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The Secret Teachings of All Ages (Manly P. Hall) · 202 of 530

The Pythagorean Theory of Music and Colorj

P, Blavatsky relates the colors to the septenary constitution of man and the seven states of matter as follows: COLOR: Violet PRINCIPLES OF MAN: Chaya, or Etheric Double STATES OF MATTER: Ether COLOR: Indigo PRINCIPLES OF MAN: Higher Manas, or Spiritual Intelligence STATES OF MATTER: Critical State called Air COLOR: Blue PRINCIPLES OF MAN: Auric Envelope STATES OF MATTER: Steam or Vapor COLOR: Green PRINCIPLES OF MAN: Lower Manas, or Animal Soul STATES OF MATTER: Critical State COLOR: Yellow PRINCIPLES OF MAN: Buddhi, or Spiritual Soul STATES OF MATTER: Water COLOR: Orange PRINCIPLES OF MAN: Prana, or Life Principle STATES OF MATTER: Critical State COLOR: Red PRINCIPLES OF MAN: Kama Rupa, or Seat of Animal Life STATES OF MATTER: Ice THE FOUR ELEMENTS AND THEIR CONSONANTAL INTERVALS. From Fludd's De Musica Mundana. In this diagram Fludd has divided each of the four Primary elements into three subdivisions. The first division of each element is the grossest, partaking somewhat of the substance directly inferior to itself (except in the case of the earth, which has no state inferior to itself). The second division consists of the element in its relatively pure state, while the third division is that condition wherein the element partakes somewhat of the substance immediately superior to itself. For example the lowest division of the element of water is sedimentary, as it contains earth substance in solution; the second division represents water in its most common state--salty--as in the case of the ocean; and the third division is water in its purest state--free from salt. The harmonic interval assigned to the lowest division of each element is one tone, to the central division also a tone, but to the higher division a half-tone because it partakes of the division immediately above it. Fludd emphasizes the fact that as the elements ascend in series of two and a half tones, the diatessaron is the dominating harmonic interval of the elements. *** This arrangement of the colors of the spectrum and the musical notes of the octave necessitates a different grouping of the planets in order to preserve their proper tone and color analogies. Thus do becomes Mars; re , the sun; mi , Mercury; fa , Saturn; sol , Jupiter; la , Venus; si ( ti ) the moon. (See The E. S. Instructions .)
Themes
Correspondencecosmology

The Hermetic axiom that the structure of the cosmos is reflected at every scale — 'as above, so below; as within, so without' — making each level a legible map of the others.

The passage explicitly links colors, musical notes, planetary tones, and human principles in a structured mapping of cosmic levels.

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Microcosm Macrocosmcosmology

The human being as a small-scale image of the entire cosmos; the body, soul, and intellect mirroring the structure of the heavens and the divine — distinct from correspondence in that it makes the human the privileged mirror.

The text maps the septenary constitution of man to seven states of matter and planets, reflecting the human as a mirror of the cosmos.

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Numerical Mysticismtheology

Numbers, proportions, and mathematical relationships as the underlying structure of divine reality.

The passage centers on the septenary structure (seven colors, seven principles), diatessaron intervals, and harmonic mathematics governing cosmic elements.

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Related passages · 2 parallels
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 3 (part 1)
p. 71 CHAPTER III. THE SEVEN PROPERTIES OR QUALITIES OF ETERNAL NATURE. 1 I. ♄ ☾ II. ☿ ♃ III. ♂ ♀ IV. ☉ V. ♀ ♂ VI. ♃ ☿ VII. ☾ ♄ When the Eternal One, in its aspect as a Trinity and with reference to divine wisdom, reveals itself o…”
Both passages discuss the correspondence between colors, musical notes, and cosmic principles. Passage A relates colors to the septenary constitution of man and states of matter, while Passage B describes the seven properties of eternal nature as comparable to the sevenfold scale of colors and tunes. Both explore the idea of a unified principle manifesting in diverse forms.
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 3 (part 3)
The seven spirits are in the centre of the Father—that is to say, in the power of the Word. The Word changes the wrathfulness into sweet joy and shapes it into a crystalline ocean; therein the seven spirits appear in a burning form, like s…”
Both passages explore the correspondence between different elements (colors, musical notes, planets, and spiritual principles) and their interrelationships, reflecting a shared insight into the interconnectedness of the cosmos and human experience. They both use a structured, systematic approach to describe these relationships, indicating a conceptual parallel.