The speculations of Dupuis, Volney, and Godfrey Higgins on the secret meaning of the cycles, or the kalpas and the yogs of the Brahmans and Buddhists, amounted to little, as they did not have the key to the esoteric, spiritual doctrine therein contained. No philosophy ever speculated on God as an abstraction, but considered Him under His various manifestations. The “First Cause” of the Hebrew Bible, the Pythagorean “Monad,” the “One Existence” of the Hindu philosopher, and the kabalistic “En-Soph” the Boundless—are identical. The Hindu Bhagavant does not create; he enters the egg of the world, and emanates from it as Brahm, in the same manner as the Pythagorean Duad evolves from the highest and solitary Monas.[567] The Monas of the Samian philosopher is the Hindu Monas (mind), “who has no first cause (apûrva, or material cause), nor is liable to destruction.”[568] Brahma, as Prajâpati, manifests himself first of all as “twelve bodies,” or attributes, which are represented by the twelve gods, symbolizing 1, Fire; 2, the Sun; 3, Soma, which gives omniscience; 4, all living Beings; 5, Vayn, or material Ether; 6, Death, or breath of destruction—Siva; 7, Earth; 8, Heaven; 9, Agni, the Immaterial Fire; 10, Aditya, the immaterial and female invisible Sun; 11, Mind; 12, the great Infinite Cycle, “which is not to be stopped.”[569] After that, Brahma dissolves himself into the Visible Universe, every atom of which is himself. When this is done, the not-manifested, indivisible, and indefinite Monas retires into the undisturbed and majestic solitude of its unity. The manifested deity, a duad at first, now becomes a triad; its triune quality emanates incessantly spiritual powers, who become immortal gods (souls). Each of these souls must be united in its turn with a human being, and from the moment of its consciousness it commences a series of births and deaths. An Eastern artist has attempted to give pictorial expression to the kabalistic doctrine of the cycles. The picture covers a whole inner wall of a subterranean temple in the neighborhood of a great Buddhistic pagoda, and is strikingly suggestive. Let us attempt to convey some idea of the design, as we recall it.
Imagine a given point in space as the primordial one; then with compasses draw a circle around this point; where the beginning and the end unite together, emanation and reabsorption meet. The circle itself is composed of innumerable smaller circles, like the rings of a bracelet, and each of these minor rings forms the belt of the goddess which represents that sphere. As the curve of the arc approaches the ultimate point of the semi-circle—the nadir of the grand cycle—at which is placed our planet by the mystical painter, the face of each successive goddess becomes more dark and hideous than European imagination is able to conceive. Every belt is covered with the representations of plants, animals, and human beings, belonging to the fauna, flora, and anthropology of that particular sphere. There is a certain distance between each of the spheres, purposely marked; for, after the accomplishment of the circles through various transmigrations, the soul is allowed a time of temporary nirvana, during which space of time the atma loses all remembrance of past sorrows. The intermediate ethereal space is filled with strange beings. Those between the highest ether and the earth below are the creatures of a “middle nature;” nature-spirits, or, as the kabalists term it sometimes, the elementary.
This picture is either a copy of the one described to posterity by Berosus, the priest of the temple of Belus, at Babylon, or the original. We leave it to the shrewdness of the modern archæologist to decide. But the wall is covered with precisely such creatures as described by the semi-demon, or half-god, Oannes, the Chaldean man-fish,[570] “ ... hideous beings, which were produced of a two-fold principle” the astral light and the grosser matter.
Even remains of architectural relics of the earliest races have been sadly neglected by antiquarians, until now. The caverns of Ajunta, which are but 200 miles from Bombay, in the Chandor range, and the ruins of the ancient city of Aurungabad, whose crumbling palaces and curious tombs have lain in desolate solitude for many centuries, have attracted attention but very recently. Mementos of long bygone civilization, they were allowed to become the shelter of wild beasts for ages before they were found worthy of a scientific exploration, and it is only recently that the Observer gave an enthusiastic description of these archaic ancestors of Herculaneum and Pompeii. After justly blaming the local government which “has provided a bungalow where the traveller may find shelter and safety, but that is all,” it proceeds to narrate the wonders to be seen in this retired spot, in the following words:
“In a deep glen away up the mountain there is a group of cave-temples which are the most wonderful caverns on the earth. It is not known at the present age how many of these exist in the deep recesses of the mountains; but twenty-seven have been explored, surveyed, and, to some extent, cleared of rubbish. There are, doubtless, many others. It is hard to realize with what indefatigable toil these wonderful caves have been hewn from the solid rock of amygdaloid. They are said to have been wholly Buddhist in their origin, and were used for purposes of worship and asceticism. They rank very high as works of art. They extend over 500 feet along a high cliff, and are carved in the most curious manner, exhibiting, in a wonderful degree, the taste, talent, and persevering industry of the Hindu sculptors.
“These cave-temples are beautifully cut and carved on the outside; but inside they were finished most elaborately, and decorated with a vast profusion of sculptures and paintings. These long-deserted temples have suffered from dampness and neglect, and the paintings and frescoes are not what they were hundreds of years ago. But the colors are still brilliant, and scenes gay and festive still appear upon the walls. Some of the figures cut in the rock are taken for marriage-processions and scenes in domestic life that are represented as joyful. The female figures are beautiful, delicate, and fair as Europeans. Every one of these representations is artistic, and all of them are unpolluted by any grossness or obscenity generally so prominent in Brahmanical representations of a similar character.
“These caves are visited by a great number of antiquarians, who are striving to decipher the hieroglyphics inscribed on the walls and determine the age of these curious temples.
“The ruins of the ancient city of Aurungabad are not very far from these caves. It was a walled city of great repute, but is now deserted. There are not only broken walls, but crumbling palaces. They were built of immense strength, and some of the walls appear as solid as the everlasting hills.
“There are a great many places in this vicinity where there are Hindu remains, consisting of deep caves and rock-cut temples. Many of these temples are surrounded by a circular enclosure, which is often adorned with statues and columns. The figure of an elephant is very common, placed before or beside the opening of a temple, as a sort of sentinel. Hundreds and thousands of niches are beautifully cut in the solid rock, and when these temples were thronged with worshippers, each niche had a statue or image, usually in the florid style of these Oriental sculptures. It is a sad truth that almost every image here is shamefully defaced and mutilated. It is often said that no Hindu will bow down to an imperfect image, and that the Mahometans, knowing this, purposely mutilated all these images to prevent the Hindus from worshipping them. This is regarded by the Hindus as sacrilegious and blasphemous, awakening the keenest animosities, which every Hindu inherits from his father, and which centuries have not been able to efface.
“Here also are the remains of buried cities—sad ruins—generally without a single inhabitant. In the grand palaces where royalty once gathered and held festivals, wild beasts find their hiding-places. In several places the track of the railway has been constructed over or through these ruins, and the material has been used for the bed of the road.... Enormous stones have remained in their places for thousands of years, and probably will for thousands of years to come. These rock cut temples, as well as these mutilated statues, show a workmanship that no work now being done by the natives can equal.[571] It is very evident that hundreds of years since these hills were alive with a vast multitude, where now it is all utter desolation, without cultivation or inhabitants, and given over to wild beasts.