stanza 3, slokas 5-9

STANZA III.
5. The root remains, the light remains, the curds remain, and still Oeaohoo is one.
6. The root of life was in every drop of the ocean of immortality, and the ocean was radiant light, which was fire, and heat, and motion. Darkness vanished and was no more ; it disappeared in its own essence, the body of fire and water, or father and mother.
7. Behold, oh Lanoo! The radiant child of the two, the unparalleled refulgent glory: Bright Space Son of Dark Space, which emerges from the depths of the great dark waters. It is Oeaohoo the younger, the * * * He shines forth as the son; he is the blazing Divine Dragon of Wisdom ; the One is Four, and Four takes to itself Three, and the Union produces the Sapta, in whom are the seven which become the Tridasa (or the hosts and the multitudes). Behold him lifting the veil and unfurling it from east to west. He shuts out the above, and leaves the below to be seen as the great illusion. He marks the places for the shining ones, and turns the upper into a shoreless sea of fire, and the one manifested into the great waters.
8. Where was the germ and where was now darkness? Where is the spirit of the flame that burns in thy lamp, oh Lanoo? The germ is that, and that is light, the white brilliant son of the dark hidden father.
9. Light is cold flame, and flame is fire, and fire produces heat, which yields water: the water of life in the great mother.

 

 

“Mr. B. Keightley:  Did you ever see, Dr. Williams, those illustrious Elihu Vedders (Elihu Vedder, America symbolist painter)? Do you remember that frontispiece, that great wall? Does it suggest the idea of the knots of Fohat?

 
Dr. Williams:  Yes; it was not so much a wall as a skein.

 
Mr. Keightley:  It was the quatrains of Omar Khayyam.

 
Mme. Blavatsky:  This is an occult thing, about the knots.

 
Mr. Keightley:  The frontispiece is a great skein.

 
Dr. Williams:  I think I could draw it for you. (Draws the “skein.”)

 
Mme. Blavatsky:  It is something like centripetal and centrifugal action.

 
Dr. Williams:  I dare say the nebulae do assume the same forms, but he has taken that as the author of an opera does. It runs through the poem as the motif, so to say.

 
Mr. B. Keightley:  An extraordinary effect it produces, drawn with a beautiful sweep.

 
The President:  Curiously enough, it is the ordinary Japanese representation, in their rough sketches, of cloudscapes; single lines running into a sort of knot, both in carving and in drawing. I have plenty of their woodcarvings, in which a bank of clouds is given in that way.

 
Mme. Blavatsky:  It is the old occult idea, what we call Fohat; they give it another name, and the Parsis give it another name, but he is the knot-tier.

 
When he has made the Laya point, he begins in another place; and all the visible universe is formed like that, and all come dragging from that Milky Way, all this world-stuff dragging out, and beyond the Milky Way they say it is the Father-Mother.

 
Mr. Kingsland:  Does that Milky Way stuff get drawn into our stellar system, that being more differentiated in forming new systems?

 
Mme. Blavatsky:  It is the inexhaustible storehouse, and this cannot be exhausted.

 

Mr. Gardner:  The quantity is a constant one?

 
Mme. Blavatsky:  Always. There is not a given quantity, but it is inexhaustible, for it has neither beginning nor end.

 
Mr. B. Keightley:  It emerges at one side to Father-Mother.

 
Mme. Blavatsky:  All these are words, but if we speak from the physical standpoint, it is everywhere – not above our heads, our globe revolving. We say it is everywhere.

 
Mr. B. Keightley:  Why do we see it as a limited thing running across a particular tract of the sky?

 
Mme. Blavatsky:  Because we see that which can be seen; that and the other exists nevertheless; we see that which is more contracted, and the rest we do not see, because it is lost in such immensity that certainly no eye – even of Dhyan-Chohan, or one of the Salvation Army that has a golden harp and plays – can see; no one.”

 
H. P. Blavatsky

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