First Principles of Theosophy by C. Jinarajadasa


   


CHAPTER XII


NATURE'S MESSAGE OF BEAUTY


When we use the word "truth", we mean a knowledge of the universe, in all its embodiments, visible and invisible. These embodiments, when mirrored in our consciousness, give rise to the sense of law.

But each law concerning the universe is woven into its innermost texture. Because the universe is what it is, the laws which our minds formulate exist, whether we exist or not to discover them. Truth, in reality, is not the result of the discoveries of the seekers of truth. Truth is, because the universe is.

Now, this truth is ourselves. For man, who is an infinitesimal part of the Whole, is nevertheless, in a mysterious way, himself that Whole. Furthermore, in a way that seems incredible, every truth which concerns the Whole is to be found somewhere in every fraction of the Whole.

Therefore, the truths as to God, nature, and man's ascent to Divinity exist in man himself.


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The treasures of the wisdom, love and beauty of the Whole exist in the innermost recesses of man's soul. If a man will but seek rightly, he can find all truth.

There are two possible modes of discovering truth. One process is by using Manas, the mind; the other is by using Buddhi, the intuition. At the present stage of evolution, the process of discovering truth by Buddhi, unaided by Manas, is possible only to a few; we may therefore omit Buddhi in our consideration of the means of arriving at truth. The mind, however, has already been well developed by the advanced Egos of our Humanity, and it has served us well to discover truth. The modes of discovery are mathematics, science and philosophy.

But what mind has so far revealed is incomplete, because the mind has omitted to bring into the problem one aspect of nature. This aspect is that of nature as revealing Beauty. Until nature is seen to reveal not only Law, but also Beauty, our vision of truth remains only partial.

We have seen in
Chapter X, in our study of the laws of the building of matter, how the Divine Mind of the Logos constructs according to certain fundamental principles. We not ...


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only watch, as we study the chemical elements, an enthralling wisdom, but we can also react with a sense of wonder in admiration of a work that is exquisite in symmetry and proportion. When we shall have before our eyes the diagrams which give in detail the building of all the chemical elements of the Periodic Law1, this sense of wonder will be as powerful as when we contemplate a perfect edifice like the Parthenon or the Taj Mahal. For, as the Logos builds, He builds in beauty, and all nature is His handiwork.

Let us look at three leaves (Figs. 95, 96, 97). Nature has worked throughout the ages to ...






1 In the third edition of Occult Chemistry.


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produce in each of them a quality that is beautiful. Many laws are involved in building into the leaf the carbon of the air, in using the ...







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sun's rays for making its chlorophyll, in transmuting the minerals of the earth and in lifting them from the soil against gravity. But what is the mysterious attribute of nature which has built, "mechanically" we are apt to think, such a beautiful thing as one of these leaves? We get a glimpse of one law of nature's handiwork in our next illustration (Fig. 98). The law is not of chemistry or physics, but of another sphere, that of art. It is the law of ...




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radiation. Beauty is once more revealed as nature builds a leaf, a flower, a crustacean and a crystal of snow. A beauty which is less evident to most is shown when building the cells of Scolopendrium officinarium (Fig. 99), as its protoplasmic filaments traverse the cell walls.




One fact is clear, that, while the essential attribute of nature is beauty, yet that beauty has a framework of geometry. The old maxim of the Stoics, "God geometrizes", is full of truth, as science delves into nature's mysteries. In the radiating whorl of spiral leaves in Alstroemeria (Fig. 100), one of the commonest geometrical forms is revealed.




How the life-force in the vegetable kingdom insists on building geometrically appears in a fungus (Fig. 101), ...




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which was photographed eleven years ago near Wellington in New Zealand.

More instructive is the sea-shell, Solarium perspectivum (Fig. 102), because its spiral is a logarithmic curve.1 This shell — as indeed all spiral shells — brings us directly into the realm of art.




The spiral volute in the Ionic pillar in Greek architecture (Fig. 103) is developed from this and other shells which reveal the logarithmic curve. The curve which is drawn, when a string wound round a conical shell is unwound ...





1 See also Fig. 127, the shell of the chambered Nautilus pompilius.


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from its top, with a pencil touching the paper, is shown in Fig. 104.




An exquisite wonder is the building of the sea-creature, Lichnaspis giltochii, one of the acantharia (Fig. 105), whose spines radiate in so precise a fashion that a law, formulated by Muller, tells us that the spines are arranged in groups which are designated respectively, north polar, north tropical, equatorial, south tropical and south polar spines.




We all know that nature builds geometrically in all minerals. We know that ice is a crystal but who would dream that water freezing to ice could ever form the wonder revealed in Fig. 106? “But this exquisite design must have been ...




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drawn and moulded by a great artist, surely,” we would say, if the photograph were of a moulded ceiling. But it is a photograph of ice-crystals. What is the principle in nature that produces the fronds of the American maiden-hair fern, Adiantum pedatum (Fig. 107), so that the artistic imagination is thrilled with their beauty?

Everywhere nature builds in beauty.




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Whence the beauty of the Lyre bird of Australia (Fig. 108),




or the beauty of the curve of the cat's back (Fig. 109)?




How could nature "mechanically", ever fashion a structure of bone and muscle so that the cat's pose is beautiful, and equally too that of the playful kitten? Watch any bird in flight (Fig. 110),




and there nature reveals not merely her masterly artistic hands, but also the poetry of motion.

It is when we come to coloring, as shown in birds and fishes, that our sense of delight in ...


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nature's artistic creations becomes profound. No theory of a mechanical selection of the genes within the chromosome, nor even that of a geometrical structure inherent in nature, will explain the rich fantasy of a master artist who has colored the birds and the fishes. It is only one who is himself an artist — that is, one who has trained his eye and hand through long years, and has developed his imagination to sense that indescribable principle which is "Art" — who knows that nature cannot be mechanical, nor merely the fashioning by a "pure geometrician". The life of nature throbs with art, though geometry can also be found if we seek for it.

Let anyone look at two among the dozens of varieties of fishes to be found in the seas around Hawaii, and shown in the aquarium at Honolulu; and he cannot help feeling (if he has the ...


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root of art in him) that he is gazing at the creations of a master. Teuthis achilles, Pa kui kui in Hawaiian, is pure black, the last imaginable color for a fish; yet round the mouth, ear and eye, and in the lower and upper fins, are touches of color, blue and red; and in the tail and the side-fins near the tail such a "laying on", as a painter would say, of red that the observer, if he is artistic, knows and salutes with joy the unseen artist.




Impossible to describe in words is Zanclus canescens, Kihikihi in Hawaiian, a fish strange in shape; once again the color is "laid on" with a master's hand. But more than its color is its shape, which reveals the rich fantasy of the artist who, in a playful mood and as if to rest from serious labors, sends forth from his studio this fish so strange in shape and yet beautiful.




Were one to describe the beauty of the birds, the only way would be to gather together all the birds, and say to the seeker of truth, “Look; and if you do not understand, look again”.


The next two illustrations, of a spider's web (Fig. 111), and of the Periodic Law of the chemical elements (Fig. 112), link in an undecipherable mystery a microcosm with the Macrocosm. For in the center of the spider's ...







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web is the logarithmic curve; how does the spider know to build according to geometrical principle ? And why does the universe, as it comes into being, create 92 elements in such a rhythmic fashion that we can group them into families, and tabulate them all according to their atomic weights, so as to make a spiral curve similar to the spider's and to that of Solarium (Fig. 102)?




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An acute sense of the beauty of nature as she works is essential to our understanding of truth. For the mind which catalogues facts and deduces laws can take us only up to a certain point, and no farther. Life has more mysteries than the mind can ever formulate. As we gaze at Hymenocallis litoralis (Fig. 113), it is as if we ...




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must perforce fall in adoration. (But, indeed, he who seeks to know the Eternally True does fall in adoration in his imagination before every flower.) Are not the beads in the feather of the Argus pheasant (Argus argusianus) of Java (Fig. 113a) like the repetition of a chord in music?




And what of the star fish (actual size) picked up on Madras Beach by the writer (Fig. 114)?




And when we look at the picture of the Wave, by Hokusai of Japan (Fig. 114a), and when we sense the Cosmic Will in the wave and feel in it the beauty of nature's rhythm, what may we do but be dumb? Yet it is in that silence that we discover one aspect of the Eternally True, which is also the Eternally Good and the Eternally Beautiful.




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