(13) Red is the color of the passions in general, but there is a great variety in its manifestations, for instance: Red (dull and appearing as if mixed with smoke) indicates sensuality and the lower animal passions; Red (appearing as bright flashes, sometimes light lightning in form) indicates anger. In this case the red usually is shown on a black back ground when the anger arises from hatred or malice and on a greenish background when the anger arise, from jealousy, envy, etc., and without any back ground when the anger arises from "righteous indignation" and the defense of what is believed to be righteous cause. Red (crimson shade) represent Love, and varies in shade according to the character of the passion named. For instance, a dull and heavy crimson shade indicates a gross, sensual love, while the brighter, clearer and more pleasing shades indicate love blended with higher feelings and accompanied by higher ideals; and the highest form of human love between the sexes manifests in a beautiful rose color.

(7) The primal form of the aggregate of feelings as the red light of the All-Discriminating Wisdom, glitteringly red, glorified with orbs and satellite orbs, bright, transparent, glorious and dazzling, proceeding from the heart of the Divine Father-Mother Amitabha, will strike against thy heart [so radiantly] that thou wilt scarcely be able to look upon it. Fear it not.

(27) The various combinations of the three Primary Annie Colors are formed in connection with White and Black, as well as by the blending of the three themselves. These combinations of course result from the shades of mental and emotional activity manifested by the individual. But not only is the blending caused by the mixing of the colors themselves, in connection with Black and White, but in certain cases the body of one color is found to be streaked, striped, dotted, or clouded by other colors. At times there is perceived the mixture of two antagonistic color streams fighting against each other before blending. Again we see the effect of one color neutralizing another. In some cases great black clouds obscure the bright colors beneath, and then darken the fierce glow of color, just as is often witnessed in the case of a physical conflagration. Again, we find great flashes of bright yellow, or red, flaring across the field of the aura, showing agitation or the conflict of intellect and passion.

(28) It should be noted by the student, in passing, that the Green group of auric colors seems, at first glance, to be an exception to the general rule regarding the blending of the primary auric colors; and to manifest contradictions in character. For instance, it is difficult for the average student to comprehend why a blending of the spiritual blue and the intellectual yellow should yield a green indicating deceit, etc. A subtle analysis of deceit, however, gives the secret of this combination, particularly when it is noted that in certain of the less desirable of the green combinations there is combined a slight mixture of black and of red. It is not necessary to go into details concerning this particular point—it is enough to indicate the nature of the solution of the mystery. Again, there is a certain shade of Green, that which manifests in the prevailing colors of trees, plants, etc., which when shown in the auric coloring indicates a love of nature, etc. The following words from a celebrated occultist gives a valuable hint to those whose minds tend to keen analysis concerning these matters; this occultist says: "To those who are fond of analysis of this kind, I will drop the following hint, which may help them in the matter, viz.: The key is found in the fact that Green lies in the centre of the spectrum, and is a balance between the two extremes, and is also influenced by these two extremes in a startling manner." Important Suggestions The Rosicrucian teachers do not content themselves with instructing their students concerning the particular colors which, when seen in the aura, indicate the presence and activity of certain mental or emotional states in the person. They also instruct the student according to the celebrated principle of Action and Reaction, which forms an important feature of certain branches of the Rosicrucian teachings. That is to say they instruct the student that if he will hold in his mind the mental image of a certain color, there will result a reaction in the direction of the production in the student's mind or emotional nature of the feeling or emotion corresponding to that particular color. For instance, if the student will hold his thought and attention firmly concentrated on the Red group of colors, there will be awakened in him a strong passional emotion, and the manifestation of animal vitality and vigor, virility, courage, etc. Again, if he will hold in his mind in the same way the Blue group of colors, he will experience an uplift of spiritual or religious emotional feelings, and his nature will be quickened along those lines. Again, if he would stimulate his intellectual faculties, or reinvigorate a tired mind, he has but to concentrate on the Yellow group of colors to obtain the desired result. So, it is seen, not only do mental and emotional states manifest appropriate colors, but the colors themselves tend to produce their corresponding mental and emotional states. The action of Red upon the bull and other animals is explained in this way; also we have here a suggestion as to why a man "sees red" under moments of great excitement leading to physical action of punishment, etc.

(1) One of the most interesting points of the Rosicrucian teachings to the average student is that which is concerned with the Aura, or Psychic Atmosphere of the Human Individual, and the Astral Colors which manifest in that Aura, and otherwise.

(2) 'The red colour of the sun (âditya) is the colour of fire, the white of water, the black of earth. Thus vanishes what we call the sun, as a mere variety, being a name, arising from speech. What is true are the three colours.

(20) The habitual colors shown indicate the 'general character' of the person; the passing colors show what feeling, emotion, or passion (if any) is dominating him at that particular time." Another writer, describing the appearance of the aura of a person, has said: "The shades and colors of the aura present an ever-changing kaleidoscopic spectacle. The trained occultist is able to read the character of any person, as well as the nature of his passing thoughts and feelings, by simply studying the shifting colors of his aura.. To the developed occultist the mind and character becomes as an open book, to be studied carefully and intelligently. Even the student of occultism who has not been able to develop the clairvoyant vision to such a high degree, is soon able to develop the sense of psychic perception whereby he is able to at least 'feel' the vibrations of the aura, though he may not see the colors, and thus be able to interpret the mental states which have caused them. The principle of course is the same, as the colors are but the outward appearance of the vibrations themselves, just as the ordinary colors on the physical plane are merely the outward manifestations of vibrations of matter. But it must not be supposed that the human aura is always perceived in the appearance of a luminous cloud of ever-changing color. When we say that such is its characteristic appearance, we mean it in the same sense that we describe the ocean as a calm, deep body of greenish waters. We know, however, that at times the ocean presents no such appearance, but, instead, is seen as rising in great mountainous waves, white-capped, and threatening the tiny vessels of men with its power. Or again, we may define the word 'flame' in the sense of a steady, bright stream of burning gas, whereas, we know only too well that the word also indicates the great hot tongues of fiery force that stream out from the windows of a burning building and lick to destruction all with which it comes in contact. So it is with the human aura. At times it may be seen as a beautiful, calm, luminous atmosphere, presenting the appearance of a great opal under the rays of the sun. Again, it blazes like the flames of a great furnace, shooting forth great tongues of fire in this direction and that, rising and falling in great waves of emotional excitement, or passion, or perhaps whirling like a great fiery maelstrom toward its centre, or swirling in an outward movement away from its centre. Again, it may be seen as projecting from its depths smaller bodies or centres of mental vibration, which like sparks from a furnace detach themselves from the parent flame and travel far away in other directions—these are the projected thought forms of which all occultists are fond of speaking and which make plain many strange psychic occurrences." The Three Primary Auric Colors Like their physical counterparts, the Auric Colors are derived from three Primary Colors, from which. all the various combinations and colors are formed. These three primary colors, together with White and Black, give us the key to the entire auric spectrum.

(41) When the perturbations of the psychic nature have all been stilled, then the consciousness, like a pure crystal, takes the colour of what it rests on, whether that be the perceiver, perceiving, or the thing perceived.

(32) Reds have an exciting and stimulating effect upon mind and body (this is particularly true of starlets and other bright reds).

(10) O nobly-born, five-coloured radiances, of the Wisdom of the Simultaneously-Born, which are the purified propensities, vibrating and dazzling like coloured threads, flashing, radiant, and transparent, glorious and awe-inspiring, will issue from the hearts of the five chief Knowledge-Holding Deities and strike against thy heart, so bright that thy eye cannot bear to look upon them.

(7) Passing over several unimportant auric elements of a lower degree, the student is asked to consider the most interesting phenomena of the "auric colors" which represent the mental and emotional elements in the soul of the man or woman. These elements are the characteristic features of the aura when perceived by clairvoyant vision. The aura, seen in this way, presents the appearance of a luminous cloud composed of varied and shifting colors, extending in egg-shape to a distance of about two or three feet from the body, and gradually growing fainter toward its outward limits until it finally disappears.

(9) O nobly-born, along with the radiances of Wisdom, the impure illusory lights of the Six Lokas will also come to shine. If it be asked, 'What are they?' [they are] a dull white light from the devas, a dull green light from the asuras, a dull yellow light from human beings, a dull blue light from the brutes, a dull reddish light from the pretas, and a dull smoke-coloured light from Hell. These six thus will come to shine, along with the six radiances of Wisdom; whereupon, be not afraid of nor be attracted towards any, but allow thyself to rest in the non-thought condition.

(14) 'They perceive that highest indescribable pleasure, saying, This is that. How then can I understand it? Has it its own light, or does it reflect light?'

(4) The circulation of the Light is the inclusive term, The further the work advances, the more can the Golden Flower bloom. But there is a still more marvellous kind of circulation. Till now we have worked from the outside on what is within; now we tarry in the centre and rule what is external. Hitherto, it was a service in aid of the Master; now it is a dissemination of the commands of this Master. The whole relationship is now reversed. If one wants to penetrate the more delicate regions by this method, one must irst see to it that body and heart are completely controlled, that one is quite free and at peace, letting go of all entanglements, untroubled by the slightest excitement, with the Heavenly Heart exactly in the middle. Then let one lower the lids of the two eyes as if one received a holy edict, a summons to the minister. Who would dare disobey? Then one illumines the house of the abysmal (water, K'an) with both eyes. Wherever the Golden Flower appears, the true Light of polarity goes out to meet it. The principle of that which adheres to (lightness, Li), is light outside and dark within; it is the body of the creative. Darkness enters and becomes master. The result is that the heart (consciousness), becomes dependent on things, is directed outward, and is tossed about on the stream. When the rotating light shines within the heart, it does not become dependent on things, the power of the Dark is limited, and the Golden Flower shines with concentration. It is then the collected Light of polarity. Things which are related attract each other. Thus the polarity Light-line of the abysmal presses upward. It is not only the Light in the abyss, but it is creative Light meeting creative Light. As soon as these two substances meet each other, they unite inseparably, and unceasing life begins; it comes and goes, rises and falls of itself, in the house of the primordial power. One is aware of e fulgence 60 and infinity. The whole body feels lighter and would like to fly. This is the state of which it is said: Clouds fill the thousand mountains. Gradually it [life] goes here and there quite quietly; it rises and falls imperceptibly. The pulse stands still and breathing stops. This is the moment of true creative unity, the state of which it is said: The moon gathers up the ten thousand waters. In the midst of this darkness, the Heavenly Heart suddenly begins a movement. This is the return of the one Light, the time when the child comes to life.

(3) I know those two Sycomores of Emerald between which Rā cometh forth, as he advanceth over what Shu hath lifted up, [94] to every gate through which he proceedeth

(9) From the heart of Amitabha, the transparent, bright red light-path of the Discriminating Wisdom, upon which are ors, like inverted coral cups, emitting rays of Wisdom, extremely bright and dazzling, each glorified with five [satellite] orbs of the same nature — leaving neither the centre nor the borders [of the red light-path] unglorified with orbs and smaller satellite orbs — will come to shine.

(20) Now this spirit subsisteth in its colour like azure or heaven-blue, for it is generated out of all the six spirits; and when the flash, which stands in the midst or centre in the heat, shineth into the other spirits, so that they rise up in the flash and generate the seventh spirit, then the flash riseth up also in the birth of the six spirits together in the seventh.

(7) At that time, through the influence of intense attachment, thou wilt become terrified by the dazzling red light, and wilt [wish to] flee from it. And thou wilt beget a fondness for that dull red light of the Preta-loka.

(10) First there is the light (as I may naturally compare or resemble it) like the light of the sun, but not so intolerable as the light of the sun is to our corrupted perished eyes, but very lovely, pleasant and delightful, an aspect or glance of love.

(19) A writer on the subject has said of the manifestations of the auric colors: "Even when the mind is calm there hover in the aura the shades indicative of the predominant tendencies in the man. so that his stage of advancement and development, as well as his tastes and other features of his personality, may be readily discerned. When the mind is swept by a strong passion, feeling or emotion, the entire aura seems to be colored by the particular shade or shades representing it. For instance, a violent fit of anger causes the whole aura to show bright red flashes upon a black background, almost eclipsing the other colors. This state lasts for a longer or shorter time, according to the strength of the passion. If people could but have a glimpse of the human aura when so colored, they would become so horrified at the dreadful sight that they would never again permit themselves to fly into a rage—it resembles the flame and smoke of the 'pit' which is referred to in the orthodox churches, and, in fact, the human mind in such a condition becomes a veritable hell for the time being. A strong wave of love sweeping over the mind will cause the aura to show crimson, the shade depending upon the character of the passion. Likewise a burst of religious feeling will bestow upon the entire aura a blue tinge. In short, a strong emotion, feeling, or passion causes the entire aura to take on its color while the feeling lasts. You will see from what we have said that there are two aspects to the color feature of the aura, the first depending upon the predominant thoughts habitually manifesting in the mind of the person; the second depending upon the particular feeling, emotion or passion (if any) being manifested at that particular time. The passing color disappears when the feeling dies away, although a feeling, passion, or emotion repeatedly manifested shows itself in time upon the auric color. The habitual color shown in the aura, of course, changes gradually from time to time as the character of the person improves or changes.