by The relationship between our defects and the Elements of hermetic practice
At the end of the introspection phase, the next step is categorising the identified defects according to their hermetic meanings associated with the Elements. This task is not straightforward, as it necessitates a clear understanding of what an Element represents in this context.
The Philosophy of the Elements
The Philosophy of the Elements is often misunderstood because it gives the impression that the nature of the Elements is fully captured in their observable phenomena and their relationship with physical counterparts. While such a relationship does exist, it fails to explore the rich symbolic meanings that lie behind these phenomena. Bardon’s works are not particularly helpful in this regard, as he minimises the theoretical aspects, focusing primarily on practical exercises, which also applies to his treatment of the Elements.
However, alongside these exercises, qualities like intuition and inspiration are developed, paving the way for a direct understanding of phenomena free from intellectual mediation. Until we achieve that level of experience, literature on the subject serves as a valuable resource for stimulation and reflection, assisting with the practical aspects where doubts may arise.
In the theoretical part of IIH, Bardon draws inspiration from the subdivision of the Elements according to the Hindu doctrine of the tattvas. These tattvas are the fundamental subtle internal and external elements that constitute the essence of subsequent material and gross forms, representing various phases or categories of reality. “Tattva” means “what is, principle, reality.” In its plural form, “tattvas” refers to the principles that illustrate how the Absolute descends into formal manifestation.
Hindu schools list various tattvas, but we will focus on the last ten. The first group of five pertains to the Elements as tanmātṛa, which means “potential” or “essence.” These represent the primary causes at the origin of the physical manifestation of the Elements and are referred to as the qualitative principles of the Elements in their pure aspect.
The last five represent the Elements in their gross form (mahābhuta), corresponding to the quantitative aspects, marking the final point of manifestation. Below is the enumeration of the origin of the Elements according to the Sāṁkhya school:
- The Ether Element originates from the tanmātṛa known as Śábda, which is the unmanifest essence of sound. It represents the space from which vibrations emerge before they manifest as sound. The ear is the associated sense organ, while the voice (or mouth) serves as the action organ.
- The Air Element originates from the tanmātṛa known as Sparśa, representing the essence of touch and the tactile potential in its most subtle form. The skin is the associated sense organ that receives touch, while the hands, which interact with the world, serve as the organ of action.
- The Fire Element originates from the tanmātṛa known as Rūpa, which represents the essence of vision. Rūpa means “shape” or “colour.” Its unmanifest nature holds the potential for light, enabling the visual perception of forms. The sense organ associated with this element is the eyes.
- The Water Element originates from the tanmātṛa known as Rasa, the causal principle behind taste experience. This energy creates the potential for tasting, even if it is not the taste itself. In Indian poetry and drama, the term has taken on a symbolic meaning, representing a “taste” of aesthetics that can lead to a transcendent experience. The sense organ associated with this element is the tongue.
- The origin of the Earth Element is the tanmātṛa known as Gandha, which is the primordial cause of the experience of smell. Gandha represents the potential manifested in the Earth Element and predisposes the subtle body to the experience of odour and the physical structures that allow us to perceive it. Gandha itself is not smell; instead, smell depends on it. The sense organ associated with this experience is the nose.
Ether represents the potential that exists before distinctive knowledge, and, as such, it is incomprehensible. It can be understood as the divine Intellect—the origin of reality, often referred to as the “place of possibilities” in Christian theology, the “Holy of Holies” in Kabbalistic thought, and the “Quintessence” in alchemy. Initially, it exists as an internal thought, transforming into an external word that addresses universal existence. This process gives rise to Sound, the manifestation of Thought, to follow the progression of elements from the most subtle to the most tangible. These are the “models” on which both the physical manifestation as we know it and the predisposition of the sense organs capable of perceiving it in its various states are based.
Franz Bardon presents a unique order for the production of the Elements. In his view, Aether follows Fire and Air, with the two remaining Elements coming afterwards. Air serves as the intermediary Element between Fire and Water, representing the world of communication and relationships. Fire represents the principles of expansion, heat, light, and extension, while Water symbolises the opposing qualities of contraction, cold, darkness, and retraction. Finally, Earth is the Element that solidifies and gives form to the previous three Elements. It represents stability and resilience against external influences, creating the space-time categories that allow these Elements to manifest.
Providing a list of negative traits associated with the various Elements is not helpful, as the pairing of defects with elements reflects our personal experiences and how we relate to each Element in a profoundly personal way. Bardon advises that we assign each defect through intense reflection, as our progress in inner development will clarify these attributions. He offers some brief examples, which are listed below:
| Elements | Defects |
|---|---|
| Fire | Greed, jealousy, passion, irritability, intemperance, tendencies toward destruction, hatred, vindictiveness, a short temper, anger, arrogance, hyperactivity, avidity, and impulsiveness. |
| Air | Persistent feelings of outrage, contempt, chattiness, lack of resistance, shrewdness, talkativeness, dishonesty, changeability, frivolity, conceit, struggles, squandering, gossip, and lack of balance. |
| Earth | Insipidity, lack of scruples, misanthropy, gloom, delay, laziness, unreliability, wordlessness, inactivity, unconsciousness, melancholy, irregularity, apathy, loss of empathy, heaviness, and depression. |
| Water | Indifference, depression, apathy, passivity, lack of vitality, shyness, laziness, frigidity, conformity, neglect, insolence, instability, and a tendency to dwell on the past. |
One of the challenges in assigning defects is that the same flaw can be attributed to multiple Elements. For instance, greed can be seen as a characteristic of the Earth Element, stemming from a desire to possess or a fear of not having enough resources for one’s existential security. However, greed can also be fuelled by the need to assert one’s ego, which is typically associated with the excesses of the Fire Element.
The correct approach to analysis begins with avoiding the generalisation of a defect. For example, saying that we are prone to anger does not necessarily indicate that we are experiencing the fundamental causes of that anger. Instead, it merely reflects the observable outcome from a deeper issue. The underlying problem might be related to the Element of Fire or potentially another Element entirely. Therefore, it is essential to break down the effect until we uncover the true root of the problem. Once we identify that root, we can accurately determine the appropriate Element needed to address it.
Step One does not yet provide a complete understanding of the Elements unless we have previously acquired knowledge of the subject through other means. Therefore, perfection is not expected; instead, we should commit to developing self-knowledge and doing our best to attribute character traits according to our abilities. We can always correct and refine the details later on.
When you return to practice, create a column in your diary for each Element and record the relevant defects in each one. Setting aside specific time for this task is essential, but you can also take note of your thoughts at any moment, even if just in your mind, and write them down later. Add another column labelled “Other” to your notes for any uncertain attributions. You can clarify these later and reorganise them appropriately. Bardon suggests spending a week on this section, but feel free to extend it for an additional week if necessary.
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