(31) The term "periodicity" so often employed in connection with the subject of Rhythm, means "state of occurring or recurring at fixed intervals of time." Every phenomenal thing manifests periodicity, by reason of the presence and activity of the Principle of Rhythm. Every phenomenal thing has its own rhythmic beat, or measure of periodicity. All scientific investigation tends to corroborate the ancient occult axiom: "Everything beats time." A leading scientist has said: "Rhythm is a necessary characteristic of all motion. Given the co-existence everywhere of antagonistic forces—a postulate which is necessitated by our experience—and Rhythm is a necessary corollary. All motion alternates—be it the motion of planets in their orbits, or ethereal corpuscles in their undulations—be it the cadence of speech, or the rise and fall of prices—it became manifest that this perpetual reversal of motion between limits is inevitable." The atoms in their vibrations manifest Rhythm. The swing of the planets and the whirling of the earth manifest Rhythm. The rise and fall of the tides manifest Rhythm. The swing of the pendulum is interrupted Rhythm. Completed Rhythm is represented only by a completed revolution or circular movement—uninterrupted Rhythm always manifests as a complete movement in an orbit. But inasmuch as the centre between the two extremes is, itself, moving in response to a higher order of Rhythm, we see at last that all completed Rhythm manifests as a spiral—a circular movement which at the same time is moving forward.

(30) In all Rhythm there is recurring motion, change, and activity; action or motion in opposite directions; alternations between the opposite poles of action or motion; and a regular interval of time between the alternating actions or motions. In all phenomenal change or motion there is to be always found the existence of two opposite extremes between which the rhythmic change or motion is manifested. Rhythmic change and motion proceed by alternating swings between these two extremes, with a regular period of time elapsing between each beat, swing, or impulse in either direction. The period of "time" between the two alternating impulses constitutes the rhythmic rate, degree, or beat—its rhythmic measure of periodicity.

(28) So truly does advanced modern scientific thought recognize the nature of vibrations, that the axiom is announced that "The difference in things consists entirely of difference in vibrations." This axiom is akin to the ancient occult aphorism that "Things manifest differences according to their rate of vibrations." So, it is seen, all human investigation tends to prove the truth of the old occult axiom that "Everything vibrates." IV. The Principle of Rhythm The Principle of Rhythm manifests that universal regular swing or time-beat which is apparent in all the manifested world, from its highest to its lowest manifestation. The ancient occult axiom "Everything beats time" expresses this fundamental fact of the Cosmos.

(29) Rhythm means: "Regularly recurring motion, change or impulse proceeding in time-measured, alternating sequence." The term "alternating" means "succeeding, acting or happening in turn." The term "recurring" means "returning repeatedly; occurring at stated intervals, or according to some regular rule." Rhythm manifests in regular recurrence, succession in turn, repeated occurrence at stated intervals, etc. The simplest and most typical example or illustration of Rhythm is found in the swinging of the pendulum; the revolution of the earth on its axis., and around the sun, in regular measured time; the "beating time" of the metronome or the baton of the musical director; or the measured time in poetry or music. Rhythm means "beating time" in regular motion.

(33) A writer has said of an important fact concerning Rhythm in our emotional states: "Nothing swings beyond the limit of its extremes—nothing can pass beyond its rhythmic limits. Consequently, if a thing swings far in one direction, it swings back equally far in the other. Its reaction is in the measure of its action, though in an opposite direction. If its swing is great, its extremes are widely apart—if the swing is small, then the extremes are close together. The pendulum illustration may be applied to the phenomena on all planes. A short beat of the metronome allows the rod to move only a short distance each way—the long beat admits of a wide swing. And, in the same way, those who suffer keenly also enjoy keenly, while those whose natures admit of but little suffering are also incapable of more than a limited capacity for enjoyment. A pig suffers little, and enjoys but little; while a highly organized, sensitive individual suffers the torments of emotional and mental hell at times, while at others he mounts to the heavenly emotional and mental realms. The pendulum swings as far in one direction as in the other." In some of the higher teachings of the Rosicrucians the student is instructed in the application of the Principle of Rhythm to the mastery of his emotional states and feelings. The essence of this secret teaching is that the wise, perceiving the inevitable reaction following action, the ebb tide following the high tide, manage to escape the consequences of the reaction by rising to their higher realms or planes of consciousness just before the time of the backward swing of the emotional pendulum, thus allowing the reactionary movement to be manifested only on their lower planes of consciousness while the Ego dwells serenely on the upper plane.

(32) By the Principle of Rhythm day is followed by night, and night by day. Summer and winter alternate in their appearance. Sleeping and waking alternate. Work and rest exchange places. Involution is followed by evolution, and evolution by involution. All changes proceed according to rhythmic order and sequence. The conduct of mankind is regulated by Rhythm. Fashions in dress, in taste, and in feeling, all come and go, and come again. Everything "comes back" in time. Races rise and fall, and then rise again, again to fall. The course of empire wends its way in cyclic procession around the earth. History repeats itself. Even our emotions have their tidal movements.

(35) The following interesting quotation from a writer on the subject serves to bring out some of the main points concerned in the consideration of the activities of this particular principle: "Cyclicity is akin to Rhythm, and arise by reason of it. All events tend to move in cyclic trend—in constant circular movement. The Law of Cyclicity manifests in the universal tendency of things to swing in circles. Cyclicity is the outgrowth, or more complex form, of Rhythm. The primal manifestation of Rhythm is action to-and-fro in. a straight line or path—a movement backward and forward between two extremes or poles of action. This would be the invariable movement if the particular force manifested were the only manifestation of force or energy in that particular field of the Cosmos. But when the swinging pendulum (free to move in any direction) is subjected to the conflicting attractions and repulsions of other manifestations of force and energy, then there is manifested the universal tendency toward the circular trend—the tendency to convert the straight path of the swing into a circular path or cycle. The action and reaction, the attraction and repulsion, arising from the conflict between the force of the rhythmic swing in a straight line on the one hand, and the attractive and repellant forces from without, on the other hand, tend to swing the moving thing in a perfect circle around a central point, axis, or pivotal centre. And these conflicting forces are in operation through the Cosmos, and the manifestation of Cyclicity may be noticed on all planes. There is ever the evidence of the cyclic trend of things and events—the tendency to move in circles. The electrons in the atoms move in circles, just as do the planets around the sun, and just as does the sun move around some other centre in space.

(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.

(33) The Circuit does not go by chance but under the Reason-Principle of the living whole; therefore there must be a harmony between cause and caused; there must be some order ranging things to each other's purpose, or in due relation to each other: every several configuration within the Circuit must be accompanied by a change in the position and condition of things subordinate to it, which thus by their varied rhythmic movement make up one total dance-play.

In our dance-plays there are outside elements contributing to the total effect- fluting, singing, and other linked accessories- and each of these changes in each new movement: there is no need to dwell on these; their significance is obvious. But besides this there is the fact that the limbs of the dancer cannot possibly keep the same positions in every figure; they adapt themselves to the plan, bending as it dictates, one lowered, another raised, one active, another resting as the set pattern changes. The dancer's mind is on his own purpose; his limbs are submissive to the dance-movement which they accomplish to the end, so that the connoisseur can explain that this or that figure is the motive for the lifting, bending, concealment, effacing, of the various members of the body; and in all this the executant does not choose the particular motions for their own sake; the whole play of the entire person dictates the necessary position to each limb and member as it serves to the plan.

Now this is the mode in which the heavenly beings must be held to be causes wherever they have any action, and, when. they do not act, to indicate.

Or, a better statement: the entire kosmos puts its entire life into act, moving its major members with its own action and unceasingly setting them in new positions; by the relations thus established, of these members to each other and to the whole, and by the different figures they make together, the minor members in turn are brought under the system as in the movements of some one living being, so that they vary according to the relations, positions, configurations: the beings thus co-ordinated are not the causes; the cause is the coordinating All; at the same time it is not to be thought of as seeking to do one thing and actually doing another, for there is nothing external to it since it is the cause by actually being all: on the one side the configurations, on the other the inevitable effects of those configurations upon a living being moving as a unit and, again, upon a living being thus by its nature conjoined and concomitant and, of necessity, at once subject and object to its own activities.

(47) Timaeus: deficient in grace, which exists in most of us, Rhythm also was bestowed upon us to be our helper by the same deities and for the same ends. The foregoing part of our discourse, save for a small portion, has been an exposition of the operations of Reason; but we must also furnish an account of what comes into existence through Necessity.

(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.

(1) Since, however, we are narrating the wisdom employed by Pythagoras in instructing his disciples, it will not be unappropriate to relate that which is proximate in a following order to this, viz. how he invented the harmonic science, and harmonic ratios. But for this purpose we must begin a little higher. Intently considering once, and reasoning with himself, whether it would be possible to devise a certain instrumental assistance to the hearing, which should be firm and unerring, such as the sight obtains through the compass and the rule, or, by Jupiter, through a dioptric instrument; or such as the touch obtains through the balance, or the contrivance of measures;—thus considering, as he was walking near a brazier’s shop, he heard from a certain divine casualty the hammers beating out a piece of iron on an anvil, and producing sounds that accorded with each other, one combination only excepted.

But he recognized in those sounds, the diapason, the diapente, and the diatessaron, harmony. He saw, however, that the sound which was between the diatessaron and the diapente was itself by itself dissonant, yet, nevertheless, gave completion to that which was the greater sound among them. Being delighted, therefore, to find that the thing which he was anxious to discover had succeeded to his wishes by divine assistance, he went into the brazier’s shop, and found by various experiments, that the difference of sound arose from the magnitude of the hammers, but not from the force of the strokes, nor from the figure of the hammers, nor from the transposition of the iron which was beaten. When, therefore, he had accurately examined the weights and the equal counterpoise of the hammers, he returned home, and fixed one stake diagonally to the walls, lest if there were many, a certain difference should arise from this circumstance, or in short, lest the peculiar nature of each of the stakes should cause a suspicion of mutation.

Afterwards, from this stake he suspended four chords consisting of the same materials, and of the same magnitude and thickness, and likewise equally twisted. To the extremity of each chord also he tied a weight. And when he had so contrived, that the chords were perfectly equal to each other in length, he afterwards alternately struck two chords at once, and found the before-mentioned symphonies, viz. a different symphony in a different combination. For he discovered that the chord which was stretched by the greatest weight, produced, when compared with that which was stretched by the smallest, the symphony diapason. But the former of these weights was twelve pounds, and the latter six. And, therefore, being in a duple ratio, it exhibited the consonance diapason; which the weights themselves rendered apparent.

But again, he found that the chord from which the greatest weight was suspended compared with that from which the weight next to the smallest depended, and which weight was eight pounds, produced the symphony diapente. Hence he discovered that this symphony is in a sesquialter ratio, in which ratio also the weights were to each other. And he found that the chord which was stretched by the greatest weight, produced, when compared with that which was next to it in weight, and was nine pounds, the symphony diatessaron, analogously to the weights. This ratio, therefore, he discovered to be sesquitertian; but that of the chord from which a weight of nine pounds was suspended, to the chord which had the smallest weight [or six pounds,] to be sesquialter.

For 9 is to 6 in a sesquialter ratio. In like manner, the chord next to that from which the smallest weight depended, was to that which had the smallest weight, in a sesquitertian ratio, [for it was the ratio of 8 to 6,] but to the chord which had the greatest weight, in a sesquialter ratio [for such is the ratio of 12 to 8.] Hence, that which is between the diapente and the diatessaron, and by which the diapente exceeds the diatessaron, is proved to be in an epogdoan ratio, or that of 9 to 8. But either way it may be proved that the diapason is a system consisting of the diapente in conjunction with the diatessaron, just as the duple ratio consists of the sesquialter and sesquitertian, as for instance, 12, 8, and 6; or conversely, of the diatessaron and the diapente, as in the duple ratio of the sesquitertian and sesquialter ratios, as for instance 12, 9, and 6.

After this manner, therefore, and in this order, having conformed both his hand and his hearing to the suspended weights, and having established according to them the ratio of the habitudes, he transferred by an easy artifice the common suspension of the chords from the diagonal stake to the limen of the instrument, which he called chordotonon . But he produced by the aid of pegs a tension of the chords analogous to that effected by the weights.

(34) A writer, speaking along the lines just mentioned, has said: "The masters taught that by an understanding of the Principle of Rhythm man could escape many bewildering and perplexing changes in his emotional states and feelings. * * * They called this the Process of Neutralization, the operations of which consisted of raising the Ego above the vibrations of the ordinary conscious plane, and on to the higher. This was akin to rising above a thing and allowing the thing to pass beneath one. The occult masters, and their advanced students, polarized themselves at the positive pole of a particular emotional state, and by a process of "refusing" or "denial" they managed to escape the effects of the swing of the emotional pendulum to the negative pole of that emotion. All individuals who have attained any degree of self-mastery really proceed in this same manner, though usually unconsciously and without a true understanding of the law they are operating. By refusing to allow their negative mental and emotional states to manifest in them, they really 'neutralize' them, and cause them to pass under them on a lower plane of consciousness. The advanced occultist, however, proceeds consciously and deliberately to this end, and acquires a degree of balance, poise, and power almost incredible." The further the student penetrates in his investigations, along the lines of the physical, the mental, or the spiritual, the more will he become convinced of the truth of the ancient occult axiom: "Everything beats time." V. The Principles of Cycles The Principle of Cycles manifests that universal circular direction of process or progress which is apparent in all the manifested world, from its highest to its lowest manifestation. The spirit of this principle was expressed in the ancient occult axiom: "Everything proceeds in circles." It is apparent to all careful thinkers and investigators that all progress or procession of things or events follows the path of the circle. All things, physical, mental, and spiritual manifest the cyclic or circular trend. World and atoms, the Cosmos and man, all are under this law. This principle is understood more clearly when we understand that a completed and uninterrupted manifestation of Rhythm results in the completion of a circular movement—therefore the circular or cyclic trend of things is really closely allied to the Principle of Rhythm, and both Rhythm and Cyclicity are closely allied to the Principle of Vibration.

(530) them are obvious enough even to wits no better than ours; and there are others, as I imagine, which may be left to wiser persons. But where are the two? There is a second, I said, which is the counterpart of the one already named. And what may that be? The second, I said, would seem relatively to the ears to be what the first is to the eyes; for I conceive that as the eyes are designed to look up at the stars, so are the ears to hear harmonious motions; and these are sister sciences—as the Pythagoreans say, and we, Glaucon, agree with them? Yes, he replied. But this, I said, is a laborious study, and therefore we had better go and learn of them; and they will tell us whether there are any other applications of these sciences. At the same time, we must not lose sight of our own higher object. What is that? There is a perfection which all knowledge ought to reach, and which our pupils ought also to attain, and not to fall short of, as I was saying that they did in astronomy. For in the science of harmony, as you probably know, the same thing happens. The teachers of harmony compare the sounds and consonances which are heard only, and their labour, like that of the astronomers, is in vain. Yes, by heaven! he said; and ’tis as good as a play to hear them talking about their condensed notes, as they call them; they put their ears close alongside of the strings like persons catching a sound from their neighbour’s wall 5 —one set of them declaring that they distinguish an intermediate note and have found the least interval which should be the unit of measurement; the others insisting that the two sounds have passed into the same—either party setting

(13) Since they held that harmony must be determined not by the sense perceptions but by reason and mathematics, the Pythagoreans called themselves Canonics, as distinguished from musicians of the Harmonic School, who asserted taste and instinct to be the true normative principles of harmony. Recognizing, however, the profound effect: of music upon the senses and emotions, Pythagoras did not hesitate to influence the mind and body with what he termed "musical medicine."

(2) Employing this method, therefore, as a basis, and as it were an infallible rule, he afterwards extended the experiment to various instruments; viz. to the pulsation of patellæ or pans, to pipes and reeds, to monochords, triangles, and the like. And in all these he found an immutable concord with the ratio of numbers. But he denominated the sound which participates of the number 6 hypate : that which participates of the number 8 and is sesquitertian, mese ; that which participates of the number 9, but is more acute by a tone than mese, he called paramese , and epogdous ; but that which participates of the dodecad, nete . Having also filled up the middle spaces with analogous sounds according to the diatonic genus, he formed an octochord from symphonious numbers, viz. from the double, the sesquialter, the sesquitertian, and from the difference of these, the epogdous.

And thus he discovered the [harmonic] progression, which tends by a certain physical necessity from the most grave [i. e. flat] to the most acute sound, according to this diatonic genus. For from the diatonic, he rendered the chromatic and enharmonic genus perspicuous, as we shall some time or other show when we treat of music. This diatonic genus, however, appears to have such physical gradations and progressions as the following; viz. a semitone, a tone, and then a tone; and this is the diatessaron, being a system consisting of two tones, and of what is called a semitone. Afterwards, another tone being assumed, viz. the one which is intermediate, the diapente is produced, which is a system consisting of three tones and a semitone.

In the next place to this is the system of a semitone, a tone, and a tone, forming another diatessaron, i. e. another sesquitertian ratio. So that in the more ancient heptachord indeed, all the sounds, from the most grave, which are with respect to each other fourths, produce every where with each other the symphony diatessaron; the semitone receiving by transition, the first, middle, and third place, according to the tetrachord. In the Pythagoric octachord, however, which by conjunction is a system of the tetrachord and pentachord, but if disjoined is a system of two tetrachords separated from each other, the progression is from the most grave sound. Hence all the sounds that are by their distance from each other fifths, produce with each other the symphony diapente; the semitone successively proceeding into four places, viz. the first, second, third, and fourth. After this manner, therefore, it is said that music was discovered by Pythagoras. And having reduced it to a system, he delivered it to his disciples as subservient to every thing that is most beautiful.

(5) One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

(4) A certain thing of this kind also may take place in the harmony and crasis of the universe: for the same things may be the salvation of the whole, through the perfection of the things inherent and the recipients; but may be noxious to the parts, through their partible privation of symmetry. In the motion, therefore, of the universe, all the circulations preserve the whole world invariably the same; but some one of the parts is frequently injured by another part, which we see is sometimes the case in a dance. Again, therefore, corruptibility and mutability are passions connascent with partial natures. But it is not proper to ascribe these to wholes and first causes, either as if they existed in them, or as if they proceeded to terrestrial substances from them. Hence, through these things it is demonstrated, that neither the celestial Gods, nor their gifts, are effective of evil.

(23) In the above we have but one of the many applications of the Principle of Correspondence, which teaches that "As above, so below; as below, so above;" and that "From One know All." II. The Principle of Law and Order The Principle of Law and Order manifests in the presence and manifestation of a regular sequence, and orderly procession of phenomena in the universe of things. It is voiced by the celebrated axiom of a leading scientist that "The Universe is governed by laws." The spirit of this principle of truth is embodied in the very term "The Cosmos," which term is derived from the Greek term "Kosmos," meaning: "The world or universe considered in connection with perfect order and arrangement, as opposed to Chaos." In the occult teachings of the Rosicrucians it is impressed upon the student that "there is no such thing as Chance," in so far as Chance is used in the sense of "uncaused happening." The student is taught that even in the instances in which Blind Chance seems to rule, there is still the manifestation of Law and Order and Causation, though the Causes may lie outside of human knowledge. The term "Chance" is now employed by careful thinkers only in the sense of "The unknown, or unforeseen cause or causes of an event." In the Cosmos the same Causes, manifesting under the same circumstances always produce the same Effects. All of our science and thought is based upon this universal fact, and intelligent reasoning would be impossible without the tacit assumption of the truth of this principle. There is no room for Chance or haphazard, lawless happenings in the Cosmos. Everything, every happening, and every event, must have its "causes" and its "becauses." Everything happens "because" of so-and-so. Given certain causes, there must ensue certain results and effects. "Nothing ever happens" says the old proverb—and nothing ever does "happen" except for definite causes, and in pursuance with universal laws. As someone has said: "There is no room in the universe for anything outside of and independent of Law and Order. The existence of such an outside Something would render all Cosmic Law ineffective, and would plunge the universe into chaotic disorder and lawlessness." A writer has said regarding this: "A careful examination will show that what we call 'Chance' is merely the idea of obscure causes, causes that we cannot understand. The word 'Chance' is derived from a word meaning "to fall" (as the falling of dice from the box onto the board), the essence of the idea being that the fall of the dice are merely 'happenings' unrelated to any cause. And this is the sense in which the term is generally employed. But when the matter is closely examined it is seen that there is no chance whatsoever about the fall of the dice. Each time a die falls, and displays a certain number, it obeys a law as infallible as that which governs the revolution of the planets around the sun, and the movement of the sun itself. Back of the fall of the die are causes, or chains of causes, running back further than the mind can follow. The position of the die in the box; the amount of muscular energy expended in the throw; the condition of the table; etc., etc., all are causes, the effect of the combination of which may be seen in the fall and position of rest of the die. But back of these perceived causes there are chains of unseen preceding causes, all of which have had a bearing upon the position of the die as it comes to rest on the table. If the die be cast a great number of times, it will be. found that the numbers shown will be about equal, that is, there will be an equal number of one-spot, two-spots, etc., coming uppermost. Toss a penny in the air, and it may come down either heads' or tails.' But make a sufficient number of tosses, and the heads and tails will even up. This is the operation of the Law of Average. But bath the average and the single toss come under the Law of Cause and Effect." The same writer says: "There is no original happening; and every happening is merely a link in a great chain of happenings. There is a continuity between precedent happenings, the present happenings, and future happenings. There is always the relation between what has gone before, and what is happening now, and what will happen in the future. For instance: A stone is dislodged from the mountain-side and crashes through the roof of a cottage in the valley below. At first sight this seems to be a chance effect, but when we examine the matter we find a great chain of causes behind it. In the first place, there was the rain which softened the earth supporting the stone and which allowed or caused' it to fall. Then back of that there was the influence of the sun, other rains, etc., which gradually disintegrated the rock from a larger piece. Then there were the causes which led to the formation of the mountain, and its upheaval by convulsions of nature, and so on ad infinitum. We might follow up the causes behind the rain. Then we might consider the existence of the cottage just at that place at that particular moment. In short we would soon find ourselves involved in a mesh of cause and effect from which we would soon strive vainly to extricate ourselves." But the Rosicrucians do not believe in Fatalism in the ordinary sense of that term. Fatalism denies that preceding events have any causal relation to preceding events, and holds that the fated event would have happened in spite of any precedent event. Fatalism makes the fated event stand apart from the Law of Cause and Effect, and implies that the event arose from the operation of some arbitrary degree or will. The following quotation from an authoritative source will serve to point out the essential distinction between Fatalism and the Determination of Cosmic Law: "Fatalism is the doctrine that the course of events is so determined that what an individual wills can have no effect on that course. Fatalism must be carefully distinguished from Determinism, as the confusion of these two conceptions has been responsible for much of the popular prejudice existing against Determinism. Fatalism, as has been said, denies that Will has efficacy in shaping events. Determinism maintains that this causally efficient Will is itself to be causally accounted for; this is entirely different for the fatalistic assertion that Will counts for nothing. In fact Determinism and Fatalism are fundamental antagonistic. Determinism asserts that events are determined by some of the events that immediately precede them; that if the latter were different the former would be different. Fatalism denies that immediately preceding events have anything to do with the origination of events immediately following: it asserts that the latter would occur even if the former were changed. To say that one's death is fixed by Fate is to deny that it takes place by natural law. Or, more accurately, it is to say that however much one varies the cause, one cannot vary the effect. The fatalist's position is that the end is predetermined, but not the means; the determinist's position is that the events now occurring lead by causality to other events, which are thus fixed because their causes are actually existent. Or, to put it still another way, for the fatalist what actually determines the event is not another event immediately preceding, but some mysterious decree issued by some mysterious agent ages before the event. This enables us to see that Fatalism gives no scope to the Will. But Determinism, which merely asserts that every event has its determining conditions in its immediate antecedents, includes among those antecedents the human Will. Thus Determinism is consistent with a belief in the efficacy of Will, and Fatalism is not." In the above we have illustrations of some of the many applications of the Principle of Law and Order, which teaches that "Nothing happens by Chance, but everything happening is in accordance with Law, Order, and Causation." III. The Principle of Vibration The Principle of Vibration manifests in the manifestation of a state of vibration in everything in the Manifested Cosmos. It is voiced by the old occult axiom: "Everything vibrates." Modern science has advanced to the position of the ancient occultists who asserted that everything in the Cosmos was in a state or condition of continuous vibration. Science now tells us that not only is every particle of matter, or every mass of matter, in a state of continual vibration, but also that light, heat, magnetism, electricity and every other form of natural force results from a state of vibration.

(3) Neither is it proper to say that the soul primarily consists of harmony and rythm. For thus enthusiasm would be adapted to the soul alone. It is better, therefore, to deny this, and to assert that the soul, before she gave herself to body, was an auditor of divine harmony; and that hence, when she proceeded into body, and heard melodies of such a kind as especially preserve the divine vestigie of harmony, she embraced these, from them recollected divine harmony, and tends and is allied to it, and as much as possible participates of it. Hence the cause of divine divination may, after this manner, be assigned in common.