Loading ...
Sorry, an error occurred while loading the content.

Who Wrote The Mahatma Letters ?

Expand Messages
  • brianmuehlbach
    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
    Message 1 of 1 , Nov 14, 2002
    • 0 Attachment
      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
      word-"imperious".

      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
      Letters.

      "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.

      http://mailbox.univie.ac.at/~muehleb9
    Your message has been successfully submitted and would be delivered to recipients shortly.