Stone: depends on which Role one plays but all Centering stones help.

The Mantra: Aum Vikataya Namah

The Key:


It is the total sum of all the roles that we play upon the stage of the world

that has formed our false self-image.


Our roles are triggered by various situations and the people around us:

each activates specifically one of our roles

which has a similar vibration.


a) The issue is introduced with this example:

Take an actor playing, say, Hamlet on the stage:


if he is a good actor, he is completely identified with his part and during the play forgets completely who he really is, and feels only Hamlet’s anger, anguish and despair.

But when the play is over he bows to the audience, the audience claps, and then goes out with his merry friends, and Hamlet is forgotten.


We are a bit like actors so identified with the roles we are playing

on the stage of the world that we have forgotten

our real nature, who we really are.


Which main roles are you playing on the stage of the world?


Why these and not others?

What makes YOU forget your true nature beyond them all?

As Shakespeare said:


All the world’s a stage, and all the men and women merely players:

they have their exits and their entrances; and one man

in his time plays many parts.

Which parts are you playing in it?

Which part SHOULD you be playing in it?

Erasmus of Rotterdam agrees and reminds us once more that:


All human life is but a comedy in which everyone acts with a different mask

and keeps playing his role, until the great Scriptwriter

makes him leave the stage…


Wu Hsin adds these comforting words.


In the end the

role is relinquished and

each returns to where

all is one and where

all of this is

a part of That.


b) Become more and more aware of how you play out a different role


when you are with you parents, with your children, your partner, your friends, your “enemies”, your boss, your dependents if you have any, etc, become aware of how you identify yourself with each momentary, transitory role while the others remain in the background until activated, and see how contradictory they usually are.

Most feel uneasy when circumstances force them out

of their familiar roles and quickly reassume

one or another of them.


People play many roles not only to gain something on the material or emotional level but mainly because they feel inadequate and would like to be seen as better than they consider themselves,,


but such pretense inevitably reinforce their sense of inadequacy

and the negative aspects of their self-image.


As James Baldwin warned,


The roles that we construct are constructed because we feel that they will help us to survive and also, of course, because they fulfill something in our personalities; and one does not, therefore, cease playing a role simply because one has begun to understand it.


All roles are dangerous.


The world tends to trap you in the role you play and it is always extremely

hard to maintain a watchful, mocking distance between oneself

as one appears to be and as one actually is.


Thomas Merton also has a warning:


It is not humility to insist on being someone that you are not.

It is as much as saying that you know better than God who you are and who you ought to be.


How do you expect to arrive at the end of your own journey

if you take the road to another man’s city?


How do you expect to reach your own perfection

by leading somebody else’s life?


The Dreamgame:

In the Dreamgame, some roles can be minor HELPERS AND ASSETS, but most of them are LIMITATIONS and DISTRACTIONS.

The best is always not to identify ourselves with any of them:


never forget that they are a kind of mental prison

and just let go of them all!


Living it:

In many of his previous Roles as a seeker, monk or ascetic Vijay had already realized who he really was, at least to a certain extent, and therefore intuitively already knew that the self-image that he presented to others was but a Role that he kept playing on the stage of the world.

However, at the times he still remained identified with one or another of his old Roles and therefore


He ended up stranded in the no-land in between,

and gradually became one of those who

“walk between the worlds”.


The Way:

According to Wu Hsin,


You are not the main character in the play.
You are one of many characters.

Each has a role to play.

This realization is the first step

toward the unity that is,
always was and always will be.


The Atharva Veda advice is:


When you wake up, feel that you are entering the stage to play the role

assigned to you by the Divine; pray that you may

act it well and earn His approval.


Which is the Role assigned to you by the Divine?


Question/ko’han 1 to 4:

Why does almost everyone need to play any roles?

Why do YOU need to play any roles?

It is just a bad habit.

Which roles do you play out?

Why those and not others?

It is just a bad habit.

Question/ko’han 5 to 7:

Most people play not one but several roles at different times and circumstances.


Which is your favorite Role, or Roles?


How does it make you feel?


Rainer Maria Rilke has the last word:


The world’s stage is still filled with roles

which we play. While worrying
that our performances may not please,

death also performs, although to no applause.



1) Determine which roles you play more often.


– Discover which are the hidden conditionings

which make so that at times you play a certain Role and at other times and/or circumstance different ones.


– Re-examine them

and strive to see with the utmost clarity their consequences.


If you can’t do without any Roles at all, at least

stop playing negative ones!


2) Consider this passage of A. Lowen:


There are many roles that people play and many images that they project. There is, for example, the “nice” man who is always smiling and agreeable. “Such a nice man,” people say. “He never gets angry.”


The facade always covers its opposite expression. Inside, such a person is full

of rage that he dares not acknowledge or show. Some men put up

a tough exterior to hide a very sensitive, childlike quality.


Even failure can be a role. Many masochistic characters engage in the game of failure to cover an inner feeling of superiority.


3) Follow the Atharva Veda’s advice:


At night, when you retire to sleep, feel that you are entering the stage

after the play, but with the dress of your role on;


for perhaps the role is not yet over and you have not yet been permitted to take the dress off. Perhaps, you have to make another entrance the next morning. Do not worry about that.


Place yourself fully at His disposal; He knows; He has written the play

and He knows how it will end and how it will go on;

yours is but to act and retire.




1) This poem of Rainer Maria Rilke:


We keep on playing, still anxious, our difficult roles
declaiming, accompanied by matching gestures

as required. But your presence so suddenly

removed from our midst and from our play, at times

overcomes us like a sense of that other

reality: yours, that we are so overwhelmed

and play our actual lives instead of the performance,
forgetting altogether the applause.


2) These verses of Wu Hsin.


Some are emperors,

some are clowns and

some are beggars.


When one crates labels for oneself,

husband, father, farmer, student,

when one assumes roles or

judges and discriminates,

the whole is broken into pieces

and authenticity is destroyed.


A fragment can never

understand the Totality.

It is a best a partial, incomplete view.

Only from wholeness

can Wholeness be seen.




With so many roles I once kept playing

by Your infinite varieties of experience thrilled;

nowadays I am just myself: I drink when thirsty

and no longer mix the moonlight with the full sun.


What does it mean to mix the moonlight with the full sun?




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