CHAPTER VTHE EVOLUTION OF THE TATTVASIN the evolution of the
Tattvas we trace theevolution of the Soul to its beginning in
theinvolution of the Spirit. The one is as inseparablyconnected
with the other as are the interactingenergies of the positive and
negative lifecurrents;the out-breathing and the in-breathing ofthe
Divine Spirit (or the thought active and thethought quiescent),
upon which all life and motiondepend.Thus, spiritual activity is
the creator of allthings; and the energy behind all motion,
withoutwhich creation is unthinkable, derives its powerfrom the one
source. The first manifestation ofthat power was positive and
negative the acPage31The Law of the Rhythmic Breath - E. A.
Fletcher.txttive impressing its thoughts or action upon the
receptivepassive and A kasha was the first Tattvaevolved by the
interaction of these Divine currentsof spiritual force. The Kosmic
void of undifferentiatedmatter the Hindu's Prakritiwas formless,
and the first need of differentiationwas the space in which to
create many forms;therefore, the characteristic property of
Akdshic5758 The Law of the Rhythmic Breathvibrations is to make
space, and the closer the impactof matter upon the vibrations the
louder isthe sound of their movement. This is the reasonof the
phenomenon that Natural Philosophy explainsas the denser the medium
the better conductoris it of sound.The homely and familiar
comparison (in theAitareya-Aranyaka-Upanishad) by the learnedHindu
teacher, of the ether that is, the Akdshato a bowl in which all the
other elements werepoured, is extremely felicitous and graphic.
Invery fact all the other Tattvas, one after the otherin their
turn, were evolved and are continuallymingled in the spaces of
Akdsha.Akdshic energy, expressed as sound, has longbeen recognized
as both the builder and disintegratorof form. The wonderfully
beautiful geometricalforms into which dry sand, sprinkled upona
drum-head or upon a sonorous plate, will moveunder the impulse
given by musical tones show theever formative effect of Akdshic
vibrations.It was through an ingenious device of the
Germanphilosopher Chladni that sound vibrationswere first made
visible circa 1785. He observedthat plates of metal or glass gave
out differentsounds according as they were struck at
differentpoints; and he conceived the idea of strewingthe surface
with fine sand, and drawing a violinbow across the edge of the
plate, while dampingThe Evolution of the Tattvas 59the vibrations
at certain points by touching theedge with his finger tips. This
established nodal,or rest, lines along which the sand grains
shifted,showing the form of the vibrations; and by varyingthe
points of contact, both for drawing thebow and damping the
vibrations, a great varietyof beautiful figures were produced
correspondingwith varying tones. It was t
