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+Project Gutenberg's Thought-Forms, by Annie Besant
+C.W. Leadbeater
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Thought-Forms
+
+Author: Annie Besant
+C.W. Leadbeater
+
+Release Date: July 12, 2005 [EBook #16269]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THOUGHT-FORMS ***
+
+
+
+
+Produced by Jonathan Ingram, Melissa Er-Raqabi and the
+Online Distributed Proofreading Team at https://www.pgdp.net.
+
+
+
+
+
+
+THOUGHT-FORMS
+
+BY ANNIE BESANT
+AND C.W. LEADBEATER
+
+[Illustration: Publisher Logo]
+
+THE THEOSOPHICAL PUBLISHING HOUSE LTD
+38 GREAT ORMOND STREET, LONDON, W.C. 1
+
+
+
+
+_First Printed_ 1901
+_Reprint_       1905
+_Reprint_       1925
+
+
+_Made and Printed in Great Britain by_
+PERCY LUND, HUMPHRIES & CO LTD
+THE COUNTRY PRESS
+BRADFORD
+
+[Illustration: FRONTISPIECE--MEANING OF THE COLOURS--(see html version
+for this and other illustrations.)]
+
+
+
+
+FOREWORD
+
+
+The text of this little book is the joint work of Mr Leadbeater and
+myself; some of it has already appeared as an article in _Lucifer_ (now
+the _Theosophical Review_), but the greater part of it is new. The
+drawing and painting of the Thought-Forms observed by Mr Leadbeater or
+by myself, or by both of us together, has been done by three friends--Mr
+John Varley, Mr Prince, and Miss Macfarlane, to each of whom we tender
+our cordial thanks. To paint in earth's dull colours the forms clothed
+in the living light of other worlds is a hard and thankless task; so
+much the more gratitude is due to those who have attempted it. They
+needed coloured fire, and had only ground earths. We have also to thank
+Mr F. Bligh Bond for allowing us to use his essay on _Vibration
+Figures_, and some of his exquisite drawings. Another friend, who sent
+us some notes and a few drawings, insists on remaining anonymous, so we
+can only send our thanks to him with similar anonymity.
+
+It is our earnest hope--as it is our belief--that this little book will
+serve as a striking moral lesson to every reader, making him realise the
+nature and power of his thoughts, acting as a stimulus to the noble, a
+curb on the base. With this belief and hope we send it on its way.
+
+ANNIE BESANT.
+
+
+
+
+CONTENTS
+
+                                                                    PAGE
+FOREWORD                                                               6
+INTRODUCTION                                                          11
+THE DIFFICULTY OF REPRESENTATION                                      16
+THE TWO EFFECTS OF THOUGHT                                            21
+HOW THE VIBRATION ACTS                                                23
+THE FORM AND ITS EFFECT                                               25
+THE MEANING OF THE COLOURS                                            32
+THREE CLASSES OF THOUGHT-FORMS                                        36
+ILLUSTRATIVE THOUGHT-FORMS                                            40
+AFFECTION                                                          40-44
+DEVOTION                                                           44-49
+INTELLECT                                                          49-50
+AMBITION                                                              51
+ANGER                                                                 52
+SYMPATHY                                                              55
+FEAR                                                                  55
+GREED                                                                 56
+VARIOUS EMOTIONS                                                      57
+  SHIPWRECK                                                           57
+  ON THE FIRST NIGHT                                                  59
+  THE GAMBLERS                                                        60
+  AT A STREET ACCIDENT                                                61
+  AT A FUNERAL                                                        61
+  ON MEETING A FRIEND                                                 64
+  APPRECIATION OF A PICTURE                                           65
+FORMS SEEN IN MEDITATION                                              66
+  SYMPATHY AND LOVE FOR ALL                                           66
+  AN ASPIRATION TO ENFOLD ALL                                         66
+  IN THE SIX DIRECTIONS                                               67
+  COSMIC ORDER                                                        68
+  THE LOGOS AS MANIFESTED IN MAN                                      69
+  THE LOGOS PERVADING ALL                                             70
+  ANOTHER CONCEPTION                                                  71
+  THE THREEFOLD MANIFESTATION                                         71
+  THE SEVENFOLD MANIFESTATION                                         72
+  INTELLECTUAL ASPIRATION                                             72
+HELPFUL THOUGHTS                                                      74
+FORMS BUILT BY MUSIC                                                  75
+  MENDELSSOHN                                                         77
+  GOUNOD                                                              80
+  WAGNER                                                              82
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+                                            FIG.                    PAGE
+MEANING OF THE COLOURS                                    _Frontispiece_
+CHLADNI'S SOUND PLATE                          1                      28
+FORMS PRODUCED IN SAND                         2                      28
+FORMS PRODUCED IN SAND                         3                      29
+FORMS PRODUCED BY PENDULUMS                  4-7                      30
+VAGUE PURE AFFECTION                           8                      40
+VAGUE SELFISH AFFECTION                        9                      40
+DEFINITE AFFECTION                            10                      42
+RADIATING AFFECTION                           11                      43
+PEACE AND PROTECTION                          12                      42
+GRASPING ANIMAL AFFECTION                     13                      43
+VAGUE RELIGIOUS FEELING                       14                      44
+UPWARD RUSH OF DEVOTION                       15                      46
+SELF-RENUNCIATION                             16                      44
+RESPONSE TO DEVOTION                          17                      46
+VAGUE INTELLECTUAL PLEASURE                   18                      50
+VAGUE SYMPATHY                                18A                     50
+THE INTENTION TO KNOW                         19                      51
+HIGH AMBITION                                 20                      52
+SELFISH AMBITION                              21                      52
+MURDEROUS RAGE                                22                      53
+SUSTAINED ANGER                               23                      53
+EXPLOSIVE ANGER                               24                      51
+WATCHFUL JEALOUSY                             25                      54
+ANGRY JEALOUSY                                26                      54
+SUDDEN FRIGHT                                 27                      55
+SELFISH GREED                                 28                      56
+GREED FOR DRINK                               29                      56
+AT A SHIPWRECK                                30                      58
+ON THE FIRST NIGHT                            31                      59
+THE GAMBLERS                                  32                      60
+AT A STREET ACCIDENT                          33                      61
+AT A FUNERAL                                  34                      62
+ON MEETING A FRIEND                           35                      64
+THE APPRECIATION OF A PICTURE                 36                      64
+SYMPATHY AND LOVE FOR ALL                     37                      66
+AN ASPIRATION TO ENFOLD ALL                   38                      67
+IN THE SIX DIRECTIONS                         39                      66
+AN INTELLECTUAL CONCEPTION OF COSMIC ORDER    40                      69
+THE LOGOS AS MANIFESTED IN MAN                41                      69
+THE LOGOS PERVADING ALL                42 and 44                      70
+ANOTHER CONCEPTION                            45                      70
+THE THREEFOLD MANIFESTATION                   46                      70
+THE SEVENFOLD MANIFESTATION                   47                      70
+INTELLECTUAL ASPIRATION                       43                      72
+HELPFUL THOUGHTS      48, 49, 50, 51, 52, 53, 54                      74
+
+                                           PLATE
+MUSIC OF MENDELSSOHN                           M                      78
+MUSIC OF GOUNOD                                G                      80
+MUSIC OF WAGNER                                W                      82
+
+[Transcriber's Note: Some of the plates are displayed out of sequence to
+correspond with references to them in the text.]
+
+
+
+
+THOUGHT-FORMS
+
+
+As knowledge increases, the attitude of science towards the things of
+the invisible world is undergoing considerable modification. Its
+attention is no longer directed solely to the earth with all its variety
+of objects, or to the physical worlds around it; but it finds itself
+compelled to glance further afield, and to construct hypotheses as to
+the nature of the matter and force which lie in the regions beyond the
+ken of its instruments. Ether is now comfortably settled in the
+scientific kingdom, becoming almost more than a hypothesis. Mesmerism,
+under its new name of hypnotism, is no longer an outcast. Reichenbach's
+experiments are still looked at askance, but are not wholly condemned.
+Röntgen's rays have rearranged some of the older ideas of matter, while
+radium has revolutionised them, and is leading science beyond the
+borderland of ether into the astral world. The boundaries between
+animate and inanimate matter are broken down. Magnets are found to be
+possessed of almost uncanny powers, transferring certain forms of
+disease in a way not yet satisfactorily explained. Telepathy,
+clairvoyance, movement without contact, though not yet admitted to the
+scientific table, are approaching the Cinderella-stage. The fact is
+that science has pressed its researches so far, has used such rare
+ingenuity in its questionings of nature, has shown such tireless
+patience in its investigations, that it is receiving the reward of those
+who seek, and forces and beings of the next higher plane of nature are
+beginning to show themselves on the outer edge of the physical field.
+"Nature makes no leaps," and as the physicist nears the confines of his
+kingdom he finds himself bewildered by touches and gleams from another
+realm which interpenetrates his own. He finds himself compelled to
+speculate on invisible presences, if only to find a rational explanation
+for undoubted physical phenomena, and insensibly he slips over the
+boundary, and is, although he does not yet realise it, contacting the
+astral plane.
+
+One of the most interesting of the highroads from the physical to the
+astral is that of the study of thought. The Western scientist,
+commencing in the anatomy and physiology of the brain, endeavours to
+make these the basis for "a sound psychology." He passes then into the
+region of dreams, illusions, hallucinations; and as soon as he
+endeavours to elaborate an experimental science which shall classify and
+arrange these, he inevitably plunges into the astral plane. Dr Baraduc
+of Paris has nearly crossed the barrier, and is well on the way towards
+photographing astro-mental images, to obtaining pictures of what from
+the materialistic standpoint would be the results of vibrations in the
+grey matter of the brain.
+
+It has long been known to those who have given attention to the question
+that impressions were produced by the reflection of the ultra-violet
+rays from objects not visible by the rays of the ordinary spectrum.
+Clairvoyants were occasionally justified by the appearance on sensitive
+photographic plates of figures seen and described by them as present
+with the sitter, though invisible to physical sight. It is not possible
+for an unbiassed judgment to reject _in toto_ the evidence of such
+occurrences proffered by men of integrity on the strength of their own
+experiments, oftentimes repeated. And now we have investigators who turn
+their attention to the obtaining of images of subtle forms, inventing
+methods specially designed with the view of reproducing them. Among
+these, Dr Baraduc seems to have been the most successful, and he has
+published a volume dealing with his investigations and containing
+reproductions of the photographs he has obtained. Dr Baraduc states that
+he is investigating the subtle forces by which the soul--defined as the
+intelligence working between the body and the spirit--expresses itself,
+by seeking to record its movements by means of a needle, its "luminous"
+but invisible vibrations by impressions on sensitive plates. He shuts
+out by non-conductors electricity and heat. We can pass over his
+experiments in Biometry (measurement of life by movements), and glance
+at those in Iconography--the impressions of invisible waves, regarded by
+him as of the nature of light, in which the soul draws its own image. A
+number of these photographs represent etheric and magnetic results of
+physical phenomena, and these again we may pass over as not bearing on
+our special subject, interesting as they are in themselves. Dr Baraduc
+obtained various impressions by strongly thinking of an object, the
+effect produced by the thought-form appearing on a sensitive plate; thus
+he tried to project a portrait of a lady (then dead) whom he had known,
+and produced an impression due to his thought of a drawing he had made
+of her on her deathbed. He quite rightly says that the creation of an
+object is the passing out of an image from the mind and its subsequent
+materialisation, and he seeks the chemical effect caused on silver salts
+by this thought-created picture. One striking illustration is that of a
+force raying outwards, the projection of an earnest prayer. Another
+prayer is seen producing forms like the fronds of a fern, another like
+rain pouring upwards, if the phrase may be permitted. A rippled oblong
+mass is projected by three persons thinking of their unity in affection.
+A young boy sorrowing over and caressing a dead bird is surrounded by a
+flood of curved interwoven threads of emotional disturbance. A strong
+vortex is formed by a feeling of deep sadness. Looking at this most
+interesting and suggestive series, it is clear that in these pictures
+that which is obtained is not the thought-image, but the effect caused
+in etheric matter by its vibrations, and it is necessary to
+clairvoyantly see the thought in order to understand the results
+produced. In fact, the illustrations are instructive for what they do
+not show directly, as well as for the images that appear.
+
+It may be useful to put before students, a little more plainly than has
+hitherto been done, some of the facts in nature which will render more
+intelligible the results at which Dr Baraduc is arriving. Necessarily
+imperfect these must be, a physical photographic camera and sensitive
+plates not being ideal instruments for astral research; but, as will be
+seen from the above, they are most interesting and valuable as forming a
+link between clairvoyant and physical scientific investigations.
+
+At the present time observers outside the Theosophical Society are
+concerning themselves with the fact that emotional changes show their
+nature by changes of colour in the cloud-like ovoid, or aura, that
+encompasses all living beings. Articles on the subject are appearing in
+papers unconnected with the Theosophical Society, and a medical
+specialist[1] has collected a large number of cases in which the colour
+of the aura of persons of various types and temperaments is recorded by
+him. His results resemble closely those arrived at by clairvoyant
+theosophists and others, and the general unanimity on the subject is
+sufficient to establish the fact, if the evidence be judged by the usual
+canons applied to human testimony.
+
+The book _Man Visible and Invisible_ dealt with the general subject of
+the aura. The present little volume, written by the author of _Man
+Visible and Invisible_, and a theosophical colleague, is intended to
+carry the subject further; and it is believed that this study is useful,
+as impressing vividly on the mind of the student the power and living
+nature of thought and desire, and the influence exerted by them on all
+whom they reach.
+
+[Footnote 1: Dr Hooker, Gloucester Place, London, W.]
+
+
+
+
+THE DIFFICULTY OF REPRESENTATION
+
+
+We have often heard it said that thoughts are things, and there are many
+among us who are persuaded of the truth of this statement. Yet very few
+of us have any clear idea as to what kind of thing a thought is, and the
+object of this little book is to help us to conceive this.
+
+There are some serious difficulties in our way, for our conception of
+space is limited to three dimensions, and when we attempt to make a
+drawing we practically limit ourselves to two. In reality the
+presentation even of ordinary three-dimensional objects is seriously
+defective, for scarcely a line or angle in our drawing is accurately
+shown. If a road crosses the picture, the part in the foreground must be
+represented as enormously wider than that in the background, although in
+reality the width is unchanged. If a house is to be drawn, the right
+angles at its corners must be shown as acute or obtuse as the case may
+be, but hardly ever as they actually are. In fact, we draw everything
+not as it is but as it appears, and the effort of the artist is by a
+skilful arrangement of lines upon a flat surface to convey to the eye an
+impression which shall recall that made by a three-dimensional object.
+
+It is possible to do this only because similar objects are already
+familiar to those who look at the picture and accept the suggestion
+which it conveys. A person who had never seen a tree could form but
+little idea of one from even the most skilful painting. If to this
+difficulty we add the other and far more serious one of a limitation of
+consciousness, and suppose ourselves to be showing the picture to a
+being who knew only two dimensions, we see how utterly impossible it
+would be to convey to him any adequate impression of such a landscape as
+we see. Precisely this difficulty in its most aggravated form stands in
+our way, when we try to make a drawing of even a very simple
+thought-form. The vast majority of those who look at the picture are
+absolutely limited to the consciousness of three dimensions, and
+furthermore, have not the slightest conception of that inner world to
+which thought-forms belong, with all its splendid light and colour. All
+that we can do at the best is to represent a section of the
+thought-form; and those whose faculties enable them to see the original
+cannot but be disappointed with any reproduction of it. Still, those who
+are at present unable to see anything will gain at least a partial
+comprehension, and however inadequate it may be it is at least better
+than nothing.
+
+All students know that what is called the aura of man is the outer part
+of the cloud-like substance of his higher bodies, interpenetrating each
+other, and extending beyond the confines of his physical body, the
+smallest of all. They know also that two of these bodies, the mental and
+desire bodies, are those chiefly concerned with the appearance of what
+are called thought-forms. But in order that the matter may be made clear
+for all, and not only for students already acquainted with theosophical
+teachings, a recapitulation of the main facts will not be out of place.
+
+Man, the Thinker, is clothed in a body composed of innumerable
+combinations of the subtle matter of the mental plane, this body being
+more or less refined in its constituents and organised more or less
+fully for its functions, according to the stage of intellectual
+development at which the man himself has arrived. The mental body is an
+object of great beauty, the delicacy and rapid motion of its particles
+giving it an aspect of living iridescent light, and this beauty becomes
+an extraordinarily radiant and entrancing loveliness as the intellect
+becomes more highly evolved and is employed chiefly on pure and sublime
+topics. Every thought gives rise to a set of correlated vibrations in
+the matter of this body, accompanied with a marvellous play of colour,
+like that in the spray of a waterfall as the sunlight strikes it, raised
+to the _n_th degree of colour and vivid delicacy. The body under this
+impulse throws off a vibrating portion of itself, shaped by the nature
+of the vibrations--as figures are made by sand on a disk vibrating to a
+musical note--and this gathers from the surrounding atmosphere matter
+like itself in fineness from the elemental essence of the mental world.
+We have then a thought-form pure and simple, and it is a living entity
+of intense activity animated by the one idea that generated it. If made
+of the finer kinds of matter, it will be of great power and energy, and
+may be used as a most potent agent when directed by a strong and steady
+will. Into the details of such use we will enter later.
+
+When the man's energy flows outwards towards external objects of desire,
+or is occupied in passional and emotional activities, this energy works
+in a less subtle order of matter than the mental, in that of the astral
+world. What is called his desire-body is composed of this matter, and it
+forms the most prominent part of the aura in the undeveloped man. Where
+the man is of a gross type, the desire-body is of the denser matter of
+the astral plane, and is dull in hue, browns and dirty greens and reds
+playing a great part in it. Through this will flash various
+characteristic colours, as his passions are excited. A man of a higher
+type has his desire-body composed of the finer qualities of astral
+matter, with the colours, rippling over and flashing through it, fine
+and clear in hue. While less delicate and less radiant than the mental
+body, it forms a beautiful object, and as selfishness is eliminated all
+the duller and heavier shades disappear.
+
+This desire (or astral) body gives rise to a second class of entities,
+similar in their general constitution to the thought-forms already
+described, but limited to the astral plane, and generated by the mind
+under the dominion of the animal nature.
+
+These are caused by the activity of the lower mind, throwing itself out
+through the astral body--the activity of Kâma-Manas in theosophical
+terminology, or the mind dominated by desire. Vibrations in the body of
+desire, or astral body, are in this case set up, and under these this
+body throws off a vibrating portion of itself, shaped, as in the
+previous case, by the nature of the vibrations, and this attracts to
+itself some of the appropriate elemental essence of the astral world.
+Such a thought-form has for its body this elemental essence, and for its
+animating soul the desire or passion which threw it forth; according to
+the amount of mental energy combined with this desire or passion will
+be the force of the thought-form. These, like those belonging to the
+mental plane, are called artificial elementals, and they are by far the
+most common, as few thoughts of ordinary men and women are untinged with
+desire, passion, or emotion.
+
+
+
+
+THE TWO EFFECTS OF THOUGHT
+
+
+Each definite thought produces a double effect--a radiating vibration
+and a floating form. The thought itself appears first to clairvoyant
+sight as a vibration in the mental body, and this may be either simple
+or complex. If the thought itself is absolutely simple, there is only
+the one rate of vibration, and only one type of mental matter will be
+strongly affected. The mental body is composed of matter of several
+degrees of density, which we commonly arrange in classes according to
+the sub-planes. Of each of these we have many sub-divisions, and if we
+typify these by drawing horizontal lines to indicate the different
+degrees of density, there is another arrangement which we might
+symbolise by drawing perpendicular lines at right angles to the others,
+to denote types which differ in quality as well as in density. There are
+thus many varieties of this mental matter, and it is found that each one
+of these has its own especial and appropriate rate of vibration, to
+which it seems most accustomed, so that it very readily responds to it,
+and tends to return to it as soon as possible when it has been forced
+away from it by some strong rush of thought or feeling. When a sudden
+wave of some emotion sweeps over a man, for example, his astral body is
+thrown into violent agitation, and its original colours are or the time
+almost obscured by the flush of carmine, of blue, or of scarlet which
+corresponds with the rate of vibration of that particular emotion. This
+change is only temporary; it passes off in a few seconds, and the astral
+body rapidly resumes its usual condition. Yet every such rush of feeling
+produces a permanent effect: it always adds a little of its hue to the
+normal colouring of the astral body, so that every time that the man
+yields himself to a certain emotion it becomes easier for him to yield
+himself to it again, because his astral body is getting into the habit
+of vibrating at that especial rate.
+
+The majority of human thoughts, however, are by no means simple.
+Absolutely pure affection of course exists; but we very often find it
+tinged with pride or with selfishness, with jealousy or with animal
+passion. This means that at least two separate vibrations appear both in
+the mental and astral bodies--frequently more than two. The radiating
+vibration, therefore, will be a complex one, and the resultant
+thought-form will show several colours instead of only one.
+
+
+
+
+HOW THE VIBRATION ACTS
+
+
+These radiating vibrations, like all others in nature, become less
+powerful in proportion to the distance from their source, though it is
+probable that the variation is in proportion to the cube of the distance
+instead of to the square, because of the additional dimension involved.
+Again, like all other vibrations, these tend to reproduce themselves
+whenever opportunity is offered to them; and so whenever they strike
+upon another mental body they tend to provoke in it their own rate of
+motion. That is--from the point of view of the man whose mental body is
+touched by these waves--they tend to produce in his mind thoughts of the
+same type as that which had previously arisen in the mind of the thinker
+who sent forth the waves. The distance to which such thought-waves
+penetrate, and the force and persistency with which they impinge upon
+the mental bodies of others, depend upon the strength and clearness of
+the original thought. In this way the thinker is in the same position as
+the speaker. The voice of the latter sets in motion waves of sound in
+the air which radiate from him in all directions, and convey his message
+to all those who are within hearing, and the distance to which his voice
+can penetrate depends upon its power and upon the clearness of his
+enunciation. In just the same way the forceful thought will carry very
+much further than the weak and undecided thought; but clearness and
+definiteness are of even greater importance than strength. Again, just
+as the speaker's voice may fall upon heedless ears where men are already
+engaged in business or in pleasure, so may a mighty wave of thought
+sweep past without affecting the mind of the man, if he be already
+deeply engrossed in some other line of thought.
+
+It should be understood that this radiating vibration conveys the
+character of the thought, but not its subject. If a Hindu sits rapt in
+devotion to Krishna, the waves of feeling which pour forth from him
+stimulate devotional feeling in all those who come under their
+influence, though in the case of the Muhammadan that devotion is to
+Allah, while for the Zoroastrian it is to Ahuramazda, or for the
+Christian to Jesus. A man thinking keenly upon some high subject pours
+out from himself vibrations which tend to stir up thought at a similar
+level in others, but they in no way suggest to those others the special
+subject of his thought. They naturally act with special vigour upon
+those minds already habituated to vibrations of similar character; yet
+they have some effect on every mental body upon which they impinge, so
+that their tendency is to awaken the power of higher thought in those to
+whom it has not yet become a custom. It is thus evident that every man
+who thinks along high lines is doing missionary work, even though he may
+be entirely unconscious of it.
+
+
+
+
+THE FORM AND ITS EFFECT
+
+
+Let us turn now to the second effect of thought, the creation of a
+definite form. All students of the occult are acquainted with the idea
+of the elemental essence, that strange half-intelligent life which
+surrounds us in all directions, vivifying the matter of the mental and
+astral planes. This matter thus animated responds very readily to the
+influence of human thought, and every impulse sent out, either from the
+mental body or from the astral body of man, immediately clothes itself
+in a temporary vehicle of this vitalised matter. Such a thought or
+impulse becomes for the time a kind of living creature, the
+thought-force being the soul, and the vivified matter the body. Instead
+of using the somewhat clumsy paraphrase, "astral or mental matter
+ensouled by the monadic essence at the stage of one of the elemental
+kingdoms," theosophical writers often, for brevity's sake, call this
+quickened matter simply elemental essence; and sometimes they speak of
+the thought-form as "an elemental." There may be infinite variety in the
+colour and shape of such elementals or thought-forms, for each thought
+draws round it the matter which is appropriate for its expression, and
+sets that matter into vibration in harmony with its own; so that the
+character of the thought decides its colour, and the study of its
+variations and combinations is an exceedingly interesting one.
+
+This thought-form may not inaptly be compared to a Leyden jar, the
+coating of living essence being symbolised by the jar, and the thought
+energy by the charge of electricity. If the man's thought or feeling is
+directly connected with someone else, the resultant thought-form moves
+towards that person and discharges itself upon his astral and mental
+bodies. If the man's thought is about himself, or is based upon a
+personal feeling, as the vast majority of thoughts are, it hovers round
+its creator and is always ready to react upon him whenever he is for a
+moment in a passive condition. For example, a man who yields himself to
+thoughts of impurity may forget all about them while he is engaged in
+the daily routine of his business, even though the resultant forms are
+hanging round him in a heavy cloud, because his attention is otherwise
+directed and his astral body is therefore not impressible by any other
+rate of vibration than its own. When, however, the marked vibration
+slackens and the man rests after his labours and leaves his mind blank
+as regards definite thought, he is very likely to feel the vibration of
+impurity stealing insidiously upon him. If the consciousness of the man
+be to any extent awakened, he may perceive this and cry out that he is
+being tempted by the devil; yet the truth is that the temptation is from
+without only in appearance, since it is nothing but the natural reaction
+upon him of his own thought-forms. Each man travels through space
+enclosed within a cage of his own building, surrounded by a mass of the
+forms created by his habitual thoughts. Through this medium he looks out
+upon the world, and naturally he sees everything tinged with its
+predominant colours, and all rates of vibration which reach him from
+without are more or less modified by its rate. Thus until the man learns
+complete control of thought and feeling, he sees nothing as it really
+is, since all his observations must be made through this medium, which
+distorts and colours everything like badly-made glass.
+
+If the thought-form be neither definitely personal nor specially aimed
+at someone else, it simply floats detached in the atmosphere, all the
+time radiating vibrations similar to those originally sent forth by its
+creator. If it does not come into contact with any other mental body,
+this radiation gradually exhausts its store of energy, and in that case
+the form falls to pieces; but if it succeeds in awakening sympathetic
+vibration in any mental body near at hand, an attraction is set up, and
+the thought-form is usually absorbed by that mental body. Thus we see
+that the influence of the thought-form is by no means so far-reaching as
+that of the original vibration; but in so far as it acts, it acts with
+much greater precision. What it produces in the mind-body which it
+influences is not merely a thought of an order similar to that which
+gave it birth; it is actually the same thought. The radiation may affect
+thousands and stir up in them thoughts on the same level as the
+original, and yet it may happen that no one of them will be identical
+with that original; the thought-form can affect only very few, but in
+those few cases it will reproduce exactly the initiatory idea.
+
+The fact of the creation by vibrations of a distinct form, geometrical
+or other, is already familiar to every student of acoustics, and
+"Chladni's" figures are continually reproduced in every physical
+laboratory.
+
+[Illustration: FIG. 1. CHLADNI'S SOUND PLATE]
+
+[Illustration: FIG. 2. FORMS PRODUCED IN SOUND]
+
+For the lay reader the following brief description may be useful. A
+Chladni's sound plate (fig. 1) is made of brass or plate-glass. Grains
+of fine sand or spores are scattered over the surface, and the edge of
+the plate is bowed. The sand is thrown up into the air by the vibration
+of the plate, and re-falling on the plate is arranged in regular lines
+(fig. 2). By touching the edge of the plate at different points when it
+is bowed, different notes, and hence varying forms, are obtained (fig.
+3). If the figures here given are compared with those obtained from the
+human voice, many likenesses will be observed. For these latter, the
+'voice-forms' so admirably studied and pictured by Mrs Watts Hughes,[1]
+bearing witness to the same fact, should be consulted, and her work on
+the subject should be in the hands of every student. But few perhaps
+have realised that the shapes pictured are due to the interplay of the
+vibrations that create them, and that a machine exists by means of which
+two or more simultaneous motions can be imparted to a pendulum, and that
+by attaching a fine drawing-pen to a lever connected with the pendulum
+its action may be exactly traced. Substitute for the swing of the
+pendulum the vibrations set up in the mental or astral body, and we have
+clearly before us the _modus operandi_ of the building of forms by
+vibrations.[2]
+
+[Illustration: FIG. 3. FORMS PRODUCED IN SOUND]
+
+[Footnote 1: _The Eidophone Voice Figures._ Margaret Watts Hughes.]
+
+[Footnote 2: Mr Joseph Gould, Stratford House, Nottingham, supplies the
+twin-elliptic pendulum by which these wonderful figures may be
+produced.]
+
+The following description is taken from a most interesting essay
+entitled _Vibration Figures_, by F. Bligh Bond, F.R.I.B.A., who has
+drawn a number of remarkable figures by the use of pendulums. The
+pendulum is suspended on knife edges of hardened steel, and is free to
+swing only at right angles to the knife-edge suspension. Four such
+pendulums may be coupled in pairs, swinging at right angles to each
+other, by threads connecting the shafts of each pair of pendulums with
+the ends of a light but rigid lath, from the centre of which run other
+threads; these threads carry the united movements of each pair of
+pendulums to a light square of wood, suspended by a spring, and bearing
+a pen. The pen is thus controlled by the combined movement of the four
+pendulums, and this movement is registered on a drawing board by the
+pen. There is no limit, theoretically, to the number of pendulums that
+can be combined in this manner. The movements are rectilinear, but two
+rectilinear vibrations of equal amplitude acting at right angles to each
+other generate a circle if they alternate precisely, an ellipse if the
+alternations are less regular or the amplitudes unequal. A cyclic
+vibration may also be obtained from a pendulum free to swing in a rotary
+path. In these ways a most wonderful series of drawings have been
+obtained, and the similarity of these to some of the thought-forms is
+remarkable; they suffice to demonstrate how readily vibrations may be
+transformed into figures. Thus compare fig. 4 with fig. 12, the mother's
+prayer; or fig. 5 with fig. 10; or fig. 6 with fig. 25, the serpent-like
+darting forms. Fig. 7 is added as an illustration of the complexity
+attainable. It seems to us a most marvellous thing that some of the
+drawings, made apparently at random by the use of this machine, should
+exactly correspond to higher types of thought-forms created in
+meditation. We are sure that a wealth of significance lies behind this
+fact, though it will need much further investigation before we can say
+certainly all that it means. But it must surely imply this much--that,
+if two forces on the physical plane bearing a certain ratio one to the
+other can draw a form which exactly corresponds to that produced on the
+mental plane by a complex thought, we may infer that that thought sets
+in motion on its own plane two forces which are in the same ratio one to
+the other. What these forces are and how they work remains to be seen;
+but if we are ever able to solve this problem, it is likely that it
+will open to us a new and exceedingly valuable field of knowledge.
+
+[Illustration: FIGS. 4-7. FORMS PRODUCED BY PENDULUMS]
+
+
+GENERAL PRINCIPLES.
+
+Three general principles underlie the production of all thought-forms:--
+
+1. Quality of thought determines colour.
+
+2. Nature of thought determines form.
+
+3. Definiteness of thought determines clearness of outline.
+
+
+
+
+THE MEANING OF THE COLOURS
+
+
+The table of colours given in the frontispiece has already been
+thoroughly described in the book _Man Visible and Invisible_, and the
+meaning to be attached to them is just the same in the thought-form as
+in the body out of which it is evolved. For the sake of those who have
+not at hand the full description given in the book just mentioned, it
+will be well to state that black means hatred and malice. Red, of all
+shades from lurid brick-red to brilliant scarlet, indicates anger;
+brutal anger will show as flashes of lurid red from dark brown clouds,
+while the anger of "noble indignation" is a vivid scarlet, by no means
+unbeautiful, though it gives an unpleasant thrill; a particularly dark
+and unpleasant red, almost exactly the colour called dragon's blood,
+shows animal passion and sensual desire of various kinds. Clear brown
+(almost burnt sienna) shows avarice; hard dull brown-grey is a sign of
+selfishness--a colour which is indeed painfully common; deep heavy grey
+signifies depression, while a livid pale grey is associated with fear;
+grey-green is a signal of deceit, while brownish-green (usually flecked
+with points and flashes of scarlet) betokens jealousy. Green seems
+always to denote adaptability; in the lowest case, when mingled with
+selfishness, this adaptability becomes deceit; at a later stage, when
+the colour becomes purer, it means rather the wish to be all things to
+all men, even though it may be chiefly for the sake of becoming popular
+and bearing a good reputation with them; in its still higher, more
+delicate and more luminous aspect, it shows the divine power of
+sympathy. Affection expresses itself in all shades of crimson and rose;
+a full clear carmine means a strong healthy affection of normal type; if
+stained heavily with brown-grey, a selfish and grasping feeling is
+indicated, while pure pale rose marks that absolutely unselfish love
+which is possible only to high natures; it passes from the dull crimson
+of animal love to the most exquisite shades of delicate rose, like the
+early flushes of the dawning, as the love becomes purified from all
+selfish elements, and flows out in wider and wider circles of generous
+impersonal tenderness and compassion to all who are in need. With a
+touch of the blue of devotion in it, this may express a strong
+realisation of the universal brotherhood of humanity. Deep orange
+imports pride or ambition, and the various shades of yellow denote
+intellect or intellectual gratification, dull yellow ochre implying the
+direction of such faculty to selfish purposes, while clear gamboge shows
+a distinctly higher type, and pale luminous primrose yellow is a sign of
+the highest and most unselfish use of intellectual power, the pure
+reason directed to spiritual ends. The different shades of blue all
+indicate religious feeling, and range through all hues from the dark
+brown-blue of selfish devotion, or the pallid grey-blue of
+fetish-worship tinged with fear, up to the rich deep clear colour of
+heartfelt adoration, and the beautiful pale azure of that highest form
+which implies self-renunciation and union with the divine; the
+devotional thought of an unselfish heart is very lovely in colour, like
+the deep blue of a summer sky. Through such clouds of blue will often
+shine out golden stars of great brilliancy, darting upwards like a
+shower of sparks. A mixture of affection and devotion is manifested by a
+tint of violet, and the more delicate shades of this invariably show the
+capacity of absorbing and responding to a high and beautiful ideal. The
+brilliancy and the depth of the colours are usually a measure of the
+strength and the activity of the feeling.
+
+Another consideration which must not be forgotten is the type of matter
+in which these forms are generated. If a thought be purely intellectual
+and impersonal--for example, if the thinker is attempting to solve a
+problem in algebra or geometry--the thought-form and the wave of
+vibration will be confined entirely to the mental plane. If, however,
+the thought be of a spiritual nature, if it be tinged with love and
+aspiration or deep unselfish feeling, it will rise upwards from the
+mental plane and will borrow much of the splendour and glory of the
+buddhic level. In such a case its influence is exceedingly powerful, and
+every such thought is a mighty force for good which cannot but produce a
+decided effect upon all mental bodies within reach, if they contain any
+quality at all capable of response.
+
+If, on the other hand, the thought has in it something of self or of
+personal desire, at once its vibration turns downwards, and it draws
+round itself a body of astral matter in addition to its clothing of
+mental matter. Such a thought-form is capable of acting upon the astral
+bodies of other men as well as their minds, so that it can not only
+raise thought within them, but can also stir up their feelings.
+
+
+
+
+THREE CLASSES OF THOUGHT-FORMS
+
+
+From the point of view of the forms which they produce we may group
+thought into three classes:--
+
+1. That which takes the image of the thinker. When a man thinks of
+himself as in some distant place, or wishes earnestly to be in that
+place, he makes a thought-form in his own image which appears there.
+Such a form has not infrequently been seen by others, and has sometimes
+been taken for the astral body or apparition of the man himself. In such
+a case, either the seer must have enough of clairvoyance for the time to
+be able to observe that astral shape, or the thought-form must have
+sufficient strength to materialise itself--that is, to draw round itself
+temporarily a certain amount of physical matter. The thought which
+generates such a form as this must necessarily be a strong one, and it
+therefore employs a larger proportion of the matter of the mental body,
+so that though the form is small and compressed when it leaves the
+thinker, it draws round it a considerable amount of astral matter, and
+usually expands to life-size before it appears at its destination.
+
+2. That which takes the image of some material object. When a man thinks
+of his friend he forms within his mental body a minute image of that
+friend, which often passes outward and usually floats suspended in the
+air before him. In the same way if he thinks of a room, a house, a
+landscape, tiny images of these things are formed within the mental body
+and afterwards externalised. This is equally true when he is exercising
+his imagination; the painter who forms a conception of his future
+picture builds it up out of the matter of his mental body, and then
+projects it into space in front of him, keeps it before his mind's eye,
+and copies it. The novelist in the same way builds images of his
+character in mental matter, and by the exercise of his will moves these
+puppets from one position or grouping to another, so that the plot of
+his story is literally acted out before him. With our curiously inverted
+conceptions of reality it is hard for us to understand that these mental
+images actually exist, and are so entirely objective that they may
+readily be seen by the clairvoyant, and can even be rearranged by some
+one other than their creator. Some novelists have been dimly aware of
+such a process, and have testified that their characters when once
+created developed a will of their own, and insisted on carrying the plot
+of the story along lines quite different from those originally intended
+by the author. This has actually happened, sometimes because the
+thought-forms were ensouled by playful nature-spirits, or more often
+because some 'dead' novelist, watching on the astral plane the
+development of the plan of his fellow-author, thought that he could
+improve upon it, and chose this method of putting forward his
+suggestions.
+
+3. That which takes a form entirely its own, expressing its inherent
+qualities in the matter which it draws round it. Only thought-forms of
+this third class can usefully be illustrated, for to represent those of
+the first or second class would be merely to draw portraits or
+landscapes. In those types we have the plastic mental or astral matter
+moulded in imitation of forms belonging to the physical plane; in this
+third group we have a glimpse of the forms natural to the astral or
+mental planes. Yet this very fact, which makes them so interesting,
+places an insuperable barrier in the way of their accurate reproduction.
+
+Thought-forms of this third class almost invariably manifest themselves
+upon the astral plane, as the vast majority of them are expressions of
+feeling as well as of thought. Those of which we here give specimens are
+almost wholly of that class, except that we take a few examples of the
+beautiful thought-forms created in definite meditation by those who,
+through long practice, have learnt how to think.
+
+Thought-forms directed towards individuals produce definitely marked
+effects, these effects being either partially reproduced in the aura of
+the recipient and so increasing the total result, or repelled from it. A
+thought of love and of desire to protect, directed strongly towards some
+beloved object, creates a form which goes to the person thought of, and
+remains in his aura as a shielding and protecting agent; it will seek
+all opportunities to serve, and all opportunities to defend, not by a
+conscious and deliberate action, but by a blind following out of the
+impulse impressed upon it, and it will strengthen friendly forces that
+impinge on the aura and weaken unfriendly ones. Thus may we create and
+maintain veritable guardian angels round those we love, and many a
+mother's prayer for a distant child thus circles round him, though she
+knows not the method by which her "prayer is answered."
+
+In cases in which good or evil thoughts are projected at individuals,
+those thoughts, if they are to directly fulfil their mission, must find,
+in the aura of the object to whom they are sent, materials capable of
+responding sympathetically to their vibrations. Any combination of
+matter can only vibrate within certain definite limits, and if the
+thought-form be outside all the limits within which the aura is capable
+of vibrating, it cannot affect that aura at all. It consequently
+rebounds from it, and that with a force proportionate to the energy with
+which it impinged upon it. This is why it is said that a pure heart and
+mind are the best protectors against any inimical assaults, for such a
+pure heart and mind will construct an astral and a mental body of fine
+and subtle materials, and these bodies cannot respond to vibrations that
+demand coarse and dense matter. If an evil thought, projected with
+malefic intent, strikes such a body, it can only rebound from it, and it
+is flung back with all its own energy; it then flies backward along the
+magnetic line of least resistance, that which it has just traversed, and
+strikes its projector; he, having matter in his astral and mental bodies
+similar to that of the thought-form he generated, is thrown into
+respondent vibrations, and suffers the destructive effects he had
+intended to cause to another. Thus "curses [and blessings] come home to
+roost." From this arise also the very serious effects of hating or
+suspecting a good and highly-advanced man; the thought-forms sent
+against him cannot injure him, and they rebound against their
+projectors, shattering them mentally, morally, or physically. Several
+such instances are well known to members of the Theosophical Society,
+having come under their direct observation. So long as any of the
+coarser kinds of matter connected with evil and selfish thoughts remain
+in a person's body, he is open to attack from those who wish him evil,
+but when he has perfectly eliminated these by self-purification his
+haters cannot injure him, and he goes on calmly and peacefully amid all
+the darts of their malice. But it is bad for those who shoot out such
+darts.
+
+Another point that should be mentioned before passing to the
+consideration of our illustrations is that every one of the
+thought-forms here given is drawn from life. They are not imaginary
+forms, prepared as some dreamer thinks that they ought to appear; they
+are representations of forms actually observed as thrown off by ordinary
+men and women, and either reproduced with all possible care and fidelity
+by those who have seen them, or with the help of artists to whom the
+seers have described them.
+
+       *       *       *       *       *
+
+For convenience of comparison thought-forms of a similar kind are
+grouped together.
+
+
+ILLUSTRATIVE THOUGHT-FORMS
+
+AFFECTION
+
+_Vague Pure Affection._--Fig. 8 is 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.
+
+[Illustration: FIG. 8. VAGUE PURE AFFECTION]
+
+_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.
+
+[Illustration: FIG. 9. VAGUE SELFISH AFFECTION]
+
+_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.
+
+[Illustration: FIG. 10. DEFINITE AFFECTION]
+
+_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.
+
+[Illustration: FIG. 11. RADIATING AFFECTION]
+
+_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.
+
+[Illustration: FIG. 12. PEACE AND PROTECTION]
+
+_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.
+
+[Illustration: FIG. 13. GRASPING ANIMAL AFFECTION]
+
+
+DEVOTION
+
+_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.
+
+[Illustration: FIG. 14. VAGUE RELIGIOUS FEELING]
+
+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.
+
+_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.
+
+[Illustration: FIG. 15. UPWARD RUSH OF DEVOTION]
+
+_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.
+
+[Illustration: FIG. 17. RESPONSE TO DEVOTION]
+
+Yet there are conditions under which the grace and strength peculiar to
+a higher plane may in a measure be brought down to a lower 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.
+
+_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.
+
+[Illustration: FIG. 16. SELF-RENUNCIATION]
+
+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.
+
+
+INTELLECT
+
+_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.
+
+[Illustration: FIG. 18. VAGUE INTELLECTUAL PLEASURE]
+
+_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.
+
+[Illustration: FIG. 19. THE INTENTION TO KNOW]
+
+_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.
+
+[Illustration: FIG. 20. HIGH AMBITION]
+
+_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.
+
+[Illustration: FIG. 21. SELFISH AMBITION]
+
+
+ANGER
+
+_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.
+
+[Illustration: FIG. 22. MURDEROUS RAGE]
+
+[Illustration: FIG. 23. SUSTAINED ANGER]
+
+_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.
+
+[Illustration: FIG. 24. EXPLOSIVE ANGER]
+
+_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.
+
+[Illustration: FIG. 25. WATCHFUL JEALOUSY]
+
+[Illustration: FIG. 26. ANGRY JEALOUSY]
+
+
+SYMPATHY
+
+_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.
+
+[Illustration: FIG. 18A. VAGUE SYMPATHY]
+
+
+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.
+
+[Illustration: FIG. 27. SUDDEN FRIGHT]
+
+
+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.
+
+[Illustration: FIG. 28. SELFISH GREED]
+
+_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.
+
+[Illustration: FIG. 29. GREED FOR DRINK]
+
+
+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.
+
+[Illustration: FIG. 30. AT A SHIPWRECK]
+
+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.
+
+[Illustration: FIG. 31. ON THE FIRST NIGHT]
+
+_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.
+
+[Illustration: FIG. 32. THE GAMBLERS]
+
+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.
+
+[Illustration: FIG. 33. AT A STREET ACCIDENT]
+
+_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.
+
+[Illustration: FIG. 34. AT A FUNERAL]
+
+It is refreshing to turn from this gloomy picture to the wonderfully
+different effect produced by the very same circumstances upon the mind
+of the man who comprehends the facts of the 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.
+
+[Illustration: FIG. 35. ON MEETING A FRIEND]
+
+_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.
+
+[Illustration: FIG. 36. THE APPRECIATION OF A PICTURE]
+
+
+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.
+
+[Illustration: FIG. 37. SYMPATHY AND LOVE FOR 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.
+
+[Illustration: FIG. 38. AN ASPIRATION TO ENFOLD ALL]
+
+_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.
+
+[Illustration: FIG. 39. IN THE SIX DIRECTIONS]
+
+_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.
+
+[Illustration: FIG. 40. AN INTELLECTUAL CONCEPTION OF COSMIC ORDER]
+
+_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.
+
+[Illustration: FIG. 41. THE LOGOS AS MANIFESTED IN MAN]
+
+_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.
+
+[Illustration: FIG. 42. THE LOGOS PERVADING ALL]
+
+[Illustration: FIG. 44. THE LOGOS PERVADING ALL]
+
+_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.
+
+[Illustration: FIG. 45. ANOTHER CONCEPTION]
+
+_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.
+
+[Illustration: FIG. 46. THE THREEFOLD MANIFESTATION]
+
+_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.
+
+[Illustration: FIG. 47. THE SEVENFOLD MANIFESTATION]
+
+_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.
+
+[Illustration: FIG. 43. INTELLECTUAL ASPIRATION]
+
+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."
+
+[Illustration: FIG. 48. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 49. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 50. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 51. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 52. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 53. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 54. HELPFUL THOUGHTS]
+
+
+FORMS BUILT BY MUSIC
+
+Before closing this little treatise it will perhaps be of interest to
+our readers to give a few examples of another type of forms unknown to
+those who are confined to the physical senses as their means of
+obtaining 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.
+
+[Illustration: PLATE M. MUSIC OF MENDELSSOHN]
+
+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.
+
+[Illustration: PLATE G. MUSIC OF GOUNOD]
+
+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.
+
+_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.
+
+[Illustration: PLATE W. MUSIC OF WAGNER]
+
+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.
+
+[Footnote 1: By C.W. Leadbeater.]
+
+
+
+
+BRADFORD: REPRINTED BY PERCY LUND, HUMPHRIES AND CO. LTD.
+
+
+
+
+
+End of Project Gutenberg's Thought-Forms, by Annie Besant
+C.W. Leadbeater
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THOUGHT-FORMS ***
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+
+Project Gutenberg's Thought-Forms, by Annie Besant
+C.W. Leadbeater
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Thought-Forms
+
+Author: Annie Besant
+C.W. Leadbeater
+
+Release Date: July 12, 2005 [EBook #16269]
+Last Updated: December 6, 2016
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THOUGHT-FORMS ***
+
+
+
+
+Produced by Jonathan Ingram, Melissa Er-Raqabi and the
+Online Distributed Proofreading Team at https://www.pgdp.net.
+
+
+
+
+
+
+</pre>
+
+
+
+<h1>THOUGHT-FORMS</h1>
+
+<h2>BY ANNIE BESANT<br />
+AND C.W. LEADBEATER</h2>
+
+<div><br /><br /><br /><br /><br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<img src="images/logo.png"
+alt="Publisher Logo" title="Publisher Logo" />
+</div>
+
+<p class="center">THE THEOSOPHICAL PUBLISHING HOUSE LTD<br />
+38 GREAT ORMOND STREET, LONDON, W.C. 1
+</p>
+
+<div><br /><br /><br /><br /><br /><br /><br /><br /></div>
+
+
+<div class='center'>
+<table border="0" cellpadding="0" cellspacing="0" summary="Printing Dates">
+<tr><td align='left'><i>First Printed&nbsp;&nbsp;&nbsp;&nbsp;</i></td><td align='left'>1901</td></tr>
+<tr><td align='left'><i>Reprint</i></td><td align='left'>1905</td></tr>
+<tr><td align='left'><i>Reprint</i></td><td align='left'>1925</td></tr>
+</table></div>
+
+<div><br /><br /><br /><br /><br /><br /><br /><br /></div>
+
+<p class="center"><i>Made and Printed in Great Britain by</i><br />
+<span class="smcap">PERCY LUND, HUMPHRIES &amp; CO LTD<br />
+THE COUNTRY PRESS<br />
+BRADFORD</span></p>
+
+<div><br /><br /><br /><br /><br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="colorchart" id="colorchart"></a>
+<img src="images/colorchart.jpg"
+alt="MEANING OF THE COLOURS" title="MEANING OF THE COLOURS" />
+<br /><span class="caption">MEANING OF THE COLOURS</span>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="FOREWORD" id="FOREWORD"></a>FOREWORD</h2>
+
+
+<p>The text of this little book is the joint work of Mr Leadbeater and
+myself; some of it has already appeared as an article in <i>Lucifer</i> (now
+the <i>Theosophical Review</i>), but the greater part of it is new. The
+drawing and painting of the Thought-Forms observed by Mr Leadbeater or
+by myself, or by both of us together, has been done by three friends&mdash;Mr
+John Varley, Mr Prince, and Miss Macfarlane, to each of whom we tender
+our cordial thanks. To paint in earth's dull colours the forms clothed
+in the living light of other worlds is a hard and thankless task; so
+much the more gratitude is due to those who have attempted it. They
+needed coloured fire, and had only ground earths. We have also to thank
+Mr F. Bligh Bond for allowing us to use his essay on <i>Vibration
+Figures</i>, and some of his exquisite drawings. Another friend, who sent
+us some notes and a few drawings, insists on remaining anonymous, so we
+can only send our thanks to him with similar anonymity.</p>
+
+<p>It is our earnest hope&mdash;as it is our belief&mdash;that this little book will
+serve as a striking moral lesson to every reader, making him realise the
+nature and power of his thoughts, acting as a stimulus to the noble, a
+curb on the base. With this belief and hope we send it on its way.</p>
+
+<p class="right">ANNIE BESANT.</p>
+
+
+
+<hr style="width: 65%;" />
+
+
+
+
+
+
+
+
+<div class='center'>
+<table border="0" cellpadding="0" cellspacing="0" summary="Table of Contents">
+<tr><td align='left'></td><td align='right'><small>PAGE</small></td></tr>
+<tr><td align='left'><a href="#FOREWORD">FOREWORD</a></td><td align='right'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6</td></tr>
+<tr><td align='left'><a href="#THOUGHT-FORMS">INTRODUCTION</a></td><td align='right'>11</td></tr>
+<tr><td align='left'><a href="#THE_DIFFICULTY_OF_REPRESENTATION">THE DIFFICULTY OF REPRESENTATION</a></td><td align='right'>16</td></tr>
+<tr><td align='left'><a href="#THE_TWO_EFFECTS_OF_THOUGHT">THE TWO EFFECTS OF THOUGHT</a></td><td align='right'>21</td></tr>
+<tr><td align='left'><a href="#HOW_THE_VIBRATION_ACTS">HOW THE VIBRATION ACTS</a></td><td align='right'>23</td></tr>
+<tr><td align='left'><a href="#THE_FORM_AND_ITS_EFFECT">THE FORM AND ITS EFFECT</a></td><td align='right'>25</td></tr>
+<tr><td align='left'><a href="#THE_MEANING_OF_THE_COLOURS">THE MEANING OF THE COLOURS</a></td><td align='right'>32</td></tr>
+<tr><td align='left'><a href="#THREE_CLASSES_OF_THOUGHT-FORMS">THREE CLASSES OF THOUGHT-FORMS</a></td><td align='right'>36</td></tr>
+<tr><td align='left'><a href="#ILLUSTRATIVE_THOUGHT-FORMS">ILLUSTRATIVE THOUGHT-FORMS</a></td><td align='right'>40</td></tr>
+<tr><td align='left'><a href="#AFFECTION">AFFECTION</a></td><td align='right'>40-44</td></tr>
+<tr><td align='left'><a href="#DEVOTION">DEVOTION</a></td><td align='right'>44-49</td></tr>
+<tr><td align='left'><a href="#INTELLECT">INTELLECT</a></td><td align='right'>49-50</td></tr>
+<tr><td align='left'><a href="#High_Ambition">AMBITION</a></td><td align='right'>51</td></tr>
+<tr><td align='left'><a href="#ANGER">ANGER</a></td><td align='right'>52</td></tr>
+<tr><td align='left'><a href="#SYMPATHY">SYMPATHY</a></td><td align='right'>55</td></tr>
+<tr><td align='left'><a href="#FEAR">FEAR</a></td><td align='right'>55</td></tr>
+<tr><td align='left'><a href="#GREED">GREED</a></td><td align='right'>56</td></tr>
+<tr><td align='left'><a href="#VARIOUS_EMOTIONS">VARIOUS EMOTIONS</a></td><td align='right'>57</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SHIPWRECK</td><td align='right'>57</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ON THE FIRST NIGHT</td><td align='right'>59</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE GAMBLERS</td><td align='right'>60</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;AT A STREET ACCIDENT</td><td align='right'>61</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;AT A FUNERAL</td><td align='right'>61</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ON MEETING A FRIEND</td><td align='right'>64</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;APPRECIATION OF A PICTURE</td><td align='right'>65</td></tr>
+<tr><td align='left'><a href="#FORMS_SEEN_IN_THOSE_MEDITATING">FORMS SEEN IN MEDITATION</a></td><td align='right'>66</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SYMPATHY AND LOVE FOR ALL</td><td align='right'>66</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;AN ASPIRATION TO ENFOLD ALL</td><td align='right'>66</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;IN THE SIX DIRECTIONS</td><td align='right'>67</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;COSMIC ORDER</td><td align='right'>68</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE LOGOS AS MANIFESTED IN MAN</td><td align='right'>69</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE LOGOS PERVADING ALL</td><td align='right'>70</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ANOTHER CONCEPTION</td><td align='right'>71</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE THREEFOLD MANIFESTATION</td><td align='right'>71</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE SEVENFOLD MANIFESTATION</td><td align='right'>72</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;INTELLECTUAL ASPIRATION</td><td align='right'>72</td></tr>
+<tr><td align='left'><a href="#HELPFUL_THOUGHTS">HELPFUL THOUGHTS</a></td><td align='right'>74</td></tr>
+<tr><td align='left'><a href="#FORMS_BUILT_BY_MUSIC">FORMS BUILT BY MUSIC</a></td><td align='right'>75</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;<a href="#Mendelssohn">MENDELSSOHN</a></td><td align='right'>77</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;<a href="#Gounod">GOUNOD</a></td><td align='right'>80</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;&nbsp;&nbsp;<a href="#Wagner">WAGNER</a></td><td align='right'>82</td></tr>
+</table></div>
+
+
+
+
+
+<hr style="width: 65%;" />
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+
+<div class='center'>
+<table border="0" cellpadding="0" cellspacing="0" summary="List of Illustrations">
+<tr><td align='left'></td><td align='right'><small>FIG.</small></td><td align='right'>&nbsp;&nbsp;&nbsp;&nbsp;<small>PAGE</small></td></tr>
+<tr><td align='left'><a href="#colorchart">MEANING OF THE COLOURS</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Frontispiece</i></td><td align='right'></td><td align='right'></td></tr>
+<tr><td align='left'><a href="#fig1">CHLADNI'S SOUND PLATE</a></td><td align='right'>1</td><td align='right'>28</td></tr>
+<tr><td align='left'><a href="#fig2">FORMS PRODUCED IN SAND</a></td><td align='right'>2</td><td align='right'>28</td></tr>
+<tr><td align='left'><a href="#fig3">FORMS PRODUCED IN SAND</a></td><td align='right'>3</td><td align='right'>29</td></tr>
+<tr><td align='left'><a href="#fig4-7">FORMS PRODUCED BY PENDULUMS</a></td><td align='right'>4-7</td><td align='right'>30</td></tr>
+<tr><td align='left'><a href="#fig8">VAGUE PURE AFFECTION</a></td><td align='right'>8</td><td align='right'>40</td></tr>
+<tr><td align='left'><a href="#fig9">VAGUE SELFISH AFFECTION</a></td><td align='right'>9</td><td align='right'>40</td></tr>
+<tr><td align='left'><a href="#fig10">DEFINITE AFFECTION</a></td><td align='right'>10</td><td align='right'>42</td></tr>
+<tr><td align='left'><a href="#fig11">RADIATING AFFECTION</a></td><td align='right'>11</td><td align='right'>43</td></tr>
+<tr><td align='left'><a href="#fig12">PEACE AND PROTECTION</a></td><td align='right'>12</td><td align='right'>42</td></tr>
+<tr><td align='left'><a href="#fig13">GRASPING ANIMAL AFFECTION</a></td><td align='right'>13</td><td align='right'>43</td></tr>
+<tr><td align='left'><a href="#fig14">VAGUE RELIGIOUS FEELING</a></td><td align='right'>14</td><td align='right'>44</td></tr>
+<tr><td align='left'><a href="#fig15">UPWARD RUSH OF DEVOTION</a></td><td align='right'>15</td><td align='right'>46</td></tr>
+<tr><td align='left'><a href="#fig16">SELF-RENUNCIATION</a></td><td align='right'>16</td><td align='right'>44</td></tr>
+<tr><td align='left'><a href="#fig17">RESPONSE TO DEVOTION</a></td><td align='right'>17</td><td align='right'>46</td></tr>
+<tr><td align='left'><a href="#fig18">VAGUE INTELLECTUAL PLEASURE</a></td><td align='right'>18</td><td align='right'>50</td></tr>
+<tr><td align='left'><a href="#fig18a">VAGUE SYMPATHY</a></td><td align='right'>18A</td><td align='right'>50</td></tr>
+<tr><td align='left'><a href="#fig19">THE INTENTION TO KNOW</a></td><td align='right'>19</td><td align='right'>51</td></tr>
+<tr><td align='left'><a href="#fig20">HIGH AMBITION</a></td><td align='right'>20</td><td align='right'>52</td></tr>
+<tr><td align='left'><a href="#fig21">SELFISH AMBITION</a></td><td align='right'>21</td><td align='right'>52</td></tr>
+<tr><td align='left'><a href="#fig22-23">MURDEROUS RAGE</a></td><td align='right'>22</td><td align='right'>53</td></tr>
+<tr><td align='left'><a href="#fig22-23">SUSTAINED ANGER</a></td><td align='right'>23</td><td align='right'>53</td></tr>
+<tr><td align='left'><a href="#fig24">EXPLOSIVE ANGER</a></td><td align='right'>24</td><td align='right'>51</td></tr>
+<tr><td align='left'><a href="#fig25">WATCHFUL JEALOUSY</a></td><td align='right'>25</td><td align='right'>54</td></tr>
+<tr><td align='left'><a href="#fig26">ANGRY JEALOUSY</a></td><td align='right'>26</td><td align='right'>54</td></tr>
+<tr><td align='left'><a href="#fig27">SUDDEN FRIGHT</a></td><td align='right'>27</td><td align='right'>55</td></tr>
+<tr><td align='left'><a href="#fig28">SELFISH GREED</a></td><td align='right'>28</td><td align='right'>56</td></tr>
+<tr><td align='left'><a href="#fig29">GREED FOR DRINK</a></td><td align='right'>29</td><td align='right'>56</td></tr>
+<tr><td align='left'><a href="#fig30">AT A SHIPWRECK</a></td><td align='right'>30</td><td align='right'>58</td></tr>
+<tr><td align='left'><a href="#fig31">ON THE FIRST NIGHT</a></td><td align='right'>31</td><td align='right'>59</td></tr>
+<tr><td align='left'><a href="#fig32">THE GAMBLERS</a></td><td align='right'>32</td><td align='right'>60</td></tr>
+<tr><td align='left'><a href="#fig33">AT A STREET ACCIDENT</a></td><td align='right'>33</td><td align='right'>61</td></tr>
+<tr><td align='left'><a href="#fig34">AT A FUNERAL</a></td><td align='right'>34</td><td align='right'>62</td></tr>
+<tr><td align='left'><a href="#fig35">ON MEETING A FRIEND</a></td><td align='right'>35</td><td align='right'>64</td></tr>
+<tr><td align='left'><a href="#fig36">THE APPRECIATION OF A PICTURE</a></td><td align='right'>36</td><td align='right'>64</td></tr>
+<tr><td align='left'><a href="#fig37">SYMPATHY AND LOVE FOR ALL</a></td><td align='right'>37</td><td align='right'>66</td></tr>
+<tr><td align='left'><a href="#fig38">AN ASPIRATION TO ENFOLD ALL</a></td><td align='right'>38</td><td align='right'>67</td></tr>
+<tr><td align='left'><a href="#fig39">IN THE SIX DIRECTIONS</a></td><td align='right'>39</td><td align='right'>66</td></tr>
+<tr><td align='left'><a href="#fig40">AN INTELLECTUAL CONCEPTION OF COSMIC ORDER</a></td><td align='right'>40</td><td align='right'>69</td></tr>
+<tr><td align='left'><a href="#fig41">THE LOGOS AS MANIFESTED IN MAN</a></td><td align='right'>41</td><td align='right'>69</td></tr>
+<tr><td align='left'><a href="#fig42">THE LOGOS PERVADING ALL</a></td><td align='right'>42 and 44</td><td align='right'>70</td></tr>
+<tr><td align='left'><a href="#fig44-47">ANOTHER CONCEPTION</a></td><td align='right'>45</td><td align='right'>70</td></tr>
+<tr><td align='left'><a href="#fig44-47">THE THREEFOLD MANIFESTATION</a></td><td align='right'>46</td><td align='right'>70</td></tr>
+<tr><td align='left'><a href="#fig44-47">THE SEVENFOLD MANIFESTATION</a></td><td align='right'>47</td><td align='right'>70</td></tr>
+<tr><td align='left'><a href="#fig43">INTELLECTUAL ASPIRATION</a></td><td align='right'>43</td><td align='right'>72</td></tr>
+<tr><td align='left'><a href="#fig48">HELPFUL THOUGHTS</a></td><td align='right'>48, 49, 50, 51, 52, 53, 54</td><td align='right'>74</td></tr>
+<tr><td align='left'></td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'></td><td align='right'><small>PLATE</small></td></tr>
+<tr><td align='left'><a href="#figm">MUSIC OF MENDELSSOHN</a></td><td align='right'>M</td><td align='right'>78</td></tr>
+<tr><td align='left'><a href="#figg">MUSIC OF GOUNOD</a></td><td align='right'>G</td><td align='right'>80</td></tr>
+<tr><td align='left'><a href="#figw">MUSIC OF WAGNER</a></td><td align='right'>W</td><td align='right'>82</td></tr>
+</table></div>
+
+<p class="center">[<i>Transcriber's Note: Some of the plates are displayed out of sequence to
+correspond with references to them in the text.</i>]</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THOUGHT-FORMS" id="THOUGHT-FORMS"></a>THOUGHT-FORMS</h2>
+
+
+<p>As knowledge increases, the attitude of science towards the things of
+the invisible world is undergoing considerable modification. Its
+attention is no longer directed solely to the earth with all its variety
+of objects, or to the physical worlds around it; but it finds itself
+compelled to glance further afield, and to construct hypotheses as to
+the nature of the matter and force which lie in the regions beyond the
+ken of its instruments. Ether is now comfortably settled in the
+scientific kingdom, becoming almost more than a hypothesis. Mesmerism,
+under its new name of hypnotism, is no longer an outcast. Reichenbach's
+experiments are still looked at askance, but are not wholly condemned.
+R&ouml;ntgen's rays have rearranged some of the older ideas of matter, while
+radium has revolutionised them, and is leading science beyond the
+borderland of ether into the astral world. The boundaries between
+animate and inanimate matter are broken down. Magnets are found to be
+possessed of almost uncanny powers, transferring certain forms of
+disease in a way not yet satisfactorily explained. Telepathy,
+clairvoyance, movement without contact, though not yet admitted to the
+scientific table, are approaching the Cinderella-stage. The fact is
+that science has pressed its researches so far, has used such rare
+ingenuity in its questionings of nature, has shown such tireless
+patience in its investigations, that it is receiving the reward of those
+who seek, and forces and beings of the next higher plane of nature are
+beginning to show themselves on the outer edge of the physical field.
+"Nature makes no leaps," and as the physicist nears the confines of his
+kingdom he finds himself bewildered by touches and gleams from another
+realm which interpenetrates his own. He finds himself compelled to
+speculate on invisible presences, if only to find a rational explanation
+for undoubted physical phenomena, and insensibly he slips over the
+boundary, and is, although he does not yet realise it, contacting the
+astral plane.</p>
+
+<p>One of the most interesting of the highroads from the physical to the
+astral is that of the study of thought. The Western scientist,
+commencing in the anatomy and physiology of the brain, endeavours to
+make these the basis for "a sound psychology." He passes then into the
+region of dreams, illusions, hallucinations; and as soon as he
+endeavours to elaborate an experimental science which shall classify and
+arrange these, he inevitably plunges into the astral plane. Dr Baraduc
+of Paris has nearly crossed the barrier, and is well on the way towards
+photographing astro-mental images, to obtaining pictures of what from
+the materialistic standpoint would be the results of vibrations in the
+grey matter of the brain.</p>
+
+<p>It has long been known to those who have given attention to the question
+that impressions were produced by the reflection of the ultra-violet
+rays from objects not visible by the rays of the ordinary spectrum.
+Clairvoyants were occasionally justified by the appearance on sensitive
+photographic plates of figures seen and described by them as present
+with the sitter, though invisible to physical sight. It is not possible
+for an unbiassed judgment to reject <i>in toto</i> the evidence of such
+occurrences proffered by men of integrity on the strength of their own
+experiments, oftentimes repeated. And now we have investigators who turn
+their attention to the obtaining of images of subtle forms, inventing
+methods specially designed with the view of reproducing them. Among
+these, Dr Baraduc seems to have been the most successful, and he has
+published a volume dealing with his investigations and containing
+reproductions of the photographs he has obtained. Dr Baraduc states that
+he is investigating the subtle forces by which the soul&mdash;defined as the
+intelligence working between the body and the spirit&mdash;expresses itself,
+by seeking to record its movements by means of a needle, its "luminous"
+but invisible vibrations by impressions on sensitive plates. He shuts
+out by non-conductors electricity and heat. We can pass over his
+experiments in Biometry (measurement of life by movements), and glance
+at those in Iconography&mdash;the impressions of invisible waves, regarded by
+him as of the nature of light, in which the soul draws its own image. A
+number of these photographs represent etheric and magnetic results of
+physical phenomena, and these again we may pass over as not bearing on
+our special subject, interesting as they are in themselves. Dr Baraduc
+obtained various impressions by strongly thinking of an object, the
+effect produced by the thought-form appearing on a sensitive plate; thus
+he tried to project a portrait of a lady (then dead) whom he had known,
+and produced an impression due to his thought of a drawing he had made
+of her on her deathbed. He quite rightly says that the creation of an
+object is the passing out of an image from the mind and its subsequent
+materialisation, and he seeks the chemical effect caused on silver salts
+by this thought-created picture. One striking illustration is that of a
+force raying outwards, the projection of an earnest prayer. Another
+prayer is seen producing forms like the fronds of a fern, another like
+rain pouring upwards, if the phrase may be permitted. A rippled oblong
+mass is projected by three persons thinking of their unity in affection.
+A young boy sorrowing over and caressing a dead bird is surrounded by a
+flood of curved interwoven threads of emotional disturbance. A strong
+vortex is formed by a feeling of deep sadness. Looking at this most
+interesting and suggestive series, it is clear that in these pictures
+that which is obtained is not the thought-image, but the effect caused
+in etheric matter by its vibrations, and it is necessary to
+clairvoyantly see the thought in order to understand the results
+produced. In fact, the illustrations are instructive for what they do
+not show directly, as well as for the images that appear.</p>
+
+<p>It may be useful to put before students, a little more plainly than has
+hitherto been done, some of the facts in nature which will render more
+intelligible the results at which Dr Baraduc is arriving. Necessarily
+imperfect these must be, a physical photographic camera and sensitive
+plates not being ideal instruments for astral research; but, as will be
+seen from the above, they are most interesting and valuable as forming a
+link between clairvoyant and physical scientific investigations.</p>
+
+<p>At the present time observers outside the Theosophical Society are
+concerning themselves with the fact that emotional changes show their
+nature by changes of colour in the cloud-like ovoid, or aura, that
+encompasses all living beings. Articles on the subject are appearing in
+papers unconnected with the Theosophical Society, and a medical
+specialist<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> has collected a large number of cases in which the colour
+of the aura of persons of various types and temperaments is recorded by
+him. His results resemble closely those arrived at by clairvoyant
+theosophists and others, and the general unanimity on the subject is
+sufficient to establish the fact, if the evidence be judged by the usual
+canons applied to human testimony.</p>
+
+<p>The book <i>Man Visible and Invisible</i> dealt with the general subject of
+the aura. The present little volume, written by the author of <i>Man
+Visible and Invisible</i>, and a theosophical colleague, is intended to
+carry the subject further; and it is believed that this study is useful,
+as impressing vividly on the mind of the student the power and living
+nature of thought and desire, and the influence exerted by them on all
+whom they reach.</p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Dr Hooker, Gloucester Place, London, W.</p></div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_DIFFICULTY_OF_REPRESENTATION" id="THE_DIFFICULTY_OF_REPRESENTATION"></a>THE DIFFICULTY OF REPRESENTATION</h2>
+
+
+<p>We have often heard it said that thoughts are things, and there are many
+among us who are persuaded of the truth of this statement. Yet very few
+of us have any clear idea as to what kind of thing a thought is, and the
+object of this little book is to help us to conceive this.</p>
+
+<p>There are some serious difficulties in our way, for our conception of
+space is limited to three dimensions, and when we attempt to make a
+drawing we practically limit ourselves to two. In reality the
+presentation even of ordinary three-dimensional objects is seriously
+defective, for scarcely a line or angle in our drawing is accurately
+shown. If a road crosses the picture, the part in the foreground must be
+represented as enormously wider than that in the background, although in
+reality the width is unchanged. If a house is to be drawn, the right
+angles at its corners must be shown as acute or obtuse as the case may
+be, but hardly ever as they actually are. In fact, we draw everything
+not as it is but as it appears, and the effort of the artist is by a
+skilful arrangement of lines upon a flat surface to convey to the eye an
+impression which shall recall that made by a three-dimensional object.</p>
+
+<p>It is possible to do this only because similar objects are already
+familiar to those who look at the picture and accept the suggestion
+which it conveys. A person who had never seen a tree could form but
+little idea of one from even the most skilful painting. If to this
+difficulty we add the other and far more serious one of a limitation of
+consciousness, and suppose ourselves to be showing the picture to a
+being who knew only two dimensions, we see how utterly impossible it
+would be to convey to him any adequate impression of such a landscape as
+we see. Precisely this difficulty in its most aggravated form stands in
+our way, when we try to make a drawing of even a very simple
+thought-form. The vast majority of those who look at the picture are
+absolutely limited to the consciousness of three dimensions, and
+furthermore, have not the slightest conception of that inner world to
+which thought-forms belong, with all its splendid light and colour. All
+that we can do at the best is to represent a section of the
+thought-form; and those whose faculties enable them to see the original
+cannot but be disappointed with any reproduction of it. Still, those who
+are at present unable to see anything will gain at least a partial
+comprehension, and however inadequate it may be it is at least better
+than nothing.</p>
+
+<p>All students know that what is called the aura of man is the outer part
+of the cloud-like substance of his higher bodies, interpenetrating each
+other, and extending beyond the confines of his physical body, the
+smallest of all. They know also that two of these bodies, the mental and
+desire bodies, are those chiefly concerned with the appearance of what
+are called thought-forms. But in order that the matter may be made clear
+for all, and not only for students already acquainted with theosophical
+teachings, a recapitulation of the main facts will not be out of place.</p>
+
+<p>Man, the Thinker, is clothed in a body composed of innumerable
+combinations of the subtle matter of the mental plane, this body being
+more or less refined in its constituents and organised more or less
+fully for its functions, according to the stage of intellectual
+development at which the man himself has arrived. The mental body is an
+object of great beauty, the delicacy and rapid motion of its particles
+giving it an aspect of living iridescent light, and this beauty becomes
+an extraordinarily radiant and entrancing loveliness as the intellect
+becomes more highly evolved and is employed chiefly on pure and sublime
+topics. Every thought gives rise to a set of correlated vibrations in
+the matter of this body, accompanied with a marvellous play of colour,
+like that in the spray of a waterfall as the sunlight strikes it, raised
+to the <i>n</i>th degree of colour and vivid delicacy. The body under this
+impulse throws off a vibrating portion of itself, shaped by the nature
+of the vibrations&mdash;as figures are made by sand on a disk vibrating to a
+musical note&mdash;and this gathers from the surrounding atmosphere matter
+like itself in fineness from the elemental essence of the mental world.
+We have then a thought-form pure and simple, and it is a living entity
+of intense activity animated by the one idea that generated it. If made
+of the finer kinds of matter, it will be of great power and energy, and
+may be used as a most potent agent when directed by a strong and steady
+will. Into the details of such use we will enter later.</p>
+
+<p>When the man's energy flows outwards towards external objects of desire,
+or is occupied in passional and emotional activities, this energy works
+in a less subtle order of matter than the mental, in that of the astral
+world. What is called his desire-body is composed of this matter, and it
+forms the most prominent part of the aura in the undeveloped man. Where
+the man is of a gross type, the desire-body is of the denser matter of
+the astral plane, and is dull in hue, browns and dirty greens and reds
+playing a great part in it. Through this will flash various
+characteristic colours, as his passions are excited. A man of a higher
+type has his desire-body composed of the finer qualities of astral
+matter, with the colours, rippling over and flashing through it, fine
+and clear in hue. While less delicate and less radiant than the mental
+body, it forms a beautiful object, and as selfishness is eliminated all
+the duller and heavier shades disappear.</p>
+
+<p>This desire (or astral) body gives rise to a second class of entities,
+similar in their general constitution to the thought-forms already
+described, but limited to the astral plane, and generated by the mind
+under the dominion of the animal nature.</p>
+
+<p>These are caused by the activity of the lower mind, throwing itself out
+through the astral body&mdash;the activity of K&acirc;ma-Manas in theosophical
+terminology, or the mind dominated by desire. Vibrations in the body of
+desire, or astral body, are in this case set up, and under these this
+body throws off a vibrating portion of itself, shaped, as in the
+previous case, by the nature of the vibrations, and this attracts to
+itself some of the appropriate elemental essence of the astral world.
+Such a thought-form has for its body this elemental essence, and for its
+animating soul the desire or passion which threw it forth; according to
+the amount of mental energy combined with this desire or passion will
+be the force of the thought-form. These, like those belonging to the
+mental plane, are called artificial elementals, and they are by far the
+most common, as few thoughts of ordinary men and women are untinged with
+desire, passion, or emotion.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_TWO_EFFECTS_OF_THOUGHT" id="THE_TWO_EFFECTS_OF_THOUGHT"></a>THE TWO EFFECTS OF THOUGHT</h2>
+
+
+<p>Each definite thought produces a double effect&mdash;a radiating vibration
+and a floating form. The thought itself appears first to clairvoyant
+sight as a vibration in the mental body, and this may be either simple
+or complex. If the thought itself is absolutely simple, there is only
+the one rate of vibration, and only one type of mental matter will be
+strongly affected. The mental body is composed of matter of several
+degrees of density, which we commonly arrange in classes according to
+the sub-planes. Of each of these we have many sub-divisions, and if we
+typify these by drawing horizontal lines to indicate the different
+degrees of density, there is another arrangement which we might
+symbolise by drawing perpendicular lines at right angles to the others,
+to denote types which differ in quality as well as in density. There are
+thus many varieties of this mental matter, and it is found that each one
+of these has its own especial and appropriate rate of vibration, to
+which it seems most accustomed, so that it very readily responds to it,
+and tends to return to it as soon as possible when it has been forced
+away from it by some strong rush of thought or feeling. When a sudden
+wave of some emotion sweeps over a man, for example, his astral body is
+thrown into violent agitation, and its original colours are or the time
+almost obscured by the flush of carmine, of blue, or of scarlet which
+corresponds with the rate of vibration of that particular emotion. This
+change is only temporary; it passes off in a few seconds, and the astral
+body rapidly resumes its usual condition. Yet every such rush of feeling
+produces a permanent effect: it always adds a little of its hue to the
+normal colouring of the astral body, so that every time that the man
+yields himself to a certain emotion it becomes easier for him to yield
+himself to it again, because his astral body is getting into the habit
+of vibrating at that especial rate.</p>
+
+<p>The majority of human thoughts, however, are by no means simple.
+Absolutely pure affection of course exists; but we very often find it
+tinged with pride or with selfishness, with jealousy or with animal
+passion. This means that at least two separate vibrations appear both in
+the mental and astral bodies&mdash;frequently more than two. The radiating
+vibration, therefore, will be a complex one, and the resultant
+thought-form will show several colours instead of only one.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="HOW_THE_VIBRATION_ACTS" id="HOW_THE_VIBRATION_ACTS"></a>HOW THE VIBRATION ACTS</h2>
+
+
+<p>These radiating vibrations, like all others in nature, become less
+powerful in proportion to the distance from their source, though it is
+probable that the variation is in proportion to the cube of the distance
+instead of to the square, because of the additional dimension involved.
+Again, like all other vibrations, these tend to reproduce themselves
+whenever opportunity is offered to them; and so whenever they strike
+upon another mental body they tend to provoke in it their own rate of
+motion. That is&mdash;from the point of view of the man whose mental body is
+touched by these waves&mdash;they tend to produce in his mind thoughts of the
+same type as that which had previously arisen in the mind of the thinker
+who sent forth the waves. The distance to which such thought-waves
+penetrate, and the force and persistency with which they impinge upon
+the mental bodies of others, depend upon the strength and clearness of
+the original thought. In this way the thinker is in the same position as
+the speaker. The voice of the latter sets in motion waves of sound in
+the air which radiate from him in all directions, and convey his message
+to all those who are within hearing, and the distance to which his voice
+can penetrate depends upon its power and upon the clearness of his
+enunciation. In just the same way the forceful thought will carry very
+much further than the weak and undecided thought; but clearness and
+definiteness are of even greater importance than strength. Again, just
+as the speaker's voice may fall upon heedless ears where men are already
+engaged in business or in pleasure, so may a mighty wave of thought
+sweep past without affecting the mind of the man, if he be already
+deeply engrossed in some other line of thought.</p>
+
+<p>It should be understood that this radiating vibration conveys the
+character of the thought, but not its subject. If a Hindu sits rapt in
+devotion to K&#7771;i&#7779;h&#7751;a, the waves of feeling which pour forth from him
+stimulate devotional feeling in all those who come under their
+influence, though in the case of the Muhammadan that devotion is to
+Allah, while for the Zoroastrian it is to Ahuramazda, or for the
+Christian to Jesus. A man thinking keenly upon some high subject pours
+out from himself vibrations which tend to stir up thought at a similar
+level in others, but they in no way suggest to those others the special
+subject of his thought. They naturally act with special vigour upon
+those minds already habituated to vibrations of similar character; yet
+they have some effect on every mental body upon which they impinge, so
+that their tendency is to awaken the power of higher thought in those to
+whom it has not yet become a custom. It is thus evident that every man
+who thinks along high lines is doing missionary work, even though he may
+be entirely unconscious of it.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_FORM_AND_ITS_EFFECT" id="THE_FORM_AND_ITS_EFFECT"></a>THE FORM AND ITS EFFECT</h2>
+
+
+<p>Let us turn now to the second effect of thought, the creation of a
+definite form. All students of the occult are acquainted with the idea
+of the elemental essence, that strange half-intelligent life which
+surrounds us in all directions, vivifying the matter of the mental and
+astral planes. This matter thus animated responds very readily to the
+influence of human thought, and every impulse sent out, either from the
+mental body or from the astral body of man, immediately clothes itself
+in a temporary vehicle of this vitalised matter. Such a thought or
+impulse becomes for the time a kind of living creature, the
+thought-force being the soul, and the vivified matter the body. Instead
+of using the somewhat clumsy paraphrase, "astral or mental matter
+ensouled by the monadic essence at the stage of one of the elemental
+kingdoms," theosophical writers often, for brevity's sake, call this
+quickened matter simply elemental essence; and sometimes they speak of
+the thought-form as "an elemental." There may be infinite variety in the
+colour and shape of such elementals or thought-forms, for each thought
+draws round it the matter which is appropriate for its expression, and
+sets that matter into vibration in harmony with its own; so that the
+character of the thought decides its colour, and the study of its
+variations and combinations is an exceedingly interesting one.</p>
+
+<p>This thought-form may not inaptly be compared to a Leyden jar, the
+coating of living essence being symbolised by the jar, and the thought
+energy by the charge of electricity. If the man's thought or feeling is
+directly connected with someone else, the resultant thought-form moves
+towards that person and discharges itself upon his astral and mental
+bodies. If the man's thought is about himself, or is based upon a
+personal feeling, as the vast majority of thoughts are, it hovers round
+its creator and is always ready to react upon him whenever he is for a
+moment in a passive condition. For example, a man who yields himself to
+thoughts of impurity may forget all about them while he is engaged in
+the daily routine of his business, even though the resultant forms are
+hanging round him in a heavy cloud, because his attention is otherwise
+directed and his astral body is therefore not impressible by any other
+rate of vibration than its own. When, however, the marked vibration
+slackens and the man rests after his labours and leaves his mind blank
+as regards definite thought, he is very likely to feel the vibration of
+impurity stealing insidiously upon him. If the consciousness of the man
+be to any extent awakened, he may perceive this and cry out that he is
+being tempted by the devil; yet the truth is that the temptation is from
+without only in appearance, since it is nothing but the natural reaction
+upon him of his own thought-forms. Each man travels through space
+enclosed within a cage of his own building, surrounded by a mass of the
+forms created by his habitual thoughts. Through this medium he looks out
+upon the world, and naturally he sees everything tinged with its
+predominant colours, and all rates of vibration which reach him from
+without are more or less modified by its rate. Thus until the man learns
+complete control of thought and feeling, he sees nothing as it really
+is, since all his observations must be made through this medium, which
+distorts and colours everything like badly-made glass.</p>
+
+<p>If the thought-form be neither definitely personal nor specially aimed
+at someone else, it simply floats detached in the atmosphere, all the
+time radiating vibrations similar to those originally sent forth by its
+creator. If it does not come into contact with any other mental body,
+this radiation gradually exhausts its store of energy, and in that case
+the form falls to pieces; but if it succeeds in awakening sympathetic
+vibration in any mental body near at hand, an attraction is set up, and
+the thought-form is usually absorbed by that mental body. Thus we see
+that the influence of the thought-form is by no means so far-reaching as
+that of the original vibration; but in so far as it acts, it acts with
+much greater precision. What it produces in the mind-body which it
+influences is not merely a thought of an order similar to that which
+gave it birth; it is actually the same thought. The radiation may affect
+thousands and stir up in them thoughts on the same level as the
+original, and yet it may happen that no one of them will be identical
+with that original; the thought-form can affect only very few, but in
+those few cases it will reproduce exactly the initiatory idea.</p>
+
+<p>The fact of the creation by vibrations of a distinct form, geometrical
+or other, is already familiar to every student of acoustics, and
+"Chladni's" figures are continually reproduced in every physical
+laboratory.</p>
+
+<div class="figcenter">
+<a name="fig1" id="fig1"></a>
+<img src="images/fig1.png"
+alt="FIG. 1. CHLADNI&#39;S SOUND PLATE" title="FIG. 1. CHLADNI&#39;S SOUND PLATE" />
+<br /><span class="caption">FIG. 1. CHLADNI&#39;S SOUND PLATE</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig2" id="fig2"></a>
+<img src="images/fig2.png"
+alt="FIG. 2. FORMS PRODUCED IN SOUND" title="FIG. 2. FORMS PRODUCED IN SOUND" />
+<br /><span class="caption">FIG. 2. FORMS PRODUCED IN SOUND</span>
+</div>
+
+<p>For the lay reader the following brief description may be useful. A
+Chladni's sound plate (fig. 1) is made of brass or plate-glass. Grains
+of fine sand or spores are scattered over the surface, and the edge of
+the plate is bowed. The sand is thrown up into the air by the vibration
+of the plate, and re-falling on the plate is arranged in regular lines
+(fig. 2). By touching the edge of the plate at different points when it
+is bowed, different notes, and hence varying forms, are obtained (fig.
+3). If the figures here given are compared with those obtained from the
+human voice, many likenesses will be observed. For these latter, the
+'voice-forms' so admirably studied and pictured by Mrs Watts Hughes,<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">[1]</a>
+bearing witness to the same fact, should be consulted, and her work on
+the subject should be in the hands of every student. But few perhaps
+have realised that the shapes pictured are due to the interplay of the
+vibrations that create them, and that a machine exists by means of which
+two or more simultaneous motions can be imparted to a pendulum, and that
+by attaching a fine drawing-pen to a lever connected with the pendulum
+its action may be exactly traced. Substitute for the swing of the
+pendulum the vibrations set up in the mental or astral body, and we have
+clearly before us the <i>modus operandi</i> of the building of forms by
+vibrations.<a name="FNanchor_2_3" id="FNanchor_2_3"></a><a href="#Footnote_2_3" class="fnanchor">[2]</a></p>
+
+<div class="footnote"><p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">[1]</span></a> <i>The Eidophone Voice Figures.</i> Margaret Watts Hughes.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_3" id="Footnote_2_3"></a><a href="#FNanchor_2_3"><span class="label">[2]</span></a> Mr Joseph Gould, Stratford House, Nottingham, supplies the
+twin-elliptic pendulum by which these wonderful figures may be
+produced.</p></div>
+
+<div class="figcenter">
+<a name="fig3" id="fig3"></a>
+<img src="images/fig3.png"
+alt="FIG. 3. FORMS PRODUCED IN SOUND"
+title="FIG. 3. FORMS PRODUCED IN SOUND" />
+<br /><span class="caption">FIG. 3. FORMS PRODUCED IN SOUND</span>
+</div>
+
+<p>The following description is taken from a most interesting essay
+entitled <i>Vibration Figures</i>, by F. Bligh Bond, F.R.I.B.A., who has
+drawn a number of remarkable figures by the use of pendulums. The
+pendulum is suspended on knife edges of hardened steel, and is free to
+swing only at right angles to the knife-edge suspension. Four such
+pendulums may be coupled in pairs, swinging at right angles to each
+other, by threads connecting the shafts of each pair of pendulums with
+the ends of a light but rigid lath, from the centre of which run other
+threads; these threads carry the united movements of each pair of
+pendulums to a light square of wood, suspended by a spring, and bearing
+a pen. The pen is thus controlled by the combined movement of the four
+pendulums, and this movement is registered on a drawing board by the
+pen. There is no limit, theoretically, to the number of pendulums that
+can be combined in this manner. The movements are rectilinear, but two
+rectilinear vibrations of equal amplitude acting at right angles to each
+other generate a circle if they alternate precisely, an ellipse if the
+alternations are less regular or the amplitudes unequal. A cyclic
+vibration may also be obtained from a pendulum free to swing in a rotary
+path. In these ways a most wonderful series of drawings have been
+obtained, and the similarity of these to some of the thought-forms is
+remarkable; they suffice to demonstrate how readily vibrations may be
+transformed into figures. Thus compare fig. 4 with fig. 12, the mother's
+prayer; or fig. 5 with fig. 10; or fig. 6 with fig. 25, the serpent-like
+darting forms. Fig. 7 is added as an illustration of the complexity
+attainable. It seems to us a most marvellous thing that some of the
+drawings, made apparently at random by the use of this machine, should
+exactly correspond to higher types of thought-forms created in
+meditation. We are sure that a wealth of significance lies behind this
+fact, though it will need much further investigation before we can say
+certainly all that it means. But it must surely imply this much&mdash;that,
+if two forces on the physical plane bearing a certain ratio one to the
+other can draw a form which exactly corresponds to that produced on the
+mental plane by a complex thought, we may infer that that thought sets
+in motion on its own plane two forces which are in the same ratio one to
+the other. What these forces are and how they work remains to be seen;
+but if we are ever able to solve this problem, it is likely that it
+will open to us a new and exceedingly valuable field of knowledge.</p>
+
+<div class="figcenter">
+<a name="fig4-7" id="fig4-7"></a>
+<img src="images/figs4-7.png"
+alt="FIGS. 4-7. FORMS PRODUCED BY PENDULUMS"
+title="FIGS. 4-7. FORMS PRODUCED BY PENDULUMS" />
+<br /><span class="caption">FIGS. 4-7. FORMS PRODUCED BY PENDULUMS</span>
+</div>
+
+
+<h3><span class="smcap">General Principles.</span></h3>
+
+<p>Three general principles underlie the production of all thought-forms:&mdash;</p>
+
+<ol><li>Quality of thought determines colour.</li>
+
+<li>Nature of thought determines form.</li>
+
+<li>Definiteness of thought determines clearness of outline.</li></ol>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_MEANING_OF_THE_COLOURS" id="THE_MEANING_OF_THE_COLOURS"></a>THE MEANING OF THE COLOURS</h2>
+
+
+<p>The table of colours given in the frontispiece has already been
+thoroughly described in the book <i>Man Visible and Invisible</i>, and the
+meaning to be attached to them is just the same in the thought-form as
+in the body out of which it is evolved. For the sake of those who have
+not at hand the full description given in the book just mentioned, it
+will be well to state that black means hatred and malice. Red, of all
+shades from lurid brick-red to brilliant scarlet, indicates anger;
+brutal anger will show as flashes of lurid red from dark brown clouds,
+while the anger of "noble indignation" is a vivid scarlet, by no means
+unbeautiful, though it gives an unpleasant thrill; a particularly dark
+and unpleasant red, almost exactly the colour called dragon's blood,
+shows animal passion and sensual desire of various kinds. Clear brown
+(almost burnt sienna) shows avarice; hard dull brown-grey is a sign of
+selfishness&mdash;a colour which is indeed painfully common; deep heavy grey
+signifies depression, while a livid pale grey is associated with fear;
+grey-green is a signal of deceit, while brownish-green (usually flecked
+with points and flashes of scarlet) betokens jealousy. Green seems
+always to denote adaptability; in the lowest case, when mingled with
+selfishness, this adaptability becomes deceit; at a later stage, when
+the colour becomes purer, it means rather the wish to be all things to
+all men, even though it may be chiefly for the sake of becoming popular
+and bearing a good reputation with them; in its still higher, more
+delicate and more luminous aspect, it shows the divine power of
+sympathy. Affection expresses itself in all shades of crimson and rose;
+a full clear carmine means a strong healthy affection of normal type; if
+stained heavily with brown-grey, a selfish and grasping feeling is
+indicated, while pure pale rose marks that absolutely unselfish love
+which is possible only to high natures; it passes from the dull crimson
+of animal love to the most exquisite shades of delicate rose, like the
+early flushes of the dawning, as the love becomes purified from all
+selfish elements, and flows out in wider and wider circles of generous
+impersonal tenderness and compassion to all who are in need. With a
+touch of the blue of devotion in it, this may express a strong
+realisation of the universal brotherhood of humanity. Deep orange
+imports pride or ambition, and the various shades of yellow denote
+intellect or intellectual gratification, dull yellow ochre implying the
+direction of such faculty to selfish purposes, while clear gamboge shows
+a distinctly higher type, and pale luminous primrose yellow is a sign of
+the highest and most unselfish use of intellectual power, the pure
+reason directed to spiritual ends. The different shades of blue all
+indicate religious feeling, and range through all hues from the dark
+brown-blue of selfish devotion, or the pallid grey-blue of
+fetish-worship tinged with fear, up to the rich deep clear colour of
+heartfelt adoration, and the beautiful pale azure of that highest form
+which implies self-renunciation and union with the divine; the
+devotional thought of an unselfish heart is very lovely in colour, like
+the deep blue of a summer sky. Through such clouds of blue will often
+shine out golden stars of great brilliancy, darting upwards like a
+shower of sparks. A mixture of affection and devotion is manifested by a
+tint of violet, and the more delicate shades of this invariably show the
+capacity of absorbing and responding to a high and beautiful ideal. The
+brilliancy and the depth of the colours are usually a measure of the
+strength and the activity of the feeling.</p>
+
+<p>Another consideration which must not be forgotten is the type of matter
+in which these forms are generated. If a thought be purely intellectual
+and impersonal&mdash;for example, if the thinker is attempting to solve a
+problem in algebra or geometry&mdash;the thought-form and the wave of
+vibration will be confined entirely to the mental plane. If, however,
+the thought be of a spiritual nature, if it be tinged with love and
+aspiration or deep unselfish feeling, it will rise upwards from the
+mental plane and will borrow much of the splendour and glory of the
+buddhic level. In such a case its influence is exceedingly powerful, and
+every such thought is a mighty force for good which cannot but produce a
+decided effect upon all mental bodies within reach, if they contain any
+quality at all capable of response.</p>
+
+<p>If, on the other hand, the thought has in it something of self or of
+personal desire, at once its vibration turns downwards, and it draws
+round itself a body of astral matter in addition to its clothing of
+mental matter. Such a thought-form is capable of acting upon the astral
+bodies of other men as well as their minds, so that it can not only
+raise thought within them, but can also stir up their feelings.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THREE_CLASSES_OF_THOUGHT-FORMS" id="THREE_CLASSES_OF_THOUGHT-FORMS"></a>THREE CLASSES OF THOUGHT-FORMS</h2>
+
+
+<p>From the point of view of the forms which they produce we may group
+thought into three classes:&mdash;</p>
+
+<p>1. That which takes the image of the thinker. When a man thinks of
+himself as in some distant place, or wishes earnestly to be in that
+place, he makes a thought-form in his own image which appears there.
+Such a form has not infrequently been seen by others, and has sometimes
+been taken for the astral body or apparition of the man himself. In such
+a case, either the seer must have enough of clairvoyance for the time to
+be able to observe that astral shape, or the thought-form must have
+sufficient strength to materialise itself&mdash;that is, to draw round itself
+temporarily a certain amount of physical matter. The thought which
+generates such a form as this must necessarily be a strong one, and it
+therefore employs a larger proportion of the matter of the mental body,
+so that though the form is small and compressed when it leaves the
+thinker, it draws round it a considerable amount of astral matter, and
+usually expands to life-size before it appears at its destination.</p>
+
+<p>2. That which takes the image of some material object. When a man thinks
+of his friend he forms within his mental body a minute image of that
+friend, which often passes outward and usually floats suspended in the
+air before him. In the same way if he thinks of a room, a house, a
+landscape, tiny images of these things are formed within the mental body
+and afterwards externalised. This is equally true when he is exercising
+his imagination; the painter who forms a conception of his future
+picture builds it up out of the matter of his mental body, and then
+projects it into space in front of him, keeps it before his mind's eye,
+and copies it. The novelist in the same way builds images of his
+character in mental matter, and by the exercise of his will moves these
+puppets from one position or grouping to another, so that the plot of
+his story is literally acted out before him. With our curiously inverted
+conceptions of reality it is hard for us to understand that these mental
+images actually exist, and are so entirely objective that they may
+readily be seen by the clairvoyant, and can even be rearranged by some
+one other than their creator. Some novelists have been dimly aware of
+such a process, and have testified that their characters when once
+created developed a will of their own, and insisted on carrying the plot
+of the story along lines quite different from those originally intended
+by the author. This has actually happened, sometimes because the
+thought-forms were ensouled by playful nature-spirits, or more often
+because some 'dead' novelist, watching on the astral plane the
+development of the plan of his fellow-author, thought that he could
+improve upon it, and chose this method of putting forward his
+suggestions.</p>
+
+<p>3. That which takes a form entirely its own, expressing its inherent
+qualities in the matter which it draws round it. Only thought-forms of
+this third class can usefully be illustrated, for to represent those of
+the first or second class would be merely to draw portraits or
+landscapes. In those types we have the plastic mental or astral matter
+moulded in imitation of forms belonging to the physical plane; in this
+third group we have a glimpse of the forms natural to the astral or
+mental planes. Yet this very fact, which makes them so interesting,
+places an insuperable barrier in the way of their accurate reproduction.</p>
+
+<p>Thought-forms of this third class almost invariably manifest themselves
+upon the astral plane, as the vast majority of them are expressions of
+feeling as well as of thought. Those of which we here give specimens are
+almost wholly of that class, except that we take a few examples of the
+beautiful thought-forms created in definite meditation by those who,
+through long practice, have learnt how to think.</p>
+
+<p>Thought-forms directed towards individuals produce definitely marked
+effects, these effects being either partially reproduced in the aura of
+the recipient and so increasing the total result, or repelled from it. A
+thought of love and of desire to protect, directed strongly towards some
+beloved object, creates a form which goes to the person thought of, and
+remains in his aura as a shielding and protecting agent; it will seek
+all opportunities to serve, and all opportunities to defend, not by a
+conscious and deliberate action, but by a blind following out of the
+impulse impressed upon it, and it will strengthen friendly forces that
+impinge on the aura and weaken unfriendly ones. Thus may we create and
+maintain veritable guardian angels round those we love, and many a
+mother's prayer for a distant child thus circles round him, though she
+knows not the method by which her "prayer is answered."</p>
+
+<p>In cases in which good or evil thoughts are projected at individuals,
+those thoughts, if they are to directly fulfil their mission, must find,
+in the aura of the object to whom they are sent, materials capable of
+responding sympathetically to their vibrations. Any combination of
+matter can only vibrate within certain definite limits, and if the
+thought-form be outside all the limits within which the aura is capable
+of vibrating, it cannot affect that aura at all. It consequently
+rebounds from it, and that with a force proportionate to the energy with
+which it impinged upon it. This is why it is said that a pure heart and
+mind are the best protectors against any inimical assaults, for such a
+pure heart and mind will construct an astral and a mental body of fine
+and subtle materials, and these bodies cannot respond to vibrations that
+demand coarse and dense matter. If an evil thought, projected with
+malefic intent, strikes such a body, it can only rebound from it, and it
+is flung back with all its own energy; it then flies backward along the
+magnetic line of least resistance, that which it has just traversed, and
+strikes its projector; he, having matter in his astral and mental bodies
+similar to that of the thought-form he generated, is thrown into
+respondent vibrations, and suffers the destructive effects he had
+intended to cause to another. Thus "curses [and blessings] come home to
+roost." From this arise also the very serious effects of hating or
+suspecting a good and highly-advanced man; the thought-forms sent
+against him cannot injure him, and they rebound against their
+projectors, shattering them mentally, morally, or physically. Several
+such instances are well known to members of the Theosophical Society,
+having come under their direct observation. So long as any of the
+coarser kinds of matter connected with evil and selfish thoughts remain
+in a person's body, he is open to attack from those who wish him evil,
+but when he has perfectly eliminated these by self-purification his
+haters cannot injure him, and he goes on calmly and peacefully amid all
+the darts of their malice. But it is bad for those who shoot out such
+darts.</p>
+
+<p>Another point that should be mentioned before passing to the
+consideration of our illustrations is that every one of the
+thought-forms here given is drawn from life. They are not imaginary
+forms, prepared as some dreamer thinks that they ought to appear; they
+are representations of forms actually observed as thrown off by ordinary
+men and women, and either reproduced with all possible care and fidelity
+by those who have seen them, or with the help of artists to whom the
+seers have described them.<br /><br /><br /><br /></p>
+
+
+<p>For convenience of comparison thought-forms of a similar kind are
+grouped together.</p>
+
+<hr style="width: 65%;" />
+<h2><a name="ILLUSTRATIVE_THOUGHT-FORMS" id="ILLUSTRATIVE_THOUGHT-FORMS"></a>ILLUSTRATIVE THOUGHT-FORMS<br /><br /><br /><br /></h2>
+
+<h2><a name="AFFECTION" id="AFFECTION"></a>AFFECTION</h2>
+
+<p><i>Vague Pure Affection.</i>&mdash;Fig. 8 is 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.</p>
+
+<div class="figcenter">
+<a name="fig8" id="fig8"></a>
+<img src="images/fig8.jpg"
+alt="FIG. 8. VAGUE PURE AFFECTION"
+title="FIG. 8. VAGUE PURE AFFECTION" />
+<br /><span class="caption">FIG. 8. VAGUE PURE AFFECTION</span>
+</div>
+
+<p><i>Vague Selfish Affection.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig9" id="fig9"></a>
+<img src="images/fig9.jpg"
+alt="FIG. 9. VAGUE SELFISH AFFECTION"
+title="FIG. 9. VAGUE SELFISH AFFECTION" />
+<br /><span class="caption">FIG. 9. VAGUE SELFISH AFFECTION</span>
+</div>
+
+<p><i>Definite Affection.</i>&mdash;Even the first glance at Fig. 10 shows us that
+here we have to deal with something of an entirely different
+nature&mdash;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 <i>Man Visible and Invisible</i> 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.</p>
+
+<div class="figcenter">
+<a name="fig10" id="fig10"></a>
+<img src="images/fig10.jpg"
+alt="FIG. 10. DEFINITE AFFECTION"
+title="FIG. 10. DEFINITE AFFECTION" />
+<br /><span class="caption">FIG. 10. DEFINITE AFFECTION</span>
+</div>
+
+<p><i>Radiating Affection.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig11" id="fig11"></a>
+<img src="images/fig11.jpg"
+alt="FIG. 11. RADIATING AFFECTION"
+title="FIG. 11. RADIATING AFFECTION" />
+<br /><span class="caption">FIG. 11. RADIATING AFFECTION</span>
+</div>
+
+<p><i>Peace and Protection.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig12" id="fig12"></a>
+<img src="images/fig12.jpg"
+alt="FIG. 12. PEACE AND PROTECTION"
+title="FIG. 12. PEACE AND PROTECTION" />
+<br /><span class="caption">FIG. 12. PEACE AND PROTECTION</span>
+</div>
+
+<p><i>Grasping Animal Affection.</i>&mdash;Fig. 13 gives us an instance of grasping
+animal affection&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig13" id="fig13"></a>
+<img src="images/fig13.jpg"
+alt="FIG. 13. GRASPING ANIMAL AFFECTION"
+title="FIG. 13. GRASPING ANIMAL AFFECTION" />
+<br /><span class="caption">FIG. 13. GRASPING ANIMAL AFFECTION</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="DEVOTION" id="DEVOTION"></a>DEVOTION</h2>
+
+<p><i>Vague Religious Feeling.</i>&mdash;Fig. 14 shows us another shapeless rolling
+cloud, but this time it is blue instead of crimson. It betokens that
+vaguely pleasurable religious feeling&mdash;a sensation of devoutness rather
+than of devotion&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig14" id="fig14"></a>
+<img src="images/fig14.jpg"
+alt="FIG. 14. VAGUE RELIGIOUS FEELING"
+title="FIG. 14. VAGUE RELIGIOUS FEELING" />
+<br /><span class="caption">FIG. 14. VAGUE RELIGIOUS FEELING</span>
+</div>
+
+<p>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.</p>
+
+<p>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&mdash;very rarely&mdash;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.</p>
+
+<p><i>Upward Rush of Devotion.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig15" id="fig15"></a>
+<img src="images/fig15.jpg"
+alt="FIG. 15. UPWARD RUSH OF DEVOTION"
+title="FIG. 15. UPWARD RUSH OF DEVOTION" />
+<br /><span class="caption">FIG. 15. UPWARD RUSH OF DEVOTION</span>
+</div>
+
+<p><i>The Response to Devotion.</i>&mdash;In Fig. 17 we see the result of his
+thought&mdash;the response of the <span class="smcap">Logos</span> 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 <span class="smcap">Logos</span> 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&mdash;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&mdash;horizontally, as
+it were&mdash;but it does not pass into the obscuration of a plane lower than
+that for which it was originally intended.</p>
+
+<div class="figcenter">
+<a name="fig17" id="fig17"></a>
+<img src="images/fig17.jpg"
+alt="FIG. 17. RESPONSE TO DEVOTION"
+title="FIG. 17. RESPONSE TO DEVOTION" />
+<br /><span class="caption">FIG. 17. RESPONSE TO DEVOTION</span>
+</div>
+
+<p>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 <i>not</i> 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.</p>
+
+<p>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.</p>
+
+<p><i>Self-Renunciation.</i>&mdash;Fig. 16 gives us yet another form of devotion,
+producing an exquisitely beautiful form of a type quite new to us&mdash;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
+<span class="smcap">Logos</span>, 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.</p>
+
+<div class="figcenter">
+<a name="fig16" id="fig16"></a>
+<img src="images/fig16.jpg"
+alt="FIG. 16. SELF-RENUNCIATION"
+title="FIG. 16. SELF-RENUNCIATION" />
+<br /><span class="caption">FIG. 16. SELF-RENUNCIATION</span>
+</div>
+
+<p>This form is of the loveliest pale azure, with a glory of white light
+shining through it&mdash;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"&mdash;better still, an act of utter selflessness, of self-surrender
+and renunciation.</p>
+
+<hr style="width: 65%;" />
+<h2><a name="INTELLECT" id="INTELLECT"></a>INTELLECT</h2>
+
+<p><i>Vague Intellectual Pleasure.</i>&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig18" id="fig18"></a>
+<img src="images/fig18.jpg"
+alt="FIG. 18. VAGUE INTELLECTUAL PLEASURE"
+title="FIG. 18. VAGUE INTELLECTUAL PLEASURE" />
+<br /><span class="caption">FIG. 18. VAGUE INTELLECTUAL PLEASURE</span>
+</div>
+
+<p><i>The Intention to Know.</i>&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig19" id="fig19"></a>
+<img src="images/fig19.jpg"
+alt="FIG. 19. THE INTENTION TO KNOW"
+title="FIG. 19. THE INTENTION TO KNOW" />
+<br /><span class="caption">FIG. 19. THE INTENTION TO KNOW</span>
+</div>
+
+<p><i><a name="High_Ambition" id="High_Ambition"></a>High Ambition.</i>&mdash;Fig. 20 gives us another manifestation of desire&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig20" id="fig20"></a>
+<img src="images/fig20.jpg"
+alt="FIG. 20. HIGH AMBITION"
+title="FIG. 20. HIGH AMBITION" />
+<br /><span class="caption">FIG. 20. HIGH AMBITION</span>
+</div>
+
+<p><i>Selfish Ambition.</i>&mdash;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&mdash;the ambition to grasp for the
+self everything that is within sight.</p>
+
+<div class="figcenter">
+<a name="fig21" id="fig21"></a>
+<img src="images/fig21.jpg"
+alt="FIG. 21. SELFISH AMBITION"
+title="FIG. 20. HIGH AMBITION" />
+<br /><span class="caption">FIG. 21. SELFISH AMBITION</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="ANGER" id="ANGER"></a>ANGER</h2>
+
+<p><i>Murderous Rage and Sustained Anger.</i>&mdash;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 <i>Man Visible and Invisible</i> 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.</p>
+
+<div class="figcenter">
+<a name="fig22-23" id="fig22-23"></a>
+<img src="images/fig22-23.jpg"
+alt="FIG. 22. MURDEROUS RAGE and FIG. 23. SUSTAINED ANGER"
+title="FIG. 22. MURDEROUS RAGE and FIG. 23. SUSTAINED ANGER" />
+<br /><span class="caption">FIG. 23. SUSTAINED ANGER &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; FIG. 22. MURDEROUS RAGE</span>
+</div>
+
+<p><i>Explosive Anger.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig24" id="fig24"></a>
+<img src="images/fig24.jpg"
+alt="FIG. 24. EXPLOSIVE ANGER"
+title="FIG. 24. EXPLOSIVE ANGER" />
+<br /><span class="caption">FIG. 24. EXPLOSIVE ANGER</span>
+</div>
+
+<p><i>Watchful and Angry Jealousy.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig25" id="fig25"></a>
+<img src="images/fig25.jpg"
+alt="FIG. 25. WATCHFUL JEALOUSY"
+title="FIG. 25. WATCHFUL JEALOUSY" />
+<br /><span class="caption">FIG. 25. WATCHFUL JEALOUSY</span>
+</div>
+
+<div class="figcenter">
+<a name="fig26" id="fig26"></a>
+<img src="images/fig26.jpg"
+alt="FIG. 26. ANGRY JEALOUSY"
+title="FIG. 26. ANGRY JEALOUSY" />
+<br /><span class="caption">FIG. 26. ANGRY JEALOUSY</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="SYMPATHY" id="SYMPATHY"></a>SYMPATHY</h2>
+
+<p><i>Vague Sympathy.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig18a" id="fig18a"></a>
+<img src="images/fig18a.jpg"
+alt="FIG. 18A. VAGUE SYMPATHY"
+title="FIG. 18A. VAGUE SYMPATHY" />
+<br /><span class="caption">FIG. 18A. VAGUE SYMPATHY</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="FEAR" id="FEAR"></a>FEAR</h2>
+
+<p><i>Sudden Fright.</i>&mdash;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 <i>Man Visible and Invisible</i> 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.</p>
+
+<div class="figcenter">
+<a name="fig27" id="fig27"></a>
+<img src="images/fig27.jpg"
+alt="FIG. 27. SUDDEN FRIGHT"
+title="FIG. 27. SUDDEN FRIGHT" />
+<br /><span class="caption">FIG. 27. SUDDEN FRIGHT</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="GREED" id="GREED"></a>GREED</h2>
+
+<p><i>Selfish Greed.</i>&mdash;Fig. 28 gives us an example of selfish greed&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig28" id="fig28"></a>
+<img src="images/fig28.jpg"
+alt="FIG. 28. SELFISH GREED"
+title="FIG. 28. SELFISH GREED" />
+<br /><span class="caption">FIG. 28. SELFISH GREED</span>
+</div>
+
+<p><i>Greed for Drink.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig29" id="fig29"></a>
+<img src="images/fig29.jpg"
+alt="FIG. 29. GREED FOR DRINK"
+title="FIG. 29. GREED FOR DRINK" />
+<br /><span class="caption">FIG. 29. GREED FOR DRINK</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="VARIOUS_EMOTIONS" id="VARIOUS_EMOTIONS"></a>VARIOUS EMOTIONS</h2>
+
+<p><i>At a Shipwreck.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig30" id="fig30"></a>
+<img src="images/fig30.jpg"
+alt="FIG. 30. AT A SHIPWRECK"
+title="FIG. 30. AT A SHIPWRECK" />
+<br /><span class="caption">FIG. 30. AT A SHIPWRECK</span>
+</div>
+
+<p>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.</p>
+
+<p>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&mdash;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.</p>
+
+<p><i>On the First Night.</i>&mdash;Fig. 31 is also an interesting specimen&mdash;perhaps
+unique&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig31" id="fig31"></a>
+<img src="images/fig31.jpg"
+alt="FIG. 31. ON THE FIRST NIGHT"
+title="FIG. 31. ON THE FIRST NIGHT" />
+<br /><span class="caption">FIG. 31. ON THE FIRST NIGHT</span>
+</div>
+
+<p><i>The Gamblers.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig32" id="fig32"></a>
+<img src="images/fig32.jpg"
+alt="FIG. 32. THE GAMBLERS"
+title="FIG. 32. THE GAMBLERS" />
+<br /><span class="caption">FIG. 32. THE GAMBLERS</span>
+</div>
+
+<p>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.</p>
+
+<p><i>At a Street Accident.</i>&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig33" id="fig33"></a>
+<img src="images/fig33.jpg"
+alt="FIG. 33. AT A STREET ACCIDENT"
+title="FIG. 33. AT A STREET ACCIDENT" />
+<br /><span class="caption">FIG. 33. AT A STREET ACCIDENT</span>
+</div>
+
+<p><i>At a Funeral.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig34" id="fig34"></a>
+<img src="images/fig34.jpg"
+alt="FIG. 34. AT A FUNERAL"
+title="FIG. 34. AT A FUNERAL" />
+<br /><span class="caption">FIG. 34. AT A FUNERAL</span>
+</div>
+
+<p>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.</p>
+
+<p>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&mdash;partly perhaps because they had a much more rational method of
+disposing of the body&mdash;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.</p>
+
+<p><i>On Meeting a Friend.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig35" id="fig35"></a>
+<img src="images/fig35.jpg"
+alt="FIG. 35. ON MEETING A FRIEND"
+title="FIG. 35. ON MEETING A FRIEND" />
+<br /><span class="caption">FIG. 35. ON MEETING A FRIEND</span>
+</div>
+
+<p><i>The Appreciation of a Picture.</i>&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig36" id="fig36"></a>
+<img src="images/fig36.jpg"
+alt="FIG. 36. THE APPRECIATION OF A PICTURE"
+title="FIG. 36. THE APPRECIATION OF A PICTURE" />
+<br /><span class="caption">FIG. 36. THE APPRECIATION OF A PICTURE</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="FORMS_SEEN_IN_THOSE_MEDITATING" id="FORMS_SEEN_IN_THOSE_MEDITATING"></a>FORMS SEEN IN THOSE MEDITATING</h2>
+
+<p><i>Sympathy and Love for all.</i>&mdash;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&mdash;forms
+generated during meditation&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig37" id="fig37"></a>
+<img src="images/fig37.jpg"
+alt="FIG. 37. SYMPATHY AND LOVE FOR ALL"
+title="FIG. 37. SYMPATHY AND LOVE FOR ALL" />
+<br /><span class="caption">FIG. 37. SYMPATHY AND LOVE FOR ALL</span>
+</div>
+
+<p><i>An Aspiration to Enfold all.</i>&mdash;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,&mdash;with
+some attempt to represent the colour effect as well as the wonderful
+delicacy of the lines and curves.</p>
+
+<div class="figcenter">
+<a name="fig38" id="fig38"></a>
+<img src="images/fig38.jpg"
+alt="FIG. 38. AN ASPIRATION TO ENFOLD ALL"
+title="FIG. 38. AN ASPIRATION TO ENFOLD ALL" />
+<br /><span class="caption">FIG. 38. AN ASPIRATION TO ENFOLD ALL</span>
+</div>
+
+<p><i>In the Six Directions.</i>&mdash;The form represented in Fig. 39 is the result
+of another endeavour to extend love and sympathy in all directions&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig39" id="fig39"></a>
+<img src="images/fig39.jpg"
+alt="FIG. 39. IN THE SIX DIRECTIONS"
+title="FIG. 39. IN THE SIX DIRECTIONS" />
+<br /><span class="caption">FIG. 39. IN THE SIX DIRECTIONS</span>
+</div>
+
+<p><i>An Intellectual Conception of Cosmic Order.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig40" id="fig40"></a>
+<img src="images/fig40.jpg"
+alt="FIG. 40. AN INTELLECTUAL CONCEPTION OF COSMIC ORDER"
+title="FIG. 40. AN INTELLECTUAL CONCEPTION OF COSMIC ORDER" />
+<br /><span class="caption">FIG. 40. AN INTELLECTUAL CONCEPTION OF COSMIC ORDER</span>
+</div>
+
+<p><i>The Logos as manifested in Man.</i>&mdash;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 <span class="smcap">Logos</span> 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 <span class="smcap">Logos</span> 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.</p>
+
+<div class="figcenter">
+<a name="fig41" id="fig41"></a>
+<img src="images/fig41.jpg"
+alt="FIG. 41. THE LOGOS AS MANIFESTED IN MAN"
+title="FIG. 41. THE LOGOS AS MANIFESTED IN MAN" />
+<br /><span class="caption">FIG. 41. THE LOGOS AS MANIFESTED IN MAN</span>
+</div>
+
+<p><i>The Logos pervading all.</i>&mdash;Our next three Figures are devoted to the
+effort to represent a thought of a very high type&mdash;an endeavour to think
+of the <span class="smcap">Logos</span> 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.</p>
+
+<div class="figcenter">
+<a name="fig42" id="fig42"></a>
+<img src="images/fig42.jpg"
+alt="FIG. 42. THE LOGOS PERVADING ALL"
+title="FIG. 42. THE LOGOS PERVADING ALL" />
+<br /><span class="caption">FIG. 42. THE LOGOS PERVADING ALL</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig44-47" id="fig44-47"></a>
+<img src="images/figs44-47.png"
+alt="FIGS. 44-47"
+title="FIGS. 44-47" />
+<br /><span class="caption">FIG. 46. THE THREEFOLD MANIFESTATION&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;FIG. 45. ANOTHER CONCEPTION<br />
+FIG. 44. THE LOGOS PERVADING ALL&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+FIG. 47. THE SEVENFOLD MANIFESTATION</span>
+</div>
+
+<p><i>Another Conception.</i>&mdash;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 <i>moire antique</i>. 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 <span class="smcap">Logos</span>, 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.</p>
+
+<p><i>The Threefold Manifestation.</i>&mdash;When the form employed in Fig. 46 was
+made, its creator was endeavouring to think of the <span class="smcap">Logos</span> 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.</p>
+
+<p><i>The Sevenfold Manifestation.</i>&mdash;In all religions there remains some
+tradition of the great truth that the <span class="smcap">Logos</span> 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.</p>
+
+<p><i>Intellectual Aspiration.</i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="fig43" id="fig43"></a>
+<img src="images/fig43.jpg"
+alt="FIG. 43. INTELLECTUAL ASPIRATION"
+title="FIG. 43. INTELLECTUAL ASPIRATION" />
+<br /><span class="caption">FIG. 43. INTELLECTUAL ASPIRATION</span>
+</div>
+
+<p>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.</p>
+
+<hr style="width: 65%;" />
+<h2><a name="HELPFUL_THOUGHTS" id="HELPFUL_THOUGHTS"></a>HELPFUL THOUGHTS</h2>
+
+<p>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:&mdash;</p>
+
+<p>"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&mdash;say walking out of doors&mdash;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."</p>
+
+<div class="figcenter">
+<a name="fig48" id="fig48"></a>
+<img src="images/fig48.jpg"
+alt="FIG. 48. HELPFUL THOUGHTS"
+title="FIG. 48. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 48. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig49" id="fig49"></a>
+<img src="images/fig49.jpg"
+alt="FIG. 49. HELPFUL THOUGHTS"
+title="FIG. 49. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 49. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig50" id="fig50"></a>
+<img src="images/fig50.jpg"
+alt="FIG. 50. HELPFUL THOUGHTS"
+title="FIG. 50. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 50. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig51" id="fig51"></a>
+<img src="images/fig51.jpg"
+alt="FIG. 51. HELPFUL THOUGHTS"
+title="FIG. 51. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 51. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig52" id="fig52"></a>
+<img src="images/fig52.jpg"
+alt="FIG. 52. HELPFUL THOUGHTS"
+title="FIG. 52. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 52. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig53" id="fig53"></a>
+<img src="images/fig53.jpg"
+alt="FIG. 53. HELPFUL THOUGHTS"
+title="FIG. 53. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 53. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<div class="figcenter">
+<a name="fig54" id="fig54"></a>
+<img src="images/fig54.jpg"
+alt="FIG. 54. HELPFUL THOUGHTS"
+title="FIG. 54. HELPFUL THOUGHTS" />
+<br /><span class="caption">FIG. 54. HELPFUL THOUGHTS</span>
+<br /><br /><br /><br /></div>
+
+<hr style="width: 65%;" />
+<h2><a name="FORMS_BUILT_BY_MUSIC" id="FORMS_BUILT_BY_MUSIC"></a>FORMS BUILT BY MUSIC</h2>
+
+<p>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&mdash;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&mdash;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.</p>
+
+<p>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.</p>
+
+<p>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&mdash;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.</p>
+
+<p>Such forms remain as coherent erections for some considerable time&mdash;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.</p>
+
+<p><br /><i><b><a name="Mendelssohn" id="Mendelssohn"></a>Mendelssohn.</b></i>&mdash;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.</p>
+
+<div class="figcenter">
+<a name="figm" id="figm"></a>
+<img src="images/figm.jpg"
+alt="PLATE M. MUSIC OF MENDELSSOHN"
+title="PLATE M. MUSIC OF MENDELSSOHN" />
+<br /><span class="caption">PLATE M. MUSIC OF MENDELSSOHN</span>
+</div>
+
+<p>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.</p>
+
+<p>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 W&ouml;rte," and is characteristic of the delicate
+filigree-work which so often appears as the result of his compositions.</p>
+
+<p>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.</p>
+
+<p><br /><i><b><a name="Gounod" id="Gounod"></a>Gounod.</b></i>&mdash;In Plate G we have an entirely different piece&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="figg" id="figg"></a>
+<img src="images/figg.jpg"
+alt="PLATE G. MUSIC OF GOUNOD"
+title="PLATE G. MUSIC OF GOUNOD" />
+<br /><span class="caption">PLATE G. MUSIC OF GOUNOD</span>
+</div>
+
+<p>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&mdash;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.</p>
+
+<p>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.</p>
+
+<p><br /><i><b><a name="Wagner" id="Wagner"></a>Wagner.</b></i>&mdash;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&mdash;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.</p>
+
+<div class="figcenter">
+<a name="figw" id="figw"></a>
+<img src="images/figw.jpg"
+alt="PLATE W. MUSIC OF WAGNER"
+title="PLATE W. MUSIC OF WAGNER" />
+<br /><span class="caption">PLATE W. MUSIC OF WAGNER</span>
+</div>
+
+<p>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 <i>motifs</i> 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.</p>
+
+<p>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.</p>
+
+<p>Naturally every sound makes its impression upon astral and mental
+matter&mdash;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 <i>The Hidden Side of Things</i>.<a name="FNanchor_1_4" id="FNanchor_1_4"></a><a href="#Footnote_1_4" class="fnanchor">[1]</a></p>
+
+<p>It is well for us ever to bear in mind that there is a hidden side to
+life&mdash;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&mdash;that knowledge which is power; and in our Western world such
+knowledge is practically obtainable only through the literature of
+Theosophy.</p>
+
+<p>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.</p>
+
+<div class="footnote"><p><a name="Footnote_1_4" id="Footnote_1_4"></a><a href="#FNanchor_1_4"><span class="label">[1]</span></a> By C.W. Leadbeater.</p></div>
+
+
+
+<hr style="width: 65%;" />
+<h5>BRADFORD: REPRINTED BY PERCY LUND, HUMPHRIES AND CO. LTD.</h5>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Thought-Forms, by Annie Besant
+C.W. Leadbeater
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THOUGHT-FORMS ***
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+</body>
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+Project Gutenberg's Thought-Forms, by Annie Besant
+C.W. Leadbeater
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Thought-Forms
+
+Author: Annie Besant
+C.W. Leadbeater
+
+Release Date: July 12, 2005 [EBook #16269]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THOUGHT-FORMS ***
+
+
+
+
+Produced by Jonathan Ingram, Melissa Er-Raqabi and the
+Online Distributed Proofreading Team at https://www.pgdp.net.
+
+
+
+
+
+
+THOUGHT-FORMS
+
+BY ANNIE BESANT
+AND C.W. LEADBEATER
+
+[Illustration: Publisher Logo]
+
+THE THEOSOPHICAL PUBLISHING HOUSE LTD
+38 GREAT ORMOND STREET, LONDON, W.C. 1
+
+
+
+
+_First Printed_ 1901
+_Reprint_       1905
+_Reprint_       1925
+
+
+_Made and Printed in Great Britain by_
+PERCY LUND, HUMPHRIES & CO LTD
+THE COUNTRY PRESS
+BRADFORD
+
+[Illustration: FRONTISPIECE--MEANING OF THE COLOURS--(see html version
+for this and other illustrations.)]
+
+
+
+
+FOREWORD
+
+
+The text of this little book is the joint work of Mr Leadbeater and
+myself; some of it has already appeared as an article in _Lucifer_ (now
+the _Theosophical Review_), but the greater part of it is new. The
+drawing and painting of the Thought-Forms observed by Mr Leadbeater or
+by myself, or by both of us together, has been done by three friends--Mr
+John Varley, Mr Prince, and Miss Macfarlane, to each of whom we tender
+our cordial thanks. To paint in earth's dull colours the forms clothed
+in the living light of other worlds is a hard and thankless task; so
+much the more gratitude is due to those who have attempted it. They
+needed coloured fire, and had only ground earths. We have also to thank
+Mr F. Bligh Bond for allowing us to use his essay on _Vibration
+Figures_, and some of his exquisite drawings. Another friend, who sent
+us some notes and a few drawings, insists on remaining anonymous, so we
+can only send our thanks to him with similar anonymity.
+
+It is our earnest hope--as it is our belief--that this little book will
+serve as a striking moral lesson to every reader, making him realise the
+nature and power of his thoughts, acting as a stimulus to the noble, a
+curb on the base. With this belief and hope we send it on its way.
+
+ANNIE BESANT.
+
+
+
+
+CONTENTS
+
+                                                                    PAGE
+FOREWORD                                                               6
+INTRODUCTION                                                          11
+THE DIFFICULTY OF REPRESENTATION                                      16
+THE TWO EFFECTS OF THOUGHT                                            21
+HOW THE VIBRATION ACTS                                                23
+THE FORM AND ITS EFFECT                                               25
+THE MEANING OF THE COLOURS                                            32
+THREE CLASSES OF THOUGHT-FORMS                                        36
+ILLUSTRATIVE THOUGHT-FORMS                                            40
+AFFECTION                                                          40-44
+DEVOTION                                                           44-49
+INTELLECT                                                          49-50
+AMBITION                                                              51
+ANGER                                                                 52
+SYMPATHY                                                              55
+FEAR                                                                  55
+GREED                                                                 56
+VARIOUS EMOTIONS                                                      57
+  SHIPWRECK                                                           57
+  ON THE FIRST NIGHT                                                  59
+  THE GAMBLERS                                                        60
+  AT A STREET ACCIDENT                                                61
+  AT A FUNERAL                                                        61
+  ON MEETING A FRIEND                                                 64
+  APPRECIATION OF A PICTURE                                           65
+FORMS SEEN IN MEDITATION                                              66
+  SYMPATHY AND LOVE FOR ALL                                           66
+  AN ASPIRATION TO ENFOLD ALL                                         66
+  IN THE SIX DIRECTIONS                                               67
+  COSMIC ORDER                                                        68
+  THE LOGOS AS MANIFESTED IN MAN                                      69
+  THE LOGOS PERVADING ALL                                             70
+  ANOTHER CONCEPTION                                                  71
+  THE THREEFOLD MANIFESTATION                                         71
+  THE SEVENFOLD MANIFESTATION                                         72
+  INTELLECTUAL ASPIRATION                                             72
+HELPFUL THOUGHTS                                                      74
+FORMS BUILT BY MUSIC                                                  75
+  MENDELSSOHN                                                         77
+  GOUNOD                                                              80
+  WAGNER                                                              82
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+                                            FIG.                    PAGE
+MEANING OF THE COLOURS                                    _Frontispiece_
+CHLADNI'S SOUND PLATE                          1                      28
+FORMS PRODUCED IN SAND                         2                      28
+FORMS PRODUCED IN SAND                         3                      29
+FORMS PRODUCED BY PENDULUMS                  4-7                      30
+VAGUE PURE AFFECTION                           8                      40
+VAGUE SELFISH AFFECTION                        9                      40
+DEFINITE AFFECTION                            10                      42
+RADIATING AFFECTION                           11                      43
+PEACE AND PROTECTION                          12                      42
+GRASPING ANIMAL AFFECTION                     13                      43
+VAGUE RELIGIOUS FEELING                       14                      44
+UPWARD RUSH OF DEVOTION                       15                      46
+SELF-RENUNCIATION                             16                      44
+RESPONSE TO DEVOTION                          17                      46
+VAGUE INTELLECTUAL PLEASURE                   18                      50
+VAGUE SYMPATHY                                18A                     50
+THE INTENTION TO KNOW                         19                      51
+HIGH AMBITION                                 20                      52
+SELFISH AMBITION                              21                      52
+MURDEROUS RAGE                                22                      53
+SUSTAINED ANGER                               23                      53
+EXPLOSIVE ANGER                               24                      51
+WATCHFUL JEALOUSY                             25                      54
+ANGRY JEALOUSY                                26                      54
+SUDDEN FRIGHT                                 27                      55
+SELFISH GREED                                 28                      56
+GREED FOR DRINK                               29                      56
+AT A SHIPWRECK                                30                      58
+ON THE FIRST NIGHT                            31                      59
+THE GAMBLERS                                  32                      60
+AT A STREET ACCIDENT                          33                      61
+AT A FUNERAL                                  34                      62
+ON MEETING A FRIEND                           35                      64
+THE APPRECIATION OF A PICTURE                 36                      64
+SYMPATHY AND LOVE FOR ALL                     37                      66
+AN ASPIRATION TO ENFOLD ALL                   38                      67
+IN THE SIX DIRECTIONS                         39                      66
+AN INTELLECTUAL CONCEPTION OF COSMIC ORDER    40                      69
+THE LOGOS AS MANIFESTED IN MAN                41                      69
+THE LOGOS PERVADING ALL                42 and 44                      70
+ANOTHER CONCEPTION                            45                      70
+THE THREEFOLD MANIFESTATION                   46                      70
+THE SEVENFOLD MANIFESTATION                   47                      70
+INTELLECTUAL ASPIRATION                       43                      72
+HELPFUL THOUGHTS      48, 49, 50, 51, 52, 53, 54                      74
+
+                                           PLATE
+MUSIC OF MENDELSSOHN                           M                      78
+MUSIC OF GOUNOD                                G                      80
+MUSIC OF WAGNER                                W                      82
+
+[Transcriber's Note: Some of the plates are displayed out of sequence to
+correspond with references to them in the text.]
+
+
+
+
+THOUGHT-FORMS
+
+
+As knowledge increases, the attitude of science towards the things of
+the invisible world is undergoing considerable modification. Its
+attention is no longer directed solely to the earth with all its variety
+of objects, or to the physical worlds around it; but it finds itself
+compelled to glance further afield, and to construct hypotheses as to
+the nature of the matter and force which lie in the regions beyond the
+ken of its instruments. Ether is now comfortably settled in the
+scientific kingdom, becoming almost more than a hypothesis. Mesmerism,
+under its new name of hypnotism, is no longer an outcast. Reichenbach's
+experiments are still looked at askance, but are not wholly condemned.
+Roentgen's rays have rearranged some of the older ideas of matter, while
+radium has revolutionised them, and is leading science beyond the
+borderland of ether into the astral world. The boundaries between
+animate and inanimate matter are broken down. Magnets are found to be
+possessed of almost uncanny powers, transferring certain forms of
+disease in a way not yet satisfactorily explained. Telepathy,
+clairvoyance, movement without contact, though not yet admitted to the
+scientific table, are approaching the Cinderella-stage. The fact is
+that science has pressed its researches so far, has used such rare
+ingenuity in its questionings of nature, has shown such tireless
+patience in its investigations, that it is receiving the reward of those
+who seek, and forces and beings of the next higher plane of nature are
+beginning to show themselves on the outer edge of the physical field.
+"Nature makes no leaps," and as the physicist nears the confines of his
+kingdom he finds himself bewildered by touches and gleams from another
+realm which interpenetrates his own. He finds himself compelled to
+speculate on invisible presences, if only to find a rational explanation
+for undoubted physical phenomena, and insensibly he slips over the
+boundary, and is, although he does not yet realise it, contacting the
+astral plane.
+
+One of the most interesting of the highroads from the physical to the
+astral is that of the study of thought. The Western scientist,
+commencing in the anatomy and physiology of the brain, endeavours to
+make these the basis for "a sound psychology." He passes then into the
+region of dreams, illusions, hallucinations; and as soon as he
+endeavours to elaborate an experimental science which shall classify and
+arrange these, he inevitably plunges into the astral plane. Dr Baraduc
+of Paris has nearly crossed the barrier, and is well on the way towards
+photographing astro-mental images, to obtaining pictures of what from
+the materialistic standpoint would be the results of vibrations in the
+grey matter of the brain.
+
+It has long been known to those who have given attention to the question
+that impressions were produced by the reflection of the ultra-violet
+rays from objects not visible by the rays of the ordinary spectrum.
+Clairvoyants were occasionally justified by the appearance on sensitive
+photographic plates of figures seen and described by them as present
+with the sitter, though invisible to physical sight. It is not possible
+for an unbiassed judgment to reject _in toto_ the evidence of such
+occurrences proffered by men of integrity on the strength of their own
+experiments, oftentimes repeated. And now we have investigators who turn
+their attention to the obtaining of images of subtle forms, inventing
+methods specially designed with the view of reproducing them. Among
+these, Dr Baraduc seems to have been the most successful, and he has
+published a volume dealing with his investigations and containing
+reproductions of the photographs he has obtained. Dr Baraduc states that
+he is investigating the subtle forces by which the soul--defined as the
+intelligence working between the body and the spirit--expresses itself,
+by seeking to record its movements by means of a needle, its "luminous"
+but invisible vibrations by impressions on sensitive plates. He shuts
+out by non-conductors electricity and heat. We can pass over his
+experiments in Biometry (measurement of life by movements), and glance
+at those in Iconography--the impressions of invisible waves, regarded by
+him as of the nature of light, in which the soul draws its own image. A
+number of these photographs represent etheric and magnetic results of
+physical phenomena, and these again we may pass over as not bearing on
+our special subject, interesting as they are in themselves. Dr Baraduc
+obtained various impressions by strongly thinking of an object, the
+effect produced by the thought-form appearing on a sensitive plate; thus
+he tried to project a portrait of a lady (then dead) whom he had known,
+and produced an impression due to his thought of a drawing he had made
+of her on her deathbed. He quite rightly says that the creation of an
+object is the passing out of an image from the mind and its subsequent
+materialisation, and he seeks the chemical effect caused on silver salts
+by this thought-created picture. One striking illustration is that of a
+force raying outwards, the projection of an earnest prayer. Another
+prayer is seen producing forms like the fronds of a fern, another like
+rain pouring upwards, if the phrase may be permitted. A rippled oblong
+mass is projected by three persons thinking of their unity in affection.
+A young boy sorrowing over and caressing a dead bird is surrounded by a
+flood of curved interwoven threads of emotional disturbance. A strong
+vortex is formed by a feeling of deep sadness. Looking at this most
+interesting and suggestive series, it is clear that in these pictures
+that which is obtained is not the thought-image, but the effect caused
+in etheric matter by its vibrations, and it is necessary to
+clairvoyantly see the thought in order to understand the results
+produced. In fact, the illustrations are instructive for what they do
+not show directly, as well as for the images that appear.
+
+It may be useful to put before students, a little more plainly than has
+hitherto been done, some of the facts in nature which will render more
+intelligible the results at which Dr Baraduc is arriving. Necessarily
+imperfect these must be, a physical photographic camera and sensitive
+plates not being ideal instruments for astral research; but, as will be
+seen from the above, they are most interesting and valuable as forming a
+link between clairvoyant and physical scientific investigations.
+
+At the present time observers outside the Theosophical Society are
+concerning themselves with the fact that emotional changes show their
+nature by changes of colour in the cloud-like ovoid, or aura, that
+encompasses all living beings. Articles on the subject are appearing in
+papers unconnected with the Theosophical Society, and a medical
+specialist[1] has collected a large number of cases in which the colour
+of the aura of persons of various types and temperaments is recorded by
+him. His results resemble closely those arrived at by clairvoyant
+theosophists and others, and the general unanimity on the subject is
+sufficient to establish the fact, if the evidence be judged by the usual
+canons applied to human testimony.
+
+The book _Man Visible and Invisible_ dealt with the general subject of
+the aura. The present little volume, written by the author of _Man
+Visible and Invisible_, and a theosophical colleague, is intended to
+carry the subject further; and it is believed that this study is useful,
+as impressing vividly on the mind of the student the power and living
+nature of thought and desire, and the influence exerted by them on all
+whom they reach.
+
+[Footnote 1: Dr Hooker, Gloucester Place, London, W.]
+
+
+
+
+THE DIFFICULTY OF REPRESENTATION
+
+
+We have often heard it said that thoughts are things, and there are many
+among us who are persuaded of the truth of this statement. Yet very few
+of us have any clear idea as to what kind of thing a thought is, and the
+object of this little book is to help us to conceive this.
+
+There are some serious difficulties in our way, for our conception of
+space is limited to three dimensions, and when we attempt to make a
+drawing we practically limit ourselves to two. In reality the
+presentation even of ordinary three-dimensional objects is seriously
+defective, for scarcely a line or angle in our drawing is accurately
+shown. If a road crosses the picture, the part in the foreground must be
+represented as enormously wider than that in the background, although in
+reality the width is unchanged. If a house is to be drawn, the right
+angles at its corners must be shown as acute or obtuse as the case may
+be, but hardly ever as they actually are. In fact, we draw everything
+not as it is but as it appears, and the effort of the artist is by a
+skilful arrangement of lines upon a flat surface to convey to the eye an
+impression which shall recall that made by a three-dimensional object.
+
+It is possible to do this only because similar objects are already
+familiar to those who look at the picture and accept the suggestion
+which it conveys. A person who had never seen a tree could form but
+little idea of one from even the most skilful painting. If to this
+difficulty we add the other and far more serious one of a limitation of
+consciousness, and suppose ourselves to be showing the picture to a
+being who knew only two dimensions, we see how utterly impossible it
+would be to convey to him any adequate impression of such a landscape as
+we see. Precisely this difficulty in its most aggravated form stands in
+our way, when we try to make a drawing of even a very simple
+thought-form. The vast majority of those who look at the picture are
+absolutely limited to the consciousness of three dimensions, and
+furthermore, have not the slightest conception of that inner world to
+which thought-forms belong, with all its splendid light and colour. All
+that we can do at the best is to represent a section of the
+thought-form; and those whose faculties enable them to see the original
+cannot but be disappointed with any reproduction of it. Still, those who
+are at present unable to see anything will gain at least a partial
+comprehension, and however inadequate it may be it is at least better
+than nothing.
+
+All students know that what is called the aura of man is the outer part
+of the cloud-like substance of his higher bodies, interpenetrating each
+other, and extending beyond the confines of his physical body, the
+smallest of all. They know also that two of these bodies, the mental and
+desire bodies, are those chiefly concerned with the appearance of what
+are called thought-forms. But in order that the matter may be made clear
+for all, and not only for students already acquainted with theosophical
+teachings, a recapitulation of the main facts will not be out of place.
+
+Man, the Thinker, is clothed in a body composed of innumerable
+combinations of the subtle matter of the mental plane, this body being
+more or less refined in its constituents and organised more or less
+fully for its functions, according to the stage of intellectual
+development at which the man himself has arrived. The mental body is an
+object of great beauty, the delicacy and rapid motion of its particles
+giving it an aspect of living iridescent light, and this beauty becomes
+an extraordinarily radiant and entrancing loveliness as the intellect
+becomes more highly evolved and is employed chiefly on pure and sublime
+topics. Every thought gives rise to a set of correlated vibrations in
+the matter of this body, accompanied with a marvellous play of colour,
+like that in the spray of a waterfall as the sunlight strikes it, raised
+to the _n_th degree of colour and vivid delicacy. The body under this
+impulse throws off a vibrating portion of itself, shaped by the nature
+of the vibrations--as figures are made by sand on a disk vibrating to a
+musical note--and this gathers from the surrounding atmosphere matter
+like itself in fineness from the elemental essence of the mental world.
+We have then a thought-form pure and simple, and it is a living entity
+of intense activity animated by the one idea that generated it. If made
+of the finer kinds of matter, it will be of great power and energy, and
+may be used as a most potent agent when directed by a strong and steady
+will. Into the details of such use we will enter later.
+
+When the man's energy flows outwards towards external objects of desire,
+or is occupied in passional and emotional activities, this energy works
+in a less subtle order of matter than the mental, in that of the astral
+world. What is called his desire-body is composed of this matter, and it
+forms the most prominent part of the aura in the undeveloped man. Where
+the man is of a gross type, the desire-body is of the denser matter of
+the astral plane, and is dull in hue, browns and dirty greens and reds
+playing a great part in it. Through this will flash various
+characteristic colours, as his passions are excited. A man of a higher
+type has his desire-body composed of the finer qualities of astral
+matter, with the colours, rippling over and flashing through it, fine
+and clear in hue. While less delicate and less radiant than the mental
+body, it forms a beautiful object, and as selfishness is eliminated all
+the duller and heavier shades disappear.
+
+This desire (or astral) body gives rise to a second class of entities,
+similar in their general constitution to the thought-forms already
+described, but limited to the astral plane, and generated by the mind
+under the dominion of the animal nature.
+
+These are caused by the activity of the lower mind, throwing itself out
+through the astral body--the activity of Kama-Manas in theosophical
+terminology, or the mind dominated by desire. Vibrations in the body of
+desire, or astral body, are in this case set up, and under these this
+body throws off a vibrating portion of itself, shaped, as in the
+previous case, by the nature of the vibrations, and this attracts to
+itself some of the appropriate elemental essence of the astral world.
+Such a thought-form has for its body this elemental essence, and for its
+animating soul the desire or passion which threw it forth; according to
+the amount of mental energy combined with this desire or passion will
+be the force of the thought-form. These, like those belonging to the
+mental plane, are called artificial elementals, and they are by far the
+most common, as few thoughts of ordinary men and women are untinged with
+desire, passion, or emotion.
+
+
+
+
+THE TWO EFFECTS OF THOUGHT
+
+
+Each definite thought produces a double effect--a radiating vibration
+and a floating form. The thought itself appears first to clairvoyant
+sight as a vibration in the mental body, and this may be either simple
+or complex. If the thought itself is absolutely simple, there is only
+the one rate of vibration, and only one type of mental matter will be
+strongly affected. The mental body is composed of matter of several
+degrees of density, which we commonly arrange in classes according to
+the sub-planes. Of each of these we have many sub-divisions, and if we
+typify these by drawing horizontal lines to indicate the different
+degrees of density, there is another arrangement which we might
+symbolise by drawing perpendicular lines at right angles to the others,
+to denote types which differ in quality as well as in density. There are
+thus many varieties of this mental matter, and it is found that each one
+of these has its own especial and appropriate rate of vibration, to
+which it seems most accustomed, so that it very readily responds to it,
+and tends to return to it as soon as possible when it has been forced
+away from it by some strong rush of thought or feeling. When a sudden
+wave of some emotion sweeps over a man, for example, his astral body is
+thrown into violent agitation, and its original colours are or the time
+almost obscured by the flush of carmine, of blue, or of scarlet which
+corresponds with the rate of vibration of that particular emotion. This
+change is only temporary; it passes off in a few seconds, and the astral
+body rapidly resumes its usual condition. Yet every such rush of feeling
+produces a permanent effect: it always adds a little of its hue to the
+normal colouring of the astral body, so that every time that the man
+yields himself to a certain emotion it becomes easier for him to yield
+himself to it again, because his astral body is getting into the habit
+of vibrating at that especial rate.
+
+The majority of human thoughts, however, are by no means simple.
+Absolutely pure affection of course exists; but we very often find it
+tinged with pride or with selfishness, with jealousy or with animal
+passion. This means that at least two separate vibrations appear both in
+the mental and astral bodies--frequently more than two. The radiating
+vibration, therefore, will be a complex one, and the resultant
+thought-form will show several colours instead of only one.
+
+
+
+
+HOW THE VIBRATION ACTS
+
+
+These radiating vibrations, like all others in nature, become less
+powerful in proportion to the distance from their source, though it is
+probable that the variation is in proportion to the cube of the distance
+instead of to the square, because of the additional dimension involved.
+Again, like all other vibrations, these tend to reproduce themselves
+whenever opportunity is offered to them; and so whenever they strike
+upon another mental body they tend to provoke in it their own rate of
+motion. That is--from the point of view of the man whose mental body is
+touched by these waves--they tend to produce in his mind thoughts of the
+same type as that which had previously arisen in the mind of the thinker
+who sent forth the waves. The distance to which such thought-waves
+penetrate, and the force and persistency with which they impinge upon
+the mental bodies of others, depend upon the strength and clearness of
+the original thought. In this way the thinker is in the same position as
+the speaker. The voice of the latter sets in motion waves of sound in
+the air which radiate from him in all directions, and convey his message
+to all those who are within hearing, and the distance to which his voice
+can penetrate depends upon its power and upon the clearness of his
+enunciation. In just the same way the forceful thought will carry very
+much further than the weak and undecided thought; but clearness and
+definiteness are of even greater importance than strength. Again, just
+as the speaker's voice may fall upon heedless ears where men are already
+engaged in business or in pleasure, so may a mighty wave of thought
+sweep past without affecting the mind of the man, if he be already
+deeply engrossed in some other line of thought.
+
+It should be understood that this radiating vibration conveys the
+character of the thought, but not its subject. If a Hindu sits rapt in
+devotion to Krishna, the waves of feeling which pour forth from him
+stimulate devotional feeling in all those who come under their
+influence, though in the case of the Muhammadan that devotion is to
+Allah, while for the Zoroastrian it is to Ahuramazda, or for the
+Christian to Jesus. A man thinking keenly upon some high subject pours
+out from himself vibrations which tend to stir up thought at a similar
+level in others, but they in no way suggest to those others the special
+subject of his thought. They naturally act with special vigour upon
+those minds already habituated to vibrations of similar character; yet
+they have some effect on every mental body upon which they impinge, so
+that their tendency is to awaken the power of higher thought in those to
+whom it has not yet become a custom. It is thus evident that every man
+who thinks along high lines is doing missionary work, even though he may
+be entirely unconscious of it.
+
+
+
+
+THE FORM AND ITS EFFECT
+
+
+Let us turn now to the second effect of thought, the creation of a
+definite form. All students of the occult are acquainted with the idea
+of the elemental essence, that strange half-intelligent life which
+surrounds us in all directions, vivifying the matter of the mental and
+astral planes. This matter thus animated responds very readily to the
+influence of human thought, and every impulse sent out, either from the
+mental body or from the astral body of man, immediately clothes itself
+in a temporary vehicle of this vitalised matter. Such a thought or
+impulse becomes for the time a kind of living creature, the
+thought-force being the soul, and the vivified matter the body. Instead
+of using the somewhat clumsy paraphrase, "astral or mental matter
+ensouled by the monadic essence at the stage of one of the elemental
+kingdoms," theosophical writers often, for brevity's sake, call this
+quickened matter simply elemental essence; and sometimes they speak of
+the thought-form as "an elemental." There may be infinite variety in the
+colour and shape of such elementals or thought-forms, for each thought
+draws round it the matter which is appropriate for its expression, and
+sets that matter into vibration in harmony with its own; so that the
+character of the thought decides its colour, and the study of its
+variations and combinations is an exceedingly interesting one.
+
+This thought-form may not inaptly be compared to a Leyden jar, the
+coating of living essence being symbolised by the jar, and the thought
+energy by the charge of electricity. If the man's thought or feeling is
+directly connected with someone else, the resultant thought-form moves
+towards that person and discharges itself upon his astral and mental
+bodies. If the man's thought is about himself, or is based upon a
+personal feeling, as the vast majority of thoughts are, it hovers round
+its creator and is always ready to react upon him whenever he is for a
+moment in a passive condition. For example, a man who yields himself to
+thoughts of impurity may forget all about them while he is engaged in
+the daily routine of his business, even though the resultant forms are
+hanging round him in a heavy cloud, because his attention is otherwise
+directed and his astral body is therefore not impressible by any other
+rate of vibration than its own. When, however, the marked vibration
+slackens and the man rests after his labours and leaves his mind blank
+as regards definite thought, he is very likely to feel the vibration of
+impurity stealing insidiously upon him. If the consciousness of the man
+be to any extent awakened, he may perceive this and cry out that he is
+being tempted by the devil; yet the truth is that the temptation is from
+without only in appearance, since it is nothing but the natural reaction
+upon him of his own thought-forms. Each man travels through space
+enclosed within a cage of his own building, surrounded by a mass of the
+forms created by his habitual thoughts. Through this medium he looks out
+upon the world, and naturally he sees everything tinged with its
+predominant colours, and all rates of vibration which reach him from
+without are more or less modified by its rate. Thus until the man learns
+complete control of thought and feeling, he sees nothing as it really
+is, since all his observations must be made through this medium, which
+distorts and colours everything like badly-made glass.
+
+If the thought-form be neither definitely personal nor specially aimed
+at someone else, it simply floats detached in the atmosphere, all the
+time radiating vibrations similar to those originally sent forth by its
+creator. If it does not come into contact with any other mental body,
+this radiation gradually exhausts its store of energy, and in that case
+the form falls to pieces; but if it succeeds in awakening sympathetic
+vibration in any mental body near at hand, an attraction is set up, and
+the thought-form is usually absorbed by that mental body. Thus we see
+that the influence of the thought-form is by no means so far-reaching as
+that of the original vibration; but in so far as it acts, it acts with
+much greater precision. What it produces in the mind-body which it
+influences is not merely a thought of an order similar to that which
+gave it birth; it is actually the same thought. The radiation may affect
+thousands and stir up in them thoughts on the same level as the
+original, and yet it may happen that no one of them will be identical
+with that original; the thought-form can affect only very few, but in
+those few cases it will reproduce exactly the initiatory idea.
+
+The fact of the creation by vibrations of a distinct form, geometrical
+or other, is already familiar to every student of acoustics, and
+"Chladni's" figures are continually reproduced in every physical
+laboratory.
+
+[Illustration: FIG. 1. CHLADNI'S SOUND PLATE]
+
+[Illustration: FIG. 2. FORMS PRODUCED IN SOUND]
+
+For the lay reader the following brief description may be useful. A
+Chladni's sound plate (fig. 1) is made of brass or plate-glass. Grains
+of fine sand or spores are scattered over the surface, and the edge of
+the plate is bowed. The sand is thrown up into the air by the vibration
+of the plate, and re-falling on the plate is arranged in regular lines
+(fig. 2). By touching the edge of the plate at different points when it
+is bowed, different notes, and hence varying forms, are obtained (fig.
+3). If the figures here given are compared with those obtained from the
+human voice, many likenesses will be observed. For these latter, the
+'voice-forms' so admirably studied and pictured by Mrs Watts Hughes,[1]
+bearing witness to the same fact, should be consulted, and her work on
+the subject should be in the hands of every student. But few perhaps
+have realised that the shapes pictured are due to the interplay of the
+vibrations that create them, and that a machine exists by means of which
+two or more simultaneous motions can be imparted to a pendulum, and that
+by attaching a fine drawing-pen to a lever connected with the pendulum
+its action may be exactly traced. Substitute for the swing of the
+pendulum the vibrations set up in the mental or astral body, and we have
+clearly before us the _modus operandi_ of the building of forms by
+vibrations.[2]
+
+[Illustration: FIG. 3. FORMS PRODUCED IN SOUND]
+
+[Footnote 1: _The Eidophone Voice Figures._ Margaret Watts Hughes.]
+
+[Footnote 2: Mr Joseph Gould, Stratford House, Nottingham, supplies the
+twin-elliptic pendulum by which these wonderful figures may be
+produced.]
+
+The following description is taken from a most interesting essay
+entitled _Vibration Figures_, by F. Bligh Bond, F.R.I.B.A., who has
+drawn a number of remarkable figures by the use of pendulums. The
+pendulum is suspended on knife edges of hardened steel, and is free to
+swing only at right angles to the knife-edge suspension. Four such
+pendulums may be coupled in pairs, swinging at right angles to each
+other, by threads connecting the shafts of each pair of pendulums with
+the ends of a light but rigid lath, from the centre of which run other
+threads; these threads carry the united movements of each pair of
+pendulums to a light square of wood, suspended by a spring, and bearing
+a pen. The pen is thus controlled by the combined movement of the four
+pendulums, and this movement is registered on a drawing board by the
+pen. There is no limit, theoretically, to the number of pendulums that
+can be combined in this manner. The movements are rectilinear, but two
+rectilinear vibrations of equal amplitude acting at right angles to each
+other generate a circle if they alternate precisely, an ellipse if the
+alternations are less regular or the amplitudes unequal. A cyclic
+vibration may also be obtained from a pendulum free to swing in a rotary
+path. In these ways a most wonderful series of drawings have been
+obtained, and the similarity of these to some of the thought-forms is
+remarkable; they suffice to demonstrate how readily vibrations may be
+transformed into figures. Thus compare fig. 4 with fig. 12, the mother's
+prayer; or fig. 5 with fig. 10; or fig. 6 with fig. 25, the serpent-like
+darting forms. Fig. 7 is added as an illustration of the complexity
+attainable. It seems to us a most marvellous thing that some of the
+drawings, made apparently at random by the use of this machine, should
+exactly correspond to higher types of thought-forms created in
+meditation. We are sure that a wealth of significance lies behind this
+fact, though it will need much further investigation before we can say
+certainly all that it means. But it must surely imply this much--that,
+if two forces on the physical plane bearing a certain ratio one to the
+other can draw a form which exactly corresponds to that produced on the
+mental plane by a complex thought, we may infer that that thought sets
+in motion on its own plane two forces which are in the same ratio one to
+the other. What these forces are and how they work remains to be seen;
+but if we are ever able to solve this problem, it is likely that it
+will open to us a new and exceedingly valuable field of knowledge.
+
+[Illustration: FIGS. 4-7. FORMS PRODUCED BY PENDULUMS]
+
+
+GENERAL PRINCIPLES.
+
+Three general principles underlie the production of all thought-forms:--
+
+1. Quality of thought determines colour.
+
+2. Nature of thought determines form.
+
+3. Definiteness of thought determines clearness of outline.
+
+
+
+
+THE MEANING OF THE COLOURS
+
+
+The table of colours given in the frontispiece has already been
+thoroughly described in the book _Man Visible and Invisible_, and the
+meaning to be attached to them is just the same in the thought-form as
+in the body out of which it is evolved. For the sake of those who have
+not at hand the full description given in the book just mentioned, it
+will be well to state that black means hatred and malice. Red, of all
+shades from lurid brick-red to brilliant scarlet, indicates anger;
+brutal anger will show as flashes of lurid red from dark brown clouds,
+while the anger of "noble indignation" is a vivid scarlet, by no means
+unbeautiful, though it gives an unpleasant thrill; a particularly dark
+and unpleasant red, almost exactly the colour called dragon's blood,
+shows animal passion and sensual desire of various kinds. Clear brown
+(almost burnt sienna) shows avarice; hard dull brown-grey is a sign of
+selfishness--a colour which is indeed painfully common; deep heavy grey
+signifies depression, while a livid pale grey is associated with fear;
+grey-green is a signal of deceit, while brownish-green (usually flecked
+with points and flashes of scarlet) betokens jealousy. Green seems
+always to denote adaptability; in the lowest case, when mingled with
+selfishness, this adaptability becomes deceit; at a later stage, when
+the colour becomes purer, it means rather the wish to be all things to
+all men, even though it may be chiefly for the sake of becoming popular
+and bearing a good reputation with them; in its still higher, more
+delicate and more luminous aspect, it shows the divine power of
+sympathy. Affection expresses itself in all shades of crimson and rose;
+a full clear carmine means a strong healthy affection of normal type; if
+stained heavily with brown-grey, a selfish and grasping feeling is
+indicated, while pure pale rose marks that absolutely unselfish love
+which is possible only to high natures; it passes from the dull crimson
+of animal love to the most exquisite shades of delicate rose, like the
+early flushes of the dawning, as the love becomes purified from all
+selfish elements, and flows out in wider and wider circles of generous
+impersonal tenderness and compassion to all who are in need. With a
+touch of the blue of devotion in it, this may express a strong
+realisation of the universal brotherhood of humanity. Deep orange
+imports pride or ambition, and the various shades of yellow denote
+intellect or intellectual gratification, dull yellow ochre implying the
+direction of such faculty to selfish purposes, while clear gamboge shows
+a distinctly higher type, and pale luminous primrose yellow is a sign of
+the highest and most unselfish use of intellectual power, the pure
+reason directed to spiritual ends. The different shades of blue all
+indicate religious feeling, and range through all hues from the dark
+brown-blue of selfish devotion, or the pallid grey-blue of
+fetish-worship tinged with fear, up to the rich deep clear colour of
+heartfelt adoration, and the beautiful pale azure of that highest form
+which implies self-renunciation and union with the divine; the
+devotional thought of an unselfish heart is very lovely in colour, like
+the deep blue of a summer sky. Through such clouds of blue will often
+shine out golden stars of great brilliancy, darting upwards like a
+shower of sparks. A mixture of affection and devotion is manifested by a
+tint of violet, and the more delicate shades of this invariably show the
+capacity of absorbing and responding to a high and beautiful ideal. The
+brilliancy and the depth of the colours are usually a measure of the
+strength and the activity of the feeling.
+
+Another consideration which must not be forgotten is the type of matter
+in which these forms are generated. If a thought be purely intellectual
+and impersonal--for example, if the thinker is attempting to solve a
+problem in algebra or geometry--the thought-form and the wave of
+vibration will be confined entirely to the mental plane. If, however,
+the thought be of a spiritual nature, if it be tinged with love and
+aspiration or deep unselfish feeling, it will rise upwards from the
+mental plane and will borrow much of the splendour and glory of the
+buddhic level. In such a case its influence is exceedingly powerful, and
+every such thought is a mighty force for good which cannot but produce a
+decided effect upon all mental bodies within reach, if they contain any
+quality at all capable of response.
+
+If, on the other hand, the thought has in it something of self or of
+personal desire, at once its vibration turns downwards, and it draws
+round itself a body of astral matter in addition to its clothing of
+mental matter. Such a thought-form is capable of acting upon the astral
+bodies of other men as well as their minds, so that it can not only
+raise thought within them, but can also stir up their feelings.
+
+
+
+
+THREE CLASSES OF THOUGHT-FORMS
+
+
+From the point of view of the forms which they produce we may group
+thought into three classes:--
+
+1. That which takes the image of the thinker. When a man thinks of
+himself as in some distant place, or wishes earnestly to be in that
+place, he makes a thought-form in his own image which appears there.
+Such a form has not infrequently been seen by others, and has sometimes
+been taken for the astral body or apparition of the man himself. In such
+a case, either the seer must have enough of clairvoyance for the time to
+be able to observe that astral shape, or the thought-form must have
+sufficient strength to materialise itself--that is, to draw round itself
+temporarily a certain amount of physical matter. The thought which
+generates such a form as this must necessarily be a strong one, and it
+therefore employs a larger proportion of the matter of the mental body,
+so that though the form is small and compressed when it leaves the
+thinker, it draws round it a considerable amount of astral matter, and
+usually expands to life-size before it appears at its destination.
+
+2. That which takes the image of some material object. When a man thinks
+of his friend he forms within his mental body a minute image of that
+friend, which often passes outward and usually floats suspended in the
+air before him. In the same way if he thinks of a room, a house, a
+landscape, tiny images of these things are formed within the mental body
+and afterwards externalised. This is equally true when he is exercising
+his imagination; the painter who forms a conception of his future
+picture builds it up out of the matter of his mental body, and then
+projects it into space in front of him, keeps it before his mind's eye,
+and copies it. The novelist in the same way builds images of his
+character in mental matter, and by the exercise of his will moves these
+puppets from one position or grouping to another, so that the plot of
+his story is literally acted out before him. With our curiously inverted
+conceptions of reality it is hard for us to understand that these mental
+images actually exist, and are so entirely objective that they may
+readily be seen by the clairvoyant, and can even be rearranged by some
+one other than their creator. Some novelists have been dimly aware of
+such a process, and have testified that their characters when once
+created developed a will of their own, and insisted on carrying the plot
+of the story along lines quite different from those originally intended
+by the author. This has actually happened, sometimes because the
+thought-forms were ensouled by playful nature-spirits, or more often
+because some 'dead' novelist, watching on the astral plane the
+development of the plan of his fellow-author, thought that he could
+improve upon it, and chose this method of putting forward his
+suggestions.
+
+3. That which takes a form entirely its own, expressing its inherent
+qualities in the matter which it draws round it. Only thought-forms of
+this third class can usefully be illustrated, for to represent those of
+the first or second class would be merely to draw portraits or
+landscapes. In those types we have the plastic mental or astral matter
+moulded in imitation of forms belonging to the physical plane; in this
+third group we have a glimpse of the forms natural to the astral or
+mental planes. Yet this very fact, which makes them so interesting,
+places an insuperable barrier in the way of their accurate reproduction.
+
+Thought-forms of this third class almost invariably manifest themselves
+upon the astral plane, as the vast majority of them are expressions of
+feeling as well as of thought. Those of which we here give specimens are
+almost wholly of that class, except that we take a few examples of the
+beautiful thought-forms created in definite meditation by those who,
+through long practice, have learnt how to think.
+
+Thought-forms directed towards individuals produce definitely marked
+effects, these effects being either partially reproduced in the aura of
+the recipient and so increasing the total result, or repelled from it. A
+thought of love and of desire to protect, directed strongly towards some
+beloved object, creates a form which goes to the person thought of, and
+remains in his aura as a shielding and protecting agent; it will seek
+all opportunities to serve, and all opportunities to defend, not by a
+conscious and deliberate action, but by a blind following out of the
+impulse impressed upon it, and it will strengthen friendly forces that
+impinge on the aura and weaken unfriendly ones. Thus may we create and
+maintain veritable guardian angels round those we love, and many a
+mother's prayer for a distant child thus circles round him, though she
+knows not the method by which her "prayer is answered."
+
+In cases in which good or evil thoughts are projected at individuals,
+those thoughts, if they are to directly fulfil their mission, must find,
+in the aura of the object to whom they are sent, materials capable of
+responding sympathetically to their vibrations. Any combination of
+matter can only vibrate within certain definite limits, and if the
+thought-form be outside all the limits within which the aura is capable
+of vibrating, it cannot affect that aura at all. It consequently
+rebounds from it, and that with a force proportionate to the energy with
+which it impinged upon it. This is why it is said that a pure heart and
+mind are the best protectors against any inimical assaults, for such a
+pure heart and mind will construct an astral and a mental body of fine
+and subtle materials, and these bodies cannot respond to vibrations that
+demand coarse and dense matter. If an evil thought, projected with
+malefic intent, strikes such a body, it can only rebound from it, and it
+is flung back with all its own energy; it then flies backward along the
+magnetic line of least resistance, that which it has just traversed, and
+strikes its projector; he, having matter in his astral and mental bodies
+similar to that of the thought-form he generated, is thrown into
+respondent vibrations, and suffers the destructive effects he had
+intended to cause to another. Thus "curses [and blessings] come home to
+roost." From this arise also the very serious effects of hating or
+suspecting a good and highly-advanced man; the thought-forms sent
+against him cannot injure him, and they rebound against their
+projectors, shattering them mentally, morally, or physically. Several
+such instances are well known to members of the Theosophical Society,
+having come under their direct observation. So long as any of the
+coarser kinds of matter connected with evil and selfish thoughts remain
+in a person's body, he is open to attack from those who wish him evil,
+but when he has perfectly eliminated these by self-purification his
+haters cannot injure him, and he goes on calmly and peacefully amid all
+the darts of their malice. But it is bad for those who shoot out such
+darts.
+
+Another point that should be mentioned before passing to the
+consideration of our illustrations is that every one of the
+thought-forms here given is drawn from life. They are not imaginary
+forms, prepared as some dreamer thinks that they ought to appear; they
+are representations of forms actually observed as thrown off by ordinary
+men and women, and either reproduced with all possible care and fidelity
+by those who have seen them, or with the help of artists to whom the
+seers have described them.
+
+       *       *       *       *       *
+
+For convenience of comparison thought-forms of a similar kind are
+grouped together.
+
+
+ILLUSTRATIVE THOUGHT-FORMS
+
+AFFECTION
+
+_Vague Pure Affection._--Fig. 8 is 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.
+
+[Illustration: FIG. 8. VAGUE PURE AFFECTION]
+
+_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.
+
+[Illustration: FIG. 9. VAGUE SELFISH AFFECTION]
+
+_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.
+
+[Illustration: FIG. 10. DEFINITE AFFECTION]
+
+_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.
+
+[Illustration: FIG. 11. RADIATING AFFECTION]
+
+_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.
+
+[Illustration: FIG. 12. PEACE AND PROTECTION]
+
+_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.
+
+[Illustration: FIG. 13. GRASPING ANIMAL AFFECTION]
+
+
+DEVOTION
+
+_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.
+
+[Illustration: FIG. 14. VAGUE RELIGIOUS FEELING]
+
+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.
+
+_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.
+
+[Illustration: FIG. 15. UPWARD RUSH OF DEVOTION]
+
+_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.
+
+[Illustration: FIG. 17. RESPONSE TO DEVOTION]
+
+Yet there are conditions under which the grace and strength peculiar to
+a higher plane may in a measure be brought down to a lower 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.
+
+_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.
+
+[Illustration: FIG. 16. SELF-RENUNCIATION]
+
+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.
+
+
+INTELLECT
+
+_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.
+
+[Illustration: FIG. 18. VAGUE INTELLECTUAL PLEASURE]
+
+_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.
+
+[Illustration: FIG. 19. THE INTENTION TO KNOW]
+
+_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.
+
+[Illustration: FIG. 20. HIGH AMBITION]
+
+_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.
+
+[Illustration: FIG. 21. SELFISH AMBITION]
+
+
+ANGER
+
+_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.
+
+[Illustration: FIG. 22. MURDEROUS RAGE]
+
+[Illustration: FIG. 23. SUSTAINED ANGER]
+
+_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.
+
+[Illustration: FIG. 24. EXPLOSIVE ANGER]
+
+_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.
+
+[Illustration: FIG. 25. WATCHFUL JEALOUSY]
+
+[Illustration: FIG. 26. ANGRY JEALOUSY]
+
+
+SYMPATHY
+
+_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.
+
+[Illustration: FIG. 18A. VAGUE SYMPATHY]
+
+
+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.
+
+[Illustration: FIG. 27. SUDDEN FRIGHT]
+
+
+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.
+
+[Illustration: FIG. 28. SELFISH GREED]
+
+_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.
+
+[Illustration: FIG. 29. GREED FOR DRINK]
+
+
+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.
+
+[Illustration: FIG. 30. AT A SHIPWRECK]
+
+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.
+
+[Illustration: FIG. 31. ON THE FIRST NIGHT]
+
+_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.
+
+[Illustration: FIG. 32. THE GAMBLERS]
+
+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.
+
+[Illustration: FIG. 33. AT A STREET ACCIDENT]
+
+_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.
+
+[Illustration: FIG. 34. AT A FUNERAL]
+
+It is refreshing to turn from this gloomy picture to the wonderfully
+different effect produced by the very same circumstances upon the mind
+of the man who comprehends the facts of the 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.
+
+[Illustration: FIG. 35. ON MEETING A FRIEND]
+
+_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.
+
+[Illustration: FIG. 36. THE APPRECIATION OF A PICTURE]
+
+
+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.
+
+[Illustration: FIG. 37. SYMPATHY AND LOVE FOR 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.
+
+[Illustration: FIG. 38. AN ASPIRATION TO ENFOLD ALL]
+
+_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.
+
+[Illustration: FIG. 39. IN THE SIX DIRECTIONS]
+
+_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.
+
+[Illustration: FIG. 40. AN INTELLECTUAL CONCEPTION OF COSMIC ORDER]
+
+_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.
+
+[Illustration: FIG. 41. THE LOGOS AS MANIFESTED IN MAN]
+
+_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.
+
+[Illustration: FIG. 42. THE LOGOS PERVADING ALL]
+
+[Illustration: FIG. 44. THE LOGOS PERVADING ALL]
+
+_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.
+
+[Illustration: FIG. 45. ANOTHER CONCEPTION]
+
+_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.
+
+[Illustration: FIG. 46. THE THREEFOLD MANIFESTATION]
+
+_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.
+
+[Illustration: FIG. 47. THE SEVENFOLD MANIFESTATION]
+
+_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.
+
+[Illustration: FIG. 43. INTELLECTUAL ASPIRATION]
+
+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."
+
+[Illustration: FIG. 48. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 49. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 50. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 51. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 52. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 53. HELPFUL THOUGHTS]
+
+[Illustration: FIG. 54. HELPFUL THOUGHTS]
+
+
+FORMS BUILT BY MUSIC
+
+Before closing this little treatise it will perhaps be of interest to
+our readers to give a few examples of another type of forms unknown to
+those who are confined to the physical senses as their means of
+obtaining 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.
+
+[Illustration: PLATE M. MUSIC OF MENDELSSOHN]
+
+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 Woerte," 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.
+
+[Illustration: PLATE G. MUSIC OF GOUNOD]
+
+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.
+
+_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.
+
+[Illustration: PLATE W. MUSIC OF WAGNER]
+
+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.
+
+[Footnote 1: By C.W. Leadbeater.]
+
+
+
+
+BRADFORD: REPRINTED BY PERCY LUND, HUMPHRIES AND CO. LTD.
+
+
+
+
+
+End of Project Gutenberg's Thought-Forms, by Annie Besant
+C.W. Leadbeater
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