Chapter III: Front Matter (3)

"Our Father's house hath many fanes; Yet enter not and worship not, For thought but follows after thought Till last consuming self it wanes.

"The Fount of Shadowy Beauty flings Its glamour o'er the light of day: A music in the sunlight sings To call the dreamy hearts away Their mighty hopes to ease awhile: We will not go the way of them: The chant makes drowsy those who seek The sceptre and the diadem.

"The Fount of Shadowy Beauty throws Its magic round us all the night; What things the heart would be, it sees And chases them in endless flight. Or coiled in phantom visions there It builds within the halls of fire; Its dreams flash like the peacock's wing And glow with sun-hues of desire. We will not follow in their ways Nor heed the lure of fay or elf, But in the ending of our days Rest in the high Ancestral Self."

The boat of crystal touched the shore, Then melted flamelike from our eyes, As in the twilight drops the sun Withdrawing rays of paradise.

We hurried under arched aisles That far above in heaven withdrawn With cloudy pillars stormed the night, Rich as the opal shafts of dawn.

I would have lingered then--but he-- "Oh, let us haste: the dream grows dim, Another night, another day, A thousand years will part from him

"Who is that Ancient One divine From whom our phantom being born Rolled with the wonder-light around Had started in the fairy morn.

"A thousand of our years to him Are but the night, are but the day, Wherein he rests from cyclic toil Or chants the song of starry sway.

"He falls asleep: the Shadowy Fount Fills all our heart with dreams of light: He wakes to ancient spheres, and we Through iron ages mourn the night. We will not wander in the night But in a darkness more divine Shall join the Father Light of Lights And rule the long-descended line."

Even then a vasty twilight fell: Wavered in air the shadowy towers: The city like a gleaming shell, Its azures, opals, silvers, blues, Were melting in more dreamy hues. We feared the falling of the night And hurried more our headlong flight. In one long line the towers went by; The trembling radiance dropt behind, As when some swift and radiant one Flits by and flings upon the wind The rainbow tresses of the sun.

And then they vanished from our gaze Faded the magic lights, and all Into a Starry Radiance fell As waters in their fountain fall.

We knew our time-long journey o'er And knew the end of all desire, And saw within the emerald glow Our Father like the white sun-fire.

We could not say if age or youth Were on his face: we only burned To pass the gateways of the Day, The exiles to the heart returned.

He rose to greet us and his breath, The tempest music of the spheres, Dissolved the memory of earth, The cyclic labour and our tears. In him our dream of sorrow passed, The spirit once again was free And heard the song the Morning-Stars Chant in eternal revelry.

This was the close of human story; We saw the deep unmeasured shine, And sank within the mystic glory They called of old the Dark Divine.

Well it is gone now,
The dream that I chanted:
On this side the dawn now
I sit fate-implanted.

But though of my dreaming
The dawn has bereft me,
It all was not seeming
For something has left me.

I fell in some other
World far from this cold light
The Dream Bird, my brother,
Is rayed with the gold light.

I too in the Father
Would hide me, and so,
Bright Bird, to foregather
With thee now I go.

--December 15, 1896

A New Earth

"Then felt I like some watcher of the skies
When a new planet swims within his ken."

I who had sought afar from earth
The faery land to greet,
Now find content within its girth,
And wonder nigh my feet.

To-day a nearer love I choose
And seek no distant sphere,
For aureoled by faery dews
The dear brown breasts appear.

With rainbow radiance come and go
The airy breaths of day,
And eve is all a pearly glow
With moonlit winds a-play.

The lips of twilight burn my brow,
The arms of night caress:
Glimmer her white eyes drooping now
With grave old tenderness.

I close mine eyes from dream to be
The diamond-rayed again,
As in the ancient hours ere we
Forgot ourselves to men.

And all I thought of heaven before
I find in earth below,
A sunlight in the hidden core
To dim the noon-day glow.

And with the Earth my heart is glad,
I move as one of old,
With mists of silver I am clad
And bright with burning gold.

--February 1896

Duality

"From me spring good and evil." Who gave thee such a ruby flaming heart, And such a pure cold spirit? Side by side I know these must eternally abide In intimate war, and each to each impart Life from their pain, with every joy a dart To wound with grief or death the self-allied. Red life within the spirit crucified, The eyes eternal pity thee, thou art Fated with deathless powers at war to be, Not less the martyr of the world than he Whose thorn-crowned brow usurps the due of tears We would pay to thee, ever ruddy life, Whose passionate peace is still to be at strife, O'erthrown but in the unconflicting spheres.

--March 15, 1896 (This is unsigned, but in AE's "Collected Poems")

The Element Language

In a chapter in the Secret Doctrine dealing with the origin of language, H.P. Blavatsky makes some statements which are quoted here and which should be borne well in mind in considering what follows. "The Second Race had a 'Sound Language,' to wit, chant-like sounds composed of vowels alone." From this developed "monosyllabic speech which was the vowel parent, so to speak, of the monosyllabic languages mixed with hard consonants still in use among the yellow races which are known to the anthropologist. The linguistic characteristics developed into the agglutinative languages.... The inflectional speech, the root of the Sanskrit, was the first language (now the mystery tongue of the Initiates) of the Fifth Race."

The nature of that language has not been disclosed along with other teaching concerning the evolution of the race, but like many other secrets the details of which are still preserved by the Initiates, it is implied in what has already been revealed. The application to speech of the abstract formula of evolution which they have put forward should result in its discovery, for the clue lies in correspondences; know the nature of any one thing perfectly, learn its genesis, development and consummation, and you have the key to all the mysteries of nature. The microcosm mirrors the macrocosm. But, before applying this key, it is well to glean whatever hints have been given, so that there may be less chance of going astray in our application. First, we gather from the Secret Doctrine that the sounds of the human voice are correlated with the forces, colours, numbers and forms. "Every letter has its occult meaning, the vowels especially contain the most occult and formidable potencies." (S.D., I, 94) and again it is said "The magic of the ancient priests consisted in those days in addressing their gods in their own language. The speech of the men of earth cannot reach the Lords, each must be addressed in the language of his respective element"---is a sentence which will be shown pregnant with meaning. "The book of rules" cited adds as an explanation of the nature of that element- language: "It is composed of Sounds, not words; of sounds, numbers and figures. He who knows how to blend the three, will call forth the response of the superintending Power" (the regent-god of the specific element needed). Thus this "language is that of incantations or of Mantras, as they are called in India, sound being the most potent and effectual magic agent, and the first of the keys which opens the door of communication between mortals and immortals." (S.D. I, 464)

From these quotations it will be seen that the occult teachings as to speech are directly at variance with the theories of many philologists and evolutionists. A first speech which was like song-- another and more developed speech which is held sacred--an esoteric side to speech in which the elements of our conventional languages (i.e. the letters) are so arranged that speech becomes potent enough to guide the elements, and human speech becomes the speech of the gods--there is no kinship between this ideal language and the ejaculations and mimicry which so many hold to be the root and beginning of it. Yet those who wish to defend their right to hold the occult teaching have little to fear from the champions of these theories; they need not at all possess any deep scholarship or linguistic attainment; the most cursory view of the roots of primitive speech, so far as they have been collected, will show that they contain few or no sounds of a character which would bear out either the onomatopoetic or interjectional theories. The vast majority of the roots of the Aryan language express abstract ideas, they rarely indicate the particular actions which would be capable of being suggested by any mimicry possible to the human voice. I have selected at random from a list of roots their English equivalents, in order to show the character of the roots and to make clearer the difficulty of holding such views. The abstract nature of the ideas, relating to actions and things which often have no attendant sound in nature, will indicate what I mean. What possible sounds could mimic the sense of "to move, to shine, to gain, to flow, to burn, to blow, to live, to possess, to cover, to fall, to praise, to think"? In fact the most abstract of all seem the most primitive for we find them most fruitful in combination to for other words. I hope to show this clearly later on. It is unnecessary to discuss the claims of the interjectional theory, as it is only a theory, and there are few roots for which we could infer even a remote origin of this nature. The great objection to the theory that speech was originally a matter of convention and mutual agreement, is the scarcity of words among the roots which express the wants of primitive man. As it is, a wisdom within or beyond the Aryan led him to construct in these roots with their abstract significance an ideal foundation from which a great language could be developed. However as the exponents of rival theories have demolished each other's arguments, without anyone having established a clear case for himself, it is not necessary here to do more than indicate these theories and how they may be met.

In putting forward a hypothesis more in accord with the doctrine of the spiritual origin of man, and in harmony with those occult ideas concerning speech already quoted, I stand in a rather unusual position, as I have to confess my ignorance of any of these primitive languages. I am rather inclined however, to regard this on the whole as an advantage for the following reasons. I think primitive man (the early Aryan) chose his words by a certain intuition which recognised an innate correspondence between the thought and the symbol. Para passu with the growing complexity of civilization language lost it spiritual character, "it fell into matter," to use H.P. Blavatsky's expression; as the conventional words necessary to define artificial products grew in number, in the memory of these words the spontaneity of speech was lost, and that faculty became atrophied which enable man to arrange with psychic rapidity ever new combinations of sounds to express emotion and thought. Believing then that speech was originally intuitive, and that it only need introspection and a careful analysis of the sounds of the human voice, to recover the faculty and correspondences between these sounds and forces, colours, forms, etc., it will be seen why I do not regard my ignorance of these languages as altogether a drawback. The correspondences necessarily had to be evolved out of my inner consciousness, and in doing this no aid could be derived from the Aryan roots as they now stand. In the meaning attached to each letter is to be found the key to the meaning and origin of roots; but the value of each sound separately could never be discovered by an examination of them in their combinations, though their value and purpose in combination to form words might be evident enough once the significance of the letters is shewn. Any lack of knowledge then is only a disadvantage in this, that it limits the area from which to choose illustrations. I have felt it necessary to preface what I have to say with this confession, to show exactly the position in which I stand. The correspondences between sounds and forces were first evolved, and an examination of the Aryan roots proved the key capable of application.

-------- Note:--In an article which appeared in the Theosophist, Dec. 1887, I had attempted, with the assistance of my friend Mr. Chas. Johnston, to put forward some of the ideas which form the subject matter of this paper. Owing to the numerous misprints which rendered it unintelligible I have felt it necessary to altogether re-write it. ---G.W.R. --------

It is advisable at this point to consider how correspondences arose between things seeming so diverse as sounds, forms, colors and forces. It is evident that they could only come about through the existence of a common and primal cause reflecting itself everywhere in different elements and various forms of life. This primal unity lies at the root of all occult philosophy and science; the One becomes Many; the ideas latent in Universal Mind are thrown outwards into manifestation. In the Bhagavad-Gita (chap. IV) Krishna declares: "even though myself unborn, of changeless essence, and the lord of all existence, yet in presiding over nature--which is mine--I am born but through my own maya, the mystic power of self-ideation, the eternal thought in the eternal mind." "I establish the universe with a single portion of myself and remain separate;" he says later on, and in so presiding he becomes the cause of the appearance of the different qualities. "I am in the taste in water, the light in the sun and moon, the mystic syllable OM in all the Vedas, sound in space, the masculine essence in men, the sweet smell in the earth, the brightness in the fire" etc. Pouring forth then from one fountain we should expect to find correspondences running everywhere throughout nature; we should expect to find all these things capable of correlation. Coexistent with manifestation arise the ideas of time and space, and these qualities, attributes or forces, which are latent and unified in the germinal thought, undergo a dual transformation; they appear successively in time, and what we call evolution progresses through Kalpa after Kalpa and Manvantara after Manvantara: the moods which dominate these periods incarnate in matter, which undergoes endless transformations and takes upon itself all forms in embodying these sates of consciousness.

The order in which these powers manifest is declared in the Puranas, Upanishads and Tantric works. It is that abstract formula of evolution which we can apply alike to the great and little things in nature. This may be stated in many ways, but to put it briefly, there is at first one divine Substance-Principle, Flame, Motion or the Great Breath; from this emanate the elements Akasa, ether, fire, air, water and earth; the spiritual quality becoming gradually lessened in these as they are further removed from their divine source; this is the descent into matter, the lowest rung of manifestation. "Having consolidated itself in its last principle as gross matter, it revolves around itself and informs with the seventh emanation of the last, the first and lowest element." (S.D. I, p. 297) This involution of the higher into the lower urges life upwards through the mineral, vegetable, animal and human kingdoms, until it culminates in spiritually and self consciousness. It is not necessary here to go more into detail, it is enough to say that the elements in nature begin as passive qualities, their ethereal nature becomes gross, then positive and finally spiritual, and this abstract formula holds good for everything in nature. These changes which take place in the universe are repeated in man its microcosm, the cosmic force which acts upon matter and builds up systems of suns and planets, working in him repeats itself and builds up a complex organism which corresponds and is correlated with its cosmic counterpart. The individual spirit Purusha dwells in the heart of every creature, its powers ray forth everywhere; they pervade the different principles or vehicles; they act through the organs of sense; they play upon the different plexuses; every principle and organ being specialised as the vehicle for a particular force or state of consciousness. All the sounds we can utter have their significance; they express moods; they create forms; they arouse to active life within ourselves spiritual and psychic forces which are centered in various parts of the body. Hence the whole organism of man is woven through and through with such correspondences; our thoughts, emotions, sensations, the forces we use, colours and sounds acting on different planes are all correlated among themselves, and are also connected with the forces evolving present about us, in which we live and move. We find such correspondences form the subject matter of many Upanishads and other occult treatises; for example in Yajnavalkyasamhita, a treatise on Yoga philosophy, we find the sound "Ra" associated with the element of fire, Tejas Tatwa, with the God Rudra, with a centre in the body just below the heart. Other books add, as correspondences of Tejas Tatwa, that its colour is red, its taste is hot, its form is a triangle and its force is expansion. The correspondences given in different treatises often vary; but what we can gather with certainty is that there must have existed a complete science of the subject; the correlation of sound with such things, once understood, is the key which explains, not only the magic potency of sound, but also the constuction of those roots which remain as relics of the primitive Aryan speech.

The thinking principle in man, having experiences of nature through its vehicles, the subtle, astral and gross physical bodies, translates these sensations into its own set of correspondences: this principle in man, called the Manas, is associated with the element of akasa, whose property is sound; the Manas moves about in akasa, and so all ideas which enter into the mind awaken their correspondences and are immediately mirrored in sound. Let us take as an instance the perception of the colour red; this communicated to the mind would set up a vibration, causing a sound to be thrown outwards in mental manifestation, and in this way the impulse would arise to utter the letter R, the correspondence of this colour. This Manasic principle in man, the real Ego, is eternal in its nature; it exists before and after the body, something accruing to it from each incarnation; and so, because there is present in the body of man this long-traveled soul, bearing with it traces of its eternal past, these letters which are the elements of its speech have impressed on them a correspondence, not only with the forces natural to its transitory surroundings, but also with that vaster evolution of nature in which it has taken part. These correspondences next claim our attention.

The correspondences here suggested do not I think at all exhaust the possible significance of any of the letters. Every sound ought to have a septenary relation to the planes of consciousness, and the differentiations of life, force and matter on each. Complete mastery of these would enable the knower to guide the various currents of force, and to control the elemental knower to guide the various currents of force, and to control the elemental beings who live on the astral planes, for these respond, we are told, "when the exact scale of being to which they belong is vibrated, whether it be that of colour, form, sound or whatever else," (Path, May, 1886) These higher interpretations I am unable to give; it requires the deeper being to know the deeper meaning. Those here appended may prove suggestive; I do not claim any finality or authority for them, but they may be interesting to students of the occult Upanishads where the mystic power of sound is continually dwelt upon.

The best method of arranging the letters is to begin with A and conclude with M or OO: between these lie all the other letters, and their successive order is determined by their spiritual or material quality. Following A we get letters with an ethereal or liquid sound, such as R, H, L or Y; they become gradually harsher as they pass from the A, following the order of nature in this. Half way we get letters like K, J, TCHAY, S, or ISH; then they become softer, and the labials, like F, B and M, have something of the musical quality of the earlier sounds. If we arrange them in this manner, it will be found to approximate very closely to the actual order in which the sounds arise in the process of formation. We begin then with

A--This represents God, creative force, the Self, the I, the beginning or first cause. "Among letters I am the vowel A," says Krishna in the Bagavad. It is without colour, number or form.

R--This is motion, air, breath or spirit; it is also abstract desire, and here we find the teaching of the Rig-Veda in harmony. "Desire first arose in It which was the primal germ of mind, and which sages, searching with their intellect, have discovered in their hearts to be the bond which connects Entity with non-Entity." The corresponding colour of this letter is Red.

H (hay) and L--Motion awakens Heat and Light which correspond respectively to H and L. That primordial ocean of being, says the book of Dzyan, was "fire and heat and motion:" which are explained as the noumenal essences of these material manifestations. The colour of H is Orange, of L yellow. L also conveys the sense of radiation.

Y (yea)--This letter signifies condensation, drawing together, the force of attraction, affinity. Matter at the stage of evolution to which this refers is gaseous, nebulous, or ethereal: the fire- mists in space gather together to become worlds. The colour Y is green.

W (way)--Water is the next element in manifestation: in cosmic evolution it is spoken of as chaos, the great Deep; its colour, I think, is indigo. After this stage the elements no longer manifest singly, but in pairs, or with a dual aspect.

G (gay) and K--Reflection and Hardness; matter becomes crystalline or metalic: the corresponding colour is blue.

S and Z--A further differentiation; matter is atomic: the abstract significance of number or seed is attached to these letters: their colour is violet.

J and Tchay--Earth and gross Substance: this is the lowest point in evolution; the worlds have now condensed into solid matter. The colour of these letters is orange.

N and Ng--Some new forces begin to work here; the corresponding sounds have, I think, the meaning of continuation and transformation or change: these new forces propel evolution in the upward or ascending arc: their colour is yellow.

D and T--The colour of these letters is red. The involution of the higher forces into the lower forms alluded to before now begins. D represents this infusion of life into matter; it is descent and involution, death or forgetfulness, perhaps, for a time to the incarnating power. T is evolution, the upward movement generating life; the imprisoned energies surge outwards and vegetation begins.

Ith and Ish--These correspond respectively to growth or expansion and vegetation; the earth, as Genesis puts it, "puts forth grass and herbs and trees yielding fruit." The colour of these letters is green.

B and P--After the flora the fauna. B is Life or Being, animal and human. Humanity appears; B is masculine, P feminine. P has also a meaning of division, differentiation or production, which may refer to maternity. The colour here is blue.

F and V--The colour is violet. Evolution moves still upwards, entering the ethereal planes once more. Lightness and vastness are the characteristics of this stage: we begin to permeate with part of our nature the higher spheres of being and reach the consummation in the last stage, represented by

M--which has many meanings; it is thought, it is the end or death to the personality, it is the Receiver into which all flows, it is also the Symbol of maternity in a universal sense, it has this meaning when the life impulse (which is always represented by a vowel) follows it, as in "ma." It is the Pralaya of the worlds; the lips close as it is uttered. Its colour is indigo.

O--The last vowel sound symbolizes abstract space, the spirit assumes once more the garment of primordial matter; it is the Nirvana of eastern philosophy.

I will now try to show how the abstract significance of these sound reveals a deeper meaning in the roots of Aryan language than philologists generally allow. Prof. Max Muller says in the introduction to Biographies of Words. "Of ultimates in the sense of primary elements of language, we can never hope to know anything," and he also asserts that the roots are incapable of further analysis. I will endeavour now to show that this further analysis can be made.

I should not be understood to say that all the so-called roots can be made to yield a secret meaning when analysed. Philologists are not all agreed as to what constitutes a root, or what words are roots, and in this general uncertainty it should not be expected that these correspondences, which as I have said are not complete, will apply in every instance. There are many other things which add to the difficulty; a root is often found to have very many different meanings; some of these may have arisen in the manner I suggest, and many more are derived from the primary meanings and are therefore not intuitive at all. The intuition will have to be exercised to discover what sensations would likely be awakened by the perception of an action or object; or if the root has an abstract significance, the thought must be analysed in order to discover its essential elements. I described previously the manner in which I thought a single sensation, the perception of the colour Red, would suggest its correspondence in sound, the letter R. Where the idea is more complex, a combination of two, tree or four sounds are necessary to express it, but they all originate in the same way. The reader who desires to prove the truth of the theory here put forward can adopt either of two methods; he can apply the correspondences to the roots, or he may try for himself to create words expressing simple, elemental ideas by combining the necessary letters; and then, if he turns to the roots, he will probably find that many of the words he has created in this way were actually used long ago, and this pratice will enable him more easily to understand in what sense, or on what plane, any particular letter should be taken. I think it probably that in the Sacred Language before mentioned, this could at once have been recognized by a difference in the intonation of the voice. This may have been a survival to some extent of the chanting which was the distinguishing characteristic of the speech of the Second Race. (Secret Doctrine, vol. II, p. 198) In the written language it is not easily possible to discover this without much thought, unless endeavour has previously been made to re-awaken the faculty of intuitive speech, which we formerly possessed and which became atrophied.

It is not possible here to go into the analysis of the roots at much length: I can only illustrate the method which will be found to apply more surely where the roots express most elemental conceptions. Let us take as example the root, Wal, to boil. Boiling is brought about by the action of fire upon water, and here we find the letters W, water, and L, light or fire, united. In War, to well up as a spring, the sounds for water and motion are combined. A similar idea is expressed in Wat, to well out; the abstract significance of T, which is to evolve, come forth or appear, being here applied to a special action. A good method to follow in order to understand how the pure abstract meaning of a letter may be applied in many different ways, is to take some of the roots in which any one letter is prominent and then compare them. Let us take D. It has an abstract relation to involution or infusion; it may be view in two ways, either as positive or negative; as the exertion of force or the reception of force. Now I think if we compare the following roots a similarity of action will be found to underlie them all. Id, to swell; Ad, to eat; Dhu, to put; Da, to bind; Ad, to smell; Du, to enter; Da, to suck.

I am not here going exhaustively to analyse the roots, as this is not an essay upon philology, but an attempt to make clear some of the mysteries of sound; those who wish to study this side of the subject more fully can study with this light the primitive languages. A few more examples must suffice. The root, Mar, to die, may be variously interpreted as the end of motion, the cessation of breath, or the withdrawal of spirit, R being expressive of what on various planes is motion, spirit, air and breath. In Bur, to be active, life and movement are combined,: in Gla, to glow, reflection and light; the same idea is in Gol, a lake. We find combined in Kar, to grind, hardness and motion: in Thah, to generate, expansion and heat; in Pak, to comb, division and hardness, the suggestion being division with some hard object; the same idea is in Pik, to cut. In Pis, to pound, the letters for division and matter in its molecular state are combined: in Fath, to fly, lightness and expansion: in Yas, to gird, drawing together and number; in Rab, to be vehement, energy and life; in Rip, to break, energy and division. In Yudh, to fight, the meaning suggested may be, coming together to destroy. Without further analysis the reader will be able to detect the relation which the abstractions corresponding to each letter bear to the defined application in the following words. Ak, to be sharp; Ank, to bend; Idh, to kindle; Ar, to move; Al, to burn; Ka, to sharpen; Har, to burn; Ku, to hew; Sa, to produce; Gal, to be yellow or green; Ghar, to be yellow or green; Thak, to thaw; Tar, to go through; Thu, to swell; Dak, to bite; Nak, to perish; Pa, to nourish, to feed; Par, to spare; Pi, to swell, to be fat; Pu, to purify; Pu, to beget; pau, little; Put, to swell out; Flu, to fly, to float; Bar, to carry; Bhu, to be, to become; Bla, to blow as a flower; Ma, to think; Mak, to pound; Mi, to diminish; Mu, to shut up, to enclose; Yas, to seethe, to ferment; Ys, to bind together, to mix; Yuk, to yoke, to join; Ra, to love; Rik, to furrow; Luh, to shine; Rud, to redden, to be red; Lub, to lust [?]; Lu, to cast off from; Wag, to be moist; Wam, to spit out; So, to sow, to scatter; Sak, to cut, to cleave; Su, to generate; Swa, to toss; Swal, to boil up; Ska, to cut; Skap, to hew; Sniw, to snow; Spew, to spit out; Swid, to sweat; etc. An analysis of some sacred words and the names of Deities may now prove interesting.

It has been said that before we can properly understand the character of any deity we would have to know the meaning and the numbers attached to each letter in the name, for in this way the powers and functons of the various gods were indicated. If we take as examples names familiar to everyone, Brahma, Vishnu, and Rudra, the three aspects of Parabrahm in manifestation, and analyse them in the same way as the roots, they will be found to yield up their essential meaning. Form the union of B, life, R, breath, and Ma, the producer, I would translate Brahma as "the creative breath of life." Vishnu similarly analysed is the power that "pervades, expands, and preserves;" I infer this from the union of V, whose force is pervasion, Sh, expansion, and N, continuation. Rudra is "the breath that absorbs the breath." Aum is the most sacred name of all names; it is held to symbolize the action of the Great breath from its dawn to its close: it is the beginning, A, the middle, U, and the close M. It is also an affirmation of the relation of our spiritual nature to the universal Deity whose aspects are Brahma, Vishnu, and Rudra. I shall have more to say of the occult power of this word later on. Taken in conjunction with two other words, it is "the threefold designation of the Supreme Being." Om Tat Sat has a significance referable to a still higher aspect of Deity than that other Trinity; the Om here signifies that it is the All; Tat that it is self-existent or self-evolved; I think the repetition of the T in Tat gives it this meaning: Sat would signify that in it are contained the seeds of all manifestation. H.P. Blavatsky translates this word as Be-ness, which seems to be another way of expressing the same idea. The mystic incantation familiar to all students of the Upanishads, Om, bhur, Om, Bhwar, Om, Svar," is an assertion of the existence of the Divine Self in all the three worlds or Lokas. Loka is generally translated as a place; the letters suggest to me that a place or world is only a hardening or crystalization of Fire or Light. In Bhur Loka the crystalization of the primordial element of Fire leaves only one principle active, the life principle generally called Prana. Bhur Loka then is the place where life is active; we have B, life, and R, movement, to suggest this. In the word Bhuvar a new letter, V, is inserted: this letter, as I have said, corresponds to the Astral world, so the Bhuvar Loka is the place where both the Astral and Life principles are active. It is more difficult to translate Svar Loka: there is some significance attached here to the letter S, which I cannot grasp. It might mean that this world contains the germs of Astral life; but this does not appear sufficiently distinctive, Svar Loka is generally known as Devachan, and the whole incantation would mean that the Deity is present throughout the Pranic, Astral and Devachanic worlds. It is interesting to note what is said in the Glossary by H.P.B., about these three words (p. 367): they are said to be "lit by and born of fire," and to possess creative powers. The repetition of them with the proper accent should awaken in the occultist the powers which correspond to the three worlds. I think by these examples that the student will be able to get closer to the true significance of incantation; those who understand the occult meaning of the colours attached to the letters will be able to penetrate deeper than others into these mysteries.

I may here say something about the general philosophy of incantation. There is said to be in nature a homogenous sound or tone which everywhere stirs up the molecules into activity. This is the "Word" which St. John says was in the beginning (the plane of causation); in another sense it is the Akasa of occult science, the element of sound, it is the Pythagorean "music of the spheres." The universe is built up, moulded and sustained by this element which is everywhere present, though inaudible by most men at this stage of evolution. It is not sound by the physical ears, but deep in the heart sometimes may be heard "the mystic sounds of the Akasic heights." The word Aum represents this homogeneous sound, it stirs up a power which is latent in it called the Yajna. The Glossary says that this "is one of the forms of Akasa within which the mystic word calls it into existence:" it is a bridge by means of which the soul can cross over to the world of the Immortals. It is this which is alluded to in the Nada-Bindu Upanishad. "The mind becoming insensible to the external impressions, becomes one with the sound, as milk with water, and then becomes rapidly absorbed in chidakas (the Akasa where consciousness pervades). The sound..... serves the purpose of a lure to the ocean waves of Chitta (mind), ...the serpent Chitta through listening to the Nada is entirely absorbed in it, and becoming unconscious of everything concentrates itself on the sound." We may quote further from another Upanishad. "Having left behind the body, the organs and objects of sense, and having seized the bow whose stick is fortitude and whose string is asceticism, and having killed with the arrow of freedom from egoism the first guardian, ....he crosses by means of the boat Om to the other side of the ether within the heart, and when the ether is revealed he enters slowly, as a miner seeking minerals enters a mine, into the hall of Brahman. ...Thenceforth, pure, clean, tranquil, breathless, endless, imperishable, firm, unborn, and independent, he stands in his own greatness, and having seen the Self standing in his own greatness, he looks at the wheel of the world."

Let no one think that this is all, and that the mere repetition of words will do anything except injure those who attempt the use of these methods without further knowledge. It has been said (Path, April, 1887) that Charity, Devotion, and the like virtues are structural necessities in the nature of the man who would make this attempt. We cannot, unless the whole nature has been purified by long services and sacrifice, and elevated into mood at once full of reverence and intense will, become sensitive to the subtle powers possessed by the spiritual soul.

What is here said about the Aum which is the name of our own God, and the way in which it draws forth the hidden power will serve to illustrate the method in using other words. The Thara-Sara Upanishad of Sukla-Yajur Veda says "Through Om is Brahm produced: through Na is Vishnu produced; through Ma is Rudra produced, etc." All these are names of gods; they correspond to forces in man and nature, in their use the two are united, and the man mounts upwards to the Immortals.

I have been forced to compress what I had to say in these articles, I have only been able to suggest rather than put forward ideas, for my own knowledge of these correspondences is very incomplete. As far as I know the subject has been untouched hitherto, and this must be my excuse for the meagre nature of the information given. I hope later on to treat of the relation of sound and colour to form and to show how these correspondences will enable us to understand the language which the gods speak to us through flowers, trees, and natural forms. I hope also to be able to show that it was a knowledge of the relation of sound to form which dictated the form of the letters in many primaeval alphabets.

--5/15, 6/15, 7/15, 8/15, 9/15, 1893

At the Dawn of the Kaliyuga *

Where we sat on the hillside together that evening the winds were low and the air was misty with light. The huge sunbrowned slope on which we were sitting was sprinkled over with rare spokes of grass; it ran down into the vagueness underneath where dimly the village could be seen veiled by its tresses of lazy smoke. Beyond was a bluer shade and a deeper depth, out of which, mountain beyond mountain, the sacred heights of Himalay rose up through star-sprinkled zones of silver and sapphire air. How gay were our hearts! The silent joy of the earth quickened their beating. What fairy fancies alternating with the sweetest laughter came from childish lips! In us the Golden Age whispered her last, and departed. Up came the white moon, her rays of dusty pearl slanting across the darkness from the old mountain to our feet. "A bridge!" we cried, "Primaveeta, who long to be a sky-walker, here is a bridge for you!"

Primaveeta only smiled; he was always silent; he looked along the gay leagues of pulsating light that lead out to the radiant mystery. We went on laughing and talking; then Primaveeta broke his silence.

"Vyassa," he said, "I went out in thought, I went into the light, but it was not that light. I felt like a fay; I sparkled with azure and lilac; I went on, and my heart beat with longing for I knew not what, and out and outward I sped till desire stayed and I paused, and the light looked into me full of meaning. I felt like a spark, and the dancing of the sea of joy bore me up, up, up!"

"Primaveeta, who can understand you?" said his little sister Vina, "you always talk of the things no one can see; Vyassa, sing for us."

"Yes! yes! let Vyassa sing!" they all cried; and they shouted and shouted until I began:--

"Shadowy petalled, like the lotus, loom the mountains with their snows: Through the sapphire Soma rising, such a flood of glory throws As when the first in yellow splendour Brahma from the lotus rose.

"High above the darkening mounds where fade the fairy lights of day, All the tiny planet folk are waving us from far away; Thrilled by Brahma's breath they sparkle with the magic of the gay.

"Brahma, all alone in gladness, dreams the joys that throng in space, Shepherds all the whirling splendours onward to their resting place, Where at last in wondrous silence fade in One the starry race."

"Vyassa is just like Primaveeta, he is full of dreams to-night," said Vina. And indeed I was full of dreams; my laughter had all died away; a vague and indescribable unrest came over me; the universal air around seemed thrilled by the stirring of unknown powers. We sat silent awhile; then Primaveeta cried out: "Oh, look, look, look, the Devas! the bright persons! they fill the air with their shining."

We saw them pass by and we were saddened, for they were full of solemn majesty; overhead a chant came from celestial singers full of the agony of farewell and departure, and we knew from their song that the gods were about to leave the earth which would nevermore or for ages witness their coming. The earth and the air around it seemed to tingle with anguish. Shuddering we drew closer together on the hillside while the brightness of the Devas passed onward and away; and clear cold and bright as ever, the eternal constellations, which change or weep not, shone out, and we were alone with our sorrow. To awed we were to speak, but we clung closer together and felt a comfort in each other; and so, crouched in silence; within me I heard as from far away a note of deeper anguish, like a horn blown out of the heart of the ancient Mother over a perished hero: in a dread moment I saw the death and the torment; he was her soul-point, the light she wished to shine among men. What would follow in the dark ages to come, rose up before me in shadowy, over-crowding pictures; like the surf of a giant ocean they fluctuated against the heavens, crested with dim, giantesque and warring figures. I saw stony warriors rushing on to battle; I heard their fierce hard laughter as they rode over the trampled foe; I saw smoke arise from a horrible burning, and thicker and blacker grew the vistas, with here and there a glow from some hero-heart that kept the true light shining within. I turned to Primaveeta who was crouched beside me: he saw with me vision for vision, but, beyond the thick black ages that shut me out from hope, he saw the resurrection of the True, and the homecoming of the gods. All this he told me later, but now our tears were shed together. Then Primaveeta rose up and said, "Vyasa, where the lights were shining, where they fought for the True, there you and I must fight; for, from them spreads out the light of a new day that shall dawn behind the darkness." I saw that he was no longer a dreamer; his face was firm with a great resolve. I could not understand him, but I determined to follow him, to fight for the things he fought for, to work with him, to live with him, to die with him; and so, thinking and trying to understand, my thought drifted back to that sadness of the mother which I had first felt. I saw how we share joy or grief with her, and, seized with the inspiration of her sorrow, I sang about her loved one:--

"Does the earth grow grey with grief For her hero darling fled? Though her vales let fall no leaf, In our hearts her tears are shed.

"Still the stars laugh on above, Not to them her grief is said; Mourning for her hero love In our hearts her tears are shed.

"We her children mourn for him, Mourn the elder hero dead; In the twilight grey and dim In our hearts the tears are shed."

"Vyassa," they said, "you will break our hearts." And we sat in silence and sorrow more complete till we heard weary voices calling up to us from the darkness below: "Primaveeta! Vyassa! Chandra! Parvati! Vina! Vasudeva!" calling all our names. We went down to our homes in the valley; the breadth of glory had passed away from the world, and our hearts were full of the big grief that children hold.

--October 15, 1893

-------------- * Note--Kaliyuga. The fourth, the black or iron age, our present period, the duration of which is 432,000 years. It began 3,102 years B.C. at the moment of Krishna's death, and the first cycle of 5,000 years will end between the years 1897 and 1898. --------------

The Meditation of Parvati

Parvata rose up from his seat under the banyan tree. He passed his hand unsteadily over his brow. Throughout the day the young ascetic had been plunged in profound meditation, and now, returning from heaven to earth, he was dazed like one who awakens in darkness and knows not where he is. All day long before his inner eye burned the light of the Lokas, until he was wearied and exhausted with their splendours; space glowed like a diamond with intolerable lustre, and there was no end to the dazzling processions of figures. He had seen the fiery dreams of the dead in Swargam. He had been tormented by the sweet singing of the Gandharvas, whose choral song reflected in its ripples the rhythmic pulse of Being. He saw how the orbs, which held them, were set within luminous orbs still of wider circuit, and vaster and vaster grew the vistas, and smaller seemed the soul at gaze, until at last, a mere speck of life, he bore the burden of innumerable worlds. Seeking for Brahma, he found only the great illusion as infinite as Brahma's being.

If these things were shadows, the earth and the forests he returned to, viewed at evening, seemed still more unreal, the mere dusky flutter of a moth's wings in space. Filmy and evanescent, if he had sunk down as through a transparency into the void, it would not have been wonderful. Parvati turned homeward, still half in trance: as he threaded the dim alleys he noticed not the flaming eyes that regarded him from the gloom; the serpents rustling amid the undergrowths; the lizards, fire-flies, insects, the innumerable lives of which the Indian forest was rumourous; they also were but shadows. He paused half unconsciously at the village, hearing the sound of human voices, of children at play. He felt a throb of pity for these tiny being who struggled and shouted, rolling over each other in ecstasies of joy; the great illusion had indeed devoured them before whom the Devas once were worshipers. Then close beside him he heard a voice; its low tones, its reverence soothed him: there was something akin to his own nature in it; it awakened him fully. A little crowd of five or six people were listening silently to an old man who read from a palm-leaf manuscript. Parvati knew his order by the orange-coloured robes he wore; a Bhikshu of the new faith. What was his delusion?

The old man lifted his head for a moment as the ascetic came closer, and then he continued as before. He was reading the "Legend of the Great King of Glory." Parvati listened to it, comprehending with the swift intuition and subtlety of a mystic the inner meaning of the Wonderful Wheel, the elephant Treasure, the Lake and palace of Righteousness. He followed the speaker, understanding all until he came to the meditation of the King: then he heard with vibrating heart, how "the Great King of Glory entered the golden chamber, and set himself down on the silver couch. And he let his mind pervade one quarter of the world with thoughts of Love: and so the second quarter, and so the third, and so the fourth. And thus the whole wide world, above below, around and everywhere, did he continue to pervade with heart of Love, far-reaching, grown great, and beyond measure." When the old Bhikshu had ended, Parvati rose up, and went back again into the forest. He had found the secret of the True--to leave behind the vistas, and enter into the Being. Another legend rose up in his mind, a fairy legend of righteousness, expanding and filling the universe, a vision beautiful and full of old enchantment; his heart sang within him. He seated himself again under the banyan tree; he rose up in soul; he saw before him images, long-forgotten, of those who suffer in the sorrowful old earth; he saw the desolation and loneliness of old age, the insults to the captive, the misery of the leper and outcast, the chill horror and darkness of life in a dungeon. He drank in all their sorrow. For his heart he went out to them. Love, a fierce and tender flame arose; pity, a breath from the vast; sympathy, born of unity. This triple fire sent forth its rays; they surrounded those dark souls; they pervaded them; they beat down oppression.

While Parvati, with spiritual magic, sent forth the healing powers, far away at that moment, in his hall, a king sat enthroned. A captive was bound before him; bound, but proud, defiant, unconquerable of soul. There was silence in the hall until the king spake the doom, the torture, for this ancient enemy. The king spake: "I had thought to do some fierce thing to thee, and so end thy days, my enemy. But, I remember with sorrow, the great wrongs we have done to each other, and the hearts made sore by our hatred. I shall do no more wrong to thee. Thou art free to depart. Do what thou wilt. I will make restitution to thee as far as may be for thy ruined state." Then the soul no might could conquer was conquered, and the knees were bowed; his pride was overcome. "My brother!" he said, and could say no more.

To watch for years a little narrow slit high up in the dark cell, so high that he could not reach up and look out; and there to see daily a little change from blue to dark in the sky had withered that prisoner's soul. The bitter tears came no more; hardly even sorrow; only a dull, dead feeling. But that day a great groan burst from him: he heard outside the laugh of a child who was playing and gathering flowers under the high, grey walls: then it all came over him, the divine things missed, the light, the glory, and the beauty that the earth puts forth for her children. The narrow slit was darkened: half of a little bronze face appeared.