Circulating throughout all planetary life, seven centers of logoic Force, referred to as the Seven Rays, embody and express the totality of energies of all planetary forms. These seven energies unitedly compose the primary Second Ray of Love-Wisdom — the Ray of our solar system and the dominating ray in every planetary expression within the solar system. The seven rays are, all of them, subsidiary rays of this great Cosmic Ray. One of these, the fourth ray of Harmony through Conflict, also known as the Ray of Harmony, Beauty and Art, is the ray par excellence which governs the fourth creative kingdom (humanity); it is always active and it might be regarded as forming the basic personality of the whole of humanity.
As we consider the arts and creative living through this 4th Ray, we recognize that all is relationship, unity and synthesis. The Tibetan Master explains how the 4th Ray will be coming into direct activation again in the year 2025 and that an unimaginable synthesis of beauty in the arts of color, sound, movement and form will be unlike anything we have ever seen before.
On the nature of beauty, author John O’Donahue in his book, Beauty the Invisible Embrace3 has this to say, “Beauty does not linger, it only visits. Yet Beauty’s visitation affects us and invites us into its rhythm, it allows us to feel, think and act beautifully in the world; to create and live a life that awakens the beautiful.”
In The Symposium, Plato writes about the idea of love, goodness and beauty as a basic human drive to embody the Good, the True and the Beautiful — a constant urge towards the creative life and our capacity of birthing the new as a result of our struggles and pain. In The Phaedrus, he also describes how the soul awakens through beauty and grows Her Eternal Wings. We recognize this experience in our current world cycle as the birth pains of humanity moving into the New Era of Aquarius, preparing for the Reappearance of the Christ and seeing the need for greater co-creativity with God.
In my profession in the arts, the ballet, we experience at a very early age how difficult it is to train the dense physical body to be able to precipitate the higher energies of inspiration and beauty. Through hard work, pain and repetition — most definitely a meditative practice, we learn to build the antahkarana for revelation in performance.
The founding Director/Choreographer of the New York City Ballet, George Balanchine, along with 20th century composer Igor Stravinsky, created a ground breaking ballet in 1957 called Agon (the ancient Greek concept of conflict, struggle or contest in public festivals of athletics, music or literature, which includes mutual respect and honor). It was performed as a stark visual of the newer contemporary body movements and the discordant music played out in the choreography, reflecting the physical exchange of an Olympic contest. At times there is a courtly bow, signifying reverence and showing right human relations through dance.
In Cyrill Scott’s book, Music its Secret Influence throughout the Ages, he writes of the Hierarchical intent of the discordant composers in the early 20th century like Stravinsky and Schoenberg whose music was not the sweet conventional melodic tones of the Victorian era. Their music had an occult purpose, to break up the old thought forms of wrong thinking and crystallization: “Dissonance possesses the power to alter the hard outlines of mental bodies….and so render them more pliant and receptive to new ideas.”
In the ballet art form, we can see the continuation of the ancient ritual of the Mysteries of invoking the divine energies for healing purposes. When performing, one has a distinct awareness of the triangular alignment created among the dancers/musicians, the audience, and the higher spiritual energies. We can imagine and visualize the evocative response coming from the realms of the Devic Kingdoms and beyond.
The circulating flow of Beauty, Sound and Movement
creates waves of healing light and love that flow out into the greater
community. As in the ballet Agon, we recognize we are participants in this Grand Dance aided by both the 4th Ray of Harmony through Conflict in relationship with the 7Tth Ray of Ceremonial Order, Magic and Ritual. Where there is synthesis, the true creative artist begins to function.
2 Esoteric Psychology, Vol. I, Copyright Renewed © 1990 by Lucis Trust, p. 163.
3 Originally published in 1933, © 2004, HarperCollins Publishers, p. 136.