The Pen

… Mindfulness, key to Awareness

By: Susan M. Griffith-Jones

 “This book is dedicated to
Chogye Trichen Ngawang Thupten
Khenrab Lekshey Gyatso Rinpoche,
without whose precious guidance
it would not have come into being.”
 Author’s Note…
This book, “The Pen” has been extracted from my
previously published book, “The Rainbow Bridge” -
Directly perceiving emptiness whilst holding
appearance, a comprehensive compilation of Buddhist
thought on the nature of awareness.
In February 2009, I took the plunge and published it. Yet
its journey had already started long ago, high up in the
trans-Himalayan region of Mustang in April 2005, when I
went there on a journey that would lead me to an in-depth
contemplation on my inner psyche.
Indeed as most life-turning events seem to begin, it was
not planned, but an expedition prompted by an
unexpected suggestion of my spiritual Guru, His Eminence
Chogye Trichen Rinpoche, a great Master of the Tibetan
Buddhist tradition, who was then residing in Bouddhanath
(Kathmandu, Nepal), as I too was.
And so it happened that the day before departing on a trip
to Tibet, (a planned trip), I went to visit him for his
blessing as is customary before long journeys. With tickets
bought and visas and permits already obtained, I was
mentally ready and all packed up to leave on this
pilgrimage…
…when suddenly he stopped me in my tracks.
“Go to Muktinath!” he told me, and even though I was
fully coherent in the final decision making process, I could
not fail to listen to this simple statement that his
clairvoyant mind had detected as perhaps a more suitable
option for me. “Was it protective advise against an ill to
befall me in Tibet?” I wondered at the time. Now in 2010, I
understand it as a fulfilment of personal destiny, a spring
boarding of events and life circumstances that would
follow.
Within a few more days and a plethora of mind shattering
realisations between, instead of arriving in the Tibetan
region’s capital of Lhasa, I found myself in the heart of the
Kali Gandaki gorge heading towards Mustang in the
northern reaches of Nepal.
But it was only upon entering the valley of Muktinath,
nestled in the southern part of the ancient kingdom of
Mustang that I was unknowingly swept into the vortex of
the place as I explored its highs and lows, interiors and
exteriors as well as the sacred and mundane without any
intention of going anywhere in particular.
Consciously realising that I had entered a kind of sub-
strata reality where the division between gross, hard-core
existence blends easily into a more subtle space of being,
this unchartered journey of spiritual awakening
culminated in a kind of transcending of the so-called
‘ordinary’ world.
Just following my Guru’s advise I was truly there to visit
the place, to understand it, to find out its essential
meaning and the vision of the Guru who had sent me on
this journey, by just simply being there and facing
whatever occurred.

Mustang

Location of Mustang in Nepal

After returning to Kathmandu and shaken in a new way by

what had happened, I set about to write it down in a
travelogue of sorts. A mystical and yet flowing explanation
of the deeper process that had occurred ensued upon the
page in the root text, “The Rainbow Bridge” that
appeared in a series of verses pouring from my mind in an
insistent and procreative way.
These verses remained in a file on my computer for the
next three years as I set about digesting their meaning
into everyday life.
It was only in the middle of 2008 when I had already
shifted to the old British hill station of Mussoorie in the
Indian Himalayas after the passing away of my Guru, that
I set about to explain the meaning of the verses in a
commentary to the essential text.
Thus bridging the so-called outer meaning of our lives to
our inner senses, thoughts, perceptive states and
ultimately to that naked state of awareness that cannot
define itself except as just existing, I attempted to explain
the verses in as near as possible language to our ordinary
perceptual state of being.
My main aim was to include its most obvious as well as
hidden meanings within the rainbow allegory that
pervades the book by paralleling them with our various
shades of consciousness, so that our naked core
awareness may stand visible beyond all of those
dimensional aspects.
On March 1st 2009 in Delhi, I finally gazed at the cover of a
hardback book depicting a rainbow outstretched above a
monastery in the heart of the Muktinath valley. Looking
across at the twenty or so boxes within which the 1000
copies we had published were neatly stacked, I felt a
sense of wonderment of the power of words and their
capacity to achieve creative fulfilment.
I had already decided to self-distribute the books as I was
keen to learn the process as well as to slightly keep tab on
where they would be placed in the market. I also knew
that this was not a book for everyone and that it required
an audience of like-minded seekers of spiritual knowledge
and wisdom.
The bottom line truth was that I did not really know how
nor where to start. The only way to begin seemed to be
just by beginning. I therefore considered making a fact-
finding, experimental trip to one of the cities on my list of
India’s spiritual centres, Rishikesh, nestled at the foot of
Ganga’s mountainous path in India, to see what response
it may receive there.
Thus transporting eighty books to the place, on the first
night, I stacked a pile of books on the table where I was
eating dinner that evening, attaching a marketing poster
advertising ‘New Book Release’ nearby. By the end of the
evening, one copy had been sold and I felt euphoric.
And so it continued, until I had combed the entire length
and breadth of Rishikesh, leaving books in cafes and
bookshops alike, some paid for upon receipt, others that
would be paid for after selling.
Sometimes, the purchasing of a book would happen in an
extraordinary way. I would have just piled a stack of books
on a table in a public place as I was counting, sorting, or
rearranging my bag and someone would appear out of the
blue, ask about the book, glance over a copy (and not
even open it in some cases) and buy it there and then.
I began to feel no attachment to the books as it became
obvious to me that those who were taking them were
somewhat like vessels who would transport them to
further pastures.
 Dharamsala

Rishikesh
Pokhara
Delhi Kathmandu

places of distribution of books in India

I could not cover the entire world with my 1000 books, but
if I were to concentrate on certain key areas where
people, who were wishing to reach beyond the mundane
world and understand their inner truths, from all over the
world would come, then they would do the job for me by
taking the books back to their homelands, giving them a
place upon their various bookshelves and awaiting those
who may be attracted to open its pages.
So it continued in Dharamsala - Northern India, where the
process of distribution had become even easier as I was
becoming familiar with the way that the shops worked and
also more flowing in my description of the book. Then on
to India’s great capital of Delhi and Nepal’s two largest
cities of Kathmandu and Pokhara.
The finer details of what occurred in each of these places
and the meetings and conversations that ensued around
the distribution of “The Rainbow Bridge” to both
individuals and shops would merit a book in itself. I was
meeting different religious backgrounds, beliefs and
moods in which I came to detect a unified spiritual
understanding that definitely exists between people of
different origins.
The launch of the book at one of Delhi’s great cultural
places, ‘India Habitat Centre’ in May 2009 brought about a
new series of questioning and debate around it. I suddenly
found enthusiasts interested in learning more and going
deeper into the meaning of its content.
Today as I see one third of the pile gone to their
destinations and another third within the distribution
network, I feel both a sense of satisfaction as well as
intrigue as places further afield reveal their interest in it.
From Holland and the United Kingdom to South Africa and
Singapore, I have now been invited to lecture on its
content and how the book came about.
Today, I contemplate on how one small step, three simple
words of “Go to Muktinath” really does lead to giant
paces. And how Muktinath, a previously silent and remote
valley of the Himalayas is now travelling the world, its
inner meaning and secret essence manifest upon the
pages of “The Rainbow Bridge”.
Even though Muktinath has its own particularities and is a
sacred place in itself, I also realised that ‘going beneath
the surface’ could happen in any place and at any time, in
the sense that one’s vision always has the potential to see
beyond the obvious physical and geographical layout of
the scene and the day-to-day activities of its inhabitants.
 Bookmark for event at India Habitat Centre

One may thus reach within to the inner truth of existence

and directly see its surface layer for what it really is. In the
case of what happened to me in Muktinath, rather than
something that had been consciously planned, in its own
peculiar way this stumbled upon sub-surface vision of
Muktinath was triggered by taking photographs.
I remember an interesting occurrence just after acquiring
the camera with which I took these photos, when I had
received a short, but punctilious teaching from an old
friend of mine on how to use it. “There are two key points
to measuring the light,” he had told me, “More light
outside, let less light in, aperture (opening) low and
shutter speed high. Less light outside, reverse the
process.” I found myself paralleling this statement with
many aspects of life.
For whilst roaming the valley, held by my inquisitive hand,
the camera had seemed to take on a mind of its own as I
was inspired to shoot a plethora of plants, rock formations,
villages, people and whatever else that stood along the
way.
Because the light meter on this twenty-five year old
Pentax was long past mending and doubled with the urge
to shoot many appearing forms, I was forced to read the
light of the intended object of my focus and fix in the
correct coordinates of shutter speed and aperture
accordingly, with such speed of attention so as not to lose
the object of the picture, which is constantly changing
appearance before one’s eyes.
As I played with the light in this way whilst standing at
different locations of the valley, I shot different aspects of
it everywhere, clumsily adjusting the light aperture and
shutter speeds whilst attempting to read the light on the
object of focus, an exercise that turned out to be an
adjustment of my own vision.
One thousand, three hundred photos later, something
intricate and unusual emerged in my understanding.
Sometimes I could barely decipher the originality of each
picture, as they seemed to blend into one great mix of
photos of every corner of the valley, a blur of colour and
shape, indecipherable as one or another aspect of
phenomena.
This understanding of the inseparable nature of
everything had expanded whilst following the main river of
the valley along its naturally winding course down by the
riverbed aligned by high cliffs of crumbling sandstone
rock.
For logically so, I had started to place my focus on the
prominent mountain at the back of the Muktinath valley, a
special mountain with a mandala-like plateau at its apex
that is permanently covered by snow, four points at each
of its cardinal directions, difficult to miss as a prominent
feature in the picture.
I was stopping around every corner roughly every fifty
metres and on straight parts of the riverbed to take a shot
of the path along the way and had noticed that every
picture was quite similar, yet in its own way naturally
different.
For amidst varying foregrounds, the aforementioned
mountain constantly stood prominently ahead at the back
of the valley, yet seemingly changed position in the frame
according to where I was standing to take the photograph.
Thus the perspectives of the photos were constantly
changing as the river wound its course, just as the
mountain too changed shape and size as I focussed on it
from different places.
 Prominent mountain of Muktinath valley from river bed

However, at the same time I was aware that it was always

the same mountain, same physical size, same height,
unchanged in its natural presence, even though it
appeared to change as I moved my location.
For this reason, I started to play a game of perspective
with it from other parts of the valley too rather than just
down by the riverbed, each with the same result.
Object in focus is always fundamentally unchanged, yet its
appearance is totally different depending on where one is
viewing it from.
This blatant paradox got me thinking.
Transferring the understanding of this into the parallel of
one’s nature of mind, I saw that one’s mind focus, namely
that which is the object of appearance totally depends on
the perspective or viewpoint of the perceiving mind
beholding it.
And even though the objective appearance seemingly
changes as one’s subjective point of view changes
position, it never actually strays from its absolute
awareness nature.
For when one’s perceptive awareness sees what appears
as simply ‘appearance’ and does not interfere with it in
any way by changing one’s ‘viewpoint’ from here to there,
so does the focus of the perceiver as well as object being
perceived rest in a perfect natural state of being.
When this understanding is realised, then no matter from
which angle it is seen, even though it appears as changed
in relative shape, form and appearance, subject and
object are in union.
The mountain is always simply ‘the mountain’.
Born from that understanding came the entire text of
“The Rainbow Bridge” that appeared as a vision of its
meaning. That vision is neither of an actual bridge of
rainbow light itself, nor as any fixed image as such, but as
the visual aspect of the words that now appear in the text.
Nor is the vision solid, but appears as a changing,
mutating impression in the mind.
As I perceived the multi-layers of the vision by focussing
on one or another part of it and in order to keep as close
to its meaning as possible, I simply wrote down what
appeared in the mind at that moment, displaying in words
what was actually appearing in a subtle visual way, whilst
attempting never to stray from the main focus of it, the
lesson that the great mountain in the valley of Muktinath
had taught me along with the camera.
Following it through until it held at a certain point, I
attempted to rest my mind alone in the nature of writing
and it was in this manner that the words tumbled onto the
page during the summer months of May and June 2005 in
Kathmandu, Nepal.
Even though I am strictly speaking both the author and
commentator of ‘The Rainbow Bridge’, it is not a text
that I can say that I ‘wrote’ as such, but it was truly like I
was ‘the pen’ of the following verses, where the text was
just appearing onto the page as I put pen to paper. In this
sense, my authorship of the text can be reduced to
‘scribe’.
Due to this feeling, I refer to myself as ‘the writer’ during
much of the commentary and in this way have been able
to de-identify myself with the authorship of both the
verses and the commentary, which is how I evidently
perceive it. This technique has also allowed me to
comment on its content without personal attachment to it.
After spilling the original text down onto paper, pretending
that I was any reader that may follow its course, I saw that
it may raise some questions and thus decided to make a
commentary to explain its subtleties, so that its definition
according to the original meaning of the vision would be
maintained.
I thus assumed the same practise of de-authorship whilst
editing such commentary.
Even though some of the text may seem biased towards
certain philosophical or religious viewpoints, it was simply
with the vision held in mind that I let the words pour forth
whilst attempting to describe that same vision.
Presenting this work has not been without its
complications, just as any written text poses an automatic
difficulty in that the writer writes from one perspective
and the reader reads from another.
The text of “The Rainbow Bridge”, which is to be
perceived by readers, itself aims to provide a means to
bridge that automatically appearing gap between the
awareness mind of both writer and reader.
In this way, the text encourages the reader to rest mind in
awareness so that awareness may provide the necessary
connection or bridge between what has been written and
what may be understood by different individuals reading
it, meaning to demonstrate that the essential awareness
space of one relative form is the exact same awareness
space of another.
The text is a description of a vision of such awareness, a
journey of perceptive mind across the rainbow bridge to
its pure awareness nature.
Following a short prologue of just one verse that in itself
holds the entire meaning of “The Rainbow Bridge” is the
section entitled, ‘The Pen’, which inadvertently describes
the nature of awareness mind through giving instructions
to the pen being used to write the text. This is followed by
a short five-lined epilogue that sums up the essential
comment of the whole text.
It is this section of ‘The Pen’ that I have reproduced here
in this short book named, ‘‘The Pen, … Mindfulness,
key to Awareness”, as it contains the entire essence of
“The Rainbow Bridge”.
Focussing on the most essential aspect of our dharma
practise, that of familiarising ourselves with our inherent
awareness nature of mind, the whole spectrum of mind is
brought to its natural state.
It is with profound thanks to many who have helped me
bring this into being that I therefore present this text to
the publications department of the Kong Meng San Phor
Kark See Monastery in Singapore.
Wishing that this reproduced work will truly bring those
who connect with its meaning to a state of perfect
awareness, remembering that it had been inspired by a
simple, short comment from a great Master followed by a
journey of revolutionary nature in Muktinath (Mukti –
Salvation, Nath – place, Muktinath – Place of Salvation),
may any reader who may rest in its words and any listener
who may hear its name, reach such perfect state.

Susan M. Griffith-Jones
Kullu Valley, Himachal Pradesh, India
July 2010
 How to read the text

There are three different aspects to the text and the

reader may like to consider each one of them.
Firstly, there is the root text, which is written in full on
the following pages and also verse-by-verse throughout
the commentary.
Secondly, there is the commentary, which is a
description of the meaning of the root text in full, where
the meaning is fully explored and looked at from each
angle.
Thirdly, there is a subtle essential text that is written in
bold throughout the commentary. These are words that
are picked out of the root text, but when read piece-by-
piece from start to finish, form a simple and direct
instruction that nevertheless contains the essential
meaning of both the root text and the commentary.
As the reader, if you have more time, then you can go
through each section of the commentary verse-by-verse.
Being the first part to emerge, the root text is more
concise, but the subtle essential text in bold is the most
direct and to the point.
Prologue
 I give you one task
O reader of this text,
Ingest the fire of wisdom nectar
And digest each word,
Then conjure the picture.
For this translation is of images,
Now evaporated
And replaced with words
Of human awareness,
The clarity of perception
Ever-determining
The nature of appearance
As it crosses
The rainbow bridge
To its birth less
existence.
 Text of
“The Pen”
 1.
The page is blank
The pen wet,
Poised above the pregnant emptiness.
Anything,
Anything
May arise,
May appear
In forms
That speak their truth
Through a multitude of displays.

2.
For inside each character,
Each letter,
Is contained
The essence
Of the unity of light and sound.
Thus with light as pure bliss
 And sound as pure emptiness
The great truth is proclaimed.

3.
Oh pen,
Please keep your true nature in mind
And form union with the empty space!

4.
You are no longer
A pen
And blank page
Separated,
But together you invite awareness.

5.
For as the letters appear
They stir the perception,
The third participant
In the game of being.

6.
Remember that awareness
As an immortal combination
Of bliss and emptiness.
 Whatever appears
Remains ever this.

7.
Oh pen,
Your job is futile
For whatever you say
Is always that same combination
Of bliss and emptiness.

8.
If your perception,
The manifesting tool of awareness,
Strays from that understanding
Then you will write
Nothing of the truth.

9.
Yet just as you may not speak the truth,
It will always be contained within.
For the nature of the letters on the page
Are simply your union with it.

10.
Thus, bliss appears as letters
And emptiness as their sound,
 Perception as their meaning,
Both inherent within.
How wonderful
The marvels that may appear
From your tripartite union.

11.
But even though they seem to appear,
They never actually appeared at all.
That blissful emptiness
Of intrinsic awareness
Stirred,
Played and then rested again
In its true state.
Yet in truth it never awoke
From its timeless poise,
But seemed to
Whilst spontaneously holding
The marvellous display
Of bliss and emptiness,
Understanding itself
As their union.

12.
And so is revealed
True mind
 From the union of these three,
The eternal guru.
You pen,
Are the guru.
Trust firmly in your true nature
And inject confidence
In your form.

13.
Oh pen,
You are but a novice to the page.
Do you know where you are going
And why?
What is your reason
For such work?
For all that appears
As a result of your union with the page
Is but an expression
Of the nature of that union.

14.
Let your design
Reflect that blissful state
Your constant empty nature.

15.
 For your words
Have power on perception,
Can influence
Can mould
And mutate it
Into anything at all.
Take responsibility
For such endeavour,
As the ways of perception
Can bring rise to trickery.
Then the essence seems lost
Although it is always there.

16.
So remain with that essence
Using sound
And light
As your tools
To display its truth,
The blank page as space
Upon which it may appear,
The meaning encoded within
Yet designed perfectly
On the exterior
To mirror that core.
 17.
And where do you stand?
In truth your words
Have no position
Yet they appear on the page
In specific places.
One in front of the other
Lending meaning to the next
And the one before.

18.
By the power of you union
With the page,
You give birth to space and time.
As you write,
Both the moment
In which you write each syllable
And the place it occupies
Form an impression
On perception,
That inherently
Knows its true nature,
Yet understands the words.

19.
Do not cause perception
 To awaken its judgment
For there is nothing to judge.

20.
As the timeless state
Becomes a moment
And the eternal space,
Place,
Choose wisely the coordinates
Of your awareness.
For as perception
Grasps the moment
And its position,
It is in danger of losing
The correct viewpoint.

21.
Stand in the core,
Dear pen,
For that is the only place
In the vastness of time and space
From where your perspective
Remains all-pervasive.

22.
But if you search for the centre
 You may never find it,
For how can one pinpoint infinity.

23.
Yet in the world of time and space,
The centre appears,
Perfectly emanating forms and sounds
And perception of its creation,
That cut up infinity
Obscuring its pure,
Continuous,
Stainless nature
With its multitude of designs.

24.
Your words too
Are clutter
For the eternal space.

25.
Stand in the heart
Of time and space
So that you may connect
To its essential truth,
The eternal guru,
To become its meaning,
 By trusting its meaning.

26.
Like this,
You too are the guru,
Dear pen,
Manifest in form and sound,
But a reflection
Of your inner awareness.
Keep your awareness
In that nature
And you will reflect this threesome
Perfectly
In your words.

27.
For those words
Are but the mere tips
Of the rays of light
Upon which dance
The deities of perception,
Manifest through the
Songs of intrinsic awareness
That lies at the core of the ray.

28.
Bursting into rainbow colours,
That playful energy
Of true being
Displays itself
In your speech.
Feel the deities dance
As you
Scratch the surface
Of the blank page,
Intrinsic awareness
Manifest as words.

29.
So remain in the centre
And proclaim your message.
But what is that message
You may consider.
But why be curious,
For the matter is self-revealing.

30.
Your perception
Remains ever
As that nuclear energy
Of intrinsic awareness
That appears
 As a multitude of
Its own forms,
Driven by its playful energy
And blissful knowledge
That it is actually
Nothing at all !

31.
The mirror of awareness
Ever revealing
Itself to itself,
Bliss and emptiness
Dancing together
In inseparable union.
Epilogue
 So that all beings
May be liberated
Into their essence less nature,
May I remember,
To remember !
Verse by verse
Commentary of
“The Pen”
 Introduction

In essence, ‘The Rainbow Bridge’ is a text of poetical

prose describing a vision of awareness.
As awareness is not something necessarily tangible, yet
definitely exists in the sense that we are consciously
‘aware’, it may be considered as both nothing (no-thing)
and something (some-thing), simultaneously.
Something = Nothing
Looking at this in simplified mathematical terms, the
whole of relative existence that we are individually aware
of (something) may be sum totalled to zero (nothing),
where the meaning of zero is not actually ‘nothing’ as it
would seem to be, but ‘something’, simply because it
exists.
Something = Zero
Although that ‘something’ or relative existence actually
appears spontaneously as anything at all, its essence or
root is hidden within the codes of ‘nothing’, of the zero
itself.
It has to be ‘something’ for the very reason that within the
make up of this equation, zero equals the entire make up
of relative existence, which we agree does so-called
‘exist’.
 Relative existence = Zero
For the zero is not an empty void or ‘nothing’ as such,
since the equation would not be complete if a blank space
occupied one side of the equals sign, if the symbolic
circular shape of the zero did not appear there, holding its
entire meaning within its perfect form, as well as
demonstrating the relative meaning of awareness in its
absolute state.
Relative existence = O
‘Something’ both definable and tangible, in this sense is
symbolised by ‘nothing’ at all in particular, except for the
simple understanding of existing.
Relative existence = Absolute existence
The realisation of the union of this absolute space of
awareness with its relatively manifesting aspect is the
essential meaning of ‘The Rainbow Bridge’.
Relative Awareness = Absolute Awareness
Therefore,
Relative = Absolute
At the 7th equation, the circle is complete and returns to
its original point.
Something = Nothing

The text of ‘The Pen’ is largely an allegory of the natural

state of mind whereby the writer encourages both the
writer (as the text is being written) and the reader (as the
text is being read) to place mind in its natural state of
awareness, or the state of ‘the view’ before starting to
write or read the text.
So in the direct sense, ‘the pen’ represents the
awareness mind of the writer that must accurately display
the meaning of the text in words and indirectly, ‘the pen’
is the reader being instructed on how to interpret the text
accurately, as perception.
In order to do this, the writer talks directly to ‘the pen’
that is being used to write the text by initially instructing it
to recognize the natural state of mind and rest in that
view so that whatever words appear may perfectly
compliment it.
In this way, the perceptive awareness of the reader should
automatically become aware of that natural state as
he/she interprets the meaning of the text within his/her
own cognitive awareness.
In this way, the written words may be perceived
accurately with mind resting in its natural state whilst the
reader proceeds through the text, reflecting on the nature
of mind through the visual means of ‘the pen’ and page
metaphor, thus placing mind into the state of ‘the view’.
In order to sustain this realization and continue to write
using words that naturally reflect the essential state of
being, ‘the pen’ should take refuge in its true nature and
be confident in the truth of whatever appears.
In this way, mind rests in a natural state of awareness,
trusting it through knowing that all appearing phenomena,
both animate and inanimate are the mere appearing
aspect of its essential awareness nature.
So is appearance, made up of all rainbow images of
existence, but the multi-faceted display of the energies of
one’s life force flow, interconnectedly intertwined with the
energies of the life force flow of all beings as a multitude
of sound and light.
These subtle energies, a dance of the five main inner
essential elements each containing certain qualities of
mind, arise automatically as an outwardly appearing
manifestation. Mind held in awareness of its true nature
may perceive it as such, as well as directly behold such
subtle energies in manifest form throughout appearance.
Pure awareness that is an invisibly present subtle energy,
naturally appears as perception that manifests as
sensation and thought that may take on any formless
description as vivid as imagination may be, where the
appearance of form phenomena - seemingly as solid as
rock, appears as most real.
In this way, a perfect appearance of light (as form
appearance) and a perfect potential of sound (as formless
appearance) are contained within appearing awareness.
Purified by awareness itself into its non-appearing state,
the rainbow colours of appearance and their
corresponding sounds melt into their common essential
clear light nature, without colour, shape or form.
Pure awareness nature of perception and awareness of
the appearance of that perception are thus united. Even
though they may arise in their own individual way, they
are not containing a separate self as they arise from the
same womb of all phenomena. So are awareness and
appearance in reality the seed and fruit of each other.
Even though everything that is written in the text is itself
a marvellous truth of existence, the writer laments that
there is not necessarily anything in particular to write
about at all, as everything ultimately ends up having the
same essential meaning.
However, an ensuing chain of logical arguments reveals
the actual meaning of the text and the value of using the
creative quality of mind in this way.
Commentary to Prologue

I give you one task

O reader of this text,
Ingest the fire of wisdom nectar
And digest each word,
Then conjure the picture.
For this translation is of images,
Now evaporated
And replaced with words
Of human awareness,
The clarity of perception
Ever-determining
The nature of appearance
 As it crosses
The rainbow bridge
To its birth less
existence.

‘I give you one task O reader of this text’ -

Here the reader is being instructed to bring his or her
mind into a state whereby it recognises its natural state
before beginning to read the text, whereby awareness
directly recognises itself as all manifesting appearance,
yet empty of any inherent reality.
In this way one directly perceives emptiness whilst holding
appearance, where the word, ‘emptiness’ denotes its lack
of any actual concrete reality, the essential manifestation
of pure awareness as the absolute nature of appearance,
rather than a void.
‘Empty’ gives the idea of a nihilistic state, but that is not
what it means in this context. An ‘empty’ state of mind
recognises that what appears as seemingly real, does not
actually possess any inherent pre-determined reality.
This is because what is perceived by the mind always
depends on one’s individual viewpoint, which is entirely
made up of its own perceptive cocktail of judgments. Yet
these are ultimately and simply one’s pure awareness
nature, appearing in an assortment of ways according to
one’s filter of perception.
In other words, ‘emptiness’ here describes that whatever
appears is inherently empty of any certainty, even though
it holds an energetic potential to appear as anything at all.
What perceives is what is perceived. When mind’s
awareness reveals that viewpoint to itself then it rests in
its appearance, as its appearance and can be termed as in
the state of ‘the view’ (of awareness).
In this way, everything that appears is the manifesting
appearance of ‘the view’, the creative appearing quality of
mind in union with its inherent pure awareness, yet empty
of any actual manifesting reality.
Two words that appear repeatedly throughout both the
text and the commentary are ‘perception’ and
‘awareness’ and it is worth noting their definitions
according to this work, at this point.
‘Awareness’ refers to the pure, original space of mind that
does not hold any particular conceptual reasoning. It is
purely ‘aware’ of existing and may be considered as
absolute, in this sense.
However, ‘awareness’ does also have the capacity to think
and conceptualise, the quality of which is referred to as
‘perception’ or ‘mind’s perceptive awareness’, like a
relative appearance of an absolute sense of awareness.
As the mind rests in its truly natural awareness state, the
‘space’ within which appearance may come into being as
a result of that union state of mind is held or poised in ‘the
view’.
During the course of our day-to-day lives, forms and
impressions of those forms, namely ‘appearance’, and
judgments of that appearance continuously appear.
Just like a rainbow that appears and then disappears again
according to the causes and conditions present, so does
the appearance of all phenomena, both animate and
inanimate as well as thoughts about that relatively
appearing display seem real, yet disappear as soon as the
causes and conditions for that state of mind change.
And likewise, in a dream state, where we continue to exist
physically as an impressionable form within a relative
universe, another world of images arises whilst we sleep
or even daydream and we feel we really exist there at that
moment.
With mind rested in ‘the view’, the play of creative
essential energy manifest in a plethora of ways does not
affect one’s state of mind, nor does the mind judge it as
this or that. One then meets the naturally arising causes
and conditions for certain happenings to relatively occur
and animate or inanimate beings to physically appear,
with joyous feeling.
And anything that appears within mind held in ‘the view’ is
automatically infected by that mirror of essential qualities.
For all that appears is but an arising expression of un-
manifest potential, which directed by accordingly
appearing causes and conditions becomes a realised
manifest potential that is the sum total of the multitude of
experiences of all appearing form and formless beings.
The masses of beings arising within appearance each
carry their own package of their total experience within
appearance, whose individual sum total arises as the
quality of their awareness experience, along with the sum
total of the experiences of all beings.
The experience of individuals may not be separated from
that of all beings in this sense.
Beings take physical shapes and forms according to the
total result of their experience of existence, yet
continuously change shape and form as that experience
mutates within appearance.
Yet ultimately, all beings sub-consciously search to
understand total knowledge of their being.
Absolute formless energy of being gives birth to form and
form dissolves back into formless unborn yet arising
potential, a process simultaneously going on all the time.
The subtle formless image of the rainbow compliments
this meaning, as it is itself an apparition that mysteriously
appears and subsequently disappears in a seemingly short
relative time frame.
Subject and object are understood as arising from the
same source, self and others are recognised as simply
manifest appearances of essential awareness being.
So is the meaning of the rainbow itself in this sense the
bridge between viewpoint and appearance.
Knowing this, remaining in the recognition of this, one
may naturally rest in the absolute viewpoint of
appearance, namely ‘the view’, beholding all phenomena
whilst directly perceiving its inherently empty nature, its
one taste basic component pure awareness energy, the
appearing zero of all inherently empty appearing relative
phenomena.
‘The view’, which is the necessary awareness space for
the words to reveal their correct meaning to the
perceptive awareness of the reader is referred to ‘as
fire of wisdom nectar’.
Thus the reader must connect with that same awareness
space of the writer so that with mind held in ‘the view’, he
or she may ‘conjure the image’ by re-living the mind
images of perception that the writer experienced as an
appearing vision in the mind when the words were written
onto the page.

In this sense ‘the translation of images’ that was

performed by the writer, whereby the images of mind
literally ‘evaporated and’ were ‘replaced by
words’ when they were written onto the page has been
achieved and indeed when the text is both written and
read with mind held in ‘the view’, then this process should
theoretically happen automatically.
Thus the reader, with mind held in ‘the view’, should
simply read the words and allow them to naturally
‘digest’, whereby they instinctively return back to their
original visionary impression.
In reality, much of the meaning is of course sub-
consciously experienced and only consciously manifests
according to the perception or viewpoint of the reader,
one’s ‘human awareness’.
However, the potential for pure awareness to be perceived
through the human form is common to all humans and
therefore the reader should be able to interpret words that
were written by such, back into those same mind images if
that pure awareness state of ‘the view’ is maintained.
In this sense, if the words chosen by the writer’s
perceptive awareness are close enough to the meaning of
the vision, then they will reveal this same vision to the
reader and the one same awareness space is attained.
Both the writer and the reader are responsible for this
process to be achieved. In this way, the words now
manifest as symbols upon a page may re-manifest in their
subtle form as visual images in the mind.

The so-called level of ‘clarity of perception’, one’s

perceptive awareness, is what determines one’s state of
mind and accordingly, the appearance of the world
appearing around one’s human form.
Just as a classical rainbow itself is a show of colours
merging one into the other, the colours appearing fixed in
bent lines possessing their own track of space, arcing one
next to the other until seven major colours can be
perceived by a viewer in the distance, so does mind
display its different moods, or states of consciousness.
Red, orange, yellow, green, blue, indigo and violet -
different frequencies of refracted light, different moods of
mind, different waves of consciousness perceiving
appearance.
It is from within each conscious state that appears as the
perceiving mind in that particular moment that one will
perceive that corresponding vision of appearance.
However, if we fail to recognise that appearance as
nothing but a display of awareness that is also itself
perceiving it, then a separate and somewhat hostile world
appears.
This state of mind may be considered as captured by its
own sense of self, or ‘ego’ where the ego places itself as
king and centre of the world within which it appears,
separating itself from others and living such a dualistic
existence, seeking its own gain and power over others
within the illusory appearance of phenomena.
Whereas ‘the view’ reveals all phenomena as illusory, just
like a rainbow that appears and then disappears again
according to the causes and conditions in place, it can be
said that the ego mind state is one that is distracted from
‘the view’, by the lure of phenomena as something
tangibly real where the ego state grasps onto appearance
and suffers when it cannot be in full control of its actual
transitory nature.
Various transforming states of mind such as jealousy,
desire, anger, pride and ignorance awaken and sleep
again, appearing from one’s perception in a particular way
one-by-one or in groups when they are perceived,
sometimes playing together, sometimes one more
dominant than another.
Even though their potential to appear is always there, they
will only appear when certain causes and conditions for
them to appear are in place and do not arise when those
conditions are not met. The ‘nature of appearance’
is in this way determined by such perceptive aspects.
Thus attempting to sway appearance towards its selfish
goals, the ego state of mind swings back and forth
between glory and defamy and all other possible opposite
aspects, like a pendulum.
However, when the pendulum of opposites stills mind’s
perceptive nature to its absolute non-dual aspect of pure
awareness, the rainbow bridge symbolically appears and a
union state of mind ensues.
Then all the qualities of awareness naturally appear from
one’s inherent awareness nature as pure perception, bliss,
clarity, wisdom and awareness of all these aspects,
inseparable from each other as the negative mind states
of ego are simply purified into their more subtle aspects of
awareness.
The circle of zero itself represents these pure aspects of
relative awareness. For as it appears, so is its clear nature
revealed and as it is understood, so does its wisdom arise
and wisdom could not appear without its blissful nature
having been awoken. Through wisdom understanding its
inherent reality as empty of any fixed nature, it naturally
contains compassion for the truthful nature of all relatively
appearing phenomena.
Even though the zero only reveals its circular nature, its
many encoded meanings are hidden simply within its
manifest shape.
These qualities are automatically available within mind
held in ‘the view’ and out of these qualities emerge
countless qualities of various manifesting aspects.
Awareness space is filled with these qualities and
therefore all appearing phenomena and beings that arise
out of that space are naturally replete with such qualities
inherent within their essential state of being.
So as perception becomes unobstructed through mind
awakening to levels of consciousness beyond states
usually experienced by a human being operating within
dualistic (or ego) mind, what arises as appearance is also
transformed into a differently perceived space of
existence containing manifesting aspects of that realm
appearing everywhere.
The words, “The Rainbow Bridge” themselves carry the
entire meaning of the text. For it is an allegorical ‘rainbow
bridge’ that we both consciously and sub-consciously seek
to pass over as we progress through life, through
existence.
So do the words, ‘Rainbow’ and ‘Bridge’ simultaneously
contain both their most obvious and most hidden
meanings as the perceiver contemplating them unfolds
both their relative and absolute truths within the mirror of
his or her understanding of them.
For words on a page each contain their own meanings and
when strung together as sentences, form another holistic
sense. Depending on the perceiver perceiving them, they
are translated according to his or her individual
understanding of them back into mind images, namely
thoughts and visions of that meaning.
The first image that may appear when the word, ‘Rainbow’
is perceived is one of a largely visual quality where an
array of colours arcing across the sky, hang over some
undefined point in the distance. And there one arrives at
the mythical pot of gold at its end, never to be found as
long as it is searched rather than beheld, yet a reminder
of the vast symbolic wealth of the rainbow image.
The word, ‘Rainbow’ also reminds us of a state of
appearance that is not solid as it cannot be grasped or
held, yet nevertheless vividly appears when it is seen from
a certain viewpoint.
And, the correct spatial cocktail must also be mixed for it
to come into being. For example, a certain blend of
moisture and sunlight must be present in the atmosphere
in order to procure the necessary screen upon which the
rainbow image may appear to one’s perception.
So a rainbow may only appear when certain causes and
conditions are present. The rainbow is in that sense
always there, yet remains in a state of non-appearance
until both the atmosphere and viewer are correctly
aligned, relatively speaking.
In this way, as one perceives existence moment by
moment, one’s natural awareness state of being appears
as rainbow images of form and formless aspects.
Perception, the great tool of awareness that all sentient
minds contain thus consciously perceives whatever
appears according to its relative understanding of it as
mind attaches to one or another of those form and
formless aspects appearing within the spatial screen of
existence.
Thus perception automatically translates all perceived
images, sounds and sensual experiences according to its
level of realisation of its absolute nature, depending on its
relative viewpoint of existence.
When one’s awareness does not perceive this ongoing
chain of appearances as simultaneously occurring from
the same source, because it is stained by habitual
definitions, it instead divides the process into two, and
becomes both a perceiver and what is being perceived, as
seemingly separated aspects.
So in this way, anything that appears at a seeming
distance from the perceiver seems to be separate from
the perceiver.
Thus the illusory world of duality swings back and forth as
mind’s perception is not fully ‘aware’ of its essentially
natural state of being as both perceiver and perceived
inseparably united in one perfect state of awareness.
For without holding a mind of pure awareness, where
one’s perceptive faculty is perfectly tuned to one’s
inherent awareness nature, one’s perception is tainted in
many ways of attachment, aversion and indifference to
whatever appears within that spatial context.
Yet in absolute truth, one’s inherent awareness nature
always perceives what is to be perceived in an absolutely
simultaneous way, as it is really the source of both the
projector and projected image that appears.
So does the viewer’s conscious perception realise that
automatically as it rests in awareness of its essential
being. For it is awareness itself that creates a spatial
screen seemingly ‘out there’ within which those images
may appear.
In this way, we appear to ‘move around’ within
appearance, as in a relative sense we have a human form
and perceive a universe around us as seemingly separate
from our physical forms.
Yet here it is worth noting one irony that the rainbow
symbol presents in that it would not appear to the viewer
if he or she were actually inside the rainbow itself. One
has to be at a relative distance from it in order to perceive
it.
So, the rainbow does not directly appear if you are present
within it.
In this neat little way, the rainbow symbol reminds us of
two fundamental aspects of our being.
Firstly, that of viewpoint as in the position from which
form and formless aspects are perceived and secondly,
that of an appearance or spatial screen, within which an
appearance of form and formless aspects takes place, and
simultaneously from within which it all may be perceived.
The relation between viewpoint and appearance is an
essential factor to one’s understanding of the nature of
phenomenon, as well as being a key meaning of ‘The
Rainbow Bridge’.
But perhaps most importantly the word, ‘Rainbow’ holds
the idea of something appearing from seemingly nothing,
remaining as something and then disappearing again into
seemingly nothing, creating an image of a time frame
where there is a moment of birth, a period of remaining
for a while and then a moment of death.
And how many causes and conditions need to meet for
this visual timeframe, a dance of sound and light affecting
a temporarily existing sensory frame that transmits and
receives signals according to its capacity to rest in its
natural state of being, to appear.
Referring to the next word, ‘Bridge’, the image of a
structure that serves to unite two parts that are
separated, easily arises.
A bridge provides the crossing point between those two
places so that there is no longer a separation between
them, whether they arise externally in what appears
around one’s form as a human, like as a bridge between
mainland and island or abstractly within the mechanism of
one’s awareness mind, as both the perceiver of
appearance and that which is perceived as appearance,
simultaneously.
For commonly termed as ‘mind’, one’s awareness through
its faculty of perception, directs the viewpoint of the
human organism within different states of being, and
simultaneously various appearances arise automatically
according to that particular viewpoint.
In the present work at hand, the ‘Bridge’ aspect more
specifically refers to the way one’s perception connects to
these two aforementioned seemingly different aspects of
the one same perceptive faculty, namely viewpoint and
appearance so that that which perceives and that which is
perceived are no longer viewed as separated.
The sense of there being a self and others then may
dissolve as ‘the rainbow bridge’ of all perceptive
awareness attributes melts into its two ends united as
one, clear quality of pure awareness.
From this perfect state of awareness, the circle of
immortality is born. That circle is zero, the symbol that
marks the watershed between positive and negative
numbers, like a bridge of non-duality.
For one’s pure, clear, clean awareness nature is immortal,
a birthless and therefore deathless state of being from
which all arises, in which all rests and to which all
disappears. No time exists in the state of immortality as it
is but ever present continuously as one’s natural state of
being.
Appearing in this way as the symbolic bridge of all relative
existence to achieve understanding of its absolute being,
the zero of nothing symbolically appears as an infinite
circular line. No point on it can be determined as the
starting, nor ending position. If one point on it is chosen as
its starting point and one follows the line, it will come back
round to that same point again, which therefore may also
be termed as its ending point.
It could begin and end anywhere relatively speaking, but
those two points of seeming beginning and ending would
always constantly be the actual same one point. So every
point on that infinite circle is both a starting and ending
position, any moment of time is that point. That point is
present everywhere in immortal awareness.
However, when perception is not perfectly aligned with its
pure awareness nature, then they relatively speaking
need a point of crossing or connection.
The ‘Rainbow Bridge’ is the absolute connection in the
sense of non-separation between what arises in the mind
at the moment of sensing any form aspect that appears
simultaneously as external to our human form and any
formless aspect, which is simultaneously perceived by our
human sensual perception. It is thus its own inseparable
quality of awareness perceiving its appearing nature.
Our sensual receptive attributes and judgement of those
arising sensations as perception of them ultimately form
our viewpoint that translates the appearing creative
essence according to one’s vision of existence.
If something else other than pure awareness recognition
of that creative essence in manifestation arises in one’s
perception, then subject and object are seemingly divided
and manifest as appearance of all types. One then forms
relation and judgmental attitudes to the appearance
resulting in attachment, aversion and indifference to what
is essentially but the creative manifestation of one’s
essential awareness energy of being.
Essential creative energy connects all phenomena,
because all phenomena are themselves manifesting
aspects of that creative awareness energy, thus making
up the vast seeming existence of form and formless
realms of appearance. Therefore, depending on the
perceptive quality of one’s view of existence, one
perceives likewise.
One’s perceptive awareness resting in its absolute
awareness state will view relatively appearing phenomena
as rainbow images of manifesting aspects of essential
creative energy, whereas awareness split into dualistic
perception of perceiver and perceived, of self and others
will perceive an appearing world of form and formless
aspects around itself as either harmful or attractive to
itself.
Thus different species and capabilities of perception
faculties within those beings inhabiting a multitude of
varying physical and non-physical bodies, perceive the
appearing realm around them according to the limitations
of the perceptive faculties of their particular physical
forms.
The human species has the essential frame and inner
network of energy channels within which perception may
rest in its essential awareness nature. The human form is
therefore a priceless form to have obtained through vast
numbers of relative causes and conditions having come
together.
And complete awareness itself is what may be attained
and its inherent qualities awoken, once the absolute
reality of the colourful display of appearing rainbow
images that appears and sounds to one’s sensual
perception in form and formless ways, is fully realised in
its essential aspect.

’The crossing of the rainbow bridge’ here

means passing through the different stages of conscious
perception, until the ‘birth less’ natural state of pure
awareness mind is revealed, where no obscuration is
present.
Viewpoint and appearance are present together
simultaneously; essentially combined, manifesting
simultaneously and consciously perceived by the
awareness mind as not separate, but completely
dependent one upon the other for the so-called other’s
‘existence’.
And ever present within one’s awareness is that
knowledge of ‘The Rainbow Bridge’ that our conscious
perception must metaphorically ‘cross’ to become its
ultimate potential state of awareness being.
Awareness is aware of its natural appearance, the true pot
of gold at the end of the rainbow !
‘Rainbow’ and ‘Bridge’ are two words united as one image
of ‘The Rainbow Bridge’.
 Commentary to “The Pen”

1.
The page is blank
The pen wet,
Poised above the pregnant emptiness.
Anything,
Anything
May arise,
May appear
In forms
That speak their truth
Through a multitude of displays.

‘The page’ here refers to the absolute ground of all

phenomena, yet un-manifest, but ready to burst into any
display at all, whilst the pen refers to the power of
creativity of that empty space seething with the energy of
its own creativity.
Both its empty and creative aspects inseparably united
are the make up of essential awareness mind, which is
here referred to ‘as pregnant emptiness’.
Like the page that is ready to give birth to any appearance
upon its blank surface and accept it fully without
attachment or rejection to its relative meaning, so is ‘the
pen wet’ with the ink of skillful means, ready to spill out
its perfectly encoded meaning, knowledge of an ultimate
reality contained within the words that appear on the
page.
In this way by simply resting mind in its natural state, the
ink is the method for the pen to unite with the page, the
nectar of creativity of the spacious birth ground of all
phenomena now ‘arising as’ words containing their
essential meaning.

‘Anything’ brought forth from awareness mind is in

essence this relatively ‘appearing’ creative aspect born
from an absolute state of un-manifest being. These
relative and absolute qualities always remain present
within everything that appears.
What exists as form and corresponding formless aspects
are there present one within the other as all relative
appearance is temporal and subject to birth and death,
appearance and disappearance, like a dance of changing
images, transforming from one state into another as one’s
molecular essential format mutates shape according to
the causes planted and subsequent conditions present.
All phenomena, both animate and inanimate contain this
blend of form and formless aspects, whereby relative form
is continuously becoming relatively formless, disappearing
into its essential aspect and back again into appearance,
thus demonstrating its essential ‘truth’ of existence
whilst appearing ‘in a multitude of displays’ of its
different relative aspects.

2.
For inside each character,
Each letter,
Is contained
The essence
Of the unity of light and sound.
Thus with light as pure bliss
And sound as pure emptiness
The great truth is proclaimed.
Once the character of ‘each letter’ is written onto the
blank page, the formless impression (namely the sound
aspect) of its form (namely the light aspect) automatically
‘contains’ unspoken vibrations within each of its
appearing shapes.

So do the letters written on the page display ‘the unity

of light and sound’, of form and formless to the
perceiving mind of awareness. In this way, through the
method of the appearing shapes upon the paper, together
the pen and blank page reveal their inseparable union,
‘inside each character’.
When form appears in the shape of a letter, it is a
manifesting design of light automatically encoding a
formless symbol holding an essential meaning within its
manifesting form. The perceiver, resting in the nature of
‘that essential meaning’ may perfectly read the
encoded symbols written as letters and thus perceptively
translate their meaning.
Shaped perfectly to carry an encoded message within the
appearing mark upon the paper to the mind visually
perceiving it, when the sound of one or another letter is
proclaimed, a vibration of energy carries the perfectly
encoded formless message to the mind within a
temporarily appearing sound.
So does each letter that is written onto the blank page
that is bursting to give meaning to its otherwise empty
space through union with the pen, carry with it the
encoded message of great bliss manifest within its own
empty nature by virtue of the shaped form containing
sound vibration.
Yet neither light, nor sound is more or less supreme than
the other as they are both contained inseparably, one
within the other as the same appearing letter and are
equally responsible for transmitting the essential meaning
to the perceiver.
The inherently empty yet fully cognitive aspect of mind
may thus appear perfectly to itself with its essential
meaning always encoded within it.
The page is blissfully receptive to the pen in this way.
Whereas previously it had remained as a blank sheet of
paper, un-manifest potential upon which anything at all
may appear, it may now manifest its creativity.
The pen is thus blissfully rewarded as its creativity brings
rise to the page’s great bliss, previously unspoken ink
appearing upon an otherwise empty, spacious surface.
That light and sound manifest from their inherently blissful
empty nature is perfect skillful means as unrealized
potential of essential being coming into appearance.

‘Light’ here refers to both solid form and formless

aspects of itself that appear tangibly to visual perception,
stay a while and then disappear again, whilst something
else appears in their place to repeat the same process, all
resulting from the same source.
This process, when understood from an essential
viewpoint, triggers the sensual perceptive faculties of
blissful awareness to appear clearly as the light of all
phenomena, a perfect state ‘of pure bliss’, or ‘creative
energy’ of ultimate awareness within the mind of the
perceiver.

‘Sound’ appears to audio perception, but cannot be

grasped or held in the same way as solid form, appearing
temporarily out of nowhere and leaving again without
neither a trace, nor scratch upon the surface of
appearance. In this sense, sound may be referred to ‘as
pure emptiness’.
However temporary appearing sound vibrations resonate
within one’s inner energy flow, affecting it by awakening
the energies present there. So do the energies of the
whole of existence course through the channels of all
beings, their common denominator of pure awareness
ever present as their seed.
Sacred words and sentences known as ‘mantras’ are thus
tuned to pitch one’s inner channels, awakening such pure
awareness, which directly affects the manifesting
appearance around one’s human form as what courses
the veins of one’s subtle energy routes is none other than
its formless corresponding aspect.
It is not sure what will arise and how it may appear as the
union aspect of light and sound, of blissful emptiness goes
on manifesting appearance at its own rate and speed,
according to countless causes and conditions that are all
pre-dispositions for one’s present state of mind, causing
one to react in a certain way to what appears to one’s
perception as appearance.
One therefore automatically perceives in one’s mind, both
the mirrored aspect of the energies coursing within the
inner essential flow of one’s life force that runs throughout
the whole human physical form, whilst simultaneously
experiencing the corresponding circumspect appearance
outside one’s human form.

In this perfect way, ‘the great truth’ of the nature of

existence displays its total realization to one’s awareness,
as one’s appearance of awareness, always.

3.
Oh pen,
Please keep your true nature in mind
And form union with the empty space!

The instruction to ‘the pen’ is to stay consciously

‘aware of its true nature’ by realizing that there is
no ultimate significance to what is going to be written
down. Yet as the pen enters into union with the page, it
does have a meaning in that it displays its true nature in
the appearing form of each letter, each character or
symbol on the page.
For the tools of light and sound, of bliss appearing from an
inherently empty nature carry their immortal message
within them as the shapes that flow from the pen’s ink,
forming indelible codes, symbols upon the page’s surface
that are in themselves just subtle forms of energy arising
from an otherwise ‘non-existing’ or ‘empty’ state, which is
nevertheless always present within whatever arises as
appearance.
For what does appear and sound as a result of that union
mark written onto the page’s blank surface becomes a
perfect symbol of its ultimate meaning.
The nectar of creativity from which all is born and comes
into appearance visibly arises, its formless audible quality
hidden subtly within its form.
So the creative aspect of mind rests eternally in its non-
manifest or empty nature, the union of essential being
that holds the great wealth of awareness qualities
automatically within it, thus ‘forming union with
the empty space’.
The pot of gold at the end of the rainbow!

4.
You are no longer
A pen
And blank page
Separated,
But together you invite awareness.

Once the pen has written upon the surface of the blank
page, it is ‘no longer’ empty - ‘a blank page’, but
carries a meaning depending on what has been marked
upon it that will be interpreted accordingly by a relatively
connecting perceptive awareness, namely a reader.
For without awareness to perceive the words, their
meaning remains un-manifest, unfulfilled potential. ‘But
together with the pen’, the page upon which the
words have been written ‘invites awareness’ as one
without the other has no resultant effect upon perception.
In this case, awareness does not arise as anything in
particular, except as aware ‘of its separated
aspects’.
For without a perceiver, the play of existential phenomena
does not behold its essential meaning and therefore does
not arise.
In this way, a previously inert potential awakens from the
union of the pen and the page as letters that start off as
individual characters that interact to make up words,
sentences, paragraphs, chapters and finally whole books
that may now carry a meaning within their written form
once there is a perceiver to perceive them.

5.
For as the letters appear
They stir the perception,
The third participant
In the game of being.

‘The third participant’, which is the awareness mind

of the reader perceiving the words is the crucial other
aspect required in order that one’s existence be fulfilled,
that appearance may hold a meaning and come into being
through awareness beholding it.

Here ‘in the game of being’ refers to the constant

play of appearing and disappearing phenomena and
perceptive mind that interacts with that display as it
interprets the appearance from its own viewpoint.
As the words arise from awareness and are being
perceived by awareness, the writer is warning the reader
that the meaning perceived from the text depends wholly
on his/her state of perception perceiving it. In this sense,
its own manifestation ‘stirs the perception’.
For there is no one true meaning to the words, but
countless meanings depending on the viewpoint of the
one perceiving them.
However, the ultimately essential meaning of the nature
of existence is always present within each manifesting
letter and so does all appearance contain such coded
symbols.
Therefore, the absolute truth of essential being can never
be hidden because its appearing aspect is always present.

6.
Remember that awareness
As an immortal combination
Of bliss and emptiness.
Whatever appears
Remains ever this.

Once someone has perceived those words written upon

the page by virtue of their awareness faculty, the
awareness that arises from such perception is simply the
perceptive awareness of the one reading it.
In whichever way the text may be interpreted by such
perceptive faculty, it does not hold any actual separate
truth apart from its ultimate awareness nature, as the
resulting words of the pen and the page union are but the
visual and audio appearance ‘of bliss and
emptiness’ inseparably united, continuous, never
ending and pervading all phenomena in this way, ‘an
immortal combination’.
So does the writer indirectly instruct the pen to
‘remember’ that all that appears as words upon the
page is really just an expression of that union nature of
‘awareness’, which ‘remains’ true for all appearing
phenomena.

7.
Oh pen,
Your job is futile
For whatever you say
Is always that same combination
Of bliss and emptiness.

Whilst remembering that whatever arises as appearance

and the sounds that are contained within such forms are
ultimately just a display of awareness giving birth to
appearance in manifest ways, the pen should write from a
completely detached perspective.
For it is from this state of non-dual mind, that inseparable
blend of ‘bliss and emptiness’, that all appears and
disappears. Thus everything that is being written down is
really just an appearance of that resulting union state of
awareness expressing itself by giving rise to appearance
filled with its perfect qualities, yet ‘always that same
combination’.
By humbling the pen in this way, the writer gives no
importance to the individual words that are appearing, but
instructs the pen to proceed to write without attachment
to the letters or words that appear.

In this way by expressing that the pen’s ‘job is futile’,

the writer indirectly raises the question, ‘What’s the point
of it all?’

8.
If your perception,
The manifesting tool of awareness,
 Strays from that understanding
Then you will write
Nothing of the truth.

Both appearing aspects of blissful emptiness as light and

sound carry with them such power that when they do
appear, they may figuratively scratch or rather effect the
conscious mind of the one perceiving them.

For when the faculties ‘of perception’ wander from

their perfect ‘awareness’ nature, mind is influenced
and manipulated by its personal perspective and loses its
essentially ‘manifesting’ truthful expression.
So, the overall meaning interpreted from the experience
of the visual and audio appearance of the words ultimately
depends on the individual state of mind of the one
perceiving them.
It is because perception has such power that the writer
warns the pen that if it does not remain in the view of the
words as just an appearance of the union blend of blissful
emptiness, which are the essential base and resulting
appearance of existence, then a lot of rubbish will be
written as it is not being expressed from a state of mind
resting in its natural state of being. Thus ‘nothing of
the truth’ will be perceived.
So the writer asks the pen to be very mindful of this and to
hold its true nature in mind at all times so that what it
writes remains truthful to its ultimate meaning and may
be perfectly translated by the one perceiving it. If this is
not the case, then the meaning of the words may thus be
misinterpreted and the task of transmitting the essential
meaning therefore unfulfilled
Using the allegory of the pen, the writer is indirectly
pointing out that mind must always rest in its natural state
so that whatever appears may be recognized from a
perfect viewpoint of pure spacious awareness that has no
actual limits and is never even scarred by its own inherent
faculties of perception that do not arise in the face of the
view.

9.
Yet just as you may not speak the truth,
It will always be contained within.
For the nature of the letters on the page
Are simply your union with it.

The writer is here declaring that there is no un-truth in

reality as whatever is written as words in outer forms,
even if the words themselves are not carrying their
essential meaning in an obviously literal way, the absolute
‘truth’ is nevertheless ‘always contained within’
the very form and formless aspect of those words; as
‘letters’, as light forms, as pure bliss; as sound, as
vibration, as emptiness; all combined in essence as pure
awareness.

So just as whatever the pen writes ‘on the page’ is

‘its union’ with the page’, so the writer is also indirectly
reminding the pen that anything that appears, all
phenomena both animate and inanimate is simply the
manifesting union state of blissful emptiness, pure perfect
awareness.
Such symbolic codes indicating this are embedded
everywhere within appearance.

10.
Thus, bliss appears as letters
And emptiness as their sound,
Perception as their meaning,
Both inherent within.
 How wonderful
The marvels that may appear
From your tripartite union.

As the union state ‘of bliss and emptiness’, which is

in itself an inexpressible state creates its ever continuing,
ever changing appearances, so does perception awaken to
its truth.
So is all relative appearance but a manifesting play of
those two aspects of pure awareness mind, of light and
sound, the energy of blissful emptiness arising in its
resultant union appearance.
The light of bliss and sound of emptiness are thus the
connecting means between the dualities of form and
formless, appearance and non-appearance, bliss and
emptiness, awareness in its perfect state of union.

‘Perception, inherently’ knowing its natural and

perfect awareness state to be an inseparable union of
bliss and emptiness, is the fundamental component here,
the one that recognizes what it is. It is born out of their
union, yet is also their union itself, ‘beholding their
meaning’.
Bliss and emptiness are therefore inseparably united
within the meaning being perceived by a perceiver.
The writer reflects for a moment on how truly amazing it is
that the whole of our so-called ‘existence’ may be born
out of the union of these three essential aspects of bliss,
emptiness and perception, which themselves are but one
of awareness.
Like this, the awareness state of union may be achieved
through seemingly divided aspects of that union state
appearing as separate. Yet containing these three aspects
in perfect union, they may recognise the true nature of
what appears as one inseparable state of pure awareness.

This ‘tripartite’ of the clear light of bliss and spacious

emptiness as a multi-dimensional screen within which its
nature may spontaneously manifest itself in all directions
as appearance and the mind of awareness to perceive it,
is thus an inseparable combination of all aspects in one.

As that awareness is itself that ‘union’ appearance of

blissful emptiness as well as that itself which is being
spontaneously perceived, through the power of
awareness, a wonderment ‘of marvels may appear’.

11.
But even though they seem to appear,
They never actually appeared at all.
That blissful emptiness
Of intrinsic awareness
Stirred,
Played and then rested again
In its true state.
Yet in truth it never awoke
From its timeless poise,
But seemed to
Whilst spontaneously holding
The marvellous display
Of bliss and emptiness,
Understanding itself
As their union.

So does perception awaken or ‘stir’ from its pure

awareness state, ‘play’ a little with its creative aspects
and then dissolve again back into that ‘rested state’.
In order for awareness to recognize its own being, it
‘appears’ to itself, displays itself to itself. And in order
to see that display, the perceiver or mind state that is
observing must be standing at a relative distance from the
object it is perceiving, mind’s dualistic state.
For a sense of relative time existence only occurs to mind
perceiving a solidified reality to appearance, within which
relative timeframe there is the sense of a beginning,
remaining a while and end to the appearing vision that
arises according to causes and conditions present – ie.
Those that are being created by one’s perceptive state. In
this sense, appearance ‘never actually appeared
at all, but seemed to’.
The arousal of appearance wholly depends on the
viewpoint of the one perceiving it, whereas actually the
blissful union mind energy of perfect awareness never
actually steps into a time frame, nor appearing aspect as
it rests immortally present within its own perfect nature
and does not hold any certain reality other than simply
existing.
When awareness recognizes its essential state, it does not
perceive the manifesting forms of that essential state as
having an inherent reality, but rests in the appearance, as
if it were a rainbow arising and dissolving into its union
nature of blissful emptiness, ‘within a timeless
poise’.
For the skillful means of awareness to recognize itself as
both the perceiver and what is being perceived is to
seemingly appear as two relatively manifesting and
interacting aspects, of light form (appearance) and blissful
formless (sensual receptivity or perception of that
appearance), which each contain a plethora of different
resulting manifestations, but are never actually separate
from awareness itself.
Even though it is unified as a whole, it appears as a
multitude of particles bonded together as form, embedded
by waves of formless aspects, that occupy different fields
of existence, as subtle or as gross as their vibrational
qualities dictate.
So consciously perceived, awareness always remains in
the understanding of its true nature, yet at the same time
is naturally ‘holding the marvellous display’ of
the union of blissful emptiness, like a limitless cradle of
energy ready to give birth to whatever is perceived.
Even though what appears interacts with one’s human
senses and feels real, it is only a resulting creation of the
union state of bliss and emptiness appearing in its myriad
forms, a wonderful play ‘of bliss and emptiness’,
which never actually awakens nor strays from that
realization, ‘of intrinsic awareness’ resting in its
natural state of awareness.
Neither does that spacious energy grumble nor complain
about the resulting manifestation, but patiently and
compassionately holds it so that awareness may recognize
its true nature, rest in that nature and thus produce
marvellous creations by virtue of its inherent qualities that
are in perfect accord with their true meaning.
For awareness, as a union state of blissful emptiness is
itself the creative tool whilst simultaneously
‘understanding’ its resultant appearance as illusory
images of its own formation.

Awareness, recognizing ‘itself as their union’ state,

is itself that union.
And awareness, recognizing all appearance as but a
manifestation of the union of blissful emptiness, is itself
that union.
Awareness thus unites within awareness like pouring
water into water.

12.
And so is revealed
True mind
From the union of these three,
 The eternal guru.
You pen,
Are the guru.
Trust firmly in your true nature
And inject confidence
In your form.

Mind as one pure awareness energy is here referred to as

‘True mind’, the tripartite union energy of blissful
emptiness and perception of that union.
Allegorically speaking, from an initial point of perception,
two lines emerge and shoot off at different angles from
the point, resulting in the appearance of two separate
lines extending outwards.
The ends of those two lines extending from the point are
thus joined together, forming a two-dimensional triangle.
A triangle is the ‘union of three’.
In the same way, a perceiver, having connected the
perceptive quality of blissful emptiness together like this,
is now aware of what is being perceived as inseparably
united, simultaneously occurring at the initial point, even
though it is now manifesting as three points.
Awareness!
The symbolic nature of the triangle is these three aspects
united in one of awareness, an inexpressible state of mind
that may only be beheld, unexplainable in essential terms,
that perceives appearance and the nature of that
appearance as inseparably united, perfect awareness.
This state of union of awareness and appearance can be
likened to ‘the eternal guru’ nature, as its essential
meaning crucially refers to the absolute manifestation of
these three aspects of appearance rolled into one, vast
energy of awareness that continually exists as nothing in
particular at all, except as its natural state of being.
Guru also literally means ‘teacher’ and in this case is
referring to mind rested in the view as both the awareness
aspect, meaning what appears in the perceptive mind
space as well as what appears as an outer vision, which is
the manifesting appearance of awareness, as its own
teacher.
Yet mind held in the view, the guru nature as the resultant
union state of these three aspects revealed perfectly
through whatever appears at whichever level of subtlety
they appear, is neither affected by subtle resonations nor
gross forms of appearance, as it is the perfect union of
form and formless, of gross and subtle appearance.

‘Injecting confidence’ in the awareness of its

essential guru nature whilst recognizing all appearance –
in this case, the words on the page - as but a
manifestation of that essential guru nature, the ‘pen’
must take refuge or shelter within the knowledge of its
appearing display.

In this way, whatever appears from the pen’s writing ‘is

the guru’ of appearance.
In order to take refuge, the pen must ultimately ‘trust
firmly in the true nature’ of awareness as that
which is appearing and be confident in that knowledge, in
that union state.
Here, awareness is encoded and manifest as symbolic
letters ‘of form’ that contain potential sound within
them, which is fulfilled when such manifesting sound
vibrations resonate perfectly in harmony with one’s
essential nature.
The energies within one’s inner energy channel flow may
be balanced within this sound resonation.

13.
Oh pen,
You are but a novice to the page.
 Do you know where you are going
And why?
What is your reason
For such work?
For all that appears
As a result of your union with the page
Is but an expression
Of the nature of that union.

Here the writer introduces a new aspect. Ultimately, the

meaning refers to the path of awakening one’s perceptive
awareness to its true nature, but is here demonstrated by
the pen just starting to put pen to paper. For in this sense,
the ‘pen’ is a beginner or ‘but a novice to the
page’ upon which its text will appear. Has the thought
even occurred to it as to what should be written down and
why?
Thus beyond the literal question being posed here, the
writer urges the reader to check his/her own purpose for
living.

If one searches for any relative ‘reason for such’, a

million may appear, yet if one examines those reasons
carefully, one finds that they are all subject to birth,
temporary existence and death. Anything made up of the
five elements, such as the physical, manifesting aspects of
our human lives, shares this fate.
For the five elements dance together in the form of the
human body as long as there is mind coursing through its
inner energy channels, that may perceive it. Indeed, the
five elements at a more subtle level are the figurative
make up of mind’s perception itself, each element
pertaining to a predominant emotion.
So is mind subject to fleeting, temporary appearances that
are constantly changing according to the dance of those
five most predominant inner elements of ignorance,
jealousy, desire, pride and anger, which are themselves
ultimately but manifesting forms of perception.
When transformed into their purified principles of pure
awareness, they are but the same essence manifesting as
the supreme qualities of that state of awareness, instead
of their judgmental aspects, like the other side of the
same coin.
The difference lies between the perceiving mind that can
consciously recognize its true awareness nature and rest
in that view and mind that perceives itself as separated
from appearance, whereby a resulting battle between self
and others dominates one’s appearance.
For mind resting in the view is neither subject to suffering,
nor resulting mind states of attachment and rejection that
form an appearance of suffering. So is the mind of the one
perceiving the words just an appearance of that union
state, expressing itself in a relative way to itself.
The words on the page are like a million different truths to
a million different human beings, whose minds are all
shaped according to various viewpoints, yet ultimately
share exactly the same essential nature. So does
awareness continuously offer its knowledge of existence
and appear in ways that displays it.

For the writing on the page, that is but the pen’s ‘union
with the page’ is just an appearance of that union
state, seemingly split into two parts. In one sense it is the
perceiver and in another, the perceived, even though
these two parts of it cannot be and are never separated in
absolute truth. For what manifests ‘as a resultant’
reality of one’s perception depends totally on the
perceiving mind.
In this way, awareness displays itself as appearance by
manifesting in myriad forms of sound and light, but two
aspects of awareness itself, blissful emptiness in creative
play, the essential make up of all phenomena.
So does the awareness energy of the perceiver seemingly
divide into these two aspects in order that it may perfectly
reflect and behold its true being as one unified entity
within appearance as it does the ‘work’ of perceiving
itself.

This state of mind ‘of the nature of that union’ is

not held in the sense of grasping onto, but in the sense
that the union state of awareness mind is not lost or
dropped by perception at any moment, that the natural
view of awareness is always pervasive and in that way is
consistently operative within appearance, as appearance.

14.
Let your design
Reflect that blissful state
Your constant empty nature.

By wandering through myriad appearances in transitory

forms, perceptive mind awareness may ultimately realize
its true nature and rest in that state, empowering that
natural appearance of awareness by manifesting its
perfect being within its mirrored reflection.
In this way, the blissful appearance of awareness space is
the perfect mirror placed in front of one’s sensual
perception in order to recognize its true nature.
So does the writer ask the pen to make sure that whatever
it writes is but a ‘reflection of’ the union state of
blissful energy arising out of seemingly nowhere, so that it
should not be perceived by a reader in any manner other
than that of the essential nature of awareness.
In this way, the manifestation of the letters onto the page
should perfectly mirror a natural state of awareness within
their form, sound and meaning as words and sentences,
so that the perceiving mind reading them may translate
them perfectly within mind awareness.
For as awareness looks in the mirror at its own
manifesting appearance, it may recognize ‘the design’
as a manifest reflection of its natural state of being.
As it spontaneously appears in this way, perfect
awareness union of blissful emptiness, of light and sound,
bursts into myriad forms and formless aspects, light
containing sound energy that simultaneously weaves its
way through those forms, creating a resonating sound
vibration within the clear space of one’s awareness,
causing ‘a blissful state of’ sensation that affects
mind’s perception.
And manifesting beings of pure sound and light, and
perception of that ‘constant empty nature’ are
automatically programmed to do, say or think in
accordance with their state of perception at that particular
moment and the solid physical form they are currently
embodying that contains its own natural habitual patterns.
And one’s state of mind determines what appears
alongside the relatively appearing causes and conditions
of all phenomena joined within awareness space, leading
to one’s overall state of mind.

15.
For your words
Have power on perception,
Can influence
Can mould
And mutate it
Into anything at all.
Take responsibility
For such endeavour,
As the ways of perception
Can bring rise to trickery.
 Then the essence seems lost
Although it is always there.

Mind is so spacious and pliable that it may behold

anything and everything, therefore the writer is reminding
the pen that whatever words are written onto the page
definitely have the power to influence the perception of
the one reading them.
The reader must therefore be mindful of his/her
perception’s ‘power to influence’ itself. The ‘ways
of perception’ have a vast number of appearances
and are just as likely to produce negative results as
positive ones, ‘ultimately bringing rise to
trickery’.
Therefore the pen, must be very mindful of this fact and
‘take responsibility’ to write carefully so as to retain
the essential meaning by not encouraging troubled mind
perception to arise through trying to ‘mould and
mutate’, that subsequently leads to suffering thoughts,
words or actions.

So if the words bring rise to different ‘perceptions of

mind’ that are not really concerned with dissolving
‘into their essence’, but with creating their own
fantasy realm of existence, then the inherent nature of the
words, ‘which somehow seems lost’ as awareness
space is filled with perceptive judgment have in
themselves the potential to symbolically display the
ultimate meaning of existence.
Even if the surface value of the words does not directly
display their inherent meaning, ‘however, their
essential meaning always remains there’ both
visibly and invisibly within the natural shape of the letters
and sounds contained within them.
When perceptive senses that appear as fleeting effects,
produce an overall state of pure awareness, those aspects
that were previously perceived as separated, fleeting
appearances combine to become a resultant energy of
purely being aware, washing away this or that perceptive
judgment, or confusion, naturally transforming everything
into a manifest state of union energy and realization of
that union nature.

16.
So remain with that essence
Using sound
And light
As your tools
To display its truth,
The blank page as space
Upon which it may appear,
The meaning encoded within
Yet designed perfectly
On the exterior
To mirror that core.

Described through the pen, page and perceiver allegory,

the page offers its whole space to the pen to write
whatever it wishes upon it, without bias. But the pen
should be careful to ‘remain in the essential
realization’ of its nature, and ‘use’ those quality
aspects of awareness, namely ‘sound and light’ to
perfectly display the meaning of that essential nature
‘upon the page’s empty surface’.
In this way, the pen should write conscientiously using
letters, which are themselves an embodiment of sound
and light inseparably united, manifesting aspects of
blissful emptiness, to make up words and words to make
up whole sentences and so on, giving an overall essential
meaning to the text.
Inside each of those letters is encoded that essential truth
as form and formless aspects, as its shape and sound
contained within it. But, the sound of that letter and its
appearing form may only reveal their actual and truly
essential meaning as long as there is a perceiver to
perceive them.
Once the letters carrying their individual sense are joined
together in specific ways, the essential ‘tools to’ make
words, they create another meaning that appears as a
resulting word that also stays true to its essential
meaning. So as the words perfectly reflect ‘their
meaning encoded in’ their form and formless
aspects of light and sound, in this way the one perceiving
the text may also experience their truth as the text is
read.
For words string together to make sentences that again
produce another effect on the mind perceiving them. So
does both the meaning of the text and subsequently the
perception of the reader change as the individual words
and whole sentences are read, affecting mind’s perception
in a certain way, so that what appears is therefore
resultantly affected.

In this way, ‘the exterior appearance’ of the text

will always continue to reflect its essential meaning into
the mind of the perceiver, because it is naturally and
consistently there, but the actual resulting perception of
the perceiver depends totally on his/her viewpoint of
mind.
However, if covered over by myriad appearances of
judgmental perception, this stainless state of mind cannot
manifest directly within appearance even though it is
always there in potential energetic form.
Instead, the faculties of ordinary perception have ‘stolen
the space’ and the drama of existence continues to unfold
until prompted directly by the purified aspect of
perception - pure awareness, to behold itself directly
through appearance as its direct reflection.
In this way, one looks honestly into the space of
awareness appearance, the mirror of existence in which
one may experience ‘the display of one’s
absolute truth’.
For as mind is held in its awareness nature, a resulting
multi-dimensional screen of appearance within which
awareness may shine a purified realization of its true
being directly manifests, ‘perfectly mirroring one’s
core’ essential nature in subtle sound, light and other
sensational form and formless ways.
Stretching itself infinitely as it manifests its qualities from
the state of the view, countless seed forms of pure
awareness burst into a spontaneous display of light and
sound, taking on certain relatively appearing forms that
may perceive those different states of appearance,
perfectly mirroring or reflecting awareness in its natural
state of union.
There is no boundary, nor limit to the ability of awareness
to appear as the potentially ‘spacious element of
mind’, which otherwise remains as un-manifest potential,
holding an infinite sense of possibility that is encoded in
everything, yet only appears when the mind of the
perceiver brings it into appearance through such
corresponding awareness.

17.
And where do you stand?
In truth your words
Have no position
Yet they appear on the page
In specific places.
One in front of the other
Lending meaning to the next
 And the one before.

Here, the writer questions the pen as to ‘where’ is the

mind of awareness and continues by confirming that
essentially it does not have any specific place of being at
all, yet appears everywhere.
For mind is not to be located anywhere in particular, yet at
the same time it could be anywhere as appearance
holding awareness and correspondingly as awareness
holding appearance.

In this way, letters empower the ‘words’ and words

empower the sentences and so on, like the contents of
life, streams of awareness continually flowing and merging
into each other through appearing in a certain way create
certain relative meanings depending on where one’s
viewpoint ‘is standing’.
As every phenomenon has a relative appearance to
another they may therefore appear in positions such as ‘in
front of’ or ‘behind’ the other. In this way, there is a
beginning and end to when an object appears and a
position in which it appears in respect of others.
And just like whatever appears around one’s human form
in all directions, the letters that ‘appear on the
page’ also have a seemingly relative relationship to each
other according to their ‘specific places’ that create
different meanings according to their skilful placement
with regards ‘to one and other’, thus creating words
and then sentences that contain further meanings.
Yet a whole text results, which contains an ultimate,
‘overall meaning’, which ‘in truth’ has ‘no
position’ in itself except as an object appearing in time
and space. However, it is at one and the same time wholly
dependent on each of the letters of each word in it for it to
stand as a whole, one unit.

18.
 By the power of your union
With the page,
You give birth to space and time.
As you write,
Both the moment
In which you write each syllable
And the place it occupies
Form an impression
On perception,
That inherently
Knows its true nature,
Yet understands the words.

Due to the ‘pen uniting with the page’ through

making the ‘action of writing’ on it, the ‘time’ at
which each syllable appears and the position in which it is
written is marked ‘upon relative space’ accordingly.
Yet they would not appear if the seeds, or causes for them
to appear were not present.
And as they appear, they contain the potential to become
awareness, in the relative sense of the text, meaning that
they may appear within the awareness space of readers’
minds. For in order to fulfil their potential, minds capable
of perceiving those words must also come into contact
with them and understand a relative meaning to the words
themselves.
Yet, in order that a perfect meaning is reflected in the
collection of those syllables upon the page, an all-
pervading mind of awareness must behold them.
Therefore, at the same time as perceiving a relative
meaning to the words, the reader must also be aware of
their ultimate nature, remaining always in the essential
knowledge that these are just letters building up into
words and words into a meaning that is both ‘forming
an impression’ as well as holding the capacity to be
automatically understood by his/her perception relatively
speaking.
In that case, there is no need to dwell on details such as
letters, words, etc…, nor their individual sense, nor ‘on
their position’ but just know they are there, perfectly
containing their essential meaning.
For the words of the text are like a bridge between the
awareness mind of the writer and the awareness mind of
the reader, which are never really separated in essence.
So, they are a relative bridge between awareness of one
and awareness of another, thus breaking down walls of
seemingly relative separation by connecting two individual
aspects of the same thing into one absolute space of
awareness.
Yet the essential nature of each letter is complete in itself,
as a union state of form and formless, light and sound
containing both those aspects of blissful emptiness in
union. But does one ever consider that whilst
concentrating on the overall meaning of the words?
In the case at hand, such factors thus interact with the
vast network of causes and conditions that have been
created by all sentient perception minds existing relatively
within awareness space and indeed through conditions
coming together at that precise moment, causing the
words upon the page to appear at that specific time and in
that specific place by virtue of mind awareness, in which a
particular result of previously planted causes are
processed.
And as the awareness of each of the readers is also but
the same blissfully empty manifesting forms of light and
sound thus appearing as separated human forms
containing such awareness capacity within relative space,
so are all such forms and formless impressions totally
united in one essential natural state of awareness being.
In this way, as both human forms and their perception
faculties as well as the words themselves are but different
aspects of manifesting awareness and the relative words
are therefore perfectly able to reflect that union state of
awareness into the mind of a reader whose perceptive
mind is aware of its true nature.

19.
Do not cause perception
To awaken its judgment
For there is nothing to judge.

At the moment of birth of relative appearance, so does the

perceiving mind automatically arise along with accordingly
unshakable time and position factors that are determined
by the causes and conditions present for its current
arising.
If mind’s perception continually judges its position and
time factors within relative existence that are fully
dependant upon the perception viewing them, it does not
leave any space for the all-pervading mind of pure
awareness to either recognise its essential being nor to
manifest its quality aspects within appearance. Suffering
ensues.
For this awareness/appearance simultaneous process
happens at such speed that it is easy for mind’s
‘awareness perception’ to be mislead into believing
that one’s process of life is like a train of actual existence
snaking through appearance, having a past and future
connected by the present moment.
In this way, the words continuously form an impression
upon the perception of the reader and therefore hold the
responsibility to keep their essential meaning awake,
‘not causing’ the reader to be distracted by any form
of individual ‘judgement’ of them, instead inspiring the
mind of the perceiver into a state of awareness through
having been skilfully placed upon the page by the pen.
For the perceiving mind of the reader should awaken the
necessary state of mind to interpret the words perfectly in
their union awareness aspect, which reveals that there is
nothing at all to judge as whatever appears is but a
manifesting form of awareness beholding the same vision.
Judging it means awakening the myriad powers of
perception to see it in myriad ways, which means that a
never-ending cycle of appearances continue to appear out
of one’s perceptive state of awareness and a seemingly
separated world of self versus others appears.
Instead, such judgmental perception may rest in
awareness and recognise all that appears as just an
expression of that nature, saving the suffering that occurs
if it should instead continuously participate in the endless
chain of ensuing, ongoing events, which are in truth
merely prompts for awareness to recognise itself.
For the potential of creative writing is to behold a meaning
that is useful to the existence of the perceiver, both in a
relative and absolute sense.

20.
As the timeless state
Becomes a moment
And the eternal space,
Place,
Choose wisely the coordinates
Of your awareness.
For as perception
Grasps the moment
And its position,
It is in danger of losing
 The correct viewpoint.

While mind rests in the view, nothing or no one can

appear to such mind awareness as anything other than
manifesting aspects of that same blissfully empty
awareness and no judgement may occur. For what and
who appears around one’s human form is but a mirrored
aspect of one’s clarity of awareness appearing in its vast
spacious mirror.
Purely interlocked moments of perception or streams of
words in this case seemingly joined together, appearing
spontaneously from ‘the eternal space’ of purely
present awareness and disappearing again back into the
same, constitute an ever-present moment.

For in an absolute sense, ‘the timeless state of

pure awareness’ exists everywhere, always, whilst
not really ‘existing’ at all in its manifest aspect and is
never really subject to ‘becoming any position or
moment’ in time that is a purely relative phenomenon.
Here the writer is referring to relative appearance, which
is in essence but an all-pervasive union state of blissful
emptiness appearing in form and formless ways,
interacting with other appearing phenomena that now
seem separate from each other ‘through one’s
perceptive state’ as other forms are all but
manifesting aspects of the union state of blissful
emptiness, of awareness, absolute common denominator
of existence, arising in a plethora of ways.
This common denominator state of awareness is naturally
timeless and without position as it is all-pervasive and all-
inclusive, but as perception of its appearance arises, its
visual existence partakes in a moment of time with a
position regarding other appearing phenomena and their
activity in that moment according to all the causes and
conditions in play.
The world of time is in swing, past is future and past and
future are present, the ‘coordinates of’ space ever
holding its different manifestations.
Yet everything appears from the same essence according
to the perceptive state of the one interpreting it in its
relative way, within the corresponding relative field.
Nothing can therefore ultimately be defined as having a
certain position, nor as a specific moment of time as it
directly depends on the mind state of the observer, even
though in the relative meaning of things, such coordinates
constantly define our physical state of existence.
Just by virtue of its appearance in that moment, one’s
‘viewpoint of perception’ upon that appearance
thus plants the causes for certain conditions to arise,
which themselves are causes for other conditions to arise
in another place at another time.
Like this, the pen needs the space of the page in order to
manifest its creativity and even though the time taken for
the pen to draw the shapes of the letters and words also
creates a relative time chain in the process, that which
appears is always but a relatively appearing aspect of
awareness.
Therefore in order to avoid entering into an illusory play of
manifesting appearance and giving it an unnecessary
strength of reality that leads to suffering of attachment,
awareness should remain ‘correct’ in its natural state of
being present here and now. By remembering the view, an
all-pervasive state of cognitive mind simply rests in its
‘awareness nature’.
Thus, the mind does not awaken its judgmental perception
as it rests instead in its natural qualities that appear in
form and formless displays, awareness knowing they are
but its reflected appearance.
The present is the eternal moment of awareness where
time does not exist.

21.
Stand in the core,
 Dear pen,
For that is the only place
In the vastness of time and space
From where your perspective
Remains all-pervasive.

However, in order to locate a position of all-pervasive view

within relative existence, figuratively one should ‘stand
in the core’ innermost, central point from where one
may view everything around, above and below one’s
position.
In this way, relative appearance may be viewed albeit as a
relatively finite occurrence of events as if there is a
central point, there must also be boundaries to that space
respective of the method being used to view it.

In this case, with mind held in the ‘all-pervasive’ view,

one may perceive a relative appearance around, above
and below one’s current position in relative ‘time and
space’ as a human being and simultaneously recognise
it as but a manifesting appearance of awareness that does
not have any actual limit, nor boundary to it.
Supposedly boundaried in its relatively appearing aspect,
it is without limits in essential being.

Mind’s awareness is infinitely ‘vast’ without borders and

without limits in the sense that it may behold anything at
all as a clarity aspect of awareness, which is essentially
the blissful nature of emptiness, awoken by the energy of
purely ‘being aware’.
Pure awareness is never separated from that which
appears in its corresponding creative form or formless way
as these are but its relatively manifesting appearances.
For this reason, as many displays as can be imagined may
appear within a relative state of being.
So as one’s relative existence appears in form and
formless ways, as a result of mind held in the view that is
itself replete with all qualities of awareness mind,
‘perspective’ that is not subject to causes and
conditions, past and future as it entirely rests in an eternal
present moment, remains in that essentially present state
of mind, a state of awareness that recognises the meaning
of all relatively manifesting appearance as a mere display
of pure awareness.

22.
But if you search for the centre
You may never find it,
For how can one pinpoint infinity.

In truth there is no place, nor time in which a centre may

actually appear in awareness space, as it may only be
termed as central if it has relation to a boundary.

In this way, even if one ‘searches’ in any direction for

it, no true ‘centre’ may be located anywhere as
awareness possesses the potential to arise as anything at
all, anywhere at all depending on its manifesting
viewpoint, which relatively speaking becomes its
figurative centre.
For all appearance is but a manifesting display of
awareness that is not confined to a certain position in
space, nor a certain moment in time as it is the whole
arena of space just appearing in a multitude of
manifesting forms along with a mind state of awareness
simultaneously perceiving it. Without space, ‘no
pinpoint’ could be defined and lines could not be drawn.
Two lines extending from one point are linked by a third
line at their ends, creating a triangle that could not appear
if there were no space. For as an initial point is indicated,
the potential to relatively appear as any shape is
constantly held within each point of spacious relative
awareness, even though there is a seeming time gap to
their consecutive appearance as the relative causes and
conditions come together.
In this way, when two aspects of the same point, like good
and evil, happy and sad, etc… realize themselves as
coming from the same source, they may bridge the gap
between their two appearing ends at their extremes,
creating a third line that joins them together.
Thus completing the triangle to become one shape, they
display that all relative points are linked to every other
relative point, although in the context of the entirety of
space no point, or structure of accumulated points may
ever define itself.
Even though space appears to be trapped within the three
sides of the two-dimensional triangle, the space that
appears as enclosed within those three lines is not at all
boundaried.
By having depicted the triangle, the all-spacious aspect of
the lines fully appears as the all-pervasive space around
and in between them, but the frame in which the symbolic
meaning of the form may display its absolute all-pervasive
nature ‘in infinity’.
And time that floats through all phenomena and beings
acts as the mechanism through which a solid world may
operate according to causes and conditions that appear at
certain moments, ripened seeds that manifest as
appearance in any way.
Pure awareness is encoded as the absolute union of all
relative appearances, as their common denominator in
whichever dimensional field they may appear, whose
space of appearance may never be trapped by its
manifesting forms and formless aspects, just as its centre
may never be defined as it is itself the screen within which
all phenomena arise and disappear.

23.
 Yet in the world of time and space,
The centre appears,
Perfectly emanating forms and sounds
And perception of its creation,
That cut up infinity
Obscuring its pure,
Continuous,
Stainless nature
With its multitude of designs.

However within relatively manifesting appearance, which

is in itself having a ‘time system and spatial’
reference points relative to itself, a centre does appear
with reference to a boundary.
In the case of a human being whose physical form is
infused with formless, subtle energy throughout its system
as the link for one’s perceptive awareness to its essential
awareness nature, perception regarding one’s sensual
experience arises from the energies flowing within one’s
inner mechanism, fuelled by the energy of mind
awareness.
Indeed, when awareness bridges the gap between its
energetic un-manifest aspect through translating it with its
faculties of sensual perception, which appear naturally as
beings are endowed with such faculties, the process of
conscious, perceptive manifestation occurs.
Regarding human beings, from awareness comes thought
and from thought, speech and from speech, action and the
human form, containing the power faculties to think, feel
and carry out its judgement of those arising thoughts,
words and actions, may then bring awareness into actual
solid form.
It is therefore from a condensed point of awareness, which
can be termed as a ‘centre’ in this sense, even though it
is not really boundaried by anything at all, that awareness
emanates its creation as well as from where it naturally
knows that creation as a manifesting aspect of itself.
In this way, when mind rests in its natural state of
awareness, all that appears through its cognitive faculties
is harmoniously in accordance with that natural state of
being. So do the inherently endowed qualities of
awareness guide the way through its manifesting
appearance.

This natural state of awareness is referred to as ‘pure,

continuous and stainless’ in the sense that
whatever thoughts, feelings or designs may appear out of
it will never actually scar nor block that space of
‘infinity’. For all that appears comes out of that
spacious energy itself and whilst manifest in form is never
actually separated from that spacious awareness energy,
just as it dissolves back into it too.
For the natural state of mind, the energy of blissful
emptiness does not judge appearance as this or that, but
allows it to spontaneously appear whilst resting in the
knowledge of its essential nature as pure awareness.
Yet if mind is not resting in the view and does not
recognise these manifesting appearances as but an
appearance of its own nature, then perceptive awareness
must struggle with its own self-fantasies and in this case,
the inherent qualities of one’s pure awareness nature can
never arise whilst dominated over in such a way.
Appearance is perceived as separate from one’s
awareness and is habitually ruled by its own self-concern.
A world of duality appears that can never unite in pure
awareness as its relatively manifesting forms are
perceived as real and separate from one’s own being and
therefore harmful, attractive or without specific interest to
oneself.
Perception then fixes itself upon a track that believes
certain things to be true and other things to be false,
which causes confusion to arise as it judges everything
according to its own viewpoint. So the endless chain of
relative events goes on happening.
As the judgemental qualities of perception fill awareness
space abstractly through mind and a solid environment is
resultantly perceived around one’s form, so does anything
that appears to the senses, which are the connecting point
of the human form with relative appearance, ‘cut up’
that clear stainless space in the sense that it takes it up
by manifesting as something solid yet not real within that
perfect awareness energy, which is inherently empty of
any actual reality. What results is a crowded perception
‘perfectly emanating forms and sounds of its
creation’.
Yet awareness limitlessly pervades the mind, even though
one’s perception seems tied to a relatively appearing
linear flow, like a time line that must reach both forwards
and backwards upon itself, caught on a thread of
gathering and dropping thoughts continuously, a never
ending treadmill of impressions and ideas, ups and downs,
bound to go on and on into seemingly nowhere, ‘a
multitude of designs’.
When those viewpoints that are based on personal
preferences are destroyed by the all pervading power of
awareness resting in its natural aspect, knowing itself to
be all that ‘appears’, then the essential state of mind
pervades the inner channels of one’s being, pure
awareness is revealed and correspondingly the
appearance that manifests around one’s human form is
replete with its inherent qualities.

24.
Your words too
Are clutter
For the eternal space.
In the relative sense, whatever the pen writes upon the
page acts just like a load of ‘clutter’ that may distract
the perceiving mind of the reader into judgment,
metaphorically blocking the appearance of pure
perceptive awareness as it marks the pure empty space of
the page.
In the relative sense, the written words on the page are
just taking up space, which is otherwise free, clear and
empty of any inherent reality, even though it contains the
potential to burst into any manifesting design at all.
For this reason the question arises as to why it should
bother to appear at all. For even though whatever arises is
directly representing its true nature and is indeed a
reflection of that nature, a perfect manifestation of it,
anything that appears also has a relatively appearing
aspect that could be deemed a waste of space.
So does the writer return to the meaning of the exercise of
writing for the pen.

For in an absolute sense, ‘the words’ are simply a

waste of space. But as their true nature is relatively
reflected in them by the pen, so they are encoded with
their essential meaning and can be understood by the
perceiving mind decoding them in this way, even though
the result totally depends on the viewpoint of the
perceiver.
The potential worth inherently contained within the words
as pure awareness is therefore always there, present
within myriad folds of perception that may perfectly
perceive the written text. So does the text fulfill its
purpose as long as the conditions of the perceiver
perceiving them are too fulfilled.
Again, the writer indirectly requests the pen to remain
humbly non-attached to the words that manifest from it,
as awareness already inherently knows its true nature.
For inside the shaped form of each letter is embedded a
formless aspect of sound that appears in a symbolic way.
Sounds and shapes are symbols that mind’s awareness
fully understands if perfectly reflected within its pure
awareness space.
In this way, the words must be able to reflect that nature
to the perceiving mind, so that when it decodes them, it
does not get off on the track of analyzing them and
judging them, but is brought to rest in the knowledge of
their true nature through resting in the actual nature of
the words that are relatively and continuously speaking
their ultimate meaning.

Awareness of one’s true nature ‘of eternal space’

reveals appearance as awareness space itself. Judgmental
perception clutters it.

25.
Stand in the heart
Of time and space
So that you may connect
To its essential truth,
The eternal guru,
To become its meaning,
By trusting its meaning.

Placing one’s awareness at the centre does not mean

making oneself an island around which everything else
exists. But from the centre of one’s relative being as a
human form, one may consciously manifest one’s
inherently all-pervasive awareness nature as relative
appearance within a ‘time and space’ framework.
Understanding all phenomena to be born out of that
nature, it may see the unbroken and inseparable relation
between its awareness nature and manifesting
appearance of forms and formless aspects and thus create
whatever it perceives, by beholding whatever is reflected
into appearance.
In this way, mind is pure awareness in the sense that it is
no longer filled by its own self-induced perceptive
fantasies, which nevertheless may still potentially arise if
conditions dictate, whereby the perceptive judgment of
awareness believes itself to be separate from what
relatively appears and suffers a liking and disliking of it.
Perception, that has the inherent power to fall into this
deceptive state, through strengthening the realization of
its true nature, may melt into that understanding and
become its pure awareness quality, consciously and
purposefully using mind’s perception to behold the
marvellous truth reflected within the mirror of
appearance.

By connecting to the essential truth through ‘standing

in the heart’, one’s relative centre, the mind of the
human form awakens to ‘the eternal guru’ state of
mind, a state of pure awareness nature that itself knows
and may guide the mind perfectly through appearance.

By ‘trusting its meaning’ one takes refuge in one’s

perfect awareness nature that inherently contains the
knowledge and understanding of one’s natural state of
being, ‘by becoming its meaning’.
In that sense, mind that is otherwise ruled over by its own
perceptive judgment has mastered its essential nature
and dwells within a natural state that has neither limits
nor boundaries, yet knows the limits and boundaries of its
relatively manifesting appearing nature.
Awareness is the manifesting truth of appearance and
appearance is the manifesting truth of awareness,
simultaneously occurring.

26.
Like this,
You too are the guru,
Dear pen,
 Manifest in form and sound,
But a reflection
Of your inner awareness.
Keep your awareness
In that nature
And you will reflect this threesome
Perfectly
In your words.

Manifesting as forms and sounds of blissful emptiness, the

natural state of awareness in display, the ‘pen’
symbolically represents ‘the guru nature’ of mind
appearing as words of a text, awareness recognizing itself
in all that appears as a manifestation of itself.
So does all that appear from mind resting in the view
perfectly represent that nature, awareness simply being
aware of everything that appears as a manifestation of its
essential guru mind, just as appearance correspondingly
comes into being as awareness mind knows the truth of
that appearance.
For whilst resting simultaneously within the view,
awareness is automatically fully in control of its
manifesting aspects as it is relatively guided by its
essential guru nature.
In this way, awareness is not out to gain something from
nor change anything that appears, but just allows the
inherent qualities of the view to manifest spontaneously
as the union aspect of pure awareness ‘naturally
reflected’ into appearance as light ‘form, sound
and’ their union aspect of perceptive awareness.
Awareness continuously mirrors its core meaning in this
gross and subtle way and is visually beheld by mind
resting its ‘inner awareness’ vision in the union point
of the ordinary eyes of duality, the third yet physically
invisible eye positioned between the brows on the
forehead that may perceive all in its oneness vision.
The solidity of conceptual perception melts into the
rainbow bridge of pure awareness, the bridge that joins all
dual aspects of mind’s perception creating a seeming
separation, so that appearance is directly reflected into
being as its corresponding awareness aspect.

As perfectly pure ‘awareness’ only pervades the mind

when the causes and conditions for it to do so have
appropriately gathered it into the state of the view, so
must the pen retain awareness so that whatever is written
onto the page as words will perfectly reflect their absolute
nature. The ‘threesome’ of form, sound and their union
will be ‘perfectly’ translated ‘in the words’.
Just as the rainbow is always present, yet only appears
when the perfect atmospheric mixture and viewer to
observe it are correctly aligned, so must mind view itself
from the correct all-pervasive viewpoint.

27.
For those words
Are but the mere tips
Of the rays of light
Upon which dance
The deities of perception,
Manifest through the
Songs of intrinsic awareness
That lies at the core of the ray.

For the letters that appear as ‘words’ that are now

appearing as a resultant expression of perception have
themselves been born through the faculty of perception
awareness. The inherent aspects of sound that are
naturally contained within each light form – the ‘songs
of’ multitudes of aspects coming into being, are here
symbolised by ‘dancing deities of perception’.
For the quality of sound vibration that stirs from
awareness, brings its corresponding light aspect alive,
creating an appearance that may be defined by the
perceptive aspect of that same awareness mind.
As awareness mind is aware of its appearing nature, so it
is in perfect harmony with its perceptive faculties that are
ultimately the tools of awareness to behold itself. Thus
perception may manifest in a plethora of ways as it rests
in its true awareness nature.
If one’s viewpoint is distracted by manifesting
appearances as phenomena as tangible and real, it
becomes fixed in an illusory relative ‘central’ egotistical
position and therefore does not rest in its natural state of
all-pervasive, spacious awareness, nor is it able to
manifest the qualities that automatically appear within
that perfect state of expansive awareness.
Figuratively speaking, by displaying the perceptive
faculties ‘as many rays of light’ emerging from a
core pool of ‘intrinsic awareness’ upon which
emerge all ‘manifesting’ appearances at their ends, in
truth these appearing aspects are none other than
awareness itself.
As the essential common aspect of them all and from
where they initially arise as sound and light, as blissful
emptiness, ‘at the core of the ray’, awareness rests
perfectly in a natural, un-manifest state.

28.
Bursting into rainbow colours,
That playful energy
Of true being
 Displays itself
In your speech.
Feel the deities dance
As you
Scratch the surface
Of the blank page,
Intrinsic awareness
Manifest as words.

What appears on the page is but a play of awareness, for

as the pen marks the page with its nib by ‘scratching
its surface’, so does the page simultaneously become
filled with intrinsic awareness, now appearing as ‘a
speech of’ words. Like a vision of beautiful ‘deities
dancing’, so do the words dance onto the page as they
are the resultant output of awareness now appearing.
Just as all that appears to mind’s awareness is but that
same playful appearance of awareness, likewise the words
of the text are none other than the creative awareness of
the mind of the writer holding the pen.

Awareness is referred to as ‘playful’ as it may take on

any form or another in its appearance display. By
revealing itself as appearance, ‘intrinsic awareness’
displays its essential being to relatively appearing
perception, which is contained within all forms and
formless aspects of that appearance, interpreted by each
in its own corresponding way.

Awareness is here likened to a display of ‘rainbow

colours’ in the sense that its appearing nature, in other
words - all relative appearance, is filled with all shades of
perception in its manifest state.
Temporarily appearing from its one source of awareness
and subject to consequent disappearance back into that
same ‘of true being’, the manifesting
source
‘energy bursts’ its way into and out of expression.

29.
So remain in the centre
And proclaim your message.
But what is that message
You may consider.
But why be curious,
For the matter is self-revealing.

Having now discussed at length the way in which the pen

may rest in its true nature and the reason for doing that,
the writer urges the pen to rest in an all-pervasive
viewpoint in order to carry out its mission of
‘proclaiming a message’.
Even though it seems that the content of the text should
be pre-planned, the writer mentions to the pen that it is
not necessary to actually know what it is going to write
and what words are going to appear beforehand, so it
need not ‘be curious’ as to what is coming next.
As the pen simply rests in its natural awareness, the
words are going to reveal themselves one-by-one by
appearing out of pure awareness naturally at the moment
the nib touches the page. A perfect union of awareness
appearance will arise and the words may perfectly reflect
their ultimate meaning to the reader.

The pen must trust in that nature ‘by remaining’ in

that nature and allow whatever arises to appear without
trying to change or manipulate it. In this sense, the words
are ‘self-revealing’ and do not need to be engineered
by any analytical perception.
In this same way, one should rest mind in awareness
nature and allow whatever appears around one’s form as
a human to appear, as a direct reflection of that pure
awareness nature.
For as the perceptive faculties of awareness, which
potentially may perceive anything at all, rest all
pervasively ‘in the centre’ in this way, awareness may
relatively connect to all appearance whilst simultaneously
staying within its own perfect awareness nature.
In this case, the potential confusion of a judging
perception is spared, as appearance is perceived as none
other than manifesting awareness.

30.
Your perception
Remains ever
As that nuclear energy
Of intrinsic awareness
That appears
As a multitude of
Its own forms,
Driven by its playful energy
And blissful knowledge
That it is actually
Nothing at all !,

Finally, the writer sums it up in a concluding way by

returning to the main point of this section.

One’s ‘perception’ is but a manifesting quality ‘of

intrinsic awareness’ that is ultimately made up of
the inseparable union of blissful emptiness, here referred
to as ‘one’s nuclear energy’.
Therefore, one’s perception faculty must recognize its
essential awareness nature and rest in that understanding
so that it may transmit pure awareness perfectly within
appearance.
Like this, one’s perception is driven by the blissful
knowledge of its true state of perfect awareness and
therefore creates and beholds marvels within manifesting
appearance as its qualities shine forth.
One’s intrinsic awareness is the central aspect of all
phenomena in this sense and common denominator of
everything that exists. Whilst manifesting in all sorts of
ways, ‘driven by its playful energy’ it beholds its
continuous process of appearance, realizing that whatever
arises is just an appearing aspect of the energy of
awareness itself, ‘nothing at all in reality’.
The suffering of holding a solidly manifesting existence
perceived by a previously divided mind dissolves and in its
place, awareness is aware of what it actually is.

A sense of ‘blissful knowledge’ that turns naturally

into humour arises as what is often taken so seriously in
the relative sense, that is in truth but ‘a multitude of
its own forms’, is ultimately realized as merely just a
‘play’ of the union energy of one’s essential nature.

31.
The mirror of awareness
Ever revealing
Itself to itself,
Bliss and emptiness
Dancing together
In inseparable union.

Yet mind’s ‘awareness’ is seemingly divided by its own

‘mirror’ that continuously displays the appearance of
awareness, the blissful nature of ‘emptiness’.
And just as whatever appears is simply a display of
awareness gazing at itself in the mirror, by resting in that
state of awareness, one’s naturally inherent superb quality
of mind ‘reveals’ itself within its appearing nature.
So is blissfully empty awareness mind both the womb and
resulting appearance of awareness, source and fruit of
existence, but ‘an inseparable blend of blissful
emptiness’ as well as the grave and resulting
disappearance of all form and formless existence,
continuously ‘dancing’ as the energy of awareness
knowing its perfectly immortal, natural state of being.
The pen, symbolizing the awareness of the writer, should
rest in awareness whenever it places its nib upon the
page, so that the mind may habituate itself to its natural
state of awareness being as here within described in ‘The
Pen’.
Likewise, the reader of the text should also rest his/her
mind in the view in order to perceive the written words
correctly.
 Commentary to Epilogue

So that all beings

May be liberated
Into their essence less nature,
May I remember,
To remember !

Two aspects are raised here, namely those of dedication

and aspiration that cannot be separated from each other
as one creates the result of the other. They are the cause
and result of each other in this sense.

Offering one’s awareness space, one remembers ‘all

beings’ as purely manifesting awareness and one
wishes for their freedom from misperception of their
existence, which may only cause them suffering.
One makes the aspiration that all existing beings, who are
in essence wisdom manifestations of pure awareness, may
be ‘liberated’ from the suffering of relative existence
when perceived by perceptive awareness not recognizing
its essential awareness nature.
In order that this can take place, one makes the aspiration
to remain in the recognition of one’s pure awareness
nature by remembering its nature and to rest in that
natural state of being.
As one rests in that state, so do one’s channels fill with
the energy of their clear light essence and form a body of
light from the union flow of that essential energy coursing
the subtle inner network of the physical body.
Rising in that body of light, one remembers all beings and
they too appear as a vast body of light rays and sound
waves interconnected with one’s own river of existence as
it flows into the ocean of its essential nature, one drop
filled with the crystallization of its many aspects that flow
into its being that shine when they are heated by its
essential nature as it basks in the bliss of its natural state
of being.
To mind appearing within a subtle body of light, all beings
appear in their wisdom forms as blissful reflections of
sound and light appearing in countless ways, as one vast
drop of awareness containing all drops mirrors its natural
qualities within its being.
As one’s subtle body is filled with the bliss of that
spectacle of wisdom beings, great compassion is present.
By simply gazing upon this appearance, one’s mind filled
with bliss and compassion, simply knows its essential
being and rests perfectly within a state of non-action as
the relative appearance is beheld, not observed for
judgment.
Non-action in this sense does not mean not doing
anything, but not interfering in what is essentially already
perfectly aware of itself, as it is. It does not mean not
taking any action, but simply performing the duty as one’s
human form becomes a channel for this or that activity to
take place according to arising causes and conditions
meeting.
Only to the dualistic mind dividing self and others,
perceiver and perceived, does the need to play a part in
the game of being arise, where one’s own existence is
tossed around upon the waves of all others, a vast play of
conditions that arise due to such causes having been
planted.
To become the immortal ocean of existence, to rest in its
waters of being and yet rise upon its still, poised surface
like a mirror that will unconditionally behold whatever
appears within it, is the perfect union natural state of
existence.
To fulfil that potential is to perfectly fulfil one's being as a
human.

To ‘remember’ one’s nature is to start crossing the

rainbow bridge of awareness until no more remembering
is required as awareness absorbs itself into itself.
The rainbow bridge becomes a vast ocean of clear light as
one rests in a natural state of pure awareness, one’s
‘essence less nature’.

A full e-copy of
“The Rainbow Bridge”
may be found at
www.pyramidkey.com
where you may also view a comprehensive
collection of
Susan’s other writings, films, photographs and art
pieces.