AE in the Irish Theosophist Part 13

The colour of these letters is orange.

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

D and T--The colour of these letters is red. The involution of the higher forces into the lower forms alluded to before now begins.

D represents this infusion of life into matter; it is descent and involution, death or forgetfulness, perhaps, for a time to the incarnating power. T is evolution, the upward movement generating life; the imprisoned energies surge outwards and vegetation begins.

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

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

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

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

O--The last vowel sound symbolizes abstract s.p.a.ce, the spirit a.s.sumes once more the garment of primordial matter; it is the Nirvana of eastern philosophy.

I will now try to show how the abstract significance of these sound reveals a deeper meaning in the roots of Aryan language than philologists generally allow. Prof. Max Muller says in the introduction to Biographies of Words. "Of ultimates in the sense of primary elements of language, we can never hope to know anything,"

and he also a.s.serts that the roots are incapable of further a.n.a.lysis.

I will endeavour now to show that this further a.n.a.lysis can be made.

I should not be understood to say that all the so-called roots can be made to yield a secret meaning when a.n.a.lysed. Philologists are not all agreed as to what const.i.tutes a root, or what words are roots, and in this general uncertainty it should not be expected that these correspondences, which as I have said are not complete, will apply in every instance. There are many other things which add to the difficulty; a root is often found to have very many different meanings; some of these may have arisen in the manner I suggest, and many more are derived from the primary meanings and are therefore not intuitive at all. The intuition will have to be exercised to discover what sensations would likely be awakened by the perception of an action or object; or if the root has an abstract significance, the thought must be a.n.a.lysed in order to discover its essential elements. I described previously the manner in which I thought a single sensation, the perception of the colour Red, would suggest its correspondence in sound, the letter R. Where the idea is more complex, a combination of two, tree or four sounds are necessary to express it, but they all originate in the same way. The reader who desires to prove the truth of the theory here put forward can adopt either of two methods; he can apply the correspondences to the roots, or he may try for himself to create words expressing simple, elemental ideas by combining the necessary letters; and then, if he turns to the roots, he will probably find that many of the words he has created in this way were actually used long ago, and this pratice will enable him more easily to understand in what sense, or on what plane, any particular letter should be taken.

I think it probably that in the Sacred Language before mentioned, this could at once have been recognized by a difference in the intonation of the voice. This may have been a survival to some extent of the chanting which was the distinguishing characteristic of the speech of the Second Race. (Secret Doctrine, vol. II, p. 198) In the written language it is not easily possible to discover this without much thought, unless endeavour has previously been made to re-awaken the faculty of intuitive speech, which we formerly possessed and which became atrophied.

It is not possible here to go into the a.n.a.lysis of the roots at much length: I can only ill.u.s.trate the method which will be found to apply more surely where the roots express most elemental conceptions.

Let us take as example the root, Wal, to boil. Boiling is brought about by the action of fire upon water, and here we find the letters W, water, and L, light or fire, united. In War, to well up as a spring, the sounds for water and motion are combined. A similar idea is expressed in Wat, to well out; the abstract significance of T, which is to evolve, come forth or appear, being here applied to a special action. A good method to follow in order to understand how the pure abstract meaning of a letter may be applied in many different ways, is to take some of the roots in which any one letter is prominent and then compare them. Let us take D. It has an abstract relation to involution or infusion; it may be view in two ways, either as positive or negative; as the exertion of force or the reception of force. Now I think if we compare the following roots a similarity of action will be found to underlie them all.

Id, to swell; Ad, to eat; Dhu, to put; Da, to bind; Ad, to smell; Du, to enter; Da, to suck.

I am not here going exhaustively to a.n.a.lyse the roots, as this is not an essay upon philology, but an attempt to make clear some of the mysteries of sound; those who wish to study this side of the subject more fully can study with this light the primitive languages.

A few more examples must suffice. The root, Mar, to die, may be variously interpreted as the end of motion, the cessation of breath, or the withdrawal of spirit, R being expressive of what on various planes is motion, spirit, air and breath. In Bur, to be active, life and movement are combined,: in Gla, to glow, reflection and light; the same idea is in Gol, a lake. We find combined in Kar, to grind, hardness and motion: in Thah, to generate, expansion and heat; in Pak, to comb, division and hardness, the suggestion being division with some hard object; the same idea is in Pik, to cut. In Pis, to pound, the letters for division and matter in its molecular state are combined: in Fath, to fly, lightness and expansion: in Yas, to gird, drawing together and number; in Rab, to be vehement, energy and life; in Rip, to break, energy and division. In Yudh, to fight, the meaning suggested may be, coming together to destroy. Without further a.n.a.lysis the reader will be able to detect the relation which the abstractions corresponding to each letter bear to the defined application in the following words.

Ak, to be sharp; Ank, to bend; Idh, to kindle; Ar, to move; Al, to burn; Ka, to sharpen; Har, to burn; Ku, to hew; Sa, to produce; Gal, to be yellow or green; Ghar, to be yellow or green; Thak, to thaw; Tar, to go through; Thu, to swell; Dak, to bite; Nak, to perish; Pa, to nourish, to feed; Par, to spare; Pi, to swell, to be fat; Pu, to purify; Pu, to beget; pau, little; Put, to swell out; Flu, to fly, to float; Bar, to carry; Bhu, to be, to become; Bla, to blow as a flower; Ma, to think; Mak, to pound; Mi, to diminish; Mu, to shut up, to enclose; Yas, to seethe, to ferment; Ys, to bind together, to mix; Yuk, to yoke, to join; Ra, to love; Rik, to furrow; Luh, to shine; Rud, to redden, to be red; Lub, to l.u.s.t [?]; Lu, to cast off from; Wag, to be moist; Wam, to spit out; So, to sow, to scatter; Sak, to cut, to cleave; Su, to generate; Swa, to toss; Swal, to boil up; Ska, to cut; Skap, to hew; Sniw, to snow; Spew, to spit out; Swid, to sweat; etc. An a.n.a.lysis of some sacred words and the names of Deities may now prove interesting.

It has been said that before we can properly understand the character of any deity we would have to know the meaning and the numbers attached to each letter in the name, for in this way the powers and functons of the various G.o.ds were indicated. If we take as examples names familiar to everyone, Brahma, Vishnu, and Rudra, the three aspects of Parabrahm in manifestation, and a.n.a.lyse them in the same way as the roots, they will be found to yield up their essential meaning. Form the union of B, life, R, breath, and Ma, the producer, I would translate Brahma as "the creative breath of life."

Vishnu similarly a.n.a.lysed is the power that "pervades, expands, and preserves;" I infer this from the union of V, whose force is pervasion, Sh, expansion, and N, continuation. Rudra is "the breath that absorbs the breath." Aum is the most sacred name of all names; it is held to symbolize the action of the Great breath from its dawn to its close: it is the beginning, A, the middle, U, and the close M. It is also an affirmation of the relation of our spiritual nature to the universal Deity whose aspects are Brahma, Vishnu, and Rudra. I shall have more to say of the occult power of this word later on. Taken in conjunction with two other words, it is "the threefold designation of the Supreme Being." Om Tat Sat has a significance referable to a still higher aspect of Deity than that other Trinity; the Om here signifies that it is the All; Tat that it is self-existent or self-evolved; I think the repet.i.tion of the T in Tat gives it this meaning: Sat would signify that in it are contained the seeds of all manifestation. H.P. Blavatsky translates this word as Be-ness, which seems to be another way of expressing the same idea. The mystic incantation familiar to all students of the Upanishads, Om, bhur, Om, Bhwar, Om, Svar," is an a.s.sertion of the existence of the Divine Self in all the three worlds or Lokas. Loka is generally translated as a place; the letters suggest to me that a place or world is only a hardening or crystalization of Fire or Light.

In Bhur Loka the crystalization of the primordial element of Fire leaves only one principle active, the life principle generally called Prana. Bhur Loka then is the place where life is active; we have B, life, and R, movement, to suggest this. In the word Bhuvar a new letter, V, is inserted: this letter, as I have said, corresponds to the Astral world, so the Bhuvar Loka is the place where both the Astral and Life principles are active. It is more difficult to translate Svar Loka: there is some significance attached here to the letter S, which I cannot grasp. It might mean that this world contains the germs of Astral life; but this does not appear sufficiently distinctive, Svar Loka is generally known as Devachan, and the whole incantation would mean that the Deity is present throughout the Pranic, Astral and Devachanic worlds. It is interesting to note what is said in the Glossary by H.P.B., about these three words (p. 367): they are said to be "lit by and born of fire," and to possess creative powers. The repet.i.tion of them with the proper accent should awaken in the occultist the powers which correspond to the three worlds. I think by these examples that the student will be able to get closer to the true significance of incantation; those who understand the occult meaning of the colours attached to the letters will be able to penetrate deeper than others into these mysteries.

I may here say something about the general philosophy of incantation.

There is said to be in nature a h.o.m.ogenous sound or tone which everywhere stirs up the molecules into activity. This is the "Word"

which St. John says was in the beginning (the plane of causation); in another sense it is the Akasa of occult science, the element of sound, it is the Pythagorean "music of the spheres." The universe is built up, moulded and sustained by this element which is everywhere present, though inaudible by most men at this stage of evolution. It is not sound by the physical ears, but deep in the heart sometimes may be heard "the mystic sounds of the Akasic heights." The word Aum represents this h.o.m.ogeneous sound, it stirs up a power which is latent in it called the Yajna. The Glossary says that this "is one of the forms of Akasa within which the mystic word calls it into existence:" it is a bridge by means of which the soul can cross over to the world of the Immortals. It is this which is alluded to in the Nada-Bindu Upanishad. "The mind becoming insensible to the external impressions, becomes one with the sound, as milk with water, and then becomes rapidly absorbed in chidakas (the Akasa where consciousness pervades). The sound..... serves the purpose of a lure to the ocean waves of Chitta (mind), ...the serpent Chitta through listening to the Nada is entirely absorbed in it, and becoming unconscious of everything concentrates itself on the sound." We may quote further from another Upanishad.

"Having left behind the body, the organs and objects of sense, and having seized the bow whose stick is fort.i.tude and whose string is asceticism, and having killed with the arrow of freedom from egoism the first guardian, ....he crosses by means of the boat Om to the other side of the ether within the heart, and when the ether is revealed he enters slowly, as a miner seeking minerals enters a mine, into the hall of Brahman. ...Thenceforth, pure, clean, tranquil, breathless, endless, imperishable, firm, unborn, and independent, he stands in his own greatness, and having seen the Self standing in his own greatness, he looks at the wheel of the world."

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

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

I have been forced to compress what I had to say in these articles, I have only been able to suggest rather than put forward ideas, for my own knowledge of these correspondences is very incomplete.

As far as I know the subject has been untouched hitherto, and this must be my excuse for the meagre nature of the information given.

I hope later on to treat of the relation of sound and colour to form and to show how these correspondences will enable us to understand the language which the G.o.ds speak to us through flowers, trees, and natural forms. I hope also to be able to show that it was a knowledge of the relation of sound to form which dictated the form of the letters in many primaeval alphabets.

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

At the Dawn of the Kaliyuga *

Where we sat on the hillside together that evening the winds were low and the air was misty with light. The huge sunbrowned slope on which we were sitting was sprinkled over with rare spokes of gra.s.s; it ran down into the vagueness underneath where dimly the village could be seen veiled by its tresses of lazy smoke. Beyond was a bluer shade and a deeper depth, out of which, mountain beyond mountain, the sacred heights of Himalay rose up through star-sprinkled zones of silver and sapphire air. How gay were our hearts! The silent joy of the earth quickened their beating. What fairy fancies alternating with the sweetest laughter came from childish lips!

In us the Golden Age whispered her last, and departed. Up came the white moon, her rays of dusty pearl slanting across the darkness from the old mountain to our feet. "A bridge!" we cried, "Primaveeta, who long to be a sky-walker, here is a bridge for you!"

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

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

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

"Yes! yes! let Vya.s.sa sing!" they all cried; and they shouted and shouted until I began:--

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

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

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

"Vya.s.sa is just like Primaveeta, he is full of dreams to-night,"

said Vina. And indeed I was full of dreams; my laughter had all died away; a vague and indescribable unrest came over me; the universal air around seemed thrilled by the stirring of unknown powers.

We sat silent awhile; then Primaveeta cried out: "Oh, look, look, look, the Devas! the bright persons! they fill the air with their shining."

We saw them pa.s.s by and we were saddened, for they were full of solemn majesty; overhead a chant came from celestial singers full of the agony of farewell and departure, and we knew from their song that the G.o.ds were about to leave the earth which would nevermore or for ages witness their coming. The earth and the air around it seemed to tingle with anguish. Shuddering we drew closer together on the hillside while the brightness of the Devas pa.s.sed onward and away; and clear cold and bright as ever, the eternal constellations, which change or weep not, shone out, and we were alone with our sorrow. To awed we were to speak, but we clung closer together and felt a comfort in each other; and so, crouched in silence; within me I heard as from far away a note of deeper anguish, like a horn blown out of the heart of the ancient Mother over a perished hero: in a dread moment I saw the death and the torment; he was her soul-point, the light she wished to shine among men.

What would follow in the dark ages to come, rose up before me in shadowy, over-crowding pictures; like the surf of a giant ocean they fluctuated against the heavens, crested with dim, giantesque and warring figures. I saw stony warriors rushing on to battle; I heard their fierce hard laughter as they rode over the trampled foe; I saw smoke arise from a horrible burning, and thicker and blacker grew the vistas, with here and there a glow from some hero-heart that kept the true light shining within. I turned to Primaveeta who was crouched beside me: he saw with me vision for vision, but, beyond the thick black ages that shut me out from hope, he saw the resurrection of the True, and the homecoming of the G.o.ds. All this he told me later, but now our tears were shed together. Then Primaveeta rose up and said, "Vyasa, where the lights were shining, where they fought for the True, there you and I must fight; for, from them spreads out the light of a new day that shall dawn behind the darkness." I saw that he was no longer a dreamer; his face was firm with a great resolve. I could not understand him, but I determined to follow him, to fight for the things he fought for, to work with him, to live with him, to die with him; and so, thinking and trying to understand, my thought drifted back to that sadness of the mother which I had first felt. I saw how we share joy or grief with her, and, seized with the inspiration of her sorrow, I sang about her loved one:--

"Does the earth grow grey with grief For her hero darling fled?

Though her vales let fall no leaf, In our hearts her tears are shed.

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

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

"Vya.s.sa," they said, "you will break our hearts." And we sat in silence and sorrow more complete till we heard weary voices calling up to us from the darkness below: "Primaveeta! Vya.s.sa! Chandra!

Parvati! Vina! Vasudeva!" calling all our names. We went down to our homes in the valley; the breadth of glory had pa.s.sed away from the world, and our hearts were full of the big grief that children hold.

--October 15, 1893

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