Two important points are involved herein: (a) Primarily in the Rig Veda, the Asuras are shown as spiritual divine Beings; their etymology is derived from Asu, breath, the “Breath of God,” and they mean the same as the Supreme Spirit or the Zoroastrian Ahura. It is later on, for purposes of theology and dogma, that they are shown issuing from Brahmâ's Thigh, and that their name began to be derived from a, privative, and Sura, a God, or “not-a-God,” and that they became the enemies of the Gods. (b) Every ancient Theogony without exception—from the Aryan and the Egyptian down to that of Hesiod—in the order of Cosmogonical evolution, places Night before Day; even Genesis, where “darkness is upon the face of the deep” before the “first day.” The reason for this is that every Cosmogony—except in the Secret Doctrine—begins by the “Secondary Creation” so-called; to wit, the Manifested Universe, the Genesis of which has to begin by a marked differentiation between the eternal Light of “Primary Creation,” whose mystery must remain for ever “Darkness” to the prying finite conception and intellect of the profane, and the Secondary Evolution of manifested visible Nature. The Veda contains the whole philosophy of that division, without having ever been correctly explained by our Orientalists, since it has never been understood by them.
Continuing to create, Brahmâ assumes another form, that of the Day, and creates from his Breath the Gods, who are endowed with the Quality of Goodness (Passivity).[131] In his next body the Quality of great Passivity prevailed, which is also (negative) goodness, and from the side of that personage issued the Pitris, the Progenitors of men, because, as the text explains, Brahmâ “thought of himself [during the process] as the father of the world.”[132] This is Kriyâ-shakti—the [pg 063] mysterious Yoga-power explained elsewhere. This body of Brahmâ when cast off became the Sandhyâ, Evening Twilight, the interval between Day and Night.
Finally Brahmâ assumed his last form pervaded by the Quality of Foulness.
And from this, Men, in whom foulness (or passion) predominates, were produced.
This body when cast off became the Dawn, or Morning Twilight—the Twilight of Humanity. Here Brahmâ stands Esoterically for the Pitris. He is collectively the Pitâ, “Father.”
The true Esoteric meaning of this allegory must now be explained. Brahmâ here symbolizes personally the Collective Creators of the World and Men—the Universe with all its numberless productions of things movable and (seemingly) immovable.[133] He is collectively the Prajâpatis, the Lords of Being; and the four bodies typify the four Classes of Creative Powers or Dhyân Chohans, described in the Commentary on Shloka I, Stanza VII, in Volume I. The whole philosophy of the so-called “Creation” of the good and evil in this World, and of the whole Cycle of Manvantaric results therefrom, hangs on the correct comprehension of these Four Bodies of Brahmâ.
The reader will now be prepared to understand the real, the Esoteric significance of what follows. Moreover there is an important point to be cleared up. Christian Theology having arbitrarily settled and agreed that Satan with his Fallen Angels belonged to the earliest creation, Satan being the first-created, the wisest and most beautiful of God's Archangels, the word was given, the key-note struck. Henceforth all the Pagan Scriptures were made to yield the same meaning, and all were shown to be demoniacal, and it was and is claimed that truth and fact belong to, and commence only with, Christianity. Even the Orientalists and Mythologists, some of them no Christians at all but “infidels,” or men of Science, entered, unconsciously to themselves and by the mere force of association of ideas and habit, into the theological groove.
Purely Brâhmanical considerations, based on greed of power and ambition, allowed the masses to remain in ignorance of great truths; and the same causes led the Initiates among the early Christians to remain silent, while those who had never known the truth disfigured the order of things, judging of the Hierarchy of “Angels” by their [pg 064] exoteric form. Thus, as the Asuras had become the rebellious inferior Gods fighting the higher ones in popular creeds, so the highest Archangel, in truth the Agathodæmon, the eldest benevolent Logos, became in theology the “Adversary” or Satan. But is this warranted by the correct interpretation of any old Scripture? The answer is: most certainly not. As the Mazdean Scriptures of the Zend Avesta, the Vendidâd and others correct and expose the later cunning shuffling of the Gods in the Hindû Pantheon, and restore through Ahura the Asuras to their legitimate place in Theogony, so the recent discoveries of the Chaldæan tablets vindicate the good name of the first divine Emanations. This is easily proved. Christian Angelology is directly and solely derived from that of the Pharisees, who brought their tenets from Babylonia. The Sadducees, the real guardians of the Laws of Moses, knew not of any Angels, opposing even the immortality of the human Soul (not the impersonal Spirit). In the Bible the only Angels spoken of are the “Sons of God” mentioned in Genesis vi—who are now regarded as the Nephilim, the Fallen Angels—and several Angels in human form, the “Messengers” of the Jewish God, whose own rank needs a closer analysis than heretofore given. As shown above, the early Akkadians called Ea Wisdom, which was disfigured by the later Chaldees and Semites into Tiamat, Tisalat and the Thalatth of Berosus, the female Sea Dragon, now Satan. Truly—“How art thou fallen [by the hand of man], O bright Star and Son of the Morning”!
Now what do the Babylonian accounts of “Creation,” as found on the Assyrian fragments of tiles, tell us; those very accounts upon which the Pharisees built their Angelology? Compare Mr. George Smith's Assyrian Discoveries,[134] and his Chaldean Account of Genesis.[135] The Tablet with the story of the Seven Wicked Gods or Spirits, has the following account; we print the important passages in italics:
1. In the first days the evil Gods,