The Dual Nature of Reality

By Richard Smoley

Originally printed in the MARCH-APRIL 2007 issue of Quest magazine. 
Citation: Smoley, Richard. "The Dual Nature of Reality." Quest  95.2 (MARCH-APRIL 2007):
69-72.

Theosophical Society - Richard Smoley is editor of Quest: Journal of the Theosophical Society in America and a frequent lecturer for the Theosophical Society

Thought, taken far enough in any direction, leads to an ultimate question: what is reality? What do we experience as real and why do we do so?

This issue has preoccupied philosophers for thousands of years. In the end, they seem to have come up with two radically different answers and these answers in and of themselves have shaped not only schools of thought, but entire civilizations.

The first perspective underlies most of western thought. From this point of view, there is little doubt about what is real. It is what we can see and feel and touch—in short, things. And in fact, if we leave the definition to etymology, the matter is settled. After all, the word reality is derived from the Latin res, which means "thing." If we accept this perspective, it is things that are real. This is generally how we use the term in ordinary language: the real is what is material. Only a fool buys invisible real estate.

The greatest champion of this perspective was the Greek philosopher Aristotle, who said that what underlies reality is substance. It would be hard to overestimate Aristotle's influence not only on western philosophy, but even on ordinary notions of reality. By this view, whatever does not have substance that we can see or feel has only a dubious claim to reality. The room I see before me now exists; the room I saw last night in a dream does not.

All this seems so obvious that it may look uninteresting. Of course, we may be tempted to say with impatience that the world of sensory appearances is real. How could it not be? The most famous argument in favor of this view was stated by the British philosopher G.E. Moore, who claimed he could prove the existence of external reality: "How? By holding up my two hands, and saying, as I make a certain gesture with the right hand, 'Here is one hand,' and adding, as I make a certain gesture with the left, 'and here is another'" (Edwards 3:166).

In one sense, Moore was right. If I were to offer you an airtight logical argument that proved that the hand in front of you does not exist, would you believe me? Probably not. The evidence of your own senses would trump any form of reasoning, no matter how impeccable. As Moore wrote, "Which is more certain — that I know that I am holding a pencil in my hand or that the principles of the skeptic are true?' (Edwards 3:378).

And yet there is something troubling about this view, and it has bothered philosophers for about as long as there has been such a thing as philosophy. In the first place, our senses frequently deceive us. To use a metaphor common in Indian philosophy, I see a snake in front of me. But on closer inspection, I see that it is actually a rope. What kind of reality, then, did the snake have?

Such simple errors may be easy to correct, but who is to say that our cognitive misreading of the world does not go much deeper than that? Even the most rigorous materialist must admit that our senses perceive only a narrow bandwidth of reality. We have devised scientific instruments—telescopes, microscopes, and so on—to expand our horizons, but in all likelihood, this only expands the scope of our view to a tiny degree.

There is yet another problem with the common-sense view of reality. In the West, it was first stated by the Greek philosopher Parmenides in the fifth century BC. How can the world of substance—that is, of appearances—have any reality when it is constantly changing from one thing into another? As Parmenides wrote, "How could what is thereafter perish? And how could it come into being? For if it came into being, it is not, nor if it is, going to be in the future" (Kirk 273).

Parmenides' views were highly influential on later philosophers, including Plato. Building on Parmenides' argument, Plato contended that what was real (because it was unchanging and eternal) was the world of Ideas or Forms, archetypal patterns that exist in a higher, intellectual reality.

Despite Plato's tremendous stature, western philosophy as a whole has not adopted his stance. The West has generally been far more comfortable with the views of Plato's pupil Aristotle, which correspond much more closely to common sense. The philosophy of India, on the other hand, has tended to be more comfortable with views like Plato's. While most Indian schools of philosophy do not speak of anything that corresponds to the Forms, they do generally accept Plato's criterion: that only what is unchanging is real. (In all likelihood, this view was formulated in India before Plato's time.)

Hence we are left with two radically different criteria of reality: what we can see and feel and touch on the one hand, and what is eternal and unchanging on the other. It often seems that when philosophers dispute about this question, they are judging from different premises without realizing it.

Is there some way of reconciling the two? I believe there is, and it appears in the esoteric teachings of many traditions. To begin to understand it, let us return to the notion that what is ultimately real is the world of sensation. We have already seen one problem with this point of view: it is hard to distinguish what is actually going on. Our minds and our senses deceive us. The snake may be a rope; the mouse I see in a room at twilight may be nothing more than a crumpled piece of tissue that missed the wastebasket. And then there are dreams, illusions, hallucinations—what about these?

Nonetheless, even if I am experiencing an illusion, I am still experiencing something. In this sense we may speak of one dimension of reality as that which is experienced. Whether or not it looks that way to others, this view cuts through all the difficulties about the veracity of what I experience. To give this dimension of experience a traditional name, we can call it the world. (Of course this is not the world in the conventional sense of the planet Earth; it is the sum total of what we experience.)

If we grant that there is a reality that is experienced, we can see that it has certain characteristics. For one thing, it is eternally changing. Things mutate into other things; there is decay, death, destruction on the one hand, birth, creation, generation on the other. Even thoughts and dreams have life spans, following some mysterious cycles of their own. All of these make up the world. Viewed in this way, the world seems to be eternal, even if the individual things that appear to make it up are not. It goes on endlessly, and to all appearances it will continue to do so.

But this leaves another issue open. If we grant that there is something that is experienced, what is doing the experiencing? This is harder to pinpoint. It leads us to the question of subjective experience, another issue that has vexed philosophers for thousands of years, just as it is now perplexing psychologists and cognitive scientists. There has been endless debate about the "mind-body problem," for example, whether our subjective experience is nothing more than the firings of some neurons—or if it is not, what else might it be?

Again, however, no matter what the ultimate cause of this experience may be, it remains true that there is something that is experiencing. It is that in us which says "I." But this is not the ordinary ego, with its thoughts and desires and judgments. Why? Because we can step back and look at all these things within ourselves. When we look at internal events, what is doing the looking? It would seem that the ego is merely a kind of anteroom to a larger, higher "I" that sits at the background of all our experience, watching it through our minds and bodies as through a telescope.

Moreover, this "I," whatever it is, also seems to be eternal—at least in the context of our individual lives. Whatever I experience, good, bad, or indifferent, it always remains true that there is an "I" that is doing the experiencing.

Contemporary philosophy, at least in the English-speaking world, has grown skeptical about this "I." After all, one cannot cut up a body and find this "I" somewhere inside. Nor can one detect it in the endlessly complex series of neural processes that so fascinate contemporary investigators. But in a sense, one does not need to find it, because it is always there. It can never be seen, because it is always that which sees.

All this seems to come down to a fundamental polarity: between that which experiences, the "I," and that which is experienced, the "world." But then what about others? Am I the only sentient being in the world? If not, how do I know this? If we do not deal with this point, we are left with solipsism, the idea that we can ultimately know nothing apart from ourselves.

Here is where esoteric philosophy comes in. It tells us that ultimately this "I" is the same in all of us. While this may seem to make our view of the world not only bend but snap, it is the only conclusion that remains. And in any case, we pay lip service to it all the time. How many times have we said or heard, "We are all one"? What would this mean otherwise, what could this mean, unless it is simply an empty cliché?

This assertion that this "I" is ultimately one in all of us takes us fairly far from ordinary experience, but it is a truth that has been stated by sages and masters over and over. If it cannot be verified from the street-level point of view, it can be verified by certain spiritual practices— notably meditation in all its forms.

As I have already mentioned, these ideas appear in many different types of esoteric philosophy. In esoteric Christianity and Judaism, the "I" is sometimes called "I am." It is why, in the Kabalistic tradition, "I am that I am" is the holiest of God's names, and it is also why the Gospel of John can have Jesus say, "I am the way, the truth, and the life." Viewed from this inner dimension, it is not the personage known as the historical Jesus, but rather "I am," that is "the way, the truth, and the life," the "door," the "true vine."

What the western esoteric traditions often speak about in veiled or allusive terms, the traditions of India discuss openly. The Mandukya Upanishad says, "The Self is the lord of all; inhabitant of the hearts of all. He is the source of all; creator and dissolver of beings. There is nothing He does not know." (Yeats and Swami 60) And one master of Advaita Vedanta writes, "From the absolute viewpoint, the Self alone is true; it is felt within as the 'I' or pure consciousness and pervades the external world as creative God." (Chakravarti 166) The most common name for this Self in the Indian tradition is atman.

The Samkhya, perhaps the oldest of all Indian philosophical systems, points to similar insights. What in this article I have called the "I" the Samkhya calls purusha; what I have called the "world" the Samkhya calls prakriti. Suffering arises when purusha identifies with prakriti, or, as we might say, when the "I" confounds itself with the world. The spiritual path, which is a long process of detachment, is a means of gradually separating the "I" from the world, that is, separating consciousness from the contents of its own experience. At this point, supreme illumination takes place. The old world falls away, and a new one arises. Such is enlightenment.

The perspective set forth above may sound dualistic: that is, it may seem to isolate everything into two radically distinct forces that ultimately have nothing to do with each other. And it is true that the Samkhya, for example, is usually characterized as a dualistic philosophy. Many people today speak of dualism contemptuously, yet without quite knowing why it deserves such treatment, much as people used to have a superstitious aversion to two-dollar bills. But dualism is not so easily discarded. It does seem to be true that this separation of the "I" from the world is only one stage in a lengthy process and that in the end the essential unity underlying all things will recognized. But dualism, if not the final stage, is a necessary one, much as the old alchemists had to perform separatio or separation on the matter they worked with before they could raise it to a higher unity. In short, there may well be a stage at which one realizes that "the nature of phenomena is nondual," as we read in a text of the Dzogchen school of Tibetan Buddhism (Norbu 81). But we may need to pass through the phase of duality before we reach it.

Is this process of detachment and reintegration ever complete? Will we ever be able to separate ourselves from a confused perception of reality so that we may return to the world in a new and more integrated form? The evidence of innumerable masters and mystical texts suggests that it is possible. I must immediately add, however, that I have never met anyone who seemed to attain this level of full realization, which is sometimes called enlightenment. As a result, I cannot answer another question that seems to arise: is this realization of the Self, the recognition of one's absolute identity with the true Knower, itself a final goal? Or is it merely another portal to dimensions of reality that are as far above it as enlightenment is above ordinary consciousness? Personally, I incline toward the latter view. And this would mean that both consciousness and the universe are multivalent, open-ended, and open to endless exploration. There is nowhere to stop, because there is always further to go.


Richard Smoley is an editor for Quest Books and the author, most recently, of Forbidden Faith: The Gnostic Legacy from the Gospels to The Da Vinci Code. His other works include Inner Christianity and The Essential Nostradamus. A revised edition of his Hidden Wisdom: A Guide to the Western Inner Traditions (coauthored with Jay Kinney), has been reissued by Quest Books in 2006.

References
 
Chakravarti, Kshitish Chandra. Vision of Reality. Calcutta: Firma K.L. Mukhopadhyay, 1969.
Edwards, Paul. The Encyclopedia of Philosophy. New York: Macmillian, 1967.
Kirk, G.S., and J.E. Raven. The Presocratic Philosophers. Cambridge: Cambridge University Press, 1957.
Larson, Gerald J. Classical Samkhya. Second edition. Delhi: Motilal Banarsidass, 1979.
Norbu, Chögyal Namkhai. Dzogchen: The Self-Perfected State. Translated by John Shane. Ithaca, N.Y.: Snow Lion, 1996.
Yeats, W. B. and Shree Purohit Swami, translated by. The Ten Principal Upanishads. New York: Macmillan, 1937.

Treasure Hunt

by Betty Bland

Originally printed in the MARCH-APRIL 2008 issue of Quest magazine. 
Citation: Bland, Betty. "Treasure Hunt." Quest  96.2 (MARCH-APRIL 2008): 44.

 

Theosophical Society - Betty Bland served as President of the Theosophical Society in America and made many important and lasting contributions to the growth and legacy of the TSA. WHEN WE WERE CHILDREN WE HAD A game called a snipe hunt. The game could be played only once on the unwary victim who was stationed in a spot off the beaten path. This "victim" was then told to stay there holding a bag in order to catch the snipe that the rest would be stalking. We were supposed to chase the snipe into the waiting bag. Of course there was no snipe and finally the victim would catch on and come to look for the rest of us who were giggling and playing not too far off. As this is a very old game, it was seldom successfully carried out but was gleefully contemplated as a way of dealing with whoever was considered the neophyte at the time.

A far better variation of this game was a scavenger hunt, in which all were equally given a list of items to be found or "scavenged" in the area. There was the same opportunity to experience the joy of running around in the outdoors, but with no one being left out. All had the same challenge, but they were individual challenges with each individual or team pitted against all the others.

The next step up was the true treasure hunt, in which a map was provided for each or all to explore the territory using the map until the goal was found. Some maps were easier to read than others but "X" always marked the spot where treasure might be found. Although there are all kinds of variations, in the instance I remember, "X" marked the location where refreshments and equal treasure were shared by all. This kind of treasure hunt fits well with an analogy that I would like to draw.

The first instance is the way that we usually begin our spiritual pilgrimage. Everyone else seems to "get it" but we are at a loss as to what it is all about. We just know that there must be something more and so we are liable to do the bidding of some less-than-enlightened teachers. Although our search at this stage can be frustrating, it is a time of learning and growing. Once we see the fallacy of this passive approach, we realize the importance of being active participants. Someone else will not do it for us, but we have to do it ourselves. As Madame Blavatsky admonished in the Proem to The Secret Doctrine (I—17):

In other words, no purely spiritual Buddhi (divine Soul) can have an independent (conscious) existence before the spark which issued from the pure Essence of the Universal Sixth principle,—or the OVER-SOUL,—has (a) passed through every elemental form of the phenomenal world of that Manvantara, and (b) acquired individuality, first by natural impulse, and then by self-induced and self-devised efforts (checked by its Karma), thus ascending through all the degrees of intelligence, from the lowest to the highest Manas, from mineral and plant, up to the holiest archangel (Dhyani-Buddha). The pivotal doctrine of the Esoteric philosophy admits no privileges or special gifts in man, save those won by his own Ego through personal effort and merit throughout a long series of metempsychoses and reincarnations.

Now this is a pretty heavy statement for those of us who have been hoping we could just rock along with business as usual, believing in various "good things," and that this would be sufficient for the nurture of our soul. Not so, says Blavatsky. We have to determine within ourselves how to re-orient our lives toward understanding our purposes in this world and to live every day by that highest understanding.

In this initial phase, we have an idea about some of the things we are looking for, but the instructions tend to be vaguely generic. We might look in a variety of places, gathering bits of treasure here and there. Although this wide casting about may seem like a waste of time, it truly is not. We grow and deepen through every effort to discover the ultimate treasure, and either slowly or quickly we come to the realization that a search oriented to the outer world will never bring us the true treasure. And the closer we come to glimpsing the treasure, the more we are drawn to approach it as the moth is drawn to the flame.

At this point we reach a new level in our quest. It becomes an almost effortless effort. Now all the random searching has borne its fruit and some inner guidance begins to flower within our being. No matter what tradition or religion we are following, there is a universal thread of truth (often called the ancient wisdom) which will draw us onto the path of no return—the path in the pathless land. Blavatsky (CW XIII 219) refers to it this way:

I can tell you how to find those who will show you the secret gateway that opens inward only, and closes fast behind the neophyte for evermore.

We have received the map and it is written on our hearts in such a way that, though we may from time to time stray, we can never fully forget. In this treasure hunt, even more than there being no competition, there is a universal teamwork. When any one of us gains an additional insight into the treasure, we all profit from that experience. Humanity as a whole is blessed by the presence of an advancing soul. And the beauty of it is that by our alignment with this cosmic treasure hunt we are able to take part in the blessing of all humanity, no matter how humbly placed we may be. Blavatsky further explains this in The Voice of the Silence:

155. If Sun thou can'st not be, then be the humble planet. Aye, if thou art debarred from flaming like the noon-day Sun upon the snow-capped mount of purity eternal, then choose, O Neophyte, a humbler course.

156. Point out the "Way"—however dimly, and lost among the host—as does the evening star to those who tread their path in darkness.

As Theosophists we not only have the great gift of a treasure map, but also of being given the privilege of sharing with others the joy to be found in seeking the treasure. By being an evening star for our brother or sister, we discover the greatest treasure of all—that of realizing the unity of all life and forming a nucleus of the universal brotherhood of humanity.


Kandinsky's Thought Forms and the Occult Roots of Modern Art

By Gary Lachman

Originally printed in the MARCH-APRIL 2008 issue of Quest magazine. 
Citation: Lachman, Gary. "Kandinsky's Thought Forms and the Occult Roots of Modern Art." Quest  96.2 (MARCH-APRIL 2008): 57-61.

Theosophical Society - Gary Lachman is the author of several books on the history of the Western esoteric tradition, including Lost Knowledge of the Imagination, Beyond the Robot: The Life and Work of Colin Wilson, and the forthcoming Dark Star Rising: Magick and Power in the Age of Trump.IN RECENT YEARS, the contribution that occult or mystical ideas have made to the evolution of art—or to culture in general—has been increasingly recognized. But this was not always the case. For a long time, the notion that belief systems like Theosophy, founded in 1875 by Madame Blavatsky and her companion Colonel Henry Steel Olcott, were anything more than a disreputable side-show to the mainstream of cultural development was scandalous. Critics and biographers hemmed and hawed over the attention eminent figures like W. B. Yeats, T. S. Eliot, and others paid to a variety of "charlatans" and "mountebanks"—in Yeats' case it was Blavatsky herself; for Eliot, it was the Russian philosopher P. D. Ouspensky. Thankfully, those days are over and much credit is due to a group of historians, critics, and researchers for uncovering what in my subtitle I call "the occult roots of modern art."

I have even made a small contribution to this effort myself. In The Dedalus Book of the Occult: A Dark Muse, I sketch an overview of how a collection of occult ideas and insights fed the European and American post-Enlightenment literary imagination. I remark that, although I focused on writers and poets, another book could easily be written about the occult interests of composers and painters. In music, seminal figures like Mozart, Beethoven, Wagner, and Debussy all have dipped, at one time or another, into the magical grab bag. (For a brief account of this history, see my article "Concerto for Magic and Mysticism: Esotericism and Western Music" in The Quest magazine's online archives.)

The best book I know for making clear exactly how much modern art owes the occult is The Spiritual in Art: Abstract Painting 1890—1985 by Maurice Tuchman, a massive catalogue from an exhaustive exhibition I had the good fortune to see many years ago. While recently re-reading some of the catalogue's articles, I came upon a few names with considerable frequency. Certainly, the history of the occult's influence on art is filled with many illustrious figures, including Jacob Boehme, Swedenborg, Paracelsus, and Eliphas Levi, for example. The roll call of artists so influenced reads like a who's who of the cutting edge: Marcel Duchamp, Piet Mondrian, Kasimir Malevich, Frantisek Kupka, and Joseph Beuys, to name a few. However, as I said, certain names kept turning up, especially in the period preceding the birth of abstract art. These were the Theosophists Annie Besant, C. W. Leadbeater, and Rudolf Steiner.

The artist upon whom these leading Theosophists made the strongest imprint was the one most associated with creating non-representational art, Wassily Kandinsky. Just when the first abstract painting was made is still a matter of debate. Some say it was Kandinsky's First Abstract Water Colour in 1910; others give the honor to the Czech Frantisek Kupka. But Kandinsky is the name most associated with the new approach to painting.

As Sixten Ringbom made clear in his seminal study, "The Sounding Cosmos," Kandinsky was deeply interested in a number of occult, mystical, and paranormal pursuits and, at times, was a practitioner of various spiritual disciplines, specifically some forms of meditation and visualization. His interest was wide and his reading eclectic; one form of paranormal phenomena that particularly intrigued him was "thought photography," the idea that thoughts could be captured on sensitive plates.

Kandinsky's interest in the occult, and Theosophy in particular, was most evident during the years 1904—1912, which roughly coincide with the attempts of various psychic investigators to use scientific methods to prove the reality of the spiritual world. Sadly, most of these efforts proved fruitless and later examples, like the Cottingley Fairies, did little more than reinforce the suspicions of an already skeptical public. These were the famous fairy photographs of 1920 that earned Sir Arthur Conan Doyle, who expressed belief in their veracity, much criticism, including suspicion of senility. Kandinsky's interest in thought photography, however, had a deeper impetus than to prove that the wee folk existed. Thought photography was, for Kandinsky, linked to a more important issue: the advent of a new age in human evolution, which he called "the Epoch of the Great Spiritual."

Along with many other artists and thinkers of the time, Kandinsky believed that by the beginning of the twentieth century, western civilization had reached a crisis and was sinking under a crushing materialism. It was the artist's task to lead society out of this impasse and to open new avenues of meaning and significance. One vehicle for achieving this was Theosophy. The influence Kandinsky's occult reading had on his ideas of the coming "Epoch of the Great Spiritual" is clear in his influential manifesto Über das Geistige in der Kunst, Concerning the Spiritual in Art (1912), one of the most important theoretical works in the history of modern art.

Kandinsky's occult library was considerable, but certain books in particular fueled his speculation. Three key works were Man, Visible and Invisible  (1902) by C. W. Leadbeater, Thought-Forms  (1905) by Annie Besant and Leadbeater, and Rudolf Steiner's Theosophy (1904). Kandinsky was very interested in Steiner, and attended some of his lectures in Munich and Berlin. He was also a keen reader of Steiner's theosophical journal, Luzifer-Gnosis, and in his notebooks Kandinsky copied out several passages from a series of articles Steiner had written entitled "Von der Aura des Menschen" (On Man's Aura). Kandinsky was interested in a great deal of Steiner's thought. The interested reader might look to Ringbom's study or the internet for material about Kandinsky's interest in the occult, as well as information on his friend Arnold Schoenberg, who combined an interest in Steiner with one in the Swedish religious thinker Emanuel Swedenborg.

Besant, Leadbeater, and Steiner's writings concern the human aura. In the theosophical view, we possess four different kinds of bodies. There is the physical body we all know, but we also possess an astral body, a mental body, and a buddhic body. In fact, we really possess seven bodies, but the three higher bodies—nirvanic, para-nirvanic, and mahaparanirvanic—are beyond our present level of comprehension and discussion of them now is not relevant. In his early writings, Steiner used this theosophical concept; in later years, he retained the notion of seven bodies, but his terminology changed.

The astral body reflects our emotions and desires; the mental body is concerned with our thoughts; and the buddhic body with our spirituality. There is also an etheric body, which is a kind of life force animating our physical shells. I should point out that the aura that Besant, Leadbeater, and Steiner speak of is not the same as that revealed in Kirlian photography or in Harold Burr's "life fields," from Blueprint for Immortality, which are much more of a physical phenomenon. In Theosophy, Steiner, a profound critic of materialism, made clear that the aura referred to by him and other theosophical writers was purely spiritual; that is, it was an inner phenomenon. It was not seen with the eyes but with the soul. For all his interest in thought photography, it was precisely this distinction of Steiner's that appealed to Kandinsky.

Kandinsky believed that by the beginning of the twentieth century, whatever artistic and spiritual meaning the external world had possessed had been hollowed out and emptied. He was not alone in this; the "artist's journey into the interior," as the literary critic Erich Heller called it in the title of one of his books, had been set in motion at least a century before with the Romantic Movement. Contemporary with Kandinsky, in his Duino Elegies, the poet Rilke had declared that "No-where will the world exist but within." The novelist Hermann Hesse had mapped out der Weg nach innen, the Way within. Many poets and writers suffered the "crisis of the word," acknowledging that a language based on describing the external world was inadequate to convey the depth and subtlety of their insights and perceptions. And painters like Kandinsky's fellow Russian Kasimir Malevich contemplated a blank canvas as the purest portrait of the real.

Like the "primitives" of earlier times described in Concerning the Spiritual in Art, Kandinsky believed the artist sought to portray "only internal truths, renouncing in consequence all consideration of external form" (1). Like many artists of the time, Kandinsky saw in music the non-material art par excellence, and he wanted to achieve in painting what he felt composers had already accomplished: liberation from the material world. In this need to map out the cartography of the inner realms, Kandinsky found a parallel in Theosophy.

Although the aura was a spiritual phenomenon, Besant, Leadbeater, and Steiner believed it could be approximated. To the sensitive soul, a person's aura appeared as a kind of cloud or egg, enveloping their physical body. This appeared in different colors, depending upon the character and thoughts of the person. In both Thought-Forms and Man Visible and Invisible the authors provide a "Key to the Meanings of Colors." This informs us that, for example, pure religious feeling appears as a deep blue, while anger is a fiery red. Bright yellow corresponds with highest intellect and malice with black. An attentive reader of Kandinsky's manifesto will note that on the subject of yellow, he differs from Besant and Leadbeater, linking it with feelings of aggression. although he drew on theosophical ideas, Kandinsky, like any person of genius, inevitably thought for himself.

Whatever we think of the aura, it is clear that in our everyday speech we associate certain colors with certain moods or feelings. We are green with envy. If we are sad, we are blue. We speak of being red with rage, and if we are healthy, we are in the pink. Yellow is associated with cowardice, white with innocence. We all have black moods. These and other examples show that synaesthesia—the substitution or coincidence of one sense with another, as in the phenomenon of "hearing colors" or "seeing sounds"—is much more common than we think. Synesthesia was one of the central concerns of the Romantic and Symbolist movements, and was most concisely expressed in Arthur Rimbaud's poem "Vowels," which links specific colors to the vowels: A-black, E-white, I-red, O-blue, U-green. Kandinsky emerged from the latter days of these aesthetic movements, and students of Rudolf Steiner's teachings will remember that synesthesia is one of the signs of advance on the spiritual path. Steiner's Knowledge of the Higher Worlds and its Attainment explains more on this topic.

The central maxim of Thought-Forms is that "thoughts are things" (16). In addition to the aura, the seer can detect emanations proceeding from it. These appear as "radiating vibrations" and "floating forms." The idea of floating forms raises the link between thought forms and hypnagogic phenomena, the various shapes, forms, faces, and landscapes, etc. seen on the point of sleep. Hypnagogia and synaesthesia are often linked; the interested reader may want to consult the chapter "Hypnagogia" in my Secret History of Consciousness.

These radiations and forms are the spiritual reflection of the person's thoughts, and they are things, not only in the sense of having a real effect on the world (in the sense that bad thoughts can actually, and not only meta-phorically, hurt someone), but even more so in the sense that to the seer, thoughts appear as definite shapes. Again, space does not allow me to pursue this, but in his Arcana Coelestia, Swedenborg spoke of "seeing thought." And in Emanuel Swedenborg: A Continuing Vision by Robin Larsen, he is quoted as saying, "I could see solid concepts of thought as though they were surrounded by a kind of wave, and I noticed that this wave was nothing other than the kinds of things associated with the matter in my memory, and that in this way spirits could see the full thought" (447).

Besant and Leadbeater point out that the character of our thought forms is linked to our astral (desire) and mental (thought) bodies, and that the more refined our desires and thoughts, the more radiant and beautiful are the thought forms we create. Given, however, that the desire body "is the most prominent part of the aura of an undeveloped man" (19), what the seer most often detects are forms of a crude nature. It may be a blessing, then, that we all are not yet able to perceive the subtle shapes of our thoughts.

The character of a thought form depends on two things: what the thought is about, and the quality of the thought itself. Vague, indefinite thoughts appear as a kind of mist or cloud. Clear, definite thoughts take on more robust shapes, sharp triangles, cones, tentacles, and starbursts, for example. Thoughts of a greedy, lustful, or malicious character appear differently from those of a noble, selfless, loving nature. So, for instance, figure 28 in Thought-Forms, "Selfish Greed " appears like muddy green tentacles. This thought form emanates from someone "ready to employ deceit to obtain her desire," and is associated with "people gathered in front of a shop window" (56—57). "Sudden Fright ," figure 27, appears as a series of grey and red crescent shapes bursting out of the aura. "Explosive Anger ," figure 24, is a red and orange starburst. The "Upward Rush of Devotion," figure 15, is seen as a blue cone, and "Vague Pure Affection," figure 8, is a pinkish cloud, which "frequently surrounds a gently purring cat" (41). "Intellectual Aspiration," figure 43, is a fine spearhead of yellow, with a greyish centre, and implies "much advanced development of the part of the thinker" (72).

Besant and Leadbeater suggest that these thought forms are analogous to those of the " Chladni figures" formed by vibrating a brass or glass plate on which fine sand has been spread. Bowing the plate, the vibrations arrange the sand into remarkably beautiful geometric designs. They also see an analogy with the intricate designs formed by a pendulum on which a pen has been attached, and the illustrations they provide from Frederick Bligh Bond's book Vibration Figures, have, like the Chladni figures, a beauty not unlike that found in fractals. (Frederick Bligh Bond, we might remember, was an archaeologist involved in early excavations at Glastonbury Abbey, but was sacked after it was discovered that his methods included channeling medieval monks who had lived there.) The common element is vibrations: just as vibrations in fine matter form the Chladni figures, so too, do vibrations create thought forms. In this case, the fine matter is the aura, and the vibrations are our thoughts.

Besant and Leadbeater were assiduous collectors of thought forms and to the unknowing eye, the illustrations of these by John Varley, a Mr. Prince, and a Miss Macfarlane are very reminiscent of much abstract and surrealistic painting. Some of the most striking are the illustrations for the synaesthetic forms created by music: a mountain range of reds, blues, greens, and yellows rises above a church in which Wagner is being played. My own favorite is figure 32, "The Gamblers," whose eerie red and black eye and strange crescent shape figures remind me of Miro's weird dreamscapes.

Rather than sticking to single-thoughts such as love, hate, sadness, etc., the authors sought out the forms created by a number of experiences. Figure 33 "At a Street Accident," figure 34 "At a Funeral," figure 35 "On Meeting a Friend," and others give us some idea of the kinds of unseen thought forms hovering about us in the astral. The bright colors against the black void are particularly striking, and readers may be interested to compare these to the remarkable blackboard chalk drawings that Rudolf Steiner used in his lectures, a collection of which can be seen in Rudolf Steiner: Blackboard Drawings 1919—1924. Steiner's blackboard drawings have been recognized as works of art themselves, and they, coupled with Besant and Leadbeater's thought forms, give us some idea of what we may one day be able to see, given there is, as both Steiner and the Theosophists believe, an evolution of consciousness.
But until then, another glimpse of these astral shapes is available through Kandinsky's art. Although compared to Kandinsky's floating amoebas and other amorphous forms, the actual shapes of, say, figures 37 and 38, "Sympathy and Love for All," and "An Aspiration to Enfold All" respectively, are simple and unsophisticated, we can yet see their influence in his canvases. Space does not allow more than a mention, but one work in which the influence of Thought-Forms is quite visible is, I think, Kandinsky's enigmatic Woman in Moscow (1912), a representational work in which the non-representational begins to appear.

Kandinsky was particularly interested in this figure, as he did three versions of the work. An attractive oversized woman in her thirties stands in the foreground and behind her stretches a multi-colored Moscow. Her right hand rests on a table, and is wrapped around a small dog; in her left hand she holds a red, cloud-like rose. A bluish-green aura seems to surround her and to her left appears a glowing reddish ball with a heart-shaped center. Above this, a black cloud shape, seemingly very dense, threatens to obscure the sun, while to her lower right, a sharp spike of dark blue juts into a yellow street. Several figures float around her: a horse and carriage with a coachman and passenger, and a quasi-oriental character who seems to balance on the edge of the table. The red ball and black shape seem to suggest a struggle between malice and the heart, but as there is so much here, the interested reader should really see for him or herself.

Clearly, the black spot held much meaning for Kandinsky, as it appears center-stage in Black Spot I (1912), in which the representational figures of people, houses, and a cart are beginning to dissolve, perhaps into the astral forms that lie behind our sensory perceptions. Kandinsky's "Epoch of the Great Spiritual" may have been put on hold—at least that is the impression I get, judging by most post-modern art today. But to the open eye, his work, I believe, can still introduce us to the soul.


References

Besant, Annie and C. W. Leadbeater. Thought-Forms. London and Benares: Theosophical Publishing Society, 1901.
Burr, Harold Saxton. Blueprint for Immortality. London: Neville Spearman, 1972.
Kandinsky, Wassily. Concerning the Spiritual in Art. New York: Dover Books, 1977.
Lachman, Gary. "Concerto for Magic and Mysticism: Esotericism and Western Music"
———. The Dedalus Book of the Occult: A Dark Muse. London: Dedalus, 2003.
———. In Search of P. D. Ouspensky. Wheaton: Quest Books, 2004.
———. Rudolf Steiner: An Introduction to His Life and Work. New York: Tarcher/Penguin, 2007.
Larsen, Robin, ed. Emanuel Swedenborg: A Continuing Vision. New York: Swedenborg Foundation, 1988.
Ringbom, Sixten. "The Sounding Cosmos." Acta Academiae Aboensis, Ser. A. Vol.38 No.2. Abo Akademi, 1970.
Steiner, Rudolf. Knowledge of the Higher Worlds and Its Attainment. New York: Anthroposophic Press, 1947.
———. Rudolf Steiner: Blackboard Drawings 1919—1924. New York: Rudolf Steiner Press, 2003.
Tuchman, Maurice. The Spiritual in Art: Abstract Painting 1890—1985. New York: LA County Museum of Art and the Abbeville Press, 1986.

Gary Lachman is the author of several books on the link between consciousness, culture and the western esoteric tradition, including Rudolf Steiner: An Introduction to His Life and Work (Penguin 2007). Other books include Into the Interior: Discovering Swedenborg (2006), In Search of P. D. Ouspensky (Quest, 2004), and Turn Off Your Mind: The Mystic Sixties and the Dark Side of the Age of Aquarius (2001). A founding member of the rock group Blondie, Lachman was inducted into the Rock and Roll Hall of Fame in 2006. He is a regular contributor to the Independent on Sunday and Fortean Times, and Quest magazine. He lives in London where he is currently working on Politics and The Occult: Unknown Superiors and the Retreat from the Modern World , to be published in 2008.


Where Has Divine Madness Gone?

By Anton Lysy

Originally printed in the MARCH-APRIL 2008 issue of Quest magazine. 
Citation: Lysy, Anton. "Where Has Divine Madness Gone?" Quest  96.2 (MARCH-APRIL 2008): 63-67.

Of madness there were two kinds, one produced by human infirmity, the other . . . a divine release of the soul from the yoke of custom and convention. . . . The divine madness was subdivided into four kinds—prophetic, initiatory, poetic, and erotic—having four divine beings presiding over them.

The Prophetic was the inspiration of Apollo.
The Initiatory was the inspiration of Dionysus.
The Poetic was the inspiration of the Muses.
The Erotic was the inspiration of Aphrodite and Eros.
—Plato's Phaedrus (265a-b)

Theosophical Society - Anton Lysy has been Dean of Studies of the Olcott Institute since 1994. He is a national speaker and is on the board of directors of Far Horizons and the Theosophical Gift Book Institute. Dr. Lysy, along with David Bruce, director of the Department of Education, have just completed When You are One with Every Heart That Beats—an e-Learning course on the seven International Presidents of the Theosophical Society.I WAS ONE OF THREE THEOSOPHICAL SOCIETY members who attended a "Colloquium in Ancient Philosophy" at the University of Arizona in Tucson last February. As we arrived near the Law School Library, we were shocked to encounter two green dumpsters overflowing with books. Considering possible causes for this apparent crime against literacy, I immediately thought of the Phaedrus, a dialogue where Socrates points out that the written word is unable to defend itself from faulty interpretations by readers who will distort the author's intentions.

While continuing to wonder if this encounter were an omen, we resumed our journey to the program entitled "Plato and Socrates on the Nature and Teaching of Virtue" which included fifteen presentations by philosophy teachers from universities around the United States. The twenty hours of presentations and discussions took place during an intense period beginning on a Friday morning and lasting through Sunday noon. Although all three of us Theosophists, like HPB, love and respect the two Athenian philosophers, we were exhausted by the sheer amount of information and the rapid-fire exchanges of the presenters with the audience of specialists in the field of philosophy. I longed for some time to meditate and to refresh my exhausted powers of listening and reflection through the reinvigorating force of participating in the sacredness of silence. Then, perhaps, a form of Divine Madness would surface from deep within me or swoop down (supervene) from above to transform my prosaic consciousness.

Since Paul Woodruff from the University of Texas in Austin was the only presenter at the conference that I already knew of through his two recent books, I will limit my comments to his writings and presentation. Author of Reverence: Renewing a Forgotten Virtue (2001), and First Democracy: The Challenge of an Ancient Idea (2005), the paper he presented was entitled "Are Platonic Virtues Thick or Thin?" an intriguing distinction that I had never before encountered.

Reverence: Renewing a Forgotten Virtue

To these ideals of truth and purity we must add one that is lacking in modern life: the ideal of reverence for what is noble, of adoration for what is higher than oneself. Modern life is becoming petty because we are not strong enough for reverence. It is becoming base, sordid and vulgar because people fear that they will sink if they bow to that which is greater than them. But worship of that which is higher than yourself raises you; it does not degrade you. The feeling of reverence is a feeling that lifts you up; it does not take you down. We have talked so much about rights that we have forgotten that which is greater than our rights. It is the power of seeing what is nobler than we have dreamed and bowing before it till it permeates our life and makes us like it. Only those who are weak are afraid to obey; only those who are feeble are afraid of humility.
—Annie Besant, World Parliament of Religions, 1893

If one enters the word "reverence" into the search engine of the CD-ROM Theosophical Classics that includes HPB's collected works, one will get a quantitative sense of how important the concept was for her. She defined it as "to regard one with fear mingled with respect and affection." She also quoted Coleridge's rendering of it as "the synthesis of love and fear." And yet, she stressed that the great awe, deferential regard, and deep respect expressed through reverence is in no way the same as worship.

HPB and Colonel Olcott had, for example, made a powerful impact on the Indians of Bombay who witnessed their arrival and Olcott's striking gesture of reverence. When he left the ship, Olcott kissed the first granite step to show his regard for the "sacred soil" the two had reached after their important journey from New York. According to historian Bruce Campbell, "Their respectful and even reverential attitude toward India won them the admiration of Indians."

I first encountered Paul Woodruff inadvertently on the PBS Now program with Bill Moyers. The following exchange between the two men caught my attention immediately:

Bill Moyers: How do you define reverence?
Paul Woodruff: I think reverence is the capacity for awe in the face of the transcendent.

BM: The transcendent being—
PW: It's whatever we human beings did not create: God, justice, and the truth . . .

BM: Beauty.
PW: Nature, beauty.

BM: Death?
PW: Death is one of the most awe-inspiring facts of our lives. And I think complementary to the awe in the transcendent is a felt sense of our own mortality and our own limitations, our own tendency to make mistakes . . .

PW: The best clue to how reverent we are is how we treat the weakest people around us . . .
BM: You say, simply put, reverence is the virtue that keeps human beings from trying to act like gods.

Since hosiotes, the Greek word for reverence featured in Woodruff's book, is not a familiar term to most of us, the concept can perhaps best be understood in contrast to the more familiar Greek term, hubris. Hubris is the inflated, grandiose, and arrogant pride that leads one wrongly to feel superior to others (to tread on the territory reserved for gods in ancient Greece).

The Theosophical Society's First Object, to form a nucleus of the universal brotherhood of humanity without distinction of race, creed, sex, caste, or color, for example, is incompatible with hubris. And those who allow their affection for animal welfare/rights or anything else to interfere with their compassion and sense of kinship with human sisters and brothers would seem to lack reverence for the rough processes involved in evolution and transformation that are inherent in the Divine Plan.

Plato had Socrates, in the Republic (415a), resort to telling a "noble lie" to maintain an artificial sense of reverence for the division of labor demanded in that ideal city. This arrogant lie maintained that God mixed the rulers with the greatest privileges with gold. The next group in the hierarchy was mixed with silver, and finally, downward to the farmers and laborers who were mixed with iron and copper. If everyone accepted his or her "ore," there would be harmony in the state. In contemplation of the "noble lie," Woodruff concludes "Power without reverence is aflame with arrogance, while service without reverence is smoldering toward rebellion" (4).

The Theosophical Society's motto, There Is No Religion (Dharma) Higher Than Truth, can be interpreted with an interesting correlation to its First Object that is both honest and compassionate about the full range of human differences in ability and opportunity. Woodruff adds, "Reverence sets a higher value on truth than on any human product that is supposed to have captured the truth" (39). It is the truth seeking of the inquiry (the hunt) rather than the reported truth of the publication (the feast). There is no "nobility" in lying that will not be seen through by an honest youth like the one who noticed and remarked that the Emperor's delusional vestments were not visible. Woodruff writes, "It is a natural mistake to think that reverence belongs to religion. It belongs, rather, to community" (5). In Theosophy, the community includes all beings, all places.

In Protagoras (320d—322d), Plato had the famous Sophist tell a creation story about how the gods had delegated to Prometheus and Epimetheus the task of distributing differing powers to different species. When interpersonal conflict was about to destroy humanity, Zeus sent Hermes to give conscience and justice to humans—to all humans, not to only a few as in the distribution of skills and abilities. This combination of conscience and justice when added to humility and honesty about one's limitations would clearly be a composite capable of holding in unity a dazzling array of differences. Woodruff states, ". . . without reverence, things fall apart" (13).
Throughout his book on the subject, Woodruff shows his reverence for Plato while disagreeing with many of Plato's teachings. As Nietzsche held, we repay a teacher poorly by not going beyond her or his teachings. Our contemporary American philosopher asks us to remember who we are in a broad and deep historical context:

Remember that you are human: this is the central message of ancient Greek reverence. "How could I forget?" you ask? Very easily, especially if you are so rich, so powerful, or so successful that you push every thought of failure away from your mind—every thought of human error, madness, or death. But you will err, if you are human; you will do crazy things, no matter how hard you cling to the notion that your mind is sound; and you will die.  Between now and death you will have many opportunities to crash down from whatever height you have reached, and you will fall harder if you forget that the human path is strewn with stumbling blocks. (81)

First Democracy:
The Challenge of an Ancient Idea

If you had not seen it, you would never believe how much more freedom pets have in this democratic community compared with any other. The dogs really do start to resemble their mistresses, as the proverb says. . . . And everything else is just as saturated with freedom . . . (563c)

Taking all this in consideration, the long and short of it is that the minds of the citizens of a democracy become so sensitive that they get angry and annoyed at the slightest hint of enslavement. . . . And they're so worried about the possibility of anyone having authority over them that they end up . . . taking no notice of the laws either, whether written or unwritten. (563d)

—Plato's Republic

Plato has Socrates conclude "that dictatorship is bound to arise out of democracy" (564a), a conclusion that has frightened me more and more every four years since 1960. Woodruff's First Democracy, on the other hand, gives one a form of hope that is grounded on a commitment to work on becoming a better citizen:

In truth, the idea of democracy served the Athenians far better than the Athenians served democracy. Yes, democracy is hard to achieve: yes, it is impossible to make perfect. But democracy is not a utopian ideal, because it takes human imperfections into account better than any other ideal of government. The ancient inventors of democracy knew that even the best of us can be distracted by ambition or fear from doing what is right. They knew how easily success leads to pride and pride to arrogance. From an ancient tradition of poetry, they knew by heart how arrogance leads to blindness and blindness to catastrophic mistakes. Democracy was born out of a reverent awareness of human folly, and it was designed to prevent its leaders from having the unchecked power that could lead even the wisest of them from arrogance to foolishness. (5—6)

The Second Object of the Theosophical Society, to encourage the comparative study of religion, philosophy, and science, seems to spring from the same source that envisions democracy. It embodies a profound mission of inquiry into differences that can develop understanding and tolerance as well as respect and reverence. At the Feet of the Master by J. Krishnamurti teaches "You must learn that no ceremonies are necessary; else you will think yourself better than those who perform them. Yet you must not condemn others who cling to ceremonies."

Woodruff, looking at contemporary American democracy in the light of the ancient Athenian form, illuminates the roles of "Freedom from Tyranny," "Harmony," "The Rule of Law," "Natural Equality," "Citizen Wisdom," "Reasoning Without Knowledge," and "Education" in successive chapters writing with simplicity and clarity that one rarely finds in the columns of our newspaper, journal, or blog pundits from anywhere on the political spectrum.

The book ends with a chapter entitled "Are Americans Ready for Democracy?" The last paragraph raises the following questions for inquiry and discussion:

Are we ready to shake off the idea that we are already a perfect exemplar of democracy? Are we ready to put the goals of democracy foremost in our political minds, as many Athenians did? Are we ready to admit our mistakes and learn from them, as they did?  Are we ready to have a national conversation about democracy? Most important, are we ready to keep the great dream alive, the dream of government of the people, by the people, and for the people?

In other words, are we willing to do the work that will forever disprove Plato's contention "that dictatorship is bound to arise out of democracy?"

Are Platonic Virtues Thick or Thin?

We know well enough what it is like not to know the virtues; Plato gives us many examples of people who think they know and do not. He also gives us a shining example of someone who knows he does not know the virtues—Socrates. I call his example shining because Socrates, unlike the others, does not seem much the worse for his ignorance. Apparently, he has found a good life without moral knowledge.

We do not have a clear picture, however, of what it would be like to know a virtue. If justice is, in its true nature, what readers of Plato call a Form or Idea, then—as Aristotle pointed out—we cannot see clearly how knowing that Form would help us make moral decisions in our own world of change and confusion. Or, to put the matter in terms of Plato's allegory, if we are living entirely in a world of shadows, as in a cave, how would it help us to know what things are like outside the cave?

The distinction between "thick" and "thin" at the presentation turned out to be based on whether a principle was involved.

A thick account of courage would harbor a principle. . . . A thick concept (if there is such a thing) is an inseparable bundle of description and attitude; examples are lewd, tactless, honest, patronizing, etc. Thick concepts seem to straddle the gap that a principle is supposed to guide you across.

Plato conceives all virtues as thin; that is, none of them are susceptible to a definition that harbors a principle that would determine how we should act in all given circumstances.

Woodruff concludes that, for Plato, "knowledge of virtues could not be a matter of principles," and, consequently, "that the shadows of the cave are not to be measured in that way" since they "are not objects of knowledge." That "shining example" of a human being, Socrates, however, can be named and used as a model that exemplifies good or bad behavior. But what he is cannot be defined.

The Third Object of the Theosophical Society, to investigate unexplained laws of nature and the powers latent in humanity, seems to recognize the thick/thin distinction. The humans who we have considered to be exceptional, advanced, or evolved (the Dalai Lama, Mother Theresa), are people who show us a new set of possibilities in their very presence, not merely in what they say. The reverence that Annie Besant spoke of at the 1893 Parliament was based on the recognition of a superior state of being that one emulated as a paradigm. What had been latent in the young Socrates was later manifest in the "World Teacher" who displayed principles of loyalty to his home state of Athens and its laws, principles that would not allow him to escape from drinking the hemlock that would end his life.

Where Is the Madness?

A religion old or new that stressed the magnificence of the universe as revealed by modern science might be able to draw forth reserves of reverence and awe hardly tapped by the conventional faiths. Sooner or later, such a religion will emerge.

—Carl Sagan, Pale Blue Dot

Just as it had been great to see Paul Woodruff with Bill Moyers on Now to develop a sense of the man within his writings, it was wonderful to witness his presentation and to hear him speak informally with his colleagues between lectures. He had to leave before the last day because of family obligations but I felt some of the same qualities in his presence as I had at the 1993 Parliament when the Dalai Lama was near.

Before the last session on Sunday, there was a commotion outside of the classroom. At break time, I found out that a falcon had swooped down on a pigeon. The discarded books in the dumpsters before the conference again came to mind. And now there was this display of power and destruction in the animal kingdom at the end reminiscent of the Sophist in The Republic who claimed might was right.

I was grateful to have listened to the many speakers, even more grateful for the compilation of papers presented that I could reread and ponder later. But I had not experienced the joy and enthusiasm I usually feel at the end of programs that I attend that are filled with ample time for reflection and meditation.

If there was any prophecy coming from Apollo, it seemed to be conveyed via the symbols of the dumpsters filled with books and the falcon attacking the pigeon. There had been no sense of an Initiation or a new beginning, Dionysian or otherwise, just a termination. My notes were filled with diagrams and logical symbols, smeared ink on the yellow legal pad, and no sign of anything from the Muses.

But still there was a renewed sense of the love of wisdom and a deeper reverence for the many people who have inspired me throughout my life. And there was a deep sense of gratitude knowing that my companions, Martin and Susan Leiderman, would be with me at Far Horizons, our Theosophical Camp in the Sierras of California, to offer a program entitled Beyond Plato On Love before Labor Day. The pace of our program would be slower and, hopefully, its range would be both deeper for the inner life and extend higher outside through the star filled sky. For the mountains teach reverence quietly and majestically and invite the four sources of inspiration to occur as naturally as breathing deeply.

At the end of Phaedrus, Socrates ends with this prayer to Pan:

O Dear Pan and all the other gods of this place,
Grant that I may be beautiful inside. Let all of
My external possessions be in friendly harmony
With what is within me. May I consider the
Wise man rich. As for gold, let me have as much
As a moderate man could bear and carry with him. (279c)

Perhaps in our time, Reverence itself, as Woodruff has delineated it, is a fifth form of Divine Madness, one that will guide us through an unprecedented period of development—an inspiration from the essence of the Great Orphan Humanity as it gets to know itself outside of the Cave.


References

"Bill Moyers Interviews Paul Woodruff," http://www.pbs.org/now/printable/transcript_woodruff_print.html.

Woodruff, Paul. First Democracy: The Challenge of an Ancient Idea. New York: Oxford University Press, 2005.

———. Reverence: Renewing a Forgotten Virtue. Press New York: Oxford University Press, 2001.

Anton Lysy has been Dean of Studies of the Olcott Institute since 1994. He is a national speaker and is on the board of directors of Far Horizons and the Theosophical Gift Book Institute. Dr. Lysy, along with David Bruce, director of the Department of Education, have just completed When You are One with Every Heart That Beats—an e-Learning course on the seven International Presidents of the Theosophical Society.


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