TLAYT Advaita Vedanta is the basis of the philosophy of Adhyatma yoga. Spiritual liberation is achieved by attaining knowledge of this union.

It is a non-dual system that believes that the true Self or atman is one with Brahman, or the highest Reality.

18/12/2023

https://tlayt.org/heaven-wins/

Zen came by historical accident to Japan, when the whole of the Far East was under a tremendous thundercloud - the Mongols - and Japan was facing this threat fo

04/03/2020

Trevor Leggett’s last talk – Scattering the Pearls 9 June 2000

Trevor Leggett’s last talk – Scattering the Pearls 9 June 2000 February 29, 2020February 29, 2020 A string of jewels, a string of pearls, is an image used in the Gita. The fact is that if pearls individually and scattered all over the place in dusty corners, have no beauty. They are of no orname...

13/05/2019

https://www.tlayt.org/in-a-life-crisis-meditate-properly/

In a life crisis meditate properly May 13, 2019May 13, 2019 In both Yoga and Zen a time of crisis is a good basis. A tragic bereavement, bankruptcy, public disgrace, ingratitude or even hostility from those who have been helped – these are the times when there is detachment from the world. These a...

04/05/2019

Using Yoga Sutras for Yoga Practise
(1) Read the Introduction for the General Reader: at this stage pass over the Technical Introduction.
Then read the following passages of the sūtra and commentaries from part 1 only:-
(2) 1.02– 1.06 then jump to
1.02
1.03
1.04
1.05
1.06
back

(3) 1.12 – 1.22
1.12
1.13
1.14
1.15
1.16
1.17

1.18
1.19
1.20
1.21
1.22
back

(4) 1.23 – 26, God. Sūtra-s only – pass over the elaborate proofs. Take it as a working hypothesis to be confirmed by experiment.
1.23
1.24
1.25
1.26
back

(5) 1.27 -32
1.27
1.28
1.29
1.30
1.31
1.32
back

(6) 1.33 – 40
1.33
1.34
1.35
1.36
1.37
1.38
1.39
1.40
back

(7) 1.41 – 49. Note the conditions for inspiration given in 1.43 and 1.47. Not all Samādhi-s are Truth-bearing.
1.41
1.42
1.43
1.44
1.45
1.46
1.47
1.48
1.49
back

(8) 1.50 and 1.51, and refer back to 1.18.
1.50
1.51
1.18
back

Re-read these passages till you have a good idea of the basic pattern of the Yoga.
PRACTICE
(1) If you are cut off (say in solitary confinement) and the need is great, devote several hours a day to the basic practice of disentangling Seer from Seen (eg 2.35). When this is established and comes of its own accord sometimes, practise giving up thoughts (1.18) in meditation. The yoga then takes over (1.50).
(2) If you are relatively free from obligations, with basic needs at hand, practise at least three hours a day. Patañjali hardly mentions a guru, but without some senior adviser few can keep going without changing the rules to suit themselves. This causes many failures. Capacity for devotion to God arises naturally in anyone who meditates with serious enquiry. When developed it gives direct vision (2.44) and perfection in Samādhi (2.45).
(3) If you have commitments, you must establish a do-or-die resolution to practise Yoga of Action (2.12). It requires some heroism. Evenness of mind in all concerns of daily life is the main tapas. Then there must be determination to set aside at least an hour-and-a-half every single day to the two other elements; self-study includes holy reading. The Gītā is a summary of the Upaniṣad-s in verse ( Sir Edwin Arnold’s Song Celestial is also in easily memorable verse.) Teachers today give meditations on avatars such as Rama and Jesus; they culminate in a vision which changes the whole life. It is essential to practise hard at the Yogic action, which must be energetic but free from a claim on results; it is given in detail in the early chapters of the Gītā.
Nearly all Yogis support themselves with the OM (1.28) and Maitri (1.33) practices. These also bring out hidden natural potentialities from the mind (1.29; 3.33). But the so- called Glories are the delusive manipulations of the world-illusion and are mires of attachment.
When enthusiasm flags, read 2.15 – 17; look around you and see how anxiety, pain and death are rushing towards us like an express train. Yoga is a way to escape them.
2.15
2.16
2.17 back

13/04/2019

Meido Moore
referenced tlayt.org
The Spur by Torei Enji – Trevor Leggett Adhyatma Yoga Trust Website
The Spur by Torei Enji September 15, 2018October 13, 2016 The Spur by Tōrei EnjiTranslated by Trevor Leggett IN WHAT ZEN CALLS THE ASCENT FROM THE STATE OF THE ordinary vulgar man to the state of Buddha,…

30/03/2019

https://www.tlayt.org

Karma yoga third element March 20, 2019 11 Independence of the Opposites The third element in karma-yoga is independence of the pairs of opposites, heat and cold, pleasure and pain, and so on. The Gita verse (2.14) says that sense-contacts cause heat and cold, pleasure and pain; they come and go, be...

08/12/2018

https://www.tlayt.org/the-old-woman-and-the-pencil-stub/

The old woman and the pencil stub

A Japanese master of calligraphy retired to the country and he took an interest in the schoolchildren in their education and there was one boy there who was being brought up by his grandmother because both his parents had died and the teacher of calligraphy saw this boy and saw his schoolwork and he told the grandmother, he said: ‘when the time comes he ought to go to college in the capital and sure enough the grandmother made great sacrifices for bringing up the boy and made it clear that she was making great sacrifices and that she did not have very many friends.

People complain a lot if they don’t have many friends. When the time came, the teacher said: well now, he should go to the capital to study, and the president of one of the main universities is a friend of mine and I can write you a letter of introduction and he has a special hostel for students from the country who don’t have any money and I believe that with my recommendation he will accept the boy.

So the grandmother said: well, I shall be very lonely of course but for the boy’s sake I agree.’ So the master said: alright, I will write you the letter of introduction.’

She really expected to see something because this was a great master of calligraphy and he had these rare brushes from China, made with special hairs. But instead of these brushes he took an old pencil stub, blunt, and he just made two little cuts and picked it up and scribbled something which she couldn’t read. And he didn’t sign it or seal it which is absolutely compulsory in Japan. She was so terribly embarrassed but she couldn’t say anything.

He took the envelope and addressed it very carefully to the President. She thought ‘I can’t show this to the President. Anybody could have scribbled this. Anyway, she took it and they went up and the master gave her the money for the railway ticket and when they went in. The President saw them immediately and he was holding this letter of introduction and he said: ‘This is a masterpiece, you know.

He is using an old, blunt pencil but he has such control that he can imitate the brush-strokes. Who else could have done that? I am going to keep this as a treasure and of course I’ll take the boy.’ So he took the boy and she went back. She wasn’t quite as lonely as she expected. People started dropping in and bringing her little presents and talked to her for half an hour.

One day one of them said to her: ‘Do you know why people like me come and see you? I’ll tell you. In the old days you used to complain rather a lot and it was a bit tiring but now you hardly speak at all. But when we leave here after being with you for half an hour, we find we’ve got a new courage and a new sort of inspiration for facing life and I’m only saying this because I want to ask you, what made the change in you?’

So the old lady told her the story about the pencil stub.

She said: you know I kept thinking why did he do it? He had all these wonderful brushes there and could have brushed wonderful things. Why did he do it?

And she said: I kept on thinking; why? why? Pencil stub, pencil stub, and I woke up one morning and I suddenly realised: ‘I am the pencil stub.

My life is practically at an end now. My mind is dull and blunt but there are just two little cuts cutting away my selfishness. The Buddha can write a masterpiece and since then I felt a strength holding me and peace within’.

This story was taken from a talk by Trevor Leggett

https://www.tlayt.org/the-old-woman-and-the-pencil-stub/

The old woman and the pencil stub September 15, 2018June 29, 2018 by tlayt A Japanese master of calligraphy retired to the country and he took an interest in the schoolchildren in their education and there was one boy there who was being brought up by his grandmother because both his parents had die...

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