Sections and Commentary from DINA I
1. Visualisation is the initial step in the demonstration of the occult law that "energy follows thought." This, of course, everyone interested in occult study recognises theoretically. One of the tasks confronting disciples is to achieve factual knowledge of this. Pictorial visualisation (which is a definite feature of the work in many esoteric schools) is simply an exercise to bring about the power to visualise. In the work of those disciples who are being trained for initiation, this external aspect of visualisation must give place to an interior process which is the first step towards the direction of energy. The visualising of pictures is intended to focus the aspirant within the head at a point midway between the pituitary body and the pineal gland. In that area, he draws pictures and paints scenes and thus acquires facility to see—in large and in detail—that which he desires and for which he intends to work. The visualising of what might be called "directed process" goes on in a more focussed manner and in the area directly around the pineal gland. The pineal [Page 90] gland then becomes the centre of a magnetic field which is set in motion—in the first place—by the power of visualisation. At that point, energy is gathered by the disciple and then directed with intention to one or other of the centres. This focussed thought produces inevitable effects within the etheric body and thus two aspects of the creative imagination are brought into play.
1. There will be new meditation techniques—this is clear. During the New Age they will emerge and visualization will be a primary step in their emergence
2. We must remember that the Aquarian Age will be a very creative Age in which a “new Heaven and a new Earth” will take shape. Much concerning the “old world” will have to be ‘re-imaged’ under the seventh ray (re-patterning), fourth ray (beauty and balance) and second ray (attractive coherency). This re-imaging must be in accordance with the patterns of the Divine Plan or else the re-creation intended for the Aquarian Age will not be fulfilled.
3. When we say that “energy follows thought” what do we mean? There is a danger that when a truism is oft repeated its meaning will be lost. Quite simply, if we think in a certain direction (whether the focus of that direction is within the microcosm or within the larger environment), a flow of energy/force will be directed to that focus. For example, if I think of my throat center, there will be a flow of energy/force directed to my throat center. The same is true for any of the chakras. If I think towards another person, energy/force will be directed to that person. If I think of a location, such as the White House or the General Assembly within the United Nations, energy/force will be directed to those destinations, those ‘targets’.
4. Visualization is a prime method of directing that energy/force, for through a visualized image which replicates the proposed destination of the energy/force (for instance an image of a chakra, a person, the White House or General Assembly) the visualized image is brought into resonance with the destination or target. This has been called “sympathetic magic”. The more closely the visualized image replicates the ‘original’, the more in resonance they will be. Energy/force visualized as directed towards the image will also (due to resonances in the etheric field and in other subtle fields) find its way to the ‘original’. The exact mechanism of this will probably take centuries to explicate, but we can count on the validity of the occult law of which we have been informed. “Energy follows thought”. Energy will follow (pursue its way to) that which is imagined through thought/visualization.
5. We should not overlook the fact that it is possible to direct energy/force to an actual object within the field of vision. In this case the object need not be visualized because it is tangibly present and can be seen through the sense of sight, but the energy which is directed may be visualized as pursuing its way to the tangible, sensorially revealed object.
6. The Tibetan is suggesting that we are all familiar with the adage “energy follows thought” but must make the theory a factual realization.
7. The Tibetan seems to be distinguishing between “pictorial visualisation” and the “power to visualise”. Pictorial visualization is simply a beginning step, and may involve the utilization of memory to promote the clear holding of an image. But such work would simply be a “warm-up” for the real act of visualization.
8. We are interested in what may be that “interior process which is the first step towards the direction of energy”. Obviously, the holding of a clear image is not sufficient. The method of activating the held image in relation to its destination/target must be found. If the image held is different from the ‘target image’ (the concretized condition which the held image is meant to transform) then there must be found a method of ‘seeing’ the ‘target image’ transformed into the ‘held image’. A kind of rapport must be established between the new pattern (embodied in the held image) and the old pattern or target image which ideally will be reconfigured so that it reflects the held image. Probably, those who work in this way will be able to note the moment when the two images come en rapport.
9. One way of promoting such rapport would be the capacity to hold both images in the mind’s eye simultaneously, and note the transformation of the target image into a close or closer replication of the image held. Obviously, much practice and much inner, visual steadiness are needed until success crowns the efforts of the visualizer.
10. In all this kind of work, however, it is necessary to work without attachment to results, as, even if sympathetic rapport is established between the visualizer, his held image and the target image, it may take a long while before the target image actually begins to reflect the configuration of the held image.
11. The Tibetan becomes anatomical in his description of the ‘place’ where visualization is to occur—“within the head at a point midway between the pituitary body and the pineal gland”. In this ‘location’ we are told to “draw pictures”, “paint scenes” and “acquire the power to see”. Students should consult an anatomy book to ensure (in a fifth ray/seventh ray manner) that they ‘place’ their images in the proper location.
12. We have been given enough to begin our practice. One may simply begin with familiar and simple images, practice reconfiguring them, changing their shape, color, the relative proportion of their parts, and their size—for the Tibetan tells us that we must be able to see “in large and in detail”. Anything a modern “Photoshop” computer program can do, we should be able to do with our inner imaging apparatus and more. It may, however, take years to develop sufficient skill to work in this manner. Still, the capacity to do so must be developed, as all our future usefulness to Hierarchy depends upon it.
13. Let us realize the importance of the teaching we are now being given. Specific locations in the head are being proposed for the “visualising of pictures” and a different location for the visualization of “directed process”. The pineal gland has a significance associated with the crown center and the first ray, and so it is the suitable ‘locus’ for the visualization of directed process. The term “directed” belongs to the first ray. The pituitary body has (depending upon the context of consideration) either a second ray or third ray meaning. When the carotid gland is considered, the pituitary takes on a second ray meaning. The visualization of images, per se, is related to the form-building second ray. The directing of these images relates to the first ray of will, power and direction.
14. The functioning of the pineal gland (in this specific instance) is clarified for us. The process of visualization stimulates it. When stimulated, it serves as a magnetic center—the “centre of a magnetic field”. Through this magnetism energies to be directed are first gathered, then focussed, then directed.
15. Master DK is talking here about what might be called ‘microcosmic direction’ (to the chakras within one’s own system), but they can be directed to the chakra system of others (provided one is sufficiently initiate to know what one is doing—thus, unless very well informed, we should not) or, in general, into the macrocosmic environment.
16. The major point is that two aspects of the creative imagination have been brought to our attention, and the manner of bringing them into play has been suggested. Now we must practice.
2. The power to visualise is the form-building aspect of the creative imagination. This process falls into three parts, corresponding somewhat to the creative process followed by Deity Itself:
a. The gathering of qualified energy within a ring-pass-not.
b. The focussing of this energy under the power of intention, i.e., at a point in the neighbourhood of the pineal gland. The energy is now focussed and not diffused.
c. The dispatch of this focussed energy by means of a pictorial process (not by an act of the will at this time) in any desired direction—that is, to certain centres in a certain order.
1. DK becomes specific about the “power to visualise”; He calls it “the form-building” aspect of the creative imagination. There are obviously other aspects of work with the creative imagination. It can also be used for energy direction and for the ascertainment of truth or falsity. Perhaps there are other modes as well
2. Form-building comes under the second ray, and so the power to visualize, as well, comes most specifically under the second ray. The power to rearrange and reconfigure that which is visualized and the power to direct that which is visualized come under the third and first rays respectively.
3. DK offers us a sequence of steps entailed in visualization.
4. The first step involves “the gathering of qualified energy within a ring-pass-not”. We note that not just any energy will do, but only that energy the quality of which is suited to the purpose of the building. Further, there must be a ring-pass-not or the gathered energy cannot be managed; it will disperse and cannot be ‘grasped’ for directing.
5. Gathering is one phase and focussing another. One focusses by ‘attending intently’ to that which has been gathered. The attention is applied to gathered energy, and not to the energies/forces surrounding the gathered energy.
6. We ask ourselves, “What is the power of intention?” It is a power which derives from purpose, and it executes a certain series of actions rather than others. Intention is extremely selective, choosing a preferred pattern to emphasize, and removing emphasis from all others.
7. We note that the focussing is to occur in the “neighborhood” of the pineal gland. Approximation is sufficient. DK does not want us to become too minutely exacting in the anatomical sense, as such an attempt could distract from the purpose of the process.
8. In point “b”, we see that focussing prevents diffusion; diffusion would lead to a concentration of energy insufficient for impact. There must be a certain ‘occult density’ of energy if anything impactful is to be done with it. In this respect, ‘intensification is densification’. We can think of that stage in the process of building the antahkarana called “Intention” and realize that a certain concentration/densification of energies is being achieved.
9. DK now speaks of step three, “c”—the “dispatch of this focussed energy”. The term “dispatch” means a sending forth, and implies a process which has some speed.
10. We note that the will is (“at this time”) to be held in leash, just as it is in the healing process. A pictorial process will execute the dispatch and not the force of will. Later, when more is known about the will, it too, apparently, may be brought into the service of this sending forth of energy/force. A Master does this.
11. DK does not here enlarge upon the pictorial process, but it can be assumed that once the energy/force is gathered and focussed, reasonably appropriate images arise spontaneously (and can be ‘edited’ by the mental energy).
12. In all simplicity, the sequence is gather, focus, dispatch.
13. What is the act of will in which we are not to be engaged at this time? Perhaps it means that we are not to forcefully insist on the impact of the pictorially directed energies/forces. The process will be self-regulating according to the nature of the pictorial process. We are not to impose additional force upon the pictorial image insisting that the ‘target’ of the pictorial process change and change now.
14. These are subtle matters and will require practice. Probably mistakes will be made, but an ‘inner monitor’ will advise us when this is the case.
15. We note that the dispatch is microcosmically directed—to certain chakras and in a certain order. This process needs a Master’s guidance, and, indeed, He has offered us, in His various meditations, some patterns and sequences we may follow.
16. Dispatch, however, is also possible in relation to the macrocosm (or the greater environment). The main thing to bear in mind is that we are not forcing anyone to do anything. To force in this manner is the method used by the ‘powers of opposition’ and with this technique we cannot involve ourselves.
This process of energy direction can become a spiritual habit if disciples would begin to do it slowly and gradually. At first, the visualising process may seem to you to be laboured and profitless but, if you persevere, you will find eventually that it becomes effortless and effective. This is one of the most important ways in which a Master works; it is essential, therefore, that you begin to master the technique. The stages are:
a. A process of energy gathering.
b. A process of focalisation.
c. A process of distribution or direction.
1. DK combines the idea of visualization with energy direction. We visualize so that energy may be beneficently directed. He wishes for us that this method of energy direction will become a “spiritual habit”. It is important that it become entirely natural to us so that it may be wielded with skill. Thus, our capacity to cooperate with Hierarchy in Their service to humanity will grow.
2. We note that we are not to dive in precipitously and expect instantaneous results. The power to visualize is essentially a second ray process and the second ray moves slowly and deliberately (through the wise use of slow action).
3. The thoughts suggested are simple. Results will not occur immediately and at first all efforts may seem labored and relatively profitless, but if there is persistence, the work of visualization (and the direction of the visualized images) will become “effortless and effective”.
4. We may at times wonder how the Masters work. Here, DK tells us. Visualization is “one of the most important ways” in which They work.
5. Therefore, it is not only desirable that we master the technique of visualization but “essential”. These “words to the wise” should be sufficient.
6. DK reiterates the sequence we have been studying above.
The disciple learns to do this within himself and later to direct the energy (some chosen and particular kind, according to the demand of the occasion) to that which lies without himself. This constitutes, for example, one of the major healing techniques of the future. It is also used by the Master in awakening His disciple to certain [Page 91] states of consciousness, but with these you have naught to do.
1. Here Master DK addresses the question of microcosmic and macrocosmic direction.
2. Our first work with the “power of visualization” is to be within ourselves and upon ourselves.
3. The directing of energy to “people, places and things” outside ourselves is to come later, and there are specifics to be observed. The energy to be directed is to be well chosen and of a particular kind, and there must be a demand for this energy which depends upon the requirements of particular occasions.
4. It is obvious that groups of healers are involved in the directing of such energies and forces. Already there are those who are practicing in this manner, but they must be sure that, microcosmically, they are pure, clear, organized, alert, and soul-aligned otherwise they may do damage rather than good.
5. DK hints at the use of such energy direction by a Master for purposes of “awakening His disciple to certain states of consciousness”. Obviously, He knows how to do this and has probably done it with respect to the groups He has been training. Such work, however, is not open to us as we do not yet know enough.
6. We must begin slowly, putting first things first. The demands of the times may assist in rendering more rapid our progress with these techniques.
3. The power to visualise correctly is one definite mode of ascertaining truth or falsity. This is a statement difficult for you to comprehend. Visualisation is literally the building of a bridge between the emotional or astral plane and the mental level and is, therefore, a personality correspondence to the building of the antahkarana. The astral plane, the second aspect of the personality, is the correspondence to the form-building aspect of the Trinity, the second aspect. The creative imagination "pictures a form" through the ability to visualise and the thought energy of the mind gives life and direction to this form. It embodies purpose. Thereby a rapport or line of energy is constructed between the mind and the astral vehicle and it becomes a triple line of energy when the soul of the disciple is utilising this creative process in some planned and definitely constructive manner.
1. Of Goodness, Beauty and Truth, Truth belongs to the third ray (though it is not unrelated to the other two rays).
2. DK suggests for us a very occult use of the visualization process as a “definite mode of ascertaining truth or falsity”.
3. DK enters into more technicalities regarding the visualization process. An important definition of visualization is given: “Visualisation is literally the building of a bridge between the emotional or astral plane and the mental level and is, therefore, a personality correspondence to the building of the antahkarana”.
4. We have seen that mental energy must accompany the power to visualize if this process is to be of use to the Hierarchy in Their service of the Divine Plan.
5. We learn, regarding the visualization process, of the “division of labor” between the astral body and the mental body. The astral body “pictures a form” and “the thought energy of the mind gives life and direction to this form”. We remember that the mind is in close resonance to the will, which is the directing power.
6. DK does not want the work of the astral and mental bodies to remain unattended by the soul. The soul must link, creating thereby a triple “line of energy”—soul, mind, astral vehicle. In this manner the visualization process can become the instrument of the soul’s “creative process” on behalf of the Divine Plan. When the soul links to the other two fields (mind and emotions), the factor of purpose enters, and the process turns spiritually constructive.
This visualising process and this use of the imagination form the first two steps in the activity of thoughtform building. It is with these self-created forms—embodying spiritual ideas and divine purpose—that the Masters work and hierarchical purpose takes shape. Therefore, my disciples, it is essential that you begin with deliberation and slowly to work in this manner and to use the above information constructively and creatively. The need of the times is increasingly great and the utmost of work and of purpose is desired.
1. We are acquainted with the idea that we are to build thoughtforms in service of the Divine Plan. DK gives us the first two steps in this process of thoughtform building: “the visualising process and this use of the imagination”. In “this use of the imagination” presumably the mind is involved, giving life and direction to the visualized form.
2. Master DK speaks of “self-created forms”, reminding us that it is the task of any creator to evolve something from himself/herself and not merely replicate present conditions. We are told that the Masters’ work and hierarchical planning and purpose depend upon this visualization process.
3. Again, Master DK enjoins His disciples (including, let us presume, ourselves) to “begin with deliberation and slowly to work in this manner and to use the above information constructively and creatively”.
4. He suggests that by working in this manner we may play some role in meeting the increasingly great need of the times. He also is suggesting that unless we rightly utilize the power of visualization we shall not be engaging in “the utmost of work” nor be guided by the utmost of purpose.
5. It takes no unusual act of imagination to understand the importance of what has been given in the last several paragraphs.