An Approach to the Proem
of “The
Secret Doctrine”, by
Helena P. Blavatsky
Steven H. Levy, M.D.
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The following text was
first published
at the “E-Theosophy” Yahoo e-group in
2011. Steven H. Levy is
an associate of the United
Lodge of Theosophists,
ULT, in Philadelphia , USA
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There are three
introductions to “The Secret Doctrine” (SD)[1]. There is the “Preface” in which H.P.B.
states the purpose of the book. There is the “Introductory” which explains the
need, intended purposes, and right attitude of study of the book. The third
introduction to the SD is the ‘Proem.”
A proem is a special kind of introduction that serves
specific purposes. In classical
literature, it sets the tone of epic narratives by invoking the muses or
offering a prelude to a hymn. However, it was also used to reveal the main
content of a work or speech. Regarding the use and effect of proems, or
introductions, Aristotle notes that they:
“…produce the
same kind of effect as the dramatic prologues and the epic exordia…they provide
a sample of the speech, so that the hearers may know in advance what the speech
is about…Other forms of the proem help to remove or create prejudice…to secure
the hearer’s good will…(and) to engage
the hearer’s attention or the opposite.” [2]
There is symmetry and proportion to “The Secret
Doctrine” (SD) such as characterizes the ancient temples of Rome
Each in their own way align themselves with the
purposes of the proem to set the tone, invoke the muses or sources of
inspiration, introduce a hymn, reveal
the main content of the work, engage the reader’s attention, and attempt to
remove prejudice and secure the reader’s good will.
The “Proem” reminds the student that the SD is also a
book of poetry, a devotional book that has the same effect as poetry to arouse
the intuition and imagination in the reader or hearer. Introducing each of the
volumes of the SD, as well as the thesis of each section, are stanzas from the
“Book of Dzyan.” A stanza is a section of a poem containing a number of verses
or slokas. The word “sloka” means “song” and comes from the Sanskrit root, sru,
meaning “hear.” Even in the English translation the stanzas are clearly
characterized by the symbolism, rhythm, and lyrical qualities of poetry. The
Proem invokes the sources of inspiration. Hesiod refers to the Muses as the daughters of
Zeus and Mnemosyne, who preside over and inspire the arts and sciences,
especially poetry and philosophy. The
Mother of the Muses, Mnemosyne, is the goddess of memory. The Proem speaks to
and invokes the memory of the Soul, reminiscence or intuition, which will
inspire the sincere reader in the study and comprehension of the SD.
The symbolism in the Proem is the language of the soul
and the storehouse of the accumulated wisdom of the ages. The apprehension of
the few fundamental conceptions offered in the Proem is necessary to the
understanding of all that follows in the book, and the skeleton outline of the
subject matter of the stanzas makes the task of grasping the grand scope of
cosmic evolution easier for the student. Besides revealing the content of the
book in this threefold way, the Proem introduces a very specific hymn.
Immediately following the Proem and prior to the Stanzas is the “Hymn of
Creation” from the Rig Veda that proclaims the identity and unity of the
student with the One, Divine, Eternity. The SD offers a path to the realization
of that unity, interdependence and oneness of all. The “Proem,” true to its
derivation from the Greek word “prooimos” (pro, before, and oimos, a path or
way), introduces the student to that path of spiritual knowledge that is
everywhere and nowhere. In closing, a
few excerpts from the SD will illustrate these points:
* “But such is the mysterious power of Occult
symbolism, that the facts which have actually occupied countless generations of
initiated seers and prophets to marshal, to set down and explain, in the
bewildering series of evolutionary progress, are all recorded on a few pages of
geometrical signs and glyphs.” (SD 1, pg. 272)
* “An Archaic Manuscript - a collection of palm leaves
made impermeable to water, fire, and air, by some specific unknown process - is
before the writer’s eye. On the first page is an immaculate white disk within a
dull black ground. On the following page, the same disk, but with a central
point. The first, the student knows to represent Kosmos in Eternity, before the
re-awakening of still slumbering Energy, the emanation of the Word in later
systems. The point in the hitherto immaculate Disk, Space and Eternity in
Pralaya, denotes the dawn of differentiation.” (SD 1, pg. 1)
* “A moment’s thought shows that such a state can only
be symbolised; to describe it is impossible. Nor can it be symbolised except in
negatives; for, since it is the state of Absoluteness per se, it can possess
none of those specific attributes which serve us to describe objects in
positive terms. Hence that state can only be suggested by the negatives of all
those most abstract attributes which men feel rather than conceive, as the remotest
limits attainable by their power of conception.” (SD 1, pg. 21)
* “Hence it must be left to the intuition and the
higher faculties of the reader to grasp, as far as he can, the meaning of the
allegorical phrases used. Indeed it must be remembered that all these Stanzas
appeal to the inner faculties rather than to the ordinary comprehension of the
physical brain.” (SD 1, pg. 21)
* “Before the reader proceeds to the consideration of
the Stanzas from the Book of Dzyan which form the basis of the present work, it
is absolutely necessary that he should be made acquainted with the few
fundamental conceptions which underlie and pervade the entire system of thought
to which his attention is invited. These basic ideas are few in number, and on
their clear apprehension depends the understanding of all that follows;
therefore no apology is required for asking the reader to make himself familiar
with them first, before entering on the perusal of the work itself.” (SD 1, pg.
13)
* “It would not be in place here to enter upon any
defence or proof of their inherent reasonableness; nor can I pause to show how
they are, in fact, contained - though
too often under a misleading guise - in every system of thought or philosophy
worthy of the name.” (SD 1, pg. 20)
* Once that the reader has gained a clear
comprehension of them and realized the light which they throw on every problem
of life, they will need no further justification in his eyes, because their
truth will be to him as evident as the sun in heaven.” (SD 1, pg. 20)
NOTES:
[1]
In the present article, “The Secret Doctrine”, by H.
P. Blavatsky (Theosophy Co., Los Angeles, 1982, two volumes) is referred to as
“SD”. The acronym “SD” will be followed by the number of the volume of the
work and by the number of the page the
passage refers to.
[2]
See Book III, part 14.
For an online version of
Aristotle’s “Rhetoric”, go to
www.classics.mit.edu/Aristotle/rhetoric.html
. In this version the translation is as
follows: “…Have the same value as the
prologues of dramas and the introductions to epic poems; the dithyrambic
prelude resembling the introduction to a speech of display… In prologues, and
in epic poetry, a foretaste of the theme is given, intended to inform the
hearers of it in advance instead of keeping their minds in suspense. Anything
vague puzzles them: so give them a grasp of the beginning, and they can hold
fast to it and follow the argument… The appeal to the hearer aims at securing
his goodwill, or at arousing his resentment, or sometimes at gaining his
serious attention to the case, or even at distracting it - for gaining it is
not always an advantage…”.
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