Secret Instructions  Appendix  Notes On Instructions I
AAA II. Page 436
Students in the West have little or no idea of the forces that lie latent in
Sound, the Akasic vibrations that may be set up by those who understand how
to pronounce certain words. The OM, or the "Om Mani Padme Hum" are
in spirit¬ual affinity with Cosmic forces, but without a knowledge of the
natural arrang¬ement, or of the order in which the syllables stand, very
little can be achieved.
"Om" is of course, AUM, that may be pronounced as two, three or even
seven syllabes, setting up different vibrations. Now, letters, as vocal sounds
cannot fail to correspond with musical notes, and therefore with numbers and
colors; hence also with Forces and Tatwas. He who remembers that the Universe
is built up from the Tatwas will readily understand something of the power that
may be exercised by vocal sounds.
Every letter in the alphabet, whether divided into three, four or seven septenarys,
or fortynine letters, has its own color, or shade of color. He who has learned
the color of the alphabetical letters, and the corresponding numbers of the
seven, and the fortynine colors and shades on the scale of planes and forces
and knows their respective order in the seven planes will easily master the
art of bringing them into affinity or into play. But here a difficulty arises.
The Senzar and Sanscrit alphabets and other occult ton¬gues, besides other
potencies have a number, color and distinct syllable for every letter, and so
had also the old Mosaic Hebrew. But not many of the E.S. know any of these tongues?
When the time comes therefore, it must suffice to teach the student the numbers
and colors attached to the Latin letters only (N.B. as pronounced in Latin,
not in the AngloSaxon, Scotch, or Irish). This, however, would be at present,
premature. The color and number not only of the planets but also the Zodiacal
constellations corresponding to every letter of the alphabet, are necessary
to make any special syllable and even letter, operative. (See Voice of the Silence,
p. 8).
Therefore, if a student would make Buddhi operative, for instance he would
have to intone the first words of the Mantra on the note Mi. But he would have
still further to accentuate the Mi, and produce mentally the yellow color cor¬responding
to this sound and note on every letter M in "Om Mani Padme Hum"; this,
not because the note bears the same name in the vernacular Sanscrit, or even
the Senzar, for it does not, but because the letter M follows the first letter,
and is in this sacred formula also the 7th and the 4th. As Buddhi it is 2nd;
as BuddtiiManas it is the 2nd and 3rd combined.
H.P.B.
Page 439
(The following notes were contributed by students from explanations given by
H.P.B.).
The Pythagorean Four, or Tetraktys, was the symbol of the Kosmos, as con¬taining
within itself the point, the line, the superfices, the solid; in other words,
the essentials of all forms. Its mystical representation is the point within
the triangle. The decad or perfect number is contained in the Four;
thus 1 plus 2 plus 3 plus 4 equals 10.
Page 477
The difficult passage: "Bear in mind  a mystery below truly," (See
No. I, P. 444, original book) may become a little more clear to the student
if slightly simplified. The "primordial triangle" is the Second Logos,
which reflects itself as a triangle in the Third Logos or Heavenly Man and then
disappears. The Third Logos containing the "potency of formative creation"
develops the Tetraktys from the Triangle and so becomes the Seven, the Creat¬ive
Force making a decad with the primordial triangle which originated it. When
this heavenly Triangle and the Tetraktys are reflected in the universe of matter,
as the astral paradigmatic man, they are reversed, and the Triangle, of formative
potency is thrown below the Quarternary, with its apex pointing downwards; the
Monad of this astral paradigmatic man is itself a triangle, bearing to the Quarternary
and Triangle the relation borne by the primordial Triangle to the Heavenly Man.
Hence the Phrase, "the upper triangle  is shifted in the man of clay between
the seven."
Here again the point tracing the triangles, the Monad becoming the Ternary,
with the Quarternary and the lower creative triangle, making up the Decad, the
perfect number. "As above, so below"
The student will do well to relate the knowledge here acquired to that given
on p. 477 (original book). Here the upper triangle is given, as violet, indigo,
blue, associating Violet as the paradigm of all forms with Indigo as Mahat,
and Blue as the Atmic Aura. In the Quarternary, yellow as a substance is associated
with YellowOrange, Life, and RedOrange, the creative potency, Green is the
plane between.
The next stage is not explained. Green passes upward to Violet, Indigo, Blue
the triangle opening outward to receive it, and forming the Square, Violet,
Indigo, Blue, Green. This leaves the RedOrange, YellowOrange, Yellow and these
having thus lost their 4th number, can only, form a triangle. The triangle revolves,
to point downwards for the descent into matter and "mirrored on the plane
of gross nature, it is reversed", and appears as in the diagram which follows
these words.
Monad,
Second Logos
Third Logos
The 10.
The Triangle becoming the Quarternary, and then
The 7th
the Septenary.

Monad 

Astral paradigmatic Man 
The 10 





The 7 
Creative Triangle thrown below the Seven 
In the perfect man, the Red will be absorbed by the Green; Yellow will become
one with the Indigo; YellowOrange will be absorbed in Blue; Violet will remain
outside the True Man, though connected with him. Or, to translate the colors:
• Kama will be absorbed in the lower Manes;
• Buddhi will become one with Manes;
• Prana will be absorbed in the Auric Egg;
• the Physical Body remains, connected but outside the real Life. (See
Sec. Doc. vol. I, pp. 50, 60,.66.)
Page 481
To the five senses at present the property of mankind, two more on this globe
are to be added. The sixth sense is the Psychic Sense of color. The Seventh
is that of Spiritual Sound. In the Second Instruction, the corrected rates of
vibration for the seven primary colors and their modulations are given. Inspecting
these, it appears that each color differs from the preced¬ing one by a step
of 42, or 6 X 7.
462 
Red 
plus 42 equals 
504 

504 
Orange 

546 

546 
Yellow 

588 
Third octave of psychic color 
588 
Green 

630 
perceptions 
630 
Blue 

672 

672 
Indigo 

714 

714 
Violet 

756 

Carrying the process backward, and subtracting 42, I find that the first or
ground color is Green, for this Globe.
 
Green 

168 
Red 

42 
Blue 
1st semioctave 
210 
Orange 

84 
Indigo 

252 
Yellow 
2nd Octave 
126 
Violet 

294 
Green 




336 
Blue 




378 
Indigo 




420 
Violet 




462 
Red 

The 2nd and 4th octaves would be heat and actinic rays, and only invisible
to our present perception. The seventh sense is that of spiritual sound; and
since the vibrations of the sixth progress by steps of 6 x 7, those of the sev¬enth
progress by steps of 7 x 7.
 
Fa 
Green 
Sound 

49 
Sol 
Blue 


98 
La 
Indigo 

1st semioctave 
147 
Si 
Violet 


196 
Do 
Red 


245 
Re 
Orange 


294 
Mi 
Yellow 


343 
Fa 
Green 

2nd octave 
392 
Sol 
Blue 


441 
La 
Indigo 


490 
Si 
Violet 


539 
Do 
Red 


The fifth sense is in our possession: it is possibly geometrical form, and
its steps of progression would be 5 x 7, or 35.
The fourth sense is that of physical hearing, music, and its progressions are
28, or 4 x 7 The truth of this is demonstrated by the fact that it is in accord
with the theory of science as to the vibrations of musical notes. Our scale
is as follows:
, 28, 56, 84, 112, 140, 168, 252, 280, 336, 364, 392, 420, 448, 476, 504,
532, 560, 588, 616, 644, 672, 700
According to musical science the notes of C, E, G, are as 4, 5, 6, in their
ratios of vibrations. The same ratio obtains between the notes of the triplet
G, B, D, and F, A, C. This gives the scale and reducing the vibrations to C
as Q, the ratios of the seven notes to C are:
1 
9/8 
5/4 
4/3 
3/2 
5/3 
15/8 
2 
C. 
D 
E 
F 
G 
A 
B 
C 
Reducing this to whole numbers, we get for one octave:
24 
27 
30 
32 
36 
40 
45 
48 
C. 
D 
E 
F 
G 
A 
B 
C 
By a similar calculation, we can put an octave below "C", and above
"C". Writing these three octaves in line and multiplying by seven
(7), we obtain a nearly exact correspondence with our table of vibrations for
the fourth sense.

MUSIC TABLE 

Fourth Sense 
Scale Ratio 
Product 
28 
4 x 7 
28  F 
56 
8 x 7 
56  F 
84 
12 x 7 
84  C 
112 
16 x 7 
112  F 
140 
20 x 7 
140  A 
168 
24 x 7 
168  C 
196 
27 x 7 
189  D 
210 
30 x 7 
210  E 
224 
32 x 7 
224  F 
252 
36 x 7 
252  G 
280 
40 x 7 
280  A 
308 
45 x 7 
315  B 
336 
48 x 7 
336  C 
364 
54 x 7 
378  D 
420 
60 x 7 
420  E 
448 
64 x 7 
448  F 
476 


504 
72 x 7 
504  G 
532 


560 
80 x 7 
560  A 
588 


616 
90 x 7 
630  B 
644 


672 
96 x 7 
672  C 
h.c.
