High Frequency Oscillators For Electro Therapeutic and Other Purposes by Nikola Tesla
High Frequency Oscillators For Electro Therapeutic and Other Purposes by Nikola Tesla
High Frequency Oscillators For Electro Therapeutic and Other Purposes by Nikola Tesla
Part 1
Vedic Concept of Vac, the Divine Word.
The Vedic concept of the Divine Word is that it is hidden (guhya-, niõya-,
apãcya-, RV). ”It is in the eternal supreme Heaven where all the gods abide”,
çco akùare parame vyoman yasmin devà adhi vi÷ve niùeduþ, - says
Dãrghatamas Aucathyaþ in RV 1.164. 39. “The Truth is the foundation of
Speech”. Satyam vàcaþ pratiùñhà. (BrUp). The Word is a creative Power of
the Divine Consciousness, by which all the Creation is being manifest (cp.:
RV 10.125).
“In the system of the Mystics, which has partially survived in the schools of
Indian Yoga, the Word is a power, the Word creates. For all creation is
expression, everything exists already in the secret abode of the Infinite, guhà
hitam, and has only to be brought out here in apparent form by the active
consciousness.
Certain schools of Vedic thought even suppose the worlds to have been
created by the goddess Word and sound as first etheric vibration to have
preceded formation. In the Veda itself there are passages which treat the
poetic measures of the sacred mantras,— anùñubh, triùñubh, jagatã, gàyatrã,—
as symbolic of the rhythms in which the universal movement of things is
cast.
By expression then we create and men are even said to create the gods in
themselves by the mantra. Again, that which we have created in our
consciousness by the Word, we can fix there by the Word to become part of
ourselves and effective not only in our inner life but upon the outer physical
world.
“Brahman in the Veda signifies ordinarily the Vedic Word or mantra in its
profoundest aspect as the expression of the intuition arising out of the depths
of the soul or being. It is a voice of the rhythm which has created the worlds
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Sri Aurobindo defines the four levels of Speech as physical, vital, mental
and supramental, which in Indian grammatical tradition can be identified
with vaikharã, madhyamà, pa÷yantã and parà vàc.
discernment. All vibrations of sound on that higher plane is, then, instinct
with and expressive of this supreme discernment of a truth in things and is at
the same time creative, instinct with a supreme power which casts into forms
the truth discerned and eventually, descending from plane to plane,
reproduces it in the physical form or object created in Matter by etheric
sound. Thus we see that the theory of creation by the Word which is the
absolute expression of the Truth, and the theory of the material creation by
sound-vibration in the ether correspond and are two logical poles of the
same idea. They both belong to the same ancient Vedic system.”
Here we shall give a scheme, which is to help us to imagine of how different
levels of the Word relate with the objective reality (Sanskrit terms are from
Bhartrihari):
OBJECTIVE SUBJECTIVE
REALITY REALITY
IDEAS-VIBRATIONS
I overmental (Semantics)
meaning
II mental
FORM-IMAGES FORM-SOUNDS language
III vital
speech
IV material OBJECTS WORDS
There are two, which seem to be different, realities interconnected into one
complex objective-subjective reality of the consciousness in its double status
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of cognition (the perceptive reality or sense) and that of power (the objective
reality or the object of sense).
On the highest level of consciousness, where the power and knowledge are
one, there is no difference between the objective and subjective realities. The
idea-force, the idea-vibration is one for the word and the object. The
semantic of both is one and the same. So the semantic of the objective thing
“book” and the semantic of the objective word “a book” must be the same.
It is on the level of formations (mental and vital planes), that we see the
expressed and expressive elements split into their different shapes: the form
of the object and the form of the word. Being still similar in their semantic
they differ in their shapes: an idea-form, as a thought-sound (a word), is not
the same as a thought-image (a form).
The circle in the centre (see the picture above) is a symbol of formation and
formulation, which includes all possible interactions: (1) the oneness of
meaning; (2) the difference in form (cp.: nàma and råpa in Vedantic
tradition), and (3) on the material plane the word and the object are
absolutely separate things.
This scheme is meant to help us to approach the subject. It is only a scheme,
and should be understood only as such.
The hearing and sight, ÷rotram and cakùuþ, together with the speech and
mind, vàc and manaþ, were considered by Upanishads as four pillars on
which brahma-catuùpàd, “the Spirit on four legs”, stands firmly in the
world (ChUp, BrhUp) as pràõa, Life energy (see in detail the next chapter).
It is with a help of these nàma and råpa, name and form, that Brahman, the
Creator, could enter into his creation (ShB). In the Vedas these nàma and
råpa are presented as ÷ruti and dçùñi, (cp.: cit-tapas, Consciousness-Power,
in the Puranas).
Sri Aurobindo writes in the Secret of the Veda about the hymns and there
utility:
The hymns possess indeed a finished metrical form, a constant subtlety and
skill in their technique, great variations of style and poetical personality;
they are not the work of rude, barbarous and primitive craftsmen, but the
living breath of a supreme and conscious Art forming its creations in the
puissant but well-governed movement of a self-observing inspiration. Still,
all these high gifts have deliberately been exercised within one unvarying
framework and always with the same materials. For the art of expression
was to the Rishis only a means, not an aim; their principal preoccupation
was strenuously practical, almost utilitarian, in the highest sense of utility.
The hymn was to the Rishi who composed it a means of spiritual progress
for himself and for others. It rose out of his soul, it became a power of his
mind, it was the vehicle of his self-expression in some important or even
critical moment of his life's inner history. It helped him to express the god in
him, to destroy the devourer, the expresser of evil; it became a weapon in
the hands of the Aryan striver after perfection, it flashed forth like Indra's
lightning against the Coverer on the slopes, the Wolf on the path, the Robber
by the streams. (SV11)
Let us have a look how these hymns were used for “spiritual progress” and
how it was understood by Vedic tradition.
Let us now have a look into the general structure and principles of the Vedic
ritual. The Aitareya Brahmana 25.7 (AitBr) depicts the structure of the Vedic
ritual, agni-hotra, as consisting of three priests: hotar, adhvaryu and udgatar,
reciting texts from Rik, Yajur and Sama Vedas, corresponding to the three
regions: earth, air, and heaven, respectively. The fourth priest is brahman,
who is silent during the performance, observing all the actions as well as
listening to all the words uttered by the other three priests. His function is to
be a witness of all that is happening and in case of any imperfection in action
or in speech he has to correct it in his mind (pràya÷citta-).
When the performance of the sacrifice is over, and the dakùiõa-, the money
and wealth is distributed among the priests, half of it is given to the three
priests: hotar, adhvaryu and udgatar, and the other half to brahman alone.
8
So the one who does practically nothing - says AitBr in dispute - gets the
same dakshina as the other three who recited and performed all the sacrifice.
Why is it so?
The AitBr 25, 8-9 text then explains that the first three priests represent Vàc,
Speech, belonging to the Earth, (of which, according to other Vedic texts,
Agni is the essence (cp: ChUp etc.), while brahman represents Manas, Mind,
belonging to the Heaven, of which Surya is the essence. And by this Speech
and Mind, earth and heaven, they create the space in between: Prana, Life-
Energy, belonging to Antariksha, the middle world, of which Vayu is the
essence. Therefore, says the text, this Vayu Pavamana is the Yajna.
This general scheme of the ritual is very important for us if we want to better
understand its symbolism. Agni, the lower pole, and Surya, the upper pole,
create the energetic field in between which is Vayu, or the Yajna.
The same ritualistic structure is also maintained in Svadhyaya, where the
reader of the text, which he knows perfectly by heart, utters it, so to say, in
mechanical way, while the other part of his: manas, mind, is observing the
flow of the words and thus, being detached from the active formulation of
the text, becomes simply a witness of the text - like the brahman priest.
When these conditions of the sacrificial act are maintained the reader himself
becomes an altar, or to be more precise, his life-energy Prana. In this way he
unites and becomes one with all the levels: heaven (mind), earth (word) and
space in-between (breath).
In Taittiriya Aranyaka 1.1.1,2 (TaitAr) Rishi exclaims:
àpam àpàm apaþ sarvàþ asmàd asmàd ito ‘mutaþ
agnir vàyu÷ ca sårya÷ ca saha sa¤caskara-rddhiyà
“I have gathered all nourishing powers of Consciousness, from here, from
there and from beyond;
Agni and Vayu and Surya! I have combined for the Growth!”
This union of all the levels of existence from below and from above is the
key to the concept of sacrifice. It is to be done for the Universal and the
Individual Growth, the condition of which is a simultaneous and united
existence with Agni, Vayu and Surya.
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1
Sri Aurobindo, Archives and Research, December 1978, v.2, No 2, pp. 155-156
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2
The infinite variability of individual vocal apparatuses, and all that they express of the infinite variability
of individual consciousness, and of states of consciousness at the instant of utterance is a proof that we get
meaning not only through the means of language, but through the means of articulation also. This is that
which makes the human voice the most expressive of all the means of expression of consciousness.
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3
It
1
this guõa and its results it shared with many kindred sounds. At first,
therefore, word-clans, word-families started life on the communal system
with a common stock of possible and realised significances and a common
right to all of them; their individuality lay rather in shades of expression of
the same ideas than in any exclusive right to the expression of a single idea.
...The principle of partition was at first fluid, then increased in rigidity, until
word-families and finally single words were able to start life on their own
account.... For in the first state of language the word is as living or even a
more living force than idea; sound determines sense. In its last state the
position have been reversed: the idea becomes all-important, the sound
secondary.” (ibid. p.49).
So, words in Vedic Sanskrit, far from simply symbolising objects and the
relationships between them, as they mainly seem to do in modern languages,
derived from their own system of seed-ideas, and revealed quality, power
and state of existence within their own system of Meaning. In the very
source they were not to4 imitate or project outer reality, as words are
supposed to do, by modern linguists, but to reveal the inner reality of the
Word, and thus to create a new outer reality. Here we have to distinguish
between phonemes and sounds as representatives of their original vibration.
A phoneme is only a short-cut to the original sound, made by the mind for
its own use and mastery over the word. But this short-cut retains some
quality of the original vibration which lies behind the phoneme. It is inherent
in a particular psychological characteristic or state of a speaker, to sound the
vibration or articulate a particular meaning by this vibration. (See Appendix)
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This is just a description of how sounds were originally used by an evolving humanity. The vast majority,
who used words in this way, must have been as unaware of the psychological process they were involved in as most
of us are today in using language.
1
The Appendix
of some important quotations from the RV on the Word.
Secret (speech): guhya-, guhà, gåóha-, apãcya-, pratãcya-, niõya-,
Speech: uktha-, ÷astra-, stoma-, gir, vàk, vàõi-, brahman, mantra-, nàman
(apãcyam nàma, gåóham nàma, etc);
14) RV 1.164.35 :
ä/üay< va/c> p?r/m< Vyaem . 35