Page 2 of 11In the incidents in our lives we also we find certain strange convergences and confluences not only in the shapes of things, not only in the forms of shells and mushrooms, but also in our lives and in our unions, and in our communications. Two persons are walking, each one with his own train of thought. At a certain point the thoughts converge, and you say, "I was going to say . . . ." "Oh, I was going to say that!" Who is stealing from whose mind? lt's like saying whether the shell borrowed the shape from the mushroom or the mushroom borrowed the shape from the shell, or whether the whirl in the fetus's forehead borrowed the shape from the spiral galaxy or the spiral galaxy borrowed it from the forehead of same cosmic fetus. Or, who knows, maybe the galaxy is the forehead of some cosmic fetus.
The question is that these convergences and confluences occur. As I said, and I repeat, two persons are walking along, and both are thinking an independent train of thought about some matter not related to the present, not connected with the sum, and both simultaneously arrive at the same thought. The expertise of two musicians playing together in Indian music is actually tested on this basis. The basic form of a raga is the same, but . . . I saw two maestros, a maestro of sitar and a maestro of (-----) playing together and their drummer, one father and one son in Carnegie Hall in New York – and that is something to observe because all Indian music is impromptu to the mathematical permutation. The basic structure of the raga is there, but the musician composes it on the spot. Everything you hear on records of sitar, for example, is composed on the spot within the mathematical scheme. But the funnest part is that the two instruments are playing independently, and they start with a certain point and they develop, and the most important part of the expertise is that they should come together on what is known as the sum, on a single original note. They play and develop and come back there. And then if there's a dancer whose developing his dance impromptu, he comes back at that spot. That's why the universe is called a great dance and the Lord is considered the king of Dancers.
So in this universe, in the orchestra of the universe also, how many instruments are playing? Themes and sub-themes. And the maestro in the mushroom and the maestro in the shell arrive at the same sum, they develop independently but they arrive at the same conclusion. In our lives, similar convergences and confluences of forces occur, and we call them, with a shrug of a shoulder, a coincidence. There has to be a shrug of the shoulder when you use the word coincidence. Certain words come with certain body-language. "Such a coincidence!" You have to enact a ritual of the coincidence like that. I mean you if just say it was a coincidence, it just doesn't carry the force. The body language and the verbal language converge.