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In some poems, the poet undertakes to express what is even more difficult: a simultaneous realisation of God both as Father and Mother. One of the inherent pitfalls in this approach is that of excessive abstraction. It is avoided by the poet's lucid vision and easy assurance of style. By representing the two aspects as complementary parts of God's consciousness, even as the sun and moon co-exist in the solar system, Sri Chinmoy is able to concentrate on the attitude of the seeker in the presence of a divine Entity:

I SING, I SMILE

I sing because You sing,
I smile because You smile.
Because You play on the flute
I have become Your flute.
You play in the depths of my heart.
You are mine, I am Yours:
This is my sole identification.
In one Form
You are my Mother and Father eternal
And Consciousness-moon, Consciousness-sun,
All-pervading.[43]

This alternation of seemingly different and opposing faces of God seems to stem from events that have taken place on a deeper soul's level where consciousness is one and indivisible, the substance of pure, undifferentiated Being. Julian of Norwich writes, for example:

I saw and understood ... the property of the Fatherhood, the property of the Motherhood, and the property of the Lordhood, in one God.[44]

From the testimony of these and other mystics, it appears that to realise God in one of His aspects need not exclude the seeker from realising Him in countless others for, having arrived at the place where God is, one then sees Him in all His myriad forms. When Sri Chinmoy introduces a spray of images in his poems to denote these forms he invites the reader to enter into that fulness in which God is approached on all levels: