Sympathetic Vibratory Physics | Yellow (original) (raw)
Yellow is the second primary color. When it is golden yellow it indicates health and well-being. Such people take good care of themselves, don't worry, and learn easily; good mentality is natural in them. They are happy, friendly, and helpful. If the yellow is ruddy, they are timid. If they are red-heads they are apt to have an inferiority complex. They are thus apt often to be indecisive and weak in will, inclined to let others lead them. [anon]
"Yellow, containing all colors, is white in its extreme." [F. J. Hughes, Harmonies of Tones and Colours]
"Yellow is the meeting point of highest pressures, temperatures, densities and potentials of the ." [, The Universal One, Book 02 - Chapter 19 - Expressions of Gravitation and Radiation]
"The red stars are the younger. They evolve through orange and yellow to their white of maturity in the north apices of their cones. White in maximum is a reflection of white in ." [, The Universal One, Book 02 - Chapter 19 - Expressions of Gravitation and Radiation]
"In 's He limits all to that point in where white light has been reached between
[p. 36]
the two visible yellows of in . When a sun has become a true sphere its center has reached the white invisible still point in the spectrum where has ceased. Up to that very point the inward speed of has multiplied to its limit of 186,400 miles per second. At that point also the sun has reached its maximum . At that point also, there is but one center of gravity. Until then there are two. White light is always , for it is always still. It could not be white otherwise. Any , whatsoever, would be visible as yellow." [Atomic Suicide, - Chapter 2 - How Radioactivity Kills - VI, page 35-36]
From experience the preparation of organic precious metals is only successful under the influence of a falling temperature gradient, because only thus can higher-grade emulsions take place; something that I have tried and tested myself. Dr , a forensic scientist who presently lives in Paris, analysed organic metals that I had ur-produced as long as 20 years ago. To his huge astonishment, he confirmed my assertion that metals of all kinds actually grow. This should be understood as the incarnation of ions, which for the first time correctly explains the generally accepted concept of ''. This involves the of stocks of dynagens under the influence of gentle and diffuse heat (viz. the highly metalliferous stones, for example, which emit a golden yellow even when rubbed together under - the legendary and of the . This has nothing to do with flints, which in any case do not spark under .) [The Energy Evolution - Harnessing Free Energy from Nature, The Catalysts]
On colours developing by the same laws as musical harmonies
—The physical properties of light and briefly considered
—If the laws are correctly gained, of tones and of colours will agree
—Quotation from a lecture by Professor W. F. Barrett on the order of sonorous and luminous wave-lengths
—Fountain of musical , E root of B; in colours yellow and ultra-violet, being tints and shades of white and black
—All of sound and colour condense into a primo springing from the
— of tones and colours
—<Wünsch>'s views nearly one hundred years ago
—Clerk Maxwell's, Lord Rayleigh's, and [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]
suspected. Let us take as our standard of colours the given by the of white light, the so-called spectrum: as our standard of musical notes, let us take the natural or diatonic scale. We may justly compare the two, for the former embraces all possible gradations of simple colours, and the latter a similar of notes of varying pitch. Further, the of colours in the spectrum is perfectly to the . Their invariable is— red, orange, yellow, green, blue, indigo, and violet; any other arrangement of the colours is less enjoyable. Likewise, the of notes in the scale is the most agreeable that can be found. The is—C, D, E, F, G, A, B; any attempt to ascend or descend the entire scale by another is disagreeable. The of colours given in the spectrum is exactly the of luminous wave-lengths, decreasing from red to violet. The of notes in the scale is also exactly the of sonorous wave-lengths, decreasing from C to B." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
The or life of musical and colours is E, or yellow; the B, or ultra-violet: these being, in fact, tints and shades of white and black. Ascending, they partake more of white; descending, of black: the former drawing tones and colours higher, the latter lower. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
| C rises from the , and contains all tones within itself. | also rises from the , and contains all colours, with white and black. |
|---|---|
| D=the notes C and E mingled. | , red and yellow mingled. |
| E=the root of the fountain. | Yellow, containing all colours, is white in its extreme. |
| F=the notes E and G mingled. | __=yellow and blue mingled. |
| G contains all tones. | , with more or less of black and white. |
| A=G and B mingled. | __=blue, and all colours, inclining to black. |
| B, the key-note of the fountain. | _Ultra-violet_=violet mingled with more black: a deeper shade of all colours—in its extreme, black. , red and yellow mingled. |
[Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]
Notes and colours are thus condensed into a springing from the , and mingling with each other in an endless variety. Although yellow as a colour is explained away as white, it is, nevertheless, the colour yellow in endless tints and shades throughout nature, and proves to us that the three great apparent primaries correspond to the tonic chord of the scale of C—i.e., C, E, G = red, yellow, blue; or more correctly, C and G correspond to red and blue with the central fountain of E, white and black mingled, from which all tones and colours arise. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]
The tones between the seven white notes of keyed instruments, and the tints and shades between the seven colours, cause the multequivalency of colours and of tones; consequently every colour, as every musical harmony, has the capability of or descending, to and fro in circles, or advancing and retiring in musical . It is a curious coincidence that <Wünsch>, nearly one hundred years ago, believed in his discovery of the primary colours to be red, green, and violet; and in this scheme, red, answering to the note C, must necessarily be the first colour, followed by green and violet, but these not as primary colours, all colours in turn becoming and in the development of the various . To gain facts by experiment, the colours must be exactly according to natural proportions—certain proportions producing white, and others black. In this scheme, green and red are shown to be a complementary pair, and therefore (as Clerk Maxwell has proved) red and green in right proportions would produce yellow. The same fact has been proved in Lord Rayleigh's experiments with the . Yellow and ultra-violet, [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]
IF we strike the twelve keys of in trinities, scales, and chords, as written in musical , beginning with the lowest C in the bass clef, this first development is linked into the lower of seven octaves by the four lower tones sounded by C. If we follow with the twelve keys six times, at the seventh time they will gradually rise into the higher . We obtain a glimpse of the arising from musical notes in the Pendulograph. How exquisite would they be if they could be represented in their natural coloured tones! — as, for instance, the chord of the scale of C in red, yellow, and blue, with the six coloured tones rising from each, and harmoniously blended into each other. [Harmonies of Tones and Colours, The Twelve Keys Rising Seven Times, page 28a]
If we examine the line last quoted by the laws of life which regulate the foregoing scheme, we may compare it with the fundamental threefold chord of the scale of C and its relative colours,
from the fountain key-note which contains in itself all tones. "Him first," the Son of God proceeding from the Almighty, and yet in Himself the Trinity in Unity. E, yellow or light. E is the root of B, ultra indigo, or black. "Him midst," the Almighty Father, the Fountain of life, light gradually rising and dispelling . G, blue, "Him last," the Holy Spirit, proceeding from the and the , Trinity in Unity. The Son of God and the Holy Spirit are the complemental working pair throughout the universe; each containing "the seven spirits of life." and blue contain all colours in each. C and G are a complemental pair, C rising from the fountain key-note which contains in itself all tones, and C and G combine all tones in each. In Chapter III. it is explained that all varieties of tones and colours may be condensed into this , rising from and falling again into the . [Harmonies of Tones and Colours, Reflections on the Scheme2, page 44]
In the musical scale the note mi corresponds to yellow, and is the planet of this color. 73
Color Therapy Use yellow to alleviate: Stomach troubles, indigestion, constipation, liver troubles, diabetes, blind piles, eczema and skin troubles, leprosy, nervous exhaustion, etc. [Roland Hunt; The 7 Rays of Healing; Edgar Cayce Foundation, 67th & Atlantic Ave., Virginia Beach, VA 23451]
See Also