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Letters on Occult Meditation - Letter VI - The Use of Form in Meditation
4. The Use of Form Collectively

August 21, 1920

We come now to the last division of our sixth letter. I propose to take this up under three heads which for purposes of clarity we will call:

  1. The use of sound collectively in a meditation form.
  2. The use of rhythm collectively in meditation.
  3. Special occasions on which these forms are used.

...We have rather exhaustively considered in this series of letters individual meditation and have taken up the subject from many and varied angles. In all our handling of the matter only enough has been communicated to arouse the interest of the student and to incite him to greater effort, closer study, and deeper investigation. Only that which is understood and grasped as a fact in experience by the inner consciousness avails aught in the hard path of occult development. Theories and mental concepts avail not. They but increase responsibility. Only when these theories are put to the test, and are consequently known to be facts in nature, and only when mental concepts are brought down and demonstrated on the physical plane in practical experience, can the student be in a position to point the way to other searchers, and to hold out a helping hand to those following behind. To say: "I hear" may prove helpful and encouraging; to add to that the words "I believe" may carry added assurance, but to sound forth a trumpet note and say "I know" is the thing needed in this one of the darkest hours of the Kali Yuga. The knowers are as yet few. Yet to know is fully possible and is subject only to the diligence, the sincerity, and the capacity of the pupil on the path to stand firm in suffering. [191]

Now having some dim idea of the results to be achieved, and the methods to be employed in individual meditation, and having enlarged a little on the use of forms by individuals, we can now take up the consideration of the matter from the collective standpoints.

Some of the most important things to note about the collective use of forms are that it has a universal vogue, is very effective, and can also be very dangerous. The collective worshipping of the Deity and the performance of religious rites in unison is so much a part of the public life of all peoples that its raison d'Ítre, and the results achieved, are apt to be overlooked. Every religion - Christian, Buddhist, Hindu, Mohammedan, down to the distorted fetish worship of the most degraded race - has emphasized the value and efficiency of a united attempt to contact the Divine. Results are inevitably achieved, ranging all the way from the calm and peaceful feeling that rests upon the participant in the Christian mysteries, to the frenzy and gyrations of the wildest dervish or the most benighted Zulu. The difference lies in the ability of the worshipper to assimilate force, and in his capacity to hold and carry it. These points are decided by his place on the ladder of evolution, and by the emotional and mental control of which he may be possessed.

The first postulate to remember in considering the collective use of form in meditation is that those forms, in employing sound and rhythm, should open up a funnel of communication between those taking part in them and the Intelligence’s or Powers they are seeking to approach. By the means of this funnel which penetrates from the physical to the emotional, or still higher to one or other of the mental levels, the Intelligence’s or Powers are enabled to pour forth illuminating light or power of some kind or other into those who thus approach Them. The funnel [192] forms a channel whereby the contact can be made. The whole process is purely scientific and is based on vibration, and on a knowledge of dynamics. It is dependent upon the accurate formation, through occult knowledge, of a vacuum. The occult statement that "Nature abhors a vacuum" is entirely true. When through the correct intoning of certain sounds, this vacuum or empty funnel between the higher and the lower is formed, force or power of some manifestation of fohatic energy pours into the funnel under the inevitable working of the law, and, via that funnel, reaches its objective.

It is on the misuse of this knowledge that much of what we call black art or evil magic is based. By means of invocation and forms the Dark Brothers (or those who tamper with what you ignorantly term the powers of evil) tap forces connected with dark intelligence’s in high places. Thus they set in motion happenings on the physical plane that have their origination in the dark mysterious caves of cosmic evil as found within our solar system. Equally so, it is possible to tap the still greater forces of light and good and to make application of them on the side of evolution.

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