Library:Hodson/Kingdom of the Gods/Part 2/Chapter 3
CHAPTER III - THE COLOUR LANGUAGE OF THE ANGELS[edit source]
ANGELIC forms are built of light, or rather of tenuous material which is self-luminous; for every atom of their bodies, as also of the worlds in which they dwell, is a glowing particle of light. The form they use closely resembles our own and is, in fact, built upon the same model as is the human physical body. As stated earlier and shown in the illustrations, fairies and angels thus generally appear as very beautiful, ethereal human-like beings. Their faces, however, wear an expression which is distinctly non-human, for they are stamped with an impression of dynamic energy, of vividness of consciousness and life, with a certain supernal beauty and an other-worldliness which is rarely seen among men.
The appearance of the angels is also remarkable to human sight on account of the continual play of energy within and through their bodies and theii glowing auras. They may be thought of both as agents, and even engineers, of the fundamental forces of Nature. The powers which they control and manipulate are continually passing through and radiating from them, producing as they flow an effect which somewhat resembles the aurora.
Distinct force-centres, vortices and certain clearly defined lines of force are visible in their bodies. In the auricdischarges definite forms are produced, which sometimes suggest a crown upon the head and outspread wings of brilliant and ever-changing hues. The auric pinions, however, are not used for flying, for angels move swiftly through the air at will, with a graceful, floating motion and need no aids to flight. The old painters and writers, some of whom seem to have caught glimpses of them, apparently mistook these flowing forces for their clothing and their wings, and so depicted them as robed in human dress, and even gave the angels feathers in their wings.
As their bodies are formed of light, every variation in the flow of force produces a change of colour. A change of consciousness is instantly visible as an alteration in the shape and colour of their auras. An outpouring of love, for example, suffuses them with a crimson glow while, in addition, a vivid stream of roseate love-force flows out towards the object of their affection. Activity of thought appears as an uprush of yellow light and power from the head, so that they frequently appear as if crowned with a shining halo of light—a crown of gold which is their thought, set with many jewels, each jewel an idea. Perhaps this is the origin of one of their titles in Hinduism, Chitra Shikhandina, “the bright-crested”.
All the phenomena of emotion and thought which we term subjective, are objective to angels, as also to men endowed with superphysical vision. Angels thus see thought processes, emotions and aspirations as external and material phenomena; for they live in the worlds of feeling, thought, spiritual intuition and spiritual will. Their “speech” produces colour and form rather than sound. A system of sym- bology is included in their mode of communication, symbols and flashes of colour always appearing in the superphysical worlds as natural expressions of both human and angelic thought. The angels’ sense of the oneness of Life is so vivid that their every thought expresses an aspect of the fundamental truth of unity. This gives to their colour conversations a depth and a beauty not present in the ordinary interchange of human thought. They are incapable of a concept .either purposeless or untrue, or which fails in some measure to express that inherent divinity of which they never lose consciousness, and which illumines and inspires their every thought and deed. In this respect their colour language somewhat resembles the ancient Senzar, in which each letter and syllable is an expression of a basic truth. Unlike that ancient priestly tongue, however—the product of profoundly inspired minds —the mental language of the angels is instinctive and natural, calling for no conscious effort on their part in the choice and production of colour, form or symbol.
An angel who on occasion has mentally instructed me concerning his Kingdom, also provided examples of angelic communication and of the operation of the law by which superphysical matter assumes appropriate form and colour in response to the impact of thought. An account of two of these lessons is here given from notes taken at the time. I must, however, first explain that arupa  devas are in the highest degree impersonal, impassive, detached. Their consciousness is universal and exclusively concentrated upon their tasks. They are not normally accustomed to experience any personal attachments whatever. Rupa devas associated with the evolving life in Nature do not, as far as I am aware, usually experience or express the emotion of personal love. Their minds are universal and their “hearts” belong to the One Life of which they are impersonal embodiments. Certain rupa devas, however, may be regarded as incarnations of the qualities of divine love, compassion, tenderness for all that lives and these do feel, in however sublimated and impersonal a manner, a sense of unity with each other and with man.
1 As before stated, the masculine pronoun is used for convenience only, angels being asexual.
1 See footnote 2, p. 81.
As the following descriptions indicate, their love power can become temporarily directed to persons but without the faintest tinge of I-ness and possessiveness.
Certain nature spirits on the threshold of individualisation into angelhood, particularly those associated with the element of air—fairies and sylphs—can feel attracted towards men who possess the power consciously to enter their kingdom and communicate with them. Their submission to this attraction is rarely complete and even whilst seeking to allure the object of their affections, they do not usually conceive a permanent relationship. Such close mento-emo- tional associations with human beings can be helpful to them even though very harmful to their human partner. For them, the attainment of individualisation might be hastened by a blending of their mento-emotional nature with that of an individualised human being, but for man the adventure would be likely to lead to insanity.
Medieval legends in which sylphs and other nature spirits for their own advantage seek, and even physically attain, unions with men are probably more allegorical than historical. Physical union would demand materialisation on the part of the sylph which is most unlikely and, if ever attained, very rare. It would seem to be more probable that a veiled reference is being made to the evolutionary value to such nature spirits of close psychical association and collaboration with members of the human family.
An occult tradition does exist that, as an exception to that impersonality which is characteristic of highly evolved devas, intimate egoic attachments with human beings have been formed and have even become so strong as to cause the deva to seek and obtain admission to the human kingdom in order to be near the beloved human being. Birth in a human body then follows and, when a physical meeting with the beloved occurs, a very deep and fiery love is awakened in both of them. So strong is this emotion, that, if conventional barriers exist, they are ignored. Tragedy is not infrequently the result.
A CONVERSATION IN COLOUR[edit source]
Whilst resting in the garden of my cottage in Gloucestershire, I observed the angel teacher travelling at a great height in the air and sent out a greeting and a mental call for further knowledge concerning the Angelic Hosts. At once he paused in his “flight” and descended steeply towards the garden. As he came down, he sent an answering stream of love, which extended from the region of his heart and appeared as rays of glowing rose and crimson light. This outflowing love resembled a flower, for the sides of the funnel form which it produced were divided into petals and in the centre was a brilliant golden “rose”, the whole opening gradually as the angel drew near. This “flower” pulsed rhythmically and the lines of force of which it was composed quivered as he poured forth his affection and life-force. He resembled a glorious Greek God, upon whose breast was an open rose. The petallike radiations reached out and over me, the maximum diameter of the “flower “being about eight feet. A continuous play of brilliantly coloured force in bands of varying size and degrees of luminosity also shone above the angel’s head.
Another angel, chiefly blue in colour, soon appeared and the two engaged in “conversation”. As they “spoke” their auras reached out towards each other, touched and drew back, like the wings of celestial butterflies. They were about twenty-five yards apart, and a little above the fruit trees in the orchard. The fluidic nature of their auras was demonstrated by the ease with which they extended them to cover the intervening space. They “spoke” both with their hearts and their minds, for colours and symbols appeared in the emotional and mental matter of their auras, above their head for the most part, but also flashing between them with a rapidity and brilliance quite beyond my capacity to observe fully and record accurately. The main theme of the first angel found its natural expression through that soft, pale green sometimes seen in a summer sunset, this shade appearing continually both in the bands of colour above his head and in the symbol formed; it also tinged the larger portion of his aura, suggesting the qualities of sympathy and understanding.
Three beautiful forms like vertical, elongated scallop shells next appeared and hovered in the air above his head, quivering with life and light; in colour they were rose, yellow, and dark blue deepening to purple. Presently they expanded into the shape and appearance of large fans, met and became interwoven into one large, fan-shaped radiation. Alternately widening and narrowing, the single stream of flowing force extended high into the air and then disappeared. From his brother angel this called forth a perfect blaze of response, like a pyrotechnic display. His first answer turned the upper part of his aura into three bands of colours of the same shades as the shells; it then swept forward and embraced the first angel, holding him thus for some two or three seconds and then withdrawing. Three greatly enlarged fan-shaped symbols next appeared above him in succession, each symbol disappearing into the upper air in a flash of colour. A radiant smile illumined his face, and it was evident that the remark of the first angel had touched some responsive chord in his nature.
The first angel then explained to me the meaning of this interchange. The blue angel who was the second to appear contained within himself something of the fundamental forces and qualities of character underlying the second, fifth and seventh Rays. His life was an expression of the deepest love and the highest intellect, whilst in his work he displayed perfect precision of action. These qualities represented his ideal of perfection and he was consciously linked with an Archangel Superior in whom they were fully developed. In all Nature he perceived predominantly these three powers, traced the effects of their operation in members of the human race and expressed them in all his own activities.
In order to help human beings, for example, he would unify himself with their love nature, enhancing the human power of love by adding to it his own impersonal and universal affection. He would help scientists by stimulating their mental powers, by increasing their capacity for profound abstraction, and would endeavour to illumine their minds with the solution of any problems which they were seeking to solve. He would assist artists, actors, dancers and ceremonialists to attain greater perfection, grace and beauty of portrayal and more accurate expression of the idea by which their art was inspired. He would similarly aid his brother angels and the evolving life in the sub-human kingdoms of Nature. In all his activities these three characteristics would predominate, forming the background of his life and the source of his inspiration.
The first angel, with deep and intuitive sympathy, discerned this fact and mentally expressed his brother angel’s ideals with all the fullness and completeness of which he was capable, thereby producing the three shell-like forms in the colours typical of the three Rays. The second angel responded by causing the three highly developed qualities of his nature to shine out successively in greatly enlarged fanshaped forms.
This account, lengthy as it is, is still but a very incomplete description of an interchange of thought and feeling between the angels, which probably lasted no more than a minute. The use of the word “Ray” fails adequately to express the concept in the angel’s mind; he would probably call it an aspect of the Divine Life and Consciousness which is projected as a tongue of flame from the central fiery heart of things, or a stream of specially attuned vital energy permeating the universe. These conceptions were included within each of the shell-shaped symbols which, it will be noticed, are apt representations of the fundamental idea. The point of the shell would be at the central source of power which, as it poured forth, would widen out into the fan shape.
Each of these symbols consisted of radiating lines of force, the number of which I was not able to count, though doubtless that also would have its significance. As the whole symbol took form, the lines of force crossed each other and became interwoven until a broad, expanding stream of the three types of energy was formed. Each stream, however, could still be traced, because it maintained its own shape and colour in spite of the interweaving. The combined effect of these three aspects of Life working both in and through the second angel and in Nature was most appropriately portrayed by this shell-like form.
The angel further explained that, in addition to this colour language, there is a direct interchange of ideas at mental levels. The colours and symbols are largely produced by that interchange, though they may also be used as illustrations and elucidations of the central idea.
THE DANCE OF THE SYLPHS[edit source]
The aerial heights above the district of Gloucestershire in which these teachings were received are peopled with various orders of nature spirits, and especially with sylphs of differing degrees of development. The angel teacher referred to in the preceding description, still remaining near the ground, turned his attention upwards, opened his arms towards the sky and sent out a call which had the effect of bringing a large number of sylphs down into the garden where I was seated. As they descended they drew together in groups, and their blended auras produced the effect of living, sylph-made cloud forms, rose-coloured for the most part and brilliantly self-luminous. They brought with them an atmosphere of superabundant joy, as of a happy band of older children suddenly released from school, though in their case the opposite had occurred, as the angel called them from the freedom of the upper air to serve as subjects for human education.
The summons consisted of a strong and highly concentrated stream of will-power clothed in mental matter, a will- thought, a mental “shout” as it were. From the upper portion of the angel’s aura a number of small, cone-shaped forms also flashed into the air point upwards; the main colouring was rose, though the points were tipped with steel-blue. Each one “struck” a sylph, attracted its attention and conveyed an order, in response to which it descended. The angel was so far above them in evolution that an expression of his thought and will amounted to a command.
The angel smiled on them and rose-coloured rays of love shone from the sylphs towards the angel, each one drawing immediate response from him, his aura becoming suffused with a rosy light. He extended it laterally into tw'o wing-like radiations and then stretched these forward until they enveloped and passed beyond the group of sylphs, who were thus played upon by the intensely vivid and luminous auric energies of the angel. With these auric “wings” he maintained a continual, graceful sweeping and swinging movement backwards and forwards between himself and the sylphs, each beat of the “wings” pouring more life and love into them and filling them with an added joy, until their state became one of rapture.
Towards each other, they displayed considerable mutual affection, many of them “standing” with arms outstretched to rest upon each other’s shoulders. When these felicitations were completed, a concerted movement began in which all were linked in this way, the whole group arranging itself in circular tiers into the shape of a convolvulus flower. One sylph formed the point; three formed a circle above it, all facing inwards; the remainder formed ring upon ring, each larger than the one below, the whole glowing and flashing with rosy light, within which the natural colours of their auras appeared like the changing hues of an opal. Then the whole “flower” began to turn, all the sylphs moving together and maintaining perfectly the convolvulus flower form. Their faces bore an expression of joy and their long “hair” floated out behind them and their shining auric robes blending in expression of their perfect unity of feeling and of thought.
They revolved with increasing rapidity, until the angel gave the signal of dismissal by his raising his right hand above his head. Then the whole group, still revolving and maintaining the flower formation, rose high into the heavens, after which each ring opened out into a line and broke up into groups of two and three sylphs. Still rotating and rising as it turned, the flower form created in superphysical matter by this aerial dance remained, shining in heavens. Shortly afterwards, as if perceiving this and animated by a new idea, the sylphs re-formed into one big circle round the “flower” and by united thought built an enclosing, translucent sphere of the soft green colour of the teaching angel’s aura. This did not “grow” entirely into a closed sphere, but remained open at the top, streams of energy flowing up through the interior of the form to play out into the air above.
A certain abandon now became apparent in the movements of the sylphs, who continued to wheel with extreme rapidity round the flower form. Their heads were thrown back and their bodies were curved outwards from the circle. At last they dispersed glancing and sending towards the angel thoughts of love which descended upon him in a shower of crimson cones. These entered his aura, within which they flowed for a time with rosy light.
The flower form was evidently created as an offering and the dance was an expression of love, unity and joy, performed in honour of the angel who called them, to whom they paid the compliment of building the surrounding form in the predominating colour of his aura. A smile lighted his face as he turned to me in a gesture of farewell, and then disappeared.