That which causes the vibration we can only represent by the Ineffable Name, behind which burns the quenchless glory of En Soph, the Boundless.
Thus, in our symbology we start from the centre of a circle, which should be represented by white light.
The seven rays issuing therefrom, must first pass through the interior and invisible triangle of Akasa, the prism A.U.M., before they can flow outward, and by their action upon chaos, wheel the myriad forms of physical life into consonance with their rates of vibration. In this manner is the visible formulated from the invisible. By such subtle music is born the gorgeous flora of our tropics, drinking its wealth of colour from the yellow and warm rays of the sunlight; and in accord with the same harmony is produced the subdued vegetation of colder climes. The blue and violet beams carry the quick pulses of the parent flame deep within the earth, and by-and-bye she gives back that which she has received, transformed into a thousand brilliant hues woven in the magic loom of Love, presided over by the solar spectrum. Or, as Egyptian myth phrases it, Osiris (the sun) weds Isis (the earth), and the child, Horus-Apollo, glorifies all things as the product of this divine union.
The culmination of light resides in the yellow ray, and hence to that colour is given the East point in our symbolised centre of radiation.[[169]] The others follow in the order of the solar spectrum.
But it is noticeable in this connection, that in that order, the coarsest and warmest of the visible rays—red—is placed next to the coldest and most refined ray, the violet. Here we have the analogy of contraries. The ray of lowest refrangibility and the ray of highest refrangibility become next-door neighbours in the divergent circle of necessity. What is the result? It is not hard to discover, when we know that the cooling colours are essential to the balanced action of the thermal rays. “A small amount of blue when combined with other rays will even increase the heat, because it kindles into activity its opposite warm principle, red, through chemical affinity.”
Having determined the law which should govern the symbology of colours at the centre of our circle, we come next to the interlaced triangles.
The truly Theosophical Pentacle should be made by the interlacing of a white triangle with a black triangle—the white representing pure spirit, the black, gross matter. This is the true symbology, for the reason that white reflects all colours, and black absorbs all colours. It is the face of the White Ancient looking into the face of the Black Ancient.
Absolute blackness appears to give back nothing; nor does it ever, save through processes of slow evolution, wrought by continued vibration upon its molecules from the Divine Centre of Light.
Continuous vibration polarizes these particles, so that at last rising from the lowest grade of refrangibility to the highest, into the invisible octaves of being, our planetary chain in its culmination will reach a point where every atom will give an answering thrill of resonance to the throbbing of the heart of the Universe—the Central Spiritual Sun.
As every substance in Nature has its colour, so the human family publish their grades of advancement to the clairvoyant eye by their astral colours; and seekers after the true Light may know what “ray” they are in, by a comparison of their own auras with the colours of the overshadowing soul.