Now we come to a third step in the progress of life, which is more essential than either of the others; and that is the development of man's spiritual nature; this again is accomplished through individual work, but work of an order that is more subtle yet more effective. In working out the physical, man dealt with the physical. It was a work which, while under the direction of the mind, was nevertheless of a thoroughly objective nature. In his mental work, while less objective, he was able to form in mind thoughtpictures which in turn dealt with the objective phases of life; but when man comes to develop his spiritual nature, he has neither the physical nor the mind's more refined pictures or ideals. It is quite as if he were entering a new world when he enters into the spiritual realm of his being; for in this state the old consciousness is left behind him, that is, the consciousness of objective life or the mental consciousness composed of thoughts and ideas that partook of his objective life. The new consciousness consists of what a man feels; that great world of feeling which has many names for its different states, such as faith, joy, hope, love, gentleness, etc. Now one might say that it is easy to work on the physical or mental plane, but how can one work on a plane where all seems to be so ethereal, so transcendental? But it is on this plane that the master workman comes into being. On the first two planes everything is largely of a transient nature. The work we did there was always having a beginning and an ending. Now the new consciousness knows nothing of beginning or ending. It is the consciousness of being; it looks neither backward to the things of the past nor yet forward to the things of the future; it lives in the eternity of the present. How exercise or how develop in a still larger way this consciousness? Through a constant use of feeling by relating feeling to thought so that each thought we think is made beautiful because of the melody, colour, and rhythm that comes from feeling.

"All thought begins in feeling - wide In the great mass its base is hid, And, narrowing up to thought, stands glorified, A moveless pyramid."

Feeling is the soul of all music; and it can truthfully be said that only as we enter into the everlasting consciousness of love have we entered into the Kingdom of God, and become attuned to the music of the spheres. Why is it people always think of the angels as being clothed with white and singing or playing on harps? Why should we identify music with angelic beings and heavenly places? Simply because music is an expression of the divine in man and he must, of a necessity, associate the most wonderful and beautiful things of this life with any heaven he may expect to dwell in at some future time. The white is symbolic of purity. Man has a larger conception of what he should be, than he is as yet able to express; he places his ideal heaven in some future time, failing to realise that heaven is a state of consciousness, and that he may have his heaven here and now if he so wills it. Heaven is not dependent upon environment, but upon the love of rhythm in his own life, for when once the inner melody is established, the outer harmony takes permanent form, not in a hard or set way, but rather in a plastic way that leaves it possible for one to make new and harmonious adjustments wherever and whenever in his life there exists the necessity for so doing.

Sir Oliver Lodge, in one of his books, says that there are two great facts that the scientific world is absolutely agreed on. The first of these is energy and the second motion. Energy is a state of ceaseless motion, but there is a third factor quite as important, and that is, that energy is ever in a state of rhythmic motion, so that the waves produced by sound, colour, electricity, and light vibrations are definite rhythmic waves which can be mathematically measured and counted. Energy, rhythm, and motion pervade the whole universe. They constitute the creative and sustaining principles in life, principles that affect every part of the visible and invisible universe. If law governs the whole, then law must govern the part. If energy in rhythmic motion creates all form, then the body of man can no more be exempt from such creation than any other form or forms in the universe. All proceed from one Source; all are the results of one Law. We may designate by different names the different degrees of the workings of law, but that in no way changes the law. Universal law and order prevail throughout the universe. We sometimes talk of atmospheric sound vibration which has beginning and ending; and again we speak of etheric vibration, such as the vibrations of electricity and light, that have neither beginning nor ending, and we might superficially reason that here are two entirely distinct kinds of vibration; that one is a ceaseless state of vibration apparently without beginning or ending, while the other has both beginning and ending and is only of temporary duration. After all, what seems to be a difference of kind is only a difference of degree. The difference in kind arises solely from man's limited consciousness, his inability to see and to know things as they are in reality. There is just as much an eternity to sound vibration as there is to light or electric vibration, but man, in the present stage of development, is limited to the hearing of approximately seven and a half octaves of musical sounds, and there are three and a half more octaves of sound that he has as yet been unable to translate into music. Undoubtedly, however, as he continues to unfold to his higher powers and possibilities, his ears will become attuned so that, by degrees, these different octaves of sound, note by note, shall become music. Moreover, in their becoming there shall be disclosed to his hearing still other octaves of sound that he was unable to hear before, and these, in turn shall become music; and what is true concerning music will be equally true concerning colour. The writer is convinced in his own mind that there are far lower and far higher rates of sound and colour vibration than the ear and the eye of man have as yet heard or seen. If for more than seven octaves we are able to hear musical sounds, and after that we have still three octaves of what we now term unmusical sounds, surely it is because our ears are not attuned to their vibration. It does not follow that they are unmusical, but that as yet we are unable to translate them into music. For all sounds that are heard from the very lowest to the highest must produce music when in a state of rhythmic vibration, whether we are able to hear that music or not.