(30) Many of the White Magicians of the race belong to the higher phases of this great Plane of Consciousness. And, alas, some who are what is known as Black Magicians have managed to "break into the Kingdom of Heaven" on these planes, and have prostituted their power; but to such inevitably comes punishment by Nature herself, and are either forced into the legions of Light or else are disintegrated and destroyed by the very forces of Nature which they have set into operation for selfish and ignoble purposes.

(26) Black . Black represents the negation of Pure Spirit, and opposes it in every way, and its presence always indicates the existence and activity of this negative principle in the nature of man.

(22) Black is really an absence of color, while White is really a harmonious blending of all colors. The blending of the Primary Colors in varied proportions produce what are known as the "hues" of color; and adding White we obtain "tints," while mixing Black produces "shades." Key to the Auric Colors An understanding of the basic character of the Three Primary Auric Colors, and of Auric Black and Auric White, gives the student the key to the whole range of auric coloring. For this purpose the following table is presented: The Red Group . Red represents the physical nature, and its presence always indicates the existence and activity of that part of the nature of man.

(2) The Devil has taught Man Sorcery or Witchcraft, thereby to strengthen and fortify his Kingdom. But if he had revealed to Man the right, true, fundamental Ground, which lurked behind or under it, many would have altogether let it alone, and not have meddled with it at all.

(25) White . White represents Pure Spirit, and its presence always indicates the presence and activity of that Reality in the nature of man.

(6) But the variety of disposition arises from inordinate affection to material things. And for this reason, as they appear to me, to have called night Euphrone; since then the soul, released from the perceptions of sense, turns in on itself, and has a truer hold of intelligence (Fronhsis). Wherefore the mysteries are for the most part celebrated by night, indicating the withdrawal of the soul from the body, which takes place by night. "Let us not then sleep, as do others; but let us watch and be sober. For they that sleep, sleep in the night; and they that are drunken, are drunken in the night. But let us who are of the day be sober, putting on the breastplate of faith and love, and as an helmet the hope of salvation." And as to what, again, they say of sleep, the very same things are to be understood of death. For each exhibits the departure of the soul, the one more, the other less; as we may also get this in Heraclitus: "Man touches night in himself, when dead and his light quenched; and alive, when he sleeps he touches the dead; and awake, when he shuts his eyes, he touches the sleeper." "For blessed are those that have seen the Lord," according to the apostle; "for it is high time to awake out of sleep. For now is our salvation nearer than when we believed. The night is far spent, the day is at hand. Let us therefore cast off the works of darkness, and put on the armour of light." By day and light he designates figuratively the Son, and by the armour of light metaphorically the promises.

(40) But magic spells; how can their efficacy be explained?

By the reigning sympathy and by the fact in Nature that there is an agreement of like forces and an opposition of unlike, and by the diversity of those multitudinous powers which converge in the one living universe.

There is much drawing and spell-binding dependent on no interfering machination; the true magic is internal to the All, its attractions and, not less, its repulsions. Here is the primal mage and sorcerer- discovered by men who thenceforth turn those same ensorcellations and magic arts upon one another.

Love is given in Nature; the qualities inducing love induce mutual approach: hence there has arisen an art of magic love-drawing whose practitioners, by the force of contact implant in others a new temperament, one favouring union as being informed with love; they knit soul to soul as they might train two separate trees towards each other. The magician too draws on these patterns of power, and by ranging himself also into the pattern is able tranquilly to possess himself of these forces with whose nature and purpose he has become identified. Supposing the mage to stand outside the All, his evocations and invocations would no longer avail to draw up or to call down; but as things are he operates from no outside standground, he pulls knowing the pull of everything towards any other thing in the living system.

The tune of an incantation, a significant cry, the mien of the operator, these too have a natural leading power over the soul upon which they are directed, drawing it with the force of mournful patterns or tragic sounds- for it is the reasonless soul, not the will or wisdom, that is beguiled by music, a form of sorcery which raises no question, whose enchantment, indeed, is welcomed, exacted, from the performers. Similarly with regard to prayers; there is no question of a will that grants; the powers that answer to incantations do not act by will; a human being fascinated by a snake has neither perception nor sensation of what is happening; he knows only after he has been caught, and his highest mind is never caught. In other words, some influence falls from the being addressed upon the petitioner- or upon someone else- but that being itself, sun or star, perceives nothing of it all.

(121) Outward colors arise from the light of sun and stars, The light that lights the eye is also the heart's Light; The eye's light proceeds from the Light of the heart. But the light that lights the heart is the Light of God, At night there is no light, and colors are not seen; Hence we know what light is by its opposite, darkness. At night no colors are visible, for light is lacking. How can color be the attribute of dark blackness? Looking on light is the same as looking on colors; Opposite shows up opposite, as a Frank a Negro.

(4) Light and Darkness are poles of the same thing, with many degrees between them. The musical scale is the same--starting with "C" you move upward until you reach another "C" and so on, the differences between the two ends of the board being the same, with many degrees between the two extremes. The scale of color is the same-higher and lower vibrations being the only difference between high violet and low red. Large and Small are relative. So are Noise and Quiet; Hard and Soft follow the rule. Likewise Sharp and Dull. Positive and Negative are two poles of the same thing, with countless degrees between them.