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Esoteric Philosophy: Study of the Endless Path of Wisdom

Youth of Sixteen Summers

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A brief outline, with an expounding on key points, of the work of Robert A. F. Thurman's book "The Central Philosophy of Tibet" dealing with the life and work of Lord Tsong Ka pa and his "Essence of True Eloquence". JPC.

JC: Robert Thurman begins his translation with Je Tsong Kapa in paying tribute and homage to the "Eternal Youth of Dulcet Voice" Manjugosha Kumara buhta [gentle voiced one] Manjushri [gentle voice, soft melody] or as "Gentle Glory". He is referred to as "the great spiritual hero who raises up the shining golden sword of transcendent wisdom" in universes, which I understand to mean Buddha lands or occult schools possibly linked to Earth school or the path of training for planetary logos or any path which a human adept may take.

"He with the Name we mention not, save in utter adoration; the Youth of Endless Summers, the Light of Life itself, the Wondrous One, the Ancient One, Lord of Venusian Love, the great Kumara with the Flaming Sword, the Peace of all the Earth." IHS 211.

They are where 'all living beings [human beings] seek the real meaning of their exitance and need the liberating path of philosophy.' This liberating path would be the paths or ways of higher evolution taught by DK or the eternal way of higher philosophy of the Buddhist teachings of the yellow hat Gelugpa schools of exoteric and esoteric education, the golden monastery of Tda-shi-Hlumpo, Shigatse.

Je Tsong Kapa refers to Manjushri [Sanskrit] as one who achieved enlightenment "many aeons ago" in "another Universe". This would to my mind recount to the fact that Sanat Kumara, who is identical to Manjushri of Buddhist scripture, possibly achieved enlightenment as a Buddha on the Venus chain of the Earth scheme some aeons prior to coming to Earth eighteen to twenty one million years ago.

HPB informs us that Tsong Kapa was a direct incarnation of Amita Buddha or the planet Mercury and might therefore be a direct incarnation of ray four, being therfore a Mercurian Buddha. Manjushri/Sanat Kumara is the direct Master of Je Tsong Kapa according to his own testimony, and we may consider as to the possibilities of Sanat Kumara/Lord of the world being ruler of the 4th ray.

"Mercury is the elder brother of the Earth." (Vol. II, 48)SD" Esoteric Astrology - Appendix.

"Mercury demonstrates kundalini in intelligent activity" TCF 181.

"Mercury is sometimes represented: the 'power of speech and eloquence can prevail. (Vol. II, 572) Esoteric Astrology - Appendix. [Eternal Youth of Dulcet Voice. Tsong Kapa]

"Sanat Kumara alone, in this scheme, is self-sustaining and self-sufficient, being the physical incarnation of one of the Planetary Logoi, which one it is not permissible to state". IHS 39.

It is said that when passed into nirvana or the Dharmakaya monadic vesture or seventh principle, Tsong Kapa' appearance was as a 'sixteen year old youth' or relatively then, as an eternal youth or high initiated Buddha. This is an important referral by Tsong kapa, to a relationship or association with the "logos of sixteen summers" as mentioned by C.W.Leadbeater, or our "Logos of endless summers" the "Ancient of days" spoken of by Master DK. It also indicates a direct association, that of disciple/pupil [albeit a Buddha] and Master [Manjushri/Sanat Kumara].

"He is often spoken of as the One Initiator, the One without a Second, the Eternal Youth of sixteen summers; and sometimes He is called the Lord of the World." The masters and the Path. 361. CWL.

Manjushri also appears in this account of the book 'The Central Philosophy of Tibet' as a "princely youth of sixteen years, saffron gold in hue, radiant, holding the text of the transcendental wisdom scripture in his left hand, and a flame tipped sword-the two edged, razor sharp sword of critical wisdom upraised in his right hand." The account of sixteen years is interesting. It denotes youth, truthful innocence, purity and the epitome of these in spirit-matter as 1+6=7.

Light floods the tip of the sword diffusing all darkness of confusion of those in his assembly as Tsong Kapa relates. Manjushri is also called "sole father of all victors" and most interestingly, "Lord of the word" and prince consort of all transcendent wisdom otherwise known as Queen Sophia [wisdom], who is said to be the "mother of all Buddhas."

"The Seven Planetary Regents (Planetary Logoi) are 'the Seven Sons of Sophia (Wisdom)'." (S.D. Vol. II, 221, Note) Appendix EA.

His Master Manjushri, was said to be in the centre of Tsong Kapa's lotus heart at all times. One can only imagine at the close relation of Sanat Kumara and Tsong Kapa compared to say even a third degree Initiate. When Tsong Kapa speaks of the Lord of the word, of Eternal Youth and Dulcet Voice and the divine eloquence of his speech, he says " May the radiance of his intelligence and the music of his eloquence, illumine my mind and energise my speech".

Tsong Kapa was granted by his Master Manjushri, the continuous vision of "twenty emptinesses" from the "transcended wisdom hundred thousand" in three dimensional translucent silver letters in ancient Sensa, which bear similarity to the allotrope to silver, on the plates or sheets used for teaching the adepts as told by Master DK. TK describes them as revealing "the formula for the twenty emptinesses" which are the keys to understanding everything from the dense physical to the highest nirvanic plane and "Infinity".

These sheets as described by DK and TK are sacred formulas for interpretation in the waking consciousness prior to a major initiation. A few years later [1398 was known as the "Great Enlightenment" so perhaps 1401] this vision was again granted to TK by Manjushri and was to last for "several months" of further enlightenment. However, this time the letters appeared as translucent "pure Gold". This reveals for the first time a higher correspondence to the silver sheets of Sensa origin, as described by DK and TK.

Tsong Khapa was nineteen years of age in 1376 which makes him at the time of his "great enlightenment" via the silver formulaic sheets and via the golden shamballa sheets a few years later, between forty one and forty four years of age. This is a very symbolic age as DK tells us that the age suitable for taking the sixth and seventh Initiations lies between forty two and forty nine. Lord Tsong Khapa appears to have taken what might of been an intermediately initiation or expansions between initiations as revelations of certain formulas. We are given an insight into the formulas of revelation between Initiation. So in 1398 and 1401 it is recorded that Tsong Khapa saw his hints and formulas via the silver allotropic sheets. We are also told in his work that he saw gold sheets. which correspond to the inter-mediatory stage towards the second part of the seventh Initiation.

"To attain to the consciousness of the center in the Body of the Logos of which any particular planetary Logos is the sumtotal. This carries them to the seventh Initiation and covers the period of the awakening of consciousness on the seven planes of the solar system." TCF 290.

"A still later period comes, corresponding to the ages forty-two to forty-nine, wherein the sixth and seventh Initiations may be taken." LOM 29.

There are, it seems, held before the contemplative mind of a high Buddha of the seventh Initiate degree, sheets of an unknown metal, which are an allotrope to Gold, as used by Sanat Kumara for the instruction of his Buddhas. In 1398 Lord Tsong Kapa probably retraced the sixth Initiation and the first part of the seventh dual Initiation with revelation of the silver formulaic sheets and within a few years had further contemplative vision of the Golden formulaic sheets within the Shamballa archives as part of the revelation and formula prior to the second part of the seventh Initiation which may not have been taken in that life. His own written work indicates his great enlightenment in 1398 with further events three years later. The Christ is yet to take the second part of the seventh Initiation and this applies to the Buddha also, who incarneted previously prior to Tsong Kapa. TK gives us a brief description written in his scripture "Essence of True Eloquence" of the formulas for Buddhas which are a higher correspondence to the formulas for the first five initiations as described by DK.

They therefore do not deal with "modes or methods of focusing triadal light upon the personality" as do those described by DK. They must deal therefore, with work prior to the casting off or relinquishing of the three Buddhic vestures or monadic sheaths. We might realise or deduce that the Golden formulaic letters and words upon sheets of an unknown metal are those studied prior to the seventh, eighth and ninth initiations [the later taken between Earth and Venus] of the completed Golden Buddha which in this instance is Je Tsong Kapa, who incarnated into Tibet as the great spiritual reformer forming the Gelugpa school of Tibetan Buddhism and lamas, and is a great Buddha in a spiritual lineage of the most exalted and sovereign of Golden kings.

This casts further light upon the nature and methods of training such "Golden wheeled kings". The greatest and most sublime of these vestures is the Dharmakaya monadic vesture. It is the highest vesture achieved upon the diamond throne of the highest plane of the cosmic physical plane and one to which may now be related the use of golden formulaic and translucent letters and words of archaic Sensa origin. The ancient language and allotropic metal sheets teach recognition of a higher way, or the endless path of higher spiritual evolution.

"If you were a disciple who had access to the archives wherein instructions for disciples are contained, you would be confronted (in relation to the six formulas referred to above) by six large sheets of some unknown metal. These look as if made of silver and are in reality composed of that metal which is the allotrope of silver and which is therefore to silver what the diamond is to carbon. Upon these sheets are words, symbols, and symbolic forms. These, when related to each other, contain the formulas which the disciple has to interpret and integrate into his waking consciousness. This must be done through the medium of living processes." DINA2 250.

JPC.

8/11/08