The whole of manifestation in all its aspects is a record
upon which the voice is reproduced; and that voice is a person's
thought. There is no place in the world, neither desert, forest,
mountain nor house, town nor city, where there is not a voice
continually going on – a voice that was once engraved upon it
and that since then has continued. No doubt every such voice
has its limit. One voice may continue for thousands of years,
and another voice for several months, and yet another for some
days and another for hours or moments. Everything that is created,
intentionally or unintentionally, has a life, it has a birth
and so it has a death. Plainly speaking, it has a beginning
and an end.
One can experience this by feeling the atmosphere of different
places. Sitting upon the rocks of the mountains one often feels
the vibrations of the one who has been sitting there before.
Sitting in a forest, in a wilderness, one can feel what has
been the history of that place. It may be that there was a city
and a house and that people lived there, and now it has turned
into a wilderness. One begins to feel the history of the whole
place, it communicates with one.
Every town has its own particular voice. It is, so to speak,
telling out loud who lived in the town and how they lived, what
their life was. It tells of their grade of evolution, it tells
of their doings, it tells of the results produced by their actions.
People perceive the vibrations of haunted houses because the
atmosphere is stirred; and therefore, it is often felt distinctly.
There is no house, there is no place, that does not have its
own voice. The voice has been engraved upon it so that it has
become a record, reproducing what has been given to it, consciously
When Abraham returned from Egypt after his initiation into
the mysteries of life, he arrived at Mecca. A stone was set
there in memory of the initiation that he had just received
from the ancient esoteric school of Egypt. The voice that was
put into the stone by the singing soul of Abraham continued
and became audible to those who could hear. The prophets and
seers have since that time made pilgrimages to this stone of
Kaba. This continued and is still going on.
A place like Mecca, a desert with nothing of interest – the
ground is not fertile, the people not very evolved, no business
or industry is flourishing, no science or art developed – it
still has had an attraction for millions of people who have
gone there for only one purpose, and that was pilgrimage. What
was it, and what is it? It is the voice that has been put into
the place, into a stone. A stone has been made to speak, and
it speaks to those whose ears are open.
Every place where a person sits and thinks for a moment on
any subject takes in the thought of man. It takes the record
of what has been spoken so that no man can hide his thought
or feeling. It is recorded even in the seat where he has been
sitting and thinking. Many persons, by sitting in that place,
begin to feel it. Sometimes, the moment a person sits on a certain
seat, he may feel a thought quite foreign to him, a feeling
that does not belong to him, because on that seat that thought
was vibrating. As a seat can hold the vibrations of the thought
for a much longer time than the life of the person who has thought
or has spoken, so an influence remains in every place where
one sits, where one lives, where one thinks or feels, rejoices
or sorrows. This voice continues for a time incomparably longer
than the life of the person who spoke or thought there.
Question: When many people have lived somewhere for a long
time, would there not be a confusion of voices, or would one
Answer: There is a dominating voice which is more distinct
than the other voices. At the same time, as one feels what a
composer wishes to convey through the whole music he writes,
through all the instruments, so even the different voices which
are going on together make one result, and that result comes
as a symphony to the person who can hear them together. A collective
thought comes when one can perceive it, especially in a town,
in a new city. It is a kind of voice of the past and a voice
of the present, the voice of all as one music. It has its peculiar
and particular effect.
Question: Would the thoughts of people coming afterwards
prolong the initial thought?
Answer: No, it would add to it. For instance, if there is
a flute, then a clarinet, a trumpet or a trombone added to it
will make up the volume of sound; however, there is always one
instrument that plays the first part. The main voice stands
as a breath, and all the other voices attracted to it build
around it a form. The breath remains as life. The form may be
composed and decomposed, but the breath remains as life.
Question: Does the duration of the impression that Abraham
made upon the Kaba stone depend upon its intensity, or upon
the sacredness of the thought?
Answer: When the thought comes from an evolved person, this
has a greater power than the thought itself, than what the thought
contains, because the person is the life of that thought. The
thought is the cover over that life. Perhaps Abraham would not
have been able to engrave any other stone with that same power
he had when he came with his fresh impression after his initiation.
At that time the impression was perhaps more intense than at
any other time of his life, before or after.
Abraham said, 'This stone I set here in memory of initiation,
as a sign of God to be understood as One God. This stone will
remain forever as a temple.' He was not a king or a rich man.
He could not build a temple, he could only put up this one stone.
However, this stone has remained for a much longer time than
many temples built with riches.
This is only one example, but there are numerous examples
to be found. There is the atmosphere of Benares, and there are
the vibrations of Ajmer, where Khwaja Muinuddin Chishti
lived, meditated and died. There is the tomb of the saint where
a continual voice is going on, a vibration so strong that a
person who is meditative would sit there and would like to sit
there forever. It is in the midst of the city, and yet it has
a feeling of wilderness because in that place the saint sat
and meditated on sawt-i sarmad, the cosmic symphony. Through
his hearing that cosmic music continually, cosmic music has
been produced there.
There was a wonderful experience during the lifetime of the
Khwaja of Ajmer. To visit this saint, a great master, Khwaja
Abdul Qadir Jilani, who was also an advanced soul, came from
Baghdad. A remarkable meeting took place between them in Ajmer.
Now, the latter was very strict in his religious observances,
and the religious people would not have music. So naturally
in order to respect his belief, the Khwaja of Ajmer had to sacrifice
his everyday musical meditation. But when the time came, the
symphony began by itself. The great master felt that, without
anyone playing, the music was going on! He said to the saint,
'Even if religion prohibits it, it is for others, not for you.'
Question: What is the character of remote places that have
always been uninhabited, or very little inhabited? Is the attraction
that such places possess due to the absence of distracting voices?
Answer: In remote places, sometimes the voices have become
buried, and there is a kind of overtone that is most gentle
and soothing, for the voices have gone and the vibration remains
as an atmosphere. If the place has always been a desert, it
is still more elevating because it has its own natural atmosphere
that is most uplifting. If some travelers have passed through
it and if this brings their voice to us, even that is much better
than what one perceives and feels in cities and in towns because
in nature, man is quite a different person. The more he approaches
nature, the more that is artificial falls away from him. He
becomes more and more free from the superficial life and more
at one with nature. Therefore his predisposition which is nature,
truth and goodness, all comes up and makes life a kind of dream
for him, a romance, a lyric. So even his thought there, as a
human thought, begins to sing through nature.
Question: Does a tomb keep the voice of the person who is
Answer: No, not the tomb, but the place where the person
lived. In ancient times, people made a mark where a person had
lived, they made a tomb where the vibrations of that person
had been recorded. Ancient tombs were mostly made in places
where the person sat, thought and meditated. In this case, the
tomb is an excuse, it is only a mark that shows that here the
In India, where cremations take place, they often make a
seat to mark the place where the one who died meditated and
produced his vibrations. He may not be buried there, but a mark
has been made just to keep that seat, that place.