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The True Messiah; or, The Old and New Testaments, Examined According to the Principles of the Language of Nature

Boston: E.P. Peabody, 1842


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HIEROGLYPHIC KEYS.

even strange, to the eyes of the superficial philosopher, who is yet no more superficial than the philosophic naturalist, who has studied the delicate relation of forms, and instincts, in their endless details, and who knows that every fibre is placed, by a supreme reason, in the worm as in the elephant. As to the two other kingdoms, the vegetable kingdom is a degradation of the animal kingdom, by the suppression of all voluntary motion; and the mineral kingom, a degradation of the vegetable kingdom by the suppression of all perceptible motion whatever. But the distant relation of the good and the true, is found to be always preserved. The young grass, for instance, is the symbol of a productive power in its germ; the tree, that of a faculty provided with all the means necessary for the production of fruits of all kinds. The same is true of minerals. The different manners of crystalization were certainly not abandoned to chance, nor chosen without some moral reason, by supreme Goodness and Wisdom. Only warmth, in the mineral kingdom, is generally less than in the preceding, as in that, it is less than in the first.

VI. CREATION; PRODUCTION, DESTRUCTION. If for God to create is not an act, properly speaking, that is to say, an effort, for man to do good is to create with God and by God. And to do evil is to create in a still more real sense; for, in evil, man acts alone; God does not create with him. The perfect emblems needed no Creation. They were all found in the Infinite Being, in the absolute Being, who, can give everything because he has everything. But, as to the imperfect emblems, they were all necessarily created; from the emblem of fraternal hatred, pictured on the face of the first sinner, to that of a crucified,. which is an outraged God. In the simultaneous order, the infinite is said to create, or produce the finite; the whole is said to create, or produce the part. All that produces, is Creator, or Father; all that is produced, is Son, or Truth. Substance produces form ; form produces color, &c.. Production refers to good, to affirmation, to reality, to order, to harmony ; destruction, to evil, to negation, to falsity, to disorder, to discord. Nature, in her beauty, is the emblem of the first; terrible phenomena, elements in convulsion, the emblem of the second. The admirable economy of men and animals, reproducing themselves, offers the hieroglyphic of all moral bodies, which, also, have their birth, their. time of growth, and of decay. When the moral body is considered as having life, it is represented by living, being, more or less developed ; when that body is without life, but regular, it is figured by a dead body, or a statue more or less perfect, more or less finished. All divine harmony is typified by different degrees of legitimate loves and unions; all discord, all sin, all error, by different degrees of illegitimate loves and unions. And this correspondence is sustained even in inorganic unions, the attractions or repulsions of matter. Otherwise, it would be meta-physically impossible that all those moral varieties. should become appreciable to created intelligences.

VII. SUBSTANCE; FORM, COLOR. Substance is all that is real. The Creator is substance in the supreme degree. All that we see and touch, in nature, is emblematic of that substance.. In this sense„ the, objects that we perceive in the state of dreaming, are as much sub-



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