Rhythm Divine Quotes

Patience is...clearly not fatalistic, shoulder-shrugging resignation. It is the acceptance of a divine rhythm to life; it is obedience prolonged. Patience stoutly resists pulling up the daisies to see how the roots are doing.

I Love Loving You You are my favorite song; a rhythm of beauty that captures my spirit. You are my favorite poem; an exquisite grouping of ideas set in motion with an unmatched enchanting elegance. You are my best friend; from our laughter to our deep conversations, our moments together are a timeless pleasure. You are my soul mate; a connection so pure, so powerful, that it can only be considered divine. You are my lover; a passionate entwinement, a chorus of ecstasy, and a feeling of complete unity that words could never adequately describe. You are my angel; you remind me of the goodness in this world and inspire me to be the greatest version of myself. You are my home; it is in your loving gaze that I find the comfort, acceptance, and the sense of belonging. You are my love ~ mi amor; there are not enough days in forever to allow me to fully express my love for you. I love loving you.

When you regain a sense of your life as a journey of discovery, you return to rhythm with yourself. When you take the time to travel with reverence, a richer life unfolds before you. Moments of beauty begin to braid your days.

Learning to desire God's will is not something we can accomplish by resolve and willpower. It occurs only when we live so close to God's heart that the rhythm of our own heartbeat comes to reflect the divine pulse

Be around those who crave new galaxies in you. The light through your veins. Poetic science. Wider vision. Gentler strength. The moon in your chest. Gravitational pulls. Possibility everywhere. Stars in your eyes. Expanding horizons. Something wild. Something fervent. Something stunning. Something divine.

With the passage of days in this godly isolation [desert], my heart grew calm. It seemed to fill with answers. I did not ask questions any more; I was certain. Everything - where we came from, where we are going, what our purpose is on earth - struck me as extremely sure and simple in this God-trodden isolation. Little by little my blood took on the godly rhythm. Matins, Divine Liturgy, vespers, psalmodies, the sun rising in the morning and setting in the evening, the constellations suspended like chandeliers each night over the monastery: all came and went, came and went in obedience to eternal laws, and drew the blood of man into the same placid rhythm. I saw the world as a tree, a gigantic poplar, and myself as a green leaf clinging to a branch with my slender stalk. When God's wind blew, I hopped and danced, together with the entire tree.

Oftentimes your conscious mind interferes with the normal rhythm of the heart, lungs, and functioning of the stomach and intestines by worry, anxiety, fear, and depression. These patterns of thought interfere with the harmonious functioning of your subconscious mind. When mentally disturbed, the best procedure is to let go, relax, and still the wheels of your thought processes. Speak to your subconscious mind, telling it to take over in peace, harmony, and divine order. You will find that all the functions of your body will become normal again. Be sure to speak to your subconscious mind with authority and conviction, and it will conform to your command.

Women need the archetypal image of a Divine Female. We need to reconnect with the inherent sacredness of woman as creator and nourisher, rather than accept a vision of ourselves as less-than-divine inferiors.

If you study the rhythm of life on this planet, you will find that everything moves in perfect symphony with everything else — by grand divine design. The earth has the ability to heal and regenerate itself, just as our oceans have the ability to replenish themselves by turning over their debris with the waves to wash them ashore. This perfect orchestration of the cycle of life is one of the Creator's greatest and most beautiful miracles. The earth will continue to exist with or without us. So the real concern should be, will we be able to continue to co-exist with each other?

Are you considering becoming a creative person? Too late, you already are one. To even call somebody "a creative person" is almost laughably redundant; creativity is the hallmark of our species. We have the sense for it; we have the curiosity for it; we have the opposable thumbs for it; we have the rhythm for it; we have the language and the excitement and the innate connection to divinity for it. If you're alive, you're a creative person. You and I and everyone you know are descended from tens of thousands of years of makers. Decorators, tinkerers, storytellers, dancers, explorers, fiddlers, drummers, builders, growers, problem-solvers, and embellishers--these are our common ancestors.

Chakra awakening is the ultimate bliss and ecstasy of life. It is merging with the eternity and the ultimate rhythm of the universe. It is the easiest and the direct path to the Supreme Divinity. The more you know about its divinities, the smoother will be your awakening. The more you treat them mechanically with exercises and hard kriyas, the more you will be heartening yourself and the society.

Holy shit, he was harder that a rod of steel, and as his leg ground out a torturous rhythm between my thighs, I realized I was hotter than spring in Seattle. This was not a dream, this was real, and I had just fondled the boner of the Grim Reaper.

The feet and their tapping Write many a lovely couplet The body dances to your rhythm O lord After all, you are the master and I a puppet

Today, I release the urgency of outer events. I listen to the inner rhythm of God. I set my pace by divine guidance. The world and its busy agendas do not control my soul.

I WISH I COULD SPEAK LIKE MUSIC I wish I could speak like music. I wish I could put the swaying splendor Of the fields into words So that you could hold Truth Against your body And dance. I am trying the best I can With this crude brush, the tongue, To cover you with light. I wish I could speak like divine music. I want to give you the sublime rhythms Of this earth and the sky’s limbs As they joyously spin and surrender, Surrender Against God’s luminous breath. Hafiz wants you to hold me Against your precious Body And dance, Dance.

Because drumming was recognized as an ancient source and symbol of the power of female technicians of the sacred, drumming was banned. Henceforth divinity was to be exclusively masculine. The suppression of women was directly linked to the suppression of the goddess.” - Layne Redmond, When the Drummers were Women

Meditation I KNOW there is a Power for Good which is responding to me and bringing into my experience everything that is necessary to my unfoldment, to my happiness, to my peace, to my health, and to my success. I know there is a Power for Good that enables me to help others and to bless the whole world. So I say quietly to myself: There is one Life, that Life is God, that Life is perfect, that Life is my life now. It is flowing through me, circulating in me. I am one with Its rhythm. My heart beats with the pulsation of the Universe, in serenity, in peace, and in joy. My whole physical being is animated by the Divine Spirit, and if there is anything in it that does not belong, it is cast out because there is One Perfect Life in me now. And I say to myself: I am daily guided so that I shall know what to do under every circumstance, in every situation. Divine Intelligence guides me in love, in joy, and in complete self-expression. Desiring that the Law of Good alone shall control me, I bless and prosper everything I am doing; I multiply every activity; I accept and expect happiness and complete success. Realizing that I am one with all people, I affirm that there is a silent Power flowing through me and them, which blesses and heals and prospers, makes happy and glad their pathway. And realizing that the world is made up of people like myself, I bless the world and affirm that it shall come under the Divine government of Good, under the Divine providence of Love, and under the Divine leadership of the Supreme Intelligence. For thine is the kingdom, and the power, and the glory, for ever. Amen.

Every child is a one of a kind mini-masterpiece. No known duplicates exist. They each have distinctive fingerprints, heart rhythms, eye patterns, and blood constitution. Even identical twins can be physically alike and yet light years apart in how they are mentally wired and gifted. Our children do not just grow up different; they show up different. Though circumstances and training will greatly affect their lives, the originality that is already ingrained into each of our children reflects brilliant preplanning. Every birthmark is a trademark. Every special feature is a signature of divine design.

… the sacred principles of life have never been written down: they belong to the heartbeat, to the rhythm of the breath and the flow of blood. They are alive like the rain and the rivers, the waxing and waning of the moon. If we learn to listen we will discover that life, the Great Mother, is speaking to us, telling us what we need to know.“ —Llewellyn Vaughan-Lee

Over thinking, over analyzing separates the body from the mind. Withering my intuition leaving all these opportunities behind. Feed my will to feel this moment urging me to cross the line. Reaching out to embrace the random. Reaching out to embrace whatever may come. I embrace my desire to feel the rhythm, to feel connected enough to step aside and weep like a widow to feel inspired, to fathom the power, to witness the beauty, to bathe in the fountain, to swing on the spiral of our divinity and still be a human. With my feet upon the ground I lose myself between the sounds and open wide to suck it in. I feel it move across my skin. I'm reaching up and reaching out. I'm reaching for the random or what ever will bewilder me. And following our will and wind we may just go where no one's been. We'll ride the spiral to the end and may just go where no one's been. Spiral out. Keep going...

The Native Americans, whose wisdom Thoreau admired, regarded the Earth itself as a sacred source of energy. To stretch out on it brought repose, to sit on the ground ensured greater wisdom in councils, to walk in contact with its gravity gave strength and endurance. The Earth was an inexhaustible well of strength: because it was the original Mother, the feeder, but also because it enclosed in its bosom all the dead ancestors. It was the element in which transmission took place. Thus, instead of stretching their hands skyward to implore the mercy of celestial divinities, American Indians preferred to walk barefoot on the Earth: The Lakota was a true Naturist – a lover of Nature. He loved the earth and all things of the earth, the attachment growing with age. The old people came literally to love the soil and they sat or reclined on the ground with a feeling of being close to a mothering power. It was good for the skin to touch the earth and the old people liked to remove their moccasins and walk with bare feet on the sacred earth. Their tipis were built upon the earth and their altars were made of earth. The birds that flew in the air came to rest on the earth and it was the final abiding place of all things that lived and grew. The soil was soothing, strengthening, cleansing and healing. That is why the old Indian still sits upon the earth instead of propping himself up and away from its life-giving forces. For him, to sit or lie upon the ground is to be able to think more deeply and to feel more keenly; he can see more clearly into the mysteries of life and come closer in kinship to other lives about him. Walking, by virtue of having the earth’s support, feeling its gravity, resting on it with every step, is very like a continuous breathing in of energy. But the earth’s force is not transmitted only in the manner of a radiation climbing through the legs. It is also through the coincidence of circulations: walking is movement, the heart beats more strongly, with a more ample beat, the blood circulates faster and more powerfully than when the body is at rest. And the earth’s rhythms draw that along, they echo and respond to each other. A last source of energy, after the heart and the Earth, is landscapes. They summon the walker and make him at home: the hills, the colours, the trees all confirm it. The charm of a twisting path among hills, the beauty of vine fields in autumn, like purple and gold scarves, the silvery glitter of olive leaves against a defining summer sky, the immensity of perfectly sliced glaciers … all these things support, transport and nourish us.

At the end, as at the beginning, stands the archetypal power of the Divine Feminine—the goddess. She is our future as she was our past. With her drum in hand, playing her sacramental rhythms, women can once again take their place in the world as technicians of the sacred. In the pulse of my drum, in the beat of my heart, I erect an alter to her forever.

Rhythms. You can almost feel them on suburban streets, divine the hour of the day without consulting a clock from the sounds heard in the cool, leafy neighborhoods.

The problem is that our corporate, government, and education cultures are configured for the 75 or 80 percent of people who are larks or third birds. Owls are like left-handers in a right-handed world—forced to use scissors and writing desks and catcher’s mitts designed for others. How they respond is the final piece of the puzzle in divining the rhythms of the day.

Relax as a child, Collect your stress and hide Relax that you can listen, the song which is hidden Relax for a minute, hear the heart rhythm Relax and find your soul to be part of divine

If only the physical aspects of hatha yoga are used, it is called ghatastha yoga (ghata means “physical effort”). Modern expressions like “fitness yoga” and “power yoga” that flourish within gym classes are within the same category, even if they do not derive from the original exercises’ rhythm and succession. In many instances “power yoga” has a positive effect on physical health; but if there is no aim to ease the mind, to gain self-insight and control of your thoughts, and to experience the divine within you and within the universe, the deeper meaning of yoga and - possibly life - is lost.

There is a value in repetition. When we repeat certain phrases and even actions, like fingering prayer beads, we create a quiet rhythm within our spirits. The beating of our heart is a repetition as is the rhythm of our breathing. All of life has its rhythms, and the repetition of familiar prayers can bring our interior spirits into harmony with the Divine Heartbeat and the breathing of the Divine Christ.

Healing is not linear. It's a like a waltz between you and the Divine weaving through time. When you join hands through the healing process, you transition to a beautiful rhythm for yourself and your life.

I glimpse again that biblical rhythm of expansion-and-contraction, assertion-and-subversion. As that rhythm becomes ever clearer as the very heartbeat of the biblical tradition, we will see the basic solution for How to Read the Bible and Still Be a Christian. Read it all carefully and thoughtfully, recognize radicality’s assertion, expect normalcy’s subversion, and respect the honesty of a story that tells the truth.

The earth is our origin and destination. The ancient rhythms of the earth have insinuated themselves into the rhythms of the human heart. The earth is not outside us; it is within: the clay from where the tree of the body grows.

I will always speak the truth to you, Herb Asher," the boy continued. "There is no deceit in God. I want you to live. I made you live once before, when you lay in psychological death. God does not desire any living thing's death; God takes no delight in nonexistence. Do you know what God is, Herb Asher? God is He Who causes to be. Put another way, if you seek the basis of being that underlies everything you will surely find God. You can work back to God from the phenomenal universe, or you can move from the Creator to the phenomenal universe. Each implies the other. The Creator would not be the Creator if there were no universe, and the universe would cease to be if the Creator did not sustain it. The Creator does not exist prior to the universe in time; he does not exist in time at all. God creates the universe constantly; he is with it, not above or behind it. This is impossible to understand for you because you are a created thing and exist in time. But eventually you will return to your Creator and then you will again no longer exist in time. You are the breath of your Creator, and as he breathes in and out, you live. Remember that, for that sums up everything that you need to know about your God. There is first an exhalation from God, on the part of all creation; and then, at a certain point, it starts its journey back, its inhalation. This cycle never ceases. You leave me; you are away from me; you start back; you rejoin me. You and everything else. It is a process, an event. It is an activity - my activity. It is the rhythm of my own being, and it sustains you all.

To even call somebody “a creative person” is almost laughably redundant; creativity is the hallmark of our species. We have the senses for it; we have the curiosity for it; we have the opposable thumbs for it; we have the rhythm for it; we have the language and the excitement and the innate connection to divinity for it.

She began to write, and the words felt slow and thick at first. But she fell into a rhythm with Roman, and soon her keys were rising and falling, the accompaniment to his, as if they were creating a metallic song together. She caught him smiling a few times, as if he had been waiting to hear her words strike. Their tea went cold.

The whole love of the "Law" has been lavished on and has cherished the Sabbath. As the day of rest, it gives life its balance and rhythm; it sustains the week. Rest is something entirely different from a mere recess, from a mere interruption of work, from not working. A recess is something essentially physical, part of the earthly everyday sphere. Rest, on the other hand, is essentially religious, part of the atmosphere of the divine; it leads us to the mystery, to the depth from which all commandments come, too. It is that which re-creates and reconciles, the recreation in which the soul, as it were, creates itself again and catches the breath of life-- that in life which is sabbatical.

Throughout the biblical story, from Genesis to Revelation, every radical challenge from the biblical God is both asserted and then subverted by its receiving communities— be they earliest Israelites or latest Christians. That pattern of assertion-and-subversion, that rhythm of expansion-and-contraction, is like the systole-and-diastole cycle of the human heart. In other words, the heartbeat of the Christian Bible is a recurrent cardiac cycle in which the asserted radicality of God’s nonviolent distributive justice is subverted by the normalcy of civilization’s violent retributive justice. And, of course, the most profound annulment is that both assertion and subversion are attributed to the same God or the same Christ. Think of this example. In the Bible, prophets are those who speak for God. On one hand, the prophets Isaiah and Micah agree on this as God’s vision: “they shall beat their swords into plowshares, / and their spears into pruning hooks; / nation shall not lift up sword against nation, / neither shall they learn war any more” (Isa. 2:4 = Mic. 4:3). On the other hand, the prophet Joel suggests the opposite vision: “Beat your plowshares into swords, / and your pruning hooks into spears; / let the weakling say, ‘I am a warrior’” (3:10). Is this simply an example of assertion-and-subversion between prophets, or between God’s radicality and civilization’s normalcy? That proposal might also answer how, as noted in Chapter 1, Jesus the Christ of the Sermon on the Mount preferred loving enemies and praying for persecutors while Jesus the Christ of the book of Revelation preferred killing enemies and slaughtering persecutors. It is not that Jesus the Christ changed his mind, but that in standard biblical assertion-and-subversion strategy, Christianity changed its Jesus.

Has any one at the end of the nineteenth century any distinct notion of what poets of a stronger age understood by the word inspiration? If not, I will describe it. If one had the smallest vestige of superstition left in one, it would hardly be possible completely to set aside the idea that one is the mere incarnation, mouthpiece, or medium of an almighty power. The idea of revelation, in the sense that something which profoundly convulses and upsets one becomes suddenly visible and audible with indescribable certainty and accuracy―describes the simple fact. One hears―one does not seek; one takes―one does not ask who gives. A thought suddenly flashes up like lightening; it comes with necessity, without faltering. I have never had any choice in the matter. There is an ecstasy so great that the immense strain of it is sometimes relaxed by a flood of tears, during which one's steps now involuntarily rush and anon involuntarily lag. There is the feeling that one is utterly out of hand, with the very distinct consciousness of an endless number of fine thrills and titillations descending to one's very toes. There is a depth of happiness in which the most painful and gloomy parts do not act as antitheses to the rest, but are produced and required as necessary shades of color in such an overflow of light. There is an instinct of rhythmic relations which embraces a whole world of forms (length, the need of a wide-embracing rhythm, is almost the measure of the force of an inspiration, a sort of counterpart to its pressure and tension). Everything happens quite involuntary, as if in a tempestuous outburst of freedom, of absoluteness, of power and divinity. The involuntary nature of the figures and similes is the most remarkable thing; everything seems to present itself as the readiest, the truest, and simplest means of expression. It actually seems, to use one of Zarathustra's own phrases, as if all things came to one, and offered themselves as similes. . . .

But, when the cult of the male god was established, there must have been difficulty in explaining how he could be the giver of life to all creation—since the man, unlike the woman, cannot produce from his body either the child or the food for the child. The whole attitude of humans towards the God had to be altered—violently altered. There could not be that same vital biological and magical link (the I-Thou) between the child and the father, as there is between the child and its mother: two beings evolving in and from the same body, the same rhythms, the same dreams. From the religious point of view, this means the loss between the human and the divine of direct, continuous physical-emotional-spiritual relationship. Oneness is dualized, the “self” is isolated within, and the rest of the universe, including God, is displaced and objectified without. The evolutionary, protoplasmic connection between the experienced self and the All is broken, and the new relation becomes: I-the Other; or worse: I-It. The father is not of the same all-containing, all-infusing, shaping and nourishing substance, and so the relation between humans and the Father God becomes abstract and alienated, distant and moralistic. The

What I’m after, above all, is a sense of divine inspiration that touches the very core of my being. 
That lives throughout every aspect of my existence,
 so all I do and all I see is beauty in the simplicity, and mystery in the unknown.
 To let nothing drag me into the monotony of living,
 but to always move to the unique rhythm of each passing day. To give nothing but all of me- my soul, my heart, my fire.

From the point of view of the history of religions, the Incarnation represents the last and most perfect hierophany ... To accept the possibility of the Absolute becoming incarnate in a historical person ... is to recognize that the countless pre-Christian generations were not victims of an illusion when they proclaimed the presence of the sacred, i.e., of the divine, in the objects and rhythms of the cosmos.

I had intended, at first, to answer numerous other criticisms and at the same time to explain a few quite simple questions that have been totally obscured by modern enlightenment: What is poetry? What is its aim? On the distinction between the Good and the Beautiful; on the Beauty in Evil; that rhythm and rhyme answer is the immortal need in man for monotony, symmetry, and surprise; on adapting style to subject; on the vanity and danger of inspiration, etc., etc.; but this morning I was so rash as to read some of the public newspapers; suddenly an indolence of the weight of twenty atmospheres fell upon me, and I was stopped, faced by the appalling uselessness of explaining anything whatever to anyone. Those who know can divine me, and for those who can not or will not understand, it would be fruitless to pile up explanations

Hair is gross. It seems smart to shave it off.” “You have hair.” “I do not; I just have me. Think about it, Kaladin. Everything else that comes out of your body you dispose of quickly and quietly—but this strange stuff oozes out of little holes in your head, and you let it sit there? Gross.” “Not all of us have the luxury of being fragments of divinity.” “Actually, everything is a fragment of divinities. We’re relatives that way.

The differences between religions are reflected very clearly in the different forms of sacred art: compared with Gothic art, above all in its “flamboyant” style, Islamic art is contemplative rather than volitive: it is “intellectual” and not “dramatic”, and it opposes the cold beauty of geometrical design to the mystical heroism of cathedrals. Islam is the perspective of “omnipresence” (“God is everywhere”), which coincides with that of “simultaneity” (“Truth has always been”); it aims at avoiding any “particularization” or “condensation”, any “unique fact” in time and space, although as a religion it necessarily includes an aspect of “unique fact”, without which it would be ineffective or even absurd. In other words Islam aims at what is “everywhere center”, and this is why, symbolically speaking, it replaces the cross with the cube or the woven fabric: it “decentralizes” and “universalizes” to the greatest possible extent, in the realm of art as in that of doctrine; it is opposed to any individualist mode and hence to any “personalist” mysticism. To express ourselves in geometrical terms, we could say that a point which seeks to be unique, and which thus becomes an absolute center, appears to Islam—in art as in theology—as a usurpation of the divine absoluteness and therefore as an “association” (shirk); there is only one single center, God, whence the prohibition against “centralizing” images, especially statues; even the Prophet, the human center of the tradition, has no right to a “Christic uniqueness” and is “decentralized” by the series of other Prophets; the same is true of Islam—or the Koran—which is similarly integrated in a universal “fabric” and a cosmic “rhythm”, having been preceded by other religions—or other “Books”—which it merely restores. The Kaaba, center of the Muslim world, becomes space as soon as one is inside the building: the ritual direction of prayer is then projected toward the four cardinal points. If Christianity is like a central fire, Islam on the contrary resembles a blanket of snow, at once unifying and leveling and having its center everywhere.

In his poetry and prose, Rilke links through various images the affairs of human life to the movements of the cosmos itself. If this conceit seems hyperbolic, it is for Rilke rooted very deeply in his experiences of the world. The result is not esoteric, nor does it relativize and thus implicitly belittle human activity by placing it within a greater, superior—not divine—order. By seeing things rather within a larger, natural (rather than ideological or religious) pattern, Rilke achieves a fundamentally modern secular perspective but does not give up on the possibility that there might be something greater in our lives. Interestingly, Rilke finds evidence of a connectedness to larger, cosmic patterns within our physical, bodily existence. How we breathe, eat, sleep, digest, and love; how we suffer physically or experience pleasure: we are subject to rhythms we cannot totally control. Rilke relies on no ideational frame but understands our existence as that of decidedly earthly, embodied mortals or, in the language of the philosophers whose work he so significantly shaped and inspired, as beings in time.

One of the King James Bible’s most consistent driving forces is the idea of majesty. Its method and its voice are far more regal than demotic. Its archaic formulations, its consistent attention to a grand and heavily musical rhythm are the vehicles by which that majesty is infused into the body of the text. Its qualities are those of grace, stateliness, scale, power. There is no desire to please here; only a belief in the enormous and overwhelming divine authority, of which royal authority, ‘the powers that be’ as they translated the words of St Paul, was an adjunct and extension

We lunged for each other at the same time and collided, crazy with need and starving for a taste. Warnings and alarms wailed in my mind, but I shut them down. Screw it. I wanted him. He found my mouth. The thrust of his tongue against mine made my head spin. He tasted like heaven. I kissed him back, nipping, licking, melting against him. It felt so good . . . His lips traced a fiery line from my mouth to the corner of my jaw and down my neck. My whole body sang in warm liquid triumph. His voice was a ragged whisper in my ear. “Only if you want to . . . Say no, and I’ll stop.” “No,” I whispered to see if he would do it. Curran pulled back. His eyes were pure need, raw and barely under control. He swallowed. “Okay.” It was the most erotic thing I had ever seen. I reached for him and slid my hand up his chest, feeling the taut muscle. He caught my hand and kissed my palm gently. Heated, tightly controlled want shone in his eyes. I pulled my fingers free, pushed from the wall, and kissed his throat just under the jaw. This was bliss. There was no hope for me. He growled, closing his eyes. “What are you doing?” “Pulling on Death’s whiskers,” I murmured, letting my tongue play over his skin, rough with stubble. He smelled divine, clean and male. My hands slid up his biceps. His muscles tensed under the light pressure of my fingers. He was trying very, very hard to stand still and I almost laughed. All those times when he’d called me “baby” . . . Revenge was sweet. “Is that a yes or a no?” he asked. I slid against him and nipped his bottom lip. “I’ll take it as a yes.” The steel muscles of his arms flexed under my hands. He grabbed me, hoisted me up onto him, and kissed me, thrusting into my mouth with his tongue in a hot, slick rhythm, greedy and eager. I threw my arms around his neck. His right hand grasped my hair, his left cupped my butt and pushed me closer against him, his erection a hard, hot length across my lap. Finally— “Let me in,” Derek growled at the door. Go away. The guard said something. Curran’s hand found my breast and caressed the nipple, sending an electric shock through my skin, threatening to melt me . . . “Yes,” Derek snarled. “I’m a member of the damn team. Ask them.” “Curran,” I whispered. “Curran!” He snarled and kept going. The door swung open. I hit him on the back of the neck. He submerged. Help. I’ve drowned the Beast Lord.

Buddha Under the Bodhi Tree Under the bodhi tree I sat Untangling the intangible. Bees nested in my hair, Apian swarms of nature ~ I too swarmed In my mind Taking the rhythm of their dance To be a sign of Divine Honey. Under the bodhi tree I sat Where each new second Eradicated its past In this brief mystery of time. I took the cricket's call To be a sign of Divine Eternity. Under the bodhi tree I sat Thinking the unthinkable Raindrops fell to quench the thirst Of insects and plants My compassion rose To quench the thirst of heaven I took the rain To be a sign of Divine Love ~ and was finally at peace with Myself and God.

The Devil One evening after my brother disciple and I had walked thirty miles in the mountains, we stopped to rest two miles beyond Kedarnath. I was very tired and soon fell asleep, but my sleep was restless because of my extreme fatigue. It was cold and I did not have a blanket to wrap around me, so I put my hands around my neck to keep warm. I rarely dream. I had dreamt only three or four times in my life, and all of my dreams had come true. That night I dreamt that the devil was choking my throat with strong hands. I felt as though I were suffocating. When my brother disciple saw my breath rhythm change and realized that I was experiencing considerable discomfort, he came to me and woke me up. I said, “Somebody was choking my throat!” Then he told me that my own hands were choking my throat. That which you call the devil is part of you. The myth of the devil and of evil is imposed on us by our ignorance. The human mind is a great wonder and magician. It can assume the form of both a devil and a divine being any time it wishes. It can be a great enemy or a great friend, creating either hell or heaven for us. There are many tendencies hidden in the unconscious mind which must be uncovered, faced, and transcended before one intends to tread the path of enlightenment.

The Bible is full of evidence that God’s attention is indeed fixed on the little things. But this is not because God is a Great Cosmic Cop, eager to catch us in minor transgressions, but simply because God loves us—loves us so much that the divine presence is revealed even in the meaningless workings of daily life. It is in the ordinary, the here—and—now, that God asks us to recognize that the creation is indeed refreshed like dew—laden grass that is “renewed in the morning” (Ps 90:5), or to put it in more personal and also theological terms, “our inner nature is being renewed every day” (2 Cor 4:16). Seen in this light, what strikes many modern readers as the ludicrous attention to detail in the book of Leviticus, involving God in the minutiae of daily life—all the cooking and cleaning of a people’s domestic life—might be revisioned as the very love of God. A God who cares so much as to desire to be present to us in everything we do. It is this God who speaks to us through the psalmist as he wakes from sleep, amazed, to declare, “I will bless you, Lord, you give me counsel, and even at night direct my heart” (Ps 16:7, GR). It is this God who speaks to us through the prophets, reminding us that by meeting the daily needs of the poor and vulnerable, characterized in the scriptures as the widows and orphans, we prepare the way of the Lord and make our own hearts ready for the day of salvation. When it comes to the nitty—gritty, what ties these threads of biblical narrative together into a revelation of God’s love is that God has commanded us to refrain from grumbling about the dailiness of life. Instead we are meant to accept it gratefully, as a reality that humbles us even as it gives us cause for praise. The rhythm of sunrise and sunset marks a passage of time that makes each day rich with the possibility of salvation, a concept that is beautifully summed up in an ancient saying from the monastic tradition: “Abba Poeman said concerning Abba Pior that every day he made a new beginning.

awareness of the divine, in large measure because of the intricate detail and difference of all creatures. He saw through a spiritual lens; while Darwin sought evidence of evolution and change, Gerard noted documentation of specialness, sameness, absolute identity in inscape and its effect on him: his response, generated by the inscape of the thing, he called “instress.” The term was almost musical, like a downbeat or rhythm or rest; the various and multifaceted forms of natural life clustered like notes on a ruled page of musical composition. He saw it, and he heard it. It was for him a great symphony composed of particularities, and so would his poetry become. For now, there were hints and foreshadowings in his prose.

Anger is loaded with information and energy,” says Audre Lorde. “Every woman has a well-stocked arsenal of anger potentially useful against those oppressions, personal and institutional, which brought that anger into being. Focused with precision it can become a powerful source of energy serving progress and change.” Lorde asks us to tend to the rage within us as a symphony, “to listen to its rhythms, to learn within it, to move beyond the manner of presentation to the substance, to tap that anger as an important source of empowerment.” It is a rhythm: Step away to rage, return to listen, and reimagine the solutions together. It becomes a kind of dance—to release raw rage in a safe container, in order to send divine rage into the world, like focused fury. The way of the warrior-sage is not only loving-kindness but loving-revolution, or revolutionary love.

Poetry is needed—but for poetry you need surrender. You need to throw off this ego. If you can do it, if you can put it aside even for a few moments, your life will have glimpses of the beautiful, of the divine. Without poetry you cannot really live, you can only exist. Love is poetry. And if love is not possible, how can you be prayerful, meditative, aware? It becomes almost impossible. And without a meditative awareness, you will remain just a body; you will never become aware of the innermost soul. Only in prayerfulness, in a deep meditation and silence do you reach the peaks. That prayerful silence, that meditative awareness is the highest peak of experience—but love opens the door. Carl Gustav Jung, after a lifetime of studying thousands of people—thousands of cases of people who were ill, psychologically crippled, psychologically confused—said that he had never come across a psychologically ill person whose real problem after the fortieth year is not spiritual. There is a rhythm in life, and in your forties a new dimension arises, the spiritual dimension. If you cannot tackle it rightly, if you don’t know what to do, you will become ill, you will become restless. The whole of human growth is a continuity. If you miss one step, it becomes discontinuous. The

Sin matters, and forgiveness of sins matters, but they matter because sin, flowing from idolatry, corrupts, distorts, and disables the image-bearing vocation, which is much more than simply “getting ready for heaven.” An overconcentration on “sin” and how God deals with it means that we see things only with regard to “works,” even if we confess that we have no “works” of our own and that we have to rely on Jesus to supply them for us. (Equally, an underemphasis on “sin” and how God deals with it is an attempt to claim some kind of victory without seeing the heart of the problem.) The biblical vision of what it means to be human, the “royal priesthood” vocation, is more multidimensional than either of the regular alternatives. To reflect the divine image means standing between heaven and earth, even in the present time, adoring the Creator and bringing his purposes into reality on earth, ahead of the time when God completes the task and makes all things new. The “royal priesthood” is the company of rescued humans who, being part of “earth,” worship the God of heaven and are thereby equipped, with the breath of heaven in their renewed lungs, to work for his kingdom on earth. The revolution of the cross sets us free to be in-between people, caught up in the rhythm of worship and mission.

MARSYAS: There are seven keys to the great gate, Being eight in one and one in eight. First, let the body of thee be still, Bound by the cerements of will, Corpse-rigid; thus thou mayst abort The fidget-babes that tease the thought. Next, let the breath-rhythm be low, Easy, regular, and slow; So that thy being be in tune With the great sea's Pacific swoon. Third, let thy life be pure and calm Swayed softly as a well-to-live be bound To the one love of the Profound. Fifth, let the thought, divinely free From sense, observe its entity. Watch every thought that springs; enhance Hour after hour thy vigilance! Intense and keen, turned inward, miss No atom of analysis! Sixth, on one thought securely pinned Still every whisper of the wind! So like a flame straight and unstirred Burn up thy being in one word! Next, still that ecstasy, prolong Thy meditation steep and strong, Slaying even God, should He distract Thy attention from the chosen act! Last, all these things in one o'erpowered, Time that the midnight blossom flowered! The oneness is. Yet even in this, My son, though shalt not do amiss If thou restrain the expression, shoot Thy glance to rapture's darkling root, Discarding name, form, sight, and stress Even of this high consciousness; Pierce to the heart! I leave thee here: Thou art the Master. I revere Thy radiance that rolls afar, O Brother of the Silver Star!

It's evident that with Beethoven the Romantic Revolution had already begun, bringing with it the new Artist, the artist as Priest and Prophet. This new creator had a new self-image: he felt himself possessed of divine rights, of almost Napoleonic powers and liberties — especially the liberty to break rules and make new ones, to invent new forms and concepts, all in the name of greater expressivity. His mission was to lead the way to a new aesthetic world, confident that history would follow his inspirational leadership. And so there exploded onto the scene Byron, Jean Paul, Delacroix, Victor Hugo, E. T. A. Hoffmann, Schumann, Chopin, Berlioz — all proclaiming new freedoms. Where music was concerned, the new freedoms affected formal structures, harmonic procedures, instrumental color, melody, rhythm — all of these were part of a new expanding universe, at the center of which lay the artist's personal passions. From the purely phonological point of view, the most striking of these freedoms was the new chromaticism, now employing a vastly enriched palette, and bringing with it the concomitant enrichment of ambiguity. The air was now filled with volcanic, chromatic sparks. More and more the upper partials of the harmonic series were taking on an independence of their own, playing hide-and-seek with their sober diatonic elders, like defiant youngsters in the heyday of revolt.

That shifting, layered sensibility is also, in part, the world into which the King James Bible was born. The king’s instructions were perfectly explicit: they were to use ‘circumlocution’, in other words language in which meaning was to be ‘sett forth gorgeously’. There was no terror of richness in this. Richness, as King David had known when he decorated the temple for God, was one of the attributes of God. Majesty, honour and power were gorgeous in themselves and the Jacobean sense of the beautiful loved both pearls and diamonds, both openness and ceremony. Miles Smith referred in his Preface to ‘the Sun of righteousness, the Son of God’, and it was the beams of that sun which the King James Translators would bring to the people. But the sense of clarity and directness was sewn and fused to those other Jacobean virtues: a pattern of order and authority; the majestic substance, the ‘meat’ of the word of God; the great ceremonial atmosphere of its long, carefully organised, musical rhythms, a ceremony of the word; an atmosphere both godly and kingly; both rich and pure, both multiplicitous and plain. This Bible, in other words, would absorb the full aesthetics of the age. You only have to read the Translators at full flood, feeling behind them the sense of unstoppable divine authority, to hear the immense, gilded majesty of the translation. In describing God’s assembling of the armies of a vengeful justice, they reached their apogee:

Build houses and make yourselves at home. You are not camping. This is your home; make yourself at home. This may not be your favorite place, but it is a place. Dig foundations; construct a habitation; develop the best environment for living that you can. If all you do is sit around and pine for the time you get back to Jerusalem, your present lives will be squalid and empty. Your life right now is every bit as valuable as it was when you were in Jerusalem, and every bit as valuable as it will be when you get back to Jerusalem. Babylonian exile is not your choice, but it is what you are given. Build a Babylonian house and live in it as well as you are able. Put in gardens and eat what grows in the country. Enter into the rhythm of the seasons. Become a productive part of the economy of the place. You are not parasites. Don’t expect others to do it for you. Get your hands into the Babylonian soil. Become knowledgeable about the Babylonian irrigation system. Acquire skill in cultivating fruits and vegetables in this soil and climate. Get some Babylonian recipes and cook them. Marry and have children. These people among whom you are living are not beneath you, nor are they above you; they are your equals with whom you can engage in the most intimate and responsible of relationships. You cannot be the person God wants you to be if you keep yourself aloof from others. That which you have in common is far more significant than what separates you. They are God’s persons: your task as a person of faith is to develop trust and conversation, love and understanding. Make yourselves at home there and work for the country’s welfare. Pray for Babylon’s well-being. If things go well for Babylon, things will go well for you. Welfare: shalom. Shalom means wholeness, the dynamic, vibrating health of a society that pulses with divinely directed purpose and surges with life-transforming love. Seek the shalom and pray for it. Throw yourselves into the place in which you find yourselves, but not on its terms, on God’s terms. Pray. Search for that center in which God’s will is being worked out (which is what we do when we pray) and work from that center. Jeremiah’s letter is a rebuke and a challenge: “Quit sitting around feeling sorry for yourselves. The aim of the person of faith is not to be as comfortable as possible but to live as deeply and thoroughly as possible—to deal with the reality of life, discover truth, create beauty, act out love. You didn’t do it when you were in Jerusalem. Why don’t you try doing it here, in Babylon? Don’t listen to the lying prophets who make an irresponsible living by selling you false hopes. You are in Babylon for a long time. You better make the best of it. Don’t just get along, waiting for some miraculous intervention. Build houses, plant gardens, marry husbands, marry wives, have children, pray for the wholeness of Babylon, and do everything you can to develop that wholeness. The only place you have to be human is where you are right now. The only opportunity you will ever have to live by faith is in the circumstances you are provided this very day: this house you live in, this family you find yourself in, this job you have been given, the weather conditions that prevail at this moment.

Steady, firm hands glide up my legs, resting just under my ass cheeks. Then he kisses me where I want it---where I need it most. My jaw plummets to the floor. It happens completely involuntarily, like a reflex triggered by ecstasy. His tongue works slowly, steadily, in the most divinely torturous rhythm. I tug his hair tighter as the ache of pleasure flashes all along my thighs, up my stomach and my chest, all the way to my neck. "Max, holy..." I trail off as his tongue swirls faster. Even in my limited dating experience and the few serious relationships I've had, I've always appreciated a guy who knows what to do with his mouth. But Max is head and shoulders above what I've experienced. He's clearly done this before. A LOT. He hums against me and my knees buckle. I tug him by the hair to look at me. "This feels incredible, but I'm not gonna be able to stand like this for much longer." The smug smile he flashes up at me makes my heart flutter right in my chest. Whoa. I didn't think that sort of thing actually happened. I was wrong. "Let's try this," he says. With his hands on my hips, he helps me onto his bed, then slides me up so my head is nestled against his pillows. He settles on his knees, between my legs. "Better?" I grin and nod, and then he picks up where he left off until I'm panting and my legs are shaking once more. The pleasure builds higher until my chest feels like it's going to explode. When I finally burst, I shake and shudder, I pant and moan. I attempt to count the seconds as a way to keep the time, but it's too much for my pleasure-riddled brain. I'm shattered in the best way, utterly annihilated by ecstasy.

What is the meaning of the antithetical concepts Apollonian and Dionysian which I have introduced into the vocabulary of Aesthetic, as representing two distinct modes of ecstasy? — Apollonian ecstasy acts above all as a force stimulating the eye, so that it acquires the power of vision. The painter, the sculptor, the epic poet are essentially visionaries. In the Dionysian state, on the other hand, the whole system of passions is stimulated and intensified, so that it discharges itself by all the means of expression at once, and vents all its power of representation, of imitation, of transfiguration, of transformation, together with every kind of mimicry and histrionic display at the same time. The essential feature remains the facility in transforming, the inability to refrain from reaction (—a similar state to that of certain hysterical patients, who at the slightest hint assume any role). It is impossible for the Dionysian artist not to understand any suggestion; no outward sign of emotion escapes him, he possesses the instinct of comprehension and of divination in the highest degree, just as he is capable of the most perfect art of communication. He enters into every skin, into every passion: he is continually changing himself. Music as we understand it today is likewise a general excitation and discharge of the emotions; but, notwithstanding this, it is only the remnant of a much richer world of emotional expression, a mere residuum of Dionysian histrionism. For music to be made possible as a special art, quite a number of senses, and particularly the muscular sense, had to be paralysed (at least relatively: for all rhythm still appeals to our muscles to a certain extent): and thus man no longer imitates and represents physically everything he feels, as soon as he feels it. Nevertheless that is the normal Dionysian state, and in any case its primitive state. Music is the slowly attained specialisation of this state at the cost of kindred capacities.

As long as she lived Stephen never forgot her first impressions of the bar known as Alec's—that meeting-place of the most miserable of all those who comprised the miserable army. That merciless, drug-dealing, death-dealing haunt to which flocked the battered remnants of men whom their fellow-men had at last stamped under; who, despised of the world, must despise themselves beyond all hope, it seemed, of salvation. There they sat, closely herded together at the tables, creatures shabby yet tawdry, timid yet defiant—and their eyes, Stephen never forgot their eyes, those haunted, tormented eyes of the invert. Of all ages, all degrees of despondency, all grades of mental and physical ill-being, they must yet laugh shrilly from time to time, must yet tap their feet to the rhythm of music, must yet dance together in response to the band—and that dance seemed the Dance of Death to Stephen. On more than one hand was a large, ornate ring, on more than one wrist a conspicuous bracelet; they wore jewellery that might only be worn by these men when they thus gathered together. At Alec's they could dare to give way to such tastes—what was left of themselves they became at Alec's. Bereft of all social dignity, of all social charts contrived for man's guidance, of the fellowship that by right divine should belong to each breathing, living creature; abhorred, spat upon, from their earliest days the prey to a ceaseless persecution, they were now even lower than their enemies knew, and more hopeless than the veriest dregs of creation. For since all that to many of them had seemed fine, a fine selfless and at times even noble emotion, had been covered with shame, called unholy and vile, so gradually they themselves had sunk down to the level upon which the world placed their emotions. And looking with abhorrence upon these men, drink-sodden, doped as were only too many, Stephen yet felt that some terrifying thing stalked abroad in that unhappy room at Alec's; terrifying because if there were a God His anger must rise at such vast injustice. More pitiful even than her lot was theirs, and because of them mighty should be the world's reckoning.

The message. This was the leap of faith Vittoria was still struggling to accept. Had God actually communicated with the camerlengo? Vittoria’s gut said no, and yet hers was the science of entanglement physics—the study of interconnectedness. She witnessed miraculous communications every day—twin sea-turtle eggs separated and placed in labs thousands of miles apart hatching at the same instant . . . acres of jellyfish pulsating in perfect rhythm as if of a single mind. There are invisible lines of communication everywhere, she thought. But between God and man? Vittoria wished her father were there to give her faith. He had once explained divine communication to her in scientific terms, and he had made her believe. She still remembered the day she had seen him praying and asked him, “Father, why do you bother to pray? God cannot answer you.” Leonardo Vetra had looked up from his meditations with a paternal smile. “My daughter the skeptic. So you don’t believe God speaks to man? Let me put it in your language.” He took a model of the human brain down from a shelf and set it in front of her. “As you probably know, Vittoria, human beings normally use a very small percentage of their brain power. However, if you put them in emotionally charged situations—like physical trauma, extreme joy or fear, deep meditation—all of a sudden their neurons start firing like crazy, resulting in massively enhanced mental clarity.” “So what?” Vittoria said. “Just because you think clearly doesn’t mean you talk to God.” “Aha!” Vetra exclaimed. “And yet remarkable solutions to seemingly impossible problems often occur in these moments of clarity. It’s what gurus call higher consciousness. Biologists call it altered states. Psychologists call it super-sentience.” He paused. “And Christians call it answered prayer.” Smiling broadly, he added, “Sometimes, divine revelation simply means adjusting your brain to hear what your heart already knows.” Now, as she dashed down, headlong into the dark, Vittoria sensed perhaps her father was right. Was it so hard to believe that the camerlengo’s trauma had put his mind in a state where he had simply “realized” the antimatter’s location? Each of us is a God, Buddha had said. Each of us knows all. We need only open our minds to hear our own wisdom.

Life within a Templar house was designed where possible to resemble that of a Cistercian monastery. Meals were communal and to be eaten in near silence, while a reading was given from the Bible. The rule accepted that the elaborate sign language monks used to ask for necessities while eating might not be known to Templar recruits, in which case "quietly and privately you should ask for what you need at table, with all humility and submission." Equal rations of food and wine were to be given to each brother and leftovers would be distributed to the poor. The numerous fast days of the Church calendar were to be observed, but allowances would be made for the needs of fighting men: meat was to be served three times a week, on Tuesdays, Thursdays and Saturdays. Should the schedule of annual fast days interrupt this rhythm, rations would be increased to make up for lost sustenance as soon as the fasting period was over. It was recognized that the Templars were killers. "This armed company of knights may kill the enemies of the cross without stated the rule, neatly summing up the conclusion of centuries of experimental Christian philosophy, which had concluded that slaying humans who happened to be "unbelieving pagans" and "the enemies of the son of the Virgin Mary" was an act worthy of divine praise and not damnation. Otherwise, the Templars were expected to live in pious self-denial. Three horses were permitted to each knight, along with one squire whom "the brother shall not beat." Hunting with hawks—a favorite pastime of warriors throughout Christendom—was forbidden, as was hunting with dogs. only beasts Templars were permitted to kill were the mountain lions of the Holy Land. They were forbidden even to be in the company of hunting men, for the reason that "it is fitting for every religious man to go simply and humbly without laughing or talking too much." Banned, too, was the company of women, which the rule scorned as "a dangerous thing, for by it the old devil has led man from the straight path to paradise the flower of chastity is always [to be] maintained among you.... For this reason none Of you may presume to kiss a woman' be it widow, young girl, mother, sister, aunt or any other.... The Knighthood of Christ should avoid at all costs the embraces of women, by which men have perished many times." Although married men were permitted to join the order, they were not allowed to wear the white cloak and wives were not supposed to join their husbands in Templar houses.

Stop!” she called out. To a one, the crewmen froze. A dozen heads swiveled to face her. Sophia swallowed and turned to Mr. Grayson. “What about me? I’m also a virgin voyager.” His lips quirked as his gaze swept her from head to toe and then back up partway. “Are you truly?” “Yes. And I haven’t a coin to my name. Do you plan to dunk and shave me, too?” “Now there’s an idea.” His grin widened. “Perhaps. But first, you must submit to an interrogation.” A lump formed in Sophia’s throat, impossible to speak around. Mr. Grayson raised that sonorous baritone to a carrying pitch. “What’s your name then, miss?” When Sophia merely firmed her chin and glared at him, he warned dramatically, “Truth or eels.” Bang. Excited whispers crackled through the assembly of sailors. Davy was completely forgotten, dropped to the deck with a dull thud. Even the wind held its breath in anticipation, and Sophia gave a slight jump when a sail smacked limp against the mast. Though her heart pounded an erratic rhythm of distress, she willed her voice to remain even. “I’ve no intention of submitting myself to any interrogation, by god or man.” She lifted her chin and arched an eyebrow. “And I’m not impressed by your staff.” She paused several seconds, waiting for the crew’s boisterous laughter to ebb. Mr. Grayson pinned her with his bold, unyielding gaze. “You dare to speak to me that way? I’m Triton.” With each word, he stepped closer. “King of the Sea. A god among men.” Now they stood just paces apart. Hunger gleamed in his eyes. “And I demand a sacrifice.” Her hand remained pressed against her throat, and Sophia nervously picked at the neckline of her frock. This close, he was all bronzed skin stretched tight over muscle and sinew. Iridescent drops of seawater paved glistening trails down his chest, snagging on the margins of that horrific scar, just barely visible beneath his toga. “A sacrifice?” Her voice was weak. Her knees were weaker. “A sacrifice.” He flipped the trident around, his biceps flexing as he extended the blunt end toward her, hooking it under her arm. He lifted the mop handle, pulling her hand from her throat and raising her wrist for his inspection. Sophia might have yanked her arm away at any moment, but she was as breathless with anticipation as every other soul on deck. She’d become an observer of her own scene, helpless to alter the drama unfolding, on the edge of her seat to see how it would play out. He studied her arm. “An unusually fine specimen of female,” he said casually. “Young. Fair. Unblemished.” Then he withdrew the stick, and Sophia’s hand dropped to her side. “But unsatisfactory.” She felt a sharp twinge of pride. Unsatisfactory? Those words echoed in her mind again. I don’t want you. “Unsatisfactory. Too scrawny by far.” He looked around at the crew, sweeping his makeshift trident in a wide arc. “I demand a sacrifice with meat on her bones. I demand…” Sophia gasped as the mop handle clattered to a rest at her feet. Mr. Grayson gave her a sly wink, bracing his hands on his hips in a posture of divine arrogance. “I demand a goat.

listened to the rhythm of the waves and imagined the crystal clear blue waters cleansing her of any lower energies, any remnants of shadows. She pictured the sun as God’s golden light filling her from within. As she did every morning and night, she cleared, grounded, and protected herself, calling on the archangels and ascended masters to help her along the way. Her mother taught her long ago that shielding herself psychically and spiritually was every bit as important as protecting herself physically. She took in a deep, cleansing breath, then another, and another. On each inhale, she imagined herself breathing in the essence of the Universe—Divine white light and perfect love. With each exhale, she imagined herself eliminating a gray mist that represented any negativity or fear. She invoked Archangel Michael to cut any cords of fear. She asked Archangel Michael, Archangel Raguel, Archangel Jophiel, Archangel Haniel, and the Ascended Masters El Morya and Lady Nada to turn on the spiritual vacuum cleaner and vacuum away any lower energies or remnants of shadows that might be in her field. She imagined the pure waters of a beautiful waterfall washing away any lingering energies. Then she called upon Archangel Metatron to use his geometric shapes to clear and open all of her chakras.

We sing the order of the night, a tune which reminds me of being a little girl in a new dress that, because of the season, came with an Easter bonnet, which I wore as well. It reminds me of being so studious that I took to heart my teachers' promise that for each word of the seder we recited, we would receive divine credit for a separate good deed. Now, for me, there is no counting up good deeds, no worrying about ingesting every crumb of required matzo. It's not the same seder I used to attend but an alternate one being written in the margins. There is room for the pleasure of being here with my family, telling the story we have been imparting for generations. I am still part of this story, and the story remains part of me as well - its language, its rhythms, its customs all have shaped who I am. To the rabbi who once issued the warning about partaking but not enjoying, and to the wayward yeshiva student who tried to go, I want to offer my own ending: When participation no longer feels like it might be mistaken for capitulation, when there is acceptance of who have chosen to become - then it's possible to return and enjoy parts of what you've left. Not ever leave-taking had to be absolute and entire. Orthodoxy can remain my childhood home, a place I visit but where I no longer live.

They thought they’d completed their assignment when the studio asked for one more, something punchy for a big production number. So they returned to the piano in their office on the Paramount lot. Several unproductive hours later, they gave up and took a drive in the Los Angeles hills, each of them in an irritable mood. Mercer, trying to think of something cheerful, remembered an “offbeat little rhythm tune”8 he’d heard Arlen humming a few days earlier, one that brought to mind a three-word phrase that had long intrigued him, “Accentuate the Positive.” Later, he gave differing accounts of where he’d first heard that phrase. One was that he’d been in an African American church in Savannah when the preacher, Bishop Grace—called Daddy Grace by his congregation—used it in a sermon. The other was that he’d been told that Father Divine—a Harlem preacher who claimed to be God—had used it. Either way, it was perfect for a song, which he and Arlen created by singing to each other as they continued their drive. Given the source of its lyric and the music’s gospel feel, it’s ironic that it was used in a racially offensive way. In the movie, Bing Crosby and Sonny Tufts performed it in blackface. But “Ac-cent-tchu-ate the Positive” became a jukebox hit and an enduring pop classic.

From His heart to my pen..." "I whole-heartedly believe beauty and joy can be found in an ordinary day. There is peace and restoration in the ancient rhythms of nature, and deep healing in the chaos of this life we have been given.

Many of the ardents who train there seem pretty wise to me,” she said. “After all, they shave their heads.” “They…” Kaladin frowned. “Syl, what does that have to do with being wise?” “Hair is gross. It seems smart to shave it off.” “You have hair.” “I do not; I just have me. Think about it, Kaladin. Everything else that comes out of your body you dispose of quickly and quietly—but this strange stuff oozes out of little holes in your head, and you let it sit there? Gross.” “Not all of us have the luxury of being fragments of divinity.” “Actually, everything is a fragment of divinities. We’re relatives that way.” She zipped in closer to him. “You humans are merely the weird relatives that live out in the stormshelter; the ones we try not to let visitors know about.

As we spend increasingly more time “connecting” with each other online, it raises the question of whether social media is stimulating genuine relationships or just simulating them. Are we sharing our lives with others, or are we just broadcasting them? Are we learning the rhythms of intimacy, or are we too busy pleasing the adoring crowd?

I, inside you! ( Part 2 ) ................So time waited at the door and the destiny knocked too, But the ones they had been sent for had become something else, So time asked destiny,” if still it could do what it was meant to do?” And it replied, “Only if they wink I can fulfil your wish. Until then there is nothing else I can do, nothing else!” But for her kiss, for her embrace, for the rhythm of her heart beats, I never winked my eyes, Even though many sunshines had passed and the walls had witnessed million moonlights, The time waits there, the destiny is tired too, to be the joy of the Cupid who lives in the skies, And had granted us the dreams made of lights, So, there was no need to wink, There was no need to wake up, And time that steals moments whenever lovers blink, Had become the Destiny’s Atlas, bearing our yoke, because we had poured ourselves into the depths of love cup, Where time disappeared and never found its end, There, there in the depths of the love cup, I love my darling Irma forever, And for her smiles, her kisses, I had compelled the destiny to bend, Because fate too favours the destiny of the wish, of a true lover, And in the room of love walls, we lie submersed in the love cup, She and I caught in the eternal embrace, Where time waits, destiny waits too, and we neither wink nor look up, Because I am caught in the moment of her eternal grace, Her beauty, her heart beat and her face, And I want to be in this place just with her, Away from the disturbances of time, worries of destiny, just with her and her beautiful face, Where she belongs to me and I belong to her, So, let the time wait till the end of everything, Then when time does not exist destiny would cease to be, Then Irma, we shall arise from the state of nothing, And the universe shall be just you, and me, With no curtains, no walls, no time, no destiny, Your heart beats, your beautiful face and our eternal embrace, Then maybe we shall be the darlings of divinity, Because in the wide and infinitely empty space, it shall be left with no choice, but to feed your grace, Then as a lover I shall be truly jovial, Because now, Irma, everything would lie at your feet, Destiny, time, eternity, and that instinct original and primeval, Where only you and I shall be destined to meet! With the cup of love always full, Of your beauty, your feelings, your smiles, and you, Then I shall dive into it and let it cover me full, And disappear forever somewhere inside you, only you!

If I must recall each breath's dance, Like heart's steady beat in life's expanse. Just like my pulse, am I but a part? Serving life's rhythm, making this art. Woven together, skillfully entwined Am I but a thread, in this grand design?

Dance with your sacred rhythm.

The ritual performance of Eucharist, and the communal memory on which it rests, in large measure generated the profound theological insights that unfolded in the first few centuries of Christian traditions. Early Christian worship orbited around a remarkable insight: God makes God’s own self vulnerable to the ecstasies and foibles of bodily human intimacy. “Take, eat,” Jesus says; “this is my body given for you” (Matthew 26:26). He says this with no guarantee whatsoever that this offering will be received well if at all. Notably, God initiates this moment of self-giving, and not in response to any request from God’s creatures but instead from God’s own desire for intimacy and union with us and indeed the rest of God’s creation. The audacity of Christian faith shimmers most vividly there, in a liturgical act routinely performed weekly by the vast majority of worldwide Christians and sometimes daily. Perhaps the rite’s repetition has blunted our collective awareness of the extravagance of that ostensibly simple act. Gathering to share a meal of bread and wine offers a profound declaration at the core of Christian faith: the meaning of human life and of the whole creation derives from the hope for communion. This is first and foremost God’s desire, which is only then the hope of God’s creatures. More audaciously still, this desire and this hope for communion constitutes the one story of the cosmos, of God’s own creation, to which Christian faith bears witness and in which Christians participate every time we celebrate the Eucharist. One further step remains to bring this theological audacity more fully into view: we can refresh our Christian witness to this profound story by turning to human sexual intimacy as a poignant instance of divine desire. Christians might readily imagine turning there when we experience such intimacy as ecstatically fulfilling; but we can also reflect on sexual intimacy, and perhaps especially so, when it leaves residual disappointment or even trauma in its wake. In all its delicate rhythms and relational frustrations, this bodily signpost in spiritual practice can stimulate Christian witness to the One Story—the deep desire and abiding hope for divine communion.7

The ritual performance of Eucharist, and the communal memory on which it rests, in large measure generated the profound theological insights that unfolded in the first few centuries of Christian traditions. Early Christian worship orbited around a remarkable insight: God makes God’s own self vulnerable to the ecstasies and foibles of bodily human intimacy. “Take, eat,” Jesus says; “this is my body given for you” (Matthew 26:26). He says this with no guarantee whatsoever that this offering will be received well if at all. Notably, God initiates this moment of self-giving, and not in response to any request from God’s creatures but instead from God’s own desire for intimacy and union with us and indeed the rest of God’s creation. The audacity of Christian faith shimmers most vividly there, in a liturgical act routinely performed weekly by the vast majority of worldwide Christians and sometimes daily. Perhaps the rite’s repetition has blunted our collective awareness of the extravagance of that ostensibly simple act. Gathering to share a meal of bread and wine offers a profound declaration at the core of Christian faith: the meaning of human life and of the whole creation derives from the hope for communion. This is first and foremost God’s desire, which is only then the hope of God’s creatures. More audaciously still, this desire and this hope for communion constitutes the one story of the cosmos, of God’s own creation, to which Christian faith bears witness and in which Christians participate every time we celebrate the Eucharist. One further step remains to bring this theological audacity more fully into view: we can refresh our Christian witness to this profound story by turning to human sexual intimacy as a poignant instance of divine desire. Christians might readily imagine turning there when we experience such intimacy as ecstatically fulfilling; but we can also reflect on sexual intimacy, and perhaps especially so, when it leaves residual disappointment or even trauma in its wake. In all its delicate rhythms and relational frustrations, this bodily signpost in spiritual practice can stimulate Christian witness to the One Story—the deep desire and abiding hope for divine communion.

Across the Fields   Soft and sensuous summer breeze That rustles the wheat fields Swaying to the rhythms of divinity Eternal song, susurration of the gods The lion that prowls the brush Quietly waiting in breathlessness For my body cool, a silk embrace A dying plaintive sibilant cry In the wilderness that is my mind Echoes of a winter wind An icy path across the chasm Our souls divided, thrown in tumult Then revived, enthralled, enchanted To the beat of rolling thunder A zephyr hurls the chill away The sun yields to the languid moon Darkness embraces us in rapture Our closeness protects against all foes Oneness melds the best together Into a precious alloy never to separate We are the promise of the gods

They were people,” Kaladin said. “Men in power always pretend to virtue, or divine guidance, some kind of mandate to ‘protect’ the rest of us. If we believe that the Almighty put them where they are, it’s easier for us to swallow what they do to us.

Sometimes in life, you will face the toughest times and the darkest nights, but you can prevail right where you are. You need to keep pursuing your purpose in life, follow God’s plan, and dance to the rhythm of His love.

Immortal rhythms swayed in her time-born steps; Her look, her smile awoke celestial sense Even in earth-stuff, and their intense delight Poured a supernal beauty on men’s lives. 01.02_003:034

The problem, bright one,” Kadash said, “was mysticism. The priests claimed that common men could not understand religion or the Almighty. Where there should have been openness, there was smoke and whispers. The priests began to claim visions and prophecies, though such things had been denounced by the Heralds themselves. Voidbinding is a dark and evil thing, and the soul of it was to try to divine the future.

Many of the ardents who train there seem pretty wise to me," she said. "After all, they shave their heads.” "They…" Kaladin frowned. "Syl, what does that have to do with being wise?" "Hair is gross. It seems smart to shave it off." "You have hair." "I do not; I just have me. Think about it, Kaladin. Everything else that comes out of your body you dispose of quickly and quietly—but this strange stuff oozes out of little holes in your head, and you let it sit there? Gross." "Not all of us have the luxury of being fragments of divinity." "Actually, everything is a fragment of divinities. We’re relatives that way." She zipped in closer to him. "You humans are merely the weird relatives that live out in the stormshelter; the ones we try not to let visitors know about.

Surrender conforms my path with the rhythm of the Divine. I let go of expectations for the outcome of my efforts.

Recognizing the Santana of our soul's melody, is a life time of progression; as if we keep to playing within the Divine rhythms, it infinitely keeps evolving.

Despite Medusa’s fearsome appearance, she herself does not personify evil or demonic forces. According to Miriam Robbins Dexter, Medusa is a manifestation of the Neolithic serpent/bird Goddess of life, death, and regeneration. Jane Harrison explains that the ancient Goddess wore the Gorgon mask to warn the uninitiated away from her rites, most likely mysteries of the great cosmic cycles of heaven and earth. Patricia Monaghan sees the snakelike rays streaming out from Medusa’s countenance as a sign of a solar Goddess, while Joan Marler, citing her connection with Hecate, identifies Medusa more with the moon than the sun; either way, Medusa is a heavenly deity ruling over the powers of the cosmos and the rhythms of time.

Life, like the sacred Ganga, flows from the divine to the mundane. Cherish your family as the banks that guide your path, and friends as the currents that propel you forward. In the dance of existence, each step is a blessing, each beat a prayer. Embrace all with love, for we are all part of the cosmic rhythm.

People with wombs have always known that bodies and consciousness are cyclical, tied to a rhythm that is larger than the individual. The cycle is twenty-eight days, full moon to full moon. Moon sounds like a name or a noun. But let us remember that moon is a gerund. Always moving. Always moon-ing. It is time to give the masculine back its lunar knowledge. Wombs swell, yearn, mulch, and release in twenty-eight days. But a womb is not just an organ. It is an invitation that anyone of any physicality and any gender expression can accept. It is an invitation to dance inside change for twenty-eight days. To practice softness for a cycle. The masculine has a womb, too. A moon. All it need do is look up at the night sky. What is lunar wisdom? Even on a new moon night, the moon is still present: replete and whole, while also void and occluded. This is a completion that holds loss tenderly inside its body. It is neatly summed up by Octavia Butler’s powerful words: “God is change.”1 The moon is every gender, every sexuality, mostly both, always trans: waxing and waning. The moon only ever flirts with fullness or emptiness for a brief, tenuous moment before slipping into change. Here is our blended, androgynous Dionysus. Wine-drunk, love-swollen, wind-swept, in ecstatic union with the holy, the moon encourages us to dissolve our edges rather than affirm them. Lunar knowledge keeps us limber. Keeps us resilient. Awe, whether somatic or spiritual, transforms us. The alternative to patriarchy and sky gods is not equal and opposite. It is not a patriarchy with a woman seated on a throne. The Sacred Masculine isn’t a horned warrior bowing down to his impassive empress. The divine, although it includes us, is mostly inhuman. Mutable. Mostly green. Often microscopic. And it is everything in between. Interstitial and relational. The light and the dark. Moonlight on moving water. The lunar bowl where we all mix and love and change.

I have seen, there, In the moonlit space of self, where the ego glides, Its silvery essence, a mirror upon life’s tides. Shaped by the ebb and flow of journey’s dance, Reflecting beliefs, in life’s intricate, ever-changing stance. This luminary, a learned guide in identity’s play, Casts shadows, illusions in its luminous display. A sculptor, artful, in societal norms it trusts, Chiseling character with life’s whims and cultural dust. The ego, in its carnival, spins tales so keen, Crafting who we ought to be in expectations unseen. In costumes of roles and societal dreams it dresses, Creating our outward selves in myriad, intricate presses. In stark contrast, behold the inner sun, our essence so bright, A steadfast flame, in the core of our being, burning with pure light. Unfiltered, unwavering, unlike the moon’s fickle gleam, A constant force, our authentic self, a deep, untouched stream. This essence, our unchanging truth, in the heart it resides, A whisper of eternity, beyond masks, where true self abides. Beyond roles, beyond transient ego’s elaborate dance, Lies this truth, unswayed by the external world’s fleeting glance. In the quest for self, twixt these luminaries, discernment is key, Traversing the self’s tangle, understanding what must be. Though ego’s voice echoes loud, in desires and fears it plays, It’s the essence’s silent light that guides through life’s stormy bays. Through recognition, understanding, transformation’s alchemy begins, Turning life unexamined into enlightened existence’s wins. A celestial voyage, within us, between sun and moon’s embrace, Ego teaches, grows us, in our worldly place. The essence, radiant and wise, to eternity connects, Offering authenticity, a path that perfects. Yin and yang, in our existence, they intertwine, In their dance, our soul’s rhythm, in harmony, divine. In moon’s reflection and sun’s light, a balance we find, Understanding their interplay, the rhythm of humankind.

In the realm of spiritual philosophy, where the sacred and the mundane converge, where the mystical dances with the ordinary, there exists an enchanting archetype that beckons us to explore the depths of our souls—the Divine Rabbit. This ethereal creature, a symbol of fertility, rebirth, and spiritual illumination, invites us to embark on a profound journey of self-discovery and transcendence. The Divine Rabbit, with its gentle countenance and nimble grace, embodies the essence of the divine feminine, representing the nurturing and creative aspects of existence. It is a messenger of the cosmic forces, whispering ancient wisdom and guiding us towards the realization of our true nature. With each hop, it traverses the sacred landscapes of our consciousness, leaving in its wake the seeds of transformation and spiritual awakening. This mystical creature, adorned with the symbols of abundance and growth, teaches us the profound truth that spirituality is not confined to lofty realms or esoteric knowledge, but is deeply rooted in the tapestry of our everyday lives. The Divine Rabbit invites us to cultivate a sense of presence and mindfulness, to embrace the magic of the present moment, and to recognize that every breath we take is an opportunity for divine communion. In the Divine Rabbit, we find a profound reflection of our own spiritual journey. Like the rabbit, we too navigate the maze of existence, encountering both obstacles and opportunities along the way. The Divine Rabbit reminds us to approach these challenges with grace, agility, and an unwavering trust in the divine plan. It teaches us that even in the face of adversity, we possess the innate resilience to overcome, to rise above our limitations, and to embrace the boundless potential that resides within us. The Divine Rabbit also serves as a catalyst for profound transformation and rebirth. Just as the rabbit sheds its old fur to make way for new growth, we too are called to release the layers of conditioning, limiting beliefs, and attachments that no longer serve our highest good. The Divine Rabbit encourages us to step into the fullness of our authentic selves, to embrace our innate gifts and talents, and to allow the light of our divine essence to illuminate the world around us. Moreover, the Divine Rabbit invites us to honor the interconnectedness of all beings and the sacredness of every living creature. It teaches us to tread lightly upon the Earth, recognizing that our actions have far-reaching consequences. The Divine Rabbit reminds us of the importance of compassion, kindness, and love towards all beings, for in their eyes, we catch a glimpse of the divine spark that resides within us all. As we embark on our spiritual journey, let us heed the wisdom of the Divine Rabbit. Let us cultivate a sense of wonder and curiosity, allowing ourselves to be guided by the synchronicities and signs that pepper our path. Let us embrace the cycles of life and honor the sacredness of both beginnings and endings. And above all, let us remember that within the heart of the Divine Rabbit resides the eternal flame of our own divine essence, waiting to be kindled and expressed in all its radiant glory. May we follow the path of the Divine Rabbit, awakening to the depths of our being, embracing our divine nature, and embodying the transformative power of love, compassion, and spiritual illumination. In doing so, we dance in harmony with the rhythm of the universe, honoring the sacredness of life, and fulfilling our highest purpose.

Your racing heart drummed a frantic rhythm in your chest as I waited patiently for you to speak. Even at your young age, you understood that my countenance defied the natural law, even if it wasn’t something you could articulate.

In India, music as well as painting and the drama is considered a divine art. Brahma, Vishnu, and Shiva—the Eternal Trinity—were the first musicians. The Divine Dancer Shiva is scripturally represented as having worked out the infinite modes of rhythm in His cosmic dance of universal creation, preservation and dissolution, while Brahma accentuated the time-beat with the clanging cymbals and Vishnu sounded the holy mridanga or drum. Krishna, an incarnation of Vishnu, is always shown in Hindu art with a flute, on which he plays the enrapturing song that recalls to their true home the human souls wandering in maya delusion. Saraswati, Goddess of Wisdom, is symbolised as performing on the vina, mother of all stringed instruments. The Sama Veda of India contains the world’s earliest writings on musical science. The foundation stone of Hindu music is the ragas or fixed melodic scales. The six basic ragas branch out into 126 derivative raginis (wives) and putras (sons). Each raga has a minimum of five notes: a leading note (vadi or king), a secondary note (samavadi or prime minister), helping notes (anuvadi, attendants) and a dissonant note (vivadi, the enemy). Each one of the six basic ragas has a natural correspondence with a certain hour of the day, season of the year and a presiding deity who bestows a particular potency. Thus (1) the Hindole Raga is heard only at dawn in the spring, to evoke the mood of universal love; (2) Deepaka Raga is played during the evening in summer, to arouse compassion; (3) Megha Raga is a melody for midday in the rainy season, to summon courage; (4) Bhairava Raga is played in the mornings of August, September, October, to achieve tranquillity; (5) Sri Raga is reserved for autumn twilights, to attain pure love; (6) Malkounsa Raga is heard at midnights in winter, for valour. The ancient rishis discovered these laws of sound alliance between nature and man. Because nature is an objectification of Aum, the Primal Sound or Vibratory Word, man can obtain control over all natural manifestations through the use of certain mantras or chants.

Ancient Sanskrit literature describes 120 talas or time-measures. The traditional founder of Hindu music, Bharata, is said to have isolated 32 kinds of tala in the song of a lark. The origin of tala or rhythm is rooted in human movements—the double time of walking and the triple time of respiration in sleep, when inhalation is twice the length of exhalation. India has always recognised the human voice as the most perfect instrument of sound. Hindu music therefore, largely confines itself to the voice range of three octaves. For the same reason, melody (relation of successive notes) is stressed rather than harmony (relation of simultaneous notes). The deeper aim of the early rishi-musicians was to blend the singer with the Cosmic Song which can be heard through awakening of man’s occult spinal centres. Indian music is a subjective, spiritual and individualistic art, aiming not at symphonic brilliance but at personal harmony with the Oversoul. The Sanskrit word for musician is bhagavathar, “he who sings the praises of God.” The sankirtans or musical gatherings are an effective form of yoga or spiritual discipline, necessitating deep concentration, intense absorption in the seed thought and sound. Because man himself is an expression of the Creative Word, sound has the most potent and immediate effect on him, offering a way to remembrance of His Divine origin.

Part of maturing is knowing the difference between striving and actively moving in the unforced rhythms of grace. Fruitfulness all flows from a happy, ecstatic impulse toward our divine calling. This is what Paul said he was pressing in toward. He was not pressing in for moral perfection. Not pressing in for more of the Spirit he already had, or trying to get closer to a God with whom he was already in Union. He was pressing in toward his high calling – literally to complete his life’s race and vocation – his ministry purpose that would ultimately result in martyrdom (Phil. 3). Love and grace will push you to lengths that fear and law never will. To think there was no pleasure even in this most grueling task, you are missing the nature of the Gospel, as well as the personality of the apostle. The religious man is compelled to run strictly out of legal motivation – dry duty, obligation and fear of ulterior consequences. But we run out of a sheer pleasure! Not merely loving toward God, but allowing His love to flow through us tangibly in charity. We are at rest in the middle of the storm. The flavor of faith is rest, but the results of faith are mountain moving.

Part of maturing is knowing the difference between striving and actively moving in the unforced rhythms of grace. Fruitfulness all flows from a happy, ecstatic impulse toward our divine calling.

Goddess-centered awareness demonstrated the archetypal Divine Feminine awareness that generates and knows the rhythms and mysteries of life, death and rebirth. The Goddess knows what it is to create forms and life within herself, to sustain and nurture, to realize the potential in the seed, in new life and to bring it forth, to nurture it with the milk of her own body. The Goddess ' ways were reflected everywhere in nature, and humanity lived reverently for Her and sought to live in harmony with the wisdom she revealed. Society has been based on cooperation for thousands of years, and is neither matriarchal nor patriarchal. There were no fortifications or battle evidences for thousands of years. In the course of time, though, a new form of consciousness started to develop in what Eisler called the dominator mode. The dominator style has been synonymous with patriarchal forms of religion and Divine approaches that continue to exist to this day. The dominator mode also coincides with a shift in the culture of man where fortifications, battles, and wars developed between groups. That is what Eisler points to in her book title. She writes of the difference between the blade and the chalice. The chalice is a symbol of the Divine Feminine, the consciousness that holds and contains, that nurtures, that actualizes, vs. the blade that cuts and severs, differentiates, penetrates, and dominates. From my perspective, both are part of the full expression of Consciousness and forms that Shakti creates to express the full spectrum of Consciousness itself. The pendulum has swung to an extreme and is now moving back to a center that integrates the two consciousness modes.

In yet another manipulation-of-matter dream, I saw several, perhaps ten, vortices (like spinning arms) protruding from my body. Rotating in a unison, counter-clockwise fashion, they would all, in simultaneous rhythm with my Prāṇa pulse, change direction. Immediately, I understood that these projections from my combined thought and energy processes would reverse themselves accordingly, thereby redirecting the effulgence/vibration field surrounding and radiating out from me. Another dream showed the Creative Energy of the universe surging into and through my crown area and then following down through my entire body until emerging as some form of matter. It too, seemed to involve the Prāṇa: that harnessing one’s divine heart energy is the ultimate manipulator of matter.

A godly man adheres to the protocol of the heavens—a divine code deeply ingrained in his spirit. His steps align with godly rhythms, and his heart beats in sync with destiny.

Rhythm is divine. Cacophony is satanic.

The professor Craig Dykstra of Duke Divinity School once said, “The life of the Christian faith is the practice of many practices.”[21] What I’m calling “the practices,” most people call “the spiritual disciplines.”[22] My friend and co-worker Strahan calls them “altars of availability.” Ruth Haley Barton calls them “sacred rhythms”;[23] the late pastor Eugene Peterson, “rhythms of grace”;[24] Reformed theologians, “means of grace.”[25] But to translate into a more secular vernacular, they are essentially habits that are based on the life (read: lifestyle) of Jesus.

As we free ourselves from trying to employ correct mechanics of prayer and allow ourselves to be still and know that God is God, prayer becomes a meeting of the hearts where we rest in God’s presence. It is no longer hard work but a source of rest and new possibilities. Even when we have nothing important to say to God, we are satisfied in the divine rhythm of coming and going, working and resting.