Chapter II: Part 2

_Vague Religious Feeling._--Fig. 14 shows us another shapeless rolling cloud, but this time it is blue instead of crimson. It betokens that vaguely pleasurable religious feeling--a sensation of devoutness rather than of devotion--which is so common among those in whom piety is more developed than intellect. In many a church one may see a great cloud of deep dull blue floating over the heads of the congregation--indefinite in outline, because of the indistinct nature of the thoughts and feelings which cause it; flecked too often with brown and grey, because ignorant devotion absorbs with deplorable facility the dismal tincture of selfishness or fear; but none the less adumbrating a mighty potentiality of the future, manifesting to our eyes the first faint flutter of one at least of the twin wings of devotion and wisdom, by the use of which the soul flies upward to God from whom it came.

Strange is it to note under what varied circumstances this vague blue cloud may be seen; and oftentimes its absence speaks more loudly than its presence. For in many a fashionable place of worship we seek it in vain, and find instead of it a vast conglomeration of thought-forms of that second type which take the shape of material objects. Instead of tokens of devotion, we see floating above the "worshippers" the astral images of hats and bonnets, of jewellery and gorgeous dresses, of horses and of carriages, of whisky-bottles and of Sunday dinners, and sometimes of whole rows of intricate calculations, showing that men and women alike have had during their supposed hours of prayer and praise no thoughts but of business or of pleasure, of the desires or the anxieties of the lower form of mundane existence.

Yet sometimes in a humbler fane, in a church belonging to the unfashionable Catholic or Ritualist, or even in a lowly meeting-house where there is but little of learning or of culture, one may watch the deep blue clouds rolling ceaselessly eastward towards the altar, or upwards, testifying at least to the earnestness and the reverence of those who give them birth. Rarely--very rarely--among the clouds of blue will flash like a lance cast by the hand of a giant such a thought-form as is shown in Fig. 15; or such a flower of self-renunciation as we see in Fig. 16 may float before our ravished eyes; but in most cases we must seek elsewhere for these signs of a higher development.

_Upward Rush of Devotion._--The form in Fig. 15 bears much the same relation to that of Fig. 14 as did the clearly outlined projectile of Fig. 10 to the indeterminate cloud of Fig. 8. We could hardly have a more marked contrast than that between the inchoate flaccidity of the nebulosity in Fig. 14 and the virile vigour of the splendid spire of highly developed devotion which leaps into being before us in Fig. 15. This is no uncertain half-formed sentiment; it is the outrush into manifestation of a grand emotion rooted deep in the knowledge of fact. The man who feels such devotion as this is one who knows in whom he has believed; the man who makes such a thought-form as this is one who has taught himself how to think. The determination of the upward rush points to courage as well as conviction, while the sharpness of its outline shows the clarity of its creator's conception, and the peerless purity of its colour bears witness to his utter unselfishness.

_The Response to Devotion._--In Fig. 17 we see the result of his thought--the response of the LOGOS to the appeal made to Him, the truth which underlies the highest and best part of the persistent belief in an answer to prayer. It needs a few words of explanation. On every plane of His solar system our LOGOS pours forth His light, His power, His life, and naturally it is on the higher planes that this outpouring of divine strength can be given most fully. The descent from each plane to that next below it means an almost paralysing limitation--a limitation entirely incomprehensible except to those who have experienced the higher possibilities of human consciousness. Thus the divine life flows forth with incomparably greater fulness on the mental plane than on the astral; and yet even its glory at the mental level is ineffably transcended by that of the buddhic plane. Normally each of these mighty waves of influence spreads about its appropriate plane--horizontally, as it were--but it does not pass into the obscuration of a plane lower than that for which it was originally intended.

Yet there are conditions under which the grace and strength peculiar to a higher plane may in a measure be brought down to a lower one, and may spread abroad there with wonderful effect. This seems to be possible only when a special channel is for the moment opened; and that work must be done from below and by the effort of man. It has before been explained that whenever a man's thought or feeling is selfish, the energy which it produces moves in a close curve, and thus inevitably returns and expends itself upon its own level; but when the thought or feeling is absolutely unselfish, its energy rushes forth in an open curve, and thus does _not_ return in the ordinary sense, but pierces through into the plane above, because only in that higher condition, with its additional dimension, can it find room for its expansion. But in thus breaking through, such a thought or feeling holds open a door (to speak symbolically) of dimension equivalent to its own diameter, and thus furnishes the requisite channel through which the divine force appropriate to the higher plane can pour itself into the lower with marvellous results, not only for the thinker but for others. An attempt is made in Fig. 17 to symbolise this, and to indicate the great truth that an infinite flood of the higher type of force is always ready and waiting to pour through when the channel is offered, just as the water in a cistern may be said to be waiting to pour through the first pipe that may be opened.

The result of the descent of divine life is a very great strengthening and uplifting of the maker of the channel, and the spreading all about him of a most powerful and beneficent influence. This effect has often been called an answer to prayer, and has been attributed by the ignorant to what they call a "special interposition of Providence," instead of to the unerring action of the great and immutable divine law.

_Self-Renunciation._--Fig. 16 gives us yet another form of devotion, producing an exquisitely beautiful form of a type quite new to us--a type in which one might at first sight suppose that various graceful shapes belonging to animate nature were being imitated. Fig. 16, for example, is somewhat suggestive of a partially opened flower-bud, while other forms are found to bear a certain resemblance to shells or leaves or tree-shapes. Manifestly, however, these are not and cannot be copies of vegetable or animal forms, and it seems probable that the explanation of the similarity lies very much deeper than that. An analogous and even more significant fact is that some very complex thought-forms can be exactly imitated by the action of certain mechanical forces, as has been said above. While with our present knowledge it would be unwise to attempt a solution of the very fascinating problem presented by these remarkable resemblances, it seems likely that we are obtaining a glimpse across the threshold of a very mighty mystery, for if by certain thoughts we produce a form which has been duplicated by the processes of nature, we have at least a presumption that these forces of nature work along lines somewhat similar to the action of those thoughts. Since the universe is itself a mighty thought-form called into existence by the LOGOS, it may well be that tiny parts of it are also the thought-forms of minor entities engaged in the same work; and thus perhaps we may approach a comprehension of what is meant by the three hundred and thirty million Devas of the Hindus.

This form is of the loveliest pale azure, with a glory of white light shining through it--something indeed to tax the skill even of the indefatigable artist who worked so hard to get them as nearly right as possible. It is what a Catholic would call a definite "act of devotion"--better still, an act of utter selflessness, of self-surrender and renunciation.

INTELLECT

_Vague Intellectual Pleasure._--Fig. 18 represents a vague cloud of the same order as those shown in Figs. 8 and 14, but in this case the colour is yellow instead of crimson or blue. Yellow in any of man's vehicles always indicates intellectual capacity, but its shades vary very much, and it may be complicated by the admixture of other hues. Generally speaking, it has a deeper and duller tint if the intellect is directed chiefly into lower channels, more especially if the objects are selfish. In the astral or mental body of the average man of business it would show itself as yellow ochre, while pure intellect devoted to the study of philosophy or mathematics appears frequently to be golden, and this rises gradually to a beautiful clear and luminous lemon or primrose yellow when a powerful intellect is being employed absolutely unselfishly for the benefit of humanity. Most yellow thought-forms are clearly outlined, and a vague cloud of this colour is comparatively rare. It indicates intellectual pleasure--appreciation of the result of ingenuity, or the delight felt in clever workmanship. Such pleasure as the ordinary man derives from the contemplation of a picture usually depends chiefly upon the emotions of admiration, affection, or pity which it arouses within him, or sometimes, if it pourtrays a scene with which he is familiar, its charm consists in its power to awaken the memory of past joys. An artist, however, may derive from a picture a pleasure of an entirely different character, based upon his recognition of the excellence of the work, and of the ingenuity which has been exercised in producing certain results. Such pure intellectual gratification shows itself in a yellow cloud; and the same effect may be produced by delight in musical ingenuity, or the subtleties of argument. A cloud of this nature betokens the entire absence of any personal emotion, for if that were present it would inevitably tinge the yellow with its own appropriate colour.

_The Intention to Know._--Fig. 19 is of interest as showing us something of the growth of a thought-form. The earlier stage, which is indicated by the upper form, is not uncommon, and indicates the determination to solve some problem--the intention to know and to understand. Sometimes a theosophical lecturer sees many of these yellow serpentine forms projecting towards him from his audience, and welcomes them as a token that his hearers are following his arguments intelligently, and have an earnest desire to understand and to know more. A form of this kind frequently accompanies a question, and if, as is sometimes unfortunately the case, the question is put less with the genuine desire for knowledge than for the purpose of exhibiting the acumen of the questioner, the form is strongly tinged with the deep orange that indicates conceit. It was at a theosophical meeting that this special shape was encountered, and it accompanied a question which showed considerable thought and penetration. The answer at first given was not thoroughly satisfactory to the inquirer, who seems to have received the impression that his problem was being evaded by the lecturer. His resolution to obtain a full and thorough answer to his inquiry became more determined than ever, and his thought-form deepened in colour and changed into the second of the two shapes, resembling a cork-screw even more closely than before. Forms similar to these are constantly created by ordinary idle and frivolous curiosity, but as there is no intellect involved in that case the colour is no longer yellow, but usually closely resembles that of decaying meat, somewhat like that shown in Fig. 29 as expressing a drunken man's craving for alcohol.

_High Ambition._--Fig. 20 gives us another manifestation of desire--the ambition for place or power. The ambitious quality is shown by the rich deep orange colour, and the desire by the hooked extensions which precede the form as it moves. The thought is a good and pure one of its kind, for if there were anything base or selfish in the desire it would inevitably show itself in the darkening of the clear orange hue by dull reds, browns, or greys. If this man coveted place or power, it was not for his own sake, but from the conviction that he could do the work well and truly, and to the advantage of his fellow-men.

_Selfish Ambition._--Ambition of a lower type is represented in Fig. 21. Not only have we here a large stain of the dull brown-grey of selfishness, but there is also a considerable difference in the form, though it appears to possess equal definiteness of outline. Fig. 20 is rising steadily onward towards a definite object, for it will be observed that the central part of it is as definitely a projectile as Fig. 10. Fig. 21, on the other hand, is a floating form, and is strongly indicative of general acquisitiveness--the ambition to grasp for the self everything that is within sight.

ANGER

_Murderous Rage and Sustained Anger._--In Figs. 22 and 23 we have two terrible examples of the awful effect of anger. The lurid flash from dark clouds (Fig. 22) was taken from the aura of a rough and partially intoxicated man in the East End of London, as he struck down a woman; the flash darted out at her the moment before he raised his hand to strike, and caused a shuddering feeling of horror, as though it might slay. The keen-pointed stiletto-like dart (Fig. 23) was a thought of steady anger, intense and desiring vengeance, of the quality of murder, sustained through years, and directed against a person who had inflicted a deep injury on the one who sent it forth; had the latter been possessed of a strong and trained will, such a thought-form would slay, and the one nourishing it is running a very serious danger of becoming a murderer in act as well as in thought in a future incarnation. It will be noted that both of them take the flash-like form, though the upper is irregular in its shape, while the lower represents a steadiness of intention which is far more dangerous. The basis of utter selfishness out of which the upper one springs is very characteristic and instructive. The difference in colour between the two is also worthy of note. In the upper one the dirty brown of selfishness is so strongly evident that it stains even the outrush of anger; while in the second case, though no doubt selfishness was at the root of that also, the original thought has been forgotten in the sustained and concentrated wrath. One who studies Plate XIII. in _Man Visible and Invisible_ will be able to image to himself the condition of the astral body from which these forms are protruding; and surely the mere sight of these pictures, even without examination, should prove a powerful object-lesson in the evil of yielding to the passion of anger.

_Explosive Anger._--In Fig. 24 we see an exhibition of anger of a totally different character. Here is no sustained hatred, but simply a vigorous explosion of irritation. It is at once evident that while the creators of the forms shown in Figs. 22 and 23 were each directing their ire against an individual, the person who is responsible for the explosion in Fig. 24 is for the moment at war with the whole world round him. It may well express the sentiment of some choleric old gentleman, who feels himself insulted or impertinently treated, for the dash of orange intermingled with the scarlet implies that his pride has been seriously hurt. It is instructive to compare the radiations of this plate with those of Fig. 11. Here we see indicated a veritable explosion, instantaneous in its passing and irregular in its effects; and the vacant centre shows us that the feeling that caused it is already a thing of the past, and that no further force is being generated. In Fig. 11, on the other hand, the centre is the strongest part of the thought-form, showing that this is not the result of a momentary flash of feeling, but that there is a steady continuous upwelling of the energy, while the rays show by their quality and length and the evenness of their distribution the steadily sustained effort which produces them.

_Watchful and Angry Jealousy._--In Fig. 25 we see an interesting though unpleasant thought-form. Its peculiar brownish-green colour at once indicates to the practised clairvoyant that it is an expression of jealousy, and its curious shape shows the eagerness with which the man is watching its object. The remarkable resemblance to the snake with raised head aptly symbolises the extraordinarily fatuous attitude of the jealous person, keenly alert to discover signs of that which he least of all wishes to see. The moment that he does see it, or imagines that he sees it, the form will change into the far commoner one shown in Fig. 26, where the jealousy is already mingled with anger. It may be noted that here the jealousy is merely a vague cloud, though interspersed with very definite flashes of anger ready to strike at those by whom it fancies itself to be injured; whereas in Fig. 25, where there is no anger as yet, the jealousy itself has a perfectly definite and very expressive outline.

SYMPATHY

_Vague Sympathy._--In Fig. 18A we have another of the vague clouds, but this time its green colour shows us that it is a manifestation of the feeling of sympathy. We may infer from the indistinct character of its outline that it is not a definite and active sympathy, such as would instantly translate itself from thought into deed; it marks rather such a general feeling of commiseration as might come over a man who read an account of a sad accident, or stood at the door of a hospital ward looking in upon the patients.

FEAR

_Sudden Fright._--One of the most pitiful objects in nature is a man or an animal in a condition of abject fear; and an examination of Plate XIV. in _Man Visible and Invisible_ shows that under such circumstances the astral body presents no better appearance than the physical. When a man's astral body is thus in a state of frenzied palpitation, its natural tendency is to throw off amorphous explosive fragments, like masses of rock hurled out in blasting, as will be seen in Fig. 30; but when a person is not terrified but seriously startled, an effect such as that shown in Fig. 27 is often produced. In one of the photographs taken by Dr Baraduc of Paris, it was noticed that an eruption of broken circles resulted from sudden annoyance, and this outrush of crescent-shaped forms seems to be of somewhat the same nature, though in this case there are the accompanying lines of matter which even increase the explosive appearance. It is noteworthy that all the crescents to the right hand, which must obviously have been those expelled earliest, show nothing but the livid grey of fear; but a moment later the man is already partially recovering from the shock, and beginning to feel angry that he allowed himself to be startled. This is shown by the fact that the later crescents are lined with scarlet, evidencing the mingling of anger and fear, while the last crescent is pure scarlet, telling us that even already the fright is entirely overcome, and only the annoyance remains.

GREED

_Selfish Greed._--Fig. 28 gives us an example of selfish greed--a far lower type than Fig. 21. It will be noted that here there is nothing even so lofty as ambition, and it is also evident from the tinge of muddy green that the person from whom this unpleasant thought is projecting is quite ready to employ deceit in order to obtain her desire. While the ambition of Fig. 21 was general in its nature, the craving expressed in Fig. 28 is for a particular object towards which it is reaching out; for it will be understood that this thought-form, like that in Fig. 13, remains attached to the astral body, which must be supposed to be on the left of the picture. Claw-like forms of this nature are very frequently to be seen converging upon a woman who wears a new dress or bonnet, or some specially attractive article of jewellery. The thought-form may vary in colour according to the precise amount of envy or jealousy which is mingled with the lust for possession, but an approximation to the shape indicated in our illustration will be found in all cases. Not infrequently people gathered in front of a shop-window may be seen thus protruding astral cravings through the glass.

_Greed for Drink._--In Fig. 29 we have another variant of the same passion, perhaps at an even more degraded and animal level. This specimen was taken from the astral body of a man just as he entered at the door of a drinking-shop; the expectation of and the keen desire for the liquor which he was about to absorb showed itself in the projection in front of him of this very unpleasant appearance. Once more the hooked protrusions show the craving, while the colour and the coarse mottled texture show the low and sensual nature of the appetite. Sexual desires frequently show themselves in an exactly similar manner. Men who give birth to forms such as this are as yet but little removed from the animal; as they rise in the scale of evolution the place of this form will gradually be taken by something resembling that shown in Fig. 13, and very slowly, as development advances, that in turn will pass through the stages indicated in Figs. 9 and 8, until at last all selfishness is cast out, and the desire to have has been transmuted into the desire to give, and we arrive at the splendid results shown in Figs. 11 and 10.

VARIOUS EMOTIONS

_At a Shipwreck._--Very serious is the panic which has occasioned the very interesting group of thought-forms which are depicted in Fig. 30. They were seen simultaneously, arranged exactly as represented, though in the midst of indescribable confusion, so their relative positions have been retained, though in explaining them it will be convenient to take them in reverse order. They were called forth by a terrible accident, and they are instructive as showing how differently people are affected by sudden and serious danger. One form shows nothing but an eruption of the livid grey of fear, rising out of a basis of utter selfishness: and unfortunately there were many such as this. The shattered appearance of the thought-form shows the violence and completeness of the explosion, which in turn indicates that the whole soul of that person was possessed with blind, frantic terror, and that the overpowering sense of personal danger excluded for the time every higher feeling.

The second form represents at least an attempt at self-control, and shows the attitude adopted by a person having a certain amount of religious feeling. The thinker is seeking solace in prayer, and endeavouring in this way to overcome her fear. This is indicated by the point of greyish-blue which lifts itself hesitatingly upwards; the colour shows, however, that the effort is but partially successful, and we see also from the lower part of the thought-form, with its irregular outline and its falling fragments, that there is in reality almost as much fright here as in the other case. But at least this woman has had presence of mind enough to remember that she ought to pray, and is trying to imagine that she is not afraid as she does it, whereas in the other case there was absolutely no thought beyond selfish terror. The one retains still some semblance of humanity, and some possibility of regaining self-control; the other has for the time cast aside all remnants of decency, and is an abject slave to overwhelming emotion.

A very striking contrast to the humiliating weakness shown in these two forms is the splendid strength and decision of the third. Here we have no amorphous mass with quivering lines and explosive fragments, but a powerful, clear-cut and definite thought, obviously full of force and resolution. For this is the thought of the officer in charge--the man responsible for the lives and the safety of the passengers, and he rises to the emergency in a most satisfactory manner. It does not even occur to him to feel the least shadow of fear; he has no time for that. Though the scarlet of the sharp point of his weapon-like thought-form shows anger that the accident should have happened, the bold curve of orange immediately above it betokens perfect self-confidence and certainty of his power to deal with the difficulty. The brilliant yellow implies that his intellect is already at work upon the problem, while the green which runs side by side with it denotes the sympathy which he feels for those whom he intends to save. A very striking and instructive group of thought-forms.

_On the First Night._--Fig. 31 is also an interesting specimen--perhaps unique--for it represents the thought-form of an actor while waiting to go upon the stage for a "first-night" performance. The broad band of orange in the centre is very clearly defined, and is the expression of a well-founded self-confidence--the realisation of many previous successes, and the reasonable expectation that on this occasion another will be added to the list. Yet in spite of this there is a good deal of unavoidable uncertainty as to how this new play may strike the fickle public, and on the whole the doubt and fear overbalance the certainty and pride, for there is more of the pale grey than of the orange, and the whole thought-form vibrates like a flag flapping in a gale of wind. It will be noted that while the outline of the orange is exceedingly clear and definite, that of the grey is much vaguer.

_The Gamblers._--The forms shown in Fig. 32 were observed simultaneously at the great gambling-house at Monte Carlo. Both represent some of the worst of human passions, and there is little to choose between them; although they represent the feelings of the successful and the unsuccessful gambler respectively. The lower form has a strong resemblance to a lurid and gleaming eye, though this must be simply a coincidence, for when we analyse it we find that its constituent parts and colours can be accounted for without difficulty. The background of the whole thought is an irregular cloud of deep depression, heavily marked by the dull brown-grey of selfishness and the livid hue of fear. In the centre we find a clearly-marked scarlet ring showing deep anger and resentment at the hostility of fate, and within that is a sharply outlined circle of black expressing the hatred of the ruined man for those who have won his money. The man who can send forth such a thought-form as this is surely in imminent danger, for he has evidently descended into the very depths of despair; being a gambler he can have no principle to sustain him, so that he would be by no means unlikely to resort to the imaginary refuge of suicide, only to find on awakening into astral life that he had changed his condition for the worse instead of for the better, as the suicide always does, since his cowardly action cuts him off from the happiness and peace which usually follow death.

The upper form represents a state of mind which is perhaps even more harmful in its effects, for this is the gloating of the successful gambler over his ill-gotten gain. Here the outline is perfectly definite, and the man's resolution to persist in his evil course is unmistakable. The broad band of orange in the centre shows very clearly that although when the man loses he may curse the inconstancy of fate, when he wins he attributes his success entirely to his own transcendent genius. Probably he has invented some system to which he pins his faith, and of which he is inordinately proud. But it will be noticed that on each side of the orange comes a hard line of selfishness, and we see how this in turn melts into avarice and becomes a mere animal greed of possession, which is also so clearly expressed by the claw-like extremities of the thought-form.

_At a Street Accident._--Fig. 33 is instructive as showing the various forms which the same feelings may take in different individuals. These two evidences of emotion were seen simultaneously among the spectators of a street accident--a case in which someone was knocked down and slightly injured by a passing vehicle. The persons who generated these two thought-forms were both animated by affectionate interest in the victim and deep compassion for his suffering, and so their thought-forms exhibited exactly the same colours, although the outlines are absolutely unlike. The one over whom floats that vague sphere of cloud is thinking "Poor fellow, how sad!" while he who gives birth to that sharply-defined disc is already rushing forward to see in what way he can be of assistance. The one is a dreamer, though of acute sensibilities; the other is a man of action.

_At a Funeral._--In Fig. 34 we have an exceedingly striking example of the advantage of knowledge, of the fundamental change produced in the man's attitude of mind by a clear understanding of the great laws of nature under which we live. Utterly different as they are in every respect of colour and form and meaning, these two thought-forms were seen simultaneously, and they represent two points of view with regard to the same occurrence. They were observed at a funeral, and they exhibit the feelings evoked in the minds of two of the "mourners" by the contemplation of death. The thinkers stood in the same relation to the dead man, but while one of them was still steeped in the dense ignorance with regard to super-physical life which is so painfully common in the present day, the other had the inestimable advantage of the light of Theosophy. In the thought of the former we see expressed nothing but profound depression, fear and selfishness. The fact that death has approached so near has evidently evoked in the mind of the mourner the thought that it may one day come to him also, and the anticipation of this is very terrible to him; but since he does not know what it is that he fears, the clouds in which his feeling is manifested are appropriately vague. His only definite sensations are despair and the sense of his personal loss, and these declare themselves in regular bands of brown-grey and leaden grey, while the very curious downward protrusion, which actually descends into the grave and enfolds the coffin, is an expression of strong selfish desire to draw the dead man back into physical life.

It is refreshing to turn from this gloomy picture to the wonderfully different effect produced by the very same circumstances upon the mind of the man who comprehends the facts of the case. It will be observed that the two have no single emotion in common; in the former case all was despondency and horror, while in this case we find none but the highest and most beautiful sentiments. At the base of the thought-form we find a full expression of deep sympathy, the lighter green indicating appreciation of the suffering of the mourners and condolence with them, while the band of deeper green shows the attitude of the thinker towards the dead man himself. The deep rose-colour exhibits affection towards both the dead and the living, while the upper part of the cone and the stars which rise from it testify to the feeling aroused within the thinker by the consideration of the subject of death, the blue expressing its devotional aspect, while the violet shows the thought of, and the power to respond to, a noble ideal, and the golden stars denote the spiritual aspirations which its contemplation calls forth. The band of clear yellow which is seen in the centre of this thought-form is very significant, as indicating that the man's whole attitude is based upon and prompted by his intellectual comprehension of the situation, and this is also shown by the regularity of the arrangement of the colours and the definiteness of the lines of demarcation between them.

The comparison between the two illustrations shown in this plate is surely a very impressive testimony to the value of the knowledge given by the theosophical teaching. Undoubtedly this knowledge of the truth takes away all fear of death, and makes life easier to live because we understand its object and its end, and we realise that death is a perfectly natural incident in its course, a necessary step in our evolution. This ought to be universally known among Christian nations, but it is not, and therefore on this point, as on so many others, Theosophy has a gospel for the Western world. It has to announce that there is no gloomy impenetrable abyss beyond the grave, but instead of that a world of life and light which may be known to us as clearly and fully and accurately as this physical world in which we live now. We have created the gloom and the horror for ourselves, like children who frighten themselves with ghastly stories, and we have only to study the facts of the case, and all these artificial clouds will roll away at once. We have an evil heredity behind us in this matter, for we have inherited all kinds of funereal horrors from our forefathers, and so we are used to them, and we do not see the absurdity and the monstrosity of them. The ancients were in this respect wiser than we, for they did not associate all this phantasmagoria of gloom with the death of the body--partly perhaps because they had a much more rational method of disposing of the body--a method which was not only infinitely better for the dead man and more healthy for the living, but was also free from the gruesome suggestions connected with slow decay. They knew much more about death in those days, and because they knew more they mourned less.

_On Meeting a Friend._--Fig. 35 gives us an example of a good, clearly-defined and expressive thought-form, with each colour well marked off from the others. It represents the feeling of a man upon meeting a friend from whom he has been long separated. The convex surface of the crescent is nearest to the thinker, and its two arms stretch out towards the approaching friend as if to embrace him. The rose colour naturally betokens the affection felt, the light green shows the depth of the sympathy which exists, and the clear yellow is a sign of the intellectual pleasure with which the creator of the thought anticipates the revival of delightful reminiscences of days long gone by.

_The Appreciation of a Picture._--In Fig. 36 we have a somewhat complex thought-form representing the delighted appreciation of a beautiful picture upon a religious subject. The strong pure yellow marks the beholder's enthusiastic recognition of the technical skill of the artist, while all the other colours are expressions of the various emotions evoked within him by the examination of so glorious a work of art. Green shows his sympathy with the central figure in the picture, deep devotion appears not only in the broad band of blue, but also in the outline of the entire figure, while the violet tells us that the picture has raised the man's thought to the contemplation of a lofty ideal, and has made him, at least for the time, capable of responding to it. We have here the first specimen of an interesting class of thought-forms of which we shall find abundant examples later--that in which light of one colour shines out through a network of lines of some quite different hue. It will be noted that in this case from the mass of violet there rise many wavy lines which flow like rivulets over a golden plain; and this makes it clear that the loftiest aspiration is by no means vague, but is thoroughly supported by an intellectual grasp of the situation and a clear comprehension of the method by which it can be put into effect.

FORMS SEEN IN THOSE MEDITATING

_Sympathy and Love for all._--Hitherto we have been dealing chiefly with forms which are the expression of emotion, or of such thought as is aroused within the mind by external circumstances. We have now to consider some of those caused by thoughts which arise from within--forms generated during meditation--each being the effect produced by a conscious effort on the part of the thinker to form a certain conception, or to put himself into a certain attitude. Naturally such thoughts are definite, for the man who trains himself in this way learns how to think with clearness and precision, and the development of his power in this direction shows itself in the beauty and regularity of the shapes produced. In this case we have the result of an endeavour on the part of the thinker to put himself into an attitude of sympathy and love towards all mankind, and thus we have a series of graceful lines of the luminous green of sympathy with the strong roseate glow of affection shining out between them (Fig. 37). The lines are still sufficiently broad and wide apart to be easily drawn; but in some of the higher examples of thought-forms of this type the lines are so fine and so close that no human hand can represent them as they really are. The outline of this thought-form is that of a leaf, yet its shape and the curve of its lines are more suggestive of a certain kind of shell, so that this is another example of the approximation to forms seen in physical nature which we noted in commenting upon Fig. 16.

_An Aspiration to Enfold all._--In Fig. 38 we have a far more developed example of the same type. This form was generated by one who was trying, while sitting in meditation, to fill his mind with an aspiration to enfold all mankind in order to draw them upward towards the high ideal which shone so clearly before his eyes. Therefore it is that the form which he produces seems to rush out from him, to curve round upon itself, and to return to its base; therefore it is that the marvellously fine lines are drawn in lovely luminous violet, and that from within the form there shines out a glorious golden light which it is unfortunately quite impossible to reproduce. For the truth is that all these apparently intricate lines are in reality only one line circling round the form again and again with unwearied patience and wonderful accuracy. It is scarcely possible that any human hand could make such a drawing as this on this scale, and in any case the effect of its colours could not be shown, for it will be seen by experiment that if an attempt be made to draw fine violet lines close together upon a yellow background a grey effect at once appears, and all likeness to the original is destroyed. But what cannot be done by hand may sometimes be achieved by the superior accuracy and delicacy of a machine, and it is in this way that the drawing was made from which our illustration is reproduced,--with some attempt to represent the colour effect as well as the wonderful delicacy of the lines and curves.

_In the Six Directions._--The form represented in Fig. 39 is the result of another endeavour to extend love and sympathy in all directions--an effort almost precisely similar to that which gave birth to Fig. 37, though the effect seems so different. The reasons for this variety and for the curious shape taken in this case constitute a very interesting illustration of the way in which thought-forms grow. It will be seen that in this instance the thinker displays considerable devotional feeling, and has also made an intellectual effort to grasp the conditions necessary for the realisation of his wishes, and the blue and yellow colours remain as evidence of this. Originally this thought-form was circular, and the dominant idea evidently was that the green of sympathy should be upon the outside, facing in all directions, as it were, and that love should lie at the centre and heart of the thought and direct its outgoing energies. But the maker of this thought-form had been reading Hindu books, and his modes of thought had been greatly influenced by them. Students of Oriental literature will be aware that the Hindu speaks, not of four directions (north, east, south, and west), as we do, but always of six, since he very sensibly includes the zenith and the nadir. Our friend was imbued from his reading with the idea that he should pour forth his love and sympathy "in the six directions"; but since he did not accurately understand what the six directions are, he directed his stream of affection towards six equidistant points in his circle. The outrushing streams altered the shape of the outlying lines which he had already built up, and so instead of having a circle as a section of his thought-form, we have this curious hexagon with its inward-curving sides. We see thus how faithfully every thought-form records the exact process of its upbuilding, registering ineffaceably even the errors of its construction.

_An Intellectual Conception of Cosmic Order._--In Fig. 40 we have the effect of an attempt to attain an intellectual conception of cosmic order. The thinker was obviously a Theosophist, and it will be seen that when he endeavours to think of the action of spirit upon matter he instinctively follows the same line of symbolism as that depicted in the well-known seal of the Society. Here we have an upward-pointing triangle, signifying the threefold aspect of the Spirit, interlaced with the downward-pointing triangle, which indicates matter with its three inherent qualities. Usually we represent the upward triangle in white or gold, and the downward-pointing one in some darker hue such as blue or black, but it is noteworthy that in this case the thinker is so entirely occupied with the intellectual endeavour, that no colour but yellow is exhibited within the form. There is no room as yet for emotions of devotion, of wonder, or of admiration; the idea which he wishes to realise fills his mind entirely, to the exclusion of all else. Still the definiteness of the outline as it stands out against its background of rays shows that he has achieved a high measure of success.

_The Logos as manifested in Man._--We are now coming to a series of thoughts which are among the very highest the human mind can form, when in meditation upon the divine source of its being. When the man in reverent contemplation tries to raise his thought towards the LOGOS of our solar system, he naturally makes no attempt to image to himself that august Being; nor does he think of Him as in any way possessing such form as we can comprehend. Nevertheless such thoughts build forms for themselves in the matter of the mental plane; and it will be of interest for us to examine those forms. In our illustration in Fig. 41 we have a thought of the LOGOS as manifested in man, with the devotional aspiration that He may thus be manifested through the thinker. It is this devotional feeling which gives the pale blue tinge to the five-pointed star, and its shape is significant, since it has been employed for many ages as a symbol of God manifest in man. The thinker may perhaps have been a Freemason, and his knowledge of the symbolism employed by that body may have had its share in the shaping of the star. It will be seen that the star is surrounded by bright yellow rays shining out amidst a cloud of glory, which denotes not only the reverential understanding of the surpassing glory of the Deity, but also a distinct intellectual effort in addition to the outpouring of devotion.

_The Logos pervading all._--Our next three Figures are devoted to the effort to represent a thought of a very high type--an endeavour to think of the LOGOS as pervading all nature. Here again, as in Fig. 38, it is impossible to give a full reproduction, and we must call upon our readers for an effort of the imagination which shall to some extent supplement the deficiencies of the arts of drawing and printing. The golden ball depicted in Fig. 42 must be thought of as inside the other ball of delicate lines (blue in colour) which is drawn in Fig. 44. Any effort to place the colours in such intimate juxtaposition on the physical plane results simply in producing a green blur, so that the whole character of the thought-form is lost. It is only by means of the machine before mentioned that it is at all possible to represent the grace and the delicacy of the lines. As before, a single line produces all the wonderful tracery of Fig. 44, and the effect of the four radiating lines making a sort of cross of light is merely due to the fact that the curves are not really concentric, although at first sight they appear to be so.

_Another Conception._--Fig. 45 exhibits the form produced by another person when trying to hold exactly the same thought. Here also we have an amazing complexity of almost inconceivably delicate blue lines, and here also our imagination must be called upon to insert the golden globe from Fig. 42, so that its glory may shine through at every point. Here also, as in Fig. 44, we have that curious and beautiful pattern, resembling somewhat the damascening on ancient Oriental swords, or that which is seen upon watered silk or _moire antique_. When this form is drawn by the pendulum, the pattern is not in any way intentionally produced, but simply comes as a consequence of the crossing of the innumerable microscopically fine lines. It is evident that the thinker who created the form upon Fig. 44 must have held in his mind most prominently the unity of the LOGOS, while he who generated the form in Fig. 45 has as clearly in mind the subordinate centres through which the divine life pours forth, and many of these subordinate centres have accordingly represented themselves in the thought-form.

_The Threefold Manifestation._--When the form employed in Fig. 46 was made, its creator was endeavouring to think of the LOGOS in His threefold manifestation. The vacant space in the centre of the form was a blinding glow of yellow light, and this clearly typified the First Aspect, while the Second was symbolised by the broad ring of closely-knitted and almost bewildering lines which surround this centre, while the Third Aspect is suggested by the narrow outer ring which seems more loosely woven. The whole figure is pervaded by the usual golden light gleaming out between the lines of violet.

_The Sevenfold Manifestation._--In all religions there remains some tradition of the great truth that the LOGOS manifests Himself through seven mighty channels, often regarded as minor Logoi or great planetary Spirits. In the Christian scheme they appear as the seven great archangels, sometimes called the seven spirits before the throne of God. The figure numbered 47 shows the result of the effort to meditate upon this method of divine manifestation. We have the golden glow in the centre, and also (though with lesser splendour) pervading the form. The line is blue, and it draws a succession of seven graceful and almost featherlike double wings which surround the central glory and are clearly intended as a part of it. As the thought strengthens and expands, these beautiful wings change their colour to violet and become like the petals of a flower, and overlap one another in an intricate but exceedingly effective pattern. This gives us a very interesting glimpse into the formation and growth of these shapes in higher matter.

_Intellectual Aspiration._--The form depicted in Fig. 43 bears a certain resemblance to that in Fig. 15; but, beautiful as that was, this is in reality a far higher and grander thought, and implies much more advanced development on the part of the thinker. Here we have a great clear-cut spear or pencil of the pure pale violet which indicates devotion to the highest ideal, and it is outlined and strengthened by an exceedingly fine manifestation of the noblest development of intellect. He who can think thus must already have entered upon the Path of Holiness, for he has learnt how to use the power of thought to very mighty effect. It will be noted that in both the colours there is a strong admixture of the white light which always indicates unusual spiritual power.

Surely the study of these thought-forms should be a most impressive object-lesson, since from it we may see both what to avoid and what to cultivate, and may learn by degrees to appreciate how tremendous is our responsibility for the exercise of this mighty power. Indeed it is terribly true, as we said in the beginning, that thoughts are things, and puissant things; and it behoves us to remember that every one of us is generating them unceasingly night and day. See how great is the happiness this knowledge brings to us, and how gloriously we can utilise it when we know of some one in sorrow or in suffering. Often circumstances arise which prevent us from giving physical help either by word or deed, however much we may desire to do so; but there is no case in which help by thought may not be given, and no case in which it can fail to produce a definite result. It may often happen that at the moment our friend may be too entirely occupied with his own suffering, or perhaps too much excited, to receive and accept any suggestion from without, but presently a time comes when our thought-form can penetrate and discharge itself, and then assuredly our sympathy will produce its due result. It is indeed true that the responsibility of using such a power is great, yet we should not shrink from our duty on that account. It is sadly true that there are many men who are unconsciously using their thought-power chiefly for evil, yet this only makes it all the more necessary that those of us who are beginning to understand life a little should use it consciously, and use it for good. We have at our command a never-failing criterion; we can never misuse this mighty power of thought if we employ it always in unison with the great divine scheme of evolution, and for the uplifting of our fellow-man.

HELPFUL THOUGHTS

The Figures numbered 48 to 54 were the results of a systematic attempt to send helpful thought by the friend who has furnished us with the sketches. A definite time was given each day at a fixed hour. The forms were in some cases seen by the transmitter, but in all cases were perceived by the recipient, who immediately sent rough sketches of what was seen by the next post to the transmitter, who has kindly supplied the following notes with regard to them:--

"In the coloured drawings appended the blue features appear to have represented the more devotional element of the thought. The yellow forms accompanied the endeavour to communicate intellectual fortitude, or mental strength and courage. The rosy pink appeared when the thought was blended with affectionate sympathy. If the sender (A.) could formulate his thought deliberately at the appointed time, the receiver (B.) would report seeing a large clear form as in Figs. 48, 49, and 54. The latter persisted for some minutes, constantly streaming its luminous yellow 'message' upon B. If, however, A. was of necessity experimenting under difficulty--say walking out of doors--he would occasionally see his 'forms' broken up into smaller globes, or shapes, such as 50, 51, 52, and B. would report their receipt so broken up. In this way many details could be checked and compared as from opposite ends of the line, and the nature of the influence communicated offered another means of verification. Upon one occasion A. was disturbed in his endeavour to send a thought of the blue-pink connotation, by a feeling of anxiety that the nature of the pink element should not be misapprehended. The report of B. was that a well-defined globe as in Fig. 54 was first seen, but that this suddenly disappeared, being replaced by a moving procession of little light-green triangles, as in Fig. 53. These few drawings give but a slight idea of the varied flower-like and geometric forms seen, while neither paint nor crayon-work seems capable of representing the glowing beauty of their living colours."

FORMS BUILT BY MUSIC