THE GOOD, THE TRUE, AND THE BEAUTIFUL. 183 



contain the vowels u [oo] and o ; musical sounds also 

 have an elevation to the same vowels, when similar 

 things are expressed ; it is otherwise when the sub- 

 jects treated of are not of importance ; hence it is 

 that the art of music is able to express various kinds 

 of Affection." Heaven and Hell (241.) 



226. The meaning of these mystic utterances, trans- 

 lated by the light of Universology and Alwato, is this : 

 The Back-Mouth (Basis) vowel-sound A (ah) is The 

 Analogue of NATURE, of Substance, Eiches, Goods, GOOD 

 (151), in the Lower, unspiritualized, or Natural Sense 

 of Good ; it characterizes, therefore, the Speech of 

 Swedenborg's angels who inhabit the "Natural 

 Heaven ' beneath the " Spiritual ' and the " Celes- 

 tial." The I (ee) and E (a) are intermediate between 

 this and the o and u (oo), which last pertain to the 

 Elaborate or Artistic, the region of the Hlilier or Ul- 



O U 



terior Good subsequent to Spiritualization, and are 

 made at the lips the top of the mouth ; hence i (ee) 

 and e (a) are Transitional, Evanescent, " Spiritual;" 

 while, finally, o (clear, presentative, SCIENTIC) and u 

 (oo) (retiring, shaded, modified, modulated, ARTISTIC) 

 are conjointly " Celestial," Elaborate, Perfect, Com- 

 plete. A (ah) is also Elaborate as contrasted with I 

 and E elementary. This adaptation of the Elaborate 

 Vowels A (ah), o, u (oo) to loftiness of the affections 

 or feelings, as, in part, shown by Swedenborg, is well 

 illustrated in the pompous character of the Spanish 

 language where these three vow r els abound. When 

 Language shall be printed phonetically, The Natural 

 and Ethnical Phrenology (or the Mental Constituency 

 of the different Peoples of the Earth) may be rneas- 



