18

Along the Path

Serapis Bey

For the purpose of instruction, I want to elaborate upon the natural emanation of musical sound which forms the music of the spheres. Every lifestream which belongs to this Universe who has attained the victory of the Ascension and every Cosmic Being and Master Presence, is a contributing factor to this sea of music which, like light itself, forms the atmosphere of the Octaves of Light. The Beloved "I AM" Presence of every unascended being also pours forth its particular musical keynote into the realm in which it functions, prior to the Ascension of the outer self.

It is from this sea of light that the Masters draw the exquisite melodies which they focus through Music Temples under the direction of Angelic Beings who amplify it by their own life and direct it toward certain composers on Earth who are worthy of more than ordinary inspiration and assistance. They also direct it toward artists who have developed (through centuries of dedication to the Spirit of Music) sensitivity to the spiritual currents which may flow through specific musical activities (operas, etc.) These people are usually fortunate enough to be permitted entrance into some of these Music Temples in their finer bodies at night while their physical bodies sleep. The glorious melodies from the higher realms, so "stepped down" by such good men and women, are the results of this endeavor in which I, myself, am extremely active.

When a composer (for instance, Wagner) picks up the melodies from a Music Temple, usually some one of the Masters there directs his personal ray into the mind of the composer, endeavoring to allow that composer to build a suitable story around the music. You see, the state of development of the inner body which receives the impression of the story and the development of the emotional body which is the recipient of the feeling and theme of the music, will contribute greatly to the ultimate results. Some composers did marvelous things with the musical interpretations but were unable to receive clear mental directions concerning the "story" of the opera and the resultant “story” was not truly representative of the music of the theme.

In the case of the Wagner compositions, we had the assistance of his mental body and thus the mystic initiations were woven all through his works. Of course, you are acquainted with the fact that the insignia of the Knights of the Round Table was the Swan, which represents the Initiate - able to soar through the air, master the emotional element of water and, through the particular faculties of the Swan (long neck and sharp eyes), pierce beneath the water and discover the elements of the "deep" as well. Again and again Wagner uses the swan as a symbol of the mystic initiations. The ancient Norse mythology tells how the noblemen of that age sang their "Swan Song." Today people interpret that as the acknowledgement of failure, defeat and submission to fate but in those early days the "great" were allowed to sing the "Swan song" when Earth's battles were finished - to signify that they had become Initiates and were consciously ascending from the limitations of "matter" to a new freedom.  

Whenever an opera is sung, the quality or virtue which is its predominant theme is greatly amplified by the Music Temple and its attendants and, from the central focus where such music presented, Angel Devas, Cherubic and Seraphic Hosts direct and often carry the rising harmonious energy of that opera as it is performed, into the city, state, nation and all over the Earth. Great buildings (opera houses, etc.) from which have been played and sung the magnificent works of the musical geniuses of the race, are always presided over by Angel Devas and Builders of Form who co-operate with the officiating Cosmic Temple in this service.

'Lohengrin' is primarily the story of FAITH. The aspirant (Elsa) stands before the Karmic Council. Her Sponsor (and Twin Ray) comes to stand by her side and give her the spiritual assistance she requires. He comes riding on the back of the swan (mystical powers, controlled by self-mastery). She must accept him at his worth, without curiosity, which she does. Then comes the TEST, during which Ortrud and Talamund are allowed to instill doubt into her mind as to her beloved's true identity. Unfortunately she accepts their suggestions of doubt and forfeits the right to have his presence and help. Lohengrin calls his swan to him and commands it to remain to help Elsa in a lesser capacity, for such is the mercy of life. However, she has forfeited the presence of her beloved (Lohengrin) at least for the time.

Thus does each student stand one day alone and, with only the light in his heart to guide him, he must decide on the nature of his Teacher, not by his name, his person or his heritage. At this time, all the forces of doubt and uncertainty rise from within and without the students world. This is the crucial moment in the life of the chela who has been chosen for more than ordinary association with a Master of Light. If doubt and uncertainty are allowed to prevent the student's acceptance of the teacher - such as 'Lohengrin' would have been to Elsa - such a teacher must withdraw and a lesser light becomes the Guardian Presence of the lifestream until a later time.