Two important points are involved herein: (_a_) Primarily in the _Rig Veda_, the Asuras are shown as _spiritual divine Beings_; their etymology is derived from Asu, breath, the “Breath of God,” and they mean the same as the Supreme Spirit or the Zoroastrian Ahura. It is later on, for purposes of theology and dogma, that they are shown issuing from Brahmâ’s Thigh, and that their name began to be derived from _a_, privative, and _Sura_, a God, or “not‐a‐God,” and that they became the enemies of the Gods. (_b_) Every ancient Theogony without exception—from the Aryan and the Egyptian down to that of Hesiod—in the order of Cosmogonical evolution, places Night before Day; even _Genesis_, where “darkness is upon the face of the deep” before the “first day.” The reason for this is that every Cosmogony—except in the Secret Doctrine—begins by the “Secondary Creation” so‐called; to wit, the _Manifested_ Universe, the Genesis of which has to begin by a marked differentiation between the eternal Light of “Primary Creation,” whose mystery must remain for ever “Darkness” to the prying finite conception and intellect of the profane, and the Secondary Evolution of manifested visible Nature. The _Veda_ contains the whole philosophy of that division, without having ever been correctly explained by our Orientalists, since it has _never been understood_ by them. Continuing to create, Brahmâ assumes another form, that of the Day, and creates from his Breath the Gods, who are endowed with the Quality of Goodness (Passivity).(131) In his next body the Quality of great Passivity prevailed, which is also (negative) goodness, and from the side of that personage issued the Pitris, the Progenitors of men, because, as the text explains, Brahmâ “thought of himself [during the process] as the father of the world.”(132) This is Kriyâ‐shakti—the mysterious Yoga‐power explained elsewhere. This body of Brahmâ when cast off became the Sandhyâ, Evening Twilight, the interval between Day and Night. Finally Brahmâ assumed his last form pervaded by the Quality of Foulness. And from this, Men, in whom foulness (or passion) predominates, were produced. This body when cast off became the Dawn, or Morning Twilight—the Twilight of Humanity. Here Brahmâ stands Esoterically for the Pitris. He is collectively the Pitâ, “Father.” The true Esoteric meaning of this allegory must now be explained. Brahmâ here symbolizes personally the Collective Creators of the World and Men—the Universe with all its numberless productions of things movable and (seemingly) immovable.(133) He is collectively the Prajâpatis, the Lords of Being; and the four bodies typify the four Classes of Creative Powers or Dhyân Chohans, described in the Commentary on Shloka I, Stanza VII, in Volume I. The whole philosophy of the so‐called “Creation” of the good and evil in this World, and of the whole Cycle of Manvantaric results therefrom, hangs on the correct comprehension of these Four Bodies of Brahmâ.