The Secret of Life, Death and Immortality A startling proposition, with a chapter devoted to mental therapeutics and instructions for self healing — Reading Companion

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In Category - Metaphysics
Fleetwood, Henry Project Gutenberg 2018 Not confirmed
Life; Immortality; Death Readers of public-domain and historical texts
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Words 14,925
Reading time 65 min
Text sections 2

This digital edition of The Secret of Life, Death and Immortality A startling proposition, with a chapter devoted to mental therapeutics and instructions for self healing — Reading Companion is described by source-level measurements including 14,925 words, 1 hr 5 min estimated reading time, and 2 detected text sections.

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Project Gutenberg metadata also associates the work with “Life,” connecting these edition facts with the source record’s subject description.

Henry Fleetwood's 1909 treatise argues that electricity is the universal substance and life force, linking vibration, evolution, and immortality. The work includes a chapter on mental therapeutics and self-healing, drawing on his invention of a device that converted musical vibrations into electrical waves.
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“eternal, indestructible substance” is now known to be electricity, and the inherent, unceasing energy of its infinite particles or electrons—now known to be electrical, polar, sexual—the explanation of all phenomena embraced under the terms—life and death. Life and Immortality are synonymous. The present is eternity. The now is all there is. All conscious or unconscious thought vibration is immortal, and is recorded in the cylindrical records of the universe, and those having the attunement to those records are in possession of the so-called secrets of the universe; which are nothing more than the workings of nature’s inevitable laws revealed and unfolded to us through an understanding of this great universal substance—Electricity. The one only substance in the universe.

This substance, this sea of electrons, of which we are, and in which we live and move and have our being, is in constant motion even as the great body of water on our globe. “The waters of the globe are all one sea and truly seen their tide is one.” So in this electrical ocean there is ebb and flow, ebb and flow, of etheric and atmospheric conditions. The movement of these tides and waves is always cyclical, proving their electrical nature. This is seen in the globule of water, in the globe tides, in the tornadoes, cyclone, etc. All so-called “destructive conditions” are due to the breaking of the circuit and the violent determined effort to close it again, and are in themselves constructive processes. When the circuit is broken the destructive force is let loose and continues its havoc until this violently vibrating mass of electrons has re-formed into other conditions in the great electrical ocean.

The suns, worlds, planets, stars are but varied manifestations of this vibratory electrical force which through millions of ages has evolved and rotated them into existence, its limitless energy forever continuing the work of creation or evolution.

These worlds, suns, planets being prepared to generate and maintain the various forms of life, which by analogy must be the same on other planets as on ours.

Beginning with the simplest type of organism, the work of evolution and progress is carried on until the present race of mankind with its intelligence and will is produced. And there are much higher types in the universe than what is called human. All this is produced by the action of the vibratory electrical force which constitutes life—which IS LIFE. You may call it God if it pleases you.

Consciousness, intelligence, is but the resultant of varying rates of vibration of different tempos. The action of the vibratory force is seen in the plants and flowers where the pruning and concentration of vibration into one stalk improves the fruit or flower. In the American Beauty rose many branches and buds are sacrificed to bring one flower to the fullest perfection.

For ages this same pruning process has been applied to the organism known as man, in order to evolve the intelligence that has produced our men of genius and power, to control in turn the very forces that called them into existence. By self-control man has been enabled to direct these vibrations, holding in check his varied passions which otherwise would injure him and hasten his dissolution.

The vibrations known as the ether or sound can produce every emotion we are capable of displaying. We in turn control these same vibrations and produce music. Ruskin says, “All one’s life is music if one touches the note rightly and in tune.” “Light, heat, force, motion, sound, sight, taste, color, thought, emotion all these are but different rates of vibration.”

Color vibrations denote the passions. Yellow the lymphatic, red the positive and aggressive, blue the nervous temperament. Purple or violet are intense vibrations which usually are self-destructive, overthrowing the reason and producing insanity. These color-vibrations are in turn susceptible to inhibition and control by musical vibrations of a much lower tempo than those of color; musical vibrations attaining to only thirty-two thousand (32,000) per second at their highest tempo, while the color vibrations known as violet reach twelve million (12,000,000) to the second. Is it the SONOROSITY of musical tones that equalizes the vibrations of color and music?

The vibrations of the tones of a violin have been known to heal the most obstinate wounds, and even surgical operations have been performed under the influence of musical vibrations. So potent is this force that the musical step of the military march has to be broken when crossing a bridge lest it collapse. The walls of Jericho are said to have collapsed under the vibrations produced by blowing upon rams’ horns in the hands of the Israelites. Windows have been broken by the vibratory tones of an organ.

Henry Fleetwood opens his 1909 treatise with a photograph of an electric spark, labeling its negative and positive regions. This image is not decorative: it anchors his central claim that electricity is the one substance of the universe. Fleetwood, who invented a device that turned musical vibrations into electrical waves, treats vibration as the fundamental activity of life. His preface immediately distinguishes between Life in an absolute sense and its conditioned results, setting up a framework where evolution, consciousness, and even morality are explained as electrical phenomena.

Vibration as the Universal Mechanism

Fleetwood builds his argument on the idea that all motion, activity, and phenomena are electrical. He describes how environment and thought attune specific brain cells, allowing a person to receive vibrations from a universal reservoir. In a striking passage, he explains that a man who becomes a “primeval savage” in a fight does so because his brain has been tuned to primitive vibrations. This model extends to heredity: the “forgotten vices” of ancestors reappear not through genetic inheritance but through brain attunement triggered by environment. Fleetwood thus reframes criminality as a disease caused by slum conditions, arguing that society is responsible for the vibrations it sets in motion.

Electricity, Evolution, and the Sun

The book devotes a chapter to the sun as the source of radiant energy, linking ancient sun worship to modern electrical science. Fleetwood sees the sun as the transmitter of the vibrations that drive evolution. He claims that electricity is the power Tennyson called “closer to you than breathing,” and that man has now harnessed this force through invention. Labor-saving devices, he predicts, will free humanity for the arts and sciences, turning the “man with the hoe” into the operator of an electric plow. This optimistic vision of progress is tied directly to his electrical cosmology: evolution itself is the result of continuous vibration.

Fear as the Only Devil

In a chapter titled “Fear,” Fleetwood calls it “the great curse of the Universe—the only devil.” He argues that fear has retarded human knowledge, especially by opposing scientific explanations of phenomena. Theology, he writes, is “the child of fear and conscience,” and has kept humanity in “swaddling clothes.” The recent centuries, however, have allowed man to outgrow these constraints. Fleetwood’s language is blunt: fear is insidious, and its effects on life are pervasive. This section is the most polemical in the excerpts, using religious imagery to attack religious authority while promoting a scientific—or rather, electrical—worldview.

Mental Therapeutics and Social Reform

The final chapter on healing discusses mental therapeutics, Christian Science, and faith healing, but Fleetwood grounds these in his electrical theory. He insists that changing one’s environment and mode of thought can retune the brain, allowing access to healing vibrations. This leads to a practical proposal: money spent on jails and reform schools should instead be used to cleanse slums and improve housing, clothing, and education. He advocates compulsory measures for children, arguing that society is the real criminal for permitting crime-producing conditions. The book thus moves from cosmic speculation to a concrete social program, all tied to the idea that vibration shapes human behavior.

Fleetwood’s book is a hybrid: part electrical cosmology, part social manifesto, part self-help manual. Readers should note that the excerpts cover only two of nine chapters, so the full development of his arguments—especially on love, music, and immortality—is not represented here. The work is best approached as a period document that reflects early twentieth-century fascination with electricity as a unifying principle, blending invention, spirituality, and reformist zeal.

I’ve always found Henry Fleetwood’s The Secret of Life, Death and Immortality a lonely book—earnest in its electric hum, yet speaking to few. It reminds me of another quiet companion, one that never promises the stars but knows the grit of simply carrying on. They share a certain startling honesty. The University of Hard Knocks — Themes and Context waits patiently, like an old friend who’s seen the hard years and still nods gently.

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