,,thought-,,forms ,,by ,,annie ,,besant ,,and ,c4,w4 ,,leadbeater ,illustration3 ,publisher ,logo ,,the ,,theosophical ,,publishing ,,house ,,ltd #ch ,,great ,,ormond ,,street1 ,,london1 ,w4,c4 #a ,first ,printed #aija ,reprint #aije ,reprint #aibe ,made and ,printed in ,great ,britain by ,,percy ,,lund1 ,,humphries ,,co ,,ltd ,,the ,,country ,,press ,,bradford ,illustration3 ,,frontispiece--,,meaning ,,of ,,the ,,colours--7see html version for this and other illustrations47 ,,foreword ,the text of this little book is the joint work of ,mr ,leadbeater and myself2 some of it has already appeared as an article in ,lucifer 7now the ,theosophical ,review71 but the greater part of it is new4 ,the drawing and painting of the ,thought-,forms observed by ,mr ,leadbeater or by myself1 or by both of us together1 has been done by three friends--,mr ,john ,varley1 ,mr ,prince1 and ,miss ,macfarlane1 to each of whom we tender our cordial thanks4 ,to paint in earth's dull colours the forms clothed in the living light of other worlds is a hard and thankless task2 so much the more gratitude is due to those who have attempted it4 ,they needed coloured fire1 and had only ground earths4 ,we have also to thank ,mr ,f4 ,bligh ,bond for allowing us to use his essay on ,vibration ,figures1 and some of his exquisite drawings4 ,another friend1 who sent us some notes and a few drawings1 insists on remaining anonymous1 so we can only send our thanks to him with similar anonymity4 ,it is our earnest hope--as it is our belief--that this little book will serve as a striking moral lesson to every reader1 making him realise the nature and power of his thoughts1 acting as a stimulus to the noble1 a curb on the base4 ,with this belief and hope we send it on its way4 ,,annie ,,besant4 ,,contents ,,page ,,foreword #f ,,introduction #aa ,,the ,,difficulty ,,of ,,representation #af ,,the ,,two ,,effects ,,of ,,thought #ba ,,how ,,the ,,vibration ,,acts #bc ,,the ,,form ,,and ,,its ,,effect #be ,,the ,,meaning ,,of ,,the ,,colours #cb ,,three ,,classes ,,of ,,thought-,,forms #cf ,,illustrative ,,thought-,,forms #dj ,,affection #dj-dd ,,devotion #dd-di ,,intellect #di-ej ,,ambition #ea ,,anger #eb ,,sympathy #ee ,,fear #ee ,,greed #ef ,,various ,,emotions #eg ,,shipwreck #eg ,,on ,,the ,,first ,,night #ei ,,the ,,gamblers #fj ,,at ,a ,,street ,,accident #fa ,,at ,a ,,funeral #fa ,,on ,,meeting ,a ,,friend #fd ,,appreciation ,,of ,a ,,picture #fe ,,forms ,,seen ,,in ,,meditation #ff ,,sympathy ,,and ,,love ,,for ,,all #ff ,,an ,,aspiration ,,to ,,enfold ,,all #ff ,,in ,,the ,,six ,,directions #fg ,,cosmic ,,order #fh ,,the ,,logos ,,as ,,manifested ,,in ,,man #fi ,,the ,,logos ,,pervading ,,all #gj ,,another ,,conception #ga ,,the ,,threefold ,,manifestation #ga ,,the ,,sevenfold ,,manifestation #gb ,,intellectual ,,aspiration #gb ,,helpful ,,thoughts #gd ,,forms ,,built ,,by ,,music #ge ,,mendelssohn #gg ,,gounod #hj ,,wagner #hb ,,list ,,of ,,illustrations ,,fig4 ,,page ,,meaning ,,of ,,the ,,colours ,frontispiece ,,chladni',s ,,sound ,,plate #a #bh ,,forms ,,produced ,,in ,,sand #b #bh ,,forms ,,produced ,,in ,,sand #c #bi ,,forms ,,produced ,,by ,,pendulums #d-g #cj ,,vague ,,pure ,,affection #h #dj ,,vague ,,selfish ,,affection #i #dj ,,definite ,,affection #aj #db ,,radiating ,,affection #aa #dc ,,peace ,,and ,,protection #ab #db ,,grasping ,,animal ,,affection #ac #dc ,,vague ,,religious ,,feeling #ad #dd ,,upward ,,rush ,,of ,,devotion #ae #df ,,self-,,renunciation #af #dd ,,response ,,to ,,devotion #ag #df ,,vague ,,intellectual ,,pleasure #ah #ej ,,vague ,,sympathy #ah;,a #ej ,,the ,,intention ,,to ,,know #ai #ea ,,high ,,ambition #bj #eb ,,selfish ,,ambition #ba #eb ,,murderous ,,rage #bb #ec ,,sustained ,,anger #bc #ec ,,explosive ,,anger #bd #ea ,,watchful ,,jealousy #be #ed ,,angry ,,jealousy #bf #ed ,,sudden ,,fright #bg #ee ,,selfish ,,greed #bh #ef ,,greed ,,for ,,drink #bi #ef ,,at ,a ,,shipwreck #cj #eh ,,on ,,the ,,first ,,night #ca #ei ,,the ,,gamblers #cb #fj ,,at ,a ,,street ,,accident #cc #fa ,,at ,a ,,funeral #cd #fb ,,on ,,meeting ,a ,,friend #ce #fd ,,the ,,appreciation ,,of ,a ,,picture #cf #fd ,,sympathy ,,and ,,love ,,for ,,all #cg #ff ,,an ,,aspiration ,,to ,,enfold ,,all #ch #fg ,,in ,,the ,,six ,,directions #ci #ff ,,an ,,intellectual ,,conception ,,of ,,cosmic ,,order #dj #fi ,,the ,,logos ,,as ,,manifested ,,in ,,man #da #fi ,,the ,,logos ,,pervading ,,all #db and #dd #gj ,,another ,,conception #de #gj ,,the ,,threefold ,,manifestation #df #gj ,,the ,,sevenfold ,,manifestation #dg #gj ,,intellectual ,,aspiration #dc #gb ,,helpful ,,thoughts #dh1 #di1 #ej1 #ea1 #eb1 #ec1 #ed #gd ,,plate ,,music ,,of ,,mendelssohn ,m #gh ,,music ,,of ,,gounod ,g #hj ,,music ,,of ,,wagner ,w #hb ,transcriber's ,note3 ,some of the plates are displayed out of sequence to correspond with references to them in the text4 ,,thought-,,forms ,as knowledge increases1 the attitude of science towards the things of the invisible world is undergoing considerable modification4 ,its attention is no longer directed solely to the earth with all its variety of objects1 or to the physical worlds around it2 but it finds itself compelled to glance further afield1 and to construct hypotheses as to the nature of the matter and force which lie in the regions beyond the ken of its instruments4 ,ether is now comfortably settled in the scientific kingdom1 becoming almost more than a hypothesis4 ,mesmerism1 under its new name of hypnotism1 is no longer an outcast4 ,reichenbach's experiments are still looked at askance1 but are not wholly condemned4 ,rntgen's rays have rearranged some of the older ideas of matter1 while radium has revolutionised them1 and is leading science beyond the borderland of ether into the astral world4 ,the boundaries between animate and inanimate matter are broken down4 ,magnets are found to be possessed of almost uncanny powers1 transferring certain forms of disease in a way not yet satisfactorily explained4 ,telepathy1 clairvoyance1 movement without contact1 though not yet admitted to the scientific table1 are approaching the ,cinderella-stage4 ,the fact is that science has pressed its researches so far1 has used such rare ingenuity in its questionings of nature1 has shown such tireless patience in its investigations1 that it is receiving the reward of those who seek1 and forces and beings of the next higher plane of nature are beginning to show themselves on the outer edge of the physical field4 ,nature makes no leaps1 and as the physicist nears the confines of his kingdom he finds himself bewildered by touches and gleams from another realm which interpenetrates his own4 ,he finds himself compelled to speculate on invisible presences1 if only to find a rational explanation for undoubted physical phenomena1 and insensibly he slips over the boundary1 and is1 although he does not yet realise it1 contacting the astral plane4 ,one of the most interesting of the highroads from the physical to the astral is that of the study of thought4 ,the ,western scientist1 commencing in the anatomy and physiology of the brain1 endeavours to make these the basis for a sound psychology4 ,he passes then into the region of dreams1 illusions1 hallucinations2 and as soon as he endeavours to elaborate an experimental science which shall classify and arrange these1 he inevitably plunges into the astral plane4 ,dr ,baraduc of ,paris has nearly crossed the barrier1 and is well on the way towards photographing astro-mental images1 to obtaining pictures of what from the materialistic standpoint would be the results of vibrations in the grey matter of the brain4 ,it has long been known to those who have given attention to the question that impressions were produced by the reflection of the ultra-violet rays from objects not visible by the rays of the ordinary spectrum4 ,clairvoyants were occasionally justified by the appearance on sensitive photographic plates of figures seen and described by them as present with the sitter1 though invisible to physical sight4 ,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 experiments1 oftentimes repeated4 ,and now we have investigators who turn their attention to the obtaining of images of subtle forms1 inventing methods specially designed with the view of reproducing them4 ,among these1 ,dr ,baraduc seems to have been the most successful1 and he has published a volume dealing with his investigations and containing reproductions of the photographs he has obtained4 ,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 itself1 by seeking to record its movements by means of a needle1 its luminous but invisible vibrations by impressions on sensitive plates4 ,he shuts out by non-conductors electricity and heat4 ,we can pass over his experiments in ,biometry 7measurement of life by movements71 and glance at those in ,iconography--the impressions of invisible waves1 regarded by him as of the nature of light1 in which the soul draws its own image4 ,a number of these photographs represent etheric and magnetic results of physical phenomena1 and these again we may pass over as not bearing on our special subject1 interesting as they are in themselves4 ,dr ,baraduc obtained various impressions by strongly thinking of an object1 the effect produced by the thought-form appearing on a sensitive plate2 thus he tried to project a portrait of a lady 7then dead7 whom he had known1 and produced an impression due to his thought of a drawing he had made of her on her deathbed4 ,he quite rightly says that the creation of an object is the passing out of an image from the mind and its subsequent materialisation1 and he seeks the chemical effect caused on silver salts by this thought-created picture4 ,one striking illustration is that of a force raying outwards1 the projection of an earnest prayer4 ,another prayer is seen producing forms like the fronds of a fern1 another like rain pouring upwards1 if the phrase may be permitted4 ,a rippled oblong mass is projected by three persons thinking of their unity in affection4 ,a young boy sorrowing over and caressing a dead bird is surrounded by a flood of curved interwoven threads of emotional disturbance4 ,a strong vortex is formed by a feeling of deep sadness4 ,looking at this most interesting and suggestive series1 it is clear that in these pictures that which is obtained is not the thought-image1 but the effect caused in etheric matter by its vibrations1 and it is necessary to clairvoyantly see the thought in order to understand the results produced4 ,in fact1 the illustrations are instructive for what they do not show directly1 as well as for the images that appear4 ,it may be useful to put before students1 a little more plainly than has hitherto been done1 some of the facts in nature which will render more intelligible the results at which ,dr ,baraduc is arriving4 ,necessarily imperfect these must be1 a physical photographic camera and sensitive plates not being ideal instruments for astral research2 but1 as will be seen from the above1 they are most interesting and valuable as forming a link between clairvoyant and physical scientific investigations4 ,at the present time observers outside the ,theosophical ,society are concerning themselves with the fact that emotional changes show their nature by changes of colour in the cloud-like ovoid1 or aura1 that encompasses all living beings4 ,articles on the subject are appearing in papers unconnected with the ,theosophical ,society1 and a medical specialist#a has collected a large number of cases in which the colour of the aura of persons of various types and temperaments is recorded by him4 ,his results resemble closely those arrived at by clairvoyant theosophists and others1 and the general unanimity on the subject is sufficient to establish the fact1 if the evidence be judged by the usual canons applied to human testimony4 ,the book ,man ,visible and ,invisible dealt with the general subject of the aura4 ,the present little volume1 written by the author of ,man ,visible and ,invisible1 and a theosophical colleague1 is intended to carry the subject further2 and it is believed that this study is useful1 as impressing vividly on the mind of the student the power and living nature of thought and desire1 and the influence exerted by them on all whom they reach4 ,footnote #a3 ,dr ,hooker1 ,gloucester ,place1 ,london1 ,w4 ,,the ,,difficulty ,,of ,,representation ,we have often heard it said that thoughts are things1 and there are many among us who are persuaded of the truth of this statement4 ,yet very few of us have any clear idea as to what kind of thing a thought is1 and the object of this little book is to help us to conceive this4 ,there are some serious difficulties in our way1 for our conception of space is limited to three dimensions1 and when we attempt to make a drawing we practically limit ourselves to two4 ,in reality the presentation even of ordinary three-dimensional objects is seriously defective1 for scarcely a line or angle in our drawing is accurately shown4 ,if a road crosses the picture1 the part in the foreground must be represented as enormously wider than that in the background1 although in reality the width is unchanged4 ,if a house is to be drawn1 the right angles at its corners must be shown as acute or obtuse as the case may be1 but hardly ever as they actually are4 ,in fact1 we draw everything not as it is but as it appears1 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 object4 ,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 conveys4 ,a person who had never seen a tree could form but little idea of one from even the most skilful painting4 ,if to this difficulty we add the other and far more serious one of a limitation of consciousness1 and suppose ourselves to be showing the picture to a being who knew only two dimensions1 we see how utterly impossible it would be to convey to him any adequate impression of such a landscape as we see4 ,precisely this difficulty in its most aggravated form stands in our way1 when we try to make a drawing of even a very simple thought-form4 ,the vast majority of those who look at the picture are absolutely limited to the consciousness of three dimensions1 and furthermore1 have not the slightest conception of that inner world to which thought-forms belong1 with all its splendid light and colour4 ,all that we can do at the best is to represent a section of the thought-form2 and those whose faculties enable them to see the original cannot but be disappointed with any reproduction of it4 ,still1 those who are at present unable to see anything will gain at least a partial comprehension1 and however inadequate it may be it is at least better than nothing4 ,all students know that what is called the aura of man is the outer part of the cloud-like substance of his higher bodies1 interpenetrating each other1 and extending beyond the confines of his physical body1 the smallest of all4 ,they know also that two of these bodies1 the mental and desire bodies1 are those chiefly concerned with the appearance of what are called thought-forms4 ,but in order that the matter may be made clear for all1 and not only for students already acquainted with theosophical teachings1 a recapitulation of the main facts will not be out of place4 ,man1 the ,thinker1 is clothed in a body composed of innumerable combinations of the subtle matter of the mental plane1 this body being more or less refined in its constituents and organised more or less fully for its functions1 according to the stage of intellectual development at which the man himself has arrived4 ,the mental body is an object of great beauty1 the delicacy and rapid motion of its particles giving it an aspect of living iridescent light1 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 topics4 ,every thought gives rise to a set of correlated vibrations in the matter of this body1 accompanied with a marvellous play of colour1 like that in the spray of a waterfall as the sunlight strikes it1 raised to the nth degree of colour and vivid delicacy4 ,the body under this impulse throws off a vibrating portion of itself1 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 world4 ,we have then a thought-form pure and simple1 and it is a living entity of intense activity animated by the one idea that generated it4 ,if made of the finer kinds of matter1 it will be of great power and energy1 and may be used as a most potent agent when directed by a strong and steady will4 ,into the details of such use we will enter later4 ,when the man's energy flows outwards towards external objects of desire1 or is occupied in passional and emotional activities1 this energy works in a less subtle order of matter than the mental1 in that of the astral world4 ,what is called his desire-body is composed of this matter1 and it forms the most prominent part of the aura in the undeveloped man4 ,where the man is of a gross type1 the desire-body is of the denser matter of the astral plane1 and is dull in hue1 browns and dirty greens and reds playing a great part in it4 ,through this will flash various characteristic colours1 as his passions are excited4 ,a man of a higher type has his desire-body composed of the finer qualities of astral matter1 with the colours1 rippling over and flashing through it1 fine and clear in hue4 ,while less delicate and less radiant than the mental body1 it forms a beautiful object1 and as selfishness is eliminated all the duller and heavier shades disappear4 ,this desire 7or astral7 body gives rise to a second class of entities1 similar in their general constitution to the thought-forms already described1 but limited to the astral plane1 and generated by the mind under the dominion of the animal nature4 ,these are caused by the activity of the lower mind1 throwing itself out through the astral body--the activity of ,kma-,manas in theosophical terminology1 or the mind dominated by desire4 ,vibrations in the body of desire1 or astral body1 are in this case set up1 and under these this body throws off a vibrating portion of itself1 shaped1 as in the previous case1 by the nature of the vibrations1 and this attracts to itself some of the appropriate elemental essence of the astral world4 ,such a thought-form has for its body this elemental essence1 and for its animating soul the desire or passion which threw it forth2 according to the amount of mental energy combined with this desire or passion will be the force of the thought-form4 ,these1 like those belonging to the mental plane1 are called artificial elementals1 and they are by far the most common1 as few thoughts of ordinary men and women are untinged with desire1 passion1 or emotion4 ,,the ,,two ,,effects ,,of ,,thought ,each definite thought produces a double effect--a radiating vibration and a floating form4 ,the thought itself appears first to clairvoyant sight as a vibration in the mental body1 and this may be either simple or complex4 ,if the thought itself is absolutely simple1 there is only the one rate of vibration1 and only one type of mental matter will be strongly affected4 ,the mental body is composed of matter of several degrees of density1 which we commonly arrange in classes according to the sub-planes4 ,of each of these we have many sub-divisions1 and if we typify these by drawing horizontal lines to indicate the different degrees of density1 there is another arrangement which we might symbolise by drawing perpendicular lines at right angles to the others1 to denote types which differ in quality as well as in density4 ,there are thus many varieties of this mental matter1 and it is found that each one of these has its own especial and appropriate rate of vibration1 to which it seems most accustomed1 so that it very readily responds to it1 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 feeling4 ,when a sudden wave of some emotion sweeps over a man1 for example1 his astral body is thrown into violent agitation1 and its original colours are or the time almost obscured by the flush of carmine1 of blue1 or of scarlet which corresponds with the rate of vibration of that particular emotion4 ,this change is only temporary2 it passes off in a few seconds1 and the astral body rapidly resumes its usual condition4 ,yet every such rush of feeling produces a permanent effect3 it always adds a little of its hue to the normal colouring of the astral body1 so that every time that the man yields himself to a certain emotion it becomes easier for him to yield himself to it again1 because his astral body is getting into the habit of vibrating at that especial rate4 ,the majority of human thoughts1 however1 are by no means simple4 ,absolutely pure affection of course exists2 but we very often find it tinged with pride or with selfishness1 with jealousy or with animal passion4 ,this means that at least two separate vibrations appear both in the mental and astral bodies--frequently more than two4 ,the radiating vibration1 therefore1 will be a complex one1 and the resultant thought-form will show several colours instead of only one4 ,,how ,,the ,,vibration ,,acts ,these radiating vibrations1 like all others in nature1 become less powerful in proportion to the distance from their source1 though it is probable that the variation is in proportion to the cube of the distance instead of to the square1 because of the additional dimension involved4 ,again1 like all other vibrations1 these tend to reproduce themselves whenever opportunity is offered to them2 and so whenever they strike upon another mental body they tend to provoke in it their own rate of motion4 ,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 waves4 ,the distance to which such thought-waves penetrate1 and the force and persistency with which they impinge upon the mental bodies of others1 depend upon the strength and clearness of the original thought4 ,in this way the thinker is in the same position as the speaker4 ,the voice of the latter sets in motion waves of sound in the air which radiate from him in all directions1 and convey his message to all those who are within hearing1 and the distance to which his voice can penetrate depends upon its power and upon the clearness of his enunciation4 ,in just the same way the forceful thought will carry very much further than the weak and undecided thought2 but clearness and definiteness are of even greater importance than strength4 ,again1 just as the speaker's voice may fall upon heedless ears where men are already engaged in business or in pleasure1 so may a mighty wave of thought sweep past without affecting the mind of the man1 if he be already deeply engrossed in some other line of thought4 ,it should be understood that this radiating vibration conveys the character of the thought1 but not its subject4 ,if a ,hindu sits rapt in devotion to ,krishna1 the waves of feeling which pour forth from him stimulate devotional feeling in all those who come under their influence1 though in the case of the ,muhammadan that devotion is to ,allah1 while for the ,zoroastrian it is to ,ahuramazda1 or for the ,christian to ,jesus4 ,a man thinking keenly upon some high subject pours out from himself vibrations which tend to stir up thought at a similar level in others1 but they in no way suggest to those others the special subject of his thought4 ,they naturally act with special vigour upon those minds already habituated to vibrations of similar character2 yet they have some effect on every mental body upon which they impinge1 so that their tendency is to awaken the power of higher thought in those to whom it has not yet become a custom4 ,it is thus evident that every man who thinks along high lines is doing missionary work1 even though he may be entirely unconscious of it4 ,,the ,,form ,,and ,,its ,,effect ,let us turn now to the second effect of thought1 the creation of a definite form4 ,all students of the occult are acquainted with the idea of the elemental essence1 that strange half-intelligent life which surrounds us in all directions1 vivifying the matter of the mental and astral planes4 ,this matter thus animated responds very readily to the influence of human thought1 and every impulse sent out1 either from the mental body or from the astral body of man1 immediately clothes itself in a temporary vehicle of this vitalised matter4 ,such a thought or impulse becomes for the time a kind of living creature1 the thought-force being the soul1 and the vivified matter the body4 ,instead of using the somewhat clumsy paraphrase1 astral or mental matter ensouled by the monadic essence at the stage of one of the elemental kingdoms1 theosophical writers often1 for brevity's sake1 call this quickened matter simply elemental essence2 and sometimes they speak of the thought-form as an elemental4 ,there may be infinite variety in the colour and shape of such elementals or thought-forms1 for each thought draws round it the matter which is appropriate for its expression1 and sets that matter into vibration in harmony with its own2 so that the character of the thought decides its colour1 and the study of its variations and combinations is an exceedingly interesting one4 ,this thought-form may not inaptly be compared to a ,leyden jar1 the coating of living essence being symbolised by the jar1 and the thought energy by the charge of electricity4 ,if the man's thought or feeling is directly connected with someone else1 the resultant thought-form moves towards that person and discharges itself upon his astral and mental bodies4 ,if the man's thought is about himself1 or is based upon a personal feeling1 as the vast majority of thoughts are1 it hovers round its creator and is always ready to react upon him whenever he is for a moment in a passive condition4 ,for example1 a man who yields himself to thoughts of impurity may forget all about them while he is engaged in the daily routine of his business1 even though the resultant forms are hanging round him in a heavy cloud1 because his attention is otherwise directed and his astral body is therefore not impressible by any other rate of vibration than its own4 ,when1 however1 the marked vibration slackens and the man rests after his labours and leaves his mind blank as regards definite thought1 he is very likely to feel the vibration of impurity stealing insidiously upon him4 ,if the consciousness of the man be to any extent awakened1 he may perceive this and cry out that he is being tempted by the devil2 yet the truth is that the temptation is from without only in appearance1 since it is nothing but the natural reaction upon him of his own thought-forms4 ,each man travels through space enclosed within a cage of his own building1 surrounded by a mass of the forms created by his habitual thoughts4 ,through this medium he looks out upon the world1 and naturally he sees everything tinged with its predominant colours1 and all rates of vibration which reach him from without are more or less modified by its rate4 ,thus until the man learns complete control of thought and feeling1 he sees nothing as it really is1 since all his observations must be made through this medium1 which distorts and colours everything like badly-made glass4 ,if the thought-form be neither definitely personal nor specially aimed at someone else1 it simply floats detached in the atmosphere1 all the time radiating vibrations similar to those originally sent forth by its creator4 ,if it does not come into contact with any other mental body1 this radiation gradually exhausts its store of energy1 and in that case the form falls to pieces2 but if it succeeds in awakening sympathetic vibration in any mental body near at hand1 an attraction is set up1 and the thought-form is usually absorbed by that mental body4 ,thus we see that the influence of the thought-form is by no means so far-reaching as that of the original vibration2 but in so far as it acts1 it acts with much greater precision4 ,what it produces in the mind-body which it influences is not merely a thought of an order similar to that which gave it birth2 it is actually the same thought4 ,the radiation may affect thousands and stir up in them thoughts on the same level as the original1 and yet it may happen that no one of them will be identical with that original2 the thought-form can affect only very few1 but in those few cases it will reproduce exactly the initiatory idea4 ,the fact of the creation by vibrations of a distinct form1 geometrical or other1 is already familiar to every student of acoustics1 and ,chladni's figures are continually reproduced in every physical laboratory4 ,illustration3 ,,fig4 #a4 ,,chladni',s ,,sound ,,plate ,illustration3 ,,fig4 #b4 ,,forms ,,produced ,,in ,,sound ,for the lay reader the following brief description may be useful4 ,a ,chladni's sound plate 7fig4 #a7 is made of brass or plate-glass4 ,grains of fine sand or spores are scattered over the surface1 and the edge of the plate is bowed4 ,the sand is thrown up into the air by the vibration of the plate1 and re-falling on the plate is arranged in regular lines 7fig4 #b74 ,by touching the edge of the plate at different points when it is bowed1 different notes1 and hence varying forms1 are obtained 7fig4 #c74 ,if the figures here given are compared with those obtained from the human voice1 many likenesses will be observed4 ,for these latter1 the 'voice-forms' so admirably studied and pictured by ,mrs ,watts ,hughes1#a bearing witness to the same fact1 should be consulted1 and her work on the subject should be in the hands of every student4 ,but few perhaps have realised that the shapes pictured are due to the interplay of the vibrations that create them1 and that a machine exists by means of which two or more simultaneous motions can be imparted to a pendulum1 and that by attaching a fine drawing-pen to a lever connected with the pendulum its action may be exactly traced4 ,substitute for the swing of the pendulum the vibrations set up in the mental or astral body1 and we have clearly before us the modus operandi of the building of forms by vibrations4#b ,illustration3 ,,fig4 #c4 ,,forms ,,produced ,,in ,,sound ,footnote #a3 ,the ,eidophone ,voice ,figures4 ,margaret ,watts ,hughes4 ,footnote #b3 ,mr ,joseph ,gould1 ,stratford ,house1 ,nottingham1 supplies the twin-elliptic pendulum by which these wonderful figures may be produced4 ,the following description is taken from a most interesting essay entitled ,vibration ,figures1 by ,f4 ,bligh ,bond1 ,f4,r4,i4,b4,a41 who has drawn a number of remarkable figures by the use of pendulums4 ,the pendulum is suspended on knife edges of hardened steel1 and is free to swing only at right angles to the knife-edge suspension4 ,four such pendulums may be coupled in pairs1 swinging at right angles to each other1 by threads connecting the shafts of each pair of pendulums with the ends of a light but rigid lath1 from the centre of which run other threads2 these threads carry the united movements of each pair of pendulums to a light square of wood1 suspended by a spring1 and bearing a pen4 ,the pen is thus controlled by the combined movement of the four pendulums1 and this movement is registered on a drawing board by the pen4 ,there is no limit1 theoretically1 to the number of pendulums that can be combined in this manner4 ,the movements are rectilinear1 but two rectilinear vibrations of equal amplitude acting at right angles to each other generate a circle if they alternate precisely1 an ellipse if the alternations are less regular or the amplitudes unequal4 ,a cyclic vibration may also be obtained from a pendulum free to swing in a rotary path4 ,in these ways a most wonderful series of drawings have been obtained1 and the similarity of these to some of the thought-forms is remarkable2 they suffice to demonstrate how readily vibrations may be transformed into figures4 ,thus compare fig4 #d with fig4 #ab1 the mother's prayer2 or fig4 #e with fig4 #aj2 or fig4 #f with fig4 #be1 the serpent-like darting forms4 ,fig4 #g is added as an illustration of the complexity attainable4 ,it seems to us a most marvellous thing that some of the drawings1 made apparently at random by the use of this machine1 should exactly correspond to higher types of thought-forms created in meditation4 ,we are sure that a wealth of significance lies behind this fact1 though it will need much further investigation before we can say certainly all that it means4 ,but it must surely imply this much--that1 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 thought1 we may infer that that thought sets in motion on its own plane two forces which are in the same ratio one to the other4 ,what these forces are and how they work remains to be seen2 but if we are ever able to solve this problem1 it is likely that it will open to us a new and exceedingly valuable field of knowledge4 ,illustration3 ,,figs4 #d-g4 ,,forms ,,produced ,,by ,,pendulums ,,general ,,principles4 ,three general principles underlie the production of all thought-forms3-- #a4 ,quality of thought determines colour4 #b4 ,nature of thought determines form4 #c4 ,definiteness of thought determines clearness of outline4 ,,the ,,meaning ,,of ,,the ,,colours ,the table of colours given in the frontispiece has already been thoroughly described in the book ,man ,visible and ,invisible1 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 evolved4 ,for the sake of those who have not at hand the full description given in the book just mentioned1 it will be well to state that black means hatred and malice4 ,red1 of all shades from lurid brick-red to brilliant scarlet1 indicates anger2 brutal anger will show as flashes of lurid red from dark brown clouds1 while the anger of noble indignation is a vivid scarlet1 by no means unbeautiful1 though it gives an unpleasant thrill2 a particularly dark and unpleasant red1 almost exactly the colour called dragon's blood1 shows animal passion and sensual desire of various kinds4 ,clear brown 7almost burnt sienna7 shows avarice2 hard dull brown-grey is a sign of selfishness--a colour which is indeed painfully common2 deep heavy grey signifies depression1 while a livid pale grey is associated with fear2 grey-green is a signal of deceit1 while brownish-green 7usually flecked with points and flashes of scarlet7 betokens jealousy4 ,green seems always to denote adaptability2 in the lowest case1 when mingled with selfishness1 this adaptability becomes deceit2 at a later stage1 when the colour becomes purer1 it means rather the wish to be all things to all men1 even though it may be chiefly for the sake of becoming popular and bearing a good reputation with them2 in its still higher1 more delicate and more luminous aspect1 it shows the divine power of sympathy4 ,affection expresses itself in all shades of crimson and rose2 a full clear carmine means a strong healthy affection of normal type2 if stained heavily with brown-grey1 a selfish and grasping feeling is indicated1 while pure pale rose marks that absolutely unselfish love which is possible only to high natures2 it passes from the dull crimson of animal love to the most exquisite shades of delicate rose1 like the early flushes of the dawning1 as the love becomes purified from all selfish elements1 and flows out in wider and wider circles of generous impersonal tenderness and compassion to all who are in need4 ,with a touch of the blue of devotion in it1 this may express a strong realisation of the universal brotherhood of humanity4 ,deep orange imports pride or ambition1 and the various shades of yellow denote intellect or intellectual gratification1 dull yellow ochre implying the direction of such faculty to selfish purposes1 while clear gamboge shows a distinctly higher type1 and pale luminous primrose yellow is a sign of the highest and most unselfish use of intellectual power1 the pure reason directed to spiritual ends4 ,the different shades of blue all indicate religious feeling1 and range through all hues from the dark brown-blue of selfish devotion1 or the pallid grey-blue of fetish-worship tinged with fear1 up to the rich deep clear colour of heartfelt adoration1 and the beautiful pale azure of that highest form which implies self-renunciation and union with the divine2 the devotional thought of an unselfish heart is very lovely in colour1 like the deep blue of a summer sky4 ,through such clouds of blue will often shine out golden stars of great brilliancy1 darting upwards like a shower of sparks4 ,a mixture of affection and devotion is manifested by a tint of violet1 and the more delicate shades of this invariably show the capacity of absorbing and responding to a high and beautiful ideal4 ,the brilliancy and the depth of the colours are usually a measure of the strength and the activity of the feeling4 ,another consideration which must not be forgotten is the type of matter in which these forms are generated4 ,if a thought be purely intellectual and impersonal--for example1 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 plane4 ,if1 however1 the thought be of a spiritual nature1 if it be tinged with love and aspiration or deep unselfish feeling1 it will rise upwards from the mental plane and will borrow much of the splendour and glory of the buddhic level4 ,in such a case its influence is exceedingly powerful1 and every such thought is a mighty force for good which cannot but produce a decided effect upon all mental bodies within reach1 if they contain any quality at all capable of response4 ,if1 on the other hand1 the thought has in it something of self or of personal desire1 at once its vibration turns downwards1 and it draws round itself a body of astral matter in addition to its clothing of mental matter4 ,such a thought-form is capable of acting upon the astral bodies of other men as well as their minds1 so that it can not only raise thought within them1 but can also stir up their feelings4 ,,three ,,classes ,,of ,,thought-,,forms ,from the point of view of the forms which they produce we may group thought into three classes3-- #a4 ,that which takes the image of the thinker4 ,when a man thinks of himself as in some distant place1 or wishes earnestly to be in that place1 he makes a thought-form in his own image which appears there4 ,such a form has not infrequently been seen by others1 and has sometimes been taken for the astral body or apparition of the man himself4 ,in such a case1 either the seer must have enough of clairvoyance for the time to be able to observe that astral shape1 or the thought-form must have sufficient strength to materialise itself--that is1 to draw round itself temporarily a certain amount of physical matter4 ,the thought which generates such a form as this must necessarily be a strong one1 and it therefore employs a larger proportion of the matter of the mental body1 so that though the form is small and compressed when it leaves the thinker1 it draws round it a considerable amount of astral matter1 and usually expands to life-size before it appears at its destination4 #b4 ,that which takes the image of some material object4 ,when a man thinks of his friend he forms within his mental body a minute image of that friend1 which often passes outward and usually floats suspended in the air before him4 ,in the same way if he thinks of a room1 a house1 a landscape1 tiny images of these things are formed within the mental body and afterwards externalised4 ,this is equally true when he is exercising his imagination2 the painter who forms a conception of his future picture builds it up out of the matter of his mental body1 and then projects it into space in front of him1 keeps it before his mind's eye1 and copies it4 ,the novelist in the same way builds images of his character in mental matter1 and by the exercise of his will moves these puppets from one position or grouping to another1 so that the plot of his story is literally acted out before him4 ,with our curiously inverted conceptions of reality it is hard for us to understand that these mental images actually exist1 and are so entirely objective that they may readily be seen by the clairvoyant1 and can even be rearranged by some one other than their creator4 ,some novelists have been dimly aware of such a process1 and have testified that their characters when once created developed a will of their own1 and insisted on carrying the plot of the story along lines quite different from those originally intended by the author4 ,this has actually happened1 sometimes because the thought-forms were ensouled by playful nature-spirits1 or more often because some 'dead' novelist1 watching on the astral plane the development of the plan of his fellow-author1 thought that he could improve upon it1 and chose this method of putting forward his suggestions4 #c4 ,that which takes a form entirely its own1 expressing its inherent qualities in the matter which it draws round it4 ,only thought-forms of this third class can usefully be illustrated1 for to represent those of the first or second class would be merely to draw portraits or landscapes4 ,in those types we have the plastic mental or astral matter moulded in imitation of forms belonging to the physical plane2 in this third group we have a glimpse of the forms natural to the astral or mental planes4 ,yet this very fact1 which makes them so interesting1 places an insuperable barrier in the way of their accurate reproduction4 ,thought-forms of this third class almost invariably manifest themselves upon the astral plane1 as the vast majority of them are expressions of feeling as well as of thought4 ,those of which we here give specimens are almost wholly of that class1 except that we take a few examples of the beautiful thought-forms created in definite meditation by those who1 through long practice1 have learnt how to think4 ,thought-forms directed towards individuals produce definitely marked effects1 these effects being either partially reproduced in the aura of the recipient and so increasing the total result1 or repelled from it4 ,a thought of love and of desire to protect1 directed strongly towards some beloved object1 creates a form which goes to the person thought of1 and remains in his aura as a shielding and protecting agent2 it will seek all opportunities to serve1 and all opportunities to defend1 not by a conscious and deliberate action1 but by a blind following out of the impulse impressed upon it1 and it will strengthen friendly forces that impinge on the aura and weaken unfriendly ones4 ,thus may we create and maintain veritable guardian angels round those we love1 and many a mother's prayer for a distant child thus circles round him1 though she knows not the method by which her prayer is answered4 ,in cases in which good or evil thoughts are projected at individuals1 those thoughts1 if they are to directly fulfil their mission1 must find1 in the aura of the object to whom they are sent1 materials capable of responding sympathetically to their vibrations4 ,any combination of matter can only vibrate within certain definite limits1 and if the thought-form be outside all the limits within which the aura is capable of vibrating1 it cannot affect that aura at all4 ,it consequently rebounds from it1 and that with a force proportionate to the energy with which it impinged upon it4 ,this is why it is said that a pure heart and mind are the best protectors against any inimical assaults1 for such a pure heart and mind will construct an astral and a mental body of fine and subtle materials1 and these bodies cannot respond to vibrations that demand coarse and dense matter4 ,if an evil thought1 projected with malefic intent1 strikes such a body1 it can only rebound from it1 and it is flung back with all its own energy2 it then flies backward along the magnetic line of least resistance1 that which it has just traversed1 and strikes its projector2 he1 having matter in his astral and mental bodies similar to that of the thought-form he generated1 is thrown into respondent vibrations1 and suffers the destructive effects he had intended to cause to another4 ,thus curses and blessings come home to roost4 ,from this arise also the very serious effects of hating or suspecting a good and highly-advanced man2 the thought-forms sent against him cannot injure him1 and they rebound against their projectors1 shattering them mentally1 morally1 or physically4 ,several such instances are well known to members of the ,theosophical ,society1 having come under their direct observation4 ,so long as any of the coarser kinds of matter connected with evil and selfish thoughts remain in a person's body1 he is open to attack from those who wish him evil1 but when he has perfectly eliminated these by self-purification his haters cannot injure him1 and he goes on calmly and peacefully amid all the darts of their malice4 ,but it is bad for those who shoot out such darts4 ,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 life4 ,they are not imaginary forms1 prepared as some dreamer thinks that they ought to appear2 they are representations of forms actually observed as thrown off by ordinary men and women1 and either reproduced with all possible care and fidelity by those who have seen them1 or with the help of artists to whom the seers have described them4 99 99 99 99 99 ,for convenience of comparison thought-forms of a similar kind are grouped together4 ,,illustrative ,,thought-,,forms ,,affection ,vague ,pure ,affection4--,fig4 #h is a revolving cloud of pure affection1 and except for its vagueness it represents a very good feeling4 ,the person from whom it emanates is happy and at peace with the world1 thinking dreamily of some friend whose very presence is a pleasure4 ,there is nothing keen or strong about the feeling1 yet it is one of gentle well-being1 and of an unselfish delight in the proximity of those who are beloved4 ,the feeling which gives birth to such a cloud is pure of its kind1 but there is in it no force capable of producing definite results4 ,an appearance by no means unlike this frequently surrounds a gently purring cat1 and radiates slowly outward from the animal in a series of gradually enlarging concentric shells of rosy cloud1 fading into invisibility at a distance of a few feet from their drowsily contented creator4 ,illustration3 ,,fig4 #h4 ,,vague ,,pure ,,affection ,vague ,selfish ,affection4--,fig4 #i shows us also a cloud of affection1 but this time it is deeply tinged with a far less desirable feeling4 ,the dull hard brown-grey of selfishness shows itself very decidedly among the carmine of love1 and thus we see that the affection which is indicated is closely connected with satisfaction at favours already received1 and with a lively anticipation of others to come in the near future4 ,indefinite as was the feeling which produced the cloud in ,fig4 #h1 it was at least free from this taint of selfishness1 and it therefore showed a certain nobility of nature in its author4 ,fig4 #i represents what takes the place of that condition of mind at a lower level of evolution4 ,it would scarcely be possible that these two clouds should emanate from the same person in the same incarnation4 ,yet there is good in the man who generates this second cloud1 though as yet it is but partially evolved4 ,a vast amount of the average affection of the world is of this type1 and it is only by slow degrees that it develops towards the other and higher manifestation4 ,illustration3 ,,fig4 #i4 ,,vague ,,selfish ,,affection ,definite ,affection4--,even the first glance at ,fig4 #aj shows us that here we have to deal with something of an entirely different nature--something effective and capable1 something that will achieve a result4 ,the colour is fully equal to that of ,fig4 #h in clearness and depth and transparency1 but what was there a mere sentiment is in this case translated into emphatic intention coupled with unhesitating action4 ,those who have seen the book ,man ,visible and ,invisible will recollect that in ,plate ,,xi4 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 mother1 as she caught up her little child and covered it with kisses4 ,various changes resulted from that sudden outburst of emotion2 one of them was the formation within the astral body of large crimson coils or vortices lined with living light4 ,each of these is a thought-form of intense affection generated as we have described1 and almost instantaneously ejected towards the object of the feeling4 ,fig4 #aj depicts just such a thought-form after it has left the astral body of its author1 and is on its way towards its goal4 ,it will be observed that the almost circular form has changed into one somewhat resembling a projectile or the head of a comet2 and it will be easily understood that this alteration is caused by its rapid forward motion4 ,the clearness of the colour assures us of the purity of the emotion which gave birth to this thought-form1 while the precision of its outline is unmistakable evidence of power and of vigorous purpose4 ,the soul that gave birth to a thought-form such as this must already be one of a certain amount of development4 ,illustration3 ,,fig4 #aj4 ,,definite ,,affection ,radiating ,affection4--,fig4 #aa gives us our first example of a thought-form intentionally generated1 since its author is making the effort to pour himself forth in love to all beings4 ,it must be remembered that all these forms are in constant motion4 ,this one1 for example1 is steadily widening out1 though there seems to be an exhaustless fountain welling up through the centre from a dimension which we cannot represent4 ,a sentiment such as this is so wide in its application1 that it is very difficult for any one not thoroughly trained to keep it clear and precise4 ,the thought-form here shown is1 therefore1 a very creditable one1 for it will be noted that all the numerous rays of the star are commendably free from vagueness4 ,illustration3 ,,fig4 #aa4 ,,radiating ,,affection ,peace and ,protection4--,few thought-forms are more beautiful and expressive than this which we see in ,fig4 #ab4 ,this is a thought of love and peace1 protection and benediction1 sent forth by one who has the power and has earned the right to bless4 ,it is not at all probable that in the mind of its creator there existed any thought of its beautiful wing-like shape1 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 this4 ,however that may be1 the earnest wish undoubtedly clothed itself in this graceful and expressive outline1 while the affection that prompted it gave to it its lovely rose-colour1 and the intellect which guided it shone forth like sunlight as its heart and central support4 ,thus in sober truth we may make veritable guardian angels to hover over and protect those whom we love1 and many an unselfish earnest wish for good produces such a form as this1 though all unknown to its creator4 ,illustration3 ,,fig4 #ab4 ,,peace ,,and ,,protection ,grasping ,animal ,affection4--,fig4 #ac 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 all4 ,several colours bear their share in the production of its dull unpleasing hue1 tinged as it is with the lurid gleam of sensuality1 as well as deadened with the heavy tint indicative of selfishness4 ,especially characteristic is its form1 for those curving hooks are never seen except when there exists a strong craving for personal possession4 ,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 service1 never once thinking of result or return2 his thought has been1 not ,how much can ,i give8 but ,how much can ,i gain8 and so it has expressed itself in these re-entering curves4 ,it has not even ventured to throw itself boldly outward1 as do other thoughts1 but projects half-heartedly from the astral body1 which must be supposed to be on the left of the picture4 ,a sad travesty of the divine quality love2 yet even this is a stage in evolution1 and distinctly an improvement upon earlier stages1 as will presently be seen4 ,illustration3 ,,fig4 #ac4 ,,grasping ,,animal ,,affection ,,devotion ,vague ,religious ,feeling4--,fig4 #ad shows us another shapeless rolling cloud1 but this time it is blue instead of crimson4 ,it betokens that vaguely pleasurable religious feeling--a sensation of devoutness rather than of devotion--which is so common among those in whom piety is more developed than intellect4 ,in many a church one may see a great cloud of deep dull blue floating over the heads of the congregation--indefinite in outline1 because of the indistinct nature of the thoughts and feelings which cause it2 flecked too often with brown and grey1 because ignorant devotion absorbs with deplorable facility the dismal tincture of selfishness or fear2 but none the less adumbrating a mighty potentiality of the future1 manifesting to our eyes the first faint flutter of one at least of the twin wings of devotion and wisdom1 by the use of which the soul flies upward to ,god from whom it came4 ,illustration3 ,,fig4 #ad4 ,,vague ,,religious ,,feeling ,strange is it to note under what varied circumstances this vague blue cloud may be seen2 and oftentimes its absence speaks more loudly than its presence4 ,for in many a fashionable place of worship we seek it in vain1 and find instead of it a vast conglomeration of thought-forms of that second type which take the shape of material objects4 ,instead of tokens of devotion1 we see floating above the worshippers the astral images of hats and bonnets1 of jewellery and gorgeous dresses1 of horses and of carriages1 of whisky-bottles and of ,sunday dinners1 and sometimes of whole rows of intricate calculations1 showing that men and women alike have had during their supposed hours of prayer and praise no thoughts but of business or of pleasure1 of the desires or the anxieties of the lower form of mundane existence4 ,yet sometimes in a humbler fane1 in a church belonging to the unfashionable ,catholic or ,ritualist1 or even in a lowly meeting-house where there is but little of learning or of culture1 one may watch the deep blue clouds rolling ceaselessly eastward towards the altar1 or upwards1 testifying at least to the earnestness and the reverence of those who give them birth4 ,rarely--very rarely--among the clouds of blue will flash like a lance cast by the hand of a giant such a thought-form as is shown in ,fig4 #ae2 or such a flower of self-renunciation as we see in ,fig4 #af may float before our ravished eyes2 but in most cases we must seek elsewhere for these signs of a higher development4 ,upward ,rush of ,devotion4--,the form in ,fig4 #ae bears much the same relation to that of ,fig4 #ad as did the clearly outlined projectile of ,fig4 #aj to the indeterminate cloud of ,fig4 #h4 ,we could hardly have a more marked contrast than that between the inchoate flaccidity of the nebulosity in ,fig4 #ad and the virile vigour of the splendid spire of highly developed devotion which leaps into being before us in ,fig4 #ae4 ,this is no uncertain half-formed sentiment2 it is the outrush into manifestation of a grand emotion rooted deep in the knowledge of fact4 ,the man who feels such devotion as this is one who knows in whom he has believed2 the man who makes such a thought-form as this is one who has taught himself how to think4 ,the determination of the upward rush points to courage as well as conviction1 while the sharpness of its outline shows the clarity of its creator's conception1 and the peerless purity of its colour bears witness to his utter unselfishness4 ,illustration3 ,,fig4 #ae4 ,,upward ,,rush ,,of ,,devotion ,the ,response to ,devotion4--,in ,fig4 #ag we see the result of his thought--the response of the ,,logos to the appeal made to ,him1 the truth which underlies the highest and best part of the persistent belief in an answer to prayer4 ,it needs a few words of explanation4 ,on every plane of ,his solar system our ,,logos pours forth ,his light1 ,his power1 ,his life1 and naturally it is on the higher planes that this outpouring of divine strength can be given most fully4 ,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 consciousness4 ,thus the divine life flows forth with incomparably greater fulness on the mental plane than on the astral2 and yet even its glory at the mental level is ineffably transcended by that of the buddhic plane4 ,normally each of these mighty waves of influence spreads about its appropriate plane--horizontally1 as it were--but it does not pass into the obscuration of a plane lower than that for which it was originally intended4 ,illustration3 ,,fig4 #ag4 ,,response ,,to ,,devotion ,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 one1 and may spread abroad there with wonderful effect4 ,this seems to be possible only when a special channel is for the moment opened2 and that work must be done from below and by the effort of man4 ,it has before been explained that whenever a man's thought or feeling is selfish1 the energy which it produces moves in a close curve1 and thus inevitably returns and expends itself upon its own level2 but when the thought or feeling is absolutely unselfish1 its energy rushes forth in an open curve1 and thus does not return in the ordinary sense1 but pierces through into the plane above1 because only in that higher condition1 with its additional dimension1 can it find room for its expansion4 ,but in thus breaking through1 such a thought or feeling holds open a door 7to speak symbolically7 of dimension equivalent to its own diameter1 and thus furnishes the requisite channel through which the divine force appropriate to the higher plane can pour itself into the lower with marvellous results1 not only for the thinker but for others4 ,an attempt is made in ,fig4 #ag to symbolise this1 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 offered1 just as the water in a cistern may be said to be waiting to pour through the first pipe that may be opened4 ,the result of the descent of divine life is a very great strengthening and uplifting of the maker of the channel1 and the spreading all about him of a most powerful and beneficent influence4 ,this effect has often been called an answer to prayer1 and has been attributed by the ignorant to what they call a special interposition of ,providence1 instead of to the unerring action of the great and immutable divine law4 ,self-,renunciation4--,fig4 #af gives us yet another form of devotion1 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 imitated4 ,fig4 #af1 for example1 is somewhat suggestive of a partially opened flower-bud1 while other forms are found to bear a certain resemblance to shells or leaves or tree-shapes4 ,manifestly1 however1 these are not and cannot be copies of vegetable or animal forms1 and it seems probable that the explanation of the similarity lies very much deeper than that4 ,an analogous and even more significant fact is that some very complex thought-forms can be exactly imitated by the action of certain mechanical forces1 as has been said above4 ,while with our present knowledge it would be unwise to attempt a solution of the very fascinating problem presented by these remarkable resemblances1 it seems likely that we are obtaining a glimpse across the threshold of a very mighty mystery1 for if by certain thoughts we produce a form which has been duplicated by the processes of nature1 we have at least a presumption that these forces of nature work along lines somewhat similar to the action of those thoughts4 ,since the universe is itself a mighty thought-form called into existence by the ,,logos1 it may well be that tiny parts of it are also the thought-forms of minor entities engaged in the same work2 and thus perhaps we may approach a comprehension of what is meant by the three hundred and thirty million ,devas of the ,hindus4 ,illustration3 ,,fig4 #af4 ,,self-,,renunciation ,this form is of the loveliest pale azure1 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 possible4 ,it is what a ,catholic would call a definite act of devotion--better still1 an act of utter selflessness1 of self-surrender and renunciation4 ,,intellect ,vague ,intellectual ,pleasure4--,fig4 #ah represents a vague cloud of the same order as those shown in ,figs4 #h and #ad1 but in this case the colour is yellow instead of crimson or blue4 ,yellow in any of man's vehicles always indicates intellectual capacity1 but its shades vary very much1 and it may be complicated by the admixture of other hues4 ,generally speaking1 it has a deeper and duller tint if the intellect is directed chiefly into lower channels1 more especially if the objects are selfish4 ,in the astral or mental body of the average man of business it would show itself as yellow ochre1 while pure intellect devoted to the study of philosophy or mathematics appears frequently to be golden1 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 humanity4 ,most yellow thought-forms are clearly outlined1 and a vague cloud of this colour is comparatively rare4 ,it indicates intellectual pleasure--appreciation of the result of ingenuity1 or the delight felt in clever workmanship4 ,such pleasure as the ordinary man derives from the contemplation of a picture usually depends chiefly upon the emotions of admiration1 affection1 or pity which it arouses within him1 or sometimes1 if it pourtrays a scene with which he is familiar1 its charm consists in its power to awaken the memory of past joys4 ,an artist1 however1 may derive from a picture a pleasure of an entirely different character1 based upon his recognition of the excellence of the work1 and of the ingenuity which has been exercised in producing certain results4 ,such pure intellectual gratification shows itself in a yellow cloud2 and the same effect may be produced by delight in musical ingenuity1 or the subtleties of argument4 ,a cloud of this nature betokens the entire absence of any personal emotion1 for if that were present it would inevitably tinge the yellow with its own appropriate colour4 ,illustration3 ,,fig4 #ah4 ,,vague ,,intellectual ,,pleasure ,the ,intention to ,know4--,fig4 #ai is of interest as showing us something of the growth of a thought-form4 ,the earlier stage1 which is indicated by the upper form1 is not uncommon1 and indicates the determination to solve some problem--the intention to know and to understand4 ,sometimes a theosophical lecturer sees many of these yellow serpentine forms projecting towards him from his audience1 and welcomes them as a token that his hearers are following his arguments intelligently1 and have an earnest desire to understand and to know more4 ,a form of this kind frequently accompanies a question1 and if1 as is sometimes unfortunately the case1 the question is put less with the genuine desire for knowledge than for the purpose of exhibiting the acumen of the questioner1 the form is strongly tinged with the deep orange that indicates conceit4 ,it was at a theosophical meeting that this special shape was encountered1 and it accompanied a question which showed considerable thought and penetration4 ,the answer at first given was not thoroughly satisfactory to the inquirer1 who seems to have received the impression that his problem was being evaded by the lecturer4 ,his resolution to obtain a full and thorough answer to his inquiry became more determined than ever1 and his thought-form deepened in colour and changed into the second of the two shapes1 resembling a cork-screw even more closely than before4 ,forms similar to these are constantly created by ordinary idle and frivolous curiosity1 but as there is no intellect involved in that case the colour is no longer yellow1 but usually closely resembles that of decaying meat1 somewhat like that shown in ,fig4 #bi as expressing a drunken man's craving for alcohol4 ,illustration3 ,,fig4 #ai4 ,,the ,,intention ,,to ,,know ,high ,ambition4--,fig4 #bj gives us another manifestation of desire--the ambition for place or power4 ,the ambitious quality is shown by the rich deep orange colour1 and the desire by the hooked extensions which precede the form as it moves4 ,the thought is a good and pure one of its kind1 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 reds1 browns1 or greys4 ,if this man coveted place or power1 it was not for his own sake1 but from the conviction that he could do the work well and truly1 and to the advantage of his fellow-men4 ,illustration3 ,,fig4 #bj4 ,,high ,,ambition ,selfish ,ambition4--,ambition of a lower type is represented in ,fig4 #ba4 ,not only have we here a large stain of the dull brown-grey of selfishness1 but there is also a considerable difference in the form1 though it appears to possess equal definiteness of outline4 ,fig4 #bj is rising steadily onward towards a definite object1 for it will be observed that the central part of it is as definitely a projectile as ,fig4 #aj4 ,fig4 #ba1 on the other hand1 is a floating form1 and is strongly indicative of general acquisitiveness--the ambition to grasp for the self everything that is within sight4 ,illustration3 ,,fig4 #ba4 ,,selfish ,,ambition ,,anger ,murderous ,rage and ,sustained ,anger4--,in ,figs4 #bb and #bc we have two terrible examples of the awful effect of anger4 ,the lurid flash from dark clouds 7,fig4 #bb7 was taken from the aura of a rough and partially intoxicated man in the ,east ,end of ,london1 as he struck down a woman2 the flash darted out at her the moment before he raised his hand to strike1 and caused a shuddering feeling of horror1 as though it might slay4 ,the keen-pointed stiletto-like dart 7,fig4 #bc7 was a thought of steady anger1 intense and desiring vengeance1 of the quality of murder1 sustained through years1 and directed against a person who had inflicted a deep injury on the one who sent it forth2 had the latter been possessed of a strong and trained will1 such a thought-form would slay1 and the one nourishing it is running a very serious danger of becoming a murderer in act as well as in thought in a future incarnation4 ,it will be noted that both of them take the flash-like form1 though the upper is irregular in its shape1 while the lower represents a steadiness of intention which is far more dangerous4 ,the basis of utter selfishness out of which the upper one springs is very characteristic and instructive4 ,the difference in colour between the two is also worthy of note4 ,in the upper one the dirty brown of selfishness is so strongly evident that it stains even the outrush of anger2 while in the second case1 though no doubt selfishness was at the root of that also1 the original thought has been forgotten in the sustained and concentrated wrath4 ,one who studies ,plate ,,xiii4 in ,man ,visible and ,invisible will be able to image to himself the condition of the astral body from which these forms are protruding2 and surely the mere sight of these pictures1 even without examination1 should prove a powerful object-lesson in the evil of yielding to the passion of anger4 ,illustration3 ,,fig4 #bb4 ,,murderous ,,rage ,illustration3 ,,fig4 #bc4 ,,sustained ,,anger ,explosive ,anger4--,in ,fig4 #bd we see an exhibition of anger of a totally different character4 ,here is no sustained hatred1 but simply a vigorous explosion of irritation4 ,it is at once evident that while the creators of the forms shown in ,figs4 #bb and #bc were each directing their ire against an individual1 the person who is responsible for the explosion in ,fig4 #bd is for the moment at war with the whole world round him4 ,it may well express the sentiment of some choleric old gentleman1 who feels himself insulted or impertinently treated1 for the dash of orange intermingled with the scarlet implies that his pride has been seriously hurt4 ,it is instructive to compare the radiations of this plate with those of ,fig4 #aa4 ,here we see indicated a veritable explosion1 instantaneous in its passing and irregular in its effects2 and the vacant centre shows us that the feeling that caused it is already a thing of the past1 and that no further force is being generated4 ,in ,fig4 #aa1 on the other hand1 the centre is the strongest part of the thought-form1 showing that this is not the result of a momentary flash of feeling1 but that there is a steady continuous upwelling of the energy1 while the rays show by their quality and length and the evenness of their distribution the steadily sustained effort which produces them4 ,illustration3 ,,fig4 #bd4 ,,explosive ,,anger ,watchful and ,angry ,jealousy4--,in ,fig4 #be we see an interesting though unpleasant thought-form4 ,its peculiar brownish-green colour at once indicates to the practised clairvoyant that it is an expression of jealousy1 and its curious shape shows the eagerness with which the man is watching its object4 ,the remarkable resemblance to the snake with raised head aptly symbolises the extraordinarily fatuous attitude of the jealous person1 keenly alert to discover signs of that which he least of all wishes to see4 ,the moment that he does see it1 or imagines that he sees it1 the form will change into the far commoner one shown in ,fig4 #bf1 where the jealousy is already mingled with anger4 ,it may be noted that here the jealousy is merely a vague cloud1 though interspersed with very definite flashes of anger ready to strike at those by whom it fancies itself to be injured2 whereas in ,fig4 #be1 where there is no anger as yet1 the jealousy itself has a perfectly definite and very expressive outline4 ,illustration3 ,,fig4 #be4 ,,watchful ,,jealousy ,illustration3 ,,fig4 #bf4 ,,angry ,,jealousy ,,sympathy ,vague ,sympathy4--,in ,fig4 #ah;,a we have another of the vague clouds1 but this time its green colour shows us that it is a manifestation of the feeling of sympathy4 ,we may infer from the indistinct character of its outline that it is not a definite and active sympathy1 such as would instantly translate itself from thought into deed2 it marks rather such a general feeling of commiseration as might come over a man who read an account of a sad accident1 or stood at the door of a hospital ward looking in upon the patients4 ,illustration3 ,,fig4 #ah;,a4 ,,vague ,,sympathy ,,fear ,sudden ,fright4--,one of the most pitiful objects in nature is a man or an animal in a condition of abject fear2 and an examination of ,plate ,,xiv4 in ,man ,visible and ,invisible shows that under such circumstances the astral body presents no better appearance than the physical4 ,when a man's astral body is thus in a state of frenzied palpitation1 its natural tendency is to throw off amorphous explosive fragments1 like masses of rock hurled out in blasting1 as will be seen in ,fig4 #cj2 but when a person is not terrified but seriously startled1 an effect such as that shown in ,fig4 #bg is often produced4 ,in one of the photographs taken by ,dr ,baraduc of ,paris1 it was noticed that an eruption of broken circles resulted from sudden annoyance1 and this outrush of crescent-shaped forms seems to be of somewhat the same nature1 though in this case there are the accompanying lines of matter which even increase the explosive appearance4 ,it is noteworthy that all the crescents to the right hand1 which must obviously have been those expelled earliest1 show nothing but the livid grey of fear2 but a moment later the man is already partially recovering from the shock1 and beginning to feel angry that he allowed himself to be startled4 ,this is shown by the fact that the later crescents are lined with scarlet1 evidencing the mingling of anger and fear1 while the last crescent is pure scarlet1 telling us that even already the fright is entirely overcome1 and only the annoyance remains4 ,illustration3 ,,fig4 #bg4 ,,sudden ,,fright ,,greed ,selfish ,greed4--,fig4 #bh gives us an example of selfish greed--a far lower type than ,fig4 #ba4 ,it will be noted that here there is nothing even so lofty as ambition1 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 desire4 ,while the ambition of ,fig4 #ba was general in its nature1 the craving expressed in ,fig4 #bh is for a particular object towards which it is reaching out2 for it will be understood that this thought-form1 like that in ,fig4 #ac1 remains attached to the astral body1 which must be supposed to be on the left of the picture4 ,claw-like forms of this nature are very frequently to be seen converging upon a woman who wears a new dress or bonnet1 or some specially attractive article of jewellery4 ,the thought-form may vary in colour according to the precise amount of envy or jealousy which is mingled with the lust for possession1 but an approximation to the shape indicated in our illustration will be found in all cases4 ,not infrequently people gathered in front of a shop-window may be seen thus protruding astral cravings through the glass4 ,illustration3 ,,fig4 #bh4 ,,selfish ,,greed ,greed for ,drink4--,in ,fig4 #bi we have another variant of the same passion1 perhaps at an even more degraded and animal level4 ,this specimen was taken from the astral body of a man just as he entered at the door of a drinking-shop2 the expectation of and the keen desire for the liquor which he was about to absorb showed itself in the projection in front of him of this very unpleasant appearance4 ,once more the hooked protrusions show the craving1 while the colour and the coarse mottled texture show the low and sensual nature of the appetite4 ,sexual desires frequently show themselves in an exactly similar manner4 ,men who give birth to forms such as this are as yet but little removed from the animal2 as they rise in the scale of evolution the place of this form will gradually be taken by something resembling that shown in ,fig4 #ac1 and very slowly1 as development advances1 that in turn will pass through the stages indicated in ,figs4 #i and #h1 until at last all selfishness is cast out1 and the desire to have has been transmuted into the desire to give1 and we arrive at the splendid results shown in ,figs4 #aa and #aj4 ,illustration3 ,,fig4 #bi4 ,,greed ,,for ,,drink ,,various ,,emotions ,at a ,shipwreck4--,very serious is the panic which has occasioned the very interesting group of thought-forms which are depicted in ,fig4 #cj4 ,they were seen simultaneously1 arranged exactly as represented1 though in the midst of indescribable confusion1 so their relative positions have been retained1 though in explaining them it will be convenient to take them in reverse order4 ,they were called forth by a terrible accident1 and they are instructive as showing how differently people are affected by sudden and serious danger4 ,one form shows nothing but an eruption of the livid grey of fear1 rising out of a basis of utter selfishness3 and unfortunately there were many such as this4 ,the shattered appearance of the thought-form shows the violence and completeness of the explosion1 which in turn indicates that the whole soul of that person was possessed with blind1 frantic terror1 and that the overpowering sense of personal danger excluded for the time every higher feeling4 ,illustration3 ,,fig4 #cj4 ,,at ,a ,,shipwreck ,the second form represents at least an attempt at self-control1 and shows the attitude adopted by a person having a certain amount of religious feeling4 ,the thinker is seeking solace in prayer1 and endeavouring in this way to overcome her fear4 ,this is indicated by the point of greyish-blue which lifts itself hesitatingly upwards2 the colour shows1 however1 that the effort is but partially successful1 and we see also from the lower part of the thought-form1 with its irregular outline and its falling fragments1 that there is in reality almost as much fright here as in the other case4 ,but at least this woman has had presence of mind enough to remember that she ought to pray1 and is trying to imagine that she is not afraid as she does it1 whereas in the other case there was absolutely no thought beyond selfish terror4 ,the one retains still some semblance of humanity1 and some possibility of regaining self-control2 the other has for the time cast aside all remnants of decency1 and is an abject slave to overwhelming emotion4 ,a very striking contrast to the humiliating weakness shown in these two forms is the splendid strength and decision of the third4 ,here we have no amorphous mass with quivering lines and explosive fragments1 but a powerful1 clear-cut and definite thought1 obviously full of force and resolution4 ,for this is the thought of the officer in charge--the man responsible for the lives and the safety of the passengers1 and he rises to the emergency in a most satisfactory manner4 ,it does not even occur to him to feel the least shadow of fear2 he has no time for that4 ,though the scarlet of the sharp point of his weapon-like thought-form shows anger that the accident should have happened1 the bold curve of orange immediately above it betokens perfect self-confidence and certainty of his power to deal with the difficulty4 ,the brilliant yellow implies that his intellect is already at work upon the problem1 while the green which runs side by side with it denotes the sympathy which he feels for those whom he intends to save4 ,a very striking and instructive group of thought-forms4 ,on the ,first ,night4--,fig4 #ca 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 performance4 ,the broad band of orange in the centre is very clearly defined1 and is the expression of a well-founded self-confidence--the realisation of many previous successes1 and the reasonable expectation that on this occasion another will be added to the list4 ,yet in spite of this there is a good deal of unavoidable uncertainty as to how this new play may strike the fickle public1 and on the whole the doubt and fear overbalance the certainty and pride1 for there is more of the pale grey than of the orange1 and the whole thought-form vibrates like a flag flapping in a gale of wind4 ,it will be noted that while the outline of the orange is exceedingly clear and definite1 that of the grey is much vaguer4 ,illustration3 ,,fig4 #ca4 ,,on ,,the ,,first ,,night ,the ,gamblers4--,the forms shown in ,fig4 #cb were observed simultaneously at the great gambling-house at ,monte ,carlo4 ,both represent some of the worst of human passions1 and there is little to choose between them2 although they represent the feelings of the successful and the unsuccessful gambler respectively4 ,the lower form has a strong resemblance to a lurid and gleaming eye1 though this must be simply a coincidence1 for when we analyse it we find that its constituent parts and colours can be accounted for without difficulty4 ,the background of the whole thought is an irregular cloud of deep depression1 heavily marked by the dull brown-grey of selfishness and the livid hue of fear4 ,in the centre we find a clearly-marked scarlet ring showing deep anger and resentment at the hostility of fate1 and within that is a sharply outlined circle of black expressing the hatred of the ruined man for those who have won his money4 ,the man who can send forth such a thought-form as this is surely in imminent danger1 for he has evidently descended into the very depths of despair2 being a gambler he can have no principle to sustain him1 so that he would be by no means unlikely to resort to the imaginary refuge of suicide1 only to find on awakening into astral life that he had changed his condition for the worse instead of for the better1 as the suicide always does1 since his cowardly action cuts him off from the happiness and peace which usually follow death4 ,illustration3 ,,fig4 #cb4 ,,the ,,gamblers ,the upper form represents a state of mind which is perhaps even more harmful in its effects1 for this is the gloating of the successful gambler over his ill-gotten gain4 ,here the outline is perfectly definite1 and the man's resolution to persist in his evil course is unmistakable4 ,the broad band of orange in the centre shows very clearly that although when the man loses he may curse the inconstancy of fate1 when he wins he attributes his success entirely to his own transcendent genius4 ,probably he has invented some system to which he pins his faith1 and of which he is inordinately proud4 ,but it will be noticed that on each side of the orange comes a hard line of selfishness1 and we see how this in turn melts into avarice and becomes a mere animal greed of possession1 which is also so clearly expressed by the claw-like extremities of the thought-form4 ,at a ,street ,accident4--,fig4 #cc is instructive as showing the various forms which the same feelings may take in different individuals4 ,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 vehicle4 ,the persons who generated these two thought-forms were both animated by affectionate interest in the victim and deep compassion for his suffering1 and so their thought-forms exhibited exactly the same colours1 although the outlines are absolutely unlike4 ,the one over whom floats that vague sphere of cloud is thinking ,poor fellow1 how sad6 while he who gives birth to that sharply-defined disc is already rushing forward to see in what way he can be of assistance4 ,the one is a dreamer1 though of acute sensibilities2 the other is a man of action4 ,illustration3 ,,fig4 #cc4 ,,at ,a ,,street ,,accident ,at a ,funeral4--,in ,fig4 #cd we have an exceedingly striking example of the advantage of knowledge1 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 live4 ,utterly different as they are in every respect of colour and form and meaning1 these two thought-forms were seen simultaneously1 and they represent two points of view with regard to the same occurrence4 ,they were observed at a funeral1 and they exhibit the feelings evoked in the minds of two of the mourners by the contemplation of death4 ,the thinkers stood in the same relation to the dead man1 but while one of them was still steeped in the dense ignorance with regard to super-physical life which is so painfully common in the present day1 the other had the inestimable advantage of the light of ,theosophy4 ,in the thought of the former we see expressed nothing but profound depression1 fear and selfishness4 ,the fact that death has approached so near has evidently evoked in the mind of the mourner the thought that it may one day come to him also1 and the anticipation of this is very terrible to him2 but since he does not know what it is that he fears1 the clouds in which his feeling is manifested are appropriately vague4 ,his only definite sensations are despair and the sense of his personal loss1 and these declare themselves in regular bands of brown-grey and leaden grey1 while the very curious downward protrusion1 which actually descends into the grave and enfolds the coffin1 is an expression of strong selfish desire to draw the dead man back into physical life4 ,illustration3 ,,fig4 #cd4 ,,at ,a ,,funeral ,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 case4 ,it will be observed that the two have no single emotion in common2 in the former case all was despondency and horror1 while in this case we find none but the highest and most beautiful sentiments4 ,at the base of the thought-form we find a full expression of deep sympathy1 the lighter green indicating appreciation of the suffering of the mourners and condolence with them1 while the band of deeper green shows the attitude of the thinker towards the dead man himself4 ,the deep rose-colour exhibits affection towards both the dead and the living1 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 death1 the blue expressing its devotional aspect1 while the violet shows the thought of1 and the power to respond to1 a noble ideal1 and the golden stars denote the spiritual aspirations which its contemplation calls forth4 ,the band of clear yellow which is seen in the centre of this thought-form is very significant1 as indicating that the man's whole attitude is based upon and prompted by his intellectual comprehension of the situation1 and this is also shown by the regularity of the arrangement of the colours and the definiteness of the lines of demarcation between them4 ,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 teaching4 ,undoubtedly this knowledge of the truth takes away all fear of death1 and makes life easier to live because we understand its object and its end1 and we realise that death is a perfectly natural incident in its course1 a necessary step in our evolution4 ,this ought to be universally known among ,christian nations1 but it is not1 and therefore on this point1 as on so many others1 ,theosophy has a gospel for the ,western world4 ,it has to announce that there is no gloomy impenetrable abyss beyond the grave1 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 now4 ,we have created the gloom and the horror for ourselves1 like children who frighten themselves with ghastly stories1 and we have only to study the facts of the case1 and all these artificial clouds will roll away at once4 ,we have an evil heredity behind us in this matter1 for we have inherited all kinds of funereal horrors from our forefathers1 and so we are used to them1 and we do not see the absurdity and the monstrosity of them4 ,the ancients were in this respect wiser than we1 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 living1 but was also free from the gruesome suggestions connected with slow decay4 ,they knew much more about death in those days1 and because they knew more they mourned less4 ,on ,meeting a ,friend4--,fig4 #ce gives us an example of a good1 clearly-defined and expressive thought-form1 with each colour well marked off from the others4 ,it represents the feeling of a man upon meeting a friend from whom he has been long separated4 ,the convex surface of the crescent is nearest to the thinker1 and its two arms stretch out towards the approaching friend as if to embrace him4 ,the rose colour naturally betokens the affection felt1 the light green shows the depth of the sympathy which exists1 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 by4 ,illustration3 ,,fig4 #ce4 ,,on ,,meeting ,a ,,friend ,the ,appreciation of a ,picture4--,in ,fig4 #cf we have a somewhat complex thought-form representing the delighted appreciation of a beautiful picture upon a religious subject4 ,the strong pure yellow marks the beholder's enthusiastic recognition of the technical skill of the artist1 while all the other colours are expressions of the various emotions evoked within him by the examination of so glorious a work of art4 ,green shows his sympathy with the central figure in the picture1 deep devotion appears not only in the broad band of blue1 but also in the outline of the entire figure1 while the violet tells us that the picture has raised the man's thought to the contemplation of a lofty ideal1 and has made him1 at least for the time1 capable of responding to it4 ,we have here the first specimen of an interesting class of thought-forms of which we shall find abundant examples later--that in which light of one colour shines out through a network of lines of some quite different hue4 ,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 plain2 and this makes it clear that the loftiest aspiration is by no means vague1 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 effect4 ,illustration3 ,,fig4 #cf4 ,,the ,,appreciation ,,of ,a ,,picture ,,forms ,,seen ,,in ,,those ,,meditating ,sympathy and ,love for all4--,hitherto we have been dealing chiefly with forms which are the expression of emotion1 or of such thought as is aroused within the mind by external circumstances4 ,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 conception1 or to put himself into a certain attitude4 ,naturally such thoughts are definite1 for the man who trains himself in this way learns how to think with clearness and precision1 and the development of his power in this direction shows itself in the beauty and regularity of the shapes produced4 ,in this case we have the result of an endeavour on the part of the thinker to put himself into an attitude of sympathy and love towards all mankind1 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 7,fig4 #cg74 ,the lines are still sufficiently broad and wide apart to be easily drawn2 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 are4 ,the outline of this thought-form is that of a leaf1 yet its shape and the curve of its lines are more suggestive of a certain kind of shell1 so that this is another example of the approximation to forms seen in physical nature which we noted in commenting upon ,fig4 #af4 ,illustration3 ,,fig4 #cg4 ,,sympathy ,,and ,,love ,,for ,,all ,an ,aspiration to ,enfold all4--,in ,fig4 #ch we have a far more developed example of the same type4 ,this form was generated by one who was trying1 while sitting in meditation1 to fill his mind with an aspiration to enfold all mankind in order to draw them upward towards the high ideal which shone so clearly before his eyes4 ,therefore it is that the form which he produces seems to rush out from him1 to curve round upon itself1 and to return to its base2 therefore it is that the marvellously fine lines are drawn in lovely luminous violet1 and that from within the form there shines out a glorious golden light which it is unfortunately quite impossible to reproduce4 ,for the truth is that all these apparently intricate lines are in reality only one line circling round the form again and again with unwearied patience and wonderful accuracy4 ,it is scarcely possible that any human hand could make such a drawing as this on this scale1 and in any case the effect of its colours could not be shown1 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 appears1 and all likeness to the original is destroyed4 ,but what cannot be done by hand may sometimes be achieved by the superior accuracy and delicacy of a machine1 and it is in this way that the drawing was made from which our illustration is reproduced1--with some attempt to represent the colour effect as well as the wonderful delicacy of the lines and curves4 ,illustration3 ,,fig4 #ch4 ,,an ,,aspiration ,,to ,,enfold ,,all ,in the ,six ,directions4--,the form represented in ,fig4 #ci is the result of another endeavour to extend love and sympathy in all directions--an effort almost precisely similar to that which gave birth to ,fig4 #cg1 though the effect seems so different4 ,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 grow4 ,it will be seen that in this instance the thinker displays considerable devotional feeling1 and has also made an intellectual effort to grasp the conditions necessary for the realisation of his wishes1 and the blue and yellow colours remain as evidence of this4 ,originally this thought-form was circular1 and the dominant idea evidently was that the green of sympathy should be upon the outside1 facing in all directions1 as it were1 and that love should lie at the centre and heart of the thought and direct its outgoing energies4 ,but the maker of this thought-form had been reading ,hindu books1 and his modes of thought had been greatly influenced by them4 ,students of ,oriental literature will be aware that the ,hindu speaks1 not of four directions 7north1 east1 south1 and west71 as we do1 but always of six1 since he very sensibly includes the zenith and the nadir4 ,our friend was imbued from his reading with the idea that he should pour forth his love and sympathy in the six directions2 but since he did not accurately understand what the six directions are1 he directed his stream of affection towards six equidistant points in his circle4 ,the outrushing streams altered the shape of the outlying lines which he had already built up1 and so instead of having a circle as a section of his thought-form1 we have this curious hexagon with its inward-curving sides4 ,we see thus how faithfully every thought-form records the exact process of its upbuilding1 registering ineffaceably even the errors of its construction4 ,illustration3 ,,fig4 #ci4 ,,in ,,the ,,six ,,directions ,an ,intellectual ,conception of ,cosmic ,order4--,in ,fig4 #dj we have the effect of an attempt to attain an intellectual conception of cosmic order4 ,the thinker was obviously a ,theosophist1 and it will be seen that when he endeavours to think of the action of spirit upon matter he instinctively follows the same line of symbolism as that depicted in the well-known seal of the ,society4 ,here we have an upward-pointing triangle1 signifying the threefold aspect of the ,spirit1 interlaced with the downward-pointing triangle1 which indicates matter with its three inherent qualities4 ,usually we represent the upward triangle in white or gold1 and the downward-pointing one in some darker hue such as blue or black1 but it is noteworthy that in this case the thinker is so entirely occupied with the intellectual endeavour1 that no colour but yellow is exhibited within the form4 ,there is no room as yet for emotions of devotion1 of wonder1 or of admiration2 the idea which he wishes to realise fills his mind entirely1 to the exclusion of all else4 ,still the definiteness of the outline as it stands out against its background of rays shows that he has achieved a high measure of success4 ,illustration3 ,,fig4 #dj4 ,,an ,,intellectual ,,conception ,,of ,,cosmic ,,order ,the ,logos as manifested in ,man4--,we are now coming to a series of thoughts which are among the very highest the human mind can form1 when in meditation upon the divine source of its being4 ,when the man in reverent contemplation tries to raise his thought towards the ,,logos of our solar system1 he naturally makes no attempt to image to himself that august ,being2 nor does he think of ,him as in any way possessing such form as we can comprehend4 ,nevertheless such thoughts build forms for themselves in the matter of the mental plane2 and it will be of interest for us to examine those forms4 ,in our illustration in ,fig4 #da we have a thought of the ,,logos as manifested in man1 with the devotional aspiration that ,he may thus be manifested through the thinker4 ,it is this devotional feeling which gives the pale blue tinge to the five-pointed star1 and its shape is significant1 since it has been employed for many ages as a symbol of ,god manifest in man4 ,the thinker may perhaps have been a ,freemason1 and his knowledge of the symbolism employed by that body may have had its share in the shaping of the star4 ,it will be seen that the star is surrounded by bright yellow rays shining out amidst a cloud of glory1 which denotes not only the reverential understanding of the surpassing glory of the ,deity1 but also a distinct intellectual effort in addition to the outpouring of devotion4 ,illustration3 ,,fig4 #da4 ,,the ,,logos ,,as ,,manifested ,,in ,,man ,the ,logos pervading all4--,our next three ,figures are devoted to the effort to represent a thought of a very high type--an endeavour to think of the ,,logos as pervading all nature4 ,here again1 as in ,fig4 #ch1 it is impossible to give a full reproduction1 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 printing4 ,the golden ball depicted in ,fig4 #db must be thought of as inside the other ball of delicate lines 7blue in colour7 which is drawn in ,fig4 #dd4 ,any effort to place the colours in such intimate juxtaposition on the physical plane results simply in producing a green blur1 so that the whole character of the thought-form is lost4 ,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 lines4 ,as before1 a single line produces all the wonderful tracery of ,fig4 #dd1 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 concentric1 although at first sight they appear to be so4 ,illustration3 ,,fig4 #db4 ,,the ,,logos ,,pervading ,,all ,illustration3 ,,fig4 #dd4 ,,the ,,logos ,,pervading ,,all ,another ,conception4--,fig4 #de exhibits the form produced by another person when trying to hold exactly the same thought4 ,here also we have an amazing complexity of almost inconceivably delicate blue lines1 and here also our imagination must be called upon to insert the golden globe from ,fig4 #db1 so that its glory may shine through at every point4 ,here also1 as in ,fig4 #dd1 we have that curious and beautiful pattern1 resembling somewhat the damascening on ancient ,oriental swords1 or that which is seen upon watered silk or moire antique4 ,when this form is drawn by the pendulum1 the pattern is not in any way intentionally produced1 but simply comes as a consequence of the crossing of the innumerable microscopically fine lines4 ,it is evident that the thinker who created the form upon ,fig4 #dd must have held in his mind most prominently the unity of the ,,logos1 while he who generated the form in ,fig4 #de has as clearly in mind the subordinate centres through which the divine life pours forth1 and many of these subordinate centres have accordingly represented themselves in the thought-form4 ,illustration3 ,,fig4 #de4 ,,another ,,conception ,the ,threefold ,manifestation4--,when the form employed in ,fig4 #df was made1 its creator was endeavouring to think of the ,,logos in ,his threefold manifestation4 ,the vacant space in the centre of the form was a blinding glow of yellow light1 and this clearly typified the ,first ,aspect1 while the ,second was symbolised by the broad ring of closely-knitted and almost bewildering lines which surround this centre1 while the ,third ,aspect is suggested by the narrow outer ring which seems more loosely woven4 ,the whole figure is pervaded by the usual golden light gleaming out between the lines of violet4 ,illustration3 ,,fig4 #df4 ,,the ,,threefold ,,manifestation ,the ,sevenfold ,manifestation4--,in all religions there remains some tradition of the great truth that the ,,logos manifests ,himself through seven mighty channels1 often regarded as minor ,logoi or great planetary ,spirits4 ,in the ,christian scheme they appear as the seven great archangels1 sometimes called the seven spirits before the throne of ,god4 ,the figure numbered #dg shows the result of the effort to meditate upon this method of divine manifestation4 ,we have the golden glow in the centre1 and also 7though with lesser splendour7 pervading the form4 ,the line is blue1 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 it4 ,as the thought strengthens and expands1 these beautiful wings change their colour to violet and become like the petals of a flower1 and overlap one another in an intricate but exceedingly effective pattern4 ,this gives us a very interesting glimpse into the formation and growth of these shapes in higher matter4 ,illustration3 ,,fig4 #dg4 ,,the ,,sevenfold ,,manifestation ,intellectual ,aspiration4--,the form depicted in ,fig4 #dc bears a certain resemblance to that in ,fig4 #ae2 but1 beautiful as that was1 this is in reality a far higher and grander thought1 and implies much more advanced development on the part of the thinker4 ,here we have a great clear-cut spear or pencil of the pure pale violet which indicates devotion to the highest ideal1 and it is outlined and strengthened by an exceedingly fine manifestation of the noblest development of intellect4 ,he who can think thus must already have entered upon the ,path of ,holiness1 for he has learnt how to use the power of thought to very mighty effect4 ,it will be noted that in both the colours there is a strong admixture of the white light which always indicates unusual spiritual power4 ,illustration3 ,,fig4 #dc4 ,,intellectual ,,aspiration ,surely the study of these thought-forms should be a most impressive object-lesson1 since from it we may see both what to avoid and what to cultivate1 and may learn by degrees to appreciate how tremendous is our responsibility for the exercise of this mighty power4 ,indeed it is terribly true1 as we said in the beginning1 that thoughts are things1 and puissant things2 and it behoves us to remember that every one of us is generating them unceasingly night and day4 ,see how great is the happiness this knowledge brings to us1 and how gloriously we can utilise it when we know of some one in sorrow or in suffering4 ,often circumstances arise which prevent us from giving physical help either by word or deed1 however much we may desire to do so2 but there is no case in which help by thought may not be given1 and no case in which it can fail to produce a definite result4 ,it may often happen that at the moment our friend may be too entirely occupied with his own suffering1 or perhaps too much excited1 to receive and accept any suggestion from without1 but presently a time comes when our thought-form can penetrate and discharge itself1 and then assuredly our sympathy will produce its due result4 ,it is indeed true that the responsibility of using such a power is great1 yet we should not shrink from our duty on that account4 ,it is sadly true that there are many men who are unconsciously using their thought-power chiefly for evil1 yet this only makes it all the more necessary that those of us who are beginning to understand life a little should use it consciously1 and use it for good4 ,we have at our command a never-failing criterion2 we can never misuse this mighty power of thought if we employ it always in unison with the great divine scheme of evolution1 and for the uplifting of our fellow-man4 ,,helpful ,,thoughts ,the ,figures numbered #dh to #ed were the results of a systematic attempt to send helpful thought by the friend who has furnished us with the sketches4 ,a definite time was given each day at a fixed hour4 ,the forms were in some cases seen by the transmitter1 but in all cases were perceived by the recipient1 who immediately sent rough sketches of what was seen by the next post to the transmitter1 who has kindly supplied the following notes with regard to them3-- ,in the coloured drawings appended the blue features appear to have represented the more devotional element of the thought4 ,the yellow forms accompanied the endeavour to communicate intellectual fortitude1 or mental strength and courage4 ,the rosy pink appeared when the thought was blended with affectionate sympathy4 ,if the sender 7,a47 could formulate his thought deliberately at the appointed time1 the receiver 7,b47 would report seeing a large clear form as in ,figs4 #dh1 #di1 and #ed4 ,the latter persisted for some minutes1 constantly streaming its luminous yellow 'message' upon ,b4 ,if1 however1 ,a4 was of necessity experimenting under difficulty--say walking out of doors--he would occasionally see his 'forms' broken up into smaller globes1 or shapes1 such as #ej1 #ea1 #eb1 and ,b4 would report their receipt so broken up4 ,in this way many details could be checked and compared as from opposite ends of the line1 and the nature of the influence communicated offered another means of verification4 ,upon one occasion ,a4 was disturbed in his endeavour to send a thought of the blue-pink connotation1 by a feeling of anxiety that the nature of the pink element should not be misapprehended4 ,the report of ,b4 was that a well-defined globe as in ,fig4 #ed was first seen1 but that this suddenly disappeared1 being replaced by a moving procession of little light-green triangles1 as in ,fig4 #ec4 ,these few drawings give but a slight idea of the varied flower-like and geometric forms seen1 while neither paint nor crayon-work seems capable of representing the glowing beauty of their living colours4 ,illustration3 ,,fig4 #dh4 ,,helpful ,,thoughts ,illustration3 ,,fig4 #di4 ,,helpful ,,thoughts ,illustration3 ,,fig4 #ej4 ,,helpful ,,thoughts ,illustration3 ,,fig4 #ea4 ,,helpful ,,thoughts ,illustration3 ,,fig4 #eb4 ,,helpful ,,thoughts ,illustration3 ,,fig4 #ec4 ,,helpful ,,thoughts ,illustration3 ,,fig4 #ed4 ,,helpful ,,thoughts ,,forms ,,built ,,by ,,music ,before closing this little treatise it will perhaps be of interest to our readers to give a few examples of another type of forms unknown to those who are confined to the physical senses as their means of obtaining information4 ,many people are aware that sound is always associated with colour--that when1 for example1 a musical note is sounded1 a flash of colour corresponding to it may be seen by those whose finer senses are already to some extent developed4 ,it seems not to be so generally known that sound produces form as well as colour1 and that every piece of music leaves behind it an impression of this nature1 which persists for some considerable time1 and is clearly visible and intelligible to those who have eyes to see4 ,such a shape is perhaps not technically a thought-form--unless indeed we take it1 as we well may1 as the result of the thought of the composer expressed by means of the skill of the musician through his instrument4 ,some such forms are very striking and impressive1 and naturally their variety is infinite4 ,each class of music has its own type of form1 and the style of the composer shows as clearly in the form which his music builds as a man's character shows in his handwriting4 ,other possibilities of variation are introduced by the kind of instrument upon which the music is performed1 and also by the merits of the player4 ,the same piece of music if accurately played will always build the same form1 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 piano1 and not only the size but also the texture of the resultant form will be very different4 ,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 flute4 ,again1 the excellence of the performance has its effect1 and there is a wonderful difference between the radiant beauty of the form produced by the work of a true artist1 perfect alike in expression and execution1 and the comparatively dull and undistinguished-looking one which represents the effort of the wooden and mechanical player4 ,anything like inaccuracy in rendering naturally leaves a corresponding defect in the form1 so that the exact character of the performance shows itself just as clearly to the clairvoyant spectator as it does to the auditor4 ,it is obvious that1 if time and capacity permitted1 hundreds of volumes might be filled with drawings of the forms built by different pieces of music under different conditions1 so that the most that can be done within any reasonable compass is to give a few examples of the leading types4 ,it has been decided for the purposes of this book to limit these to three1 to take types of music presenting readily recognisable contrasts1 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 organ4 ,in each of our ,plates the church shows as well as the thought-form which towers far into the air above it2 and it should be remembered that though the drawings are on very different scales the church is the same in all three cases1 and consequently the relative size of the sound-form can easily be calculated4 ,the actual height of the tower of the church is just under a hundred feet1 so it will be seen that the sound-form produced by a powerful organ is enormous in size4 ,such forms remain as coherent erections for some considerable time--an hour or two at least2 and during all that time they are radiating forth their characteristic vibrations in every direction1 just as our thought-forms do2 and if the music be good1 the effect of those vibrations cannot but be uplifting to every man upon whose vehicles they play4 ,thus the community owes a very real debt of gratitude to the musician who pours forth such helpful influences1 for he may affect for good hundreds whom he never saw and will never know upon the physical plane4 ,mendelssohn4--,the first of such forms1 a comparatively small and simple one1 is drawn for us in ,plate ,m4 ,it will be seen that we have here a shape roughly representing that of a balloon1 having a scalloped outline consisting of a double violet line4 ,within that there is an arrangement of variously-coloured lines moving almost parallel with this outline2 and then another somewhat similar arrangement which seems to cross and interpenetrate the first4 ,both of these sets of lines evidently start from the organ within the church1 and consequently pass upward through its roof in their course1 physical matter being clearly no obstacle to their formation4 ,in the hollow centre of the form float a number of small crescents arranged apparently in four vertical lines4 ,illustration3 ,,plate ,m4 ,,music ,,of ,,mendelssohn ,let us endeavour now to give some clue to the meaning of all this1 which may well seem so bewildering to the novice1 and to explain in some measure how it comes into existence4 ,it must be recollected that this is a melody of simple character played once through1 and that consequently we can analyse the form in a way that would be quite impossible with a larger and more complicated specimen4 ,yet even in this case we cannot give all the details1 as will presently be seen4 ,disregarding for the moment the scalloped border1 we have next within it an arrangement of four lines of different colours running in the same direction1 the outermost being blue and the others crimson1 yellow1 and green respectively4 ,these lines are exceedingly irregular and crooked2 in fact1 they each consist of a number of short lines at various levels joined together perpendicularly4 ,it seems that each of these short lines represents a note of music1 and that the irregularity of their arrangement indicates the succession of these notes2 so that each of these crooked lines signifies the movement of one of the parts of the melody1 the four moving approximately together denoting the treble1 alto1 tenor and bass respectively1 though they do not necessarily appear in that order in this astral form4 ,here it is necessary to interpolate a still further explanation4 ,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 reach2 therefore it must be said that each of the short lines expressing a note has a colour of its own1 so that although as a whole that outer line gives an impression of blueness1 and the one next within it of carmine1 each yet varies in every inch of its length2 so that what is shown is not a correct reproduction of every tint1 but only the general impression4 ,the two sets of four lines which seem to cross one another are caused by two sections of the melody2 the scalloped edging surrounding the whole is the result of various flourishes and arpeggios1 and the floating crescents in the centre represent isolated or staccato chords4 ,naturally the arpeggios are not wholly violet1 for each loop has a different hue1 but on the whole they approach more nearly to that colour than to any other4 ,the height of this form above the tower of the church is probably a little over a hundred feet2 but since it also extends downwards through the roof of the church its total perpendicular diameter may well be about a hundred and fifty feet4 ,it is produced by one of ,mendelssohn's ,lieder ohne ,wrte1 and is characteristic of the delicate filigree-work which so often appears as the result of his compositions4 ,the whole form is seen projected against a coruscating background of many colours1 which is in reality a cloud surrounding it upon every side1 caused by the vibrations which are pouring out from it in all directions4 ,gounod4--,in ,plate ,g we have an entirely different piece--a ringing chorus by ,gounod4 ,since the church in the illustration is the same1 it is easy to calculate that in this case the highest point of the form must rise fully six hundred feet above the tower1 though the perpendicular diameter of the form is somewhat less than that1 for the organist has evidently finished some minutes ago1 and the perfected shape floats high in the air1 clearly defined and roughly spherical1 though rather an oblate spheroid4 ,this spheroid is hollow1 as are all such forms1 for it is slowly increasing in size--gradually radiating outward from its centre1 but growing proportionately less vivid and more ethereal in appearance as it does so1 until at last it loses coherence and fades away much as a wreath of smoke might do4 ,the golden glory surrounding and interpenetrating it indicates as before the radiation of its vibrations1 which in this case show the dominant yellow in much greater proportion than did ,mendelssohn's gentler music4 ,illustration3 ,,plate ,g4 ,,music ,,of ,,gounod ,the colouring here is far more brilliant and massive than in ,plate ,m1 for this music is not so much a thread of murmurous melody as a splendid succession of crashing chords4 ,the artist has sought to give the effect of the chords rather than that of the separate notes1 the latter being scarcely possible on a scale so small as this4 ,it is therefore more difficult here to follow the development of the form1 for in this much longer piece the lines have crossed and intermingled1 until we have little but the gorgeous general effect which the composer must have intended us to feel--and to see1 if we were able to see4 ,nevertheless it is possible to discern something of the process which builds the form1 and the easiest point at which to commence is the lowest on the left hand as one examines the ,plate4 ,the large violet protrusion there is evidently the opening chord of a phrase1 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 phrase4 ,a close inspection will reveal two other lines further in which run roughly parallel to this outer one1 and show similar successions of colour on a smaller scale1 and these may well indicate a softer repetition of the same phrase4 ,careful analysis of this nature will soon convince us that there is a very real order in this seeming chaos1 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 detail1 it would also be possible patiently to disentangle it to the uttermost1 and to assign every lovely touch of coruscating colour to the very note that called it into existence4 ,it must not be forgotten that very far less detail is given in this illustration than in ,plate ,m2 for example1 each of these points or projections has within it as integral parts1 at least the four lines or bands of varying colour which were shown as separate in ,plate ,m1 but here they are blended into one shade1 and only the general effect of the chord is given4 ,in ,m we combined horizontally1 and tried to show1 the characteristics of a number of successive notes blended into one1 but to keep distinct the effect of the four simultaneous parts by using a differently-coloured line for each4 ,in ,g we attempt exactly the reverse1 for we combine vertically1 and blend1 not the successive notes of one part1 but the chords1 each probably containing six or eight notes4 ,the true appearance combines these two effects with an inexpressible wealth of detail4 ,wagner4--,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 ,wagner1 for no other composer has yet built sound edifices with such power and decision4 ,in this case we have a vast bell-shaped erection1 fully nine hundred feet in height1 and but little less in diameter at the bottom1 floating in the air above the church out of which it has arisen4 ,it is hollow1 like ,gounod's form1 but1 unlike that1 it is open at the bottom4 ,the resemblance to the successively retreating ramparts of a mountain is almost perfect1 and it is heightened by the billowy masses of cloud which roll between the crags and give the effect of perspective4 ,no attempt has been made in this drawing to show the effect of single notes or single chords2 each range of mimic rocks represents in size1 shape1 and colour only the general effect of one of the sections of the piece of music as seen from a distance4 ,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 ,m1 and that all these magnificent masses of colour are built up of many comparatively small bands which would not be separately visible upon the scale on which this is drawn4 ,the broad result is that each mountain-peak has its own brilliant hue1 just as it is seen in the illustration--a splendid splash of vivid colour1 glowing with the glory of its own living light1 spreading its resplendent radiance over all the country round4 ,yet in each of these masses of colour other colours are constantly flickering1 as they do over the surface of molten metal1 so that the coruscations and scintillations of these wondrous astral edifices are far beyond the power of any physical words to describe4 ,illustration3 ,,plate ,w4 ,,music ,,of ,,wagner ,a striking feature in this form is the radical difference between the two types of music which occur in it1 one producing the angular rocky masses1 and the other the rounded billowy clouds which lie between them4 ,other motifs are shown by the broad bands of blue and rose and green which appear at the base of the bell1 and the meandering lines of white and yellow which quiver across them are probably produced by a rippling arpeggio accompaniment4 ,in these three ,plates only the form created directly by the sound-vibrations has been drawn1 though as seen by the clairvoyant it is usually surrounded by many other minor forms1 the result of the personal feelings of the performer or of the emotions aroused among the audience by the music4 ,to recapitulate briefly3 in ,plate ,m we have a small and comparatively simple form pourtrayed in considerable detail1 something of the effect of each note being given2 in ,plate ,g we have a more elaborate form of very different character delineated with less detail1 since no attempt is made to render the separate notes1 but only to show how each chord expresses itself in form and colour2 in ,plate ,w we have a still greater and richer form1 in the depiction of which all detail is avoided1 in order that the full effect of the piece as a whole may be approximately given4 ,naturally every sound makes its impression upon astral and mental matter--not only those ordered successions of sounds which we call music4 ,some day1 perhaps1 the forms built by those other less euphonious sounds may be pictured for us1 though they are beyond the scope of this treatise2 meantime1 those who feel an interest in them may read an account of them in the little book on ,the ,hidden ,side of ,things4#a ,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 us1 and that usually these unseen results are of infinitely greater importance than those which are visible to all upon the physical plane4 ,the wise man1 knowing this1 orders his life accordingly1 and takes account of the whole of the world in which he lives1 and not of the outer husk of it only4 ,thus he saves himself an infinity of trouble1 and makes his life not only happier but far more useful to his fellow-men4 ,but to do this implies knowledge--that knowledge which is power2 and in our ,western world such knowledge is practically obtainable only through the literature of ,theosophy4 ,to exist is not enough2 we desire to live intelligently4 ,but to live we must know1 and to know we must study2 and here is a vast field open before us1 if we will only enter upon it and gather thence the fruits of enlightenment4 ,let us1 then1 waste no more time in the dark dungeons of ignorance1 but come forth boldly into the glorious sunshine of that divine wisdom which in these modern days men call ,theosophy4 ,footnote #a3 ,by ,c4,w4 ,leadbeater4 ,,bradford3 ,,reprinted ,,by ,,percy ,,lund1 ,,humphries ,,and ,,co4 ,,ltd4