THE MEN AND WOMEN

 

                               

                                THE RELATIONSHIP OF MEN AND WOMEN

                            ONE DAY A SALESMAN CAME TO SEE ME AND DESCRIBED HIS DIFFICULTIES IN WORKING WITH THE SALES MANAGER OF HIS ORGANIZATION. HE HAD BEEN WITH THE COMPANY TEN YEARS AND HAD RECEIVED NO PROMOTION OR RECOGNITION OF ANY KIND. HE SHOWED ME HIS SALES FIGURES, WHICH WERE GREATER PROPORTIONATELY THAN THE OTHER MEN IN THE TERRITORY. HE PROPORTIONATELY THAN THE OTHER MEN IN THE TERRITORY. HE SAID THAT THE SALES MANAGER DID NOT LIKE HIM, THAT HE WAS UNJUSTLY TREATED, AND THAT AT CONFERENCE THE MANAGER WAS RUDE TO HIM, AND AT TIMES RIDICULED HIS SUGGESTIONS.

                    I EXPLAINED THAT UNDOUDEDLY THE CAUSE WAS TO A GREAT DEGREE WITHIN HIMSELF, AND THAT HIS CONCEPT AND BELIEF ABOUT HIS SUPERIOR BORE WITNESS TO THE REATION OF THIS MAN. THE MEASURE WE METE, SHALL BE MEASURED TO US AGAIN. HIS MENTAL MEASURE AND CAN-TANKEROUS. HE WAS FILLED WITH BITTERNESS AND HOSTILITY TOWARD THE EXECUTIVE. ON HIS WAY TO WORK HE CONDUCTED A VIGOROUS CONVERSATION, WITH HIMSELF FILLED WITH CRITICISM, MENTAL ARGUMENTS, RECRIMINATION AND DENUNCIATIONS OF HIS SALES MANAGER.

                WHAT HE GAVE OUT MENTALLY, HE WAS INEVITABLY BOUND TO GET BACK. THIS SALEMAN REALIZED THAT HIS INNER SPEECH WAS HIGHLY DESTRUCTIVE BECAUSE THE INTENSITY AND FORCE OF HIS SILENT THOUGHTS AND EMOTIONS, AND PERSONALLY CONDUCTED MENTAL CONDEMNATION AND VILIFICATION OF THE SALES MANAGER. ENTERED INTO HIS OWN SUBCONSCIOUS MIND. THIS BROUGHT ABOUT THE NEGATIVE RESPONSE FROM HIS BOSS AS WELL AS CREATING MANY OTHER PERSONAL, PHYSICAL, AND EMOTIONAL DISORDERS.

                HE BEGAN TO PRAY FREQUENTLY AS FOLLOWS, "I AM THE ONLY THINKER IN MY UNIVERSE. I AM RESPONSIBLE FOR WHAT I THINK ABOUT MY BOSS. MY SALES MANAGER IS NOT RESPONSIBLE FOR THE WAY I THINK ABOUT HIM. I REFUSE TO GIVE POWER TO ANY PERSON, PLACE, OR THING TO ANNOY ME OR DISTURB ME. I WISH HEALTH, SUCCES, PEACE OF MIND, AND HAPPINESS FOR MY BOSS. I SINCERELY WISH HIM WELL, AND I KNOW HE IS DIVINELY GUIDED IN ALL HIS WAYS".

              HE REPEATED THIS PRAYER OUT LOUD SLOWLY, QUIETLY AND FEELINGLY, KNOWING THAT HIS MIND IS LIKE A GARDEN, AND THAT WHATEVER HE PLANTS IN THE GARDEN WILL COME FORTH LIKE SEEDS AFTER THEIR KIND. I ALSO TAUGHT HIM TO PRACTICE MENTAL IMAGERY PRIOR TO SLEEP IN THIS WAY. HE IMAGINED THAT HIS SALES MANAGER WAS CONGRATULATING HIM ON HIS FINE WORK, ON HIS ZEAL AND ENTHUSIASM, AND ON HIS WONDERFUL RESPONSE FROM CUSTOMERS. HE FELT THE REALITY OF ALL THIS, FELT HIS HANDSHAKE, HEARD THE TONE OF HIS VOICE, AND SAW HIM SMILE. HE MADE A REAL MENTAL MOVIE, DRAMATIZING IT TO THE BEST OF HIS ABILITY. NIGHT AFTER NIGHT HE CONDUCTED THIS MENTAL MOVIE, KNOWING THAT HIS SUBCONSCIOUS MIND WAS THE RECEPTIVE PLATE ON WHICH HIS CONSCIOUS IMAGERY WOULD BE IMPRESSED.

                      GRADUALLY BY A PROCESS OF WHAT MAY BE TERMED MENTAL AND SPIRITUAL OSMOSIS, IMPRESSION WAS MADE ON HIS SUBCONSIOUS MIND, AND THE EXPRESSION AUTOMATICALLY CAME FORTH. THE SALES MANAGER SUBSEQUENTLY CALLED HIM UP TO SAN FRANCISCO, CONGRATULATED HIM, AND GAVE HIM A NEW ASSIGMENT AS DIVISION SALES MANAGER OVER ONE HUNDRED MEN WITH A BIG INCREASE IN SALARY. HE CHANGED HIS CONCEPT AND ESTIMATE OF HIS BOSS, AND TH LATTER RESPONDED ACCORDINGLY.

                                  BECOMING EMOTIONALLY MATURE

                WHAT THE OTHER PERSON SAYS OR DOES CANNOT REALLY ANNOY OR IRRITATE YOU EXCEPT YOU PERMIT HIM TO DISTURB YOU. THE ONLY WAY HE CAN ANNOY YOU IS THROUGH YOUR OWN THOUGHT. FOR EXAMPLE, IF YOU GET ANGRY, YOU HAVE TO GO THROUGH FOUR STAGES IN YOUR MIND. YOU BEGIN TO THINK ABOUT WHAT HE SAID. YOU DECIDE TO GET ANGRY AND GENERATE AN EMOTION OF RAGE. THEN, YOU DECIDE TO ACT. PERHAPS, YOU TALK BACK AND REACT IN KIND. YOU SEE THAT THE THOUGHT, EMOTIONS, REACTION, AND ACTION ALL TAKES PLACE IN YOUR MIND.

               WHEN YOU BECOME EMOTIONALLY MATURE, YOU DO NOT RESPOND NEGATIVELY TO THE CRITICISM AND RESENTMENT OF OTHERS. TO DO SO WOULD MEAN THAT YOU HAD DESCENDED TO THAT STATE OF LOW MENTAL VIBRATION AND BECOME ONE WITH THE NEGATIVE ATMOSPHERE OF THE OTHER. IDENTIFY YOURSELF WITH YOUR AIM IN LIFE, AND DO NOT PERMIT ANY PERSON, PLACE, OR THING TO DEFLECT YOU FROM YOUR INNER SENSE OF PEACE, TRANSQUILITY, AND RADIANT HEALTH.

                                              THE MEANING OF LOVE

               SIGMUND FREUD, THE AUSTRIAN FOUNDED OF PSYCHONALYSIS, SAID THAT UNLESS THE PERSONALITY HAS LOVE, IT SICKENS AND DIES. LOVE INCLUDES UNDERSTANDING, GOOD WILL, AND RESPECT FOR THE DIVINITY IN THE OTHER PERSON. THE MORE LOVE AND GOOD WILL YOU EMANATE AND EXUDE, THE MORE COMES BACK TO YOU. IF YOU PUNCTURE THE OTHER FELLOWS EGO AND WOUND HIS ESTIMATE OF HIMSELF, YOU CANNOT GAIN HIS GOOD WILL.  RECOGNIZE THAT EVERY MAN WANTS TO BE LOVED AND APPRECIATED, AND MADE TO FEEL IMPORTANT IN THE WORLD, AND THAT, LIKE YOURSELF, HE  FEELS THE DIGNITY OF BEING AN EXPRESSION OF THE ONE LIFE-PRINCIPLE ANIMATING ALL MEN. AS YOU DO THIS CONSCIOUSLY AND KNOWINGLY, YOU BUILD THE OTHER PERSON UP, AND HE RETURNS YOUR LOVE AND GOOD WILL.

                                           I HATE WOMEN, BUT I LIKE MEN

              A PRIVATE SECRETARY WAS VERY BITTER TOWARD SOME OF THE GIRLS IN HER OFFICE BECAUSE THEY WERE GOSSIPPING ABOUT HER, AND AS SHE SAID, SPREADING VICIOUS LIES ABOUT HER. SHE ADMITTED THAT SHE DID NOT LIKE WOMEN. SHE SAID, "I HATE WOMEN, BUT I LIKE MEN". I DISCOVERED ALSO THAT SHE SPOKE TO THE GIRLS WHO WERE UNDER HER IN THE OFFICE IN A VERY HAUGHTY, IMPERIOUS, AND IRRITABLE TONE OF VOICE. SHE POINTED OUT THAT THEY TOOK A DELIGHT IN MAKING THINGS DIFFICULT FOR HER. THERE WAS A CERTAIN POMPOSITY IN HER WAY OF SPEAKING, AND I COULD SEE WHERE HER TONE OF VOICE WOULD AFFECT SOME PEOPLE UNPLEASANTLY.

               IF ALL THE PEOPLE IN THE OFFICE OR FACTORY ANNOY YOU, ISN'T IT A POSSIBILITY THAT THE VIBRATION, ANNOYANCE, AND TURMOIL MAY BE DUE TO SOME SUBCONSCIOUS PATTERN OR MENTAL PROJECTION FROM YOU? WE KNOW THAT A DOG WILL REACT FEROCIOUSLY IF YOU HATE OR FEAR DOGS. ANIMALS PICK UP YOUR SUBCONSCIOUS VIBRATIONS AND REACT ACCORDINGLY. MANY UNDISCIPLINED HUMAN BEINGS ARE JUST AS SENSITIVE AS DOGS, CATS, AND OTHER ANIMALS.

               I SUGGESTED A PROCESS OF PRAYER TO THIS PRIVTE SECRETARY WHO HATRED WOMEN, EXPLAINING TO HER THAT WHEN SHE BEGAN TO IDENTIFY HERSELF WITH SPIRITUAL VALUES AND COMMENCED TO AFFIRM THE TRUTHS OF LIFE, HER VOICE, MANNERISMS, AND HATRED OF WOMEN WOULD COMPLETELY DISAPPEAR. SHE WAS SURPRISED TO KNOW THAT THE EMOION OF HATRED SHOWS UP IN A PERON'S SPEECH, ACTIONS, IN HIS WRITINGS, AND IN ALL PHASES OF HIS LIFE. SHE CEASED REACTING IN THE TYPICAL, RESENTFUL, AND ANGRY WAY. SHE ESTABLISHED A PATTEN OF PRAYER, WHICH SHE PRACTICED REGULARLY, SYSTEMATICALLY, AND CONSCIENTIOUSLY IN THE OFFICE.

               THE PRAYER WAS FOLLOWS, " I THINK, SPEAK, AND ACT LOVINGLY, QUIETLY, AND PEACEFULLY.  I NOW RADIATE LOVE, PEACE, TOLERANCE, AND KINDLINESS TO ALL THE GIRLS WHO CRITICIZED ME AND GOSSIPED ABOUT ME. I ANCHOR MY THOUGHTS ON PEACE, HARMONY, AND GOOD WILL TO ALL.

                WHENEVER I AM ABOUT TO REACT NEGATIVELY, I SAY FIRMLY TO MYSELF, "I AM GOING TO THINK, SPEAK, AND ACT FROM THE STANDPOINT OF THE PRINCIPLE OF HARMONY, HEALTH AND PEACE WITHIN MYSELF". CREATIVE INTELLIGENCE LEADS, RULES AND GUIDES ME IN ALL MY WAYS. THE PRACTIVE OF THIS PRAYER TRANSFORMED HER LIFE, AND SHE FOUND THAT ALL CRITISM AND ANNOYANCE CEASED.

                THEY GIRLS BECAME CO-WORKERS AND FRIENDS ALONG LIFE'S JOURNEY. SHE DISCOVERED THAT THERE IS NO ONE TO CHANGE BUT MYSELF.

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HOW TO RAISE YOUR SALARY (MR. HILL AND CANEGIE )

                                     

                                             TIPS TO RAISE YOUR SALARY

                             (CONVERSATION OF HILL AND THE CARNEGIE )

                     HILL : WHAT ABOUT THE MAN WHOSE LACK OF EDUCATION FORCES HIM TO ACCEPT ONLY SUCH OPPORTUNITIES AS ARE AVAILABLE TO COMMON LABORERS WHO WORK WITH THEIR HANDS? WOULD YOU SAY THAT THIS MAN HA EQUAL OPPORTUNITY WITH THOSE WHO HAVE EDUCATED THEMSELVES ?

                   CARNEGIE : I'M VERY GLAD YOU ASKED THAT QUESTION, BECAUSE I WISH TO SET YOU RIGHT ON A COMMON MISTAKE THAT PEOPLE MAKE IN CONNECTION WITH THIS QUESTION OF EDUCATION.

                   FIRST, LET ME EXPLAIN THAT THE WORD, "EDUCATE" MEANS SOMETHING ENTIRELY DIFFERENT FRON THAT WHICH MANY BELIEVE IT TO MEAN. AN EDUCATED MAN IS ONE WHO HAS TAKEN POSSESSION OF HIS OWN MIND AND HAS SO DEVELPED IT, THROUGH ORGANIZED THOUGHT, THAT IT AIDS HIM EFFICIENTLY IN THE SOLUTION OF HIS DAILLY PROBLEMS IN THE BUSINESS OF LIVING.

                   SOME PEOPLE BELIEVE THAT EDUCATION CONSISTS OF THE ACQUISITION OF KNOWLEDGE, BUT IN A TRUER SENSE IT MEANS THAT ONE HAS LEARNED HOW TO USE KNOWLEDGE.

                  I KNOW MANY MEN WHO ARE WALKING ENCYCLOPEDIAS OF KNOWLEDGE. BUT MAKE SUCH POOR USE OF IT THAT THEY CANNOT EARN A LIVING.

                  ANOTHER MISTAKE THAT MANY PEOPLE MAKE IT THAT OF BELIEVING THAT SCHOOLING AND EDUCATION ARE SYNONYMOUS TERMS. SCHOOLING MAY ENABLE A MAN TO ACQUIRE MUCH KNOWLEDGE AND ASSEMBLE MANY USEFUL FACTS, BUT SCHOOLING ALONE DOES NOT NECESSARILY MAKE A MAN EDUCATED. EDUCATION IS SELF-ACQUIRED, AND IT COMES THROUGH DEVELOPMENT AND USE OF THE MIND, AND IN NO OTHER WAY.

              TAKE THOMAS A EDISON, FOR EXAMPLE. HIS ENTIRE SCHOOLING WAS A LITTLE MORE THAN THREE MONTHS, AND IT WAS NOT THE MOST EFFICIENT OF SCHOOLING AT THAT.  HIS REAL "SCHOOLING" CAME FROM THE GREAT SCHOOL OF EXPERIENCE, FROM WHICH HE LEARNED HOW TAKE POSSESSION OF HIS OWN MIND AND TO USE IT. THROUGH THIS USE HE BECAME ONE OF THE BEST EDUCATED MEN OF OUR TIMES.

                 SUCH TECHNICAL KNOWLEDGE AS HE NEEDED IN THE BUSINESS OF INVENTING HE ACQUIRED FROM OTHER MEN, THROUGH APPLICATION OF THE MASTER MIND PRINCIPLE. IN THIS WORK HE REQUIRES KNOWLEDGE OF CHEMISTRY, PHYSICS, MATHEMATICS, ADN A GREAT VARIETY OF OTHER SCIENTIFIC SUNJECTS, NONE OF WHICH HE PERSONALLY UNDERSTANDS. BUT SINCE HE IS EDUCATED, HE KNOWS HOW AND WHERE TO PROCURE KNOWLEDGE ON THESE AND ALL OTHER SUBJECTS WHICH IS ESSENTIAL IN HIS WORK.

                SO, DISABUSE YOUR MIND OF THE BELIEF THAT KNOWLEDGE, OF ITSELF, IS EDUCATED! THE MAN WHO KNOWS WHERE AND HOW TO PROCURE THE KNOWLEDGE HE NEEDS, WHEN HE NEEDS IT, MUCH MORE A MAN OF EDUCATION THAT THE MAN WHO HAS THE KNOWLEDGE BUT DOES NOT KNOW WHAT TO DO WITH IT.

                  NOW, THER IS ANOTHER ANGLE IN CONNECTION WITH THIS OLD, TIME WORN ALIBI THROUGH WHICH MEN EXPLAIN AWAY THEIR FAILURE BY CLAIMING THEY HAVE HAD NO OPPORTUNITY TO ACQUIRE EDUCATION. IT IS THE FACT THAT SCHOOLING IS FREE IN THIS COUNTRY, AND IT IS SO ABUNDANTLY PROVIDED THAT ANY MAN CAN GO TO SCHOOL AT NIGHT IF HE REALLY WISHES TO DO SO. WE ALSO HAVE CORRESPONDENCE SCHOOLS THROUGH WHICH MEN MAY ACQUIRE KNOWLEDGE ON ALMOST ANY SUBJECT, AND FOR A VERY SMALL PRICE.

                I HAVE BUT LITTLE PATIENCE WITH THOSE WHO CLAIM THAT THEY HAVE NOT SUCCEEDED BECAUSE THEY LACKED SCHOOLING, BECAUSE I KNOW THAT ANY MAN WHO REALLY WANTS SCHOOLING CAN ACQUIRE IT. THE FALLACY OF THIS "NO SCHOOLING" ALIBI, IN MOST INSTANCE, IS THAT IT IS USED AS AN APOLOGY FOR PLAIN LAZINESS OR LACK OF AMBITION.

                   I HAD BUT LITTLE SCHOOLING, AND I BEGAN MY CAREER ON EXACTLY THE SAME BASIS THAT ANY "RICH UNCLE" TO HELP ME ALONG, AND NO ONE TO INSPIRE ME TO PROMOTE MYSELF INTO A MORE FAVORABLE ECONOMIC STATUS IN LIFE. THE IDEA OS DOING SO WAS ENTIRELY MY OWN. MOREOVER, I FOUND THE TASK TO BE COMPARATIVELY EASY. IT CONSISTED, MAINLY, OF MY TAKING POSSESSION OF MY OWN MIND USING IT WITH DEFINITENESS OF PURPOSE.

                  I DID NOT LIKE POVERTY, THEREFORE I REFUSED TO REMAIN UNDER IT. MY OWN MENTAL ATTITUDE ON THIS SUBJECT WAS THE DETERMINING FACTOR THAT HELPED ME TO FORCE POVERTY TO GIVE PLACE TO RICHES. I CAN TRUTHFULLY TELL YOU THAT OF ALL THE THOUSANDS OF WORKING MEN WHO HAVE BEEN EMPLOYED BY ME, I DO NOT KNOW OF ONE PERSON WHO COULD NOT HAVE QUALED, IT NOT EXCELLED, ME IF HE HAD WANTED TO DO SO.

                     HILL : YOUR ANALYSIS OF THE SUJECT OF EDUCATION IS BOTH INTERESTING AND REVEALING, MR. CARNEGIE, AND YOU MAY REST ASSURED I WILL INCLUDE IT IN THE PHILOSOPHY OF ACHIEVEMENT, BECAUSE I FEEL SURE THERE ARE MANY OTHERS WHO HAVE THE WRONG CONCEPTION OF THE RELATIONSHIP BETWEEN "SCHOOLING" AND "EDUCATION". IF I UNDERSTAND YOU CORRECTLY, YOU BELIEVE THAT BETTER PART OF ONE'S EDUCATIOAL COMES YOU CORRECTLY, YOU BELIEVE THE BETTER PART OF ONE'S EDUCATION'. IF I UNDERSTAND YOU CORRECTLY, YOU BELIEVE THE BETTER PART ONE'S EDUCATION COMES FROM DOING AND NOT MERELY FROM THE ACQUISITION OF KNOWLEDGE. 

                  CARNEGIE : THAT IS EXACTLY CORRECT! I HAVE MEN WORKING FOR MEN WHO HAVE COLLEGE DEGREES, BUT MANY OF THEM FIND THEIR COLLEGE TRAINING ONLY INCIDENTAL TO THEIR SUCCESS. THOSE WHO COMBINE COLLEGE TRAINING WITH PRACTICAL EXPERIENCE SOON BECOME EDUCATED IN A PRACTICAL SENSE, PROVIDED THEY DO NOT TOO HEAVILY UPON THEIR ACADEMIC DEGREES AS A MEANS OF MINIMIZING THE IMPORTANCE OF PRACTICAL EXPERIENCE.

                  RIGHT HERE IS AN APPROPRIAT PLACE TO TELL YOU THAT COLLEGE GRADUATES WHOM I HAVE EMPLOYED, WHO DEVELLOP THE HABIT OF RENDERING MORE SERVICE THAN THEY ARE PAID FOR, USUALLY ADVANCE THEMSELVES TO MORE RESPONSIBLE AND BETTER-PAIYING POSITIONS VERY QUICKLY, WHILE THOSE WHO NEGLECT OR REFUSE TO ADOPT THIS PRINCIPLE MAKE NO MORE PROGRESS THAN THE AVERAGE MAN WITHOUT COLLEGE TRAINING.

                    HILL :  DO YOU MEAN THAT COLLEGE TRAININGIS WORTH RELATIVELY LESS THAN THE HABIT OF DOING MORE THAN ONE IS PAID FOR?

                  CARNEGIE : YES, YOU MIGHT PUT IT THAY WAY, BUT I HAVE OBSERVED THAT MEN WITH COLLEGE TRAINING WHO FOLLOW THE HABIT OF DOING MORE THAN THEY ARE PAID FOR, COMBINING THEIR COLLEGE TRAINING WITH THE ADVANTAGES THEY GAIN FROM THIS HABIT, GET AHEAD MUCH MORE RAPIDLY THAN MEN WHO DO MORE THAN THEY ARE PAID FOR BUT HAVE NO COLLEGE TRAINING. FROM THIS I HAVE REACHED THE CONCLUSTION THAT THERE IS A CERTAIN AMOUNT OF THOUGHT DISCIPLINE THAT A MAN G3ETS FROM COLLEGE TRAINING WHICH MEN WITHOUT THIS TRAINING DO NOT GENERALLY POSSESS.

                  HILL : ARE A MAJORIY OF THE MEMBERS OF YOUR MASTE RMIND GROUP MEN WITH COLLEGE TRAINING MR. CARNEGIE?

                  CARNEGIE : ABOUT TWO-THIRDS OF THEM ARE WITHOUT COLLEGE TRAINING, AND I MIGHT ADD THAT THE ONE WHO HAS BEEN OF GREATEST SERVICE TOP ME, WEIGHING EVERYTHING THEY HAVE ALL DONE, DID NOT FINISH THAT HIS VALUNTARY HABIT OF RENDERING MORE SERVICE  THAN HE WAS PAID FOR WAS THE QUALITY WHICH MADE HIM OF GREATEST VALUE TO ME.

                  I SAY THIS BECAUSE HIS EXAMPLE SEEMED TO SET THE PACE FOR OTHER MEMBERS OF MY MASTER MIND GROUP. MOREOVER, HIS ATTITUDE ON THIS SUBJECT SPREAD TO THE RANK AND FILE OF OUR WORKERS, MANY OF WHOM CAUGHT HIS SPIRIT, PRACTICED IT, AND THEREBY PROMOTED THEMSELVES INTO BETTER-PAYING AND MORE RESPONSIBLE POSITIONS WITH THE COMPANY.

                  HILL : HAVE YOU ANY DEFINITE METHOD BY WHICH YOU ENDEAVOR TO INFORM ALL YOUR MEN OF THE ADVANTAGES THEY MAY GAIN BY RENDERING MORE SERVICE THAN THEY ARE PAID FOR?

                CARNEGIE : WE HAVE NO DIRECT METHOD OF DOING THIS, ALTHOUGH THE NEWS HAS BEEN PASSED ALONG, BY THE "GRAPE-VINE" ROUTE, THAT THE MEN WHO PROMOTE THEMSELVES TO BETTER POSITIONS FOLLOW THE HABIT OF DOING MORE THAN THEY ARE PAID FOR. I HAVE OFTEN THOUGHT WE SHOULD HAVE GONE MUCH FURTHER BY SOME FORM OF MORE DIRECT APPROACH BY WHICH OUR MEN WOULD HAVE BEEN TAUGHT THE BENEFITS OF RENDERING THIS SORT OF SERVICE, AND WE WOULD HAVE DONE SO HAD WE NOT FEARED OUR EFFORTS WOULD HAVE BEEN MISCONSTRUED AS AN ATTEMPT ON OUR PART TO GET MORE WORK FROM OUR MEN WITHOUT PAYING FOR IT.

                     YOU SEE, MORE WORKING MEN ARE SKEPTICAL ANS SUSPICIOUS OF ALL EFFORTS ON THE PAR OF AN EMPLOYER TO INFLUENCE THEM TO IMPROVE THEMSELVES. PERHAPS SOME SMARTER MAN THAN I WILL FIND A WAY THROUGH WHICH EMPOYERS MAY GAIN THE CONFIDENCE OF THEIR EMPLOYEES AND CONVINE THEM OF THE BENEFITS, TO EMPLOYER AND EMPLOYEE ALIKE, OF THE HABIT OF RENDERING MORE SERVICE THAN THE WAGE SCALE CALLS FOR.

                   OF COURSE THE RULE MUST WORK BOTH WAYS, AND IT WILL WHERE AN EMPLOYEE UNDERSTANDS THIS PRINCIPLE AND APPLIES IT DELIBERATELY. THE MATTER IS IN THE HANDS OF THE EMPLOYEE ENTIRELY. THIS IS SOMETHING HE CAN DO ON HIS OWN INITIATIVE, WITHOUT CONSULTING THE EMPLOYER. THE WISER EMPLOYEES DISCOVER AND APPLY THIS PRINCIPLE VALUNTAIRY!

                    THERE IS NOT A MAN IN MY MASTER MIND GROUP WHO DID NOT VOLUNTARILY PROMOTE HIMSELF TO THAT POSITION THROUGH THE HABIT OF DOING MORE THAN WAS EXPECTED OF HIM. I TELL YOU FRANKLY THAT THE MEN WHO FOLLOWS THIS HABIT VOLUNTARILY SOON MAKES HIMSELF INDISPENSABLE AND THEREBY SETS HIS OWN WAGES AD CHOOSES HIS OWN JOB. THERE IS NOTHING AN EMPLOYER CAN DO BUT COOPERATE WITH A MAN WHO HAS THE SOUND JUDGMENT TO DO MORE THAN HE IS PAID FOR.

                      HILL : BUT, AREN'T THERE SOME EMPLOYERS WHO SELFISHLY REFUSE TO RECONNIZE AND REWARD AN EMPLOYEE FOR THE HABIT OF DOING MORE THAN HE IS PAID FOR? 

                    CARNEGIE : UNDOUBTEDTLY THERE ARE SOME EMPLOYERS WHO ARE SHORTSIGHTED ENOUGH TO WITHHOLD REWARD FROM A MAN OF THIS TYPE, BUT YOU MUST REMEMBER THAT THE MAN WHO HABITUALLY DOES MORE THAN HE IS PAID FOR IS SO RATE, THAT THERE IS KEEN COMPETITION AMONG EMPLOYERS FOR HIS SERVICES.

 

                   IF A MAN HAS THE SOUND JUDGEMENT TO UNDERSTAND THE ADVANTAGES OF DOING MORE THAN HE IS PAID FOR, HE GENERALLY HAS SENSE ENOUGH, ALSO, TO KNOW THAT ALL EMPLOYERS ARE SEEKING THIS SORT OF HELP, AND EVEN THOSE WHO DO NOT KNOW THIS WILL, SOONER OR LATTER, COME TO THE ATTENTION OF AN EMPLOYERS WHO IS LOOKING FOR THE SORT OF SERVICE, EVEN THOUGH THEY DO NOT DELIBERATELY ENDEAVOR TO PROMOTE THEMSELVES.

                    EVERY MAN GRAVITATES TO WHERE HE BELOGS IN LIFE, AS SURELY AS WATER SEEKS AND FINDS ITS LEVE!

                 CHARLIE SCHWAB, FOR EXAMPLE, DID NOT SEEK ME OUT (AS FAR AS I KNOW) AND SAY, " SEE HERE, I AM DOING MORE THAN I AM PAID FOR ". I MADE THE DISCOVERY IN MY OWN BECAUSE I WAS SEARCHING FOR THAT SORT OF MENTAL ATTITUDE.

                 NO EMPLOYER CAN SUCCESSFULLY CONDUCT AN INDUSTRY OF THE SIZE, OF OURS WITHOUT THE AID OF A LARGE NUMBER OF MEN WHO PUT HERE, SOUL AND ALL THE ABILITY THEY HAVE INTO THEIR JOBS. THEREFORE, I KEEP A CLOSE LOOKOUT AT ALL TIMES FOR THIS TYPE OF MAN, AND WHEN I FIND  ONE I SINGLE HIM OUT FOR CLOSE OBSERVATION, TO MAKE SURE THAT THE FOLLOWS THE HABIT CONSISTENTLY. THE TRUTH IS THAT ALL SUCCESSFUL EMPLOYERS DO THE SAME THING. THAT IS ONE REASON WHY THEY ARE SUCCESSFUL.

                WHETHER A MAN OCCUPIES THE POSITION OF EMPLOYER TO EMPLOYEE, THE SPACE HE OCCUPIES IN THE WORLD IS MEASURED PRECISELY BY THE QUALITY AND QUANTITY OF THE SERVICE HE RENDERS, PLUS THE MENTAL ATTITUDE IN WHICH HE RELATIVES HIMSELF TO OTHER PEOPLE.

                 EMERSON SAID, " DO THE THING AND YOU SHALL HAVE THE POWER". HE NEVER EXPRESSED A MORE TRUTHFUL THOUGHT THAN THIS. MOREOVER, IT APPLIES TO EVERY CALLING, AND TO EVERY  HUMAN RELATIONSHIP. MEN WHO GAIN AND HOLD POWER DO SO BY MAKING THEMSELVES USEFUL TO OTHERS. ALL THIS TALK ABOUT MEN HOLDING FAT JOBS THROUGH. "PULL" IS NONSENSE. A MAN MAY PROCRE A GOOD JOB THROUGH PULL, BUT TAKE MY WORD FOR IT WHEN I TELL YOU THAT IF HE REMAINS IN THE JOB HE WILL DO SO THOUGH "PUSH", AND THE MORE OF IT PUTS INTO THE JOB, THE HIGHER HE WILL RISE.

                     I HAVE KNOWN OF A FEW YOUNG MEN WHO WERE PLACED IN POSITIONS BEYOND THEIR EARNED MERITS AND ABILITY, THROUGH THE INFLENCE OF RELATIVES OR OTHERS, BUT SELDOM HAVE I KNOWN OF ONE OF THEM MAKING THE FULLEST USE OF THIS UNEARNED ADVANTAGE, ADN SUCH EXCEPTIONS AS I HAVE KNOWN WERE DUE TO THEIR HAVING ACQUIRED THE HABIT OF PUTTING INOT THEIR JOBS MORE THAN THEY TRIED TO TAKE OUT.

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FORGIVENESS

 

                                FORGIVENESS IS THE PART OF OUR LIFE

                     1. GOD, OR LIFE, IS NO RESPECTER OF PERSONS. LIFE PLAYS NO FAVORITES. LIFE, OR GOD, SEEMS TO FAVOR YOU WHEN YOU ALIGN YOURSELF WITH THE PRINCIPLE OF HARMONY, HEALTH, JOY, PEACE.

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                    2. GOD, OR LIFE, NEVER SENDS DISEASE, SICKNESS, ACCIDENT OR SUFFERING. WE BRING THESE THINGS ON OURSELVES BY OUR OWN NEGATIVE DESTRUCTIVE THINKING BASED UPON THE LAW AS WE SOW, SO SHALL WE REAP.

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                  3. YOUR CONCEPT OF GOD IS THE MOST IMPORTANT THING IN YOUR LIFE. IF YOU REALLY BELIEVE IN A GOD OF LOVE, YOUR SUBCONSCIOUS MIND WILL RESPOND IN COUNTLESS BLESSINGS TO YOU. BELIEVE IN A GOD OF LOVE, YOUR SUBCONSCIOUS MIND WILL RESPOND IN COUNTLESS BLESSINGS TO YOU. BELIEVE IN A GOD OF LOVE.

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                4. LIFE, OR GOD, HOLDS NO GRUDGE AGAINST YOU. LIFE NEVER CONDEMS YOU. LIFE HEALS TO SEVERE CUT ON YOUR HAND. LIFE FORGIVES IF YOU BURN YOUR FINGER. IT REDUCES THE EDEMA AND RESTORES THE PART TO WHOLENESS AND PERFECTION.

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                5. YOUR GUILT COMPLEX IS A FALSE CONCEPT OF GOD AND LIFE. GOD, OR LIFE, DOES NOT PUNISH OR JUDGE YOU. YOU DO THIS TO YOURSEFL BY YOUR FALSE BELIEFS, NEGATIVE THINKING, AND SELF-CONDEMNATION.

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              6. GOD, OF LIFE, DOES NOT CONDEMN OR PUNISH YOU. THE FORCES OF NATURE ARE NOT EVIL. THE EFFECT OF THEIR USE DEPENDS ON HOW YOU USE THE POWER WITHIN YOU. YOU CAN USE ELECTRICITY TO KILL SOMEONE OR TO LIGHT THE HOUSE. YOU CAN USE WATER TO DROWN A CHILD, OR QUENCH HIS THIRST. GOOD AND EVIL COME RIGHT BACK TO THE THOUGHT AND PURPOSE IN MAN'S OWN MIND.

            7. GOD, OR LIFE, DOES NOT CONDEMN OR PUNISH YOU. THE FORCES OF NATURE ARE NOT EVIL. THE EFFECT OF THEIR USE DEPENDS ON HOW YOU USE THE POWER WITHIN YOU. YOU CAN USE ELECTRICITY TO KILL SOMEONE OR TO LIGHT THE HOUSE. YOU CAN USE WATER TO DROWN A CHILD, OR QUENCH HIS THIRST. GOOD AND EVIL COME RIGHT BACK TO THE THOUGHT AND PURPOSE IN MAN'S OWN MIND.

                                                                   ❤

            8. IF ANOTHER CRITICIZES YOU, AND THE THESE FAULTS ARE WITHIN YOU, REJOICE, GIVE THANKS, AND APPRECIATE THE COMMENTS. THIS GIVES YOU THE OPPORTUNITY TO CORRECT THE PARTICULAR FAULT.'

                                                                   ❤

           9. YOU CANNOT BE HURT BY CRITICISM WHEN YOU KNOW, THAT YOU ARE MASTER OF YOUR THOUGHTS, REACTIONS, AND EMOTIONS. THIS GIVES YOU THE OPPORTUNITY TO PRAY AND BLESS THE OTHER, THEREBY BLESSINGS YOURSELF.

                                                                   ❤

            10. WHEN YOU PRAY FOR GUIDANCE AND RIGHT ACTION,  TAKE WHAT COMES. REALIZE IT IS GOOD AND VERY GOOD. THEN THERE IS NO CAUSE FOR SELF-PITY, CRITICISM, OR HATRED.

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             11. THERE IS NOTHING GOOD OR BAD, BUT THINKING MAKES IT SO. THERE IS NO EVIL IN SEX, THE DESIRE FOR FOOD, WEALTH, OR TRUE EXPRESSION. IT DEPENDS ON HOW YOU USE THESE URGES, DESIRES, OR ASPIRATIONS. YOUR DESIRE FOR FOOD CAN BE MET WITHOUT KILLING SOMEONE FOR A LOAF OF BREAD.

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            12. RESENTMENT, HATRED, ILL WILL, AND HOSTILITY ARE BEHIND A HOST OF MALADIES. FORGIVE, YOURSELF AND EVERYBODY ELSE BY POURING OUT LOVE, LIFE, JOY, AND GOOD WILL TO ALL THOSE WHO HAVE HURT YOU. CONTINUE UNTIL SUCH TIME AS YOU MEET THEM IN YOUR MIND AND YOU ARE AT PEACE WITH THEM.

                                                                 ❤

            13. TO FORGIVE IS TO GIVE SOMETHING FOR. GIVE LOVE, PEACE, JOY, WISDOM, AND ALL THE BLESSINGS OF LIFE TO THE OTHER, UNITL THERE IS NO STING IN YOUR MIND. THIS IS REALLY THE ACID TEST OF FORGIVENESS.

                                                                ❤

             14. LET US SUPPOSE YOU HADAN ABSCESS IN YOUR JAW ABOUT A YEAR AGO. IT WAS VERY PAINFUL. ASK YOURSELF IF IT IS PAINFUL NOW. THE ANSWER IS IN THE NEGATIVE. LIKEWISE, IF SOMEONE HAS HURT YOU, LIED ABOUT AND VILIFIED YOU. AND SAID ALL MANNER OF EVIL ABOUT YOU, IW YOUR THOUGHT OF THAT PERSON NEGATIVE? DO YOU SIZZLE WHEN HE OR SHE COMES INTO YOUR MIND? IF SO, THE ROOTS  OF HATRED ARE STILL THERE, PLAYING HAVOC WITH YOU AND YOUR GOOD. THE ONLY WAY IS TO WITHER THEM WITH LOVE BY WISHING FOR THE PERSON ALL THE BLESSINGS OF LIFE, UNTIL YOU CAN MEET THE PERSON IN YOUR MIND, AND YOU CAN SINCERELY REACT WITH A BENEDICTION OF PEACE AND GOOD WILL. THIS IS THE MEANING OF FORGIVE UNTIL SEVENTY TIMES SEVEN. 

                    

                                      TECHNIQUE OF FORGIVENESS

                    THE FOLLOWING IS A SIMPLE METHOD, WHICH WORKS WONDERS IN YOUR LIFE A YOU PRACTICE IT.

                    QUIET YOUR MIND, RELAX, AND LET GO. THINK OF GOD AND HIS LOVE FOR YOU, AND THEM AFFIRM, " I FULLY AND FREELY FORGIVE (MENTION THE NAME OF THE OFFENDER), I RELEASE HIM MENTALLY AND SPIRITUALLY. I COMPLETELY FORGIVE EVERYTHING CONNECTED WITH THE MATTER IN QUESTION. I AM FREE, AND HE/SHE IS FREE. IT IS A MARVELOUS FEELING. IT IS MY DAY OF GENERAL AMNESTY. I RELEASE ANYBODY AND EVERYBODY WHO HAS EVEN HURT ME, AND I WISH FOR EACH AND EVERYONE HEALTH, HAPPINESS, PEACE, AND ALL THE BLESSINGS OF LIFE. I DO THIS FREELY,JOYOUSLY, AND LOVINGLY, AND WHENEVER I THINK OF THE PERSON OR PERSONS WHO HURT ME, AND WHENEVER I THINK OF THE PERSONS OR PERSONS WHO HURT ME, I SAY, I HAVE RELEASED YOU, AND ALL THE BLESSINGS OF LIFE ARE YOURS. I AM FREE AND YOU ARE FREE. IT IS WONDERFUL.

                  THE GREAT SECRET OF TRUE FORGIVENESS IS THAT ONCE YOU HAVE FORGIVEN THE PERSON, IT IS NECESSARY TO REQUEST THE PRAYER. WHENEVER THE PERSON COMES TO YOUR MIND, OR THE PARTICULAR WELL, AND SAY, "PEACE BE TO YOU" DO THIS AS AFTER AS THE THOUGHT ENTERS YOUR MIND. YOU WILL FIND THAT AFTER A FEW DAYS THE THOUGHT OF THE PERSON OR EXPERIENCE WILL RETURN LESS AND LESS, OFTEN, UNTIL IT FADES INTO NITHINGNESS.'

                                    THE ACID TEST FOR FORGIVENESS

             THERE IS AN ACID TEST FOR GOLD. THERE IS ALSO AN ACID TEST FOR FORGIVENESS. IF I SHOULD TELL YOU SOMETHING WONDERFUL ABOUT SOMEONE WHO HAS WRONGED YOU, CHEATED YOU, OR DEFRAUDED YOU, AND YOU SIZZLED AT HEARING THE GOOD NEWS ABOUT THIS PERSON, THE ROOTS OF HATRED WOULD STILL BE IN YOUR SUBCONSICOUS MIND, PLAYING HAVOC WITH YOU.

                 LET US SUPPOSE YOU HAD A PAINFUL ABSCESS ON YOUR JAW YEAR AGO, AND YOU TOLD ME ABOUT IT. I WOULD CASUALLY ASK YOU IF YOU HAD ANY PAIN NOW. YOU WOULD AUTOMATICALLY SAY, "OF COURSE NOT, I HAVE A MEMORY OF IT BUT NO PAIN". THAT IS THE WHOLE STING OR HURT ANY MORE. THIS IS THE ACID TEST, AND YOU MUST MEET IT PSYCHOLOGICALLY AND SPIRITUALLY , OTHERWISE, YOU ARE SIMPLY DECEIVING YOURSELF AND NOT PRACTICING THE TRUE ART OF FORGIVENESS.

                                 TO UNDERSTAND ALL IS TO FORGIVE ALL

 

                      WHEN MAN UNDERSTANDS THE CREATIVE LAW OF HIS OWN MIND. HE CAUSE TO BLAME OTHER PEOPLE AND CONDITIONS FOR MAKING OR MARRING HIS LIFE. HE KNOWS THAT HIS OWN THOUGHTS AND FEELINGS CREATE HIS DESTINY. FURTHERMORE, HE IS AWARE THAT EXTERNALS ARE NOT THE CAUSES AND CONDITIONERS OF HIS LIFE AND HIS EXPERIENCES. TO THINK THAT OTHERS CAN MAR LIFE AND HIS EXPERIENCES. TO THINK THAT OTHER CAN MAR OUR HAPPINESS THAT YOU ARE THE FOOTBALL OF A CRUEL FATE THAT YOU MUST OPPOSE THE FIGHT OTHERS FOR A LIVING-ALL THESE AND OTHERS LIKE THEM ARE UNTENABLE WHENYOU UNDERSTAND THAT THOUGHTS ARE THINGS. THE BIBLE SAYS THE SAME THING. FOR AS A MAN THINKETH IN HIS HEART, SO IS HE.

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DIFFERENT TYPES OF IKAT AND BROCADE

 

            TECHNIQUE ARE USED FOR PATTERNS DURING THE WEAVE?

                  FOR PATTERING DURING THE WEAVES TWO DIFFERENT ARE USED IKAT AND BROCADE.

               IKAT : IKAT, OR IKKAT, IS A STYLE OF WEAVING THAT USES A RESIST DYEING PROCESS SIMILAR TO TIE-DOWN ON EITHER THE WARP OR WEFT BEFORE THE THREADS ARE WOVEN TO CREATE A PATTERN OR DESIGN.  A DOUBLE IKAT IS WHEN BOTH THE WARP AND THE WEFT ARE TIE-DYED BEFORE WEAVING.

     

              IKAT MEANS "TO TIE"  OR "TO BIND" IN THE MALAY LANGUAGE AND HAS THE SAME ROOT AS THE WORDS DEKAT (CLOSE), LEKAT (TO STICK), PIKAT (T CATCH) ETC. THE WORD KATT HAS THE SAME MEANING IN ALL OF THE SOUTH INDIAN LANGUAGE BUT THERE MAY KATT HAS THE SAME MEANING IN ALL OF THE SOUTH INDIAN LANGUAGE BUT THERE MAY BE NO RELATION. THROUGH COMMON USAGE, THE WORD HAS COME TO DESCRIBE BOTH THE PROCESS AND THE CLOTH ITSELF. IKATAS HAVE BEEN WOVEN IN CULTURES ALL OVER THE WORLD. IN CENTRAL AND SOUTH AMERICA, IKAT IS STILL COMMON IN ARGENTINA, BOLIVIA, ECUADOR, GUATEMALA AND MEXICO. IN THE 19 THE CENTURY, THE SILK ROAD DESERT OASES OF BUKHARA AND SAMARKAND (IN WHAT IS NOW UZBEKISTAN IN CENTRAL ASIA) WERE FAMOUS FOR THEIR FINE SILK UZBEK IKAT. INDIA, JAPAN AND PRODUCTION. DOUBLE IKATS CAN STILL BE FOUND IN INDIA, GUATEMALA, JAPAN AND THE INDONESIAN ISLANDS OF BALI AND KALIMANTAN.

                    LIKE ANY CRAFT OR ART FORM, IKATS VARY WIDELY FROM COUNTRY TO COUNTRY AND REGION TO REGION. DESIGS MAY HAVE SYMBOLIC OF STATUS, WEALTH, POWER AND PRESTIGE. PERHAPS BECAUSE OF THE DIFFICULTY AND TIME REQUIRED TO MAKE IKATS, SOME CULTURES BELIEVE THE CLOTH IS IMBUED WITH MAGICAL POWERS.

                  BROCADED TEXTILE : IT IS SAID WHEN BUDDHA ATTAINED NIRVANA, HIS BODY WAS WRAPPED IN BANARAS FABRIC, WHICH EMITTED RAYS OF DAZZLING BLUE, RED AND YELLOW. INDIAN FABRIC, WHICH EMITTED RAYS OF DAZZLING BLUE, RED AND YELLOW, INDIAN FABRICS ENJOYED UNDISPUTED SUPREMACY ALL OVER THE WORLD FOR OVER 2000 YEARS. EVENT THE RIG VEDA REFERS TO HIRANYADRAPI OR A SHINING GOLD-WOVEN CLOTH, THE MAHABHARATA TO MANICHERA AND VALIMIKI'S RAMAYANA DESCRIBES RAVANA, THE DEMON KING, AS DONNING A GOLD FABRIC. PALI LITERATURE MENTIONS THE KASEYYAKA (SILK OF BANARAS) WORTH A HUNDRED PIECES OF SILVER. 

                    THE TRADITION : BROCADE WEAVING, ESPECIALLY WITH GOLD AND SILVER, HAS BEEN AN AGE-OLD TRADITION IN INDIA. THERE ARE TWO BROAD CLASSES OF BROCADES. BROCADES OF PURE SILK AND COTTON BLENDS AND ZARI BROCADES WITH GOLD AND SILVER THREADS.

                    THE MOST IMPORTANT MATERIAL IN BROCADE WEAVING IS SILK, IT FACILITIES LOVELY WEAVES, IS DURABLE, STRONG, FINE AND SMOOTH. THERE ARES SEVERAL VARIETIES OF RAW SILK OF WHICH THE CHIEF ONES USED FOR BROCADES ARE TANDURI, BANAKA AND MUKTA. TANDURI IS IMPORTED FROM MALDA AND OTHER PLACES IN BENGAL, BANAKA IS THINNER AND FINER VARIETY AND IS MOSTLY USED TO WEAVE SOLF FABRICS SUCH AS TURBANS AND HANDKERCHIEFS. MUKTA IS A COARSE AND DURABLE SILK USED FOR KIMKHABS, AS FINE SILK WOULD NOT WITH STAND HEAVY GOLD PATTERNS.

                   REFININGS SILK FOR BROCADE MAKING : RAW SILK IS SPECIALLY TREATED FOR BROCADES. IT IS FIRST TWISTED (CALLED SILK THROWING) AFTER WHICH THE THREADS UNDERGO REELING AND CHECKING FOR UNIFORMITY AND ROUNDNESS. WHEN THE YARN HAS BEEN PROCESSED, IT IS BLEACHED AND "DEGUMMED" AS RAW SILK HAS A GUM LIKE SUBSTANCE (SERICIN) IN ITS COMPOSITION. THIS HAS TO BE REMOVED IN ORDER TO BRING SUBSTANCE (SERICIN) IN ITS COMPOSITION. THIS HAS TO BE REMOVED IN ORDER TO BRIBG OUT THE SHEEN ANS SOLFTENESS AND TO ENABLE PENETRATION OF THE DYE. THE TASK HAS TO BE DONE WITH GREAT CARE AS THE FIBERS CAN WEAKEN OR GET DAMAGED. THE SILK IS BOILED IN SOAP WATER FOR A CERTAIN DURATION AND THEN SENT FOR DYING.

                    IMPORTANT OF COLOR : COLOR PLAYS A VITAL PART IN WEAVING BROCADE. THE CHARM AND SUBTLE BEAUTY OF THE BROCADE DEPENDS UPON COLOR SYNCHRONIZATION. COLORS ARE SURCHARGED WITH NUANCES OF MOOD AND POETIC ASSOCIATION IN FABRICS AND WEAVING AS MUCH  AS IN PAINTING.

                   RED - THE COLOR OF LOVE. THE THREE TONES OF RED EVOKE THE THREE STATES OF LOVE.

                  YELLOW - IS THE COLOR OF VASANT (SPRING) OF YOUNG BLOSSOMS, SOUTHERN WINDS AND SWARMS OF BEES.

                 HARI NILA - THE COLOR OF WATER IN WHICH THE SKY IS REFLECTED.

               GERWA (SAFFRON) - THE COLOR OF EARTH AND OF THE YOGI THE WANDERING MINSTREL, THE SEER, THE POET WHO RENOUNCES THE WORLD.

                   EARLIER, VEGETABLE DYES WERE USED DURING WEAVING. THESE PRODUCED FAST COLORS, LASTED FOR ALMOST A GENERATION, AND REMAINDED AS BEAUTIFUL AND VIVID AS EVER. NOWADAYS ANILINE DYES HAVE GAINED POPULARITY AS THEY AS CHEAPER, LESS TIME-CONSUMING AND PRODUCE A LARGER VARIETY OF COLORS.

                  MAKING NAKSHAS (DESIGNS) ON BROCADES : MAKING OF NAKSHAS (DESINGS) FORMS AS IMPORTANT PART OF BROCADE WEAVING. BANARAS IS THE MAIN CENTER WHERE THE NAKSHABANDHA (DESGINGER) TRADITION PREVAILS. THE SKILL AND IMAGINATION OF NAKSHABANDHA PLAYS A PROMINENT PART IN MAKING OF DESIGNS. DESIGNS ARE ASSOCIATED WITH LEGENDS AND SYMBOLISM. THE MOST POPULAR MOTIFS ARE DRAWN FROM NATURE.

                   IN BANARAS, IT IS SAID THAT NAKSHABANDHA FAMILIES WERE BROUGHT TO THIS COUNTRY DURING THE REIGN OF MUHAMMED TUGHLAK . THEY WERE SUPREME MASTERS OF THE ART OF TYING DESIGNS INTO THE LOOM. LOCAL ARTISIANS AND WEAVES LEARNED THIS ART FROM THESE GREAT CRAFTSMEN.

                  SOME OF THESE CRAFTMEN WERE ALSO GREAT POETS-PERHAPS THEY WOVE THEIR POETRY INTO THEIR DESIGNS. ONE SUCH REMOWNED POET WAS GHIAS-I-NAQSBAND, MENTIONED IN ABUL FAZL'S 'AIN-I-AKBAR'. THE NAKSHAS ARE FIRST WORKED ON PAPER. THIS PART OF THE WORK IS CALLED LIKHAI (WRITING). THE NAKSHABANDAN THEN MAKES A LITTLE PATTERN OF IT IN A FRAMEWORK OF COTTON THREADS LIKE GRAPH. THIS PATTERN GIVE GUIDANCE TO THE WORKING OF THAT DESIGN INTO WEAVING.

 

                  WHAT ARE THE DIFFERENT TYPES OF EMBRODERED TEXTILE ?

                  EMBROIDERED TEXTILES : 

               KANTHA : THE KANTHA, PATCHED CLOTH, WAS MAINLY MADE OUT OF WORN OUT AND DISUSED SAREES AND DHOTIS. BORDERS OF THESE USED SARIS ETC. WERE CUT PATCHED AND EMBRODERY. WOMEN OF ALL CASTES, BUT BRAHMIN INCLUDING MUSLIM WOMEN DO THIS EMBRODERY. THE STITCHES USED ARE OF SIMPLEST KIND. THE RUNNING STITCH I THE MAIN. RED AND BLUE COLOURS ARE GENERALLY USED. THE DESIGN IS MOSTLY IN THE SQUARE OR RECTANGLE, AT THE CENTRE SPACE IS OCCUPIED BY A LOTUS FLOWER AND AND ITS PETALS WHICH MANIFEST ANCIENT INDIAN SYMBOL OF UNIVERSE. FOUR TREES MARK THE COMERS SYMBOLIZING  FOUR DIRECTIONS. THEMATICALLY ITS AN ENRICHED TEXTILE VERSION OF THE ART OF THE ALPHONA. THEMES FROM ANCIENT MYTHOLOGY AND LEGENDS ARE TAKEN. IN SOME KANTHAS ONLY THE FIGURES OF ANIMALS ARE USED. HOWEVER, MUSLIM KANTHAS LACK FIGURES, ETC. INSTEAD THEY USE SCROLL.

                     THE ART OF KANTHA DIED AFTER THE FIRST QUARTER OF THE 20TH CENTURY. IT IS NOT KNOWN WHEN IT BEGAN AGAIN, THE NEW KANTHA, THOUGH SAME IN TECHNIQUE, WITH WIDELY SPACED DESIGNS RESEMBLES MORE WITH CERTAIN TYPE OF PAINTINGS IN BIHAR AND BENGAL.

                     CIKAN : IT IS DONE MAILY IN WHITE COTTON THREAD ON WHITE COTTON. THE EMBROIDERY IS COMPOSED OF LARGE AND SMALL, SIMPLE OR INVERTED SATIN-STITCH, BUTTON HOLDING, DARN STITCH, KNOT-STITCH, NETTING AND APPLIQUE. THE ART DEVELOPED AT LUCKNOW UNDER THE PATRONAGE OF THE RULERS OF AVADH. BOTH, HINDU AND MUSLIM CRAFSMEN ARE SKILLED IN THE CRAFT. AT PRESENT FIVE DIFFERENT STYLES OF CIKAN WORK ARE COMMON. TAIPCHI, KHATWA, BAKHIA, MURRI AND PHANDA AND JALI.

                  APPLIQUE WORK : THE TRADITIONAL HOMES OF APPLIQUE AND PATCHWORK ARE KUTCH, SAURASHTRA, ORISSA (PIPLI), BENGAL, BIHAR, U.P ANDHRA PRADESH AND TAMILNADU. THE PEOPLE OF BANNI IN KUTCH MAKE A VARIETY OF DHADKI, SPREAD-CUM-QUILT BY USING THE APPLIQUE TECHNIQUE. SIMILARLY, KATHIS, RAJPUTS, MERS, KUNBIS, VANIA, ETC. OF SAURASHTRA USE BOTH APPLIQUE AND PATCHWORK TECHNIQUE.

                 IN APPLIQUE TECHNIQUE MOTIFS ARE CUT OUT FROM COLOURED FABRIC AND APPLIED TO A PLAIN GROUND, NORMALLY WHITE, TO CREATE A RANGE OF PATTERNED SPREADS, QUITS, COSTUMES, ETC. MOTIFS LIKE HUMAN FIGURES, ANIMALS AND FLOWERS ARE ALSO CUT OUT AND APPLIED TO THE GROUND / PLAIN CLOTH.

                  PHULKARI (FLOWER WORK) : IT IS A FORM OF EMOBRODERY OF PUNJAB DONE IN DARN-STITCH OVER COUNTED THREAD BY USING FLOSS-SILK THREAD ON A COARSE MADDER RED OR INDIGO BLUE HOMESPUN COTTON. IT IS TRADITIONALLY DONE BY HINDU JAT WOMEN ON ODHNIS SKIRTS AND BLOUSES. NOW-A-DAYS, BESIDES THE TRADITIONALLLY PHULKARI "BAGH" TECHNIQUE IN WHICH DENSE SILK EMBROIDERY IS USED, PATTERNS WHICH ONLY EDGES ARE COVERED AND SISADES ON MIRROR WORK EMBROIDERY USE ALSO COMMON.

                  ARI BHARAT : IT IS A CHAIN STITCH EMBROIDERY DONE PRIMARILY BY GUJARAT WOMEN. IN THIS FLORAL MEDALLIONS AND PEACOCKS PREDOMINATES. THE MEGHVALS, AHIRS, RABARIS, KATHIS AND GARASIAS ARE FIGURATIVE MOTIFS, LOCAL NARRATIVES AND PURANIC LEGENDS UNLIKE THEIR COUNTERPARTS THE ISLAMIC BANIAS.

                                                                                    ❤❤❤

 

THE DIFFERENCE OF NRITTTA AND ABHINAYA

 

                                WHAT IS THE DIFFERENCE BETWEEN

                                       "NRITTA" AND "ABHINAYA"?

                     NRITTA : THE NRITTA TECHNIQUE OF INDIAN DANCE EMPHASIS HUMAN MOVEMENT. INDIAN DANCE IS, INFACT, A STRINGING TOGETHER OF A NUMB ROF HIGHLY STYLIZED AND SYMBOLIC POSES. THE NRITTA TECHNIQUE ENCOMPASSESS NOT ONLY THE TECHNIQUE OF RENDERING RYTHM (TALA) THROUGH MOVEMENTS WHICH DO NOT HAVE MEANING, BUT ALSO IMPORTANT FEATURE OF PROJECTING SPECIFIC POSES WITHIN THE GIVEN RHYTHMIC CYCLE.

                   INDIAN DANCE PURPOSELY EMPHASIZE ONLY CERTAIN TYPES OF MOVEMENTS. IT EXPLORES THE FULL POSSIBILITIES OF THOSE MOVEMENTS WITHIN CONSCIOUSLY IMPOSED LIMITATION. NONE OF THE INDIAN STYLES USE LARGE LEAPS EXCEPT FOR CERTAIN ASPECTS OF KATHAKALI AND CHHAU FORMS AND LITTLE OR NO DISCUSSION OF THEN APPEARS IN THE TREATISE OR INDIAN DANCE.

                 NATYASHASTRA CONTAINS DETAILED ANALYSIS OF THE MOVEMENTS OF MAJOR LIMBS (THE ANGAS) AND  MINOR LIMBS (THE UPANGAS). THE HEAD, BREAST OR CHEST, SIDES (WAIST), HIPS AND FEET CONSTITUTE MAJOR LIMBS (ANGAS) AND THE EYES, EYEBROWS, NOSE, LIPS, CHIN, MOUTH ETC. CONSTITUE THE MINOR LIMBS (UPANGAS). THIS IS FOLLOWED BY A DISCUSSION ON BASIC STANCES I.E, THE STHANAS - THE COMBINATION OF THESE PRIMARY MOVEMENTS.

                 ABHINAYA : THE MIMING ASPECT OF THE NATYA TERMED AS A ANGIKABHINAYA IN THE NATYASHASTRA IS ALSO AN INTEGRAL PART OF DANCING. IN DANCE (NRITYA) IT IS KNOWN AS ABHINAYA. SAME PRINCIPLES APPLIED TO BOTH DRAMA AND NRITYA OR ABHINAYA.

                IN THE NRITTA PORTION, MUSICAL ACCOMPANIMENT UTILIZES SWARNAS OF A MELODY IN A GIVEN RHYTHMIC CYCLE (TALA) AND THE VARIATIONS OF TALA ARE INTERPRETED BY THE FEET AND THE OTHER ANGAS AND UPANGAS OF THE BODY. IN THE ABHINAYA PORTION, THE MUSICAL ACCOMPLISHMENT INVARIABLY CONSISTS OF POETRY, LYRICAL OR NARRATIVE, WHICH IS SET TO MUSIC AND RHYTHM. IT IS THIS POETRY WHICH IS INTERPRETED BY THE DANCERS. IN THE ACTUAL INTERPRETATION, ESPECIALLY IN THE SOLO DANCING OF ALL THE CLASSICAL STYLES, IT CONSISTS OF PORTRAYING THE VARIOUS TRANSIENT STATES (SANCHARIBHAVAS), OF THE PARTICULAR DOMINANT STATE (THAYIBHAVA). THIS IS DONE THROUGH A SERIES OF THE ANGIKABAHINAYA IN WHICH EACH WORD OR LINE OF POETRY IS INTERPRETED IN AS MANY DIFFERENT WAYS AS POSSIBLE. IN DOING SO, THE PRINCIPLE OF NATYADHARMI IS FULLY FOLLOWED - THE DANCER ASSUMES DIFFERENT ROLE WITHOUT CHANG3E OF DRESS OR COSTUME.

                   FROM AMONGST THE MOVEMENTS OF THE ANGAS AND UPANGAS THE NRITYA OR ABHINAYA PORTION DEPENDS MOSTLY ON THE GESTURE OF THE HANDS AND FACE ESPECIALLY THE MOVEMENTS OF THE EYES, EYEBROWS, EYEBALLS ETC.

                  THE TECHNIQUE OF INDIAN DANCE IS AS COMPLEX AS THE TECHNIQUE OF ANY OTHER ART IN INDIA. IN BUILDS FROM ITS SMALLEST PART INOT A COMPOSITE WHOLE BY A SERIES OF LAWS APPLIED SYSTEMATICALLY. ALL THIS IS DONE WITH A VIEW TO EVOLVING A PARTICULAR STAGE OR MIND OR RASA.

                        WHAT IS THE MATURE OF ARCHAEOLOGICAL AND LITERARY EVIDENCE ON DANCE IN INDIA?

 

                   ARCHAEOLOGICAL AND LITERARY EVIDENCE : IT WAS IN THE SECOND PERIOD THAT THERE WAS THE FIRST ARTICULATION OF A SELF-CONSCIOUS UNDERSTANDING OF DANCE AS AN ART. THE COMPILATION OF NATYASHASTRA CONFIRMS IT. WE ALSO FIND THAT THERE WAS AN EFFORT AT STYLIZATION ALTHOUGH NONE OF THE MONUMENTS AND THE SCULPTURAL RELIEFS SHOW THAT THEY HAD ARRIVED AT A STEREOTYPED CONVENTION MERELY TO BE FOLLOWED REPEATED. THE MOTIFS IN THE SCULPTURAL TRADITION WERE THOSE OF THE TREE AND WOMAN, THE YAKSHA AND YAKSHANI AND MANY OTHERS, ALL THESE FINALLY CRYSTALISED INTO THE DANCE OF SIVA AND THAT OF KRISHNA. IN BHARHUT, SANCHI, MATHURA AND ELSEWHERE THERE ARE INNUMERABLE YAKSHA AND YAKSHNIS WHO STAND AGAINST TREE AND PILLAR, HOLD BRANCHES OR BIRDS ETC. EACH OF THESE MEN AND WOMEN ARE SEEN IN THE DANCE POSE. ALONGSIDE ARE DANCE SCENES WITH FULL ORCHESTRA. THIS IS ALSO THE PERIOD OF THE EMERGENCE OF THE SCULPTURAL FIGURES OF GODS AND GODDESS ESPECIALLY SIVA, DURGA, SARASWATHI, AND GANESHA. EACH HAS A DANCE ASPECT POPULARLY CALLED, THE NRITTAMURTI. FROM THIS SCULPTURAL EVIDENCE OF THE SECOND PERIOD, WE REALIZE THAT THE DANCE MUST HAVE BEEN CENTRAL TO THE CULTURE FOR THE SCULPTURE TO HAVE BEEN INSPIRED TO ARREST IT IN STONE REPEATEDLY.

                 TO THIS SECOND PERIOD ALSO BELONGED THE CONSTRUCTION OF STUPAS AND TEMPLES. DIFFERENT ASPECTS OF LIFE HAVE BEEN DEPICTED ON THE RAILINGS AND GETS THE DANCE RECITAL AS ALSO THE DANCING ASPECT OF GOD AND GODDESS. THE ORISSAN TEMPLES OF BHUBANESWARA AND EVEN EARLIER THE STUPAS OF RATNAGIRI TELL US OF THE PRE-OCCUPATION OF THE SCULPTURE WITH THE IMAGE OF DANCE. THE TEMPLES OF RAJA RANI, OF PARASURAMESWARA AND OF LINGARAJA - ALL REVERBERATE WITH MUSIC AND DANCE. INNUMERABLE FIGURES ENTWINED WITH TREES OR PILLAR HOLDING BIRDS, STANDING ON ANIMALS OR DWARDS SMILING OR MORE SERIOUS, ARE DEPICTED IN PANEL AFTER PANEL ON THE OUTER WALLS OF THESE TEMPLES. LOOKED AT CLOSELY, ONE IS IMRESSED BY THE FACT THAT THE SCULPTURE WAS NOT ONLY A KEEN OBSERVER OF MOVEMENT, BUT WAS ALSO A SELF-CONSCIOUS ILLUSTRATOR OF THE BASIC POSITION I.E. THE STHANAS AND THE  FUNDAMENTAL MOVEMENTS CALLED THE CHARIS DESCRIBED IN THE NATYASHASTRA. THE MONUMENTS OF CENTRAL INDIA ESPECIALLY THOSE OF KHAJURAHO BUILT BY CHANDELES AND UDAYESHWAR OF THE  PARMARAS BELONGING TO THE 11TH AND 12TH CENTURIES ALSO PRESENT A WIDE ARRAY OF MOVEMENT PATTERNS FROM SOLO STANDING FIGURES TO FIGURES IN ARDHAMANDALI, TO GROUPS AND FINALLY TO THE MOST IMPRESSIVE SERIES OF FLYING FIGURES, LEAVES A STAGGERING IMPRESSION OF THE POPULARITY OF DANCE.

                      THESE SCULPTORS AND PAINTERS RECORD IN STONE AND IN PAINTING, THROUGH LINE AND MINIATURE PAINTING. SOME ARE INSPIRED BY BUDDHIST TEXTS OTHER BY JAINA THEMES AND YET OTHERS BY HINDU PURANIC MYTHS AND LEGENDS. THE EVIDENCE OF DANCE IN MURAL PAINTINGS RANGES FROM THE FAMOUS DANCE SCENES OF BAGH CAVES TO AJANTA, ELLORA AND PANNAMALAI.

                    LITERARY EVIDENCE : THIS IMPRESSION OF THE PERVASIVE POPULARITY OF THE DANCE MOTIF IS FURTHER REINFORCED BY THE EVIDENCE AVAILABLE IN SANSKRIT LITERATURE OF THE CLASSICAL PERIOD. IN THE EPICS RAMAYANA AND THE MAHABHARAT, MANY DANCE PERFORMANCES ARE PRESCRIBED. IN THE WORKS OF POETS BHASA, KALIDAS AND OTHERS UNTIL THE TIME OF HARSHA, WE ENCOUNTER MANY PRECISE DESCRIPTIONS OF DANCERS AND DANCE RECITALS. FROM ALL THIS, ONCE CAN GATHER THAT THE POET AND THE DRAMATIST WERE EQUALLY WELL-VERSED IN THE TECHNICAL INTRICACIES OF DANCE. THEY APPRECIATED THE AESTHETIC BEAUTY AND DREW UPON THIS ART TO STRUCTURE THEIR PLAY ON POETIC OR DRAMATIC EDIFICE. NONE OF THE PLAYS OF KALIDAS, BHAVBHUTI AND HARSHA AND BEEN  CONCEIVED OF AS DRAMA DEPENDENT ON THE SPOKEN WORD ALONE. THE COMMUNICATION SYSTEM EMPLOYED BY THE WRITER TAKES INTO ACCOUNT NOT ONLY THE VERBAL COMMUNICATION THROUGH GESTURES, COSTUMES, DECOR ALONE BUT ALL THE INNER STATES OF BEING WHICH ARE REFLECTED IN INVOLUNTARY EXPRESSIONS. 

                 THIS TRADITION WAS ESTABLISHED IN INDIA  MANY CENTURIES PRIOR TO THE WRITING OF THE PLAYS OF BHASA OR KALIDASS. THIS IS EVIDENT FROM THE CODIFICATION OF THESE COMMUNICATION TECHNIQUES IN THE FIRST TREATISE ON DRAMATURGY I.E. THE NATYASHASTRA. THIS TRADITION CONTINUES IN THE PLAYS OF BHAVABHUTI AND HARSHA AND CULMINATES IN THE WORK OF RAJSHEKHARA. MANY EXAMPLES OF THIS COULD BE CITED FROM THE DRAMATIC WORK OF RAJSHEKHARA MANY EXAMPLES OF THIS COULD BE CITED FROM THE DRAMATIC WORKS OF THE 10TH CENTURY A.D. KARPURAMANJARI IS THE EXAMPLE OF THIS WHERE THE DRAMATIC FORM, CHIEFLY UTILIZING THE VERBAL LAND, GIVES PLACE IN THE SANSKRIT TRADITION. HOWEVER, ITS FULL AND VIGOROUS FLOWERING TOOK PLACE ONLY IN THE EARLY AND THE LATE MEDIEVAL PERIOD SAY 9TH CENTURY A.D. AND CONTINUING UNTIL 11TH AND 12TH CENTURY A.D.

                        IN THE 9TH 10TH CENTURY A COMMENTARY OF NATYASHASTRA BY ABHINAVAGUPTA WAS WRITTEN. THE COMMENTARY OF ABHINAVAGUPTA BEGAN A NEW PHASE OF THE EVOLUTION OF DIFFERENT THEORIES OF AESTHETIC AND ARTISTIC CREATION.

                     FROM THE 13TH CENTURY ONWARDS ONCE CAN FIND MANUALS ON DANCE FROM PRACTICALLY EVERY REGION OF THE COUNTRY. EVEN A SUPERFICIAL STUDY OF THESE MANUALS EMPHASIZES TWO BROAD FACTS.FIRST. THAT DESPITE REGIONAL VARIATIONS ALL SCHOOLS SUBSCRIBED TO THE BASIS PRINCIPLES OF THE NATYASHASTRA TRADITION. THE DANCE CONTINUED TO BE DIVIDED INOT NATYA AND NRITTA ON ONE HAND AND INTO TANDAVA AND LASYA ON THE OTHER. THE SECOND IS THAT, ALTHOUGH THEY CONTINUED TO FOLLOW THESE BROAD PRINCIPLES, MANY DISTINCTIVE REGIONAL STYLES EVOLVED AND EACH REGION ULTIMATELY DEVELOPED A DISTINCTIVE REGIONAL STYLES EVOLVED AND EACH REGION ULTIMATELY DEVELOPED A DISTINCTIVE VOCABULARY. THIS SECOND FACT LED TO THE VONTEMPORARY CLASSICAL STYLES - BEIT BHARATNATYAM, KATHAKALI, MANIPURI, ODISSI OR KATHAK - CAN BE TRACED BACK TO DEVELOPMENTS IN THE MEDIEVAL PERIOD, ROUGHLY DATING FROM 1300 A.D TO 1800 A.D.

               THE RECENT REVIVAL OF INTEREST IN DANCE, DEVELOPED AS A SIGN OF NATIONAL PRIDE IN THE GLORIES OF INDIGENOUS ART AND CULTURE, HELPED THE DEVELOPMENT AND POPULARITY OF OUR VARIOUS DANCE STYLES. DURING THE PAST FIVE DECADES MANY LAYERS OF THE PAST ARTISTIC GLORY HAVE BEEN UNCOVERED. THE DIGGING CONTINUES AND EACH TIME ONE DELVES DEEPER, A GREATER TREASURE IS DISCOVERED.

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