The Supreme Doctrine - neo-alchemist

ON THE IDEA OF ‘DISCIPLINE’
disappearance of the illusion in which I am living at present of not being in
the state of satori.
If the gesture of instantaneous decontraction prepares the satorioccurrence,
that is because the instantaneous suspension which it obtains in
the unfolding of the imaginary film breaks on each occasion the vicious circle
which exists between our images and our emotions. This vicious circle that
we have called 'imaginative-emotive rumination', which corresponds also
with what we have described as the 'emotive state', or 'inner spasm', or as
'gearing of the affectivity with the intellect', is an inner automatism animated
by a great force of inertia. Our imaginative rumination does not function
continuously with the same effective power, but in each stage of our
evolution it has a certain possibility of power. This possibility is used, mined
little by little by the instants of decontraction. This progressive diminution of
the solidity of the vicious circle of images and emotions is revealed by a
progressive modification of our inner life, of our vision of things in general.
Not that we are able, before satori, to have the least little atom of 'vision of
things as they are'; but our present vision of things-as-they-are-not loses its
clarity, its relief, its colours.
In order to make clear the modifications that the inner work obtains
indirectly in our vision of things we will make use of an illustration. We will
compare our imaginative film with the projection of a cinematographic film
comprising a projector, a screen, and the luminous cone which connects
them. When the projection is well focussed on the screen I see clear images
thereon, in which the blacks and whites are well-contrasted. If, without
changing anything in the projector, I progressively bring the screen nearer to
it, the images will gradually lose their clearness and their contrasts. A
moment will come when I recognise them with difficulty and when the
blacks become grey. Then there are nothing but pale and vague shadows
accompanied by an increase in the general luminosity of the screen. Finally,
when I am in contact with the projector, the screen is completely white and
sparkling.
The projector here symbolises the original Unconscious or No Mind,
source of our consciousness; the luminous beam symbolises the
subconscious; the screen the consciousness. The screen of our consciousness
is set, by our personal egotistical determinism, at the distance at which the
images are in focus. It is there that our claim-to-be-distinct fixes our
attention. That corresponds with the partial inner attitudes by which I oppose
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