Thought Forms and Meanings

1)    Affection:

I)            Vague Pure Affection:

A revolving cloud of pure affection, and except for its vagueness it represents a very good feeling. The person from whom it emanates is happy and at peace with the world, thinking dreamily of some friend whose very presence is a pleasure. There is nothing keen or strong about the feeling, yet it is one of gentle well-being, and of an unselfish delight in the proximity of those who are beloved. The feeling which gives birth to such a cloud is pure of its kind, but there is in it no force capable of producing definite results. An appearance by no means unlike this frequently surrounds a gently purring cat, and radiates slowly outward from the animal in a series of gradually enlarging concentric shells of rosy cloud, fading into invisibility at a distance of a few feet from their drowsily contented creator.

II)           Vague selfish affection:

Fig. 9 shows us also a cloud of affection, but this time it is deeply tinged with a far less desirable feeling. The dull hard brown-grey of selfishness shows itself very decidedly among the carmine of love, and thus we see that the affection which is indicated is closely connected with satisfaction at favours already received, and with a lively anticipation of others to come in the near future. Indefinite as was the feeling which produced the cloud in Fig. 8, it was at least free from this taint of selfishness, and it therefore showed a certain nobility of nature in its author. Fig. 9 represents what takes the place of that condition of mind at a lower level of evolution. It would scarcely be possible that these two clouds should emanate from the same person in the same incarnation. Yet there is good in the man who generates this second cloud, though as yet it is but partially evolved. A vast amount of the average affection of the world is of this type, and it is only by slow degrees that it develops towards the other and higher manifestation.

III)         Definite affection:

Even the first glance at Fig. 10 shows us that here we have to deal with something of an entirely different nature—something effective and capable, something that will achieve a result. The colour is fully equal to that of Fig. 8 in clearness and depth and transparency, but what was there a mere sentiment is in this case translated into emphatic intention coupled with unhesitating action. Those who have seen the book Man Visible and Invisible will recollect that in Plate XI. of that volume is depicted the effect of a sudden rush of pure unselfish affection as it showed itself in the astral body of a mother, as she caught up her little child and covered it with kisses. Various changes resulted from that sudden outburst of emotion; one of them was the formation within the astral body of large crimson coils or vortices lined with living light. Each of these is a thought-form of intense affection generated as we have described, and almost instantaneously ejected towards the object of the feeling. Fig. 10 depicts just such a thought-form after it has left the astral body of its author, and is on its way towards its goal. It will be observed that the almost circular form has changed into one somewhat resembling a projectile or the head of a comet; and it will be easily understood that this alteration is caused by its rapid forward motion. The clearness of the colour assures us of the purity of the emotion which gave birth to this thought-form, while the precision of its outline is unmistakable evidence of power and of vigorous purpose. The soul that gave birth to a thought-form such as this must already be one of a certain amount of development.

IV)         Radiating Affection:

Fig. 11 gives us our first example of a thought-form intentionally generated, since its author is making the effort to pour himself forth in love to all beings. It must be remembered that all these forms are in constant motion. This one, for example, is steadily widening out, though there seems to be an exhaustless fountain welling up through the centre from a dimension which we cannot represent. A sentiment such as this is so wide in its application, that it is very difficult for any one not thoroughly trained to keep it clear and precise. The thought-form here shown is, therefore, a very creditable one, for it will be noted that all the numerous rays of the star are commendably free from vagueness.

V)           Peace and Protection:

Few thought-forms are more beautiful and expressive than this which we see in Fig. 12. This is a thought of love and peace, protection and benediction, sent forth by one who has the power and has earned the right to bless. It is not at all probable that in the mind of its creator there existed any thought of its beautiful wing-like shape, though it is possible that some unconscious reflection of far-away lessons of childhood about guardian angels who always hovered over their charges may have had its influence in determining this. However that may be, the earnest wish undoubtedly clothed itself in this graceful and expressive outline, while the affection that prompted it gave to it its lovely rose-colour, and the intellect which guided it shone forth like sunlight as its heart and central support. Thus in sober truth we may make veritable guardian angels to hover over and protect those whom we love, and many an unselfish earnest wish for good produces such a form as this, though all unknown to its creator.

VI)         Grasping animal affection:

Fig. 13 gives us an instance of grasping animal affection—if indeed such a feeling as this be deemed worthy of the august name of affection at all. Several colours bear their share in the production of its dull unpleasing hue, tinged as it is with the lurid gleam of sensuality, as well as deadened with the heavy tint indicative of selfishness. Especially characteristic is its form, for those curving hooks are never seen except when there exists a strong craving for personal possession. It is regrettably evident that the fabricator of this thought-form had no conception of the self-sacrificing love which pours itself out in joyous service, never once thinking of result or return; his thought has been, not “How much can I give?” but “How much can I gain?” and so it has expressed itself in these re-entering curves. It has not even ventured to throw itself boldly outward, as do other thoughts, but projects half-heartedly from the astral body, which must be supposed to be on the left of the picture. A sad travesty of the divine quality love; yet even this is a stage in evolution, and distinctly an improvement upon earlier stages, as will presently be seen.

2)    Devotion:

I)            Vague religious feeling:

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

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

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

II)           Upward rush of devotion:

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

III)         The response to devotion:

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

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

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

IV)         Self-Renunciation:

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

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

3)    Intellect:

I)            Vague intellectual pleasure:

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

1. The intention to Know:

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

III)         High Ambition:

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

IV)         Selfish Ambition:

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

4)    Anger:

I)            Murderous rage and sustained anger:

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

II)           Explosive anger:

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

III)         Watchful and angry jealousy:

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

5)    Sympathy:

I)            Vague Sympathy:

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

6)    Fear:

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

7)    Greed:

I)            Selfish greed:

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

II)           Greed for drink:

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

Various Emotions:

1. At a shipwreck:

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

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

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

• On the First Night:

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

• The Gamblers:

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

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

• At a Street Accident:

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

• At a Funeral:

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

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

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

• On Meeting a Friend:

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

• The appreciation of a picture:

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

Forms seen in those meditating:

1)   Sympathy and Love for All:

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

2)   An aspiration to enfold all:

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

3)   In the six directions:

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

4)   An Intellectual Conception of Cosmic Order:

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

5)   The Logos as manifested in Man:

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

6)   The logos pervading all:

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

7)   Intellectual Aspiration

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

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

HELPFUL THOUGHTS:

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

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

Forms built by music:

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 information. Many people are aware that sound is always associated with colour—that when, for example, a musical note is sounded, a flash of colour corresponding to it may be seen by those whose finer senses are already to some extent developed. It seems not to be so generally known that sound produces form as well as colour, and that every piece of music leaves behind it an impression of this nature, which persists for some considerable time, and is clearly visible and intelligible to those who have eyes to see. Such a shape is perhaps not technically a thought-form—unless indeed we take it, as we well may, as the result of the thought of the composer expressed by means of the skill of the musician through his instrument.

Some such forms are very striking and impressive, and naturally their variety is infinite. Each class of music has its own type of form, and the style of the composer shows as clearly in the form which his music builds as a man’s character shows in his handwriting. Other possibilities of variation are introduced by the kind of instrument upon which the music is performed, and also by the merits of the player. The same piece of music if accurately played will always build the same form, but that form will be enormously larger when it is played upon a church organ or by a military band than when it is performed upon a piano, and not only the size but also the texture of the resultant form will be very different. There will also be a similar difference in texture between the result of a piece of music played upon a violin and the same piece executed upon the flute. Again, the excellence of the performance has its effect, and there is a wonderful difference between the radiant beauty of the form produced by the work of a true artist, perfect alike in expression and execution, and the comparatively dull and undistinguished-looking one which represents the effort of the wooden and mechanical player. Anything like inaccuracy in rendering naturally leaves a corresponding defect in the form, so that the exact character of the performance shows itself just as clearly to the clairvoyant spectator as it does to the auditor.

It is obvious that, if time and capacity permitted, hundreds of volumes might be filled with drawings of the forms built by different pieces of music under different conditions, so that the most that can be done within any reasonable compass is to give a few examples of the leading types. It has been decided for the purposes of this book to limit these to three, to take types of music presenting readily recognisable contrasts, and for the sake of simplicity in comparison to present them all as they appeared when played upon the same instrument—a very fine church organ. In each of our Plates the church shows as well as the thought-form which towers far into the air above it; and it should be remembered that though the drawings are on very different scales the church is the same in all three cases, and consequently the relative size of the sound-form can easily be calculated. The actual height of the tower of the church is just under a hundred feet, so it will be seen that the sound-form produced by a powerful organ is enormous in size.

Such forms remain as coherent erections for some considerable time—an hour or two at least; and during all that time they are radiating forth their characteristic vibrations in every direction, just as our thought-forms do; and if the music be good, the effect of those vibrations cannot but be uplifting to every man upon whose vehicles they play. Thus the community owes a very real debt of gratitude to the musician who pours forth such helpful influences, for he may affect for good hundreds whom he never saw and will never know upon the physical plane.

1)   Mendelssohn:

The first of such forms, a comparatively small and simple one, is drawn for us in Plate M. It will be seen that we have here a shape roughly representing that of a balloon, having a scalloped outline consisting of a double violet line. Within that there is an arrangement of variously-coloured lines moving almost parallel with this outline; and then another somewhat similar arrangement which seems to cross and interpenetrate the first. Both of these sets of lines evidently start from the organ within the church, and consequently pass upward through its roof in their course, physical matter being clearly no obstacle to their formation. In the hollow centre of the form float a number of small crescents arranged apparently in four vertical lines.

Let us endeavour now to give some clue to the meaning of all this, which may well seem so bewildering to the novice, and to explain in some measure how it comes into existence. It must be recollected that this is a melody of simple character played once through, and that consequently we can analyse the form in a way that would be quite impossible with a larger and more complicated specimen. Yet even in this case we cannot give all the details, as will presently be seen. Disregarding for the moment the scalloped border, we have next within it an arrangement of four lines of different colours running in the same direction, the outermost being blue and the others crimson, yellow, and green respectively. These lines are exceedingly irregular and crooked; in fact, they each consist of a number of short lines at various levels joined together perpendicularly.

It seems that each of these short lines represents a note of music, and that the irregularity of their arrangement indicates the succession of these notes; so that each of these crooked lines signifies the movement of one of the parts of the melody, the four moving approximately together denoting the treble, alto, tenor and bass respectively, though they do not necessarily appear in that order in this astral form. Here it is necessary to interpolate a still further explanation. Even with a melody so comparatively simple as this there are tints and shades far too finely modulated to be reproduced on any scale at all within our reach; therefore it must be said that each of the short lines expressing a note has a colour of its own, so that although as a whole that outer line gives an impression of blueness, and the one next within it of carmine, each yet varies in every inch of its length; so that what is shown is not a correct reproduction of every tint, but only the general impression.

The two sets of four lines which seem to cross one another are caused by two sections of the melody; the scalloped edging surrounding the whole is the result of various flourishes and arpeggios, and the floating crescents in the centre represent isolated or staccato chords. Naturally the arpeggios are not wholly violet, for each loop has a different hue, but on the whole they approach more nearly to that colour than to any other. The height of this form above the tower of the church is probably a little over a hundred feet; but since it also extends downwards through the roof of the church its total perpendicular diameter may well be about a hundred and fifty feet. It is produced by one of Mendelssohn’s “Lieder ohne Wörte,” and is characteristic of the delicate filigree-work which so often appears as the result of his compositions.

The whole form is seen projected against a coruscating background of many colours, which is in reality a cloud surrounding it upon every side, caused by the vibrations which are pouring out from it in all directions.

2)   Gounod:

In Plate G we have an entirely different piece—a ringing chorus by Gounod. Since the church in the illustration is the same, it is easy to calculate that in this case the highest point of the form must rise fully six hundred feet above the tower, though the perpendicular diameter of the form is somewhat less than that, for the organist has evidently finished some minutes ago, and the perfected shape floats high in the air, clearly defined and roughly spherical, though rather an oblate spheroid. This spheroid is hollow, as are all such forms, for it is slowly increasing in size—gradually radiating outward from its centre, but growing proportionately less vivid and more ethereal in appearance as it does so, until at last it loses coherence and fades away much as a wreath of smoke might do. The golden glory surrounding and interpenetrating it indicates as before the radiation of its vibrations, which in this case show the dominant yellow in much greater proportion than did Mendelssohn’s gentler music.

The colouring here is far more brilliant and massive than in Plate M, for this music is not so much a thread of murmurous melody as a splendid succession of crashing chords. The artist has sought to give the effect of the chords rather than that of the separate notes, the latter being scarcely possible on a scale so small as this. It is therefore more difficult here to follow the development of the form, for in this much longer piece the lines have crossed and intermingled, until we have little but the gorgeous general effect which the composer must have intended us to feel—and to see, if we were able to see. Nevertheless it is possible to discern something of the process which builds the form, and the easiest point at which to commence is the lowest on the left hand as one examines the Plate. The large violet protrusion there is evidently the opening chord of a phrase, and if we follow the outer line of the form upward and round the circumference we may obtain some idea of the character of that phrase. A close inspection will reveal two other lines further in which run roughly parallel to this outer one, and show similar successions of colour on a smaller scale, and these may well indicate a softer repetition of the same phrase.

Careful analysis of this nature will soon convince us that there is a very real order in this seeming chaos, and we shall come to see that if it were possible to make a reproduction of this glowing glory that should be accurate down to the smallest detail, it would also be possible patiently to disentangle it to the uttermost, and to assign every lovely touch of coruscating colour to the very note that called it into existence. It must not be forgotten that very far less detail is given in this illustration than in Plate M; for example, each of these points or projections has within it as integral parts, at least the four lines or bands of varying colour which were shown as separate in Plate M, but here they are blended into one shade, and only the general effect of the chord is given. In M we combined horizontally, and tried to show, the characteristics of a number of successive notes blended into one, but to keep distinct the effect of the four simultaneous parts by using a differently-coloured line for each. In G we attempt exactly the reverse, for we combine vertically, and blend, not the successive notes of one part, but the chords, each probably containing six or eight notes. The true appearance combines these two effects with an inexpressible wealth of detail.

3)   Wagner:

No one who has devoted any study to these musical forms would hesitate in ascribing the marvellous mountain-range depicted in Plate W to the genius of Richard Wagner, for no other composer has yet built sound edifices with such power and decision. In this case we have a vast bell-shaped erection, fully nine hundred feet in height, and but little less in diameter at the bottom, floating in the air above the church out of which it has arisen. It is hollow, like Gounod’s form, but, unlike that, it is open at the bottom. The resemblance to the successively retreating ramparts of a mountain is almost perfect, and it is heightened by the billowy masses of cloud which roll between the crags and give the effect of perspective. No attempt has been made in this drawing to show the effect of single notes or single chords; each range of mimic rocks represents in size, shape, and colour only the general effect of one of the sections of the piece of music as seen from a distance. But it must be understood that in reality both this and the form given in Plate G are as full of minute details as that depicted in Plate M, and that all these magnificent masses of colour are built up of many comparatively small bands which would not be separately visible upon the scale on which this is drawn. The broad result is that each mountain-peak has its own brilliant hue, just as it is seen in the illustration—a splendid splash of vivid colour, glowing with the glory of its own living light, spreading its resplendent radiance over all the country round. Yet in each of these masses of colour other colours are constantly flickering, as they do over the surface of molten metal, so that the coruscations and scintillations of these wondrous astral edifices are far beyond the power of any physical words to describe.

A striking feature in this form is the radical difference between the two types of music which occur in it, one producing the angular rocky masses, and the other the rounded billowy clouds which lie between them. Other motifs are shown by the broad bands of blue and rose and green which appear at the base of the bell, and the meandering lines of white and yellow which quiver across them are probably produced by a rippling arpeggio accompaniment.

In these three Plates only the form created directly by the sound-vibrations has been drawn, though as seen by the clairvoyant it is usually surrounded by many other minor forms, the result of the personal feelings of the performer or of the emotions aroused among the audience by the music. To recapitulate briefly: in Plate M we have a small and comparatively simple form pourtrayed in considerable detail, something of the effect of each note being given; in Plate G we have a more elaborate form of very different character delineated with less detail, since no attempt is made to render the separate notes, but only to show how each chord expresses itself in form and colour; in Plate W we have a still greater and richer form, in the depiction of which all detail is avoided, in order that the full effect of the piece as a whole may be approximately given.

Naturally every sound makes its impression upon astral and mental matter—not only those ordered successions of sounds which we call music. Some day, perhaps, the forms built by those other less euphonious sounds may be pictured for us, though they are beyond the scope of this treatise; meantime, those who feel an interest in them may read an account of them in the little book on The Hidden Side of Things.[1]

It is well for us ever to bear in mind that there is a hidden side to life—that each act and word and thought has its consequence in the unseen world which is always so near to us, and that usually these unseen results are of infinitely greater importance than those which are visible to all upon the physical plane. The wise man, knowing this, orders his life accordingly, and takes account of the whole of the world in which he lives, and not of the outer husk of it only. Thus he saves himself an infinity of trouble, and makes his life not only happier but far more useful to his fellow-men. But to do this implies knowledge—that knowledge which is power; and in our Western world such knowledge is practically obtainable only through the literature of Theosophy.

To exist is not enough; we desire to live intelligently. But to live we must know, and to know we must study; and here is a vast field open before us, if we will only enter upon it and gather thence the fruits of enlightenment. Let us, then, waste no more time in the dark dungeons of ignorance, but come forth boldly into the glorious sunshine of that divine wisdom which in these modern days men call Theosophy.

Auras (colors and patterns)

1) Causal body of the savage:

The causal body of the savage, as described by C.W. Leadbeater in “Man Visible and Invisible,” represents a nascent stage of human evolution, characterized by its relatively rudimentary structure compared to more developed individuals. In this context, the causal body serves as the repository of experiences and qualities that the savage has acquired through their existence.

Visualized through clairvoyant sight, the causal body of the savage appears less luminous and vibrant than that of more evolved beings. It often exhibits a lack of the intricate colors and complexities found in the causal bodies of more advanced individuals, reflecting a limited range of emotional and intellectual development. The colors may be muted and less defined, indicating a predominance of instinctual behaviors over conscious thought or refined emotional responses.

This causal body holds the potential for future growth, as it accumulates experiences that will eventually shape the individual’s spiritual evolution. The savage’s experiences, though primitive, contribute to the collective development of the human race, as each life adds layers to the causal body, influencing future incarnations.

In summary, the causal body of the savage is a critical component of the evolutionary journey, symbolizing both the limitations of early human consciousness and the foundational potential for growth and refinement as the soul progresses through various lifetimes.

2) Astral body of the savage:

The astral body of the savage, as depicted by C.W. Leadbeater in “Man Visible and Invisible,” embodies the emotional and desire-driven aspects of their nature. This body is characterized by vibrant yet chaotic colors, reflecting the intense and often uncontrolled emotions that drive the savage’s behavior. It serves as a vehicle for experiencing sensations and desires, heavily influenced by primal instincts.

Clairvoyant observations reveal that the astral body of the savage is often marked by vivid hues representing strong emotions such as anger, fear, and passion. These colors might include deep reds and blacks, indicating intense feelings and desires that can manifest in impulsive actions. For instance, moments of rage might suffuse the astral body with scarlet, while fear could cloak it in a ghastly grey.

The astral body functions as a bridge between the physical and higher mental planes, allowing the savage to engage with the world through feelings and instincts rather than through rational thought. In this state, the savage is primarily driven by immediate gratification of desires, with little awareness of the consequences of their actions.

This representation highlights the savage’s limited ability to regulate emotions and impulses, making the astral body a reflection of a more instinctual and less evolved stage of human development. However, it is also a crucial part of their evolutionary journey, as experiences and emotions accumulated through life will eventually contribute to the development of the mental and causal bodies in future incarnations. Thus, the astral body of the savage is both a manifestation of their current state and a precursor to greater emotional and spiritual maturity.

3) Mental body of the savage:

The mental body of the savage, as observed through clairvoyant sight, exhibits specific patterns and colors that reflect its rudimentary state of intellectual development. Typically, the colors present in the mental body are muted and less vibrant compared to those of more evolved beings. Common hues include dull yellow and brown, representing basic thought processes that are heavily influenced by instinct rather than higher reasoning.

Patterns within the mental body of the savage may appear erratic or chaotic, indicating a lack of structured thought. Instead of coherent and organized formations, the mental body may show disjointed patterns that mirror the savage’s instinctual and survival-based thinking. These patterns often lack the clarity and finesse found in the mental bodies of more advanced individuals, reflecting a cognitive focus primarily on immediate, practical concerns rather than abstract concepts.

The presence of darker shades, like browns or greys, may suggest confusion or a lack of clarity in thought, while occasional flickers of brighter yellow might indicate moments of basic insight or understanding. However, these moments are fleeting and are dominated by the more primal emotional influences from the astral body, which can overshadow the mental processes.

In essence, the colors and patterns of the savage’s mental body are indicative of a primitive cognitive state marked by limited intellectual functioning, characterized by muted tones and chaotic patterns that reflect a focus on survival and immediate sensory experiences rather than higher reasoning or abstract thinking.

4) Causal body of the average man:

The causal body of the average man, as described by C.W. Leadbeater, presents a more developed and refined spectrum of colors and patterns compared to that of the savage. Typically, the causal body exhibits luminous colors such as soft gold, light blue, and gentle white, representing qualities like wisdom, compassion, and spiritual potential.

These colors signify a higher degree of emotional and intellectual maturity, reflecting the individual’s accumulated experiences and the development of virtues such as love, understanding, and altruism. The presence of gold suggests a strong connection to spiritual knowledge and the aspiration toward enlightenment, while light blue often indicates mental clarity and the pursuit of truth.

In terms of patterns, the causal body of the average man tends to display harmonious and flowing shapes, symbolizing a balance between intellect and emotion. Unlike the chaotic patterns of the savage’s mental body, the average man’s causal body may show intricate, interwoven designs that represent the integration of experiences and the individual’s evolving consciousness.

The patterns may also exhibit a certain fluidity, indicating adaptability and the ongoing process of growth. As the average man engages with both personal and collective experiences, these patterns evolve, reflecting the dynamic nature of the soul’s journey through various lifetimes.

Overall, the colors and patterns of the average man’s causal body illustrate a significant advancement in personal development, showcasing the integration of emotional depth and intellectual insight as the individual strives toward greater spiritual realization.

5) Mental body of the average man:

The mental body of the average man, as depicted by C.W. Leadbeater, displays a vibrant yet complex array of colors and patterns that reflect a higher level of intellectual development compared to both the savage and the developed individual. Predominantly, the colors observed are shades of yellow, golden hues, and soft greens, symbolizing intellectual clarity, creativity, and a balanced emotional state.

The yellow tones represent the active, rational mind, indicating the capacity for logical thought and analytical reasoning. Brighter shades can suggest moments of inspiration and creativity, while deeper yellows may reflect a more grounded approach to understanding and knowledge acquisition. Soft greens in the mental body indicate adaptability and growth, symbolizing an openness to new ideas and perspectives.

In terms of patterns, the mental body of the average man exhibits organized and coherent structures, often resembling intricate geometric shapes or harmonious spirals. These patterns imply a more systematic approach to thinking, showcasing the individual’s ability to engage in abstract thought, critical analysis, and problem-solving. Unlike the chaotic formations found in the mental body of the savage, these patterns reflect a mind that is capable of synthesizing information and drawing connections between various concepts.

Additionally, the patterns may show a degree of fluidity, representing the individual’s evolving understanding and the capacity to adapt thoughts based on new experiences. This fluidity is indicative of a mind that is not only developing its intellectual abilities but is also learning to harmonize emotional insights with rational thought.

In summary, the colors and patterns of the average man’s mental body illustrate a balanced blend of intellectual capability and emotional awareness, reflecting the individual’s journey toward greater understanding and self-awareness as they navigate the complexities of life.

6) Astral body of the average man:

The astral body of the average man, as characterized by C.W. Leadbeater, displays a rich tapestry of colors and patterns that reflect a balanced emotional and psychic state. Predominantly, the colors observed are vibrant blues, greens, and soft reds, symbolizing emotional depth, compassion, and a healthy expression of desires.

The blue hues in the astral body represent tranquility, peace, and spiritual aspiration. They indicate a level of emotional maturity where the individual is not only aware of their feelings but also able to express them in a constructive manner. Softer shades of blue may reflect calmness and serenity, while deeper blues can suggest a profound connection to higher ideals and a quest for inner truth.

Green tones symbolize compassion, growth, and harmony. They indicate the individual’s ability to empathize with others, showcasing a nurturing aspect of their emotional life. This color reflects a balance between self-care and concern for others, emphasizing the importance of relationships in the average man’s life.

The presence of soft reds suggests a healthy expression of passion and desire, representing vitality and enthusiasm. Unlike the chaotic and aggressive reds seen in the astral bodies of less evolved individuals, these softer shades indicate a balanced approach to personal desires, where the individual can pursue their passions without being overwhelmed by them.

In terms of patterns, the astral body of the average man exhibits fluid, flowing designs that symbolize the dynamic nature of emotions. These patterns may include gentle waves or spirals, indicating a harmonious interplay between feelings and experiences. The fluidity of these designs reflects an adaptability to emotional changes, showcasing resilience and an ability to navigate through life’s ups and downs with grace.

Overall, the colors and patterns of the average man’s astral body illustrate a well-developed emotional landscape, where empathy, passion, and spiritual aspirations coexist. This harmonious blend indicates a significant level of personal growth, allowing the individual to engage meaningfully with both their inner self and the world around them.

7) Sudden rush of affection:

A sudden rush of affection can be visually represented in the astral body through vibrant colors and dynamic patterns that reflect the intensity and spontaneity of the emotion. Typically, the colors associated with this experience include bright pinks, warm reds, and soft golds.

Bright pink signifies the pure, unfiltered essence of love and affection. This color embodies feelings of warmth, tenderness, and nurturing instincts, often experienced when one feels an immediate connection to another person. The intensity of the pink can vary, with deeper shades indicating a more passionate or profound attachment, while lighter tones reflect gentle affection and care.

Warm reds may also emerge during a sudden rush of affection, symbolizing vitality, passion, and emotional intensity. Unlike the more aggressive or chaotic reds linked to anger or frustration, these reds convey a sense of warmth and enthusiasm, reflecting the joy and excitement that comes with the experience of affectionate feelings.

Soft gold can be present as well, representing spiritual love and a higher vibrational connection. This color suggests that the affection felt transcends mere physical attraction, hinting at a deeper bond that resonates on a spiritual level. Gold embodies a sense of purity and enlightenment in relationships, indicating that the affection is not just emotional but also transformative.

In terms of patterns, the expression of sudden affection may manifest as swirling motions or pulsating forms. These patterns convey the dynamic and often overwhelming nature of the emotion, reflecting how affection can emerge suddenly, enveloping the individual in a wave of warmth. The swirling shapes may represent the intertwining energies of two individuals coming together, indicating a blend of their emotional states and creating a harmonious connection.

Additionally, the patterns may display bursts of light or radiance, symbolizing the joy and elation that accompany affectionate feelings. This illumination reflects the heightened state of consciousness that often accompanies love, where the individual feels uplifted and connected to both themselves and the person they care for.

In summary, the colors and patterns associated with a sudden rush of affection—vibrant pinks, warm reds, and soft golds, along with swirling and pulsating designs—capture the essence of this powerful emotion. They illustrate the joy, warmth, and depth of connection that characterize moments of love, showcasing how affection can profoundly impact one’s emotional landscape.

8) Sudden rush of devotion:

A sudden rush of devotion can be vividly expressed through a spectrum of colors and patterns within the astral body, reflecting the depth and sincerity of this profound emotion. The predominant colors associated with this experience include deep blues, radiant purples, and luminous whites, each representing specific facets of devotion.

Deep blue symbolizes loyalty, trust, and a profound emotional connection. This color embodies the steadfastness that characterizes true devotion, indicating a commitment that goes beyond fleeting feelings. The intensity of the blue can vary; darker shades may signify a deep-rooted sense of responsibility and unwavering support, while lighter blues reflect calmness and serenity in the relationship.

Radiant purples emerge prominently during moments of deep devotion, representing spiritual connection and transcendence. Purple is often associated with higher consciousness and deep emotional insight, suggesting that this devotion transcends the physical realm. It embodies a sense of reverence and sacredness toward the object of one’s devotion, whether it be a person, a cause, or a spiritual belief. The brilliance of purple indicates the passionate energy that accompanies this deep commitment.

Luminous whites may also be present, symbolizing purity, clarity, and unconditional love. This color reflects the selfless aspect of devotion, where the individual is willing to give of themselves wholly and without expectation. The brightness of white suggests a heightened awareness and a clear intention to support and uplift the individual or cause that inspires this devotion.

In terms of patterns, the expression of sudden devotion may manifest as radiating lines or concentric circles, symbolizing the expanding nature of this emotion. These patterns convey a sense of movement and growth, reflecting how devotion can suddenly envelop the individual and spread outward, impacting their thoughts, actions, and connections with others. The radiating lines indicate a desire to share this devotion, creating a ripple effect that influences the surrounding environment.

Additionally, patterns may include intricate, flowing designs that signify the depth and complexity of devotion. These patterns represent the intertwining of personal emotions with a larger purpose or connection, suggesting that devotion is not merely a personal feeling but also a bond that enriches the lives of others.

In summary, the colors and patterns associated with a sudden rush of devotion—deep blues, radiant purples, and luminous whites, along with radiating lines and intricate designs—capture the essence of this powerful emotion. They illustrate the loyalty, spiritual connection, and purity inherent in moments of true devotion, showcasing how this profound feeling can transform one’s emotional landscape and influence their connections with the world.

9) Intense anger:

Intense anger can be vividly represented through a striking array of colors and patterns in the astral body, reflecting the raw and powerful nature of this emotion. The predominant colors associated with intense anger include deep reds, fiery oranges, and dark blacks, each symbolizing different aspects of this overwhelming feeling.

Deep red is the primary color associated with anger; it embodies the fiery intensity and passion that characterize this emotion. This color signifies not only the heat of anger but also the energy that can accompany it. The darker shades of red may indicate repressed feelings or a simmering rage that has yet to be expressed, while brighter reds suggest an explosive, uncontained outburst of anger. The presence of red in the astral body can create a sense of urgency and heightened alertness, often reflecting the body’s instinctual fight-or-flight response.

Fiery orange serves as a secondary color in the representation of intense anger, symbolizing a more volatile and dynamic aspect of this emotion. Orange can indicate a mix of anger and frustration, showcasing the chaotic energy that often accompanies anger when it is fueled by personal grievances or perceived injustices. The vibrancy of orange reflects an emotional state that can easily escalate into aggression, capturing the unpredictability of anger in its most intense form.

Dark black may also be present, representing the shadow aspects of anger, such as bitterness, resentment, or rage. This color embodies the destructive potential of anger when it is not acknowledged or processed healthily. Black can signify a sense of heaviness, indicating the emotional burden that unresolved anger can create, leading to isolation or internal conflict.

In terms of patterns, the expression of intense anger may manifest as jagged lines or sharp, erratic shapes. These patterns convey a sense of chaos and volatility, reflecting the tumultuous nature of anger that can feel overwhelming and consuming. Jagged edges symbolize the unpredictability of this emotion, indicating how quickly anger can escalate and disrupt emotional equilibrium.

Additionally, patterns may include bursts or spikes that resemble explosions, symbolizing the sudden and intense outbursts that often accompany anger. These explosive shapes illustrate the release of pent-up energy that can occur when anger reaches a boiling point, often resulting in a dramatic expression of feelings.

In summary, the colors and patterns associated with intense anger—deep reds, fiery oranges, and dark blacks, along with jagged lines and explosive shapes—capture the essence of this powerful emotion. They illustrate the urgency, volatility, and potential destructiveness of anger, showcasing how this intense feeling can significantly impact one’s emotional landscape and interpersonal dynamics.

10) Shock of fear:

The shock of fear can be vividly illustrated through a striking combination of colors and patterns in the astral body, reflecting the intense and often paralyzing nature of this emotion. The predominant colors associated with fear include stark whites, deep blacks, and icy blues, each representing different facets of the experience of fear.

Stark white symbolizes the initial shock and sudden onset of fear. This color conveys a sense of blankness or emptiness, often associated with the freeze response that can occur in moments of acute fear. It reflects a state of heightened alertness where the individual feels momentarily stunned or immobilized, as if the mind is temporarily overridden by the overwhelming nature of the fear stimulus. The brightness of white can also signify the clarity of awareness that often accompanies a fear response, as the individual becomes acutely aware of their surroundings and the potential threat.

Deep black emerges prominently as a color representing the unknown and the darker aspects of fear. Black embodies feelings of dread, anxiety, and the looming threat of danger. It symbolizes the psychological weight that fear can impose, often leading to feelings of isolation or despair. The presence of black in the astral body can indicate a deep-seated fear that is rooted in the subconscious, representing fears that are not immediately identifiable but still profoundly affect the individual’s emotional state.

Icy blue serves as a secondary color in the representation of fear, reflecting the cold, chilling sensation often felt in moments of panic or anxiety. This color captures the physiological responses associated with fear, such as a drop in body temperature and a sense of numbness. Icy blues can also represent the clarity of thought that accompanies fear, highlighting the instinctual fight-or-flight response where the individual is hyper-aware and ready to react to danger.

In terms of patterns, the expression of shock from fear may manifest as chaotic, swirling designs or sharp, angular shapes. These patterns convey a sense of disorientation and instability, reflecting the tumultuous emotional landscape that fear can create. The swirling shapes may signify a whirlwind of thoughts and feelings that accompany a sudden fear response, while sharp angles represent the jarring nature of the experience.

Additionally, patterns may include sudden bursts or jagged edges that symbolize the abruptness of fear, illustrating how quickly a sense of safety can be disrupted. These explosive designs capture the visceral reaction that occurs when fear strikes, often leading to a rush of adrenaline and heightened physiological arousal.

In summary, the colors and patterns associated with the shock of fear—stark whites, deep blacks, and icy blues, along with chaotic designs and sharp edges—capture the essence of this powerful emotion. They illustrate the initial shock, the weight of the unknown, and the cold, paralyzing effects of fear, showcasing how this intense feeling can profoundly impact an individual’s emotional and psychological state.

11) Average man in love:

The astral body of the average man in love can be vividly represented through a harmonious blend of colors and patterns that reflect the multifaceted nature of romantic affection. Predominant colors include soft pinks, warm reds, and gentle greens, each symbolizing different aspects of love and emotional connection.

**Soft pink** is often the most prominent color, symbolizing tenderness, affection, and the blossoming of romantic feelings. This hue embodies the sweetness of love, evoking feelings of warmth and care. The lighter tones of pink can represent the initial stages of love, such as infatuation and admiration, while deeper shades may indicate a more profound emotional connection, reflecting a commitment to nurturing the relationship.

**Warm red** also plays a significant role in this emotional palette, signifying passion, desire, and vitality. This color represents the excitement and energy that come with falling in love, capturing the thrill of romantic attraction. Unlike the intense, aggressive reds associated with anger, the warm reds seen in an astral body in love reflect an enthusiastic, joyful expression of desire, symbolizing a healthy balance of passion and emotional stability.

**Gentle green** adds another dimension to the astral representation of love, symbolizing growth, harmony, and emotional balance. Green reflects the nurturing aspect of love, indicating a desire for understanding and compassion in the relationship. This color represents the emotional support that partners provide each other and the flourishing nature of a loving bond, suggesting that love fosters personal growth and mutual respect.

In terms of patterns, the astral body of a man in love may exhibit flowing, interconnected designs that symbolize unity and connection. These patterns can resemble gentle waves or spirals, representing the ebb and flow of emotions within a loving relationship. The fluidity of these designs reflects the adaptability and resilience that love often requires, illustrating how partners navigate challenges together while maintaining a strong bond.

Additionally, the presence of radiant bursts or soft glimmers within the patterns can symbolize the joy and elation that accompany love. These radiant elements capture the moments of happiness and shared experiences that illuminate the relationship, emphasizing the transformative power of love to uplift and inspire.

In summary, the colors and patterns associated with the average man in love—soft pinks, warm reds, and gentle greens, along with flowing designs and radiant bursts—capture the essence of romantic affection. They illustrate the tenderness, passion, and emotional growth inherent in loving relationships, showcasing how love enriches the emotional landscape and fosters deep connections between individuals.

12) Irritable man:

The emotional landscape of an irritable man can be vividly represented through a distinct array of colors and patterns within the astral body, reflecting the underlying tension and frustration that characterize this state. The predominant colors associated with irritability include muted yellows, stormy grays, and deep browns, each symbolizing different facets of this complex emotion.

**Muted yellow** often serves as the primary color, symbolizing the frustration and agitation that can accompany irritability. While yellow is typically associated with happiness and optimism, when muted, it reflects a sense of unease and discomfort. This shade can indicate feelings of being overwhelmed, where the vibrancy of life feels dulled, leading to irritability. The presence of yellow in the astral body conveys a sense of mental fatigue and a short fuse, suggesting that minor annoyances can trigger disproportionate reactions.

**Stormy gray** emerges prominently as a secondary color, representing the heaviness and weight of irritability. Gray often signifies a lack of clarity and emotional stagnation, indicating that the irritable individual may feel trapped in a cycle of negativity or frustration. This color embodies feelings of resignation and discontent, suggesting that the individual may struggle with unresolved issues that contribute to their irritability. The stormy aspect of gray indicates a brewing tension, hinting at the potential for an emotional outburst if the irritability is not addressed.

**Deep brown** may also be present, symbolizing a sense of groundedness that has turned into heaviness or stubbornness. Brown can represent feelings of being stuck or weighed down by responsibilities, leading to irritability when faced with additional pressures. This color embodies the weariness that often accompanies irritability, reflecting a sense of fatigue from the emotional burdens that can lead to a short temper or frustration with oneself and others.

In terms of patterns, the astral body of an irritable man may exhibit jagged lines and sharp angles, symbolizing the chaotic and volatile nature of this emotional state. These patterns convey a sense of disruption and instability, reflecting how irritability can manifest in sudden bursts of anger or frustration. Jagged edges signify the unpredictability of reactions, suggesting that small triggers can lead to significant emotional responses.

Additionally, patterns may include dark, swirling designs that represent the internal turmoil associated with irritability. These swirling shapes indicate a mind in disarray, reflecting how an irritable individual may struggle with racing thoughts or unresolved emotions. The chaotic nature of these patterns captures the essence of how irritability can create a sense of confusion and frustration.

In summary, the colors and patterns associated with an irritable man—muted yellows, stormy grays, and deep browns, along with jagged lines and swirling designs—capture the essence of this emotional state. They illustrate the frustration, heaviness, and internal chaos that characterize irritability, showcasing how this complex emotion can profoundly impact one’s interactions and overall emotional well-being.

13) Miser:

In C.W. Leadbeater’s “Man Visible and Invisible,” the aura or astral body of a miser is depicted through specific colors and patterns that reflect their emotional and psychological state. The primary color associated with a miser is a dull brown-red, almost rust-colored, which signifies avarice. This color typically appears in parallel bars across the astral body, creating a visual representation of the miser’s tightly held resources and obsession with wealth.

The brown hue is often accompanied by a dull, hard brown-grey, symbolizing the pervasive nature of selfishness, which is frequently found in the auras of individuals who prioritize their own needs over those of others. This grey color can manifest as heavy, leaden bands that give the impression of confinement or imprisonment within their own materialistic concerns.

In addition to these shades, flashes of deep red may occasionally appear, reflecting moments of anger or frustration, particularly when the miser feels threatened or challenged regarding their possessions. This emotional turbulence can create a chaotic aspect within their aura, contrasting sharply with the otherwise stagnant, dull colors that dominate their energy field.

The patterns seen in a miser’s aura often display a lack of vibrancy and luminosity, indicating a disconnection from higher emotional states such as love and generosity. The presence of these darker colors and patterns suggests that a miser’s focus on material wealth inhibits their capacity for positive emotional expression, leading to a restrictive and negative energetic presence.

Overall, the aura of a miser, as described by Leadbeater, serves as a vivid illustration of how emotional states and personality traits manifest in the subtle bodies, reflecting the individual’s inner life and spiritual development, or lack thereof.

14) Deep depression:

In C.W. Leadbeater’s “Man Visible and Invisible,” the aura of an individual experiencing deep depression is characterized by heavy, leaden grey tones that dominate the astral body. This color signifies a profound emotional state marked by despair and despondency, often appearing as a thick, murky cloud surrounding the person.

The presence of this dull grey hue suggests an overwhelming sense of hopelessness, which can manifest in the aura as dense, swirling patterns that evoke feelings of entrapment or stagnation. These grey tones may also take on a parallel line formation, resembling bars or cages, indicating that the individual feels imprisoned by their emotions and unable to escape the weight of their depressive state.

In addition to the grey, there may be intermittent flashes of darker colors, such as black or a sickly green, which represent feelings of fear, anxiety, or even self-pity that can accompany deep depression. These darker elements can create a chaotic visual effect within the aura, further illustrating the inner turmoil and conflict experienced by the individual.

The overall impression of a depressed person’s aura is one of heaviness and lack of vitality. The lack of vibrant colors typically associated with positive emotions—such as yellows, greens, or blues—highlights the absence of joy, hope, or inspiration. This muted energy field reflects how deeply entrenched the individual is in their sorrow, demonstrating a significant disconnect from higher emotional states and spiritual well-being.

Thus, Leadbeater’s depiction of the aura in deep depression serves as a poignant reminder of how mental and emotional states manifest in the subtle bodies, illustrating the profound impact of psychological suffering on one’s energetic presence and overall spiritual development.

15) Devotional type:

In C.W. Leadbeater’s “Man Visible and Invisible,” the aura of a devotional type is characterized by vibrant colors that reflect the individual’s deep spiritual commitment and emotional warmth. Predominantly, the aura displays rich and luminous shades of crimson and rose, symbolizing love, devotion, and an open-hearted connection to the divine or higher ideals.

The crimson hue signifies passionate love and fervent devotion, often appearing as a radiant glow that envelops the individual. This warmth manifests as a pulsating energy, radiating outward and creating a dynamic, flowing pattern in the aura. Such individuals tend to attract others with their loving energy, reflecting a genuine desire to serve and uplift those around them.

In addition to the crimson, soft hues of golden yellow may also be present, representing intellectual clarity and spiritual wisdom. This blend of colors conveys not only emotional depth but also a thoughtful approach to spiritual practice, indicating that the individual’s devotion is informed by insight and understanding.

The patterns within the aura of a devotional type are often fluid and harmonious, suggesting a balance between emotional expression and spiritual aspiration. This graceful movement signifies a person who is not only deeply connected to their own spiritual path but also radiates that connection outward, inspiring and encouraging others along their journeys.

Overall, Leadbeater’s description of the aura of a devotional type exemplifies how positive emotions and spiritual dedication can manifest in the subtle bodies. This vibrant energy field reflects the individual’s inner harmony and the transformative power of love and devotion in fostering both personal growth and collective upliftment in the spiritual community.

16) Scientific type:

In C.W. Leadbeater’s “Man Visible and Invisible,” the aura of a scientific type individual is characterized by distinct colors and patterns that reflect their analytical, rational, and intellectual nature. Predominantly, the aura exhibits shades of bright yellow, which symbolizes intellect, clarity of thought, and a keen analytical mind. This vibrant yellow is often described as luminous and clear, indicating a high level of cognitive engagement and a strong capacity for understanding complex concepts.

Alongside yellow, one might also observe hints of green and blue within the aura. The green represents adaptability and a quest for knowledge, suggesting that the individual is open-minded and eager to explore new ideas. The blue, particularly in its lighter shades, signifies communication and mental clarity, indicating that the scientific type is adept at articulating their thoughts and findings effectively.

The patterns within this aura are often structured and orderly, reflecting the individual’s methodical approach to life and learning. This organization in the energy field suggests a person who values logic and precision, often displaying a systematic way of thinking that aids in their scientific pursuits.

In contrast to the more chaotic and vibrant auras associated with emotional types, the aura of the scientific type appears more defined and stable. This stability indicates a groundedness in reality and a focus on empirical evidence rather than emotional fluctuation. However, it is essential to note that while the colors reflect a strong intellectual presence, they may sometimes be punctuated by darker hues, such as browns or greys, if the individual is overly critical or rigid in their thinking.

Overall, Leadbeater’s depiction of the aura of a scientific type highlights how intellectual pursuits and a rational mindset manifest in the subtle bodies. This energy field reflects the individual’s quest for knowledge and understanding, illustrating the intersection of intellect with the spiritual journey, where the pursuit of truth becomes a pathway to greater consciousness.

17) Causal body of the developed man:

In C.W. Leadbeater’s “Man Visible and Invisible,” the causal body of the developed man is depicted as a radiant and luminous structure that reflects the individual’s spiritual evolution and the cultivation of higher consciousness. This body is primarily characterized by brilliant colors, predominantly a rich golden hue, which signifies enlightenment, wisdom, and a profound connection to the divine.

The golden light of the causal body suggests that the developed man has transcended lower emotional states and material concerns, achieving a state of inner peace and spiritual clarity. This color radiates outward, creating a vibrant aura that not only embodies the individual’s accumulated spiritual virtues but also serves as a beacon of inspiration for others on their paths.

Accompanying the golden hue, one might also observe subtle shades of white or iridescent colors within the causal body, symbolizing purity, spiritual insight, and the presence of higher spiritual energies. These colors reflect the individual’s ability to resonate with elevated thoughts and higher planes of existence, indicating a deep understanding of universal truths.

The patterns within the causal body are typically fluid and harmonious, representing the seamless integration of the individual’s higher principles. This harmonious movement indicates that the developed man has cultivated a balanced relationship with both the spiritual and material aspects of life, allowing for a dynamic expression of compassion, love, and wisdom.

Furthermore, the causal body often appears as an ovoid or egg-like form, encapsulating the essence of the individual’s unique spiritual identity. This shape signifies the protective nature of the causal body, serving as a container for the soul’s experiences and insights accumulated through various incarnations.

Overall, Leadbeater’s depiction of the causal body of the developed man illustrates the culmination of spiritual growth and the manifestation of higher consciousness. This radiant energy field reflects the individual’s journey toward self-realization, where the integration of knowledge, wisdom, and compassion leads to a profound connection with the divine and a commitment to serving humanity.

18) Mental body of the developed man:

In C.W. Leadbeater’s “Man Visible and Invisible,” the mental body of the developed man is depicted as a vibrant and intricate structure that reflects the individual’s advanced intellectual capabilities and refined thought processes. Characterized by luminous shades of bright yellow and gold, this mental body signifies clarity of thought, intellectual brilliance, and an expansive understanding of complex concepts.

The predominant yellow hue represents a highly developed intellect, indicating that the individual has not only gained knowledge but has also cultivated the ability to apply that knowledge creatively and effectively. This brightness suggests active mental engagement, where thoughts are not only clear but also infused with insight and wisdom.

In addition to the yellow, one might observe nuances of blue—symbolizing communication and the ability to articulate thoughts—and green, indicating adaptability and openness to new ideas. These colors together illustrate the developed man’s capacity to express complex ideas gracefully and to engage in meaningful dialogues, fostering understanding and collaboration with others.

The patterns within the mental body are often dynamic and intricate, reflecting the individual’s mental agility and the fluidity of their thought processes. This complexity indicates a mind that is not only capable of deep analysis but also adept at synthesizing information from various sources to form a holistic understanding of reality.

Moreover, the mental body may exhibit a shimmering quality, suggesting that the developed man’s thoughts are imbued with a higher vibrational frequency, allowing them to resonate with deeper truths and spiritual insights. This luminescence reflects a mind that has transcended mere intellectual pursuits, engaging instead with the spiritual dimensions of knowledge.

Overall, Leadbeater’s portrayal of the mental body of the developed man encapsulates the essence of advanced human consciousness. This radiant and intricate energy field embodies the integration of intellect, creativity, and spiritual insight, illustrating how a developed mind serves as a vital tool for navigating both the material world and the deeper mysteries of existence.

19) Astral body of the developed man:

In C.W. Leadbeater’s “Man Visible and Invisible,” the astral body of the developed man is depicted as a vibrant, multi-colored energy field that reflects the individual’s refined emotional nature and spiritual aspirations. This body typically radiates warm, harmonious colors, primarily shades of rich rose, soft lavender, and golden yellows, which symbolize love, compassion, and elevated emotional states.

The prevalent rose hue in the astral body signifies deep emotional warmth and an open heart, indicating that the developed man has cultivated profound empathy and connection with others. This color reflects a capacity for unconditional love, forming bonds based on genuine understanding and compassion rather than attachment or desire.

Accompanying the rose shades, the soft lavender represents spiritual awareness and intuition. This color suggests that the individual has transcended base emotional responses, allowing for a deeper connection to higher vibrational energies. It indicates a person who not only experiences emotions but also understands their spiritual significance, using this awareness to guide their actions and interactions.

The patterns within the astral body are often fluid and dynamic, reflecting the emotional richness of the developed man’s experiences. Unlike the chaotic patterns seen in less developed individuals, the astral body of the developed man exhibits graceful movements, symbolizing emotional balance and stability. This fluidity indicates an individual who can navigate emotional experiences with ease, maintaining harmony even in challenging situations.

Furthermore, the astral body may shimmer with iridescent qualities, suggesting the presence of elevated spiritual energies that enhance emotional expression. This luminescence reflects the individual’s ability to transcend personal desires, fostering a sense of unity with all beings and a commitment to collective well-being.

Overall, Leadbeater’s depiction of the astral body of the developed man illustrates the harmonious integration of refined emotions and spiritual insights. This radiant energy field embodies the essence of love, compassion, and emotional maturity, emphasizing the importance of emotional development as a key aspect of the spiritual journey toward higher consciousness and deeper connection with the universe.

20) Normal health aura:

In C.W. Leadbeater’s “Man Visible and Invisible,” the aura of an individual in normal health is described as a balanced and vibrant energy field that reflects overall well-being and vitality. Typically characterized by clear, bright colors, this aura often displays shades of soft green, golden yellow, and light blue, symbolizing physical health, emotional stability, and mental clarity. The predominant green hue signifies physical vitality and a balanced life force, often associated with the heart chakra. This color reflects the individual’s connection to nature and their ability to maintain equilibrium in their physical health. A strong, vibrant green aura suggests that the person is not only physically healthy but also emotionally balanced, capable of expressing compassion and love toward themselves and others.

Golden yellow in the aura indicates mental clarity and a positive outlook on life. This color reflects an active mind that is engaged and open to learning, indicative of a person who is both intellectually curious and emotionally stable. The presence of golden hues signifies joy, optimism, and a proactive approach to life, often enhancing the individual’s ability to face challenges with resilience.

Light blue or aquamarine shades within the aura represent effective communication and emotional expression. This color is linked to the throat chakra, indicating that the individual can articulate their thoughts and feelings clearly and genuinely. A healthy aura often exhibits these calming blue tones, suggesting that the person is in touch with their emotions and can express them without fear or hesitation.

The patterns of a normal health aura are typically smooth and flowing, illustrating balance and harmony within the individual. A lack of chaotic or dark patches indicates that the person is free from significant stress or emotional turmoil, leading to a stable and coherent energy field.

In summary, Leadbeater’s portrayal of the aura of an individual in normal health showcases the interplay of vibrant colors and harmonious patterns reflecting physical vitality, emotional balance, and mental clarity. This radiant energy field not only signifies personal well-being but also enhances the individual’s capacity to connect positively with the world around them, fostering a sense of community and shared joy.

21) Health aura in disease:

In C.W. Leadbeater’s “Man Visible and Invisible,” the aura of an individual experiencing disease is depicted as significantly altered, often displaying darker, murkier colors and irregular patterns that reflect the individual’s compromised health and emotional state. The presence of these disturbances in the aura can provide insights into the nature of the illness and its impact on both physical and emotional well-being.

One common characteristic of a diseased aura is the emergence of gray, brown, or black patches. These darker hues often indicate stagnation or blockages in the energy flow, suggesting that the individual may be grappling with unresolved emotional issues or stressors that have manifested physically. For instance, a person suffering from chronic stress may exhibit a grayish aura, reflecting anxiety and emotional turmoil that can contribute to their physical ailments.

In addition to darker colors, the aura may also show inconsistent fluctuations or chaotic patterns. This irregularity signifies a disruption in the individual’s energy field, which can be indicative of inflammation, pain, or other health challenges. Such disturbances can lead to feelings of instability and confusion, further exacerbating the individual’s emotional and physical distress.

Conversely, certain colors may also appear lighter or faded in the aura of someone who is ill. For example, the vibrant greens associated with vitality may be diminished, suggesting a depletion of the life force or energy reserves. This fading can indicate that the body is struggling to maintain its natural balance and resilience in the face of illness.

The emotional state of the individual is also reflected in the aura during times of disease. For instance, feelings of fear, hopelessness, or despair may manifest as darker or more erratic energy patterns. This emotional turbulence can create a feedback loop, where negative emotions exacerbate physical symptoms, further weakening the aura and overall health.

Ultimately, Leadbeater’s exploration of the health aura in disease emphasizes the interconnectedness of physical, emotional, and spiritual well-being. The alterations in the aura serve as a reflection of the individual’s holistic state, highlighting the importance of addressing not just the physical symptoms but also the underlying emotional and mental factors contributing to the disease. By fostering a deeper understanding of these energy patterns, individuals can seek healing on multiple levels, promoting a more comprehensive approach to health and recovery.

22) Causal body of the Arahat:

In C.W. Leadbeater’s “Man Visible and Invisible,” the causal body of an arahat—an individual who has attained a high level of spiritual enlightenment and liberation—represents the pinnacle of spiritual development and the culmination of the soul’s evolutionary journey. The causal body, often referred to as the “body of bliss,” is characterized by its brilliant luminosity, typically displaying radiant golden and white colors.

The golden hue of the causal body signifies the profound wisdom, spiritual insight, and compassion that the arahat has cultivated. This color reflects a state of consciousness that transcends individual concerns, embodying a universal love that embraces all beings. The brightness of the aura indicates not only the arahat’s deep connection to higher spiritual realms but also their embodiment of divine qualities such as serenity, equanimity, and boundless compassion.

The presence of white within the causal body underscores the purity of intention and thought that characterizes the arahat’s existence. This purity indicates that the individual has transcended personal desires and attachments, allowing them to align fully with spiritual truth and the greater good of humanity. The white light often suggests a high level of spiritual attainment, where the individual is seen as a beacon of hope and guidance for others on their paths.

The patterns within the causal body of an arahat are typically harmonious and fluid, representing a seamless integration of knowledge, experience, and spiritual insight. Unlike the chaotic or fragmented patterns found in less developed individuals, the arahat’s causal body exudes a sense of balance and tranquility. This harmonious energy field indicates a deep understanding of the interconnections of all life and a commitment to living in accordance with universal principles.

Moreover, the causal body of an arahat serves as a repository for the accumulated wisdom and experiences gained over countless lifetimes. This aspect allows the arahat to draw upon a vast pool of knowledge and insight, which they can share with others, furthering the spiritual evolution of those around them.

In summary, Leadbeater’s depiction of the causal body of the arahat illustrates the profound transformation that occurs through dedicated spiritual practice and self-realization. The arahat embodies the highest ideals of wisdom, purity, and compassion, serving as a guiding light for others and exemplifying the potential for spiritual evolution inherent in all beings. This radiant energy field reflects not just personal enlightenment but also a deep commitment to the upliftment and liberation of all sentient beings.