(26) Finally, when the motions have reached a certain rate, the final note perceptible to human ears is reached, and the shrill, piercing shriek dies away, and silence follows. No sound is then heard from the revolving object, for its rate of motion is so high that the human ear cannot register the vibrations. Then comes the perception of rising degrees of Heat. After quite a time in which degrees of heat are being manifested without any sign of distinguishable color (though certain colors are there, but imperceptible to human vision) there gradually is manifested a dull dark reddish color in the revolving object. As the rate of speed increases, the red becomes brighter. Then, as the speed is still further increased, the red changes into an orange color. Then follow, successively, the shades of green, blue, indigo, and finally violet, as the rate of vibrations increase. Then the violet fades away, and all color disappears, the human eye not being able to register them. But there are invisible rays emanating from the revolving object, the rays that are used in photographing, and other subtle rays of light. Then begin to be manifested the peculiar rays known as the 'X Rays,' etc., as the constitution of the object changes. Electricity and Magnetism are emitted when the appropriate rate of vibration is attained.

(67) Timaeus: and that large motion produces “loud” sound, and motion of the opposite kind “soft” sound. The subject of concords of sounds must necessarily be treated in a later part of our exposition. We have still remaining a fourth kind of sensation, which we must divide up seeing that it embraces numerous varieties, which, as a whole, we call “colors.” This consists of a flame which issues from the several bodies, and possesses particles so proportioned to the visual stream as to produce sensation; and as regards the visual stream, we have already stated merely the causes which produced it.

(7) Scientists have offered the illustration of a rapidly moving wheel, top, or cylinder, to show the effects of increasing rates of vibration. The illustration supposes a wheel, top, or revolving cylinder, running at a low rate of speed--we will call this revolving thing "the object" in following out the illustration. Let us suppose the object moving slowly. It may be seen readily, but no sound of its movement reaches the ear. The speed is gradually increased. In a few moments its movement becomes so rapid that a deep growl or low note may be heard. Then as the rate is increased the note rises one in the musical scale. Then, the motion being still further increased, the next highest note is distinguished. Then, one after another, all the notes of the musical scale appear, rising higher and higher as the motion is increased. Finally when the motions have reached a certain rate the final note perceptible to human ears is reached and the shrill, piercing shriek dies away, and silence follows. No sound is heard from the revolving object, the rate of motion being so high that the human ear cannot register the vibrations. Then comes the perception of rising degrees of Heat. Then after quite a time the eye catches a glimpse of the object becoming a dull dark reddish color. As the rate increases, the red becomes brighter. Then as the speed is increased, the red melts into an orange. Then the orange melts into a yellow. Then follow, successively, the shades of green, blue, indigo, and finally violet, as the rate of sped increases. Then the violet shades away, and all color disappears, the human eye not being able to register them. But there are invisible rays emanating from the revolving object, the rays that are used in photographing, and other subtle rays of light. Then begin to manifest the peculiar rays known as the "X Rays," etc., as the constitution of the object changes. Electricity and Magnetism are emitted when the appropriate rate of vibration is attained.

(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.

(25) A writer has said: "Science offers the illustration of a rapidly moving wheel, top, or cylinder, to show the effects of increasing rates of vibration. The illustration supposes a wheel, top, or revolving cylinder, running at a high rate of speed—we will call this revolving thing 'the object' in following out the illustration. Let us suppose the object to be moving slowly. It may be seen readily, but no sound of its movement reaches the ear. Then the speed is gradually increased. In a few moments the movement becomes so rapid that a deep growl or low note may be heard. Then as the rate of motion is increased the note rises higher in the musical scale. Then, the motion being still further increased, the next highest note is distinguished. Then, one after another, all the notes of the musical scale appear, rising higher and higher as the motion is increased.

(29) It is also a part of the teachings that the Three Primary Colors have a decided therapeutic effect, and that one may apply the principle in healing work. The colors may be applied either by means of physical colors placed in the environment of the person, or else held in the mind of the mental healer giving the treatment. Here is the Therapeutic Scale of Colors: Therapeutic Scale of Colors Blues, Violet, Lavender, etc. , have a cooling and soothing effect upon the nervous system, and upon the blood and bodily organs.

(18) In addition to the ordinary colors named above, there are several shades which cannot be named, for they correspond to colors outside of the field of human vision, such as "infra red" and "ultra violet." Without going deeply into this phase of the subject, it may be said that the "ultra violet" auric colors denote high spiritual powers manifested in the direction of the highest and most worthy aims and ends; while the "infra red" auric colors denote psychic powers employed in unworthy ways and for base ends—as for instance, that which the occultists know as "black magic." There are two other auric colors which are impossible to describe in words, for there are no terms adequate for such expression. These colors are as follows: (1) the true primary yellow, which indicates the highest spiritual illumination of the intellect; and (2) true pure white, or a peculiar brilliancy and transparency, which indicates the presence of the awakened spirit.

(67) Timaeus: Concerning colors, then, the following explanation will be the most probable and worthy of a judicious account. Of the particles which fly off from the rest and strike into the visual stream some are smaller, some larger, and some equal to the particles of the stream itself; those, then, that are equal are imperceptible, and we term them “transparent”; while the larger and smaller particles—of which the one kind contracts, the other dilates the visual stream—are akin to the particles of heat and cold which affect the flesh,

(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.

(80) Timaeus: and have already fallen to a speed similar to that with which the slower sounds collide with them afterwards and move them; and when the slower overtake the quicker sounds they do not perturb them by imposing upon them a different motion, but they attach to them the beginning of a slower motion in accord with that which was quicker but is tending to cease; and thus from shrill and deep they blend one single sensation, furnishing pleasure thereby to the unintelligent, and to the intelligent that intellectual delight which is caused by the imitation of the divine harmony manifested in mortal motions. Furthermore, as regards all flowings of waters, and fallings

(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.

(68) Timaeus: which is midway between these reaches to the liquid of the eyes and is mingled therewith, it is not brilliant but, owing to the blending of the fire's ray through the moisture, it gives off a sanguine color, and we give it the name of “red.” And “bright” color when blended with red and white becomes “yellow.” But in what proportions the colors are blended it were foolish to declare, even if one knew, seeing that in such matters one could not properly adduce any necessary ground or probable reason. Red blended with black and white makes “purple”;

(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.

(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.

(27) "When the revolving object reaches a certain degree or rate of vibration, its molecules disintegrate, and resolve themselves into the original elements or atoms. Then the atoms, in turn disintegrate, and are resolved into the countless corpuscles which constitute the atom. And finally even the corpuscles disintegrate, and a condition of ethereal substance is produced. Science does not dare to follow the illustration further, but the occultists teach that if the vibrations were continuously increased the revolving object would mount up the successive states of manifestation, and would display the various higher stages of consciousness." The occultists teach that each and every mental or emotional state has its own distinctive rate of vibration, and that the secret of "emotional contagion" is due to the fact that similar vibrations are set up in the emotional nature of persons subjected to the influence of strong emotion in another person. All manifestations of thought, emotion, will, desire, or feeling, or any other mental state, are accompanied and caused by vibrations of a certain high rate, and that these vibrations tend to influence others in their field of "induction," and tend to set up in the others similar vibrations. In this fact lies the secret of Mental Influence, Personal Magnetism, etc. A knowledge and mastery of the science of mental vibrations enables the skilled Rosicrucian to change the rate of his mental vibrations at will, and to thus maintain a state of mental calm and power, unaffected by the thought vibrations of those around him.