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or flesh of man, or with aught that can consume away, but single and divine? Could man's life, in that vision and beatitude, be poor or low? or deemest thou not (said he), that then alone it will be possible for this man, discerning spiritual beauty with those eyes by which it is spiritually discerned, to beget no shadows of virtue, since that is no shadow to which he clings, but virtue in very truth, since he hath the very Truth in his embrace? and begetting and rearing Virtue as his child, he must needs become the friend of God; and if there be any man who is immortal, that man is he.'"

Plato is a true son of Hellas when he reaches the highest aim of the aspiring soul by a love of beauty, but in the end his ideal coincides closely with that of Buddha and with that of Christ. It is peculiar that even the words are similar. When Buddhists describe Nirvana as that state where there is neither birth nor death, Plato says of the highest Being that it "is neither born nor perishes, nor can it wax nor wane, nor hath it change or turning or alteration," etc.

Agathon, a tragic poet of Athens, who expressed his views on love at the same convivial feast in which Socrates took part, treats the same subject as follows:

"Do we artists not know that he only whom love inspires has the light of fame? He whom love touches not, walks in darkness. Love has set in order the empire of the Gods. Therefore Phædrus say of Love that he is the fairest and best in himself and the cause of what is fairest and best in all other things.

I

who

"And I have a mind to say of him in verse that he is the god

"Gives peace on earth, and

calms the stormy deep, Who stills the waves, and bids the sufferer sleep.

"He makes men to be of one mind at a banquet such as this, filling them with affection and emptying them of disaffection. In sacrifices, banquets, dances, he is our lord, supplying kindness and banishing unkindness, giving friendship and forgiving enmity, the joy of the good, the wonder of the wise, the amazement of the gods; desired by those who have no part in him and precious to those who have the better part in him, parent of delicacy, luxury, desire, fondness, softness, grace, careful of the good, uncareful of the evil.

"In every word, work, wish, fear he is pilot, helper, defender, saviour, glory of gods and men, leader best and brightest in whose footsteps let every man follow."

And Agathon was echoed by Paul when he said:

"But now abideth faith, hope and love (ayán), these three, but the greatest of these is love (ȧyár)."

All these notes and voices merge into one grand harmony, the harmony of the spheres of the spiritual life that pervades the entire creation of whirling universes.

THE WANING OF THE LIGHT OF EGYPT.

A

BY PROFESSOR EDGAR L. LARKIN.

"I am the light, the son of primeval light. I dwell in the land of light, (with me there is no night.)"-Book of the Dead.

"May he reach the horizon with his father the Sun. Thou see'st Ra in his setting, as Atun in the evening.

"Thou dost enter the horizon with the Sun. Thy face is illumined near the Sun;

"Anubis doth guard thee."--Grand Hymn of Isis to her brother Osiris, from Egyptian Book of Respiration, now in Museum in Berlin.

VENERABLE man, fully sixty years of age, a man of vast

learning and with intellect stamped on his face, stood in the distant and rear end of an enormous temple in a room which was an exact cube in form, its length, breadth and height being equal. He was clothed in royal purple and fine twined linen; and with cloth of gold. On his head rested a lofty mitre adorned with jewels, precious stones and insignia of his office. On his breast was a plate ten inches square, which was burdened with twelve splendid stones aranged in four rows of three each. These were symbols of the signs of the zodiac. These precious gems were sardius, topaz, carbuncle, emerald, sapphire, diamond, ligure, agate, amethyst, beryl. onyx and jasper, each set in a socket of gold. The diamond was in the center of the oracular breast plate and represented the constellation Leo, because the summer solstice occurred therein. The priest's waist was encircled by an abnet, a mystical or esoteric belt, or girdle, of the finest woven linen, dyed with three colors, blue, scarlet and purple. His ephod or tunic, "a broidered coat," was also of fine twined linen, beautiful with figures of gods, men, stars, the sun and animals, wrought in exquisite needlework. An entire leopardskin was thrown over the shoulders of the man of mystery; while his feet were clothed in gem-laden sandals. He bore in his right hand a wand or scepter of wood and gold.

The center of the only door of the little room was exactly in the axis or central line of the temple, and opposite the front opening, 1,800 feet away. From front to rear long lines of gigantic columns supported the roof of stone. There were 134 pillars in 16 rows. Some were 9 feet in diameter, and 43 high; others II feet

[graphic]

AXIS OF TEMPLE OF AMEN-RA, LOOKING NORTHWEST.

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and 72, with capitals 22 feet square, adorned with delicate carvings. The columns and pillars were in the form of reeds and papyrus plants. The ceilings, architraves, walls and columns were everywhere engraved with figures of heroes, kings and high-priests,

together with hieroglyphics recounting their exploits,--all cut in the intaglio style of rock writing. These characters were painted in brilliant and enduring colors. Whatever the arrangement of pillars, side-doors, obelisks, or columns, not one was allowed to obscure an open line from front to back of the mighty building. The founders and builders had one supreme object,-to keep a straight line forever open in the mathematically exact center of the temple. In fact the edifice was built to enclose this axis leading straight through a thin aperture into the small room in the rear. This axis and room were the most important features. The mighty facade was penetrated by an ever open gateway or colossal door, having immense human figures in stone on either side,-towers of polished stone to the right and left, and avenues of sphinxes in front.

The building was the vast temple of the sun in Thebes, Egypt, on the eastern bank of the esoteric river,—the Nile; erected in honor of, and dedicated to the sun-god of the nation, Amen-ra. The man, whose name was Mesocharis, was the Grand High Priest, second in rank only to the reigning Pharaoh,

He descended from a long line of priests, his lineage extending to the remote past, even as far as the third dynasty. One of his ancestors officiated as high priest, with the king, in the elaborate ceremonies of dedication of this very temple, surrounded by a retinue of lesser priests of the sun, surpliced acolytes, singers, incensebearers and attendants many centuries before the night, whose fateful events are herein narrated.

In the great library were records of the temple worship, unusual events, genealogies of his ancestors, histories of all preceding priests, and phenomena that from time to time appeared in the sky, or more particularly, those occurring in the zodiac.

The aim of the temple builders was to have a ray of light from the sun enter the Holy of Holies, at sunset on the day of the summer solstice, for all time. The angular diameter of the sun is slightly more than half a degree; too wide to merely light up a sapphire or diamond in the holy room. So a series of apertures, ever narrowing from front to back, along the axis of the building, cut down the broad band from the sun's disk into a delicate and thin pencil. The effect was similar to that caused by diaphragms inside of a large telescope. Of course, this Egyptian arrangement did not magnify, as no lenses were employed.

When the sun crosses the equator of the earth in March and September, at the time of the equinoxes, it sets exactly in the west

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