Yellow is the second primary color. When it is golden yellow it indicates health and well-being. Such people take good care of themselves, don't worry, and learn easily; good mentality is natural in them. They are happy, friendly, and helpful. If the yellow is ruddy, they are timid. If they are red-heads they are apt to have an inferiority complex. They are thus apt often to be indecisive and weak in will, inclined to let others lead them. [anon]
"Yellow, containing all colors, is white in its extreme." [F. J. Hughes, Harmonies of Tones and Colours]
Russell
"Yellow is the meeting point of highest pressures, temperatures, densities and potentials of the wave." [Russell, The Universal One, Book 02 - Chapter 19 - Expressions of Gravitation and Radiation]
"The red stars are the younger. They evolve through orange and yellow to their white of maturity in the north apices of their cones. White in maximum motion is a reflection of white in inertia." [Russell, The Universal One, Book 02 - Chapter 19 - Expressions of Gravitation and Radiation]
"In God's Creation He limits all motion to that point in compression where invisible white light has been reached between
[p. 36]
the two visible yellows of flame in fission state. When a sun has become a true sphere its center has reached the white invisible still point in the spectrum where motion has ceased. Up to that very point the inward speed of compression has multiplied to its limit of 186,400 miles per second. At that point also the sun has reached its maximum temperature. At that point also, there is but one center of gravity. Until then there are two. White light is always invisible, for it is always still. It could not be white otherwise. Any motion, whatsoever, would be visible as yellow." [Atomic Suicide, - Chapter 2 - How Radioactivity Kills - VI, page 35-36]
Schauberger
From experience the preparation of organic precious metals is only successful under the influence of a falling temperature gradient, because only thus can higher-grade emulsions take place; something that I have tried and tested myself. Dr Zuckerkandl, a forensic scientist who presently lives in Paris, analysed organic metals that I had ur-produced as long as 20 years ago. To his huge astonishment, he confirmed my assertion that metals of all kinds actually grow. This should be understood as the incarnation of ions, which for the first time correctly explains the generally accepted concept of 'growth'. This involves the solidification of stocks of bipolar dynagens under the influence of gentle and diffuse heat (viz. the highly metalliferous egg-shaped stones, for example, which emit a golden yellow glow even when rubbed together under water - the legendary Rhinegold and Gold of the Nibelungs. This has nothing to do with flints, which in any case do not spark under water.) [The Energy Evolution - Harnessing Free Energy from Nature, The Catalysts]
Hughes
On colours developing by the same laws as musical harmonies
—The physical properties of light and darkness briefly considered
—If the laws are correctly gained, harmonics of tones and of colours will agree
—Quotation from a lecture by Professor W. F. Barrett on the order of sonorous and luminous wave-lengths
—Fountain of musical harmonics, E root of B; in colours yellow and ultra-violet, being tints and shades of white and black
—All harmonics of sound and colour condense into a primo springing from the fountain
—Multequivalency of tones and colours
—Wünsch's views nearly one hundred years ago
—Clerk Maxwell's, Lord Rayleigh's, and [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]
suspected. Let us take as our standard of colours the series given by the disintegration of white light, the so-called spectrum: as our standard of musical notes, let us take the natural or diatonic scale. We may justly compare the two, for the former embraces all possible gradations of simple colours, and the latter a similar gradation of notes of varying pitch. Further, the succession of colours in the spectrum is perfectly harmonious to the eye. Their invariable order is— red, orange, yellow, green, blue, indigo, and violet; any other arrangement of the colours is less enjoyable. Likewise, the succession of notes in the scale is the most agreeable that can be found. The order is—C, D, E, F, G, A, B; any attempt to ascend or descend the entire scale by another order is disagreeable. The order of colours given in the spectrum is exactly the order of luminous wave-lengths, decreasing from red to violet. The order of notes in the scale is also exactly the order of sonorous wave-lengths, decreasing from C to B." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
The fountain or life of musical harmonies and colours is E, or yellow; the root B, or ultra-violet: these being, in fact, tints and shades of white and black. Ascending, they partake more of white; descending, of black: the former drawing tones and colours higher, the latter lower. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
| C rises from the fountain, and contains all tones within itself. | Red also rises from the fountain, and contains all colours, with white and black. | ||
| D=the notes C and E mingled. | Orange, red and yellow mingled. | ||
| E=the root of the fountain. | Yellow, containing all colours, is white in its extreme. | ||
| F=the notes E and G mingled. | Green=yellow and blue mingled. | ||
| G contains all tones. | Blue, with more or less of black and white. | ||
| A=G and B mingled. | Violet=blue, and all colours, inclining to black. | ||
| B, the key-note of the fountain. | Ultra-violet=violet mingled with more black: a deeper shade of all colours—in its extreme, black. Orange, red and yellow mingled. | ||
Notes and colours are thus condensed into a pair springing from the fountain, and mingling with each other in an endless variety. Although yellow as a colour is explained away as white, it is, nevertheless, the colour yellow in endless tints and shades throughout nature, and proves to us that the three great apparent primaries correspond to the tonic chord of the scale of C—i.e., C, E, G = red, yellow, blue; or more correctly, C and G correspond to red and blue with the central fountain of E, white and black mingled, from which all tones and colours arise. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]
The tones between the seven white notes of keyed instruments, and the tints and shades between the seven colours, cause the multequivalency of colours and of tones; consequently every colour, as every musical harmony, has the capability of ascending or descending, to and fro in circles, or advancing and retiring in musical clef. It is a curious coincidence that Wünsch, nearly one hundred years ago, believed in his discovery of the primary colours to be red, green, and violet; and in this scheme, red, answering to the note C, must necessarily be the first visible colour, followed by green and violet, but these not as primary colours, all colours in turn becoming primaries and secondaries in the development of the various harmonies. To gain facts by experiment, the colours must be exactly according to natural proportions—certain proportions producing white, and others black. In this scheme, green and red are shown to be a complementary pair, and therefore (as Clerk Maxwell has proved) red and green in right proportions would produce yellow. The same fact has been proved in Lord Rayleigh's experiments with the spectroscope. Yellow and ultra-violet, [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]
IF we strike the twelve keys of harmonies in trinities, scales, and chords, as written in musical clef, beginning with the lowest C in the bass clef, this first development is linked into the lower series of seven octaves by the four lower tones sounded by C. If we follow with the twelve keys six times, at the seventh time they will gradually rise into the higher series. We obtain a glimpse of the beauty arising from musical notes in the Pendulograph. How exquisite would they be if they could be represented in their natural coloured tones! — as, for instance, the chord of the scale of C in red, yellow, and blue, with the six coloured tones rising from each, and harmoniously blended into each other. [Harmonies of Tones and Colours, The Twelve Keys Rising Seven Times, page 28a]
If we examine the line last quoted by the laws of life which regulate the foregoing scheme, we may compare it with the fundamental threefold chord of the scale of C and its relative colours,
| C | E | G | C red rises
|
RED. | YELLOW. | BLUE. |
from the fountain key-note which contains in itself all tones. "Him first," the Son of God proceeding from the Almighty, and yet in Himself the Trinity in Unity. E, yellow or light. E is the root of B, ultra indigo, or black. "Him midst," the Almighty Father, the Fountain of life, light gradually rising and dispelling darkness. G, blue, "Him last," the Holy Spirit, proceeding from the Father and the Son, Trinity in Unity. The Son of God and the Holy Spirit are the complemental working pair throughout the universe; each containing "the seven spirits of life." Red and blue contain all colours in each. C and G are a complemental pair, C rising from the fountain key-note which contains in itself all tones, and C and G combine all tones in each. In Chapter III. it is explained that all varieties of tones and colours may be condensed into this pair, rising from and falling again into the fountain. [Harmonies of Tones and Colours, Reflections on the Scheme2, page 44]
Cayce
In the musical scale the note mi corresponds to yellow, and Mercury is the planet of this color. 73
Color Therapy Use yellow to alleviate: Stomach troubles, indigestion, constipation, liver troubles, diabetes, blind piles, eczema and skin troubles, leprosy, nervous exhaustion, etc. [Roland Hunt; The 7 Rays of Healing; Edgar Cayce Foundation, 67th & Atlantic Ave., Virginia Beach, VA 23451]
See Also