Students in the West have little or no idea of the forces that lie latent in Sound, the Akasic vibrations that may be set up by those who understand how to pronounce certain words. The OM, or the "Om Mani Padme Hum" are in spirit¬ual affinity with Cosmic forces, but without a knowledge of the natural arrang¬ement, or of the order in which the syllables stand, very little can be achieved.

"Om" is of course, AUM, that may be pronounced as two, three or even seven syllabes, setting up different vibrations. Now, letters, as vocal sounds cannot fail to correspond with musical notes, and therefore with numbers and colors; hence also with Forces and Tatwas. He who remembers that the Universe is built up from the Tatwas will readily understand something of the power that may be exercised by vocal sounds.

Every letter in the alphabet, whether divided into three, four or seven septenarys, or forty-nine letters, has its own color, or shade of color. He who has learned the color of the alphabetical letters, and the corresponding numbers of the seven, and the forty-nine colors and shades on the scale of planes and forces and knows their respective order in the seven planes will easily master the art of bringing them into affinity or into play. But here a difficulty arises. The Senzar and Sanscrit alphabets and other occult ton¬gues, besides other potencies have a number, color and distinct syllable for every letter, and so had also the old Mosaic Hebrew. But not many of the E.S. know any of these tongues? When the time comes therefore, it must suffice to teach the student the numbers and colors attached to the Latin letters only (N.B. as pronounced in Latin, not in the Anglo-Saxon, Scotch, or Irish). This, however, would be at present, premature. The color and number not only of the planets but also the Zodiacal constellations corresponding to every letter of the alphabet, are necessary to make any special syllable and even letter, operative. (See Voice of the Silence, p. 8).

Therefore, if a student would make Buddhi operative, for instance he would have to intone the first words of the Mantra on the note Mi. But he would have still further to accentuate the Mi, and produce mentally the yellow color cor¬responding to this sound and note on every letter M in "Om Mani Padme Hum"; this, not because the note bears the same name in the vernacular Sanscrit, or even the Senzar, for it does not, but because the letter M follows the first letter, and is in this sacred formula also the 7th and the 4th. As Buddhi it is 2nd; as Buddtii-Manas it is the 2nd and 3rd combined.

H.P.B.

Page 439

(The following notes were contributed by students from explanations given by H.P.B.).

The Pythagorean Four, or Tetraktys, was the symbol of the Kosmos, as con¬taining within itself the point, the line, the superfices, the solid; in other words, the essentials of all forms. Its mystical representation is the point within the triangle. The decad or perfect number is contained in the Four;

thus 1 plus 2 plus 3 plus 4 equals 10.

Page 477

The difficult passage: "Bear in mind - a mystery below truly," (See No. I, P. 444, original book) may become a little more clear to the student if slightly simplified. The "primordial triangle" is the Second Logos, which reflects itself as a triangle in the Third Logos or Heavenly Man and then disappears. The Third Logos containing the "potency of formative creation" develops the Tetraktys from the Triangle and so becomes the Seven, the Creat¬ive Force making a decad with the primordial triangle which originated it. When this heavenly Triangle and the Tetraktys are reflected in the universe of matter, as the astral paradigmatic man, they are reversed, and the Triangle, of formative potency is thrown below the Quarternary, with its apex pointing downwards; the Monad of this astral paradigmatic man is itself a triangle, bearing to the Quarternary and Triangle the relation borne by the primordial Triangle to the Heavenly Man. Hence the Phrase, "the upper triangle - is shifted in the man of clay between the seven."

Here again the point tracing the triangles, the Monad becoming the Ternary, with the Quarternary and the lower creative triangle, making up the Decad, the perfect number. "As above, so below"

The student will do well to relate the knowledge here acquired to that given on p. 477 (original book). Here the upper triangle is given, as violet, indigo, blue, associating Violet as the paradigm of all forms with Indigo as Mahat, and Blue as the Atmic Aura. In the Quarternary, yellow as a substance is associated with Yellow-Orange, Life, and Red-Orange, the creative potency, Green is the plane between.
The next stage is not explained. Green passes upward to Violet, Indigo, Blue the triangle opening outward to receive it, and forming the Square, Violet, Indigo, Blue, Green. This leaves the Red-Orange, Yellow-Orange, Yellow and these having thus lost their 4th number, can only, form a triangle. The triangle revolves, to point downwards for the descent into matter and "mirrored on the plane of gross nature, it is reversed", and appears as in the diagram which follows these words.

Monad, Second Logos
Third Logos

The 10. The Triangle becoming the Quarternary, and then
The 7th the Septenary.

In the perfect man, the Red will be absorbed by the Green; Yellow will become one with the Indigo; Yellow-Orange will be absorbed in Blue; Violet will remain outside the True Man, though connected with him. Or, to translate the colors:

• Kama will be absorbed in the lower Manes;
• Buddhi will become one with Manes;
• Prana will be absorbed in the Auric Egg;
• the Physical Body remains, connected but outside the real Life. (See Sec. Doc. vol. I, pp. 50, 60,.66.)

Page 481

To the five senses at present the property of mankind, two more on this globe are to be added. The sixth sense is the Psychic Sense of color. The Seventh is that of Spiritual Sound. In the Second Instruction, the corrected rates of vibration for the seven primary colors and their modulations are given. Inspecting these, it appears that each color differs from the preced¬ing one by a step of 42, or 6 X 7.

Carrying the process backward, and subtracting 42, I find that the first or ground color is Green, for this Globe.

The 2nd and 4th octaves would be heat and actinic rays, and only invisible to our present perception. The seventh sense is that of spiritual sound; and since the vibrations of the sixth progress by steps of 6 x 7, those of the sev¬enth progress by steps of 7 x 7.

The fifth sense is in our possession: it is possibly geometrical form, and its steps of progression would be 5 x 7, or 35.

The fourth sense is that of physical hearing, music, and its progressions are 28, or 4 x 7 The truth of this is demonstrated by the fact that it is in accord with the theory of science as to the vibrations of musical notes. Our scale is as follows:
--, 28, 56, 84, 112, 140, 168, 252, 280, 336, 364, 392, 420, 448, 476, 504, 532, 560, 588, 616, 644, 672, 700

According to musical science the notes of C, E, G, are as 4, 5, 6, in their ratios of vibrations. The same ratio obtains between the notes of the triplet G, B, D, and F, A, C. This gives the scale and reducing the vibrations to C as Q, the ratios of the seven notes to C are:

Reducing this to whole numbers, we get for one octave:

By a similar calculation, we can put an octave below "C", and above "C". Writing these three octaves in line and multiplying by seven (7), we obtain a nearly exact correspondence with our table of vibrations for the fourth sense.

h.c.