The Silence of the Universe.
The soul is silent while it is in the body and it is drowned out by the world and the body. The ancients saw it that way and for them it was important not to let the world and the body dominate the soul. They tried to suppress their body so the soul could come out. The more silent the soul is the more of an animal a person is, the more silent the body is, the more enlightened the person is. These lyrics from Whom The Bell Tolls, by Metallica, are about the soul coming back to life when someone dies. The silence of the soul is mentioned here and when someone dies, that silence becomes loud, "Shattered goal fills his soul with a ruthless cry. Stranger now are his eyes to this mystery. He hears the silence so loud. Crack of dawn, all is gone except the will to be. Now they see what will be, blinded eyes to see."
The Gospel of Truth 37, "This is the perfection in the thought of the Father, and these are the words of his meditation. Each one of his words is the work of his one will in the revelation of his Word. While they were still depths of his thought, the Word which was first to come forth revealed them along with a mind that speaks, the one Word in silent grace."
The Gospel of the Egyptians 50:10, "the receiver of God, where the holy men of the great light receive shape, the men of the Father of the silent, living silence, the Father and their whole pleroma as I mentioned before."
51:5, "The incorruptible man Adamas asked for them a son out of himself, in order that he (the son)may become father of the immovable, incorruptible race, so that, through it (the race) the silence and the voice may appear, and, through it, the dead aeon may raise itself, so that it may dissolve."
The Thunder, the Perfect Mind 14:5, "I am the silence that is incomprehensible and the idea whose remembrance is frequent."
15:30, "Why have you hated me in your counsels? For I shall be silent among those who are silent, and I shall appear and speak."
Allogenes 53:30, "<And> the power appeared by means of an activity that is at rest and silent."
59:15, "but if you wish to stand, withdraw to the Existence, and you will find it standing and at rest after the likeness of the One who is truly at rest and (who) embraces all these silently and inactively."
60:15, "And I withdrew to the Vitality as I sought <myself>, and I joined into it, and I stood, not firmly but silently. And I saw an eternal, intellectual, undivided motion that pertains to all the formless powers, (which is) unlimited by limitation."
68:20, "And at first I received them in great silence, and I stood by myself, preparing myself."
The Gospel of Mary 15:10, "They ask the soul, 'Whence do you come, slayer of men, or where are you going, conqueror of space?' The soul answered and said, 'What binds me has been slain, and what surrounds me has been overcome, and my desire has been ended, and ignorance has died. In a [world] I was released from a world, [and] in a type from a heavenly type, and (from) the fetter of oblivion which is transient. From this time on will I attain to the rest of the time, of the season, of the aeon, in silence."
Trimorphic Protennoia (46:10), "But there is a Light that dwells hidden in Silence, and it was first to come forth. Whereas she (the Mother) alone exists as Silence, I alone am the Word, ineffable, unpolluted, immeasurable, inconceivable. It (the Word) is a hidden Light, bearing a fruit of life, pouring forth a living water from the invisible, unpolluted, immeasurable spring, that is, the unreproducible Voice of the glory of the Mother, the glory of the offspring of God; a male virgin by virtue of a hidden Intellect, that is, the Silence hidden from the All, being unreproducible, an immeasurable Light, the source of the All, the root of the entire Aeon. It is the foundation that supports every movement of the Aeons that belong to the mighty glory. It is the foundation of every foundation. It is the breath of the powers. It is the eye of the three permanences, which exist as Voice by virtue of Thought. And it is a Word by virtue of Speech; it was sent to illumine those who dwell in the darkness."
(49:10), "As for me, I put on Jesus. I bore him from the cursed wood, and established him in the dwelling places of his Father. And those who watch over their dwelling places did not recognize me. For I, I am unrestrainable, together with my seed; and my seed, which is mine, I shall place into the holy Light within an incomprehensible Silence. Amen."
Corpus Hermeticum I
 Within myself I recorded the kindness of Poimandres, and I was deeply happy because I was filled with what I wished, for the sleep of my body became sobriety of soul, the closing of my eyes became true vision, my silence became pregnant with good, and the birthing of the word became a progeny of goods. This happened to me because I was receptive of mind - of Poimandres, that is, the word of sovereingnty. I have arrived, inspired with the divine breath of truth.
 You whom we address in silence, the unspeakable, the unsayable, accept pure speech offerings from a heart and soul that reach up to you.  Grant my request no to fail in the knowledge that befits our essence; give me power; and with this fight I shall enlighten those who are in ignorance, brothers of my race, but your sons. Thus I belive and I bear witness; I advance to life and light. Blessed are you, father. He who is your man wishes to join you in the work of sanctification since you have provided him all authority.
Corpus Hermeticum X
 "Indeed, my child, would that we could. But we are still too weak now for this sight; we are not yet strong enough to open our mind's eyes and look on the incorruptible, incomprehensible beauty of that good. In the moment when you have nothing to say about it, you will see it, for the knowledge of it is divine silence and suppression of all the senses.  One who has understood it can understand nothing else, nor can he move his body in any way. He stays still, all bodily senses and motions forgotten. Having illuminated all his mind, this beauty kindles his whole soul and by means of body draws it upward, and beauty changes his whole person into essence. For when soul has looked on <the> beauty of the good, my child, it cannot be defied while in a human body."
This particular passage is referring to meditation and says that its purpose is to suppress the body and its senses so it's out of the way so you can be by yourself without it getting in the way.
Corpus Hermeticum XIII
 "This ignorance, my child, is the first torment; the second is grief; the third is incontinence; the fourth, lust; the fifth, injustice; the sixth, greed; the seventh, deceit; the eighth, envy; the ninth, treachery; the tenth, anger; the eleventh, recklessness; the twelfth, malice. These are twelve in number, but under them are many more besides, my child, and they use the prison of the body to torture the inward person with the sufferings of sense. Yet they withdraw (if not all at once) from one to whom god has shown mercy, and this is the basis of rebirth, the means and method.  From here on, my child, keep silence and say nothing; if you do so, you will not obstruct the mercy that comes to us from god. Henceforth, my child, rejoice; the powers of god purify you anew for articulation of the word."
"How mournful when the gods withdraw from mankind! Only the baleful angels remain to mingle with humans, seizing the wretches and driving them to every outrageous crime - war, looting, trickery and all that is contrary to the nature of souls. Then neither will the earth stand firm nor the sea be sailable; stars will not cross heaven nor will the course of the stars stand firm in heaven. Every divine voice will grow mute in enforced silence. The fruits of the earth will rot; the soil will no more be fertile; and the very air will droop in gloomy lethargy."
This statement is from the Ashvaghosha from Buddhism, "When the mind is disturbed, the multiplicity of things is produced, but when the mind is quieted, the multiplicity of things disappears." The disturbance can be none other than all the vibrations and oscillations of the physical world and they drown out the higher world contained in the non movement of everything. The higher world is based on oneness and the two creating all the multiplicities of the Universe. As described in a lot of detail on the pages Squaring the Circle and The Axis of the Universe, the Prima Materia, or the First Matter, is at the basis of all matter and the Great Work of Alchemy is to reduce the matter back into that origin so that it can be rebuilt as something better. The purpose of so many spiritual practices, especially meditation, is the silence that mind in multiplicity back into the oneness.
The final statement goes to Joel S. Goldsmith in the book The Thunder of Silence, page 153. Joel S. Goldsmith put this in such an elegant way that it had to be shared here.
"God is hidden under hundreds of generations of mortality. God is hidden under hundreds of generations of people steeped in spiritual ignorance. God is hidden under all the layers of humanness, self-righteousness, self-protection, under all the selfs that we have built around and within ourselves making it almost impossible for us to reach Him. How then are we going to reach God? How, but in quietness and in confidence, in the stillness and the Silence? How, but by learning to abide in a quitness within, by being still? Then we shall contact the divine Selfhood which is within our own being, and when we establish contact with It, we will be in communion with the Father within just as the Master was."
The Music of the Universe
Music is vibrations that are in harmony with each other. Vibrations are frequencies and permeate the entire Universe. Nikola Tesla make this quote that is very relevant to this subject, "If you want to find the secrets of the universe, think in terms of energy, frequency and vibration." If all matter is energy then of course all matter has vibrations. What Nikola Tesla was saying is similar to the quotes mentioned on the page The Axis of the Universe that said that science only dealt with the circumference of the circle and not with the center of it, which is where the real discoveries lie.
In the near death experience book called Embrace by the Light, by Betty J. Eddie, there was an interesting section that said this, "I entered the vastness of space and learned that it is not a void; it was full of love and light – the tangible presence of the Spirit of God. I heard a soft, pleasant sound, a distant but comforting sound that made me happy. It was a tone, similar to a note of music, but was universal and seemed to fill all the space around me. It was followed by another tone at a different pitch, and soon I noticed something of a melody – a vast, cosmic song that soothed and comforted me. The tones produced soft vibrations, and as they touched me I knew that they possessed the power to heal. I knew that anything touched by these tones would receive the effects of their healing; they were like spiritual salve, expressions of love that mended broken spirits. I learned from the escorts traveling with me that not all musical tones are healing – that some can create within us negative emotional responses. I understood now that while I was on earth, Satan had used these negative tones in music which actually produced illness in my mind and body."
Jesus Christ is called The Word and that is a good example that words and their vibrations are a very powerful creative force in the Universe. The Word develops a lot more meaning considering what Nikola Tesla said. It was explained on the page called The Hermetica that there is a hidden image of a king in The Great Pyramid and the position of the empty tomb is in the position of the mouth. This represents that resurrection from the tomb is The Word just like Jesus Christ.
The book called The Hermetica, chapter 1, also calls God The Word, "I am the light you saw, mind, your god," he said, "who existed before the watery nature that appeared out of darkness. The lightgiving word who comes from mind is the son of god."
 "This is what you must know: that in you which sees and hears is the word of the lord, but your mind is god the father; they are not divided from one another for their union is life."
 And after this: "..., o my mind. I love the word also."
In the Book of Genesis God created the world by saying let there be this and that and it was done. That is what The Word does. It is a creative vibration that permeates throughout the Universe and creates and moves everything while it is in a state of rest.
There's a part in the Book of Revelation that says, "And I heard a sound from heaven like the roar of rushing waters and like a loud peal of thunder. The sound I heard was like that of harpists playing their harps. And they sang a new song before the throne and before the four living creatures and the elders. No one could learn the song except the 144,000 who had been redeemed from the earth." This particular passage seems to be saying that there is a sound that operates on an ethereal level that only the most spiritually attuned can hear.
Magick spells are verbal formulas spoken out into the ether to achieve particular results and chants and mantras are a similar concept. There's a reason they are used world wide and that is because they are powerful. They reprogram the mind, through vibration, to direct energie and frequencies in ways that help the practitioner.
This passage in a Gnostic book called Allogens makes an interesting statement, "the power appeared by means of an activity that is at rest and silent, although it uttered a sound." That's a contradiction unless the silence is the sound that is heard when all the noise of this world is turned off. That is the purpose of silence and stillness in meditation.
The most famous mantra sound is Om. This is a description of it from Wikipedia, "The syllable Om is first mentioned in the Upanishads, the mystical texts associated with the Vedanta philosophy. It has variously been associated with concepts of "cosmic sound" or "mystical syllable" or "affirmation to something divine", or as symbolism for abstract spiritual concepts in the Upanishads. In the Aranyaka and the Brahmana layers of Vedic texts, the syllable is so widespread and linked to knowledge, that it stands for the "whole of Veda". The etymological foundations of Om are repeatedly discussed in the oldest layers of the Vedantic texts (the early Upanishads). The Aitareya Brahmana of Rig Veda, in section 5.32, for example suggests that the three phonetic components of Om (pronounced AUM) correspond to the three stages of cosmic creation, and when it is read or said, it celebrates the creative powers of the universe. The Brahmana layer of Vedic texts equate Om with Bhur-bhuvah-Svah, the latter symbolizing "the whole Veda". They offer various shades of meaning to Om, such as it being "the universe beyond the sun", or that which is "mysterious and inexhaustible", or "the infinite language, the infinite knowledge", or "essence of breath, life, everything that exists", or that "with which one is liberated". Basically Om is the sound of the Universe and consequently, the sound of God and the individual. This is the power, like the Vril energy, that heals and gives people power if they can tap into it. This energy and vibration is tapped into through meditation and other spiritual practices.
The Universe and everything in it is in a permanent celestial dance and the vibrations that every celestial object makes is like their musical instrument. This is the harmony of nature, but as explained on Flying Saucer Philosophy machines that are based on explosions, such as internal combustion engines and rockets are about disharmony. A jet flying overhead is the least harmonious experience and this is what so much of "advanced" civilisation is based on. Violence is disharmony of the natural forces. The insistence of relying on technology that is based on disharmony and violence is holding everyone back as Nikola Tesla said. The modern world and all its disharmonious, artificial noise, is blocking out the harmonious, natural and universal noise and it is holding Mankind back as well.
A dance is movement that is in harmony with vibrations. Standard jets, rockets and internal combustion engines are not in harmony with the natural vibrations surrounding them and they distort them in unnatural ways. They essentially go against these vibrations and over come them at great expense in terms of money and resources.
Scott Cunningham, in his book called Wicca, page 50, said that musical instruments are comparable to one of the four elements and when each individual instrument, or element, is combined, they produce the music. Music is an imitation of the sounds of nature and they are about producing a harmonious, natural flow that people like. Contrast that with jets, rockets and internal combustion engines. Drums and all percussion instruments are ruled by the Earth, all wind instruments are ruled by air, all stringed instruments are ruled by fire and all resonant metal instruments are ruled by water. The fifth element is the harmonious combination of them all. This is the main instrument that is made up of all other instruments, but it is silent. It is the center upon which all the other sounds of the instruments revolve around. It is in a state of rest, as in it doesn't produce any vibrations, yet its purpose drives the rest of the instruments to produce a state of harmony with it.
When it comes to the Universe all the vibrations are separated from the source, which is silent and at rest, but the vibrations move around the source as a much larger vibration that contains all, but is not heard by itself.
Think of a cyclone, or the Black Holes at the center of galaxies, the closer to the center an object gets, the faster it spins, until it reaches the center and goes into a state of rest. The vibrations get shorter and shorter, on an instrument, until they go silent. But in reality it is an illusion that the vibrations have gone silent and have disappeared. A vibration is a cycle. The smaller the string, the higher the vibration and the larger the string, the lower the vibration. Whether the vibrations are low or high, the never separate from the source, no matter to what extreme they go. There's still a straight line in that vibration cycle, even though it may look like the opposite. In a singularity, there is a state of no time, no speed and no distance, even though there is time, speed and distance everywhere outside of it, but that singularity covers it all, just like the straight lines of the vibration covers all the wavy lines of the cycles no matter what size they are.
Desmond Leslie in the book Flying Saucers Have Landed wrote at length about sound, or frequency, is used to operate spaceships and other advanced technology.
This is what he wrote starting on page 74 in the chapter Saucers For a Song, "No matter how many Vimanas come to light from hindu. Brahmin, Sanskrit and Pali literature,
the secret of the power that moved them silently or musically, or with a mighty roar, is still
denied us. Where can we search for a force that will carry a great aerial construction
immense distances and to vast heights, without the use of fuel ?
Whoever heard of getting something for nothing—of power without loss or expenditure ?
Until a few months ago such a thought was against all the known laws of energy and its
conservation, and any physicist would have told you politely and firmly that it was impossible,
just as an eminent Professor once told Edison, when treated to an actual demonstration of
the first talking machine. The learned Professor was deeply offended and insisted that Edison
was employing some kind of ventriloquist’s deceit, for everyone knew that sound could not be
conserved—certainly not in little wax cylinders. The Professor was proved wrong, and his
spiritual heirs are now undergoing the same salutary experience since they have got into the
higher realms of nuclear physics, where certain work—particularly that concerned with the
hydrogen bomb—entails the actual ‘creation’ of matter from energy. The laws concerning the
conservation of energy are now undergoing a substantial modification, but it will probably not
be until about 1986 before their full significance is understood.
But oddly enough, this mysterious Force made a brief reappearance in New York, of all
places, during the 1890s. Overlooked in all the bustle and bustle with which Progress is
progressing on its way, a lonely inventor named John Worrell Keely, of Philadelphia, Pa.,
rediscovered this lost power and gave it the name ‘Dynaspheric Force.’
Keely’s experiments aroused considerable interest at the time, and the wealthy Barnato
Brothers sent their representative, Ricardo Seaver, across the Atlantic to investigate his work.
This was long before anyone had produced a television set, discovered cosmic rays, or
thought about conditions existing above the then current ‘Fourth State of Matter’.
Keely stated that, while investigating the magnetic forces flowing between the Earth’s two
poles, he had discovered that ‘corpuscles of matter could be divided by vibration’ 42 and that
he could apply this principle to drive a motor. For his demonstration to Seaver, Keely stood at
one end of his New York laboratory; the motor was mounted at the other. Then he played a
certain note on a violin, whereupon the 25-h.p. motor began to turn, gaining speed until it
practically jumped its mountings. It ran at this high speed during which time the inventor did
nothing more. Eventually, to stop it, he again took the violin and played a discord, whereupon
the Force seemed to be withdrawn and the motor came to a stop. The surprised visitor was
then invited to try to start the machine himself using the same violin. At first he was
unsuccessful, but when Keely touched him he was able to start and stop the engine.
42/ Notice the similar idea behind Keely’s word ‘corpuscles of matter could be divided
by vibration‘ and the modern discoveries that atoms can be smashed by ultra-high
frequencies. We are dealing with a lower order of energy but the new concept is in
accord with Keely’s postulation.
Why should this be ? From the surviving Keely papers we read concerning a later motor: ’ At
one time the shareholders of the Keely Motor Company put a man in his workshop for the
express purpose of discovering his secret. After six months of close watching, he said to
J. W. Keely one day: "I know how it is done now." They had been setting the machine up
together and Keely had been manipulating the stop-cock which turned the force on and off.
"Try it then," was the answer. The man turned the cock and nothing happened.
‘“Let me see you do it again," the man said to Keely. The latter complied, and the machinery
operated at once. Again the other tried, but without success. Then Keely put his hand on his
shoulder and told him to try once more. He did so with the result of an instantaneous
production of current.’
We see then, that in order to produce the required vibration Keely’s personal vibration was
needed. The one problem which he never succeeded in solving was to produce a machine
which would operate without the personal ‘vibration‘ or ‘will-power’ of the operator.
Commenting on this, the author of The Secret Doctrine says:
‘It is just because Keely’s discovery would lead to knowledge of one of the most occult
secrets, a secret which can never be allowed to fall into the hands of the masses, that failure
to push his discovery to its logical conclusions seems certain to Occultists... the results
obtained from the fifth and sixth planes of the Etheric or Astral Force will never be permitted
to serve for purposes of commerce and traffic.’ The Secret Doctrine goes on to confirm what
I had already-guessed—an easy guess:
‘If the question is asked why Mr. Keely was not allowed to pass a certain limit, the answer is
easy; it was because what he had discovered was the terrible sidereal Force known to, and
named by, the Atlanteans Mash-Mak and by the Aryan Rishis in their Astra Vidya by a name
that we do not care to give. It is the Vril of Bulwer Lytton’s Coming Race and of the coming
races of our mankind. The name Vril may be a fiction; the Force itself is a fact, since it is
mentioned in all the secret books.’ 43
43/ The Secret Doctrine, Vol. II, Adyar Edition.
It is this vibratory Force which, when aimed at an army from an Agniratha (Firechariot) fixed
on a flying vessel, according to the instructions found in the Astra Vidya, would reduce to
ashes a hundred thousand men and elements as easily as it would a dead rat.
‘It is allegorised in the Vishnu Purana, in the Ramayana and other works, in the fables about
the sage Kapila whose " glance made a mountain of ashes of King Sagara’s 60,000 sons",
and which is explained in the Esoteric Works, and referred to as the " Kapilaksha "—Kapila’s
Eye. And is it this Satanic Force which, once in the hands of some modern Attila, would in a
few days reduce Europe to its primitive chaotic state, with no man left alive to tell the tale—is
it this Force which is to become the common property of all men alike ?’ 43
43/ The Secret Doctrine, Vol. II, Adyar Edition.
The answer to this question, asked about eighty years ago, seems to be ‘Yes‘: but before we
are all reduced to ashes, let us take a look at Keely’s next experiment. He made a model
metal airship weighing about 81b. and attached it to a thin platinum wire. The other end of the
wire was joined to his ‘sympathetic transformer’ and again applied the mysterious sonic
principle. By this he was able to make the airship rise in the air, hover, descend and move
about at will.
Now compare—12 August, 1950. The scene is the little mountain village of Campello, near
the St. Gotthard Pass in Switzerland. Many people, including a professor of physics, reported
eighty to a hundred flying saucers passing overhead. ‘As they passed they made a noise like
an organ,’ said the professor. Others described it as the sound of a tremendous chord of
music —’ a celestial symphony.’
‘Melodious sound as it coursed along its airy way.’
And on 22 May 1947 clusters of flying saucers shot across Denmark at tree-top height
making a deep, tuneful, humming sound—like huge bees or ‘like vacuum cleaners’, said a
mechanically-minded Dane. 44
‘A vimana can be moved by tunes and rythms.’—Samar.
‘By music alone, some were propelled.’—Book of Oahspe.
‘People did not walk up and down stairs in the very old days,’ say the legends of the
Carribes. ‘They hit a plate and made a song and the song said where they wanted to go—
and so they went...’
‘Anybody could dance in the air like leaves in a storm. Everything was so light.’ 44
44/ At this juncture, Professor A. C. B. Lovell, of Manchester University, springs to
Menzel’s defence (The Listener, 2 July, 1953), pointing out that meteors sometimes
make a drumming or buzzing noise at the point of fall. Possibly they do; but the subject
in question happens to be not drumming or buzzing meteors but musically inclined flying
saucers. Not one of these noisy saucers has fallen to the ground even though in some
cases it has passed within a few feet of witnesses’ housetops (see Chapter 10), nor
have meteors been found within hundreds of miles after such occurrences.
With a little encouragement I may be able to help Professor Lovell prove that London
buses are only ionised pockets of air reflecting through temperature inversions the red
neon signs of Piccadilly Circus, for which 1 should doubtless receive an Emeritus Chair.
According to the folk-lore of Galway, Ireland, on the opposite side of the Atlantic: ‘In the old
days everybody danced in the air like leaves in the autumn wind... people made a song to a
plate.’ And from St. Vincent Island in the West Indies comes this legend: ‘The wise people of
old could fly quite easily. They had no wings. They clapped on gold plates, made music on
them and flew.’ 45
45/ Wilkins, Secret Cities of South America.
Among the gifts which Montezuma, the last Aztec Emperor, gave to Cortez (who nobly
rewarded him with torture and death) were two large flat gold disks about the size of
gramophone records. These were said to be emblems of royalty and were intended for King
Charles V of Spain and his Queen. The King’s disk was about a quarter of an inch thick; the
Queen’s was much thinner. Montezuma knew what the disks were for, but it seems that
Cortez looked upon them as very clumsy and heavy things to wear, and it is doubtful if they
ever reached Spain, for they are not listed in any of the treasure ships’ inventories. These
disks were cut to a size and thickness exactly corresponding to the size of the person for
whom they were intended. They had to be of the correct size so as to suit the wavelengths of
his personal vibrations. Thus the owner alone could use them.
Keely’s machine only worked when he was present and consciously directing his vibrations
Evidently the Spanish King never received, or never tried out his flying disks; had he done so
there would surely be a minute in the most holy records of the Inquisition lamenting the fact
that: ‘His Majesty, on striking a vile heathen cymbal, was seized by Satan and cast up into
Where is the connection with flying saucers ? I do not yet know. I see only many fragments
divided by time and space, yet strangely alike. It is as if a jigsaw has been scattered over a
field. There is no immediate connection, and yet there is a unity to all the pieces.
The Aztec disks were carefully measured to fit their user. Could the great secret of scientific
levitation have been preserved up to the sixteenth century as the royal prerogative af the
Incas ? Is it still preserved ? Somewhere, secretly, handed down from generation to
generation under fearful vows lest it fall into the hands of the white destroyer ?
The car celestial uttered a melodious humming sound. Built by a people more civilised than
the Aztecs, it might have utilised an extension of the same principle. Perhaps in its ‘two
stories and many chambers ‘it contained multiple batteries of disks or a single huge resonant
plate which, when harmonised to the vibrations of the pilot, would raise not just a single man,
but the whole great machine.
What about the dark and light metals that fell on Maurv Island ?
Take another look at Keely’s engine. He struck a note and the engine ran until stopped by a
discord He struck another, and a model airship rose from the ground. Whether sound was
used to give Elliott’s ‘Ethenc Force‘ its first impulse or whether it was a mental radiation from
the pilot, the idea is the same—a vibration. Sonic and mental waves are both vibrations. Just
as the soundless waves entering a radio produce a physical sound in a lower plane and
The science of harmonics and their application as a source of power was well understood
until disaster overtook civilization and the great mother country sank into an abyss of
destruction, spreading her surviving children to Brazil, Yucatan and Peru on one side, and to
Egypt, India and Chaldea on the other.
The Drona Parva gives a beautiful, though veiled, description of how sound tuned to the will
of the operators provided the motive power of the Cukra vimana, one of the greatest ever
‘We shall build a vimana of great power. The MIND became the ground which supported that
vimana. SPEECH became the tracks on which it was to proceed. All speeches and sciences
were gathered together within it, all hymns, and the Vedic Sound v ASH AT also. And the
syllable OM placed before that car made it exceedingly beautiful. When it set out, its roar filled
all points of the compass.’
This needs a little analysis. Mental power, harmonised to certain magnetic forces, provided
the lift. Graduated harmonics guided it on the desired path. The whole of the ancient
sciences as known at the time had been employed to produce this masterpiece of celestial
navigation. The Vedic ‘Word of Power’ Vashat is used to indicate and emphasise the use of
harmonics. The Hindu ‘Word of Power’ OM (the Fifth Syllable of the ‘Ineffable Name’) is also
given to show how perfectly the whole project was attuned to the natural cosmic forces that
‘made it exceedingly beautiful’.
I have other records on my files of flying saucers that produced a strange musical note,
described by observers as unlike any sound they had ever heard. For example:
At 5.50 p.m. on 27 September 1952 George H. Williamson, D.sc, of Prescott, Arizona, heard
and saw a colossal saucer pass over his house with a noise he described as different and
more powerful than a jet, musical, rather like a huge swarm of bees.
The colossal forces latent in properly regulated vibrations have long been suspected by
modern science, and I believe I am right in saying that amazing discoveries have recently
been made along those lines which may soon completely revolutionise our world—for better
or for worse.
But what happened to Keely ?
His invention was in advance of the time. He died, poverty-stricken and broken-hearted; in
disillusion he destroyed his models and most of his papers. Only a few pamphlets published
by his patron, Mrs Bloomfield-Moore, remain to prove that he or ‘dynaspheric force‘ ever
made a brief reappearance on this planet. 46
46/ I believe that this Force, or something very similar, was discovered again by Lester
Henderson, of Pittsburg. Pa., in 1928, who produced a motor said to derive its energy
purely from the Earth’s magnetic field. Henderson made a small model, powerful
enough to light two 110-volt lamps. Such an outrageous flouting of Orthodox
Proprietaries brought swift retribution in the form of Herr Doktor Hochstetter (principal of
a research laboratory of the same name in Pittsburg), who went to pains to expose
Henderson as a wicked, irreverent fraud. The Herr Doktor—’ so that pure science might
shine forth untarnished ‘—went to the expense of hiring a lecture platform from whence
to denounce Henderson and all his works, by demonstrating an exact model of the
motor which, as was to be expected, failed to work. Hochstetter fumed that some years
earlier Henderson had hidden a tiny battery in the motor. Quite how this was supposed
to have run two 110-volt lamps, he didn’t say. Henderson admitted the battery as being
a ‘blind‘ to lead inquisitive snoopers off the scent before he had patented his process.
The good Doktor also failed to notice that Henderson at the time was in hospital
recovering from a 2,000-volt shock which had suddenly blasted out of his motor during a
demonstration. But. as is usually the way with these things, Hochstetter succeeded with
his public damnation, and Henderson, discouraged, faded into obscurity.
Meanwhile we struggle bravely with almost insurmountable problems of building a rocket
large enough to contain fuel with a sufficient exhaust velocity to lift a machine out of the
Earth’s gravity. Tons and tons of expensive fuel which blows out at seven miles per second
would be required, and millions of pounds would have to be spent on research and
complicated equipment: and all so that some other unfortunate planet may enjoy the
blessings of earthly ways and earthly politics; may become a bone of contention, a kind of
Cosmic Korea to be fought over by the two opposing halves of our ant heap.
How funny if, all along, the answer could have been bought literally ‘for a song'."
The Dance of the Universe.
The CERN lab that is the world's largest science experiment has a statue of Shiva which is dancing god of creation and destruction. This god is the perfect symbol of what goes on in this lab where particles are smashed together and destroyed to create other particles still. These interactions of particles are described as a dance by various physicists working in this area.
This is from The Cosmic Dance chapter of The Tao of Physics, by Fritjof Capra that goes into this subject in a lot more detail, "In his book The World of Elementary Particles, Kenneth Ford has constructed a complicated example of such a network involving the creation and destruction of eleven virtual particles, and he comments on it: ‘The diagram pictures one such sequence of events, quite horrendous looking, but perfectly real. Every proton occasionally goes through exactly this dance of creation and destruction.”
Ford is not the only physicist to have used phrases like ‘dance of creation and destruction’ and ‘energy dance’. The ideas of rhythm and dance naturally come into mind when one tries to imagine the flow of energy going through the patterns that make up the particle world. Modern physics has shown us that movement and rhythm are essential properties of matter; that all matter, whether here on Earth or in outer space, is involved in a continual cosmic dance.
The Eastern mystics have a dynamic view of the universe similar to that of modern physics, and consequently it is not surprising that they, too, have used the image of the dance to convey their intuition of nature. A beautiful example of such an image of rhythm and dance is given by Alexandra DavidNeel in her Tibetan journey, where she describes how she met a Lama who referred to himself as a ‘master of sound’ and gave her the following account of his view of matter:
All things . . . are aggregations of atoms that dance and by their movements produce sounds. When the rhythm of the dance changes, the sound it produces also changes . . . Each atom perpetually sings its song, and the sound, at every moment, creates dense and subtle forms.
The similarity of this view to that of modern physics becomes particularly striking when we remember that sound is a wave with a certain frequency which changes when the sound does, and that particles, the modern equivalent of the old concept of atoms, are also waves with frequencies proportional to their energies. According to field theory, each particle does indeed ‘perpetually sing its song’, producing rhythmic patterns of energy (the virtual particles) in ‘dense and subtle forms’.
The metaphor of the cosmic dance has found its most profound and beautiful expression in Hinduism in the image of the dancing god Shiva. Among his many incarnations, Shiva, one of the oldest and most popular Indian gods, appears as the King of Dancers. According to Hindu belief, all life is part of a great rhythmic process of creation and destruction, of death and rebirth, and Shiva’s dance symbolizes this eternal life-death rhythm which goes on in endless cycles. In the words of Ananda Coomaraswamy,
In the night of Bman, Nature is inert, and cannot dance till Shiva wills it: He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! matter also dances, appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fullness of time, still dancing, He destroys all forms and names by fire and gives new rest. This is poetry, but none the less science.
The Dance of Shiva symbolizes not only the cosmic cycles of creation and destruction, but also the daily rhythm of birth and death which is seen in Indian mysticism as the basis of all existence. At the same time, Shiva reminds us that the manifold forms in the world are maya-not fundamental, but illusory and ever-changing-as he keeps creating and dissolving them in the ceaseless flow of his dance. As Heinrich Zimmer has put it:
His gestures wild and full of grace, precipitate the cosmic illusion; his flying arms and legs and the swaying of his torso produce-indeed, they are-the continuous creation-destruction of the universe, death exactly balancing birth, annihilation the end of every coming-forth.
Indian artists of the tenth and twelfth centuries have represented Shiva’s cosmic dance in magnificent bronze sculptures of dancing figures with four arms whose superbly balanced The and yet dynamic gestures express the rhythm and unity of Life. The various meanings of the dance are conveyed by the details Physics of these figures in a complex pictorial allegory. The upper right hand of the god holds a drum to symbolize the primal sound of creation, the upper ieft bears a tongue of flame, the element of destruction. The balance of the two hands represents the dynamic balance of creation and destruction in the world, accentuated further by the Dancer’s calm and detached face in the centre of the two hands, in which the polarity of creation and destruction is dissolved and transcended. The second right hand is raised in the sign of ‘do not fear’, symbolizing maintainance, protection and peace, while the remaining left hand points down to the uplifted foot which symbolizes release from the spell of maya. The god is pictured as dancing on the body of a demon, the symbol of man’s ignorance which has to be conquered before liberation can be attained.
Shiva’s dance-in the words of Coomaraswamy- is ‘the clearest image of the activity of Cod which any art or religion can boast. As the god is a personification of Brahman, his activity is that of Brahman’s myriad manifestations in the world. The dance of Shiva is the dancing universe; the ceaseless flow of energy going through an infinite variety of patterns that melt into one another.
Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter. According to quantum field theory, all interactions between the constituents of matter take place through the emission and absorption of virtual particles. More than that, the dance of creation and destruction is the basis of the very existence of matter, since all material particles ‘self-interact’ by emitting and reabsorbing virtual particles. Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction.
The patterns of this dance are an essential aspect of each particle’s nature and determine many of its properties. For example, the energy involved in the emission and absorption of virtual particles is equivalent to a certain amount of mass which contributes to the mass of the self-interacting particle. Different particles develop different patterns in their dance, requiring different amounts of energy, and hence have different masses. Virtual particles, finally, are not only an essential part of all particle interactions and of most of the particles’ properties, but are also created and destroyed by the vacuum. Thus, not only matter, but also the void, participates in the cosmic dance, creating and destroying energy patterns without end.
For the modern physicists, then, Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The bubble-chamber photographs of interacting particles, which bear testimony to the continual rhythm of creation and destruction in the universe, are visual images of the dance of Shiva equalling those of the Indian artists in beauty and profound significance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art, and modern physics. It is indeed, as Coomaraswamy has said, ‘poetry, but none the less science'."