(38) In the Pythagorean tetractys--the supreme symbol of universal forces and processes--are set forth the theories of the Greeks concerning color and music. The first three dots represent the threefold White Light, which is the Godhead containing potentially all sound and color. The remaining seven dots are the colors of the spectrum and the notes of the musical scale. The colors and tones are the active creative powers which, emanating from the First Cause, establish the universe. The seven are divided into two groups, one containing three powers and the other four a relationship also shown in the tetractys. The higher group--that of three--becomes the spiritual nature of the created universe; the lower group--that of four--manifests as the irrational sphere, or inferior world.

(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.

(40) There are numerous arbitrary arrangements setting forth the mutual relationships of the planets, the colors, and the musical notes. The most satisfactory system is that based upon the law of the octave. The sense of hearing has a much wider scope than that of sight, for whereas the ear can register from nine to eleven octaves of sound the eye is restricted to the cognition of but seven fundamental color tones, or one tone short of the octave. Red, when posited as the lowest color tone in the scale of chromatics, thus corresponds to do, the first note of the musical scale. Continuing the analogy, orange corresponds to re, yellow to mi, green to fa, blue to sol, indigo to la, and violet to si (ti). The eighth color tone necessary to complete the scale should be the higher octave of red, the first color tone. The accuracy of the above arrangement is attested by two striking facts: (1) the three fundamental notes of the musical scale--the first, the third, and the fifth--correspond with the three primary colors--red, yellow, and blue; (2) the seventh, and least perfect, note of the musical scale corresponds with purple, the least perfect tone of the color scale.

(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.

(3) But if any one should blame the descriptions as being incongruous, by saying that it is shameful to attribute shapes so repugnant to the Godlike and most holy Orders, it is enough to reply that the method of Divine revelation is twofold; one, indeed, as is natural, proceeding through likenesses that are similar, and of a sacred character, but the other, through dissimilar forms, fashioning them into entire unlikeness and incongruity. No doubt, the mystical traditions of the revealing Oracles sometimes extol the august Blessedness of the super-essential Godhead, as Word, and Mind, and Essence, manifesting its God-becoming expression and wisdom, both as really being Origin, and true Cause of the origin of things being, and they describe It as light, and call it life. While such sacred descriptions are more reverent, and seem in a certain way to be superior to the material images, they yet, even thus, in reality fall short of the supremely Divine similitude. For It is above every essence and life. No light, indeed, expresses its character, and every description and mind incomparably fall short of Its similitude. But at other times its praises are supermundanely sung, by the Oracles themselves, through dissimilar revelations, when they affirm that it is invisible, and infinite, and incomprehensible; and when there is signified, not what it is, but what it is not. For this, as I think, is more appropriate to It, since, as the secret and sacerdotal tradition taught, we rightly describe its non-relationship to things created, but we do not know its superessential, and inconceivable, and unutterable indefinability. If, then, the negations respecting things Divine are true, but the affirmations are inharmonious, the revelation as regards things invisible, through dissimilar representations, is more appropriate to the hiddenness of things unutterable. Thus the sacred descriptions of the Oracles honour, and do not expose to shame, the Heavenly Orders, when they make them known by dissimilar pictorial forms, and demonstrate through these their supermundane superiority over all. material things. And I do not suppose that any sensible man will gainsay that the incongruous elevate our mind more than the similitudes; for there is a likelihood, with regard to the more sublime representations of heavenly things, that we should be led astray, so as to think that the Heavenly Beings are certain creatures with the appearance of gold, and certain men with the appearance of light, and glittering like lightning, handsome, clothed in bright shining raiment, shedding forth innocuous flame, and so with regard to all the other shapes and appropriate forms, with which the Word of God has depicted the Heavenly Minds. In order that men might not suffer from this, by thinking they are nothing more exalted than their beau tiful appearance, the elevating wisdom of the pious theologians reverently conducts to the incongruous dissimilarities, not permitting our earthly part to rest fixed in the base images, but urging the upward tendency of the soul, and goading it by the unseemliness of the phrases (to see) that it belongs neither to lawful nor seeming truth, even for the most earthly conceptions, that the most heavenly and Divine visions are actually like things so base. Further also this must particularly be borne in mind, that not even one of the things existing is altogether deprived of participation in the beautiful, since, as is evident and the truth of the Oracles affirms, all things are very beautiful.

(52) In addition to the colors of the spectrum there are a vast number of vibratory color waves, some too low and others too high to be registered by the human optical apparatus. It is appalling to contemplate man's colossal ignorance concerning these vistas of abstract space. As in the past man explored unknown continents, so in the future, armed with curious implements fashioned for the purpose, he will explore these little known fastnesses of light, color, sound, and consciousness.

(22) In this chart is set forth a summary of Fludd's theory of universal music. The interval between the element of earth and the highest heaven is considered as a double octave, thus showing the two extremes of existence to be in disdiapason harmony. It is signifies that the highest heaven, the sun, and the earth have the same time, the difference being in pitch. The sun is the lower octave of the highest heaven and the earth the lower octave of the sun. The lower octave (Γ to G) comprises that part of the universe in which substance predominate over energy. Its harmonies, therefore, are more gross than those of the higher octave (G to g) wherein energy predominates over substance. "If struck in the more spiritual part," writes Fludd, "the monochord will give eternal life; if in the more material part, transitory life." It will be noted that certain elements, planets, and celestial spheres sustain a harmonic ratio to each other, Fludd advanced this as a key to the sympathies and antipathies existing between the various departments of Nature.

(35) What the sun is to the solar system, the spirit is to the bodies of man; for his natures, organs, and functions are as planets surrounding the central life (or sun) and living upon its emanations. The solar power in man is divided into three parts, which are termed the threefold human spirit of man. All three of these spiritual natures are said to be radiant and transcendent; united, they form the Divinity in man. Man's threefold lower nature--consisting of his physical organism, his emotional nature, and his mental faculties--reflects the light of his threefold Divinity and bears witness of It in the physical world. Man's three bodies are symbolized by an upright triangle; his threefold spiritual nature by an inverted triangle. These two triangles, when united in the form of a six-pointed star, were called by the Jews "the Star of David," "the Signet of Solomon," and are more commonly known today as "the Star of Zion." These triangles symbolize the spiritual and material universes linked together in the constitution of the human creature, who partakes of both Nature and Divinity. Man's animal nature partakes of the earth; his divine nature of the heavens; his human nature of the mediator.

(21) Behold, the first, innermost and deepest birth or geniture stands in the centre, and is the heart of the Deity, which is generated by the qualifying or fountain spirits of God; and this birth or geniture is the light, which yet, though it be generated out of the qualifying or fountain spirits, no qualifying or fountain spirit of itself alone can comprehend, but every qualifying or fountain spirit comprehendeth only its own instanding, innate place or seat in the light; but all the seven spirits jointly together comprehend the whole light, for they are the father of the light.

(35) Now when the heavenly music of the angel riseth up, then in the heavenly pomp, in the divine Salitter, there rise up all manner of vegetations, springings or sprouts, also all manner of figures, shapes or ideas, and all manner of colours; for the Deity presenteth, sheweth or discovereth itself in endless and unsearchable varieties of kinds, colours, ideas, forms and joys.

(56) A more profound interpretation is found in the correspondences between the twelve figures in the upper panel and the twelve in the lower. This furnishes a key to one of the most arcane of ancient secrets--the relationship existing between the two great zodiacs the fixed and the movable. The fixed zodiac is described as an immense dodecahedron, its twelve surfaces representing the outermost walls of abstract space. From each surface of this dodecahedron a great spiritual power, radiating inward, becomes embodied as one of the hierarchies of the movable zodiac, which is a band of circumambulating so-called fixed stars. Within this movable zodiac are posited the various planetary and elemental bodies. The relation of these two zodiacs to the subzodiacal spheres has a correlation in the respiratory system of the human body. The great fixed zodiac may be said to represent the atmosphere, the movable zodiac the lungs, and the subzodiacal worlds the body. The spiritual atmosphere containing the vivifying energies of the twelve divine powers of the great fixed zodiac is inhaled by the cosmic lungs--the movable zodiac--and distributed by them through the constitution of the twelve holy animals which are the parts and members of the material universe. The functional cycle is completed when the poisonous effluvia of the lower worlds collected by the movable zodiac are exhaled into the great fixed zodiac, there to be purified by being passed through the divine natures of its twelve eternal hierarchies.

(17) This procedure, if approved, will entail a distinction between psychic and bodily qualities, the latter belonging specifically to body.

If we decide to refer all souls to the higher, we are still at liberty to perform for Sensible qualities a division founded upon the senses themselves- the eyes, the ears, touch, taste, smell; and if we are to look for further differences, colours may be subdivided according to varieties of vision, sounds according to varieties of hearing, and so with the other senses: sounds may also be classified qualitatively as sweet, harsh, soft.

Here a difficulty may be raised: we divide the varieties of Substance and their functions and activities, fair or foul or indeed of any kind whatsoever, on the basis of Quality, Quantity rarely, if ever, entering into the differences which produce species; Quantity, again, we divide in accordance with qualities of its own: how then are we to divide Quality itself into species? what differences are we to employ, and from what genus shall we take them? To take them from Quality itself would be no less absurd than setting up substances as differences of substances.

How, then, are we to distinguish black from white? how differentiate colours in general from tastes and tangible qualities? By the variety of sense-organs? Then there will be no difference in the objects themselves.

But, waiving this objection, how deal with qualities perceived by the same sense-organ? We may be told that some colours integrate, others disintegrate the vision, that some tastes integrate, others disintegrate the tongue: we reply that, first, it is the actual experiences that we are discussing and it is to these that the notions of integration and disintegration must be applied; secondly, a means of differentiating these experiences has not been offered.

It may be suggested that we divide them by their powers, and this suggestion is so far reasonable that we may well agree to divide the non-sensuous qualities, the sciences for example, on this basis; but we see no reason for resorting to their effects for the division of qualities sensuous. Even if we divide the sciences by their powers, founding our division of their processes upon the faculties of the mind, we can only grasp their differences in a rational manner if we look not only to their subject-matter but also to their Reason-Principles.

But, granted that we may divide the arts by their Reason-Principles and theorems, this method will hardly apply to embodied qualities. Even in the arts themselves an explanation would be required for the differences between the Reason-Principles themselves. Besides, we have no difficulty in seeing that white differs from black; to account for this difference is the purpose of our enquiry.

(10) If all this be true, we must at once admit signification, though, neither singly nor collectively, can we ascribe to the stars any efficacy except in what concerns the All and in what is of their own function.

We must admit that the Soul before entering into birth presents itself bearing with it something of its own, for it could never touch body except under stress of a powerful inner impulse; we must admit some element of chance around it from its very entry, since the moment and conditions are determined by the kosmic circuit: and we must admit some effective power in that circuit itself; it is co-operative, and completes of its own act the task that belongs to the All of which everything in the circuit takes the rank and function of a part.

(42) In the middle region of the Table appears the all-form-containing personified Spiritual Essence--the source and substance of all things. From this proceed the lower worlds as nine emanations in groups of three (the Ophionic, Ibimorphous, and Nephtæan Triads). Consider in this connection the analogy of the Qabbalistic Sephiroth, or the nine spheres issuing from Kether, the Crown. The twelve Governors of the Universe (the Mendesian, Ammonian, Momphtæan, and Omphtæan Triads)--vehicles for the distribution of the creative influences, and shown in the upper region of the Table-are directed in their activities by the Divine Mind patterns existing in the archetypal sphere, The archetypes are abstract patterns formulated in the Divine Mind and by them all the inferior activities are controlled.

(26) In conclusion we would again remind you that according to the Principle of Correspondence, which embodies the truth: "As Above so Below; as Below, so Above," all of the Seven Hermetic Principles are in full operation on all of the many planes, Physical Mental and Spiritual. The Principle of Mental Substance of course applies to all the planes, for all are held in the Mind of THE ALL. The Principle of Correspondence manifests in all, for there is a correspondence, harmony and agreement between the several planes. The Principle of Vibration manifests on all planes, in fact the very differences that go to make the "planes" arise from Vibration, as we have explained. The Principle of Polarity manifests on each plane, the extremes of the Poles being apparently opposite and contradictory. The Principle of Rhythm manifests on each Plane, the movement of the phenomena having its ebb and flow, rise and flow, incoming and outgoing. The Principle of Cause and Effect manifests on each Plane, every Effect having its Cause and every Cause having its effect. The Principle of Gender manifests on each Plane, the Creative Energy being always manifest, and operating along the lines of its Masculine and Feminine Aspects.

(106) At the description of the SUN you will find more and deeper things concerning it: My intention is only to describe the whole or total Deity, as far as I am capable in my weakness to apprehend [it], viz. how that is, in love and in wrath, and how it does generate itself now at present in this world. You will find more concerning jewels and precious stones at the description of the seven planets.

(12) These three universal centers--the one above, the one below, and the link uniting them-represent three suns or three aspects of one sun--centers of effulgence. These also have their analogues in the three grand centers of the human body, which, like the physical universe, is a Demiurgic fabrication. "The first of these [suns]," says Thomas Taylor, "is analogous to light when viewed subsisting in its fountain the sun; the second to the light immediately proceeding from the sun; and the third to the splendour communicated to other natures by this light."

(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.

(9) This diagrammatic sector represents the major gradations of energy and substance between elemental earth and absolute unconditioned force. Beginning with the superior, the fifteen graduated spheres descend in the following order: Limitless and Eternal Life; the superior, the middle, and the inferior Empyrean; the seven planets; and the four elements. Energy is symbolized by Fludd as a pyramid with its base upon the concave surface of the superior Empyrean, and substance as another Pyramid with its base upon the convex surface of the sphere (not planet) of earth. These pyramids demonstrate the relative proportions of energy and substance entering into the composition of the fifteen planes of being. It will be noted that the ascending pyramid of substance touches but does not pierce the fifteenth sphere--that of Limitless and Eternal Life. Likewise, the descending pyramid of energy touches but does not pierce the first sphere--the grossest condition of substance. The plane of the sun is denominated the sphere of equality, for here neither energy nor substance predominate. The mundane monochord consists of a hypothetical string stretched from the base of the pyramid of energy to the base of the pyramid of substance.

(88) Now in this rising up of the six spirits, there riseth up also the Mercurius, tone or sound of all the six spirits, and in the seventh nature-spirit it subsisteth as in the mother; and then the seventh generateth all manner of fruits and colours, according to the operation of the six.