How To Hypnotize: Complete Hypnotism, Mesmerism, Mind-Reading And Spiritualism

Brilliant example of new thought! Drummond was born in Stirling. He was educated at Edinburgh University, where he displayed a strong inclination for physical and mathematical science. The religious element was an even more powerful factor in his nature, and disposed him to enter the Free Church of Scotland. While preparing for the ministry, he became for a time deeply interested in the evangelizing mission of Moody and Sankey, in which he actively co-operated for two years. In 1877 he became lecturer on natural science in the Free Church College, which enabled him to combine all the pursuits for which he felt a vocation. His studies resulted in his writing Natural Law in the Spiritual World, the argument of which is that the scientific principle of continuity extends from the physical world to the spiritual. Before the book was published in 1883, an invitation from the African Lakes Company drew Drummond away to Central Africa...

We are all dwellers in two kingdoms, the inner kingdom, the kingdom of the mind and spirit, and the outer kingdom, that of the body and the physical universe about us. In the former, the kingdom of the unseen, lie the silent, subtle forces that are continually determining, and with exact precision, the conditions of the latter. To strike the right balance in life is one of the supreme essentials of all successful living. We must work, for we must have bread. We require other things than bread. They are not only valuable, comfortable, but necessary. It is a dumb, stolid being, however, who does not realize that life consists of more than these. They spell mere existence, not abundance, fullness of life

Thought-Forms by Annie Besant, C.W. Leadbeater, First Printed 1901

"It is our earnest hope—as it is our belief—that this little book will serve as a striking moral lesson to every reader, making him realise the nature and power of his thoughts, acting as a stimulus to the noble, a curb on the base. With this belief and hope we send it on its way." Annie Besant

The Art of War is an ancient Chinese military treatise attributed to Sun Tzu (also referred to as "Sun Wu" and "Sunzi"), a high-ranking military general, strategist and tactician, and it was believed to have been compiled during the late Spring and Autumn period or early Warring States period. The text is composed of 13 chapters, each of which is devoted to one aspect of warfare. It is commonly known to be the definitive work on military strategy and tactics of its time. It has been the most famous and influential of China's Seven Military Classics, and: "for the last two thousand years it remained the most important military treatise in Asia, where even the common people knew it by name." It has had an influence on Eastern and Western military thinking, business tactics, legal strategy and beyond.

OVERALL, this was a fantastic read for someone that is insanely curious about things. The message can be understood by the most religious, the most liberal, or the most scientific. This message is simply that people need to really look at having the right information in front of them when they make the most important decision of their life....who they want to share it with.

This book contains three studies which seem to me to be necessary prolegomena to that analysis of the sexual instinct which must form the chief part of an investigation into the psychology of sex.

The first sketches the main outlines of a complex emotional state which is of fundamental importance in sexual psychology; the second, by bringing together evidence from widely different regions, suggests a tentative explanation of facts that are still imperfectly known; the third attempts to show that even in fields where we assume our knowledge to be adequate a broader view of the phenomena teaches us to suspend judgment and to adopt a more cautious attitude.

So far as they go, these studies are complete in themselves; their special use, as an introduction to a more comprehensive analysis of sexual phenomena, is that they bring before us, under varying aspects, a characteristic which, though often ignored, is of the first importance in obtaining a clear understanding of the facts: the tendency of the sexual impulse to appear in a spontaneous and to some extent periodic manner, affecting women differently from men. This is a tendency which, later,

EDITOR'S PREFACE.

When undertaking to prepare a new edition of this book I received permission from the authors to "throw it into the form in which you think it would be most useful at the present time." It was left to my discretion, "What to use and what to omit." I have not found it necessary to avail myself to any considerable extent of this latter permission. But as the contents of the book were originally arranged the reader was ill-prepared to appreciate the importance of the later research for want of introductory matter explaining how it began, and how the early research led up to the later investigation. I have therefore contributed an entirely new preliminary chapter which will, I hope, help the reader to realise the credibility of the results attained when the molecular forms and constitution of the numerous bodies examined were definitely observed. I have not attempted to revise the records of the later research in which I had no personal share, so from the beginning of Chapter III to the end the book in its present form is simply a reprint of the original edition except for the correction of a few trifling misprints.

I have thus endeavoured to bring into clear prominence at the outset the scientific value of the light the book sheds on the constitution of matter. The world owes a debt to scientific men of the ordinary type that cannot be over-estimated, but though they have hitherto preferred to progress gradually, from point to point, disliking leaps in the dark, the leap now made is only in the dark for those who will not realise that the progress to be accomplished by means of instrumental research must sooner or later be supplemented by subtler methods. Physical science has reached the conception that the atoms of the bodies hitherto called the chemical elements are each composed of minor atoms. Instrumental research cannot determine by how many, in each case. Occult research ascertained the actual number in some cases by direct observation and then discovered the law governing the numbers in all cases, and the relation of these numbers to atomic weights. The law thus unveiled is a demonstration of the accuracy of the first direct observations, and this principle once established the credibility of accounts now given as to the arrangement of minor atoms in the molecules of the numerous elements examined, seems to me advanced to a degree approximating to proof.

It remains to be seen—not how far, but rather how soon the scientific world at large will accept the conclusions of this volume as a definite contribution to science, blending the science of the laboratory with that variety that has hitherto been called occult.

The publisher's special commentary chapter and the author's biography are included in this version.

The Mind in the Making The Relation of Intelligence to Social Reform by James Harvey Robinson was a very famous book, which was written in the author’s hope of persuading people in public to critical thinking about human behavior, encourage democratic optimism in the brink of the first World War, and protect them from authoritarian ideas.

The truth of Zen has always resided in individual experience rather than in theoretical writings. To give the modern reader access to understanding of this truth, THE ZEN EXPERIENCE illumines Zen as it was created and shaped by the personalities, perceptions, and actions of its masters over the centuries.

Beginning with the twin roots of Zen in Indian Buddhism and Chinese Taoism, we follow it through its initial flowering in China under the First Patriarch Bodhidharma; its division into schools of “gradual” and “sudden” enlightenment under Shen-hsui and Shen-hui; the ushering in of its golden age by Hui-neng; the development of “shock” enlightenment by Ma-tsu; its poetic greatness in the person of Han-shan; the perfection of the use of the koan by Ta-hui; the migration of Zen to Japan and its extraordinary growth there under a succession of towering Japanese spiritual leaders.

Rich in historical background, vivid in revealing anecdote and memorable quotation, this long-needed work succeeds admirably in taking Zen from the library shelves and restoring its living, human form.

Kandinsky believed that art had a duty to be spiritual in nature, an expression of inner need, as he came to call it. He called art for arts sake a vain squandering of artistic power.

This book was both his call to artists to meet their obligation to humanity and his attempt to define and explain color and form in its relation to expressing the message of the soul.

The 1910s was surely the most exciting, radical, innovative and genuinely NEW period in the history of all the arts, writing, music, painting, cinema, dance. it was also one of the few periods when creative frenzy was escorted by critical might, and is almost as famous for its artistic collectives, its -isms, its iconoclasms and its spectacularly aggressive, wipe-the-slate-clean manifestoes as it is for any one artwork produced.

Today, however, there arent many of these manifstoes that possess more than quaint historical value. Kandinskys Concerning the Spiritual in Art is one, and probably to our own shame, speaks as loudly to us today as it did to the artists contemporaries. A cry against all that is bogus or a dead-end in art - the bourgeois-currying; the trend-following; the excessively materialistic, naturalistic or representational; art in which formal invention is not matched by emotional power - the book demands a return to spirituality in art in an age where a godless faith in science has resulted in a soulless culture.

Kandinsky is the artist who said that Art was close to religion, and his concept of painting is heavly bound up with his Russian orthodox upbringing (as well as later exposure to theosophy). One does not have to be a card-carrying mystic, however, to recognise the truth of his central argument, that the only art with the power to truly move us is that which is ruthlessly faithful to the artists inner need, not public taste or contemporary styles.

this belief led Kandinsky towards abstraction: he rejected the idea that a painter should draw what was on the surface, instead of its inherent spirit or harmony (if this led to a cul-de-sac in 20th century art, this is because Kandinskys mimics lacked his moral drive). This book is fascinating as Kandinsky, still creating recognisably (though distorted) representational works, was struggling towards the abstract geomotry for which he is now famous. It is essential for any lover of Kandinskys work, and modern art in general, with its revealing analyses of colour and form, their psychology, and the various effects they can achieve. it is a portrait of modernism from the inside, and it is goosebumping reading a gifted contemporary passing judgement on Picasso and Matisse, although time has parted company with him in his preference for Maeterlinck and Isadora Duncan.

In his demand for a total art that would unite theatre, music and painting, he looks forward to the great Ballets Russes happenings, most significantly Nijinsky/Stravinsky/Picassos The Rite of spring. Throughout, he calls for painting to achieve the non-naturalistic liberation of music.