(8) The seven senses (prâna) also spring from him, the seven lights (acts of sensation), the seven kinds of fuel (objects by which the senses are lighted), the seven sacrifices (results of sensation), these seven worlds (the places of the senses, the worlds determined by the senses) in which the senses move, which rest in the cave (of the heart), and are placed there seven and seven.

(30) Summary The student must not fall into the error of supposing that man really has seven separate and distinct souls, either tied together like a bundle of twigs, or else worn as one would wear seven overcoats, one over the other. The symbol is only figurative, and must not be construed literally. There are not seven selves in man—but only One Self concealed by seven veils, each of which while serving to conceal the real nature of the Self yet serves to disclose the presence and power thereof to some degree. It is as if seven planes of variously colored glass, ranging from the darkest to the almost-transparent and colorless, were to be placed before a brilliant light. The darker glass would almost entirely obscure the Light, though yet revealing its presence in some of its rays; the next lighter would reveal more, and obscure less; and so on to the last in which the obscuration was but slight, and the revelation almost perfect. All illustrations of this ineffable fact of the Eternal are, by the very nature of things, imperfect, faulty, and misleading if taken too literally.

(2) The following symbol, likewise, testifies the truth of this. For by the God “ sitting above the lotus ,” a transcendency and strength which by no means come into contact with the mire, are obscurely signified, and also indicate his intellectual and empyrean empire. For every thing belonging to the lotus is seen to be circular, viz. both the form of the leaves and the fruit; and circulation is alone allied to the motion of intellect, which energizes with invariable sameness, in one order, and according to one reason. But the God is established by himself, and above a dominion and energy of this kind, venerable and holy, superexpanded, and abiding in himself, which his being seated is intended to signify. When the God, also, is represented as “ sailing in a ship ,” it exhibits to us the power which governs the world. As, therefore, the pilot being separate from the ship presides over the rudder of it, thus the sun having a separate subsistence, governs the helm of the whole world. And as the pilot directs all things from the stem, giving from himself a small principle of motion to the vessel; thus, also, by a much greater priority, the God indivisibly imparts supernally from the first principles of nature, the primordial causes of motions. These particulars, therefore, and still more than these, are indicated by the God sailing in a ship.

(4) Circulation of the Light is not only a circulation of the seed-blossom of the one body, but it is, in the irst place, a circulation of the ' true, creative, formative powers. It has to do, not with a momentary fantasy, but with the exhaustion of the circular course (soul-wanderings) of all the aeons. Therefore a breath-pause means a yearaccording to human reckoning-and a hundred years measured by the long night of the Nine Paths (of reincarnation), After a man has the one tone of individuation (9) behind him, he will be bom outward according to the circumstances, and not until he is old will he turn a single time to the backward- lowing way, vThe force of the Light exhausts itself and trickles away. That brings the nine-fold darkness (of rebirths) into the world. In the book Ling Yen (10) it is said: By concentrating the thoughts, one can fly; by concentrating the desires, one falls. When a pupil takes little care of his thoughts and much care of his desires, he gets into the path of depravity. Only through contemplation and quietness does true intuition arise: for that, the backward- lowing method is necessary.

(3) The Symbol is interpreted as follows: (1) The Infinite Unmanifest manifests itself in the Elemental Soul; (2) the Elemental Soul takes upon itself the outward form of Mineral Substance; (3) The Mineral Soul evolves from itself the Plant Soul; (4) the Plant Soul evolves from itself the Animal Soul; (5) the Animal Soul evolves from itself the Human Soul; (6) the Human Soul unfolds into the Soul of the Demi-Gods; (7) the Soul of the Demi-Gods unfolds into the Soul of the Gods; and finally, the Soul of the Gods once more is resolved into Pure Spirit, which is represented by the blank space at the centre of the symbol. This statement will be more clearly apprehended by those who have carefully studied the preceding chapters conveying instruction concerning the Seven Planes of Consciousness, and much of the information contained in those chapters is to be taken into consideration in the study of the present chapter.

(20) The pupil has penetrated in his work into mysterious territory; but, if he does not know the method of melting, it is to be feared that the Elixir of Life will not be produced. Therefore the Master has revealed the secret strictly guarded by the former holy men. When the pupil keeps the crystallized spirit fixed within the cave of power, and, at the same time, lets greatest quietness hold sway, then out of the obscure darkness, a something develops out of the nothingness, that is, the Golden Flower of the Great One appears. At this time the conscious Light is differentiated from the Light of the essence. Therefore it is said: To move when stimulated by external things, leads to its going downward and outward and creating a man. That is conscious Light. If, at the time the true power has been copiously gathered together, the pupil does not let it low downward and outward, but allows it to flow backward, that is the Light of Life; the method of the turning of the waterwheel must be used. If one continues to turn, the true power returns to the roots, drop by drop. Then the water-wheel stops, the body is clean, the power is fresh. One single turning means one Heavenly cycle, that which Master Chiu has called a small Heavenly cycle. If one does not wait to use the power until it has been collected suflBciently, it is then too tender and weak, and the Elixir is not formed. If the power is there and not used, then it becomes too old and rigid, and also the Elixir of Life will hardly be produced. When it is neither too old nor too tender, then is the right time to use it with intention. This is what Buddha means when he says: The phenomenon flows into emptiness. This is the sublimation of the seed into power. If the pupil does not understand this principle, and lets the power stream away downward, then the power forms into seed; this is what is meant when it is said: Emptiness finally lows into the phenomenon. But every man who unites bodily with a woman feels pleasure first and then bitterness; when the seed has flowed out, the body is tired and the spirit languid. It is quite different when the adept lets spirit and power unite. That brings first purity and then freshness; when the seed is transformed, the body is healthy and free. There is a tradition that the old Master P'eng grew to be 880 years old because he made use of serving maids to nourish his life, but that is a misunderstanding. In reality, he used the method of sublimation of spirit and power. In the Elixirs of Life symbols are generally used, and in them the adhering fire (Li) is frequently compared to a bride, and the water of the abyss to the boy (puer aeternus). From this arose the misunderstanding about Master P'eng having restored his virility through femininity. These are mistakes that have forced their way in later.