The Devachanî is generally spoken of as the Immortal Triad,
Atmâ-Buddhi-Manas, but it is well always to bear in mind that

Atman is no individual property of any man, but is the Divine
Essence which has no body, no form, which is imponderable,
invisible, and indivisible, that which does not _exist_ and
yet _is_, as the Buddhists say of Nirvâna. It only
overshadows the mortal; that which enters into him and
pervades the whole body being only it's omni-present rays or
light, radiated through Buddhi, its vehicle and direct
emanation.[34]

Buddhi and Manas united, with this overshadowing of Atmâ, form the
Devachanî; now, as we have seen in studying the Seven Principles,
Manas is dual during earth-life, and the Lower Manas is redrawn into
the Higher during the kâmalokic interlude. By this reuniting of the
Ray and its Source, Manas re-becomes one, and carries the pure and
noble experiences of the earth-life into Devachan with it, thus
maintaining the past personality as the marked characteristic of the
Devachanî, and it is in this prolongation of the "personal Ego", so
to speak, that the "illusion" of the Devachanî consists. Were the
mânasic entity free from all illusion, it would see all Egos as its
brother-Souls, and looking back over its past would recognise all the
varied relationships it had borne to others in many lives, as the
actor would remember the many parts he had played with other actors,
and would think of each brother actor as a man, and not in the parts
he had played as his father, his son, his judge, his murderer, his
master, his friend. The deeper human relationship would prevent the
brother actors from identifying each other with their parts, and so
the perfected spiritual Egos, recognising their deep unity and full