It is needless to refer in detail to the number of vibrations constituting the notes of the musical scale; they are strictly analogous to the scale of chemical elements, and also to the scale of colour as unfolded by the spectroscope, although in the latter case we deal with only one octave, while both in music and chemistry we find a series of seven octaves represented theoretically, of which six are fairly complete and in ordinary use in both sciences. Thus, to quote Hellenbach:
It has been established that, from the standpoint of phenomenal law, upon which all our knowledge rests, the vibrations of sound and light increase regularly, that they divide themselves into seven columns, and that the successive numbers in each column are closely allied; i.e., that they exhibit a close relationship which not only is expressed in the figures themselves, but also is practically confirmed in chemistry as in music, in the latter of which the ear confirms the verdict of the figures.... The fact that this periodicity and variety is governed by the number seven is undeniable, and it far surpasses the limits of mere chance, and must be assumed to have an adequate cause, which cause must be discovered.
Verily, then, as Rabbi Abba said:
We are six lights which shine forth from a seventh (light); thou [Tetragrammaton] art the seventh light (the origin of) us all.
For assuredly there is no stability in those six, save (what they derive) from the seventh. For all things depend from the seventh.[1518]
The ancient and modern Western American Zuñi Indians seem to have entertained similar views. Their present-day customs, their traditions and records, all point to the fact that, from time immemorial, their institutions, political, social and religious, were, and still are, shaped according to the septenary principle. Thus all their ancient towns and villages were built in clusters of six, around a seventh. It is always a group of seven, or of thirteen, and always the six surround the seventh. Again, their sacerdotal hierarchy is composed of six “Priests of the House” seemingly synthesized in the seventh, who is a woman, the “Priestess Mother.” Compare this with the “seven great officiating priests” spoken of in the Anugîtâ, the name given to the “seven senses,” exoterically, and to the seven human principles, Esoterically. Whence this identity of symbolism? Shall we still doubt the fact of Arjuna going over to Pâtâla, the Antipodes, America, and there marrying Ulûpî, the daughter of the Nâga, or rather Nargal, king? But to the Zuñi priests.
These receive, to this day, an annual tribute of corn of seven colours. Undistinguished from other Indians during the rest of the year, on a certain day they come out—six priests and one priestess—arrayed in their priestly robes, each of a colour sacred to the particular God whom the priest serves and personifies; each of them representing one of the seven regions, and each receiving corn of the colour corresponding to that region. Thus, the white represents the East, because from the East comes the first sun-light; the yellow corresponds to the North, from the colour of the flames produced by the Aurora Borealis; the red, the South, as from that quarter comes the heat; the blue stands for the West, the colour of the Pacific Ocean, which lies to the West; black is the colour of the nether underground region—darkness; corn with grains of all colours on one ear represents the colours of the upper region—of the firmament, with its rosy and yellow clouds, shining stars, etc. The “speckled” corn, each grain containing all the colours, is that of the “Priestess-Mother”—woman containing in herself the seeds of all races past, present and future; Eve being the mother of all living.
Apart from these was the Sun—the Great Deity—whose priest was the spiritual head of the nation. These facts were ascertained by Mr. F. Hamilton Cushing, who, as many are aware, became a Zuñi, lived with them, was initiated into their religious mysteries, and has learned more about them than any other man now living.
Seven is also the great magic number. In the Occult Records the weapon mentioned in the Purânas and the Mahâbhârata—the Âgneyâstra or “fiery weapon” bestowed by Aurva upon his Chelâ Sagara—is said to be constructed of seven elements. This weapon—supposed by some ingenious Orientalists to have been a “rocket” (!)—is one of the many thorns in the side of our modern Sanskritists. Wilson exercises his penetration over it, on several pages in his Specimens of the Hindû Theatre, and finally fails to explain it. He can make nothing out of the Âgneyâstra, for he argues:
These weapons are of a very unintelligible character. Some of them are occasionally wielded as missiles; but, in general, they appear to be mystical powers exercised by the individual—such as those of paralyzing an enemy, or locking his senses fast in sleep, or bringing down storm, and rain, and fire, from heaven.[1519]... They are supposed to assume celestial shapes, endowed with human faculties.... The Râmâyana calls them the sons of Krishâshva.[1520]