Theos-Talk Archives (September 1996 Message tl00158)

Fascinating. Thanks Bee, I saved the whole thing to a disk. It's fascinating.

I'd like to put in 2 little side additions
1. as below, so above: The passage "In the heart of every seed is a living
center, which contains the stored up results of previous seasons," reminds
me of Sishtas, mentioned in the SD. According to Baborkas Sanskrit
dictionary Sishtas are "literally remainders: referred to in the SD as the
divine mortals who remain behind when the life wave of humanity passes from
globe to globe in the Earth-Chain, thus providing the seeds of humanity for
the returning monads."

2. Towards the end, it talks about "We may smell the sound". The way that is
logical to me is that the smell is caused by certain vibes, and if one
creature's sense organs are geared to resonate to the same vibes differently
than another, it may well be that one creature smells the vibes which
another one hears.

lfd
......................................................................

>I found this lovely little quote from G Hodson in one of Vitvans books.
>
>
>FOOD FOR THOUGHT
>..As a result of this and other attempts to understand the processes of
>growth, I have come to the following conclusions:
>In the heart of every seed is a living centre, which contains the stored-up
>results of previous seasons as a vibratory possibility. Apparently the
>awakening, or stirring of the life in due season produces sound. This sound
>is heard throughout the elemental regions where the builders answer the call
>to labour. Every type of growth, whether of stem, shoot, leaf or flower
>appears to have its own note, or call, to which the appropriate
>nature-spirit 'builder' must respond. This sound also has a form-producing
>activity, and is, probably, the means by which the archetypal form is
>translated to the etheric level where it becomes the etheric mould.
>Some of the results of this vibration appear to be:
>(1) To separate and insulate a portion of the atmosphere round the seed.
>(2) To call the builders, who, entering the specialized sphere, are enabled
>to materialise on the sub-plane in which they have to work.
>(3) To set the matter within the sphere vibrating, at the required rate, and
>to specialise it, in readiness for the work of the builders.
>(4) Probably also to materialise the archetypal form into an etheric mould.
>
>New vibrations are introduced, as leaf, shoot, stem and flower are to be
>built, so that the corresponding free matter is affected, and the
>corresponding builder is called and set to work on the appropriate matter.
>The vibration, or sound, appears to radiate, not only from the life centre,
>from which it first springs in due season, but also from every embryo cell.
>The corresponding builder absorbs the appropriate matter, i.e., that which
>is responding to the same vibration as himself and the cell he is building,
>and transforms it by association with himself into a suitable condition; he
>changes it from free to specialised material and discharges it, atom by
>atom, to the cell from which the sound is being uttered, building it into
>the etheric model. The vibrating cell acts as a magnet and draws the newly
>arrived material to its appropriate position, so that the cell is gradually
>enlarged until it reaches its limit of possible expansion; it then divides,
>and a new cell is gradually built up by a repetition of the process.
>While the material is in close association with the builder, it is not only
>specialised to suit the requirements of the cell, but it is given the light
>vibration to which the builder naturally responds, i.e., it is coloured.
>In the early stages, when only the green shoot is appearing, the builders of
>a certain order are employed; tiny etheric creatures, appearing as points of
>light. Leaf and stem seem to be the field of their labours. Each change in
>structure and colour calls for another set of builders.
>When the flower-stem and flower are to be built, a new set of builders
>arrives on the scene. Apparently these are more advanced, for, on their
>arrival, the whole process of growth is quickened and stimulated.
>They work in precisely the same way, and, as soon as coloration is to begin,
>the fairies proper appear and implant their special rate of vibration,
>changing the white and green into the particular colour corresponding to the
>note which called them and by which they work.
>These last are sufficiently advanced to be fully aware of their task and to
>find great pleasure in its joyous performance, and they take immense pride
>in the growing 'child' under their care.
>They remain in close attendance, as each new petal and bud opens, until the
>structure is complete and the task of the builders is finished. They are
>conscious and appreciative of the admiration of human beings for their work;
>but, on our approach they seem to plead that the flower shall not be
>injured. If it is cut they will follow it into the room and stay with it for
>some time.
>When the completely flowered condition is reached the full chord is sounding
>forth, and, could we but hear it, our gardens would have an additional joy.
>We do not, however, hear that chord, though it may be that, in some cases,
>we contact it as a scent. We may smell the sound!
>As the life force is withdrawn, the notes die down, and a reversal takes
>place. Processes of great intricacy appear to begin, as, bereft of the
>controlling and guiding force, the process of decay sets in.
>It is worthy of note that, in the instinctive labour of absorption and
>discharge, the builders, who are said to be on the same line of evolution as
>the bees, perform a function closely analogous to theirs when they travel
>abroad for honey and then convey and discharge it into the cells of the
>honeycomb.
>							From the Introduction to
>							Fairies at Work and at Play
>							Observed by Geoffrey Hodson
>
>