Le 28 mars 1956   "Si de quitter le monde et ses activités, si une libération et une quiétude suprêmes étaient le seul but du chercheur, les trois grandes réalisations fondamentales¹ seraient suffisantes à l'accomplissement de sa vie spirituelle ; concentré sur elles seules, il pourrait laisser se détacher de lui toutes les autres connaissances, divine ou mondaine, et, désencombré, s'en aller dans le Silence éternel. Mais il doit tenir compte du monde et de ses activités ; il doit apprendre la Vérité divine qui peut se trouver derrière, et réconcilier l'apparente contradiction entre la Vérité divine et la création manifestée, qui est le point de départ de la plupart des expé

09-29 février 1956.htm   Le 29 février 1956   Ce soir-là, au cours de la méditation qui a suivi cet entretien, a eu lieu ce que Mère a appelé la "première Manifestation de la Lumière-Force supramentale dans l'atmosphère de la terre".   "La loi du sacrifice est l'acte divin qui fut partout semé dans le monde à son commencement comme un symbole de la solidarité de l'univers. Sous l'attraction de cette loi, une puissance divinisante et salvatrice descend, qui limite, corrige et graduellement élimine les erreurs d'une création égoïste et divisée. Cette descente, ce sacrifice du Pourousha, l'Âme divine, qui se soumet à la Force et à la Matière afin de les animer et de les illum

January 31, 1966 (Satprem's letters to Mother having disappeared, he does not remember what caused the "sadness" Mother refers to here, probably certain ways of being in life that he found hard to accept, or perhaps his own incapacity to tolerate life in the world as is it and his tendency to dart off to the heights - unless it was the abyss. Satprem then asked Mother if he should not start writing a new book, "The Sannyasin," in which he would attempt to exorcize a certain refusal of life as it is.) Tell me, why do you feel sad? Because ... if you have realized that there is a progress to be made, there's no need to feel sad anymore. It's when one has a progress to make and does

M o t h e r's   A g e n d a   May_1959 May 1959 (Letter to Mother from Satprem) Pondicherry, May 1959 Sweet Mother, You have rid me of my headache in a spectacular way, not to mention the beginning of an infection in a wisdom tooth. So I am writing you. ... ... ... ... I was prompted to speak to X about the financial difficulties of the Ashram and I took the opportunity to tell him about the subtle 'détente' that has occurred. I told him that you had wondered whether he had not done something (I am putting all this very succinctly). He replied that as soon as he returned to Rameswaram, he made a special puja of gratitude to you for three days and prayed to his divinity to repay you a hundr

The Mother's Childhood Experiences The Mother (Blanche Rachel Mirra Alfassa) was born on 21st February 1878 at 10.15am at 41, boulevard Haussmann, Paris. She was the second child of Maurice Alfassa, a Turkish banker, and his Egyptian wife, Mathilde Ismaloun. Though he was Muslim by birth and she was Jewish, they were materialists, so Mirra and her brother Matteo were brought up free of all religious influence. The Mother's parents moved from Egypt to Paris just a year before her birth. Speaking of the reason for being born in France she later said, "I was born in France because some special education was neces

A sketch of the Mother's life Home A sketch of the Mother’s life The Mother was born in Paris on 21 February 1878. Mirra, as the child was named, was the daughter of the banker Maurice Alfassa (born in Adrianople, Turkey, in 1843), and Mathilde Ismaloun (born in Alexandria, Egypt, in 1857). Maurice, his wife, and their son Matteo (born in Alexandria in 1876) emigrated from Egypt to France a year before Mirra's birth. Her early education was given at home. In 1893 she joined an art studio in Paris where she studied for several years. Besides being an accomplished painter (some of her works were exhibited at the Paris Salon), the Mother was a talented musician and wri

Paintings & Drawings By The Mother This book brings to the lovers of Art, in a definitive form, a little-know side of one of the most remarkable spiritual personalities of our time. The Mother (Mirra Alfassa) was trained as a painter in the 1809s at one of the best art studios in Paris. She continued to express herself in art throughout her life, including her years in Japan and later in the midst of her responsibilities as the head of Sri Aurobindo Ashram in Pondicherry, India. Virtually all of her known art work is included in this volu