Hubert Benoit's version of Richard Rose's recommendation to "shut the doors"
Wordy, dense, but a detailed explanation.
Zen and the Psychology of Transformation,
The Supreme Doctrine
Chapter 15 (page 143)
In the spasm of my total organism there is an element of immobility which is quite certainly beneficial; our spontaneous evolution will move towards satori if we are 'obedient to the nature of things', if we cease to busy ourselves with ersatz-forms of satori. 'To do nothing', which is the immobility of our total organism, the immobility of its phenomenal centre, allows the maturing of satori. There is then something right and normalising in the profound spasm; it is beneficial in that it tends to immobilise our centre. If in fact it has not been normalising for me up to the present that is because I have always defended myself by means of a reflex against this immobilisation. Let us remember the double relation which exists between emotivity and the imaginary film; the images release the spasm and then the state of spasm releases images. That the images release the spasm is inevitable and is not to be regretted because that tends towards the desirable immobility. What is regrettable, and avoidable, is that the state of spasm should release images, entailing perpetual variations in the spasm, variations which prevent me from profiting by the immobility virtually contained in it. Why is a new imaginary film released by the spasm, or rather in connexion with it, preventing me from immobilising myself? Because there exists in me a false belief according to which immobility is dangerous, mortal; for lack of Faith in my Principle I still believe that I ought myself to achieve my salvation, realise by a personal activity my total accomplishment. As long as this belief operates in me I cannot prevent my state of spasm from releasing a new imaginary film, and that is a vicious circle of agitation.
The caterpillar has to immobilise itself as a chrysalis in order to become a butterfly. When I am agitated in the vicious circle of emotive states and of imaginary films I am comparable with a caterpillar who feels himself overtaken by the process of becoming a chrysalis and who fights bitterly against the immobilisation which he feels as a danger.