Tulpa: Thought-Forms
Tulpa: Thought-FormsPrefaceTHOUGHT-FORMSTHE DIFFICULTY OF REPRESENTATIONTHE TWO EFFECTS OF THOUGHTHOW THE VIBRATION ACTSTHE FORM AND ITS EFFECTTHE MEANING OF THE COLOURSTHREE CLASSES OF THOUGHT-FORMSAFFECTIONDEVOTIONINTELLECTANGERSYMPATHYFEARGREEDVARIOUS EMOTIONSFORMS SEEN IN THOSE MEDITATINGHELPFUL THOUGHTSFORMS BUILT BY MUSICCopyright
Tulpa: Thought-Forms
C. W. Leadbeater
Preface
The history of western magic started about 4000 years ago. And
since then it has been adding something to western magic.
Originally, the Latin word magus nominated the followers of the
spiritualist-priest class, and later originated to elect
‘clairvoyant, sorcerer’ and in a judgmental sense also ‘magician,
trickster’. Thus, the initial meaning of the word ‘magic’ was the
wisdoms of the Magi, that is the abilities of attaining
supernatural powers and energy, while later it became practical
critically to deceitful wizardry. The etymological descriptions
specify three significant features in the expansion of the notion
‘magic’: 1) Magic as a discipline of celestial natural forces and
in the course of formation 2) Magic as the exercise of such facts
in divinations, visions and illusion 3) Fraudulent witchery. The
latter belief played a significant part in the Christian
demonization process. The growth of the western notion ‘magic’
directed to extensive assumptions in the demonological and
astrophysical argument of the Neoplatonists. Their tactic was
grounded on the philosophy of a hierarchically ordered outer space,
where conferring to Plotinus (C205–C270 AD) a noetic ingredient was
shaped as the outcome of eternal and countless radiation built on
the ultimate opinion; this in its chance contributed to the rise of
psychic constituent, which formed the basis of the factual world.
Furthermore, these diverse phases of release came to be measured as
convinced forces, which underneath the impact of innocent and evil
views during late ancient times were embodied as humans. The
hierarchical cosmos of Iamblichus simply demonstrates the
legitimacy of this process. In his work, the Neoplatonic cosmology
has initiated a channel through the syncretism distinctive of the
late antiquity and in the essence of Greco-Oriental dualism.
Superior productions are taken closer to inferior ones by various
midway creatures. The higher the site of the mediators, the further
they bear a resemblance to gods and whizzes; the minor they are,
the nearer they stand to the psychic-spiritual part. The
aforementioned group of intermediaries has been settled in order of
series on the origin of cosmic gravity. Proclus (c410–485 AD) has
described the system of magic origin conversed above in better
aspect: in the hierarchical shackles of cosmic rudiments the power
and nature of a firm star god disturbs everything mediocre, and
with growing distance the impact slowly becomes weaker. The
Humanists approached the Platonic notions from the outlook of the
bequest of late antiquity, and were thus first familiarized to the
Neoplatonic form of the doctrine. And since Ficino’s work has been
inscribed in the spirit of emanation theory, and the author has
been persuaded of the existence of the higher and lower spheres of
magic and powers defined in Picatrix, he claims that planets and
cosmic movements have much to do with power and magic spirit.
Today’s occult marketplace also offers, in addition to books,
multifarious paraphernalia for practicing magic: amulets,
talismans, pendulums and magic rods. Though added with modern
essentials and pseudoscientific advices to give some weight to the
fundamentals, they are nothing but the leftovers of the western
ethnicities of magic.
THOUGHT-FORMS
As knowledge increases, the attitude of science towards the
things of the invisible world is undergoing considerable
modification. Its attention is no longer directed solely to the
earth with all its variety of objects, or to the physical worlds
around it; but it finds itself compelled to glance further afield,
and to construct hypotheses as to the nature of the matter and
force which lie in the regions beyond the ken of its instruments.
Ether is now comfortably settled in the scientific kingdom,
becoming almost more than a hypothesis. Mesmerism, under its new
name of hypnotism, is no longer an outcast. Reichenbach's
experiments are still looked at askance, but are not wholly
condemned. Röntgen's rays have rearranged some of the older ideas
of matter, while radium has revolutionised them, and is leading
science beyond the borderland of ether into the astral world. The
boundaries between animate and inanimate matter are broken down.
Magnets are found to be possessed of almost uncanny powers,
transferring certain forms of disease in a way not yet
satisfactorily explained. Telepathy, clairvoyance, movement without
contact, though not yet admitted to the scientific table, are
approaching the Cinderella-stage. The fact is that science has
pressed its researches so far, has used such rare ingenuity in its
questionings of nature, has shown such tireless patience in its
investigations, that it is receiving the reward of those who seek,
and forces and beings of the next higher plane of nature are
beginning to show themselves on the outer edge of the physical
field. "Nature makes no leaps," and as the physicist nears the
confines of his kingdom he finds himself bewildered by touches and
gleams from another realm which interpenetrates his own. He finds
himself compelled to speculate on invisible presences, if only to
find a rational explanation for undoubted physical phenomena, and
insensibly he slips over the boundary, and is, although he does not
yet realise it, contacting the astral plane.One of the most interesting of the highroads from the
physical to the astral is that of the study of thought. The Western
scientist, commencing in the anatomy and physiology of the brain,
endeavours to make these the basis for "a sound psychology." He
passes then into the region of dreams, illusions, hallucinations;
and as soon as he endeavours to elaborate an experimental science
which shall classify and arrange these, he inevitably plunges into
the astral plane. Dr Baraduc of Paris has nearly crossed the
barrier, and is well on the way towards photographing astro-mental
images, to obtaining pictures of what from the materialistic
standpoint would be the results of vibrations in the grey matter of
the brain.It has long been known to those who have given attention to
the question that impressions were produced by the reflection of
the ultra-violet rays from objects not visible by the rays of the
ordinary spectrum. Clairvoyants were occasionally justified by the
appearance on sensitive photographic plates of figures seen and
described by them as present with the sitter, though invisible to
physical sight. It is not possible for an unbiassed judgment to
rejectin totothe evidence of
such occurrences proffered by men of integrity on the strength of
their own experiments, oftentimes repeated. And now we have
investigators who turn their attention to the obtaining of images
of subtle forms, inventing methods specially designed with the view
of reproducing them. Among these, Dr Baraduc seems to have been the
most successful, and he has published a volume dealing with his
investigations and containing reproductions of the photographs he
has obtained. Dr Baraduc states that he is investigating the subtle
forces by which the soul—defined as the intelligence working
between the body and the spirit—expresses itself, by seeking to
record its movements by means of a needle, its "luminous" but
invisible vibrations by impressions on sensitive plates. He shuts
out by non-conductors electricity and heat. We can pass over his
experiments in Biometry (measurement of life by movements), and
glance at those in Iconography—the impressions of invisible waves,
regarded by him as of the nature of light, in which the soul draws
its own image. A number of these photographs represent etheric and
magnetic results of physical phenomena, and these again we may pass
over as not bearing on our special subject, interesting as they are
in themselves. Dr Baraduc obtained various impressions by strongly
thinking of an object, the effect produced by the thought-form
appearing on a sensitive plate; thus he tried to project a portrait
of a lady (then dead) whom he had known, and produced an impression
due to his thought of a drawing he had made of her on her deathbed.
He quite rightly says that the creation of an object is the passing
out of an image from the mind and its subsequent materialisation,
and he seeks the chemical effect caused on silver salts by this
thought-created picture. One striking illustration is that of a
force raying outwards, the projection of an earnest prayer. Another
prayer is seen producing forms like the fronds of a fern, another
like rain pouring upwards, if the phrase may be permitted. A
rippled oblong mass is projected by three persons thinking of their
unity in affection. A young boy sorrowing over and caressing a dead
bird is surrounded by a flood of curved interwoven threads of
emotional disturbance. A strong vortex is formed by a feeling of
deep sadness. Looking at this most interesting and suggestive
series, it is clear that in these pictures that which is obtained
is not the thought-image, but the effect caused in etheric matter
by its vibrations, and it is necessary to clairvoyantly see the
thought in order to understand the results produced. In fact, the
illustrations are instructive for what they do not show directly,
as well as for the images that appear.It may be useful to put before students, a little more
plainly than has hitherto been done, some of the facts in nature
which will render more intelligible the results at which Dr Baraduc
is arriving. Necessarily imperfect these must be, a physical
photographic camera and sensitive plates not being ideal
instruments for astral research; but, as will be seen from the
above, they are most interesting and valuable as forming a link
between clairvoyant and physical scientific
investigations.At the present time observers outside the Theosophical
Society are concerning themselves with the fact that emotional
changes show their nature by changes of colour in the cloud-like
ovoid, or aura, that encompasses all living beings. Articles on the
subject are appearing in papers unconnected with the Theosophical
Society, and a medical specialist[1]has collected a large number of
cases in which the colour of the aura of persons of various types
and temperaments is recorded by him. His results resemble closely
those arrived at by clairvoyant theosophists and others, and the
general unanimity on the subject is sufficient to establish the
fact, if the evidence be judged by the usual canons applied to
human testimony.The bookMan Visible and
Invisibledealt with the general subject of the
aura. The present little volume, written by the author ofMan Visible and Invisible, and a
theosophical colleague, is intended to carry the subject further;
and it is believed that this study is useful, as impressing vividly
on the mind of the student the power and living nature of thought
and desire, and the influence exerted by them on all whom they
reach.[1]Dr Hooker, Gloucester Place, London,
W.
THE DIFFICULTY OF REPRESENTATION
We have often heard it said that thoughts are things, and
there are many among us who are persuaded of the truth of this
statement. Yet very few of us have any clear idea as to what kind
of thing a thought is, and the object of this little book is to
help us to conceive this.There are some serious difficulties in our way, for our
conception of space is limited to three dimensions, and when we
attempt to make a drawing we practically limit ourselves to two. In
reality the presentation even of ordinary three-dimensional objects
is seriously defective, for scarcely a line or angle in our drawing
is accurately shown. If a road crosses the picture, the part in the
foreground must be represented as enormously wider than that in the
background, although in reality the width is unchanged. If a house
is to be drawn, the right angles at its corners must be shown as
acute or obtuse as the case may be, but hardly ever as they
actually are. In fact, we draw everything not as it is but as it
appears, and the effort of the artist is by a skilful arrangement
of lines upon a flat surface to convey to the eye an impression
which shall recall that made by a three-dimensional
object.