DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1173#0106
78
THOUGHT-FORMS
senting that of a balloon, having a scalloped outline
consisting of a double violet line. Within that there
is an arrangement of variously-coloured lines moving
almost parallel with this outline ; and then another
somewhat similar arrangement which seems to cross
and interpenetrate the first. Both of these sets of lines
evidently start from the organ within the church, and con-
sequently pass upward through its roof in their course,
physical matter being clearly no obstacle to their formation.
In the hollow centre of the form float a number of small
crescents arranged apparently in four vertical lines.
Let us endeavour now to give some clue to the
meaning of all this, which may well seem so bewildering
to the novice, and to explain in some measure how it
comes into existence. It must be recollected that this
is a melody of simple character played once through,
and that consequently we can analyse the form in a
way that would be quite impossible with a larger and
more complicated specimen. Yet even in this case we
cannot give all the details, as will presently be seen.
Disregarding for the moment the scalloped border, we
have next within it an arrangement of four lines of
different colours running in the same direction, the
outermost being blue and the others crimson, yellow,
and green respectively. These lines are exceedingly
irregular and crooked ; in fact, they each consist of a
number of short lines at various levels joined together
perpendicularly. It seems that each of these short lines
represents a note of music, and that the irregularity of
their arrangement indicates the succession of these
notes ; so that each of these crooked lines signifies the
movement of one of the parts of the melody, the four
THOUGHT-FORMS
senting that of a balloon, having a scalloped outline
consisting of a double violet line. Within that there
is an arrangement of variously-coloured lines moving
almost parallel with this outline ; and then another
somewhat similar arrangement which seems to cross
and interpenetrate the first. Both of these sets of lines
evidently start from the organ within the church, and con-
sequently pass upward through its roof in their course,
physical matter being clearly no obstacle to their formation.
In the hollow centre of the form float a number of small
crescents arranged apparently in four vertical lines.
Let us endeavour now to give some clue to the
meaning of all this, which may well seem so bewildering
to the novice, and to explain in some measure how it
comes into existence. It must be recollected that this
is a melody of simple character played once through,
and that consequently we can analyse the form in a
way that would be quite impossible with a larger and
more complicated specimen. Yet even in this case we
cannot give all the details, as will presently be seen.
Disregarding for the moment the scalloped border, we
have next within it an arrangement of four lines of
different colours running in the same direction, the
outermost being blue and the others crimson, yellow,
and green respectively. These lines are exceedingly
irregular and crooked ; in fact, they each consist of a
number of short lines at various levels joined together
perpendicularly. It seems that each of these short lines
represents a note of music, and that the irregularity of
their arrangement indicates the succession of these
notes ; so that each of these crooked lines signifies the
movement of one of the parts of the melody, the four