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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.

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.

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VARIOUS EMOTIONS

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.—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 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.—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.—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.—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.—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.

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FORMS SEEN IN THOSE MEDITATING

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.

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.

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.

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.

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.

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.

Another Conception.—Fig. 45 exhibits the form produced by another person when trying to hold exactly the same thought. Here also we have an amazing complexity of almost inconceivably delicate blue lines, and here also our imagination must be called upon to insert the golden globe from Fig. 42, so that its glory may shine through at every point. Here also, as in Fig. 44, we have that curious and beautiful pattern, resembling somewhat the damascening on ancient Oriental swords, or that which is seen upon watered silk or moire antique. When this form is drawn by the pendulum, the pattern is not in any way intentionally produced, but simply comes as a consequence of the crossing of the innumerable microscopically fine lines. It is evident that the thinker who created the form upon Fig. 44 must have held in his mind most prominently the unity of the Logos, while he who generated the form in Fig. 45 has as clearly in mind the subordinate centres through which the divine life pours forth, and many of these subordinate centres have accordingly represented themselves in the thought-form.

The Threefold Manifestation.—When the form employed in Fig. 46 was made, its creator was endeavouring to think of the Logos in His threefold manifestation. The vacant space in the centre of the form was a blinding glow of yellow light, and this clearly typified the First Aspect, while the Second was symbolised by the broad ring of closely-knitted and almost bewildering lines which surround this centre, while the Third Aspect is suggested by the narrow outer ring which seems more loosely woven. The whole figure is pervaded by the usual golden light gleaming out between the lines of violet.

The Sevenfold Manifestation.—In all religions there remains some tradition of the great truth that the Logos manifests Himself through seven mighty channels, often regarded as minor Logoi or great planetary Spirits. In the Christian scheme they appear as the seven great archangels, sometimes called the seven spirits before the throne of God. The figure numbered 47 shows the result of the effort to meditate upon this method of divine manifestation. We have the golden glow in the centre, and also (though with lesser splendour) pervading the form. The line is blue, and it draws a succession of seven graceful and almost featherlike double wings which surround the central glory and are clearly intended as a part of it. As the thought strengthens and expands, these beautiful wings change their colour to violet and become like the petals of a flower, and overlap one another in an intricate but exceedingly effective pattern. This gives us a very interesting glimpse into the formation and growth of these shapes in higher matter.

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.

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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."

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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.

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.

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.