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Students in the west have little or no idea of the forces that lie latent in Sound, the Âkâshic vibrations that may be set up by those who understand how to pronounce certain words. The Om, or the “Om mani padme hum” are in spiritual affinity with cosmic forces, but without a knowledge of the natural arrangement, or of the order in which the syllables stand, very little can be achieved. “Om” is, of course, Aum, that may be pronounced as two, three or seven syllables, setting up different vibrations.

Now, letters, as vocal sounds, cannot fail to correspond with musical notes, and therefore with numbers and colours; hence also with Forces and Tattvas. He who remembers that the Universe is built up from the Tattvas will readily understand something of the power that may be exercised by vocal sounds. Every letter in the alphabet, whether divided into three, four, or seven septenaries, or forty-nine letters, has its own colour, or shade of colour. He who has learnt the colours of the alphabetical letters, and the corresponding numbers of the seven, and the forty-nine colours and shades on the scale of planes and forces, and knows their respective order in the seven planes, will easily master the art of bringing them into affinity or interplay. But here a difficulty arises. The Senzar and Sanskrit alphabets, and other Occult tongues, besides other potencies, have a number, colour, and distinct syllable for every letter, and so had also the old Mosaic Hebrew. But how many students know any of these tongues? When the time comes, therefore, it must suffice to teach the students the numbers and colours attached to the Latin letters only (N.B. as pronounced in Latin, not in Anglo-Saxon, Scotch, or Irish). This, however, would be at present premature.

The colour and number of not only the planets but also the zodiacal constellations corresponding to every letter of the alphabet, are necessary to make any special syllable, and even letter, operative.855 Therefore if a student would make Buddhi operative, for instance, he would have to intone the first words of the Mantra on the note mi. But he would have still further to accentuate the mi, and produce mentally the yellow colour corresponding to this sound and note, on every letter M in “Om mani padme hum”; this, not because the note bears the same name in the vernacular, Sanskrit, or even the Senzar, for it does not—but because the letter M follows the first letter, and is in this sacred formula also the seventh and the fourth. As Buddhi it is second; as Buddhi-Manas it is the second and third combined.