Thought-Forms: A Record of Clairvoyant Investigation is a theosophical book compiled by the members of the Theosophical Society A. Besant and C. W. Leadbeater. It was originally published in 1905 in London. From the standpoint of Theosophy, it tells opinions regarding the visualization of thoughts, experiences, emotions and music. Drawings of the "thought-forms" were performed by John Varley Jr. (grandson of the painter John Varley), Prince, and McFarlane.
From history of compilation
This book has become the result of the joint work of the authors, which began in 1895, when they had started an investigation of "the subtle matter of the universe." They were interested in the work of the human mind as this work "extrudes into the external world" the thought-forms.
In September 1896, Besant reported in Lucifer that "two clairvoyant Theosophists" (whose names were not disclosed in the journal, although some members of the Society knew about them) had started "observing the substance of thought." Her article named Thought-Forms was accompanied by four pages of pictures of diverse thought-forms which the investigators "had observed and described to an artist." The colour sketches of the unknown performance were depicting: on the first plate—thought-forms of "devotion," "sacrifice," and "devotional," on the second one—three types of "anger," on the third one—three types of "love" ("undirected," "directed," and "grasping"), and on the fourth one—thought-forms of "jealousy," "intellect," and "ambition." Besant gave the article scientific coloring, not forgetting to mention Röntgen, Baraduc, Reichenbach, "vibrations and the ether."
This "small but influential book", which contains color pictures of thought-forms that the authors said are created "in subtle spirit-matter," was published in 1905. The book affirms that "the quality" of thoughts influences the life experience of their creator, and that they "can affect" other people.
Basic concepts
Meaning of color
The authors write that they, like many theosophists, are convinced that "thoughts are things," and the task of their book is to help the reader understand this. The frontispiece of the book contains a table "The meanings of colours" of thought-forms and human aura associated with feelings and emotions, beginning with "High Spirituality" (light blue—in the upper left corner) and ending by "Malice" (black—in the lower right corner), 25 colors in all. The authors argue that human aura is "the outer part of the cloud-like substance of his higher bodies, interpenetrating each other, and extending beyond the confines of his physical body." The mental and desire bodies (two human higher bodies) are "those chiefly concerned with the appearance of what are called thought-forms."
Three principles and three classes
The book states that "the production of all thought-forms" is based on three major principles: Quality of thought determines colour. Nature of thought determines form. Definiteness of thought determines clearness of outline.
The authors define the following three classes of thought-forms: That which takes the image of the thinker. When a man thinks of himself as in some distant place, or wishes earnestly to be in that place, he makes a thought-form in his own image which appears there. That which takes the image of some material object. [The painter who forms a conception of his future picture builds it up out of the matter of his mental body, and then projects it into space in front of him, keeps it before his mind's eye, and copies it. The novelist in the same way builds images of his character in mental matter, and by the exercise of his will moves these puppets from one position or grouping to another, so that the plot of his story is literally acted out before him.] That which takes a form entirely its own, expressing its inherent qualities in the matter which it draws round it. [Those of which we here give specimens are almost wholly of that class.]
Examples of thought-forms
The authors write 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 the authors sincerely hope that they will force the reader "realise the nature and power of his thoughts, acting as a stimulus to the noble, a curb on the base."