Concerto for Magic and Mysticism: Esotericism and Western Music

Originally printed in the July - August 2002 issue of Quest magazine.
Citation: Lachman, Gary. "Concerto for Magic and Mysticism: Esotericism and Western Music." Quest  90.4 (JULY - AUGUST 2002): 132-137

By Gary Lachman

Theosophical Society - Gary Lachman is the author of In Search of P. D. Ouspensky:The Genius in the Shadow of Gurdjieff and the Politics and the Occult:The Left, the Right, and the Radically Unseen, and, as Gary Valentine, New York Rocker: My Life in the Blank Generation. His new book, A Secret History of Consciousness. A regular contributor to Fortean Times, Times Literary Supplement, Quest, and other journals, he lives in London with his partner and their two sons.On February 19, 1786, Wolfgang Amadeus Mozart attended a mxasquerade ball in his adopted city of Vienna, dressed in the guise of a Hindu philosopher. Along with his turban and robes, Mozart also carried some leaflets which he distributed to the crowd, on which were written various"esoteric" puzzles and strange sayings, purported to be"Fragments of the Writings of Zoroaster." In Vienna that year, esoterica was all the rage. Freemasonry was popular, as were dark intrigues, like the secret Order of the Illuminati, which combined rituals and initiations with radical politics. Indeed, the Baron Swieten, a patron of both Mozart and Beethoven and a collaborator with Haydn (also a Mason), was involved in an alleged Illuminati plot in 1791, the same year as Mozart's death. Many of Mozart's other friends and colleagues were possible members of the Illuminati. And although there is no evidence that Mozart himself was involved, he would certainly have found the egalitarian ideals of the society's founder, Adam Weishaupt, a worthy cause (Landon, Mozart: The Golden Years, 105 -22, 225 -36).

Mozart became a Mason in 1784, joining Lodge Benevolence in Vienna, which would later be renamed New Crowned Hope. Other members included "the Magnificent" Prince Nicolaus Esterhazy, Haydn's famous patron. Mozart was certainly not the first to combine an interest in music with a taste for esotericism. Christoph Gluck was a Mason, and his Orpheus contains many elements from the Craft. The earliest operas, like Jacopo Peri's Eurydice, dating from 1600, also deal with sacred themes, and Claudio Monteverdi, the new form's first major figure, was a practicing alchemist (Martin 12).

Indeed, the link between music and esotericism goes back at least as far as the sixth century BCE, when the Greek sage Pythagoras discovered the laws of harmony and developed a mystical brotherhood around them. But Mozart can surely stand as an archetype for an association that runs throughout Western music. In fact, as the musicologist Wilfrid Mellers (295) suggests, the central musical forms of the Classical and Romantic traditions, the sonata and symphony, are musical initiation journeys, sonic spiritual pilgrimages in which the hero–central theme–undergoes trials and challenges–variations–to arrive at a new level of integration–resolution. The symphony orchestra itself is an example of Masonic brotherhood, fellows"banding" together for a common cause.

Mozart took to Masonry with a passion, introducing Masonic elements into many of his works, and writing music specifically for Masonic affairs, like his moving Masonic Funeral Music (K. 477). His final three symphonies form a triptych of Masonic initiation symbolism (Mellers). But his greatest Masonic work is his opera The Magic Flute (1791), which centers on the archetypal struggle between Darkness and Light. Masonic, Egyptian, and hermetic elements crowd the work–too many to elucidate here–but by the time Mozart wrote it, Freemasonry was on the defensive. The Illuminati had been suppressed in Bavaria, and Mozart had to muffle his esoteric themes in the innocuous fabric of a fairy tale. Nevertheless, much of the message got through, and one wonders if it is just by chance that Prague, the city that loved Mozart most, was the age-old home of alchemists, Rosicrucians, astrologers, and esotericists?

In the next century, the Romantics, who followed Mozart and adopted him as a hero, were also keen on the link between music and magic. E. T. A. Hoffmann, best known for his story"The Nutcracker," on which Tchaikovsky based his ballet, was one of the most musical-minded geniuses of any age, who even took Amadeus as his name, in honor of Mozart. By day a respected juror and civil servant, at night Hoffmann plunged into the magical waters of Romanticism, writing weird, fantastic stories, brilliant musical criticism, and even composing music himself. His tales are full of alchemists, magicians, strange states of consciousness, and accounts of initiation. One collection, The Serapion Brotherhood, smacks of secret societies and magical orders. In it, one character speaks of the sun as"the triad from which the chords of the stars shower down at our feet to wrap us in the threads of their crystallized fire. A chrysalis in flames, we await Psyche to carry us on high to the sun!" (Godwin, Music 196).

As Joscelyn Godwin remarks in Harmonies of Heaven and Earth (61), in those few lines Hoffmann states the perennial doctrine of the soul's ascent through the starry spheres to its destined place in the sun. Like the ancients before him, he believed in music's power to transport us to another realm. In an essay on Beethoven, Hoffmann (96) wrote:"Music opens to man an unknown region, a world that has nothing in common with the world that surrounds him, in which he leaves behind all ordinary feeling to surrender himself to an inexpressible longing."

Beethoven, too, lived in an atmosphere charged with esotericism. Christian Gottlob Neefe, a composer, organist, and conductor, was Beethoven's composition instructor in Bonn from 1781 to 1792. Neefe nurtured Beethoven's genius. It is also possible that he steered Beethoven's thoughts toward the esoteric. Neefe was a Mason and, perhaps more important, had been involved in a branch of the Illuminati (Solomon 194). Neefe encouraged Beethoven's interest in Enlightenment ideas of freedom and brotherhood, which would occupy Beethoven throughout his life and achieve their most powerful expression in the magnificent Ninth Symphony. In the famous"Ode to Joy"–adapted from Friedrich Schiller's poem–the chorus sings:"Joy, thou source of light immortal, Daughter of Elysium," suggesting Eleusis, an earlier portal to"another world." Like Mozart, Beethoven had other links to the Masons and dedicated his Piano Sonata Op. 28 to a leading Freemason, Joseph von Sonnenfels.

Beethoven developed an interest in"oriental mysteries" through reading the Idealist philosophers Schelling and Schlegel, both of whom were heavily influenced by mythology. When he came across an inscription in The Paintings of Egypt, by J. F. Champollion (who decoded the Rosetta Stone), Beethoven copied it, had it framed, and hung it over his desk. It read:"I am that which is. I am everything that was and is and shall be. No mortal has raised my veil. HE is himself alone, and to this Only One all things owe their existence." Later these verses found their way into Masonic ritual (Solomon 350).

In a diary for 1816, Beethoven wrote about the"Indian literature" he had been reading, which prompted him to add the comment that"God is immaterial and transcends every conception," an idea reminiscent of the Hindu doctrine of neti-neti,"not this, not that." This transcendent God became a central theme for Beethoven. While working on his great Missa Solemnis (1819 -23), which has its fair share of Masonic influence, a friend remarked that Beethoven appeared"oblivious to everything worldly.""There is nothing higher than to approach more nearly to the Godhead," Beethoven told the Archduke Rudolf, something he did in his late string quartets and, perhaps most spectacularly, in the stellar Hammerklavier Sonata (1817), in which he employs his favorite"Godhead key," D major (Mellers 298).

After Beethoven, Romanticism erupted across Europe, spreading magical and esoteric ideas. In 1830,witchcraft arrived in Hector Berlioz's Symphonie Fantastique. But it was Richard Wagner who forged the next major link between the musical and the mystical. Wagner's mammoth Ring Cycle, composed over a period of many years, as well as his other music dramas like Tristan und Isolde and Parsifal, created a new musical mysticism and have since proved happy hunting grounds for Jungian and other esoteric interpreters–Robert Donington's Wagner's Ring and Its Symbols being the classic in the field. With its tale of the fall of the old gods and the rise of the new, Wagner's Ring Cycle presaged the evolutionary themes that would occupy Theosophists like Madame Blavatsky and Anthroposophists like Rudolf Steiner. By the 1880s, Wagner himself was espousing ideas remarkably similar to Madame Blavatsky's. He spoke of"universal currents of Divine Thought," a"vibrating ether," and the"great cosmic law" that"Imagination creates reality" (Godwin, Music 238). Wagner wanted to create a"trance state" in his audience, effecting a kind of"musical clairvoyance" that would transcend the critical mind and release unconscious energies. Wagner was successful; hardly a thinker of note escaped his influence. His fruitful plundering of the Grail legend and Norse mythology provided the closest thing to Mystery dramas since the ancient Greek festivals, and performances of his works made Bayreuth a nineteenth-century Delphi. Wagner's music too, had moved beyond the sonata form, opening up new areas of spiritual expression, which would eventually lead to our own"dissonant" sonic landscape.

Perhaps his influence was too great. By the 1900s, Romanticism had faded into decadence. Esotericism saturated the cultural capitals of Europe, with major occult revivals in London and Paris. Russia was no exception. One of the central works of modernism, Igor Stravinksy's Le Sacre du Printemps–first premiered in Paris in 1913–was charged with pagan mysticism and primitivism. Stravinsky's ballet grew out of the fascination with prehistoric Russia that raged across fin-de-siecle Moscow and St. Petersburg. Along with the saintly Nijinsky–whose Diary is one of the great spiritual works of the twentieth century–Stravinsky's other collaborator on Le Sacre du Printemps was Nicholas Roerich, who designed the sets and was even said to have suggested the idea for the ballet itself. A painter, writer, and later campaigner for world peace, Roerich was obsessed with ancient Russia; he also recorded one of the earliest accounts of a UFO sighting, during an expedition to the Himalayas. Roerich later devoted himself to Tibetan mysticism and developed a spiritual teaching based on a coming new age of enlightenment, the era of Shambhala.

The other Russian esoteric composer was Alexander Scriabin, a Theosophist who, in his brief, fiery life, was to carry on and–at least in his visions–exceed Wagner's grandiose designs. His interest in music was the exact opposite of Plato's. Deeply influenced by Pythagoras, Plato would allow only two musical modes into his Republic: the Phrygian and the Dorian. These, he said, would boost morale and instill prudence. Censored was all music that caused ecstasy or sorrow–all music that threatened rational self-control. (One wonders what he would have thought of rock and roll.) But for Scriabin, it was precisely the ecstatic, Dionysian powers of music that he conjured in his symphonic works like Poem of Fire (1909 -10) and Poem of Ecstacy (1917) that were of most importance. Scriabin developed a"mystic chord" of superimposed fourths and, like Wagner, believed in the"total art work." He saw music as a means of transforming humanity by hurrying on its spiritual evolution. His last years were spent in planning a gargantuan Mystery drama, combining music, dance, theatre, poetry, ritual, and even incense in an attempt to create a synthesis of the sensual and spiritual and inaugurate a New Age. Scriabin's"Mystery" was to be performed in a hemispherical temple in India, inducing a supreme ecstasy that would dissolve the physical plane and start a metaphysical chain reaction eventually enveloping the world. Scriabin introduced many Theosophical ideas into his compositions and also experimented with"synesthesia," the strange experience of"hearing colors" and"seeing music," going so far as to devise a organ that would project different colored lights that he associated hermetically with different notes and chords.

Other composers also looked to the mystical. In 1913, Gustav Holst was introduced to astrology by a friend. As his most famous work, The Planets Suite, clearly shows, Holst composed his own"music of the spheres," depicting a forceful, at times violent universe, much different from that envisioned by the ancients. Holst also studied Hindu philosophy, and taught himself Sanskrit in order to translate from the Ramayana, Mahabharata, and Rig Veda and composed several works based on these ancient Indian scriptures, among them the chamber opera and instill (1908), based on a tale from the Mahabharata, and his Hymns from the Rig Veda (1909). A few years later, Holst's countryman, Arnold Bax, followed Wagner and turned toward the Grail. Moved by Arthurian legend, Bax in 1917 wrote his mystical tone poem Tintagel, named after the legendary home of the king.

Across the Channel, France produced its own esoteric musicians. Claude Debussy, that master of musical impressionism, was familiar with the occult circles of fin-de-siecle Paris and incorporated many esoteric ideas in his works (Orledge 46, 47, 49, 124 -7). Ethereal compositions like Prelude l'Apres-midi d'un Faune (1894) evoke the astral realm of nature spirits and elementals. Debussy wrote his opera Pelleas et Melisande(1902) based on the play by the Belgian symbolist and esotericist Maurice Maeterlinck, and used phi, the golden section–part of the canon of ancient sacred geometry–in his compositions. (Another composer who used the golden section was the Hungarian Bela Bartok.)

Claims for Debussy's occult pedigree run high. In his book Music: Its Secret Influence throughout theAges(first published in 1933), Cyril Scott, a composer and Theosophist, remarked that Debussy was used by the"Higher Ones" to introduce ancient Atlantean music into the modern age. More recently, the authors of the best selling Holy Blood, Holy Grail (Baigent, Leigh, and Lincoln) claimed that Debussy was one of the"Grand Masters" of the mysterious esoteric society the Priory of Sion–coming in between Victor Hugo and Jean Cocteau. Erik Satie, Debussy's contemporary, was a member of the occultist Joséphin Péladan's Salon de la Rose+Croix and Ordre de la Rose+Croix Catholique, and hob-nobbed at Edmond Bailly's occult bookshop, a famous rendezvous for Parisian esotericists at the turn of the last century.

Another esoteric French composer, Olivier Messiaen, was like Scriabin deeply interested in the correspondences between color and music. But he needed no"color organ" to see them. Whenever he heard–or even read–music, Messiaen saw"ordered melodies and chords, familiar hues and forms" that opened into"a vortex, a dizzying interpretation of superhuman sounds and colors," a remark that seems to corroborate Rudolf Steiner's teaching about the astral and devachanic realms recorded in his lectures on"The Inner Nature of Music and the Experience of Tone," given in Berlin in 1906 (Hill 203 -19). Messiaen believed that this"dazzling"–the name he gave his synesthetic experiences–was like the effect of looking at stained glass in a Gothic cathedral, a spiritual"dizzying" that puts us in touch with another reality.

Messiaen's best-known composition, Quartet for the End of Time, written while he was a prisoner of war in1941, takes its title from a section of the Book of Revelation, in which an angel appears and declares,"There shall be time no longer," thus announcing the"timeless" state familiar to lovers of music. Although steeped in Catholic spirituality, like Holst, Messiaen was open to Indian philosophies. His massive Turangalila Symphony (1946 -8) is based on the Tristan legend and, according to the notes on an Angel recording, is named after two Sanskrit words: turanga, meaning"flowing time," and lila,"love" or"play," thus expressing a superhuman joy, transcending all boundaries.

Messiaen's pantheistic love for the natural world, exemplified in his fascination with birdsong, also has esoteric resonances. His belief that birdsong is not mere noise or territorial marking, but actual music, is reminiscent of P. D. Ouspensky's remark in Tertium Organum that birdsong"may be the main function of the given species, the meaning of its existence" and that it contributes to"some general harmony of nature we only sometimes vaguely feel" (Ouspensky 141).

Even the new, disturbing atonal world, emerging out of Mozart's Vienna, had links to the esoteric. Arnold Schoenberg, high priest of atonality, was a deeply religious man, with a lasting interest in number mysticism. He was also a friend of the painter Wassily Kandinsky, a devotee of Theosophy. Schoenberg was influenced by the doctrines of the Scandanavian mystic Emmanuel Swedenborg, which he came upon by way of the French novelist Honore de Balzac. Balzac was a follower of Swedenborg, and Schoenberg became obsessed with his Swedenborgian novel Seraphita and its central figure, the androgynous angel, Seraphita/Seraphitus. In Schoenberg's unfinished oratorio Jacob's Ladder, the angel Gabriel announces:"Whether right, left, forward or backward, up or down–one has to go on without asking what lies before or behind us," paraphrasing Swedenborg's teaching that in heaven, all angels face God. Schoenberg developed an intricate system of angelology, based on his number mysticism. His fascination with number, however, manifested in other ways, among them a fear of the number 13. Strangely, Schoenberg was born on September 13, 1874, and died on Friday, July 13, 1951.

After Schoenberg, music moved into realms far stranger than any suspected by the Romantics. John Cage, one of the most influential avant-garde composers of the twentieth century, was a devotee of Zen, as well as a great believer in C. G. Jung's notion of synchronicity or"meaningful coincidence." Cage used the I Ching as a compositional tool, and reportedly threw the coins some 18,000 times throughout the writing of one work. The late Sir Michael Tippett, another student of Jung, sought to evoke the archetypes through his music; his most famous work, the oratorio A Child of Our Time (1939 -41), begun after a period of dream analysis, depicts the shadows of anti-Semitism and the dark realm of the Nazis. More recently, John Tavener's devotion to Greek Orthodox spirituality is well known, his music rising to prominence when it was used in one of the most spectacular rituals of modern times, the funeral of Princess Diana.

But perhaps the most"esoteric" composer of recent times is Karlheinz Stockhausen, who has gone on recordas saying that his birth place is the star Sirius, an important body in Egyptian mythology, long believed to have a special role in the Earth's destiny. Stockhausen's compositions–like Sternklang ("Starsound" 1971), Tierkreis ("Zodiac" 1975), and Sirius (1975)–put him in the same league as other composers whose music comes from"other worlds." But even more so does his belief that the purpose of music is to ask fundamental spiritual questions, deep existential queries like"Who am I, why am I alive, where do I want to go from here, and what happens when I die?" (Godwin, Music 291), metaphysical ponderings sorely lacking from our"post-everything" contemporary culture. Great music by itself can pose these questions powerfully. When it allies itself with some of the West's great inner traditions, to the discerning ear they are doubly insistent.


 

References

Baigent,

Michael, Richard Leigh, and Henry Lincoln. Holy Blood, Holy Grail. New York: Delacorte, 1982.

Donington,

Robert. Wagner's Ring and Its Symbols: The Music and theMyth. 3rd ed. London: Faber and Faber, 1984.

Godwin,

Joscelyn. Harmonies of Heaven and Earth: The Spiritual Dimensions of Music from Antiquity to the Avant-Garde. London: Thames and Hudson, 1987.

Hill,

Peter, ed. The Messiaen Companion. London: Faber and Faber,1995.

Hoffmann,

Ernst Theodor Amadeus. E. T. A. Hoffmann's MusicalWritings. Ed. David Charlton. Cambridge: Cambridge University Press, 1989.

Landon,

Howard Chandler Robbins. Mozart: The Golden Years:1781 -1791. London: Thames and Hudson, 1989.

–––.

Mozart and the Masons: New Light on the Lodge"Crowned Hope." London: Thames and Hudson, 1982.

Martin,

Sean. Alchemy and Alchemists. London: Pocket Essentials,2001.

Mellers,

Wilfrid. Beethoven and the Voice of God. London: Faber and Faber; New York: Oxford University Press, 1983.

Orledge,

Robert. Debussy and the Theatre. Cambridge: CambridgeUniversity Press, 1982.

Ouspensky,

P. D. Tertium Organum: The Third Canon of Thought, a Key to the Enigmas of the World. Trans. Nicholas Bessaraboff and Claude Bragdon. New York: Knopf, 1981.

Scott,

Cyril. Music: Its Secret Influence throughout the Ages. London: Rider, 1933.

Solomon,

Maynard. Beethoven Essays. Cambridge, MA: HarvardUniversity Press, 1988.


Gary Lachman is the author of In Search of P. D. Ouspensky:The Genius in the Shadow of Gurdjieff and the Politics and the Occult:The Left, the Right, and the Radically Unseen, and, as Gary Valentine, New York Rocker: My Life in the Blank Generation. His new book, A Secret History of Consciousness. A regular contributor to Fortean Times, Times Literary Supplement, Quest, and other journals, he lives in London with his partner and their two sons.


Thinking Aloud: The Power of the Word

Originally printed in the July - August 2002 issue of Quest magazine.
Citation: Rajan, Ananya S. "The Power of the Word." Quest  90.4 (JULY - AUGUST 2002):146-147.

By Ananya S. Rajan

Much can happen in an hour. Even during an hour of driving you can catch up on the latest news on the radio, make a few phone calls to friends you never seem to have time for, or listen to your favorite CD from start to finish. I look forward to my hour-long drive to work, as otherwise I don't have much time to myself, but in my car I am alone and can do whatever I want. It's liberating.

One recent morning as I drove to work, I heard a little voice telling me not to turn on the radio or pick up the phone. It was a strange sensation, knowing that this particular morning my phone wasn't going to ring because the little voice wasn't going to allow it. For some this may sound frightening, but I delight in such things and always have. I take it as a journey into the unknown with the attitude of "what can I learn today?" and I have realized from years of meditating that whatever lesson I need to learn is for my own betterment. Some lessons are easy to understand, while others pull me through the wringer and make me want to go back to bed.

On this particular morning, the feeling was different . . . serious.

"We talk too much" was the first statement I heard. It evoked a reaction within me that was not pleasant, so I braced myself for one of those lessons that was going to be harder than others.

Nothing happened for a while after that. I sat in silence listening to the hum of daily life, watching the endless stream of cars heading toward some destination or other and the massive number of people talking on their cell phones while driving. It seemed surreal to watch an example of what I had just been told.

"The word is a very powerful tool, but we no longer use it as such. It has become vulgar and desecrated." That was the next thing I heard as I watched people in the other cars talking, absorbed in the reality we call life.

As I watched, I recalled many examples of myself in conversation. I could remember trying to express my point of view, feeling the clenching in my stomach like a small child wanting to blurt out the right answer. Looking at those memories from a distance in time made me see how silly the events looked and also how much it helps our human ego to feel we have something profound to say.

"It has all been said before," I was told. And as I began to feel a little disillusioned, I recalled reading somewhere that there is no difference between the word and the breath (prana). The breath is the word and the word is the breath. So often we take breathing for granted because it is something we do without thinking. Just like talking, I thought.

"In the beginning was the Word, and the Word was with Breath, and the Word was Breath" popped into my head. I felt awed by this statement and everything stopped. Suddenly it all made sense in the way I interpret the world.

Theosophical teachings speak about the Breath of the Universe, and in that Breath there is creation (manvantara) and there is rest (pralaya). Because humans are the microcosm of the macrocosm, created in the image of all that is and a reflection of the forces of the Universe, we hold that power of the Universe within us. We've been given Breath and, from that, the ability to create vibration to make sounds and therefore words. We hold the power within ourselves to create and bring equilibrium to our world through our breath and therefore our words. What an amazing ability we have. If we really think about it we might never speak again!

The use of breath in healing (prana healing) has become one of the latest practices among holistic healers. However, I think we need to be careful about practicing such methods. They come from another culture, originally taught in another language, and to practice them well and be considered a healer took many years. Today's New Age practices are a shallow fast-food version of ancient practices that yogis dedicated their lives to learning. You could not develop such practices on your own; others had to give you the right to use them.

When I arrived at work that day, I felt a mixture of emotions. It is one thing to understand something mentally and quite another to feel it penetrate into your very being. Stepping out of the car into the fresh air helped to clear my head a little. I began to think about the opening verse of the Gospel according to Saint John: "In the beginning was the Word . . . ." Yes, I already understood that part, but "The Word was God . . . ."? For some reason, that rubbed me the wrong way. We've had enough turmoil in this world in the name of God. What is this Word? What was the original Word? What was the import of the Word? As I asked myself those questions, suddenly I heard the very soft voice say:

"The Word is Love."

Enough said.


Ananya S. Rajan, M.P.A., is an editorial assistant for the Quest magazine and the director of the healing department for the Theosophical Order of Service. This is her first contribution to Quest.


A Life of Exploring Religious Frontiers

Originally printed in the July - August 2002 issue of Quest magazine.
Citation: Smith, Huston. "A Life of Exploring Religious Frontiers." Quest  90.4 (JULY - AUGUST 2002): 124-131.

By Huston Smith

Theosophical Society - Huston Smith is Thomas J. Watson Professor of Religion and Distinguished Adjunct Professor of Philosophy Emeritus at Syracuse University. He also taught at Washington University in Saint Louis, the Massachusetts Institute of Technology, and the University of California at Berkeley. His book Why Religion Matters was named the best religious book of the year 2001It is a great honor for me to have the opportunity to inaugurate this Kern lectureship. As a student of world religions, I am, of course, very familiar with the lines "One to me is fame and shame; one to me is loss and gain; one to me is pleasure, pain" (Bhagavad Gita). To practice those lines is to bring together the opposites—I've been working on doing that for many years, but tonight is a holiday. And my spiritual mentor for tonight is Joe Lewis, who towards the end of his life said, "I've been rich and I've been poor; and believe me, rich is better." So tomorrow I'll get to work again on "One to me is fame and shame," but tonight I'm just going to wallow in glory and celebrity and enjoy it.

I would never have thought to propose the title of these remarks, which I owe to the organizers of the lectureship. As you might imagine, publishers and agents, more and more every year, have been leaning on me to write my autobiography, and I have flatly refused. There is nothing that lures me in that direction whatsoever. But this lecture comes at it from a different angle, not so much the facts and events of a life as the key points in its development, providing an opportunity to take notice of issues that I've come upon in the course of my journey. And I must say, the more I got into the suggested topic, the more I enjoyed reflecting back on what were the key points that directed me on my life's journey.

The first poem I ever memorized was Rudyard Kipling's "The Explorer," which had a great impact on me. It goes like this:

"There's no sense in going further—it's the edge of cultivation,"
      So they said, and I believed it—broke my land and sowed my crop—
Built my barns and strung my fences in the little border station
       Tucked away below the foothills where the trails run out and stop:
Till a voice, as bad as Conscience, rang interminable changes
      On one everlasting Whisper day and night repeated—so:
"Something hidden. Go and find it. Go and look behind the Ranges—
      "Something lost behind the Ranges. Lost and waiting for you. Go!"

I must have been about twelve years old when I memorized that poem, but even then I recognized that, yes, I wanted to go and look beyond the foothills where the trails run out and stop, to find what is hidden behind the Ranges. For this evening, I have itemized twelve frontiers that I crossed to explore what lay on the other side.

1. My life began in China, with missionary parents in a small inland town where we were the only foreigners. That wasn't a frontier, that was just home. Growing up there, I had the language of a native speaker, and in fact my two brothers and I have been told that, after we all came to America, when we were together we would talk in Chinese rather than in English. So my small town in China wasn't a frontier, it was home. My first frontier was America, when I arrived at college age and came to the United States.

That was an amazing frontier. Never mind that my landing pad in the United States was Central Methodist College, enrollment 600, in Fayette, Missouri, population 3000. Never mind all that. Compared with Podunk, China, it was the Big Apple, bright lights, and the big time. After all, Fayette had radios, a motion picture theater, and of course, cars. I had come over intending to get my educational credentials and go right back to China. Because I had only one American male role model, my father, I assumed that missionaries were what American boys grew up to be. But that lasted about two weeks. With all the dynamism and action in Fayette, Missouri, I wasn't going to go and waste my life stagnating in traditional rural China.

2. After I had come to America and crossed that frontier, the next one was the frontier of the mind. It happened very dramatically. I'll prefix it with a confession. (We all know that an honest confession is good for the soul—unfortunately, it can be very bad for the reputation, but I'll confess anyway.) When I entered college at 17, I wanted to be Big Man on Campus, and I thought the way to do that was to join all the organizations I could get into and make my presence known. That continued for two and a half years until midway in my junior year. There was in this college, which was anything but distinguished, one splendid professor, and that's all a college needs. He was in philosophy and religion, my field. He started a little philosophy of religion club, and I feel sorry for the students today in their mega-universities. In my little college, we were in and out of our teachers' homes all the time. One evening a month we would go to this professor's house and take turns reading a five-page paper and then discuss it. At the end, cherry pie a la mode would appear, and we would go back to our dorm.

For me, one of these evenings was different from all the others. From the start, I felt a tremendous agitation as I was drawn into the issues we were discussing, and that lasted on the way home. My fellow students and I just kept talking, and when we reached the dorm, a little nucleus of four or five of us stood in the hall of the dorm for another ninety minutes, going at it hammer and tongs. When I finally went up to my room, the ideas were still charging around my mind. And that kept on until around two o'clock in the morning, when it seemed like my mind detonated.

To try to give an impression of what I experienced, I remind those of you who have seen the movie 2001: A Space Odyssey of the scene that tried to convey the future rushing at you. Streamers came out of the back of the screen, directly at you, and flashed by, disappearing into the past behind you. My experience was like that. But it wasn't like special effects, it was like Platonic ideas, and they were so real that they were palpable. There I was, a young man with an entire life to explore those ideas. I wonder if I slept a wink that night. But in any case, that was the turning point that led me to the vocation of a professor of philosophy and religion.

3. The next frontier was science, and it led me to the University of Chicago, where science was very prominent in the curriculum. What impressed me was the power of science—it has changed our world beyond all recognition. My friends and our servants in the Chinese town could never have imagined the world we inhabit in the technological West. Along with its technological innovations, science has also changed our worldview. I was young, impressionable, fresh to the confusions of the world, and I became converted to what I now call scientism, the belief that science gives us the biggest picture—not the Bible, as I thought in my youth—not even religion—but science. And I answered that call with every cell of my being. That frontier stayed in place until I was within a couple of months of completing my doctoral dissertation, when all of a sudden, another frontier—a very different one—appeared on a second unforgettable night. I've only had two nights as dramatic as those (leaving aside my wedding night—I just thought of that).

4. The second unforgettable night came from reading the first book on mysticism I had ever encountered: Gerald Heard's Pain, Sex and Time: A New Outlook on Evolution and the Future of Man. It presented mysticism and the mystical worldview. From its opening page, that book took me over, and I found that from the soles of my feet all the way up, I was saying "Yes! This is the way things are!" As for my scientific worldview, which I had been so gung-ho for, it collapsed that night like a house of cards. So I crossed the frontier into mysticism. Mysticism was not in high regard in the middle of the twentieth century. I had an undergraduate degree in religion and a Ph.D. in the philosophy of religion, and I had never been required to read any mystical text. That wouldn't be possible today, because now mysticism is everywhere. I'm sure that the mystics were listed in the bibliography of suggested readings in some of my course books, but whoever gets to those? Because mysticism was not fashionable in academia then, I turned to the closest thing to it: world religions.

5. Being then at the beginning of my teaching career, I requested to teach a course in "World Religions" because Heard's book had shown me that the mystic comes up in every culture, and I wanted to explore it. Just before moving to Washington University in Saint Louis, I paid a visit to Aldous Huxley and Gerald Heard. And they said, "You're going to St. Louis, we hear; there's a very good swami there." Swami? I don't think I even knew what the word meant. However, I was hanging onto every word of theirs, and they even gave me his name—Swami Satprakashananda of the Ramakrishna Vivekananda Order. And so the first week I was in Saint Louis, I looked up his name in the phone book and paid him a visit. It set my course for a decade. I had met learned scholars before and holy individuals before, but I had never found holiness and scholarship combined in one individual, as they were in Swami Satprakashananda. So naturally I apprenticed, and in ten years by weekly tutorials, he laid down the Vedanta in my understanding.

Eventually I moved east, where Daisetz Suzuki at Columbia University was bringing Zen Buddhism to America. I was then at MIT, which wasn't far away, so I went down to New York very regularly. I studied with Suzuki for another ten or more years, culminating in his paving for me to go to Japan to train in a Zen monastery.

After that, Rumi came onto the scene with the Sufis, and so it has gone on. People think that maybe I started out with a shopping list. Coming out of Christianity, first I'll tick off Hinduism, and then I'll check out Buddhism, and then I'll do Sufism and Islam. It wasn't that way at all. At every stage, I was perfectly content with what I had. But it was as if the tidal waves of different traditions came crashing over me, and how important I found that for my religious understanding! There isn't time to prioritize in each and say, this is what practically knocked me over. But that's the frontier into world religions, which has continued as the focus of my career. I wasn't looking for these frontiers, they just appeared.

6. The next frontier was writing, and here's how it came about. When I was at Washington University, a new Dean of Liberal Arts was appointed whose field was a biology. When he was appointed Dean, he said, "I don't know what liberal arts are—I'm a biologist." So he applied to the Carnegie Foundation, and they gave him $18,000 to learn what liberal arts are. The way he went about his self-education was to pick out a dozen or so faculty members in liberal arts whom he considered the brightest minds in each field. For an academic year, we met every other week in his apartment, discussing great books like The Aims of Education by Alfred North Whitehead and The Idea of a University by John Henry Newman.

The sessions were enjoyable and stimulating, but when the academic year came to an end, the Dean said, "I've learned a lot from these discussions, but the Carnegie Foundation says it wants a report of what I did with their $18,000. So Huston, you're a bright young punk. Here's a bushel basket of the notes that I've made on our sessions. You're scheduled to teach this summer, but I'll relieve you from teaching, and instead of that, you write the report.I did, he liked it, and the Liberal Arts faculty approved it, saying, "Yes, this is what we're going to do."

And there it would have rested, had I not, when crossing the campus one day, met a colleague in the Speech Department who said, "Huston, I've been meaning to get in touch with you—one of my courses this semester is choral reading. And as one of our numbers, we're reading three paragraphs from that report you wrote." The idea struck me as bizarre—a committee report intoned as art? But when I got to my office, I reached into my file, pulled out the report and found the three paragraphs he had referred me to. And as I read them, I found myself saying, "Hey . . . not bad . . . very good!" So on impulse I reached for an envelope and addressed it to what was then the publishing company Harper Brothers; and within a week a response came, saying "It has to be expanded tenfold," but a contract was enclosed. There I was, about twenty-seven or twenty-eight years old and I already had a book contract. When I think how hard it is for unknown people to get a book published today, I am still amazed, but there it was. I discovered from that and from the response the book received that I could write. And so I crossed that frontier, and to this day, if I can manage to do so, I spend the hours before noon writing.

7. Next came an invitation to join the faculty at MIT. Washington University had come to like me, and I liked the university, and they did everything to get me to stay. But it was the challenge of a new frontier. MIT was the most important technological institute in the world, and they were inviting me to start a department of philosophy. What could be more interesting or challenging? And so I went and stayed for fifteen years, the longest stint I have ever taught at one place. Those years were tumultuous because, during them, two worlds were trying to live together inside me—one scientific and one traditional. The MIT world was the scientific cutting-edge frontier of the future, and my inner world was humanistic. Those two rubbed together for fifteen years. All of my students were science majors, most of my colleagues were world-class scientists, and I was a humanist in religion. It was rough and tumble.

I remember once, when I was talking with a scientist in the faculty club, the issue came up, as it often did—"What's the real difference between science and the humanities?" We were getting nowhere in resolving the question, but as I was saying something, he broke in and said, "I've got it: the difference is that I count and you don't." That was wonderful because mathematics is the language of science, and in my work I don't do much counting. His double entendre carried the connotations of both numbers and academic standing. Those years were turbulent, but I could never have been anywhere else that was as stimulating in forcing me to think through the issues between science and religion.

8. After fifteen years, Syracuse University called and said, "We've gotten an endowed chair in our graduate program, would you be interested?" I said, "You can try to interest me, but I don't think you'll succeed." But they did. And the reason was that all of my teaching had thus far been undergraduate, and the appeal of teaching on the graduate level won out. I wasn't disillusioned or bored with undergraduate teaching, but I knew what that was like, and I didn't know what directing graduate study was like—going deeper with a nucleus of students. So I went to Syracuse, crossing the frontier from undergraduate to graduate teaching.

9. But more important was the fact that at Syracuse I crossed the frontier to the tribal indigenous peoples and their religious outlook. Soon after we moved to Syracuse and bought our house, we discovered that it was only five miles from the Onondaga Reservation. One afternoon, we drove out to the reservation, and afterwards I repeated the drive many times. Gradually I started spending more and more time with those Native Americans and their chiefs. I remember driving home one Saturday afternoon after having been on the reservation the whole day; and, as I sometimes do when I'm alone in the car and get excited, I talked out loud to myself. I can still remember finding myself saying, "Huston, for thirty-five years you have been circling this globe trying to understand the worldviews of people different from you, and here is one that has been under your feet the entire time, and you haven't given it the time of day."

That realization opened my eyes, and it culminated in the revised edition of The World's Religions, in which the final substantive chapter is on the primal religions, the religions of the indigenous peoples of the world. That ending is appropriate because the other religions treated in the book, our historical religions, go back no more than about six thousand years. But the religions of indigenous peoples go back to the twilight zone of history. I'm glad I will not go to my grave with a book on the world's religions that totally overlooked them.

10. The tenth frontier is the issue of justice, which my wife, Kendra, and I explored together. As far back as Washington University, in the mid-twentieth century, we were founding members of the organization CORE, the Committee on Racial Equality, and we gave it a lot of our energy, first of all integrating the university, which had been segregated, and integrating public places by going as interracial groups to restaurants, swimming pools, and so on. That's one aspect of the tenth frontier, but there are two more.

When China invaded Tibet, both of us took on the cause of Tibetans in that time of their great ordeal. We've sponsored five families and even now have a Tibetan single parent in our mother-in-law apartment downstairs. But what I want to mention particularly is that, in my research on the Tibetans, I came upon the only empirical discovery of my career, namely a very extraordinary mode of chanting developed by the Tibetans, which has introduced a new term into the lexicography of musicology: "multiphonic chanting." It produces more than one tone, in fact three, a tonic chord—a first, a third, and a fifth—all issuing from one larynx.

The third aspect of the justice frontier has been the Native American Church. In April 1990, the Supreme Court issued a decision that stripped that church of its constitutional right to exist because its sacrament is peyote, which in our irrational drug laws is scheduled right up there with crack, cocaine, and heroine, though it is impossible to become addicted to peyote, and not a single misdemeanor, let alone crime, has ever been traced to its use. Contrast that with the sacrament of Christianity, which is alcohol. Despite the toll it takes, it can be emblazoned on billboards because that's our sacrament. But peyote is their sacrament, so it is not permitted. I spent two years helping Reuben Snake edit One Nation under God: The Triumph of the Native Church, which helped that church win back its right to exist.

Those have been my three issues on the frontier of justice: racial justice, the cause of the Tibetans, and the cause of the Native American Church.

11. I have to double back in time to mention my eleventh frontier, which some may consider a disreputable part of my journey. Through my friend, Aldous Huxley, I became introduced to what used to be called psychedelic substances. Because their use careened in a crazy way during the psychedelic 1960s, those who are interested in seriously exploring dimensions of the mind that this very small class of nonaddictive substances can open up have adopted a new term for them: "entheogen," a word suggesting "God enabling."

I was at MIT when research on those substances began in the early 1960s. And again responding to an inner urge, I crossed that frontier and participated in the research while it was not only legal, but respectable, the research being at Harvard University. William James and Aldous Huxley both say that it is impossible to close our accounts on reality without taking account of those regions of the mind that are brought to light through such substances. So I was prevailed upon to write a book about that research. By the way, after the first half dozen experiments, I followed the dictum of Alan Watts, who said, "When you get the message, hang up." And after a half a dozen or so experiences, which were important to my understanding of the nature of the mind and its world, I hung up, but have continued my historical interest in the way these substances have woven in and out of religious history, in the soma of India, in the peyote of the Native American Church, and in the kykeon of the Eleusinian mysteries of Greece.

12. My last frontier relates to an issue I've touched on before, but one that has occupied an important position in my mind throughout my career: understanding the nature of ultimate reality. Until the rise of modern science, all the peoples of the world believed not only in this world, but also in another world, which, although invisible, is more real and more important than this one—the world presented in Plato's allegory of the cave, which depicts this world as only the shadows cast by a transcendent world.

Let me quickly put on my hat as a historian of religions and give you a quick Cook's tour of the traditional religious worldview, which has always included both this world and also another. In East Asia, this world is Earth and the other world is Heaven, of which Confucius said, "Only Heaven is great." In South Asia, this everyday world is Samsara and the other world is Nirvana. In the Abrahamic religions, this world is the physical creation and the other world is the Creator—Yahweh, God, Allah.

When that worldview, which is unanimous in all the traditional religions, came face to face with modern science, modern science demoted it. Because of the technological cornucopia science provides, it retired the traditional view—not for everybody—certainly not for you and for me—but for our media barons and those, you might say, who rule the intellectual culture of our time. To be sure, many things in traditional worldviews deserve to be retired, for example, their views of the physical universe, which has been permanently superseded by science, and their social platforms of slavery, caste, gender relationships, and so on. In those cases, let the dead bury their dead.

In the big picture, however—in the widest-angle lens we can have on reality—there is nothing in modernity that equals the convergent wisdom of the world's great religious traditions. The biologist Edward O. Wilson has said that the battle between the religious and scientific worldviews will be the struggle for the human soul in the twenty-first century. He thinks that the scientific worldview will be victorious. I do not think that it will be, but that is a crucial issue of our time, with the current battlefront being on whether Darwinism has the resources to give us the whole story of how we got here.

The fundamental issue in evolution is not origin, it's anthropology, meaning who we are as human beings. The Darwinists say, "We are the more that have derived from the less." Those who hold the religious view say, "We are the less who have derived from the more." The latter believe that we are created in the image of God (or of whatever you wish to call the divine), and that gives us a stature that cannot be produced by natural selection working on chance variation. Both views have part of the truth. And, of course, the hope is that we can come to a reconciliation by acknowledging that fact. But at the moment the unfortunate thing is that Darwinians—I won't say all, but the noisiest ones—will not allow religion any foothold in accounting for life and the universe, other than possibly what caused the Big Bang. They say, if you want to believe that God caused that at the beginning, well that's your right. But they will not allow any intermediate causes to be countenanced.

I come now to my close, and I have three closes, but only one sentence each. One is that of a very prominent Victorian lady whose name I forget. Her last words were, "It's all been very interesting," and that certainly is the case as I look back over my life. The second is that, the older I get, the more the boundary between myself and my world appears perforated. There comes a time when I look back on the past I have traveled and say, "This is me"; look across the table at my wife of fifty-six years and say, "This is me"; feel my broken hip and its replacement and say, "This is me." So it goes. The boundary between oneself and what one has experienced becomes perforated and tenuous. But I think the third close is my favorite. It comes from Saint John superseded, who at his death was said to have exclaimed, "Praise, praise for everything. Thanks, thanks for it all."

Thank you.


Huston Smith is Thomas J. Watson Professor of Religion and Distinguished Adjunct Professor of Philosophy Emeritus at Syracuse University. He also taught at Washington University in Saint Louis, the Massachusetts Institute of Technology, and the University of California at Berkeley. His book Why Religion Matters was named the best religious book of the year 2001. This article is transcribed from the First Kern Lecture, delivered at the Bederman Auditorium, Chicago, Illinois, on April 18, 2002.


America's religious landscape is changing before our eyes, and no one has done more to prepare us for the new religious reality than Huston Smith. —Bill Moyers

The amazing thing about Huston is that he was working on the perennial philosophy long before most people had even heard of it. Years before it became fashionable—multicultural wisdom traditions, the world's religious heritage, the celebration of spiritual diversity, and spiritual unity—Huston was doing the work. —Ken Wilber

You have meant so much to so many, you have come with the voices of angels to remind us who we are, you have come with the light of God to shine upon our faces and force us to remember, you have come as a beacon radiating in the darkest night of our confused and wretched souls, you have come as our own deepest being to never let us forget. And you have done this consistently, and with integrity, and with brilliance, and with humility and courage and care, you have left, and are still leaving, a path in which we all will follow, and we will do so with more gratitude and respect and love than my words will ever be able to convey. —Ken Wilber

This is the task that is set before us. Personal transformation is the pathway of Theosophy and all quests for Truth. With sustained effort we can regulate our attitudes and actions, and little by little we can change our keynote to one of compassion and concern for all. Then the vibration of our being will be able to permeate the atmosphere, not with the distress of a siren, but with the call to responsible living and the music of altruism.

Hast thou attuned thy heart and mind to the great mind and heart of all mankind? For as the sacred River's roaring voice whereby all Nature-sounds are echoed back, so must the heart of him "who in the stream would enter," thrill in response to every sigh and thought of all that lives and breathes.

—Voice of the Silence


In Tune

By Betty Bland

Originally printed in the JULY-AUGUST 2006 issue of Quest magazine. 
Citation: Bland, Betty. "In Tune." Quest  94.4 (JULY-AUGUST 2006):124-125.

Theosophical Society - Betty Bland joined the Theosophical Society on April 30, 1970. She helped to establish the Mt. Gilead, North Carolina Study Center.  Mrs. Bland served as President of the Theosophical Society of America from 2002 to 2011.

The screaming siren pierced my quiet meditation. Although I should have been beyond the impact of the five senses, my ears caught the sound and insistently roused my responses. Sirens were designed with just that annoying characteristic in mind. They are intended to cut through our consciousness and to startle us into alertness. Moreover, because of their purposes, sirens are harbingers of disaster, crisis, or at the least, bad news, as in the case of a police car fast approaching.

Sound is vibration in the air waves that becomes intelligible to us because of the apparatus in our ear canals and the brain's ability to sort the vibratory messages received into meaningful information. This calls to mind the age old question, "If a tree falls in the forest where there is no one to hear, does it make any noise?" The vibration may be there, but is it only sound when it is translated into such by a receptor?

Whether or not the receptor is present to respond, the vibration is real and has its impact. If it were possible for a deaf opera singer to sound such a piercing note, whether anyone was present to hear it or not, that note could still shatter glass. The vibration is a physical fact, with a physical impact regardless of our presence or ability to perceive it.

Sound is defined as vibration within the range of hearing, but the range is quite variable, diminishing with age or trauma to the ears. We generally would not classify the high-pitched dog whistle as sound, except for the fact that we recognize the dog's response.

Some time ago I read that law enforcement was experimenting with the use of low-pitched inaudible sound as a way to help control riots. The idea was that this very low vibration could confuse people's mental processes and thus diffuse their angry intentions. I don't know about this, but I do know that after a long ride in a plane or car, for a brief while I feel more muddled than usual. Could this possibly be the impact of that steady deep vibration, rather than the fatigue factor?

Sound is a small but powerful range of vibration close to our physical existence. From sonic boom to heavy drumbeat, we cannot deny its power. But it is an accessible range of vibration that provides a metaphor for the whole arena of our manifested universe. All of creation consists of a complex multitude of vibrations. This is why several traditions refer to that first creative impetus as "the Word."

From Hindu tradition, the story of Indra's net expands this idea of the vast impact of any small sound or vibration on the whole. Indra, the king of the gods and the ruler of the heavens, has a palace above which is suspended an enormous net extending infinitely in all directions. This net consists of a myriad of interconnected junctions of a fine mesh, with each junction being responsive to all the others. The legend has each connecting point set with a jewel that reflects all the others in its many facets. Some have called these sensors bells that resonate with all other sounds; while others have compared them to mirrors reflecting the faces of all living beings. If these points of interconnection were defined in today's vernacular, they might be called holographic points. Whatever the image, the message is clear. What is done to one being impacts all beings. The whole is a living system that thrills in response to even the smallest occurrence.

We are vibratory creatures. To each of us individually, our vibration may seem to be dense and of little impact, but that is a false message delivered to us by this illusory world. Not only are we constantly bombarded by the whole of our world culture, but we are also contributing to that culture minute by minute. We transmit the vibration of our being into this milieu, impacting ourselves most of all, but also creating a resonance that sounds around the world.

If we could but control the message we send forth, what a difference it would make. It is difficult, but we can monitor and modify the words and actions that we generate. Yet how much more difficult it is to tame the mind and emotions. And herein lies the key. The greatest transmission we emit is not an external one, but a transmission of the very nature of our being. How often have we heard that to find the path, we must become the path? Our actions, words, and thoughts are the building blocks of the resonating chamber of our nature. If we want to have peace, we have to be peace.

Consider any outburst you may have had against another, or any time you felt superior to another, knowing that you are absolutely right. These are the seeds of fanaticism and violence that contribute to our current international plight. Not one of us wants to contemplate the possibility that we are a part of this cycle of attack and retribution; yet the "enemy" is a reflection of us and we are compelled to begin to heal ourselves and rein in our thoughts.

This is the task that is set before us. Personal transformation is the pathway of Theosophy and all quests for Truth. With sustained effort we can regulate our attitudes and actions, and little by little we can change our keynote to one of compassion and concern for all. Then the vibration of our being will be able to permeate the atmosphere, not with the distress of a siren, but with the call to responsible living and the music of altruism.

Hast thou attuned thy heart and mind to the great mind and heart of all mankind? For as the sacred River's roaring voice whereby all Nature-sounds are echoed back, so must the heart of him "who in the stream would enter," thrill in response to every sigh and thought of all that lives and breathes.

—Voice of the Silence


In Tune With the Universe

By Radha Burnier

 

Originally printed in the JULY-AUGUST 2006 issue of Quest magazine. 
Citation: Burnier, Radha. "In Tune With the Universe." Quest  94.4 (JULY-AUGUST 2006):150-152.

 

Theosophical Society - Radha Burnier was born in Adyar, India. She was president of the Theosophical Society Adyar from 1980 until her death in 2013. She was General Secretary of the Indian Section of the Society between 1960 and 1978, and was previously an actress in Indian films and Jean Renoir's The River.

The subject of attunement is of vital importance to humanity. Being out of tune with other people, with the environment, and with ourselves, we have done enormous damage to mutual relationships and to our own progress. The damage we do to ourselves can at no time be separated from the damage we do to others. We are responsible for the whole. Those who are inwardly well tuned and integrated, radiate harmony and happiness wherever they go and whatever they do. On the other hand, when there is discord inside, it breeds discord outside. Further, as The Voice of the Silence says: "Before the soul can see, the harmony within must be attained." All discord blinds the vision and human progress is retarded

The universe is not a chaos but a cosmos, so perfectly tuned that those who realize it through study and contemplation are left speechless in utter amazement. In his book, Just Six Numbers: The Deep Forces that Shape the Universe, the author Sir Martin Rees writes about six numbers, some of them very small and some very large, which constitute the "recipe" for the universe. If any one of them were to be increased or decreased even minutely, there would be no stars and no life. For example, if the existing ratio between gravity and expansion energy had been even slightly different, the universe would have collapsed long ago, or no galaxies or stars would have been formed. He asks the question: "Is this tuning just a brute fact, a coincidence?"

According to ancient Indians the cosmic order was called rta. The unimaginably high level of tuning which maintains the cosmic order relates not only to the perceivable measurable facts of which scientists take cognizance; it exists in subtle dimensions with which science does not concern itself. Rta, for the ancients, was all-comprehensive harmony, the ground of all phenomena in the visible and the deep invisible fields and dimensions of existence. David Bohm might have had an insight into this aspect when he wrote, in Wholeness and the Implicate Order, about undivided wholeness in flowing movement and an implicate order which "constitutes a fundamental aspect of reality."

An expert musician's ear is so sensitive that he or she becomes aware of even the slightest deviation from the harmony of sounds. A musician hears fine distinctions the listeners may not notice, and every time there is need, adjusts the string to maintain perfect accord. Every musician in an orchestra also takes care to preserve musical excellence: Even slight nuances are important, for they are integral to the whole.

The cosmic order or rta, on a vast, almost inscrutable scale, may be similar. There is an intelligence and creative power (the master musician) that restores the harmony of the universe, if it is disturbed in even the slightest degree. This is the working of Karma or Karma-Nemesis as Madame Blavatsky calls it in The Secret Doctrine. She says that "the only decree of Karma—an eternal and immutable decree—is absolute Harmony in the world of Matter as it is in the world of Spirit. It is not, therefore, Karma that rewards or punishes, but it is we who reward or punish ourselves, according as we work with, through and along with Nature, abiding by the laws on which that harmony depends, or—breaking them" (11.368). HPB also says in this context that so long as the effect of having thrown into perturbation "even the smallest atom in the Infinite World of Harmony" has not been readjusted, the "evil-doer" suffers what he thinks is retribution. He experiences what we call pain and strives to escape it, and, being ignorant of what is happening, he acts in such a way as to create further perturbation.

Ancient tradition also affirms that invisible to our perception there exist many types of beings, endowed with intelligence in varying measure, who are in a state of unconscious harmony with Nature and spontaneously carry out the "Great Work." They joyously play their own scores in the cosmic symphony. So do all the subhuman creatures that we know. For the human being alone, the question arises of how to be in tune with the universe. We, who are so out of tune, feel the misery of strife and long for peace, love, and beauty.

But fortunately, the human consciousness has the power to observe, think over, and understand enough about the universe in which it finds itself to realize the responsibility of the individual in preserving the harmony. By our own effort to see and understand life, we must realize that the chaotic conditions in human society result from the contradictions within ourselves. Therefore the remedy is in our hands. If we give attention to understanding, our consciousness may make the transition into a new level of knowledge of the universal order, its meaning and beauty.

Evolution is not merely a development from lesser to greater degrees of complexity of form, but also a blossoming of consciousness into higher levels of awareness. This awareness includes an appreciation of the fundamental energies in the cosmos; it does not necessarily refer to knowledge of details. It is a vision of the pine principles which manifest themselves in every detail as well as in the general flow. The Buddha's omniscience, tradition says, consists of the power to know everything rather than knowledge of such details as how many hairs there are on a person's head!

The flow of manifestation reveals these pine principles in varying degrees through various phenomena and functions. In the flow of a waterfall, we see a steady movement although there is constant change. The sparkling changes against the background of a steady state cause us to experience a refreshing delight and a sense of newness at every instant. The shadow or phenomenal world is endless movement and never-ending change, but underlying the movement is immovable and everlasting Being—a paradox which is repeated in other ways. The order of the universe embraces an immense diversity of forms and patterns. The creative energy which upholds it constantly gives birth to new things; but nothing is repeated, not even one leaf of a tree being the same as another. Nature seems to abhor cloning and conformity. Yet amidst the astounding diversities of life, a mysterious bond exists uniting all things into a whole. The human being is like a drop in the vastness and depth of the ocean of existence, seemingly separate, but inseparable from it.

These paradoxes are all part of the music of the spheres. The great symphony of Nature is played with perse instruments, musicians, melodies, rhythms, and so on. In a Sufi parable it is related that when the hoarse cawing of a crow irritated some persons and they drove it away in anger, the Lord summoned his assistants and asked why a member of his orchestra was missing. Each particular element derives its value from enriching the whole, but it is the whole which is the "music of the spheres." It is wonderful to be human, because we can rejoice in the beauty and the newness of all the different elements and also realize that they are not other than the wholeness. They are, in fact, the Whole displaying a part of its self-nature, just as Light displays the colors of the rainbow. Every unity has the potential for diversity, and all diversities merge with unity.

The human problem is that our internal contradictions have their base in the great paradox of manifestation, when the Supreme appears other than Itself. Pierre Lecomte de Nouy, in his book Human Destiny, as well as others have speculated on the aims underlying evolution and have suggested that they include harmony, freedom, and individuality. In the average human, the assertion of individuality destroys harmony and appears to establish freedom. The diversification of forms and species is a means to evolve more and more individual characteristics. There is a vast difference, for instance, between a mosquito and an elephant, not just because of size, but because in the former there is hardly any individuality, while the latter is markedly individual in looks, behavior, and intelligence. The human being has advanced even further in this direction. But through millennia, evolution of consciousness has also been developing freedom and a sense of harmony. Organically, there have been such developments: the animal is physically freer than the plant, and humankind is even freer. Inwardly also, progress is being made towards freedom. There is, however, the seeming contradiction between the need for harmony on the one hand, and individuality on the other in the lives of most human beings. This is resolved in the earlier pre-human stages by Nature's own adjustments. But in the self-conscious human being there is conflict and struggle. He wants relationships, and yet his egoism spoils the chances of experiencing them joyfully. Assertion of individuality, (which is egoism) is the prime cause of our disharmony. Similarly, we want freedom, but we also need order—this is not only an individuality, but also a social and national dilemma.

Hence our major problem is: Can we be free without creating chaotic and painful situations? Can we nourish the latent uniqueness within us, without being at war? Much depends on how we understand ourselves and those values which are of the basic substance of the universe.

The universal and timeless values of the cosmos are unconnected with and independent of external things. As the poet Richard Lovelace said:

Stone walls do not a prison make

Nor iron bars a cage.

"To Althea: From Prison"

Someone in prison is no less free than another so-called free man who is a slave to the passion of greed, anger, or envy. Similarly, true individuality is not a matter of asserting one's importance or exhibiting knowledge. What we call fundamental values—freedom, uniqueness, harmony, happiness, peace—are soul characteristics. They are not dependent on anything outside for their existence. Belief that we must find them outside by manipulating relationships, acquiring possessions, or changing circumstances is the cause of discord and suffering. These values are facets of our true nature and of universal consciousness. When we realize our true nature, we are absolutely in tune with the universe.


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