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Glamor - A World Problem - The Ending of Glamor
Glamor and maya are then increased and for the life in which these exercises are misapplied, the aspirant remains in a static and unprofitable condition. As he breathes in or inhales, he draws the breath from within his own aura, his auric ring-pass-not; he feeds the lower nature and sets up a vicious circle within himself which strengthens day by day until he is completely enmeshed by the glamor and maya which he is constantly establishing and re-establishing. The lower centers are steadily vitalized and become extremely active and the point of tension from which the aspirant then works is found in the personality and is not focused in relation to the soul; the consciousness of the uniqueness of special breathing and the expectancy of phenomenal results bar out all thought, except lower reactions of a kama-manasic nature; emotion is fostered and the power of the astral body is tremendously increased; very frequently also the physiological results are potent and [259] noticeable, such as a great chest development and the muscular strengthening of the diaphragm. Something of this can be seen in the case of operatic singers. Singing, as now taught, is an expression of some of the lower aspects of the breath, and the breathing in the case of the above vocalists produces much breast development, intensifying emotionalism, producing instability in the life expression (which is often referred to as temperament) and keeps the singing aspect entirely astral in nature.

There is a higher and better mode of song, actuated by a difference in the point of tension and involving a breathing process which draws the needed energy upon the breath from sources higher and far more extensive than those normally used; this will produce the inspiration which will involve the whole man and not simply his emotional reaction to the theme of his song and his audience. This will bring into being a new mode and type of singing and of breathing, based on a form of mental breathing which will carry energy and consequent inspiration from sources without the personality aura. The time for this is not yet. My words will be little understood today, but the singing in the next century will be by those who will know how to tap the reservoirs of inspiration by means of a new method and technique in breathing. These techniques and exercises will be taught, to start with, in the new and coming schools of esotericism.

Inspiration is a process of qualifying, vitalizing and stimulating the reaction of the personality - via the centers - to that point of tension where soul control becomes present and apparent. It is the mode whereby energy from the soul can flood the personality life, can sweep through the centers, expelling that which hinders, ridding the aspirant of all remaining glamors and maya, and perfecting an instrument whereby the music of the soul and, later, the musical quality of the Hierarchy can be heard. Forget not [260] that sound permeates all forms; the planet itself has its own note or sound; each minute atom also has its sound; each form can be evoked into music and each human being has his peculiar chord and all chords contribute to the great symphony which the Hierarchy and Humanity are playing, and playing now. Every spiritual group has its own tune (if I may employ so inappropriate a word) and the groups which are in process of collaborating with the Hierarchy make music ceaselessly. This rhythm of sound and this myriad of chords and notes blend with the music of the Hierarchy itself and this is a steadily enriching symphony; as the centuries slip away, all these sounds slowly unite and are resolved into each other until some day the planetary symphony which Sanat Kumara is composing will be completed and our Earth will then make a notable contribution to the great chords of the solar system - and this is a part, intrinsic and real, of the music of the spheres. Then, as the Bible says, 'the Sons of God, the planetary Logoi, will sing together. This, my brother, will be the result of right breathing, of controlled and organized rhythm, of true pure thought and of the correct relation between all parts of the chorus.

Think out this theme as a meditation exercise and gain inspiration thereby.

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