are not chosen in a subtle or spiritual experience, that is to say, they are not arbitrarily selected and constructed by the conscious intelligence. They form part of a dramatization (to use a term of the Freudian psychology of dreams), a psychological alchemy, whose method and process and rationale are very obscure, which can be penetrated only by the vision of a third eye.
  
  --
  
   From the psychological standpoint, the four oblations are movements or reactions of consciousness in its urge towards the utterance and expression of Divine Truth. Like some other elements in the cosmic Play, these also form a quartetcaturvyha and work together for a common purpose in view of a perfect and all-round result.
  
  --
  
   With this sacrifice nourish the Gods, that the Gods may nourish you; thus mutually nourishing ye shall obtain the highest felicity3 is the very secret of the cosmic Play, the basis of the spiritual evolution in the universal existence.
  
  --
  
   Agni in the physical consciousness is calledghapati, for the body is the house in which the soul is lodged and he is its keeper, guardian and lord. The fire in the mental consciousness is called daki; for it is that which gives discernment, the power to discriminate between the truth and the falsehood, it is that which by the pressure of its heat and light cleaves the wrong away from the right. And the fire in the life-force is called havanya; for pra is not only the plane of hunger and desire, but also of power and dynamism, it is that which calls forth forces, brings them into' Play and it is that which is to be invoked for the progression of the Sacrifice, for an onward march on the spiritual path.
  
  --
  
   We have, in modern times, a movement towards a more conscious and courageous, knowledge of things that were taboo to puritan ages. Not to shut one's eyes to the lower, darker and hidden strands of our nature, but to bring them out into the light of day and to face them is the best way of dealing with such elements, which otherwise, if they are repressed, exert an unhealthy influence on the mind and nature. The Upanishadic view runs on the same lines, but, with the unveiling and the natural and not merely naturalisticdelineation of these under-worlds (concerning sex and food), it endows them with a perspective sub specie aeternitatis. The sexual function, for example, is easily equated to the double movement of ascent and descent that is secreted in nature, or to the combined action of Purusha and Prakriti in the cosmic Play, or again to the hidden fount of Delight that holds and moves the universe. In this view there is nothing merely secular and profane, but all is woven into the cosmic spiritual whole; and man is taught to consider and to mould all his movementsof soul and mind and bodyin the light and rhythm of that integral Reality.11
  
  --
  
   The secularisation of man's vital functions in modem ages has not been a success. It has made him more egocentric and blatantly hedonistic. From an occult point of view he has in this way subjected himself to the influences of dark and undesirable world-forces, has made an opening, to use an Indian symbolism, for Kali (the Spirit of the Iron Age) to enter into him. The sex-force is an extremely potent agent, but it is extremely fluid and elusive and uncontrollable. It was for this reason that the ancients always sought to give it a proper mould, a right continent, a fixed and definite channel; the moderns, on the other hand, allow it to run free and Play with it recklessly. The result has been, in the life of those born under such circumstances, a growing lack of poise and balance and a corresponding incidence of neuras thenia, hysteria and all abnormal pathological conditions.
  

00.04 - The Beautiful in the Upanishads, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   it cannot be defined or figured in the terms of the phenomenal consciousness. In speaking of it, however, the Upanishads invariably and repeatedly refer to two attri butes that characterise its fundamental nature. These two aspects have made such an impression upon the consciousness of the Upanishadic seer that his enthusiasm almost wholly Plays about them and is centred on them. When he contemplates or communes with the Supreme Object, these seem to him to be the mark of its au thenticity, the seal of its high status and the reason of all the charm and magic it possesses. The first aspect or attri bute is that of light the brilliance, the solar effulgenceravituly-arpa the bright, clear, shadow less Light of lightsvirajam ubhram jyotim jyoti The second aspect is that of delight, the bliss, the immortality inherent in that wide effulgencenandarpam amtam yad vibhti.
  

0.00 - Introduction, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
  
  I began the study of the Qabalah at an early age. Two books I read then have Played unconsciously a prominent part in the writing of my own book. One of these was "Q.B.L. or the Bride's Reception" by Frater Achad (Charles Stansfeld Jones), which I must have first read around 1926. The other was "An Introduction to the Tarot" by Paul Foster Case, published in the early 1920's. It is now out of print, superseded by later versions of the same topic. But as I now glance through this slender book, I perceive how profoundly even the format of his book had influenced me, though in these two instances there was not a trace of plagiarism. It had not consciously occurred to me until recently that I owed so much to them. Since Paul Case passed away about a decade or so ago, this gives me the opportunity to thank him, overtly, wherever he may now be.
  

0.01 - Introduction, #Agenda Vol 1, #The Mother, #Integral Yoga
  This AGENDA is not even a path: it is a light little vibration that seizes you at any turning - and then, there it is, you are IN IT. 'Another world in the world,' She said. One has to catch the light little vibration, one has to flow with it, in a nothing that is like the only something in the midst of this great debacle. At the beginning of things, when still nothing was FIXED, when there was not yet this habit of the pelican or the kangaroo or the chimpanzee or the XXth century biologist, there was a little pulsation that beat and beat - a delightful dizziness, a joy in the world's great adventure; a little never-imprisoned spark that has kept on beating from species to species, but as if it were always eluding us, as if it were always over there, over there - as if it were something to become,
   something to be Played forever as the one great game of the world; a who-knows-what that left this sprig of a pensive man in the middle of a clearing; a little 'something' that beats, beats, that keeps on breathing beneath every skin that has ever been put on it - like our deepest breath, our lightest air, our air of nothing - and it keeps on going, it keeps on going. We must catch the light little breath, the little pulsation of nothing. Then suddenly, on the threshold of our clearing of concrete, our head starts spinning incurably, our eyes blink into something else, and all is different, and all seems surcharged with meaning and with life, as though we had never lived until that very minute.
  

0.01 - Letters from the Mother to Her Son, #Some Answers From The Mother, #The Mother, #Integral Yoga
  human will there are forces at work whose origin is not human
  and which move consciously towards certain ends. The Play of
  these forces is very complex and generally eludes the human

0.02 - Letters to a Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
  Do you know what a swing is?
  It is a Plaything I enjoyed very much when I was small.
  It is made of wood, and the plank you swing on is suspended
  --
  These things need to be considered carefully, not lightly as one
  discusses a Play or the pronunciation of French.
  As soon as the project is completely ready, when you have

0.02 - The Three Steps of Nature, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  
  Indeed, the increasing effort towards a more intense mental life seems to create, frequently, an increasing disequilibrium of the human elements, so that it is possible for eminent scientists to describe genius as a form of insanity, a result of degeneration, a pathological morbidity of Nature. The phenomena which are used to justify this exaggeration, when taken not separately, but in connection with all other relevant data, point to a different truth. Genius is one attempt of the universal Energy to so quicken and intensify our intellectual powers that they shall be prepared for those more puissant, direct and rapid faculties which constitute the Play of the supra-intellectual or divine mind. It is not, then, a freak, an inexplicable phenomenon, but a perfectly natural next step in the right line of her evolution.
  
  She has harmonised the bodily life with the material mind, she is harmonising it with the Play of the intellectual mentality; for that, although it tends to a depression of the full animal and vital vigour, need not produce active disturbances. And she is shooting yet beyond in the attempt to reach a still higher level.
  

0.02 - Topographical Note, #Agenda Vol 1, #The Mother, #Integral Yoga
  Topographical Note
  From the time of Sri Aurobindo's departure (1950) until 1957, we have only a few notes and fragments or rare statements noted from memory. These are the only landmarks of this period, along with Mother's Questions and Answers from her talks at the Ashram Playground. A few of these conversations have been reproduced here insofar as they mark stages of the Supramental
  Action.
  --
  French disciples, on the second floor of the main Ashram building, on some pretext of work or other. She listened to our queries, spoke to us at length of yoga, occultism, her past experiences in
  Algeria and in France or of her current experiences; and gradually, She opened the mind of the rebellious and materialistic Westerner that we were and made us understand the laws of the worlds, the Play of forces, the working of past lives - especially this latter, which was an important factor in the difficulties with which we were struggling at that time and which periodically made us abscond.
  

0.03 - III - The Evening Sittings, #Evening Talks With Sri Aurobindo, #unset, #Kabbalah
  
   But, over and above newcomers, some local people and the few inmates of the house used to have informal talks with Sri Aurobindo in the evening. In the beginning the inmates used to go out for Playing football, and during their absence known local individuals would come in and wait for Sri Aurobindo. Afterwards regular meditations began at about 4 p.m. in which practically all the inmates participated. After the meditation all of the members and those who were permitted shared in the evening sitting. This was a very informal gathering depending entirely upon Sri Aurobindo's leisure.
  

0.03 - Letters to My little smile, #Some Answers From The Mother, #The Mother, #Integral Yoga
  Mother,
  While You were Playing the organ, I had the feeling
  that the others were listening to the Mother Playing the
  organ for me, and it made me feel proud. I understood,
  --
  My dear Mother,
  I do not feel that I am working; I just Play like a
  child all day with the marvellous Playthings my Mother
  has given me to Play with all day. I don’t know how to
  write in any other way and that is why I write to You “I
  worked” instead of “I Played”.
  Mother, I think the sari You wore today is my finest

0.04 - Letters to a Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
  he himself says, he was fully merged in solving a problem
  of chess Play. So till the cart was turned over and touched
  the ground, he did not know.

0.04 - The Systems of Yoga, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  Nature and climbs beyond her. For the aim of the Universal
  Mother is to embrace the Divine in her own Play and creations and there to realise It. But in the highest flights of Yoga she reaches beyond herself and realises the Divine in Itself exceeding the universe and even standing apart from the cosmic Play.
  
  --
  
  For the contact of the human and individual consciousness with the divine is the very essence of Yoga. Yoga is the union of that which has become separated in the Play of the universe with its own true self, origin and universality. The contact may take place at any point of the complex and intricately organised consciousness which we call our personality. It may be effected in the physical through the body; in the vital through the action of
  1
  --
  
  But this exclusive consummation is not the sole or inevitable result of the Path of Knowledge. For, followed more largely and with a less individual aim, the method of Knowledge may lead to an active conquest of the cosmic existence for the Divine no less than to a transcendence. The point of this departure is the realisation of the supreme Self not only in one's own being but in all beings and, finally, the realisation of even the phenomenal aspects of the world as a Play of the divine consciousness and not something entirely alien to its true nature. And on the basis of this realisation a yet further enlargement is possible, the conversion of all forms of knowledge, however mundane, into activities of the divine consciousness utilisable for the perception of the one and unique Object of knowledge both in itself and through the Play of its forms and symbols. Such a method might well lead to the elevation of the whole range of human intellect
  
  --
  The Path of Devotion aims at the enjoyment of the supreme
  Love and Bliss and utilises normally the conception of the supreme Lord in His personality as the divine Lover and enjoyer of the universe. The world is then realised as a Play of the
  Lord, with our human life as its final stage, pursued through the different phases of self-concealment and self-revelation. The principle of Bhakti Yoga is to utilise all the normal relations of human life into which emotion enters and apply them no longer to transient worldly relations, but to the joy of the All-Loving, the All-Beautiful and the All-Blissful. Worship and meditation are used only for the preparation and increase of intensity of the divine relationship. And this Yoga is catholic in its use of all emotional relations, so that even enmity and opposition to God, considered as an intense, impatient and perverse form of Love, is conceived as a possible means of realisation and salvation.
  --
  
  But, here too, the exclusive result is not inevitable. The Yoga itself provides a first corrective by not confining the Play of divine love to the relation between the supreme Soul and the individual, but extending it to a common feeling and mutual worship between the devotees themselves united in the same realisation of the supreme Love and Bliss. It provides a yet more general corrective in the realisation of the divine object of Love in all beings not only human but animal, easily extended to all forms whatsoever. We can see how this larger application of the Yoga of
  Devotion may be so used as to lead to the elevation of the whole range of human emotion, sensation and aesthetic perception to the divine level, its spiritualisation and the justification of the cosmic labour towards love and joy in our humanity.

0.05 - The Synthesis of the Systems, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  An undiscriminating combination in block would not be a synthesis, but a confusion. Nor would a successive practice of each of them in turn be easy in the short span of our human life and with our limited energies, to say nothing of the waste of labour implied in so cumbrous a process. Sometimes, indeed,
  Hathayoga and Rajayoga are thus successively practised. And in a recent unique example, in the life of Ramakrishna Paramhansa, we see a colossal spiritual capacity first driving straight to the divine realisation, taking, as it were, the kingdom of heaven by violence, and then seizing upon one Yogic method after another and extracting the substance out of it with an incredible rapidity, always to return to the heart of the whole matter, the realisation and possession of God by the power of love, by the extension of inborn spirituality into various experience and by the spontaneous Play of an intuitive knowledge. Such an example cannot be generalised. Its object also was special and temporal, to exemplify in the great and decisive experience of a master-soul the truth, now most necessary to humanity, towards which a world long divided into jarring sects and schools is with difficulty labouring, that all sects are forms and fragments of a single integral truth and all disciplines labour in their different ways towards one supreme experience. To know, be and possess
  
  --
  
  By this integral realisation and liberation, the perfect harmony of the results of Knowledge, Love and Works. For there is attained the complete release from ego and identification in being with the One in all and beyond all. But since the attaining consciousness is not limited by its attainment, we win also the unity in Beatitude and the harmonised diversity in Love, so that all relations of the Play remain possible to us even while we retain on the heights of our being the eternal oneness with the
  Beloved. And by a similar wideness, being capable of a freedom in spirit that embraces life and does not depend upon withdrawal from life, we are able to become without egoism, bondage or reaction the channel in our mind and body for a divine action poured out freely upon the world.
  --
  49
   functioning of the complex instrument we are in our outer parts, is the condition of an integral liberty. Its result is an integral beatitude, in which there becomes possible at once the Ananda of all that is in the world seen as symbols of the Divine and the Ananda of that which is not-world. And it prepares the integral perfection of our humanity as a type of the Divine in the conditions of the human manifestation, a perfection founded on a certain free universality of being, of love and joy, of Play of knowledge and of Play of will in power and will in unegoistic action. This integrality also can be attained by the integral Yoga.
  

0.06 - Letters to a Young Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
  feminine in the lower nature which attracts the eternal masculine in the lower nature and creates an illusion in the mind; it
  is the great Play, obscure and semi-conscious, of the forces of
  unillumined nature; and as soon as one succeeds in escaping
  --
  It would have been better to have sat in my chair and
  thought about the moonlight Playing upon the water.
  Or, better still, not to have thought at all but contemplated the

0.07 - Letters to a Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
  invoking Her and there you were with the pot of pickles
  and an ocean of Love! Such is your Play, dear Playful
  Mother!

0.08 - Letters to a Young Captain, #Some Answers From The Mother, #The Mother, #Integral Yoga
  How can one enter into the feelings of a piece of
  music Played by someone else?
  In the same way that one can share the emotions of another
  --
  What should one try to do when one meditates with
  your music at the Playground?
  This music aims at awakening certain profound feelings.

01.01 - A Yoga of the Art of Life, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
  
   It is not my purpose here to enter into details as to the exact meaning of the descent, how it happens and what are its lines of activity and the results brought about. For it is indeed an actual descent that happens: the Divine Light leans down first into the mind and begins its purificatory work therealthough it is always the inner heart which first recognises the Divine Presence and gives its assent to the Divine action for the mind, the higher mind that is to say, is the summit of the ordinary human consciousness and receives more easily and readily the Radiances that descend. From the Mind the Light filters into the denser regions of the emotions and desires, of life activity and vital dynamism; finally, it gets into brute Matter itself, the hard and obscure rock of the physical body, for that too has to be illumined and made the very form and figure of the Light supernal. The Divine in his descending Grace is the Master-Architect who is building slowly and surely the many-chambered and many-storeyed edifice that is human nature and human life into the mould of the Divine Truth in its perfect Play and supreme expression. But this is a matter which can be closely considered when one is already well within the mystery of the path and has acquired the elementary essentials of an initiate.
  

01.01 - The New Humanity, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
  
   The New Man will be Master and not slave. He will be master, first, of himself and then of the world. Man as he actually is, is but a slave. He has no personal voice or choice; the determining soul, the Ishwara, in him is sleep-bound and hushed. He is a mere Plaything in the hands of nature and circumstances. Therefore it is that Science has become his supreme Dharmashastra; for science seeks to teach us the moods of Nature and the methods of propitiating her. Our actual ideal of man is that of the cleverest slave. But the New Man will have found himself and by and according to his inner will, mould and create his world. He will not be in awe of Nature and in an attitude of perpetual apprehension and hesitation, but will ground himself on a secret harmony and union that will declare him as the lord. We will recognise the New Man by his very gait and manner, by a certain kingly ease and dominion in every shade of his expression.
  

01.02 - Natures Own Yoga, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
  
   The first contact that one has with this static supra-reality is through the higher ranges of the mind: a direct and closer communion is established through a plane which is just above the mind the Overmind, as Sri Aurobindo calls it. The Overmind dissolves or transcends the ego-consciousness which limits the being to its individualised formation bounded by an outward and narrow frame or sheath of mind, life and body; it reveals the universal Self and Spirit, the cosmic godhead and its myriad forces throwing up myriad forms; the world-existence there appears as a Play of ever-shifting veils upon the face of one ineffable reality, as a mysterious cycle of perpetual creation and destructionit is the overwhelming vision given by Sri Krishna to Arjuna in the Gita. At the same time, the initial and most intense experience which this cosmic consciousness brings is the extreme relativity, contingency and transitoriness of the whole flux, and a necessity seems logically and psychologically imperative to escape into the abiding substratum, the ineffable Absoluteness.
  
  --
  
   But the initial illusory consciousness of the Overmind need not at all lead to the static Brahmic consciousness or Sunyam alone. As a matter of fact, there is in this particular processes of consciousness a hiatus between the two, between Maya and Brahman, as though one has to leap from the one into the other somehow. This hiatus is filled up in Sri Aurobindo's Yoga by the principle of Supermind, not synthetic-analytic2 in knowledge like Overmind and the highest mental intelligence, but inescapably unitarian even in the utmost diversity. Supermind is the Truth-consciousness at once static and dynamic, self-existent and creative: in Supermind the Brahmic consciousness Sachchidanandais ever self-aware and ever manifested and embodied in fundamental truth-powers and truth-forms for the Play of creation; it is the plane where the One breaks out into the Many and the Many still remain one, being and knowing themselves to be but various self-expressions of the One; it develops the spiritual archetypes, the divine names and forms of all individualisations of an evolving existence.
  
  --
  
   In the Supermind things exist in their perfect spiritual reality; each is consciously the divine reality in its transcendent essence, its cosmic extension, its, spiritual individuality; the diversity of a manifested existence is there, but the mutually exclusive separativeness has not yet arisen. The ego, the knot of separativity, appears at a later and lower stage of involution; what is here is indivisible nexus of individualising centres of the one eternal truth of being. Where Supermind and Overmind meet, one can see the multiple godheads, each distinct in his own truth and beauty and power and yet all together forming the one supreme consciousness infinitely composite and inalienably integral. But stepping back into Supermind one sees something moreOneness gathering into itself all diversity, not destroying it, but annulling and forbidding the separative consciousness that is the beginning of Ignorance. The first shadow of the Illusory Consciousness, the initial possibility of the movement of Ignorance comes in when the supramental light enters the penumbra of the mental sphere. The movement of Supermind is the movement of light without obscurity, straight, unwavering, unswerving, absolute. The Force here contains and holds in their oneness of Reality the manifold but not separated lines of essential and unalloyed truth: its march is the inevitable progression of each one assured truth entering into and upholding every other and therefore its creation, Play or action admits of no trial or stumble or groping or deviation; for each truth rests on all others and on that which harmonises them all and does not act as a Power diverging from and even competing with other Powers of being. In the Overmind commences the Play of divergent possibilities the simple, direct, united and absolute certainties of the supramental consciousness retire, as it were, a step behind and begin to work themselves out through the interaction first of separately individualised and then of contrary and contradictory forces. In the Overmind there is a conscious underlying Unity but yet each Power, Truth, Aspect of that Unity is encouraged to work out its possibilities as if it were sufficient to itself and the others are used by it for its own enhancement until in the denser and darker reaches below Overmind this turns out a thing of blind conflict and battle and, as it would appear, of chance survival. Creation or manifestation originally means the concretisation or devolution of the powers of Conscious Being into a Play of united diversity; but on the line which ends in Matter it enters into more and more obscure forms and forces and finally the virtual eclipse of the supreme light of the Divine Consciousness. Creation as it descends' towards the Ignorance becomes an involution of the Spirit through Mind and Life into Matter; evolution is a movement backward, a return journey from Matter towards the Spirit: it is the unravelling, the gradual disclosure and deliverance of the Spirit, the ascension and revelation of the involved consciousness through a series of awakeningsMatter awakening into Life, Life awakening into Mind and Mind now seeking to awaken into something beyond the Mind, into a power of conscious Spirit.
  
   The apparent or actual result of the movement of Nescienceof Involutionhas been an increasing negation of the Spirit, but its hidden purpose is ultimately to embody the Spirit in Matter, to express here below in cosmic Time-Space the splendours of the timeless Reality. The material body came into existence bringing with it inevitably, as it seemed, mortality; it appeared even to be fashioned out of mortality, in order that in this very frame and field of mortality, Immortality, the eternal Spirit Consciousness which is the secret truth and reality in Time itself as well as behind it, might be established and that the Divine might be possessed, or rather, possess itself not in one unvarying mode of the static consciousness, as it does even now behind the cosmic Play, but in the Play itself and in the multiple mode of the terrestrial existence.
  
  --
  
   Now, with regard to the time that the present stage of evolution is likely to take for its fulfilment, one can presume that since or if the specific urge and stress has manifested and come up to the front, this very fact would show that the problem has become a problem of actuality, and even that it can be dealt with as if it had to be solved now or never. We have said that in man, with man's self-consciousness or the consciousness of the psychic being as the instrument, evolution has attained the capacity of a swift and concentrated process, which is the process of Yoga; the process will become swifter and more concentrated, the more that instrument grows and gathers power and is infused with the divine afflatus. In fact, evolution has been such a process of gradual acceleration in tempo from the very beginning. The earliest stage, for example, the stage of dead Matter, of the Play of the mere chemical forces was a very, very long one; it took millions and millions of years to come to the point when the manifestation of life became possible. But the period of elementary life, as manifested in the plant world that followed, although it too lasted a good many millions of years, was much briefer than the preceding periodit ended with the advent of the first animal form. The age of animal life, again, has been very much shorter than that of the plant life before man came upon earth. And man is already more than a million or two years oldit is fully time that a higher order of being should be created out of him.
  

01.02 - Sri Aurobindo - Ahana and Other Poems, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   The heart and its urges, the vital and its surges, the physical impulsesit is these of which the poets sang in their infinite variations. But the mind proper, that is to say, the higher reflective ideative mind, was not given the right of citizenship in the domain of poetry. I am not forgetting the so-called Metaphysicals. The element of metaphysics among the Metaphysicals has already been called into question. There is here, no doubt, some theology, a good dose of mental cleverness or conceit, but a modern intellectual or rather rational intelligence is something other, something more than that. Even the metaphysics that was commandeered here had more or less a decorative value, it could not be taken into the pith and substance of poetic truth and beauty. It was a decoration, but not unoften a drag. I referred to the Upanishads, but these strike quite a different, almost an opposite line in this connection. They are in a sense truly metaphysical: they bypass the mind and the mental powers, get hold of a higher mode of consciousness, make a direct contact with truth and beauty and reality. It was Buddha's credit to have forged this missing link in man's spiritual consciousness, to have brought into Play the power of the rational intellect and used it in support of the spiritual experience. That is not to say that he was the very first person, the originator who initiated the movement; but at least this seems to be true that in him and his au thentic followers the movement came to the forefront of human consciousness and attained the proportions of a major member of man's psychological constitution. We may remember here that Socrates, who started a similar movement of rationalisation in his own way in Europe, was almost a contemporary of the Buddha.
  
  --
  
   These wanderings of the suns, these stars at Play
   In the due measure that they chose of old.. . .
  --
  
   From "Ahana" in Sri Aurobindo's Ahana and Other Poems. There is a later version of the poem in Collected Poems and Plays, Vol II.
  

01.02 - The Issue, #Savitri, #Sri Aurobindo, #Integral Yoga
    Almost they saw who lived within her light
    Her Playmate in the sempiternal spheres
    Descended from its unattainable realms
  --
    A creature born to bend beneath the yoke,
    A chattel and a Plaything of Time's lords,
    Or one more pawn who comes destined to be pushed

01.03 - Mystic Poetry, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   It is not merely by addressing the beloved as your goddess that you can attain this mysticism; the Elizabethan did that in merry abundance,ad nauseam.A finer temper, a more delicate touch, a more subtle sensitiveness and a kind of artistic wizardry are necessary to tune the body into a rhythm of the spirit. The other line of mysticism is common enough, viz., to express the spirit in terms and rhythms of the flesh. Tagore did that liberally, the Vaishnava poets did nothing but that, the Song of Solomon is an exquisite example of that procedure. There is here, however, a difference in degrees which is an interesting feature worth noting. Thus in Tagore the reference to the spirit is evident, that is the major or central chord; the earthly and the sensuous are meant as the name and form, as the body to render concrete, living and vibrant, near and intimate what otherwise would perhaps be vague and abstract, afar, aloof. But this mundane or human appearance has a value in so far as it is a support, a pointer or symbol of the spiritual import. And the mysticism lies precisely in the Play of the two, a hide-and-seek between them. On the other hand, as I said, the greater portion of Vaishnava poetry, like a precious and beautiful casket, no doubt, hides the spiritual import: not the pure significance but the sign and symbol are luxuriously elaborated, they are placed in the foreground in all magnificence: as if it was their very purpose to conceal the real meaning. When the Vaishnava poet says,
  
  --
  
   The growth of a philosophical thought-content in poetry has been inevitable. For man's consciousness in its evolutionary march is driving towards a consummation which includes and presupposes a development along that line. The mot d'ordre in old-world poetry was "fancy", imaginationremember the famous lines of Shakespeare characterising a poet; in modern times it is Thought, even or perhaps particularly abstract metaphysical thought. Perceptions, experiences, realisationsof whatever order or world they may beexpressed in sensitive and aesthetic terms and figures, that is poetry known and appreciated familiarly. But a new turn has been coming on with an increasing insistencea definite time has been given to that, since the Renaissance, it is said: it is the growing importance of Thought or brain-power as a medium or atmosphere in which poetic experiences find a sober and clear articulation, a definite and strong formulation. Rationalisation of all experiences and realisations is the keynote of the modern mentality. Even when it is said that reason and rationality are not ultimate or final or significant realities, that the irrational or the submental Plays a greater role in our consciousness and that art and poetry likewise should be the expression of such a mentality, even then, all this is said and done in and through a strong rational and intellectual stress and frame the like of which cannot be found in the old-world frankly non-intellectual creations.
  
  --
  
   This is what I was trying to make out as the distinguishing trait of the real spiritual consciousness that seems to be developing in the poetic creation of tomorrow, e.g., it has the same rationality, clarity, concreteness of perception as the scientific spirit has in its own domain and still it is rounded off with a halo of magic and miracle. That is the nature of the logic of the infinite proper to the spiritual consciousness. We can have a Science of the Spirit as well as a Science of Matter. This is the Thought element or what corresponds to it, of which I was speaking, the philosophical factor, that which gives form to the formless or definition to that which is vague, a nearness and familiarity to that which is far and alien. The fullness of the spiritual consciousness means such a thing, the presentation of a divine name and form. And this distinguishes it from the mystic consciousness which is not the supreme solar consciousness but the nearest approach to it. Or, perhaps, the mystic dwells in the domain of the Divine, he may even be suffused with a sense of unity but would not like to acquire the Divine's nature and function. Normally and generally he embodies all the aspiration and yearning moved by intimations and suggestions belonging to the human mentality, the divine urge retaining still the human flavour. We can say also, using a Vedantic terminology, that the mystic consciousness gives us the tatastha lakshana, the nearest approximative attri bute of the attri buteless; or otherwise, it is the hiranyagarbha consciousness which englobes the multiple Play, the coruscated possibilities of the Reality: while the spiritual proper may be considered as prajghana, the solid mass, the essential lineaments of revelatory knowledge, the typal "wave-particles" of the Reality. In the former there is a Play of imagination, even of fancy, a decorative aesthesis, while in the latter it is vision pure and simple. If the spiritual poetry is solar in its nature, we can say, by extending the analogy, that mystic poetry is characteristically lunarMoon representing the delight and the magic that Mind and mental imagination, suffused, no doubt, with a light or a reflection of some light from beyond, is capable of (the Upanishad speaks of the Moon being born of the Mind).
  

01.03 - Sri Aurobindo and his School, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
  
   Sri Aurobindo's sadhana starts from the perception of a Power that is beyond the ordinary nature yet is its inevitable master, a fulcrum, as we have said, outside the earth. For what is required first is the discovery and manifestation of a new soul-consciousness in man which will bring about by the very pressure and working out of its self-rule an absolute reversal of man's nature. It is the Asuras who are now holding sway over humanity, for man has allowed himself so long to be built in the image of the Asura; to dislodge the Asuras, the Gods in their sovereign might have to be forged in the human being and brought into Play. It is a stupendous task, some would say impossible; but it is very far removed from quietism or passivism. Sri Aurobindo is in retirement, but it is a retirement only from the outward field of present physical activities and their apparent actualities, not from the true forces and action of life. It is the retreat necessary to one who has to go back into himself to conquer a new plane of creative power,an entrance right into the world of basic forces, of fundamental realities, into the flaming heart of things where all actualities are born and take their first shape. It is the discovery of a power-house of tremendous energism and of the means of putting it at the service of earthly life.
  

01.03 - The Yoga of the King The Yoga of the Souls Release, #Savitri, #Sri Aurobindo, #Integral Yoga
  One in the front of the immemorial quest,
  Protagonist of the mysterious Play
  In which the Unknown pursues himself through forms
  --
  Touched by this tenant from the heights became
  A Playground of the living Infinite.
  This bodily appearance is not all;
  --
  His mind could rest on a supernal ground
  And look down on the magic and the Play
  Where the God-child lies on the lap of Night and Dawn

01.03 - Yoga and the Ordinary Life, #The Integral Yoga, #Sri Aurobindo, #Integral Yoga
  
  I may say briefly that there are two states of consciousness in either of which one can live. One is a higher consciousness which stands above the Play of life and governs it; this is variously called the Self, the Spirit or the Divine. The other is the normal consciousness in which men live; it is something quite superficial, an instrument of the Spirit for the Play of life. Those who live and act in the normal consciousness are governed entirely by the common movements of the mind and are naturally subject to grief and joy and anxiety and desire or to everything else that makes up the ordinary stuff of life.
  

01.04 - Sri Aurobindos Gita, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
  
   Arrived so far, we now find, if we look back, a change in the whole perspective. Karma and even Karmayoga, which hitherto seemed to be the pivot of the Gita's teaching, retire somewhat into the background and present a diminished stature and value. The centre of gravity has shifted to the conception of the Divine Nature, to the Lord's own status, to the consciousness above the three Gunas, to absolute consecration of each limb of man's humanity to the Supreme Purusha for his descent and incarnation and Play in and upon this human world.
  

01.04 - The Poetry in the Making, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
  
   Still, it must be noted that Coleridge is a rare example, for the recording apparatus is not usually so faithful but puts up its own formations that disturb and alter the perfection of the original. The passivity or neutrality of the intermediary is relative, and there are infinite grades of it. Even when the larger waves that Play in it in the normal waking state are quieted down, smaller ripples of unconscious or half-conscious habitual formations are thrown up and they are sufficient to cause the scattering and dispersal of the pure light from above.
  
  --
  
   Such a stage in human evolution, the advent of Homo Faber, has been a necessity; it has to serve a purpose and it has done admirably its work. Only we have to put it in its proper place. The salvation of an extremely self-conscious age lies in an exceeding and not in a further enhancement or an exclusive concentration of the self-consciousness, nor, of course, in a falling back into the original unconsciousness. It is this shift in the poise of consciousness that has been presaged and prepared by the conscious, the scientific artists of today. Their task is to forge an instrument for a type of poetic or artistic creation completely new, unfamiliar, almost revolutionary which the older mould would find it impossible to render adequately. The yearning of the human consciousness was not to rest satisfied with the familiar and the ordinary, the pressure was for the discovery of other strands, secret stores of truth and reality and beauty. The first discovery was that of the great Unconscious, the dark and mysterious and all-powerful subconscient. Many of our poets and artists have been influenced by this power, some even sought to enter into that region and become its denizens. But artistic inspiration is an emanation of Light; whatever may be the field of its Play, it can have its origin only in the higher spheres, if it is to be truly beautiful and not merely curious and scientific.
  
  --
  
   Ifso long the poet was more or less a passive, a half-conscious or unconscious intermediary between the higher and the lower lights and delights, his role in the future will be better fulfilled when he becomes fully aware of it and consciously moulds and directs his creative energies. The poet is and has to be the harbinger and minstrel of unheard-of melodies: he is the fashioner of the creative word that brings down and embodies the deepest aspirations and experiences of the human consciousness. The poet is a missionary: he is missioned by Divine Beauty to radiate upon earth something of her charm and wizardry. The fullness of his role he can only Play up when he is fully conscious for it is under that condition that all obstructing and obscuring elements lying across the path of inspiration can be completely and wholly eradicated: the instrument purified and tempered and transmuted can hold and express golden truths and beauties and puissances that otherwise escape the too human mould.
  

01.04 - The Secret Knowledge, #Savitri, #Sri Aurobindo, #Integral Yoga
  In the phenomenon see its mystic source.
  These heed not the deceiving outward Play,
  They turn not to the moment's busy tramp,
  --
  An unseen Presence moulds the oblivious clay.
  A Playmate in the mighty Mother s game,
  One came upon the dubious whirling globe
  --
  He is himself the dreamer and the dream.
  There are Two who are One and Play in many worlds;
  In Knowledge and Ignorance they have spoken and met
  --
  A part is seen, we take it for the whole.
  Thus have they made their Play with us for roles:
  Author and actor with himself as scene,
  --
  He makes the hours pivot around her will,
  Makes all reflect her whims; all is their Play:
  This whole wide world is only he and she.
  --
  His being a field of her vast experiment,
  Her endless space is the Playground of his thoughts;
  She binds to knowledge of the shapes of Time
  --
  In the mystery of her cosmic ignorance,
  In the insoluble riddle of her Play,
  A creature made of perishable stuff,
  --
  Although she drives him on her fancy's roads,
  At Play with him as with her child or slave,
  To freedom and the Eternal's mastery
  --
  Her highest heights she unmasks and is his mate.
  Till then he is a Plaything in her game;
  Her seeming regent, yet her fancy's toy,
  --
  \t:The master of existence lurks in us
  And Plays at hide-and-seek with his own Force;
  In Nature's instrument loiters secret God.
  --
  His own self's truth he seeks who is the Truth;
  He is the Player who became the Play,
  He is the Thinker who became the thought;
  --
  Rich bales, carved statuettes, hued canvases,
  And jewelled toys brought for an infant's Play
  And perishable products of hard toil
  --
  There is a truth to know, a work to do;
  Her Play is real; a Mystery he fulfils:
  There is a plan in the Mother s deep world-whim,

WORDNET


































IN WEBGEN [10000/22202]

http://avatarrp.wikia.com/wiki/Avatar_Roleplay_Wiki
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https://dumbledoresarmyroleplay.wikia.com/wiki/Dumbledore's_Army
https://dumbledoresarmyroleplay.wikia.com/wiki/Dumbledore's_Army_Role-Play_Wiki:Character_Page_Template_Masterlist
https://dumbledoresarmyroleplay.wikia.com/wiki/Hogwarts_Clubs_Registration
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https://geekfeminism.wikia.org/wiki/Cosplay
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https://lasvegas.wikia.org/wiki/Player's_clubs
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https://military.wikia.org/wiki/Category:19th-century_players_of_American_football
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https://religion.wikia.org/wiki/Cham_Dance#Cham_Dance_as_morality_play_and_mystery_rite
https://religion.wikia.org/wiki/Lamia#Roleplaying_games
https://religion.wikia.org/wiki/Religionwiki:Categorization#Displaying_category_contents_on_pages
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https://religion.wikia.org/wiki/Template:DisplayTranslations
https://religion.wikia.org/wiki/The_Merchant_of_Venice#Sexuality_in_the_play
https://sfhomeless.wikia.org/wiki/Categories_Displayed_By_Subject
https://wwndom.playercompanion&referrer=utm_source%3Dwikia%26utm_medium%3Dglobalfooter
http://thecampjupiterroleplay.wikia.com/
http://transformers.wikia.com/wiki/Child's_Play_(episode)
http://wolfpackroleplay.wikia.com/wiki/Wolf_Role_Play_Wiki
auromere - interplay-of-faith-and-doubt-in-yoga
Integral World - Einstein Doesn't Play Dice, Anndrea Diem-Lane
Integral World - Bohr Plays Poker, Andrea Diem-Lane
Integral World - Games Pandits Play, Frank Visser
Love, Conflict, and Play
Perls of Wisdom: Introflection, Retroflection, and Other Games People Play
selforum - conscious role we can play and lay as
selforum - sri aurobindos plays instantiate five
https://thoughtsandvisions-searle88.blogspot.com/2012/11/139-are-ghosts-real-guy-lyon-playfairs.html
dedroidify.blogspot - rep-marcy-kaptur-lets-play-wallstreet
dedroidify.blogspot - conspiracy-commercials-playlist
dedroidify.blogspot - anarchism-playlist
dedroidify.blogspot - coldplay-hurts-like-heaven
dedroidify.blogspot - why-doesnt-mtv-play-music-videos-anymore
dedroidify.blogspot - god-does-not-play-dice
dedroidify.blogspot - reality-model-playground
dedroidify.blogspot - the-universe-wants-to-play
https://esotericotherworlds.blogspot.com/2013/05/guy-lyon-playfair.html
wiki.auroville - Collected_Plays_and_Stories
wiki.auroville - Eric_(play)
wiki.auroville - File:Mother_playing_organ_back.jpg
wiki.auroville - File:Mother_playing_organ_concentrated.jpg
wiki.auroville - Play_of_Painting
wiki.auroville - Ritam_"From_teacher_to_servant:_A_personal_experience_with_'Play_of_Painting'"
wiki.auroville - Ritam_"Sand_Play_at_Transition_School"
Psychology Wiki - File:Kid_playing_soccer.jpg
Psychology Wiki - Play_(activity)
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https://en.wikiquote.org/wiki/Category:Baseball_players
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https://en.wikiquote.org/wiki/Category:Screenplays_by_Aaron_Sorkin
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https://en.wikiquote.org/wiki/Category:Screenplays_by_Akiva_Goldsman
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https://en.wikiquote.org/wiki/Category:Screenplays_by_Andrew_Stanton
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https://en.wikiquote.org/wiki/Category:Screenplays_by_Cameron_Crowe
https://en.wikiquote.org/wiki/Category:Screenplays_by_Charles_Beaumont
https://en.wikiquote.org/wiki/Category:Screenplays_by_Charles_B._Griffith
https://en.wikiquote.org/wiki/Category:Screenplays_by_Charlie_Kaufman
https://en.wikiquote.org/wiki/Category:Screenplays_by_Chris_Terrio
https://en.wikiquote.org/wiki/Category:Screenplays_by_Christopher_McQuarrie
https://en.wikiquote.org/wiki/Category:Screenplays_by_Christopher_Nolan
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https://en.wikiquote.org/wiki/Category:Screenplays_by_Darren_Aronofsky
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https://en.wikiquote.org/wiki/Category:Screenplays_by_David_Koepp
https://en.wikiquote.org/wiki/Category:Screenplays_by_David_Mamet
https://en.wikiquote.org/wiki/Category:Screenplays_by_David_Mandel
https://en.wikiquote.org/wiki/Category:Screenplays_by_David_S._Goyer
https://en.wikiquote.org/wiki/Category:Screenplays_by_Ehren_Kruger
https://en.wikiquote.org/wiki/Category:Screenplays_by_Eli_Roth
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https://en.wikiquote.org/wiki/Category:Screenplays_by_George_Lucas
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https://en.wikiquote.org/wiki/Category:Screenplays_by_Harold_Ramis
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https://en.wikiquote.org/wiki/Category:Screenplays_by_James_Mangold
https://en.wikiquote.org/wiki/Category:Screenplays_by_James_Schamus
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Wikipedia - 2020 OY4 {{DISPLAYTITLE:{{mp|2020 OY|4 -- 2020 OY4 {{DISPLAYTITLE:{{mp|2020 OY|4
Wikipedia - 2020 Pakistan Super League players draft -- PSL player drafts
Wikipedia - 2020 Pinatar Cup squads -- List of players competing at the 1st edition of the Pinatar Cup
Wikipedia - 2020 SheBelieves Cup squads -- List of players competing at the 5th edition of the SheBelieves Cup
Wikipedia - 2020 Turkish Women's Cup squads -- List of players competing at the 3rd edition of the Turkish Women's Cup
Wikipedia - 220 (EP) -- 2018 extended play by Snoop Dogg
Wikipedia - 2300 AD -- Science fiction tabletop role-playing game
Wikipedia - 29 Acacia Avenue -- Play and 1945 film directed by Henry Cass
Wikipedia - 2-D (character) -- Fictional vocalist and keyboard player for the virtual band Gorillaz
Wikipedia - 2 Player Productions -- American video production company
Wikipedia - 2Play -- British musician and mixed martial artist
Wikipedia - 35 Boys 5 Concepts -- Extended play
Wikipedia - 35 Girls 5 Concepts -- Extended play
Wikipedia - 3D&T -- Brazilian tabletop role-playing game
Wikipedia - 3DO Interactive Multiplayer -- Video game console
Wikipedia - 4.48 Psychosis -- Play by Sarah Kane
Wikipedia - 45:33 -- Extended play by LCD Soundsystem
Wikipedia - 480p -- Shorthand name for a family of video display resolutions
Wikipedia - 4Players -- German electronic journal for video games
Wikipedia - 4 Play (film) -- 2010 Nigerian romantic comedy film
Wikipedia - 50 Foot Wave -- Band that plays alternative rock
Wikipedia - 55th Street Playhouse -- Former movie theater in Midtown Manhattan, New York City, United States
Wikipedia - 576p -- Shorthand name for a video display resolution
Wikipedia - 6:3 Play It Again Tutti -- 1999 film
Wikipedia - 66/67: Fairplay Is Over -- 2009 film
Wikipedia - 74 knot {{DISPLAYTITLE:7<sub>4</sub> knot -- 74 knot {{DISPLAYTITLE:7<sub>4</sub> knot
Wikipedia - 8 (play) -- 2011 play by Dustin Lance Black
Wikipedia - 9801 -- Extended play by Wooseok x Kuanlin
Wikipedia - 9lokkNine {{DISPLAYTITLE:9lokkNine -- 9lokkNine {{DISPLAYTITLE:9lokkNine
Wikipedia - AaaI {{DISPLAYTITLE:''Aaa''I -- AaaI {{DISPLAYTITLE:''Aaa''I
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Wikipedia - A, A Novel {{DISPLAYTITLE:''a, A Novel'' -- A, A Novel {{DISPLAYTITLE:''a, A Novel''
Wikipedia - Aarklash: Legacy -- 2013 tactical role-playing video game
Wikipedia - Aarne Hermlin -- Estonian chess player
Wikipedia - Aarne Ilmari NiemelM-CM-$ -- Finnish chess player
Wikipedia - Aaron Bold -- Canadian professional lacrosse player
Wikipedia - Aaron Feinstein -- Estonian chess player
Wikipedia - Aaron Heick -- American saxophonist and woodwood player
Wikipedia - Aaron Sorkin -- American screenwriter, director, producer, and playwright
Wikipedia - Aaron Summerscale -- English chess player
Wikipedia - Aaron Teys -- Australian bowls player
Wikipedia - Aastha Gill -- Indian playback singer
Wikipedia - Abdelkader Alloula -- Algerian playwright
Wikipedia - Abdulla Gadimbayli -- Azerbaijani chess player
Wikipedia - Abdullah al Mamun (playwright) -- Bangladeshi writer, actor and filmmaker
Wikipedia - Abdullah Al Rakib -- Bangladesh chess player
Wikipedia - Abdullah AydoM-DM-^_du -- Turkish goalball player
Wikipedia - Abe Gubegna -- Ethiopian novelist and playwright (1934-1980)
Wikipedia - Abe Lincoln in Illinois (play) -- 1938 theater play
Wikipedia - Abhijeet Bhattacharya -- Indian playback singer
Wikipedia - Abhijith Kollam -- Playback singer
Wikipedia - Abhilasha Mhatre -- Indian kabaddi player
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Wikipedia - Abhirami Ajai -- Indian playback singer
Wikipedia - A Bold Stroke for a Wife -- 1718 play by Susanna Centlivre
Wikipedia - Aboriginal and Torres Strait Islander Heritage Protection Act 1984 {{DISPLAYTITLE:''Aboriginal and Torres Strait Islander Heritage Protection Act'' 1984 -- Aboriginal and Torres Strait Islander Heritage Protection Act 1984 {{DISPLAYTITLE:''Aboriginal and Torres Strait Islander Heritage Protection Act'' 1984
Wikipedia - Abraham Baratz -- Romanian-French chess player
Wikipedia - Abraham Helman -- Canadian chess player
Wikipedia - Abram Blass -- Polish-Israeli chess player
Wikipedia - Abram Khasin -- Russian chess player
Wikipedia - Abram Khavin -- Ukrainian chess player
Wikipedia - Abram Szpiro -- Polish-Jewish chess player
Wikipedia - Abram Zamikhovsky -- Ukrainian chess player
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Wikipedia - A Bronx Tale (play) -- one man show by Chazz Palminteri
Wikipedia - Abstract strategy game -- strategy game in which the theme is not important to the experience of playing
Wikipedia - Abul Kalam (kabaddi) -- Bangladeshi kabaddi player
Wikipedia - Abu Salah Musa -- Bangladeshi kabaddi player
Wikipedia - Abu Sufian Shakil -- Bangladesh chess player
Wikipedia - Academy Award for Best Adapted Screenplay -- Category of film award
Wikipedia - Academy Award for Best Original Screenplay -- Best screenplay not based upon previously published material
Wikipedia - Ace of Cups -- Playing card
Wikipedia - Ace of spades -- Playing card
Wikipedia - Achaeus of Syracuse -- 4th-century BC Greek playwright
Wikipedia - Achievement (heraldry) -- Full display or depiction of all the heraldic components to which the bearer of a coat of arms is entitled
Wikipedia - Achilles Frydman -- Polish chess player
Wikipedia - A Christmas Carol (2017 play) -- 2017 play by Jack Thorne based on Charles Dickens' novella
Wikipedia - Acrophobia (game) -- Online multiplayer word game
Wikipedia - Act. 1 The Little Mermaid -- 2016 extended play by Gugudan
Wikipedia - Act. 2 Narcissus -- 2017 extended play by Gugudan
Wikipedia - Act. 5 New Action -- 2018 extended play by Gugudan
Wikipedia - Action Replay
Wikipedia - Action role-playing game
Wikipedia - Action Taimanin -- 2019 3D action role-playing mobile game
Wikipedia - A Cup of Kindness (play) -- Play written by Ben Travers
Wikipedia - Adam Bock -- Canadian playwright
Wikipedia - Adam Brace -- British playwright
Wikipedia - Adam Klasfeld -- U.S. American playwright and journalist
Wikipedia - Adam OehlenschlM-CM-$ger -- Danish poet and playwright
Wikipedia - Adam Plack -- Australian didgeridoo player
Wikipedia - Adam Wildavsky -- American bridge player
Wikipedia - Ad Astra (play-by-mail game) -- Fantasy role-playing game
Wikipedia - A Day in the Death of Joe Egg -- 1967 play
Wikipedia - Adel Ahmed -- Qatari Striker playing for Al Bidda
Wikipedia - Adele Rivero -- American chess player
Wikipedia - Aditi Kapil -- American playwright.
Wikipedia - Aditi Paul -- Indian playback singer
Wikipedia - Aditi Singh Sharma -- Indian playback singer
Wikipedia - Aditya Pancholi -- Indian film actor, producer and playback singer
Wikipedia - Adiva Geffen -- Israeli writer and playwright
Wikipedia - ADM-3A -- Early video display terminal
Wikipedia - Admiral's Men -- 16th/17th-century English playing company
Wikipedia - Adobe Flash Player -- Software for viewing multimedia, rich Internet applications, and streaming video and audio
Wikipedia - Adobe Media Player
Wikipedia - Adobe Shockwave Player
Wikipedia - Ado Kraemer -- German chess player
Wikipedia - Adolf Georg Olland -- Dutch chess player
Wikipedia - Adolf Kramer -- German chess player
Wikipedia - Adolf Scherbaum -- German classical trumpet player
Wikipedia - Adolf Staehelin -- Swiss chess player
Wikipedia - A Doll's House -- Play by Henrik Ibsen
Wikipedia - Adolphe Silbert -- French chess player
Wikipedia - Adopt Me! -- Role-playing game on the Roblox game platform
Wikipedia - Adriana Nikolova -- Bulgarian chess player
Wikipedia - Adriana Salazar Varon -- Colombian chess player
Wikipedia - Adrian Consett Stephen -- Australian playwright and soldier in WWI
Wikipedia - Adrian Schwartz -- Israeli former backgammon player and convicted rapist
Wikipedia - Adrien Leroy -- French chess player
Wikipedia - Adrienn CsM-EM-^Qke -- Hungarian chess player
Wikipedia - Adrienne Lecouvreur (play) -- play by Ernest Legouve and Eugene Scribe
Wikipedia - Adrien Payn -- French novelist and playwright
Wikipedia - Adventure Class Ships, Vol. II -- Science-fiction role-playing game supplement
Wikipedia - Adventure Class Ships, Vol. I -- Science-fiction role-playing game supplement
Wikipedia - Adventure of a Lifetime -- 2015 single by Coldplay
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Wikipedia - AEA Silver Dart {{DISPLAYTITLE:AEA ''Silver Dart'' -- AEA Silver Dart {{DISPLAYTITLE:AEA ''Silver Dart''
Wikipedia - Aechmea 'Ilse' {{DISPLAYTITLE:''Aechmea'' 'Ilse' -- Aechmea 'Ilse' {{DISPLAYTITLE:''Aechmea'' 'Ilse'
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Wikipedia - A Few Good Men (play) -- Play by Aaron Sorkin, later adapted to film
Wikipedia - Affect display -- Verbal and non-verbal displays of emotion
Wikipedia - A Fine Companion -- 1633 play written by Shackerley Marmion
Wikipedia - A Flower Bookmark 2 -- 2017 extended play by IU
Wikipedia - After All (play) -- 1929 play
Wikipedia - Aftermath! -- Science fiction tabletop role-playing game
Wikipedia - Afterwards (play) -- Play by Walter C. Hackett
Wikipedia - Against the Giants -- Role-playing game adventure by Gary Gygax
Wikipedia - A Game at Chess -- Play written by Thomas Middleton
Wikipedia - Agamemnon (play)
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Wikipedia - Agha Saleem -- Pakistani writer, novelist, playwright
Wikipedia - Agnes Davies -- Female snooker and billiards player
Wikipedia - Agnes of God -- 1979 play by John Pielmeier
Wikipedia - Agnieszka Baranowska -- Polish playwright and poet
Wikipedia - A Head Full of Dreams (song) -- 2016 single by Coldplay
Wikipedia - A Heart Plays False -- 1953 film
Wikipedia - AHJ (EP) -- 2013 extended play by Albert Hammond, Jr.
Wikipedia - Ahmed Adly -- Egyptian chess player
Wikipedia - Ahmed Amar -- Algerian former international player
Wikipedia - Ahmed Ibrahim Hamed -- Egyptian chess player
Wikipedia - Aiko Takahama -- Japanese professional shogi player
Wikipedia - Aimee Murch -- Australian softball player
Wikipedia - Aimen Rizouk -- Algerian chess player
Wikipedia - Aino Kukk -- Estonian chess player
Wikipedia - Ain't Gonna Hurt Nobody -- 1991 single by Kid 'n Play
Wikipedia - AirPlay -- Proprietary wireless streaming protocol developed by Apple Inc.
Wikipedia - Airport City (video game) -- 2011 free-to-play city-building simulation game
Wikipedia - Airsoft -- Activity which can be played as a game or shooting hobby
Wikipedia - Aivars Gipslis -- Latvian chess player
Wikipedia - Ajax (play)
Wikipedia - Ajay Thakur -- Indian kabaddi player
Wikipedia - Akaboshi Intetsu -- Japanese Go player
Wikipedia - Akademik Cherskiy (ship) {{DISPLAYTITLE:''Akademik Cherskiy'' (ship) -- Akademik Cherskiy (ship) {{DISPLAYTITLE:''Akademik Cherskiy'' (ship)
Wikipedia - Akalabeth: World of Doom -- 1979 role-playing video game
Wikipedia - Akane Nakashima -- Japanese goalball player
Wikipedia - Akatsuki (spacecraft) {{DISPLAYTITLE:''Akatsuki'' (spacecraft) -- Akatsuki (spacecraft) {{DISPLAYTITLE:''Akatsuki'' (spacecraft)
Wikipedia - Akbar Radi -- Iranian playwright
Wikipedia - Akemi Yamada -- Japanese shogi player
Wikipedia - Akhlaq Ahmed -- Pakistani playback singer
Wikipedia - Akiko Adachi -- Japanese goalball player
Wikipedia - Akimoto Matsuyo -- Japanese playwright
Wikipedia - A King and No King -- 17th-century play by Beaumont and Fletcher
Wikipedia - Akira Asahara -- Japanese Magic: The Gathering player
Wikipedia - Akira Ishida (Go player) -- Japanese Go player
Wikipedia - Akira Watanabe (shogi player)
Wikipedia - Akshat Khamparia -- Indian chess player
Wikipedia - A. K. Sukumaran -- Indian play back singer
Wikipedia - Al1 -- 2017 extended play by Seventeen
Wikipedia - Aladar Racz -- Cimbalom player
Wikipedia - Aladdin (play) -- 1805 play by Adam OehlenschlM-CM-$ger
Wikipedia - Al-Adli -- Shatranj player
Wikipedia - Alan Ayckbourn -- English playwright (born 1939)
Wikipedia - Alan Baer -- American tuba player
Wikipedia - Alan Brody -- American playwright and academic
Wikipedia - Alan Sontag -- American bridge player and writer
Wikipedia - Alan Truscott -- Bridge player and writer
Wikipedia - Albert Arutiunov -- Armenian chess player
Wikipedia - Albert Becker (chess player) -- Austrian-Argentine chess player
Wikipedia - Albert Clerc -- French chess player
Wikipedia - Albert Fox -- American chess player
Wikipedia - Albert Hay Malotte -- American composer and keyboard player (1895-1964)
Wikipedia - Albert Hodges -- American chess player
Wikipedia - Albert Mandelbaum -- Israeli chess player
Wikipedia - Alberto Campolongo -- Italian chess player
Wikipedia - Alberto Foguelman -- Argentine chess player
Wikipedia - Alberto Ismodes Dulanto -- Peruvian chess player
Wikipedia - Alberto Lopez Arce -- Cuban chess player
Wikipedia - Alberto Mario Giustolisi -- Italian chess player
Wikipedia - Albert Salomon (musician) -- Israeli troubadour, accordion player and social activist
Wikipedia - Alberts Melnbardis -- Latvian chess player
Wikipedia - Albert Venn -- American lacrosse player
Wikipedia - Albin Ouschan -- Austrian pool player, two time world champion, born August 1990
Wikipedia - Al. Blachere -- French croquet player
Wikipedia - Alcestis (play)
Wikipedia - Alcmaeon in Corinth -- Lost Euripide's play
Wikipedia - Alcmaeon in Psophis -- Play written by Euripides
Wikipedia - Alder Escobar Forero -- Colombian chess player
Wikipedia - Aldo Abreu -- Venezuelan recorder player
Wikipedia - Aldo HaM-CM-/k -- French chess player
Wikipedia - Aldo Zadrima -- Albanian chess player
Wikipedia - Alec Butler -- Canadian filmmaker and playwright
Wikipedia - Alecky Blythe -- British playwright and screenwriter
Wikipedia - Alec Robertson (bowls) -- New Zealand bowls player
Wikipedia - Alejandro Landa -- Mexican racquetball player
Wikipedia - Alejandro Maccioni Seisdedos -- Chilean chess player
Wikipedia - Alejandro Nogues AcuM-EM-^Ha -- Argentine chess player
Wikipedia - Aleksander Arulaid -- Estonian chess player
Wikipedia - Aleksander Delchev -- Bulgarian chess player and writer
Wikipedia - Aleksander Sznapik -- Polish chess player
Wikipedia - Aleksander Veingold -- Estonian chess player
Wikipedia - Aleksandra Dimitrova -- Russian chess player
Wikipedia - Aleksandra Goryachkina -- Russian chess player
Wikipedia - Aleksandra Lach -- Polish chess player
Wikipedia - Aleksandra Maltsevskaya -- Russian chess player
Wikipedia - Aleksandras Machtas -- Lithuanian chess player
Wikipedia - Aleksandr Dryagin -- Kazakhstani bandy player
Wikipedia - Aleksandr Lenderman -- American chess player
Wikipedia - Aleksandr Volodin (chess player) -- Estonian chess player
Wikipedia - Aleksei Pridorozhni -- Russian chess player
Wikipedia - Aleksej Aleksandrov -- Belarusian chess player
Wikipedia - Aleshea Harris -- American playwright
Wikipedia - Alessandra Gorla -- Italian softball player
Wikipedia - Alessandra Riegler -- Italian chess player
Wikipedia - Alessandro Salvio -- Italian chess player
Wikipedia - A Lesson from Aloes -- 1978 play by South African playwright Athol Fugard
Wikipedia - Alexander Alekhine -- Russian-French chess player
Wikipedia - Alexander Baljakin -- Dutch draughts player
Wikipedia - Alexander Beliavsky -- Ukrainian and Slovenian chess player
Wikipedia - Alexander Ferdinand von der Goltz -- German chess player
Wikipedia - Alexander Flamberg -- Polish chess player
Wikipedia - Alexander Goldin -- American chess player
Wikipedia - Alexander Graf -- Uzbekistani-German chess player
Wikipedia - Alexander Griboyedov -- Russian diplomat, playwright, poet and composer (1795-1829)
Wikipedia - Alexander Grischuk -- Russian chess player
Wikipedia - Alexander Kazakis -- Professional 9-Ball pool player
Wikipedia - Alexander Khalifman -- Russian chess player
Wikipedia - Alexander Kiprov -- Bulgarian chess player
Wikipedia - Alexander Kovchan -- Ukrainian chess player
Wikipedia - Alexander Kundin -- Israeli chess player
Wikipedia - Alexander Lastin -- Russian chess player
Wikipedia - Alexander Matthews (playwright) -- US playwright and philosopher
Wikipedia - Alexander Moroz -- Ukrainian chess player
Wikipedia - Alexander Prameshuber -- Austrian chess player
Wikipedia - Alexander Tsvetkov -- Bulgarian chess player
Wikipedia - Alexandra Botez -- American-Romanian chess player
Wikipedia - Alexandra Kosteniuk -- Russian chess player
Wikipedia - Alexandra Obolentseva -- Russian chess player
Wikipedia - Alexandrea Owens-Sarno -- American actress who played a cameo in Titanic
Wikipedia - Alexandr Kharitonov (chess player) -- Russian chess player
Wikipedia - Alex Aust -- American womenM-bM-^@M-^Ys lacrosse player
Wikipedia - Alex Broun -- Australian playwright and screenwriter
Wikipedia - Alexei Alekhine -- Russian chess player
Wikipedia - Alexei Chizhov -- Russian draughts player
Wikipedia - Alexei Fedorov -- Belarusian chess player
Wikipedia - Alexei Shirov -- Latvian-Spanish chess player
Wikipedia - Alexey Arkhipovsky -- Russian balalaika player
Wikipedia - Alexey Dreev -- Russian chess player
Wikipedia - Alexey Troitsky -- Russian chess player
Wikipedia - Alex Finlayson -- American playwright
Wikipedia - Alexi Kaye Campbell -- Greek-British playwright and actor
Wikipedia - Alex Lely -- Dutch pool player
Wikipedia - Alex Oates -- English playwright
Wikipedia - Alex Pagulayan -- Filipino Canadian pool player
Wikipedia - Alex Tschekaloff -- American bridge player
Wikipedia - Alfons Franck -- Belgian chess player
Wikipedia - Alfonso Ceron -- Spanish chess player
Wikipedia - Alfonso Ferrabosco the younger -- English composer and viol player (c1575-1628)
Wikipedia - Alfonso Romero Holmes -- Spanish chess player
Wikipedia - Alfreda Hausner -- Austrian chess player
Wikipedia - Alfred Beni -- Austrian chess player
Wikipedia - Alfred Christensen (chess player) -- Danish chess player
Wikipedia - Alfred Langford -- Canadian lawn bowls player
Wikipedia - Alfredo Arias (theatre producer) -- Theatre producer, actor and playwright
Wikipedia - Alfredo Olivera -- Uruguayan chess player
Wikipedia - Algernon Charles Swinburne -- English poet, playwright, novelist, and critic
Wikipedia - Algimantas Butnorius -- Lithuanian chess player
Wikipedia - Alia Bano -- British playwright of Pashtun origin
Wikipedia - Aliaksei Charnushevich -- French chess player
Wikipedia - Alice Birch -- British playwright and screenwriter
Wikipedia - Alice in Wonderland (1966 TV play)
Wikipedia - Alice Mercer -- American lacrosse player
Wikipedia - Alice Playten -- American actress
Wikipedia - Alicia Kempner -- American bridge player
Wikipedia - Alicja Sliwicka -- Polish chess player
Wikipedia - Alien Realms -- Science-fiction role-playing game
Wikipedia - Alien Star -- Science-fiction role-playing magazine
Wikipedia - Ali Farahat -- Egyptian chess player and trainer
Wikipedia - Alignment (role-playing games)
Wikipedia - Alina Bivol -- Russian chess player
Wikipedia - Alina Kashlinskaya -- Russian chess player
Wikipedia - Alina l'Ami -- Romanian chess player
Wikipedia - Alina Tarachowicz -- Polish chess player
Wikipedia - Ali Rameez -- Muslim cleric and former playback singer
Wikipedia - Alisa Galliamova -- Russian chess player
Wikipedia - Alisa Maric -- Serbian chess player
Wikipedia - Alisa Melekhina -- American chess player
Wikipedia - Alison Balsom -- English trumpet player (b1978)
Wikipedia - Alison Quigan -- New Zealand actor, director and playwright
Wikipedia - Alistair Anderson -- |English concertina player, Northumbrian piper and composer
Wikipedia - Alistair Campbell (poet) -- New Zealand poet, playwright and novelist
Wikipedia - Ali Viola -- American softball player
Wikipedia - Alka Ajith -- Indian playback singer
Wikipedia - Alka Yagnik -- Indian playback singer
Wikipedia - Allah jang Palsoe -- Play written by Kwee Tek Hoay
Wikipedia - Allan Bergkvist -- Swedish chess player
Wikipedia - Allan Falk -- American bridge player
Wikipedia - Allan Siebert -- American bridge player
Wikipedia - Alla Rakha -- Indian tabla player
Wikipedia - Allegiance (video game) -- free and open-source multiplayer online game
Wikipedia - All Fools -- Play written by George Chapman
Wikipedia - All for Love (play) -- 1677 drama by John Dryden
Wikipedia - All's Well That Ends Well -- play by Shakespeare
Wikipedia - All That Matters (play) -- 1911 play by Charles McEvoy
Wikipedia - All the Angels -- Play by Nick Drake
Wikipedia - All the Way (play) -- Play written by Robert Schenkkan
Wikipedia - All This Intimacy -- 2006 play by Rajiv Joseph
Wikipedia - All work and no play makes Jack a dull boy -- Proverb suggesting that lack of free time encourages lack of spirit
Wikipedia - Ally Carda -- American softball player
Wikipedia - Alma De Groen -- Australian feminist playwright
Wikipedia - Almira Skripchenko -- Moldovan-French chess player
Wikipedia - A Local Boy -- Australian TV play
Wikipedia - A Local Man -- Australian play
Wikipedia - Aloke Dutta -- Bengali tabla player
Wikipedia - Alone Against the Wendigo -- Horror tabletop role-playing game supplement
Wikipedia - Aloyzas Kveinys -- Lithuanian chess player
Wikipedia - AlphaGo -- Artificial intelligence that plays Go
Wikipedia - AlphaGo Zero -- Artificial intelligence that plays Go
Wikipedia - AlphaStar (software) -- Software designed to play StarCraft II
Wikipedia - AlphaZero -- Game-playing artificial intelligence
Wikipedia - Alphonse Goetz -- French chess player
Wikipedia - Alphonse Signol -- French playwright and novelist
Wikipedia - Alternative Airplay -- Billboard chart
Wikipedia - Alvin Landy -- American bridge player
Wikipedia - Alvin Roth (bridge) -- American bridge player
Wikipedia - Always on Display -- Smartphone Feature
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Wikipedia - Alyssa Fleming -- American women's lacrosse player
Wikipedia - Alyssa Murray -- American lacrosse player
Wikipedia - Amadeus (play) -- 1979 stage play
Wikipedia - Amador Rodriguez Cespedes -- Cuban chess player
Wikipedia - Amanda Chidester -- American softball player
Wikipedia - Amanda Dennis -- American goalball player
Wikipedia - Amanda Doman -- Australian softball player
Wikipedia - Amanda Scarborough -- American sports broadcaster and former softball player
Wikipedia - Amaranta Osorio Cepeda -- Playwright, actress and arts manager
Wikipedia - A. Maria Irudayam -- Indian carrom player
Wikipedia - Amar Photo Studio -- 2016 two-part Marathi play
Wikipedia - A Marriage Proposal -- Play by Anton Chekhov
Wikipedia - Amateur sports -- Sport played by non professionals
Wikipedia - Amazing (gamer) -- German professional League of Legends player and coach
Wikipedia - Amber Diceless Roleplaying Game
Wikipedia - Amber Fiser -- American softball player
Wikipedia - Ambraser Hofjagdspiel -- 15th century Swiss set of playing cards
Wikipedia - Amedee Gibaud -- French chess player
Wikipedia - Ameipsias -- 5th-century BC Athenian playwright
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Wikipedia - Amelia LapeM-CM-1a-Bonifacio -- Filipino playwright
Wikipedia - American Civil Liberties Union v. Schundler -- United States federal case establishing standards for a government-sponsored holiday display to contain religious symbols
Wikipedia - American Players Theatre -- Outdoor theater in Spring Green, Wisconsin, USA
Wikipedia - A Midsummer Night's Dream -- Play by William Shakespeare
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Wikipedia - A Mind at Play
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Wikipedia - Amphiaraus (play)
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Wikipedia - Amy Alsop -- Canadian Paralympic goalball player
Wikipedia - Amy Burk -- Canadian goalball player
Wikipedia - Amycus Probe -- Science-fiction role-playing game supplement
Wikipedia - Amy Dickson -- Australian classical saxophone player
Wikipedia - Amy Fox (playwright) -- American screenwriter
Wikipedia - Amy LaVere -- American singer, bass player and actress
Wikipedia - Amy Suiter -- American softball player and coach
Wikipedia - Ana Benderac -- Serbian chess player
Wikipedia - Anachronox -- Role-playing video game
Wikipedia - Ana Filipa Baptista -- Portuguese chess player
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Wikipedia - Ana GradiM-EM-!nik -- Slovenian pool player, bown October 1996.
Wikipedia - Anal hook -- BDSM play device
Wikipedia - Ana Luisa Carvajal Gamoneda -- Cuban chess player
Wikipedia - Ana Maria Bamberger -- Romanian physician and playwright
Wikipedia - Ana Matnadze -- Georgian-Spanish chess player
Wikipedia - AnaM-CM-/s Segalas -- French playwright, poet and novelist (1811-1893)
Wikipedia - Ananda Gopal Bandopadhyay -- Indian tabla player
Wikipedia - Ananya Bhat -- Indian playback singer
Wikipedia - Anastasia Avramidou -- Greek chess player
Wikipedia - Anastasia Bodnaruk -- Russian chess player
Wikipedia - Anastasia Nechaeva -- Russian snooker and pool player
Wikipedia - Anastasiya Karlovich -- Ukrainian chess player and journalist
Wikipedia - Anastasya Paramzina -- Russian chess player
Wikipedia - Anat Gov -- Israeli screenwriter and playwright
Wikipedia - An Cho-young -- South Korean Go player
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Wikipedia - Anda M-EM- afranska -- Latvian chess player
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Wikipedia - Anders M-CM-^Vstling -- Swedish bandy player
Wikipedia - Ando Meritee -- Estonian Renju player
Wikipedia - Andrea Jeremiah -- Indian actress and playback singer
Wikipedia - Andreas Bergwall -- Swedish bandy player
Wikipedia - Andreas Bomark -- Swedish Bandy player
Wikipedia - Andreas Duckstein -- Austrian chess player
Wikipedia - Andreas Duhm -- German-Swiss chess player
Wikipedia - Andreas Gulbrandsen -- Norwegian chess player
Wikipedia - Andreas Heimann -- German chess player
Wikipedia - Andreas Rosendahl -- Danish chess player
Wikipedia - Andrea Stolowitz -- American playwrite and professor
Wikipedia - Andreas Westh -- Swedish bandy player
Wikipedia - Andre Canniere -- American trumpet player and composer
Wikipedia - Andre Cheron -- French chess player
Wikipedia - Andreea Bollengier -- French chess player
Wikipedia - Andreea-Cristiana Navrotescu -- French chess player
Wikipedia - Andrei Istratescu -- Romanian chess player
Wikipedia - Andre Lombard -- Swiss chess player
Wikipedia - Andres Rodriguez Vila -- Uruguayan chess player
Wikipedia - Andres Vooremaa -- Estonian chess player
Wikipedia - Andre Thiellement -- French chess player
Wikipedia - Andre Voisin (chess player) -- French chess player
Wikipedia - Andrew Blackshaw -- Australian softball player
Wikipedia - Andrew John Whiteley -- English chess player
Wikipedia - Andrew Kishore -- Bangladeshi playback singer
Wikipedia - Andrew Muir (chess player) -- Scottish chess player
Wikipedia - Andrew Soltis -- American chess player
Wikipedia - Andrew Upton -- Australian playwright, screenwriter, and director
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Wikipedia - Andrina (film) -- 1981 television play
Wikipedia - Android TV -- Android operating system version for digital media players
Wikipedia - Andromache (play)
Wikipedia - Andromeda (play)
Wikipedia - Andrzej Filipowicz -- Polish chess player
Wikipedia - Andrzej Pytlakowski -- Polish chess player
Wikipedia - Andrzej Sydor -- Polish chess player
Wikipedia - And the Band Played On -- 1987 book by Randy Shilts
Wikipedia - And the Band Played Waltzing Matilda -- Song
Wikipedia - And the Big Men Fly -- 1963 Australian play by Alan Hopgood
Wikipedia - Andy Cutting -- British melodeon player and folk music composer
Wikipedia - Andy Diagram -- British musician and trumpet player
Wikipedia - And Yet They Paused -- 1938 one-act play by Georgia Douglas Johnson
Wikipedia - Andy Hardy -- Fictional character played by Mickey Rooney
Wikipedia - Andy Hawthorne (racquetball) -- American racquetball player
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Wikipedia - Andy Ogilvie -- Canadian lacrosse player
Wikipedia - Andy Ramos -- Cuban Soccer Professional Player
Wikipedia - Andy Warhol's Pork -- 1971 stage play by Andy Warhol
Wikipedia - A New Way to Pay Old Debts -- play by Philip Massinger
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Wikipedia - Angels in America (miniseries) -- 2003 HBO miniseries based on the play of the same name
Wikipedia - Angels in America -- 1993 Pulitzer Prize-winning play by Tony Kushner
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Wikipedia - An Ideal Husband -- 1895 play by Oscar Wilde
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Wikipedia - Animated mapping -- The application of animation to add a temporal component to a map displaying change
Wikipedia - An Inspector Calls -- 1945 play written by English dramatist J. B. Priestley
Wikipedia - Ani Nyhus -- Canadian softball player
Wikipedia - Anish Giri -- Dutch chess player
Wikipedia - Anita Gara -- Hungarian chess player
Wikipedia - Anita Loos -- American screenwriter, playwright, author, actress, and television producer
Wikipedia - Anita Mavi -- Indian kabaddi player
Wikipedia - Anjelina Belakovskaia -- American chess player
Wikipedia - Anke Lutz -- German chess player
Wikipedia - Anna Chatterton -- Canadian playwright
Wikipedia - Anna-Christina Kopinits -- Austrian chess player
Wikipedia - Anna Cora Mowatt -- French-born American author, playwright, and actress
Wikipedia - Anna Cramling Bellon -- Swedish chess player
Wikipedia - Anna Deavere Smith -- American actress, playwright and professor
Wikipedia - Anna Dorofeeva -- Russian chess player
Wikipedia - Anna Faith -- American cosplayer
Wikipedia - Anna Franchi -- Italian novelist, translator, playwright and journalist
Wikipedia - Anna Gasik -- Polish chess player
Wikipedia - Anna Gershnik -- American chess player
Wikipedia - Anna Hahn (chess player) -- American chess player
Wikipedia - Anna Jordan -- English playwright
Wikipedia - Anna Jurczynska -- Polish chess player
Wikipedia - Anna Kantane -- Polish chess player
Wikipedia - Anna Kochukova -- Russian chess player
Wikipedia - Anna Liisa -- 1895 play by Minna Canth
Wikipedia - Annalisa Turci -- Italian softball player
Wikipedia - Anna Lynch (billiards player) -- Snooker and billiards player
Wikipedia - Anna-Maria Botsari -- Greek chess player
Wikipedia - Anna Mazhirina -- Russian pool, snooker and billiards player, born 1983
Wikipedia - Anna M. Sargsyan -- Armenian chess player
Wikipedia - Anna Muzychuk -- Ukrainian chess player
Wikipedia - Anna Nazarov -- American Frisbee Player
Wikipedia - Anna Prysazhnuka -- Latvian cue sports player
Wikipedia - Anna Rudolf -- Hungarian chess player
Wikipedia - Anna Sharevich -- Belarusian chess player (born 1985)
Wikipedia - Anna Ushenina -- Ukrainian chess player
Wikipedia - Anna Vasenina -- Russian chess player
Wikipedia - Anna Wahlenberg -- Swedish writer and playwright
Wikipedia - Anna Warakomska -- Polish chess player
Wikipedia - Anna Wijk -- Swedish floorball player
Wikipedia - Anna Ziegler (playwright) -- American playwright
Wikipedia - Anna Zozulia -- Belgian chess player
Wikipedia - Ann Burnstein -- American bridge player
Wikipedia - Ann Cook (soccer) -- American soccer coach and former player
Wikipedia - Anne Amie -- Indian playback singer
Wikipedia - Anne Haast -- Dutch chess player
Wikipedia - Anneliese Brandler -- German chess player
Wikipedia - Anne-Marie Olivier -- Canadian actress and playwright
Wikipedia - Anne Morrison Chapin -- American playwright, actress, and screenwriter
Wikipedia - Anne Nichols -- American playwright
Wikipedia - Annett Wagner-Michel -- German chess player
Wikipedia - Anne Vegter -- Dutch poet, playwright and writer of children's literature
Wikipedia - Anne Washburn -- American playwright
Wikipedia - Ann Henning Jocelyn -- Swedish-born Irish playwright, translator and author.
Wikipedia - Annie Baker -- American playwright and teacher
Wikipedia - Annie Moore Cherry -- American professor, author, and playwright
Wikipedia - Annie Wang (chess player) -- American chess player
Wikipedia - Ann-Marie MacDonald -- Canadian playwright, novelist, actress and broadcast journalist
Wikipedia - Annupamaa -- Indian playback singer from Tamil Nadu
Wikipedia - An Octoroon -- 2014 play, an adaptation of The Octoroon
Wikipedia - Anomalies (Traveller) -- Science-fiction role-playing game supplement
Wikipedia - Another Country (play) -- Play written by Julian Mitchell
Wikipedia - Another Part of the Forest -- Play written by Lillian Hellman
Wikipedia - Anouar Brahem -- Tunisian oud player and composer
Wikipedia - Anthony Clarvoe -- American playwright
Wikipedia - Anthony C. Perera -- Sri Lankan actor, screenplay writer and comedian
Wikipedia - Anthony Ingrassia -- American director, producer, and playwright
Wikipedia - Anthony Lacen -- African-American jazz tuba player
Wikipedia - Anthony Lee (actor) -- American actor and playwright
Wikipedia - Anthony Minghella -- British film director, playwright and screenwriter
Wikipedia - Anthony Moon -- Fictional character from the BBC soap opera EastEnders, played by Matt Lapinskas
Wikipedia - Anthony Munday -- 16th/17th-century English playwright
Wikipedia - Antichamber -- Single-player first-person puzzle-platform video game
Wikipedia - Antigone (Anouilh play)
Wikipedia - Antigone (Euripides play)
Wikipedia - Antigone (Sophocles play)
Wikipedia - Antihero -- Leading character in a film, book or play, who is devoid of heroic qualities
Wikipedia - Antoaneta Stefanova -- Bulgarian chess player
Wikipedia - Anton Fritz Gragger -- Austrian chess player
Wikipedia - Antonin d'Avrecourt -- French playwright
Wikipedia - Antonio Cid Cortes -- Spanish boccia player
Wikipedia - Antonio Fernandes (chess player) -- Portuguese chess player
Wikipedia - Antonio Gabica -- Philippine pool player, born October 1972
Wikipedia - Antonio Martinez de Meneses -- Spanish playwright
Wikipedia - Antonio Sacconi -- Italian chess player
Wikipedia - Antonio Serrano (director) -- Mexican film director, actor, playwright and screenwriter
Wikipedia - Anton Kinzel -- Austrian chess player
Wikipedia - Anton Kohler -- German chess player
Wikipedia - Anton Korobov -- Ukrainian chess player
Wikipedia - Anton TomaM-EM-> Linhart -- Carniolan playwright and historian
Wikipedia - Antony and Cleopatra -- Play by William Shakespeare
Wikipedia - Ants SoosM-CM-5rv -- Estonian Renju player
Wikipedia - Anudeep Dev -- Indian playback singer
Wikipedia - Anupama Gokhale -- Indian chess player
Wikipedia - Anupam Amod -- Indian playback singer
Wikipedia - Anupama Mukti -- Playback singer
Wikipedia - Anup Kumar (kabaddi) -- Indian kabaddi player
Wikipedia - Anya Corke -- English chess player
Wikipedia - An Yangfeng -- Chinese chess player
Wikipedia - Anyone Can Play -- 1968 film
Wikipedia - An Young-gil -- South Korean Go player
Wikipedia - Anything (The Cranberry Saw Us demo) -- Extended play by The Cranberries
Wikipedia - Anzel Solomons -- South Africa chess player
Wikipedia - An Zhongxin -- Chinese softball player
Wikipedia - Aodhan Madden -- Irish writer, playwright and screenwriter
Wikipedia - Aonghus McAnally -- Irish broadcaster, entertainer and billiards player
Wikipedia - Aparna Balamurali -- Indian film actress and playback singer
Wikipedia - A Passion Play -- 1973 album by Jethro Tull
Wikipedia - A Phoenix Too Frequent (1957 film) -- 1957 Australian TV play
Wikipedia - A Phoenix Too Frequent -- Stage play by Christopher Fry
Wikipedia - Aphra Behn -- 17th century British playwright, poet, translator and fiction writer
Wikipedia - A Pilot's Guide to the Drexilthar Subsector -- Science-fiction role-playing game supplement
Wikipedia - A Play for a Passenger -- 1995 film
Wikipedia - A Play Is A Poem -- Collection of plays by Ethan Coen
Wikipedia - A. Polak Daniels -- Dutch chess player
Wikipedia - Apolonia Litwinska -- Polish chess player
Wikipedia - Apple displays -- Displays sold by Apple Inc.
Wikipedia - Apple TV (software) -- Media player software applications operated by Apple Inc.
Wikipedia - A Present from Margate -- 1933 British comedy play by Ian Hay and AEW Mason
Wikipedia - Apsari Begam -- Nepali cricket player
Wikipedia - Apurva Avsar -- 2007 Gujarati-language play
Wikipedia - Arabesque (Coldplay song) -- 2019 song by Coldplay
Wikipedia - A Raisin in the Sun -- Play by [[Lorraine Hansberry]]
Wikipedia - A. R. Ameen -- Indian playback singer
Wikipedia - Aravind Enrique Adyanthaya -- Puerto Rican theater director and playwright
Wikipedia - A. R. B. Thomas -- English amateur chess player
Wikipedia - Arcades (Milton) -- Play written by John Milton
Wikipedia - Arcadia (play) -- 1993 play by Tom Stoppard
Wikipedia - Archelaus (play) -- Tragedy by Euripides
Wikipedia - Archmagic -- 1993 role-playing game supplement
Wikipedia - Ardele ou la Marguerite -- 1948 play written by Jean Anouilh
Wikipedia - Arden of Faversham -- 1592 English play of undetermined authorship
Wikipedia - Arena of Valor -- Multiplayer online battle arena video game
Wikipedia - Arena rock -- Genre of rock played in arena
Wikipedia - Argonaute -- Protein that plays a role in RNA silencing process
Wikipedia - Ariah Mohiliver -- Israeli chess player and editor
Wikipedia - Arianne Caoili -- Australian chess player
Wikipedia - Ariel Sorin -- Argentine chess player
Wikipedia - Ariel (The Little Mermaid) {{DISPLAYTITLE:Ariel (''The Little Mermaid'') -- Ariel (The Little Mermaid) {{DISPLAYTITLE:Ariel (''The Little Mermaid'')
Wikipedia - Arijit Singh -- Indian playback singer
Wikipedia - Arik Braun -- German chess player
Wikipedia - Arinbjorn GuM-CM-0mundsson -- Icelandic chess player
Wikipedia - Aristide Gromer -- French chess player
Wikipedia - Aristides Zografakis -- Greek chess player
Wikipedia - Aristophanes -- ancient Athenian comic playwright
Wikipedia - Arjun Vishnuvardhan -- Indian chess player
Wikipedia - Arkangel Shakespeare -- early 21st-century series of audio drama presentations of the plays of William Shakespeare
Wikipedia - Arlene Hutton -- American playwright
Wikipedia - Armando Costa (soccer) -- Canadian immigrant, Portuguese singer, soccer coach, and former player
Wikipedia - Arman Mikaelyan -- Armenian chess player
Wikipedia - Arman Pashikian -- Armenian chess player
Wikipedia - Armorial of Spain -- Heraldic visual designs displayed in Spain
Wikipedia - Arms and the Man -- Play by George Bernard Shaw
Wikipedia - Arne Desler -- Danish chess player
Wikipedia - Arne Kroghdahl -- Norwegian chess player
Wikipedia - Arnie Fisher -- American bridge player
Wikipedia - Arnold Aurbach -- Polish-French chess player
Wikipedia - Arnold Denker -- American chess player
Wikipedia - Arnold Ridley -- English playwright and actor
Wikipedia - Arnold van den Hoek -- Dutch chess player
Wikipedia - Arnold van Foreest -- Dutch chess player
Wikipedia - ArnoM-EM-!t Goldflam -- Czech playwright, actor, presenter, professor, publicist, scriptwriter, writer and university educator
Wikipedia - Arno Nickel -- German chess player
Wikipedia - Aron Schvartzman -- Argentine chess player
Wikipedia - Aron Zabludowski -- Polish chess player
Wikipedia - Arpeggio -- Notes in a chord played in sequence
Wikipedia - Arpita Chakraborty -- Indian playback singer
Wikipedia - Arsene Louviau -- Belgian chess player
Wikipedia - Arsenic and Old Lace (play) -- Play
Wikipedia - Arsen Yegiazarian -- Armenian chess player
Wikipedia - Arseny Shurunov -- Russian chess player
Wikipedia - Arshak Petrosian -- Armenian chess player
Wikipedia - Artashes Minasian -- Armenian chess player
Wikipedia - Artem Ivanov (draughts player) -- Ukrainian draughts player
Wikipedia - Art exhibition -- Organized presentation and display of works of art
Wikipedia - Arthur Dake -- American chess player
Wikipedia - Arthur Engebretsen -- New Zealand lawn bowls player
Wikipedia - Arthur Feuerstein -- American chess player
Wikipedia - Arthur G. Robinson -- American bridge player
Wikipedia - Arthur Howard Williams -- Welsh chess player
Wikipedia - Arthur John Mackenzie -- Scottish chess player
Wikipedia - Arthur Laurents -- American playwright, theatre director and screenwriter
Wikipedia - Arthur Leslie -- actor and playwright
Wikipedia - Arthur Miller -- American playwright
Wikipedia - Arthur S. Goldsmith -- American bridge player
Wikipedia - Arthur Ssegwanyi -- Ugandan chess player
Wikipedia - Arthur Wilson (writer) -- 17th-century English playwright, historian, and poet
Wikipedia - Arthur Wing Pinero -- British playwright and actor
Wikipedia - Artiom Tsepotan -- Ukrainian chess player
Wikipedia - Art (play) -- 1994 play by Yasmina Reza
Wikipedia - Artur Hennings -- German chess player
Wikipedia - Arturo Bonet -- Spanish chess player
Wikipedia - Arturo Liebstein -- Uruguayan chess player
Wikipedia - Arturo Reggio -- Italian chess player
Wikipedia - Artur Poplawski -- Polish chess player
Wikipedia - Arturs Bernotas -- Latvian chess player
Wikipedia - Aruna Narayan -- Sarangi player from India
Wikipedia - Arun Lal -- Indian cricket player.
Wikipedia - Arved Heinrichsen -- Lithuanian chess player
Wikipedia - Arvind Venugopal -- Indian playback singer
Wikipedia - ArvM-DM-+ds Talavs -- Latvian chess player
Wikipedia - Arvo Raitavuo -- Finnish bandy player
Wikipedia - Aryan Tari -- Norwegian chess player
Wikipedia - Asa Hoffmann -- American chess player
Wikipedia - Asami Ueno -- Japanese Go player
Wikipedia - Asari (Mass Effect) {{DISPLAYTITLE: Asari (''Mass Effect'') -- Asari (Mass Effect) {{DISPLAYTITLE: Asari (''Mass Effect'')
Wikipedia - Ascent To Anekthor -- Science-fiction role-playing game supplement
Wikipedia - Asela de Armas Perez -- Cuban chess player
Wikipedia - Ash King -- UK-born Bollywood playback singer
Wikipedia - Ashley Hansen (softball) -- American softball player
Wikipedia - Ashlie Andrews -- Canadian goalball player
Wikipedia - Ashling Thompson -- Irish camogie player
Wikipedia - Ashot Nadanian -- Armenian chess player and coach
Wikipedia - Asieh Ahmadi -- Iranian daf, dayereh and tanbur player
Wikipedia - Aslan Mercenary Ships -- Science-fiction role-playing game supplement
Wikipedia - Asma Houli -- Algerian chess player
Wikipedia - A Soldier's Plaything -- 1930 film
Wikipedia - A Song at Twilight -- Play written by NoM-CM-+l Coward
Wikipedia - A Song of Ice and Fire Roleplaying -- tabletop role-playing game
Wikipedia - Assem Afifi -- Egyptian chess player
Wikipedia - Assist (ice hockey) -- Point awarded to players whose passes enabled a goal
Wikipedia - Astor Piazzolla -- Argentine tango composer, bandoneon player and arranger
Wikipedia - Astra Goldmane -- Latvian chess player
Wikipedia - Astra Klovane -- Latvian chess player
Wikipedia - A Streetcar Named Desire -- 1947 play by Tennessee Williams
Wikipedia - Astrid Lindgren -- Swedish writer of fiction and screenplays
Wikipedia - Astro's Playroom -- 2020 video game
Wikipedia - Asya Miller -- American goalball player
Wikipedia - Asymmetric gameplay
Wikipedia - A Tale of a Tub (play) -- Play written by Ben Jonson
Wikipedia - Atanas Kolarov -- Bulgarian chess player
Wikipedia - Atanas Kolev -- Bulgarian chess player
Wikipedia - Ataraxia (gamer) -- former professional Smite player
Wikipedia - Athol Fugard -- South African playwright
Wikipedia - Atlanta SC -- An American soccer team based in Atlanta, Georgia that plays in the National Independent Soccer Association
Wikipedia - Atousa Pourkashiyan -- Iranian chess player
Wikipedia - A Tragedian in Spite of Himself -- Play by Anton Chekhov
Wikipedia - Atsushi Ida -- Japanese go player
Wikipedia - Atsushi Kato -- Japanese Go player
Wikipedia - At the Edge of Thim -- Stageplay by Ebrahim Hussein
Wikipedia - Attribute (role-playing games) -- Quantified characteristic in role-playing games
Wikipedia - Au Chi-wai -- Hong Kong snooker and pool player
Wikipedia - Audiophile -- Name for a person who pursues high-quality or realistic audio playback
Wikipedia - Audio Playground -- Canadian dance-pop band
Wikipedia - Audrey Cefaly -- American playwright
Wikipedia - Audrey Rutherford -- Australian bowls player
Wikipedia - Augusta Braunerhjelm -- Swedish playwright and writer
Wikipedia - Augusta, Lady Gregory -- Irish playwright, poet, folklorist
Wikipedia - August Eller -- Estonian chess player
Wikipedia - Augustin Daly -- 19th-century American playwright and theatre impresario
Wikipedia - Augusto de Muro -- Argentine chess player and organizer
Wikipedia - August Wilson -- American playwright (1945-2005)
Wikipedia - Aulikki Ristoja -- Finnish chess player
Wikipedia - Aurand Harris -- Prolific American Children's Playwright
Wikipedia - AuronPlay -- Spanish YouTuber
Wikipedia - Aurora Stewart de PeM-CM-1a -- Canadian playwright and director
Wikipedia - Aurora -- Natural light display that occurs in the sky, primarily at high latitudes (near the Arctic and Antarctic)
Wikipedia - Aurore Sourcebook -- Role playing game supplement
Wikipedia - Austin Gary -- American songwriter, novelist, and playwright (born 1947)
Wikipedia - Automotive head-up display -- Any transparent display that presents data in the automobile without requiring users to look away from their usual viewpoints
Wikipedia - AutoPlay
Wikipedia - Avalon: The Legend Lives -- Fantasy multi-player role-playing game
Wikipedia - Avetik Grigoryan -- Armenian chess player
Wikipedia - AVICII Invector -- 2019 multi-player music video game
Wikipedia - A Walk in the Woods (play) -- Play written by Lee Blessing
Wikipedia - A Walk to Remember (EP) -- Extended play by Yoona
Wikipedia - A Woman of No Importance -- 1893 play by Oscar Wilde
Wikipedia - Awonder Liang -- American chess player
Wikipedia - Axe (gamer) -- American esports player
Wikipedia - Axel Bachmann -- Paraguayan chess player
Wikipedia - Axel Cruusberg -- Danish chess player
Wikipedia - Axel Nielsen (chess player) -- Danish chess player
Wikipedia - Axel Ornstein -- Swedish chess player
Wikipedia - Axel Schmidt (oboist) -- German cor anglais player and oboist
Wikipedia - Ayah Moaataz -- Egyptian chess player
Wikipedia - Ayako Sanada -- Japanese shogi player
Wikipedia - Ayan Allahverdiyeva -- Azerbaijani chess player
Wikipedia - Aya Uchiyama -- Japanese shogi player
Wikipedia - Aydan Hojjatova -- Azerbaijani chess player
Wikipedia - Aydin Suleymanli -- Azerbaijani chess player
Wikipedia - Ayelen Martinez -- Argentine chess player
Wikipedia - Aye Lwin -- Burmese chess player
Wikipedia - Aynur Sofiyeva -- Azerbaijani chess player and politician
Wikipedia - Ayumi Karino -- Japanese softball player
Wikipedia - Azmira Khatun Dola -- Bangladeshi kabaddi player
Wikipedia - Baba Brinkman -- Canadian rapper and playwright
Wikipedia - Babken Melkonyan -- Armenian snooker and pool player
Wikipedia - Babylon 5 Roleplaying Game -- Tabletop role-playing game
Wikipedia - Backgammon -- One of the oldest board games for two players
Wikipedia - Back to Back: Duke Ellington and Johnny Hodges Play the Blues -- album by Duke Ellington
Wikipedia - Back to Methuselah -- Play written by George Bernard Shaw
Wikipedia - Back to Stone -- 2006 GBA action role-playing video game
Wikipedia - Bad Cop/Bad Cop -- Band that plays punk rock
Wikipedia - Bad Jews -- Play written by Joshua Harmon
Wikipedia - Badsha Miah -- Bangladeshi kabaddi player
Wikipedia - Baguettes in the Face -- 2019 song by Mustard featuring Nav, Playboi Carti, and A Boogie wit da Hoodie
Wikipedia - Bahman Forsi -- Iranian playwright
Wikipedia - Bai Fengxi -- Chinese actress, and playwright
Wikipedia - Bai Jinshi -- Chinese chess player
Wikipedia - Baira Kovanova -- Russian chess player
Wikipedia - Baire Benitez -- Cuban chess player
Wikipedia - Balduin Wolff -- German painter and chess player
Wikipedia - Baldur Honlinger -- Austrian chess player
Wikipedia - Baldur Moller -- Icelandic chess player
Wikipedia - Balls (gamer) -- American League of Legends player
Wikipedia - Balwinder Singh -- Indian kabaddi player
Wikipedia - BaM-EM-^Futa Rubess -- Canadian theatre director, playwright and professor
Wikipedia - Bandy Playing Rules -- The rule book for the winter team sport of bandy
Wikipedia - Bandy -- Ballgame on ice played using skates and sticks
Wikipedia - Bangalore Latha -- Indian playback singer
Wikipedia - Bang Bang! (play) -- 2017 play
Wikipedia - Bankulli {{DISPLAYTITLE:Bankulli -- Bankulli {{DISPLAYTITLE:Bankulli
Wikipedia - Banshee (media player)
Wikipedia - Bao Daolei -- Chinese goalball player
Wikipedia - Barbara Buchholz -- German composer and theremin player
Wikipedia - Barbara Casini -- Italian vocalist and guitar player
Wikipedia - Barbara Colio -- Mexican playwright and actress
Wikipedia - Barbara Ewing -- British actress, playwright and novelist
Wikipedia - Barbara Flerow-Bulhak -- Polish chess player
Wikipedia - Barbara Frietchie -- Play written by Clyde Fitch
Wikipedia - Barbara Hund -- Swiss chess player
Wikipedia - Barbara Jaracz -- Polish chess player
Wikipedia - Barbara Kaczorowska -- Polish chess player
Wikipedia - Barbara Pernici -- Italian chess player
Wikipedia - Barbara Rappaport -- American bridge player
Wikipedia - Barbara Vernon (writer) -- Australian playwright, screenwriter and radio announcer
Wikipedia - Bardolph (Shakespeare character) -- character in several plays by Shakespeare
Wikipedia - BariM-EM-^_ Esen -- Turkish chess player
Wikipedia - Baroness Orczy -- Hungarian-born British novelist and playwright
Wikipedia - Barony (role-playing game) -- Game
Wikipedia - Barotrauma (video game) -- 2019 side-scrolling role-playing video game
Wikipedia - Barrie Keeffe -- British playwright
Wikipedia - Barry Beckham -- American playwright
Wikipedia - Barry Crane -- American producer, director, and bridge player
Wikipedia - Barry Creyton -- Australian actor and playwright
Wikipedia - Barry England -- English playwright and novelist
Wikipedia - Barry Tuckwell -- Australian horn player
Wikipedia - Bartholomew Fair (play) -- Play
Wikipedia - Bartle taxonomy of player types
Wikipedia - Barton MacLane -- Actor, playwright, screenwriter
Wikipedia - Bartosz Socko -- Polish chess player
Wikipedia - Barx homeobox 1 -- May play a role in developing teeth and craniofacial mesenchyme of neural crest origin.
Wikipedia - Bas Drijver -- Dutch bridge player
Wikipedia - Basheer Al Qudaimi -- Yemeni chess player
Wikipedia - Bashir Momin Kavathekar -- Indian poet and playwright
Wikipedia - Bash: Latter-Day Plays
Wikipedia - Basic Replay -- record label imprint
Wikipedia - Basic Role-Playing
Wikipedia - Basic theorems in algebraic K-theory {{DISPLAYTITLE:Basic theorems in algebraic ''K''-theory -- Basic theorems in algebraic K-theory {{DISPLAYTITLE:Basic theorems in algebraic ''K''-theory
Wikipedia - Bassem Amin -- Egyptian chess player
Wikipedia - Bassist -- Musician who plays a bass instrument
Wikipedia - Bastion (video game) -- Action role-playing video game
Wikipedia - Bat-and-ball games -- Field games played by two opposing teams
Wikipedia - Batchimeg Tuvshintugs -- Mongolian chess player
Wikipedia - Bathsheba Doran -- British dramatists and playwright
Wikipedia - Batkhuyagiin Mongontuul -- Mongolian chess player
Wikipedia - Batting average (cricket) -- Total number of runs that a player has scored divided by the number of times that player has been out
Wikipedia - Batting order (cricket) -- Sequence in which batsmen play through their team's innings
Wikipedia - Battle Bears Gold -- Multi-player video game
Wikipedia - Battleborn (video game) -- 2016 multiplayer first-person shooter video game
Wikipedia - Battle Chasers: Nightwar -- 2017 role-playing mobile game
Wikipedia - Battlerite -- 2017 multiplayer action video game
Wikipedia - Battle royale game -- Video game genre with the last-man-standing gameplay
Wikipedia - Battleship (game) -- Strategy type guessing game for two players
Wikipedia - Bayli Cruse -- American softball player
Wikipedia - Bayna Ana wa Ana Hya -- Play by Jean Daoud
Wikipedia - B.B.B (EP) -- Extended play by Dal Shabet
Wikipedia - BBC iPlayer -- internet streaming, catchup, television and radio service
Wikipedia - BBC Music -- Part of the BBC's Radio operational division, responsible for the music played across the BBC
Wikipedia - BBC Television Shakespeare -- series of British TV adaptations of the plays of Shakespeare
Wikipedia - Be Ambitious -- Extended play by Dal Shabet
Wikipedia - Beata Zawadzka -- Polish chess player
Wikipedia - Beatrix Christian -- Australian playwright and screenwriter
Wikipedia - Beatriz Alfonso Nogue -- Spanish chess player
Wikipedia - Beau (guitarist) -- British singer-songwriter and twelve-string guitar player
Wikipedia - Becket (Tennyson play)
Wikipedia - Becky Mode -- American playwright & actress
Wikipedia - Behind closed doors (sport) -- Sporting events played without spectators
Wikipedia - Behind Enemy Lines (role-playing game) -- Tabletop role-playing game
Wikipedia - Bela Berger -- Hungarian-Australian chess player
Wikipedia - Bela Khotenashvili -- Georgian chess player
Wikipedia - Bela Perenyi -- Hungarian chess player
Wikipedia - Bela Sandor -- Hungarian chess player
Wikipedia - Belinda Cornish -- Canadian actress and playwright
Wikipedia - Belinda White -- Australian softball player
Wikipedia - Belinda Wright (softball) -- Australian softball player
Wikipedia - Bella Gesser -- Israeli chess player
Wikipedia - Bell, Book and Candle (play) -- 1950 Broadway play by John Van Druten
Wikipedia - Bellerophon (play)
Wikipedia - BeltStrike: Riches and Danger in the Bowman Belt -- Science-fiction role-playing game supplement
Wikipedia - Be My Baby (Amanda Whittington play) -- Play written by Amanda Whittington
Wikipedia - Ben Apps -- English croquet player
Wikipedia - Ben Bowen (musician) -- Canadian trumpet player
Wikipedia - Ben Brown (playwright) -- British playwright
Wikipedia - Ben Croft -- American racquetball player
Wikipedia - Benedicte Cronier -- French bridge player
Wikipedia - Ben Elton -- British comedian, author, playwright, actor and director
Wikipedia - Ben Fain -- American bridge player
Wikipedia - Bengt Ekenberg -- Swedish chess player
Wikipedia - Bengt-Eric Horberg -- Swedish chess player
Wikipedia - Ben Hecht -- American screenwriter, director, producer, playwright, journalist and novelist
Wikipedia - Beniamino Vergani -- Italian chess player
Wikipedia - Benito Garozzo -- Italian-American bridge player
Wikipedia - Benito Villegas -- Argentine chess player
Wikipedia - Benjamin Antier -- French playwright
Wikipedia - Benjamin Blumenfeld -- Russian chess player
Wikipedia - Benjamin Jamieson -- Canadian lacrosse player
Wikipedia - Ben Jonson -- 17th-century English playwright, poet, and actor
Wikipedia - Ben Landeck -- British playwright
Wikipedia - Ben Player -- Australian bodyboarder
Wikipedia - Bent Kolvig -- Danish chess player
Wikipedia - Ben Z. Grant -- American politician, judge, author, and playwright
Wikipedia - Berenice -- Five-act tragedy by the French 17th-century playwright Jean Racine
Wikipedia - Berna Carrasco -- Chilean chess player
Wikipedia - Bernadette Hall -- New Zealand playwright and poet
Wikipedia - Bernard Edwards -- American bass player and record producer
Wikipedia - Bernardo Wexler -- Argentine chess player
Wikipedia - Bernard Schubert -- American screenwriter, playwright, television producer
Wikipedia - Bernard Woma -- Ghanaian gyile player
Wikipedia - Berta Krezberg -- Soviet chess player
Wikipedia - Berthold Englisch -- Austrian chess player
Wikipedia - Berthold Koch -- German chess player
Wikipedia - Bertolt Brecht -- German poet, playwright, and theatre director
Wikipedia - Bertus Borgers -- Dutch saxophone player
Wikipedia - Bertus Enklaar -- Dutch chess player
Wikipedia - Bestiary of Dragons and Giants -- Tabletop role-playing game supplement for Dungeons & Dragons
Wikipedia - Best Player in PlusLiga -- Annual award given to the best player in PlusLiga
Wikipedia - Beth Palmer -- American bridge player (1952-2019)
Wikipedia - Beti Bechwa -- Bhojpuri Play by Bhikhari Thakur
Wikipedia - Betrayal (play)
Wikipedia - Bettina Trabert -- German chess player
Wikipedia - Betty Ann Kennedy -- American bridge player
Wikipedia - Beverly Hills Playhouse -- Acting school with theaters and training facilities in Beverly Hills, California, and other U. S. cities
Wikipedia - Beyond (Paranoia Press) -- Science-fiction role-playing game supplement
Wikipedia - Beyond the Stellar Empire -- Fantasy role-playing game
Wikipedia - Bhagyashree Thipsay -- Indian chess player
Wikipedia - Bharata (Ramayana) {{DISPLAYTITLE:Bharata (''Ramayana'') -- Bharata (Ramayana) {{DISPLAYTITLE:Bharata (''Ramayana'')
Wikipedia - Bharath Subramaniyam -- Indian chess player
Wikipedia - Bhuvneshwar Kumar -- Indian cricket player
Wikipedia - Bianca de Jong-Muhren -- Dutch chess player
Wikipedia - Bias lighting -- Illumination of the surface behind displays
Wikipedia - Bibisara Assaubayeva -- Kazakhstani chess player
Wikipedia - Bicolline -- Live-action role-playing venue and event
Wikipedia - Bicycle Playing Cards -- Playing card brand
Wikipedia - Big Bay Boom -- San Diego fireworks display that occurs yearly on Independence Day
Wikipedia - Big John Wrencher -- American blues harmonica player and singer
Wikipedia - Bijay Mishra -- Indian playwright
Wikipedia - Bilel Bellahcene -- Algerian chess player
Wikipedia - Billboard China Airplay/FL -- International record chart in China for songs
Wikipedia - Bill Bremner -- New Zealand bowls player
Wikipedia - Bill Dickens -- American electric bass guitar player
Wikipedia - Bill Edelstein -- American bridge player
Wikipedia - Billiards world rankings -- Ranking system for players of English billiards
Wikipedia - Bill Lee (singer) -- American playback singer
Wikipedia - Bill Massey (softball) -- New Zealand softball player
Wikipedia - Bill Whittaker (bowls) -- New Zealand bowls player
Wikipedia - Billy Aronson -- American playwright and writer
Wikipedia - Billy Eisenberg -- American backgammon and bridge player
Wikipedia - Billy Lewis Brooks -- American jazz percussion player
Wikipedia - Billy Mitchell (billiards player) -- Player of English billiards
Wikipedia - Billy Mitchell (gamer) -- American video game player
Wikipedia - Billy Rosen -- American bridge player
Wikipedia - Billy Seamon -- American bridge player
Wikipedia - Billy Whitlock -- American blackface performer and banjo player
Wikipedia - Bindass Play -- Indian television channel
Wikipedia - Bindhu Malini -- Indian playback singer, composer, theatre activist
Wikipedia - Bingo (British version) -- Game of probability played in the United Kingdom
Wikipedia - Birds (playing cards)
Wikipedia - Birendra Agrahari -- Nepalese playback singer
Wikipedia - Birendra Krishna Bhadra -- Indian broadcaster, playwright, actor, reciter and theatre director
Wikipedia - Birger Axel Rasmusson -- Finnish chess player
Wikipedia - Birger Walla -- Swedish bandy player
Wikipedia - Biswajit Mohapatra -- Indian Playback Singer from Odisha
Wikipedia - Bi Zhu Qing -- Chinese pool player
Wikipedia - B. Jay Becker -- American lawyer and bridge player
Wikipedia - Bjorn Afzelius -- Swedish singer, songwriter and guitar player.
Wikipedia - Bjorn Brinck-Claussen -- Danish chess player
Wikipedia - Bjorn Einarsson -- Swedish bandy player
Wikipedia - Bjorn Nielsen -- Danish chess player
Wikipedia - Bjorn Thorfinnsson -- Icelandic chess player and journalist
Wikipedia - Bjorn Tiller -- Norwegian chess player
Wikipedia - B. K. Sumitra -- Indian playback singer
Wikipedia - BlackBerry PlayBook -- Tablet computer
Wikipedia - Blackbird (violin) -- Full-size playable violin made of black diabase
Wikipedia - Black Chiffon -- 1959 play written by Lesley Storm
Wikipedia - Black Crypt -- Role-playing video game for the Commodore Amiga from 1992
Wikipedia - Black Falcons -- Royal New Zealand Air Force aerobatic display team
Wikipedia - Blackhand's Street Weapons 2020 -- Tabletop role-playing game supplement
Wikipedia - Black Hills Playhouse -- Theater in Custer, South Dakota
Wikipedia - Blackmoor (supplement) -- Tabletop role-playing game supplement for Dungeons & Dragons
Wikipedia - Black performance of Jewish music -- Jewish music played by Black artists
Wikipedia - Black players in ice hockey -- Sports history
Wikipedia - Black Prince's chevauchee of 1355 {{DISPLAYTITLE:Black Prince's ''chevauchee'' of 1355 -- Black Prince's chevauchee of 1355 {{DISPLAYTITLE:Black Prince's ''chevauchee'' of 1355
Wikipedia - Black screen of death -- Error screen displayed by some operating systems after encountering a critical system error which can cause the system to shut down
Wikipedia - Black Tape for a Blue Girl -- Band that plays dark wave
Wikipedia - Blaire Luna -- American softball player
Wikipedia - Blasted -- Play by Sarah Kane
Wikipedia - Bleem! -- PlayStation emulator
Wikipedia - Bless Unleashed -- Massively multiplayer online role-playing game
Wikipedia - Bling Bling (EP) -- Extended play by Dal Shabet
Wikipedia - Blithe Spirit (play) -- Play written by NoM-CM-+l Coward
Wikipedia - Blitzchung controversy -- ban of an esport player for supporting Hong Kong protests
Wikipedia - Blocco-Juve -- Group of Juventus F.C. players
Wikipedia - Blondie Plays Cupid -- 1940 film by Frank R. Strayer
Wikipedia - Bloodborne -- 2015 action role-playing video game
Wikipedia - Bloodshot / Waste -- 2019 extended play by Dove Cameron
Wikipedia - Bloody Sunday: Scenes from the Saville Inquiry -- Play written by Richard Norton-Taylor
Wikipedia - Blooming Blue (EP) -- 2018 extended play by Chungha
Wikipedia - Blue Comet (play) -- 1926 play by Eden Phillpotts
Wikipedia - Blue Denim -- 1958 Broadway play by James Leo Herlihy adapted to film in 1959
Wikipedia - Blue Reflection -- 2017 role-playing video game
Wikipedia - Blue screen of death -- Error screen displayed after a fatal system error on a Windows computer
Wikipedia - Board wargame -- Wargame played on a printed surface or board
Wikipedia - Bob Anderson (darts player)
Wikipedia - Bob Barnard (musician) -- Australian trumpet and cornet player
Wikipedia - Bobby Cheng -- Australian chess player
Wikipedia - Bobby Fischer -- American chess player and chess writer
Wikipedia - Bobby Goldman -- American bridge player, teacher, writer, and official
Wikipedia - Bobby Levin -- American contract bridge player
Wikipedia - Bobby Nail -- American bridge player
Wikipedia - Bob Chaperon -- Canadian snooker and billiards player
Wikipedia - Bob Kullen -- American ice hockey coach and player
Wikipedia - Bob Marshall (billiards player) -- Australian Billiards player
Wikipedia - Body Parts (Cypress Hill album) -- 2000 hip-hop extended play
Wikipedia - Bogdan Lalic -- Croatian chess player
Wikipedia - Bogdan Sliwa -- Polish chess player
Wikipedia - Boktai -- Action role-playing video game series
Wikipedia - Bolette Roed -- Danish recorder player
Wikipedia - BoM-EM- -- Polish chess player
Wikipedia - BoM-EM- -- Polish chess player
Wikipedia - Bonduca -- Play written by John Fletcher
Wikipedia - Bones Allen -- Canadian ice hockey and lacrosse player
Wikipedia - Bonnie Chakraborty -- Indian playback singer
Wikipedia - Bonnie Raitt -- Blues singer-songwriter and slide guitar player from the United States
Wikipedia - Bonnie Tholl -- American softball player
Wikipedia - Bonnie Winterbottom -- Fictional character on the television series ''How to Get Away With Murder'' played by Liza Weil
Wikipedia - Book music -- Medium for storing the music played on mechanical organs
Wikipedia - Boombox -- Portable music player with tape recorders and radio with a carrying handle
Wikipedia - Boomplay Music -- Music streaming service
Wikipedia - Boot Hill (role-playing game)
Wikipedia - Borderlands (video game) -- 2009 action role-playing first-person shooter video game
Wikipedia - Borge Andersen (chess player) -- Danish chess player
Wikipedia - Boris Allakhverdyan -- Armenian-American clarinet player
Wikipedia - Boris Baran -- Canadian bridge player
Wikipedia - Boris Chatalbashev -- Bulgarian chess player
Wikipedia - Boris de Greiff -- Colombian chess player and writer
Wikipedia - Boris Khanukov -- Ukrainian chess player
Wikipedia - Boris Koytchou -- American bridge player
Wikipedia - Borislav Ivkov -- Serbian chess player
Wikipedia - Boris RM-CM-5tov -- Russian-Estonian chess player
Wikipedia - Boris Verlinsky -- Ukrainian-Russian chess player
Wikipedia - Borje Jansson (chess player) -- Swedish chess player
Wikipedia - Born Yesterday (play) -- 1946 play by Garson Kanin
Wikipedia - Borya Ider -- French chess player
Wikipedia - Boshra Alshaebyi -- Jordanian chess player
Wikipedia - Bosse Halla -- Norwegian bandy player
Wikipedia - Boston Red Sox minor league players -- Wikipedia list article
Wikipedia - Botanical garden -- garden where plants are grown for scientific study, conservation and public display
Wikipedia - Botho StrauM-CM-^_ -- German playwright, novelist, and essayist
Wikipedia - Bowed guitar -- Method of playing a guitar
Wikipedia - Bowling -- Class of sports in which a player rolls a bowling ball towards a target
Wikipedia - Bow (music) -- stick-shaped implement with hairs used to play a string musical instrument
Wikipedia - Box for One -- Television play
Wikipedia - Boye Brogeland -- Norwegian professional bridge player
Wikipedia - Boys Life 4: Four Play -- 2003 film
Wikipedia - Bozlur Rashid -- Bangladeshi kabaddi player
Wikipedia - Brad Moss -- American bridge player
Wikipedia - Braeden Cloutier -- American soccer coach and former player
Wikipedia - Braille display
Wikipedia - Branislava Ilic -- Serbian playwright, dramaturge and screenwriter
Wikipedia - Branko Hofman -- Poet, writer and playwright (1929-1991)
Wikipedia - Bravo! (EP) -- 2015 Extended play by UP10TION
Wikipedia - B. R. Chaya -- Kannada playback singer
Wikipedia - Breakages, Limited -- Fictional corporation in a play by George Bernard Shaw
Wikipedia - Breaking the Code -- 1986 play written by Hugh Whitemore
Wikipedia - Breath of Fire -- Role-playing video game series developed by Capcom
Wikipedia - Brenda De Blaes -- Australian softball player
Wikipedia - Brendan Behan -- Irish poet, short story writer, novelist, and playwright
Wikipedia - Brenton Weyi -- American essayist, playwright and poet of DR-Congolese descent
Wikipedia - Brent Peterson -- Canadian ice hockey coach and former player
Wikipedia - Brian Clark (writer) -- British playwright and television writer
Wikipedia - Brian Cody -- Irish hurling manager and former player
Wikipedia - Brian Drader -- Canadian stage actor and playwright
Wikipedia - Brian Platnick -- American bridge player
Wikipedia - Brian Torrey Scott -- American playwright
Wikipedia - Bridge maxims -- Advice for playing contract bridge
Wikipedia - Bridget Doyle -- Irish camogie player
Wikipedia - Brid Gordon -- Irish camogie player
Wikipedia - Brigitte Burchardt -- German chess player
Wikipedia - Brigitte (Overwatch) -- Fictional player character in the 2016 video game Overwatch
Wikipedia - Brij Narayan -- Indian sarod player
Wikipedia - Brisbane Bears Club Champion -- Award given to Brisbane Bears players
Wikipedia - Britannicus (play) -- Tragic play by the French dramatist Jean Racine
Wikipedia - British Bulldog (game) -- Playground game
Wikipedia - Brittany Binger -- American playboy playmate
Wikipedia - Brittany Rogers (softball) -- American softball player
Wikipedia - Britt Vonk -- Dutch softball player
Wikipedia - BrM-CM-,ghde Chaimbeul -- Scottish bagpipe player (b. 1998)
Wikipedia - Broadcast reference monitor -- Display device similar to a television set
Wikipedia - Brock Boyle -- Canadian lacrosse player
Wikipedia - Brock Norman Brock -- British screenwriter and playwright
Wikipedia - Broken Tree Inn -- fantasy role-playing game
Wikipedia - Brooke Berman -- American playwright and author
Wikipedia - Brooke Wilkins -- Australian softball player
Wikipedia - Browser game -- Video game played in a web browser
Wikipedia - Bruce Amos -- Canadian chess player
Wikipedia - Bruce Dickey -- American cornett player
Wikipedia - Bruce Elliott (bridge) -- Canadian bridge player
Wikipedia - Bruce Jay Friedman -- American novelist, screenwriter, and playwright
Wikipedia - Bruce Mason -- New Zealand playwright
Wikipedia - Bruce Meade -- American softball player
Wikipedia - Bruce Walsh -- American playwright
Wikipedia - Bruce Wayne (Dark Knight trilogy) {{DISPLAYTITLE: Bruce Wayne (''Dark Knight'' trilogy) -- Bruce Wayne (Dark Knight trilogy) {{DISPLAYTITLE: Bruce Wayne (''Dark Knight'' trilogy)
Wikipedia - Bruton's tyrosine kinase -- Kinase that plays a crucial role in B cell development.
Wikipedia - Bryan Bowers -- American autoharp player
Wikipedia - Bryce Sweeting -- Canadian lacrosse player
Wikipedia - Bryon Nickoloff -- Canadian chess player
Wikipedia - Bubba Nickles -- American softball player
Wikipedia - Buck Rogers XXVC -- Science fiction tabletop role-playing game
Wikipedia - Buddy Spicher -- American country music fiddle player
Wikipedia - Bud Muehleisen -- American racquetball and paddleball player
Wikipedia - Buenaventura Rodriguez -- Filipino Visayan playwright, legislator, and politician
Wikipedia - Buenaventura Villamayor -- Filipino chess player
Wikipedia - Bughouse chess -- Chess variant played on two chessboards by four players in teams of two
Wikipedia - Buket Atalay -- Turkish Paralympic goalball player
Wikipedia - Bulkington (character Moby-Dick) {{DISPLAYTITLE:Bulkington (character ''Moby-Dick'') -- Bulkington (character Moby-Dick) {{DISPLAYTITLE:Bulkington (character ''Moby-Dick'')
Wikipedia - Bulldog Drummond (play) -- 1921 British play
Wikipedia - Buoyant Billions -- Play
Wikipedia - Burst (UP10TION EP) -- 2016 Extended play by UP10TION
Wikipedia - Burt Hochberg -- American chess player
Wikipedia - Busiris (play)
Wikipedia - Bussy D'Ambois -- Play written by George Chapman
Wikipedia - Butch and femme {{DISPLAYTITLE:''Butch'' and ''femme'' -- Butch and femme {{DISPLAYTITLE:''Butch'' and ''femme''
Wikipedia - Butterfly house -- Facility for the breeding and display of butterflies
Wikipedia - Bu Xiangzhi -- Chinese chess player
Wikipedia - Buzkashi -- Central Asian sport played on horseback
Wikipedia - Byron (play)
Wikipedia - C5-convertase -- Serine protease that plays key role in the innate immunity. It participates in the complement system ending with cell death.
Wikipedia - Cachi Cachi music -- Music played by Puerto Ricans after their migration to Hawaii
Wikipedia - Caesar and Cleopatra (play) -- Play by George Bernard Shaw
Wikipedia - Caesar and Pompey -- Jacobean play by George Chapman
Wikipedia - Caesar (Mercury Theatre) -- 1937 stage play by Orson Welles
Wikipedia - CAESAR (spacecraft) {{DISPLAYTITLE:CAESAR (spacecraft) -- CAESAR (spacecraft) {{DISPLAYTITLE:CAESAR (spacecraft)
Wikipedia - Cai Changgui -- Chinese goalball player
Wikipedia - Cain (play)
Wikipedia - Caitlin Lever -- American-Canadian softball player
Wikipedia - Caligula (play)
Wikipedia - Call of Cthulhu (role-playing game) -- Horror tabletop role-playing game
Wikipedia - Callum Crawford -- Canadian lacrosse player
Wikipedia - Calpurnia (play) -- 2018 play
Wikipedia - Calvin Blocker -- American chess player
Wikipedia - Calvin Klaasen -- Chess player
Wikipedia - Cam Bergman -- Canadian lacrosse player
Wikipedia - Camilla Baginskaite -- Lithuanian and American chess player
Wikipedia - Camille De Seroux -- Swiss chess player
Wikipedia - Campaign setting -- Fictional environment setting for a role-playing game
Wikipedia - Campbell Dixon -- Australian-British playwright and journalist
Wikipedia - Camping (video games) -- Video gaming tactic where a player obtains an advantageous static strategic position
Wikipedia - Candace Chong Mui Ngam -- Chinese playwright from Hong Kong
Wikipedia - Candida (play) -- Play by George Bernard Shaw
Wikipedia - Candy Crush Saga -- Free-to-play match-three puzzle video game involving matching candies
Wikipedia - Cannes Film Festival Award for Best Screenplay -- film award category
Wikipedia - Canoe polo -- Team sport played in kayaks
Wikipedia - Can't Help Lovin' Dat Man -- Song by Jerome Kern and Oscar Hammerstein II, from the 1927 musical play Show Boat
Wikipedia - Can't Let You Go Even If I Die -- Extended play recording by 2AM
Wikipedia - Can't Stop Playing (Makes Me High) -- 2015 single by Dr Kucho! and Gregor Salto
Wikipedia - Cao Dayuan -- Chinese Go player
Wikipedia - Cao Dong (renju player) -- Chinese Renju player
Wikipedia - Capacitance Electronic Disc -- Analog video disc playback system
Wikipedia - Capo -- Common tool for players of guitars and other stringed instruments
Wikipedia - Cap (sport) -- Term for a player's appearance in a game at international level
Wikipedia - CaptainMo -- Chinese professional CS:GO player
Wikipedia - Captain Underpants and the Invasion of the Incredibly Naughty Cafeteria Ladies from Outer Space (and the Subsequent Assault of the Equally-Evil Lunchroom Zombie Nerds) {{DISPLAYTITLE:''Captain Underpants and the Invasion of the Incredibly Naughty Cafeteria Ladies from Outer Space (and the Subsequent Assault of the Equally-Evil Lunchroom Zombie Nerds)'' -- Captain Underpants and the Invasion of the Incredibly Naughty Cafeteria Ladies from Outer Space (and the Subsequent Assault of the Equally-Evil Lunchroom Zombie Nerds) {{DISPLAYTITLE:''Captain Underpants and the Invasion of the Incredibly Naughty Cafeteria Ladies from Outer Space (and the Subsequent Assault of the Equally-Evil Lunchroom Zombie Nerds)''
Wikipedia - Card game -- Game using playing cards as the primary device
Wikipedia - Carissa Yip -- American chess player
Wikipedia - Carla Heredia Serrano -- Ecuadorian chess player
Wikipedia - Carl Ahues -- German chess player
Wikipedia - Carla MuM-CM-1oz -- Chilean racquetball player
Wikipedia - Carl August Walbrodt -- German chess player
Wikipedia - Carl Carls -- German chess player
Wikipedia - Carl Klingborg -- Swedish bandy player
Wikipedia - Carl Laufs -- German playwright
Wikipedia - Carl Nixon -- New Zealand novelist, short story writer and playwright
Wikipedia - Carlo Biado -- Filipino pool player
Wikipedia - Carlo Cozio -- Italian chess player
Wikipedia - Carlo Goldoni -- Italian playwright (1707-1783)
Wikipedia - Carlos Antonio Reyes Najera -- Guatemalan chess player
Wikipedia - Carl Oscar Hovind -- Norwegian chess player
Wikipedia - Carlos Cuartas -- Colombian chess player
Wikipedia - Carlos Daniel Albornoz Cabrera -- Cuban chess player
Wikipedia - Carlos Davila (chess player) -- Nicaraguan chess player
Wikipedia - Carlos Eleodoro Juarez -- Argentine chess player
Wikipedia - Carlos Enrique Salazar -- Guatemalan chess player
Wikipedia - Carlos Garcia Palermo -- Argentine-Italian chess player
Wikipedia - Carlos Guimard -- Argentine chess player
Wikipedia - Carlos Hounie Fleurquin -- Uruguayan chess player
Wikipedia - Carlos Jauregui (chess player) -- Chilean-Canadian chess master
Wikipedia - Carlos Maderna -- Argentine chess player
Wikipedia - Carlos Matamoros Franco -- Ecuadorian chess player
Wikipedia - Carlos Rodriguez Lafora -- Spanish chess player
Wikipedia - Carl Schlechter -- Austro-Hungarian chess player
Wikipedia - Carl Whiting (sailor) {{DISPLAYTITLE:Carl Whiting (sailor) -- Carl Whiting (sailor) {{DISPLAYTITLE:Carl Whiting (sailor)
Wikipedia - Carlyle Brown -- American playwright, performer and the artistic director
Wikipedia - Carl Zuckmayer -- German writer and playwright (1896-1977)
Wikipedia - Carmel Winters -- Irish filmmaker and playwright
Wikipedia - Carmen Boullosa -- Mexican poet, novelist and playwright
Wikipedia - Carol Ann Duffy -- British poet and playwright
Wikipedia - Carole Frechette -- Canadian playwright
Wikipedia - Caroline Bijoux -- South African chess player
Wikipedia - Caroline Bird -- British poet, playwright and author
Wikipedia - Caroline McAllister -- Scottish bowls player
Wikipedia - Caroline Murphy -- Irish camogie player
Wikipedia - Carol Jarecki -- American chess player
Wikipedia - Carol PartoM-EM-^_ -- Romanian chess player
Wikipedia - Carol Sanders -- American bridge player
Wikipedia - Carolyn Baxter -- African-American poet, playwright, and musician
Wikipedia - Carolyn Crudgington -- Australian softball player
Wikipedia - Carolyn Lynch -- American philanthropist and bridge player
Wikipedia - CarPlay
Wikipedia - Carrie Anton -- Canadian goalball player
Wikipedia - Carsten Hansen (chess player) -- Danish chess player and writer
Wikipedia - Carsten Hoi -- Danish chess player
Wikipedia - Carver (play) -- Radio drama
Wikipedia - Caryl Churchill -- British playwright
Wikipedia - Case Closed (season 10) {{DISPLAYTITLE:''Case Closed'' (season 10) -- Case Closed (season 10) {{DISPLAYTITLE:''Case Closed'' (season 10)
Wikipedia - Case Closed (season 11) {{DISPLAYTITLE:''Case Closed'' (season 11) -- Case Closed (season 11) {{DISPLAYTITLE:''Case Closed'' (season 11)
Wikipedia - Case Closed (season 12) {{DISPLAYTITLE:''Case Closed'' (season 12) -- Case Closed (season 12) {{DISPLAYTITLE:''Case Closed'' (season 12)
Wikipedia - Case Closed (season 13) {{DISPLAYTITLE:''Case Closed'' (season 13) -- Case Closed (season 13) {{DISPLAYTITLE:''Case Closed'' (season 13)
Wikipedia - Case Closed (season 14) {{DISPLAYTITLE:''Case Closed'' (season 14) -- Case Closed (season 14) {{DISPLAYTITLE:''Case Closed'' (season 14)
Wikipedia - Case Closed (season 15) {{DISPLAYTITLE:''Case Closed'' (season 15) -- Case Closed (season 15) {{DISPLAYTITLE:''Case Closed'' (season 15)
Wikipedia - Case Closed (season 16) {{DISPLAYTITLE:''Case Closed'' (season 16) -- Case Closed (season 16) {{DISPLAYTITLE:''Case Closed'' (season 16)
Wikipedia - Case Closed (season 17) {{DISPLAYTITLE:''Case Closed'' (season 17) -- Case Closed (season 17) {{DISPLAYTITLE:''Case Closed'' (season 17)
Wikipedia - Case Closed (season 18) {{DISPLAYTITLE:''Case Closed'' (season 18) -- Case Closed (season 18) {{DISPLAYTITLE:''Case Closed'' (season 18)
Wikipedia - Case Closed (season 19) {{DISPLAYTITLE:''Case Closed'' (season 19) -- Case Closed (season 19) {{DISPLAYTITLE:''Case Closed'' (season 19)
Wikipedia - Case Closed (season 20) {{DISPLAYTITLE:''Case Closed'' (season 20) -- Case Closed (season 20) {{DISPLAYTITLE:''Case Closed'' (season 20)
Wikipedia - Case Closed (season 21) {{DISPLAYTITLE:''Case Closed'' (season 21) -- Case Closed (season 21) {{DISPLAYTITLE:''Case Closed'' (season 21)
Wikipedia - Case Closed (season 22) {{DISPLAYTITLE:''Case Closed'' (season 22) -- Case Closed (season 22) {{DISPLAYTITLE:''Case Closed'' (season 22)
Wikipedia - Case Closed (season 23) {{DISPLAYTITLE:''Case Closed'' (season 23) -- Case Closed (season 23) {{DISPLAYTITLE:''Case Closed'' (season 23)
Wikipedia - Case Closed (season 24) {{DISPLAYTITLE:''Case Closed'' (season 24) -- Case Closed (season 24) {{DISPLAYTITLE:''Case Closed'' (season 24)
Wikipedia - Case Closed (season 25) {{DISPLAYTITLE:''Case Closed'' (season 25) -- Case Closed (season 25) {{DISPLAYTITLE:''Case Closed'' (season 25)
Wikipedia - Case Closed (season 29) {{DISPLAYTITLE:''Case Closed'' (season 29) -- Case Closed (season 29) {{DISPLAYTITLE:''Case Closed'' (season 29)
Wikipedia - Case Closed (season 3) {{DISPLAYTITLE:''Case Closed'' (season 3) -- Case Closed (season 3) {{DISPLAYTITLE:''Case Closed'' (season 3)
Wikipedia - Case Closed (season 4) {{DISPLAYTITLE:''Case Closed'' (season 4) -- Case Closed (season 4) {{DISPLAYTITLE:''Case Closed'' (season 4)
Wikipedia - Case Closed (season 5) {{DISPLAYTITLE:''Case Closed'' (season 5) -- Case Closed (season 5) {{DISPLAYTITLE:''Case Closed'' (season 5)
Wikipedia - Case Closed (season 6) {{DISPLAYTITLE:''Case Closed'' (season 6) -- Case Closed (season 6) {{DISPLAYTITLE:''Case Closed'' (season 6)
Wikipedia - Case Closed (season 7) {{DISPLAYTITLE:''Case Closed'' (season 7) -- Case Closed (season 7) {{DISPLAYTITLE:''Case Closed'' (season 7)
Wikipedia - Case Closed (season 8) {{DISPLAYTITLE:''Case Closed'' (season 8) -- Case Closed (season 8) {{DISPLAYTITLE:''Case Closed'' (season 8)
Wikipedia - Case Closed (season 9) {{DISPLAYTITLE:''Case Closed'' (season 9) -- Case Closed (season 9) {{DISPLAYTITLE:''Case Closed'' (season 9)
Wikipedia - Casey Jones (play) -- 1938 play written by Robert Ardrey
Wikipedia - Casimiro de Abreu -- Brazilian poet, novelist and playwright
Wikipedia - Cassette tape adapter -- Adapter to allow playback of external sources through a tape player
Wikipedia - Cassette tape -- Magnetic tape recording format for audio recording and playback
Wikipedia - Castle Caldwell and Beyond -- Tabletop role-playing game adventure for Dungeons & Dragons
Wikipedia - Castle Falkenstein (role-playing game) -- Tabletop role-playing game
Wikipedia - Castlevania: Symphony of the Night -- Platform-adventure action role-playing video game
Wikipedia - Castro Alves -- Brazilian poet and playwright
Wikipedia - Catarina Leite -- Portuguese chess player
Wikipedia - Category:16th-century English dramatists and playwrights
Wikipedia - Category:17th-century English dramatists and playwrights
Wikipedia - Category:18th-century French dramatists and playwrights
Wikipedia - Category:19th-century British dramatists and playwrights
Wikipedia - Category:19th-century French dramatists and playwrights
Wikipedia - Category:19th-century Indian dramatists and playwrights
Wikipedia - Category:1. deild karla players
Wikipedia - Category:1. EV Weiden players
Wikipedia - Category:1. FC Bocholt players
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Wikipedia - Category:1. FC Femina players
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Wikipedia - Category:1. FC Kaiserslautern players
Wikipedia - Category:1. FC Kleve players
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Wikipedia - Category:1. FC Kln players
Wikipedia - Category:1. FC Kln (women) players
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Wikipedia - Category:1. FFC Turbine Potsdam players
Wikipedia - Category:1. FSV Mainz 05 II players
Wikipedia - Category:1. FSV Mainz 05 players
Wikipedia - Category:1. HFK Olomouc players
Wikipedia - Category:1. SC Feucht players
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Wikipedia - Category:1. Simmeringer SC players
Wikipedia - Category:1st Scots Guards F.C. players
Wikipedia - Category:20th-century American dramatists and playwrights
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Wikipedia - Category:20th-century Polish dramatists and playwrights
Wikipedia - Category:2. divisjon players
Wikipedia - Category:2. Liga (Austria) players
Wikipedia - Category:2. Liga (Slovakia) players
Wikipedia - Category:3DO Interactive Multiplayer games
Wikipedia - Category:Amateur chess players
Wikipedia - Category:American contract bridge players
Wikipedia - Category:American male dramatists and playwrights
Wikipedia - Category:American poker players
Wikipedia - Category:Ancient Greek dramatists and playwrights
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Wikipedia - Category:Austrian male dramatists and playwrights
Wikipedia - Category:British dramatists and playwrights
Wikipedia - Category:British male dramatists and playwrights
Wikipedia - Category:Canadian draughts players
Wikipedia - Category:Canadian poker players
Wikipedia - Category:Display devices
Wikipedia - Category:Display technology companies
Wikipedia - Category:Display technology
Wikipedia - Category:Edinburgh University RFC players
Wikipedia - Category:Emergent gameplay
Wikipedia - Category:English chess players
Wikipedia - Category:English dramatists and playwrights
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Wikipedia - Category:Films with screenplays by The Wachowskis
Wikipedia - Category:First-person shooter multiplayer online games
Wikipedia - Category:French dramatists and playwrights
Wikipedia - Category:French male dramatists and playwrights
Wikipedia - Category:Guqin players
Wikipedia - Category:Henry VIII (play)
Wikipedia - Category:Horror role-playing games
Wikipedia - Category:Indian male dramatists and playwrights
Wikipedia - Category:Indie role-playing games
Wikipedia - Category:Jewish chess players
Wikipedia - Category:Julius Caesar (play)
Wikipedia - Category:King's Men (playing company)
Wikipedia - Category:Multiplayer and single-player video games
Wikipedia - Category:Multiplayer null modem games
Wikipedia - Category:Multiplayer online games
Wikipedia - Category:Play (activity)
Wikipedia - Category:Playboy people
Wikipedia - Category:Playing cards
Wikipedia - Category:PlayStation 3 games
Wikipedia - Category:PlayStation 4 games
Wikipedia - Category:PlayStation 4 Pro enhanced games
Wikipedia - Category:PlayStation 5 games
Wikipedia - Category:PlayStation (console) games
Wikipedia - Category:PlayStation VR games
Wikipedia - Category:Polish male dramatists and playwrights
Wikipedia - Category:Portable audio player manufacturers
Wikipedia - Category:Role-playing games introduced in 1986
Wikipedia - Category:Role-playing games introduced in 2005
Wikipedia - Category:Role-playing game terminology
Wikipedia - Category:Role-playing video games
Wikipedia - Category:Role-playing
Wikipedia - Category:Russian chess players
Wikipedia - Category:Sanskrit dramatists and playwrights
Wikipedia - Category:'s-Hertogenbosch Red Eagles players
Wikipedia - Category:Single-player online games
Wikipedia - Category:Single-player video games
Wikipedia - Category:Soviet chess players
Wikipedia - Category:Space massively multiplayer online role-playing games
Wikipedia - Category:Split-screen multiplayer games
Wikipedia - Category:Swiss chess players
Wikipedia - Category:Tulsa Golden Hurricane football players
Wikipedia - Category:Universal role-playing games
Wikipedia - Category:Video game gameplay
Wikipedia - Category:Video games with cross-platform play
Wikipedia - Category:Video games with user-generated gameplay content
Wikipedia - Category:Yuan dynasty dramatists and playwrights
Wikipedia - Cat Girl Manor -- Colorado residence known for hosting animal roleplay
Wikipedia - Catharina Roodzant -- Dutch chess player
Wikipedia - Catherine Banks -- Canadian playwright
Wikipedia - Catherine Cannuli -- Australian soccer coach and player
Wikipedia - Catherine Delaunay -- French jazz clarinet player and composer
Wikipedia - Catherine D'Ovidio -- French bridge player
Wikipedia - Cathode-ray tube -- Vacuum tube that displays images used in old TVs and monitors
Wikipedia - Cathy Warwick -- English chess player
Wikipedia - Cato Helgerud -- Norwegian bandy player
Wikipedia - Cat on a Hot Tin Roof -- Stage play
Wikipedia - Cat Quest -- 2017 action role-playing video game
Wikipedia - Cayla Drotar -- American softball player
Wikipedia - CBS Afternoon Playhouse
Wikipedia - CDF Player
Wikipedia - CD-i -- Video game console and interactive multimedia CD player
Wikipedia - CDJ -- Line of CD players from Pioneer
Wikipedia - CD-Players
Wikipedia - CD player -- an electronic device that plays audio compact discs
Wikipedia - CD Player (Windows)
Wikipedia - Ceb (gamer) -- Professional ''Dota 2'' player
Wikipedia - Cecile van der Merwe -- South African chess player
Wikipedia - Cecil Raleigh -- British actor and playwright
Wikipedia - Cedric Lorenzini -- French bridge player
Wikipedia - Celebrity Show-Off {{DISPLAYTITLE:''Celebrity Show-Off'' -- Celebrity Show-Off {{DISPLAYTITLE:''Celebrity Show-Off''
Wikipedia - Cemil Can Ali Marandi -- Turkish chess player
Wikipedia - Cepheus (poker bot) -- Poker playing program
Wikipedia - Ceremonial weapon -- Object used for ceremonial purposes to display power or authority.
Wikipedia - Cerrie Burnell -- English actress, singer, playwright, children's author, and former television presenter for the BBC children's
Wikipedia - Cesar Boutteville -- French-Vietnamese chess player
Wikipedia - Cezary Balicki -- Polish bridge player
Wikipedia - Chad Beguelin -- American playwright
Wikipedia - Chamil Cooray -- Sri Lankan carrom player
Wikipedia - Champion of the World (song) -- 2020 single by Coldplay
Wikipedia - Champions of Anteria -- 2016 action role-playing video game
Wikipedia - Champions of Mystara -- Tabletop role-playing game supplement for Dungeons & Dragons
Wikipedia - Champions (role-playing game)
Wikipedia - Chand Nizami -- Indian playback singer
Wikipedia - Chandrashekhara Kambara -- Indian poet, playwright
Wikipedia - Chang Jung-lin -- Taiwanese pool player, 2012 8-Ball world champion, born May 1985
Wikipedia - Chang Tung Lo -- Chinese chess player
Wikipedia - Chang Yong-suk -- South Korean esports player
Wikipedia - Chang Yu-lung -- Taiwanese pool player
Wikipedia - Chan Peng Kong -- Singaporean chess player
Wikipedia - Chaos Rings III -- 2014 role-playing video game
Wikipedia - Chaos Rings -- Role playing video game
Wikipedia - Character actor -- Actor who predominantly plays unusual or eccentric characters
Wikipedia - Character Role Playing -- 1981 fantasy role-playing game supplement
Wikipedia - Characters in Hamlet {{DISPLAYTITLE:Characters in ''Hamlet'' -- Characters in Hamlet {{DISPLAYTITLE:Characters in ''Hamlet''
Wikipedia - Characters of Shakespear's Plays -- book by William Hazlitt
Wikipedia - Charlene James -- British playwright
Wikipedia - Charles Brown (roque player) -- American roque player, born 1867
Wikipedia - Charles Butler (cricketer) -- Tasmanian-Australian cricket player
Wikipedia - Charles Coon (bridge) -- American bridge player
Wikipedia - Charles Dawson (billiards player) -- English world champion billiards player
Wikipedia - Charles de Livry -- French playwright
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Wikipedia - Charles Doerner -- Luxembourgian chess player
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Wikipedia - Charles-Hippolyte Dubois-Davesnes -- French playwright (1800-1874)
Wikipedia - Charles Johnson (writer) -- 17th/18th-century English playwright and tavern keeper
Wikipedia - Charles Kalme -- Latvian-American chess player
Wikipedia - Charles Maurian -- American chess player
Wikipedia - Charles Oberthur (composer) -- German-born harp player and composer
Wikipedia - Charles Pirie -- Scottish chess player
Wikipedia - Charles Scott (lacrosse) -- British lacrosse player
Wikipedia - Charles Wood (playwright) -- Playwright
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Wikipedia - Chart datum -- The level of water from which depths displayed on a nautical chart are measured
Wikipedia - Chas Early -- British actor and playwright
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Wikipedia - Cha Yu-ram -- South Korean pool player
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Wikipedia - Cheaters at Play -- 1932 film
Wikipedia - Cheating in video games -- Various methods to create an advantage or disadvantage beyond normal gameplay, in order to make the game easier or harder
Wikipedia - Chee-Chee (musical) -- 1928 American musical play
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Wikipedia - Chelsea Spencer -- American softball player
Wikipedia - Chelsea Thomas -- American softball player
Wikipedia - Chelsie Monica Ignesias Sihite -- Indonesian chess player
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Wikipedia - Chen Fengqing -- Chinese goalball player
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Wikipedia - Chen Liangliang -- Chinese goalball player
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Wikipedia - Chess.com -- Online chess playing site
Wikipedia - Chess (musical) -- Musical involving two chess players during the Cold War
Wikipedia - Chess piece -- Game piece for playing chess
Wikipedia - Chess rating system -- System used in chess to estimate the strength of a player
Wikipedia - Chess set -- Board and pieces for playing the game of chess
Wikipedia - ChessV -- Computer program designed to play chess variants
Wikipedia - Chetan Sharma -- Indian cricket player and politician
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Wikipedia - Chicago (play) -- 1926 play by Maurine Dallas Watkins
Wikipedia - Chicago White Sox minor league players -- Wikipedia list article
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Wikipedia - Children's play
Wikipedia - Child's Play (1988 film) -- 1988 film directed by Tom Holland
Wikipedia - Child's Play (1992 film) -- 1992 film
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Wikipedia - Child's Play (play) -- 1970 play
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Wikipedia - Chinese, Japanese, dirty knees -- Racist playground chant
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Wikipedia - Chinook (draughts player)
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Wikipedia - Chips Hardy -- English screenwriter, novelist, playwright and creative director
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Wikipedia - Choi Cheol-han -- South Korean Go player
Wikipedia - Choi Hung Road Playground -- Park in Kowloon, Hong Kong
Wikipedia - Choi Jeong (Go player) -- South Korean Go player
Wikipedia - Choi Myung-hoon -- South Korean Go player
Wikipedia - Choir Boy -- play by American playwright Tarell Alvin McCraney
Wikipedia - Choi Sung-won (billiards player) -- South Korean professional billiards player
Wikipedia - Cho Nam-chul -- South Korean Go player
Wikipedia - Chor Police (game) -- Role-playing pastime game
Wikipedia - Cho Son-jin -- South Korean Go player
Wikipedia - Chou Chun-hsun -- Taiwanese Go player
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Wikipedia - Chris Crowther -- American racquetball player
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Wikipedia - Chris Leavins -- Canadian actor, playwright, author (born 1968)
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Wikipedia - Chris Schiller -- American lacrosse player
Wikipedia - Chris Shutt -- English world champion billiards player
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Wikipedia - Christian Dietrich Grabbe -- Playwright
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Wikipedia - Christian Poulsen (chess player) -- Danish chess player
Wikipedia - Christian Reimering -- German pool player, born August 1971
Wikipedia - Christian Rudolph (billiards player) -- German carom billiards player
Wikipedia - Christina Anderson (playwright) -- American playwright and educator
Wikipedia - Christina Lund Madsen -- Danish bridge player and journalist
Wikipedia - Christina Nyberg -- Swedish chess player
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Wikipedia - Christine Flear -- French chess player
Wikipedia - Christmas, His Masque -- Play written by Ben Jonson
Wikipedia - Christoffer Edlund -- Swedish bandy player
Wikipedia - Christof Sielecki -- German chess player
Wikipedia - Christophe Leotard -- French chess player
Wikipedia - Christopher Bond -- British playwright
Wikipedia - Christopher Demos-Brown -- Christopher Demos-Brown is a Miami trial lawyer and playwright.
Wikipedia - Christoph Reintjes -- German pool player
Wikipedia - Chris Willenken -- American bridge player
Wikipedia - Chromatic circle -- Clock diagram for displaying relationships among pitch classes
Wikipedia - Chromecast -- Line of digital media players developed by Google
Wikipedia - Chronicon (Eusebius) {{DISPLAYTITLE:''Chronicon'' (Eusebius) -- Chronicon (Eusebius) {{DISPLAYTITLE:''Chronicon'' (Eusebius)
Wikipedia - Chrono Cross -- 1999 role-playing video game
Wikipedia - Chronology of Shakespeare's plays -- possible order of composition of Shakespeare's plays
Wikipedia - Chronology of tactical role-playing video games
Wikipedia - Chronology of William Shakespeare's plays
Wikipedia - Chrono Trigger -- role-playing video game
Wikipedia - Chrysalis (EP) -- Extended play by South Korean girl group I.O.I
Wikipedia - Chuck Puleo -- American dart player
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Wikipedia - Chueh Ming-hui -- Taiwanese softball player
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Wikipedia - Circular breathing -- Technique used by players of some wind instruments to produce a continuous tone without interruption
Wikipedia - Circus Galop -- Song for player piano
Wikipedia - Citizens! During shelling this side of the street is the most dangerous -- Public warning message displayed in the USSR during World War II
Wikipedia - City of Play -- 1929 film
Wikipedia - CJ Hopkins -- American playwright, novelist, and political satirist
Wikipedia - C. J. Ramone -- American singer and bass player
Wikipedia - Claire Chafee -- American playwright
Wikipedia - Claire Keville -- Irish concertina and harpsichord player
Wikipedia - Clara Andersen -- Danish playwright
Wikipedia - Clara Farago -- Hungarian chess player
Wikipedia - Clara Friedman -- Israeli chess player
Wikipedia - Clarence Howell -- American chess player
Wikipedia - Clare Warwick -- Australian softball player
Wikipedia - Clarice Benini -- Italian chess player
Wikipedia - Clash of Kings (Timemaster) -- Role-playing game
Wikipedia - Classic Enemies -- Role-playing game supplement
Wikipedia - Clathrin -- Protein playing a major role in the formation of coated vesicles
Wikipedia - Claude Bloodgood -- American chess player
Wikipedia - Claude Guimond de La Touche -- French playwright and poet
Wikipedia - Claude Hugot -- French chess player
Wikipedia - Claudia Petracchi -- Italian softball player
Wikipedia - Claudia Rankine -- American poet, essayist, and playwright (born 1963)
Wikipedia - Claudico -- Artificial intelligence poker playing computer program
Wikipedia - Claudio Monteverdi -- Italian composer, string player, choirmaster and priest (1567-1643)
Wikipedia - Claus Mogensen -- Danish handball coach, former player
Wikipedia - Clavigo (play)
Wikipedia - Clay M. Greene -- American playwright (1850-1933)
Wikipedia - Clear Channel memorandum -- Memorandum listing songs not to be played after the September 11 attacks
Wikipedia - Clelia Ailara -- Italian softball player
Wikipedia - Clemence Dane -- English novelist and playwright
Wikipedia - Cleone (play) -- Play
Wikipedia - Cleopatra no MahM-EM-^M -- 1987 Japanese role-playing video game
Wikipedia - Cleveland Cavaliers Radio Network -- Regional play-by-play radio network
Wikipedia - Cliff Almond (musician) -- American drummer and percussion player
Wikipedia - Clifford Mills -- British playwright
Wikipedia - Cliff Swain -- American racquetball player
Wikipedia - Clifton Chenier -- American Zydeco accordion player and singer
Wikipedia - Clock ident -- Time display on TV
Wikipedia - Clocks (song) -- 2002 single by Coldplay
Wikipedia - Closed captioning -- Process of displaying interpretive texts to screens
Wikipedia - Club Penguin Island -- 2017 online role-playing video game
Wikipedia - Club Penguin -- Massively multiplayer online game
Wikipedia - Clyde Davenport -- American old-time fiddler and banjo player
Wikipedia - Coastal warning display tower -- Type of signal station
Wikipedia - Coby Iwaasa -- Canadian racquetball player
Wikipedia - Cock and ball torture -- Form of sexual play
Wikipedia - Coconut shy -- Funfair game where the player dislodges coconuts with balls
Wikipedia - Coen Zuidema -- Dutch chess player
Wikipedia - Coldplay: A Head Full of Dreams -- 2018 music documentary about the band Coldplay
Wikipedia - Coldplay Live 2003 -- 2003 live/video album by Coldplay
Wikipedia - Coldplay -- British rock band
Wikipedia - Cold War playground equipment -- Playground equipment during the space race
Wikipedia - Collectible card game -- Game played using specialized playing cards
Wikipedia - Colleen Atkinson -- Irish camogie player
Wikipedia - Colleen Farrington -- American musician and playmate
Wikipedia - Colley Cibber -- English actor-manager, playwright, and poet laureate
Wikipedia - Colm Bonnar -- Irish hurling manager and former player
Wikipedia - Colm Byrne -- Irish playwright
Wikipedia