According to Osho, a man of Tao does not meet 'many women' but the one feminine energy appearing through different forms. One woman is all women, all women are one—like one sky framed by many windows. He relates to essence, not frames; to yin and yang as complementary poles of the same Tao. Having gone beyond gender, he responds from Tao, creating harmony rather than clash.
He sees the same living energy in every woman and relates to that inner sky, not the different window-frames of form or personality.
From the Discourses
Passages where Osho speaks to this question — each links to the complete discourse.
Does the man of tao like to taste many women or does he stay with one until he is able to eat the master?
THE first thing: for the man of Tao there is not many and one. For the man of Tao all women are one woman -- because the man of Tao looks at the energy and not at the form. For the man of Tao one woman is different from another woman only because of the frame -- the sky is the same. For the man of Tao there is feminine energy and masculine energy, yin and yang -- whether you stand at one window and look at the sky or you stand at another window and look at the same sky makes no difference. So the first thing is that all women are one woman because there is only one feminine energy. It is one sky framed in different windows. The second thing: for the man of Tao one woman is all women because when you look from a window…
Question: ON THE CHARACTER OF TAO: TAO IS A HOLLOW VESSEL, AND ITS USE IS INEXHAUSTIBLE, FATHOMLESS. ON THE SPIRIT OF THE VALLEY: THE SPIRIT OF THE VALLEY NEVER DIES. IT IS CALLED THE MYSTIC FEMALE. THE DOOR OF THE MYSTIC FEMALE IS THE ROOT OF HEAVEN AND EARTH. CONTINUOUSLY, CONTINUOUSLY, IT SEEMS TO REMAIN. DRAW UPON IT AND IT SERVES YOU WITH EASE. ON THE CHARACTER OF TAO Man is a vagabond, a gypsy. If the world were left to man there would be no houses, only tents at the most. And he would be moving and moving from one place to another. He cannot stay in one place, something deep inside him forces him to move. He is not balanced; this imbalance is his madness. Look at a woman. She is balanced.
You have talked much on love, relationships, union, etc. Is there a merging between the tao and tantra?
For example, if you read a Tantra manual, an Indian Tantra manual, there is great ritual in it. Every step is very clearly indicated. It is not easy to practise Indian Tantra -- you will have to become adept at it. Don't fool around. Don't think that while you are making love to a woman you are practising Tantra. Tantra is difficult. It is a long process. And it takes years to get trained in it. The greatest training that is involved and the most difficult problem that arises is that Tantra allows a man to make love to a woman only when the man has lost all sexual attraction towards the woman. There is no sexual attraction at all. That is the whole process. The woman becomes almost a mother to you or a sister to you a goddess. She has to be worshipped. In Tantra ritual the woman…
The venerable master said:
TAO MANIFESTS BOTH AS THE PURE AND THE TURBID, BOTH AS MOVEMENT AND STILLNESS. HEAVEN IS PURE, EARTH IS TURBID. HEAVEN MOVES, EARTH IS STILL. THE MASCULINE IS PURE, THE FEMININE IS TURBID. THE MASCULINE IS ACTIVE, THE FEMININE IS PASSIVE. MANIFESTING FROM ITS RADICAL ESSENCE, TAO FLOWS FORTH EVEN TO THE LAST OF THINGS, BRINGING FORTH HEAVEN AND EARTH AND ALL THAT IS IN BETWEEN. THE PURE IS THE CAUSE OF THE TURBID, AND MOVEMENT OF STILLNESS. That is one of the reasons why Jung had to desert him, for the simple reason that his whole understanding was simply intellectual; there was nothing intuitive in it. And Jung had a more feminine mind, a deeper capacity to feel. All men who have come in contact with women know it, that they function in a very different way. You cannot talk with a woman logically; it is impossible -- it…
The tao, the undivided, great one, gives rise to two opposite reality principles, the dark and the light, yin and yang. From yin comes the receptive feminine principle; from yang comes the creative masculine principle; from yin comes ming, life; from yang, hsing or human nature.
EACH INDIVIDUAL CONTAINS A CENTRAL MONAD, WHICH, AT THE MOMENT OF CONCEPTION, SPLITS INTO LIFE AND HUMAN NATURE, MING AND HSING. IN THE PERSONAL BODILY EXISTENCE OF THE INDIVIDUAL THEY ARE REPRESENTED BY TWO OTHER POLARITIES, ANIMA AND ANIMUS. ALL DURING THE LIFE OF THE INDIVIDUAL THESE TWO ARE IN CONFLICT, EACH STRIVING FOR MASTERY. IF THE LIFE-ENERGY FLOWS DOWNWARD, THAT IS, WITHOUT LET OR HINDRANCE INTO THE OUTER WORLD, THE ANIMA IS VICTORIOUS OVER THE ANIMUS; NO GOLDEN FLOWER IS DEVELOPED. IF THE LIFE-ENERGY IS LED THROUGH THE 'BACKWARD-FLOWING' PROCESS, THAT IS, CONSERVED, AND MADE TO 'RISE' INSTEAD OF ALLOWED TO DISSIPATE, THE ANIMUS HAS BEEN VICTORIOUS. A MAN WHO HOLDS TO THE WAY OF CONSERVATION ALL THROUGH LIFE MAY REACH THE STAGE OF THE GOLDEN FLOWER, WHICH THEN FREES THE EGO FROM THE CONFLICT OF THE OPPOSITES, AND IT AGAIN BECOMES PART OF THE TAO, THE UNDIVIDED, GREAT…