“The new creation is already here, forming itself; whatever is happening now in the Ashram and outside is happening so that it may come forward all the sooner. She is breaking the outer scaffolding within which the new reality has been established, or you may call it a dead shell which is being broken so that the new reality may come out. It is Mother’s action with her own Self. She has taken her Chhinnamasta form. All the things she is destroying are her own selves; she is getting rid, as it were, of the old unutilisable limbs of her own body.”
… I bring you to the luminous door on which is inscribed in golden and gleaming letters the blissful line: “Keep up all hope, you who enter here.”
“…the pressure from above has come to change things and for that purpose all the dark points, all that has to be changed and rejected, have been exposed. They have been exposed everywhere — in the Ashram and also outside the Ashram, in the country in general — the same defects and weaknesses, the same wrong movements.”
“… this ashram that I saw was in fact the inner reality of our ashram here, the inner ashram which is within us all; what we see at present is the outer form, the material form, which is a good deal deformed and even falsified in many ways. … Now our task is to come more and more in contact with that reality even in our waking moments, to be conscious of that which is nothing but the Mother’s Presence. “
“Consciousness […] has to come down and break the hard block of inert matter, striking and scattering and throwing up, as it were, its myriad disparate bits, turning them into particles of Light and Consciousness. These free sparks at the outset become erratic, errant conscious units, free but fighting against each other […] but that is the way towards a purer, higher, wider, integrating consciousness. We are thus in a transition period; it is an interregnum, beset with great difficulties, but they are also great opportunities.”
“Not only has She been concerned with human beings, but the animal creation and the life of plants too have shared in her direct touch. The Veda speaks of the animal sacrifice, but the Mother has performed her consecration of animals in a very novel sense […] She took a few cats as representatives of the animal world.”
The second part of Nolini-da’s recollections about early days in Pondicherry.
“Sri Aurobindo came to Pondicherry and took shelter here. We might say of course from another point of view that it was he who gave shelter to Pondicherry within his own consciousness. But why this city in particular?”
A short composition, based on photographs of The Mother, a vision of Nolini Kanta Gupta, music by Sunil Bhattacharya, and paintings by Priti Ghosh. Produced on occasion of The Mother’s Darshan of February 21, 2017, in Pondicherry.
“Work done as prayer is the best means of effecting an ascent in consciousness […] Work is not meant to show or express one’s capacity or skillfulness or cleverness, nor is it a mere mechanical execution of outward acts performing certain duties. It is indeed a ritual of prayer and self-dedication, adhesion and surrender of the most dynamic and material parts of our being […] to the One Divine Will.”
Voicing Satyavan’s thought and feeling, all humanity, the whole world in joy and gratefulness, utters this mantra of thanksgiving:
“If this is she of whom the world has heard,
Wonder no more at any happy change.”