Thought Forms
by
Annie Besant and C. W. Leadbeater
THE THEOSOPHICAL PUBLISHING HOUSE
Adyar, Madras, India • Wheaton,
Illinois, USA
FOREWORD
THE text of this little book is the joint
work of Mr. Leadbeater and myself. The drawing and painting of the thought-forms
observed by Mr. Leadbeater or by myself, or by both of us together, has been
done by three friends—Mr. John Varley, Mr. Prince and Miss Macfarlane, to each
of whom we tender our cordial thanks. To paint in earth's dull colors the forms
clothed in the living light of other worlds is a hard and thankless task; so
much the more gratitude is due to those who have attempted it. They needed
colored fire, and had only ground earths. We have also to thank Mr. F. Bligh
Bond for allowing us to use his essay on Vibration Figures, and some of his
exquisite drawings. Another friend, who sent us some notes and a few drawings,
insists on remaining anonymous, so we can only send our thanks to him with
similar anonymity.
It is our earnest hope—as it is our
belief—that this little book will serve as a striking moral lesson to every
reader, making him realize the nature and power of his thoughts, acting as a
stimulus to the noble, a curb on the base. With this belief and hope we send it
on its way.
ANNIE BESANT
CONTENTS
FOREWORD |
vii |
INTRODUCTION |
1 |
THE DIFFICULTY OF
REPRESENTATION |
6 |
THE TWO EFFECTS
OF THOUGHT |
11 |
HOW THE VIBRATION
ACTS |
13 |
THE FORM AND ITS
EFFECTS |
15 |
THE MEANING OF
THE COLOR |
22 |
THREE CLASSES OF
THOUGHT-FORMS |
26 |
ILLUSTRATIVE
THOUGHT-FORMS |
31 |
AFFECTION |
31 |
DEVOTION |
35 |
INTELLECT |
39 |
ANGER |
42 |
SYMPATHY |
45 |
FEAR |
45 |
GREED |
46 |
VARIOUS
EMOTIONS |
47 |
FORMS SEEN IN
THOSE MEDITATING |
56 |
HELPFUL
THOUGHTS |
65 |
FORMS BUILT BY
MUSIC |
66 |
ILLUSTRATIONS
KEY TO THE MEANING OF
THE COLORS |
Frontispiece |
Chladni's sound
plate and sound forms |
F. 1-2 |
Voice-forms
|
F. 3 |
Pendulum
Vibration Figures |
F. 4-7 |
Vague pure
affection |
F. 8 |
Vague selfish
affection |
F. 9 |
Definite
affection |
F. 10 |
Radiating
affection |
F. 11 |
Peace and
Protection |
F, 12 |
Grasping animal
affection |
F. 13 |
Vague religious
feeling |
F. 14 |
Upward rush of
devotion |
F. 15 |
Self-renunciation
|
F. 16 |
The response to
devotion |
F. 17 |
Vague
intellectual pleasure |
F. 18 |
Vague sympathy
|
F. 18a |
The intention to
know |
F. 19 |
High ambition
|
F. 20 |
Selfish ambition
|
F. 21 |
Murderous rage
and sustained anger |
F. 22-23 |
Explosive anger
|
F. 24 |
Watchful and
angry jealousy |
F. 25-26 |
Sudden fright
|
F. 27 |
Selfish greed
|
F. 28 |
Greed for drink
|
F. 29 |
At a shipwreck
|
F. 30 |
On the first
night |
F. 31 |
The gamblers
|
F. 32 |
At a street
accident |
F. 33 |
At a funeral
|
F. 34 |
On meeting a
friend |
F. 35 |
The appreciation
of a picture |
F. 36 |
Sympathy and love
for all |
F. 37 |
An aspiration to
enfold all |
F. 38 |
In the six
directions |
F. 39 |
An intellectual
conception of cosmic order |
F. 40 |
The Logos as
manifested in man |
F. 41 |
The Logos
pervading all |
F. 42 |
Intellectual
aspiration |
F. 43 |
Another
conception of the same thought |
F. 44-45 |
The threefold
manifestation |
F. 46 |
The sevenfold
manifestation |
F. 47 |
Helpful thoughts
|
F. 48-50; 51-54 |
Mendelssohn
|
Plate " M " |
Gounod
|
Plate "G" |
Wagner
|
Plate "W" |
|
KEY TO THE MEANING OF THE COLORS - Frontispiece
|
|
|
|
Chladni's sound plate and
sound forms (F. 1)
|
Chladni's sound plate and
sound forms (F.2)
|
Voice-forms (F. 3)
|
|
|
|
Pendulum Vibration
Figures (F. 4)
|
Pendulum Vibration
Figures (F. 5)
|
Pendulum Vibration
Figures (F. 6)
|
|
|
|
Pendulum Vibration
Figures (F. 7)
|
Vague pure affection (F.
8)
|
Vague selfish affection
(F. 9)
|
|
|
|
Definite affection (F.
10)
|
Radiating affection (F.
11)
|
Peace and Protection (F, 12) |
|
|
|
Grasping animal affection
(F. 13)
|
Vague religious feeling
(F. 14)
|
Upward rush of devotion
(F. 15)
|
|
|
|
Self-renunciation (F. 16)
|
The response to devotion
(F. 17)
|
Vague intellectual
pleasure (F. 18)
|
|
|
|
Vague sympathy (F. 18a)
|
The intention to know (F.
19)
|
High ambition (F. 20)
|
|
|
|
Selfish ambition (F. 21)
|
Murderous rage (F. 22)
|
Sustained anger (F.23)
|
|
|
|
Explosive anger (F. 24)
|
Watchful jealousy (F.25)
|
Angry jealousy (F.26)
|
|
|
|
Sudden fright (F. 27)
|
Selfish greed (F. 28)
|
Greed for drink (F. 29)
|
|
|
|
At a shipwreck (F. 30)
|
On the first night (F.
31)
|
The gamblers (F. 32)
|
|
|
|
At a street accident (F.
33)
|
At a funeral (F. 34)
|
On meeting a friend (F.
35)
|
|
|
The appreciation of a
picture (F. 36)
|
Sympathy and love for all
(F. 37)
|
|
|
|
In the six directions (F.
39)
|
An aspiration to enfold
all (F. 38)
|
An intellectual
conception of cosmic order (F. 40)
|
|
|
|
The Logos as manifested
in man (F. 41)
|
The Logos pervading all
(F. 42)
|
Intellectual aspiration
(F. 43)
|
|
|
|
Another conception of the
same thought (F. 44)
|
Another conception of the
same thought (F. 45)
|
The threefold
manifestation (F. 46)
|
|
|
|
The sevenfold
manifestation (F. 47)
|
Helpful thoughts (F. 48)
|
Helpful thoughts (F. 49)
|
|
|
|
Helpful thoughts (F.50)
|
Helpful thoughts (F.51)
|
Helpful thoughts (F.52)
|
|
|
Helpful thoughts (F.53)
|
Helpful thoughts (F.54)
|
|
|
|
Mendelssohn (Plate"M")
|
Gounod ( Plate "G")
|
Wagner ( Plate "W")
|
INTRODUCTION
1.
As knowledge increases, the attitude of science toward the things of the
invisible world is undergoing considerable modification. Its attention is no
longer directed solely to the earth with all its variety of objects, or to the
physical worlds around it; but it finds itself compelled to glance further
afield, and to construct hypotheses as to the nature of the matter and force
which lie in the regions beyond the ken of its instruments. The fact is that
science has pressed its researches so far, has used such rare ingenuity in its
questionings of nature, has shown such tireless patience in its investigations,
that it is receiving the reward of those who seek, and forces and beings of the
next higher plane of nature are beginning to show themselves on the outer edge
of the physical field. " Nature makes no leaps ", and as the physicist nears the
confines of his kingdom he finds himself bewildered by touches and gleams from
another realm which interpenetrates his own. He finds himself compelled to
speculate on invisible presences, if only to find a rational explanation for
undoubted physical phenomena, and insensibly he slips over the boundary, and is,
although he does not yet realize it, contacting the astral plane.
2.
One of the most interesting of the high roads from the physical to the
astral is that of the study of thought. The Western scientist, commencing in the
anatomy and physiology of the brain, endeavours to make these the basis for a
sound psychology. He passes then into the region of dreams, illusions,
hallucinations; and as soon as he endeavors to elaborate an experimental science
which shall classify and arrange these, he inevitably plunges into the astral
plane. Dr. Baraduc of Paris has nearly crossed the barrier, and is well on the
way towards photographing astro-mental images, to obtaining pictures of what
from the materialistic standpoint would be the results of vibrations in the grey
matter of the brain.
3.
It has long been known to those who have given attention to the question
that impressions were produced by the reflection of ultra-violet rays from
objects not visible by the rays of the ordinary spectrum. Clairvoyants were
occasionally justified by the appearance on sensitive photographic plates of
figures seen and described by them as present with the sitter, though invisible
to physical sight. It is not possible for an unbiassed judgment to reject in
toto the evidence of such occurrences proffered by men of integrity on the
strength of their own experiments, often-times repeated. And now we have
investigators who turn their attention to the obtaining of images of subtle
forms, inventing methods specially designed with the view of reproducing them.
Among these, Dr. Baraduc seems to have been the most successful,1 and he has
published a volume dealing with his investigations and containing reproductions
of the photographs he has obtained. Dr. Baraduc states that he is investigating
the subtle forces by which the soul—defined as the intelligence working between
the body and the spirit—expresses itself, by seeking to record its movements by
means of a needle, its " luminous " but invisible vibrations by impressions on
sensitive plates. He shuts out by non-conductors electricity and heat. We can
pass over his experiments in Biometry (measurement of life by movements), and
glance at those in Iconography—the impressions of invisible waves, regarded by
him as of the nature of light, in which the soul draws its own image. A number
of these photographs represent etheric and magnetic results of physical
phenomena, and these again we may pass over as not bearing on our special
subject, interesting as they are in themselves. Dr. Baraduc obtained various
impressions by strongly thinking of an object, the effect produced by the
thought-form appearing on a sensitive plate; thus he tried to project a portrait
of a lady (then dead) whom he had known, and produced an impression due to his
thought of a drawing he had made of her on her deathbed. He quite rightly says
that the creation of an object is the passing out of an image from the mind and
its subsequent materialization, and he seeks the chemical effect caused on
silver salts by this thought-created picture. One striking illustration , 1 In
1901. is that of a force raying outward, the projection of an earnest prayer.
Another prayer is seen producing forms like the fronds of a fern, another like
rain pouring upwards, if the phrase may be permitted. A rippled oblong mass is
projected by three persons thinking of their unity in affection. A young boy
sorrowing over and caressing a dead bird is surrounded by a flood of curved
interwoven threads of emotional disturbance. A strong vortex is formed by a
feeling of deep sadness. Looking at this most interesting and suggestive series,
it is clear that in these pictures that which is obtained is not the
thought-image, but the effect caused in etheric matter by its vibrations, and it
is necessary to see clairvoyantly the thought in order to understand the results
produced. In fact, the illustrations are instructive for what they do not show
directly, as well as for the images that appear.
4.
It may be useful to put before students, a little more plainly than has
hitherto been done, some of the facts in nature which will render more
intelligible the results at which Dr. Baraduc is arriving. Necessarily imperfect
these must be, a physical photographic camera and sensitive plates not being
ideal instruments for astral research; but, as will be seen from the above, they
are most interesting and valuable as forming a link between clairvoyant and
physical scientific investigations.
5.
At the present time observers outside the Theo-sophical Society are
concerning themselves with the fact that emotional changes show their nature by
changes of color in the cloud-like ovoid, or aura, that encompasses all living
beings. A medical specialist 1 has collected a large number of cases in which
the color of the aura of persons of various types and temperaments is recorded
by him. His results resemble closely those arrived at by clairvoyant
Theosophists and others, and the general unanimity on the subject is sufficient
to establish the fact, if the evidence be judged by the usual canons applied to
human testimony. The book Man Visible and Invisible2 dealt with the general
subject of the aura. The present little volume, written by the author of Man
Visible and Invisible, and a theosophical colleague, is intended to carry the
subject further; and it is believed that this study is useful, as impressing
vividly on the mind of the student the power and living nature of thought and
desire, and the influence exerted by them on all whom they reach.
6.
1 Dr. Hooker, London.
7.
2 Quest Book, The Theosophical Publishing House, Wheaton, 111.
8.
THE DIFFICULTY OF REPRESENTATION
9.
WE have often heard it said that thoughts are things, and there are many
among us who are persuaded of the truth of this statement. Yet very few of us
have any clear idea as to what kind of thing a thought is, and the object of
this book is to help us to conceive this.
10.
There are some serious difficulties in our way, for our conception of
space is limited to three dimensions, and when we attempt to make a drawing we
practically limit ourselves to two. In reality the presentation even of ordinary
three-dimensional objects is seriously defective, for scarcely a line or angle
in our drawing is accurately shown. If a road crosses the picture, the part in
the foreground must be represented as enormously wider than that in the
background, although in reality the width is unchanged. If a house is to be
drawn, the right angles at its corners must be shown as acute or obtuse as the
case may be, but hardly ever as they actually are. In fact, we draw everything
not as it is but as it appears, and the effort of the artist is by a skilful
arrangement of lines upon a flat surface to convey to the eye an impression
which shall recall that made by a three-dimensional object.
11.
It is possible to do this only because similar objects are already
familiar to those who look at the picture and accept the suggestion which it
conveys. A person who had never seen a tree could form but little idea of one
from even the most skilful painting. If to this difficulty we add the other and
far more serious one of a limitation of consciousness, and suppose ourselves to
be showing the picture to a being who knew only two dimensions, we see how
utterly impossible it would be to convey to him any adequate impression of such
a landscape as we see. Precisely this difficulty in its most aggravated form
stands in our way, when we try to make a drawing of even a very simple
thought-form. The vast majority of those who look at the picture are absolutely
limited to the consciousness of three dimensions, and furthermore, have not the
slightest conception of that inner world to which thought-forms belong, with all
its splendid light and color. All that we can do at the best is to represent a
section of the thought-form; and those whose faculties enable them to see the
original cannot but be disappointed with any reproduction of it. Still, those
who are at present unable to see anything will gain at least a partial
comprehension, and however inadequate it may be it is at least better than
nothing.
12.
What is called the aura of man is the outer part of the cloud-like
substance of his higher bodies, interpenetrating each other, and extending
beyond the confines of his physical body, the smallest of all. Two of these
bodies, the mental and desire bodies, are those chiefly concerned with the
appearance of what are called thought-forms.
13.
Man, the thinker, is clothed in a body composed of innumerable
combinations of the subtle matter of the mental plane, this body being more or
less refined in its constituents and organized more or less fully for its
functions, according to the stage of intellectual development at which the man
himself has arrived. The mental body is an object of great beauty, the delicacy
and rapid motion of its particles giving it an aspect of living iridescent
light, and this beauty becomes an extraordinarily radiant and entrancing
loveliness as the intellect becomes more highly evolved and is employed chiefly
on pure and sublime topics. Every thought gives rise to a set of correlated
vibrations in the matter of this body, accompanied with a marvellous play of
color, like that in the spray of a waterfall as the sunlight strikes it, raised
to the nih degree of color and vivid delicacy. The body under this impulse
throws off a vibrating portion of itself, shaped by the nature of the
vibrations—as figures are made by sand on a disk vibrating to a musical note—and
this gathers from the surrounding atmosphere matter like itself in fineness from
the elemental essence of the mental world. We have then a thought-form pure and
simple, and it is a living entity of intense activity animated by the one idea
that generated it. If made of the finer kinds of matter, it will be of great
power and energy, and may be used as a most potent agent when directed by a
strong and steady will.
14.
When the man's energy flows outward toward external objects of desire, or
is occupied in passional and emotional activities, this energy works in a less
subtle order of matter than the mental, in that of the astral world. What is
called his desire-body is composed of this matter, and it forms the most
prominent part of the aura in the undeveloped man. Where the man is of a gross
type, the desire-body is of the denser matter of the astral plane, and is dull
in hue, browns and dirty greens and reds playing a great part in it. Through
this will flash various characteristic colors, as his passions are excited. A
man of a higher type has his desire-body composed of the finer qualities of
astral matter, with the colors, rippling over and flashing through it, fine and
clear in hue. While less delicate and less radiant than the mental body, it
forms a beautiful object, and as selfishness is eliminated all the duller and
heavier shades disappear.
15.
The desire (or astral) body gives rise to a second class of entities,
similar in their general constitution to the thought-forms already described,
but limited to the astral plane, and generated by the mind under the dominion of
the animal nature.
16.
These are caused by the activity of the lower mind, throwing itself out
through the astral body—the activity of kama-manas in theosophical terminology,
or the mind dominated by desire. Vibrations in the body of desire are in this
case set up and under these this body throws off a vibrating portion of itself,
shaped, as in the previous case, by the nature of the vibrations, and this
attracts to itself some of the appropriate elemental essence of the astral
world. Such a thought-form has for its body this elemental essence, and for its
animating soul the desire or passion which threw it forth; according to the
amount of mental energy combined with this desire or passion, will be the force
of the thought-form. These, like those belonging to the mental plane, are called
artificial elementals, and they are by far the most common, as few thoughts of
ordinary men and women are untinged with desire, passion, or emotion.
17.
THE TWO EFFECTS OF THOUGHT
18.
EACH definite thought produces a double effect—a radiating vibration and
a floating form. The thought itself appears first to clairvoyant sight as a
vibration in the mental body, and this may be either simple or complex. If the
thought itself is absolutely simple, there is only the one rate of vibration,
and only one type of mental matter will be strongly affected. The mental body
is composed of matter of several degrees of density, which we commonly arrange
in classes according to the sub-planes. Of each of these we have many
sub-divisions, and if we typify these by drawing horizontal lines to
indicate the different degrees of density, there is another arrangement which
we might symbolize by drawing perpendicular lines at right angles to the others,
to denote types which differ in quality as well as in density. There are thus
many varieties of this mental matter, and it is found that each one of these has
its own especial and appropriate rate of vibration, to which it seems most
accustomed, so that it very readily responds to it, and tends to return to it as
soon as possible when it has been forced away from it by some strong rush of
thought or feeling. When a sudden wave of some emotion sweeps over a man, for
example, his astral body is thrown into violent agitation, and its original
colors are for the time almost obscured by the flush of carmine, of blue, or of
scarlet which corresponds with the rate of vibration of that particular emotion.
This change is only temporary; it passes off in a few seconds, and the astral
body rapidly resumes its usual condition. Yet every such rush of feeling
produces a permanent effect: it always adds a little of its hue to the normal
coloring of the astral body, so that every time that the man yields himself to a
certain emotion it becomes easier for him to yield himself to it again, because
his astral body is getting into the habit of vibrating at that especial rate.
19.
The majority of human thoughts, however, are by no means simple.
Absolutely pure affection of course exists; but we very often find it tinged
with pride or with selfishness, with jealousy or with animal passion. This means
that at least two separate vibrations appear both in the mental and astral
bodies—frequently more than two. The radiating vibration, therefore, will be a
complex one, and the resultant thought-form will show several colors instead of
only one.
20.
HOW THE VIBRATION ACTS
21.
THESE radiating vibrations, like all others in nature, become less
powerful in proportion to the distance from their source, though it is probable
that the variation is in proportion to the cube of the distance instead of to
the square, because of the additional dimension involved. Again, like all other
vibrations, these tend to reproduce themselves whenever opportunity is offered
to them; and so whenever they strike upon another mental body they tend to
provoke in it their own rate of motion. That is—from the point of view of the
man whose mental body is touched by these waves—they tend to produce in his mind
thoughts of the same type as that which had previously arisen in the mind of the
thinker who sent forth the waves. The distance to which such thought-waves
penetrate, and the force and persistency with which they impinge upon the mental
bodies of others, depend upon the strength and clearness of the original
thought. In this way the thinker is in the same position as the speaker. The
voice of the latter sets in motion waves of sound in the air which radiate from
him in all directions, and convey his message to all those who are within
hearing, and the distance to which his voice can penetrate depends upon its
power and upon the clearness of his enunciation. In just the same way the
forceful thought will carry very much further than the weak and undecided
thought; but clearness and definiteness are of even greater importance than
strength. Again, just as the speaker's voice may fall upon heedless ears where
men are already engaged in business or in pleasure, so may a mighty wave of
thought sweep past without affecting the mind of the man, if he be already
deeply engrossed in some other line of thought.
22.
It should be understood that this radiating vibration conveys the
character of the thought, but not its subject. If a Hindu sits rapt in devotion
to Krishna, the waves of feeling which pour forth from him stimulate devotional
feeling in all those who come under their influence, though in the case of the
Muham-madan that devotion is to Allah, while for the Zoroas-trian it is to
Ahuramazda, or for the Christian to Jesus. A man thinking keenly upon some high
subject pours out from himself vibrations which tend to stir up thought at a
similar level in others, but they in no way suggest to those others the special
subject of his thought. They naturally act with special vigour upon those minds
already habituated to vibrations of similar character; yet they have some effect
on every mental body upon which they impinge, so that their tendency is to
awaken the power of higher thought in those to whom it has not yet become a
custom. It is thus evident that every man who thinks along high lines is doing
missionary work, even though he may be entirely unconscious of it.
23.
THE FORM AND ITS EFFECT
24.
LET us turn now to the second effect of thought, the creation of a
definite form. Students of the occult are acquainted with the idea of the
elemental essence, that strange half-intelligent life which surrounds us in all
directions, vivifying the matter of the mental and astral planes. This matter
thus animated responds very readily to the influence of human thought, and every
impulse sent out, either from the mental body or from the astral body of man,
immediately clothes itself in a temporary vehicle of this vitalized matter. Such
a thought or impulse becomes for the time a kind of living creature, the
thought-force being the soul, and the vivified matter the body. Instead of using
the somewhat clumsy paraphrase, " astral or mental matter ensouled by the
monadic essence at the stage of one of the elemental kingdoms ", theosophical
writers often, for brevity's sake, call this quickened matter simply elemental
essence; and sometimes they speak of the thought-form as " an elemental ". There
may be infinite variety in the color and shape of such elementals or
thought-forms, for each thought draws round it the matter which is appropriate
for its expression, and sets that matter into vibration in harmony with its own;
so that the character of the thought decides its color, and the study of its
variations and combinations is an exceedingly interesting one.
25.
If the man's thought or feeling is directly connected with someone else,
the resultant thought-form moves towards that person and discharges itself upon
his astral and mental bodies. If the man's thought is about himself, or is based
upon a personal feeling, as the vast majority of thoughts are, it hovers round
its creator and is always ready to react upon him whenever he is for a moment in
a passive condition. For example, a man who yields himself to thoughts of
impurity may forget all about them while he is engaged in the daily routine of
his business, even though the resultant forms are hanging round him in a heavy
cloud, because his attention is otherwise directed and his astral body is
therefore not impressible by any other rate of vibration than its own. When,
however, the marked vibration slackens and the man rests after his labors and
leaves his mind blank as regards definite thought, he is very likely to feel the
vibration of impurity stealing insidiously upon him. If the consciousness of the
man be to any extent awakened, he may perceive this and cry out that he is being
tempted by the devil; yet the truth is that the temptation is from without only
in appearance, since it is nothing but the natural reaction upon him of his own
thought-forms. Each man travels through space enclosed within a case of his own
building, surrounded by a mass of the forms created by his habitual thoughts.
Through this medium he looks out upon the world, and naturally he sees
everything tinged with its predominant colors, and all rates of vibration which
reach him from without are more or less modified by its rate. Thus until the man
learns complete control of thought and feeling, he sees nothing as it really is,
since all his observations must be made through this medium, which distorts and
colors everything like badly-made glass.
26.
If the thought-form be neither definitely personal nor specially aimed at
someone else, it simply floats detached in the atmosphere, all the time
radiating vibrations similar to those originally sent forth by its creator. If
it does not come into contact with any other mental body, this radiation
gradually exhausts its store of energy, and in that case the form falls to
pieces; but if it succeeds in awakening sympathetic vibration in any mental body
near at hand, an attraction is set up, and the thought-form is usually absorbed
by that mental body. Thus we see that the-influence of the thought-form is by no
means so far-reaching as that of the original vibration; but in so far as it
acts, it acts with much greater precision. What it produces in the mind-body
which it influences is not merely a thought of an order similar to that which
gave it birth; it is actually the same thought. The radiation may affect
thousands and stir up in them thoughts on the same level as the original, and
yet it may happen that no one of them will be identical with that original; the
thought-form can affect only very few, but in those few cases it will reproduce
exactly the initiatory idea.
27.
The fact of the creation by vibrations of a distinct form, geometrical or
other, is familiar to every student of acoustics.
28.
A sound plate (fig. 1) is made of brass or plate-glass. Grains of fine
sand are scattered over the
29.
surface, and the edge of the plate is bowed. The sand is thrown up into
the air by the vibration of the plate, and re-falling on the plate is arranged
in regular lines (fig. 2). FIG. i By touching the edge of the
plate at different points when it is bowed, different notes and hence varying
forms, are obtained (fig. 3). If the figures here given are compared with those
obtained from the human voice, many likenesses will be observed. The shapes
pictured are due to the interplay of the vibrations that create them. Two or
more simultaneous motions can be imparted to a pendulum, and by attaching a fine
drawing-pen to a lever connected with the pendulum its action may be exactly
traced. Substitute for the swing of the pendulum the vibrations set up in the
mental or astral body, and we have clearly before us the modus operandi of the
building of forms by vibrations.
30.
The following description is taken from a most interesting essay entitled
Vibration Figures, by F. Bligh Bond, F.R.I.B.A., who has drawn a number of
remarkable figures by the use of pendulums. The pendulum is suspended on knife
edges of hardened steel, and is free to swing only at right angles to the
knife-edge suspension. Four such pendulums may be coupled in pairs, swinging at
right angles to each other, by threads connecting the shafts of each pair of
pendulums with the ends of a light but rigid lath, from the center of which run
other threads; these threads carry the united movements of each pair of
pendulums to a light square of wood, suspended by a spring, and bearing a pen.
The pen is thus controlled by the combined movement of the four pendulums, and
this movement is registered on a drawing board by the pen. There is no limit,
theoretically, to the number of pendulums that can be combined in this manner.
The movements are rectilinear, but two rectilinear vibrations of equal amplitude
acting at right angles to each other generate a circle if they alternate
precisely, an ellipse if the alternations are less regular or the amplitudes
unequal. A cyclic vibration may also be obtained from a pendulum free to swing
in a rotary path. In these ways a most wonderful series of drawings have been
obtained, and the similarity of these to some of the thought-forms is
remarkable; they suffice to demonstrate how readily vibrations may be
transformed into figures. Thus compare fig. 4 with fig. 12, the mother's prayer;
or fig. 5 with fig. 10; or fig. 6 with fig. 25, the serpent-like darting forms.
Fig. 7 is added as an illustration of the complexity attainable. It seems to us
a most marvellous thing that some of the drawings, made apparently at random by
the use of this machine, should exactly correspond to higher types of
thought-forms created in meditation. We are sure that a wealth of significance
lies behind this fact, though it will need much further investigation before we
can say certainly all that it means. But it must surely imply this much—that, if
two forces on the physical plane bearing a certain ratio one to the other can
draw a form which exactly corresponds to that produced on the mental plane by a
complex thought, we may infer that that thought sets in motion on its own plane
two forces which are in the same ratio one to the other. What these forces are
and how they work remains to be seen; but if we are ever able to solve this
problem, it is likely that it will open to us a new and exceedingly valuable
field of knowledge.
31.
GENERAL PRINCIPLES
32.
Three general principles underlie the production of all thought-forms:
33.
Quality of thought determines color.
34.
Nature of thought determines form.
35.
Definiteness of thought determines clearness
36.
of outline.
37.
THE MEANING OF THE COLORS
38.
THE table of colors given in the frontispiece has been thoroughly
described in the book Man Visible and Invisible, and the meaning to be attached
to them is just the same in the thought-form as in the body out of which it is
evolved. For the sake of those who have not at hand the full description given
in the book just mentioned, it will be well to state that black means hatred and
malice. Red, of all shades from lurid brick-red to brilliant scarlet, indicates
anger; brutal anger will show as flashes of lurid red from dark brown clouds,
while the anger of " noble indignation " is a vivid scarlet, by no means
unbeautiful, though it gives an unpleasant thrill; a particularly dark and
unpleasant red, almost exactly the color called dragon's blood, shows animal
passion and sensual desire of various kinds. Clear brown (almost burnt sienna)
shows avarice; hard dull brown-grey is a sign of selfishness—a color which is
indeed painfully common; deep heavy grey signifies depression, while a livid
pale grey is associated with fear; grey-green is a signal of deceit, while
brownish-green (usually flecked with points and flashes of scarlet) betokens
jealousy. Green seems always to denote adaptability; in the lowest case, when
mingled with selfishness, this adaptability becomes deceit; at a later stage,
when the color becomes purer, it means rather the wish to be all things to all
men, even though it may be chiefly for the sake of becoming popular and bearing
a good reputation with them; in its still higher, more delicate and more
luminous aspect, it shows the divine power of sympathy. Affection expresses
itself in all shades of crimson and rose; a full clear carmine means a strong
healthy affection of normal type; if stained heavily with brown-grey, a selfish
and grasping feeling is indicated, while pure pale rose marks that absolutely
unselfish love which is possible only to high natures; it passes from the dull
crimson of animal love to the most exquisite shades of delicate rose, like the
early flushes of the dawning, as the love becomes purified from all selfish
elements, and flows out in wider and wider circles of generous impersonal
tenderness and compassion to all who are in need. With a touch of the blue of
devotion in it, this may express a strong realization of the universal
brotherhood of humanity. Deep orange imports pride or ambition, and the various
shades of yellow denote intellect or intellectual gratification, dull yellow
ochre implying the direction of such faculty to selfish purposes, while clear
gamboge shows a distinctly higher type, and pale luminous primrose yellow is a
sign of the highest and most unselfish use of intellectual power, the pure
reason directed to spiritual ends. The different shades of blue all indicate
religious feeling, and range through all hues from the dark brown-blue of
selfish devotion, or the pallid grey-blue of fetish-worship tinged with fear, up
to the rich deep clear color of heartfelt adoration, and the beautiful pale
azure of that highest form which implies self-renunciation and union with the
divine; the devotional thought of an unselfish heart is very lovely in color,
like the deep blue of a summer sky. Through such clouds of blue will often shine
out golden stars of great brilliancy, darting upwards like a shower of sparks. A
mixture of affection and devotion is manifested by a tint of violet, and the
more delicate shades of this invariably show the capacity of absorbing and
responding to a high and beautiful ideal. The brilliancy and the depth of the
colors are usually a measure of the strength and the activity of the feeling.
39.
Another consideration which must not be forgotten is the type of matter
in which these forms are generated. If a thought be purely intellectual and
impersonal—for example, if the thinker is attempting to solve a problem in
algebra or geometry—the thought-form and the wave of vibration will be confined
entirely to the mental plane. If, however, the thought be of a spiritual nature,
if it be tinged with love and aspiration or deep unselfish feeling, it will rise
upwards from the mental plane and will borrow much of the splendor and glory of
the buddhic level. In such a case its influence is exceedingly powerful, and
every such thought is a mighty force for good which cannot but produce a decided
effect upon all mental bodies within reach, if they contain any quality at all
capable of response.
40.
If, on the other hand, the thought has in it something of self or of
personal desire, at once its vibration turns downwards, and it draws round
itself a body of astral matter in addition to its clothing of mental matter.
Such a thought-form is capable of acting upon the astral bodies of other men as
well as their minds, so that it can not only raise thought within them, but can
also stir up their feelings.
41.
THREE CLASSES OF THOUGHT-FORMS
42.
FROM the point of view of the forms which they produce we may group
thought into three classes:
43.
That which takes the image of the thinker. When a man thinks of himself
as in some distant place, or wishes earnestly to be in that place, he makes, a
thought-form in his own image which appears there. Such a form has not
infrequently been seen by others, and has sometimes been taken for the astral
body or apparition of the man himself. In such a case, either the seer must
have enough of clairvoyance for the time to be able to observe that astral
shape, or the thought-form must have sufficient strength to materialize
itself—that is, to draw round itself temporarily a certain amount of physical
matter. The thought which generates such a form as this must necessarily be a
strong one, and it therefore employs a larger proportion of the matter of the
mental body, so that though the form is small and compressed when it leaves the
thinker, it draws round it a considerable amount of astral matter, and usually
expands to life-size before it appears at its destination.
44.
That which takes the image of some material object. When a man thinks
of his friend he forms within his mental body a minute image of that friend.
which often passes outward and usually floats suspended in the air before him.
In the same way if he thinks of a room, a house, a landscape, tiny images of
these things are formed within the mental body and afterwards externalized.
This is equally true when he is exercising his imagination; the painter who
forms a conception of his future picture builds it up out of the matter of his
mental body, and then projects it into space in front of him, keeps it before
his mind's eye, and copies it. The novelist in the same way builds images of
his characters in mental matter, and by the exercise of his will moves these
puppets from one position or grouping to another, so that the plot of his story
is literally acted out before him. With our curiously inverted conceptions of
reality it is hard for us to understand that these mental images actually
exist, and are so entirely objective that they may readily be seen by the
clairvoyant, and can even be rearranged by some one other than their creator.
Some novelists have been dimly aware of such a process, and have testified that
their characters when once created developed a will of their own, and insisted
on carrying the plot of the story along lines quite different from those
originally intended by the author. This has actually happened, sometimes because
the thought-forms were ensouled by playful nature-spirits, or more often because
some ' dead ' novelist, watching on the astral plane the development of the plan
of his fellow-author, thought that he could improve upon it, and chose this
method of putting forward his suggestions.
45.
That which takes a form entirely its own, expressing its inherent
qualities in the matter which it draws round it. Only thought-forms of this
third class can usefully be illustrated, for to represent those of the first or
second class would be merely to draw portraits or landscapes. In those types we
have the plastic mental or astral matter molded in imitation of forms belonging
to the physical plane; in this third group we have a glimpse of the forms
natural to the astral or mental planes. Yet this very fact, which makes them so
interesting, places an insuperable barrier in the way of their accurate
reproduction.
46.
Thought-forms of this third class almost invariably manifest themselves
upon the astral plane, as the vast majority of them are expressions of feeling
as well as of thought. Those of which we here give specimens are almost wholly
of that class, except that we take a few examples of the beautiful thought-forms
created in definite meditation by those who, through long practice, have learnt
how to think.
47.
Thought-forms directed towards individuals produce definitely marked
effects, these effects being either partially reproduced in the aura of the
recipient and so increasing the total result, or repelled from it. A thought of
love and of desire to protect, directed strongly towards some beloved object,
creates a form which goes to the person thought of, and remains in his aura as a
shielding and protecting agent; it will seek all opportunities to serve, and all
opportunities to defend, not by a conscious and deliberate action, but by a
blind following out of the impulse impressed upon it, and it will strengthen
friendly forces that impinge on the aura and weaken unfriendly ones. Thus may we
create and maintain veritable guardian angels round those we love, and many a
mother's prayer for a distant child thus circles round him, though she knows not
the method by which her " prayer is answered ".
48.
In cases in which good or evil thoughts are projected at individuals,
those thoughts, if they are to fulfil directly their mission, must find, in the
aura of the object to whom they are sent, materials capable of responding
sympathetically to their vibrations. Any combination of matter can only vibrate
within certain definite limits, and if the thought-form be outside all the
limits within which the aura is capable of vibrating, it cannot affect that aura
at all. It consequently rebounds from it, and that with a force proportionate to
the energy with which it impinged upon it. This is why it is said that a pure
heart and mind are the best protectors against any inimical assaults, for such a
pure heart and mind will construct an astral and a mental body of fine and
subtle materials, and these bodies cannot respond to vibrations that demand
coarse and dense matter. If an evil thought, projected with malefic intent,
strikes such a body, it can only rebound from it, and it is flung back with all
its own energy; it then flies backward along the magnetic line of least
resistance, that which it has just traversed, and strikes its projector; he,
having matter in his astral and mental bodies similar to that of the
thought-form he generated, is thrown into respondent vibrations, and suffers the
destructive effects he had intended to cause to another. Thus " curses (and
blessings) come home to roost ". So long as any of the coarser kinds of matter
connected with evil and selfish thoughts remain in a person's body, he is open
to attack from those who wish him evil, but when he has perfectly eliminated
these by self-purification his haters cannot injure him, and he goes on calmly
and peacefully amid all the darts of their malice. But it is bad for those who
shoot out such darts.
49.
Another point that should be mentioned before passing to the
consideration of our illustrations is that every one of the thought-forms here
given is drawn from life. They are not imaginary forms, prepared as some dreamer
thinks that they ought to appear; they are representations of forms actually
observed as thrown off by ordinary men and women, and either reproduced with all
possible care and fidelity by those who have seen them, or with the help of
artists to whom the seers have described them.
50.
For convenience of comparison thought-forms of a similar kind are grouped
together.
51.
ILLUSTRATIVE THOUGHT-FORMS
52.
AFFECTION
53.
Vague Pure Affection.—Fig. 8 is a revolving cloud of pure affection, and
except for its vagueness it represents a very good feeling. The person from whom
it emanates is happy and at peace with the world, thinking dreamily of some
friend whose very presence is a pleasure. There is nothing keen or strong about
the feeling, yet it is one of gentle well-being, and of an unselfish delight in
the proximity of those who are beloved. The feeling which gives birth to such a
cloud is pure of its kind, but there is in it no force capable of producing
definite results. An appearance by no means unlike this frequently surrounds a
gently purring cat, and radiates slowly outward from the animal in a series of
gradually enlarging concentric shells of rosy cloud, fading into invisibility at
a distance of a few feet from their drowsily contented creator.
54.
Vague Selfish Affection.—Fig. 9 shows us also a cloud of affection, but
this time it is deeply tinged with a far less desirable feeling. The dull hard
brown-grey of selfishness shows itself very decidedly among the carmine of love,
and thus we see that the affection which is indicated is closely connected with
satisfaction at favours already received, and with a lively anticipation of
others to come in the near future. Indefinite as was the feeling which produced
the cloud in Fig. 8, it was at least free from this taint of selfishness, and it
therefore showed a certain nobility of nature in its author. It would scarcely
be possible that these two clouds should emanate from the same person in the
same incarnation. Yet there is good in the man who generates this second cloud,
though as yet it is but partially evolved. A vast amount of the average
affection of the world is of this type, and it is only by slow degrees that it
develops towards the other and higher manifestation.
55.
Definite Affection.—Even the first glance at Fig. 10 shows us that here
we have to deal with something of an entirely different nature—something
effective and capable, something that will achieve a result. The color is fully
equal to that of Fig. 8 in clearness and depth and transparency, but what was
there a mere sentiment is in this case translated into emphatic intention
coupled with unhesitating action. Those who have seen the book Man Visible and
Invisible will recollect that in Plate XI of that volume is depicted the effect
of a sudden rush of pure unselfish affection as it showed itself in the astral
body of a mother, as she caught up her little child and covered it with kisses.
Various changes resulted from that sudden outburst of emotion; one of them was
the formation within the astral body of large crimson coils or vortices lined
with living light. Each of these is a thought-form of intense affection
generated as we have described, and almost instantaneously ejected towards the
object of the feeling. Fig. 10 depicts just such a thought-form after it has
left the astral body of its author, and is on its way towards its goal. It will
be observed that the almost circular form has changed into one somewhat
resembling a projectile or the head of a comet; and it will be easily understood
that this alteration is caused by its rapid forward motion. The clearness of the
color assures us of the purity of the emotion which gave birth to this
thought-form, while the precision of its outline is unmistakable evidence of
power and of vigorous purpose.
56.
Radiating Affection.—Fig. 11 gives us our first example of a thought-form
intentionally generated, since its author is making the effort to pour himself
forth in love to all beings. It must be remembered that all these forms are in
constant motion. This one, for example, is steadily widening out, though there
seems to be an exhaustless fountain welling up through the centre from a
dimension which we cannot represent. A sentiment such as this is so wide in its
application, that it is very difficult for any one not thoroughly trained to
keep it clear and precise. The thought-form here shown is, therefore, a very
creditable one, for it will be noted that all the numerous rays of the star are
free from vagueness.
57.
Peace and Protection.—Few thought-forms are more beautiful and expressive
than this which we see in
58.
Fig. 12. This is a thought of love and peace, protection and benediction,
sent forth by one who has the power and and has earned the right to bless. It is
not at all probable that in the mind of its creator there existed any thought of
its beautiful wing-like shape, though it is possible that some unconscious
reflection of far-away lessons of childhood about guardian angels who always
hovered over their charges may have had its influence in determining this.
However that may be, the earnest wish undoubtedly clothed itself in this
graceful and expressive outline, while the affection that prompted it gave to it
its lovely rose-colour, and the intellect which guided it shone forth like
sunlight as its heart and central support. Thus in sober truth we may make
veritable guardian angels to hover over and protect those whom we love, and many
an unselfish earnest wish for good produces such a form as this, though all
unknown to its creator.
59.
Grasping Animal Affection.—Fig. 13 gives us an instance of grasping
animal affection—if indeed such a feeling as this be deemed worthy of the august
name of affection at all. Several colors bear their share in the production of
its dull unpleasing hue, tinged as it is with the lurid gleam of sensuality, as
well as deadened with the heavy tint indicative of selfishness. Especially
characteristic is its form, for those curving hooks are never seen except when
there exists a strong craving for personal possession. It is regrettably evident
that the fabricator of this thought-form had no conception of the
self-sacrificing love which pours itself out in joyous service, never once
thinking of result or return; his thought has been, not " How much can I give?"
but "How much can I gain?" and so it has expressed itself in these re-entering
curves. It has not even ventured to throw itself boldly outward, as do other
thoughts, but projects half-heartedly from the astral body, which must be
supposed to be on the left of the picture. A sad travesty of the divine quality
of love; yet even this is a stage in evolution, and distinctly an improvement
upon earlier stages, as will presently be seen.
60.
DEVOTION
61.
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.
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.
62.
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 nebulosity in Fig. 14 and the virile vigor 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 color bears witness to his utter unselfishness.
63.
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.
64.
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 symbolize 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 water may be
said to be waiting to pour through the first pipe that may be opened.
65.
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 to a " special interposition of
Providence ", instead of to the unerring action of the great and immutable
divine law.
66.
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.
67.
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.
68.
INTELLECT
69.
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 color is
yellow instead of crimson or blue. Yellow in any of man's vehicles always
indicates intellectual capacity, but its shades vary 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 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 color 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 portrays 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 color.
70.
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. 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 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 color 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 color is no longer yellow, but resembles somewhat that
shown in Fig. 29 as expressing a craving for alcohol.
71.
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 color, 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.
72.
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.
73.
ANGER
74.
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. 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 color 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.
75.
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.
76.
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 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.
77.
Watchful and Angry Jealousy.—In Fig. 25 we see an interesting though
unpleasant thought-form. Its peculiar brownish-green color 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 symbolizes 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.
78.
SYMPATHY
79.
Vague Sympathy.—In Fig.18A we have another of the vague clouds, but this
time its green color 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.
80.
FEAR
81.
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. 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.
82.
GREED
83.
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. The thought-form may vary in color 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.
84.
Greed for Drink.—In Fig. 29 we have another variant of the same passion,
perhaps at an even more degraded level. Once more the hooked protrusions show
craving, while the color and the coarse mottled texture show the low and sensual
nature of the appetite. Sexual desires frequently show themselves in an exactly
similar manner. As men 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.
85.
VARIOUS EMOTIONS
86.
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. This
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.
87.
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 endeavoring in this way to overcome
her fear. This is indicated by the point of greyish-blue which lifts itself
hesitatingly upwards; the color 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 some possibility of regaining
self-control; the other is a slave to overwhelming emotion.
88.
A very striking contrast to the 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 arid 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.
89.
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 realization 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 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.
90.
The Gamblers.—-The forms shown in Fig. 32 were observed simultaneously at
a great gambling-house. 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 analyze it we find that its constituent parts and
colors 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, 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 better, as the suicide always does, since his action cuts him off
from the happiness and peace which usually follow death.
91.
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. Here
the outline is perfectly definite, and the man's resolution to persist in his
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 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.
92.
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 colors, 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.
93.
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 color 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 steeped in ignorance with
regard to super-physical life, the other had the advantage 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
94.
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.
95.
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 toward the dead man himself. The deep rose-color 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 this
situation, and this is also shown by the regularity of the arrangement of the
colors and the definiteness of the lines of demarcation between them.
96.
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 takes away all fear of death,
and makes life easier to live because we understand its object and its end, and
we realize that death is a perfectly natural incident in its course, a necessary
step in our evolution. 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 funeral
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.
97.
On Meeting a Friend.—Fig. 35 gives us an example of a good,
clearly-defined and expressive thought-form, with each color 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 color 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.
98.
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 colors 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 color 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.
99.
FORMS SEEN IN THOSE MEDITATING
100.
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
endeavor on the part of the thinker to put himself into an attitude of sympathy
and love toward 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
toward 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 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 colors 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 color effect as
well as the wonderful delicacy of the lines and curves.
101.
In the Six Directions.—The form represented in Fig. 39 is the result of
another endeavor 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 realization of his wishes, and the blue
and yellow colors 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 center 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 this 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.
102.
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 endeavors to think of the action of spirit upon matter. Here we have an
upward-pointing triangle signifying the three-fold aspect of the Spirit,
interlaced with the downward-pointing triangle, which indicates matter with its
three inherent qualities. It is noteworthy that in this case the thinker is so
entirely occupied with the intellectual endeavor, that no color 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 realize fills his mind
entirely, to the exclusion of all else. Still the definite-ness of the outline
as it stands out against its background of rays shows that he has achieved a
high measure of success.
103.
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 manifested 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 endeavor 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 color) which is drawn in
Fig. 44. Any effort to place the colors 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.
104.
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 centers through which the divine life pours forth, and many
of these subordinate centers have accordingly represented themselves in the
thought-form.
105.
The Threefold Manifestation.—When the form employed in Fig. 46 was made,
its creator was endeavoring 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
symbolized by the broad ring of closely-knitted and almost bewildering lines
which surround this center, and the Third Aspect was 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.
106.
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 center, and also (though with lesser splendor)
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 color 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.
107.
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. 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. It will be noted that in both the colors there is a
strong admixture of the white light which always indicates unusual spiritual
power.
108.
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 utilize 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.
109.
HELPFUL THOUGHTS
110.
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 preceived 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:—
111.
" In the colored drawings appended the blue features appear to have
represented the more devotional element of the thought. The yellow forms
accompanied the endeavor 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 endeavor 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 colors."
112.
FORMS BUILT BY Music
113.
Before closing this little treatise it will perhaps be of interest to our
readers to give a few examples of another type of forms. Many people are aware
that sound is always associated with color—that when, for example, a musical
note is sounded, a flash of color corresponding to it may be seen by those whose
finer senses are already to some extent developed. It seems not to be so
generally known that sound produces form as well as color, and that every piece
of music leaves behind it an impression of this nature, which persists for some
considerable time, and is clearly visible and intelligible to those who have
eyes to see. Such a shape is perhaps not technically a thought-form—unless
indeed we take it, as we well may, as the result of the thought of the composer
expressed by means of the skill of the musician through his instrument.
114.
Some such forms are very striking and impressive, and naturally their
variety is infinite. Each class of music has its own type of form, and the style
of the composer shows as clearly in the form which his music builds as a man's
character shows in his handwriting. Other possibilities of variation are
introduced by the kind of instrument upon which the music is performed, and also
by the merits of the player. The same piece of music if accurately played will
always build the same form, but that form will be enormously larger when it is
played upon a church organ or by a military band than when it is performed upon
a piano, and not only the size but also the texture of the resultant form will
be very different. There will also be a similar difference in texture between
the result of a piece of music played upon a violin and the same piece executed
upon the flute. Again, the excellence of the performance has its effect, and
there is a wonderful difference between the radiant beauty of the form produced
by the work of a true artist, perfect alike in expression and execution and the
comparatively dull and undistinguished-looking one which represents the effort
of the wooden and mechanical player. Anything like inaccuracy in rendering
naturally leaves a corresponding defect in form, so that the exact character of
the performance shows itself just as clearly to the clairvoyant spectator as it
does to the auditor. It is obvious that, if time and capacity permitted,
hundreds of volumes might be filled with drawings of the forms built by
different pieces of music under different conditions, so that the most that can
be done within any reasonable compass is to give a few examples of the leading
types. It has been decided for the purposes of this book to limit these to
three, to take types of music presenting readily recognizable contrasts, and for
the sake of simplicity in comparison to present them all as they appeared when
played upon the same instrument—a very fine church organ. In each of our Plates
the church shows as well as the thought-form which towers far into the air above
it; and it should be remembered that though the drawings are on very different
scales the church is the same in all three cases, and consequently the relative
size of the sound-form can easily be calculated. The actual height of the tower
of the church is just under a hundred feet, so it will be seen that the
sound-form produced by a powerful organ is enormous in size.
115.
Such forms remain as coherent erections for some considerable time—an
hour or two at least; and during all that time they are radiating forth their
characteristic vibrations in every direction, just as our thought-forms do; and
if the music be good, the effect of those vibrations cannot but be uplifting to
every man upon whose vehicles they play. Thus the community owes a very real
debt of gratitude to the musician who pours forth such helpful influences, for
he may affect for good hundreds whom he never saw and will never know upon the
physical plane.
116.
Mendelssohn.—The first of such forms, a comparatively small and simple
one, is drawn for us in Plate M. It will be seen that we have here a shape
roughly representing that of a balloon, having a scalloped outline consisting of
a double violet line. Within that there is an arrangement of variously-colored
lines moving almost parallel with this outline; and then another somewhat
similar arrangement which seems to cross and interpenetrate the first. Both of
these sets of lines evidently start from the organ within the church, and
consequently pass upward through its roof in their course, physical matter being
clearly no obstacle to their formation. In the hollow center of the form float a
number of small crescents arranged apparently in four vertical lines.
117.
Let us endeavor now to give some clue to the meaning of all this, and to
explain in some measure how it comes into existence. It must be recollected
that this is a melody of simple character played once through, and that
consequently we can analyse the form in a way that would be quite impossible
with a larger and more complicated specimen. Yet even in this case we cannot
give all the details, as will presently be seen. Disregarding for the moment
the scalloped border, we have next within it an arrangement of four lines of
different colors running in the same direction, the outermost being blue and
the others crimson, yellow and green respectively. These lines are exceedingly
irregular and crooked; in fact, they each consist of a number of short lines at
various levels joined together perpendicularly. It seems that each of these
short lines represents a note of music, and that the irregularity of their
arrangement indicates the succession of these notes; so that each of these
crooked lines signifies the movement of one of the parts of the melody, the four
moving approximately together denoting the treble, alto, tenor and bass
respectively, though they do not necessarily appear in that order in this
astral form. Here it is necessary to interpolate a still further explanation.
Even with a melody so comparatively simple as this there are tints and shades
far too finely modulated to be reproduced on any scale at all within our reach;
therefore it must be said that each of the short lines expressing a note has a
color of its own, so that although as a whole that outer line gives an
impression of blueness, and the one next within it of carmine, each yet varies
in every inch of its length; so that what is shown is not a correct reproduction
of every tint, but only the general impression.
118.
The two sets of four lines which seem to cross one another are caused by
two sections of the melody; the scalloped edging surrounding the whole is the
result of various flourishes and arpeggios, and the floating crescents in the
centre represent isolated or staccato chords. Naturally the arpeggios are not
wholly violet for each loop has a different hue, but on the whole they approach
more nearly to that color than to any other. The height of this form above the
tower of the church is probably a little over a hundred feet; but since it also
extends downward through the roof of the church its total perpendicular diameter
may well be about a hundred and fifty feet. It is produced by one of
Mendelssohn's " Lieder ohne Worte ", and is characteristic of the delicate
filigree-work which so often appears as the result of his compositions.
119.
The whole form is seen projected against a coruscating background of many
colors, which is in reality a cloud surrounding it upon every side, caused by
the vibrations which are pouring out from it in all directions.
120.
Gounod.—In Plate G we have an entirely different piece—a ringing chorus
by Gounod. Since the church in the illustration is the same, it is easy to
calculate that in this case the highest point of the form must rise fully six
hundred feet above the tower, though the perpendicular diameter of the form is
somewhat less than that, for the organist has evidently finished some minutes
ago, and the perfected shape floats high in the air, clearly defined and roughly
spherical, though rather an oblate spheroid. This spheroid is hollow, as are all
such forms, for it is slowly increasing in size—gradually radiating outward from
its center, but growing proportionately less vivid and more ethereal in
appearance as it does so, until at last it loses coherence and fades away much
as a wreath of smoke might do. The golden glory surrounding and interpenetrating
it indicates as before the radiation of its vibrations, which in this case show
the dominant yellow in much greater proportion than did Mendelssohn's gentler
music.
121.
The coloring here is far more brilliant and massive than in Plate M, for
this music is not so much a thread of murmurous melody as a splendid succession
of crashing chords. The artist has sought to give the effect of the chords
rather than that of the separate notes, the latter being scarcely possible on a
scale so small as this. It is therefore more difficult here to follow the
development of the form, for in this much longer piece the lines have crossed
and intermingled, until we have little but the gorgeous general effect which the
composer must have intended us to feel —and to see, if we were able to see.
Nevertheless it is possible to discern something of the process which builds the
form, and the easiest point at which to commence is the lowest on the left hand
as one examines the Plate. The large violet protrusion there is evidently the
opening chord of a phrase, and if we follow the outer line of the form upward
and round the circumference we may obtain some idea of the character of that
phrase. A close inspection will reveal two other lines further in which run
roughly parallel to this outer one, and show similar succession of color on a
smaller scale, and these may well indicate a softer repetition of the same
phrase.
122.
Careful analysis of this nature will soon convince us that there is a
very real order in this seeming chaos, and we shall come to see that if it were
possible to make a reproduction of this glowing glory that should be accurate
down to the smallest detail, it would also be possible patiently to disentangle
it to the uttermost, and to assign every lovely touch of coruscating color to
the very note that called it into existence. It must not be forgotten that very
far less detail is given in this illustration than in Plate M; for example, each
of these points or projections has within it as integral parts, at least the
four lines or bands of varying color which were shown as separate in Plate M,
but here they are blended into one shade, and only the general effect of the
chord is given. In M we combined horizontally, and tried to show the
characteristics of a number of succession notes blended into one, but to keep
distinct the effect of the four simultaneous parts by using a
differently-colored line for each. In G we attempt exactly the reverse, for we
combine vertically, and blend, not the successive
123.
notes of one part, but the chords, each probably containing six or eight
notes. The true appearance combines these two effects with an inexpressible
wealth of detail.
124.
Wagner.—No one who has devoted any study to these musical forms would
hesitate in ascribing the marvellous mountain-range depicted in Plate W to the
genius of Richard Wagner, for no other composer has yet built sound edifices
with such power and decision. In this case we have a vast bell-shaped erection,
fully nine hundred feet in height, and but little less in diameter at the
bottom, floating in the air above the church out of which it has arisen. It is
hollow, like Gounod's form, but, unlike that, it is open at the bottom. The
resemblance to the successively retreating ramparts of a mountain is almost
perfect, and it is heightened by the billowy masses of cloud which roll between
the crags and give the effect of perspective. No attempt has been made in this
drawing to show the effect of single notes or single chords; each range of mimic
rocks represents in size, shape and color only the general effect of one of the
sections of the piece of music as seen from a distance. But it must be
understood that in reality both this and the form given in Plate G are as full
of minute details as that depicted in Plate M, and that all these magnificent
masses of color are built up of many comparatively small bands which would not
be separately visible upon the scale on which this is drawn. The broad result is
that each mountain-peak has its own brilliant hue, just as it is seen in the
illustration— a splendid splash of vivid color, glowing with the glory of its
own living light, spreading its resplendent radiance over all the country round.
Yet in each of these masses of color other colors are constantly flickering, as
they do over the surface of molten metal, so that the coruscations and
scintillations of these wondrous astral edifices are far Beyond the power of any
physical words to describe.
125.
A striking feature in this form is the radical difference between the two
types of music which occur in it, one producing the angular rocky masses, and
the other the rounded billowy clouds which lie between them. Other motifs are
shown by the broad bands of blue and rose and green which appear at the base of
the bell, and the meandering lines of white and yellow which quiver across them
are probably produced by a rippling arpeggio accompaniment.
126.
In these three Plates only the form created directly by the
sound-vibrations has been drawn, though as seen by the clairvoyant it is usually
surrounded by many other minor forms, the result of the personal feelings of the
performer or of the emotions aroused among the audience by the music. To
recapitulate briefly: in Plate M we have a small and comparatively simple form
portrayed in considerable detail, something of the effect of each note being
given; in Plate G we have a more elaborate form of .very different character
delineated with less detail, since no attempt is made to render the separate
notes, but only to show how each chord expresses itself in form and color; in
Plate W we have a still greater and richer form, in the depiction of which all
detail is avoided, in order that the full effect of the piece as a whole may be
approximately given.
127.
Naturally every sound makes its impression upon astral and mental
matter—not only those ordered successions of sounds which we call music. Some
day, perhaps, the forms built by those other less euphonious sounds may be
pictured for us, though they are beyond the scope of this treatise; meantime,
those who feel an interest in them may read an account of them in the book on
The Hidden Side of Things*
128.
It is well for us ever to bear in mind that there is a hidden side to
life—that each act and word and thought has its consequence in the unseen world
which is always so near to us, and that usually these unseen results are of
infinitely greater importance than those which are visible to all upon the
physical plane. The wise man, knowing this, orders his life accordingly, and
takes account of the whole of the world in which he lives, and not of the outer
husk of it only. Thus he saves himself an infinity of trouble, and makes his
life not only happier but far more useful to his fellow-men. But to do this
implies knowledge—that knowledge which is power.
To exist is not
enough; we desire to live intelligently. But to live we must know, and to know
we [1 By C. W. Lead beater.]must study; and here is a vast field open before us,
If we will only enter upon it and gather the fruits of that Divine Wisdom which
in these modern days men call Theosophy.
MUSICAL THOUGHT-FORMS
The music played on the organ was: Mendelssohn:
No. 9 of his " Songs without words ". Gounod: Soldiers Chorus from " Faust ".
Wagner: Overture to "The Meistersingers ".
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