To speak first of Master Morya, the Hyde Park cavalcade of 1851 is not
mentioned in The Letters, but the first encounter between H.P.B. and
her "guide", by the waters of the Serpentine at night, is recorded in
Sinnett's biographical Incidents and Besant's H.P.B. In The Letters the
Rajput's princely airs are less emphasized than his more homely traits.
Mr. Sinnett, it is true, once addressed him as "Illustrious", and the word
clung to him for years; he also described M. to K.H. as "an imperious
sort of chap", and was not allowed to forget the phrase. Mr. Leadbeater
is clairvoyantly struck by the same characteristic, and uses the same
After the American era, M. was generally called "the Boss" by his pupil
H.P.B., and in moments of effusion (says K.H.) "she has made of M. an
Apollo of Belvedere, the glowing description of whose physical beauty,
made him more than once start in anger, and break his pipe while
swearing like a true-Christian" (P- 313)- In body M. is "bulky", in
temper "laughing" and "brusque", in attainments he is no scholar and
hates writing-so much so that he does it badly, as the MSS. show.
K.H. does not appear from Mr. Leadbeater's account to have been in the
procession of Princes to the Crystal Palace in 1851, yet the Letters tell us
he was a tireless horseman in the steep defiles of Tibet, and so they
prepare us for introduction to the big brown bay of to-day. K.H.'s home
is mentioned twice in the Mahatma Letters and once by H.P.B., but the
veils of secrecy and modesty obscure its site and its interior comforts.
Indeed, most of the references to the Masters' abodes go to form the
idea of simple and almost stoical retreats, suited to the habits of
unworldly philosophers. We confess we wondered, on first reading
about them, what accommodation there was for the large class
of "young and innocent chelas", the great dictionaries and the extensive
libraries mentioned in the Letters, but now that we learn, through Mr.
Leadbeater's clairvoyant survey, of the capacity and contents of the
Master's bungalow and its subterranean chambers, everything becomes
clear. Here is given the very plan of it, with the students' benches and
the Master's arm-chair.
We remember, too, that it was here that M., as deputy correspondent
with A.P.S., once occupied the house, and wrote therefrom Letter xiii, in
full view of "the iceberg now before me, in our K.H.'s home" (P- 76)-
which, strange to say, has melted from the scene in C.W.L.'s picture. It
was here also that this Mahatma, taking the advantage of the presence
of a keyboard, illustrated an argument in "Septenary Cosmogony" with
the following musical simile: "Go to your forte-piano and execute upon
the lower register of keys the seven notes of the lower octave-up and
down. Begin pianipiano: crescendo from the first key and having struck
fortissimo on the last lower note go back diminuendo getting out of your
last note a hardly perceptible sound-morendo pianissimi. The first and
the last notes will represent to you the first and last spheres, in the cycle
of evolution the highest! The one you strike once is our planet.
Remember you have to reverse the order on the forte-piano: begin with
the seventh note, not with the first."
Is not Master Morya in rather deep waters in using these "Western"
musical terms? He seems to admit they are not part of his own
knowledge when he adds: ("as I luckily for my illustration find it printed
in one of the musick pieces in K.H.'s old portmanteau".) Why
not "portfolio" for "musick pieces", if we may be so bold as to ask? As
for the illustration itself, since we can hardly make sense of its literal
terms, still less can we grasp the "septenary cosmogony" it is intended
to make clear.
Let us now give some facts of fifty years ago relating to Djwal Kul, the
third now living Master, known to us formerly as K.H.'s Tibetan Chela.
He is first mentioned in the Letters as a transmitter of messages from
India to Tibet (p. 66) and appears next as "D.J.K.", handy with a
compass and pen in drawing for his Master an explanatory diagram of
the Septenary Cosmogony (p. 86). Soon after the publication of The
Occult World he appears again as the writer or precipitator of the first
six of the Mahatma Letters, in which connection he is charged by K.H.
with having foolishly invented, as half a nom deplume, the words "Lal
Singh" in his master's signature, and writes what will be remembered
as the fatal "Kiddle Letter" (P- 364)
D.K. is called "Juala Khool" by Master Morya, and under the safe nom de
plume of "Reviewer", 293
Who Wrote the Mahatma Letters ? was authorized to write a few notes
in The Theosophist in answer to an article by Mr. Oxley (P. 2 70) He
accordingly does so in Letter cxxv, restoring to his Master the rejected
suffix of "Lal Singh",but writing it in the hand of Damodar! D.K.'s letter is
signed "Gjual-Khool mxxx", which might seem to be the true spelling of
his name, had it not been written six or more other ways by his Masters
(PP453 -4) and as many by H.P.B. K.H. had apparently received criticism
on the score of this extraordinary variety, hence he tries to settle the
point in Letter LIII: "The second letter, I think, was thrown on his table
by Dj. Khool (the real spelling of whose name is Gjual, but not so
phonetically") (p. 298).
Djwal Kul's last-mentioned feat in The Mahatma Letters was an astral
penetration of the bulwarks of the SS. Clan Drummond and an
appearance in Madame Blavatsky's cabin 'at sea ex Algiers, when he
asked for a piece of paper and wrote a letter for his Master to Mr.
Sinnett (P- 467). From The Blavatsky Letters we learn that this Oriental
Will0-the-wisp paid similar astral visits to Madame Blavatsky and the
Countess Wachtmeister in their European abodes, much to the
amazement of the former's clairaudient but not clairvoyant nurse.
So much for Gjual Khool, as we find him in "the basis"; as already said,
he has his higher place in "the Superstructure". Since no one but H.P.B.
has ever professed to have seen this Chela face to face, and since the
only letter over his signature is written in the known hand of Damodar
the "Desinherited". it is evident what useful material support Mr.
Leadbeater has given to his dubious existence by recognizing him
clairvoyantly as now a Master in Tibet, and holding pleasant conferences
with him on the roof of Adyar Headquarters.
Truth to tell, the Tibetan Brothers made their virtual exit as long ago as
the year 1884. Morya took his leave, we think, soon after the Piccadilly
seance at Sam Ward's rooms, and Koot Hoomi's last letter reached
London some time in the following year, and reminded Mr. Sinnett that
the state of Madame Blavatsky's health and other conditions portended
the close of the correspondence.
The career of The Mahatmas was a sort of comedy, we have no cause
to be angry with them, for after all, they did not write the Mahatma
"It seems to me" ' wrote the Countess Wachtmeister to Mr. Sinnett in
January, 1886, "that it is time now to hang a veil before the Mahatmas"
(B.L., P. 28o). With this opinion we agree, though in a different sense
from that implied by the lady, and we hope that our labours throughout
this book will help to weave a curtain that will effectually prevent such a
play as we have witnessed ever being acted again.