In the course of her talks with Ashram inmates, the Mother Mirra Alfassa would from time to time casually reminiscence incidents which had occurred in France. One particular anecdote she discussed was that of a woman who had experienced a spontaneous psychic joy after an act of generosity. Even though the woman is unnamed, given the personal details revealed, it is quite possible that this woman was the Mother herself. Alternately, it could be her friend Alexandra David-Neel. Irrespective of who the woman was, the incident is uplifting to read.
Mother: There was someone who was invited—it happened in Paris —invited to a first-night (a first-night means a first performance) of an opera of Massenet’s. I think… I don’t remember now whose it was. The subject was fine, the play was fine, and the music not displeasing; it was the first time and this person was invited to the box of the Minister of Fine Arts who always has a box for all the first nights at the government theatres. This Minister of Fine Arts was a simple person, an old countryside man, who had not lived much in Paris, who was quite new in his ministry and took a truly childlike joy in seeing new things. Yet he was a polite man and as he had invited a lady he gave her the front seat and himself sat at the back. But he felt very unhappy because he could not see everything. He leaned forward like this, trying to see something without showing it too much. Now, the lady who was in front noticed this. She too was very interested and was finding it very fine, and it was not that she did not like it, she liked it very much and was enjoying the show; but she saw how very unhappy that poor minister looked, not being able to see. So quite casually, you see, she pushed back her chair, went back a little, as though she was thinking of something else, and drew back so well that he came forward and could now see the whole scene. Well, this person, when she drew back and gave up all desire to see the show, was filled with a sense of inner joy, a liberation from all attachment to things and a kind of peace, content to have done something for somebody instead of having satisfied herself, to the extent that the evening brought her infinitely greater pleasure than if she had listened to the opera. This is a true experience, it is not a little story read in a book, and it was precisely at the time this person was studying Buddhist discipline, and it was in conformity with the saying of the Buddha that she tried this experiment.
And truly this was so concrete an experience, you know, so real that… ah, two seconds later, you see, the play, the music, the actors, the scene, the pictures and all that were gone like absolutely secondary things, completely unimportant, while this joy of having mastered something in oneself and done something not simply selfish, this joy filled all the being with an incomparable serenity—a delightful experience… Well, it is not just an individual, personal experience. All those who want to try can have it.
There is a kind of inner communion with the psychic being which takes place when one willingly gives up a desire, and because of this one feels a much greater joy than if he had satisfied his desire. Besides, most usually, almost without exception, when one satisfies a desire it always leaves a kind of bitter taste somewhere.
There is not one satisfied desire which does not give a kind of bitterness; as when one has eaten too sugary a sweet it fills your mouth with bitterness. It is like that. You must try sincerely. Naturally you must not pretend to give up desire and keep it in a corner, because then one becomes very unhappy. You must do it sincerely.
(For those who wish to know what the young woman might have missed when she stepped back from the opera, there are clips of Jules Massenet’s operas on youtube. This is a clip of Itzhak Perlman playing Massenet’s exquisite piece called Méditation from the Thaïs opera.)
The above incident was recalled in the context of the following question:
Question: Where does desire come from?
Mother: The Buddha said that it comes from ignorance. It is more or less that. It is something in the being which fancies that it needs something else in order to be satisfied. And the proof that it is ignorance is that when one has satisfied it, one no longer cares for it, at least ninety-nine and a half times out of a hundred. I believe, right at its origin it is an obscure need for growth, as in the lowest forms of life love is changed into the need to swallow, absorb, become joined with another thing. This is the most primitive form of love in the lowest forms of life, it is to take and absorb. Well, the need to take is desire. So perhaps if we went back far enough into the last depths of the inconscience, we could say that the origin of desire is love. It is love in its obscurest and most unconscious form. It is a need to become joined with something, an attraction, a need to take, you see.
Take for instance… you see something which is—which seems to you or is—very beautiful, very harmonious, very pleasant; if you have the true consciousness, you experience this joy of seeing, of being in a conscious contact with something very beautiful, very harmonious, and then that’s all. It stops there. You have the joy of it—that such a thing exists, you see. And this is quite common among artists who have a sense of beauty. For example, an artist may see a beautiful creature and have the joy of observing the beauty, grace, harmony of movement and all that, and that’s all. It stops there. He is perfectly happy, perfectly satisfied, because he has seen something beautiful. An ordinary consciousness, altogether ordinary, dull like all ordinary consciousness— as soon as it sees something beautiful, whether it be an object or a person, hop! “I want it!” It is deplorable, you know. And into the bargain it doesn’t even have the joy of the beauty, because it has the anguish of desire. It misses that and has nothing in exchange, because there is nothing pleasant in desiring anything. It only puts you in an unpleasant state, that’s all.
The Buddha has said that there is a greater joy in overcoming a desire than in satisfying it. It is an experience everybody can have and one that is truly very interesting, very interesting.
(Collected Works of the Mother, vol. 7, pp. 38-40)
- Emma Calvé’s interaction with Swami Vivekananda
- Ethical, logical and aesthetic mind
- Identifying the celestial quality in music
- Art as an aid in Yoga
- The occult forces behind artistic movements
- Syncretism in Sri Aurobindo’s thought – part 1
- Syncretism in Sri Aurobindo’s thought – part 2
- A mystical incident in the life of Mughal Emperor Akbar
- Perception of Time changes with the concentration of consciousness
- Four stages of human love
- Developing one’s own spiritual atmosphere (Gita 3:17)
- The foundation of spiritual relationships