Occult Creation
The Way of an Accepted Disciple
Michelangelo
E.P. Hafstein
This work is dedicated to my Group with gratitude and affection.
Contents
What is Occult Creation?
How does Occult Creation Take Place?
The Mysteries of the Sounding
Numbers and Colors
Tones and Colors
An Example of Occult Creation
Conclusion
“In the beginning was the Word, and the Word was with God, and that Word was God. The same was in the beginning with God. All things were made by it, and without it was made, nothing that was made. In it was life, and the life was the light of men.” [1]
This chapter aims to throw light on how an accepted disciple carries out occult creation.
What is Occult Creation?
Occult creation by the personality on the physical plane is his response to the soul and the soul group’s attempts to engage him in a particular plan established before the personality comes into existence. This creation is simply the personality’s positive reply to the soul’s inquiry about collaboration. Thus, Occult creation can only occur under the soul’s direction and on the soul’s plane. The personality’s positive response, i.e., the creation process, involves merging two rays to produce a specific tone in sounding the sacred word.
How does Occult Creation Take Place?
When a man’s soul has progressed far enough along the path of return to be capable of serving as an instrument for higher powers, it is typically welcomed into a group of pupils of a specific Master. Admission to such a group confers certain privileges and particular duties. Upon entering the group, the pupil becomes what is known in occultism as an accepted disciple. The pupil’s responsibilities (discipline) involve participating in the group’s work on the tasks. These pupils receive numerous privileges, including the power of Occult creation. The individuals in the group are souls, which may be incarnate or non-incarnate. Contact occurs within the pupils’ consciousness, and their work is conducted primarily on the mental plane. The pupil is granted the power of Occult creation for one purpose: to utilize it to advance the group’s program.
The prerequisites for Occult creation are the conditions for admission to the Master’s group of disciples. The premises can easily be visualized as a triangle, with the soul at the apex, the mind in the right corner, and the heart in the left corner.
Figure 1: The connection between soul and personality
We can also view this from a higher perspective, in which case we see the same triangle as follows:
Figure 2: The condition of the soul
This triangle illustrates the condition of the soul, while the other one above demonstrates the connection between the soul and personality. First, the contact between the soul and the personality must be such that the personality can be certain of the soul’s will and obey its commands unconditionally. This often involves suffering and loneliness for the personality. However, this state of affairs soon disappears when the disciple realizes he is never alone. Secondly, the heart must reflect the love and wisdom of the soul. The emotional body (in occult terms, the condition of the water) must be as calm as a woodland pond, with no movement and all selfishness left behind. Thirdly, the mind must be pure, and complete peace must reign. It must be the lantern of the soul that illuminates God’s plan.
The execution of Occult creation is a complex process that demands the concentration of the entire personality. It can be divided into six stages:
Stage one: The pupil assumes a specific posture for meditation. He calms his physical body and balances his emotional body. He maintains alertness in his mental body and prepares for the cognitive work ahead.
Stage two: The pupil connects with the forces of his soul through the Disciple’s Invocation, which runs as follows:
My pathway is laid out before me.
I keep light in my mind and love in my heart;
a soul am I, soaring on wings to the heights.
The Disciple’s Invocation emphasizes four key points that the pupil must remember: 1. The pupil is an incarnate soul and must be governed entirely by this awareness. 2. The pupil has a specific duty in life, which the soul establishes before the physical body is created. This life duty is commonly referred to as dharma. 3. Only love exists in the emotional body. 4. Complete peace prevails in the mental body, illuminated by spiritual light. This can be represented as a triangle:
Figure 3: The thoughtforms of the disciple while reciting the Disciple’s Invocation
Contacting the forces of the soul is sufficient, as the soul, on its plane, will manage all other internal connections.
Third stage: The pupil generates a clear thought form of the part of the plan revealed to him. These thought forms must remain clear, whether the pupil evokes them as stationary images or sequences of events.
For a highly trained disciple with a strong soul connection, the first, second, and third stages of the process merge into a unified whole. He calls forth his thought form of the plan without needing to connect with his soul, because he is constantly in contact with it. He does not require a specific meditation position.
Fourth stage: Inhaling, the pupil draws the forces of his soul toward himself, aligning his meditation with his soul’s meditation.
Fifth stage: The pupil holds his breath, concentrating all his perception in his head. His thoughts about his part of the plan remain steady.
Sixth stage: Exhaling. The disciple breathes out the plan. At this stage, his will is the most potent force. As he exhales, the disciple transfers the plan from his mind to his brain, the physical body’s receptor. In this way, the disciple has succeeded not only in activating the two lower corners of the “soul triangle,” i.e., Love/Wisdom and Active intelligence, but also the apex, the soul’s (and at the same time the personality’s) Will, to his advantage and that of the plan. The personality has accepted the soul’s offer of collaboration across the three worlds.
The Mysteries of the Sounding
The mystery lies in the sixth stage of Occult creation: exhalation. The riddle’s solution consists of correctly answering the questions: what sound is made during exhaling, and how does the sounding take place (i.e., what is the pitch and duration of the sound)?
The answer to the first question is simple. On the exhale, the sacred word OM is used.
The answer to the second question is: The merging of the personality and the soul represents combining two rays to form a tone. The pitch of this tone is determined by the rays of the individual’s soul and personality. The disciple discovers which soul and personality ray he is on. Because the ray of his personality is a sub-ray of his soul’s ray, the solution lies in identifying the soul’s ray and the personality ray within it. Further information on these points appears in the next two sections. The duration of the tone corresponds to the length of the disciple’s exhalation.
Numbers and Colors
In this section, I begin by explaining the mutual relationship between tones and colors. As this relationship is mathematical in nature, I delve into the connection between numbers and colors.
Our number system—the decimal or base 10 number system—is so named because of its structure, which employs ten numerical symbols: 0, 1, 2, 3, 4, 5, 6, 7, 8, and 9. The system’s origin can be traced to the use of fingers to aid in counting. Later, the decimal system was officially adopted and is now an essential part of everyday life for most people. As is common knowledge, all conceivable numerical entities can be obtained using combinations of these ten symbols.
However, the decimal system is not the only universally valid number system for representing numerical quantities. Number systems with fewer or more than ten symbols can also be utilized. An example is the binary system, the “language” computers use. This system consists only of the symbols 0 and 1. We can obtain all conceivable numerical entities by employing different combinations of these two numerical elements, just as in the decimal system.
Similarly, a numerical system can be utilized based on seven symbols: 0, 1, 2, 3, 4, 5, and 6. This is known as the base 7 number system. In the base 7 number system, just as in the previous two mentioned, the numerals can be arranged in any order; thus, this system is not inferior to the others. The only distinction between it and the base 10 number system is that the number of symbols is reduced from ten to seven. The base shifts from the fingers of two hands to the number seven, corresponding to the number of rays in our solar system.
The mathematical properties of the base 7 number system are the same as those of the base 10 number system. The same complex calculations, including addition, subtraction, multiplication, and division, can be carried out in both systems. For example, the number 9 in the base-10 number system corresponds to 12 in the base-7 number system, written 12VII and read as one two. Similarly, the decimal number 27 corresponds to 36VII. If the numbers 25VII and 34VII are added, the result is 62VII. Similarly, if 13VII is subtracted from 66VII, the answer is 53VII, and the product of 32VII and 24VII is 1131VII.
The seven rays formed when the solar system was created are reflected in the colors of the rainbow. When a ray of sunlight is refracted in a drop of water, it reveals the spectrum of white light: the seven rays of violet, indigo, blue, green, yellow, orange, and red.
Just as musical tones are based on different wavelengths, light colors depend on varying wavelengths. Visible light lies between 370nm (violet) and 700nm (red; 1nm = 0.0000001cm). Violet light covers 370nm – 425nm; blue from 425nm – 500nm; green from 500nm – 570nm; yellow from 570nm – 590nm; orange from 590nm – 620nm, and red from 620nm – 700nm. The indigo ray is dark blue and therefore has a wavelength in the range of 425nm – 450nm. This demonstrates that the colors of the spectrum are arranged in order of wavelength, with the sequence being violet, indigo, blue, green, yellow, orange, and red.
The base 7 number system can correspond to the colors of the spectrum: violet = 0, indigo = 1, blue = 2, green = 3, yellow = 4, orange = 5, and red = 6. As mentioned above, starting the order with violet is natural since it has the shortest wavelength of the seven colors.
According to this scheme, we can map the colors onto the numbers of the base 7 number system mentioned above as follows: The number 12VII = (one, two – indigo, blue), 36VII = (three, six – green, red), 25VII = (two, five – blue, orange), 34VII = (three, four – green, yellow), 62VII = (six, two – red, blue), 13VII = (one, three – indigo, green), 66VII = (six, six – red, red), 53VII = (five, three – orange, green), 32VII = (three, two – green, blue), and 24VII = (two, four – blue, yellow), etc.
Tones and Colors
In this section, I demonstrate the relationship between tones and colors. The mathematics is based on the base 7 number system. The colors employed are the seven colors of the spectrum of light, and the sound represented is forty-nine tones spanning the seven octaves of the scale. They correspond to the notes of the C-major scale, ranging from A,, of the sub contra octave to g”” of the fore-line octave.
By the order of colors and numbers, we connect the violet color with the four-line octave, the indigo color with the three-line octave, and so on, with the red color corresponding to the contra octave. The system is, therefore, as follows: Violet = 0 = the four-line octave, indigo = 1 = the three-line octave, blue = 2 = the two-line octave, green = 3 = the one-line octave, yellow = 4 = the small octave, orange = 5 = the great octave, red = 6 = the contra octave. Similarly, the tones within each octave are in the following order: c, d, e, f, g, a, and b. In our combination, it goes as follows: a = red = 6, b = orange = 5, c = yellow = 4, d = green = 3, e = blue = 2, f = indigo = 1, and g = violet = 0 (note the shift in the order of colors, tones, and octaves). Each tone comprises two of the seven colors or two numbers. For example, let us take the tone f’ in the one-line octave. In our system, we can write it with the numbers 31VII (three, one) or as colors: green, indigo. In the same way, the tone c”’ in the three-line octave can be written 14VII (one, four) or as colors: indigo, yellow.
Figure 4: The combination of the Tones, the Colors, and the Numbers in the combination described above.
Earlier in this chapter, we discussed the correct pitch and duration for sounding the sacred word OM. The disciple needed to identify his soul and personality ray, combine them, and derive an entity from them, i.e., a tone.
This should be a simple matter in light of what is stated above. It must be noted that the disciple himself must determine his ray before anything else can be attempted. Let us say, for example, that the disciple believes he knows his soul and personality ray. He believes that the soul ray is the blue ray, and his personality ray is the red ray. The remainder is now simple. First, he determines the blue octave, then the red note within it. The result in this case is 26VII = blue, red. He has now arrived at the tone a’ in the one-line octave (440Hz). This is the note or tone that the disciple is to use.
An Example of Occult Creation
The following section presents an example from my own experience. It illustrates the methods used in Creation by Sound and how the Will aspect of the soul is activated.
We begin with the part of my group’s plan I have been allocated. The plan has advanced to the point where this knowledge is rooted firmly in the personality’s mental and emotional body. As a soul, I only have a choice in how the plan is carried out, since it has already been decided. In terms of personality, I, by contrast, have no choice in the plan. If it can be called a choice, my only choice is to accept my soul’s instructions regarding the collaboration. I give my agreement through my execution of Creation by sound. The knowledge I have acquired regarding my plan within the group consists of four parts:
- To demonstrate that the science of numbers is the science of color.
- To demonstrate that tones and colors, in certain combinations, can promote healing of the diseases and disorders of the personality.
- To lay the foundations of New Age Medicine; a) By introducing a new means of classifying diseases, expressed in numbers, which shows which color is best suited for healing. b) By composing music best suited to cure certain diseases.
- To write a work describing my service in a lifetime.
I begin organizing and preparing for the work. As a personality, I try to set a time for these four parts to unfold, but this is an illusion, since time is relative and my soul has already laid out the plan on the inner planes. All my preparatory work (which comprises the first level of meditation) has only one goal: the internal connection between my personality and my soul. As an example of Creation by sound, let us take the first part of the third point of my plan, which is to lay the foundations of New Age Medicine. My role is to make known the knowledge that has filtered into my mental body.
Stage 1: I meditate on the presentation of this material. In previous years, I have learned about the new classification of diseases in my mental body (see www.hafstein.org/color therapy). I found the solution and generated a clear thought form for my classification system. At this stage, I am connected to the forces of my soul, since the project’s knowledge resides there. The information comes from my soul when my personality “finds a solution” to the matter at hand. This emphasizes the need to begin the work with a strong connection between personality and soul.
Stage 2: I summon the forces of my soul to my personality as I recite The Disciple’s Invocation. I inhale, so I bring the meditation of my personality into harmony with the meditation of my soul.
Stage 3: When inhalation is complete, and I hold my breath steadily, I project the plan onto the “walls” of my mental body, where it is displayed in my mind. I use all my energy to keep the thought form steady, while simultaneously moving it towards the center of my forehead, the third eye, the seat of the soul. The center becomes a “sea of fire.” I feel a sensation there like a hot flame burning.
Stage 4: I maintain the thought form steadily throughout the entire exhalation, never deviating. Simultaneously, I sound my tone at the correct pitch and for the appropriate duration. This requires tremendous effort.
In this way, I have sent my plan into my physical brain (the physical world) – the world of form, where it waits to be carried out. The Will aspect of the soul ensures that the execution occurs at the right time.
Conclusion
Occult creation is working as a soul. The aim is to teach the disciples to engage in the future. It is a new subject in occultism introduced in a general reader’s work. This subject has always been taught as part of occultism, but only to initiates who are bound by an oath of silence. However, in the last two millennia, teachers of the occult sciences have prioritized making us aware of the soul’s aspect: Love/Wisdom. The World Teacher, through his disciple Jesus of Nazareth, introduced humanity to this aspect two thousand years ago.
With the entry of the seventh ray and the Age of Aquarius, the World Teacher has placed significant emphasis on clarifying the Will aspect of the soul and its application. Publishing the method of Occult creation in a work aimed at the general reader is a step in this direction. Through this innovation, we can hope that God’s plan becomes clearer and that more disciples will consciously participate. This means we can expect the aim and will of all disciples to be more clearly defined, and the “precipitation” from God’s mind will be condensed.
References
1 The Geneva Bible. A Facsimile of the 1606 Edition. The Gospel According to John. Ch. 1, vv. 1-4, p. 1036. London, England: Robert Barker. <https://archive.org/details/ost-english-bible00lond/page/n1036>.