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Additional Shock



By observation we can note that in certain octaves it is possible for the action we undertook to continue in a straight line and reach its objective. But this is due, except in particular cases when you work on yourself, to parallel octaves which, coincidentally, tune in with the main octave and complete the missing semitones.

Of course the position of the additional shocks depends on the ascending and descending octaves .In the ascending octave scale the points in which the semitones have to be filled are between Mi and Fa and between Si and Do:

Shocks of the ascending octave scale must be of sufficient strength to maintain the tone in a straight line. So, in the first interval that tone needs to have a certain strength, and the second interval, indeed requires a greater force than the first, because the second Do has a higher vibration than Fa and needs a higher vibration tone.


Instead, in the descending octave scale, the points are between Do and Si and between Fa and Mi.


The first shock of the descending octave scale must have a higher force and higher tone than the second. Actually Do already contains the lower vibration, which is why descending octave scales are easier.


In ordinary men these shocks may occur by chance. Different and parallel octave scales which intersect the main one can allow a development which follows the straight line and gives a strong sensation of ability "to do". The problem is that if these parallel octaves didnít exist (these octaves can be of different kinds, both interior and exterior) we would have no straight line. In actual fact ordinary manís ability or inability to sustain the octaveís missing semitones depends on chance, which thus determines the success or failure of his actions.


But if we consciously build shocks (without waiting for them to occur by chance) and if these shocks are built according the model indicated, it is possible for the scale to continue in a straight line. To be able to do that we have, of course, to recognize the ascending and descending octaves of ordinary life and to find remedies using additional shocks, or efforts sufficient to fill in the missing semitone.


That's not an easy task, as we should know well, and we need to be wide awake to recognise when an initiative has its tuning distorted and changes direction.

In order to learn to do that, we need to attend a school where these shocks can be given at the right moment, when the octave (ascending or descending) is changing direction.


The school, in the same way, must be built according to the octave model and understand the laws that regulate it.


One thing that is certain is that the first step to be taken is to learn to recognise the octaves that we constantly meet during our ordinary life, to learn to see the missing semitones within them; the moments when the original impulse changes. At that precise moment we will need to make a bigger effort and to do our best to keep our attention constant, so that our action can find new vigour to evolve at the next obstacle.


For example if you work to observe yourself, you will realise that this observation is also postulated on the octave law. (Everything in nature is postulated on this principle, even inner growth).


You will realise and remember as you try that you can quite easily pass from Do to Re. Only with great efforts you will manage to pass from Re to Mi, but it will certainly be possible for you. But when you meet Mi you will immediately forget, and find yourself back at Do. There will be no escape, you will suddenly forget yourself.


But, if you can turn your attention and consciousness of yourself to the correct effort you will be able to recognise Mi the next time you are approaching it and realise that you are close to the point of forgetting.


At this point you will need to apply an exact shock to get past that phase. On an individual level, these shocks are not same for everyone, although special techniques to help the individual additional shocks do exist.


We will conclude now with a practical example to shed light on the most important concepts presented so far (click on "Practical example"). To learn to see these phenomena in ordinary life and to develop attention on the octaves which submerge us is part of the work of development in a School.


Practical example >>






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