The Intent to Know.
Thought-Forms, a strange, beguiling, frequently pretentious, utterly original book first published in 1901, emerged from this ferment of late-Victorian mysticism. It was written by Annie Besant and Charles Leadbeater, erstwhile members of the London Theosophical Society alongside Yeats, and it features a stunning sequence of images that illustrate the book’s central argument: emotions, sounds, ideas and events manifest as visual auras.
The book’s grand ambitions are evident from the first page. “To paint in earth’s dull colours the forms clothed in the living light of other worlds,” Besant laments, “is a hard and thankless task.” She insists that the images in the book “are not imaginary forms, prepared as some dreamer thinks that they ought to appear.” Rather, “they are representations of forms actually observed as thrown off by ordinary men and women.” And she hopes that they will make the reader “realise the nature and power of his thoughts, acting as a stimulus to the noble, a curb on the base.” This grandiloquence was typical: fin de siècle occult leaders produced some of the most baroque writing in literary history, the purplest of purple prose.
Yet what are we saying, exactly, when we call black words on a white page “purple”?
These sorts of underlying associations between words, colors and sounds were precisely what motivated Thought-Forms. In other words, the book was about synesthesia. The illustration of the music of Mendelssohn reproduced above, for instance, depicts yellow, red, blue and green lines rising out of a church. This, Leadbeater and Besant explain, “signifies the movement of one of the parts of the melody, the four moving approximately together denoting the treble, alto, tenor and bass respectively.” Moreover, “the scalloped edging surrounding the whole is the result of various flourishes and arpeggios, and the floating crescents in the centre represent isolated or staccato chords.” Color and sound had become commingled.
Going by the colours I like best, I end up with Strong Intellect, Selfish Affection, Pure Affection, Avarice, Anger, Sensuality, and Malice. Sounds about right. (If 2/2 was white, rather than a missing colour, that one would have been picked, too.)
You can see and read much more at The Public Domain. The book is available to view through Gutenberg.
Love it. It’s very interesting to see what colours other people associate with specific emotions -- some seem quite different from my personal associations, others are very similar. My favourite colours are all the blue shades (so, religious and spiritual), except for selfish religious feeling; then strong intellect and pride. Also it’s interesting to see how similar Love for Humanity and Fear are, though there’s probably little actual reason behind that similarity, sometimes colours just are.
(I have colours for sounds and for letters, and sometimes for people, too -- if I think about a person and randomly choose colours to ‘draw’ them, the colours tend to be person-specific in various abstract forms. The forms don’t seem to be as important as the colours.)
rq:
I have a similar thing. Actually, I dislike it when people think they can associate any colour with traits/emotions/whatever. It’s silliness, based on their own colour biases, but people have done that sort of thing forever, and probably always will.