The Cosmic Doctrine

«I feel that I am the last person to be able to form an opinion as to the nature of the experiences here recorded. To determine whether they are what they purport to be, or whether they are dissociated complexes of my own subconscious mind, is not quite such a simple problem as either believers or scoffers might think.» — [DION FORTUNE] así abre la introducción firmada por ella el planteo de la atribución: dice no poder opinar sobre la naturaleza de lo recibido, y presenta la alternativa entre entidades reales y complejos disociados de su propio subconsciente como problema abierto, no como retórica.

«If these communications are not received from discarnate entities, then I must be utilising certain littleknown capacities of the human mind.» — [DION FORTUNE] y cierra la alternativa por el otro lado: si no vienen de discarnados, entonces está usando capacidades poco conocidas de la mente humana, de modo que ninguna de las dos salidas es trivial; el troceo parte *little-known* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«The communicators make statements on these points, and these are appended, but of course their statements cannot be regarded as evidence.» — [DION FORTUNE] señala que los propios comunicadores se pronuncian sobre el asunto —es la Introduction II— y que su testimonio no cuenta como prueba.

«I know, however, that I could not have written any work at the pace at which this was produced.» — [DION FORTUNE] el argumento que sí adelanta es de velocidad de producción, no de contenido.

«When it is realised that each chapter took from three-quarters of an hour to an hour and a quarter to dictate, and that no other work whatsoever went to its production, I think it will be seen that this book was not produced by the ordinary labour of the brain.» — [DION FORTUNE] y lo cuantifica: entre tres cuartos de hora y hora y cuarto de dictado por capítulo, sin otro trabajo de por medio.

«No notebooks or reference books were ever made use of, and though I have read and thought along these lines for some years, I made no special study of that branch of esoteric science which is herein dealt with, and have only the most elementary knowledge of physics and none whatever of mathematics.» — [DION FORTUNE] declara su propia incompetencia técnica —física elemental, ninguna matemática— como parte del argumento sobre el origen del texto.

«I come to read them, and I have to study them just as any one might who made their acquaintance for the first time.» — [DION FORTUNE] afirma leer las enseñanzas como una desconocida más, sin reconocerlas como propias.

«I hope my readers will believe that these pages are the result of honest experimentation and acquit me of charlatanry or attempted deception.» — [DION FORTUNE] pide que se le conceda honestidad experimental, formulado como petición al lector y no como prueba.

«I vouch for neither the completeness nor accuracy of the communications here recorded; in my opinion, no extra weight should be attached to any ideas or teachings because an unusual origin is claimed for them; any value which they possess as a contribution to speculative thought or scientific knowledge must depend on their intrinsic worth, not on their sphere of origin.» — [DION FORTUNE] el límite que ella misma pone a su libro: no responde por su exactitud ni su completitud, y niega que un origen inusual añada peso a una enseñanza; el valor tendría que salir del contenido.

«The manner of their obtaining is a psychological question and has no bearing on the problem of their truth.» — [DION FORTUNE] separa expresamente la cuestión psicológica del método de la cuestión de la verdad de lo enseñado.

«Nevertheless, I believe that the story of the way in which I obtained access to this teaching, and was trained to transmit it, is worth telling for the sake of its evidential value as firsthand experience.» — [DION FORTUNE] y aun así cuenta el relato, con el valor que le concede: testimonio de primera mano.

«My first introduction to this line of thought was through a random reading of “The Ancient Wisdom” by Annie Besant.» — [DION FORTUNE] data el arranque de su vía en una lectura al azar de The Ancient Wisdom, de Annie Besant.

«When I came to the words, “The Brotherhood of the Great White Lodge, the Hierarchy of Adepts who watch over and guide the evolution of humanity”, my higher self seemed suddenly to wake up, as if startled out of sleep by a loud noise.» — [DION FORTUNE] la frase de Besant sobre la Hermandad de la Gran Logia Blanca, citada dentro de su relato, es lo que describe como despertar del yo superior.

«Upon me the effect of this passage was mantric, it ran in my head like a tune, and my whole nature gathered itself up into a one-pointed desire to find the Masters.» — [DION FORTUNE] describe el efecto del pasaje con el término técnico de mántrico: no persuasión sino repetición que orienta la voluntad entera hacia hallar a los Maestros.

«I come from that part of Yorkshire which was the Dane-Law, and I suppose I reverted to type and “threw back” to some Viking ancestor.» — [DION FORTUNE] explica su propio arrebato por herencia regional, con la fórmula de ir *baresark* que usa dos veces en el párrafo.

«For ten days I continued in this state, and then I found that which I sought.» — [DION FORTUNE] fija en diez días la duración de ese estado.

«I dreamt that I was going down a long passage with many doors opening on to it, and the end of the passage led into the reading room of the old library of the Theosophical Society in Tavistock Square.» — [DION FORTUNE] el sueño arranca en un lugar preciso y verificable, la sala de lectura de la vieja biblioteca de la Sociedad Teosófica en Tavistock Square.

«I stood for a moment in the ray of golden light that came through the window, and then the whole side of the room opened out and I seemed to be caught up through space and found myself upon a plateau among great snow mountains, which I knew to be the Himalayas, and I was kneeling at the feet of two of the Masters.» — [DION FORTUNE] y de ahí pasa al Himalaya y al encuentro con dos Maestros, narrado como continuidad del sueño y no como viaje aparte.

«I could not see Their faces, for They were lost in a blur of light; nor could I see the hands, for they were concealed in the loose sleeves of the robes They wore, but I knew that one was the Master Jesus; the other I did not know, save that I felt Him to be a tremendous intellectual force. I have since learnt to know Him as the Most Wise, one of the Lords of Mind, on the Hermetic Ray; to the Master Jesus was given the title of Most Holy, Lord of Compassion.» — [DION FORTUNE] nombra a los dos: el Maestro Jesús y otro que solo identificó después como el Most Wise, uno de los Lords of Mind en el Hermetic Ray; los rostros y las manos quedan fuera de la visión.

«I have learnt since that He is one of the greatest Masters upon the Blue Ray, a Lord of Hermetic wisdom and ceremonial magic.» — [DION FORTUNE] adscribe al Most Wise al Blue Ray y a la magia ceremonial, que es donde ella misma sitúa su línea de trabajo.

«people who have neither intellect nor education, and I think it must be because I myself was trained by a Master who did not look for qualities of intellect in His pupils.» — [DION FORTUNE] deriva su propia práctica de enseñanza del maestro que dice haber tenido: puede trabajar con quien no tiene intelecto ni educación porque a ella tampoco se le exigieron.

«But the memory of that transcendent experience remained with me, and has remained ever since. Was it a dream, or an actual experience? That is a matter of opinion; I only know that not only my inner consciousness, but the outer circumstances of my life were totally different thenceforth.» — [DION FORTUNE] deja sin arbitrar si fue sueño o experiencia y desplaza la prueba a lo que cambió después en su vida exterior.

«I found in my consciousness the certain knowledge that I had been accepted as a pupil by the Masters.» — [DION FORTUNE] el resultado que declara de aquella noche: la certeza de haber sido aceptada como discípula.

«But here is a curious point, for although the whole bent of my temperament was towards the Master of Wisdom, I had been handed over to the Most Holy, the Master of Compassion, and I was not at all happy about it.» — [DION FORTUNE] consigna el desajuste sin resolverlo a su favor: quería al Maestro de Sabiduría y fue entregada al de Compasión.

«I can see now why I was placed under His guidance and not given to the more intellectual type of Master Who was congenial to my temperament; it was in order that I might not develop the powers of the mind with the faults of my character uneradicated.» — [DION FORTUNE] y la razón que después se da: que no desarrollara poderes de la mente con el carácter sin corregir.

«During the next three days the memory of past incarnations returned to me, right back to my first initiation in Atlantis» — [DION FORTUNE] fecha en los tres días siguientes el retorno de la memoria de vidas anteriores, hasta una primera iniciación en la Atlántida.

«Now it is quite a simple matter for any one to equip themselves with a series of egotistical phantasies by way of past lives, but in my case I got back not only the memory of initiations and temple lives, but also the memory of the teaching I had received during those lives.» — [DION FORTUNE] se adelanta a la objeción de la fantasía egotista y desplaza el argumento de las vidas recordadas a las enseñanzas recordadas con ellas.

«Therefore I regard the fact that I have never had to work for my knowledge of occultism, but have recovered it, not even piecemeal, but in the mass from memory, as strong evidence in favour of reincarnation.» — [DION FORTUNE] y de ahí saca su argumento a favor de la reencarnación: no haber trabajado nunca por su conocimiento del ocultismo sino recuperarlo en bloque.

«Arriving at this experience without any previous study of the subject, I have been greatly interested to note the extent to which my experiences have been confirmed by subsequent reading.» — [DION FORTUNE] presenta la lectura posterior como confirmación, no como fuente.

«“Cosmic Consciousness”, which was quite unknown to me at the time, and also in Dr Besant’s writings on the Way to the Masters of Wisdom.» — [DION FORTUNE] nombra las dos lecturas confirmatorias, el libro de Bucke sobre la consciencia cósmica y los escritos de Besant sobre el camino a los Maestros de Sabiduría; el nombre de Bucke queda del otro lado del corte de chunk, en la misma plana.

«It was very heartening to me to find that I, travelling alone and in ignorance, had struck and followed the well-beaten track, and this gave confirmation to my belief that my experiences, though subjective, had relation to objective fact, and were not of a purely arbitrary nature.» — [DION FORTUNE] formula así el criterio con que se defiende: haber dado sola con la vereda trillada es lo que hace que sus experiencias subjetivas guarden relación con hechos objetivos.

«I have therefore refrained from attempting any explanation of my dream, vision, hallucination, or experience, whichever it may be, because I, being the subject, am the last person to be able to form a just estimate; I have merely recorded it as it appeared to me, though I ask my readers to believe that I am not so naive as to think that what I perceived was an actual representation of what occurred, for how can a consciousness, habituated to form, produce a simulacrum of That which has no form? It has to rely on the images already stored in its memory to produce a symbolic equivalent; it can approach no closer than this.» — [DION FORTUNE] se abstiene de interpretar su propia visión y da la razón técnica: una consciencia habituada a la forma solo puede producir un equivalente simbólico con las imágenes que ya tiene guardadas.

«Had my experiences ended with this vision, I should have accounted them purely subjective, though I should not have valued them the less for that reason; but from that time onwards the circumstances of my life were entirely changed; I seemed to have passed within the veil and never to return again to mundane life.» — [DION FORTUNE] fija el criterio con que dejó de tenerlas por subjetivas —el cambio de las circunstancias de su vida— y de paso dice que no las habría valorado menos si lo fueran.

«To tell the full story of the training that led to the power to bring through the teaching contained in these pages would take too long, moreover, there are parts of it of which I am not at liberty to speak» — [DION FORTUNE] declara la reserva: hay partes del entrenamiento de las que no está en libertad de hablar.

«I found that certain powers had awakened within my soul, certain capacities had been added to consciousness, and that, although I have never again had such a transcendent vision as the meeting with the Masters on the mountain, I found that I began to receive, or conceive, ideas such as had never come to me before, that formulated themselves in my mind as clearly as if a voice had spoken.» — [DION FORTUNE] describe lo que quedó tras la visión: no otra visión sino la aparición de ideas formuladas con nitidez de voz.

«At first I could only obtain fragments of teaching in this way, but with practice, the power increased, and it seemed as if information on any subject, even those with which I was quite unacquainted, could be obtained by this method.» — [DION FORTUNE] la facultad se describe como adquirida por práctica y ampliable a cualquier materia, incluidas las que desconocía.

«The process seemed to be exactly the same as that of telepathy, but the communicators gave me to understand that they did not possess physical bodies, but were discarnate minds which had advanced beyond the stage of evolution which is conducted in matter.» — [DION FORTUNE] equipara el proceso a la telepatía y traslada a los comunicadores la afirmación de ser mentes discarnadas más allá de la evolución en materia: es lo que ellos le dieron a entender, no lo que ella declara.

«I have never again met face to face either of the two great Entities of Whom I had had the vision, those Who communicated gave me to understand that they were Lesser Masters under the Jurisdiction of the Most Wise, Lord of the Blue Ray, a ruler of Hermetic Wisdom.» — [DION FORTUNE] los comunicadores del libro no son los dos Maestros de la visión: se presentan como Lesser Masters bajo la jurisdicción del Most Wise, Lord of the Blue Ray.

«Whether they were what they purported to be, or whether they were dissociated complexes of my own subconscious mind I cannot tell; but I accept them as a working hypothesis because I find that by utilising them, I can get results which I can obtain in no other way.» — [DION FORTUNE] la fórmula con que resuelve la duda sin cerrarla: los acepta como hipótesis de trabajo por sus resultados, no por su naturaleza.

«These communications were not obtained by means of trance as that word is usually understood, my mind is not made a blank, nor is my will in abeyance, but by means of intense concentration on the plane of consciousness on which I wish to function, I shut out the sensations coming into consciousness through the five physical senses and become aware of nothing but the entity whose messages I undertake to bring through.» — [DION FORTUNE] separa su método del trance como se lo entiende de ordinario: ni mente en blanco ni voluntad suspendida, sino concentración que excluye los cinco sentidos.

«After this intense concentration has been achieved, and I may say it took years of practice to do it for any length of time, I then still the conscious mind, so that no thoughts arise; meanwhile the entity that is going to communicate formulates his ideas point by point, and these ideas appear to cause images to rise in my subconscious mind in the same way as repressed emotions give rise to dream images; I myself, standing aside, as it were, watch them form and allow them to come through, and so long as I can maintain my mind without thoughts they continue to flow.» — [DION FORTUNE] el resto del procedimiento, con el costo declarado —años de práctica— y la comparación técnica de las imágenes que suben como en el sueño por represión emocional.

«The ideas are presented to consciousness as spoken words, and these spoken words seem to actuate the organs of speech and produce articulation in tones other than mine, though coming from my lips; that which is uttered is written down by the friends who assist me in this work, and is set forth in these pages just as it was received; not a word has been altered or added, only the punctuation has been inserted, and for what it is worth, we offer this teaching to our readers.» — [DION FORTUNE] cierra la descripción del método con lo que decide el estatuto del texto: articulación en tonos distintos del suyo, transcripción por amigos y ni una palabra alterada o añadida salvo la puntuación.

«any information which it was impossible for me to have obtained through the normal avenues, and I must honestly say that I do not think there is anything that could not have been done, given the necessary time, labour and capacity» — [DION FORTUNE] concede lo más costoso para su propia tesis, respondiendo a la pregunta que se hace al final de la plana anterior: nada del libro excede lo que la mente consciente habría podido hacer con tiempo y trabajo.

«the only point which is of evidential value is the effortless speed with which the work was done; I have never had the slightest fatigue in connection with this work.» — [DION FORTUNE] y reduce a un solo punto el valor probatorio que reclama: la velocidad sin esfuerzo y la ausencia de fatiga.

«at one time I regularly analysed my dreams on the night preceding and the night following the reception of these messages; the dreams of the night preceding contained nothing of their concent, but the dreams of the night following were Rill of it, though conscious memory is blank.» — [DION FORTUNE] aporta como dato de interés el análisis de sus propios sueños antes y después de cada recepción; el troceo imprime *concent* por content y *Rill* por full.

«It is my intention to continue to work on these lines, taking as working hypothesis the belief that the teachings received in this way, together with many other experiences for which there is no place in this book, are, broadly speaking, what they claim to be, but bearing always in mind the possibility, nay, the probability, of self-deception.» — [DION FORTUNE] declara su hipótesis de trabajo y la reserva que la acompaña, en la que sube el autoengaño de posibilidad a probabilidad.

«In the preceding pages I have written in terms of psychology, but those who are familiar with the teachings of occult science, whether in the schools of the East or the West, will be able to express the same ideas in another terminology» — [DION FORTUNE] señala que su exposición es traducible a la terminología de la ciencia oculta de Oriente o de Occidente.

«Those who trained me, take pupils. The way to Them is the old, old path of renunciation and initiation; I did not find Them by chance, but followed the track marked out through the Mysteries of all ages and races. By fulfilling the conditions I had to fulfil, others can experience what I have experienced, and I will gladly and freely help them to do so.» — [DION FORTUNE] declara reproducible la vía: quienes la entrenaron toman discípulos, y el camino es el de los Misterios de todas las edades y razas.

«To me, occultism is not only a science and an art, but also a religion; I welcome the co-operation of all who feel towards it as I do. That which I have freely received, I will freely give, but, like the sphinx of old, I have a riddle to ask of those who would follow this Path, and they must answer it correctly before I can show them the Gate. The riddle is - Why do you want to study occult science? It is motive which is the key that unlocks the Gate; those who have discovered within themselves the right motive are possessed of the key; I can show them the whereabouts of the key-hole.» — [DION FORTUNE] define el ocultismo como ciencia, arte y religión a la vez, y pone el motivo —no la aptitud— como llave de entrada, con el enigma de la esfinge por figura.

«Those who read these words may feel that I express first doubt, and then certainty: they are right; I express doubt of the accuracy of my own psychism, certainty of the reality of the Unseen. If I expressed certainty of my interpretation of my subconscious impressions, I should be claiming that which any experienced and honest psychic knows that he cannot claim; if I expressed doubt of the reality of that which I am seeking to interpret, I should belie my sincerest beliefs, my deepest intuitions.» — [DION FORTUNE] distribuye expresamente la duda y la certeza: duda del propio psiquismo, certeza de lo Invisible.

«In all occult work, however, we need to make careful distinction between that which I will call objective and subjective truth. Objective truth is that which falls within the sphere of scientific examination and logical proof; subjective truth consists of an inner experience which is valid for the person who undergoes it, but which he can neither communicate to another, nor prove, unless a changed life and a spiritual radiance of personal magnetism be accepted as proof.» — [DION FORTUNE] la distinción con que ordena todo lo anterior: verdad objetiva es la que cae bajo examen científico, y verdad subjetiva la que vale para quien la vive sin poder comunicarla ni probarla.

«I came to occultism through the study of psychology, realising that there was so much more in the mind than the accepted theories accounted for, but at the same time realising that the psycho-analytical theories definitely accounted for a very great deal; I am obliged as a psychologist to recognise the part played by the subconscious mind in all mystic experience; I am obliged as a psychic to recognise the part played by the Unseen in much psychological experience.» — [DION FORTUNE] declara la doble obligación que asume, como psicóloga reconocer el papel del subconsciente en la experiencia mística y como psíquica el de lo Invisible en la experiencia psicológica.

«I believe the power of the Spirit to be a real and living power originating outside the subconscious, though working through it. These things, however, cannot be/proved/by any scientific method at present known, but truth cannot contradict truth; upon whatever plane they be, the parts of truth must dovetail into each other as accurately as the stones of King Solomon’s temple. If there is discrepancy, it is due to the imperfect apprehension and enunciation of truth, not to any incompatibility of antagonistic truths.» — [DION FORTUNE] pone el poder del Espíritu fuera del subconsciente aunque operando a través de él, y resuelve el choque entre verdades por la vía de la aprehensión imperfecta, con la imagen de los sillares del templo de Salomón que encajan; el troceo imprime *cannot be/proved/by*, con barras.

«It is my belief that when psychology has advanced a little further, and has arrived at that maturity of judgment which comes to sciences, as well as individuals, when their early days are past, it will find a method which shall be as great an advance on psychoanalysis as psychoanalysis is upon introspection, and with that method it will bring the realm of psychic and religious experience within reach of scientific examination.» — [DION FORTUNE] espera de la psicología un método tan superior al psicoanálisis como este a la introspección, que ponga la experiencia psíquica y religiosa al alcance del examen científico.

«It will burn away the dross of delusion and leave us with a residuum of the pure gold of truth. I, for one, am not afraid to trust my most cherished beliefs to such a test; if they are true, they will survive it and be all the purer for the ordeal; if they are false, the sooner I know it the better, so that I may adjust my life to reality rather than await the collapse of my fool’s paradise about my ears. I know that, whatever the truth may be, I have got to face it sooner or later, and I would sooner do it at my leisure than when the sands are running out.» — [DION FORTUNE] y se declara dispuesta a someter a esa prueba sus propias creencias, con la imagen alquímica de quemar la escoria y dejar el oro puro.

«I must, however, ask pardon of both the psychics and the psychologists that I cannot accept either of them at their own valuation. I would say to the psychologists; Do not, in your investigations, start with the assumption that a superconscious experience must be either fraud or delusion; admit as a working hypothesis, that there may be more in heaven and earth than is dreamt of in your philosophy, and that evolution may now be bringing it within reach of human consciousness.» — [DION FORTUNE] reparte la objeción a los dos gremios y le pide al psicólogo que no arranque suponiendo fraude o delirio, sino admitiendo como hipótesis de trabajo que la evolución esté acercando eso a la consciencia.

«There cannot be so much smoke without any fire. The fact that people of all ages and all races have believed in the occult» — [DION FORTUNE] su argumento por difusión histórica, cuya conclusión —que eso prueba algún fundamento en la experiencia humana— cae en la plana siguiente.

«The fact that super-normal experiences continue to be claimed in spite of the advance of science and the repeated exposure of frauds, proves that they have a profound significance for the human mind. Do not forget that the greatest of mankind have given them the weight of their testimony. Socrates and Plato, Jesus of Nazareth and Saul of Tarsus, Joan of Arc and Santa Teresa were neither fools nor knaves. The experiences of the seer are substantially the same, whether they be couched in terms of Western faith or Eastern wisdom. Such agreement of testimony gives a high degree of probability.» — [DION FORTUNE] añade el argumento por testigos —Sócrates y Platón, Jesús de Nazaret y Saulo de Tarso, Juana de Arco y Santa Teresa— y el de la coincidencia entre la fe occidental y la sabiduría oriental.

«To the psychic, I would say, in the words that a great mystic used to a body of his fellow mystics who were certain of the accuracy of their vision, “I beseech you, in the bowels of Christ, think it possible that you may be mistaken”. No one walked by the light of the Spirit more than did Oliver Cromwell, but he addressed these sobering words to his fanatical co-religionists.» — [DION FORTUNE] a los psíquicos les devuelve la frase de Oliver Cromwell a sus correligionarios, pidiéndoles considerar posible estar equivocados.

«I would not only advise, but implore anyone who concerns themselves with the Unseen to study psychology and learn the nature of the mind; they will not find that it disturbs their faith, but rather reveals its rationale.» — [DION FORTUNE] recomienda estudiar psicología a quien trate con lo Invisible, con el argumento de que no perturba la fe sino que la explica.

«Do not think that because a piece of information is obtained in an abnormal way it is bound to be true, any more than a thing is bound to be true because it is printed in a book. Spirit communications seem to have the same authority for some people that the printed word has for the uneducated, who think that a commodity must be good because the advertisements speak well of it. A spirit communication may come from a perfectly genuine spirit, and yet be valueless.» — [DION FORTUNE] niega que el modo anormal de obtener un dato lo garantice, y compara la autoridad que se da a una comunicación espírita con la que el iletrado da a lo impreso.

«Even if a man survives bodily death, dying is not going to cure him of being a fool; if he had no sense on the physical plane, he will not have any more on the astral.» — [DION FORTUNE] la formulación más seca de esa reserva: morir no cura la tontería, y el que no tuvo juicio en el plano físico tampoco lo tendrá en el astral.

«Remember this, moreover, that if, on the strength of a certain sensitiveness, you “feel out” for contacts in the Unseen, you may strike anything.» — [DION FORTUNE] advierte que tantear a ciegas contactos en lo Invisible expone a dar con cualquier cosa.

«persons who would answer you if you repeated the same tactics in the street. If you set your front door open, the kind of person who would come walking in would be more likely to steal the umbrellas from the hall than undertake to instruct you in profound spiritual truths; and so it is with psychism: if you merely set the door of consciousness ajar you are more likely to get unpleasant experiences than spiritual teaching.» — [DION FORTUNE] y remata la advertencia con dos comparaciones callejeras, la del transeúnte interpelado al azar y la de la puerta abierta y los paraguas del recibidor.

«Those great Entities Whom the Theosophical Society has made known to the general public under the name of the Masters, but Who, from time immemorial have been known in the West as well as the East, choose Their pupils for other qualities than curiosity.» — [DION FORTUNE] distingue a los Maestros que la Sociedad Teosófica dio a conocer, y a los que dice conocidos en Occidente tanto como en Oriente desde tiempo inmemorial, de los guías ordinarios; eligen por otra cosa que la curiosidad.

«They are as different from the average “guide” or communicating spirit as is Michael Angelo from a pavement artist, and to find Them, we have to pass through the Strait Gate and tread the Narrow Way.» — [DION FORTUNE] la distancia entre unos y otros la mide con Miguel Ángel y un pintor de acera, y pone la Puerta Estrecha y el Camino Angosto como vía de acceso.

«If you desire to find the Masters Who will train you as They have trained me, for I am not a natural psychic, reach out to Them mentally with steady aspiration, being prepared to make whatever sacrifice is required of you, withholding nothing that you have or are, and you will receive, not mystic experience, but a long and arduous course of training by the difficulties and trials of life, and if you take all these as lessons and try to learn what they have to teach, remembering that Duty is the First Initiator, presently you will find that a new element is coming into your life; it does not come as the fire or the whirlwind, but as rhe still small voice, and it is this still small voice of spiritual intuition that gives the teaching. “Ask, and ye shall receive; seek, and ye shall find; knock, and it shall be opened unto you”.» — [DION FORTUNE] la instrucción práctica con que cierra su introducción, y en ella la aclaración de que no es psíquica de nacimiento: lo que llega no es experiencia mística sino un curso largo y arduo por las dificultades de la vida, con el Deber por primer Iniciador y la voz queda por maestra; el troceo imprime *rhe* por the.

«Communication is performed by telepathy, that is ail. Precisely the same means are used in transferring thought from a discarnate mind to an incarnate mind as are employed in transferring thought between two incarnate minds.» — [UNO DE LOS COMUNICADORES] la segunda introducción, firmada como declaración de uno de ellos, niega que su comunicación sea de otra especie: los mismos medios entre discarnado y encarnado que entre dos encarnados; el troceo imprime *ail* por all.

«Briefly, a thought-form is built by methods we will not enter upon now, and this thought-form is ensouled by a substance from a plane above that upon which it is constructed. This makes it a living thing of its type.» — [UNO DE LOS COMUNICADORES] define el thought-form como construcción a la que una sustancia de un plano superior le da alma, y por eso lo llama cosa viva de su tipo.

«It is then cast off from the aura of its creator, and in the ordinary way will hang about in his atmosphere.» — [UNO DE LOS COMUNICADORES] el thought-form se desprende del aura pero se queda en la atmósfera de quien lo hizo.

«those who can see it will perceive these thought-forms, either embedded in the aura awaiting expulsion, or hovering around like children’s kites upon shorter or longer strings; up to about twelve feet long these strings may be.» — [UNO DE LOS COMUNICADORES] los describe para el clarividente como papalotes de niño sujetos por hilos, con una medida concreta de hasta unos doce pies.

«So much for the undirected thought, to which no attention is paid. Should, however, a thought be conceived in relation to a definite object, then it will have a dual relationship. Firstly to the person conceiving it, and secondly to the object of his thought» — [UNO DE LOS COMUNICADORES] separa el pensamiento sin dirección del concebido con objeto, que adquiere una relación doble.

«Now, as you know, rhythm and geometrical form are closely associated. Thus a note of particular tone produced by vibrating the edge of a disc will cause particles of sand scattered upon chat disc, to arrange themselves along the intersecting lines of force thus generated, and so form patterns.» — [UNO DE LOS COMUNICADORES] el principio físico que invoca es el de las figuras de arena sobre un disco vibrante: el ritmo genera forma geométrica; el troceo imprime *chat* por that.

«So, if the particles composing the body corresponding to that particular plane upon which the thought-form is projected, can be caused to vibrate to the rhythm emitted by chat thought-form, these particles will be arranged along the lines of force thus set up, and the corresponding form created within the vehicle. Into this form the life of the old form passes, the old form falls to pieces and the tenuous thread has then found lodgement within the being of the object of the thought, linking him to the originator of the thought. Thus is thoughttransference done.» — [UNO DE LOS COMUNICADORES] aplica ese principio a la transferencia: la forma se recrea en el vehículo del receptor, la vieja se deshace y el hilo tenue queda alojado en él; el troceo parte *thought-transference* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«It is a simple matter to transfer thought upon the 2nd and 3rd planes, thereby generating moods in the minds of the object of thoughts, these moods being of some duration; but it is a very different matter to transfer thought upon the 4th and 5th planes. The 4th plane is the most difficult of all to work upon, and work can only be done with those individuals who have learnt to detach a portion of their substance and keep it in a loose and unattached condition, so that it can take form in response to impacts from without.» — [UNO DE LOS COMUNICADORES] gradúa la dificultad por planos: en el segundo y el tercero se generan estados de ánimo, y el cuarto es el más difícil de todos y exige un receptor entrenado en desprender parte de su sustancia.

«Moreover, if ideas of any complexity are to be transmitted, it is not enough that simple images should lie loose in the mind awaiting re-combination into composite form, it is necessary that a great and complex variety of images be available.» — [UNO DE LOS COMUNICADORES] y añade el requisito de contenido: no basta con imágenes sueltas, hace falta un surtido amplio y complejo.

«Transmitting images in colour and form upon the second plane may be likened to writing with a phonetic alphabet, but transmitting ideas upon the third plane may be likened to writing with an ideographic alphabet, such as the Chinese» — [UNO DE LOS COMUNICADORES] la analogía con que explica la diferencia entre planos, alfabeto fonético en el segundo e ideográfico a la manera china en el tercero; la frase se completa en la plana siguiente.

«use, where each idea has a corresponding symbol, and unless that symbol be known cannot be written. Thus a Chinese scholar needs to know a very large number of picture-signs if he is to express himself freely.» — [UNO DE LOS COMUNICADORES] y el remate de esa analogía: sin el signo no hay idea que escribir, de modo que el letrado chino necesita un repertorio enorme.

«Now the average uncultured mind that lends itself for the transmission of messages from one plane to another has but few ideographs, and these only relate to the happenings of daily life, therefore only simple messages can be sent through him; but a mind of greater culture and calibre can transmit profounder concepts.» — [UNO DE LOS COMUNICADORES] de ahí deriva que el calibre del médium limita el mensaje: pocos ideogramas, solo mensajes simples.

«To sum up, the mind has to contain a large and varied assortment of ideas, which the communicator causes to combine into new concepts, and it is very rare to find a mind in which there is a large assortment of ideas that is sufficiently fluidic to be used in this way. A well-stocked mind tends to combine its contents into organised complexes, and then the complexes form units which have to be stimulated as a whole and can only function according to their own nature and cannot be re-combined to express new ideas.» — [UNO DE LOS COMUNICADORES] el requisito completo, con su paradoja: una mente bien surtida tiende a organizar sus contenidos en complejos, y un complejo ya no se recombina.

«Thus, supposing a man has strong ideas, shall we say, concerning social reform, this complex can have force poured into it and be caused to function as a whole, and that man will become a great social reformer along the lines of his preconceived notions, but he will not be able to present to the world new ideas concerning social organisation.» — [UNO DE LOS COMUNICADORES] el ejemplo con que lo ilustra: al reformador social se le puede verter fuerza en su complejo, y saldrá un gran reformador, no una idea nueva.

«Now concerning those who transmit the messages. They exist upon all the planes of manifestation, and if an individual have free-moving matter in the vehicle corresponding to any plane, it can be moulded into the forms of that plane. Thus, if he have ears, he can hear upon the physical plane, and equally upon every other plane; it depends entirely upon the presence of this unfixed matter in any vehicle.» — [UNO DE LOS COMUNICADORES] la condición de la percepción en cualquier plano es la materia libre en el vehículo correspondiente, no un don aparte.

«As we have said before, if a man merely thinks concerning himself and his affairs, his thought-forms remain in his own» — [UNO DE LOS COMUNICADORES] el pensamiento vuelto sobre uno mismo se queda en la vecindad del que lo piensa; la frase cierra en la plana siguiente con la atmósfera psíquica.

«immediate neighbourhood and constitute his psychic atmosphere, but if he thinks strongly and persistently of another person, his thought-forms will be projected to that person, and affect him according to his receptivity» — [UNO DE LOS COMUNICADORES] y el pensamiento fuerte y persistente dirigido a otra persona se le proyecta y le afecta según su receptividad.

«and it is with the so-called dead as with the living. For the most part, however, their thoughts concern themselves and remain about them, but should they think strongly and persistently of any person incarnate in the body, their thought will be projected to the neighbourhood of that person in exactly the same way as in telepathy between two living people. Not many souls, however, are successful in transmitting their thoughts, because a certain skill is required.» — [UNO DE LOS COMUNICADORES] extiende la misma mecánica a los llamados muertos, y advierte que pocos lo consiguen porque hace falta destreza.

«Most souls, recently dead, will visualise themselves according to their concept of themselves. That is why the so-called ghost appears to his friends dressed as he was accustomed to be dressed, or the voice which comes through the medium resembles the voice employed by that soul in life. It is only after the soul has long been discarnate that he no longer employs his memory of his physical likeness to build a vehicle of communication but appears rather in formless mist which is interpreted as draperies, and is coloured according to the type of force he works with.» — [UNO DE LOS COMUNICADORES] explica el fantasma vestido como en vida y la voz reconocible del médium por la autoimagen del recién muerto, y describe qué queda cuando esa memoria se pierde.

«Now you have questioned much concerning the nature of the communicators who come to you. They are different entities. They are what they purport to be. Coming in the name of the Lord Jesus Christ, they do not tell you lies about themselves. All the same, communications may vary in accuracy and completeness. In the present case variation is more likely to be in completeness than in accuracy.» — [UNO DE LOS COMUNICADORES] responde por sí mismos a la duda de Fortune: son lo que dicen ser y no mienten sobre sí, pero conceden que lo comunicado puede variar, en este caso más por incompletitud que por inexactitud.

«They impress the ideas in their mind upon the plastic matter in the mind of the medium, and she, to the best of her ability, reproduces chat which is impressed upon her, and, as it were, acts the part of the speaker, reproducing mannerisms as well as ideas, because the transmitter visualises his old personality; in order to make contact with the Earth-plane he visualises himself as embodied in a form and speaking with its lips» — [UNO DE LOS COMUNICADORES] describe a la médium como actriz que reproduce lo impreso en ella con maneras incluidas, porque el transmisor se visualiza en su vieja personalidad para tocar el plano terrestre; el troceo imprime *chat* por that.

«the medium imitates the form as well as reproducing the words, because the impressions are received blended. Thus, the voice is the voice of Irving but the mind is the mind of Shakespeare. A bad actor will interpret the part badly, with his own mannerisms. He will not be able to get away from his own personality, but the great actor will express the author.» — [UNO DE LOS COMUNICADORES] la fórmula que resume el reparto de voces, con Irving y Shakespeare por figuras: la voz es del actor y la mente del autor, y el mal actor no sale de sus propias maneras.

«So in this case, the malleable nature of the material and the power to withdraw part of the entity ensouled, enables a sufficiently detailed and accurate impersonation to occur to enable you to distinguish people by their mannerisms, and the wide range of the mental content enables elaborate combinations of images to be achieved. Transmitters cannot transcend the mental content of a medium; only those ideas already in the mind can be used but they can and do combine them into new patterns.» — [UNO DE LOS COMUNICADORES] fija el límite duro del método, que es el que Fortune después sostiene desde el otro lado: el transmisor no puede exceder el contenido mental de la médium, solo recombinarlo.

«Knowledge falls into two divisions - the record of facts and the explanation thereof.» — [LA VOZ QUE DICTA] la primera distinción del tratado, entre el registro de los hechos y su explicación.

«Knowledge can only consist of that which is present in the mind. That which does not enter the mind cannot be known. Therefore you can only know that which you have senses to interpret to you. As new senses open up, more planes of existence can be known. There is, however, a limit to the knowledge of the finite. Perception ceases at the barrier of manifestation. Of that which lies beyond we can only know by analogy.» — [LA VOZ QUE DICTA] pone el límite epistemológico de toda la obra: se conoce lo que hay sentidos para interpretar, la percepción cesa en la barrera de la manifestación y de lo que hay más allá solo cabe analogía.

«The Unmanifest is pure existence. We cannot say of It that it is Not. Although it is not manifest it Is. It is the source from which all arises. It is the only ‘Reality’. It alone is substance. It alone is stable. All else is an appearance and a becoming.» — [LA VOZ QUE DICTA] define lo No Manifiesto como existencia pura, única realidad y única sustancia estable, frente a la cual todo lo demás es apariencia y devenir.

«Of this Unmanifest we can only say IT IS. IT is the verb ‘to be’ turned back upon itself. IT is a state of pure ‘being’ without qualities and without history. All we can say of IT is that it is not anything that we know, for if we know anything it must be in manifestation for us to know it, and if it is in manifestation it is not unmanifest.» — [LA VOZ QUE DICTA] y lo formula como el verbo ser vuelto sobre sí, con la consecuencia que se autoimpone: poder conocerlo probaría que no es no manifiesto.

«The Unmanifest is the Great Negation; at the same time it is the infinite potentiality which has not occurred. It is best conceived of under the image of inter-stellar space.» — [LA VOZ QUE DICTA] lo llama Gran Negación y potencialidad infinita no ocurrida a la vez, y fija la imagen con que hay que pensarlo, el espacio interestelar.

«In the occult teachings you have been given certain images, under which you are instructed to think of certain things. These images are not descriptive but symbolic, and are designed to train the mind, not inform it.» — [LA VOZ QUE DICTA] aquí, dentro del cuerpo, está la instrucción que la plana 6 imprime como divisa del volumen: las imágenes de la enseñanza oculta no son descriptivas sino simbólicas y sirven para entrenar la mente.

«Therefore you may think of the Unmanifest as inter-stellar space; and of the Logos as a Sun surrounded by His Solar System of Planets and» — [LA VOZ QUE DICTA] y reparte las imágenes maestras, lo No Manifiesto como espacio interestelar y el Logos como Sol con su sistema planetario; la tercera cae en la plana siguiente.

«of the emanations of the Logos as Rays. The Unmanifest is the only Unity. Manifestation begins when duality occurs. The prime duality is ‘Space’ and ‘Movement’.» — [LA VOZ QUE DICTA] la tercera imagen son los Rayos, y con ella la regla de arranque: lo No Manifiesto es la única Unidad y la manifestación empieza con la dualidad de Espacio y Movimiento.

«The first manifestation was a current in space. The metaphor I must use may convey nothing to your mind. All I can say is that space was moving. You will find these clues are a clue to much.» — [LA VOZ QUE DICTA] la primera manifestación es una corriente en el espacio, y la voz declara de entrada que la metáfora puede no decir nada al lector.

«Now when space moves it has this peculiar quality - being frictionless it never loses momentum but continues to flow. When space moves two forces are at work:- (a) The force which causes it to move, being the desire of space for momentum. (b) The force which had hitherto caused it not to move, being the desire of space for inertia.» — [LA VOZ QUE DICTA] el espacio sin fricción no pierde impulso, y en todo movimiento actúan dos fuerzas, el deseo de momento y el deseo de inercia.

«These two factors are present in all motion , but the desire for movement, being the stronger, overcomes the desire for inertia, and the desire for inertia continues as a check upon the movement. Therefore the movement is pulled upon slightly. That is why there is no such thing as a straight line in the Cosmos. All movement therefore has a slight curve in its projection, therefore eventually it returns to the spot whence it started, and forms a spinning ring, (see Fig. 1)» — [LA VOZ QUE DICTA] de ahí deduce que no hay línea recta en el Cosmos: la inercia curva todo movimiento, que acaba volviendo a su punto de partida y formando un anillo que gira.

«This belt spins on one plane for immense aeons of time; spins with a changeless spinning. But its tendency is to communicate its motion to the space about it, which leads more space to flow into the spinning (all this, remember, is metaphor). The spinning in one plane continues until the stresses which it generates evoke a new movement, and a second current in space is set up at right angles to the first,» — [LA VOZ QUE DICTA] el cinturón gira hasta que sus propias tensiones evocan una segunda corriente en ángulo recto con la primera; la propia voz recuerda entre paréntesis que todo esto es metáfora.

«and the same process is repeated. These spinning planes of force may be conceived of as resembling the Rings of Saturn, (see Fig. 2)» — [LA VOZ QUE DICTA] y da la imagen para esos planos giratorios, los anillos de Saturno.

«We have now two spinning planes which, at two points cut each other, and it is worthy of note that the second plane forms outside the first and is therefore larger in diameter.» — [LA VOZ QUE DICTA] anota la diferencia que sostendrá toda la cosmología: el segundo plano se forma por fuera del primero y es mayor.

«For countless aeons these planes spin at right angles to each other, and the whole of evolution turns upon the difference in size between the planes. When the larger has got up to the same speed as the smaller and older, it commences to attract one aspect of it, the consequence being that the older circle is drawn towards the newer. (see Fig. 3)» — [LA VOZ QUE DICTA] y hace de esa diferencia de tamaño el eje de la evolución entera.

«Now the first circle must be conceived of as having an upper and a lower surface. The upper surface of the outflowing arc may be conceived of as positive and the lower as negative. The reverse being the case in the inflowing arc. (see Fig. 4)» — [LA VOZ QUE DICTA] reparte polaridades por superficie y por arco: positiva arriba en el arco de salida, negativa abajo, e invertido en el de retorno.

«These circles are mutually attracting and repelling each other; so that you conceive the upper surface of the outflowing arc of the first circle, being positive, rising up towards its corresponding aspect in the second circle, and the lower circle in the returning arc pressing downwards, so that you get a second movement imparted to the spinning disc. When this secondary movement has completed its first circuit and set up its steady revolution, the new Cosmos is in being. That is the prime beginning of a Cosmos expressed in the nearest approximate metaphor.» — [LA VOZ QUE DICTA] de la atracción y repulsión entre los dos círculos sale el movimiento secundario, y con su revolución establecida queda en ser el nuevo Cosmos.

«The secondary spin of the first circuit is the Ring-Pass-Not, and the circuit of the second formation is that sphere which sets a bound to Chaos. On the outer sphere there is a secondary derivation, and though a spinning circle of motion, represents for that Cosmos, the prime stillness, - the immobility in which it is rooted; - it is the thrust-block of the force of the Cosmos, that which resists, which alone enables momentum» — [LA VOZ QUE DICTA] nombra el Ring-Pass-Not como el giro secundario del primer circuito y describe la esfera exterior como quietud primordial y bloque de empuje del Cosmos; la frase cierra en la plana siguiente.

«to be achieved and you may call it the Ring-Chaos the prime evil. It is evolved from the reaction of the prime force in order to take its thrust. It spins at right angles to the prime spin. It counteracts it. It was the attraction of the Ring-Chaos inducing a secondary spin in the Ring-Cosmos which forms the Ring-Pass-Not.» — [LA VOZ QUE DICTA] y ahí nombra el Ring-Chaos como el mal primordial, evolucionado de la reacción de la fuerza primera para tomar su empuje; fue su atracción la que indujo en el Ring-Cosmos el giro que hace el Ring-Pass-Not.

«Now that movement in the Ring-Cosmos, spinnirig in one plane and rotating while it spins as if upon an axis, sets the bounds beyond which the creatures of that universe cannot pass, even in thought. But this universe is a sphere encircled by two lines of force - the Ring-Cosmos and the Ring Chaos - rotating at right angles to each other.» — [LA VOZ QUE DICTA] el Ring-Cosmos fija el límite que las criaturas de ese universo no pueden pasar ni en pensamiento; el troceo imprime *spinnirig* por spinning.

«The momentum of the Ring-Cosmos is the source of force from which evolution draws its momentum; and the rotation of the Ring-Chaos is the source of force from which dissolution draws its power.» — [LA VOZ QUE DICTA] reparte las dos fuentes de fuerza: el momento del Ring-Cosmos alimenta la evolución, la rotación del Ring-Chaos la disolución.

«Evolution is a thrust from the surface towards the centre. Devolution, or Dissolution is a suction into outer space.» — [LA VOZ QUE DICTA] la definición direccional de ambas: empuje hacia el centro y succión hacia el espacio exterior.

«The Ring-Chaos does not belong to the universe it encircles, but to outer space. That is an important point in connection with it.» — [LA VOZ QUE DICTA] y la precisión que la voz misma marca como importante: el Ring-Chaos no pertenece al universo que ciñe sino al espacio exterior.

«The Ring-Cosmos has its desires turned towards the sphere it encircles. The Ring-Chaos has its desires turned towards the space that encircles it. The Ring-Cosmos seeks to extend the centre. The Ring-Chaos seeks to expand the circumference. The Ring-Cosmos tends to solidify by contraction.» — [LA VOZ QUE DICTA] la tabla de deseos y tendencias opuestas de los dos Anillos: uno mira a la esfera que ciñe y extiende el centro, el otro al espacio que lo ciñe y expande la circunferencia.

«The Ring-Chaos to return to the Unmanifest, whence it arose, and therefore, if its influence were unchecked, to reduce the universe it encircles to nothingness. The Ring-Cosmos, if its influence were unchecked, would be static in the immediate present.» — [LA VOZ QUE DICTA] completa esa tabla desde la plana anterior con la consecuencia de cada Anillo sin freno: la nada por un lado, un presente estático por el otro.

«These two influences are the source of all the force in the Cosmos - The Ring-Cosmos because it concretes - builds up. The Ring-Chaos because it diffuses - never grows.» — [LA VOZ QUE DICTA] las dos influencias como fuente de toda fuerza cósmica, una que concreta y otra que difunde.

«Now these two Rings we will call Good and Evil; Life and Death; Light and Darkness; Spirit and Matter; Being and Not-Being; God and Devil; because each of these potencies has its root in its respective Ring. But let it be clearly conceived that the Ring “Good” and the Ring “Evil” are not good and evil as you understand them, but merely spinning circles of force at right angles to each other, and therefore in opposition, and it is merely the angle of the first to arise which is called “good” and the angle in opposition to the prime plane is called “evil” and it might well be that in another Cosmos the first plane would begin to spin at another angle - the angle of your “evil”, it would still be “good” to its Cosmos, because “good” and “evil” do not depend upon any plane or angle, but are simply relative to each other.» — [LA VOZ QUE DICTA] la redefinición que gobierna toda la ética del libro: los pares Bien y Mal, Dios y Diablo, nombran solo dos círculos de fuerza en ángulo recto, y en otro Cosmos el ángulo llamado mal sería el bien.

«The first force to arise is called “good” because, from it arises the line of force called evolution. All subsequent secondary forces are measured by that standard. In so far as they move in the same angle they are reckoned to be “good”. In so far as they approach to a right angle they are reckoned to be in opposition and are called “evil". Evil is simply that which is moving in the opposite direction to evolution, Evil is that which approaches the plane of movement of the Ring-Chaos and therefore tends to revert to the Unmanifest.» — [LA VOZ QUE DICTA] y el criterio operativo: es bien lo que se mueve en el ángulo de la evolución y mal lo que se acerca al ángulo recto, que es acercarse al plano del Ring-Chaos y revertir a lo No Manifiesto.

«So you can conceive of evil under two aspects:- (a) That which enables you to lock up the forces of good by opposition, and so secure stability - a foot-hold. Evil enables you to get a purchase on space.» — [LA VOZ QUE DICTA] el primer uso del mal: oponerlo al bien para inmovilizarlo y ganar así estabilidad, un punto de apoyo en el espacio.

«Evil, if allowed to function unopposed, is the ‘Scavenger of the Gods’ therefore said the Great One, our Master, “resist not evil”. When you resist evil you lock up good.» — [LA VOZ QUE DICTA] el segundo: sin oposición el mal es el Carroñero de los Dioses, y en esa lectura pone el *resist not evil* que atribuye al Gran Maestro.

«You lock up the force of good which holds the evil inert. This serves no useful purpose, unless you have a superabundance of good which shall stand upon the platform thus formed and leap up from it to greater heights. Therefore it is not enough to meet hate with love - evil with good. This is the course of the ignorant and the reason why exoteric religion has made so little impression in the world. You must hate with hate sufficiently to cause a locking up of the force. You must hate the hate and, having rendered evil inert by opposition, the love can take its stand upon the firm platform and use it as a thrust-block.» — [LA VOZ QUE DICTA] la objeción explícita a la vía exotérica: no basta responder al odio con amor, hay que odiar el odio para bloquear la fuerza y que el amor tenga plataforma.

«Therefore you only oppose evil when you wish to do constructive work - when you wish to make something new. You never oppose the evil when you wish to destroy. You make a vacuum round it. You prevent opposition from touching it.» — [LA VOZ QUE DICTA] la regla práctica que saca de ahí: oponerse al mal solo cuando se quiere construir, y hacerle el vacío cuando se lo quiere destruir.

«Then, being unopposed, it is free to follow the law of its own nature, which is, to join the motion of the Ring-Chaos. It, therefore, passes out to the periphery of the universe until it meets the spin of the Ring-Pass-Not which it cannot get through, but it has gone to a place of such primitive simplicity that it is resolved into its own elements, and these elements are drawn into the attraction of the nearest motion, which is the nature of the Ring-Cosmos, which is the nature of good.» — [LA VOZ QUE DICTA] describe el destino del mal sin oposición: sale a la periferia, choca con el Ring-Pass-Not y queda resuelto en elementos que la atracción del Ring-Cosmos recoge.

«undifferentiated raw material of existence - the first form of manifestation. It ceases to be organised. It ceases to have qualities. It starts afresh at the beginning, transmuted through neutrality into good.» — [LA VOZ QUE DICTA] y el resultado, en vocabulario de transmutación: materia prima indiferenciada, sin cualidades, que vuelve al principio pasando por la neutralidad.

«You are now in a position to know why the mystery of evil is the secret of the initiates, because when you understand evil it is exceedingly useful. But the undisciplined man, if he knew the usefulness and goodness of evil, would use it dynamically on the positive side of its manifestation, not» — [LA VOZ QUE DICTA] la razón que da para que el misterio del mal sea secreto de iniciados: es útil, y el indisciplinado lo usaría dinámicamente por su lado positivo; la frase se completa tras el corte de chunk, en la misma plana.

«statically by availing himself of its negative qualities as does the Initiate,» — [LA VOZ QUE DICTA] y el cierre de esa frase, con el uso estático de las cualidades negativas del mal reservado al Iniciado.

«You see, it is a matter of geometry. That is why numbers are so important, and remember, numbers in occultism refer co the degrees of angles. The degrees of the numbers of White occultism are marked in the Ring-Cosmos. The degrees of the numbers of evil are marked in the Ring-Chaos.» — [LA VOZ QUE DICTA] la clave de lectura de todo el sistema numérico del libro: los números del ocultismo son grados de ángulos, y hay dos series, la del ocultismo blanco marcada en el Ring-Cosmos y la del mal en el Ring-Chaos; el troceo imprime *refer co* por refer to.

«Always think of the number in referring to the degree of an angle of two intersecting lines of force, and remember that when you operate on more than one plane you get the angles of the intersecting of the planes. You will have more instruction about that.» — [LA VOZ QUE DICTA] y la instrucción práctica: el número es siempre el ángulo de dos líneas de fuerza que se cortan, y operar en más de un plano añade los ángulos de intersección entre planos.

«Every plane has three Rings, like the Cosmos. Also you can get intersections between different types of movement like Time and Space. These things will be studied later.» — [LA VOZ QUE DICTA] extiende la estructura de tres Anillos a cada plano y anuncia intersecciones entre tipos de movimiento distintos, como Tiempo y Espacio, que deja pendientes.

«You have found, no doubt, that the teaching is abstruse and unfamiliar. Believe me it is more difficult to give than to receive, for that which is described so greatly transcends the condition upon which language has been built up, that the very images have to be built in your consciousness before they can be evoked by any spoken word.» — [LA VOZ QUE DICTA] la voz declara la dificultad como suya, no del lector: hay que construir primero las imágenes en la consciencia porque el lenguaje no está hecho para lo que describe.

«You have to conceive of the Cosmos, in its primal aspect, as consisting of three spinning movements. All that is nothing but movement - movement in space - pure movement. For the prime movement which gives rise to all that is, commences before there is anything to move. The Cosmos then, is bounded by that movement which is called the Ring-Pass-Not. But besides the Ring-Pass-Not there are movements in two directions. There are the Ring Cosmos and Chaos - good and evil, and they are the sources of the forces which are known to you by these names. But though these forces influence that which is within the Ring-Pass-Not, they cannot pass beyond it.» — [LA VOZ QUE DICTA] el Cosmos primordial es solo movimiento, ceñido por el Ring-Pass-Not; el Ring-Cosmos y el Ring-Chaos influyen dentro de ese límite pero no lo traspasan.

«These three Rings are the three ‘primaries’ of the Cosmos - the first Trinity, that is why the Supreme Being is always conceived of as a Trinity; and three is the fundamental number. Everything in the end is reducible to these three influences. Whatever subsequent stresses arise may be analysed into the balancing of these three forces: (a) The force of the Ring-Cosmos which tends towards the centre. (b) The force of the Ring-Chaos which tends towards outer space. (c) The force of the Ring-Pass-Not which holds the balance between them and prevents either of these forces from» — [LA VOZ QUE DICTA] deriva de esos tres Anillos la Trinidad, el número tres como fundamental y la reducción de todo estrés posterior al balance de las tres fuerzas; el reparto de las tres se completa en la plana siguiente.

«The Ring-Pass-Not, however, is derived from the Ring Cosmos and therefore partakes of its nature rather than of that of the Ring-Chaos. The Ring-Chaos must always be thought of as having its affinity with the outer space of the Unmanifest, and a tendency to return to unmanifestation. It looks towards the past, and ever seeks the conditions of the past.» — [LA VOZ QUE DICTA] el Ring-Pass-Not no es neutral: viene del Ring-Cosmos y participa de su naturaleza, mientras el Ring-Chaos tiene afinidad con lo No Manifiesto y mira al pasado.

«The Ring-Cosmos endeavours to focus, as the Ring-Chaos endeavours to diffuse. The tendency of the Ring-Cosmos is towards the future.» — [LA VOZ QUE DICTA] el par enfoque-difusión y la orientación temporal del Ring-Cosmos hacia el futuro.

«The Ring-Chaos can never build anything, because whatever forces it may originate diffuse, unconfined, into outer space, but the Ring-Cosmos, in conjunction with the Ring-Pass-Not conserves its forces. For the forces which the Ring-Cosmos radiated into that space within its circumference cannot pass out again because they are confined by the influences of the Ring-Pass-Not. Therefore they act and interact among themselves producing ever greater and greater elaboration of influences.» — [LA VOZ QUE DICTA] la razón mecánica de que solo el Ring-Cosmos construya: sus fuerzas quedan confinadas por el Ring-Pass-Not, no pueden salir y se elaboran unas sobre otras.

«Any form of force, when it has reached the maximum momentum of its type of movement, gives rise to the secondary movements which serve to carry off the excess of force which it is generating, for force begets force when moving under frictionless conditions.» — [LA VOZ QUE DICTA] la regla que gobierna toda la serie de movimientos: la fuerza en su máximo genera movimientos secundarios que se llevan el exceso, porque sin fricción la fuerza engendra fuerza.

«The prime activity is MOVEMENT The secondary activity is LIGHT.» — [LA VOZ QUE DICTA] las dos primeras actividades de la serie, Movimiento y Luz, que la voz imprime en versales; la tercera cae en la plana siguiente.

«The third activity is SOUND. The movement of the Ring-Cosmos sets up secondary swirls within the area of its influence, its tendency is to draw more and more space into its spin.» — [LA VOZ QUE DICTA] la tercera es el Sonido, y a continuación el Ring-Cosmos levanta remolinos secundarios y tiende a arrastrar más espacio a su giro.

«It cannot extend itself externally because it is limited by the sphere of the Ring-Chaos, it therefore extends itself internally, so that the spinning belt finally becomes a spinning disc with the centre immobile.» — [LA VOZ QUE DICTA] el Ring-Cosmos no puede extenderse hacia fuera por el límite del Ring-Chaos y se extiende hacia dentro: el cinturón se vuelve disco con centro inmóvil.

«The spinning disc, being rotated by the secondary movement, which is the Ring-Pass-Not, becomes the spinning sphere.» — [LA VOZ QUE DICTA] y la rotación del Ring-Pass-Not convierte ese disco en esfera.

«The interaction of the two forms of movement is naturally neutralising, consequently there is a break-up of the simple movement of the disc into a series of compromises. The chief point of activity ceases to be the circumference and becomes the centre.» — [LA VOZ QUE DICTA] del choque de los dos movimientos sale una serie de compromisos, y el foco de actividad se traslada de la circunferencia al centro.

«Although the Ring-Cosmos, the Ring-Chaos and the Ring-Pass-Not each continue on one plane, and spin in their own place, the synthesis of their movements give rise to a series of revolving radii. These radii are the Rays.» — [LA VOZ QUE DICTA] los Rayos se definen como radios giratorios que resultan de la síntesis de los tres movimientos, aunque cada Anillo siga girando en su propio plano.

«You must conceive of them as a series of spinning rings linking centre to circumference and see:- (a) The influence of the Ring-Chaos in the force which causes the out-going current to flow towards the periphery. (b) The influence of the Ring-Cosmos in the force which causes the current to flow towards the centre. (c) The centre is the synthesis of all the forces and the balancing of them.» — [LA VOZ QUE DICTA] reparte las influencias dentro del Rayo: el Ring-Chaos empuja la corriente hacia la periferia, el Ring-Cosmos hacia el centro, y el centro es la síntesis.

«It will be perceived then that upon the Cosmic plane the Rays give rise to the Central Sun.» — [LA VOZ QUE DICTA] y de esos Rayos deriva, en el plano cósmico, el Sol Central.

«We have now arrived at a point when, in addition co the three great 'primaries’, which are strictly external to the Cosmos they have generated, we have a purely Cosmic movement, the movement of the flowing Rays, the Rays that flow out and return.» — [LA VOZ QUE DICTA] distingue los tres primarios, que declara estrictamente externos al Cosmos que engendraron, del primer movimiento propiamente cósmico, el de los Rayos; el troceo imprime *co* por to.

«Now these Rays, these circular Rays, which are reflected back from the Ring-Pass-Not, must be thought of in pairs, each one being in special association with its opposite number, so that the true movement is a figure of eight, the out-going flow being above in one half of the circle, and below in the opposite half. Herein is a very deep truth closely related co practical occultism. (Fig. 6)» — [LA VOZ QUE DICTA] los Rayos van en pares con su opuesto, de modo que el movimiento verdadero es un ocho, y la voz marca ahí una verdad profunda ligada al ocultismo práctico.

«These new movements set up stresses among themselves which give rise to a series of concentric rings of movement, so that the Cosmos becomes divided up into segments of influence. The movements of the spinning Rays and the concentric circles are known as the ‘Great Secondaries’. There are twelve Rays and seven concentric circles.» — [LA VOZ QUE DICTA] de esos movimientos salen anillos concéntricos que dividen el Cosmos en segmentos de influencia, llamados los Great Secondaries: doce Rayos y siete círculos.

«Within the segments are set up the movements which are known as ‘Tangentials’. The nearest analogy to these is the Brownian movement of atoms. The intersecting of the Rings and the Rays giving rise co angles, and the sharp tangential movement thus occasioned introduces a new factor into the Cosmos.» — [LA VOZ QUE DICTA] nombra los Tangentials y les da por analogía el movimiento browniano de los átomos, nacidos de los ángulos entre Anillos y Rayos.

«You now perceive that we have studied three types of movement: (a) The interaction of the primal Rings. (b) The interaction of the secondary Rays and Circles. (c) The Tangential movements occasioned by the opposition of the angles and the secondaries.» — [LA VOZ QUE DICTA] recapitula los tres tipos de movimiento vistos hasta ahí.

«In these tangential movements the lines of force are continually crossing each other’s paths, being confined to small segments of the Cosmos. Where they cross the Vortex is set up by the opposing influences modifying each others actions. There, instead of proceeding in these slight curves, which give rise co enormous circles, they are deflected into a new movement and gyrating about each other become relatively static, thus setting up a composite unit - two forces which no longer are influenced independently by the attractions of greater forces, but are influenced together. Thus are atoms formed.» — [LA VOZ QUE DICTA] la génesis del átomo: donde dos líneas de fuerza se cruzan se levanta un vórtice y las dos giran una en torno a la otra hasta volverse una unidad compuesta que ya no se mueve por separado.

«I have described the formation of the ’prime atom’. These atoms, acting as units likewise perceive the attraction of the units about them and begin to move in their turn, and the same process occurs again. Atoms in movement meet and gyrate and so the process is continued. The tendency of the Composite atoms is to travel towards the periphery, and of the simple atoms to remain near the centre. It is thus that the planes of Cosmic matter are developed.» — [LA VOZ QUE DICTA] el proceso se repite con los átomos como unidades, y del reparto entre compuestos que van a la periferia y simples que quedan cerca del centro salen los planos de materia cósmica.

«So that, to recapitulate, we have:- 1. The primary movement of the Rings. 2. The secondary movement of the Rays. 3. The tertiary movement of the tangentials within the segments. 4. The quaternary movement of the vortices. 5. The quintecular movement of the composite atoms. You will meet these numbers again.» — [LA VOZ QUE DICTA] la serie completa de cinco movimientos, de los Anillos a los átomos compuestos; el troceo imprime *quintecular*.

«One refers to The Absolute. Two refers to The Manifest. Three “ “ Evolution. Four " “ Form. Five “ “ Life.» — [LA VOZ QUE DICTA] y la clave numérica que promete volver a usar: uno el Absoluto, dos lo Manifiesto, tres la Evolución, cuatro la Forma, cinco la Vida.

«Their revolution, it is, which make the great cycles the days and nights of manifestation. A Day being the time when an aspect of the Cosmos is within what you would call, the positive area of the magnetic field generated by the spinning Rings; and the Night when it is in the negative area.» — [LA VOZ QUE DICTA] los Días y las Noches de la manifestación se definen por la posición del Cosmos en el área positiva o negativa del campo magnético que generan los Anillos.

«By a knowledge of these Cosmic Tides the ‘illuminated’ may avail himself of their forces, hence the power of a knowledge of the Numbers of the Secret Calendar.» — [LA VOZ QUE DICTA] y de ahí sale el uso práctico: quien conoce esas Mareas Cósmicas puede servirse de sus fuerzas, que es lo que da poder a los Números del Calendario Secreto.

«The Tangential forces, within the segments of their interaction, set up vortices, and these vortices are the primal atoms.» — [LA VOZ QUE DICTA] los átomos primordiales son vórtices levantados por las fuerzas tangenciales dentro de sus segmentos.

«You may perceive that in the building of an atom the same laws are at work as enabled the Ring-Cosmos and the Ring-Chaos to build the Cosmos. It is the law of the opposing forces which produce stability.» — [LA VOZ QUE DICTA] la identidad de ley entre el átomo y el Cosmos: en los dos, la estabilidad la producen fuerzas que se oponen.

«The opposing forces, having produced atoms, the atoms themselves become forces, because they move in their turn, and so different types of Tangential reactions occur; movements influenced by more than one attraction. So that, from the simple right-angled movement, produced by a single opposing force, vortices are described of a polyhedronal type.» — [LA VOZ QUE DICTA] los átomos, al moverse, pasan a ser fuerzas ellos mismos, y de las reacciones tangenciales múltiples salen vórtices poliédricos.

«types of crystals to which they give rise upon your plane. (Fig. 11) So that you will get atoms, the Tangential path of whose component forces can be anything from a three sided figure upwards.» — [LA VOZ QUE DICTA] señala los cristales del plano material como forma visible de esa reacción, con trayectorias tangenciales de tres lados en adelante; la frase abre en la plana anterior.

«You must realise clearly that the primal atom consists of two opposing movements which gyrate about each other. These are simply vortices, but the vortices can move through space as a water-spout can move over the ocean, and these vortices can be induced to assume a secondary movement. It is these secondary movements which I refer to as being of an angular path.» — [LA VOZ QUE DICTA] precisa que el átomo primordial son dos movimientos opuestos que giran uno en torno al otro, vórtices que se desplazan como una tromba marina sobre el océano.

«So you will get the different types of atom, which is merely a spinning to the spinning atom, which moves in a triangle; the type which makes a square; the type which describes a five sided figure; and a six sided figure etc.» — [LA VOZ QUE DICTA] la tipología de átomos por la figura que describen, del triángulo al hexágono.

«These atoms attract each other, and can draw together and adhere to each other by means of what, metaphorically speaking, I will call the facets of their orbits. Thereby they can form alliances among themselves.» — [LA VOZ QUE DICTA] los átomos se adhieren por lo que la voz llama, declarándolo metáfora, las facetas de sus órbitas.

«Thus different types of atoms arise in the Cosmos and begin to gather themselves together into composite bodies. Each composite body, as it increases in size increases also its power of attraction, so that the tendency of the Cosmos is to aggregation, and the aggregates form adjustments amongst themselves so that new forces arise periodically. These we shall consider in their turn.» — [LA VOZ QUE DICTA] la tendencia del Cosmos es a la agregación, y cada agregado aumenta su poder de atracción al crecer, con lo que aparecen fuerzas nuevas periódicamente.

«You will perceive that we have now described, in addition to the great Ring forces of the Cosmos, the formation of an infinite number of minute centres of stability of varying types, and the continued organisation of the reactions among these centres.» — [LA VOZ QUE DICTA] recapitula lo construido hasta ahí: sobre las grandes fuerzas de los Anillos, infinitos centros menores de estabilidad y la organización creciente de sus reacciones.

«You will perceive that great phases would be gone through in the course of this evolution, for each new force that arose had» — [LA VOZ QUE DICTA] anuncia las grandes fases de esa evolución; la condición que impone a toda fuerza nueva se completa en la plana siguiente.

«radiate out through the entire Cosmos until turned back in its course by the Ring-Pass-Not, and it would only be after it had returned from whence it arose, and so completed its circle, that it could become a constant influence with the Cosmos.» — [LA VOZ QUE DICTA] ninguna fuerza nueva se vuelve influencia constante hasta haber recorrido el Cosmos entero, rebotado en el Ring-Pass-Not y cerrado su círculo de vuelta al origen; el troceo imprime *co* por to al abrir la frase.

«Within the limits of the Rays and the Circles the newly built atoms would cannon and rebound for aeons before any coordination would be induced among them. But as chance would govern the occurrence of two or more moving parallel to each other, where this occurred their forces would reinforce each other and draw yet more into the orbit of their activity, so that the mere rebound would give place to the ordered recurrence of influences, and therefore to definite paths. There are already worked out in the Cosmos the great lines of force which we call the Rays, and the currents of the Rays would gradually influence the great oceans of rebounding atoms to flow in their track. So that gradually the unco-ordinated forces are co-ordinated into the great tides of the Cosmos, and through meeting their own tangential action, move also with the great tides.» — [LA VOZ QUE DICTA] describe cómo el rebote azaroso de los átomos se ordena: los que se mueven paralelos se refuerzan, y las corrientes de los Rayos acaban arrastrando ese océano a sus cauces; el troceo parte *co-ordination* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«I am now going to put before you a concept which may seem strange to you, but which is the basis of much in practical occultism. At the beginning of these teachings I said to you “space moved”. Whenever a movement has occurred in space the flowing action thus set up remains. Space, when set in motion, never stops flowing because it is frictionless. A force has been generated which remains. This force may be blended with other forces, so that for all practical purposes it ceases to be a separate unit, yet it still retains its original character, and, could you analyse the unit of which it forms a part, you would find it there intact.» — [LA VOZ QUE DICTA] el principio que llama base de mucho ocultismo práctico: el espacio puesto en movimiento no se detiene, y la fuerza generada persiste intacta aunque se mezcle con otras.

«Remember this point, - space, set in motion, flows for ever. Thus supposing, metaphorically speaking, you move your pen across the paper one inch, that movement would give rise to a current in space which would flow in its positive form in one aspect of the movement, and return in its negative form in its other aspect. That would remain,» — [LA VOZ QUE DICTA] lo ilustra con la pluma que recorre una pulgada de papel: el movimiento deja en el espacio una corriente que va en forma positiva y vuelve en forma negativa, y que permanece.

«that movement in space, could discern the action which gave rise to it. This is the basis of memory, and this is the reason that it is easier to repeat a movement which has been performed before, and the more often it has been performed the easier is the repetition, because the momentum of space is cumulative and will avail to carry the movement in its current. You will find this explains much.» — [LA VOZ QUE DICTA] y de ese rastro persistente deriva su explicación de la memoria y del hábito: el momento del espacio es acumulativo y arrastra la repetición.

«You have had spread before you a Cosmos which arose out of space through movement, and which is movement and nothing else; you have seen how the stresses of forces generated by these movements have given rise to an infinite number of vortices, built upon exactly the same principle as the Great Vortex which is the Cosmos, because the same laws hold good upon every scale of manifestation, being laws of relationship.» — [LA VOZ QUE DICTA] el principio de escala del sistema: los vórtices menores se construyen con el mismo principio que el Gran Vórtice porque las leyes son de relación y valen en toda escala.

«You will then see that relationship occurs between the new centres of force thus built, and they tend to form new Cosmoi among themselves, built upon the same principles. Dances of atoms give rise to new Rings-Cosmos and the story begins again. But these new universes, as they are called, while they have the same laws as the Cosmos before described, are also influenced by that framework of the Cosmos which was built before they began, and you will find that this law holds good throughout all manifestation.» — [LA VOZ QUE DICTA] los nuevos centros forman Cosmoi propios con las mismas leyes, pero siguen sometidos al marco del Cosmos anterior, y la voz declara esa ley válida en toda la manifestación.

«The Rays and the Circles are part of the primary movement of the Cosmos. These, together with the Rings, remain constant in the Cosmos and are referred to as the Cosmic currents.» — [LA VOZ QUE DICTA] agrupa Rayos, Círculos y Anillos como lo constante del Cosmos, y les da el nombre de corrientes cósmicas.

«The Vortices are of another nature. The primary movements are circular, the Vortices start as straight movements which, encountering opposition, assume a secondary circular movement.» — [LA VOZ QUE DICTA] separa los Vórtices del resto por su origen: nacen rectos y solo al toparse con oposición se vuelven circulares.

«There is therefore always a pair of forces concerned in the creation of the primal atom, and this fundamental duality extends into all combinations of which the atom is the base.» — [LA VOZ QUE DICTA] de ahí la dualidad fundamental que declara extendida a toda combinación que tenga el átomo por base.

«You will observe that whenever a particular sequence or series of units occur in the rhythmical functioning of a movement, that this series acts as the conditioning frame of whatever subsequent elaborations and combinations may be built up upon that foundation.» — [LA VOZ QUE DICTA] la regla de condicionamiento: la primera serie rítmica queda como marco de todo lo que después se construya encima.

«For instance supposing a prime movement of an atom to be a three-sided tangential, A to B, B to C, and C back to A; whatever secondary movements may arise (and remember this, that movement in a straight line is never maintained after the original impulse dies away) conflicting forces reduce it to a modification of the primal circular, so that the atom, which in its movement originally pursued a triangular course, will finally arrive at a movement consisting of three spirals arranged in a triangle.» — [LA VOZ QUE DICTA] el ejemplo con que la ilustra, y de paso la regla de que ningún movimiento rectilíneo se mantiene tras apagarse el impulso: el átomo triangular acaba en tres espirales dispuestas en triángulo.

«Each spiral movement will be executed under the conditions governing the A - B segment, then the B - C segment, then the C - A segment. Therefore, if you knew what the influences were, you would know the nature of the primary movement underlying the spiral which appears only to the superficial observer. This is the principle underlying Astrology, and this is the reason why the Science of Numbers plays an important part in all practical applications of Cosmic principles.» — [LA VOZ QUE DICTA] aquí funda la astrología y la ciencia de los números dentro de su propio sistema: conocidas las influencias de cada segmento se conoce el movimiento primario que la espiral esconde al observador superficial.

«The prime movement of an atom is a Vortex - nothing else, a mere spinning round a core of motionless vacuum. The atom you have seen described is not a prime atom but an elaborate and complex structure. It is only when the prime atoms combine together that such secondary movements are set up.» — [LA VOZ QUE DICTA] corrige lo dicho antes: el átomo descrito no era el primordial sino una estructura compleja; el primordial es giro puro en torno a un vacío inmóvil.

«Now an atom which is of a triangular structure, can form units with as many other atoms as it has facets. When each facet has become attached to an atom the group is complete and has attained a state of equilibrium of stress within itself. It can no longer grow by accretion but must act as an unit, and can only enter into association with other units of like type whose angles of stress are similar.» — [LA VOZ QUE DICTA] el límite de crecimiento por acreción: completadas sus facetas, el grupo queda en equilibrio y solo puede asociarse con unidades de ángulos de tensión semejantes.

«The vortices, be it noted, first arise in the angles where the Rays converge upon the central stillness. It is the close juxtaposition of forces which set up the secondary currents. Therefore in the sphere which surrounds the central stillness are to be found the primal atoms. These however soon take on the secondary tangential movement and thus form alliances among themselves, as before described.» — [LA VOZ QUE DICTA] localiza el nacimiento de los vórtices en los ángulos donde los Rayos convergen sobre la quietud central, y ahí sitúa a los átomos primordiales.

«As you have already been told, in addition to the movement of the Rays there is the movement of the Circles about the Central Sun. This movement gives rise to centrifugal action, and the atoms tend to swing out towards the periphery.» — [LA VOZ QUE DICTA] el movimiento de los Círculos en torno al Sol Central produce la acción centrífuga que empuja los átomos a la periferia.

«more complex the atom the more strongly will it feel the centrifugal action, so that you will find that the Circles contain atoms of gradually increasing complexity as they succeed one another.» — [LA VOZ QUE DICTA] y de ahí el orden de los Círculos: cuanto más complejo el átomo, más lo mueve la fuerza centrífuga, de modo que los Círculos sucesivos contienen átomos cada vez más complejos.

«These atoms, arising in the angles of the Rdys, when they feel the influence of the centrifugal force, go out along the line of a Ray. Each atom then, has in itself forces of two Rays which set up the primal vortex and then gbes out along the path of one of these Rays.» — [LA VOZ QUE DICTA] cada átomo lleva las fuerzas de los dos Rayos que levantaron su vórtice y sale por uno de ellos; el troceo imprime *Rdys* y *gbes*.

«Evolution upon the Cosmic planes may first be observed as the gradual filling of the circle of space with atoms; infinite aeons passing in the process.» — [LA VOZ QUE DICTA] la primera figura de la evolución cósmica es el llenado gradual del círculo del espacio con átomos.

«Thus the prime atoms occupy circle One. The first form of composites - circle Two; combinations of these composites - circle Three and so on.» — [LA VOZ QUE DICTA] y su reparto por círculos según el grado de composición.

«Now these types of matter, which we may call them, are thus spread in concentric spheres throughout the Cosmos, out to the limit of the Ring-Pass-Not, going out along the lines of the Rays, so that while the first circle contains only atoms of its own type, each succeeding circle has in its atom, interatomic movements representative of each of the inner circles. The construction of the outermost atoms being very elaborate.» — [LA VOZ QUE DICTA] cada círculo sucesivo lleva dentro de su átomo los movimientos de todos los interiores, de modo que los átomos exteriores son los más elaborados.

«When the atoms reach the outermost sphere a fresh force sets in; they have encountered the opposition of the Ring-Pass-Not. I may say in parenthesis, that the atoms of each plane form units among themselves by aggregation, thus an atom, shall we say, of the 3rd plane or circle (they are the same thing in other words, ‘circle’ is usually reserved for the Cosmic) forms union by means of its facets. Anything from a triangular figure upwards of its aggregate atoms, in exactly the same way as previously described in regard to the primal atoms. Therefore the atoms in the outermost circle are an exceedingly complex system of movements within movements.» — [LA VOZ QUE DICTA] al llegar al límite encuentran la oposición del Ring-Pass-Not, y la voz aclara entre paréntesis que plano y círculo son la misma cosa, reservando círculo para lo cósmico.

«Having gone out from the central stillness with a centrifugal force, they are now rebuffed by the Ring-Pass-Not, and, owing to the rebuff, return with a spiral movement. This it is which lends its peculiar formation to the Rays.» — [LA VOZ QUE DICTA] el rebote en el Ring-Pass-Not devuelve a los átomos con movimiento espiral, y de ahí saca la forma característica de los Rayos.

«Having reached the centre they then speed outwards with a straight centrifugal motion along the line of the opposite Ray to the one by which they entered the centre, to return again in the same way, but at a slightly different angle, which will cause them, upon the next outgoing path, to follow the next Ray to the preceding one, and so they work their way round the circle. When repulsed by the Ring-Pass-Not, they make a circular movement upon the plane of the outermost circle, thus feeling its forces from all angles. They repeat this movement upon each plane as they return.» — [LA VOZ QUE DICTA] describe el circuito completo del átomo: sale por el Rayo opuesto al de entrada, avanza de Rayo en Rayo y en cada rechazo recorre el plano entero sintiendo sus fuerzas desde todos los ángulos.

«Now as you have already been told, each movement in space continues as a movement, therefore every influence that plays upon these atoms is registered in the reaction of stresses within their structure, so that each atom returns to the central stillness infinitely more complex after each journey; each Ray, intersecting the circles at a different angle, causes the atom travelling upon its path, to experience different influences on its journey, therefore the final complexity of these atoms, when the complete circuit has been described, though it is capable of mathematical expression cannot be conveyed by the finite intellect.» — [LA VOZ QUE DICTA] cada viaje deja registrada su influencia en la estructura del átomo, que vuelve al centro más complejo; la complejidad final es expresable matemáticamente pero no por el intelecto finito.

«But could you grasp the geometry of these planes, could you know their numerical calculus, you would hold the key to the universe.» — [LA VOZ QUE DICTA] y la promesa que acompaña a ese límite: la geometría de los planos y su cálculo numérico serían la llave del universo.

«These structures are still referred to as atoms, not, as in the case of chemistry, on the hypothesis that they cannot be resolved into any simpler structure, being homogeneous, but on the basis chat, though composite, when once formed they cannot be resolved at all, but are permanent units.» — [LA VOZ QUE DICTA] precisa en qué sentido las llama átomos, distinto del químico: no por indivisibles de origen sino porque una vez formadas ya no se resuelven; el troceo imprime *chat* por that.

«It will thus be seen that the flowing out of the atoms to the circumference and their return to the circle marks a phase of evolution of the Cosmos. And the completion of the circuit of the Rays by an atom marks a phase of evolution of that atom. When it has completed this circuit it has experienced all the forces that the Cosmos can offer it, and when all the atoms evolved have completed the circuit (and the evolution of atoms upon such a tide is limited, because after a certain proportion of force has taken up a tangential form a state of equilibrium is reached within the Cosmos) evolution proceeds from the first movement to a state of uncompensated force until equilibrium is reached - this is the completion of an evolution - a state of equilibrium, and therefore a relative stillness.» — [LA VOZ QUE DICTA] define la fase evolutiva por el circuito completo, y su término por el equilibrio, que llama quietud relativa.

«You will observe that we have now described three phases of Cosmic evolution. The development of the Rings was the first phase. They gave rise to each other, and acted and reacted on each other till a state of equilibrium was reached. Then, though they were static in relation to each other, that is to say though in constant movement within themselves, they maintained their relationship constant towards each other and must continue ever so to do since there is nothing to disturb them.» — [LA VOZ QUE DICTA] la primera de las tres fases descritas, la de los Anillos, que quedan estáticos unos respecto de otros aunque en movimiento interno.

«The Vortices, set up by the movements, however, give rise to secondary movements - the Rays and the Circles - and these, starting upon their respective courses developed them until they also became static in relation to each other, and a second stage of evolution was passed through.» — [LA VOZ QUE DICTA] la segunda fase, la de Rayos y Círculos, cerrada igual en equilibrio.

«These likewise in their turn, gave rise to the tertial move which built the atoms. It will thus be seen that a phase of development is succeeded by a phase of equilibrium during which that which has been developed is maintained, but nothing becomes, its status is unchanged. These stages may be known to you under the names of the Days and Nights of Brahma - the Day of evolution - the Night of static balance - and then the overcoming of one set of forces by another, which causes the balance slowly to dip into manifestation again.» — [LA VOZ QUE DICTA] la tercera es la de los átomos, y con ella identifica la alternancia de desarrollo y equilibrio con los Días y las Noches de Brahma; el troceo imprime *tertial move* por tertiary movement.

«The oversetting of the balance is due to the same forces as set up the primal Rings - the fact that movement generated movement and sets up a sphere of swirl outside its own path. That is why, though every fresh set of forces set in movement must attain to a final equilibrium determined by the factors of their natures, such an equilibrium being only a maintaining of position of movements relative one to another being therefore a relative stillness, must always overbalance and fly out into a new phase of evolution because it is a Cosmos and built of movement - movement generates movement.» — [LA VOZ QUE DICTA] la razón de que ningún equilibrio dure: todo movimiento genera movimiento y levanta un remolino fuera de su propia órbita, de modo que la quietud relativa siempre se desequilibra.

«These having long since completed their evolution, have settled down to a static condition, the only change which occurs being that of the Ring-Cosmos passing through the positive and negative spheres of influences - four to the cycle.These make great phases - the phase when the constructive influence is intensified, and the phase when the destructive influence is intensified.» — [LA VOZ QUE DICTA] el marco cósmico ya está fijo, y lo único que cambia es el paso del Ring-Cosmos por sus esferas positiva y negativa, cuatro por ciclo, que hacen las grandes fases constructiva y destructiva.

«The Circles and the Rays flow steadily in their orbits, but when the positive phase is in being the outgoing currents are speeded up, and when the negative phase is in being the incoming currents are speeded up.» — [LA VOZ QUE DICTA] y el efecto concreto de cada fase sobre las corrientes de salida y de entrada.

«The great Rings - three in number - are the primal Trinity, known to you as the ‘Absolute' though the implication of the word Absolute is known to few. That is to say, the term Absolute has been used by Masters in teaching pupils without the pupils realising its full import. Because there are three Rings the ‘Absolute’ is a triune force.» — [LA VOZ QUE DICTA] identifica los tres Anillos con lo que la enseñanza llama el Absoluto, y anota que los Maestros han usado el término con alumnos que no captaban su alcance.

«These three, operating together with an indissoluble interaction, are the Three which are One and the One which is Three. Refer the terms of the Athanasian Creed to this Trinity and you will grasp the meaning of the Initiate who dictated it.» — [LA VOZ QUE DICTA] y remite el Credo Atanasiano a esa Trinidad, adjudicándolo a un Iniciado que lo habría dictado.

«The Rays form together a complex system which will be referred to under the name Zodiac. The Circles are the Cosmic planes.» — [LA VOZ QUE DICTA] las dos equivalencias que fija: los Rayos son el Zodiaco y los Círculos son los planos cósmicos.

«The Central Sun is that point in space which would be reached if the line from the sun of your system were drawn to the star known as ‘Alpha Centauri’ and thence projected.» — [LA VOZ QUE DICTA] localiza el Sol Central por proyección de la línea que va del Sol a Alpha Centauri: es la única coordenada astronómica concreta que da el tratado.

«When, however, they form alliances among themselves and become composite, their weight, metaphorically speaking, that is co say, their susceptibility to influences is increased, and susceptibility to influences is all that weight is esoterically. That fact forms the basis of levitation and flight through space. Cut off your influences and you can move freely.» — [LA VOZ QUE DICTA] redefine el peso como susceptibilidad a las influencias y de ahí deriva, en una línea, su explicación de la levitación y del vuelo por el espacio; el troceo imprime *co say* por to say.

«When the atoms become composite, centrifugal forces drive them outwards, and, finding the path of the flowing Rays, they proceed by these as being the lines of least resistance. When they reach the next Circle they remain there, having found their level of gravity. Then presently their composite atoms form associations and are again swung out by the path of a Ray. Therefore, you will see that it is only when the extremely elaborate atoms of the 7th Circle form alliances that they start back up the spiral to the Central Sun.» — [LA VOZ QUE DICTA] los átomos suben de Círculo al hacerse compuestos y solo los del séptimo, al aliarse, emprenden el retorno en espiral al Sol Central.

«When an atom, however, has completed the circuit of the Rays and seeks to start out again it finds its place taken by the atoms of later development. It cannot enter that stress for it is full, it must therefore remain in the Central Stillness. No atom goes twice around the Circuit, therefore the Central Stillness grows as evolution proceeds, and those atoms which have come home rest from their pilgrimage.» — [LA VOZ QUE DICTA] la regla que hace crecer la Quietud Central: ningún átomo recorre dos veces el circuito, y el que vuelve ya no encuentra sitio y se queda.

«And when the last atom has come home the whole creation sinks to sleep, and the Cosmic tides set inwards as the Ring-Cosmos swings to its negative phase. Meanwhile the Rays flow and return, and the Circles swing on their path, but the atoms stir not, though each within itself contains an infinitude of balanced movement.» — [LA VOZ QUE DICTA] describe el sueño de la creación entera cuando vuelve el último átomo, con los Rayos y los Círculos aún en marcha y los átomos quietos por fuera y llenos de movimiento por dentro.

«Now the influence of the Ring-Cosmos and the Ring-Chaos must be clearly understood. When the influence of the Ring-Chaos predominates there is an unbalancing force; that is to say, the Ring-Chaos is in its positive plane; and when the influence of the Ring-Cosmos predominates there is a compensating of force, it atones for the excessive force of Chaos. (Fig. 14) Now Chaos calls outwards into space. Cosmos balances and compensates until a static condition is produced.» — [LA VOZ QUE DICTA] reparte los papeles de los dos Anillos en el ciclo: el Chaos desequilibra y llama hacia fuera, el Cosmos compensa hasta producir lo estático.

«We have seen that the first phase of atomic evolution has concluded with all the atoms evolved to their utmost complexity, withdrawn from the outer circles, and clustered round the Central Sun. The Ring Cosmos has done its work. All is balanced, static and sleeps. But as the cycle revolves the Ring-Chaos has its turn and it oversets the balance which has been achieved, and the most composite of the atoms feel first the centrifugal forces urging them and yet again seek to come forth.» — [LA VOZ QUE DICTA] cerrada la primera fase, el turno del Ring-Chaos vuelca el equilibrio y los átomos más compuestos son los primeros en sentir la fuerza centrífuga.

«So the great units come out once more, down the lines of the Rays, but they proceed, not now through empty space, for each circle is populated by these atoms of different degrees of complexity whose relative specific gravity holds them at that distance from the Central Stillness. These composite organisms, finding themselves thus surrounded by inferior organisms, draw them about themselves by the force of their whirling revolution, and thus, as they progress outward, each becomes surrounded by a sphere of the matter of each plane which it carries with it.» — [LA VOZ QUE DICTA] en esta segunda salida el espacio ya está poblado, y los organismos compuestos arrastran consigo, por su giro, una esfera de materia de cada plano que atraviesan.

«Now the great organisms, which come forth are built up around the prime atoms of different tangential angles, and these, according to their numerical compositions, differ in size and also weight, and therefore find their appropriate bourn on different planes or Circles where they are held by their relative specific gravity. The Rays can carry them no further.» — [LA VOZ QUE DICTA] el destino de cada organismo lo fija su composición numérica, que le da tamaño y peso y por tanto el plano donde su gravedad específica lo detiene.

«The first phase of atomic evolution was essentially concerned with the Rays, but in the second going forth with the great organisms, the Circles have their phases, and these great organisms do not go out and back, but revolve with the Circles, each in its appointed track. Therefore evolution has now built up, in addition to the primal statics - the Rings, the Rays and the Circles - two more sets of statics - the atoms, each in its plane according to type, that, owing to their nature, have settled down, having found their specific position; and the great organisms, which have also settled down, each to its radius of movement. The atoms move tangentially among themselves, and the great organisms revolve around the Central Sun, passing through the influence of the Rays as they revolve. These, therefore, are relatively static, subject only to the cyclic changes produced by the phases of the Rings, and the influences of the Rays as they pass through them.» — [LA VOZ QUE DICTA] contrasta las dos fases —la de los Rayos y la de los Círculos— y suma dos nuevos conjuntos de estáticos, los átomos por plano y los grandes organismos por radio de movimiento.

«Each of these great organisms can attract to itself as much of the matter of each plane that it passes through on its way out at the beginning of the second phase of its evolution as it can hold by the attraction of its mass, and it can pass out as far as the momentum of its mass can take it from the Central Sun. Therefore its position is determined by the angles of the facets of the primal atom upon which it was built. That is to say, if the Vortex set up in the angle of the Rays moved in a three-sided path it could go no further than the first plane beyond the Central Stillness, it would have to be a ten-sided figure to reach the seventh plane. You will thus see that each of these great organisms has for its key the number of the angles in the path of the original vortex which gives rise to it. This forms its limit and determines the circumference of its influence. This, it is, which determines its Ring-Pass-Not.» — [LA VOZ QUE DICTA] la clave de cada organismo es el número de ángulos del vórtice original: un vórtice de tres lados no pasa del primer plano y hace falta uno de diez para llegar al séptimo, y eso mismo fija su Ring-Pass-Not.

«We have therefore developed a number of great organisms, which being exposed to the influence of the Rings, the Rays and the Circles, themselves develop upon similar lines. That is to say, each of these aggregates of atoms sort themselves out according to the nature of the atoms composing them; and these atoms having developed under their prime influences,» — [LA VOZ QUE DICTA] esos organismos, expuestos a Anillos, Rayos y Círculos, se desarrollan por las mismas líneas y ordenan sus átomos según la naturaleza de estos; la frase cierra en la plana siguiente.

«and having those influences established in their natures by the action and interaction they set up, form miniatures of the Great Cosmos, and these great organisms, these, that is to say, which are of the seventh plane, are known unto you as Solar Systems.» — [LA VOZ QUE DICTA] y ahí queda la identificación: esos organismos son miniaturas del Gran Cosmos, y los del séptimo plano son lo que llamamos sistemas solares.

«That, in brief outline, is the history of the genesis of a solar system, and of solar systems in general - of your own in particular.» — [LA VOZ QUE DICTA] así cierra la génesis del sistema solar, incluido el nuestro.

«There are many other solar systems upon the seventh plane besides your own. Some of them are known to you as the stars, but the few you know are but an infinitesimal fraction of those, even of your own plane, which you do not know; and there are others upon other planes which are not perceptible to you in your present phase of evolution.» — [LA VOZ QUE DICTA] las estrellas visibles son una fracción ínfima de los sistemas del séptimo plano, y hay otros en planos que la fase actual de evolución no deja percibir.

«You will perceive that each phase of evolution gives rise to a grand unity, which is a unit, though complex. First, the system of the Rings - which is the ‘Absolute’. Then the system of the Rays and Circles, which is the Cosmos. Then the Cosmic atoms, according to their planes. Then the great organisms, which we will call the universes, also according to their planes. You have then, you see, the numerical series. If you will number them you will see how the numbers run.» — [LA VOZ QUE DICTA] ordena en serie las unidades mayores —Anillos, Rayos y Círculos, átomos cósmicos y universos— y remite otra vez a la serie numérica.

«The universes, or solar systems are of the fourth Cosmic phase of evolution. Now these universes undergo internal evolution upon the same lines as the Cosmos, and these phases of internal evolution continue until they also become static within themselves, and their composite atoms flow into the Central» — [LA VOZ QUE DICTA] sitúa a los sistemas solares en la cuarta fase cósmica y les aplica la misma evolución interna, que también termina en estática; la frase cierra en la plana siguiente.

«Then, when once again the influences of the Ring-Chaos break up the Cosmic balances, the great organisms, developed in each solar system, go forth and burst through the Ring-Pass-Not of that solar system and, as satellites, circle round it. Whereupon, the solar system which underwent disintegration, starts once again a new phase of its evolution, whose units are the composite atoms evolved in its previous evolution; passes again through all the phases of evolution, and again flings off the 'star seed’.» — [LA VOZ QUE DICTA] los organismos desarrollados dentro de un sistema solar revientan su Ring-Pass-Not y quedan de satélites, y el sistema arranca otra evolución con los átomos compuestos de la anterior hasta arrojar de nuevo la semilla estelar.

«these great organisms, which are first scattered, are repeating the process, each in its turn, so that the solar systems become, in their turn, Cosmoi to those great organisations to which they gave birth; and so this process, which I will call the stellar evolution, goes on until a static condition is reached among the great organisms and their progeny; and then, the influences of the Ring-Pass-Not, coming into action, a great system is sent back to the Central Stillness to come again forth when the influences of the Ring-Chaos call them out; and such process continues until such time as the organisation of the Cosmos becomes so mighty in the force it has generated, that it bursts the Ring-Pass-Not, and the great organisms rush forth into the Unmanifest, and by their swirling movement gather space about them, and, in their turn build new Cosmoi. Such is the history of a Cosmic evolution.» — [LA VOZ QUE DICTA] la evolución estelar por repetición: cada sistema solar se vuelve Cosmos de lo que engendró, hasta que la fuerza acumulada revienta el Ring-Pass-Not y los organismos salen a lo No Manifiesto a construir Cosmoi nuevos; el troceo imprime *Meanwhjle*.

«You will perceive that each plane of evolution begets an organised system of forces. These forces react to all influences that play upon them, and register the reaction in the movements of the space that is under their influence. They are therefore sentient because they react and register the reaction; and because they register the reaction they develop through experience so that even the three primal Rings are sentient influences, capable of development.» — [LA VOZ QUE DICTA] la razón por la que llama sintientes a los Anillos: reaccionan a lo que los toca y registran la reacción, y registrar es desarrollarse por experiencia.

«But they are so vast, these Rings, and so simple, because the influences which act upon them are so few, that their individuality, though it exceeds the span of all imagination, is exceedingly primitive. Yet it is upon this vast and simple» — [LA VOZ QUE DICTA] los Anillos son sintientes pero de individualidad primitivísima, porque las influencias que los tocan son poquísimas; la frase sigue tras el corte de chunk, en la misma plana.

«type that your individuality is built up. Therefore it is that you, small as you are, have your affinities with these Cosmic Beings and are influenced by their phases from the Absolute down to the atom of your own Earth, which is the Secret Wisdom.» — [LA VOZ QUE DICTA] sobre ese tipo vasto y simple está construida la individualidad humana, y de ahí las afinidades del hombre con los Seres Cósmicos, del Absoluto al átomo de la Tierra, que llama la Sabiduría Secreta.

«For the uninitiated man is acted upon by these forces, but the initiate, by his knowledge, escapes from their influence and uses them for his own ends. Should his ends be those of the Cosmic evolution he grows and develops through all its phases till he attains that static condition which is completeness, and, following the laws of the great organisms of which he is now one, he gives rise himself to a system.» — [LA VOZ QUE DICTA] la diferencia práctica entre no iniciado e iniciado: al primero lo mueven esas fuerzas, el segundo escapa por conocimiento y las usa; si sus fines coinciden con la evolución cósmica, acaba dando origen a un sistema propio.

«I will briefly recapitulate. Motion in space is the prime. When its circuit is concluded it forms the Ring-Cosmos; which gives rise to the Ring-Chaos; which, by its secondary influence, causes the Ring-Cosmos to form the Ring-Pass-Not. This is the Three or Trinity.» — [LA VOZ QUE DICTA] la cadena genética de los tres Anillos, resumida por la propia voz: el movimiento cierra su circuito y hace el Ring-Cosmos, este el Ring-Chaos, y la influencia secundaria de este hace el Ring-Pass-Not.

«The inflowing influences, converging upon the centre, and radiating to the periphery are the Rays - the twelve. The motion of the Cosmos gives rise to the seven - the bands or planes. The converging angles of the Rays give rise to the Tangential motions. These, when in opposition, give rise to the Atoms.» — [LA VOZ QUE DICTA] y el resto del recuento: doce Rayos, siete bandas o planos, y de los ángulos convergentes los movimientos tangenciales que en oposición dan los átomos.

«The Atoms, moving in their turn along the paths of differing angularity, form the complex atoms, which centrifugal force sorts out upon their planes. These finally, in the outermost plane, when they combine again, not being able to go any further, return to the centre. These are called the journeying atoms. The others are the static atoms, because they have settled down. So that you have in the Central Stillness, no atoms but only» — [LA VOZ QUE DICTA] distingue átomos viajeros y átomos estáticos, y deja la Quietud Central sin átomos; la frase cierra en la plana siguiente con las Fuerzas Primordiales.

«Upon the 1st plane you have atoms whose path is a triangular one; therefore the Number upon this plane is based upon 3; the simplest atom presents three aspects, and the most complex is a multiple of three. (Fig. 11) The atoms of the 2nd plane have 4 for their Number, and the 3rd plane have 5, the 4th plane 6, and so on, down to the 7th which has 9. These are referred to as the Secondary Numbers, whereas the number of the Cosmic Forces are the Primary Numbers.» — [LA VOZ QUE DICTA] la tabla numérica de los planos: 3 en el primero y así hasta 9 en el séptimo, que llama Números Secundarios frente a los Primarios de las Fuerzas Cósmicas.

«You have then, as Primaries 1,3,7 and 12; and as Secondaries 3 to 9 inclusive. The Prime Tertiary is 10. Ten is the number of evolution, because it is the atoms of ten angles that evolve.» — [LA VOZ QUE DICTA] cierra el sistema numérico con el Terciario Primero, el diez, que llama número de la evolución porque son los átomos de diez ángulos los que evolucionan.

«You will perceive from the foregoing that the Primaries give rise to each other and have settled down to stability, cycle following cycle in orderly progression. They have completed their course, and have achieved the maximum complexity of which they are capable. Under the influence of their changing phases the secondary movements pursue their courses. The secondary movements obey the laws of their own natures, subject to the laws and conditions of the Primaries. Likewise with the Tertiaries, each plane of existence pursues its course, subject to the influences of that phase which gave rise to it.» — [LA VOZ QUE DICTA] el orden de subordinación entre los tres niveles: cada uno obedece las leyes de su propia naturaleza dentro de las condiciones del que lo engendró.

«For example the Ring-Cosmos passes through its positive and negative phases. The Rays therefore, are sometimes flowing faster upon the negative, and outgoing arc, when the negative phase of the Ring-Cosmos is prevailing upon their segment; and sometimes the inflowing, or positive aspect, is speeded up as their segment of the universe is covered by the positive» — [LA VOZ QUE DICTA] el ejemplo con que lo ilustra, el efecto de las fases del Ring-Cosmos sobre la velocidad de los arcos de los Rayos; la frase cierra en la plana siguiente nombrando la fase del Ring-Pass-Not.

«Each segment of a Ray is influenced by the Circle in whose area it lies. Therefore it will be seen that a Journeying Atom will be subject at a given moment, to the influence of the Ray upon which it is travelling - to the position upon that Ray, (Fig. 6) whether upon the outflowing or inflowing aspect to the plane which it is passing through, and to the phases of the Ring-Pass-Not. Therefore, if you wish to understand the conditions of a given travelling atom it is not enough to know the facets of its path, you must also know the phases of the influences to which its nature is reacting. This is called Sidereal Astrology, but the phases of this Astrology are so vast that they concern only the lives of the solar systems, just as the planetary Astrology concerns the phases of the Planets.» — [LA VOZ QUE DICTA] define la Astrología Sideral por las cuatro variables que fijan la condición de un Átomo Viajero, y la separa de la planetaria por escala: la sideral concierne a las vidas de los sistemas solares.

«The nearest point of contact which you have to Sidereal Astrology is known to you as the Zodiac.» — [LA VOZ QUE DICTA] y da el Zodiaco como el punto de contacto más cercano que tenemos con esa astrología.

«It is obvious then, if you consider the life of a man, you must consider it in relation to the solar system of which he forms a part; and you must also consider that solar system in relation to the Cosmos. Sidereal Astrology will give you the phases of evolution.» — [LA VOZ QUE DICTA] la consecuencia metodológica: la vida de un hombre pide considerar su sistema solar, y el sistema solar pide considerar el Cosmos.

«You see then, that there are atoms of specific types that have settled down permanently upon each plane, and move at constant distances from the Central Stillness, in the same way that a liquid, containing different substances in solution will, if placed in a glass tube and whirled rapidly round at the end of a string, show clearly the sorting out of the component parts of the mixture according to their specific gravity, the heaviest or most composite towards the periphery, so that at the conclusion of the process you can perceive the graduated bands of different types of substance. These atoms have proceeded as far as their nature permits them to proceed in evolution.» — [LA VOZ QUE DICTA] la analogía de laboratorio con que explica el reparto de los átomos por planos: un líquido con sustancias en solución girado en un tubo, que las ordena en bandas por gravedad específica.

«You will perceive that each new phase of evolution achieves that utmost complexity that its factors permit, and then» — [LA VOZ QUE DICTA] toda fase alcanza la máxima complejidad que sus factores permiten; el remate cae en la plana siguiente.

«settles down to a rhythmic repetition of the sequence it has arrived at. The fresh phase of evolution, which begins when the next phase of the Ring-Pass-Not overtopples the stability achieved, starts where the last phase finished, because it already has in its nature all that the last phase has achieved.» — [LA VOZ QUE DICTA] y ahí queda: repetición rítmica hasta que la fase siguiente del Ring-Pass-Not vuelca esa estabilidad, y la nueva arranca donde terminó la anterior porque ya lleva en su naturaleza lo conseguido.

«You see now the significance of the maxim ‘As above, so below’. The Cosmos is the framework upon which all is built up. You start where God leaves off; therefore what was in God is in you, and something of your own which is called free-will, though it is an unsuitable name.» — [LA VOZ QUE DICTA] lee la máxima hermética como enunciado de esa herencia: se empieza donde Dios acaba, y lo que estaba en Dios está en el hombre, más algo propio que se llama libre albedrío y que la voz declara mal nombrado.

«You will remember in the previous lectures that these solar systems arose on different planes of the universe according to their Cosmic specific gravity. That is to say, they start their evolution at different phases of Cosmic development. But you will remember that the outgoing atoms gather up matter from each plane they pass through to build into their universe.» — [LA VOZ QUE DICTA] los sistemas solares nacen en planos distintos según su gravedad específica cósmica, es decir arrancan en fases distintas del desarrollo del Cosmos.

«Those systems which are developed upon other planes than yours I will not deal with in the present course of study, for they are too remote for practical purposes.» — [LA VOZ QUE DICTA] declara fuera del curso los sistemas de otros planos, por remotos para fines prácticos.

«I will consider, however, the phases of development through which the systems pass that originate upon the seventh Cosmic plane, of which your solar system is an example. Let us therefore, trace the life of a particular travelling atom which is to become your sun and attendant system of planets.» — [LA VOZ QUE DICTA] y acota el objeto: la vida de un átomo viajero concreto, el que habrá de ser nuestro sol con sus planetas.

«You will remember that it has been round the circle of the Cosmic Rays and experienced their twelve influences, both positive and negative; and that it has, in its composition, matter of the seven Cosmic planes.» — [LA VOZ QUE DICTA] el equipaje de ese átomo: las doce influencias de los Rayos en sus dos signos y materia de los siete planos cósmicos.

«3 Because it is under the influence of the Rings, 7 Because it has matter of seven types, 12 Because it has been acted upon by the twelve Rays and each of the seven planes of matter will have its particular Number, from 3 to 9 inclusive.» — [LA VOZ QUE DICTA] la firma numérica del sistema solar —3, 7 y 12— más el número propio de cada uno de sus siete planos de materia.

«This, having passed out through the placid planes of Cosmic matter, and taking with it as much as it can draw from each plane, arrives finally at its own plane where an equilibrium is established between the centrifugal and centripetal forces of the Cosmos and its own bulk. It then settles down upon its orbit.» — [LA VOZ QUE DICTA] el átomo se detiene donde su masa equilibra las fuerzas centrífuga y centrípeta del Cosmos, y ahí queda su órbita.

«The Cosmic influences to which it is exposed can be calculated in an orderly sequence, because they are definitely established. It will pass round the twelve Rays, and experience the change of the phases of the Rings, and in addition to this, the influences of the Great Organisms of the other planes will, whenever their orbits happen to bring them near to each other, for they move at different paces upon different planes, influence the matter drawn from that plane in the make up of that system. That is an important point» — [LA VOZ QUE DICTA] esas influencias son calculables por estar establecidas, y a ellas se suma la de los Grandes Organismos de otros planos cuando sus órbitas se acercan, que actúa sobre la materia tomada de ese plano; la voz marca el punto como importante.

«This Great Organism that we are considering has settled down to its orbit, and you can conceive of it as a nucleus of that original travelling atom surrounded by great cloudy, unformed, unorganised belts of matter of the different planes. These are held about it by the attraction of its mass. The limit and the extent of its attraction marks the extent of the system.» — [LA VOZ QUE DICTA] la figura del sistema en formación: un núcleo rodeado de cinturones nubosos y sin organizar de materia de cada plano, y el alcance de su atracción por límite.

«Like all else in the Cosmos, this mass has a rotating movement which is derived from the original central atom.» — [LA VOZ QUE DICTA] y la rotación de esa masa, heredada del átomo central original.

«The movement of that atom within its orbit gradually, in the course of untold ages, flattens out into a spinning disc. Then the motions, which you saw in the formation of the Cosmos, are gone through, because the laws of motion are the same on every plane, and the solar system sorts out its matter into seven planes owing to specific gravity.» — [LA VOZ QUE DICTA] el giro se aplana en disco y repite los movimientos de la formación del Cosmos, porque las leyes del movimiento son las mismas en todo plano, y ordena la materia del sistema en siete planos.

«Hitherto we have looked at the evolution of points of manifestation from without; we will now consider the matter from within, as it appears subjectively to that Cosmic unit of manifestation referred to as a Great Entity.» — [LA VOZ QUE DICTA] declara el cambio de punto de vista de la sección segunda: de la evolución vista desde fuera a la experiencia subjetiva de la Great Entity.

«First, conceive the sensation of a whirling, and no other sensation at all. Conceive yourself becoming so habituated to that whirling that its cessation would occasion a sensation but not its continuance. Conceive a secondary motion developing, perceived at first because of its newness, and losing its stimulative power owing to habituation, as did the primary, and so on, in sequence.» — [LA VOZ QUE DICTA] el ejercicio con que hace imaginar esa consciencia naciente: el giro que solo se siente al cesar, y el movimiento nuevo que también se habitúa.

«You will now perceive that movements that are habitual must be maintained if an absence of distracting sensation, which is the basis of attention, is to be arrived at. Therefore the accustomed movements are implicit in the 'Being’ of that which is based upon them, and when awakening into manifestation it will always seek to establish these motions as the basis of its existence.» — [LA VOZ QUE DICTA] de ahí saca que los movimientos habituales quedan implícitos en el ser que se apoya en ellos, y que este los restablece al despertar a la manifestación; define de paso la atención como ausencia de sensación que distraiga.

«Now cast your mind back over the teaching given you by your previous teacher, and recall the phases of movement to which the Great Entities became habituated in the course of Cosmic evolution which led to their development, and you will see that all these movements have become implicit in their nature and will be reproduced when they, in turn, set out upon that inner elaboration which constitutes the next phase of Cosmic evolution, the phase of the evolution of the Great Entities,» — [LA VOZ QUE DICTA] remite a la enseñanza de un maestro anterior de los oyentes y aplica el principio a las Grandes Entidades: los movimientos a que se habituaron quedan implícitos y se reproducen en su fase propia de evolución.

«bearing in mind that upon whatever plane or Ring of the Cosmos the Entities settle down for a cycle of evolution, the numerical values of the evolution will be determined thereby.» — [LA VOZ QUE DICTA] y la condición que cierra esa frase desde la plana siguiente: el plano o Anillo donde la Entidad se asienta fija los valores numéricos de su evolución.

«Implicit in its nature are all phases of the Cosmos, hence the significance of the Hermetic maxim ‘As above, so below’. Whatever is developed under a certain set of conditions reproduces those conditions in the recapitulation through which it goes prior to the undertaking of original development.» — [LA VOZ QUE DICTA] nombra por primera vez la máxima como hermética y la usa para la regla de recapitulación: lo desarrollado bajo ciertas condiciones las reproduce antes de emprender desarrollo propio.

«The Great Entity then, having this basis of Cosmically evolved factors to work upon, combines and recombines them into the infinite diversity of a manifested universe. Therefore the infinite diversity of a manifested universe can be dissolved into the prime simplicity of the Cosmic beginnings. Each phase or aspect of the universe has its origin in a similar phase or aspect of the Cosmos.» — [LA VOZ QUE DICTA] la diversidad infinita del universo manifestado es recombinación de factores cósmicos y por eso se deja disolver en la simplicidad primordial.

«A Great Entity, having settled down upon its Cosmic orbit, proceeds upon the work of evolution. Having had the Cosmic factors implanted in its nature by it’s experiences, it proceeds to bring them into function independently of the Cosmic impulse of its own momentum, which momentum may be called a Cosmic Will.» — [LA VOZ QUE DICTA] la Entidad pone a funcionar por cuenta propia los factores cósmicos que la experiencia le implantó, con independencia del impulso de su propio momento, que llama Voluntad Cósmica.

«You will perceive that we are still speaking in terms of dynamics. It is not until a high degree of evolution has been achieved that we can speak in terms of psychology, but there is an unbroken line of development from movement to thought. Tangential movement is a simple form of reaction. Thought is an infinitely complex form of reaction. It is a question of difference of degree, not difference of kind.» — [LA VOZ QUE DICTA] la tesis de continuidad que sostiene todo el sistema: del movimiento al pensamiento hay línea ininterrumpida, y la diferencia es de grado y no de especie.

«Fundamentally there is no difference of kind in anything, because all can be reduced to the prime central stillness, but» — [LA VOZ QUE DICTA] la unidad de fondo, que la voz apoya en la reducción de todo a la quietud central primordial; la reserva se abre al final de la plana.

«upon the planes of manifestation there are differences of kind, because the Rays issuing from the Central Stillness diverge as they proceed; and as consciousness is limited in its objective functioning to one plane at a time, a unity of the innermost cannot be conceived save by the consciousness that stands therein, and, as the transition from one plane to another of any Ray or line of force is marked by a subdivision of that Ray, you will perceive that there are differences of kind in manifestation, although there is a fundamental unity.» — [LA VOZ QUE DICTA] y ahí la acota: en la manifestación sí hay diferencias de especie, porque los Rayos divergen al salir de la Quietud Central, se subdividen al pasar de plano y la consciencia objetiva funciona en un plano a la vez.

«Differences of degree are reckoned along the length of the same Ray. Differences of kind are reckoned in the sequence of Rays round the circle. This digression which, strictly speaking, belongs to another section of the subject, is made here to ensure clearness of comprehension in the argument pursued.» — [LA VOZ QUE DICTA] la regla de medida que saca de eso —grado a lo largo de un Rayo, especie en la secuencia de Rayos— y el reconocimiento de que la digresión pertenece a otra sección.

«A Great Entity commences its evolution by developing, not the Cosmic Rings, but the concept of those Rings. That is to say, it puts in motion the memories of the experiences it underwent when that which afterwards condensed into its substance, was part of the primordial swirlings.» — [LA VOZ QUE DICTA] la Entidad no desarrolla los Anillos sino su concepto: pone en marcha la memoria de lo que vivió cuando su sustancia era parte de los remolinos primordiales.

«It knows good and evil, and therefore is a God. It is the knowledge of good and evil which enables it to manifest, because the good is a dynamism, and the evil is a thrust-block.» — [LA VOZ QUE DICTA] la definición funcional de dios que da el tratado: conocer bien y mal, porque el bien es dinamismo y el mal bloque de empuje.

«The Ring-Pass-Not of a universe is the limitation of the attention of the Great Entity forming that universe. It is its determination to concentrate its attention upon the task it has set itself. You get the equivalent in the psychological mechanism of the censor, and in the processes of the concentration of attention.» — [LA VOZ QUE DICTA] traduce el Ring-Pass-Not a términos psicológicos: es el límite de la atención de la Entidad, su determinación de concentrarse en la tarea, con el censor y la concentración por equivalentes.

«A travelling atom, having passed through all the phases of Cosmic evolution up to that of which its production is the crown and completion, makes a final journey to the Central Stillness. Then, by the overbalancing of the equipoise, it issues forth, but with this difference, it has itself become, owing to its development, a centre of attraction. Thereby it draws to itself a certain number of atoms of each plane through which it passes until it arrives at the Cosmic belt which is decreed as its habitation by its own specific gravity in relation to the centrifugal forces of the Cosmic whirlings.» — [LA VOZ QUE DICTA] la diferencia de la salida final: el átomo viajero vuelve a la Quietud Central y sale ya convertido en centro de atracción, y su gravedad específica le decreta el cinturón cósmico que habita.

«In order to achieve the absence of sensation to which the presence and the continuance of habituated reactions in their accustomed ordered sequence alone can give rise, this nuclear atom continues to make its accustomed reactions owing to the momentum of its particles. These actions upon its part induce the corresponding reactions of the loose aggregations of matter from each Cosmic plane that are gathered about it. Thus is built up a miniature Cosmos.» — [LA VOZ QUE DICTA] el átomo nuclear sigue haciendo sus reacciones habituales por el momento de sus partículas, e induce con ellas las reacciones de la materia reunida a su alrededor: así se levanta un Cosmos en miniatura.

«As may be perceived by a little thought, this Cosmos, with the nuclear atom corresponding to the Central Stillness, which, in the larger Cosmos transmuted all reactions, in this, the reflected Cosmos, performs the same function. At the same time the entire organism is subject to the phases of the Cosmic Forces. Its synthetic aspect receiving an impulse during the phases of the Cosmic Day, so called, or those segments of the circle in which the positive or stimulative forces are predominant; and its analytical forces receiving a» — [LA VOZ QUE DICTA] el átomo nuclear cumple en el Cosmos reflejado la función de la Quietud Central en el mayor, y el organismo entero recibe impulso sintético en el llamado Día cósmico; la frase cierra en la plana siguiente.

«stimulus when passing through those segments of the circle in which the negative forces predominate. Likewise, as it passes through the sphere of influence of each Ray, will the corresponding forces of its own nature receive an additional stimulus.» — [LA VOZ QUE DICTA] y ahí las fuerzas analíticas reciben su estímulo en los segmentos negativos, mientras cada Rayo estimula al pasar la fuerza correspondiente de la naturaleza propia del organismo.

«You may conceive, then, this great organism travelling round a circle which is divided into four quarters - positive and negative alternately - and in addition to this each quarter is subdivided into the spheres of influence of three Rays. You have now the key to the so-called Days and Nights of Brahma, and to the periods of evolution; but, as this great organism we are now considering is itself a miniature Cosmos, you will perceive that a more speedy cycle will be performed within its own nature.» — [LA VOZ QUE DICTA] la figura completa: círculo en cuatro cuartos alternos, cada uno subdividido en tres Rayos, y ahí pone la clave de los Días y las Noches de Brahma, con un ciclo interno más rápido dentro del organismo.

«In addition to these influences there is another set of influences to be considered. These influences being the gravitational attractions of other great organisms upon other planes of the Cosmos.» — [LA VOZ QUE DICTA] añade la atracción gravitatoria de los grandes organismos de otros planos.

«The relations between one great organism and others upon its own plane are fixed and determined before evolution commences, and, being constant, need not be considered. But the revolutions of Great Entities upon other planes of the Cosmos are conducted at different paces and without relation to those Entities of other planes than their own. Therefore they will pass in line with each other periodically, momentarily blocking the pull of the central attraction upon those organisms further out than themselves, and also exerting a gravitational attraction upon all particles of their own plane and planes above their own, in the mass of a great organism on an outer path.» — [LA VOZ QUE DICTA] las relaciones dentro de un plano son fijas y no cuentan; lo que cuenta son los cruces entre planos, que bloquean momentáneamente la atracción central y ejercen la suya.

«This cutting off temporarily of the central attraction upsets the equilibrium of the outer organism, removing the centripetal check upon the centrifugal force, but the tendency of certain types of molecules to fly inwards towards the attracting body tends to counterbalance this.» — [LA VOZ QUE DICTA] el efecto de ese bloqueo sobre el equilibrio del organismo exterior, y lo que en parte lo compensa.

«will of the nuclear atom of that organism is to maintain constant the habitual conditions which have become the law of its nature. The habituated conditions it may be said, in parenthesis, are those sequences which man discovers and christens ‘Natural Laws’.» — [LA VOZ QUE DICTA] la definición de ley natural que da el tratado: las condiciones habituadas que la voluntad del átomo nuclear mantiene, y que el hombre descubre y bautiza así.

«Likewise the forces of the Cosmos tend to maintain equilibrium compensating each other, but there occurs, nevertheless, at irregular intervals, conditions which require compensation, and these give rise to varying degrees of irregularity in the movement of Great Entities, and hence to the presence of positive evil, sin and disease within their spheres.» — [LA VOZ QUE DICTA] y de las irregularidades que aún piden compensación deriva la presencia del mal positivo, el pecado y la enfermedad dentro de las esferas de las Grandes Entidades.

«The Cosmos itself has to strive to attain adjustment at the commencement of each phase of its evolution, and the irregularities which occur before adjustment is effected, and which have to be pulled straight in the course of evolution, are the origin of this evil, in the sense in which the word is used popularly. Cosmic evil is a limitation, an opposition, and is the prime condition of manifestation.» — [LA VOZ QUE DICTA] distingue el mal cósmico, que define como limitación y oposición y condición primera de la manifestación, del mal en el sentido popular, que sitúa en los desajustes del comienzo de cada fase.

«This Cosmic evil, the Divine evil, the Divine death, is implicit in each Great Entity, and is the basis of its manifestation and evolution. For without limitation, finiteness, there can be no manifestation, and without death or discarding of the outworn, there can be no progress.» — [LA VOZ QUE DICTA] y su razón: sin limitación no hay manifestación, y sin muerte ni descarte de lo gastado no hay progreso.

«These elements then of Cosmic opposition are always present in a manifested universe; but universal evil, under its two aspects of sin or perverted force, and disease or perverted form, are due to the irregularities of orbit caused by passings of great organisms upon different planes of the Cosmos. These are always found in their extreme form at the beginnings of an evolution, and are generally adjusted in the course of an evolution as compensations are made, until, at the end of an evolution, a perfect and rhythmical balance of the whole Cosmos has been achieved - a synthesis of action and reaction which maintains stability.» — [LA VOZ QUE DICTA] separa esa oposición cósmica permanente del mal universal en sus dos formas —pecado como fuerza pervertida, enfermedad como forma pervertida—, que atribuye a los cruces entre planos y declara ajustable en el curso de la evolución.

«You may conceive of the Cosmos as extended in space and in time. Bur when you come to consider a Great Entity, its parts or aspects are not extended in space or time, but are implicit in its nature as habitual reactions which are made whenever and wherever the appropriate stimulus is forthcoming. Therefore, all the phases of Cosmic evolution - The Rings, the Rays and the Planes - occupy neither time nor space in the organism of a Great Entity, but are implicit in its nature. This is the fourth dimension - the dimension of the implicit nature of the nuclear atom, which determines the nature of the manifested universe which it projects.» — [LA VOZ QUE DICTA] define la cuarta dimensión como la naturaleza implícita del átomo nuclear: en la Gran Entidad, Anillos, Rayos y Planos no ocupan tiempo ni espacio sino que están implícitos; el troceo imprime *Bur* por But.

«We have seen then, that the travelling atom builds itself a form of Cosmic substance out of the matter of the seven Cosmic planes; and this form, of which the nuclear atom with its habituated reactions is the ensouling life, is subject to the influences enumerated.» — [LA VOZ QUE DICTA] recapitula el resultado: una forma de sustancia cósmica de los siete planos, con el átomo nuclear y sus reacciones habituadas por vida que la ensalma.

«We have now, you will perceive, traced two phases of evolution, the Cosmos phases, and the more rapid recapitulation of the phases of the development of a Great Entity; and we have studied that Great Entity in its relation to the Cosmos which is its environment, and to the Central Stillness which is the compensation of all forces of the Cosmos, which is its God. We will now consider the life of a Great Entity in relation to the universe of which it is itself the God - the Creator - the Conditioner - and the Sustained» — [LA VOZ QUE DICTA] cierra las dos fases estudiadas y anuncia la siguiente, la Gran Entidad como Dios, Creador, Condicionador y Sostén de su propio universo; el troceo imprime *Sustained* por Sustainer.

«You will perceive that a Great Entity comes out from the Central Stillness and takes its place upon its appointed circuit, and conducts its organisation under the influence of the negative or destructive phase of the Cosmos, and this may seem strange to you, that creation should take place under the influence of a destructive phase of the Cosmos, or any other organisation which, by overbalancing the synthesis of farces achieved in a phase of evolution, causes them to embark upon a fresh phase of development in order to re-establish their harmony; and as they commence this phase with the» — [LA VOZ QUE DICTA] plantea como extraño su propio punto: la creación ocurre bajo la fase destructiva del Cosmos, porque es el desequilibrio de una síntesis lograda lo que fuerza una fase nueva; el troceo imprime *farces* por forces, y la frase cierra en la plana siguiente.

«experience of the preceding phase implicit in their nature, they commence where the last phase ended. They climb upon its shoulders; and thereby evolution arises to a greater complexity, for it has now become an organisation of organisms. You will see this principle prevailing throughout all things, great and little, above and below, it is one of the Cosmic principles, and one little known, if known at all.» — [LA VOZ QUE DICTA] el principio de acumulación: cada fase se sube a hombros de la anterior y la evolución pasa a ser una organización de organismos, principio que la voz declara poco conocido.

«Likewise the phases of development during which a Great Entity organises itself are internal and therefore subjective. They are not carried out under the stimulus of sensations derived from external conditions, but under the stimulus of feelings arising from internal conditions, and the phase corresponding to the phase of existence which a human soul passes through between death and birth.» — [LA VOZ QUE DICTA] las fases de autoorganización de la Gran Entidad son internas y subjetivas, y las equipara a lo que un alma humana atraviesa entre la muerte y el nacimiento.

«This phase, having been completed, a Great Entity, having arrived at the greatest degree of organisation which it is capable of with the conditions at its disposal, can go no further. Being organised throughout, each part is affected by, and responds to, changes in any other part. It is therefore fully conscious, for consciousness is but awareness, and awareness is but reaction to a stimulus.» — [LA VOZ QUE DICTA] la definición de consciencia que sostiene el tratado: la Entidad plenamente organizada es plenamente consciente porque consciencia es conciencia y conciencia es reacción a un estímulo.

«The conditions of its nature, being habitual in their sequence, no longer give rise to conscious stimuli. The Great Entity has therefore a consciousness, but nothing of which it can be conscious except itself. The Cosmos, be it noted, being entirely habitual to this Entity, forms the conditioning background of its consciousness, which is comparable to the human sub-consciousness of the automatic level.» — [LA VOZ QUE DICTA] y su límite inmediato: al ser habituales sus condiciones, la Entidad tiene consciencia y nada de que ser consciente salvo ella misma, con el Cosmos por fondo comparable al subconsciente automático humano.

«It has then created, by the sensations of its own nature, a concept of itself, of which it is aware. Here then, is a novel sensation, and it dwells upon it. This is the self-consciousness of a Great Entity.» — [LA VOZ QUE DICTA] la Entidad crea, con las sensaciones de su propia naturaleza, un concepto de sí de que es consciente: eso es su autoconsciencia.

«This is a creation. ‘And God made man in His own image and likeness *. A universe is a concept in the mind of a Great Entity. It is created by the self-contemplation of a Great Entity.» — [LA VOZ QUE DICTA] la formulación central del libro sobre la creación: un universo es un concepto en la mente de una Gran Entidad, creado por su autocontemplación, y ahí encaja el versículo del hombre hecho a imagen y semejanza.

«The consciousness of a Great Entity then, being aware of this image of itself as a whole, next becomes aware of the changes in the proportions of the forces of its own nature caused by the influences through which it passes, thus giving rise to fresh concepts concerning itself, and these concepts are added to the existing complex, conditioning it historically. These are the different outflowings of creative force concerning which you have heard.» — [LA VOZ QUE DICTA] la Entidad advierte después los cambios de proporción de sus propias fuerzas al pasar por las influencias, y esos conceptos nuevos se añaden al complejo y lo condicionan históricamente: son las emanaciones de fuerza creadora.

«This teaching concerning the subjective and the objective aspects of a Great Entity is the key to the doctrine of pantheism, which is a half-truth, as generally understood. For a Great Organism holds in its memory the Cosmic conditions although It itself does not contain the Cosmos of which it is a part. Likewise the mental picture of itself projected by a Great Entity reflects that Great Entity in its entirety, being the product of perfected consciousness, but it is not that Entity of which it is the emanation, though it is entirely conditioned by the nature and experiences of that Entity, having no other origin and being exposed to no other influences whatsoever, for it has no other existence save in the consciousness of the Entity conceiving it, therefore it is not affected by Cosmic conditions, being of another order of creation to the Great Entities which are the fellows of its Creator, and all of which, in course of time, project their concepts of themselves.» — [LA VOZ QUE DICTA] llama al panteísmo media verdad y da la razón: la imagen proyectada refleja entera a la Entidad pero no es la Entidad, no está expuesta a otras influencias y pertenece a otro orden de creación que las Entidades hermanas de su Creador.

«It is, however, affected by the Cosmic phases because the Great Entity, which is the basis of its existence is affected by them. It is this fact that secures a universe from disturbance and permits of no intervening influence intruding in the relations between it and its Creator and Sustainer - its God.» — [LA VOZ QUE DICTA] y el corolario que le importa: el universo sufre las fases cósmicas solo por su Entidad, y nada puede interponerse entre él y su Creador.

«Its God., therefore, is omnipotent as far as it is concerned, though Himself conditioned by the conditions of the Cosmos. Its God is infinite as far as it is concerned, because He is ‘all that is’ to it. What He is not, is not, as far as it is concerned. But He Himself is finite in relation to the Cosmos, which is» — [LA VOZ QUE DICTA] la omnipotencia y la infinitud de ese Dios son relativas a su universo: lo que Él no es, no es, para ese universo, mientras Él mismo es finito respecto del Cosmos; la frase cierra tras el corte de chunk, en la misma plana.

«infinite as far as He is concerned, being all that is for Him, though itself finite in relation to the Unmanifest.» — [LA VOZ QUE DICTA] y la escala se repite un peldaño más arriba: el Cosmos es infinito para Él y finito respecto de lo No Manifiesto.

«Omnipotence means free from the influences of any conditioning power. Infinite means the sum total of the influences towards which an organism is capable of reacting.» — [LA VOZ QUE DICTA] las dos definiciones operativas con que cierra: omnipotencia es estar libre de todo poder condicionante, e infinito es la suma de influencias a las que un organismo puede reaccionar.

«A universe, then is a thought-form projected by the mind of God.» — [LA VOZ QUE DICTA] la fórmula que resume el capítulo, con el mismo término técnico de la Introduction II: el universo es un thought-form proyectado por la mente de Dios.

«As we have already seen, a Great entity projects its concept of itself. This, however, is not the beginning of objectivisation in a universe, though dealt with first in the order of instruction in order to make that which follows more comprehensible; for the Great Entity, when it projects the image of itself found substance of the same nature as the projection, awaiting the organisation which that projection should bring about.» — [LA VOZ QUE DICTA] corrige el orden de exposición: la proyección del concepto no es el principio de la objetivación, porque la Entidad encontró ya sustancia de la misma naturaleza esperando organización; el capítulo abre citando Génesis I.2.

«It will be recalled that the Great Entity gathered about itself atoms of each Cosmic plane, out of which it formed its body. These atoms themselves are Entities, though of a lesser degree of development than the Great Entity of which they form a part. Being of lesser development the full recapitulatory growth is achieved earlier. Each atom, having realised itself, has created a concept of itself. These concepts, projected by the atoms, are not atoms, but so many units of knowledge of ways in which reaction is possible. They are not, therefore, sorted out into concentric belts, because there is nothing in them upon which gravitation can act. They are merely forms of reaction.» — [LA VOZ QUE DICTA] los átomos del cuerpo de la Entidad son ellos mismos entidades menores que completan antes su recapitulación, y sus conceptos proyectados no son átomos sino unidades de conocimiento de modos posibles de reacción.

«Now the consciousness of a Great Entity is not aware of the individual reactions of its atoms, any more than the consciousness of the cells composing its body. Therefore, when it seeks to conceive an image of itself it has to take the reactions of the different types of atoms in their respective aggregates, and is dependent upon the atomic concepts for the creation of the necessary atomic images.» — [LA VOZ QUE DICTA] la Entidad no percibe las reacciones individuales de sus átomos, como no se perciben las células del propio cuerpo, y por eso depende de los conceptos atómicos para formar su imagen.

«Therefore, the Great Entity has to create its concept of itself in objective substance, and is» — [LA VOZ QUE DICTA] la Entidad tiene que crear su concepto de sí en sustancia objetiva; la limitación que eso le impone cierra en la plana siguiente.

«therefore limited and bound by conditions of the nature of the already created images which it utilises. Thus the atoms, by conceiving their own images, perform the primal act of creation.» — [LA VOZ QUE DICTA] la consecuencia que la voz no atenúa: queda atada por las imágenes ya creadas que utiliza, y el acto primero de creación resulta ser de los átomos.

«The first act of creation proceeds from the body of God, and is but a mass of unorganised units. “Darkness was upon the face of the deep”. These units having no organisation, and consequently no relations among themselves, could not attain to objective consciousness, but as soon as the concept of the Great Entity, based upon its Cosmic experiences, became projected, it organised them into relationships, and they then became conscious of each other - became affected by each other.» — [LA VOZ QUE DICTA] lee las tinieblas sobre la faz del abismo como esa masa de unidades sin organizar, que solo al proyectarse el concepto de la Entidad entran en relación y se hacen conscientes unas de otras.

«It will thus be seen that the cosmic atoms created the atoms of each prime sub-plane of manifestation, and that the atoms thus created by being brought into relationship each with its own kind by action of the Great Entity, developed into subplanes.» — [LA VOZ QUE DICTA] los átomos cósmicos crearon los de cada subplano primordial, y la puesta en relación por la Entidad los desarrolló en subplanos; el troceo parte *sub-planes* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«The prime atom of each plane then, has a direct relationship with its corresponding plane of Cosmic substance, and consequently is influenced by the Great Entities upon that plane. Hence there is always a certain opposition to the Great Entity of a universe on the part of the atoms which form its matter. This is a very important point.» — [LA VOZ QUE DICTA] de esa relación directa entre el átomo y su plano cósmico saca una oposición permanente entre el Logos de un universo y los átomos de su propia materia, y marca el punto como muy importante.

«We have seen then - first the projection of the atomic concepts; then later, the projection of the Great Entity’s concept of itself which organises those atoms into a miniature Cosmos which is called a universe in these papers to distinguish it from that stage of existence which gave rise to its parent and Creator.» — [LA VOZ QUE DICTA] recapitula el orden real —primero los conceptos atómicos, después el de la Entidad— y declara por qué estos papeles llaman universo a lo así organizado.

«You have heard in previous lectures how the atoms, or units of manifestation of a universe, are formed; and also how the currents and tides of Divine Power are set flowing through them, so that an exact replica of the Cosmos is formed in miniature, the correspondences being exact, save that the cycles of a universe, moving in a smaller radius, have a more rapid rhythm. (Note, that a rhythm is but a series of repetitions).» — [LA VOZ QUE DICTA] el universo es réplica exacta del Cosmos en miniatura, con correspondencias exactas salvo el ritmo, más rápido por el radio menor; el capítulo abre citando el Espíritu de Dios sobre las aguas y el fiat lux.

«Two phases of logoidal evolution have been outlinedra) The phase of the development of the matters of an universe. (b) The phase of the development of the Tides and Rays, The one is the raw material out of which an universe is made. The other is the skeleton - the framework upon which it is built.» — [LA VOZ QUE DICTA] las dos fases logoidales ya vistas, materia y marco: una es la materia prima del universo, la otra su esqueleto; el troceo parte *outlinedr- a* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«We have then, enormous quantities of atoms differentiated only into planes, and sub-planes of planes. Seven distinct types and seven sub-types of each type.» — [LA VOZ QUE DICTA] el inventario del material en ese punto: siete tipos y siete subtipos de cada uno.

«We will now consider the third phase of logoidal evolution. At the beginning of an evolution the Logos is alone in that sphere which is afterwards to become its universe. It is conscious only of itself, for there is no object in existence within that sphere of which it can be conscious.» — [LA VOZ QUE DICTA] la tercera fase arranca con el Logos solo en su esfera, consciente solo de sí porque no hay objeto.

«It will thus be seen that the Logos reverses the order of the psychologist’s concept of the evolution of consciousness, having first Cosmic consciousness, then self-consciousness, and then objective consciousness.» — [LA VOZ QUE DICTA] y el punto que la voz subraya frente a la psicología: el Logos invierte el orden, va de la consciencia cósmica a la autoconsciencia y solo al final a la objetiva.

«The Logos then, is now aware that a thought-form has been projected from its consciousness into its aura. For, under one aspect, the universe may be conceived of as the aura of God.» — [LA VOZ QUE DICTA] la imagen con que fija esa relación: el universo puede concebirse, bajo un aspecto, como el aura de Dios.

«This consciousness of an object produces a reaction in the Logoidal consciousness. There is a subject-object adaptation, and this adaptation produces a corresponding modification in the reflected universe which becomes capable of an objectsubject reaction. Thus a relationship, or reciprocity, is established between the Logos, or Great Entity, and that projected image of the Logoidal consciousness which is the incipient universe» — [LA VOZ QUE DICTA] de la adaptación sujeto-objeto sale una reciprocidad entre el Logos y su propia imagen proyectada, que es el universo incipiente; el troceo parte *object-subject* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«It must not be thought, however, that the Logoidal consciousness is limited to awareness of its objectified universe. The Logoidal focused consciousness, or conscious consciousness, is thus limited. For a focused, or conscious consciousness, can only be built up out of awareness of, and reactions to, objects.» — [LA VOZ QUE DICTA] acota lo anterior: lo limitado al universo objetivado es la consciencia enfocada del Logos, no su consciencia toda.

«But the logoidal sub-consciousness is aware of the Cosmos and the consciousness is influenced by the sub-consciousness which is its basis and background; and as the Cosmic Tides ebb, flow, and move round the Circle, the corresponding aspects of the Logoidal sub-consciousness are stimulated by their influences, and the sensations thus engendered in the Logoidal consciousness are forthwith incorporated in the self-projection, which is the universe, and the conscious consciousness of the Logos perceives them there, so that an infinite series of reactions, and modifications of reactions, proceeds. At first in broad and simple movements, but gradually multiplying into an inconceivable complexity.» — [LA VOZ QUE DICTA] el subconsciente logoidal sí percibe el Cosmos, y las sensaciones que las Mareas Cósmicas le producen se incorporan al universo, donde la consciencia enfocada las vuelve a encontrar: de ahí una serie infinita de reacciones.

«All these modifications influence the atomic matters of the incipient universe, and determine their nature and characterise them. It is these characterisations that are subsequently» — [LA VOZ QUE DICTA] esas modificaciones caracterizan la materia atómica del universo naciente; la frase cierra en la plana siguiente.

«discovered by man as Natural Laws, or observed sequences. Thus are the natures of things determined. They are built into them by the Logoidal reactions to the conditions of its Cosmic environment, and these modifications are constantly proceeding. They do not endure for a phase and cease, but continue as long as the atomic sub-planes to which they correspond, are in existence. Thus an elemental evolution proceeds apart from the evolution of Life and Form as we know it.» — [LA VOZ QUE DICTA] y ahí queda la definición: las Leyes Naturales son esas caracterizaciones, construidas por las reacciones logoidales al entorno cósmico, y de ellas sale una evolución elemental aparte de la de la Vida y la Forma.

«You have perceived in the course of these lectures that each phase of evolution, whether Cosmic or Logoidal, starts with a new type of action or reaction; and every possible variation is worked out by adding the possibility of reaction to the reactions already established.» — [LA VOZ QUE DICTA] la regla que gobierna la sucesión de fases: cada una arranca con un tipo nuevo de acción o reacción y agota sus variantes sobre lo ya establecido.

«It resembles the possible number of changes that can be rung upon a chime of bells, and the addition of a bell to a chime makes possible a great increase in the number of variations which can be performed. Thus each new factor evolved increases the complexity of manifestation, and when the utmost diversity, of which the factor renders the universe capable, has been arrived at, that phase of evolution has reached its maximum development, and there is a pause in the process while the Logoidal consciousness perceives what has taken place, and sees that it is good and by absorbing it into Its consciousness affects a new reaction, which reaction is, in its turn, projected into the manifested universe; so that evolution resembles a series of duplicating mirrors wherein the consciousness of the Logos projects its own image; becomes aware of, and reacts to, the image thus projected; and the reaction affects the projection, and so the circle is everlastingly revolving.» — [LA VOZ QUE DICTA] la analogía del repique de campanas, y con ella la figura de los espejos que se duplican: el Logos proyecta su imagen, reacciona a ella y la reacción modifica la proyección, sin término.

«You will perceive that the Logos, or subject, has become aware of an object; that object being a reflected projection, or replica, of the subject.» — [LA VOZ QUE DICTA] el objeto del que el Logos se hace consciente es una réplica proyectada de él mismo.

«Awareness of an external object on the part of the subject must be reproduced as a corresponding reflection of consciousness in the object, so that the object is equally capable of awareness of an external object. But the object, being of a different order of manifestation to the subject,» — [LA VOZ QUE DICTA] el objeto adquiere a su vez conciencia de un objeto externo, pero es de otro orden de manifestación que el sujeto; la frase cierra en la plana siguiente.

«cannot be aware of the subject but can only be aware of itself, and of the influences which proceed to it from the subject.» — [LA VOZ QUE DICTA] y el límite que eso impone: el objeto no puede percibir al sujeto, solo a sí mismo y a las influencias que le llegan de él.

«Hence the saying that “No man hath at any time seen God”. God cannot be seen by any unit of the manifested universe during a manifestation. He can only be deduced.» — [LA VOZ QUE DICTA] ahí encaja el versículo joánico: Dios no puede ser visto por ninguna unidad del universo manifestado durante una manifestación, solo deducido.

«The objective awareness is not confined to any one point of the manifested universe, but is a diffused awareness, around what may be conceived of as the Central Ring - metaphorically speaking - or to use more precise but more abstract terms; those types of atoms that most nearly resemble the atoms of the Cosmic Centre, that are of the simplest type and least bound by complexities, form the basis of the awareness.» — [LA VOZ QUE DICTA] localiza esa conciencia objetiva no en un punto sino difusa, en los átomos más simples y menos atados por complejidades, los más parecidos a los del Centro Cósmico.

«But let it be clearly understood that the awareness is not atomic reaction, but it is entirely of the ‘force’ or ‘life’ side of things. It is a modification of the Logoidal consciousness, not the projected atomic consciousness. It is the first reaction in a universe which is related to that universe alone, and does not originate in and return to, the Logos. A subject has appeared in the object.» — [LA VOZ QUE DICTA] y la precisa como modificación de la consciencia logoidal, no de la atómica: la primera reacción que pertenece al universo solo, sin volver al Logos.

«Consciousness may be defined as reaction plus memory. That is to say, an action takes place in a particular type of substance and that reaction produces a secondary reaction in another type of existence, which is related to the first in the same way as the atoms of universes are related to the atoms of a Cosmos, or the form of a universe is related to the consciousness of the Logos.» — [LA VOZ QUE DICTA] la definición que da nombre al capítulo: consciencia es reacción más memoria, con la reacción secundaria en otro tipo de existencia.

«That is to say, the subject conceives ideas concerning itself, and these react among themselves, and the reaction - to use a metaphor - leaves a track in space round which the movement of its reaction continues to flow as pure movement apart from actual transition in space of the objects which perform the movement.» — [LA VOZ QUE DICTA] retoma el principio del espacio que fluye: la reacción deja una pista por la que el movimiento sigue corriendo, ya sin traslación de los objetos.

«That flowing of pure movement in space is Memory - the reproduction of an image of an action in another plane of manifestation; and consciousness is built out of memory, as distinguished from awareness, which is a form of reaction» — [LA VOZ QUE DICTA] define la memoria como ese fluir de movimiento puro y separa consciencia de conciencia: la primera se construye de memoria, la segunda es reacción entre dos planos.

«It will thus be seen chat the form, or framework upon which the universe is built, has been made the basis of a third type of manifestation - the manifestation of auto-reactions.» — [LA VOZ QUE DICTA] y el resultado del capítulo: el armazón del universo pasa a servir de base a un tercer tipo de manifestación, el de las autorreacciones; el troceo imprime *chat* por that.

«You will recall that, in the teaching concerning the nature of a Great Entity, it was explained that consciousness was due to the complete reciprocal reactions of all aspects of the factors and capacities for reaction that had been developed in the course of a Cosmic evolution.» — [LA VOZ QUE DICTA] recuerda de dónde sale la consciencia de una Gran Entidad: de la reacción recíproca completa entre todos los factores desarrollados en una evolución cósmica.

«Consciousness is an integration of reactions, so that any change in any part is responded to by the corresponding adjustments of the whole. It is a principle of compensation that is involved, and this all-inclusive compensatory adjustment may be termed the basis of Cosmic Personality.» — [LA VOZ QUE DICTA] define la consciencia como integración compensatoria de reacciones y hace de ese ajuste la base de lo que llama Personalidad Cósmica.

«In its earliest phases it constitutes the synthesis of the latent reaction-capacity of an Entity. It is essentially a set of relationships, not of mechanics, and is therefore abstract, but with the development of external objects that affect the Entity new influences are brought to bear upon the compensatory adjustments, and the new compensatory reactions are thus called into play.» — [LA VOZ QUE DICTA] en su fase primera es abstracta, un juego de relaciones y no de mecánica, hasta que los objetos externos traen influencias nuevas.

«We then distinguish two levels of consciousness:- (a) The basic consciousness of the inherent constitution. (b) The compensations evoked by environmental influences. A Great Entity, then, starts by evolving a basic nature, projects its own image; and its awareness of that image, in its multifarious aspects, builds up the second aspect of its consciousness. These two phases correspond to those» — [LA VOZ QUE DICTA] los dos niveles: la consciencia básica de la constitución inherente y las compensaciones que evoca el entorno; el nombre de cada uno cae en la plana siguiente.

«aspects of a soul known as the Individuality and the Personality. An Individuality (or Higher Self), whether of a Great Entity or of the microcosmos which is man, is that series of organised reactions which reached an equilibrium in the preceding phases of evolution. Those phases, having passed away, nothing of them remains but the capacities for reaction that have been acquired by that Entity. An Individuality then, is a set of stereotyped reactioncapacities.» — [LA VOZ QUE DICTA] esos dos niveles son la Individualidad y la Personalidad, y define la Individualidad o Yo Superior, lo mismo en la Gran Entidad que en el microcosmos que es el hombre, como el juego de capacidades de reacción estereotipadas que quedó de las fases anteriores; el troceo parte *reaction-capacities* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«A Personality is that set of reaction-capacities which the addition of a new factor in evolution has made possible. Individuality and Personality, then, refer to the stages of development and have a historical significance. They refer to Time, not to Form. That which is the Personality today will be part of the Individuality tomorrow.» — [LA VOZ QUE DICTA] y la Personalidad como lo que un factor nuevo hizo posible, con la aclaración de que los dos términos remiten al Tiempo y no a la Forma: la Personalidad de hoy es Individualidad mañana.

«A Great Entity, then, builds up its first Personality out of its reactions to the Cosmic Phases. It becomes conscious of the Self thus developed when reciprocal action of all its aspects is established.» — [LA VOZ QUE DICTA] la primera Personalidad de una Gran Entidad se hace de sus reacciones a las Fases Cósmicas.

«That consciousness, which it thus develops, is itself an existence, objective to the mind conceiving it. As soon as consciousness has focused it as a thought-form, it is created and exists on its own account, and has become an object of consciousness; and in this thought-form thus created, the same interplay of forces is set up which, in the Cosmos, gave rise to the Great Entities, and the process continues.» — [LA VOZ QUE DICTA] esa consciencia, una vez enfocada como thought-form, existe por cuenta propia, y dentro de ella se repite el juego de fuerzas que en el Cosmos dio las Grandes Entidades.

«As the Cosmos is reproduced in miniature in the great Company of Entities, by means of which its evolution is now proceeding, so the thought-form projected by a great Entity in its turn gave rise to Entities. But these Entities begin their evolution at the point which the Great Entity which projects» — [LA VOZ QUE DICTA] el thought-form proyectado engendra a su vez Entidades, que arrancan donde llegó la que las proyecta; la frase cierra en la plana siguiente.

«them has reached at the time of their projection. For, just as the Great Entity has, latent in itself, all the phases of the Cosmos, so have they latent in themselves, all the capacities of the Great Entity.» — [LA VOZ QUE DICTA] la herencia se transmite entera hacia abajo: como la Gran Entidad tiene latentes todas las fases del Cosmos, las Entidades que proyecta tienen latentes todas las capacidades de ella.

«We see then in this projected thought-form of a Great Entity which we call a universe: - 1. The atoms, projected by the Cosmic atoms, drawn into the orbit of that travelling atom which became a Great Entity. 2. The lines of force and flowing currents, which are the projected consciousness of that Great Entity. 3. Out of the co-ordinations established by these second-type forces of the atoms, we get the setting up of currents of pure movements in space, which are the analogue’s of the first movement in space which gave rise to the Ring-Cosmos. Thus evolution runs its cycle and returns upon a higher arc to the door by which it issued forth.» — [LA VOZ QUE DICTA] el inventario de los tres componentes del universo, y en el tercero la figura del ciclo: la evolución vuelve, en arco más alto, a la puerta por la que salió.

«It is these currents of pure movement (to be clearly distinguished from the transition in space of any object) which form the basis of consciousness in the projected universe. As before stated, action and reaction do not constitute consciousness. It is reaction plus memory which is the basis of consciousness. And the currents in space in pure movement are the basis of memory because, being frictionless because substanceless, they persist.» — [LA VOZ QUE DICTA] insiste en la distinción entre corriente de movimiento puro y traslación de objetos, y en que la memoria persiste por ser sin fricción y sin sustancia.

«We have then, action and reaction of manifest actions, and the persistence of the reflection of that reaction in a state which, relative to the plane upon which the reaction took place, is unmanifest. Hence the saying that “Out of Chaos issues Creation”.» — [LA VOZ QUE DICTA] la reacción persiste en un estado que, respecto del plano donde ocurrió, es no manifiesto, y ahí encaja el adagio que cita.

«The Unmanifest has been organised. Something exists which did not exist before. Creation has taken place. These reactions speedily affect each other and so become organised among themselves, and this reciprocal reaction is the basis of personality. Thus the first development of consciousness in a universe is one great and comprehensive Oversoul.» — [LA VOZ QUE DICTA] la primera consciencia de un universo no es individual sino una sola Oversoul comprensiva, nacida de reacciones que se organizan entre sí.

«The tracks of reaction which were developed in the Oversoul by action on the plane of the atoms, form invisible ruts which, when any atom crosses their track, cause it to follow that course until such time as the attraction, or pressure of other influences overcome that influence.» — [LA VOZ QUE DICTA] las huellas de reacción quedan como surcos invisibles que desvían al átomo que los cruza hasta que otra influencia lo saca.

«Try and conceive of the first movement of an atom scoring a rut in ‘force’; other atoms getting caught in this rut, and following its curve for a time, then breaking away to follow the impulses of their own nature and other atoms taking their place.» — [LA VOZ QUE DICTA] el ejercicio con que lo hace ver: un átomo abre surco en la fuerza y otros quedan atrapados en él por un tiempo.

«And again conceive the process as viewed from the plane of the atoms, you would perceive the myriads of atoms engaged in their tangential dance, and from time to time you would perceive an atom suddenly change the mode of its action, pursue the new mode for a time, as if captive under the influence of some invisible compulsion, and then break away and return to its original mode of motion. If then, you examine the rut again, you would find it has been worn deeper and the next atom would be held longer before it broke away, and in addition to the path determined by the rut, each atom dances with a movement of its own, the movement of the atom would produce modifications in the rut, and with each atom that it caught and forced to follow its path for a time, the rut would be modified.» — [LA VOZ QUE DICTA] la misma escena desde el plano atómico, con la reciprocidad que le importa: el surco se ahonda y retiene más, y cada átomo que pasa lo modifica.

«This is the first and simplest phase of the soul and the body. The tracks formed in space by gyrating atoms, catch other atoms and produce secondary movements, and the track grows in consequence. The atoms which form these tracks are analogous to the Travelling atoms of the Cosmos.» — [LA VOZ QUE DICTA] identifica esa mecánica de surcos como la fase primera y más simple del alma y el cuerpo, y equipara los átomos que los abren a los Átomos Viajeros del Cosmos.

«You have already been told that movement of any object leaves a track in space. The object comes to rest, but the movement, as apart from the object, continues as pure movement.» — [LA VOZ QUE DICTA] repite el principio que va a usar para la mente: el objeto se detiene pero el movimiento sigue, separado de él.

«It is pure movement - movement in the abstract - which gave rise to the Cosmos. This movement gave rise eventually to the locked-up nodes of opposing forces, which are the prime atoms. It is the movement of these atoms which forms the basis of manifestation. Manifestation, as you know it, is associated with the movement of objects, but Life - Mind - God - are abstract, and they are based upon pure movement unconnected with any object.» — [LA VOZ QUE DICTA] separa la manifestación, ligada al movimiento de objetos, de lo que llama Vida, Mente y Dios, que declara abstractos y fundados en movimiento puro sin objeto.

«You will recall that, in the evolution of the Cosmos, the similar types of atoms settled down upon their planes, but a more complex type of atom could not settle down, because their greater bulk caused them to re-act with a corresponding force to the centrifugal forces of the Cosmos, and instead of being held upon the 7th plane by the synthesis of forces, continued their outward path till they struck against the Ring-Pass-Not and were sent back to the Central Stillness.» — [LA VOZ QUE DICTA] recuerda por qué los átomos complejos no se asientan: su masa reacciona con más fuerza a lo centrífugo, salen hasta el Ring-Pass-Not y vuelven rebotados.

«Likewise in a universe, the atoms appropriate to each plane drew their tracks in space, and because there is no persistence of action, they are mutually cancelling. These tracks form the elemental essence of each plane. But these atoms which are too complex in structure to settle down upon a plane, having gone out to the uttermost plane, return thence, not to a Central Stillness, but to a central point of unmanifestation, where the Unmanifest wells up and becomes Manifest. That is to say, that at that phase of developing manifestation wherein new aspects of the Logoidal consciousness are being realised, these travelling atoms find their nearest affinity.» — [LA VOZ QUE DICTA] las huellas de los átomos asentados hacen la esencia elemental de cada plano y se cancelan entre sí, mientras los átomos viajeros vuelven no a una Quietud Central sino a un punto de no manifestación donde lo No Manifiesto se hace Manifiesto.

«You will recall that it was previously said that the movement of an object leaves a track of pure movement in the Unmanifest, and remember that the Cosmic state is unmanifest when viewed from the standpoint of a universe. The Logoidal images therefore, have to pass from a Cosmic to a manifest condition, and in that transition they pass through a phase which is identical with that state of existence of the tracks in space drawn by the movement of an object. Therefore, being of the same nature, they can influence the tracks in space thus drawn.» — [LA VOZ QUE DICTA] la razón de que las imágenes logoidales puedan tocar esas huellas: al pasar de lo cósmico a lo manifiesto atraviesan un estado idéntico al de las huellas, y siendo de la misma naturaleza las influyen.

«These tracks in space are always of the nature of a closed figure - like the tangential atom tracks - and as the different Logoidal concepts are externalised, these atom tracks are influenced by them, and so reproduce in miniature the Logoidal Phases.» — [LA VOZ QUE DICTA] las huellas son figuras cerradas y, al externalizarse los conceptos logoidales, reproducen esas fases en miniatura.

«So that you can conceive great numbers of travelling atoms returning to the creative centre, and being, as it were, bathed in the influences of the Logoidal ideas.» — [LA VOZ QUE DICTA] la imagen del baño: multitudes de átomos viajeros que vuelven al centro creador y quedan bañados en las ideas logoidales.

«These Logoidal ideas, of course, are building the framework of the universe, and so creating a huge replica of the Great Entity which is itself a replica of the Cosmos. But within that universe, being tracks in space of the travelling atoms not the atoms themselves, are also replicas of the Logos i.e. (tracks in space and air for the reasons given).» — [LA VOZ QUE DICTA] la cadena de réplicas: el universo replica a la Gran Entidad, que replica al Cosmos, y dentro del universo las huellas de los átomos viajeros son a su vez réplicas del Logos.

«So that you have, upon the 7th plane of a universe, gathered about the creative centre, great numbers of two-natured entities:- (a) A travelling atom which, because it has passed out through all the planes, has experienced the reactions of all the planes and therefore can react in each of these respective ways when subjected to the stimuli which produce that reaction. (b) You have also, in addition to this atomic body, the track in space it describes in its atomic dance. This track it has in common with all other atoms, but in the case of a travelling atom which has returned to the central creative point, this track in space is impressed with the Logoidal image, and this distinguishes it from, what may now be called, the inanimate atoms.» — [LA VOZ QUE DICTA] describe las entidades de doble naturaleza del séptimo plano: un átomo que puede reaccionar como todos los planos, más una huella en el espacio impresa con la imagen logoidal, que es lo que lo distingue del átomo inanimado.

«These atoms have come under the influence of the Logoidal self-consciousness, and their tracks in space have been caused to re-act to that image by the sympathetic induction of vibration, so that they have become miniature reflections of the Logos. Whereas they themselves have merely generated a tangential track of movement which had a simple rhythm of the repetition of that circular movement. They have imparted to them, by the Logoidal vibrations, the same rhythm as the Logos is vibrating to.» — [LA VOZ QUE DICTA] el mecanismo es de inducción simpática de vibración: la huella pasa de un ritmo circular simple al mismo ritmo del Logos, y así se vuelve reflejo suyo en miniatura.

«Now remember that a repetition of circular movements gives rise to a rhythm, and that such a vibration is simply the impacting of a rhythm of one plane upon the substance of another. The Logoidal rhythms therefore, set the travelling atoms of an universe that experience their influence, vibrating to the same rhythm.» — [LA VOZ QUE DICTA] define la vibración como el impacto del ritmo de un plano sobre la sustancia de otro.

«Thus it is that the travelling atoms of an universe contain the potentialities of reaction of which the nature of the Logos is capable. That is to say, that the Logos, or Great Entity, in the course of its Cosmic evolution, has acquired certain types of reaction. These are built into composite rhythms, and the» — [LA VOZ QUE DICTA] los átomos viajeros contienen las potencialidades de reacción de la naturaleza del Logos, adquiridas por este en su evolución cósmica; la frase cierra en la plana siguiente.

«composite rhythms are built into great chords. These chords are series of rhythms within rhythms - loops upon loops, to use another metaphor. It is these composite rhythms that are impressed upon the travelling atoms of the universe when they approach that phase of existence where the Unmanifest is coming into Manifestation and, by the development of their own nature, are able to contact that which is relatively unmanifest to their phase of existence.» — [LA VOZ QUE DICTA] la escala musical del sistema: tipos de reacción que se componen en ritmos y los ritmos en grandes acordes, ritmos dentro de ritmos, que se imprimen en los átomos viajeros al acercarse a la frontera de lo No Manifiesto.

«The concrete movement of an atom sets up an abstract movement-pure motion. Pure motion is the characteristic of the Cosmos, and therefore is of the same type of existence as a Great Entity, or Logos. So that, each moving atom in the universe, by its movement, creates a counterpart of itself, of the same type of existence as that which forms the Cosmos. Therefore of the same nature as the Logos of its universe, and therefore capable of reciprocal reaction with that Logos.» — [LA VOZ QUE DICTA] el argumento por el que cada átomo en movimiento crea un doble de sí de la misma especie que el Cosmos, y por tanto capaz de reaccionar recíprocamente con el Logos.

«But the atoms of the planes, having settled down upon their planes, do not come into direct contact with the Logoidal Mind in its realisation of concepts. But the travelling atoms, because they have not settled down upon the planes, have not become bound to their own forms - are not stabilised - and therefore return to a primitive condition after they have reached a highly evolved state, and the forces of that primitive condition cannot influence them, as they can the atoms of their own plane.» — [LA VOZ QUE DICTA] y la razón de que solo los viajeros lleguen a la Mente Logoidal: por no haberse asentado no quedaron atados a su forma y vuelven a una condición primitiva que ya no los sujeta.

«These travelling atoms, then, have escaped from the laws of the manifested universe, which bind into forms (for the universe itself is a thought-form) and are therefore exposed to the same laws which condition the Logoidal nature, and therefore receive an identical impress to that which the Cosmos has imprinted on the Logos. "And God made man in His image and likeness”.» — [LA VOZ QUE DICTA] los átomos viajeros escapan a las leyes que atan en formas —el universo mismo es un thought-form— y reciben el mismo impreso que el Cosmos dejó en el Logos, que es donde vuelve a poner el versículo de la imagen y semejanza.

«Having received this imprint, these atoms proceed to gather about themselves other atoms, because the track in space, having had a definite rhythmical circular motion impressed upon it, and no longer performing a cannoning tangential Brownian movement, sets up a vortex, and the vortex draws other atoms into the sphere of its movement and holds them gyrating about it.» — [LA VOZ QUE DICTA] con el ritmo circular fijo en lugar del movimiento browniano, la huella levanta un vórtice que arrastra otros átomos.

«Then you have this condition, an atom, the reflection of a Cosmic atom, which is too complex to settle down upon a plane of manifestation, returns to the centre, having developed, by its movement, a circuit of pure motion which is of a Cosmic type of manifestation. Its Cosmic aspect is stamped with a Logoidal image, tuned to the Logoidal rhythm by the process described, and this abstract aspect of the atom, being thus conditioned with qualities, causes its concrete aspect to move with a circular rhythm of a corresponding type. And this circular rhythm, being thus held constant, as distinguished from the tangential movements of the atoms of the planes, sets up a vortex, and the atoms about it are drawn into that vortex.» — [LA VOZ QUE DICTA] recapitula el proceso entero en una frase: el aspecto abstracto del átomo queda sellado con la imagen logoidal y eso obliga a su aspecto concreto a un ritmo circular constante que hace vórtice.

«These three aspects are: (a) The Sparks of Cosmos, or Divine ensouling Spirit, which was first described as a track in space described by the atom. (b) The atom, which is the beginnings of a vehicle and is known to you as the seed-atom. (c) The atoms of the 7th plane drawn into the orbit of the seed-atom and constituting its 7th plane body.» — [LA VOZ QUE DICTA] y el reparto en tres que queda como resultado: la Chispa del Cosmos o Espíritu que ensalma, el seed-atom que empieza a ser vehículo, y los átomos del séptimo plano que forman su cuerpo.

«We have traced the development of a three-part unit of evolution, and you will see that three is again the number of manifestation - three Rings to the Cosmos - three aspects of an universe - and also three factors to a unit of consciousness.» — [LA VOZ QUE DICTA] el tres vuelve como número de la manifestación en los tres niveles: Anillos del Cosmos, aspectos del universo y factores de una unidad de consciencia.

«The seed-atom and its surrounding envelope forms a definite system of stresses and reactions which are intercompensating. In their reactions to each others’ stresses they have achieved an equilibrium, and therefore become an unit. A unit is that set of interacting forces which have achieved an equilibrium and thus become stabilised.» — [LA VOZ QUE DICTA] define unidad, en el sentido técnico del tratado, como el juego de fuerzas que llegó a equilibrio y con ello se estabilizó.

«Such a stabilised set of interacting forces, which have achieved a definite rhythm of compensation, will react in unison to any outside influence, and, as no part of such a compensating system can be affected without affecting all the rest, and causing them to react, it will be seen that such an association functions as a unit.» — [LA VOZ QUE DICTA] y el criterio funcional: reacciona al unísono porque ninguna parte puede afectarse sin que reaccionen las demás.

«With regard to the tracks in space, however, which have received the Logoidal impress (and may now be referred to as Divine Images - reflections - Sparks from the Cosmic Fire - and will be referred to as Divine Sparks» — [LA VOZ QUE DICTA] aquí bautiza las huellas impresas por el Logos: imágenes divinas, reflejos, chispas del Fuego Cósmico, y en adelante Divine Sparks.

«1. The experiences transmitted to it by the seed-atom. 2. The influences of its fellow Divine Sparks. 3. It is ‘en rapport’ with the Logos. It is aware of the Logos, and the Logos is aware of it.» — [LA VOZ QUE DICTA] las tres influencias a que está expuesta una Divine Spark, la tercera de ellas recíproca con el Logos.

«These influences are constantly changing in rhythms of different wave lengths, and the Divine Spark endeavours, by means of compensatory stresses, to blend all these into a regular tune.» — [LA VOZ QUE DICTA] la tarea de la Spark es armonizar por tensiones compensatorias tres ritmos de longitud de onda distinta.

«The Logoidal influences change with the Cosmic Tides, which are very vast. The influences of the seed-atom are incomparably speedier, and the Divine Sparks, its fellows, are all reacting without correlation to each other.» — [LA VOZ QUE DICTA] y la disparidad de escalas entre esos tres: lentísima la de las Mareas Cósmicas, rapidísima la del seed-atom, y descoordinada la de las Sparks entre sí.

«The Cosmos phases reflected by the Logoidal Mind form the first great stabilising influences, and the warring Sparks settle down to the tides of positive and negative phases, and gradually relationships are established, stresses are adjusted and compensated, and all Divine Sparks become correlated among themselves in a ‘give and take' of reactions. When this takes place, then evolution has reached its zenith.» — [LA VOZ QUE DICTA] las fases cósmicas son la primera influencia estabilizadora, y cuando las Sparks quedan correlacionadas en un toma y daca de reacciones la evolución llega a su cénit.

«Upon the ‘abstract’ aspect they present a perfect replica of the Logos at that stage of its evolution. And upon the ‘form’ side of things, a geometric form is presented built out of the atoms grouped about the nuclear seed-atoms, and this form is that to which the lines of force give rise, just as the crystal is a geometric form constructed by particles of matter arranged about lines of force. And as the Cosmos was built up out of three inter-revolving Rings, the Logoidal symbol is spherical. And as the number of prime manifestation is three, the symbol of the first globe is a three-sided figure - a three sided pyramid within a sphere.» — [LA VOZ QUE DICTA] el resultado en los dos aspectos: réplica perfecta del Logos por el lado abstracto y forma geométrica por el de la forma, con el cristal por analogía y una pirámide de tres lados dentro de una esfera por símbolo del primer globo.

«You will thus perceive that the first planetary form has been evolved. Upon the Cosmic aspect of things the position has been arrived at in which a Great Entity has developed a satellite.» — [LA VOZ QUE DICTA] así queda evolucionada la primera forma planetaria, que en términos cósmicos es un satélite de la Gran Entidad.

«The Great Entity is aware of its satellite. Its consciousness conditions its satellite; and its satellite is aware of the Great Entity. But, though the collective consciousness of the satellite is influenced by the Great Entity and therefore there is reaction between Entity and satellite, it is not conscious of the Great Entity with its collective consciousness but with innumerable individualised consciousnesses whose collective consciousness is merely aware that they are aware, which is quite a different matter.» — [LA VOZ QUE DICTA] la asimetría de la relación: el satélite percibe a la Entidad con innumerables consciencias individualizadas cuya consciencia colectiva solo advierte que advierte.

«There exists, then, in the satellite, a collective consciousness which is self-conscious; aware of the conditions of its own existence as a satellite; and innumerable individual consciousnesses which are aware of the conditions in the group of atoms gathered around the seed-atom with which they are associated but which are unaware of the conditions of groups of atoms gathered around other seed-atoms, and which are also each and separately aware of the Great Entity.» — [LA VOZ QUE DICTA] describe el reparto: una consciencia colectiva autoconsciente y consciencias individuales que ignoran los grupos vecinos pero perciben cada una a la Gran Entidad.

«The consciousness of the Great Entity towards its satellite resembles the sight of a human eye, but the consciousness of the satellite towards the Great Entity resembles the sight of a spider’s eye - innumerable facets reflecting innumerable images which have to be focused in the brain. The brain correlating to group consciousness.» — [LA VOZ QUE DICTA] la comparación con que fija esa asimetría: ojo humano de un lado, ojo de araña con innumerables facetas del otro, y el cerebro haciendo de consciencia de grupo.

«When all the Divine Sparks are perfectly adjusted to each other so that there is perfect reciprocity of reaction throughout their mass, then there is a collective consciousness which focuses the images of the facets. When this is achieved there is reciprocal consciousness between the satellite and the Great Entity, because they meet on equal terms.» — [LA VOZ QUE DICTA] y la condición para que la relación se vuelva recíproca: reciprocidad perfecta entre las Sparks, que enfoca las imágenes de las facetas.

«The form of the satellite has been determined by the Great Entity’s concept of itself, apart from the constructive consciousness of the units composing it; and now the Divine Sparks, having attained reciprocal reaction, have achieved a collective focused consciousness and this consciousness functions as a unit and is therefore capable of objective consciousness, and the only object of its own plane within its sphere is the Great Entity.» — [LA VOZ QUE DICTA] la forma del satélite la fijó el concepto que la Entidad tiene de sí, al margen de las unidades que lo componen, y el único objeto de su plano dentro de su esfera es la Gran Entidad misma.

«Now the Great Entity, being aware of the consciousness of the satellite, is aware of the content of consciousness which is the sum total of the satellites experiences, developing, which have already been recounted.» — [LA VOZ QUE DICTA] lo que la Entidad recibe del satélite es el contenido entero de su consciencia, la suma de sus experiencias.

«The Great Entity, then, has become aware of the evolution of a satellite, and this introduces a new factor into the consciousness of the Logoidal Mind, and this factor has to be assimilated to the rest of the content of consciousness, and as stability has been reached by the satellite and it has attained to a regular rhythm, the monotony of the stimulus causing the attention of the Great Entity to be withdrawn from it and consequently free to attend exclusively to the assimilation of the new factor which it has received into its consciousness, and the satellite, being thus without external stimulus, sinks into sub-consciousness and thereby stereotypes its reactions.» — [LA VOZ QUE DICTA] el mecanismo del repliegue: la monotonía del estímulo retira la atención de la Entidad, que se vuelve a asimilar el factor nuevo, y el satélite sin estímulo externo se hunde en subconsciencia y estereotipa sus reacciones.

«The Great Entity then, has sunk into subjective consciousness and is actively engaged in assimilating the new factor, and again achieving a synthesis of consciousness. During this process all its forces are indrawn. It radiates nothing. It no longer holds its universe in consciousness.» — [LA VOZ QUE DICTA] durante esa asimilación la Entidad no irradia nada y deja de sostener su universo en consciencia.

«Therefore the universe is only held together by the selfconsciousness which that universe itself has achieved during the inturning of the attention of a Great Entity in the process of assimilating the new idea presented to it by its universe.» — [LA VOZ QUE DICTA] y lo único que sostiene entonces al universo es la autoconsciencia que él mismo alcanzó; el troceo parte *self-consciousness* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«progress or change but constantly repeats the rhythm at which it has arrived, and thereby stereotypes it, so that the equilibrium of forces, at which it had arrived at the time of the indrawing of the Great Entity’s attention, becomes set into form.» — [LA VOZ QUE DICTA] el universo abandonado a sí mismo no progresa: repite su ritmo y así estereotipa en forma el equilibrio que tenía al retirarse la atención de la Gran Entidad.

«The Great Entity, having thoroughly grasped and assimilated the new idea thus presented, in this case the idea of a threefold unit - of a travelling atom with a consciousness upon one side and an enveloping body upon the other - rouses itself from its introspection to the contemplation of a universe fashioned upon this model.» — [LA VOZ QUE DICTA] la idea nueva que la Entidad asimila es la de la unidad tripartita —átomo viajero con consciencia de un lado y cuerpo del otro— y sale de su introspección a contemplar un universo hecho sobre ese modelo; el troceo parte *three-fold* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«The units of consciousness developed in the satellites are at once aware of the new stimulus. They are aware of the idea of action and reaction between a directing mind and an attached body, and upon this archetypal concept they proceed to evolve. Thus a new set of stresses is set up which oversets the equilibrium established in the group mind of that satellite, and therefore all the units composing that satellite are dispersed and set out to follow the path again of the wandering atoms but plus a Divine Spark of consciousness and a 6th plane body.» — [LA VOZ QUE DICTA] las unidades captan el estímulo nuevo, el equilibrio del satélite se vuelca y salen otra vez de viaje, ahora con Divine Spark y cuerpo del sexto plano.

«The form of the archetypal satellite, however, which became stereotyped during the inturning of the Logos, remains as an archetypal form. This you may conceive as circling about the Logos upon the 7th plane.» — [LA VOZ QUE DICTA] la forma estereotipada queda como forma arquetípica girando en torno al Logos en el séptimo plano.

«The Divine Sparks, having progressed outwards as far the 6th plane, by their rotary movements gather around themselves new bodies of the 6th plane matter, and the process is repeated precisely as before, viz:- (a) The re-synthesis of the Sparks. (b)The establishment of the compensating reactions, which constitutes group consciousness.» — [LA VOZ QUE DICTA] el ciclo se repite en el sexto plano, y enumera sus pasos empezando por la resíntesis de las Sparks y las reacciones compensatorias que hacen la consciencia de grupo.

«(c) The reciprocal reactions of the group consciousness and the Logoidal consciousness. (d)The in-turning of the Logos to assimilate the new idea. (e) The stereotyping of the reactions of the satellite by repetition.» — [LA VOZ QUE DICTA] y los tres pasos restantes de ese ciclo, hasta el estereotipado por repetición.

«But there is this difference in the present case. During the time that the evolution of the first satellite was proceeding there was nothing in existence in the universe, save the Logos, the satellite, and the planes of atoms. But during the evolution of the second satellite the first was undergoing a new phase of development.» — [LA VOZ QUE DICTA] marca la diferencia respecto del primer satélite: ahora el universo ya no está vacío y el primero sigue evolucionando.

«The Logos, having realised the possibility of an endowment of atoms with the Logoidal likeness, thinks of the atoms in this way, and the atoms become thus endowed.» — [LA VOZ QUE DICTA] la eficacia del pensamiento logoidal, dicha sin rodeos: el Logos piensa así a los átomos y los átomos quedan así dotados.

«Now the atoms of the 7th plane, as of all other planes, are continually undergoing a backwards and forwards tide-like movement, as the positive Logoidal phases draw them towards the centre, and the negative Logoidal phases thrust them outwards. And as the attention of the dim consciousness of the atoms is raised, in the positive phase of the Logos towards itself (for remember, that place in a projected thought-form universe, really means state) they receive the imprint of the Logos’ concept of them, and they are thus caused to vibrate in the same rhythmical tunes as the first evolving atoms had, at the time when the Logos became aware of their content of consciousness. That is to say, at the conclusion of their evolution.» — [LA VOZ QUE DICTA] describe la marea de ida y vuelta de los átomos, con el paréntesis que aclara que en un universo proyectado lugar significa realmente estado, y cómo reciben el sello del concepto que el Logos tiene de ellos.

«The new evolving atoms thus start where the old ended. By the archetypal forces of the first satellite they are speedily sorted into the same formation as their predecessors, rapidly recapitulating their development.» — [LA VOZ QUE DICTA] las fuerzas arquetípicas del primer satélite ordenan a los nuevos átomos deprisa, que así recapitulan el desarrollo anterior.

«They have, then, but to arrive at a synthesis of reaction, which is collective consciousness, to become conscious of the Logos, and the same process is repeated as in the previous case.» — [LA VOZ QUE DICTA] lo único que les falta es la síntesis de reacción que es la consciencia colectiva, y con ella se repite el proceso.

«The first swarm of atoms, having completed their evolution in the second satellite, as already described, issue forth and undergo a third evolution upon the 5th plane. The second swarm in the first satellite proceed likewise by the same path to the 6th plane and are there caught up and organised by the already existing set of archetypal forces left behind by the first swarm. Meanwhile, as the swarm of atoms has been sent by the Logos to people the first satellite, the Logos now thinks of atoms as having two enveloping shells, and so the new atoms are endowed with a capacity to gather about themselves matter of two planes.» — [LA VOZ QUE DICTA] el escalonamiento de los enjambres: el primero pasa al quinto plano, el segundo llega al sexto y encuentra ya el arquetipo del primero, y el Logos piensa a los átomos con dos envolturas.

«Thus the process goes on until the first swarm of travelling atoms each surrounded by an envelope of the matter of each plane upon which it has evolved, has built up a satellite upon the 1st plane, and each preceding satellite is peopled by hosts of Divine Sparks, each of which has built itself an envelope or series of envelopes according to the state of evolution at which it has arrived.» — [LA VOZ QUE DICTA] el proceso baja hasta el primer plano, y cada satélite anterior queda poblado por Divine Sparks con tantas envolturas como planos recorridos.

«But the first swarm of Divine Sparks, by the inherent forces of their natures, have devised themselves forms, the Logos has become aware of the fact and has sent out each succeeding swarm with the achievements of the first swarm implanted as archetypal ideas in their consciousness. That is to say, that whatever rhythms have been achieved are impacted as vibrations in each successive swarm.» — [LA VOZ QUE DICTA] lo conseguido por el primer enjambre se implanta como idea arquetípica en la consciencia de los siguientes, en forma de vibraciones.

«This is what is meant by Involution. Evolution is the expression of these in the matter of whatever plane it is upon» — [LA VOZ QUE DICTA] la definición del par: involución es esa implantación, evolución su expresión en la materia del plano donde ocurre; la frase cierra tras el corte de chunk, en la misma plana.

«You will note that, just as the symbol of the satellite upon the 7th plane was a sphere with a three-sided solid figure - a pyramid with triangular sides. The 6th plane is a four-sided figure, a cube - and so on down the planes. The 5th plane has a five-facetted figure. The 4 th plane has a six-facet red figure. The 3rd plane a seven-facetted figure. The 2nd plane an eight-facetted figure. The 1st plane a nine-facetted figure.» — [LA VOZ QUE DICTA] la tabla de símbolos geométricos por plano, de la pirámide triangular del séptimo a la figura de nueve facetas del primero; el troceo imprime *six-facet red* por six-facetted.

«You will see that the numbers add up to ten, and that nine is the number of the sides of the facets forming the figure which symbolises the forces of the first plane. Therefore 3 times 3 is the perfect number in the first plane.» — [LA VOZ QUE DICTA] la regla numérica que ordena esa tabla: número de plano más facetas suman diez, y en el primer plano tres por tres es el número perfecto.

«Ten is the number of forces in manifestation for our universe but nine is the number of the Cosmic force which called that universe into being when that force is manifested on the 1st plane.» — [LA VOZ QUE DICTA] y el reparto final entre diez y nueve: diez son las fuerzas en manifestación del universo, nueve la fuerza cósmica que lo llamó al ser tal como se manifiesta en el primer plano.

«The travelling atom is a projection, not of the Logos, but of the Cosmos. It is thus at the same time more primitive and more closely related to the ultimate source of existence than a projection of the Logos could be. The Logos projects the general framework of forces and phases which condition the universe as a whole. The Cosmic atoms, which have come under the influence of the Logos, project the innumerable units, which the Logoidal concept binds into an aggregate. The Cosmic atoms are really younger brethren of the Logos - Cosmic units themselves that have not reached the development which the Logos has reached, but are of the same type. Therefore each atom of a Logoidal universe is, for this reason, a potential Divinity.» — [LA VOZ QUE DICTA] la distinción que sostiene todo el capítulo: el átomo viajero lo proyecta el Cosmos y no el Logos, y por eso los átomos cósmicos son hermanos menores del Logos y cada átomo del universo es una divinidad en potencia.

«Remember now, that movement is the basis of all things. Abstract movements, which are opposed, lock up force and render it static - fixed. It is these locked up forces which become ‘form’. A form is simply a force which is not free to move.» — [LA VOZ QUE DICTA] la definición de forma que usa el tratado: una fuerza que no queda libre para moverse, resultado de movimientos opuestos que se trancan.

«Any series of changes which are completely compensatory settle down into a cycle of action and reaction. As soon as such a cycle is established it cannot change its mode of motion, and therefore a force is locked up, not in a motionless point, but in a spinning Ring. The points are units. The Rings are organisms.» — [LA VOZ QUE DICTA] y la distinción entre punto y anillo: la fuerza no queda trancada en un punto inmóvil sino en un Anillo que gira, y por eso los puntos son unidades y los Anillos organismos.

«Either a unit or a Ring, when once established, can move as a whole, and when this movement of an object takes place there are two factors present, the object which moves, and the movement it makes. The movement, apart from the object, is of the same nature as the movement which gave rise to the object.» — [LA VOZ QUE DICTA] al moverse una unidad hay siempre dos factores, el objeto y el movimiento, y este último es de la misma naturaleza que el que produjo el objeto.

«Whenever you get an unco-ordinated movement, such as the tangential movement of atoms before they are co-ordinated, there is permanency of rhythms, and therefore no form is created, But as soon as compensatory co-ordination is established, forms of abstract movement are built.» — [LA VOZ QUE DICTA] sin coordinación no hay forma; con coordinación compensatoria se construyen formas de movimiento abstracto.

«This principle applies to many considerations, and is therefore elaborated here in order that it may be available for future reference, and when the abstract archetypes of anything are referred to, you will know that it is this replica of a rhythm that is impacted on another plane as a vibration which is referred to. This is the key to the nature of memory.» — [LA VOZ QUE DICTA] declara ese principio clave para entender el arquetipo abstracto de cualquier cosa, y también de la memoria: una réplica de ritmo impactada en otro plano como vibración.

«The unifying of the Divine Sparks into a group consciousness gave rise, as aforesaid, to the organisation of their attendant atoms into corresponding geometrical form. After the dispersal of the atoms the archetypal form remains, according to the law above described. This form is a miniature reflection of the Logos, under that aspect in which it is presented to its universe, that is to say, a system of stresses.» — [LA VOZ QUE DICTA] la forma arquetípica que queda tras dispersarse los átomos es un reflejo en miniatura del Logos, y la define como sistema de tensiones.

«This system of stresses organises the atoms of the plane of which it is, into its framework, and this equips itself with a definite form. There will then exist, in addition to the evolutionary swarm of Divine Sparks, a Planetary Spirit (In earlier edition Planetary Being) with a spherical body, built up on a framework of stresses, and this Planetary Spirit will be profoundly imbued with the type of activity and organisation that was the characteristic of the swarm of the Divine Sparks during that phase of this evolution when they occupied its sphere.» — [LA VOZ QUE DICTA] de ese sistema de tensiones sale un Planetary Spirit con cuerpo esférico, impregnado del tipo de actividad del enjambre que ocupó su esfera.

«When the next swarm comes to this phase they find that their evolution has to take place in relation to the Planetary Spirit which is the Lord of that sphere, because it is the dominating influence thereon. They will, therefore, find ready made the conditions which their predecessors had to evolve, and they will start there from upon their own evolution.» — [LA VOZ QUE DICTA] el enjambre siguiente encuentra ya hechas las condiciones que el anterior tuvo que evolucionar, y las halla dominadas por el Planetary Spirit, Señor de esa esfera.

«For remember, that although, in the Cosmos, the planes are extended in space, being based upon movement, in a universe the atoms of the planes are not extended in space, being the products of an image held in consciousness, but are differentiated in type.» — [LA VOZ QUE DICTA] la corrección que evita leer los planos como lugares: en el Cosmos los planos se extienden en el espacio, pero en un universo se diferencian por tipo, no por posición.

«It will thus be seen that the Divine Sparks do not have to change their place in space in order to gather atoms of another type about them, because atoms of all types are everywhere, but they merely have to change their mode of motion in order to produce a type of movement in which the atoms of another» — [LA VOZ QUE DICTA] de ahí que subir de plano no sea desplazarse: los átomos de todos los tipos están en todas partes y lo que cambia es el modo de movimiento; la frase cierra en la plana siguiente.

«plane can take part. Whenever the co-ordination of movements takes place which changes a static unit into a spinning Ring of cyclic rhythm, such a change takes place, and a cyclic rhythm always gathers about itself atoms of the plane below its own, because its movement approximates to theirs.» — [LA VOZ QUE DICTA] la regla del reclutamiento: un ritmo cíclico atrae siempre átomos del plano inmediatamente inferior, porque su movimiento se aproxima al de ellos.

«For instance, as soon as a prime atom moves along a tangential path it becomes a tangential atom. But supposing an organisation of prime atoms moved along a tangential path, they would form a tangential molecule, and being larger than tangential atoms, would form a centre of attraction for those atoms, and would collect a shell of attracted atoms about them. That is how all shells are built.» — [LA VOZ QUE DICTA] el ejemplo con que lo hace concreto, y con él la explicación general de cómo se construye toda envoltura.

«To return, however, to the evolution of a Planetary Spirit, it will possess, to begin with, merely an organised sphere of the atoms of the plane on which it originated, and when the new evolutionary swarm of Divine Sparks reach it, they would find themselves with 7th plane bodies on the 7th plane planet. But in the course of their evolution in that planet they will build themselves 6th plane shells, and they will co-ordinate their consciousness of these shells into a group consciousness, and when they depart on their evolutionary journey, they will leave this group consciousness as an archetypal form in the consciousness of the Planetary Spirit, and this archetypal form will gather 6th plane atoms along its line of force, and the Planetary Spirit will now have two bodies, because they are organised.» — [LA VOZ QUE DICTA] el Planetary Spirit gana cuerpos por lo que cada enjambre le deja: la consciencia de grupo abandonada queda de forma arquetípica y recluta átomos del plano siguiente.

«This process is repeated with each fresh phase of evolution, until each Planetary Spirit has achieved its full complement of bodies and is, therefore, able to take a swarm through the full circuit of evolution. But as each Planetary Spirit is profoundly imbued with a type of activity which the swarm was engaged upon when its form was a building, each Planetary Spirit represents a different phase in evolution. They are therefore all different in character, and the evolution’s conducted exclusively upon them have each a corresponding dominant note. For instance, on a 7th plane planet, the» — [LA VOZ QUE DICTA] al completar sus siete cuerpos cada Planetary Spirit puede llevar un enjambre por el circuito entero, y como quedó impregnado de la actividad de un momento distinto, cada uno tiene carácter y nota dominante propios.

«characteristics of the 7th plane will dominate all forms developed thereon. The prime rhythm of that plane will be the key note, and all subsequent rhythms will be multiples of it. In a planet upon the 1st plane, the prime rhythm will be likewise the rhythm of that plane, but that rhythm, being a maximum rhythm, all subsequent variations will be fractions of it, and on the intervening planes the prime rhythms will be as a decimal point.» — [LA VOZ QUE DICTA] el ejemplo por planos: en el séptimo el ritmo primordial es la tónica y todo lo demás múltiplos, en el primero es máximo y todo lo demás fracciones, y en los intermedios la voz lo compara a un punto decimal.

«You will note that a swarm in evolution on a planet starts with the same number of bodies as that planet has, and builds an additional one in the course of its evolution, thereby endowing the planet with another body, until the maximum of seven is reached, and then devolution sets in wherein planets and Sparks divest themselves of bodies. That subject will be dealt with later.» — [LA VOZ QUE DICTA] la contabilidad de los cuerpos: cada enjambre añade uno al planeta hasta los siete, y ahí empieza la devolución, en que planetas y Sparks se despojan de cuerpos.

«You will also perceive that the order of evolution in a universe is the opposite of the order of evolution in the Cosmos, because a universe is reflected from the mirror consciousness of a Great Entity. (Fig. 15) Abstract movement gives rise to forces in the Cosmos. Forms give rise to abstract movement in a universe, and thereby link themselves on to the Cosmos, of which more later.» — [LA VOZ QUE DICTA] la inversión que le importa: en el Cosmos el movimiento abstracto da fuerzas, en un universo las formas dan movimiento abstracto, porque el universo es reflejo en el espejo de una Gran Entidad.

«It is therefore essential in a universe, to have a form in order to evolve to Cosmic level, thereby enabling them to link themselves on to the Cosmic atoms that gave rise to them, thereby making these Cosmic atoms into Great Entities. Thus do the atomic planes of the Cosmos evolve.» — [LA VOZ QUE DICTA] la forma es requisito para subir a nivel cósmico y ligarse a los átomos que dieron origen, convirtiéndolos en Grandes Entidades: así evolucionan los planos atómicos del Cosmos.

«This is the secret of the God in man. He is related primarily, not to the God of his universe, who is his conditioner, but his Creator who is a corresponding atom in the Cosmos, who creates but has no power to condition, because it is itself conditioned by the Great Entity of which it forms a part.» — [LA VOZ QUE DICTA] el secreto del Dios en el hombre, dicho como corrección: el hombre se relaciona primero con su Creador —un átomo cósmico que crea sin poder condicionar— y no con el Dios de su universo, que es su condicionador.

«when the reflected atom of a universe develops a corresponding aspect to the nature of its Creator and can thereby unite with it, that Cosmic atom receives into itself all the conditions of the universe which was projected by the Great Entity of whose body it forms a part. And, as that universe is conditioned by the Great Entity, the Cosmic atom thus becomes a replica of the Great Entity, and being thus completely conditioned by it, is no longer being conditioned but has been conditioned, and therefore its conditioning is of the past, and therefore in the present is unconditioned by the Great Entity, because it has achieved a state in which it conditions itself, and so is independent. It is made free of the Cosmic planes is no longer held in bondage to the service of a Great Entity, but by means of this attachment of an evolved atom of a projected universe, it is raised above the status of the atoms of its plane, and becomes, in its turn, a travelling atom, and together with its attached Divine Spark of the reflected universe, it makes the rounds of the Rays of the Cosmos, and thus, in its turn, becomes a Great Entity and develops a universe.» — [LA VOZ QUE DICTA] la cadena de liberación: el átomo cósmico que recibe las condiciones del universo entero queda condicionado en pasado y por tanto libre en presente, y pasa a átomo viajero y luego a Gran Entidad.

«This is the goal of the evolution of every reflected atom in a universe - to develop a Divine Spark - to complete the evolution from the human to the Divine in a reflected universe, and to unite with its Cosmic Creator, thus enabling the Cosmic atom to evolve through the phase of a travelling atom into a Great Entity.» — [LA VOZ QUE DICTA] y el fin que declara para todo átomo reflejado: desarrollar una Divine Spark, ir de lo humano a lo divino y unirse con su Creador cósmico para que este pueda seguir su propia evolución.

«These last details have never been revealed before. Human thought has never before passed beyond the conditioning Logos, but it is now revealed that, though the Logos is the Creator of an universe, each atom in that universe is separately created by a separate Cosmic atom, which aspires, by means of that reflected Life, to achieve a state whereby it can continue its own evolution.» — [LA VOZ QUE DICTA] declara inédito lo que acaba de decir: que el pensamiento humano nunca pasó del Logos condicionador, y que cada átomo lo crea un átomo cósmico distinto.

«Therefore, it can be said of man that, by eating of the Tree of Knowledge, they should be as Gods.» — [LA VOZ QUE DICTA] y en esa lectura pone la frase del árbol del conocimiento.

«It is this knowledge which has been withheld on the outgoing path of evolution lest souls should be tempted to turn back and forestall their goal, but to those who passed the nadir, it can now be revealed.» — [LA VOZ QUE DICTA] la razón que da para el secreto y para levantarlo ahora: se retuvo en el arco de salida para que las almas no se volvieran, y puede revelarse a quienes pasaron el nadir.

«Let it be noted, to begin with, that the first swarm of Divine Sparks, differs from its successor in many respects. To begin with, the first swarm is composed of the travelling atoms of the universe. (Fig. 16) Secondly, these Divine Sparks are subjected to no other influences than those of the Logos itself. Because, satellites not having been developed, they are not exposed to the influences of the Planetary Spirits. Therefore the Sparks of the first swarm have the Divine Image impressed on them in all its purity, unblurred by other influences.» — [LA VOZ QUE DICTA] la particularidad del primer enjambre: son los átomos viajeros del universo y solo el Logos los influye, porque aún no hay satélites ni Planetary Spirits, y por eso llevan la Imagen Divina sin borrones.

«There is an absence of cross currents in the influences which play upon the first swarm which causes them to attain to the Divine Ideal with much less stress and effort than their successors. In their composition the influences of the Cosmos predominate. Each subsequent swarm, however, performs its evolution in a more highly evolved universe, and therefore the influences of the Cosmos find a potent rival in the influences of the universe.» — [LA VOZ QUE DICTA] y la consecuencia comparativa: el primer enjambre llega al Ideal Divino con menos esfuerzo, y en los siguientes las influencias del universo compiten con las del Cosmos.

«Another point in which the evolution of the first swarm differs from the evolution of any subsequent swarm is this - the first swarm gathers the material out of which their bodies are made from the undifferentiated atoms of the plane on which they evolve, they thus carry on these atoms with them to the next globe of their evolution, and so on throughout the planes.» — [LA VOZ QUE DICTA] la segunda diferencia: el primer enjambre toma su material de átomos indiferenciados del plano donde evoluciona y se los lleva de globo en globo.

«that upon each globe upon which they evolve the potentialities of reaction corresponding to all the planes above it in the universe are established, by the methods previously explained.» — [LA VOZ QUE DICTA] y el efecto de eso, que cierra la frase en esta plana: en cada globo quedan establecidas las potencialidades de reacción de todos los planos superiores.

«These Divine Sparks, thus passing down the planes leave behind them a series of Archetypes, and when they pass back up the planes by a method to be described hereafter, they become the Powers and Potencies who conduct the evolution of their successors. These are the Lords, the Principalities, the Regents of whom you have heard.» — [LA VOZ QUE DICTA] al bajar dejan una serie de Arquetipos, y al subir de vuelta se vuelven las Potestades y Regentes que conducen la evolución de sus sucesores.

«The method of evolution of the subsequent swarms differs from those of the Archetypal Sparks. The Logos, having received from the Archetypal Sparks the concept of their evolutionary achievement, impacts this upon the Divine Sparks of the second swarm, by the method of vibration previously described, so that they start out on their evolution with the innate capacities for reaction laboriously built up by their predecessors, and find themselves under the influence of a sphere of forces which the activities of the atomic portion of their predecessors formed into the sphere of a satellite.» — [LA VOZ QUE DICTA] el segundo enjambre arranca ya con las capacidades que el primero construyó a pulso, impactadas por vibración, y dentro de una esfera de fuerzas que aquel dejó hecha.

«They, in their turn, collect shells of the matter of the plane about their vortices in the course of their evolution. But there is this point of difference, that they have not got to build a group mind out of their consciousnesses. They have merely got to attune themselves to one which already exists. They have got to become at-one with their sphere, which includes the influences of the previous swarm, as well as their own swarm, and not merely at-one with themselves.» — [LA VOZ QUE DICTA] la diferencia de tarea: no tienen que construir mente de grupo sino sintonizar con la que ya existe, y hacerse uno con su esfera y no solo entre ellos.

«When this at-onement is achieved and the Logos has contemplated the result and turned inwards to his subjective meditation, these Sparks do not continue in the sphere of the satellite, as did their predecessors of the first swarm, but, the Logoidal attraction being withdrawn, the mass of the globes upon the next plane attracts them, and they are disengaged from the centripetal forces of the globe on which they are, and» — [LA VOZ QUE DICTA] retirada la atracción logoidal, este enjambre no se queda en su satélite como el primero: la masa de los globos del plano siguiente lo desprende; la frase cierra en la plana siguiente.

«pass onwards. Upon the next globe they take up the next phase of their evolution in precisely the same way as their predecessors. Again recapitulate their predecessors behaviour, up to the point of departure, to the 5 th plane globe.» — [LA VOZ QUE DICTA] en el globo siguiente repiten la fase igual que sus predecesores, hasta el punto de partida al globo del quinto plano.

«Here a change occurs. The second swarm, having arrived at the second globe of their evolution, do not pass on to the third immediately, but are now exposed (the Logoidal attraction being withdrawn into the subjective state) to two sets of planetary influences - those of the 1st and 3rd globes (the first swarm always keeping a globe ahead of them). They are therefore pulled two ways, and this conflicting influence is sufficient to overcome the attraction of the individual atoms for their atomic shells. The atomic shells then fall to pieces, and return to their original condition as atoms of the plane to which they belong, but, though they are freed from the influence of the Divine Sparks, they are immediately caught up by the influence of the forces of the sphere in which that evolution has taken place, and are retained therein.» — [LA VOZ QUE DICTA] el cambio: tirados a la vez por dos globos, los átomos de las envolturas se sueltan y caen, y quedan retenidos por las fuerzas de la esfera donde ocurrió esa evolución.

«Thus upon the 6th plane a Planetary Spirit will have, not only the 6th plane atoms held along its line of forces, but also the 7th plane atoms shed by the Divine Sparks. A Planetary Spirit, be it noted, is really the Group Spirit of the life that evolves in its sphere.» — [LA VOZ QUE DICTA] el Planetary Spirit hereda así los átomos desechados del plano superior, y la voz lo define de una vez: es el Espíritu de Grupo de la vida que evoluciona en su esfera.

«The Divine Sparks that are thus robbed of their atoms, are reduced to their original state of a 7th plane atom attached to a Divine Spark, and in this state consequently re-enter the sphere of the manifesting of the Unmanifest, which, in a universe, corresponds to the Central Stillness of the Cosmos, and therein they receive anew the impress of the Logoidal Image, plus the fruits of the evolutionary achievements of the Archetypal Sparks. The Archetypal Sparks being always a plane ahead of their evolution.» — [LA VOZ QUE DICTA] despojadas, las Sparks vuelven al punto donde lo No Manifiesto se manifiesta —equivalente en el universo a la Quietud Central del Cosmos— y reciben otra vez el sello del Logos más lo ganado por los Arquetípicos.

«The second swarm Sparks always start out on their new round with the potentialities of reaction of an additional plane. As they pass out through the phases they therefore gather about them the matter of each plane they pass through, forming it into concentric shells, as has been previously described, until they arrive at the 5 th plane. There they build up a shell of 5th plane matter with the influence of the 5th plane planet, and repeat the process of assimilation to the Group Mind, the shedding of the shells, and the return to the Centre.» — [LA VOZ QUE DICTA] cada ronda nueva les añade un plano de potencialidades, y el ciclo se repite: envolturas, asimilación a la Mente de Grupo, despojo y regreso al Centro.

«It will now be perceived that there is a fundamental difference between each swarm. The first swarm is engaged solely with magnetic action and reaction and vibrations, and they are called in the technical terms of Occultism, “The Lords of Flame”. The second swarm are concerned with the building of matter into the form of the Planetary Spirits, and they are called “The Lords of Form”.» — [LA VOZ QUE DICTA] los nombres técnicos que la voz atribuye al Ocultismo: el primer enjambre, ocupado en acción magnética y vibración, son los Lords of Flame; el segundo, que construye materia en forma, los Lords of Form.

«We will now deal with the third swarm. They issue forth, as before, 7th plane atoms, stamped with a Logoidal Image of a more evolved type than either of their predecessors, because the Logos has evolved by means of the evolution of their predecessors. They proceed to the planetary sphere of the 7th plane, and herein the difference of their evolution from their predecessors becomes apparent, for they do not collect the matter of the sphere to form a body, but use only that matter which is under the influence of the Planetary Spirit in whose sphere they are evolving, and as this matter is accustomed to react to an Ensouling Divine Spark, it is much easier to manipulate than the matter of space. Therefore evolution is more rapid.» — [LA VOZ QUE DICTA] el tercer enjambre sale con una Imagen Logoidal más evolucionada, porque el propio Logos evolucionó con sus predecesores, y trabaja con materia ya habituada a ser ensalmada, más dócil que la del espacio.

«But as these Divine Sparks cannot advance to the globe beyond that upon which they are evolving until the preceding swarm has moved on, they are compelled to remain upon the globe of their evolution after they have exhausted its possibilities of reaction, and the superabundant energies, to whom the evolving channel is closed, make play among themselves. This is the first instance of free-will within the Cosmos, and its resultant activities building individualised» — [LA VOZ QUE DICTA] aquí sitúa el primer caso de libre albedrío dentro del Cosmos: bloqueado el canal evolutivo, las energías sobrantes juegan entre sí; la frase cierra en la plana siguiente.

«reactions into atoms, is called epigenesis.This is the first occasion on which the atoms are differentiated one from another, and this leads to the applying to this swarm of the name “Lords of Mind”, because individualised experience is the basis of personality.» — [LA VOZ QUE DICTA] nombra epigénesis a la diferenciación de los átomos por sus propias reacciones, y de ahí el nombre del tercer enjambre, los Lords of Mind, porque la experiencia individualizada funda la personalidad.

«It will here be seen that a new evolving principal is introduced, which is that the checking of progress in one direction by preventing it from becoming more elaborate upon the original type, lifts, or sublimates it to a new aspect. If, however, the checking be too long continued it would cause it to revert to a more primitive type. This, however, cannot occur at the present phase because the synthesis of forces upon these planes is perfect, but is merely referred to in passing in order that the correspondences may be seen.» — [LA VOZ QUE DICTA] el principio nuevo: bloquear el desarrollo en una dirección sublima la fuerza a un aspecto nuevo, aunque un bloqueo demasiado largo la haría revertir a un tipo más primitivo; el troceo imprime *principal* por principle.

«The process of evolving a new aspect of a checked force is called sublimation. The process of returning to a simpler type of evolution is called degradation, and is always harmful, because the capacities of reaction acquired at a more advanced level cannot be controlled or checked by the governing forces of a more primitive state, and develop an extreme individualism, thus breaking up the synthesis of force on the plane on which they find themselves.» — [LA VOZ QUE DICTA] las dos definiciones opuestas: sublimación es el nuevo aspecto de una fuerza bloqueada, y degradación el retorno a un tipo más simple, que declara siempre dañino porque las capacidades avanzadas ya no obedecen a un estado primitivo.

«You will, of course, perceive that it is the same type of process which sets free a travelling atom for its evolution to a higher state of existence. But a travelling atom has completed the circuit before it undergoes this experience, and may be termed “The Child of the Cosmos" - or “The Universe” - as the case may be; born at full term. And the regressive, or degraded atom is born out of due time - an abortion. If it lives at all, it lives as monster. This is the origin of certain types of devil.» — [LA VOZ QUE DICTA] distingue al átomo viajero, que llama Hijo del Cosmos nacido a término, del átomo degradado, nacido fuera de tiempo, y en este último pone el origen de ciertos tipos de demonio.

«Fortunately the balance at this phase of evolution we are discussing is perfectly adjusted, because the influence of the Logos is the only influence in the universe. Therefore, no such retrogression can take place among the primal swarms. It is to epigenesis in a transition state that we owe the origin of evil in a universe.» — [LA VOZ QUE DICTA] descarta esa regresión en los enjambres primordiales porque el Logos es la única influencia, y sitúa el origen del mal en un universo en la epigénesis en estado de transición.

«Thus the swarms pass on. The Lords of Flame leaving behind them galvanic stresses of all types. The Lords of Form leaving behind them a sediment of atoms which are built into great spherical shells by the galvanic stresses, so that each plane is dominated by a set of galvanic stresses which develop into a Planetary Spirit. And a set of the shells of the matter of other planes held into a form or body by that Planetary spirit, which develop into a planet, as known to Astrology. But be it noted, that each planet, although it ultimately possesses matter of all seven planes, has a Planetary Spirit formed of the stresses of the plane on which it is.» — [LA VOZ QUE DICTA] el sedimento que deja cada enjambre: tensiones galvánicas de los Lords of Flame y átomos de los Lords of Form, que juntos hacen el Planetary Spirit y el planeta que conoce la astrología, con el Espíritu formado siempre de las tensiones de su propio plano.

«Thus the Planetary Spirit of the 5 th plane would be an abstract mind, and the Planetary Spirit of the Earth is an etheric double.» — [LA VOZ QUE DICTA] los dos ejemplos que da: mente abstracta en el quinto plano, doble etérico en el caso de la Tierra.

«We have now traced the three primary swarms of the outgoing arc, and you will see how each carries a new factor from plane to plane. The first swarm - the Lords of Flame - do not return to the central point of manifestation until they have completed the Round. Have been down the planes, and back up the planes, and have thus completed their evolution.» — [LA VOZ QUE DICTA] el primer enjambre no vuelve al punto central hasta completar la Ronda entera, de bajada y de subida.

«The second swarm, or Lords of Form, only return to the central point of manifestation after they have recapitulated their evolution and mastered an additional plane. That is to say, in their first outgoing, they progress through two globes and return. In their second outgoing - through three globes and» — [LA VOZ QUE DICTA] el segundo enjambre vuelve solo tras recapitular y dominar un plano más, sumando un globo por salida; la frase cierra en la plana siguiente.

«return, and so on. Always following on the wake of the first swarm, with whose evolution they synchronise. Because, as soon as the first swarm has achieved a new factor, the Logos assimilates it, and enters a subjective phase to do so. During that phase, as previously said, the universe is left to its own devices. The first swarm, upon its globe, settles down» — [LA VOZ QUE DICTA] los dos enjambres se sincronizan porque cada logro del primero manda al Logos a su fase subjetiva y deja el universo a su suerte; la frase sigue tras el corte de chunk, en la misma plana.

«to stereotype its reactions, and it is the influence of that organised globe in an otherwise unorganised universe, which breaks up the shells of the second swarm in the preceding globe and so sends them back to the central point of manifestation.» — [LA VOZ QUE DICTA] y ahí queda el mecanismo de la sincronía: el globo organizado en un universo desorganizado rompe las envolturas del segundo enjambre y lo manda de vuelta al centro.

«Likewise the progress of the third swarm is synchronised, because they have to wait for the second swarm to withdraw from a planet before they can advance to it. The evolution of the first swarm is slowest because it is all original work for them. The second swarm occupy much time in their evolution because they are constantly recapitulating, and gathering up and breaking in, new matter of the different planes, and therefore synchronise well enough with the progress of the first swarm. But the third swarm has much of its evolutionary work already done for it, and therefore has to wait. Hence it elaborates itself.» — [LA VOZ QUE DICTA] compara los tres ritmos: el primero es lento por ser trabajo original, el segundo por recapitular, y el tercero tiene que esperar porque le hicieron el trabajo, y por eso se elabora.

«Elaboration means differentiation, and differentiation means Personality.» — [LA VOZ QUE DICTA] la ecuación con que cierra el capítulo: elaboración es diferenciación y diferenciación es Personalidad.

«It will be perceived that, by their nature they have built those systems of magnetic stresses which constitute the framework of the globes, and are afterwards elaborated into Planetary Spirits. On their return journey they travel back along the line of globes by which they came out. There is this difference, however. Instead of building themselves a form in the matter of that plane they find the form already built, but they also find it inhabited by the succeeding swarm of Divine Sparks who are undergoing evolution thereon.» — [LA VOZ QUE DICTA] en el arco de vuelta los Lords of Flame encuentran la forma ya construida y además habitada por el enjambre siguiente.

«So that, on the 6th globe, two sets of lives are being lived. The second swarm on the outward arc, and the first swarm on the arc of returning.» — [LA VOZ QUE DICTA] de ahí la convivencia de dos vidas en un mismo globo, una en el arco de salida y otra en el de vuelta.

«The first swarm, entering into the already prepared Group Mind have subjective consciousness. The second swarm, engaged in building a Group Mind, have subjective consciousness only. Therefore, they are not aware of their companions of the first swarm who also inhabit this globe, though they live in their influence; which has the effect of imparting to the shells of the matter of that plane, which have formed about the Divine Sparks, the same type of vibration as the seed-atoms of the first swarm are themselves vibrating to. This is the familiar phenomenon of the impactation of a cyclic rhythm inducing a vibration.» — [LA VOZ QUE DICTA] el segundo enjambre no percibe a sus compañeros del primero pero vive en su influencia, que le impone por impactación el mismo ritmo; el troceo atribuye consciencia subjetiva a los dos enjambres, con *only* solo en el segundo, y así se consigna.

«When this condition has been arrived at, the second swarm, being able to vibrate to the same rhythm as the first, become aware of the members of the first - not by direct perception, but by perception of the changes of the outermost shell induced by the presence of the first. This, however, does not occur until the end of the period of evolution whereupon both swarms quit that planet; the second to advance to the 7th globe, and the first to return to the 5th.» — [LA VOZ QUE DICTA] el reconocimiento llega tarde y es indirecto: el segundo enjambre percibe al primero por los cambios de su envoltura externa, y solo al final del periodo, cuando los dos dejan el planeta.

«In addition to the influence they exert upon their fellow sojourners in a globe, the first swarm have certain evolution to undergo on their own account. On their outward journey they have collected to themselves shells of each plane, which they have not shed but have carried out with them. And on the return journey each shell forms a means of reaction to the matter of each plane on which they find themselves. Being capable of both action and reaction these form vehicles of manifestation and means of perception.» — [LA VOZ QUE DICTA] la evolución propia del primer enjambre en la vuelta: las envolturas que no soltó le sirven ahora de vehículos de manifestación y medios de percepción.

«Thus the indwelling Spark is able to act on, and react to, the matter of each plane on which it finds itself, and, though it carried out its evolution in the sphere of attraction of the globe on that plane, it can yet extend its activities a certain way beyond the sphere of the influence of that globe. This is a point whose significance will be seen later.» — [LA VOZ QUE DICTA] y una consecuencia que la voz marca como significativa más adelante: la Spark puede extender su actividad algo más allá de la esfera de influencia de su globo.

«Upon each globe, upon the return journey, the Sparks of the first swarm exercise their influence upon the shells that are being gathered about the Sparks of whatever swarm they encounter there. Upon the 6th globe they meet the second swarm. When they themselves depart to the 5th globe, the third swarm advance to the 6th globe, and so on. They just miss each other.» — [LA VOZ QUE DICTA] el escalonamiento del cruce entre enjambres, con la fórmula que lo cierra: se cruzan por poco.

«So that the third swarm is distinguished by this peculiarity - it never meets the Lords of Flame. It never encounters an evolution higher than its own, and therefore its predominating influence is that of the Logoidal Image, and of the production of its own epigenesis. That is why Mind has so much freedom as compared with Form or Force.» — [LA VOZ QUE DICTA] la peculiaridad del tercer enjambre: no encuentra nunca a los Lords of Flame ni evolución más alta que la suya, y de ahí que la Mente tenga más libertad que la Forma o la Fuerza.

«It will be seen that, as each swarm meets the Lords of Flame on a different planet, it is a different shell that is influenced by them. This accounts for the differences in organisation of the vehicles upon the different waves.» — [LA VOZ QUE DICTA] como cada enjambre se cruza con los Lords of Flame en un planeta distinto, es una envoltura distinta la que queda influida, y de ahí las diferencias de organización de los vehículos.

«It is a point closely connected with practical magic, because whatever body has received the impress of the Lords of Flame, that body will be used in working upon Nature Forces.» — [LA VOZ QUE DICTA] y la consecuencia operativa que declara ligada a la magia práctica: el cuerpo que recibió el sello de los Lords of Flame es el que se usa para trabajar sobre las Fuerzas de la Naturaleza.

«The Lords of Form likewise, when developing upon a globe, exert a similar influence upon their fellow sojourners there, but being peculiarly and intimately related to the matter of that globe, their inter-reaction with the shells of the Sparks of the junior swarm is peculiarly intimate.» — [LA VOZ QUE DICTA] los Lords of Form ejercen una influencia semejante, y por su relación íntima con la materia del globo su interacción con las envolturas del enjambre menor es especialmente estrecha.

«When, however, the Lords of Mind have passed the nadir and begin to return up the globes, conditions of evolution are much complicated, because the freedom of individual action of the Divine Sparks has been enormously developed by successive periods of epigenesis, and in their diversity of reactions they produce the diversity of development in the swarms they contact.» — [LA VOZ QUE DICTA] con los Lords of Mind de vuelta las condiciones se complican, porque la epigénesis les dio libertad individual y su diversidad de reacciones produce diversidad en los enjambres que tocan.

«It will be recalled that the Lords of Mind complete the full cycle before returning to the sphere of Divine influence wherefrom they issued. The Lords of Form evolved by means of a gradually lengthening series of journeys. In the first journey they progress as far as the 6th plane and return again to the sphere of Divine influence. On the second journey they progress through two globes to the 5th plane, and so on down the planes until, on the 6th journey they reach the 1st plane. It will thus be perceived that upon the seventh journey of their outgoing they have already within themselves the capacities of reaction of all the planes and have nothing further to acquire in that respect. They have, however, to learn the lessons of the return journey, which will be dealt with in their place.» — [LA VOZ QUE DICTA] contrasta los dos modos de recorrer los planos: los Lords of Mind hacen el ciclo entero de una vez, los Lords of Form por viajes que se alargan uno a uno hasta el primer plano.

«The evolution of the Lords of Mind resembles that of the Lords of Flame in that it is a continuous journey, but at each pause, while they wait their turn for progress, they make original additions to the sum of factors of their reactionary complex.» — [LA VOZ QUE DICTA] y lo propio de los Lords of Mind: en cada pausa forzada añaden algo original a su repertorio de reacciones.

«It will have been noted that, from the time the first swarm set out on its homeward journey, two evolution’s will always be progressing in a globe at the same time, and the senior evolution profoundly influences that aspect of the junior evolution which corresponds to its own nature. This is the prototype of the process known as Initiation.» — [LA VOZ QUE DICTA] la definición estructural de la Iniciación: desde que el primer enjambre vuelve, dos evoluciones coinciden en cada globo, y la mayor influye a fondo el aspecto de la menor que corresponde a su naturaleza.

«It will be remembered that upon each plane the Divine Sparks acquired a fresh mode of reaction. They learnt of a plane, but were limited by the conditions of that plane. Upon the return arc they are not seeking to penetrate into, and master the conditions of a fresh plane as a means of evolution, but to withdraw from a plane and thus to free themselves from its limitations, while at the same time retaining the capacities for reaction they learnt thereon. This freedom can only be obtained after the complete synthesis of reactions of that plane has been achieved by the Group Spirit of the swarm.» — [LA VOZ QUE DICTA] la inversión del arco de vuelta: no se trata de penetrar un plano nuevo sino de retirarse de él conservando lo aprendido, y eso pide la síntesis completa de sus reacciones por el Espíritu de Grupo.

«The synthesis is so complete that the reactions, being mutually compensating, become automatic, and demand no individual compensating. Habitude renders them sub-conscious, and the consciousness of the Sparks, being directed to the reactions of a higher plane, they function according to the type of that plane, and their reactions are such that the atoms of the lower plane can no longer accommodate themselves thereto and therefore are dispersed. In this way the Lords of Flame withdraw up the planes.» — [LA VOZ QUE DICTA] el mecanismo del desprendimiento: la síntesis vuelve automáticas las reacciones, el hábito las hunde en subconsciencia, y los átomos del plano inferior ya no pueden acomodarse y se dispersan.

«The Lords of Form progress by a different type of evolution. For each lesson they learn they teach to the Logoidal consciousness before progressing further, and they await the impact of the Logoidal Image which is the evolutionary impulse which sends them forth on their journey. When they have been out to the uttermost plane and returned for the sixth time they have given their final message to the Logoidal consciousness; and the seventh journey, which, as far as they are concerned is a repetition, can add nothing anew to the Logoidal consciousness.» — [LA VOZ QUE DICTA] los Lords of Form enseñan al Logos cada lección antes de seguir, y al séptimo viaje ya no pueden añadirle nada.

«It is their function, however, upon each globe to make a contribution to the forces of formation in the manifested universe. Their essential type of reaction is» — [LA VOZ QUE DICTA] su función en cada globo es contribuir a las fuerzas de formación del universo manifestado; el resto de la frase cae en la plana siguiente.

«the stereotyping of forms and they influence profoundly the atoms that are built into the plane body of the Planetary Spirits of each globe.» — [LA VOZ QUE DICTA] y ahí queda dicho su tipo esencial de reacción, el estereotipado de formas, y sobre qué actúa: los átomos del cuerpo de los Planetary Spirits.

«The Lords of Flame influence the evolving Life Sparks of each globe they are on. The Lords of Form leave them untouched, but influence the globe itself.» — [LA VOZ QUE DICTA] el reparto en dos líneas: los Lords of Flame tocan a las Sparks, los Lords of Form al globo.

«Were it not so this stereotyping of form would prevent evolution in the Divine Sparks. As it is, the stereotyping of form in the vehicles of the Planetary Spirits has determined in them the most primitive type of vehicle of manifestation - the sphere - an inorganic accretion of matter around a nucleus of attraction.» — [LA VOZ QUE DICTA] la razón de ese reparto: si no, el estereotipado impediría la evolución de las Sparks; en los vehículos de los Planetary Spirits ha fijado el tipo más primitivo, la esfera.

«It is the Lords of Mind, however, who exert the predominating influence on the swarms they contact on each plane, because, owing to the fact that they have achieved individualisation, they are able to act upon individual Sparks and are not merely obliged to influence a Group Mind through a general atmosphere.» — [LA VOZ QUE DICTA] los Lords of Mind pesan más que los otros dos porque, individualizados, pueden actuar sobre Sparks concretas y no solo sobre una Mente de Grupo.

«It is a peculiarity of all vibratory objects that they tend to tune with their own vibrations all objects of a slower rhythm than themselves, being only limited in this activity by the vibrationary capacity thus influenced. And whereas the Lords of Flame were limited in their power to raise vibrationary activities by the sum total Group reaction, the Lords of Mind, (should individual junior sparks show special reactionary capacities) are able to raise them individually. The sparks thus developed exercise a profound influence on the Life swarm of which they form a part, for they are Initiates.» — [LA VOZ QUE DICTA] la ley vibratoria que lo permite —todo objeto que vibra tiende a afinar a su ritmo lo más lento— y de ahí la aparición de individuos elevados aparte, que llama Iniciados.

«On the outgoing arc of evolution Initiation is performed by contact with the Life of a swarm on the returning arc.» — [LA VOZ QUE DICTA] la Iniciación en el arco de salida se hace por contacto con la Vida de un enjambre que vuelve.

«Thus Initiation enables the Initiate to cut across the arc of evolution, and to obtain the reactionary capacities by sympathetic induction, instead of the lengthy process of experience.» — [LA VOZ QUE DICTA] y su economía: atajar el arco evolutivo obteniendo por inducción simpática lo que costaría experiencia.

«Initiation on the returning arc is, however, a different process, which will be considered in due course. The function of Initiates on the outgoing arc is to enable their swarms to adapt themselves more speedily to the condition of a newly achieved plane, because they have acquired some concept of the nature of these conditions. Thus Initiation on the outgoing arc enables an Initiate to immerse himself more readily in matter.» — [LA VOZ QUE DICTA] acota su función en el arco de salida, que es la contraria de la que se le supone: sumergirse más pronto en la materia.

«It issued forth as a cloud of Sparks. It returns as an organised set of magnetic, capillary, mass-momentum, centrifugal, centripetal, and vertical stresses.» — [LA VOZ QUE DICTA] el balance del primer enjambre entre la ida y la vuelta, en vocabulario de física: sale como nube de chispas y vuelve como sistema organizado de tensiones.

«The Logos is then confronted by an organisation that approximates in influence to its own. Whatever reactions the Logos may impose upon its universe will encounter the organised opposition of the first swarm. The Logos, however, works not in opposition to that which it has itself created, but acts as a synthesiser between the Cosmos by which it is influenced, and the organisation which now forms a conditioning influence in its universe. By its perception of this organisation a corresponding image rises in its consciousness, and the Great Entity is thus conditioned by the conditions of its universe, and therefore all Cosmic influences are transmuted under the influence of that conditioning before they are communicated to the universe.» — [LA VOZ QUE DICTA] el Logos queda condicionado por su propio universo: no se opone a lo que creó sino que hace de sintetizador, y desde entonces toda influencia cósmica llega transmutada por ese condicionamiento.

«The Logos has now acquired the same reactionary capacities, by contemplation of the evolved swarm, that the swarm acquired by experience of the planes.» — [LA VOZ QUE DICTA] y la vía por la que el Logos adquiere lo que el enjambre ganó viviéndolo: la contemplación.

«Entity and the Divine Manifestation vibrate synchronously and are at-one; and, after a period of compensating action and reaction, they evolve a rhythm. The Logoidal vibrations are extended to the Group Spirit of the swarm, and the Group Spirit of the swarm is absorbed in the consciousness of the Great Entity. (Fig. 17) The individual Sparks, however, maintain their individuality but their Group Spirit is no longer a separate Entity but has become at-one with it, and therefore it is at-one with the Logoidal consciousness, so that the oversoul of the swarm is the Logos itself.» — [LA VOZ QUE DICTA] al llegar la sincronía, el Espíritu de Grupo del enjambre queda absorbido en la Gran Entidad mientras las Sparks conservan su individualidad, de modo que la oversoul del enjambre pasa a ser el Logos mismo.

«This is the goal of evolution of a Life swarm, the at- one-ment of the Group Soul with the Logoidal consciousness, whereby the Logos received the fruits of the evolution.» — [LA VOZ QUE DICTA] enuncia así la meta de un Life Swarm: la unión del Alma de Grupo con la consciencia logoidal, por la que el Logos recibe los frutos.

«In the case of the Lords of Flame they are so completely withdrawn from the manifested universe that they cease to be upon the planes of manifestation but remain at the central point of impactation, maintaining a balancing action and reaction between the Manifest and the Unmanifest. Some, however, succeed in making contact with their corresponding Cosmic atoms and these pass out of the sphere of Logoidal evolution to experience the life of a Travelling atom in the Cosmos.» — [LA VOZ QUE DICTA] los Lords of Flame se retiran al punto de impactación entre lo Manifiesto y lo No Manifiesto, y algunos alcanzan su átomo cósmico y salen de la esfera logoidal a ser átomos viajeros.

«Those that do not so proceed remain as conditioning influencers in the universe and, being at-one with the Logoidal Mind, are able to execute the Logoidal Will. The forms which they built in the course of their evolution form part of the framework of the universe, and as such, are stereotyped. But, whenever the Logos desires to effect compensatory actions in response to the unco-ordinated responses of an evolving universe, it is by means of the Lords of Flame thus freed from the bonds of manifestation that this is achieved. “And He made His Ministering Spirits a flame of fire” and “Flames of Fire were His Ministering Spirits”. The Lords of Flame are concerned in basic Natural Forces.» — [LA VOZ QUE DICTA] los que se quedan ejecutan la Voluntad logoidal y son el instrumento de toda compensación, y ahí encaja el versículo de los espíritus ministrantes hechos llama de fuego; su terreno son las Fuerzas Naturales básicas.

«The Lords of Form likewise, on completing their evolution, undergo similar adjustments, and when the Logos, having received a new concept from an evolving swarm, desires to impress an archetypal concept upon a swarm in process of evolution, it is the Lords of Form that are employed for the process.» — [LA VOZ QUE DICTA] los Lords of Form son el instrumento cuando el Logos quiere imprimir un concepto arquetípico sobre un enjambre en evolución.

«The Lords of Mind likewise, upon their return, are assimilated to the Divine Consciousness, and employed as Mediators between the Logos and His universe. Now be it recalled that the Lords of Mind established individuation, and they deal essentially as individuals with individuals. Whereas the Lords of Form deal with Group Souls.» — [LA VOZ QUE DICTA] los Lords of Mind quedan de Mediadores, y la diferencia práctica: tratan con individuos, mientras los Lords of Form tratan con Almas de Grupo.

«The Lords of Mind are the Initiators of our present evolution and as such, will receive much reference in the course of these teachings. They it is, who, able to react upon all planes of manifestation, range up and down the planes, performing adjustments by exercising compensatory stresses when the faculty of epigenesis has disordered an evolution.» — [LA VOZ QUE DICTA] los declara Iniciadores de la evolución presente, y su tarea es compensar los desórdenes que la epigénesis introduce.

«Upon a plane where they function they are simply a centre of force, therefore they are unperceived by the denizens of that plane. They can, however, by the assistance of a vehicle of that plane, detach certain elements to form nuclei for the building of vehicles in the matter of that plane. Hence the concept of the Virgin birth. And therefore it is that those who are known as the ‘Saviours’ are always represented as born of agamogenesis. They bring their own life impulse. Nothing but the accretion of matter is required for their manifestation.» — [LA VOZ QUE DICTA] aquí deriva el concepto del nacimiento virginal: al ser meros centros de fuerza, los Lords of Mind necesitan que un vehículo del plano desprenda elementos que hagan núcleo, y por eso los Salvadores se representan nacidos por agamogénesis.

«It will be recalled that the Logos has three prime aspects. Each of the three prime swarms was projected into manifestation under an impulse of one of the prime aspects of the Logos and may therefore be regarded as the representative of that aspect to the universe. These three prime manifestations are of a different degree to all the others.» — [LA VOZ QUE DICTA] cada uno de los tres enjambres primordiales salió bajo el impulso de uno de los tres aspectos del Logos y lo representa ante el universo, en un grado distinto del de todos los demás.

«Subsequent Life swarms develop under the Logos plus the Regents and as, in addition to the three prime aspects derived from the Rings of the Cosmos, the Logos also reacts to the influence of the twelve Cosmic Rays, subsequent evolution’s are characterised by the influence of the Rays which predominated at the time when they received the Logoidal impulse. As these Cosmic impulses are received by the Logos by means of the Zodiacal Initiations, the Group Spirits of the swarms thus developed are known as ‘Star Logoi’ (Called Ray Exemplars in earlier editions). These are closely concerned with types in the evolving Sparks.» — [LA VOZ QUE DICTA] los enjambres posteriores llevan además el sello del Rayo que predominaba al recibir el impulso, y sus Espíritus de Grupo son los Star Logoi, ligados a los tipos de las Sparks.

«It will thus be seen that each swarm, after it has achieved at-one-ment with the Logos, performs the part of Compensator» — [LA VOZ QUE DICTA] todo enjambre unido al Logos pasa a hacer de Compensador; la frase sigue tras el corte de chunk, en la misma plana.

«or Counterpoise in the work of evolution, for, with the coming in of epigenesis, comes also the risk of developments out of harmony with the Logoidal Nature. Likewise these evolved swarms are employed to convey to the outgoing Sparks the fruits of evolution that have been achieved, and thus save a needless recapitulation of reactions already stereotyped in the universe.» — [LA VOZ QUE DICTA] y ahí queda la razón: con la epigénesis llega el riesgo de desarrollos fuera de armonía, y los enjambres evolucionados también ahorran a los que salen la recapitulación de lo ya estereotipado.

«We have now concluded a description in outline of the evolution of the Logos and His Regents who condition all future evolution’s. This concludes the second section of the teaching.» — [LA VOZ QUE DICTA] así cierra la sección segunda, la del Logos y sus Regentes, que condicionan toda evolución futura.

«We are now considering the influences under which human evolution takes place. 1. Logoidal Influences. (a) Cosmic influences acting on the Logos, the Rings, and the Rays as exemplified by the Zodiac, and other Great Entities.» — [LA VOZ QUE DICTA] abre la sección tercera con el índice de influencias, y bajo las logoidales pone primero las cósmicas que actúan sobre el Logos, los Anillos y los Rayos ejemplificados por el Zodiaco.

«Modifications of Logoidal consciousness produced by reactions to the evolution of the manifested universe. 2. The Influences of the Manifested Universe. (a) Plane conditions. (b) Influences of Star Logoi. (c) Influences of Planetary Spirits. (d) Influences of other evolution’s sharing the same planet.» — [LA VOZ QUE DICTA] el resto del reparto: las modificaciones de la consciencia logoidal por reacción al universo, y las influencias del universo manifestado, con planos, Star Logoi, Planetary Spirits y otras evoluciones que comparten planeta.

«These factors are stereotypes of reactions which always function on appropriate occasions. Being built up by preceding evolution’s, they form the inheritance of each subsequent evolution, and are innate capacities. There are very many. We will enumerate certain of the major ones:- (a) Law of action and reaction - equal and opposite. (b)Law of Limitations.» — [LA VOZ QUE DICTA] define el tercer grupo, los Factores, como estereotipos de reacción heredados de evoluciones anteriores, y empieza la lista con acción y reacción y limitación.

«(c) Law of the Seven Deaths. (d)Law of Impaction or the transmission of action from one plane to another. (e) Law of the aspects of force, or Polarity. (f) Law of Attraction of outer space. (g) Law of the Attraction of the Centre.» — [LA VOZ QUE DICTA] y las cinco Leyes restantes de la lista, que son las que ocupan los capítulos siguientes.

«Under the influence of these factors evolution proceeds, and to terms of these factors it can be reduced. The Logoidal influence predominating at the time that a new phase is being developed determines the type of life or vehicle evolved.» — [LA VOZ QUE DICTA] declara la evolución reducible a esos factores, y fija que la influencia logoidal predominante al abrirse una fase decide el tipo de vida o vehículo que evoluciona.

«You are accustomed to the concepts of Astrology which delineate the planetary influences affecting the personality. The subject of our discussion is, the Cosmic influences affecting the individuality, which may be termed 'sidereal astrology’ in distinction from planetary astrology.» — [LA VOZ QUE DICTA] el reparto que ordena el capítulo: la astrología planetaria concierne a la personalidad, la sideral a la individualidad.

«You have no doubt realised from previous teaching that the universe evolves subject to the determining influence of the Logoidal consciousness, and that the Logoidal consciousness experiences in its turn the influence of the Cosmic tides. Therefore the universe is modified indirectly by the action of the Cosmic tides. The Cosmic tides consist of influences of the positive and negative phases of the Rings. These phases affect the Cosmos as a whole, so that the twelve Cosmic Rays and the seven Cosmic planes function alternately with their positive and negative aspects predominating. Which means that when the positive phase predominates, the forces of action - the apex shall we say - may be conceived of as in the centre. When the negative predominates the apex is at the circumference.» — [LA VOZ QUE DICTA] las Mareas Cósmicas llegan al universo indirectamente, por el Logos, y consisten en el predominio alterno de la fase positiva y la negativa de los Anillos, con el ápice en el centro o en la circunferencia.

«Thus in a positive phase a circuit would consist of an inflowing and outgoing. In a negative phase, an outgoing and inflowing. The action of a Ray therefore, differs greatly according to whether it be experienced under a positive or a negative phase of the Rings.» — [LA VOZ QUE DICTA] y el efecto sobre el circuito: el orden de entrada y salida se invierte, de modo que un mismo Rayo actúa muy distinto según la fase.

«So that a Great Entity may be conceived of as circling round the Cosmos in its orbit, and receiving the influence of the Rays as it passes through their areas, but receiving them alternately under their positive and negative aspects.» — [LA VOZ QUE DICTA] la figura completa: la Gran Entidad recorre su órbita recibiendo cada Rayo alternativamente en su aspecto positivo y en el negativo.

«The evolution proceeding in the universe will be correspondingly modified according to whether that evolution takes place when the Logos is experiencing a positive or negative Cosmic influence.» — [LA VOZ QUE DICTA] y de ahí que una evolución quede marcada por el signo de la influencia cósmica bajo la que ocurrió.

«The calculating of these influences constitutes sidereal astrology. This is the astrology which relates to the lives and fates of Group Souls and Planetary Spirits. It concerns the nativities of the Heavenly Bodies themselves. The basis of this calculation is the precession of the equinoxes.» — [LA VOZ QUE DICTA] define la astrología sideral por su objeto —Almas de Grupo, Planetary Spirits, natividades de los cuerpos celestes— y por su base de cálculo, la precesión de los equinoccios.

«The equinoxes and the Cosmic Ray phases correlate, and there are four phases to a Ring phase. On that basis you can calculate out the sidereal influences affecting evolution. Remembering this, however, that these influences do not affect human lives directly, but affect the planetary Spirits which, in their turn, influence the mental and karmic atmosphere in which a soul reacts. And the Planetary Spirits themselves are modified by the tracks in space described about them by the evolution of a Group Soul of any Life Swarm that is progressing through their sphere. So that, although the Logoidal influences are remutable, modifications of these influences are introduced in the course of transmission.» — [LA VOZ QUE DICTA] la regla de cálculo, con la cadena de transmisión que la complica: las influencias no tocan las vidas humanas directamente sino a los Planetary Spirits, que a su vez son modificados por los enjambres que pasan por su esfera.

«So that the astrology of the ancients, though fundamentally true, is not strictly accurate at the present day. The developments caused by evolution must be allowed for. Therefore, those aspects which, in primitive times might be interpreted as war and bloodshed, at the present time might be interpreted as a conflict of ideas. The Planetary aspects at the time of the Darwinian controversy would have meant war at an earlier stage.» — [LA VOZ QUE DICTA] la consecuencia crítica que saca contra la astrología heredada: fundamentalmente verdadera pero no exacta hoy, porque lo que en tiempos primitivos se leía como guerra puede hoy ser un conflicto de ideas, y da por ejemplo la controversia darwiniana.

«Sidereal astrology should always be calculated in relation to the Race before any horoscope of an individual of that Race is cast. Group Mind and Group Souls are subject to sidereal astrology. Individuals to planetary plus sidereal astrology.» — [LA VOZ QUE DICTA] la regla de orden que impone: la sideral por la Raza antes que el horóscopo del individuo, porque Mente y Almas de Grupo caen bajo la sideral y los individuos bajo las dos.

«Work out the equinoctial positions. From that you can calculate the Ring influence. This will enable you to know whether the Heavenly House is in its positive or negative» — [LA VOZ QUE DICTA] y la instrucción operativa con que empieza el procedimiento; la frase cierra en la plana siguiente.

«aspect, and this will tell you what aspect of the Logos is in function. Whatever aspect be thus energised will stimulate the corresponding aspects in all manifestations. Breaking down and building up aspects depend on the Cosmic Rings, and the particular form of destruction or construction depends on the Cosmic Ray. These prime conditions underlie all others and frequently falsify the best made calculations.» — [LA VOZ QUE DICTA] el reparto de papeles entre Anillos y Rayos —los primeros dan el signo constructivo o destructivo, el segundo la forma concreta— y la advertencia de que esas condiciones primordiales falsean a menudo el mejor cálculo.

«In addition to these, the regular and calculable influences of the Cosmos, there are the irregular influences caused by the passing of other Great Entities upon other spheres or planes of the Cosmos, as previously referred to. You will find the particulars on this subject in a previous chapter. (Fig. 14) There is no method which you are capable of grasping whereby such influences can be reduced to a calculable system, but they will be found to correlate with the approach of the comets. Some, therefore, are known to you, for some of the comets have their orbits calculated. Some are still unknown to human thought, but give adequate notice of their approach by the disturbances induced in other heavenly bodies.» — [LA VOZ QUE DICTA] declara incalculables para el lector las influencias irregulares de otras Grandes Entidades, y da la única señal: correlacionan con la llegada de los cometas.

«The astrology of the comets have been but little worked out and would repay attention. The best method of calculation is through the spectroscopic record of a comet. This will enable its chemical composition to be deduced, and the proportions of the elements will give the necessary clue to the nature, especially the proportion of the metals, which, being referred to their appropriate correspondences, will furnish the key to the problem of good and evil, the fruit of the Tree of Knowledge.» — [LA VOZ QUE DICTA] propone un método concreto para esa astrología de los cometas —el registro espectroscópico, y dentro de él la proporción de los metales referida a sus correspondencias— y lo liga a la clave del bien y el mal.

«Thus it can be seen of what the force is the support or pillar, for that which it supports will have its activity intensified, so that, that which should be a negative phase may unexpectedly become positive.» — [LA VOZ QUE DICTA] y qué se saca de ese cálculo: qué sostiene la fuerza, porque lo sostenido intensifica su actividad y una fase negativa puede volverse positiva.

«The basis of calculation of sidereal astrology, then, is the equinoxes, subject to irregular modifications of other Great Entities, many of which can be calculated by means of the comets.» — [LA VOZ QUE DICTA] recapitula la base del cálculo: los equinoccios, corregidos por las modificaciones irregulares que los cometas dejan calcular.

«The comets, it may be said, are aggregates of atoms drawn together by means of the electrical disturbance occasioned by the influences of Entities upon subtler planes. That is to say, Great Cosmic Beings that have no matter of the 7th Cosmic plane in their composition and therefore cannot form a universe which is perceptible to the senses of a 1st plane Solar evolution.» — [LA VOZ QUE DICTA] define el cometa como agregado atómico levantado por la perturbación eléctrica de Entidades de planos más sutiles, sin materia del séptimo plano cósmico.

«These comets do not generate a Group Soul which can evolve. They are sidereal idiots. Artificial elementals are their souls, and they are concerned - certain of them - with Cosmic scavenging. To them are sent those rare units of an evolution which, by the persistent misuse of epigenesis, have dedicated themselves to destruction. The comet, in its orbit, takes such souls to the outermost bounds of the Cosmos wherein there are no influences to which they can react, and the Cosmic atom-images, which go to the building of their component parts, cease to be reflected.» — [LA VOZ QUE DICTA] los llama idiotas siderales, con elementales artificiales por alma, y les asigna una función de carroñeo cósmico: llevar a los límites del Cosmos a las unidades que por abuso persistente de la epigénesis se dedicaron a la destrucción.

«That is the unknown death. Such units cease to be - completely, and there is no reincarnation, or fresh start. Even their karma is disintegrated and touches not the Group Spirit. It is said of such that they exchange their planet for a comet. They elect to go far and fast, but they go too far and too fast for their forces of cohesion, and the comet to which they have yoked themselves, when it returns again to the sphere of our solar system, is found to be without them.» — [LA VOZ QUE DICTA] nombra eso la muerte desconocida: cese completo, sin reencarnación ni nuevo comienzo, con el karma mismo desintegrado, y lo dice con la fórmula de cambiar el planeta por un cometa.

«Solar evolution s proceeding from the Solar Logos - which is your God - synchronise roughly with the Ring influences of the Cosmos. That is to say that under the positive Cosmic influences the Logos will give the stimulus which sends a new swarm upon its journey, but the length and speed of that journey synchronise thenceforth with nothing else, because» — [LA VOZ QUE DICTA] las evoluciones solares solo sincronizan con las Mareas Cósmicas en el impulso que las lanza; la razón cierra en la plana siguiente.

«there are so many counter-acting influences, save that it will have to make its passage through the nadir at a time when the Cosmic tides are turning. But it may have one or more Cosmic phases upon its outgoing arc.» — [LA VOZ QUE DICTA] y ahí queda la única atadura que conserva: pasar el nadir cuando las Mareas Cósmicas cambian de signo.

«The change of a phase will always precipitate an evolutionary crisis, but until a Cosmic tide-turn occurs, when an evolution is approaching the limit of its developmental capacities, it will not venture over the dead centre, but will perform epigenesis and bide its time.» — [LA VOZ QUE DICTA] toda evolución que llega a su límite espera la marea antes de cruzar el punto muerto, y mientras tanto hace epigénesis.

«Those Beings which essayed the task of passing the nadir under unfavourable influences failed to make the transition, reverted along the original path when the Cosmic tide came later, and become demons and devils. Hence the distinction of the Left Hand Path.» — [LA VOZ QUE DICTA] el origen que da a los demonios: seres que intentaron el nadir con marea contraria, fallaron y revirtieron por su camino, y de ahí la distinción del Sendero de la Mano Izquierda.

«The left hand path can be gained in two ways, by deliberate crossing of the arc from right to left after the nadir has been passed, or by retroversion before the nadir has been passed. This has reference to the squaring of the Lodge.» — [LA VOZ QUE DICTA] las dos vías a ese sendero, cruce deliberado tras el nadir o retroversión antes de él, que remite al cuadrar la Logia.

«You will see by this that it is necessary to watch the Cosmic tides when undertaking any regenerative work in relation to the spiritual guidance of humanity.» — [LA VOZ QUE DICTA] la consecuencia práctica para quien trabaje en la guía espiritual de la humanidad: vigilar las Mareas Cósmicas.

«The great constructive period of the 19th century afforded a valuable starting ground for any spiritual impulses. The first quarter of the 20th century was a phase of destruction. You will observe that movements upon all different phases that took their rise during that period, especially during its middle years, have come to naught. The concepts may have been sound, but the season was unpropitious.» — [LA VOZ QUE DICTA] la única datación histórica concreta del tratado: el XIX constructivo y el primer cuarto del XX destructivo, con los movimientos nacidos entonces malogrados por la estación y no por su concepto.

«It will be realised from the study of the foregoing papers that the Logos is related sub-consciously to the Cosmos and consciously to the universe. Remembering also that the Logos is affected by the positive and negative Cosmic phases, you will perceive that under the negative influence its consciousness will tend to subjectivity and therefore the Cosmic influences will predominate in the Logoidal consciousness. At the same time that the Logoidal influences will be withdrawn to a great extent from the manifested universe which will be left to the control of forces which it had itself generated in the course of its evolution.» — [LA VOZ QUE DICTA] el Logos se relaciona subconscientemente con el Cosmos y conscientemente con su universo, y bajo la fase negativa se vuelve subjetivo y deja al universo en manos de las fuerzas que este mismo generó.

«These periods are referred to as the days and nights of Brahma. Be it noted, however, that there are the greater and lesser nights.» — [LA VOZ QUE DICTA] nombra esos periodos Días y Noches de Brahma y distingue las noches mayores de las menores.

«The relation of the Logos to his universe will be best realised by remembering that a phase of evolution is to the Logos what an incarnation is to a man. The forthsending and returning of an evolutionary Life Swarm conveys the same harvest of experience to the Logoidal consciousness as the individuality of a man receives from the incarnating personality.» — [LA VOZ QUE DICTA] la analogía que ordena el capítulo: una fase de evolución es al Logos lo que una encarnación al hombre, y la cosecha de experiencia funciona igual.

«The Logos itself corresponds to the Divine Spark. The universe, in its group soul aspect, to the individuality. The evolutionary swarm to the personality. Bearing these correspondences in mind, you will be able to interpret the Logos in the light of the man, and the man in the light of the Logos.» — [LA VOZ QUE DICTA] y la tabla de correspondencias que propone leer en las dos direcciones: Logos-Chispa, universo-individualidad, enjambre-personalidad.

«The formation, development, and devolution of a universe corresponds to the evolutionary cycle of the Logos, so that the Logos develops by means of a series of incarnating impulses which are evolutionary life waves or swarms.» — [LA VOZ QUE DICTA] el Logos se desarrolla por una serie de impulsos de encarnación que son las oleadas de vida.

«Each succeeding evolution penetrates deeper into the ‘form’ aspect of the universe; renders it more complex in its organisation; brings it to a stage further in the development of that perfect balance of forces which it is enabled to reach as a whole. When the entire manifested universe acts as a whole it is fully self-conscious. And soon as self-consciousness is established, objective consciousness becomes possible. The universe then becomes aware of the Cosmos. Reciprocal consciousness between Logos and universe is established.» — [LA VOZ QUE DICTA] la secuencia de estados del universo: cuando actúa como un todo es plenamente autoconsciente, y solo entonces le es posible la consciencia objetiva y la reciprocidad con el Logos.

«We have then, first, the self-conscious Logos. Secondly, in order that the Logos may establish objective consciousness, the need of an object of which it can be conscious. The Logos, therefore, projects its concept of itself and becomes conscious of that. The concept, in its turn, develops selfconsciousness through successive phases of evolution. The Logos is aware of these changes as they take place, and is modified by the knowledge.» — [LA VOZ QUE DICTA] recapitula el mecanismo entero: el Logos proyecta su concepto para tener objeto, el concepto se hace autoconsciente por fases, y el Logos se modifica al saberlo; el troceo parte *self-consciousness* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«Finally the universe, having attained full self-consciousness, becomes objectively conscious and is aware of the Logos. But as the Logoidal consciousness has developed, step by step, with a universal consciousness, they are identical, the only distinction being that the Logos has a background of Cosmic conditions, and the universal consciousness has a background of mundane conditions. The Logos, then, absorbs into itself the universal consciousness, because the Cosmic forces, by their attraction, overcome the cohesion of the mundane forces.» — [LA VOZ QUE DICTA] al final las dos consciencias son idénticas salvo por su fondo —cósmico una, mundano la otra— y el Logos absorbe la del universo porque la atracción cósmica vence la cohesión mundana.

«All these systems of organised reactions, which held together the atoms of the manifested universe, are therefore withdrawn from the plane of the manifested universe into the Cosmic state of existence, and the atoms, of which the manifested» — [LA VOZ QUE DICTA] esos sistemas se retiran del universo manifestado al estado cósmico; qué pasa con los átomos cierra en la plana siguiente.

«universe was composed, return to their primary condition of tangential movement, unco-ordinated by any superior force. This is the lesser chaos and is referred to expressively as “old night” or the “night of the ages”.» — [LA VOZ QUE DICTA] y ahí queda: los átomos vuelven al movimiento tangencial sin coordinar, que es el caos menor, llamado vieja noche o noche de las edades.

«It will be seen then, that the goal of evolution is the development of a consciousness which can unite with the Logoidal consciousness, and pass from the phase of a reflected, or projected existence - a phenomenal existence - to that of a real, actual or noumenal existence in the Cosmic state. This can only be achieved when the entire manifested universe is perfectly synthesised. This represents the pralaya or night of Brahma.» — [LA VOZ QUE DICTA] fija la meta de la evolución en pasar de existencia fenoménica a existencia nouménica en el estado cósmico, que solo cabe con el universo entero sintetizado, y eso es el pralaya.

«A lesser pralaya, occurs at the completion of each phase of evolution during the time in which the Logos meditates upon the concepts presented to it as the fruits of that evolution, thereby modifying its own consciousness. The succeeding swarm of Divine Sparks receives the impression of the modified Logoidal consciousness, as previously explained, and therefore starts upon its evolution with an elaborate reactionary capacity already developed.» — [LA VOZ QUE DICTA] el pralaya menor es la meditación del Logos entre fase y fase, y de ella sale el enjambre siguiente ya dotado.

«The matter of each plane, having been used to build forms of a certain type, retains the reaction capacity of that type after the forms have been disintegrated, and therefore assembles into smaller forms with a greater readiness each time it is called upon to repeat the process until finally it holds these forms of its own organised forces. Thus subsequent life-waves are compelled to use these forms and are conditioned thereby. This is retrogressive, because each life-wave, having performed epigenesis, is more highly elaborated than its predecessor, and therefore cannot enter the same mould without deformity. This matter will be referred to again when considering the problem of evil.» — [LA VOZ QUE DICTA] la materia conserva la capacidad de reacción de las formas que ya llevó y acaba imponiéndolas, lo que la voz declara retrógrado: la oleada nueva, más elaborada por epigénesis, no entra en el mismo molde sin deformidad.

«It must then be realised that each unit of a life swarm has, inherent in its nature, the reaction-capacities of a Cosmos in» — [LA VOZ QUE DICTA] cada unidad de una oleada lleva dentro las capacidades de reacción del Cosmos; la frase cierra en la plana siguiente.

«its simplicity, and of all preceding life swarms in their complexity. Therefore, though fundamentally it has a perfect simplicity of principle, it has an infinite complexity of reaction-capacity.» — [LA VOZ QUE DICTA] y el balance que resulta: simplicidad perfecta de principio con complejidad infinita de capacidad de reacción.

«The Cosmic principles are known and are constant. To these each human soul is obedient as to the fundamental laws of its nature. But the reactions of epigenesis cannot be calculated in relation to individuals because of their complexity, and the number of possible modifying factors. They can only be calculated in relation to evolution’s because the number gives the average. Hence it is that epigenesis introduces the element known as free-will; and free-will, in the interval between its development and its synthesis to the Logos, gives rise to the positive evil of the manifested universe.» — [LA VOZ QUE DICTA] la epigénesis no se calcula por individuo sino por promedio de una evolución, y ahí sitúa el libre albedrío y, en el intervalo antes de su síntesis con el Logos, el mal positivo del universo.

«Let it be borne in mind that the extra-universal influences firstly are of two types (a) The Cosmic influences which act upon the Logos, and to which the Logos reacts, thus undergoing the changes. (b) These changes, being reflected upon the manifested universe as variations and phases of the Logoidal influences.» — [LA VOZ QUE DICTA] ordena en dos las influencias extrauniversales: las cósmicas que cambian al Logos, y esos cambios reflejados sobre el universo.

«The Logoidal influences are not constant, though true to type. This is an important point in which esoteric theology differs from exoteric theology which conceives of God as changeless, whereas esoteric theology conceives of God as Himself evolving, and as subject to mutation, according to law.» — [LA VOZ QUE DICTA] el punto en que declara que la teología esotérica difiere de la exotérica: Dios no es inmutable sino que evoluciona y está sujeto a mutación conforme a ley.

«Logoidal influences playing upon the manifested universe vary in these two ways , and these have to be reckoned with in all calculations of the influences to which evolving humanity is subject, and they can be calculated - in the Cosmic type - by means of the equinoxes and the comets: and the evolutionary reaction type by calculating the curve and studying the phases of the biological history.» — [LA VOZ QUE DICTA] los dos modos de calcular las influencias logoidales: el tipo cósmico por equinoccios y cometas, el tipo de reacción evolutiva por la curva y las fases de la historia biológica.

«It will have been perceived, from a study of the foregoing chapters, that all action and reaction which is regular, becomes cyclic, according to the law of universal curvature; and that cyclic reaction makes a ‘track in space’ and thus becomes stereotyped. So that the manifested universe is at any given time a set of molecules and atoms held together by a framework of tracks in space. In other words, the organised manifestation of the ‘One Existence’ are simply a set of stereotyped reactions of which the tracks in space form the abstract mould. (The idea of the abstract mould is an important one and should be borne in mind).» — [LA VOZ QUE DICTA] la ley de curvatura universal vuelve cíclica toda reacción regular, y así el universo manifestado queda como átomos sostenidos por un armazón de huellas en el espacio, que son el molde abstracto de reacciones estereotipadas.

«These sets of stereotyped reactions are of many different types, and they can be distinguished according to the mode of their origin. Some were left behind by the Lords of Flame in the course of their evolution; others by the Lords of Form and others by the Lords of Mind; and each of these sets of stereotyped reactions form the natural laws which govern the manifestations of those particular kinds of forms and activities which were built up in the course of that evolution, and these form the distinctions between one kind and another. But as each evolution makes use of the creations of its predecessor, the reaction types of that predecessor will be found inherent in the successors, though the analytical mind can dissect them not. They also, however, exist as independent sub-strata, and it is the knowledge of the method of manipulating these - the elemental essences of each kingdom - which is the basis of» — [LA VOZ QUE DICTA] los estereotipos que dejó cada orden de Lords son las leyes naturales de su clase de forma y persisten como sustratos independientes, las esencias elementales de cada reino; qué se funda en su manipulación cierra en la plana siguiente.

«practical magic; and remember that each type of manifestation has its elemental essence.» — [LA VOZ QUE DICTA] y ahí queda fundada la magia práctica dentro del sistema, con la regla de que todo tipo de manifestación tiene su esencia elemental.

«You will recall that each phase of the manifested universe was built up in turn, and that these phases form the fields of development of subsequent life-waves. It therefore follows that each life-wave, at each phase of its evolution will be conditioned by the conditions of the plane upon which that is undergone. Therefore an understanding of the planes is essential to an understanding of the problems of evolution, and of Initiation, which is simply condensed evolution.» — [LA VOZ QUE DICTA] y define la Iniciación de una vez, dentro de una frase sobre los planos: evolución condensada.

«The laws of the first, or physical, plane are being worked out by means of the five physical senses which relate to that plane, and are well known to you under the generic name of Natural Science, though why man should consider one of the planes of his existence natural and the rest unnatural is a strange fruit of epigenesis.» — [LA VOZ QUE DICTA] identifica la Ciencia Natural con las leyes del primer plano trabajadas por los cinco sentidos, y llama fruto extraño de la epigénesis que el hombre tenga por natural uno solo de los planos de su existencia.

«These conditions, so far as the inanimate world is concerned, have been well and truly observed, and subject to these laws, life will proceed with its evolution upon the physical plane. But scientific thought has made a mistake in believing that these laws are all there are and this mistake has vitiated the last hundred years of science. The ancients were wiser but not so well informed.» — [LA VOZ QUE DICTA] concede a la ciencia la observación del mundo inanimado y le objeta creer que esas leyes son todas las que hay, con la fórmula sobre los antiguos: más sabios y peor informados.

«Certain schools of religious philosophy, however, make the opposite mistake and believe that life can work out its evolution regardless of the laws of the physical plane. This also is a mistake.» — [LA VOZ QUE DICTA] y reparte el reproche al otro lado: creer que la vida puede evolucionar sin las leyes del plano físico es el error opuesto.

«The forces of a plane are supreme upon their own plane. Controllers of the plane below and, when in contact with the plane above, are in their turn controlled. For example, the laws of logic are supreme in the realm of mind. The images of mind control the forms of the emotions but the images of mind are themselves controlled by the» — [LA VOZ QUE DICTA] la regla de mando entre planos, con el ejemplo de la lógica que reina en la mente, controla las emociones y a su vez es controlada; la frase cierra en la plana siguiente.

«spiritual forces. (Fig. 18) Each plane is capable of independent function, or of function in circuit, but as soon as the planes are put in circuit it is necessary that the current should be completed by uniting the arc upon the 7th plane, otherwise the open arc will short to the Left-hand path.» — [LA VOZ QUE DICTA] son las fuerzas espirituales las que mandan sobre las imágenes de la mente; y al poner los planos en circuito hace falta cerrar el arco en el séptimo, o el arco abierto deriva al Sendero de la Mano Izquierda.

«For example, should the trained mind learn to control the body of emotions, and the body of emotions learn to control the physical vehicle, you have an arc in function of which one half is conscious or negative, and the other half sub-conscious or positive, and the sub-conscious always gives the stimulus. If that arc be not completed into a circuit by junction through the Logoidal image on the 7th plane it will short from conscious to sub-conscious upon the 4th or 5 th according to type; and the sub-conscious being the positive or stimulator will assume the control.» — [LA VOZ QUE DICTA] el ejemplo técnico de ese cortocircuito: sin cierre por la imagen logoidal del séptimo plano, el arco salta al cuarto o al quinto y manda el subconsciente, que es el polo positivo.

«Now the sub-conscious was built up in the past, therefore the past will assume control. The past lies to the left. That man will then return to an earlier phase of evolution and will be» — [LA VOZ QUE DICTA] y la lectura direccional que hace de eso: el subconsciente se construyó en el pasado, el pasado queda a la izquierda, y ese hombre vuelve a una fase anterior; la frase sigue tras el corte de chunk, en la misma plana.

«actuated by its motives while retaining the faculties of a later form of evolution. Though these motives are adequate to the control of the simple faculties of that phase they are inadequate to the control of the complex faculties of a later phase, and that man becomes a danger to evolution by destroying the poise of the group soul of which he is a member and, as it will be remembered, it is the function of the Entities evolved in earlier life-waves to adjust the balance of compensating forces of the universe, he will be dealt with by the Destroyers and will be reduced to his lowest common denominator. That is to say, his later faculties will be taken from him and he will be left only with those faculties suited to his impulses. Certain types of mischievous malicious idiots are produced in this way.» — [LA VOZ QUE DICTA] describe el resultado sin atenuar: motivos de una fase antigua con facultades de una posterior, un peligro para la evolución que los Destructores reducen a su mínimo común denominador.

«The doctrine of the planes cannot be understood without the doctrine of the Planetary Spirits. Let it be remembered that a Planetary Spirit was evolved with the development of each plane, but that as the Planetary Spirit itself was developed at the time that the plane was being evolved, its highest aspect will be of the subtlest aspect of the matter of that plane. Thus the subtlest aspect of the Earth is etheric. It is a plane of forms without intelligence.» — [LA VOZ QUE DICTA] liga las dos doctrinas y fija el aspecto más sutil de cada Planetary Spirit en la materia de su propio plano: en el caso de la Tierra, el etérico, que llama plano de formas sin inteligencia.

«Each Planetary Spirit then is the Archetype of the life of its plane, and it is the great dominating influence of that plane. In the course of the evolutionary tides, however, matter of the planes below is gathered about that Planetary Spirit thus forming shells or bodies for it. But the matter of the planes above is not accreted. For these elements in its nature it depends upon the influences from superior planes which act upon its atmosphere, and that element in its atmosphere is more directly supplied by the corresponding aspects in the lives inhabiting its sphere.» — [LA VOZ QUE DICTA] el Planetary Spirit acreta materia de los planos inferiores pero no de los superiores: esos elementos le llegan por las vidas que habitan su esfera.

«Thus the Planetary Spirit is as a group soul of that plane on which it functions through the planes below it to the dense physical with which it has been supplied, but the elements of the plane above it, which serve it as an individuality, are supplied by the lives evolving in its sphere, and partakes of the nature of a Group Mind of the life of that planet. This is a subtle but important distinction, for it means that the Higher Self of the Planetary Spirit depends upon the lives dwelling on it for its development.» — [LA VOZ QUE DICTA] la distinción que la voz llama sutil pero importante, y es una dependencia invertida: el Yo Superior del Planetary Spirit depende para desarrollarse de las vidas que lo habitan.

«A Planetary Spirit is a vast artificial elemental for which humanity builds a greater self, and while the Planetary Spirit» — [LA VOZ QUE DICTA] lo define como elemental artificial vasto al que la humanidad le construye un yo mayor; la frase cierra en la plana siguiente.

«determines the condition of all evolution and all function within its sphere, the higher aspects do not belong to it but are related to those Planetary Spirits who are its seniors.» — [LA VOZ QUE DICTA] y ahí queda el reparto: el Planetary Spirit determina toda evolución dentro de su esfera, pero los aspectos altos no le pertenecen y se relacionan con Planetary Spirits mayores.

«Therefore it is that, in relation to the Earth, the man who would attain the maximum evolution within her sphere - who would achieve the supreme humanity of the animal aspect must make himself at-one with the forces of the Earth and of her subtle self - the Moon. But it is only by the influences of the planets that he can raise consciousness to the higher planes, and upon the tides of the planets he must make the transition.» — [LA VOZ QUE DICTA] la consecuencia práctica para el hombre: unirse a la Tierra y a la Luna da el máximo dentro de esa esfera, pero solo por las mareas de los planetas se sube de plano.

«He who takes the Earth as his planet becomes Earthbound and the time is soon now, as Cosmic time is reckoned, that the present human evolution will be withdrawn from the Earth plane, and therefore the advanced souls of that evolution do not find their development in communion with the Earth Soul. It is to the children of the elements that Earth is an Initiator, not to the children of men.» — [LA VOZ QUE DICTA] y su reverso, con una datación en tiempo cósmico: la evolución humana va a retirarse del plano terrestre, y la Tierra es Iniciadora de los hijos de los elementos, no de los hijos de los hombres.

«The Earth and the Moon Initiations are physical Initiations and concern the fall into matter and generation.» — [LA VOZ QUE DICTA] acota qué son las Iniciaciones de la Tierra y de la Luna: físicas, y sobre la caída en la materia y la generación.

«The Earth to the plane of the dense physical. The Moon her satellite, to that division of it known as the etheric. Mars dominates the plane of the instincts and passions. Venus is the plane of the abstract emotions. Saturn is the plane of the concrete mind. Saturn, be it noted, is the formative influence. Mercury is the planet of the abstract mind.» — [LA VOZ QUE DICTA] la tabla de correspondencias planeta-plano, de la Tierra física y la Luna etérica a Marte en los instintos, Venus en las emociones abstractas, Saturno en la mente concreta —marcado como influencia formativa— y Mercurio en la mente abstracta.

«the planet of the concrete spiritual. The Sun himself is the symbol of the Logos on the 7th» — [LA VOZ QUE DICTA] y los dos últimos de esa tabla: Júpiter en lo espiritual concreto y el Sol como símbolo del Logos en el séptimo plano.

«Conceive then each planet as the archetype of its plane. As radiating out its influence upon that plane and tuning that plane with its vibrations. And conceive each evolution as developing the corresponding factors within its nature when sojourning on a plane of the outgoing arc, and upon the returning arc aspiring to dominate those factors within itself and thereby to dominate the condition of the plane by means of the rapport thus developed with its ruling influence. The domination can only be completely achieved by securing the sympathetic co-operation of the Planetary Spirit.» — [LA VOZ QUE DICTA] el programa de trabajo que saca de esa tabla: desarrollar los factores del plano en la salida y dominarlos en la vuelta, con la condición de que el dominio completo pide la cooperación del propio Planetary Spirit.

«Now as has been aforesaid, the Planetary Spirits are great but mindless Entities, therefore each has assigned to it a Guide, and these Guides are of the first evolution - being Lords of Flame - and they are called the Archangels of the spheres. It is through the knowledge of these the dominion of the planes is secured. For that reason their Names are guarded, and known in their entirety to the Logos alone. For by the Name in its entirety it is possible to command, but in the Name in its consonants only it is possible to invoke.» — [LA VOZ QUE DICTA] los Planetary Spirits son entidades sin mente y cada uno tiene por Guía un Lord of Flame, los Arcángeles de las esferas, y ahí da la regla de los Nombres: por el Nombre entero se manda, por sus consonantes solas se invoca.

«These Archangels of the spheres have their own Initiates who know the consonants of the Names, and these are concerned with the evolution and regeneration of the planets to which they are assigned, as the Masters, whom you know, are concerned with the Earth plane.» — [LA VOZ QUE DICTA] cada Arcángel tiene sus Iniciados, que saben las consonantes y trabajan en su planeta como los Maestros en el plano terrestre.

«The Star Logoi have nothing to do with the Planetary Spirits, with whom they are sometimes confused, but with the signs of the Zodiac, for they represent the influences of the Cosmos upon the solar system. They, likewise are built up as artificial elementals to whom are assigned Archangelic Guides. But the Rays, being older than the planes are more highly evolved, and instead of being overshadowed as in the case of Planetary Spirits, identification is complete. The Star Logoi are Lords of Mind.» — [LA VOZ QUE DICTA] deshace una confusión que declara frecuente: los Star Logoi no son Planetary Spirits sino los signos del Zodiaco, representan las influencias cósmicas sobre el sistema solar y son Lords of Mind, identificados por completo con su elemental.

«The elemental aspect of each Star Logos is built up by the evolution which takes place under its influence and a Star Logos might be termed the Group Mind of the evolution. Each evolution builds a Star Logos and thereby, as it were, focuses, stereotypes and tames that particular aspect of the Cosmic influences through which it evolves.» — [LA VOZ QUE DICTA] cada evolución construye su Star Logos, que es su Mente de Grupo, y con ello enfoca, estereotipa y doma el aspecto de la influencia cósmica bajo el que evolucionó.

«These Logoi remain in function after the Cosmic Tide, which called them into being, has passed away, and thereby the Cosmic influences of that type are maintained in function in the universe, which evolution is developing into the form of a miniature Cosmos.» — [LA VOZ QUE DICTA] y esos Logoi siguen funcionando cuando la Marea que los llamó ya pasó, con lo que el universo va quedando hecho un Cosmos en miniatura.

«Finally there remains to be considered the influences of other forms of life - evolution’s of a later and earlier day in process of development. In the normal way these do not influence each other at all, but being of different states of consciousness, though perchance occupying the same globe, have no point of contact. But under certain conditions contacts may be established, and these contacts are popularly known as psychism.» — [LA VOZ QUE DICTA] las evoluciones que comparten globo no se tocan por estar en estados de consciencia distintos, y el contacto excepcional entre ellas es lo que se llama psiquismo.

«Psychism is of two types (a) the perception of that which is below in point of evolution, and (b) the perception of that which is above; and the Earth, being at the nadir, these two ways of seeing may be conceived of as looking back along the left-hand path, or forward along the right-hand path.» — [LA VOZ QUE DICTA] parte el psiquismo en dos por la dirección de la mirada, atrás por el sendero de la mano izquierda o adelante por el de la derecha, estando la Tierra en el nadir.

«It is permissible to look forward as far as the eye can range because that will lead the soul forward, but to look backward leads the soul backward, for where the eye looks the feet will turn.» — [LA VOZ QUE DICTA] y la regla práctica que saca de esa figura, con su razón dicha en una línea: adonde mira el ojo van los pies.

«We may never look backward up the planes - we can only look across the planes from the involutionary to the evolutionary arc. Thus it is that those Entities which dwell upon, or can raise their consciousness to, shall we say, the 3rd plane, may minister unto those in their sphere who are upon that plane on the outgoing arc, but those upon the physical plane may not look at the involutionary aspect of a subtler plane until they have mastered its evolutionary aspect.» — [LA VOZ QUE DICTA] la restricción completa: mirar solo a través del plano, del arco involutivo al evolutivo, y no al aspecto involutivo de un plano sutil antes de dominar su aspecto evolutivo.

«The Initiators of the physical plane are those who have attained perfection on the 7th plane. Initiators always function across the diameter (upon a diagram you will see the significance of this) and the 7th initiates the 1st. Therefore man upon Earth is bidden to worship - not the Nature forces of the 2nd plane, nor the saints of the 3rd, nor the Masters of the 4th, nor the Angels of the 5th, nor the Archangels of the 6th, nor the Christs of the 7 th, but the Logos Himself, whose Divine Spark it is by which they live.» — [LA VOZ QUE DICTA] los Iniciadores actúan siempre por el diámetro, de modo que el séptimo inicia al primero, y de ahí que al hombre en la Tierra se le mande adorar al Logos y no a las jerarquías intermedias, que enumera plano por plano.

«But all through the intermediation of these Hierarchies they rise to the consciousness of the Cosmos, but they never pause or achieve finality upon any plane of the manifested universe, for there is no finality in manifestation.» — [LA VOZ QUE DICTA] las jerarquías sí son el medio de ascenso, sin que ningún plano ofrezca término, porque en la manifestación no hay finalidad.

«The 1st plane is the only plane upon which the Initiation of the Logos is given, but it is this Initiation of the Logos which marks the transmission from the involutionary to the evolutionary arc, for it wakens the Divine Spark which has well and truly been called the 'God within’ and which evolves into union with the ‘God without’.» — [LA VOZ QUE DICTA] la Iniciación del Logos solo se da en el primer plano y es la que marca el paso del arco involutivo al evolutivo, porque despierta la Chispa que llama el Dios interior.

«On the evolutionary arc, as he goes up the planes, man no longer looks straight to the Logos but to his immediate Hierarchical superiors; but on the involutionary arc he neither looks back to the Logos, nor on towards matter, but across the diameter of the plane to his gods, who are the evolved Entities who are withdrawing from materialisation, and in their withdrawal have reached the plane to which he has advanced.» — [LA VOZ QUE DICTA] la dirección de la mirada cambia con el arco: en el evolutivo al superior jerárquico inmediato, en el involutivo a través del diámetro, a entidades que se retiran de la materialización.

«Therefore it is that the primitive religions are along polytheistic lines. Monotheism marks the nadir of materiality and the transition from the involutionary to the evolutionary arc. The Jews, who first achieved this, are the most materialistic of all peoples.» — [LA VOZ QUE DICTA] y de ahí deriva su lectura de la historia religiosa: el politeísmo pertenece al arco involutivo y el monoteísmo marca el nadir de la materialidad, con la afirmación sobre los judíos que la voz enuncia sin matizar.

«On the evolutionary arc the religions are not polytheistic for, having passed through the nadir, entities of this evolution have known the One God. They are, instead, obedient to the Hierarchies; for that Light which, when dimmed by the veil of matter, is bearable, would be unbearable, when matter no longer shelters.» — [LA VOZ QUE DICTA] en el arco evolutivo no hay politeísmo sino obediencia a las Jerarquías, y la razón que da es de intensidad: la Luz que el velo de la materia hacía soportable dejaría de serlo.

«Therefore upon the subtler planes when consciousness is freed from the brain we never approach the Creator direct but always through those Intermediaries who transmit and translate the force from plane to plane, of whom the Group Mind, or Star Logos of our evolution is the ultimate.» — [LA VOZ QUE DICTA] fuera del cerebro no se llega al Creador directamente sino por Intermediarios que traducen la fuerza de plano a plano, y el último de ellos es el Star Logos de la evolución propia.

«This teaching, you will perceive embraces the symbolism of the Caduceus. You see the direct path from the base to the Crown; and you see that the paths wind from side to side of each plane as the downflowing tide of life is made conscious of the higher aspect dwelling upon its plane, and the upgoing tide has to made aware of, and minister to the downflowing.» — [LA VOZ QUE DICTA] remite toda esa doctrina al símbolo del Caduceo, con el camino directo de la base a la Corona y los senderos que van de lado a lado en cada plano.

«The Cosmic Christ, or Star Logos, presiding over each evolution is a Lord of Mind, but as he is of the 3rd evolution he will have the aspects of the earlier evolution in his nature. Therefore while 3 is the prime symbol of this evolution, because its Christ is three-aspected, 4 is the ultimate symbol. The Trinitarian aspect is the basis, but the Tetragrammatonic is the completion. This is the clue to much.» — [LA VOZ QUE DICTA] identifica al Cosmic Christ con el Star Logos y lo declara Lord of Mind de la tercera evolución, con el tres por símbolo primero y el cuatro por símbolo último: lo trinitario es la base y lo tetragramático la culminación.

«Remember never seek to explain anything in manifestation or out of it in terms of the static, for all is kinetic.» — [LA VOZ QUE DICTA] y la advertencia con que cierra el capítulo: nada se explica en términos de lo estático, porque todo es cinético.

«In considering the subject of simultaneous inhabitation of a planet by different evolution’s it is necessary to realise that these fall into different classes: (a) Those of the outgoing or involutionary arc. (b) Those of the more highly evolved evolutionary arc. There may also be a third type of classification in which the types of life differ in kind instead of in degrees of development.» — [LA VOZ QUE DICTA] ordena las evoluciones que comparten planeta en arco involutivo y evolutivo, y admite un tercer tipo que difiere en especie y no en grado.

«First there will be the completed Entities of earlier evolution’s. These are of the three types already known to you - the Lords of Flame, of Form, and of Mind. These function in their spheres as Regents.» — [LA VOZ QUE DICTA] las Entidades completadas de evoluciones anteriores —Flame, Form y Mind— funcionan como Regentes de sus esferas.

«The Lords of Flame are the lives behind all natural forces and the controllers thereof. The elements of inanimate nature are their children; created by the conceptual action of their intellects in the same way that the Logoidal Mind projects the manifested universe.» — [LA VOZ QUE DICTA] los Lords of Flame están detrás de toda fuerza natural, y los elementos de la naturaleza inanimada son creación conceptual suya, con la misma mecánica con que el Logos proyecta el universo.

«A Lord of Flame conceives a function, and having himself evolved beyond the point at which he can develop further by this functioning, withdraws to a higher plane, and projects the concepts of that functioning to maintain the function. These thought-forms, by experience, develop a personality, but have not yet arrived at an Individuality, therefore they are spoken of as soulless.» — [LA VOZ QUE DICTA] el Lord se retira y deja proyectado el concepto que sostiene la función; esos thought-forms desarrollan personalidad pero no Individualidad, y por eso se los llama sin alma.

«You will observe that the Divine Sparks develop, first a nascent Individuality and then a personality, but the creations of the created develop, first a personality and then aspire to Individuality. Therefore they are spoken of as evil spirits - familiars, demons and genii. They are not deliberately malevolent, but are incapable of response to aught but the lower aspects, when approached upon their own plane. Their sole link with the Divine is through the consciousness of their creator.» — [LA VOZ QUE DICTA] la inversión que explica el nombre de espíritus malignos, familiares, demonios y genios: van de la personalidad a la Individualidad, al revés que las Sparks, y no son malévolos sino incapaces de responder sino por su aspecto inferior.

«Therefore it is that those who would deal with them need to come with the authority of their respective originators of the different types of Elemental Beings, then they become the Messengers of God, for they are approached from their Divine aspect, and the reflected Divinity within them responds;» — [LA VOZ QUE DICTA] la regla operativa que se sigue: quien los trate necesita la autoridad de sus originadores, y entonces responden como Mensajeros de Dios; el reverso cae en la plana siguiente.

«otherwise they are approached from the demoniacal aspect and in their lower aspect they respond.» — [LA VOZ QUE DICTA] y ahí queda el reverso: abordados de otro modo responden por su aspecto demoníaco.

«These, the servants of the Gods, maintain the co-ordinated rhythms of inanimate nature. They are the controlling forces of heat and light, of gravity and all dynamic reaction.» — [LA VOZ QUE DICTA] su oficio es mantener los ritmos coordinados de la naturaleza inanimada: calor, luz, gravedad y toda reacción dinámica.

«To these Lords man must give unquestioning obedience, reverence to their greatness, and the gratitude which is due to those who, by taking thought, sustain the conditions of his being.» — [LA VOZ QUE DICTA] lo que el hombre les debe, dicho como deber: obediencia sin réplica, reverencia y gratitud a quienes por pensar sostienen las condiciones de su ser.

«To their servants or thought-forms, the Elementals, he owes the gratitude due to those who, by their nature, serve, but who serve unintelligently. Should he seek to approach them he does so through the corresponding aspects of his own etheric double, but does so at his peril, for though they will first vivify those aspects, they will subsequently absorb them.» — [LA VOZ QUE DICTA] a los Elementales solo les debe la gratitud debida a quien sirve sin inteligencia, y acercárseles es peligroso: primero vivifican los aspectos del doble etérico y después los absorben.

«Now be it known that these Elementals are evolving upwards grade by grade through the personality towards Individuality, and in the event of his making contact with them, some among them might fall to the temptation of Black Magic whereby evolution is illegitimately hastened, and seek to appropriate an already developed Individuality and thereby establish their contact with the Divine.» — [LA VOZ QUE DICTA] el riesgo concreto: un Elemental en ascenso puede caer en la tentación de la Magia Negra y tratar de apropiarse de una Individualidad ya hecha para tocar lo Divino.

«In such an occurrence the opposite to the ordinary form of obsession occurs - the personality is thrust out and an Elemental consciousness takes its place; and of such an one it may be said the they have the stone of the Earth, or a wave of the sea, or the wind of heaven, or a flame of fire for a heart,» — [LA VOZ QUE DICTA] la obsesión invertida: expulsada la personalidad, ocupa su lugar una consciencia elemental, de la que se dice que tiene por corazón la piedra, la ola, el viento o la llama; la frase cierra en la plana siguiente.

«for human heart they have not; and because of the strength of the Elements they call into the elemental in mankind with a profound calling, and such have always troubled the sons and daughters of men. For they come as beings of a strange and elemental power that know not the bonds that bind humanity, and they may be known by these things - they ever seek their own kingdom and sorrow for it; for humanity for them is a crucifixion; and they ever call to the same aspects of men and women, and those who answer they destroy, for they are too strong for them.» — [LA VOZ QUE DICTA] y ahí las señales por las que se reconoce a quien la sufre: añora su reino, la humanidad le es crucifixión, y destruye a quienes responden a su llamada.

«It may also happen that one who has made contact with the Elementals, instead of being obsessed, may be mated. Then will the elemental aspect of their nature be linked to an Elemental and yearn towards that unseen lover who is not of human kind. Then there is sorrow for that one, for they thirst with a thirst which cannot be slaked within the flesh. To meet their lover they must issue forth in the etheric form. Much might be said of this, but not now.» — [LA VOZ QUE DICTA] y el otro desenlace posible del contacto, no la obsesión sino el desposorio con un Elemental, con la sed que no se sacia en la carne; la voz corta ahí el asunto.

«Should a human being, however, seek contact with the Lords of the Elementals he purifies those aspects of his nature which correspond to their kingdom until they become the refined essence of their qualities. In the stability of the Earth he is stable. In the mobility of the water he is mobile. In the speed of the wind he is swift and aspiring. In the brightness of the flame he is zealous. Then, being Lord of these things within himself, he is a Lord of the Elements in the microcosm, and may thereby claim kinship with the Lords of the Elements of the macrocosm, and the Messengers of the Elements are his servants. There is no other way than this. Those who use the Names without the power invoke to their own destruction.» — [LA VOZ QUE DICTA] la vía legítima, que es interior: purificar en sí las cualidades de cada elemento hasta ser Señor de ellas en el microcosmos y reclamar así parentesco con los Señores del macrocosmos; usar los Nombres sin el poder es invocar la propia destrucción.

«The Lords of Form are they who govern all physical and chemical affinities, and to them applies all that has been said of the previous evolution. By their aid we may penetrate into the knowledge of the relationship of things - for ‘form’ is but a co-ordinated relationship.» — [LA VOZ QUE DICTA] los Lords of Form gobiernan las afinidades físicas y químicas y dan el conocimiento de la relación entre las cosas, porque la forma no es sino relación coordinada.

«The interaction between the Lords of Flame and the Lords of Form is very important, for the Lords of Flame are the Givers of Life and the Lords of Form are the merciful Givers of Death. It is from the Lords of Form that we learn the Laws of Death - the laws of escape and freedom.» — [LA VOZ QUE DICTA] el par que le importa: los Lords of Flame son los Dadores de Vida y los Lords of Form los misericordiosos Dadores de Muerte, y de estos se aprenden las Leyes de la Muerte, que llama leyes de escape y libertad.

«To master the forces of the Lords of Flame we invoke the powers of the Lords of Form. To master the powers of the Lords of Form we invoke the powers of the Lords of Mind.» — [LA VOZ QUE DICTA] la escalera operativa: cada orden se domina invocando al siguiente.

«The Lords of Form are the Laws of Friction. They enable force to function by confining it, but by friction they disperse it. Therefore are the Lords of Form the Lords of Death, for they bring all things living to an end, and all things kinetic to a standstill; but they make actual that which is potential. They are the Educators. Discipline is theirs, though punishment rests with the Lords of Mind.» — [LA VOZ QUE DICTA] los define por la fricción, que a la vez deja funcionar la fuerza y la dispersa, y de ahí que sean Señores de la Muerte y a la vez Educadores; suya es la disciplina, no el castigo.

«The Elementals of the Lords of Form determine the nature of all chemical elements, combinations and reactions. The Lords of Flame are the laws of physics. The Lords of Form are the laws of chemistry. The Lords of Mind are the laws of biology. The Lords of Humanity will be the laws of Sociology.» — [LA VOZ QUE DICTA] la tabla de correspondencias entre órdenes y ciencias, con la humanidad todavía en futuro: física, química, biología y sociología.

«In considering the question of other evolution’s occupying the same planet it must not be forgotten that if consciousness be raised above the physical plane to function in another state it is thereby lifted from the sphere of the Earth and comes under the Regency of the Planetary Spirit corresponding to the plane on which it functions. (This is a matter to be remembered in» — [LA VOZ QUE DICTA] elevar la consciencia sobre el plano físico la saca de la esfera terrestre y la pone bajo el Planetary Spirit del plano en que funcione; el paréntesis cierra en la plana siguiente.

«casting the horoscope of psychics.) In this teaching, however, we will only deal with those influences operating on the Earth sphere. These include those influences operating on the etheric sub-planes while approaching the Earth on the involutionary arc, and those which also influence the Earth on the evolutionary arc.» — [LA VOZ QUE DICTA] y ahí queda la consecuencia técnica que la voz marca, para el horóscopo de los psíquicos, antes de acotar el resto del capítulo a la esfera terrestre.

«In the ordinary way, for the creatures of an evolution to look back to the conditions of a phase which they have outgrown is retrogression, and to be deprecated. Those who have immediately passed beyond the Earths sphere are not permitted to look back lest they become earthbound. Hence the evil of interference with the spirits of the recently departed, save for the purpose of giving quittance.» — [LA VOZ QUE DICTA] mirar atrás es retroceso, y de ahí su objeción a interferir con los recién difuntos, salvo para darles quitanza.

«There exists, however, a peculiar modification of evolution whose effects are known to you under the general term of the work of the Great White Lodge.» — [LA VOZ QUE DICTA] nombra la excepción a esa regla, y es la que llama obra de la Great White Lodge.

«In the ordinary course of evolution the wood grows with the growth of the trees. That is to say, that the perfecting of the individual souls perfects the group life. But with the coming in of self-consciousness comes a modification of group life, and certain souls choose the path of the Redeemer rather than the path of redemption. They elect to forego the fruits of their efforts and their good karma is added to the racial karma for its modification.» — [LA VOZ QUE DICTA] define el camino del Redentor por contraste con el de la redención, con la imagen del bosque que crece con los árboles: quien lo elige renuncia al fruto de su esfuerzo y su buen karma pasa al karma racial.

«It is not proposed in this teaching to recapitulate known facts in evolution, but rather to supplement that knowledge by the revelation of unknown factors, and the explanation of the implications of little known or misunderstood factors.» — [LA VOZ QUE DICTA] declara el alcance del tratado: no recapitular lo sabido de la evolución sino añadir factores desconocidos y explicar los mal entendidos.

«Do not let it be forgotten that all evolution has a sequence in time - or technically, a sequence in cause and effect; and though the path of evolution be so broad that many are contemporaries, yet the evolutionary types have a well marked sequence. The average of the present humanity may be looked upon as being two-thirds of the way round the cycle; and it should also be remembered, with regard to the individual, that just as all the latencies of the past are innate in him, so are all the potentialities of the future, and that some of these potentialities are on the threshold of actuality.» — [LA VOZ QUE DICTA] sitúa a la humanidad presente a dos tercios del ciclo y recuerda que el individuo lleva innatas tanto las latencias del pasado como las potencialidades del futuro.

«The full range of the possibilities of human evolution thus falls into three sections: the latencies, the actualities, the potentialities.» — [LA VOZ QUE DICTA] y el reparto en tres de la evolución humana: latencias, actualidades y potencialidades.

«The doctrine of the Group Soul is closely interwoven with that of the Planetary Spirit for, as has been shown, the Planetary Spirit is the Personality of the planet built up out of its experiences derived from the consciousnesses functioning within its sphere.» — [LA VOZ QUE DICTA] el Planetary Spirit es la Personalidad del planeta, construida con las experiencias de las consciencias que funcionan en su esfera.

«No consideration of group or individual psychology can be adequate unless allowance be made for the influence of the» — [LA VOZ QUE DICTA] ninguna psicología de grupo ni individual basta sin contar con esa influencia; el nombre que le da cierra en la plana siguiente.

«Planetary Spirit. This is sometimes referred to as the Earth pull, and as it was built up in the past and contains nothing of the future, it is necessarily purely atavistic and therefore, relatively speaking evil.» — [LA VOZ QUE DICTA] la llama Earth pull y la declara atávica —hecha de pasado, sin nada de futuro— y por eso, relativamente hablando, mala.

«In contra-distinction to the Planetary Spirit it must not be forgotten that there is the Planetary Entity. This is the Logoidal realisation of the existence of a planetary sphere, and the Logoidal concept of its mission and evolution. This corresponds to the individuality, and development of both aspects takes place till they meet.» — [LA VOZ QUE DICTA] frente al Planetary Spirit pone la Planetary Entity, que es la realización logoidal de la esfera y su misión, y corresponde a la individualidad; los dos aspectos se desarrollan hasta encontrarse.

«With regard to a Planetary Spirit, however, it is built up out of the realisations of the conscious life of its sphere, and as it is not possible to realise a thing until after its occurrence, the Planetary Spirit is always a stage behind humanity in its evolution.» — [LA VOZ QUE DICTA] y la razón de su retraso estructural: no se realiza nada antes de que ocurra, así que el Planetary Spirit va siempre una fase por detrás de la humanidad.

«It will be seen that each phase of experience of a developing humanity lays down a corresponding level of Planetary consciousness. This is a reflection, or projection, of evolutionary consciousness, and like all reflections, is reversed, so the lowest aspect appears on the surface and the highest is concealed in the depths. This is borne out by experience, for when we touch the Earth Soul we touch its most primitive aspects first, and it is not until we have penetrated deeply into its sphere that we realise what it is capable of.» — [LA VOZ QUE DICTA] la consciencia planetaria es reflejo invertido de la evolutiva, con lo bajo en la superficie y lo alto en el fondo, y de ahí que tocar el Alma de la Tierra dé primero con lo más primitivo.

«It is very necessary, in approaching these matters, that we should not investigate them until full self-consciousness has been attained. If we approach them by means of subconsciousness we make ourselves one with them and the lesser is under the dominion of the greater - the individual of the mass.» — [LA VOZ QUE DICTA] la condición que impone antes de investigar esto: plena autoconsciencia, porque por vía subconsciente el individuo queda bajo el dominio de la masa.

«The Planetary Spirit may be conceived of as the mass karma of the Earth, and all life on the Earth must be lived in relation to that karma, for it makes the mental atmosphere in which we live and move and have our being.» — [LA VOZ QUE DICTA] y lo formula de una vez: el Planetary Spirit es el karma de masa de la Tierra, y hace la atmósfera mental en que se vive.

«In considering the horoscope insufficient attention is usually given to the phases of the physical plane - to the changing tides of the Earth and of the Moon. It is not enough to note the Moon’s position. It should be observed whether she is in her negative or positive phase. Likewise with the Earth, the season of the Elements should be observed. All these play an important part in human affairs, for, though they are not determining, they are conditioning.» — [LA VOZ QUE DICTA] la enmienda técnica que propone al horóscopo: mirar la fase de la Luna y no solo su posición, y la estación de los Elementos, factores que declara condicionantes y no determinantes.

«The past or biological consciousness then, lives in the Earth karma and also lives in each individual identity, and the reaction between the individual and collective atavistic strata are very important. Wherever the development of a particular aspect has had its seat or form, that aspect will dominate the atmosphere of the locality. Where the Druidical cults built up their powers these powers will remain in evidence and will stimulate that aspect of an individual which they were designed1 to bring into function, and while this method of bathing in the mental atmosphere is valuable for adjusting the balance of the individual who is lacking in this respect, it is injudicious for those who already have an overplus of it, and as these feel themselves to be alien in the modern civilisation they are irresistibly attracted towards the ancient cultures and an oversetting of balance may be the consequence.» — [LA VOZ QUE DICTA] los estratos atávicos quedan pegados al lugar donde se formaron —da por ejemplo los cultos druídicos— y bañarse en esa atmósfera ajusta a quien carece de ese aspecto y desequilibra a quien le sobra; el troceo imprime *designed1* con una llamada de nota pegada.

«Each race maintains its cultural traditions, and each cult survives until the faculties which it was designed to initiate have become the normal inheritance of the species. Then it ceases to become esoteric and becomes exoteric.» — [LA VOZ QUE DICTA] la ley con que explica el paso de lo esotérico a lo exotérico: un culto dura hasta que la facultad que venía a iniciar se vuelve herencia normal de la especie.

«Cults do not die because they are cut off from the march of progress, but because their spiritual principle is absorbed completely in the life of the race. That which they set out to teach is taken for granted and their day and teaching is over, because the pupil knows the lesson. That which is sloughed off is but the effete accretions of human opinion seeking to explain that which transcends it. But as long as there are souls that require the discipline, the cult lives on.» — [LA VOZ QUE DICTA] y la niega expresamente por la vía contraria: los cultos no mueren por quedar fuera del progreso sino porque su principio queda absorbido en la vida de la raza, y lo que se desprende son las accreciones de opinión humana.

«The cults of the past gain their power by contacting the strata of the Earth Soul to which their Initiation belongs. Now be it known that these strata have close connection with the elementals, being used by them for the building of the thought-forms which enable them to assume a species of incarnation. Therefore the contacts of an atavistic cult may be far reaching.» — [LA VOZ QUE DICTA] esos estratos son los que usan los elementales para construir sus thought-forms y asumir una especie de encarnación, y por eso los contactos de un culto atávico llegan lejos.

«These things have their place in the armoury of spiritual weapons, but are to be approached with caution for they are two edged. A knowledge of them is necessary in the study of psychical pathology, but not for self-development. These faculties are normal in us, and receive an undue stimulus if unduly fostered.» — [LA VOZ QUE DICTA] los admite como armas espirituales de doble filo, útiles para la patología psíquica y no para el autodesarrollo.

«To each man his own Master. Do not select a Master of a lower or a different type of evolution to your own.» — [LA VOZ QUE DICTA] la regla con que cierra el capítulo: no tomar por Maestro a uno de evolución más baja ni de otro tipo que la propia.

«Action and reaction are equal and opposite. The equivalence of the re-action renders it calculable if the ratio of transmission be known.» — [LA VOZ QUE DICTA] enuncia la Ley con la condición que la vuelve utilizable: la reacción es calculable si se conoce la razón de transmisión.

«There are seven sub-planes in a plane, seven planes in a universe of the 7th Cosmic plane, and seven planes in the Cosmos. Transmission takes place by Sub-planes.» — [LA VOZ QUE DICTA] la escala de sietes que ordena el capítulo, y la unidad en que ocurre la transmisión: el subplano.

«The potency of each sub-plane is the square of the potency of the sub-plane below it. This, you will see, is explained by the fact that two opposing and equally balanced forces set up a vortex which is the primal atom. When these two forces meet they neutralise each other and the result is a centre of stability which is devoid of force save in its subjective aspect. It may be noted that a static force is the subjective aspect of a force.» — [LA VOZ QUE DICTA] la regla del cuadrado entre subplanos, deducida del vórtice en que dos fuerzas opuestas se neutralizan y dejan un centro estable, y la definición de fuerza estática como aspecto subjetivo de una fuerza.

«If, therefore, you should be able to separate the gyrating currents which form a primal atom you will have two sets of potencies each of which would be the equivalent of the latency of that atom. So that instead of one actual latency you have two potencies. So that the atom has been multiplied by itself and transferred from one plane of manifestation to another.» — [LA VOZ QUE DICTA] separar las corrientes del átomo primordial da dos potencias donde había una latencia: multiplicarlo por sí mismo y trasladarlo de plano.

«Whenever a thing is thus multiplied it is translated from one plane to another and into another dimension. When, therefore, action and reaction are said to be equal and opposite it must be remembered that they are so in the ordinary sense in which this term is employed on the plane under consideration only. If, however, such conditions should occur that the force should be transmitted from a lower to a higher plane then the reaction is in the equivalent potency of that plane, which is the square of the squared sub-plane of the plane from which the atom came. Hence it is that when you sublimate a force you multiply it by itself. When you de-grade a force, you divide it by itself.» — [LA VOZ QUE DICTA] la regla completa, con su aritmética: sublimar una fuerza es multiplicarla por sí misma y degradarla es dividirla por sí misma.

«The term de-gradation is here employed in its technical sense as the opposite of sublimation, meaning descent into matter. On the involutionary arc de-gradation was the means of development. Hence it is that in the course of Initiatory experiences in which the soul recapitulated evolution, it has to know the depths.» — [LA VOZ QUE DICTA] acota el término degradación a su sentido técnico, descenso a la materia, que en el arco involutivo era el modo de desarrollo, y de ahí que el alma en las Iniciaciones tenga que conocer las profundidades.

«Each atom of matter contains the fruits of an evolution. Involution is a decimal process. Therefore you will see that if you could disintegrate the atoms of matter in an ounce of clay you could shatter the globe on which you stand, but before you could perform that magical process you would have, by the power of your will, to dissolve the cohesion of the Cosmos. Therefore it is not to be anticipated that this experiment will be successfully executed in the immediate future.» — [LA VOZ QUE DICTA] de que la involución sea decimal saca la potencia guardada en una onza de arcilla, y el límite que hace inviable la operación: habría que disolver antes la cohesión del Cosmos por voluntad.

«Each Divine Spark by the time it has reached the nadir of involution and is ready to embark upon the path of evolution whereon it is seen to be characteristically human, possesses potentialities which you little realise.» — [LA VOZ QUE DICTA] atribuye a la Divine Spark que llega al nadir potencialidades que declara insospechadas para el lector.

«When subjective consciousness is raised from the plane of its habitual functioning to the next superior plane it conforms to the law already enumerated and an inertia is converted into two kineticisms. It is seldom that the consciousness centres of the lower plane are able to carry this force if the conversion is sudden and total. Hence the saying “Thou canst not look upon My face and live”. Hence also the fact that where a lesser and more partial form of conversion takes place it is apprehended simply as a blinding flash of light.» — [LA VOZ QUE DICTA] elevar la consciencia convierte una inercia en dos cinetismos, carga que los centros del plano inferior rara vez soportan de golpe; ahí encaja el versículo de no ver el rostro y vivir, y de ahí el fogonazo cegador de la conversión parcial.

«When such conversion takes place in its normal form it is performed by the method of addition instead of multiplication.» — [LA VOZ QUE DICTA] separa la vía normal de conversión, que va por adición y no por multiplicación; el contraste se completa en la plana siguiente.

«That is to say, when the transmutation is performed from one plane to another by the process of squaring, the result may be described in the words of scripture “He walked with God and was not”.» — [LA VOZ QUE DICTA] y para la vía por cuadratura reserva la frase escrituraria de Enoc.

«When the process takes the form of a many times repeated multiplication, you have the ordinary course of the Path, each grade of Initiation being a multiplication. When you have the process as an addition you have the normal course of evolution. Each grade of Initiation is perceived by the superconsciousness as a blinding flash of light, and by means of this flash the image of the sub-plane to which it belongs is photographed on the sub-consciousness whence consciousness reads it at its leisure.» — [LA VOZ QUE DICTA] cada grado de Iniciación es una multiplicación y la evolución ordinaria una adición; el fogonazo fotografía en el subconsciente la imagen del subplano, que la consciencia lee después.

«So that if power be raised a plane polarity is insufficient and you must have a group. The form for a force raised from one plane to another is built up of the group mind. If a force is raised a second plane, you must have a second grade in your group, you therefore get a grade for each plane.» — [LA VOZ QUE DICTA] la razón técnica de que existan los grados: subir fuerza un plano exige grupo y no polaridad, y cada plano más exige un grado más.

«If, on the other hand, force be degraded a plane, or a subplane, an entirely different process occurs, the force being rendered inert, the vehicle through which it functions is an empty channel, standing open, anything may fill it. This is the key to much, it explains obsession.» — [LA VOZ QUE DICTA] y el proceso inverso: degradada la fuerza, el vehículo queda como canal vacío y abierto que cualquier cosa puede llenar, lo que declara clave de la obsesión; el troceo parte *sub-plane* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«Now remember that the term obsession is popularly used inaccurately when what is technically called “overshadowing” is meant. Overshadowing is a controlling influence exercised by one entity over another. Obsession only takes place when the soul has been precipitated by the process of the degradation of consciousness. The term precipitation is used because the analogy is exact.» — [LA VOZ QUE DICTA] corrige el uso popular: overshadowing es influencia dominante de una entidad sobre otra, y solo hay obsesión cuando el alma fue precipitada por degradación de la consciencia.

«When therefore a true case of obsession has to be dealt with, it is not only necessary to cast out the invading entity but to sublimate the soul. You will see a reference to this in the story of the man from whom the devils were cast out and into whom the seven devils entered finding the house empty.» — [LA VOZ QUE DICTA] la consecuencia terapéutica: no basta expulsar a la entidad, hay que sublimar el alma, y remite a la parábola de la casa vacía y los siete demonios.

«The degradation of the soul takes place through the operation of lower types of evolution with which contacts have been formed, it does not take place as a result of a deliberate act of will, but rather as a result of an inhibition of will. Therefore when you are dealing with a case in which the will functions from the inhibiting aspect rather than the kinetic aspect, you must always take care lest such a pull downwards is set up. Inhibited will is a more dangerous thing than the perverted will, because it exposes its possessor to the influence of extrahuman forces.» — [LA VOZ QUE DICTA] la degradación no viene de un acto de voluntad sino de una inhibición, y de ahí la afirmación que invierte la intuición: la voluntad inhibida es más peligrosa que la pervertida; el troceo parte *extra-human* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«You will see then that the occult significance of the maxim that the law of Action and Reaction being equal has two implications - action and reaction are only equal on one plane - but when the functioning of seven planes is available they are anything but equal. Action and reaction are equal and opposite on the plane on which they occur, but when an action, occurring on a plane, has its reaction on another plane the result is a transmutation of values.» — [LA VOZ QUE DICTA] el doble sentido oculto de la máxima: acción y reacción son iguales solo dentro de un plano, y entre planos lo que hay es transmutación de valores.

«These values have already been explained to you. It will no doubt have occurred to you that when a force, being transmuted from one plane to another, exerts its influence on a second plane and withdraws its influence from the first, an alteration of equilibrium will result. This is indeed the case, and it is therefore necessary for the Adept who performs this operation to maintain the adequate equilibrium of stresses. For this purpose he must know the method of properly degrading an equivalent force. This is an exceedingly important point in practical occultism, and concerns the utilisation of reverse aspects in their compensating potencies.» — [LA VOZ QUE DICTA] la obligación técnica del Adepto que transmuta fuerza entre planos: mantener el equilibrio degradando una fuerza equivalente, con las potencias compensadoras de los aspectos inversos.

«Sephiroth, being reversed, are the Qliphoth. Therein is the key to much, and therefore it is that in every magical operation in which great spiritual potencies are invoked, lesser entities are also employed in their proper aspects and when what you would term a Master wishes to operate on the physical plane, he will of necessity employ an entity of a lower grade of evolution than his own, and he will be compelled to work through the personality of that person in order to restore the equilibrium which he is about to displace. He will then, metaphorically speaking, employ that entity as the nadir of his arc.» — [LA VOZ QUE DICTA] el único uso de vocabulario cabalístico del tratado, y su aplicación: en toda operación magna se emplean entidades menores en su aspecto propio, y el Maestro que quiere obrar en el plano físico usa a una de grado inferior como nadir de su arco.

«The force he transmutes will be received by the highest aspect of that entity and will be expressed by the lowest and most concrete aspect of the Individuality of that entity, and the personality will be used for the return flow from the physical plane.» — [LA VOZ QUE DICTA] el reparto dentro de esa entidad: la Individualidad recibe y expresa, la personalidad sirve al flujo de retorno desde el plano físico.

«This would be expressed in diagrammatic form by the letter Y of which the two arms should represent the individuality and the personality, and the basal point the channel of outflowing and inflowing on the physical plane. Upon the Y superimpose an X and you will get the symbol of the outflowing and inflowing forces, the X being formed of two “C' s” back to back, the left hand being marked with an arrow of outflowing, and the right hand with an arrow of inflowing.» — [LA VOZ QUE DICTA] y el diagrama con que lo cifra: una Y de individualidad y personalidad con la base en el plano físico, y encima una X hecha de dos ces enfrentadas con sus flechas de salida y de entrada.

«You will now perceive why chastity is demanded when operations of practical magic are in progress, because the return flow, having to take place through the personality in its lowest and most primitive aspect that aspect has to be upturned so that the force of its expression may return to God who gave it.» — [LA VOZ QUE DICTA] de esa mecánica deriva la exigencia de castidad en las operaciones de magia práctica: el flujo de retorno pasa por el aspecto más primitivo de la personalidad y hay que volverlo hacia arriba.

«This is but another way of expressing the use of sublimation for the purpose of generating force in the upper planes. The pupil who receives force from his Master on a higher plane for purposes of transmission to the physical plane must be prepared to effect the transmutation of the corresponding amount of force in his own nature from a lower plane to a» — [LA VOZ QUE DICTA] la obligación del discípulo que recibe fuerza de su Maestro por un plano superior: transmutar en sí mismo una cantidad equivalente; la frase cierra en la plana siguiente.

«higher in order to preserve the necessary balance. It is the neglect of this operation which causes the all too frequent overweighting of the lower aspects of the Occultist.» — [LA VOZ QUE DICTA] y la consecuencia de descuidar esa operación, que la voz da por demasiado frecuente: el recargo de los aspectos inferiores del ocultista.

«Limitation is the first law of manifestation, therefore it is the first law of power. This is not sufficiently appreciated. Many people believe that a spiritual power is infinite, which is far from being the case. For the Logos to manifest It has to circumscribe itself. But a spiritual power is so much greater than the potencies of the lower planes that, when brought to bear upon them, it overcomes all resistances.» — [LA VOZ QUE DICTA] enuncia la Ley contra lo que declara una creencia extendida: el poder espiritual no es infinito, y para manifestarse el Logos tiene que circunscribirse.

«But in order to bring any energy into manifestation it is necessary to provide it with a form or vehicle. The form is built in the substance of the plane immediately superior to that upon which it is desired to produce an effect, and through this channel is directed the force it is desired to invoke. To invoke a force without directing it is to disperse it.» — [LA VOZ QUE DICTA] la regla técnica de la invocación: la forma se construye en la sustancia del plano inmediatamente superior a aquel donde se quiere el efecto, e invocar sin dirigir es dispersar.

«It is only by a knowledge and utilisation of the Law of Limitation that power can be conserved. In order to achieve an end you must outline that end and limit yourself to it, rejecting all that is irrelevant; and note this point, the first process in the invocation of power is the rejection of that which is irrelevant. This is another name for concentration. The Law of Limitation means the concentration of power by the rejection of the irrelevant.» — [LA VOZ QUE DICTA] identifica la Ley con la concentración, y su primer paso con el rechazo de lo irrelevante.

«This is not sufficiently understood. In all undertakings the prime requisite for success is to know what you cannot do. This is discrimination.» — [LA VOZ QUE DICTA] y su formulación más seca, que llama discriminación: el requisito primero del éxito es saber qué no se puede hacer.

«The Law of Limitation is the necessary corollary of the laws governing the invocation of power. When it is desired to put through an enterprise, first proceed to think the matter out in all its details, clearly outlining the end it is designed to achieve. Next consider the means whereby that end may be achieved. Next proceed to eliminate all desire for anything unconnected with that aim. This is a most important point. In other words you render yourself one-pointed.» — [LA VOZ QUE DICTA] el procedimiento en tres pasos —pensar el fin, considerar los medios, eliminar todo deseo ajeno— cuyo resultado llama volverse uno-puntual.

«It may well be that in so doing you put aide certain legitimate human aims. Put them aside with the proviso that in due season their claims shall be considered, and then proceed with utter ruthlessness to limit yourself to the matter in hand so that you have but one desire and all else is subordinate to it; and think of nothing else; read of nothing else; dream of nothing else until the matter is finished. Then having achieved this complete circumscription of desire and limitation of the content of consciousness, invoke the power for its performance and in a flash the thing will be done. Thorough preparation means quick completion. In these matters insufficient time is usually given to the preparation, and therefore the achievement is incomplete.» — [LA VOZ QUE DICTA] la instrucción completa, con su cláusula de reserva —los fines humanos legítimos se posponen, no se cancelan— y la regla de que la preparación minuciosa da ejecución rápida; el troceo imprime *aide* por aside.

«If it is your intention to invoke spiritual potencies you must prepare for them by the complete dedication of the content of consciousness.» — [LA VOZ QUE DICTA] y el requisito para las potencias espirituales: dedicación completa del contenido de consciencia.

«It must not be forgotten, however, that such a narrowing of consciousness would destroy the balance of the nature if persisted in unduly. Therefore learn to alternate periods of concentration with periods of expansion in fullness of life, so that the broadened consciousness and developed character act as a background for the intensification and limitation of desire which brings spiritual potencies into manifestation on the physical plane. It is the lack of this proportion which leads to fanaticism and lack of balance.» — [LA VOZ QUE DICTA] el límite que pone a su propia instrucción: alternar concentración con expansión, porque la falta de esa proporción lleva al fanatismo.

«It is by the limitation of the content of consciousness that you achieve the concentration of power. But it is by the development and expansion of consciousness that you achieve the basis of limitation, because limitation implies discrimination, and a limitation of consciousness is entirely different to a limited consciousness. Limited consciousness implies the exclusion of experience. Limitation of consciousness implies selection of experience and the focussing of attention upon the chosen subject. It is the Law of Limitation which is implied in the power to focus.» — [LA VOZ QUE DICTA] la distinción que sostiene el capítulo: consciencia limitada excluye experiencia, limitación de consciencia selecciona experiencia y enfoca la atención.

«It is by availing ourselves of resistances that we are able to obtain a» — [LA VOZ QUE DICTA] y el mecanismo que le da su base, las resistencias; la frase cierra en la plana siguiente con el agarre sobre la manifestación difusa.

«The greater part of the resistance experienced by the neophyte in his attempt to practice the occult arts is the resistance of inertia. In order to set in motion that which is inert it is necessary for the Ego to obtain a purchase upon a similar resistance. Inertia is then balanced against inertia, and the kineticism of the Ego avails to turn the balance. In this way results may be achieved that the unaided will, could not obtain.» — [LA VOZ QUE DICTA] diagnostica la resistencia del neófito como inercia, y la técnica: equilibrar inercia contra inercia para que el cinetismo del Ego incline la balanza.

«It is necessary that in the service of the Masters you should acquire a knowledge of the magical arts, because these enable you to invoke and concentrate power effectively. It is the use of these arts for evil ends which is forbidden, but the use of them under the law is an economy of energy.» — [LA VOZ QUE DICTA] declara necesarias las artes mágicas al servicio de los Maestros y traza la línea donde ella la pone: lo prohibido es usarlas para fines malos, y usarlas bajo la ley es economía de energía.

«Remember then that in all undertakings limitation is the secret of power. This does not imply, however, that you should always seek to achieve small things. Always correlate your effort with the Cosmos itself, and see your work in relation to the whole, but rigidly circumscribe the section of that Cosmic whole which you take into your hands. To weigh yourself in the scale against that which is greater than yourself is to be outweighed by the inertia of the mass, but to circumscribe a section of the mass and separate it from the whole, is to enable yourself to achieve piecemeal that which you cannot achieve in bulk.» — [LA VOZ QUE DICTA] limitar no es apuntar bajo: se correlaciona el esfuerzo con el Cosmos entero y se circunscribe con rigor la porción que se toma en las manos, para lograr por partes lo que en bloque sería inabordable.

«In making this circumscription look for the natural lines of cleavage, seek the joints of the problem. In all affairs there will always be points where matters can be segregated, and other points that will resist partition. Look for these on the Astral plane among the emotions involved in the matter.» — [LA VOZ QUE DICTA] la instrucción de dónde cortar: por las líneas naturales de clivaje, buscadas en el plano astral entre las emociones del asunto.

«The scheme as a whole may be envisaged as One on the Mental plane, but upon the Astral plane the lines of cleavage may be seen. The object of immediate desire may be distinguished from the object of remote desire. The object which is desired» — [LA VOZ QUE DICTA] el mismo plan es uno en el plano mental y muestra sus junturas en el astral, donde se separan deseo inmediato y deseo remoto; la frase cierra en la plana siguiente.

«by one aspect of a complex nature may be distinguished from the object which is desired by another aspect. If you yourself circumscribe consciousness to a single point it will be brought to such a fine edge that it can be inserted along the lines of cleavage of an uncircumscribed enterprise and deal with that enterprise piecemeal. It is the focus of consciousness which enables power to be brought to bear, and work to be accomplished with that power, but it is the extension of consciousness that provides the necessary base upon which that force obtains a purchase. The concentration at the apex must be supplemented by breadth at the base. This is a point which is often forgotten.» — [LA VOZ QUE DICTA] y ahí el resto: se distinguen también los objetos que desean aspectos distintos de una misma naturaleza, y la consciencia afilada a un punto se inserta por esas junturas, con anchura en la base que sostenga el ápice.

«The Law of Limitation is the basis of practical application. It is the secret of power, therefore it is withheld from those on the probationary Path. They are taught of the existence of an infinite reservoir of power, and to meditate thereon. They are taught to meditate upon the formless power. This enables the power to use them, not they the power.» — [LA VOZ QUE DICTA] la razón que da para que esta Ley se retenga a los del Sendero probatorio: a estos se les enseña a meditar el poder informe, con lo que el poder los usa a ellos y no ellos al poder.

«But when the knowledge is acquired of the method of channelbuilding through the lower planes, it is possible to direct power to any given end. When this is accomplished power is translated from the planes of the individuality to the planes of the personality; not within the organism, but without. It is therefore necessary to have the knowledge of the method of making forms “As above, so below”.» — [LA VOZ QUE DICTA] construir canales por los planos inferiores permite dirigir el poder a un fin, y traslada la fuerza de los planos de la individualidad a los de la personalidad, fuera del organismo y no dentro; el troceo parte *channel-building* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«When the Unmanifest willed to become manifest, motion flowed in a circle returning whence it originated. To make a form upon the concrete mental plane thought must move in a circle, returning whence it originated. Starting with a concept it must proceed logically from that concept, reasoning from the general to the particular upon the outgoing arc, and from the particular to the general on the arc of returning, thus envisaging both sides of the question and correlating them. This is the first stage.» — [LA VOZ QUE DICTA] aplica al pensamiento la figura del movimiento que vuelve a su origen: razonar de lo general a lo particular en el arco de salida y de lo particular a lo general en el de vuelta, correlacionando los dos lados.

«The concept thus formed should then be transferred to the realm of feeling. This corresponds to the second Ring to be formed. The concept should then be subjected to the driving force of the nature. This corresponds to the Third ring. Now the Ring Cosmos is the concept on the mental plane, the Ring Chaos is the driving force of the instincts, and the Ring-Pass-Not corresponds to the Upper Astral aspect. By meditating on these correspondences you will learn much.» — [LA VOZ QUE DICTA] traslada los tres Anillos a la técnica personal: concepto mental, fuerza motriz de los instintos y aspecto astral superior.

«This is your archetypal form and within it will be built up all the actions and reactions arising in relation to the matter in hand, but this matter must always first be circumscribed by the clear definition of consciousness. The secondary action of consciousness arises with regard to the desires relating thereto, and the third aspect concerns the use of the primitive forces for the generation of power. The use of the primitive force for the generation of power will be dealt with in a future lecture.» — [LA VOZ QUE DICTA] esa forma arquetípica contiene todas las reacciones del asunto, siempre que se lo haya circunscrito primero por definición clara de la consciencia.

«The Cosmic aspect of the concept having thus been set up, manifestation in the world of form takes place within the circumscribed sphere. Without this circumscription there is no manifestation.» — [LA VOZ QUE DICTA] la condición que repite sin atenuar: sin circunscripción no hay manifestación.

«The prime law of the involutionary arc is the Law of Limitation. The prime law of the evolutionary arc is the Law of the Seven Deaths.» — [LA VOZ QUE DICTA] reparte las dos Leyes primeras por arco: Limitación en el involutivo, Siete Muertes en el evolutivo.

«The Law of Limitation has for its basis the Law of Action and Reaction. The Law of Action and Reaction has for its basis the phenomena connected with the curve. The curve sufficiently prolonged becomes a circle. A segment of a curve is an arc. The pendulum swings in an arc. The pendulum is the type of action and reaction, equal and opposite. Prolong the arc» — [LA VOZ QUE DICTA] encadena las tres Leyes hasta el fenómeno de la curva, con el péndulo por tipo de la acción y reacción; el remate cae en la plana siguiente.

«described by the pendulum and you will form a circle, of which the length of the pendulum is the radius. This explains much in relation to the transmutation of forces from plane to plane.» — [LA VOZ QUE DICTA] y ahí queda: prolongado el arco del péndulo sale un círculo cuyo radio es su longitud, figura que declara explicativa de la transmutación entre planos.

«Incarnation is based upon the Law of Limitation; Karma, or destiny, on the Law of Action and Reaction, and because it is only in a limited sphere that equal and opposite action and reaction, can take place, force has to be manifested in form, so that the fruits of its action may be returned again to the sphere whence it originated.» — [LA VOZ QUE DICTA] reparte encarnación y karma entre las dos Leyes, y da la razón de que la fuerza tenga que manifestarse en forma: solo en esfera limitada puede volver el fruto de su acción.

«The building of a vehicle for incarnation follows the lines already laid down. Again we have the circumscribing which delimits the destiny to be worked out in that incarnation. Each soul determines with what pabulum the personality shall supply it. The Oversoul is the Lord of Destiny to each one. It is this you invoke in all matters connected with your fate. You invoke your own Higher Self.» — [LA VOZ QUE DICTA] la Oversoul es el Señor del Destino de cada quien, y lo que se invoca en asuntos de fortuna es el propio Yo Superior.

«The Law of Limitation is analogous to the mathematical concept concerning measurements of surfaces. It has a twodimensional aspect. It is by the introduction of a third dimension that we transcend the Law of Limitation, and man having a consciousness of three dimensions, can use the Law of Limitation by transcending it. Upon whatever plane the Law of Limitation acts it can always be transcended by the addition of a dimension to consciousness. This is the secret of the control of the Law of Limitation.» — [LA VOZ QUE DICTA] la salida que ofrece a la Ley, que es dimensional: toda limitación se trasciende añadiendo una dimensión a la consciencia, y por eso el hombre puede usarla trascendiéndola; el troceo parte *two-dimensional* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«The Law of Limitation is the means of calculating the conditions under which an operation has to be carried out. If you do but determine these conditions you are controlled by these conditions, but if you can raise consciousness to the plane which can perceive them as a synthesis, can perceive the abstraction which comprises them and can then delimit that abstraction and consider it in relationship to the condition of its plane apart from the Law of Limitation, can conceive it in» — [LA VOZ QUE DICTA] determinar las condiciones deja a uno controlado por ellas; la alternativa es subir la consciencia al plano que las ve como síntesis; la frase cierra en la plana siguiente.

«relation to the Cosmos, it is then possible, having in conception linked that idea to the Cosmos by envisaging the relation between the whole and the part, it is then possible for consciousness, bearing this Cosmic idea in mind, to be» — [LA VOZ QUE DICTA] y el paso siguiente de ese procedimiento, ligar la idea al Cosmos por la relación entre el todo y la parte; la frase sigue tras el corte de chunk, en la misma plana.

«redirected to the finite aspect of that idea and then to approach it on another and superior dimension, and while utilising the Law of Limitation to circumscribe the matter in hand, to transcend the limitations itself. This method can be applied, not only to the handling of any matter or affair, but also to the building of the bodies in an incarnation, and to the handling of karma during incarnation, for do we but once see our predestined fate in its relationship to Cosmic law we have mastered our fate. The Higher Self always sees it thus, because the Higher Self has a Cosmic relationship by means of the Logoidal imprints on the Divine Spark; the lower self, having a terrestial relationship sees all things in relation to birth and death, beginning and ending.» — [LA VOZ QUE DICTA] cierra el procedimiento y lo aplica al destino: ver el hado propio en relación con la ley cósmica es haberlo dominado, porque el Yo Superior ve por relación cósmica y el yo inferior por nacimiento y muerte.

«So long as consciousness dwells in the senses it will view things from the standpoint of the senses, of pain and pleasure, beginning and ending. But when raised to the elevation of Cosmic things, it will see all things in relation to evolution, to the curve that comes round the whole circle, not to the straight line of the partition in finiteness.» — [LA VOZ QUE DICTA] el contraste entre las dos miradas, la de los sentidos con su placer y dolor y la cósmica con su curva que cierra el círculo.

«The personality is what it is by virtue of the Law of Limitation. The individuality is what it is by virtue of the Law of the Nature of the Cosmos; and the ladder from the personality to the individuality has seven rungs, and these rungs are the Seven Deaths, for it is the Law of Limitation that brings to birth, but it is the Law of Death that brings to life. For birth is death, and death is birth. All things are born blind, which mercifully prevents them from knowing that they are dead.» — [LA VOZ QUE DICTA] la escalera de la personalidad a la individualidad tiene siete peldaños que son las Siete Muertes, y ahí invierte los términos: la Limitación trae al nacimiento y la Muerte trae a la vida.

«You do not realise that your plane is the plane of death, and that our plane is the plane of life. Those who are in matter are in the grave, they are dead and buried. Death and Initiation produce the same results, therefore it is that all Initiations contain the symbolism of death and burial.» — [LA VOZ QUE DICTA] la voz habla desde su propio plano y llama muertos y enterrados a los que están en la materia, y con eso explica el simbolismo de muerte y sepultura de toda Iniciación.

«Always remember that upon the material plane death and loss mean freedom and resurrection. Possessions are as the earth that is heaped upon the corpse. Learn therefore to look down upon your dead bodies and to galvanise them with your life, but do not make the mistake of living in them.» — [LA VOZ QUE DICTA] la instrucción que saca de esa inversión: mirar el propio cuerpo como cadáver que se galvaniza con la vida propia, sin cometer el error de vivir dentro de él.

«It is very useful to be able to project consciousness on to the mundane sphere but it is very disadvantageous to be fettered by the conditions of that sphere. You are held to that sphere by two things - fear and desire.» — [LA VOZ QUE DICTA] las dos ataduras a la esfera mundana, nombradas sin rodeos: miedo y deseo.

«Initiation will enable you to live upon this plane, though still attached to brain consciousness. It is therefore that the degrees teach, firstly the overcoming of the desire, secondly the overcoming of fear, and thirdly death and resurrection.» — [LA VOZ QUE DICTA] y el orden de los grados, que sigue ese diagnóstico: vencer el deseo, vencer el miedo, y muerte y resurrección.

«By knowing the Law of Limitation and transcending it you can use it. Having circumscribed the task you have set yourself, see it in relation to the Cosmos. By seeing the Cosmic Archetype you will draw in the force of that ideal and by seeing the circumscribed form which it is desired to manifest, you will focus that force. With regard to the practical application of this, when a problem presents itself for solution, gather together in meditation. First outline the problem in debate, then meditate upon its Cosmic aspect, and invoke the Cosmic force.» — [LA VOZ QUE DICTA] la aplicación práctica con que cierra: ver la tarea circunscrita en relación con el Cosmos atrae la fuerza del ideal, y la forma circunscrita la enfoca.

«As has been previously recorded, when two lines of movement intersect a vortex is set up. These two lines of movement then cease to exist and become a centre of stability. This is the first death.» — [LA VOZ QUE DICTA] la Primera Muerte es la del par de movimientos que al cruzarse dejan de existir y quedan como centro de estabilidad.

«Learn now the implications of death. Action and reaction are equal and opposite upon the plane of their inception. They act, react, and continue to manifest in cyclic form. When transmuted from one plane to another they cease to manifest upon the first plane and come into being in a different form upon the next plane. If this translation be viewed from the plane of the inception of these forces it is called death. If it be viewed from the plane of the reception of these forces it is called birth.» — [LA VOZ QUE DICTA] la Segunda: muerte y nacimiento son el mismo tránsito entre planos visto desde uno y otro lado.

«If an involutionary change be viewed from the more primitive aspect it is looked upon as death. If it be viewed from the more evolved aspect it is looked upon as birth. This is the second death.» — [LA VOZ QUE DICTA] y la misma regla aplicada al cambio involutivo, según se lo mire desde el aspecto primitivo o desde el evolucionado.

«Let us make this clear by an example. Life, having evolved beyond the capacity of lowly forms to give it expression, builds itself higher forms. The fossilised remains of the abandoned lower forms are found among the debris of life, they have undergone death. Their race is extinct. They are no more. But the life has achieved rebirth into a higher type of vehicle. It is only by the abandonment of the simpler form that life could enter the more complex, though the consciousness that is in the plane of the simpler form sees» — [LA VOZ QUE DICTA] el ejemplo con que lo ilustra, las formas fósiles abandonadas por la vida; el reparto de las dos miradas cierra en la plana siguiente.

«herein a tragedy because it cannot conceive the higher life and it sees its own passing prefigured; but the consciousness which is of the higher life sees the birth of a new manifestation and rejoices, for it sees the fuller expression of its potentialities.» — [LA VOZ QUE DICTA] y ahí queda: tragedia vista desde la forma simple, nacimiento visto desde la vida superior.

«Each individualised consciousness lives to die and dies to live. It is only by death that we can reap the fruits of life. We graze in the fields of Earth, and we lie down in the fields of Heaven to chew the cud. It has been said 'for one hour’s study do three hours meditation’. To each span of life there are three spans of death. In death is the soul’s meditation and life its study.» — [LA VOZ QUE DICTA] la Tercera Muerte y su proporción: a cada tramo de vida tocan tres de muerte, porque la muerte es meditación y la vida estudio, con la imagen de rumiar en los campos del Cielo.

«Did you but live, all experience would pass through consciousness and leave but little impression after the first few pictures had filled all available space. All would be concrete, unrelated, unsynthesised, but in the meditation which is death the abstract essence of life is extracted and instead of a million concrete images there is the abstract concept.» — [LA VOZ QUE DICTA] la función que atribuye a la muerte: sin ella la experiencia pasaría sin dejar más que imágenes concretas, y es en ella donde se extrae la esencia abstracta.

«It is death alone which enables you to utilise experience. Learn to trust death. Learn to love death. Learn to count upon death in your scheme of things, and regularly perform the exercise of visualising your self as dead and conceiving how you then shall be, for thus you will learn to build the bridge between life and death so that it shall be trodden with increasing ease. See yourselves as dead and working out your destiny. See yourselves as dead and continuing your work from the plane of the dead. Thus shall the bridge be built that leads beyond the veil. Let the chasm between the so-called living and the so-called dead be bridged by this method that men may cease to fear death.» — [LA VOZ QUE DICTA] el ejercicio práctico que prescribe, verse muerto con regularidad, y su fin declarado: tender el puente entre vivos y muertos para que los hombres dejen de temer la muerte.

«Four is always the linking number; the fourth body being the highest aspect of the personality links it with the individuality,» — [LA VOZ QUE DICTA] el cuatro como número de enlace, y el cuarto cuerpo como el que ata personalidad e individualidad; el nombre de esa muerte cae en la plana siguiente.

«and the fourth death is called the linking death - the teaching death - or alternatively may be known as sleep.» — [LA VOZ QUE DICTA] y ahí queda nombrada la Cuarta Muerte: la de enlace, la de enseñanza, o el sueño.

«Sleep is a miniature death, just as death is the major sleep, and a knowledge of the nature of sleep assists to explain death. The nature of sleep is insufficiently understood. The impressions of sleep received by the waking consciousness are misleading. In sleep the physical plane is dissociated from the other planes, and the soul thus freed receives no longer the impressions coming through the five gates of sense and we say ‘it sleeps and is passive’ but the individuality works and is active. In waking life the Individuality sleeps and in sleeping life the Individuality wakes. The Individuality is referred to in the sacred writings as the 'Angel that ever beholds the face of God’.» — [LA VOZ QUE DICTA] la inversión que propone contra la impresión ordinaria: en la vigilia duerme la Individualidad y en el sueño despierta, y es ella el Ángel que siempre ve el rostro de Dios.

«During the waking life of the body the Individuality is intent upon translating into its own terms of abstraction the concrete impressions flowing into the lower soul. When it is no longer thus inturned, subjective, because the lower soul is not pouring upon it impressions, it becomes objective upon its own plane and beholds the ‘face of the Father’. It then measures itself by the Divine standard and makes such adjustments as are within its power; but the adjustments of the spirit are aeonial and are measured by the span of Heaven.» — [LA VOZ QUE DICTA] liberada de las impresiones del alma inferior, la Individualidad se vuelve objetiva en su plano, se mide contra la norma divina y ajusta lo que puede, en plazos que llama eoniales.

«During sleep the lesser soul may not, however, sink into oblivion, but being much concerned with the unsatisfied desires of the flesh it will continue to function in relation to the thought-forms begot of these desires. It dreams the dreams derived from unsatisfied passions and the urge of the instincts. The Individuality is not freed and instead of beholding the ‘face of the Father which is in Heaven’ beholds the reversed image of the human form and thereby develops in its own likeness.» — [LA VOZ QUE DICTA] el caso en que eso falla: el alma menor sigue ocupada en los deseos insatisfechos, sueña sus thought-forms, y la Individualidad ve en lugar del rostro del Padre la imagen invertida de la forma humana.

«The Individuality, being unable to function on its own plane, makes no growth and remains unevolved, and the personality becomes an exaggerated caricature of itself. From this it can» — [LA VOZ QUE DICTA] el resultado de ese bloqueo: Individualidad sin crecimiento y personalidad vuelta caricatura de sí; la salida cierra en la plana siguiente.

«only be freed by the third death, thereby enabling the Individuality to assert itself. But if the third death be incomplete the lower soul will continue to dream upon the Astral Plane; this leads us to the question of the Fifth Death.» — [LA VOZ QUE DICTA] y ahí queda: solo la tercera muerte libera de eso, y si es incompleta el alma inferior sigue soñando en el plano astral.

«The 5 th death is the death of the personality. The personality, being withdrawn from the body, yet continues to live and to function as a personality and the man is in no wise changed and still answers to the name he bore in the flesh. In the lower Hells he burns with desire until the possibilities of desire are burnt out. Desire then remains only as an abstract idea and is part of the Individuality. He then dies to the lower desires but continues to live in the higher desires.» — [LA VOZ QUE DICTA] la Quinta Muerte: la personalidad retirada del cuerpo sigue siendo la misma y responde a su nombre, y arde en deseo hasta agotarlo, con lo que el deseo queda como idea abstracta en la Individualidad.

«These in their turn he learns to be finite and mortal, he finds them to constitute barriers between himself and his Father 'whose face he would behold’, and he desires to escape from them. He would no longer love with the personal love which loves a person, but the higher manifestation of love which itself is love and loves no person or thing but is a state of consciousness in which all is embraced. He then seeks freedom from the lesser love, and with this desire for escape from that which is good though finite in order to realise the good that is infinite, causes the fifth death, and he is born into consciousness of the Individuality and lives upon the plane of the Individuality» — [LA VOZ QUE DICTA] la segunda mitad de esa muerte: también los deseos altos resultan barrera, y el amor personal cede al amor que no ama a persona alguna sino que es estado de consciencia que todo lo abraza.

«perceiving ‘the face of his Father which is in Heaven’ but with the waking of desire come again the dreams and with the dreams come the recall into matter, the Spirit ‘beholding the face of its Father’ until consciousness is weary with its brightness, closes its eyes and sleeps, and sleeping, it dreams of its unfulfilled desires and so it is born again, for upon the plane of desire a state of consciousness is a place, and as we desire so are we reborn, thus each man makes his own karma.» — [LA VOZ QUE DICTA] el ciclo se cierra por el deseo: la consciencia se cansa del brillo, duerme, sueña lo insatisfecho y renace, y por eso en el plano del deseo un estado de consciencia es un lugar y cada hombre hace su karma.

«It may be asked how then is it that men make for themselves suffering and limitations which they could not desire? It is because they do not reap the fruits of fantasy but the fruits of actuality. They are given the results» — [LA VOZ QUE DICTA] se plantea ella misma la objeción —por qué habría uno de desear sus propios sufrimientos— y responde que no se cosechan los frutos de la fantasía sino los de la actualidad; la frase cierra en la plana siguiente.

«of that which they have permitted themselves to desire, not the thing they desire. To exemplify - the man who desired power would obtain vanity. To obtain power he would have to desire the qualities which confer power - strength, foresight and wisdom. The man who desires power builds for himself the consciousness of the vain egotist. The man who desires strength, foresight and wisdom, builds for himself the consciousness of power.» — [LA VOZ QUE DICTA] el ejemplo con que cierra su respuesta sobre el karma: quien desea poder obtiene vanidad, y quien desea fuerza, previsión y sabiduría obtiene la consciencia del poder.

«The 6th death is trance. In trance the body sleeps but the soul is awake. It is active upon its own plane. It functions objectively in the sphere of its upper and lower aspects. It may function upon the sphere of its lower aspects, the instincts, with the body as a background; or it may function upon the sphere of its higher aspects, and concrete mind, with the emotions as a background. This is the plane of normal psychism wherein picture consciousness portrays the events of the inner worlds as in a magic mirror. The conditions of the focus being determined by the emotional states.» — [LA VOZ QUE DICTA] la Sexta Muerte es el trance, y la sitúa como plano del psiquismo normal, donde la consciencia en imágenes muestra los mundos internos como en un espejo mágico, enfocada por los estados emocionales.

«When psychic consciousness is focused by the instincts and passions with matter as a background, consciousness is transferred to the etheric matter which is withdrawn from the dense vehicle in order that it may not act as the vehicle of passionate desires, then are seen the manifestations of the lower magic, dangerous and evil in all its forms - degrading to the personality because its life is lived in relation to matter and not to spirit. Live all life with God for a background, and measure all your deeds against the span of Heaven and assess them in relation to the Cosmos, so shall your sin seem grievous in your sight, and your errors very small.» — [LA VOZ QUE DICTA] su condena de la magia inferior, con el criterio en que la funda —vivir la vida en relación con la materia y no con el espíritu— y la instrucción de medir todo acto contra el Cosmos.

«The 7th death is Initiation. In the Seventh Death consciousness is withdrawn from the personality and made one with the Individuality and then a man ever 'beholds the face of his Father which is in Heaven’ even when he himself sojourns upon Earth. Thus it is that the Initiate is not as other men. Initiation is a living death.» — [LA VOZ QUE DICTA] la Séptima Muerte es la Iniciación, y la define por su fórmula: una muerte en vida.

«Those who desire the things of the senses and the pride of life use the words ‘living death’ to explain the most terrible fate that can befall a man, but those who have knowledge know that the living death means the freedom of the spirit brought through to the planes of matter. It means the consciousness of the Abiding Presence in the midst of the consciousness of the senses. It means awareness of Heaven while dwelling upon Earth. Therefore the Initiate goes to the living death which is freedom while still in the body, for death annuls the Law of Limitation, frees the potentialities of the spirit, gives sight to the blind, and power to the impotent.» — [LA VOZ QUE DICTA] le da la vuelta a la expresión corriente: muerte en vida no es la peor suerte sino la libertad del espíritu traída a los planos de la materia, porque la muerte anula la Ley de Limitación.

«That for which we longed vainly in life we realise in death, for death is life and life is death.» — [LA VOZ QUE DICTA] y la formulación más apretada de esa inversión, que es la tesis del capítulo entero.

«To the wider consciousness the womb is a grave and the grave is a womb, the soul entering upon life, bids farewell to his friends who mourn for him, and taking his courage in both hands, facing the great ordeal and submitting to suffering, enters upon life. His first action in life is to draw breath. His second action with that breath is to set up a cry of distress, because he has entered upon the task of life with grief, and his aim in life is to make life bearable, but when he enters the grave he passes through the gateway into the wider life of consciousness, and when the Initiate would pass to the wider life of consciousness he passes through a gateway which symbolises death, and by his death to the things of desire he obtains freedom, and as one dead he walks among men.» — [LA VOZ QUE DICTA] invierte también el nacimiento —el alma que entra en la vida se despide de quienes la lloran, y su segundo acto es un grito de angustia— y con eso explica la puerta simbólica de muerte de la Iniciación.

«In the death in life, which is the freedom of the spirit in the bonds of the flesh, he transcends the Law of Limitation, being» — [LA VOZ QUE DICTA] la muerte en vida trasciende la Ley de Limitación; la frase sigue tras el corte de chunk, en la plana siguiente.

«dead he is free, being dead he moves with power among those buried in the flesh, and they, seeing the Light shining brightly through him, know that he is dead, for the Light cannot shine through that consciousness, but when consciousness is discarnate the Light shines through, and if the discarnate consciousness is still manipulating its body, then that life shines through into the world of matter and illuminates man.» — [LA VOZ QUE DICTA] la señal por la que se reconoce al Iniciado: la Luz no atraviesa la consciencia encarnada, de modo que si brilla a través de él es que está muerto y sigue manipulando su cuerpo.

«But remember this and meditate upon it, - an Initiate is a dead man who manipulates his body that he may thereby serve those who cannot otherwise be approached.» — [LA VOZ QUE DICTA] y la definición que deja como objeto de meditación: un Iniciado es un muerto que maneja su cuerpo para servir a quienes de otro modo no podrían ser alcanzados.

«1. Neutralisation of two movements. 2. The transmutation of force from one plane to the plane below. 3. Death of the individualised consciousness and abstraction of the absolute essence of life in meditation. 4. Sleep - the linking or teaching death; objective on its own plane. 5. Death of the personality and of all its desires. 6. Trance. The body sleeps but the soul is awake. 7. Initiation. Consciousness withdrawn from the personality and made one with the Individuality.» — [LA VOZ QUE DICTA] el propio resumen del capítulo, con las siete Muertes en una línea cada una.

«The true method of Impactation is but little known because it involves the inner principles of polarity. Impactation may be defined as the act of bringing a force of a subtler plane through to a denser plane upon the involutionary arc.» — [LA VOZ QUE DICTA] define la impactación como traer una fuerza de un plano sutil a uno denso en el arco involutivo, y la separa de la degradación, que es el acto equivalente en el evolutivo.

«An important concept concerning the dynamic standard of good and evil is contained in this distinction. Impactation then is the act of advancing a force in evolution by developing it upon the ‘form’ aspect.» — [LA VOZ QUE DICTA] declara que en esa distinción va un criterio dinámico de bien y mal, y define la impactación como avance de una fuerza por su aspecto de forma.

«You must remember that the stream of evolving life issuing from the Logos has to descend into matter in order to be organised, and having developed ‘form’ by its confinement in matter it uses that form as a mould, or more strictly speaking, a framework (for the subtler surrounds the dense), and when the framework of the dense is withdrawn, the subtle maintains the form it assumed because the system of stresses then developed becomes a habit.» — [LA VOZ QUE DICTA] la vida desciende a la materia para organizarse, y lo sutil conserva la forma que tomó cuando se retira el armazón denso, porque el sistema de tensiones se vuelve hábito.

«The act of sublimation is to separate the dense from the gross and the gross from the subtle. But the act of impactation is to lock two tangential forces of the subtle into a node of the dense. This, you will perceive, was the method of the creation of the atom.» — [LA VOZ QUE DICTA] contrapone las dos operaciones en vocabulario alquímico: sublimar separa, impactar traba dos fuerzas tangenciales en un nodo denso, que es como se creó el átomo.

«Let us make this clear by example. It is desired, let us suppose, to realise an abstract concept in concrete form. To do this it must be realised that there are two sides to every question and that each side has elements of good and bad - construction and destruction. Construction of the higher means destruction of the lower. All things die to the birth. The involutionary and evolutionary aspect of every problem has to be envisaged. Perceiving then these two aspects you will see that there are certain considerations which if regarded alone, would lead you to proceed in the opposite direction to that which you contemplate. That is to say, you would abandon your original intention and turn back towards the centre. Other considerations, however, induce you to press out towards the circumference, you will therefore always find, in every consideration, you are torn two ways. A unanimous decision is impossible, and it is a unanimous decision which is necessary in order to bring to birth upon a denser plane that which is conceived upon a subtler plane.» — [LA VOZ QUE DICTA] el ejemplo con que lo baja a la práctica: toda cuestión tiene dos lados y uno queda siempre partido en dos, de modo que la decisión unánime que la impactación exige es imposible en solitario.

«It is, therefore necessary, that in such a matter you should have co-operation from an entity of a different type to your own, so that the consideration will be reversed, so that that aspect of yourself which would return to the centre finds itself complemented by a similar aspect in the co-operator which would press outwards towards the circumference - not two halves but four quarters. Then comes the figure of the exchange of partners and you have two wholes instead of four halves. One wholly positive and one wholly negative. One turns back towards the centre. One sets out towards the circumference. They come into alignment and the force can pass through them.» — [LA VOZ QUE DICTA] la solución es la cooperación con una entidad de tipo contrario, con la figura del intercambio de parejas: no dos mitades sino cuatro cuartos, que se recomponen en dos enteros alineados por los que la fuerza pasa.

«The force intensifies all qualities. That which sets towards the centre draws towards the centre. That which sets towards the circumference draws towards the circumference. Then comes re-polarisation. Each of the two halves temporarily joined draws apart and affects re-polarisation within itself into a positive and negative aspect - consciousness and subconsciousness - personality and Individuality - and reforms itself. You then have four wholes on two planes. This is a subject which requires meditation. It cannot be» — [LA VOZ QUE DICTA] y la repolarización posterior, que devuelve a cada mitad su propio positivo y negativo, personalidad e Individualidad, dejando cuatro enteros en dos planos; el troceo parte *re-forms* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«comprehended without a key.Have you realised the import of that which has been given? We have given you the lock, but the key cannot be given you so freely. The key must not be written down.» — [LA VOZ QUE DICTA] marca aquí el límite de lo que entrega por escrito: da la cerradura y retiene la llave, que declara no escribible; el troceo imprime *key.Have* sin espacio.

«The drawing apart of that which inclines towards the centre from that which inclines towards the circumference explains many things. Firstly the gulf between personality and Individuality and heredity .... That which is projected into the denser, being formed from the framework of the subtler, retains the stress habit of its original.» — [LA VOZ QUE DICTA] de esa separación deriva el abismo entre personalidad e Individualidad, y de paso la herencia: lo proyectado en lo denso conserva el hábito de tensión de su original.

«Equally, when the process is not that of the normal advance of life, but a special operation undertaken at the bidding of the will - not the desires - that which is impacted is a reflection of the combined nature of the impactors. The impactors, therefore, although they separate according to the Law of Reaction and the Law of Magnetism that like repels like, are permanently linked by means of the common bond to that which they have created.» — [LA VOZ QUE DICTA] en la operación deliberada lo impactado refleja la naturaleza combinada de los impactadores, que quedan ligados de modo permanente por lo que crearon aunque la ley magnética los separe.

«The symbol is that of the inverted A in which the two converging bars represent the creators. The cross bar the line of demarcation between the planes, and the lower incomplete triangle the reated. The cross bar is known as the bar of impactation and you will see its vital significance in all practical operations based upon this principle.» — [LA VOZ QUE DICTA] el símbolo con que lo cifra, una A invertida cuyos brazos son los creadores y cuya barra transversal —la barra de impactación— marca la línea entre planos; el troceo imprime *the reated* por the created.

«The bar of impactation must be included in the projected aspect in order to complete it and make of it a triangle, the simplest form of closed figure. The impactors can then detach themselves at the line of demarcation and be free to function as independent units upon their own plane, but the system of magnetic stresses remains behind attached to the bar of impactation which forms the upper line of the triangle, and when the triangle seeks to cross the bar and develop into the mighty Alpha it follows the lines already laid down.» — [LA VOZ QUE DICTA] la barra tiene que quedar dentro de lo proyectado para cerrarlo en triángulo, y solo entonces los impactadores se desprenden; el sistema de tensiones queda pegado a esa barra.

«Now these lines, being projections into subtle matter of the basic angle of the triangle, enable consciousness of the type of the impactors to contact it. Hereby you see the way in which the Master approaches the pupil.» — [LA VOZ QUE DICTA] y ahí sitúa la vía por la que un Maestro se acerca a un discípulo: por esas líneas, que dejan a una consciencia del tipo de los impactadores tocar lo impactado.

«There are two kinds of birth. Firstly that which is in the ordinary course of nature; and the incarnation of a consciousness of a loftier grade than that which requires manifestation in matter for its development. In the latter case the soul impacts itself with the assistance of another of a similar grade. The one which desires to manifest presses towards the circumference, and its partner in impactation returns towards the centre, but these two maintain contact by the prolongation of the angles. And when consciousness is raised you get the symbol of the six pointed star which is the symbol of Initiation.» — [LA VOZ QUE DICTA] distingue el nacimiento ordinario de la encarnación de una consciencia superior, que se impacta con la ayuda de otra de su grado, y de la prolongación de sus ángulos saca la estrella de seis puntas como símbolo de la Iniciación.

«This explains the phenomenon of four quarters instead of two halves. It explains the phenomenon of the Christ and the Jesus, and of all greater and lesser selves.» — [LA VOZ QUE DICTA] y con esa misma figura explica el fenómeno del Cristo y el Jesús y el de todos los yoes mayores y menores.

«The act of impactation is based upon the use of the Laws of the Attraction of the Centre and the Attraction of the Circumference, and the use of polarity, and in all elaborations of the concepts of polarity the Law of Impactation comes into function because polarity gives rise to impactation, and impactation depends on polarity wherein union takes place horizontally and fissure takes place vertically.» — [LA VOZ QUE DICTA] liga la Ley de Impactación con las dos Leyes de atracción y con la polaridad, que se implican unas a otras: la unión ocurre en horizontal y la fisura en vertical.

«Just as it was impossible to consider the Law of Impactation without considering the Law of Polarity, so it is impossible to consider the Law of Polarity without considering the Law of Attraction of the Centre and the attraction of the circumference, because Polarity has its basis in these two laws.It is according to whether the attraction be towards the centre or the circumference that the negative or positive aspects of force are observed.» — [LA VOZ QUE DICTA] funda la Polaridad en las dos Leyes de atracción: el signo lo da la dirección, hacia el centro o hacia la circunferencia.

«The attraction towards the centre gives the negative, and the attraction towards the circumference the positive aspect, and it is those two in polarity that produce the circulation of force. You see the prototype of which this is the correspondence, in the positive and negative aspects of the Cosmic Rays. The glyph of this is contained in the Caduceus of Mercury. There you see the black and white serpents of positive and negative functions twined from side to side of the staff. Taken in its mundane aspect the staff represents the Ray and the black and white serpents the positive and negative aspects of the Lifewave.» — [LA VOZ QUE DICTA] atribuye lo negativo al centro y lo positivo a la circunferencia, y da por glifo el Caduceo de Mercurio con sus dos serpientes trenzadas sobre el bastón; el troceo parte *Life-wave* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«A glyph needs generally for its understanding the superimposition of another glyph belonging to the next plane, thus representing a practical application of the Law of Impactation. Place upon the glyph of Mercury - otherwise Hermes, Lord of the Mind - the glyph of Orpheus, Lord of the Elementals, place the musical scale upon the staff of wisdom and you will see the places marked off on the staff. Then place the inverted A with its basal angle upon whatever plane you wish to consider and you will see the implication of the prolongation of the angle. You will then perceive that, that which appears as a unity upon one plane is prolonged into a duality upon the subtler planes.» — [LA VOZ QUE DICTA] la regla de lectura de los glifos —superponer el de otro plano, que es aplicación práctica de la Impactación— y una instrucción concreta: sobre el glifo de Hermes el de Orfeo, y la escala musical sobre el bastón de la sabiduría.

«Take the two points of your duality, reduce them a plane according to the Law of Correspondences, taking these two lower points as the basal angles of the upper A and you can circumscribe your hexagon. You will then see that the highest angle of your hexagon is in exact correspondence with the lowest angle, and that the two side Rays upon each side may be connected by lines representing their respective affinities. This gives you the clue to the horizontal and vertical polarity which is the Cross of Regeneration.» — [LA VOZ QUE DICTA] el procedimiento geométrico completo, que termina en el hexágono y da la clave de la polaridad horizontal y vertical, que llama Cruz de Regeneración.

«Polarity according to the horizontal account is horizontal - two of a kind, opposite in type. Polarity according to the esoteric concept is vertical and has its clue in correspondence. Place the Cross on the hexagon, and the hexagon on the Caduceus and you will see the significance. Let the basal point of the six-pointed star rest upon the densest plane under consideration. Let each pair of lateral points rest upon a plane, and let the transverse bar of the Cross be the bar of impactation, you will then see the manner in which any given set of forces will work. This is a method of divination.» — [LA VOZ QUE DICTA] separa la polaridad corriente, horizontal, de la esotérica, vertical y por correspondencia, y declara método de adivinación el apilado de Cruz, hexágono y Caduceo.

«Now in considering the Caduceus, which is the symbol of polarity upon the planes, note that the serpent as it passes from side to side of the staff goes from the positive to the negative side of the Ray. This will teach you that a force which is positive upon one plane will be negative upon the plane above; whether you are considering the emanations of the Zodiac or the levels of consciousness this is equally true. Polarity is always inverted, plane by plane. This will give you a further clue to the significance of the four quarters. If you raise consciousness you change polarity.» — [LA VOZ QUE DICTA] la regla que saca del recorrido de la serpiente: lo positivo en un plano es negativo en el de arriba, la polaridad se invierte plano por plano, y elevar la consciencia cambia la polaridad.

«Whenever union takes place between two aspects upon a plane, they develop a similar magnetism and becoming repellent thereby they are forced apart. If therefore contact is made upon but a single plane, repulsion and estrangement follows, but if contact takes place upon more than one plane alternation of magnetism is set up and a circuit of the type of a figure 8 is built. Four quarters again. This holds good whether of men or of movements. Polarity upon the planes always exists as four quarters. This is the clue to much.» — [LA VOZ QUE DICTA] el contacto en un solo plano lleva a repulsión y extrañamiento; en más de uno se alterna el magnetismo y se construye un circuito en ocho, y eso vale igual para hombres y para movimientos.

«You will have perceived in the foregoing teachings, certain applications of the abstract to the concrete which it is not expedient should be concreted even in the abstract. Taking these as your basis proceed further.» — [LA VOZ QUE DICTA] declara otra vez un límite de lo que entrega: hay aplicaciones que no conviene concretar ni siquiera en abstracto.

«When one desires to project a manifestation from a subtler plane to a denser plane on the involutionary arc, it summonses to its assistance another, and the two detach and project each a part of their substance. Viewed from the denser plane the projection appears as one; viewed from the subtler plane the projection appears as it really is - a projection. Whenever the one is considered it is necessary for its understanding to project it into the subtler planes until it reveals the two, for of the dual nature it would partake, and it is this duality of nature which is the clue to so much in both men and things, therefore remember that when dealing with any form, one can always be resolved into two, and for a production of a new object two are always essential, and it is upon this subtle action and reaction and balance of force that ultimate issues depend.» — [LA VOZ QUE DICTA] toda forma se resuelve en dos si se la proyecta a planos más sutiles, y para producir algo nuevo hacen falta siempre dos.

«Thought will enable you to perceive that you have herein an explanation of the basis of physical generation, you have also the explanation of the creation of ‘familiars’ or artificial elementals which though abused, have their uses.» — [LA VOZ QUE DICTA] y de ese mismo principio saca a la vez la generación física y la creación de familiares o elementales artificiales, de los que dice que se abusa pero que tienen su uso.

«It is possible, however, to create and project a thought-form without the interposition of a second entity by polarising the personality and Individuality. Normally, if you read correctly the glyph of Hermes, you will perceive that the polarity of the» — [LA VOZ QUE DICTA] la alternativa sin segunda entidad, por repolarización de personalidad e Individualidad, y el glifo de Hermes por donde leerla; la frase cierra en la plana siguiente.

«seven bodies is alternating and opposite. If you effect the repolarisation so that the whole personality should be negative, and the whole Individuality positive you effect the condition in which creation of minor forms is possible within the entity.» — [LA VOZ QUE DICTA] la polaridad de los siete cuerpos alterna, y repolarizarlos con la personalidad entera negativa y la Individualidad entera positiva hace posible crear formas menores dentro de la entidad; el troceo parte *re-polarisation* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«These, however, cannot sustain any independent life, but have to be fed and maintained by their parent. This polarisation is effected by neutralising the characteristic activity of each body of the personality, and intensifying the activities of each body of the Individuality so that all inhibitions are removed, and this produces a state of instability, and therefore cannot be sustained for long. You will perceive that here you have certain important clues to the practice of that which induces that which is not in that which thinks it is, but is not.» — [LA VOZ QUE DICTA] los límites de esa vía: lo creado no vive por su cuenta y hay que alimentarlo, y el estado de inestabilidad no se sostiene mucho; el aviso sobre esa práctica lo da en una fórmula deliberadamente oscura.

«The opposite process in which you have the inhibition of the Individuality and the intensification of the personality produces a certain type of mundane genius which burns brightly to its own destruction.» — [LA VOZ QUE DICTA] y el proceso inverso, que produce cierto tipo de genio mundano que arde hasta destruirse.

«There is also another aspect upon group form. The consciousness of a group is an entity of a negative or female type. It requires to be stimulated by a positive force before it can become creative. That which functions on a subtler plane is positive in relation to that which functions on a denser plane. Should a consciousness conceive the aims of a group on a higher plane than that on which the group conceives them, it becomes positive towards that group and thereby can fertilise it. When fertilisation of a group occurs each of the individuals of that group becomes pregnant with a new life and brings creative work to birth upon the physical plane.» — [LA VOZ QUE DICTA] aplica la polaridad al grupo: su consciencia es de tipo negativo y necesita un estímulo positivo, que llega de quien concibe los fines del grupo en un plano más alto que el grupo mismo.

«They will then have conceived that which the group leader has begotten and will then be upon the same plane as the Leader. Having conceived the same ideal they will then be of the same» — [LA VOZ QUE DICTA] fecundado el grupo, sus miembros conciben lo que el Líder engendró y quedan en su mismo plano; la consecuencia cierra en la plana siguiente.

«polarity as the Leader and it will no longer be possible for him to bring a creative stimulus to that group. This will explain to you the process of florescence and degeneration which groups undergo, but periods of quiescence are not of necessity death.» — [LA VOZ QUE DICTA] y ahí queda el ciclo de florecimiento y degeneración de los grupos, con la acotación de que la quietud no es forzosamente muerte.

«You will observe that throughout all manifested life the cooperation of two factors is essential for all ‘form’ building. Force, however, works as a unit because its polarity is in the Logos.» — [LA VOZ QUE DICTA] la regla general con que cierra: toda construcción de forma exige dos factores, y solo la fuerza obra como unidad porque su polaridad está en el Logos.

«The Logoidal consciousness, having attained equilibrium, has achieved perfection, and having attained that which it had conceptually realised, propounds a further conception and seeks its realisation. These formal concepts already conceived within the Logoidal consciousness are continued into more complex syntheses, thereby partaking of the nature of succeedingly developed phases of manifestation, or to express the same idea in another terminology, are passed outward down the planes of manifestation. The growing points of the Logos are projected into manifestation as evolutionary impulses.» — [LA VOZ QUE DICTA] alcanzado el equilibrio, el Logos propone una concepción nueva, y llama a esos conceptos sus puntos de crecimiento, proyectados a la manifestación como impulsos evolutivos.

«The thrust outward then, is initiated by the Logos and form succeeds form in phases of manifestation down the planes, the will of the Logos which projects the forms, ensouling them with life.» — [LA VOZ QUE DICTA] el empuje hacia fuera lo inicia el Logos, y su voluntad ensalma las formas que va proyectando plano tras plano.

«Now it is ever the aim of will to function unconditioned, just as it is ever the tendency of form to condition the unmanifest, and the will-to-live of the Logos always entering upon the conditioning form, (which, as it were, it pushes ahead of itself down the planes,) is irked by the form; but in the later phases of the Logoidal life unconditioned will is impossible, all action being determined by pre-existing conditions» — [LA VOZ QUE DICTA] la tensión que sostiene el capítulo: la voluntad busca obrar sin condición y la forma condiciona, pero en las fases tardías del Logos ya no hay voluntad incondicionada; la frase cierra en la plana siguiente.

«the Logos, which is the life of the manifested universe, has to submit to conditions and be bound in form. Hence the warfare between spirit and flesh.» — [LA VOZ QUE DICTA] y ahí queda la consecuencia, con su explicación de la guerra entre espíritu y carne: la voluntad de vivir del Logos tiene que someterse a condiciones y quedar atada en forma.

«The life and will of the Logos then, expresses itself through succeeding phases of form until the densest phase is reached. It can no further project the conditioning vehicle of its manifestation, and it strives to free itself from the bondage of form, and continue onwards - to employ a metaphor of space - towards those areas of the ether which have not been circumscribed and conditioned by the primal Logoidal will.» — [LA VOZ QUE DICTA] llegado al plano más denso, el Logos ya no puede proyectar más vehículo y pugna por librarse de la forma hacia las áreas del éter que su voluntad no circunscribió.

«It is the endeavour of conditioned life to become unconditioned which forms the prime urge - which projects it towards outer space.» — [LA VOZ QUE DICTA] el primero de los tres motivos de esta Ley: el empeño de la vida condicionada por dejar de serlo.

«Secondly there is the natural tendency towards equilibrium, and of the forces under high pressure within a manifested universe to diffuse themselves into the comparative vacuum of outer space.» — [LA VOZ QUE DICTA] el segundo, físico: la difusión de las fuerzas a presión hacia el vacío relativo del espacio exterior.

«Thirdly there is the picture of the penumbra - all those moulds which are marred in the making - all those evolutionary concepts which fail in their realisation - all misplaced forces and souls that have failed in their tasks, being rejected by their Individuality - all that in fact, which it is desired to reject from the Logoidal consciousness and which has been disintegrated against the inner shell of the Ring-Pass-Not, remains as an image in the reflecting ether of space upon what may be figuratively termed the outer surface of the Ring-Pass-Not immediately between that and the Ring Chaos of that universe, and there may be descried.» — [LA VOZ QUE DICTA] el tercero, y el más propio de la obra: cuanto fue rechazado de la consciencia logoidal —moldes fallidos, conceptos malogrados, almas que fallaron su tarea— queda como imagen en el éter reflectante, entre el Ring-Pass-Not y el Ring-Chaos.

«Any consciousness then which ventures to the nether side of matter will discern across the great gulf, which is the Ring-Pass-Not of the universe, the reflected images of all falsified hopes and abortive attempts at manifestation - and these, as it were, craving for the force which should bring them into manifestation, call across the gulf to whatever elements are akin to them in that which presents itself at the barrier, and» — [LA VOZ QUE DICTA] quien llega al reverso de la materia ve al otro lado del abismo los simulacros de las esperanzas falsificadas, que llaman a lo que se les parece; la frase cierra en la plana siguiente.

«so it is that all evolving force whether in the universe or in the Individuality, having penetrated to fundamentals, looks across the great gulf fixed by Cosmic law and sees the simulacra of its hopeless dreams promising fulfilment, and is tempted to continue forward on that path of outgoing upon which the Divine momentum projected it, and by means of the further momentum acquired by its own motion to leap that gulf into the freedom of outer space where there is no law and men are as gods. For when a unit of consciousness escapes from a manifested universe by transcending law, because law is consummated in a perfect obedience, it becomes the nucleating centre of a new Logoidal Sun, this is the mystery of Godhead; but when a unit of consciousness that has not mastered the law so escapes, it is an unconditioned will, this is the mystery of evil, personified as devil.» — [LA VOZ QUE DICTA] la tentación del nadir y su desenlace doble: quien salta habiendo consumado la ley en obediencia perfecta se vuelve el centro de un Sol logoidal nuevo, y quien salta sin haberla dominado queda como voluntad sin condición, que es lo que llama misterio del mal personificado en el diablo.

«This temptation of the nadir comes to all in the course of evolution. From the Divine upon the outgoing arc life has to penetrate into the fundamentals, and having touched the fundamentals, having attained the summit of its powers, it has to reject the temptation of the desire-images reflected from outer space and retrace its steps in humility back to the source of its life, winning the realisation that freedom is attained, not by escape from limitations and conditions, but by adjusting the balance to a perfect equilibrium.» — [LA VOZ QUE DICTA] declara universal esa tentación y le opone la vía de vuelta, con su tesis sobre la libertad: no se alcanza escapando de las condiciones sino ajustando la balanza a equilibrio perfecto.

«Equilibrium of conflicting forces, being attained, form is stereotyped and can be left to form the corresponding consciousness, and the ensouling life withdraws to a higher plane bearing with it the reaction-capacity acquired on the lower plane, but no longer bound by the conditions of that plane. This will be dealt with more fully in the succeeding lecture.» — [LA VOZ QUE DICTA] logrado el equilibrio, la forma queda estereotipada y la vida se retira al plano superior con la capacidad de reacción ganada, ya sin las condiciones del plano dejado.

«The attraction of outer space then, is the attraction of unconditioned power, it is the temptation to escape from the laws that have built us up, and to exercise the powers gained under these laws without the equivalent responsibility. This may be seen exemplified in the life of the man who, enjoying» — [LA VOZ QUE DICTA] resume la Ley como tentación de ejercer sin la responsabilidad equivalente los poderes ganados bajo las leyes; el ejemplo se completa en la plana siguiente.

«all the advantages of a highly developed culture, brings to them the aims and the ideals of an unevolved state of existence. The attraction of outer space is the temptation to break away from evolution and the Cosmic law and to function as a god. Such gods are those who are propitiated in the rites of devil worship.» — [LA VOZ QUE DICTA] y ahí queda el ejemplo —quien goza de una cultura desarrollada con los fines de un estado sin evolucionar— y la formulación última, con la adjudicación que hace del culto al diablo.

«The Law of the Attraction of the Centre contains the secret of the mystery of Love. It may be considered under three aspects:- Firstly in relation to evolution, secondly in relation to Initiation, and thirdly in relation to devolution and the lefthand path.» — [LA VOZ QUE DICTA] declara esta Ley el secreto del misterio del Amor y la reparte en tres aspectos: evolución, Iniciación y devolución; el troceo parte *left-hand* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«When a form of life has attained its utmost complexity of material organisation, unification begins. This is obtained by means of synthesis upon a higher plane, and this having been secured, devolution of the physical form set in. This marks the transition through the nadir of the evolutionary arc.» — [LA VOZ QUE DICTA] la unificación empieza cuando la organización material toca su límite, y es la síntesis en un plano superior lo que dispara la devolución de la forma física.

«Let us elaborate this concept. Ideas of life expression, having been evolved by entities of a higher grade than the life-forms under consideration, such ideas are projected upon these lifeforms in the etheric kingdom as they are approaching materialisation, and in the malleable matter of the etheric type they are worked out, and this acts as a framework for the subsequent physical form. The life forces, compelled to circulate in the forms built in matter, develop a set of magnetic stresses. These having been developed, the material form can be discarded, and the system of magnetic stresses remains as an etheric mould. Thus does an inceptive idea pass through the plane of manifestation of matter and become a conceptive idea.» — [LA VOZ QUE DICTA] la mecánica del molde etérico: las fuerzas de la vida, obligadas a circular en la forma material, dejan un sistema de tensiones magnéticas que sobrevive a la forma; el troceo parte *life-forms* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«There are many different devices employed for obtaining the same result, and though each of these owes its inception to a different inceptive idea - a different attempt to work out a design - the conceptive idea of perfect adaptation is the same for all. So that that which was multipicity in its origin, by the» — [LA VOZ QUE DICTA] muchas ideas inceptivas distintas comparten una sola idea conceptiva, la de la adaptación perfecta; la conclusión cierra en la plana siguiente.

«perfection of its development arrived at unity. One is the symbol of the First Manifest. Whatever reduces multiplicity to unity - or a ‘complex concrete’ to a ‘simple abstract’ - is approaching the centre. The approach to the centre is not a movement in space, but a unification.» — [LA VOZ QUE DICTA] y ahí queda la tesis: lo que era multiplicidad llega a unidad por perfección, y acercarse al centro no es moverse en el espacio sino unificar.

«Now note the difference between unification and simplification, because this is the clue to much. Unification is achieved by evolution and simplification is achieved by devolution. Unification is the full synthesis - simplification is the ultimate analysis, or return to type. One is the advancement to completion, the other is a regression to the commencement.» — [LA VOZ QUE DICTA] la distinción que declara clave: unificación es síntesis plena por evolución, simplificación es análisis último y retorno al tipo por devolución.

«The concept of the return to the centre might be considered as an extension of the centre, for when return to the centre takes place the centre is thereby extended, and we are taught that the return to the centre is the goal of evolution. If this idea be meditated upon it will be seen that such a return to the centre should involve the extension of the centre, for if all that is external becomes internal the boundary must be extended. In very truth it may be conceived that the return to the centre means that the centre is extended to the circumference and all things are as is the centre. This implies the spiritualisation of all the planes.» — [LA VOZ QUE DICTA] la paradoja que propone meditar: volver al centro lo extiende, hasta que el centro llegue a la circunferencia y todas las cosas sean como él.

«Such a concept has two aspects - the form aspect and the force aspect. Force flows towards the centre, withdrawing from the circumference. It therefore follows that the centre, to accommodate it, must flow out. Thus it is the substance of each plane, having had its native form withdrawn, is recast by the influences of the extending centre into approximate forms to those which prevail upon the seventh plane.» — [LA VOZ QUE DICTA] el aspecto de fuerza y el de forma: retirada la fuerza al centro, la sustancia de cada plano queda refundida por el centro que se expande en formas parecidas a las del séptimo plano.

«withdrawing of force marks the end of a Cosmic Day and the beginning of a Cosmic Night. The outflowing of the centre is the work of the Cosmic Night - and the secrets of the Cosmic Night have never been revealed before.» — [LA VOZ QUE DICTA] sitúa el flujo de salida del centro como obra de la Noche Cósmica, y declara inéditos sus secretos.

«The outflow of pure spirit over all planes of matter takes place during the Cosmic Night, and the Archetypal forms remaining in the vicinity of the magnetic stresses are thereby galvanised, but they have no real life, having as yet no reincarnating principle, and therefore no memory. And at the end of the Cosmic Night the spiritual tides withdraw leaving the field to the emptiness of the Cosmic Dawn. But the forms over which the Cosmic Tide has flowed have been adjusted to Cosmic stresses and therefore all types of evil have been corrected.» — [LA VOZ QUE DICTA] durante la Noche Cósmica el espíritu puro fluye sobre todos los planos y galvaniza las formas arquetípicas, que sin principio reencarnante no tienen vida ni memoria, y al retirarse deja la materia ajustada a las tensiones cósmicas.

«This is the cleansing of matter which takes place between each Cosmic Day and neutralises the forces of inertia, and as the forces of inertia have their roots in the Law of Limitation, and the Law of Limitation has its roots in Cosmic evil, you will see the significance of the work of the Cosmic Night, and you also see the deeper significance in the words ‘The Powers of Darkness’.» — [LA VOZ QUE DICTA] llama a eso la limpieza de la materia entre Días Cósmicos, y en esa obra pone el sentido hondo de la expresión Potestades de las Tinieblas.

«It is necessary, if you are to understand the deeper implications of occultism, that you should see that darkness leads through twilight into dawn, and day leads through twilight to darkness.» — [LA VOZ QUE DICTA] la simetría que pide ver: la oscuridad lleva por el crepúsculo al alba igual que el día lleva por el crepúsculo a la oscuridad.

«Good and evil may be conceived of as areas of light and shadow through which a spinning ring evolved, and evil has its work to do as well as good. The God of Light and the God of Darkness are but the actions of the Right and the Left Hand of the Father. The Right-Hand gives and the Left-Hand takes away. The Right-Hand gives that which is to be, and the Left takes away that which has been. The Right sends out into manifestation and the Left beckons back again; but you, looking as in a mirror, call Right Left, and Left Right.» — [LA VOZ QUE DICTA] el Dios de la Luz y el de las Tinieblas como acciones de la Mano Derecha y la Izquierda del Padre, una que da lo que ha de ser y otra que retira lo que fue, con la advertencia de que quien mira desde aquí las ve invertidas como en un espejo.

«The attraction of the Centre takes place up the path of returning, and should that attraction set in prematurely it causes the life to flow back to an earlier aspect. This involves a devolution of life before there is a devolution of form.» — [LA VOZ QUE DICTA] la atracción prematura del Centro devuelve la vida a un aspecto anterior, con lo que la vida devoluciona antes que la forma.

«When this returning flow takes place in relation to Life we see the development of parasitic types of existence. This explains the problem of bacterial disease - other types of life which are saprophytic are not of this evolution at all, but are functioning under the dominion of the 'Lords of the Dark Face' who are scavengers of the Gods.» — [LA VOZ QUE DICTA] de ahí saca su explicación de los tipos parasitarios y de la enfermedad bacteriana, y sitúa los saprofitos bajo los Lords of the Dark Face, carroñeros de los Dioses.

«It may be said, in parenthesis, that there are two types of bacterial disease - parasitic and saprophytic - which may occur independently or simultaneously. This is an idea which could be elaborated but it will not be done now.» — [LA VOZ QUE DICTA] distingue dos tipos de enfermedad bacteriana, parasitaria y saprofítica, y deja el asunto sin elaborar.

«You will perceive from the foregoing that a return to the centre means a fading of a Day of Manifestation, and as the daylight fades the spiritualising darkness of the unmanifest flows over the fields of matter. And this must always be borne in mind in considering this problem, for as the light withdraws from the outer circuit of matter, so the spiritualising influences begin to flow out from the innermost circuit of spirit, and this process continues until such time as all light be withdrawn, and the concentric circle of manifestation be completely overflowed with the Cleansing Waters of Darkness; but meanwhile there is a transition stage during which the Waters of Darkness, which is a symbol of peace, cleansing and regeneration, make preparation for new life.» — [LA VOZ QUE DICTA] la figura del apagado: según se retira la luz del circuito exterior sale lo espiritualizador del interior, hasta que las Aguas de la Oscuridad —símbolo de paz, limpieza y regeneración— cubren todo.

«These waters then, are percolating through the planes of manifestation so that the seen will be interpenetrated by the unseen. This brings us to the second aspect of the subject of the attraction of the centre, the question of Initiation.» — [LA VOZ QUE DICTA] esas aguas percolan por los planos de modo que lo visible quede interpenetrado por lo invisible, y con eso pasa al segundo aspecto, la Iniciación.

«Those entities that have returned to the centre at the conclusion of their evolution flow out again as the forerunners of the Shadow of the Spirit. It is these who are the Initiators. They themselves have been enabled to progress in advance of evolution by being themselves initiated by developed entities of previous evolution’s according to the planes on which they took Initiation, the Lords of each plane being the completed fruits of the evolution which had its culmination on that» — [LA VOZ QUE DICTA] los Iniciadores son los que volvieron al centro y salen de nuevo como avanzada de la Sombra del Espíritu, iniciados a su vez por los Señores de cada plano; la frase cierra en la plana siguiente.

«plane. These are the Initiators of each evolution until those who are Initiated, themselves having passed through the life, are proceeding outwards again. By the action of these entities those who are Initiated proceed from the surface to the substratum of their plane and it is only when the Waters of Regeneration have penetrated through the cracks and fissures of receptive consciousness to a plane, that Initiation can take place on that plane. Thus it is that at this stage the greater illumination can only take place out of the body, for in this phase of evolution the Waters of Regeneration have not yet reached the physical plane.» — [LA VOZ QUE DICTA] y la condición dura que impone: solo cuando las Aguas de la Regeneración calan un plano puede haber Iniciación en él, y como todavía no llegan al plano físico la iluminación mayor solo cabe fuera del cuerpo.

«The attraction of the centre has a third aspect in devolution, or the way of the left-hand path if applied to consciousness. In relation to evolution, devolution means the withdrawal of life from any given type of form, and the disintegration of these forms. The systems of magnetic stresses which life generated in them are then left as empty shells upon the etheric sub-planes. These shells should wait the cleansing of the Waters of Regeneration that flow out in the tide of the Cosmic Night.» — [LA VOZ QUE DICTA] el tercer aspecto: retirada la vida de una forma, sus tensiones magnéticas quedan como cascarones vacíos en los subplanos etéricos, a la espera de la limpieza.

«It sometimes happens, however, that souls which are sufficiently developed have reached the point when they feel the attraction of the centre upon the path of returning, yet are insufficiently developed in certain aspects to be ready for evolution because they have not yet sufficiently undergone involution, these may set out to return to the centre before they have passed the nadir. They will then be moving through planes from which the life has withdrawn and whereon lie the empty shells awaiting the coming of the tides of the Cosmic Night. These souls will then avail themselves of the systems of magnetic stresses of primitive types for the expression of their functions. This will explain much if meditated upon.» — [LA VOZ QUE DICTA] el caso del alma que emprende el retorno antes del nadir, sin haber cumplido su involución, y acaba usando los sistemas de tensiones de tipos primitivos para expresarse.

«When, however, these souls, having outworn and destroyed the shells, and thereby impeded subsequent evolution,» — [LA VOZ QUE DICTA] esas almas gastan y destruyen los cascarones y con ello estorban la evolución posterior; el desenlace cierra en la plana siguiente.

«continue on their devolutionary path, they reach a point where there are no more shells for their ensouling, and they will then be unable to maintain form, and will dissolve into the unorganised elements of substance and cease to be potent for evil or potential for good. That is the record of the left-hand path.» — [LA VOZ QUE DICTA] y el término de esa vía, dicho sin dramatismo: agotados los cascarones, no sostienen forma y se disuelven en sustancia sin organizar, sin poder ya para el mal ni potencia para el bien.

«Evolution by the right-hand path is accomplished through the withdrawal of the perfected life from the forms which separate - the synthesis of the principles which the forms were designed to express - the sublimation of the principles into ideals, and the realisation of the ideals by Cosmic consciousness. Such is the record of evolution upon the righthand path.» — [LA VOZ QUE DICTA] y la vía contraria en cuatro pasos: retirada de la vida perfeccionada, síntesis de los principios, sublimación en ideales y realización por consciencia cósmica; el troceo parte *right-hand* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«It will be seen then, that the essence of evolution is unification and the manifestation of the unificatory principle upon the planes of manifestation is Love. Whether that love be intellectual sympathy on the plane of the concrete mind, or physical unity on the plane of matter, Love in all its aspects is the symbol of the Logos as One.» — [LA VOZ QUE DICTA] la definición que cierra el tratado: la esencia de la evolución es la unificación, y su manifestación en los planos es el Amor, en cualquiera de sus formas.

«The aim of evolution is to make all things One, and upon the plane of manifestation there are but two things which make all things One - death and Love. Death is the manifestation of the left-hand path, and Love is the manifestation of the right-hand path. Whose loves, however dim may be his concept of Love, is manifesting a unification and unification is the goal of evolution. God is One. Love makes One - therefore it is truly said “God is Love”.» — [LA VOZ QUE DICTA] solo dos cosas unifican en el plano de la manifestación, la muerte por la mano izquierda y el Amor por la derecha, y de esa identidad saca la frase escrituraria.

«Whosoever expresses Love brings Spirit, which is One, into manifestation. To be loving is to be good. Whosoever expresses hate brings separateness into manifestation. To be separate is to be dead. Therefore choose Love and live.» — [LA VOZ QUE DICTA] y el remate del cuerpo doctrinal, en tres líneas de imperativo: amar es traer al Espíritu a la manifestación, odiar es traer separación, y estar separado es estar muerto.

«Each Cosmic Atom has within itself forces of two Rays which set up the primal vortex though later it went out along the path of one Ray only. The two Ray-forces are the positive and negative factors in the vortex, the negative or latent representing a sort of subconsciousness. Examination of the “Ray-type”of an individual would call for Sidereal Astrology - a far more complicated and deep astrology than astrology as now practised.» — [LA VOZ QUE DICTA] el segundo Rayo del átomo cósmico queda latente y hace una especie de subconsciencia, y examinar el tipo de Rayo de una persona exigiría una Astrología Sideral más complicada y honda que la practicada.

«The Lords of Flame and the Lords of Mind do not meet upon the planes in the progress of the First Three Swarms, but there is a process at a later date whereby a Lord of Flame can as it were fuse with a Lord of Mind, thus becoming to all intents a Lord of Mind. The process is very difficult to describe: there takes place a kind of absorption so to speak, somewhat comparable to the coalescence of an Individuality with a highly developed Personality in a human incarnation, somewhat comparable but not the same. A Lord of Mind who chooses to carry on certain work for a Lord of Flame absorbs the “experience” of the Lord of Flame somewhat in the manner that an Individuality absorbs the experience of a Personality (but in this case the comparison is reversed since the Lord of Mind corresponds to the Personality absorbing the experience of a Lord of Flame corresponding to the Individuality) and goes forth as a Lord of Mind with the far-off contact (of a Lord of Flame) still working behind him.» — [LA VOZ QUE DICTA] corrige lo dicho en el cuerpo: los dos órdenes no se cruzan en los tres primeros enjambres, pero después un Lord of Flame puede fundirse con uno de Mind, con la salvedad de que la analogía con Individualidad y Personalidad va invertida.

«Many of the Lords of Flame are what we now call the Archangelic Forces, others guide certain conditions in the universe and have a special contact with the Solar Logos. It is these latter which so to speak steep certain Lords of Mind in their experience and pass their influence into them, thus working through them. The Lords of Flame all have an especially strong Logoidal contact and some were what might be termed sent forth again after the First Swarm had finished its work.» — [LA VOZ QUE DICTA] identifica a muchos Lords of Flame con las Fuerzas Arcangélicas, y a otros con guías de contacto especial con el Logos Solar, algunos reenviados tras cerrar su obra el Primer Enjambre.

«It can be of special benefit to meditate on the Three Primal Swarms because that part of the book which deals with them was set down in a necessarily very approximate manner suited to the “average intellect.” It is important to bear in mind that all that i„ said is only an approximation and far more than a merely intellectual appreciation can be gained through meditation on the First Three Swarm.» — [LA VOZ QUE DICTA] califica de aproximación deliberada, ajustada al intelecto medio, lo que el cuerpo dice de los Tres Enjambres, y remite a la meditación para lo demás; el troceo imprime *i„* por is y *Swarm* por Swarms.

«The material in The Cosmic Doctrine is capable of immense expansion - expansion, indeed, beyond the present limits of human understanding.» — [LA VOZ QUE DICTA] declara la materia del libro expandible más allá de los límites presentes del entendimiento humano.

«To try to put into comprehensible language and yet give something approaching an adequate delineation of the power and majesty of the Three Primal Swarms is a difficult task indeed. The description given in the body of the work conveys little idea of the mighty work undertaken and performed by those Swarms. Those great Waves of Cosmic Life which built the Laws governing the universe, evolution and man are of great importance at all times and especially at the inception of a new Age.» — [LA VOZ QUE DICTA] concede que la descripción del cuerpo transmite poca idea de la obra de los Enjambres, y marca su importancia mayor al comenzar una Edad nueva.

«Their influence remains behind in man and the universe, and according as man is in touch with these primal beginnings when his own Life-Spark first entered manifestation even so is the type of his Individuality determined. He cannot even now get away from those early stages of development because as his Essential Self took on the influences and reacted to them in the formative stage of his evolution so does each human being at this stage still carry the latent consciousness of those primal actions and reactions. He carries eternally the seed of his own beginning even as the» — [LA VOZ QUE DICTA] el tipo de Individualidad de cada hombre lo fija el contacto de su Chispa con aquellos comienzos, cuya consciencia latente sigue cargando; la comparación cierra en la plana siguiente.

«oak carries eternally the acorn within it, and, as the acorn reacted to the soil in which it grew, as it received the air and the sun, in what measure its growth was made and it gradually cast off its outer shell and began to shoot and become an oak tree, so in a sense did man first begin to become man.» — [LA VOZ QUE DICTA] y ahí queda la figura: el roble lleva eternamente la bellota dentro, y como la bellota reaccionó a la tierra, al aire y al sol, así empezó el hombre a ser hombre.

«As a man reacted to the various planes through which he passed in these primal stages of the Life-Spark-and even then there was a measure, however small, of individual reaction - even so is that man today. As the Spark came down the planes, gathered substance from each plane, and then returned up again he met other Sparks doing the same thing, and so again is it in his life today. In this mass of Sparks on its first descent of the planes there were some which formed a smaller mass within the whole, touching each other more than other Sparks or Groups of Sparks in the whole. Thus did certain special reactions - “friendships” as it were-begin in the primal stages; and in later days of evolution those same Sparks, clothed with matter of all planes passed through, again met those others equally clothed with matter of all planes passed through which had first contacted them in the primal stages.» — [LA VOZ QUE DICTA] deriva las afinidades humanas de aquel primer descenso: ciertas Chispas se tocaron más que otras, y esas amistades primordiales se reencuentran en la evolución tardía.

«In passing through the planes the matter or substance of each plane was interwoven into the inner vehicles of man and in time built the different forms or vehicles we know now by various names (e.g. the “Astral Body,” “Mental Body,” etc.) and these bodies have also certain subdivisions. The great planetary spheres through which each atom and Divine Spark passed in the course of evolution also had a certain type of influence over it and in a way this is the basis of astrology, though the roots of that study are largely lost and forgotten.» — [LA VOZ QUE DICTA] la materia de cada plano se tejió en los vehículos internos —cuerpo astral, cuerpo mental— y la influencia de las esferas planetarias sobre cada átomo es, dice, la base de la astrología, cuyas raíces da por perdidas; el troceo parte *vehi-cles*.

«Astrology cannot be applied nowadays as the ancient races conceived it because of change among the heavenly bodies, and man himself is changing also.» — [LA VOZ QUE DICTA] y su objeción a aplicar hoy la astrología de las razas antiguas: han cambiado los cuerpos celestes y ha cambiado el hombre.

«In his passage down the planes the evolving being came into contact with great planetary Powers which still exercise some control over him-though he may not be aware of it-for he has matter within his make-up which retains a form of contact with those great planetary Powers and their influence on his» — [LA VOZ QUE DICTA] esos Poderes planetarios siguen controlando en parte al ser que evoluciona, aunque él no lo sepa, por la materia que retiene contacto con ellos; la frase cierra en la plana siguiente.

«body, mind, and karma still remains at very primitive levels: for example the Force described as “The Great Mother ” still remains The Great Mother of all living beings and the degree to which a modem man can consciously become aware of this contact is of importance to him.» — [LA VOZ QUE DICTA] y ahí el nivel en que actúan —cuerpo, mente y karma— con la Gran Madre por ejemplo, cuyo contacto consciente declara importante; el troceo imprime *modem* por modern.

«The great Laws of the Universe were made long before what we call “man” had evolved sufficiently to come down the planes in the same manner as had come down the great atoms and group- forces which in the beginning built the Universal Powers. The "Group-Souls" of these latter are behind what we call the great archetypes and with these archetypes esoteric students can be much concerned. And as man eventually returns up the planes at the end of a chain of evolution he reaches on another level his own beginnings. He becomes as it were a god, a type of Logos, in himself at the end of many evolutions gathering together the great chains of experience which will have made himself no longer the individual but in a sense a group from which other units of mind-force emanate.» — [LA VOZ QUE DICTA] las Almas de Grupo de aquellas fuerzas primordiales están detrás de los grandes arquetipos, y al final del ciclo el hombre vuelve a sus propios comienzos hecho una especie de Logos, ya no individuo sino grupo del que emanan otras unidades.

«For man begins as a group and individualises out of the group as evolution goes on and in the end has to return to his own group which is then himself.» — [LA VOZ QUE DICTA] la fórmula que cierra ese movimiento: el hombre empieza como grupo, se individualiza y al final vuelve a su grupo, que entonces es él mismo.

«Behind that teaching is the “Collective Principle” or collective sense which, partly or even wrongly understood as it often is, can be found in certain political ideals and systems. This sense has a high ethical basis and strives so to form the character that all should act as one, should act as a team and in a team; for it is the greatest, most intricate and first Divine Law when properly understood. Nevertheless, until the individual be developed to his highest, he cannot be part of the collective unit of Divinity to which he should in the end return. And in each man is that which makes the Trinity - the Three Aspects of the Manifesting Godhead - and these Aspects are in his innermost Spirit as its highest ethic.» — [LA VOZ QUE DICTA] reconoce ese Principio Colectivo en ciertos ideales y sistemas políticos, entendido a medias o mal, y le pone su límite: nadie es parte de la unidad colectiva antes de haberse desarrollado al máximo como individuo.

«When this evolution will have finished, the experience and matter of this plane (Earth) will be garnered up and will pass on to other evolutions in other planets and some of its lifeforces will return again in another guise to this planet again.» — [LA VOZ QUE DICTA] el destino de la materia y la experiencia de la Tierra al cerrarse esta evolución: parte pasa a otros planetas y parte vuelve aquí bajo otra apariencia; el troceo parte *life-forces* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«When a man dies portions of his astral and etheric bodies are probably lost for a while to his Individuality, but also they often go to make up certain parts of the new astral and etheric bodies he will have in his new incarnation. That, in a few words, is what has happened all through evolution-the form is broken up and the parts are carried on to build up the form of the next type of life-form; but it is not always known that particles of the denser vehicles-not the physical, but the astral and etheric-the disintegrated astral and etheric bodies of people who have died, go to make up other Personalities.» — [LA VOZ QUE DICTA] las partículas de los cuerpos astral y etérico de los muertos se reparten y entran en Personalidades ajenas, no solo en las propias del que las tuvo.

«These Personalities may belong later to those Individualities from whose former Personalities the parts come, but it also happens that they may not, and Individualities often have Personalities composed of material which previously has been used in the vehicles of others. This sometimes can account for strange reactions between people in incarnation, so that it is not always necessary to look to meetings in previous lives to explain such reactions.» — [LA VOZ QUE DICTA] y la consecuencia práctica que saca contra una explicación habitual: ciertas reacciones extrañas entre personas no piden encuentros en vidas anteriores, basta la materia compartida.

«As the human being is in this way so, too, are planets and other heavenly bodies. Planets contain portions of other planets and of other Cosmic times and other evolutions built into their auras, just as this earth is in the aura of the moon * and has contact with many "lunar particles” of a former evolution. Life in its many-sidedness is not simple by any means, it is woven into a vast pattern which only very advanced Inner Plane Adepti can realise, and there is no pattern that is not in some way linked with all the rest.» — [LA VOZ QUE DICTA] extiende esa mezcla a los planetas, con la Tierra en el aura de la luna y sus partículas lunares de una evolución anterior, y declara que no hay patrón que no esté ligado a todos los demás.

«The present moon is not here referred to; the previous moon left behind it substance which goes to make up the aura of the earth. This previous moon left much substance, too, for the present moon, and a great deal of its “powers” or influences are there, but many, too, of its primitive powers and certain very important factors remain within the earth (in what esoterically is called the “Inner Earth”), and both these are as well joined into one huge aura which is around both the present moon -and the earth.» — [LA VOZ QUE DICTA] la nota al pie que precisa de qué luna habla: la anterior, cuya sustancia hace el aura de la Tierra y también la de la luna presente, con poderes primitivos retenidos en lo que llama la Tierra Interior.

«The Planetary Being evolves with the planet and corresponding plane. Its “bodies”-up to the full complement» — [LA VOZ QUE DICTA] el Planetary Being evoluciona con su planeta y su plano, y sus cuerpos crecen con la llegada y la partida de los Enjambres; la cuenta cierra en la plana siguiente.

«of seven - and its content of consciousness increased with the arrival and departure of the various Swarms. The activities of the Swarms 4-7 were governed by the “Lords” of the Three Primary Swarms. Not until a Planetary Being had developed its full complement of “bodies” could it take a Swarm through the full circuit of -evolution, and not until then did the evolution begin of those Sparks which became “human beings” as we understand the term.» — [LA VOZ QUE DICTA] hasta que el Planetary Being no completó sus siete cuerpos no pudo llevar un Enjambre por el circuito entero, y solo entonces empezó la evolución de las Chispas que llamamos seres humanos.

«During the descent of the first seven Swarms the influence - of the Logos remained paramount in the universe, and any» — [LA VOZ QUE DICTA] mientras el Logos fue la influencia dominante, todo desequilibrio quedaba corregido; la frase sigue tras el corte de chunk, en la misma plana.

«unbalance resulting from the epigenetic activities of the Swarms 4-7 was immediately corrected so that the “bodies” of the Planetary Beings were not affected. After the full complement of seven bodies has been acquired by the Planetary Being, however, the influence of the Logos does not fully correct any unbalance because influences from the now fully embodied Planetary Beings intervene. It is at this point that epigenetic factors lay the foundations of individual basic Karma. Each Planetary Being is a stage behind the human evolution proceeding in its sphere, and thus acts as a drag upon it.» — [LA VOZ QUE DICTA] completos los siete cuerpos, los Planetary Beings intervienen y el Logos ya no corrige del todo: ahí sitúa la fundación del karma básico individual, y llama lastre al retraso de una fase del Planetary Being.

«The Three Primary Swarms can be aligned (through the Logos) with the three Cosmic Rings and with the Essences of the Four Elements as follows: - (1) The Lords of Flame with their great “stresses of movement “appertain to the Ring Cosmos and to the Element of Fire. (2) The Lords of Form appertain to the Ring Chaos and to the primal Earth/Water Essence (the Elements of Earth and Water). The Lords of Mind appertain to the Ring-Pass-Not and to the Element of Air.» — [LA VOZ QUE DICTA] la tabla de alineaciones que da el apéndice: Flame con el Ring-Cosmos y el Fuego, Form con el Ring-Chaos y la esencia Tierra-Agua, Mind con el Ring-Pass-Not y el Aire.

«Individualism can reach a certain limit only and then is turned back on to a higher arc of collectivism. The limits of the human mind are a safeguard of the human race.» — [LA VOZ QUE DICTA] pone un tope al individualismo, que se vuelve hacia un arco superior de colectivismo, y llama salvaguarda de la especie a los límites de la mente humana.

«There will come a time when the planetary spheres no longer» — [LA VOZ QUE DICTA] anuncia el tiempo en que las esferas planetarias dejen de recibir Enjambres en el arco de involución; la frase cierra en la plana siguiente.

«hold any Swarms passing downwards on the arc of involution. When this occurs the condition left behind by the last Swarm will gradually dissolve and for a space nothing will happen. Then there will gradually come in a "type of vortex” from outside the plane, something that is seeking development, a kind of non-human “being” which will then go through an involution on a small scale on the empty plane. It will be a very simple kind of life and it will eventually be drawn down to the physical plane; only an experienced student of the subtler sides of esotericism could get any understanding of this form of life-something approaching a new type of Elemental is as adequate a description as any. It should eventually have a connection with a Divine Spark of a much more limited range than the Divine Sparks of the human beings. The subject is a very difficult one to put in words even for approximate ideas; it is in any case, very remote but has interest.» — [LA VOZ QUE DICTA] y lo que vendrá entonces: una vida no humana que entrará en el plano vacío, cercana a un tipo nuevo de Elemental, con Chispa de rango mucho más limitado; declara el asunto muy remoto y difícil de poner en palabras.

«The Life-Swarms 4-7 are the common origin of all humanity; in their passage down the planes they have created the great archetypes of humanity and the basic human instincts. They represent a great Group Soul, a collective state from which individual man has gradually emerged. They have made that aspect of the universal Laws which are portrayed in the “godforms.” Not until these Laws had become established did man begin to emerge from this group-state, his emergence corresponding with the acquisition by the Planetary Beings of their full complement of bodies-seven in all.» — [LA VOZ QUE DICTA] los Enjambres 4 a 7 son el origen común de la humanidad y crearon sus arquetipos e instintos básicos, y son ellos los que hicieron el aspecto de las Leyes que se retrata en las god-forms; el troceo parte *god-forms* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«It is this group-state in man that forms the “collective unconscious” of mankind, the archetypes of which on the evolutionary arc (as distinct from the involutionary) man first contacts in dream and vision.» — [LA VOZ QUE DICTA] identifica ese estado de grupo con el inconsciente colectivo de la humanidad, cuyos arquetipos se tocan primero en sueño y visión.

«Racial division, therefore, came after this group-state, emergence from which was the beginning of separateness. Community life in its highest sense remains a worthy ideal for its principles seek to replace separateness with cooperation.» — [LA VOZ QUE DICTA] pone la división racial después del estado de grupo y la emergencia como principio de la separatividad, con la vida comunitaria por ideal que la revierte.

«These Swarms gradually built what might be caned the immediately prehuman shape - even at the time of the fourth» — [LA VOZ QUE DICTA] esos Enjambres construyeron por grados la forma inmediatamente prehumana; el estado en que estaba cierra en la plana siguiente; el troceo imprime *caned* por called.

«Swarm it was still very “embryonic”. They are of especial interest since on the manner of progression of the Swarms is based the beginnings of what are known as the “Root Race” types. In these prehuman stages is to be found much of the History of Man, while the gradual formation and development of the Archetypes might be called “Planetary Embryology.”» — [LA VOZ QUE DICTA] en esas etapas sitúa el origen de los tipos de Root Race y buena parte de la Historia del Hombre, y llama Embriología Planetaria a la formación de los Arquetipos.

«The human shape as we know it was established by the middle period of the seventh Swarm and the Archetypal forms were due in a sense to the projected concept of the Planetary Being itself which brings through additional concepts of another type than the Logoidal concepts though not necessarily conflicting with those concepts.» — [LA VOZ QUE DICTA] data la forma humana en la mitad del séptimo Enjambre y atribuye los Arquetipos al concepto proyectado del propio Planetary Being, que aporta conceptos de otro tipo que los logoidales sin chocar forzosamente con ellos.

«The three “activities” referred to in Chapter 3 as “Movement”, “Light” and “Sound” may be aligned with the three Supernal Sephiroth of the “Tree of Life.” The numbers assigned to the Sephiroth are connected with the numbers of the corresponding atoms (i.e. of the facets). For example the terrible simplicity of the three-sided atom and the use of three in Binah symbols are obviously related. The four Threes of the Tarot cards have the same basis.» — [LA VOZ QUE DICTA] alinea Movimiento, Luz y Sonido con las tres Sefirot supernales del Árbol de la Vida, y liga los números de las Sefirot a las facetas de los átomos, con el tres de Binah y los cuatro treses del Tarot.

«Both the “Tree of Life” and the Tarot will be found to be in line with the tenets of the “Cosmic Doctrine” if the seeker meditates seriously on the subjects.» — [LA VOZ QUE DICTA] y declara Árbol de la Vida y Tarot alineables con la Doctrina Cósmica por vía de meditación, no de demostración.

«The “Divine Sparks” and the Great Entity that is the Logos of our system have a common origin in their Prime (Cosmic) Atoms which derive from the Great Unmanifest. These Prime Atoms of a Divine Spark before that Spark comes under the Logoidal influence can be called the “Seed Atoms.”» — [LA VOZ QUE DICTA] Chispas y Logos comparten origen en sus Átomos Primordiales cósmicos, venidos del Gran No Manifiesto, y a esos átomos antes de la influencia logoidal los llama Seed Atoms.

«There is a continuity of development from the Prime Atom formed as described in the early chapters to the Divine Spark in each one of us. Just as the Great Entity has evolved from the ten-sided, or travelling, atom of the Cosmos (which itself evolved from the Prime Atom) so have the Divine Sparks evolved from certain of the less complex atoms brought into» — [LA VOZ QUE DICTA] declara continuo el desarrollo del Átomo Primordial a la Divine Spark de cada uno, con la Gran Entidad venida del átomo de diez lados y las Chispas de átomos menos complejos; la frase cierra en la plana siguiente.

«The difference at this point between a Great Entity and a Divine Spark is one of degree but not one of kind for the Great Entity has experience of all the Rays but the Divine Spark has experience of only one Ray-both have experience of all the Planes.» — [LA VOZ QUE DICTA] la diferencia entre Gran Entidad y Divine Spark es de grado y no de especie, y está en los Rayos: la Entidad los experimentó todos y la Chispa uno solo.

«Certain of the atoms “brought over” from the Cosmos to the Universe by the work of the Great Entity became the Travelling Atoms of the Universe. They are not as complex as the Great Entity but are too complex to settle down upon a plane of manifestation and they return to the centre. These atoms “brought over” by the Great Entity, which become the Divine Sparks are those which in their journeying to the Centre have their “track in space” impressed with the Logoidal Image and Influence. Thereafter these Divine Sparks became conditioned by the Logoidal Consciousness until the cycle is completed and they became "freed” from this influence and return to their original nucleus of being as Seed Atoms.» — [LA VOZ QUE DICTA] los átomos traídos del Cosmos que no pueden asentarse vuelven al centro, y los que allí reciben la Imagen Logoidal en su huella son las Divine Sparks, condicionadas por el Logos hasta cerrar su ciclo.

«There are, therefore, two ways of considering the Divine Spark. You may look at it from the point of view of the Cosmos or from the point of view of Solar Logoidal evolution: but, in reality the Divine Spark is one thing having its origin in the Unmanifest from which it derives its existence and energy.» — [LA VOZ QUE DICTA] la Chispa admite dos puntos de vista, el cósmico y el logoidal solar, pero es una sola cosa con origen en lo No Manifiesto.

«The Divine Spark does not derive from the Solar Logos but is conditioned by the evolution of the Solar Logos until the cycle of its Solar development is completed. This takes place when the Individuality, as a result of certain evolutionary processes in the Solar Logoidal jurisdiction comes to the point where it need no longer stay in that jurisdiction but is able to recognize its own true being. At that point it is as though the “outer“ development of the Divine Spark drops away from it and it becomes again purely a seed-atom to» — [LA VOZ QUE DICTA] la Chispa no deriva del Logos Solar sino que queda condicionada por él hasta que la Individualidad reconoce su propio ser y el desarrollo exterior se desprende; la frase cierra en la plana siguiente.

«which the Individuality thenceforward owes its allegiance. Thus at that stage the Divine Spark, being freed from the limiting influences of Solar evolution gives rise to that state of perfect freedom within the Individuality, the state of spaceless and timeless existence - consciousness.» — [LA VOZ QUE DICTA] y ahí queda el resultado: liberada de las influencias de la evolución solar, la Individualidad entra en un estado de existencia sin espacio ni tiempo; el troceo parte *space-less* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«The great responsibility that then devolves upon the Individuality on the “Right-Hand Path” comes from that Individuality’s now established contact with pure and limitless "energy.” The Individuality is conditioned only by its degree of realisation of this contact as it enters on a phase of creative activity; in very truth a god.» — [LA VOZ QUE DICTA] esa Individualidad, en contacto con energía pura y sin límite, queda condicionada solo por el grado en que lo realiza, y la voz la llama de verdad un dios; el troceo parte *limit-less* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«Advanced initiations are concerned with the degrees of contact of the Individuality with the ‘inner’ aspect of the Divine Spark (the seed-atom) and the realisations thereof. The cycle of Solar development is governed by the “Lords of Karma” and it includes the working out of the “tracks in space”left by The “karma” when the karma has itself been worked out, for the Solar development occurs after the “track in space” (of ‘the seed-atom) has received the Logoidal Imprint. Thus until the completion of the Solar development the Individuality is not able to bring through pure power without some of the power being diverted to its own needs.» — [LA VOZ QUE DICTA] las iniciaciones avanzadas miden el contacto con el aspecto interior de la Chispa, y antes de cerrar el desarrollo solar la Individualidad desvía parte del poder a sus propias necesidades.

«There is, of course, a wide range of gradation between the earlier and later phases but, broadly speaking, the earlier are essentially concerned with the gradual bringing of the Individuality (after preliminary work on the Personality) into contact with its own true being - the seed-atom - whereas the later are the true creative work of those who have achieved n cooperation with their brethren. The preliminary work on the Personality has to be thoroughly carried out before these phases are entered upon.» — [LA VOZ QUE DICTA] reparte las fases: las tempranas ponen a la Individualidad en contacto con su seed-atom, las tardías son obra creadora en cooperación, y el trabajo sobre la Personalidad tiene que estar hecho antes; el troceo imprime *achieved n* por achieved in.

«The “inanimate atoms” and the Divine Sparks have a common origin in the Great Unmanifest. They have both been “brought over” by the Great Entity which is our Solar Logos and from the aggregate of their conceptions of their own images the Great Entity has projected Its universe.» — [LA VOZ QUE DICTA] átomos inanimados y Divine Sparks comparten origen en el Gran No Manifiesto y los trajo el mismo Logos Solar, de cuyos conceptos salió el universo.

«Everything that has “life” in the universe derives that life from its own seed-atom. It is the aim of the Solar evolution to unite eventually the atoms of its universe with their seedatoms in the Cosmos.» — [LA VOZ QUE DICTA] fija el fin de la evolución solar en unir cada átomo del universo con su seed-atom cósmico; el troceo parte *seed-atoms* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«It has been stated that there is a difference of degree but not of kind between the travelling atoms of a universe and that universes Logos: similarly there is a difference of degree but not of kind between a travelling atom and an inanimate atom. Only the more evolved of the Cosmic atoms brought over by the Great Entity became travelling atoms in Its universe at the beginning of the Solar evolution and received the Logoidal Impress on their “tracks in space.” These not including the First Three Swarms which are different - relate to the human evolution and among them are differences in degree of development caused by factors inherent in their make-up.» — [LA VOZ QUE DICTA] extiende la regla de grado y no de especie también entre átomo viajero y átomo inanimado, y acota que los Tres Primeros Enjambres quedan aparte.

«The inanimate atoms are less evolved than the travelling atoms and receive the Logoidal Impress during the Solar evolution according to their degree of development because being in and of the Solar universe (their concepts having been used to create it) they are continually being bathed in the Logoidal influences and slowly absorb them. In this way we get the Oversouls of plant and animal life, these Oversouls deriving from the inanimate atoms, which are gradually acquiring a Logoidal Impress.» — [LA VOZ QUE DICTA] los átomos inanimados reciben el sello poco a poco, por baño continuo en las influencias logoidales, y de ahí salen las Oversouls de la vida vegetal y animal.

«The basic “sound” of a human being is implicit in the development of a Divine Spark. The Logoidal Impress can be more accurately conceived of as a sound-vibration than a picture concept. This idea of primal or basic sound was behind the ancient teachings of number and numerical values. Sound implies rhythm and vibration. That “Aspect” of the Trinity of the Logos known as the Love-Aspect is the part chiefly at work in the imprinting of the Impress. The higher teaching of the Churches is inspired by this.» — [LA VOZ QUE DICTA] propone concebir el sello logoidal como vibración sonora antes que como imagen, y detrás de eso pone la enseñanza antigua del número y el aspecto de Amor de la Trinidad, que inspiraría la enseñanza alta de las Iglesias.

«The three Primary Swarms were projected into manifestation each under an impulse from one of the Prime Aspects of the» — [LA VOZ QUE DICTA] cada Enjambre primordial salió bajo un Aspecto del Logos; el origen de esos Aspectos cierra en la plana siguiente.

«Logos derived from one of the Primary Rings. These Primary Swarms, are set apart from the succeeding Swarms and are of a different degree. The Swarms that followed them developed under the influence of the Logos plus the Three Primary» — [LA VOZ QUE DICTA] esos Aspectos vienen de los Anillos Primarios, y los Enjambres posteriores se desarrollan bajo el Logos más los tres primordiales; la frase sigue tras el corte de chunk, en la misma plana.

«Swarms, the Lords of Flame, Form and Mind. They are, therefore, under the influence of the three Cosmic Rings (as were the three Primary Swarms) but also, since the Logos reacts to the Twelve Cosmic Rays, these later Swarms are characterised by the influence of the Rays predominant at the time they received the Logoidal impulse to go forth.» — [LA VOZ QUE DICTA] y ahí queda: los Enjambres posteriores están bajo los tres Anillos y además marcados por los Rayos predominantes al recibir su impulso.

«Therefore the great phases of evolution between the sending forth of fresh Swarms are governed by the influences from the Twelve Cosmic Rays. This has reference to the "Houses” of the Cosmic Zodiac and to the precession of the Equinoxes. Those who energise these phases and typify them are Ray Exemplars; they stand, so to speak, between the Zodiac and the phases and reflect the Zodiacal influences, acting in a sense as Cosmic mediators. These influences then act upon the Planetary Beings.» — [LA VOZ QUE DICTA] las grandes fases entre Enjambres las gobiernan los Doce Rayos por las Casas del Zodiaco Cósmico y la precesión, y quienes las energizan son los Ray Exemplars, mediadores cósmicos; el término es el que la plana 120 declara sustituido por Star Logoi en esta edición, y aquí sigue impreso sin armonizar.

«There are two of the ancient god-forms which can be called easily to mind as being readily alignable with the Essential Self, most other god-forms being representative of particular aspects, Cosmic or universal. These two god-forms are Horus and Eros. Of them the former could stand for the Divine Spark, the latter for the seed-atom. For all practical purposes we could say they stand for the outer and inner aspects of the seed-atom respectively.» — [LA VOZ QUE DICTA] adjudica dos god-forms antiguas al Yo Esencial, Horus a la Divine Spark y Eros al seed-atom, aspectos exterior e interior del mismo.

«This supernal Eros is far removed from the popular conception which identifies him with Cupid. He represents here the essence of Man which is Eros plus Anteros and springs from the Cosmic Egg like the philosophic concept of that Eros who was one of the - earliest of the Greek gods. This cosmogonic Eros was the earliest force bringing order out of Chaos and he presided at the Council of the Gods and rules over the minds of gods and men: he was, one of the gods of the Samothracian Mysteries.» — [LA VOZ QUE DICTA] separa ese Eros del Cupido popular y lo identifica con el Eros cosmogónico nacido del Huevo Cósmico, primera fuerza que ordenó el Caos y dios de los Misterios de Samotracia; en el hombre lo llama Eros más Anteros.

«The star Sirius has always been held in esoteric teaching to have much influence on Solar evolution. Astronomically speaking, of course, the position in space of Sirius is far outside the solar system but from a Cosmic standpoint Sirius and many other stars “condition” the Solar Logos and, since the Solar Logos is Itself Conditioner of and conditioned by Its universe, the influences of Sirius and other stars are transmuted correspondingly before being communicated to the universe. Therefore, in the purely esoteric sense, stars in general and Sirius in particular (because of its special influence) can be considered in relation to Solar evolution - more especially those which, like Sirius, have had a marked effect on it. The individual, however, must have completed the cycle of Solar-development before he can experience the pure influence of Sirius or other stars.» — [LA VOZ QUE DICTA] admite la influencia de Sirio sobre la evolución solar y a la vez la acota dos veces: llega transmutada por el Logos, y solo el que cerró su ciclo solar la recibe pura.

«Orthodox science studies the materials of which the body of the earth is made and their composition, but the “deeps” of the Inner Earth, the make-up of the Planetary Being is what is most important to esoteric studies. It can be helpful to think of the earth rather as a planet, a globe in the Solar system than as "the world” and a development brought about by many civilisations to one of which we now belong. That which sustained and nurtured those civilisations is the Planetary Being. This tremendous force is sometimes personalised as “The Earth Mother,” but, personalisation or no, all should be aware of the gigantic force involved and of how they are beholden to it. The Archangelic Guide assigned to the Planetary Being might be considered to supply higher aspects to it corresponding to the “Intellectual Principle” in man. The names of these Archangelic Guides as known traditionally can be found in standard works of reference such as The Mystical Qabalah.» — [LA VOZ QUE DICTA] opone al estudio de la corteza el de la Tierra Interior y el Planetary Being, a veces personalizado como Madre Tierra, y remite los nombres de sus Guías Arcangélicos a obras de consulta, entre ellas The Mystical Qabalah.

«Each planet has within it the principles of a universe (as indeed has the atom) so that the Group soul of the planet’s life comes through in aspects somewhat analogous to the Three Aspects of the Logos. There is something of the Aspect of “Love, “of’ Wisdom” and - of “Power” in each planet.» — [LA VOZ QUE DICTA] cada planeta lleva los principios de un universo, con algo de los Aspectos de Amor, Sabiduría y Poder.

«Planets have had their “Leaders” who have shown forth» — [LA VOZ QUE DICTA] los planetas tuvieron Líderes como la humanidad tuvo Maestros; qué mostraron cierra en la plana siguiente.

«certain principles by their conditions of life even as there have been Teachers who did this for the guidance of mankind. These planetary aspects affected certain sections of the human race for they affected the Life-Swarms as they came down. Thus according to the aspects prevalent on certain planets which were in contact with man as he then was so did a particular Swarm receive a conditioning.» — [LA VOZ QUE DICTA] y ahí queda: cada Líder planetario mostró ciertos principios por sus condiciones de vida, y el aspecto dominante de un planeta condicionó al Enjambre que pasó por él.

«These great “stresses of planetary substance” have much influence both in their own sphere and on the Earth because when the Earth was, so to speak, beginning its course in the heavens various influences and substances from different planets penetrated the then empty and uncoordinated mass which became the Earth: these stresses have left their mark on the Earth’s structure and innermost nature and account sometimes for disturbances of one kind or another - earthquakes, for example, for there is still a link between certain substances in the Earth and the corresponding substance in some other planet and the two activate each other and reactions are set up in both. That is largely the basis of the more accurate side of astrology, but it is too intricate and too remote for most today to study deeply or use as a basis of assessment.» — [LA VOZ QUE DICTA] la Tierra recibió sustancia de otros planetas al formarse, y de ese vínculo residual explica los terremotos, que declara la parte más exacta de la astrología y a la vez demasiado intrincada para usarse hoy.

«In very early days the most advanced among the priesthood knew about the stellar and planetary “stresses” and the Earth’s magnetism and on that knowledge built a system of which, indeed, something remains though the bases of the system have been forgotten. There are People on the Earth whose psychic faculty can be stirred by such stresses; some people, for example, are sensitive to earthquakes or atmospheric pressures in a way others are not. Such people have in their inner make-up some of the stresses corresponding to those of the particular planet which is disturbing the Earth. Certain planets influence the “Water”, “Fire”, “Air” and “Earth” conditions of the Earth by acting on the Earth’s aura.» — [LA VOZ QUE DICTA] atribuye a un sacerdocio antiguo el conocimiento de esas tensiones y del magnetismo terrestre, y explica por ellas la sensibilidad de algunas personas a terremotos y presiones atmosféricas.

«The underlying principle is that of the unity of all. The Earth is not unique; it should be considered for what it is one of the bodies in the Solar System which has passed through states» — [LA VOZ QUE DICTA] niega que la Tierra sea única: es un cuerpo más del sistema solar; de dónde vienen sus estados cierra en la plana siguiente.

«and conditions which have gradually condensed into what we call the ”Earth“ but which have passed down from the Moon, Venus, Saturn and other planets.» — [LA VOZ QUE DICTA] y ahí queda su procedencia: estados y condiciones que bajaron de la Luna, Venus, Saturno y otros planetas.

«The Planetary Beings can be considered in one way as the Group Souls of the planets and may be given by the visual imagination a definite form - as indeed in ancient days was done. Out of these Planetary Beings as they affected the mind and character of man were later evolved by vision and imagination into astral forms the forces known to mythology. There is, therefore, a strong link between Planetary Beings and the appropriate god-forms as is studied by some even today.» — [LA VOZ QUE DICTA] deriva las formas de la mitología de los Planetary Beings, que la imaginación de la antigüedad vistió de forma definida, y de ahí el vínculo con las god-forms.

«At the end of evolutions planets change over and different planets go into action during the succeeding evolution so that the subject of astrology at the present day has to contend with difficulties that are practically insurmountable.» — [LA VOZ QUE DICTA] y la dificultad que eso le crea a la astrología presente: al cerrarse una evolución los planetas se relevan y entran otros.

«There is much to be learnt about the Life-Swarms and the way in which their coming down affects humanity generally in the present. All those ancient happenings and developments must be included in any estimation of the condition of man and his development. During the various historical periods certain Planetary Forces-for Planetary Forces is a more accurate description than “Planets”-influenced the Earth, each according to its special nature; when these Forces are brought to bear again in their turn they bring to the surface conditions corresponding to their nature, they bring them about in the Earth.» — [LA VOZ QUE DICTA] cada Fuerza Planetaria —término que prefiere a planetas— influyó en un periodo histórico, y al volver trae de nuevo a la superficie las condiciones de su naturaleza.

«Although we have used the term "Planetary Forces” we include also certain Stellar Forces working through the Solar jurisdiction, such as the Signs of the Zodiac, but that subject is too vast to be dealt with in detail now. Bear in mind, however, the Sign of Gemini, for the Forces signified by that Sign influenced Atlantis and will influence Earth again later in the present age. The stars are set in configurations somewhat similar to those which influenced the last days of Atlantis: certain major Planetary Forces and Signs are influencing mankind again and though the combinations are different there is something of the same kind of inner condition : the combinations are different but there is» — [LA VOZ QUE DICTA] la única prognosis concreta del apéndice: el Signo de Géminis influyó en la Atlántida y volverá a influir en esta edad, con configuraciones parecidas a las de sus últimos días; la frase cierra en la plana siguiente.

«something of a similar inner condition and the world, though not deluged by a water cataclysm, is full of clashes and strife of various kinds.» — [LA VOZ QUE DICTA] y ahí queda la acotación: condición interior semejante, pero sin cataclismo de agua, con un mundo lleno de choques y contienda.

«Let us consider the Second Swarm, the life-wave of those great Regents of the Logos we call the “Lords of Form.” They might also be called the “Builders” for through them all form, all shape is developed. The shape that covers or encases the life consciousness is made by the Builders to hold that life for a time sufficient for the life to react as needed to the stresses of the Sphere on which it is after which the life withdraws to another condition leaving the form to decompose into the elements of the Sphere. This is one of the earliest conceptions of "death,” so that the Lords of Form are also the “Gods of Death.”» — [LA VOZ QUE DICTA] llama Constructores a los Lords of Form, que hacen la forma que retiene la vida el tiempo necesario para que reaccione, y de ahí que sean también los Dioses de la Muerte.

«Where there is death on a large scale, especially death on a group scale as in war, the Lords of Form are intimately concerned for then the whole planet is at it were shaken and its planetary forces need reconstruction. The Lords of Form work with group souls more than with individuals but where a great teacher is instructing mankind (especially if the teaching concerns human evolution) the Lords of Form are at work adapting the "planetary matter” to the new and greater concept of life and evolution being brought through. When The Christ using the body of Jesus of Nazareth, strongly influenced the planet Earth there were very definite though perhaps incalculable changes in the actual lines of the Earth: these were not observable by science perhaps but the Logoidal Forces changed to another course so to speak and the inner forces behind the outer manifestation of the Earth - the etheric structure - began to alter. Form is not confined to outline but is essentially the whole shape and fills the need of Life for a particular shape: the shape does not appear all at once but grows and develops in the course of evolution, as indeed does the life.» — [LA VOZ QUE DICTA] los Lords of Form intervienen en la muerte a escala de grupo y cuando un gran maestro enseña, y cita el caso del Cristo usando el cuerpo de Jesús de Nazaret, que habría alterado la estructura etérica de la Tierra sin que la ciencia lo observara.

«The actual outlines or configurations of Cosmic form such as the stars, planets, and large land masses are all influenced by the Lords of Form. The ancients were aware of these very early» — [LA VOZ QUE DICTA] les atribuye las configuraciones de estrellas, planetas y masas de tierra; lo que los antiguos supieron de ellos cierra en la plana siguiente.

«beings (the Lords of Form) and their powers, recognizing them as great Titanic Forces much connected with fire and metallic ores and paying homage to them in some of the earliest Mysteries.» — [LA VOZ QUE DICTA] y ahí queda: los antiguos los reconocieron como Fuerzas Titánicas ligadas al fuego y a los minerales metálicos y les rindieron culto en los Misterios más antiguos.

«These Lords are behind the great chemical (and alchemical) fires. They construct shape by means of mingling and uniting the Elemental Powers and the metallic and mineral forces of the Earth -building structures of every kind especially planetary structures for they it was who built the planets. You will notice that the larger and vaster forms are always the simplest-the great spherical forms are the simplest but smaller types increase in complexity, a comparison of the huge prehistoric animals with the present-day fauna will show. The "outer” structure of a planet is indeed simple.» — [LA VOZ QUE DICTA] los pone detrás de los fuegos químicos y alquímicos, construyendo forma por mezcla de Poderes Elementales y fuerzas minerales, con la regla de que las formas mayores son las más simples.

«The Lords of Form may also be called the "Lords of Rhythm” (just as the Lords of Flame may be called the "Lords of Vibration”) because of their rhythmical advance and retreat in the building of the universe. That was the beginning of rhythm in the universe and it set the great rhythms “Death” and “Birth.” Thus can these Lords be called the “Lords of Death” and they are deeply connected with the Ring-Chaos; they have the great driving force of reaction that will finally break up a form and release the force. They are at work» — [LA VOZ QUE DICTA] los renombra Señores del Ritmo, frente a los Lords of Flame como Señores de la Vibración, y de su avance y retirada rítmicos hace nacer los grandes ritmos de Muerte y Nacimiento; la frase sigue tras el corte de chunk, en la misma plana.

«behind the construction of mineral forms for these are afterdevelopments of the form of the Earth and the life of the planet is within the mineral in a certain way.» — [LA VOZ QUE DICTA] y ahí extiende su obra a las formas minerales, con la vida del planeta dentro del mineral de cierta manera; el troceo parte *after-developments* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«All the ancient legends of the great Powers of the Underworld - the chthonic Forces of Hammer and Anvil, the hammering into shape of great streams of force, the Blacksmith Gods, deal with the Builders and lesser types of Elemental beings concerned with work as servants of the Lords of Form. In a properly worked ritual the Elemental beings build certain forms on the astral which hold together the stresses of force until other forces take over: rhythm or repetition is important here for the frequent building of the forms eventually makes it as near “solid” as is possible on the astral plane.» — [LA VOZ QUE DICTA] adjudica a esos Constructores las leyendas ctónicas del Martillo y el Yunque y los Dioses Herreros, y explica con ellos el ritual: los elementales construyen en el astral formas que la repetición vuelve casi sólidas.

«makes use of the service and cooperation of these Builders so, on a much larger scale, did the Logos use the powers of the Lords of Form to construct not only the Earth but also the other planets of Its system. All the solar system is interlinked and reflections of the attributes of other planets will be seenwithin certain mineral forms of the Earth - certain precious stones, for instance, are very closely connected with other planets and this connection is not based only on superstition. Similarly certain metals have a composition which links them to certain basic outlines and substances of other planets giving not only an analogy with them but also a certain definite linking.» — [LA VOZ QUE DICTA] el Logos usó a los Lords of Form para construir los planetas como el ocultista usa a los Constructores, y de ahí el vínculo de ciertas piedras preciosas y metales con otros planetas, que declara no basado solo en superstición; el troceo parte *seen- within* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«An imaginative picture of these great Lords of Form could be made by visualising a vast amphitheatre under the earth in darkness filled with red flashes from the depths of inner earth. Through this darkness can be heard a hammer on an anvilvery faintly at first for it is very remote. Imagine this sound as coming gradually nearer with a tremendous rhythm, hard, strong, simple. As that rhythmic sound increases in intensity giant forms gradually begin to build in outline-vast forms dimly and only partly seen in outline for they are too huge and too strong to be contained in space as we know it; feel the etheric intensification “behind” the dimly discerned form.» — [LA VOZ QUE DICTA] el ejercicio de visualización que propone para ellos: un anfiteatro subterráneo a oscuras, destellos rojos, y un martillo sobre yunque que se acerca con ritmo duro y simple; el troceo parte *anvil- very* al final del renglón y la extracción por programa lo une sin el guion, tal como queda entre comillas.

«Within this work which is being done by the Lords of Form is a vast patience which is content to take millions of years over the task it has set itself so that it can be perfectly done. Every time the Great Worker returns to a task he brings a new power derived from the Logos and from the Sphere in which he accomplished his last work, and this new power gives a somewhat changed type of force to the work. And ever the great hammer beats and beats and beats through Time - building, unbuilding and building again: such are the great Regents of the Logos entrusted with this work.» — [LA VOZ QUE DICTA] atribuye a esa obra una paciencia vasta, contenta con millones de años, y una fuerza que cambia en cada vuelta porque el Gran Obrero trae poder nuevo de la Esfera donde acaba de trabajar.

«These Regents are also the servers of the Aspect of the Logos behind death, and regeneration and rebuilding. We can invoke the Lords of Form to help us to earn our freedom from form when the time approaches.» — [LA VOZ QUE DICTA] los declara invocables para ganar la libertad de la forma cuando se acerca la hora; la fórmula que lo remata cierra en la plana siguiente.

«death has already overcome it-he is a pupil of the Lords of Form.» — [LA VOZ QUE DICTA] y ahí queda: quien conoce y entiende la muerte ya la venció, y es discípulo de los Lords of Form.

«We would do well to give a thought to the great Builders who have built us and the planetary spheres and who are behind the laws of shape whether on the astral or physical plane, with whom we can cooperate as agents of the Divine.» — [LA VOZ QUE DICTA] y la instrucción con que cierra: cooperar con los Constructores que están detrás de las leyes de la forma en el plano astral y en el físico.

«In The Mystical Qabalah there are references to the Archangels of the Ten Holy Sephiroth. These are the “Intelligences of the Spheres” and are of the First Swarm-Lords of Flame. That Intelligence works with the archetypal force of the Sphere and under its control are the “Angels of the Sphere” which execute the wishes of the Archangels according to their natures.» — [LA VOZ QUE DICTA] identifica a los Arcángeles de las Diez Sefirot con las Inteligencias de las Esferas, y a estas con el Primer Enjambre, los Lords of Flame, con los Ángeles de la Esfera por ejecutores.

«The Sphere of Malkuth comprises the mundane plane and the spiritual values which are immediately within dense matter - in fact the "Spirit of the Atom” and it is under the aegis of the Lord of the Four Elements we call Sandalphon. This Archangel is one to be invoked by those especially who find difficulty in coming to grips with the physical plane, for it is he who has charge of the “soul” of physical objects. If you could see with your physical vision the exact inner plane condition of a chair or a table you would observe a very slow vibration and movement of infinite numbers of tiny” molecules “holding together the dense matter. Sandalphon is the Overlord of all these activities.» — [LA VOZ QUE DICTA] Malkuth y su Espíritu del Átomo bajo Sandalphon, Señor de los Cuatro Elementos y encargado del alma de los objetos físicos, invocable por quien no atina con el plano físico.

«Those who are so inclined can visualise a great angelic form in the four Qabalistic colours of Malkuth-pale yellow, olive green, russet and black; his vibrationary rate is slow and somewhat ponderous for it belongs to the plane of dense matter and the connecting link of etheric just behind that plane.» — [LA VOZ QUE DICTA] y la instrucción de visualización para Sandalphon, en los cuatro colores cabalísticos de Malkuth, con vibración lenta y pesada.

«The Sphere of Yesod concerns among other things the deeper and remoter etheric substance - the Akasha as it is sometimes called - and here the Archangel is that known as Gabriel, ruler of many subtle realms in nature and in man. He is the Lord of Dreams and of the subtle vibrations of a rare kind which can touch the clairvoyant faculties of man.» — [LA VOZ QUE DICTA] Yesod y la sustancia etérica remota que llama Akasha, bajo Gabriel, Señor de los Sueños y de las vibraciones sutiles que tocan la clarividencia.

«In Christianity he is associated with the Annunciation partly because he is “The Mystic Announcer”- the controller of a» — [LA VOZ QUE DICTA] lo llama el Anunciador Místico y liga con eso su papel en la Anunciación cristiana; qué controla cierra en la plana siguiente.

«special kind of message which can reach to the human mind from far-off planes; he is, in fact, the Angel of Annunciation to many others than Mary. Thus he is also concerned with sleep-that condition in which the dense body is inactive and the subtle vehicles can escape from it to other planes. It is a large part of his work to induce what is a part of “the Moon Consciousness” in man; he tends to draw the soul magnetically even as a great water power draws and therefore his influence is a kind of sedative on the physical power - he draws the consciousness from it.» — [LA VOZ QUE DICTA] y ahí queda: Ángel de la Anunciación de muchos más que María, encargado del sueño y de inducir la Consciencia Lunar, con efecto sedante sobre el poder físico.

«He may be pictured as a huge ovoid of silvery substance with the delicate lilac and violet of Yesod in his “wings” and the sound of mighty waters which show his special type of vibration.» — [LA VOZ QUE DICTA] y su visualización, un ovoide plateado con el lila y el violeta de Yesod y sonido de aguas poderosas.

«The Sphere of Tiphareth is presided over by the Archangel Raphael. He holds the healing and sustaining powers of sunlight - especially is he concerned with the modem methods of radiant heat and infra-red and ultra-violet rays, though these are as yet from the esoteric standpoint only in their infancy.» — [LA VOZ QUE DICTA] Tiphareth bajo Rafael, con los poderes sanadores de la luz solar y una mención concreta a los rayos infrarrojos y ultravioleta, que declara en su infancia desde el punto de vista esotérico; el troceo imprime *modem* por modern.

«Finally, there is the Sphere of Kether whose Archangel is Metatron. He is said to have been responsible for the glyph of the Tree of Life’s being given to man. He works in the great world of Cosmic Archetypes, and his influence is very rare. It is of the type that comes as a blinding flash of illumination of remote spiritual truths.» — [LA VOZ QUE DICTA] Kether bajo Metatrón, a quien atribuye haber dado al hombre el glifo del Árbol de la Vida, con influencia rarísima y en forma de fogonazo.

«The Archangel of the Sphere of Chokmah is Ratziel - He brought through the creative forces in early evolution. It is difficult to formulate in the human mind such beings as either Metatron (of Kether) or Ratziel, for they are beyond form as we know it and are incapable of being “reduced” to a symbol in any way adequate save perhaps that of great "Pillars of Glory” with no fixed outlines.» — [LA VOZ QUE DICTA] Chokmah bajo Ratziel, que trajo las fuerzas creadoras de la evolución temprana, y la advertencia de que ni él ni Metatrón se dejan reducir a símbolo, salvo como Pilares de Gloria sin contorno.

«The Archangel of the Sphere of Binah - Tzaphkiel - has been behind the formulation of all the mystic cults that have been sent down from time to time by the Inner Plane Adepti. He is the “Archangel of the Temple” and can be envisaged as a vast Presence shining with a certain living darkness with a rose-coloured glow in the centre.» — [LA VOZ QUE DICTA] Binah bajo Tzaphkiel, a quien pone detrás de todos los cultos místicos enviados por los Adeptos del Plano Interno, y lo llama el Arcángel del Templo.

«The Archangel of Chesed - Tzadkiel - has a great influence giving an assurance of benevolence and the utter calm of eternal security and certainty. He could be of great help to any who are prone to irritation or unbalance of temper.» — [LA VOZ QUE DICTA] Chesed bajo Tzadkiel, con una recomendación práctica: sirve a quien es propenso a la irritación o al desequilibrio de carácter.

«The Archangel of Geburah - Khamael - is the Protector of the weak and wronged; he is also the Avenging Angel who punishes the breakers of Law The Archangel of Netzach - Haniel, - is the Archangel of the Sphere of harmony and beauty, and especially of inter-relationships whether of Spheres, planets, plants or animal and human life: the great archetype of sympathetic vibration. He can be visualised as shining with a green and golden flame with a rose-coloured light over his head.» — [LA VOZ QUE DICTA] Geburah bajo Khamael, Protector y Ángel Vengador, y Netzach bajo Haniel, arquetipo de la vibración simpática y de las interrelaciones entre esferas, planetas, plantas y vidas.

«The Archangel of Hod is Michael - Hod is the Sphere of the “magic” and Michael is its Archangel because he holds in control the various evil influences which might escape into the world of men. He is thus a very essential protector in “magical formulae” - especially where the would-be practitioners are inexperienced. The ancient Jews listed whole choirs of angels by name in addition to the great beings here enumerated, and to deal with them would require» — [LA VOZ QUE DICTA] Hod como Esfera de la magia bajo Miguel, que retiene las influencias malignas y por eso es protector esencial en las fórmulas mágicas, sobre todo con practicantes inexpertos.

«much time; but you have some indications about ten so great that they are - each in his own Sphere - in charge of the mighty Emanations of God. Many who “work the Tree” are inclined to get in touch with the God-Forces of the Sephiroth (using the god-forms of varying pantheons) whereas, in fact, there are certain archetypal powers of these Spheres that are better brought through by use of the Archangelic powers and forms.» — [LA VOZ QUE DICTA] y su enmienda a la práctica corriente: quien trabaja el Árbol suele buscar las God-Forces de las Sefirot con god-forms de panteones varios, cuando ciertos poderes arquetípicos salen mejor por la vía arcangélica.

«The teaching on the Ray Exemplars - especially contained in Chapter XX - is of great importance and should be carefully meditated upon. The teaching has been given in a very condensed form - largely owing to the abstruse and difficult nature of the subject which made it very difficult to put the ideas into adequate expression in language. A good way to obtain an understanding is to think of the great Teachers and Redeemers of mankind who have guided the various phases of evolution in all conditions - both Cosmic and mundane. Think of the mighty influences and “conditions” that pour through the great currents of force marked by the Zodiacs - the Greater Zodiac of the Rays, and the better - known Lesser Zodiac. In these great currents work various types of the Redemptive Force of the Logos, or, to use a more Cosmic phrase, the great Cosmic Force fuses in a special way on a special occasion with what might be called the central aspect of the Logos in order the better to influence evolution. As the different types of this great Force touch our own evolution they give off to each one a definite influence - they act as nourishers, helpers, feeders of that particular Divine Spark. So it has always been in every phase of our evolution.» — [LA VOZ QUE DICTA] declara condensada por dificultad la enseñanza sobre los Ray Exemplars, y propone entenderla por los grandes Maestros y Redentores, con el Zodiaco Mayor de los Rayos y el Zodiaco Menor conocido.

«The Being of whom we know most is he who is sometimes called "The Lord of the Purple Ray.” He is, so to speak, the “group-mind” of that Ray - a great group-mind which is at the super-phase in which it leads on our evolution to its conclusipn. The tremendous force of which I speak - the “Anointed Force” of the Purple Ray - has focused to some extent from time to time in some great Guide or Leader who has come down into the world of men, but the Lord of the Purple Ray is, of course, unique.» — [LA VOZ QUE DICTA] nombra al Lord of the Purple Ray como el Ser del que más se sabe, mente de grupo del Rayo que conduce esta evolución a su término, con focalizaciones ocasionales en algún Guía humano; el troceo imprime *conclusipn*.

«The intricacy of the subject makes it nearly impossible to give a clear exposition in words alone; words should be combined with deep contemplation and concentration rather than with only intellectual meditation to gain some beginning of understanding which will continue to grow. The names and attributes traditionally given to the Ray Exemplars are of high importance, not only because they give some idea of the» — [LA VOZ QUE DICTA] insiste en que las palabras solas no bastan y piden contemplación, y empieza a decir por qué importan los nombres y atributos de los Ray Exemplars; la frase sigue tras el corte de chunk, en la misma plana.

«Being through whom the force focused in this world, but because they can put you in touch with a Cosmic power which exceeds the force of the Ray shown when their bearers were in the world. There is, naturally, a difference between the “Cosmic Christ” and the Force of the Cosmic Christ focused in an individual, but the latter proceeds from the former and could not manifest without it.» — [LA VOZ QUE DICTA] distingue el Cosmic Christ de la Fuerza del Cosmic Christ enfocada en un individuo, con la relación de dependencia entre las dos.

«The forces of the Ray Exemplars are very strong and very deep. It can be of great value to link them mentally with those more abstract aspects of the individual called variously in esotericism the "Higher Self" or the Individuality.» — [LA VOZ QUE DICTA] recomienda ligar mentalmente esas fuerzas con el Yo Superior o Individualidad.

«It is possible in suitably prepared conditions for this great Force to be contacted in ritual but great care is needed as it can have a destructive effect in "burning up the dross” if it is brought too near the earth-plane. Normally in ritualistic conditions it acts - to use the symbolism of the Qabalistic Tree of Life - from the Supernal Triangle through Tiphareth and does not come “below” that Sephirah but on occasion it may work through to the astral and etheric levels using a group of people as a basis of manifestation and bringing about repercussions whereby all in that group would be affected since none could be in contact with such a Force and remain unaffected. The great “Ray” impinges on the Higher Self in such a manner as to impel it towards integration with the Personality, and everyone save those whose integration was well advanced would feel strong effects which might well be beyond their capacity at that stage to support. When this “Ray” is brought through the Personality has to absorb in a way the experience of the Higher Self even as the Higher Self has to absorb the experiences of the Personality after physical death.» — [LA VOZ QUE DICTA] la advertencia técnica para el ritual: esa Fuerza quema la escoria si se la baja demasiado, opera normalmente del Triángulo Supernal por Tiphareth, y al bajar más afecta a todo el grupo, con la Personalidad obligada a absorber la experiencia del Yo Superior.

«This power of the Cosmic Christ can be thought of as that of the higher planes of “the Sun-behind-the-sun” which so to speak unites the Ray with the Logos. The time has now come when the great Force as a whole will no longer focus in a single being but in a group - ever widening until it takes in the whole world. The inner plane “body” now used by the» — [LA VOZ QUE DICTA] sitúa ese poder en los planos del Sol detrás del sol, y anuncia el cambio de foco: la Fuerza dejará de enfocarse en un solo ser y pasará a un grupo cada vez más ancho hasta abarcar el mundo; la frase cierra en la plana siguiente.

«Force can be thought of as something like the highest esoteric conception of Horus. Nevertheless the beings in whom the Force once manifested individually still work in remote planes and maintain in the Cosmos the distinctive power with which they once worked on earth.» — [LA VOZ QUE DICTA] y ahí queda: el cuerpo de plano interno de esa Fuerza se aproxima a la concepción esotérica más alta de Horus, mientras los seres en que se manifestó individualmente siguen obrando en planos remotos.

«It is sometimes liable to cause confusion if a “Ray” is associated with a special colour. The “Ray” of the Cosmic Christ is that of the Oversoul of the Lords of Mind. It works through the precessional Signs of the Zodiac and contains within itself a whole spectrum or a set of strata of colours of which strata the so-called “Purple Ray” is a stratum. The Green Ray or green stratum of the same great Ray worked through the force described in the legends of Osiris, Orpheus and Dionysos. It is the true Ray -of Mind and leads to the innermost sanctuaries of the “Mysteries.”» — [LA VOZ QUE DICTA] advierte contra asociar un Rayo a un solo color: el del Cosmic Christ contiene un espectro de estratos, entre ellos el Purple Ray y el Green Ray, que adjudica a las leyendas de Osiris, Orfeo y Dionisos.

«Man’s primal loyalty is to the One-Unity. “Loyalty” is hardly the correct word to use as the One is a Law-no other type of existence is possible; in It we live and move and have our being. It is, however, very necessary to understand that the One - the Logos - is actually the becoming manifest of the Unmanifest; It is Unity not because It is concentrated or limited but because It is undifferentiated.» — [LA VOZ QUE DICTA] corrige su propia palabra —lealtad no sirve, porque el Uno es una Ley— y precisa que el Logos es lo No Manifiesto haciéndose manifiesto, y su Unidad viene de ser indiferenciado y no de estar concentrado.

«The nucleus of the being of each immortal soul is a “nucleus of energy” in the Unmanifest. The Logos provides the ordered substance of manifestation on all planes whence we build up the vehicles of manifestation on each plane. Therefore is our manifested existence conditioned thereby, the Logoidal nature being the law of existence to which we must submit if we would live harmoniously in manifestation. The nucleus of each living soul does not derive its existence from the Logoidal Being but from the Unmanifest Itself. However, as man manifests forth in the sphere of the Solar Logos man must work in and through its conditions which are the laws of the Logoidal nature. The Solar Logos is the God of the Solar System and gives it its laws; this Logos, working through the Planetary Beings and their Archangelic Guides is the source of the differentiated energy manifesting within the bounds of the» — [LA VOZ QUE DICTA] el núcleo de cada alma inmortal no deriva del Logos sino de lo No Manifiesto, aunque el hombre tenga que obrar dentro de las condiciones logoidales; la frase cierra en la plana siguiente.

«solar nebula. In brief, the Solar Logos is the Conditioner and Sustainer of manifestation in Its universe: the Great Unmanifest is unconditioned.» — [LA VOZ QUE DICTA] y el resumen que deja: el Logos Solar es Condicionador y Sostén dentro de su universo, y el Gran No Manifiesto es lo incondicionado.

«There are three titles which might be confusing unless a clear idea of the way in which they are used has been gained. They are (1) the Planetary Entity, (2) the Planetary Intelligence or the Archangelic Intelligence, (3) the Planetary Being.» — [LA VOZ QUE DICTA] separa tres títulos que declara confundibles: Planetary Entity, Planetary Intelligence o Archangelic Intelligence, y Planetary Being.

«The Planetary Entity is the Logoidal Idea of the “planet” as it is to become in its spiritual sense at the end of evolution. The concept of this has many symbolic descriptions» — [LA VOZ QUE DICTA] la Planetary Entity es la Idea logoidal del planeta tal como ha de ser al final de la evolución; entre las descripciones simbólicas que enumera a continuación están el Reino y la Nueva Jerusalén.

«The Planetary Intelligence or the Archangelic Intelligence is the Archangel appointed to guide the “planet” during its evolution; that Archangel is one of the First Swarm. That assigned to earth is known in the West as Sandalphon. He is said to have first come into close control of earth during the Lemurian Period when Fire was in a particular manner being introduced into earth. This Archangel, great as he is, is said to be not quite of the stature of the Planetary Intelligence of Venus or Mercury; from our present viewpoint, however, his greatness is such that the distinction to us is largely academic. He, too, is developing and reaching out, so to speak, towards another great Force-and this concept is indicated in certain esoteric allegories dealing with the symbolism of marriages. From time to time great entities from other and more developed “planets” have been in touch with Sandalphon’s planetary work, especially from the planet Venus.» — [LA VOZ QUE DICTA] la Planetary Intelligence de la Tierra es Sandalphon, del Primer Enjambre, con contacto estrecho desde el Periodo Lemuriano, de estatura menor que las de Venus o Mercurio y él mismo en desarrollo.

«The Planetary Being is as it were a vast Elemental composed of the consciousness (using the word in a wide sense) of each one of its children - the children being all the lives upon the earth, humans, beasts, birds, reptiles, fish, insects, etc. In the great Elemental, the Planetary Being, all these are, or should be, one: and so they are, or should be, one in their relationship to each other; it is because that relationship has been shaken, broken and betrayed that so many ills have come to» — [LA VOZ QUE DICTA] el Planetary Being es un Elemental vasto hecho de la consciencia de todos los vivientes de la Tierra, que deberían ser uno, y atribuye los males a que esa relación se rompió; la frase cierra en la plana siguiente.

«pass. It can be assumed that when “the Kingdom comes,” when the Logoidal Idea of this planet is truly manifested then indeed all earth-creatures will be one on a certain level.» — [LA VOZ QUE DICTA] y la promesa que sigue: manifestada la Idea logoidal del planeta, todas las criaturas de la Tierra serán una en cierto nivel.

«All should remember that as developed and developing human beings they have a great debt to the earth who is in very truth their mother, their parent; they are made of her substance and live upon her substance and all that they do here on earth, all that they discover in science, all that they make in art or industry are also parts of her. But she develops less quickly than her children and it is the duty of the children by their development to aid hers. Therefore, whatsoever you do let it be not only for your own gain or interest but also for the gain and keen interest of the Planetary Being. The more that you do that is consciously shared with this vast Elemental parent the more will those things prosper not only in her but in you. There is no thing on earth, no thought brought through to earth which does not concern the Planetary Being - however great or lofty, however (unfortunately) mean or base. You have a very great responsibility not only to yourselves and to each other but also to the great group-soul of the earth, the great mass-mother of you all.» — [LA VOZ QUE DICTA] la instrucción ética más concreta del apéndice: la Tierra es madre y se desarrolla más despacio que sus hijos, así que hacer las cosas conscientemente con ella es deber y no metáfora.

«The more you are in touch with her the more will you earn the privilege of the contact with her Guiding Intelligence and that Intelligence will guide you not only in matters immediately concerning the earth-life but in using such things to pave the way for the future towards the time when the Planetary Being will become one with the Planetary Entity. Therefore, help to join these two together-the Logoidal Concept of the earth (which even if you cannot clearly envisage it you can to some extent imagine) and the Planetary Being; and let that purpose unite with your wish to forward evolution and your effort to pass on all that you can of help to the earth-mother. As all of you develop through the Ages so do you carry this vast parent and her development along with you. When you stray from the right path so do you lead her astray and this is a grievous wrong for it holds the degradation of the Planetary Being.» — [LA VOZ QUE DICTA] y su reverso, sin atenuar: extraviarse del camino recto arrastra a la Tierra y degrada al Planetary Being.

«Be mindful, coo, in thinking of the Planetary Being to think also of all other stages of life upon her - birds, beasts, insects, Elementals and all forms of life for to these do you bear relationship. There has been much superstition and sentimentality connected with this Divine Law of Unity but keep well in mind the great truth of the interrelationship of all when you shed the superstition.» — [LA VOZ QUE DICTA] extiende esa relación a aves, bestias, insectos y elementales, y separa la Ley de Unidad de la superstición y el sentimentalismo que la rodean; el troceo imprime *coo* por too.

«Be aware of the Planetary Being as a being of immense age in which each one of you is as it were embedded and through which you draw your earth-life; it could be compared to an enormous bee-hive with millions of sections each of which holds a small bee making honey. Be aware, too, of the Archangelic Intelligence as having tremendous protection, love and devotion for each and every creature on the earth because each creature is part of earth and as being able to guide each one of you either indirectly through the Planetary Being or directly if you have the right approach to him and have earned and maintained the right of direct contact with him. What is said here, however fanciful the expression may appear, is deeply real and worth the intensest consideration.» — [LA VOZ QUE DICTA] cierra los Afterthoughts con la imagen de la colmena, la Inteligencia Arcangélica que protege a cada criatura, y una defensa de lo dicho: por fantasiosa que parezca la expresión, lo declara hondamente real.

«may quote brief passages. First published in 1949. Revised edition first published in 1995 by SIL Trading Ltd., London.» — la cadena de ediciones que imprime la página de derechos de este ejemplar: primera edición en 1949 y edición revisada en 1995 a cargo de SIL Trading Ltd., el brazo editorial de la Society of the Inner Light; el volumen que trabajamos es la reimpresión de Red Wheel/Weiser de 2000.

«The cosmic doctrine / Dion Fortune.—Rev. ed. p. cm. ISBN 1-57863-160-2 (paper: alk. paper) 1. Occultism. 1. Title. BF1411.S53 F56 2000 133—dc21» — la ficha de catalogación de la Library of Congress, que registra la obra a nombre de Dion Fortune, la marca como edición revisada y le asigna la materia única de ocultismo.

«The Cosmic Doctrine is a condensed blueprint outline of God’s manifestation in this creation.» — así abre el Millenium Preface de esta edición, que en el troceo no lleva firma alguna.

«Complex indeed! But what has tended to bother some about the Cosmic Doctrine teaching has been the almost total emphasis in explaining evolution simply as being the psychic nuts and bolts of God.» — el prefacio recoge la objeción que la enseñanza ha suscitado, la de explicar la evolución como pura mecánica psíquica de Dios.

«Leaving one with the impression that God may be reduced from a Great and Infinite Being to a kind of mechanical Newtonian clockwork.» — y precisa en qué consiste esa lectura mecanicista, que el prefacio atribuye a la impresión que deja el texto, no a lo que sostiene.

«The higher up the planes you go, although esoteric theory tends to describe it as all more abstract, in actual fact things become so much more complex, vibrant, vivid, bursting, and brimming with life in incredible profusion.» — la respuesta del prefacio: contra lo que la teoría esotérica hace esperar, subir de plano no adelgaza la realidad sino que la complica.

«The broadest, though simple, analogy would be to liken the existence on the higher levels as something after the order of a Bach fugue - which could indeed seem to some a rather dry abstraction, but which to the attuned and educated ear is a revelation of divinity, harmony and celestial order.» — la analogía con que el prefacio explica esa complejidad, la fuga de Bach, que a un oído no educado le parece abstracción seca.

«The reality is not easy to describe in concepts, let alone in words. How best to describe a rainbow to a blind man?» — el prefacio declara el límite de su propio lenguaje con la comparación del arcoíris y el ciego.

«Since the works of the late Dion Fortune were written, more has been understood and realised. Psychism is simply one type of of inner awareness and there are other types at least as valid and as common; in particular» — el prefacio matiza a la propia autora desde la casa: el psiquismo con que ella recibió el texto es solo un tipo de percepción interior entre otros igual de válidos, y nombra en primer lugar la intuición; el *of of* es del troceo.

«Details of the aims and work of the Society of the Inner Light, founded by Dion Fortune» — y cierra remitiendo a la Society of the Inner Light, fundada por ella, como la instancia que responde por la obra.

«a Planetary Spirit (In earlier edition Planetary Being) with a spherical body, built up on a framework of stresses» — un paréntesis editorial dentro del cuerpo, sin firma en el troceo, que registra el cambio de término entre ediciones: donde esta imprime Planetary Spirit, la anterior decía Planetary Being.

«known as ‘Star Logoi’ (Called Ray Exemplars in earlier editions)» — el segundo paréntesis editorial dentro del cuerpo, también sin firma en el troceo, que registra otro cambio de término entre ediciones: donde esta imprime Star Logoi, las anteriores decían Ray Exemplars.

«The additional material set out here has the same authority as the body of the work, but was communicated some years after it. While it has in many instances a specific reference to certain chapters it is not here given with that reference to those chapters since it has also a general reference to the teaching as a whole and provides a useful elucidation of the general matter in the book. Generally speaking it refers more to the first twenty chapters of the work than to the later but, of course, the more the book is understood as a whole the more useful will the additional material be.» — la nota que encabeza los Afterthoughts, sin firma en el troceo, y que decide su estatuto: mismo grado de autoridad que el cuerpo de la obra, comunicado años después, y referido sobre todo a los veinte primeros capítulos.

«This “ Seed Atom “ refers to the Cosmos and its difference from the “ seed atom “ mentioned at the end of Chapter XII is plain.» — una nota al pie del aparato, sin firma en el troceo, que separa este Seed Atom cósmico del homónimo del capítulo XII para que no se confundan los dos usos del término.

«Fig. 1, Ring Cosmos Fig. 2, Ring Cosmos Fig. 3, Current Of Both Rings Fig. 4, Organised Into Discs» — la sección de diagramas, firmada en el índice con las iniciales C. T. L., solo deja en la capa de texto sus pies de figura; los cuatro primeros cubren los Anillos y su organización en discos.

«Fig. 5, Ring Pass Not Fig.6, Rays And 7 Planes Fig.7, Tangential Angles» — los pies de las figuras 5 a 7, con el Ring-Pass-Not, los Rayos y los siete planos, y los ángulos tangenciales del capítulo 2.

«Atoms Fig. 8, Prime Fig. 9, Simple Fig. 10, Composite Fig. 11, In Relation To The planes Fig. 12, Nuclear Atom» — los pies de las cinco figuras de átomos, del primordial al nuclear, que el cuerpo cita a lo largo de los capítulos 3 y 4.

«Fig. 13, Evolution Of A Solar System Or Miniature Cosmos In The Cosmos» — el pie de la figura 13, la evolución de un sistema solar como Cosmos en miniatura dentro del Cosmos.

«Fig. 14, Great Organisms Which Have Become Solar Systems Fig. 15, The Planes Of The Universe Reversed By Reflection Through The Logical Consciousness» — los pies de las figuras 14 y 15; el de la 15 imprime *Logical Consciousness* donde el cuerpo dice Logoidal, y así queda en el troceo.

«Fig. 16, Evolution Of Satellites Or Globes And Of Swarms Of Travelling Atoms Or Divine Sparks» — el pie de la figura 16, la evolución de los satélites o globos y de los enjambres de átomos viajeros o Divine Sparks.

«Fig. 17, Evolutionary Cycle Of The Logos And The Universe Fig. 18, Synthesis Of The Individuality» — los pies de las figuras 17 y 18, el ciclo evolutivo del Logos y del universo y la síntesis de la Individualidad.

«Fig. 20, The Symbol Of The Caduceus Fig. 21 Fig. 2 2» — el pie de la figura 20, el símbolo del Caduceo, seguido de las figuras 21 y 22, que en el troceo salen sin texto de pie.

«Fig.23 Fig. 24 Law Of Magnetism Fig. 25 An- Of Returning» — los pies de las figuras 23 a 25; el de la 23 sale sin texto y el de la 25 sale mutilado como *An- Of Returning*.

«Fig.26 Caduceus And Harmonics» — el pie de la última figura, que cierra la serie con el Caduceo y las armónicas.

«Fig. 19, Three Emanations Of The Logos» — el pie de la figura 19, las tres emanaciones del Logos, que es la lámina a la que remiten los capítulos de los tres enjambres primordiales.

«Abortion 101 Christ, Cosmic 134 Absolute 31,42,46 Circles 37 Accretion 33.37 Comets 118 Action & Reaction 160 Conflict 177 Aim, of Swarms 111 Concentration 152 Aim, of Universe 94 Consciousness Ch 10, 62, 71 Aggregation 33,37 73,75 Alpha Centauri» — el arranque del índice temático, que el escaneo entrevera a dos columnas; sus folios son los impresos y confirman la fórmula del locator, porque *Alpha Centauri 42* apunta a la plana 49 del troceo.

«The Society of the Inner Light is a Society for the study of Occultism, Mysticism, and Esoteric Psychology and the development of their practice. Its aims are Christian and its methods are Western. Students who, after due inquiry, desire to pursue their studies further, may take the Correspondence Course. Their training will be in the theory of Esoteric Science, and they will be given the discipline which prepares for its practice.» — la nota final de la Society of the Inner Light, la institución que hereda y edita la obra: se define por el estudio del ocultismo, el misticismo y la psicología esotérica y por el desarrollo de su práctica.

«Its aims are Christian and its methods are Western.» — y la línea con que la Society declara su adscripción, que es la del marco entero del volumen.

«THE INNER LIGHT JOURNAL, a Quarterly Magazine, founded by Dion Fortune, is devoted to the study of Mysticism, Esoteric Christianity, Occult Science, and the Psychology of Superconsciousness.» — la misma nota registra la revista trimestral fundada por Dion Fortune y su campo declarado.

«Dion Fortune (1891-1946), founder of The Society of Inner Light, is recognized as one of the most luminous and significant figures of 20th-century esoteric thought. A prolific writer, pioneer psychologist, and powerful psychic, she dedicated her life to the revival of the Mystery Tradition of the West. She left behind a solidly established system of teaching and a school of initiation based on her knowledge of many systems, ancient and modern. Her books were published before World War II, and have been continuously in demand since that time.» — la nota biográfica de solapa del editor, no voz de la obra: fecha a Dion Fortune en 1891-1946, la presenta como fundadora de la Society y como escritora, psicóloga pionera y psíquica, y data sus libros antes de la Segunda Guerra.

«Over seventy-two years ago, beginning on the Vernal Equinox in Glastonbury, Dion Fortune started receiving communications from the Inner Planes concerning the creation of the universe, the evolution of humanity, natural law, the evolution of consciousness, and the nature of the mind. Her written record of this experience forms the basis for The Cosmic Doctrine.» — la contratapa de Weiser, tampoco voz de la obra, que data el comienzo de las comunicaciones en un equinoccio de primavera en Glastonbury y hace de su registro escrito la base del libro.

«Fortune examines the limbo where Science and Magic interact, where the cosmology of the “Big Bang” and chaos theory run parallel to the evolutionary process. She also illustrates the true nature of Good and Evil, which is generally viewed from an individual’s own highly subjective and very personal perspective, and provides further insights into the interaction of the positive and negative polarity within the universal scheme of things. A cryptic warning accompanies these clearly outlined concepts: this book is designed to train the mind rather than inform it. In other words, it is intended to induce in the reader a particular attitude to both the inner and outer world.» — la misma contratapa vende el libro como cruce de ciencia y magia con el Big Bang y la teoría del caos, y repite la advertencia de la plana 6 sobre entrenar la mente en vez de informarla.

«Unpublished until 1949, and then only in a privately printed edition. Fortune and her followers considered the material too dangerous for general release. This revised and definitive edition includes original material left out of previous editions and illuminating diagrams by one of Fortune’s closest collaborators.» — y la contratapa aporta el dato editorial que la página de derechos no da: inédita hasta 1949 y solo en edición privada, por considerarse el material demasiado peligroso, con material inédito y diagramas de una colaboradora cercana en esta edición revisada.

Geometría (la quinta arte liberal, fundamento del oficio) — Los números del ocultismo son grados de ángulos entre líneas de fuerza que se cortan; hay dos series, la del ocultismo blanco marcada en el Ring-Cosmos y la del mal en el Ring-Chaos.

Iniciación (recepción por grados / metamorfosis del ser) — Definida dos veces: como evolución condensada, que ataja el arco obteniendo por inducción simpática lo que costaría experiencia, y como la Séptima Muerte, una muerte en vida. En el arco de salida sumerge más pronto en la materia; en el de vuelta es otro proceso.

Imaginación (phantasia) — Las imágenes de la enseñanza no son descriptivas sino simbólicas y sirven para entrenar la mente, no para informarla; los Lords of Form y los Arcángeles se abordan por visualización dictada.

Ocultismo (occultisme) — Dion Fortune lo define como ciencia, arte y religión a la vez, y pone el motivo —no la aptitud— por llave de entrada.

Secreto (lo que se jura no fijar por escrito) — El misterio del mal se retiene por útil; la Ley de Limitación se le niega a los del Sendero probatorio para que el poder no los use a ellos; y la llave de la impactación se declara no escribible.

Materia prima — El mal sin oposición se resuelve en la materia prima indiferenciada de la existencia, pierde cualidades y vuelve al principio transmutado por la neutralidad.

Cuatro elementos (fuego, aire, agua, tierra) — Se dominan purificando en uno mismo la cualidad de cada uno —estabilidad de la tierra, movilidad del agua, velocidad del viento, brillo de la llama—; los Afterthoughts los alinean con los tres Enjambres primordiales y con los Anillos.

Caduceo (vara de Mercurio) — Glifo de la polaridad en los planos: el bastón es el Rayo y las serpientes los aspectos positivo y negativo de la oleada de vida, con el camino directo de la base a la Corona.

Sefirot (las diez numeraciones) — Las Sefirot invertidas son las Qliphoth; las tres supernales se alinean con Movimiento, Luz y Sonido, y los Afterthoughts recorren los Arcángeles de las diez Esferas uno por uno.

Evocación (llamar y constreñir espíritus) — La magia práctica se funda en la manipulación de las esencias elementales de cada reino, y en toda operación magna se emplean entidades menores en su aspecto propio para sostener el equilibrio.

Microcosmos (el hombre-mundo) — Quien es Señor de los Elementos dentro de sí puede reclamar por eso parentesco con los Señores de los Elementos del macrocosmos, y sus Mensajeros le sirven.

Templo de Salomón (el escenario del oficio) — Las partes de la verdad, sea cual sea el plano, han de encajar entre sí con la exactitud de los sillares del templo de Salomón.