(b) This is the mysterious process of the transformation and evolution of mankind. The material of the first Forms—shadowy, ethereal, and negative—was drawn or absorbed into, and thus became the complement of the Forms of the Second Race. The Commentary explains this by saying that, as the First Race was simply composed of the Astral Shadows of the Creative Progenitors, having of course neither astral nor physical bodies of its own—the Race never died. Its “Men” melted gradually away, becoming absorbed in the bodies of their own “Sweat-born” progeny, more solid than their own. The old Form vanished and was absorbed by, disappeared in, the new Form, more human and physical. There was no death in those days of a period more blissful than the Golden Age; but the first, or parent, material was used for the formation of the new being, to form the Body and even the inner or lower Principles or Bodies of the progeny.
(c) When the “Shadow” retires, i.e., when the Astral Body becomes covered with more solid flesh, man develops a Physical Body. The “Wing,” or the ethereal Form that produced its Shadow and Image, became the Shadow of the Astral Body and its own progeny. The expression is queer and original.
As there may be no occasion to refer to this mystery later, it is as well to point out at once the dual meaning contained in the Greek myth bearing upon this particular phase of evolution. It is found in the several variants of the allegory of Leda and her two sons Castor and Pollux, each of which variants has a special meaning. Thus in Book XI of the Odyssey, Leda is spoken of as the spouse of Tyndarus, who gave birth by her husband “to two sons of valiant heart”—Castor [pg 129] and Pollux. Jupiter endows them with a marvellous gift and privilege. They are semi-immortal; they live and die, each in turn, and every alternate day (ἑτερήμεροι[275]). As the Tyndaridæ, the twin brothers are an astronomical symbol, and stand for Day and Night; their two wives, Phœbe and Hilaeira, the daughters of Apollo or the Sun, personifying the Dawn and the Twilight.[276] Again, in the allegory where Zeus is shown as the father of the two heroes—born from the Egg to which Leda gives birth—the myth is entirely theogonical. It relates to that group of cosmic allegories in which the world is described as born from an Egg. For Leda assumes in it the shape of a white swan, when uniting herself to the Divine Swan or Brahma-Kalahamsa. Leda is the mythical Bird, then, to which, in the traditions of various peoples of the Âryan race, are attributed various ornithological forms of birds which all lay golden Eggs.[277] In the Kalevala, the Epic Poem of Finland, the beauteous daughter of the Ether, the “Water-Mother,” creates the World in conjunction with a “Duck”—another form of the Swan or Goose, Kalahamsa—who lays six golden eggs, and the seventh, an “egg of iron,” in her lap. But the variant of the Leda allegory which has a direct reference to mystic man is found in Pindar[278] only, with a slighter reference to it in the Homeric Hymns.[279] Castor and Pollux are in it no longer the Dioscuri of Apollodorus[280]; but become the highly significant symbol of the dual man, the Mortal and the Immortal. Not only this, but as will now be seen, they are also the symbol of the Third Race, and its transformation from the Animal-man into a God-man with only an animal body.
Pindar shows Leda uniting herself in the same night to her husband and also to the Father of the Gods—Zeus. Thus Castor is the son of the Mortal, Pollux the progeny of the Immortal. In the allegory made up for the occasion, it is said that in a riot of vengeance against the Apharides,[281] Pollux kills Lynceus—“of all mortals he whose sight is the most penetrating”—but Castor is wounded by Idas, “he who sees and knows.” Zeus puts an end to the fight by hurling his thunderbolt and killing the last two combatants. Pollux finds his brother dying.[282] [pg 130] In his despair he calls upon Zeus to slay him also. “Thou canst not die altogether,” answers the master of the Gods; “thou art of a divine race.” But he gives him the choice: Pollux will either remain immortal, living eternally in Olympus; or, if he would share his brother's fate in all things, he must pass half his existence underground, and the other half in the golden heavenly abodes. This semi-immortality, which is also to be shared by Castor, is accepted by Pollux.[283] And thus the twin brothers live alternately, one during the day, and the other during the night.[284]
Is this a poetical fiction only? An allegory, one of those “solar myth” interpretations, higher than which no modern Orientalist seems able to soar? Indeed, it is much more. Here we have an allusion to the “Egg-born” Third Race; the first half of which is mortal, i.e., unconscious in its Personality, and having nothing within itself to survive;[285] and the latter half of which becomes immortal in its Individuality, by reason of its Fifth Principle being called to life by the Informing Gods, and thus connecting the Monad with this Earth. This is Pollux; while Castor represents the personal, mortal man, an animal of not even a superior kind, when unlinked from the divine Individuality. “Twins” truly; yet divorced by death for ever, unless Pollux, moved by the voice of twinship, bestows on his less favoured mortal brother a share of his own divine nature, thus associating him with his own immortality.
Such is the Occult meaning of the metaphysical aspect of the allegory. The widely spread modern interpretation of it—so celebrated in antiquity, Plutarch tells us,[286] as symbolical of brotherly devotion—namely, that it was an image of the Sun and Moon borrowed from the spectacle of Nature, is weak and inadequate to explain the secret meaning. Besides the fact that the Moon, with the Greeks, was feminine in exoteric mythology, and could therefore hardly be regarded as Castor, and at the same time be identified with Diana, ancient Symbologists who held the Sun, the king of all sidereal orbs, as the [pg 131] visible image of the highest Deity, would not have personified it by Pollux, a demi-god only.[287]
If from Greek mythology we pass to the Mosaic allegories and symbolism, we shall find a still more striking corroboration of the same tenet under another form. Unable to trace in them the “Egg-born,” we shall still unmistakably find in the first four chapters of Genesis the Androgynes and the first Three Races of the Secret Doctrine, hidden under most ingenious symbology.
The Divine Hermaphrodite.
An impenetrable veil of secrecy was thrown over the Occult and Religious Mysteries, after the submersion of the last remnant of the Atlantean Race, some 12,000 years ago, lest they should be shared by the unworthy, and so desecrated. Of these Sciences several have now become exoteric—such as Astronomy, for instance, in its purely mathematical and physical aspects. But their dogmas and tenets, being all symbolized and left to the sole guardianship of parable and allegory, have been forgotten, and hence the meaning has become perverted. Nevertheless, one finds the Hermaphrodite in the scriptures and traditions of almost every nation; and why such unanimous agreement if the statement is only a fiction?