Over a period of more than 35 years, Osho spoke on all the themes humanity is concerned with. His discourses are documented from the very beginning in many different ways, such a printed matter, audio recording and video recording. In the early years of his talks he spoke often in Hindi. These talks, by and by are being translated and published, so that in a unique way we are able to present ‘new’ books to the reader, even 10 years after his leaving his body.

Recently, titles from this Hindi archive have been released such as ‘Flight of the Alone to the Alone’, `The last Morning Star’, `Enlightenment the only Revolution’, ‘The Path of Meditation’ and more...

One of the early translations from the Hindi treasure:  THAT ART THOU

A series of talks given on a meditation camp in the mountains of Navala. These very first meditation camps in their intimacy, with his own family participating, became magic events for all participants. Osho choose texts from the ancient Upanishads to comment on. Scriptures about which he says: these texts are not just words, but are able to transform the listener. He also answers questions from the participants of the camp.

The days start with a Dynamic meditation lead and guided by Osho, and so the days passes full with different methods of meditation.

From the introduction:  ‘The last night meditation, called tratak dhyan was absolutely out of this world! Osho would stand on the platform, his arms spread out like wings, looking like an angel just descended from sky. He would ask people to look at him without blinking eyes, while jumping and shouting "hoo hoo" at the same time. There was such a magic in the air with Osho standing against the black sky! The two flames in his unblinking, magnetic eyes would encourage people to shout and jump more and more vigorously. When the whole thought process stopped, the mass of their energy rose to a crescendo, and then he would invoke the divine energy to come down to meet this peak...’

from chapter 4: The New Morning Meditation -- Dynamic Meditation

Three steps are to be followed. They should be followed as vigorously as possible. One has to put everything at stake, totally – nothing less will do.

The first step is fast breathing. Breathe as fast as possible, because we are using breathing as a hammer. It is to be a hammering inside for the coiled energy to be uncoiled. So use it as a hammer for the inner serpent, to awaken it.

So do not withhold; give in completely. For ten minutes I will go on encouraging you to make any effort possible. Whatsoever you can do, do it at your peak, your climax.

In the second step you have to be in a catharsis. Dance, jump, cry, laugh -- whatsoever happens to you, but do something. Movement is necessary -- whatsoever is inside must be thrown outside. This catharsis leads to a purity, to a very deep cleansing.

In the third step you have to use "hoo!" So go on crying, "hoo! hoo! hoo!" -- this too is to be used as a hammer. This mantra, "hoo," goes deep down to the MULADHAR, to the sex center, and hammers the energy to rise upwards.

After thirty minutes, the fourth step -- we will be lying, just as if dead, and waiting for the divine to descend.

Make a space around you so you can be just totally mad. Make space around you. Don't be in a group, don't be in a crowd -- just spread out.

Now close your eyes with the blindfold.

Make space. Look around and see, because you will be jumping and dancing 
and going completely mad.

Now we should begin. Close your eyes.

 

IN THE CONTEXT OF PLEASURE AND PAIN, THE DESIRE FOR PLEASURABLE THINGS IS CALLED THE SENSE OF PLEASURE, AND AVERSION TO PAINFUL THINGS IS CALLED THE SENSE OF PAIN. AND BECAUSE OF WHAT ONE DOES TO GAIN PLEASURE AND SHUN PAIN, ONE IS CALLED A DOER.

Why does consciousness become so involved with the body -- not only involved, but identified? Why do we begin to feel that we are the bodies? -- not that we are IN the bodies, but we ARE the bodies?

This is really a miracle, because the knower can never be the known; the observer, the source of consciousness, can never be identified with the object. This body we know as an object; this hand I know, I feel, as an object. I never feel... I Can never feel it as me. It is always something outside -- an object. It hurts, I know; it doesn't hurt, I know -
- but I remain the knower.   

 

‘This is the secret: drop the known.
In meditation what are you doing?
Drop the known.
The known must cease for knowledge to be.’

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