The Supreme Doctrine - neo-alchemist

PASSIVITY OF THE MIND
Produced by the disintegration of my energy, which on the contrary ought to
be stored up for the birth in the future of the 'new man' in satori, the
imaginative film is in reality an abortive process; the birth of that which I call
my inner world is in reality the repeated miscarriage of the 'new man'. The
suppression of this abortive process is not therefore contrary to my veritable
life and growth. To watch the birth of the pretended 'living' in myself and to
suspend thereby this 'living' is to prepare the blooming of the consciousness
of 'existing', or perfect existential felicity.
We have spoken of feminine functioning and of masculine functioning
of the mental consciousness, clearly separating these two modes. But let us
see now that these two ways of functioning really coexist in us.
It would be altogether illusory to try by direct effort, by exercises of
active attention, to set ourselves expressly to supervise the birth of emotions;
efforts whose success would result in the perception of nothing whatever. We
are at present attached to our imaginative film, which is even our primordial
attachment, and death terrifies us because we see in it the cessation of our
precious 'consciousness'—and such exercises would aim at directly
destroying this attachment. The complete 'virilisation' of our attention realises
total detachment in satori, the bursting of the limitations of the Ego. To make
direct efforts towards this total virilisation would therefore be a direct striving
to catch, to acquire at last total detachment; and this attempt comprises an
evident inner contradiction which condemns it to failure.
As we have said on several occasions, there are no recipes for
Realisation. The processes which condition the satori-occurrence, or more
exactly the suppression of the processes which condition our ignorance of our
intemporal state of satori, are uniquely a matter of comprehension (what the
Tibetans call 'the penetrating vision'). Comprehension acts by devalorising
images for me, not such and such images and then such and such others but
the imaginative-emotive process as a whole and in general. For many years
my credulity has been great as regards my inner cinema; I 'played up' as one
might say; I believed in it; I believed in the so-called reality of what my
disintegration-process showed me. According as my intellectual work and my
understanding advance my credulity diminishes, I fall less and less into the
trap, I believe less and less that it is what matters for me. In this degree is
reduced the fascination that my images exercised on my attention
maintaining it in a passive mode of functioning. And my attention, in the
measure in which it detaches itself from my imaginative world, returns
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