(7) The importance of this will be appreciated by any thinking person who realizes what creatures of moods, feelings and emotion the majority of people are, and how little mastery of themselves they manifest. If you will stop and consider a moment, you will realize how much these swings of Rhythm have affected you in your life--how a period of Enthusiasm has been invariably followed by an opposite feeling and mood of Depression. Likewise, your moods and periods of Courage have been succeeded by equal moods of Fear. And so it has ever been with the majority of persons--tides of feeling have ever risen and fallen with them, but they have never suspected the cause or reason of the mental phenomena. An understanding of the workings of this Principle will give one the key to the Mastery of these rhythmic swings of feeling, and will enable him to know himself better and to avoid being carried away by these inflows and outflows. The Will is superior to the conscious manifestation of this Principle, although the Principle itself can never be destroyed. We may escape its effects, but the Principle operates, nevertheless. The pendulum ever swings, although we may escape being carried along with it.

(5) The Principle of rhythm is well understood by modern science, and is considered a universal law as applied to material things. But the Hermetists carry the principle much further, and know that its manifestations and influence extend to the mental activities of Man, and that it accounts for the bewildering succession of moods, feelings and other annoying and perplexing changes that we notice in ourselves. But the Hermetists by studying the operations of this Principle have learned to escape some of its activities by Transmutation.

(6) As we have explained in previous chapters, the Hermetists hold that the Principle of Rhythm manifests on the Mental Plane as well as on the Physical Plane, and that the bewildering succession of moods, feelings, emotions, and other mental states, are due to the backward and forward swing of the mental pendulum, which carries us from one extreme of feeling to the other. The Hermetists also teach that the Law of Neutralization enables one, to a great extent, to overcome the operation of Rhythm in consciousness. As we have explained, there is a Higher Plane of Consciousness, as well as the ordinary Lower Plane, and the Master by rising mentally to the Higher Plane causes the swing of the mental pendulum to manifest on the Lower Plane, and he, dwelling on his Higher Plane, escapes the consciousness of the swing backward. This is effected by polarizing on the Higher Self, and thus raising the mental vibrations of the Ego above those of the ordinary plane of consciousness. It is akin to rising above a thing and allowing it to pass beneath you. The advanced Hermetist polarizes himself at the Positive Pole of his Being-the "I Am" pole rather than the pole of personality and by "refusing" and "denying" the operation of Rhythm, raises himself above its plane of consciousness, and standing firm in his Statement of Being he allows the pendulum to swing back on the Lower Plane without changing his Polarity. This is accomplished by all individuals who have attained any degree of self-mastery, whether they understand the law or not. Such persons simply "refuse" to allow themselves to be swung back by the pendulum of mood and emotion, and by steadfastly affirming the superiority they remain polarized on the Positive pole. The Master, of course, attains a far greater degree of proficiency, because he understands the law which he is overcoming by a higher law, and by the use of his Will he attains a degree of Poise and Mental Steadfastness almost impossible of belief on the part of those who allow themselves to be swung backward and forward by the mental pendulum of moods and feelings.

(5) 5. The Principle of Rhythm "Everything flows, out and in; everything has its tides; all things rise and fall; the pendulum-swing manifests in everything; the measure of the swing to the right is the measure of the swing to the left; rhythm compensates." --The Kybalion. This Principle embodies the truth that in everything there is manifested a measured motion, to and fro; a flow and inflow; a swing backward and forward; a pendulum-like movement; a tide-like ebb and flow; a high-tide and low-tide; between the two poles which exist in accordance with the Principle of Polarity described a moment ago. There is always an action and a reaction; an advance and a retreat; a rising and a sinking. This is in the affairs of the Universe, suns, worlds, men, animals, mind, energy, and matter. This law is manifest in the creation and destruction of worlds; in the rise and fall of nations; in the life of all things; and finally in the mental states of Man (and it is with this latter that the Hermetists find the understanding of the Principle most important). The Hermetists have grasped this Principle, finding its universal application, and have also discovered certain means to overcome its effects in themselves by the use of the appropriate formulas and methods. They apply the Mental Law of Neutralization. They cannot annul the Principle, or cause it to cease its operation, but they have learned how to escape its effects upon themselves to a certain degree depending upon the Mastery of the Principle. They have learned how to USE it, instead of being USED BY it. In this and similar methods, consist the Art of the Hermetists. The Master of Hermetics polarizes himself at the point at which he desires to rest, and then neutralizes the Rhythmic swing of the pendulum which would tend to carry him to the other pole. All individuals who have attained any degree of Self-Mastery do this to a certain degree, more or less unconsciously, but the Master does this consciously, and by the use of his Will, and attains a degree of Poise and Mental Firmness almost impossible of belief on the part of the masses who are swung backward and forward like a pendulum. This Principle and that of Polarity have been closely studied by the Hermetists, and the methods of counteracting, neutralizing, and USING them form an important part of the Hermetic Mental Alchemy.

(6) The Hermetic Masters long since discovered that while the Principle of Rhythm was invariable, and ever in evidence in mental phenomena, still there were two planes of its manifestation so far as mental phenomena are concerned. They discovered that there were two general planes of Consciousness, the Lower and the Higher, the understanding of which fact enabled them to rise to the higher plane and thus escape the swing of the Rhythmic pendulum which manifested on the lower plane. In other words, the swing of the pendulum occurred on the Unconscious Plane, and the Consciousness was not affected. This they call the Law of Neutralization. Its operations consist in the raising of the Ego above the vibrations of the Unconscious Plane of mental activity, so that the negative-swing of the pendulum is not manifested in consciousness, and therefore they are not affected. It is akin to rising above a thing and letting it pass beneath you. The Hermetic Master, or advanced student, polarizes himself at the desired pole, and by a process akin to "refusing" to participate in the backward swing or, if you prefer, a "denial" of its influence over him, he stands firm in his polarized position, and allows the mental pendulum to swing back along the unconscious plane. All individuals who have attained any degree of self- mastery, accomplish this, more or less unknowingly, and by refusing to allow their moods and negative mental states to affect them, they apply the Law of Neutralization. The Master, however, carries this to a much higher degree of proficiency, and by the use of his Will he attains a degree of Poise and Mental Firmness almost impossible of belief on the part of those who allow themselves to be swung backward and forward by the mental pendulum of moods and feelings.

(1) The great Fifth Hermetic Principle--the Principle of Rhythm-embodies the truth that in everything there is manifested a measured motion; a to-and-from movement; a flow and inflow; a swing forward and backward; a pendulum-like movement; a tide-like ebb and flow; a high-tide and a low- tide; between the two-poles manifest on the physical, mental or spiritual planes. The Principle of rhythm is closely connected with the Principle of Polarity described in the preceding chapter. Rhythm manifests between the two poles established by the Principle of Polarity. This does not mean, however, that the pendulum of Rhythm swings to the extreme poles, for this rarely happens; in fact, it is difficult to establish the extreme polar opposites in the majority of cases. But the swing is ever "toward" first one pole and then the other.

(7) Remember always, however, that you do not really destroy the Principle of Rhythm, for that is indestructible. You simply overcome one law by counter-balancing it with another and thus maintain an equilibrium. The laws of balance and counter-balance are in operation on the mental as well as on the physical planes, and an understanding of these laws enables one to seem to overthrow laws, whereas he is merely exerting a counterbalance. "Nothing escapes the Principle of Cause and Effect, but there are many Planes of Causation, and one may use the laws of the higher to overcome the laws of the lower." --The Kybalion.

(1) The heart of man has been so constituted by the Almighty that, like a flint, it contains a hidden fire which is evoked by music and harmony, and renders man beside himself with ecstasy. These harmonies are echoes of that higher world of beauty which we call the world of spirits; they remind man of his relationship to that world, and produce in him an emotion so deep and strange that he himself is powerless to explain it. The effect of music and dancing is deeper in proportion as the natures on which they act are simple and prone to motion; they fan into a flame whatever love is already dormant in the heart, whether It be earthly and sensual, or divine and spiritual.

(4) Night follows day; and day night. The pendulum swings from Summer to Winter, and then back again. The corpuscles, atoms, molecules, and all masses of matter, swing around the circle of their nature. There is no such thing as absolute rest, or cessation from movement, and all movement partakes of rhythm. The principle is of universal application. It may be applied to any question, or phenomena of any of the many planes of life. It may be applied to all phases of human activity. There is always the Rhythmic swing from one pole to the other. The Universal Pendulum is ever in motion. The Tides of Life flow in and out, according to Law.

(3) One may change his mental vibrations by an effort of Will, in the direction of deliberately fixing the Attention upon a more desirable state. Will directs the Attention, and Attention changes the Vibration. Cultivate the Art of Attention, by means of the Will, and you have solved the secret of the Mastery of Moods and Mental States. "To destroy an undesirable rate of mental vibration, put into operation the principle of Polarity and concentrate upon the opposite pole to that which you desire to suppress. Kill out the undesirable by changing its polarity." --The Kybalion.

(10) Every thought, emotion or mental state has its corresponding rate and mode of vibration. And by an effort of the will of the person, or of other persons, these mental states may be reproduced, just as a musical tone may be reproduced by causing an instrument to vibrate at a certain rate--just as color may be reproduced in the same may. By a knowledge of the Principle of Vibration, as applied to Mental Phenomena, one may polarize his mind at any degree he wishes, thus gaining a perfect control over his mental states, moods, etc. In the same way he may affect the minds of others, producing the desired mental states in them. In short, he may be able to produce on the Mental Plane that which science produces on the Physical Plane--namely, "Vibrations at Will." This power of course may be acquired only by the proper instruction, exercises, practice, etc., the science being that of Mental Transmutation, one of the branches of the Hermetic Art.

(2) "Well, then," enquired Tzŭ Yu, "since the music of earth consists of nothing more than holes, and the music of man of pipes and flutes,—of what consists the music of Heaven?" "The effect of the wind upon these various apertures," replied Tzŭ Ch'i, "is not uniform. But what is it that gives to each the individuality, to all the potentiality, of sound? "Great knowledge embraces the whole: small knowledge, a part only. Great speech is universal: small speech is particular. "For whether when the mind is locked in sleep or whether when in waking hours the body is released, we are subject to daily mental perturbations,—indecision, want of penetration, concealment, fretting fear, and trembling terror. Now like a javelin the mind flies forth, the arbiter of right and wrong. Now like a solemn covenanter it remains firm, the guardian of rights secured. Then, as under autumn and winter's blight, comes gradual decay, a passing away, like the flow of water, never to return. Finally, the block when all is choked up like an old drain,—the failing mind which shall not see light again. "Joy and anger, sorrow and happiness, caution and remorse, come upon us by turns, with ever-changing mood. They come like music from hollowness, like mushrooms from damp. Daily and nightly they alternate within us, but we cannot tell whence they spring. Can we then hope in a moment to lay our finger upon their very Cause?

(442) soothing and civilizing the wildness of passion by harmony and rhythm? Quite true, he said. And these two, thus nurtured and educated, and having learned truly to know their own functions, will rule 5 over the concupiscent, which in each of us is the largest part of the soul and by nature most insatiable of gain; over this they will keep guard, lest, waxing great and strong with the fulness of bodily pleasures, as they are termed, the concupiscent soul, no longer confined to her own sphere, should attempt to enslave and rule those who are not her natural-born subjects, and overturn the whole life of man? Very true, he said. Both together will they not be the best defenders of the whole soul and the whole body against attacks from without; the one counselling, and the other fighting under his leader, and courageously executing his commands and counsels? True. And he is to be deemed courageous whose spirit retains in pleasure and in pain the commands of reason about what he ought or ought not to fear? Right, he replied. And him we call wise who has in him that little part which rules, and which proclaims these commands; that part too being supposed to have a knowledge of what is for the interest of each of the three parts and of the whole? Assuredly. And would you not say that he is temperate who has these same elements in friendly harmony, in whom the one ruling principle of reason, and the two subject ones of spirit and

(400) a courageous and harmonious life; and when we have found them, we shall adapt the foot and the melody to words having a like spirit, not the words to the foot and melody. To say what these rhythms are will be your duty—you must teach me them, as you have already taught me the harmonies. But, indeed, he replied, I cannot tell you. I only know that there are some three principles of rhythm out of which metrical systems are framed, just as in sounds there are four notes 36 out of which all the harmonies are composed; that is an observation which I have made. But of what sort of lives they are severally the imitations I am unable to say. Then, I said, we must take Damon into our counsels; and he will tell us what rhythms are expressive of meanness, or insolence, or fury, or other unworthiness, and what are to be reserved for the expression of opposite feelings. And I think that I have an indistinct recollection of his mentioning a complex Cretic rhythm; also a dactylic or heroic, and he arranged them in some manner which I do not quite understand, making the rhythms equal in the rise and fall of the foot, long and short alternating; and, unless I am mistaken, he spoke of an iambic as well as of a trochaic rhythm, and assigned to them short and long quantities. 37 Also in some cases he appeared to praise or censure the movement of the foot quite as much as the rhythm; or perhaps a combination of the two; for I am not certain what he meant. These matters, however, as I was saying, had better be referred to Damon himself, for the analysis of the subject would be difficult, you know? Rather so, I should say. But there is no difficulty in seeing that grace or the absence of grace is an effect of good or bad rhythm. None at all.

(8) There are other features of the operation of this Principle of Rhythm of which we wish to speak at this point. There comes into its operations that which is known as the Law of Compensation. One of the definitions or meanings of the word "Compensate" is, "to counterbalance" which is the sense in which the Hermetists use the term. It is this Law of Compensation to which the Kybalion refers when it says: "The measure of the swing to the right is the measure of the swing to the left; rhythm compensates."

(4) We have, however, still to examine what is called the affective phase of the Soul. This has, no doubt, been touched upon above where we dealt with the passions in general as grouped about the initiative phase of the Soul and the desiring faculty in its effort to shape things to its choice: but more is required; we must begin by forming a clear idea of what is meant by this affective faculty of the Soul.

In general terms it means the centre about which we recognize the affections to be grouped; and by affections we mean those states upon which follow pleasure and pain.

Now among these affections we must distinguish. Some are pivoted upon judgements; thus, a Man judging his death to be at hand may feel fear; foreseeing some fortunate turn of events, he is happy: the opinion lies in one sphere; the affection is stirred in another. Sometimes the affections take the lead and automatically bring in the notion which thus becomes present to the appropriate faculty: but as we have explained, an act of opinion does not introduce any change into the Soul or Mind: what happens is that from the notion of some impending evil is produced the quite separate thing, fear, and this fear, in turn, becomes known in that part of the Mind which is said under such circumstances to harbour fear.

But what is the action of this fear upon the Mind?

The general answer is that it sets up trouble and confusion before an evil anticipated. It should, however, be quite clear that the Soul or Mind is the seat of all imaginative representation- both the higher representation known as opinion or judgement and the lower representation which is not so much a judgement as a vague notion unattended by discrimination, something resembling the action by which, as is believed, the "Nature" of common speech produces, unconsciously, the objects of the partial sphere. It is equally certain that in all that follows upon the mental act or state, the disturbance, confined to the body, belongs to the sense-order; trembling, pallor, inability to speak, have obviously nothing to do with the spiritual portion of the being. The Soul, in fact, would have to be described as corporeal if it were the seat of such symptoms: besides, in that case the trouble would not even reach the body since the only transmitting principle, oppressed by sensation, jarred out of itself, would be inhibited.

None the less, there is an affective phase of the Soul or Mind and this is not corporeal; it can be, only, some kind of Ideal-form.

Now Matter is the one field of the desiring faculty, as of the principles of nutrition growth and engendering, which are root and spring to desire and to every other affection known to this Ideal-form. No Ideal-form can be the victim of disturbance or be in any way affected: it remains in tranquillity; only the Matter associated with it can be affected by any state or experience induced by the movement which its mere presence suffices to set up. Thus the vegetal Principle induces vegetal life but it does not, itself, pass through the processes of vegetation; it gives growth but it does not grow; in no movement which it originates is it moved with the motion it induces; it is in perfect repose, or, at least, its movement, really its act, is utterly different from what it causes elsewhere.

The nature of an Ideal-form is to be, of itself, an activity; it operates by its mere presence: it is as if Melody itself plucked the strings. The affective phase of the Soul or Mind will be the operative cause of all affection; it originates the movement either under the stimulus of some sense-presentment or independently- and it is a question to be examined whether the judgement leading to the movement operates from above or not- but the affective phase itself remains unmoved like Melody dictating music. The causes originating the movement may be likened to the musician; what is moved is like the strings of his instrument, and once more, the Melodic Principle itself is not affected, but only the strings, though, however much the musician desired it, he could not pluck the strings except under dictation from the principle of Melody.

(3) But how do we explain likings and aversions? Sorrow, too, and anger and pleasure, desire and fear- are these not changes, affectings, present and stirring within the Soul?

This question cannot be ignored. To deny that changes take place and are intensely felt is in sharp contradiction to obvious facts. But, while we recognize this, we must make very sure what it is that changes. To represent the Soul or Mind as being the seat of these emotions is not far removed from making it blush or turn pale; it is to forget that while the Soul or Mind is the means, the effect takes place in the distinct organism, the animated body.

At the idea of disgrace, the shame is in the Soul; but the body is occupied by the Soul- not to trouble about words- is, at any rate, close to it and very different from soulless matter; and so, is affected in the blood, mobile in its nature. Fear begins in the mind; the pallor is simply the withdrawal of the blood inwards. So in pleasure, the elation is mental, but makes itself felt in the body; the purely mental phase has not reached the point of sensation: the same is true of pain. So desire is ignored in the Soul where the impulse takes its rise; what comes outward thence, the Sensibility knows.

When we speak of the Soul or Mind being moved- as in desire, reasoning, judging- we do not mean that it is driven into its act; these movements are its own acts.

In the same way when we call Life a movement we have no idea of a changing substance; the naturally appropriate act of each member of the living thing makes up the Life, which is, therefore, not a shifting thing.

To bring the matter to the point: put it that life, tendency, are no changements; that memories are not forms stamped upon the mind, that notions are not of the nature of impressions on sealing-wax; we thence draw the general conclusion that in all such states and movements the Soul, or Mind, is unchanged in substance and in essence, that virtue and vice are not something imported into the Soul- as heat and cold, blackness or whiteness are importations into body- but that, in all this relation, matter and spirit are exactly and comprehensively contraries.

(17) But how comes it that the intuitions and the Reason-Principles of the soul are not in the same timeless fashion within ourselves, but that here the later of order is converted into a later of time- bringing in all these doubts?

Is it because in us the governing and the answering principles are many and there is no sovereign unity?

That condition; and, further, the fact that our mental acts fall into a series according to the succession of our needs, being not self-determined but guided by the variations of the external: thus the will changes to meet every incident as each fresh need arises and as the external impinges in its successive things and events.

A variety of governing principles must mean variety in the images formed upon the representative faculty, images not issuing from one internal centre, but, by difference of origin and of acting- point, strange to each other, and so bringing compulsion to bear upon the movements and efficiencies of the self.

When the desiring faculty is stirred, there is a presentment of the object- a sort of sensation, in announcement and in picture, of the experience- calling us to follow and to attain: the personality, whether it resists or follows and procures, is necessarily thrown out of equilibrium. The same disturbance is caused by passion urging revenge and by the needs of the body; every other sensation or experience effects its own change upon our mental attitude; then there is the ignorance of what is good and the indecision of a soul thus pulled in every direction; and, again, the interaction of all these perplexities gives rise to yet others.

But do variations of judgement affect that very highest in us?

No: the doubt and the change of standard are of the Conjoint ; still, the right reason of that highest is weaker by being given over to inhabit this mingled mass: not that it sinks in its own nature: it is much as amid the tumult of a public meeting the best adviser speaks but fails to dominate; assent goes to the roughest of the brawlers and roarers, while the man of good counsel sits silent, ineffectual, overwhelmed by the uproar of his inferiors.

The lowest human type exhibits the baser nature; the man is a compost calling to mind inferior political organization: in the mid-type we have a citizenship in which some better section sways a demotic constitution not out of control: in the superior type the life is aristocratic; it is the career of one emancipated from what is a base in humanity and tractable to the better; in the finest type, where the man has brought himself to detachment, the ruler is one only, and from this master principle order is imposed upon the rest, so that we may think of a municipality in two sections, the superior city and, kept in hand by it, the city of the lower elements.

(400) And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them. Just so, he said, they should follow the words. And will not the words and the character of the style depend on the temper of the soul? Yes. And everything else on the style? Yes. Then beauty of style and harmony and grace and good rhythm depend on simplicity,—I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly? Very true, he replied. And if our youth are to do their work in life, must they not make these graces and harmonies their perpetual aim? They must. And surely the art of the painter and every other creative and constructive art are full of them,—weaving, embroidery, architecture, and every kind of manufacture; also nature, animal and vegetable,—in all of them there is grace or the absence of grace. And ugliness and discord and inharmonious motion are nearly allied to ill words and ill nature, as grace and harmony are the twin sisters of goodness and virtue and bear their likeness. That is quite true, he said.

(8) When the Heavenly Heart still preserves calm, movement before the right time is a fault of softness. When the Heavenly Heart has already moved, the movement that follows afterwards, corresponding with it, is a fault of rigidity. As soon as the Heavenly Heart is stirring, one must immediately mount with all one's feeling to the house of the creative. Thus the Light of the spirit sees the summit that is the leader. This movement is in accord with the time. The Heavenly Heart rises to the summit of the creative, where it expands in complete freedom. Then suddenly it wants the deepest silence, and one must lead it speedily and with one's whole being into the yellow castle. Thus the eyes behold the central yellow dwelling place of the spirit.