"In setting the conditions of molecular sympathetic transmission by wire," writes Keely, "the same law calls for the harmonious adjustment of the thirds, to produce a non-intermittent flow of sympathy. Intermission means failure here. That differential molecular volume is required of sympathetic flow, seems at first sight to controvert the very law established by the great Creator, which constitutes harmony, a paradoxical position which has heretofore misled physicists who have propounded and set forth most erroneous doctrines, because they have accepted the introductory conditions, discarding their sympathetic surroundings. The volume of the neutral center of the earth is of no more magnitude than the one of a molecule, the sympathetic condition of one can be reached in the same time as the other by its coincident chord." Keely has ... attained the transmission of the etheric current in the same manner as the electric current with this one notable difference, that, in order to show insulation to the skeptical, he passes the etheric current, through blocks of glass in running his vibratory devices. [Snell Manuscript - The Book, page 2]
"That is the way that paired units become mated systems, which complete the purposefulness of the universe by regiving to the Creator all that the Creator had given to them." [Atomic Suicide, page 294]
8, and one 5, making 31 commas, while this supposed fourth-fifth major would only have 30. The fifths of the musical system are thus strictly kept as a symbol of the Trinity of the Creator, Three in One. [Scientific Basis and Build of Music, page 78]
in minor bodies for the better prosecution of special objects, the points of contact between the different branches of knowledge are ever multiplying, all tending to form pail of a mighty tree—the tree of modern science." "In this short work energy we find all the efforts in Nature—energy is life in action." "We shall thus find that in the great workshop of Nature there are no lines of demarcation to be drawn between the most exalted speculation and commonplace practice, and that all knowledge must lead up to one great result, that of an intelligent recognition of the Creator through His works."
F.J. Hughes [Harmonies of Tones and Colours, Introduction3 - Harmonies, page 11]
There is much paradox, and the scheme differs so much from any hitherto published on the subject, that I am aware that, if any link can be found to be wanting in the chain, the defect will immediately be seized upon. I believe, however, that it will be found to admit of clear demonstration. Anyone who has studied the subject knows the difficulties that arise on all sides. In the problem before us, we have to reduce large fields of thought to certain elementary truths. In my endeavour to do this, I have been entirely dependent upon the discovery of the laws of Nature, as my ear is not musical enough to assist me in the matter. "All mysteries are either truths concealing deeper truths, or errors concealing deeper errors," and thus, as the mysteries unfold, truth or error will show itself in a gradually clearer light. The great mystery of music lies in its infinite resources; it teems with subtle elements and strange analogies. A musical note may be compared to a machine: we touch the spring and set the machine in motion, but the complex machinery exists beforehand, quite independent of our will; the motive power is not of our creation, and the laws on which its operation depends are superior to our control. The complex work of harmony is governed by the laws which are originated by the Creator; every note performs what He has willed, and in tracing these laws let us not be indifferent about their Author, but ever bear in mind that the source or fountain of the life and activity of harmonies arises from the Power who created the machine, and who knows how it will act. Let us also remember that we understand this machine but partially, and govern it but imperfectly, as indeed the finite can only, in a small measure, grasp the Infinite; and in any [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies1, page 15]
The armies of Faith and Science, instead of fighting side by side, too often oppose each other, and as the Archbishop of York remarked in his speech at the last meeting of the Christian Evidence Society, "The undue disposition on the part of Science to come into conflict with Religion, stirs up, on the part of Religion and religious men, a disposition to quarrel with Science." Indeed we all deeply need more solemn feelings of our own littleness, and the greatness of our Almighty Creator. [Harmonies of Tones and Colours, Reflections on the Scheme3, page 45]
schools on the hill of Sion—'out of Sion hath God appeared in perfect beauty.' So long as this principle was recognised in musical academies, there were composers of the highest class; devoid of it, the highest order of compositions disappeared." "Power over music does not depend solely on the mere agreement of 'how to do it.' The student in song will never learn the perfection of beauty except from the preparation of the heart. To make a real musician, there must be a sense of the ever-presence of the Creator of all beauty. The boy-musician must begin his day with prayer, and end it with praise. This made Handel, Bach, Haydn, and Mozart. Music is neither dram nor sweetmeat, neither sensual nor intellectual. It is made so now; but in this order of music there is neither joy nor love, thankfulness nor reverence." [Harmonies of Tones and Colours, Fragments from Dr. Gauntlett's Last Note-book, page 51]
Christ Returns - Speaks His Truth
"Gladly, he sat me down on a rock and shared his excellent meat and bread with me. I wondered why he was in such a desolate place and where he had come from. In response to my questioning, he only smiled and seemed not the least surprised when I said I had been in the desert for so many days I had lost count of time. I explained how I was enlightened as to the true nature of the Creator of the world and shown the natural Laws of Existence. He only smiled and nodded." [Christ Returns - Speaks His Truth, Letter 1, page 20]
"When on earth, to describe the Reality behind and with in existence, I deliberately coined the term the 'Father' when referring to 'God'. This was done for two reasons.
Firstly, as I explained in Letter 1, when I received enlightenment in the desert, I was enabled to see that the concepts describing the Creator of the universe as 'revealed' by the Jewish prophets were completely wrong.
Secondly, I was given to perceive clearly - and fully understand - the true nature of the Creator and I realised that it was a nature of parenting - of fulfilling the needs of creation in clear-cut, specific ways which were synonymous with those of a father-mother. Indeed, I saw that the parenting impulses present in all living creatures had been drawn directly from the Creator, and that the origin of all love and parenting drives was also the origin of life and existence itself.
I also 'saw' that creation was a visible manifestation of the Universal Creative Impulses of Being, and therefore humankind could be termed the offspring of the creator.
For this reason, it was quite natural for me to speak of the 'Father' when referring to the Creator, since, to me, this is what the Creator truly is in every way - more especially 'Father-Mother' but having regard to the Jewish insistence on the woman occupying a subordinate position in their daily lives, I referred only to the 'Father' to avoid Jewish resistance and to gain their acceptance of the new terminology.
I also coined the term the 'Father' to help the Jews realise that their concept of Jehovah and the rigidity of Jewish laws were totally erroneous. Also by using a new terminology - the 'Father' - to describe the Creator - the Creative Impulse - behind and with in existence, I made it clear I had brought an altogether new teaching in opposition to the accepted belief in a 'God' which rejected certain people and sent disasters upon them as retribution." [Christ Returns - Speaks His Truth, Letter 5, page 2]
"As I revealed to you in Letter 1, during the time I received full illumination in the desert, I was shown that 'matter' was not really solid. I was not given to understand exactly how the electrical particles which I termed the 'shimmer of motes' took on the appearance of visible 'matter'. I only knew that these 'motes' were moving at high frequencies of speed within 'GOD MIND' and 'GOD MIND' was therefore universal.
I perceived that 'GOD MIND' was both the creator - and substance - of all things within creation itself. Of this, I was absolutely certain.
I also 'saw' very clearly that human thought, when fraught with conviction or emotion, radically affected this process of materialisation of visible forms.
Therefore the human mind could - and did - interfere with the true intention of 'GOD MIND'." [Christ Returns - Speaks His Truth, Letter 5, page 6]
"I asked the Creator - 'Universal Consciousness' - why mankind endured so much suffering and evil.
I was then shown very clearly that all the problems experienced by humans arose from the 'central point' of the self, (science now calls this the 'ego').
It manifested itself in the 'personality'
as a DRIVING NEED to defend the self from criticism or emotional/physical attack
and a similar DRIVING NEED to push aside other people, in order to arrive first in the race of life.
It also manifested itself in the 'personality'
as a DRIVING NEED to take all that was best for the self, despite the opposition of others and a similar DRIVING NEED to hold on to personal possessions, be they relatives, friends, material goods or achievements, despite any opposition.
I was also made to understand that without these TWO fundamental, eternal, undeviating 'impulses of creative being' there would be no creation.
Father Creative Consciousness
Father Creative Power
Law of Force
14.27 - Mind being Dominant is Creative
8.28 - Creative