(25) Commenting on the twenty-fourth allocution of Chrysostom, in The Origin of all Religious Worship, Dupuis notes that each of the four elements was represented by a horse bearing the name of the god "who is set over the element." The first horse, signifying the fire ether, was called Jupiter and occupied the highest place in the order of the elements. This horse was winged, very fleet, and, describing the largest circle, encompassed all the others. It shone with the purest light, and on its body were the images of the sun, the moon, the stars, and all the bodies in the ethereal regions. The second horse, signifying the element of air, was Juno. It was inferior to the horse of Jupiter and described a smaller circle; its color was black but that part exposed to the sun became luminous, thus signifying the diurnal and nocturnal conditions of air. The third horse, symbolizing the element of water, was sacred to Neptune. It was of heavy gait and described a very small circle. The fourth horse, signifying the static element of earth, described as immovable and champing its bit, was the steed of Vesta. Despite their differences in temperature, these four horses lived harmoniously together, which is in accord with the principles of the philosophers, who declared the world to be preserved by the concord and harmony of its elements. In time, however, the racing horse of Jupiter burned the mane of the horse of earth; the thundering steed of Neptune also became covered with sweat, which overflowed the immovable horse of Vesta and resulted in the deluge of Deucalion. At last the fiery horse of Jupiter will consume the rest, when the three inferior elements--purified by reabsorption in the fiery ether--will come forth renewed, constituting "a new heaven and a new earth."

(46) As a beast of burden the horse was the symbol of the body of man forced to sustain the weight of his spiritual constitution. Conversely, it also typified the spiritual nature of man forced to maintain the burden of the material personality. Chiron, the centaur, mentor of Achilles, represents the primitive creation which was the progenitor and instructor of mankind, as described by Berossus. The winged horse and the magic carpet both symbolize the secret doctrine and the spiritualized body of man. The wooden horse of Troy, secreting an army for the capture of the city, represents man's body concealing within it those infinite potentialities which will later come forth and conquer his environment. Again, like Noah's Ark, it represents the spiritual nature of man as containing a host of latent potentialities which subsequently become active. The siege of Troy is a symbolic account of the abduction of the human soul (Helena) by the personality (Paris) and its final redemption, through persevering struggle, by the secret doctrine--the Greek army under the command of Agamemnon.

(9) That sacrifice is inclined towards the north (in the right way) in which there is a Brahman priest who knows this. And with regard to such a Brahman priest there is the following Gâthâ : 'Whereever it falls back, thither the man goes,'--viz. the Brahman only, as one of the Ritvig priests. 'He saves the Kurus as a mare' (viz. a Brahman priest who knows this, saves the sacrifice, the sacrificer, and all the other priests). Therefore let a man make him who knows this his Brahman priest, not one who does not know it, who does not know it.

(2) 'He (Brahman) is the swan (sun), dwelling in the bright heaven; he is the Vasu (air), dwelling in the sky; he is the sacrificer (fire), dwelling on the hearth; he is the guest (Soma), dwelling in the sacrificial jar; he dwells in men, in gods (vara), in the sacrifice (rita), in heaven; he is born in the water, on earth, in the sacrifice (rita), on the mountains; he is the True and the Great.'

(39) In the allegory of the four horsemen--according to the mysteries of philosophy--is set forth the condition of man during the stages of his existence. In his first and spiritual state he is crowed. As he descend into the realm of experience he carries the sword. Reaching physical expression--which is his least spiritual state--he carries the scales, and by the "philosophic death" is released again into the highest spheres. In the ancient Roman games the chariot of the sun was drawn by four horses of different colors and the horsemen of the Apocalypse may be interpreted to represent the solar energy riding upon the four elements which serve as media for its expression.

(13) Of the ox Hadhayôs, which they call Sarsaok, it says, that in the original creation men passed from region to region upon it, and in the renovation of the universe they prepare Hûsh (the beverage producing immortality) from it.

(1) 'The altar (on which the sacrifice is supposed to be offered) is that world (heaven), O Gautama; its fuel is the sun itself, the smoke his rays, the light the day, the coals the moon, the sparks the stars.

(1) Man is sacrifice. His (first) twenty-four years are the morning-libation. The Gâyatrî has twenty-four syllables, the morning-libation is offered with Gâyatrî hymns. The Vasus are connected with that part of the sacrifice. The Prânas (the five senses) are the Vasus, for they make all this to abide (vâsayanti).

(38) Moor describes this figure as follows: "The cast is nine inches in height, representing the glorious god of day-holding the attributes of VISHNU, seated on a seven-headed serpent; his car drawn by a seven-headed horse, driven by the legless ARUN, a personification of the dawn, or AURORA." (See Moor's Hindu Pantheon.)

(4) If the sacrifice is injured from the Rig-Veda side, let him offer a libation in the Gârhapatya fire, saying, Bhûh, Svâha! Thus does he bind together and heal, by means of the essence and the power of the Rik verses themselves, whatever break the Rik sacrifice may have suffered.

(5) If the sacrifice is injured from the Yagur-veda side, let him offer a libation in the Dakshina fire, saying, Bhuvah, Svâhâ! Thus does he bind together and heal, by means of the essence and the power of the Yagus verses themselves, whatever break the Yagus sacrifice may have suffered.

(8) Having cleansed the vessel, whether it be a kamsa or a kamasa, he sits down behind the fire on a skin or on the bare ground, without speaking or making any other effort. If in his dream he sees a woman, let him know this to be a sign that his sacrifice has succeeded.

(29) From a consideration of this system, it is readily understood why certain religious symbols were adopted during different ages of the earth's history; for during the 2,160 years the sun was in the constellation of Taurus, it is said that the Solar Deity assumed the body of Apis, and the Bull became sacred to Osiris. (For details concerning the astrological ages as related to Biblical symbolism, see The Message of the Stars by Max and Augusta Foss Heindel.) During the Aryan Age the Lamb was held sacred and the priests were called shepherds. Sheep and goats were sacrificed upon the altars, and a scapegoat was appointed to bear the sins of Israel.

(1) 'A diver-bird (Madgu, meant for Prâna) will declare to you another foot of Brahman.' (After these words of the Hamsa), Satyakâma, on the morrow, drove the cows onward. And when they came towards the evening, he lighted a fire, penned the cows, laid wood on the fire, and sat down behind the fire, looking toward the east.

(3) Then, as a fisherman might observe a fish in the water, Death observed the Devas in the Rik, Yagus, and Sâman-(sacrifices). And the Devas seeing this, rose from the Rik, Yagus, and Sâman-sacrifices, and entered the Svara , i.e. the Om (they meditated on the Om).

(6) 'I (the sacrificer) shall go thither, when this life is over. Take this! (he says, in offering the libation.) Cast back the bolt!' Having said this, he rises. For him the Vasus fulfil the morning-oblation.

(3) And his guardian spirits (fravâhar) of warriors and the righteous, on war horses and spear in hand, were around the sky; such-like as the hair on the head is the similitude (ângunî-aîtak) of those who hold the watch of the rampart.

(2) That Brahman (mind) has four feet (quarters). Speech is one foot, breath is one foot, the eye is one foot, the car is one foot-so much with reference to the body. Then with reference to the gods, Agni (fire) is one foot, Vâyu (air) is one foot, Âditya (sun) is one foot, the quarters are one foot. Thus both the worship which has reference to the body, and the worship which has reference to the Devas, has been taught.

(1) Verily, he who purifies (Vâyu) is the sacrifice, for he (the air) moving along purifies everything. Because moving along he purifies everything, therefore he is the sacrifice. Of that sacrifice there are two ways, by mind and by speech.

(24) The sixth to eleventh chapters inclusive are devoted to an account of the opening of the seven seals on the book held by the Lamb. When the first seal was broken, there rode forth a man on a white horse wearing a crown and holding in his hand a bow. When the second seal was broken, there rode forth a man upon a red horse and in his hand was a great sword. When the third seal was broken there rode forth a man upon a black horse and with a pair of balances in his hand. And when the fourth seal was broken there rode forth Death upon a pale horse and hell followed after him. The four horsemen of the Apocalypse may be interpreted to signify the four main divisions of human life. Birth is represented by the rider on the white horse who comes forth conquering and to conquer; the impetuosity of youth by the rider on the red horse who took peace from the earth; maturity by the rider on the black horse who weighs all things in the scales of reason; and death by the rider on the pale horse who was given power over a fourth part of the earth. In the Eastern philosophy these horsemen signify the four yugas, or ages, of the world which, riding forth at: their appointed times, become for a certain span the rulers of creation.