An ordinary man tries to solve his anxieties as soon perceives that distraction and entertainment are forgotten, and perhaps he does not notice that these means move away just temporarily from the mental surface the hammering of his troubles, while in his own soul, the latter remain unsolved.
Natural position. Left hand can be leaned on the wall, or your arms can hang freely. Approach with violence the knee to your chest, while at the same time launch the related leg forward-upward, and later drive the stretched leg backwards, along with simultaneous drive of right arm forward.
We cannot take for granted that the purgative face of meditation reduces any evil existing in the soul and that the loving face is the positive, or constructive, aspect of the work, for one and the other become indispensable to get spiritual aims.
Lateral position. Arms high up. Bend trunk forward, and later bend upper area of the trunk upward until the horizontal line while you move your arms to one side and breathe in at the same time.
The subtlest vibration –the potential aspect– is immolated one day on the continuous movement produced by the becoming. She emanates from that time on and Her emanation is activity and life.
Passage position. Run body support over front leg. Arms high up, incline trunk forward, and at the same time raise rear leg in such a way that arms, body and raised leg remain on one horizontal line as much as possible.
Is there any relationship between the seven classical subjects of meditation so far analyzed? Does this order respond to the process that naturally must develop in the soul of the meditator?
Natural position. Extremely, on tiptoe. Bend knees directed forward, and lower trunk. Now, move hips ahead in such a way that your knees come close to the ground, and straighten both legs as you continue to move hips ahead.
In this work we have emphasized the need of joining personal factors of the meditator to the exercise of affective meditation, that is, imaginative pictures should be personal experiences of the practitioner, on the light of the mental scene, sensations should be direct consequence of the picture, et cetera; and seemingly this limits the method, in an exclusive way, to critical possibilities, whether analytical or intellectual, of the practitioner.
With exercises given by the previous teaching the part related to Cafh’s Gymnastics ends, which as a whole is sufficient to keep agility, strength and elasticity in the gymnast who persists in it in order to face with relative facility demands of daily life, and also helps the passage of prana from one to other center by giving flexibility to sinews during exercises usually practiced.