Excerpted from Colors of the Soul: Physiological and Spiritual Qualities of Light and Dark by Dennis Klocek (2017)

The opening diagram shows the color circle of twelve distinct hues or colors. In the language of colors, hue means the name of a specific color such as turquoise or cobalt blue, or vermilion. Underlying these particular hue names is another more general way to express color qualities. We could say that the name turquoise is the specific name of the color and the name blue-green would be the general name of the same color. The first diagram notes the specific names of the twelve hues.

In the language of color, the two hues next to a specific or general color on the hue band are known as adjacent colors. Green as a specific hue has turquoise (blue-green) adjacent to it on one side. Green also has lemon (yellow-green) adjacent to it on the other side. The second color circle (below) indicates the modular relationships which make up the general colors. Modulation was presented in the first chapter of Colors of the Soul as the alternating of warm and cool hues next to a specific hue.

In Figure 2 one can see the the modulational relationships between the three adjacent colors magenta, carmine and vermilion. From this diagram it can be seen that magenta has two adjacent colors to it. The purple is a cooler color than magenta since it is moving from magenta in the direction of blue. Carmine is the warmer of the two adjacent colors in that it represents a movement towards the yellow side of the color wheel. This motion is so, even though carmine is a blue-ish red. 

Carmine also has two adjacent colors. The magenta is cooler than the carmine and the vermilion is warmer than the carmine.  A close look at the color wheel however will reveal a fundamental color paradox. Carmine is warm when compared to magenta but cool when compared to vermilion. This makes carmine both warm and cool.

What this is really saying is that the fundamental nature of colors is always relational. This relational aspect of color work is the true bridge which allows the colors to be seen as analogs of soul conditions. Every experience which is of a feeling nature in the soul is relational.

If we find ourselves in a situation in which there are people around us who are too warm, we can find ourselves becoming cold by comparison.  If we are with people who are too cool in their soul nature we can compensate by being too warm.

These reactions are fundamental laws of the soul. They are even more subtle than simple reactions. It can be that someone can feel warm towards a color in another soul which is really a cool color experienced inwardly by the other soul. That is, a person who has a blue character may be thought of as warm by another person who is even more blue than them. This seems contradictory but is really the basic nature of the color experience in the soul.

Colors of the Soul

In the following descriptions the native character of a particular hue will be addressed from a number of significant points of view.

First, the physical characteristics will be presented. These are things like aspects of the manufacturing process or dynamics in which the color can be experienced in nature, which can  impact  the feelings which surround the color experience in the soul.

Then each hue will be described from the aspect of its soul dynamic in the color circle. That is, the effects of its modulation. This will be presented not so much in the ways in which it is used in artistic practice but in terms of the movements present in a soul which is feeling the modulating color inwardly as an impression of the emotional spectrum. 

At each step of the way the yearnings of the primary colors (described in detail in the first chapter of Colors of the Soul) and their intensification and deintensification processes will serve as the basis for the conceptual structure.

The thesis is that the movements between the light and darkness in the soul are analogs of inner experiences which constitute the language of the soul. The language of the soul is color.

(Editor’s note: I have included this tutorial video from Dennis to help illuminate the descriptions he gives below. When he talks about “the light and the darkness” in the article, he is referring to the central light entering the cave from above and the dark depths of the cave towards the edges in the Grotto Imagination by artist Liane Collot D’herbois, which he describes in this video. “Veils of darkness” can also be thought of as layers of the “turbid medium”.)

THE COLORS AROUND THE LIGHT

The colors around the light are a separate element in the color circle from either the colors seen with the light behind the darkness or the colors seen with light in front of the darkness. The three colors turquoise, green and lemon represent a particular mood of soul. 

The green, as we saw earlier, is the archetypal representative of the light becoming form.  In green, the light of thinking forms itself into patterns that are only dimly perceived by the soul living in the green. These patterns could be called the corpse of the Word. This is an alchemical expression meaning the fixed meaning of a word rather than its more creative or poetical form as it exists within the mind of a thinker. Alchemically, the Word is the creative principle of life. It describes the conditions present anywhere meaning comes into manifestation in the consciousness of a human being. The Word is infinitely creative, whereas words tend to be used as fixed ideas that provide information.

To illustrate this I can say the word heart and a lump of muscle can be imagined. This manifest image is a corpse of the limitless potential meanings of the word heart. Heart could just as well describe the center of an organization or the soul force of courage. The varied meanings of the word heart are the poetical, more pictorial level of meaning of the word heart. The specific image of a lump of muscle or even the image of courage constitutes the corpus of the meaning structure of the word heart.

In the analogy to green, the color as a hue represents a fixed form of the process by which the color appears in the world, in the way that a plant manifests in the world, or the way in which the color of transparent glass or water appears to the senses. In a higher way, green is a corpse of the process by which light becomes a manifest form. When light is involved with the process of photosynthesis in a plant, green arises as an image of this process of light becoming form. The actual chemistry of photosynthesis is in turn an analog of the way in which this process of light becoming form exists as a word-like activity in the life of the earth. In all of these aspects of the color green, we can see an image of the creative word-like forms of existence which will eventually manifest or fall into specific things.

This mood of the fall permeates the soul whose inner life is given over to the forces of green. We could say this falling of the light into manifestation is the dominant mood of the soul drama of the green persona.

What is perceived by the green soul is the drama of the cosmos of light falling or dying into form along with the yearning to be aware of this process in a conscious way. Once forms have fallen out of the light in the thinking the green soul finds itself contained in the forms as if in a prison that it cannot see. Psychologically this is the experience of fixed ideas. 

Magenta represents the creative light  arising out of the darkness. Green is the polar color to magenta. It represents the manifesting and formed activity of nature rather than the potential or creative side.

In turquoise, the green takes a turn towards the blue which represents the yearning to exist in the periphery; the yearning to have spiritual or cosmic forces consciously present in the biography. We could call this the yearning to experience the spiritual activity in the thinking. We could say that in turquoise the Word has not yet become flesh but dwells in the cosmic, spiritually active forces of cognition, the more potential forces of creative thinking. This is due to the oscillation in the green towards the blue pole. In the blue the cosmos is found on the periphery as an unmanifest potential. The blue falling into turquoise is an image of a situation where the cosmos is drawn towards a relative center. This is an image of an eternally active concept entering into the thinking process of a human being.

On the other side in the color lemon, the green makes a move towards the yellow which represents the yearning to ray out from a relative center. Here we could say the Word becomes flesh and dwells in humans and then seeks resurrection. The lemon soul lives in the tension between the ideal realm of ordered thinking found in green and the manifest demands of the darkness of the flesh represented by the movement along the hue band towards the warm colors.

Living in between the lemon and the turquoise, the green soul lives in the tension between blue drawing in from the periphery and yellow raying out from the center. Of all of the colors, the green souls are most aware of the lessons of self-sacrifice even though they sometimes must go to great lengths to actually do the deed of sacrifice. They are representative human souls who are distinctly aware of how the limitless cosmos falls into the manifest forms of commitment. Once committed the green soul can make a great contribution but it often takes a great suffering to get them to commit. Seeing the inevitability of commitment is both the gift and the wound of the green soul. We will now look at these three colors separately.

GREEN

We saw in Chapter 1 (of Colors of the Soul) that green resulted from the deintensification of the two primary colors blue and yellow.  Esoterically the color of the light itself is green. The green arises where the lightest portion of the spectrum is found. As the forming power of the light, green stands opposite to magenta where the darkness reaches its zenith. Gold, long associated with the sun, can be beaten into extremely thin sheets. This is done so that guilders can attach it to windows. When the gold is on the glass it is actually transparent enough to see through. When we look through the beaten gold the world appears to be colored an emerald green color. The metal gold was considered by alchemists to be solidified solar light.

Among the minerals, the greenstones and gems such as jade and emerald are known for their hardness. The hardness of the emerald however is not without it’s paradox. When first mined the emeralds are soft and paste-like. They are gathered in this soft condition and put into light-tight boxes in order that they can cure and harden. In this process, fine cracks form in the gem making it impossible to find an emerald that is without some form of inclusion or fine hair cracks. This makes the stone useful for souls who are suffering from emotional dysfunction, and who need the life forces and the emotional forces to be reintegrated. These souls are dried out and need the plant-like green forces of life from the gemstone.

The greenstones, nephrites, and jadeites also come from a viscous or paste-like condition in the magma of the volcanic zones where they are found. The magma hardens then into the dense basaltic rock of volcanic plugs which outlast the softer rocks around them to form the plugs and dykes so typical of volcanic extrusions.  The initial softness of these minerals which turns into a remarkable hardness of the green gemstones is an image of the forming property of the light. The light which comes out of the darkness is a forming and hardening force compared to the fluid creative forces of the darkness itself. The paradox of green is that it is an image of the hardening forces that light brings to the creative, fluid nature of life. Green is present where there is great light which is becoming form and as a result, it is the most formed color in the whole color circle. A mood of delicate or exquisite loneliness and sacrifice pervades the soul yearnings of green. Green souls are extremely aware of how things that exist in potential can suddenly become self-limiting. They fret and have dramas around commitment issues. 

As we might expect from a color that has its genesis as light which creates the forms into which matter manifests, green contains a great paradox. A green soul is usually gifted with practical intelligence. They are often sensitive, self-reliant, and well organized. They can easily discern patterns in what needs to be done and they can do what needs to be done in a quiet and thoroughly efficient manner.  Living perennially in the light and perceiving what is word-like in the unmanifest gives the green soul the capacity to use intellect in a clear and objective way. Being aware of how the light of the intellect manifests into forms gives the green person a keen sense of order and they often exhibit a meticulous attention to details that pass by other less awake souls. This is a great gift but it also is a great burden. Seeing the lawfulness of supersensible patterns that stand behind manifest reality in a clear way makes the green soul prone to being a little too sensitive to pathological things in the outer world. Greens are sensitive to slight disturbances in form or in protocol that most others would not notice. After a time this sensitivity ends up being a reason to shut down from life as it is and retreat into a world made out of inner light of the imagination. Usually, this inner world is a lot “greener” than the one in which the soul is living at the present. When this occurs the gift of the green becomes a prison in which they feel trapped by the capacities which they use to organize the world.

Green is the color of the pigment which is used by plants to capture sunlight in order to create sugars. If the green color of the plant world were not so mundane it would be considered miraculous. Green is the color of the Holy Grail which, by legend, was carved from an emerald. The Holy Grail gave nutrition to each being exactly according to their needs. The sense of appropriateness and correctness of the relationships among the smallest things in life is the mood of the green soul. They serve the world in the most humble ways without expectation of being recognized. This is the fundamental worldview of the green soul and at times it becomes burdensome.

Imagine the feelings of a plant which exists as a free, spiritual archetype living as a being of light in the spirit world. This form of light must incarnate into the body of a plant, which will spend its life rooted in one place unable to protect itself from the vagaries of its environment. This is a bit of the soul mood of the green souls when they are faced with the prison of their own belief structures. This happens when their inner light of thinking manifests as thoughts and deeds which then surround them as the too often repeated circumstances of their lives. The pure light of thinking greens itself in their soul and becomes manifest as form. In its positive mode, their gift is the religious experience of the ordering patterns of the cosmic Word. We could say that the color green is the light that is carrying the drama of the fall within itself. This is simultaneously the gift and the dilemma of the green soul.

LEMON

Lemon takes the self-contained gesture found in green and moves it towards the yearning to ray out from a center found in yellow. Lemon represents the experience in the soul that the universal light of thinking has a personal nature to it, in contrast to the universal nature of the thinking. We saw that in the green soul the light is felt to be more of an objective part of the world. We could say that the formative principle or activity of the light is most important to the green soul. To the lemon soul, the personal experience of the universal light as personal thinking is the most important mood. In the split between the universal ideal manifesting as order found in green and one’s own personal inner life experience we find the simultaneous gift and wound of the lemon soul.

Lemon is the first veil of darkness in front of the light. When this deepens into a true yellow the yearning in the soul will be to ray the thinking out from the center of the being. In lemon, the raying out of the light is not complete. The lemon soul experiences the green coming into form as a personal inner experience or challenge. The turn towards yellow self-expression is not complete.  The forces of awareness are not yet raying out, but they are experienced personally instead of universally. We could say that the lemon soul has a personal relationship to what they think, that their thinking process is a way of channeling instinctual personality urges into socially dynamic forms of thought.  There is great joy in the soul of a lemon to experience that the light of thinking that is living in them personally can be used to divine the highest of moral ideals. Morality itself is a humanly intuited universal idea.  The lemon soul is living in the light of thinking but is moving towards the darkness which is steadily increasing around them. As they move they are watching how thoughts need to arise to temper the instinctual urges of the flesh. This is the moral gift of the lemon soul.

As a result, lemon souls are in deep communication with both the angel in their souls and the devil. These two forces of light and darkness are ever present in the background of the consciousness as antagonists fighting for possession of the lemon soul. The high ideals of the light sphere are brought into stark relief when the lemon personality sees itself filled with the unsolvable paradox of dark instinctual gratification. The ideal and the real clash personally in the lemon soul as an image of the great struggle for existence. This manifests as a deep urge to control the situations of life through stratagems. Lemons feel the plight of everyman as a personal challenge requiring strict control of the environment.

Lemons are critically and personally aware of the cosmic struggle being waged within the souls of humanity. They are usually very competent people except where they personally get involved in other people’s emotional struggles. Their high intelligence allows them to see many sides to a problem but unfortunately, they cannot hold all of their points of view simultaneously and often give one answer to a question to one person and then give the conflicting answer to the next person.  Each answer is given in complete belief that they are acting out of total good faith and truth. This meets their emotional need to control the situation towards the ideal. Unfortunately, some situations require that a definite yes or no be given to all inquirers. This is difficult for the  lemon consciousness since thinking is experienced so personally as a direct force in the soul, the thinking of the lemon soul tends to be highly situational.

The lemon soul has a direct perception that every situation has both a good side and a bad side and they take great pains to identify with both sides of each problem. This makes for difficult relationships to those who depend upon lemon souls for answers. Since they are very intelligent and perceptive of the way in which ideas take shape in their own soul and in the souls of others they often are in a place of power in organizations. However high the position of the lemon soul is in an organization, they constantly feel the  pull of the anarchist to tear the organization down. This is due to the fact that the contrast between the actual luminous experience of thinking on one hand,  and the shadow of the thought falling out of the thinking process and becoming policy is such an evident death process to them that it is mistrusted by them. They live with the fear that they cannot control this death process.

Lemons can make thoughts reverse and convolute with a dexterity that can make your head spin. Their yearning is to personally experience the light of thought as it falls out of its cosmic birthplace into forms and policies. This is coupled with a deep desire to experience as much as possible the exhilaration of lifting dead thoughts back into the realm where they can potentially become anything once again. The lemon soul has a  religious experience of the Word becoming flesh and struggling with the dark forces for control of the soul.

TURQUOISE

On the cool side of green, turquoise is the color of the green moving back towards blue on the way to the darkness behind the light. While green lives in the experience of the light becoming form through the Word and the lemon lives in their personal experience of the light that has come through form into actual policies and social forms, the turquoise soul looks behind the light of consciousness to see how the Word exists before it becomes flesh, how the thinking moves before it falls into the manifest thought. Their religious experience of life is of the Word just as it is falling into the manifest thought.

In nature, the color turquoise is found in icebergs and in meltwaters in which there is very little mineral content or which are shone through by light reflecting off of a white bottom. Turquoise can be found on the membranes of animals who live in pure waters. It can be seen most amazingly by forming giant snowballs on mountain slopes where the snow is pure, hollowing out the insides, and then making peepholes. Looking inside one of these snow lanterns on a sunny day is a dazzling experience of the purity of the cool, cosmic, word-like nature of thinking just before it moves into the corpse-like manifestation of the body. To sustain this mood of the crystalline word-like nature of thinking hovering just before becoming flesh is the yearning of the turquoise soul.  Of course, this pure experience is bound to be sullied by the limitations and demands that the corpse of thinking makes upon the ideal nature of the human being.

Such a soul mood creates in the turquoise soul a deep respect and longing for truth. A turquoise question could be, ”Is the way in which my last thought was expressed in line with the movements of the archetype of the idea?” Or, ”Is the corpus of my thinking connected to the true biography of becoming of the idea?” Without the effort to find and speak the truth the whole human drama is without meaning for the turquoise soul. 

 As a gemstone turquoise is a compound of copper, alumina and phosphorus. Warmth (copper) and light (phosphorus) meet the earthly clay(alumina).  Like the emerald, it too starts out as a paste and only slowly hardens. It does not harden into the hardness of the emerald but it remains softer due to its origin in the clays. After turquoise is mined it loses its color especially when near heat. If worn on the body it is damaged by perspiration, fats, and alkalis. Turquoise is used to stimulate healing processes and traditionally it was worn to protect the wearer from bodily harm. The mood of turquoise as a soul color reflects these body sensitivities.

The soul yearning of the turquoise soul is for the truth to manifest in the world. They expect that their daily affairs will reflect the cosmic ordering of the Word in an exact way. They make sure that they adhere to the truth in their thinking as much as they can and they will defend to the death principles which they have found to be universally true. Turquoise souls are the human canaries in the coal mines of moral imagination. They spend a great deal of time contemplating where we come from and where we are going when we leave the earth. They yearn to have the same feeling of order in their daily affairs that they get when they contemplate the mystery of the divine word in the ideal realm of the mind. All of this striving for truth in living can sometimes be exhausting to a turquoise and when they are in a situation which taxes their good will they can be very withdrawn and aggressive about their ideas. They are in contact with the mysteries of the darkness which is just one step behind the light. They have not yet left the circle of light in which the act of thinking is experienced directly, but they have taken the first step into the deep cool darkness and sense the long journey towards the cosmic periphery.

Lemon souls are aware of needing to ray out their experience of the light falling into the forms of life in which they are engaged. They find the Divine in personal social relationships. They yearn to speak to the periphery.

By contrast, the turquoise souls are aware of the ways in which the light of the cosmic Word can exist in the form of ideas that hold universal truth. They find the Divine in the truth of ideas. Their wound arises when the direct perception of ideas becomes linked to the analysis of physical facts. The turquoise persona yearns to speak from the periphery.

The green souls are living in the experience of the way in which the cosmic Word falls from potential into manifestation. They find the Divine in small things. They are seers and servers of the Word. The turquoise soul is striving to speak the Word.

THE COLORS WITH LIGHT BEHIND DARKNESS
(Standing in darkness looking toward light)

YELLOW

In tracing this motion the fundamental imagination is that the yellow arises as the second veil of darkness in front of the light. Physically the color yellow has come from the earths as the ochres which derive color from such metals as zinc and iron and minerals like sulfur in the lower octaves. The more rare minerals and metals such as cadmium and chromates of lead serve as yellows in the higher octaves. All of these metals and minerals point to an abundance of warmth.  There is the mood of light and warmth wherever yellow appears in nature.

In the sunrise or sunset, yellow represents the color which is very close in sequence to the appearance of the actual sun disc. It is present in abundance when the sun is just about to rise and is just about to set. We see it streaming out from the sun on the horizon and when we feel it is inwardly telling us of what is about to be born or what could be.

In the soul dynamics of yellow, there is a mood of excited expectation. The expectation is centered around the cognitional experience of coming into being or coming into incarnation. We could call yellow the color of the draperies of the threshold of darkness that surrounds the light of knowing. It is the soul color of the experience just outside the manifesting light of the holy of holies. The conscious experience of thought arising as the light of knowing in the being of the soul is the essence of the color yellow. In yellow, there is the yearning of the soul to know what it is to “be” a knower. The soul under the influence of yellow is yearning to know being. Not necessarily to know anything specific about being, that is more a turquoise gesture. But in yellow the sheer experience of being a being who knows forms the fundamental soul yearning.

The light is representative of the revelation or knowledge of the deed of knowing. The darkness is representative of all that can ever be known.

The soul which lives in yellow is fascinated with it’s own capacity to become one with everything that is in existence. Yellow brings with it the mood that the whole of life can be understood in a prolonged state of infinite potential. In yellow, the second veil of darkness over the light of knowing, the feeling exists that everything is ultimately knowable. To the yellow soul they live for the direct, mysterious experience of the few delicate veils of the dark unknowable, spread over the light of knowing. The soul which lives in yellow is fascinated with it’s own capacity to become one with everything that is in existence. Yellow brings with it the mood that the whole of life can be understood in a prolonged state of infinite potential. To feel that the power of thinking can create anything it wishes is yellow.  As a result, the yellow personality is forever looking at the new and shunning the old. Lasting relationships are a trial to a yellow personality. They lack the excitement of the sunrise or sunset and resemble the pale and bleached condition of the colors at noon. This can lead the yellow soul to a constant dialogue over questions of what can, and what cannot be developed in life.

To that which can be developed the yellow personality feels a great sympathy. To that which cannot be developed the yellow person feels a great antipathy. When yellow dominates the personality the soul spends much time being concerned over the sympathies and antipathies which they hold inside. The abundant intelligence of the yellow is focused on making categories of antipathies and sympathies as a way of mastering life. The extreme focus on sympathies and antipathies often produces in the yellow soul a deep mood of romantic rebellion in which maintaining the ideal states of things is the goal of life. The yellow soul is in contact with the romantic idealism of youth and spends much time living in a dramatic way into the polarities. Like the yellow on the palette of an artist they can easily be sullied and are very sensitive to the influences of the soul colors of those around them.

ORANGE

The intensifying of the yearning to know as the soul moves from yellow into orange gives rise to soul feelings that what is known is more important than the direct experience of knowing which was present for the yellow soul. In orange, the conflict between the light and the dark is intensifying. This intensity is found in both the gifts and the challenges of this persona. We could say that in orange, one more layer of shadow has come over the light. We can get the feeling that in orange the light of the thinking becomes warmer and denser for the soul. Orange has less of the immediate force of the light of thinking and more of the warmth of the effort of struggling out of the darkness. In orange, there is still the underlying force in the soul of wishing to ray out from a center. But now it is more intensified, more densified, and not so light. In orange, there is present a great enthusiasm for raying knowledge out to others as if the thinking had to penetrate dense physical boundaries.

The physical production of orange as a pigment comes once again from sulfurs and chromes and resins, all exemplary of warmth forces. The intensifying of the yellow into orange brings with it an increase in warmth and enthusiasm but a diminishing of delight simply in the experience of thinking. In the orange, the thinking becomes linked to goals and the enthusiastic acquisition of knowledge.

When found in the atmosphere the orange of the sunset occurs before the sun actually goes down. From about three hours before sunset until the sun comes near to the horizon, the orange tones dominate the clouds slowly deepening to vermilion and only yielding to the yellow when the sun sets. In the sunset and sunrise, the orange and the vermilion stages are often merged together. They mingle in a fluid ballet of tones and passages which tumble, one after another in quick profusion. Often the atmosphere itself with its fine dispersed vapors appears as the yellow hue, as the denser cloud forms take on the oranges and vermilions. These color relationships at sunset reveal an essential quality of these colors, the deepening ardency of the yearning to ray out through the darkness as the yellows deepen into reds. This is due to the layers of shadow that the light encounters as the increasing degrees of darkness fall around it.

 As a mood of soul, the orange brings the mood of great enthusiasm. There is a defining mood living in the orange soul that life consists of a struggle that inevitably leads humanity towards an ultimate state of perfection. For the orange soul there are definite ways towards this perfection and they are inexhaustibly determined to make sure that these ways to perfection shall prevail. The orange soul has an enormous reservoir of enthusiasm for things that lead to perfection. Nothing is too daunting for these souls as they set out in the lurid oranges of a waning sun with a mission for bringing the idea of perfection to a fallen humanity.

There is little of the romanticism of the yellow but a great deal more of the idealism in the orange. The yellow soul can abandon issues easily when new things come up. Not so the oranges. Once a commitment is made to a particular ideal the chosen ideal becomes the ONLY ideal that there is. This attachment to a particular ideal is indicative of the fact that there is a conflict in the orange soul between the ideal and the real. There is a similar conflict in the soul of a lemon person but that issue has more of a fundamentally religious and personal nature and involves the self-image of the soul as a moral being. For the orange, the search for perfection is less an individual quest and more a universal mission. The yellow yearning to ray out from the center is deepened in the orange into a great mission to achieve perfection in something of great import.

The lemon has personal moral angst since it is so close to the light of the spirit.  By contrast, the orange has universal angst. We could say that this is because the orange experiences a more intense element of shadow and light. Out of this intensity can come a great yearning to accomplish things that are perfect. The conflict in the orange can result in a driven and obsessive push to manifest the perfect at all costs. The orange soul can be obsessive about its mission. Their sense of mission is for particular projects which can be achieved as goals. When the goal is achieved the orange personality seeks to rest on their laurels. They work to attract others who are perceived as power players to support their mission, since to have power signifies a form of perfection. Both the lemon and the orange are deeply concerned with control issues and power. The lemon controls by overwhelming and surprising emotional outbursts. The orange controls by chronic and relentless nagging.

In the lemon their biology is at odds with their mind. In the orange their agenda is at odds with their nervous system.

VERMILION

The mood of vermilion is a deepening of the interaction of the intensified light with the intensified shadow element present in the orange. As the yellow yearning to ray out from a center is deepened through orange into vermilion the actual hue shift away from yellow is apparent. The vermilion is truly a red. The conflicted anxiety of the orange is not present in the vermilion. The drive to perfection which arises out of the tension between the real and the ideal which is characteristic of the orange soul is transformed in the vermilion soul for a yearning to encompass all that can be known. While the yellow soul is very conscious of the act of knowing as an existential experience, and the orange soul is focused on the pursuit of perfection in what it knows, the vermilion soul has become completely embedded in the products of knowing rather than the process of knowing.  Vermilions seek to collect and command universal knowledge.  These souls have transformed the yellow yearning to ray out from the center into a yearning to own all that is encountered in the raying out of the consciousness from a center.  There is a certain mood of omniscience in the soul life of the vermilion persona.

As the color progression deepens both the shadow content and the light content of the color also deepen. In the language of the soul the darkness of the original creation is the true creative power of Creator. The darkness is creative and the light reveals what has been created. From this perspective, the deepening of the veils of darkness and light to create vermilion is not a negative thing. It is a creative activity.

As the yellow yearning to ray out from a center is deepened through orange into vermilion the actual hue shift away from yellow is apparent. Vermilion is the fourth veil of darkness in front of the light. The first is lemon, the second is yellow, the third is orange, the fourth is vermilion. As the color progression deepens both the shadow content and the light content of the color also deepen. We could say that in the language of the soul the darkness of the original creation is the true creative power of Creator. The darkness is creative and the light reveals what has been created. From this perspective, the deepening of the veils of darkness and light to create vermilion is not a negative thing. It is a creative activity. The red is an image of the enhanced light of thinking entering into a manifest body of flesh. This is a universal human experience. When this occurs the soul is thrust existentially into the dance between what is revealed and what is still in potential. This drama of the light of the spirit being imbedded in a body of flesh is at the very heart of the mood of the vermilion soul.

 In the yellow, this is experienced as the polarity between the act of knowing and that which can be known. The act of knowing is a source of sympathy. It is sympathetic because the knower and the knowing are intuited as being essentially one.  In contrast to the sympathetic nature of the deed of intuition, that which is intuitively known is a source of antipathy. It is antipathetic because that which is known is not us, it is something else. Earlier we called it a corpse.  In orange that which is revealed in the light and that which is still in potential are brought into a polar conflict. In the orange soul the focus is on perfecting what is known so that it becomes more ideal, more perfect. Ideally, this would create a world in which the ideal reigns. In such a world enthusiasm would be the dominant mood of soul. The forces of the soul are arranged by the orange personality in such a way that the ideal elements which still have potential and develop great enthusiasm are the focus of the persona. This is because orange souls are aware of the tension between the light and the darkness in a universal way. The orange seeks to avoid the darkness in favor of striving for the light in the realm of the ideal.

In the vermilion soul, the tension between the real and the ideal is deepened as the soul steps closer to the darkness. The deepened creative shadow element dominates the soul life of the vermilion and the light of the intensified consciousness experienced in states of knowing is engaged deeply in what is known.

The vermilion creatively collects as much knowledge as possible of both the ideal and the real.  Since the shadow or corpse of knowing is knowledge, the vermilion soul lives deeply into what is known, the shadow of the knowing. The vermilion soul revels in collecting the corpses on the battlefield of knowledge. Vermilions as a result live for the accumulation of knowledge by working as philosophers, librarians, archivists, and encyclopedists. Their fundamental soul yearning is a fiery quest to acquire greater and greater knowledge and then bask in the releasing of its power.

CARMINE

One step deeper into the darkness than the vermilion, the carmine soul introduces a mood of blue into what has been decidedly a warming trend. In carmine, the consuming fire of the vermilion is tempered into an ardent inward mood that does not let its forces dissipate as it seeks to intensify the motif beginning with the yellow raying out from the center. The red of the carmine still is turned outward from the center into the ever-growing darkness, but the outward motion is held in check by the inwardness of the carmine gesture. In carmine, the soul begins to feel the limits of the capacity to ray outward. The vermilion red takes on another veil of darkness and now we can feel that, in carmine, the darkness is beginning to outweigh the light.

Earlier we had characterized the darkness as creative and filled with potential. In carmine, there is the hushed expectancy of a mystical union between the darkness and the light of thinking. The light of the thinking consciousness ardently burns through all of the veils of darkness in carmine giving a deep and reverent mood. The acquisitive, assertive energy of the vermilion is gone and in its place, we find a still, tempered red, paradoxically full of force and being yet barely moving.

Each color bears within itself a paradox and the paradox of the carmine is to be intensely active and forceful while remaining still and stable at the same time. This paradox is the experience of the human higher self living in the carmine hues of the blood. It must be tremendously active since it is an image of the transcendent human being, the very essence of realized will. Yet at the same time, the higher self is most like itself when the soul is silent and poised without thought or image like the unruffled surface of a still pond. This paradox between intense creative action and deep inner repose is the essence of carmine.

The creative forces of the darkness are present to a large degree in carmine. These account for the turn towards the blueish side of the color wheel. There is a gulf between the vermilion and the carmine. The outwardly volatile flaming red suddenly gives way to a cool yet inwardly intense devotional red even though they are adjacent to each other in the color circle. The same type of turning is present in the shift between cobalt blue and turquoise which are the polar colors of vermilion and carmine. The cobalt, in moving away from the light towards magenta, takes the motion towards the red side of the circle and the turquoise, moving towards the light, takes the motion towards the coolness of green.

The carmine reminds one of the votive candles in a church each with its light shining out through a carmine glass. It is this mood of devotion and peaceful mystery coupled with the intensely powerful stillness that is present just after the sun sets. First, a yellow glow as the sun reaches the horizon then orange rays streaming out from the place where the sun will touch the horizon. Then, as the sun is actually setting, the flames of the vermilion leap up to touch the clouds. As the sun sets the mood deepens and on the clouds the carmine approaches from above, tempering the flaming vermilions into darker more somber, more inward hue of carmine.  Finally as the sun’s glow recedes far below the horizon the mystically potent hues of magenta descend from high above. Since magenta is the result of intensification of both the blue side of the color circle and the yellow side, magenta will be treated at the end of the chapter.

THE COLORS WITH LIGHT IN FRONT OF DARKNESS
(Standing in light looking toward darkness)

COBALT

We have seen where the turquoise leads the way from the green pole into the cool side of the color circle. The first veil behind the light is linked to green as it is called blue-green. The next veil of darkness behind the light is cobalt blue.

In cobalt blue, the mood of the color has shifted towards the red end of the spectrum even though the cobalt blue is polar to vermilion. This is because the cobalt blue has an undertone of magenta or carmine in it. For this reason, when the movement into the darkness behind the light intensifies, the cobalt blue eventually ends up as magenta. The turning point away from green towards red occurs with the movement from turquoise to cobalt blue. This polarity can be seen in nature in the difference between the sky at the horizon which is turquoise, and the sky overhead which is cobalt. When we look at the horizon we are looking through more veils of the turbid medium which is being illuminated by the light of the sun. It is as if we were backing away from the darkness beyond the light to stand in the colors around the light when we are looking at the horizon. Looking up we will be seeing through a thinner veil of the turbid medium and the darkness beyond will make a stronger impression of a deeper color. This stronger darkness behind the light of the turbid medium directly overhead is cobalt blue. The sequence is even more developed if they go to the top of a mountain or fly at the top of the atmosphere in a jet plane. From a high altitude, the sky becomes bluer as we look up, and then finally overhead the neutral blackness of space becomes evident. The neutralizing of the cobalt blue into indigo is the next step toward the darkness both in the color circle and in the atmosphere.

In the ancient world, cobalt was used in the production of blue pigments. Stained glass windows and glazes for pottery were some of its uses. Cobalt is a pigment that has intimate reactions to bases such as ammonia. Ammonia or lye was used in the rendering of the pigment which suffered degradation if it was ground too finely. The chemistry of bases and acids and salts is found in the cool side of the color circle. To an alchemist, the processes involving these elements is known as universal salt. Universal salt also refers to a process by which something which exists in solution forms a precipitate. To an alchemist, universal salt was the process by which thinking came from the fluid darkness of the eternal all into manifestation as a thought in a human being. Thinking was the salt element that the human being introduces into the creative chaos of the Godhead. It is fitting that in the production of cobalt blue such a process is used. 

As was mentioned earlier, the turquoise is more of a paste-like formation. Cobalt is a metallic ore with a silvery sheen. The cobalt calls up spaces farther out towards the periphery than the turquoise. The deep dark of the night sky has cobalt and violet undertones. Finally, the cobalt color was used traditionally to render the outer mantle of the Virgin in pictures of madonnas. The cobalt is reminiscent of the enfolding security of the outer starry realms to which we return when we are in dreamland.

The cobalt soul has feelings which are images of these forces. The cobalt soul lives near to the light, yet they are intimately connected with the mood of the dark cosmic periphery. They look to the periphery as to a great mother full of longing and remembrance. The yearning is to incarnate into the present life the experiences of the periphery, the impressions of the creative darkness which lie behind the light, and which are cosmic and dream-like. These oceanic experiences live in the cobalt soul like memories of a distant land in which everything had its proper place and function.

Great feelings of connection, tradition, and continuity can arise from the cobalt mood. Patience and endurance for the daily setbacks are part of the great well of goodwill in these souls. Since they spend so much time remembering how it was when we were all held in the bosom of the great silent spaces of the night, the cobalt souls have deep insights into the mysteries of compassion.  In the social realm, they have a fundamental need for feeling that justice is done in the world. In a group, the cobalt souls will be the bellwethers of the path of action that most benefits the whole. Their consciousness lives in an easy, almost innocent way in the periphery. The cobalt soul loves children and things that are uncomplicated, childlike, or naive. They may even be so fond of the naive that they appear to be developmentally challenged. What is childlike in them has not fully incarnated into this life. It still is living in the periphery of the womb of the world. This realm is the focus of the cobalt soul.  The light of consciousness is to their back. They live near to it but are not of it. Their yearning is to be one with the forces of the periphery in the creative dark womb of the cosmos. There they can find deep peace and transcendent understanding of the dramas which they encounter in daily life.  The storm and stress of getting ahead in life in the world is alien to their deepest soul moods.

In all of this cosmic remembrance, the struggle of the cobalt soul is to feel like participating at all in things that seem so tawdry as making a living or promoting oneself. They are often seemingly homesick for the good old days when things were better. Being on time or meeting deadlines are often too taxing for the periphery-centered gaze of the cobalt souls. They have such compassion for the underdog that they often fail to understand the benefits of discipline or the effort to improve oneself.  They are extremely vulnerable to criticism and will often shun success in favor of maintaining a balanced inner life free of the stress of potential failure. The cobalt souls yearn to be eternally childlike, uncomplicated, and serene. Theirs is a difficult life in situations where they must go out and stir the pot in order to stimulate some enthusiasm among others. They will say that such things are better left to a vermilion.

INDIGO

With indigo, we take a step farther back into the darkness behind the light. The turning towards the warm side of the color circle in the introduction of red in the cobalt is taken a step farther in the graying of the cobalt into an enigmatic slightly violet gray that is the color of the bottoms of big rain clouds. Every paint manufacturer has a different formula for mixing indigo. Some are purple and like the color of a dried plum, some are blue like steel, and some are truly gray like fresh cut lead. Whatever the combination each variation can be seen in the mineral realm as an accompaniment to feelings of uneasiness and foreboding.  The production of the color indigo as a dye plant in the middle ages was, according to some scholars, the first technological disaster. Indigo comes from a plant called woad. It is voracious plant which quickly exhausts the properties of the soil. Typical tillage practice was to grow the woad for a few years until the soil was exhausted, and then abandon the land and move somewhere else to take up cultivation. The production requirements of woad also put a great burden on the environment. Great stretches of creeks and rivers were polluted by the waters needed to process the woad into dyestuff. The soft gray of the indigo was much prized but its’ environmental record was abysmal. Small wonder then that the indigo color moves the soul into the dark space between the worlds of the living and the dead.

 The indigo soul is a person who has been delivered a blow by destiny or has suffered a loss and is still not sure how to deal with their feelings. For some reason, often not known consciously to them they have seemed to step through an invisible door into a world of pain, misunderstanding, and depression. To an indigo soul, life has lost its challenge and interest.

Colorwise the indigo person has made a further turn away from the light than the trusting mood of the cobalt. They exist between the light and the deepest darkness as if in suspension. In this space, the person can find no source of light either in front or in the back. This brings a mood of despair and disinterest into a previously engaged soul. The reasons are many as to why this could happen but the indigo mood is similar to a fog that just creeps into the soul and often very suddenly everything around is colored the same leaden gray. These people are in contact with the mood of the space between the worlds. While the cobalt souls looked longingly at the starry blue sky and recognized the warmth and creativity of the peripheral forces, the indigo soul is in a turbid gray drizzle with no stars or warmth in it. There is no periphery, and there is no center. There is just the waking up every day into a life devoid of color except for the mood of the leaden mineral like indigo. The motion of the soul away from the light and into deepening darkness is a journey filled with challenges. These come to a head in indigo where the soul dies into an abyss. In violet the next color in the movement towards the darkness the soul awakens in a new land across the abyss that stretches between the experience of the abyss and the creative darkness of the periphery.

VIOLET

The next step into the darkness puts the soul into the color violet. It is the fourth veil of darkness behind the light. In violet, the smothering fog of the indigo abyss has lifted and the soul can experience that it has life after it dies into the space between the worlds. Violet is found in gemstones such as amethyst and in some garnets. It is a curiously warm darkness. It is both blue and red at the same time.  Very few animals have violet as part of their coloration. It is generally present in atmospheric effects only during times of the transition between light and darkness. Violet as a pigment is very fugitive, meaning that it is difficult to form a violet pigment that is lightfast. A painting with violet starts to drift away into space almost as soon as it is completed. Only by painstaking craft can color manufacturers make a mordant that will allow for the delicate shades of violet to be captured and remain. If we take an iris flower that has a delicate hue of violet and we put it in alcohol to try to obtain a vegetable color very soon the violet flees the solution and in its place, a sappy verdigris green remains that looks like the patina on copper. The violet, released by the spirit of the alcohol, has left the green corpse of the color of the flower and gone back to the periphery. Such is the mood of this color. Violet, the color over the spirit rainbow, is way up high.

 A soul that is filled with the mood of indigo can sometimes break through into the mood of the violet when the suffering in the abyss is complete. The leaden indigo fog suddenly lifts and the darkness beyond the light is animated with sober, delicate presences which seem to hover in the near darkness bringing messages which cannot be divined clearly but are experienced directly. This is the threshold mood of violet. Is it this or that? It is hard to tell where the blue begins and the red leaves off.  In violet, the blue note dominates the red but both are present. The intensification of the darkness towards the magenta has taken a definite step in violet. A new world made of values that can best be found beyond life on earth is found. In contrast to the palpable knowings of the colors around the light or the brazen accumulations of knowledge of the colors in front of the light, the mood of violet is awash in not quite knowable presentiments of things that could only be known if one was alone and quiet long enough to hear into the still, violet tremblings of the soul as it responds to unseen presences.

While the cobalt soul is devoted to the memory of the periphery, and the indigo soul is foundering in the abyss between center and periphery, the violet soul is devoted to listening attentively to the movement of the creative darkness in the periphery. These violet souls are in almost constant contact with the peripheral forces which, raying in from the outside create the potentials from which life unfolds. This work of divining the motions of the creative Godhead is demanding of the violet soul’s utmost concentration.  In these souls, there is a great deal of sober, patient waiting in silence.

The yearning to divine the deepest secrets which lie across the threshold into the darkness beyond the light is the mood of the violet soul. They bring devotion and clear-headedness to their activities and a tremendous acceptance of others’ failings. Their perspective is a long view of human nature and they understand the abyss between the worlds because they have the capacity to maintain a day awake consciousness in places in their soul in which they would normally be dreaming. Their perceptions of the spiritual dimensions playing into daily life give them the capacity to be honest and dutiful in their daily work. They can clearly see the paths of the spirit in the world and when they are balanced in themselves, they can often bring lessons from the other side of the abyss into the world on this side in practical and creative ways.

Like cloistered clerics living in remote aesthetic chapels, the violet souls build a world in which the quiet impressions from yonder can be integrated into the world which is made manifest by the light which casts shadows on this side of the abyss.  Violets find ways in which their higher sensibilities can serve the world. They often are passionate supporters of the arts or of initiatives fostering the spiritual life. They can be devoted to causes and sacrifice unstintingly of their time and money, but only if they can do it under their own conditions. The conditions usually are that they want no recognition or acclaim for their work. This stems from a mistrust of the light of scrutiny and acclaim. They prefer to work in the elegant and spiritual atmosphere of the moving darkness behind the light.

However, for all of their insights into the spiritual world, violets can be out of touch with their own biography. They have few very close friends because a close friend would try to enter into their private world across the abyss. They often have the feeling that if light is shed on the hidden world of the periphery then that world would evaporate into a mist and be threatened with extinction. The world in the darkness at the periphery is sacred to the violet soul. It is so sacred that it can sometimes evolve into a delicate prison from which there is no escape. When this happens a feeling of aloof arrogance can spread through relationships with people on this side of the boundary between the worlds. In the violet soul, the relationships in this world are tenuous at best and are delicately structured emotionally.  When these relationships to others break down it is usually because the violet person senses that someone is getting too close to them and that they will have to reveal the depth and richness of their inner world. This is suspect to violet people. When faced with this option, the gloom of the abyss threatens to pull the violet soul down into the fog of despair and whining. The violet personality can then become a great complainer. They flop and they whine and they brood. By contrast, when a violet soul develops the power to sustain consciousness in the realm beyond the threshold they can navigate serenely and surely in the darkness beyond the light.

PURPLE

Some souls live in the farthest darkness behind the light in the color purple. In purple, the delicate blue-ish tones of violet become intensified towards the magenta by turning into a reddish color which, though still cool is the source of numerous variations. Paint manufacturers have an extreme range of colors to choose from which they call purple. Everything from very cool somber tones of the fruit of eggplants to the russet tones of plums could be called purple. While true violets are hard to find in nature except in the most delicate situations,  purples are everywhere. They usually signal the end of a ripening process in the plant world. A typical ripening goes from a green color through yellow and orange to some form of red and finally when dead ripe, purple appears as the stage before rotting. Watch a peach ripening and this sequence will be seen. Purple is the end of the line, the deepest depth of the periphery. As a result, the mood of the purple souls is, “The buck stops here”.

These souls are the political animals of the color circle. They are as gregarious as the violets are loners. To a purple soul, the world is their oyster and all the players in it have a relationship to them. This might seem to be a bit inflated but the purples are usually given their places in the sun by common agreement since they are the very core of courteous and tactful tolerance. The purple soul exhibits a largesse and magnanimity that is second to none. They are usually found in the halls of power in a position of authority. They are charming and well connected since they are deeply aware of the ways in which power flows from the deep creative wells on the periphery.

The purple soul is living in places where not many can find rest. The goldfish bowl of public opinion is readily accessible to their understanding. They love being in power and exercising authority and do so in a way that seems natural for all involved. They are socially adept and flexible, matching the tone and delivery of their message to the mood of those who are hearing it. Purples are great people to have around when things are in chaos. Since they live so deeply in the darkness behind the light they are no strangers to controversy. They may even seem to need to draw chaos and controversy to themselves since they often must repeat in public, errors that would completely destroy the balance and self-image of any other soul. It is as if the purple soul is trying to taste the entire gamut of power struggles in order to find some sort of satisfaction in life.

The fascination with power and their association with persons of power gives the purple soul a feeling that they can do no wrong and that they have a manifest destiny to follow their star no matter how hopeless, no matter how far. The purples are on a quest and their own sense of authority is usually the barometer to which they listen when the chips are down and a decision needs to be made. Given these patterns, the fatal flaw of the purple is being prone to inflation. With these folks it’s either my way or the highway. In the purple version of inflation, the lessons are before God and everybody because that is just where their yearning to be seen lies. The purples wish to be seen by everyone. They want to be everyone’s go-to person.

Inside they have gnawing doubts about their capacity to lead which get instantly dissolved and neutralized as soon as the lights go up and they are once again on stage for a photo op. In the quiet of their own souls which is a chalice of repose and refreshment for a violet, the purple soul finds only self-doubt and voices which threaten them with the dire sentence of living in obscurity.  So they will call a meeting at any time of the night or day to once again bring those around them who acknowledge their power. That or they will make an illicit relationship that threatens their entire life’s work because they have a desperate need to be seen as a person who is above the common cut. Anything to escape the “blah” existence of those who do not seek power. Their power is great and their suffering is just as great. They are driven people who get a lot of things done. They have a tremendous will to succeed and they are extremely loyal to those who give them support. Unfortunately, their loyalty does not extend to those with whom they are most intimate. To these persons, the purples can be most demeaning.

Purples are living in the darkness in which many fear to tread. The purple soul is not the most creative color, that mood lies in the magenta soul the next step into the darkness. In contrast to the irresistible fascination for creative self-expression which seems to be the mainstay of the magenta soul, the purples truly are interested more in dealing with the ways that power works in the world.

MAGENTA

In magenta, the raying out of the yellow from the center and the blue journey through the darkness at the periphery reaches a mutual climax. In magenta, the darkness has completely engulfed the light. The creative forces are only barely revealed as the carmine power of devotion and the purple power of authority both shift into a metamorphosis that almost defies description.  From where does such a pure and vibrant pink arise out of the deepest darkness? In the sunset, the magenta flashes into being just when the sky seems about to fade into the darkness of night. Magenta descends from above like the aura of an angel coming to resurrect the light out of the crypt of the invading gloom. Magenta is a fleeting, shimmering bolt out of the dark blues and purples of the nighttime sky coming briefly down to earth from some high celestial place just when the darkness threatens the light.

In nature, it usually appears in the most ephemeral phenomena. It is not often a color found in flowers that live in the sun. It is found on blossoms that like the shade or that produce flowers that are short-lived, blooming for a day or two and then withering. This mood of magenta is indicative of the dynamic of its paradox. It is a light that appears when the darkness is greatest. It is the brilliant color around which the darkness has reached its zenith. Counting layers of darkness from the lemon, the magenta is seen as the sixth layer of darkness in front of the light. Counting layers of darkness from the turquoise, magenta is also the sixth layer of darkness behind the light.  This makes it the most shadow-filled color, which exists paradoxically the farthest in front of the light or the farthest behind the light. In this paradox lies the magic of magenta.  Something very mysterious is going on between the magenta and the purple and the carmine. Somewhere there is a shift of focus, a sleight of hand where the front becomes the back and vice versa. This mysterious shifting is the essence of the color experience of the magenta soul.

Since it is so filled with darkness the magenta contains great creative energy. In magenta, the yellow yearning to ray out from a center is completed. Likewise, the yearning to ray inward from the periphery is at a maximum.  In magenta, the light at the center is very far away. The assurance of clear day awake thought is not part of the mood of magenta. It is creative in a Dionysian, chaotic, and intuitive way.

Magenta is the color of the creative forces of the Godhead. Insight comes from far above to the magenta soul. The insight is also usually accompanied by soul darkness and the inability to think in logical structures.

In the movement from the yellow to magenta, we could adapt a temperamental sequence from Goethe which may prove instructive.

• Yellow, the color of lovers or actors;
• orange, the color of diplomats and generals;
• vermilion the color of philosophers and scholars;
• carmine, the color of priests and public servants;
• magenta, the color of geniuses and madmen.

The moods of the colors are a result of the gradual intensification of the yearning to ray out from a center. As this tendency has gradually deepened from yellow to magenta, the mood of the soul has shifted from one of lighthearted joy arising within the act of thinking to deep creative inwardness bordering on soul pathology. The intensifying process has enhanced the soul gesture of raying out and deepened it into its polar condition of delving deeply within the soul for the roots of one’s own genius.

Likewise, the movements from turquoise can be instructive. The turquoise is aware of the way in which the Word becomes flesh. The turquoise soul lives where the creative forces of the idea, which originate at the periphery come into actual fact. In turquoise there is a  yearning is to live more fully in the periphery which is the source of the ideas. This yearning becomes more intensified in the cobalt blue where the soul yearns to become one with the memories of its existence before birth when it lived as one with the forces of the cosmic periphery in the starry heavens. This yearning is enhanced when the soul takes a step deeper into the darkness and lives in indigo. Here an abyssal experience of living between the worlds of life and death is present as a daily experience. When this is deepened into the violet color the soul is present as an awake witness to the activity of the archetypes living in the periphery of the cosmos. When this is intensified the soul lives in the far periphery of the darkness in contact with the power of the cosmos to create out of the authority of cosmic being. The next step into the peripheral darkness puts the soul beyond the reach of power and knowledge into the realm of creative wisdom itself experienced as intuition.

The magenta soul, moving beyond the beyond is, in the last resort, not concerned with ideals nor philosophical truths but is filled with the mood of the periphery of worlds where hidden truths are suddenly and mysteriously revealed to souls who wait silently in the deepening darkness. Magenta is a powerful color for bringing about changes in the soul. It bursts into a self-imposed prison of misery and doubt where it flashes out of the deepest darkness bringing with it extreme forces of dissolution and transformation. Those souls living in magenta are the ones who have taken steps into creative oblivion that other souls deem too dangerous to try.

In a human biography, the magenta color can arise as the harbinger of a time of great change or upheaval. The transformative energy of magenta is extreme but it is very healing. Magenta reminds us of the creative power of the Godhead and the debt we owe to the deeds of other beings who are greater than us. Beings who have sacrificed so much so that humans could taste the heady, magenta-colored wine of freedom. The ultimate color of the light of human consciousness shining out through the blood is magenta.