'Light'(mirroring) and 'sound' (echoing) are then the two first forms or drives of a creatio ex nihilo, and Kirpal Singh's happy 'background' is nothing else than the "good luck of the signs" as semiotician R. Barthes calls it.1 It has to do with the joy found in a certain appointment, or the delight in a revelation. Only in the sense of this 'happiness' can one speak of God.
This concept of a hypothetical One behind two actually tangible primal principles is basically nothing extraordinary in India; after all it was and is advocated by many Sufis, Yogis and mystics in India.
Similar conceptions are found in Hinduism, in Theosophy and in many other religious beliefs in India, but also in some modern Theologies und religious philosophies here in the western hemisphere.2
The same thoughts are found in Yogi Patanjalis' well-known statement that Yoga is nothing other than 'chit vriti nirodha'.3 Furthermore, as I just explained, even psychoanalysis with it's assumption of drives as a scientific basis for its theory lies at the same level.4 And just this background, the cause of what is known in India as the 'spiritual' and which is found to be incarnated in these two primal forces, or primal principles, primal drives, existed in Kirpal Singh's life from the beginning on in a way, that may have been very special in comparison to common human development.
1 Barthes, R., Die Körnung der Stimme, Suhrkamp (2002) p. 184
2 Superficially, it would seem as if Kirpal Singh has derived the theory of the 'light and sound' principle from theories of many of his predecessors in Yoga (Sant Mat, Radhasoami). A lot of controversy is found amongst those predecessors, of whom we have yet to hear more concerning the subject of competency.
3 Chit is consciousness, reflection, ‚light' and 'vritis' are the vibrations, trans-formations, the ‚sound' principle. Chit vriti nirodha means: control of the conscious and unconscious, of 'light' and 'sound'.
4 It is possible to understand drives as systems of signs and describe their function by the interplay of „image-signs" and „language-signs" (F. M. Rudel, Video et Cogito, Essen (1985) p. 65-100).